Seated princess
Terms of Use
Usage Conditions ApplyAt A Glance
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Period
ca. 1600 -
Geography
Probably Bukhara, Uzbekistan -
Material
Opaque watercolor and gold on paper -
Dimension
H x W (image): 19.4 x 11.2 cm (7 5/8 x 4 7/16 in) -
Accession Number
S1986.304 -
EDAN ID
edanmdm:fsg_S1986.304
Object Details
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Artist
Attributed to Muhammad-Sharif MusawwirBorder signed by Muhammad Murad Samarqandi -
Description
Album folio: Seated princess; right-hand half of a double-page composition; signature in the border.Border: The painting is set in gold, green and black rulings in a gold inner frame and an outer margin painted with scenes of feasting in an outdoor setting. -
Signatures
Signature in the border. -
Inscriptions
Bottom page border, on a rock: “the work of Muhammad Murad Samarqandi." -
Label
The sources for some album-page compositions defy clear explanation. One such example is this image of a young woman dressed in a robe composed of interlocking figures, mostly male, and a few quadrupeds. Although cramped and crowded together, they appear far more peaceful than the fierce animals hovering around the woman's head.In the late fifteenth and early sixteenth century, such composite designs enjoyed considerable popularity in Iran and probably carried a special talismanic meaning, no longer clear to contemporary viewers. In this instance, the woman's garment may also suggest her hallucinatory, ecstatic vision induced by wine, which has brought a faint smile to her lips. -
Provenance
?-1942Henri Vever (1851-1942), method of acquisition unknown [1]1942-1947Jeanne Louise Monthiers (1861-1947), bequest of Henri Vever [2]1947-1986Francois Mautin (1907-2003), bequest of Jeanne Louise Monthiers and Henri Vever [3]From 1986The National Museum of Asian Art, by purchased from Francois Mautin [4]Notes:[1] An accomplished French jeweler and collector, Henri Vever amassed a large and impressive collection of works of art during his lifetime. His holdings in Japanese prints and Islamic arts of the books, especially from Iran and India, were among the most important assembled in the early twentieth century. This object was in Vever's collection at the time of his death in 1942.[2] Upon Henri Vever's death on September 25, 1942, his wife, Jeanne Louise Monthiers inherited the object. See exhibits F and G of Agreement of Purchase and Sale of the Henri Vever Collection, January 9, 1986, copy in object file.[3] Upon the death of Jeanne Louise Monthiers, as stipulated in the will of Henri Vever, the family's assets were divided evenly between his two grandchildren. His only grandson, Francois Mautin inherited the collection known as "The Henri Vever Collection of Oriental Art and Manuscripts Including Persian and Indian Art and Manuscripts." This object is part of that collection. See exhibits F and G as cited in note 3.[4] The Museum purchased the entirety of the collection from Francois Mautin on January 9, 1986. See purchase agreement, copy in object file. This work is part of the Museum’s Arthur M. Sackler Gallery Collection.Research updated on June 27, 2024 -
Collection
Arthur M. Sackler Collection -
Exhibition History
George Marteau et l'art du livre persan (June 26, 2019 to January 6, 2020)Shahzia Sikander Selects: Works from the Permanent Collection (March 6 to August 31, 2009)Visual Poetry: Paintings and Drawings from Iran (December 16, 2001 to May 5, 2004)Other Worldly Visions: Persian and Indian Paintings from the Arthur M. Sackler Gallery (March 27, 1998 to May 10, 1998)A Jeweler's Eye: Islamic Arts of the Book from the Vever Collection (November 20, 1988 to April 30, 1989) -
Previous custodian or owner
Henri Vever (1854-1942)Francois Mautin (1907-2003) -
Origin
Probably Bukhara, Uzbekistan -
Credit Line
Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program, and Dr. Arthur M. Sackler -
Type
Painting -
Restrictions and Rights
Usage Conditions Apply
There are restrictions for re-using this media. For more information, visit the Smithsonian's Terms of Use page.
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