Details
A TIMURID BINDING
HERAT, MID 15TH CENTURY
Comprising both boards and the flap, the exterior of black morocco decorated with stamped and gilt central cusped medallion, spandrels and border cartouches, all filled with floral scroll and arabesque, an outer border of tooled rope design, the interior of tan morocco decorated with extremely fine decoupé over blue and gold ground, each board with a central medallion, spandrels and cusped cartouche border, the flap with a dense lozenge lattice, the exterior overpainted
Each board 12 1/8 x 7½in. (30.8 x 19cm.)
Provenance
Anon sale, Sotheby's, 25 October 1984, lot 177

Brought to you by

Andrew Butler-Wheelhouse
Andrew Butler-Wheelhouse

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Lot Essay

In its details, this extremely fine binding relates closely to one in the Kunstgewerbemuseum in DüsSeldorf (kat.nr.834, F. Sarre and F.R. Martin, Meisterwerke Muhammedanischer Kunst, exhibition catalogue, Munich, 1910, pl.18). Both share the same knotted strapwork borders that surround each panel, and each combines gilt stamped exteriors and decoupé doublures. The most remarkable similarity however is in the decoupé design on the interior of the flap, which on both bindings forms a lattice of cusped lozenges, creating a powerful geometric design. The Düsseldorf binding is attributed to Herat and dated to circa 1440.

Two more bindings, both of which also have flaps decorated with a lattice of lozenges are in the Chester Beatty Library (MS 5282 and 401, Berthe Van Regemorter, Some Oriental Bindings in the Chester Beatty Library, Dublin, 1961, pls.26 and 42). The first of those is again attributed to Herat and dated 1435. The second, which is even closer to ours in that it shares not only the same arrangement of the lattice of the flap but also the same decoupé medallions on the interior boards, is attributed to Turkey, 1478 AD, on the basis of the manuscript it covers which is written in a Southern Turkish dialect. It is suggested in the note accompanying that binding that it was bound by one of the first Persian bookbinders bought over to Turkey.

Gratzl, in his description of the 1435 Chester Beatty binding, describes the extraordinary patience and accuracy required for the production of such a binding. He talks of the blind stamped exterior, claiming that "it would have taken 550,000 blind stamps and 43,000 gold stamps, and must have taken a good craftsman about two years" (Arthur U. Pope (ed.), A Survey of Persian Art , vol. III, London, 1939, pl.954 and 955, p.1978). The amount of work lavished on a binding of this type demonstrates that they were held in the highest regard, perhaps as much as the manuscripts they were created to protect.

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