THE MORE THE MERRIER

islam art Events in London last week proved that competition can be good for business, at least in the art world. The three leading auction houses—Sotheby’s, Bonhams and Christie’s—were full of Islamic and Indian art. Some rarities, some masterpieces; most of it a treat to see. Sotheby’s announcement late last year that it was going to sell a chunk of the late Stuart Cary Welch’s famous collection (written about in this week’s Economist) must have prodded the others to get moving. After all, few collectors, curators and dealers were likely to miss the Welch sale. An active collector for over 70 years, Welch’s eye was good, his approach bold, his judgments acute. Last week Sotheby’s auctioned off his Islamic pieces, saving his Hindu material for another splash in May.

There was lots of talk about the works and plenty of gossip about Stuart Cary Welch. A so-called “larger than life” character, he still clearly inspires both admiration and resentment. Flattering or otherwise, the chatter enhanced the excitement of the sale. And many of Sotheby’s estimates seemed invitingly reasonable. This viewer was particularly attracted to a 17th-century miniature—painted and marbled—of an emaciated horse (pictured). The decrepit, bony creature’s head almost touches the ground while hovering birds dive to peck his back. This is clearly not a picture to cheer up a living room. It is, however, a poetic memento mori. Sotheby’s estimate was £12,000-18,000 ($19,000-29,000) a typical price range for many Indian and Islamic miniatures, though few are as compelling. Your correspondent confesses that she did not bid for that emaciated horse. Just as well; it sold for £229,250.