ink heightened with sparse use of gold and colour, the drawing bordered by gold scrolling flowers within a blue band, outer margins filled with leafy scrolls, reverse with a Persian quatrain in nasta'liq script in black ink, old collection labels '464' and '196' 

In generally good overall condition, slight abrasions to paper at upper left, reverse with some smudges to ink, 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."

This drawing of a dervish displays some remarkably refined draughtsmanship, particularly in the treatment of the figure's fine hair, fur collar and delicate folds of the garment and coloured sash draped loosely over his shoulder. The simplicity of the drawing is heightened with the sparse use of gold and colour reserved only for the horizontal stripes of the dervish's sash, and his piercing blue eyes, staring up from beneath raised eyebrows. The composition is reminiscent of the early works of Aqa Reza in the late sixteenth century, before he entered the service of Shah 'Abbas. Dervishes were a common subject of Reza's painting in this period, and indeed Canby has suggested he may even have converted to Sufism in in the early seventeenth century (Canby 1996, p.81).