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Lacquer pen-box with floral decoration and a portrait of maiden, made for Mirza Mohammed Ali Zabete-Nevis, signed by Haji Muhammad Ibrahim, Persia, dated A.H.1083/A.D.1673
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Description
the top decorated with gold floral scrolls on red ground with three medallions containing a head and shoulders portrait of a maiden and two landscape scenes; the sides decorated with a repeating pattern of polychrome flowers and leaves on red ground with four calligraphic cartouches containing the signature of the artist, the name of the patron and the date of completion; the underside and the sides of the drawer decorated with gold vine scrolls on red ground This lot contains 1 item(s).
Catalogue Note
Published:
Adle 1980, figs.13-16, pp.28-31
This is a highly important Qalamdan and one of only five signed by the artist and calligrapher Haji Muhammad Ibrahim. The others are: one in the Hermitage Museum, St.Petersburg (Adle 1980, ch.3, figs 19-23); two in the Nasser D. Khalili Collection, London (LAQ361 AND LAQ297, see Khalili et al, nos.26,37, pp.54-59, 68-70; Adle, figs.1-6, pp.8-20); one in a private collection (see Sotheby's, London, 12th October 2000, lot 86). The present work is notable for the very fine quality of the arabesque decoration, the two landscape scenes and particularly the central portrait of the maiden, who is depicted in typical late Safavid style.
The format itself, that of a series of lobed medallions on a floral ground, was originated by Haji Muhammad and was to become established as a popular design among artists and patrons for the next century. One of Haji Muhammad's Qalamdan in the Khalili collection (LAQ 297) also has this format, but dates from thirty years later. Thus the present work is not only a rare and fine example of Haji Muhammad's work, but possibly the earliest example of this type of design.
The cartouches round the side of the box record the signature of Haji Muhammad and the name of the patron, Mirza Muhammed Ali Zabete-Nevis. According to Adle (p.30) this character has not been identified, but we can tell from his official title 'Zabete Nevis' and from the grand titles which precede it 'Ali-Hazrat Khodaygani Mirza' that he was one of the senior superintendents of the state finances, who were necessarily court scribes and for whom it is likely that one of their symbols of office was a Qalamdan (see Adle 1980, pp.32-3).
Haji Muhammad was the son of Haj Yusuf Qumi and brother of the famous artist Muhammad Zaman. He was born in Qum, but moved to the capital Isfahan and established himself at the court of Shah Suleyman (r.1666-93), where he worked in the royal library. As well as the four pen-boxes he is known to have copied calligraphic pages and a manuscript for Shah Suleyman. The present work was executed during his tenure in the royal library and the patron must either have been a close courtier of the Shah or obtained permission from the Shah to employ one of the royal artists for an outside commission.
Adle 1980, figs.13-16, pp.28-31
This is a highly important Qalamdan and one of only five signed by the artist and calligrapher Haji Muhammad Ibrahim. The others are: one in the Hermitage Museum, St.Petersburg (Adle 1980, ch.3, figs 19-23); two in the Nasser D. Khalili Collection, London (LAQ361 AND LAQ297, see Khalili et al, nos.26,37, pp.54-59, 68-70; Adle, figs.1-6, pp.8-20); one in a private collection (see Sotheby's, London, 12th October 2000, lot 86). The present work is notable for the very fine quality of the arabesque decoration, the two landscape scenes and particularly the central portrait of the maiden, who is depicted in typical late Safavid style.
The format itself, that of a series of lobed medallions on a floral ground, was originated by Haji Muhammad and was to become established as a popular design among artists and patrons for the next century. One of Haji Muhammad's Qalamdan in the Khalili collection (LAQ 297) also has this format, but dates from thirty years later. Thus the present work is not only a rare and fine example of Haji Muhammad's work, but possibly the earliest example of this type of design.
The cartouches round the side of the box record the signature of Haji Muhammad and the name of the patron, Mirza Muhammed Ali Zabete-Nevis. According to Adle (p.30) this character has not been identified, but we can tell from his official title 'Zabete Nevis' and from the grand titles which precede it 'Ali-Hazrat Khodaygani Mirza' that he was one of the senior superintendents of the state finances, who were necessarily court scribes and for whom it is likely that one of their symbols of office was a Qalamdan (see Adle 1980, pp.32-3).
Haji Muhammad was the son of Haj Yusuf Qumi and brother of the famous artist Muhammad Zaman. He was born in Qum, but moved to the capital Isfahan and established himself at the court of Shah Suleyman (r.1666-93), where he worked in the royal library. As well as the four pen-boxes he is known to have copied calligraphic pages and a manuscript for Shah Suleyman. The present work was executed during his tenure in the royal library and the patron must either have been a close courtier of the Shah or obtained permission from the Shah to employ one of the royal artists for an outside commission.