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A late 19th century inlaid walnut writing slope, together with two leather stationary cases, an oak pens stand and a collection of related calligraphy accessories in a wooden box.

A leather cased calligraphy set, together with a Chinese calligraphy set, a sealing wax set and a collection of sealing waxes etc.

A collection of various fountain pens, propelling pencils and calligraphy accessories in a four drawer collectors case, mainly part sections of fountain pens and late propelling pencils etc, the case 24x56x36cm (one hasp loose)

Six Chinese calligraphy brushes, hardstone and other handles.Qty: 6

Jugendstil-Kalligraphie, Kasan, Tatarstan, datiert 1912 Tempera(?) auf Papier. Kalligraphie in Form einer Steinschlosspistole, gerahmt von bunten Ornamenten im Jugendstil. Der übersetzte Text lautet: "Es ist von Salomo. Und es lautet: 'Im Namen Gottes, des Erbarmers, des Barmherzigen'" (Koran Kap. 27, Verse 30-31), in den Zwickeln der rosafarbenen Einrahmung steht rechts "Allah, möge seine Majestät erstrahlen", links "Muhammad, Friede sei mit ihm". Unten Bezeichnung des Ortes Kasan und Datierung 1330 (1912) sowie Name des Malers Husayn Karimof(?). An den Rändern leicht berieben, im Bildfeld links der Mitte eine kleine Reparatur. Im schwarz-silbernen Leistenrahmen (minimal bestoßen). Maße 30 x 55 cm. An Art Nouveau calligraphy, Kazan, Tatarstan, dated 1912 An Art Nouveau calligraphy, Kazan, Tatarstan, dated 1912 Tempera(?) auf Papier. Kalligraphie in Form einer Steinschlosspistole, gerahmt von bunten Ornamenten im Jugendstil. Der übersetzte Text lautet: "Es ist von Salomo. Und es lautet: 'Im Namen Gottes, des Erbarmers, des Barmherzigen'" (Koran Kap. 27, Verse 30-31), in den Zwickeln der rosafarbenen Einrahmung steht rechts "Allah, möge seine Majestät erstrahlen", links "Muhammad, Friede sei mit ihm". Unten Bezeichnung des Ortes Kasan und Datierung 1330 (1912) sowie Name des Malers Husayn Karimof(?). An den Rändern leicht berieben, im Bildfeld links der Mitte eine kleine Reparatur. Im schwarz-silbernen Leistenrahmen (minimal bestoßen). Maße 30 x 55 cm. Condition: II

A Kurdish/Sorani calligraphy scroll, possible verses from the Quran. H.44.5 W.23.25cm

A framed and glazed gilt on silk Ottoman calligraphy and musical instrument composition signed Sevil. H.35 W.30cm.

Lot of Asian porcelain including Blanc de Chine Guanyin, China 20th century, 20 cm high (damage), calligraphy holder with blue decoration of mandarin ducks, and Japanese cups for sake

A YELLOW JADE 'HUAN' DISC, INCISED WITH A LANDSCAPE AND A CALLIGRAPHY 晚清 黃玉山水詩文環 China, Late Qing dynasty. D: 8.7cm H: 1.6cm

Abushariaa Ahmed 94 (Sudanese b. 1960), untitled abstract gouache, signed, mixed media on paper, 40x31cm, f&g.His semi-abstract, colourful, mixed-media artwork and his distinctive ink drawings are rich with ornamental and patterned symbols of his Nubian culture and occasionally Arabic calligraphy. Abushariaa has exhibited extensively in East Africa and in Canada, the US, Germany, Denmark, Monaco and the UK.Provenance _ from a private collection located in Totnes

China, a famille rose porcelain teapot and ovoid vase ca. 1900, the teapot of barrel shape and decorated with the Eight Immortals, the ovoid vase with a boy on a water buffalo, the reverse with a calligraphy, with wood cover and stand (vase with small rim chips) h. 14,5-33 cm [2]

China, scroll painting with the seal of Li Keran, depicting dwellings in a mountainous river landscape, with calligraphy and seal 67 x 39 cm [1]

China, a famille verte porcelain plate, late Qing dynasty, early 19th century, decorated with a scholar playing qin to an attendant in an extensive mountainous river landscape, with two lines of calligraphy and seals (nicks to the rim, crackled glaze) diam. 22 cm [1]

China, a matched famille rose porcelain 'Wu Shuang Pu' cup and saucer, 19th century, variously painted with characters and calligraphy from 'The Book of Peerless Heroes', each with Daoguang seal mark to the base (cup with hairline, saucer with chip) diam. 15 cm [2]

China, famille rose porcelain baluster vase, 20th century, decorated with magpies on prunus branches, the reverse with calligraphy (minor rim nick) h. 58,5 cm [1]

China, four polychrome porcelain 'bird' tiles, 20th century, each variously painted with a bird seated on a flowering branch, with calligraphy and mounted in wood frame each 34,5 x 14 cm overall [4]

China, two hexagonal famille rose hatstands. late Qing dynasty (1644-1912), each variously painted with birds perched on flowering branches and calligraphy (some surface wear, minor frits) h. 26,5-27 cm [2]

China, a blue and white porcelain bowl, Kangxi period (1662-1722), with everted rim, the exterior painted with warrior scenes and calligraphy, the interior with boys at plat, the base with an apocryphal Chenghua mark (small firing crack to rim, a rim frit and a small frit to the standring) diam. 21 cm Written are two poems from the 15th century literate Zhang Kai about the history of Yingying. A stage adaptation from the Yuan Dynasty of a story of the earlier Tang Dynasty, known as the Romance of the Western Chamber, Xixiang ji. [1]

China, a hexagonal famille rose porcelain flower-pot, late Qing dynasty (1644-1912), decorated with a bird perched on flowering branches, the reverse with a calligraphy (surface wear, some iron spots) h. 13,5 x diam. 22 cm [1]

This porcelain covered jar was produced during the Tongzhi Era of the Great Qing Dynasty. It depicts hand-painted scenes of scholars and students and calligraphy writings. Qing Tongzhi mark on base (Da Qing Tongzhi Nian Zhi). Dimensions: 7.5''H x 8.5''diaCountry of Origin: ChinaCondition: Age related wear. Some color loss.

PERSIAN MINIATURE PAINTING, seated woman, calligraphy, album, mounted and framed, 31.5cm x 22cm.

Gorgeous hand decorated and silver plated from the 19th century, includes two tiny snuff spoons that function as lids. Ornate and decorated with calligraphy. Completed by a pendant hole to hang. Issued: 19th centuryDimensions: 2''L x 1''W x 2''HCondition: Age related wear.

CHU TEH-CHUN (1920 - 2014)Chu Teh-Chun luxury portfolio n° 47/99 entitled "Saison bleue" with six color lithographs and a calligraphy with a poem by Jean-Clarence Lambert - dd 2006 in the original plexiglass box with original plastic around it (THUS: never opened and exceptional condition!!) printed by "A Fleur de Pierre" - Paris - edition by Jacques Boulan CHU TEH-CHUN (1920 - 2014) luxe portfolio n° 47/99 getiteld "Saison bleue" dd 2006 met zes kleurlitho en een kalligrafie met een gedicht van Jean-Clarence Lambert - 45,5 x 35,5 - in de originele plexiglazen box met originele plastic errond (DUS : nooit geopend en exceptionele staat !!) gedrukt door "A Fleur de Pierre" - Paris editie van Jacques Boulan

A set of six Chinese still lifes and calligraphy image, watercolours on pith, framed

A large Chinese calligraphy image on pith, framed

A set of four Chinese silk scrolls, Republican Period, all with fresh colours, in fine satin stitch with birds amongst flowers perched in branches and with calligraphy, image size approximately 103 cm x 73cm and three other silk embroidered scrolls, late Qing dynasty, depicting birds or ducks, 21cm x 27.5cm, 57cm x 20cm and 102cm x 26cm (7)晚清民國 刺繡畫屏一組七件 Condition Report: one of the set of four with mould and staining to border and bottom of imageand all four with minor stains throughoutthe ducks 102cm x 26cm with staining and fraying to edges the two others wit some minor stains and marks Condition Report Disclaimer

Three calligraphic album pages with poetry, India and Persia, 17th century and later, Persian manuscript, ink, watercolour and gold on paper; including a quatrain from Sadi's Golestan signed 'Ali, one quatrain signed Anwar Sayyed Yusef and another unrecorded dated 1068 (?) AH, The largest page: 44.5 x 30.3cm        Condition Report: one the album page backed on newspaper, with several losses to the painting and the margins, smudges and losses to the calligraphy and minor stains; the other two leaves with some smudges and minor losses to the text areas and some creases.Condition Report Disclaimer

A Chinese bronze two-handled censer, Qing dynasty, of bombé shape, each side cast with four characters reading as wanshouwujiang, apocryphal six-character Qianlong mark on the recessed base, 24.5cm wide × 14cm high, weight 4194 grams清 乾隆款銅衝耳爐（克重4194g） Condition Report: polishing to surface and with white encrustations from the polishing compound around the calligraphy and under handles and some water marks and corrosion Condition Report Disclaimer

Ɵ&nbspChinese and Japanese Reference books including: I-Hsing Ware, China Institute of America, 1977; Bamboo Carving of China, Paperback, 1983; The Peony Pavilion Collection, catalogue, Christies, 1989; The Fragrance of Ink: Korean Literati Paintings of the Choson Dynasty (1392-1910); Masterpieces of Kosan-ji Temple: the complete scrolls of Choju Giga, 2015; Masterpieces of Chinese Tibetan Buddhist Altar Fittings in the National Palace, 1971; The Edward T. Chou Collection, Christies, Part One, 1980; New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, 2007 and approximately twenty-eight other volumes (approximately 36) Please note this lot is to be offered without reserve.中國以及日本藝術品參考書目一組36冊 Condition Report: all in used conditionsome catalogues annotated sold as viewed and subject to non return Condition Report Disclaimer

Koorosh Shishegaran (Iran, born 1945)Untitled (Tree) acrylic on canvas, framedsigned and dated in English and Farsi (lower left), executed in 201698.5 x 68.5cm (38 3/4 x 26 15/16in).Footnotes:Provenance:Property from the Varzi family collection, SpainShishegaran's simple but energetic signature style reflect the artist's mental picture of modern life. The coloured lines that twist and curve rapidly express states of complexity and confusion of the mankind in everyday life. The planned but seemingly subconscious movement of the artist's hand on canvas may also be interpreted as the modern deconstruction of traditional Persian calligraphy.Koorosh Shishegaran is a truly contemporary artist, who's works are free from the restriction of cultural, religious or political affiliation and his paintings fulfil no obligations towards traditional Iranian imagery.The intellectual freedom Shishegaran employs in his oeuvre is faithfully reproduced in the freely flowing curvilinear forms he paints. Yet Shishegaran is quick to remind us that whilst his forms may appear arbitrary and random, they are in fact meticulously planned and drawn out at length.This contrast between apparent freedom of form and the actuality of a planned composition reflect the nature of human action itself, where seemingly arbitrary acts are actually merely predestined, determined elements taking place in a causally regulated universe.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

Parviz Tanavoli (Iran, born 1937)Standing Heech fibreglasssigned 'Parviz' and dated '07' on the base, numbered 16/25, number 16 from an edition of 25, executed in 200759 x 28cm (23 1/4 x 11in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainNote:This work is accompanied by a certificate of authenticity signed by the ArtistReflections of Persia: The Varzi Collection of Modern and Contemporary Iranian ArtThe Varzi Collection of Modern and Contemporary Iranian Art offers a thoughtfully curated selection of works that showcase the diversity and richness of Iran's artistic heritage. Built by Hamid Varzi, this collection reflects both the cultural depth of Iranian art and his personal journey of staying connected to his homeland while living abroad. With a range of works spanning from early modern pioneers to contemporary artists, the collection provides a comprehensive look at the evolution of Iranian art across time and borders.Hamid Varzi, born in Tehran, moved to the United Kingdom as an infant and pursued his education at Trinity Hall, Cambridge University. After completing his studies, he returned to Iran in 1972, where he served in the military and played for Iran's National Hockey Team at the 1974 Asian Games. Eventually, Varzi relocated to Germany, where he established several successful commercial ventures over the next two decades. His return to Iran in 2000 marked a new chapter as he took on leadership roles in banking and industry before settling in Spain in 2017. Today, Varzi is an accomplished writer, with published works in novels, poetry, and screenwriting.The Varzi Collection, built over many years in Tehran and now housed in a grand villa in Marbella, Spain, mirrors the experiences of so many Iranian artists who, like Varzi himself, have navigated life abroad but remain deeply connected to their cultural roots. This dynamic collection is not only a personal expression of Varzi's dedication to preserving Iranian heritage but also an embodiment of the broader reality faced by millions of Iranians in the diaspora—rebuilding their sense of Iranian-ness in foreign lands while always carrying the essence of their homeland with them.What sets the Varzi Collection apart is its extraordinary chronological breadth, encompassing works that span both the early pioneers of Iranian modernism and the emerging talents of contemporary Iranian art. The collection is a seamless blend of traditional motifs and avant-garde experimentation, offering viewers a comprehensive journey through the evolution of Iranian artistic expression.The Varzi Collection brings together an impressive range of media and subject matter, spanning both early pioneers and contemporary voices in Iranian art. From the works of renowned figures like Marcos Grigorian, Parviz Tanavoli, and Monir Farmanfarmaian—who were instrumental in shaping the trajectory of Iranian modern art—to the younger generation represented by Rokni Haerizadeh, whose iconic painting from the Divan restaurant in Tehran is a highlight, the collection is both diverse and cohesive. Among the standouts are two rare early works by Farideh Lashai, including an abstract work on paper from the 1970s and a dynamic, expressive tree composition from the 1980s. Additionally, Bahman Mohasses' ghoulish head of a minotaur, one of his most recognizable themes, offers a haunting presence in the collection. The Varzi Collection reflects a wide spectrum of Iranian art, representing both male and female artists, emerging and established figures, and those working within Iran and abroad. It truly captures the richness and breadth of Iranian artistic expression across different eras and styles.In Varzi's collection, one can read the collective narrative of Iranian artists —the ability to adapt, rebuild, and thrive despite the many challenges of displacement. Each piece serves as a visual homage to the nation's enduring spirit, while the collection as a whole celebrates the richness of Iranian art across generations and across borders. As it moves to auction, the Varzi Collection is not only a unique opportunity for collectors but also a profound statement of cultural continuity and pride. Parviz Tanavoli: Heech The Father of Iran modern sculpture, Parviz Tanavoli was born in 1937 in Tehran, Iran. In 1955, Tanavoli was one of the very first students to enrol in the newly established Tehran School of Fine Arts. A few years later, he left Iran to further his education in sculpting at the Brera Academy of Milan. Tanavoli returned to Iran and established Atelier Kaboud, which became the birthplace of the most significant and avant-garde Iranian modern art movement, the Saqqakhaneh movement.In 1965, Tanavoli created his first Heech sculpture. His signature Heech series is composed of three Farsi letters in the Persian calligraphy style of nastaliq. Tanavoli protested against the empty overuse of traditional forms by giving new depth to the two dimensional calligraphy on paper and transforming it into a three dimensional object. A pioneer of his practice, Tanavoli has produced numerous Heech sculptures in various mediums such as bronze, ceramic, fiberglass and neon and in many different shapes, sizes and colours to expose people with the concept of 'nothingness'.This present sculpture of the Heech is a fine example of Tanavoli's use of fiberglass, a medium he embraced during his later work and through which he found great versatility in form and freedom of expression. To Tanavoli, the concept of nothingness has multiple layers of meanings and is not necessarily an expression of despair and hopelessness. One interpretation relates to Persian Sufism, in which nothing is an aspect of God, who creates everything from nothing. The other is that the physical shape of the word has an appealing volume and a life like form. This repetition of design in his oeuvre is also reflective of the traditional Islamic practice of repeating a craft in the quest for perfection.Tanavoli's practice focuses on the intersection of both traditional Persian folk art and contemporary practices in a career spanning over six decades.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

Aksam Tallaa (Syria, born 1963)Calligraphy mixed media on canvas executed in 2021159.5 x 129.5cm (62 13/16 x 51in).Footnotes:Provenance:Property from a private collection, UAEThis 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

A SILK CALLIGRAPHIC TEXTILE, OTTOMAN, CIRCA 17TH CENTURY with white calligraphy on a red ground, unframed, 44 by 75cmThis is a form of textile used in the tomb of the Prophet Muhammad. A comparable section of cloth with similar inscriptions, though on a green ground, was sold at Christie's, 7th April 2007, lot 314.

A KASHAN BLUE, BLACK AND WHITE GLAZED COCKEREL-HEAD POTTERY EWER, PERSIA, 13TH CENTURY the bulbous body on ring foot, the neck terminating in cockerel-head mouth, a band of interlacing reserved white strapwork forming cobalt circles with black floral motif, bands of sgraffito naskh on black ground above and below with Persian verses, a similar band of calligraphy around the neck, 24.6cm. highProvenance: Christie's London, 5 October 2010, lot 105. Previously in a Swiss private collection since 1974.

Signed Zhang Jiucheng (1092-1159), Calligraphy, ink on paper, signed and with four collectors' seals, 36.8cm x 29cm Provenance:Property of a Gentleman and by repute purchased in China in the early 20th century and by family descent.Zhang Jiucheng came in first place in the palace examinations of 1132, rising to the post of Vice Minister of Justice. A devout Buddhist throughout his life, he also went by the sobriquet "Wugou (Stainless) Layman." Maintaining friendly relations with the monk Dahui Zonggao, he was a lay disciple who fervently supported Chan (Zen) Buddhism. In the early Southern Song, when the court was still at war with the Jin, he supported the war faction and thus came into conflict with the powerful Prime Minister Qin Kui, who supported a pacifist approach. Found guilty of "slandering court policy with Zonggao," he was banished and lived in exile for fourteen years. This letter, also known as the "Palace Shrine Modelbook," was written for Fang Ci (1102-1172) between 1141 and 1142. The structure of the character forms, despite the influence of the two Northern Song calligraphers Su Shi and Huang Tingjian, is flowing and driving with the force of Mi Fu's style, giving it considerable character.張九成（1092-1159）款 行書《宮祠帖》鏡心張九成（1092－1159），字子韶。紹興二年殿試狀元，累官至刑部侍郎。生平尊崇佛教，亦號無垢居士。向與僧大慧宗杲友善，為禪門護法居士。南宋初，與金對峙，因挺身支持主戰派，觸怒了當權之秦檜，遂以「與宗杲謗訕朝政」罪名，謫居流放達十四載。 此札或是寫予方滋（1102-1172），則成書於紹興十一、二年間。字形結體雖有蘇、黃兩家遺韻，但見驅筆流暢，縱橫使轉之勢亦見米芾流風，頗富個性。 Condition Report: restoration to paper and ink writingtear to the paper and fadingCondition Report Disclaimer

A GARDNER "River landscape with sheep in foreground", oil on canvas, signed lower right, 46 cm x 57 cm, together with a watercolour by the same hand, 21.5 cm x 35 cm, VALERIE DUGAN "Alphabet", calligraphy study in green ink, signed and dated 95 bottom centre, 33 cm x 20 cm, three further decorative pictures and two mirrors (8)

A CHINESE BOTTLE VASEREPUBLIC PERIODDecorated with a young man listening to his lover playing the konghou, with her attendant at her side, the reverse with calligraphy, with a four-character Qianlong mark, 25.3cm.OFFERED WITHOUT RESERVE. 本拍品不設底價。

A PAIR OF CHINESE QIANJIANG-STYLE CYLINDRICAL VASESLATE QING DYNASTYEach painted with a swallow perched amongst blossoming flower branches and another in flight, with lines of calligraphy, dated to the yisi year, 28.4cm. (2)

An early 20th century Cantonese bamboo calligraphy brush tray, as a cargo boat carrying silks and scholars, 23cm long, Qing Dynasty, c. 1910

A JAPANESE SATSUMA DISH BY KOSHIDAMEIJI ERA, 19TH/20TH CENTURYThe lobed dish painted in polychrome and gilt with a quail flying amongst vegetation, the reverse signed Koshida; together with a U-shaped bowl painted with a scene from the Noh play Takasago and with calligraphy to the inside, inscribed Kutani zo underneath, 16cm and 7.7cm respectively. (2) OFFERED WITHOUT RESERVE

PRINCE ITO HIROBUMI (1841-1909)CALLIGRAPHYMEIJI ERA, 19TH/20TH CENTURYA Japanese kakejiku (hanging scroll painting), ink on paper; inscribed with a poem about a majestic mountainous landscape covered in mist and a solitary fragrant prunus tree; signed Shunpo sanjin and with three red seals; the scroll mounted on silk, the painting 134cm x 30.3cm; with two tomobako wood boxes, inscribed 'the calligraphic hanging scroll by Master Ito Hirobumi' and attested by calligrapher Kuroki Yasuo (1866-1924) and a Soken Rojin (dates unknown). (3)

° ° Reference books on Chinese art, culture, writing, porcelain, history, including later Chinese painting and calligraphy 1800-1950, published by Random House. See Gorringes website for further details of the books in this lot PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

An illuminated Qur'an, copied by Abu al-Qasim al-'Abidin al-Khawansari Qajar Persia, dated 1277 AH/1860-61 ADArabic manuscript on paper, 221 leaves, 20 lines to the page written in naskhi in black ink within cloudbands on a gold ground, inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa' script in red on a gold ground within cartouches, illuminated marginal devices, double-page illuminated frontispiece, preceded by a double page with prayers written within stylised gold-outlined cypress trees, f.3b and f.4a, succeeding opening illumination, with illuminated floral borders, floral lacquer binding 118 x 78 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 76-77, no. 15.The last leaf bears the seal impression of al-Raji ila Allah 'Ali Akbar, dated AH 1285/AD 1868-69.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

An illuminated Qur'an juz' (I) Ottoman Turkey, circa 1750-1850Arabic manuscript on cream polished paper, 18 leaves, 10 lines to the page written in naskhi script in black ink, inner margins ruled in gold and black, verse-endings marked by gold roundels with orange and gold dots, double-page illuminated frontispiece, red stamped morocco with a central almond-shaped medallion, with flap 270 x 193 mm.Footnotes:ProvenanceSotheby's, Fine Oriental Manuscripts and Miniatures, 19th April 1983, lot 178.The Shakerine Collection.TextQur'an, sura I, al-Fatihah, verse 1-sura II, al-Baqarah, verse 141.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 144-147, no. 33.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

An illuminated Qur'an juz' (V) Ottoman Turkey, mid-19th CenturyArabic manuscript on paper, 34 leaves, 7 lines to the page written in naskhi script in black ink, inner margins ruled in black and gold, verse-endings marked by gold roundels with orange and blue dots, f.1b with the juz' number written in gold and outlined in black, brown gilt leather with stamped floral central medallions, with flap 240 x 170 mm.Footnotes:ProvenanceThe Shakerine Collection.TextQur'an, sura IV, al-Nisa, verses 24-147.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 168-169, no. 39.F.1a bears a note in Arabic and Turkish stating that this juz' was copied in AH 1271/AD 1854-55.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A large illuminated Mamluk Qur'an Egypt, 15th Century, with an apparently added colophon dated AH 876 AH/AD 1472Arabic manuscript on paper, 282 leaves, 12 lines to the page written in naskhi script in black ink, verse-endings marked by groups of three red inverted commas, sura headings written in riqa' script in red, f.1a with a blue and gold shamsa, ff.1b and 2a with an illuminated frontispiece, f.282a with the end of sura al-Nas and the colophon ruled in gold and interspersed by gold and polychrome rosettes, f.282b with a shamsa bearing an endowment note, leaves significantly trimmed throughout, modern red leather binding, with flap 355 x 310 mm.Footnotes:ProvenanceWith G. Sarkovitch, Mount Street, London, 1984.The Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 200-205, no. 49.Accompanying the lot is a typewritten letter addressed to G. Sarkovitch, dated 25th May 1984, from H. J. Goodacre, Acting Head of the Arabic section in the Department of Oriental Manuscripts and Printed Books at the British Library, in which he gives his opinion of the manuscript following inspection. It is likely that this impressive manuscript of the Qur'an was copied during the reign of Sultan al-Malik al-Ashraf Sayf al-Din Qaytbay (reg. 1468-96). It was under Qaytbay's patronage that numerous Qur'ans were copied and endowed to foundations. For a recent example see a monumental Qur'an dated AH 894/AD 1489, sold at Christie's, Art of the Islamic and Indian Worlds, 2nd May 2019, lot 11.The manuscript has an added colophon in a different and less accomplished hand, stating that it was copied by 'Abd al-Latif al-Sayfi Uzbak on Wednesday 13rd Shawwal 876/25th March 1472. In the roundel at the beginning of the text, which is cut from a different manuscript, is a dedication to Uzbak, who was appointed Commander-in-Chief twice, once in Muharram 873/July-August 1466, again in AH 902/AD 1496-97, and who died on 24 Ramadan 904/5th May 1499. (See L. A. Mayer, Islamic Metalworkers and their Works, Geneva 1959, pp. 244-6). The hand in this roundel is of high quality, which would not appear to match with that of the main text and the colophon.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

An illuminated Qur'an, copied by al-Hafiz Ahmad al-Hilmi Ottoman Turkey, Edirne, dated AH 1279/AD 1862-63Arabic manuscript on paper, 306 leaves, 15 lines to the page written in compact naskhi in black ink, inner margins ruled in black, blue and gold, verse-endings marked by gold roundels, sura headings written in riqa' script in white on a gold ground within illuminated panels, floral illuminated marginal devices, double-page illuminated frontispiece with undulating vine and vine leaves in gold in outer margins, illuminated finispiece, brown leather gilt, covers with sunburst motif, with flap 207 x 140 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 172-175, no. 41.The colophon reads: katabahu al-'abd al-dhalil sayyid ahmad al-hilmi min talamidh al-sayyid muhammad al-khulusi afandi, 'The abject servant [of God] Sayyid Ahmad al-Hilmi [Seyyid Ahmed Hilmi], from among the pupils Muhammad al-Khulusi Afandi [Seyyid Mehmed Hulusi Efendi] wrote it.' Though there are several calligraphers with the name Seyyid Ahmed Hilmi, though none of these are recorded as being the pupil of the famous teacher Seyyid Mehmed Hulusi Efendi (d. AH 1291/AD 1874).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

An illuminated Qur'an, copied by Ibrahim al-Labib bin al-Hajj 'Umar al-Harbuti Ottoman Turkey, dated AH 1277/AD 1860-61Arabic manuscript on paper, 299 leaves, 15 lines to the page written in naskhi script in black ink, inner margins ruled in blue and gold, verse-endings marked by white-centred gold roundels with blue and orange dots, sura headings written in riqa' script in white on a gold ground within illuminated panels, illuminated marginal devices, double-page illuminated frontispiece, f.298b with a finispiece folio with the colophon within a cartouche against a profusely illuminated ground, brown leather gilt with stamped lattice-work central panel, doublures of embossed dark blue paper, with flap 193 x 133 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 170-171, no. 40.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

An illuminated Qur'an, copied by Abdullah bin Ali Naqi Ahmed Persia, dated Rabi' I 1239/November-December 1823Arabic manuscript on paper, 269 leaves plus 2 fly-leaves, 15 lines to the page written in naskhi script in black ink, Persian interlinear translation in shikasteh in red, inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa' script in red on a gold ground within cartouches, gold and polychrome verse markers in the margins, opening double-page illuminated frontispiece, later Qajar marginal texts (on the benefits of reciting each sura) in shikasteh within gold cartouches, main text followed by invocations and prayers in riqa', in floral lacquer binding 225 x 150 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, no. 8, pp. 54-55.The date in the colophon has been changed from 1239 to 1139.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

An illuminated Qur'an, copied by Ibn Muhammad Hashim Mahmud al-Musawi Qajar Persia, dated AH 1277 AH/AD 1860-61Arabic manuscript on paper, 306 leaves, 19 lines to the page written in neat naskhi script in black ink, inner margins ruled in blue and gold, verse-endings marked by gold and polychrome rhomboids, sura headings in written in riqa' script in red on a gold ground within cartouches, marginal devices marking nisf, juz and sajdahs, f.1b and f.2a with a double-page spread of illumination consisting of a central lobed panel with naskhi against a blue and gold ground, f.2b and f.4a with a double page of illumination, f.3 with a prayer written in nasta'liq script within a tree-shaped cartouche, floral lacquer binding decorated with flowers 143 x 88 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 73-75, no. 14.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

An illuminated Qur'an North India, Kashmir, late 18th/19th centuryArabic manuscript on paper, 395 leaves, 11 lines to the page written in naskhi script in black ink, interlinear Persian translation written in small nasta'liq script in red, inner margins ruled in gold and blue, verse-endings marked by gold roundels, double-page illuminated frontispiece, sura headings written in red within cloudbands on a gold ground, gold and polychrome verse markers in the margins, five further double pages with borders decorated with interlacing gold scrolls, light brown stamped binding 310 x 205 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 102-105, no. 21.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Nineteen small portraits of Timurid and Mughal rulers, possibly commissioned by the French Resident Colonel Jean-Baptiste-Joseph Gentil (1726–1799) while serving at the court of Nawab Shuja ud-Daula in Oudh Oudh, probably Faizabad, circa 1774-75pencil and gouache on paper laid down on card, identifying inscriptions in ink in a European hand, the nineteen circular paintings laid down on card covered with gold leaf and framed together paintings: the largest 46 mm. diam., the remainder 39 mm. diam.; frame 235 mm. diam.Footnotes:The nineteen portraits here appear to be closely related to likenesses used to illustrate Gentil's Abrégé historique des souverains de l'Indoustan ou Empire Mogol (History of the rulers of Hindustan or the Mughal Empire) completed in 1772. They are the work of a single artist, who has depicted the first eight rulers in the dynasty (up to and including Akbar) in three-quarter profile and the remaining eleven side-on. In this latter group (as well as with Akbar's portrait), we see a direct stylistic connection with those that appear in Abrégé historique. Additionally, the spellings of the emperors' names largely match those found in both Abrégé historique and a separate album of twenty paintings of Mughal emperors compiled by Gentil.Each of the rulers in the set is identified with an inscription in a French hand (perhaps that of Gentil himself). They present an almost unbroken list of the Timurid-Mughal sovereigns of India beginning with Timur and ending with Shah Alam II. They are as follows:Tamerlan 1: Timur/Tamerlane (reg. 1370–1405)Mirancha: Miran ShahSultan Mahmoud: Sultan Muhammad MirzaAboussaid: Sultan Abu Sa'id Mirza (reg. 1452–19)Omarchek: Umar Shaykh Mirza (reg. 1469–94)Babourcha: Babur (reg. 1494–1530)Oumahioun: Humayun (reg. 1530–40, 1555–56)Akbar: Akbar (reg. 1556–1605)Djehanjuir: Jahangir (reg. 1605–27)Chadjehan: Shah Jahan (reg. 1627–58)Alemguir 1er: Aurangzab, Alamgir I (reg. 1658–1707)Bahadourcha: Bahadur Shah, Shah Alam I (reg. 1707–12)Mouiezeaudin: Muiz ud-Din Muhammad, Jahandar Shah (reg. 1712–13)Rafioderdjat: Rafi ud-Darajat (reg. 1719)Rafioul daula, Chadjehan 2: Mirza Rafi ud-Daulah, Shah Jahan II (reg. 1719)Mametcha: Muhammad Shah (reg. 1719–48)Ametcha: Ahmad Shah (reg. 1748–54)Alemguir 2: 'Alamgir II (reg. 1754–59)Chaalem 2: Shah Alam II (reg. 1760–1806)Gentil was a French military officer who served in the French East India Company (or Compagnie des Indes Orientales), and spent nearly twenty-six years in India after his arrival in Pondicherry in 1752. Gentil went on to live in Hyderabad, Bengal and then Awadh, where he served Nawab Shuja ud-Daula as an adviser. Gentil was awarded with the title of French Resident of the court at Awadh and served in a military, political and strategic capacity until the death of Shuja ud-Daula in 1775. Following a three-year stint in West Bengal, Gentil eventually returned to France in 1778, though he was recalled to service to act as interpreter to Tipu Sultan's embassy to Versailles in 1787.Like Antoine Polier and Claude Martin, Gentil was one of several European military advisors and connoisseurs closely connected with the court of Nawab Shuja ud-Daula in Awadh. He had a keen interest in the cultures, religions, customs and architecture of the people of India, and established a private atelier employing several Indian artists to help illustrate this. He also collected numerous Indian and Persian miniatures and paintings in what would now be called Company style. At the time of his return to France, his collection comprised more than fourteen albums, as well as over a hundred Persian, Arabic and Sanskrit manuscripts on law, poetry and calligraphy, as well as numerous individual paintings. Presented to Louis XVI for the Royal Library, the Gentil collection today forms the core of the South Asian Collection in the Cabinet des Estampes of the Bibliothèque Nationale de France in Paris today.The Victoria and Albert Museum has an album put together by Gentil with 58 pages of paintings by various artists including Nevasi Lal and Mohan Singh, produced in Faizabad in 1774. To quote Archer, it 'contains a collection of drawings depicting the manners and customs of the people of India [...] and appears to be a compilation of Gentil's library of books in Faizabad, now scattered. It is clear that Gentil supervised and designed the album himself, dividing the pages into rectangles, some of which he faintly inscribed in pencil with the names of the subjects which he wanted the artists to include'. See M. Archer, Company Paintings, London 1992, p. 117ff., no. 89: especially to be noted are figs. 89(16) and (20), p. 120, showing figures, both Indian and British, drawn in a similar style.For a rare copy of one of Gentil's manuscripts, see Christie's, Paris, 22nd October 2013, Bibliotheque de Ducs de Luynes, Chateau Dampierre, lot 527: Abrégé historique des Souverains de l'Indoustan ou Empire Mogol– 1772 – à Faizabad par M. Gentil, Faizabad, 1773, with illustrations of Shah Alam II, a map of the provinces of Hindustan, with 238 pages.For further information on this lot please visit Bonhams.com

A collection of selected suras from the Qur'an and prayers, with numerous diagrams and illustrations of the Ka'ba and the Mosque of the Prophet at Medina, copied by Husain al-Rushdi al-Kastamoni Ottoman Turkey, dated AH 1260/AD 1844-45Arabic manuscript on cream paper, 148 leaves, 11 lines to the page written in naskhi script in black ink, inner margins ruled in gold and black, verse-endings marked by gold roundels dotted in blue and orange, titles and sura headings written in white cursive on a gold ground, one illuminated opening headpiece in colours and gold in rococo style, one further similar headpiece, numerous hilyehs, the names of Allah, the Prophet and 'Ali, stylised diagrams and two depictions of the Ka'ba and the Mosque of the Prophet at Medina, brown stamped leather binding with covers with diaper pattern in gold, doublures of green paper 103 x 78 mm.Footnotes:ProvenanceChristie's, Islamic, Indian and Southeast Asian Manuscripts, Miniatures and Works of Art, 24th November 1987, lot 78.The Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 276-277, no. 73.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A newly-discovered page from the Saint Petersburg Album: A female allegorical figure seated in a landscape, alongside a winged and grass-skirted peri, attributed to Abu'l Hasan and Manohar, laid down on a large illuminated album page, a fine calligraphic composition verso, copied by 'Imad al-Hasani Mughal, the painting 1602-04 and 1605-10, with later additions in Persia, circa 1750-58, the calligraphy dated AH 1016/AD 1607-08 gouache and gold on paper, inner borders with plain gold and floral motifs in gold on a pink ground, later outer borders depicting deer and other creatures amidst trees and foliage in gold on a plain ground, verso, a fine calligraphic page in nasta'liq script, copied by 'Imad al-Hasani, dated AH 1016/AD 1607-08, with wide outer borders decorated with floral and vegetal motifs in gold on a dark blue ground, in a 20th Century Iranian painted wood frame painting 268 x 180 mm.; album page 465 x 338 mm. For further information on this lot please visit Bonhams.com

Four Nishapur pottery bowls Persia, 10th Centurycomprising an imitation lustre bowl depicting a bird; an imitation lustre dish depicting a hare; a yellow-staining black bowl with pseudo-calligraphy; and a buffware bowl with pseudo-calligraphy the largest 21 cm. diam.(4)Footnotes:ProvenancePrivate UK collection.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

An illuminated Qur'an Qajar Persia, dated AH 1220/AD 1805-06Arabic manuscript on paper, 213 leaves, 12 lines to the page written in small naskhi in black ink with interlinear translation written in small naskhi in red, interlinear and inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa' script in red on a gold ground within illuminated cartouches, illuminated marginal devices marking hisb, juz and nisf, marginal commentaries in naskhi within cloudbands, double-page illuminated frontispiece in colours and gold, preceded by a double page of illumination comprising prayers written within gold cartouches on a gold floral ground, f.3b and f.4a, succeeding opening frontispiece, with gold floral illumination in the margins, double-page finispiece consisting of prayers written with gold cartouches against a gold floral ground, floral lacquer binding 130 x 88 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 60-61, no. 10.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A small illuminated Qur'an Qajar Persia, 19th CenturyArabic manuscript on paper, 306 leaves, 22 lines to the page written in small naskhi script in black ink within cloudbands on a gold ground, inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa script in red on a gold ground within cartouches, illuminated devices in wide margins marking the juz and nifs, marginal texts in nasta'liq script within cloudbands on a gold ground, illuminated double-page opening in colours and gold, floral lacquer binding, doublures with floral sprays 99 x 60 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, p. 72, no. 13.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

ANONYMOUS (MING/QING DYNASTY)A WHITE WHIPPETA Chinese painting depicting a recumbent white whippet amidst bamboo and lily sprays, ink and colour on silk, inscribed with four lines of calligraphy, dated to the dinghai year, four collectors' seals, two from Xiang Yuanbian, which read, Xiang Zijing jia zhencang and Xiang Molin jian cang zhang; the other two from Song Huizong, which read zheng he and yu fu bao hui, framed and glazed, 126cm x 66cm. OFFERED WITHOUT RESERVE 本拍品不設底價。Provenance: from The Robin and Rupert Hambro Collection.佚名 (明/清) 獵犬 設色絹本 鏡框題識：唐人所畫犬獸圖，喜其畫法工巧神采奕華，當時白犬過庭之意，描寫殆畫機暇，仿佛牝牡之外可也。丁亥御筆。鈐印：政和、御府寶繪藏印：項子京家珍藏、項墨林鑒藏章來源：Robin及Rupert Hambro收藏。

λ A CHINESE HUALI BRUSHPOT, BITONG18TH/19TH CENTURYOf simple cylindrical form, smoothly carved with straight sides, the base with a circular central plug, the wood of an attractive golden dark tone, together with two calligraphy brushes,16cm (the brushpot). (3)十八/十九世紀 黃花梨筆筒及毛筆 一組三件

An unusual 18th century Dutch tobacco box of oblong form, with brass top and bottom decorated with figures and calligraphy and copper floral decorated body, length 16cm, height 3cm, width 4.5cm.