black ink on paper

 

Visions of Mughal India: The Collection of Howard Hodgkin, Ashmolean Museum, University of Oxford (2 February-22 April 2012 ), National Museum, Cardiff (27 July - 3 November 2013), Aga Khan Museum, Toronto (21 February - 21 June 2015)

In generally good condition, incomplete, tears on the edges, restored, creases, minor stains, 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 highly decorative drawing was produced in one of the provincial courts of India and follows a Mughal and Deccani aesthetic that has its origins in earlier Persian brush drawings (see Welch 2004, no.1). Like the earlier Persian examples this drawing was possibly made as a working sketch or cartoon that would have either been incorporated into a finished painting or used for the decoration of bookbindings, metalwork and textiles. The designs for textiles and costumes favoured floral and vegetal scrolls such as this. Here the floral rosettes and palmettes of the earlier prototype have been replaced with interlocking ribbon scrolls issuing recognisable flowerheads. Interestingly the naturalistic treatment of the flowerheads is similar to contemporaneous flower paintings produced by the artists of the Persian Zand and Qajar courts (ibid. pp.75-76).