Page 112 - Bonhams, The H Collection, Classical Chinese Furniture, May 13, 2021 London
P. 112

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           A VENETO-SARACENIC DISH, ASCRIBED TO MAHMED
           AL-KURDI
           Egypt or Syria,second half of the 15th century
           The shallow dish with flat rim, decorated with a dense ground of foliate
           designs overlaid with knotted ropework in silver forming cartouches
           and medallions, inscribed amal al-mu’allim mahmu[d]/ al-kurdi yarju
           al-mahgfi[ra] which can be translated as ‘Work of the master Mahmud
           al-Kurdi, hoping for forgiveness’.
           36.6cm (14 3/8in) diam.
           £25,000 - 40,000
           CNY230,000 - 360,000
           埃及或敘利亞,十五世紀後半葉 威尼托-薩拉遜式盤
           署名Mahmed al-Kurdi

           Provenance:
           Sotheby’s London, 8 October 2014, lot 104
           An important European private collection

           來源:
           倫敦蘇富比,2014年10月8日,拍品編號104
           歐洲重要私人收藏

           The inscription on the dish reads:

           ‘Amal al-mu’allim mahmu[d]/ al-kurdi yarju al-mahgfi[ra]
           ‘Work of the master Mahmud al-Kurdi, hoping for forgiveness’

           ‘Veneto-Saracenic wares’, such as the present dish, were often finely
           worked and manifested plural influences deriving from the extensive
           trade network between Renaissance Europe and the Islamic world at
           this time. These wares have been variously attributed to both Venice
           and the Middle East seen them be attributed to both Venice and
           the Middle East. In this context, the signature of Mahmud al-Kurdi
           presents a particular challenge because it appears both in Arabic (or
           Persian) and transliterated Roman script. It is still uncertain whether
           these signatures should be ascribed to a single master or rather than
           an entire atelier. Although a small number of signed works have been
           safely attributed to the master himself, there are several other works
           which could possibly be ascribed to him, including the present dish,
           whose stylistic features could be attributable to his period.

           For a further discussion on the works by Mahmud al-Kurdi, see S.Auld,
           Renaissance Venice, Islam and Mahmud the Kurd: A metalworking
           Enigma, London, 2004.















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