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Lot Essay
This is one of a small group of candlesticks that share very similar profiles, with stepped base, sharply waisted walls, a sunken shoulder, and a mouth of smaller identical but smaller form to the body. Key within the group is an example in the Louvre Museum, Paris, inlaid in both silver and gold which is inscribed with the name of Ahmad Shah al-Naqqash, a famous Baghdadi calligrapher who moved to Shiraz in 1360, enabling it to be dated to the period after that (OA 7530; Makariou, 2012, no.137, pp.226-7). An example in Berlin combines elements that show clear Mosuli influence combined with clearly Persian elements and script.
The group is reminiscent of the much larger group of candlesticks attributed to Anatolia, probably Siirt (Rice, 1954, pp.1-39; Allan, 1978, pp,.182-3; Melikian-Chirvani, 1982, pp.356-368; Melikian Chirvani, 1985, pp.225-266). In both cases the sizes and proportions are very similar, indicating that they were cast in a single centre. The decoration differs widely, indicating that they were possibly worked in different centres, or over a considerable period, or both. In the present case, of many fewer examples, while they are made of a yellower coloured brass, there are still very substantial differences in decoration, in material, in proportion and in the quality of drawing. The arrangement of the Louvre candlestick already noted with inscriptions on a diaper ground divided by larger roundels, is paralleled by a similar example in a private collection (Christie’s, 15 October 1996, lot 344). and a further example sold more recently in these Rooms (5 October, 2010, lot 19). In an example in Berlin the diaper ground is not used, and larger roundels divide an inscription that is the full height of the band (I 590; Erdmann, 1967, no.26; smaller image in Pope, 1938, vol.VI, pl.1333). An example formerly with Khawam in Cairo has a large inscription without any interruption (Pope, 1938, pl.1364), while one that appeared at auction, incorrectly catalogued, now in the Aga Khan Museum, Toronto, has no inscription at all except a couple of minute panels at the mouth (AKM962; Sotheby’s, 25 April 2012, lot 541). An example in Cleveland does not even have the inscriptions at the mouth (1951.539). With the exception of the former Christie’s candlestick sold in 2010 and the present lot, all are inlaid in gold as well as silver, although the quantity varies considerably. The sizes also vary, with the most frequently encountered being between 17 and 20 cm. high, although the largest of all, that with Khawam, was 26 cm., slightly larger than the present example. Whatever the other differences between them, each of these candlesticks has a band of dense plaiting around the foot.
Our candlestick retains almost all its silver inlay, which is remarkable. It uses extensive paired birds, which are also found on the Berlin and Aga Khan Museum examples. Even closer to the Berlin one is the design of the main medallion on the body, rounded interwoven strapwork forming a cusped element with compartments filled with different designs. The structure of ours is simpler, with six rather than eight lobes, and formed of three separate interwoven waited ovals rather than, as in the Berlin example, one continuous band weaving in and out forming the entire pattern. The Berlin candlestick as a figural design in the very centre, but apart from that the filler designs are very comparable. Both derive from Ilkhanid Mosuli metalwork dating from the early 14th century, such as the panels in the centre of each face of the Courtauld bag, whose six-lobed interlace is differently constructed but visually very similar indeed to those on our candlestick (Ward 2014, esp.pp.76-99).
If the construction of the six-lobed element on the body is unusual, the six-pointed star on the neck, the Seal of Solomon or Star of David motif, is much more so in its strength and prominence. While highly unusual, it is clearly potentially related to the two six-pointed stars in roundels that appear on the neck of the Siirt candlestick formerly in the Aga Khan and Nuhad Es-Said Collections, now in the Museum of Islamic Art, Doha (Allan, 1982, no.9, pp.66-69; a smaller similar star is on the mouth of no.7, pp.58-61). While James Allan attributed that candlestick to a prince of the Ayyubid dynasty, Souren Melikian disagreed, instead relating it to architectural ornament in Eastern Anatolia, often with Armenian links. Melikian also suggests that the Nuhad Es-Said candlestick could have been made within the realms of Sultan Uljaytu, and that the reference to Al-Malik al-Nasir referred to him rather than the Mamluk Muhammad bin Qalawun. While it may be coincidence, the mausoleum of Uljaytu is notable for the number of interlaced geometric patterns it includes. The interior stucco decoration includes very prominent massive six-pointed stars, sometimes containing roundels containing the interlaced repeated kufic name Muhammad, but sometimes plain, and dominant (Blair, 1987, pp.43-96, especially pl.5B and fig. 17; also https://archnet.org/sites/1671/media_contents/467 accessed 10/09/20). If the Nuhad Es-Said candlestick inscription does refer to Uljaytu, then the six-pointed star would have been a symbol of his power.
We do not as yet know for certain the precise origin of the present example. It is however undoubtedly an important and remarkable addition to this fascinating group of Iranian inlaid cast bronze candlesticks.
The group is reminiscent of the much larger group of candlesticks attributed to Anatolia, probably Siirt (Rice, 1954, pp.1-39; Allan, 1978, pp,.182-3; Melikian-Chirvani, 1982, pp.356-368; Melikian Chirvani, 1985, pp.225-266). In both cases the sizes and proportions are very similar, indicating that they were cast in a single centre. The decoration differs widely, indicating that they were possibly worked in different centres, or over a considerable period, or both. In the present case, of many fewer examples, while they are made of a yellower coloured brass, there are still very substantial differences in decoration, in material, in proportion and in the quality of drawing. The arrangement of the Louvre candlestick already noted with inscriptions on a diaper ground divided by larger roundels, is paralleled by a similar example in a private collection (Christie’s, 15 October 1996, lot 344). and a further example sold more recently in these Rooms (5 October, 2010, lot 19). In an example in Berlin the diaper ground is not used, and larger roundels divide an inscription that is the full height of the band (I 590; Erdmann, 1967, no.26; smaller image in Pope, 1938, vol.VI, pl.1333). An example formerly with Khawam in Cairo has a large inscription without any interruption (Pope, 1938, pl.1364), while one that appeared at auction, incorrectly catalogued, now in the Aga Khan Museum, Toronto, has no inscription at all except a couple of minute panels at the mouth (AKM962; Sotheby’s, 25 April 2012, lot 541). An example in Cleveland does not even have the inscriptions at the mouth (1951.539). With the exception of the former Christie’s candlestick sold in 2010 and the present lot, all are inlaid in gold as well as silver, although the quantity varies considerably. The sizes also vary, with the most frequently encountered being between 17 and 20 cm. high, although the largest of all, that with Khawam, was 26 cm., slightly larger than the present example. Whatever the other differences between them, each of these candlesticks has a band of dense plaiting around the foot.
Our candlestick retains almost all its silver inlay, which is remarkable. It uses extensive paired birds, which are also found on the Berlin and Aga Khan Museum examples. Even closer to the Berlin one is the design of the main medallion on the body, rounded interwoven strapwork forming a cusped element with compartments filled with different designs. The structure of ours is simpler, with six rather than eight lobes, and formed of three separate interwoven waited ovals rather than, as in the Berlin example, one continuous band weaving in and out forming the entire pattern. The Berlin candlestick as a figural design in the very centre, but apart from that the filler designs are very comparable. Both derive from Ilkhanid Mosuli metalwork dating from the early 14th century, such as the panels in the centre of each face of the Courtauld bag, whose six-lobed interlace is differently constructed but visually very similar indeed to those on our candlestick (Ward 2014, esp.pp.76-99).
If the construction of the six-lobed element on the body is unusual, the six-pointed star on the neck, the Seal of Solomon or Star of David motif, is much more so in its strength and prominence. While highly unusual, it is clearly potentially related to the two six-pointed stars in roundels that appear on the neck of the Siirt candlestick formerly in the Aga Khan and Nuhad Es-Said Collections, now in the Museum of Islamic Art, Doha (Allan, 1982, no.9, pp.66-69; a smaller similar star is on the mouth of no.7, pp.58-61). While James Allan attributed that candlestick to a prince of the Ayyubid dynasty, Souren Melikian disagreed, instead relating it to architectural ornament in Eastern Anatolia, often with Armenian links. Melikian also suggests that the Nuhad Es-Said candlestick could have been made within the realms of Sultan Uljaytu, and that the reference to Al-Malik al-Nasir referred to him rather than the Mamluk Muhammad bin Qalawun. While it may be coincidence, the mausoleum of Uljaytu is notable for the number of interlaced geometric patterns it includes. The interior stucco decoration includes very prominent massive six-pointed stars, sometimes containing roundels containing the interlaced repeated kufic name Muhammad, but sometimes plain, and dominant (Blair, 1987, pp.43-96, especially pl.5B and fig. 17; also https://archnet.org/sites/1671/media_contents/467 accessed 10/09/20). If the Nuhad Es-Said candlestick inscription does refer to Uljaytu, then the six-pointed star would have been a symbol of his power.
We do not as yet know for certain the precise origin of the present example. It is however undoubtedly an important and remarkable addition to this fascinating group of Iranian inlaid cast bronze candlesticks.