Lot Essay
The subject of geese amongst foliage depicted on this object is reminiscent of early Timurid drawing, with which it shares particularly the naturalistic approach to the depiction of animals and foilage. Comparative examples are in the Topkapi Library, H. 2153, fol. 72v (Grube, E. ed., Islamic Art, I, 1981, fig. 166), in the Boston Museum of Fine Arts, inv. no. 23.181 (op. cit., fig. 167). Two others are in the Staatsbibliothek Preussischer Kulturbesitz, Berlin, Orientabteilung,'Diezalbums', fol. 73.S.74 *2 (Lentz, T.W. and Lowry, G.D., Timur and the Princely Vision, Los Angeles and Washington, 1989, p. 345, cat. no. 76, illus. p. 182) and fol. 73.S.51 *1 (op. cit., p. 350, cat. no. 104, illus. p. 204).
It is the bent postures of the birds which characterise these drawings and alo our piece. This design is essentially of Chinese origin and was of particular poularity in the 14th century during the late Yuan and early Ming dynasties. There it can be found on blue and white wares, often exported to the West (see a footed bowl, dated 2nd half of the 14th century, in the Ashmolean Museum, Oxford and a vase in the Firzwilliam Museum, Cambridge in: Garner, Sir Harry, Oriental Blue and White, London, 1954, plates 9B and 22A; another 14th century piece in the Ardabil Shrine: Pope, J.A., Chinese Porcelains from the Ardabil Shrine, London, 1981, pl. 7).
It is the bent postures of the birds which characterise these drawings and alo our piece. This design is essentially of Chinese origin and was of particular poularity in the 14th century during the late Yuan and early Ming dynasties. There it can be found on blue and white wares, often exported to the West (see a footed bowl, dated 2nd half of the 14th century, in the Ashmolean Museum, Oxford and a vase in the Firzwilliam Museum, Cambridge in: Garner, Sir Harry, Oriental Blue and White, London, 1954, plates 9B and 22A; another 14th century piece in the Ardabil Shrine: Pope, J.A., Chinese Porcelains from the Ardabil Shrine, London, 1981, pl. 7).