Islamic art

Théodor DECK (1823-1891) Polychrome ceramic bowl with Iznik decoration, signed underneath. Weight: 2.71 kg Shipping unavailable Area: France Sizes: H 260MM X D 300MM Condition: At first glance: good condition

In the Iznik style. Earthenware pitcher decorated with tulips and saz leaves. H. 21 cm. Cracks, chips, handle restored.

Agra carpet (cotton warp and weft, wool pile) Northeast India, circa 1880 Height 560; Width 360 cm This important rug (in terms of size) is enhanced by an elegant polychrome stylized floral design on a black background. The wide red main border with a garland of stylized polychrome flowers is framed by eight blue and ivory counter-borders. Agra is an Indian imperial city in Utar Pradesh, famous for its white marble mausoleum, the Taj Mahal, and for its carpets. As early as 1549, artists came to India (from Tabriz and Herat) to join the art academy of Emperor Humayun (1508-1556). But it was his art-loving successor, Akbar the Great (1556-1605), who presided over the founding of factories in India with the help of Persian weavers who particularly stimulated local production. Mughal artists borrowed heavily from the Persian Islamic repertoire. In fact, the aesthetics of Indian fabrics and carpets are sometimes so close to those of their Safavid prototypes that only a discerning eye can tell them apart. The Safavids thus succeeded in transforming artisanal, nomadic carpet production into a manufacturing industry. At the time, however, carpets were a luxury item reserved for the palaces of the court. The most flourishing period came in the 17th century with production in Lahore and Agra. But most Indian production in the 19th and 20th centuries is attributed to the Agra factories, which are still active today. Agra even gave its name to Mughal production and, more specifically, to the very large carpets destined for the palaces of the local aristocracy and often exported to the United States and Europe. Although influenced by Persia, Indian carpets retain their own identity through the reality and detail of their designs: medallions and floral decorations are omnipresent, but symmetry is less rigorous. Birds, animals and trees are represented alongside flowers and foliage. The refined color palette is particularly attractive. Persian motifs include the "mustofi" (fleurons and palms), the "ci" or "tchi" (ribbon-shaped cloud) and the "botech" (stylized pear). Bibliographical reference : SABAHI, T - Splendeurs des tapis d'Orient - Ed Atlas, Paris - 1987 - p 412-413 and 439 Good condition

Agra carpet (cotton warp and weft, wool pile) Northeast India, circa 1850-1880 475 x 400 cm This beautiful rug is decorated with the Herati motif. This pattern consists of a lozenge of curved stems, enclosing a rosette and surmounted by a palmette at each apex, repeated ad infinitum, with four falciform leaves next to each other. This design adorned Herat carpets (to which it owes its name). It is framed by a wide red main border with a garland of stylized polychrome flowers and eight blue and ivory counter-borders. Agra is an Indian imperial city in Utar Pradesh, famous for its white marble mausoleum, the Taj Mahal, and for its carpets. As early as 1549, artists came to India (from Tabriz and Herat) to join the art academy of Emperor Humayun (1508-1556). But it was his art-loving successor, Akbar the Great (1556-1605), who presided over the founding of factories in India with the help of Persian weavers who particularly stimulated local production. Mughal artists borrowed heavily from the Persian Islamic repertoire. In fact, the aesthetics of Indian fabrics and carpets are sometimes so close to those of their Safavid prototypes that only a discerning eye can tell them apart. The Safavids thus succeeded in transforming artisanal, nomadic carpet production into a manufacturing industry. At the time, however, carpets were a luxury item reserved for the palaces of the court. The most flourishing period came in the 17th century with production in Lahore and Agra. But most Indian production in the 19th and 20th centuries is attributed to the Agra factories, which are still active today. Agra even gave its name to Mughal production and, more specifically, to the very large carpets destined for the palaces of the local aristocracy and often exported to the USA and Europe. Although influenced by Persia, Indian carpets retain their own identity through the reality and detail of their designs: medallions and floral decorations are omnipresent, but symmetry is less rigorous. Birds, animals and trees are represented alongside flowers and foliage. The refined color palette is particularly attractive. Persian motifs include the "mustofi" (florets and palms), the "ci" or "tchi" (ribbon-shaped cloud) and the "boteh" (stylized pear). Wear Bibliographical reference: SABAHI, T - Splendeurs des tapis d'Orient - Ed Atlas, Paris - 1987 - p 412-413 and 439

ORIENT Lot of two decorative openwork metal plaques. 28-40 cm (scratches)

GANDHARAN SCHIST TORSO OF BUDDHA - Ca. AD 100 - 300. A schist stone torso of Buddha. He is depicted wearing a sanghati robe and a ushnisha topknot. His facial features displays the characteristic Kashan period long pendulous ears and drooping eyes. His forehead is decorated with the Urna dot which represents the third eye that can see beyond the material limits of the world. The position of the arms suggests the Abhayamudra position. This gesture symbolised peace and safety, and it was intended to dispel fear. The Buddha form was used to depict both the original Buddha Siddharth Gautama as well as anyone who became a Buddha by achieving Nirvana. The Buddha was not depicted in sculpture in Gandhara until the 1st century AD, before which he was only alluded to with symbols. From this time onwards, Gandharan art depicted Buddha with a captivating mix of traditional Buddhist iconography and style, using the naturalism and soft features of Classical art, since this region was greatly influenced by the conquests of Alexander the Great many centuries earlier and the subsequent Greek settlers. Mounted on a custom-made stand. Size: 270mm x 235mm; Weight: 6.99kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

SELJUK TERRACOTTA PAIR OF DECORATIVE TILES - Ca. AD 1100 - 1200. A pair of rectangular terracotta decorative tiles. The upper surface has an intricately designed central rosette. The design comprises of hexagonal and star-shaped niches, each adorned with a profusion of meticulously wrought motifs. The Seljuks, a Turkic dynasty from Central Asia, formed an empire in 1037 AD and made significant contributions to Islamic art and architecture. Size: 490mm x :345mm; Weight: 10 kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

RARE SELJUK GILDED BRONZE CANDLESTICK DECORATED WITH KUFIC INSCRIPTION - Ca. AD 1300 - 1400. An Islamic Seljuk gilded bronze candlestick bell, decorated with Kufic inscription around the body and the neck. The bell shaped body is connected to a narrow neck. Most of the silver inlay is still preserved. For similar see: L'eredità dell'Islam, 1993, fig. 180. Size: 300mm x 290mm; Weight: 1.8kg Provenance: Property of an Oxfordshire art professional; previously in an old Canadian collection formed in the 1980s.

Vase with metallic lustre decoration on a truncated cone-shaped pedestal, with a swollen body topped by a wide cylindrical neck. Siliceous ceramic with metallic lustre decoration in several registers of vegetal friezes. Syria, Raqqa, 12th-13th century Height: 15 cm (Significant restorations) Provenance: Label mentioning the Vérité collection n°4024 ATTENTION: Lot to be picked up at our warehouse in Saint-Ouen, on April 30th.

India, Rajasthan, 19th century Polychrome resinwood wedding chest showing a couple in a palace setting 19th century H. 64 - W. 94 cm - D. 68 cm (This lot is stored outside the auction house. Please allow a few days after the sale for the lot to be collected from the auction house, after contacting the auction house in advance to arrange a collection date. Home delivery is also possible. Carriers working on behalf of the Auction House can provide a quote).

Iran Qajar, 19th century Neshat Esfahani, Diwan Ash'ar. Manuscript on paper with 15 lines of text per page in Persian nasta'liq in black ink spread over two columns on some sections, some terms in red ink. Double-page frontispiece illuminated in gold and polychrome, the text surrounded by floral margins and introduced by a sarlow decorated with arcatures adorned with floral scrolls, the Bismillah inscribed in a cartouche with a gold background. Throughout the text, several cartouches and frames are left undecorated. Papier-mâché binding with painted and lacquered decoration of a floral composition of roses and eglantines on a gilded background, the back covers painted red. 28 x 18 cm One binding plate detached and cracked, one corner cracked on the second, brown spots, some restorations, stains, folds, unfinished manuscript, frontispiece probably added later. The author of this collection of poetry is 'Abd ol-Vahhab Esfahani (1761 - 1828), one of the greatest poets of the Qâjâr period. Known by his pen name Neshat, he was active during the reign of Fath 'Ali Shah, who not only appreciated his poetry, but also placed his trust in him by appointing him Head of the Chancellery, then Minister of Foreign Affairs and finally Prime Minister at the end of his life.

Kandjar dish with blue glaze. Iran, early 20th century. Dim: 6 (h) x 23 (d) cm ATTENTION: Lot to be picked up at our warehouse in Saint-Ouen, on April 30th.

To Be Sold With No Reserve A blue and white pottery Kendi, Safavid Iran, 17th century, The bulbous body rising from a short straight foot, the blue painted decoration consisting of simplified lions within roundels, a geometric register below, a band of stylised interlocking tendrils above, the spout with similar decoration, the shoulder with hanging palmettes, the flaring mouth with geometric patterns, outlined in black, on white ground, the base with pseudo Chinese inscription 20cm. high Provenance: Property from a Private London Collection acquired prior to 1979

To Be Sold With No Reserve An Ilkhanid lajvardina moulded and gilt-decorated turquoise glazed star pottery tile, Iran, 13th-14th century, The decoration consisting of a large floral spray, restored 21cm. across Provenance: Property from a Private UK Collection acquire prior to 1979

A Kutahya Iznik-style dish, late 18th/19th century, boldly painted with a formal arrangement of flowers and leaves in blue, green, manganese, yellow and terracotta red, some damages and repairs, 26.8cm.

A small Qajar coco-de-mer begging bowl (kashkul) and an engraved brass inkwell Persia, 19th century the kashkul in the form of a nut with an opening at the top, carved in relief with a pole medallion containing a floral spray on the bottom, flanked by cartouches containing inscription, above a band of inscription filled cartouches, the rim with a bird and a lion's head, with suspension loops and chain, 12.5 cm. long; the lidded inkwell of cylindrical form with openwork oval cartouches alternating with cartouches containing figures, 8.3cm. high (2)

Rare underglaze painted deep bowl of a feline, tail upturned. Islamic Persia, X-XIth century D. 22.5 cm, H. 9.3 cm (Restorations) Provenance: galerie la reine Margot, Paris VI ATTENTION: Lot to be collected from our warehouse in Saint-Ouen on April 30th.

Rodolphe D'ERLANGER (1872-1932), - Souk animé Oil on panel 26.5 x 35 cm Inscription on reverse: Rodolphe D'ERLANGER, n°13 Assouan 1905

To Be Sold With No Reserve An engraved silver-inlaid brass candlestand, possibly Turkish provinces, 19th century or earlier with sharply waisted drum base on short step, the flat shoulder with rim and sunken centre, the cylindrical neck supporting the mouth, itself a smaller version of the base, decorated to body with four roundels containing stylised flower heads, connected to each other by wide bands featuring interlacing knots, above and below panels of repeating fleur-de-lis designs, Iznik-style patterns, and flowers, 20cm. high Provenance: Formerly in a Private Family Collection, 1960’s.

Property of an Important Private Collection A youth and his tutor, Safavid Iran, 17th century, kneeling under a tree, the youth dressed in the Safavid fashion with elegant turban, the bearded tutor wearing a hat and a light pink stole, within borders with gold scrolling tendrils on blue ground, gold and blue rules and wide dulled light pink floral borders with gold, black and blue cusped medallions, laid on card, the reverse with penciled numerals, together with a similar scene, the youth reading to his turbaned teacher seating under a tree, two older figures reading in the foreground, illuminated frontispiece above, narrow nasta'liq script panels to the other sides, within polychrome rules, laid on card, 31 x 21.5cm.

A moulded Qajar pottery tile, Possibly Isfahan, Qajar Iran, 19th century, the polychrome decoration depicting a courtiers an courtesan meeting in a palace garden, two attendants to their sides, a floral register above, repaired and restored from six breaks, 32 x 37.5 cm