拍品专文
The portrait is typical of Reza's style, particularly in features such as the treatment of the hair and ear. Other features such as the style of the rocks and trees can be paralleled in his illustrations to a Makhzanol Asrar of Haydar-e Kharazmi and to a Gulistan of Sa'di, as can the range of colours and shading (Soudavar, A.: ibid, nos 110 and 111, pp. 275-85). A painting of an archer by him is also comparable in its use of black and in the stance of the legs (Persian Masters, Five Centuries of Painting, MARG 1990, no.15, p.82).
Interestingly, in a portrait of Reza Abbasi by Mu'in Musavvir, the artist can be seen working on a painting of a European with a large vase, almost identical in compostion to the present example (Soudavar, A.: Ibid, fig.45, p.264).
Another similar portrait of a European is published in Sotheby's Islamic and Indian Art, Oriental Manuscripts and Miniatures, London 30 April 1992, lot 312.
See also note to lot 77.
We are extremely grateful to B.W. Robinson for his expertise in the cataloguing of this lot.
Interestingly, in a portrait of Reza Abbasi by Mu'in Musavvir, the artist can be seen working on a painting of a European with a large vase, almost identical in compostion to the present example (Soudavar, A.: Ibid, fig.45, p.264).
Another similar portrait of a European is published in Sotheby's Islamic and Indian Art, Oriental Manuscripts and Miniatures, London 30 April 1992, lot 312.
See also note to lot 77.
We are extremely grateful to B.W. Robinson for his expertise in the cataloguing of this lot.