A SAFAVID BRASS CANDLESTICK, Persia, circa 1600

the top register with floral arabesques flanking four cartouches of inscriptions, the fluted central column with arabesques and four cartouches, the base decorated ensuite, later ownership mark

Moustafa Avigdor (b.1879), Brookline, Massachusetts

pitting and patination with minor losses to extremities, 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."

Inscriptions

The verses are from three different poets:  

On the top, from the Bustan of Sa'di (see Melikian-Chirvani 1982, p.309);

On the body, a quatrain (unidentified);

And on the base, by Katibi (see Melikian-Chirvani 1982, pp.313 & 315)

This elegant torchstand carries fields of intricate arabesques and delicate calligraphy. Its form varies a little from the usual in that it has a raised rim on its base that could, therefore, act as a drip tray. A torchstand in the National Museum of Iran, Teheran, has a similar, albeit larger (50.4cm.) form, and is decorated in a relatively similar manner though there is no resemblance in the inscriptions (Melikian-Chirvani 2007, pp.374-5, no.135).

The formal elements of trilobed- and half-palmettes are interwoven with stylised naturalistic foliage.  These decorative themes are also employed on a bowl in the Victoria and Albert Museum. Like the present example, this bowl also includes lotus motifs in its design (Melikian-Chirvani 1982, p.303-4, no.134).