Mainly produced in Tehran, the Qajar capital, continuous friezes of rectangular underglaze-painted tiles, such as this example, were common in nineteenth-century architecture. Here, a young man on horseback is depicted with his hand extended toward Huma, the fabulous bird, the embodiment of health and strength, hovering over his head. Only royalty fell under the shadow of Huma, suggesting that the horseman depicted here is a prince.
George White Thorne, New York (until d. 1883; bequeathed to MMA)
Lincroft, NJ. Monmouth Museum. "Curious Creatures and Bizarre Beasts," January 28–April 15, 1979.
New York. Hagop Kevorkian Fund Special Exhibitions Gallery. "Persian Tiles," May 4, 1993–January 2, 1994, no. 39.
Mexico City. Colegio de San Ildefonso. "Arte islamico del Museo Metropolitano de Arte de Nueva York," September 30, 1994–January 8, 1995, no. 62.
New York. Leubsdorf Gallery at Hunter College. "Re-Orientations: Islamic Art and the West in the Eighteenth and Nineteenth Centuries," February 7, 2008–April 26, 2008, no catalogue.
Carboni, Stefano, and Tomoko Masuya. Persian Tiles. New York: The Metropolitan Museum of Art, 1993. no. 39, p. 44, ill. (b/w).
The Metropolitan Museum of Art, Daniel S. Walker, Arturo Ponce Guadián, Sussan Babaie, Stefano Carboni, Aimee Froom, Marie Lukens Swietochowski, Tomoko Masuya, Annie Christine Daskalakis-Matthews, Abdallah Kahil, and Rochelle Kessler. "Colegio de San Ildefonso, Septiembre de 1994-Enero de 1995." In Arte Islámico del Museo Metropolitano de Arte de Nueva York. Mexico City: Consejo Nacional para la Cultura y las Artes, 1994. no. 62, pp. 168-169, ill. p. 169 (b/w).