This mirror case bears the allegorical signature of the renowned eighteenth-century lacquer artist `Ali Ashraf: “After Muhammad, `Ali is noblest.”
(Exhibit text, Islamic Galleries, June 2009, L. Akbarnia)
Octagonal mirror case consisting of a frame and a hinged cover with a mirror. As in most Persian lacquer, this piece is made of papier-mâché and is covered with painted designs against a black ground. The edges are decorated with minute repeated stylized leaf and flower patterns in gold on a black ground.Signed: Signed: "Zi ba'd-i Muhammad 'Ali Ashraf ast (after Muhammad is `Ali Ashraf)" - the allegorical signature of 'Ali Ashraf.
Silver handle from a large vessel. Form, a faceted body with curved end terminating in lion's head with open mouth. Lower end of handle terminates in palmette (lotus?) with two buds. Cast solid (?). Possibly related to 54.50.38.
Silver handle from a large vessel. Form, a bounding Ibex with front legs folded under body; horns in the round with tips attached to ears. Lower end of handle terminates in palmette (lotus?). Cast, with hollow channel through handle and opening at each end. Possibly related to 54.50.39.
Condition: Right horn mostly lost as is right ear. Otherwise excellent condition. Surface had been extensively cleaned before object was received in Brooklyn.
Condition: Right horn mostly lost as is right ear. Otherwise excellent condition. No certain traces of an original attachment to vessel could be detected.
A rhyton which takes the shape of a right leg and foot. Although the foot has little naturalistic detail, the leg swells out to evoke the round forms of the heavy calf muscles, and curves in near the top to indicate the back of the knee.
A tall vessel with an oval, almost bag-like body, a somewhat elongated neck with an everted rim and a pair of narrow curving handles that spring from the oblique shoulder to the neck. The lower portion of the vessel splits into two legs with well-modeled feet. Details such as ankle bones and the arch of each foot are rendered by modeled forms rather than incised lines. The overall effect is that of a wine- or waterskin rather than a ceramic vessel. It is likely that this association was intentional- as the light porous ceramic body of the vessel allows water to evaporate slowly through the sides, thus slightly cooling the remaining contents.