each door of rectangular form, cut from planks of walnut wood, inset with two square and three rectangular panels, the square panels each feature an eight-pointed star surrounded by hexagonal shapes and polygons at the corners, the star inscribed with the Shahada, and the polygonal shapes contain some of the ninety-nine names of God, all written in a fine naskh script, the borders of these panels contain prayers in naskh script, these are reinforced by four L-shaped iron braces, the rectangular panels each contain a geometric design with a combination of eight-pointed stars and geometric patterns, the stars inscribed with some of the ninety-nine names of God, with two calligraphic bands to each side containing prayers to God in naskh script, all ten panels are bordered by a band deeply carved with foliate scrolls, the two top cross-bars of the doors bear the date 738 AH (1317 AD), and the two bottom cross-bars are signed with the name of the carpenter, Ustad Hasan Ibn Jamal Ahmad Sheerlar Khanisari, in naskh script, the central door post is fixed by iron bolts, the top is carved with Surah al-Ikhlas and leads down towards a row of geometric designs, with two iron door knockers to each side of the central post

Ex-Private collection, Japan, since 1960s   

in fairly good condition. the four central plaques slightly loose. the surface slightly rubbed and with weathering and associated discoloration. few minor chips to extremities and scratches. some incrustation between the creeks. the metal mounts tarnished. a break to upper side of right hand door with two metal pins for consolidation and other hairline cracks in the wood on both doors. the stars in the four square panels upside down, indicating that these were probably reset wrongly at a later stage. one small inscription carved into the right hand door above central rectangular panel. the reverse is plain. 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 impressive pair of wooden doors demonstrates the woodworking skills of Ilkhanid artisans through their integration of complex geometric designs combined with organic vegetal motifs. The promotion of the arts under the Ilkhanids revitalised the existing cultural repertoire and created its own visual vocabulary through the absorption of new styles emanating from the Far East.

The four square panels on these doors, with their overall geometric design in the form of complicated interlaced rhomboids can be found on wooden compositions produced as far as Spain, the Maghrib, Egypt and Syria. On the present pair of doors, this characteristic geometric composition is enhanced through the inclusion of finely-carved calligraphy within each shape and around the borders. The attention to epigraphy can be associated with the Ilkhanid emphasis on piety, and the conversion to Islam of the Ilkhan Ghazan in 1295 AD, who promoted cultural initiatives in support of his faith.

An interesting and related example is the door now in the Musée du Louvre, Paris (inv. no. MA0 837), which is characterised by its governing epigraphic decoration (Paris 2012, p.190). Attributed to Iraq or Persia and dated to 1126 AD, this door panel features a stellar design composed of geometric Kufic, invoking the names of Muhammad and ‘Ali five times, following Shia tradition. A Shia prayer also adorns the upper sections of the outer frieze of the door. These inscriptions are surrounded by a lush vegetal design comprising scrolling palmettes and lotus buds. An octagonal wood panel from the minbar of Sultan al-Mansur al-Din Ladjin, Cairo, Egypt, 1296 (now in the David Collection, Copenhagen, inv. no. 7/1976) features an intricate design of palmettes very close to those illustrated on the present doors, (see von Folsach 2001, p.268, no.431), attesting to the strong affiliations between Ilkhanid and Mamluk design.

Furthermore, it is interesting to cite a pair of Timurid doors now in the Aga Khan Museum (inv. no. AKM 707), dated to 1487 AD, featuring a similar composition, yet dominated by kite shapes interlinked by geometric and organic forms, also with bands of calligraphy, documenting the continuity of geometric motifs into the Timurid period. The characteristic stellar design which appears to extend and create new polygonal, overlapping shapes remained an enduring symbol of the creative inventiveness and geometric precision which spread across multiple media in the lands under Islamic patronage.

This lot is accompanied by a carbon 14 test conducted at the Swiss Federal Institute of Technology, Zurich, which gives a calibrated age between 1290 and 1430 AD.