A portrait of a seated nobleman, signed by Abu'l Hasan Ghaffari, Persia, Qajar, dated 1272 AH/1855 AD

gouache on paper, signature above right shoulder in red nasta'liq script 'raqam Abu'l Hasan Naqqash Bashi Kashani Ghaffari, sana 1272' (1855 AD), laid down on an album page with red border with stepped motif, outer margins of large gold scrolling vines against a blue ground

Christie's London, 8 October 1991, lot 138

In fairly good overall condition, minor tear to upper right hand edge, top left with consolidated tears, slight buckling to miniature, miniature coming away slightly from album page, water stains to outer margins, 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."

Born in 1812 in Kashan, Ghaffari joined a family who had been practising art for generations. Aged fifteen he was apprenticed to Mihr 'Ali, assuming the role of official court painter for Muhammad Shah. From 1845-50, he studied painting in Italy and upon his return he was promoted tonaqqash bashi. Ghaffari was a master draughtsman whose naturalistic style introduced an emotional realism to Qajar portraiture, combining influences from European Renaissance works whilst retaining the traditional Persian approach in his attention to detail and pattern. In 1861, Ghaffari was appointed Sani' ol-Mulk and assumed responsibilities including directing the Dar al-Funun college of art, the illustration of a monumental copy of A Thousand and One Nights, and the weekly governmental newspaper Sharaq.

The nobleman in the present portrait bears a certain similarity to Mohammad-Ebrahim Khan Saham ol-Molk, a military commander in Isfahan (see two other depictions of him in Y. Zoka, Life and Works of Sani’ ol-Molk 1814-1866, Tehran, Iran University Press, 2003, p.80 and 114-5).