We found 19499 price guide item(s) matching your search

Two Islamic prayer boards, 19th century, one example with a bound handle, both with painted inscriptions,largest 54 x 29.5cm (2)

[12.99g, P] - a large 18ct gold and yellow stone cocktail ring, the stone believed to be a yellow topaz set within an 18ct gold shank, with Islamic marks for 18ct and XRF confirmed, the stone 22mm round and 15mm deep, assessed as 44ct

Unusual bronze aquamanile of a dove, possibly Islamic, raised on circular base, with restorations, 22cm highSquare patch to front of the bird, and seams to the sides, the legs and base appear to be replaced, split towards base of one leg

Islamic marquetry and mother of pearl inlaid occasional table 31cm wide x 31cm deep x 46cm highTop slightly bowed, otherwise just minor wear

Britains, Detail, Crusade Knights and Saracen Islamic Warriors. (1 box)

Early 20th century Persian Islamic Afghan Art Deco carpet floor rug. Having repeating shaped medallions in a red ground with patterned borders.320cm x 244cm approx

A Syrian Islamic copper vessel with detailed surface engraved pattern, 19cm high

A PLASTIC CHOCOLATE BOX OF MIXED COINS AND BANKNOTES, to include high grade O'Brien 10/- Z14X, O'brien and Peppiatt £1 notes others, a small Greek Minoan pendant, early copper Islamic other 1682, 1769 ireland h/Penny others, a small bag of coins with Silver etc

ISLAMIC. UMAYYADS OF SPAIN. 'Abd al-Rahman II bin al-Hakam. Silver Dirham, Dated AH 236 = AD 850/1. al-Andalus (Qurtubah/Cordoba). Very Fine.Reference: Album-342.Die Axis: 8h.Diameter: 23 mm.Weight: 2.01 g.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

ISLAMIC. UMAYYAD CALIPHATE. 'Abd al-Rahman bin Muhammad. Silver Drachm, Blundered date, circa AD 700-703. Sīstān. Arab-Sasanian type. Obv: draped bust resembling Khosrau II right, wearing elaborate mural crown; bismillah in Arabic in outer margin, no rabbi, trio of pellets after bismillah. Rev: fire altar with ribbons flanked by two attendants.Extremely Fine; an attractive, lustrous specimen.Ex Stephen Album Rare Coins, Auction 30 (18/01/2018), lot 117.Reference: Album-38A.Rarity: Very Rare.Die Axis: 3h.Diameter: 31 mm.Weight: 3.89 g.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

ISLAMIC. ABBASID. Al-Mansur, AH 136-158 (AD754-775).. Silver Dirham, AH 157. Madinat al-Salam. Diameter: 26 mm.Weight: 2.79 g.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

18th century Islamic rectangular casket inlaid with a geometric design with mother of pearl and horn, hinged lid and bracket feet W33cm

An Islamic brass scribes case with Islamic style decoration, 20cm long

AN ISLAMIC WHITE METAL COFFEE POT, the lid with a bird. 7.5ins high.

AN ISLAMIC BRASS OIL LAMP with heart shaped decoration. 17ins high.

AN ISLAMIC BROWN GLAZE VASE with small handle and spout. 10ins high.

A SPANISH ISLAMIC OCTAGONAL INLAID TABLE with inlay and calligraphy. 18ins high x 14ins wide.

AN ANTIQUE 12TH CENTURY B.C. ISLAMIC BRONZE DOUBLE OIL LAMP. 3.5ins high.

A VERY FINE LARGE PAIR OF 19TH CENTURY ISLAMIC ALHAMBRA STYLE SPANISH, possibly Toledo, MIXED METAL TWIN HANDLED VASES. 14ins high.

A RARE 18TH - 19TH CENTURY ISLAMIC CIRCULAR PLAQUE with calligraphy. 6ins diameter.

A FINE 19TH CENTURY ISLAMIC SPANISH TOLEDO GOLD INAID STEEL BOX. 5ins high.

A 935 silver and coral circular brooch, 35mm, a silver oval brooch, 40mm, an unmarked silver brooch with Islamic text, 65mm, with an unmarked silver brooch, 25mm, 42g

An Early Islamic Metal Ewer, with embossed decoration, the circular body inset with turquoise coloured beads, bird spout, 48cm high.

A GOLD AND SILVER-OVERLAID TOPHANE WARE VASE WITH OTTOMAN SULTAN’S TUGHRA Istanbul, Ottoman Turkey, dated 1297 AH (1880 AD), signed HamdiOf pyriform shape, resting on a short circular foot, rising to a tall flared neck, produced in the Tophane district of Istanbul, crafted from earthenware and entirely overlaid with red lacquer and resinous coating, the body enriched with alternating rows of black and gold almond-shaped designs, reminiscent of peacock's feathers or budding tulips, encircling a central sunburst medallion on each side, enclosing a tughra (calligraphic seal) of an Ottoman sultan, most probably Abdul Hamid II (r. 1876 - 1909), the foot and shoulders each bordered with narrow gilt bands, the base stamped with a floral rosette and impressed with the maker’s signature ‘Hamdi’.16cm high This piece is a striking example of Tophane ware, a distinctive Ottoman ceramic production closely linked to the urban workshops of Istanbul during the late 19th century, particularly in the area around the Tophane Fountain. Vases such as this were typically created as presentation items or for the growing export market of European collectors and diplomats drawn to Islamic art. The inclusion of the tughra and the date 1297 AH (1880 AD) reinforces its function as both a decorative and commemorative object, while the signature of the artist Hamdi suggests the presence of identifiable workshop production. 16cm high Qty: 1

AN ALGERIAN CORAL-SET SILVER AND WHITE METAL MINIATURE GUNPOWDER FLASK Algeria, North Africa, second half 19th centuryOf exaggerated curved, C-like shape, the crescentic flask made of chased and repoussé silver, the body with swirling foliate arabesques and rope-twisted bands, each domed terminal set with a polished Mediterranean red coral cabochon and further embellished with twisted wirework, the hinged lid surmounted by an additional coral-set finial and opening to reveal the powder compartment, the body pierced with suspension loops for attachment to a bandolier or belt, the form and decoration closely associated with the Kabyle and Berber silversmithing traditions of northern Algeria, on a black metal stand.9cm x 7cm excluding the stand These flasks were typically used by tribal horsemen and cavalry, both as functional powder containers and as status symbols. Similar examples have been highly sought after by collectors of Islamic, North African, and Maghribi arms and armour, as well as ethnographic art. For other comparable specimens, please see the Musée de l’Armée, Paris and the Musée National des Antiquités et des Arts Islamiques, Algiers. 9cm x 7cm excluding the stand Qty: 2

THREE TURKISH EXPORT EASTERN EUROPEAN POTTERY PLATES WITH OTTOMAN MOTIFS Prussia (Poland) and Ukraine made for the Turkish export market, ca. 1900 - 1930Comprising a Carl Tielsch porcelain covered serving dish (sahan) with pink scalloped rim, transfer-printed with floral sprays and decorated with a large moulded gilt rose finial, stamped on the base wih the maker's mark in blue (Eagle, Crown, and C.T. Initials) in use between 1880 - 1909 in the Prussian Alwasser factory in Silesia (modern-day Poland) and inventory numbers, the interior of the lid with similar markings; a pottery plate decorated with alternating crescents and stars on a turquoise ground and central crescent-star medallion, with a fainted almond-shaped stamp on the base; and another plate with floral tulip and lotus spray border in pink and green surrounding the Turkish symbol of red crescent and star in the middle, marked to reverse ВСЕУКРТРЕСТ (All-Ukrainian Trust - the common name of Budy Faience Factory ‘Sickle and Hammer’ in Kharkiv region), indicating Soviet-era production for the Turkish market.23.5cm, 24.5cm, and 22.3cm diameters respectively In the mid-1920s, the faience factory of Budy, also known as Faience Factory ‘Sickle and Hammer’, became the largest factory of the Ukrainian Kharkiv district. After the end of the First World War (WWI) and the resumption of trade with Turkey, the USSR Trade Mission concluded a manufacturing agreement on porcelain and faience tableware with Turkey and Egypt. One of the main suppliers was indeed the Budy Faience Factory among others. The stamp on the back of our plate (ВСЕУКРТРЕСТ, ФАРФ ФАЯНС СТЕКЛО, СЕРП И МОЛОТ БУД. З, РЕГ. У.Н.Х. №250) was in use between 1920s and 1930s. The floral and vegetal motifs are inspired by Ottoman and Turkish pottery designs mainly because a significant part of Kuznetsov’s production was oriented to the export markets of Asian and Islamic countries. 23.5cm, 24.5cm, and 22.3cm diameters respectively Qty: 3

AN ENAMELLED AND GILT JAPANESE-REVIVAL IMARI-STYLE POTTERY EWER Possibly Samson, France, late 19th centuryOf typical compressed pyriform shape, resting on a flared oval foot, rising to a tall neck with a bulging ring in the middle, and surmounted by a domed drop-shaped lid, with a curved handle and sinuous faceted spout on the sides, underglaze-painted in cobalt blue and iron red, overglaze-enamelled in gold, the body with moulded drop-shaped panels infilled with a qilin in a fenced garden, further enhanced with phoenixes in flight amongst chrysanthemum and peonies, the shape of the ewer inspired by Islamic models, the palette and motifs inspired by Japanese Imari and Arita wares, a perfect pastiche of Oriental influences in line with the gusto of 19th-century European collectors, unmarked. 36cm high Provenance: Christie's South Kensington, 7 August 2012, lot 121. 36cm high Qty: 2

THREE ISLAMIC MANUSCRIPTS OF TUNISIAN INTEREST Tunisia, North Africa, mostly late 19th - early 20th centuryArabic manuscripts on paper, comprising a printed extract of "The Pact of Security Law", an informative juridical booklet dealing with national security rules and practices in Tunisia, 17pp., 1 endpaper, in a plastified blue faux leather binding; a handwritten historical commentary of the various rulers and dynastic lineage in Tunisian history by the late Muhammad Bin Khalil al-Tawahi al-Jamal, 26ff., 1 endpaper, in a modern hardcopy marbled paper binding; and another handwritten account with dates and information about Tunisia's history and rulers, 93ff., 2 fly-leaves and 2 endpapers, bearing several dates on the last page (1266 and 1289 AH, ca. 1850 and 1873 AD), in a modern tooled morocco leather binding imitating antique Ottoman bindings.The largest text panel 24cm x 13.5cm, the largest folio 31cm x 20cm The largest text panel 24cm x 13.5cm, the largest folio 31cm x 20cm Qty: 3

THREE ISLAMIC BRASS PEN CASES WITH INKWELLS (DAWAT) Possibly Turkey or Egypt, 20th CenturyComprising three narrow rectangular brass pen cases, each of elongated form with hollow tubular bodies for storing reed pens, attached to lidded inkwells at one end for ink, the hinged inkwell lids decorated with shell-shaped thumbpieces, one of the pen cases inscribed in reversed thuluth script, the other two plain but sharing similar construction and proportions.The longest 24.5 x 5cm, the smallest 23cm x 6cm The longest 24.5 x 5cm, the smallest 23cm x 6cm Qty: 3

AN ISLAMIC-REVIVAL KUTAHYA-STYLE GILT POTTERY VASE Possibly Samson manufacture, France, late 19th centuryOf slender pyriform shape, resting on a short straight circular foot, with a tall tapering neck, the translucent white body painted in cobalt blue and turquoise, embellished with overglaze-enamelled gold decoration in the shape of cusped diamond-shaped cartouches infilled with arabesques, vegetal scrolling bands, and lush leafy palmettes on blue ground, alternating blue and white palmettes below the rim, the base unmarked.37cm high In the 19th century, collecting Islamic works of art became a major trend across Europe, which led several European potters to draw inspiration from the captivating shapes of Islamic artworks and produce their own interpretation of them. Turkish wares such as Kutahya and Iznik were one of the favourite models frequently ‘reinvented’ by European makers such as Samson and Theodore Deck in France, B.F.K. in Belgium and Cantagalli in Italy. For a similar pair of vases, please see Chiswick Auctions, 28 April 2023, lot 461. 37cm high Qty: 1

A KUFIC-STYLE GHUBARI SCROLL WITH ISLAMIC PRAYERS PROPERTY FROM A CANADIAN COLLECTION Possibly Northern India, 18th - 19th centuryArabic manuscript on paper, with two overlapping lines of black ink miniature ghubari script in angular Kufic style, with diacritics, each diacritic and dot infilled with inscriptions, the prayers divided into smaller sheets of stained paper, joined together and pasted onto a coarse cotton fabric.14.2cm x 215cm 14.2cm x 215cm Qty: 1

A MANUSCRIPT OF ISLAMIC GEOMANCY, ALCHEMY, MYSTICAL IMAGERY AND OCCULT SCIENCES Possibly Iran or the Levant, dated 1104 AH (1692 AD)Arabic manuscript on paper, possibly one of the geomantic and alchemical texts of Dhul-Nun al-Misri (d. 859 or 862), an early Egyptian Muslim mystic and ascetic of Nubian descent, 37ff., 1 fly-leaf, with varying number of lines of black ink naskh script to the page and several charts and diagrams for divination, infilled with magical numbers, occult symbols, letters, and drawings, including astronomical charts and abjad calculations in red and black ink, catchwords and marginal notes, the last page ending with a prayer and the date 1104 in a different hand, in a modern hardcopy leather-lined marbled paper binding.The folio 20cm x 14cm The folio 20cm x 14cm Qty: 1

A RARE ANATOLIAN JEWISH PRAYER RUG WITH HEBREW INSCRIPTION Western or Central Anatolia, 19th centuryOf rectangular form, handwoven in wool with a mihrab-style central niche in deep madder red, the stepped arch framed by an olive-green field and decorated with a menorah-like stylised candelabrum in pale blue and white, flanked by small floral devices, the spandrels with polychrome eight-petalled rosettes and geometric motifs, the main border with star-like motifs in alternating colours and a cream ground secondary border of floral meander, a Hebrew inscription reading אנכי (“Anochi”, “I am [the Lord]”) woven into the top band in cream wool against a red field, a reference to the Ten Commandments and one of the strongest markers of Jewish use. The design merges Islamic architectural models of the prayer niche with Jewish liturgical iconography, resulting in a syncretic Anatolian textile tradition, likely woven for use in a synagogue or private prayer setting.168.5cm x 126cm This type of rug belongs to a small group of Jewish prayer rugs made in Ottoman Anatolia, often in villages with mixed Muslim and Jewish populations. While following the broader Anatolian design language (notably the mihrab layout typical of Islamic prayer rugs), these works often include uniquely Jewish symbols such as menorahs, Stars of David, or Hebrew script, and were produced either by Jewish artisans or Muslim weavers for Jewish clients. 168.5cm x 126cm Qty: 1

Y AN ISLAMIC COMPENDIUM IN THREE PARTS Possibly Morocco or Tunisia, North Africa, dated 1190 AH (1776 – 1777 AD)Arabic manuscript on lined paper, 104ff., 1 fly-leaf and 1 endpaper, with 25ll. of sepia ink North African naskh script to the page, the text divided into three different parts, the first section dealing with the science of numbers, numerology, and calculations, with various charts, indexes and grids, the numerals written in both Arabic and Roman formats; the second section with commentaries and historical anecdotes by the scholar Muhammad Za'mi al-Abbasiya (?), of Andalusian origin, inscribed by the Tunisian calligrapher Seyyed Ibrahim; and the third section with prayers and further commentaries, the last page dated 1190 and signed by Al-Walad (?) al-Jamil, important words and passages in red, with marginal notes and catchwords, in a modern tooled brown morocco leather binding.The text panel 15.5cm x 10cm, the folio 21cm x 15cm The text panel 15.5cm x 10cm, the folio 21cm x 15cm Qty: 1

A SILVER PEACOCK FIGURINE WITH A DEDICATION TO HER ROYAL HIGHNESS THE PRINCESS AGA KHAN Possibly Mumbai, Maharashtra, Central India, early 20th centuryA finely crafted silver peacock figurine possibly used as card holder, presented mid-stride with wings spread in dynamic motion, with engraved plumage and mounted on a circular pedestal base, the tail with a thin opening, the base engraved “Presented to Her Royal Highness the Princess Aga Khan by Mrs Khatijabai Alijah Faizulla Nanjee”, the dedication likely referring to Princess Andrée Aga Khan, wife of Sultan Mahomed Shah Aga Khan III (1877–1957), born in Karachi and the 48th Imam of the Nizari Ismailis, a prominent figure in global diplomacy, Islamic unity, and humanitarian advocacy, notably serving as President of the League of Nations in 1937 and a key negotiator for Indian Muslims during British rule, the peacock acting as an enduring symbol of royalty, renewal, and divine protection in Indian culture, evoking grace and nobility, and perhaps resonating with the Aga Khan’s own cultural heritage and princely stature.16.5cm high 16.5cm high Qty: 1

A DAMASCUS-WARE SILVER AND COPPER-INLAID BRASS DISH WITH STELLAR AND FLORAL DECORATION Damascus, Syria, circa 1900A large circular brass dish inlaid in silver and copper, the field decorated with an elaborate radiating design of geometric stellar and stylised floral motifs, each petal and star meticulously highlighted in alternating metals, surrounded by arabesque scrollwork and intricate geometric interlace, the border with a profusion of palmettes, rosettes and copper-inlaid latticework, the rim finished with calligraphic cartouches and ropework, the reverse plain and fitted with a suspension loop for wall display, produced in the great tradition of late Ottoman and Mamluk-revival metalwork that flourished in Damascus around 1900, such pieces were admired and exhibited internationally, including at the British Empire Exhibition of 1924–25, where objects from the Palestine and Syria pavilions showcased the region’s craftsmanship and cultural heritage, an impressive example of Islamic metalwork and Middle Eastern decorative arts, and of interest to collectors of Holy Land, Levantine, and Palestinian art.37cm diameter 37cm diameter Qty: 1

HAJJ MEMORABILIA: TWO CHROMOLITHOGRAPHED HAJJ CERTIFICATES AND OTHER PRINTSTurkey and Egypt, 20th century Comprising two colour-printed certificates of the holy pilgrimage (hajj) to the Muslim sacred sites of Mecca and Medina, each in horizontal format, slightly different in size, both featuring a similar composition presenting large panoramic front and aerial views of the Masjid al-Haram with Ka’ba at its centre, the Prophet's minbar (pulpit) from which the first Islamic sermon was given, and the courtyard of the Prophet's mosque; three printed views of Mecca and the Masjid al-Haram, including a 1960s - 1970s reproduction of the aerial view of Mecca by Pierre Gabriel Berthault (1737 - 1831) titled in Turkish Mekke'nin Umumi Görünüşü; and another chromolithograph with a funeral procession on camel's back, 'Ali's sword Zulfiqar hanging on the side of the camel. (6) The largest certificate 47.5cm x 69cmThe largest print 46cm x 63.5cm The largest certificate 47.5cm x 69cm; the largest print 46cm x 63.5cm Qty: 6

THREE ISLAMIC MANUSCRIPTS Possibly Tunisia or Morocco, North Africa, and the Levant, 19th centuryArabic manuscripts on paper, comprising a commentary on Sheikh Tayeb al-Zain's journey to Malta in 1225 AH (1810 AD), 11ff., 1 fly-leaf and 2 endpapers, with 20ll. of sepia ink North African naskh script to the page, important words in red, with marginal notes, the last page dated the 17th day of Dhu al-Qasr (Qadah?) 1229 AH (31 October 1814 AD), in modern hardcopy marbled paper green and brown binding; a treatise on agriculture, an abbreviated version of an agricultural treatise by Ibn al-Awwam al-Andalusi, 17ff., 1 fly-leaf, 2 endpapers, with 21ll. of free-flowing black ink maghribi script to the page, important words in red, the last page and endpapers with an embossed rectangular stamp reading 'BATH', in modern hardcopy marbled paper burgundy red binding; and another manuscript with historical anecdotes and commentaries, 6ff., with 26ll. of sepia ink maghribi script to the page, important words and passages in red, in modern hardcopy marbled paper yellow and black binding.The largest text panel 23.5cm x 12cm, the largest folio 28cm x 20cm The largest text panel 23.5cm x 12cm, the largest folio 28cm x 20cm Qty: 3

A MAMLUK-REVIVAL DAMASCUS-WARE SILVER AND COPPER-INLAID BRASS OCCASIONAL TABLE Damascus, Ottoman Syria, early 20th centuryThe occasional table made of a detachable circualr brass tray top, richly inlaid with silver and copper in intricate arabesque and foliate designs, embellished with crescent moon motifs and scalloped epigraphic thuluth script cartouches around the outer border, raised on a foldable brass stand with matching silver and copper-inlaid strapwork with infinite knot motifs, the legs joined by cross-braced stretchers with spindle finials, the overall design echoing the opulence and craftsmanship of Mamluk metalwork, revived in Egypt and Greater Syria (Bilad al-Sham) during the late Ottoman period, with workshops in Cairo and Damascus producing ornate furnishings for both local elites and the growing Western export market for ‘Orientalist’ interiors, the table a testament to the enduring influence of Mamluk artistry on Islamic decorative arts, blending geometric and vegetal motifs with technical mastery in metal inlay.62.5cm diameter and 51.5cm high 62.5cm diameter and 51.5cm high Qty: 2

AN OTTOMAN BALKAN YATAGAN SWORD WITH SILVER SCABBARD The Balkans, Ottoman Western Provinces, dated 1225 AH (1809 - 10 AD)With a curved single-edged steel blade, inlaid in gold near the forte with an epigraphic inscription and the date on one side and a geometric star-shaped motif on the other, symbolising protection and good fortune, the hilt executed in silver, richly embellished with floral repoussé and intricate filigree patterns, accented by inset vitreous stones, probably replacing precious and semi-precious gemstones now missing, with a characteristic bifurcated ('double-eared') pommel displaying stylised floral motifs, elegantly framing the grip, accompanied by its silver scabbard exquisitely worked in repoussé, silver filigree, granulation, and applied wirework, densely covered in detailed floral and foliate decoration interspersed with architectural elements, reflecting the aesthetic influences of the diverse cultural milieu of the Ottoman Balkans and indicating the prestige associated with such personal weaponry.74.5cm long including the scabbard The yatagan (Turkish: yatağan), also called varsak, is a traditional Ottoman short sabre prominently used across the Balkans, Anatolia, and the Levant from the 16th to the late 19th century. Its distinctive form, featuring a slightly recurved blade, made it highly effective in close combat and popular among Ottoman infantry, particularly Janissaries and regional militia forces. Yatagan swords also held symbolic significance, often presented as ceremonial gifts or signs of authority and honor among Ottoman officials. The decorative elements on this particular specimen reflect the artistic fusion prevalent in the western Ottoman territories, where Islamic artistic traditions blended seamlessly with local Balkan styles, producing distinct regional weaponry renowned for both practical use and intricate craftsmanship. 74.5cm long including the scabbard Qty: 2

100 ARMS & ARMOUR AND ANTIQUITIES AUCTION CATALOGUES Reference libraryComprising approximately 100 specialist auction catalogues primarily focused on arms, armour, and militaria, including numerous issues from Thomas Del Mar Ltd., Christie’s, Czerny’s, and Hermann Historica, alongside a selection covering antiquities from Bonhams, Christie’s, and David Aaron, among others. The collection includes both single-owner sales and general auctions, spanning topics from Islamic and European weaponry to Classical antiquities and tribal art. A valuable reference archive for collectors, researchers, or dealers in the field. Qty: 100

A REPOUSSÉ SILVER HIRZ NECKLACE PROPERTY FROM A PRIVATE BRITISH COLLECTION Possibly Turkmenistan or Uzbekistan, Central Asia, late 19th - early 20th centuryA cylindrical silver amulet case (hirz) finely decorated in repoussé with floral and foliate motifs, divided into four sections by raised bands, each end domed, the body densely worked with scrolling leaves and blossoms, with attached silver suspension chain, traditionally used as a protective amulet or container for Qur’anic scrolls or talismanic prayers, a typical example of Central Asian Islamic personal adornment, with strong regional character and high-relief craftsmanship, often worn by women and children for spiritual protection.8.5cm longOverall weight 24.3gr. Qty: 1

209 ISLAMIC, INDIAN AND SOUTHEAST ASIAN ART AUCTION CATALOGUES Reference libraryAn extensive and valuable reference library of approximately 209 auction catalogues from Christie’s, Sotheby’s, and Bonhams, covering a wide range of Islamic, Indian, Himalayan, and Southeast Asian art. Includes important single-owner sales, themed collections, and major annual auctions from London and New York. Subjects include manuscripts, miniature painting, sculpture, jewellery, ceramics, textiles, and ethnographic objects. An indispensable resource for scholars, dealers, collectors, and specialists in non-Western art.

THREE ISLAMIC MANUSCRIPTS Mostly Kashmir and Northern India, 19th centuryArabic manuscripts on paper, comprising a volume described as the History of the Beginning of the World ( كتاب تاريخ مبتدأالدنيا - Kitab Tarikh-i Mubtada al-Duniya) by Ibn Ila al-Duniya, a later-added handwritten note disputing the attribution and presenting the tome as a biographical work on the lives of Arab scholars, poets and important personalities, 168ff.,1 fly-leaf, with 27ll. of black ink naskh script to the page, the illuminated opening bifolio with gold cusped arches and red borders with vegetal zig-zag fretwork, verse markers as gold roundels, titles in red, with marginal notes and catchwords, the last page inscribed by the calligrapher Ghilan Faqid Khan, in a tooled brown morocco leather binding with an inventory sticker on the front cover reading '539'; and two other manuscripts, one a possible compendium of Islamic law, respectively 130ff.,1 fly-leaf, 2 endpapers, and 255ff., 1 fly-leaf, 1 endpaper, both in tooled brown morocco bindings with Ottoman-style cusped arabesque medallions, with inventory stickers reading 69 and 182 on the respective spines.The largest text panel 21.5cm, x 12.5cm, the largest folio 28.2cm x 17.5cm The largest text panel 21.5cm, x 12.5cm, the largest folio 28.2cm x 17.5cm Qty: 3

AN ISLAMIC REVERSE GLASS PAINTING WITH RELIGIOUS CALLIGRAPHY Syria or Lebanon, dated 1352 AH (1933 - 34 AD)Of rectangular shape, painted in polychromes, white wash and gold, set against a white sheet of lined paper, presenting a bold calligraphic composition in thuluth and taʿliq scripts reading the name of Allah and a standard religious proclamation “God, may His Glory shine forth, is One alone, and has no associate”, signed by the maker Kamil and dated 1352, mounted and framed.66.5cm x 50.3cm including the frame Exhibited and literature: Alain Fouad George, Midad: The Public and Intimate Lives of Arabic Calligraphy, Dar el-Nimer for Arts and Cutlure, Beirut, 2017, cat. 71, pp. 288 - 89. Created a decade after the abolition of the Ottoman Sultanate, this glass panel remains deeply Ottoman in flavour. The calligraphy in thuluth and taʿliq scripts is pleasing to the eye, but not nearly as fine as the work of calligraphy masters. The artist signed his work with the name “Kamil,” without a surname, preceded by the colloquial Levantine expression shighil (“the work of”) rather than the customary formula ʿamal-i. These stylistic choices and the date set the production of this composition in Syria or Lebanon around the time of the French Mandate. Reverse glass painting was adopted in the Ottoman Empire from early modern Europe, where it was customarily used for images of saints. Religious works like the present one would have been displayed at home or in a religious institution (such as a Sufi lodge), but could also occasionally be found in another setting, such as an office or a café, depending on the subject. They reflect a folk strand in post-Ottoman Arabic calligraphy that evolved in the twentieth century towards such commercial outlets as street banners and cinema posters. 66.5cm x 50.3cm including the frame Qty: 1

237 ISLAMIC, INDIAN, SOUTHEAST ASIAN, EAST ASIAN ART & RUG CATALOGUES Reference libraryAn extensive and scholarly group of approximately 237 auction catalogues and gallery publications relating to Islamic, Indian, Himalayan, Southeast Asian, and East Asian art. Includes a complete or near-complete run of Simon Ray and Finch & Co. publications, as well as important rug and carpet sales from Sotheby’s, Christie’s, and Bonhams. Subjects covered include sculpture, ceramics, manuscripts, textiles, and ethnographic objects, offering invaluable reference for collectors, curators, and researchers. Qty: 237

AN ILLUMINATED OTTOMAN CALLIGRAPHIC COMPOSITION IN THE SHAPE OF A SHIP (SAFINAT AL-NAJAT) Possibly Ottoman Western Provinces, late 19th - early 20th centuryInk, pencil and opaque pigments heightened with gold on paper, the central field presenting an elaborate calligraphic composition in muhaqqaq script in the shape of an Ottoman galley with the Turkish ayyildiz flag depicted on each of the three masts, possibly a reference to the Ship of Salvation (safinat al-najat) mentioned in the hadiths, the calligraphy bearing the names of the Seven Sleepers of Ephesus (Ashab Al-Kahf) and their dog Qitmir, a story found in the Holy Qur'an, sura al-Kahf (18), the panel believed to act as a talisman of safe passage, the borders enhanced with typical Islamic manuscript illuminations in polychromes and gold, mounted, glazed and framed.68.5cm x 57.1cm including the frame Provenance: Bonhams London, 6 October 2008, lot 56. 68.5cm x 57.1cm including the frame Qty: 1

TWO ISLAMIC MANUSCRIPTS Possibly Lebanon or Tunisia, North Africa, 19th and 20th centuriesArabic manuscripts on paper, comprising a handwritten commentary on The Virtues of Sidi Mohammed al-Jallaz, and The History of al-Farwan by the scholar Hajj Abi Wajd Allah al-Mu'tam, 13ff., 1 fly-leaf, 2 endpapers, with 20ll. of free-flowing, cursive, black ink naskh script, titles, diacritics and some vowels marked in red, incomplete, in modern hardcopy marbled paper green and white binding; and another religious manuscript listing the prominent landmarks of Muslim Saints in Qayrawan (Tunisia) and North Africa, by Muhammad Issa (Al-Qanuni), 107ff., 2 fly-leaves, 1 endpaper, with 26ll. of North African naskh script in black, yellow, green, red and blue inks, important passages highlighted in different colours, occasionally the text block shifting to a double-column list, with annotations and numbers in the margins, catchwords, the last page dated 1290 AH (1873 AD), in a modern hardcopy marbled paper red, yellow and green binding.The largest text panel 17cm x 10cm, the folio 23.5cm x 17.5cm The largest text panel 17cm x 10cm, the folio 23.5cm x 17.5cm Qty: 2

A NAZWA STYLE QURAYSHIA TRIBE BRASS DALLAH COFFEE POT Bahrain or Saudi Arabia, early 20th centuryOf classic flared cylindrical shape, rising from a wide splayed rounded base, engraved throughout with overlapping bands of vegetal scrollwork, fretwork and stylised flower heads, the tall conical lid surmounted by a pointed finial, with its distinctive ‘saw-tooth’ hinged lid-catch, with a boldly arched spout decorated with further floral designs and a curved handle on the opposite side, the overall design associated with the Qurayshia tribe, fitted with original chains, just below the rim a gold and red seal stamped in Arabic, testifying to the 'superior quality' of the ware, the base left plain displaying natural patina from age and use.32cm high This type of dallah, known as the ‘Nazwa’ style (دلة نزوى), is highly prized in the Arabian Gulf, with close links to Bedouin hospitality and coffee culture (qahwa), particularly among the Qurayshia tribe. This distinct shape is easily recognisable by the strong arch of the spout and the flared lower section. Early 20th-century examples from Bahrain and Eastern Saudi Arabia are increasingly rare, representing an important part of Gulf material heritage and Islamic decorative arts. Such pieces were often used in majlis gatherings, where serving coffee is a symbol of hospitality, social status, and tribal identity. For a related example, please see the collection of the Bahrain National Museum. Other published examples can be found in Traditional Metalwork from Bahrain (Bahrain Authority for Culture & Antiquities, 2012). 32cm high Qty: 1

A SELECTION OF PHOTOGRAMMETRIC ELEVATIONS OF THE ARCHAEOLOGICAL SITE OF TAQ-I BUSTAN (III) The Institute of Oriental Culture, University of Tokyo, Japan, 1983A rare scholarly publication titled “Taq-i Bustan III: Photogrammetric Elevations”, produced by the Institute of Oriental Culture at the University of Tokyo in 1983, constituting part of the Tokyo University Iraq-Iran Archaeological Expedition, documenting in meticulous detail the famed Sassanian rock reliefs located at Taq-i Bustan, near Kermanshah, Iran, including an introductory booklet with the proceedings of the expedition, and detailed photogrammetric elevation plates, a technique utilising precise photographic measurements to create highly accurate and scaled architectural drawings, capturing the intricate carvings of Sassanian rulers, mythological figures, and ceremonial scenes, providing invaluable insights into the iconography and artistry of the Sassanian Empire (224–651 AD), some key plates with precise renderings of the investiture scenes, hunting reliefs, and royal portraiture, acting as a critical resource for researchers, historians, and archaeologists interested in the visual culture, ceremonial symbolism, and political propaganda of Pre-Islamic Iran, in a large hard brown presentation box.The booklet 34.5cm x 26cmThe plates 77cm x 58cmThe box 81cm x 63cm Qty: 3

AN OTTOMAN CARVED WOOD CALLIGRAPHIC PANEL (LEVHA) Ottoman Turkey, dated 1323 AH (1905 AD)Of rectangular shape, the calligraphic panel made of carved wood in relief, mounted on a teal blue velvet ground, reciting the Islamic Shahada (Declaration of Faith) in elegant thuluth script at the top, below it an additional line from the Qur’an in similar style, the corner cartouches adorned with ornate floral scrollwork and tughra-like monograms, dated 1323 AH, corresponding to 1905 CE, glazed and framed. The panel 31cm x 26cm, 41cm x 36cm including the frame Inscription: “Lā ilāha illā Allāh, Muhammadun rasūlu Allāh”(There is no god but God, and Muhammad is the Messenger of God) The panel 31cm x 26cm, 41cm x 36cm including the frame Qty: 1

TWELVE OTTOMAN AND PERSIAN LEATHER MANUSCRIPT BINDINGS WITH GILT, TOOLED AND EMBOSSED DESIGNS Ottoman Turkey and Provinces, and Iran, 17th to 19th centuryA rare and impressive group of twelve Ottoman and Persian morocco and calf leather bindings, each cover richly decorated and occasionally painted in polychromes, featuring tooled, stamped and embossed geometric and arabesque motifs, some with intricate floral patterns, central medallions and corner-pieces, most with characteristic envelope flaps, several incorporating marbled endpapers, a traditional hallmark of Ottoman bookbinding, the vibrant crimson and deep ochre tones highlighting the luxury materials and the refined skills of Islamic master bookbinders.The largest 33.3cm x 24cm, the smallest 21cm x 15cm Ottoman bookbinding developed as a distinct art form from the 15th century, blending Persian and Islamic influences with unique Turkish styles. Craftsmen employed complex techniques, including gilding, burnishing, delicate tooling, and sometimes lacquering, to create covers that were both protective and highly decorative. The use of envelope flaps is a distinctive feature of Islamic bookbinding, serving to protect the manuscript edges. Bindings such as these would have been commissioned for Qur’ans, poetry, and scholarly works, underscoring the owner’s wealth and cultural refinement. The survival of a matched group in such variety and quality is unusual, illustrating the evolution and breadth of the Islamic decorative arts of the book in the 17th, 18th and 19th centuries. The largest 33.3cm x 24cm, the smallest 21cm x 15cm Qty: 12

AN ISLAMIC PARCEL GILT AND WHITE METAL OTTOMAN BELT, C.1900. the decorative belt in parcel gilt and white metal with various and bead designed decoration, 90cm long. CR* Some general wear, good overall condition, minor losses.

A 19TH CENTURY MAMLUK REVIVAL BRASS PLANTER, decorated with bands of Islamic script and repeating foliate designs, of tapering form, H 19 cm

A group of books on Chinese Art and Antiques including Metal Work of The Islamic World and Chinese Art by Daisy Lion - Goldschmidt

Islamic Book Bindings together with two other book related titles

SMALL INLAID ISLAMIC TABLE 13" HIGH

ISLAMIC CIRCULAR BRASS TOPPED TABLE ISLAMIC CIRCULAR BRASS TOPPED FOLDING OCCASIONAL TABLE

A small collection of Islamic / Persian mixed metal canisters and pots. (6),

An Islamic intaglio pendant, the rectangular plaque with carved and painted Islamic religious script and flowerheads, to a plain mount, plaque dimensions 33 x 42mm. £100-£150 --- Condition Report Gross weight 18.4gm.