Following the death of Shah Tahmasp in 1576 royal art patronage declined and artists sought outlets other than the court for their works. Artists increasingly made drawings that owners could include in albums that functioned like portable art galleries. One of the most influential masters in this period, Muhammadi of Herat, apparently served the Uzbeks, where he specialized in drawings of princely and rural pursuits in the countryside. Safavid artists, such as the one who drew this hunting scene, were inspired by Muhammadi’s technique and his choice of subject matter, though here the treatment of each figural group as a separate vignette lacks the coordination of Muhammadi’s original works.
[ Georges Tabbagh, New York, until 1917; sold to MMA]
Palm Beach, FL. The Society of the Four Arts. "Loan to the Society of the Four Arts, Palm Beach, Fl," February 2, 1962–February 27, 1962, no catalogue.
New York. The Metropolitan Museum of Art. "Persian Drawings in The Metropolitan Museum of Art," September 13, 1989–December 31, 1989, no. 7.
Mexico City. Colegio de San Ildefonso. "Arte islamico del Museo Metropolitano de Arte de Nueva York," September 30, 1994–January 8, 1995, no. 19.
Dimand, Maurice S. A Handbook of Mohammedan Decorative Arts. New York: The Metropolitan Museum of Art, 1930. pp. 41–42, ill. fig. 14 (b/w).
Swietochowski, Marie, and Sussan Babaie. Persian Drawings in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1989. no. 7, pp. 24-25, ill. pl. 7 (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. 19, pp. 82-83, ill. p. 83 (b/w).