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AN IMPORTANT WATERCOLOR OF A SEATED MAN, SIGNED BY KATARIN ABOL HASSAN ISFAHANI, DATED 1260 AH / 1844 AD Qajar Iran, mid-19th century Description:Watercolour on paper; an exceptionally detailed portrait of a seated man, likely a figure of cultural or administrative significance, rendered in a highly naturalistic style. The sitter, dressed in traditional Qajar robes with a fur-lined collar and turban, is shown seated in a relaxed yet composed posture, with particular attention given to the folds of his garments, facial features, and hand gestures. The background remains neutral, drawing focus to the subject and reinforcing the influence of European academic portraiture on Qajar artists of the period.Signed in the lower right by Katarin Abol Hassan Isfahani and dated 1260 AH (1844 AD), this work is a rare signed example from an accomplished yet scarcely represented painter in Qajar visual culture. The use of subtle tonal gradations and expressive brushwork distinguishes the artist’s style and aligns it with the realism introduced to Persian painting in the 19th century.Dimensions: 24cm x 19.5cmProvenance: Ex Khayami CollectionPublished:Khayami CollectionComparable examples:A portrait of a seated Qajar gentleman, attributed to Abu’l-Hasan Ghaffari (Sani al-Mulk), sold at Sotheby’s, London, Arts of the Islamic World, 27 April 2022, Lot 84, for £11,250.A signed portrait by Isfahan school artist of the same period, sold at Bonhams, London, Islamic and Indian Art, 11 June 2018, Lot 95, for £9,375.A naturalistic watercolor of a Qajar nobleman, mid-19th century, sold at Christie’s, London, Art of the Islamic and Indian Worlds, 25 October 2018, Lot 110, for £8,750.Note:Portraits from Qajar Iran reflect a fascinating period of transition, where traditional Persian aesthetics merged with European influences. Works by lesser-known yet skilled court painters such as Katarin Abol Hassan Isfahani are of particular scholarly interest for their stylistic hybridity and historical documentation of Iran’s sociopolitical elite. The publication of this work in the Khayami Collection further affirms its art historical importance.