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MODERN WORK Three framed pieces: miniature depicting the ascension of the Prophet and two calligraphies Dim. with frame: 23 x 23 cm. and 31 by 25 cm. Scratches to frames

MOROCCO Jobanna butter pot in blue-yellow-green glazed terracotta H. 24 cm high Chips inside the lid, small firing accidents with retouching, used condition

Tue 21 May

BOWL WITH RADIATING DECORATION Probably Kashan, central Iran, 12th century Truncated cone-shaped siliceous ceramic, flattened lip, with radiating cobalt-blue decoration on a white background continuing on the reverse, a stylized bird in the center, craquelure, fillings. Diameter: 22 cm A Kashan Pottery Bowl, Central Iran, 12th century

Tue 21 May

BOWL WITH PSEUDO-CALLIGRAPHIC DECORATION Nichapour, Eastern Iran, Samanid period, 10th-11th century Hemispherical form on a flat foot, with pseudo-calligraphic decoration in "yellow-stainingglaze" in a star-shaped composition, enhanced by green glaze drips, some incised details, broken, glued back together and minor blocking. Diameter: 23.5 cm A Nishapur Pottery with Pseudo-Calligraphic Decoration, Eastern Iran, 10th or 11th century

Tue 21 May

BRONZE DEER Khorasan, Seljuk period, Eastern Iran, 12th century Large piece of bronze tableware, probably a brazier or candlestick stand, with a cast bronze deer protome, chased with fleurons, on a base. Height Height : 18 cm Provenance : Collection Evrard de Rouvre (1923-1979) and Isabelle and François van den Broek Its sale, Ader, Hôtel Drouot, Paris, March 18, 2022: n°123 (ill.) Private collection, Belgium Condition: Accompanied by thermoluminescence test, QED laboratory, 2022 A Bronze Figure of a Stag, Khorasan, Eastern Iran, Seljuk Period, 12th century

Tue 21 May

LARGE FRAGMENT OF CALLIGRAPHIC TILE Iran or Central Asia, 12th-13th century In sculpted terracotta, the Arabic inscription in cursive with large scrolls standing out against a background of foliage, formerly stuccoed and painted, remains of blue pigment. Size: 36 x 28 cm (max.) Provenance : Former Werner Kramer collection Swiss private collection A Large Fragmentary Calligraphic Tile, Iran or Afghanistan, 11th-13th century

Tue 21 May

BEAUTIFUL TILE WITH GEOMETRIC KUFIC DECORATION Central Asia, Timurid period, late 14th or early 15th century In cobalt, green, manganese and white glazed ceramic, painted in cuerda seca of a frieze of two octagons decorated with the profession of faith " la ilaha illa-Llah Muhammad rasulu-Llah" ("There is no god but Allah and Muhammad is his Prophet") in geometric kufic, chips. Size: 29.5 x 19.5 cm (max.) Provenance : Former Werner Kramer collection Swiss private collection A Fine Timurid Cuerda Calligraphic Pottery Tile, Central Asia, Late 14th or Early 15th century The geometric kufic decoration on this tile is reminiscent of the highly complex calligraphic compositions found in the mausoleum of Ustadh 'Ali Nasafi, dated circa 1380 (Jean Soustiel, Yves Porter, Tombeaux de Paradis, Saint-Rémy-en-l'Eau, 2003, p.108-113). In the mausoleum's funerary room, there are octagon compositions with geometric kufic decoration similar to our tile.

Tue 21 May

CALLIGRAPHY TILE Central Asia, Timurid period, Late 14th or early 15th century Convex molded tile with glazed decoration in cuerda seca decoration, the Arabic inscription " al-mulk li-Llah" ("Sovereignty is Allah's") in reserve on an eggplant background, bordered by turquoise bands and scrolls of palmettes on a cobalt background, manganese border on the right edge, intact. Size: 17 x 24 cm Provenance : Nagel Auktionen, May 2006: n°402 (ill.) Private Swiss collection A Fine Timurid Cuerda Seca Calligraphic Pottery Tile, Central Asia, Late 14th or early 15th century This convex molded tile probably adorned a pillar flanking an architectural niche - portal, iwan or even mihrab. It is typical of the ceramic decoration used by the Timurids to decorate Samarkand's monuments from the second half of the 14th to the first half of the 15th century. In fact, the technique known as cuerda seca ("dry rope") is also used. dry rope ) with a cobalt-blue background, and a banded decoration alternating floral meanders and kufic calligraphy. The very style of this geometric kufic, and the eggplant background against which it stands out, are typical of the period. Sometimes, as in n°155, gold highlights. The religious inscription "Sovereignty belongs to Allah" suggests that it came from a pious foundation (mosque, mausoleum or madrasa).

Tue 21 May

LARGE GILDED CUERDA SECA TILE Central Asia, Timurid period, early 15th century Ceramic with glazed manganese, turquoise, cobalt and green decoration with gold highlights, painted with a large flower borne by a flowering scroll, enhanced with gold leaf, two reattached breaks, small areas of repainting. Size: 28.5 x 34.5 cm Provenance : Former Werner Kramer collection Swiss private collection A Large Timurid Gilded Cuerda Seca Pottery Tile, Central Asia, Early 15th century This beautiful Timurid tile is notable for its use of gilding, suggesting that it comes from a prestigious monument, mosque or mausoleum in Central Asia. Similar decoration can be found in the Bibi Khanum mosque in Samarkand, dating from 1398-1405, many fragments of which are in the Victoria and Albert Museum, London (OA+.10670), as well as in the mausoleum of Kadi Zadeh Rumi, dated 1420 (Frédérique Beaupertuis-Bressand, Bleu de Samarkand, Paris, 1997, p.75).

Tue 21 May

FRAGMENT OF CALLIGRAPHIC TILE Central Asia, Timurid period, second half of 14th century Carved ceramic under opaque white and cobalt glaze, decorated with a knot formed by stems of a kufic inscription on a background of foliage with fleurons, visible chips. Dim.: 16 x 10 cm (max.) Provenance : Former Werner Kramer collection Swiss private collection A Fragmentary Timurid Calligraphic Pottery Tile, Iran or Central Asia, Second Half 14th century This deeply carved tile fragment, covered with a beautiful two-tone opaque glaze, is typical of Timurid production in the second half of the 14th century. It comes from a larger tile where the stems of a calligraphic inscription in kufic script were intertwined in the upper part of the register, as seen on a tile preserved at the Metropolitan Museum of Art, New York (2006.274) or in situ on a Samarkand mausoleum dated 1361 (Frédérique Beaupertuis-Bressand, Bleu de Samarkand, Paris, 1997, p.119). See also a fragment from the Louvre (MAO 2146) with a white inscription on a blue background very similar to our fragment. Temporary import lot. The buyer will have to pay import fees, i.e. 5.5% in addition to the hammer price, unless the lot is immediately re-exported outside the European Union.

Tue 21 May

LARGE TWO-TILE PANEL IN CUERDA SECA Safavid Iran, 17th or 18th century Glazed ceramic, painted with turquoise and yellow scrolls on a cobalt-blue background, a border of green palmettes on a yellow background in the upper part, retouching along the edges. Size: 23.5 x 47 cm Provenance : Antique dealer in Zurich, acquired around 2000 Private Swiss collection A Safavid Cuerda Seca Tile Panel, Iran, 17th or 18th century This Safavid-period tile with its "dry rope" (cuerda seca) glazed decoration, in which the colors are separated by a black line, is directly inspired by Timurid architectural decoration. Indeed, floral spandrels in identical colors can be found on monuments in Samarkand in the early 15th century. See, for example, no. xxxxxx shown here.

Tue 21 May

DIAMOND WITH FLOWERING BRANCH Iran zand, second half 18th century Pink, green, yellow, blue and black glazed ceramic on a white ground, painted with a bird on a branch, crazing, chips. Size: 21 x 21 cm Provenance : Swiss private collection A Zand Pottery Tile, Iran, Second Half 18th century Lot temporarily imported. The buyer will have to pay an import fee of 5.5% in addition to the hammer price, unless the lot is immediately re-exported outside the European Union.

Tue 21 May

CUERDA SECA TILE Safavid Iran, 17th century Ceramic, painted in green, cobalt and yellow with a peacock perched on a branch, chips, particularly on the edges, in an old wooden frame labeled "324". Size: 22 x 22 cm (without frame) Provenance : French private collection, acquired at public auction, Chartres, before 2000 A Safavid Cuerda Seca Pottery Tile, Iran, 17th century

Tue 21 May

TILE FRIEZE (ZELLIJ) WITH EXCISED DECORATION Morocco, 14th-17th century Underglazed black ceramic, the background excised (or esgrafié) to reveal the Arabic inscription in cursive in a black cartouche, the background formerly stuccoed, composite chips, mounted. Size: 7.5 x 26.5 cm Provenance : Alexis Renard, Paris Collection of an amateur from Marseilles, acquired in 2012 Condition: Accompanied by a QED thermoluminescence test, 2012 A Moroccan Calligraphic Tile Panel, Merinid or Saadi, 14th-17th century The Merinids of Morocco (1244-1465) were distinguished by their use of several techniques in architectural decoration: carved wood, stucco, ceramic mosaics and excised ceramics such as this calligraphic band. Tiles are fired with a covering opaque black glaze, which is then excised to reveal the reserved decoration. The excised background is then coated with a whitish paste that slightly accentuates the contrast with the inscription, while unifying the appearance of the excised background. A fine example from the Bou 'Inaniya madrasa in Fez is preserved in the Batha Museum (C18). The technique continued unchanged into the Saadi dynasty (1554-1659), making this type of tile difficult to date with precision.

Tue 21 May

BEAUTIFUL IZNIK TILE Ottoman Turkey, second half 16th century Colorless underglaze ceramic, painted in red, sage green, cobalt and black with a large composite flower sprouting among tulips, plants bearing small red fruits and a green branch decorated with sequins in reserve, small chips, in an old wooden frame. Size: 23.5 x 23.5 cm (without frame) Provenance : French private collection A Fine Iznik Pottery Tile, Ottoman Turkey, Second Half 16th century

Tue 21 May

IZNIK DISH WITH SAZ LEAF Ottoman Turkey, circa 1600 Transparent colorless underglaze ceramic, painted with a saz leaf saz leaf among carnations, the marlis painted with stylized wave and rock motifs, the foot pierced with two holes, intact with a few chips. Diameter: 31.3 cm An Iznik Pottery Dish with Saz Leaf, Ottoman Turkey, circa 1600

Tue 21 May

EWER IN OTTOMAN STYLE Marked Samson, France, second half 19th century In glazed ceramic, piriform, decorated with mandorles containing a figure and a pavilion copying 17th century Iznik ceramics, double Samson mark under the base, glue dot on the lid hinge, body intact. Height: 35.5 cm A Large Samson Iznik Style Ewer, Marked under the Base, France, Second Half 19th century The shape of this ewer follows a Chinese prototype for the Islamic market, typical of the period of the Kangxi Emperor (1661-1722). . Ceramist Edme Samson (1810-1891) often found inspiration in Asian ceramics, even going so far as to copy some famous pieces identically. On the same ewer shape, Samson used different types of decoration, either Chinese-inspired for the Persian market (see Christie's, London, January 24, 2007, no. 197) or Ottoman-inspired as here. An identically decorated ewer was sold at Christie's South Kensington, April 10, 2014, no. 237.

Tue 21 May

PAIR OF TILE PANELS IN THE IZNIK TASTE Europe, late 19th-early 20th century Glazed ceramic, painted with a lattice of mirrored palmettes around a poly-lobed mandorla motif, mounted on a wooden panel, one tile with two corner breaks.

Tue 21 May

KALAMKARI WITH FLOWER SEEDS Probably Isfahan, Qajar Iran, first half of the 19th century Stamped and painted cotton canvas, decorated with a latticework of rosettes on an alternating light blue, dark blue, cream and red ground, bordered by chevrons and floral scrolls, minor accidents, mounted on panel. Size: 90 x 93 cm (without frame) An Isfahan Kalamkari Panel, Qajar Iran, First Half 19th century

Tue 21 May

BEAUTIFUL, LARGE SAFAVID DISH Iran, second half 17th century Ceramic under colorless transparent glaze, with cobalt and black painted decoration of a sinister landscape, the rim decorated with medallions and foliage, other stylized motifs on the finely scalloped rim, the reverse with potter's mark, reattached break on the lip. Diameter: 39.5 cm A Large and Fine Safavid Blue-and-White Dish, Iran, second half 17th century

Tue 21 May

BEAUTIFUL OPENWORK STEEL MIRROR GILDED WITH THE NAME OF MUZAFFAR AL-DIN SHAH (R. 1896-1907) Qajar Iran, dated (13)18 H/1900-01 Circular, openwork and finely engraved steel, the central star decorated with an inscription in nasta'liq with the Shah's name on a background of spiral foliage, on a floral background, the rim decorated with a Persian inscription in nasta'liq dated (13)18, the reverse plated with polished silver metal. Diameter: 22.5 cm A Qajar Gold Openwork Steel Mirror in the Name of Muzaffar al-Din Shah Qajar (r. 1896-1907), Iran, dated (13)18 H/1900-01

Tue 21 May

RARE SET OF PORTRAITS OF IRANIAN KINGS Qajar Iran, first half of the 19th century Pigments and gold on paper, each depicted seated against a simple blue, green and ochre background, each portrait identified in Persian, mounted on beige, salmon or blue card, edge chipping, small chips in margins, paintings in good condition. Size: 21.4 x 14.5 cm (painting); 29.2 x 20 cm (page). Provenance : Former Rudolf Wacker collection (1893-1939) Then by descent, private Austrian collection A Rare Group of Six Portraits of Kings of Iran, Qajar Iran, First Half 19th century These six paintings were part of a series that was to include a larger number of portraits of the kings of Iran. The six surviving kings are identified as Sultan Mahmud (of Ghazni), Shah Tahmasp (Safawi), Shah 'Abbas (Safawi), Nadir Shah (Afshari), Karim Khan Zand (r. 1751-79) and Lutf 'Ali Khan Zand (r.1789-94). The style of these paintings appears to be that of early Qajar portraits, particularly in view of the style of jewelry worn by the sovereigns. On the other hand, the prototype of the royal portrait depicting the sovereign seated on his knees in a simple interior can be found as early as the time of Nadir Shah (r. 1736-47, see for example Nadir Shah by Muhammad Reza in the Victoria and Albert Museum, London, IM.20-1919, dated circa 1740). One of the finest examples of this style shows the first Shah of the Qajare dynasty, Fath 'Ali, richly adorned and seated on his knees in a bare interior but on a luxurious carpet. The work is attributed to the artist Mirza Baba, dated circa 1798 (Layla S. Diba with Maryam Ekhtiar, Royal Persian Paintings, The Qajar Epoch, 1785-1925, London and New York, 1998, cat. 37, p.180). This type of royal and aristocratic portraiture seems to have lasted until the mid-nineteenth century.

Tue 21 May

BAHA'I PROFESSION OF FAITH Signed Tehrani, Qajar Iran, early 20th century Ink, gold and pigments on paper, Arabic text in Nasta'liq nasta'liq written on 19 lines, each within a cloud on an illuminated background, the text finely illuminated all around, signed Tehrani, Arabic inscription at foot, framed, good condition. Size: 63.5 x 32 cm A Finely Illuminated Calligraphic Baha'i Profession of Faith, Signed Tehrani, Qajar Iran, early 20th century The handwritten note in Arabic in the lower margin is a dedication from the East-West Liaison Committee in Tehran to the Baha'i Spiritual Assembly in Tunisia in memory of a certain ceremony. The Baha'i Spiritual Assembly in Tunisia was founded in 1923.

Tue 21 May

IMAM 'ALI, HASAN AND HUSAYN Signed 'Ali Quli, Iran, Qajar art, dated 1253 A.H./1837-38 A.D. Ink, gold and pigments on paper, Imam 'Ali surrounded by his two sons Hasan and Husayn, each haloed, cherubs above them, calligraphic cartouches with religious invocations in red naskhi in the margins, small poly-lobed medallions inscribed Ya 'Ali, ya Hasan, ya Husayn ("O 'Ali, O Hasan, O Husayn") signed and dated on the lower edge. Size: 16.3 x 10.7 cm A fine watercolour of Imam 'Ali, Hasan and Husayn, signed 'Ali Quli, Qajar Iran, dated AH 1253/1837-38 AD It is possible that this painting for personal devotion decorated the inside of a lacquer mirror box such as box no. 504-1874 in the Victoria and Albert Museum, London. The image shows Imam 'Ali and his sons in an idealized way, a type of representation called shama'ilnameh. Ali carries the bifurcated sword dhu'l-fiqar, said to have been delivered to him by the archangel Gabriel (Epic Iran, exhibition catalog, London, 2021, cat.124, p.159). Temporary import lot. The buyer will be required to pay import duties, i.e. 5.5% in addition to the hammer price, unless the lot is immediately re-exported outside the European Union.

Tue 21 May

FIRST SECTION (JUZ') OF A THIRTY-PART KORAN Signed Muhammad Husayn bin Muhammad Hadi al-Musawi, Qajar Iran, 19th century Arabic manuscript on paper, ten leaves plus flyleaf, nine lines of black naskh per page black naskh per page, verses marked with gold pastilles, illuminated medallion in the margin, frontispiece illuminated with gold and pigments, in its original brown stamped leather binding. Dim.: 22 x 13.5 cm (leaf); 15.3 x 9 cm (text panel) A Qajar Qur'an Section (Juz' 1) in its Original Binding, Signed Muhammad Husayn Ibn Muhammad Hadi Al-Musawi, Iran, 19th century

Tue 21 May

DOUBLE ILLUMINATED FRONTISPIECE In the style of Ahmad al-Nayrizi (calligraphy) and Muhammad Hadi (illumination). Iran, Safavid, Afsharid or Zand period, circa 1720-80 Gold and pigments on paper, each leaf decorated with a purple mandorla inscribed in fine gold thuluth characters on a background of foliage, the medallions on a gold background painted with vines laden with bunches of grapes, gold rules in the margins, the reverse of one leaf with a prayer in Arabic and its Persian translation under an illuminated cartouche. Size: 23 x 14.7 cm (each page) Provenance : Mahmud Khayami Collection of Persian Art, London and Geneva Bibliography: The Khayami Collection of Persian Art, A Concise Catalogue, Vol.I, cat.91, p.104 A finely gold-illuminated frontispiece in the style of Ahmad al-Nayrizi and Muhammad Hadi, from a prayer book, Safavid, Afsharid or Zand Iran, circa 1720-80 The Arabic inscription on the frontispiece is in praise of Imam 'Ali. The refined naskhi calligraphy, set against a crimson background, immediately recalls the work of Safavid master calligrapher Ahmad al-Nayrizi (circa 1682-1722). He is credited with reviving the naskhi style in 17th-century Iran, which remained popular until the Qajare era. Shah Sultan Husayn (r. 1694-1722) employed him on numerous royal commissions. As for the gold illuminations, they are closer to the work of the artist Muhammad Hadi, responsible for decorating the famous St. Petersburg album. The two artists collaborated on a prayer book whose first folios are particularly close to our frontispiece. The manuscript, dated 1719-20, is in the Metropolitan Museum of Art, New York (2003.239). Another prayer book signed by Ahmad al-Nayrizi and probably illuminated by Muhammad Hadi, also dated 1719-20, sold at Sotheby's, London, October 24, 2018, lot 45. The frontispiece is almost identical to ours, with two blue mandorles standing out against a background of gold-painted vines. Judging by the refinement of our frontispiece and the similarities with the New York and London manuscripts, it is possible that it is the work of Ahmad al-Nayrizi and Muhammad Hadi. Lot temporarily imported. The buyer will have to pay import fees, i.e. 5.5% in addition to the hammer price, unless the lot is immediately re-exported outside the European Union.

Tue 21 May

THREE INTAGLIOS Qajar Iran, 19th century In hard stone, probably carnelian, on gold mounts (two rings and a medallion), three religious invocations in Arabic, two in nasta'liq and one in thuluth. Dim.: 3.4 x 1.6 cm (medallion), Weight: 17 gr Registration: Tawakkalt 'ala-Llah ("I trust in Allah") Allah, Muhammad, 'Ali, Fatima, Hasan, Husayn Verse from the Koran Three Carnelian Intaglios with Religious Invocations, Iran, 19th century

Tue 21 May

AGATE NECKLACE ADORNED WITH FIVE PIECES OF TWO GOLD TOMANS IN THE EFFIGY OF NASIR AL-DIN SHAH QAJAR The coins: Iran, dated 1299 H/1881-82 Red-brown agate bead necklace decorated with five gold coins mounted as pendants, each in the name of Nasir al-Din Shah Qajar, dated 1299 AH and marked do toman ("two tomans"), gold rings separating the agate beads. Dim.: 40 cm (length), 2 cm (diam. of pieces); Weight: 95 gr An Agate Necklace with Five Coins of Two Tomans in the Name of Nasir al-Din Shah Qajar, Iran, Dated 1299 H/1881-82 (The Coins)

Tue 21 May

SEAL RING Safavid or Qajar Iran, 18th-19th century Carnelian, very finely engraved with an inscription in nasta'liq on a foliate background, in the name of Muhammad Reza b. Muhammad 'Ali al-Husayni, the seal mounted on a gold ring. Dim.: 1.7 x 0.9 cm (seal); Weight: 8 g A ring set with a turquoise cabochon is included. A Finely Engraved Carnelian Seal, Iran, 18th-19th century

Tue 21 May

ENAMELED UMBILICUS Qajar Iran, 19th century The two nail heads in enameled copper decorated with portraits, gold highlights, the central wooden rod covered with fabric, accompanied by a handwritten note in Arabic script. maghribi, enamel missing. Length: 19 cm A Rare Qajar Scroll Umbilicus, Iran, 19th Century

Tue 21 May

LARGE MOLDED DECOR TILE Qajar Iran, late 19th or early 20th century Ceramic painted in green, blue, black and pink under transparent colorless glaze, a sovereign on his throne is surrounded by four courtiers in an interior, a foliage inhabited by birds in the upper part, reattached break and slightly repainted, framed. Size: 43 x 37.5 cm (without frame) A Large Qajar Moulded Pottery Tile, Iran, Late 19th or Early 20th century

Tue 21 May

SILVER VASE Qajar Iran, first half 20th century Ovoid with two serpentine handles joining a flared neck, finely chased with figurative scenes in medallions on a floral background worked in repoussé, the scenes depicting notably Sheikh San'an and the Christian girl and Shah 'Abbas and two courtiers, the inside of the neck lightly gilded, two Persian hallmarks under the base, small dents. Height: 34 cm; Weight: 1459 gr A Qajar Silver Vase, Iran, Early 20th century

Tue 21 May

SEATED YOUNG MAN Qajar Iran in the Safavid taste, circa 1900 Pigments and gold on paper, holding a wine cup, a gilded bottle beside him, framed by lines of Persian calligraphy in nasta'liq, in blue silhouetted margins, pigment craquelure. Size: 16 x 9.5 cm (painting); 28 x 20.7 cm (page) A Safavid Youth, Qajar Iran, Circa 1900

Tue 21 May

KHATAMKARI MARQUETRY BOX Qajar Iran, 19th century Rectangular form, with flap, decorated with a micro-mosaic veneer with six-pointed star and polygon motifs, wood, bone and colored bone and pewter threads, varnished, opening on six drawers, the interior finely decorated in an identical technique, small missing parts, good overall condition. Size: 22 x 35 x 25 cm A Fine Micro-Mosaic (Khatamkari) Fall-Front Cabinet, Qajar Iran, 19th century

Tue 21 May

ALMS BOWL (KASHKUL) DECORATED WITH MAJNUN IN THE DESERT Signed Muhammad Husayn Kirmani, Qajar Iran, 19th century Coco-de-mer carved with a signed calligraphic band, Persian inscription in lobed medallions, garlands of flowers on either side, Majnun in the desert surrounded by carved animals on the upper part, probably original brass chain and fasteners. Length: 25.5 cm (without chains) A Dervish's Begging Bowl (Kashkul), Signed Muhammad Husayn Kirmani, Qajar Iran, 19th century

Tue 21 May

GOOSENECK SPRINKLER Iran, Safavid or Qajar period, 18th-19th century In blown and worked midnight-blue transparent glass, the neck slightly twisted, the tip of the spout slightly missing Height: 28.5 cm A Safavid or Qajar Blue Glass Sprinkler, Iran, 18th or 19th century A sprinkler of the same shape, blown in cobalt-blue glass, is in the Victoria and Albert Museum (919-1889). Another of the same shape, but executed in engraved metal, is in the Musée du Quai Branly, Paris (71.1962.71.18).

Tue 21 May

PAIR OF GOLD-PLATED MIRRORS Qajar Iran, 19th century Each of rectangular shape, the mirror plated with thick gold leaf forming a poly-lobed arch, decorated in repoussé with scrolls and an invocation in Arabic to the Prophet Muhammad and his clan, on a hardwood core. Size: 28.5 x 21 cm (each) A Pair of Qajar Gold-Plated Mirrors With Invocations to the Prophet Muhammad, Iran, 19th century

Tue 21 May

QIBLA INDICATOR HOUSING Iran, Safavid period, probably second half 17th or early 18th century Circular, hinged brass case, incised with cursive inscriptions on all four sides. On three of them, a series of concentric bands giving the names of Iranian cities on two sides, and Egyptian, Iraqi, Syrian and Lebanese cities on the third, in fine calligraphy on a guilloche background, alternating with compartmentalized bands filled with letters; on the fourth side, inside, nine captioned directional lines indicating Mecca in particular. Marks of oxidation, graduations, needle and fixing plate missing, lid detached. Diameter: 7 cm Provenance : Sotheby's, London, October 3, 2012: n°184 (ill.) A Safavid brass qibla compass, Iran, probably second half of the 17th or early 18th century Inscription on the edge: Two Persian couplets containing information on how to use the Qibla indicator The qibla indicator is the most representative scientific tool in Islamic culture, enabling the faithful to direct their prayer towards Mecca. The Safavid period in Iran was very active in qibla research, as evidenced by the many treatises and tools produced during this period. For a complete example, see AST0443 at the National Maritime Museum, Greenwich, and another at the Museum of the History of Science, Oxford (1935-4). Our example in particular shows the qibla from the main Shiite pilgrimage cities: Mecca, Medina, Najaf, Kerbala, Kazimayn, 'Askariyyan, Qum, Mashhad and 'Abd al-'Azim. This example is very close to a Qibla indicator signed by Muhammad Khalil bin Hasan 'Ali and dated 1080 A.H./1669 A.D, sold at Sotheby's, London, October 23, 2019, lot 129. Another, also very similar, though dated to the 19th century, is in the Khalili collection in London (SC138). It was in Isfahan that Muhammad Khalil and other makers such as 'Abd al-A'imma Muhammad Mahdi al-Yazdi produced numerous scientific instruments such as astrolabes, dials and Qibla indicators. It is very likely that our indicator was also the product of an Isfahan workshop. For other similar examples sold at public auction see Millon, Paris, December 3, 2018, lot 187; Sotheby's, London, March 31, 2021, lot 68 and April 26, 2017, lot 171. Lot temporarily imported. The buyer will have to pay import fees, i.e. 5.5% in addition to the hammer price, unless he immediately re-exports the lot outside the European Union.

Tue 21 May

ALBUM PAGE: PRINCE BRAVES THE ENEMY ARMY TO VISIT HIS BELOVED Lucknow, Provincial Mughal School, North India, circa 1760 Pigments and gold on paper, the nocturnal scene showing the belle hidden in a chapel and waiting for her prince, saddhus dozing outside, the prince turning towards his pursuers, the painting completed around the perimeter, mounted on card with gilded floral margins, the reverse adorned with a fine Persian quatrain in nasta'liq in gilded latticework margins. Size: 14.3 x 21 cm (painting); 22.5 x 29.5 cm (page) Provenance : Collection F. Prévost Collection, N.260 Scène nocturne with calligraphy on reverse - 18th century N. 350 (label on reverse) An Album Page with a Painting of A Nocturnal Visit of a Prince to His Beloved Lucknow, Provincial Mughal India, Circa 1760 This interesting painting was mounted as an album page in the second half of the 18th century, with elegant Persian calligraphy on the reverse. Examination of the painting reveals that it has been completed around the perimeter in the manner of the paintings in the famous St. Petersburg Album. Indeed, many of the paintings in the album were completed during its production in Iran in the second half of the 18th century. Now partly dispersed, the album contains 17th-century Mughal Indian works, as well as works painted at the court of Lucknow in the mid-18th century. Two paintings of women visiting male saints at night, executed in the style of the painter Mir Qalan Khan, are reminiscent of the atmosphere of our nocturnal visit (Toby Falk, The St. Petersburg Muraqqa', Lugano, 1996, pl.16 and 18). Princess going to a holy place at night by Mir Kalan Khan, a work dating from 1760 and kept at the Los Angeles County Museum of Art, is another nocturnal scene in which round, luminous figures move through a luxuriant forest, reminiscent of our painting. (AC1197.30.1, Stephen Markel with Tushara Bindu Gude, India's Fabled City, The Art of Courtly Lucknow, Los Angeles, 2011, cat. 15, pp.164 and 252).

Wed 22 May

Eight illustrated manuscript folios - Eight illustrated manuscript folios, Qajar Persia and Kashmir, 19th century, gouache with ink on paper, inscribed in black nastaliq script, two depicting battle scenes, a holy man at court, a ruler at a feast, two noblemen in conversation and a young couple listening to a musical performance, the two Kashmir folios also depicting battle scenes, various sizes 32cm x 18cm and smaller, framed and with framed photograph of James Bond of Quetta (8) Provenance: The North Indian paintings in this lot by repute from the collection of James Bond, born Quetta, Pakistan and died in London in 1951 and by descent through he family until purchased by the current owner.

Wed 22 May

A Qajar lustreware moulded tile - A Qajar lustreware moulded tile, Persia, 19th century, moulded in relief with a round boss decorated with a bird perched within stylised foliage, approximately 30cm x 30cm, within a later wood frame, 39cm x 39cm

Wed 22 May

A Qajar lacquer mirror case - A Qajar lacquer mirror case, Persia, 19th Century, of oval form with hinged lid and clasp, decorated in polychrome and gilt with a central panel containing floral sprays with a perching bird, the borders with undulating floral vines, the reverse with large floral sprays, the interior with floral spray and two small calligraphic panels, 15cm high x 12cm diameter Provenance: By Family descentBy repute form the Louis Clarke Collection (1881-1960), connoisseur, collector, and donor to British Museum and the Fitzwilliam

Wed 22 May

Three Safavid or post-Safavid (Zand) tiles - Three Safavid or post-Safavid (Zand) tiles, 18th century, 23.5cm x 23cm (3)

Wed 22 May

Heeled cylindrical vase with small tubular neck, in siliceous ceramic with molded geometric decoration under a cobalt-blue and gold glaze. The metal-mounted neck forms a lamp base. Iran Vase height: 34 cm (totally damaged and restored)

"Iznik the pottery of ottoman turkey", Nurhan ataxy, Julian Raby, Ed. thames and Hudson, 1989, book in English

Wed 22 May

A SAFAVID BLUE AND WHITE KENDI 17TH CENTURY The ovoid body painted with panels of birds among foliage and a deer in a landscape, the neck decorated with a bird in a spray of flowers, and foliate scrolls to the rim, shoulder, spout and short tapering foot, all outlined in black, the base with a square mark, 17.3cm. Cf. The Victoria and Albert Museum, London, access. no.999-1876 for a similar example.

Thu 23 May

Miniature with oriental figures painted in polychrome, Iran, Qajar dynasty, 19th century minute representation of a scene of life in a palace, animated by fourteen figures portrayed in different actions - Miniature with oriental figures painted in polychrome, Iran, Qajar dynasty, 19th century minute representation of a scene of life in a palace, animated by fourteen figures portrayed in different actions 7.7x12.7 cm

Thu 23 May

A SPANISH ARCHITECTURAL MODEL OF AN ARCH IN THE ALHAMBRA, ENRIQUE LINARES STUDIO, GRANADA, CIRCA 1900 a gilt and polychrome idealised scale reduction in plaster relief representing a window arch, intricately patterned with borders of foliate arabesques, arcading, stylised foliage and calligraphy of the repeated Nasrid motto 'There is no greater conqueror than Allah' (Wala ghaliba illa Allah) surrounding the upper part of the wood latticed window, with 'tiled' decoration around the bottom half, inscribed to base 'No.26' and 'Enrique Linares Es propiedad.', in its rectangular ebonsied wood and glazed frame, 33 x 23.5cm excluding frame 3cm wide Enrique Linares Garcia started trading a variety of souvenir works from within the Alhambra in the 1870s, later expanding the business with his brother Abelardo to include photography studios. Following on from the success of Rafael Contreras and his models (see a Contreras model sold in these rooms, 22 November 2023, lot 51), Linares produced similar models to feed the growing appetite for 'Alhambrism'; see a model of the Torre de las Infantas made by Linares in the 1890s displayed at the Victoria & Albert Museum in the Architecture Gallery (Room 128, No.A.26-1936).

Thu 23 May

Iran / Qajar Persia Suite of two book pages illustrated with miniatures. Both are quadrangular, identical in format and portrait-oriented. Inscribed in nastaliq, they are centered by a miniature in opaque, gilded watercolor on paper. These show outdoor scenes with characters seated on carpets and horsemen. Note that the flowering branches of the trees extend beyond the frames into the borders. 21 x 11.8 cm (one page view)

Thu 23 May

Probably Iznik earthenware jug. - 21.5 cm (height). Defects and chipping.

Thu 23 May

GRENADIAN frieze in polychrome and gilded stucco based on a model of the Alhambra, around 1880. - Centered by two Nasrid shields. 26x39 cm frieze and 32x45 cm with frame. Frame in molded, painted and gilded wood.

Thu 23 May

Exceptional Plasterwork of La Alhambra, Diego Fernández de Castro (1847-1920), late 19th century Preserving its old label on the back and signed Diego Fernández de Castro, sculptor in Arabic ornamentation of the Royal Chamber of His Majesty the King, Calle de Gomeres, Granada, reduced to 10 times its original size. Measurements: 70 x 50 cm. Reference bibliography: "The models of the Alhambra in the 19th century: A source of dissemination and information about the Nasrid complex." Asunción González Pérez Doctoral thesis co-directed by Drs. Concepción Abad Castro and Mariam Rosser-Owen (Department of History and Theory of Art. Autonomous University of Madrid. March 2017). Related works, a plasterwork from the same period and author preserved in the Alhambra Museum, Granada.

Deux coupelles de présentation - Morocco, circa 1940/50 Two gilded brass plates, finely engraved, chased and hammered with a radiating motif in the center, punctuated by stylized tulips and geometrical motifs around the rim. D. 20 cm

Sat 25 May

VOLLENWEIDER, Guillaume Arnold - Algiers old and new, 1830-1903 Oblong folio album (50 x 31 cm), publisher's boards. 41 parallel views of Algiers mounted on tabs showing the transformations of the city since 1830. Vollenweider, a photographer based in Algiers, published this album as a gift for President Loubet during his visit to Algiers.

Sat 25 May

Truncated cone-shaped CUP with palms. Clay ceramic with black, olive green and red slip decoration on white slip decorated with two large palms and two stylized disks, under transparent glaze. Condition: restorations, large area of repainting. Northeastern Iran, probably Nichapour, 10th-11th century D. 17.5 H. 6 cm PROVENANCE: Boisgirard sale, Arts d'Orient, Drouot, Paris, March 20, 1996, lot 156 ter. See Oliver Watson, Ceramics from Islamic Lands. The al-Sabah Collection, Kuwait National Museum, Thames Hudson, 2004, cat. Gb9, p. 225 for a very similar bowl.

Sat 25 May

Shahnameh battle scene. Gouache on a page of text in 4-column nasta'liq script from the epic Book of Kings (Shah-nama) by Ferdousi (Firdawsi). The scene is heavily overpainted, probably in Bukhara, Central Asia. Page glued to a support and framed under glass. Safavid Iran, second half of the 16th century and later repaints Height 12.5 cm; width: 15 cm; text framing: 24.5 x 15 cm

"Qar'aa" Flat, circular, polychrome ceramic flask, decorated on one side with a stylized flower in a scroll motif. Morocco, Fez, 19th century (restorations on handles, chips) Height Height : 23 cm

Polylobed circular earthenware douïa (inkwell) with polychrome decoration of stylized leaves, the central ink receptacle flanked by nine kalam holders. Morocco, Fez, early 20th century. (a few chips). Height 9 cm - Diam. 10.5 cm

Polylobed circular earthenware douïa (inkwell) with polychrome decoration of stylized leaves, the central ink receptacle flanked by nine kalam holders. Morocco, Fez, early 20th century. (a few chips). Height 9 cm - Diam. 10.5 cm

Vase en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic vase Turquoise ceramic vase with globular body and long arched neck. Restorations. Provenance: Former DM collection, established in the 1970s H: 25 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with cylindrical neck and vertical handle. Restorations. Provenance: Former DM collection, established in the 1970s H: 22 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with cylindrical neck, underglaze incised decoration and vertical handle. Restorations. Provenance: Former DM collection, established in the 1970s H: 20 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with vertical fluted sides and handle. Restoration work. Provenance: Former DM collection, established in the 1970s H: 17.5 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with pear-shaped body decorated with concentric circles and vertical tubular handle. Restoration. Provenance: Former DM collection, established in the 1970s H: 16 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with pear-shaped body, vertical handle, iridescence. Restorations. Provenance: Former DM collection, established in the 1970s H: 14.5 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with pear-shaped body, vertical tubular handle, iridescence. Restorations. Provenance: Former DM collection, established in the 1970s H: 14.5 cm

Pichet en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic jug Turquoise ceramic pitcher with pear-shaped body and vertical handle. Restorations. Provenance: Former DM collection, established in the 1970s H: 13 cm

Vase en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic vase Turquoise ceramic vase with spherical body topped by a flat lip, decorated with a band of fluting and fitted with two small handles. Restorations. Provenance: Former DM collection, established in the 1970s H: 15.5 cm

Pichet en terre cuite - PROBABLY NICHAPOUR, IRAN, 12TH CENTURY. Terracotta pitcher Terracotta pitcher with epigraphic decoration molded on the body, vertical handle. Restorations. Provenance: Former DM collection, established in the 1970s H: 24 cm

Bol en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise blue ceramic bowl with underglaze incised decoration and three handles. Restorations. Provenance: Former DM collection, established in the 1970s H: 11.5 cm

Bol en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise blue ceramic bowl with black geometric decoration. Restoration. Provenance: Former DM collection, established in the 1970s H: 8.5 cm

Bol en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise ceramic bowl with underglaze incised decoration. Restorations. Provenance: Former DM collection, established in the 1970s H: 8.6 cm

Bol en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise ceramic bowl with underglaze incised decoration. Restoration. Provenance: Former DM collection, established in the 1970s H: 10.5 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise ceramic bowl with black circle. Restorations. Provenance: Former DM collection, established in the 1970s H: 7.5 cm

Bol en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Iridescent blue ceramic bowl. Restorations. Provenance: Former DM collection, established in the 1970s H: 9.7 cm

Bol en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Green ceramic bowl with black geometric lines. Restoration. Provenance: Former DM collection, established in the 1970s H: 9 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Blue ceramic truncated-cone bowl. Restorations. Provenance: Former DM collection, established in the 1970s H: 7.7 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise-blue ceramic bowl with geometric decoration and iridescence. Breaks and restorations. Provenance: Former DM collection, established in the 1970s H: 8 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise-blue ceramic bowl with underglaze geometric decoration. Restoration. Provenance: Former DM collection, established in the 1970s H: 6.6 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Turquoise-blue ceramic bowl, iridescence. Restorations. Provenance: Former DM collection, established in the 1970s H: 10.3 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Green ceramic truncated-cone bowl with black geometric decoration on the edges. Restorations. Provenance: Former DM collection, established in the 1970s H: 9.6 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Blue ceramic bowl with incised decoration. Restorations. Provenance: Former DM collection, established in the 1970s H: 7.5 cm

Lot de 5 céramiques - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Lot of 5 ceramics Lot of 5 turquoise blue and dark blue star and cross-shaped lining ceramics. Restorations. Provenance: Former DM collection, established in the 1970s L: 11.3 cm

Coupe en céramique - KASHAN, IRAN, SELJUK PERIOD, 12TH-13TH CENTURY. Ceramic bowl Truncated-cone bowl in turquoise-blue ceramic with iridescence. Restorations. Provenance: Former DM collection, established in the 1970s H: 8.8 cm

Carreau de revêtement en céramique - KASHAN, IRAN, ILKHANID PERIOD, 13TH-14TH CENTURY. Ceramic facing tile Lustre ceramic epigraphic tile set against a turquoise and midnight-blue arabesque background, decorated with birds and a horse. Restorations. Provenance: Former DM collection, established in the 1970s H: 38.3 cm W: 42.7 cm

Coupe en céramique - NICHAPOUR OR SARI, SAMANID PERIOD, 10TH CENTURY. Ceramic bowl Ceramic bowl decorated in brown, black and red, bird on white slip. Restorations. Provenance: Former DM collection, established in the 1970s H: 9 cm

Bol en céramique - NICHAPUR, IRAN, 10TH CENTURY. Ceramic bowl Ceramic bowl with incised and variegated decoration in black, green, brown and orange. Restorations. Provenance: Former DM collection, established in the 1970s H: 7.4 cm

Coupe en céramique - NICHAPUR, IRAN, 10TH CENTURY. Ceramic bowl Ceramic bowl with black, green and brown incised and variegated decoration. Restorations. Provenance: Former DM collection, established in the 1970s H: 6.7 cm

Coupe en céramique - IRAN, SELJUK PERIOD, 12TH CENTURY. Ceramic bowl Ceramic bowl with green and black geometric decoration on white slip. Restoration. Provenance: Former DM collection, established in the 1970s H: 9.5 cm

Coupe en céramique - NICHAPUR, IRAN, 10TH CENTURY. Ceramic bowl Ceramic bowl in the shape of a truncated cone, decorated with incised scrolls. Restorations. Provenance: Former DM collection, established in the 1970s H: 8.4 cm

Coupe en céramique - IRAN, SAMANID PERIOD, 9TH-10TH CENTURY. Ceramic bowl Bowl decorated with birds in brown, green and red. Restorations. Provenance: Former DM collection, established in the 1970s H: 6.8 cm

Pichet en terre cuite - PROBABLY NICHAPOUR, IRAN, 12TH CENTURY. Terracotta pitcher Terracotta pitcher with epigraphic decoration molded on the body, vertical handle. Restorations. Provenance: Former DM collection, established in the 1970s H: 23 cm

Bol - IRAN, ILKHANID PERIOD, 13TH - 14TH CENTURIES Bowl glossy ceramic Restorations H: 9 cm D: 20 cm

MOYEN ORIENT - IRAN, KADJAR Two ceramic tiles with polychrome enameled decoration of a kneeling servant on a bluish background and stylized flowers in the spandrels. Late 19th - early 20th century Tile dimensions: Height: 20 cm - Width: 20 cm Total height : 40 cm

Mon 27 May

Manises dish; late sixteenth century / early seventeenth century. Glazed ceramic. It has a small hole on one side made to hang the piece. Measurements: 31 cm (diameter). Glazed ceramic dish with a hole in the center. It has a design composed of geometric and vegetal elements, the latter located on the outer perimeter. Lustre-painted ceramics will be the great art of the Nasrid period, although it was born in Almohad Spain between the second half of the 12th and the first half of the 13th century. It is a technique of Persian origin, the first documents referring to it being found in the year 1066, although no examples prior to the 12th century have come down to us. It is a glazed ceramic, that is to say, with a white glaze bath, very pure in the best examples, which is fired in the kiln. On it, already cold, it is decorated with a pigment composed of five basic ingredients: copper, silver, sulfur, almazarrón (iron oxide) and vinegar. The final tone will depend on the proportion of these components, resulting more golden if it has a greater amount of silver, and more reddish if copper predominates. Finally, the piece is fired a second time at 650ºC, in a reducing atmosphere, to fix the decoration. Once the piece is fired, the decoration is black, so it has to be burnished to obtain the final shiny metallic gold tone. During the Nasrid period, between the 13th and 15th centuries, in the luster pieces we will see all the ornamental repertoire of Hispano-Muslim ceramics: hand of Fatima, "ohm", knot, ataurique, epigraphy, vegetal motifs, scales, imbricated decorations, etc., always with compositions that fill the entire space, with a certain character of "horror vacui". As we see in this piece, in the following centuries the style will continue in Christian territory, maintaining the dense compositions and the linear, vegetal and geometric motifs, although elements that did not exist in Islamic art will be added, as is the case of the reliefs that are the protagonists of this plate. It has a small hole on one side made to hang the piece.

Mon 27 May

Lamp; Khorasan, Persia, 12th century AD. Bronze. It has mineral deposits adhered to the surface and restorations on the fracture line located at the base and shaft. Measurements: 74.5 x 21.5 cm. Lamp that is arranged on a base and a high shaft. As it is habitual in these objects, the lucerna would be filled with oil, and a wick would be lit that would protrude through the spout to give light, burning the liquid and not the fabric used in this wick. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the third century B.C. by mold, generally in ceramics, although there were more careful pieces, in materials such as bronze and brass. Khorasan was a province in northeastern Iran, although historically it refers to a much larger area comprising the east and northeast of the Persian Empire. The name Khor?s?n is Persian and means "from where the sun comes".The name was first given to the eastern province of Persia during the Sassanid Empire and was used in ancient times in distinction to neighboring Transoxiana. The province encompassed approximately the western half of the historic Greater Khorasan. The modern boundaries of the Iranian province of Khorasan were formally defined in the late 19th century and the province was divided into three separate administrative divisions in 2004. It presents mineral deposits adhered to the surface and restorations in the fracture line located at the base and shaft.

Mon 27 May

Two Seljuk basins Bronze with engraved decoration Iran, Khorassan, circa 12th century, Seljuk period Height: 11.5 cm and diameter: 43.5 cm Height: 12 cm and diameter: 43 cm These two faceted marble basins are engraved with a central flower, calligraphic cartouches and birds in medallions. Remains of inlaid copper can be seen on the crescents. (accidents and missing parts) height 11.5 x Ø 43.5 cm