of rectangular form, the carved wood inlaid with ivory and ebony in an intricate geometric pattern of polygonal shapes, main section with a central star or shamsa (radiating sun) surrounded by twelve hexagonal panels and further encircled by ten pentagons, each inlaid with an array of five-pointed star motifs, further half-shamsas with their respective surrounding panels are found twice in the bottom and twice in the top of the central section, with the interstices decorated in triangular, rhomboid and other polygonal insets, the flanking sections each decorated with a pair of knotted polygonal panels, modern painted-wood frame

Ex-collection Jean Paul Croisier, Geneva, Switzerland.

Institut du Monde Arabe, Paris, on loan 1993-2002.
Treasures of Islam, Musée d'art et d'histoire, Geneva, 25 June-27 October 1985.

Treasures of Islam, Musée d'art et d'histoire, Geneva, 1985, p.396, 'Additional Exhibits' no.576 (height published incorrectly as 191cm. rather than 161cm.)

This item is in good condition. Losses throughout, particularly to the wooden insets. Damage especially to the top right panel and the edges. Minor loss of filets, specifically to the top right and top-centre left. Loose fittings throughout. Minor darkening and scratches to a number of the ivory inlays. Wood is slightly separated in som parts. 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 is a fine example of Mamluk inlaid woodwork, combining a large size, bold design, and intricate craftsmanship.

Mamluk woodworkers excelled in the art of inlaying ivory into furniture and fittings destined for buildings commissioned by sultans and emirs. Geometrical designs were favoured for their bold symmetry and formal strength. This panel most likely came from a door or a minbar. It is assembled like a mosaic using individually carved segments, a technique that requires great patience and skill as well as knowledge of geometry and mathematics. The variety of patterns visible in this door is also found in other media, from stone carving to marble mosaics.

Each of the ivory polygonal elements has been cut separately and set with ebony filaments which act to highlight and define the design and create a striking bichromatic effect. This technique may have been suggested by marble inlay-work; see, for instance, a Mamluk marble and mother-of-pearl inlaid panel dating to the early-fifteenth century in the Museum of Islamic Art in Cairo (Atil 1981, no.107, pp.212-3).

Similarly decorated panels which sustain the dating of this piece and the attribution are in the Louvre Museum (inv. no.7465 (I-J)) and are visible on the sides of the minbar for Sultan Qaytbay (r.1468-96) now in the Victoria and Albert Museum (inv.no.1050). Two pairs of related Mamluk ivory-inlaid doors from the collection of Octave Borelli Bey were sold in these rooms, 20 April 2016, lots 84 and 86.