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Ca. 19th century AD .A painted gesso architectural model of the Alhambra, Granada, of rectangular form, depicting a mihrab decorated in gilt and polychrome in the Nasrid style, the decoration typically Nasrid with lobed cartouches filled with pseudo-thuluth calligraphy with arabesques and interlocking vegetal tendrils, within a walnut wooden frame inlaid with various geometrical marquetry woodwork motives and ebony including a very little percentage of small thin cut pieces of bone inlay.Size: 520mm x 390mm; Weight: 3.31kgProvenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. Early 13th century AD. A Kashan lustreware pottery bowl of conical form, with slightly flared sides on a short flaring foot, decorated in a brownish-gold lustre, the well with a central roundel containing a floral interlace, surrounded by bands with bird motifs, the exterior with bands of calligraphy. Size: 175mm x 75mm; Weight: 215g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 18th century AD. A pottery kashkul (Beggar's bowl) of ovoid form rising from a concave base. The exterior consists of polychrome flower decoration and a line of calligraphy around the shoulder underneath the clear glaze. From both ends protrude small openings with attached metal chains for suspension. Size: 225mm x 140mm; Weight: 1.07kg Provenance: Private UK collection, formed since the 1990s on the UK and International Art market.

* Tanner (Robin, 1904-1988). An archive of correspondence between the etcher Robin Tanner and Fay and Ray Cori, 1970s to 1980s, approximately 60 items, including numerous autograph manuscript letters and cards between Robin Tanner (plus a small number from his wife Heather Tanner) and Fay and Ray Cori, some with their original envelopes, the letters from Robin Tanner in his distinctive calligraphic handwriting and discussing numerous topics including his work, the natural world, calligraphy, health issues, the weather, exhibitions, etc: "Etching the N.W. Wiltshire scene is an obsession with me, & if I had to say why I should insist that apart from giving me some satisfaction my prime reason is to try to give pleasure to as many people as I can", "The cuckoo arrived yesterday, & blackcaps & willow warblers or chifchaffs [sic] are well established... I've contrived to finish needling my large "JULY" plate, & hope soon to bite it.", "This is a "Fine" version of Perry's Osmiroid Italic pen, & on the whole I like it better, though it gives less contrast between thick & thin strokes. All these cheap fountain pens are poor..." and "I'm afraid my news isn't good. Because the prostate operation was ineffective a further one was proposed... revealed a malignant growth in the bladder.", exhibition catalogues including: Robin Tanner Memorial Exhibition, Garton & Co, 1988, Robin Tanner Etchings, Wine Street Gallery, June 2003, An Exhibition of English Pastoral Etchings, 1974/75, the book Wiltshire Village, by Heather and Robin Tanner, Impact Books, and the pamphlet What I Believe, all in very good conditionQTY: (approx. 60)

The Bacon Family Bible, with Some Competent Original Calligraphy [The Holy Bible, conteynyng the olde Testament, and the Newe …] London, Christopher Barker, 1578. Reversed calf with gilt tooling featuring the letter B, birds and snails.  39 x 24 cm. Lacks general title, prelims (begins with Cranmer’s Prologue), and final pages (after letter F of 2nd index). Full engraved title page to New Testament. Woodcuts, especially of the Ark of the Covenant and the Temple (Exodus, I Kings, Ezekiel). Full page woodcut at OT f. 349 “describing the forme of the Temple & citie restored”. Map of places mentioned in the Acts of the Apostles at NT f. 65. Device of Christopher Barker as colophon. See A.S. Herbert, Historical Catalogue of printed editions of the English Bible 1525-1961 (L. & N.Y. 1968), no. 155 (p. 87). At the end of the Prologue is written Cranmer’s Latin epitaph by Walter Haddon, followed by the name “Thomas Buttes” and the motto “Soyes sage et simple / Be wyse and playne”. Buttes has also written his name and motto on other pages, and has filled two blank pages with text, all in his graceful calligraphy, The first contains the metrical prayer against vice by Frances, Lady Abergavenny (1530?-1576?), followed by the Lord’s Prayer in metrical form composed as an acrostic on Buttes’s name. The second contains the prologue and text of the alleged Epistle of St Paul to the Laodiceans, followed by an eleven-line metrical prayer to Jesus Christ. The names Nicholas Bacon, Anne Bacon and Butts Bacon are also written in various places. Thomas Butts (1514-1592), of Great Ryburgh, Suffolk, the original owner of this bible, was the second of three sons of Sir William Butts of Barrow, Suffolk (1486-1545), court physician to Henry VIII and a close associate of Archbishop Cranmer. In 1536 he participated in Richard Hore’s voyage to Newfoundland - and survived to tell the story to Richard Hakluyt. He and his brothers married the three daughters of Henry Bures of Acton, Suffolk. Only the youngest, Edmund, had issue – a daughter Anne, who evidently inherited the bible.  She married in 1564 Sir Nicholas Bacon (c1540-1624), eldest son of Sir Nicholas Bacon (1510-1579), Lord Keeper of the Great Seal, and half-brother of the statesman-philosopher Francis Bacon. He was created Baronet Bacon of Redgrave, Suffolk in 1611 – the first person to hold this new title. Butts Bacon, whose name is also written on a page, was their seventh son. He was created in 1627 Baronet Bacon of Mildenhall, Co Suffolk.  (1)

A SAFAVID ALBUM PAGE WITH CALLIGRAPHY SIGNED BY SHAH MAHMUD NISHAPURI PERSIA, 16TH CENTURY AND LATER ink, gouache and gold on paper, comprising a calligraphic panel with seven diagonal lines in black nastaliq, the panel above with two lines in black nastaliq, the central panel with an early 20th century miniature painted in the Safavid style, two triangular illuminations, left hand corner with a small illumination panel, verso with two manuscript leaves inscribed in nastaliq 38.5cm x 25.5cm Shah Mahmud, known as Zarrin Qalam (“the Golden Pen”), was born around 1495 AD in Nishapur and learned calligraphy from his maternal uncle, Abdi Nishapuri and later from Sultan Muhammad Khandan.Though his very first dated writings (from 923 AH/ 1517 AD) relate to the reign of Shah Ismail I, it is very likely that in his youth he entered the court of Shah Tahmasp (r. 1524-1576 AD).  After living in Tabriz, when the Safavid capital moved from Tabriz to Qazvin, he immigrated to Mashhad where he lived and occupied himself with writing books in Nasta‘liq until the end of his life. He taught a number of students, among them Salim Nishapuri, Hājj Muhammad Tabrizi, Muhammad Husayn Bakhrazi, Sultan Mahmud Turbati and Qutb-al-Din Yazdi. Among his most important works are the first Qur’an copied in nasta‘liq (which is now kept in the Topkapi Museum in Istanbul) and the Khamsa-ye Tahmāspi (which is held in the British Museum). The last of his dated works was written in 982 AH/1574 CE, evidence that he lived in Mashhad until that time.     

A KUFIC QUR'AN LEAF ON VELLUM NEAR EAST OR NORTH AFRICA, 9TH/ 10TH CENTURY Arabic manuscript on vellum, seven lines to the page written in bold kufic script in black ink, vowel points marked with red dots, small pyramids of gold dots marking verses, a large medallion in gold marking the tenth verse, consisting of the word ashr in kufic script with concentric lobed cartouches, decorated with coloured dots, inscribed with later pagination (177 and 129 on recto, 178 and 89 on verso), mounted, glazed and framed 23.1cm x 32.5cm Bonhams, Islamic and Indian Art, 24th April 2012, lot 1. Text: Sura LXXVI, ad-Dahr, Time, or al-Insan, Man, part of verse 9-part of verse 13.This striking and fine leaf is one of several existent from the same Qur'an manuscript. One of its distinctive features is the horizontal stretching of the letters, known as mashq, regarded as the finest quality of calligraphy. Further leaves from this Qur'an manuscript are in the Iran Bastan Museum, Tehran (inv. 4289; illustrated in M. Lings, The Qur'anic Art of Calligraphy and Illumination, Westerham 1976, no. 5). Others have been offered at Christie's, Islamic Art and Manuscripts, 27th April 2004, lot 14; Sotheby's, Arts of the Islamic World, Doha, 19th March 2009, lot 303; and more recently, Christie's, Art of the Islamic and Indian Worlds, 6th October 2011, lots 1-3.

Sadequain (1930-1987)Untitled signed 'Sadequain 15/12/61' upper rightpen and wash on paper37.5 x 55.5cm (14 3/4 x 21 7/8in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris.The two lots offered in this auction were painted during his time in Paris, and illustrate the distinguished calligraphic cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com

Ismail Gulgee (1926-2007)Untitled (Abstract) signed and dated 'Gulgee '04 lower right; further inscribed 'Gulgee Collection 2004' versooil on canvas, framed44 x 29cm (17 5/16 x 11 7/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the artist.Born on December 25, 1926, in Peshawar, British India (now Pakistan), Gulgee's artistic journey began at an early age, nurtured by his father, who was himself an accomplished calligrapher. After completing his education in Peshawar, Gulgee enrolled at the prestigious National College of Arts, where he honed his skills under the guidance of renowned artists such as Shakir Ali and Ustad Haji Sharif.Gulgee's artistic prowess soon caught the attention of the art world, and he quickly gained recognition for his innovative approach to traditional Islamic calligraphy. His bold and dynamic interpretations of Arabic script, as seen in Untitled (Calligraphic) pushed the boundaries of the art form, earning him widespread acclaim both at home and abroad.In Untitled (Calligraphic) he has employed a subdued colour palette of oranges, reds, browns and blacks which evokes a sense of warmth and earthiness. Filling the entire composition, Gulgee's meticulous attention to detail is evident in the precise arrangement of the strokes as well as the subtle variations in line thickness and spacing that give the composition a sense of depth and dimension. Luminous and captivating, it is unsurprising that his works are a favourite among collectors and adorn the walls of palaces, museums, and private collections around the world.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art Online, London, 26th July - 6th August 2024, lot 54.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sadequain (1930-1987)Untitled (Figures in a forest) signed and dated 'Sadequain 19/3/62' lower rightpen on paper32.5 x 56.1cm (12 13/16 x 22 1/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris.The two lots offered in this auction were painted during his time in Paris, and illustrate the distinguished calligraphic cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com

Ismail Gulgee (1926-2007)Untitled (Calligraphic) signed and dated 'Gulgee 98' lower rightoil on ceramic tile, framed30.5 x 30.5cm (12 x 12in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the artist.Renowned for his versatility and innovation, Gulgee's foray into ceramic art represents a captivating departure from his more traditional works in painting and calligraphy. He has masterfully used oils in rich hues of blues, reds, whites, yellows, oranges and blacks to create an aesthetically unique work. The subtle variations in texture add further dimension to the piece, inviting viewers to explore the tile's tactile qualities. Beyond its aesthetic beauty, Gulgee's ceramic tile also carries deeper symbolic significance, serving as a testament to the artist's reverence for tradition and his commitment to preserving and celebrating the cultural heritage of his homeland.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, London, 5th June 2024, lot 53.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Two 20th century calligraphy works, to include: A hand-written passage from Four Quartets by T.S. Eliot, 27 x 38 cm; with another work inscribed 'Gloria in excelsis Deo - Glory to God in the highest and on earth peace', both ink on paper and framed (2)

LIU YONG (1719-1804)Calligraphy in Cursive ScriptInk on gold paper, hanging scroll Inscribed and signed Shian, with two artist's seals and three collector's seals. 71.5 x 28 cm (28 1/8 x 11 in)Footnotes:PROPERTY FROM A GERMAN FAMILY COLLECTION德國家族珍藏劉墉 草書 節臨《論草書帖》水墨金箋 立軸款識：張顛俗子，變亂古法，驚諸凡夫，自有識者。懷素少加平淡。石菴。鈐印：劉墉、石菴鑒藏印：少癸珍藏、陶葊藏書畫印、三山楊氏雪淑珍藏Provenance:Collected in China between 1894 and 1922, then handed down in the family by descent.來源於1894年至1922年間得自中國，後經家族流傳至今For further information on this lot please visit Bonhams.com

Five various artworks to include a photographic print after Harald Slott-Møller (1864-1937), a Japanese 21st century ink brush calligraphy titled 'Mariano' by Ai Kawauchi with a certificate of authenticity, a printed reproduction portrait after Werner Berges (1941-2017), a signed acrylic on canvas by Paul Hibbert, and a novelty tourist map of St. Ives. H.64 W.52cm (largest)

A PAIR OF ISLAMIC CALLIGRAPHER’S SCISSORS COMPLETELY COVERED IN GOLD KOFTGARI, OTTOMAN EMPIRE, 18TH CENTURY. In the Islamic world, one of the most highly valued arts is calligraphy. This pair of calligrapher's scissors is associated with the art of bookmaking. Covered in gold koftgari. Length: 26cm. Late 18th / Early 19th Century. – We offer in-house shipping services for all items, both within the UK and internationally, at reasonable rates. Items may also be collected at the Kempton Arms Fair in London on the 8th of December.

A Chinese blue and white export ware bowl; a 19th Century plate with basket of flowers decoration, character mark to the base; a small saucer dish with bird on a branch decoration beneath calligraphy; a 19th Century Chinese blue and white octagonal shallow dish decorated peony and fence pattern; and a collection of five various 18th / 19th Century tea bowls (some damage)

A modern Chinese cloisonne collectors plate - c.1991, made by The Ching-t'ai-lan Artist's Workshop, decorated with two blue birds in flight beneath branches of prunus blossom, peonies below, within an overlapping ruyi border, the reverse in blue with floral cloisons and a large decal of calligraphy to the base, 18.3cm diameter.

Pair of limited edition silver gilt 'The Congress of Europe Standing Cups and Covers', commemorating Jean Monnet's services to the cause of European Unity, designed by Hector Miller and Madeleine Dinkel for Aurum, the lids bearing carved portraits of eight statesmen including Adenhauer, Churchill, Macmillan and others, the bands of calligraphy in high relief quoting Monnet, no. 37 and 36/100, hallmarked Aurum, London 1973, H21cm, with certificates and original caseCondition Report:Gross weight 36.970 ozt

A Chinese porcelain Wu Shuang Pu wine ewer/tea pot. Decorated in famille rose and with extensive calligraphy, height 10cm.

BOWL FROM THE 12TH CENTURY | Kashan, Iran (12th century) | 12th century | ceramics with metallic glaze (chandelier), plate decorated with ornaments and calligraphy | 23.5 x 6.5 cm (diameter x height) | Bidders are asked to inquire about the condition of the item before the auction. any complaints will not be taken into account. | condition report*In case of missing photos, please feel free to contact us.

A CHINESE BLUE AND WHITE PORCELAIN DOUBLE GUORD VASElate 19th Century, with calligraphy panel rim, the body decorated with birds amongst flowers, 18cm high, a Chinese blue and white porcelain figure of a seated Emperor, 26cm high, a Chinese blue and white porcelain miniature vase with associated lid and three other blue and white ceramic items (6)

A PAIR OF CHINESE PORCELAIN SQUAT BALUSTER VASESlate 19th Century, Wehe twin handled necks modelled with salamanders, decorated with figures in interiors, fruit and foliage, each 14cm high, a Chinese porcelain saucer decorated with figures and panels of calligraphy, together with four 'Cantonese export' porcelain items (7)

A group of vintage Parker pens comprising 51 in black lacquer barrel with box,Parker roller ball, Gold capped ballpoint,a stainless steel ballpoint , 3 sets of osmoroid calligraphy nibs and 8 Platignum Fountain pens.

A TURKEY RUG OF 'SMALL-PATTERNED HOLBEIN' DESIGN approximately 175 x 135cm Provenance: The personal collection of the Late Robert Kime, LVO (1946-2022) This rug has been made to the design of a well known group of Ottoman rugs thought to date from the mid 15th until the mid 16th centuries. It is thought that these rugs were woven in western Anatolia, in the Ushak region. Most rugs from the group of the early period have a variant of a 'kufic' border design that is reminiscent of a type of stylised calligraphy that originated in the city of Kufa in the 7th century. However, this rug is different, and although the border has aspects in common with 'kufic' border designs, it unusual in its combination of design elements (for example the use of partial stellar motifs). The border is also uncharacteristically wide. The early group of rugs that the design of this piece is based upon derive their name from the painter Hans Holbein the Younger, as a rug of this design appears in his Portrait of George Gisze of 1532. However, early rugs of this design appear in the work of many European artists from the mid 15th until the 17th century, see: Mills, John 'Small Pattern Holbein' Carpets in Western Paintings, Hali, vol.1 no.4, 1978, pp 326-334. Among these are Piero della Francesca, Andrea Mantegna and Domenico Ghirlandaio. Perhaps most famously, an example of a rug of this type appears in a painting, artist unknown, that documents the Somerset Conference of 1604, a peace treaty to negotiate the end of the Anglo-Spanish war. This painting hangs in the National Portrait Gallery. Condition Report: Generally in good pile, and in largely original condition. A small number of small areas of re-piling and repair. Corrosion to charcoal wool, with darkest brown pile mostly lost. Lighter walnut brown also corroded, pile low but mostly extant. Selvages (side cords) not original, and missing in places. Uneven loss to both ends, with outer guard stripe partially lost The top has been backed with Hessian and velcro - this is to allow for hanging to a wallPlease see additional images for visual reference to condition Condition Report Disclaimer

Jar with cover (once part of a five-piece garniture) with ruby-red as background, two opened calligraphy scrolls depicting floral and butterfly motifs, and floral motifs and birds presented in the reserved panels, green and blue brocade ground decoration are finely painted on the shoulder and the rim of the base. Together with a wood stand.Reference:Similar jar can be found at Museu Calouste Gulbenkian in Lisbon.粉彩胭脂红地开窗花卉将军罐，中国，清朝，雍正时期（1723-1735）

Of square section, it is magnificently carved with two gilded five-clawed dragons chasing each other among the clouds, with archaistic carved motifs on each side; the base bears the inscription *yún xíng yǔ shī, wànguó xiánníng* (云行雨施，万国咸宁).Provenance: private collection, Rome.Catalog notes:The carving, decorative motifs, and form are similar to those of jade seals from the Qing court. This is an imperial-use inkstick, created by Wang Weigao in the sixth year of the Qianlong reign (1741), when he was invited to teach ink production at the Imperial Calligraphy Office of the Qing court.双龙玉玺墨，中国，清朝，乾隆时期（1735-1796）

The elegant decoration is designed as a horizontal Chinese scroll, depicting a mallard standing on a rock. On the reverse side is a calligraphy of the poem "han ying zhi ying tian ji yue." At the center of the base is the apocryphal square four-character mark in overglaze blue of Emperor Yongzheng.Catalog Notes:The poem is from "Niannujiao: Passing by Dongting Lake" by the Song Dynasty poet Zhang Xiaoxiang. The poem describes the serene scene of the moon's reflection on the water, blending with the distant moon in the sky. It evokes a feeling of tranquility and ethereality, capturing the poet's admiration for the beauty of nature.粉彩锦鸡花卉纹雍正年制款小碗 中国，中华民国（1912-1949）

A 19th century white metal Islamic scroll holder and a pen box, decorated with Islamic calligraphy carving.Measures approx. 45cm long.

An Islamic iron ka'abah lock & key with intricate carving of Islamic calligraphy.Measures 15.5cm tall x 10cm long.

A PERSIAN PAGE DEPICTING HORSES AND RIDERS, CALLIGRAPHY TO VERSO30cm x 31cm

Rare Persian, Islam, dagger richly decorated with engravings, silver koftgari on the blade, 19th century. Double-edged curved blade richly decorated with silver koftgari. Bone handle and scabbard, richly decorated with engravings depicting plant ornaments, animals and Arabic calligraphy. Minor damage to sheath. Length 38 cm.

ITEM: Oil lampMATERIAL: PotteryCULTURE: IslamicPERIOD: 11th - 13th Century A.DDIMENSIONS: 60 mm x 56 mm x 103 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Islamic oil lamps from the 11th to 13th centuries reflect both the practical needs and the artistic achievements of the medieval Islamic world. These lamps were primarily crafted from materials such as brass, bronze, and glazed ceramics, each with distinct regional styles. Metal lamps were particularly popular due to their durability and ability to withstand high temperatures, while ceramic lamps offered an affordable and widely accessible alternative. The basic form of these lamps consisted of a rounded body with a central reservoir for oil and an extended spout for holding the wick, but many variations existed depending on region and purpose. The lamps were commonly used in mosques, homes, and public spaces, illuminating interiors and enhancing night-time activities with a warm, consistent glow.Islamic oil lamps from this period were often decorated with intricate patterns and inscriptions, reflecting the flourishing of Islamic art and the integration of spirituality into daily objects. Geometric designs, arabesques, and calligraphy were popular motifs, often inspired by Islamic religious themes and the principles of aniconism, which discouraged the use of human or animal figures in religious art. Calligraphic inscriptions, typically featuring verses from the Quran, invocations, or blessings, were especially prevalent, emphasizing the connection between the object and spiritual life. These lamps were not just functional but also carried a symbolic and religious meaning, with the light they produced symbolizing divine guidance and spiritual illumination in Islamic thought.

An Indian brass charger, dia.55cm; together with two other similar Islamic examples with Islamic calligraphy. (3)

Yellow metal bangle with coloured hardstone panels interspersed with calligraphy, possibly Chinese, clasp stamped 18k

Japanese calligraphy vase, 30cm, together with a stoneware vase and a studio pottery vase (3)

A large Chinese Meiping vase painted with calligraphy.

Chinese 18-19th Century Glass white and mutton fat jade pendants Engraved with calligraphy Property of a gentleman From the collection of Peter Roe Dimensions: 2 in. (L)

Chinese 19th Century Two soapstone kylins  Seals on base Decorated with calligraphy Property of a gentleman From the collection of Peter Roe

Two Persian Iznik blue and white calligraphy arched top tiles, 28cm x 21cm, together with shards of a similar tile

Set of six framed Persian watercolours with calligraphy

A Quran, Possibly 17th/18th Century, handwritten on paper, eleven lines to each page, 408 leaves, written in black Islamic calligraphy, ruled back, surahs title written in red, verses marked by red dots and verse markers in the margins (one distressed maroon leather and cloth rebound volume) 13ins x 9ins x 3ins The leather binding/cover has wear and loss to the top right corner as well as to each side of the spine. The pages are generally in good condition with some staining and foxing

(Illumination.) An artist's sketchbook, A4 size, bound in black faux leather. Titled 'Styles of Illumination used during the Middle Ages'. 38 pages of fine m/s calligraphy with decoration and embellishment, gold and colour, in the manner of medieval manuscripts. No author/artist, no date - but late 20th Century. Copies of the Lord's Prayer, texts from Ecclesiastes and Genesis and a '17th Century Nun's Prayer'. Also a copy, again in medieval style, of Max Ehrmann's prose poem 'Desiderata', a work first published in 1927 but which was briefly popular for a period in the 1970's; together with ‘The Rohan Master. A Book of Hours. Introduction and Commentary by Marcel Thomas.’, New York, 1973. Large 8vo. Original cloth. Dust jacket; ‘Les Tres Riches Heures du Duc de Berry.’, Thames and Hudson, 1969. 4to. Plates. Slip-case (3)

Japanese antique lacquer calligraphy ? set comprising of stand with 7 interlocking boxes, liquid container with metal pourer & 4 dishes - the cover has slight fading & slight wear to edges ~ size of cabinet 23cm high 29cm wide & 20cm deep

An illuminated Safavid Quran, signed by Mohammed Sadiq, is dated AH 1085 / AD 1674. The manuscript is adorned with richly detailed illuminations, featuring vibrant floral and geometric patterns in gold, blue, and red. The carefully executed calligraphy is framed by intricate borders, with verses highlighted in gold. The Quran is enclosed in a later Qajar-era floral lacquered binding. Dimensions: 22.5cm x 12.5cm  Provenance: Previously owned by a titled gentleman.

This magnificent illuminated Safavid Quran, signed by Mohammed Amin Bin Ahmad Al-Maki Al-Kashani, is dated AH 918 / AD 1512. The manuscript features elaborate and richly coloured  illuminations with intricate geometric and floral designs in gold, blue, and red. The calligraphy is executed in fine black ink, with verses highlighted in gold. The Quran is housed in a beautifully decorated Qajar-era lacquered binder, adorned with a vibrant floral motif on the cover. Dimensions: 20cm x 13cm  Provenance: Previously owned by a titled gentleman.

A 19th-century Persian manuscript is a beautifully illuminated copy of the Masnavi, the renowned Sufi poetic masterpiece by Jalal al-Din Rumi. Bound in a fine hardcover, the manuscript features intricately hand-written Persian calligraphy, with sections elegantly adorned in gold and floral motifs. The text is divided into multiple columns per page, a format typical of classical Persian poetry manuscripts. Dimensions: 32cm x 22cm 

The box is designed to hold a rare copy of the Quran, dating to 1350 AH (1930 CE), as indicated by the certification page. The Quran features rich, gold-embellished script. The box is richly decorated, featuring Arabic calligraphy and delicate floral designs, centred by a raised depiction of the Dome of the Rock on its lid. The fine details suggest that it may have been created as a ceremonial gift. The interior of the box is lined with rich red velvet, providing both protection and an elegant presentation for the Quran it houses. Dimensions: 43cm x 33cm  Provenance: Christies London, 10 October 2014, lot 319

Early Qajar miniature painting, dating to the 19th century, vividly depicts an intense battle scene. The artwork showcases mounted soldiers, armed with swords, charging into combat while infantry soldiers engage in close combat. The painting is adorned with vibrant figures, each meticulously detailed with distinctive clothing and weaponry, capturing the chaos and energy of the battlefield. Above and below the main scene, the manuscript is framed by elegant Persian calligraphy, likely narrating the battle’s events. Dimensions: painting: 28cm x 19cm Frame: 49cm x 37cm  

This large Safavid Quran, dated ahead of AH 1119 / AD 1707. The illuminated Quran is beautifully adorned with intricate floral and geometric designs throughout its margins. The calligraphy is meticulously executed in fine naskh script, with verses separated by golden roundels. The leather binding, embellished with gilt floral motifs. Dimensions: 28.5cm x 18cm Provenance: Previously owned by a titled gentleman.

A 19th-century Qajar Qur’an features elaborate, illuminated pages framed by intricate geometric and floral designs typical of Persian manuscript artistry. The manuscript opens with a beautifully decorated double-page spread with vivid gold, blue, and red tones. The script is written in clear, bold calligraphy, framed within elegant borders, with side panels in many sections for commentary or recitations. Dimensions: 30cm x 19cm  Provenance: Previously owned by a titled gentleman.

the single piece steel skull decorated over all with stylised scrolling foliage, the head band with a border of calligraphy, square section spike finial, pair of plume mounts, one lacking, adjustable nasal bar, retaining screw lacking, cloth liner, camail of butted links.

79.5cm fullered broadsword blade chiselled with calligraphy and retaining elements of copper alloy inlay +RCANSDICANS+ to either side, bronze pommel of characteristic "wheel" form. For a discussion about this sword and its relationship with other swords from this period see Catalogue no. 17 Gothic to Medieval Swords and Helmets 1000-1550AD, A Private Collection - David Petty.

106cm fullered blade incised with the umbrella over a dual tipped Tulwar mark containing stylised calligraphy, characteristic hilt broad upturned guard and tapering D-shaped knuckle bow, solid dish form pommel with reeded domed top, cord bound grip, the whole retaining traces of applied yellow metal finish.

mounted with a 45cm shortened curved damascus blade chiselled with foliage and calligraphy on either side, characteristic iron hilt with dished disc pommel and waisted iron grip, the whole with traces of silver koftgari decoration.

74.5cm flimsy blade decorated with calligraphy and courtly figures to either side, characteristic iron hilt with downturned quillons, together with a further Indo-Persian sword with triple fullered watered steel blade, hilt damaged. (2)

Heilbronn [Statuten, Satzung, Reformation und Ordnung, Burgerlicher Pollicey des Heyligen Reychßstat Haylpronn. Nürnberg, J. Gutknecht 1541]. Seltenes und frühes Stadtrecht. Enthält Eidesformeln, Vormundschaftsrecht, Bestimmungen über Mitgift, Erbschaftsrecht, Bauvorschriften u. a. - Angereichertes Exemplar mit am Ende eingebundenen Statuten auf zwei Pergamentblättern, geschrieben von zeitgenössischer Hand in dekorativer Kalligraphie; ferner eingeb. ein zweiseitiger Druck des 16. Jhs. mit Titel Declaratio statutorum Heilbronnensium . EINBAND: Neuer Schweinslederband auf 4 Bünden unter Verwendung alter blindgeprägter Deckelbezüge. Folio. 33 : 21 cm. - ILLUSTRATION: Mit ganzseitigem Textholzschnitt. - KOLLATION: 6 (st. 8) Bll., 69 röm. num. Bll (st. 70). LITERATUR: VD 16, H 1396. Early and rare town charter of Heilbronn. With fullpage woodcut in text. Bound in two vellum leaves with further statutes, written by a contemporary hand in decorative calligraphy; also bound in is a two-page print from the 16th century entitled 'Declaratio statutorum Heilbronnensium'. New pigskin on raised bands in contemp. style using the old blindtooled covering. - Lacking title and 2 blank leaves. - Some fingerstaining, partly marginal defects (mostly restored with Japon), few mended corner defects, woodcut colored in few places. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000351 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000351 This lot can be purchased subject to differential or regular taxation.

SEVEN BOXES OF CERAMIC DINNERWARE AND DECORATIVE ITEMS, to include Wedgwood 'Signet Gold' dinnerware and tea ware, Poole dinnerware and tea ware in a twin tone grey, blue and pink, white Cashmere china dinnerware, pottery blue lava effect pottery plate blue with a sticker on back, a large collection of china mugs some designs birds, floral, Wrendale, etc. studio pottery orange coffee set signed Barnstable in the clay with calligraphy letters imprinted, Denby bowls in a jade green, four individual covered casserole dishes, Shamrock oval serving dish and water goblet, decorative plates with scenes of Holland and Paris, varies studio pottery jugs and mugs etc. Art Deco Artforum Cat 'Tranquillity' white stone, owl figures, coffee pots, etc. (sd/af), (7 boxes)

A VERY FINE 19TH CENTURY SPANISH TOLEDO GOLD INLAID STEEL PIN DISH, bearing Arabic calligraphy, 7.5cm diameter.

A VERY FINE AND UNUSUAL PERSIAN SAFAVID WHITE AND GREEN GLAZED POTTERY TILE, with raised Kufic calligraphy, 21cm x 21.5cm.

AN ISLAMIC OPENWORK STEEL PEN BOX, the top with silvered calligraphy inscription, 23cm long.