Lot 85
  • 85

A printed Shahnameh, India, Bombay, dated 1272 AH/1855 AD

Estimate
6,000 - 8,000 GBP
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Description

  • printed paper with leather binding
Persian manuscript on paper, 639 leaves plus a flyleaf, 33 lines to the page printed in nasta'liq script in black ink, illuminated chapter openings and foliate headings in colours and gold, 26 hand-coloured illustrations, brown European-style binding with gold stamped decoration

Provenance

Commissioned by Aqa Muhammad Baqir, the Shirazi merchant.

Condition

In good overall condition, parts 3 and 4 incomplete, some repair to the opening illumination and a few tears throughout with associated repair, some foxing and darkening to the leaves, binding with rubbing and mild abrasions, 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."

Catalogue Note

This copy of Firdausi's Shahnamah belongs to one of the earliest and most renowned editions of the Shahnameh made for a Muslim patron, from an original manuscript copied by the scribe Muhammad Ibrahim (known as Aqa son of Muhammad Husayn Khan Awliya Sami’ al-Shirazi). The first lithographed Shahnameh of this type was made in Bombay for Aga Muhammad Baqir al-Shirazi in 1849, but the present version belongs to the edition produced six years later, using master Persian craftsmen for the text and illustrations. The style of the paintings is typically late Qajar, depicting the tall and elaborate head dresses of the figures as well as their European manner of dressing.