DROUOT
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ARCHAEOLOGY - ART OF ISLAM & INDIA

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Salle 2 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
samedi 29 juin - 11:00/18:00, Salle 2 - Hôtel Drouot
lundi 01 juillet - 11:00/18:00, Salle 2 - Hôtel Drouot
mardi 02 juillet - 11:00/12:00, Salle 2 - Hôtel Drouot
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295 results

Lot 168 - Mamluk candlestick, Egypt or Syria, mid-14th century Candlestick with truncated-conical body, concave shoulder and cylindrical neck in hammered copper alloy with repoussé decoration, engraved and partly inlaid with silver and black paste. The body features a monumental Arabic inscription in Thuluth calligraphy, a series of praises to an unnamed owner or sponsor: "The great universal prince, the just, [al-ghânim / the winner], the fighter, the supporter [of Islam], the most high master". On the shoulder, several friezes of engraved leafy foliage and on the neck, several circular medallions alternating a decoration of a palmiped surmounted by a bird of prey with outstretched wings and a decoration of a lotus flower in full bloom. The neck is surmounted by a later truncated cone-shaped spout engraved with decorative friezes. Height: 20.5 cm; base diameter: 21.4 cm Subsequent replacement of the bobèche, numerous inlay chips, accident at the top of the neck, stains and traces of oxidation, restorations at the base of the neck. This candlestick, which retains many remnants of silver inlay, is a fine example of 14th-century Mamluk production. Its shape and technique of manufacture and decoration are typical of the objects produced in the copperware workshops of Cairo and Damascus during this brilliant sultanate. In addition to the graceful Thuluth calligraphy on its body, some of its decorative motifs allow us to date it to the mid-14th century: such is the case of the lotus on the neck in medallions. This Asian flower made its appearance in Mamluk art during the 14th century, following a peace treaty signed in 1323 between Mamluks and Mongols. In addition, the treatment of scrolls garnished with bifid palmettes spread over the shoulder can be seen on several 14th-century pieces, such as the candlestick bearing the name of Emir Salar in the Musée du Louvre (AA 101) and basin OA 7433 in the same collection. Although the patron of this piece remains anonymous, the series of qualifiers running across the body of the candlestick betrays his high social standing. A Brass Mamluk candlestick, Egypt or Syria, mid-14th century

Estim. 4 000 - 6 000 EUR

Lot 178 - A misk-i ambergris brooch bearing the name of Sultan Mahmoud Khan (Mahmoud II r., 1808 - 1839), Turkey, 19th century Molded ambergris plate with floral and beaded decoration, enclosing two enameled and gilded medallions inscribed in Arabic "Sultan Mahmoud Khan, 'izz nasrahu" (Sultan Mahmoud Khan, the glory of his victory). At the bottom, five pendants consisting of a striated amber ball and metal beads. Brooch-mounted. 6.4 x 4.3 cm Small cracks and traces of glue, oxidized clasp. Numerous legends have grown up around ambergris, making this material ever more mysterious: if the Chinese, 2000 years BC, called it "perfume", it's because ambergris is "amber".C. called it "dragon's slime perfume", Avicenna thought ambergris came from an underwater fountain, no doubt inspired by the Arabian Nights where Sindbad the sailor sees amber gushing from a spring before it is swallowed by sea monsters... In reality, it's a secretion that forms in the stomach or intestines of the sperm whale and is then expelled through the animal's natural channels. Fossilized by time, sea salt and sun, it is picked up from the surface of the water or washed up on beaches, where it is collected in blocks. Since ancient times, people have used it for medicinal, odoriferous and aphrodisiac purposes. From a medical standpoint, it has long been used as a remedy for asthma and epilepsy. The Arabs also used it to treat joints, digestive disorders, the heart and the brain. Arriving in Europe in the Middle Ages at a high price, it was worn as a necklace and breathed in to boost immunity against health scourges such as the plague. A powerful scent-fixing agent, ambergris was an essential component of 20th-century perfumes, but has now been replaced by synthetic accords. The aphrodisiac effect of ambergris was recognized as early as ancient China. In 18th-century Europe, libertines such as the great Casanova used it to perfume their hot chocolate to invigorate them. The resin was also used to perfume women's gloves and could be consumed in the form of lozenges. The seductive power of ambergris did not escape the Ottoman sultans, who consumed it daily in the form of tablets dissolved in hot coffee. In the mid-17th century, historian Evliya Çelebi mentions the existence of 35 ambergris stores in Constantinople. Sometimes mixed with honey, another Ottoman recipe added rose perfume (attar), sandalwood, spruce resin, rice powder, gum arabic and hyacinth water. The paste was rolled to a fine thickness, then pressed into finely decorated molds and dried to produce hard tablets. A small piece was then detached and placed in a small gold or silver box attached to the inside of the coffee cup. The inscriptions such as "bien-être" and "santé" frequently found on these tablets are a reminder of their healing and stimulating powers, which earned them their French nickname of "pastilles du sérail". Bibliography : - BAYTOP Turhan, 'Forever ambergris' in Cornucopia 21, Ottoman Damascus, 2000, pp 42-44. BUQUET Thierry, "De la pestilence à la fragrance. L'origine de l'ambre gris selon les auteurs arabes", Bulletin d'études orientales [En ligne], LXIV | 2016, pp 113-133. - FEYDEAU (de), Elisabeth, Les parfums : histoire, anthologie, dictionnaire, Paris : 2011. LE GUERER, Annick, Le parfum de ses origines à nos jours, Paris : 2005. MONTAGU Lady Mary, L'islam au péril des femmes. Une Anglaise en Turquie au XVIIIe siècle, Paris: 2001. An Ambergris Misk-i Amber Brooch, Ottoman Turkey, 19th century

Estim. 800 - 1 000 EUR

Lot 193 - Portrait of a cupbearer, drawing attributed to Mo'in Mosavver, Safavid Iran, 17th century, dated 1674 Drawing on paper in ink heightened with gouache depicting a man in a three-quarter bust, wearing a shirt with a wide yellow collar and buttonhole, and a pointed cap with wide brims. He is holding a cup in his hand and clutching a thin cane with a curled end. On the upper part, an oblique Persian nast'aliq inscription giving the date 2 Shawwal 1084 H / January 10, 1674 and the name Mo'in Mosavver. Mounted later, probably late 19th century, on an album page with fine floral borders, oblique cartouches inscribed in Persian verse ink in nasta'liq on either side of the design, and a wide beige margin with gold-painted decoration of flowers and branches animated with birds. On the back, Persian text in nasta'liq in black ink on a gold powdered ground of 14 lines divided into two columns of verse from Tuhfat al-Ahrar from Jami''s Haft Awrang (1414-1492). All around, a fine border of gilded floral decoration on a yellow background, surrounded by several colored lines and a gilded band. The whole is surrounded by a painted margin of gilded vegetal scrolls pigmented with green and pastel pink, with illuminated cartouches and fleurons on a salmon or blue background glued on top. Page size: 27.9 x 17.7 cm; drawing size: 8.8 x 4.9 cm; calligraphy size: 13 x 6.1 cm A few stains, small repaints in the border illuminated verses, wear, traces of tearing and adhesive around the edges. Provenance : Mes Laurin-Guilloux-Buffetaud sale, Hôtel Drouot, Paris, June 21, 2000, lot 119. A Safavid Portrait of a Cupbearer, attributed to Mo'in Mosavver, Iran, 17th century, dated

Estim. 3 000 - 5 000 EUR

Lot 194 - Woman with tambourine, drawing attributed to Mo'in Mosavver, Safavid Iran, 17th century, dated 1691 Drawing on paper in ink heightened with gouache depicting a three-quarter-length woman in bust form, her head covered with a veil topped with an aigrette headdress, from which long strands of hair escape. She is adorned with three strands of pearl necklaces and plays a tambourine. In the background are the moldings of a window and an archway. In the tambourine, Persian inscription nast'aliq giving the date of Rabi' II 1103 H / December 1691. Mounted later, probably in the late 19th century, as an album page with fine floral borders, oblique cartouches inscribed with Persian verse in nasta'liq ink on either side of the design, and a wide beige margin with gold-painted decoration of flowers and branches animated with birds. On the back, a 14-line poetic text in Persian nasta'liq in black ink on a gold-powdered background, divided into two columns of verses from the Tuhfat al-Ahrar of Jami''s Haft Awrang (1414-1492). Around this, a fine border of gilded floral decoration on an orange background, surrounded by several colored lines and a gilded band. The whole is surrounded by a painted margin of gilded vegetal scrolls pigmented with green and pastel pink, with cartouches and illuminated fleurons on a beige or blue background glued on top. Page size: 27.8 x 17.8 cm; drawing size: 8 x 6.3 cm; calligraphy size: 13 x 6 cm Small stains, slight accidents, minor restorations, wear, traces of tearing and adhesive on reverse. Provenance : Sale Maîtres Laurin-Guilloux-Buffetaud, Hôtel Drouot, Paris, June 21, 2000, lot 118. A Safavid Portrait of a Lady with a Tambourine, attributed to Mo'in Mosavver, Iran, 17th century, dated.

Estim. 2 000 - 4 000 EUR

Lot 200 - Sheikh Bahai, Nân va Halvâ, Iran qâjâr, signed and dated 1293 H / 1875 Manuscript on paper, 10 lines per page, mostly in two columns, text in Persian nasta'liq in black ink, titles and some terms and signs in red ink. Some marginal notes in another hand. Sarlow frontispiece illuminated in gold and polychrome with a frieze of lambrequins, followed by the title and author's name calligraphed in red ink on either side of the Bismillah. At the end of the manuscript, colophon illuminated with gold plant stems framing the text inscribed in a triangle, giving the name of the copyist Abôl Qâsem ibn Mohammad Tâher Al-Asadâbâdî and the date 1293 H / 1875. One illumination in the text and several stamps, the one on the last page giving the name of the copyist Abôl Qâsem. Bound in black leather embossed with frame lines and a frieze of esses. 19.5 x 12.5 cm Wear, stains and dampening, minor retouching. Baha' Al-Dîn Al-'Amilî, known as Sheikh Bahai (1547-1621) was a Lebanese Sufi poet, philosopher, mathematician, astronomer and alchemist. At the age of 13, he emigrated to Iran, which he never left except for a few trips to the Near East and Egypt. In Isfahan, he became an important public figure under the reign of the sovereign Shâh Abbas I, and took part in the design of the Shâh Mosque, where he developed the solar clock that indicates the time of prayer. He also produced a fine literary output, including epic poems and legal compendia. His work Nân va Halvâ (literally "Bread and Sweets") is a collection of moralistic poems on the merits of the ascetic life. A Qajar copy of Nân va Halvâ by Sheikh Bahai, Iran, signed and dated

Estim. 300 - 500 EUR