Search Results: Islamic Art from Archive

Facsimile of the first and only edition. 2, 96 p. of Arabic text on calligraphy art by Mehmed Munis zade, an Ottoman Turkish calligrapher lived in Cairo where he taught in the school of improving calligraphy since it's establishment. Printed by the order of Ismail Pasha, Khediv of Egypt in the lithiograph printing house of the Egyptian state.

Approx. 1000 p. copied in 948 AH. (1541 AD.) includes 6 fully illuminated pages. copied in neat elegant Naskh script. One heading illustration to the first p. All pages out-ruled and under linen in gold In classic Ottoman binding contains 5 Shamsa on the boards an flap. Corners pressed and illuminated in gold. Titled in gold on the back of the flap. A fine Ottoman example.

22.5x18 cm. Text of Hadith: hardening of heart is a cause of satiety. Black ink on paper out-ruled in gold inside fine illustration signed in neat Ottoman Turkish script: Muzehhibesi Rikkat 1364, illustrated by Rikkat 1945. Rikkat Kunt (1903-1986) was an academic and illustration artist. Hâfiz Osman (1642-1698) was a Dervish and Islamic calligrapher, born in Istanbul. He was tutor to the sultans Ahmed II, Mustafa II and Ahmed III, and was esteemed by the sultan Mustafa II, who held his inkwell as he wrote. Hâfiz Osman is credited with establishing the hilye. A hilye is a calligraphic panel containing a hadith-based text describing the Prophet's physical appearance and attributes. Hâfiz Osman incorporated such texts, which had been popular for some time, in a formal design that soon became standard for this art form. Hilyeler came to be used as wall decorations or surface adornments, fulfilling much the same function as figurative paintings in other religious traditions. While… Read More

22 x 15.5 cm. 50 p. Of Arabic text contains some Quranic Suras. Copied by the well-known Ottoman calligrapher Ali el Vasfi.

32x25 cm. Thuluth and Naskhi in black ink on paper illustrated and fexed on illustrated paper in golden flworal shapes. Signed in wite ink in Thuluth: Katabahu al Hajj Kamil. Ahmed Kamil Akdik is one of the last great Ottoman calligraphers. Born in the Fındıklı neighborhood of Istanbul in 1861, Ahmed Kâmil displayed an interest in the art of calligraphy from his earliest years in primary school. In 1879 he began to study thuluth (sülüs) and naskhi (nesih) scripts with the most renowned calligrapher of the era, Sami Efendi (1838-1912), and after earning his certificate in 1884 with the approval of Şevki Efendi, he became one of the foremost Ottoman calligraphers. His certificate (icazet) is preserved in the Library of the Topkapı Palace Museum.
After beginning to work for the Divan-ı Hümayun (the Ottoman Imperial Council) in 1894, he learned from his teacher Sami Efendi the divani and celi divani scripts, as well as the inscription of the tuğra, or imperial monogram, and replaced his teacher… Read More

Extra ordinary lithograph of Dalail al Khairat originally copied by the well-known scribe Halil Shukri (Sukru) the student of Suleyman Vehbi. In a Rococo Ottoman Style binding of the period of the Sultan Abdul Mejid. Printed in the Imperial press, Istanbul 1262 H. and completely illustrated by hand with two miniature of Mecca and Medina. Halil Sukru came from Bursa where he learned from the well-known scribe Suleyman Vehbi (wrote the miniature Hiliye no. 000043 in our inventory) . He was a Nakshibandi Hafiz , wrote a Qur'an in 1252 and appointed as a calligraphy teacher in Mekteb-i Maarif in İstanbul where he dead after 1268 H (1851) .often known as Imam al-Jazuli or Sheikh Jazuli, was a Moroccan Sufi leader of the Berber tribe of the Jazulah. He is best known for compiling the Dala'il al-Khayrat, an extremely popular Muslim prayer book. This book is usually divided into 7 sections for each day of the week.[1] Al-Jazuli is one of the seven saints of Marrakesh.
Al-Jazuli lived in the historic Sous… Read More

Original printer wrappers, many diagrams and photographic illus. Comprihensive study on the Kufic script during the first five centuries of al Hijra, with comparative study between its development in Egypt and the other parts of the Islamic world.

26 x 16.5 cm. 131 p. in Ottoman Turkish. ornamented boards of contemporary leather binding. With 20 contemporarily colored miniatures. Mahammad bin Suleyman (Classical Azerbaijani: محمد سليمان اوغلی Məhəmməd Süleyman oğlu), better known by his pen name Fuzuli (Azerbaijani: فضولی Füzuli; c. 1494 – 1556), was an Azerbaijani, of the Bayat tribes of Oghuz, poet, writer and thinker. Often considered one of the greatest contributors to the divan tradition of Azerbaijani literature, Fuzuli in fact wrote his collected poems (divan) in three different languages: in his native Azerbaijani, Arabic and Persian. He was well-versed in both the Ottoman and Chagatai Turkic literary traditions as well as mathematics and astronomy Wikipedia

The author was curator of Islamic art at the Teheran museum. foreword by Ernst Kuehnel in Cairo 1948. 134 p. of text, 11 full plates inside text, 33 fig. during the pages, 98 full page plates at the end of the book. gilded blue hard cover binding. Fine printed book on wite buffed paper. As issued.

50x40 cm. Oil colors on wood, showing Ka'ba and surroundings inside the holy mosque. The painting shows the architectural details of the pillars in defferent colors with gold and design of the flour. Mounted in framework measured 72x61 cm. The painting is signed in red on the left bottom; Mehmed Hilal or Mehmed Jemal (?) and dedicated on the revers in pencil to an Ottoman scholar; Faziletlu Arif efendi piraderimiz yadigarimdir 14 Sevval 1318 (my dedication to my brother his virtue Arif Effendi 3-2-1901). Fine Ottoman painting of the holy Mosque in Mecca.

70 x 50 cm. Hand prepared 30 pages of Quranic Suras (with other 6 p.of the copie details) lavishly printed and ornamented in gold and floral patterns. Scribed in Muhaqqaq and Reyhani in gold and black outlined in gold. Overweight facsimile of the selections scribed by Ibrahim Sultan in Mashhad 827 of al Hijra . With extra illumination work in H. 1302 by Hasan Sahaf bashi according to the order of Rukn al Dawla. Binding with geometrical and floral press. Limited 1200 copies .

A huge complete book in four parts, with many miniatures of which some are on full pages. Some leaves loose, some some corners restoration, some small cutting and light spots. A lithograph print

21.5 x 16 cm. Unsigned silver print photograph by Mirza, an Indian photographer.

Jannat al-Mu'alla (Arabic: جَنَّة ٱلْمُعَلَّاة, romanized: Jannah al-Muʿallāh, lit. 'The Most Exalted Paradise'), also known as the "Cemetery of Ma'la" (Arabic: مَقْبَرَة ٱلْمَعْلَاة Maqbarah al-Maʿlāh) and Al-Ḥajūn (Arabic: ٱلْحَجُوْن), is a cemetery to the north of Al-Masjid Al-Haram, and near the Mosque of the Jinn in Makkah, It is the place where the Islamic Prophet Muhammad's wife, grandfather, and other ancestors are buried.

Sulale-i Dvlet-i Aliye-i Osmaniye. 37 images of the Ottoman Sultans on 19 plates, includes 5 photographic of the Sultans; Adbdul Mejid, Abdul Aziz, Abdul Hamid İİ, Murad V, Mehmed Resad. The album was prepared before between 1908 and 1918 titled in French and Ottoman Turkish on the front cover, all plates are separated with tissue guards, each plate contains 2 cards, and all cards are inscribed by the İraqi calligrapher Mehdi el Juburi in 1412 H. (1991 AD.). The Iraqi Calligrapher Sheikh Haj Mehdi Al-Jubouri was licensed by the Turkish pioneer, the last Ottoman calligrapher Hamid Al-Amdi who was an icon of this art and one of the last Ottoman calligraphers. Mahdi Al-jabouri is considered one of the fathers of Iraqi Calligraphy. Born in 1928, in Rumaitha, Mahdi Al-Jabouri founded “The Association of Iraqi Calligraphers” and “The House of Calligraphy” in 1954, He holds a number of awards in calligraphy from Hamid Al-Amdi and others.

Fine example in Ta'liq script contains 11 sides of fine calligraphic patches tooled and sprinkled n gold, with ownership and stamp by a Mawlawi from Filibe called Huseyin Sidki el Mevlevi , whowas a mesnevihan in Mevlana Celal-ed Din el Rumi Mosque in Konya. In marbled contemporary binding tooled in gold, 30 x 20 cm. The ownership shows that the well-known Mevlevi scholar and calligrapher Filibeli Huseyin Sidki dede was a Mesnevihan in the Dervıshes house ın the Mevlana Jalal ed Dın el Rumı Mosque ın Konya,الخطاط محمد زكي ددة أفندي المولوي ولد محمد زكي سنة 1227 هـ. ( 1821 م ) و هو ابن محمد رفيق أفندي أحد المستخدمين في قلم القسام العسكري في بورصا . بعد تحصيله العلمي المتميز توظف مستخلفا في كتابة المحكمة الشرعية . في تلك الأثناء انتسب إلى شيخ المولويخانة في بورصا محمد ددة ، و بعد معاناته… Read More

Verse no. 24, Surah Al-Israa. Signed Hashim Muhammad al Baghdadi, and dated 1363 AH. (1944). 26x20 cm. Black ink on paper, ruled in gold and fixed on marbled paper. Hashem al-Khattat was born in Baghdad in 1917. He started to learn Arabic calligraphy from an early age, and won a calligraphy Diploma from Mulla 'Ali al-Fadli in 1943. He continued his studies in Cairo and obtained a Diploma with honours from the Royal Institute of Calligraphy in 1944. In the same year, he won the Calligraphy Certificate from the calligrapher Sayyid Ibrahim and the calligrapher Muhammad Husni. In 1946, he published a text book on Al-Riqa' style of calligraphy. He visited Turkey, and showed examples of his work to the famous Turkish calligrapher, Musa Azmi, known as Hamid al-Amidi, who awarded him calligraphy Diplomas on two occasions, 1950 and 1952. On the second occasion, al-Amidi declared that Hashem was one of the finest calligraphers in the Islamic world. He said of him, "The art of calligraphy sprang in… Read More

First Ed. No. 246