forming the upper part of an archway, comprising six tiles decorated in the cuerda seca technique painted underglaze in yellow, cobalt blue and turquoise with scrolling split palmettes entwined with floral vines, set within a perspex block

Bonhams, 2 September 1962, "Property from an English Country Gentleman"

In general good condition, some minor chips along external edges of tiles with associated restoration and overpainting, central left-hand tile with break and associated restoration, set in resin block, colours bright and bold, 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."

It is extremely rare to find monumental examples of early Safavid tile panels, and the present arched tile panel presents an outstanding model of the visual impact of the cuerda seca technique when used on a grand scale. Particularly beautiful is the way in which the split-palmettes curl and re-curl over each other forming a unified and symmetric design, enhanced by the addition of floral vines in between.

Cuerda seca, or 'dry cord', is used to describe a glazing technique by which various sections of decoration on a ceramic are isolated by a line of oily manganese dioxide powder. After firing, these dividing lines appear as dark and lustreless, but allow for the different colours to be pure and bright (Hattstein and Delius 2000, p.622). This technique dates back to Ancient Egypt and appears on the tiles in the palace of Ramses II in Qantir, before being disseminated with the dawn of Islam throughout the Middle East and Spain, where it became particularly popular (Soustiel 1985, p.384).

This lot is accompanied by a thermoluminescence analysis report confirming the given period of manufacture.