A PAGE OF ILLUMINATION IN GOLD, INDIA, DECCAN, BIJAPUR OR GOLCONDA, CIRCA 1600

Ink, color and gold on paper, an illuminated panel mounted on an album page with calligraphic borders

Generally in good condition. A few very small areas of minor flaking of gold illumination. Some wormholes and very slight discolouration in outer margins otherwise colours and gold bright. As viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This page of gold illumination is exquisitely executed, and the use of gold on the red and black ground with no other colours produces a mesmerising effect. The central panel on red ground contains birds perched amidst leaves and flowers; the surrounding areas on black ground contain animals, qilins and birds amongst trees and rocks. The design is clearly inspired by Persian work of the 16th century and a good example of a prototype is a series of spectacular borders on a manuscript of Sa'di's Gulistan attributed to Sultan Muhammad, of which lots 74, 75 and 76 in this sale are examples. A slightly later example of a related design is in the Pierpont Morgan Library, New York (see Schmitz 1997, pl.27).

Scribes, poets and illuminators emigrated to the Muslim courts of the Deccan during the second half of the 16th century, and it is possible that this work was executed in this context. In comparison to Persian prototypes, this page has an intensity and freedom that is more in line with Deccani style, and the illumination in manuscripts and miniatures produced at Deccani courts in the late 16th century provide local comparisons; see, for instance, the robes, hats and saddle blankets in portraits of Sultan Ibrahim Adil Shah II of Bijapur and the borders and the backgrounds of miniatures and manuscripts from late 16th and early 17th century Golconda (see Welch 1985, no.193, p.290; Zebrowski 1983, pls.VI, IX, XVIII, figs. 49, 50, 120, 123, 124, 126, 128, 129, 135, 144). An interesting and striking comparison can be seen in the gold-painted scenes on a lacquered wooden box from Ahmadnagar around 1565 (see Michell and Zebrowski 1999, p.148, fig.109).

In the present case the artist has employed a technique of painting in gold that makes the overall design appear almost like filigree work, and one wonders whether the design was originally made as a doublure for a binding.