Islamic Art Auction June 4 - 2020 - Oriental Art Auctions by Oriental Art Auctions

ISLAMIC ART AUCTION 4 JUNE 2020

Oriental Art Auctions Ridderstraat 13 8051 EG Hattem The Netherlands tel: +31- (0)38-3380783 info@orientalartauctions.com www.orientalartauctions.com CoC. 66070651 VAT no. NL856383405B01

ISLAMIC ART AUCTION

AUCTION Thursday 4 June 2020 At 10.00 am Session I: lot 1 - lot 163 Pause 30 minutes Session II: lot 164 - lot 335 PREVIEW Wednesday 27 May - Wednesday 3 June 11 am - 17 pm And by appointment Kerkhofstraat 3 8051 GG Hattem The Netherlands

Lot 1 _______________________________________________________________________

A RAJA ON PARADE, NORTH INDIA, AWADH, 19TH CENTURY

Gouache heightened with gold on album page, depicting the haloed ruler seated on a horse holding a flower in his hand. Accompanied by his servants carrying fans, canopies and parade sticks, all within a yellow, red and light green border. 22.5 by 29 cm. Estimate € 1000 - € 1200

Lot 2 ________________________________________________

A MINIATURE DEPICTING A MUGHAL LADY INDIA, 19TH CENTURY A lady holding a hookah seated on a terrace, gouache heightened with gold. Laid down between minor red and black borders with gold illumination on wide olive green border decorated with meandering floral vine. miniature: 21.5 by 12 cm. folio: 31 by 21 cm. Estimate € 600 - € 800

Lot 3 ______________________________________

PORTRAIT OF A MUGHAL LADY INDIA, 19TH CENTURY

Gouache and gold painting on paper, a lady holding flowers in right hand and wearing a pleated skirt, gaghra, and a transparent choli bodice on a cream colored ground. Framed and glazed. painting: 18 by 12 cm. including frame: 33.5 by 27.5 cm Estimate € 600 - € 800

Lot 4 ______________________________________

A MUGHAL MINIATURE DEPICTING AURANGZEB, INDIA, 19TH CENTURY Gouache heightened with gold on paper, laid down on an album page, full length portrait of a standing haloed Aurangzeb holding a flower in one hand and a dagger in the other, adorned with fine jewels. Laid within an orange border with illuminated floral sprays. The outer border stylized with a dense design of deer and birds amongst flower sprigs. miniature: 22 by 14 cm. folio: 33.5 by 22 cm. Estimate € 600 - € 800

Lot 5 _______________________________________

A MINIATURE DEPICTING A MUGHAL PRINCE AND PRINCESS INDIA, 19TH CENTURY Gouache heightened with gold on paper, depicting a romantic scene between a Mughal prince and princess. Persian manuscript of elegant black nasta’liq. miniature: 19.3 by 11 cm. folio: 22.5 by 14 cm. Estimate € 600 - € 800

Lot 6 ___________________________________

AN EQUESTRIAN PORTRAIT OF MAHARAJA SWARUP SINGH JI MEWAR SCHOOL, 19TH CENTURY Using bold fields of color, on the primary figure, giving him great presence. The spear emphasize the nobleman’s status on the battlefield. The accomplished depiction of the rider’s face in profile and his subtly rendered costume affirm links to the Mughal painting tradition in the Jodhpur. 30 by 26 cm. PROVENANCE Christies London, 21 July 2009, lot 35. Estimate € 800 - € 1200

Lot 7 ________________________________________

A RAJASTHAN MINIATURE DEPICTING A RAJA WITH HIS SERVANT, INDIA, 19TH CENTURY Gouache heightened with gold on album card. Depicting a seated Raja with an attendant waving a fan. Kota or Bundi school. miniature: 23.5 by 16 cm. Estimate € 600 - € 800

Lot 8 _____________________________________________________________________________

KRISHNA AND RADHA FROM THE RAGAMALA, INDIA, 18TH CENTURY

Indian miniature depicting Krishan seated with Radha in a pavillion. Radha seated with her confidant with passion for Krishna. Mewar, natural pigments and gold on paper. 25 by 20 cm. Estimate € 3000 - € 4000

Lot 9 _______________________________________

AN INDIAN MINIATURE DEPICTING A MAN ON A HORSE INDIA, 18TH-19TH CENTURY Equestrian portrait of Thakur on dotted horseback. India, Rajasthan, Marwar, natural pigments and gold on paper. 26 by 23 cm. Estimate € 1000 - € 1200

Lot 10 ________________________________________________________________________________________

AN INDIAN MINIATURE DEPICTING TWO MEN AND A HORSE INDIA, 18TH CENTURY Miniature depicting a horse and two grooms, natural pigments and gold on paper. India, Rajasthan. 22 by 30 cm. Estimate € 1400 - € 1800

Lot 11 ______________________________________________________________________________________

SHARAD PURNIMA/DAAN LEELA, PICCHAVAI, A COSMIC FIGURE NATHDWARA SCHOOL, LATE 19TH CENTURY

This Picchvai is made on the combination of popular subjects of Sharad Purnima and gopashtami with Kamal talai in bottom. Painted on cloth, it shows a full moon night, Shrinathji wearing festive clothes and jewelry with gopis on both sides offering them prayers and sweets just like the Sharad Purnima festival. The herd of cows is painted in white color with hand marks on their body. They are also decorated with jewelry around their neck and the horns are painted similar to the celebrations during Gopashtami. The green grass and trees in backdrop makes it look like a scene from Vrindavan with peacocks dancing in garden. The lotus pond in bottom is made to look like Kamal talai. The painting is made with all natural stone pigments. 135 by 99 cm. Estimate â&#x201A;Ź 2000 - â&#x201A;Ź 3000

Lot 12 _____________________________________________________________________________________

PICCHAVAI OF ANNAKUTA (FESTIVAL OF FIFTY-SIX OFFERINGS) NORTH INDIA, 19TH CENTURY

Opaque pigments on cotton panel, the idol of Shri Nathji standing in the centre, flanked by smaller figures of the deity, worshippers to either side, under a pavilion topped with billowing flags, the sky speckled with silver stars, the long borders decorated with images of Shri Nathji, bordered with a floral garland. 252.2 by 172.7 cm. Estimate € 3000 - € 5000

Lot 13 ____________________________________________________________________________________

PICCHAVAI OF SHRI NATHJI INDIA, NATHDWARA LATE 19TH CENTURY

The blue-skinned God standing on a plinth against a white background with arm raised as if holding Mount Govardhan, with offerings before him, encircled by two floral borders. Opaque pigments and gold on textile. 131 by 104 cm. Estimate € 2000 - € 3000

Lot 14 _____________________________________________________________________________________

A GRAZING COW, QAJAR, IRAN, 19TH CENTURY

Ink and wash on paper, the anatomy realistically rendered, laid down between blue and pink margins with black and gold rules, mounted, framed and glazed. drawing: 13.7 by 10.3 cm. PROVENANCE Christies London, 26 April 2013, lot 715 Estimate € 1000 - € 1200

Lot 15 __________________________________________________________________________________

PADSHAHNAMA OF EMPEROR JAHANGIR PRESENTING PRINCE KHURRAM A FAMILY JEWEL, MUGHAL, 19TH CENTURY

Gouache pigments heightened with gold on paper, laid down on album page and decorated to the outer border with flower scrolls on a cream ground. Padshahnama or chronicle of the Emperor Shah Jahan, central figure on the picture, seated on the throne is Mughal Emperor Jahangir (reign 1605-1627), the father of Shah Jahan. Shah Jahan was at this time known by his name prince Khurram.This event is from November 1617 when Jahangir gave prince Khurram a precious and important family jewel. Present at the scene are several important members of the Mughal court, including the Prime Minister I’timaduddawla and his son Asaf Khan, Shah-Jahan’s father-in-law. The artist of this beautiful picture, known as Payag, is also present: he is in the bottom left-hand corner carrying a book. 42 by 31 cm. CATALOGUE NOTE From the words of Jahangir himself: ‘On this day I gave my son Shah-Jahan a flawless ruby. Emperor Akbar’s mother gave me as a present at my birth. For years it was in his Emperor Akbar’s turban band and thereafter I too kept it in my turban band for good luck, since it has been a good luck charm for this eternal dynasty. It was given to my son’. Estimate € 3000 - € 5000

Lot 16 _____________________________________________________________________________________

TWO MINIATURES DEPICTING FLOWERS INDIA, DECCAN, 17TH-18TH CENTURY

Opaque pigments heightened with gold on paper depicting two large flower sprigs, laid down on an album page with narrow gold illuminated and wide pink borders. 18.5 by 11.5 cm. Estimate € 3000 - € 5000

Lot 17 ____________________________________________________________________________________

A SAFAVID CALLIGRAPHIC QUATRAIN ON A GOLD GROUND PERSIA, 17TH CENTURY

A Safavid calligraphic quatrain on a gold ground, with four lines of neat black diagonal nastal’iq script on a gold ground with polychrome floral scroll, with blue border and laid down on red album page. panel: 25.5 by 12 cm. Estimate € 800 - € 1200

Lot 18 ____________________________________________________________________________________

AN OTTOMAN PORTRAIT OF A HANDSOME YOUTH, TURKEY, 17TH CENTURY

Portrait of a handsome youth, opaque pigments heightened with gold on paper, laid down between gold and polychrome rules on wide gold-sprinkled borders, mounted on card. painting: 12.5 by 4.7 cm. folio: 25.2 by 16 cm. PROVENANCE To reverse pencil inscription: Collection Motton, Robert Erskine. Estimate € 3000 - € 4000

Lot 19 __________________________________________________________________________________

AN ILLUSTRATION FROM THE SHANAMEH SHIRAZ, CIRCA1600

Gouache heightened with gold on paper, with Kay Khusraw in single combat on horseback, other warriors watch on either side, lines of black nasta’liq arranged in four columns between gold rules. miniature: 8.4 by 17 cm. folio: 34.5 by 23 cm. Estimate € 1000 - € 1200

Lot 20 ______________________________________________________________________________________

BUZURJMIHR MASTERS THE GAME OF CHESS, FOLIO FROM A SHAHNAMA, COPY FROM (THE BOOK OF KINGS )ABU’L QASIM FIRDUSI, SAFAVID, 16TH CENTURY The Shahnama, verses by the 11th century poet Firdowsi (Firdausi), has extant copies created during the 14th and 16th centuries. The above is from the latter. This verse tells the story of how Shatranj was introduced into Persia by the Indian ambassador of the King of Hind who presented the elaborate board with pieces of ivory and ebony, as both a gift and test to see if the Persians were capable of unraveling the mysteries of the game. Buzurjmihr, the counselor to the ruler Naushirawan, did solve the riddle and was rewarded with a huge gold goblet filled with jewels. miniature: 15 by 12 cm., folio: 20 by 32.5 cm. Estimate € 2500 - € 3500

Lot 21 __________________________________________________________________________

A PERSIAN SAFAVID CALLIGRAPHIC PANEL, 16TH CENTURY

A Persian Safavid panel, Persian meshki, nasta’liq in black ink reserved in clouds. An unknown student of Khawaja Mir Ali Tabrizi. Illuminated with flowers in gold. 13.5 by 21.5 cm. Estimate € 2000 - € 3000

Lot 22 ____________________________________________________________________________________

AN OTTOMAN CALLIGRAPHY PAGE FROM A MURAQQA ALBUM TURKEY, 19TH CENTURY

Three couplets written in black nasta’liq script reserved in clouds on a cream colored ground, arranged in two vertical columns divided by a light blue border with gilt floral lattice, mounted. calligraphy: 15.5 by 11.5 cm. Estimate € 800 - € 1200

Lot 23 ____________________________________________________________________________________

A RARE OTTOMAN QUATRAIN IN DECOUPAGE CALLIGRAPHY SIGNED BY FAHRI OF BURSA, TURKEY, 17TH CENTURY

4 Lines to the page written in neat nasta’liq script cut out of paper, laid down on cloudbands against a gold ground, triangular corner piece filled with delicate cut-out flowers, laid down on an album page with scrolling borders. calligraphy: 17 by 9.5 cm. leaf: 23.5 by 15.8 cm. Estimate € 4000 - € 6000

Lot 24 _______________________________________________________________________________

A DEVOTIONAL ZOOMORPHIC CALLIGRAPHIC COMPOSITION INDIA, 17TH CENTURY

Opaque lapis-lazuli based paint, and gold on paper. This splendid calligraphic lion is an example of zoomorphic writing where calligraphers blended the arts of writing and drawing by using words to form animal and human shapes. The choice of the lion is quite pertinent since the Arabic text is a supplication to ‘Ali, the Prophet Muhammad’s cousin and son-in-law, who was the fourth Caliph and first imam. Because of his courage and valor, ‘Ali was known to Sunni and Shia Muslims by the epithet ‘The Lion of God’. The prayer, known as Nad-e ‘Ali, was typically used by Shia Muslims to seek ‘Ali’s help and support in times of stress and sorrow. 21 by 16 cm. Estimate € 3000 - € 4000

Lot 25 _______________________________________________________________________________

A QAJAR CALLIGRAPHIC PANEL IRAN, SIGNED HUSAIN ‘ALI AND DATED 1314 AH/1896 AD

Ink and watercolor and gold on paper, a single line of nasta’liq script filled with further text and small miniatures of animals and of the Imams, further text reserved in clouds, on a gilt ground, signed in a small oval cartouche Husain ‘Ali and dated 1314 AH, laid down on card. 40 by 31cm. Estimate € 800 - € 1200

Lot 26 ______________________________________________________________________________

A COLLECTION OF PAPYRUS AND PAPER FRAGMENTS EGYPT-FUSTAT, 7TH-10TH CENTURY

A collection of 15 papyrus and paper fragments, in Arabic and Greek including letters about trade and business. Six fragments with a clear Arabic manuscript on paper and papyrus in a variety of angular and cursive scripts. Five fragments in a Greek uncial hand, with some early scribble peculiarities: the hairline of central omega leaning left, the mu wide with straight lines. CATALOGUE NOTE The papyrus documents are in this lot most likely to have originated from Fustat (old Cairo), they date from the 7th-10th century. Although paper-making know-how was introduced into the eastern Islamic world as early as 746 AD (at a battle near Samarkand in 751 AD the Arabs captured several Chinese prisoners who knew how to make paper) its use spread westwards across the Islamic empire relatively slowly. At the same time vellum (parchment), made from the dried and cured hides of domestic animals, was extremely expensive to produce and was reserved primarily for the writing of Qurans and occasionally other religious text. Estimate â&#x201A;Ź 3000 - â&#x201A;Ź 4000

Lot 27 __________________________________________________________________________________

A QURAN SECTION IN MAGHRIBI SCRIPT, NORTH AFRICA OR ANDALUSIA 13TH-14TH CENTURY

Arabic manuscript on paper, of 8 leaves and with 14 lines to each page, written in fine Maghribi script in black ink, diacritics in blue and red, reading marks in green orange. Large gold markers of various shapes decorated with alternating blue and red dots, with surah headings in orange Kufic issuing strapwork palmette in to the margins. Quran 56 surah Al-Waqi’a compleet, Quran 46 surah Al-Ahqaf v. 25-v.35, Quran 61 surah As-Saff v.6-v.14, Quran 59 surah Al-Hashr v.11 till end, Quran 76 surah Al-Insan v.1-v.22, Quran 72 surah Al-Jinn v.1-v.19. 23.5 by 19 cm. Estimate € 800- € 1000

Lot 28 _____________________________________________________________________________________

A QURAN LEAF IN MAGHRIBI SCRIPT ON PAPER ANDALUSIA, 13TH CENTURY

Arabic manuscript on paper written in Maghribi script in brown ink with diacritics and vowel points in blue and red, verses marked with a gold trefoil decorated with blue dots, illuminated marginal devices marking the verses, continuous text, surah Al-Naml, Ants vv 42-45. 20.5 by 20 cm. Estimate € 1200 - € 1500

Lot 29 ____________________________________________________________________________________

A QURAN LEAF IN MAGHRIBI SCRIPT NORTH AFRICA OR ANDALUSIA, 13TH-14TH CENTURY

Arabic manuscript folio, ink, colors and gold on paper with 7 lines per page written in fine large Maghribi script in dark brown ink, diacritics in blue and red, reading marks in orange within blue and red borders. Quran surah Al-Qasas v.87-v.88 , Quran 29 surah Al-‘Ankabut v.1 with the name of the surah in gold thuluth script outlined in black. 24 by 18 cm. Estimate € 800 - € 1000

Lot 30 ____________________________________________________________________________________

TWO QURAN FOLIA IN MAGHRIBI SCRIPT, NORTH AFRICA OR ANDALUSIA 13TH-14TH CENTURY

Arabic manuscript on paper, of two folia recto and verso, with 9 lines to each page, written in fine large Maghribi script in brown ink, diacritics in blue and red, reading marks in green and yellow. Large gold markers of various shapes decorated with alternating blue and red dot. Quran 16 surah An-Nahl the Bees v.81-v.88 and v.107-v.112 recto verso on each page. 21 by 27 cm. Estimate € 1000 - € 1200

Lot 31 ______________________________________________________________________________

TWO KAIROUAN WESTERN KUFIC QURAN FOLIOS KAIROUAN, 10TH-11TH CENTURY

An Arabic manuscript on paper, 2 leaves with 11 lines of fine sepia Western Kufic script in brown ink with diacritics and vowel points in blue and red, the end of each verse marked with eight dots arranged within a circle. Quran 78, surah An-Naba, ‘the Announcement’, with 40 verses. Quran 81 surah At-Takwir, ‘the Overthrowing’ literally the turning into a sphere, with 29 verses. A part of Quran 77 surah Al-Mursalat, ‘the Emissaries’ from v.28-v.50 each folio: 10.5 by 21 cm. Estimate € 800 - € 1000

Lot 32 ______________________________________________________________________________

TWO ANDALUSI KUFIC SCRIPT QURAN FOLIOS ANDALUSIA, 13TH CENTURY

An Arabic manuscript on paper, 2 leaves with 7 lines of fine sepia Kufic script in brown ink with diacritics and vowel points in blue and red. Quran 19 surah Maryam, named after the Virgin Mary of Christian belief, from v.59-v.63 and from v.83-v.91. Framed and glazed. each folio: 25 by 21.5 cm. Estimate € 1200 - € 1400

Lot 33 ______________________________________________________________________________

TWO ANDALUSI KUFIC SCRIPT QURAN FOLIOS ANDALUSIA, 13TH CENTURY

An Arabic manuscript on paper, 2 leaves with 13 lines of fine sepia Kufic script in brown ink with diacritics and vowel points in blue and red, the end of each verse marked with eight dots arranged within a circle. Quran 50 surah Al-Ma’idah, ‘the Table,’ from v.54-v.68. Framed and glazed. each folio: 15 by 13 cm. Estimate € 1200 - € 1400

Lot 34 ___________________________________________________________________________________

TWO KAIROUAN WESTERN KUFIC SCRIPT QURAN FOLIOS KAIROUAN, 9TH CENTURY

An Arabic manuscript on paper, 2 leaves with 9 lines of fine sepia Western Kufic script in brown ink with diacritics and vowel points in red. Recto with Quran 79 Surah An-Nazi’at, ‘Those Who Pull Out’, in reference to the angels who tear out the souls of the wicked from v.30-v.41. Quran 84 surah Al-Inshiqaq, ‘The Sundering’, from v.6-v.16. Verso with the rest of surah Al-Inshiqaq. Quran 79 surah An-Nazi’at from v.17-v.29. Framed and glazed. each folio: 15 by 21 cm. Estimate € 1000 - € 1200

Lot 35 ______________________________________________________________________________

A MAGHRIBI QURAN SECTION SURAH AL- MA’IDAH COMPLETE MOROCCO OR ANDALUSIA, 13TH-14TH CENTURY

Arabic manuscript on vellum, the folio with 13 leaves with 13 lines to each page, of sepia Maghribi with roundel, drop-shape or trilobed gold verse markers, diacritics in red, blue and orange, with marginal gold and polychrome medallions, marking khams and ‘ashr, strapwork palmette in to the margin. 15.5 by 13.5 cm. (13) Estimate € 3000 - € 4000

Lot 36 ______________________________________________________________________________

TWO MAGHRIBI QURAN SECTIONS NORTH AFRICA OR ANDALUSIA, DATED 802 AH/1400 AD

Volume I: part of juz 16, juz 27 and juz 28 : surah Al-dhariyaht (51), v.1 to surah Al-Tahrim 66, v. 12 Volume II: part of juz 28, juz 29 and juz 30 surah Al-Tahrim (66), v.12 to surah An-Nas (114), v.6 Arabic manuscript on paper, vol.I with 78 leaves plus 2 fly-leaves, vol.II with 66 leaves plus 2-fly-leaves, both with 9 lines to the page, written in Maghribi script in dark brown ink with red and blue vocalisation, ruled in red, verses separated by a yellow dot, marginal verse markers in gold, 57 surah headings in total written in gold outlined in black and red, ending with a marginal polychrome and gold roundel, f.1a of vol.II with a polychrome and gold heading (‘unwan), f.66a of vol.II with a finispiece written in gold and decorated in red, vol.II incomplete, each in dark red leather binding with flap. (2) 18.3 by 13.4 cm. Estimate € 14.000 - € 16.000

Lot 37 ____________________________________________________________________________

A MAGHRIBI SCRIPT QURAN SECTION NORTH AFRICA OR ANDALUSIA, CIRCA 13TH CENTURY

Arabic manuscript on paper, 128 leaves each with 8 lines of sepia black Maghribi script with roundel, leaf-shaped verse markers. Diacritics in red, blue and orange, with marginal gold and polychrome medallions marking khams and ‘ashr. All within a double red border, morocco binding with geometric medallion decoration. Quran 14 surah Ibrahim from v.49-52, Quran15 surah Al-Hijr complete, Quran 16 surah An-Nahl complete, Quran 3 surah Al- Imran v.15-v.191, Quran 17 surah Al-Isra complete, Quran 18 surah Al-Kahf v.1-v.103. 19 by 14 cm. Estimate € 6000 - € 8000

Lot 38 ______________________________________________________________________________

A MAGHRIBI SCRIPT QURAN SECTION NORTH-AFRICA OR ANDALUSIA, CIRCA 13TH CENTURY

Arabic manuscript on vellum, 51 leaves plus 6 flyleaves, 11 lines to the page, written in Maghribi script in brown ink, verses separated by gold knotted trefoils pointed in red and blue, “khums and ’ashra “verse markers, incomplete, f.42b with surah heading (surah Al-An’ am, Quran 6) written in gold Kufic script with illuminated palmette extending into the margin. Later morocco binding, with flap. 19.6 by 17.5 cm. Estimate € 14.000 - € 16.000

Lot 39 _____________________________________________________________________________________

A TIMURID QURAN HERATI STYLE OF THE 15TH CENTURY

An Arabic manuscript on paper with 360 leaves and 3 flyleaves, 13 lines to each page in muhaqqaq, naskh and thuluth scripts, incidentals in thuluth and Kufic script within a gilt border. Surah headings in gold thuluth within gilt borders, gold pear-shaped devices in the margin marks ‘khums and ashar’. Gold verse markers pointed by blue dots, Al tajwid in red ink with occasional marginal notes, in brown morocco with flap. Although Herat was captured by the Safavids in 1510 and artists from the royal studio taken back to Tabriz, artistic standards there were well maintained. 22 by 18 cm. Estimate € 8000 - € 10.000

Lot 40 ____________________________________________________________________________________

A MAMLUK QURAN JUZ PROBABLY EGYPT, 14TH-15TH CENTURY

Comprising the 30th juz’, Arabic manuscript on paper, 14 leaves plus two fly-leaves, each folio with 13 lines of black muhaqqaq, surah headings in gold outlined in black, gold and polychrome rosette verse markers pointed in red and blue, the colophon set inside a larger gilt and polychrome medallion, with gilt and polychrome spandrels, minor repairs to the margins, the final page laid down on card, in brown morocco with tooled and gilded decoration. folio: 36 by 28 cm. Estimate € 10.000 - € 12.000

Lot 41 ______________________________________________________________________________

A BOUND GROUP OF TWENTY-NINE LEAVES FROM SEVEN SURAHS OF A DISPERSED MANUSCRIPT OF THE QURAN WRITTEN IN KUFIC SCRIPT ON VELLUM, NEAR EAST OR NORTH-AFRICA, 9TH CENTURY

An Arabic manuscript on vellum, 14 lines to the page written in elongated Moroccan Kufic script in brown ink with vowel marks in red, verses marked with three gold dots arranged in triangular formation, illuminated circular devices marking the fifth and tenth verses. One surah heading in gold, modern leather binding incorporating the front and the back covers of a later manuscript. Estimate € 120.000 - € 140.000

Quran 32 surah Al-Sajdah v.1-v.7, Quran 33 surah Al-Ahzab v.38-v.50, Quran 7 surah Al-Aâ&#x20AC;&#x2122;raf v. 56-v.103, Quran 9 Al-Tawbah also known as Baraâ&#x20AC;&#x2122;ah v.52-v.92, Quran 10 surah Yunus v.52-v.102, Quran 11 surah Hud v.2-v.123, Quran 12 surah Yusuf v.1-v.20. paper size: 15.5 x 33 cm.

Lot 42 _____________________________________________

A RASULID QURAN FOLIO PROBABLY YEMEN, FIRST HALF 14TH CENTURY

Arabic manuscript on paper, recto and verso with 13 lines to each page written in black naskh script with gold rosette markers pointed by blue dots. The first, middle and the last line in very strong black ink. Each folio with surah heading composed of white thuluth script outlined in black within a panel set off by squares of gold interlace at each end on an illuminated and extensively gilt ground. Large rosettes indicate each verse within the text, while a gold, pear-shaped device in the margin marks each 5th and 10th verse. Each verse is identified in the margin with the word arshar (‘ten’) or khums (‘five’) inside a gold circle with blue border and radiating hair strokes. Surah Al-Munafiqun vv. 11-10, surah Al-Taghabun, and the letterhead of surah Al-Talaq. folio: 38 by 29.5 cm. Estimate € 2000 - € 3000

Lot 43 _____________________________________________________________________________________

AN ILUMINATED MINIATURE COLLECTION QURAN, INCLUDING DALAAIL U’L KHAYRAAT WA SHAWAARIQ U’L ANWAAR ‘ABI ABD ALLAH MUHAMAD BIN SULAYMAN AL JZWLY, 870 AH/1465 AD COPIED BY AL-IMAM AL-HAJJ HUSSEIN ZAROUQ

Arabic manuscript on paper, 126 leaves plus 2 leaves, with 28 lines to the page, written in Maghribi in dark brown ink with red and blue vocalization, ruled in red and blue, verses green markers, catchwords written in black and red, with gilded red leather case with flap. 10 by 10 cm. Estimate € 1500 - € 2000

Lot 44 ____________________________________________________________________________

AN ILLUMINATED OTTOMAN QURAN JUZ, SCHOOL OF HAFIZ OSMAN TURKEY, 17TH CENTURY

Arabic manuscript on paper, 19 pages bound with 37 modern pages left blank, 11 lines to the page, naskh script written in black ink, verses separated by segmented gold roundels pointed in blue and orange, margins ruled in red, black and gold, surah headings written in white thuluth script on gilt ground with polychrome floral decorations, 12 pages with the words ‘Allahu Akbar’ repeated in the margins in gold, opening illuminated headpiece with foliate motifs on gold and blue grounds with an illuminated marginal device emanating blue sprays, modern leather binding with stamp decoration, with flap. 35.5 by 24.2 cm. PROVENANCE Sotheby’s London, 3 October 2012, lot 30. Estimate € 8000 - € 10.000

Lot 45 ____________________________________________________________________________

A RARE ANDALUSIAN QURAN SECTION ON PINK PAPER ANDALUSIA, 13TH CENTURY

An Arabic manuscript on thick polished pink paper, 12 folios, 5 lines to the page, written in large and bold Maghribi (Andalusi) script, vocalization in gold, letter pointing and vocalization in gold outlined in black, shadda and sukun in blue, yellow and green markers, single verse division marked with a gold illuminated roundel containing abjad letters in blue. Text: Quran 24 surah An-Nur, ‘The Light’, part of verse 2 to part of verse 26 27 by 34 cm. This is a fine example of Islamic manuscript production from the Muslim west, and the twenty-volume Quran from which this leaf originates is remarkable in many ways. It was written on paper, which in medieval Islamic Spain was unusual, vellum still being preferred material for the writing of the Quran; the paper was dyed pink, a rare luxury aspect; the script is a fine example of large scale Maghribi (the marking of the hamzas indicating a probable Andalusian origin) and the spacious arrangement of the script on the page allowed for the clear marking of the diacritics and vocalization in colors and gold and the elaborate illuminated devices between verses. A particularly unusual aspect of the verse divisions is the use of abjad letters to mark the exact verse count of every verse. The illumination of the devices marking the verse divisions is of every high quality and the size of the devices allows the use of a relatively complex design, as witnessed in the present example. This is the only known Quran from Andalusia to be on pink paper. Scholars attribute this manuscript to be commissioned by one of the early sultans of the Nasirids (Bano Ahmar) ruling family which reigned between 1232-1492 AD. Abu al Ahmar or Mohammed the first declared himself as a sultan over Arjona in 1232, thereafter he concurred many cities to the south, including Granada, which was declared the capital of the Islamic Andalusian state in 1238 AD. The Alhambra castle is an exemplary of Bano Ahmar’s lavish art patronage, architecture and complex designs. The complete pink Quran must have been one of the most lavish Qurans at the time given the fact that it would take few thousand pages to be complete, it could possibly be commissioned either by Mohammed the first or his son. Mohammed the second as a symbol of divine authority to the ruling of the Bano Ahmar family. A bifolium from the same manuscript is in The David Collection, Copenhagen. Folios from this manuscript were sold in Sothebys London on 14 April 1976, lot 247. A bifolia was sold on, 3 October 2012, Lot 17 and 6 April 2011, The Stuart Cary Welch Collection, Part One, lot 11; whilst single leaves were sold 8 October 2014, lot 13; 22 April 2015, lot 51 and 7 October 2015, lot 204. Also lot 136 on April 26th 2012 in Christies London.

Estimate € 80.000 - € 120.000

Lot 46 _____________________________________________________________________________________

TIMURID QURAN COPIED BY MAHMOUD HARAWI DATED 865AH/1461 AD

An Arabic manuscript on paper with 256 leaves, 14 lines to each page written in bold black naskh, gold verse markers outlined in black. Surah headings in gold thuluth with occasional marginal notes, opening two leaves with striking blue and gilt decorated borders, Al-tajwid and diacritics in red ink. Contemporary red calf with flap, written by Mahmoud Harawi in 865 AH/1461 AD. 22 by 16 cm. Estimate € 14.000 - € 18.000

Lot 47 ____________________________________________________________________________

THE THIRD SECTION OF THE QURAN - BY IBN AL-BUSAYS, 13TH CENTURY

An Arabic manuscript on paper 41 leaves with 2- fly-leaves and with 5 lines to each page, written in elegant gold naskh script outlined in black with gold rosette markers. Large rosettes indicate each verse within the text, while a gold, pear-shaped device in the margin marks each khums and ‘ashr verse. Double page illuminated opening frontispiece in gold and polychrome. The manuscript is the third section of the Quran. The Quran, of course, contains 30 almost equal sections. 21.5 by 15.5 cm. CATALOGUE NOTE Al-Shaykh Najm al-Din Musa Ibn ‘Ali Ibn Muhammad al-Halabi al-Dimashqi (known as Ibn Busays), born in Aleppo in 651AH/1253 AD and died in Damascus on 10th of Dhu al-Qi`dah of 716 AH/24 January 1317 AD. He was buried in al-Bab al-Saghir cemetery. He appears to have learned the art of calligraphy from his father. He became the most famous and accomplished calligrapher in Damascus just as his contemporary, Yuqut al-Musta`simi (died 1298), the most famous and accomplished calligrapher in Baghdad. The historian Ibn Kathir (1300–1373), when he was a teenager, met him and studied with him the art of calligraphy. He described Ibn Busays as a wonderful old man with very pleasant features. Ibn Busays continued to work as a calligrapher for about fifty years. After learning all the major types of calligraphy of his day, he excelled in the thuluth type of calligraphy. One of his greatest accomplishments is to write a khatma (complete Quran in thirty sections), near the end of his life, in a new style, which he called al-mu`jiz (the inimitable), where he used gold ink directly on paper instead of ordinary ink. It is clear that the present section belongs to that particular Quran because it seems to coiside with method used by him.

Among his other accomplishments is a commentary on Ibn al-Bawwab, titled Sharh Qasidat Ibn al-Bawwab fi Sina`at al-Kuttab (commentary on the Poem by Ibn a-Bawwab (died 1022) on the Art of Scribes). Ibn al-Bawwab’s poem is one of earliest treatises by a calligrapher on the necessary tools for good calligraphic writing, especially the mansub (the measured calligraphy). This commentary survived in summary form in a unique manuscript in the library of `Arif Hikmat in Medina. Ibn Busays was a humble man, who cultivated his own garden and repaired his house with his own hands. In essence, he believed in and was a follower of the Gilani order of Sufis. He even composed poems in that vein. Among the poems which survived are the following:

I swear if I were to be given the choice Between good fortune of this life or the next I would choose writing beautiful poetry Expressing, Oh God, your magnificent bounties.

Seek help from the Prophet Muhammad For everyone will be protected if he seeks his help Don’t be upset if things are tight For God has endless hidden favors. Sources: Ibn Hajar al-`Asqalani. Al-Durar al-Kamina fī A`yan al-Mi’a al-Thamina. Second Edition. Hyderabad, 1972. Ibn Kathir. Al-Bidaya wa al-Nihaya. Seventh Edition. Volume 14, Beirut, 1988. Ibn Taghribardi. Al-Dalil al-Shafi`Ala al-Manhal al-Safī Cairo. Ibn Taghribardi. Al-Nujum al-Zahira. Cairo, 1963. Estimate 20.000 - € 30.000

Lot 48 ____________________________________________________________________________

AN EXCEPTIONAL LARGE WOODEN WITH TORTOISE AND IVORY INLAID QURAN CABINET, OTTOMAN, TURKEY, 20TH CENTURY A four sided cabinet with short legs and domed cover. The decoration with ebony and ivory using the inlay technique. The side faces of the cabinet’s body are organised into rectangular panels. The interiors of these panels have the same designs as those found in bookbinding compositions of the classical Ottoman period. In the corners of the rectangular panels are ivory corner pieces. Cartouches with palmette-shaped lobes are covered with ebony. At the centre of each of the panels are ivory medallions, each with a huge boss at its centre and pendants terminating in rosette and palmette motifs; in the upper and lower areas are four six-sided rosettes. The interiors of the six-sided rosettes are decorated with mosaic-inlay of white and painted ivory and silver wire. Around the rectangular cartouches are inlays of ivory over ebony, as well as undulating designs featuring split-palmette motifs. Around the bottom border of the cover, separated by lobed cartouches, are ivory cartouches on which is carved Quran alfatihuh thuluth-style calligraphy. The surface of the dome is covered with broad ebony and ivory plaques, the V-shapes of which make up a zigzag design. The dome comes to a point; its upper section is decorated with ivory inset with the reverse side out, a series of ebony palmettes, and six-sided rosettes filled with mosaics. The finial on top has broken off. The cabinet was prepared in order to house sections of the Quran. It has two interior compartments. The interior of the dome is decorated with medallions made up of compositions of palmette and rumi (split-palmette) motifs painted on a background painted cream with lifazi aljalala. The inner border of the cover is decorated with palmettes and rumis on light green ground. 50.5 by 50.5 cm and 81 cm height. Estimate € 16.000 - € 20.000

Lot 49 _____________________________________________________________________________________

A LARGE OTTOMAN QURAN, TURKEY, CIRCA 1500

An Arabic manuscript on paper with 519 leaves plus two fly-leaves, each with 11 lines, 3 lines of large thuluth and 8 lines of naskh, polychrome and gilt roundel verse markers pointed in blue dots,within a gold and blue borders, surah headings in large gilt naskh script. Opening bifolio with gold and polychrome illumination, in stamped and gilt decorated morocco with flap. 28.8 by 17.7 cm. Estimate â&#x201A;Ź 16.000 - â&#x201A;Ź 20.000

Lot 50 _________________________________________________________________________________

A TIMURID QURAN, DATED 743 AH/1343 AD

An Arabic manuscript on paper with 554 leaves and 4 flyleaves, 11 lines to each page in bold black naskh script within a gilt and blue border. A complete Quran, surah headings in gold thuluth within gilt and polychrome cartouches, two opening biofolia with striking blue and gilt decorated borders. Gold verse markers pointed by blue dots, gold marginal medallions marking khums and ‘ashr. Al tajwid and diacritics in red ink. Brown morocco with gilt stamped and tooled central medallion, spandrels and cartouche border, the doublures with a similar but quatrefoil medallion. 22 by 16 cm. Estimate € 12.000 - € 15.000

Lot 51 ___________________________________________________________________________________

A LARGE OTTOMAN QURAN, TURKEY, DATED 1093 AH/1682 AD

An Arabic manuscript on paper with 520 leaves and 3 flyleaves, 9 lines to each page in bold black naskh script within a gilt and blue border. A complete Quran with Turkish translation, surah headings in gold thuluth within gilt borders. Two opening biofolia with striking blue and gilt decorated borders, verses in clouds against a pink ground. Gold verse markers pointed by blue and red dots, Al tajwid in red ink with occasional marginal notes in Turkish language, in brown morocco with flap. This manuscript is more specific because it contains Turkish translation between the lines of the original Arabic text. So it is believed to be from Turkey. 35 by 25 cm. Estimate â&#x201A;Ź 30.000 - â&#x201A;Ź 40.000

Lot 52 ____________________________________________________________________________________

MAJIMA’ AL-ANSSAB, A GENEALOGY OF THE PROPHET ‘MUHAMMAD AL-SHAZLY’, COMPLETED THE MANUSCRIPT ON THURSDAY 16 MUHARRAM 1077 AH/1667 AD

An Arabic manuscript on paper, 10 leaves, with names written in black and red naskh script within blue, orange and green circles linked by red lines, comments in black naskh, in brown morocco binding. This manuscript of genealogical tables starts with Adam, and traces the Prophet Muhammad and his descendants. It contains the mention of the birth of the Prophet, his lineage to Adam, and a brief biography of his mothers, children, wives, uncles, aunts, nieces, cousins, nephews, companions, and brothers from breastfeeding. It also contains representative drawings of Naal Sharif, including mentioning his lineage and his family. 42 by 28 cm. Estimate € 5000 - € 8000

Lot 53 ___________________________________________________________________________________

A QURAN SECTION ILKHANID DATED 720 AH/1320 AD ATTRIBUTED TO ABDULLAH AL-SERAFY IN 720 AH

An Arabic manuscript on paper, 104 leaves, 5 lines to the page, written in fine naskh script in black ink, 5 surahs and 381verses including surah Al Fatiha, surah Al An’am, Al Kahf, surah Saba and surah Fatir. Surah headings written in gold thuluth script within gold-ground floral panels. Al Tajwid, in diacritics in red ink. Opening illuminated double-page frontispiece elaborately decorated with interlacing polychrome flowers against a punched gold ground. The last double-page in five lines to the page written in naskh script, laid down on clouds against a gold ground, binding with gilt-stamped medallions and cornerpieces composed of scrolling vines. 18.3 by 12.5 cm. Estimate € 20.000 - € 40.000

_________________________________________________________________________________ CATALOGUE NOTE The calligrapher ‘Abdullah al-Serafy, who is known to have died after 1345/6 AD, was the son of Khwaja Mahmud Sarraf, and appears to have worked and lived in Tabriz his whole life. He trained under Sayyid Haydar Gandah-navis, one of the six famous pupils of Yaqut al-Mustasimi, the most celebrated calligrapher of the thirteenth century. In the tradition of Yaqut’s work, Al-Serafy studied the six scripts used by the calligraphers of the Iraq school, but also achieved great fame as a designer of architectural inscriptions. Indeed, it is likely that he was responsible for the calligraphy on two monuments in Tabriz, the Demasqiya Madrasa and another building that acquired the popular name ‘emarat-e ostad sagared (‘building of the master and the pupil’), commemorating the work of Al-Serafy and his pupil Hajji Muhammad Bandgir. ‘Abdullah al-Serafy’s calligraphy was held in such respect in the fifteenth century that his style was followed by the scribe Jafar Tabrizi, a tutor of ‘Abdullah Haravi and confidant of Prince Baysunghur, the well-known Timurid bibliophile. Furthermore, the Safavid calligrapher Dust Muhammad, active during the reign of Shah Tahmasp (r.1524-76), claimed that the naskhi tradition of Khurasan calligraphy had its roots in the earlier work of Al-Sayrafy.

_________________________________________________________________________________ Only a very small number of examples of Al-Serafy’s work have survived, including a Quran juz’ (30) dated 728 AH/1328 AD in the Chester Beatty Library, Dublin (MS 1468, published in A.J. Arberry, The Koran Illuminated, Dublin, 1967, p.41, no.136 & pl.49); a Quran in the library of the shrine of Imam Reza, Mashad, and a calligraphic page in the Iraq Museum, Baghdad. A Quran, copied by Abdullah al-Sayrafy and dated 744 AH/1343 AD, is in the Museum of Turkish and Islamic Arts, Istanbul [Inv No.178], whilst another Quran copied by the scribe, dated 745 AH/1344 AD, is in the Topkapi Palace Museum Library [Inv No.EH 49]. Abdullah al-Serafy has been celebrated for his Risala fi ‘ilm al-Khatt on the canons of calligraphy. The earliest known copy of this work, transcribed by a later scribe, dated 877 AH/1472 AD, is now in the Manisa Library [Inv. No.6436/1], Turkey. His Qawaid Khatt-i Thulth, now in the Ridawi Library, Mashad, is also among his scientific works on calligraphy. Further examples of Al-Sayrafy’s work can be found in the Nasser D. Khalili Collection, London, including a Quran written in rayhan and thuluth scripts (Acc.No. QUR832, see D. James, The Master Scribes, London, 1992, p.112-13, no.25) and a calligraphic page from an album of muraqqa’at (Acc.No. CAL25, see N.F. Safwat, The Art of the Pen, London 1996, p.76, no.42).

The Chester Beatty Library Quran juz’ (also published in D. James, Qurans of the Mamluks, London, 1988, p.241, no.52) shares with the present manuscript an exceptionally fine and crisp Naskhi hand, and was also included by Pope in the Survey of Persian Art of 1938 (A.U. Pope [Ed.], A Survey of Persian Art, London & New York, 1938, vol.V, pl.939B). Such is the beauty and high quality execution of the naskh script employed by Al-Sayrafi in the present Quran, with its neatness of form and regularity of spacing, that it is strongly reminiscent of the hand of his predecessor Yaqut Al-Mustasimi himself. Indeed a clear comparison can be made with the script of the present Quran and one generally accepted by scholars to be the work of Yaqut in the Topkapi Saray Library, Istanbul (E.H.76, published in M.Lings, The Quranic Art of Calligraphy and Illumination, London, 1976, p.55 & nos.24-25), written in 669 AH/1270-1 AD; both manuscripts are remarkable for the extreme clarity of their naskhi script, a hand considered by many to be the most important among Quranic scripts. A final example of Al-Serafy’s work can be found in an album composed of calligraphic specimens of the ‘six scripts’, a project sponsored by the Timurid prince Baysunghur (1397–1433) and now kept in the Topkapi Palace Museum (H.2310). The album includes the work of seven master calligraphers: Yaqut Al-Mustasimi, Mubarakshah Ibn Qutb, Arghun Al-Kamili, Ahmad Ibn Al-Suhrawardi, Yahya Ibn Jamal Al-Sufi, Muhammad Ibn Haydar Al-Husayni and Abdullah Ibn Mahmud Al-Sayrafi. One single page of text in the album (in Tawqi script) signed by Al-Serafy is dated 714 AH/1314 AD (see D.J. Roxburgh, The Persian Album, 1400-1600, London, 2005, p.48, fig26, and pp.37-83 for a full discussion of the album)

Lot 54 ____________________________________________________________________________________

AN OTTOMAN ILLUMINATED QURAN, COPIED BY ‘OMAR AL-ZUHDI TURKEY, DATED 1264 AH/1847 AD

An Arabic manuscript on paper, 287 leaves plus 3 flyleaves, 15 lines to the page, written in small and neat naskh script in black ink, verses separated by pointed gold dots, surah headings in white thuluth within gold-ground panels, various leafy gold sprays within the text, catchwords, margins ruled in gold. Double page illuminated frontispiece in colors and gold comprising interlacing split-palmettes and flowers. Corresponding finispiece with colophon and gold leafy outer margins, brown morocco binding with panels of trellis design in gold, scroll-work borders, with flap. 14.2 by 10 cm. Estimate € 20.000 - € 25.000

Lot 55 ____________________________________________________________________________________

AN OTTOMAN QURAN WITH HILYA COPIED BY MUHAMMAD ZADEH TURKEY, 18TH CENTURY

An Arabic manuscript on polished paper, 422 leaves plus 6 fly-leaves, 13 lines to the page, written in fine naskh script in black ink, verses separated by small gold roundels pointed in red, catchwords. Each tenth verse marked with the Arabic word ‘Ashr’ written diagonally in the margin, illuminated floral marginal devices. Surah headings written in white thuluth script within gold-ground floral panels, opening illuminated double-page frontispiece elaborately decorated with interlacing polychrome flowers against a punched gold ground, morocco binding with gilt-stamped medallions and corner pieces composed of scrolling vines, with flap. The last page is an illuminated Hilya, Arabic manuscript on paper of two circular text-blocks with 16 lines written in black naskh script separated by gold roundels pointed in red, set against a gold ground with floral motifs. 18 by 12 cm. Estimate € 10.000 - € 14.000

Lot 56 ____________________________________________________________________________________

A QURAN SIGNED ‘ABD AL-RASHID, INDIA, MUGHAL, DATED 1080 AH/1670-71 AD

Arabic manuscript on paper, 551 leaves plus two flyleaves, each folio with 12 lines of fine black naskh, text panels outlined in double gold and polychrome rules with gold floral illuminations, gold rosette verse markers, surah headings in gold thuluth. ‘khams, ashr, and sajda’ all marked in gold and in illuminated marginal devices, four illuminated headpieces, opening frontispiece bifolio with prayers in red thuluth on gold ground within a scalloped central medallion, preceded by an illuminated bifolio with surah Al-Fatiha and the beginning of surah Al-Baqarah, finispiece with prayers illustrated similarly to the frontispiece, re-margined in the Qajar period, in blind stamped brown morocco with a central blossoming flower. text panel 4.3 by 2.7 cm. folio 11.8 by 7 cm.

This Quran is signed and dated by Abd al-Rashid. Although the opening illumination and marginal decorations are done in the Qajar period, the original manuscript was produced in the Mughal court. This is evident by the illuminated chapter headings which are in a Mughal style and consistent with the 17th century date of the work. The original manuscript would have consisted of five sections (visible from presence of blank folios at the end of the chapters) which were later rebound as one volume and remarried in Qajar Iran. It is possible to suggest that the calligrapher of this Quran was in fact Abd al-Rashid Deylami. Also known as 'Rashida' (d. 1670-71) he was a calligrapher who served in the Mughal court of Shah Jahan. Not only was he the nephew of the famed calligrapher and master of nasta'liq Mir 'Imad, he was also his disciple. After the assassination of his famous uncle in 1615, Abdul Rashid was given shelter by Jahangir at the Mughal court. He was subsequently appointed as the calligraphy instructor to Shah Jahari's favourite son Dara Shikoh, who was considered to be one of the finest calligraphers of the Mughal Royal household. After the death of Shah Jahan, Abdul Rashid continued work under the rule of Aurangzib in the city of Akbarabad (Agra). Amongst the tazkereh writers on court calligraphers, it is Sepehr who mentions that besides from nastaliq in which 'Abd al-Rashid was so highly celebrated, he also wrote in naskh and ta'liq. There are no other recorded calligraphers called Abd al Rashid at the Mughal court from this period and no other Quran manuscripts known by this scribe in naskh, making this manuscript extremely rare if in fact it is the hand of Deylami. The style of naskh in this Quran shows the hand of an experienced but elderly calligrapher, which although consistent and strong, reveals slight weaknesses in some letters such as oaf and lam. This would be in line with the fact that this manuscript was completed a year before Dylami's death. The death date of Abd al-Rashid has often been debated. However, as discussed in Bayani (ibid), the correct date is most likely 1081 AH, due to the existence of a poem by Sa'idaye Ashraf who was a student of Abd alRashid, and who on the order of Zeb al-Nisa the talented daughter of Shah Jahan (also one of 'Abdul Rashid students) wrote a memorial poem after his death, which is dated to AH 1081. This manuscript was therefore completed one year before Abdul Rashid's death. Estimate â&#x201A;Ź 12.000 - â&#x201A;Ź 14.000

Lot 57 ____________________________________________________________________________________

AN OTTOMAN QURAN SIGNED AL-HAJJ ‘ABD AL-GHANI AL-WAHBI DATED 1263 AH/1846-47 AD

An Arabic manuscript on beige paper, written in beautiful and regular naskh in black ink of 15 lines per page, opening with a beautiful double frontispiece illuminated with a fine floral decoration, the titles of the surahs in white ‘ruqah’ script on gilt background , the verses separated by illuminated pastilles and the marginal illuminations of ‘asharat and khamisat’ in the form of florets. The colophon is signed: ‘Al-Hajj ‘Abd al-Ghani Al-Wahbi in the year 1263 AH’. Binding with flap in brown morocco decorated with golden palmettes. 17.5 by 11 cm. Estimate € 4000 - € 6000

Lot 58 ____________________________________________________________________________________

A QURAN COPIED BY MUHAMMAD MUNADI MUHAMMAD TAQI DATED 1123 AH/1711 AD, LATE SAFAVID DYNASTY

An Arabic manuscript on thin paper, 204 leaves, 21 lines to each page written in a disciplined naskh script in black ink, vowel points and diacritics in black and red ink, gold verse markers pointed in red and blue, inner and outer margins rules in gold, catchwords in wide margins, occasional illuminated marginal devices, surah headings written in thuluth script in blue ink on illuminated panels, one double page of illumination in colours and gold lacquer binding. Covers decorated with designs of massed flowers on a green ground. Inside the cover doublures decorated with narcissus plants on a red ground. 18.8 by 11.5 cm. Estimate â&#x201A;Ź 20.000 - â&#x201A;Ź 30.000

Lot 59 ____________________________________________________________________________________

AN ILLUMINATED QURAN, COPIED BY MUSTAFA HELMI IBN AHMAD, STUDENT OF MEHMED KAMIL, OTTOMAN, TURKEY DATED 1260 AH/1844-45 AD

An Arabic manuscript on paper, 317 leaves plus 5 fly-leaves, 15 lines to the page, written in naskh in black ink, ruled in gold, black and red, verses separated by pointed gold roundels, surah headings in white rounded cursive against a gold ground within cartouches, occasional gold and polychrome verse markers in the margins, f.1b and f.2a with a rococo illuminated fronstispiece, in leather gilt and stamped binding, with flap. 21.3 by 13.6 cm Estimate € 12.000 - € 14.000

Lot 60 _____________________________________________________________________________________

AN ILLUMINATED COLLECTION OF PRAYERS, INCLUDING DALA’IL AL-KHARAT KASHMIR, 19TH CENTURY An Arabic manuscript on paper, 94 leaves plus 4 fly-leaves, 11 lines to the page, the text written in black naskh script decorated by floral scrolls, alternating with 3 lines of black thuluth script against a gold ground, some words in red, 8 illuminated double pages, densely decorated with interlacing flowers on a blue and gold ground, one gold and polychrome heading (unwan), f.12b and 13a with paintings of Mecca and Medina, 19.8 by 9.8 cm. Estimate € 8000 - € 10.000

Lot 61 ____________________________________________________________________________________

ABU ‘ALI MUHAMMAD BIN MUHAMMAD AL-BAL’AMI (D. 974 AD): TARIKHNAMA SIGNED ‘IN AYATULLAH BIN NIRILLAH BIN SHAYKH ‘ABDULLAH, OTTOMAN ISTANBUL, DATED RAJAB AH 940/JANUARY-FEBRUARY 1545 AD A translation and abridgement of Al-Tabari’s celebrated Annals of the Prophets and Kings, Persian manuscript on paper, 555 leaves plus six flyleaves, each folio with 25 lines of elegant Ottoman naskh text within gold and blue rules, numerous words picked out in gold, red, orange, brown and blue, catchwords, paginated, illuminated opening shams stating the manuscript belonged to the treasury of Suleyman the Magnificent (r.1520-66), followed by a finally illuminated opening bifolio, one further illuminated headpiece, colophon with signature and date, in brown morocco with blind tooled cusped central medallion, cream paper doublers. text panel :16 by 9 cm. folio: 25.6 by 15.7 cm. The Tarikhnama of Bal’ami is one of the earliest works in prose composed in Persian and one that ‘inaugurates the long and brilliant series of Persian historical writings’. It was commissioned by the Samanid Amir Al-Mansur bin Nuh (r. 961-976) in 352 AH/963-64 AD as a translation from Arabic to Persian of Tabari’s seminal al-Tarikh (‘Annals of the Prophets and Kings’). Originally composed in Arabic, Tabari’s ‘Annals is a celebrated history and a very important source of information on the medieval Islamic civilisation. It describes the events between the Creation and the year 915 AD (See Chase F. Robinson, ‘Al-Tabari (839-923)’ in Cooperson and Toorawa, 2005, pp. 332-343) It is also exceptional as it bears a dedication to the Library of Sultan Suleyman illustrating the imperial tradition of book collecting. Mehmed II Fatih (d. 1481) and more particularly Bayezid II (d. 1512), two of Sulayman’s predecessors, were recognised bibliophiles. After his victory on the Safavids, Bayezid II’s successor Selim I (d. 1520) acquired the manuscripts that made the Topkapi Sarayi Library one of the richest collections. In the world. Suleyman was able to enrich the library through a series of successful campaigns between 1521 and 1566. However acquisitions were also reinforced by gifts such as that of the great Great Shah Tahmasp Shahnama, thought to have been given to Selim I by the Safavid Shah as an accession present. Bal’ami’s Tarikhnama was undoubtedly highly regarded by the Ottomans as this manuscript was produced to enter the Sultan’s library. It also demonstrates their well-known interest for works. Estimate € 10.000 - € 14.000

Lot 62 ____________________________________________________________________________________

MUSLIM BIN AL-HAJJAJ KNOWN AS IMAM MUSLIM(261 AH/ 875 AD) AL SSADIS EASHAR JUZ (16TH SECTION) ‘FROM THE BOOK ‘JAMI’ AL-SAHIH’ DATED 523 AH/1129 AD IN BALANSIYAH (VALENCE) ANDALUSIAN

An Arabic manuscript of 8 sheets including 7 in parchment and one later. The first page with four lines in ornamental Kufic with the title of the book and the name of the author: ‘Al-juz’ men kitab al-Jami’ al-Sahih by al-Imam al-Hafez Abul-Husein Muslim Bin Al-Hajjaj al-Qushayrī Al-Naysaburi. The rest of the pages are written in simple Andalusian Kufic script with brown ink on 17 lines per page, the first three in more pronounced spelling: several words and the titles of the chapters ‘bab’ are also in darker Kufic. The colophon is inscribed: ‘Tam al-Juz ‘al ssadis eashar’ 18 on shaeban 523 AH fi madinat Balansiyah al-mahrousah’ Copied by: Yusef ben ‘Abdul-Aziz Yusef b. Al- Dabbagh al-Lakhmi al-Indi al-Balansi on 18 Sha’ban 523AH in Balansiyah, Andalusia Bound without flap in stamped brown morocco with geometric decoration. Sahih Muslim is considered the second most authentic hadith collection after Sahih al-Bukhari. 20.5 by 26.5 cm. Estimate € 8000 - € 10.000

Lot 63 ____________________________________________________________________________________

AN OTTOMAN QURAN COPIED BY YAQUT RAGM-KHAN MUHAMMAD SHAMI TURKEY, DATED 1163 AH/1750 AD

An Arabic manuscript on paper, 726 leaves plus 2 flyleaves, 9 lines to the page, written in fine naskh script in black ink, verses separated by small gold roundels pointed in red. Additional Turkish writings on some pages. Surah headings written in white thuluth script within gold-ground floral panels, opening illuminated double-page frontispiece elaborately decorated with interlacing polychrome flowers against a punched gold ground, morocco binding with gilt-stamped medallion with flap. 16.5 by 10 cm. Estimate € 6000 - € 8000

Lot 64 ____________________________________________________________________________________

AN OTTOMAN QURAN BY OMAR AL-SHAWQI, STUDENT OF ISMAEL SHAWQI TURKEY, DATED 1225 AH/1810 AD

An Arabic manuscript on polished paper, 306 leaves plus 2 flyleaves, 15 lines to the page, written in fine naskh script in black ink, verses separated by small gold roundels pointed in red,illuminated floral marginal devices throughout surah headings written in white thuluth script within gold-ground floral panels. Opening illuminated double-page frontispiece elaborately decorated with interlacing polychrome flowers against a punched gold ground, binding with flap.16 by 10 cm. Estimate € 3000 - € 4000

Lot 65 ____________________________________________________________________________

AN’AM SHARIF MANUSCRIPT SIGNED ‘IBRAHIM KNOWN AS BARBARZADAH, DATED 1201 AH/1787 AD

An Arabic manuscript on paper, 185 sheets, calligraphic in beautiful and regular naskh, in black ink enhanced with silver and gold, on 9 lines per page, with the titles in white ruqa on a golden background, opening with prayers and a double illuminated frontispiece (6b-7a) giving the surahs Al-Fatiha and Ya-Sin followed by selected surahs (6b-66b). From sheet 67 to 78, a double frontispiece giving the names of Allah and Muhammad followed by the Hilye of Adam, Noah, Abraham, Isaac, Ismail, Lot, David, Moses, Joseph, Jesus, Muhammad, ‘Abu Bakr, ‘Omar,’ Osman and ‘Ali. From sheet 78b to 95, roundels calligraphy in thuluth in the name of: Abu Bakr, ‘Omar,’ Osman, ‘Ali, Tahla, Zubeir,’ Abdallah, ‘Abd el-Rahman, Ibn’ Ufa, Saad, Abu ‘Ubeida, Hassan, Hussein, as well as the names of the seven sleepers of Ephesus. Follow the imprints of the hands and feet of the Prophet, the usual instruments of the Prophet as well as many prayers. Colophon in sheet 177. Binding with flap in embossed and gilded brown morocco with vegetal decoration. 5.5 by 11 cm. Estimate € 4000 - € 6000

Lot 66 _____________________________________________________________________________

AN OTTOMAN QURAN SECTION WITH PRAYERS, TURKEY, 19TH CENTURY A Quran section of different chapters, the names of Allah ,different Arabic and Turkish adiyah, invocations. Copied by Hussein Qadi Zadeh and Hajj Abdullah Effendi. Arabic manuscript on polished paper, 126 leaves plus 2 flyleaves, 9 lines to the page, written in fine naskh script in black ink, verses separated by small gold roundels pointed in red morocco binding with gilt-stamped medallions and corner pieces composed of scrolling vines, with flap. 14.5 by 10 cm. Estimate € 2000 - € 3000 Lot 67 __________________________________________________________________

FIVE CHAPTERS OF THE QURAN WRITTEN ON A PAPER SCROLL, OTTOMAN, 19TH CENTURY

Five chapters of the Noble Quran, Al-Rahman, Al-Waqi’ah, Al-Ikhlas, Al-Falaq, Al-Nas. In the middle, the word Majesty Allah and Muhammad. In a thuluth, ruq’ah and naskh script, with a circular composition of some verses, and a dome and minaret of the mosque in surah Al-Waqi’ah. in black, red and blue ink, with gold-colored spacers, and elegant floral motifs. 140 by 8 cm. Estimate € 1200 - € 1500

Lot 68 __________________________________________________________________________________

AN OTTOMAN BOOK BINDING BY OBAID-ALLAH KNOWN AS HAFIZ ALKARAZ, TURKEY, EDIRNE, DATED 1212 AH/1797 AD

An Ottoman manuscript on paper, ‘Freed Alfawaad fi bian Alaaqed, unique benefits in showing beliefs’ consisting of 191 leaves plus 3 fly-leaves, 25 lines to the page written in black naskh, important words and headings in red, ruled in gold and red borders. A brown leather binding decorated with a central gilt and stamped medallion with double border. 22.5 by 15 cm. Estimate € 3000 - € 5000

Lot 69 __________________________________________________________________________________

AN OTTOMAN QURAN TURKEY, 18TH CENTURY

An Arabic manuscript on polished paper, 236 leaves plus 2 flyleaves, 17 lines to the page, written in fine naskh script in black ink, verses separated by small gold roundels pointed in red, the pages are sprinkled with light gold surah headings written in gold thuluth script within gold-panels, opening illuminated double-page frontispiece elaborately decorated with interlacing polychrome flowers against a punched gold ground, binding with flap. 15.5 by 10.5 cm. Estimate â&#x201A;Ź 8000 - â&#x201A;Ź 10.000

Lot 70 ______________________________________________________________________________

AN ILLUMINATED OTTOMAN CALLIGRAPHER’S DIPLOMA TURKEY, DATED 1301 AH/1883 AD

Arabic manuscript on paper, 20 lines to the page, divided between 3 lines of large and bold thuluth script, and 17 lines of neat naskh script in black ink written horizontally and diagonally within cloud bands against a gold ground punched with cintamani motifs, various panels of rococo flowers, with blue outer margins. The present ijazeh was given to Muhammad Haqqi Efendi, and signed by his tutor Isma’il Resmi baba, as well as Hafiz Hussein Remzi and Muhammad Vehbi, in 1301 AH/1883 AD. The document is also signed by the illuminator Hussein Shukri (son of Isma’il Resmi), dated the same year. 43.5 by 27.8 cm. PROVENANCE Sotheby’s London, 7 October 2015, lot 234. Estimate € 3000 - € 5000

Lot 71 ______________________________________________________________________________

ABD AL-JALIL BIN ‘UZUM AL-MAGHRIBI AL-QAYRAWANI: TANBIH AL-ANAM FI BAYAN ‘ULU MAQAM MUHAMMAD MOROCCO, NORTH AFRICA, CIRCA 16TH CENTURY

An Arabic manuscript on paper, 242 leaves, incomplete at beginning and end, 33 lines to the page written in Maghribi script in brown ink, headings and the words Allah and Muhammad picked out in gold or red throughout, inner margins ruled in red, blue and gold, catchwords in wide margins, two illuminated headpieces and two illuminated panels decorated with arabesques and geometric designs in colors and gold. 33 by 21 cm. Estimate € 4000 - € 6000

Lot 72 ______________________________________________________________________________

A LARGE OTTOMAN QURAN, TURKEY, CIRCA 16TH CENTURY

An Arabic manuscript on paper with 288 leaves and two flyleaves, with 14 lines to each page in bold black naskh script with notations in red within double gold and blue borders. A complete Quran, surah headings in white thuluth within gold and polychrome cartouches, gold roundel verse markers surrounded by blue border, gold marginal medallions marking ‘khams and ‘ashr’. Opening bifolium with dense gold and polychrome illumination with arabesque over gold, polychrome and marginal palmettes extending from the sides, brown morocco with flap. 34 by 24 cm. Estimate € 15.000 - € 20.000 Lot 73 _________________________________________

AN OTTOMAN LEATHER QURAN BAG TURKEY, 19TH CENTURY The rectangular shaped bag, made of leather, decorated with silver ornaments, including crescents and stars. 23 cm by 29 cm. Estimate € 2000 - € 3000

Lot 74 ______________________________________________________________________________

A QURAN SIGNED SHIKH FALAH BIN MOHAMMED ABDUL MOHSEN AL-KHARAFI 1852-1942AD An Arabic manuscript on paper, 337 leaves, each folio with 15 lines of black naskh script, with red roundel verse markers, surah headings in red thuluth script within red cartouches, text within double red rules, opening bifolio with polychrome illuminated headpieces and cartouches, occasional marginal notes. Stamped and tooled red morocco binding with flap. This Quran was written by Sheikh Falah Bin Mohammad Abdul Mohsen Al-Kharafi, born in 1852 in Najd, central region of Saudi Arabia, raised in Kuwait following the Hanbli school in the Islam. In his early days moved with his family to Kuwait and practiced the trade profession to become later as one of the famous business persons, bought several commercial vessels for trade and travel between Kuwait, the Arab Gulf states, India and Persia. 32 by 23 cm. Estimate â&#x201A;Ź 20.000 - â&#x201A;Ź 30.000

Lot 75 ___________________________________________________________________________________

A MAMLUK QURAN SECTION, 13TH-14TH CENTURY

Arabic manuscript on paper, 17 leaves with 7 lines to each page, written in black muhaqqaq script. Comprising the 7th juz’ to the middle of juz 8, with gold rosette verse markers pointed by red dots. With illuminated marginal medallions indicating the khums ‘5th’ of the verse. With Persian translation. 32 by 45 cm. Estimate € 2500 - € 3500

Lot 76 ______________________________________________________________________________

TWENTY-NINE SECTIONS OF THE QURAN BY MUHAMMED EFENDI OTTOMAN, 1202 AH/1787 AD

Twenty nine sections of the Quran, Arabic manuscript on paper. Each with 12 leaves and 15 lines, written in black script, verses separated red verse markers, surah headings in red naskh script within a red border, opening two leaves with striking blue and gilt decorated borders. 25.5 by 17.5 cm. Estimate € 3000 - € 4000

Lot 77 ______________________________________________________________________________

TWO ILLUMINATED QURAN PAGES PERSIA, SAFAVID, 17TH CENTURY

Quran 1 surah Al-Fatiha and Quran 2 surah Al-Baqarah v.1-v.3, manuscript on gold-sprinkled cream paper two leaves with 7 lines to each page, two very finely illuminated opening bifolios . Written in of elegant large gold naskh script outlined in black with gold illuminated florets between verses. All with green rectangulars on a very illuminated and densely with flowers and rosettes decorated ground. 37 by 25.5 cm. (2) Estimate € 4000 - € 6000

Lot 78 _____________________________________________

AN OTTOMAN FIRMAN OF SULTAN ABDUL HAMID II, TURKEY, 1327 AH/1909 AD An Ottoman Turkish manuscript on watermarked paper, 6 lines to the page, written in Diwani script in black, sprinkled in gold, gold dots and cintamani motifs, surmounted by a large tughra. The present firman was issued during the reign of Sultan ABDUL HAMID II, under request of Shaykh al-Islam Muhammad Jamaluddin Effendi (1891 - 1909) (first period) to appoint Muhammad said effendi as the judge of Kudus, Jerusalem. 80 by 57 cm. Estimate € 1200 - € 1500

Lot 79 ________________________________________________________________________

A MANUSCRIPT OF PRAYERS SIGNED MUHAMMAD NURI STUDENT OF HUSAYN WAHBI TURKEY, DATED 1244 AH/1828 AD

An Arabic manuscript on paper, 166 leaves plus four fly-leaves, each folio with 9 lines. of black naskh, gold and polychrome rosette markers, text within gold frame.Catchwords, headings in white naskh within illuminated cartouches, opening folio with finely illuminated headpiece in gold and polychrome. In the first half of the book different surah’s of the Quran such as Surah Al-Dukhan and Al-Anaam with other verses. The second half contains pages with geometrics designs enclosing the names of Allah and his prophet. Hilyas of the prophet with the four Rashidun Caliphs, in small black naskh within a roundel on an illuminated gold and polychrome ground. Different prayers by well-known Companions of the Prophet and imams in Arabic and Ottoman language. 12.5 by 8.5 cm. Estimate € 6000 - € 8000

Lot 80 ______________________________________________________

A CHINESE SCROLL WITH QURAN CHAPTERS CHINA, 20TH CENTURY

Decorated with three vases with carved inscriptions including “la ‘ilaha illa allah muhammad rasul allah” and paintings of Medina and Kaaba and some Quran verses. The names of the four Caliphs and the Imams Hassan and Husain. Approximately: 540 cm. Estimate € 2000 - € 3000

Lot 81 ______________________________________________________________________________

A QURAN ROLL MANUSCRIPT SIGNED MUHAMMAD BEN SOLIMAN AL-DIMASHKI AL-SHAFI’I, 1948

An Arabic calligraphy in tiny cursive in red and black ink, forming a prayer preceded by a ‘Bismillah’ and attested sentences. The large letters in Kufic are formed from the Quran in mircrography. Dated 21 Rabi ‘al-Thani in the year 1368 AH/1948 AD. In a leather case engraved with Kufic script. 300 by 17 cm. Estimate € 800 - € 1200

Lot 82 _________________________________________________________________________________

AN OTTOMAN QURAN, TURKEY, 18TH-19TH CENTURY

An Arabic manuscript on beige paper, calligraphed in beautiful and regular naskh in black ink 292 leaves plus 2 fly leaves on 15 lines per page, opening with a beautiful double frontispiece illuminated with a fine floral decoration, surah headings written in gold thuluth script within on background golden, the verses separated by illuminated pastilles and the marginal illuminations of in the form of florets. Binding with brown morocco decorated with golden palmettes. 15 by 9.5 cm Estimate € 2000 - € 3000

Lot 83 _________________________________________

AN ILLUMINATED COLLECTION OF PRAYERS, INCLUDING DALAYIL ALKHAYRAT KASHMIR, DATED 1301 AH/1884 AD

An Arabic manuscript on paper, 104 leaves plus 4 fly-leaves, 11 lines to the page, prayers classified according to the days of the week. The text written in black naskh divided into two sections of 4 lines decorated by floral scrolls, alternating with 3 large lines of black thuluth against a gold ground, some words in white, 8 illuminated double pages, densely decorated with interlacing flowers on a blue and gold ground, one gold and polychrome heading (‘unwan),on folio ‘25 b, 26 a’ with paintings of Mecca and Medina, and 4 pages of asma’ allah alhusnaa. In a lacquered Kashmiri binding decorated with flowers. 20.5 by 12.5 cm. Estimate € 4000 - € 6000

Lot 84 _____________________________________________

KHULASH EILM AL FARAYID DATED 1285 AH/1868 AD

An Ottoman Turkish manuscript in black, red and gold ink on paper tabulated in the form of circles. Copied by Mufti Arab Effendi Zadeh Hajj Muhammad Amin Naqshbandi Al-Khaldi. 45 by 33 cm. CATALOGUE NOTE Islamic inheritance jurisprudence: is a field of Islamic jurisprudence that deals with inheritance, a topic that is prominently dealt with in the Quran. It’s often called ‘Mirath’ and its branch of Islamic law is technically known as ‘ilm al-fara id’, the sciences of the ordained quotas. Estimate € 2000 - € 3000

Lot 85 ___________________________________________________________________________________

A MARRIAGE INSTRUMENT (SAK ZAWAJ), MOROCCO, DATED 1156 AH/1743 AD

An Arabic manuscript on paper. Marriage contract between alsyd Alsharif Muhammad ibn al-Sharif Sidi al-Hasan ibn Sidi Muhammad ibn Sidi al-Hassan ibn Sidi Idris, whose lineage is attributed to the last king of the Idris, Prince Sidi al-Hassan, and his lineage is attributed to Ali ibn Abi Talib and Fatima al-Zahra, may God be pleased with them. And alsayida. Zainab, the eldest daughter of Moulay Ahmed bin Moulay Muhammad al-Iraqi al-Husayni. Offered is 500 ounces and deferred 100 ounces. Black and red ink in Moroccan script. With a golden line and motifs on the top of the board. 50 by 45 cm. Estimate € 3000 - € 5000

Lot 86 ______________________________________________________________________________

HIGHLY ILLUMINATED QURAN WRITTEN IN MEDINA BY THE MASTER CALLIGRAPHER DOST MUHAMMAD BUKHARI

Complete Quran, 356 leaves with 12 lines per page, in clear, elegant and uniform naskh script, in black ink, on paper. The text is vocalized throughout. There are two handsomely illuminated pages in the beginning. All headings of surahs are written in ornate script in gold. All verses are separated by gilt rosettes. All pages are ruled in several lines of gold and other colors. The division of the Quran are marked with gilt medallions on the margins. There are tens of such divisions. The recitational marks are indicated in red throughout. It was written by the master calligrapher Dost Muhammad Bukhari. The calligrapher told us in his du`a’ al-khatm (prayer for completing the text) that he belonged to a particular sufi (mystic) order known as al-`Aliyya and that he wrote it in the city of Medina, probably during his pilgrimage to the holy land of Hijaz. He also told us there that particular Quran was his 24th one and that he hoped to write 100 or more Qurans. The Quran is not dated. However, a similar Quran is mentioned by B. W. Robinson in his work Islamic Painting and the Arts of the Book, where he dated the Quran as 1534. It is safe, therefore, to say that the present Quran was written around 1550 AD. The Quran is bound in full brown morocco binding, with a flap in the traditional Islamic bookbinding, in gilt arabesque floral design, with central medallion. 26 by 16 cm. Estimate € 30.000 - € 40.000

Lot 87 _________________________________________________________________________________________

GHAYAT AL-SURUR FI SHARH DIWAN AL-SHUDHUR IZZ-AL-DIN ‘ALI AL-JIDAKI (DIED 1342-43) NORTH AFRICA OR ANDALUSIA, SIGNED AND DATED 1309 AH/1891 AD

An Arabic manuscript op paper, written in Maghribi script, 252 leaveswith 14 flyleaves with 18 lines, to each page in black ink, a few lines in polychromy or in gold letters. Titles illuminated in gold letters in polychrome cartridges with vegetable decoration and marginal appendix. Illuminated colophon indicating in gold letters on a polychrome background the order of Moulay al-Hassan and giving in the following lines in black ink the end date safar 1309AH/October 1891 AD and signed ‘Abd el-Salam ben’ Abd el -Ouahab ben ‘Abd el-Ouahab. Binding with flap in embossed and gilded leather with a diamond-shaped medallion with geometric decoration framed by spandrels with poly-lobed cutout. Interior dishes and leather case decorated with vegetable sebkas. 24.5 by 20 cm. Estimate € 2000 - € 3000

Lot 88 ________________________________________________________________________________________

A CALLIGRAPHIC SCROLL OF THE NINETY-NINE NAMES OF ALLAH, SIGNED AT THE END MOAZ BIN MUHAMMAD AL-SHAFI’I ON THE EIGHTEENTH OF RABI’ AL-AWWAL 1387 AH/1967 AD

An Arabic manuscript on blue paper, the line of text in silver Kufic script outlined in black with interlocking upstrokes. 300 by 17 cm. Estimate € 800 - € 1200

Lot 89 _____________________________________________________________________________________

ABU’L HASAN ‘ALI IBN MUHAMMAD’ BIN ‘ALI AL-QARSHI AL-BASTI AL-QALSADI, KASHF AL-JALABAT ‘AN ‘ILM AL-HISAB, A TREATISE ON ARITHMETIC NORTH-AFRICA, DATED 25TH RAMADAN 1310 AH/11TH APRIL 1893 AD Abu’l Hasan ‘Ali ibn Muhammad bin ‘Ali al-Qarshi al-Basti al-Qalsadi, Kashf al-jalabat ‘an ‘ilm al-hisab, a treatise on arithmetic. Arabic manuscript on paper, 49 leaves, 16 lines to the page written in neat Maghribi script in brown ink with significant words and headings in gold, blue and red, numerals written in red, inner margins ruled in gold and blue, catchwords, one illuminated headpiece in colors and gold, modern brown leather with stamped central medallions and corner pieces outlined in gold. 23.3 by 18.4 cm. Estimate € 4000 - € 6000

Lot 90 _________________________________________________________

AN ARABIC CALLIGRAPHY SCROLL OTTOMAN, 19TH CENTURY

An Arabic calligraphy board divided into five sections, in which: the first section: Basmala written in Altughara script, in black and gold, surrounded by a decoration of roses and leaves, and framed by the vv. Al-Kursi Quran 2 surah Al-Baqarah. The second section: surah Al-Naba’a is written in ten lines, and on the two sides in a vertical column, surah Al-Kafirun and surah Al-Nas are written. The third section: it contains the surah Al-Naba’a in the form of a circle in blue, surrounded by a larger circle in golden color, and the voids were filled with a decoration of roses and leaves, and the surahs of the Al-Kafirun and Al-Nas on the two sides are completed. The fourth section: it contains surah Al-Alaq in eight lines, and on both sides are surah Al-Ikhlas and surah Al-Falaq in a vertical column. The fifth section: it contains surah Al-Qadr in four lines. The painting is written in thuluth script in black, gold, blue, red and white color on a roll. 158 by 30 cm. Estimate € 1500 - € 2000

Lot 91 _________________________________________________________

A DÉCOUPÉ (CUT-OUT) QURAN SECTION SYRIA, 20TH CENTURY

Juz 27, surah Alwaqiea vv 95. Arabic manuscript on green and white paper, 15 leaves plus 15 fly-leaves, each folio with 5 lines in large muhaqqaq script cut-out in white folio and laid down on green folio so that the text appears twice on each bifolio, with marginal medallions, heading within a cartouche, in stamped binding with flap and marbled paperdoublures. 30 by 13 cm. Estimate € 1200 - € 1500

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Lot 92 ___________________________________________________________________________________

AN ILLUMINATED COLLECTION OF PRAYERS, INCLUDING DALA’IL AL-KHAYRAT, MOROCCO, 18TH CENTURY

A fine Dala’il al-Khayrat, prayers in praise of the Prophet, Arabic manuscript on paper, in Maghribi script, 270 leaves plus 4 fly-leaves, each folio with 10 lines, in black ink, titles and important words picked out in gold, the chapter headings and certain words in primary colors and occasionally gold, with 8 stylised illuminated charts and graphs, double-page illuminations of the grave of Prophet Muhammad and the Minbar of Medina, in blind-tooled red-dyed calf binding with gilt highlights and cover flaps. 9.5 by 10 cm. CATALOGUE NOTE Dala’il al-Khayrat reflect the spontaneous composition of salawat, the blessings and praise upon the Prophet, composed directly from the heart of a prominent Sufi master, Imam Al-Jazuli (died 1465). The composition has become an important prayer book in its native land, Morocco, which has also spread across the breadth of the Islamic lands. Today, Dala’il al-Khayrat is celebrated as the most acclaimed source on the salawat upon the Prophet Mohammad. Dala’il al-Khayrat has for centuries inspired calligraphers, illuminators and painters of court ateliers in producing sumptuous prayer manuscripts, which reflect the distinctive designs of various Islamic dynasties. These manuscripts uncover the story behind the text appreciation by patrons and calligraphers, and to bring to light the skills as well as the techniques of the craftsmen. The tradition of reciting the salawat of Dala’il al-Khayrat in public and private gatherings continues until today. Estimate € 10.000 - € 14.000

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Lot 93 _______________________________________________

SHAMA’IL NAMEH IRAN, LATE 19TH CENTURY

Miniature painted in gouache and gold on paper, Arabic text in gold inside illuminated cartridges, representing Imam Ali and his sons in an oval cartridge, framed by several poly-lobed cartridges with very fine decorations of flowered scrolls and spiral arabesques, with blessings for the Prophet and Ali. The names of the members of the holy family surround the representation of the Imam. The large outer frieze is inscribed with surah Al-Nur (Quran24, verse 35) in red naskh in golden poly-lobed cartridges. Framed under glass, laminated. 56 by 35.5 cm. Estimate € 1000 - € 2000

Lot 94 _________________________________________________________________________________

A FINE ILLUMINATED ARABIC MANUSCRIPT SCROLL IRAN, ISFAHAN, 1299 AH/1882 AD

Abdel Mohsen Bza Ahmed Al-Hussein in the nineteenth of the first month of Jumadi 1299 AH/1882 AD in Isfahan. Richly illuminated Arabic manuscript scroll on blue paper, calligraphic in gold Kufic, the bismillah in white thuluth decorated with spiral arabesques, giving the text of the surah Al-Kahf vv.1.18. 15 by 300 cm. Estimate € 1200 - € 1500

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Lot 95 ____________________________________________________________________________

A BOOK OF NAIL WORK CALLIGRAPHY 20TH CENTURY

The album comprising 52 leaves with 2 fly leaves and 5 lines of nail-work calligraphy on polished cream paper in elegant thuluth script. Quran 17 surah Al-Isra, or Bani Israil, the first verse is on the journey of Israa, and most of the surah is on the authority of the Children of Israel. Therefore, it is also called the surah of the Children of Israel. This work after the script of Ibn Al-Sabaq Al-hanafi. 24 by 34.5 cm. CATALOGUE NOTE Ibn Al-Sabbaq: Ali ibn Sinjar, the imam and the scholar of Bagdad, Taj al-Din Ibn Qutb al-Din al-Baghdadi, born in 661 AH/ 750 AH. He was taught half of Sahih al-Bukhari and Ahkaam Ibn TaymiyyahIbn by Abi al-Qasim. Ibn al-Sabbaq became the head of the Mustansiriya school, wrote poems in an elegant script. Estimate € 8000 - € 12.000

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Lot 96 _______________________________________________________________________________________

YUSUF AND ZULAIKHA BY ABD AL-RAHIM ANBARIN-QALAM JAMI MAWLANA NUR AD-DIN ABD Al-RAHMAN DATED 1018 AH/1609 AD

Persian manuscripts on paper of 178 leaves with 12 lines to each page, written in black nasta’liq script in two columns within gold and blue borders. The first two pages of nasta’liq script in two columns in clouds reserved against with flowers decorated ground, within multiple borders of different colors. With 7 miniatures paintings of Yusuf and Zulaikha in different scenes, pen and ink heightened with gold and opaque pigments on paper. It is signed: ‘Completed at the hand of the sinful Abd-al-Rahim, May almighty Allah conceal his faults and forgive his sins with the dating of 1018 AH/1609 AD’. 24.5 by 18.5 cm Persian poems about Yusuf and Zulaikha, mentions that Yusuf was the closest of his sons to Jacob. Yusuf half-brothers were jealous of him, most of them plotted to kill him with the exception of Reuben who suggested to have Yusuf thrown into an empty cistern (miniature 3), intending to rescue Yusuf himself. Unaware of this secondary intention, the others obeyed his first. Upon imprisoning Yusuf, the brothers saw a camel caravan carrying spices and perfumes to Egypt, and sold Yusuf to these merchants. Ultimately, Yusuf was sold to Potiphar, Aziz of Egypt (miniature 4). Later, Yusuf became Potiphar’s personal servant, and subsequently his household’s superintendent. Zulaikha, the wife of Potiphar, started watching him and following him everywhere as Yusuf grow to be a good soldier and hunter thanks to Aziz of Egypt teaching him (miniature 2, Zulaikha watching Yusuf in a camp during hunting). Zulaikha tried to seduce Yusuf, which he refused. During his escape his shirt was cut off (miniature 6). The news of this incident spread among the women of the city, Zulaikha wanted to show them the beauty of Yusuf, invited them to a banquet and intentionally gave each woman a knife to cut fruit and ordered Yusuf to enter the hall( miniature 7). When they looked at Yusuf, they were shocked with his beauty and cut their hands without feeling the pain. The writer: This book is of Nur ad-Din ‘Abd ar-Rahman Jami, (817 – 898 AH/1414 – 1492 AD) also known as Mawlana Nur al-Din ‘Abd al-Rahman or Abd-Al-Rahman Nur-Al-Din Muhammad Dashti, or simply as Jami or Djami and in Turkey as Molla Cami (7 November 1414 – 9 November 1492), was a Persian Sunni poet who is known for his achievements as a prolific scholar and writer of mystical Sufi literature. He was primarily a prominent poet-theologian of the school of Ibn Arabi and a Khwajagani Sufi recognized for his eloquence and for his analysis of the metaphysics of mercy. His most famous poetic works are Haft Awrang, Tuhfat al-Ahrar, Layla wa -Majnun, Fatihat al-Shabab, Lawa’ih, Al-Durrah al-Fakhirah. Jami belonged to the Naqshbandi Sufi order. A few years after his birth, his family migrated to Herat, where he was able to study Peripateticism, mathematics, Persian literature, natural sciences, Arabic language, logic, rhetoric and Islamic philosophy at the Nizamiyyah University. His father, also a Sufi, became his first teacher and mentor. While in Herat, Jami held an important position at the Timurid court, involved in the era’s politics, economics, philosophy and religious life. His poetry has been inspired by the ghazals of Hafiz, and his famous and beautiful divan Haft Awrang (Seven Thrones) is, by his own admission, influenced by the works of Nizami. The Haft Awrang also known as the long masnavis or mathnawis are a collection of seven poems. Each poem discusses a different story such as the Salaman va Absal that tells the story of a carnal attraction of a prince for his wet-nurse. Throughout Jami’s work references to Sufism and the Sufi emerge as being key topics. Yusuf and Zulaikha is one part of his Haft Awrang (Seven Thrones). The story tells the romance of Yusuf and Zulaikha, wife of Potiphar based on the Islamic traditions, where Zulaikha’s longing for Yusuf represents the soul’s quest for Allah.

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The calligrapher: Abd Al-Rahim Al-Heravi, he was a native of Herat but, as a young man, went to India and entered the service of Abd-al-Raim kan kana son of Bayrem Khan. According to the Maaer-e Raimi, he gained a wide reputation for his nasta’liq hand, a highly attractive cursive script descended from Persian traditions of calligraphy, while writing manuscripts for Mirza Abd-al-Raim kan kana (1556-1627). After some years kan kana presented him at the court of Akbar because of his proficiency in nasta’liq style, where Abd-al-Raim received an appointment. In recognition of his achievements as calligrapher he received two titles ‘Raushan Qalam and Anbarin Qalam’. He copied some of the worlds finest poetry for the emperor in swift, measured and elegant script. He became later one of the favourite calligraphers of Sultan Jahangir (1569–1627), who ruled between 1605 and 1627.

Estimate € 30.000 - € 50.000

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Lot 97 _____________________________________________________________________________________

AN OTTOMAN ILLUMINATED CALLIGRAPHER’S DIPLOMA (IJAZEH) TURKEY, 1286 AH/1896 AD

An Arabic manuscript on stout paper, 13 lines to the page, written in thuluth and naskh scripts in black ink within cloud bands, set against a gold ground with pin-pricked cintamani motifs and polychrome floral decoration, outer margins of scrolling gold vines. 33 by 29.5 cm. CATALOGUE NOTE The present ijazeh was given to Ahmed al-Farid, and signed by the teachers Muhammad al-Sharif al-Khulusi, Husayn al-Fahmi, Mustafa al-Fawzi, ‘Uthman al-Khulusi, Muhammad al-Wahbi and Suleyman al-Fitri, in 1286 AH/1869 AD. Estimate € 8000 - € 10000

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Lot 98 ______________________________________________________________________________________

AN ILLUMINATED OTTOMAN CALLIGRAPHIC DIPLOMA (IJAZEH), SIGNED BY MUHAMMAD SHUKRI EFENDI, TURKEY, DATED 1290-91 AH/1873-74 AD An Arabic manuscript on paper, upper line in bold black bold thuluth script, 2 lines beneath in neat naskh script, 2 lower cartouches giving the details of the of the ijazeh, interstices filled with rococo floral decoration against a gold ground, laid down on marbled paper calligraphic panel:14.3 by 23.1cm. leaf: 25.2 by 33.5 cm. CATALOGUE NOTE This Ottoman calligraphers license (ijazeh) gives the name of the student as Muhammad Shukri Efendi and the names of the teachers ‘Ali Shukri (pupil of ‘Umar al-Wasfi) and Mehmed ‘Ilmi Efendi (father of ‘Ali Shukri Efendi). Estimate € 1500 - € 2000

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Lot 99 ______________________________________________________________________________

A RARE OTTOMAN ENGRAVED TOMBAK HILIYE TURKEY, 17TH CENTURY

An Arabic manuscript on gilt-copper, composed of 6 rectangular panels, engraved throughout with the text in muhaqqaq and thuluth scripts, the interstices decorated with leafy tulips. Framed. 41.7 by 28 cm. Inscriptions: The text includes: Quran, chapter 21 surah Al-Anbya, verse 107, a few of Prophet’s attributes, his physical characteristics, the names of the ‘Seven Sleepers’ and their dog and the names of the four Caliphs. Although difficult to define in exact terms, the Hilye can be summarized as a ‘description’ of the Prophet Muhammad, in that it entails both physical characteristics as well as referring to his temperament and behavior. In the absence of any images of the Prophet, his description according to ‘Ali Ibn ‘Ali Talib (his son-inlaw and nephew) is generally regarded as the most authentic, providing a powerful verbal image. Thus, most Hilyes take Ali’s description as their basis. PROVENANCE Private collection, Germany Estimate € 10.000 - € 14.000

Lot 100 _________________________________________________________________________________

AN OTTOMAN FRAMED LEAF WRITTEN WITH GOLD TURKEY, 1328 AH/1910 AD

The gilt and pierced leaf with applied calligraphic Quranic composition in thuluth script, mounted on black board, framed and glazed. To achieve this work, the calligrapher begins by painting his inscription in ink on the sheet and then fixes it with a sheath of wax applied to each side of the sheet. Then he immerses the latter in an alkaline solution so as to dissolve the flesh, and does not remove it until the ribs appear and the inscription then covered with gold leaf. Calligraphy on a Judas tree leaf. Text: Janat eadn muftahah lahum al’abwab surah sad vv.50 Estimate € 2000 - € 3000

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Lot 101 ___________________________________________________________________________________

AN OTTOMAN CALLIGRAPHIC DIPLOMA (IJAZEH) TURKEY, 1280 AH/1863 AD

An Arabic manuscript on paper, the top line with the basmallah in large thuluth script, with two lines of black naskh script below, with gold and polychrome roundel verse markers, within gold frame, with floral illumination, framed and glazed. miniature: 15 by 24 cm., page: 29 by 39 cm Estimate € 2000 - € 3000

Lot 102 ________________________________________________________________________________

AN OTTOMAN CALLIGRAPHIC DIPLOMA (IJAZEH) HAFIZ MUSTAFA, TURKEY, DATED 1267 AH/1851 AD

‘Aljanat taht ‘aqdam alamhat’ (Paradise is under the feet of mothers). Gouache heightened with gold on card, Arabic manuscript on paper, with a large heading in black muhaqqaq outlined in gold above 2 lines of elegant naskh in gold reserved against punched gold ground, three polychrome and gold roundels, below this two further oval cartouches with 5 lines and 5 lines of naskh with gilt and polychrome floral margins set on gold ground with floral bouquets. 32 by 23 cm. Estimate € 1500 - € 2000

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Lot 103 ____________________________________________________________________________________

AN ILLUMINATED CALLIGRAPHIC DIPLOMA (IJAZEH) ABDUL QADIR AL-SHUKRI, DATED 1821

Arabic manuscript on paper, 13 lines to the page in black naskh script with one large thuluth script at the top, the top with gold and polychrome illuminated headpiece and panel on gold ground, various panels of rococo flowers, with blue outer margins. 45 by 26 cm. CATALOGUE NOTE The present ijazeh was given to Abdul Qadir Al-Shukri, and signed by the teachers Abd al-Rahman Helmi Mustafa Al-Fekri Muhammad Amin Al-Tawfiqi Ibrahim Al-Qadri Yusuf Al-Ridhay Mustafa Al Sururi Muhammad Al-Nuri Muhammad Shawqi Muhammad Al-Sakouti and Hasan Al-’Ashq. Estimate € 8000 - € 10.000

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Lot 104 ___________________________________________________________________________________

AN OTTOMAN CALLIGRAPHIC PANEL LEHVA, DATED 1284 AH/1867 AD

An Ottoman calligraphic panel or levha, opaque pigments heighted with gold. Decorated with two cartouches enclosing Ottoman inscriptions in gold script ‘life and death is our right, oh Lord guide us to follow the path of Abu al-Qasim, an attributive name of the prophet’ on flower sprays decorated ground. The outer border decorated with a dense design of flower heads with foliage and two small paintings of Great Mosque of Mecca and Al-Masjid an-Nabawi, signed by Muhammed Qasim, dated 1284 AH. 44 by 63 cm. Estimate € 3000 - € 5000 Lot 105 ________________________________________________________________

SEVEN CHAPTERS OF THE QURAN ON A PAPER ROLL OTTOMAN, TURKEY, 19TH CENTURY Seven chapters of the Noble Quran. Surah Al-Naba, Al-Tariq, Al-Fateh, Al-Masd, Sincerity, Falaq, People. Written in thuluth, patch and transcription In black, red and blue ink, golden spacers, with elegant floral motifs. 130 by 9 cm. Estimate € 1200 - € 1500

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Lot 106 _________________________________________________________________________________________

AN OTTOMAN HILYA, SIGNED ABD’ULLAH AL-TUFFIGH IN ARABIC, ILLUMINATED MANUSCRIPT ON PAPER, TURKEY, DATED 1220 AH/1805-6 AD

Single leaf, text panel at the top with the blessing in a single line of black muhaqqaq, then a circular text-block with 10 lines black naskh, 4 circular devices extending outwards from this with the names of the Caliphs, then another single line of muhaqqaq in another text block above the colophon at the bottom of the page, containing another 5 lines black naskh, gilt roundels marking the verses throughout, floral decorations and gilt borders in later colouring, lightly rubbed and scuffed on the surface. Mounted on thick modern board. A standard style of Ottoman hilya following the layout popularised by Hafiz Osman, that grew in popularity become the ‘classical’ form of this devotional ornament. 36 by 20 cm. Estimate € 4000 - € 6000

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Lot 107 ___________________________________________________

AN OTTOMAN SILK AND METAL-THREAD CALLIGRAPHIC FRAGMENT TURKEY, 17TH CENTURY

Of figured silk, probably from a tomb cover, the black satin ground woven with a column of linked ovals each with a silver thread thuluth inscription flanked at each side by a similar smaller panel, a single band of inscription above. Embellished in cream colored weave of two bands “O, Allah! Commend and salute the Prophet Muhammed” with roundels enclosing names of the Prophet. Flanked by smaller roundels containing the names of Four Caliphs: Abu Bakr, Omer, Ottoman and Ali with his sons Hasan, Hussein, and the rest of the Asharatu mubashirun : Talha, Ibn Zubayer, Ibn Awaf, Sa`d, Abu Ubayda and Said ibn Zayd. Mounted and framed. 63 by 16 cm. PROVENANCE Christies London, 23 October 2007, lot 35. From the property of the Dr. Amir Pakzad Museum, Hannover Estimate € 3000 - € 4000

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Lot 108 _____________________________________________________________________________________

AN EXTREMELY RARE CHESS BOARD MADE OF SOLID SILVER AND DATING TO THE FATIMID PERIOD 909-1170 AD AND INSCRIBED WITH A POEM BY ‘UMARA AL-YAMANI’

The verse is from a qasida (the poem), by ‘Umara al-Yamani’ which was written for the vazir of the penultimate Fatimid caliph al Fa’iz ibn Al-Zafir (549-55 AH/1154-60 AD), al-Shalih ibn Ruzik (Also transcribed as Ruzzaik , Ruzaik, Ruzayk, known for his mosque ‘Salih Tala’i in Cairo). 35.2 by 27.5 by 3.7 cm. Weight: 2,58 kg Estimate € 50.000 - € 80.000

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______________________________________________________________________________________ The poem on the chess board translate as follows: “O that the stars would draw near me that I should form from them a necklace in praise of you; for words are inadequate.”

al Fa’iz ibn Al-Zafir (549-55 AH / 1154-60 AD) Following the assassination of his father az-Zafir by the vizier Abbas ibn Abi al-Futuh, al-Fa’iz was raised to the throne as a five-year old child. Abbas was soon forced to flee and was killed through the intervention of Tala’i ibn Ruzzik, who became vizier and regent. Al-Fa’iz never exercised power in his own right with the vizier Tala’i ibn Ruzzik exercising real power, he died aged 11 after suffering an epileptic fit. He was succeeded by his cousin al-Adid the son of Yousuf, also a minor who was appointed by the vizier Tala’i ibn Ruzzik. The Fatimid dynasty came to an end in 567 AH/1171 AD when the Ayyubid dynasty came to power. For this reason it is highly unlikely that this chess board was made after 566 AH/1170 AD. An analysis and metallography report by Oxford Materials OMCS & Begbrokenano (#R4426) is consistent with the dating.

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______________________________________________________________________________ Amara bin Abi Al Hassan bin Ali bin Zaidan was born in the town of Murtan, located in Sahel Tuhama, then he moved to Zabid, where he enrolled in one of its schools. He left Amara to the Hijaz to perform the Hajj pilgrimage, and he met there with the sheriff of Makkah al-Qasim bin Hashem bin Felaita, who sent him to the Fatimids in Egypt to perform some purpose. Amara arrived in Egypt in Rabi` al-Awwal 550 AH, when the caliphate was for the winner Ibn al-Dhafir, so he entered the caliph and praised him with a poem that he received. In Shawwal of the same year, Amara returned to Mecca, and passed by Al-Qasim Bin Hashem before returning to Zabid on Safar 551 AH. When he left Amara in the second year of the pilgrimage, the Sharif commissioned him with another mission to the Fatimid caliph, but he did not prolong his stay in Egypt and returned to Zabid quickly. He then traveled to Egypt after his return, and this time he remained in the company of the Fatimid Caliph and his relationship with him was strengthened. Amara was an accomplished poet, historian, for Yemen and Zabid, who wrote a book in the News of the Ministers of Egypt, and besides that he was a Shafiâ&#x20AC;&#x2122;i jurist whose desperate defense of the Sunni sect did not prevent him from supporting the Fatimids. When the Fatimid state fell into the hands of Salah al-Din, he apparently showed the architecture of loyalty to him, praising him in his poetry, but he partnered with eight other associates of the Fatimid caliph to correspond with the Crusaders and try to hold an alliance with them to expel Salah al-Dinâ&#x20AC;&#x2122;s forces. All of them, the Al-Yamani building was executed in the month of Ramadan 569 AH. The most important thing the Fatimids did was to focus on art and produce a distinct Egyptian Islamic art style. This period was marked by prosperity at the highest levels, which manifested in the creation of luxurious decorative pieces, including carved rock crystal, clay and earthenware, wood and ivory carved, gold jewelry and other minerals, textiles, books and coins. These pieces were not only a reflection of personal wealth, but were also used as gifts for kings and sultans abroad. The most precious things were collected and erected in the palaces of the caliphate in Cairo. In the decade 1060 AD, in the wake of several years of drought in which armies were not getting paid, the palaces underwent systematic theft, libraries were severely damaged, gold coins melted, and a few treasures scattered throughout the medieval Christian world remained. After that, Fatimid artwork continued in the same style, but it was adapted to make more and less valuable pieces.

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Lot 109 ______________________________________________________________________________

AN EXTRAORDINARY SET OF 40 PARIS PORCELAIN PLATES PARIS, CIRCA 1850

An extraordinary set of 40 Paris Porcelain Topographical Cabinet Plates with views on Constantinople after Antoine Ignace Melling. Decorated by Boyer, depicting views on Constantinople after the engravings ‘Voyage Pittoresque de Constantinople et des rives du Bosphore’ of Antoine Ignace Melling (1763-1831) Each plate with a different landscape view, identified on the reverse, comprising: Scutari Vue pris du champ des Morts Constantinople Péra Palais de la Sultane Hatidgé Jardins du Serail Vue de la grande Arcade de l’aqueduc de Baktché-Kieuï, et du vallon de Buyuk-Dèrè Intérieur d’un café public, sur la place de Top-hané Mosque de la Sultane Validé Palais de Beschik-Tasch, séjour habituel du Grand-Seigneur en ‘été Maisons sur le Bosphore Constantinople avec le Ponte du Sérail Chateau des Sept Tours Vue des Iles des Princes Les Dardanelles Ancien chateau d’Europe sur le Bosphore Aquaduc de L’Empereur Justinien Vue d’Ainali-Kavak près le port de Constantinopel La Tour de Léandre, Bosphore Arsenal de Constantinople Obélisque de Théodore Fontaine de Sari-Yéri, près Buyuk-Déré Ténédos Constantinople Buyuk-Déré Constantinople Vue du grand Bend, dans la forêt de Belgrade Rive Européenne du Bosphore Ancien Chateau d’Asie sur le Bosphore Embouchure de la mer Noire Le Bosphore pris a Kandilly Vue du Bosphore pris du Serail Vue du Bosphore pris du Serail Entrée du Bosphore, et d’une partie de la ville de Scutari Partie centrale Buyuk-Dèrè Cérémonie d’une noce turque Prairie de Buyuk-Déré Promenade du Grand Seigneur Constantinople, prise du chemin de Buyuk-Déré Vue de la Grand Mosque

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______________________________________________________________________________ The green-ground rims with a rich gilt scrollwork and foliate border. Signed on reverse: Boyer rue de la paix Antoine Ignace Melling, artist and voyager, was trained in architecture and painting.He was imperial architect to Sultan Selim III and Hatice Sultan. His position as royal architect gave him a privileged opportunity to observe the Ottoman court, and during his eighteen years there, he made many detailed drawings of the sultanâ&#x20AC;&#x2122;s palaces, Ottoman society, and Constantinople and its environs. Within a year of returning to Paris in 1803, Melling published his most influential work as Voyage pittoresque de Constantinople et des rives du Bosphore. The first thirteen livraisons of which were published in 1809. He completed the engravings for this work in 1819. PROVENANCE Private collection, United Kingdom Estimate â&#x201A;Ź 20.000 - â&#x201A;Ź 30.000

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Lot 110 _____________________________________________________________________________________

A HIGHLY IMPORTANT AND RARE OTTOMAN CURTAIN EARLY 16TH CENTURY, SELIM I (1512-1520 AD)

A black silk satin curtain embellished with heavily padded silver gilt embroidery. Rebacked on beige linen. Although dating of textiles can be a difficult matter, we can accurately date this curtain to the period of Selim I (1512 - 1520 AD) due to the fact that it is one of possibly 3 curtains presented by Yavuz Sultan Selim to the Grand Mosque of Bursa. It is an important political document of the passage of the Caliphate, which was the conquest of Egypt by Yavuz Sultan Selim in 1517. In 2018 one of the matching curtains was restored by the Bursa Metropolitan Municipality. Overall the decoration is typical of the 16th century with predominately floral designs. The border of the textile is decorated with a geometric pattern embellished with leaves and dividing the calligraphic section at the top from the ornate decoration of the textile. The main section is decorated with 5 alternating vertical band of floral decoration. In Bursa, Turkey, the most prominent landmark and mosque is ‘The Grand Mosque of Bursa’. This mosque is 600 years old and one of Islam’s most famous sanctuaries. Ulu Cami is the largest mosque in Bursa, the first capital of the Ottoman Empire, and a landmark of early Ottoman architecture which used many elements from the Seljuk architecture. Ordered by Sultan Bayezid I, the mosque was designed and built by architect Ali Neccar in 1396–1399. Bayezid I was the fourth ruler of the Ottoman empire and ruled during the most disastrous period of its decline, which makes ‘The Grand Mosque’ even more significant. Although it was built during the decline of the Ottoman Empire, the Mosque was meant to be an ancestral keepsake for the generations to come. When Bayezid II (1481 - 1512 AD) was enthroned upon his father’s death in 1481, he first had to fight his younger brother Cem Sultan, who took Inegöl and Bursa and proclaimed himself Sultan of Anatolia. After a battle at Yenişehir, Cem was defeated and fled to Cairo. The very next year he returned, supported by the Mameluks, and took eastern Anatolia, Ankara and Konya but eventually he was beaten and forced to flee to Rhodes. During his reign, Selim I (so called Yavuz, the Grim) was able to expand the empire’s borders greatly to the south and east. At the Battle of Chaldiran in eastern Anatolia in 1514, Ottoman forces under Sultan Selim I won a decisive victory against the Safavids, ensuring Ottoman security on their eastern front and leading to the conquest of eastern Anatolia and northern Iraq. 300 by 290 cm. PROVENANCE Private collection, United Kingdom Estimate € 50.000 - € 80.000

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Hajj and The Arts of Pilgrimage

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Lot 111 ______________________________________________________________________________________

ILLUMINATED MANUSCRIPT ON PAPER DALAYIL ALKHAYRAT, KASHMIR, COPIED BY GHULAM ALDIYN ZADH, 19TH CENTURY

Prayerbook in Arabic, 118 leaves plus 12 fly-leaves, 10 lines to the page , each page with two blocks of six lines of black naskh in clouds reserved against a gold ground, the whole within illuminated floral borders, important words picked out in red, text blocks outlined in gold and polychrome, outer margins with double black rule, catchwords, occasional marginal notes, eight double-page openings with gold and polychrome floral illumination surrounding the text, and two full-page miniatures, of Mecca and Medina, in gouache heightened with gold. Original lacquer binding with floral decoration. 14.5 by 10 cm. Estimate € 5000 - € 8000

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Lot 112 _______________________________________________________________________________________

A GREEN FRAGMENT OF A RAWADAH AL-MUTAHARAH CLOTH OTTOMAN, TURKEY, 16TH CENTURY

A fragment of silk hanging panel in the Rawdah al-mutahar. With an inscribed weave in cream color over a light green silk ground. Embellished with a prominent inscription within a broad border in thuluth script of praise of the prophet ‘Prayer and peace be upon you, O Messenger of Allah’. Below with a narrow band containing prayers for the four righteous caliphs Abu Bakr, ‘Umar, ‘Uthman and ‘Ali as well as for the companions of the Prophet. At the top with a narrow band enclosing ‘O Allah, bless the Prophet Muhammad, the Seal of Prophets and Messengers’. 30.5 by 33 cm. CATALOGUE NOTE The Rawdah (‘Garden’) is an area between the minbar and burial chamber of Muhammad. A green carpet distinguishes the area from the rest of the mosque, which is covered in a red carpet. Estimate € 4000 - € 6000

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Lot 113 ______________________________________________________________________________________

A RED EMBROIDERED SILK KISWA, OTTOMAN, 17TH CENTURY

A fragment of the inner curtain of sacred kiswa for the inner wall of the Kabaa with an inscribed weave in cream-colored silk over a dark red ground. The crests of the chevrons are embellished with lamp motifs with circular medallions in between. Embellished with two groups of three undulating bands which assume the form of a continuous chain made up of number ‘7’s. The bands run from the beginning to the end of the cloth. The central band with prominent Inscription of ‘Kalimaat al-Tawhid, There is no God but Allah and Muhammad is his Prophet’, repeating in the middle of the kiswa between the two zigzag bands. The two expressions, ‘Ya Mannan’ (O, the All-Bounteous) inside the upright lantern, and ‘Ya Hannan’ (O, the Most-Compassionate) inside the reversed lantern are also repeated with ‘Praise be to Allah’ (O, The All-sovereign) inside the circles. On the upper undulating band, there is a verse from the Quran 2 surah Al-Baqarah verse-144. The lower undulating band encloses another inscription of ‘I gratefully declare and believe Allah to be devoid of any deficiencies, I declare and believe the Omnipotent Allah is free of every defect’. 125 by 125 cm. CATALOGUE NOTE Bearing testimony to the importance of textiles in Ottoman society, examples such as the present silk textile, with a chevron pattern incorporating the Shahadah, or declaration of faith, would have been made as special commissions, particularly during the Ottoman dynasty’s rule over Medina (1517–1916 AD) when it was custom to send such textiles to adorn the Kaaba in Mecca and replaced yearly. It is worth mentioning that once used to cover the Kaaba, the inner kiswa was cut into small pieces and sent as gifts to different capitals and cities in the Islamic world to bestow blessing on them. Ruling palaces and councils contained pieces of the kiswa, which were used to confer legality and sanctity. Fragments with the same loom pattern are in the Victoria and Albert Museum, London, the Textile Museum, Washington, The Metropolitan museum in New York and The David Collection, Copenhagen. PROVENANCE Private collection, United Kingdom Estimate € 20.000 - € 30.000

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Lot 114 ___________________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED MAHMAL COVER MADE BY ORDER OF SULTAN ABDULHAMID II, EGYPT, LATE 19TH CENTURY

The lower cubic section surmounted by canopy in the form of a pyramid, one side with opening, of red and green silk profusely embroidered with silver and gilt-silver thread to each side of the lower section with two inscription-filled roundels surrounded by vines and floral sprays, above inscription-filled panels, the border with a band of interlocking palmette motifs; the upper section to one side with cartouches containing tughra and inscriptions to the remaining sides, above further inscription filled cartouches, surrounded by vines and floral interlace, the borders with interlocking palmette motifs, with four loose panels embroidered with two bands of inscription. In the bands in gold on green, the Quran 2, surah Al-Baqarah, verse 255; In the other sides : the Quran, surah 16 An-Nahl, verse 7 and hapter 23 (Al Ahzab)verse 45.47 In the roundels, the names God, the Prophet (in gold on green), the four Orthodox Caliphs and Hasan and Husayn (in gold on green); 260 by 135 by 160 cm. CATALOGUE NOTE Originally commissioned by Sultan Abdulhamid II of the Ottoman Empire who reigned from 1876 AD to 1909 AD as the 99th caliph of Islam and 34th Sultan of the Empire, the Mahmal’s tent-like shape is adorned with fine handcrafted and embroidered decoration made with heavy and elegant silver and gold thread calligraphy backed with red, green, and yellow silk. The Kiswah is changed every year on the 9th of zhul Hijjah, which is also the Day of Arafat - when Haj pilgrims leave for spending a day in the plains of Mount Arafat. The old Kiswah is removed and cut into small pieces and distributed among foreign dignitaries and important locals. The Kiswah used to be manufactured in Egypt and was transported in a Mahmal with a large delegation of pilgrims. Estimate € 20.000 - € 30.000

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Lot 115 ___________________________________________ ___________________________________

AN OTTOMAN SILK AND METAL THREAD CALLIGRAPHIC WALL HANGING TURKEY, 19TH CENTURY

Green panel, embroidered with silver-gilt metal threads. Quran Chapter 2 surah Al-Baqarah v.255 ayat Al-Kursi ‘Allah - there is no deity except Him, the Ever-Living, the Sustainer of all existence. Neither drowsiness overtakes Him nor sleep. To Him belongs whatever is in the heavens and whatever is on the earth. Who is it that can intercede with Him except by His permission? He knows what is presently before them and what will be after them, and they encompass not a thing of His knowledge except for what He wills. His Kursi extends over the heavens and the earth, and their preservation tires Him not. And He is the Most High, the Most Great. The Sultan’s supplication is the cause of forgiveness.’ Signed: Mahmoud Pasha Bashinda Iyne Hayler Kapusunda Yaglikci Haci Ismail Efendi. 180 by 55 cm. Estimate € 6000 - € 8000

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Lot 116 __________________________________________________________________________________

AN OTTOMAN EMBROIDERED SILVER THREAD TEXTILE, MAQAM IBRAHIM EGYPT, CAIRO, 19TH CENTURY

Element of drapery from the Kaaba for Maqam Ibrahim or for Bab-al-Tawbah. Black silk lampas embroidered with silver threads and applied with pieces of yellow and red silk. ‘Bi-smi llahi rahmani rahimi’ ‘Remember We made the House a place of assembly for men and a place of safety; and take ye the station of Abraham as a place of prayer;’ (Al-Baqarah : 125). 105 by 105 cm. Estimate € 3000 - € 5000

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Lot 117 ____________________________________________________________________________________

AN OTTOMAN SILK AND METAL-THREAD CURTAIN OR COVER WITH THE TUGHRA OF SULTAN AHMAD, TURKEY, 1131 AH/1719 AD

Of rectangular form, embellished on a silk beige ground with a repeating of three undulating bands in gold script running from the beginning to the end of the cloth, which assume the form of a continuous chain made up of number ‘7’. The central band with prominent inscription ‘Kalimaat al-Tawhid, There is no God but Allah and Muhammad is his Prophet’ The upper band with the inscription ‘O, Allah! Commend and salute the prophet Muhammed, most esteemed of all prophets and emissaries’. The lower band with ‘May Allah be well pleased with Abu Bakr, Omar, Othoman, Ali and all other companions of the Prophet Muhammed’. Further stylised with a cream colored weave of the words ‘Allah and Muhammed’. Applied with darker black panels embroidered with silver and silver-gilt metal-threads on a gilt silk ground, shaped as Mihraab and enclosing Quran 2 verse Al-Kursi surah Al-Baqarah. To the centre with two octagonal panels enclosing ‘Allah and Muhammed’. To the top of the central field a rectangular panel of surah Al-Kahf verse 3, and a panel enclosing ‘a rasul allah / mawlana al-sultan Ahmad / yatlub al-shifa ‘ah bi-hadha al-mihrab al-nabawi al-sharif sana 1131 ‘O Messenger of God! Our lord Sultan Ahmad seeks intercession through this Noble Prophet’s mihrab’. A central panel lower cartouche: the tughra of Sultan Ahmad (r.1703-1730 AD). 360 by 245 cm. Estimate € 12.000 - € 15.000

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Lot 118 _____________________________________________________________________________________

AN OTTOMAN VELVET AND METAL-THREAD CALLIGRAPHIC WALL HANGING SIGNED IN 1325 AH/1907 AD BY HAJI AHMED AND IBRAHIM HAJJ KAWAS ‘Min zar qabri wajabat lah shafaeati.’ ‘Whoever visits my grave, my intercession is guaranteed for him’ In the middle sahada, ‘there is no God but Allah and that Muhammad is his messenger’.

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Lot 119 ______________________________________________________________________________________

A GREEN GROUND SILK BANNER EMBROIDERED WITH SILVER AND GILT THREAD, EGYPT, 1343 AH/1924 AD

Silk banner embroidered with silver and silver gilt thread square shape with a elegantly decorated with calligraphic cartridges within a radiant solar design, leaf numbering borders, with three cartouches containing text. The first cartouche: the inscription with verse 255 from surah Al-Baqarah. The second cartouche: this is the shrine of the Sheikh Hasouna Al-Nawawi Sheikh of the Al-Azhar Mosque. The third cartouche: the Mufti of the Egyptian Diaspora next to his Lord on the twenty-fourth Sunday of Shawwal. All surrounded by a border of palmettes and floral motifs. 135 by 135 cm. Estimate € 8000 - € 12.000

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Lot 120 __________________________________________________

A GREEN GROUND SILK BANNER EMBROIDERED WITH SILVER AND GILT THREAD, EGYPT, 1343 AH/1924 AD

Silk banner embroidered with silver and silver gilt thread square shape with a elegantly decorated with calligraphic cartridges within a radiant solar design, leaf numbering borders, with two cartouches containing texts. First cartouche is containing the text:vv 255 Al-Kursi. Th escond cartouche: vv 54.55 Al-Qamar. All surrounded by a border of palmettes and floral motifs. 125 by 165 cm. Estimate € 8000 - € 12.000

Lot 121 ____________________________________________________________________________________

A GREEN GROUND SILK BANNER EMBROIDERED WITH SILVER AND GILT THREAD, EGYPT, 1343 AH/1924 AD

Silk banner embroidered with silver and silver gilt thread square shape with an elegantly decorated with calligraphic cartridges within a radiant solar design, leaf numbering borders, with two cartouches. First cartouche: vv. 255 surah Al-Kursi. The second cartouche: vv. 22.25 surah Al-Mutaffifin. All surrounded by a border of palmettes and floral motifs. 175 by 132 cm. Estimate € 8000 - € 12.000

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Lot 122 ____________________________________________________________________________________

A SILK LAMPAS COVERING PANEL FORMED AS A KAFTAN TURKEY, 19TH CENTURY

The kaftan of typical form, formed of panels of green silk lampas originally for use in one of the Holy Kabaa, the crests of the chevrons are embellished with lamp motifs with circular medallions in between. Embellished undulating bands which assume the form of a continuous chain made up of number ‘7’s. Two narrow bands of alternating inscription of Quran 2 surah Al-Baqarah v.144 and Quran 3 surah Al-Imraan v.96. The two expressions, ‘Ya Mannan’ (O, the All-Bounteous) inside the upright lantern, and ‘Ya Hannan’ (O, the Most-Compassionate) inside the reversed lantern are also repeated with ‘Dhu al-Jalal wa al-Ikram - Master of Majesty and Generosity’ inside the circles. Two central bands with prominent inscription of ‘Kalimaat Al-Tawhid, There is no God but Allah and Muhammad is his Prophet’. 76.8 cm. Estimate € 3000 - € 5000

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Lot 123 ______________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED CALLIGRAPHIC PANEL THE CALLIGRAPHY BY MUSTAFA IZZET TURKEY, 1286 AH/1869-70 AD Of rectangular form, the black ground embroidered with metal-thread calligraphic inscription comprising part of Quran 11, surah Al-Hud, v.88; with signature and date below, mounted, glazed and framed. 63.5 by 32.4 cm. PROVENANCE Christies London, 7 April 2011, lot 370 Estimate € 12.000 - € 14.000

Lot 124 ______________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED PANEL SIGNED MEHMET SHEVKI, TURKEY, LATE 19TH CENTURY

Of rectangular form, the black ground embroidered with elegant gold calligraphy, the lower left hand corner signed, mounted, glazed and framed. 42.2 by 79.3 cm. PROVENANCE Christies London, 7 April 2011, lot 372 Estimate € 7000 - € 9000

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Lot 125 ___________________________________________________________________________________

AN IMPORTANT OTTOMAN METAL-THREAD CURTAIN OF THE HOLY KAABA DOOR (BURQA) WITH THE NAME OF SULTAN ABDULHAMID II DATED 1307 AH/1890 AD

Of rectangular form, embroidered in silver and silver-gilt thread over a black silk ground, the surface broken into cartouches of various shapes and sizes containing inscriptions in naskh and thuluth, the interstices filled with vegetal designs, a large silver inscription (1) halfway up on cream ground enclosing Quran 48 surah Al-Fath or Triumph, flawed by four red circular panels with the name of the Four caliphs, Stylised further with four cartouches (2) enclosing Ayat Al-Kursi the throne verse, the 255th verse of the 2nd surah of the Quran.The upper section with archways (4) stylised with mosque lamps with (3) Quran 17 surah Al-Isra v. 80, flanked by panels containing the Shahada.The middle section with two octagonal panels(5) enclosing surah Al-Ikhlas and Quran 48 Al-Fath v. 29. Between the two panels the name of the Sultan Abdul Hamid II (7) with the dating 1307 AH/1889 AD in gilt thread on black ground. On either side of door slip (8) Quran 39th surah Al-Zumar v. 53. below two cartouches (6) enclosing Quran 104 surah Quraysh with four verses. On both sides of the door slip two designs of Mihrab (9), a semicircular niche in the wall of a mosque that indicates the qibla, containing the Shahada and praises of the prophet. The lower section with archways (10) stylised with flowers and enclosing Quran 144 surah Al-Bakara with two fans knotted by a ribbon and flower scrolls. Framed by cartouches (11) of Al-Fatiha, the opening of the Quran with surah Al-Ikhlas (12) at to the top. All surrounded with circulars of the ninety-nine attributions of Allah(13) The silver thread slightly oxidized, small tears in the silk, conserved, sleeve for hanging attached at top, rebacked. 580 by 280 cm. Estimate â&#x201A;Ź 20.000 - â&#x201A;Ź 30.000

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Lot 126 ____________________________________________________________________________________

AN OTTOMAN SILK AND METAL-THREAD CURTAIN OR COVER TURKEY, 19TH CENTURY

Of rectangular form, embellished on a silk green ground with a repeating of three undulating bands running from the beginning to the end of the cloth, which assume the form of a continuous chain made up of number ‘7’s. The central band with prominent inscription of ‘Kalimaat al-Tawhid, There is no God but Allah and Muhammad is his Prophet’. The upper band with the inscription of ‘O, Allah! Commend and salute the prophet Muhammad, most esteemed of all prophets and emissaries’. The lower band with ‘May Allah be well pleased with Abu Bakr, Omar, Othoman, Ali and all other companions of the Prophet Muhammad’. Further stylised with a cream colored weave of the words ‘Allah and Muhammed’. Applied with darker green panel embroidered with silver and silver-gilt metal-threads on a gilt silk ground, shaped as Mihraab and containing cartouches enclosing ‘Allah and Muhammad’. To the centre with a large roundel enclosing in thuluth script Quran 112 surah Al-Ikhlas or Al-Tawhid, with four words of ‘O, Allah’ above two cartouches enclosing ‘Kalimaat al-Tawhid, There is no God but Allah and Muhammad is his Prophet’. Further stylised to the lower section with cartouches of scrolling foliage and arabesque. 300 by 250 cm. Estimate € 8000 - € 12.000

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Lot 127 ________________________________________________

AN OTTOMAN SILK KEY BAG EMBROIDERED WITH METAL-THREAD, TURKEY OR SYRIA 19TH CENTURY

Rectangular in shape, two dark green velvet panels stitched together, each side is heavily decorated with a thread of gold-plated and silver-plated lush decorations surrounding inscription in thuluth script of Quran 4 surah An-Nisa, verse 58 with the name of the Ottoman Sultan Mahmud II (ruled 1809-1839) 46 by 25.5 cm. Estimate € 3000 - € 5000

Lot 128 ____________________________________

THE KAABA ON TEXTILE OTTOMAN, TURKEY, CIRCA 1900

A painting on textile, depicting a roundel enclosing the great Mosque of Mecca including important significant sites like the black stone, Maqam Ibrahim and the Zamzam well. Further the four Maqams of the prominent Islam schools before, three of them got removed and only the Hanbali Maqam remained till today, surrounded by two verses v.124-v.125 of surah Al-Baqarah. The outer decoration with different verses in black and brown ink in naskh script with geometric designs. 51 by 51 cm. Estimate € 2000 - € 3000

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Lot 129 _______________________________________________________________________________

AN OTTOMAN EMBROIDERED CALLIGRAPHIC BAND FROM THE HOLY KAABA (HIZAM), EGYPT, 18TH CENTURY

Of elongated rectangular form, embroidered in silver thread with a calligraphic cartouche containing v.59 of surah Al-Nisa against a dark navy blue silk velvet ground, a foliate bracket in each corner, the borders with scrolling foliage, cotton lining. 59 by 23 cm. Estimate € 3000 - € 5000

Lot 130 ______________________________________________________________________________________

AN OTTOMAN SILK KABAA KISWA SAMADIYAH, TURKEY, 19TH CENTURY

An Ottoman Kaaba kiswa brocade or samadiyah, of square form placed always on the four corners of the Kabaa. Embellished in silver and gilt wires on a black silk with a large roundel enclosing in thuluth script Quran 112 surah Al-Ikhlas or Al-Tawhid, to the centre four words of ‘O, Allah’. All surrounded by flower sprigs and arabesque on a red and green ground. 106 by 106 cm. Estimate € 4000 - € 6000

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Lot 131 _______________________________________________________________________________

A LARGE ROLL DEPICTING A PANORAMA VIEW OF MECCA DATED 1417 AH/1996 AD

A large panorama view of Mecca on a roll, depicting al-Masjid al-Haram, the great Mosque of Mecca surrounded by houses and buildings viewed from jabal abu Qubays. It is a copy of the first panorama made of Mecca in 1297 Hijri, this roll has 89 marked points of interest in yellow all with corresponding information. Made during time of Fahid bin Abdulaziz Al-Saud. 268 cm by 56 cm. Estimate € 8000 - € 12.000

Lot 132 ____________________________________________________________________________

AN OTTOMAN PAINTING OF HAJJ CARAVAN, 20TH CENTURY

An Ottoman painting of Hajj caravan coming from Damascus to Mecca. Colors on paper depicting people going to Hajj in Mecca accompanied by Bedouins as guards during the trip with Ottoman officers. 50 by 85 cm. Estimate € 2000 - € 3000

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Lot 133 ________________________________________________________________________________

A SILK HIZAM FROM THE HOLY KAABA IN MECCA OTTOMAN, TURKEY, 20TH CENTURY

The Hizam, or belt, is an inscribed band that encircles the upper part of the Kaaba, of rectangular form, inscribed over a black silk ground, the surface broken into cartouches of various shapes and sizes. The central section (3) with a gilt repeated inscription on a black ground of Quran 61 surah Al-Imran v-96-v.97 in thuluth script, flanked by two circular panels enclosing in thuluth script (4) Quran 33 surah Al-Ahzab v.40 and (7) Quran 112 surah Al-Iklas also known as Al-Tawhid. Further stylised (8) with Glory to our Mawlana Sultan, the victorious king Long may He reign. The upper rectangular section (1)encloses Quran 61 surah As-Saff v.9. The second section of the upper part (2) with a prayer of the four Caliphs and the rest of the companions. The lower section in Kufic script (5) with Quran 112 surah Al-Iklas also known as Al-Tawhid and (6) with Quran 2 surah Al-Baqarah v.144. 660 by 96 cm. Estimate € 8000 - € 12.000

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Lot 134 ________________________________________________

AN OTTOMAN EMBROIDERED GREEN SILK HANGING PANEL, TURKEY, 19TH CENTURY

Of rectangular form, the green silk ground applied with cartouches consisting of flowers and classic flower scrolls, embroidered with silver and silver-gilt metal threads, with cartouches enclosing the verse of Purification, the 33rd verse of Al-Ahzab in the Quran. 125 by 53 cm. Estimate € 3000 - € 4000

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Lot 135 _______________________________________________________________________________

TWO RARE EARLY PHOTOGRAPHS OF MECCA BY AL-SAYYID ‘ABD AL-GHAFFAR AL-TABIB, CIRCA 1880

Albumen prints laid down on a card album page with gilt margin rules on a maroon ground. Arabic inscriptions to negative photographs. 19.5 by 24 cm. CATALOGUE NOTE The photographs depicting pilgrims gathered around the Kaaba taken from within the holy sanctuary from just above ground level, inscribed in Arabic, at the top, al-salwa hawla Al-Kaaba, ‘Prayers around the Kaaba’; at the bottom, futughrafiyyat al-sayyid ‘abd al-ghaffar tabib bi-makka, ‘Photography of al-Sayyid ‘Abd al-Ghaffar Tabib, physician in Mecca’. ‘Abd al-Ghaffar is credited with being the earliest Arabian photographer. He was reputed to have learned the art of photography from the Dutch orientalist Christian Snouck Hurgronje who stayed with the physician in Mecca in 1884-85. The photographs reproduced in Hurgronje’s Bilder aus Mekka are now believed to have been done by ‘Abd al-Ghaffar (see F. E. Peters, The Hajj: the Muslim Pilgrimage to Mecca and Holy Places, Princeton 1996, pp. 14-15; also Claude W. Sui, ‘Early Photography of the Holy Sites of Islam in the Arabian Peninsula’, in Markus Ritter, Staci G. Scheiwiller (edd.), The Indigenous Lens?: Early Photography in the Near and Middle East, Berlin & Boston 2018, pp. 111–144. For a view of pilgrims on the plain of Arafat by ‘Abd al-Ghaffar, dated to 1888, see V. Porter (ed.), Hajj: journey to the heart of Islam, London 2012, pp. 132-133, fig. 90. Estimate € 2000 - € 3000

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Lot 136 ____________________________________________________________________________

A LARGE OIL ON CANVAS PAINTING OF THE KAABA 19TH CENTURY

A central panel of the Kaaba during Al-Tawaf, one of the Islamic rituals of pilgrimage in Mecca, surrounded by a dense design of flowers and foliage on a turquoise ground with a narrow band enclosing Quran verses with laterns containing floral designs. Quran 1 surah Al-Fatiha, Quran 114 surah Al-Nas, Quran 113 surah Al-Falaq, Quran 112 surah Al-Ikhlas. 100 by 85 cm. Estimate € 2500 - € 3500

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Lot 137 ______________________________________________________________________________

A METAL-THREAD EMBROIDERED SILK PANEL OF THE DOOR OF THE RA’ISIYAH MINARET, OTTOMAN, MAHMUD II (REIGNED 1808-39)

Of rectangular form, embroidered in silver and gilt threads over a black silk ground, the surface broken into cartouches of various shapes and sizes containing inscriptions in thuluth, the interstices filled with vegetal designs and floral scrolls, a large gilt inscription (5) halfway up on black silk ground enclosing Quran 2 verse 255 ayat Al-Kursi, ‘The Throne Verse’, one of the best-known verses of the Quran and is widely memorised and displayed in the Islamic world. Flanked on both sides with six small roundels (4) enclosing the name of four Caliphs, Hassan and Hussein on red and yellow ground. Above the central panel two roundels (3) enclosing Al-Shahada surrounded by flower scrolls. The lower section (6) with the tughra of the Sultan in gilt and silver thread. The upper section with crimson band (1) enclosing ‘hadihi al-sitara al-sharifah li-bab minarah al-ra’isiya’. This panel was made for the door of the main minaret”, and Quran 26 Al-Shu‘ara, the Poets vv.193-195 on a red ground. All surrounded with arabesques and vegetal motifs in silver and gilt thread. CATALOGUE NOTE The southeastern Minaret : It is known as the ra’isayah or the main minaret and bears this name until the present day, beside the green dome, and it is located in the southeast corner of the Mosque. It was built by Al-Ashraf Qaitbay three times in 886 AH, 888 AH, and 892 AH. It was increased in length to 60 meters, and is still up today on the Qaitbay building. The Saudi government is renewing it from time to time so that it remains in the most beautiful and magnificent view. 290 by 175 cm. PROVENANCE Bonhams London, 7 october 2010, lot 189W. Estimate € 14.000 - € 18.000

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Lot 138 ____________________________________________________________________________

A QURAN WRITTEN BY NAJDI MUHAMMAD IBN OMAR FAKHIRI SAUDI ARABIA-NAJD, 1243 AH/1827AD

Arabic manuscript on paper, 334 leaves with 15 lines to each page, of black naskh, headings in red, opening bifolium painted in red, yellow blue and green, in red morocco binding with stamped medallion and flap. Written by Muhammad Ibn Omar Fakhiri in 1243 AH for its owner Abdullah bin Mohammed bin Ibrahim bin Arican. 31 by 23 cm. CATALOGUE NOTE Muhammad Al-Fakhiri is considered as one of the five most important historians of the Saudi state. His manuscripts and books are classified as important references for monitoring Saudi history. He was born in the year 1186 AH/1772 AD in the village of Al-Twaim, Saudia Arabia, and he was teached the Noble Quran, the hadith and interpretation by his father, Sheikh Omar Imam of Al-Twaim. After the death of his father he and his brother Ibrahim performed Hajj, and moved to Diriyah to teach the children of Sheikh Muhammad bin Abdul Wahhab until the emergence of the Turks and their leaders, the sons of Muhammad Ali. He was one of the wellknown writers of Najd, and copied many books and many quotations of Islamic law. One of his books is Al-Fakhiri History that covers events and facts from the year 850 AH/1446 to 1288 AH/1871 AD about Najd. In 1253 AH/1837 AD he moved from the Al-Twaim to Hrumaa as an Imam and until his dead in Jumada al-Awwal 23-1277AH/1860 AD. Estimate € 4000 - € 6000

Lot 139 ______________________________________________

SALE CONTRACT ‘EAQD BAYE HAIJH SHAREIA’, MECCA, 29 JUMADA 1319 AH/1901 AD

A contract to sell half a house in Mecca between Hajj Muhammad Adeeb Latifa and his brother Hajj Ali Latifa, for a value of 350 Ottoman liras in gold. On the last 29 Jumada in the year 1319 AH/1901 AD by the judge of Mecca Muhammad Jassim bin Othman with four stamps of the Ottoman Empire on the contract. 82 by 28 cm. Estimate € 800 - € 1000

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Lot 140 ____________________________________________________________________________

‘ALEXANDER VISITS THE KAABA’, SHIRAZ, 16TH CENTURY

Opaque watercolor, ink and gold on paper Called ‘Eskandar in the Shahnameh’, is an important chapter in the epic. On his way from India to North Africa he made a stop in Mecca, which may be seen as a rite of passage in his long journey towards self-discovery. Eskandar paid his respects to the Kaaba, the House of Abraham, which Ferdowsi describes, as ‘the place of worship before any others existed … where God causes you to worship and to remember him.’ Here, Eskandar opens up two arms up to worship and around him the rest of the pilgrims in white ihram garments stand beside him. The Kaaba draped in its black kiswah, with a gold-embroidered curtain and belt, its hem lifted to reveal the white lining – just as it is today during the Hajj. In other versions Eskandar depicted himaself himself as a pilgrim. painting: 27.2 by 18.5 cm. folio: 34.5 by 23.8 cm Estimate € 8000 - € 10.000

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Lot 141 _______________________________________________________________________________

A SILK LAMPAS COVERING PANEL FORMED AS A KAFTAN EGYPT OR TURKEY, 19TH CENTURY

The kaftan of typical form, formed of panels of green silk lampas originally for use in one of the Holy Kabaa. The crests of the chevrons are embellished with lamp motifs with circular medallions in between. Embellished undulating bands which assume the form of a continuous chain made up of number “7”s. Two narrow bands of alternating inscription of Quran 2 surah Al-Baqarah v.144 and Quran 3 surah Al-Imraan v.96. The two expressions, ‘Ya Mannan’ (O, the All-Bounteous) inside the upright lantern, and ‘Ya Hannan’ (O, the most-Compassionate) inside the reversed lantern are also repeated with ‘Dhu al-Jalal wa al-Ikram - Master of Majesty and Generosity’ inside the circles. Two central bands with prominent inscription ‘Kalimaat Al-Tawhid’, ‘there is no God but Allah and Muhammad is his Prophet’. 76.2 by 96 cm at largest. Estimate € 4000 - € 6000

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Lot 142 _____________________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED HIZAM EARLY 20TH CENTURY

A large Ottoman silk, velvet and metal thread calligraphic band from the holy Kabaa (Hizam), of rectangular form embroidered with gilt and silver metal wires. To the centre a large silver cartouche with rounded ends enclosing in gold wires two verses of Quran 22 surah the Hajj (the Pilgrimage) v.26-v.27 in thuluth script with a band of meandering leafy silver vine above and below. Further flanked to both sides with two circular silver panels enclosing in gold wires surah Al-Ikhlas and the name of Sultan Abdul Hamid II with his tughra surrounded by Arabic inscriptions which means ‘this Hizam is ordered to be made for Waqf, charitable endowment, of the sultan Mahmud II which was founded in 1231 AH/1815 AD. Approximately 715 by 90 cm. CATALOGUE NOTE The four walls of the Kabaa are covered with a curtain (Kiswa) with the Shahada outlined in the weave. About two thirds of the way up runs a gold embroidered band (hizam) covered with Quranic verses. Each year, when the new Kiswa arrives the guardians of the Kaaba, the Banu Shayban, divide the old Kiswa up and distribute the pieces to honoured pilgrims. Entire surahs were apparently reserved for important dignitaries or rulers. Estimate € 20.000 - € 30.000

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Lot 143 ___________________________________________________________________________________

A FRAGMENT OF A RAWADAH AL-MUTAHARAH CLOTH, OTTOMAN, TURKEY, 17TH CENTURY

A fragment of silk hanging panel in the Rawdah Al-Mutahara, this fabric was woven in the tribute-color kemha technique.With an inscribed weave in cream-colored and red silk over a light green ground. Embellished with an undulating band which assume the form of a continuous chain made up of number “7”s, running from the beginning to the end of the cloth, enclosing Quran 33 surah Al-Ahzab, the Clans, v. 56. Embroidered further above the band with Allah and Muhammed and Kalimaat al-Tawhid to the lower section. 35 by 80 cm. CATALOGUE NOTE The Rawdah (‘Garden’) is an area between the minbar and burial chamber of Muhammad. A green carpet distinguishes the area from the rest of the mosque, which is covered in a red carpet. Estimate € 4000 - € 6000

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Lot 144 _______________________________________________________________________________

A MINIATURE DEPICTING CHISTI MU IN AL-DIN HASSAN SIJZI INDIA, MUGHAL, 17TH CENTURY

Painting in opaque watercolor and gold. Depicting Chishti Mu-in al-Din Hasan Sijzi (1142–1236 AD), known more commonly as Mu-in al-Din Chishti or Moinuddin Chishti, and Hadrid Mirza resting after the pilgrim to Mecca. In the background the holy Kaaba and the Arafat mountains. Six Sufi masters: Khvaja Mu’in al-Din, Ghaus al-A’zam, Khvaja Qutb al-Din, Shaikh Mihr, Shah Sharaf Bu ‘Ali Qalandar and Sultan-ul-Mashaikh. 22.5 by 15 cm. Estimate € 4000 - € 6000

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Lot 145 ______________________________________________________________________________________

MAJNUN AT THE KAABA INDIA, MUGHAL, LATE 18TH CENTURY

A Mughal painting with opaque pigments on paper, depicting a scene where Majnun and his father with his clan beside the Kaaba seeking cure for his love to Laila. folio: 35 by 22 cm., painting: 15 by 23.7 cm. CATALOGUE NOTE In order to cure Majnun, his father takes him on a pilgrimage to Mecca, where he hopes that his son will ask to be saved from his passion. Instead, Majnun grasps the door knocker of the Kaaba and cries, ‘pray to You, let me not be cured of love, but let my passion grow! Make my love a hundred times as great as it is this very day!’ Nothing further can be done, for Majnun can never be cured, having blessed Laila and cursed himself before the Holy Kaaba. His father, full of grief, returns home, and Majnun, whose life is threatened by Laila’s father, again retreats into the desert. Estimate € 4000 - € 6000

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Lot 146 ______________________________________________________________________________________

TWO OTTOMAN CALLIGRAPHY MINIATURES TURKEY, 18TH-19TH CENTURY

Two Ottoman miniatures about the holy Hajj in Mecca and Al-Medina, gouache heightened with gold on paper. Both miniatures with verses of the Quran about the Hajj and with poems in Ottoman Turkish language and nasta’liq script in clouds reserved against gold ground, laid down between borders decorated with elegant interlacing vine issuing palmettes and leaves. Further stylised with different figures in Ihram clothes during the Manasik or the rites and the ceremonies that have to be performed by pilgrims around Mecca during Dhu al-Hajjah. 26.5 by 16.5 cm. Estimate € 3000 - € 5000

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Lot 147 ____________________________________________________________________________

A FATIMID DARVISH TURBAN, 11TH-12TH CENTURY

A Fatimid cotton and wool cap of rounded shape and segmented in radial panels, embellished with Arabic calligraphy, Quran verses and Hadith’s. 18 by 22 cm. CATALOGUE NOTE Dervish in Islam can refer broadly to members of a Sufi fraternity (Tariqah) or more narrowly to a religious mendicant, who chose or accepted material poverty, they try to approach Allah by virtues and individual experiences, rather than by religious scholarship. Their focus is on the universal values of love and service deserting the illusion of ego to reach Allah. Estimate € 3000 - € 4000

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THE ART OF SCIENCE

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Lot 148 _____________________________________________________________________________________

A RARE AFSHARID PTOLEMAIC PLANETARY MODEL MADE FOR MIRZA MEHDI KHAN ASTARABADI, SIGNED MUHAMMAD HUSAYN MUNAJJIM, IRAN, DATED 1155AH/1743-44 AD

Papier mâché, comprising six nesting globes of graduating size. Each formed of two hemispheres and inscribed in black and red, each carrying circles and epicycles to mark the motions of their planetary body through the sky, globes of the movements of Mars, the Sun, Venus, Mercury, the Moon and Earth, the largest (Mars) with cusped medallion with details of the maker, patron and date. Largest globe 20 cm diam. Estimate € 40.000 - € 60.000

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Inscriptions

In the red medallion on the largest globe: bi-rasm-i kitabhaneyi navvab-i-mustatab mirza mehdi khan astrabadi adamants allah ayyamahu ‘amal-i-mulla muhammad husayn munajjim 1155, ‘On the order of the library of the His Gracious Highness, Mirza Mehdi Khan Astarabadi, may God prolong his days’. Work of Mulla Muhammad Husayn Munajjim 1155 AH/1742-43 AD. The person who commissioned this rare planetary model was Mirza Mehdi Khan Astarabadi - the court secretary and historiographer to Nadir Shah Afshar (r.1736-47). Though little is known of his early life, it seems he lived in Isfahan where he was appointed to a sinecure in the royal household. He served under Nadir Shah from the time the Shah conquered the capital until his death. His first post was head of the secretariat and he then served as official biographer and historiographer during which time he was responsible for composing victory dispatches, preambles to treaties and other state documents. It is during this period the this planetary model was made. Although little is known of the life of Mehdi Khan Astarabadi after the death of Nadir Shah, it is thought he may have gone on pilgrimage to Mecca before returning to Mashhad, Mazandaran or Tabirz where completed the historical and philological works he was compiling during his service with Nadir. Amongst his most famous books are a Persian guide to the Turkish language and two histories of Nadir Shah, the Dareh-i Nadereh and Tarikh-i Jahangoshay-i Naderi. The ptolemaic model of planetary motion, which placed the earth at the centre of the universe, was the alternative world view to Nicolaus Copernicus’s Sun-centred theory of 1543. To account for the non-uniform motion of the planets in the night sky. Epicycles (circular orbits on circles) were required. This rare planetary model follows this Ptolemaic system with the Earth at the centre, followed (in order) by the Moon, Mercury, Venus, the Sun and Mars.

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Lot 149 _______________________________________________________________________________________

A BRASS ASTROLOBE SIGNED BY MUHAMMAD MUQIM IBN ‘ISA IBN AL-HADDAD LAHORE, DATED 1051 AH/1641-42 AD

Cast brass, mater engraved with the name of maker, containing five plates, openwork rete, alidade to reverse, with pin and horse, suspension loop. 7.7 cm diam. ‘The work of the weakest of God’s servants Muhammad Muqim ibn ‘Isa ibn al-Haddad, the Royal astrolabe maker of Lahore’. The year 1051 AH/1641-42 AD Another work by this renowned astrolabist is in the Museum of the History of Science, Oxford, inv. no. 43704. There is also what is described as a ‘brass globe astrolabe’ by his son Diya’ al-Din Muhammad in the Shrine Museum in Mashhad dated 1058 AH/1648 AD. Estimate € 20.000 - € 30.000

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Lot 150 ____________________________________________________________________________

A BRASS QIBLA INDICATOR SIGNED ‘ABD AL-A’IMMA, SAFAVID, ISFAHAN, 17TH CENTURY

The top and base of the box heavily inscribed in minute naskh script, the signature at the centre of the top, the sides of the lid with later inscription and some denting. 4.5 cm diam. Estimate € 3000 - € 5000

Lot 151 ____________________________________________________________________________

A BRASS TALISMANIC BAJUBANDH ‘ZODIACS’ BOX EARLY SAFAVID, 16TH CENTURY

Decorated with three zodiacs: fish, a lion and a ram, inscribed with Arabic script and written around the rim. The reverse side decorated with a talismanic scheme. 6 cm diam. Estimate € 1500 - € 2500

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Lot 152 _______________________________________________________________________________________

AN OTTOMAN WOODEN ASTROLABE QUADRANT SIGNED OSMAN NURI TURKEY, DATED 11 SAFAR 1281 AH/16 JULY 1864 AD

With markings in red and black, gilt decoration, red painted edges, two cartouches to the front, the reverse with further cartouche and sexagesimal trigonometric grid. In fitted case 18.8 cm across at widest. Inscriptions: in the long cartouches on either side instructions. 18.8 cm. Estimate € 2000 - € 3000

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Lot 153 _____________________________________________

A FINE BRASS AND TORTOISESHELL TRIPPLE CASE TURKISH MARKET POCKET WATCH RALPH GOUT, LONDON, 19TH CENTURY A fine brass and tortoiseshell triple case Turkish market pocket watch. Movement signed, pierced and engraved balance cock, enamel dial with Turkish numerals and signed Ralph Gout London, 1st and 2nd brass case with stamped, 3rd case set with tortoiseshell and gold pin work, watch 6 cm diam. Estimate € 2500 - € 3500

Lot 154 ___________________________________________________

A FINE SILVER AND TORTOISESHELL TRIPPLE CASE TURKISH MARKET POCKET WATCH, EDWARD PRIOR, LONDON, 19TH CENTURY

A fine silver and tortoiseshell triple case Turkish market pocket watch. Movement signed, pierced and engraved balance cock, enamel dial with Turkish numerals and signed Edward Prior London, 1st and 2nd silver case with stamped, 3rd case set with tortoiseshell and silver pin work 5.2 cm diam. Estimate € 2000 - € 3000

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Lot 155 _______________________________________________________________________________________

AN IMPERIAL OTTOMAN CALENDER MADE FOR SULTAN ABDULMECID I, DRAFTED BY MEHMET SADULLAH, TURKEY, DATED 1260 AH/1844 AD

Ottoman manuscript on paper, 14 leaves, 24 lines to the page, written in naskh script in black ink, headings and keywords in orange, with 14 later painted panels in gouache heightened with gold, lacquer binding decorated with floral motifs 27 by 19 cm. Estimate € 12.000 - € 15.000

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Lot 156 ______________________________________________________________________________________

AL-MULAKHKHAS FI AL-HAY’AH AL-BASITA BY SHARAF AL-DIN MAHMUD IBN MUHAMMAD IBN UMAR AL-JAGHMINI AL-KHWARIZMI, COPIED 890 AH/1485 AD

Elementary textbook of astronomy by Sharaf al-Dīn Mahmud ibn Muhammad ibn ‘Umar al-Jaghmini al-Khwarizmi 603 AH/1207 AD with a commentray about the book by Ibn Mahmud known as Qadi Zada al-Rumi Arabic manuscript in black and red ink, 88 leaves with 2 fly leaves with marginal notes.The text contains 57 illustrations of the following diagrams: the cosmos and the spheres of the Sun, the stars, Mercury and the Moon. 18.5 by 10.8 cm. CATALOGUE NOTE Mahmud al-Jaghmini (died circa 618 AH/1221AD) composed multiple scientific works in Arabic in the late 12th and early 13th centuries under the auspices of the Khwarazmshahs in Central Asia. Two of his compositions became popular textbooks: an introduction to Ptolemaic theoretical astronomy (al-Mulakhkha fī ilm al-hay’ah al-basita) and his medical treatise al-Qanunca, an abridgement of Ibn Sina’s compendium al-Qānūn fī al-tibb. The impact and longevity of their influence is evidenced by the plethora of extant copies of the originals and their many commentaries and translations, which continued to be studied extensively for centuries and disseminated widely throughout the Islamic world and South Asia. Estimate € 4000 - € 6000

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Lot 157 _______________________________________________________________________________________

A VERY RARE OTTOMAN TALISMANIC SHIRT, LATE 17TH-EARLY 18TH CENTURY The cotton shirt inscribed with the entire text of the Quran written in black ghubari script within a square and rectangular shapes, each shoulder with a similar design, each rectangle with a single verse roundel in black and at its centre, surah Al-Kursi and prayers (adeih/evocations). Ayat alkursii ‘. Haraz ‘ama alsabayan. Duea’ alrahmini likashf alhama wal’ahzan wamuraqabat alnafs. Duea’ kamal alsihat wadawam alnaema. Duea’ alaihtijab walaihtiraz min al’aeda’. Duea’ alaikhtitam. Duea’ dalayil alkhayrat washawariq al’anwar. And duea’ alharz min alsibae wallusus.’ 67 cm long, 98 cm wide. CATALOGUE NOTE With CIRAM test, these tests for the pigments and the fabric are consistent with the age, late 17th century. Estimate € 20.000 - € 30.000

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Lot 158 ______________________________________________________________________________

AN OTTOMAN CHILD’S TALISMANIC SHIRT, TURKEY, 18TH CENTURY

Opaque pigments heightened with gold on cloth, of typical form with semi-circular cut collar and short rectangular sleeves, with two large ‘L’ shaped grids containing auspicious numbers surrounded by large roundels on blue and red ground containing inscriptions in naskh, areas of rubbing to the reverse. 49.9 by 87.1 cm at largest. PROVENANCE Christies London, 4 October 2012, lot 257. Estimate € 12.000 - € 16.000

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Lot 159 _______________________________________________________________________________________

AN ILLUMINATED MINIATURE DEPICTING ZODIACS PERSIA, 18TH-19TH CENTURY

A watercolor and gilt decorated painting of the twelve zodiacs, decorated with Quran verses from surah Al-Burooj, ‘The sky with the zodiacs, the promised day, and a witness’ in gilt thuluth script. Furthermore two verses of Persian poetry; praise the twelve imams’ in black ink. 25.5 by 16.5 cm. Estimate € 2000 - € 3000

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Lot 160 _______________________________________________________________________________________

KABS AL-MUJTADI WA TRKYATU AL-MUBTADI BY IBN QURMAS 1259 AH/1843 AD

Arabic manuscript paper with 187 leaves and 4 fly leaves, 22 lines to each page, written in naskh script with black and red ink, tables of number and Arabic alphabet with different geometric designs, within a gilt border The first page with an illustrated heading, bound in gilt brown leather cover. Nasser al-Din Muhammad bin Muhammad bin Qurqmas 883 AH/1487AD. Copied by Othman Al-Hilmi Al-Aqhasari 1259 AH/1843/ AD. 21 by 14 cm. CATALOGUE NOTE Muhammad ibn Qurqmas bin Abdullah al-Nasir, his nickname was Ahraam Dahg meaning the pyramid of the mountains, follower of the Hanafi school, during the reign of Mamluks in Egypt. His birth and death in Cairo, wrote a lot of books with his elegant script style. Estimate € 3000 - € 4000

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Lot 161 _______________________________________________

A LARGE TIMURID CARVED TALISMANIC PENDANT, PERSIA, 15TH-16TH CENTURY

A green jade with a cusped petal border and flat edge with a cylindrical opening for attaching, finely carved with arabesque designs surrounded by foliate scrolls and talismanic numbers on both sides. 7.5 by 7.2 cm diam. CATALOGUE NOTE Equations of magic numbers find their origin to the second century BC, and originated in India and China. Recorded as early as the tenth century in the Islamic world, such compositions of magical numbers were referred to as ‘harmonious organisation of numbers’. These equations appear on a number of mediums, and notably jade, which was carved into amulets such as the present example. Estimate € 6000 - € 8000

Lot 162 ______________________________________________

A MUGHAL JADE PENDANT (HALDILI) INDIA, DATED AH 1011/1602 AD

Of oval shape, the jade surface carved with 4 lines of extremely elegant nasta’liq, the final line dated. 4 cm. h eight, 5.5 cm. wide Arabic text is a supplication to Ali, the Prophet Muhammad’s cousin and son-in-law, who was the fourth Caliph and first imam. Because of his courage and valor, ‘Ali was known to Sunni and Shia Muslims by the epithet ‘The Lion of God’. The prayer, known as Nad-e ‘Ali, was typically used by Shia Muslims to seek ‘Ali’s help and support in times of stress and sorrow. Estimate € 5000 - € 8000

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Lot 163 ___________________________________________________________________________________

VERY RARE GOLD-DAMASCENED PEARL MERCHANT’S WEIGHING SET ABBASID PERIOD, CIRCA 300-400 AH/1000-1100 AD

With four bronze pans, which originally hung from a bronze arm, one pan at each end, suspended by thin chains or threads which have not survived. and scroll and pillar with suspension loop and different sizes lead weights, both pans with Kufic script . The inscription in the two pans reading: ‘alf lm mym kal faydan’. The four bowls ranging from: 5.5 to 7 cm. diam. CATALOGUE NOTE The weights as an autonomous branch of science was triggered by the eminent importance of balances for commercial purposes. In a vast empire with lively commerce between culturally and economically fairly autonomous regions, more and more sophisticated balances were, in the absence of standardization, key instruments governing the exchange of currencies and goods, such as precious metals and stones. It is therefore no surprise that Muslim scholars produced numerous treatises specifically dealing with balances and weights, explaining their theory, construction and use. This literature culminated in the compilation by ‘Abd ar-Rahman al-Khazini, around 1120, of Kitab mizan al-hikma, an encyclopedia of mechanics dedicated to the description of an ideal balance conceived as a universal tool of a science at the service of commerce, the so-called ‘balance of wisdom.’ This was capable of measuring absolute and specific weights of solids and liquids, calculating exchange rates of currencies, and determining time. Estimate € 14.000 - € 18.000

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PHARMACEUTICAL COMPOUNDING OF SEXUAL MEDICINE (FI AL-BAH) TWO ARABIC THESIS AND PERSIAN ANNOTATIONS ON MEDICINE IN ONE BINDING, DATED 20 SHAWWAL 896 AH/8 AUGUST 1491 AD

Arabic manuscript on paper of 19 leaves with 18 lines to each page, in naskh script with black and red ink. 1. A short thesis on Medicine, Arabic, 8 pages (page 6 - 14) 2. Risalah fi tarkib adwiyah al-bah (A thesis on Pharmaceutical compounding of sexual medicines), 24 pages (page 14-38). 3. Annotations on medicine, Persian, 5 pages (page 1-5). 18 by 14 cm CATALOGUE NOTE Avicenna ( 980 – June 1037) was a Persian polymath who is regarded as one of the most significant physicians, astronomers, thinkers and writers of the Islamic Golden Age, and the father of early modern medicine. His most famous works are The Book of Healing, a philosophical and scientific encyclopaedia, and The Canon of Medicine, a medical encyclopaedia, which became a standard medical text at many medieval universities and remained in use as late as 1650. Estimate € 8000 - € 10.000

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AL-HUSNEN HASEEN BY SHAMS AL DEEN MOHAMMAD AL-JAZURI MECCA, 979 AH/1572 AD Arabic manuscript on paper, 87 leaves and 2 flyleaves with 14 lines to each page, written in naskh script with black and red ink with a blue border. The first page illuminated with gold and blue border with occasional marginal notes. This book is written by al-Imam al-Alem shames al-din Mohammed ben al-Sheikh Shames Al Din Mohammed al-Juzari on sunday 22 Dhu al-Hijjah 791 AH/1388 AD in Damascus. Copied in Jumada al-awwal 979 AH/1572 AD in Mecca. 20 by 14 cm. CATALOGUE NOTE Al-Jazuri is considered a distinguished and prolific scholar in the field of the qira’at of the Quran, whom al-Suyuti regarded as the ‘ultimate authority on these matters’. His works on Tajwid and qira’at are considered classics. The his attributive title, Jazari, denotes an origin from Jazirat ibn ‘Umar on the Turkey-Syria border. He was born in Damascus on Friday 26 November 1350. He travelled to Mecca, Medina, Cairo and Alexandria where he took knowledge from its scholars and in 774 AH/1372 AD, he was authorized by his teacher Ibn Kathir to issue verdicts in Islamic law. He served as a qadi (judge) of Damascus in 793 AH/1390 AD and later in Shiraz where he died at the age of 79 in 832 AH/1429 AD. Estimate € 4000 - € 6000

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Lot 166 __________________________________________

THE SECOND PART OF AL-AJWEBA AL-MUHRARA AEN AL-ASAELA AL-MUHIERA BY QADI IYAD ABU ABDALLAH MUHAMMAD BIN ABD AL BAQI AL ZIRQANI AL-MALIKI COPIED 1100 AH/1689 AD

Arabic manuscript of 16 sheets calligraphed in black naskh with words and sentences in red on 22 lines per page. The colophon is signed ‘Rached b. Said b. ‘Arar al-Fallahi al-Julfari al-Maliki’ in the year 1100 AH/1689 AD in the city of Julfar. Binding without replacement flap, in stamped brown morocco with plant decor. 22 by 15 cm. The mention of Julfar refers to Ras Al Khaimah today, one of the seven emirates grouped in the United Arab Emirates. Estimate € 3000 - € 5000 Lot 167 __________________________________________

NUZHAT AL-NADHEREN FI MAN WULLIYA MISR MIN AL-MULIK, DATED 1039 AH/1630 AD IBN ‘ABDULLAH MAR’I BIN YUSUF BIN ABI BAKR AL-KARMI AL-MAQDISI AL-HANBALI -DIED (1033 AH/1623 AD)

Arabic manuscript on paper with 11 leaves and 2 flyleaves of 27 lines to each page written in black naskh, catchwords such as the names of the rulers in red. Copied by Ali bin Muhammad al-Bakri al-Siddiqi al-Makki, in Taif Saudi Arabia on 9 Jumada I- 1039 AH/1630 AD. CATALOGUE NOTE Mar’i Al-Karmi was born in Tulkarm, with unknown birthdate, spent his early years in Tulkarm then moved to Jerusalem to be taught by well-known Imams for a period of time. Then he left for Egypt where he was trained by different imams in Al-Azhar mosque. He lived in Egypt and remained there until his death. He became a well known imam in AL-Azhar, giving lessons and composing books till he became the Grand Imam of al Azhar. Estimate € 1000 - € 1500

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TABAYIN AL-HAQA’LIQ LI SHARH KANZ AL-DAQA’IQ BY UTHMAN BIN ALI ZAYLA’I, COPIED 870 AH/1466 AD IN MECCA Arabic manuscript on paper, 80 pages, with ruq’ah and naskh script. Author: Somali theologian and jurist Uthman Bin Ali from Zeila. Died 743 AH/1342 AD Uthman wrote several books on Islamic jurisprudence, one of which is considered to be the single most authoritative text on the Hanafi school of Islam. Consisting of four volumes, it is known as the In it he narrated the saying of Abu Hanifah that the Qiblah of the people of the East is West and the Qiblah of the people of the West is East and the Qiblah of the people of the North is South and the Qiblah of the people of the South is North. 27.5 by 19 cm. Estimate € 3000 - € 5000

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Lot 169 __________________________________________________________________________________

A COLLECTION OF MANUSCRIPT LETTERS (ALRASAYIL ALDAAMIGHAH LIL FASIQ LIL DUREZ), SYRIA, 14TH CENTURY

The present manuscript is distinguished from many sides, as the Druze heritage is sparse and abundant and includes most of the letters so that it reaches 25 messages for most of the founders of this doctrine as it is of ancient and ancient copies historically with a beautiful and readable copy line and its titles are written in red and according to the readers of the manuscript copies in the libraries of the world we found miscellaneous messages from this group on late dates, as well as many libraries, even one message from them, and this gives great importance to the manuscript as it is one of the rare historical sources for the Druze doctrine. 19.5 by 15.5 cm. Estimate â&#x201A;Ź 14.000 - â&#x201A;Ź 16.000

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Collection of manuscript letters 1 - The irrefutable of the evildoer in response to Al-Nusairi, which is in response to the book of facts, and Al-Mahjoub Al-Fih revealed some Nusayri. 2- Satisfaction and surrender, in which the Druze mentioned Muhammad bin Ismail and his disobedience. 3 - The excursion to show the excuse of God from every description and perception, and in it the five ministers of religion and their opposites (their abalas) are mentioned. 4- The Big Womenâ&#x20AC;&#x2122;s Message. 5- The morning of beliefs and speech. 6- A copy of the Mujtaba Record, in which he praised Abu Ibrahim al-Tamimi al-Daâ&#x20AC;&#x2122;i, and advised him of the purpose and advice. 7 - The tradition of al-Riddi, the ambassador of ability, which is Abu Abdullah bin Wahb al-Qurashi, which is considered as a leave for him by the preacher. 8-Tradition of the collector, which is a message to Bahaa Al-Din Abi Al-Hassan Al-Samuqi, known as the guest. 9- Writing to the people of the White Kidia, in which it is on the authority of Al-Hassan Ibn Heba Al-Rafa, the Captain of the Captains, to pay their books to him, as it is a link to him. 10 - The condition of the Imam, the author of the revelation, which was sent to the Muslim Crown Prince Abdel Rahim bin Elias. 11- Warning and Warning. 12- The message of Khimar, the son of Jaish al-Sulaymani al-Akkawi, and he described it as the devil and the donkey. 13- Monologues are the manners of the guardian of truth. 14 - The female rescuer sent it to the judge, Ahmed Bin Al-Awam 15- Responded supplication 16 - Sanctifying the supplication of the sad, or supplication for the salvation of the Almohads who know 17-Mentioning the knowledge of the Imam and the names of the Alawite frontiers is spiritual and physical. 18 - Healing excuses and warnings for the hearts of the people of truth, sickness and choice 19- The message of backbiting is the warning message, and it was for the people of Levant. 20 -Trigger message and clear path to the student going. 21-Book of Dividing Sciences, Establishing Truth, and Discovering the Creator, written by Ismail bin Muhammad bin Hamid Al-Tamimi. 22- The message of the candle and the like in Tawheed written by Ismail Al-Tamimi 23- Tagged with guidance and guidance. 24 -The poetry of the soul, except in God, was written by Ismail Al-Tamimi, and they considered it an arrogant hymn for each new day. 25- The message of submission.

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TUHFT ALNUZAR FI GHARAYIB AL’AMSAR WAEAAYIB AL ASFAR COPIED BY MUHAMMAD BINMUHAMMAD BIN JAZI AL-KALBI, 756 AH/1355 AD

Muhammad ibn Abdullah ibn Muhammad al-Lawati al-Tanji known as Ibn Battuta. Copied by Muhammad bin Muhammad bin Jazi Al-Kalbi 756 AH/1355 AD An Arabic manuscript on paper, 159 leaves, 25 lines to the page written in Maghribi script in brown ink, Ibn Battuta trip, and talks about its people, rulers and knowledge, and describes clothes in their colors, shapes, vitality and significance, and does not forget the foods, their types and the way they are made, after spending 30 years traveling in the countries of the world. Sultan Abu Anan al-Marini instructed him to write this trip, and for that reason he chose Andalusia jurist who joined the court of Bani Marin, who was Ibn Jazi al-Kalbi, and it was dictated in Fez in the year 756 AH. 25.5 by 18.5 cm. Estimate € 6000 - € 8000

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Lot 171 ________________________________________________________________________________

AL QAMUS AL-MUHIT WAL-QABUS AL-WASIT, TURKEY, CIRCA 1800

Muhammad Bin Ya’Kub Al-Firuzabadi Handwritten Arabic dictionary of 545 folios of 33 lines per page in two assembled parts and two different hands. The first part ends at folio 256A, calligraphed in beautiful and regular black naskh with larger words or letters in black and red for the first part and in black, red and green for the second. These chapters (fasl) are in large black naskh. An illuminated frontispiece with floral decoration adorns the cover page of the manuscript. Binding with volute flaps in red morocco stamped with flower decoration and inscribed in golden letters: ‘Ali ‘Abol al-Razaq’. Used case. The first two folios noted, stains and soiling, some restorations. The owner’s mark refers to Ali Abdul-Razzaq (1888-1966), a famous Egyptian academic, who studied at Oxford. 29 by 20 cm. Estimate € 3000 - € 4000

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Lot 172 _____________________________________________

TANBEEH ALANAAM FI MAQAM ALNABI BY ABDUL JALIL AZOUM Al-QAYRAWANI NEAR EAST, DATED 1127 AH/1715 AD

Asma’ul Allah wa Husni wa un’Nabi (the names of God and Prophet Muhamad), in Arabic, decorated manuscript on paper single volume, 227 leaves (plus 3 contemporary endpapers), complete, single column, 17 lines of black naskh with the words ‘Allah’ and ‘Muhammad’ in red throughout, plus additional phrases also in red, catch-words throughout, leaves ruled in red, some very faint water-staining to outer edges, contemporary tan morocco, blind-stamped medallions to covers, ruled in gilt, extremities rubbed and a little faded. This is a codex devoted entirely to listing the Islamic names of Allah and Prophet Muhammad, in a large and very legible format. It was most probably produced for use by students of Islamic studies. 31 by 20 cm. Estimate € 2000 - € 3000 Lot 173 ______________________________________________

OTTOMAN TURKISH, POETRY COLLECTION BY FAZULI BAGHDADI 885-963 AH/1480-1556 AD COPIED AND DATED BY QASIM SUBASHI MUHARRAM 999 AH/1591 AD Turkish poetry collection by Fuzuli Azerbaijani: 1494 –1556 copied by Qasim Subashi, 999 AH/1591AD Mahammad bin Suleyman. Classical Azerbaijani . Mehemmed Süleyman oglu, better known by his pen name Fuzuli Azerbaijani: 1494–1556 AD, was an Azerbaijani of the Bayat tribes of Oghuz, poet, writer and thinker. Often considered one of the greatest contributors to the divan tradition of Azerbaijani literature, Fuzuli in fact wrote his collected poems (divan) in three different languages: in his native Azerbaijani, Arabic and Persian. He was well-versed in both the Ottoman and Chagatai Turkic literary traditions as well as mathematics and astronomy. He died during a plague outbreak in 1556, in Karbala, either of the plague itself or of cholera. 29 by 16 cm. Estimate € 2000 - € 3000

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Lot 174 ___________________________________________________________________________________

FAKHR ALDEEN ALI KNOWN AS AL-SAFI DATED AND WRITTEN IN MECCA 893 AH/1487AD

‘Rashahaat ain al heyaat’ or Eye life filters, in the honors of the Naqshbandi sheikhs and their prophetic literature and divine secrets. Persian manuscripts on paper of 178 leaves with 27 lines to each page, written in black nasta’liq script with important words in red. Fakhr Aldeen Ali bin Mawalana Hussein Waaez al-kashfi born in 847 AH1443 AD and died in 939AH/1532AD. Follower of the Hanfi school, this book was written in Mecca during the rule of Sultan Husayn Bayqara Mirza. 27 by 16.5 cm. Estimate € 3000 - € 5000

Lot 175 ______________________________________________________________________________________

HADITH AL-SHIFA BY SHEIKH YASSIN BIN MUHAMMAD AL-SHAFI’I AL-ANSARI, DATED 1077 AH/1667 AD Arabic manuscript on paper 296 sheets about commercial and civil acts or dealings under Islamic law, and Alfiqh as ‘knowledge of the rules of God which concern the actions of personswho own themselves connected to obey the law respecting what is required wajib), sinful (haraam), recommended (mandub), disapproved (makruh)or neutral (mubah)’. 28 by 22 cm. Estimate € 3000 - € 4000

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Lot 176 ______________________________________________________________________________

MUKHTASAR AL-QUDURI BY ABU’L-HASAN AL-QUDURI 362 AH/972 AD

Copied by Ama Allah Quraish bint Muhammad bint Ahmad Al-Fahrawali Al-Makki, 967 AH/1559 AD. Mukhtasar Al-Quduri also known as panning the entire spectrum of fiqh, covering matters of worship, business transactions, personal relations and penal and judicial matters, etc. The book is recognized and respected as a reliable book of the Hanafi school, and has had various commentaries written on it. Upto this day, the book enjoys a wide acclaim, still forming a part of the teaching curriculum in many traditional madaris, and with prominent and accomplished contemporary scholars continuing to recommend and approve it as a teaching text.Abu’l-Hasan Ahmad ibn Muhammad ibn Ahmad ibn Ja`far ibn Hamdan al-Quduri al-Baghdadi, the Hanafi jurist, born 362 AH. Al-Quduri is an ascription to the selling of pots (qudur). Abu’l-Hasan al-Quduri took his knowledge of fiqh from Abu `Abdillah Muhammad ibn al-Jurjani, from Abu Bakr al-Razi,Al-Quduri was one of the ashab al-tarjih (jurists who weighed and analyzed the strengths of differing verdicts in the madhhab). The leadership of the Hanafis in Iraq came to rest with him, and his renown rose. His mention recurs in the well-known Hanafi books al-Hidayah and al-Khulasah. He died on 15th Rajab 428 AH in Baghdad, and was buried in his home, but was later transported and buried beside Abu Bakr al-Khawarizmi, another Hanafi jurist. 20.5 by 15 cm. Estimate € 3000 - € 5000

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A MAGNIFICENT MERINID-STYLE CASKET MOROCCO, EARLY 20TH CENTURY

The stellar wood panels carved with intricate knot work bordered with micro mosaic strap work, the hinged lid panel with octagonal micro mosaic roundels. 42 by 57.2 by 33.7 cm. This large chest is made from exquisitely carved cedar wood panels that were originally intended for the Merinid pulpit (minbar) of the Bu ’Inaniya madrasa in Fez. The Bu ’Inaniya madrasa was a religious school founded by Abu ‘Inan (r. 1348-58) and is one of the celebrated jewels of Merinid architecture. Wooden minbars were often the product of royal commissions, destined to adorn the most prestigious mosques and religious institutions. An example is given in Palestine by the Ayyubid minbar commissioned by Nur al-Din Zengi for the Masjid al -Aqsa in Jerusalem in 1169-74. Considered a masterpiece of Islamic art, it is on par with three celebrated minbars in Morocco, that of th Andalusian Mosque in Fez, dated 980, that of the Kutubiyya mosque in Marrakech, begun in 1137 and that of the Qarawiyyin Mosque in Fez, dated 1144. The Minbar of the Bu ’Inaniya now in the Dar Batha museum, makes no exception; it is an extraordinary artwork, a sumptuous example of Islamic decoration. It was commissioned between 1350 and 1355 and draws on the earlier Almoravid tradition as illustrated by the Kutubiyya minbar. It is very close to the Almohad pulpit but details in the decoration such as the presence of pinecones are characteristic of the Merinid style of the period. The minbar of the Bu ’Inaniya mosque was so highly esteemed by the inhabitants of Old Fez that they opposed its transfer to the Dar Batha Museum in 1937. The minbar stayed a few days at the museum before being returned to the madrasa under the pressure of the inhabitant. The minbar eventually entered the collection of the Dar Batha Museum in 1966. The panels that were made for its restoration at the time (until today, the pulpit has many losses) were never set on the minbar but were assembled as a chest, which is the present box. Published in: Maroc Médiéval, Un empire de l’Afrique a l’Espagne, Lintz, 2014, fig. 2, p. 53. Estimate € 20.000 - € 30.000

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A FATIMID ROCK CRYSTAL CHESS OR BACKGAMMON PIECE EGYPT, CIRCA 11TH CENTURY The rock crystal of domed cylindrical form with vertical ribs. 3.5 cm. height, 3 cm. diam.

CATALOGUE NOTE Of oval form with vertical ribs, moulded after the original ivory example from the 9th-10th century that was used in Syria and Persia, See: ‘Dar al-Athar al-Islamiyah / the al-Sabah Collection Kuwait (LSN 24 1). Before its adoption by the Muslims, chess first appeared in India during the second half of the 5th century, or the first half of the 6th century. It then reached Persia and spread throughout the Muslim world in the 7th century. The game came to the West during the 11th century. The feat of carving rock crystal, an extremely hard element, was mastered by the Fatimids in the 10th century as evident from the magnificent, but limited, corpus of remaining works, including ewers, flasks and chess pieces. It was the abundant wealth of the Fatimid Caliphs that permitted them to commission works of such refinement as the present chess piece. A very close example of a rock crystal to be found at the Metropolitan museum New York (AN 1972.9.28) Estimate € 8000- € 12.000

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A TIMURID JADE TALISMAN OF FLAT-SIDED HEART FORM 15TH, EARLY 16TH CENTURY

The dark green nephrite carved on each side with an ogival medallion containing floral sprays around a central stellar flowerhead, in a border of meandering flowering vine with cusped outer rim, the flat upper side drilled for suspension. 7.9 cm. Estimate € 4000- € 6000

Lot 180 ___________________________________________________________________________________

A MUGHAL JADE AND GEM SET PENDANT, 19TH CENTURY

A jade carved pendant, inlaid with gold, uncut diamonds and carved Berly stones. 6.8 by 3.8 cm Estimate € 2000- € 3000

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Lot 181 __________________________________________________________________________________

AN UMAYYAD ROCK CRYSTAL TALISMAN 8TH-9TH CENTURY

Of rough oval form with one flat and one convex side, engraved to each side with a three-line Kufic inscription of Ayat al-Kursi known as ‘The Throne Verse’ v.255 of Quran 2th surah Al-Baqarah in reverse. 2.7 cm. across. CATALOGUE NOTE A similar talisman is in the Zucker Collection, published Content, D.J.: Islamic Rings and Gems-the Benjamin Zucker, London 1987, no. 100, pp. 333-4. Nine further pieces are in the Bibliotheque Nationale, Paris, and have been published by Kalus, L.: Catalogue des cachets, bulles et talismans islamiques, Paris 1981, pp. 95-99, nos. 2.4-2.12. Inscriptions on talismans are normally proper, those in intaglio are rare. This talisman is one of a group of rock-crystal talismans of similar form inscribed in Kufic on both sides, often very difficult to read. These inscriptions of vv. 255 al kursi. Estimate € 5000 - € 7000

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A RARE MUGHAL JADE AND INLAID PENDANT BAZUBAND 17TH CENTURY

A Mughal pendant of oval form with cornelian inscribed flat surface with a dark green jade flower shaped mounting, flanked on both sides with gold flower sprigs inlaid with agate. The flat cornelian surface engraved with Quran 48 surah Al-Fatih, Triump v.1-v3. Inscribed number 5 in the beginning and the end of surah Al-Fatih indicating the meaning of maker’s signature. Probably made for royal family. This type of Bazuband is usually carried on the shoulders of princes and sultans and on the necks of horses used as a guard against evil or harm during battles. 8 cm by 4 cm. Estimate € 12.000 - € 15.000

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AN ISLAMIC NIELLOED SILVER RING SET WITH AN INSCRIBED CORNELIAN IN A SQUARE BEZEL, MOSUL AREA, 8TH-9TH CENTURY

Carnelian, rectangular, flat top with bevelled sides, the stone with a three line inscription in Kufic. Both sides with nielloed Kufic script, the shoulders engraved and inlaid with lions The inscriptions: ‘almulk walqudrat allah alhawl walquat allah alzafr bialnasr’ (with the sovereignty and competence of Allah, the power and strength, the victory is ours) Around the bezel: ‘fath min allah wanasr qarib liman yasbir’ (Victory from God is close to those who are patient) For its owner (Jahd bin muhjib) size: 2 cm. Estimate € 10.000 - € 14.000

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TWO FATIMID INSCRIBED TEXTILE FRAGMENTS EGYPT, 11TH-12TH CENTURY

Both with Kufic inscriptions embroidered in black silk on white linen ground reading: ‘Bismillah, Praise from Allah to Abdullah, Allah is the refuge for His messenger and believers and upon Him they trust’. CATALOGUE NOTE: The word tiraz is derived from the Persian word for embroidery and can refer to the textiles themselves, to the bands of inscription that were embroidered onto them, or to the factories in which they were produced. Tiraz vary widely in materials and appearance depending on when, where, and for whom they were produced. Most were made of linen, wool, cotton, or a fabric called mulham that was composed of a silk warp and cotton or other weft. Throughout the Islamic world, tiraz inscriptions were written in Kufic or floriated Kufic script, and later, in naskh or thuluth. They often include the bismillah, the name of the caliph, and the date and place of manufacture. Under the Fatimid Caliph al-Mu‘izz (r. 953-75), the khil‘a ceremony gained importance and the technical quality of tiraz garments came to reflect the wealth and influence of their recipients. In this ceremony, which can be traced to the time of the prophet Muhammad, the Caliph would bestow robes of honor upon deserving subjects. The epigraphic bands on many of these textiles documented new allegiances, confirmed loyalty to the Caliph and to Allah, and marked the recipient with honor. In Fatimid Egypt, silk robes woven with gold tiraz bands were reserved for the vizier and other high-ranking officials, while the general public wore linen. Fragments of many linen tiraz have been found in Egyptian tombs, where they were used as shrouds and preserved due to the arid climate. Blessings (baraka) attained through the khil‘a ceremony and subsequent use during prayer imbued these textiles with special qualities that made them especially suited for this funerary purpose. Tiraz textiles were often wrapped around the head of the deceased with the text covering the eyes, which attests to the religious significance of these inscriptions. Estimate € 4000- € 6000

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A PORTRAIT OF YOUNG PRINCE SEATED WITH ATTENDANTS INDIA, MUGHAL, LATE 17TH CENTURY

Gouache on paper heightened with gold, laid down on album page depicting 4 scholars advising a prince on a terrace with attendants. Probably Dara Shikoh represented deep in conversation with mystics and sages. Inscription to lower edge, framed. painting: 22 by 17 cm. CATALOGUE NOTE Darah Shikoh was the eldest and most beloved son of Shah Jahan, exhibited a profound interest in mysticism, preferring academia and the company of ascetics to the military career. The topic has always been a popular one, with the Mughal emperors from Akbar onwards often represented deep in conversation with mystics and sages. It is partly due to a desire to consolidate their right to rule through theological means, and partly through a sincere fascination with faith and spirituality. Akbar wanted to show his tolerance towards people of other faiths, as his borders spread and his empire incorporated increasing numbers of non-muslim subjects. Akbar recognised the need to prove his acceptance of other denominations. Lectures were held in the capital city focusing on the philosophical and spiritual issues of Islam, Hinduism and Christianity. In any event, this political and personal interest in mysticism continued in the reign of Jahangir, when many artists began representing groups of wise men as a subject in their own right, without a princely figure and on into the reign of Shah Jhan. PROVENANCE Formerly in the collection of the artist Einar Jolin (1890-1976) Stockholm. Inscription on the back ‘Acquired from Trägård in Gothenburg by Einar Jolin 1947.

Estimate € 6000 - € 8000

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AN ILLUMINATED CALLIGRAPHY ATTRIBUTED TO YAQUT AL-MUSTA’SIMI BAGHDAD, LATE 13TH CENTURY,

An Arabic manuscript on paper, depicting calligraphies in different scripts. The upper section depicts a saying by Mutarrif ibn Abdulallah in black naskh script, the middle section with poems written by Ahmed ibn Assem Al-antaki in black Muhaqqaq script. The lower section depicting a saying by Omer ibn Abdalziz, the well-known Umayyd caliph. all within a later gilded borders. 31 by 17.8 cm. Yaqut al-Musta’simi is one of the most famous and admired, perhaps the most celebrated, of Islamic calligraphers. His full name was Abu’l Majd Jamal al-Din Yaqut ibn ‘Abdullah, and he was born, it is thought, in the early 13th century, in Anatolia, though there have been suggestions that he was Abyssinian. The name Yaqut, ‘ruby’, was a common one for slaves, and he is supposed to have been brought as a slave (possibly also converting to Islam) to Baghdad in his youth in the service of the last Abbasid caliph, al-Musta’sim billah (whence his epithet). He was official secretary (katib al-diwan) there and managed to survive the sack of the city by the Mongols in 1258. He studied calligraphy with one of the masters of that period, Safi al-Din ‘Abd al-Mu’min al-Urmawi (d. 1294), and also under Juwayni, becoming librarian of the famous Mustansiriyyah madrasa. He died in around 697AH/1298 AD. Yaqut was always spoken of for his mastery of the ‘Six Pens’, notably thuluth, and also for developing a new style of naskhi script by trimming the nib of his pen differently. He was said to have practiced calligraphy every day by copying two sections of the Quran, maintaining this practice (so legend had it) even during the Mongol siege, by hiding at the top of a minaret. Estimate € 6000 - € 8000

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recto verso Lot 187 ________________________________________________________________________________

A PORTAIT OF AURANGZEB, (AKA ALAMGIR), THE REVERSE WITH A CALLIGRAPHIC QUATRAIN INDIA, 17TH CENTURY

Portrait of Mughal emperor Aurangzeb ‘Alarmgir’. A calligraphic quatrain on the reverse 1072 AH/1662 AD. Signed Fakir Mohamed Amin Mashadi. On the reverse a calligraphic quatrain; a Persian manuscript on paper, with 5 lines of black nasta’liq on paper, the gold ground painted on top, within gold and polychrome rules, laid down on card, the margins with fine floral scrolls. 40.5 by 25.5 cm. CATALOGUE NOTE: This fine Mughal portrait of a prince dressed in jama over tight-fitting pyjamas, a small inscription at top reading ‘Aurangzeb during Deputy of the Sultanate’ Aurangzeb was the third son of Shah Jahan, who took the title of ‘Alamgir (‘Seizer of the Universe’) when he assumed the throne after imprisoning his father in 1658. Aurangzeb was ruthless in his campaigns and orthodox in his religious beliefs, resulting in the alienation of the Hindu Rajput courts. Much of his long reign was spent battling rebellions. His religious austerity increased throughout his reign, turning him against music, dance and painting and by 1668 Aurangzeb had virtually closed the royal ateliers. As a result the surviving portraits of Aurangzeb were either painted early in his reign or after his death. Estimate € 8000 - € 12.000

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AURANGZEB, ALAMGIR INDIA, MUGHAL, 18TH CENTURY Opaque pigments heightened with gold on paper, depicting the enthroned Aurangzeb wearing an orange waistcoat, seated on a gold jeweled throne under a gold parasol. With the inscription of Alamgir. painting: 26.5 by 17 cm. folio: 32 by 22 cm. Estimate € 4000- € 6000

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Lot 189 ________________________________________________________________________________

A PERSIAN MINIATURE BY MO’EN MOSAVVER SCHOOL DATED MUHARRAM 1075 AH/1664 AD A couple sitting in a garden being entertained by musicians. Ink, color, and gold on paper 30 by 21 cm.

Mo’en Mosavver was a Persian miniaturist, one of the significant in 17th-century Safavid Iran. Not much is known about the personal life of Mo’en, except that he was born in ca. 1610-1615, became a pupil of Reza Abbasi, the leading painter of the day, and probably died in 1693. Over 300 miniatures and drawings attributed to him survive. He was a conservative painter who partly reversed the advanced style of his master, avoiding influences from Western painting. However, he painted a number of scenes of ordinary people, which are unusual in Persian painting Moen was born in Isfahan and probably spent all of his life in this city. He enjoyed a long and successful career stretching from around 1630 to 1693. PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 4000 - € 6000

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Lot 190 ____________________________________________________________________________________

A DRAWING OF A DERVISH STYLE OF REZA-I ‘ABBASI SAFAVID, SINGED BY MUHAMMED YUSUF, 17TH CENTURY

Pencil and ink on paper, laid down on album page depicting a dervish with two birds in a landscape, with Persian poems in black nasta’liq script on a flower decorated ground singed by Muhammad Yusuf. In the mid-seventeenth century, followers of the famous Riza-yi ‘Abbasi continued his practice of producing drawings of single figures in a landscape for inclusion in albums. This figure can be identified as a sufi, on account of his long-sleeved khirqa cloak and cap. His crossed arms and lowered gaze all suggest that he is in a state of deep introspection. In many examples of Persian paintings, sleeves serve as a metaphor for the emotional state of the wearer, expressing contemplation and reverence. In the case of this figure, his sleeves hang limp, crossed one over the other, emphasizing his contemplation. Sufis frequently spent periods of up to 40 days in isolation in the wilderness. This practice, called Khalwa, facilitated distraction-free meditation and prayer. Young Sufis would engage in this habit under the guidance of a shaikh, and more advanced Sufis would sustain this practice independently throughout their lives. 27.5 by 18.8 cm. CATALOGUE NOTE Muhammed Yusuf is a Safavid era Persian painter of the Isfahan school. He was an apprentice of Reza Abbasi. The Shahnameh of Rashida is attributed to him. It seems that he and Mohammad Qasem were close co-workers, as their names are usually mentioned together. PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 3000 - € 5000

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Lot 191 ____________________________________________________________________________________

BAZ BAHADUR AND RUPMATI HUNTING, INDIA, MUGHAL, 17TH CENTURY

Gouache heightened with gold on paper, laid down on an album page with narrow gold border rules. painting: 25 by 17cm. leaf: 35.5 by 25.5 cm. Verso: A nasta’liq quatrain, signed Abu Al-Baqa’ (Al-Musawi) circa 1680-1690. Ink and pigments on paper, the calligraphy in six lines of elegant black nasta’liq script, each line in cloud on illuminated gilded floral ground, with cream borders. panel: 35 by 25.5 cm. calligraphy: 25 by 12 cm. CATALOGUE NOTE Baz Bahadur had discovered Roopmati in music and hence it was dearer to him than even his kingdom. One day, when on a hunting expedition a melody piercing the column of trees reached him. He moved along the melody and reached Roopmati, an exceptional beauty. He instantly fell in love and when her father Thakur Than Singh did not agree to their marriage, he obtained her in a fierce battle. Their love lasted till 1661 when Akbar’s military general Adam Khan defeated him and captured Mandu, Roopmati preferring death to being a Mughal captive. In 1561, Akbar’s army led by Adham Khan and Pir Muhammad Khan attacked Malwa and defeated Baz Bahadur in the battle of Sarangpur on 29 March 1561. One of the reasons for Adham Khan’s attack seems to be his lust for Rani Roopmati. Rani Roopmati poisoned herself upon hearing of the fall of Mandu. Baz Bahadur fled[1] to Khandesh. Akbar soon recalled Adham Khan and made over command to Pir Muhammad, who attacked Khandesh and proceeded up to Burhanpur but was soon defeated by a coalition of three powers: Miran Mubarak Shah II of Khandesh, Tufal Khan of Berar and Baz Bahadur. Pir Muhammad died while retreating. The confederate army pursued the Mughals and drove them out of Malwa, and thus Baz Bahadur regained his kingdom for a brief period. Estimate € 15.000 - € 20.000

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Lot 192 _________________________________________________________________________________

SHAH JAHAN ENTERTAINED WITH MUSIC AT NIGHT BY A GROUP OF MUSICIANS, INDIA, BIKANER, 18TH CENTURY

Rasjasthani school miniature. Shah Jahan entertained with music at night by a group of musicians, the ruler seated on a low throne with a green and gold halo around his head, servants standing behind him, candles burning on the patterned carpet of the terrace, a verandah with colorful curtains, in the distant landscape two boats on the water, and green riverbeds. painting: 21.5 by 17.5 cm., folio: 35.5 by 30 cm. Estimate € 6000 - € 8000

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Lot 193 ________________________________________________________________________________________

THE THRONE VERSE (AYAT AL-KURSI) IN THE FORM OF A CALLIGRAPHIC HORSE INDIA, DECCAN, BIJAPUR, 19TH CENTURY

Text: Quran 2 surah Al-Baqarah v.255 Ink, opaque watercolor and gold on paper The text of the Throne Verse begins at the horse’s head; the first half of the verse is written in the area in front of the saddle; the second half of the verse is written in the area behind the saddle, and the final words are spread across the area below the saddle from the hind quarters to just above the vertical front leg. ‘Allah is He besides whom there is no God, the ever-living, the self-subsisting, by whom all subsist; slumber does not overtake Him nor sleep, whatever is in the heavens and whatever is in the earth is His; who is he that can intercede with Him but by His permission. He knows what is before them, and what is behind them, and they cannot comprehend anything out of His knowledge except what He pleases; His knowledge extends over the heavens and the earth, and the preservation of them both tires Him not, and He is the most High, the Great.’ 31.5 by 22.5 cm. Estimate € 2000 - € 4000

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Lot 194 __________________________________________

A MOULDED BLUE GLASS BOTTLE NISHAPUR, NORTH EAST IRAN 9TH CENTURY

Of round form with extended flaring neck with ribbed decoration on neck and around base, body with honey-comb moulded decoration, areas of polychrome, iridescence. 12 cm. height. PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 3000 - € 5000 Lot 195 ____________________________________________

AN OTTOMAN GLASS HANGING LAMP TURKEY, CIRCA 17TH CENTURY

Of deep slightly flaring form, the bluish glass decorated in a brownish gold lustre with a series of cross-hatched lozenge motifs interspersed by large foliate motifs, with gilt Arabic inscriptions.”He was true to his promise, He helped His servant, and He gave might to His soldiers and defeated the Confederates alone”. glass: 18 cm. diam., 12 cm. height. Estimate € 3000 - € 5000

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Lot 196 _______________________________________________________________________________

A BLUE GLASS SPRINKLER, PERSIA, 9TH-10TH CENTURY

Sprinkler of blue glass, long cylindrical neck on a spherical body with foot-ring and on shoulder indeterminate decoration with raised defining line. Four roundels on the body each with a standing peacock and between the roundels are what appear to be vases of baluster form. 22.5 cm. Estimate € 8000 - € 12.000

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Lot 197 __________________________________________

A SMALL BLUE MOULDED GLASS EWER SYRIA, 10TH CENTURY

The deep blue glass with rainbow iridescence, the rounded body with a frieze of raised moulded circle motifs, supported on a stepped base with narrow constricted neck leading to two thin parallel handles. 8.8 cm PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 2000 - € 3000

Lot 198 __________________________________________

A LARGE GLASS INKWELL PERSIA, 10TH-11TH CENTURY

Of cylindrical form, with everted central ring and four lug handles surrounding the opening to well. 9.5 cm. diam, 12 cm. height. PROVENANCE Private collection, Dr. I. Lak, United Kingdom CATALOGUE NOTE A remarkably similar glass inkwell is now in the Iran Bastan Museum, Tehran. It was excavated at Siraf and can be dated to the 10th-11th century, suggesting an Iranian locus of manufacture and date for the present inkwell. Estimate € 2000 - € 3000 Lot 199 __________________________________________

A PERSIAN GLASS PURING BOWL PERSIA, 11TH-12TH CENTURY With a cylindrical shape and pierced base. 9 cm. height, 10 cm. diam. Estimate € 2000 - € 3000

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Lot 200 ________________________________________________________________________________

A PAIR OF SQUARE FRAMED IZNIK TILES OTTOMAN, TURKEY, CA 1600

The polychrome painted decoration consisting of a floral spray rising from a vase, flanked by swaying tulips, framed. 24 by 24 cm. PROVENANCE Private collection, The Netherlands Estimate € 2000 - € 3000

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Lot 201 ______________________________________________________________________________________

AN IZNIK POTTERY TILE, OTTOMAN, TURKEY, CIRCA 1580

Of square form, painted in turquoise, cobalt-blue and bole-red, the white ground with curved double saz leaf partly overlapping a rosette and surrounded by large palmettes on all four sides linked by fine circular stems, with further smaller saz leaves above and below creating a diagonal axis across the tile. 25.7 cm. square. PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 3000 - € 4000

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Lot 202 ______________________________________________________________________________

A PAIR OF RARE AND FINE IZNIK TILES OTTOMAN, TURKEY, 16TH CENTURY

Decorated in cobalt blue, turquoise and red with medallion shaped cartouches containing tulips and carnations, all within arabesque patterned border. Each tile 22 by 22 cm. PROVENANCE Private collection, Germany Estimate € 2000 - € 3000

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Lot 203 ______________________________________________________________________________

A TIMURID CUERDA SECA POTTERY TILE CENTRAL ASIA, 14TH-15TH CENTURY

Square, painted in green, yellow, red, turquoise and black outlines in reserve on a blue ground with a knotted Kufic inscription (al-mulk li-llah ‘Dominion is God’s’.) Approx 28 cm. by 27.5

Catalogue note

The Kufic inscription on this superb tile can be compared with the frontispiece from a manuscript copied for Bayjunghu ibn Shahruk in Herat around the year 1430 (Thomas W. Lents and Glenn D. Lowry, Timur and Princely Vision, Exhibition catalogue, Los Angeles County Museum of Art, 13th August - 5th November 1989, fig. 43. PROVENANCE Private collection, Germany Estimate € 12.000 - € 15.000

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Lot 204 ______________________________________________________________________________

A LARGE COLLECTION OF MONOCHROME POTTERY TILES PERSIA, 13TH-14TH CENTURY Comprising thirty-four cross-shaped tiles glazed in monochrome cobalt blue; thirty-six tiles of eight-pointed stellar form in a turquoise monochrome glaze. Each cross tile 11.5 cm. diam.; each star tile 11 cm. diam. (75) PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 3000 - € 5000

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Lot 205 ______________________________________________________________________________

A SQUARE IZNIK TILE OTTOMAN, TURKEY, 16TH CENTURY

Decorated in blue, turquoise and coral red with four half large flower heads, branches of hyacinth blossom and curved saz leaves. 16.5 by 16.5 cm. Estimate € 2000 - € 3000

Lot 206 ______________________________________________________________________________

AN IZNIK POTTERY TILE, WEST ANATOLIA, CIRCA 1530

Of rectangular form, the cobalt-blue ground with a meandering tendril linking a serrated leaf overpainted by flowers, a part rosette at each end issuing small floral sprays, repaired break. 12.5 by 24.3 cm. CATALOGUE NOTE An identical tile is in the Sadberk Hanim Museum, Istanbul (Altun, Ara, Carswell, John and Oney, Gonul: Sadberk Hanim Museum Turkish Tiles and Ceramics, Istanbul, 1991, no.I.52, p.38). PROVENANCE Christies London, 23 April 2002, lot 186. Estimate € 2000 - € 3000

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Lot 207 ______________________________________________________________________________

AN IZNIK POTTERY DISH, OTTOMAN, TURKEY, CIRCA 1600

Of typical form, the interior decorated with a masted ship at sea in bole-red, blue, green and manganese on white ground, the rim with ‘wave and rock’ pattern in black and blue, the exterior with four roundels in black and blue. 32.2 cm. diam.

Catalogue note

Istanbul was a lively center of trade, and many ships, both Turkish and Western, called at its harbor. Most of the Turkish vessels were light, fast ships with lateen sails. Western European galleys were much heavier, and this dish shows a monumental oceangoing three-master on the raging sea. What were presumably the muzzles of threatening cannons were transformed by the Turkish potter into flowerheads. Estimate € 8000 - € 12.000

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Lot 208 ____________________________________________________________________________________

AN IZNIK POLYCHROME POTTERY TILE, OTTOMAN, TURKEY, CIRCA 1700

Of rectangular form, with a design of interlocking scrolling cloudbands on a relief red ground, touches of underglaze emerald green, thin blue band on one edge and flowers, set in wooden frame. 12 by 21 cm. Estimate € 2000 - € 3000

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Lot 209 _______________________________________________________________________________________

A QAJAR MOULDED POTTERY TILE PERSIA, 19TH CENTURY

Of rectangular form, the cobalt-blue ground painted in manganese, green, yellow, brown, white and black with a depiction of a meeting of lovers accompanied by their companion and different animals in a landscape. The border with cartouches enclosing Persian poems in nasta’liq script. 47 by 37 cm.

Provenance

Formerly collection Adalbert Colsman (1886-1978), acquired through inheritance. Estimate € 3500 - € 5000

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Lot 210 ___________________________________________________________________________________

A GROUP OF TIMURID CUERDA SECA POTTERY STAR TILES PERSIA, LATE 15TH CENTURY

Comprising four eight-pointed tiles, decorated in blue, outlined in cuerda seca on a white ground with split-palmette interlace. 9.4 cm. diam. max.(10)

Catalogue note

Similar star tiles were offered for sale at Christie’s, Art of the Islamic and Indian Worlds, 26th April 2005, lot 99 and Sotheby’s, Arts of the Islamic World, 28th April 2004, lot 120. PROVENANCE Private collection, Germany Estimate € 4000 - € 6000

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Lot 211 ____________________________________________________________________________________

A GROUP OF TIMURID UNDERGLAZE PAINTED POTTERY TILES PERSIA, 15TH CENTURY

Consisting of seven tiles of hexagonal form decorated in black under a green glaze with a central flowerhead surrounded by radiating floral and foliate motifs, the corners with partial flowerheads. each 15 cm. max. diam.(7)

Estimate € 3000 - € 5000

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Lot 212

__________________________________________________________________________ A GHAZNAVID MARBLE TOMBE FRAGMENT, DATED 597 AH/1200 AD Of rectangular shape. It is engraved in Arabic on both sides of the longitudinal coronation, as well as on the front sides. A peculiar decorative element, made of a knot-like motif and a chevron, most likely a connotative sign, The coronation text is executed in naskhi script and contains verse: Al-Shahada ‘there is no God but Allah and Muhammad is his messenger’. The shape of the top element and the pattern of the engraving on both sides can be compared with samples that can be traced back to the second half of the 11th century or to the early years of the next century. As the upper element of the tombs dating back to the second half of the 12th century until the early 13th century has a slightly trapezoidal shape and is often characterized by the presence of the statement of faith (the testimony) repeated on each side. 68.5 by 22 by 16 cm. PROVENANCE Private collection, Germany Estimate € 30.000 - € 40.000

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Lot 213 ___________________________________________________________________________________

AN OTTOMAN MARBLE CARVING TURKEY, CIRCA 17TH CENTURY

La hawl Wala Quat ‘Iilaa Biallah Aleazim. ‘There Is No Power Except With God’. 20 cm. diam. Estimate € 3000 - € 5000 Lot 214 ________________________________________________________

A MOULD (QALIB) FROM THE REIGN OF SAPHADIN 12TH CENTURY

From the reign of ‘Saphadin’ al-Malik al-Adil Sayf al-Din Abu Bakr in Ayyub (1145-1218), the younger brother of ‘Saladin’. The Arabic transcription with Kufic font reads “Wilayah al-Malik al-Adil” (The reign of al-Malik al Adil). The purpose of this mould is unknown for us. The mould was brought to Europe after the fall of the Ottoman Empire. 13.5 cm. diam. PROVENANCE Private collection, Sweden. Estimate € 1000 - € 1400

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Lot 215 ___________________________________________________________________________________

TWO UNGLAZED POTTERY STAR TILES, GHAZNAVID PERIOD 12TH-13TH CENTURY

Each of six pointed stellar form, the upper surface moulded in relief with a central seated and enthroned figure holding a cup in the raised left hand, a bottle in the background among scrolling palette vine, simple moulded border, mounted on a board. 33.5 by 29 cm. Estimate € 2000 - € 3000 Lot 216 ___________________________________________________

A KASHAN LUSTRE POTTERY BOWL PERSIA, 12TH-13TH CENTURY

With foliate design. Intact, two rim cracks and minor repair and touching in, lustre slightly rubbed. 9 cm. height, 19 cm. diam. PROVENANCE Dr. I. Lak, United Kingdom Estimate € 2500 - € 3000

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Lot 217 _______________________________________________

A CONICAL SHAPED KASHAN LUSTREWARE BOWL PERSIA, 12TH-13TH CENTURY Of conical shape and decorated with horseman. 21 cm. diam. PROVENANCE Dr. I. Lak, United Kingdom Estimate € 3000 - € 4000

Lot 218 _____________________________________________

POTTERY DISH, EASTERN PERSIA, 10TH CENTURY

A fine Nishapur or Samarkand calligraphic dish, with wide flaring edges on a short foot, black and brown slip decoration on a cream slip ground, with a long inscription running from rim to rim across the interior and a bichrome stylised inscription above and below. 35 cm. diam. Estimate € 3000 - € 5000

Lot 219 ________________________________________________

A NISHAPUR CALLIGRAPHIC SLIP-PAINTED POTTERY BOWL, PERSIA, 10TH CENTURY

Of truncated conical form with steep flaring walls stepped down to a low slightly everted foot, decorated in dark brown on a slip ground with a single band of Kufic below the rim. 36 cm. diam. Estimate € 2000 - € 3000

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Lot 220 _______________________________________________________________________________

AN ISLAMIC MINAI’I GLAZED JUG PERSIA, LATE 12TH CENTURY

Of cylindrical form on short foot rising to trumpet mouth and simple loop handle, the body with a broad band of galloping horsemen painted in blue, black, red and turquoise on a white ground above a minor band of Kufic inscription on blue ground, the shoulder with a band of seated figures. 19.6 cm. height. PROVENANCE Christies London, 12 October 1999, lot 277. Estimate € 3000 - € 5000

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Lot 221 _______________________________________________________________________________

A LARGE NIELLO-INLAID BRASS EWER, JAZIRA, 12TH-13TH CENTURY

Cast and engraved brass inlaid with niello. An ewer (ibrik) with a swollen baluster form with a tapering cylindrical neck terminating at the shoulder with a raised lobed ridge and a narrow tapering pentagonal spout. Decorated in niello inlay with broad cartouches of bold cursive calligraphy, around the body two large roundels of interlacing arabesque foliage above a band of interlacing foliate motifs. The neck and the shoulder are both inlaid with a band of Arabic calligraphy in Kufic script. The inscription: perpetual glory, safe life, clear vision, approaching the best and best luck to its owner. This ewer is of great importance both as a dated example of Mesopotamian work.

Catalogue note

This form of ewer is typical of a group associated with the Mosul school, each of which has elaborate and extremely finely executed decoration of variously figural, calligraphic and floral decoration. Other examples are in the Cleveland Museum of Art (London 1976, no. 195), the Museum für Islamische Kunst, Berlin (Berlin 1971, no.378), The Metropolitan Museum (Atil 1985, fig.48), the Freer Gallery of Art, Washington (Atil 1985, no.16), the Nuhad Es-Said Collection (Allan 1982, no.6) and two in the Museum for Turkish and Islamic Art, Istanbul. Conveniently, several of these bear dates, from 1223 AD on the Cleveland ewer to 1232 AD on the Freer example, and so the present ewer can be dated, by comparison, to probably within the third and fourth decades of the 13th century. Some of the ewers also bear the signatures of makers which include those with the nisbah ‘al-mawsili’, indicating their origin from, or at least some connection with, the city of Mosul. The dating of the piece suggests that it would have been produced during the period of rule of the notably diplomatic Badr al-Din Lulu, whose efforts-maintained peace for the city despite the arrival of the invading Mongol armies. The steady rule of Badr Al-Din Lulu and apparently generous patronage fostered one of the greatest schools of Islamic metalwork, producing such works as the Wade Cup, in the Cleveland Museum. The influence of the school was to be immense, determining, in large part, the nature of Ayyubid and Mamluk metalwork. 34 cm. height.

Provenance

Private collection, Belgium Estimate € 30.000 -€ 40.000

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Lot 222 _______________________________________________________________________________

A FINE KHORASAN SILVER INLAID BRASS TRAY PERSIA, CIRCA 1200

Of rectangular form with a central octagonal recess area, engraved and inlaid with silver and brass with thuluth inscriptions on a scrolling floral ground interspersed with floral medallions and tear-shaped rosettes around the border, each corner with scrolling split palmette design, two rectangular panels bearing inscriptions in elongated kufic on a scrolling floral ground flanking a central medallion bearing lattice motif in the centre. 30.4 by 18.8 cm. CATALOGUE NOTE The inscriptions read consist of: in the borders in cursive script, al-’izz wa al-iqbal wa -al-dawla wa al-dawla wa al-sa’a/ da wa al-ni’ma wa al-ra/ ha wa al-’afiya wa al-karama wa al-nusra wa a/l-quwwa wa al-qudra wa al-rahma wa al-ta/mma wa al-ta’id wa al-tamma wa al-nada/ ma wa al-shafa’a wa al-baqa da’im li-sahibihi, ‘Glory and Prosperity and Wealth and Happiness and Well-being and (God’s) Grace and Ease and Health and Generosity and Victory and Power and Strength and (God’s) Mercy and Plenitude and (God’s) Support and Plenitude and Repentance and (Prophet’s) Intercessions and Long-life eternally to its owner’; and in the central bands in Kufic, bi’l-yumm wa al-baraka wa al-dawala/ wa al-surur wa al-baqa li-sahibihi, ‘With Good fortune and Blessing and Good turn of Fortune and Joy and Long-life to its owner’. Estimate € 10.000 - € 14.000

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Lot 223 ______________________________________________________________________________________

A FARS BRASS BOWL PERSIA, 14TH CENTURY

With rounded base, inverted sides and flattened rim, engraved with a series of roundels containing mounted warriors within quatrefoils interspersed by bands of inscriptions in thuluth, all on a ground of scrolling tendrils, the base with radiating bands of flower-filled palmette cartouches, owners’ inscriptions to rim and base. 23 cm. diam. CATALOGUE NOTE Inscriptions: ‘izz li-mawlana [a]l-malik a/l-’alim al-’adil/ [a]l-a’zam malik riqab a/ l-umam [a]l-sultan /salatin al-’arab [wa] al-’ajam/, ‘Glory to our lord, the learned, the just, the most great, the one who curbs the nations Sultan of the sultans of Arabs and Iranians’; owners’ names, Mirza ‘Ali Naqi, Muhammad Muqim and ‘Ali Akbar. For a bowl with a similar inscription in the Victoria and Albert Museum, see A.S. Melikian-Chirvani, Islamic metalwork from the Iranian World: 8-18th Centuries, London, 1982, pp. 213-214, no. 98. PROVENANCE Mark and Peter Dineley Collections, United Kingdom Estimate € 2000 - € 4000

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Lot 224 _____________________________________________

AN OTTOMAN INLAID FOLDING WOOD QURAN STAND SYRIA, 1255 AH/1839 AD

Quran stand of typical folding form with two parts hinged together with arched lower sections, Mihraab shape, inlaid with mother-of-pearl geometric designs, enclosing a pierced panel and a verse from the Quran.With ivory and bone edging, Quran 76 surah Al-Insan v.12 89.5 by 72.5 cm Estimate € 5000 - € 8000 Lot 225 ___________________________________________

AN OTTOMAN RECTANGULAR MOTHER OF-PEARL TORTOISE AND BONE INLAID BOX, 18TH CENTURY Of rectangular form on raised legs with curved spandrels and hinged coffered lid, the surface covered in inlaid mother-of-pearl and tortoiseshell panels in triangular geometric shapes, edges with band of bone inlays. 20 by 28 by 20 cm. Estimate € 1500 - € 3000

Lot 226 _______________________________________________

AN OTTOMAN RECTANGULAR MOTHER OF-PEARL TORTOISE AND BONE INLAID BOX 18TH CENTURY Of rectangular form on raised legs with curved spandrels and hinged coffered lid, the surface covered in inlaid mother-of-pearl and tortoiseshell panels in triangular geometric shapes, edges with band of bone inlays. 23 by 28 by 20 cm. Estimate € 1500 - € 3000

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Lot 227 ________________________________________

AN OTTOMAN WOOD MOTHEROF-PEARL INLAID QURAN STAND SYRIA, 19TH CENTURY

Two folding rectangular panels, the exterior is decorated in mother of pearl with a dense design of flowers and lattices. The interior with Al-Shahada, the creed in Islam. ‘There is no God but Allah’, to the exterior with the Quran quotations. 61 by 21 cm. Estimate € 1000 - € 2000

Lot 228 ___________________________________________

A SYRIAN WOOD, MOTHER-OF-PEARL, TORTOISE AND IVORY INLAID QURAN STAND, SYRIA, OTTOMAN, 19TH CENTURY

Two folding rectangular panels, the exterior is decorated in mother of pearl and tortoiseshell fragments with a dense design of flowers and lattices. The interior with Al-Shahada, the creed in Islam ‘There is no god but Allah’, to the exterior with Al-Ikhlas, also known as Al-Tawhid, is the 112th chapter of the Quran. 61 by 20.5 cm. Estimate € 1000 - € 2000

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Lot 229 __________________________________________________________________________________

FOUR SYRIAN MOTHER-OF-PEARL INLAID WOODEN CHAIRS AND TABLE SYRIA-DAMASCUS, LATE 19TH CENTURY Four Damascus chairs and an octagonal table, pierced and inlaid with mother of pearl, decorated and engraved with Islamic Arabic calligraphy. arm chair width 58.5 cm., height 109.5 cm., depth 58.5 cm. chair: width 45.5 cm., height 110 cm., depth 48.5 cm. table: width 52 cm., height 65 cm., depth 52 cm.

Provenance

Private Dutch family, inherited from their grandfather, a tobacco commissioner, who purchased the items in Beirut during his trade trips around 1890. Estimate € 4000 - € 6000

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Lot 230 _______________________________________________________________

A LARGE ISLAMIC SILVERAND COPPER INLAID LAMP SYRIA, DAMASCUS, 19TH CENTURY

A Syrian Al sarraf silver and copper lamp supported on a large stand. The lamp and the lamp shades decorated with roundels enclosing six pointed star, Seal of Solomon, scrolling foliage and Arabic inscriptions. A large base consisting of different parts, with circular spreading foot and two conical shaped sections decorated with pieced medallions, two copper inlaid roundels containing a silver inlaid six pointed star, Seal of Solomon, Katim Sulymni, further stylised with a band containing cartouches enclosing Arabic inscriptions ‘The king supporter of the religion and the life‘ and Arabic poems. A middle long cylindrical stem decorated with cartouches on a pieced ground enclosing Arabic inscriptions in thuluth script amongst a dense design of flower scrolls and foliage. The upper part shaped as a vase and a bowl with inscriptions of proverb and hikamhas about honesty and truthfulness. 216 cm. height. CATALOGUE NOTE Hikmah or Hikmat, literally wisdom is a concept in islamic philosophy and law. Estimate € 3000 - € 5000

Lot 231 _____________________________________________________________

A PAIR OF LARGE AND IMPRESSIVE DECAGONAL OTTOMAN TABLES, SYRIA, 19TH CENTURY With mother-of-pearl and bone inlaid decoration. 92.5 cm by 66 cm. Estimate € 4000 - € 6000

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Lot 232 ____________________________________________

A PAIR OF IVORY BONE INLAID MAMLUK WOOD DOOR PANELS, EGYPT OR SYRIA, 14TH-15TH CENTURY

Both of rectangular form, bone-inlay borders matching the central panel composed of a multitude of interlocking polygonal elements with ivory and stained-ivory inlay slotted into a wooden lattice frame, panels above and below of interlacing geometric form. 46 by 31 cm. (2) Estimate € 4000 - € 6000 Lot 233 ________________________________________________

SIX MAMLUK IVORY INLAID CARVED WOOD FRAGMENTS, EGYPT, 15TH EARLY 16TH CENTURY The six panels with central panels of scrolling arabesques and a thin border of ivory carved with intricate palmettes, and an outer border of ivory. 17 by 11 cm.

The panel probably comes from a minbar or a door, where it was combined with carved wooden panels of other geometrical shapes. Wood carvings were used on a large scale under the Mamluks to decorate minbars (pulpits), Quran stands, and doors. Coloristic effects could be achieved by using ivory inlays and combining ebony with other different-colored woods. Estimate € 6000 - € 8000 Lot 234 ________________________________________________

TWO MAMLUK IVORY INLAID CARVED WOOD FRAGMENTS, EGYPT, 14TH CENTURY Two wooden panels of typical of Mamluk woodwork. with central panels of scrolling arabesques and an outer border of ivory. 25.5 by 14 cm., 30 by 10.5 cm. Estimate € 3000 - € 5000

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Lot 235 _____________________________________________________________________________________

AN OTTOMAN GILT-COPPER (TOMBAK) EWER TURKEY, 18TH CENTURY

Of pyriform with flaring neck and serpentine handle and spout, the neck with three raised bands, hinged domed lid engraved with diagonal flutes containing floral motifs to the lower half of the body, the upper body with large floral sprays, the lid with further floral motifs. 32 cm. height. Estimate € 2000 - € 3000

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Lot 236 ____________________________________________________________________________________

AN OTTOMAN TOMBAK POT WITH COVER, 15TH-16TH CENTURY

Of deep rounded form on short foot, the double curved domed cover with knop, the body engraved and chased with a band of bold floral swags suspended from clusters of grapes, the cover with a similar continuous band of decoration around the rim. 22 by 20.5 cm. PROVENANCE Private collection, United Kingdom Estimate € 12.000 - € 15.000

254

Lot 237 _________________________________________

Lot 238 _________________________________________

Embroidered in silk on linen with tulips and carnations. 42.5 by 151 cm.

Embroidered in silk on linen with arabesque patterns and tulips. 48 by 155 cm.

Estimate € 2000 - € 3000

A SILK ON LINEN MIRROR COVER OTTOMAN, 17TH CENTURY

A SILK EMBROIDERY OTTOMAN, POSSIBLY GREECE, 17TH CENTURY

255

Lot 239 ___________________________________________________________________________________

AN OTTOMAN YELLOW SILK WRAPPING CLOTH BOCHA TURKEY, 19TH CENTURY

A cloth bohca of square form, elegantly and densely embroidered in silver threads with birds flying over flowers and foliage. The corners with classic scrolls of interlocking flowers and arabesque, all over a yellow silk ground. In Ottoman society, a bohca was used as a wrapping cloth. Some were used to wrap domestic items in and others were used as a travelling cushion. 190 by 170 cm. Estimate € 1500 - € 2500

256

Lot 240 _______________________________________________________________________________

AN OTTOMAN SILK AND METAL-THREAD EMBROIDERED PANEL TURKEY, 18TH CENTURY

Heavy decorated with embroidered silver, gold and polychrome silk threads (including blue and salmon pink) on red velvet ground, featuring a large flower spray to the middle between flower spray border. 300 by 220 cm. Estimate € 3000 - € 5000

257

Lot 241 _______________________________________________________________________________

AN AGATE CAMEO DEPICTING HAYREDDIN BARBAROSSA ITALY, 16TH CENTURY

The oval agate, carved in low relief depicting the bearded figure in profile, looking left, set within a later late 18th, early 19th century gold ring, dimensions of cameo 2 by 1.5 cm, ring size L½, cased.

Provenance

Reputedly purchased by a previous owner from a noble family in Paris. For a similar example of an important agate cameo depicting Barbarossa and dating to the 16th century, see Sotheby’s, London, 24 April 2012, lot 123. The similar example sold through Sotheby’s, depicts the Turk in an almost identical manner to the cameo illustrated here, except that he is facing right and this example faces left. For example, the distinctive turban with twisted tie running over the top and tied in a knot at the base and trailing down his neck. The rest of the turban is white, as are his robes which highlight his dark skin and white beard and eyebrows, the individual hairs on his face each delineated. Both depictions feature the sitter’s distinctive hook nose and upward tilting chin. Estimate € 6000 - € 8000

258

Lot 242 __________________________________________________

AN IMPORTANT BLADE OF A DAGGER THE DAGGER IS 17TH CENTURY, INSCRIPTIONS ARE LATER 1336 AH/1918 AD

A gift from Sultan Mahmoud Khan to the Prince Saud bin Abd al-Aziz Al Rashid, the 9th Emir of Jabal Shammar from 1908-1920. He was only 10 years old when he became an Emir. but due to his age, his maternal relatives of the Al Sabhan family ruled as regents on his behalf until 1915. 39.5 cm. Estimate € 8000 - € 12.000

259

Lot 243 _________________________________________________________________________________

AN OTTOMAN JAMBIYA DAGGER WITH AGATE HILT AND FILIGREE SHEATH TURKEY, 18TH CENTURY The double-edged watered steel blade with central spine, the hilt is carved out of a greyish and milky white agate. The sheath made of wood covered with silver decorated with palmettes and floral patterns, furthermore decorated with filigree coral and turquoise inlay. 32 cm. Estimate € 2000 - € 3000

Lot 244 _________________________________________________________________________________

AN INDIAN KARD HANDLE IN SILVER INDIA, LATE 18TH CENTURY

The silver handle, with chiselled floral decoration and formerly enamelled, the straight Damascus blade. 28.5 cm. Estimate € 1000 - € 1500

260

Lot 245 ____________________________________________

AN OTTOMAN GILT-COPPER (TOMBAK) DAGGER TURKEY, 18TH-19TH CENTURY The slightly edged double-edged watered steel blade with a raised central spine, the tombak hilt of typical form. The tombak sheath with an applied leaf-shaped design, and bud-like finial at the chape. 49.2 cm. Estimate € 1500 - € 2000

Lot 246 ___________________________________________________________________________

A MUGHAL PESH KABZ DAGGER WITH WOOTZ BLADE INDIA, 18TH CENTURY

The fine watered-steel ’T’ section blade with single edge and flattened spine, the steel hilt decorated with a central quatrefoil motif and two half quatrefoils all conjoined by a central ridge, the two edges of the grip with engraved and gilded undulating foliate vines, the upper vine terminating in a palmette at the spine of the blade, the wood scabbard clad in blue velvet with gilt copper fitting to each end. 44.3 cm. 49.5 cm. including sheath. Estimate € 3000 - € 4000

Lot 247 _________________________________________________________________________________

A MOTHER-OF-PEARL HILTED DAGGER (PESHKABZ) INDIA GUJARAT, 18TH CENTURY

The single-edged watered steel blade of tapering form, the hilt clad entirely with mother of pearl plaques secured with pins, the spine with a palmette to the forte. 44.5 cm. Estimate € 2000 - € 3000

261

Lot 248 _________________________________________________________________________________

A MUGHAL GILT AND WATERED STEEL DAGGER WITH PARROT HEAD SHAPED HILT INDIA, 19TH CENTURY The double-edged watered steel blade of curved form, decorated in gold overlay with a cartouche containing floral interlace to the forte, the hilt in the form of a parrot head, decorated in gold overlay with a repeat design various animals, and furthermore floral sprays. 35 cm. Estimate € 1500 - € 2000

Lot 249 _________________________________________________________________________________

A MUGHAL DAGGER WITH GILT DECORATED HILT INDIA, 18TH-19TH CENTURY

A Mughal watered steel dagger with a the hilt decorated in a gilt floral and palmettes pattern. The single-edged water steel blade slightly curved and tapering with flattened spine terminating in a palette medallion, the steel centre of the hilt decorated with gold koftgari with an undulating floral vine with palmettes. 37.2 cm. Estimate € 1500 - € 2000

Lot 250 _________________________________________________________________________________

A MUGAHL DAGGER WITH WOODEN HILT NORTH INDIA, 19TH CENTURY

A Mughal water steel dagger with a wooden lacquered hilt, the double-edged blade curved with central spine. The hilt lacquered in green and red. 32.7 cm. Estimate € 600 - € 800

262

Lot 251 __________________________________________________________

A MUGHAL ROCK-CRYSTAL HILTED WATERED STEEL DAGGER, INDIA, 17TH-18TH CENTURY

The curved double-edged blade with central ridge and decorated with cartouches enclosing a flower, the hilt carved with palmettes and rosettes with silver guard engraved with floral arabesques. 43.5 cm. Estimate € 4000 - € 6000

Lot 252 _________________________________________________

A DAGGER WITH ROCK CRYSTAL HILT MUGHAL, 17TH-18TH CENTURY The rock-crystal hilt carved with flowerhead motifs, lotus blossoms and leafy details, with a watered steel gently curving blade. 30.5 cm. PROVENANCE Private collection, USA Estimate € 2000 - € 3000

263

Lot 253 ____________________________________________________________________________

AN INDIAN STEEL DAGGER (CHILANUM) INDIA, 17TH CENTURY

Of typical form with curved and tapering double-edged blade with six converging fullers to each side, the hilt with baluster grip, hand guard and bifurcated foliate pommel with bud finial, the hilt decorated with foliate motifs. 35 cm. Estimate € 3000 - € 4000

Lot 254 ______________________________________________________________________________

AN OTTOMAN SABRE (KILIDJ) OTTOMAN EMPIRE, 18TH CENTURY

Of typical form with curving single-edged watered-steel blade with pronounced spine thicking towards the point, the horn hilt with silvered quills, fine blade with false edge, scabbard with silver mounts. 86 cm. Estimate € 4000 - € 6000

264

Lot 255 ___________________________________________________

AN OTTOMAN GOLD-DAMASCENED MIQUELET GUN TURKEY, 18TH CENTURY The wood stock decorated in natural and green stained bone and circular brass and ebony geometric mosaics, the underside of the butt with a cartouche containing a palmette motif, the steel lock and barrel decorated in gold inlay with vegetal undulating vines and vegetal motifs. 120 cm. CATALOGUE NOTE for a similar example in the Victoria and Albert Museum, London, see Anthony North, Islamic Arms, London, 1985, p. 10, fig. 2. Estimate € 4000 - € 6000

265

Lot 256 ______________________________________________________________________________

A MUGHAL IVORY POWDER HORN INDIA, 17TH-18TH CENTURY

Of gently curved form, one end in the form of a deer head, carved on either side with an animal hunting scene between crenellated border, one end with fitted lid now closed with pins, with brass mechanism to top to release the powder. 18.4 cm. Estimate â&#x201A;Ź 8000 - â&#x201A;Ź 12.000

CATALOGUE NOTE Powderhorns of this type were made to hold the fire powder used to prime the flash-pan and touchhole of a musket. Once ignited, the powder detonated the charge powder and caused the musket to fire. The charge powder was carried in a powder, whereas a small flask such as the present lot held the priming powder. This flask consists of an ivory container and an ivory lid. When filled with powder, the two parts were held together with pins. A metal lever is attached to the top of the primer: when pressed, this opened a hole at the end of the lid so that the priming powder could be poured into the musket. The metal ring at the centre of the lever was used to suspend the flask from a belt or sash. This powder flask belongs to a group of vessels of similar appearance and high quality, probably produced by a small number of workshops in 17th century Mughal India. Like others, it depicts animal scenes appropriate for an object associated with armed combat or hunting expeditions. They represent a distinctive group of Mughal ivory carvings that favour naturalism rather than stylization, and were inspired by miniature paintings and the fantastical animals that were a popular subject in imperial Mughal workshops. Other examples can be seen in the Virginia Museum of Fine Arts (Joseph M. Dye II, The Arts of India, Virginia, 2001, pp. 424-35, no. 200; the Nasser D Khalili Collection, London (David Alexander, The Arts of War: Arms and Armour of the 7th to 19th Centuries, London, 1992, no. 115); the Furusiyya Art Foundation Collection (Bashir Mohamed, The Arts of the Muslim Knight. The Furusiyya Art Foundation, Milan, 2007, pp. 286-89, nos. 279-82; the Musee Guimee, Paris (George Michel, The Majesty of Mughal Decoration. The Art and Architecture of Islamic India, London, 2007, p. 257, no. 73); and the David Collection, Copenhagen (Kjeld von Folsach, Islamic Art from the David Collection, Copenhagen, 2001, p. 258, no. 414; and an example was sold through Bonhams, Islamic and Indian Art, 10th April 2008, lot 2008.

266

Lot 257 ______________________________________________________________________________

A MUGHAL TUSK-SHAPED GUNPOWDER FLASK INDIA, 19TH CENTURY

The silver gunpowder flask of tusk shape, decorated with a lion on one side and a deer on the other, in between decorations of elephants, cows and figures. The lion’s mouth contains the lid. 30 cm. Estimate € 800 - € 1000 Lot 258 __________________________________________________

A JADE CARVED BOWL AND COVER INDIA, 19TH CENTURY

The bowl is thinly carved with fluted sides in the shape of a chrysanthemum. The foot is similarly carved as a downturned floral bloom. Fitted with a separate domed cover that is carved on the exterior and interior as a floral blossom. 9 cm. height, 12 cm diam. Estimate € 2000 - € 3000

Lot 259 _________________________________________

A MUGHAL JADE BOWL INDIA, 19TH CENTURY

A Mughal pale fluted jade bowl of shallow rounded form on a short circular foot, thinly carved with fluted sides rising from a flower head with a cross-hatched centre to an everted lobed rim. 10.8 cm diam. Estimate € 800 - € 1200

267

Lot 260 ________________________________________________

A MUGHAL JADE HILTED GOAT HEADED DAGGER INDIA, 18TH CENTURY

Single-edged tapering watered-steel blade with pistol-grip ivory hilt decorated with grooved stem terminating with animal shaped handle whose eyes have lost the gem originally incrusted. 35 cm. Estimate € 3000 - € 4000

Lot 261 ______________________________________________________

AN OTTOMAN DAGGER WITH SILVER PRECIOUS STONE INLAID HILT TURKEY, 18TH CENTURY A dagger with silver handle set with turquoises and red stones, sheath and suite. 20 cm. Estimate € 1500 - € 2000

268

Lot 262 ___________________________________________________________________________________

AN INDIAN WOODEN WITH IVORY INLAID BASKET BOX SOUTH INDIA, CIRCA 1900

A Vizagapatam ivory, tortoiseshell and ebony overlaid sandalwood Work Basket, with two sloping hinged lids with loop handle, on four claw feet, the lids each with a cartouche depicting a seated figure of Vishnu within a pierced foliate panel, the borders and side panels similarly decorated depicting the goddess Parvati, the borders and handles with a vine bearing flowers. 24 by 32 by 28 cm. Estimate â&#x201A;Ź 2000 - â&#x201A;Ź 3000

269

Lot 263 ____________________________________________________________________________________

A MING METAL-MOUNTED BLUE-GLAZED EWER FOR THE ISLAMIC MARKET CHINA, 16TH-17TH CENTURY

Slip decorated to either side of the pear-shaped body with a peach-shaped panel enclosing Arabic script, applied to one side with a tall strap handle and to the other with a long S-shaped spout with ajoined cross brace, surmounted by an Ottoman metal domed spiral cover with crescent finial, 29.5 cm. CATALOGUE NOTE For a similar blue-glazed ewer with biscuit-fired decoration, see J.Harrison-Hall, Ming Ceramics, p.345, no.11:182, where the author dates it to circa 1573-1620; and for examples of similarly mounted porcelain, see J. Carswell, Blue and White, pp.115-17. PROVENANCE Bonhams London, 8 November 2004, lot 113A. Estimate € 6000 - € 8000

270

Lot 264 ______________________________________________________________________________

A GILT WOODEN TABLE-CLOCK FRANCE, SOUTH-GERMANY OR AUSTRIA, EARLY 19TH CENTURY

A gilt wooden table-clock for the Ottoman market, decorated with two Ottoman figures holding moveable swords. The clockwork is French, early 19th century. The housing and mechanism for the moving swords, South-Germany/Austria, early 19th century. 60.5 cm. Estimate € 2000 - € 3000

271

Lot 265 ______________________________________________________________________________

A CHINESE CLOISONNÉ CENSER CHINA, 19TH CENTURY

Of compressed globular shape standing on three conical feet and two upright handles, decorated with floral cartouches enclosing Arabic inscriptions and insterpersed further with lotus scrolls and foliage. The bottom incised with a four Chinese Qianlong character mark. The pierced cover surmounted by an openwork gilt-metal knob finial, decorated with lotus scrolls. 25 cm. height 20 cm. diam. Estimate € 6000 - € 8000

272

Lot 266 ______________________________________________________________________________

A PAIR OF CHINESE CLOISONNÉ SQUARE VASES CHINA, 19TH CENTURY

Each modeled after the archaic form, of square section raised on a broad circular foot and surmounted by a slightly waisted neck. Decorated with a large panel enclosing Allah in thuluth script, another side with a panel enclosing the names of Allah, all surrounded by lotus scrolling foliage and further blossoms on a turquoise ground. The bottom with a four Chinese Qianlong mark surrounded by four lotus heads with foliage. 32 by 13.5 by 13.5 cm. Estimate € 8000 - € 12.000

273

Lot 267 _______________________________________________________________________________

A WATERCOLOR PORTRAIT OF SULTAN ABDUL HAMID II LATE 19TH CENTURY

Opaque pigments on paper, depicting the three-quarter profile of sultan Abdul Hamid II, wearing his typical red fez hat. The blue military jacket and a white shirt with an European-inspired military star decoration. The painting style clearly influenced by western military portraits. Encased within an ivory and colored woods-inlaid frame, decorated with typical geometric star motifs, grid patterns and bands of fretwork. Fausto Zonaro (18 September 1854 – 19 July 1929) was an Italian painter, best known for his Realist style paintings of life and history of the Ottoman Empire. 33 by 25 cm. Estimate € 2000 - € 3000

274

Lot 268 ______________________________________________________________________________

TWO OTTOMAN GILT SILVER MESH BELTS TURKEY, 19TH CENTURY

Two gilt silver mesh belts, decorated with crescents and stars. 38 and 72 cm. Estimate € 1500 - € 2000 Lot 269 ____________________________________________

WORK ON STEEL, A PORTRAIT DEPICTING SULTAN ABDUL-AZIZ OTTOMAN, TURKEY, 1865

Made by a skilled Armenian. It was a gift from the French emperor to Sultan Abdulaziz when he visited France. 20 by 16 cm. PROVENANCE Strong provenance from his grandson, a letter dated 1865 Estimate € 6000 - € 8000

275

Lot 270 ______________________________________________________________________________

A SILVER MODEL OF MAQAM AL-SAYEDA ZAINAB, EGYPT, CAIRO, 20TH CENTURY

Al-Sayeda Zainab Mosque is a historic mosque in Cairo, Egypt, and constitutes one of the most important and biggest mosques in the history of Egypt. The name is an honor to Sayyida Zaynab bint Ali, one of the daughters of ‘Ali, fourth Sunni Caliph and first Shia Imam, and his first wife Fatimah, the daughter of the Islamic prophet Muhammad. 20 by 12 by 12 cm. Estimate € 3000 - € 5000 Lot 271 ________________________________________

A LARGE MOTHER-OF-PEARL QURAN AND BOX JERUSALEM, 20TH CENTURY

Rectangular form, the lid carved with the Dome of the Rock on the Haram al-Sharif, the modern printed Quran with a carved mother-of-pearl binding. Quran: 27 by 36 cm., box: 33 by 43 by 13 cm. PROVENANCE Christies London, 10 October 2014, lot 319

276

Estimate € 2000 - € 3000

Lot 272 ______________________________________________________________________________

THREE OTTOMAN SILVER BELTS TURKEY, 19TH CENTURY

The first silver belt of multiple segments with a floral decorated buckle. The second composed of 12 rectangular plates, of silver and niello with chiselled decoration of churches, trophies and tughra motifs. The bow-shaped loop is decorated with a central tughra on a floral background. The third an Ottoman silver belt bearing two tughras whose one of Sultan Abdulaziz I The first belt 87 cm., the second 78 cm., the third 82 cm. Estimate € 2000 - € 3000

Lot 273 ______________________________________________________________________________

AN OTTOMAN BELT WITH SILVER ORNAMENTS CENTRAL ASIA, 19TH CENTURY

An Ottoman belt with silver seven pierced foliage ornaments with gilt borders, with two gilt silver claps inlaid with turquoise as a lock. 106 cm. Estimate € 1500 - € 2000

277

Lot 274 ______________________________________________________________________________

KHAYAMIYA PANEL WITH CALLIGRAPHY EGYPT, CAIRO, EARLY 19TH CENTURY

Geometric and architectural motifs cotton appliqué. 265 by 155 cm. CATALOGUE NOTE Khayamiya is the Egyptian art of tent-making. Bright fabric pieces are cut, folded and skillfully handsewn to large canvases to create impressive tents and textile panels. These textiles are used in many Egyptian ceremonies, including weddings, funerals, street parties and religious events. Estimate € 3000 - € 5000

278

Lot 275 ______________________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED SET OF ARCHER EQUIPMENT TURKEY, 19TH CENTURY

The characteristic elongated, slightly curved form flanked by two stitched side sections with apertures for eyes, each with two leather hooks for attaching, embroidered in relief with metal threads, comprising a repeat cintamani pattern. shield: 51.5 cm. horse head ware: 44 by 38.5 cm. quiver: 47 by 26 cm. CATALOGUE NOTE There are few examples of metal-thread embroidered horse fittings. This model takes inspiration from the more classical steel and tombak examples comprised of three parts. The form, in turn, is relate-able to a late fifteenth, early sixteenth century chamfron. The Flemish diplomat and ambassador to Constantinople eloquently describes the Ottoman predilection for horse accessories: ‘The Turkish horseman presents a very elegant spectacle, mounted on a horse of Cappadocian or Syrian or some other good breed, with trappings and horse-cloths of silver spangled with gold and precious stones’ (Ogier Ghislain de Busbecq, The Turkish letters of Ogier Ghiselin de Busbecq, Imperial ambassador at Constantinople 1554-1562, trans. E.S. Forster, Oxford, 1927). Estimate € 3000 - € 4000

279

Lot 276 ______________________________________________________________________________________

TWO OTTOMAN EMBROIDERED VELVET PANELS, TURKEY, EARLY 20TH CENTURY

Two Ottoman velvet cross shaped panels, embroidered in gilt threads with a dense design of flowers and foliage on a deep red velvet ground. 56 cm. diam. Estimate € 1000 - € 1500

Lot 277

______________________________________________________________________ CALDINI, ITALIAN, 19TH-20TH CENTURY View of the Bosporus, oil on canvas, signed bottom right, framed. 35 by 27 cm. Estimate € 1500 - € 2000

280

Lot 278 ______________________________________________________________________________________

A FINE OTTOMAN SILVER-GILT THREAD EMBROIDERED KAFTAN TURKEY, 19TH CENTURY

Of typical form, the purple velvet ground embroidered in gilt-silver thread with a large floral spray to both sides, the lower edge and lapels with foliate motifs, the arms with further floral sprays. 150 by 148 cm. Estimate € 4000 - € 6000

281

Lot 279 _______________________________________

THREE CALLIGRAPHIC PANELS OTTOMAN, TURKEY 1200 AH/1786 AD

Three calligraphic panels in black naskh script of Arabic and Ottoman poems. Signed by Hafiz Mustafa Rakam Afendi and Ahmed Halim. calligraphy 31 by 23 cm., 41 by 22 cm., 16 by 22 cm. CATALOGUE NOTE Hafiz Mustafa Raqam born in a small city located on the black sea in 1171AH/1757AD. He was a student at Darwish Ali III for a while, then began writing lines for statesmen and the wealthy classes in Istanbul. For his creativity the Sultan appointed him as a teacher of the royal palace, and was entrusted to draw the currency and the Sultan Tughra in the firmans issued by the Sultan. Estimate € 800 - € 1200

Lot 280 _____________________________________________________________________________________

FOUR CALLIGRAPHIC PANELS, OTTOMAN, TURKEY, 1199 AH/1785 AD

Including sayings of the Prophet, Arabic manuscript on paper, laid down between gold rules on colored or marbled paper. Each of the qitas with lines of large thuluth above and lines of smaller naskh script, some panels with floral flourishes. Signed by Ahmed jewish zadeh in 1199 AH/1785 AD and Hussein Khafaf Zadeh 12th AH/18th AD calligraphy from 20 by 13 cm. to 18 by 9 cm. Estimate € 1000 - € 1500

282

Lot 281 _________________________________________

FIVE OTTOMAN CALLIGRAPHIC EXERCISES (MASHQ) TURKEY, 18TH CENTURY

Ink on paper, with lines of black naskh and thuluth scripts, one large panel with lines of black thuluth script of Ottoman inscription signed by Ibrahim Kholosi. Ibrahim Kholosi is a student of the famous Ottoman calligrapher Mustafa Râkim and inherited his style in thuluth and naskh script. Three calligraphic exercises in black naskh and thuluth script with Arabic inscription and exercises of Arabic letters. Signed by Zuhdi, Abdullah Zuhdi Effendi Ibn Abd al-Qadir al-Nabulsi al-Tamimi, born in1252 AH /1836 AD in Nablus, Palestine. He learned the art of Arabic calligraphy first at the hands of Hafiz Rashid Effendi Al-Ayoubi, then at the hands of the great calligrapher, Military judge Mustafa Izzat Effendi, who is considered his true teacher. He was chosen by Sultan Abdulmejid I to write the lines of the Holy Mosque of the Prophet, and this is one of the most important milestones in the life of Abdullah Al-Zuhdi. calligraphy from 20.5 by 12 cm., 36 by 23 cm. Estimate € 1000 - € 1200 Lot 282 _____________________________________

FIVE CALLIGRAPHIC PANELS OTTOMAN, TURKEY, 19TH CENTURY Arabic manuscript of calligraphy, paper mounted on card. Three calligraphic panels or ‘Muraqqa’ including sayings of the Prophet, written in black naskh script with gold markers within gold borders. Two calligraphic exercises or ‘Mashq’ with ink on paper, with lines of black naskh and thuluth scripts, heightened with green and gold borders, mounted on marbled paper. With the signature of Ali Alrusafi1236 AH /1821 AD and Muhammed Rasul 1321 AH/1903 AD calligraphy from 21 by 28 cm. to 16 by 10 cm. Estimate € 800 - € 1200

283

Lot 283 _________________________________________

PERSIAN SAFAVID TEXTILE PANEL 16TH CENTURY

A fragment of monumental Ashura mourning hanging panel, with an inscribed weave in creamcolored silk over a dark red ground. Embellished with eight-point stars enclosing two names of Allah ‘diyan and Hiaan’ in thuluth script, interspersed with foliage containing an inscription in nasta’liq script of ‘the oppressed Imam Hussein’. The outer border with cartouches enclosing a Persian inscription in mirror image, Poems in praise of Imam Hussein ‘Sun of heaven and The land of Righteous’. 72 by 65 cm. Estimate € 3000 - € 4000

Lot 284 __________________________________________________________________________________

TWO FRAGMENTS OF SILK HANGING PANELS TIMURID, 16TH CENTURY

Two fragments of textile panel, with an inscribed weave in cream colored silk over a red and light ground ground, embellished with cartouches enclosing a Persian text in nasta’liq script. red: 5.5 by 47.5 cm., blue: 4 by 42 cm. Estimate € 2000 - € 3000

284

Lot 285 ________________________________________________________________________________

LARGE MANUSCRIPT OF KHAMSEH BY NIZAMI IRAN, 17TH CENTURY

Manuscript on paper, Persian text of 21 lines per page on four columns in nasta’liq script in black ink. Titles of the five illuminated sections of a later frontispiece in unwan inscribed in white letters in a golden cartouche on a blue background of florets, surmounted by a golden arch with blue medallions, interspersed with flowery black cartridges. Subtitles in the body of the text in red letters and a few lines of text at an oblique angle. It is likely that the thumbnails that illustrated the text have been removed. Later binding, 19th century in green leather with multi-lobed medallion and stamped appendages with floral decoration painted in salmon pink and enhanced with gold. With a brown leather case with multi-lobed medallion and appendages stamped with a floral decoration. Two property stamps. The text includes the five chapters of Khamseh: The Treasure of the Makhzan-ol-Asrar Mysteries; Khosrow and Chirine (not completed); Leyla and Madjnoun; The Seven Haft-Peikar Beauties, the Book of Alexander Eskandar-Name. 32.5 by 21 cm. Estimate € 3000 - € 4000

285

286

Lot 286 ______________________________________________________________________________

A DOUBLE-SIDED ENGRAVED BRASS PLAQUE PERSIA, DATED 1187 AH/1773 AD A copper piece containing five chapters of the Quran: - Surah Al-A’raf vv(206) - Surah Al-Furqan vv(77) - Surah Fatir vv(83) - Surah Yassin vv(83) - Surah Al-Fath vv(29)

Appended to the signature of the work of Safi Hussein bin Hassan, Rabi ‘al-Awwal in 1187 AH/1773 AD. The plate is brass engraved on both sides with naskh script. 36 by 25 cm. Estimate € 3000 - € 4000

287

Lot 287 _________________________________________

A MUGHAL IVORY SCRIBE’S PEN-BOX INDIA, 17TH CENTURY

Composed of ivory plaques set in a rectangular form with a hinged cover revealing an interior containing an ivory pen holder and two silver inkwells. 28 by 9.5 by 10 cm. Estimate € 6000 - € 8000

Lot 288 __________________________________________________________

AN INDIAN STAINED AND PAINTED IVORY FIGURE INDIA, 19TH CENTURY

The bearded man carved wearing long robes, coat and turban, holding beads in one hand, on a circular base, in a leather covered original box with makers stamp. 14.6 cm. Estimate € 2000 - € 3000

Lot 289 ___________________________________________________

A MUGHAL IVORY ‘ELEPHANT’ CHESS PIECE INDIA, 17TH-18TH CENTURY A polychrome painted ivory chess piece carved in the shape of an elephant. The piece painted in green and red with traces of gilding. 4 by 5 by 3.5 cm. Estimate € 2000 - € 3000

288

Lot 290 _______________________________________________________________________

A GROUP OF TWELVE EROTIC IVORY PLAQUES ORISSA INDIA, 17TH CENTURY

Each of rectangular form with a single central upper projection and two lower projections to the sides, the main panel carved with a copulating couple in relief against a pierced background. These plaques once formed part of the decoration on a marriage bed. 9.5 by 5.6 cm. (12) Estimate € 8000 - € 12.000

289

Lot 291 _____________________________________________________________________________________

A GROUP OF THREE CARNELIAN MEDALLIONS AND AN AGATE HEARTSHAPED PLAQUE, PERSIA, 18TH-19TH CENTURY An oval heavy cornelian medallion with silver mounting carved with Imam Ali and his two sons Hasan and Hussein with a lion and an Arabic inscription ‘I am the lion of Allah, I am Ali ibn Abi Talib’. An oval cornelian medallion carved with a large word ‘O, Hafez, safety keeper’ in thuluth script enclosing Quran verse with silver mounting. A heart-shaped agate plaque, inscribed to the centre with the names of Allah in roundels surrounded by tow band of Quran 78 surah Al-Naba 40 verses. An oval cornelian medallion with silver mounting inscribed with Quranic verses, surah Al-Ikhlas, surah Al-Nas and surah Al-Falaq. From left to right: 4.5 by 6 cm., 5 by 6 cm., 6.5 by 8 cm., 5 by 6.5 cm. Estimate € 2000 - € 3000

Lot 292 ___________________________________________________________________________

A GROUP OF CALLIGRAPHY KNIFES, OTTOMAN 18TH-19TH CENTURY Two Ottoman knives with bone handles. The others with various materials, including lapis lazuli. Ranging from 16.5 to 26.5 cm. Estimate € 2000 - € 3000

290

Lot 293 ___________________________________________________________________________

A STEEL SCISSORS IN THE FORM OF A BIRD IRAN, 18TH CENTURY

The blades in the form of the beak with thumb loop below the belly, the tail with triangular cut out. 19 cm. Estimate € 1500 - € 2000

Lot 294 ___________________________________________________________________________

THREE OTTOMAN LACQUERED DOCUMENT HOLDERS TURKEY, 19TH CENTURY

Three Ottoman lacquered document holders, each of cylindrical form, painted in polychrome and gold, with flowers and birds against a dense pattern with gilding, all with steel-lining. 34.5 cm. (largest one) 3.80 cm. diam. Estimate € 1500 - € 2000

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Lot 295 __________________________________________________________________________________

A LARGE INDIAN SILVER-INLAID ALLOY BIDRI FLASK (SURAHI) DECCAN, 18TH CENTURY

A large silver-inlaid alloy Bidri flask (surahi) of bulbous form on a splayed foot with long flaring neck and domed lid with bud finial, profusely inlaid with silver with an interlace of vines and foliate friezes. 45.5 cm. CATALOGUE NOTE A portable bidri huqqa base with an almost identical design is in the Layla S. and Mahmood Diba Collection, New York (Mark Zebrowski, Gold, Silver & Bronze from Mughal India, 1997, pp.239-241, no.408). A very similar but smaller bidri surahi was sold at Sotheby’s, Arts of the Islamic World, 7 October 2015, lot 363. Estimate € 3000 - € 5000

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Lot 296 ___________________________________________________________________________________

A BRASS-INLAID BIDRI DISH INDIA, BIDAR, 17TH CENTURY

Of round form with curved rim, inlaid with leaf and floral sprays interspersed, around a central rosette, the rim with scrolling flowers. 36 cm diam. Estimate € 4000 - € 6000 Lot 297 ______________________________

A LARGE SILVER JUG KASHMIR, 19TH CENTURY A large silver Islamic jug, decorated in low relief with dense design of flowers and foliage with a band of calligraphy. 31.5 cm. height weight: 3080 gr. Estimate € 2000 - € 3000

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Lot 298 __________________________________________________

A CHINESE BLUE AND WHITE HOOKAH BASE CHINA, KANGXI PERIOD (1662-1722)

The slender vessel is decorated to the body with moulded panels, each enclosing a flower spray growing from rocks, the waist and upper cup are decorated with further flower sprays. The base bears an artemisia leaf mark in underglaze blue. 25 cm. Estimate € 2000 - € 3000

Lot 299 __________________________________________________

A LATER-ENAMELLED CHINESE BLUE AND WHITE HOOKAH BASE CHINA, KANGXI PERIOD (1662-1722)

The sturdily-potted piece is decorated to the bell-shaped body with moulded vertical panels of upward-growing lotus flowers, all below a band of foliage and flowers to the waisted shoulder, all below a diaper band to the bulbous neck and a stiff leaf band to the rim. The base with an apocryphal Chenghua mark. The exterior is later gilt and enamelled. 23.2 cm Estimate € 1400 - € 1800

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Lot 300 __________________________________________

A RAQQA WARE VESSEL SYRIA, FIRST HALF 13TH CENTURY

An intact Raqqa turquoise glazed pottery jug with vertical black strapwork. 19 cm. Estimate € 1500 - € 2000

Lot 301 _______________________________________________

A LARGE RAQQA UNDERGLAZE PAINTED POTTERY EWER SYRIA, 12TH-13TH CENTURY

With pear-shaped body, truncated tapering neck and pinched lip attached to the body by a strap handle, decorated in black under a turquoise glaze with a frieze of vertical bands, the shoulders with scroll motif-filled contour panels alternating with rosettes, the neck and mouth with dot motifs, iridescent. 34.4 cm. Estimate € 2000 - € 3000

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Lot 302 _____________________________________

A STAR-SHAPED KASHAN TILE PERSIA, 13TH-14TH CENTURY

A Kashan lustre and cobalt blue star tile, the lustre ground painted with leafy motifs around the cobalt blue flowers, in a border of naskh inscription between stripes with the dating of 680 AH/1281 AD 20.5 cm. diam. Estimate € 1000 - € 1200

Lot 303 ____________________________________

A STAR-SHAPED KASHAN TILE PERSIA, 13TH-14TH CENTURY

A Kashan lustre and cobalt blue star tile, the lustre ground painted with leafy motifs around the figures of two birds with inscription to the outer border. 22 cm diam. Estimate € 1000 - € 1200

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Lot 304 _________________________________________________

A CAST BRASS CASKET WITH CROSS (DORI) WESTERN PERSIA, FIRST HALF 14TH CENTURY Of rectangular form with coffered cover resting on four shaped feet, designed with crosses. Chiseled and chased, the sides and top decorated with flowers, the cover with calligraphic panels . 13 cm. high, 15 cm. wide, 11.5 cm. deep. Estimate € 3000- € 4000

Lot 305 ______________________________________________

A BRONZE INKWELL KHURASAN, 12TH-13TH CENTURY

A bronze inkwell of cylindrical form, the cover with lobed central boss rising to a central knop, with a loop side handle, decorated with four bands of Inscriptions in Kufic script. 9.5 cm. Estimate € 1000 - € 1500 Lot 306 _____________________________________________

A CAST BRONZE WATER SPOUT SPAIN, 11TH CENTURY

Of tubular form with spout terminal rendered in the form of a lion with gaping maw, the tap with openwork palmette handle. 19.6 cm PROVENANCE Private collection, Dr. I. Lak, United Kingdom CATALOGUE NOTE Zoomorphic forms are a salient feature of Spanish and Fatimid art in general and metalwork in particular, ranging from large freestanding figurines to small functional objects with animal-form spouts and finials. A very similar bronze tap with lion spout and handle is in the al-Sabah Collection, exhibited at the Institut du Monde Arabe, Paris and Kunsthistorisches Museum, Vienna, in 1998-1999. The open-jawed lion also appears on a pair of 11th century Spanish vessel feet in the Museo Arqueológico y Etnológico de Granada found at Medina Elvira and on a Spanish mortar in the Museo Balaguer. Estimate € 800 -€ 1200

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Lot 307 ____________________________________________________________________________________

A SAFAVID FIGURAL SILK LAMPAS PANEL, 16TH CENTURY

This rectangular silk lampas panel depicting two male figures, one holding ropes controlling a fishing net, the other holding their catch, a river runs across the lower part of panel, around them various flowering plants and vines, associated Safavid floral border, on block-printed backing material. 35 by 27 cm. CATALOGUE NOTE Two fragments of this panel are in the Textile Museum in Washington D.C., acquired by George Hewitt Myers in 1952. Of which Carol Bier writes in ‘Woven from the Soul, Spun from the Heart’. Textile Arts of Safavid and Qajar Iran 16th-19th centuries, exhibition catalogue, Washington D.C., 1987; that fishing seems a curious subject matter for a luxury textile, lacking as it is, for instance, the heroic postures and associations of the royal hunt. PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 2000 - € 3000

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Lot 308 _________________________________________________________________________________

A QAJAR SILK PANEL WITH HUNTING SCENE PERSIA, 19TH CENTURY

Woven in light green, blue, orange, dark brown and cream with bands of equestrian figures hunting quadrupeds above, with another figure following, foliate borders, framed. 185 by 145 cm. Estimate € 1500 - € 2000

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Lot 309 _______________________________________________________________________________________

A PAIR OF PERSIAN LACQUERED PANELLED DOORS QAJAR, 19TH CENTURY

Each door of rectangular form with vertical panels flanked above and below by horizontal panels. The vertical panels each with a central polychrome figural cartouche flanked by two similar smaller cartouches enclosing hunting dogs and a bird on a ground of gold and polychrome flower heads. The upper and lower register containing horizontal panels with polychrome figural cartouches surrounded with flower sprays. The borders with two birds perched amongst dense rose motifs and large flower heads within cusped cartouches. approximately 166 by 45 cm. PROVENANCE From the collection of A.F. de Groot, Amsterdam. Estimate â&#x201A;Ź 6000 - â&#x201A;Ź 8000

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Lot 310 _______________________________________________________________________________

A LARGE MAMLUK STYLE SILVER INLAID COPPER BASIN, 17TH CENTURY

Silver-plated copper bowl with interlocking rose motifs, the upper section is carved in an openwork pattern. Written in silver on the outside with the following text: The global Sultan of Nazareth, the High, Mawlawi, the world Sultan, the High Maliki. It is believed to be one of the titles of Sultan Al-Nasir Muhammad bin Qalawun. 36 cm. diam. Estimate € 3000 - € 5000

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Lot 311 _______________________________________________

A SAFAVID TINNED COPPER KETTLE PERSIA, 17TH-18TH CENTURY

Of globular form on a short foot, with an arched handle attached to the shoulder, the spout terminating in a stylised dragon’s head, the shoulder with an engraved band of foliated arabesques and split-palmettes, a similar pattern repeated on the narrow band to the lower half of the body with hanging escutcheon-shaped motifs towards the foot, the cover probably a replacement engraved with a band of leafy scrolls. 25.5 cm. height, 18 cm. diam. PROVENANCE Private collection, Dr. I. Lak, United Kingdom Estimate € 3000 - € 5000

Lot 312 ___________________________________________________

A SAFAVID TINNED COPPER BOWL AND COVER PERSIA, DATED 1016 AH/1607AD A large tinned copper bowl with compressed rounded body, narrow shoulder and straight rim. The body and lid engraved with bands enclosing interlacing flowers and split-palmettes against a hatched ground. The rim with a band containing engraved cartouches enclosing Persian inscriptions and different animals interspersed with flowers and foliage scrolls. 41cm. height 40.5 cm. diam. Estimate € 2000 - € 3000

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Lot 313 _____________________________________________________________________________________

A CONJOINED PINK SANDSTONE CARVING OF A COUPLE KHMER-ANGKOR PERIOD, 10TH CENTURY OR LATER

A conjoined pink sandstone torso carving of a couple, wearing a sampot secured with a belt and with a fishtail shaped sash falling to the front, the bare torso naturalistic and the surface smoothly polished. 44.5 cm. height 55.5 cm. width PROVENANCE Private collection, United Kingdom Estimate € 12.000 - € 15.000

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Lot 314 __________________________________________________________________________________

A SOUTH ARABIAN ALABASTER LIBATION TABLE, CIRCA 1ST CENTURY BC/AD Of square shape, the recessed upper surface with central channel leading to a bull’s head spout, with round incised eyes and nostrils. 50 by 63 by 11.5 cm. PROVENANCE Private collection, United Kingdom Estimate € 5000 - € 8000

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Lot 315 ______________________________________________________________________________________

A FINE LARGE OTTOMAN MIRROR SYRIA OR EGYPT, 19TH CENTURY

The wooden frame with pierced lattice panels, pierced arabesque corner pieces, borders and upper spandrels inset with mother-of-pearl and silver wire within ivory and ebony striped borders, the scrolling pediment with floral sprays around a military trophy panel. 175 by 99.5 cm. Estimate € 2000 - € 3000

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Lot 316

_____________________________________ AN OTTOMAN SILK BROCADE PANEL TURKEY, LATE 16TH CENTURY The red ground with an ogival lattice of gold strapwork containing a fine triangular diaper, the lattice enclosing flaming ogival medallions with carnation sprays on gold ground around a central floral medallion, 94 by 60 cm. Estimate € 3000 - € 4000

Lot 317 _______________________________________________

AN OTTOMAN VOIDED VELVET AND METAL THREAD CUSHION COVER (YASTIK) 16TH-17TH CENTURY Of rectangular form with upper and lower arcade of six arches containing a single flowering plant, the central field depicts a circular scallop-edged medallion with a fleur-de-lys at either end, a pair of tulip-decorated spandrels above and below. 128 by 67 cm. CATALOGUE NOTE Cushion-covers (Yastiks) of this type were used to back the low divans or sofas found in Ottoman palaces from the 16th century onwards. For a velvet with a similar design, in a private German collection, see C.A. Erber, Wealth of Silk and Velvet: Ottoman Fabrics and Embroideries, Bremen, 2000, pl. 176, no. G. 9/3. Related examples with varying designs are illustrated in Atasoy, N. et al, Ipek: The Crescent and the Rose: Imperial Ottoman Silks and Velvets, London, 2001, pp. 320-321. Estimate € 3000 - € 4000

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Lot 318 _____________________________________________________________________________________

A LARGE HANGING WALL IN PAINTED COTTON EGYPT, 19TH CENTURY

With parallel drawings in the center containing geometric figures with inscription in Arabic on the top and bottom of cut-out floral motifs. 545 by 285 cm. Estimate € 3000 - € 4000

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Lot 319 __________________________________________________________

AN OTTOMAN VOIDED SILK VELVET (CATMA) PANEL BURSA OR ISTANBUL, TURKEY, 17TH CENTURY The voided ground patterned in crimson velvet, with an ogival lattice of prunus blossom framing large stylised lotus-palmettes enclosing tulips and carnations, one loom width, mounted and framed. 182 by 32 cm. Estimate € 1000 - € 2000

Lot 320 _____________________________________________________

AN OTTOMAN VOIDED VELVET AND METAL THREAD CUSHION COVER (YASTIK), BURSA 15TH-16TH CENTURY

Yastik with tulips and carnations Bush panel woven in silk with traces of metallic wire, decorated with a polylobed central rondo with two fleur-de-lis, on a red background decorated with tulips at the four corners. Nice margin with eyelets and big margin with five flower crowns at both ends. Lined and mounted on chassis. 95 by 56 cm. Estimate € 3000 - € 4000

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Lot 321 _____________________________________________________________________________________

A FRAGMENT OF TIMURID SILK CALLIGRAPHIC TOMB COVER, 16TH CENTURY

Of rectangular form with red silk woven into a gold background, with repeats of a thuluth inscriptions of first Aya of Quran 48 surah Al-Fatah. 38 by 33 cm. Estimate € 3000 - € 4000

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Lot 322 _____________________________________________________________________________________

AN INDO-PORTUGUESE CARVED IVORY FIGURE OF CHRIST AS THE GOOD SHEPHERD, INDIA, GOA, 17TH CENTURY

Depicting the Christ Child as the Good Shepherd seated with a lamb in his left hand, another on his left shoulder, a gourd of water at his waist, above a mount formed of four tiers; at the top a pair of sheep by his feet, on the second tier a pair of long-necked birds drink from a fountain; below are sheep and lambs and at the bottom Mary Magdalene lying reading a book. 14 cm. CATALOGUE NOTE Christ as the Good Shepherd was a popular subject matter in Indo-Portuguese ivories and in Goa specifically. These depictions assimilate Christian subject matter with elements of iconography which would have been more familiar to the indigenous Indian populace: in particular, the depiction of Christ as a child is reminiscent of the God Krishna, whilst his sleeping, serene expression evokes depictions of the Buddha. It has been variously suggested that the Saint lying at the bottom of the mount may be either Saint Catherine of Alexandria or Mary Magdalene. PROVENANCE Private collection, Germany Estimate â&#x201A;Ź 3000 - â&#x201A;Ź 5000

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Lot 323 ________________________________________________________________________________

A LARGE PERSIAN RESHT PANEL DATED AND SIGNED BY ‘ISTAD ALI KARIMOUN SAKIN TARKHANGI’ 1283 AH/1866 AD

A large rectangular, applied and embroidered in polychrome threads on a red and blue ground, with alternating flower-filled medallions and roundels within shaped panels, the border with floral boteh. 395 by 275 cm. Estimate € 3000 - € 5000

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Lot 324 ________________________________________________________________________________

A YELLOW SILK CEREMONIAL MEN’S ROBE CENTRAL ASIA, 19TH CENTURY

The yellow ground embroidered with a continuous motif of splaying flowers, geometric cover, tassels below, chequered lining atlas ikat. 135 by 160 cm. Estimate € 8000 - € 10.000

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THE ART OF SUZANIS

Suzani, literally meaning ‘of needle’ in Persian, refers to some of the most attractive products of Turkestan’s traditional culture. Produced by the women in what is today Uzbekistan and Tajikistan, suzanis were meant to decorate the interiors of homes and therefore are found mostly in settled communities rather than tribal societies. They formed an important part of a bride’s dowry, and as such were testament to a family’s status. The shared task was begun by a professional draftswoman (kalamkesh) drawing the design on four to six loosely joined strips of homespun cotton. The lengths were then separated and embroidered by the bride’s kinswomen. Once finished, the strips were sewn together, a procedure that accounts for the frequent irregularities along the seams, and color differences in adjoining strips. The present suzani exemplifies the characteristics often associated with Bukhara suzanis. Typically, the rosettes and palmettes are strongly articulated in the border while the field’s stems and scrolls are remarkably delicate. The finely worked chain stitching, combined with the rich and sensitive use of color, conjure up the charm of a fine Bukhara piece.

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Lot 325 ________________________________________________________________________________

A FINE BUKHARA SILK EMBROIDERED LINEN PANEL SUZANI, UZBEKISTAN, 19TH CENTURY

Of rectangular form, the central field decorated with a series of floral roundels amidst scrolling stylized leaves, surrounded by a border of large flower-heads interspersed with leafy sprigs, lined. 225 by 160 cm. Estimate € 7000 - € 9000

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Lot 326 ______________________________________________________________________________

AN EXCEPTIONALLY LARGE SUZANI, BUKHARA, UZBEKISTAN, FIRST HALF 19TH CENTURY

Silk embroidery on a cotton foundation. Decorated with carnations and tulips and interspersed with delicate flowering panicles. 300 by 400 cm. Estimate € 4000 - € 6000

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Lot 327 ______________________________________________________________________________

A SUZANI, BUKHARA, UZBEKISTAN, 19TH CENTURY

Silk embroidered with large floral sprays, the field with diagonal floral tendrils, the borders with oversize flower blooms. 235 by 155 cm. Estimate € 7000 - € 9000

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Lot 328 ________________________________________________________________________________ A SUZANI, TASHKENT, 19TH CENTURY Entirely couched in silk with central flower head medallion the border with magenta roundels. 260 by 210 cm. Estimate € 4000 - € 6000

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Lot 329 ________________________________________________________________________________

A SUZANI, TASHKENT, 19TH CENTURY

Entirely couched in silk with six large magenta roundels with blue yellow chevron star centers (borders sewn down). 275 by 200 cm. Estimate € 3000 - € 4000

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Lot 330 ________________________________________________________________________________

A SUZANI, BUKHARA, MID 19TH CENTURY

A Bukhara suzani hanging wall panel, embroidered in polychrome to the centre with three large bands floral sprays, surrounded by a wide border of diagonal floral tendrils with oversize flower blooms. 230 by 160 cm. Estimate € 8000 - € 10.000

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Lot 331 ______________________________________________________________________________

A NURATA SUZANI UZBEKISTAN, EARLY 19TH CENTURY

A Nurata silk embroidered hanging wall panel, of rectangular form, the ground embroidered in polychrome silks with a central panel containing groups of different flower heads on a beige linen ground. Surrounded by two narrow borders with classic flower scroll and a wider border containing a series of diamond made up of scrolling foliate motifs containing large flower heads. 230 by 175 cm. Estimate â&#x201A;Ź 7000 - â&#x201A;Ź 9000

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Lot 332 ________________________________________________________________________________

A SUZANI, TASHKENT, 19TH CENTURY

Entirely couched in silk with six large magenta roundels with yellow, blue and orange centers. 260 by 190 cm. Estimate € 3000 - € 4000

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Lot 333 ________________________________________________________________________________

LAKAI SUZANI, UZBEKISTAN, MID 19TH CENTURY

Silk embroidered on a light orange cotton ground, this very rare suzani by the Lakai tribe presents a strikingly expressive design. In the field, highly diverse boteh variations, flute-shaped and circular blossoms as well as twigs spiralling inwards have been arranged around a small star-shaped medallion in a seemingly spontaneous manner. The giant palmettes with long tentacle-like arms seen in the wide border are particularly arresting. With inscription on the bottom of cut-out floral motifs. 170 by 125 cm. Estimate â&#x201A;Ź 5000 - â&#x201A;Ź 7000

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Lot 334 ____________________________________________________________________________________

A GROUP OF NINE UZBEKI HEADDRESSES BUKHARA, 19TH-20TH CENTURY

Woman’s headband metallic gold and silver embroidery with spangles on silk velvet silk-jacquard backing. Ranging from 53 to 65 cm. Estimate € 2000 - € 3000

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Lot 335 ________________________________________________________________________________

A LARGE CAUCASIAN RUG, 19TH CENTURY

The light blue dotted field with diagonal rows of open stepped lozenges enclosing blue, brown and cream colored floral sprays. The outer narrow border of foliage classic scroll. 450 by 540 cm. Estimate € 2000 - € 3000

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A Chinese blue and white ‘dragon and fish’ charger Wanli period (1573 - 1619)

ISLAMIC ART AUCTION OCTOBER 2020 ORIENTAL ART AUCTIONS B.V. RIDDERSTRAAT 13 8051 EG HATTEM THE NETHERLANDS T +31 (0)38-3380783

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Mathematical and Astronomical Instrument – Signed by Nastulus Iraq (Baghdad) late 9th – early 10th century

ISLAMIC ART AUCTION OCTOBER 2020 ORIENTAL ART AUCTIONS B.V. RIDDERSTRAAT 13 8051 EG HATTEM THE NETHERLANDS T +31 (0)38-3380783

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HOW TO BUY AT ORIENTAL ART AUCTIONS BIDDING There are several ways to bid at Oriental Art Auctions: BID LIVE ONLINE Many clients prefer bidding live online. Itâ&#x20AC;&#x2122;s easy to register with us online and you can watch the auction as it happens and place bids from the comfort of your computer. You can easily register on our website. After being approved you receive an email. Now you can subscribe for the auctions on our website and make bids or auto bids. Clients who wish to bid on line through our website during auction should register 24 hours in advance of a sale.

IN THE ROOM Simply register at the sale room, or on auction days at the registration and cash desk. You may need to provide identification. Once you have registered you will be handed a bidding number to use in the saleroom. When the bidding begins on your lot raise your number to bid. When the bidding stops the auctioneer will bring down the gavel and read out your number if you have won the lot.

BY ABSENTEE BID If you are unable to attend the auction we can bid on your behalf. You can leave an absentee bid completing an absentee bid form and either hand it to a member of staff or email it to info@orientalartauctions.com. Please note that our bid department may contact you for further details. Either way, the amount you enter on the form should be your maximum limit excluding buyerâ&#x20AC;&#x2122;s premium and applicable VAT. We will bid up to that limit for you, and remember you may end up paying less than your limit, depending on other bidding on the day. All absentee bids must be received 24 hours in advance of the auction.

BY TELEPHONE If you would like to bid by telephone, a member of staff will call you from the saleroom on the auction day, just before your lot(s) come up, and will then relay to you the events in the room, and bid on your behalf live at the auction when instructed to do so. If you would like to bid by telephone please contact our team prior to the auction with your details of the lots you are interested in and your full name, mailing address, telephone number(s) and email. Once our team have processed your bid request you will receive an email confirmation. All telephone bids must be received 24 hours in advance of the auction. Please note that Oriental Art Auctions cannot be held responsible for being unable to contact you by telephone. We advise you to remain in an area where mobile communication has good reception.

Please note: some lots contain ivory and are therefore subject to the relevant trade restrictions in correspondence with CITES regulations. Customers should familiarize themselves with the relevant CITES regulations before bidding.

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VIEWING VIEWING IN PERSON All items may be viewed for inspection in person at the sale room. Viewing dates will be published well in advance on the website. You can always make an appointment for viewing outside the viewing days.

VIEWING ONLINE Our auctions are available to view online. We make very high resolution images available online so you can check the item well online. For further information on a lot you may be able to view a condition report online (see below) or contact info@orientalartauctions. com

ESTIMATES All lots carry an estimated price range, which indicates our opinion of value. If there is a reserve on the lot then it cannot be sold below that price. Reserves are never higher than the bottom estimate.

CONDITION REPORTS We highly recommend that potential bidders gather as much information as possible regarding a lot before placing a bid. Oriental Art Auctions provide as much possible information regarding condition and detailed photographs of each object online. If, however, you are unable to view a lot in person you may request a condition report and/or additional images of a lot by email info@orientalartauctions.com We kindly request that you submit your wish for additional information as early as possible.

CATALOGUE ALTERATIONS Lot descriptions and estimates are prepared in advance of the auction and may be subject to change. Any alterations will be published on the alteration sheet and be mentioned by the auctioneer before bidding of the items in question begin.

UNDERSTANDING BUYER’S PREMIUM AND THE FINAL PRICE YOU WILL PAY All purchases are subject to a buyer’s premium of 28% including VAT per lot. When you successfully bid on any lot, the price you pay will be the hammer price (the value you bid at the auction), plus the buyer’s premium. The premium is subject to VAT at the standard rate, with the exception of lots marked in the catalogue with a hash (#) where VAT applies to both hammer price and buyer’s premium. Credit card payments are subject to a 4% surcharge on the final total. You may present these documents in person at our saleroom or, if registering for a telephone, internet or absentee bid, by email.We may, at our discretion, ask you to provide a bank reference and/or deposit as a condition of allowing you to bid.

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PAYMENT Congratulations on your successful bidding, the next stage is payment. There are number of ways to pay to make it as easy as possible for you. We accept cash, credit or debit card or bank transfer. All items must be paid for before they can be collected.

BANK TRANSFER Please find details in any email invoice we issue or upon request from our accounts department.

CASH Cash payments can be made at the accounts desk during or after an auction. Please note that due to money laundering regulations we cannot accept cash payments above € 15.000

CREDIT OR BANK CARDS Payment can be made by credit or bank card. Please note we can accept Visa or MasterCard only, and there will be 4% surcharge

COLLECTION AND SHIPPING If you attend an auction in person and are successful in your bid, you are free to collect and remove your item there and then once payment has been cleared. If you are not able to collect in person, Oriental Art Auctions provide in-house packing and shipping possibilities as well as providing quotes for external shippers. Please contact info@orientalartauctions.com and we will provide you with the various possibilities.

EXPORT OF GOODS As you may be aware several countries prohibit the importation of property containing materials from endangered species, such as rhino horn, ivory, coral and tortoiseshell. If you are interested in bidding on a lot containing these materials and you wish to export please make sure you are familiar with all relevant customs regulations prior to bidding. It is the buyer’s sole responsibility to obtain any relevant export or import license. Please be aware that lots marked with the symbol Y may be subject to CITES regulations when exporting outside the EU. CONDITIONS OF SALE For further information on buying at Oriental Art Auctions please see our Conditions of Sale.

Notice to all bidders As we wish to avoid unpaid bids in our auctions, please note the followingpoints before bidding. Bidders who have Chinese nationality must register using their name as stated on their Chinese resident’s identity card and Chinese passport, as a condition of participating in any auction. This rule is stipulated to prevent identity theft. If a bidder has entered a bid using a false identity, the company reserves the right to cancel any existing or future bid made by that bidder. Please carefully inspect and investigate the age and quality of original lots by yourself or have them inspected by your agents, in order to avoid any confusion or misunderstanding between the company and bidders. The company has received legal advice from Chinese law firms, to the effect that anybidders who violate relevant rules or provide fake identity, phone numbers or proof of address, shall bear all liabilityand relevant costs, including lawyers’ fees, litigation fees, arbitration fees, notarial fees, translation fees, travel fees and communication fees. In some circumstances, the company or the seller may apply to prevent the bidder from entering the country where the company is based or prevent them from departing from China. Bidders are required to followt hese rules and the company’s terms and conditions.

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VALUATIONS We are happy to value any items brought in to the saleroom. Should you have a number of items, please contact us and ask for an onsite valuation.

CONSIGNING YOUR ITEMS FOR AUCTION Once you have decided to sell your items at Oriental Art Auctions, you will receive a receipt detailing in short the items and any applicable reserves and conditions. The items will then be inspected again and processed in our system. Well in advance of the sale, you will receive a detailed receipt with descriptions via email and/or post.

THE RESERVE PRICE You will receive an advised estimate of each item offered for sale, and we advise that the items are sold the auctioneerâ&#x20AC;&#x2122;s discretion. This discretionary value would equal a selling price of 10% below the low estimate. Alternatively a fixed reserve price below which we will not sell can be agreed upon when consigning your items. A reserve can never exceed the lower estimate.

BEFORE THE AUCTION You will receive notification of the lot numbers of your property usually about two weeks before the sale. You are of course welcome to come to the view or attend the auction if you wish.

SETTLEMENT Sale results are sent out within 48 hours of the auction and settlement is usually made six weeks after the sale, subject to normal business conditions. We can only pay out if the buyer paid for the items.

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TERMS & CONDITIONS OF CONSIGNMENT - THE CONSIGNMENT OF GOODS BETWEEN CONSIGNOR AND ORIENTAL ART AUCTIONS The present document comprises the Terms & Conditions of Consignment between you and Oriental Art Auctions and is applicable to the present and to each subsequent consignment terminating upon expiry at the end of the calendar year or upon the issue of a new version made available to you. Please read this document carefully, in view of the fact that rights and obligations arise as a result of this Agreement. 1. APPLICABILITY 1.1 The present Agreement containing the General Terms & Conditions of Business is applicable to all parts of the relationship between Oriental Art Auctions B.V., hereinafter referred to as ‘Oriental Art Auctions” and the Consignor/Seller, hereinafter referred to as “the Consignor”, which include a particular purchase, sale, intermediary services, appraisals, evaluations, estimates, cataloguing, and custody, unless expressly agreed otherwise. 1.2 Any departure from the present General Conditions ls only possible if and insofar as expressly agreed in writing by Oriental Art Auctions. 2. COMMISSION CONTRACT 2.1 The Consignor hereby instructs Oriental Art Auctions to examine, appraise and sell at auction the movable property brought in by Consignor and taken delivery of by a representative of Oriental Art Auctions (hereinafter also referred to as: ‘the Items’). 2.2 Oriental Art Auctions are hereby authorized by the Consignor to sell the Items via Oriental Art Auctions under the auction conditions to be set by Oriental Art Auctions, irrespective of whether said authorisation regards all or, alternatively merely a few pieces. Consignor and Oriental Art Auctions may mutually agree upon setting a minimum price (reserve) for each consigned Item. 2.3 Taking delivery of Items, however, does not obligate Oriental Art Auctions to sell or to offer said items for sale at auction. ln the event that Oriental Art Auctions is not willing to enter the Items into auction, the Consignor will be informed by Oriental Art Auctions within four weeks subsequent to any such decision. 3. RIGHTS AND OBLIGATIONS ON THE PART OF THE CONSIGNOR 3.1 The Consignor shall provide proof of identity at the request of Oriental Art Auctions. 3.2 The Consignor warrants that in his/her capacity as true owner or by means of proper authorisation he is authorised to offer the Items for sale at auction and hereby indemnifies and holds Oriental Art Auctions harmless against any and all claims from a third party in relation thereto. 3.3 The Consignor at the request of Oriental Art Auctions is obliged to provide Oriental Art Auctions with information on and substantiated proof of provenance and origin of the Items. The Consignor is liable for any loss/damage in case of information which is inaccurate or misleading and/or in case of any other circumstances attributable to the Consignor and hereby indemnifies and holds Oriental Art Auctions harmless against any and all claims from a third party in relation thereto. 3.4 The Consignor duly declares that sale at auction of the Items is not obstructed by any national or international statutory provisions. 3.5 The Consignor is not allowed to bid on any Items brought in by him unless otherwise agreed in writing with Oriental Art Auctions. 3.6 The rights and obligations by virtue of the present General Terms and Conditions belong exclusively to the Consignor and cannot be transferred by Consignor to a third party. 4. THE RIGHTS OF ORIENTAL ART AUCTIONS 4.1 The inclusion of Items in an auction sale or the exclusion thereof, similarly any (oral) announcement in respect of an Item in the Sale Catalogue or in a brochure, is at the sole discretion of the Oriental Art Auctions, who reserve the right to consult or rely on any expert without accepting any responsibility in connection therewith. 4.2 Oriental Art Auctions reserve the right to determine in which of their sales an Item shall be put up for auction. 4.3 In the event that Oriental Art Auctions are instructed to clear the complete contents of a dwelling or warehouse, they reserve the right to exclude Items from said clearance and also to remove or dispose of any such Items which in their opinion are not suitable for auction or if possible, to convert said Items into cash by other means. 4.4 Consignor duly declares that Oriental Art Auctions are authorized to photograph, illustrate or otherwise make visual representations of all the Items offered for sale and to copy or cause said Items to be copied in any way whatsoever, both prior and subsequent to the sale, and shall observe any statutory regulations applicable thereto. Oriental Art Auctions retain the copyright in all such visual representations for use at their discretion.

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5. WITHDRAWAL ON THE PART OF CONSIGNOR 5.1 Once an Item has been entered into an auction, it can only be withdrawn by the Consignor following payment of 30% of the agreed reserve, or of a lesser amount if in the opinion of Oriental Art Auctions this is reasonable, or in the absence of a reserve price, payment of 30% or of a lesser amount of the expected proceeds at auction as estimated by Oriental Art Auctions plus all incurred costs, if any. 5.2 In the event that the Consignor is not satisfied with the estimate as set out in 5.1, he/she can request a re/estimation at his/ her own expense, to be performed by three experts who are approved Registered Brokers/ or Registered Broker-Assessors and whose area of specialisation is that of the Item or alternatively, to be performed by certified appraisers or brokers, one of whom to be appointed by Oriental Art Auctions, one of whom by the Consignor, and the third to be nominated jointly by the two already appointed. Should the re-estimation result in a different value, said different value shall be binding upon Oriental Art Auctions and applicable to the Consignor in accordance with the applicability of the present Clause. 6. COMMISSION In case of sale of the Items at auction, the commission payable to Oriental Art Auctions amounts to a percentage of the price achieved at the sale agreed prior to the sale. 7. OBLIGATION TO TAKE BACK ON THE PART OF ORIENTAL ART AUCTIONS 7.1 The Consignor acknowledges that he/she is familiar and agrees with the General Conditions of Oriental Art Auctions, applicable to Oriental Art Auctions and Buyer in respect of a purchase at auction of movable property, of his willingness to do the following: ‘Unless certain items in the catalogue are expressly excluded - except for a number of cases mentioned in the General Conditions of Sale applicable to the purchase of movable property at auction - Oriental Art Auctions may be willing to set aside the sale of a Lot at auction and to refund an amount corresponding to the original Purchase Price and auction costs, in the event that the Seller within a period of three weeks subsequent to the sale has established to the satisfaction of Oriental Art Auctions that the Lot sold at auction has such serious hidden faults or that the description given is shown to be so erroneous, that had the Buyer been aware of said faults or had there been an accurate description at the fall of the hammer, said Buyer would have decided not to proceed with the purchase or would have made the purchase only at a considerably lower price:. 7.2 The Consignor shall grant Oriental Art Auctions an irrevocable authorisation to set aside the sale in consideration for a refund of the Purchase Price and auctions costs. Oriental Art Auctions has sole discretion to determine whether the circumstances are applicable in any such case. By reason of the setting aside of the sale, the Item is considered to be unsold within the meaning of Clause 11 of the present contractual Terms & Conditions 8. PAYMENT TO CONSIGNOR 8.1 Oriental Art Auctions shall in the name of Oriental Art Auctions ensure payment to the Consignor of the proceeds from the sale less all fees and charges to be borne by the Consignor, such as transport costs, restoration costs, commission fees, vetting costs, insurance premiums, if applicable, and any other costs agreed in advance as well as VAT [BTW]. hereinafter referred to as: •[the] Compensation’, providing that Oriental Art Auctions has received from the Buyer the full Purchase Price, and providing that the Buyer has not asserted the obligation on the part of Oriental Art Auctions to set aside the sale within the meaning of Clause 7 of the present Agreement, which assertion is acknowledged by the auctioneer and provided that no cancellation of the sale has occurred within the meaning of Clause 9 of the present contractual Terms & Conditions. 8.2 Payment of The Compensation ls normally is effected within 30 days following a sale. unless a written notice as set out in Clause 7 of the present Conditions is received from the Buyer, or a setting aside of the sale within the meaning of Clause 9 of the present Agreement has occurred. 8.3 Invocation of the so-called margin scheme can only be made in the event that prior to the sale all the necessary conditions have been met, including inter alia the declaration of purchase for VAT purposes (inkoopverklaring): the above at the absolute discretion of Oriental Art Auctions. 9. CONSEQUENCES CANCELLATION BY BUYER In the case of “a setting aside’ as set out in Clause 7 of the present Terms & Conditions, or a cancellation of the Purchase agreement with the Buyer for any other reason, then Oriental Art Auctions reserves the right to claim back any Compensation already paid to the Consignor as well as any other loss/damage and costs incurred by Oriental Art Auctions as a consequence of said setting aside, including interest charges and judicial and extrajudicial costs.

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10. CONSEQUENCES OF SETTING ASIDE BY ORIENTAL ART AUCTIONS 10.1 The Consignor is familiar with the fact that Oriental Art Auctions, in the Conditions of Sale (being the General Terms & Conditions of Oriental Art Auctions and the Buyer in respect of a purchase at auction of movable property), reserves the right to set aside the Purchase agreement in the event that the Buyer shall exceed the term for payment. 10.2 The Consignor expressly acknowledges and agrees that Oriental Art Auctions have the right to recover any loss/damage and costs against the Buyer in case of the occurrence of a situation as set out in 10.1. Also the Consignor expressly acknowledges and agrees that Oriental Art Auctions have the right to claim specific performance when the Buyer has failed to comply with the period for payment, or alternatively, to proceed to set aside the sale, or alternatively, first to file a claim against the Buyer for specific performance which if unsuccessful, then to take steps to set aside the sale: the above at the discretion of Oriental Art Auctions. 11. UNSOLD ITEMS 11.1 Oriental Art Auctions are irrevocably authorized but never obligated to offer Items for sale at a later auction, hereinafter referred to as: “to resell”, or alternatively, to sell said Items within a period of ten days after a particular auction. Any such post-auction sale (“aftersale”) can only take place at a price that is at least the equivalent of the Purchase price less all costs to be borne by the Consignor to which the Consignor would have been entitled if the Item had sold for the reserve set at auction. 11.2 In the event of such an aftersale, the rights and obligations of the Consignor and Oriental Art Auctions by virtue of the present Agreement shall be equally binding and apply in full as if the Item had been sold at the particular auction. 11.3 Accordingly, the provisions set out in the present Agreement shall apply in full to any such resale or aftersale. 12. TRANSPORT/STORAGE INSURANCE ITEMS 12.1 All packaging materials in respect of the Items consigned to the auction sale may be removed or disposed of by Oriental Art Auctions unless expressly agreed otherwise by Oriental Art Auctions and the Consignor. 12.2 All the Items consigned to Oriental Art Auctions are insured for the value stated on the receipt, or alternatively for an appropriate value determined at the sole discretion of Oriental Art Auctions. against fire. theft, loss and damage provided that said Items are kept in the offices of Oriental Art Auctions or in other storage facilities chosen by Oriental Art Auctions. The Consignor is entitled to claim a receipt for the Items consigned to Oriental Art Auctions, which receipt indicates the value represented by the Items at the moment of consignment according to a preliminary estimate given by Oriental Art Auctions. 12.3 Oriental Art Auctions reserves the right to take measures for storing with a third party Items sent or brought to auction, and to charge the Consignor for any such costs in relation thereto. 12.4 Items which have been sent or brought in to Oriental Art Auctions and which have not been accepted for auction and which are not stored for [temporary] safekeeping, shall at the risk and expense of the Sender be returned to the Sender wholly at his own cost. 13. LIABILITY OF ORIENTAL ART AUCTIONS 13.1 Oriental Art Auctions accept no liability whatsoever for any damage to frames of paintings, or other works of ort, nor to any parts thereof such as glass coverings, passe-partouts, etc, except in case of damage caused wilfully or by gross negligence on the part of Oriental Art Auctions and/or his/her employees or representatives. 13.2 In no event shall Oriental Art Auctions be liable for any damage/loss caused by interruption to business, consequential damage/loss, damage/loss of property and/or indirect damage. 13.3 Furthermore, Oriental Art Auctions cannot be held liable for any accident or any form of personal injury suffered on or in the vicinity of the premises or surrounding areas in use for consignment, storing or viewing, for holding auctions or in use for picking up the goods sold, except in case of damage caused wilfully or by gross negligence on the part of Oriental Art Auctions and/or his/ her employees or representatives and/or except insofar as such accident/personal injury is covered by the insurance of Oriental Art Auctions. 13.4 Entering the premises or surrounding areas is entirely at your own risk.

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14, OTHER RIGHTS AND OBLIGATIONS ON THE PART OF THE CONSIGNOR/NATURAL PERSON (NOT ACTING IN THE COURSE OF HIS/HER TRADE/PROFESSION)/LONG DISTANCE SERVICES 14.1 In the event that an agreement is entered into between Oriental Art Auctions and the Consignor/natural person who is not acting in the course of his/her trade or profession, under which, up to and including the conclusion of the Agreement, use can only be made of one or more techniques for long-distance communication within the context of the auction system for long distance services maintained by Oriental Art Auctions. in case of the above, the following shall apply. 14.2 During the duration of 7 working days to be calculated from the day upon which the Agreement is concluded, the Consignor/ natural person is entitled to cancel the Agreement free of charge and without giving reasons. Under certain circumstances the period can be extended to three months subsequent to the conclusion of the agreement. Any such termination must occur in writing (per e-mail or written letter). 14.3 The Consignor/natural person cannot assert the abovementioned right. in the event that with his/her consent Oriental Art Auctions has commenced performance of the Agreement prior to the expiry of the term mentioned above. 14.4 In deviation from the provisions set out in Article 7:46101 the Dutch Civil Code pertaining to an occurrence of default, the statutory provisions set out in Articles 6:81-83 01 the Dutch Civil Code shall apply instead. 15. MISCELLANEOUS 15.1 Nullification, annulment or the non-bindingness of one of the provisions set out in the present Agreement containing General Conditions 01 Business shall not affect the validity of the remaining provisions. In the event that one or more provisions is null and void, annulled or nonbinding, Consigner and Oriental Art Auctions shall agree one or more provisions to replace the above which are valid and which correspond as far as possible in content and purport to the provisions that are null and void, annulled or nonbinding. 15.2 Objects which, even without prior knowledge of the owner, are deemed to be cultural heritage, and objects which are made with materials which do not have the necessary CITES certificate, (Ivory, Coral, Rhinoceros horn etc.) are excluded from our Auctions. This also counts for objects which may be considered plundered artworks by the authorities. Possible confiscations and legal consequences are the sole responsibility and expense of the consignor. 15.3 The present Conditions of Business are governed exclusively by the Laws of the Netherlands. 15.4 All disputes pertaining to, arising from or in connection with any agreement entered into between Oriental Art Auctions and the Consignor or in connection with the formation of any such agreement shall be submitted to the exclusive jurisdiction of the competent court in Zwolle, except for the right of Oriental Art Auctions to choose to have the dispute adjudicated by the competent court located in the district of the Consignor.

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