Some of the forms on this fountain, such as its hourglass shape and the lion mask (kirttimukha) on its spout, can be traced to Hindu sources, but their combination with a strong architectural profile and articulated ribs places its production at one of the Muslim courts of the Deccan. The fountain was formed from seven separately cast parts soldered together in a fashion reminiscent of contemporary cannon construction. Water would have been forced up through the pipe that projects from the base of the fountain, and would have trickled down the outside from the circular well at the top.
Private collection, Europe; [ Terence McInerney, New York, by 1996–97; sold to MMA]
New York. The Metropolitan Museum of Art. "Courtly Radiance: Metalwork from Islamic India," September 25, 2001–May 5, 2002, no catalogue.
New York. The Metropolitan Museum of Art. "Sultans of Deccan India, 1500-1700: Opulence and Fantasy," April 20, 2015–July 26, 2015, no. 127.
Carboni, Stefano, Daniel Walker, and J. Kenneth Moore. "Recent Acquisitions: A Selection, 1997–1998; Islam." Metropolitan Museum of Art Bulletin vol. 56, no. 2 (1997–1998). p. 13, ill. (color).
Haidar, Navina, and Marika Sardar. "Opulence and Fantasy." In Sultans of Deccan India 1500–1700. New York: The Metropolitan Museum of Art, 2015. no. 127, p. 233, ill. pl. 127 (color).