English: A PRINCE OFFERING A CUP

BY SHAYKH 'ABBASI, ISFAHAN, DATED AH 1065/1654-5 AD

Gouache heightened with gold on paper, a prince offers a cup to an Indian ambassador, the attendants of both behind, in gold rules, mounted within gold-sprinkled blue borders, on a marbled album page Painting 3 7/8 x 7 ¼in. (9.4 x 18.6cm.); folio 7 1/8 x 10 ½ (18 x 25cm.)

Although few details are known about the life of Shaykh ‘Abbasi, he is the first of a number of artists in the second half of the 17th century, including Muhammad Zaman and ‘Ali-Quli Jabbadar, who began drawing upon and integrating European and Indian painterly styles into Persian painting. Whilst over the preceding centuries the influence of Iranian painting had flowed eastwards into Mughal and Deccani court painting, by the late Safavid period it seems a reversal of artistic exchange was underway. Shaykh ‘Abbasi’s fifteen known dated works, over half of which are contained in one manuscript in the Walters Art Museum in Baltimore (inv. MS.W.668), show he was active during the reigns of Shah ‘Abbas II (r.1642-66), who granted him use of the nisba (pen name) ‘Abbasi, and Shah Suleyman I (r.1666-94). His style is distinctive for its soft restricted palette and stiffly posed figures whilst also incorporating foreign motifs (R. Skelton, “Šayk 'Abbasi” in Encyclopedia Iranica, vol.1, 1983, pp.86-88). Many of the signed works draw strongly on forms from European prints (see 'Woman in European Costume,' in the Walters Art Museum, Baltimore, W.668.f.18.b), and Indian painting (see 'Young Woman in Indian Dress', Aga Khan Museum, Toronto, AKM197) that would have been circulating the ateliers of Isfahan in the later Safavid period. The pioneering style of Shaykh ‘Abbasi greatly influenced his two sons, ‘Ali Naqi and Muhammad Taqi, who continued their father’s departure from the 17th century Safavid style and are recognised as two of the most important 18th century Persian painters (Layla Diba, "Persian Painting in the Eighteenth Century: Tradition and Transmission," Muqarnas, vol.6, 1989, pp.147-160).

A number of versions of this drawing exist which are very similar, although with slight modifications of colouration or even scene, all signed by the artist and bearing the same date. One is in Zurich, another was sold at Boisgirard, Paris, in 2009, whilst another was sold in these Rooms 12 October 2004, lot 178 (incorrectly catalogued as Shafi 'Abbasi). The figure on the left has been identified by J.P. Losty as Shah ‘Abbas II, who offers a cup of wine to an Indian visitor, likely an ambassador or prince. Losty further suggests that the form of the visitor’s dagger, and his being richly adorned in ropes of pearls, points to the figure being a Deccani sultan. However, no record of any visit by a Deccani prince to Isfahan exists (J.P Losty, Indian Painting: 1590-1880, Oliver Forge & Brendan Lynch, 2015, p.15). Meanwhile, Sheila Canby has suggested the scene is based on an earlier work of an ambassadorial encounter, specifically the meeting of Shah ‘Abbas I with the Mughal ambassador Khan ‘Alam in 1618 (Sheila Canby, Shah ‘Abbas: the Remaking of Iran, London, 2009, nos.19-21). This meeting was painted by Bishan Das with many later copies known and the pose of the Shah and Indian prince in the present lot remain very close to Das’ original.

As such, the Deccani appearance of the visitor simply serves to further underscore the manner in which Shaykh ‘Abbasi drew upon existing Mughal and Deccani prototypes, incorporating these forms and motifs in his own work. This is further seen when comparing the present lot with another painting by Shaykh ‘Abbasi which depicts a similar cast of kneeling figures and which can be found in the Free Library of Philadelphia (inv. M170). Meanwhile, a folio with a painting of a Safavid noble with a portrait of an Indian noble on the reverse was sold at Bonhams 18 June 2013, lot 192, with both figures bearing uncanny resemblances – right down to their garments and accessories – to those which are the subject in our painting.