MS in Sumerian on black stone, Lagash, Sumer, ca. 2150 BC, 1 plaque, 9,5x5,8xca.1,5 cm, single column, 8 lines in cuneiform script; text 2: in Arabic, 661-750 AD, 13 lines in Omayyad kufic script, bronze peg for suspension. .

Binding: Barking, Essex, 1997, blue quarter morocco gilt folding case by Aquarius.

Commentary: This is a unique occurrence of an attested early medieval ownership of a Sumerian object. Possibly it was found in the Omayyad period, and due to its beauty and unknown unreadable script, it was turned into an object with magical powers.

MS in Arabic on paper, North Africa or Near East, ca. 750-800, 1 f., 33x38 cm, single column (26x31 cm), 16 lines in mashq script, vocalisation of red and green dots, circular device in green and brown at the end of verse 111.

Context: Other ff. from this Qur'an form part of the David Collection, København, and 3 ff. the Nasser D. Khalili Collection, London, 1 f. sold at Sotheby's 13.04.2000, lot 2..

Provenance: 1. Sam Fogg Rare Books, Cat. 22(2000):2.

Commentary: The script is a unique combination of several aspects of early kufic. Most striking of these is its mashq, or extension of the horizontal axis of the letters, a common feature of kufic, but rarely practised to such an extent as here. Its semi-circular final nun, triangular tail to the final mim, and broad semi-oval initial áyn are also characteristic peculiarities.

MS in Arabic on vellum, North Africa, 9th-10th c., 1 f., 16x20 cm, single column, (12x17 cm), 15 lines in a fine Kufic book script, diacritics red and brown dots, one gold droplet as a verse marker, first word transcribed in top right hand corner.

Provenance: 1. Sam Fogg Rare Books Ltd., London.

MS in Arabic on buff paper, Iran, 11th-12th c., 1 f., 34x28 cm, single column, (28x21 cm), 15 lines in an elegant eastern kufic script, diacritical marks and vocalisation in red and green, 3 gold medallions and a gold leaf in margins, sura heading over 7 lines of smaller naskhi book script in alternating lines of red and black, within a gold frame, some green illumination with gold palmette extending into the margin.

Provenance: 1. Sam Fogg Rare Books Ltd., London.

Commentary: The sura heading gives not only the title of the sura (Winding Sand-tracts), and the place it was revealed, but also the number of verses, words and letters in it.

MS in Arabic on pink paper, Andalusia, Spain (or North Africa), early 13th c., 1 f., 34x26 cm, single column, (23x19 cm), 5 lines in a monumental Maghrebi script, 6 gold medallions with verse numbers in red, white and blue noted in the abjad system, a large gold medallion for verse 20 with the word 'ushr, a gold large gold teardrop from verse 25 outlined in blue containing the word khums, both in gold kufic script on a red ground, the word hubus, pricked out with a needle at top margin.

Context: From a Qur'an, originally in 20 volumes, one partial volume in Bibliothèque Ben Youssouf in Marakesh. Other ff. in most famous collections world-wide.

Provenance: 1. Sam Fogg Rare Books Ltd., cat. 22(2000):7.

Commentary: The pink paper is believed to have come from the town of Jativa, south-west of Valencia, and is for this reason called in Arabic al-waraq al-Shatibi. The town was famed for its paper making in this period. One may assume that the MS was made for a member of a princely family or an important official, probably from Granada or Valencia. Both Jativa and Valencia fell to the Christians in 1239-40. An interesting feature of this MS is its endowment inscription, hubus, the Maghrebi equivalent of the word, waqf, more usually encountered in this context. By inscribing it with a series of pinpricks, rather than conventionally in ink, the status of the endowment "in perpetuity" is highlighted: the inscription cannot be erased.

MS in Arabic on paper, Hausa area, Nigeria, 19th c., 487 ff., 22x16 cm, single column, (15x9 cm), 14 lines in a fine Maghrebi script in "Sudani" style, punctuation and marginal initials in brown and yellow, 3 full-page displays of strapwork or geometric decoration in yellow, red and black.

Binding: Hausa area, Nigeria, 19th c., blindtooled leather folder enclosing the book on 4 sides, a flap ending in an encircling thong, lined with older leaves from Qur'ans, the leaves loose inside. Protected by 2 endpieces of gazelle skin with the hair attached.

See also MS 5321, al-Ghazali: Revival of the religious sciences; Kitab Ihya’ ‘Ulum al-Din. Morocco, 1350 ("Fezi" style)

MS in Arabic on buff paper, India, late 14th -15th c., 2 ff., 23x21 cm, single column, (23x14 cm), 13 lines in a vigorous bihari script in alternating blue, black and gold ink within a gold frame, 2 round and 1 large illuminated pearshaped medallions in gold, red, blue and green in the margins, marginal commentaries in Persian language and naskhi script written diagonally to the main text.

Context: A large part of this MS was included in an exhibition of Arabic calligraphy held at the Islamic Art Gallery of the King Faisal Centre for Research and Islamic Studies, Riyadh, Saudi Arabia. 2 other leaves, see P. Pal, Indian Painting: A Catalogue of the Los Angeles County Museum of Art Collection, Los Angeles 1993, no 40. Other leaves from this MS in New York, Metropolitan Museum of Art, København, The David Collection, and 1 leaf in Sam Fogg cat. 22(2000):13. .

Provenance: 1. Sam Fogg Rare Books Ltd., London.

MS in Persian on paper, Ottoman Turkey, 2nd half 16th c., 2 ff., 34x21 cm, single column, (9x8 cm, 14x12 cm), 6+10 lines in an elegant nasta'liq script, surrounded by extensive panels of intricate designs in gold and colours filling all margins, 5 gold medallions with 2 lines in nasta'liq book script, 1 full-page miniature, 21x14 cm, stencilled borders of birds and flowers.

Provenance: 1. Sam Fogg Rare Books Ltd., London.

Commentary: Nasta’liq is compounded from the scripts Naskh and Ta’liq (hanging script), both established 9th–10th c. and is a variant style of Ta’liq. Nasta’liq was developed by the Persians, and it has ever since been their national script. The Persian calligrapher Mir ‘Ali Sultan al-Tabrizi (d. 1416) was the founder of the script. He is also credited with the complex rules which governs it.

MS in Persian on marbled paper, Kashmir, December 1658, 1 f., 34x21 cm, single column, (27x17 cm), 8 lines in Nasta’liq script by Muhammad Ashraf al-Razavi, autograph, signed.

Context: There are 2 more ff. with Sam Fogg coming from an album of calligraphy from Kashmir of same date and calligrapher, containing the beginning of the text of the present leaf, there identified as "Munajat-I hazrat ‘Ali", the son-in-law and cousin of the Prophet, and the 4th orthodox Caliph. The combination of a Shi’i text in praise of ‘Ali, and the use of marbled paper occurs in another album leaf, now New York, Metropolitan Museum of Art (1986.109.2).høyen Collection.

Provenance: 1. Muhammad Ashraf al-Razavi, Kashmir (1658); 2. Sam Fogg.

Commentary: Nasta’liq is compounded from the scripts Naskh and Ta’liq (hanging script), both established 9th–10th c. and is a variant style of Ta’liq. Nasta’liq was developed by the Persians, and it has ever since been their national script. The Persian calligrapher Mir ‘Ali Sultan al-Tabrizi (d. 1416) was the founder of the script. He is also credited with the complex rules which governs it. The text chosen by the scribe is no coincidence, as all Islamic calligraphers trace their pedigree to ‘Ali. (Safadi: Islamic Calligraphy, p. 27).

MS in Arabic on paper, Yemen, ca. 1300-1350, 1 f., 39x32 cm, single column, (34x23 cm), 10 lines in Naskhi script, in black, 1 line in gold thuluth script outlined in black, 2 lines in muhaqqaq script in black outlined with gold, 1 line in white Kufic script set within a gold panel with squares of gold interlace, gold rosettes between each verse, gold pear-shaped device with floral motif, outlined in blue at every 5th verse.

Context: 1 f. in The Nasser D. Khalili Collection, vol. II, no. 40.

Provenance: 1. Sam Fogg Rare Books Ltd., cat. 22(2000):9.

Commentary: 4 different types of script on the same leaf are most unusual.

MS in Persian on paper, Herad, Iran, ca. 1425, 1 f., 43x34 cm, single column and 4 columns, (37x26 cm), 35 lines in naskhi script within a frame, 1 miniature 12x26 cm in full colours.

Context: Other illustrated ff. from the same MS in Chester Beatty Library Dublin, the Metropolitan Museum, New York, the Boston Museum of Fine Arts, the Los Angeles County Museum, the Cincinnati Art Museum, the Cleveland Museum of Art, and Prince Sadruddin Aga Khan Collection, Geneva.

Provenance: 1. Sam Fogg Rare Books Ltd., cat. 22(2000):24.

Commentary: To position the dynasty in a broad Islamic historical scheme, Shahrukh and his princes were not portrayed as invaders and usurpers, but as the rightful successors to previous "legitimate" rulers in Iran. These intentions were most effectively implemented under the Timurids by the Majma' al-tawarikh, written at the order of Shahrukh by the historian Hafiz-i Abru (d. 1430), who participated in a number of his campaigns and who entered the service of Shahrukh after the conqueror's death. The text is surviving in perhaps 4 large-scale, heavily illustrated copies. It is a general history of the world from Adam to Shahrukh's reign in 1427 and recounts Biblical, Iranian and Chinese history as well as that of the prophet Muhammad.

MS in Arabic on paper, Iraq or Iran, ca. 1350-1420, 1 f., 37x27 cm, single column, (36x26 cm), 5 lines in a large, very fine muhaqqaq script outlined in gold, within a frame of gold, red and blue, roundels containing gold knotwork, probably by Karamshah Tabrizi.

Provenance: 1. Sam Fogg Rare Books Ltd., London.

Commentary: The classic example of early Timurid Qur'an production: the sinuous, bold muhaqqaq script, outlined in gold, is unsurpassed, superior even to the celebrated Baysunghur Quran. James writes that the MS from which this leaf originates must have been one of the finest of its type to have been produced in the late 14th or early 15th c.; and according to an uncorroborated source, the calligrapher was a master called Karamshah Tabrizi-. The script is a magnificent black muhaqqaq outlined in gold and unusually thin, given its large size. This serves to emphasise the total control of the calligrapher over his pen; such faultless perfection was equalled only by Ibn al-Suhrawardi in the Qur'an he produced in Baghdad in the early 14th c, probably for Ghazan Khan.

MS in Arabic on paper, Egypt, ca. 1300-1350, 1 f., 26x19 cm, single column, (18x13 cm), 4 lines in Rayhani script influenced by Muhaqqaq script, verses marked with gold rosettes with a blue centre, tenth verses marked with gold roundel within a blue circle, containing the word "ashar" (ten) in gold ornamental Kufic script.

Context: From a 30 volumes Mamluk Qur’an with the highly unusual four-line format. Other leaves in Dublin, Chester Beatty Library; Copenhagen, the Khalili Collection, and the H. E. Muhammad Mahdi al-Tajir Collection. Provenance: 1. Sam Fogg, London.

Commentary: The Rayhani script owes its name to Ali ibn Ubaydah al-Rayhani (d. 834), deriving from Nashkhi and Thuluth scripts, but it developed a close affinity with Muhaqqaq script, its sister script. It is one of the 6 major classical cursive scripts.

MS in Persian on paper, Iran, 2 December 1187, 1 f., 28x15 cm, (25x13 cm), 9 long lines in Tawki’ script, signed, witnesses signatures. Provenance: 1. Sam Fogg, London.

Commentary: Tawki’ (signature), also known as Tawaki’ script, was a chancery script, the last of the 6 classical cursive scripts. It was invented in the 9th-10th c., deriving from the Riyasi script, which the Abbasid caliphs used when signing their names and titles. It has affinities to both Thuluth and Riqa’ scripts. It was established as a major script by Ahmad ibn al-Khazin (d. 1124). It is also a precursor to another chancery script, Ta’liq, which emerged in the 15th c. (Safadi: Islamic calligraphy, p. 20.)

MS in Arabic on peach-coloured paper, Iran, 1708-09, 1 f., 33x21 cm, single column, (21x14 cm), 9 lines in Naskh script in gold, colophon of 2 lines in Riqa’ script in gold by Ahmad al-Nayrizi, autograph, signed.

Provenance: 1. Ahmad al-Nayrizi, Iran (1708-09); 2. Sam Fogg, London.

Commentary: Colophon: "The most humble slave, the dust at the feet of the believers, Ahmad al-Nayrizi wrote this in 1120 of the Hijra." (AD 1708-09). Ahmad al-Nayrizi was the most famous Persian scribe in the 18th c. He is credited with the increased popularity of Naskh in Persia at this time, where it was restricted to Arabic texts, the more flowing Nasta’liq used instead for Persian language. Riqa’ script is one of the 6 styles of major cursive writing originating in the 10th c. It should not be confused with the very late Riq’a or Ruq’a script, see MS 5314 from 1870.

MS in Persian on blue paper, Shiraz, Iran, 17th c., 1 f., 34x21 cm, single column, (24x14 cm), 9 lines in Shikasteh-i Tal’liq script by Ali Akbar al-Musawi al-Mawlawi Al-Shirazi, Jumadi, autograph, signed, Indian seal impression.

Provenance: 1. Ali Akbar al-Musawi al-Mawlawi Al-Shirazi, Jumadi (17th c.); 2. Muhammad al-Hussani, India (1712); 3. Sam Fogg, London.

Commentary: Shikasteh or broken script derives from Nasta’liq and Ta’liq scripts, and is characterized by an exaggerated density in the super-structured letters. The Shikasteh scripts were in use as early as the 17th c. They came into their own in 18th and 19th c. when they became so stylized as to be virtually illegible.

Provenance: 1. Private owner, India (1728-29); 2. Sam Fogg, London.

Commentary: Shikasteh or broken script derives from Nasta’liq and Ta’liq scripts, and is characterized by an exaggerated density in the super-structured letters. The Shikasteh scripts were in use as early as the 17th c. They came into their own in 18th and 19th c. when they became so stylized as to be virtually illegible.

Binding: Iran ca. 1800 soft red leather gilt sewn on 2 cords.

Provenance: 1. Hajj Mirza Yahya; 2. Gustav Spiller, London (1911); 3. Sam Fogg, London.

Commentary: Shikasteh or broken script derives from Nasta’liq and Ta’liq scripts, and is characterized by an exaggerated density in the super-structured letters. The Shikasteh scripts were in use as early as the 17th c. They came into their own in 18th and 19th c. when they became so stylized as to be virtually illegible.

MS in Arabic on paper, Ottoman Empire, late 15th c., 338 ff. (-1 f.), 8,0x5,5 cm , single column, (5,0x3,0 cm), 16 lines in Ghubar script, sura headings in gold Riqa’ verging on Tawqi’ script within a gold and blue ruled frame, 2 pp. opening of full-page decoration in gold on a deep blue ground.

Binding: Ottoman Empire, late 15th c. full leather sewn on 2 cords.

Provenance: 1. Newberry Library, Chicago, ORMS 220; 2. Sam Fogg, London.

Commentary: Small Qur’ans, usually of octagonal form, were made for soldiers, travellers and pilgrims and were used as protective talismans. They were placed into the breast pocket and were meant to be kept close to the heart.

The art of diminutive writing is based primarily on t♦he Ghubar (dust) script. Its full name is Ghubar al-Halbah, and it is attributed to al-Ahwal, who apparently derived it from the Riyasi script in 9th c. It was originally conceived for writing messages and correspondence on tiny sheets of paper to be sent by pigeon post, and later used for miniature Qur’ans.

Modern calligraphers have reduced Ghubar to an extremely minute size. The complete text of the Qur’an, amounting to 77934 words, has been written on a single sheet of paper measuring only 5,5 x 4,5 cm. (Safadi: Islamic calligraphy, pp. 21 and 30).

MS in Arabic on paper, Damascus, Syria, 1870, 168 ff. (complete), 22x17 cm, single column, (17x12 cm), 20 lines in Ruq’a script by Liyas Yusuf Jabarra.

Binding: Damascus, Syria, 1870, pink paper on boards, red morocco spine, sewn on 2 cords.

Provenance: 1. Liyas Yusuf Jabarra, Damascus (1870); 2. Sam Fogg, London.

Commentary: The late Riq’a or Ruq’a (small sheet) script not to be confused with the much earlier Riqa’ script, one of the 6 styles of major cursive writing originating in 10th c., see MS 5317. It was progressively simplified and is to-day one of the most used Arabic scripts.

Colophon: "Liyas Yusuf Jabbara, resident of Damascus, Orthodox of faith, Temmuz 1870".