FINE ISLAMIC ART AUCTION 2021 by Oriental Art Auctions

ISLAMIC ART AUCTION 8 JUNE 2021

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 Tuesday 8 June 2021 At 12 noon

VIEWING By appointment Kerkhofstraat 3 8051 GG Hattem The Netherlands

Lot 111 ________________________________________________

A PORTRAIT OF A RAJA SMOKING A HUQQA MEWAR, NORTH INDIA, MID-19TH CENTURY

Opaque pigments heightened with gold on paper, seated and gazing at the viewer, wearing an orange turban, his head within a green and gold nimbus, his right hand rests on his black shield, at night on a terrace, a balustrade in the background, with red borders and yellow rules, the protective fly-leaf inscribed in Devanagari. 34 by 25 cm. Estimate € 1000 - € 2000

Lot 112 ________________________________________________

A STANDING PORTRAIT OF LADY HOLDING A MANUSCRIPT, 19TH CENTURY

Probably Bundi, Rajasthan, 19th century, depicted with diaphanous veil and wearing a green and red striped skirt with gold leaf pattern, within red border. 21 by 15 cm. Estimate € 600 - € 800 Lot 113 __________________________________________ Lot 110 _______________________________________________________________________________

A LARGE JAIN PATA OF THE COSMIC MAN (LOKAPURUSHA) GUJRAT, NORTH WEST INDIA, 17TH CENTURY

Opaque and gold pigments on textile, the standing Tirthankara with rows of figures at his chest, the Jambudvipa at his waist, and rows of further figures at his legs. Seated Jina’s at the lower left and right, flanked by other jinas. All interspersed with texts and numerical charts. 104 by 43 cm. Estimate € 8000 - € 12.000

A PRINCES SEATED ON A TERRACE OVERLOOKING THE GARDEN, RAJASTHAN, NORTH INDIA, 19TH CENTURY

A princess seated on a terrace, gouache on paper, wearing a red and gold garment and naked torso with jewelry inlaid with precious stones covering her body. 23 by 14 cm. Estimate € 8 00 - € 1000

Lot 116 _____________________________________

NAU NIHAL SINGH ENJOYING A NAUTCH, 19TH CENTURY

Opaque pigments heightened with gold on paper, depicting Nau Nihal Singh seated on a terrace and enjoying a nautch performed by elegant dressed dancer with musicians, ruled in gold and flower decorated borders. 25.5 by 31 cm. Estimate € 3000 - € 4000

Lot 114 ___________________________________________________________________________________

A SIKH PRINCE ENJOYING A NAUTCH, 19TH CENTURY

Opaque pigments heightened with gold on paper, depicting a Sikh prince seated on a terrace wearing a fine turban seated on a Masnad, attended by courtiers enjoying a nautch performed by elegant dressed dancers with musicians, ruled in gold and flower decorated borders. 36 by 48 cm. Estimate € 4000 - € 6000 Lot 115 ________________________________________

A ZENANA SCENE DECCAN, BIJAPUR SCHOOL 19TH CENTURY A princess giving birth, ladies playing music and preparing for the birth of the child. 30 by 23.5 cm. Estimate € 1000 - € 1500

Lot 117 _________________________________________________

SA’ADI AND THE WISE MEN, PROBABLY FROM THE BUSTAN’E SA’ADI, SAFAVID, PERSIA, LATE 16TH CENTURY Sa’adi and the wise men, probably from the Bustan’e Sa’adi,

with a frontispiece decoration to the reverse, illuminated miniature on polished paper,single leaf, ink and gouache on paper heightened in gilt, depicting a king seated on a throne, with courtiers in waiting, in a palace garden with blossoming trees and wildlife around them, small lake with two swans in the foreground heightened in silver (now oxidized), image with striking blue borders extending outwards into the wider margins, reverse with elaborate gilt and polychrome decoration, once acting as a frontispiece to text, all illumination and decoration. Painting: 24.5 by 16 cm. PROVENANCE From the collection of Helen and Joe Darion Estimate € 2000 - € 3000

Lot 118 ____________________________________________________________________________________

DARA SHIKOH VISITING A HERMIT, MUGHAL INDIA, CIRCA 1790

Gouache heightened with gold on paper, with sumptuously dressed prince with green halo accompanied by attendants and courtiers, facing a white robed hermit seated in front of his abode, with other guests preparing and consuming refreshments, foreground with lake containing lotus flowers and leaves and miniature birds, background with dense forest and red tinted sky, laid down on gold and polychrome decorated margin, glazed and framed. 24.2 by 16.7 cm. Dara Shikoh (1615-1659) was the eldest and favourite son of Shah Jahan, who ultimately was defeated in the wars of succession by his brother Aurangzeb. Dara Shikoh was intensely interested in spiritual matters of both Hindu and Islamic origins. Eventually he was executed as a heretic by Aurangzeb. (E. Kostioukovitch (ed.), The St. Petersburg Muraqqa’, Milan, 1996, pl. 49-50). Dara Shikoh remained a popular figure for many years after his death. This miniature, though much later, shares many qualities with a miniature in the St. Petersburg Muraqqa’, which also features a representation of Dara Shikoh, (op. cit., pl. 4, Fl. 16 recto). Estimate € 3000 - € 4000

Lot 119 _____________________________________________________________________________________

A FOLIO FROM A MANUSCRIPT OF THE SHAHNAME BY FIRDAWSI, ALEXANDER COMFORTING THE DYING DARA, PERSIA, CIRCA 1570

Iskandar (Alexander the Great) and Dara (Darius, ruler of the Achaemenid empire), had waged war against each other for three years. While the Iranian forces were in retreat, Dara was stabbed by two of his ministers, Mahiyar and Janusiyar, who expected a reward from Iskandar. But Iskandar, who had just learned that he was Dara’s half-brother, rushed to the scene of the attack and tenderly comforted his mortally wounded opponent. In the center of this painting, Dara lies dying, his head cradled by Iskandar. At left the two traitorous officers, Mahiyar and Janusiyar, are shown bound, Iskandar has assured Dara that he will have them executed. Encircling the death scene are the mournful and bewildered entourages of the two rulers.The tragic scene takes place against a colorful background painted in light mauve, and ochre; the flowers of the landscape offset the grimness of the human drama. Text: 19.5 by 16 cm. Folio: 29 by 20 cm. Estimate € 3000 - € 4000

Lot 121 ____________________________________________

PORTRAIT OF A YOUTH, SHAH QULI SCHOOL, 16TH CENTURY

Pen and ink heightened with gold on paper, a youth stands wearing flowing fur-lined robes and hat holding a white rose in his right hand, around hem a leafy landscape with flowering trees, shrubs and birds, laid down between minor borders of black and gold strapwork and neat black nasta’liq cartouches on wide margins decorated with gold floral motifs with red and blue accents. 21.5 by 14 cm. CATALOGUE NOTE According to the account by Sam Mirza Safavi, Shah Quli was a master of painting and geomancy and his poetry bears the takhalus Alvani. He was originally from Qum but was active in Tabriz as a pupil of Aqa Mirak. He then immigrated to the Turkish court of Sultan Suleyman the Magnificent (r. 1520–66). Estimate € 4000 - € 6000

Lot 122 ______________________________________

Lot 120 _________________________________________________________________________________________

AN ALBUM PAGE, THE CALLIGRAPHY SIGNED SULTAN MUHAMMAD NUR, SAFAVID IRAN, 16TH CENTURY, THE PAINTING 17TH CENTURY Portrait of a court falconer holding a falcon upon his wrist. Falconer, dressed in long top and pants, wears a series of sashes tied around his waist, from which a long daggar and purse hang background. Painted in gouache and gilded on paper. The verso with eight lines of gold nastaliq on paper comprised of a poem written diagonally by the calligrapher Sultan Muhammad Nur uses religious imagery to describe the beauty of the beloved. Signed Sultan Muhammad Nur. Page: 15.5 by 8.5 cm.

A PERSIAN MINIATURE OF HORSE SIGNED BY KAMAL AL-DIN HUSAYNI, SAFAVID IRAN, EARLY 16TH CENTURY Ink, opaque watercolor, and gold on paper, example of a richly caparisoned Arabian horse with a small head and an elegant neck. 28 by 19 cm. Estimate € 3000 - € 4000

Estimate € 3000 - € 4000

Lot 124 ____________________________________

A PERSIAN CALLIGRAPHIC PANEL SIGNED BY MOHI AL-KATIB HARAVI SAFAVID IRAN, EARLY 16TH CENTURY Persian manuscript on paper, with 6 lines of black nasta’liq written on the diagonal in clouds reserved against light ground with gold floral scrolls, bordered, within minor dark blue margins illuminated in floral scrolls The outer margin decorated with birds perched amongst floral scrolls. Text: 18.5 by 9 cm. Panel: 34 by 22.5 cm. Estimate € 2000 - € 3000

Lot 125 ____________________________________

A CALLIGRAPHIC ALBUM PAGE BY MIR ‘ALI AL-HARAWI (AL-KATIB AL-SULTANI), SAFAVID PERSIA, 16TH CENTURY Lot 123 ___________________________________________________________________________________

A CALLIGRAPHIC ALBUM PAGE IN NASTA’LIQ SCRIPT, SIGNED BY QOUSI AL-KATIB, PERSIA, FIRST HALF OF THE 16TH CENTURY

A standing youth holds a cup in his left hand and an apple in his right hand a painting style of Reza Abbasi, Safavid, 17th century. Persian manuscript on paper, four lines of verse written diagonally in nasta’liq script in black ink within cloud bands against a gold floral ground. Album page: 32.3 by 20.4 cm.

Ink, gouache and gold on paper pasted on a cardboard page, eight in Persian, in Nastaliq, in reserve in clouds on a gold background garnished with foliage. Text: 21 by 14 cm. Page: 34 by 23 cm. Estimate € 4000 - € 6000

Estimate € 6000 - € 8000

Lot 126 ____________________________________

A CALLIGRAPHIC PANEL SIGNED AHMED QULI, 17TH-18TH CENTURY

Arabic manuscript on paper, with 2 lines of extremely elegant thuluth, between 3 lines of small neat naskh. Diagonally small lines of calligraphy, one with added signature. Signed Ahmed Quli. Text: 15 by 24 cm. Panel: 29 by 38 cm. Estimate € 2000 - € 3000 Lot 127 _______________________________________

A PERSIAN CALLIGRAPHIC PANEL BY EISHI AL HARAWI, SAFAVID PERSIA, 16TH CENTURY Persian manuscript on paper, the quatrain written diagonally in black nasta’liq, the panel decorated with polychrome and gold floral scrolls against a blue ground. Text: 19 by 16 cm. Panel: 35 by 22.5 cm.

Lot 129 _______________________________________________________________________________________

THE MYSTIC AND POET KABIR WITH ATTENDANTS, INDIA, MUGHAL LATE 17TH- EARLY 18TH CENTURY

Estimate € 2500 - € 3000

Gouache on paper heightened with gold, inscription to lower edge, framed. Painting: 22 by 17 cm. PROVENANCE Formerly in the collection of the artist Einar Jolin (1890-1976) Stockholm. Inscription on the back: ‘Acquired from Trägård in Gothenburg by Einar Jolin 1947. Lot 128 ___________________________________________

A PERSIAN CALLIGRAPHIC PANEL BY KHALIL PADSHAH QALM, SAFAVID PERSIA, 16TH CENTURY

Ink, gouache and gold on paper pasted on a cardboard page, eight lines in Persian, in Nastaliq, in reserve in clouds on a gold background garnished with foliage. Text: 21 by 14 cm. Panel: 34 by 23 cm. Estimate € 4000 - € 6000

CATALOGUE NOTE Kabir was a fifteenth-century mystic saint and poet who is revered by both Hindu and Sikh followers. His teachings and poetry greatly influenced the Bhakti movement and his verses are found in the Sikh manuscript of Adi Granth. Born into a Muslim family of weavers, he later followed the teachings of the fourteenth-century Vaishnava devotional poet and Bhakti leader Ramananda. Kabir is believed to have lived in Benares in an area later named Kabir Chaura. In 1915 Rabindranath Tagore compiled and translated One Hundred Poems of Kabir, that remains a source of reference for the Bhakti movement. It is believed that Kabir died in 1518, at Maghar, where there was a dispute between Hindus who wanted to burn his corpse and Muslims who wished to bury him. However when the sheet covering Kabir’s body was lifted it revealed a mound of flowers (Muraqqa 1996, p.63). Other depictions of Kabir often show him surrounded by musicians or weaving, a reference to his upbringing. A Mughal painting in the St Petersburg Muraqqa’, dated late seventeenth century to early eighteenth century, depicts Kabir the mystical weaver with a disciple and young visitors (ibid., Pl.40). Estimate € 5000 - € 7000

Lot 130 _________________________________________

TWO FOLIOS FROM DIFFERENT KUFIC QURANS, NORTH AFRICA OR NEAR EAST, 9TH CENTURY

The first manuscript folio written in Kufic script, in black ink on paper, with red ink beginning of surah. Two surahs, surah Ghafir (The forgiver), verses 7685, and surah Fussilat (explained in detail), verses 1-27, with 16 lines. The folio faded side and damaged either corroded or burned. 23 by 10 cm. The second manuscript folio also written in Kufic script, in black ink on paper, vocalization in red, diacritics in green and red, with 11 lines. The folio damaged to one edge either corroded or burned. 21 by 10 cm. Estimate € 1000 - € 1200

Lot 131 _____________________________________________

TWO FOLIOS FROM DIFFERENT KUFIC QURANS ON VELLUM, NORTH AFRICA OR NEAR EAST, 9TH-10TH CENTURY

The first manuscript folio in Kufic script, black ink on vellum. Surah Yunus (Jonas), verses 73-76, marked with gold dots, fifth verse marked with a circular illuminated device in gold, with 5 lines, diacritics and vowel points in green and red. The folio slightly faded side and damaged either corroded or burned. 18 by 12 cm. The second manuscript folio in Kufic script, black ink on vellum, vocalization, and diacritics in red, with 5 lines. Surah Hud (Hud), verses 20-24, separated by polychrome and gold. The folio loses edges either corroded or burned. 15 by 12 cm.

Lot 132 ________________________________________________________________________________________

A FOLIO FROM QURAN MANUSCRIPT IN KUFIC SCRIPT, ATTRIBUTED TO CENTRAL ISLAMIC EMPIRE, 8TH CENTURY Quran folio written in black ink in early Kufic script on paper, surah Al-Isra (The night journey), Chapter 17, verses 17-46, 18 lines. The manuscript without any vocalizations or dots. One side fainted according to the age and dampness. 14.5 by 18.5 cm. CATALOGUE NOTE The tradition of dyed manuscripts developed in Byzantium for making valuable books, such as the Gospels. The technique continued into the early Islamic period, with the Blue Quran as its most spectacular manifestation. Tinted pages were used only in the most luxurious manuscripts. A regular script completed in plain ink. This folio can be dated to the early Islamic period thanks to its simple Kufic calligraphy. This script lacks the vowels or diacritical marks typical of the later, more developed written form of Arabic. A similar example found in The Met Fifth Avenue, New York, accession Number: 40.164.1a Estimate € 3000 - € 5000

Estimate € 1000 - € 1200

Lot 133 _________________________________________________________________________________________

Lot 134 ________________________________________________________________________________________

One leaf from surah As-Saffat, verses from mid. 145 to mid. 182, Juz 23. The second leaf from surah Sad, verses from mid. 1 to mid. 44, Jus 23. Arabic manuscript on paper, each with 25 lines, surrounded with golden frame. Maghribi script in black ink, diacritics in red, blue and orange, one surah heading in red golden Kufic issuing strap work palmette in to the margin. 7 by 11.5 cm.

Quran manuscript folio on paper, 15 lines written in Kufic script in brown ink with diacritics and vowel points in red and small black dots possibly later punctuation, gold roundel dot marking verse-endings, and one khams (fifth verse) marked by gold and polychrome rosette roundels with abjad Kufic ‘ha’ on the fainter side. The text surah Aal-i-Imraan, verses part from 47 on the first side, continue the surah to part verse 56, on the other side. 16.5 by 18.5 cm.

Estimate € 1500 - € 2000

Estimate € 2000 - € 3000

TWO MAGHRIBI QURAN FOLIOS, MOROCCO OR ANDALUSIA, 13TH-14TH CENTURY

A QURAN FOLIO IN KUFIC SCRIPT ON PAPER, NEAR EAST, EARLY 9TH CENTURY

Lot 135 _________________________________________________________________________________________

Lot 136 ________________________________________________________________________________________

A QURAN FOLIO IN KUFIC SCRIPT ON VELLUM, NEAR EAST OR NORTH AFRICA 9TH CENTURY

A QURAN FOLIO IN KUFIC SCRIPT ON VELLUM, NEAR EAST OR NORTH AFRICA, 9TH-10TH CENTURY

Quran manuscript folio on vellum, 14 lines written in Kufic script in black ink with diacritics and vowel points in red, possibly later punctuation, three gold roundel dots marking verse-endings, and one khams (fifth verse) marked by gold and polychrome rosette roundels with abjad kufic ‘ha’. The text surah An-Nisaa, verses part from 34 on the first side, continue the surah to part verse 41 on the other side. 24.5 by 31 cm.

Quran manuscript folio on vellum, 16 lines to the page written in Kufic script in brown ink with diacritics and vowel points in red and green, possibly later punctuation, gold petalled roundels marking verse-endings, and two gold and polychrome rosette verse markers. The text surah Al-Muminoon (The Believers), verses 74 – 83, on the first side, continue the surah to the rest of verse 96, on the other side. 27 by 18 cm.

Estimate € 4000 - € 6000

CATALOGUE NOTE The origins of this particular dispersed Quran have never been definitively identified as Near Eastern or North African. Its script follows many characteristics of North African Kufic scripts from the period, however the elongating of letters to this unusual form is a characteristic much attributed to leaves copied in contemporary Damascus (see F. Déroche, The Abbasid Tradition: Qurans of the 8th to the 10th Centuries, 1992, pp. 44-47). Estimate € 4000 - € 6000

Lot 137 ______________________________________________________________________________________

A QURAN FOLIO IN KUFIC SCRIPT ON VELLUM, NEAR EAST OR NORTH AFRICA 10TH CENTURY

Quran manuscript folio on vellum, 9 lines to the page written in Kufic script in brown ink with diacritics and vowel points in red, blue, and green, possibly later punctuation and one line of heading surah in glossy colors, one gold with red and green dots petalled roundels marking verse-ending. The text surah Al-Hashr (The Exile), part of verse 20–verse 23, on the first side. End of surah Al-Hashr (the rest of verse 23), the beginning of surah Al-Mumtahina (She that is to be examined) part from verse 1, on the other side. 27 by 19.5 cm. CATALOGUE NOTE The origins of this particular dispersed Quran have never been definitively identified as Near Eastern or North African. Its script follows many characteristics of North African Kufic scripts from the period, however the elongating of letters to this unusual form is a characteristic much attributed to leaves copied in contemporary Damascus (see F. Déroche, The Abbasid Tradition: Qurans of the 8th to the 10th Centuries, 1992, pp. 44-47).

Lot 138 ______________________________________________________________________________________

A GOLD KUFIC QURAN FOLIO ON VELLUM, NORTH AFRICA, 9TH CENTURY

Folio from a Quran manuscript on vellum with 5 lines of Kufic script an early, angular way of writing Arabic in gold with sepia outlines, as the words, outlined in black and filled in with gold leaf. Vocalization in red dots, diacritics marked with green and blue dots, individual verses marked with gold rosettes circled in blue. The text surah Al-An’aam (The Cattle), verses 28 and 29, on the first side, continue the surah to the rest of verses 29-30, on the other side. 18.5 by 13.5 cm. CATALOGUE NOTE A similar type of writing and decorating found in: The Arts of Fire: Islamic Influences on the Italian Renaissance (May 4 to September 5, 2004) The J. Paul Getty Museum at the Getty Center (Los Angeles), May 4 to September 4, 2004 Aga Khan Museum, Quran leaf, Accession Number: AKM480 Estimate € 12.000 - € 15.000

Estimate € 4000 - € 6000

Lot 139 _________________________________________________________________________________

A LARGE QURAN FOLIO IN KUFIC SCRIPT ON PAPER, NORTH AFRICA OR NEAR EAST, LATE 9TH-EARLY 10TH CENTURY

Folio from a Quran manuscript, written in black ink with a broad-nibbed reed pen, with 6 lines. The horizontally elongated letters characteristic of early Kufic Qurans on paper and are thought to be a response to the rectangular page format. The angular script is moderated by the roundness of several letters that look like large black dots. Vocalization in red and some in green dots, gold verses between surahs.Surah Aal-i-Imraan (Family of Imraan), verses from 124 - 126. One side fainter than the other with some loses edges. 41.5 by 30 cm Estimate € 8000 - € 10.000 CATALOGUE NOTE Folios from this dispersed Quran manuscript are notable for their strong and disciplined hand, as well as the strong, exaggerated mashq present here, indicative of ‘perfect mastery of the pen’ (François Déroche, The Abbasid Tradition, London 1992, p. 69). Similar folios from similar Quran are in the Chester Beatty Library, Dublin, The Iran Bastan Museum, Tehran (Ms. 4289: see M. Lings, The Qur’anic Art of Calligraphy and Illumination, Westerham 1976, no. 5), and the Pars Museum, Shiraz.

Lot 140 ________________________________________________________________________________________

A QURAN FOLIO IN EASTERN KUFIC SCRIPT, PERSIA OR CENTRAL ASIA, 11TH-12TH CENTURY

An Eastern Kufic script in black ink written on cream polished paper, 9 lines to each page, verses separated by polychrome and gold rosettes, vocalization in red, diacritics in blue, gold and polychrome ‘ashr and khamsa verse markers. Juz (IX) in gold. Text from surah Al-Anf ’al (IX), verses from 38-41. 41 by 30 cm. CATALOGUE NOTE This folio comes from a dispersed Quran attributable to Persia. Also, a similar Quran, smaller in size but written in the same bold black Eastern Kufic is dated to the end of the 10th century (see Bloom 2001, p.104-5).

Lot 141 ________________________________________________________________________________________

AN ILLUMINATED PINK QURAN FOLIO, ANDALUSIA, 13TH CENTURY

This folio belongs to a thirteenth-century Spanish manuscript named the ‘Pink Quran’, after the hue of the paper, consists of five lines of text in bold Maghribi script with diacritical and vocalization marks in gold outlined in brown, blue, and green. Verse numbers appear within gold discs in the form of blue abjad letters outlined in white (the abjad system assigns numerical values to the twenty-eight letters of the Arabic alphabet). The Khamis (fifth verse) marked as teardrop–shaped element in gold and polychrome. The fine, consistent calligraphy, extensive use of gold, and elaborate illumination suggest that the Pink Quran was made for a royal or noble patron in Granada or Valencia. Text: surah Sad (The letter ‘Saad’), verses from 16 and 17, first side, and continue verses 18-19 on other side. 23.8 by 30.5 cm Estimate € 5000 - € 7.000

Estimate € 4000 - € 6000

Lot 142 ___________________________________________________________________________________

Lot 143 _________________________________________________________________________________________

Comprising parts from Quran from surah Al-Ma’ida to the end of surah Yusuf. Arabic manuscript on paper, 99 leafs, each 11 line, plus two flyleaves. Folios with surah heading in gold, in black ink thuluth script. Diacritics and name of surahs in red ink, also the margins written on Hizibs and Juzs in black ink without any divisions among the verses. The section from the Quran bind with brown leather cover. Folio: 18 by 23 cm. each

A Quran folio from the ‘Five Surahs’ manuscript, Iran or Mesopotamia, surah Al-Baqarah from verses 102 to 104 on paper. The script of elegant black ink muhaqqaq, with gold words of Allah (God), vocalization in black and some with red, verses marked with gold roundels with rosette patterns, laid down within blue. 17.5 by 23 cm.

AN EASTERN KUFIC QURAN SECTION, NEAR EAST, 12TH CENTURY

Estimate € 20.000 - € 25.000

A QURAN LEAF FROM ‘FIVE SURAHS’ (SURAH AL-BAQARA, THE COW) IN MUHAQQAQ SCRIPT, PERSIA OR MESOPOTAMIA, PROBABLY JALA’RID BAGHDAD 1350-1420

Estimate € 2000 - € 3000

QURAN

Lot 144 ______________________________________________________________________________________

AN OTTOMAN QURAN, TURKEY, DATED 961 AH/1553-54 AD

Arabic manuscript on light brown paper, 275 leaves, 15 lines of black naskh, within gold and polychrome rules, gold and polychrome verse markers, tajwid in red, surah headings in white thuluth on gold and red illuminated panels, opening bifolio with gold and polychrome illuminated frontispiece firming 7 lines of naskh, final folio with dated colophon, some later owners’ notes in order and on final folio, in dark brown morocco with gilt lobed medallion, green marbled paper doublures. Text: 11.5 by 7 cm. Folio: 11.5 by 17 cm. Estimate € 4000 - € 6000

Lot 145 ___________________________________________________________________________________

ABU ‘ABDALLAH MUHAMMAD BIN SULEYMAN AL-JAZULI, DALA’IL AL-KHAYRAT WA SHAWARIQ AL-ANWAR, PRAYERS, WITH TWO FULL-PAGE ILLUSTRATIONS OF THE HOLY SHRINES IN MECCA AND MEDINA, COPIED BY DERVISH AHMED, BETTER KNOWN AS QARA JAWUSH ZADEH, OTTOMAN TURKEY, DATED 1146 AH/1733-34 AD Arabic manuscript on paper, 131 leaves, 9 lines to the page written in clear naskhi script in black ink, significant words picked out in red, gold discs between verses, inner margins ruled in gold, catchwords in wide outer margins, one illuminated headpiece in colors and gold, extensive commentaries in outer margins, now faded, some rubbing, tears to edges towards the end, corners rather thumbed, some repairs to borders, last two folios with prayers written in a cursive script added at a later date, brown morocco with stamped gilt central medallion. 13 by 10 cm. Estimate € 3000 - € 4000

Lot 147 _________________________________________________________________________________________

A LARGE VIEW OF MECCA, INDIA, 19TH CENTURY

Gouache on paper, ruled in gold and black, with a narrow blue-grey border. 41 by 58 cm. Estimate € 2000 - € 3000

Lot 146 __________________________________________________________________________________

AN OTTOMAN ILLUSTRATION OF THE PROPHET’S TOMB IN MEDINA 18TH CENTURY

The diagram of Medina annotated in Arabic in Naskh script in black ink and ink heightened with gold on paper. 35.5 by 29 cm. Estimate € 8000 - € 12.000

Lot 148 _________________________________________________________________________________________

AN ILLUMINATED QURAN, PERSIAN, QAJAR, EARLY 19TH CENTURY

Arabic manuscript on paper, 255 leaves plus four fly-leaves, each folio with 15 lines of elegant black naskh, gold and polychrome roundel verse markers, large gilt and polychrome floral marginal juz’ and hizb medallions, text within gold, blue, green and red rules, surah headings in blue on cartouches with gold ground, the opening four bifolia fully illuminated in gold and polychrome, f.3b and f.4a with a double-page spread of illumination consisting of a central lobed panel with gold against a gold ground with the surah listed within square starts, f.3b and f.4a with a polychrome and gold incipit frame. There is possession of Mr. Mirza Muhammad Ali Khan, son of the late Mr. Mirza Jaafar Khan, dated 1299 AH/1882 AD on the last page. With black leather binding, decorated with middle designs and around the frames, added later. Text: 22 by13 cm. Folio: 31 by 19 cm. Estimate € 8000 - € 12.000

Lot 149 ______________________________________________________________________________________

A LARGE ILLUMINATED QURAN, COPIED BY ABDULLAH AL-HUSAYNI, PERSIA, SAFAVID, SHIRAZ, 16TH CENTURY

Arabic manuscript on buff paper, 371 pages plus 4 flyleaves, 12 lines to the page, written in black naskh, verses separated by gold and polychrome pointed floral roundels, surah headings in white cursive script against gold ground within cusped cartouches on illuminated panels, some including words in naskh within clouds on reserved ground, margins ruled in colors and gold, catchwords, occasional marginal notes, marginal verse markers in the form of quatrefoil and drop-shaped illuminated medallions, two frontispiece bifolios with fine, full-page illumination in polychrome and gold, the following folio with an illuminated headpiece, two finispiece bifolios with similar full-page illumination, in gilt stamped brown morocco binding, the doublures of brown morocco with fine, cut-out gilt and black scrolling arabesques over blue ground Text panel: 18.8 by 11.5 cm 32.4 by 21.5 cm. CATALOGUE NOTE This magnificent and well-preserved Quran has all the hallmarks of the most refined manuscripts of the Safavid period. Copies of the Quran, as well as illustrated manuscripts, formed part of the trade that passed over the Ottoman-Safavid border in spite of the hostile relations between the two empires that continued for much of the sixteenth century. That Safavid Qurans such as this one were particularly cherished in the Ottoman realms is demonstrated by their inclusion among the list of objects brought as gifts by Safavid envoys to the Ottoman court. A comparable Quran to the present manuscript was included in the exhibition Ink and Gold at the Museum für Islamische Kunst, Berlin and published in the accompanying catalogue (See M. Fraser & W. Kwiatkowski, Ink and Gold, London, 2006, pp.118-121, no.35).

Estimate € 20.000 - € 30.000

Lot 150 ______________________________________________________________________________________

Lot 151 _____________________________________________________________________________________

Arabic manuscript on paper, 10 leaves plus two fly-leaves, one in the beginning and one in the end. The manuscript is handwritten by the writer in Naskh and Thuluth scripts translating the Hadiths of Prophet Muhammad into Persian. The Hadith in golden color, while the annotations and comments in black ink color, plus the geometric shapes in red ink with black triangles mixed with gold. At the end of the manuscript are two calligraphy hadith panels in the thuluth script. Zayn al-’Abidin ibn Muhammad al-Katib al-Shirazi fl. 15th C. (Persian) calligrapher. 11 by 17 cm.

The manuscript of 87 folios written in Ottoman script and 12 different drawings, including the banner of the Prophet Muhammad, his mosque, his tomb, the Kaaba with the location of the Black Stone, the shape of the throne on the Day of Resurrection, and Sidrat Al-Muntaha (Lote-Tree of the Farthest Boundary). The book about the characteristics of the creatures, starting from the throne of the Most Merciful and his angels, the spheres, the moons, the air, the water, the mountains, rivers, the noble ancient cities, the Kaaba, the kindergarten, the prophets, the righteous, and the sultans. About the signs of the Day of Resurrection as mentioned in the Islamic creed, ending with the Day of Resurrection. The manuscript written in black naskh script. The keywords in red, green headlines, and highlighted in red. The cover brown leather stamped, central mandorla (almond-shaped design) and paperboard. The author from the city of Bursa, northwest Turkey. His books considered as one of the important references. Based on the type of calligraphy and age of the paper, the manuscript is believed to belong to the author during his lifetime. There are three copies from that manuscript, two in Turkey and one in Germany. 16 by 28 cm.

AN ISLAMIC MANUSCRIPT ‘HADITH ARBAEIN’, A PROPHET MUHAMMAD’S FORTY PROVERBS WRITTEN BY ZAYN AL-ABIDIN BIN MUHAMMAD AL-KATIB, AQQUYUNLU IRAN, DATED 863 AH/1458 AD

CATALOGUE NOTE Other records of his works found in (Juz III) Chester Beatty Library, Dublin, Dated 888 AH inv.no.Ms.1502, (Arberry 1967, p.45) Estimate € 8000 - € 10.000

A MANUSCRIPT MAR’AT ALKAYINAT ‘MIRROR OF CREATURES’ IN OTTOMAN SCRIPT BY HUSSAM AL-DIN IBN KHALIL AL-BORSAWI AL-RUMI (DECEASED 1042 AH/1632 AD)

Estimate € 25.000 - € 30.000

Lot 152 _________________________________________

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

Lot 153 _________________________________________

A LARGE ILLUMINATED QURAN, SULTANATE INDIA LATE 15TH EARLY-16TH CENTURY

Arabic manuscript on cream-colored thin paper, 630 leaves, 13 lines to the page written in large and dispersed bihari script, first, seventh and thirteenth lines on each page written in red ink. Remaining lines written in black ink with diacritics and vowel points in black, the work Allah and some other significant words picked out in red, gold rosettes decorated with blue and red dots between verses, inner margins ruled in blue and red, catchwords, circular and pear-shaped devices in predominantly red, yellow and white colored panels between surahs left blank, two double pages of illumination at beginning and end with outer borders decorated with intertwining stylized floral and vegetal motifs interspersed with gold lozenges. 31 by 18 cm. Estimate € 3000 - € 5000

Lot 154 ____________________________________________________________________________

A QURAN JUZ’ NINETEEN, RASULID YEMEN, 15TH CENTURY

Arabic manuscript on buff paper, each folio with 6 lines of large flowing naskh, red diacritics, clusters of three gold dots marking verses, three surah headings in loose gold naskh, opening folio with gold and polychrome carpet page framing title, some staining to margins, in contemporary brown morocco stamped with elaborate cruciform motif, doublures stamped with central medallion within a calligraphic frame. Complete binding with flap. 13.5 by 18.5 cm. With an endownment by Almahdi Ibn Izzuddin Ibn Emir Al Mu’Minin Al Hasan Ibn Emir Al Mu’Minin Izzuddin Al Ma’ayyad in 991 AH. One of the well known Zaydi scholars in Yemen and grandson of the imam Al Hasan B. Izzuddin. The book cover, the composition of its decoration is arranged around a central quatrefoil. Four untooled fleur-de-lys rise from this quatrefoil to form a large lozenge or four-pointed star. The doublures of our manuscript are stamped with the repeated benedictory inscription al-’izz al-muqim al-da’im (‘lasting and perpetual glory’) which also appears on the binding of a Yemeni Quran dated to 1450-1500 in the Nasser D. Khalili Collection (David James, After Timur, Oxford, 1992, cat.11, pp.52-53). Estimate € 15,000 - € 20,000

Lot 156 ___________________________________________________

A RARE SCROLL, MAMLUK CHRISTIAN DEED ENDOWMENT (WAQFIYA), BY THE JUDGE NOUR AL-DIN ABI AL-HASSAN ALI MUHAMMAD AL-SALHI, DATED 509 AH/1115 AD This approved document certified that this Christian deed endowment belongs to Khader taj bin Nasrallah bin taj al-Nasrani al-Maliki al-Syrafi. Over 70 years more than 20 Islamic scholars and judges (their signatures and seals on the back of the scroll) continued certifying the endowment. Abu Al-Baqa’ Mohammed bin Ahmed Al-Futuhi Al-Hanbali, was one of the well-known judges at that time and was one of the certifies. 346 by 28 cm. Estimate € 4000 - € 6000

Lot 155 _____________________________________________________________________________________

A LARGE MONUMENTAL MAMLUK QURAN, 14TH-15TH CENTURY

A complete Quran manuscript on paper, 11 lines to the page, written in bold Muhaqqaq script in black ink, opening illuminated double-page with Quran title in white Thuluth reserved against blue-ground panels with gold flowers, vocalization, diacritics and beginning of each surah in red color, contemporary Mamluk brownish binding with pressure-moulded doublures, outer boards with a central medallion on one side and a geometric motif on the other, each comprising stellar motifs, with flap, might add it later. With monumental dimensions this impressive, complete manuscript of the Quran is a great rarity, whose patron must have been of considerable status and wealth. The production of very large Quran manuscripts was popular among successive Mamluk Sultans and viziers in the fourteenth and early fifteenth century. 48 by 38 cm. CATALOGUE NOTE A similar sold at Christie’s: the Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets, in London, lot 11, on 2nd May 2019 Estimate € 30.000 - € 40.000

Lot 157 _____________________________________________________________________________________

A MAMLUK QURAN (THE BAHRI DYNASTY) ATTRIBUTED TO SANDAL (ABU BAKR) SCHOOL OR STYLE, 1250-1382 AD

Arabic manuscript on cream paper, 292 folios, each folio with 13 lines of elegant large naskh, illuminated golden florets with blue centred between verses outlined in black, diacritics in black, surah headings written in white Kufic script within gilt panels decorated with gilt scrolls on a striking blue ground. Two opening bifolia and two at the end with verses reserved in clouds amongst foliage scrolls with gold and striking blue decoration. Occasional marginal gilt decorated roundels and cartouches on blue and red background, indicating ‘Ashur’, ‘Khumus’ (both marked by gold foliate roundels outlined in blue within the text) or ‘Rub Hizb’ (marked by pear-shaped florets emanating fronds), in Thulth script. The first opening of this Quran manuscript contains all that remains of the carpet page. As in most Mamluk Qurans, the frame of the first two illuminated frontispiece composed of interlocking geometric motifs enclosed within strap-work borders text pages are divided into three sections, the middle section containing the text within a flowing, cloud-like motif against a background of scrolls, text above and below in large white ornamental Eastern Kufic script. The general effect of the carpet page design is that of a rich tapestry, based on a 10-angled, star-shaped medallion with gold and white outlines extending to form a trellis of overlapping polygons, which alternate in gold and blue. Some pages not from the period of the Quran written later (16th century) coherent from the lines with it in three places and replacing them with paper from that period, which are: The first position: from verse (2) from surah Al-An’am until verse (109) one paper. The second position: From the beginning of surah Yunus until verse (14) one paper. The third position: from verse (45) from surah Al-Nahl until verse (67) of surah Al-Israa (9) papers. It is also noted that there is restoration around the edges of some leaves due to their damage, In later brown morocco with flap and stamped central medallion cover. There is possession of its owner Ali Sbeki or Subki on the side of the last folios of the Quran. 36 by 25 cm. CATALOGUE NOTE In general, the decoration of this Noble Quran is strong, rare and unique, which is not seen except rarely, in Mamluk style and decoration, with golden shapes, delicate geometric patterns and star dishes. And Quranic writings and verses in Kufic script, which is distinguished by the soft and delicate style of Kufic script flowing in square or rectangular shapes with horizontal extensions, which is the basic style of the line and the dominant form of writing Qurans in the first Islamic era. As for the oval shapes except round or rectangular ones on the edges of this Quran as verses separators. Or quarters or parts, it is one of the miracles of Islamic art in the flexibility of the Arabic script, and the Kufic script has a geometric style distinct from all similar and similar shapes in the Qurans of that era. It has no parallel, even if there is a near-geometrical style in the Quran of Sultan Baybars, but it is not completely identical, and it is a unique distinction of the style of the doctrine. This gives us an indication that who decorated this Quran, starting from the protocols and other forms, participated in the Quran of Sultan Baybars as it was written by three calligraphers: (1) Abu Bakr (Sandal) as head (2) and Muhammad Mubader) 3) Aidaghdi ibn Abdullah al-Badri. For this reason, the gilding of this Quran is the same method established in David James’s book in his book The Mamluk Quran as on pages 55, 56, 57 and 58 attributed to its gilding by the doctrine and calligrapher Abu Bakr known as ‘Sandal’ is almost identical that he was not (a real sandal), but we are not 100% certain, because we do not have his signature on this Quran offered in this auction. But by comparison, it is a great match. The balconies in Sultan Baybars’s Quran of parts (6) preserved in the British Library under No. 22406_12 correspond to pages 56 and 57 in David James’s book attributed to Abu Bakr (Sandal) with the style and pattern of the balconies in our Quran. Estimate € 150.000 - € 200.000

Lot 158 ________________________________________________________________________________________

AN ILLUMINATED QURAN IN A RICHLY PAINTED FLORAL LACQUER BINDING, COPIED BY AHMAD AL-NAYRIZI (DIED 1739 AD), RE-MARGINED IN QAJAR PERIOD AND COMMISSIONED FOR THE LIBRARY OF AMIR-I JANG (HISHMAT AL-DAWLAH), MASHHAD, RAJAB 1285 AH - RAMADAN 1287 AH/NOVEMBER 1868 - DECEMBER 1870 AD An Arabic manuscript on paper, 388 folios, plus 2 flyleaves, 12 lines to a page, written in naskh in black ink, ruled in blue, gold, and red, the external Qajar margins lavishly illuminated with polychrome and gold interlacing scrolls and flowers, verses separated by gold dotted rosettes, surah headings in blue cursive against a gold ground within polychrome cartouches, gold and polychrome verse markers in the margins. List of surahs in red or gold each within geometric against gold and blue ground shapes, around the double-page spread of illumination consisting of a central lobed panel with gold naskh against a red ground, followed by two pages with a polychrome and gold incipit frame, the last page bearing the colophon. A red backed lacquer boards, the outer boards richly decorated with red and yellow flowers and foliage with gold frames or boarders, the inner boards decorated with a central panel within several floral borders. Re-margined during the Qajar period, the borders of this manuscript are lavishly decorated with different patterns of interlacing flowers and vegetation, making it an exceptionally luxurious manuscript. The colophon to this Quran states that it was illuminated and had diacritical marks added (tashif) in Mashhad on the orders of Hamzah Mirza Hishmat al-Dawlah. This was the uncle of Nasir al-Din Shah and one of the most prominent military men of the Shah’s reign and variously governor of numerous provinces including Zanjan, Khurasan, Isfahan, Azarbayjan, Yazd, Khuzistan and Luristan. According to the colophon, the original text of the Quran was copied by the famous scribe Ahmad al-Nayrizi. This colophon is complimented by the information in the cartouche on the inside of the back cover, which is dated Ramadan 1287 AH/ November-December 1871 AD. Here it states that the Quran was bound, burnished, illuminated and gilded for the library of the Amir-i Jang (‘Commander of War’). Though the title Amir-i Jang in some sources is reported to have been awarded to Hishmat al-Dawlah in 1288 in connection with his campaign to Tbilisi to meet the invading Russian army1, this cover indicates that Hishmat al-Dawlah already was using this title by 1287. At the time the manuscript was refurbished, Hishmat al-Dawlah was governor of Khurasan, which explains why the task was completed in Mashhad. The left-hand page of the illuminated frontispiece bears the slightly later date of 1289 AH/1872-3 AD Quran 27 by 17 cm. Text 15 by 9.5 cm CATALOGUE NOTE Ahmad al-Nayrizi was preeminent calligrapher of the later Safavid period. Born in Nayriz in Fars, he studied under Aqa Ibrahim Qumi (active between 1659 and 1707) and was calligrapher at the court of Shah Sultan Husayn (r.1694-1722) in Isfahan. His work was highly admired both in his own time and throughout the Qajar period, during which time his work was both collected and widely imitated. Very reare examples of Al-nayrizi works can be found. The Metropolitan Museum has got 5 of his important works. Estimate € 40.000 - € 60.000

THE HISTORY OF THE MANUSCRIPT The colophon states that the manuscript consists of two parts; the oldest part is from surah Maryam (the middle-point of the Quran) up to and including surah al-‘Ankabut. No scribe is recorded for this part of the manuscript; Mehdi Bayani describes the naskh hand of the original part, however, as being in the style of Molla ‘Ala’ al-Din Beg, in other words the 16th-century Safavid scribe ‘Ala’ al-Din Tabrizi (Mehdi Bayani, Ahval va Asar-e Khoshnevisan, reprint, 4 volumes, Tehran 1363/1984, p. 1187). The section was certainly written by a very accomplished naskh scribe. According to the colophon, the original portion of the manuscript was made a gift of by a certain Haji Pirzadeh to a statesman called Aqa Mirza Mahmud. The latter commissioned the scribe Muhammad ‘Ali ibn Mulla Ahmad Qari Isfahani to complete the manuscript in the style of the “masters of the art”, a task he completed in Rajab 1302 (October-November 1884). In Bayani’s record from the section of his work on naskh calligraphers, which was compiled from his notes by his editors after his death, there is some confusion as to which section of the Quran is the oldest and which part was later completed by Muhammad ‘Ali ibn Mulla Ahmad Qari al-Isfahani. Bayani (or his editors) suggest that the section from surath Maryam to ‘Ankabut was the replacement section done by Ahmad Qari Isfahani and the remainder of the Quran was the original version, though in fact from the appear if the Quran it would seem to be the other way around.

Lot 159 _____________________________________________________________________________________

AN EXCEPTIONAL ILLUMINATED SAFAVID QURAN (POSSIBLY SHIRAZ), SECOND HALF 16TH CENTURY, WITH AN ADDITION SECTION IN THE QAJAR PERIOD DATED RAJAB 1302 AH/OCTOBER-NOVEMBER 1884 Arabic manuscript on paper, 638 folios plus six fly-leaves (three in each side), each folio with 9 lines of strong black naskh, rosette verse markers, text within gold and polychrome rules, surah headings in gold thuluth on blue ground within gold illuminated cartouches, the text in clouds on gold ground. Opening page of illumination with a prayer in the central cartouche. In the golden squares with golden thuluth script in the border are the surahs of the Quran. Illuminated opening double page of text (al-Fatiha and opening of al-Baqarah). A page from a Quranic tafsir (exegesis), the Majma‘ al-Nurayn of Abu’l-Hasan al-Marandi, has been inserted between the two pages. The midpoint of the Quran (surah Maryam) is marked with an illuminated double-page. The text from surah Maryam through surah Ankabut is the oldest part of this Quran. The final double page of Quranic text with Quran 113 (surah al-Falaq) and 114 (surah al-Nas) is fully illuminated. Quran: 29.5 by 19 cm. Text: 16.5 by 10 cm.

BINDING The lacquer binding of the manuscript also bears the name of Aqa Mirza Mahmud as well as the signature of the celebrated lacquer painter Fathullah Shirazi. For other works by this artist in a similar style, see below: British museum collection, object: W_1964-1218-6 Sothebys auction catalogue, 2012 arts of the Islamic world lot: 491 Muhammad ‘Ali ibn Mulla Ahmad Qari Isfahani In addition to the present manuscripts, Bayani lists a further Quran in the Golestan Palace Library in Tehran by this scribe, dated 1297 (Bayani 1363/1984, p. 1187). There also exists the possibility that this scribe is the same person as the famous Muhammad ‘Ali Isfahani, known as the Sultan of Scribes (Sultan al-Kuttab). This is suggested by the colophon in another Quran refurbished for Aqa Mirza Mahmud in which it is stated that the task was completed by the scribe Muhammad ‘Ali Isfahani Sultan al-Kuttab in 1306, see below: Bonhams auction catalogue, 19th April 2016 Islamic and Indian art lot: 18 While it is possible that there were two different scribes called Muhammad ‘Ali Isfahani working on refurbishing manuscripts for Aqa Mirza Mahmud in the first decade of the 14th century AH, it seems more likely that these were the same scribe. It is not clear when exactly in the reign of Nasir al-Din Shah that Muhammad ‘Ali received the title of Sultan al-Kuttab. Though Muhammad ‘Ali Isfahani was active as early as 1268, the first use of the title recorded by Bayani is a Quran dated 1314/ 1896-7 (Bayani 1363/1984, pp. 1185-6).

Estimate € 120.000 - € 150.000

Lot 161 _____________________________________

A LARGE OF QURAN SECTION INDIA, LATE 19TH CENTURY

Arabic manuscript on cream colored paper, 20 leaves plus 4 fly-leaves, folio’s with 9 lines of strong black naskh within thick gold and blue outlined text panels. With 36 surah Yasin and surah Al-Rahman 55, surah Al-Qalam 68 and surah Al-Haqqa 69 A leather-bound. 58 by 90 cm. Estimate € 4000 - € 6000

Lot 162 __________________________________________________________

Lot 160 _____________________________________________________________________________________

AN ABRIDGED OTTOMAN GENEALOGY (SILSILE-NAME) OF THE PROPHET MUHAMMAD, OTTOMAN TURKEY, 18TH CENTURY

Arabic manuscript on cream paper with tre lune watermark, 8 leaves plus nine flyleaves, text in black and red naskh, black lines connecting the genealogical tree, copious annotations in black, opening folio with name of Rustam Pasha, in paper covered red leather binding, blue paper doublures. Folio: 31.8 by 21.8 cm. Estimate € 4000 - € 6000

AN ISLAMIC SCROLL ON PAPER, GENEALOGICAL TREE OF THE PROPHET MUHAMMAD AND THE SULTANS OF THE OTTOMAN STATE WITH THEIR LINEAGE TO THE PROPHET, OTTOMAN, 19TH CENTURY Rare Islamic scroll, manuscript on paper, more than 5 meters long written in Arabic. Composed of the genealogical tree of the prophet Muhammad from Adam (Abu-al-Bashar), followed by prophets, biblical figures, saints and Sufis, and prayers. Other side, the genealogical tree of the sultans of the ottoman empire from Prophet Muhammad. Finely illuminated, it depicts the lineage of the prophet Mohammed and all the related names, inside various panels, with refined decorative elements, often colored. Late 19th century. 14.5 m by 33 cm. Estimate € 8000 - € 10.000

Lot 163 ____________________________________________________________________________________

AN ILLUMINATED COLLECTION OF PRAYERS, INCLUDING DALA’IL AL-KHAYRAT, MOROCCO, DATED 1196 AH/1685 AD

Arabic decorated manuscript on paper, 222 leaves, four sections, started with the genealogy of the prophet tree ten panels illuminated in Maghribi script in red and turquoise and gold, then Dalai al-khayrat with ten phrases in red, blue and gold. Third section is huzza al Akbar imam iben al Hasan al Shazli. Fourth section with two qassida. First one qassida ‘al burda to Muhammad al busairi’ The second ‘Um Hani to Hind doughter of Abu Talib’. 9.5 by 9.5 cm. Estimate € 5000 - € 8000 Lot 163 ______________________________________________

A SMALL ILLUMINATED QURAN WRITTEN IN MAGHRIBI SCRIPT, NORTH AFRICA PROBABLY MOROCCO, 17TH CENTURY

Arabic manuscript on paper, 248 leaves,15 lines to the page written in minute Maghribi script in black ink with diacritics and vowel points in blue and red, red dots between verses inner margins ruled in gold and blue, catchwords, illuminated devices in wide outer margins, surah headings written in eastern Kufic script in gold, covers richly decorated with geometric motifs in gold, with flap. 10 by 8 cm. Estimate € 5000 - € 8000

Lot 165 _________________________________________________________________________________

AN OTTOMAN BOOK MARIFETNAME BY İBRAHIM HAKKI’ ERZURULMU, 18TH CENTURY

Arabic and Turkish manuscript on paper, 369 leaves plus 3 fly-leaves, written in black naskh script. Catchwords and titles in red, the opening page with gold and polychrome decoration. Marifetname is the second main work of Erzurumlu İbrahim Hakkı. The work includes a preface, three major chapters and an afterword, each chapter 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 a religious, divine and philosophical content. The last section about 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. 30 by 19 cm. Estimate € 3000 - € 5000

Lot 166 __________________________________________________________________________________

Lot 167 __________________________________________________________________________________

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, first part about public medical matters, the second 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.

Arabic manuscript on paper of 19 leaves with 18 lines to each page, in naskh script with black and red ink. 1. A short thesis on Medicine, Arabic, 8 pages (page 6-14) 2. Risalah fi tarkib adwiyah al-bah (A thesis on Pharmaceutical compounding of sexual medicines), 24 pages (page 14-38). 3. Annotations on medicine, Persian, 5 pages (page 1-5). 18 by 14 cm.

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

Estimate € 3000 - € 5000

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

CATALOGUE NOTE Avicenna ( 980 – June 1037) was a Persian polymath who is regarded as one of the most significant physicians, astronomers, thinkers and writers of the Islamic Golden Age, and the father of early modern medicine. His most famous works are The Book of Healing, a philosophical and scientific encyclopaedia, and The Canon of Medicine, a medical encyclopaedia, which became a standard medical text at many medieval universities and remained in use as late as 1650. Estimate € 5000 - € 7000

Lot 169 ____________________________________

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

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

Lot 170 ____________________________________________

Lot 168 __________________________________________________________________________________

A RARE ARABIC MANUSCRIPT ON FALCONRY IN BLACK AND RED NASKH SCRIPT LATE 18TH CENTURY

Possibly copied from a late Ayyubid or early Mamluk book written by prince (Badraddin b. Muhammad b. Baktout b. Abdullah al Khaznadar al Rammah al Zahiri who died in 680 AH/1281 AD) 86 pages and 17 chapters contains the aspects of wild birds, breeding, how to use them in hunting, diseases and how to treat them, with 8 falcon miniatures. 21.3 by 14.8 cm. Estimate € 20.000 - € 25.000

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

An Arabic manuscript on paper, 20 lines to the page, divided between 3 lines of large and bold thuluth script, and 17 lines of neat naskh script in black ink written horizontally and diagonally within cloud bands against a gold ground punched with cintamani motifs, various panels of rococo flowers, with blue outer margins. The present ijazeh was given to Muhammad Haqqi Efendi, and signed by his tutor Isma’il Resmi baba, as well as Hafiz Hussein Remzi and Muhammad Vehbi, in 1301 AH/1883 AD. The document is also signed by the illuminator Hussein Shukri (son of Isma’il Resmi), dated the same year. 43.5 by 27.8 cm. PROVENANCE Sotheby’s London, 7 October 2015, lot 234. Estimate € 2500 - € 3000

Lot 171 _________________________________________________________________________________________

A RARE DOUBLE PORTRAIT OF THE FOUNDER OF RELIGIOUS ORDER OF BEKTASHI 17TH CENTURY Gouache on paper heightened with gold. An unique double portrait of the founder of religious order of Bektashi, Haji Bektashi Veli (died in 1271) and Sari Saltuk Baba (died in 11297-98) Haji Bektash Veli is a very important historical figure. He is also the mentor of the Janissaries, the most important elite infantry of the Ottoman army. He is an important figure of Alevi and Bektashi culture in Turkey and Balkans muslims. Bektashism was an influential order in the Ottoman empire because the Ottoman miltary order Janissarys considered Haji Bektashi Veli as their saint-patron.

Haji Bektashi Veli wears a green coat made of aba fabric and a brown cap, his right hand holding his beard. In his neck twelve stars (teslim Taahi) representing the twelve imams. On his chest, the necklace that the dervishes of Bektaşi Order, the religious order of Alevism named after Haji Bektash Veli wear. Behind him the most influential disciple Sari Saltuk Baba, considered as the missionaris who preached Islam in the Balkans and venerated in Turke Bosnia, Albania, Romania and Bulgaria. Dressed in a brown coat made of aba fabric and wearing a crown, the most significant symbols of the Bektaşi Order. He has a bushy black beard and he makes a sign expressing silence with his forefinger. On a yellow backround, Haji Bektashi and Sari Saltuk appear to be sitting on an animal skin with brown spots surrounded by a snake/dragon. The Ottoman caption below the painting reveals that the man on the right side is 13th-century dervish Sarı Saltuk Baba, the figure on the left is Haji Bektash Veli and the name of the calligrapher Ahmed from Üsküdar in 1061 AH/1651 AD. In the tekst is written that snake/dragon that loses its younger snakes/dragons and asking them to Haji Bektashi Veli while he is sitting on a chameleon skin. All of the original paintings at the Haji Bektash Veli museum in Turkey are from the late 19th and early 20th centuries. This is the oldest picture depicting both persons, realistic painted and undoubtedly reflects a tradition. To commemorate the 750th death anniversary Haji Bektashi Veli, UNESCO has declared as the Year of Haji Bektash Veli year. ‘The base of his philosophy lies on humanity, human rights and social equality that he counsels for the man to be modest, to purify his soul, to mature, to abstain from showing off and to be full of the love of God. His principles lead to cultural harmony and enlightening in Anatolia.’ Panel: 28 by 22 cm. Painting: 22 by 15 cm. Estimate € 20.000 - € 30.000

LOTS 172 - 199 UK PRIVATE COLLECTION

Lot 172 ____________________________________________________________________________________

A SAMANID SLIP-PAINTED POTTERY BOWL, PERSIA, 10TH CENTURY

With flaring sides, decorated in olive green and red reserved on a white ground, with a frieze of Kufic inscription centred on a roundel, with a central roundel enclosing a stylized bird against stippled contour panels. 37 cm. diam. ‫الله مع القوة والسالمة‬ 9.5 cm. height

CATALOGUE NOTE

The inscription: ‘God is with strength and safety’ Estimate € 3000 - € 5000

Lot 173 ______________________________________

A NISHAPUR POTTERY BOWL PERSIA, 10TH CENTURY

Earthenware with white slip painted with colored brown manganese and red clay under a transparent lead-based glaze. An elegant truncated cone-shaped bowl, similar to the preceding lot. Smaller and with more contained decoration, the palmette motifs are joined to a ewer in the centre, with the Kufic inscription: ‫ اهلل اهلل اهلل‬. God Balances the lower margin. Two winged palmettes and two small flowers complete the composition that is perfectly balanced. The representation of the ewer is not very common for this type of pottery and thus could may well have been used in a ritual context. 29 cm. diam. 10 cm. height Estimate € 4000 - € 5000 CATALOGUE NOTE A similar pottery bowl at the Louvre Museum Lot 174 ______________________________________

A SAMANID SLIP-PAINTED POTTERY BOWL, PERSIA, 10TH CENTURY Of conical form on a short foot, decorated in tomato red, manganese and ochre on a cream ground with abstract vegetal designs consisting of large palmettes and split palmettes, the well with a flowerhead and a band of cable design. 21 cm. diam. 7 cm. height.

Lot 175 _______________________________________________________________________________________

A LARGE POTTERY BOWL, SAMANID, CENTRAL ASIA OR NORTH EAST IRAN, 10TH CENTURY

Earthenware with white slip, painted with brown manganese colored clay, under transparent glaze. A refined and symmetrical decoration expands in the four directions. The two main motifs are elaborate dark red and brown palmettes, balanced by the inscription and by the leaf motifs between the two. 40.5 cm. diam. 15 cm. height. Estimate € 8000 - € 10.000

Estimate € 1000 - € 1500

Lot 176 ____________________________________________________________________________________

TWO NISHAPUR SLIP-PAINTED POTTERY BOWLS, 9TH-10TH CENTURY

With flaring sides, decorated in manganese-brown and red on a cream ground with a band of Kufic inscription around the sides, one side with a further band of inscription, the rosette in the middle, the rim with a dotted border 19.1 cm. diam.(2) 7 cm. height

Lot 178 _________________________________________________________________________________

A PAIR OF SAMANID SLIP-PAINTED POTTERY BOWLS, PERSIA, 9TH-10TH CENTURY Of conical shape, decorated in red, mustard, and manganese brown outline on a cream ground. 19.5 cm diam. 8 cm. height Estimate € 1500 - € 2500

Estimate € 1500 - € 2000 Lot 177 _____________________________________________

Lot 179 _____________________________________________

Earthenware with white slip, painted with brown manganese colored clay, under transparent glaze.main motifs are elaborate dark brown and green palmettes, 33 cm. diam. 13.5 cm. height

Of conical form on short foot, the white interior with a central dot surrounded by a minor sepia band and an elegant kufic inscription in dark sepia, the rim with a band of circles on cream ground surrounded by minor red lines and an outer band of sepia cusped design, the exterior plain white, glaze flaking around the rim. 32 cm. diam. 12 cm. height

A LARGE POTTERY BOWL, SAMANID, CENTRAL ASIA OR NORTH EAST IRAN 10TH CENTURY

Estimate € 5000 - € 7000

A SAMANID CONICAL POTTERY BOWL PROBABLY SAMARKAND, CENTRAL ASIA 10TH CENTURY

Estimate € 3000 - € 5000

Lot 180 _____________________________________________

A RAQQA BLUE AND WHITE POTTERY JAR SYRIA, 13TH CENTURY

Of baluster form with short cylindrical neck and everted rim, painted underglaze in alternating black and blue horizontal band. 16 cm. height 12 cm. diam. Estimate € 1500 - € 2000

Lot 183 _______________________________________________________________________________

FIVE BLACK AND TURQUOISE ‘DOME OF THE ROCK’ POTTERY TILES JERUSALEM, SECOND HALF 16TH CENTURY Lot 181 _________________________________________

A MAMLUK ALBARELLO, CERAMIC WITH BLUE DECORATION UNDER A TRANSPARENT GLAZE SYRIA OR EGYPT, 13TH CENTURY

Each of rectangular form, of repeating design consisting of a central quatrefoil palmette within a cusped medallion interspersed with stylized lotus with interlaced tendrils, in black, under transparent turquoise glaze. 10 by 7 cm. Estimate € 2500 - € 3500

A small albarello of unusual shape, raised on a disc-shaped foot with slightly waisted walls and straight neck. A long yet illegible blue inscription runs along the entire length of the body creating a pleasing decorative effect, heightened by the choice of contrasting colors. 11.5 cm. diam. 10 cm. height Estimate € 4000 - € 5000 Lot 182 ____________________________________________

A RARE POTTERY OIL LAMP, RAQQA 13TH CENTURY

Decorated with a turquoise iridesence glaze and line work in black. 20 cm. height, 22 cm. width Estimate € 3500 - € 4500

Lot 184 _______________________________________________________________________________

A PAIR OF BAMIYAN MONOCHROME MOULDED POTTERY BOWLS, PERSIA, 12TH-13TH CENTURY Of conical shape on a short foot in a turquoise glaze, the moulding consisting of tiger motifs and a central interlace design. 13 cm. diam. (2) 6 cm. height (2) Estimate € 4000 - € 6000

Lot 185 ____________________________________________

Lot 188 ______________________________________

A BAMIYAN TURQUOISE GLAZED POTTERY BOWL, AFGHANISTAN LATE 12TH-EARLY 13TH CENTURY

A LARGE NISHAPUR SPLASHWARE PLATE, IRAN, 10TH CENTURY

Red earthenware with a white slip, splashes of green, yellow and brown in a transparent glaze. 29 cm. diam.

Of rounded form on short spreading foot, the interior moulded under the glaze with two large different lions prowling around the central roundel, on tight scrolling flowering and palmette vine ground, a line of manganese around the rim, the turquoise exterior with a band of manganese rope-pattern and occasional vertical stripes, intact, minimal fritting to rim, very slight iridescence. 16 cm. diam. 9.5 cm. height

Estimate € 1200 - € 15000

Estimate € 4000 - € 5000 Lot 186 ____________________________________________

AN UMAYYAD MONOCHROME POTTERY BOWL SYRIA OR MESOPOTAMIA 8TH CENTURY

Decorated in a green glaze, the exterior impressed with bands of floral rosettes, dots and stripes, divided by carved horizontal border lines, the interior decorated in a green glaze with a group of three dark green glazed splash lines to one side. 19 cm. diam. 10 cm. height Estimate € 2000 - € 3000

Lot 187 ____________________________________________

Lot 189 ______________________________________________

AN ABBASID TIN GLAZED POTTERY BOWL MESOPOTAMIA, 9TH CENTURY

Of rounded form with everted lip on short foot, the light grey interior painted in brown with a single phrase of flowing Kufic, extending from the edges above and below are three green dashes and from either side a hand reaching inwards, the exterior plain. 16 cm. diam. 5 cm. height Estimate € 1000 - € 1500

A BAMIYAN SGRAFFIATO POTTERY BOWL, PERSIA, 12TH CENTURY

Of rounded form with flaring sides and upright rim, scratched through a white slip and splashed in manganese and green with star-shaped rosettes, one with normal palmettes between the star points the other with split palmettes, on a reserve of scale pattern and hatching. 17 cm. diam. 9 cm. height Estimate € 1000 - € 1500

Lot 190 _____________________________________________________________________________________

AN ILKHANID COBALT-BLUE, TURQUOISE AND LUSTRE MOULDED POTTERY TILE, IRAN, LATE 13TH-EARLY 14TH CENTURY

Opaque white glaze, overglaze, luster., with Persian Naskh inscription -on either side of the arch outlined in turquoise and white are animal heads growing out of a tree. 30 by 28 cm. Estimate € 5000 - € 8000

Lot 190 _______________________________________________________________________________________

AN ILKHANID COBALT-BLUE, TURQUOISE AND LUSTRE MOULDED POTTERY TILE, IRAN, LATE 13TH-EARLY 14TH CENTURY Opaque white glaze, overglaze, luster., with Persian Naskh inscription -on either side of the arch outlined in turquoise and white are animal heads growing out of a tree. 30 by 28 cm.

Estimate € 5000 - € 8000

Lot 191 ________________________________________

Lot 193 __________________________________________

A HONEYCOMB FACTED WHEEL-CUT GLASS BOTTLE, PERSIA, CIRCA 10TH CENTURY

AN EARLY ISLAMIC GLASS FLASK, NEAR EAST, CIRCA 8TH-10TH CENTURY Piriform pitcher in a yellow-green tinge, with a curved handle on a dark green base. The main decoration consits of six applied simple discs. 9 cm. height

Of transparent colorless glass covered in iridescence, with hexagonal faceted neck, the body worked with three honeycomb bands around the body. 13 cm. height 8 cm. diam.

Estimate € 1000 - € 1500

Estimate € 2500 - € 3500

Lot 192 ___________________________________________

A NISHAPUR WHEEL-CUT CYLINDRICAL CLEAR GLASS BEAKER, NORTH EAST IRAN, 1OTH CENTURY With flat base, the sides cut with two panels, each with a central hatched lozenge issuing scrolling tendrils flanked by stylized pillars, the two panels divided by vertical hatched bands, repaired breaks, areas of golden iridescence. 8 cm. height 9.5 cm. diam Estimate € 2500 - € 3500

Lot 194 ____________________________________

A GLASS PITCHER, PERSIA 11TH-12TH CENTURY

Green globular pitcher with a slightly flared neck a curved dragon head handle and a decorated body. 12 cm. height

Estimate € 1000 - € 1200

Lot 197 __________________________________________

Lot 195 __________________________________________

AN EARLY ISLAMIC GLASS BOTTLE, EGYPT OR SYRIA, 7TH-8TH CENTURY

A TALL-NECKED BLUE GLASS BOTTLE, PERSIA OR SYRIA, 11TH-12TH CENTURY

Of slender cylindrical slightly widening form, with rounded base and circular rimmed top, with bands of red applied and combed glass and wave patterned white marvered glass on surface. 11 cm. height

The bulbous mould-blown body and narrow tapering neck, decorated with applied trails of the same colored glass around the neck and in a lattice pattern on the body, kick base with pontil. 23 cm. height

Estimate € 1000 - € 1500 Estimate € 1000 - € 2000

Lot 198 __________________________________________

AN EARLY ISLAMIC GLASS BOTTLE EGYPT OR SYRIA, 7TH-8TH CENTURY Lot 196 ____________________________________________

A LARGE NISHAPUR BLUE GLASS BOTTLE PERSIA, 10TH CENTURY Of flaring cylindrical form with wide flat shoulder and tapering neck with wide flaring rim, concave base with pontil mark to centre. 22.5 cm. height CATALOGUE NOTE The shape of the present lot is similar to that of two glass bottles recovered at Nishapur (see Jens Kröger, Nishapur Glass of the Early Islamic Period, New York, 1995, p. 94, no. 133 and pp. 81-82, nos. 108-110.) For a comparable blue glass bottle see Stefano Carboni, Glass from Islamic Lands, London, 2001, pp. 146-147, no. 35. 22.5 cm. height 14 cm. diam. Estimate € 4500 - € 5500

With a gently flaring neck and tapering square body made in a very dark coloured glass appearing black and decorated with opaque white spiral trailing, combed and marvered into a festoon design 11 cm. height Estimate € 1000 - € 1500

Lot 199 __________________________________________

AN ELEGANT AYYUBID OR EARLY MAMLUK MARVERED GLASS JAR, EGYPT OR SYRIA, 12TH-13TH CENTURY Of bulbous form rising from short foot, the purple translucent glass body marvered with white threads in festooned oblique patterns. 7 cm. height Estimate € 1000 - € 1500

Lot 200 ____________________________________________________________________________________

Lot 201 __________________________________________________________________________________

A FINE ABBASID POTTERY BOWL WITH KUFIC INCRIPTION, IRAQ 9TH CENTURY

A FINE ABBASID POTTERY BOWL WITH A KUFIC INSCRIPTION, IRAQ, 9TH CENTURY

The rounded earthenware body covered with an opaque white glaze, painted in blue with two Kufic lines to the centre and a row of stylized garlands along the rim, the exterior plain 17 cm. diam. 5.5 cm. height.

The rounded earthenware body covered with an opaque white glaze, Arabic inscription painted inglaze in cobalt blue in the centre. 21 cm. diam. 8 cm. height

CATALOGUE NOTE inscriptions Possibly, twice: ‘abduhu ‘His (God’s) servant’

Estimate € 4000 - € 6000

LITERATURE O. Pancaroglu, Perpetual Glory, Medieval Islamic Ceramics From The Harvey B. Plotnick Collection, The Art Institute of Chicago, 2007, p.42, no.2. Estimate € 4000 - € 6000

Lot 203 _________________________________________ A SEATED FIGURINE ON A FLYING ANIMAL, RAQQA, SYRIA, 12TH-13TH CENTURY Carved fritware painted seated figurine on a flying animal in an opaque a turquoise glaze. 14 cm. height 11 cm. width Estimate € 1000 - € 1200

Lot 204 _________________________________________

A TURQUOISE GLAZED POTTERY EWER, PROBABLY NISHAPUR, 12TH CENTURY

With a thick, turquoise glaze. The glaze covers all but the lower end of the body and the raised concave foot. The overall form of the body is piriform with a corseted neck and a slightly flared mouth with unpronounced rim. With an inscription . Safety, happiness and blessing ‫الل السالمة والسعادة والربكة‬ Lot 202 ____________________________________________________________________________________

A RARE AND MOMUMENTAL TIMURID TILE PANEL, TRANSOXIANA, LATE 14TH-EARLY 15TH CENTURY

19 cm. height Estimate € 3000 - € 5000

Of arched form, with deeply carved floral and foliate designs decorated with turquoise, white, lavender-blue and aubergine glazes, the turquoise-glazed centre with a tri-lobed arch containing scrolling arabesques, split palmettes and lotus blossoms, the blue-glazed spandrels carved en suite, between white borders. 58.5 by 42 cm. Estimate € 12.000 - € 15.000

Lot 205 ________________________________________________________________________________________

A RARE FRITWARE OPENWORK DECORATED RETICULATED EWER WITH ROOSTER HEAD, PERSIA, 13TH CENTURY An ewer with rooster head Iran, Kashan, early 13th century. Item exemplifying the double shell technique, made up of an internal container meant to hold liquids and an external openwork shell. Pear shaped body in silicic paste resting on a disc, upper end shaped like a rooster’s head and molded handled with tail’s feathers in high relief. The body is characterized by a fine openwork, created through a coeval metal working technique. The decoration follows a pattern of vegetal motifs interspersed with animals painted in black. Calligraphic inscription on black enclosed by a reserve close to the lower margin of the item. The item is covered with the typical turquoise glaze which leaves only the foot bare. The item is accompanied by the results of a thermoluminescence dating test. 28 cm. height

Lot 206 ________________________________________________________________________________________

A VERY RARE GLASS BIRD, IRAQ OR SYRIA, 9TH CENTURY

A standing bird, of black and cream white glass, roughly pear-shaped with a hollow body a plump breast and open tail. Circular protruding black eyes. Stylized wings dropped onto shoulders and drawn back along body and marvered feathers. 6 cm. height 11 cm. width Estimate € 8000 - € 10.000

CATALOGUE NOTE A very similar item can be seen at the Victoria and Albert Museum of London, Acc. No. C.170-1977, while another with a different shape is part of the Al-Sabah collection and was published in Watson, Ceramics from Islamic Lands, Thames and Hudson 2004, p. 341. Lastly, another very similar item is on exhibit at the Louvre in Paris, Acc. Nr.MAO 442 Estimate € 20.000 - € 30.000

Lot 207 __________________________________________________________________________________

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. PROVENANCE Private collection, The Netherlands 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 € 8000 - € 12.000

Lot 208 __________________________________________________________________________________

A LARGE CERAMIC FRAGMENT TILE, PERSIA OR CENTRAL ASIA, CIRCA 12TH-13TH CENTURY

Moulded with a deep and high relief Arabic calligraphy. Framed within an upper and lower band, covered with a fine green glaze with traces of iridescence. 39 by 17.5 .cm Estimate € 1500 - € 2500 Lot 209 _________________________________________

A MOULDED BLUE GLASS BOTTLE, NISHAPUR, NORTH-EAST IRAN, 9TH CENTURY The body with rows of wheel-cut roundels with iridescence. 9 cm. height Estimate € 1000 - € 1400

Lot 210 ____________________________________________________________________________________

A RARE INTACT FATIMID LEED-GLAZED JAR, EGYPT, 10TH-11TH CENTURY

Of pear-shaped form with everted foot, broad flattened shoulder and a narrow slightly everted neck, the shoulder, neck and upper body incised with ring and hatched designs, partially dipped in copper green lead glaze. 25.2 cm. height CATALOGUE NOTE Green-glazed incised ware from Fatimid Egypt has been described by Oliver Watson as “one of the ‘hidden treasures’ of Islamic pottery” (Watson 2004, p.285). Surprisingly little is known about this category of wares, for although it is well-attested in the Fustat sherd material, intact examples are extremely rare. This type was first properly documented by Helen Philon (Philon 1980, pp.263ff) who noted the characteristic soft pinkish buff to pale-yellow body and the lead-fluxed copper glaze which typically stops short of the foot. The finest extant example is in the al-Sabah Collection in Kuwait, attributed by Watson to the twelfth century (Watson 2004, pp.284-5). Estimate € 8000 - € 12.000

Lot 211 ____________________________________________________________________________________

A LARGE CERAMIC FRIEZE TILE, KASHAN, PERSIA, CIRCA 1200

Moulded with a deep and high relief naskh calligraphy with arabesque stems. The whole framed within an upper and lower band, covered with a fine turquoise glaze with traces of iridescence. 19.5 by 43 cm. Estimate € 4000 - € 6000

Lot 212 ______________________________________________

A DAMASCUS POTTERY DISH OTTOMAN PROVINCES, SECOND HALF 16TH CENTURY On straight foot, the black decoration under transparent turquoise-blue glaze with a ewer on floral ground, the gently sloping rim with interlocking lines. 20 cm. diam. 3.5 cm. height Estimate € 1000 - € 2000

Lot 214 ____________________________________________

AN ISLAMIC LEAD SEAL, EARLY ABBASID, DATED 134 AH/752 AD A rare lead seal, which confirm the payment of the fee of 800 Dirhams, belongs to the governor of Estakhr. Such a written single-sided seals are used for the safe arrival of a box or bag of money after securing its seal or tightening. 2.5 cm. diam. Weight: 14 gr. Estimate € 2000 - € 3000

Lot 213 ____________________________________________________________________________________

UMAYYAD, TEMP. ‘ABD AL-MALIK B. MARWAN (65-86h) Circular bronze weight, naming al-Hajjaj ben. Yusuf

Bismillah a- | mr al-amir al-Hajja- | j bin Yusuf bi’l-wa- | fa hadha mizan | tisa‘ Engraved in five lines with central point between third and fourth plain, with central point and slightly raised border at margin 36.05 gr. These extremely rare bronze weights were evidently denominated in mithqals, and examples are known for three, six and nine mithqals weight. The present example appears to be the heaviest weight of this type so far recorded. Interestingly, the mark of value is always written with a final ta marbuta, unlike the standard mint/ date formula on contemporary Umayyad coins. These weights are dated to the period of ‘Abd al-Malik’s coinage reforms in the mid-70s, and further suggested that these bronze pieces predated the adoption of glass weights. The metal coin weights that were first employed by the Muslims must be extremely rare.

Lot 215 _____________________________________________

A RARE ISLAMIC LEAD SEAL, BELONGS TO ABU MUHAMMAD AL-HAJJAJ IBN YUSUF IBN AL-HAKAM AL-THAQAFI, UMAYYAD, 40-95 AH/661-714 AD

An important lead seal, belongs to Al-Hajjaj ibn Yusuf era, governor 694-713 AD. Such a written single-sided seals are used for the safe arrival of a box or bag of money after securing its seal or tightening. This seal possibly used for an important document, a financial bundle, or any important subject. Written on one side ‘By the Name of Prince Al-Hajjaj’ Bi aism al’amir alhujjaj. 3 cm. diam. Weight: 27 gr. Estimate € 1500 - € 2000

Estimate € 3000 - € 5000

Lot 216 _________________________________________________________________________________

AN OTTOMAN SILVER, NIELLOED AND ENGRAVED GLOBE CLOCK BEARING THE TUGHRA OF SULTAN ABDULHAMID II TURKEY, 19TH CENTURY

Comprising a silver terrestrial globe with engraved and nielloed inscriptions outlining landmarks and cities, engraved with numerals of meridian lines, set in a foliate crescent shaped mount with a gilt peacock finial with mechanical key for winding, movement of clock assembled in drum casing under globe, on a tripod stand with compass on a frame designed as architect’s tools (compass and ruler), the circular base featuring three medallions, one depicting the government palace (hükümet konağı), a landscape view of lake Van and the Ottoman coat of arms with the tughra of Sultan Abdulhamid II (r.1876-1909) 27 cm. height CATALOGUE NOTE Clocks of fine workmanship such as the present example were produced in and around the Ottoman capital from the fifteenth century and continued to be particularly admired into the nineteenth century. In this period, the clock-maker Ahmet Eflaki Dede was even sent to Paris by the Ottoman court to continue to study this art and learn new skills (I. Akşit, Topkapi, Istanbul, 1986, p.70). This unique silver globe clock stands out in its detailed and complex craftsmanship and may have been commissioned to be presented to Sultan Abdulhamid II as a special gift. A known group of such gifts, which included European and Russian silverware, dinner and tea sets and candlesticks that were presented to the Sultan on the occasion of his twenty-fifth regnal year are now in the Topkapi Palace Museum (ibid 1986, p.70). Estimate € 30.000 - € 40.000

100

101

Lot 217 _________________________________________________________________________________________

A BRASS ASTROLOBE SIGNED BY MUHAMMAD MUQIM IBN ‘ISA IBN AL-HADDAD, LAHORE, DATED 1051 AH/1641-42 AD Cast brass, mater engraved with the name of maker, containing five plates, openwork rete, alidade to reverse, with pin and horse, suspension loop. 7.7 cm diam.

CATALOGUE NOTE ‘The work of the weakest of God’s servants Muhammad Muqim ibn ‘Isa ibn al-Haddad, the Royal astrolabe maker of Lahore’. The year 1051 AH/1641-42 AD. Another work by this renowned astrolabist is in the Museum of the History of Science, Oxford, inv. no. 43704. There is also what is described as a ‘brass globe astrolabe’ by his son Diya’ al-Din Muhammad in the Shrine Museum in Mashhad dated 1058 AH/1648 AD. Estimate € 15.000 - € 20.000

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Lot 218 ________________________________________________________________________________

AN ASTRONOMY COPIED MANUSCRIPT ‘SHARH AL-MULKHAS FI AL-HAY’A’ OF AL-JAGHMINI (A COMPENDIUM OF THE SCIENCE) BY SALAH AL-DIN MUSA IBN MUHAMMAD IBN MAHMUD KNOWN AS QADI-ZADE AL-RUMI, CHRONICLE 814 AH/1412 AD, DATED END OF SHAWWAL 914 AH/1534 AD

This version of the treatise was written by the Turkish mathematician and astronomer Mawlana Salah Al-Din Musa Ibn Muhammad Qadi Zada Al-Rumi (765 AH/1364 AD Bursa, Ottoman Empire - 840 AH/1436 AD Samarqand, Timurid Empire), together with another astronomical work, he produced this treatise about Al-Jaghmini ( Mahmud ibn Muhammad ibn Umar al-Jaghmini, an Arabic physician, astronomer and author of ‘Mulakhas’ a work on astronomy completed in 808 AH/1405-6 AD, and seems to have been a commentary on it. The manuscript contains several possessions, such as by Sheikh Abd al-Aziz bin Sheikh Muhammad al-Rahbi by buying ‘I am the poor God Mulla Abd al-Rahman ibn al-Sheikh Muhammad al-Ayyad may God forgive them both’. His owner also wrote, saying: I owned it by means of legal purchase from its owner, may God protect him, and I am the poor to him, the Most Glorious, like Mulla Abdul Aziz, Sheikh Muhammad Al-Rahbi, may God bless him with His mercy and make him live in his paradise, Amen, on Thursday 26th Safar al-Khair in 1133 AH, with the buyer’s seal. It contains 60 pages in 19 lines each, Nastaliq black ink with its marks, the topics in red ink, in addition to many illustrations, as well as plenty of comments and margins. The binding with brown leather and cupboard cover. 13.5 by 19.5 cm The Summary Book in the Commission, which is a textbook on astronomy, in which many important topics were mentioned in the sciences of astronomy and geography, and the most important of these topics are: Introduction: It aims to describe the celestial and cosmic bodies to demonstrate the roundness and composition of the simple shapes and their conditions. The first article: The conditions of the superior bodies, which is in the description of the bodies of the astronomical bodies and what is related to them, and it contains five chapters; Part One: Explaining the astronomy of the Sun, and what is related to it Part Two: On the movements of the comprehensive spheres of the Earth, which have been divided into a movement from the East to the Maghreb, and a movement from the West to the East. Part Three: In the well-known circles, such as the Zodiac and the Equator Circle. Part Four: In the arc traded among industry owners, the diviner compiled an arc, which is a piece of the circumference of a circle. Part Five: As shows the moving planets in their movements, such as the difference in their length and width. The second article: Conditions of the lower arcs, which are in the explanation of the land and what is related to it, and contains three chapters Part One: In describing the inhabited land from the land, showing its width and length, and dividing it into the seven regions. Part Two: On the Equator Properties Estimate € 6000 - € 8000

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ISLAMIC JEWELLERY

Lot 219 _______________________________________________________________________________________

AN ISLAMIC TWISTED NIELLO GOLD BRACELET, SELJUK, 12TH-3TH CENTURY

This bracelet is a very beautiful example of Seljuk jewellery from the 13th century and presents a very high level of craftsmanship with its beautifully twisted body, and finely crafted ends (in the shape hearts) adorned with fine chisel and niello gold work with fine and sharp flora design, surrounded by dotted chain, and granules of gold. Probably produced by an Anatolian workshop considering that at the beginning of the century, the great Seljuk empire fell under the rule of the Mongols, this bracelet was worn by an affluent member of society. 6.5 cm. diam. Weight 46 gr. Estimate € 8000 - € 10.000

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Lot 220 _______________________________________________________________________________________

A RARE PAIR OF A FATIMID GOLD BRACELET, POSSIBLY SYRIA, 11TH CENTURY

CATALOGUE NOTE

The plane band of the hinged bracelet with dotted lines on alternate facets, the middle of the strap with continuous ‘V’ shapes lined strap work, the bezel with a cruciform motif set with s.The back of both of those bracelet’s bezel are flat and sharply engraved with floral designed in front, attachment pin through the edges of the bezel. 7.5 cm. diam. Weight 49 gr. each

Theses bracelets demonstrates the artistry and luxury of Islamic goldworking techniques in the Fatimid period. Bracelets of this type were evidently made and worn in pairs, further magnifying the effect of the fine workmanship and precious materials. Such gold jewelry served not only as a spectacular form of personal adornment but also as an indicator of a woman’s wealth and social standing. Those that remain are in museum collections. Similar at Jewellery and Goldsmithing in the Islamic world, Jerusalem, 1987, fig.11, p.25) which is a near pair to an example in the National Museum of Syria, in Damascus (inv.no.2799-A; Mikhaiil B. Potrovsky. Like this example both the Freer and the Damascus bracelets use techniques of repoussé and extremely refined granulation in their decoration, a characteristic feature of Fatimid jewelry. Both also have central panels set with a design based around the motif.

Estimate € 30.000- € 35.000

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Lot 221 _______________________________________________________________________________________

Lot 222 _______________________________________________________________________________________

A collection of 12th century Islamic gold belt, sword or dress decoration fittings. six different shapes and sizes gold fittings inlaid red garnet pieces, beautifully crafted.

Three Islamic gold pendants, belt, sword or dress decoration fittings. The symmetrical composition or arrangement of decorative elements; a leveling effect or textured surface, rendered through the use of filigree (thin, twisted wires) and granulation around red garnet setting nicely (small gold granules or balls). Back with marks for four pins to attach them.

SIX ISLAMIC GOLD PENDANTS, 12TH CENTURY

Weight above left to right: 2.4 gr. - 4.2 gr. - 1.5 gr Weight down left to right: 2.2 gr. - 1.9 gr - 1.8 gr. Sizes from 3.5 cm. to 2 cm.

Estimate € 3000 - € 4000

110

THREE ISLAMIC GOLD PENDANTS, 12TH CENTURY

Weight left to right: 11.3 gr. - 5.2 gr. - 5.2 gr Sizes from 5.8 by 5.5 to 3 by 2.5 cm. Estimate € 4000 - € 6000

111

Lot 223 _______________________________________________________________________________________

A TWISTED GOLD BRACELET, SELJUK,11TH-12TH CENTURY

This bracelet is a very beautiful example of Seljuk jewellery. With its beautifully twisted body (Shank), and finely crafted ends (in the shape of four hemispheres around the clasp of cartouche-shaped), with granulation, adorned with fine chisel and niello gold work, this bracelet represents a very high level of craftsmanship. Probably produced by an Anatolian workshop (in modern day Turkey) and not by an Iranian one, considering that at the beginning of the century, the great Seljuk empire fell under the rule of the Mongols, interrupting for some time the extremely rich production of goods from Iran. It is likely that, because of their beauty, craftsmanship and fine materials, this bracelet was worn by an affluent member of society. 7 cm diam. Weight 29 gr.

Lot 224 _______________________________________________________________________________________

A SELJUK GOLD RING WITH ENGRAVED RED AGATE SEAL, ANATOLIA OR CENTRAL ASIA, 12TH-13TH CENTURY

The setting of the stone with five claws, with engraved and applied decoration of arabesques and palmettes inlaid with niello, inscription “Abu Baker” 2 cm. height Weight 6 gr. Estimate € 1500 - € 2000

Estimate € 5000 - € 7000 CATALOGUE NOTE Finds of bracelets comprising graduated twisted shanks were made in Syria (Al-‘Ush, Abu’l-Faraj, Musée Nationale de Damas, Départment des Antiquités Islamiques, Damascus, 1976, p. 207, fig. 118). It has also been reported that in Gurgan, in Northern Iran, bracelets of this type have been found (M. Jenkins and M. Keene, Islamic Jewelry in the Metropolitan Museum of Art, New York, 1982, no. 22)

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Lot 226 _____________________________________________

TWO ISLAMIC GOLDEN PENDANTS, BYZANTINE EMPIRE, 5TH-6TH CENTURY A pair of pre-or early Islamic golden earrings

This earring is made from gold wire with red Garnet. Similar example can be found at some museums and collections such as the Metropolitan Museum of Art. 2.1 cm. diam. 6.5 cm. length Weight 13.5 gr Estimate € 1400 - € 1800 Lot 227 _____________________________________________

AN EARLY GOLD ISLAMIC BABY BANGLE,12TH CENTURY

A nice example of fine craftsmanship in good condition as a bangle for babies. Maybe an early Islamic object contains shank created by four golden wires combined together, with crown attached to the shank decorated by granulated small balls. Lot 225 _______________________________________________________________________________________

AN OTTOMAN GOLD PENDANT WITH SEED PEARL DECORATION, TURKEY, DATED 1889

Of tear drop form, with stamped thin gold sheets sandwiching a metal plate, inscribed on one side with the Throne Verse, Quran II (surah Al-Baqarah), v.255, in thuluth script on floral ground. 8.5 by 6.5 cm. Estimate € 3000 - € 4000

3 cm. diam. Weight 4.5 gr. Estimate € 1000 - € 1500

Lot 228 _____________________________________________

TWO ISLAMIC GOLDEN RINGS, 12TH-13TH CENTURY

Two sold gold maybe Seljuk rings are bezel-set with a garnet intaglio. Both are elaborately decorated with applied gold wire and triangular-shaped beaded designs and balls. 2 cm. diam. Weight: 3.99 - 4.69 gr.

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Estimate € 1600 - € 2000

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Lot 230 ___________________________________________________________________________________

A FINE MAMLUK BRASS BOWL WITH A FLARED RIM, EGYPT OR SYRIA, 14TH CENTURY

A fine brass bowl with a flared rim. The body engraved with a band of roundels, each containing stylized seated figures, the base with seven larger roundels each engraved with further seated figures. The interior engraved with six swimming fish. 17 cm. diam. Estimate € 2000 - € 3000

Lot 229 ____________________________________________________________________________________

A FINE BRASS QURAN STAND, INDIA, MUGHAL,18TH-19TH CENTURY

Of typical form, the top section with a pierced lattice design, the legs with a carved arch. The surface moulded in relief with fine floral sprays and arabesques. 30.5 cm. height 18.5 cm. widht Estimate € 4000 - € 6000

Lot 231 _____________________________________________________

A PAIR OF SILVER AND BRASS PEN CASES PERSIA, 13TH-14TH CENTURY

Of rectangular form, the lid decorated with central lobed cartouche containing flower head, with openwork elements throughout, sliding tray with circular compartments, a further small compartment with openwork flower element and a larger oval compartment with lobed rim. 35.5 by 5 cm. 33.5 by 4.5 cm Estimate € 1000 - € 2000

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Lot 232 __________________________________________________________________________________

A KHORASAN BRONZE ENGRAVED BOWL, PERSIA, 12TH CENTURY

A fine bronze engraved bowl with a shallow projecting rim on six feet cast as conventional animals. The side engraved with a fine band of calligraphy, framed by an upper and lower border engraved with a band of arabesque motifs. 19.5 cm. diam. Estimate € 2000 - € 3000

Lot 233 ____________________________________________________________________________________

A FINE BRONZE INKWELL WITH A DOMED LID, KHORASAN, PERSIA, EARLY 13TH CENTURY

A fine bronze inkwell with a domed lid, round body and lotus-bud shaped ribs each engraved with interlaced geometric pattern. The rim of the lid with three separate bands engraved in thuluth calligraphy. The body inlaid in silver forming a star shaped pattern. Each star depicting various signs of the zodiac set within an upper and lower band of floral motifs. The base, also inlaid in silver, is engraved with an interlaced roundel of arabesques set within three separate bands of thuluth calligraphy and sitting on three oval shaped feet. 12 cm. height 10 cm. diam. Estimate € 8000 - € 10.000

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Lot 234 ____________________________________________________________________________________

TWELVE MAMLUK PLAQUES FROM A DOOR, CIRCA 1320 Carved ivory and wood. 11 cm. length PROVENANCE Private collection, United Kingdom

CATALOGUE NOTE A pair of doors in the Charles Gillot Collection (Christie’s, Paris, 4th-5th March, 2008, lot 45) has similar plaques with alternating designs. See also: Esin Atil, Renaissance of Islam, Art of the Mamluks, Washington D.C., 1981, no. 104

Lot 235 _______________________________________________________________________________________

FOURTEEN IVORY CHESS AND OTHER GAMING PIECES, PERSIA 9TH-11TH CENTURY

Of differing forms, cylindrical, waisted, bulbous and domical, variously decorated with incised bands and dots and circles. 14 pieces 5 cm. max. height Estimate € 2500 - € 3500

Estimate € 40.000 - € 60.000

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Lot 236 _____________________________________________________________________________________

Lot 237 _____________________________________________________________________________________

Carved in a slightly bevelled style, one facet with a leaf emerging out of stylised sprigs and the other side with two stylised hearts between two palms, separated by an etched border. 4 cm. height

A bowl with a slightly flared rim, fashioned in rock crystal, with a smooth, polished interior and a flower and foliage design carved in relief and polished around the outside. 12 cm. diam. 6 cm. height

A FATIMID ROCK CRYSTAL CHESS PIECE, EGYPT, 11TH CENTURY

CATALOGUE NOTE The present lot is a rare example of Fatimid rock crystal carving and an interesting addition to the existing

corpus of rock crystal gaming pieces of the period. The game of chess, which can be traced back through archaeological evidence to the second or third century, spread from the Indian subcontinent through Persia to centres such as Baghdad and Cairo, from where the present chess piece most probably originates. It can be attributed either to the Abbasid or Fatimid Caliphates as it shares a number of stylistic and technical features with examples of similar gaming pieces now in various museum collections. A particularly close example in shape, style and size is in the Victoria and Albert Museum, London (inv. no. 669:1, 2-1883). Described as ‘probably a king’ , it gives an indication of the present piece’ s original place on the chessboard.

A MUGHAL CARVED ROCK CRYSTAL BOWL, 18TH -19TH CENTURY

Estimate € 1500 - € 2000

Estimate € 15.000 - € 20.000

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Lot 238 ____________________________________________________________________________________

Lot 239 ____________________________________________________________________________________

Mughal jade thinly carved bowl with gently flared rim, the exterior with two panels of low relief branches with upright leaves above an incised band, the base carved with an eight-petal flower, all on a short foot rim. 14 cm. diam. 5 cm. height

WIth gilt wire and red gem set decoration, the pair of carved cylindrical pen cases and stoppers flanked by a cylindrical inkwell and domed cover. Length 26 cm.

A WHITE JADE MUGHAL BOWL, 17TH CENTURY

Estimate € 30.000 - € 40.000

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A MUGHAL STYLE WHITE PALE CELADON JADE SCRIBE’S CASE, 19TH CENTURY

Estimate € 3000 - € 5000

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Lot 241 ____________________________________________________________________________________

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

The curved double-edged blade with central ridge and decorated with cartouches enclosing a flower, the hilt carved with palmettes and rosettes with silver guard engraved with floral arabesques. 43.5 cm. Estimate € 3500 - € 4500 Lot 240 _____________________________________________________________________________________

A TIMURID SEAL RING WITH NEPHRITE JADE INSCRIPTION, LATE 15TH-EARLY 16TH CENTURY

A rare Islamic Timurid silver and gold seal ring with engraved dark-green Jade, Persia or Heart Central Asia. The circular table of dark-green Jade incised with an inscribed seal with overlapping elegant naskh, a gold band around the side engraved with dotted-pattern, the tapering silver lower sides with deeply engraved scrolling motifs, the underside of the bezel with similar motifs and the word ‘la Elaha Ela Alah’ engraved, the triangular section silver bezel with scrolling motifs and lower pointed element. The text is written in mirror reverse, suggesting that the stone may once have served as seal. 2.9 cm. Weight 14 gr. The inscription on the seal comprises the name: Shaykh ‘abu ‘Iishaq Alsultan Almurshid Estimate € 4000 - € 6000

CATALOGUE NOTE Sultan Sahak born in the 14th century was a Kurdish religious leader who founded the spiritual path of the Ahle Haqq, also known as the Yarsan. He is considered to be the manifestation that fully reflects the divine essence by the Ahle Haqq and the revealer, expounder of the fourth stage of the religion.

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Lot 242 ___________________________________________________________________________________

A MUGHAL JADE BOWL AND COVER, 18TH CENTURY

Supported on a later silver gilt and enamel stand modelled as two dragons. 15.5 cm. width, 11 cm. height. Estimate € 10.000 - € 12.000

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Lot 243 _________________________________________________________________________________

A MONUMENTAL LATE TIMURID ENGRAVED COPPER BOWL CENTRAL ASIA LATE 15TH-EARLY 16TH CENTURY

Of typical form, the rounded body engraved with elegant floral sprays on hatched ground within hanging medallions with palmettes finials, interspersed with rising medallions with loose quatrefoils and floral sprays, a register of elongated calligraphic cartouches in thuluth script with religious prayer, with the name of the owner, Muhammad Nur al-Din bin Karim. 47.5 cm. diam. 24 cm. height

Lot 244 ___________________________________________________________________________________

A SAFAVID TINNED-COPPER BASIN, PERSIA, 17TH CENTURY

The exterior chiseled and engraved with roundels depicting animals, cusped palmettes, arabesques and cartouches of nasta’liq, the rim with calligraphic cartouches. 34 cm. diam. 11 cm. height Estimate € 5000 - € 7000

Estimate € 10.000 - € 12.000

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Lot 246 ______________________________________________

AN OTTOMAN HELMET, TURKEY LATE 16TH-17TH CENTURY

An Ottoman steel and copper alloy helmet, late 16th-17th century, of domed form with a series of overlapping vertical pleats with incised verticals, decoration of split leaves and arabesques with engraved band of calligraphy around the rim. The inscriptions: Around the rim: the high authority, the lordly, the defender, the helper and the leanred. the learned, the warrior, al-Malik, and the just. 33 cm. height 23 cm. width Lot 245 ___________________________________________________________________________________

Estimate € 3000 - € 4000

A YOUNG MAN’S TALISMANIC SHIRT, INDIA, 17TH CENTURY

A cotton shirt (jama) covered with text written in naskh scripts, with extracts from the Quran, prayers and talismanic letters, divided into sections, including borders with calligraphy. Arabic inscriptions and medallions containing Talismanic numbers and letters, arranged in numerous panels, roundels, cartouches. To the centre of the front side and the reverse roundels enclosing Talismanic numbers, ruled in a border with large du’a called” Fath Al-Konoz Wa Sir Al-Asrar attributed to Imam Ali with different Quran verse like, Al-Fatiha. surah Yasin and others. 71 by 150 cm.

Estimate € 10.000 - € 15.000

Lot 247 _________________________________________________

A BROCADE SILK PANEL, MUGHAL, 17TH CENTURY

Silk woven with silver thread, the decoration comprising a reticulated design of eglantines alternating with leafy sprigs on an olive ground. 89 by 35 cm. CATALOGUE NOTE For two closely related fragments recently offered at auction, see Sotheby’s London, 24th October 2007, lot 362. See also Patricia Baker, Islamic Textiles, London 1995, p.119, for an example in the Musée des Tissus, Lyons. Estimate € 1000 - € 1200

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Lot 248 _________________________________________________________________________________

A MUGHAL IVORY QURAN STAND, 18TH CENTURY

Carved with pierced openwork panels, from a single piece of ivory that was split into two sheets, so that the two parts are linked in the axis along which the stand opens. The outside of the stand is decorated with the vegetal ornamentation so typical of Mughal art, with flowers in a latticework at the top and delicate floral vines at the bottom that are set wit. 26 by 10 cm. Estimate € 10.000 - € 12.000

Lot 249 ____________________________________________________________________________________

A SILVER INLAID BRASS PEN-CASE, DELHI SULTANATE , INDIA, 15TH CENTURY

Of rectangular form with hinged cover, the interior fitted with two compartments, one for pens and one for documents, together with three small compartments, one end for ink, sand (for blotting the ink) and threads (for cleaning the reed-pens). Made of brass, beautifully decorated with layers of silver with a pattern of scattered flowers. 14 by 33 by 6.5 cm.

Estimate € 15.000 - € 20..000

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Lot 250 ________________________________________________________________________________

A WOOD PANEL WITH BONE INLAY, NORTH AFRICA OR SPAIN, 13TH -14TH CENTURY STYLE

Lot 252 ____________________________________________________________________________________

This panel may have been one half of two-part object. It could be minbar door or cabinet panel according to the size. The piece is held its frame with mortise and tenon joints, where cavity is cut into the side of the wood frame to allow the panel to be slotted. Such a technique is loose enough to prevent warping due to humidity and temperature changes, that occur with wooden objects. The carved part characteristic 13th -14th century style designs, as tendrils weave around each other in never-ending patterns with circular foliate buds. Some of the outer inlay strips as frame with repeated ‘S’ shape all around. In the middle of the decoration is a circle engraved with, either ‘The King’ or ‘Everything belongs to’ Almulk. 16 by 28 cm.

Plain silver hilt with scalloped shoulder, with openwork to the blade, decorated in gold overlay. The plain silver scabbard marked with the tughra of Mahmud II 1223 -55 AH/1808-39 AD. 51 cm. length

AN OTTOMAN SILVER DAGGER, (HANCER) TURKEY, 19TH CENTURY

Estimate € 6000 - € 8000

Estimate € 4000 - € 6000

Lot 251 _______________________________________________________________________________

AN OTTOMAN SILVER-GILT PASTE-SET BELT, TURKEY, 19TH CENTURY

Comprising a large cusped medallion-shaped buckle and ten hinged rectangular sections, decorated with filigree and set with red pastes. 88 cm. length Estimate € 2000 - € 3000

Lot 253 ____________________________________________________________________________________

AN OTTOMAN SILVER DAGGER (HANCER), TURKEY, 19TH CENTURY

Plain silver hilt with scalloped shoulder, the slightly curved blade with gold damascening decoration at forte. The plain silver scabbard with a grape-bearing vine frieze mount, marked with the tughra of Mahmud II 1223 -55 AH/1808-39 AD. 52 cm. lenght Estimate € 4000 - € 6000

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Lot 254 __________________________________________________________________________________

AN OTTOMAN GILT-COPPER (TOMBAK) DAGGER, TURKEY, 18TH CENTURY The steel blade with Persian inscription in gold on both sides. One side with the name of the owner ‘Tatar Ibrahim Agha’. 64 cm. length Estimate € 4000 - € 6000

Lot 255 _____________________________________________

AN OTTOMAN SILVER FILIGREE COFFEE POT, 19TH CENTURY

Pear-shaped, the hinged bulbous lid with flower head finial with knop, the decoration consisting of engraved flora with plain spout and slightly serpentine handle. 20 cm. height

Lot 256 _____________________________________________________________________________________ VIEWS IN THE OTTOMAN DOMINIONS, 1810 Views in the Ottoman dominions in Europe in Asia, and of some of the mediterranean islands. From the original drawings taken for Sir Robert Ainslie by Luigi Mayer F.A.S. With descriptions historical and illustrative. London: printed by T. Bensley, Bolt Court, Fleet Street for R. Bowyer, 80, Pall Mall, 1810 71 Colored aquatint plates. Amongst others view of Constantinople (53 by 26 cm.) and 70 smaller (circa 32 by 23 cm.) of Romania, Bulgaria, Wallachia, Bucharest, Sicily, Lipari Islands, Ephesus, Syria, Samos, Jerusalem, Bethlehem, and elsewhere. Full leather binding. 49 by 34 cm. Estimate € 3000 - € 4000

Estimate € 1000 - € 2000

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Lot 257 _______________________________________________________________________________

TWO IZNIK POTTERY BORDER TILES, TURKEY CIRCA 1560 With ribboned cloud bands outlined in black on turquoise background. 37 by 28.5 cm. Estimate € 4000 - € 6000

Lot 259 _____________________________________________________________________________________

A SELJUK MOSAIC TILE FRAGMENT, ANATOLIA,14TH CENTURY

Decorated in the mosaic-tile technique with turquoise, cobalt blue and dark blue (or manganese) sections set in a complex geometric interwoven design. 22.5 by 26 cm. max. Estimate € 8000 - € 12.000 Lot 258 ________________________________________________________________________________

AN OTTOMAN IZNIK POTTERY TILE, TURKEY, 17TH CENTURY

PROVENANCE Christie’s, 29 April 2003, lot 30 Formerly in a German private collection since the early 1990s

Of a rectangular form decorated on a cobalt-blue ground with a central floral design surrounded by red-white tulips and leaves, flanked by half-palmette, bands above and below. 25.9 by 13.4 cm. Estimate € 2500 - € 3500

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Lot 261 _______________________________________________

A GILDED AND ENAMELED OTTOMAN GLASS HANGING EGG ORNAMENT, EGYPT OR SYRIA, 19TH CENTURY

Of oval form, the cloudy glass with visible bubbles, decorated in cobalt blue and red enamel with stylized flower heads between two thin bands around mid-section of body, with gilded metal fittings, suspension loop to top. 18 cm. height Estimate € 600 - € 800

Lot 262 _______________________________________________

A FINE GILT-COPPER ALEM, INDIA 19TH CENTURY

Decorated with inscriptions to the top on one side. 52 cm. height 17.5 cm. width Estimate € 1000 - € 2000

Lot 260 ____________________________________________________________________________________

A PARIS PORCELAIN GROUP OF AN ORIENTAL MAN AND COMPANION, MID19TH CENTURY, IN THE JACOB PETIT STYLE

Representing a man dressed in the oriental clothes accompanied by a woman seated on a shaped base. The base inscribed ‘Medaille d’or / exp. 1844 / FB Patentee / Supplier of King. 30 cm. height 23.5 cm. width Estimate € 2000 - € 3000

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Lot 263 __________________________________________________________________________________

Lot 264 ___________________________________________________________________________________

Mosque lamp with six gilded handles, in glass with polychrome enameled decoration, painted and gilded. A blue inscription on the neck against a background of white foliage and on the belly a seedling of flowers on a golden background. 32 cm. height. 17 cm. diam.

In enameled polychrome and gilded glass, decorated with large bouquets of carnations and a high white inscription on the neck interrupted by eyelets in mandorla. 42 cm. height. 17 cm. diam.

A MOSQUE LAMP WITH SIX HANDLES, MAMLUK STYLE, 19TH CENTURY

Estimate € 6000 - € 8000

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A MOSQUE LAMP WITH THREE HANDLES AND A LONG NECK, MAMLUK STYLE, 19TH CENTURY

Estimate € 5000 - € 7000

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THE ART OF SCIENCE

Lot 265 ____________________________________________________________________________________

A MOSQUE LAMP WITH SIX HANDELS, MAMLUK STYLE, 19TH CENTURY

Important mosque lamp with six handles, in amber tinted glass with enameled and gilded decoration Upholstered floral arrangement embellished with three large polylobed medallions calligraphed in beige. 38.5 cm. height. 31 cm. diam Estimate € 6000 - € 8000

Lot 266 ____________________________________________________________________________________

A PAIR OF GILT AND ENAMEL GLASS MOSQUE LAMPS, MAMLUK STYLE, LATE 19TH CENTURY

Each of green tinged glass, with globular body with 6 applied loop handles, flaring cylindrical neck and short splayed foot, decorated in gilt and polychrome with a frieze of interlocking flower-filled medallions, above ornamental bands of further flower-filled medallions on a scrolling ground, the base with central floral medallion. 30.8 cm. height (2) Estimate € 8000 - € 12.000

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Lot 267 _____________________________________________

Lot 268 _____________________________________

A GROUP OF FIFTY TWO TOLEDO DAMASCENED WARE ITEMS SPAIN, LATE 19TH CENTURY

TWO OTTOMAN MEDALS, 19TH CENTURY

Turkey Ottoman Empire, Medjidie Order 3rd class Military Medal Decoration Crimean War (left).

Comprising: * 3 sword-shaped letter openers * 5 cigarette cases * 1 tubular handle * 5 handles * 9 plates from: 30 cm. to 8 cm. diam. * 6 caskets * 2 photoframes * 6 turtles from 12 to 6 cm. * 4 ewers from 18.5 to 9 cm. * 2 brooch pins * 1 belt buckle * 7 small boxes * 1 small bowl on a foot

Turkey Ottoman Empire, Order of Omanieh, 3rd class Neck Badge (right). Silver-gilt and enamel, 19th century 6 cm. diam. Estimate € 1200 - € 1500

Lot 269 ___________________________________

A COLLECTION OF THREE OTTOMAN SILVER AND NIELLO GILDED BUTTONS, PROBABLY FROM BALKANS, 19TH CENTURY

Estimate € 20.000 - € 30.000

Gilded buttons mounted on cloth of rectangular shape, made of forged silver with embossed decoration, decorative elements. From 11 to 14 cm. width Estimate € 3000 - € 4000

Lot 270 __________________________________________

AN OTTOMAN AMBER PRAYER BEADS, (TISBIH), 19TH-20TH CENTURY

Strings of prayer beads are usually comprised of 11, 33, or 99 beads, corresponding with the 99 beautiful names of God (al-asma al-husna) derived from the Quran. 82 cm. length Estimate € 1000 - € 1200

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Lot 271 ____________________________________________________________________________________

A SWISS GOLD AND ENAMEL ZARF, GENEVA, 19TH CENTURY

The cup is entirely openwork and decorated with vine branches and bunches of grapes. The collar is decorated with geometric patterns in green and blue enamel. The zarf features two pink enamel medallions enhanced with floral motifs. The foot takes up the geometric patterns of the collar. This zarf is characteristic of Swiss production for the oriental market at the beginning of the 19th century. In particular, it allowed Turkish notables to place their coffee cups there. 6 cm. height 4.5 cm. diam. Weight 24 gr. Estimate € 3000 - € 4000

Lot 272 ____________________________________________________________________________________

A FINE LARGE OTTOMAN MIRROR, SYRIA, 20TH CENTURY

Wood mirror of rectangular form , decorated in mother-of-pearl and bone inlay, the crest in openwork with interlaced vines. fine artwork inlaid all over with Islamic geometric and floral filigree pierced designs on the crown 288 cm. height 148 cm. width

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Estimate € 5000 - € 8000

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Lot 273 ___________________________________________________________________________________

A RARE MAMLUK SILK LAMPAS FRAGMENT, EGYPT OR SYRIA, 14TH CENTURY The registers decorated with calligraphy, foliate and animal designs interspersed with narrow registers of foliate designs picked out in gold thread. 36 by 11.5 cm. Estimate € 3000 - € 4000 CATALOGUE NOTE The inscriptions are a repetition of: al-’izz wa al-nasr wa al-iqbal, ‘Glory and Victory and Prosperity’. For a very similar layout on a textile from the same period in the Victoria and Albert Museum, see Arthur U. Pope, A Survey of Persian Art, Vol. XI, London and New York 1939, plate A, p. 1001 and for other similar lampas weaves used in The Hapsburg Archduke’s burial outfit, see Patricia Baker, Islamic Textiles, 1995, p. 81.

Lot 275 _________________________________________________________________________________

AN AZERBAIJAN SILK EMBROIDERY, SOUTH CAUCASUS,18TH CENTURY

Lot 274 ____________________________________________________________________________________

A RARE MUGHAL SILK LAMPAS FRAGMENT, 17TH CENTURY

The registers decorated with calligraphy, foliate designs interspersed with narrow registers of foliate designs picked out in gold thread. The inscriptions are a repetition of ‘Malbus Aleafia’. 23.5 by 8 cm. Estimate € 1000 - € 1200

152

Cover of embroidered plain weave cotton with silk in surface darning on the diagonal and running stitch, backed with printed cotton and faced with silk satin with an interlining of cotton. Dark brown ground with a repeating design of off-set blue octagons containing 8-pointed stars in light blue, and with elongated hexagons in between. The border varies from yellow to green with S-motifs in green or light blue. 82 by 82 cm. Estimate € 2000 - € 3000 CATALOGUE NOTE The swirling ‘pin-wheel’ interiors of the blue medallions lend movement to the design of this embroidery. Related examples are in the Victoria and Albert Museum, see Jennifer Wearden, ‘A Synthesis of Contrasts’, Hali, issue 59, fig. 18, p.111 and in the Museum of Applied Arts, Budapest, illustrated in Zsuzsa Gombos, ‘Azerbaijan,’ Hali, issue 26, p. 28.

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Lot 276 ___________________________________________________________________________________

Lot 277 _________________________________________________________________________________

The pattern depicts a courtier holding a wine jar pouring into a smaller bottle, a popular theme in Iranian decorative arts. The design features a seamless repeat pattern, elegantly alternating red, white and ochre yellow for the courtier’s cloak as well as the back ground, a design used by weavers to add variation. This pictorial composition is similar to manuscript paintings produced during the reign of Shah Tahmasp, and may be inspired by mystical poetry referencing wine and gardens. 84 by 56 cm.

The metal-thread ground woven with cream, blue, green, pink and brown silk threads in a repeated pattern of a richly dressed standing noble with kneeling attendant proffering pomegranates against a foliate background with blossoming trees and flowering shrubs, areas of slight wear, mounted and glazed. 55 by 77 cm.

A SAFAVID SILK LAMPAS TEXTILE, SHAPED AS A SHIRT, 16TH CENTURY

Estimate € 12.000 - € 14.000

A SILK AND SILVER THREAD LAMPAS PANEL IRAN, SAFAVID SECOND HALF 16TH CENTURY

Estimate € 10.000 - € 12.000

CATALOGUE NOTE

A 16th century lampas silk panel with a design from the same cartoon on a golden ground is in the State Hermitage Musuem, (Iran in the Hermitage, exhibition catalogue, St Petersburg, 2004, p.162, no.203). A second panel of the same lampas as that was in the Kelekian collection (A. U. Pope, A Survey of Persian Art, Oxford, 1938, pl.1013A). The general subject of a noble and attendant is also known in another variant. A Safavid silk and gold brocade, Persia, from the Rosenborg Palace Collection, Copenhagen depicts a child offering a flower to his prince; the ground is filled with foliage, flowers and exotic birds, (Hali, Issue 35, 1987, London, p.65).

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Lot 278 _________________________________________________________________________________

Lot 279 ________________________________________________________________________________

The large blossoms in red, show the characteristic of Kermina embroideries. 163 by 110 cm.

A magnificent Bokhara suzani presenting a very dense field design. The flower-shaped medallion in the central axis barely stand out from the wealth of flowering shrubs pointing in different directions. 224 by 154 cm.

A KERMINA SUZANI, UZBEKISTAN, 19TH CENTURY

Estimate € 7000 - € 9000

156

A SUZANI, BUKHARA, FIRST HALF 19TH CENTURY

Estimate € 7000 - € 9000

157

ORIENTAL RUGS AND CARPETS

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Lot 281 _____________________________________

A HERIZ CARPET IRAN/AZERBAIJAN, 1900 376 by 286 cm.

Estimate € 500 - € 800

Lot 282 _____________________________________

A SARUK FERAHAN CARPET IRAN, 1900 378 by 275 cm.

Estimate € 800 - € 1200

Lot 280 _______________________________________________________________________________________

A LARGE UNUSUAL SIZE ISFAHAN CARPET, IRAN, 1920 570 by 380 cm.

Estimate € 1000 - € 1400

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Lot 286 _____________________________________

A SAUDJUBULAG RUNNER, IRAN FIRST HALF 19TH CENTURY 429 by 110 cm.

Estimate € 800 - € 1200

Lot 283 _____________________________________

A VERAMIN CARPET, IRAN, 1900 309 by 223 cm.

Estimate € 400 - € 600

Lot 284 _____________________________________

A VERAMIN CARPET WITH IVORY GROUND, IRAN, 1910-1920 310 by 215 cm.

Estimate € 500 - € 700

Lot 285 _____________________________________

A BIDJAR KELLEGI CARPET, IRAN LATE 19TH CENTURY 340 by 125 cm.

Estimate € 600 - € 800 Lot 287 ________________________________________________

A KASHAN CARPET, IRAN, 1920 400 by 275 cm.

Estimate € 1200 - € 1400

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Lot 288 _____________________________________

A SARUK FERAHAN RUNNER WITH MOSTOFI DESIGN, IRAN, 1920 360 by 113 cm.

Estimate € 800 - € 1000

Lot 289 _____________________________________

A WOOL BIDJAR RUG, LATE 19TH CENTURY 360 by 178 cm.

Estimate € 500 - € 700

Lot 290 _____________________________________

A KHILA BOTEH CARPET SHRWAN AZERBAIJAN BAKU, LATE 19TH CENTURY 360 by 160 cm.

Estimate € 600 - € 800

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Lot 291 _____________________________________

A PICTURAL KASHAN RUG, IRAN, 1930 217 by 130 cm.

Estimate € 800 - € 1200

Lot 292 _____________________________________

A KIRMAN SHAH PICTURAL RUG IRAN, 1900 228 by 138 cm.

Estimate € 400 - € 600

Lot 293 _______________________________________________________________________

AN UNUSUAL DESIGN VERAMIN CARPET, IRAN, 1920 320 by 229 cm.

Estimate € 500 - € 700

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Lot 294 ______________________________________________________________________________

A HERIZ SERAPI CARPET IN IVORY GROUND,IRAN, MID 19TH CENTURY 375 by 280 cm.

Estimate € 2000 - € 3000

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Lot 295 ______________________________________________________________________________

A SARUK USA RE-IMPORT CARPET, MAHAJERAN, 1910, IRAN 264 by 185 cm.

Estimate € 1000 - € 1500

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Lot 296 ______________________________________________________________________

A FINE HEREKE SILK CARPET, TURKEY, 1980 300 by 205 cm.

Estimate € 1500 - € 2000

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Lot 297 ____________________________________________________________________________

AN ISTANBUL SILK CARPET, TURKEY, 1980-1990 420 by 288 cm.

Estimate € 1500 - € 1800

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Lot 298 ______________________________________________________________________________

AN ISFAHAN AHMAD RUG, LATE 19TH CENTURY 196 by 140 cm.

Estimate € 1000 - € 1200

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Lot 299 _____________________________________________________________________________

A KASHAN KORK CARPET, IRAN 1920 320 by 234 cm.

Estimate € 1000 - € 1200

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Lot 300 _____________________________________________________________________________

YELLOW GROUND ISFAHAN AHMAD, IRAN, LATE 19TH CENTURY 223 by 143 cm.

Estimate € 1200 - € 1500

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Lot 301 ___________________________________________________________________________

A KASHAN KORK RUG, IRAN, 1920 220 by 138 cm.

Estimate € 1200 - € 1400

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Lot 302 _____________________________________________________________________________________

Lot 303 ______________________________________________________________________________

453 by 328 cm.

500 by 350 cm.

A LARGE KASHAN DEBIR SANAI CARPET, IRAN, 1920 Estimate € 1200 - € 1500

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A MASSIVE LARGE KIRMAN CARPET, IRAN, 1900 Estimate € 800 - € 1000

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Lot 304 _______________________________________________________________________________

Lot 305 ________________________________________________________________________________

188 by 103 cm.

213 by 135 cm.

A KASHAN KORK RUG, 1920 Estimate € 1200 - € 1500

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AN ISFAHAN AHMADI CARPET, IRAN, LATE 19TH CENTURY Estimate € 1000 - € 1500

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Lot 306 ____________________________________________________________________________

Lot 307 _______________________________________________________________________________

585 by 355 cm.

210 by 140 cm.

A KIRMAN CARPET, IRAN, 1930 Estimate € 1200 - € 1500

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A SARUK RUG, 19TH CENTURY Estimate € 14.000 - € 18.000

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Lot 310 ___________________________________

A SILK HEREKE PRAGER RUG SECCADE 20TH CENTURY 145 by 100 cm. Estimate € 800 - € 1000

Lot 311 _____________________________________

Lot 308 ________________________________________

A KIRMAN RUG, IRAN, 1920 217 by 150 cm.

A SAHSEWAN KELIM, AZERBAIJAN, 19TH CENTURY

Estimate € 1000 - € 1200

263 by 198 cm.

Estimate € 400 - € 600 Lot 309 ________________________________________

A KURDISH VERAMIN CARPET WITH TREE OF LIFE DESIGN, IRAN, 1910 430 by 189 cm.

Estimate € 400 - € 600

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Lot 313 _____________________________________________________________________________

A CARPET FRAGMENT, PERSIA, SECOND HALF 16TH CENTURY

Lot 312 ____________________________________________________________________

A FERAHAN RUG, EARLY 20TH CENTURY 223 by 165 cm.

This outstanding example displays a painterly approach, with images of animals in combat against a background of flowering plants. The range of animals includes lions, tigers, and rams, as well as dragons from Chinese art. Similar imagery appears on manuscript paintings and lacquer bookbindings produced at the same time. 110 by 80 cm. Estimate € 6000 - € 8000

Estimate € 600 - € 800

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Lot 314 ___________________________________________________________________

A PICTURAL KASHAN KORK, IRAN, 1920 227 by 128 cm.

Estimate € 800 - €1200

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HOW TO BUY AT ORIENTAL ART AUCTIONS

VIEWING

BIDDING

VIEWING IN PERSON

There are several ways to bid at Oriental Art Auctions:

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.

BID LIVE ONLINE Many clients prefer bidding live online. It’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.

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

IN THE ROOM

ESTIMATES

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

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

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

BY TELEPHONE If you would like to bid by telephone, a member of staff will call you from the saleroom on the auction day, just before your lot(s) come up, and will then relay to you the events in the room, and bid on your behalf live at the auction when instructed to do so.

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

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.

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.

Once our team have processed your bid request you will receive an email confirmation.

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.

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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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

VALUATIONS

Congratulations on your successful bidding, the next stage is payment.

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.

There are number of ways to pay to make it as easy as possible for you. We accept cash, credit or debit card or bank transfer. All items must be paid for before they can be collected.

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

CASH

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

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

You will receive an advised estimate of each item offered for sale, and we advise that the items are sold the auctioneer’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.

CREDIT OR BANK CARDS

BEFORE THE AUCTION

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

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.

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.

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.

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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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.

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.

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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