A GROUP OF LEATHER BOOK BINDINGS
A GROUP OF LEATHER BOOK BINDINGS
A GROUP OF LEATHER BOOK BINDINGS
16 更多
A GROUP OF LEATHER BOOK BINDINGS
19 更多
PROPERTY FROM A PRIVATE LONDON COLLECTION
A GROUP OF LEATHER BOOK BINDINGS

SAFAVID AND QAJAR IRAN AND OTTOMAN TURKEY, 16 CENTURY AND LATER

細節
A GROUP OF LEATHER BOOK BINDINGS
SAFAVID AND QAJAR IRAN AND OTTOMAN TURKEY, 16 CENTURY AND LATER
Comprising three bindings with spine and original flap, three with spine and no flap, three pairs of covers detached at the spine and three fragments, all gilt and variously stamped and tooled with geometric decoration and floral arabesques, including one with a figural scene depicting Khusraw and Shirin, the doublures either gilt or decorated with decoupé panels
The largest 15 ½ x 10 3⁄8in. (39.7 x 26.3cm.)
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Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. Bidders must familiarise themselves with any laws or shipping restrictions that apply to them before bidding on these lots. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, would enable a buyer to import this type of lot into the USA. If you intend to use Christie’s licence, please contact us for further information before you bid.

榮譽呈獻

Sara Plumbly
Sara Plumbly Director, Head of Department

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拍品專文


During the sixteenth century the art of bookbinding in Iran and Turkey underwent many changes corresponding to the technological advancements in the arts of painting and other crafts of the time. This development involved a change in the techniques and styles used to cover the luxurious court manuscripts produced at the different centers of the Safavid court. The biggest transformation in practice was the introduction of a widespread use of stamping. Naturalistic designs were engraved on one large stamp while symmetrical designs, usually of floral nature were engraved on a half-plate which was used twice to complete the design. This method is seen on some of our examples. In most cases the join is visible along the middle.

For more expensive commissions, the doublures were often decorated in the leather filigree or découpé technique on painted lapis lazuli ground, which was a continued tradition from the Timurid period. Due to the fragile and delicate nature of this technique it was always used as a method of decoration for the doublures. During the Qajar period the production of gilt leather stamped bindings which were inspired by Safavid and Timurid patterns continued although a preference of lacquered binding became much more prevalent. A Safavid binding similar to one of the example in this lot was sold in these Rooms, 26 April 2018, lot 57.

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