Search Results: CALLIGRAPHY from Archive

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.

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.

Cairo: The Khedivial library, 1905 Book. Illus. by MAX JAFFE. Very Good. Soft cover. 1st Edition. Elephant Folio - over 15 - 23" tall. SIX OLD DIGITAL COPY LEAVES: 1 TITLE LEAF, AND 5 TABLE OF PLATES. 188 FINE BLACK AND WHITE COLLOTYPE ON THICK PAPER BY MAX JAFFE, VIENNA. ALL TEXT LEAVES AND PLATES ARE LOOSE AS ISSUED AND PRESERVED IN THE ORIGINAL CLOTH PORTFOLIO WITH IT'S ORIGINAL BANDS. VERY HAVY FINE PRINT OF THE ARABIC CALLIGRAPHY FROM VERY RARE MANUSCRIPTS BETWEEN THE FIRST AND THE 10th CENTURIES OF AL HIDJRA (7th - 16th AD). ALL PLATES ARE PRESENT AND IN VERY GOOD CONDITION. RARE.

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

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

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

Arabic manuscript written by the Ottoman calligrapher Khalil el Rif'ati, student of Damad Ibrahim El Afif . Lavishly illuminated and illustrated with two miniatures of Mecca and Medina . Contemporary Ottoman bindinding . Signed : Seyit Halil Rif'ati Asitane-i Sumbuli min telamiz-i Ibrahim El Afif , min telamiz-i Ibrahim El Sevki, min telamiz-i İsmail Zuhdi . Dated 1265 AH. (AD. 1849). See a Quran sample by the Calligrapher sold in Christies Islamic sale 26 April 2018 lot no. 194 .

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 area of Morocco, situated between the Atlantic Ocean and the Atlas Mountains. He studied locally and then went to the Madrasat As-Saffarîn in Fez where his… 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.

Handwritten. Good. No Binding. 8vo - over 7¾ - 9¾" tall. Seventeen leaves consist of an almost complete section "Juz'". Each page contains 15 lines of Rayhani script. Golden dots between verses, Sura headings and significant marginal words ('Ashr, Sajdah, Juz', Hizb) in gold. Seven pages with partial small later repairs. Fine calligraphic example, 21 x 15.5 cm .

Handwritten. Very Good. No Binding. Folio - over 12 - 15" tall. Possibly Anatolia, 42 x 31 cm. Nine lines of a mixed calligraphic style of large Muhaqqaq and Tumar scripts. Fine Calligraphic example. 0.

Handwritten. Very Good. No Binding. Folio - over 12 - 15" tall. Possibly Anatolia, 42 x 31 cm. Nine lines of a mixed calligraphic style of large Muhaqqaq and Tumar scripts. Fine Calligraphic example. 0.

scarce miniature Hilye by an Ottoman calligrapher mainly came from Bursa in Turkey and lived in Bagdad. Only one work by Suleyman Vehbi was recorded by Ibn ul Emin Mahmud Kemal Inal ( Son Hattatlar p. 451 ) in Top Kapi Museum written in 1247 H. (1830 ). Also there is an example of the calligrapher student's; Halil Sukru in the Turk Hattatlari of Sevket Rado p. 210. The example shows a typical script else in the text and signature of Suleyman el Vehbi. measurments: 14 x 9 cm. ( smaller than hand ).

Virtues of Muhammad b. al Hanafiyya b. Ali b. Abi Talib. The first work to be studied in Dar ul Funun ( Faculty of Literature ) in the section of Turkish Literature and History.10 pages by different scripts by the well-known Turkish calligrapher Seyyid Abdul Kadir Efendi. Abdulkadir Efendi Saynac (1881 - 1967) born in Kayseri, Turkey and came to Istanbul when he was 17. He graduated from the faculty of Islamic studies in Dar ul Funun (now in Istanbul University). In Istanbul, he learned the calligraphy from Haci Arif (Filibevi) and Reis-ul Hattatin (Chief Calligrapher) el Hac Ahmed Kamil. He was qualified in the different scripts; Naskh, thuluth, Jali, Ta'liq and Rik'a. He was also an expert in the methods of preparing the inks.

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.

1933 Handwritten. Very Good. No Binding. Signed by Illustrator(s). (1) One calligraphic panel in Kufic script, signed; Y. Ahmad and dated 1351 AH. (1933 AD.). Gouache on thick paper, Islamic phrases constituted of three tile styles: Allahu Rabbi Haqqa (Allah is my Lord indeed).. al- Ka'batu Qiblati (Kaba is my Kiblah- direction).. al- Kur'an imami (Kuran is my leader). 110x39 cm. (2) Tow un-signed calligraphic panels in Kufic on paper by Yusuf Ahmad, forming sequent four names of Allah; al-Salam al-Mu'min al-Muhaymin al-Aziz. Each panel is 62x29 cm..

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