Page 120 - ART OF THE ISLAMIC AND INDIAN WORLDS Carpets, Ceramics Objects, Christie's London Oct..27, 2022

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ABU'L QASIM FIRDAWSI (D. AH 416/1025
AH): SHAHNAMA
SIGNED 'ABD AL-RAHMAN, NORTH INDIA,
PROBABLY DELHI, DATED 17TH RAJAB AH
1225/18 AUGUST 1810 AD
Persian manuscript on paper, 696ff., plus six
flyleaves, each folio with 23ll. black nasta'liq
arranged horizontally and on the diagonal in four
columns with gold intercolumnar rules, text panel
within gold and polychrome rules, catchwords,
chapter headings in red nasta'liq, opening bifolio
with gold and polychrome illuminated headpiece,
23ll. black nasta'liq reserved in clouds against a
gold ground, margins with gold and polychrome
floral illumination, identical headings introducing
three subsequent sections, each section with
a signature and date, chapter headings in red
nasta'liq in gold illuminated cartouches, 60
illustrations marked with gold tabs, occasional
marginal notations, later owner and library notes
on flyleaves, red leather binding with gilt painted
covers, the red leather doublures with gold
medallion, in a grey presentation box
Text panel 9¬ x 6in. (24.5 x 15.3cm.);
folio 12¬ x 8qin. (32.2 x 21.1cm.)
£70,000-100,000 US$81,000-110,000
€80,000-110,000

PROVENANCE:
Dr Philip Bliss, Bodleian Librarian and antiquary, sold as part of his collection
in 1858
William Gott (d.1942), Bishop of Truro, with his Armorial bookplate and a
pasted letter on last flyleaf describing its purchase from the Bliss sale
Ambrose Cramer (d.1983)
Charles D. Childs (d.1993)

This is a magnificent copy of the Shahnama created by a small number of
highly skilled artists from the Mughal Court. The rich and vibrant colours,
the mesmerizing use of gold and the heavy shaded facial features which are
extremely expressive all point to a Delhi school at the beginning of the 19th
century. Although based on the 17th century manner of illustration the artists
have managed to combine their talent and knowledge of both Persianate and
Mughal painting practices in the early 19th century, to create a real sense
of emotion, action and three-dimensional perspective to each individual
illustration.
The patron of this work in unknown but it is clear that such a work would
have been an extensive and time-consuming commission. The British took
control of Delhi 1803 after which the Mughal Emperor ruled in name only.
Artists working at this time were employed on a freelance basis, individually
or in family ateliers, taking commissions from various patrons, whether
Indian, British or Mughal. This copy of the Shahnama, the Persian national
epic would have been such commission, perhaps ordered for presentation by
one of the more illustrious servants of the British East India Company. Fifty
five of the miniatures in the present copy appear to be by two distinct artists
and a further five by an inferior hand. Delhi artists did not usually sign the
miniatures, perhaps seeing themselves as carrying on the artistic tradition
of the vanished days of Mughal glory. Our Shahnama’s illustrations are
extremely similar and perhaps by the same artists who created the Princeton
Shahnama (MSS., no. 57G).

118 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty 119
fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.