silk inner structure warps with tan supplementary satin surface warps: complementary twill pattern wefts, with details in silver and silver-gilt metal thread brocading, made in five pieces seamed along selvages, three central panels each 73cm wide selvage to selvage; lateral panels 33.5cm wide, each full panel with six vertical main stripes, 9cm wide each, with main repeating motif of an octofoil with flower centre and four flanking birds (finches), alternating narrow hands 2.5cm wide, displaying a rosette and framing leaves on a dark blue ground, overall colour palette is that of contemporary "Polonaise" rugs, backed by old, dark green linen

Formerly in the collection of the Cleveland Museum of Art, Inv. No. 173.15 / PC  XVIII. 

"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 production of the semi-circular mantle in Iran was restricted to the ruler and high dignitaries but was occasionally presented as a mark of favour to important foreign visitors. For example, portraits of the English envoy Robert Sherley by Anthony van Dyke in 1622 and a later version of 1628 show him adorned with a mantle in a large flower pattern "...Most likely the robe of honour presented to Sherley by Shah 'Abbas in 1598" (see S. Canby [Ed.], Shah 'Abbas and the Remaking of Iran, London, 2009, p.56, no.12 and fig.1 above). Furthermore, the engraved portraits of Jean Baptiste Tavernier in his Receuil de Plusieurs Relations et Traitez Singuliers et Curieux, Paris, 1679, show him sporting a fur-lined mantle of similar cut. The style obviously endured at the Persian court as the last Shah Reza Muhammad Pahlavi can be seen wearing a similar garment as ceremonial attire in various photographs as recently as the 1970s.

During the seventeeth century, the semi-circular mantle was worn over a fitted, knee length, wrap-and-tie coat. Many examples were sent as gifts to the West (exchange presents were expected), but in Iran few survived as they were often burned to extract the metal thread (see P. Scott, The Book of Silk, London, 1993, p.147).