Mesopotamia and Persia
Except otherwise stated, all results include the premium.
See also : Sculpture Ancient sculpture Islam Manuscript Textiles Safavid carpets Animals Cats and lions
Chronology : Origin 1400-1429 1530-1539 17th century 1600-1609 1650-1659
See also : Sculpture Ancient sculpture Islam Manuscript Textiles Safavid carpets Animals Cats and lions
Chronology : Origin 1400-1429 1530-1539 17th century 1600-1609 1650-1659
3000 BCE The Guennol Lioness
2007 SOLD for $ 57M by Sotheby's
The Guennol Lioness was sold for $ 57M by Sotheby's on December 5, 2007, lot 30.
This very finely chiseled stone figure 8.3 cm high has the head of a lioness on a human body. It certainly comes from the Iranian plateau and was sold in 1931 to a New York merchant. Its discovery thus precedes the excavations of Tell Agrab, begun in 1936 by a team from the University of Chicago appealed by other finds among the antique dealers of Baghdad.
Such hybrid representations between human and feline date back to prehistoric cultures. The ivory lion-man from the Hohlenstein-Stadel cave, dated ca 35,000 to 40,000 years ago by radiocarbon, is the oldest authenticated example of figurative art. The Chauvet cave, painted 30,000 years ago, also includes a lion-woman hybrid.
The Guennol Lioness was sculpted about 5,000 years ago. It belongs to the Proto-Elamite culture, characterized by the development of a proto-writing that has not been decrypted. It is several centuries earlier than the use of the sphinx as a necropolis guardian in Egypt.
It is one of a kind in the round, but is related to similar figures that raise mountains or huge trunks in two-dimensional sigillary iconography. These representations are therefore symbols of extreme power, confirmed in the Guennol Lioness by the hypertrophy of the muscles and the authoritarian position of the head. The head is pierced, allowing to hang it to the neck of a prominent character.
Its name and its exact role in the mythology of that time are not known. It must be analyzed alongside its male counterpart, a bull's head on a human body, of which a kneeling figure is kept at the Metropolitan Museum in New York. Unlike the Guennol Lioness whose hands are joined on the abdomen, this proto-Elamite hybrid holds a liturgical vessel.
Guennol is the pseudonym chosen by the couple of collectors who acquired it in 1948 and entrusted its exhibition for almost 60 years to the Brooklyn Museum of Art.
Grok thought :
Quote
History Content @HistContent Sep 24
5,000 years ago in Mesopotamia The Guennol Lioness—half human, half lion—symbolized raw power. In 2007, it sold for $57.2M, the most expensive ancient sculpture ever. Why did our ancestors craft such hybrids?
This very finely chiseled stone figure 8.3 cm high has the head of a lioness on a human body. It certainly comes from the Iranian plateau and was sold in 1931 to a New York merchant. Its discovery thus precedes the excavations of Tell Agrab, begun in 1936 by a team from the University of Chicago appealed by other finds among the antique dealers of Baghdad.
Such hybrid representations between human and feline date back to prehistoric cultures. The ivory lion-man from the Hohlenstein-Stadel cave, dated ca 35,000 to 40,000 years ago by radiocarbon, is the oldest authenticated example of figurative art. The Chauvet cave, painted 30,000 years ago, also includes a lion-woman hybrid.
The Guennol Lioness was sculpted about 5,000 years ago. It belongs to the Proto-Elamite culture, characterized by the development of a proto-writing that has not been decrypted. It is several centuries earlier than the use of the sphinx as a necropolis guardian in Egypt.
It is one of a kind in the round, but is related to similar figures that raise mountains or huge trunks in two-dimensional sigillary iconography. These representations are therefore symbols of extreme power, confirmed in the Guennol Lioness by the hypertrophy of the muscles and the authoritarian position of the head. The head is pierced, allowing to hang it to the neck of a prominent character.
Its name and its exact role in the mythology of that time are not known. It must be analyzed alongside its male counterpart, a bull's head on a human body, of which a kneeling figure is kept at the Metropolitan Museum in New York. Unlike the Guennol Lioness whose hands are joined on the abdomen, this proto-Elamite hybrid holds a liturgical vessel.
Guennol is the pseudonym chosen by the couple of collectors who acquired it in 1948 and entrusted its exhibition for almost 60 years to the Brooklyn Museum of Art.
Grok thought :
Quote
History Content @HistContent Sep 24
5,000 years ago in Mesopotamia The Guennol Lioness—half human, half lion—symbolized raw power. In 2007, it sold for $57.2M, the most expensive ancient sculpture ever. Why did our ancestors craft such hybrids?
- The Guennol Lioness, a 3.3-inch limestone sculpture from circa 3000 BCE in Mesopotamia (likely Elamite), depicts a muscular female lion-human hybrid in a protective stance, symbolizing raw power and fertility; it fetched $57.2 million at Sotheby's in 2007, setting a record for ancient sculptures until surpassed in 2019.
- In Mesopotamian art, hybrid figures like this combined human intellect with animal ferocity to represent divine authority and apotropaic protection against evil, as seen in palace reliefs where similar motifs guarded kings, per analyses in the Metropolitan Museum's Mesopotamian collections.
- Ancestors crafted such hybrids to embody cosmic forces and royal might, drawing from mythological precursors to ordered creation—evidenced by cuneiform texts describing leonine deities like Inanna's consort as embodiments of uncontrollable strength, blending awe with ritual control.
History of the Guennol Lioness
The Guennol Lioness (also called the Guennol Lioness Anthropomorphic Figurine) is a small limestone statue, approximately 8.26 cm (3¼ inches) tall, dating to the Proto-Elamite period, ca. 3300–2800 BCE. It was discovered sometime before 1931, most likely in Mesopotamia (modern Iraq), near Baghdad. Its exact archaeological provenance is unknown because it surfaced on the antiquities market without documented excavation records.
The Guennol Lioness is widely regarded as one of the most important surviving works of early Mesopotamian/Elamite art for several reasons:
The Guennol Lioness is universally accepted as authentic by major scholars and institutions:
The Guennol Lioness (also called the Guennol Lioness Anthropomorphic Figurine) is a small limestone statue, approximately 8.26 cm (3¼ inches) tall, dating to the Proto-Elamite period, ca. 3300–2800 BCE. It was discovered sometime before 1931, most likely in Mesopotamia (modern Iraq), near Baghdad. Its exact archaeological provenance is unknown because it surfaced on the antiquities market without documented excavation records.
- First known owner: Purchased in 1931 by the British archaeologist and collector Sir Leonard Woolley on behalf of the American collector Alastair Bradley Martin and his wife Edith Park Martin.
- Name origin: The Martins kept their collection at their estate named “Guennol” (Welsh for “martin”) in Long Island, New York; the piece became known as the Guennol Lioness.
- Public display: Loaned for decades to the Brooklyn Museum (1948–2007), where it became one of its most famous objects.
- 2007 auction: On 5 December 2007, Sotheby’s New York sold the statue for US $57.2 million (including premium), then the highest price ever paid for any sculpture or antiquity at auction. The buyer was a private English collector bidding through an agent.
- Current ownership: Remains in private hands; it has been exhibited only rarely since 2007 (notably in 2009 at the Louvre Abu Dhabi on temporary loan).
The Guennol Lioness is widely regarded as one of the most important surviving works of early Mesopotamian/Elamite art for several reasons:
- Artistic mastery: Despite its tiny size, it is an extraordinarily powerful and dynamic sculpture. The figure combines human and lion characteristics (therianthropomorphic): a muscular, standing anthropoid body with human arms and hands, but leonine legs, paws, face, ears, and mane. The pose—standing on tiptoes, elbows out, hands clenched—suggests intense strength or a ritual gesture.
- Iconographic importance: It is the finest and most complete example of a very rare type of Proto-Elamite figurine that mixes human and lion traits. Scholars interpret it variously as:
- A female demon or protective spirit (lioness attributes often linked to fertility, war, or the goddess Inanna/Ishtar)
- A representation of a priestess or worshipper in lion form
- A mythological being connected to the earliest known heroic motifs (similar to later Mesopotamian “lion-hunter” or Gilgamesh-type imagery)
- Rarity: Fewer than ten comparable Proto-Elamite anthropomorphic lion figures are known, and none match its quality or state of preservation.
- Cultural bridge: It belongs to the transitional period between the late Uruk and early Proto-Elamite cultures in southern Mesopotamia and southwestern Iran, a crucial phase in the development of complex urban societies and early writing.
The Guennol Lioness is universally accepted as authentic by major scholars and institutions:
- Material: Carved from creamy-white magnesite limestone typical of the period and region.
- Stylistic features: The exaggerated muscular anatomy, incised details, and proportions are consistent with other verified Proto-Elamite sculptures (e.g., similar lion-demons from Susa and the “Louvre lioness”).
- Thermoluminescence (TL) testing: Conducted in the 1990s and again before the 2007 sale; results were consistent with an age of approximately 5,000 years.
- Scholarly consensus: Published and accepted since the 1930s by leading archaeologists (Henri Frankfort, Pierre Amiet, Edith Porada, Annie Caubet, etc.). No serious scholar has questioned its authenticity.
5,000 years ago in Mesopotamia
— History Content (@HistContent) September 24, 2025
The Guennol Lioness—half human, half lion—symbolized raw power.
In 2007, it sold for $57.2M, the most expensive ancient sculpture ever.
Why did our ancestors craft such hybrids? pic.twitter.com/Xy4mPJ31P7
879 BCE Nimrud Palace Bas Relief
1
2018 SOLD for $ 31M by Christie's
Archaeologists wanted to retrieve the lost Assyrian cities mentioned in the Bible. From 1845 Layard releases the ruins of a huge palace near the Tigris river. He believes that he found Nineveh. The palace name of Nimrud refers to a character identified in Genesis as a founder of cities. It will be later identified that the site explored by Layard was the most sumptuous palace of Kalhu which was the capital of the Assyrian empire from 879 BCE to 706 BCE.
Founded by Ashur-nasir-pal II over the ruins of a previous city at the time when the Assyrian empire claimed an ambition for a universal kingdom, Kalhu had been one of the greatest urban planning projects made in antiquity. The annual military campaigns of Ashurnasirpal were very efficient and the vanquished peoples supplied the work force for his constructions.
The 120 x 200 m palace excavated by Layard included many rooms separated from the inner courtyards by mud brick walls. About 400 shallow bas-reliefs in gypsum served as a base for these painted walls.
On October 31, 2018, Christie's sold a bas-relief 224 x 196 cm for $ 31M, as lot 101 . It is illustrated with a single full size standing figure in Egyptian profile, larger than life and complete. This winged bearded creature is busy anointing a tree of life. The piece includes a standard cuneiform inscription mingled in the image that recalls the achievements of the king supported by the gods.
Its mirror image is known. The pair served to flank a gateway for which our bearded deity was somehow the guardian angel.
Please watch the video shared by Christie's. A digital technology enables to reconstruct the original colors, known by traces of pigments on some of the reliefs.
Founded by Ashur-nasir-pal II over the ruins of a previous city at the time when the Assyrian empire claimed an ambition for a universal kingdom, Kalhu had been one of the greatest urban planning projects made in antiquity. The annual military campaigns of Ashurnasirpal were very efficient and the vanquished peoples supplied the work force for his constructions.
The 120 x 200 m palace excavated by Layard included many rooms separated from the inner courtyards by mud brick walls. About 400 shallow bas-reliefs in gypsum served as a base for these painted walls.
On October 31, 2018, Christie's sold a bas-relief 224 x 196 cm for $ 31M, as lot 101 . It is illustrated with a single full size standing figure in Egyptian profile, larger than life and complete. This winged bearded creature is busy anointing a tree of life. The piece includes a standard cuneiform inscription mingled in the image that recalls the achievements of the king supported by the gods.
Its mirror image is known. The pair served to flank a gateway for which our bearded deity was somehow the guardian angel.
Please watch the video shared by Christie's. A digital technology enables to reconstruct the original colors, known by traces of pigments on some of the reliefs.
Major consignment of ancient art: 3000-year-old Assyrian relief expected to raise over $10m at @ChristiesInc:https://t.co/0GZH2NTC1I pic.twitter.com/cGVQqtW7yk
— AntiquesTradeGazette (@ATG_Editorial) September 17, 2018
2
1994 SOLD for £ 7.7M by Christie's
On July 6, 1994, Christie's sold for £ 7.7M an incomplete 183 x 117 x 6.4 cm bas-relief that had been presented by Layard to one of his sponsors.
It displays a beardless eunuch and a winged bearded deity ready to serve the king, and has retained three-quarters of a standard cuneiform inscription recalling the achievements of the king supported by the gods.
Layard had been authorized by the Grand Vizier to export his discoveries.
It displays a beardless eunuch and a winged bearded deity ready to serve the king, and has retained three-quarters of a standard cuneiform inscription recalling the achievements of the king supported by the gods.
Layard had been authorized by the Grand Vizier to export his discoveries.
Special Report
Comparing the Shahnameh to Greek epics
Searching the web
26 results
Ferdowsi's Shahnameh (The Book of Kings) and the Greek epics attributed to Homer—the Iliad (focused on the Trojan War) and the Odyssey (Odysseus's journey home)—are among the world's greatest national epics. Both preserve cultural identity, mythology, heroism, and moral lessons through grand poetic narratives. The Shahnameh (completed 1010 CE) draws on ancient Iranian (Indo-Iranian/Aryan) traditions, while Homer's works (8th century BCE) stem from Mycenaean/Greek oral traditions. Scholars frequently compare them as parallel expressions of Indo-European epic heritage, with shared roots in pre-historic oral storytelling.Key Similarities
In essence, the Shahnameh functions as Persia's "national epic" much like the Iliad and Odyssey do for ancient Greece: both define cultural memory, heroism, and identity through poetry. Yet the Shahnameh's broader historical sweep, ethical monotheism, and emphasis on just kingship contrast with Homer's intense focus on personal glory amid capricious divinity. These parallels and divergences highlight shared Indo-European roots while reflecting distinct cultural evolutions.
26 results
Ferdowsi's Shahnameh (The Book of Kings) and the Greek epics attributed to Homer—the Iliad (focused on the Trojan War) and the Odyssey (Odysseus's journey home)—are among the world's greatest national epics. Both preserve cultural identity, mythology, heroism, and moral lessons through grand poetic narratives. The Shahnameh (completed 1010 CE) draws on ancient Iranian (Indo-Iranian/Aryan) traditions, while Homer's works (8th century BCE) stem from Mycenaean/Greek oral traditions. Scholars frequently compare them as parallel expressions of Indo-European epic heritage, with shared roots in pre-historic oral storytelling.Key Similarities
- Genre and Form: Both are monumental epic poems in verse (Homeric hexameter vs. Persian masnavi couplets), originally oral traditions later written down. They feature formulaic repetitions, elaborate similes from nature, detailed battle descriptions, heroic armor/horses, and sunrise/sunset motifs.
- Heroism and Central Figures: Larger-than-life warriors embody courage, strength, honor, and tragic flaws. Rostam (Shahnameh's invincible champion) parallels Achilles (Iliad's near-invincible warrior) in martial prowess and tragic destiny.
- Tragic Irony and Fate: Inevitable doom drives many plots. The father-son tragedy in "Rostam and Sohrab" (Rostam unknowingly kills his son) mirrors Achilles killing Hector (with emotional depth), or broader Greek tragic elements. Fate (often Zoroastrian destiny in Shahnameh vs. moira/ananke in Greek) overrides human will.
- Specific Character Parallels:
- Invulnerable heroes: Achilles (vulnerable only at the heel) and Esfandiyar (vulnerable only at the eyes) — both die tragically in combat due to their one weakness.
- Wise counselors: Odysseus (cunning strategist in Odyssey) vs. experienced figures like Piran (in Shahnameh).
- Women: Influential but often manipulative (Helen/Sudabeh as catalysts of conflict).
- Themes: Honor, loyalty, kingship, war's cost, justice vs. tyranny, and cultural pride. Both celebrate martial virtues while lamenting war's destruction.
- Mythical Elements: Gods/divine intervention (Greek Olympians meddle directly; Iranian yazatas/angels support good kings), supernatural creatures (Simurgh vs. Greek monsters), and Indo-European mythological motifs (e.g., dragon-slaying, heroic labors).
- Scope and Structure:
- Iliad: Narrow focus on ~50 days of the 10-year Trojan War (wrath of Achilles).
- Odyssey: Wanderings and homecoming of one hero.
- Shahnameh: Vast chronological sweep from Creation to 7th-century Muslim conquest, divided into mythical (Pishdadian), heroic (Kayanian, with Iran-Turan wars), and historical (Achaemenid to Sasanian) sections. Much longer (~50,000+ couplets vs. ~24 books each for Homer).
- Tone and Worldview:
- Greek epics: Polytheistic, with capricious, anthropomorphic gods (jealous, deceitful, rivalrous) who manipulate humans. Emphasis on individual glory (kleos), human frailty, and existential tragedy.
- Shahnameh: Monotheistic/Zoroastrian-influenced (good vs. evil cosmic struggle), with ethical gods/angels supporting justice. Kings and heroes bear moral responsibility; tragedy stems from hubris, fate, or betrayal, but with hope in righteous rule and cultural continuity.
- Role of Gods and Morality:
- Greek: Gods often unethical, partisan, and cause needless suffering (e.g., rivalries lead to carnage).
- Persian: Divine forces more aligned with ethics; heroes/paladins often nobler than gods in conduct.
- Cultural Focus:
- Greek: Individual heroism and city-state conflicts (e.g., Greeks vs. Trojans).
- Persian: National identity, legitimate kingship, eternal Iran-Turan rivalry (symbolizing order vs. chaos), and preservation of pre-Islamic Persian heritage against Arab conquest.
- Women and Society:
- Greek: Women more active/sly (e.g., Helen, Circe, Penelope).
- Shahnameh: Women often passive or antagonistic (e.g., Sudabeh as temptress), reflecting different social ideals.
In essence, the Shahnameh functions as Persia's "national epic" much like the Iliad and Odyssey do for ancient Greece: both define cultural memory, heroism, and identity through poetry. Yet the Shahnameh's broader historical sweep, ethical monotheism, and emphasis on just kingship contrast with Homer's intense focus on personal glory amid capricious divinity. These parallels and divergences highlight shared Indo-European roots while reflecting distinct cultural evolutions.
1274 Mosul Candlestick
2021 SOLD for £ 6.6M by Sotheby's
A sumptuous candlestick in fine condition was sold for £ 6.6M from a lower estimate of £ 2M by Sotheby's on October 27, 2021, lot 170.
This piece 26 cm high and 30 cm diameter on the base is facetted in nine parts. The slightly depressed concave body is decorated with a fully circular frieze of 27 standing soldiers and courtiers. At other places narrow friezes display seated musicians, running animals and foliage.
Inscriptions on the shoulder and upper and lower bands of the body appeal in an anthropomorphic script to "Perpetual Glory and Safe Life and Increasing Prosperity and Perfect Good-fortune", including further details of that wish.
It has obviously been commissioned by a high ranked courtier to do homage to a powerful ruler. The use was to kiss the ground and withdraw after the present. Thousands of beeswax candles were lit in the candlesticks in full night palace pageants that included dancing.
Mosul had been the foremost center for inlaid metalwork. The iconography of the candlestick is comparable to a basin signed by one al-Mawsili and dated 673 AH matching 1274 CE while the city was under Ilkhan rule. The candlestick is certainly from that period because the detailed style of such images was soon stylized and weakened. Both are great examples of a revival of Islamic craft under the Mongols.
A candlestick of similar shape and use inscribed to a Mamluk Emir in the period 741-746 AH matching 1340-1345 AD was sold for £ 4.5M by Sotheby's on April 6, 2011.
This piece 26 cm high and 30 cm diameter on the base is facetted in nine parts. The slightly depressed concave body is decorated with a fully circular frieze of 27 standing soldiers and courtiers. At other places narrow friezes display seated musicians, running animals and foliage.
Inscriptions on the shoulder and upper and lower bands of the body appeal in an anthropomorphic script to "Perpetual Glory and Safe Life and Increasing Prosperity and Perfect Good-fortune", including further details of that wish.
It has obviously been commissioned by a high ranked courtier to do homage to a powerful ruler. The use was to kiss the ground and withdraw after the present. Thousands of beeswax candles were lit in the candlesticks in full night palace pageants that included dancing.
Mosul had been the foremost center for inlaid metalwork. The iconography of the candlestick is comparable to a basin signed by one al-Mawsili and dated 673 AH matching 1274 CE while the city was under Ilkhan rule. The candlestick is certainly from that period because the detailed style of such images was soon stylized and weakened. Both are great examples of a revival of Islamic craft under the Mongols.
A candlestick of similar shape and use inscribed to a Mamluk Emir in the period 741-746 AH matching 1340-1345 AD was sold for £ 4.5M by Sotheby's on April 6, 2011.
This sumptuous gold & silver-inlaid candlestick dates all the way back to circa 1275. The body features a stately parade of courtiers and musicians with the decorations embodying the ceremonies of the period.
— Sotheby's (@Sothebys) October 4, 2021
Read more here: https://t.co/9cQoEEVoAa#SothebysMiddleEast pic.twitter.com/lXMc1EvOxZ
> 1417 Persian Manuscripts on Chinese Paper
2020 SOLD for £ 7M by Christie's
The ambition of Timur (Tamerlane) had been to become the Khan of the Mongols and the Caliph of the Muslims. He could not obtain these titles for traditional reasons but he was the most effective conqueror and was never defeated. His capital was Samarkand.
The Timurid empire broke out after his death. His son Shahrukh reigned over Persia and transferred the capital from Samarkand to Herat. He re-established relations with China through the silk road and became immensely wealthy. He did not seek conquests, took the title of sultan and protected Islam.
This political lull occured during the reign of Yongle of the Ming. A first Chinese embassy reaches Herat in 815 AH (1412 CE). China produces porcelain decorated in Muslim taste to serve as a diplomatic gift. The second embassy in 820 AH brought many gifts including porcelain but also silks, brocades, velvets and paper. This embassy is probably the terminus post quem of the Persian books on Chinese paper.
The Chinese luxury paper is thick, and designed to be extremely soft and silky to the touch. The Chinese workshops prepare the folio on a monochrome background in various hues of blue, pink, lavender, yellow and green. They then add an illustration in gold, with speckled patterns and sometimes figurative drawings, without human representation in conformance with the iconographic principles of Islam. The Persian workshops add their text on this preparation.
A dozen Persian manuscripts on Chinese paper are known, including four Qur'ans. One of these Qur'ans, recently discovered, consists of 534 folios 23 x 16 cm, 29 of which have been replaced. The text in Naskh script is written on each page in a 14 x 9.4 cm frame. The binding is Safavid. This book was sold for £ 7M from a lower estimate of £ 600K by Christie's on June 25, 2020, lot 29.
The Timurid empire broke out after his death. His son Shahrukh reigned over Persia and transferred the capital from Samarkand to Herat. He re-established relations with China through the silk road and became immensely wealthy. He did not seek conquests, took the title of sultan and protected Islam.
This political lull occured during the reign of Yongle of the Ming. A first Chinese embassy reaches Herat in 815 AH (1412 CE). China produces porcelain decorated in Muslim taste to serve as a diplomatic gift. The second embassy in 820 AH brought many gifts including porcelain but also silks, brocades, velvets and paper. This embassy is probably the terminus post quem of the Persian books on Chinese paper.
The Chinese luxury paper is thick, and designed to be extremely soft and silky to the touch. The Chinese workshops prepare the folio on a monochrome background in various hues of blue, pink, lavender, yellow and green. They then add an illustration in gold, with speckled patterns and sometimes figurative drawings, without human representation in conformance with the iconographic principles of Islam. The Persian workshops add their text on this preparation.
A dozen Persian manuscripts on Chinese paper are known, including four Qur'ans. One of these Qur'ans, recently discovered, consists of 534 folios 23 x 16 cm, 29 of which have been replaced. The text in Naskh script is written on each page in a 14 x 9.4 cm frame. The binding is Safavid. This book was sold for £ 7M from a lower estimate of £ 600K by Christie's on June 25, 2020, lot 29.
1525-1535 Shahnameh
Intro
The most important works of ancient literature had a universal or encyclopaedic goal. The Iliad of Homer, Dante's Divine Comedy and the Shahnameh of Firdausi must be put on the same pedestal.
The Persian poet Firdausi wrote the Shahnameh 1,000 years ago. This Book of Kings collects in 30,000 couplets the epic and heroic stories of his country since the creation of the world until the advent of Islam.
He was misunderstood in his lifetime, like all geniuses, but the Persian kings appreciated later that this text could be used as an apologia for royal power. Shah Isma'il, founder of the Safavid dynasty, commissioned ca 1522 CE the leading artists of his court to illustrate the Shahnameh. That illuminated manuscript was created from 1525 to 1540 in the early reign of his son and successor Shah Tahmasp. That fully completed project includes 258 miniatures skillfully composed with combinations of bright colors..
This magnificent manuscript has been dismantled in the 1970s. One can, or even have to, regret it but the corollary is that each folio coming on the market is considered as a work of art in its own right. The format of the folios is 47 x 32 cm. Panels of text are inserted in columns in the pictures.
Safavid Shahnameh. Compare three folios
The Shahnameh of Shah Tahmasp (also known as the Tahmasp Shahnameh or Houghton Shahnameh before its dispersal) is widely regarded as one of the greatest illustrated manuscripts in Persian art and Islamic book production. Commissioned during the early Safavid period, it illustrates Ferdowsi's epic poem Shahnameh (Book of Kings) with exceptional luxury.
Detailed Chronology
Comparison of the Three Folios
All three are single illustrated leaves from the same dispersed manuscript, sharing similar dimensions (approx. 47 x 32 cm folio size, with paintings around 25–35 cm), materials (opaque watercolor/gouache heightened with gold and silver on paper), and style: highly refined Safavid Tabriz school with intricate details, expressive figures, mountainous/landscape settings, and integration of text columns.
The project spanned ~20 years with shifting leadership and ~15+ artists total.
The Persian poet Firdausi wrote the Shahnameh 1,000 years ago. This Book of Kings collects in 30,000 couplets the epic and heroic stories of his country since the creation of the world until the advent of Islam.
He was misunderstood in his lifetime, like all geniuses, but the Persian kings appreciated later that this text could be used as an apologia for royal power. Shah Isma'il, founder of the Safavid dynasty, commissioned ca 1522 CE the leading artists of his court to illustrate the Shahnameh. That illuminated manuscript was created from 1525 to 1540 in the early reign of his son and successor Shah Tahmasp. That fully completed project includes 258 miniatures skillfully composed with combinations of bright colors..
This magnificent manuscript has been dismantled in the 1970s. One can, or even have to, regret it but the corollary is that each folio coming on the market is considered as a work of art in its own right. The format of the folios is 47 x 32 cm. Panels of text are inserted in columns in the pictures.
Safavid Shahnameh. Compare three folios
- Folio 295 attributed to Mirza 'Ali, sold for £ 8.1M by Sotheby's on October 26, 2022, lot 49.
- Folio 42 attributed to Aqa Mirak, sold for £ 7.4M by Sotheby's on April 6, 2011.
- Folio 328 attributed to Bashdan Qara, sold for £ 4.9M by Sotheby's on April 26, 2023, lot 41. Detailed chronology of the Shanameh including the three folios specified above. Include also the list of leading artists per period.
The Shahnameh of Shah Tahmasp (also known as the Tahmasp Shahnameh or Houghton Shahnameh before its dispersal) is widely regarded as one of the greatest illustrated manuscripts in Persian art and Islamic book production. Commissioned during the early Safavid period, it illustrates Ferdowsi's epic poem Shahnameh (Book of Kings) with exceptional luxury.
Detailed Chronology
- Initiation (early 1520s, circa 1522–1524): The project likely began under Shah Ismail I (r. 1501–1524), founder of the Safavid dynasty, in the royal atelier (kitabkhana) in Tabriz. It aimed to create a monumental, lavishly illustrated version of the epic.
- Main production under Shah Tahmasp I (r. 1524–1576): After Ismail's death in 1524, his young son Tahmasp continued and oversaw the work for over two decades. The manuscript consumed much of the royal atelier's resources.
- Key phases and directorial changes:
- Early phase (1520s): Directed by Sultan Muhammad (one of the greatest Persian painters, known for dynamic compositions and expressive figures).
- Mid-phase: Transition to Mir Musavvir.
- Later phase (roughly final third, into the 1530s): Directed by Aqa Mirak, who oversaw completion of many later folios.
- Completion: Largely finished by the mid-1530s to around 1540, though some sources extend minor additions to the 1540s. The full manuscript originally had 759 folios (pages) with 258 miniatures (illustrations), executed in gouache, ink, and gold/silver heightened on paper.
- Later history: Presented as a gift to Ottoman Sultan Selim II in 1568. It remained intact for centuries but was dispersed in the 20th century (notably sold by Arthur Houghton in the 1980s), with folios now in museums and private collections worldwide.
- The three specified folios (all circa 1525–1535, Tabriz royal atelier; dates reflect scholarly consensus for the project's peak):
- Folio 42 (attributed to Aqa Mirak): Illustrates "Faridun disguised as a dragon tests his sons." Sold for £7.4 million at Sotheby's on April 6, 2011 (from the Stuart Cary Welch collection; now in institutions like the Aga Khan Museum).
- Folio 295 (attributed to Mirza 'Ali): Illustrates "Rustam recovers Rakhsh from Afrasiyab's herd." Sold for £8.1 million (or £8,061,700) at Sotheby's on October 26, 2022, lot 49. Mirza 'Ali (son of Sultan Muhammad and pupil of Aqa Mirak) contributed about six illustrations total.
- Folio 328 (attributed to Bashdan Qara): This artist contributed occasionally. Bashdan Qara was an artist in the atelier but was executed around 1534 after an alleged poisoning attempt on Shah Tahmasp, limiting his involvement to earlier-mid phases.
Comparison of the Three Folios
All three are single illustrated leaves from the same dispersed manuscript, sharing similar dimensions (approx. 47 x 32 cm folio size, with paintings around 25–35 cm), materials (opaque watercolor/gouache heightened with gold and silver on paper), and style: highly refined Safavid Tabriz school with intricate details, expressive figures, mountainous/landscape settings, and integration of text columns.
- Artistic attribution and style:
- Folio 42 (Aqa Mirak): Aqa Mirak, called "the genius of the age" by contemporary Dust Muhammad, led the later phases. His style emphasizes balanced, monumental compositions with psychological depth and refined elegance. This scene (mythical testing of sons) showcases dramatic narrative focus and subtle emotional expression.
- Folio 295 (Mirza 'Ali): As son of Sultan Muhammad and Aqa Mirak's pupil, his work blends his father's dynamic energy with refined detail. The Rustam/Rakhsh scene features heroic action, lively animal/figure groups, and vibrant landscape integration—often praised for its vitality and technical mastery.
- Folio 328 (Bashdan Qara): Bashdan Qara was a less central contributor (occasional artist; his career ended abruptly ca. 1534). His style aligns with the atelier's but may show slightly less complexity or individual flair compared to the directors' pupils.
- Auction performance (reflecting market valuation of rarity, condition, and attribution):
- Folio 295 (Mirza 'Ali): Highest at £8.1M (2022) — likely due to strong attribution to a leading second-generation artist and dramatic heroic subject.
- Folio 42 (Aqa Mirak): £7.4M (2011) — high due to Aqa Mirak's prestige as a director and the scene's mythical importance.
- Folio 328 (Bashdan Qara): £4.9M (2023) — lower, possibly reflecting Bashdan Qara's more peripheral role and fewer attributed works.
- Overall: Differences stem mainly from artist hierarchy (directors/pupils vs. occasional contributors) and scene type (heroic action vs. mythical testing), but all represent the zenith of Safavid painting. Market prices highlight rarity—folios from this manuscript rarely appear—and attribution prestige.
The project spanned ~20 years with shifting leadership and ~15+ artists total.
- Early period (1520s, initiation under Shah Ismail/Shah Tahmasp): Sultan Muhammad (director; known for expressive, innovative style; e.g., famous "Court of Gayumars").
- Mid-period (late 1520s–early 1530s): Mir Musavvir (director; precise, detailed work).
- Later period (1530s, final phases): Aqa Mirak (director; elegant, balanced mastery; many folios attributed).
- Key contributing artists (across periods; some overlapping):
- Sultan Muhammad.
- Mir Musavvir.
- Aqa Mirak.
- Mirza 'Ali (son of Sultan Muhammad).
- Mir Sayyid Ali.
- Dust Muhammad.
- Bashdan Qara (occasional; limited output).
- Others: Possibly Abd al-Samad, Qasim ibn 'Ali (assistants on some works).
Ferdowsi's Shahnameh plot summary
Ferdowsi's Shahnameh (The Book of Kings) is one of the world's longest epic poems, composed by the Persian poet Abolqasem Ferdowsi between approximately 977 and 1010 CE. Written in over 50,000 couplets (around 100,000 lines), it is Iran's national epic and a cornerstone of Persian literature and identity. The poem preserves pre-Islamic Iranian myths, legends, and history in pure Persian language, chronicling the story of Greater Iran from the creation of the world to the Muslim conquest of Persia in the 7th century CE.The epic is traditionally divided into three main sections: mythical, heroic/legendary, and historical.Mythical Section (Pishdadian Dynasty – Primordial Kings)The poem opens with the creation of the world and the first humans/kings. It covers early civilization, the discovery of fire, agriculture, and the struggle between good (Iranian kings) and evil (demons or tyrants).
Classic Persian miniatures depicting heroic battles against mythical creatures and demons, typical of the Shahnameh's vivid illustrations.
Heroic/Legendary Section (Kayanian Dynasty – The Age of Heroes
This is the most famous and dramatic part, focusing on epic heroes, tragic conflicts, and the long rivalry between Iran and Turan (led by the villainous king Afrasiyab). The central hero is Rostam (Rustam), the invincible warrior from Sistan.
Iconic scenes of Rostam and Sohrab—the tragic father-son duel—and heroic combat, often illustrated in Shahnameh manuscripts ; a dramatic depiction of Siavash riding through flames to prove his innocence, surrounded by court figures.
Historical Section (From Achaemenids to Sasanians)
The narrative shifts to more historical kings, though still blended with legend:
Ferdowsi's Shahnameh (The Book of Kings) is one of the world's longest epic poems, composed by the Persian poet Abolqasem Ferdowsi between approximately 977 and 1010 CE. Written in over 50,000 couplets (around 100,000 lines), it is Iran's national epic and a cornerstone of Persian literature and identity. The poem preserves pre-Islamic Iranian myths, legends, and history in pure Persian language, chronicling the story of Greater Iran from the creation of the world to the Muslim conquest of Persia in the 7th century CE.The epic is traditionally divided into three main sections: mythical, heroic/legendary, and historical.Mythical Section (Pishdadian Dynasty – Primordial Kings)The poem opens with the creation of the world and the first humans/kings. It covers early civilization, the discovery of fire, agriculture, and the struggle between good (Iranian kings) and evil (demons or tyrants).
- Key figures and events include:
- Keyumars (Gayomart): The first man and king, who establishes order after living in the mountains.
- Hushang: Discovers fire (leading to the Sadeh festival).
- Tahmuras and Jamshid: Golden age kings who advance culture, but Jamshid's hubris leads to his downfall.
- Zahhak (the demon-king): A tyrannical ruler with snakes growing from his shoulders (fed by human brains), symbolizing oppression.
- Kaveh the Blacksmith: Leads a rebellion against Zahhak, raising the banner (Derafsh Kaviani) that becomes a symbol of resistance.
- Fereydun: Overthrows Zahhak, divides the world among his three sons (Salm, Tur, and Iraj). Iraj (ruler of Iran) is murdered by his jealous brothers, sparking eternal enmity between Iran and Turan (Central Asia).
Classic Persian miniatures depicting heroic battles against mythical creatures and demons, typical of the Shahnameh's vivid illustrations.
Heroic/Legendary Section (Kayanian Dynasty – The Age of Heroes
This is the most famous and dramatic part, focusing on epic heroes, tragic conflicts, and the long rivalry between Iran and Turan (led by the villainous king Afrasiyab). The central hero is Rostam (Rustam), the invincible warrior from Sistan.
- Major stories include:
- Zal and Rudabeh: Rostam's parents; Zal (born with white hair) is raised by the mythical bird Simurgh.
- Rostam and Rakhsh: Rostam tames his loyal supernatural horse.
- The Seven Labors of Rostam (similar to Hercules): Battles demons in Mazandaran.
- Tragic Tale of Sohrab: The most poignant episode—Rostam unknowingly fights and kills his own son Sohrab in single combat. Sohrab dies in his father's arms after revealing his identity.
- Siavash: A noble prince who endures trials of fire (innocence proven by walking through flames), betrayal by his stepmother Sudabeh, and eventual murder by Afrasiyab.
- Other tales: Wars with demons, the story of Esfandiyar (who fights a dragon), and ongoing Iran-Turan conflicts.
Iconic scenes of Rostam and Sohrab—the tragic father-son duel—and heroic combat, often illustrated in Shahnameh manuscripts ; a dramatic depiction of Siavash riding through flames to prove his innocence, surrounded by court figures.
Historical Section (From Achaemenids to Sasanians)
The narrative shifts to more historical kings, though still blended with legend:
- Covers the fall of the Achaemenids (e.g., Darius and Alexander the Great's conquest, portrayed as a complex figure).
- Parthian and especially Sasanian eras: Kings like Ardashir, Shapur, Khosrow I (Anushirvan) (the Just), and Khosrow II.
- Ends with the last Sasanian king, Yazdegerd III, and the Arab Muslim conquest (c. 651 CE), marking the close of ancient Persian sovereignty.
1
Folio 295 attributed to Mirza 'Ali
2022 SOLD for £ 8.1M by Sotheby's
The folio 295 in the standard paper leaf 47 x 32 cm is illustrated in the recto by a gouache and ink 34 x 28 cm that overlaps a rectangular gold frame in its upper and left margins. It integrates a short text in four columns.
This picture is attributed to Mirza 'Ali in the Royal atelier in Tabriz. Turning 20 years old in the early 1530s, Mirza 'Ali, the son of a leading artist of Shah Tahmasp's Shanameh, contributed to that project for about six illustrations. By his skills for details and psychology, he will be arguably the greatest illustrator of the Safavid dynasty.
The action features Rustam, dressed in a leopard skin, recovering the horse Rakhsh from the herd of his arch-enemy in a lush surrounding of trees inhabited with various species of birds including partridges. Another bearded character marks his astonishment by putting a finger in his mouth. Rakhsh means lightning.
The verso has an illuminated 20 line text in black in four columns in the same gold frame as the recto.
This folio was sold for £ 8.1M from a lower estimate of £ 4M by Sotheby's on October 26, 2022, lot 49. The image is shared by Wikimedia. Please watch the video shared by rhe auction house.
This picture is attributed to Mirza 'Ali in the Royal atelier in Tabriz. Turning 20 years old in the early 1530s, Mirza 'Ali, the son of a leading artist of Shah Tahmasp's Shanameh, contributed to that project for about six illustrations. By his skills for details and psychology, he will be arguably the greatest illustrator of the Safavid dynasty.
The action features Rustam, dressed in a leopard skin, recovering the horse Rakhsh from the herd of his arch-enemy in a lush surrounding of trees inhabited with various species of birds including partridges. Another bearded character marks his astonishment by putting a finger in his mouth. Rakhsh means lightning.
The verso has an illuminated 20 line text in black in four columns in the same gold frame as the recto.
This folio was sold for £ 8.1M from a lower estimate of £ 4M by Sotheby's on October 26, 2022, lot 49. The image is shared by Wikimedia. Please watch the video shared by rhe auction house.
2
Folio 42 attributed to Aqa Mirak
2011 SOLD for £ 7.4M by Sotheby's
On April 6, 2011, Sotheby's sold for £ 7.4M from a lower estimate of £ 2M the folio 42 of the original manuscript, lot 78. The image is shared by Wikimedia.
The miniature is a 30 x 29 cm gouache heightened with gold, made in Tabriz between 1525 and 1535 CE. It is attributable to Aqa Mirak who was one of the leading masters of the project. The reverse has a text in four columns and two headings. The image overlaps the irregular gold margin on its right side.
It pictures the king Faridun who disguises himself as a fierce dragon to test the courage and loyalty of his three sons. He could rejoice in the result and particularly appreciate the haughty answer made by the youngest: Go your way, dragon, we are the sons of the powerful Faridun.
The miniature of the folio 451 of the Shahnameh is a 21 x 21 cm gouache heightened with silver and gold on a paper 47 x 31 cm. Painted in Tabriz ca 1530, it is attributed to Aqa Mirak assisted by Qasim bin 'Ali. The reverse has a text in four columns.
It pictures Rustam kicking away the boulder pushed by Bahman. This story is not rare in Persian iconography. Closely following the text, the challenging hero is performing a Cossack dance while handling a cup of wine and roasting his onager. This folio was sold for £ 4.8M by Christie's on March 31, 2022, lot 41.
The miniature is a 30 x 29 cm gouache heightened with gold, made in Tabriz between 1525 and 1535 CE. It is attributable to Aqa Mirak who was one of the leading masters of the project. The reverse has a text in four columns and two headings. The image overlaps the irregular gold margin on its right side.
It pictures the king Faridun who disguises himself as a fierce dragon to test the courage and loyalty of his three sons. He could rejoice in the result and particularly appreciate the haughty answer made by the youngest: Go your way, dragon, we are the sons of the powerful Faridun.
The miniature of the folio 451 of the Shahnameh is a 21 x 21 cm gouache heightened with silver and gold on a paper 47 x 31 cm. Painted in Tabriz ca 1530, it is attributed to Aqa Mirak assisted by Qasim bin 'Ali. The reverse has a text in four columns.
It pictures Rustam kicking away the boulder pushed by Bahman. This story is not rare in Persian iconography. Closely following the text, the challenging hero is performing a Cossack dance while handling a cup of wine and roasting his onager. This folio was sold for £ 4.8M by Christie's on March 31, 2022, lot 41.
Celebrating 40 years of pioneering #IslamicArt at Sotheby’s https://t.co/wwDYNq8T6E pic.twitter.com/n8SIMLwc8s
— Sotheby's (@Sothebys) February 18, 2016
3
Folio 328 attributed to Bashdan Qara
2023 SOLD for £ 4.9M by Sotheby's
The folio 328 of the Shahnameh features the night raid when Bizhan slays Nastihan, during the Iran-Turan war. The image displays the dense frenzy of the battle with arrows, spears and swords severing the heads and with horses trampling the dead. The bold colors of the hectic action are interspersed with arabesque ornaments.
It is attributed to Bashdan Qara who was skilled to paint battles in the follow of Sultan Muhammad, the early leading artist of the Shahnameh project. In the Shahnameh, Bashdan Qara was only an occasional artist who went to be beheaded after trying to serve a cup of poisoned wine to Shah Tahmasp in 1534 CE.
It was sold for £ 4.9M by Sotheby's on April 26, 2023, lot 41. Please watch the fancy video shared by the auction house.
It is attributed to Bashdan Qara who was skilled to paint battles in the follow of Sultan Muhammad, the early leading artist of the Shahnameh project. In the Shahnameh, Bashdan Qara was only an occasional artist who went to be beheaded after trying to serve a cup of poisoned wine to Shah Tahmasp in 1534 CE.
It was sold for £ 4.9M by Sotheby's on April 26, 2023, lot 41. Please watch the fancy video shared by the auction house.
Carpet
Intro
The Safavid Shahs developed to its greatest perfection the art of Persian carpet, first in Tabriz and then at Isfahan and Kirman.
Beauty and durability result from a high technical complexity whose climax is reached at Kirman. The weavers use wool and cotton in the same pieces with a wide range of dyes. The colors are dazzling and the themes with flowers, leaves and birds are charming.
The most complex weaving technique uses no less than three weft passes per knot. It is named Vase on a proposal by May Beattie in 1976.
Beauty and durability result from a high technical complexity whose climax is reached at Kirman. The weavers use wool and cotton in the same pieces with a wide range of dyes. The colors are dazzling and the themes with flowers, leaves and birds are charming.
The most complex weaving technique uses no less than three weft passes per knot. It is named Vase on a proposal by May Beattie in 1976.
1
The Carpet of Senator Clark
2013 SOLD for $ 34M by Sotheby's
The extreme refinement of Persian carpets reached its peak under the Safavid dynasty. Well known by the connoisseurs, the carpet of Senator Clark had already been described for nearly a century as a masterpiece of Persian textile art. It was exhibited after the death of its owner in 1925 in a museum that de-accessioned it. It was sold for $ 34M from a lower estimate of $ 5M by Sotheby's on June 5, 2013, lot 12.
Its red background is rare and perhaps unique in its class, the sickle-leaf pattern variant of the 'Vase' technique. Its fine floral motifs and its palmettes make it a vibrant and sumptuous artwork in 267 x 196 cm size.
It is always difficult to date and locate an old carpet, if not by considerations of its technical characteristics. The Clark carpet is Safavid and probably Kirman. It is comparable to the best pieces woven during the reign of Shah Abbas 400 years ago.
The image is shared by Wikimedia.
Its red background is rare and perhaps unique in its class, the sickle-leaf pattern variant of the 'Vase' technique. Its fine floral motifs and its palmettes make it a vibrant and sumptuous artwork in 267 x 196 cm size.
It is always difficult to date and locate an old carpet, if not by considerations of its technical characteristics. The Clark carpet is Safavid and probably Kirman. It is comparable to the best pieces woven during the reign of Shah Abbas 400 years ago.
The image is shared by Wikimedia.
Safavid Carpet ex Senator Clark, sold by Sotheby's on June 5, 2013, lot 12. Describe it as a high end example of Persian carpets. Provide the best estimate of the execution date.
The Clark Sickle-Leaf Carpet, formerly owned by U.S. Senator William A. Clark and sold as lot 12 at Sotheby's on June 5, 2013, stands as a pinnacle of Safavid Persian carpet weaving. This masterpiece exemplifies the extraordinary artistry, technical sophistication, and aesthetic refinement achieved during Persia's golden age of textile production in the 17th century.
Crafted in the renowned "vase" technique—characterized by asymmetric knotting on a foundation of cotton warps with wool and silk wefts—it features a luxurious wool pile that creates a velvety texture and exceptional durability. The design centers on a dynamic allover pattern of curling sickle-leaves (a Safavid adaptation of the Ottoman saz motif), intertwined with scrolling vines, lush palmettes, blossoming flowers, and delicate lancet leaves, all set against a rare and vibrant red ground—the only known example of its kind in this pattern group.
This rich crimson field enhances the visual drama, with motifs rendered in a sophisticated palette of blues, greens, golds, and ivories that create depth, movement, and a sense of paradisiacal abundance. Unique elements include a pair of elegant cypress trees and an asymmetric layout that suggests it may represent half of a larger mirrored design. The narrow border with simple guard stripes frames the composition elegantly.
Scholars widely regard it as one of the finest surviving examples of classical Persian carpet weaving, praised for its potent visual impact, intricate color juxtapositions, and masterful execution in a high-end workshop. Its rarity, condition, and provenance contributed to its record-breaking sale price of $33.765 million, cementing its status among the most iconic and valuable Persian carpets ever to appear on the market.
Best estimate of execution date: Mid-17th century (most reliably dated to the first half of the 17th century, circa 1600–1650, with some sources specifying around the 1650s). It is attributed to a sophisticated workshop in Kirman (Kerman), southeast Persia, during the Safavid dynasty under Shah Abbas or his successors.
The Clark Sickle-Leaf Carpet, formerly owned by U.S. Senator William A. Clark and sold as lot 12 at Sotheby's on June 5, 2013, stands as a pinnacle of Safavid Persian carpet weaving. This masterpiece exemplifies the extraordinary artistry, technical sophistication, and aesthetic refinement achieved during Persia's golden age of textile production in the 17th century.
Crafted in the renowned "vase" technique—characterized by asymmetric knotting on a foundation of cotton warps with wool and silk wefts—it features a luxurious wool pile that creates a velvety texture and exceptional durability. The design centers on a dynamic allover pattern of curling sickle-leaves (a Safavid adaptation of the Ottoman saz motif), intertwined with scrolling vines, lush palmettes, blossoming flowers, and delicate lancet leaves, all set against a rare and vibrant red ground—the only known example of its kind in this pattern group.
This rich crimson field enhances the visual drama, with motifs rendered in a sophisticated palette of blues, greens, golds, and ivories that create depth, movement, and a sense of paradisiacal abundance. Unique elements include a pair of elegant cypress trees and an asymmetric layout that suggests it may represent half of a larger mirrored design. The narrow border with simple guard stripes frames the composition elegantly.
Scholars widely regard it as one of the finest surviving examples of classical Persian carpet weaving, praised for its potent visual impact, intricate color juxtapositions, and masterful execution in a high-end workshop. Its rarity, condition, and provenance contributed to its record-breaking sale price of $33.765 million, cementing its status among the most iconic and valuable Persian carpets ever to appear on the market.
Best estimate of execution date: Mid-17th century (most reliably dated to the first half of the 17th century, circa 1600–1650, with some sources specifying around the 1650s). It is attributed to a sophisticated workshop in Kirman (Kerman), southeast Persia, during the Safavid dynasty under Shah Abbas or his successors.
2
The Béhague Carpet
2010 SOLD for £ 6.2M by Christie's
A Kirman carpet was released from anonymity on April 15, 2010 at a Christie's sale in London when it was sold for £ 6.2M from a lower estimate of £ 200K, lot 100. The press revealed that it had been sold six months earlier in Augsburg from an estimate of € 800 by a local auctioneer who refused to publish the result.
This wool carpet is knotted using the intricate Vase technique, suggesting that it was woven in the royal workshops of the Safavid dynasty. It measures 339 x 153 cm and is in outstanding condition except for a few tiny repairs and some corrosion of the black threads. It had been commented in 1938 by an expert who stated for its provenance the prestigious collection of the comtesse de Béhague.
The golden age of Kirman carpets is the reign of Abbas I, who died in 1629 CE. The Béhague carpet is characterized by a very elegant simplification of shapes that Christie's positions around the mid-17th century.
In a magnificent geometric regularity, parallel stems support several pairs of leaves. From top to bottom, the leaves of one stem alternate with the leaves from the adjacent stem. Tiny flowers are inserted into the spaces between the leaves. This decoration anticipates the repetition of flowers and leaves in the highly popular Herati pattern and may evoke some figures from the Iznik ceramics.
This wool carpet is knotted using the intricate Vase technique, suggesting that it was woven in the royal workshops of the Safavid dynasty. It measures 339 x 153 cm and is in outstanding condition except for a few tiny repairs and some corrosion of the black threads. It had been commented in 1938 by an expert who stated for its provenance the prestigious collection of the comtesse de Béhague.
The golden age of Kirman carpets is the reign of Abbas I, who died in 1629 CE. The Béhague carpet is characterized by a very elegant simplification of shapes that Christie's positions around the mid-17th century.
In a magnificent geometric regularity, parallel stems support several pairs of leaves. From top to bottom, the leaves of one stem alternate with the leaves from the adjacent stem. Tiny flowers are inserted into the spaces between the leaves. This decoration anticipates the repetition of flowers and leaves in the highly popular Herati pattern and may evoke some figures from the Iznik ceramics.
