ANTIQUE-ARAB QAJAR POLYCHROME GLAZED POTTERY PLAQUE-TILE MEN RIDING HORSE 1880

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ANTIQUE-ARAB QAJAR POLYCHROME GLAZED POTTERY PLAQUE-TILE MEN RIDING HORSE 1880:
$797.99

<div style=\"text-align:center\"><img border=\"0\"><br><table align=\"center\"><tr><td height=\"28px\" valign=\"middle\" align=\"center\"><font face=\"arial\" size=\"2\"><b><a target=\"_blank\">USA-RARE-CURRENCY style=\"text-decoration:none\" target=\"_blank\"><img border=\"0\"><br><a target=\"_blank\"><img & VERY RARE!!!!-ARAB (MIDDLE EAST ) QAJAR POLYCHROME GLAZED POTTERY PLAQUE-TILE,THAT FEATURES A WARRIOR RIDING HORSE AND FEEDING A HUGE FLYING COLORFUL BIRD,CIRCA 1880.
***VERY IMPRESSIVE!!! PIECE,SELDOM SEE ANYMORE***

BEAUTIFU!!!!!!!!!, & VERY RARE!!! ***** .\" A MIDDLE EAST PLAQUE-TILE OF QAJAR MOULDED POLYCHROME POTTERY, CIRCA 1880\"SHOWING ***A WARRIOR RIDING A HORSE AND FEEDING A LARGE BIRD***.

THE QUALITY,COLOR & CRAFTSMASHIP ON THIS PIECE ARE SUPERB!!!!.

IN GREAT CONDITION!!! FOR IT\'S AGE AS YOU CAN SEE FROM OUR PICTURES.

****IMPRESSIVE COLORFUL PIECE****

THIS IS INDEED A GREAT!! PIECE FROM A VERY IMPORTANT!!! PRIVATE COLLECTION,THIS PIECE HAS BEEN IN THE SAME COLLECTION FOR MORE THAN 45 YEARS (WE HAVE ALSO FROM THE SAME COLLECTION ANOTHER EXTREMELY RARE!!! LARGE QAJAR PLAQUE-TILE,SHOWING A EXTREMELY RARE!! (4 LEGGED DRAGON),THE OTHER PIECE IS A TRULY AMAZING PIECE!!! IN SUPERB!! CONDITION FOR IT\'S AGE,(SEE OUR OTHER ITEMS TO SEE THIS QAJAR PLAQUE-TILE ON sale).

****QAJAR PLAQUE TILE MEASURES APPROX. 6\" WIDE X APPROX. 8\" HIGH ****.

Qajar Tiles History:
Mosaic tile panel (48.454) in the form of a gateway on the dining room lanai. Iran, late nineteenth century. (Photo: Tim Street-Porter, 2011.)

Tilework of the Qajar period (1779–1925) was the dominant form of architectural decoration in Iran and is seen in the spectacular and colorful mosques, palaces, opulent private houses, bathhouses, bazaars and city gates which have survived from the reigns of Fath Ali Shah (r. 1797–1834) and his great grandson Nasiruddin Shah (r. 1848–1896) in the capital Tehran and regional cities such as Isfahan and Shiraz. Three soundly based traditional techniques were used: mosaic, overglaze painting and underglaze painting. The collections of the Doris Duke Foundation for Islamic Art (DDFIA) illustrate these techniques and also their survival and development in the Pahlavi period (1925–1979), during which descendants of Qajar tilemakers continued to practice the craft skills of their families.

Tile mosaic is a slow and meticulous technique in which shaped units are cut from monochrome-glazed tiles and interlocked into complex designs of geometrical and foliate motifs. While the DDFIA has a large collection of tile mosaics that function as both external and internal decoration, a remarkable example of the technique is seen in a doorway of late-nineteenth-century date (48.454) which was acquired in 1941 in Tehrann and is now located on the east wall of thedining roomlanai. This doorway consists of two symmetrical panels which frame a central lintel. They are all covered with an intricate tile mosaic of small geometrical units of turquoise, blue, yellow, black and white worked into continuous repetitive designs of stars linked to pentagonal motifs and bands of radiating clusters. Spandrels in shallow relief create surface texture. Reserved against the mosaic background are inscriptions in different styles of calligraphy. The name of Ali is written in yellow in angularKuficscript shaped as a square motif at the top of each panel. Within the lintel is a central star-shaped medallion inscribed with thebismillah(“In the name of God, the merciful the compassionate”) in white curvednastaliqscript. This is surrounded by half and quarter medallions with Arabic inscriptions from the Qur’an written in the verticalnaskhscript. The spandrels framing these inscriptions are decorated with spirals of foliate stems and tendrils. The use of small units of tiles is comparable to the equally meticulous technique ofkhatamkari,a technique of wood ,traditionally associated with Shiraz but also found now in Isfahan and Tehrann.

Tilepanel (48.15) with a scene from Layla and Majnun. Iran, nineteenth century. Stonepaste: underglaze-painted. Doris Duke Foundation for Islamic Art, Honolulu, Hawai‘i.

Overglaze painting was first extensively developed in the Safavid period to decorate the many buildings of Isfahan of early seventeenth century date. It is relatively quick, as the design is divided into squares which are then painted in colored glazes and fired. The colors are kept separate by outlines painted in a greasy substance which burns to a matt-textured blackcuerda seca“dry cord” during the second firing. Overglaze painting soon became the principal technique of Qajar tilework when a wide range of colors—turquoise, blue, green, yellow, pink, and purple—was used for fluent designs based on figural subjects and narrative themes. Two late Qajar tile compositions located at Shangri La illustrate this versatile technique well. A panel (48.15)located on the wall of the foyer is decorated with a narrative scene from one of the most famous romantic poems of Iran: the story of the star-crossed lovers Layla and Majnun composed by the eleventh-century poet Nizami. Here against a bright yellow landscape filled with flowering trees, Layla visits Majnun where he sits lost to the world, surrounded by animals and birds. The treatment of the theme shows the influence of Safavid manuscript illustration in the placing of the figures within an asymmetrical composition. The second example is a semicircular panel (48.429) which functioned as the surround of a fireplace located in the living room of the separatePlayhousepavilion. Here the theme is exuberantly pictorial, with figures painted in bright clear colors—turquoise, blue, green, yellow, rose pink, purple, brown and black—interacting against a white ground. The subject is based on a large oil painting in the Chehel Sutun of a ruler entertaining a distinguished visitor to a display of dance and music. Dancing girls whirl around and stand on their hands among seated musicians who play a range of stringed and percussion instruments. A row of guards at the base of the panel talk among themselves. Any available space is filled with tables loaded with bowls of fruit, while bottles of wine, pomegranates, melons and apples are scattered among the figures.

Tile panel (48.351). Iran, nineteenth century. Stonepaste: molded and underglaze-painted. Doris Duke Foundation for Islamic Art, Honolulu, Hawai‘i.

The technique of underglaze painting was used continuously in Iranian ceramics since the ninth century but was only fully exploited in tilework during the nineteenth century and may therefore be regarded here as a Qajar innovation. Designs were painted in either opaque colors or transparent washes of blue, turquoise, green, purple and yellow. Black was used for fine outlines and shading to create perspective and volume and also to imitate the effect of photography, which had been introduced to Iran in the 1840s and was later enthusiastically practised by Nasiruddin Shah and his courtiers. The technique was popular in Tehran during the 1880s. The panels and friezes which decorate the walls of the Gulestan Palace depict a wealth of themes: Nasiruddin Shah reviewing his troops, hunting, listening to piano recitals (all copied from the court newspaper), imaginary portraits of eminent rulers, religious scenes with Christian subjects, episodes from Persian narrative poetry and much more. Tiles were also signed and dated. A panel of underglaze painted tiles (48.351)is located between theMihrab Roomand thedining roomat Shangri La. It is formed of a continuous pattern of interlocking cruciform and star-shaped tiles painted respectively with motifs of flying ducks and flower sprays in blue, turquoise and purple and detail outlined in black. The panel is a nostalgic interpretation of forms and motifs used in tilework decoration of the thirteenth and fourteenth centuries.

NOTE: WE WERE VERY LUCKY TO BE SELECTED BY A VERY IMPORTANT ART & ANTIQUE COLLECTOR,TO START SELLING HIS LONG AND IMPORTANT PRIVATE COLLECTION LITTLE BY LITTLE AT .PLEASE CHECK OUR INVENTORY EVERY WEEKS WE WILL BE ADDING NEW SUPERB!! AND RARE PIECES TO OUR INVENTORY FROM THIS COLLECTION.

*****SOLD AS IS*****

****WE ARE SURE THIS UNUSUAL IRAN QAJAR PLAQUE WILL MAKE A COLLECTOR VERY VERY!!! HAPPY.*****

****THIS PIECE CAMEFROM A VERY IMPORTANT!! PRIVATE COLLECTIONOFALARGE ESTATE IN PALM BEACH FLORIDA ,PLEASE LOOK AT OUR OTHER ITEMS ON THIS SITE antiques-thru-time,and our other site Antiques1796 for more exciting and RARE antique pieces from this Estate****

PLEASEASK ALL QUESTIONS BEFORE offerDING,WE WILL BE MORE THAN HAPPY TO ANSWER ALL YOUR QUESTIONS.WE PROVIDE A LOT OF PICTURES OF THE ITEM FOR YOUR INSPECTION.(***BUYERS TO PAID SHIPPING,H. & INSURANCE*** )WE ACCEPT**VERIFIED PAYPAL USERS* WE FULLY INSURE ALL OUR PACKAGES SO ONCE IT LEAVES OUR HANDS WE ARE NOT RESPONSIBLES FOR DAMAGES OCURRING DURING TRANSIT.*****ALL SALES ARE FINAL******

SHIPPING NOTES:

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