Islamic Art Auction - 18 November 2020 by Oriental Art Auctions

ISLAMIC ART AUCTION 18 NOVEMBER 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 Wednesday 18 November 2020 At 13.00 pm Session I: lot 1 - lot 178 Pause 15 minutes Session II: lot 179 - lot 306 PREVIEW By appointment Kerkhofstraat 3 8051 GG Hattem The Netherlands

Lot 1 ________________________________________

AN INDIAN PRIEST, NATHDAWARA SCHOOL, 19TH CENTURY

Gouache pigments heightened with gold on paper, laid down on album page, depicting a priest performing rituals in his temple. 22 by 29 cm. Estimate € 600 - € 800

Lot 2 ________________________________________

A PAINTING OF GODDESS DURGA, INDIA, RAJASTHAN, 19TH CENTURY

Opaque watercolor on paper, depicting the eight-armed Goddess Durga seated on a tiger and holding her weapons.With a gilt wooden frame. CATALOGUE NOTE Durga’s name in Sanskrit means a fort. It is symbolic of protection. According to legend, Durga was created for the slaying of the buffalo demon Mahisasura by Brahma, Vishnu, Shiva, and the lesser gods, who were otherwise powerless to overcome him. Embodying their collective energy (shakti), she is both derivatives from the male divinities and the true source of their inner power. She is also greater than any of them. Born fully grown and beautiful, Durga presents a fierce menacing form to her enemies. She is usually depicted riding a lion or a tiger and with 8 or 10 arms, each holding the special weapon of one of the gods, who gave them to her for her battle against the buffalo demon. 44 by 58 cm. Estimate € 1500 - € 2000

Lot 3 ________________________________________________________________________________________

WOMEN IN A TEMPLE, INDIA, JAIPUR, 18TH CENTURY

Gouache pigments heightened with gold on paper, laid down on an album page with outer polychrome borders, depicting a Hindu woman seated with a Mughal lady and her servant in a temple. The later outer margin is decorated with Persian inscriptions in nastaliq script reserved in clouds on a cream-colored ground, further stylized with polychrome flower sprays on a gilt ground. 24 by 14 cm. Estimate â&#x201A;Ź 1200 - â&#x201A;Ź 1500

Lot 4 _________________________________________________________________________________________

MAHARAJA ANUP SINGH, INDIA, RAJASTHAN, BIKANER, EARLY 18TH CENTURY

Opaque pigments heightened with gold on paper, laid down on an album page, full-length portrait of Maharaja Anup Singh of Bikaner (reigned 1669–98), wearing a jeweled red and gold turban, floral patka, holding a sword in his right hand and a gilt cup in his left one, facing a princess in a landscape. 12 by 20 cm. Estimate € 2000 - € 3000

Lot 5 ________________________________________________________________________________________

A LADY WITH ATTENDANTS ON A TERRACE, INDIA, JAIPUR, 18TH CENTURY

Opaque pigments heightened with gold on paper, laid down on an album page with outer polychrome margins, depicting a noblewoman wearing a yellow robe with gilt red trousers, entertained by two female musicians. 13 by 21 cm. Estimate € 1000 - € 2000

Lot 6 _________________________________________________________________________________________

RAJA HIRA SINGH DOGRA ENJOYING A NAUTCH, 19TH CENTURY

Opaque pigments heightened with gold on paper, depicting Raja Hira Singh seated on a terrace and enjoying a nautch performed by elegantly dressed dancers with musicians, ruled in gold and flower decorated borders. 43 by 32 cm. CATALOGUE NOTE Hira Singh (1816-1844), prime minister of the Sikh Kingdom of Lahore from 17 September 1843 to 21 December 1844. He was the eldest son of Raja Dhian Singh Dogra, an influential courtier, who introduced him to his patron Maharaja Ranjit Singh. The Maharaja took very favorably to the young boy, bestowing upon him the title of Raja in 1828 and, then, proclaiming him Farzand-i-Khas, (a favorite son). He granted him numerous jagirs (properties) which in total amounted to nearly five lakhs rupees (Rs500,000) annually. Maharaja Ranjit Singh was grooming his grandson Kunwar Naunihal Singh to succeed him as the next Maharaja of Lahore and his Prime Minister Raja Dhian Singh Dogra was grooming his son Hira Singh to be the prime minister. Estimate â&#x201A;Ź 4000 - â&#x201A;Ź 6000

Lot 7 ________________________________________________________________________________________

A FOLIO FROM A RAGAMALA SERIES, INDIA PAHARI, CIRCA 1740-1750

Opaque pigments heightened with gold on paper, depicting wrestlers and acrobats performing Pahlevani and zoorkhaneh rituals in a landscape, within red borders on cream margins. 20 by 14 cm. Estimate € 1200 - € 1500

Lot 8 ______________________________________________________________________________________

A MUGHAL MINIATURE DEPICTING TWO WOMEN, INDIA, RAJASTHAN, BIKANER, EARLY 18TH CENTURY

Opaque pigments heightened with gold on paper, depicting two women wearing a gold reddish robe, blue and red trousers, against a brownish background with the blue skyline. Laid down on album page, ruled in gold and gilt green polychrome margins decorated with gilt floral motifs. 20 by 11.5 cm. Estimate € 4000 - € 6000

Lot 9 ______________________________________________________________________________________

A PRINCESS IN A BLOSSOMING TREE, INDIA, MURSHIDABAD, 18TH CENTURY

Opaque pigments heightened with gold on paper, the princess standing under a blossoming tree, wearing a yellow diaphanous robe and gold trousers, smoking a huqqa, against a green background with the blue skyline. Laid down on album page, ruled in gold and polychrome margins. 10 by 17 cm. Estimate € 2000 - € 3000

Lot 10 ________________________________________________________________________________________

A PICCHVAI DEPICTING THE RASALILA, NORTH INDIA NATHDWARA 19TH CENTURY 152 by 95 cm.

CATALOGUE NOTE The term picchvai or ‘background painting’ refers to how these paintings were traditionally worshipped—picchvai such as these would have been hung in a temple and placed behind a rupa or sculpture of the deity. Often picchvai retain traces of traditional ablution substances, such as milk or saffron water, used to lustrate the deity. Estimate € 2000 - € 3000

Lot 11 ________________________________________________________________________________________

A JAIN PILGRIMAGE PAINTING (TIRTHA PATA) MAP OF THE SACRED SITE SHATRUNJAYA GUJARAT, LATE 19TH CENTURY

Pigment and gold on cloth, painted inner border with a design of repeat flower heads. A panoramic view of the key shrines, the pilgrimage route and details of significant features and episodes along the devotees’ path. They thus often served as surrogates for those – often aged or infirm devotees - who were unable to visit the sites. Their display on festivals and special occasions, viewed by large congregations of priests and devotees, provided the same merit as having visited the site. 285 by 260 cm. Estimate € 10.000 - € 14.000

Lot 12 _____________________________________________________________________________________

AN ILLUMINATED QAJAR CALLIGRAPHY, DATED 1327 AH/1909 AD

Ink, gouache and gold on paper, laid down on album page, Arabic and Persian manuscript reserved in a large cloud on a cream-colored ground. In large brown nastaliq script ‘Nad-e ‘Ali’, typically used by Shia Muslims to seek ‘Ali’s help and support in times of stress and sorrow, further stylized with gilt flower heads and containing cartouches enclosing the date: Rajab in 1327 AH by Muhamed Jawad Zarren Qalam. Ruled in gilt and brown border decorated with gilt scrolling vine issuing flower heads with traces of gilding to the outer blue border. Text panel: 23 by 35 cm. Folio: 39 by 46 cm. Estimate € 800 - € 1200

Lot 13 _________________________________________________________________________________________

A QAJAR SHAMA’IL NAMEH, LATE 19TH-EARLY 20TH CENTURY

Oil on canvas, depicting seated Imam Ali with his two sons, Hasan, Hussein and a lion. 120 by 90 cm. Estimate € 4000 - € 6000

Lot 14 _________________________________________________________________________________________

SHAYKH ABD AL-QADIR JILANI AND KHAWAJA MU’IN AL-DIN CHISHTI 19TH CENTURY

Opaque pigments heightened with gold on paper, depicting two seated imams ‘Jilani and Chichti’ in Al-Haram Al-Nabawi in the medina, ruled in gold and red borders. Abdul Qadir Jilani (1077-1166 AD), the founder of the Qadriyyah Sufi Order, was a native of the Persian province of Gilan. He went to Baghdad to study before spending twenty-five years in Iraq as a recluse. In 1127, he returned to Baghdad, to teach and preach. In 1134, he became principal of a Hanbalite school in Baghdad. When he first arrived in Baghdad, the other teachers of the city went out to meet him. They presented him with a bowl filled to the brim with water, meaning that there were already enough teachers in Baghdad. He manifested a rose in his hand and placed it on top of the water without spilling any. After this incident, he was known as the ‘Rose of Baghdad’ and the rose became the symbol of the Qadri dervishes. His works include Futuh alGhaib (‘Revelations of the Unseen’) and Jala’ al-Khatir (‘The Removal of Care’). The Order is the most widespread of the Sufi Orders in the Islamic world and can be found in India, Pakistan, Turkey, the Balkans as well as much of East and West Africa. Muin al-Din or Khwaja Muin al-Din by Muslims of the Indian subcontinent, was a Persian Muslim preacher, ascetic, religious scholar, philosopher, and mystic from Sistan, who eventually ended up settling in the Indian subcontinent in the early 13th-century, where he promulgated the famous Chishtiyya order of Sunni mysticism. This particular tariqa (order) became the dominant Muslim spiritual group in medieval India and many of the most beloved and venerated Indian Sunni saints were Chishti in their affiliation, including Nizamuddin Awliya (d. 1325) and Amir Khusrow (d. 1325). As such, Chishti’s legacy rests primarily on his having been ‘one of the most outstanding figures in the annals of Islamic mysticism’. 25 by 18.5 cm. Estimate € 3000 - € 5000

Lot 15 _________________________________________________________________________________________

A SAFAVID CALLIGRAPHIC PANEL, 17TH CENTURY

Ink, opaque pigments and gold on paper, Persian manuscript on paper, laid down on album page, the four lines of elegant black nastaliq script written diagonally, each line in clouds outlined in red on a blue ground met floral illumination. At the top one couplet of Persian poems in nastaliq script, all ruled in gold and polychrome borders. 18 by 26 cm. Estimate € 1200 - € 1500

Lot 16 _________________________________________________________________________________________

AN ILLUMINATED OTTOMAN CALLIGRAPHIC PANEL, 19TH CENTURY

Ink, opaque pigments and gold on paper, Arabic manuscript on paper, laid down on album page, written in thuluth script in black and blue outlined in white and red ink and decorated with gilt floral scrolls, within clouds reserved on a gold ground decorated with polychrome flower spray. All ruled in blue border stylized with gilt meandering vines issuing small buds. 16 by 32 cm. Estimate € 2000 - € 3000

Lot 17 ___________________________________________________________________________________

AN OTTOMAN SEATED GRAND VIZIER OR AN IMPORTANT PERSON BELONGING TO THE SULTANATE, 18TH-19TH CENTURY

Gouache pigments heightened with gold on paper, laid down on album page, depicting a seated important person, wearing a large white turban decorated in gold with animals, birds and large flower heads, dressed in an elegant gilt purple coat. At the top Arabic inscriptions of bismallah in muhaqqaq black script, written by Hasan Al-Selaniki. At the bottom a panel with gold and blue decoration. All ruled in gold and polychrome borders. 29 by 18 cm. Estimate € 3000- € 4000

Lot 18 ______________________________________________________________________________________

A GOLD ILLUMINATED FOLIO, PERSIA, 18TH-19TH CENTURY The folio decorated in gold with real and mythical beasts in a landscape. 44 by 21.5 cm. Estimate € 1200- € 1500

Lot 19 ____________________________________________

YUSUF WA ZULAIKHA MINIATURE, 17TH CENTURY, ISFAHAN SCHOOL

Gouache pigments heightened with gold on paper, laid down on an album page, depicting the prophet Yusuf bringing apples to Zulaikha’s friends in a landscape, ruled in gold and polychrome margins. Her friends thought that she was becoming infatuated with Yusuf and mocked her for being in love with a slave. She invited them to her home and gave them all apples and knives to peel them with. She then had Yusuf walkthrough to show her friends his beauty. Looking at Yusuf, they were shocked with his beauty and cut their hands without feeling the pain. Glazed and framed. 15 by 25 cm. Estimate € 2000 - € 3000

Lot 20 __________________________________________

A PERSIAN MINATURE OF IBN AL-ARABI BY SAADI SHIRAZI, 17TH CENTURY Persian manuscript on paper, gouache heightened with gold on paper by Sa’adi (1210-1292 AD), written horizontally and diagonally in black nastaliq script, reserved in clouds on a gold ground. Depicting Muhyiddin Ibn Arabi (d. 1240) with his students. Abu-Muhammad Muslih al-Din bin Abdallah Shirazi, better known by his pen-name Saadi, was a major Persian poet and prose writer of the medieval period. He is recognized for the quality of his writings and for the depth of his social and moral thoughts. Saadi is widely recognized as one of the greatest poets of the classical literary tradition, earning him the nickname ‘Master of Speech’ among Persian scholars. 16 by 25.5 cm. Estimate € 800 - € 1200

Lot 21 ___________________________________________________________________________________

SHAH TAHMASP I IN A LANDSCAPE, TIBRIZ, 17TH CENTURY

Opaque pigment heightened with gold on paper, depicting Shah Tahmasp I seated with his servants in a landscape. Above two panels enclosing two Persian couplets written diagonally in nastaliq script, on the side Persian inscriptions reserved in clouds on a cream-colored ground. All ruled in gold and polychrome border decorated with floral motifs. 26 by 19 cm. CATALOGUE NOTE Tahmasp I (1514-1576) was an influential Shah of Persia, enjoyed the longest reign of any member of the Safavid dynasty, son and successor of Ismail I the founder of the Safavid dynasty. Estimate € 2000 - € 3000

Lot 22 _______________________________________________________________________________________

A PERSIAN DOUBLE-SIDED MINIATURE, ISFAHAN SCHOOL, 18TH CENTURY

Opaque pigments heightened with gold, depicting a couple in a landscape with a gilt skyline. The outer margin decorated with panels enclosing Persian inscriptions in nastaliq script and stylized with polychrome flower scrolls on a blue ground, set between two borders decorated with gilt floral motifs. 25 by 15 cm. Estimate € 4000 - € 6000

Lot 23 ____________________________________________________________________________

MARRIAGE OF BAHRAM SHAH, BUKHARA, 17TH CENTURY

Gouache heightened with gold on paper, depicting Bahram Shah entertained during his wedding. With Persian inscription in nastaliq black script, stylized further with gold and striking blue decoration. 27 by 18 cm. Estimate € 2000 - € 3000

Lot 24 ____________________________________________________________________________

TWO TIMURID CALLIGRAPHIC PANELS, CIRCA 1600

Ink, opaque pigments and gold on paper, 8 lines to each page, Arabic and Persian manuscript on paper, laid down on album page. Four lines of Arabic Du’a or invocation in large gilt thuluth script outlined in black, four lines of Persian translation in black nastaliq script, each line ruled in a gilt and black border. Four squares on both sides with white floral motifs on a polychrome ground. All ruled in gilt and polychrome borders. The outer margin with traces of gilt floral scrolls. 28 by 18 cm. Estimate € 1500 - € 2000

Lot 25 ___________________________________________________________________________________

A PERSIAN CALLIGRAPHIC PANEL SIGNED BY ASADULLAH AL-HUSAYNI, SAFAVID, 1129 AH/1716 AD

Ink, opaque pigments and gold on paper, Arabic manuscript on paper, laid down on album page. Heading in large thuluth script in black ink, the bottom line in black muhaqqaq script and middle section in naskh script, borders of scrolling leaves in blue and gold, margins ruled in colors and gold. The outer margin decorated with birds perched amongst floral scrolls. Text panel: 15 by 26 cm. Estimate € 1500 - € 2000

Lot 26 ______________________________________________________________________________________

AN ABBASID QURAN KUFIC BIFOLIUM, IRAQ OR SYRIA, 9TH CENTURY

Arabic manuscript on vellum, 14 lines in very fine brown Kufic script, laid down on gilt album page. Diacritics in red with verse markers pointed in red, blue and yellow dots. Bifolium: 4.3 by 7.5 cm. Album page: 8 by 15.5 cm. PROVENANCE From the collection of professor Pierre Abrami (1880-1945) Estimate € 2000 - € 3000

Lot 27 ___________________________________________________________________________________

A GOLD QURAN KUFIC FOLIO, NORTH AFRICA, 9TH-10TH CENTURY

Arabic manuscript on vellum, 8 lines to the page, written in gold Kufic script outlined in brown. Diacritics indicated with brown diagonal dashes, gold rosettes indicating single verses pointed in red and blue dots. Quran 50 surah Qaf v.1-v.12 9 by 13 cm. PROVENANCE: Private collection, Germany Estimate € 3000 - € 4000

Lot 28 ____________________________________________

TEN QURAN LEAVES, SULTANATE INDIA, CIRCA 1500

Arabic manuscript on paper, 10 leaves, each folio with 13 lines, written in bold black Bihari script, the bismallah in muhaqqaq script. The word ‘Allah’ in gold outlined in black, gold rosette verse markers pointed in blue dots, ruled in blue and red border. Polychrome and gold marginal medallions indicating ‘Juz’ and Hezb’, occasional marginal notes in Persian nastaliq script. Quran 8 surah Al-Anfal v.1-v.60 and v.70-v.73 29 by 40 cm. PROVENANCE Private collection, Germany Estimate € 2000 - € 3000

Lot 29 ___________________________________________________________________________________

A KUFIC QURAN BIFOLIUM, 8TH-9TH CENTURY, NORTH AFRICA

Arabic manuscript on vellum, 8 lines to the page written in elongated Kufic in dark brown ink, vocalization in the form of red dots. Surah headings in gold outlined in dark brown ink. Comprising: Quran 82 surah Al-Infitar with 19 verses plus the last verse from Surah Al-Takwir. 11.5 by 19 cm. PROVENANCE Private collection, Germany Estimate € 3000 - € 4000

Lot 30 ___________________________________________________________________________________

A KUFIC QURAN FOLIUM, ABBASID, 8TH-9TH CENTURY

Arabic manuscript on vellum, 15 lines to the page written in an elegant elongated Kufic script in brown ink, red dots probably added at a later date, verses separated by triangular clusters of 6 gold dots, two bands decorated with a knotted rope motif in gold and some color, surah headings written in Kufic script in red. Quran 88 surah Al-Ghashiyah v.19-v.26, Quran 89 surah Al-Fajr complete, Quran 90 surah Al-Balad v.1-v.6 19 by 25 cm. Estimate € 2000 - € 3000

Lot 31 ______________________________________________

A SELJUK OFFICIAL WAQF DOCUMENT IN SCROLL FORM, RELATING TO THE ENDOWMENT OF AN ESTATE CONSISTING OF A VILLAGE AND ITS SURROUNDING LAND IN ANATOLIA, MENTIONING THE NAMES OF ‘ALAM-AL-DIN QAYSAR BIN ABDULLAH AND ‘ABDU’L-SAMAD AL-SHIRVANI, APPROVED AND WITNESSED BY MUHAMMAD BIN MUHAMMAD AL-HUSAINI, KNOWN AS HIKMI AL-GHILANI, A JUDGE IN QAYSARIYAH (CAESAREA) ANATOLIA, DATED RAMADAN 500/APRIL 1107, WITH A LATER WITNESS STATEMENT DATED 887 AH/1482 AD Arabic manuscript on paper in scroll form, text written in clear naskhi script in black ink, numerous witness inscriptions written horizontally and diagonally at the beginning and end of the document, rebacked on paper and green silk at a later date, creased with some tears to paper, two later seal impressions of ‘Abdallah al-Ansari’ 177 by 22.2 cm. Estimate € 2000 - € 3000

Lot 32 ___________________________________________

A BANNER-SHAPED GENEALOGY ON VELLUM, NORTH AFRICA, 16TH-17TH CENTURY

Arabic manuscript on vellum, text written in polychrome Maghribi script, set within polychrome margins of scrolling vines with fleur-de-lys set inside double-ruled borders 79.5 by 56.1 cm. max. CATALOGUE NOTE On this banner, which was probably used in battle, is outlined the genealogy of a certain Abu ‘Abdallah Muhammad ibn Ahmad. His line is traced through ‘Ali ibn Abi Talib, from the pre-Islamic ancestor of ‘Ali and the Prophet Muhammad, Ma’ad ibn ‘Adnan. A similar document with nearly an identical border, comparable combination of colors and dated 1029 AH/1620 AD, was sold at Christie’s, 10 April 2014, lot 51. Estimate € 2000 - € 3000 Lot 33 _____________________________________________

AN EGYPTIAN GENEALOGICAL SCROLL ANSAB ALASHRAF DATED 1047 AH/1637 AD

Arabic manuscript on paper, 17 lines on a single leaf, written in black thuluth script. This document was issued proving that the bearer is an honorable offspring who is the descendent of the Prophet through the side of his daughter Fatima. It was approved by the sheiks and supervisors in Egyptian schools and mosques after he presented a compelling argument (dated 990 AH/1582 AD) that his nephew belongs to the noble lineage, signed with the seal of Yehia Efendi bin Mahmoud, Abdelkader Efendi bin Amer and Ali Efendi bin Sader Al-Din and dated 1047 AH/1637 AD. 32 by 64 cm. Estimate € 2000 - € 3000

Lot 34 _____________________________________________________________________________________

A SALE CONTRACT ‘EAQD BAYE HAIJH SHAREIA, DATED 1198 AH/1783 AD TUNISIA/GHAR EL MELH

Arabic manuscript on parchment, written in black and brown Magribi script. This document includes the name of the seller and the buyer, the development of the sale and the contract between the heirs. The following persons are involved in the contract: Binjamin Trabelsi, Ismail Kahi, the Turki family, the Sheik and the preacher Al-Bakri Al-Othmani. The first date of the contract is 1198 AH/1783 AD, in which the clerk indicates the location of the house and the surroundings as well as the heirs and the delay in payment of dues. Then the adjudication between the heirs and the buyer in 1213 AH/1798 AD. The third adjudication in 1218 AH/1803 AD and deciding amounts owed to the heirs in the value of the Tunisian riyal. The last date for the determination of the case was 1238 AH/1822 AD. 65 by 45 cm. Estimate € 1500 - € 2000

Lot 35 _____________________________________________________________________________________

AN INDIAN MUGHAL QURAN SECTION, EARLY 17TH CENTURY

Arabic manuscript on paper, 19 leaves with 11 lines to each page, written in thuluth, naskh and muhaqqaq script. The bismallah of each surah written in muhaqqaq script, each page with 3 lines in large gold and blue script and 8 lines in black naskh script, all reserved in cloud bands against a gilt ground. Gold verse roundel markers outlined in black, ruled in gold borders, the outer margin with gilt floral scrolls, with a later morocco leather binding. Copied by Abdukader bin Abdulwahab Alhusyni. Text panel: 6 by 12 cm. Quran: 12 by 19 cm. Estimate € 4000 - € 6000

Lot 36 ________________________________________________________________________________________

A TIMURID QURAN SIGNED NOUR AL-DIN MUHAMMAD BIN MUHIEYH AL-HERAWI DATED 961 AH/1553 AD Arabic manuscript on paper, with 12 lines to each page, written in black naskh script, ruled in gold and blue borders. Gold rosette verse markers outlined and pointed in blue dots, two opening pages decorated in gold and striking blue with verses reserved in clouds on a cream-colored ground. Surah headings in white and red thuluth in cartridges decorated with gilt scrolling vines, illuminated marginal medallions marking ‘Juz’ and Hezb’. Marginal Persian tafsir notes in nastaliq script within a double gilt black border, several collections stamps. Brown leather binding adorned with polylobed medallions and spandrels with embossed floral decoration. Red leather case with golden patterns. Quran text panel: 8 by 13.5 cm. Page: 20.5 by 13 cm. Estimate € 20.000 - € 30.000

Lot 37 ______________________________________________________________________________________

A QURAN, QAJAR, COPIED BY AHAMD BEN MUHAMMAD TABRIZI, DATED 1266 AH/1850 AD

Arabic work of 156 leaves, in black naskh on 21 lines per page, opening with a double frontispiece illuminated by hand, titles of surahs illuminated by hand in red on a gold background, separations of verses marked by a golden dot, and comments in Persian in the margins. Beautiful lacquered papier-mache binding with floral decoration. 14.5 by 9.5 cm. Estimate € 2000 - € 3000

Lot 38 ______________________________________________________________________________________

A CALLIGRAPHIC SCROLL OF THE NINETY-NINE NAMES OF ALLAH, DAMASCUS, DATED 1349 AH/1930 AD

Arabic manuscript on paper, a single leaf, written in gold knotted Kufic script outlined in black and filled in blue, above each word a gilt floral motifs decoration. All set between two gilt roundels with striking blue decoration, written in by Muhammed Mamdouh in Damascus in 1349 AH/1930 AD. 470 by 7 cm. Estimate € 1200 - € 1500

Lot 39 ______________________________________________________________________________________

AL-JAZULI, DALA’IL AL-KHAYRAT WA SHAWARIQ AL-ANWAR, INCLUDING OTHER PRAYERS, WITH TWO DIAGRAMS OF THE HOLY SANCTUARIES AT MECCA AND MEDINA, KASHMIR, 19TH CENTURY Arabic manuscript on paper, 149 leaves, 9 lines to the page written in naskhi script in black ink within stylized cloud bands on a gold ground, double inner margins ruled in blue and gold sandwiching floral motifs in gold, significant words picked out in red with further marginal commentaries in red within cloud bands, one double-page frontispiece (marking the opening of prayers preceding main text) in characteristic Kashmiri illumination in blue, gold and pink, with text on gold ground and margins filled with floral motifs in gold. A further headpiece in a similar style, several further illuminated headings throughout the text, two diagrams in colors and gold of the holy sanctuaries at Mecca and Medina, Kashmiri painted papier-mache binding in polychrome, doublures painted red, spine rebacked. 18.2 cm by 15 cm. Estimate € 3000 - € 5000

Lot 40 _____________________________________________________________________________________

ABU AL-QASIM B. FIROOH AL-RU’AINI AL-SHATIBI (D.1194 AD), HIRZ AL-AMANI WA-WAJH AL-TAHANI, A GUIDE TO QURANIC RECITATION, COPIED BY AL-MAMLUK MUSAFIR, EGYPT OR SYRIA, DATED 780 AH/1378-79 AD

Arabic manuscript on polished paper, 110 leaves plus 4 fly-leaves, 14 lines to the page written in naskh in black ink, headings in gold outlined in black, important words and sentences written in red, 2 illuminated headpieces, in red leather binding with flap. 17.1 by 12. cm.

CATALOGUE NOTE

Also known as Qasidat Al-Shatbiya, this volume is one of the most renowned texts regarding the qira’at, the memorization and recitation of the Quran. Compiled in the 12th century, the text discusses the correct way to recite Quranic verses and the different readings. Al-Shatibi was born in Andalusia in 1144 AD. Blind from birth, he performed the hajj and then moved to Cairo, where he held the position of head of language, grammar and recitation of the Fadiliyya Madrasa until his death in 1194 AD. He was a highly respected figure to the point that he was introduced to the great Saladin after his military campaigns in Palestine in 1193 AD. The original text by al-Shatibi was taken as an important religious reference, especially during the fourteenth and fifteenth centuries, as demonstrated by the survival of numerous commentaries on the original text. A copy dated to the fourteenth century is now in the Beinecke Library, New Haven, USA (inv.no.2007631), and another copy dated 809. Estimate € 14.000 - € 18.000

Lot 41 ____________________________________________________________________________________

MAHMUD IBN MASSUD QUTB AL-DIN-SHIRAZI (D.1311), KULLIYAT AL-QANUN, A COMMENTARY ON THE FIRST VOLUME OF AL-QANUN OF IBN SINA, BOOK 2 AND 3, EGYPT MAMLUK, DATED 739 AH/1338-1339 AD Arabic manuscript on paper, 185 leaves and 180 leaves, both with 27 lines to each page, written in naskh script in black ink, important words, titles and sentences in red. Commentary on the first volume of Ibn sina book Al-Qanun and called Shah Kulliyat Al-Qanun by Qutb al-Din al-Shirazi (1236-1311) 23.2 by 16.2 cm. Estimate â&#x201A;Ź 35.000 - â&#x201A;Ź 45.000

BOOK II: 185 leaves with three sections and different chapters, f.101a with half-page colored diagram of the River Nile from its source, f.1b a later replacement, in later brown leather binding. *1st section with six chapters regarding the effect of the forces of nature, the effect of the air, reasons of seasons changes, characterstics of each season and their effect on the human body. - effect of pure and polluted air on mood, hot and cold air, season related diseases, effect of air, accomodation, movement , sleep and food on health. - reasons of vomiting and retention - water and our body need, types of water, with a drawing about the Nile as a type of the rivers. *2nd section with 29 chapters about symptoms related to food, heated food, cooled food, dried food - vasodilation, dislocation of bones, gastric ulcer and hyperaction of human glands. -tumors, reasons of pain in some organs, reasons of pleasure, reasons of obesity, reasons of weakness. *3rd section with 14 chapters about disease symptoms, - symptoms of diseases of vision, hearing, touch, taste, and smell - food addiction and the effect on the liver Written in 739 AH/1338 AD 23.2 by 16.2 cm. BOOK III: 180 leaves with two sections and different chapters regarding medical symptoms and blood pulse. *1st section with 11 chapters about main medical symptoms indicating diseases, differences between main general or particular diseases, types of mood. - general signs and common symptoms of diseases, symptoms of obesity, intestinal obstruction and flatulence. - symptoms of different types of tumor. *2nd section with 19 chapters regarding blood pulse, general introduction about pulse, types of pulse and their reasons. -gender pulse, pulse according to seasons, mood and location. -pulse during day and night or sleep, during sport and shower. -pulse during pregnancy, during pain, tumour and psychological problems. Written in 739 AH/1338 AD 23.2 by 16.2 cm.

CATALOGUE NOTE Brockelmann records the title as Al-tuhfa al-sa’diya sharh kulliyat al-Qanun by Mahmud ibn Massud Qutb al-Din al-Shirazi (GAL II, p.274). The first page of this manuscript is a later replacement and it is likely that the title has been shortened to Kulliyat al-Qanun. This early copy, written fewer than three decades after the death of the author, is a commentary on the Qanun of Ibn Sina. As recorded by Emily Savage-Smith, Qutb al-Din al-Shirazi composed several versions of the commentary on the Qanun, with different titles, the one in Brockelmann identified as the final one (Savage-Smith 2011, p.258). The Bodleian Library also houses a manuscript with an autograph inscription of Qutb al-Din al-Shirazi (inv.no.MS. Huntington 263). Images of the Nile in commentaries of the Qanun by Ibn Sina are unusual but not unheard of. A drawing of the river is on f.115b of the Sharh kulliyat al-Qanun by Ibn al-Nafis, now in the Bodleian Library (inv. no.MS Huntington 102, Savage-Smith 2011, pl.XXVI), whilst another illustration very similar to the present can be found in a commentary by Ibn al-Nafis attributed to Mamluk Egypt, sold in Sotheby’s, 7 October 2015, lot 208.

Lot 42 _____________________________________________________________________________________

TUHFIT AL-ABI’AN FI HIFZ SEHT AL-ABDAN IN 930 AH/1523 AD BY IBN KAMAL AL-DIN HUSSEIN ABDULLAH AL-TABIB AL-ARDABILI

Arabic manuscript on paper, 25 lines to each page, written in naskh script, in black and red ink. A book of two parts about medicine, 1st part about public medical matters while the 2nd part about the famous medicines and medical treatments. Copied by Abdallah Al-Mutatabib in 930 AH/1523 AD, with later morocco leather binding. 26 by 18 cm. Estimate € 4000 - € 6000

Lot 43 _______________________________________________________________________________________

A COMPENDIUM OF EIGHTY TREATISES BY MUHAMMAD AYYUB BIN MUHAMMAD LATIF ALLAH AL-BASHAWRI, DATED 1304-1308 AH/1886-1890 AD

This present manuscript includes a collection of eighty treatises containing various Islamic religious subjects and sciences, interpretation, hadith, fiqh/jurisprudence, grammar, men of isnad, and others. It is an original mansucript as it was written by the scholar, modernist and jurist Muhammad Ayyub bin Muhammad Latif Allah al-Bashawri al-Hanafi al-Qadri, most of the letters were written in Mecca and Medina. The author stated this and dated each letter with his blessed seal in its octagonal form. What indicates the authorâ&#x20AC;&#x2122;s merit, his knowledge and the importance of his books is what we found in this manuscript from Ijazet of different Imams and scholars about his handwritting, praising him during their lessons in the grand mosque of Mecca and Medina. The manuscript, which contains eighty short and independent treatises with more than 900 pages, all written by the author, was collected after the death of the author and made into one volume so that some of the treatises were drafted together. Some of his books were printed at Imam Muhammad bin Saud University in Riyadh, other books in Lahore/India. This manuscript gives a clear view of the scientific cooperation and sectarian diversity in Mecca and Madina at that time 14th AH and for a period of two decades, and demonstrates the scientific and cultural communication and connection between the scholars with other countries, including the Pakistani city of Peshawar, the birth of the author. 1-Durar Al-Masael Wa Girr Al-Dalael written in 1306 AH 2-Al-Igathat fi Tahqiq Aaistieana written in 1304 AH 11 pages 3-Alzajir eab qada alsunah baed alfajir 4-40 haiths fi fadayil Al-Furqaan 5-40 haiths fi fadayil Ahl Al-bayet 6-40 haiths fi fadayil Ramadan 7-An article about pray according to Abu Hanifa school 8-An article about Arabic Morohology, 12 pages and written in 1308 AH 9-Fatawah of Abdulaziz AlFarsi 10-An article about the time of noon prayer 11-Wasoul the thawab/conveying the reward of the actions to the dead. Four paper treatises as a respons to Ibn Taymiyyah and many other articles or treatises. 21 by 12.5 cm. Estimate â&#x201A;Ź 12.000 -15.000

Lot 44 ____________________________________________________________________________________

A CALLIGRAPHIC ALBUM, WITH LATER ATTRIBUTION TO AHMAD QARAHISARI, TIMURID IRAN, 15TH CENTURY

Black ink on gold-speckled paper, 6 folios, each with a panel of two lines of large strong black thuluth script, with gold and polychrome rosette verse markers, final folio with later attribution to Ahmad Qarahisari in black tawqi’ script, laid down on the card with colored borders, in simple stamped brown morocco binding. Calligraphy: 9.2 by 16.8 cm. Folio: 16.8 by 26 cm.

Estimate € 10.000 - € 14.000

Lot 45 ____________________________________________________________________________________

A QAJAR QURAN SECTION, 19TH CENTURY

Arabic manuscript on paper, 15 leaves plus 1 fly-leave, 11 lines to each page, written in gilt naskh script, surah names in white thuluth script. Verses separated by pointed gold roundels, all on a deep blue ground within blue and gilt borders. The outer border with dense gilt and polychrome foliate scrolls on a cream colored ground. Opening biofolium in striking blue and gold decoration, with a gilt-stamped red leather-bound. Quran 36 surah Ya Sin with 83 verses, Quran 48 surah Al-Fath with 29 verses, Quran 56 surah Al-Waqi’a with 96 verses, Quran 67 surah Al-Mulk with 30 verse and Quran 78 surah An-Naba with 40 verses. With a morocco red and black gilt-stamped leather binding. Text panel: 5.5 by 10.5 cm. Quran : 9.5 by 14.5 cm.

Estimate € 1500 - € 2000

Lot 46 ____________________________________________________________________________________

A TIMURID QURAN LEAF, PERSIA OR MESOPOTAMIA, CIRCA 1350

Arabic manuscript on paper. A single double leaf with 5 lines to each side, written in large elegant black thuluth muhaqqaq script outlined in gold. Gold and blue verse markers outlined in red, with diacritics and vowel points in black, all ruled in red and purple borders. Quran 4 surah An-Nisa’ v.26-v.29 Text panel: 19 by 27 cm. Folio: 29 by 40 cm. At an early date, there were a great many more rounded cursive scripts that were used for secular purposes, in contrast to the Kufi script used for the Quran. At the beginning of the 10th century, the vizier and calligrapher Muhammad ibn Muqla devised rules for how six of these scripts were to be written. This imbued the cursive scripts with such prestige that they were used for the Quran from the beginning of the 11th century. Estimate € 3000 - € 5000

Lot 47 ________________________________________________________________________________________

ZAYN AL-DIN JURJANI (D.1136 AD), ZAKHIRAH-I KHWARAZMSHAHI (‘TREASURY DEDICATED TO THE KING OF KHWARAZMSHAHI’), AN ENCYCLOPAEDIA OF MEDICAL SCIENCE, PERSIA, LATE 15TH-EARLY 16TH CENTURY, WITH LATER ANNOTATIONS IN HEBREW Persian manuscript on cream paper, 656 leaves, plus 2 fly-leaves, 1 replacement page at the end, 29 lines to the page, written in naskh in black ink, indexes and chapter headings (‘unwar) written in eastern Kufic or bold cursive, decorated in gold and polychrome and often ruled in gold and blue, keywords picked out in red, various Hebrew inscriptions in different hands, in light brown leather binding. 37.5 by 25 cm. Estimate € 20.000 - € 30.000

The author and the text Zayn al-Din Jurjani, often called al-Sayyid Isma’il (as in the current manuscript) was a notable physician who wrote in Persian and Arabic during the twelfth century. He first moved to Khwarizm in 1110 AD where he worked under the patronage of Qutb al-Din Khwarazm Shah Abu’l-Fath Muhammad ibn Yamin-al-Din (r.10971127 AD) and Atsiz ibn Muhammad (r.1127-56 AD) and later moved to Marw, where he worked until his death 1136 AD. He was a prolific author, writing mainly on philosophy and medicine alongside the Zakhirah, it is worth mentioning the treatise al-Khuffi al-‘Ala’i, a shorter version of the Zakhirah dedicated to Atsis ibn Muhammad, who was keen to have something he could carry in his boots (khuff). The Zakhirah, which is dedicated to Qutb al-Din Khwarazm is probably the first medical encyclopedia written in Persian, supplying information on every branch of medical science, saving a physician the trouble and loss of time involved in consulting other books.

The Zakhirah consists of ten books (Kitab), which are enumerated in the preface, and to each of which is prefixed a full table of numerous subdivisions termed Guftars and Babs. They are as follows: I. Definition and utility of medicine; composition, structure, and powers of the human body. II. Health and disease; causes and symptoms of a disease; accidents of the body. III. Preservation of health. IV. Diagnosis of diseases; crisis and prognosis. V. Fevers, their various kinds, their symptoms and treatment. VI. Local diseases and their treatment. VII. Tumours and ulcers etc. VIII. The care to be taken of the external parts of the body, hair, skin, nails etc. IX. Poisons and antidotes. X. Simple and compound medicaments. There are twelve various volumes in the Wellcome Library, London (see F. Keshavarz, A Descriptive and Analytical Catalogue of Persian Manuscripts in the Library of the Wellcome Institute for the History of Medicine, London, 1986, pp.149-154, no.43). An early copy started in the year 664 AH/1266 AD is now in Patna, published in Catalogue of the Arabic and Persian Manuscripts in the Oriental Public Library at Bankipore, vol.12 (Patna: Government Printing, Bihar, 1927), pp.3-7. Complete copies of the Zakhirah are very rare. A volume containing books I-VIII was sold at Sotheby’s 1 May, 2019, lot 10; another copy containing books I-III sold at Sotheby’s, 20 April 2016, lot 9. The ownership’s history The Zakhirah was one of the most important works of its kind and has been translated into Arabic, Turkish and also Hebrew (in an abbreviated form). An ownership note in Persian on f.1a of the work to hand describes the manuscript as complete and records that it entered the library on 8 Rabi’ii 1105 AH (7 December 1693). Along with other annotations in Persian, on f.1a there is an ownership inscription in Hebrew which reads: ‘I purchased this book on Thursday which is Lag BaOmer the day of celebrating/commemorating Rabbi Shimon Bar Yochai, may his merit protect us Year 5674.’ Lag BaOmer is a Jewish holiday marking the hillula of Rabbi Shimon bar Yochai, and the year 5674 fell on Thursday 14 May 1914. Further Hebrew inscriptions, in different hands, attests that the manuscript was annotated and reviewed at a later date.

Lot 48 _______________________________________________________________________________________

AN OTTOMAN QURAN SIGNED DARWISH IBRAHIM TAHIR BIN MUSTAFA, STUDENT OF MAWLANA MUHAMMAD RASIM, OTTOMAN TURKEY DATED 1177 AH/1763-64 AD

Arabic manuscript on paper, 384 leaves plus two fly-leaves, each folio with 12 lines, written in black naskh script, gold and polychrome roundel verse markers, surah headings in white thuluth on gold ground within illuminated cartouches, text within red and black-ruled gold frames, gold and polychrome illuminated marginal markers, catchwords, two opening pages with text panels of 6 lines reserved in clouds with gold and blue decoration. Ruled in gold and polychrome illuminated margins, colophon signed and dated, in contemporaneous brown morocco with flap, cream paper doublers. Text panel: 13.5 by 7.8 cm 18.2 by 11.7 cm. Estimate € 8000 - € 12.000

Lot 49 ________________________________________________________________________________________

A MANUSCRIPT OF POETRY, SIGNED BY IKHTIYAR AL-MUNSHI, PERSIA, SAVAFID, DATED 975 AH/1567-68 AD

Persian manuscript on paper of varying colors, 17 leaves plus a flyleaf, 5 lines to the page, written in shikasteh ta’liq script in black, white, gold and red within cloud bands, foliate scrolls filling the interstices, f.1a with a calligraphic roundel in gold with dedication, ownership inscriptions above and on end doublures, red morocco binding with applied foliate decoration, with bespoke slip-case. 21.9 by 14.4 cm. PROVENANCE Copied for the Ottoman Grand Vizier Sokollu Mehmed Pasha, as indicated in the opening roundel in gold. Entered the library of Mahdi Khan Astarabdi, the minister to Nadir Shah and was entrusted to ‘Mulla-bashi’ in 1191 AH/1777-78 AD. The seal impression of Mahdi Khan is below the note. In the library of a Qajar official with the name Husayn in 1289 AH/1872-73 AD (based on the seal impression below the note). Purchased from Haji Sayyid Muhammad Sarraf (a money changer) for 820 (?) tumans by Husayn Qavam-dafter in 1313 AH/1895-96 AD, who wrote a note praising the manuscript as unique and rare and hoped his son ‘Ali Asghar would keep it for as long as he could. A few Persian couplets were written by Qavam-dafter at the age of 90 in 1337 AH/1918-19 AD). A note indicates that it was bought at the auction of Qavam Daftar’s house in 1325 AH/1907-08 AD.

________________________________________________________________________________________ Estimate € 40.000 - € 60.000 CATALOGUE NOTE The text of the present poetic manuscript includes texts of letters composed for various people including the text of the letter of Sultan Husayn Mirza to ‘Abd al-Rahman Jami, quoted from Jami’s Baharistan. Khwaja Ikhtiyar Ibn ‘Ali Gunabadi Munshi, the most celebrated calligrapher of the style known as ta’liq or shikasteh ta’liq, was born in Gunabad but lived in Herat and worked as a secretary at the court of the Safavid prince Sultan Muhammad Mirza, son of Shah Tahmasp, in Herat for about thirty years. His signed pieces are dated between 949 AH/1538-9 AD and 970 AH/1562-3 AD (M.H. Semsar, Ikhtiyar Munshi, The Great Islamic Encyclopaedia, edited by K. Musavi Bojnurdi, vol.VII, Tehran, 1998, pp.175-8). The present album of calligraphy is his latest recorded work. Two pages of ta’liq calligraphy by Ikhtiyar al-Munshi were sold in these rooms 22 April 1999, lot 33, whilst a calligraphic page in shikasteh ta’liq script was included amongst a group of Safavid calligraphies sold at Christie’s 8 April 2008, lot 189. For other work by the hand of the calligrapher in the Ghazi Collection, please see lot 125. Sokollu Mehmed Pasha (d. October 1579) was an Ottoman statesman who attained many positions including the office of Grand Vizier in 1565. This manuscript must have been copied when he was the Grand Vizier.

Lot 50 ____________________________________________________________________________________

JAWAHER AL-TAFISR LE TOHFAT AL-AMIR BY HUSSEIN KASHEFI, SULTANATE INDIA, 897 AH/1491 AD

An illuminated Persian manuscript on paper, 27 lines per page written in fine black nastaliq script on cream paper. Quran text written in red naskh script throughout. Tafsir text written in black ink, small illuminated florets between Quranic verses, margins ruled in colors and gold, headings in gold thuluth script on illuminated panels, occasional marginal notes with illuminated roundels indicating the ‘juz’ and hizb’, opening double page of fine illumination in striking blue color and gold. 32 by 19 cm. The author: the scholar and poet Husain Va’iz Kashifi born at Bayhak in Khurasan and during his lifetime lived at Nishapur, Mashhad and Herat, where his patrons were the Timurid prince Sultan Husain Baiqara and his famous vizier Ali Shir Nava’i. He was renowned as a very eloquent preacher with a beautiful voice. His works include Anvar-i Suhaili, Rawdhat al-Shuhada and Akhlak-i Muhsini. He died in 1504 in Herat. Estimate € 4000 - € 6000

Lot 51 ____________________________________________________________________________________

AL-MUKHTASAR MIN KITAB AL-MOUAFQA BEEN AL-BAYT WA SAHABAH BY AL-ZAMAKHSHARI

Arabic manuscript on paper, 71 leaves with 31 lines to each page, written in black naskh script. Catchwords and titles in red ink, the upper part of the first page with gold and striking blue decoration. Seal impressions on first and last page, with brown leather binding. 17 by 25 cm. The author: Abu al-Qasim Mahmud ibn Umar al-Zamakhshari, (1075 – 1144 ) known as al-Zamakhshari, or Jar Allah, a medieval Muslim scholar of Persian origin, a great Hanafite jurist, Mu’tazilite and theologian. He studied at Bukhara and Samarkand, before he traveled to Baghdad, was a philologist of the Arabic language. He wrote primarily in Arabic, occasionally in Persian. Al-Zamakhsharī earned the laqab ‘Jar-Allah’ (God’s neighbor) for the years he spent in Mecca before he finally returned to Khwarezm. He compiled all the authentic and good hadiths about the good relation and the mutual respect between Ahl al-Bayt and the Companions of the prophet. Then, Sheikh Al-Zamakhshari, in this book, deleted the Isnads from the Hadiths.

Estimate € 4000 - € 6000

Lot 52 ___________________________________________________________________________________

AN ILLUMINATED QURAN COPIED BY ISMA’IL BIN ‘UMAR QALBAWI OTTOMAN PROVINCIAL, DATED 1171 AH/1757-58 AD

Arabic manuscript on paper, 307 leaves, 15 lines to the page written in neat naskhi script in black ink with diacritics and vowel points in red and black ink, gold roundels between verses, inner margins ruled in two shades of gold and red, catchwords, surah headings written in thuluth in white within illuminated rectangular panels, one illuminated double-page frontispiece in colors and gold, occasionally illuminated devices in wide outer margins, contemporary brown morocco, covers decorated with panels incorporating a diaper pattern in gold, with a flap of green morocco with similar decoration, upper cover detached, doublures and endleaves of green paper embossed with an intertwining vegetal motif, gilt edges. 13.5 by 9.5 cm. Estimate € 5000 - € 7000 PROVENANCE The Shakerine Collection.

Lot 53 ______________________________________________________________________________________

A MINIATURE QURAN, PERSIA, 18TH CENTURY

Arabic manuscript on paper, 262 leaves, 19 lines to each page, written in miniature naskh script in black ink within cloud bands against a gold ground throughout, ruled in gold borders. Gold verse markers outlined and pointed in blue dots, surah headings in red in gold on polychrome cartridges, various illuminated floral sprays in the margins indicating Juz’ and Hezb. Three full double pages of illumination at the beginning composed of polychrome and gold interlacing flowers and decorated with red and striking blue. A lacquer binding with red doublures decorated with gold leafy fronds. Text panel: 4 by 7.5 cm. Quran: 6 by 10 cm. Estimate € 10.000 - € 14.000

Lot 54 ________________________________________

AN ILLUMINATED QURAN COPIED BY MULLA MUHAMMAD, INDIA, 18TH CENTURY

Lot 55 ________________________________________

ROWDAT Al-ATHKAR BY HAJJI MUHAMMAD BEN MUHAMMAD TABRIZI, IRAN, 18TH-EARLY 19TH CENTURY Arabic and Persian manuscript on paper, calligraphed in beautiful naskh and nastaliq black on seventeen lines per page, divided into several chapters including ‘Maqam, Fazal and motalab’ in Persian and Arabic, including Koranic extracts, recommended prayers and wise advice from the Imamite tradition. (Twelver Shiism). The manuscript opens with a beautiful double frontispiece richly illuminated, the subdivision titles are in white ink on a gold cartouche. Carrying in the last folio a dedication in chekasta for Gholam Haydari, probably the sponsor or a possessor of the book. Binding without flap in red morocco. 24.5 by 14 cm. Estimate € 2000 - € 3000

Arabic manuscript on paper, 436 leaves, 10 lines to the page written in clear naskhi script in black ink with diacritics and vowel points in black ink, interlinear Persian translation written in a cursive script in red, gold discs decorated with blue dots between verses, inner margins ruled in blue and gold, catchwords, extensive commentaries written diagonally in nastaliq script in red or black within gilt cloud bands, surah headings written in thuluth in red ink, one illuminated frontispiece, preceded by two illuminated medallions, in colors and gold, water damage has caused the removal of the blue pigment, heavily waterstained, some crude repairs, some damp staining mostly restricted to the lower outer margin, later olive-green leather with stamped central medallions, cornerpieces and bands decorated with floral and vegetal motifs, slightly worn. 28 by 15.5 cm. Estimate € 3000 - € 5000

Lot 56 ____________________________________

A QURAN, PERSIA, 18TH CENTURY Arabic manuscript on paper, 14 lines to each page, written in black naskh script with Persian interlinear translation, ruled in gold borders. Gold verse markers outlined in black and pointed in blue dots, gilt marginal ‘Khums and Aushr’ roundels outlined in double blue. Surah headings in gold with blue vines. Two opening pages, verses reserved in clouds on a gilt ground, decorated with gold and striking blue, the outer border with gilt floral motifs. With morocco stamped leather binding decorated with gilt floral scrolls. Text panel: 12 by 21 cm. Quran: 20 by 30.5 cm. Estimate € 5000 - € 7000

Lot 57 ____________________________________

AN OTTOMAN QURAN JUZ, 17TH CENTURY

Arabic manuscript on paper, 20 leaves plus 2 fly-leaves, 9 lines to each page, written in black naskh script. Catchword of ‘Allah’ in gold ink, gold rosette verse markers outlined in black and pointed in red and blue dots. Ruled in black and gold border, the second and last page with large gilt marginal ‘Juz’ roundel markers decorated with green and striking blue. The first page with the bismallah in white thuluth script in a gilt blue decorated panel, with later morocco stamped binding. Text panel: 10.5 by 17 cm. Quran: 19 by 27 cm. Estimate € 2000 - € 3000

Lot 58 ______________________________________________________________________________________

QADI ‘IYYAD BIN MUSA (D. 1149 AD) KITAB AL-SHIFA BI TA’RIF HUQUQ MUSTAFA SIGNED MUSTAFA RASIKH, A FOLLOWER OF IBRAHIM AL-SHAWQI, TURKEY OR OTTOMAN BALKANS, 18TH CENTURY

A renowned and popular work on the virtues of the Prophet Muhammad, Arabic manuscript on paper, 239 leaves, four fly leaves 21 lines of black naskh to the page, occasional words in red, text within double red rules, with catchwords pagination, illuminated opening headpiece, index table, in Ottoman 18th century gilt stamped binding. Text panel: 16.5 by 7.3 cm. Folia 23.6 by 13.6 cm. Estimate € 2000 - € 3000

Lot 59 ______________________________________________________________________________________

DALA’IL AL-KHAYRAT BY OSMAN HILMI STUDENT OF MUHAMMED ANWAR EFENDI, TURKEY, 1295 AH/1878 AD

Arabic manuscript on paper, 11 lines to each page, written in black naskh script, ruled in gold and polychrome borders. Gold rosette verse markers outlined in black and pointed in red and blue dots, titles in white thuluth on gold and polychrome decorated cartridges. Four pages with the 99 beautiful names of ‘Allah’ within gilt geometric designs, ten pages with attributed names to the prophet. Two pages with Masjid al-Haram and Al Masjid an Nabawi, gold and watercolor on paper, further with Quran verses and prayers. With green morocco leather binding decorated with gilt floral motifs. Text panel: 6 by 9.5 cm. 10.5 by 15.5 cm. Estimate € 10.000 - € 14.000

Lot 60 ____________________________________________________________________________________

IKTIFA FI MAGHAZI AL-MUSTAFA WAL KHULAFA AL-THALATHA LATE 14TH-EARLY 15TH CENTURY, BY ABU RABI SULAIMAN IBN MUSA AL-KALA’I, BALANSIYAH/ANDALUSIA

Arabic manuscript on paper, 25 lines to each page, written in black Hijazi script, titles and catchwords written in red ink, with Arabic poems throughout. With different seal impressions and ownership statements. The 3rd volume of Kitab Fi Maghazi, About Abu Bakr’s succession of the prophet ‘khilafat Abu Bakr’ and the main events during it. It is a very important part of the 4 volumes as it covers a very critical period of the history of the Islam, dangers and the challenges facing the new caliphate. - After the death of the prophet, a gathering of the Ansar took place in the Saqifa resulting, after some turbulences, in choosing Abu bakr. -Ridda Wars’: just after the death of the Prophet, troubles emerged soon after Abu Bakr’s succession, with several Arab tribes launching revolts, threatening the unity and stability of the new community and state. These insurgencies and the caliphate’s responses to them are collectively referred to as the Ridda wars. The caliph distributed the available manpower among 11 main corps. 26.5 by 18 cm. Estimate € 22.000 - € 26.000

_______________________________________________________________________________________ Khalid Ibn Walid moved against Tulaiha bin Khuwailad Al-Asdee at Buzakha. Khalid had 6000 men under his disposal while Tulayha had 15000 men. Khalid got a tremendous victory which was decided by individual skills rather than by brilliant maneuvers. Then against Malik bin Nuwaira, at Butawar, with his clan Butah as a large part of Bani Tamim remained moslim.

* Ridda in Oman: where the dominant tribe of Azd had revolted under their chief Laqeet bin Malik, known more commonly as ‘Dhu’l-Taj’, Abu bakr sent Hudaifa bin Mihsan, later Ikrimah arrived with reinforcements from the Caliph, who defeated Dhul-Taj at a battle at Dibba. * Ridda in Yemen: was the first province to rebel against the caliphate when the tribe of Ans rose in arms under the leadership of its chief and self-proclaimed prophet Al-Aswad Al-Ansi, the Black One. Fairoz with the remaining Yemeni muslims took shelter in the mountains for 6 months until he felt strong and marched to San’a and defeated Qias, who later surrendered with his men and were pardoned by the caliph. * Ridda in Hadhrameut: the last of the great revolts was that of the powerful tribe of Kindah, which inhabited the region of Najran, Hadhramaut, and eastern Yemen. Ziyad bin Lubaid with the forces of Muhajir and the forces of Ikrimah defeated Ash’ath and laid siege to Nujair. * Ridda in Al-Yamama: was the biggest and most threatening revolt under Musaylimah, a self-proclaimed prophet, Abu Bakr sent Ikrimah to make contact with Musaylima but not to engage until Khalid joined him. However, Ikrimah before the reinforcements arrived, attacked Musaylima and was defeated. Another commander, Shurahbil stationed with his forces at Yamamah, engaged with Musaylima’s forces and was defeated too. Khalid joined the remnants of Shurahbil’s corps early in December 632. The combined forces of Muslims, 13000 strong, finally defeated Musaylima’s army in the battle of Yamama.

- The conquest of the Levant: Abu Bakr, reasoning that it was inevitable that one of these powers (Byzantine and Persian empire) would launch a preemptive strike against the youthful caliphate, decided that it was better to deliver the first blow himself. * Battle of Ajnadayn: it was the first major pitched battle between the Byzantine (Roman) Empire and the army of the Arab Rashidun Caliphate, with a decisive Muslim victory. Battle of Fahl with a great victory for Khalid Ibn Al-Walid. * Battle of Yarmouk: consisted of a series of engagements that lasted for six days in August 636, near the Yarmouk River, with a complete Muslim victory that ended Byzantine rule in Syria, is regarded as one of the most decisive battles in military history. After Ajnadayn the Muslim army conquered Damascus after a long siege, the army continued their march northward and in late 635 AD, Abu Ubaidah ibn al-Jarrah sent Khalid ibn Walid with his mobile guard to begin the siege of Emesa/Hums. After Yarmouk victory, Umar, the new Caliph, visited Jerusalem and gave its people ‘al-ʿUhda al-ʿUmariyya, after receiving the keys of the city from the Patriarch Sophronius. In Kitab Fi Maghazi the author reviews in his four volumes the date of the beginning of Islam and parts of the life of the Messenger of God, and the invasions that took place in his days and the days of his first three successors. In all of this, he sought assistance from the works of his predecessors from among the imams of the Prophet’s biography, such as Ibn Ishaq, al-Madani, Musa ibn Uqba and al-Waqdi, but he omitted from these sources the lengthy genealogies, conflicting news and narrations. he kept only what was confirmed by the authentic hadiths narrated from the trusted companions and their relatives. Author: Abu Rabi Sulaiman ibn Musa Al-Kala’i (555/1160-634/1237) Andalusian historian, writer, poet, Hadith scholar and Friday liturgical preacher, and ceremonial court orator in the service of the Almohads in Valencia. He was born in 565 AH/1160 AD, Murcia, and soon his family moved with him to Valencia and settled there. Then he traveled in 587 AH to seek knowledge from scholars in Andalusia, and visited Seville, Granada, Shattah and Malaga, and received Ijazeh from many scholars and sheiks. When he returned to Valencia, the scholars flock to him from everywhere to learn from him and get an Ijazah in different sciences. He was famed for his eloquence as an orator and belletrist as He was an advanced imam in the science of recitation, He was skilled in the sciences of the Quran and intonation. He wrote several books on the Hadith, fully aware of its methods, controlling the rulings of Al-Isnad. wrote more than 25 works but he was best known for this book. Al-Kala’i was seventy years old when he participated in a military campaign against the huge Spanish army at Anticha. Seven miles from the city of Valencia, he carried the flag until he was killed, on Thursday - 20 Dhu al-Hijjah 634 AH/1237 AD.

Lot 61 _______________________________________________________________________________________ KITAB AT-TANBIH BY AL-SHIRAZI, LATE 11TH CENTURY Arabic manuscript on paper, 15 lines to each page, written in black naskh script. Kitab at-Tanbih (The book of warning), a compendium of law, very concise and somewhat obscure, full of hints at the discrepancies of opinion among Shafiite jurists on individual issues, and intended to be memorized by students before moving on to the great treatises and commentaries, one of the most prominent books of jurisprudence in the Shafi’i school, it includes chapters of purity, prayer, funerals, alms and fasting. It also includes chapters about Hajj, sales, duties, marriage, faith, expenses, felonies, distinctions, testimonies, and other fiqh books, in which the author deals with all the details and rulings related to them in an accessible and fluid language. With red morocco leather binding. Different seal impressions with ownership statement: one dated 507 AH/1113 AD which is not long after the death of the author, another ownership statement dates 740 AH/1339 AD 12 by 17 cm. Estimate € 20.000 - € 30.000

CATALOGUE NOTE ABU ISHAQ ASH-SHIRAZI, Ibrahim ibn Ali ibn Yusuf al-Firuzabadi. One of the leading Muslim jurists of the Shafiâ&#x20AC;&#x2122;ite school. Born in FÄŤruzabad, southern Persia (near Shiraz) in 393 AH/1003 AD. To study theology and law he moved to al-Basrah and later to Baghdad, where he settled definitively in 430 AH to give public lectures. He immediately acquired extraordinary fame for his doctrine and for his pious and virtuous life, so that from all Muslim countries, students and people eager to obtain responses on theoretical questions of law, flocked to him. Like almost all Shafiites in theology, he adhered to the system of al-Ashari. When the famous wazir or prime minister Niam al-Mulk founded the first and famous Madrasah (high school of religious sciences with college), called an-Niamiyyah, in the penultimate month of 459 AH/1066 AD, he wanted Abu Ishaq to be the director of this school. He stayed there until his death in Baghdad in 476 AH/1083 AD. Most of his books relate to Shafiite law.

Lot 62 _______________________________________________________________________________________

A PERSIAN SAFAVID QURAN, SHIRAZ, 16TH CENTURY

Arabic manuscript on paper, 241 leaves plus one flyleaf, each folio with 14 lines of small black naskh divided and flanked by larger lines of alternating gold and blue muhaqqaq, the naskh framed by gold flowering scrolls, text panels outlined in gold and polychrome, gold roundel verse markers, surah headings in similar text on cartouches of blue ground, later catchwords, opening bifolio with dense gold and polychrome illumination framing light blue cartouches containing gold naskh, the following folio with similarly illuminated headpiece. In contemporaneous brown morocco binding with flap, the exterior with gilt-stamped panels decorated with animals in a flowering landscape, the doublures with elegant découpé on a ground of yellow, green, black and white, some damages. Text panel: 19.2 by 12.5 cm. Folio: 35.6 by 22.8 cm. Estimate € 30.000 - € 50.000

Lot 63 _______________________________________________________________________________________

A QURAN HEZB BAGHDAD SCHOOL, 13TH CENTURY

Arabic manuscript on paper, 9 leaves with 9 lines to each page, of elegant black Rayhani script, surah headings in blue thuluth script reserved in clouds within a panel decorated with gilt scrolling vines. Gold rosette verse markers pointed by red and purple dots. Quran 40 surah Ghafir v.66- end v.85, Quran 41 surah Fussilat 54 verses, Quran 42 surah Al-Shura 53 verses. 26 by 41 cm. Estimate € 6000 - € 8000

Lot 64 ____________________________________________________________________________________

A PRAYER BOOK SIGNED AHMAD AL- NAYRIZI AL-SULTANI, SAFAVID, IRAN, DATED 1116 AH/1704-05 AD

Comprising prayers to be recited after the various daily prayers (ta’qibat) and other prayers to be recited during the day, Arabic manuscript on paper, 10 leaves, each with 8 lines of bold black naskh, each in clouds on gold grounds, titles in red within cartouches, text within gold and polychrome rules and gold-speckled frame, laid down on a blue card, opening folio with 6 lines of text beneath a gold and polychrome illuminated cartouche, colophon signed, concertina bound, in modern gilt binding. Text panel: 12.5 by 6.5 cm. Folio: 24 by 17 cm. Estimate € 6000 - € 8000

Lot 65 ________________________________________________________________________________________

A MUGHAL GOLD AND BLACK FOLIO, DECCAN, 17TH CENTURY

Arabic manuscript on paper, written in large gold floriated Kufic and thuluth script, ruled in two gold borders. The outer margin is decorated with an illuminated floral pattern over a black background. The inscriptions: Quran 59 surah Al-Hashr v.23, ‘He is God; besides Whom there is no god, the Sovereign, the Holy, the Peace-Giver. 22 by 15.5 cm.

Estimate € 6000 - € 8000

Lot 66 _______________________________________________________________________________________

QASIDAT AL-BURDA ON WOOD, EARLY 20TH CENTURY

Arabic manuscript on wooden panels, 22 wooden leaves with 11 lines to each page, written in thuluth, naskh and muhaqqaq script. The bismallah in muhaqqaq script reserved in cloudband against a gilt ground, each page with 3 lines in large black thuluth script and 4 lines in black naskh script, ruled in gold, green and blue borders. Two opening pages and last two pages with gold and striking blue decoration, with a later morocco leather binding. Signed by al-Abd Muhammed Noqla, quoted from Alaeddin Tabrizi. Al-Burda is a thirteenth-century ode of praise for the Islamic prophet Muhammad composed by the eminent Sufi mystic Imam al-Busiri of Egypt. 22 by 15 cm. Estimate â&#x201A;Ź 2000 - â&#x201A;Ź 3000

Lot 67 _______________________________________________________________________________________

AN ILLUMINATED MINIATURE OCTAGONAL QURAN WITH THE LATER EMBOSSED NAME OF THE OWNER, AHMAD DHU’L KIFL, OTTOMAN PROVINCIAL, DATED 1052 AH/1642-43 AD Arabic manuscript on paper, 279 leaves, 15 lines to the page written in minute naskhi script in black ink with diacritics and vowel points in black, catchwords, one illuminated double-page frontispiece in colors and gold, a second double-page halfway through the manuscript, surah headings in gold, some waters taining mostly restricted to outer margins, penultimate leaf with later embossed ownership inscription, dark brown binding with covers painted with stylized petals in gold, leather outer case. Manuscript: 4.2 by 4.1 cm. Case: 5 by 5 cm. Estimate € 3000 - € 5000 Lot 68 ___________________________________________________

AN OTTOMAN SCROLL, EARLY 20TH CENTURY

Arabic manuscript on paper, written in elegant thuluth, naskh and tughra script, in red, blue and black ink. To the center with large panels enclosing Quran 2 surah Al-Baqarah v.255 and v.256. The upper part with a panel enclosing names of ‘Allah’ in tughra script surrounded by geometric designs with the 99 beautiful names of Allah. The lower part with a panel enclosing four known names of the prophet in tughra script with geometric designs enclosing attributed names of the prophet. The sides with cartouches with verses from the Quran and praises to the prophet. 30 by 80 cm. Estimate € 1000 - € 1200

Lot 69 _______________________________________________

A PERSIAN PRAYER BOOK, QAJAR, IRAN 19TH CENTURY

Arabic manuscript on paper, 194 leaves, plus one fly leaf, each folio with 12 lines of neat black naskh, important words and phrases picked out in red, headings in red within gold and polychrome illuminated cartouches, text panels outlined in gold and polychrome, gold outer rules, opening bifolio with gold and polychrome illuminated header and borders, fly-leaf with copious owner’s notes, in soft brown morocco with stamped central medallion and borders, maroon morocco doublures. Folio: 16.7 by 8.6 cm. Estimate € 1400 - € 1600

Lot 70 _______________________________________________

A PERSIAN QAJAR PRAYER BOOK, 19TH CENTURY Arabic and Persian manuscript on paper, 147 leaves with 11 lines to each page, written in black naskh and nastaliq script. Catchwords and titles in red with traces of gilding, divided and ruled in gold border, four pages with the 99 beautiful names of ‘Allah’ written in polychrome ink on gilt cartridges. The first two pages with a table containing the months, names of Imams and surah Al-Ikhlas, f9 and f20 stylized with gilt floral motifs, red and striking blue decoration. Different known prayers and Quran verses, red morocco leather binding. Text panel: 5.3 by 11 cm. Book: 8.5 by 16 cm. Estimate € 1400 - € 1600

Lot 71 _____________________________________________________________________________________

THREE TREATISES ON CARDIAC DRUGS, AVICENNA IN 975 AH/1567 AD

Arabic manuscript on paper, 44 leaves with 17 lines to each page, written in black naskh script. Titles and catchwords in red ink, consists of three articles about about conditions related to heart and some cardiac disease. Copied in 975 AH/1567 AD The first part about medications for heart diseases by Najm al-Din Mahmud ibn Ilyas al-Shirazi, a Persian physician from Shiraz in Persia. His major composition was a large Arabic medical compendium, Kitab al-Hawi fi ‘ilm al-tadawi (The Comprehensive Book on the Art of Curing). The second part about cardiac medications by Najib ad-Din Samarkandi, a 13th century Persian physician from Samarkand. Samarkandi died during the Mongol attack on Herat. He was a prolific medical writer and expositor of medical ideas. His most famous book was ‘The Book of Causes and Symptoms’, a comprehensive manual of therapeutics and pathology. The third part about cardiac medications by Avicenna, 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 encyclopedia, and ‘The Canon of Medicine’, a medical encyclopedia, which became a standard medical text at many medieval universities. With later red morocco leather binding. Text panel: 7.5 by 15 cm. Book: 14 by 24 cm. Estimate € 4000 - € 6000

Lot 72 ____________________________________________________________________________________

ALTARIQAT ALMHMDYT WALSYRT AL’AHMADIA BY MUHAMMAD BIRGIVI, 993 AH/1585 AD

Arabic manuscript on paper, 18 lines to each page, written in black ink, titles and catchwords in red ink. Copied by Timur bin Abdullah in Lan Juan China in 993 AH/1585 AD With later brown morocco leather binding, 17 by 21.5 cm. Author: Taqi al-Din Muhammad ibn Pir Ali al-Birgivi (1522 –1573) born in Balikesir, was sent to the capital Istanbul to study theology as a young man. Later, he studied law under the chief military judge (kazasker) of the Ottoman Empire. After working for a short time as a judge in Edirne , he was instructed by ‘Ata Allah’ Efendi to become a teacher of religion and morals instead. Birgivi and his disciples were vocal critics of corruption within the Ottoman Empire , particularly decrying the twisting of Islamic teachings for the benefit of the rich. Imam Birgivi is known to be the author of twenty-seven works, dealing with theology, the art of reciting the Quran, dogmatics and various legal issues. He is most famous for his catechism in Turkish entitled Risale-i Birgivi, also known as the Vasiyetname. Estimate € 1000 - € 2000

Lot 73 ____________________________________________________________________________________

A QURAN WRITTEN BY ABDUL MOHSEN BIN JAMI’A ALHANBALI, ALWAKRAH IN QATAR, DATED 1256 AH/1840 AD Arabic manuscript on paper, a complete Quran, 13 lines to each page, written in black Najdi naskh style, surah headings in red ink, all ruled in a double red border. Red roundel verse markers, two opening pages with green and red decoration, no missing pages. Written by Al-Sheikh Abdul Mohsen bin Jami’a alhanbali in Alwakrah village nearby Doha in Qatar in 1256 AH/1840 AD, written for a well-known member of the Al Bin Ali family, Sheikh Isa bin Hamad bin Tarif Al Bin Ali. He was the chief of Al Bidda (known today as Doha) the capital of Qatar, as well as the chief of the Al Bin Ali tribe from the beginning of the 19th century until his death in 1847. He was described by the political agents in the Persian Gulf as being one of the most energetic and powerful chiefs in the region. 22 by 16 cm. Estimate € 8000 - € 12.000

Lot 74 _______________________________________________________________________________________

NIZAM’S SHARH ON AL-SHAFIA BY IBN HAJIB IN 1100 AH/1688 AD

Written by Nizam al-Din Hasan al-Nishapuri (d. 1328/29 AD) Arabic manuscript on paper, 16 lines to each page, written in black naskh script, catchwords underlined in red ink with marginal notes. A book with commentaries and explanations of Sharh Al-Shafia, written by Bin Muhammed Taher Jafer in 1100 AH/1688 AD. This manuscript is an explanation/commentaries of Sharh ibn Al-Hajib in the science of morphology (Linguistics) called Shafia, known as Sharh al Nizam-the explanation of Nizam, Nizam al-Din Nishapuri, It is one of the most important explanations in which the text was mixed with the explanations and focused on clarifying the linguistic meanings and abbreviation on the important and beneficial of the science of morphology and the clarification of poetic meanings and also included a drawing and a scheme for showing the pronunciation of the Arabic letters and the manner of its pronunciation. The author of this copy is considered a scholar and is approved by the scholar ‘Majlis’. It is a beautiful, well-written copy with annotations and clarifications, with a later morocco leather binding. 12 by 20 cm. Estimate € 2000- € 3000

The author: Nizam al-Din Hasan al-Nishapuri (d. 1328/9AD), was a Persian mathematician, astronomer, jurist, exegete, and poet. His full name was Nizam al-Din Hasan ibn Mohammad ibn Hossein Qumi Nishapuri. As the genealogy in his full name shows, his grandfather was originally from the city of Qum but Nizam was born in Nishapur. His early education was in the city of Nishapur but he later moved to Tabriz, the capital of Il-Khanids at the time. He studied under and worked with Qutb al-Din Shirazi, who was himself a student of Nasir al-Din Tusi. He was one of the great scientists of Maragheh observatory.

Lot 75 ___________________________________________________________

AN SINO-ISLAMIC SCROLL, 20TH CENTURY

Single leaf, Arabic manuscript with gold and gouache on paper, divided into divisions. (1) A small painting of Masjid al-Haram with seven minarets (2) surah Al-Fatiha in gilt naskh script outlined in black (3) A small painting of Al Masjid Al-Nabawi (4) surah Al-Kursi in gold naskh script outlined in black (5) Kalimaat Al-Tawhid (6) prayer in gold naskh script (7) gilt floral motifs of the prophet name Muhammed (8) A small painting of flower issuing from a vase of Kalimmat Al-Tawhid (9) surah Al-Falaq with a censer (10) gilt floral design of surah Al-Ikhlas (11) ‘Oh, Allah’ script design of Kalimaat Al-Tawhid (12) floral gilt vases (13) 99 beautiful names of Allah in gold script. All ruled gilt floral border outlined in black. 580 by 12.5 cm. Estimate € 2000 - € 3000

Lot 76 _________________________________________________________________________________

AL-JAZULI, DALA’IL AL-KHAYRAT WA SHAWARIQ AL-ANWAR, COPIED BY IBRAHIM AL-BURSAVI, WITH ONE ILLUSTRATION OF AL-RAUDAH AL-MUBARAKAH, OTTOMAN TURKEY, DATED 1148 AH /1735-36 AD Arabic manuscript on paper, 81 leaves, 11 lines to the page written in naskhi script in black ink, significant words in red ink, gold roundels marking verse-endings, inner margins ruled in gold, black and red, occasional illuminated marginal devices, one illuminated headpiece in colors and gold, headings written in naskhi script in black ink within illuminated rectangular panels, one stylized illustration of al-Raudah al-Mubarakah, contemporary gilt-stamped binding in red and gold, with flap The illustration depicts al-Raudah al-Mubarakah, where the Prophet Muhammad and his companions, Abu Bakr and ‘Umar are buried, in the holy city of Medina. 16.2 by 10 cm. Estimate € 3000 - € 5000

Lot 77 _______________________________________________________________________________________

A MAMLUK QURAN 5TH JUZ’, 13TH-14TH CENTURY

An Arabic manuscript on paper, 28 leaves with 7 lines to each page, written in black muhaqqaq script. Comprising the 5th juz with the beginning of 6th Juz’, with gold rosette verse markers pointed by red dots. With illuminated marginal medallions indicating the khums ‘5th’ of the verse. With Persian translation. Quran 4 surah Al-Nisa v.23-v.150 32 by 45 cm. Estimate € 4000 - € 6000

DRAWINGS REGARDING THE EXPANSION OF THE PROPHETâ&#x20AC;&#x2122;S MOSQUE(1949) DURING THE PERIOD OF KING ABDELAZIZ

Lot 78 _________________________________________________________________________________________

ENGINEERING DRAWINGS REGARDING THE EXPANSION OF THE PROPHET’S MOSQUE 1949 A group of engineering drawings regarding the expansion of the Prophet’s Mosque (1949) during the period of King Abdelaziz, a total of 15 maps owned by engineer Fahmi Momen, who is one of the expansion engineers. The details of the drawings as follows: 1 A map (drawing) for the Prophet’s Mosque before the expansion (60 x 100 cm.) 2 A map (drawing) for the Prophet’s Mosque for the new expansion, including the perimeter of the old Prop het’s Mosque, the quarters, streets, buildings, shops, kiosks, schools and authorities (80 x 100 cm.) 3 Thirteen pieces representing the drawings for the new expansion including the interfaces, gates, horizontal surfaces and the installations of different sizes. 4 Appendix consist of 9 papers containing the terms and specifications of the contractor, samples and the mock-up used in construction.

The importance of expansion engineering drawings is considered to be exceptional for the masterpiece of the Prophet’s Mosque. The idea of expansion began in the period of late King Abdelaziz in 1368 during his open speech No. 27 dated 12/08/1368 (08/07/1949) addressed to Medina Manawara Newspaper and published on issue No. 301/1368 announcing good news for the Islamic World that he decided to make expansion for the Prophet’s Mosque on his own account, since then the project was under study till 1370 (1950), then expropriation and demolition of neighborhood buildings and clearing activities started, the total expropriation was 22955 meter followed by workshop drawing, then construction of administrative and technical offices for this grand project. In 1372 (1952) the Crown Prince on behalf of King Abdelaziz put the foundation stone for the new expansion on 14, Sha’ ban 1372 (27/04/1953). The excavations work began on 14, Ramadan 1372 (26/05/1953) construction started, and the total area for the new expansion was 6024 meters. The total expansion since Prophet’s period, Caliphs and Sultans was 103030 meters i.e. the expansion of King Abdelaziz is two third of what has been done during 14 centuries. The presentation will only be for the (maps 1 and 2) for their importance and the details as follows: 1 It was established and constructed during the Saudi period, especially the period of King Abdelaziz as the first expansion for the Prophet’s Mosque (Peace and Blessing be upon Him) which proof to the Islamic World the credibility of the State towards the Holy places. 2 The drawings (1 and 2) have witnessed two important events:

_________________________________________________________________________________________ First: drawings sketched by Pakistani engineers on the first map, which retain the southern side of the Prophet’s Mosque as it is and demolishing the eastern, western and norther sides which to be rebuild with the new expansion, but the height must be equal to the southern side. The reason for assigning Pakistani engineers is because Egyptian engineers decided to demolish the whole Prophet’s Mosque and then to be reconstructed, but Mohammad Saleh Ghazaz called for the help of His Excellency Mohammad Sarour Al Saban who stopped the demolition process. What they did is considered as a distinguish achievement and both of them are recognized by their adherence to the old architecture and especially the building of the Prophet’s Mosque by its architectural art and old Osmani fonts done by famous sign-writers like Abdullah Zuhri, who’s sign-writing is decorating the Prophet’s Mosque. He also sends a telegraph for the King and Princes and the reply came from His Highness the Crown Prince of King Faisal who ordered to stop the demolition and to get help from the Pakistani engineers, who in return decided what mentioned in the Map. No. 1 (source (special document), also including descriptions and margins by red color, confirming that it was used in the expansion. Second: The second map is the map for Prophet’s Mosque and surroundings, clearly defined, identifying the new extension and including inside the boundaries of the old demolished mosque and the places at the neighborhood of the Mosque, like Nasiriya School, and the School of Shari’ a Science beside the old Allies Shops, lighthouses and the streets and buildings, and represent the map for Medina Munawara before expansion especially the present surroundings of the Prophet’s Mosque is included in the future expansions. The rest of the maps are also important, but its importance cannot be compared to those two maps.

Estimate € 300.000 - € 500.000

Lot 79 _________________________________________________________________________________________

A PHOTOGRAPH OF KING ABDULAZIZ AL SAUD, EGYPT, 1365 AH/1946 AD

This picture was taken during the first Saudi royal visit, which was made by King Abdulaziz bin Abdulrahman Al Saud to Egypt in 1365 AH/1946 AD, and it lasted 13 days during which he visited a number of Egyptian cities and facilities, Al-Azhar Mosque, Cairo University, the headquarters of the League of the Arab States and Alexandria Governorate. 7 by 22 cm. Estimate € 4000 - € 6000

Lot 80 _________________________________________________________________________________________

PILGRIMAGE TO MECCA AND MEDINA BY SALEH SOUBHY, CAIRO, JUNE 1894

A book about travel to Mecca and Medina, which is outlined through an overview of Islam and followed by public health considerations and an appendix on circumcision. A detailed account of the Hajj was written by an Egyptian doctor, who went on the pilgrimage to Mecca from 1888 and 1894. In his introduction, Soubhy compares his account of the Hajj to those by Europeans that he alleges are more or less fantasies of questionable authority and strewn with errors. Some of the photographs are after Sadiq Bey (1832-1902), who took the first photographs of Mecca and Medina and Abd al-Ghaffar, the first Arab photographer of Mecca. 23.5 by 16.2 cm. Estimate € 1500 - € 2000

Lot 81 _________________________________________________________________________________________

A SAUDI QURAN WRITTEN BY SAUD IBN ABDULAZIZ IBN MUHAMMAD IBN SAUD, 1211 AH/1797 AD

Arabic manuscript on paper, a complete Quran, 13 lines to each page, written in black Najdi style, surah headings in red ink, all ruled in double red border. Red roundel verse markers, two opening pages with green, orange and yellow decoration, no missing pages. Autograph of Saud ibn Abdulaziz ibn Muhammad ibn Saud, the third ruler of the First Saudi State, ruled between 1803-1814 On the colophon it reads: Written for himself and for recitation by Saud son of Imam Abdulaziz son of Imam Muhammad son of Amir Saud son of Amir Miqrin at the town of Dir’iyah. The pearl of towns in Najd, at the end of Sha’ban month, 1211 AH/ 27th February 1797 AD. With original leather cover. Text panel: 10 by 17 cm. Quran: 16 by 23 cm. The ruler history: The writer was the 3rd ruler of the First Saudi State 1217-1228 AH/1803-1814 AD, born in Dir’iyah the capital of the First Saudi State in 1160 AH/1748 AD. Grandfather Abdulaziz bin Muhammad Al- Saud was the founder of the First Saudi State 1156 AH/1744 AD. Muhammad Ali Pasha sent his troops to the Hejaz region by sea. His son, Ibrahim Pasha, then led Ottoman forces into the heart of Nejd, capturing town after town. Saud’s successor, his son Abdullah bin Saud, was unable to prevent the recapture of the region. Finally, Ibrahim reached the Saudi capital at Diriyah and placed it under siege for several months until it surrendered in the winter of 1818. PROVENANCE Private collection, Sweden A C14 CARBON Dating and Ink Test from the Signature has been made on the Quran and the results were consisted with Manuscripts period. Estimate € 40.000 - € 60.000

Lot 82 __________________________________________

A PHOTOGRAPH OF KING SAUD BIN ABDULAZIZ AL SAUD 1950s

The King Saud bin Abdul Aziz bin Abdul Rahman Al Saud was born in Kuwait on 3 Shawwal 1319 AH/ January 15 1902 AD and died on 6 Dhu al-Hijjah 1388 AH/ February 23 1969 AD. The second king of the Kingdom of Saudi Arabia from 9 November 1953 to 2 November 1964 and the fifteenth ruler of the Al Saud family. This picture was taken during his reign period. 54 by 43 cm. Estimate € 1000 - € 1500

Lot 83 ________________________________

A RARE PHOTPGRAPH OF PRINCE NAYEF AND KING SALMAN DURING THEIR VISIT TO LEBANON This picture was taken before the Lebanese civil war in 1975. From right: King Salman, Saudi ambassador Mohammed Mansour Al-Rumaih, Prince Nayef, and the military attache Ali Hasan Al-Shae’r. 12.9 by 17.5 cm. Estimate € 2000 - € 3000

100

Lot 84 ________________________________________________________________________________________

HIJAZ RAILWAY COMPANY AND ÖSTERREISCHER LIOYD, EGYPT ALEXANDRIA, DATED 15 MAY 1914

Railway advertising poster A large chromolithographed poster, An Arabic maunscript on paper, 20 lines to the page, in red and blue naskh script. The managment of the Austrain Lloyd Shipping Company has the honor to present the following: The company agreed with the administration of the Hijaz Railways to issue low-wage tickets for those wishing to visit al-Rawda al-Mutahara in Medina with its beautiful ship, on the occasion of the Mi’raj of the prophet on 27th Rajab. The pilgrims would travel from Alexandria on 15th june 1914 to Haifa port. After arrival at Haifa on 17th June the pilgrims would take the train of the Hijaz Railway Company to Medina. The ship awaits the return of the pilgrims in Haifa on Thursday 25th June to return to Alexandria. 93 by 64 cm. Estimate € 8000 - € 10.000

101

Lot 85 ______________________________________________________________________________________

A FRENCH MAP OF ARABIA, DATED 1882

Manuscript map of Arabia, pen and ink on paper, indicates the routes followed by the caravans towards Mecca during the Hajj. The trace of the great Shami/Syrian mahmal according to the report of the doctor M. Lautour in Damascus 1845. In the upper right corner a smaller map of the spread of the islam, in the down left corner a smaller drawing of Al-Masjid Al-Haram in Mecca. 66 by 56.5 cm. Estimate â&#x201A;Ź 4000 - â&#x201A;Ź 6000

102

Lot 86 ____________________________________________________________________________________

CORRESPONDENCES OF AHMAD SHAWQIE

Correspondences of the Prince of Poets Ahmed Shawqi. These are correspondences of the Prince of Poets, Ahmed Shawqi, which consist of 34 x 93 pages. Ahmed Shawqi is one of the renowned and greatest poets in the modern time who needs no introduction. He is one of the prominent figures in Islamic and Arab nations. He has been crowned by his Arab peers in a literature conference in 1927 as Amir al-Sho’ arraa (The Prince of Poets). These socio-political correspondences were written approximately in the period from 1895-1914 and addressed to Khedive Abbas Helmi the Second (1892-1914) and reveal to us what is going on behind the curtains inside the Khedive’s Saraya, disputes raging between religious reformist class under the leadership of Imam Mohammed Abdu and his party which is supporting to the authority and between Abbas Helmi and Shawqi and their party which is supporting the Khedive and the Ottoman’s Sultan. The messages give us a different image of the character of the poet which we do not know before and could not anticipate except through these messages which we could not state them all here for their huge number and importance and for our fear not to give them what they deserve. It is also the first time to see handwriting manuscripts written by the poet that adds to us a new thing other than the poetry and the literature. 22 by 17.5 cm Estimate € 15.000 - € 20.000

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Lot 87 ________________________________________________________

ORIGINAL HANDWRITTEN MANUSCRIPTS OF MOHAMMED ABDU

Imam Mohammed Abdu (1849-1905) is the pioneer of religious reform and renewal of religion. He needs no introduction as he is considered as a prominent Islamic scholar, jurist and liberal reformer. His life is full of ambiguity and controversy as he indulges himself in any research regarding religious renewal and renaissance together with his teacher Jamal al_Din al-Afghani. Countless books are written about Mohammed Abdu and his student Mohammed Rasheed Riddah. These handwritten manuscripts, lessons and essays from this prominent figure of education, renewal and excitement, are unique and original. 34 by 21.5 cm. Estimate â&#x201A;Ź 3000 - â&#x201A;Ź 5000

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Lot 88 ________________________________________________

TWO OLD PHOTOGRAPHS OF PROTESTS IN MECCA AGAINST BALFOUR DECLARATION

The first photograph depicts the pilgrims and the residents of Mecca coming from Al-Masjid Al-Haram in demonstration rejecting the British occupation of Palestine. The second photograph depicts Al-Ashraf, the descendants of the Islamic prophet Muhammad, the students of Islamic law, sheiks and officials of Al-Masijd Al-Haram in a demonstration against Balfour Declaration. Two pictures of the photographer called Muhammed Ali dated 1929 Beirut. These two pictures were published in a journal called Al-Lataif Al-Musawara in 7 august 1922 Cairo Egypt. 17 by 18 cm. Estimate € 10.000 - € 15.000

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Lot 89 ____________________________________________________________________________________

AN OTTOMAN GREEN METAL-THREAD TOMB COVER, CIRCA 1800

The cover is embroidered mainly with a yellow metal strip over a green ground in the dival technique. Additional touches of white metal strip are worked into the pattern to delineate a flower core or small leaves. All the sections were mounted onto a thick, stiffened cotton cloth and then lined with green atlas. Was designed to be draped over the sarcophagus with a section 20 cm. In length hanging down on either side so that the inscriptions would be visible from both sides. Hence the inscriptions appear reversed on opposing sides. From the seam between upper and lower parts, each piece is divided horizontally into two panels of equal dimensions, one inscribed, the other embroidered with floral motifs. The cover was attached to the sarcophagus by means of sockets inset into the sides of the central panels at the lower corners. 195 by 215 cm. Estimate â&#x201A;Ź 40.000 - â&#x201A;Ź 60.000

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The inscribed upper panels are framed with a border in the form of a band of foliate motifs. Within this, a second rectangular frame surrounds the Kalimat Allah and Muhammad in two parts. ‘God almighty and Muhammad, peace be upon him’. The inscription commences on the second panel with the Kalimat ‘may Allah be well pleased with Hasan’ ‘may Allah be well pleased with Huseyn’ It is not known who this tomb cover was from, but it is possible that this cover of the grave was of a great sihabiin jalil.

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Lot 90 ____________________________________________________________________________________

AN OTTOMAN DETAILED VIEW OF AL-MASJID AL-HARAM, EARLY 19TH CENTURY

Opaque pigments heightened with gold, depicting a detailed view of the holy mosque in Mecca. The Kabaa is located in the center with Maqam Ibrahim, surrounded by four Maqams, maqam Al-Hanafi, Al-Maliki, Al-Shafi’ and Al-Hanbli, with Bab or door of ‘Bni Shiba and zamzam well. The outer walls with four minarets and black painted domes. 62 by 47.5 cm. Estimate € 8000 - € 12.000

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Lot 91 _______________________________________________________________________________________

A BLACK KAABA KISWAH TEXTILE FRAGMENT, CA 1930

A fragment of the inner curtain of sacred kiswa for the inner wall of the Kabaa with an inscribed weave in silver-colored silk over a dark black ground. Embellished with undulating bands running from the beginning to the end of the cloth enclosing different inscriptions. The inscriptions : The prominent inscription of ‘Takbir, Allahu akbar’. Kalimaat al-Tawhid, ‘There is no God but Allah and Muhammad is his Prophet’. ‘I gratefully declare and believe Allah to be devoid of any deficiencies, I declare and believe the Omnipotent Allah is free of every defect’. 107 by 126 cm. Estimate € 3000 - € 5000

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Lot 92 ____________________________________________________________________________________

A LARGE VIEW OF MEDINA, INDIA, LATE 19TH CENTURY

Opaque pigments on heavy paper, between polychrome rules and minor borders. Depicting Al-Masjid Al-Nabawi in Medina surrounded by houses. 41 by 58.5 cm. Estimate € 2000 - € 3000

Lot 93 ____________________________________________________________________________________

A LARGE VIEW OF MEDINA, INDIA, LATE 19TH CENTURY

Gouache heightened with gold on paper, ruled in black and blue, with a thin green border. Depicting the holy Nabawi-Mosque surrounded by houses in Medina. 44 by 61 cm. Estimate € 2000 - € 3000

CATALOGUE NOTE: In style these paintings relate to others of Mecca and Medina done by Indian artists. The depiction of the buildings in these paintings, recall that found on Pahari paintings, see for instance a painting entitled ‘Krishna Espies Radha and the Gopis’ done in the Guler style in circa 1790-1800 (John Seyller and Jagdish Mittal, Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art, Hyderabad, 2014, fig.20, p.247). When he visited Mecca in 1853, Richard Burton wrote that a number of Indian artists there supported themselves by ‘drawing pictures of the holy shrines in pen and ink’ (Richard Burton, Personal Narrative of a pilgrimage to Al-Madinah & Meccah, London, 1893, p.341 quoted in Stephen Vernoit, Occidentalism, The Nasser D. Khalili Collection of Islamic Art, London, 1997, p.33). These miniatures are probably of the type of work done by these artists.

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Lot 94 _______________________________________________________________________________________

KITAB FUTUH AL-HARAMAYN MUHI AL-DIN LARI EARLY, 20TH CENTURY

An unusual size Persian manuscript on paper, 69 leaves with 3 fly-leaves, 9 lines to each page, written in two columns of black nastaliq script, separated by gilt floral scroll snd ruled in gilt and polychrome borders. An opening biofolium with gold and polychrome floral decoration, titles in red ink. 18 Illuminated illustrations with ink, opaque watercolor and gold on paper, including holy sites in Medina, scenes between Medina and Mecca, and the various stages of the Hajj in Mecca. It contains a detailed depiction of the Kaaba, indicating the areas assigned for the worship of the various sects of Islam, the named entrance doors to the sanctum, minarets, and two rows of colonnades. Author: Muhi Al-Din Lari, was a 16th-century miniaturist and writer, best known for his Kitab Futūḥ al-Ḥaramayn, a guidebook to the Islamic holy cities of Mecca and Medina, dedicated to Muzaffar al-Din ibn Mahmud Shah, who ruled Gujarat from 1511 to 1526. It is a guidebook for the Haj pilgrimage. His painting of Mecca’s Sacred Mosque became a widely reproduced image for several centuries. His miniatures showing Mount Arafat as well as mahmals were re-crafted into Hajj certificates that were in use even in the 18th century. Lari died either in 1521 or 1526-27. Book: 37 by 52 cm. Text panel: 25 by 36 cm. Estimate € 8000 - € 12.000

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Lot 95 ___________________________________________________________

AN ILLUMINATED HAJJ SCROLL, 1244 AH/1828 AD

Arabic manuscript on vellum, with Mecca and Medina drawings. The Hajj scroll was presented to Abdul Rahman bin Fadl Al-Bahnsi, head of general authority for Waqf of AL-Haramayn . Single scroll formed of 2 membranes, divided into 8 main divisions, comprising: (1) Quran 2 surah Al-Baqarah v.197 in knotted black Kufic script, (2) another stylized calligraphic section of Quran 22 surah Al-Hajj v.27 in in black Kufic script, with decorations in blue surrounded by red and black flowers, (3) a decorative section containing text describing the parts of Kaaba with a panel of text below in thuluth (4) an illustration of the holy Kabaa with Hajr Ismail and the maqams (5) a decorative section containing text describing the sections of Kaaba with a panel of text below in thuluth, (6) a detailed illustration of Medina, (7) the prophet’s footprint in outline surrounded by prayers in black naskh, (8) the colophon and final section naming the pilgrim and dating the document, all outlined in royal blue, some slight surface soiling; with parchment wraparound and leather strap, housed in late nineteenth/century leather tube-case with lid. This document describes the travels of Abdul Rahman bin Fadl Al-Bahnsi, head of general authority for Waqf of AL-Haramayn in 21- Dhu al-Hijjah1244 AH, accompanied by head of Shami Mahmal (the Syrian Caravan carrying gifts for the Kaaba) Darvish bin Sa’d Aldin bin Darvish Al-Karji Few Hajj scrolls are as sophisticated and colorful as the present example, and even fewer are signed and copied in such a competent hand. Where they do exist they are predominantly from large scribal centres such as Mecca or India. 135 by 18 cm. Estimate € 8000 - € 10.000

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Lot 96 ________________________________________________________________________________________

A FRAGMENT OF A RAWADAH AL-MUTAHARAH CLOTH, 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 assumes the form of a continuous chain made up of number ‘7’s, running from the beginning to the end of the cloth, enclosing ‘prayers for the four righteous caliphs Abu Bakr, ‘Umar, ‘Uthman and ‘Ali as well as for the companions of the Prophet.’ Below stylized with ‘Allah and Muhammed. 15 by 39 cm. CATALOGUE NOTE The Rawdah (Garden) is an area between the minbar and the burial chamber of Muhammad. A green carpet distinguishes the area from the rest of the mosque, which is covered in a red carpet. Estimate € 1000 - € 1500

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Lot 97 ______________________________________________________________________________

AN OTTOMAN SILK AND METAL-THREAD CURTAIN, WITH THE TUGHRA OF SULTAN MAHMUD II (1223-55 AH/1808-39AD) Of rectangular form, the green silk ground applied with red and orange cartouches and roundels, embroidered with silver and silver-gilt metal threads, with central roundels below a calligraphic band and roundel at peak, the tughra of Sultan Mahmud flanked by two spiralling columns and framed by a pattern of foliate and floral motifs. 101 by 204.5 cm. RROVENANCE Sotheby’s London, 7 October 2009, lot 62 CATALOGUE NOTE Inscriptions in the roundel: A hadith of the Prophet. In the middle panel: Quran surah Muhammad (XLVII), parts of 19, followed by ‘Muhammad the Messenger of God’, followed by the signature of Sultan Mahmud in tughra form: ‘Mahmud the conqueror son of ‘Abd al-Hamid wrote it’. In the two roundels: The shahada. With the tughra of Sultan Mahmud II (1223-55 AH/1808-39 AD). Estimate € 8000 - € 12.000

Lot 98 ______________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED KEY BAG, DATED 1305 AH/1887 AD

Rectangular in shape, two 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 27 surah Al-Naml v.30 and Quran 4 surah Al-Nisa v.58, made by the order of the Ottoman Sultan Abdul Hamid II and renewed by the order of Egyptian Tawfik Pasha in 1305 AH. 37 by 60 cm. Estimate € 2000 - € 3000

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Lot 99 ____________________________________________________________________________________

FELIKS MICHAL WYGRZYWALSKI (1875-1944)

Prayer in the desert. Signed lower left: F.M. Wygrzywalski. Wygrzywalski, Feliks Michal (1875 Przemysl - 1944 Rzeszowa) Oil on canvas. 66 by 88 cm. Framed. Estimate € 2000 - € 3000

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Lot 100 _______________________________________________________________________________________

AN OTTOMAN CALLIGRAPHIC SILK PANEL, TURKEY, 18TH CENTURY

Rectangular, the crimson ground woven with inscriptions in gold thread, a frieze of saz leaves and flowerheads above, mounted. The inscriptions comprise verses from surah Al-Ikhlas, chapter 112. 13.6 by 45.6 cm. Estimate € 1200 - € 1500

Lot 101 ______________________________________________________________________________________

A NORTH-AFRICAN SILVER-THREAD EMBROIDERED COVER, 19TH CENTURY

Probably a cenotaph cover, in the form of a stepped pyramid, each register embroidered with calligraphic inscriptions in Maghribi script from Quran 2, surah Al-Baqarah, v.255 (the Throne Verse), each line with roundel at each end. 63 by 78 cm. Estimate € 2000 - € 3000

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Lot 102 ______________________________________________________________________________________

AN OTTOMAN RED SILK KISWA, 19TH 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. The central band with prominent inscription of a verse from the Quran 2 surah Al-Baqarah verse-144. Below the band a repeating of ‘Kalimaat al-Tawhid. Above one repeated expression, ‘Ya Hannan’ (O, the Most-Compassionate) with ‘Praise be to Allah’ and (O, The All-sovereign) inside the circles. 25.5 by 71 cm. Estimate € 3000 - € 5000

Lot 103 ____________________________________________________________________________________

AN OTTOMAN PAINTED METAL TRAY WITH A DEPICTION OF THE MASJID AL-HARAM AT MECCA, TURKEY, PROBABLY ISTANBUL, MID 19TH CENTURY

Of oval form with vertical sides and two handles, the center with a painted depiction of the Kaaba and the Masjid al-Haram in Mecca within a cusped cartouche on a red ground with pink and whit floral sprays, the sides with gold painted scrolling floral arabesques, the underside with traces of black paint and a maker’s mark. 58 by 46. cm Estimate € 1500 - € 2000

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Lot 104 ___________________________________________________________________________________________

AN OTTOMAN WOVEN SILK LAMPAS-WEAVE TOMB COVER FRAGMENT TURKEY, LATE 19TH-EARLY 20TH CENTURY

A fragment of silk hanging panel of the inner kiswa, with an inscribed weave in cream color over a light red 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’. 80 by 175 cm. Estimate € 2000 - € 3000

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Lot 105 _____________________________________________________________________________________

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 center a large gilt cartouche with rounded ends enclosing in gilt wires embroidered two verses of Quran 22 surah the Hajj (the Pilgrimage) v.27-v.28 in large elegant thuluth script with a band of meandering leafy silver vine above and below. Further flanked to both sides with two circular gilt metal-threads embroidered panels enclosing in gilt wires surah Al-Ikhlas on a silver metal threads embroidered ground with the word of ‘Allah’ on a green silk ground. The other circular roundel contains four names of Allah on a silver embroidered ground with the name of the prophet ‘Muhammed’ on a green silk ground. 730 by 120 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 run 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 honored pilgrims. Entire surahs were apparently reserved for important dignitaries or rulers. Estimate € 8000 - € 12.000 Lot 106 ____________________________________________________________________________________

A GREEN KISWA FRAMGENT, EARLY 20TH CENTURY

A fragment of sacred kiswa for the inner wall of the Radwa-i Mutahhara in Al-Masjid An-Nabawi with an inscribed weave in cream-colored silk over a green ground. Embellished with undulating bands running from the beginning to the end of the cloth. The inscriptions : - Quran 33 surah Al-Ahzab v.40 - ‘Kalimaat al-Tawhid, There is no God but Allah and Muhammad is his Prophet’. - Quran 33 surah Al-Ahzab v.56 - Blessings of Allah upon Muhammed, his family and his companions, and grant him peace. 83 by 71 cm. Estimate € 3000 - € 5000

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THE ART OF SCIENCE

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Lot 107 _________________________________________________________________________________________

A CELESTIAL GLOBE MUGHAL INDIA, DATED AND SIGNED BY MUHAMMAD SALIH TATWIAH, 1074 AH/1663 AD

Engraved brass sphere, indicating the lines of the ecliptic and the equator, the meridian lines, the two poles, the images of the constellations by human or zoomorphic representations, the twelve signs of the zodiac and the fixed stars with cursive inscriptions. The ecliptic and celestial equator divided into degrees and minutes, with tropical and polar circles, with brass axis mounted on a horizon circle and stand, the four slender tapering columns uniting the horizon circle and cruciform stand, with a stand. 20 cm. high, 20 cm. diam. PROVENANCE: Private collection, Germany CATALOGUE NOTE For a full, illustrated and detailed discussion of these globes, see Emilie Savage-Smith, The Nasser D. Khalili Collection of Islamic Art, Science, Tools and Magic, vol. II, London Oxford, 1997, pp. 406-13. Estimate â&#x201A;Ź 30.000 - â&#x201A;Ź 40.000

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Lot 108 _______________________________________________________________________________________

AN OTTOMAN MINIATURE QIBLA INDICATOR, 17TH-18TH CENTURY

Of circular form with hinged lid, incised with Arabic inscriptions and foliage, the interior with glass frame and compass. Inscriptions: Mashallah ‘what God has willed’ and is used to express appreciation, joy, praise, or thankfulness for an event or person that was just mentioned. Hawqala: there is no power nor strength except by Allah, is mentioned by Muslims when seized by a calamity or in a situation beyond their control. The cover is incised with ‘Omar and Ali’. . 2 cm. high, 3 cm. diam. Estimate € 4000 - € 6000

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Lot 109 _______________________________________________________________________________________

A SAVAFID BRASS HORIZONTAL DIAL AND QIBLA INDICATORS, SIGNED BY MUHAMMAD MAHDI AL-YAZDI, PERSIA, SECOND HALF 17TH CENTURY

A Safavid brass horizontal dial and qibla indicator, signed by Muhammad Mahdi al-Yazdi, Persia, second half 17th century rectangular brass plate on four riveted feet, with inset compass box, engraved place names and cardinal directions, cartouche containing signature. 7.7 by 11.8 cm. Estimate € 16.000 - € 20.000

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Lot 110 ________________________________________________________________________________________

A COMPENDIUM OF TREATISES ON ASTRONOMY AND MATHEMATICS, 1279 AD NASIR AL-DIN AL-TUSI (DIED 1274)

A golden age of Islamic science Nasir Al-Din Tusi and quote Al-Din Shirazi. This manuscript bears witness to the academic lives of the celebrated Ilkhanid astronomer, Nasir al-Din Tusi and his most renowned pupil, Qutb al-Din Shirazi, two of Islam’s principal scholars, who made major contributions to medieval mathematics, astronomy, and philosophy. Written in Seljuk Anatolia in 1279 AD, only five years after Tusi’s death and during Shirazi’s lifetime, it is a fascinating and rare document which gives a particularly striking illustration of how scientific knowledge was passed down from one generation of scholars to another. It comprises five treaties by Tusi, including a previously unrecorded risala as well las his seminal commentary on Ptolemy’s Almagest, Tahir al-majisti. These five treatises were copied by Shirazi from Tusi’s own autograph copies, and Shirazi’s manuscript was then copied in Anatolia by one of his students to produce the present work. Copious notes in the margins show how highly regarded this copy was among later scholars. A COMPENDIUM OF TREATISES ON ARITHMETICS AND ASTRONOMY, INCLUDING A PREVIOUSLY UNRECORDED RISALA AND TUSI’S COMMENTARY ON PTOLEMY’S ALMAGEST; THIS MANUSCRIPT COPIED FROM AUTOGRAPHS BY NASIR AL-DIN TUSI AND QUTB AL-DIN SHIRAZI NASIR AL-DIN MUHAMMAD BIN MUHAMMAD BIN AL-HASAN AL-TUSI (D. AH 672/1274 AD): A COMPENDIUM OF TREATISES ON ASTRONOMY AND MATHEMATICS SELJUK ANATOLIA, PROBABLY KAISERI (QAYSARIYA), DATED BEGINNING RABI’I AND END OF JUMADA I AH 678/JULY AND OCTOBER 1279 AD Five treatises on astronomy and mathematics. Arab manuscript on paper, 153 leaves plus two fly-leaves, each folio with 29 lines of flowing sepia naskh, important words and phrases picked out in red, numerous diagrams and tables throughout, some titles in strong larger naskh, copious marginal notes throughout in sepia and red. Later numbering in ink in the upper outer corners, small areas of staining and repair throughout. In 14th or 15th century Morocco binding with stamped geometric stellar motif and geometric borders, spine repaired, the doublures with scrolling arabesque. Folio: 24.4 by 16.6 cm. Nasir al-Din Abu Ja’far Muhammad al -Tusi (d. 1274 AD), who is described as the original musannif (compiler) of the text in this manuscript was born in Tus in AH 597/1201 AD. He was the most eminent scholar of the medieval world in trigonometry and wrote on a wide range of topics within the areas of mathematics and astronomy as well as on logic and theology. He composed about 150 works and is well-known as the founder of the observatory at Maragha in 1259 AD for the Ilkhanid ruler Hülegü, which triggered a major renaissance of Islamic Astronomy bringing together a number of outstanding scientists such as Qutb al-Din Shirazi. He is considered by the medieval historian Ibn Khaldun as batter than any other later Iranian scholars. Tusi died in Baghdad in 1274 AD. Qutb al-Din al-Shirazi studied medicine and law under his father Mas’ud al-Qadharuni and was later the best pupil of al-Tusi in astronomy and philosophy. He worked as a judge in Sivas, Malatya (Anatolia) and various cities in North-West Iran as well as carrying out various diplomatic missions for Ilkhanid rulers. Shirazi was probably in Anatolia when our manuscript was copied from his own copies. After one such mission for the Ilkhanid Ahmad Tekudar (1282-1284 AD) in Egypt, al-Shirazi moved to Tabriz and worked at the courts of Ghazan Khan and Uljaytu as well as founding a new astronomical observatory and scientific school in Tabriz He died in 1310-11 AD.

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The present work is a version of Al-Majmuá all-Mutawassita or Kitab al-Mutawassitat, a compendium of treatises on Mathematics and Astronomy described by Tusi as ‘intermediate’ lying between Euclid’s Elements and Ptolemy’s Almagest (‘Nasir al-Din Tusi’, Encyclopedia of Islam, pp.929-932). It contains treatises of which, in most cases, he had written commentaries or new editions himself, mostly composed during Tusi’s most active years in the 1250s and 1260s. A copy of the Kitab al-Mutawassitat, also including Tahriri kitab al-masakin li thawdhusyus was sold at Sotheby’s, London, 7 October 2009, lot 21. It was dated 1283 AD. Another sold at Christie’s London, 31 March 2009, lot 11 dated within 20 years of Tusi’s death. Our manuscript comprises the following works: • Jami’al-hisab also known as Jawami’al-hisab (bi’l-takth wa’l-turab), Collection of Arithmetic by Means of Board and Dust’ (see Rosenfeld, no. 606 – M17, p.214) (f.1 as numbered). A note on its last folio states that it was copied from a manuscript that Qutb al-Din Shirazi copied from an autograph by Tusi dated 20 Rajab AH 66 3/8 May 1265 AD. • An unrecorded single page risala which according to the index at the beginning of the volume is entitled risala fi ikhtilaf awda’marakiz aflak útarid fi masiratiha wa maqadir ab’ad markaz al badr’’an markaz al-‘alam (f.23) (Epistle regarding the trajectory of Mercury). • Kitab al-tadhkira fi’ilm al-hay’a, ‘A Memoir on the Science of Astronomy’ (see Rosenfeld, no. 606-A10, p.216) (f.24) Its colophon states that it was copied in a madrasa in Kaiseri (Qaysariya), in Anatolia at the beginning of Rabi’I AH 678/July 1279 AD from a manuscript copied by Qutb al-Din Shirazi, itself copied from an autograph by Tusi who had completed it on 8 Ramadan AH 661/16 July 1263 AD.

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_________________________________________________________________________________________ • Tahrir kitab al-masakin li thawdhusyus, ‘Exposition of the ‘Book of Settlement’ of Theodosius’ (see Rosenfeld, no.606—A5, p.216) (f.49). Theodosius was a Greek scholar (ca. 160-100 BC) whose work was originally translated into Arabic by Qusta bin Luqa (820-12 AD). Nasir al-Din Tusi wrote his own commentary on this work. This treatise is complete but is not dated. • Kitab tahrir majisti, ‘Exposition of “Almagest’ (see Boris A. Rosenfeld and Ekmeleddin Ihsanoglu Mathematicians, Astronomers and other Scholars of Islamic Civalixation and their Works.(7th-19th century) Istanbul 2003, 606, pp.211-219 and Brockelmann, 670-676; S.I, 924-933) (f.54) This is Ptolemy’s (d. 168 AD) major astronomical work. It was originally translated into Arabic by Al-Hajjaj bin Yusuf bin Mattar (d. 833 AD) on the order of Caliph al-Ma’mun (d. 833 AD), then by Ishaq bin Hunayn (d. 910 AD) and edited by Thabit bin Qurra (d. 901 AD) both of whom are mentioned in Tus’s preface. He also credits in his preface Husam al-Din bin al Hasan bin uhammad al-Siwasi, a 13th century Anatolian astronomer. Tusi’s commentary of the Almagest, completed in 1247 AD, is probably the most celebrated of all. Our colophon is dated Jumade I AH 678/October 1279 AD and this is probably one of the earliest copies of this work. A later added note states that it was copied by a student of Qutb al-Din Shirazi, itself copied from an autograph by Tusi. According to the colophon of the third treatise, the manuscript was copied in Kaiseri, Anatolia. A scientific treatise on astrolabes in the Al-Sabah Collection, Kuwait was also copied in Kaiseri in 1231-38 AD. It displays a very similar cursive hand and although written 40 years earlier, shows that the Central Anatolian town was an established Seljuk manuscript centre (Court and Cosmos, exhibition catalogue, 2016, cat.115, p.194). Estimate € 150.000 - € 250.000

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Lot 111 _________________________________________________________________________________________

AL-TAKMILAH FI SHARH AL-TADHKIRAH COPIED IN MUARRAM 942 AH/1535 AD BY SHAMS AL-DIN MUHAMMAD IBN AHMAD KHAFRI

Arabic manuscript on paper, with 21 lines to each page, written in black naskh script. Titles in red, catchword underlined in red ink with different ownerships seals, copied in 942 AH/1535 AD The book was written in 922 AH/1516 AD, the author died 957 AH/1550 AD which means that this copy was written while the author was alive, with different seal impressions and ownership statements. 30 by 19 cm.

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_________________________________________________________________________________________ Supercommentary by Al-Khafri on the memoir on Astronomy by Nasir Al-Din Muhammad bin Al-tsi, a completion of earlier commentary on Nasir’s Memoir by Ali ibn Muhammad Ibn ALi al-Hisayni Al-Jurjai. The book includes four sections which consist of different chapters. The 1st section with two chapters about the basics needed for science and the principles of geometry. The 2nd section with 14 chapters, about the celestial bodies and the shape of the universe, circular cosmos, location of planets, Earth’s rotation about itself and the sun, solar system, the moon and its orbits, distances between planets and the moon during a solar eclipse and lunar eclipse. The 3rd section with 12 chapters about the shape of the earth, equator, zodiac, day and night, twilight, parts of the day, age of some planets in our solar system. The 4th section with 6 chapters about the cosmic distances, earth surface area, moon distance from the center of the cosmos, the diameter of the moon and the sun, distances of the sun to other planets. The book includes further different drawings and numerous diagrams. The author known as Khafri, was a Persian, religious scholar and astronomer at the beginning of the Safavid dynasty. He wrote on philosophy, religion, and astronomy, the latter including a commentary on al-Tusi and critiques of al-Shirazi. He died in 957 AH/1550 AD. Estimate € 8000 - € 12.000

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Lot 112 ____________________________________________________________________________________

MARIFETNAME, IBRAHIM HAQQI, COPIED BY SAE’D ALLAH BIN ALI BIN AHMED, TURKEY, 1221 AH/1806 AD

Arabic and Turkish manuscript on paper, 360 leaves plus 2 flyleaves, 35 lines to the page, written in neat naskh script in black ink, subheadings in red, margins ruled in black, red and gold, illuminated headpiece comprising foliate motifs in colors and gold, the manuscript comprising various colored maps, tables and charts, florally-illuminated colophon, 2 further illuminated headpieces, red morocco binding with gilt-stamped cartouches decorated with interlacing vines, with flap. Text panel: 12 by 23 cm. Book: 19 by 30 cm. CATALOGUE NOTE The Marifetname is an encyclopedia of cosmological topics put together by Erzurumlu Ibrahim Haqqi in 1170 AH/1756-7 AD. The planispheric maps were drawn by Sae’d Allah bin Ali, and were based on the Dutch cartographer Joan Blae’s (d.1673) Atlas Major. Two further copies of Haqqi’s Ma’rifetnama, both dating from the first quarter of the nineteenth century, can be found in the British Library (MS.Or.12964) and Nasser D. Khalili Collection, London. Marifetname is the second main work of Erzurumlu İbrahim Hakkı. The work includes a preface, three major chapters and an epilogue, each chapter is divided into subsections. The preface is entirely religious, the first part describes the existence and oneness of God, then describes simple and compound bodies, mines, plants and finally man. Then there are geometry, astronomy and calendar topics. It has shown the latitude and longitude of more than 100 provinces in the geography section. The second part includes sciences such as science, anatomy, and physiology. He also examined the human body in terms of aesthetics and squeezed couplets together. He believed in the relationship between body structure and temperament and explained this in poetry. At the end of this chapter, there is extensive information about the soul, health, and death. The third part with religious, divine and philosophical content. The last section about a method of teaching, the attitude of the student to his master, respect and love towards parents, qualifications to be sought in marriage and marriage, the custom of the relationship between husband and wife, duties towards children, the way of meeting and talking with relatives, servants, neighbors, friends, public and scholars, and its customs are included.

140

Estimate € 15.000 - € 20.000

141

Lot 113 ____________________________________

NUZHAT ALEUQUL WA- ALBAB LI MARIFAT AL-HISAB

An eight chapters book about mathematics. Arabic manuscript on paper, 35 leaves with 17 lines to each page, written in black ink. With numbers of tables and drawings, catchwords and titles in red ink. Author: Shihab Aldin Suliman bin Ahmed bin Muhammed bin Al-Muhri died: 950 AH/1543 AD Copied: Barak bin Matalk AL-Rashdi in 1250 AH/1834 AD IN AL-Wasl- The old name of Dubai/AUE 14.5 by 20.5 cm. Estimate € 3000 - € 4000 Lot 114 __________________________________________

SHARH AL-MUQNI FI ILM ABI MUQRI BY MIRGITI COPIED IN 1122 AH/1710 AD

Arabic manuscript on paper, 29 leaves with 26 lines to each page, written in brown ink, titles and catchwords in green. Tables and drawing in red, green and brown ink. Throughout the book Arabic poems in red ink. This book covers astrological topics: zodiac, planets, lunar calendar, astrological signs, the zodiac of sun and moon, prayer times and other topics. With morocco red leather binding. Dated 7-Dhu al-Qedah 1122 AH/1710 AD 21 by 16 cm. Estimate € 2000 - € 3000

142

Lot 115 ________________________________________________________________________________

MECHANICA OF HERON, EARLY 18TH CENTURY

Arabic manuscript on paper, 88 leaves with 15 lines to each page, written in black Persian nastaliq script. Three treatises about tricks in lifting heavy objects, with 67 detailed geometric drawings in red ink, all ruled in gold and blue borders. With a later red morocco leather binding. 20 by 12 cm. Author: Hero of Alexandia or Heron, was a Greek mathematician and engineer who was active in his native city of Alexandria, Roman Egypt. He is often considered the greatest experimenter of antiquity and his work is representative of the Hellenistic scientific tradition. He wrote many like Pneumatica, Automata, Metrica and This book ‘Mechania’ which is preserved only in Arabic, written for architects and containing means to lift heavy objects. Mechania was originally translated by Qusta ibn Luqa (820-912), a Syrian Christian physician who traveled to parts of the Byzantine Empire and brought back Greek texts and translated them into Arabic during the reign of the Abbasid Al-Musta’in. Due to the absence of the Greek origin, this Arabic manuscript is considered one of the most important texts in the science of Mechanics, and has been translated into many languages such as Latin, German and French. Copies of the manuscript are few and rare, and according to the investigation there are only 39 copies of it in the world, and most of them are incomplete and late in the period until the 13th AH/19th AD century. The most important of these manuscripts is the version of the Azam Mosque in Qom - Iran No. 50251-1 entitled ‘The Book of Iran in Weightlifting Tricks’ for its perfection, clarity and presentation, and it includes 67 mechanical engineering shapes that may date back to the early 7th AH century. Followed by the importance is the copy of Leiden Library 1-57051, the copy in the British Library Addms 23390 and the copy in the Aya Sofia in Turkey 2755-1. This book is identical to the most important copy, in the Azam mosque in Qom, Persia. Estimate € 8000 - € 12.000

143

Lot 116 _____________________________________________________________________________________

TASHREEH AL-AFLAAK BY AL-AMILI AND SHARH ALHAIAH ALSUNNIAH BY IBRAHIM Al-QARMANI Al-AMEDI DATED 1025 AH/1616 AND 1064 AH/1653 AD

An Arabic manuscript on paar, 28 leaves and 5 flyleaves,15 lines to each page, written in black naskh script with red ink, with drawings and commentaries about the astronomy. Tashreeh Al-aflaak: 1s a book about the science of astronomy, written by the author Sheikh Al-Alam Bahaa Al-Din Muhammad Al-Amili born in 1025 AH/1616 AD. The book contains an introduction, five chapters, and a conclusion in which the author spoke about the principles of astronomy and its main topics with commentaries of different scientists. 16 by 22.5 cm. Sharh Alhaiah Alsuuniah by Ibrahim Al-Qarmani Al-amedi, the author quoted from different books and authors, especially Alhaiah Al sunnah of al-Suyuti 1066 AH/1655 AD and presented it to the Sultan Muhammed the Fourth Ottoman (1058-1099 AH). Estimate € 2000 - € 3000

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145

Lot 117 ______________________________________________________________________________

A GROUP OF NINE FATIMID UNGLAZED POTTERY WATER FILTERS EGYPT, 10TH-11TH CENTURY

Of circular form, one pierced with inscription, the rest with floral and geometric designs the largest 7.3 cm. diam.(9) CATALOGUE NOTE Filters of this type were originally from the tops of water jugs. For other groups of water filters, see Tresors Fatimides du Caire, Exhibition Catalogue, Institut du Monde Arabe, 28th April-30th August 1998, no. 140; and also two similar groups were sold through Bonhams, Islamic Works of Art, 13-14 October 1999, lots 126 and 127. Estimate € 2000 - € 3000

Lot 118 ________________________________________________

A SASSANIAN OR EARLY ISLAMIC FACET-CUT ROCK CRYSTAL, PERSIA, 5TH-7TH CENTURY Small rock crystal bowl carved from a single block 7.8 by 5.2 cm. diam. The bowl has no identifying inscription and would have possibly been used as a basin for liquids. Objects made of rock-crystal were often credited with magical properties or salutary benefits, and it was believed that by simply holding a vessel made of rock crystal, an individual’s craving for water was considerably reduced. It was also thought that rock crystal glasses were supposed to shatter on contact with poisoned liquids, or that a poisoned liquid would change color, which is perhaps why such items they were so popular with rulers.

146

Estimate € 6000 - € 8000

Lot 119 ____________________________________________________________________________________

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

Two silk and linen tiraz textile fragments decorated with woven black inscriptions on a beige background. 1. 24 by 9 cm. 2. 30 by 10 cm. 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 varies 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 wefts. 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

147

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Lot 120 ______________________________________________________________________________________

A FRAMENTARY FATIMID ROCK CRYSTAL MOLAR FLASK, EGYPT, 10TH CENTURY

Of cylindrical body with a flaring mouth, carved around the middle with a frieze of deep bold Arabic (Kufic script) around the body of the vessel: Mother of Princess, above and below a horizontal raised rib. 6.8 cm. high Sources differ on sultan al-Mu’izz’s consorts. According to one version, he married a cousin of his, who gave him two sons, including his successor al-Aziz.[12] Other sources report that his main consort (al-Sayyida al-Mu’iziyya) or (Umm Al umara ‘mother of princes’), and mother of al-Aziz, was a Bedouin slave-girl from Arabia named Durzan, who due to her beautiful singing voice (although this may simply reflect a common stereotype about Arabian women) was nicknamed taghrīd (twittering). CATALOGUE NOTE Small rock crystal-like this bottle could not have held much, but their contents must have been very precious indeed to deserve such containers. They were most probably used for storing perfumes, which were among the most luxurious times of any Islamic court. They often survive in cathedral treasuries, where they were rededicated after being captured from their original Islamic settings. • R.H. Pinder Wilson writes: ‘Rock crystals together with woven silks were the first objects to reach Europe and to reveal to the West the artistic achievements of the Islamic world. It is, therefore, surprising that Islamic rock crystals have been the subject of systematic study only since 1912 when Robert Schmidt published eighty-three crystals. Since then, thanks to C.J. Lamm and Kurt Erdmann, the total number of known Islamic rock crystals stands at just under one hundred and eighty.’ (B.W. Robinson et al., Islamic Art in the Keir Collection, London, 1988, p.289). Since then, a small number of Islamic rock crystal items have appeared on the art market, bringing the total to approximately two hundred. This bottle is carved in the bevel technique, without striations, suggesting a date of production in the earlier Fatimid period. For an example similar to this flask see: Contadini, Anna, Fatimid Art, London 1998. Estimate € 8000 - € 12.000

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Lot 121 _________________________________________________________________________________

A MAMLUK LACQUERED WOODEN CYLINDRICAL BOX EGYPT OR SYRIA, 14TH-15TH CENTURY

With flat base and slightly sloping sides, the upper edge with slight recess to fit a lid, the exterior wooden surface overlaid in a succession of black, red, yellow and green lacquers, then carved through to reveal a polychrome design, the broad central band with lobed rectangular panels containing scrolling arabesques around quatrefoil roundels, the borders of the panels entwining and continuing into lobed concentric quatrefoils dividing each panel, a band below of stylized thuluth calligraphy interrupted by roundels containing quatrefoil panels, the base and interior plain with remains of monochrome lacquer, rubbed in places, repaired cracks, small areas of removable deposit. 16.2 cm. high 20.3 cm. diam. Estimate â&#x201A;Ź 8000 - â&#x201A;Ź 12.000

150

CATALOGUE NOTE While later Islamic lacquer has been studied extensively, the history of the technique in early Islamic times is still obscure. A few items have survived, both in Egypt and Iran, made of wood with lacquered surfaces, but together they do not paint a full picture. A wooden plate in the Victoria and Albert Museum (Watson, O., ‘An Islamic lacquered dish’, in Lacquerwork in Asia and beyond, London, 1981, pp.232-246) was said to have been found in Fustat. A wooden bowl and cover were found in a fourteenth century context at Qus in Egypt (Watson, op.cit., p. 241, note 14). Fragments of painted and varnished wooden object were found in the excavations of the Mamluk site of Qusair al-Qadim (wheelan, Estelle J., ‘Unusual Islamic Finds’ in Quasair al-Qadim 1978, Preliminary Report, Cairo, 1978, pp.206-7). In Persia a small fragment was found during the excavations at Ghubayra which has been given a thirteenth century attribution (Fehervari, G., ‘Near Eastern Lacquerwork; History and Early Guidance;, in Lacquerwork in Asia and Beyond, London, 1981, pp.225-231). A further fragmentary dish wit a Kufic inscription border is in the Hermitage Museum in St. Petersburg. All these fragments have in common that they are covered with layers of coloured varnish which have subsequently been carved through to reveal a polychrome design. The commonly found colours are green, yellow, cream, red and black. It has been argued that these objects geve evidence for a quasi-lacquer production that developed independently of China where the technique is thoucht to have originated. The technique of decoration of our box is in the same tradition ans would point to an attribution to 14th or 15th century Mamluk Egypt indicated by the finds from Qusair al-Qadim. The shape of our object has counterparts in other items from Mamluk Egypt. A group of round boxes with straight (although lower) sides was found in Qusair al-Qadim (Qusair al-Qadim, nos k and n). The proportions in the present box are far closer to those of smaller ivory boxes, all of which have a similar ridge for the cover, one of which bears the name of Sultan Salih (1351-54 AD), (discussed in Atil, e.: Renaissance of Islam, Art of the Mamluks, Washington D.C., 1982, pp.210-211). Given the possible Chinese origins of the technique it is certainly relevant that there exist a number of 15th century cylindrical lidded boxes from China, decorated in a Chinese manner with peony scrolls and phoenixes (Garner, Sir H.: Chinese lacquer, London, 1979, figs. 129 and 114-5). The decoration on the present box is difficult precisely to parallel. The compartmentalization however, with intertwined outlining bands and cartouches is very much in the Mamluk fashion and can be observed on metalwork as well as on manuscript illumination. The elongated hastae of the nakh inscription are also a trademark of Mamluk calligraphy. All these factors confirm a Mamluk fourteenth or fifteenth century origin for this extremely rare object.

151

Lot 122 ___________________________________________________________________________________________

A VERY RARE AND IMPORTANT EARLY ISLAMIC PARCEL-GILT CUP A SILVER -GILT AND NIELLOED HANDLED CUP PERSIA, 11TH-12TH CENTURY

The pyriform body with re-curved ear-form handle and bird thumb-piece, the main field of decoration incised and nielloed with a band of entwining arabesque and monumental palmette motifs in a frieze wrapped around the body, a gilt and nielloed epigraphic band running below the rim carries a minor band of guillouche ornament in gilt, handle and foot also gilt, restorations using transparent resin infill. 13.6 cm. max. height. PROVENANCE: Private European collection Estimate € 100.000- € 150.000

152

CATALOGUE NOTE inscriptions Around the neck: wa qudra shamila wa ni’ma kamila wa ‘a[fiya tamma wa d]awla ‘aliya wa … nasira ‘And perfect Power and complete [God’s] Grace and full Health and excellent Good-fortune and assisted …’ Around the lower body: baraka da’im[a] wa daw [la ‘aliya] wa … nasira wa qud[ra shamila] wa ni’ma [kamila] wa ‘afiya tamma wa surur ‘Perpetual Blessing, and excellent Good-fortune and assisted … and perfect Power and complete [God’s] Grace and full Health and Joy’ This parcel-gilt and nielloed handled cup not only presents an extremely rare example of early Persian silverware, but it also displays a variety of decorative techniques, rendering it of both art-historical and academic importance. It can be closely compared with a jug in the Harari Collection, now in the L.A. Mayer Museum for Islamic Art in Jerusalem (Hasson 2000, p.41), first published in the Survey (Pope and Ackerman 1938-9, vol. VI, p.1349). Even though the jug in the L.A. Mayer Museum for Islamic Art features a more bulbous body with a straight, slightly flared rim, the two pieces probably derive from a common model, possibly of Sassanian origin. Both objects resemble a jug in the Staatliche Museen, Berlin, also dated to the eleventh/twelfth century, whose shape resembles that of the L.A. Mayer Museum example, but with a handle crowned by a leopard like on the present jug on which a sculptural bird stands at the top of the handle (Pope and Ackerman 1938-9, vol. VI, p.1353). Whereas this jug features nielloed, incised and punched decoration, the jug in the Staatliche Museen, Berlin, appears to feature mainly embossed designs. The inscriptions on the present jug confer a number of blessings and wishes of good fortune on an unidentified owner. Nonetheless, it is the intricate incised and nielloed decoration on the body of the piece which displays the technical mastery and sophistication of silver metalworkers of this period. The surface is articulated with a band of interlocking vegetal forms and palmettes against a dense ground of foliate scrolls. An element of playfulness is added to the composition with the appearance of stylised faces between these abstract shapes, a feature that can also be found in other media, such as carved wood and stucco of the period.

153

Lot 123 _____________________________________________________________________________________

AN-IIKHANID PARCEL-GILT SILVER RING BEARING THE NAME OF BAIDU PERSIA, CIRCA 1295

The parcel-gilt ring inscribed in mirror writing with the name of Baidu, the underside with incised heraldic eagle 2.2 cm. max. diam. CATALOGUE NOTE This seal ring is inscribed with the name ‘Baidu’ at the top, most probably referring to Baidu, the son of Taragay and grandson of Hülegü, the famed Mongol ruler who founded the Ilkhanid dynasty in Iran. Unlike his grandfather, Baidu’s reign as Ilkhan was shortlived, lasting only for eight months, from March to October 1295 before being executed by his cousin Ghazan. This ring, inscribed in reverse for the purpose of seal marking must belong to this short period of history, a rare surviving artefact. Estimate € 3000 - € 5000

Lot 124 ____________________________________________

A MUGHAL RUBY AND GILT SILVER RING, CIRCA 1800 Rounded-cut ruby engraved with Quran 65 surah AlTalaq v.2-v.3 with later gilt silver ring. 2.3 cm. max. diam. Estimate € 1500 - € 2000

154

Lot 125 ________________________________________________________________________________________

TWO FATIMID SILK AND LINEN TIRAZ TEXTILE FRAGMENTS, EGYPT, 11TH-12TH CENTURY

Two Tiraz textile fragments, both decorated with a woven dark black inscriptions on a beige background, the inscriptions : ‘upon the messenger of the most Gracious, the messenger of Glory, and the messenger of Justice and Mercy, the messenger of God’. 1. 37 by 14 cm. 2. 14 by 22 cm. 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 € 3000 - € 5000

155

156

Lot 126 ________________________________________________________________________________________

A LARGE KHORASAN BRONZE EWER, 11TH-12TH CENTURY

On a short foot, the cylindircal body with flat shoulder rising through a slightly flaring neck to a tapering spout and a mouth with an everted rim, the body finely engraved with four vertical bands of foliate scrolls enclosing four large foliate roundels, joining two horizonal bands of Arabic inscriptions in foliate Kufic script. The shoulder engraved with Kufic inscriptions amongst foliage. A loop handle connecting the body with the neck and cast with a faceted boss above with a crescent ring at the point of attachement, two similar smaller rings attatched to the upper part of the neck (one is missing) 31.5 cm. high Inscriptions: Around the the shoulder: prosperity, happiness, peace and favour. Estimate â&#x201A;Ź 15.000 - â&#x201A;Ź 20.000 CATALOGUE NOTE The style of script found in the band on the shoulder of this ewer draws close comparison with that on the Bobrinski bucket in the Hermitage, datable to December AD 1163 (Earthly Beauty, Heavenly Art, Exhibition Catalogue, Amsterdam, 1999, p. 159). Eva Baer draws reference to three other metal objects that display similarly developed animal-headed script: a tray in the University of Michigan Museum of Art; a bowl in the Victoria and Albert Museum, London; and a vase in the British Museum (Eva Baer, Metalwork in Medieval Islamic Art, New York, 1983, p. 206 and pl. 280). She argues that the Brobinski bucket style represents the earliest development, which was then continued into different styles in Persia and Mesopotamia. An alsmost simular ewer in the Al Sabah collection.

157

Lot 127 _______________________________________________________________________________________

A MAMLUK-STYLE ENAMELED CLEAR GLASS MOSQUE LAMP, POSSIBLY BROCARD, FRANCE, SECOND HALF 19TH CENTURY

An intact gilded and enameled glass mosque lamp on a short rounded foot, with high flaring conical mouth, six applied loop handles around the body, the body with a band of gilded thuluth calligraphy on a cobalt blue ground. The neck with the body with a band of blue thuluth calligraphy with three roundels featuring red pseudo-inscriptions. The underside with series of roundels featuring animals and pseudo-inscriptions with red, green, blue and white enamelled flowers. The Inscriptions: Around the shoulder ‘izz li-mawlana Hasan bin Muhammad ‘azza nasrahu (repeated). Around the neck loosely copying Qur’an 24 surah al-nur, v. 35 24.5 cm. PROVENANCE Property of a Lady acquired Aguttes, Lyon, Ancient Paintings, Furniture, Works of Art, Amateur’s Collection, October 25, 2012, Lot 281. Note: For a discussion on the reproduction of Islamic gilt and enameled glass and especially mosque lamps from the later 19th and 20th century especially by glasshouses in Paris and Vienna cf. S. Carboni and D.B. Whitehouse, Glass of the Sultans, New York 2001, pp. 297-309, nos 152-5. Unfortunately this example is unsigned. Estimate € 3000 - € 4000

158

Lot 128 ________________________________________________________________________________________

A CARVED WOODEN PANEL WITH MOORISH CALLIGRAPHY STYLE

Islamic Wooden door or window panel from Alhambra Palace, Andalucia Spain with moorish calligraphy style ‘Wa la galiba ilallah’ ‘There is no victor/conqueror except God’. This famous phrase can be found on every single wall in the Alhambra Palace. Further intricacy reveals the floral background design stating ‘God’ repeatedly. When Muhammad I entered Granada Spain as a conqueror, he was hailed as ‘Victor’, so he replied ‘Victory Lies only with Allah’.. Back of the panel a sticker belonging to Ralph Ryman, an antique dealer in 1930s based in Holborn London opposite The British Museum. 38 by 17 cm. Estimate € 2000 - € 3000

Lot 129 __________________________________________________________________________________________

A MARINID CALLIGRAPHIC CARVED WOOD BEAM, MOROCCO, 13TH-14TH CENTURY Of elongated rectangular form, the face carved with a single line of inscription in thuluth on a ground of scrolling palmette bearing vines, above a band of rosettes. 123 cm. long Estimate € 2000 - € 3000 PROVENANCE Private Belgian Collection since 1970. The inscription reads: al-’izz al-qa’im wa al-sa’d al-mulazim, ‘constant might and inseparable felicity’. CATALOGUE NOTE Another Marinid beam with the same stripy leaf was sold at Christie’s, Islamic Art and Manuscripts, 29 April 2003, lot 51.

159

160

161

Lot 130 _______________________________________________________________________________________ JEAN-LÉON GÉRÔME, FRENCH 1824 – 1904 THE PRISONER Oil on panel 43 by 77 cm. Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptur in the style now known academicism. His paintings were so widely reproduced that he was ‘arguably the world’s most famous living artist by 1880.’ The range of his oeuvre included historical painting Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period. After 1855, Gérôme went for trips to the eastern Mediterranean. He made it the subject of many of his works. His Orientalist works are quite curious. Drawing on the pictorial and literary imagination of his time, Gérôme invented oriental scenes, using meticulously accurate detail and his open recourse to photographs taken during his trips to disguise his strategy. The Orient that Gérôme depicted was dreamed up by Victor Hugo in 1829 in his poetic work and his ‘authentic’ images at that time confirmed a view of the Orient as a place of sensuality and violence. In 1863, a critic described the sinister excursion on the Nile depicted in: ‘All aspects of the Orient are there - its implacable fatalism, its passive submission, its eternal tranquillity, its brazen insults and its ruthless cruelty’. Gérôme’s ‘accurate’ images seemed even more genuine as they unfailingly recreated the Orient that his contemporaries expected. They brought a stamp of authenticity to this fantasy. Gérôme, however, took many liberties, and few of his works are the result of direct observation. The purported historical, geographical or ethnographic settings in the majority of his paintings do not stand up to close analysis. Gérôme succeeded in painting an image of the Orient that was immutable, untouched, and presented for a western audience. He thus managed to captivate a public that delighted in fixed images of an unchanging ‘elsewhere’. This work is attributed to Jean-Léon Gérôme. PROVENANCE Private collection, United Kingdom Estimate € 50.000- € 70.000

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Lot 131 _________________________________________________________________________________

MARIUS BAUER, DUTCH 1867 - 1932

A PROCESSION (recto); A BAZAAR (verso) Signed with initials ‘MB’ (lower right) Watercolor on paper 59.5 by 47 cm. Estimate € 4000 - € 6000 PROVENANCE Christie’s Amsterdam: Wednesday, May 29, 2013, Lot 00012 Impressionist and Modern Art Kunsthandel E.J. van Wisselingh & Co., Amsterdam, no. 2227. Acquired from the above by Colnaghi & Obach, London, 1912 London, Obach & Co., Tentoonstelling van aquarellen en etsen van M.A.J. Bauer, March-April 1911. no. 37 (titled ‘A procession’) T. Martin Wood, ‘The water-colours of Marius A.J. Bauer’, in: The Studio: an illustrated magazine of fine and applied art, Volume 54 (1911), no. 223 (October), p. 185 (illustrated)

163

Lot 132 ______________________________________________________________________________

AN INDIAN IVORY PACHISI SET, 17TH CENTURY

Comprises sixteen domed ivory pieces (narads) and two ivory long dice (usually called pasas). The pieces are of characteristically dome-shaped solid ivory, engraved at the top with circular grooves which hold red, black green and yellow colored lac – a color for each of the four players. 3.5 cm. high, 3 cm. diam. (16) Estimate € 2000 - € 3000

164

Lot 133 _________________________________________________________________________________

A GROUP OF NINE 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 € 4000 - € 6000

165

Lot 134 _______________________________________________________________________________________

A PAIR OF LARGE CLOISONNÉ FLASKS AND COVERS, CHINA, CIRCA 1900

Comprising two large vessels decorated with central calligraphic design between polychrome stylized floral scrolls on a turquoise ground, gilt edges and ornate handles, lid with crescent moon finial 44 cm. high (2) Estimate € 10.000 - € 15.000 CATALOGUE NOTE Inscriptions; ya hafiz ‘O The Preserver!’

166

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Lot 135 ________________________________________________________________________________

A MOSQUE LAMP, BRONZE WITH CLOISONNÉ ENAMEL DECORATION, CHINA, LATE 19TH CENTURY Mosque lamp, bronze with cloisonné enamel decoration. 25.5 cm. high, 24 cm. diam. 67.5 cm total height

CATALOGUE NOTE As early as the 9th century, a large number of products were made in China for export to the Islamic world. Porcelain and textiles were the most important trade goods, but refined works of art in other materials could also be sold, especially if they were furnished with Arabic inscriptions. This lamp, which was probably made for a local Chinese-Muslim clientele, illustrates a fascinating mixture of traditional Chinese and Muslim craft traditions. While the form and script can be related directly to the mosque lamps of the Arab world, the style of the decoration, with lotus patterns, is characteristically Han Chinese. The cloisonné enamel technique was evidently already known in China in the late Yuan period (13th-14th century), but developed in earnest under the succeeding dynasties. In this technique, glass paste of various colors is placed within pattern-shaping enclosures (cloisons) in metal objects, usually copper or bronze. The decorated object is then fired until the glass melts, after which the surface is polished until it is smooth and even. Estimate € 8000 - € 12.000

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Lot 136 _______________________________________________________________________________________

MEISSEN MARCOLINI PERIOD EWER AND BASIN( LEGEN-IBRIK), MARKED COUNT MARCOLINI (1774-1814), MADE FOR THE OTTOMAN IMPERIAL PALACE The set including a basin and a pitcher, finely painted in rich green enamel with floral decorated cartouches. Throughout the 18th century and in the first half of the 19th century, the porcelain factories of Meissen and Vienna put great care into ensuring that the porcelains they exported to the Ottoman Empire were produced in such a way as to accord with Ottoman traditions and customs. Ewer: 30 cm. Basin: 30 cm. diam. 40 cm. high Estimate € 3000 - € 5000

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Lot 137 ____________________________________________________________________________________

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 17 cm. Leaf: 35.5 by 25.5 cm. Verso: A nastaliq quatrain, signed Abu Al-Baqa’ (Al-Musawi) circa 1680-1690. Ink and pigments on paper, the calligraphy in six lines of elegant black nastaliq script, each line in cloud on illuminated gilded floral ground, with cream borders, Panel: 35 by 25.5 cm. Calligraphy: 25 by 12 cm. Estimate € 12.000 - € 15.000

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____________________________________________________________________________________ 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.

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Lot 138 ______________________________________________________________________________________

A PORTRAIT OF FATH ‘ALI SHAH QAJAR, 19TH CENTURY

Gouache pigments heightened with gold on paper, depicting a roundel enclosing a half portrait of Fath Ali Shah, with rounded and full face, long mustache attached to a very long beard, wearing a long dress with long sleeves, light blue silk and embossed with gilt floral motifs. The Shah wears an ingeniously desgined crown studded with precious jewels and a dagger adorned with jewels and attached to a belt on the waist. All ruled in borders stylised with gold and striking blue decoration. The upper psrt with Persian inscription of Sultan Fath Ali Shah Qajar in nastaliq script amongst gilt floral scrolls on a red ground.red. Signed by Muhammad Hasan Afshar Urumieh, enjoyed a remarkably long career (1818-78) that spanned the reigns of three rulers: Fath ‘Ali Shah, Muhammad Shah and Nasir al-Din Shah. The style of his renowned portraits evolved throughout his career, from a traditional style favoured in the court of Fath ‘Ali Shah, to the European influence. This influence arose from European artworks entering Iran as a result of increased travel among the elite between the two regions. Miniature: 21 by 16 cm. Folio: 28.5 by 18.5 cm. CATALOGUE NOTE Fath Ali Shah was the second Shah of Qajar dynasty in Iran. He reigned from 1797 until his death. His reign saw the irrevocable ceding of Iran’s northern territories in the Caucasus, to the Russian Empire following the Russo-Persian Wars of 1804–1813 and 1826–1828 and the resulting treaties of Gulistan and Turkmenchay. Estimate € 10.000- € 14.000

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Lot 139 ______________________________________________________________________________

A PORTRAIT OF MOHAMMAD SHAH QAJAR, CIRCA 1840 SIGNED BY MUHAMMAD ALI

Gouache pigments heightened with gold on paper, depicting a roundel enclosing a half portrait of Mohammad Shah, with rounded and full face, long mustache attached to a short beard, wearing a luxurious military unifom of blue silk and decorated at the collar and on the shoulders, with two diamond-encrusted insignia pinned to his breast, the shah wears a royal blue scarf with a long black hat decorated with precious ornaments. Further stylized onwith red and blue floral scrolls on gilt ground, all ruled in gold and polychrome borders. Miniature: 14 by 10 cm. Folio: 31.5 by 21 cm. Estimate € 8000 - € 12.000 CATALOGUE NOTE Mohammad Shah (r.1834-1848) was the second shah of the Qajar dynasty. He was chosen by his grandfather Fat’h Ali Shah to be his his heir afther the death of his father Abbas Mirza. MohammAd was known to be somewhat sickly through t his life and he finally died at the age of 40 of gout in Mohammadieh Palace. Persian art was influenced to a large extent by the European culture and art during the Qajar period. The art of self-portrait during the Qajar reign rulers was confined to the royal court, due to Qajar’s rulers opining to the west, where artists of this age showed an increasing desire to accommodate the European arts to adapt the requirements of new beauty, where rulers took the portrait to confirm their new position and expressing their power and influence, both inside and outside the court, as well as being used as a tool with political objectives. Most of Qajar royal self-portraits were a reflection of Qajar’s society, their joys of life, in particular, their richness. The royal Qajar painters used over- adornment style in painting self-portrait.

Lot 140 _______________________________________________________________________________________

A QAJAR ENAMEL SILVER BRACELET, 19TH CENTURY

Consisting of seven linked rectangular silver pieces, enameld with different seated Sufi figures from the Persian history. Shams Al-Tibrizi, Baba Rukn al-Din, Sultan Babanush, Mu’sum Ali Shah, and other figures. 23 by 4 cm. Estimate € 2000 - € 3000

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Lot 141 ______________________________________________________________________________

A CELADON JADE MUGHAL-STYLE BOWL, 17TH CENTURY

The steep sides rising from a short spreading chrysanthemum-shaped foot to a slightly flared rim, carved in low relief to the exterior with three rows of stylised floral foliates, the stone of a pale celadon tone. 13.6 cm. PROVENANCE Collection of Edward George Robey (1869-1954), (according to label). Estimate € 30.000- € 40.000

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Lot 142 ____________________________________________________

A FINE MUGHAL GEM-SET JADE-HILTED DAGGER, JAHANGIR PERIOD, 17TH CENTURY

A double-edged watered-steel blade with a central ridge , the jade hilt with swelling grip inlaid overall with engraved gold flowers heads and small buds set with ruby. L: 35.5 cm. PROVENANCE Private collection, Germany Estimate € 30.000 - € 40.000

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Lot 143 ________________________________________________________________________________________

A GEM SET ROCK CRYSTAL-HILTED DAGGER, MUGHAL INDIA, 18TH CENTURY

A double-edged watered-steel blade, the rock-crystal hilt with scroll quillons and rounded pommel, inlaid with gold and gem-stones with leaves, the cloth-covered scabbard. L: 47 cm. PROVENANCE Private collection, Germany Estimate € 8000 - € 12.000

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Lot 144 ________________________________________________________________________________________

A TIMURID CARVED JADE DAGGER, 16TH CENTURY

A Timurid spinach jade dagger hilt carved with floral motifs, with downturned gilt cockerel head quillion set with red jewels. With a 16th century European curved double-edged watered-steel blade. L: 24.5 cm. PROVENANCE Private collection, Germany Estimate € 8000 - € 12.000

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Lot 145 ________________________________________________________________________________________

A MUGHAL GEM-SET JADE TALWAR HILT, INDIA, 19TH CENTURY

Of baluster form with broad crossguard, elongated forte, disc pommel and knop terminal, the green stone set with rubies and diamonds with flowering heads and vines framed by gold inlaid borders. L: 19 cm. PROVENANCE Property of Forest Lawn Mortuary, from Hubert Eaton Collection Estimate € 6000 - € 8000

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Lot 146 __________________________________________

AN OTTOMAN CALLIGRAPHY, TURKEYDATED 1248 AH/1832 AD Ink and watercolor on paper, laid down on wooden panel, depicting a mihraab enclosing Arabic inscriptions in elegant thuluth and tughra script. To the centre a thuluth inscriptions of ‘Mashallah, what God has willed’ a phrase that is used to express appreciation, joy, praise or thankfulness for an event or person. Above inscriptions of Quran 61 surah AsSaff v.13 in tughra style, further stylized with colorful flower sprays. 56 by 42 cm. Estimate € 1000 - € 2000

Lot 147 _________________________________________

AN OTTOMAN CALLIGRAPHIC PANEL, TURKEY, DATED 1304 AH/1889 AD

Arabic manuscript on paper, written in large gilt thuluth script, depicting a large flower shaped decoration consisting of a chain of the Arabic letter ‘waw’. To the centre the words ‘Allah, Muhammed and Ali’ surrounded by a verse from the Quran 27 surah AnNmal v.30. The inscriptions inside the flower petals ‘I believe in Allah and His angels And His books, His Messengers, and the Final Day And destiny, good and bad, both from Allah And Resurrection after death’. The lower part with Kalimaat Al-Tawhid, in a smaller script written by Darwish Haj Ahmed and dated 1304 AH/1889 AD. 50 by 45 cm. Estimate € 800 - € 1200 Lot 148 __________________________________________

AN OTTOMAN CALLIGRAPHIC MINIATURE, DATED 1173 AH/1763 AD

Arabic manuscript on paper, 14 lines written diagonally in black naskh script, reserved in clouds on a cream colored ground and ruled in gold and ploychrome borders. The outer red margin with gilt floral motifs. 24 by 16.5 cm. Estimate € 600 - € 800

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Lot 149 _____________________________________________________

AN OTTOMAN HILYA ON WOOD, TURKEY, 19TH CENTURY

Arabic manuscript on wood, written in black different script, at the top a cartouches enclosing the bismallah in muhaqqaq black script on a polychrome floral decorated ground. Two gilt panels enclosing Kalimaat Al-Tawhid in black thuluth script, a central roundel with 12 lines black in naskh script with gold floral markers and surrounded by floral scrolls. 4 circular devices extending outwards from this with the names of the Four Rashidun Caliphs. At the bottom three gilt panels enclosing Quran verses. All within a deep carved panel stylized with gilt carved flower heads and branches. 86 by 40 cm. Estimate € 1000 - € 1500

Lot 150 ______________________________________________________

AN OTTOMAN HILYA, TURKEY, 18TH CENTURY

Single leaf, laid down on a wooden panel topped with crown carving, text panel at the top with the blessing in a single line of black muhaqqaq script, then a circular text-block with 9 lines black naskh, 4 circular devices extending outwards from this with the names of the four Rashidun Caliphs, then another single line of muhaqqaq in another text block above the colophon at the bottom of the page, containing another 4 lines black naskh, on both sides a large flower spray. At the top a small painting depicting a view of Masjid Al-Haram. Gilt roundels outlined in black marking the verses throughout, floral decorations and gilt borders. Hilya, Arabic for ‘ornament’, refers to a genre of Ottoman Turkish literature associated with the physical description of Muhammad. In the seventeenth century, hilyas developed into an art form with a standardized layout. 58 by 28 cm. Estimate € 1500 - € 2000

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Lot 151 _______________________________________________________________________________________

A METAL-THREAD CURTAIN OF THE HOLY KAABA DOOR (BURQA)

Of rectangular form, embroidered in silver and gilt thread over a black silk ground, the surface broken into cartouches and panels of various shapes and sizes containing inscriptions in thuluth script, the interstices filled with vegetal designs. A large silver inscription (1) halfway up on black ground enclosing Quran 48 surah Al-Fath or Triumph v. 27, above and below (2) four panels containing Quran 2 surah Al-Baqarah Ayat Al-Kursi. At the top a large panel with a cartouche enclosing Quran 3 surah al-Imraan v.133 with four Qandeels surrounding Quran 24 surah Al-Nur v.35. On either side of door slip a verse from Quran 39 surah Al-Zumar v. 53 and two large roundels stylized with surah Al-Ikhlas and Quran 48 Quran Al-Fath v. 29 in silver wires on a black silk ground. On both sides of the door slip panels containing Kalimaat Al-Tawhid and Quran 106 surah Quraish with four verses. The lower section with two panels with the inscriptions: ‘this sitara is made by the order of the Custodian of the Two Holy Mosques Fahd bin Abdulaziz Al Saud 1422 AH/2001 AD. On a dense design of gilt floral motifs. All surrounded by a border containing cartouches enclosing surah Al-Fatiha. The silver thread slightly oxidized, small tears in the silk, conserved, rebacked. 330 by 620 cm. Estimate € 30.000 - € 50.000

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Lot 152 __________________________________________________

AN OTTOMAN HILYA BY ABDULLAH HELMI IN 1286 AH/1869 AD

Single leaf, text panel at the top with the blessing in a single line of black muhaqqaq script , then a circular text-block with 11 lines black in naskh script reserved in clouds on a cream coloured ground with gold markers pointed by blue dots, 4 circular devices extending outwards from this with the names of the Four Rashidun Caliphs, then another single line of muhaqqaq in another text block above the colophon at the bottom of the page, containing another 3 lines black naskh, richly decorated with polychrome floral motifs on a gilt ground. At the bottom a certificates or Ijaze by his master: Mehmed Hamdî Efendi in 1289 AH/1872 AD a master of calligraphy at Hafiz Osman’s School in the six scripts. Glazed with gilt wooden frame Text panel: 15 by 36 cm. Frame: 29 by 47 cm. Estimate € 1200 - € 1600

Lot 153 __________________________________________________

AN OTTOMAN HILYA BY MUSTAFA HASHIM IN 1289 AH/1872 AD

Single leaf, text panel at the top with the blessing in a single line of black muhaqqaq script, then a circular text-block with 11 lines black naskh script reserved in clouds on a cream colored ground with gold markers pointed by blue dots, 4 circular devices extending outwards from this with the names of the Four Rashidun Caliphs, then another single line of muhaqqaq in another text block above the colophon at the bottom of the page, containing another 3 lines black naskh, richly decorated with floral motifs and serrated leaves in colors and gold. At the bottom two certificates of Ijaze by his two masters: Abdullah Helmi and Khalil Alsafi in 1289 AH/1872 AD. Glazed with gilt wooden frame. Text panel: 16 by 36 cm. Frame: 44 by 68 cm. Estimate € 1200 - € 1600

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Lot 154 _____________________________________________

AN OTTOMAN PAINTED AND GILTWOOD TURBAN HOLDER OR KAVUKLUK 18TH CENTURY

Of typical form, with hinged shelf and bracket sections, decorated all over with gilt engraved scrolling geometric designs containing cartouches at the top and roundels at the base enclosing Arabic inscriptions in thuluth script on red dark green painted ground. 64 by 88 cm. Estimate € 1000 - € 2000

Lot 155 ________________________________________

AN OTTOMAN GILT AND CARVED WOODEN PANEL, 18TH CENTURY

An Ottoman wooden panel consisting of three parts, the central octagonal section decorated with a central roundel enclosing ‘Kalimaat Al-Tawhid’ in large gilt carved thuluth script on a red painted ground, surrounded by gilt carved foliage scrolls on a green ground. The upper and lower section stylized with gilt carved floral motifs. 97 by 45 cm. Estimate € 1000 - € 1500

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Lot 156 _______________________________________________________________________________________

AN OTTOMAN TALISMANIC SHIRT (JAMA ), 18TH CENTURY

A shirt (jama) covered with text written in thuluth and square Kufic scripts, in assorted colors, roundels and cartouches. The inscriptions include quotations from the Quran, invocations to Allah, attributes of Allah and prayers, beautiful names of Allah. To the front side: two squares enclosing inscriptions in square Kufic of Klimaat al-Tawhid, ‘Muhammed and the names of the four Rashidun Caliphs’ surrounded by two verses of the Quran within rectangulars. Ruled by two borders enclosing inscriptions written in green and red thuluth script, Quran 94 surah Al-Inshirah and surah 97 surah Al-Qadr . On both sides of the chest a large rectangular enclosing the bismallah and the first verse of surah Al-Fath on a foliage scroll decorated ground. On each side of the collar and running downwards Quran 59 surah Al-Hashr written in blue and gold thuluth script.The right sleeve with small panels enclosing ‘Allah’ in square Kufic script and two panels on both sides of the sleeve surrounding.Surah Al-Ikhlas and surah Al-Kawthar. The left sleeve with small panels enclosing ‘Muhammed’ in square Kufic script and two panels on both sides surrounding surah Al-Asr and surah Quraysh.The reverse side with multiple squares enclosing invocations to Allah in a black square script and surah Al-Ikhlas and other verses in thultuh script. The lower section on both sides decorated with foliage scrolls 90 by 75 cm. Estimate € 12.000 - € 15.000

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Lot 157 ________________________________________________________________________________________

A LARGE IZNIK POTTERY TANKARD, OTTOMAN TURKEY, CIRCA 1580

Of cylindrical form with angular handle, the white ground decorated in green, bole-red, cobalt-blue and black with a band of large blue scrolling saz leaves overlaying red rose and blue tulip sprays, between minor bands of lobed motifs, base of handle chipped, otherwise intact. 24.7 cm. Estimate € 3000 - € 5000 Lot 158 ________________________________________________________

AN OTTOMAN SILVER EWER AND BASIN, TURKEY, 19TH CENTURY

The ewer of elegant melon fluted baluster form with high curving tubular spout, s-scroll handle linking neck and belly with cast curved leaf design. The upper handle with hinge to domed cover with pointed finial, the basin of wide flaring fluted form, the central aperture closed by a pierced support for the ewer. Ewer: 25 cm. Basin: 27 cm. diam. 33 cm. high CATALOGUE NOTE Inscription basin: ‘au Consul General Pierre Bothen, Amicalement du Corps Consulaire d’Istanbul Le 12 Octobre 1972’. Estimate € 2000 - € 3000

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Lot 159 _______________________________________________________________________________________

A PAIR OF DAMASCUS UNDERGLAZE PAINTED POTTERY BORDER TILES, SYRIA, 17TH CENTURY

A pair of Damascus underglaze painted pottery border tiles, Syria, 17th century, each of square form painted in cobalt-blue and green on white glaze ground, decorated with a series of palmettes, bottom bordered by bands of white and cobalt-blue, framed. 24.2 by 22.9 cm. (2) Estimate € 1500 - € 2000 Lot 160 ______________________________________________

FRAGMENTS FROM IZNIK GOLDEN HORN POTTERY DISH, TURKEY, CIRCA 1530

Comprising 13 fragments from the base and the rim of a ‘Golden Horn’ vessel decorated with intricate cobalt-blue spiral stems, thin paired lines below the rim. The reverse with floral vines, palmettes and a partial foot. 16 cm. and smaller Lot 161 Estimate € 3000 - € 5000 ______________________________________________

AN IZNIK POTTERY FRAGMENT 15TH-16TH CENTURY

Probably a base or basin. The white interior painted in blue, black and green underglaze decoration of fishes. The flaring rim and foot with swirling red and cobalt enamel border. The exterior with radiating green and white cusped panels over red ground above alternating green and blue leaf motifs. Foot with a central molded hole and a second drilled hole. 7 cm. high, 14 cm. diam. Estimate € 2000 - € 3000

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Lot 162 ________________________________________________________

A WOODEN MOTHER-OF-PEARL AND IVORY INLAID BAROMETER, OTTOMAN, 1297 AH/1879-1880 AD

The barometer of rectangular shape, the top domed with the image of the Kaaba and written in Arabic ‘Mecca’. The bottom of square form with a circle enclosing Arabic text reading: a gift for the custodian of the two holy mosques, Sultan Abdul Hamid Khan, son of Sultan Abdul Majeed Khan, 1297 AH. 87.5 by 14 cm. Estimate € 8000 - € 12.000

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Lot 163 _______________________________________________________________________________________

A MOTHER-OF-PEARL INLAID WOODEN HANGING PANEL, 20TH CENTURY

Of rectangular form and inlaid with mother-of-pearl in low relief on a wooden panel, depicting Al-Kaaba in Al-Masjid Al-Haram with Haijr Ismail, zamzam well, Minbar and Hnabli maqam. The side curtain of the Kaaba is raised with the entry of the time of Hajj as a declaration that informs people of the entry of the time of performing the fifth corner of Islam, and decorated with Quran 3 surah Al-Imraan v.96. Above the mosque a central roundel enclosing ‘The Holy Mecca’. All surrounded by scrolls and stiff leaves. 55 by 65 cm. Estimate € 10.000 - € 14.000

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Lot 164 ______________________________________________________________________________________

A PAIR OF DAMASCUS BONE-INLAID PAINTED WOOD PLANT STANDS INLAID WITH DAMASCUS POTTERY TILES, SYRIA, THE TILES CIRCA 1600, THE PLANT STANDS 19TH CENTURY.

Each of rectangular form, flaring towards the top with ornamented vaulting to the sides, profusely carved and painted in polychrome with vegetal and geometric designs, the borders inlaid with bone sections forming stars, the tops inlaid with Damascus underglaze painted pottery tiles decorated underglaze in polychrome with floral designs, the frames with pseudo-inscriptions 77 by 49 by 49 cm.(2) Estimate € 6000 - € 8000 CATALOGUE NOTE For a similar tile in the Arab Hall at Leighton House see Arthur Milner, Damascus Tiles, 2015, page 259.

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Lot 165 ______________________________________________________________________________________

MOULDED POTTERY TILE PANEL, CENTRAL ASIA, EARLY 14TH CENTURY

A wall panel of rectangular form painted in cobalt-blue and turquoise, the surface moulded with relief floral detailed containing 6 central stellar cobalt-blue glazed for each formed square, surrounded by bands of plane glazed cobalt-blue, as well as greenish turquoise geometric shapes, a further outer border of scrolling vine stucco with cusped foliage with cobalt-blue background. 85 by 120 cm.

196 Estimate € 20.000 - € 30.000

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Lot 166 ______________________________________________________________________________________

A TIMURID MONOCHROME MOULDED POTTERY TILE (MUQARNA) 14TH CENTURY

Of rectangular and concave form with pointed arched top, decorated in turquoise, white and aubergine glaze, deeply carved with a lattice design of vegetal interlace. 23 by 30 cm. Estimate € 12.000 - € 15.000

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Lot 167 ______________________________________________________________________________________

A SLIP PAINTED POTTERY BOWL, NISHAPUR OR SAMARKAND, 10TH CENTURY

A Persian pottery bowl with small foot, flaring sides and everted rim, decorated in brown and green slip with vegetal and knotted Kufic calligraphic inscriptions. 30 cm. diam.

Estimate € 8000 - € 12.000

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Lot 168 _______________________________________________________________________________________

A RARE BICHROME CALLIGRAPHIC POTTERY DISH, NISHAPUR OR SAMARKAND, 10TH CENTURY Shallow with wide rim on short foot, earthenware decorated in white slip with dark brown and red designs under a transparent glaze 34 cm. diam. Estimate € 15.000 - € 20.000

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CATALOGUE NOTE Inscriptions: ‘Eat (what is) in it with enjoyment and fulfilment’ A popular phrase found on slip-painted vessels. The inscriptions on Nishapur or Samarqand dishes such as this are typically proverbial in tone. This one refers to the purpose of the dish. The same aphorism ‘Eat in it with enjoyment and fulfilment’ can be found on the bowl in the al-Sabah collection, Cat. Ga2 suggesting it was a well-loved maxim for such serving dishes. The bold style of the calligraphy and the quartered design resembles Cat. Ga3 of the same collection. The inscriptions were always in Arabic though Persian was the lingua franca of both Nishapur and Samarqand. Simple, elegant radial designs punctuate the inscription. Unlike some slip-painted wares (like Cat. Ga.1 of the al-Sabah Collection) which have individual letters in red to create a visual rhythm to the inscription, this dish uses radial medallions in black and red to split the text into quadrants. ‘The black is used almost exclusively for the Kufic inscriptions’. The completeness of this dish is one aspect of its beauty. Most of excavations in the 1930s and 1940s that revealed these slip-painted wares found copious sherds or wasters. Tablewaressuch as this, possibly used for pistachio nuts and sweetmeats, were made by a potter who coated the red clay of the dish with a thin layer of pure white clay known as ‘slip’. Ornamental Arabic calligraphy was subsequently painted around the rim of the dish or often in a single line across the centre. Oliver Watson describes eastern Iranian slip-painted wares as, at their best, ‘some of the most impressive ceramics ever made in the Islamic world. Of the simplest materials, they are most beautifully made – enormous bowls, precisely thrown and turned to a thinness rarely matched elsewhere in earthenwares, with a purity of colour and texture of slip and glaze, and a ringing tautness when fired; they are breathtaking to handle’. Politically and economically ‘Samarkand and Nishapur were both flourishing cities during the ninth and tenth centuries and, despite various upheavals, were still of great importance in the two following centuries’.

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Lot 169 _______________________________________________________________________________________

A POST SASSANIAN TURQUOISE GLAZED POTTERY STORAGE JAR, IRAN OR IRAQ 7TH-8TH CENTURY

The egg-shaped jar, with three small handles, is covered entirely with a heavy dark-green glaze, which is common in Sassanid ceramic production. The decoration is based on a series of concentric circles in relief finished off in the middle with a motif of a stylised bunch of grapes, which is related to a widespread tradition of symbolic figures. Below the brim there is a geometric motif in relief made up of small rhombuses, The shape, decoration and technique used in the piece are evidence of the stylistic continuity between the late Sassanid and the early Islamic periods. The jar was probably intended to store foodstuffs. Through stylistic analysis. The shape and decoration of the jar, the technique used and the dark green glaze are all typical of Sassanid ceramics. 50 cm. CATALOGUE NOTE This type of alkaline-glazed pottery, intended for storage of food stuffs or drinking water, had been produced in kilns along the Upper Euphrates since at least the Parthian period continuing through the Umayyad and early Abbasid periods, with subtle changes in shape and design. The distinctive silvery iridescence offset by the turquoise glaze only adds to their decorative appeal. Their story is also fascinating, for examples have been found as far afield as Fujian province in China. A tomb at Lotus Peak on the outskirts of Fuzhou, dedicated to one Liu Hua, who died in A.D. 930, wife of King Wang Yangjun of the Min Kingdom (A.D. 909-945), yielded three similar turquoise-glazed jars, testament to the trading activities of Persian and Arab merchants along the southern coast of China at this time. Estimate â&#x201A;Ź 8000 - â&#x201A;Ź 12.000

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Lot 170 _________________________________________________________________________________________

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

Of pyriform shape, with hinged dome cover, ringed neck and serpentine handle and spout with dragon-head terminal, engraved with diagonal flutes containing stylized leafy details, the lid with pine-shaped terminal, underside with Armenian inscription and old collection label. 38 cm. Estimate € 20.000 - € 30.000

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_________________________________________________________________________________________ Inscriptions In boloragir script (Ancient Armenian): â&#x20AC;&#x2DC;Father (Lord), might esteem without disregard this handiwork by Ovhannes (Hovhannes) in the year 1000 from the Armenian era (1551 AD)â&#x20AC;&#x2122; - This date, which does not correspond to the presumed dating of this ewer to the eighteenth century, possibly implies that this date was added as a commemoration, or possibly, part of the date was transformed by the cross hatched between the numbers. PROVENANCE Ex-collection Jacques Matossian, Paris, first half 20th century Jacques Matossian was a collector living in Alexandria in the early twentieth century, known for his collection of Coptic textiles and Islamic Art. A number of artworks from his collection are now in museums worldwide, including the Louvre, Paris, and the Metropolitan Museum of Art, New York, bequests which were made from 1949-59.

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Lot 171 _____________________________________________________________________________________

AN OTTOMAN (TOMBAK) DAGGER, (HANCER) TURKEY, 17TH-18TH CENTURY

The slightly edged double-edged watered steel blade with a raised central spine, the tombak hilt of typical form with gilt inscriptions. The tombak sheath with an applied leaf-shaped design, and bud-like finial at the chape. L: 52 cm Estimate € 4000 - € 6000 Inscriptions: Quran 48 surah Al-Fath v.1-v.2

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Lot 172 ______________________________________________

AN OTTOMAN SILVER FLASK (MATARA), 17TH-18TH CENTURY

Of circular shape, standing on a rounded ring foot with two pouring spouts, stylized in openwork silver with central roundels enclosing flower-heads, Arabesque and scrolling foliage. 28 by 20 cm. Estimate € 2000 - € 3000

Lot 173 _________________________________________________________________________________

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 - € 2500

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Lot 174 _______________________________________________________________________________________

AN OTTOMAN METAL-THREAD CURTAIN OF THE DOOR OR BAB AL-SALAAM IN AL-MASJID AL-HARAM

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. The main design of consists of two large calligraphic mosque lamps framed by an arch with wreath and garlanded spandrels supported by twisted columns, enclosing wreaths and inscriptions with the tughra of Sultan Mahmud, further ruled by cartouches enclosing inscriptions and Arabesque scrolls. 300 by 375 cm. Estimate € 15.000 - € 20.000

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The inscriptions: Three lines of gilt-metal threads in thuluth script of Quran 59 surah Al-Hashr v-21-v.24 and Quran 33 surah Al-Ahzab v.41-.46. Within the roundels on green and red ground the names of ‘Ten Mubashrun/ the ten promised paradise’ The lamps enclosing the basnmallah and v.46 of surah al-Hejr in mirror image and flanked by two roundels of ‘Allah and Muhammed’. Three roundels of foliage branches enclosing Kalimaat Al-Tawhid and ‘This sitara of Bab al-Salaam’. On both sides in the half mihrab decoration Quran 48 surah Al-Fath v.27 and v.29 The border with cartouches enclosing invocations to Allah and praising the prophet.

CATALOGUE NOTE Baab-As-Salaam is one of the gates at the Great Mosque of Mecca in Saudi Arabia meaning ‘Gate of Peace’. It has been a tradition for first time visitors to the mosques to enter the Great Mosque of Mecca through this gate. This gate is located in the stretch between Mount Safa and Marwaah.

Lot 175 ___________________________________________________

A CALLIGRAPHIC WOVEN COTTON STANDARD OR FLAG, OTTOMAN TURKEY, 19TH CENTURY A woven cotton flag or banner of rectangular form, the central panel formed of a series of bands on a cream ground, to lower section centre two red octagonal inscription roundels with central rosette, the border of red cotton with yellow and cream stripe. 179.5 by 98 cm. Estimate € 1500 - € 2000

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Lot 176 _________________________________________________________________________________________

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. 630 by 130 cm. Estimate € 6000 - € 8000

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Lot 177 _________________________________________________________________________________________

A KASHAN LUSTRE POTTERY TILE, PERSIA, 13TH CENTURY

Of rectangular form, decorated in golden lustre over an opacified tin glaze, the raised decoration of patterned band against a ground of scrolling foliage in lustre with turquoise and cobalt highlights. 12.5 by 24.3 cm.

Estimate € 800 - € 1000

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214

Lot 178 ____________________________________________________________________________________

A LARGE NIELLO-INLAID BRASS EWER, CENTRAL-ASIA, 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. 34 cm high. An authentication certificate from a recognized international organization is available on request.

CATALOGUE NOTE

This form of ewer is typical for Central-Asia (east Anatolia). Other similar 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.

PROVENANCE

Private collection, Belgium Estimate € 30.000 -€ 40.000

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216

ISLAMIC ART AUCTION Session II lot 178 - lot 306

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Lot 179 ___________________________________________________________________________________

AN OTTOMAN WOVEN SILK CALLIGRAPHIC PANEL, TURKEY, DATED 1296 AH/1878 AD

Of square form consisting of three rectangular fragments stitched together, woven with cream and red silk with 9 lines of Quran verses in elegant thuluth script. The inscriptions: Quran 2 surah Al-Baqarah v.248, Quran 3 surah Al-Imraan v.182, Quran 4 surah An-Nisa v.77 and Quran 5 surah Al-Ma’idah v.27. 150 by 150 cm. Estimate € 5000 - € 8000

Lot 180 __________________________________________________

AN OTTOMAN SILVER FILIGREE BELT BUCKLE, TURKEY, 19TH CENTURY

An Ottoman silver belt buckle in two detachable parts, the central section in the form of a trefoil flanked by two further horizontal sections, all similarly decorated with fine filigree floral and vegetal decorations. 11 by 18.5 cm. 272 gr. Estimate € 1500 - € 2000

218

Lot 181 _______________________________________________________________________________________

AN OTTOMAN WALNUT AND MOTHER-OF-PEARL INLAID PANEL RETAILED BY MAX FRUCHTERMANN, TURKEY, CIRCA 1900

Of rectangular form, the central panel inlaid in mother of pearl with inscriptions in thuluth, the reverse with label for Max Fruchtermann, 335 Grand Rue de Pera 38.4 by 22.5 cm. Inscriptions: li khamsah atfa biha hurr al-waba al-hatimah al-mustafa wa al-murtada wa abnahuma wa al-fatimah, ‘I have five [persons] by whom I extinguish the heat of plague (cholera), al-Mustafa (i.e. Prophet Muhammad), al-Murtada (i.e. ‘Ali) and the two sons (i.e. Hasan and Husayn] and Fatimah’. Max Fruchtermann (1852-1918) opened a frame shop at Yuksekkaldirim in Istanbul in 1864. He is best known as an early publisher of postcards of the Ottoman Empire. Estimate € 1500 - € 2000 Lot 182 ________________________________________________

AN OTTOMAN RECTANGULAR MOTHEROF-PEARL, TORTOISE AND BONE INLAID BOX, 18TH CENTURY

Of rectangular form on bracketed feet with a hinged bevelled lid, the sides and cover inlaid with tortoiseshell and mother-of-pearl, with panels of diamond, cube trellis and chequerboard patterning bordered by narrow bands of inlaid wood. The centre of the lid decorated with motherof-pearl scrolling split and full palmettes on a tortoiseshell ground, legs inlaid with mother-of-pearl and tortoiseshell with diamond patterning, brass hinges and key, the interior lined with red silk. 35 by 46 cm. Estimate € 3000 - € 4000

219

Lot 183 ____________________________________

AN OTTOMAN SILVER LOBED EWER AND BASIN, 900 SILVER, 19TH CENTURY

The ewer of elegant melon fluted baluster lobed form with high curving tubular spout, s-scroll handle linking neck and shoulder with cast curved leaf design, upper handle with hinge to domed cover with pointed finial surrounded by flower sprays in high relief, decorated with flower scroll in low relief. The basin of wide flaring fluted form, the central aperture closed by a support for the ewer, similarly decorated. 34 cm. high, 36.5 cm. diam. Weight: 2340 gr. Estimate € 3000 - € 4000

Lot 184 ____________________________________

A PAIR OF GILT SILVER VASES WITH COVERS, TURKEY, 19TH CENTURY

Each vase supported om four small petal shaped spreading feet, with globular body embossed throughout with vertical flutes decoraed with flowering stems. The shoulder stylized on each lob with a flower and a leaf in high relief, a long tapering neck waisted with flower heads. The cover is similarily decorated with flower sprays in high relief. 38 cm. high Estimate € 2000 - € 3000

220

Lot 185 ________________________________________________

LARGE OTTOMAN SILVER PRAYER BEADS LATE 19TH CENTURY

Consisting of 33 circular beads plus three extra small beads at the end with large tapering bead, each silver bead is carved to both sides with a name of the beautiful names of Allah, between a band of stiff leaves to each side. 83 cm. Estimate € 1500 - € 2000

Lot 186 ________________________________________________

AN OTTOMAN SILVER FILIGREE MIRROR TURKEY, 19TH CENTURY

In the form of a lobed cartouche, with silver filigree border, the reverse clad in crimson velvet with applied filigree floral sprays with bees 53 by 40 cm. Estimate € 3000 - € 5000

221

Lot 187 ________________________________________________

A SILVER-GILT JUG, TIMURID STYLE TURKEY, 19TH CENTURY

A Timurid style jug, with a bulbous body and cylindrical neck, the dragon handle has been cast seperatly, all decorated with medallions containing flower heads and Arabesques. 13 cm. Estimate € 2000 - € 3000

Lot 188 ________________________________________________

AN OTTOMAN WIRE-INLAID COFFEE TABLE, TURKEY, CIRCA 1900 The top resting on a singular central column supported by three legs, all surfaces covered in a wire-inlaid floral design, the surface with floral motifs emanating from the centre comprising a vine leaf and grape design. 66 cm. Estimate € 800 - € 1000

Lot 189 ________________________________________________________

AN OTTOMAN-STEEL PROCESSIONAL STANDARD, 17TH-18TH CENTURY

Of drop-shape form rising from a conical shaft with two raised bosses, the central panel with a cut inscription of ‘Allah and Muhammed’. 42 cm. Estimate € 1500 - € 2000

222

Lot 190 ___________________________________________________

A SELJUK BRONZE BIRDCAGE, 13TH CENTURY

Including a bronze bird. An inscription in the Kufic script runs around the base. 54 cm.high, 32 cm. diam. CATALOGUE NOTE Possibly assembled using parts derived from other artifacts. Estimate € 8000 - € 12.000

Lot 191 ________________________________________________ A SELJUK BRONZE BOX, 13TH CENTURY A cast bronze lidded box with elongated octagonal shape. The domed cover engraved with birds and mythological beasts. 12 by 7 cm. Estimate € 2000 - € 3000

Lot 192 ________________________________________________

AN OPENWORK BRONZE PROCESSIONAL STANDARD OR ALAM, OTTOMAN TURKEY, 17TH CENTURY

Of circular shape with four curved elements, rising from a conical shaft with three raised bosses, decorated in openwork with a cut thuluth inscription of Kalimaat al-Tawhid. 55 cm. Estimate € 6000 - € 8000

223

Lot 193 ____________________________________________

A CAUCASIAN NIELLO-SILVER KINDJAL WITH SCABBARD, 19TH CENTURY

With tapering double-edged fullered blade, the hilt applied with raised bosses. The scabbard appiled to one side with silver foliage scroll and engraved to the other side with a figure. L: 53 cm CATALOGUE NOTE In the Caucasus, daggers such as this one were inseparable companions of Caucasian men and used for a variety of purposes, such as weapons, cork screws, and paper cutters, as well as dance accessories. 19th Century photographs of Caucasian men in native dress frequently include such daggers, which are attached to their belts in a diagonal manner. Estimate € 2000 - € 3000

Lot 194 _____________________________________________________________________________________

A PAIR OF SAVAFID STYLE CUT OUT STEEL PANELS, 19TH CENTURY

In the form of a lobed cartouche, finely pierced with inscriptions in thuluth script of ‘Kalimaat Al-Tawhid’ on a ground of scrolling vines issuing flowerheads and split-palmettes. 54 cm. Estimate € 1200 - € 1500

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Lot 195 ______________________________________________

AN OTTOMAN KAYI GILT BRONZE HELMET TURKEY, LATE 16TH CENTURY Conical, in plain golden bronze, underlined by a double thread at the bottom. Hallmark of the Tamgha of the Ottoman arsenal. The visor and the noseband are missing. stamped with the Kayı boyu Tamgha 27 cm. high, 23.5 cm. diam. Estimate € 4000 - € 6000

Lot 196 __________________________________________________

A PERSIAN QAJAR HELMET, EARLY 19TH CENTURY

Of domed form with spike and foliate nose guard flanked by two plume holders, each lob is decorated with overlaid gold floral sprays. The rim with cartouches enclosing Persian inscriptions in gold nastaliq script, small gilt flower heads to nose guard and spike with chain mail neck guard. 42 cm. Estimate € 1200 - € 1600

225

Lot 197 _________________________________________

A SAFAVID BLUE AND WHITE VASE, 17TH CENTURY

A pyriform with bulbous base supported on a short foot, decorated in underglaze cobalt blue on a white background, with five vertical bands decorated with stacked palmettes. 33 cm. Estimate € 3000 - € 4000

Lot 198 _______________________________________________

A SAVAFID POTTERY BOTTLE VASE PERSIA, KIRMAN, 17TH CENTURY

With flattened rounded lobed form rising from trumpet foot with gilt bronze mounting to a long tapering neck slightly flaring at mouth, each lob decorated with alternating brown and blue with flower branches. 35 cm. Estimate € 1200 - € 1500

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Lot 199 _________________________________________

Lot 200 _________________________________________

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

Estimate € 1400 - € 1600

A SILK ON LINEN MIRROR COVER OTTOMAN, 17TH CENTURY

A SILK EMBROIDERY OTTOMAN, POSSIBLY GREECE, 17TH CENTURY

227

Lot 201 _________________________________________

Lot 202 _________________________________________

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 € 1400 - € 1800

A SILK ON LINEN MIRROR COVER OTTOMAN, 17TH CENTURY

228

A SILK EMBROIDERY OTTOMAN, POSSIBLY GREECE, 17TH CENTURY

Lot 203 ___________________________________________________________________________________

TWO COTTON APPLIQUÉ CALLIGRAPHIC BANNERS, EGYPT, 19TH CENTURY

Both stylized with a cartouche enclosing Arabic inscription in elegant thuluth script and surrounded by foliage scrolls. The inscriptions: Quran 11 surah Hud v.6 and Quran 53 surah An-Najm v.38-v.39 153 by 45 cm. and 165 by 45 cm. Estimate € 800 - € 1200

Lot 204 ______________________________________________

AN EGYPTIAN COTTON APPLIQUÉ HANGING, 19TH CENTURY

Of rectangular form, the ground applied with red, white, green, blue and brown coarsely woven cotton, decoration in the form of an arch supported on either side on columns, stylized with a design of interlacing strapwork forming intricate geometric motifs within a border. Above this a panel of white calligraphy of Al-Basmallah in thuluth script on red ground, the uppermost panel with a band of red and blue interlocking palmettes. 190 by 90 cm. Estimate € 800 - € 1200

229

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Lot 205 ____________________________________________________________________________________

AN OTTOMAN METAL-THREAD CURTAIN OF THE HOLY KAABA DOOR (BURQA)

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 script, the interstices filled with vegetal designs, a large silver inscription (1) halfway up on gilt metal-threads ground enclosing Quran 48 surah Al-Fath or Triumph v.27, above and below (3) four panels containing Quran 2 surah Al-Baqarah ayat Al-Kursi. All above(2) two large roundels stylized with surah Al-Ikhlas in silver wires on a gilt embroidered ground, flanked between them a small Mihraab decoration with the name of the Ottoman Sultan Abdul Majid and dating of 1269 AH/1852 AD. At the top (5) a large cartouche within a mihraab decoration enclosing Quran 17 surah Al-Isra v.80 on a silver embroidered ground, below (6) two small round sided panels containing surah Al-Ikhlas and above (4) four Mihraabs each decorated with Quran 24 surah Al-Nur v.35 above two crossed swords with floral motifs. On either side of door slip surah Al-Ikhlas below a large panel (8) containing Quran 106 surah Quraysh with four verses. On both sides of the door slip two roundels (7) with Kalimaat al-Tawhid, 3 beautiful names of Allah and praises of the prophet. The lower section with archways enclosing date trees on a black ground. All surrounded by a border containing cartouches enclosing surah Al-Fatiha. The silver thread slightly oxidized, small tears in the silk, conserved, rebacked. 360 by 180 cm. Estimate â&#x201A;Ź 20.000 - â&#x201A;Ź 30.000

231

Lot 206 ________________________________________________________________________________________

AN OTTOMAN EMBROIDERED HANGING PANEL, LATE 18TH CENTURY

An embroidered hanging panel,the ground of salmon and turquoise. Satin worked in couched metal-thread with calligraphy within lobed cartouches, the ground between with leafy flower-sprays. 270 by 220 cm. Estimate € 3000 - € 5000

232

Lot 207 ______________________________________

AN OTTOMAN SILK VELVET AND METAL-THREAD PANEL, BURSA 16TH CENTURY The red velvet ground with silver and gold ground palmettes within ogival lattice strapwork linked by crown motifs and filled with hatayi flowers. The medallions circled by vine issuing tulips and further rosettes. 152 by 63 cm. Estimate € 6000 - € 8000

233

Lot 208 _________________________________________________________________________________

AN OTTOMAN SILK ON LINEN QUILT FACING, 17TH CENTURY

Silk on linen quilt facing decorated on a cream ground with long petalled tulips and fringed carnations connected with twigs and leafs. 230 by 130 cm. Estimate € 2000 - € 3000

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Lot 209 ______________________________________________________________________________________

A YASTIK WITH TULIPS AND CARNATIONS, BURSA, TURKEY, 17TH CENTURY

Bush panel woven in silk with traces of metallic thread, decorated with a polylobed central rondo with two fleur-de-lis, on a red background decorated with tulips at the four corners. Beautiful margin with carnations and large margin with six flowered shields at both ends. (Lined and mounted on frame, wear). 120 by 67.5 cm. Estimate € 4000 - € 6000

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Lot 210 ____________________________________________________________________________________

AN OTTOMAN WOODEN SADDLE AND LEATHER COVER EARLY 19TH CENTURY

Of typical form with raised knop at the front and the back, the curved wooden frame with Mahmud II. 32 by 42 cm. Estimate € 1000 - € 2000

Lot 211 ______________________________________________________________________________________

A COAT OF ARMS OF THE OTTOMAN EMPIRE, 19TH CENTURY

A green velvet panel embroidered in gilt metal-threads with the coat of arms of the Ottoman Empire, the reverse side with Kalimaat Al-Tawhid in large thuluth script, both sides with four small crescents. 100 by 120 cm. Estimate € 800 - € 1200

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Lot 212 ______________________________________________________________________________________

AN OTTOMAN METAL-THREAD EMBROIDERED SILK PORTIÈRE EGYPT OR SYRIA, 19TH CENTURY

Of arched form, the dark ground worked with ogival ivory cartouches with gilt-embroidered calligraphic inscriptions and gilt metal-thread fringe. 300 by 153 cm. Estimate € 1200 - € 1500

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Lot 213 _______________________________________________________________________________________

AN INDIAN MUGHAL HOOKAH MOUTHPIECE RED CHERRY AMBER 17TH CENTURY 12 cm. 64 gr. Estimate € 10.000 - € 12.000

Lot 214 ______________________________________________________________________________________

A MAMLUK ENGRAVED BRASS BRONZE BOWL, 14TH CENTURY

A rounded bowl with inward sloping sides and a vertical rim, the sides decorated with four roundels enclosing Arabic inscriptions in thuluth script interrupted by nine roundels and cartouches containing geometric designs. Beneath is a band of Arabesqure and crescents. The inscriptions: ‘Glory, prosperity, and continuing wealth’. 8 cm. high, 18 cm. diam. CATALOGUE NOTE The bottom engraved, ‘made for Al-Hajj Mo’men Ibn Al-Muqadem ibn Al-Badr Hasan’. Estimate € 2000 - € 3000

238

Lot 215 _________________________________________________

AN EXEPTIONAL BANDED AGATE-SET SILVER AND GILT PECTORAL, BUKHARA, 19TH-20TH CENTURY

Of foliate form suspended from a chain with hanging pendants, fine filigree overall, hollow body with hinged top, inlaid with seven banded agates to pectoral and a further four to suspension plaques, coral beads, the suspension chain and hanging pendants set with spinels and green stones, the suspended elements terminating in openwork orbs, gilt silver on front and silver on reverse. Approximately 102 cm. high overall including chains, pectoral 32 by 36 cm. PROVENANCE Private collection, Greece CATALOGUE NOTE For a very similar agate-inlaid Bukhara pectoral see Christie’s, 31 March 2005. Property from the Estate of Kate Kemper, Lot 216 Estimate € 3000 - € 4000

Lot 216 _______________________________________________________________________

A BUKHARA TURQUOISE-INLAID SILVER-GILT MOUNTED BELT CENTRAL ASIA, LATE 19TH CENTURY

The felt and silk belt mounted with four silver rosettes decorated in openwork with vegetal interlace, the buckle decorated in openwork with cartouches containing vegetal interlace surmounted by flowerheads flanked by split palmettes, the centre with turquoise inlaid section, each element with areas of gilding and decorated in turquoise inlay. 97 cm. long CATALOGUE NOTE For an almost identical buckle to that on this belt: see Christie’s, Indian & Islamic Works of Art and Textiles, 8 October 2010, lot 267. Estimate € 1000 - € 1500

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Lot 217 _______________________________________________________

AN OTTOMAN CEREMONIAL COSTUME, TURKEY, EARLY 20TH CENTURY

A blue cloth frock coat embroidered on the front and on the edges of golden metallic-thread with floral ramage, golden buttons decorated with the emblem and pant golden braid bands on the sides. Jacket length: 112 cm. Pants length: 108 cm. Estimate € 2000 - € 3000

Lot 218 _________________________________________________________

A MOROCCAN SILK SASH, 16TH-17TH CENTURY

A Moroccan sash woven in red, yellow, purple, and brown silk threads, with a symmetrical ‘Nasrid style’ design of ogival enclosing rosette medallions and arcades of confronting scrolls on a ground of saz and split and full palmettes reserved in red, bordered by stellar medallions and tassels, further register with saz, split and full palmette scrolls reserved with cloud band scroll borders. 29 by 206.5 cm. Estimate € 1500 - € 2000

240

Lot ____________________________________________________________________________________

A METAL-THREAD EMBROIDERED VELVET COAT (CHAPAN) Lot 219

_________________________________________________________________________________________

HARA, CENTRAL ASIA, EARLY 19TH CENTURY

Of typical form with wide skirt, long sleeves and slightly waisted mid-section, the collar with a large cusped medallion embroidered with silver scrolling floral vine on gold ground, the body with silver embroidered stellar motives with green velvet highlights, the edges with chevron embroidery lined in violet satin, splits and repairs to the velvet 196.8 by 139.5 cm. Estimate € 3000 - € 5000

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Lot 220 _____________________________________________________________________________________

A QAJAR SILVER AND BRASS-MOUNTED COCO DE MER KASHKUL, PERSIA, 19TH CENTURY

Of typical form, mounted with silver and brass panels, decorated in open work with a band of inscription-filled cartouches, surrounded by bands containing scrolling floral vines, with suspension loops and chain 34 cm. long Inscriptions: the call to God to bless the Prophet and the Twelve Imams, to the top a phrase or verse in Persian. Estimate € 3000 - € 4000

242

Lot 221 ______________________________________________________________________________________

A MAMLUK STYLE SILVER INLAID BRASS CANDLESTICK, 19TH CENTURY

A candlestick with a concave-sided body and candle holder, a concave drip tray and cylindrical neck. The body is decorated with three large cartouches enclosing Arabic inscriptions in large thuluth script, linked with cartouches enclosing arabesques, set between two bands of geometric designs and chains. Around the foot a band of birds and flower heads. The shoulder is decorated with three cartouches enclosing Arabic inscriptions in thuluth script linked with roundels each showing a seated figure playing on musical instruments. The neck with roundels of seated musicians and lotus heads. The candle holder with roundels enclosing Arabic inscriptions and geometric designs. 40 cm. high, 34 cm. diam. Inscriptions: On the shoulder: Glory to our lord, al-Malik, the learned, the diligent, the sultan, al-Muzaffar, sultan of Muslims. On the body: Glory to our lord, al-ashraf, the learner, the diligent, Saif al-Din wa al-Dawla al-Zaffer. On the candle holder: the sultan, the king, al-Nasir Estimate â&#x201A;Ź 2000 - â&#x201A;Ź 3000

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Lot 222 _____________________________________________________________________________________

A SAFAVID TINNED-COPPER BASIN SIGNED MUHAMMAD SADIQ IRAN, 16TH-17TH CENTURY

Of rounded form with everted rim, the body engraved with medallions comprising hunting scenes, seated animals and split palmettes alternating with inscription-filled cartouches, the neck decorated with a frieze of similarly seated animals and scrolling arabesques within smaller medallions, one with an an inscription, the interior engraved with a circular design of linked medallions with palmettes 33.6 cm. diam. Estimate € 3000 - € 5000

Lot 223 ________________________________________________________

A SAFAVID BRASS TORCH STAND ( SHAMDAN ) IRAN, 17TH CENTURY

Of cylindrical form, on a splayed base, decorated with narrow bands of scrolling palmettes and floral arabesques, the neck with a central band comprising an inscription in nastaliq . 27.5 cm. high Estimate € 5000 - € 7000

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Lot 224 _______________________________

A QAJAR BOOK BINDING, 19TH CENTURY

Lacquer binding painted in gold and polychrome with a central medallion of a dragon with pendants containing paired fish surrounded by a forest scene showing simurghs, combat scenes and various animals, in meandering vine and cloud bands borders, brown Morocco doublers . 24 by 15 cm. Lot 225 _____________________________________

Estimate € 1500 - € 2000

A PERSIAN TINNED-COPPER KASHKUL, 18TH CENTURY

A Persian tinned-copper kashkul, of boat shape with raised ends, both sides engraved arounded the body with scrolling palmettes and cloud-bands, standing on a small foot and engrtaved around the rim im large thuluth script with ‘the call to God to bless Muhammad and the Twelve Imams’ on the bottom engraved the name of the maker Muhammed Hasan. 10 by 24 cm. Estimate € 1200 - € 1500

Lot 226 _________________________________________________________________________________

A GILT QAJAR BRONZE PEN CASE OR QALAMDAN, 19TH CENTURY

A Persian pen case of typical elongated form, rounded ends and sliding tray, decorated at the top in gold with three linked cartouches enclosing two seated figures with their servants and birds perched amongst flowering branches.The sides stylized further with a repeat pattern cartouches enclosing a horseman in a hunting scene. 21 by 3 cm. Estimate € 1200 - € 1500

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Lot 227 ____________________________________________________________________________________

A SILVER OVERLAID BIDRI HOOKAH BASE, DECCAN, 19TH CENTURY

Of spherical form with slightly flared cylindrical mouth with pronounced boss, the body decorated in silver overlay with a band of floral sprays, the mouth with similar design, the shoulder with a band of meandering vine issuing flowerheads . 17 cm. high Estimate € 1200 - € 1500

Lot 228 ____________________________________________________________________________________

A SILVER-OVERLAID ALLOY BIDRI HUQQA BASE,DECCAN, 19TH CENTURY

Of bell-shaped form, with truncated slightly flaring neck, the body decorated in silver overlay with a band of floral sprays, the mouth with similar design. The shoulder and the base with a band of meandering vine issuing flowerheads. 16.9 cm. high Estimate € 1200 - € 1500

246

Lot 229 ______________________________________________________________________________________

A OPENWORK STEEL PANEL (WINDOW), MUGHAL STYLE 18TH-19TH CENTURY

Of rectangular form, finely worked cut steel spiraling tendrils issuing palmettes and leaves. 25 by 40 cm. Estimate € 2000 - € 3000

247

Lot 230 ________________________________________________________________________________

AN OTTOMAN IVORY-HILTED STEEL SWORD (YATAGHAN) TURKEY, LATE 18TH CENTURY

With slightly curved tapering single edged steel blade, walrus ivory hilt, prominent ears forming the pommel, the forte and center of the hilt mounted with appliqué silver studs, the blade decorated with a gold damascened pole medallion on one side, an inscription filled cartouche on the other, its wood scabbard entirely covered in silver elaborately embossed with rococo style foliage and urns containing floral sprays L 77 cm. Estimate € 1200 - € 1500

Lot 231 _________________________________________________________________________________________

AN IVORY-HILTED WATERED-STEEL PESH-KABZ, INDIA LATE 18TH-EARLY 19TH CENTURY

The blade with reinforced tip, the ridge with palmette, the forte engraved with floral scrollwork. L.46 cm. Estimate € 1000 - € 2000

248

Lot 232 _________________________________________________________________________________________

A MUGHAL PAPIER-MACHÉ PEN CASE (QALAMDAN), INDIA, 17TH-18TH CENTURY Of typical elongated form, the polychrome and gilt painted decoration with a birds perched amongst flowers and foliage. To the sides with different types of flower sprays, tulips, hyacinths, chrysanthemums and lotus. 30 by 5.5 by 60 cm. Estimate € 1500 - € 2000

Lot 233 _________________________________________________________________________________________

A LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN) SIGNED YA SADIQ AL-WA’D (FOR MUHAMMAD SADIQ), IRAN, LATE 18TH CENTURY

Of typical elongated form, rounded ends and sliding tray, the top painted with a dense and lively battle scene, the sides with mounted figures hunting rabbits and deer in a landscape, the red underside and tray painted with gold floral meander. 3.5 by 23.5 by 4.5 cm. Muhammad Sadiq of Isfahan. Muhammad Sadiq was a gifted pupil of Muhammad Ashraf, who flourished from 1128 AH/1716 AD to 1177 AH/1763-4 AD. His output was not confined to lacquer alone, and his oeuvre includes two oil paintings in the Chehel Sotun Palace in Isfahan, one produced for the Afsharid ruler Nadir Shah and the other for Agha Muhammad Khan Qajar. This particular scene painted upon the pen box is adapted from the wall paintings at the Chihil Sutun Palace at Isfahan. The animation and crush of figures is emphasised in translating this scene from a wall painting to a miniature scale. Estimate € 3000 - € 5000

249

Lot 234 _____________________________________________________________________________________

A BANYA LUKA EMBROIDERED AND APPLIQUE PANEL OTTOMAN, EARLY 19TH CENTURY

Of rectangular form, the cream wool ground embroidered with polychrome wool threads and silver strands, the design in rococo style containing a large vase of flowers with foliate, surrounded by a similarly decorated border.The embroidered and appliqué hangings of Banya Luka typify the Ottoman Baroque style seen in wall decoration and woodwork of the period. 155 by 130 cm. Estimate € 2000 - € 3000

250

Lot 235 _________________________________________________________________________________

AN OTTOMAN EMBROIDERED APPLIQUÉ WOOL PRAYER PANEL BANYA LUKA, TURKEY, END OF 18TH CENTURY

Of rectangular form, the beige ground applied with polychrome woolen patterns, the design comprising an elaborate arch in rococo style containing a large vase of flowers with foliate and architectural decoration containing houses on either side and above, surrounded by a similarly decorated border, fringed with tassels, later lining. 198 by 130 cm. CATALOGUE NOTE This type of appliqué textile hanging with a central mihrab panel would have been used in a campaign tent as the qibleh cloth. For a simpler design without the houses, see Roderick Taylor, Ottoman Embroidery, London 1993, p. 140. Estimate € 3000 - € 4000

251

Lot 236 _________________________________________________________________________________

A SAFAVID SILK EMBROIDERED PANEL, 17TH CENTURY

Of rectangular form, embroidered in colorful silk threads over an light brown colored ground with six horsemen in a hunting scene, amongst small trees and floral motifs. 86 by 58 cm. Estimate € 3000 - € 4000

252

Lot 237 _________________________________________________________________________________

A SAFAVID SILK LAMPAS FRAGMENT, PERSIA, 17TH CENTURY

Depicting a row of ogival cartouches, each surrounded by a band of calligraphy, on copper ground, each cartouche depciting a youth with cup and flask. 18 by 30 cm. CATALOGUE NOTE The inscriptions consist of Persian verses, probably from the Omar Khayyam Rubaiyat: ‘Since Moon and Venus first appeared in the sky No one has seen anything better than ruby wine. I often wonder what the Vintners buy One half so precious as the Goods they sell’. For two related panels forming a document case, see Patricia Baker, Islamic Textiles, 1995, p. 117. Estimate € 2000 - € 3000

253

254

Lot 238 _________________________________________________________________________________

A LARGE PERSIAN FIGURAL SILK PANEL, QAJAR EARLY 19TH CENTURY

A figural silk panel, woven in blue, black and orange silk threads on a light green silk ground, with gilt metal threads highlight. To the centre a repeat pattern featuring two rows of horsemen and a bearded noble man between animals, the outer borders with repeat pattern of roundels enclosing bearded noblemen. 185 by 145 cm. Estimate € 6000 - € 8000

255

Lot 239 _______________________________________________________________________________________

A SAFAVID SILK EMBROIDERED PANEL, PERSIA TABRIZ, 17TH CENTURY

Of rectangular form, embroidered in colorful silk threads over an ivory colored ground with four horsemen in a hunting scene, surrounded by a border with repeat pattern of foliage and flower scrolls. 55 by 103 cm. Estimate € 3000 - € 4000

256

Lot 240 ______________________________________________________________________________________

A PERSIAN PIERCED STEEL PROCESSIONAL ALAM, 17TH CENTURY

The drop-shaped panel with upper shaped pendant each enclosed within a later frame, each with finely worked cut steel spiralling tendrils issuing palmettes and flowerheads around Arabic inscriptions. Inscriptions: At the top the basmallah with ‘Allah, Muhammed, Ali, Fatimah, Hasan and Hussain’. L: 41 cm. CATALOGUE NOTE Standards are used in many parts of the Muslim world by the Shi’a community in processions marking the martyrdom of Imam Husain, grandson of the Prophet Muhammad, who died at the Battle of Karbala in 680 AD. Estimate € 7000 - € 9000

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Lot 241 ____________________________________________________________________________________

VELVET FRAGMENT, SAFAVID, IRAN, 16TH CENTURY

Textiles of the Safavid period demonstrate the technical mastery of the weavers as well as their strong dependence upon book illustration and illumination as a pattern source, at least in the products of court workshops. This example features a lattice pattern formed by staggered rows of lobed medallions. The princely pastime of falconry is the subject of the medallion scenes: the bird sits on her master’s gloved hand while an attendant, holding a receptacle and a bag for the game, approaches. A duck flies away from the falconer. 70 by 62 cm. CATALOGUE NOTE Under the reign of Shah Tahmasp (1524–76), royal workshops were established and by the seventeenth century, Shah Abbas I (r. 1587–1629) established a state monopoly over the silk trade in the Caspian provinces, where the bulk of the raw material was produced. In addition, the state regained control of ports in the Persian Gulf from Portuguese occupation, facilitating maritime trade and rerouting silk trade away from areas under Ottoman jurisdiction. When Isfahan was chosen as the Safavid capital in 1598, Armenian textile workers were relocated to the neighborhood of New Julfa. This local textile industry included dyers, weavers, and embroiderers producing luxury textiles mainly for export under the supervision of the state. Private workshops in urban centers such as Yazd and Kashan continued to produce textiles for sale within and beyond Iranian borders, and are especially known for velvet and lampas-woven luxury silks. Estimate € 5000 - € 7000

258

Lot 242 _______________________________________________________________________________________

A FINE SAFAVID WOVEN SILK AND METAL-THREAD LAMPAS WEAVE FIGURAL PANEL, PERSIA, SECOND HALF OF 16TH CENTURY

The red burgundy silk ground woven with white silk and metal thread, a repeat scene depicting a prince on horseback with a falcon perched on his right hand, a simurgh flying above, amidst trees, cloudbands, leafy and floral branches, mounted with detail showing on reverse. 70 by 35 cm. PROVENANCE: Private collection, Germany CATALOGUE NOTE A larger panel of the same design was offered at Sotheby’s, Art of the Islamic and Indian Worlds, Tuesday 23rd October 2007, lot 177. For an identical design, albeit on a yellow ground, see Bernard O’Kane, The Treasures of Islamic Art in the Museums of Cairo, Cairo 2006, no. 230. Estimate € 15.000 - € 20.000

259

Lot 243 _________________________________________________________________________________

A SET OF THREE ILKHANID SILK LAMPAS TEXTILE FRAGMENTS CENTRAL ASIA, 13TH-14TH CENTURY

Comprising a long vertical panel, the brilliant brown ground woven in brown silk forming scrolling arabesques around drop shaped roundels each with a band of benedictory Kufic around a central palette, irregular at edges, slight damages, areas of yellow staining, colors very well preserved. 70 by 40 cm. Estimate € 8000 - € 12.000

260

Lot 244 _________________________________________________________________________________

A SET OF ILKHANID SILK LAMPAS TEXTILE FRAGMENTS CENTRAL ASIA, 13TH-14TH CENTURY

Comprising a long vertical panel, the brilliant red ground woven in red silk forming scrolling arabesques around drop shaped roundels each with a band of benedictory Kufic around a central palette, irregular at edges, slight damages, areas of yellow staining, colors very well preserved. 125 by 35 cm. Estimate € 8000 - € 12.000

261

Lot 245 _________________________________________________________________________________________

A TALISMANIC CHART, QAJAR, IRAN, 19TH CENTURY

Arabic manuscript on textile cloth, written in red and black ink with thuluth and naskh script. The main body of the chart with a central large table contains numerous magic squares, surrounded by a border enclosing two verse of Quran 3 surah Al-Imraan v.26-v.27 and Quran 2 surah Al-Baqarah v.255 Ayat al Kursi. The outer border containing roundels enclsoing numerous magic squares and Arabic inscriptions. Further stylized with innovications to Allah, praises of the prophet and other talismanic inscriptions. Whether hung on a wall or carried on the body, talismans such as this large-scale chart covered with various designs and inscriptions were believed to help secure blessings (baraka) and provide protection for individuals and places. 70 by 67 cm. Lot 246 Estimate € 1200 - € 1500 __________________________________________

A QAJAR WHITE FELT DERVISH HAT, LATE 19TH CENTURY

A Qajar hat embroidered in black wool with geometric and foliate patterns and Sufi inscriptions within cartouches, the crown with a flowerhead motif, the rim wih a repeating pattern on ‘Oh Ali . The inscriptions are verses in persian nastaliq script invoking a praising Ali, the son-in-law of the Prophet and the first Shi’a Imam. 20 cm.

262

Estimate € 800 - € 1000

Lot 247 __________________________________________

A SILVER-GILT THREAD EMBROIDERED SILK PRAYER MAT, NORTHERN INDIA, MID 19TH CENTURY With central mihrab containing a stylized flowering tree, an oval calligraphic medallion below, scrolling floral border, lined. 192 by 80 cm. Estimate € 5000 - € 7000

Lot 248 __________________________________________

A DECCANI CALLIGRAPHIC COTTON PANEL, INDIA, 17TH CENTURY

Rectangular, decorated in cream on a black ground with inscription filled trellis, backed. 110.5 by 48.5 cm. Estimate € 2000 - € 3000

263

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.

264

Lot 249 ________________________________________________________________________________

A SUZANI, SHAKHRISABZ AREA, UZBEKISTAN, FIRST HALF 19TH CENTURY

A Suzani panel embroidered in silk with large colorful flower heads amongst foliage scrolls on a natural ivory cotton ground. 175 by 135 cm. Estimate € 8000 - € 10.000

265

Lot 250 __________________________________________________________________________________

A NURATA SILK EMBROIDERED LINEN PANEL (SUZANI) UZBEKISTAN, 19TH CENTURY

Of rectangular, silk embroidered linen, the central panel sparsely decorated with stylized flowering plants surrounded by a double foliate border 213 by 176 cm. CATALOGUE NOTE The depiction of varying flowering spays, evenly spread out, within a floral stylised wide border is characteristic of susanis from Nurata, made in the second half of 19th century. For further examples of this type, see Stickereien aus Mittelasien, Exhibition Catalogue, 3rd - 13th April 1981, Mannheim, pages 27 and 29. Estimate € 8000 - € 12.000

266

Lot 251 ______________________________________________________________________________

A SILK CAUCASIAN EMBROIDERED PRAYER RUG SAFAVID, AZERBAIJAN, 18TH CENTURY 180 by 120 cm. Estimate € 5000 - € 7000

267

Lot 252 ____________________________________________________________________________________

A NURATA EMBROIDERED LINEN PANEL (SUZANI), UZBEKISTAN, LATE 19TH CENTURY

A rectangular panel, the metal-thread woven linen ground embroidered in polychrome silk threads with alternating and varying floral sprays evenly spread out, within a narrow floral border, 230 by 165 cm. Estimate € 2000 - € 3000

268

Lot 253 ________________________________

A MUGHAL SILK EMBROIDERED WOOL PRAYER PANEL, KASHMIR, CIRCA 1800

Rectangular, embroidered in polychrome silks, predominantly in shades of red on an ivory wool ground, depicting a large floral spray emerging from a vase above a stylized urn, flanked above by nastaliq inscription, all within a mihrab style frame, the borders with paired boteh motifs 187 by 107.5 cm. Estimate € 3000 - € 5000

CATALOGUE NOTE The inscription reads: ‘goshadeh bad be-dawlat hamisheh in dargah/ be-haqq-e ashhadu an la ilaha illa allah’ or ‘May this court (or shrine) be always open in prosperity/ By the truth of: I testify that there is no god, but The God’. The design of the flowering plant within a mihrab frame closely resembles that of Mughal tent panels and prayer mats made in Gujarat (see The Indian Heritage. Court Life and Arts under Mughal Rule, exhibition catalogue, Victoria and Albert Museum, London, 21st April - 22nd August 1982, nos. 212 and 213). It is very unusual to find prayer panels made in Kashmir by the same technique as shawls.

269

Lot 254 ________________________________________________________________________________

A SUZANI, SILK EMBROIDERED PANEL, BUKHARA, 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

270

Lot 255 ______________________________________________________________________________

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

A Suzani panel embroidered in silk with large flower heads surrounded by foliage branches on a natural ivory cotton ground. 185 by 95 cm. Estimate € 1500 - € 2000

271

Lot 256 ________________________________________________________________________________

A LARGE PERSIAN RASHTI-DUZI EMBROIDERY, 19TH CENTURY

With a central panel of dense flower design and a border of botehs enclosing flower sprays. 236 by 136 cm. CATALOGUE NOTE Rashti-Duzi refers to embroideries woven in the city of Rasht in Northern Iran. Woven for over 400 years, famed for their intricately embroidered details and borders of woven ‘Boteh’ (Paisley motifs). Estimate € 1000 - € 1500

272

Lot 257 ________________________________________________________________________________

A LARGE EMBROIDERED HANGING PANEL, RASHT, IRAN, 19TH CENTURY

Of rectangular form, colored wool flannel, worked in appliqué with silk and metal-thread embroidery and sequins, depicting a booth design flanked by two peacocks framed within elaborate floral borders with undulating scrolls. 250 by 150 cm. Estimate € 1000 - € 1500

273

Lot 258 ______________________________________________________________________________

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

274

ORIENTAL RUGS AND CARPETS

275

mmdd

276

277

Lot 259 ______________________________________________________________________________

A KASHAN ‘MOHTASHAM’ RUG, PERSIA, QAJAR PERIOD 130 by 200 cm.

Estimate € 1600 - € 2000

278

Lot 260 ______________________________________________________________________________

A KASHAN ‘MOHTASHAM’ SILK RUG, PERSIA, QAJAR PERIOD 135 by 205 cm.

Estimate € 3000 - € 4000

279

Lot 261 ______________________________________________________________________________

A SILK HERIZ RUG, NORTHWEST PERSIA, CRICA 1830 135 by 185 cm.

Estimate € 6000 - € 8000

280

281

Lot 262 ________________________________________________________________________________________

A LARGE HERIZ SERAPI CARPET, LATE 19TH CENTURY 350 by 565 cm.

282

Estimate € 1500 - € 2000

283

Lot 263 ______________________________________________________________________________

AN UNUSUAL PICTURAL MISHAN MALAYER RUG, LATE 19TH CENTURY 155 by 110 cm.

Estimate € 800 - € 1200

284

Lot 264 ______________________________________________________________________________

KAYSERI SILK WITH SILVER, TURKEY, CIRCA 1940 150 by 105 cm.

Estimate € 800 - € 1200

285

Lot 265 ______________________________________________________________________________

A SEWAN KAZAK RUG, SOUTHWEST CAUCASUS, 19TH CENTURY 220 by 155 cm.

Estimate € 800 - € 1200

286

Lot 266 ______________________________________________________________________________

A SHIRWAN KUBA CARPET, 19TH CENTURY 170 by 120 cm.

Estimate € 800 - € 1200

287

Lot 267 ______________________________________________________________________________

AN ANATOLIAN USAK CARPET, LATE 19TH CENTURY 415 by 480 cm.

Estimate € 800 - € 1200

288

Lot 268 ______________________________________________________________________________

AN ISTANBUL SILK RUG WITH TOPKAPI DESIGN, TURKEY, CIRCA 1940 150 by 105 cm.

Estimate € 600 - € 800

289

Lot 269 ______________________________________________________________________________

A SAROUK FARAHAN RUG, LATE 19TH CENTURY 195 by 130 cm.

Estimate € 500 - € 800

290

Lot 270 ______________________________________________________________________________

A TEKKE RUG, WEST TURKMENISTAN, 19TH CENTURY 300 by 225 cm.

Estimate € 500 - € 700

291

Lot 271 ______________________________________________________________________________

A BAGSCHEICH CARPET, AZERBAIJAN, 19TH CENTURY 140 by 210 cm.

Estimate € 1000 - € 1400

292

293

Lot 272 ______________________________________________________________________________

A PAIR OF TEHRAN PART-SILK CARPETS, 19TH CENTURY

The ivory field with different types of flower heads amongst scrolling foliage and surrounded by pairs of animals and hunting scenes within a border of palmette and flowerhead. 204 by 130 cm. Estimate € 2000 - € 3000

294

295

Lot 274 _____________________________________

A CAUCASIAN ASKAFA RUG, AZERBAIJAN,19TH CENTURY 285 by 115 cm. Estimate € 1500 - € 2000

Lot 273 _____________________________________

A CAUCASIAN ASKAFA PRAYER RUG 19TH CENTURY 85 by 185 cm. Estimate € 2000 - € 3000

296

Lot 275 ______________________________________________________________________________

A SIVAS DRAGON DESIGN RUG ON SILK FOUNDATION, ANATOLIA 19TH CENTURY 290 by 165 cm.

Estimate € 600 - € 800

297

298

Lot 276 ______________________________________________________________________________________

A HERIZ SERAPI RUG, 19TH CENTURY 275 by 340 cm.

Estimate € 1500 - € 2000

299

Lot 277 _________________________________________________________________________________

A HAJI-JALILI TABRIZ CARPET, NORTH WEST PERSIA, CIRCA 1870 390 by 275 cm.

Estimate € 800 - € 1200

300

Lot 278 _________________________________________________________________________________

KASHAN MOHTESM CARPET, 19TH CENTURY 330 by 230 cm. Estimate € 4000 - € 6000

301

Lot 279 _________________________________________________________________________________

A ZIEGLER MAHAL CARPET, WEST PERSIA, 19TH CENTURY 420 by 305 cm.

Estimate € 1000 - € 1500

302

Lot 280 _________________________________________________________________________________

A FARAHAN SILK RUG, MID 19TH CENTURY 130 by 200 cm.

Estimate € 1200 - € 1600

303

Lot 281 _________________________________________________________________________________

A BIDJAR MEDAILLON RUG, CIRCA 1910 190 by 138 cm.

Estimate € 500 - € 800

304

Lot 282 _________________________________________________________________________________

HERIZ BAGSCHEICH, 19TH CENTURY 365 by 445 cm.

Estimate € 3000 - € 4000

305

Lot 283 ______________________________________________________________________________

HERIZ SERAPI RUG, NORTH WEST PERSIA, LATE 19TH CENTURY 500 by 320 cm.

Estimate € 1600 - € 2000

306

Lot 284 _________________________________________________________________________________ A KOTAN RUG, CIRCA 1910 300 by 160 cm. Estimate € 800 - € 1200

307

Lot 285 ______________________________________________________________________________

A SILK AND METAL-THREAD KOUM KAPI RUG, ISTANBUL TURKEY, CIRCA 1910-1920 With exceptional design after the Safavid Polonaise Isfahan original. 210 by 134 cm. Estimate € 4000 - € 6000

308

309

Lot 286 ______________________________________________________________________________

A KASHAN ‘MOHTASHAM’ PRAYER RUG, CENTRAL PERSIA, LATE 19TH CENTURY 200 by 140 cm.

310

Estimate € 2000 - € 3000

Lot 287 ______________________________________________________________________________

A SAROUK FERAGHAN CARPET, NORTH PERSIA, 1890 260 by 375 cm.

Estimate € 2000 - € 3000

311

Lot 288 ______________________________________________________________________________

A VERY RARE AZERBAIJAN CARPET WITH AFSHAN DESIGN FIRST HALF OF 18 CENTURY 410 by 220 cm.

Estimate € 4000 - € 6000

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313

Lot 289 ______________________________________________________________________________

A KASHAN ‘MOHTASHAM’ RUG, CENTRAL PERSIA, CIRCA 1880

The blue field with an indigo medallion with an overall design of scrolling vines bearing palmettes, leaves and flowers, within an indigo border of vines, palmettes and flower heads. 395 by 310 cm. Estimate € 3000 - € 4000

314

Lot 290 ______________________________________________________________________________

AN AZERBAIJAN RUNNER, 19TH CENTURY 107 by 375 cm.

Estimate € 1500 - € 2000

315

Lot 291 ______________________________________________________________________________

A KASHAN ‘MOHTASHAM’ SILK RUG, 19TH CENTURY 210 by 120 cm.

Estimate € 4000 - € 6000

316

Lot 292 ______________________________________________________________________________

AN AGRA CARPET, NORTH INDIA, 19TH CENTURY 450 by 350 cm.

Agra’ carpets were produced in the jail workshops of North India in the second half of the 19th century and early 20th century, for the European, mainly British market, where they decorated the drawing rooms of both the aristocrats and newly rich of rapidly-industrialising Britain. Estimate € 2000 - € 3000

317

Lot 293 ______________________________________________________________________________

AN OUSHAK CARPET, 19TH CENTURY 430 by 340 cm.

Estimate € 800 - € 1200

318

Lot 294 ______________________________________________________________________________

A TEHRAN CARPET WITH SILK, CIRCA 1910 315 by 240 cm.

Estimate € 2000 - € 3000

319

Lot 295 ______________________________________________________________________________

A TURKISH HEREKE SILK RUG, CIRCA 1960 145 by 98 cm.

Estimate € 800 - € 1000

320

Lot 296 ______________________________________________________________________________

A CAUCASIAN STAR RUG, AZERBAIJAN, 19TH CENTURY 330 by 270 cm.

Estimate € 1200 - € 1500

321

Lot 297 _________________________________________________________________________________

A CAUCASIAN SCHILD KAZAK SEWAN CARPET, AZERBAIJAN 19TH CENTURY 230 by 170 cm.

Estimate € 3000 - € 4000

322

Lot 298 ______________________________________________________________________________

A TURKISTAN KOTAN RUG, CIRCA 1910 320 by 190 cm.

Estimate € 500 - € 700

323

Lot 299 ______________________________________________________________________________

A BAGSCHEICH CARPET, 19TH CENTURY 330 by 160 cm.

Estimate € 1600 - € 2000

324

Lot 300 ______________________________________________________________________________

A KARAPINAR RUG, KONYA REGION, CENTRAL ANATOLIA, FIRST HALF 19TH CENTURY 250 by 120 cm.

Estimate € 500 - € 700

325

Lot 301 ______________________________________________________________________________

A DOUBLE NISHA TRANSYLVANIAN RUG, FIRST HALF 18TH CENTURY 215 by 160 cm.

Estimate € 1000 - € 1500

326

Lot 302 ______________________________________________________________________________

A LARGE BAGSCHEICH CARPET, NORTH WEST PERSIA, LATE 19TH CENTURY 330 by 480 cm.

Estimate € 1200 - € 1500

327

Lot 303 ______________________________________________________________________________

A ZIEGLER MAHAL RUG, END OF 19TH CENTURY 420 by 330 cm.

Estimate € 6000 - € 8000

328

329

Lot 304 ______________________________________________________________________________

A SIGNED GHOM SILK RUG, IRAN 1920 155 by 103 cm.

Estimate € 400 - € 600

330

Lot 305 _________________________________________

HEREKE FINE SILK RUG, TURKISH LATE 20TH CENTURY 14 x 14 knots per square centimeter . 105 by 65 cm. Estimate € 800 - € 1200

Lot 306 ______________________________________________

A SIGNED KASHAN PICTORIAL RUG CIRCA 1900 220 by 130 cm. Estimate € 400 - € 600

331

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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.

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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.

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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

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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.

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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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