North India, Mughal

The mounted pieced fragments joined in numerous places, these joins are visible from the photograph. First hand inspection is advised and further photographs can be requested from the department. Panel with chrysanthemums in upper section, mounted, mount 161 by 91cm; overall measurements 81cm across the top, 85cm across the bottom, 153cm the left hand side, 154cm the right hand side - with some scattered losses for example there is a hole to each of the leaves at the base of the tulip plant in the lower panel. Pieced and with multiple inserts; assembled from related Qanat from the same suite. Panel with tulips in upper section, mounted, mount 161 by 91cm; overall measurements 88cm across the top, 86cm across the bottom, 152cm the left hand side, 153cm the right hand side - similar to above, as visible from the photographs. These are highly decorative panels, which have been expertly conserved, re-assembled in sections and mounted.
"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."

For the open air tent encampments the Qanat hanging was very important, and they were composed of a repeating row of similar or identical panel which usually incorporated a niche, and were to be cut by the user according to the dimensions of the screen it was intended to cover. These screens were placed to create the enclosure within which the tents were erected. They were made of strong cloth and lined with painted cloths (Chittes). There were additional shorter screens, the height of a man, around individual and groups of tents, and other tent hangings were the lining decoration within the tents themselves. The format of the niche enclosing flowering plants was ubiquitous and used in architectural decoration and as a motif in other disciplines including embroidery, ceramics, tiles and metal-work, and are seen in manuscripts from the 16^th century onwards. Designs were inspired by Safavid prototypes which entered the Mughal decorative repertoire. For an example a rare comparable piece, known as the 'Aynard' niche carpet, North India, second quarter 17^th century, see Spuhler, Friedrich, The Thyssen-Bornemisza Collection: Carpets and Textiles, London, 1988, Chp. 5, Mughal Carpets, No.45, pp.174-177, which has a shallow niche, white flowering shrub with green leaves against a red ground. The use of colours red and yellow are not uncommon, with details in green. For an evocative 16th century miniature, painted depicting the outer tent enclosure with hangings of repeat niches with red ground, white flowers and green cypress trees, see 'Akbar Hunting', gouache and gold on paper, by Miskina and Sarwan, Mughal, circa 1590 (Victoria and Albert Museum, London: Acc.No. IS.2-1896 - 55/117)

See Irwin, John and Hall, Margaret, Indian Painted and Printed Fabrics, Ahmedabad, 1971, Chp.III, Tent- Hangings, Floorspreads and Coverlets, pp.22-35, Nos, 20-22, pl.10-11, for discussion of tent hangings and examples of cotton, block printed and painted tent panels, from a larger set, North India, 18^th century, one of which has the distinctive flowering plant emanating from a vase with fruit, and has the small cloud band (lotas) motifs in the lower corner, along with two wild animals. It is noted that two of the panels were cut into separate pieces and resewn together, and considering their structure, use and age, this is not surprising. These example share the use of shallow cusped niche format, albeit of longer format, whereas the present panels are smaller. The above and present examples include a simplified flower motif and leaves in the corner spandrels.

For a Qanat tent panel example, which is predominantly ivory, with red applique above the niche cusp, possibly Jaipur, 18^th century (132 by 110cm), which is the same technique, (in this example comprising  joined appliquéd sections), and shorter in height, see Sotheby’s, London, 27 April 2005, lot 1. For examples of more diminuitive scale of niche, composed in a repeat pattern separated by columns and clearly influenced by architecture, see a pair of Mughal prayer rugs, wool pile, India, late 17^th/early 18^th century, see Spuhler, Friedrich, Islamic Carpets and Textiles in the Keir Collections, London, 1978, Nos. 64&65, p.128, pls.p.123 (Acquired 1974). As the compostion is horizontal, these too are shorter niches, and similar to the present panels, are against a red ground. These pile rugs allude to the extent of the inspiration of the motifs. For a discussion and examples in embroidery, see Crill, Rosemary, Indian Embroidery, V&A publications, London, 1999, Nos.24 &25, pp.16, 42-43, of similar inspiration of the late 17^th century. Interestingly the tent panels did not always depict flowering shrubs, and examples with monumental standing figures in a niches are known, for example a tent panel with standing figure of woman in profile, Mughal, perhaps Fatehpur Sikri, late 16th century, woven (red, green, orange and yellow) silk lampas (182 by 151cm), in the Nasser D Khalili Collection (Inv. Txt (IND) 17) and a companion piece of a male figure in Persian costume holding a cup (now in the Los Angeles County Museum of Art).

For another Qanat tent panel in this sale, see lot 374.