Gouache and ink heightened with gold on paper, with 8 lines of nasta'liq written in black ink, further text in inner and outer margins, intercolumnar inscription giving artist's name, verso with 22 lines of nasta'liq with additional text between margins, heading in gold within a cloud cartouche on a ground of blue floral scrolls 

Gallery of G.J. Demotte, Paris

'Miniatures Persanes', Musée des Arts Décoratifs, Paris, June-October 1912. Three miniatures from this manuscript were reproduced in Georges Marteau & Henri Vever, Miniatures Persanes (Exposées au Musée des Arts Décoratifs), Paris 1913, pll.CII, CIII, CIV.

In good overall condition, some areas of minor flaking to the figure at the bottom left of the miniature, a small crease with associated loss to the paint at the bottom right corner of the painting, otherwise colours and gold bright and strong, ink and paper clean and fresh, no staining, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Fire Ordeal of Siyavush is one of the most celebrated scenes from the ꦕcopy of Firdausi's Shahnama commissioned by Shah Isma'il II in the last quarter of the sixteenth century. Since its sale by Demotte in 1918, the leaf has remained undocumented in a private collection.

The Shahnama of Shah Isma'il II (1537-1577) is particularly significant within the history of Persian painting in that it bridges the periods of the 'classic' style of Shah Tahmasp's reign and the new direction taken by the painters of Shah 'Abbas's capital Isfahan. Whilst Isma'il II was a violent and incompetent ruler who executed members of his own supporters as well as those of opposing f✃actions, he did not neglect his role as a patron of the arts. He was a highly cultured individual who had hopes to rebuild the famous atelier of his father's early years and probably commissioned this Shahnama at the beginning of his rule in 1576, assembling an atelier of young artists in his capital of Qazvin, including Zayn al-Abidin, Saꦐdiq Beg, 'Ali Ashgar, Naqdi, Murad, Mihrab, Burji and Siyavush.

In keeping with many of the other leaves belonging to this manuscript, the artist's name, in this instance Siyavush, is inscribed between the columns of text. Probably inscribed by the Shah's librarian or co-ordinator of the Shahnama, the ascription immediately forges a link to other leaves from the manuscript. Siyavush is mentioned in two contemporary chronicles that provide details of his life and career including Iskander Bek Munshi's Calligraphers and Painters of 1616: "Siyavush Bek the Georgian has been a page of his late majesty [Shah Tahmasp], who having observed in him signs of ability gave him opportunities for the study of painting and he became a pupil of Master Hasan 'Ali, the painter; when he had acquired some ability in that art, the fine work of his brush made an impression on His Majesty, so that he himself looked after his being instructed." Clearly then, Siyavush's talents were highly admired by Shah Tahmasp, and eventually his tutelage was undertaken by the famous Muzaffer 'Ali, although his first ascribed and firmly dated work was produced under Shah Isma'il II in 1576-7. Siyavush eventually retired to Shiraz and died there some time between 1606 and 1616. It seems that at the time of the Shah's death by opium poisoning in 1577, the Shahnama manuscript was unfinished, as the later episodes remain unillustrated (see B.W. Robinson, Isma'il II's Copy of the Shahnama, Iran XIV, 1976).

Soon after the complete manuscript was at the Musée des Arts Décoratifs in Paris, it was dismembered by the dealer G.J. Demotte, and more than half the pages were sold to Edmund Rothschild, from whose collection twenty-one paintings and one illuminated page were sold in Colnaghi's in 1976. This famous sale was also marked by the publication of B.W. Robinson's accompanying catalogue Persian and Mughal Art (London 1976), in which many of the paintings were illustrated.  Of the leaves from this manuscript he says: "...They bear contemporary attributions to Sadiqi, Siyawush, Zayn al-'Abdin, and other leading court artists of the time...As a group they form one of the most interesting and important items in the exhibition." (Robinson, op.cit., p.15).

Other folios from the dispersed Shah Isma'il II Shahnama attributed to Siyavush, as recorded by B.W. Robinson in Iran XIV (op.cit.) are as follows:

1. Rustam catches his horse Rakhsh, formerly Rockefeller Collection.
2. The elders of Barbaristan offer submission to Kay Ka'us, formerly Rockefeller Collection.
3. Capture of Kay Kaus by the king of Hamawaran, Christie's, 2 October 1960, lot 60; London, Maggs Bros., 4. Catalogue No.880 (November 1961), pl.viii.
5. Suhrab questioning his mother Tahima, Rothschild Collection, pl.vi(a).
6. Rustam and Suhrab wrestling on horseback, Rothschild Collection.
7. Interview between Siyavush and Gariswaz, Rothschild Collection.
8. Siyavush hunting with Afrasiyab, Rothschild Collection.
9. Pilsam begs Afrasiyab permission to fight Rustam, formerly Cherif Sabry Pacha Collection, Cairo; Demotte 1930, no.64.
10. Kay Khusraw, his mother Firangis, and Giv fording the Jihun (Oxus), Rothschild Collection.
11. Kay Ka'us welcomes Kay Khusraw after his capture of the castle of Bahman, Rothschild Collection.
12. Farud watching the approach of the Persian army from the ramparts of his castle, Keir Collection, Ham, Richmond; Sotheby's, 13 July 1971, lot 354.
13. Piran confers with Kamus and the Khaqan, Collection of the late Prince and Princess Sadruddin Aga Khan, Geneva.
14. Rustam lassoes Kamus, Private Collection.
15. Isfandiyar and the Dragon, attributed jointly to Murad and Siyavush, Rothschild Collection.
16. Isfandiyar and the Simurgh, Rothschild Collection.
17. Iskandar instructing Naitqun to assume the throne and crown temporarily, Seattle Art Museum, Washington, Is36.15; Demotte 1930, no.60.
18. Kay Khusrau supervising the execution of prisoners, Private Collection sold Sotheby's, London, 18 October 1995, lot 76.
19. Kay Ka'us aꦍnd two companions chained in a cave, Sotheby'ღs 27 April 2005, lot 22.