ISLAMIC ART HAMMER AUCTION 17 JUNE 2025

ISLAMIC ART HAMMER AUCTION

17 JUNE 2025

ISLAMIC ART HAMMER AUCTION 17 JUNE 2025

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CoC. 66070651

VAT no. NL856383405B01 General

305 lots

Auction status: opened

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AN ILLUMINATED QURAN JUZ, KASHMIR 19TH CENTURY

Arabic manuscript on silk paper, 34ff. each page with 6ll. written in elegant gold thuluth script outlined in black, resrved in blue and orange clouds against a gilt floral decorated ground , underlined with a broad gild border, large gilt verse roundel markers outlined in black ruled in gilt and polychrome borders, the margins of each page excessively decorated with gilt floral lotus and peony scrolls on a gilt ground. Surah headings of Basmallah in gilt naskh script outlined in black on a gilt floral decorated ground. opening folio with gold and polychrome illuminated headpiece. in original Safavid brown morocco with flap with large panel of stamped and tooled gilded decoration, doublures with elegant gilded decoupé arabesque medallion and spandrels over coloured panels.

Inscriptions: Contains five surahs, beginning with Surah Yaseen (Chapter 36) and ending with Surah An-Naba (Chapter 78).17 by 24 cm

CATALOGUE NOTE

The Quran written in Kashmiri on silk paper is a rare and treasured artifact reflecting deep reverence and artistic mastery. Silk paper, prized for its smooth texture and luxury, elevates the manuscript’s spiritual and aesthetic value. Originating from Kashmir’s rich tradition of Islamic calligraphy and manuscript art, these Qurans often blend local cultural motifs with classical Islamic styles. Typically created during the Mughal period or earlier, such manuscripts were commissioned by patrons seeking to honor the sacred text with exquisite craftsmanship. Due to the delicate nature of silk, these works are rare and carefully preserved, symbolizing a unique fusion of Kashmiri heritage and Islamic devotion.

Estimate € 4000 - € 6000

Lot 72

AN ILLUMINATED OTTOMAN RELIGIOUS BOOK, WRITTEN BY AHMAD KNOWN AS SHAYKH ZĀDA AND DATED 1204AH/ 1789AD

Arabic manuscript on paper, comprising 16 folios, each page is arranged in three columns containing four roundels, inscribed in black Thuluth script. The text is a compilation of the names of the Sahaba who attended the Battle of Badr (Companions of the Prophet Muhammad), presented in alphabetical order in red ink within the roundels.

The manuscript is richly adorned with wide floral gold borders, and several pages feature boxed gold embellishments that highlight the names of the Companions. Chapter headings are illuminated in lapis blue and gold leaf, accentuated with delicate floral motifs.

The final page bears the inscription: “Written by el-Sayyid Ahmed, known as Shaykh Zada,” and is dated 1204 AH (1789–90 AD).

Housed in a leather-bound folio with gold tooling. 9 by 12 cm

Estimate € 8000 - € 12.000

MUHAMMAD BIN SULAYMAN AL-JAZULI (D.1465 AD) DALA’IL AL-KHAYRAT, 18TH CENTURY

Al-Jazuli’s renowned work in praise of the Prophet Muhammad, Arabic manuscript on paper, each folio with 10 lines written in bold sepia Maghribi, titles in bold gold and polychrome Maghribi within illuminated cartouches, important words such as Allah and Muhammad in blue or red, text within blue and red rules, catchwords, two contemporaneous illustrations of the minbar of the Prophet and the tombs of the first Caliphs, copious added notes, in red morocco binding with gilt highlights. 12 by 12 cm.

Estimate € 3000 - € 5000

AN ILLUMINATED SULTANATE QURAN, NORTH INDIA, 16TH CENTURY

A complete Quran, Arabic manuscript on paper, Each folio contains 17 lines in black Bihari script, with the word Allah highlighted in gold. The text is ruled with red and blue borders, with tajwīd markings in red ink and gold rosette verse markers accented by blue dots. Sura headings, along with the number of verses, are inscribed in black Thuluth script on illuminated polychrome panels. Polychrome and gold marginal medallions denote Juz’, Hizb, and other textual divisions. The two opening bifolia are richly decorated with polychrome designs framing 11 lines of text within cloud bands; the final two pages of the Qur’an are similarly adorned.Bound in a later morocco leather binding. 7.5 by 11.5 cm.

CATALOGUE NOTE

This refined North Indian Quran manuscript, dating to the 16th-century Sultanate period, exemplifies the rich artistic and devotional traditions of the region. The use of Bihari script—characterized by its bold, angular forms—reflects a localized calligraphic tradition prized for Qur’anic transcription. The restrained yet elegant illumination, with gold and polychrome marginal medallions and architecturally framed sura headings, demonstrates a sophisticated fusion of Persianate and Indian artistic influences.

Its small size suggests the manuscript was intended for personal use, easily carried during travel for devotional recitation or kept as a talismanic object for spiritual protection. Despite its intimate scale, the careful page layout and refined palette indicate patronage by a learned elite, possibly a regional ruler or scholar.

This Quran is a testament to the vibrant manuscript culture of late Sultanate India, revealing an artistic heritage that laid the groundwork for the later grandeur of Mughal manuscript arts.

Estimate € 8000 - € 12.000

AN ILLUMINATED QURAN JUZ, KASHMIR, 19TH CENTURY

Arabic manuscript on paper, 20ff., each page features three lines of large, elegant Muhaqqaq script in blue and black, accompanied by eight lines of smaller black Naskh script arranged in two columns, flanked by gilt and polychrome decoration. Gold verse markers outlined in black, red ink for tajwīd notation, and surah headings rendered in white Thuluth script appear on a gilded and polychrome-decorated ground. The text is framed within gold and polychrome ruled borders.

The first and last two folios are richly illuminated with elaborate gold and polychrome decoration, framing four lines of text reserved in cloud-shaped panels against a gold-sprinkled background.

Bound in black leather.

Inscriptions: This manuscript comprises the final section of the Qur’an, from Surah al-Mulk to Surah al-Mursalāt.

25.5 by 38.5 cm.

Estimate € 2500 - € 3500

AN ILLUMINATED QAJAR QURAN, PERSIA, 18TH CENTURY

Arabic manuscript on paper, each folio with 15 lines of elegant black naskh script, diacritics and vowels in red, marginal occasional notes indicating ‘Juz’ and Hizb’, text within double gold and polychrome rules, surah headings in thuluth red script on a gold and blue decorated cartouche, two opening bifolia fully illuminated in gold and polychrome decoration framing 7 lines of elegant naskh script in clouds reserved against a sprinkled ground. f.2b and f.3a framing lines in clouds reserved against a gold ground with a floral scroll stylized margins. Two pages at the end heavily illuminated with polychrome decoration. The last three pages with a prayer for completion of the recitation of the Quran (Due- al-Khatm).

In gilt lacquer binding with central cartouche enclosing blossoming flower heads.

Text panel: 9 by 15.5 cm.

Folio: 15 by 21 cm.

Estimate € 10.000 - € 15.000

AN ILLUMINATED OTTOMAN QURAN SIGNED BY HALIL IBRAHIM EL-NASIB, TURKEY, DATED 1248 AH/1832 AD

A complete Quran, Arabic manuscript on cream paper, each page with 15 lines, written in black naskh script within gold and polychrome rules, gold roundel verse markers with polychrome dots. Surah headings in white thuluth script with gold and polychrome decoration, gold and polychrome marginal motifs indicating the ‘Juz’. Two opening biofolia heavily gilt with gold and polychrome decoration framing 7 lines of black naskh in clouds reserved against a sprinkled gold ground.

The last 5 pages with a prayer for completion of the recitation of the Quran (Dua’a al-khatm) and signed ‘halil (Khalil )Ibrahim el-Nasib Al-Nakshabandi’ and dated 1248 AH.

In deep brown morocco leather binding with flap decorated with gold painted central medallion and border. 11 by 15 cm.

Estimate € 30.000 - € 40.000

DALA’IL AL-KHAYRAT BY MUHAMMAD BIN SULAYMAN AL-JAZULI (D. 1465 AD), SIGNED UBEYDULLAH ZEHNI, OTTOMAN TURKEY, DATED 1217AH/ 1802AD

Arabic manuscript on paper depicting prayers in honour of the Prophet Muhammad, each folio with 11 lines written in elegant black naskh script, with gold verse markers outlined in black and pointed out in polychrome dots, some words picked out in red, text within double gold and red rules, two opening biofolio with royal gold and polychrome decoration.

Further two detailed illustrations Mecca and Medina with Al-Masjid AL-Haram and Al-Masjid AL-Nabawi, different attributed names to the Prophet, 6 chapters or ‘’Hiz’’ of prayers, occasional marginal notes, colophon signed ‘written by al-Faqir Ubeydullah zehni, the first Imam of Mihrimah Sultan Mosaque in Edirne, student of Abu Bakr Rasid and dated in Rmadan 1217AH ‘

In original tooled and stamped gilt brown morocco binding with flap. 12 by 17 cm.

Estimate € 2000 - € 3000

Lot 79

AN OTTOMAN ILLUMINATED PRAYER BOOK, WRITTEN BY MEHMED IMAMZADE AND DATED 1165AH/ 1751AD

Arabic and Turkish manuscript on paper, 11 lines to the page, written in naskh script in black ink, text separation represented by gold roundels outlined in black and pointed by polychrome dots, illuminated frontispiece with gold and polychrome decoration, surah headings with gold and polychrome decorated panels, ruled in gold and black borders.

This finely-illuminated manuscript is a collection of Arabic and Turkish prayers. It opens with surah al-An’am, Yasin, al-Mulk, al-Fath, al-Rahman, many different small verses followed by different prayers with commentaries and the Beautiful Names (Asma’ al-husna), attributed Beautiful names to the prophet, two Hilya’s of the prophet.

The last folio signed by ‘’al-Faqir Mehmed Imamzade and dated in 1165AH’’. In original tooled and stamped gilt brown morocco binding with flap. 10 by 15 cm.

Estimate € 2000 - € 3000

Lot 80

MAHARANA SARUP SINGH (1842-61) IN AUDIENCE WITH HIS COURTIERS, UDAIPUR, CIRCA 19TH CENTURY

Water colour on paper.

Estimate € 1200- € 1500

BHAIRAVA AT THE FEET OF GOSAINJI KOTA, RAJASTHAN, INDIA, CIRCA 18TH CENTURY

Opaque water color on paper.

This rare and evocative painting depicts a moment of spiritual reverence where Bhairava, the fierce manifestation of Lord Shiva, is shown in a humble pose, holding the feet of the revered Vallabhacharya saint Gosainji (also known as Vitthalanatha). The saint is seated in a position of divine authority, underscoring his status as a spiritual preceptor.

The river flowing through the composition, possibly representing the sacred Yamuna, is lined with ascetics and female devotees, suggesting ritual purification and divine presence. Numerous large black cauldrons filled with offerings surround the figures, symbolizing the annakut (mountain of food), an important motif in the Pushtimarg tradition, which Gosainji upheld.

Bhairava, depicted in his iconic blue form, stands beside the saint, reinforcing Gosainji’s special relationship with the deity. The stylized treatment of the figures, the vibrant palette, and the balanced composition are characteristic of the Kota school, although the subject and religious tone also resonate with the Nathdwara tradition centered around Shiva devotion.

This work exemplifies the devotional fervor and visual richness of Rajasthani miniature painting, where the divine and the earthly meet in moments of spiritual surrender and grace.

Estimate € 2000 - € 3000

Lot 82

A PORTRAIT OF MAHARANA BHIM SINGH OF MEWAR (R. 1778-1828) UDAIPUR, MEWAR, NORTH INDIA, 19TH CENTURY

Opaque pigments and gold on paper.

Estimate € 600 - € 800

Lot 83

A PORTRAIT OF MAHARANA JAWAN SINGH UDAIPUR, MEWAR, NORTH INDIA, 19TH CENTURY

Opaque pigments and gold on paper.

Estimate € 600 - € 800

Lot 84

PORTRAIT OF RAGHUBIR SINGH, MAHARAO OF BUNDI, BUNDI, RAJASTHAN, INDIA, CIRCA 19TH CENTURY

Water colour on paper

Estimate € 1000 - € 1500

Lot 85

PORTRAIT OF GURU RAM DAS, THE FOURTH SIKH GURU, LUCKNOW SCHOOL, NORTH INDIA, CIRCA 19TH CENTURY

Opaque water colour on paper.

Estimate € 1000 - € 1500

86

HANUMAN IN DEVOTIONAL POSTURE KOTA, RAJASTHAN, INDIA, CIRCA 18TH CENTURY

Opaque watercolour on paper.

This vibrant miniature painting portrays Lord Hanuman, the devoted servant of Rama, standing in a posture of reverence (anjali mudra) in a lush, idealized landscape. Rendered in refined Kota style, Hanuman wears beaded ornaments, and a finely patterned dhoti, suggesting his divine status. His facial features are distinctively simian yet anthropomorphized, with large, expressive eyes and a red facial hue symbolic of his bhakti (devotion).

The richly detailed forested background, populated with peacocks, cranes, flowering trees, and serene lotuses, echoes the spiritual tranquility of Hanuman’s presence. The subtle use of shading on the hills, elegant flora, and jewel-like color palette aligns this work with the Kota School, a sub-style of the Rajasthani tradition known for its lyrical naturalism and devotional sentiment.

Art Historical Context and References: Hanuman was a frequent subject in Kangra and Guler paintings, often shown in meditation or devotion, reflecting his ideal of selfless service. For similar iconography and treatment, see:

W.G. Archer’s Indian Paintings from the Punjab Hills (Oxford, 1973), particularly volumes on Kangra and Guler.

Milo Cleveland Beach’s Rajput Painting at Bundi and Kota for related stylistic comparisons.

The Spirit of Indian Painting by B.N. Goswamy (Penguin, 2016), which includes interpretive insights into figures like Hanuman in devotional art.

Estimate € 1500 - € 2000

DARBUR OF BHARPUR SINGH, RAJAH OF NABHA (R. 1847-63), ENTHRONED WITH ATTENDANTS AFTER THE UMBALLA DURBAR OF 1860

Nabha or Delhi, circa August 1858, gouache and gold on paper. 46 by 31 cm.

PROVENANCE

Private collection, Germany.

CATALOGUE NOTE

Maharaja Jaswant Singh of Nabha died in 1840 and was succeeded by his son Devinder Singh. In 1845, during the Sikh war, Devinder Singh withheld supplies from the British, and as punishment was deposed in 1846 and died in confinement in 1865. Devinder’s son, Bharpur Singh, was installed as the Maharaja in 1847. During his minority, the affairs of state were managed by his grandmother. Bharpur Singh helped the British during the mutiny of 1857 and was rewarded with the grant of the divisions of Baval and Kanti with permission, later on, to purchase a portion of Jhayar territory. Like other Phulkian chiefs, he was granted the right of adoption, the power of life and death over his subjects and the promise of non-interference by the British in the internal affairs of his state. In September 1863, he was nominated a member of the Viceroy’s Council but died at Nabha shortly afterwards, childless, in November 1863.

Estimate € 4000 - € 6000

AN ILLUMINATED OTTOMAN QURAN, SIGNED BY HAFIZ IBRAHIM AL-KARAHISARI, OTTOMAN TURKEY, DATED 1227 AH/1812-13 AD

A complete Quran, Arabic manuscript on cream paper, 322 leaves with 2 fly-leaves, each page with 15 lines, written in black naskh script within gold and black rules, gold roundel verse markers outlined in black and pointed in polychrome dots. Surah headings in white thuluth script within gold and polychrome decorated cartouches, gold and polychrome marginal motifs indicating the ‘Juz and Hizb’. Two opening biofolia with heavily gilt and polychrome decoration framing 7 lines of black naskh in clouds reserved against a sprinkled gold ground.

The last four pages with a prayer for completion of the recitation of the Quran (Dua’a al-khatm) and signed ‘Hafiz Ibrahim el-Nasib Al-karahisari, student of Mahmud Celaluddin Effendi and dated 1227 AH. In black leather morocco binding with flap decorated with gold painted central medallion and border. 10 by 14 cm.

Estimate € 20.000 - € 30.000

Calligrapher: Beyond a laqab which suggests he came from the West Anatolian town of Karahisar, nothing is known about the scribe of this Quran from the published sources. The colophon of this manuscript, however, states that he learnt under Mahmud Celaluddin Effendi (d. AH 1245/1829 AD). Born in the Caucasus, Celaluddin became a prominent calligrapher in Istanbul in the early 19th century. He briefly enjoyed royal favour, completing an inscription for the tomb of Mihrishah, the mother of Selim III. Samples of his calligraphy on paper are in the Topkapi Palace Musuem (EH 273 and GY 322-9) and published as part of the Sakip Sabanci Collection (M. Ugue Derman, Letters in Gold: Ottoman Calligraphy from the Sakip Sabanci Collection, Istanbul, New York, 1998, pp.108-11). His students also enjoyed success in their own right: Mehmed Tahir Efendi would instruct Sultan Abdulmecid in the arts of calligraphy, while another student - Esma Ibret Hanim - was the most successful female calligrapher of her day.

NIZAMI(D.1290), KHAMSA, COPIED BY HASAN IBN ALI, SAFAVID PERSIA 17TH CENTURY

Persian manuscript on paper, 598ff. with 3 fly-leaves, each page with 23 ll.text arranged in 4 columns, written in fine nasta’liq script in black ink, ruled in red, green, gold and blue, titles in red ink, with eight paintings, five polychrome and gold headings, three title page missing, in a green morocco leather binding with stamped decoration.

18.5 by 29.5 cm

The manuscript begins with the Makhzan al-Asrar (The Treasury or Storehouse of Mysteries), lacking its beginning and title page, and continues with Khusraw and Shirin, Layla and Majnun, Haft Paykar (The Seven Beauties), and the Iskandarnameh, divided in the Sarafnameh and the Iqbalnameh.

The subjects of the miniatures remaining in the present manuscript are as follows:

From Khusraw and Shirin: Shirin in a landscape (2)

Farhad brought before Khusraw Khusraw spies on Shirin

From Haft Paykar

From the Iskandarnameh

Estimate € 15.000 - € 20.000

CATALOGUE NOTE :

Nizami Ganjavi (c. 1141–1209)

This celebrated quintet of Persian narrative poems—known as the Khamsa (“Five Treasures”)—represents the pinnacle of medieval Persian literary and artistic achievement. Composed in elegant rhyming couplets, Nizami’s Khamsa became a foundational model for later poets and a favored subject for richly illustrated manuscripts across the Persianate world.

Makhzan al-Asrar (The Treasury of Mysteries): A didactic, mystical work of moral reflections and Sufi-inflected allegories.

Khusraw and Shirin: A romantic epic recounting the love of the Sasanian king Khusraw II for the spirited Armenian princess Shirin.

Layla and Majnun: A poignant tale of unfulfilled, spiritual love, where passion leads to divine madness.

Haft Paykar (The Seven Beauties): A cosmological romance: King Bahram Gur visits seven pavilions, each linked to a day of the week, color, and planetary deity, hearing a tale from each princess.

Iskandarnameh (The Book of Alexander): A two-part philosophical epic—Sharafnameh and Iqbalnameh—depicting Alexander the Great as conqueror, seeker of wisdom, and prophet-king.

AN ILLUMINATED OTTOMAN PRAYER BOOK, ANAM-I SHARIF, SIGNED BY SEYYID MUSTAFA ZIHNI EFENDI, TURKEY

MID-18TH CENTURY

Arabic manuscript on paper, each page with 15 lines written in black naskh script within gold and red rules, gold roundel verse markers outlined in black and pointed by polychrome dots, catchwords and important words in gold. Surah headings in white thuluth script on a gilt ground within a decorated panel. Two opening biofolia heavily with gilt and polychrome decoration framing 7 lines of black naskh script in clouds reserved against a sprinkled gold ground. Final three pages with completion of the recitation of the Qur’an (Dua-i hatm-i Qur’an) and signed by ‘’written by al-Faqir Seyyid Mustafa Zihnî’’ brown morocco binding with gilt-stamped medallions, with flap and metal-thread-embroidered slip-case. 11 by 17 cm.

The Prayer Book

This prayer book comprises selected verses from the Qur’an, including surah Al-Fatiha, Al-An‘am, Al-Dukhan, Al-Kawthar, Al-Fath, Al-Rahman, Al-Mulk, Al-Masad, Al-Ikhlas, Al-Falaq, and Al-Nas, followed by the Beautiful Names (Asma’ al-Husna) and an accompanying commentary (sharh).

Estimate € 40.000 - € 60.000

It also contains:

The Names of the Prophet with commentary, the Prayer of Forgiveness (Istighfar), the Prayer of the Lord of Forgiveness (Sayyid al-Istighfar) and its commentary, the Prayer of Faith and its commentary, the Prayer of the Greatest (Du‘a al-A‘zam), the Covenant Prayer (Du‘a al-‘Ahd), the Prayer of Light (Du‘a al-Nur) and its commentary, the Goblet Prayer (Du‘a al-Kadah), Qasida al-Burda, the Names of the Companions of the Battle of Badr, A Munajat (Prayer of Supplication), the names of the Prophet’s companions, listed in alphabetical order.

It also features two illuminated pages bearing the names “Allah” and “Muhammad” set against a gold-sprinkled ground; the Hilya of the Prophet, the four Caliphs, Hasan, and Husayn; the genealogical tree of the Prophet featuring the Asharat al-Mubashsharun; the family tree of Ahl al-Bayt; depictions of the Prophet’s flags and the sword of ‘Ali; the Seal of Prophethood (Muhr al-Nubuwwah); the Seals of Solomon and Ja‘far al-Sadiq (preceded by commentary); the Rose of the Prophet Muhammad; the Rose of ‘Ali ibn Abi Talib and Fatima; and the Companions of the Cave.

Colophon and Attribution

Beneath the colophon on the final folio, which records the name of the calligrapher, a small cartouche identifies the illuminator as “‘Ali, the illuminator of the Private Library of the Interior Palace (Kitābhāne-i Khāṣṣa-yi Enderūn-i umāyūn).”

The illumination of the manuscript’s frontispiece bears a striking resemblance to that of a Qur’an executed by Mehmed Nuri Efendi in 1748 CE. Both works feature a harmonious blend of stylised vegetal motifs and naturalistic floral elements in the side panels (see M. Uğur Derman, Ninety-Nine Qur’an Manuscripts from Istanbul, Istanbul, 2010, pp. 250–253).

Lot 91

PORTRAIT OF AMAR SINGH II, NORTH INDIA, CIRCA 18TH CENTURY

Portrait of Amar Singh II, ruler of the kingdom of Mewar, (Ruling 1698–1710), Udaipur. Opaque pigments and gold on cloth. 83 by 103 cm

Estimate € 3000 - € 4000

PORTRAIT OF MAHARAJA BHIM KANWAR, ATTRIBUTABLE TO NANHA, MUGHAL, AMBER, RAJASTHAN, CIRCA 17TH CENTURY

Opaque water colour and gold on paper.

The verso with black devanagari identificatory inscription, pasted between plain card margins. 23.5 by 16.5 cm.

Maharaja Bhim Kunwar wears a diaphanous jama tied to the left, an ornately decorated patka, or sash, and a sword hanging from his waist. He is set against a cyan background, typical of portraiture of the early seventeenth century.

Bhim Kunwar, son of the Rajput ruler of Mewar, Rana Amar Singh, was given the title of maharaja by Shah Jahan, and was a staunch supporter and ally of the Mughal house. As demonstrated by the inclusion of his portrait in the Shah Jahan Album, Hindu nobility featured prominently in the ranks of the Mughal empire; Shah Jahan himself was the son of a Rathor Rajput princess.

Estimate € 2000 - € 3000

A PAGE OF ILLUMINATION IN GOLD, INDIA, DECCAN, BIJAPUR OR GOLCONDA, CIRCA 1600

Lavishly adorned in gold against a black and red background, the central panel features wild animals and deer playfully frolicking through a forest scene. The surrounding black border is embellished with stylized gilt floral scrollwork, while the outer margin is richly decorated with an illuminated floral pattern set against a deep red ground.Deccani paintings flourished under the enlightened patronage of the Adil Shahi rulers of Bijapur and the Qutb Shahi dynasty of Golconda, evolving into a distinctive artistic tradition that blended diverse cultural influences. This unique style emerged from a rich confluence of indigenous Rajput and Mughal aesthetics, merged seamlessly with Persian, Turkish, and even European artistic elements, reflecting the cosmopolitan environment of the Deccan courts during the 16th and 17th centuries. One of the most notable features of Deccani painting is its strong Persianate character, particularly evident in works produced in Bijapur and Golconda. This influence can be directly linked to the Deccan sultanates’ deep cultural, diplomatic, and intellectual ties with Safavid Iran. Artists and scholars traveled frequently between these regions, and Persian motifs, themes, and techniques became deeply embedded in Deccani visual culture. Deccani paintings are renowned for their vibrant color palettes, elaborate detailing, and an unmistakable love for luxurious ornamentation. Intricate patterns, shimmering textiles, and rich, jewel-toned hues imbue these works with a sense of opulence and mystique. Beyond their aesthetic beauty, these paintings often explore themes of poetry, spirituality, and courtly life, imbuing the scenes with a dreamlike, almost otherworldly quality.

For a more comprehensive understanding of this sophisticated art form, see Mark Zebrowski’s Deccani Painting (1983), which remains a seminal work in the field, and Stuart Cary Welch and Steven Kossak’s Indian Court Paintings: 16th–19th Century (1997), which provides broader context on Indian courtly traditions and their visual expressions.

Estimate € 1200 - € 1500

A GOLDEN ALBUM PAGE WITH DECOUPE VASE OF FLOWERS, BIJAPUR/DECCAN, INDIA, CIRCA 1630-1640

Lyrical flowers and tender buds grow from thorny stems that spring from a fantastical vase. This tourde-force of decoupage was likely executed at the court of Muhammad Adil Shah of Bijapur (reigned 1627–56) for the sultan’s royal album. 21.5 by 13.5 cm.

Estimate € 1200 - € 1500

Lot 94

A SAFAVID PORTRAIT OF A YOUNG MAN, THE CALLIGRAPHY SIGNED MOHAMMED YUSEF AL-HUSAYNI, 17TH CENTURY

Gouache colors heightened with gold on paper, depicting a young man wearing flowing blue robes with an orange sash tied around his waist, a golden-brown shawl or outer garment adorned with floral patterns, and a white turban atop his head. He stands gracefully, holding a book or small object, facing slightly to his left.

Framed by an ornate arch and surrounded by Persian calligraphy in nastaliq script, the painting is laid down on an album page, with the margins stylized with floral scrolls.

Signed: Rakim Mohammad Yusef al-Husayni

CATALOGUE NOTE :

Mohammad Yusef the Painter,was a Safavid era Persian painter of the Isfahan school. He was an apprentice of Reza Abbasi. The Shahnameh of Rashida is attributed to him. It seems that he and Mohammad Qasem were close co-workers, as their names are usually mentioned together. The Windsor Shahnameh (also known as the Shahnameh of Qarachaqay Khan) contains 148 or 149 miniatures, all of them are attributed to Mohammad Yusef and Mohammad Qasem, except the first two miniatures. The miniatures of this Shahnameh are very similar to the miniatures of the Shahnameh of Rashida, and therefore it has been suggested that these manuscripts of Shahnameh have been prepared by same painters.

Estimate € 4000 - € 6000

A

SAFAVID CALLIGRAPHIC QUATRAIN, SIGNED BY ‘MUHAMMED AFDEL??, PERSIA AND DATED 1139 AH/ 1726 AD

Persian manuscript on paper, 7 lines of text in large nasta’liq script in black ink within cloud bands against a finely-illuminated ground of interlacing polychrome flowers, signature in lower corner piece, laid down on an album page.

Text: 25.5 by 14 cm.

Page: 34 by 22 cm.

Estimate € 2000 - € 3000

AN ILLUSTRATED FOLIO FROM A PERSIAN EPIC, SA’DI KULLIYAT, SAFAVID, 18TH CENTURY

Gouache heightened with gold on paper, with text in Persian Nastaliq script in clouds reserved against a sprinkled gold ground, depicting a story from the first chapter of Kulliyat al-Sa’di (On the Conduct of Kings). Laid down on an album page, the margins are stylized with gilt blossoming lotus scrolls.

The text and the paiting depitcs a story about wisdom, courage, and the trials of a noble family. It touches on themes of jealousy, virtue, and the true value of character. The son, though initially underestimated, proves his worth through bravery and wisdom, while his brothers’ jealousy leads them to betray him. The story contains a deep reflection on leadership, humility, and the consequences of one’s actions.

Estimate € 5000 - € 7000

AN ILLUSTRATED FOLIO FROM A PERSIAN EPIC, SA’DI KULLIYAT, SAFAVID, 18TH CENTURY

Gouache heightened with gold on paper, with text in Persian Nastaliq script in clouds reserved against a sprinkled gold ground, depicting a story from the first chapter of Kulliyat al-Sa’di (On the Conduct of Kings). Laid down on an album page, the margins are stylized with gilt blossoming lotus scrolls.

The text and the painting deptcs a story about a tribe of Arab bandits had settled atop a mountain, blocking the caravan’s passage, and the subjects of the neighboring lands were terrified of their schemes. The Sultan’s army was defeated because the bandits had taken control of the mountain’s summit, establishing their refuge and stronghold. The wise men of the surrounding regions consulted on how to deal with this threat, fearing that if the bandits continued their dominance, resistance would become impossible.

Estimate € 5000 - € 7000

Lot 99

AN EQUESTRIAN PORTRAIT OF GURU GOBIND SINGH AND THE CHAR SAHIBZADAY (FOUR SONS), PUNJAB HILLS, MOST PROBABLY KANGRA, SECOND HALF 19TH CENTURY

Guru Gobind Singh was the tenth and last nanak or Sikh preacher. He is credited with having formalised the religion. Contemporaneous to the Emperor Aurangzeb, he faced the Mughal armies and was finally assassinated in 1708 while at camp expecting a Mughal delegation sent by Aurangzeb’s successor, Bahadur Shah, to broker peace. 65 by 41.5 cm.

Portraits of gurus are idealised as opposed to realistic likenesses. Painters relied on oral tradition and existing literature, either sacred or profane, to form an iconography (Susan Stronge (ed.), The Arts of the Sikh Kingdoms, London, 1999, p. 209 and pl.32, p.36, p.209). Gorbind Singh’s falcon and wrist umbrella bearer denotes power and royalty whilst a following angel holding a flywhisk, as seen in the portrait illustrated ibid 1999, pl.32, p.36, signify saintlhood.

Another equestrian portrait of Gobind Singh showing him with a flacon on his wrist and followed by an umbrella bearer sold at Christie’s, South Kensington, 23 April 2012, lot 324. & 12 JUNE 2018 , LOT 129

Estimate € 10.000 - € 15.000

Lot 100

AN ILLUSTRATION FROM THE MAHABHARATA SERIES, KRISHNA RUNS AWAY WITH RUKHMANI, INDIA, KANGRA, CIRCA 1800

Gouache heightened with gold on paper. 41 by 31.5 cm.

Estimate € 2000 - € 3000

Lot 101

A FIRST CLASS SET OF ROYAL ORDER OF ISMAIL ISSUED BY EGYPTIAN KING FAROUK I, LATTES OF CAIRO 1357 AH /1939 AD

Comprising a sash badge and breast star, both of enamelled gold, each piece bearing a the date mark ‘c’ and the maker’s name, the gold elements with 18 karat gold mark, the sash badge in the form of a gold rimmed five pointed star, each point terminating in a blue ball, the central medallion inscribed with the name of the Order surrounded by a green and gold wreath, each ray with gold interlacing floral decoration, suspended from a gold crown; the breast star similar to the sash-badge but without the crown suspension, with silver rays between the points of the star.

The Royal Order of Ismail (Nishan al-Ismail) was an order of chivalry and state honour in the Kingdom of Egypt.

It was established on 14 April 1915 by Sultan Hussein Kamel of Egypt to reward eminent services to the state.The order was named after Ismail Pasha and could be awarded to both Egyptian nationals and foreigners.

Estimate € 15.000 - € 20.000

TWO LARGE ILLUMINATED MUHAQQAQ QURAN LEAVES, PERSIA ILKHANID 14TH CENTURY

Arabic manuscript on paper, 2ff., each with 7ll. writtien in elegant black muhaqqaq script, interlinear Persian translation, gold and polychrome roundel verse markers, marginal gold and polychrome ‘ashr and khamsa markers, one sura heading in white naskh outlined in black on a coppery ground decorated with scrolling vine.

Inscrptions: v.275-282 from surah al-Baqraa, v.286 surah from al-Baqraa, v.1-v.6 from surah Al-Imraan. 45 by 32 cm.

Estimate € 2000 - € 3000

Lot 103

TWO LARGE MUHAQQAQ QURAN LEAVES, NEAR EAST 14TH CENTURY

Arabic manuscript on paper, 2ff., each with 11 lines written in elegant black muhaqqaq script, gold and polychrome roundel verse markers, marginal gold ‘Hizb’ notes outlined in black, diactries or tajwid is in red ink, gold and polyhcrome ‘’ashur and khums’’ markers.

Inscriptions: v.158-v.166 from surah al-A’raaf, v.179 -v.190 from surah al-A’raaf. 47 by 32 cm.

Estimate € 1200 - € 1500

Lot 104

A MONUMENTAL LATE MAMLUK, EARLY OTTOMAN, TINNED COPPER BRASS BASIN, EGYPT OR SYRIA, LATE 15TH-EARLY 16TH CENTURY AND LATER

Of beaten sheet metal, deep rounded form, the body engraved with overlapping circular medallions containing stellar motifs alternating with oblong cartouches filled with strapwork, foliate details and naskh inscriptions, with later everted rim and foot with two drill holes and inscription.

Height: 31.7 cm.

Diameter: 55.4 cm.

PROVENANCE

Previously in the collection at Athelhampton House, Dorset, since the 1950s.

CATALOGUE NOTE

Another deep rounded bowl from the late fifteenth century and attributed to the Master Muhammad, the cook from Aleppo, is in the Royal Ontario Museum, Toronto (inv. no. DSC04621), and features similar inscribed tinned-copper designs and form.

Estimate € 4000 - € 6000

Lot 105

SHARH ALA AL-RISALAH AL-HUSAYNIYAH, COPIED IN JUMADA II 1215 AH/ OCTOBER 1800 AD

Arabic manuscript on paper, each page written in 23 ll. with black naskh script, catchwords in red ink, later added marginates notes, last page signed” copied in Jumada II 1215 AH”.

The author: Muhammad Sadiq bin Abd al-Rahim al-Arzanjani, known as Mufti Zadeh (d.1223AH): a logician, one of the scholars of the Ottoman Empire. His death and burial near Uskudar. One of his books is (Footnote to Issam’s Explanation of Al-Samarkandiyah), (Footnote to the Liberation of Logical Rules), (Footnote to the Husseini Message in Research Etiquette) and (Footnote to Conceptions) both in logic. This book was copied during the life of the author in 1215 AH.

The later added notes by Abdul Malik bin Abdul Wahhab Al Fatni, born in Mecca 1255AH, one of the scholars of Mecca during the 13 century AH, in addition to being a writer, poet, and judge, and a contemporary of King Abdul Aziz Al Saud. 15 by 29 cm.

Estimate € 2000 - € 3000

Lot 106

A TIMURID MANUSCRIPT, THREE ARTICLES, PERSIA, 15TH CENTURY

Arabic and Persian manuscript on paper, 22 leaves, each page with 11lines, written in Arabic naskh script and Persian nasta’liq script, ruled in gold border.

Titels and important words picked out in gold colour.

The book contains three articles :

1-Safire simurgh/ Simurgh’s shrill cry: A philosophical allegorie and mystical treatise by Shihab ad-Din Yahya ibn Habash Suhrawardi, known as Sohrevardi. A Persian philosopher and founder of the Persian school of Illuminationism, an important school in Islamic philosophy.

2-Poetry/ Quatrains by Afdal al-Din Kashani known as Baba Afzal, a Persian poet and philosopher, is considered one of the three greatset masters of the roba’i ( quatrains), while in philosophical prose only Suhrawardi stands on the same level.

3- Abu Jafar al-Mansur’s will to his son al-Mahdi before he went on Hajj.

Each chapter or article is decorated with a headpiece stylized with royal blue and gold decoration enclosing Kufic inscriptions.

Different ownership statements and seals of 1031AH/ 1204 AH/ 1255 AH.

Text: 6 by 11.5 cm.

Estimate € 3000 - € 4000

PUNJAB HILLS, KANGRA, CIRCA 19TH CENTURY

The tenth Sikh Guru Govind Singh (1675-1708) seated on a throne against a bolster on a terrace, an attendant behind him waving a morchal, disciples seated before him. gouache and gold on paper. 48 by 38 cm.

Estimate € 5000 - €8000

Lot 108

MAHARAJA SHER SINGH RECEIVES A SWORD FROM RAJA DHIAN SINGH. DELHI SCHOOL, CIRCA 19TH CENTURY

Opaque pigments with gold on paper. 35 by 25 cm.

Raja Dhian Singh (22 August 1796 – 15 September 1843) was the longest serving wazir of the Sikh Empire, during the reign of Maharaja Ranjit Singh, and four of his successors. He held the office for twenty five years, from 1818 up till his death. Dhian Singh was a brother of Raja Gulab Singh of Jammu, who later founded the Dogra dynasty when he became Maharaja of the princely state . In this painting he is depicted presenting a sword to Maharaja Sher Singh,there by proving his loyalty towards him.

Estimate € 1500 - € 2000

A STUDY OF A PURPLE DOUBLE-FLOWERED POPPY, INDIA, MUGHAL, DECCAN OR POSSIBLY KISHANGARH, 17TH CENTURY

11.5 by 21 cm.

CATALOGUE NOTE

This exquisite floral study depicts a double-flowered poppy (Papaver somniferum lacinatum), also known as a feathered poppy or a fringed poppy. It is characterised by a multitude of fine serrated and folded petals tightly clustered in the head. The artist has rendered the flower with breathtaking, almost hyper-naturalistic detail, with delicate and accurate articulation not only of the multitude of individual filaments of the purple petals, but also of the hair-like trichomes on the stem.

This study reflects the interesting and hybrid nature of flower painting in the 17th century, which blends the precision and detail of Mughal and

Deccani miniature painting with influence and iconography from European prints and florilegia. In the Mughal context, there are many flower studies of the second quarter of the 17th century that relate to the present work, such as those in the Dara Shikoh Album and several other studies (Falk and Archer 1981, pp.384, 391, 394-9; Stronge 2010, ppls.99-100, pp.135-6). Other related examples which exhibit a slightly stiffer style include an album in the Bibliothèque National, Paris (see Hurel 2010, no.44, pp.77) and three examples formerly in the Howard Hodgkin collection (see Topsfield 2012, nos.26-28, pp.74-75). Related floral designs also appeared in textiles and architecture, and a very close comparison is found in the Tomb of Itimad al-Daula at Agra (1620s), specifically within the Chamber of Mirza Ghiyas Beg (Itimad al-Daula) and Asmat Begum. A similar work from the same series was sold successfully for 82,550 GBP at SOTHBEY’S October 25 sale of the Islamic and Indian art sale..LOT NO 25 .

Estimate € 3000 - € 5000

A FINE ILLUMINATED OTTOMAN QURAN, TURKEY,18TH CENTURY

A complete Quran, Arabic manuscript on paper, 15 lines to each page in bold black naskh script within a gilt and black border. Surah headings in large white thuluth script. Two opening biofolia with polychrome and gilt decoration framing 7 lines in clouds reserved against a gold ground. Gold verse markers outlined in black and pointed by blue dots, with Al tajwid in red ink. with floral occasional marginal “ Juz’ “ red markers.

In deep green binding with flap.

Text: 5.8 by 10.2 cm

Folio: 10.5 by 17 cm

Estimate € 2000 - € 3000

Lot 111

AN

ILLUMINATED

AH/1852 AD

OTTOMAN QURAN

BY MEHMED SUKRI, TURKEY, 1269

A complete Quran, Arabic manuscript on cream paper, each page with 15 lines written in black naskh script within gold and black rules, gold roundel verse markers with Al tajwid in red ink. Surah headings with a gilt decorated panel, gold and polychrome marginal floral motifs indicating the ‘Juz and Hizb’. Two opening biofolia heavily with gilt and polychrome decoration framing 7 lines of black naskh script in clouds reserved against a sprinkled gold ground.

Final three pages with Due al-khatm and signed by ‘written by al-Faqir Muhammed Shukri in 1269 AH’ within a roundel on a gilt and polychrome decorated ground. In brown morocco binding with flap. 13.5 by 19.5 cm

Estimate € 2000 - € 3000

RAMA AND

SITA

WORSHIPPED

BY

HANUMAN MEWAR, RAJASTHAN, CIRCA, 19TH CENTURY

RAMA AND SITA WORSHIPPED BY HANUMAN.

Opaque pigments heightened with gold on paper, the couple seated on a gold throne under a canopy, Lakshmana standing infront , Hanuman prostrating before them, 31 by 25 cm.

Estimate € 1000 - € 1200

KRISHNA AND RADHA MANKOT, PUNJAB HILLS, NORTH INDIA, CIRCA 18TH CENTURY

Opaque pigments heightened with gold on paper. The couple depicted, Krishna holding a flute, under a blossoming tree. Radha is bringing a flower to her nose. 26 by 19 cm.

Estimate € 1000 - € 1200

Lot 113

Lot 114

MAHARAJA ALA SINGH, THE RAJAH OF PATIALA (B. 1691-D.1765), SEATED ON A HORSE, GOUACHE HEIGHTENED WITH GOLD ON PAPER

He was born in 1691 at Phul, in present-day Bathinda district of the Punjab, in a Jat Sikh family to Chaudhary Ram Singh of Phulkian Misl. His father had six children, from eldest to youngest Dunna, Subha, Ala, Bakha, Budha, Ludha. The Chowdhriat of the Misl had been originally conferred on his ancestor Brahm by Babur, after the First battle of Panipat in 1526 A.D. 27 by 20.5 cm.

Estimate € 1000 - € 1500

Lot 115

A FOLIO FROM THE DISPERSED “PALAM” BHAGAVATA PURANA : GOPIS COMPLAINING TO KRISHNA FOR STEALING BUTTER . INDIA, DELHI-AGRA AREA, CIRCA 1520-40 |

Gouache on paper 22.5 by 17 cm.

CATALOGUE NOTE

Daniel Ehnbom has defined at least ten anonymous painters contributing to this series of Bhagavata Purana paintings. These are referred to by Ehnbom as Painters A-J. For more on this series, see Sotheby’s New York, March 17, 2015, Lot 1110-1112; Edwin Binney 3rd, Rajput Miniatures from the Collection of Edwin Binney 3rd, Portland, 1968, p.4-5, cat.1c; Daniel Ehnbom, Masters of the Dispersed Bhagavata Purana, fig.4, p.77-88 (in M.C. Beach, E. Fischer and B.N. Goswamy, Masters of Indian Painting 1100-1650, Artibus Asiae Sup.48/I, 2011); Daniel Ehnbom, An Analysis and Reconstruction of the Dispersed Bhagavata Purana from the Caurapancasika Group, The University of Chicago, 1984, p.235; and Darielle Mason (ed.) (essay by John Seyller), Intimate Worlds: Indian Painting from the Alvin O. Bellak Collection, Philadelphia, 2001, pp.48-49.

Estimate € 10.000 - € 15.000

A LARGE JAIN ILLUSTRATION OF THE WORLD OF MORTALS GUJARAT, NORTH WEST INDIA, 17TH CENTURY

Opaque pigments on textile, the green-bodied deity, possibly the Goddess Padmavati, encompasses a diagram of the world, the three island-continents separated by rivers, the world of Gods in the centre .Inscriptions in devanagari script around. 128 by 85 cm.

CATALOGUE NOTE

Compare with another large and rare early example in the Philadelphia Museum of Art (see Pratapaditya Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1994, no. 100, p. 227.)

Estimate € 10.000 - € 14.000

Lot 117

AN ILLUMINATED OTTOMAN QURAN SIGNED BY HAFIZ IBRAHIM HULUSI, TURKEY DATED 1266 AH/1849 AD

A complete Quran, Arabic manuscript on cream paper, each page with 15 lines, written in black naskh script within gold and polychrome rules, gold roundel verse markers with polychrome dots. Surah headings with gold decoration, gold and polychrome marginal motifs indicating the ‘Juz’. Two opening biofolia heavily gilt with rococo-style polychrome decoration framing 7 lines of black naskh in clouds reserved against a sprinkled gold ground.The last two pages with a prayer for completion of the recitation of the Quran (Dua’a al-khatm) and signed ‘’Hafiz Ibrahim Hulusi Bin Ahmed Reşîd Berberzâde, student of Halîl Şükrî, dated 1266 AH’’.In brown morocco binding with flap decorated with gold painted central medallion and border. 12 by 18 cm

Estimate € 12.000 - € 15.000

Calligrapher: Berberzâde İbrahim Hulûsî Efendi, the son of the calligrapher Berberzâde Ahmed Reşîd Efendi, was born in Bursa. He initially studied calligraphy under his father and received his ijazah (diploma). Upon moving to Istanbul, he continued his studies to master the art under Bursalı Halîl Şükrî Efendi. A Quran manuscript dated 1257AH / 184AD has been seen, indicating that he was a skilled calligrapher who made a living from his art, which makes this Quran very rare and unique. However, there is no available information about his life story, date of death, or burial place.

Lot 118

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

Arabic manuscript on paper, each folio with 11 lines of elegant largevblack naskh script, diacritics and vowels in red.

Persian interlinear translation in red nastaliq, marginal occasional notes indicating ‘Juz’ and Hizb’, text within gold and polychrome rules, gold verse markers outlined in black, surah headings in white thuluth script within a polychrome decorated cartouche, two opening bifolia fully illuminated in gold and polychrome decoration framing 6 lines of elegant naskh script. Two pages at the end heavily illuminated with polychrome decoration.

In a brown leather morocco binding. 19 by 29 cm.

Estimate € 2000 - € 3000

Lot 119

MUHAMMAD GHAZALI MASHHADI (D.1572), NAQSH-E BADI, A POEM ON MYSTIC

LOVE, SIGNED BY BABA SHAH AL-ISFAHANI, PERSIA, SAFAVID, CIRCA SECOND HALF 16TH CENTURY

A Persian manuscript on gold-sprinkled paper, comprising 43 leaves with 12 lines per page, written in elegant nastalīq script in black ink. The text is arranged in two columns, ruled in green, orange, gold, and blue. Folio 1b features a polychrome and gold headpiece, while folio 25b contains a miniature of Layla and Majnun rendered in watercolor heightened with gold. The manuscript is bound in brown leather with stamped gilt decoration, and doublures adorned with a central medallion and cornerpieces decorated with delicate filigree over a colored ground.

Dimensions: 24 by 14.7 cm.

Estimate € 20.000 - € 30.000

CATALOGUE NOTE :

This exquisite and impeccably balanced specimen of nasta’liq calligraphy was crafted by the eminent master Baba Shah, a revered calligrapher and poet at the illustrious court of Shah Tahmasp (r. 1524–1576). The text itself is a profound mystical poem authored by his contemporary, Ghazali Mashhadi, a distinguished poet who also graced the Safavid court and honored Shah Tahmasp with a qasida from this very composition (see folio 13a of the present manuscript).

Though the details of Baba Shah’s life remain scant, his legacy is etched in the delicate strokes of his art. He commenced his rigorous study of calligraphy in his youth under the guidance of the illustrious Mir Ali Harawi (d. 1544), whose influence shaped his masterful technique. At Shah Tahmasp’s court, Baba Shah attained the exalted title of “Chief of Chiefs,” a testament to his unparalleled skill and stature. Muhammad Ghazali Mashhadi (d. 1572), the poet behind this work, similarly served the Safavid court before his eventual exile to India, where he found refuge at the court of the Mughal Emperor Akbar. Though Ghazali likely departed for India before Baba Shah’s arrival in the Safavid realm, his progressive and mystical worldview evidently left an indelible imprint, inspiring Baba Shah’s own creative and spiritual vision.

Baba Shah’s life journey took him between the cultural centers of Isfahan and Baghdad, where he ultimately passed away in 1587/88. His extant works, dated between 977 AH (1569–70 AD) and 994 AH (1586–87 AD), stand as a testament to his enduring influence (Mehdi Bayani, Ahval va Asar-e Khosh-Nevisan, vol. I, Tehran, 1345 SH, pp. 85–91). Regarded as the supreme master of nasta’liq, Baba Shah authored the seminal treatise Adab al-Mashq, in which he articulates the essential principles of this script alongside the profound aesthetic and spiritual dimensions of Islamic calligraphy. This treatise notably reveals a meditative and visionary approach to concentration, deeply imbued with the mystical ethos of Sufism, underscoring the inseparable union of art, devotion, and transcendence (Ernst 1992, p. 279).

A JAIN PATA OF

Gouache heightened with gold on textile.

Footnotes

Compare with another large and rare early example in the Philadelphia Museum of Art (see Pratapaditya Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1994, no. 100, p. 227.)

Estimate € 4000 - € 6000

SAHASRAPHANA PARHANATHA GUJARAT, INDIA 16TH CENTURY

AN ILLUSTRATION OF SHIVA IN HIS COSMIC FORM, NURPUR OR MANDI, PUNJAB HILLS, CIRCA 19TH CENTURY

Opaque pigments and gold on cloth. 82 by 110 cm

Estimate € 3000 - € 5000

122

A PERSIAN QAJAR QURAN, 19TH CENTURY

Arabic manuscript on paper, each folio with 15 lines of elegant black naskh script, diacritics and vowels in red, marginal occasional notes indicating ‘Juz’ and Hizb’, text within red and blue rules, surah headings in thuluth red script, two opening bifolia fully illuminated in gold and polychrome decoration framing 7 lines of elegant naskh script in clouds reserved against a sprinkled ground. In gilt lacquer binding with central cartouche surrounded by spandrels containing scrolling floral vine.

Text panel: 12.5 by 21 cm.

Folio: 20 by 30.5 cm.

Estimate € 6000 - € 8000

Lot

A DIWAN OF BIDEL DEHLAVI, PERSIA

(1860-1870)

Poetry, Persian manuscript on paper, each folio with 9ll. of elegant black nasta’liq script arranged in two columns and divided by a gold double borders, the text ruled in blue and gold borders, headings in red and blue ink, two opening folios with elegant illuminated headpiece, the text reserved in clouds on a gold ground, other four pages throughout the book similarly decorated, final folio with illuminated margins and signed “ written by the order of Sardar Yar Mohammad Khan”. in leather binding. 14 by 9.5 cm.

CATALOGUE NOTE

Abul-Ma’ani Mirza Abdul-Qadir Bedil, also known as Bedil Dehlavi ( 1642–1720), was an Indian Sufi, and considered one of the greatest Indo-Persian poets, next to Amir Khusrau, who lived most of his life during the reign of Aurangzeb, the sixth Mughal emperor. Bedil mostly wrote Ghazal and Rubayee (quatrain) in Persian, the language of the Royal Court, which he had learned during his childhood. He was the author of 16 books of poetry, which contained nearly 147,000 verses and included several masnavi in that language. He is considered one of the prominent poets of Indian School of Poetry in Persian literature, and is regraded as having his own unique style. Both Mirza Ghalib and Iqbal-i Lahori were influenced by him. His books include Tilism-i Hairat , Tur i Ma’rifat, Chahār Unsur and Ruqa’āt.

Estimate € 2000 - € 3000

124

AL-FIRUZABADI, AL-QAMUS AL-MUHIT WA’L QABUS AL-WASIT ( THE GREAT DICTIONARY), MECCA CIRCA 1400

Arabic manuscript on paper, 41 lines to the page, written in small Naskh script, key words and letters picked out in red or in larger black ink, f.1a with an illuminated headpiece with heading in large thuluth script and gold ink on a blue decorated ground, under a a roundel enclosing the name of the author on a gold and blue decorated ground. In contemporary brown leather binding with gilt-stamped central medallion, with flap. 18 by 26 cm

Estimate € 10.000 - € 14.000

According to Mingana, “the author states that he completed his dictionary in his own house on as-Safa at Makkah” (where he lived almost continuously for twenty five years after 1368 AD).The author named his work al-Qamus al-muhit because it is a ‘great ocean’. There are three copies of the work in the John Rylands Library, Manchester (see A. Mingana, Catalogue of the Arabic Manuscripts, Manchester, 1934, pp.1005-1008, nos.757-759).The full name of the author is Yaqub bin Muhammad bin Ibrahim Majd-al-Din al-Firuzabadi (d. 1414). Firuzabadi, was of Persian origin, was born in Kazerun and educated in Shiraz, Wasit, Baghdad and Damascus. He spent ten years in Jerusalem, before travelling in Western Asia and Egypt, and settling in 1368, in Mecca for almost three decades. From Mecca he visited Delhi in the 1380s. He left Mecca in the mid-1390s and returned to Baghdad, then Shiraz and finally travelled on to Ta’izz in Yemen. In 1395, he was appointed chief qadi (judge) of Yemen by Al-Ashraf Umar II, who had summoned him from India a few years before to teach in his capital. He wrote widely, particularly in the field of lexicography, and the present work, his alQamus al-Muhit (literally ‘The Expansive Ocean’), was so popular that the word qamus came to be adopted as the standard Arabic term for ‘encyclopaedia’ or ‘dictionary’.

125

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

Arabic manuscript on paper, interlinear Persian translation, 14 lines to each page, written in black Kufic script, diacritics in red, rosette verse markers outlined in black, occasional marginal floral motifs indicating the juz.

Folio: 25 by 37 cm.

Inscriptions

surah Al-Nisa v.23-v.28

Estimate € 2000 - € 3000

TWO QURAN PAGES, NEAR EAST, 14TH CENTURY

Arabic manuscript on paper, 2 leaves with 11 lines to each page, written in elegant black Muhaqqaq script, gold verse markers outlined in black and red dots, Al-tajwid and diacritics in red ink, occasional marginal polychrome note roundels.

Inscriptions: Surah Al-Baqraa v.246-v.253, v.267-v.277

45 by 32 cm.

Lot 126

A SULTANATE ILLUMINATED QURAN, NORTH INDIA, 16TH CENTURY

A complete Quran, Arabic manuscript on paper, each folio with 17ll. written in black bihari script, the word ‘Allah’ picked out in gold.

First, 9th and last line written in gold script outline in black ink, gold rosette verse roundels pointed by blue dots, six pages with text reserved in clouds with gold, red and blue decoration. Sura headings with the numbers of the verses in gold thuluth script on polychrome illuminated panels, text panels within blue, red and gold rules, the margins with occasional blue, red and black bihari notes. Polychrome and gold marginal medallions indicating ‘Juz’ and Hezb’ and other divisions.

In later tooled red morocco binding.

Text: 8.5 by 14 cm

Folio: 13 by 21 cm

Estimate € 6000 - € 8000

128

A KHORASAN BRONZE WEIGHT FIGURINE IN THE FORM OF A LION, PERSIA, 12TH CENTURY

Seated with head turned to left, the tail terminating in a hinge knuckle, engraved with two inscription-filled cartouches to the body, a cartouche containing scrolling foliate vines to the back, and a mane to the neck, the interstices with triangle motifs containing circles.

Length 17.5 cm.

Height 9.5 cm.

Estimate € 8000 - € 12.000

129

A

LATE TIMURID QURAN JUZ, BY AHMED AL-RUMI IN 858 AH/1454 AD

Arabic manuscript on cream paper, 20 leaves with 3 fly-leaves, each page with 9 lines. The first, central and the last line in very elegant black Muhaqqaq script, the other 6ll. arranged in two blocks of 3 lines, each of very strong naskh script within gold border outlined in black, gold roundel verse markers outlined in black, Surah headings in red and gold thuluth script on a decorated panel, gold marginal floral motifs, tajwid in red. Two opening biofolia heavily with gilt and polychrome decoration. Final folio signed by ‘written by Ahmed al-Rumi in 858 AH.

In brown morocco binding with flap stamped with floral motifs.

Inscriptions.

v.56 -v.93 from surah Al-Naml, surah Al-Qasas, v.1-v.45 from surah al-Al-Ankabut

Text: 10.5 by 16 cm.

Folio: 19 by 26 cm.

Estimate € 12.000 - € 15.000

A TIMURID QURAN JUZ, PERSIA, 14TH-15TH CENTURY

Arabic manuscript on paper, with later added interlinear Persian translation, 45 leaves with 2 fly-leaves, 9 lines to each page in elegant black muhaqqaq script within a gilt and polychrome borders. Surah heading in gold thuluth outlined in black within a cartouche, opening biofolio with striking blue and gilt decoration. Gold verse markers outlined in black and pointed in blue dots, gilt occasional marginal. “Hizb, Aushr and Juz “markers.

In light morocco binding stamped decorated with floral motifs.

Inscriptions: surah Al-Imran with 200 verses.

Text: 15 by 21 cm.

Folio: 24 by 31 cm.

Estimate € 8000 - € 12.000

FIVE CUERDA SECA POTTERY TILES, PERSIA ZAND DYANSTY 18TH CENTURY

Each of square form made of stone-paste, painted in yellow, turquoise, cobalt blue, black and opaque white with manganese purple in the cuerda seca (dry-cord) technique. Three tiles decorated with a figure of an archer seated on a horseback aiming at a deer in hunting scene amongst blossoming trees. Two tiles decorated with a seated youth drinking wine in a landscape.

20.5 by 20.5 cm

Cuerda seca (Spanish for ‘dry cord’) developed as a technique alongside tile mosaics in the latter part of the fourteenth century in Central Asia and consisted of complete tiles painted with coloured pigments which were separated from each other to prevent running by an oily substance mixed with manganese, which left a dark lining after firing (see Porter 1995,

Estimate € 4000 - € 6000

132

A PORTRAIT OF MAHARANA AMAR SING II, CIRCA 1707-1708

Portrait of Maharana Amar Singh II riding an Elephant (r.1698-1710), attributed to The Stipple Master, India, Rajasthan, Mewar, Udaipur, circa 1707-08.

Brush drawing with transparent and opaque pigments heightened with gold on paper, within black rules, narrow yellow and red borders. 24 by 35 cm.

Estimate € 2000 - € 3000

Lot

AN OTTOMAN ILLUMINATED PRAYER SCROLL, OTTOMAN TURKEY, 17TH CENTURY

Arabic manuscript on paper, written in naskh and thuluth, scripts in various colors, with the names of Al-ashara Al-mubashsharun “ The ten to whom Paradise was promised”throughout the scroll in large thuluth script. 12 by 410 cm

The scroll opens with:

1-A gilt biofolio decorated with polychrome floral motifs enclosing a cartouche contains a prayer with the name of Umar at the top.

2-A table with the beautiful names of Allah and talismanic letters.

3- Two cartouches on a gilt ground with quotation from the Quran with talismanic letters.

4-A table with talismanic letters and numbers, names of the angles, and Quran verses.

5-A large cartouche enclosing quotation from the Quran, the Basmalah in different colors,talimanic letters and prayers.

6-Tables with talismanic numbers, prayers, and Quran verses.

7- Two cartouches on a gilt ground with quotation from the Quran, 8-Quran verses, talismanic words and prayers.

Estimate € 4000 - € 6000

Lot 134

A FINE ILLUMINATED OTTOMAN QURAN, WRITTEN BY ALI HELMI AND DATED 1283 AH/1866 AD

A complete Quran, Arabic manuscript on paper, 303 leaves with two fly-leaves, 15 lines to each page in bold black naskh script within a double gilt border outlined in black. Surah headings in white thuluth script on a floral gilt panel, catchwords in red ink. Gold roundel verse markers outlined in black and pointed by polychrome dots, Tajwid in red ink.

Two opening biofolia with heavily polychrome and gilt decoration framing 7 lines in clouds reserved against a gilt ground. Occasional polychrome and gilt marginal “Hizb and Juz” markers, occasional marginal “Aushr” notes.The last three pages with a prayer for completion of the recitation of the Quran (Due- al-Khatm). The last two pages with polchrome and gold floral decorations containing a roundel enclosing ‘’ writteb by al-Faqir Ali Helmi student of Hisham al-Kashfi and dated 1283AH’’.

In a recent binding with flap.

11.5 by 17 cm

Estimate € 4000 - € 6000

Lot 135

A FINE ILLUMINATED OTTOMAN QURAN, WRITTEN BY ALI AL-RAHMI AND DATED 1262AH/ 1845AD

A complete Quran, Arabic manuscript on paper, 15 lines to each page in bold black naskh script within a gilt and polychrome borders. Surah headings in white thuluth script on a floral gilt panel, catchwords in red ink. Gold roundel verse markers, Tajwid in red ink.

Two opening biofolia with heavily polychrome and gilt decoration framing 5 lines in clouds reserved against a gilt ground. Occasional polychrome and gilt marginal “ Hizb and Juz” markers.

The last two pages with a prayer for completion of the recitation of the Quran (Due- al-Khatm) and a cartouche enclosing ‘’ writteb by al-Faqir Ali al-Rahmi bin Hafiz abu Bakr al-Khariaroti student of Hafiz Abu Bakr al-Sevki Effendi and dated 1262AH’’.

In a deep brown morroco binding with flap. 12.5 by 16.5 cm

Estimate € 2000 - € 3000

AN OTTOMAN FIRMAN OF SULTAN ABDUL HAMID I (R. 1774–1789) OTTOMAN TUR-

KEY, DATED 5 RAJAB 1194

AH/ 7 JULY 1780 AD

Ottoman manuscript on paper, 9 lines of diwani curving upward in black ink, with golden dots. The headpiece with a gold tughra of Sultan Abdul Hamid I, filled with floral motifs with gold and blue decoration.

This firman concerns the revenues of Halıdere village and surrounding places in Yalakabad township in Karacabey Sanjak, will be connected to Silahdar es-Seyyid Mehmed Pasha Foundation.

160 by 71 cm.

Estimate € 30.000 - € 50.000

Lot 137

A SAFAVID QURAN WITH PERSIAN TRANSLATIONS MOST PROBABLY BY AQA HADI IBN MULLA MUHAMMAD SALIH MAZANDARANI, COPIED BY MUHTASHAM AL-ISFAHANI, THE ROYAL SCRIBE ( KATIB AL-SULTANI ), PERSIA

EARLY 18TH CENTURY

Arabic and Persian manuscript on burnished cream paper, comprising 474 folios, each page containing 12 lines. The text is written in black Naskh script, alternating with a red Persian interlinear translation in Nasta’liq script. The manuscript is ruled in gold with polychrome borders, featuring gold roundel verse markers accented by polychrome dots. Sura headings appear in blue Thuluth script on a sprinkled gold ground, enclosed within illuminated cartouches. Occasional marginal markers for izb, sajda, nisf juz’, and juz’ are also presented within illuminated cartouches. The manuscript includes catchwords and extensive marginal annotations with commentaries attributed to Shi’a Imams, elegantly inscribed in red and black Nasta’liq script on selected folios throughout.

A double illuminated frontispiece presents Sura al-Fatiha, preceded by a similarly illuminated bifolio containing Sura al-Baqara. Two colophons are located on folios 4v and 474r. The illuminated finispiece on folio 474v bears the seal impression of Shah Sultan Husayn, dated AH 1125. Later owner seal impressions are also present.

The manuscript is bound in gilt-stamped brown morocco, featuring a central medallion and spandrels, with light brown morocco doublures decorated with decoupé floral designs on blue and pink grounds.

Text panel dimensions: 16.2 by 8.7 cm

Folio dimensions: 24.2 by 15 cm

Provenance:

Library of the Safavid Shah Sultan Husayn (1694–1722)

Library of the Qajar prince Abbas Mirza (d. 1833)

Estimate € 100.000 - € 120.000

Lot 137

Lot 138

FOURTEEN 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 € 3000 - € 4000

139

A RARE BRONZE EWER, DECCAN, CENTRAL INDIA, 16TH OR EARLY 17TH CENTURY

A bronze ewer, resting on a spreading foot, with a simple handle linking the body to the rim. Its intricate lattice body is adorned with two small birds beside the neck, adding a delicate touch to the design. The gracefully curving spout, shaped like a dragon’s head, enhances the mythical appeal.

Height: 37.5 cm.

Estimate € 15.000 - € 18.000

Lot

140

A FINE ILLUMINATED OTTOMAN QURAN, WRITTEN BY IBRAHIM VEHBI AND DATED 1279AH/ 1862AD

A complete Quran, Arabic manuscript on paper, 15 lines to each page in bold black naskh script within gilt and black borders. Surah headings in white thuluth script on a gilt panel, catchwords in red ink. Gold roundel verse markers outlined in black, Tajwid in red ink.

Two opening biofolia with heavily polychrome and gilt decoration framing 7 lines in gilt and polychrome clouds. Occasional polychrome and gilt marginal “Hizb and Juz” markers, occasional marginal “Aushr” notes.

The last pages with a prayer for completion of the recitation of the Quran (Due- al-Khatm) and singed ‘’ writteb by al-Faqir Ibrahim Vehbi student of Mustafa Zehni and dated 1279AH’’.

In a deep brown morocco leather binding with flap. 20 by 31 cm

Estimate € 2000 - € 3000

Lot 141

A FINE ILLUMINATED OTTOMAN QURAN, WRITTEN BY ALI VASFI AND DATED 1287 AH/1870 AD

A complete Quran, Arabic manuscript on paper, 15 lines to each page in bold black naskh script within a red and gilt border outlined in black. Surah headings in white thuluth script on a gilt panel. Gold roundel verse markers outlined in black, Tajwid in red ink.

Two opening biofolia with heavily polychrome and gilt decoration framing 7 lines in clouds reserved against a gilt ground. Occasional polychrome and gilt marginal “Hizb and Juz” markers.

The last pages with a prayer for completion of the recitation of the Quran (Due- al-Khatm). The last two pages each with a roundel enclosing ‘’written by Ali vasfi student of abdul-Rahim and dated 1287 AH’’. In dark morocco binding with flap. 16 by 22 cm.

Estimate € 2000 - € 3000

A LARGE ILLUMINATED QURAN, NORTH INDIA, KASHMIR, 19TH CENTURY

Arabic manuscript on paper, 424ff., each page with 10ll. writtenin large black thuluth script, surah heading in red ink with the Basmallah enclosed in clouds reserved againgst a gilt ground, small red verse markers, tajwid and diactries in red ink, occasioanl marginal notes in red ink indicating ‘’Juz and Sejda’’, ruled in gilt and polychrome borders. Two opening folio heavily with gilt and polychrome decoration framing 7ll. of black naskh script. Final folio with gilt and polychrome decoration, in the margin diagonally written with (Dua’a -al-Khatm).

49 by 58 cm.

Estimate € 40.000 - € 50.000

Lot 142

Lot 143

A COMMENTARY ON THE QURAN (TAFSIR AL-KASHSHAF), OTTOMAN, 17TH CENTURY

Abu AL-Qasim Mahmud Bin Umar al-Zamakhshari Known As Jar Allah ( D. 1143-44): Al-Kashshaf ‘ An Haqa’iq al-Tanzil.

Arabic manuscript on paper, 379 leaves., each folio with 24 lines. of naskh script, the text from the Quran in red, the rest in black, ruled in blue border, important words in red ink, opening folio with gold and polychrome illuminated headpiece, Surah headings in red ink, occasional marginal notes, commentary on surahs till Surah Maryam.

Al-Kashshaaf ( the Revealer) is a seminal tafsir by Al-Zamakhshari written in the 12th century. Considered a primary source by major scholars, it is famous for its deep linguistic analysis, demonstrations of the supremacy of declamation of the Quran, and the representation of the method the Quran uses to convey meaning using literary elements and figurative speech.

In a modern blue leather binding.

Text: 10 by 15 cm.

Panel: 15 by 20 cm.

Estimate € 1500 - € 2000

Lot 144

AL-SHEIKH JALAL AL-DIN SUYUTI, AL-BAHJAH ALMURDIAH FI SHARH AL-ALFIYYAH, COPIED 18TH CENTURY

A manual on Arabic grammar.

Arabic manuscript on paper, with 20 lines to each page and written in black naskh script, with occasional marginal commentaries, with black leather binding.

A book on grammar in which Al-Suyuti explains the Alfiya of Ibn Malik, the famous Alfiyyah in the science of grammar. Alfiyya Ibn Malik, also called “Khulasat- The Conclusion” is a poetic text composed by Imam Muhammad bin Abdullah bin Malik Al-Tai Al-Jiani, one of the most important grammatical and linguistic systems, due to the attention it received from scholars and writers who comment on it, with explanations and footnotes. 15 by 23 cm.

Estimate € 800 - € 1200

Lot 145

A BOOK WITH TREATISES ON MEDICINE, WISDOM AND HUMAN NATURE, NEAR EAST, 18TH CENTURY

Arabic manusscript on paper, 136ff. with 4 fly-leaves, each page with 22ll. written in naskh black script, titles and important words in red ink, In red deep leather binding with flap. 15 by 22 cm.

The book comprises a collection of articles on medicine, wisdom, and human nature. It features 70 chapters, each dedicated to a specific subject. Several chapters delve into human ailments, such as eye diseases, strabismus, corneal conditions, certain neurological disorders, and various skin diseases, along with the treatments required for them. Other sections explore the ideal foods suited to different seasonal climates, while some examine the connection between medicine, climate, and the diseases they bring. Additionally, some chapters reflect on human wisdom, the temperaments of individuals, and the different types of human spirits.

Estimate € 8000 - € 12.000

AN ILLUSTRATION TO A RAGAMALA SERIES BASOHLI, NORTH INDIA, CIRCA 1680

Opaque watercolor, gold, and ink on paper.

This captivating Basohli painting exemplifies the vibrant and expressive style of the early Pahari school, renowned for its bold use of color, strong outlines, and emotional intensity. The composition centers on a lady, likely a nayika (heroine) from Indian poetic tradition, seated gracefully on a carpet, besides a lake adorned with pink lotuses. She is dressed in a richly detailed costume, featuring a deep red skirt, a yellow blouse, and a translucent veil, her attire accentuated with gold jewelry and intricate patterns. Her serene expression and delicate posture convey a sense of languid romance, a common theme in Basohli art inspired by the Rasikapriya or Gita Govinda texts.

A white bird, possibly a crane, holding a small object in its beak, adding a symbolic element often associated with love or longing in Indian iconography. The background is a vivid green, with stylized trees bearing custard apples (sitaphal), their textured forms rendered with meticulous detail. A patterned carpet with blue and yellow floral motifs lies beneath the tree, and a narrow strip of water at the bottom suggests a natural setting, typical of Basohli landscapes. The painting is framed by a characteristic red border, a hallmark of the Basohli school, which enhances its visual impact. The use of flat planes of color, minimal shading, and a focus on decorative elements reflects the early Pahari aesthetic, blending devotional and romantic themes with artistic innovation.

CATALOGUE NOTE

This piece is a fine example of Basohli’s early phase, before the softer influences of the Kangra school emerged in the 18th century. The painting’s focus on a solitary female figure and symbolic elements like the bird and a tree aligns with the school’s tradition of illustrating romantic and devotional narratives, often tied to the Vaishnava themes of love and separation. ( refer lot no-26 sold for 161,000 GBP , 25 May 2017 Christies)

PROVENANCE

Private collection, Germany

Estimate € 10.000 - € 15.000

AN ILLUSTRATION TO A RAGAMALA SERIES BASOHLI, NORTH INDIA, CIRCA 1680

Opaque watercolor, gold, and ink on paper.

This exquisite Basohli painting, a fine example of the early Pahari miniature tradition, captures a serene moment of interaction between a noble lady and a bird. The Basohli School, originating in the Punjab Hills during the late 17th century, is renowned for its bold use of color, stylized forms, and emotional intensity, often reflecting themes of devotion, nature, and courtly life.

In this artwork, a gracefully adorned lady, dressed in vibrant traditional attire with a flowing blue skirt and a red blouse, is depicted feeding a bird perched on a tree. Her delicate gesture, extending a small bowl towards the bird, symbolizes a harmonious connection with nature, a recurring motif in Pahari art. The lady’s attire is intricately detailed with gold accents, showcasing the meticulous craftsmanship typical of Basohli painters. Her jewelry, including bangles, earrings, and a headpiece, further emphasizes her noble status.

The composition is set against a striking mustard-yellow background, a hallmark of Basohli paintings, which provides a vivid contrast to the lush green trees and the lady’s colorful garments. The trees, stylized with rounded, cloud-like foliage, are populated with small birds, adding a sense of liveliness to the scene.

The horizon is marked by a subtle band of white and blue, suggesting a distant landscape under a clear sky. A red border with worn edges frames the painting, indicating its age and historical journey, while a line of Devanagari script at the top likely provides a title or description, a common practice in miniature paintings of this period. The script appears to be in a regional dialect, possibly identifying the subject or the artist .This painting exemplifies the Basohli School’s early style, characterized by its flat, two-dimensional perspective, vibrant palette, and emotional expressiveness. It offers a glimpse into the cultural and artistic milieu of the Punjab Hills, where nature, beauty, and human emotion were celebrated through the medium of miniature painting. ( refer lot no-26 sold for 161,000 GBP , 25 May 2017 Christies)

PROVENANCE

Private collection, Germany

Estimate € 10.000 - € 15.000

Lot 148

ARDASHIR HEARING OF HIS ARMY’S DEFEAT BY HAFTVAD ATTRIBUTED TO MU’IN MUSAVVIR, SAFAVID ISFAHAN, PERSIA, CIRCA 1660

An illustration from the Shahnama of Firdawsi, opaque pigments heightened with gold on paper, with 13ll. of black nasta’liq above and below arranged in four columns, verso with 27ll. with section heading picked out in red, set within gold and polychrome rules, the margins plain, catchword, mounted

Text panel: 26.5 by15.5 cm.

Folio: 34 by 22.cm.

PROVENANCE.

With Richard Ettinghausen (d.1979)

Sotheby’s London, 24 April 2013, lot 56

Estimate € 2000 - € 3000

Lot 149

ISKANDER AND THE TALKING TREE, PERSIA, 17TH CENTURY

Watercolor heightened with gold on paper, a leaf from a disbound manuscript of Firdausi’s Shahnama (Book of Kings), depicting Alexander the Great visiting a talking tree on the Island of Waqwaq. 10 by 16 cm.

Including frame: 26 by 32 cm.

Estimate € 800 - € 1200

A SCENE OF SHAHNAMA, ROSTAM AND ESFANDYAR, PERSIA, SAFAVID, 17TH CENTURY

Watercolor on paper depicting a scene from the war between Rostam and Esfandyar, a story in Ferdowsi’s Persian epic Shahnameh. The poem consists of 9 lines arranged in five columns and written in black Nastaliq script. The poem discusses the beauties of nature in spring and also refers to the sadness and mourning of Esfandyar’s death.

Text: 31 by 18 cm.

Page: 39 by 27 cm.

Estimate € 2500 - € 3500

AN ILLUSTRATED AND ILLUMINATED LEAF FROM A MANUSCRIPT OF FIRDAUSI’S SHAHNAMEH, PERSIA, SAFAVID, 17TH CENTURY

A watercolor on paper illustrating the moment nobles present Kay Khosrow to Afrasyab, the legendary king and hero of Turan, drawn from a tale in Ferdowsi’s Persian epic, the Shahnameh. The accompanying poem is composed of ten lines, arranged in 6 columns and rendered in graceful black Nastaliq script.

Text: 31 by 18 cm.

Page: 39 by 27 cm.

Estimate € 2500 - € 3500

Lot 150

Lot 151

Lot 152

TAFSIR AL-JALALAYN, WRITTEN BY SALMAN BIN ZAYN AL-ABIDIN AND DATED 28 JUMADA AL-AWWAL 1152 AH/1739 AD

Arabic manuscript on paper, 413 leaves with 4 fly-leaves, written in small black naskh script, some words picked out in red, text within double gold and black rules, an opening biofolio with gold decoration, occasional marginal notes. In deep brown morocco leather binding. 13 by 22 cm.

CATALOGUE NOTE :

Tafsir al-Jalalayn (Tafsir of the two Jalals’) is a classical Sunni interpretation (tafsir) of the Quran. The first part of the interpretation was written by Jalal ad-Din al-Mahalli, who began interpreting from Surah Al-Kahf to Surah An-Nas, including Surah Al-Fatiha. Al-Mahalli passed away in 864 AH before completing the rest of the interpretation. After his death, as-Suyuti finished it, starting with Surah Al-Baqarah and continuing through to the end of Surah Al-Isra. This is how it came to be known as Tafseer al-Jalalayn. As-Suyuti began completing the interpretation at the beginning of Ramadan in 870 AH and finished it on the 10th of Shawwal of the same year. Al-Mahalli, in his interpretation, was inclined toward extreme brevity, a style which as-Suyuti adopted. In his introduction to the interpretation, as-Suyuti mentioned that he preferred a “concise expression, avoiding lengthy explanations that mention unhelpful opinions, and grammatical details that belong in Arabic textbooks.

Estimate € 8000 - € 12.000

Lot 153

DURAR AL-HUKKAM SHARH GHURAR AL-AHKAM, OTTOMAN

TURKEY, 16TH CENTURY

Arabic manuscript on paper, each page with 27 lines, written in black naskh script, ruled in red border, titles and catchwords in red ink, underlined in red, excessively marginal notes and commentaries, opening biofolio with blue and gold decoration, It regards Hanafi Fiqh or jurisprudence. It contains explanations of legal rulings from Rum in Anatolia. The last page with a commentary that this work was sponsored by Sultan Suleyman. In a deep red leather binding with flap. 18.5 by 27.5 cm

CATALOGUE NOTE :

Durar al-Hukkām fī Sharh Ghurar al-Ahkām, by Molla Hüsrev (Muhammad ibn Faramurz al-Rūmī, d. 1480)A cornerstone of Hanafi jurisprudence, Durar al-Hukkām is Molla Hüsrev’s authoritative commentary on his earlier legal manual Ghurar al-Ahkām. Written in Arabic and spanning two volumes, the work systematically explores Islamic legal principles—from ritual and personal status to transactions and criminal law—through the lens of the Hanafi tradition.

Appointed Shaykh al-Islām by Sultan Mehmed II in 1469, Molla Hüsrev played a pivotal role in shaping Ottoman legal thought. This work exemplifies the rigor and clarity of classical Islamic jurisprudence while offering insight into the legal culture of the early Ottoman Empire.

Estimate € 20.000 - € 30.000

Lot 154

A MEDICAL TREATISE BY ABY BAKR AL-RAZI, WRITTEN BY SA’ID ALI AL-HUSAYNI

AND DATED 994AH/ 1586AD

Arabic Manuscript on Paper, comprising 65 folios, each page features 20 lines of black naskh script. Headings and catchwords are rendered in red ink. The final page bears the inscription: “Written by Said Ali al-Husaynī”, and is dated 994 AH (1586 AD).

This manuscript presents a medical treatise in 61 chapters on various medicaments, authored by the eminent physician Abū Bakr al-Rāzī. In a deep red leather binding. 10 by 19 cm

Author: Abū Bakr al-Rāzī (865–925 AD)

Persian polymath—physician, philosopher, and alchemist

Renowned in the Latin West as Rhazes, Abū Bakr al-Rāzī stands among the most original minds of the Islamic Golden Age. A physician of remarkable insight and a pioneering advocate of empirical observation, he composed some of the most influential works in the history of medicine.

His Kitāb al-āwī (The Comprehensive Book) is a monumental medical encyclopedia that synthesizes Greco-Roman, Indian, and Islamic knowledge. Kitāb al-Mansūrī, a ten-part medical manual, and On Smallpox and Measles, a seminal clinical study, became foundational texts in both the Islamic world and medieval Europe.

In The Spiritual Physic, al-Rāzī drew a profound connection between medicine, ethics, and mental wellbeing—prefiguring holistic approaches in healthcare.

His enduring legacy lies not only in scientific acumen but in his humanistic vision of medicine: an art grounded in reason, compassion, and careful observation.

Estimate € 8000 - € 12.000

Lot 155

AN ILLUMINATED OTTOMAN QURAN SIGNED PIR BIN AHMAD BIN SULAYMAN, OTTOMAN TURKEY, DATED SHA’BAN AH 913/ 1507-1508AD

Arabic manuscript on cream paper, 425ff. plus two fly-leaves, each folio with 10ll. written in black naskh script, tajwid in red ink , gold roundel verse markers, interlinear Ottoman Turkish translations, within gold and black rules, catchwords, sura headings in gold thuluth script, occasional marginal notes and commentaries. Two opening bifolio with gold and polychrome illumination framing 6ll. of naskh in clouds reserved against a gold-hatched ground, colophon signed and dated, followed by a prayer, in later brown morocco with stamped central lobed cartouche, some areas of restoration.

Text panel 20.4 by 12.1cm.

Folio 24.6 by 16.7cm.

Estimate € 30.000 - € 40.000

Lot 156

AN ILLUMINATED QURAN JUZ, NEAR EAST 15TH/ EARLY 16TH CENTURY

Arabic manuscript on paper, Quran section 28 of Juz, 21 leaves, each page with 9 lines written in black naskh script within gold and black rules, a cluster of three small gold roundel verse markers. Surah headings in gold thuluth script outlined in black on a blue decorated ground, each page with a gold and blue marginal floral roundel. Two opening folio heavily with gilt and polychrome decoration framing 8ll. of black naskh script, with three marginal roundels, in the side written Juz 28 of the 30 Juz.

Inscriptions: Surah Al-Mujadila, Al-Hashr, Al-Mumtahina, As-Saff , Al-Jumu’ah , Al-Munafiqun, At-Taghabun, At-Talaq, and surah At-Tahrim.

In brown morocco binding decorated with gold painted floral motifs. 16.3 by 25 cm

Estimate € 10.000 - € 15.000

A LARGE ILLUMINATED QURAN, COPIED BY MUHAMMED BIN SALIH, EAST CAUCASUS DAGESTAN AND DATED 1201AH/ 1786-1787AD

Arabic manuscript on paper, 466ff., with 6 modern fly-leaves, each page with 12ll. written in bold black Naskh script, sura headings in white reserved against gold ground on illuminated cartouches, with gold rosette verse markers, text within gold and polychrome frame, numerous colourfully illuminated marginal medallions, Two opening bifolio with gold and polychrome illuminated headpieces and margins, the headpieces with signature, date and indicating that this is the 25th Quran copied by the scribe, the last 6ff. a later replacement, in restored tooled morocco with flap.

Estimate € 20.000 - € 30.000

Lot 157

158

AN OTTOMAN ILLUMINATED QURAN WRITTEN

BY IBRAHIM AL-ZAKAI, OTTOMAN TURKEY DATED 1279AH / 1862–63AD

Arabic manuscript on paper, 296 leaves, 15 lines to the page written in naskh script in black ink with diacritics and vowel points in red and black, gold dots between verses, inner margins ruled in gold, catchwords, sura headings written in thuluth script in white, occasional devices in outer margins, illuminated frontispiece in colours and gold, some crude repairs mostly restricted to outer margins, creased, rather browned, last page signed” written by al-Faqir Ibrahim al-Zakai’, a pupil of Asayyid Hafiz a Zahdi”. In brown morocco with covers decorated with diaper pattern and stamped florets, with flap, rebacked. 20 by 13 cm.

Estimate € 10.000 - € 14.000

Lot

Lot 159

AL-ANWAR WA KUNUZ AL-ASRAR AL-KUBRA,

Arabic manuscript on paper, 115ff. with 3 fly-leaves, each page with 19ll. written in black naskh script, titles and catchwords in red ink, talismanic tables, talismanic letters and numbers, ruled in deep red binding.

21.5 by 16 cm.

CATALOGUE NOTE :

(Suns of Lights and the Great Treasures of Secrets)

An enigmatic and richly layered manuscript, Shumūs al-Anwār wa Kunūz al-Asrār al-Kubrá stands as one of the most compelling works in the corpus of Islamic esoterica. Attributed to the North African mystic and scholar Muhammad ibn al-Hajj al-Tilimsani, this 14th-century treatise unfolds as a luminous tapestry of divine names, arcane invocations, talismanic diagrams, and the secret correspondences believed to govern the unseen worlds.

Infused with elements of Sufi metaphysics and occult practice, the text is a reflection of its era’s intense fascination with the spiritual sciences—where revelation met cosmology, and geometry danced with prayer. It draws from a long tradition of ilm al- urūf (the science of letters), numerology, and astral knowledge, offering the reader both ritual guidance and symbolic insight.

A coveted item among bibliophiles and collectors of mystical manuscripts, this work echoes with the timeless pursuit of hidden wisdom and the human desire to bridge the visible and invisible realms.

Estimate € 5000 - € 8000

SHUMUS

AN ILLUSTRATED FOLIO

FROM A PERSIAN EPIC, SA’DI KULLIYAT, SAFAVID, 17TH CENTURY

Gouache heightened with gold on paper, with text in Persian Nastaliq script in clouds reserved against a sprinkled gold ground, depicting a story from the first chapter of Kulliyat al-Sa’di (On the Conduct of Kings). Laid down on an album page, the margins are stylized with gilt blossoming lotus scrolls.

The text about one of the rulers of Khorasan saw Mahmud of Sebuktigin in a dream, where his entire body had decayed and turned to dust—except for his eyes, which were still moving in their sockets and looking around. All the scholars were baffled by the interpretation of this dream, except for a dervish who understood and said: ‘He is still watching because his kingdom has passed to others.

Painting: the king asking a dervish for the interpretation od his dream.

Estimate € 5000 - € 7000

Lot 161

A GENEALOGY IN MAGHRIBI SCRIPT, NORTH AFRICA, MOROCCO, DATED 1120 AH/1708 AD

Arabic manuscript on vellum, 35 lines written in black Maghribi script, catchwords in gilt ink outlined in black, gold verse rosette markers outlined in black and pointed in red, interlinear borders decorated with gilt floral leafy sprays on a blue ground, the margins decorated to the sides with red floral motifs and with a gilt and striking blue decoration at the top. 49 by 95 cm.

CATALOGUE NOTE

This manuscript outlined the genealogy of a certain Said ibn Abdul-Rahman ibn Jafar Omar. His line is traced through Hasan ibn Ali ibn Abi Talib and Fatimah, daughter of the Prophet Muhammad. Dated on Jumadah I 1120 AH (Juli 1708 AD).

Estimate € 1500 - € 2000

Lot 162

WAQFIYYAH SCROLL, A LARGE AND DETAILED LEGAL DOCUMENT, OTTOMAN JERUSALEM DATED 982 AH/1574 AD

Arabic manuscript on paper, a single paper with 38 ll. written in black naskh script, dated 19 Muharram 982 AH.

Statements and seals.

A large detailed legal document giving details of property transactions in Jerusalem, prepared and supervised by qadi al-qudat the chieft judge of Jerusalem Muhi al-Din Abdul-Kader. Attested by several judges at several places. 27 by 43 cm.

Estimate € 1000 - € 1200

Lot 163

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

Arabic manuscript on paper of 19 leaves with 18 lines to each page, in naskh script with black and red ink.

1. A short thesis on Medicine, Arabic, 8 pages (page 6-14)

2. Risalah fi tarkib adwiyah al-bah (A thesis on Pharmaceutical compounding of sexual medicines), 24 pages (page 14-38).

3. Annotations on medicine, Persian, 5 pages (page 1-5). 18 by 14 cm.

CATALOGUE NOTE

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

Estimate € 3000 - € 5000

164

THE COSMIC FORM OF HANUMAN, NORTH INDIA, CIRCA 19TH CENTURY

Gouache heightened with gold on textile, Hanuman stands carrying Ram, Lakshman. He is fetching medicine to heal Lakshman. 117 by 80 cm.

Estimate € 1800 - € 2200

Lot 165

A LARGE KASHMIRI QURAN AMMA JUZ 30TH BY MUHAMMAD FADL AL-AFGHANI, 20TH CENTURY

Arabic manuscript on paper, 26 leaves. With 2 fly-leaves, alternating pages with 6 lines or 17 lines. The first and last line in strong large thultuh blue script reserved in clouds on a gilt ground. The central line in large thultuh gold script outlined in black on a sky-blue ground. The other 14 lines arranged in two blocks of 7 lines, each of elegant smaller black naskh script reserved in clouds on gold ground, gold roundel verse markers outlined in black with blue dots, text within border excessively embellished with gold and polychrome decoration. Surah headings in white thuluth script on gilt ground decorated with gilt floral motifs.

In deep brown morocco leather binding.

Text: surah Al-Mulk, surah Nuh, surah Al-Muzammel, surah Al-Dahr, surah Nazia’at, surah Infitar and different small verses.

58 by 92 cm.

Estimate € 2000 - € 3000

Lot 166

MIR ABUL FATAH IBN MIRZA MAKHDOOM AL-HUSAINI (D.974 AH/ 1566 AD), A TREATISE ON MATTERS CONCERNING THE HAJJ, COPIED 1040 AH/1630 AD

An Arabic manuscript on paper, consisting of 36 leaves, with 21 lines per page written in a small, neat naskh script. Titles and important words are highlighted in red ink, with occasional marginal notes and ownership statements.

Dimensions: 12 by 18.5 cm.

Author: Mirza Abul Fattah, a scholar, theologian, fundamentalist lawyer, and interpreter, belonging to the tribe of Sayyid al-Sharif al-Jurjani. He was highly respected by the Safavid Sultan Shah Tahmasb and authored a notable work: a book explaining verses of rulings in Persian, which he titled “Shahi Tafsir.” He composed this work by order of the Sultan.

In this manuscript, the author discusses the rulings of Hajj according to the Imami school and opposes the views of prominent Sunni Imams such as Abu Hanifa, Malik, and Al-Shafi’i.

Estimate € 4000 - € 6000

Lot 167

AL-MUKHTASAR MIN KITAB AL-MOUAFQA BEEN AL-BAYT WA SAHABAH BY AL-ZAMAKHSHARI (1075-1144)

An Arabic manuscript on paper, 71 leaves with 31 lines to each page, written in black naskh script. Catchwords and titles in red ink, the upper part of the first page with gold and striking blue decoration. Seal impressions on first and last page, with brown leather binding. 17 by 25 cm.

The author: Abu al-Qasim Ma mud ibn Umar al-Zamakhshari, (1075 – 1144 ) known as al-Zamakhshari, or Jar Allah, a medieval Muslim scholar of Persian origin, a great Hanafite jurist, Mu’tazilite and theologian. He studied at Bukhara and Samarkand, before he travelled to Baghdad, was a philologist of the Arabic language. He wrote primarily in Arabic, occasionally in Persian. Al-Zamakhsharī earned the laqab ‘Jar-Allah’ (God’s neighbor) for the years he spent in Mecca before he finally returned to Khwarezm.

He compiled all the authentic and good hadiths about the good relation and the mutual respect between Ahl al-Bayt and the Companions of the prophet. Then, Sheikh Al-Zamakhshari, in this book, deleted the Isnads form the Hadiths.

Estimate € 2000 - € 3000

Lot 168

DALA’IL AL-KHAYRAT WA SHAWARIQ AL-ANWAR, OTTOMAN TURKEY, 19TH CENTURY

Arabic manuscript on paper, 13 lines to the page, the upper and lower line in large blue thuluth script, the middle line in large gold thuluth script, two columns of each 5 lines in smaller black naskh script, gold verse markers, inner margins ruled in gold, catchwords, out borders in orange and green ink, significant words and phrases picked out in red ink, one illuminated headpiece in colours and gold, one further smaller illuminated heading, double-page illuminations in gold of the grave of Prophet Muhammad and the Minbar of Medina.

In leather morocco binding with stamped gilt floral decoration.

7.5 by 12 cm.

11.5 by 17 cm.

Estimate € 3000 - € 5000

AL-JAZULI,

Lot 169

MAJMA’ AL-ANSAB SILSILA NAMA, AN OTTOMAN GENEALOGY, TURKEY, 18TH CENTURY

Arabic and Ottoman Turkish manuscript on cream paper, 28ff. each page with polychrome roundels containing names and titles of religious and historical figures in black Ottoman naskh script, starting with Adam and finishing with the Ottoman Sultan Bayazid, the roundels surrounded by notes in black, illuminated heading followed by an introduction in black ink. In deep red leather binding. 20 by 30 cm.

CATALOGUE NOTE

These kinds of manuscripts were important for tracing lineage and establishing religious, noble, or royal descent. In Ottoman culture, genealogy often linked rulers or notable figures to significant historical or religious ancestors, legitimizing their authority or status. The word “Silsila” literally means “chain” or “lineage” in Arabic and is used in Islamic contexts to refer to a spiritual or genealogical chain, especially in Sufi traditions and royal genealogies.

Starting with Adam shows the manuscript’s aim to place Ottoman rulers within a universal history stretching back to the first man, reflecting the Islamic view of history as a continuous chain of prophets, saints, and rulers. The manuscript ends with Sultan Bayazid, likely Bayazid I (reigned late 14th century) or Bayazid II (late 15th century), significant Ottoman sultans known for consolidating and expanding the empire.

Estimate € 8000 - € 12.000

A LARGE QURAN JUZ’, NEAR EAST, 14TH CENTURY

Arabic manuscript on paper, 33 leaves with 2 fly-leaves, 5 lines to each page, written in very elegant large black muhaqqaq script, gold rosette verse markers outlined in black and pointed in red dots, surah headings in large black thuluth script within gilt and polychrome decorated cartouches, occasional marginal gilt floral roundels indicating “Hizb, Nisf and Juz”. Two opening pages with gilt and blue decoration framing 3 lines in clouds reserved on a red floral sprays decorated ground. In black morocco binding. Inscriptions: surah Al-Waqiaa v.77-v.80 , surah At-Tubah v.94-v.129, surah Yunus complete, surah Hud v.1-v.5.

30 by 45 cm.

Estimate € 12.000 - € 15.000

Lot 171

MUHAMMAD BIN ‘ABDULLAH AL-KHATIB AL-TAMARTASHI (D.1595-96 AD): TANWIR AL-ABSAR WA JAMI‘ AL-BIHAR, OTTOMAN, DATED SUNDAY JUMADA II 997AH/ APRIL 1589 AD

Arabic manuscript on cream burnished paper, 483ff., 39ll. of black naskh script, titles and catchwords in red ink, ruled in double red borders, occasional marginal notes. in deep red leather binding.

21 by 29. 5 cm

Lot 170

Lot 171

Tanwīr al-Absār wa Jāmi al-Bihār is one of the most important encyclopedic texts in anafī jurisprudence, authored by the eminent scholar Imam al-Tumurtashi, a towering jurist of the Ottoman era. The title translates as “Enlightening of Sights and the Collector of the Sea”, reflecting both its illuminating clarity and vast legal scope.

This particular legal compendium, written in 997 AH—likely by the author’s own hand—is a masterful synthesis of core legal rulings, rich in clarity, composition, and scholarly precision. It gathers nearly all the essential principles of anafī fiqh in a format accessible to both students and advanced jurists.

Al-Ghazzi was born in Gaza, Palestine, in 939 AH. One of the leading Hanafi jurists of his time, he authored a number of significant works in the school, including Tanwir al-Absar and its two-volume commentary Minah al-Ghaffar. Given his stature in the Hanafi school, he is often given the honorific title Shaykh al-Islam. He died in 1004 AH.

This work occupies a foundational place within Hanafī legal literature, celebrated for its precise articulation, elegant prose, and deep juristic insight. Revered as an authoritative manual for the issuance of fatāwā (legal opinions), it has guided generations of scholars as an indispensable reference. Al-Tumurtāshī’s scholarly eminence earned him the distinguished title of Shaykh al-Islām, a testament to his revered standing within the intellectual circles of his era.

Estimate € 20.000 - € 30.000

Lot 172

AL-JAZULI, DALA’IL AL-KHAYRAT WA SHAWARIQ AL-ANWAR, NORTH AFRICA, 18TH CENTURY

Arabic manuscript on cream-coloured paper, 7 lines to the page written in clear large maghribi script, significant words picked out in red and green, margins ruled in red ink, headings in black angular kufic script within a decorated panel, diactries in red ink. First and last page with polychrome decoration. In deep red leather with stamped a central medallion and cornerpieces of gilt leather onlay with flap. 18.5 by 19 cm.

CATALOGUE NOTE

Dala’il al-Khayrat reflect the spontaneous composition of salawat, the blessings and praise upon the Prophet, composed directly from the heart of a prominent Sufi master, Imam Al-Jazuli (died 1465). The composition has become an important prayer book in its native land, Morocco, which has also spread across the breadth of the Islamic lands. Today, Dala’il al-Khayrat is celebrated as the most acclaimed source on the salawat upon the Prophet Mohammad. Dala’il al-Khayrat has for centuries inspired calligraphers, illuminators and painters of court ateliers in producing sumptuous prayer manuscripts, which reflect the distinctive designs of various Islamic dynasties. These manuscripts uncover the story behind the text appreciation by patrons and calligraphers, and to bring to light the skills as well as the techniques of the craftsmen. The tradition of reciting the salawat of Dala’il al-Khayrat in public and private gatherings continues until today.

Estimate € 8000 - € 12.000

Lot 173

A KASHMIRI QURAN, KASHMIR 18TH-EARLY 19TH CENTURY

Arabic manuscript on paper, 592 leaves, each folio with 11 lines of black naskh script written on a cream coloured ground, each line within double black-ruled gold division, gold roundel verse markers outlined in black ink, titles in white thuluth script on gold ground within cartouche, text within polychrome and gold rules and stylized with flower scrolls, gold roundel marginal markers indicating “nisf, juz”, two opening bifolia with gold and polychrome illuminated margins, multiple other pages throughout the Quran are similarly illuminated.

In deep red morocco leather bidding with gilt floral decoration.

Text panel: 9 by 14 cm.

Folio: 12 by 18 cm.

Estimate € 8000 - € 12.000

Lot 174

A QURAN SECTION, 14TH-15TH CENTURY

Comprising the 4th and 5th juz’, Arabic manuscript on paper, 36 leaves, each folio with 11 lines of elegant black naskh script, surah headings in gold thuluth script outlined in black, Basmallah in white Kufic script, gold and polychrome rosette verse markers outlined in black and pointed by blue dots, ruled in blue and gold borders, tajwid in red, occasional marginal floral motifs indicating the ‘Juz, Hizb, Aushr and Khums’, colophon of each surah with gilt and blue decoration, in black morocco binding with gilded decoration.

Text: 14.5 by 22 cm.

Folio: 23 by 31.5 cm.

Estimate € 8000 - € 12.000

DALA’IL AL-KHAYRAT, NORTH AFRICA, 18TH CENTURY

Arabic manuscript on paper, each page with 8 ll. written in black Maghribi script, titles and important words picked out in red and blue, the chapter headings and certain words in polychrome colors, double-page illuminations of the grave of Prophet Muhammad and the Minbar of Medina, prayers in praise of the Prophet with extra added praising poems of the prophet. In brown leather binding with gilt highlights and cover flaps. 10 by 11 cm.

Estimate € 2000 - € 3000

Lot

AN OTTOMAN SILVER SCRIBE’S PEN BOX (DIVIT), TURKEY, 19TH CENTURY

Of elongated form, with a bulbous inkwell of compressed body, decorated with floral motifs. Length: 18 cm.

Estimate € 500 - € 700

Lot 175

176

Lot 177

AN INDIAN SILVER HOOKAH BASE, 19TH CENTURY

An Indian hookah base is crafted from silver, featuring intricate floral and geometric engravings.

Estimate € 1200 - € 1500

A PAIR OF IRAQI SILVER NIELLO PIECES DEPICTING THE MARSHES OF SOUTHERN IRAQ

Comprising a finely crafted coffee pot (Dallah) and a small tray, both executed using the traditional Iraqi silver niello technique. The surfaces are intricately adorned with a pastoral scene from the southern marshes of Iraq, vividly depicting traditional boats, towering palm trees, and iconic reed houses, all masterfully rendered to capture the essence of Mesopotamian river life.

The coffee pot measures 15.5 cm. in height and weighs 192 g.

The tray measures 19 by 8 cm. and weighs 87 g.

Estimate € 800 - € 1200

Lot 178

Lot 179

AN INDIAN SILVER PLATED (KATAR) DAGGER,19TH CENTURY

The double-edged, silver-plated steel blade, engraved with a hunting scene of a lion and a ram, features a hilt with sidebars and grips.

Estimate € 1200 - € 1500

Lot 180

A GILT MUGHAL KATAR DAGGER, NORTH INDIA, 18TH CENTURY

The double-edged steel blade, chiseled with a central spine flanked by recesses, features a hilt with sidebars and grips, stylized with gilt floral scrolls

Estimate € 1200 - € 1500

A PORTRAIT OF THE KING OF OUDH NASIR AL-DIN HAYDAR (R. 1827-37 AD)

Portrait of the king of Oudh Nasir Al-Din Haydar (r. 1827-37 AD) seated with his prime minister Muntazim ud doula Nawab Mehdi Ali Khan. Also known as the stormy petrol of Oudh politics. 20 by 28 cm.

Estimate € 1500 - € 2000

A PORTRAIT OF MAHARAJA SHER SINGH NORTH INDIA, PROBABLY DELHI, 19TH CENTURY

Opaque water colour and gold on paper. Opaque pigments heightened with gold on paper, depicted a man standing, wearing an intricate sarpech holding a sword.

29 by 41 cm.

Estimate € 1500 - € 2000

Lot 182

LADY IN A FLOWER BED, KISHANGAR, 18TH CENTURY

Gouache heightened with gold on paper, depicting a young woman reclining on a canopied bed, her feet being rubbed by a kneeling attendant, further attendants around the bed bear presents, two cats in front, a forested landscape behind with starry night sky, within thin golden rule. 29 by 22 cm.

Estimate € 2000 - € 3000

Lot 184

NAWAB WAJID ALI SHAH OF OUDH WITH HIS RETINUE COMPANY SCHOOL, LUCKNOW, 19TH CENTURY

Opaque watercolor and gold on paper. 30 by 23 cm.

Estimate € 1200 - € 1500

Lot 185

Gouache heightened with gold on paper. 19.5 by 25.5 cm.

Estimate € 800 - € 1200

RADHA AND KRISHNA, PUNJAB HILLS, KANGRA, 19TH CENTURY

AN ILLUSTRATED FOLIO FROM A PERSIAN EPIC, SA’DI KULLIYAT, SAFAVID, 17TH CENTURY

Gouache heightened with gold on paper, with text in Persian Nastaliq script in clouds reserved against a sprinkled gold ground, depicting a story from the first chapter of Kulliyat al-Sa’di (On the Conduct of Kings). Laid down on an album page, the margins are stylized with gilt blossoming lotus scrolls.

Text: 22 by 13.5 cm.

Page: 35.5 by 22.5 cm.

The painting and the text depict a story in which a king orders the execution of a captive. However, in a state of despair, the captive curses the king. At that moment, a minister tells the king that the captive is merely expressing anger and rage. The king, moved by the captive’s lack of self-control, takes pity on him and refrains from carrying out the execution. Another minister, who strongly disagrees, argues that one should always speak the truth. But the king replies that sometimes a convenient lie is better than the truth.

Estimate € 5000 - € 7000

PORTRAIT OF MAHARANA AMAR SINGH OF MEWAR MUGHAL, AMBER, RAJASTHAN, CIRCA 17TH CENTURY

Devanagari identificatory inscription on top of the standing figure.

Opaque water colour and gold on paper . 18.5 by 13 cm.

Estimate € 2000 - € 3000

LADIES VISITING A SHRINE AT NIGHT

UNDER A CANOPY, BIKANER, RAJASTHAN, NORTH INDIA, CIRCA 1780

Opaque pigments heightened with gold on paper.

31 by 20.5 cm.

24 by 14 cm.

Estimate € 1800 - € 2200

Lot 187

Lot 188

A STUDY OF A RED FLOWER, PROBABLY DECCAN, CIRCA 18TH CENTURY

Opaque pigments heightened on paper. 25 by 17.5 cm 15 by 8 cm

Estimate € 1200 - € 1500

A PAINTING OF A FLOWER WITH A MARBALISED BORDER INDIA, DECCAN, 18TH CENTURY

Gouache on paper. Painting 10 by 17 cm.

Estimate € 800 - € 1200

Lot 190

Lot 191

SHARH AL-MULKHAS FI AL-HAY’A’ OF AL-JAGHMINI, DATED END OF SHAWWAL 914 AH/1534 AD

An astronomy copied manuscript ‘Share Al-Mulkhas Fi Al-Hay’a of Al-Jaghmini (a Compendium of the science) by Salah Al-Din Must 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 AlDin 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 description 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 which is a piece of the circumference of a circle.

Part Five: the planets in their movements, such as the difference in their length and width.

The second article: Conditions of the lower arcs, the explanation of the Earth geography, contains three chapters.

Part One: In describing the inhabited parts of the earth, its width and length, and dividing it into the seven regions.

Part Two: On the Equator Properties.

Estimate € 8000 - € 12.000

192

AN OTTOMAN MAJMA’ AL-ANSAB, A GENEALOGY OF THE PROPHET, EARLY 19TH CENTURY

Arabic manuscript on paper, 10 leaves with 2 fly-leaves, written in 17 lines in elegant naskh and thuluth script, each page written horizontally, vertically and diagonally, titles in large thuluth gilt script outlined in black, catch and important words in red and blue ink, comments in black naskh script, ruled in wide gilt border outlined in black, f1-b with headpiece decorated in gilt and royal blue, gold verse markers pointed by polychrome dots. The first page with the title “ This is the honorable family tree of the Prophet Muhammad, Peace be upon Him”, written in gilt thuluth script outlined in black within an illuminated roundel, ownership statements in black ink. In gilt deep red morocco binding, with flap. 23 by 33 cm

Estimate € 4000 - € 6000

CATALOGUE NOTE

Ibn ‘l Mubarrid (Yusuf ibn Hasan Ibn Abdelhadi), a nickname of his grandfather Ahmad who was named that because of the roughness of his hand, born in Damascus (840-909AH / 1436 -1503AD), taught by many scholars of his time in the Levant and Egypt, and wrote several dictionaries among them in which he mentioned their names in full, died in his home in Salihiyah, and was buried in Qasioun.

One of his most famous works is this book “ al-Durra al-Mardia Wa al-Shajra al-nabawia, The shining pearl and the tree of the prophet”, authored in 881AH/ 1476AD.

This family tree is about the relatives of the Islamic prophet Muhammad as a family member of the family of Hashim and the Qurayshs tribe which is ‘Adnani’, this tree includes his wives, children, uncles, aunts, cousins, and grandparents.

Lot 193

AN ILLUMINATED COLLECTION OF PRAYERS, INCLUDING DALA’IL AL-KHAYRAT, NORTH AFRICA AND DATED

1292 AH/1875 AD

Arabic manuscript on paper, 553ff., each page with 11 lines written in black Maghribi script, titles and important words picked out in red, blue and yellow, the chapter headings and certain words in polychrome colors, double-page illuminations of the grave of Prophet Muhammad and the Minbar of Medina, prayers in praise of the Prophet with extra added praising poems of the prophet, attributed names to the prophet, Qasiat al-Burda.

In brown leather binding with gilt highlights and cover flaps. 11 by 12 cm.

CATALOGUE NOTE

Dala’il al-Khayrat reflect the spontaneous composition of salawat, the blessings and praise upon the Prophet, composed directly from the heart of a prominent Sufi master, Imam Al-Jazuli (died 1465). The composition has become an important prayer book in its native land, Morocco, which has also spread across the breadth of the Islamic lands. Today, Dala’il al-Khayrat is celebrated as the most acclaimed source on the salawat upon the Prophet Mohammad. Dala’il al-Khayrat has for centuries inspired calligraphers, illuminators and painters of court ateliers in producing sumptuous prayer manuscripts, which reflect the distinctive designs of various Islamic dynasties. These manuscripts uncover the story behind the text appreciation by patrons and calligraphers, and to bring to light the skills as well as the techniques of the craftsmen. The tradition of reciting the salawat of Dala’il al-Khayrat in public and private gatherings continues until today.

Estimate € 8000 - € 12.000

Lot 194

PERSIAN ASTRONOMICAL AND ASTROLOGICAL MANUSCRIPT, PERSIA QAJAR AND DATED 1233AH / 1817AD.

Persian manuscript on paper, 15ff. each page with approximately 20ll. written in black and red nastali’q script, titles and catchwords in red in ink, pages illuminated with gilt and polychrrome decrated headpeices, tables of the months for calendrical calculations and celestial predictions

This exquisitely illuminated Persian manuscript is a comprehensive astronomical and astrological compendium, composed during the Qajar era. It masterfully weaves together scientific, religious, and mystical traditions, drawing upon the rich tapestry of Islamic cosmology and classical Persian astrology. Structured in the form of a Zīj—a set of astronomical tables—it served as a vital tool for calendrical calculations, celestial prognostication, and the identification of auspicious moments.

Calendrical Tables aligning Islamic lunar months with zodiacal signs and planetary configurations

Horoscopic Charts employed to discern propitious times for travel, marriage, healing, and other worldly endeavors

Zodiacal Diagrams adorned with finely rendered animal symbols—such as the Capricorn goat and leopard— depicting the twelve signs of the zodiac

Astrological House Tables detailing the twelve celestial houses and their respective domains, including wealth, death, marriage, and enmity

32 by 21.5 cm

Estimate € 5000 - € 8000

Lot 195

AN ILLUMINATED QURAN 19TH JUZ, LATE MAMLUK PERIOD NEAR EAST, CA 1500

Arabic manuscript on cream paper, 11 leaves with 2 fly-leaves, each page with 15 lines. The first, central and the last line in very elegant gilt Muhaqqaq script, the other 12ll. arranged in two blocks of 6 lines, each of very strong naskh script within gold border outlined in black, gold roundel verse markers outlined in black and pointed in blue dots, all ruled in gold and polychrome borders. Surah headings in large white thuluth on a gilt ground.

An opening biofolio with gold and polychrome decoration, each page with a gold marginal roundel outlined in blue ink.

In brown morocco binding with flap stamped with gilt floral motifs and Quran inscriptions, with restored and stabilized pages.

Inscriptions: 19th Juz, v.21-v.77 from surah Al-Furqaan, v.1-v.227 from surah Ash-Shu’ara, v.1-v.55 from surah An-Naml.

Text: 14.5 by 22 cm

Panel: 23.5 by 36.5 cm

Estimate € 8000 - € 12.000

196

AN ILLUMINATED QURAN, SIGNED KAMAL AL-DIN Al-GHAZALI, DAR AL-SALAM ( BAGDAD) AND DATED JUMADAA AL-THANI IN 946 AH/1539 AD

Arabic manuscript on paper, 560 leaves with 2 fly-folios, recto and verso with 11 lines to each page. The first, middle and the last line in very strong and large Muhaqqaq script. The other 8 lines arranged in two blocks of 4 lines, each of black naskh script. All ruled in polychrome borders, tajwid in red ink, gold rosette markers outlined in black. Surah headings in red ink with the number of the verses. Two opening biofolia with royal gold and polychrome decoration framing 7lines. The last page signed “written by Muhammed known as Kamal Al-Din Al-Gazali in Dar al-Salam in Jumadaa al-Thani in the year of 946 AH”.

In a deep leather Morocco binding with flap. 15 by 22 cm.

Estimate € 80.000 - € 120.000

Lot 197

AN ILLUMINATED OTTTOMAN QURAN, DATED 980 AH/1572 AD

A complete Quran, Arabic manuscript on cream paper, 389 leaves with 2 fly-leaves, each page with 12 lines, written in black elegant naskh script within gold and blue rules, gold roundel verse markers outlined in black with polychrome dots. Surah headings in red thuluth script with gold and blue decoration, each page with gold and blue marginal roundels. Two opening biofolia with gold and polychrome decoration framing 6 lines of black naskh in clouds reserved against a gilt ground. The last page signed in red ink with “written in the last days of Muharram in 980 AH’’. In brown morocco binding with flap with gilt floral decoration. 9.5 by 147 cm.

Estimate € 20.000 - € 30.000

AN ILLUSTRATED CONCERTINA ALBUM FROM FERDOWSI’S SHAHNAMEH, PERSIA 17TH CENTURY

Persian manuscript on paper, 22 folios, presented in a concertina-style format, with gouache color on paper. Each page contains 13 lines, positioned above and below the painting, arranged in 4 columns, written in black nastalīq script, with titles in red ink.

The vivid illustrations capture dynamic scenes of royal courts, heroic battles, and mythic quests—hallmarks of the Shahnameh’s sweeping narrative. The palette is bold and expressive, reflecting the artistic sophistication of the Safavid period.

CATALOGUE NOTE :

The Shahnameh—literally “The Book of Kings”—is the national epic of Persia, composed around (1010 AD) by the poet Abu’l-Qasim Ferdowsi of Tus. Spanning over 50,000 couplets, it is one of the longest epic poems in world literature and a foundational work of Persian culture, language, and identity. The Shahnameh recounts the mythical and historical history of Persia from the creation of the world to the Arab conquest in the 7th century.

The narrative unfolds across three legendary eras:

The Mythical Age: Filled with divine and heroic figures such as Kayumars, Zahhak, and Jamshid, reflecting Zoroastrian cosmology and ancient Persian lore.

The Heroic Age: The heart of the epic, featuring the legendary warrior Rostam and the tragic hero Sohrab, it dramatizes the battles, loyalty, and betrayal that define Iranian chivalry.

The Historical Age: A stylized retelling of Iran’s historical dynasties, ending with the fall of the Sassanian Empire and the arrival of Islam.

The Shahnameh has been a constant source of inspiration for Persian miniature painting, particularly from the Ilkhanid, Timurid, and Safavid periods, with each manuscript illustrating the epic’s most dramatic moments. These illustrated manuscripts were often royal commissions, intended both as artistic masterpieces and cultural affirmations of dynastic legitimacy.

Estimate € 5000 - € 8000

AN OTTOMAN FIRMAN OF SULTAN MAHMUD II (R.1808 –1839) OTTOMAN TURKEY, DATED DHU AL-HIJJA 1246 AH/JUNE 1831 AD

Ottoman Turkish manuscript on paper, 13 lines of black diwani, beneath the tughra of Sultan Mahmud II in gold and polychrome. Very decorative and colourful Tughra with white roses and flowers.

This firman concerns: In accordance with the petition submitted by Bishop Agop, who resides in Istanbul, a priest named Ibkanadyos, son of Petrus Cizova, was appointed as deputy to the Assyrian Catholics living in Diyarbakır, Mosul, Mardin, Damascus, Aleppo and their surroundings. Hijri Evahir-i Dhu al-Hijja 1246 AH/June 1831 AD

110 by 52 cm.

Estimate € 30.000 - € 50.000

AN EARLY OTTOMAN CAST BRASS CANDLESTICK, TURKEY, CIRCA 1500

The body of truncated conical form with flanged base, perforated bands and everted drip-pan, the shaft with globed perforated bulb, the socket of spool form with ridges, engraved with a central band of cartouches containing incised inscriptions and thinner bands of chain pattern and foliate motifs.

21.6 cm. height

Inscription li-sahibihi al-sa’ada / wa al-salama / wa tu [l] / al’umr sahat (sic.) [ma nahat] hamama a / ‘To its owner Happiness and Well-being and Long-life as long as the dove coos’ This inscription can be found on Persian metalwork as early as the third quarter of the thirteenth century and continued to be engraved on later Persian and Ottoman works (see Melikian Chirvani 1982, p. 143).

Lot 200

A BRASS INCENSE BURNER, DECCAN, 16TH CENTURY

The ovoid body with a domed hinged cover surmounted by a baluster-form finial, decorated with palmettes containing an openwork foliate design separated by engraved floral motifs on a tall, gently splayed foot attached to a circular tray also engraved and punched with foliate palmettes and leafy vines.

18 cm. height. 20 cm. max. diam.

Estimate € 5000 - € 8000

Estimate € 8000 - € 12.000

Lot 201

Lot 202

AN OTTOMAN JADE AND GEM-SET SILVER PLATED CASKET 16TH CENTURY

A silver plated casket, engraved around the sides with floral scrolls. The cover set with a Timurid dark green jade with a petal border and flat edge, finely carved to front side with talismanic letters and numbers, to the backside with arabesque designs and foliate scrolls.

Height: 3.8 cm

Diameter: 5.5 cm

Estimate € 3000 - € 5000

AN ISLAMIC CARVED ROCK CRYSTAL CHESS PIECE,10TH-12TH CENTURY

An Islamic carved rock crystal chess piece in the shape of a horse head, possibly a knight, 10th-12th century. The piece features a finely detailed horse head with a mane carved in graceful, parallel lines. The translucency of the crystal adds an ethereal quality, enhancing its intricate design and historical value as a unique representation of a chess piece in traditional Islamic craftsmanship. Provenance: Private W London Collection.

Height approximately 6 cm.

Estimate € 2000 - € 3000

AN ISLAMIC CARVED CRYSTAL AMULET WITH KUFIC INSCRIPTIONS, 10TH-12TH CENTURY

The amulet is cylindrical in shape with a domed top, which includes a hole for suspension, suggesting it was intended to be worn or carried as a protective talisman. The surface is meticulously inscribed with Kufic script, a prominent form of Arabic calligraphy known for its angular and linear style, often used in religious and decorative contexts during early Islamic periods.

Height approximately 5.8 cm.

Provenance: Private W London Collection

Estimate € 2000 - € 3000

A PERSIAN CRYSTAL ROCK CARVED SILVER RING, 19TH CENTURY

A crystal rock of rounded form, carved at the center with prayers, surrounded by two bands enclosing Nada Ali and Ayat al-Kursi, set in a silver ring.

Estimate € 1000 - € 1200

Lot 204

Lot 205

206

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

Estimate € 6000 - € 8000

NIZAMI (D.1209), KHAMSA , COPIED BY IBN MUHAMMED SHAFI’ KHATALANI, PERSIA AND DATED 1204 AH/1789 AD

Persian manuscript on paper, 21 lines per page, written in neat black nasta’liq script, arranged in four gold and polychrome-outlined columns. Titles are in red, blue, and gold, with polychrome illuminated title pages. The manuscript contains 66 paintings and five polychrome and gold headings. The last page is signed: “Written by Ibn Muhammad Shafi’” and dated 1204 AH. In gilt enameled Qajar binding.

Dimensions: 21 x 34 cm

Estimate € 80.000 - € 120.000

CATALOGUE NOTE

The manuscript opens with Layla and Majnun, followed by the Makhzan al-Asrar (The Treasury or Storehouse of Mysteries), Haft Paykar (The Seven Beauties), and the Iskandarnameh, divided into the Sharafnama and the Iqbalnama. The manuscript has been occasionally misbound, as the order of the chapters does not follow the original narrative sequence.

From Layla and Majnun: Taking Majnun’s father to the Kaaba, Majnun brought in chains to Layla’s tent, Majnun in the wilderness with the animals, Majnun kneeling by Layla’s tent.

The Makhzan al-Asrar

From the Haft Paykar: Battle scenes, Bahram Gur with the Chinese Princess in the Yellow Pavilion, Bahram Gur with the Khwarazm Princess in the Green Pavilion, Bahram Gur with his wives, Bahram Gur in hunting scenes.

From the Iskandarnameh: In two parts: Sharafnama (The Book of Glory) followed by Iqbalnama (The Book of Fortune).

THEOLOGICAL AND JURISPRUDENTIAL TREATISES, NEAR EAST WRITTEN BETWEEN 1215 AH AND 1218 AH (1800–1803 AD).

Arabic manuscript on paper

Each page contains 23 lines, written in a small black script, with titles and significant words highlighted in red ink. The manuscript comprises various treatises on theology and Islamic jurisprudence (Fiqh), written at different times between 1215 AH and 1218 AH (1800–1803 AD). In brown morocco leather binding with flap. 17 by 22 cm

Jawharat al-Tawhīd

Comprising 204 leaves, this work was authored in 1215 AH by the eminent scholar Imam al-Laqqānī. He is widely renowned for this didactic poem, Jawharat al-Tawhīd (“The Gem of Monotheism”), which gained more acclaim than any of his other works. The poem serves as a foundational theological treatise, presenting the core tenets of Islamic belief according to the methodology of Ahl al-Sunnah wal-Jamāah.

Rooted in the teachings of Imam Abū al-Hasan al-Asharī (may Allah have mercy on him), this methodology upholds a rational yet traditional approach, aligning closely with the doctrines of the pious predecessors (al-salaf al-āli), including the Companions, Followers, and their successors. The poem is notable for its precise expression of creed, faithful to the Qur’an and Sunnah, and its rigorous intellectual defense of orthodox beliefs.

Interestingly, Imam al-Laqqānī himself was the first to write a commentary on Jawharat al-Tawhīd, referencing multiple interpretations he had authored on his own poem—demonstrating the significance he attributed to the work.

Al-Aqd al-Farīd fī Ahkām al-Taqlīd

Written in 1218 AH, this treatise by Imam al-Samhūdī is a distinguished exploration of taqlīd (legal adherence to qualified scholarship). The work integrates perspectives from both jurisprudence (fiqh) and legal theory (usūl al-fiqh), creating a sophisticated synthesis of foundational principles and applied legal reasoning. Drawing from classical legal texts, Imam al-Samhūdī bridges abstract theory with real-world jurisprudential issues—making the treatise a valuable resource for scholars engaged in both fields.

Al-Qawl al-Sadīd fī Bad Masāil al-Ijtihād wa al-Taqlīd

Authored in 1214 AH (1799/1800 CE) by Muhammad Abd al-Azīm al-Makkī al-Hanafī, this work also addresses the complex relationship between ijtihād (independent legal reasoning) and taqlīd. Notably, the author is recorded as having served as Imam of Masjid al-Haram in Mecca, lending considerable scholarly weight to the treatise. It is thought to have been composed in the Ottoman province of Arabia.

While both this and Imam al-Samhūdī’s Al-Aqd al-Farīd deal with taqlīd, al-Makkī’s work focuses more on the practical implications of legal authority and its limits, whereas al-Samhūdī delves into the theoretical underpinnings of the practice. Together, the two texts offer complementary perspectives—one grounded in pragmatic concerns and the other in legal philosophy.

Risāla al-Mahdiyya (The Message of Guidance)

This is a commentary written by Nūr al-Dīn Ziyyād on a work originally authored by Shaykh Alā al-Dīn. Though limited details are provided, the format suggests an exegetical or instructional aim, contributing to the tradition of layered commentary in Islamic scholarship. Its inclusion demonstrates the manuscript’s diversity in theological material and the intertextual practice of scholarly engagement.

Abāq al-Dhahab (The Plates of Gold)

Attributed to Ahmad ibn Muhammad, this treatise presents general discussions on Islamic theological issues. Though less detailed in attribution, it serves as a reflective or possibly summarizing piece on major doctrines, potentially functioning as either an introductory or concluding theological discourse within the manuscript.

Estimate € 5000 - € 7000

AN ABBASID LUSTRE POTTERY BOWL, PERSIA 12TH CENTURY

An Abbasid lustre pottery bowl with conical sides and an everted rim, resting on a small footring. The creamy-white ground is decorated in lustrous brown and green, featuring a seated figure amidst floral motifs. 22cm. diam.

Estimate € 2000 - € 3000

Lot 210

A SMALL NISHAPUR POTTERY BOWL, PERSIA, 9TH-EARLY 10TH CENTURY

A Persian pottery bowl resting on a small base with an everted rim, painted to interior in black with central band of Kufic inscriptions.

Inscriptions; repetition of the word “blessing”.

Diameter: 11 cm.

Estimate € 600 - € 800

PROVENANCE

Private collection, Belgium

Lot 209

A GHAZNAVID MARBLE FUNERARY FRAGMENT, DATED 597 AH/1200 AD

Of rectangular shape. It is engraved in Arabic on both sides of the longitudinal coronation, as well as on the front sides.

A peculiar decorative element, made of a knot-like motif and a chevron, most likely a connotative sign, The coronation text is executed in naskhi script and contains verse: Al-Shahada ‘there is no God but Allah and Muhammad is his messenger’.

The shape of the top element and the pattern of the engraving on both sides can be compared with samples that can be traced back to the second half of the 11th century or to the early years of the next century. As the upper element of the tombs dating back to the second half of the 12th century until the early 13th century has a slightly trapezoidal shape and is often characterized by the presence of the statement of faith (the testimony) repeated on each side.

68.5 by 22 by 16 cm.

Estimate € 15.000 - € 20.000

212

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

Of baluster form with broad crossguard, elongated forte, disc pommel and knop terminal, the green stone set with rubies and diamonds with flowering heads and vines framed by gold inlaid borders.

Length: 19 cm.

PROVENANCE

Property of Forest Lawn Mortuary, from Hubert Eaton Collection

Estimate € 5000 - € 8000

TWO CUBIC DICE: BLACK STONE, ROCK CRYSTAL, EAST PERSIA 9TH–12TH CENTURY

These two cubic dice, dating from the 9th to 12th century and originating from the eastern regions of Persia, exemplify the refined craftsmanship and material sophistication of the Islamic world during the early medieval period. Made from rock crystal and black stone—materials associated with both luxury and durability—the dice reflect the visual contrast and symbolic duality commonly found in Islamic art, similar to the aesthetic seen in carved chess pieces of the same era.

The numeric values on each face are marked using incised dots and concentric circular motifs, executed with precision. This style of marking was not only practical but also aligned with the geometric and abstract preferences of Islamic art, which generally avoided figural representation in secular objects. The use of dots arranged in conventional patterns (1 through 6) followed the established traditions of dice design that had been passed down from earlier Indian and Greco-Roman models, but with regional stylistic modifications.

In eastern Persia during this time, artisans often employed fine engraving techniques on hard materials such as rock crystal, agate, and stone. The incised dots—often created with a small drill or burin—demonstrate a high level of control and symmetry. The presence of circular motifs surrounding or accenting the dots suggests a localized decorative adaptation, possibly influenced by Seljuk and Samanid artistic tastes, where geometry and repetition played significant roles.

Furthermore, the rounded edges seen on the dice were likely the result of both aesthetic preference and practical use, ensuring smooth rolling. These physical characteristics not only enhanced gameplay but also aligned with broader design trends in utilitarian luxury objects of the period.

Dimensions:

1 1.4 cm³

Estimate € 1000 - € 1200

Lot 214

NUSAB AL-IHTISAB ( AL-SANAMI), COPIED BY MUHAMMED HAJI BIN MAWLANA AL-BUKHARI

Arabic manuscript on paper, 54ff. with fly-leaves, each page with 27ll. written in black naskh script within a red rule, occasional marginal notes, titles and catchwords in red ink, ownership statements and seals, copied by Muhammed Haji bin Mawlana al-Bukhari, in deep red morocco binding.

The book “Nusab al-Ihtisab” was authored by Omar bin Muhammad bin Awad al-Sanami, a Hanafi scholar. What sets this book apart is that its author personally practiced the role of a muhtasib (an official responsible for public morality and market regulations) for an extended period of time, making this work a product of his long practical experience. Moreover, since he lived in India, he provided information that had not been addressed by previous authors of books on ihtisab. The influence of his environment is clearly reflected in the book. Additionally, he introduced chapters and topics that are unique and absent in other ihtisab works.

Al-Sanami was a jurist born around the middle of the 7th century Hijri and passed away during the first quarter of the 8th century Hijri. He was born and lived in India. His full name was Omar bin Muhammad bin Awad, Diya al-Din, al-Sanami al-Hanafi. He was firmly established in piety, religiosity, and the practice of ihtisab (the duty of enforcing public morality). He was known for opposing those who followed innovations and desires. He took knowledge from Kamal al-Din al-Sanami.

Estimate € 5000 - € 7000

Lot 215 A PAIR OF GOLD EARRINGS, NEAR EAST, 11TH CENTURY

The outer element in the form of a horseshoe with a series of loops to the edge, the inner section with two confronting birds perched on circle motifs with small vase on base, with hinged suspension loop to top.

Weight: 9.15 gr.

Diameter: 3 cm.

PROVENANCE

Private collection, Belgium

Estimate € 1500 - € 2000

4

Lot 216

A MUGHAL CALLIGRAPHIC JADE PENDANT (HALDILI), INDIA, DATED

1006AH/ 1598AD

Of drop shape, the jade surface carved with 7ll. of extremely elegant nasta’liq with occasional floral flourishes, the final line dated, silver mounted. Engraved: Ayat al-Kursi, Quran surah al-Baqara, v.255.

Estimate € 2000 - € 3000

4

Lot 217

TWELVE GLASS MOULDED FRAGMENTS, PERSIA OR CENTRAL ASIA

10TH-12TH CENTURY

Twelve rectangular shaped fragments, moulded each with the word “Allah”. Mounted and several sizes, approx. 1 by 1.2 cm / 0.8 by 1 cm.

Estimate € 800 - € 1200

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 € 6000 - € 8000

AN OTTOMAN GOLD KOHL BOTTLE,16TH/17TH CENTURY

A gold kohl container of square shape and tapering neck with eyeliner, decorated in low relief to each side with a flower head surrounded by leaves. Height. 4.5 cm

Weight:19.10 g

Estimate € 2500 - € 3500

Lot 220

A PAIR OF LATE FATIMID GOLD EARRINGS. 12TH CENTURY AD

A pair of later Fatimid earrings from the end of the 12th c AD. The earrings are formed of a thick, circular wire with a device for closing the loop and three large globular beads which are threaded onto the wire and fixed by attachment with beaded spaces which are in turn soldered to the wire. The beads are made from thin sheet moulded into hemispheres which are then soldered at the edges to for a sphere. These were then in turned embellished with twisted wires and beads. The type originally derives from Byzantine prototypes and the interaction between the two cultures is well known in terms of borrowing from each other in the field of jewelry. They are exceptionally well preserved .

44 by 42 by 17 mm. Gold. Late Fatimid 12th. c. AD.

PROVENANCE

Private collection, Belgium

Estimate € 4000 - € 6000

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” ركب وبا 2 cm. height

Weight 6 gr.

Estimate € 1500 - € 2000

Lot 222

A CARTHAGINIAN GOLD RING, CIRCA 7TH6TH CENTURY BC

A ring in pale gold with a round bezel and simple shank made from a square sectioned rod. The bezel is decorated with filigreed granules including two representations of gold necklaces which are the hieroglyphs for the word ‘Good gold’ or ‘negev’. Whether the wearer would have had any idea of the significance of this is an interesting question. The type might have been simply schematic but given its elaboration this is unlikely to be the case.

Bezel diameter: 19 mm., 23 by 21 mm.

Size: 16

Weight: 5.3 gr.

Estimate € 2500 - € 3000

Lot 223

A GOLD ISLAMIC BRACELET, 11/12TH CENTURY AD

A gold bracelet decorated with engraved birds (eagles?) alternating with stylized crosses with quartered with fleur de lys motifs. The motifs are engraved in roundels which alternate between the designs. There are traces of niello in the engraved recesses and this technique was widely used in the eastern Mediterranean at this time, the origins of which go back to the Romans. The clasp or closing mechanism is a commonly used triple lug mechanism which then closes with an inserted pin. The objects using this style are divided between Seljuks, Byzantines, Armenians within the area of Anatolia from where the most of these objects originate.

60 mm. diam., 16 gr. weight

Estimate € 1000 - € 1200

A MAGNIFICENT EARLY ISLAMIC GOLD RING, NEAR EAST 10TH-11TH CENTURY

A large and elaborate gold ring from the 10/11th.c.AD. This exceptional ring shows off the extraordinary skill and virtuosity of the jewelers of the early islamic period. The ring is built up of ‘8’ shaped elements made of flattened wire which are then filigreed to each other to form a sheet which is then fashioned into the required shape. The shank is lined from the inside by a plain gold sheet while all the other edges are formed by a beaded wire running along the joins.The bezel is in the form of a lozenge, and a cabochon garnet is set into the centre, held on a mount surrounded by a plain wire. The technique produced what in effect is a ‘cage’ of strength yet great lightness, a truly remarkable achievement. It is for this factor that the technique was never used again in later times. This ring stands as a testament to the opulence and level of craftsmanship reached during the 12th century/ early islamic period in the urban centers of the manufacture of such items.

Length: 3.8 cm.

EU size: 12

Weight: 10.4 gr.

Estimate € 4000 - € 6000

A MAGNIFICENT EARLY ISLAMIC GOLD RING, NEAR EAST 10TH-11TH CENTURY

A very large and elaborate gold ring from the 10/11th.c.AD. This exceptional ring shows off the extraordinary skill and virtuosity of the jewelers of the Fatimid period, something hardly seen before or since the period of the Fatimid Empire. The ring is built up of ‘8’ shaped elements made of flattened wire which are then filigreed to each other to form a sheet which is then fashioned into the required shape. The shank is lined from the inside by a plain gold sheet while all the other edges are formed by a beaded wire running along the joins.The bezel is in the form of a lozenge, and a cabochon garnet is set into the centre, held on a mount surrounded by a plain wire. The technique produced what in effect is a ‘cage’ of strength yet great lightness, a truly remarkable achievement. It is for this factor that the technique was never used again in later times.

This ring stands as a testament to the opulence and level of craftsmanship reached during the Fatimid period in the urban centers of the manufacture of such items.

44 x 28 x 15 mm Gold and garnet.

Estimate € 5000 - € 8000

A TIMURID SILVER INLAID BRONZE SCROLL HOLDER, 14TH/15TH CENTURY

A silver inlaid bronze scroll holder stylized with on each side with a hanging loop, elegantly inlaid in silver with cartouches enclosing inscriptions of Persian poems in thuluth script. 32.5 cm.

Estimate € 8000 - € 12.000

A RARE PERSIAN GUNNER’S CALIPER PRODUCED FOR THE PERSIAN ARMY, DATED 1154 AH/1741-42 AD

A very rare 18th century Persian gunner’s caliper (also known as gunner’s compass/ gunner’s sector) modelled after one of the various types of gunner’s calipers developed and produced in 18th century England. Despite the fact that English versions of this instrument are quite common, eastern versions seem to be very rare, since there are very few descriptions or references to similar instruments in literature. The Persian caliper at hand seems to be identical to an English gunners caliper auctioned 30th of October, 2019 at Morphy Auctions, as lot. 1187, made by “Gilkerson Tower Hill London”. A quick comparison shows that the numerical tables and engravings correspond almost identically.

The instrument consists of two thin legs or rulers, pivoted with a screw and movable around the screw. Both arms are rounded around the screw. The instrument is engraved on both sides.

The arms on the screw side of the instrument are engraved with scales for measuring lengths and diameters in inches and a tables indicating the amount of gunpowder quantity needed for proof and service for various diameters of brass mortars and howitzers for both sea and land. The screw side also has circular scale for measuring the diameter of bores in the round section.

The reverse of the instrument contains two tables for artillery: one for brass guns on the upper leg and one for iron guns in the lower leg with two rows of numbers. The Persian captions indicating the tables are textually longer than on the English instrument. For example the caption “proof” on the English instrument becomes “gunpowder weight for testing the cannon” on the Persian instrument.

The only inscriptions which are different from the European original are both on the reverse side: (1) the date above the pivot, which reads 1154 (AH) and (2) a vertical inscription indicating “the property of God” left to the pivot.

17.7 cm. length

Estimate € 3000 - € 5000

CATALOGUE NOTE

The gunner’s caliper is a modification of the sector for the use with artillery. The major modification is that the two arms have been hollowed out slightly to allow the user to measure the diameter of canon balls (convex diameter). Most gunner’s calipers also allowed to user to cross the arms over top of each other to measure the diameter inside the mouth (bore) of a cannon.

The arms were usually engraved with various scales and tables such as : scales for concave and convex diameters, degrees and tables for weights of iron shot diameters. This caliper is clearly modeled after 18th century European models

Lot 229

A MUGHAL TALISMANIC BAZUBAND, INDIA 19TH CENTURY

Comprising three rounded panels of agate stones, each engraved with lines of Naskh or Nasta’liq script, set in a hinged silver mount with cusped edges and backs, boldly engraved with flowers and further set with tiny emerald stones.

Engraved on the stones:

Quran Surah Yusuf v. 65.

Quran Surah Al-Kawthar, surrounding ‘’Ali Guardian By Allah’’.

Call to God, The one who is glorious and majestic.

Estimate € 700 - € 1000

PROVENANCE

Private collection, Belgium

Lot 228

A MUGHAL GEM-SET CARNELIAN SILVER-MOUNTED PENDANT, INDIA ,19TH CENTURY

The carnelian, of oval form, is profusely engraved with a central medallion containing an inscription. The border features further bands of inscriptions, set in a silver mounting and adorned with gemstones.

Inscriptions: In the center, an invocation to Allah as ‘O The Preserver,’ surrounded by Surah al-Kursi.

Estimate € 800 - € 1200

PROVENANCE

Private collection, Belgium

Lot 230

A MUGHAL TURQUOISE AND GEMSET SILVER BAZUBAND, INDIA, 19TH CENTURY

Comprising three hinged sections, a central rounded panel of turquoise engraved with lines of Thuluth script is set in a hinged silver mount, surrounded by two rows of gem-set stones and flanked by a pair of fish adorned with gemstones. Engraved: v.13 from surah as-Saf.

Estimate € 700 - € 1000

PROVENANCE

Private collection, Belgium

A MUGHAL RUBY-SET BAZUBAND WITH INSCRIBED MOTHER-OF-PEARL , INDIA 19TH CENTURY

An Indian bazuband, the piece features a central oval panel meticulously set with two concentric rows of faceted rubies, framing a carved white moth-of-pearl inlaid with elegant Arabic calligraphy, religious inscription.

The central compartment is designed as a locket, hinged to reveal an inner cavity—traditionally used to hold talismanic or scented elements. Flanking the center are symmetrical foliate side panels, also set with vibrant rubies in openwork silver settings, forming a seamless continuation of the opulent design. 11.3 by 4.2 cm.

Inscriptions:

In nastali’q script ‘’ “O Allah, send blessings upon Muhammad and the family of Muhammad.”

Estimate € 2000 - € 3000

PROVENANCE

Private collection, Belgium

A MUGHAL GEM-SET GOLD NECKLACE, TWO EARRINGS AND A RING, 19TH CENTURY

Each square element set with turquoise gem-stone with pendant pearls, the earrings and the ring set with a turquoise stone.

Earrings: 28.34 and 28.62 gr. Length 7.3 cm.

Ring: 6.09 gr. Diam. 1.7 cm.

Necklace: 166.15 gr.

Estimate € 3000 - € 5000

233

A MUGHAL GEM-SET ENAMELED GOLD NECKLACE LATE 18TH CENTURY

Each square element set with nine ruby gem-stones with pendant pearls, the reverse decorated in red, green, white and turquoise enamels with floral motifs.

Width: 15 cm.

Weight: 69.07 gr.

Estimate € 3000 - € 5000

A PAIR OF ENAMELLED GOLD EARRINGS, QAJAR PERSIA, 19TH CENTURY

Each with an upper gadrooned shallow domed section above a larger well rounded domed element above a lower bell-shaped pendant, the main central element with polychrome enamelled flowering sprays above a band of stylised floral motifs, the upper section with similar simpler motifs to each gadroon, the pendant with flowerheads within rectangular panels, a band of pendant pearls around the lower level of each element, the lower elements with further hanging gold leaf motifs, wire loop above.

Length: each 10.8 cm.

Weight: 17.56 and 17.86 gr.

Estimate € 3000 - € 4000

Lot 235

A PAIR OF QAJAR GOLD AND ENAMELLED PENDANT EARRINGS, PERSIA, 19TH

CENTURY

Comprising three suspended pendant elements, decorated in polychrome enamels with floral motifs on a gold ground, fringed with pearl-like elements.

Length: each 8.8 cm.

35.18 g.

Estimate € 4000 - € 6000

Lot 236

A

SAFAVID GILT DECORATED DAGGER, PERSIA,

17TH CENTURY

The watered steel blade with thickened spine, central ridge with raised lobed cartouches, the blade and spine gilt decorated with fighting animals, the join with single gilt flowers.

Length 41 cm.

Estimate € 4000 - € 6000

A NIELLOED CAST BRONZE INCENSE

BURNER, KHURASAN, PERSIA, 11TH-12TH CENTURY

Cast bronze with engraved and punched decoration with niello, knop-head lid with central vertical aperture, carved with foliate Kufic band on lid and scrolling palmettes on body, old collector’s number written under foot ‘MTW 328’

Height: 9 cm.

Diam. 6 cm.

Inscriptions

Repeat of: ‘Perpetual glory’

CATALOGUE NOTE

Reminiscent of Buddhist reliquaries, the shape of this incense burner sits at the crossroads of cultures. The technique itself of engraving with niello highlights with an emphasis on foliate palmettes (either on the vines or in the calligraphy) is seen on metalwork from Spain to Persia. A sword pommel in the Furusiyya Art Foundation, attributed to Syria or Persia, ninth-tenth century, displays a similar niello and silver aesthetic with foliate Kufic (inv. no.R-623, see Furusiyya Art Foundation 2008, p.106, no.68).

Estimate € 2000 - €3000

Lot 238

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

Of cylindrical form, on a splayed base, decorated with narrow bands of scrolling palmettes and floral arabesques, the neck with a central band comprising an inscription in nastaliq.

Height: 27.5 cm.

Estimate € 1500 - € 2000

A MOSQUE LAMP, BRONZE WITH CLOISONNÉ ENAMEL DECORATION, CHINA, LATE 19TH CENTURY

Mosque lamp, bronze with cloisonné enamel decoration.

25.5 cm. high, 24 cm. diam.

67.5 cm total height

CATALOGUE NOTE

As early as the 9th century, a large number of products were made in China for export to the Islamic world. Porcelain and textiles were the most important trade goods, but refined works of art in other materials could also be sold, especially if they were furnished with Arabic inscriptions. This lamp, which was probably made for a local Chinese-Muslim clientele, illustrates a fascinating mixture of traditional Chinese and Muslim craft traditions. While the form and script can be related directly to the mosque lamps of the Arab world, the style of the decoration, with lotus patterns, is characteristically Han Chinese.

The cloisonné enamel technique was evidently already known in China in the late Yuan period (13th-14th century), but developed in earnest under the succeeding dynasties. In this technique, glass paste of various colors is placed within pattern-shaping enclosures (cloisons) in metal objects, usually copper or bronze. The decorated object is then fired until the glass melts, after which the surface is polished until it is smooth and even.

Estimate € 8000 - € 12.000

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

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.

Length: 51 cm.

Estimate € 5000 - € 8000

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.

Lenght: 50 cm.

Estimate € 3000 - € 5000

Lot 241

FOUR SYRIAN MOTHER-OF-PEARL INLAID WOODEN CHAIRS AND TABLE SYRIA-DAMASCUS, LATE 19TH CENTURY

Four Damascus chairs and an octagonal table, pierced and inlaid with mother-of-pearl, decorated and engraved with Islamic Arabic calligraphy.

Arm chair width 58.5 cm., height 109.5 cm., depth 58.5 cm.

Chair: width 45.5 cm., height 110 cm., depth 48.5 cm.

Table: width 52 cm., height 65 cm., depth 52 cm.

PROVENANCE

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

Estimate € 4000 - € 6000

KRISHNA AND RADHA PLAYING HOLI INDIA, BUNDI, CIRCA 1820-1830

Opaque watercolor and gold on paper . 33 by 29.6 cm.

Krishna and Radha Playing Holi India, BUNDI, circa 1820-1830

Depicting Krishna and Radha surrounded by gopis in a Garden, the figures participating in the Holi festival splashing orange pigments.

Estimate € 1800 - € 2200

Lot 244

AN ILLUSTRATION TO A RAGAMALA SERIES: DIPAK RAGA, AMBER, RAJASTHAN, CIRCA 1700

Opaque pigments heightened with gold on paper 31 by 21 cm.

Estimate € 1500 - € 2000

Lot 245

KRISHNA ON A CHARIOT: KISHANGARH SCHOOL, 18TH CENTURY

Opaque pigments with gold on paper. 34 by 19 cm.

Folio from a Bhagavata Purana manuscript with black Devanagari script on the verso.

Estimate € 1800 - € 2200

Lot 246

A SIKH SOLDIER SEATED ON A HORSE COMPANY SCHOOL, DELHI, CIRCA 19TH CENTURY

A Sikh soldier seated on a horse holding a lance.

Opaque pigments on paper. 22 by 18 cm.

Estimate € 800 - € 1200

AN ILLUSTRATION OF

IN HIS COSMIC FORM MEWAR, RAJASTHAN, CIRCA 19TH CENTURY

Gouache heightened with gold on textile. 88 by 132 cm.

Estimate € 3000 - € 4000

Lot 247

HANUMAN

Gouache heightened with gold on paper, Maharana Ari Singh aims a long gun. And a princess is also depicted aiming a gun through a window in an elegant hunting lodge at a tiger which is attacking. Ladies of the court in elegant gold and orange costumes behind with the rest of the hunting party, the landscape at dusk set with trees and intersected by a meandering stream. 43 by 33.3 cm.

Estimate € 1800 - € 2000

Lot 248

MAHARANA ARI SINGH HUNTING MEWAR, RAJASTHAN, INDIA, CIRCA 19TH CENTURY

Lot 249

Gouache heightened with gold on paper, the ruler sitting against a bolster and with a hookah pipe in his hand and attendants stand behind. He watches a dance performance accompanied by a band of musicians. 59 by 46.5 cm.

Estimate € 1500 - € 2000

MAHARANA JAGAT SINGH II OF UDAIPUR WATCHING A DANCE MEWAR, CIRCA 19TH CENTURY

Lot 252

A MAHARAJA AT WORSHIP BUNDI

OR KOTA, RAJASTHAN, INDIA, CIRCA 1820

Gouache heightened with gold on paper.

30 by 23 cm

25 by 18 cm

Estimate € 1500 - € 2000

Lot 250

A FANCIFUL ORGY JODHPUR,NORTH INDIA, CIRCA 19TH CENTURY.

Indian miniature painting depicting a chaotic brawl among a group of men beneath a large, dense tree. Dressed in colorful turbans and robes, the figures are shown in dramatic poses, emphasizing emotion and movement. The background features a distant palace and lush landscape, rendered in fine detail and vibrant color,

Estimate € 1200 - € 1500

Lot 251

AN EROTIC PAINTING OF AN AMOROUS COUPLE JODHPUR, MARWAR, RAJASTHAN, NORTH INDIA, 19TH CENTURY

18 by 23 cm.

Estimate € 700 - € 900

Lot 253

FIFTEEN ILLUSTRATED LEAVES FROM A MANUSCRIPT ON HORSES, INDIA, RAJASTHAN, 19TH CENTURY

Pencil, ink and gouache on paper, lines of Devanagari above, narrow yellow border, black rules, buff margins, the reverse of some of the folios with further lines of Devanagari and illustrations . Drawing: 24 by 17.5 cm.

CATALOGUE NOTE

These illustrations were painted by a company school artist and would have originally been part of an equine medical manuscript. The manuscript is likely to have been a collection of treatments and procedures based on the Shalihotra Samhita treatise.

Estimate € 3000 - € 5000

254

AN ILLUSTRATION TO THE LANKA KANDA OF THE RAMAYANA: RAMA AND LAXMANA FIGHT WITH KUMBHAKARNA, NORTH INDIA, GULER OR KANGRA, CIRCA 1850

Gouache heightened with gold on paper. 37 by 49 cm.

Estimate € 1500 - € 2000

Lot 255

AN ILLUSTRATION TO A RAGAMALA SERIES BUNDI, NORTH INDIA, CIRCA 18TH CENTURY

Gouache heightened on gold on paper.

Estimate € 1000 - € 1500

Lot

A PORTRAIT OF MAHARAJA GULAB SINGH, NORTH INDIA, 19TH CENTURY

Water color on paper. 20.1 by 30.3 cm.

Estimate € 1500 - € 2000

DESAKH RAGINI, WRESTLERS PERFORMING IN A LANDSCAPE, ORRCHA SCHOOL, CENTRAL INDIA, CIRCA 1770

Leaf from a Ragamala series, Desakh Ragini. Gouache and gold on paper.

32 by 19 cm.

CATALOGUE NOTE

Ragamala paintings are inspired by a genre of poetry that assigned a specific form, mood and ambience to various musical modes. The paintings employ human characters to personify the ragas and along with various props and architectural compositions, convey the emotional state of the corresponding music and its poetic symbolism.

These illustrations therefore form a bridge between music, poetry and painting. This particular Ragamala depicts pursuits of athletics prowess and strength, including wrestling (considered a noble activity in the Mughal era), as well as weightlifting and archery.

Estimate € 1000 - € 1200

Lot 257

AN ILLUSTRATION FROM THE RAGAMALA SERIES, RAGA BASANT, MALWA

CENTRAL INDIA, 17TH CENTURY

Opaque watercolor on paper. 29 by 23.5 cm.

Estimate € 1500 - €2000

Lot 258

Lot 259

AN ILLUSTRATION FROM THE RAGAMALA SERIES, SHRI RAGA, CENTRAL INDIA, MALWA 17TH CENTURY

Opaque watercolor on paper. 29 by 21.5 cm.

Estimate € 1500 - € 2000

Lot 260

A PORTRAIT OF A YOUNG RAJA HIRA SINGH, PUNJAB PLAINS, NORTH INDIA, 19TH CENTURY

Seated holding a rose. 19.5 by 25.5 cm.

Estimate € 600 - € 800

Lot 261

A PRINCE ENTERTAINING HIS MISTRESS WITH MUSICIANS ON A TERRACE, INDIA, 19TH CENTURY

Lucknow or faizabad.

Gouache heightened with gold on paper. With the artist’s name.

At the bottom right of the painting,Jahan Shud Mahir. 22 by 30.5 cm.

Estimate € 1000 - € 1200

A PRINTED SALIHOTRI A TREATISE ON HORSES

Printed in Steampress Bombay, India, Dated Samvat 1963 Shaka 1828. The illustrations depicting various horses’ coats colours and their markings, postures and behaviour, paces. 25 by18 cm.

Estimate € 800 - € 1200

A RASULID LACQUERED WOOD INCENSE BURNER, SOUTH ARABIA, 15TH CENTURY

A rare and intricately carved incense burner, made from wood and adorned with delicate polychrome lacquering, the burner features an octagonal body crowned with a domed openwork cover. Each panel is meticulously pierced and decorated with stylized Arabic calligraphy in thuluth script, framed by floral motifs rendered in vibrant tones of red, green, blue, and gold.

The hinged door reveals the hollow interior where incense would have been placed, allowing fragrant smoke to diffuse through the elaborate openwork. Despite signs of age and wear—including some losses to the wood and pigment—the piece remains a striking example of late medieval Islamic devotional and domestic artistry, reflecting both functional and spiritual purpose.

Inscriptions:

Dome: part of v.13 from surah al-Saff.

Body: poems

Estimate € 6000 - € 8000

Lot 264

A KHOLMOGORY SCHOOL CARVED BONE BOX WITH MUGHAL INFLUENCE 18TH CENTURY

The whole is richly carved with openwork plaques, which are heavily- inspired by Mughal decoration. The decorative plaques represent love, birds, dogs, squirrels and hunters, along with foliate-silhouetted rocks. The bottom part with interlaced quatrefoils; fleurs-de-lys, branches, foliage. Kholmogory School, Arkhangelsk region

Height: 28.2 cm.

Length: 38 cm.

Estimate € 3000 - € 5000

A PERSIAN TINNED AND ENGRAVED TABLEAU SIGNED BY MASTER MAHDI ALAMDARI, 20TH CENTURY

A Persian silver tableau of rectangular form, engraved at the center with a roundel depicting the famous Persian poet Ferdowsi, shown seated, calm, and contemplative, representing his dedication to preserving Persian culture through the Shahnameh. Surrounding him are scenes of the legendary hero Rostam in battle—most notably his iconic encounters with the dragon and the White Demon. These dynamic scenes celebrate Rostam’s courage and embody the heroic spirit of Persian folklore.

Crafted by the esteemed Persian engraver Mahdi Alamdari, this piece is a tribute to Ferdowsi and his masterwork, the Shahnameh (The Book of Kings). Using the traditional Persian technique of ghalamzani (silver engraving), Alamdari has presented this tableau as a symbolic gift from Ferdowsi to Sultan Mahmud of Ghazni, hinting at the complex historical relationship between the poet and the ruler. The intricate borders, adorned with floral and geometric patterns, showcase Alamdari’s expertise in ghalamzani. This tableau not only honors Ferdowsi’s literary legacy and Rostam’s mythic heroism but also embodies Persian pride and the traditional artistry of silver engraving.

Measurements: 65.5 by 49 cm.

Height 3 cm.

CATALOGUE NOTE

Mehdi Alamdari’s artwork has gained international recognition, being featured in exhibitions and auctions across Europe and North America. His creations, known for their intricate engravings and Persian calligraphy, highlight Persian cultural themes. Among his celebrated pieces is Presidents of the United States: From Washington to Bush, an engraving on silver-plated copper that took three years to complete. This piece was displayed in the Atrium Gallery at Brigham Young University in 2016 as part of the Mary and Hooshang Farahnakian collection.

Alamdari has also showcased his work in collective exhibitions of Iranian and Islamic art, such as those organized by the Mehr Cultural Society, and has participated in major art festivals across the Middle East and the United States.

Estimate € 6000 - € 8000

266

A LARGE QAJAR UNDERGLAZE-PAINTED POTTERY TILE, PERSIA, 19TH CENTURY

Of rectangular form, molded and decorated in polychrome with ladies picnicking alongside female musicians in a landscape amidst flowers and blossoming trees, with a pavilion in the background; the raised border features an undulating floral vine.

Estimate € 3000 - € 5000

A PERSIAN POTTERY TILE, QAJAR 19TH

CENTURY

Tile with a horsemen and a falcon in relief, painted in underglaze blue, turquoise and green with a horseman with falcon in a landscape.

Tile: 14 by 19 cm.

Frame: 22 by 27 cm.

Estimate € 800 - € 1200

Lot 268

A MUGHAL ROCK CRYSTAL GEM SET ARCHERS RING, INDIA, 19TH CENTURY

Of conventional drop-like shape, with an elongated cusped flange in the front and a pinched wall at the back, the ornate exterior enhanced with a central large flowering rosette head spraying vegetal meanders, encrusted with rubies and turquoise stones.

EU size 25 5 cm by 2 cm .

Estimate € 600 - € 800

269

A VERY RARE GLASS BIRD, NEAR EAST, 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 € 4000 - € 6000

A LARGE MOULD-BLOWN BLUE GLASS BOTTLE-VASE OR SPRINKLER, PERSIA, 12TH CENTURY

With compressed mould-blown globular body, the base with a moulded five-petalled flower head, the freeblown upper section with coiled trail.

Height: 28 cm.

Estimate € 3000 - € 5000

A

RAQQA TURQUOISE GLAZED POTTERY BOWL, SYRIA,13TH-14TH CENTURY

Rising from short vertical foo to a slightly everted rim, the interior painted in black under the turquoise glaze with a central roundel of interlocking flower sprays, to the rim with a band of Arabic inscriptions in Kufic script.

Height 7 cm.

Diam. 15.5 cm.

Estimate € 800 - € 1200

A LARGE RAQQA UNDERGLAZE PAINTED POTTERY EWER, SYRIA, 12TH13TH CENTURY

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

Height 34.4 cm.

Estimate € 2000 - € 3000

Lot 271

Lot 272

A MAMLUK POTTERY TILES PANEL, SYRIA DAMASCUS CIRCA 1420-50

A pottery arch shaped panel consisting of 6 tiles, painted in cobalt blue, turquoise and opaque white with manganese purple with large cartouches enclosing inscriptions in reverse-decoration and naskh script, flanked by two roundels enclosing the words “ Allah, Muhammad”, under a band of vegetative motifs.

Inscriptions: A poem in praise of the prophet “

Length: 122 cm

Estimate € 1500 - € 2000

Lot

A KASHAN POTTERY JUG, PERSIA EARLY 13TH CENTURY

Rising from slightly spreading conical foot through rounded bulbous body to pronounced collar, the vertical mouth with slightly flaring rim and a short loop handle, decorated in cobalt-blue and black on a white ground with a broad band of flower heads flanked by foliate motifs, a bove a band of swimming fish.

Height: 12.5 cm.

Estimate € 2000 - € 3000

Lot 273

274

Lot 275

A PERSIAN LUSTRE KASHAN JUG, 12TH-13TH CENTURY

Standing on a small foot with handle, decorated in brown on a crackle glaze with panels enclosing flowers and divided by an Arabic inscription in Kufic script. The base is unglazed.

14 cm. high

Estimate € 1500 - € 2000

Lot 276

AN IRIDESCENT TURQUOISE BLUE GLAZED POTTERY JUG,

KASHAN, 12TH CENTURY

A kashan jug with rounded ribbed body and cylindrical neck standing on a small unglazed foot, covered with a turquoise glaze.

Height 18 cm.

Estimate € 1000 - € 1400

AN AMBER GLASS JUG, PERSIA, 10TH-11TH CENTURY

This alluring glass jug is a fine example of Islamic glass making from the early Medieval Islamic Period. Glass making production after the fall of the Roman Empire fell in to decline across the Near East, except for in the areas of modern day Egypt, Syria and Iraq, where its traditions continued, being passed on to Medieval craftsmen. As furnace technology improved, allowing wider variety of production, many new styles evolved, and the early Medieval Period between the 8th and the 12th centuries produced some of the most unique and playful glass from the across of Islamic world, little of which unfortunately survives due to its fragile nature .

This fine example consists of a rounded body, made using the dip-moulding technique where a parison of molten glass is be dipped in to a mould then tooled, blown or manipulated against the edges in to various forms . It exhibits a characteristic softly moulded pattern of raised, rolling lines across the body of the glass that radiate from the upper body in irregular curves, adding an element of decoration. This effect is achievable through the dip-mould technique and adds a sense of dynamism to the jug, making it appear almost organic, whilst the rich colour was probably achieved with the addition of Manganese inclusions during the melting process . The narrow neck, with a single ridged detail tapers to a drop-shaped spout with a slightly inverted rim that sits above a beautiful section of detailing around the neck of an undulating trail design of thick glass. A separately moulded glass handle applied when the body was still hot also exhibits and elegant trail motif at the upper end.

Height: 15 cm.

Estimate € 1200 - € 1500

AN UMAYYAD GLASS BEAKER, NEAR EAST 7TH8TH CENTURY

Of tapering cylindrical form broadening toward the mouth, clear glass body with rings around it. 14.7 by 8.5 cm.

Estimate € 2000 - € 3000

A

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

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

Approx 28 by 27.5 cm.

CATALOGUE NOTE

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

Estimate € 8000 -€ 12.000

PROVENANCE

Private collection, Germany

A FOLIO FROM A PERSIAN EPIC, GULISTAN,

SAFAVID, 17TH CENTURY

Persian manuscript on paper, written in different colours and Nastali’q script, poems and text depicts stories from the first chapter of Kulliyat al-Sa’di (On the Conduct of Kings). Laid down on an album page, the margins are stylized with gilt blossoming lotus scrolls.

Text: 23 by 13 cm.

Page: 35.5 by 22 cm.

Estimate € 2500 - € 3500

A FOLIO FROM A PERSIAN EPIC, GULISTAN, SAFAVID, 17TH CENTURY

Persian manuscript on paper, written in different colours and Nastali’q script, poems and text depicts stories from the first chapter of Kulliyat al-Sa’di (On the Conduct of Kings). Laid down on an album page, the margins are stylized with gilt blossoming lotus scrolls.

Text: 22.5 by 13.5 cm.

Page: 35.5 by 22 cm.

Estimate € 2500 - € 3500

Lot 281

Lot 282

HAFIZ SHAMS AL-DIN SHIRAZI (D.1389 AD), DIWAN, NORTH INDIA KASHMIR, DATED 1231 AH/1815 AD

Persian manuscript on paper, 193 ff. with 14 lines to the page arranged in two columns separated by gilt floral scrolls, written in nasta’liq script within clouds against a gold ground, ruled in gold, red and blue borders, f.1b and f.2a with an illuminated frontispiece in blue and royal gold decorations, in fine deep red leather binding. Text panel: 6.5 by 12 cm.

Leaf: 9.5 by 16 cm.

Literature

N. Safwat, A Collector’s Eye. Islamic calligraphy in Qur’ans and other manuscripts, London 2010, no.59, p.230.

CATALOGUE NOTE

Similar lot of Hafiz’s Diwan copied in Kashmir was sold in Sotheby’s auctions, 11 October 2006, lot 24.

Estimate € 3000 - € 4000

Lot 283

FIRST BOOK IN DISSECTION OF THE HUMAN BODY, PERSIA, 18TH/19TH CENTURY

Persian manuscript on paper, 90 leaves with 2 fly-leaves, 16 lines to each page, written in black nastaliq script, catchwords and titles in red ink, ruled in blue border, the first page with gilt and striking blue decoration at the top.

This book contains two main chapters:

The first chapter deal with osteological dissections, types and sizes of the bones, joints and vertebrae, all kinds of bones in the chest, head and the skeleton.

The second chapter deals with muscles, types and sizes of the muscles, their location and functions, face muscles, skeleton muscles, etc. In brown morocco binding stamped with gilt floral motifs. 15 by 20 cm.

Estimate € 4000 - € 6000

A RAQQA TURQUOISE GLAZED POTTERY DISH, SYRIA, EARLY 13TH CENTURY

A pottery dish rising from short vertical foot through rounded body to everted rim, the interior painted in black under the glaze with a central roundel enclosing two elegant birds perched on a blossoming branch, surrounded by a diaper band of triangles.

Similar underglaze painted objects are usually attributed to Raqqa, a town on the Euphrates in northeast Syria, from which a large number appeared on the market since the end of the 19th century. While some of the workshops were located there, as the unearthing of a large number of wasters confirms, others were located elsewhere along the Euphrates valley, in southern Anatolia, central Syria, Damascus and as far as Egypt.

Estimate € 2000 - € 3000

A GILT-COPPER OPENWORK FINIAL,15TH CENTURY

Possibly of a standard, of circular form, decorated with three lines of elongated Thuluth script below a lamp emblem, remnants of gilding, heavy corrosion.

Diameter: 30 cm.

The partially legible inscriptions include the following:

Upper band: Allah … Muhammad

Central band: rasul Allah, Abu-Bakr…..

Lower band: ‘Umar al-faruq, ‘Uthman dhi’l nurayn.

Estimate € 8000 - € 12.000

This finial bears the names of the rightful Calips below the name of God and his Prophet Muhammad. Its form suggests it was a finial within a religious context. The script is clearly Mamluk in feel, as is the use of gilt-copper, even though the execution is relatively provincial. The tripartite division of the roundel also immediately suggests the Mamluk blazon concept, particularly from the later period, while the upper lamp also echoes the saqi or cup-bearer’s blazon. This echo Is enhanced by the upper band above the motif, similar to the upper part of a tripartite blazon.

But the ‘blazon’ is a mosque lamp, not a cup, and the inscription is clearly completely religious, even if not all is easily decipherable. The form suggests a processional standard, but it has to be Sunni rather than Shiite, and in any case the support would need reinforcement were it to have been used on top of something that moved. It seems much more probable that it was made for use in a static context, potentially on top of an architectural element of possibly a furnishing such as a minbar.

One further clue is given by the arrangement of the script. The larger bolder lettering runs the full height of each register, while through the centre runs a secondary series of words which are more angular and at times have elements, particularly the long horizontals that are more akin to kufic than to cursive scripts. This overlaying of a minor band of kufic through a band of larger cursive script was not a feature of Mamluk architecture, but is found throughout the Timurid world, possible indicating an origin near the borders with the Timurid realm.

PROVENANCE

286

AN EARLY SAFAVID PIERCED BRONZE PROCESSIONAL STANDARD (‘ALAM) PERSIA,

DATED 924 AH/1518 AD

Of drop form, surmounted by a small jar, the cut-steel body around two central drop shapes formed of solid steel engraved with scrolling vine, a broad outer border with surah Al-Ikhlas in elegant thuluth on a ground of scrolling vine, surrounded on the outside by a solid band issuing alternating pendants. Length: 52.5 cm.

PROVENANCE Private collection, Germany

CATALOGUE NOTE

A very similar example can be seen in Al-Sabah collection, ‘Islamic Art and Patronage: Treasure from Kuwait’ exhibition at Auckland Museum 2003 from April 17th to June 22nd. Standards, military, religious and royal, can be traced back through the history of Persia, and examples have been noted in Luristan, Achaemenid and Sasanian art. The use of steel or brass standards in Islam can be traced back to at least the 14th Century and their current form, with almond-shaped centre, ornamental point and dragons’ heads turning outwards, dates back to the mid-15th Century, as documented in miniature paintings. A miniature from the 1475-81 Khamseh of Nizami, produced in Tabriz and now in the Topkapi Saray Museum shows thirteen examples of this type of standard (Basil Gray, The Arts of the Book in Central Asia, Unesco, 1979, pl. 134).

Estimate € 6000 - € 8000

A LARGE POST SASSANIAN TURQUOISE GLAZED POTTERY STORAGE JAR PERSIA, 6TH-8TH CENTURY

Of shouldered rounded form rising from the short foot to the tapering cylindrical mouth with everted rim, four handles to the shoulder, the lower shoulder with a band of decoration, similar applied small roundels above and below.

PROVENANCE Private collection, Germany

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 € 5000 - € 8000

Lot 288

A PERSIAN BRASS TORCH STAND, EARLY QAJAR PERIOD

The cylindrical shaft on a flaring foot, with an everted rim, divided into three sections by raised ribs, is profusely engraved and decorated. The central section is engraved with two rows of cartouches enclosing figures playing music on instruments, set against a dense foliated ground. The upper and lower sections are stylized with engraved deer and cranes amidst blossoming branches, under a band of classic flower heads.

€ 800 - € 1200

Lot 289

A SILVER AND NIELLO BRACELET WITH KUFIC INSCRIPTION, 11TH-12TH CENTURY

A silver bracelet nielloed with two roundels enclosing two facing birds and deer, further stylized with two cartouches of Arabic inscriptions in elegant Kufic script reading “ al-Kamal wa al-Jamal: perfection and beauty”.

Weight 41.88 gr. 5 by 5 cm.

PROVENANCE

Private collection, Germany

Estimate € 1000 - € 1400

Estimate

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

PROVENANCE

Private collection, Germany

Estimate € 6000 - € 8000

A BOOK IN PALMISTRY, WRITTEN IN 1250 AH/1834 AD

Arabic manuscript in paper, each page with 15 lines written in black naskh script, titles and catchwords in red ink, 6 hand illustrations with explanations, tables with notes and drawings. In brown leather binding. 15 by 22 cm.

Estimate € 1500 -€ 2000

Lot 292

AN OTTOMAN POETRY AND ASTROLOGY BOOK, 18TH CENTURY

Ottoman Turkish manuscript on paper, 53 leaves. with 2 fly-leaves, written in black ink, titles and catchwords in red ink, ruled in red border. Large circles in red ink, Arabic poetry translated to Ottoman Turkish arranged in two columns of different famous poets of pre-islam, umayyid, and abbasid periodes. 17 by 26 cm.

Estimate € 1000 -€ 1200

293

A KASHAN POTTERY JUG, PERSIA 11TH-12TH CENTURY

A Persian pottery jug with a globular body on a short foot with a cylindrical neck and strap handle, the body with a frieze of vertical cobalt-blue bands on a white ground, the neck with a band of cursive inscription incised through a black band.

Inscriptions: repeating inscriptions of Kalimaat al-Tawhid in naskh script.

Height: 15 cm

Estimate € 3000 -€ 6000

A KASHAN BLUE AND WHITE POTTERY EWER, PERSIA 11TH/12TH CENTURY

The ewer is of cylindrical form on a very short foot with flattened shoulder, tapering neck rising to a flaring mouth, a small spout with a strap handle connecting the rim with the shoulder. The surface simply decorated with vertical bright blue stripes, light blue accretions on mouth. Finely crafted glazed ceramic jug originates from Kashan and dates back to the 11th to 12th century AD. It features a cylindrical body resting on a shallow foot, with a gentle outward flare near the base of the neck. The jug is topped with a narrow spout and adorned in cobalt-blue underglaze on a white background. Decorative panels radiate upward toward the neck, and a solid cobalt band elegantly encircles the rim.

Height . 22 cm.

diameter 13.5 cm.

Estimate € 3000 -€ 5000

A KASHAN POTTERY BOWL, PERSIA, 13TH CENTURY

A Persian pottery bowl of truncated conical form with flaring walls and straight vertical foot, the fritware body painted in blue with black outlines and dots under a transparent glaze, decorated with a central star-shaped panel connecting with leaves and leafy sprays, the rim with a band containing pseudo-Arabic inscriptions in cursive script on a black ground. The exterior divided with stripes featuring stylised vegetal motifs.

Diameter 20.5 cm.

Height 10 cm.

Estimate €1200 -€ 1500

A SAFAVID CUT STEEL PANEL IRAN, 17TH, CENTURY

The cartouche of rectangular form with cusped ends and small arch at the centre of each horizontal edge, the body with extremely elegant and bold calligraphy against a background of finely worked cut steel spiralling tendrils issuing palmettes, leaves and flowerheads.

Inscriptions: “

, far better is the eternal Home of the Hereafter for those mindful of Allah, v.32 of surah Al-An’am. 22 by 62 cm.

Estimate € 2000 - € 3000

Hajj and The Arts of Pilgrimage

AN UNIQUE AND COMPLETE OTTOMAN GILT AND SILVER-EMBROIDERED BELT OF THE PROPHET’S TOMB/ NITAQ, COMMISSIONED BY SULTAN MAHMUD II AND DATED 1234 AH/1818 AD

An Ottoman silk, gilt, and silver-thread embroidered calligraphic band (Nitaq) from the Prophet’s tomb in Medina.Embroidered name of Sultan Mahmud II, dated 1234 AH / 1818 AD.

Calligrapher: Sultan Mahmud II.

Measurement: 63 cm by 33.55 meters.

Of elongated rectangular form, the crimson red silk ground is heavily embroidered in silver and gilt wires, featuring chain and floral borders above a band of gilt and silver-wired floral motifs. The main ground is divided into three sections, with two large cartouches, each containing an elaborate frieze of inscriptions in elegant Thuluth script in gilt and silver wires.The first large cartouche is flanked on both sides by two panels heavily embroidered with gilt floral motifs on a silver-embroidered ground, enclosing a large inscription in elegant Thuluth script in gilt-embroidered wires.

Inscriptions: Verses 1-14 from Surah Al-Fath (The Victory).

The small central cartouche is embroidered with gilt floral motifs, enclosing the name of Sultan Mahmud II bin Abdul-Hamid Khan and dated 1234 AH / 1818 AD on a heavily silver-embroidered ground.

The second large cartouche is flanked on both sides by two panels heavily embroidered with gilt floral motifs on a silver-embroidered ground, enclosing a large inscription in elegant Thuluth script in gilt-embroidered wires.Inscriptions: The renewal of this holy band (Nitaq) was ordered and inscribed by the great Sultan, the almighty ruler, Servant of the Haramayn al-Sharifayn (The Two Holy Mosques), the second conqueror Sultan Ghazi Mahmud Khan, son of the conqueror Sultan Ghazi Abdul Hamid I Khan, son of the conqueror Sultan Ghazi Ahmed Khan. May Allah render his state/reign eternal and dedicate his victories to our pure faith, Islam. Amen. May Allah forgive the sins of his parents and ancestors.

CATALOGUE NOTE

The interior walls of the Shrine of the Prophet Muhammad (Rawda) in the Masjid al-Nabawi (Mosque of the Prophet) in Medina were adorned with exquisite textiles similar to those used for the Ka‘ba in Mecca. However, unlike the Meccan Kiswah, which is replaced annually, the Kiswah of the Rawda was changed far less frequently. Protected within the sacred chamber, it remained shielded from human contact and environmental wear.Historically, while the Kiswah of the Ka‘ba was traditionally produced in Egypt, the textiles of the Rawda were most likely crafted in Ottoman Turkey. The intricate designs and high-quality craftsmanship reflected the deep reverence for this sacred space. The belt of the Prophet’s tomb was attached to a zigzag-patterned curtain that draped over the exterior walls of the Maqsurah, the enclosure surrounding his tomb chamber.

The Rawda holds immense spiritual significance in Islam. It is regarded as a “garden from the gardens of Paradise,” as mentioned in Hadith, and is a highly revered space where pilgrims strive to pray. Marked distinctly by a green carpet, the Rawda stands out from the surrounding red-carpeted sections of the mosque, symbolizing its unique sanctity.

Literature:

A similar piece, dated AH 1206, is housed in the Topkapi Palace Museum, Istanbul. See Hülya Tezcan: Astaar al-Haramayn, Istanbul, 1996, pp. 160-161.

A similar but incomplete piece was sold at Christie’s, London, on 26 April 2005, lot 50.

A similar section of the belt, featuring the Tughra of Sultan Selim III, is part of the Khalili Collection, accession number TXT 261.

Estimate € 120.000 - € 150.000

Lot 298

A HEXAGONAL GOLD GEMSET QURAN CASE CUM PENDANT, LUCKNOW OR DECCAN, 19TH CENTURY

A gold box of hexagonal form with canted corners, the underside inset in a floral pattern, the cover decorated the Kaaba with two angels, surrounded by small rubies. 4 by 4 cm.

Weight: 52.7 gr.

Estimate € 3000 - € 5000

TWO PANORAMIC VIEWS OF MECCA AND MEDINA, INDIA, 19TH CENTURY

Gouache heightened with gold on card, with a detailed depiction of the masjid al-Haram and the Kabaa, showing the Mosque with six minarets and with an arcaded outer wall with small domes, surrounded by the houses of Mecca, inside the mosque kiosks are shown along with an arched entrance to the inner sanctuary.

35 by 49.5 cm.

Gouache heightened with gold on card, with a detailed depiction of the masjid al-Nabawi, showing the Mosque with four minarets, two large domes with an arcaded outer wall with small white domes, surrouded by the houses of Medina inside the walls.

Estimate € 12.000 - € 15.000

Lot 299

Lot 300

AN

OTTOMAN

COMPILATION OF PRAYERS, HOLY PLACES AND PROPHETS’ ITEMS

BY ABDU AL-AZIM AL-KHASAWI STUDENT OF THE FAMOUS IBRAHIM RUSDI EFENDI

IN 1252 AH/1836 AD

Arabic and Ottoman Turkish manuscript on paper, 18 leaves plus 2 fly-leaves, written in elegant naskh, Ruqaa and thuluth script, titles in red and black ink within cartouches, each page with a double border enclosing prayers upon the prophet in red and black ink, a roundel at the top of each page enclosing a Beautiful name of ‘ Allah’ in large white thuluth script, 18 folios illustrated with depictions of Holy places in Mecca, medina, Syria, Quds with different holy items. In later gilt deep brown leather brown morocco binding with flap. 23 by 32 cm.

Estimate € 4000 - € 6000

CATALOGUE NOTE

This extensively and lavishly illuminated compilation includes 34 illustrations depicting numerous subjects. These include: A bifolia with illustration of the holy Quran starting with al-Fatiha, Two intertwined words of “ Allah and Muhammed” filled with prayers, the names of Four Rashidun intertwined and filled with prayers, the names of Al- Bayt , two illustrations of al-Masjid al-Haram and al-Masjid al-Nabawi in Mecca and Medina, the dome of the Roc in Quds, the mosque in Damascus, the Mihraab of the prophet, venerations of the Prophet Muhammad through depictions of his hand prints, foot prints, and his Seal of Prophecy, further pages pertaining to the other prophets such as the sword of ‘Ali and the seal of the prophet Sulayman and Moses, The mountain of Araft, companions of the Cave, Noah’s Ark, and many other different holy places and items, the last page with Kalimaat al-Tawhid in large though script filled wit prayers, above a cartouche enclosing “ Written by Abdu Al-Azim al-Khasawi student of Ibrahim Rusdi in 1252AH

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

Of rectangular form, embellished on a silk beige ground with a repeating of three undulating bands in gold script running from the beginning to the end of the cloth, which assume the form of a continuous chain made up of number ‘7’. The central band with prominent inscription ‘Kalimaat al-Tawhid, There is no God but Allah and Muhammad is his Prophet’ The upper band with the inscription ‘O, Allah! Commend and salute the prophet Muhammad, most esteemed of all prophets and emissaries’. The lower band with ‘May Allah be well pleased with Abu Bakr, Omar, Othoman, Ali and all other companions of the Prophet Muhammed’. Further stylised with a cream colored weave of the words ‘Allah and Muhammed’.

Applied with darker black panels embroidered with silver and silver-gilt metal-threads on a gilt silk ground, shaped as Mihraab and enclosing Quran 2 verse Al-Kursi surah Al-Baqarah. To the centre with two octagonal panels enclosing ‘Allah and Muhammed’. To the top of the central field a rectangular panel of surah AlKahf verse 3, and a panel enclosing ‘a rasul allah / mawlana al-sultan Ahmad / yatlub al-shifa ‘ah bi-hadha al-mihrab al-nabawi al-sharif sana 1131 ‘O Messenger of God! Our lord Sultan Ahmad seeks intercession through this Noble Prophet’s mihrab’.

A central panel lower cartouche: the tughra of Sultan Ahmad (r.1703-1730 AD).

360 by 245 cm.

Estimate € 12.000 - €15.000

A PHOTO ALBUM WITH A COLLECTION OF 95 PHOTOS OF MECCA, MEDINA, THE MAHMAL AND THE HAJJ, EARLY 20TH CENTURY

95 Photos including images of the Mahmal with pilgrims, the arrival of the Mahmal, during the Hajj travel to Mecca and Images of Mecca with prayers around the Kaaba, the Mahmal with pilgrims, pilgrims’ tents at Arafat, the Ak-Khayf mosque at Mina, and views of the city of Medina and the Prophet’s mosque.

15 by 12 cm.

12 by 10 cm.

Estimate € 6000- € 8000

Lot 303

AN ILLUMINATED OTTOMAN PRAYER BOOK, SIGNED HELMI AL-RIZAOI AND DATED 1304 AH/1886 AD

Arabic manuscript on paper depicting prayers in honour of the Prophet Muhammad, 23 leaves, each folio with 12 lines written in elegant black naskh script, with gold verse markers pointed out in polychrome dots, text within double gold and red rules, an opening biofolio with gold decoration. Further two detailed illustrations Mecca and Medina with Al-Masjid Al-Haram and Al-Masjid Al-Nabawi, poems and prayers, two tables with talismanic letters, different verses of the Quran, colophon signed ‘ This prayer chapter known as the sword of Al-Shadhili and dated 1303AH’. In original tooled and stamped gilt brown morocco binding. 11 by 16 cm

Estimate € 8000- € 12.000

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

The Hizam, or belt, is an inscribed band that encircles the upper part of the Kaaba, of rectangular form, inscribed over a black silk ground, the surface broken into cartouches of various shapes and sizes. The central section (3) with a gilt repeated inscription on a black ground of Quran 61 surah Al-Imran v-96-v.97 in thuluth script, flanked by two circular panels enclosing in thuluth script (4) Quran 33. Surah Al-Ahzab v.40 and (7) Quran 112 surah Al-Iklas also known as Al-Tawhid.

Further stylised (8) with Glory to our Mawlana Sultan, the victorious king Long may He reign. The upper rectangular section (1)encloses Quran 61 surah As-Saff v.9.

The second section of the upper part (2) with a prayer of the four Caliphs and the rest of the companions. The lower section in Kufic script (5) with Quran 112 surah Al-Iklas also known as Al-Tawhid and (6) with Quran 2 surah Al-Baqarah v.144.

660 by 96 cm.

Estimate € 15.000- € 20.000

AN OTTOMAN ILLUMINATED HAJJ SCROLL, WRITTEN BY

ABDUL-ALAH BIN HUSSAIN

IN 1287 AH/1873 AD

Arabic manuscript on cloth, with Mecca and Medina drawings, prayers and Quran verses. A Single cloth scroll divided into different main divisions with thuluth, naskh and Kufic script in black, blue and gilt colours. 24 by 330 cm.

Comprising:

Starting with Kalimaat al-Tawhid in white thuluth script within a cartouche

(1) The words “Allah and Muahhamad” in kufic intertwined form, surrounded by surah al-Fatiha, surah al-Ikhlas, surah al-Nas and surah al-Falq.

(2) An illustration of al-Masjid al-Haram in Mecca.

(3) A roundel of the 99 Beautiful names of Allah in black and gold thuluth script.

(4) An illustration of the tents in Muna, the mountain of Arafat.

(5) Beautiful names of Allah in large red and black thuluth script.

(6) An illustration of the tents in Muna, the graves of the companions.

(7) The words “ Allah, Muhammad and the four Rashidun” intertwined in gold thuluth script, surrounded by roundels with names of the prophet companions.

(8) An illustration of al-Rawda al-Sharifa with Minbar of the prophet.

(9) A hilya of the prophet.

(10) poem in praising the prophet within Kalmiaat al-Tawhid in kufic script.

(11) An illustrator of the Rock mosque with the graves of some prophets.

(12) Oh Hanna, Oh Mannan in thuluth script with Quran verses.

(13) An illustration of al-Minbar, the mountain of Tur etc.

(14) The colophon and final section withsome prayers and the name of the calligrapher “Abdul Allah Bin Hussain” in 1287AH.

Estimate € 4000 - € 6000

AN OTTOMAN METAL THREAD EMBROIDERED HANGING SITARA FROM MASJID AL-NABAWI AT MEDINA, TURKEY AND DATED 1130AH/1717AD

Of rectangular form, the red field with applied thick silver and gilt embroidery forming calligraphic cartouches surrounding an inner mihrab with columns and mosque lamp, with a calligraphic panel on green silk ground above . The outer border is emballished in gilt wires with dense design of floral motifs. 260 by 175 cm.

The inscription in the top cartouche on green ground is a hadith of the Prophet ‘’ the area between my grave and my minbar is one of the gardens of Paradise’’. The inner border containing cartouches enclosing verses from the Quran Surah Al-Jumu’ah v.3-v.8 . in the six roundels are the names Abu Bakr, ‘Umar, ‘Uthman, Ali, Hasan and Hussain. on red silk ground. The hanging lamp, in mirrored calligraphy, reads ‘O the Opener [of all the gates], in the tear-shaped hanging between the columns on green ground read amara bi-’amal hadha al-sitara al-mubaraka , mawlana al-sultan Ahmed khan, ‘Our Lord, Sultan Ahmed III ordered this blessed covering (sitara) to be made’ in 1130AH, therefore refer to Ahmed III ( r.1703-1700 AD).

The Masjid al-Nabawi (Mosque of the Prophet) in Medina is, as the final resting place of Muhammad, the second holiest mosque in Islam. The interior walls of the Shrine of the Prophet Muhammad (rawda) within the mosque were historically covered in textiles similar to those of the Kabaa in Mecca. However, unlike the Meccan Kiswa, they were changed considerably less frequently than once a year, and were often made in Ottoman Turkey rather than Egypt.

Estimate € 20.000 - € 30.000 Lot 307

A RARE SWISS CRYSTAL CLOCK

LATE 19TH CENTURY

Crystal Ball desk top clock, c.1890. Convex cut glass to the front and back each opening. Visible platform escapement movement to the back. Brass fittings. A rare and unusual piece. 6.5 diam. by 6 cm. high.

Estimate € 2000 - € 3000

AN OTTOMAN COMPASS AND QIBLA INDICATOR, 19TH CENTURY

A case, the frame painted in gold, decorated with a crescent moon and star in the center, opening in two parts.

The inside of the cover painted with a central medallion representing aerial view of al-Masjid al-Haraam Mosque in Mecca, surrounded by a polychrome decoration of flowers and foliage on an ocher background. The inside of the box with a compass and compass rose in twelve directions, divided into degrees. This instrument, with the direction of the qibla positioned directly straight south, was made exclusively for Medina. To use it, orientate it by making the needle coincide with the northern minaret, then turn the box until the needle aligns with the direction of the qibla. The instrument can also be used to determine the true noon indicated when the string matches its own shadow on the meridian. At this time it also indicates true south, and therefore the direction of Mecca. With miniatures representing the sacred sites of Mecca.

Painted wood, brass hinges and closure.

26.3 cm by 17.9 cm.

Estimate € 4000 - € 6000

AN OTTOMAN ILLUMINATED HAJJ SCROLL, WRITTEN BY ISMAEL AHMED IN MECCA, DATED DHU HIJJA 1231

AH/1816 AD

Arabic manuscript on paper, with Mecca and Medina drawings, prayers and Quran verses. Single scroll divided into different main divisions with thuluth, naskh and Kufic script in black, blue green, red and gilt colours, rebacked.

22 by 350 cm

Comprising:

(1) Headpiece with Kalimaat al-Tawhid on a polychrome illuminated ground, surrounded by surah al-Kafroun in deep yellow thuluth script outlined in black.

(2) Basmallh in knotted kufic script followed by surah al-Zalzalah in naskh black script, surrounded by syrah al-Fath in thuluth script.

(3) An illustration of al-Masjid al-Haram in Mecca.

(4) Kalimmat al-Tawhid with four roundels enclosing beautiful names of Allah, with v.17-v.22 from surah al-Hajj

(5) An illustration of the tents of the pilgrims at Muna.

(6) A calligraphy in large gilt thuluth script of al-Rashidun within Quran verses: v.23-v.29 from surah al-Hajj, surrounded by al-Tashahhud in kufic white script.

(7) Kalimaat al-Tawhid in thuluth script, the words “Allah and Muhammad” in kufic script with verse from surah al-Hajj.

(8) An illustration of al-Masjid al-Nabawi.

(9) An illustration of the grave of the prophet surrounded by verse from surah al-Hajj.

(10) An illustration of Muna mosque.

(11) Beautiful names of Allah in different colours surrounded by Quran verses.

(12)the colophon and final section with the rest of the Beautiful names of Allah, the name of the pilgrim

‘Ismael Ahmad”, the known teacher and Imam in Trabzon in the last days of Dhu Hijja in 1231AH.

Estimate € 4000 - € 6000

AN IZNIK-STYLE TILE PANEL KUTAHYA, TURKEY 19TH CENTURY

A Mihraab shaped panel, comprised of 15 tiles, the white ground painted in turquoise, green, cobalt-blue and bole-red, with a stylized view of Mecca, with the black-shrouded Ka‘ba in the center of the Masjid al-Haram and other buildings within and around the holy sanctuary. It is part of a larger material corpus related to the Hajj, the pilgrimage to Mecca and sites in its vicinity, which each pious Muslim should perform once in his or her life. Surrounded by a continous band of foliate scroll of peony and lotus flower heads, at the top two cartouches enclosing Kalimaat al-Tawhid in large black thuluth script. 150 by 90 cm.

Estimate € 6000- € 8000

Lot 311

A LARGE MAMLUK REVIVAL SILVER AND COPPER INLAID BRASS TRAY DEPICTING THE MAHMAL PROCESSION TO MECCA, SYRIA, 19TH CENTURY

A brass tray of rectangular form, profusely inlaid, the central field depicting the Mahmal procession, the border containing cartouches enclosing inscriptions in thuluth script of Ayat Al-Kursi v. 255 from surah Al-Baqaraa with interspersed roundels containing bands enclosing kalimaat al-awhid.

The tray is decorated with a scene representing the procession of the mahmal, most probably after leaving Damascus as it is clear that the caravan is accompanied by Bedouin tribes for their good knowledge of the desert routes and protection against thugs and other tribes.The mahmal is borne by a richly caparisoned camel. It is preceded by an official holding a flag bearing the Ottoman star-and-crescent motif, and followed by another riding a similarly caparisoned camel and carrying a banner (bayraq). Behind him is a group of religious figures wearing distinctive hats. Around them are groups of soldiers riding camels or on horseback, three musicians and some pilgrims, as well as spectators and well-wishers. In the back ground is Amir al-hajj “commander of the pilgrimage” with other officials. 74 by 54 cm.

The mahmal was the ceremonial palanquin carried on a camel, which was the centre of the pilgrim caravan, and was the symbol of authority of the sultan over the holy places. Its origins are uncertain: it might hark back to the tradition of a palanquin carrying a high-ranking female accompanying military campaigns for encouragement, a role the Prophet’s wife was said to have had. The first sultan known to send the mahmal was Baybars (AD 1260-77). Following the Ottoman conquest of Egypt in 1517, the Ottomans also sent a mahmal from Damascus, as did the Yemenis on occasion. After the pilgrimage, the mahmal did not stay in Mecca, but was taken back to Cairo.

Estimate € 3000 - € 5000

A QIBLA FINDER PANEL MADE IN THE STYLE OF PETROS BARONYAN, ALSO KNOWN AS AL-BARUN AL-MUKHTARI, CONSTANTINOPLE, 1178 AH/1765 AD

Constantinople, 1178 AH/1765 AD (dated above the frame)

Case overall 96 by 52 cm.

Qibla finder comprising a rectangular wooden panel with two printed roundels, the upper one with a depiction of the Haram al-Sharif in Mecca and a description by the inventor of the instrument, the lower roundel with a depiction of a map of the world signed in a cartouche by Abdulwahab Siddiki, thereunder a series of tables listing the cities and places of the world. The description mentions al-Bārūn al-Mukhtari as the inventor and is dated 1151 AH/1738-9 AD.

This qibla finder map in a wooden frame, dated 1764/65 AD, is modeled after the original series of Qiblafinders, invented and made by Baronyan (Bārūn al-Mukhtari ) some 30 years earlier. Baronyan, the original inventor of these instruments created this genre of qibla indicators for the Ottoman Grand Vizier, Yegen Mehmet Pasha in 1738/39 AD. These prints were first mounted in a circular box form and later in a wooden frame, as is the case in our object.

DATING

At the center of the upper part of the panel there is an Ottoman inscription, where the date is given as 1178 AH, which corresponds to 1764/65 AD which is the last year that Baronyan was in life. A very similar panel was sold in 2002 in Bonhams with the same date of 1178 AH given on top of the frame.

INSCRIPTION IN THE FRAME

“Māšā Allāh (God has willed it)!

للها

I am such a treasure of a Qibla-numa

I am the beginning of the thing/picture which decorates the world”

In the year 1178 [1764/1765]

Estimate € 12.000- € 15.000

A KUTAHYA POTTERY TILE PANEL, TURKEY, EARLY 20TH CENTURY

The panel of 6 tiles, depicts the holy sanctuary of the mosque at Mecca within the compound, the Kaaba is shown in the centre among other sites such as the minbar, the well Zamzam and the structures of the different religious schools, all identified by their names.

90 by 60 cm.

6 tiles

Estimate € 3000- € 5000

Lot 314

A LARGE VIEW OF MECCA ON A STUCCO PANEL BY ISMAI’L AHMAD AL-DIMASHQI, OTTOMAN SYRIA AND DATED 1311 AH/1893 AD

Watercolor on stucco heightened with gold, depicting a large roundel enclosing a view of Mecca, central alMasjid al-Haram with seven minarets, an arched outer wall with small white domes, the four Sunni Maqams, number of Mamluk and Ottoman kiosks. To the front of the mosque three known entrances ‘door of al-Salaam, door of the Prophet and door of Ibn Abbas’, with two small buildings indicating ‘al-Safa and al-Marwa’. In the background of the great mosque are the mountain of Arafat, al-Nour and Qais.

To the left side of the panel, painted with the mosque al-Taneem or Aisha, bounday of Haram therefore pilgrims can put on Ihram, and a view of maqbara or cemetery of al-Baqi. The margins decorated with v.96 from surah Al-Imraan in white on a green painted ground.

Signed by Ismai’l Ahmad al-Dimashqi in 1311 AH.

Panel 91 by 56 cm.

Estimate € 2000 - € 3000

MAJNUN AT A SHRINE, PERSIA, SAFAVID, 16TH CENTURY

An illustrated folio from a Khamsa of Nizami, opaque pigments heightened with gold on paper, Majnun opens the door of a maqam surrounded by a crowd, four columns of text in nastaliq script above and below within gold rules. All ruled in gold and polychrome borders. 23 by 15.5 cm.

Text: 16 by 10 cm.

Estimate € 1000 - € 1200

MAJNUN AT THE KAABA, SAFAVID PERSIA, FIRST QUARTER 16TH CENTURY

An illustrated folio from a Khamsa of Nizami, opaque pigments heightened with gold on paper, Majnun opens the door of the Kaaba surrounded by a crowd, four columns of text in nastaliq script above an below within gold rules, the text to the reverse laid out in rectangular text panels. 34 by 22 cm.

CATALOGUE NOTE

After being banned from seeing his childhood love Layla, Qays ibn al-Mulawwah’s obsessiveness drives him mad and makes him run away into the wilderness. His tribe gives him the epithet of Majnun (crazy). The scene of our jewel-like illustrated folio depicts Majnun’s father’s attempt to cure him, by taking him on pilgrimage to Mecca, to seek God’s help in freeing him. However, Majnun strikes the Kaaba and cries and demands to be allowed to love. He continues to wander in the wilderness, chanting poems about Layla’s love and beauty.

Lot 318

AN OTTOMAN EMBROIDERED SILK PANEL, 19TH CENTURY

An Ottoman hanging panel, embroidered in gilt threads on a black silk ground with the Mosque of Sultan Ahmed. 42 by 45 cm.

Estimate € 500 - € 700

Lot 317

A BLACK KABAA KISWAH TEXTILE FRAGMENT, SAUDI ARABIA, 20TH CENTURY

A fragment of the inner curtain of sacred kiswa for the inner wall of the Kabaa with an inscribed weave in silver-colored silk over a dark black ground. Embellished with a prominent inscription within a broad border in thuluth script of praise of the prophet ‘Prayer and peace be upon you, O Messenger of Allah’. Below with a narrow band containing prayers for the four righteous caliphs Abu Bakr, ‘Umar, ‘Uthman and ‘Ali as well as for the companions of the Prophet. At the top with a narrow band enclosing ‘O Allah, bless the Prophet Muhammad, the Seal of Prophets and Messengers. 185 by 140 cm.

Estimate € 800 - € 1200

A GLIMPSE INTO THE QAJAR ERA: THE PHOTOGRAPHIC JOURNEY OF HAJ SAYYID ALI, 1320 AH/ 1902AD

A very rare album was prepared by Haj Sayyid Ali, known as the King’s Right Hand. He was the Minister of Finance during the rule of Farmanfarma and had a deep passion for art and photography. He embarked on a journey around the world with Atabak Al-Azam, the former Prime Minister of Iran during the reign of Mozaffar al-Din Shah. In the year 1320 AH, he entered Saudi Arabia via the Suez Canal and proceeded to Mecca. In Mecca, he met with its then-ruler, Sharif Hussein. All the photographs in this album were taken by him, and this album is historically the only surviving copy from the Qajar period prepared by an Iranian.”

Album:32 by 26 cm.

Photo’s 21 by 17 cm.

Estimate € 20.000 - € 30.000

A RARE MAGHRIBI GILT-METAL THREAD EMBROIDERED CURTAIN OR COVER, NORTH AFRICA, MOROCCO, 17TH CENTURY

Of rectangular form, the black cotton ground embroidered with gilt-metal threads, the design comprised of an arched inscription band with an inner ogee arch centred on a small calligraphic roundel with starburst surround and a larger leaf-shaped cartouche below enclosing a monumental radial inscription, the spandrels with crescent-form calligraphic cartouches, the interstices with leaf scrolls, flowerheads and further inscriptions, the tapered upper section with two broad inscription bands in oblong cusped cartouches, framed by a narrow scrolling border, modern backing.

Embroidered section: 184 by 112 cm. On backing: 207 by 131 cm. max.

Inscriptions:

The top cartouche: Qur’an, surah al-Tawba (IX), parts of 128 and 129.

In the corners of the second cartouche: ‘God’ and ‘Muhammad’

In the two roundels in the corners of the main arch: The shahada.

In the main arch: Qur’an, surah al-Baqarah (II), 260, ending with: ‘The Most Supreme God told the truth’. In the inner arch: Qur’an, surah al-Baqarah (II), parts of 137; surah Al ‘Imran (III), parts of 102.

In the roundel in the inner arch: Qur’an, surah al-Saff (LXI), parts of 13.

In the large cartouche: Qur’an, surah al-Ikhlas, (CXII).

In the centre of the large cartouche: Qur’an, surah al-Duha (XCIII), 5.

In the border around the central cartouche, the upper part: A couplet from al-Busiri’s Qasida al-Burda.

The lower part, suggested reading:

A mulay ya idris ibn nabiyyana wa malja’ hadha al-qutr fi’l-’usr wa’l-yusr / taka (?) nafsi bi-burd sawarif atayni ‘ala talf li-marrat tughashshani ‘ala furan

In the leaf-shaped cartouches: Invocations to God.

This beautiful textile is a rare survival belonging to a small corpus of Maghribi textiles produced in North Africa, probably Morocco, for Mecca or with a connection to the Hajj, perhaps as early as the seventeenth century.

Estimate € 20.000 - € 30.000

A GREEN KAABA KISWA TEXTILE, TURKEY, 19TH20TH CENTURY

A fragment of hanging panel of the inner kiswa, with an inscribed weave in cream color over a light green silk ground. Embellished with a prominent inscription within a broad border in thuluth script of praise of the prophet ‘Prayer and peace be upon you, O Messenger of Allah’. Below with a narrow band containing prayers for the four righteous caliphs Abu Bakr, ‘Umar, ‘Uthman and ‘Ali as well as for the companions of the Prophet.

At the top with a narrow band enclosing ‘O Allah, bless the Prophet Muhammad, the Seal of Prophets and Messengers’. 200 by 90 cm.

Estimate € 800 - € 1200

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

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

55 by 65 cm.

Estimate € 3000 - € 5000

A LARGE ISLAMIC ENAMELED GLASS MOSQUE LAMP, 19TH CENTURY

A large glass gilt and enameled mosque lamp, of typical form, set on a short foot with six loop handles around the shoulder. The rounded, angular body features a flaring conical mouth, decorated in polychrome and gold with inscriptions over a ground of vegetal interlace. The neck bears inscriptions interspersed with roundels filled with floral motifs. The lower body is adorned with arabesques and roundels filled with vegetal designs. Height: 35.5 cm.

Around the neck:

In large blue naskh script, part of verse 35 of Surah al-Nur, with the three roundels in smaller script reading: “al-Malik al-Adil, the Just King.”

Around the body:

In large gilt thuluth script on a blue ground: “‘Izz li-mawlana al-Sultan al-Malik al-Nasir, Nasir al-Dunya wa al-Din, ‘Izz nasru” (“Glory to our lord, the Sultan, al-Malik al-Nasir, the supporter of the world and the religion—may his victory be glorious.”)

Around the base:

Within the three roundels, in smaller script: “al-Malik al-Adil, the Just King.”

Estimate € 6000 - € 8000

A LARGE ISLAMIC GILT AND ENAMELED GLASS MOSQUE LAMP, 19TH CENTURY

A large glass gilt and enameled mosque lamp, of typical form, set on a short foot with six loop handles around the shoulder. The rounded, angular body features a flaring conical mouth, decorated in polychrome and gold with inscriptions over a ground of vegetal interlace. The neck bears inscriptions interspersed with roundels filled with stem-cup and floral motifs. The lower body is adorned with floral designs and roundels filled with stem-cup and floral motifs.

Height: 35.5 cm.

Around the neck:

In large blue naskh script, part of verse 35 of Surah al-Nur.

Around the body:

In large gilt thuluth script on a blue ground: The inscription around the body reads: al-maqarr / al-Ashraf/ al-‘ali al-mawlawi a / al-mukhadami wa al-saifi /al-nasiri

(“The noble authority, the exalted, the lordly, the attendant, the sword-bearer and the Nasiri”).

Estimate € 6000 - € 8000

A LARGE ISLAMIC GILT AND ENAMELED GLASS MOSQUE LAMP, 19TH CENTURY

A large glass gilt and enameled mosque lamp, of typical form, set on a short foot with six loop handles around the shoulder. The rounded, angular body features a flaring conical mouth, decorated in polychrome and gold with inscriptions over a ground of vegetal interlace. The neck bears inscriptions interspersed with roundels filled with recurve bows on a red ground. The lower body is adorned with floral designs and roundels filled with recurve bowls.

Height: 32.5 cm.

Around the neck and the body in large gilt and blue thuluth script: “ mima Amil, bi-rasm al-maqqar, al-nazih, al-ali, Abu al-Ala’ al-Bunduqdari, Qaddas allah sirrah”. (“ Among what was made, for the noble, the exalted residence of Abu al-Ala’ al-Bunduqdari, God sanctify his soul”)

Estimate € 6000 - € 8000

A

RASULID LACQUERED CYLINDIRCAL WOOD BOX, YEMEN, 14TH CENTURY

With flat base and slightly sloping sides, the upper edge with slight recess to fit a lid, the exterior wooden surface overlaid in a succession of black, red, yellow and green lacquers, then carved through to reveal a polychrome design, the broad central band with lobed rectangular panels containing scrolling arabesques around quatrefoil roundels, the borders of the panels entwining and continuing into lobed concentric quatrefoils dividing each panel, a band below of stylized thuluth calligraphy interrupted by roundels containing quatrefoil panels, the base and interior plain with remains of monochrome lacquer. 16.2 cm. height 20.3 cm. diam.

PROVENANCE

Christie’s, 17th October 1995, lot 269. Private collection, Greece

Estimate € 5000 - € 7000

While later Islamic lacquer has been studied extensively, the history of the technique in early Islamic times is still obscure. A few items have survived, both in Egypt and Persia, made of wood with lacquered surfaces, but together they do not paint a full picture. A wooden plate in the Victoria and Albert Museum (Watson, O., ‘An Islamic lacquered dish’, in Lacquerwork in Asia and beyond, London, 1981, pp.232-246) was said to have been found in Fustat. A wooden bowl and cover were found in a fourteenth century context at Qus in Egypt (Watson, op.cit., p. 241, note 14). Fragments of painted and varnished wooden object were found in the excavations of the Mamluk site of Qusair al-Qadim (wheelan, Estelle J., ‘Unusual Islamic Finds’ in Quasair al-Qadim 1978, Preliminary Report, Cairo, 1978, pp.206-7). In Persia a small fragment was found during the excavations at Ghubayra which has been given a thirteenth century attribution (Fehervari, G., ‘Near Eastern Lacquerwork; History and Early Guidance;, in Lacquerwork in Asia and Beyond, London, 1981, pp.225-231). A further fragmentary dish wit a Kufic inscription border is in the Hermitage Museum in St. Petersburg.

All these fragments have in common that they are covered with layers of colored varnish which have subsequently been carved through to reveal a polychrome design. The commonly found colors are green, yellow, cream, red and black. It has been argued that these objects geve evidence for a quasi-lacquer production that developed independently of China where the technique is thoucht to have originated. The technique of decoration of our box is in the same tradition ans would point to an attribution to 14th or 15th century Mamluk Egypt indicated by the finds from Qusair al-Qadim.

The shape of our object has counterparts in other items from Mamluk Egypt. A group of round boxes with straight (although lower) sides was found in Qusair al-Qadim (Qusair al-Qadim, nos k and n). The proportions in the present box are far closer to those of smaller ivory boxes, all of which have a similar ridge for the cover, one of which bears the name of Sultan Salih (1351-54 AD), (discussed in Atil, e.: Renaissance of Islam, Art of the Mamluks, Washington D.C., 1982, pp.210-211). Given the possible Chinese origins of the technique it is certainly relevant that there exist a number of 15th century cylindrical lidded boxes from China, decorated in a Chinese manner with peony scrolls and phoenixes (Garner, Sir H.: Chinese lacquer, London, 1979, figs. 129 and 114-5).

The decoration on the present box is difficult precisely to parallel. The compartmentalization however, with intertwined outlining bands and cartouches is very much in the Mamluk fashion and can be observed on metalwork as well as on manuscript illumination. The elongated hastae of the nakh inscription are also a trademark of Mamluk calligraphy. All these factors confirm a Mamluk fourteenth or fifteenth century origin for this extremely rare object.

AN INDIAN COLLECTION OF FOUR DRAWINGS, INDIA, 18TH CENTURY

Ink on paper, depicting two fighting camels, a Brahman; a Mughal man carrying a book and a miniature drawing of a mughal nobelman with gold highlights. 12 by 17,5 19 by 10

12,5 by 6

18,3 by 12,3 cm.

Estimate € 1500 - € 2000

Lot 328

A COLLECTION OF EIGHT DRAWINGS/SKETCHES OF SRINATH JI AND DIFFERENT RULERS, RAJASTHAN, KOTA AND NATHDWARA, 18TH CENTURY

Ink and wash on paper, partly pounced along outline, laid down on paper.

Largest 22.5 by 17.5 cm.

Smallest 12 by 11 cm.

Estimate € 800 - € 1200

A GROUP OF EIGHT EROTIC DRAWINGS INDIA, KOTA, CIRCA 19TH CENTURY

These eight erotic drawings from 19th-century Kota, India, showcase a striking and unusual blend of traditional Indian miniature painting style with fantastical, erotic themes. Each image is rendered with fine, delicate lines and earthy, muted colors on paper, using the techniques typical of Rajasthani miniature art. However, what makes them especially distinctive is their surreal and provocative content: the human figures—mostly women—are depicted in intimate or erotic encounters with anthropomorphized animals such as tigers, elephants, and bears.

Largest 22.5 by 17.5 cm.

Smallest 12 by 11 cm.

Estimate € 1200 - € 1400

A PERSIAN HOROSCOPE MINIATURE, SAFAVID 18TH CENTURY

Opaque colours heightened with gold on paper, depicting a celestial zodiac wheel encircled by the twelve astrological signs. A multi-armed crowned figure sits at the center, symbolizing cosmic power. Above, a winged angel presides, while the wheel is supported below by the cosmic bull — a reference to Islamic cosmology. Laid down on an album page, the margins stylized with gilt floral scrolls on a deep blue ground. Glazed and framed.

Estimate € 1000 - €1200

THE MYSTIC AND POET KABIR WITH ATTENDANTS, INDIA, MUGHAL, 18TH CENTURY

Gouache on paper heightened, inscription to lower edge, framed.

Painting: 22 by 17 cm.

Estimate € 1200 - € 1500

Lot 331

Lot 332

A CALLIGRAPHIC ALBUM PAGE, SAFAVID PERSIA, 16TH CENTURY

Ink, gouache and gold on paper pasted on a cardboard page, four 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 € 800 - € 1200

Lot 333

A

NASTA’LIQ QUATRAIN, ATTRIBUTED TO MALIK AL-DAYLAMI, SAFAVID 16TH/17TH CENTURY

Persian manuscript on paper, 4 lines of text written diagonally in large nasta’liq script in black ink within cloud bands against a finely-illuminated ground of interlacing polychrome flowers, signature in lower corner piece, laid down on an album page bordered in red and deep green illuminated borders, with outer margins filled with large fruiting stems.

33 by 21 cm.

Estimate € 1400 - € 1800

334

A PAIR OF QAJAR LACQUER PAINTED DOORS, PERSIA, 19TH CENTURY

Each wooden door painted in yellow, red, and gold highlights, featuring birds almost floral designs, 27.5 by 88 cm. each.

Estimate € 3000 - € 5000

A QAJAR LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN), 19TH CENTURY

Of elongated oval form with a sliding drawer, decorated in gilt and polychrome. The top and sides decorated with Qajar figures engaged in daily activities in a landscape.

Length: 22 cm

Estimate € 800 - € 1200

A QAJAR LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN), 19TH CENTURY

Of elongated oval form with a sliding drawer, decorated in gilt and polychrome. The top and sides feature cartouches enclosing portraits of Qajar figures and European-style castles, all set amidst a dense design of floral motifs and foliage. The underside and tray are adorned with stylized gilt floral scrolls on a red-painted ground.

Length: 23 cm

Estimate € 800 - € 1200

A QAJAR LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN), 19TH CENTURY

Of elongated oval form with a sliding drawer, decorated in gilt and polychrome, the top and sides depict three horsemen in a hunting scene, while the underside and tray are stylized with gilt floral scrolls on a black-painted ground.

Length: 23.5 cm

Estimate € 800 - € 1200

Lot 336

Lot 337

A QAJAR LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN), 19TH CENTURY

Of elongated oval form with sliding drawer, decorated in gilt and polychrome, the top with three cartouches containing depictions of Christian saints, the sides with a landscape and a castle in the background. The underside and the tray stylized with a castle amidst a landscape on deep brown-painted ground. Length: 22 cm

Estimate € 800 - € 1200

A QAJAR LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN), 19TH CENTURY

A QAJAR LACQUERED PAPIER-MACHÉ PEN CASE (QALAMDAN), 19TH CENTURY

Of elongated oval form with sliding drawer, decorated in gilt and polychrome, the top and the sides depicting portraits of a royal family in a landscape, an European-style castle in the background, the underside and the tray stylized with gilt floral scrolls on a red painted ground.

Length: 23 cm

Estimate € 800 - € 1200

Lot 338

Lot 339

Lot 340

A QAJAR LACQUERED BOOK COVER, PERSIA, 19TH CENTURY

A Qajar lacquered papier-mâché cardboard, painted with a scene of Zuleykha presenting Yusuf to the Egyptian women, bordered with cartouches enclosing Persian text in Nastali’q script. 43 by 30 cm

Estimate € 2000 - € 3000

AN OTTOMAN SILK AND METAL-THREAD BROCADE (KEMHA) FRAGMENT, BURSA TURKEY, 16TH-17TH CENTURY

Of rectangular shape, brocaded with detailed carnation motifs in silver metal thread wrapped yellow silk with ivory stems and leaves.

The gold surface features metal-wrapped thread emphasized by the bright red background, a color combination popular at the Ottoman court. Based on the shape of the fragment, this lampas-woven silk (kemha) was probably once used as part of a garment.

79 by 71 cm.

Estimate € 1200 - € 1400

343

AN OTTOMAN SILK AND METAL-THREAD KEMHA FRAGMENT, BURSA TURKEY, 16TH-17TH CENTURY

Of rectangular shape, threads on a silk cream ground with black voided silk outlines on a red silk ground, depicting rows of diamond shapes enclosing flower heads and foliage. 95 by 68 cm.

Estimate € 1000- € 1400

344

A SAFAVID TEXTILE WOVEN PANEL, PERSIA, 18TH CENTURY

A rectangular cotton woven panel with cartouches enclosing the “ Oh Hafiz, The Protector” and Nada ALI.

The nada ‘ali quatrain runs as follows:

‘Call upon ‘Ali who causes wonders

You will find him helpful in misfortune

All anguish, all sorrow will disappear

Through your friendship [with God] O ‘Ali! O ‘Ali! O ‘Ali!’

7 by 205 cm.

Estimate € 1000 - € 1500

THREE QURAN SECTIONS, CENTRAL ASIA, 19TH CENTURY

A QURAN SECTION, CENTRAL ASIA DATED 1301 AH/1883 AD

Arabic manuscript on paper, 20 leaves with 9 lines to each page. First, four and last line written in strong large thuluth script on light yellow ground. The other 6 lines arranged in two blocks of 3 lines, each of elegant smaller black naskh script, gold roundel verse markers outlined in blue and pointed in blue and orange dots, text ruled in gold and polychrome borders. The first page with floral polychrome decoration enclosing the name of the surah “ surah Al-Kahf” in large thuluth script. The second and the third page with polychrome decoration enclosing 3 lines reserved in clouds. The last page signed “written by Muhammed Dur al-Shiri in 1301 AH/1883 AD”.

Surah Al-Kahf, surah Al-Ikhlas, surah Al-Falaq and surah Al-Nas. 22 by 35 cm.

A QURAN SECTION, WRITTEN BY AL-HAJJ IBN KHUDR AL-KASHANI, CENTRAL ASIA, 19TH CENTURY

Arabic manuscript on paper, 15 leaves with 13 lines to each page. First, seventh and last line written in strong large thuluth blue and light green script on light yellow ground. The other 10 lines arranged in two blocks of 5 lines, each of elegant smaller black naskh script, polychrome roundel verse markers outlined in blue and pointed in blue, text ruled in polychrome floral decorated borders. The first page with floral polychrome decoration enclosing floral design containing seven lines of du’a and al-Fatiha. The last page with dua’a al-khatm and signed “written by al-hajj Ibn Khudr al-Kashani”. Surah Al-Kahf, surah al-Fajr, surah al-Dhuha, surah Al-Ikhlas, surah Al-Falaq and surah Al-Nas. 22 by 35 cm.

A QURAN SECTION, CENTRAL ASIA DATED 1311 AH/1893 AD

Arabic manuscript on paper, 24 leaves with 8 lines to each page. First and last line written in strong large thuluth script on light copper red dotted ground. The other 6 lines arranged in elegant smaller thuluth script, gold roundel verse markers, text ruled in blue borders. Surah headings in elegant gold thuluth script with blue vowels. The last page with dua’a al-khatm and signed “written by abd-alkhaliq ibn Yousef “, ownership and Waqf statement of Abdel ibn Ahmed al-Khnaji in 1311AH.

Surah al-Fatiha,Surah Al-Kahf, surah Al-Ikhlas, surah Al-Falaq and surah Al-Nas. 24 by 36 cm

Estimate € 2500 - € 3000

Lot346

SHAMA’ILNAMEH, PERSIA, LATE 19TH CENTURY

Miniature painted in gouache and gold on paper, Arabic and Persian text in gold inside illuminated cartridges, representing Imam Ali, framed by four-lobed cartridges with very fine decorations of flowered scrolls and spiral arabesques, below three columns of cartouches enclosing characteristics of the prophet in Arabic and Persian. surrounded by three borders containing cartouches enclosing a verse of the Quran, surah Al-Baqraa The Throne Verse (Arabic:

al-kursī) is the 255th verse. -Quran 24 surah AlNur v.35 and v. 36 -Prasie of Al al-Bayt. Framed Folio: 29 by 44 cm.

Estimate € 800 - € 1200

A SILVER-INLAID BRONZE FOOTED BOWL, PERSIA KHORASSAN, 12TH13TH CENTURY

A Khorassan bronze bowl standing on a flared foot adorned with a band of animated naskh inscriptions on a dense scroll ground, the rounded body with alternating medallions and palmettes, the rim with a band of animated kufic script against a dense scrolling ground, most silver remaining.

Height 12 cm.

Diameter 13.5 cm.

Estimate € 2000- € 2500

A KHURASAN SILVER-INLAID BRONZE EWER, PERSIA, 12TH CENTURY

A Persian bronze ewer with spherical body and tapering cylindrical neck, a simple spout with a straight handle connecting the body with the mouth. The body decorated with two roundels enclosing six-sided stars, under the spout a band of floral motifs, around the shoulder trapezoid cartouches of inscriptions in naskh script separated by roundels containing each a cluster of silver-inlaid dots.

Height 25 cm.

Estimate € 1000- € 1200

Lot 347

Lot 348

AN ISLAMIC TINNED-BRONZE TALISMANIC BOWL, 13TH-14TH CENTURY

Shallow rounded form engraved to the interior with talismanic diagrams and inscriptions, stars and images of a dog, scorpion, snake and two-headed dragon, the exterior with a band of inscriptions to the rim.

The outer band contains the names of various ailments that would be cured if drunk from this bowl as well as al-khazanah al-sharifah, ‘The noble Treasury’, and ‘Muzaffar al-Dunya wa al-Din’, to the inner bowl v.1-v.4 from surah Al-Inshiqaq, talismanic, magic texts and numbers.

Diameter 11 cm.

Estimate € 1500 - € 2000

AN INDO-PERSIAN QAJAR PIERCED STEEL ALAM, 19TH CENTURY

An Indo-Persian steel alam from the 19th century, with finely pierced arabesque patterns and inscribed with the sacred names “Allah, Muhammed, and Ali.” The teardrop-shaped design is framed by curved ornamental edges and a decorative finial. With stand height 62.5 cm. Without stand height 58.5 cm.

Width 31.5 cm.

Provenance: Private UK collection.

Estimate € 1200 - € 1500

Lot 350

A QAJAR BRASS ENGRAVED TRAY, PERSIA, 19TH CENTURY

A large circular brass tray with a lobed rim, finely engraved with dense floral motifs and figural scenes. The central medallion features a finely detailed scene of a seated figure smoking a hookah in a landscape, surrounded by radiating panels that alternate between birds perched amidst blossoming plants and figural scenes depicting individuals in various postures - reading, playing instruments, or engaged in conversation. The scalloped border is also engraved with cartouches enclosing birds amidst floral patterns and arabesques. The reverse is plain, with a soft, hammered finish.

Estimate € 800- € 1200

Lot

352

LARGE ENGRAVED BRASS TORCH STAND, PERSIA, 19TH CENTURY

Cylindrical form with two raised bands on splayed feet, hinged brass handles to each side, profusely engraved and decorated in openwork with dervishes, divs, mounted figures, quadrupeds, and mythical beasts

50.5 cm. high

Estimate € 2000- € 3000

Lot 353

AN INDIAN HORSEMAN’S AXE (TABARZIN), 19TH CENTURY

With iron head with crescentic cutting-edge and squared pean, the upper and lower flats each finely decorated with gold-damascened foliage. 74 by 14 cm.

Estimate € 800- € 1000

Lot 354

A KHORASAN BRONZE LAMP STAND, PERSIA, 12TH-13TH CENTURY

In three sections comprising a tripod base, waisted shaft and circular tray, with allover incised and inlaid decoration; the tripod base with three legs with diagonal supports and six tear-drop shaped recesses, each with a pole-medallion containing a palmette vine curving up to a lobed rim with inscription cartouches, with triangular facets with geometric decoration between, the three legs terminating in hooves, alternating with chamfered joints; the shaft in the form of waisted mouldings variously with bands of kufic inscription, medallions of palmette vine and lobed panels. 38 by 15 cm.

Estimate € 1200- € 1500

Lot 355

17 CARNELIAN AND SILVER SEALS WITH TEXT AND DATA, 19TH CENTURY

Size ranging from 3.9 cm. to 1.5 cm.

Estimate € 800- € 1200

Lot 356

PRAYER BEADS, TISBIH, 19TH-20TH CENTURY

33 amber beads with 3 extra beads.

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.

Estimate € 1500- € 2000

Lot 357

PRAYER BEADS, TISBIH, 19TH-20TH CENTURY

45 amber beads with 3 extra beads.

Strings of prayer beads are usually comprised of 33, or 99 beads, corresponding with the 99 beautiful names of God. (al-asma al-husna) derived from the Quran.

Estimate € 1500- € 2000

358

A RUSSIAN FABERGE SILVER-GILT AND CLOISONNÉ ENAMEL BOX, CA. 1900

A gilded silver Fabergé box of rectangular shape with a hinged lid, enameled with foliate ornamentation; the lid and sides decorated with flowerheads nestled in arabesques; the base struck Faberge In Cyrillic Beneath Imperial Warrant and ‘88’, in a silver-thread embroidered textile case. 4.8 by 7.2 cm

Estimate € 3500- €5000

Lot 359

A QAJAR EMERALD AND RUBY-SET SILVER RING, 19TH CENTURY

Stamped on both sides with a small, undeciphered Persian seal.

NO:24, US: 10.5

Estimate € 1200- € 1500

Lot

A LATE SAFAVID BONE-HILTED DAGGER (KANJER), PER-

SIA, DATED 1121 AH/ 1709 AD

A Persian bone-hilted dagger features a double-edged watered-steel blade with a faint central ridge and subtle wavy patterns, tapering to a sharp point. The bone hilt is intricately carved with cartouches enclosing Persian figures and a hunting scene, embedded with turquoise gemstones. The pommel and guard are elegantly shaped, with gold-overlaid inscriptions at the forte.

Length: 37 cm.

Blade: 24 cm.

Estimate € 1500- € 2000

A MUGHAL IVORY-HILTED DAGGER (KANJAR) WITH AN IVORY SHEATH, LATE 17TH CENTURY

A finely crafted Mughal dagger featuring an ivory hilt intricately carved with regal figures and a double-edged, curved watered-steel blade that tapers to a sharp point, adorned with delicate gold-inlaid calligraphy (Abbas the Great and dated 1052 AH/1642 AD). The ivory sheath, with metal fittings, is carved with intricate latticework and additional figures in relief, possibly depicting Mughal noblemen or warriors in regal poses. A small red gemstone embedded in the sheath adds a touch of opulence.

Length 40 cm.

Blade 20 cm.

Estimate € 4000- € 6000

Lot 360

Lot 361

362

A LARGE NIELLO SILVER-MOUNTED STEEL DAGGER (KINDJAL), CAUCASUS,

19TH CENTURY

With tapering double-edged fullered blade, the silver hilt with waisted grip and two applied domed bosses, decorated in repoussé and niello with vegetal interlace, the wood scabbard clad entirely in silver and terminating in a bud finial.

Length 56.5 cm.

Estimate € 1200- € 1500

Lot 363

A NIELLO SILVER-MOUNTED STEEL DAGGER (KINDJAL), CAUCASUS, 19TH

CENTURY

With tapering double-edged fullered blade, the silver hilt with waisted grip and two applied domed bosses, decorated in repoussé and niello with vegetal interlace, the wood scabbard clad entirely in silver and terminating in a bud finial.

Length 43.5 cm

Estimate € 1200- € 1500

TWO OTTOMAN MOTHER-OF-PEARL AND TORTOISESHELL INLAID WOOD JEWELLERY BOXES, TURKEY, 18TH CENTURY

Each box of rectangular form on bracketed feet with a hinged bevelled lid, the sides and cover inlaid with tortoiseshell and mother-of-pearl, with panels of diamond, cube trellis and chequerboard patterning bordered by narrow bands of inlaid wood.

22,5 by 15 by 16 cm.

24 by 16 by 17 cm.

Estimate € 2000- € 3000

INDO-PORTUGUESE CABINET, 17TH-CENTURY

Rosewood and bone table cabinet from circa 1680, featuring a hinged front, eight drawers with brass knobs, and elegant geometric inlays. Beautiful patina, excellent condition with minor wear.

Height: 25 cm

Width: 39 cm

Depth: 28 cm

Estimate € 3500- € 4500

A PERSIAN BRASS BOWL, ZAND DYNASTY, 18TH-19TH CENTURY

Of typical form, with a rounded base and a long, sloping shoulder rising to a triangular-section rim. The shoulder is engraved with a broad band featuring oval cartouches bearing Thuluth inscriptions, alternating with roundels depicting a horseman in a hunting scene, flanked by a deer and a bird, and bordered by two classical floral bands.

A band of alternating trefoil and quatrefoil palmettes extends below, continuing onto the underside of the bowl.

Diameter: 16.5–24 cm.

Estimate € 800- € 1200

Lot 364

Lot 365

Lot 366

A SAFAVID TINNED COPPER BOWL, PERSIA 17TH CENTURY

A tinned copper bowl of compressed globular form, featuring a waisted neck and a gently everted rim. The body is finely engraved with inscriptions enclosed in cartouches and roundels adorned with floral motifs. The neck bears inscriptions in Nastali’q script, flanked by classical floral scrolls.

Inscriptions: the call to God to bless the twelve Imams.

Diameter 16,5 cm - 22 cm.

Estimate € 1500- € 2000

A MUGHAL DAGGER, INDIA, 19TH CENTURY

With a simple curving double-edged tapering watered steel blade, the silver-plated hilt and scabbard richly engraved with animals in hunting scenes amidst flower heads and foliage.

Length: 33 cm

Estimate € 600- € 800

A MONUMENTAL KHURASSAN BRONZE LAMP-STAND, PERSIA, 12TH CENTURY

In three parts comprising a domed base with everted skirt extending to three tripod feet, rising in the centre to support the central columnar section with a large boss above and below, flat upper tray with raised rim, the domed base, the two bosses and the central column each with a central band of strapwork containing palmettes against a pierced ground, the tray with a delicate rope meander border.

Height: 56.5 cm

Estimate € 1200- € 1500

Lot 369

A FINE SAFAVID ENGRAVED BRASS TALISMANIC BOWL, PERSIA, 17TH CENTURY

Of rounded form with raised central boss and everted rim and rests on a small foot, finely incised and decorated with black lac, the interior with a band of roundels and cartouches containing inscriptions, the central boss surrounded by a band containing interlocking inscriptions in thuluth script, the border and rim with further inscriptions, the exterior with a series of cartouches containing the twelve signs of the zodiac, all on a ground of inscription, above and below bands of inscription, a band of inscription-filled cartouches to foot.

Inscriptions: including the Call to God to bless the Twelve Imams ( Nada Ali) or the Fourteen Innocents and Quran, including al-Nasr and al-Saff.

Diameter: 13 cm.

Estimate € 1000 - € 1500

15 KHURASAN BRONZE DOOR ORNAMENTS, PERSIA OR CENTRAL ASIA

12TH CENTURY

15 bronze door ornaments in the shape of trefoils linked to a slim neck, rounded body standing on a splayed foot-ring.

Mounted 82 by 54.5 cm.

Estimate € 4000 -€ 6000

A SET OF GILT BRONZE HORSE TRAPPINGS, CENTRAL ASIA

14TH-15TH CENTURY

A set of twenty-four bronze horse trappings of varying shapes covered in gold, moulded in relief with various naturalistic motifs.

Large (5): 5.7 by 7.5 cm

Medium(4): 4.2 by 2 cm

Small(11): 3.8 by 2 cm

Smallest(4): 3.1 by 1.4 cm

Estimate € 2000 - € 3000

Lot 371

Lot 372

A SAFAVID EMBROIDERED SILK PANEL, PERSIA, 17TH CENTURY

Of rectangular form, embroidered on a brown silk ground with four repetitieve bands of a figure with a bow throwing an arrow at deer in a hunting scene, below with Arabic inscriptions in kufic script. 48 by 62 cm

Estimate € 600- € 800

A SPANISH TORTOISESHELL INLAID WOODEN CABINET FOR THE ISLAMIC MARKET, 18TH CENTURY

Height 34 cm.

Length 46.5 cm.

Depth 27 cm.

Estimate € 1600- € 2000

Lot 373

Lot 374

375

AN ISLAMIC ENAMELLED GLASS BEAKER, EARLY 19TH CENTURY

Of cylindrical form with flaring mouth, kick to base, decorated in polychrome enamel and gilt with a band of inscriptions in thuluth script on a blue ground.

Height 13 cm.

Inscription: three repeatings of al-Malik al-Alim” the king, the learned”.

Estimate € 2000 - € 3000

HOW TO BUY AT ORIENTAL ART AUCTIONS

BIDDING

There are several ways to bid at Oriental Art Auctions:

BID LIVE ONLINE

Many clients prefer bidding live online. 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.

IN THE ROOM

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

BY ABSENTEE BID

If you are unable to attend the auction we can bid on your behalf. You can leave an absentee bid completing an absentee bid form and either hand it to a member of staff or email it to info@orientalartauctions.com. Please note that our bid department may contact you for further details.

Either way, the amount you enter on the form should be your maximum limit excluding 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.

If you would like to bid by telephone please contact our team prior to the auction with your details of the lots you are interested in and your full name, mailing address, telephone number(s) and email.

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

All telephone bids must be received 24 hours in advance of the auction.

Please note that Oriental Art Auctions cannot be held responsible for being unable to contact you by telephone. We advise you to remain in an area where mobile communication has good reception.

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

VIEWING

VIEWING IN PERSON

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

VIEWING ONLINE

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

ESTIMATES

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

CONDITION REPORTS

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

We kindly request that you submit your wish for additional information as early as possible.

CATALOGUE ALTERATIONS

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

UNDERSTANDING BUYER’S PREMIUM AND THE FINAL PRICE YOU WILL PAY

All purchases are subject to a buyer’s premium of 28% including VAT per lot. When you successfully bid on any lot, the price you pay will be the hammer price (the value you bid at the auction), plus the buyer’s premium.

The premium is subject to VAT at the standard rate, with the exception of lots marked in the catalogue with a hash (#) where VAT applies to both hammer price and buyer’s premium.

Credit card payments are subject to a 4% surcharge on the final total.

You may present these documents in person at our saleroom or, if registering for a telephone, internet or absentee bid, by email.We may, at our discretion, ask you to provide a bank reference and/or deposit as a condition of allowing you to bid.

PAYMENT

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

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

BANK TRANSFER

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

CASH

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

CREDIT OR BANK CARDS

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

COLLECTION AND SHIPPING

If you attend an auction in person and are successful in your bid, you are free to collect and remove your item there and then once payment has been cleared.

If you are not able to collect in person, Oriental Art Auctions provide in-house packing and shipping possibilities as well as providing quotes for external shippers.

Please contact info@orientalartauctions.com and we will provide you with the various possibilities.

EXPORT OF GOODS

As you may be aware several countries prohibit the importation of property containing materials from endangered species, such as rhino horn, ivory, coral and tortoiseshell. If you are interested in bidding on a lot containing these materials and you wish to export please make sure you are familiar with all relevant customs regulations prior to bidding.

It is the buyer’s sole responsibility to obtain any relevant export or import license.

Please be aware that lots marked with the symbol Y may be subject to CITES regulations when exporting outside the EU.

CONDITIONS OF SALE

For further information on buying at Oriental Art Auctions please see our Conditions of Sale.

Notice to all bidders

As we wish to avoid unpaid bids in our auctions, please note the followingpoints before bidding. Bidders who have Chinese nationality must register using their name as stated on their Chinese resident’s identity card and Chinese passport, as a condition of participating in any auction. This rule is stipulated to prevent identity theft. If a bidder has entered a bid using a false identity, the company reserves the right to cancel any existing or future bid made by that bidder. Please carefully inspect and investigate the age and quality of original lots by yourself or have them inspected by your agents, in order to avoid any confusion or misunderstanding between the company and bidders.

The company has received legal advice from Chinese law firms, to the effect that anybidders who violate relevant rules or provide fake identity, phone numbers or proof of address, shall bear all liabilityand relevant costs, including lawyers’ fees, litigation fees, arbitration fees, notarial fees, translation fees, travel fees and communication fees. In some circumstances, the company or the seller may apply to prevent the bidder from entering the country where the company is based or prevent them from departing from China. Bidders are required to followt hese rules and the company’s terms and conditions.

VALUATIONS

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

CONSIGNING YOUR ITEMS FOR AUCTION

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

THE RESERVE PRICE

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

BEFORE THE AUCTION

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

SETTLEMENT

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

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.

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 45 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.

10. CONSEQUENCES OF SETTING ASIDE BY ORIENTAL ART AUCTIONS

10.1 The Consignor is familiar with the fact that Oriental Art Auctions, in the Conditions of Sale (being the General Terms & Conditions of Oriental Art Auctions and the Buyer in respect of a purchase at auction of movable property), reserves the right to set aside the Purchase agreement in the event that the Buyer shall exceed the term for payment.

10.2 The Consignor expressly acknowledges and agrees that Oriental Art Auctions have the right to recover any loss/damage and costs against the Buyer in case of the occurrence of a situation as set out in 10.1. Also the Consignor expressly acknowledges and agrees that Oriental Art Auctions have the right to claim specific performance when the Buyer has failed to comply with the period for payment, or alternatively, to proceed to set aside the sale, or alternatively, first to file a claim against the Buyer for specific performance which if unsuccessful, then to take steps to set aside the sale: the above at the discretion of Oriental Art Auctions.

11. UNSOLD ITEMS

11.1 Oriental Art Auctions are irrevocably authorized but never obligated to offer Items for sale at a later auction, hereinafter referred to as: “to resell”, or alternatively, to sell said Items within a period of ten days after a particular auction. Any such post-auction sale (“aftersale”) can only take place at a price that is at least the equivalent of the Purchase price less all costs to be borne by the Consignor to which the Consignor would have been entitled if the Item had sold for the reserve set at auction.

11.2 In the event of such an aftersale, the rights and obligations of the Consignor and Oriental Art Auctions by virtue of the present Agreement shall be equally binding and apply in full as if the Item had been sold at the particular auction.

11.3 Accordingly, the provisions set out in the present Agreement shall apply in full to any such resale or aftersale.

12. TRANSPORT/STORAGE INSURANCE ITEMS

12.1 All packaging materials in respect of the Items consigned to the auction sale may be removed or disposed of by Oriental Art Auctions unless expressly agreed otherwise by Oriental Art Auctions and the Consignor.

12.2 All the Items consigned to Oriental Art Auctions are insured for the value stated on the receipt, or alternatively for an appropriate value determined at the sole discretion of Oriental Art Auctions. against fire. theft, loss and damage provided that said Items are kept in the offices of Oriental Art Auctions or in other storage facilities chosen by Oriental Art Auctions. The Consignor is entitled to claim a receipt for the Items consigned to Oriental Art Auctions, which receipt indicates the value represented by the Items at the moment of consignment according to a preliminary estimate given by Oriental Art Auctions.

12.3 Oriental Art Auctions reserves the right to take measures for storing with a third party Items sent or brought to auction, and to charge the Consignor for any such costs in relation thereto.

12.4 Items which have been sent or brought in to Oriental Art Auctions and which have not been accepted for auction and which are not stored for [temporary] safekeeping, shall at the risk and expense of the Sender be returned to the Sender wholly at his own cost.

13. LIABILITY OF ORIENTAL ART AUCTIONS

13.1 Oriental Art Auctions accept no liability whatsoever for any damage to frames of paintings, or other works of ort, nor to any parts thereof such as glass coverings, passe-partouts, etc, except in case of damage caused wilfully or by gross negligence on the part of Oriental Art Auctions and/or his/her employees or representatives.

13.2 In no event shall Oriental Art Auctions be liable for any damage/loss caused by interruption to business, consequential damage/loss, damage/loss of property and/or indirect damage.

13.3 Furthermore, Oriental Art Auctions cannot be held liable for any accident or any form of personal injury suffered on or in the vicinity of the premises or surrounding areas in use for consignment, storing or viewing, for holding auctions or in use for picking up the goods sold, except in case of damage caused wilfully or by gross negligence on the part of Oriental Art Auctions and/or his/ her employees or representatives and/or except insofar as such accident/personal injury is covered by the insurance of Oriental Art Auctions.

13.4 Entering the premises or surrounding areas is entirely at your own risk.

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.