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Lot Essay
The enamel pattern and palette of colors seen on this rare, octagonal-form stand are identical to an early eighteenth-century huqqa base formerly in the Krishna Riboud Collection in Paris, illustrated by M. Zebrowski in Gold, Silver and Bronze from Mughal India, London, 1997, p. 93, pl. 86. Both are decorated with a repetitive design of identical white and yellow flowers on a dark green ground within similar narrow borders comprising scrolling yellow floral vine. It is quite possible that the two are related and the present stand was made for this huqqa base.
The enameling also finds comparison with two other objects – the first is a Mughal enameled dagger, dated circa 1700, sold at Christie’s, London, 13 October 1998, lot 113, and now in the Al-Sabah Collection in Kuwait, illustrated by Salam Kaaoukji in Precious Indian Weapons and other Princely Accoutrements, London, 2017, pp.98-99, no.29. The second is a well-known Mughal enameled gold jar and cover, similarly dated to circa 1700, now in the Cleveland Museum of Art (Zebrowski, ibid., no. 29, p.52). Although the place of production is not known for this group of objects, the colors and patterns are reminiscent of Mughal tilework. Zebrowski points out the similarity with the tilework of the shrine of Shaykh Bakhtiyar Kaki at Mehrauli in south Delhi which was refurbished by the Mughal Emperors Shah Jahan and Aurangzeb (ibid., p.59).
The enameling also finds comparison with two other objects – the first is a Mughal enameled dagger, dated circa 1700, sold at Christie’s, London, 13 October 1998, lot 113, and now in the Al-Sabah Collection in Kuwait, illustrated by Salam Kaaoukji in Precious Indian Weapons and other Princely Accoutrements, London, 2017, pp.98-99, no.29. The second is a well-known Mughal enameled gold jar and cover, similarly dated to circa 1700, now in the Cleveland Museum of Art (Zebrowski, ibid., no. 29, p.52). Although the place of production is not known for this group of objects, the colors and patterns are reminiscent of Mughal tilework. Zebrowski points out the similarity with the tilework of the shrine of Shaykh Bakhtiyar Kaki at Mehrauli in south Delhi which was refurbished by the Mughal Emperors Shah Jahan and Aurangzeb (ibid., p.59).