According to the Baron de Bode, Louise de la Marnierre (1781-1840), often mentioned as Madame de La Marinière, presented it to Muhammad Shah Qajar, presumably sometime between 1838 and 1840; likely acquired by Rudolf Gelpke (1928-1972) during one of his stays in Iran in 1958, 1960, or 1963-71; after 1972, with Rudolf Gelpke's descendants in Switzerland; purchased by Sam Fogg, Ltd. at Christie’s, London 26 October 2017, Sale 14218, Lot 19; acquired by the Museum in 2019, purchased from Sam Fogg, Ltd., London.
The painting is a part of the Persian Travelogue: A Diary of a Journey through the region of Fars. The manuscript was created by Louise de la Marinierre- a French tutor to the Qajar princes in Tabriz, Ali Akbar- a scribe and Ahmad Naqqash- an artist. They undertook a journey through what is today Fars in Southwestern Iran. They visited the ancient sites of of Achaemenid (ca. 550-330 B.C.) and Sasanian (ca. A.D. 224-651). The mansucript talks about this journey- which includes illustration and texts of the ruins of Persepolis and Qasr-e Abu Nasr, the royal tombs at Naqsh-e Rustam and Pasargadae, the rock reliefs at Naqsh-e Rustam, Naqsh-e Rajab, Barm-e Dilak, Tang-e Chogan, Sarab-e Bahram and Firuzabad, and the famous Cave of Shapur near the ancient city of Bishapur in the Zagros Mountains. After completing the journey Madame de la Marinierre compiled it into a illustrated manuscript and presented it to Mohammad Shah Qajar – her former pupil – in 1838. The painting above specifically talks about the ancient site of Persepolis-the ceremonial capital of the Achaemenid Persian Empire. In the upper register, at the centre sits a persian king on a throne and behind him stands an attendant holding a ceremonial object. Another figure approaches respectfully in front of him. Above the king,is the winged disk (faravahar) a symbol associated with divine protection and royal legitimacy in Achaemenid art. The scene depicts the royal audience scene from persepolis where the king receives visitors, nobles, or tribute bearers. In the lower register, rows of figures carry objects on their shoulders,resembling the famous tribute-bearing delegations carved on the stairways of the Apadana at Persepolis. The script is Persian written in Nasta'liq script, not Arabic, although it uses the Arabic alphabet. The image conveys-Royal Authority – the king occupies the central elevated position.Imperial Unity – people from different regions acknowledge the ruler.Divine Legitimacy – the winged symbol above suggests heavenly sanction of kingship. The illustrations in the manuscript are characterized by Ahmad’s bold and precise hand.Ahmad Naqqash's drawings function almost like nineteenth-century archaeological illustrations, preserving the appearance of monuments before modern excavation and restoration.
The manuscript functions as both an artistic object and a historical document. Its combination of careful observation, narrative structure, and detailed illustrations reflects the Qajar interest in Iran’s ancient heritage while preserving an important record of archaeological sites in nineteenth-century Iran.
