A seated girl holding a flask, signed by Bahram Sofrakesh, Persia, Isfahan, Safavid, third quarter of 17th century

brush and ink on paper, extended to the right-hand edge, signed and inscribed in shikasteh script in black ink to the lower right 'raqm'i kamīneh Bahrām hazārā Afshar(?) / shabih-i [likeness of] safīyeh shakar....', laid down on a trimmed album page with blue and buff borders, framed

Sotheby's, London, 7 July 1975, part of lot 72
Collection of Carlos van Hasselt (1929-2009), Paris
Acquired in 2010

L’Inde des legendes de des realites, Institut Neerlandais, Paris, 1986

Paris 1986, suppl. (hors catalogue), no.VI

In good overall condition, extended at right hand edge, minor creasing, 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."

Little is known of the later Safavid period artist Bahram Sofrakesh, and this is only the fifth work to be published that bears his name. The others are a portrait of an Indian maiden (see Welch and Welch 1982, no.76, Canby 1998, no.54, p.81), a second Indian maiden (Soudavar 1992, no.146, p.367), two lovers under a tree (ibid., no.146, p.366), and a floral study (Sotheby's, London, 3 May 2001, lot 62). Another floral study attributed to Sofrakesh (Soudavar 1992, fig.50, p.367) was later re-attributed to the Deccan (Canby 1998, no.116, p.157), and the connection between Sofrakesh's style and that of the Deccan reflects a wider link between Persian and Deccani painting in the seventeenth century, when the Muslim courts of the Deccan had strong cultural relations with Safavid Persia and some artists travelled from Persia to the Deccani courts in search of patronage. The Europeanising element evident in the present drawing was another stylistic trait of late Safavid painting. The tightly curled ringlets of hair seen on the present drawing are also present on the other three figural works by Sofrakesh listed above, and the facial type is similar. Sofrakesh means “he who spreads out the tablecloth” and may refer to a courtly hereditary title connected with an official duty. The "Afshar" used here adds a further element to his name.