TWO ALBUM PAGES: A HERON LANDING AND TWO CRANES STANDING IN A POOL
TWO ALBUM PAGES: A HERON LANDING AND TWO CRANES STANDING IN A POOL
TWO ALBUM PAGES: A HERON LANDING AND TWO CRANES STANDING IN A POOL
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PROPERTY FROM A PRIVATE LONDON COLLECTION
TWO ALBUM PAGES: A HERON LANDING AND TWO CRANES STANDING IN A POOL

THE HERON ASCRIBED TO 'ABD AL-HAYY, BOTH IN THE STYLE OF JALAYIRID MESOPOTAMIA OR TABRIZ CIRCA 1370-80, PROBABLY 19TH/20TH CENTURY

細節
TWO ALBUM PAGES: A HERON LANDING AND TWO CRANES STANDING IN A POOL
THE HERON ASCRIBED TO 'ABD AL-HAYY, BOTH IN THE STYLE OF JALAYIRID MESOPOTAMIA OR TABRIZ CIRCA 1370-80, PROBABLY 19TH/20TH CENTURY
The heron opaque pigments heightened with gold on paper laid down on card, an inscription in black nasta'liq above the right foot, two small pages of Persian poetry written in nasta'liq at the diagonal, horizontal and vertical, separated by an illuminated medallion below, a strip of marbled paper above, within gold and polychrome rules, plain buff inner border and pink outer border, the verso plain; the cranes opaque pigments heightened with gold on paper laid down on card, 4ll. black nasta'liq on the diagonal and arranged in two columns in the upper left, within gold and black rules, light pink outer border, the verso plain
Heron 10 ¾ x 9 ¾in. (27.4 x 24.6cm.); folio 14 3/8 x 9 ½in. (36.6 x 24cm.); cranes 13 x 9in. (33.1 x 23cm.); folio 14 3/8 x 9in. (36.6 x 24.3cm.)
刻印
The painting of the heron inscribed on the left above the right foot of the bird, qalam-i khwaja 'abd al-hayy naqqash mahmud shah al-khayyam, 'The work of Khwaja 'Abd al-Hayy the painter, Mahmud Shah al-Khayyam'

榮譽呈獻

Sara Plumbly
Sara Plumbly Director, Head of Department

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Several similar paintings attributed to the Jalayirid painter 'Abd al-Hayy have come up for auction in recent years. One sold in these Rooms, 10 October 2000, lot 84, while two others were sold at Sotheby's London, 13 April 2000, lot 31, and Bonhams London, 2 May 2001, lot 38. 'Abd al-Hayy is primarily associated with a style of monochrome ink drawing known as qalam-i wasiti. This fact, combined with the limited corpus of paintings that can be securely attributed to him, prevents a confident attribution for our paintings.

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