of arch form, with a deeply carved  design featuring with stylised floral designs within architectural arches set in a frame composed of garlands, within a border set with cobalt blue glaze diamond-shaped tiles

ex-private collection, Italy, 1960’s

In generally good condition, small break to bottom right-hand side angle with a missing blue tile as a result, two small chips to protruding petals on central bottom flowerhead, the flowerhead in left-arch with chip to centre, minor chips to some of tiles, small chip to one of the framing garlands, very light overall abrasion to surface consistent with age and use, top with two small dowel sockets, 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."

Monumental in appearance, the present tympanum was designed with multiple, deeply carved stylised foliate and geometric motifs which stand out due to their sharply-cut angles and the resulting plays of shadow and light. Of extreme complexity, the centre features a central serpentine Jaina torana motif set between stylised poppy stems, flanked by geometrically modelled bands and archways with abstract floral bursts. The overall use of these motifs and the compositional structure of the piece, including the addition of cobalt-blue tiles around its borders can be attributed Sindh or the Baluchistan region of Pakistan.

Notable stylistic similarities, including the use of carved archways within archways, columns with geometric designs, schematised flowerheads and the inclusion of more curvilinear, foliate details are akin to the architectural edifices observed on the ‘Chaukhandi’ tombs dotted around Sindh and in the cemetery of Makli Hill in Thatta. Furthermore, the inclusion of cobalt-blue glazed tiles in combination with carved stone structures is extremely rare, as they are usually used in combination with brick walls, for example, a series of three were photographed by Ihsan Nadiem on the plastered-brick façade of the tomb of Jam Nizamuddin in the Necropolis at Thatta (see: Nadiem 2000, p.15). Further purple-blue and turquoise tiles can also be observed on other structures in Makli Hill in Thatta, notably inside the brick wall of the Duhgiran Masjid, built in 1589. All of these details point towards a dating attribution to the late sixteenth/early seventeenth century.

An unusual detail on this tympanum is the use of poppies as a decorative motif. Although when following the natural growth of poppies, one is led towards Afghanistan or Baluchistan as a point of origin; Sindh also remains a possible option as they may have been used as a reference to the person for whom this tympanum was conceived, possibly of Afghani or Baluchi origin, as many families are known to have relocated to Sindh by the sixteenth century.

This unusual and fascinating tympanum is a real scholarly piece as well as one whose presence marks it out as a great work of art. The tradition of collecting and preserving such architectural fragments has been widespread, and numerous museum collections showcase similar artworks in their displays. Notably, the Victoria and Albert Museum, London, The Museum of Fine Arts, Boston, which features a red sandstone gateway dated to about 1677 (inv. no. 1983.386), and the newly refurbished Islamic Art Galleries at the Louvre, which includes a section of magnificent sandstone jali screens. The present tympanum can be distinguished for the complexity and variety of deeply carved motifs used, contrasting with the bright cobalt-blue glaze tiles framing its overall composition.

This lot is accompanied by a thermoluminescence report   from Oxford Authentication Ltd. dating the last firing of the cobalt-blue glazed tiles between 1511-1711 AD.

Bibliography:
M. Chida-Razvi, A fragmentary sandstone architectural tympanum set with glazed tiles, Rajasthan or Sindh, sixteenth or early seventeenth century, 2014.
J. Burton-Page, Mosques and Tombs, Marg Vol XXXIX, no. 3., Bombay.
A.H. Dani, Thatta Islamic Architecture, Islamabad, 1982.
I. Nadiem, Makli: The Necropolis at Thatta, Lahore, 2000.