4 432 résultats
4to (188 x 254 mm). Arabic manuscript on paper. 51 ff. Script in bold black sini, 5 lines within red rules, vowel markers in black and corrections in red, surah headers in red, illuminated double-page frontispiece 'Unwan decorated with geometrical and floral designs in gold and colours in a typical Yunnan style of mainly gold on a red ground highlighted with green and blue. 16th century full brown leather with fore-edge flap, prettily ruled and stamped in blind with Islamic and Chinese-influenced designs. Very early Qur'an Juz (one of thirty parts of varying lengths into which the Qur'an is divided) written in 16th century China. - Arab presence in China dates back as far as the first Caliphate: the Prophet's companion Sa'd ibn Abi Waqqas is traditionally credited with introducing Islam to China as ambassador in 650. Indeed, many major cities in China, such as Xi'an (or Chang'an, as it was known during the height of the Silk Road) and Beijing, boast a long and rich Muslim history. Qur'an sections written by Chinese Muslims show Chinese influence clearly in both the decoration and the script, which is derived from naskh. Juz' 19 begins with surah 25, al-Furqan (The Criterion), contains in full surah 26, ash-Shu'ara (The Poets), and closes with the beginning of surah 27, an-Naml (The Ant). - The colophon in red script on the recto of the last leaf states that the manuscript was "copied by Shams al-Din ibn Musa al-Sini in the month of Safar of the year 953 AH in the city of Yunnan, one of the Chinese cities which has been honoured and blessed by Islam". - Binding rebacked and spine and endpapers professionally replaced; subtle paper repairs. An excellent example of the Islamic Chinese style of Qur'anic calligraphy and illumination. Provenance: Private UK collection formed in the 1960s and 1970s.
8vo (180 x 252 mm). Arabic manuscript on paper. 58 ff. Script in bold black sini, 5 lines within double red rules, punctuation in red, black outlined gold rosettes between verses, headers in gold text on red ground, opening bifolium with red, blue and black and gold illuminated panels around three lines of text. 18th century full red leather with fore-edge flap, elaborately ruled and stamped in blind. Handsomely illuminated Qur'an Juz (one of thirty parts of varying lengths into which the Qur'an is divided) written in 18th century China. - Arab presence in China dates back as far as the first Caliphate: the Prophet's companion Sa'd ibn Abi Waqqas is traditionally credited with introducing Islam to China as ambassador in 650. Indeed, many major cities in China, such as Xi'an (or Chang'an, as it was known during the height of the Silk Road) and Beijing, boast a long and rich Muslim history. Qur'an sections written by Chinese Muslims show Chinese influence clearly in both the decoration and the script, which is derived from naskh. Juz' 29, the penultimate Juz' of the Qu'ran shown here, begins with surah 67, al-Mulk (The Sovereignty), and closes with the fifty lines of surah 77, al-Mursalat (The Emissaries). - Binding rebacked and spine and endpapers professionally replaced; subtle paper repairs; some later pagination marks. Altogether a beautiful example of the Chinese Muslim manuscript tradition. Provenance: Private UK collection formed in the 1960s and 1970s.
4to (163 x 220 mm). Arabic manuscript on paper. 56 ff. Script in bold black sini, 5 lines within double red rules, punctuation in red, surah heading in red, opening and closing bifolio with red, blue and black and gold illuminated panels around three lines of text. Early full calf with fore-edge flap, elaborately ruled and stamped in gilt. A finely illuminated Qur'an Juz', written in China in the 16th century by Abd Allah bin Yunus al-Sini, in the city of Xi'an. - Xi'an has a long history of Muslim culture, stretching back to the Tang dynasty. Indeed, Arab presence in China dates back as far as the first Caliphate: the Prophet's companion Sa'd ibn Abi Waqqas is traditionally credited with introducing Islam to China as ambassador in 650. Xi'an itself boasts a well-known Muslim quarter; by the time this Juz' was written in the Ming Dynasty, Da Xuexi Street and the Huajue Great Mosque were well-established parts of the thriving Muslim district. Qur'an sections written by Chinese Muslims show the Chinese influence clearly in both the decoration and the script, which is derived from naskh. - This thirtieth and final Juz' is also the most commonly memorized. It begins with surah 78, al-Naba’ (The Tidings), and concludes with the 114th and final surah of the Qu'ran, al-Nas (Mankind). The themes are generally apocalyptic, contrasting the moment of judgment with the beauty of Allah's creation. The Surah al-Nas, a brief six lines, is one of the most famous and best beloved. - Binding professionally rebacked, some subtle paper repairs; altogether a striking manuscript. Provenance: Private UK collection formed in the 1960s and 1970s.
4to. (2), (8), (3)-75, (1) pp. With 1 folding table. Contemporary marbled brown boards, spine reinforced with later brown cloth. An orientalist dissertation by the Hessian scholar Happel, incorporating a grammar of the Arabic language and a glossary harmonising Hebrew terms from the first four books of Genesis with Arabic words from three Qur'an suras, namely sura 1 (Al-Fatiha), 12 (Yusuf), and 64 (At-Taghabun), previously edited by Erpenius. - Some browning throughout due to paper. Lacks free endpapers; front hinge reinforced. 19th and 20th century ownerships to pastedown. Schnurrer 87. GV (1700) 56, 6. OCLC 31311242. Not in Fück.
8vo (ca. 110 x 160 mm). Arabic manuscript on paper. 260 ff. with 3 double-page 'Unwan headpieces in colours and gilt. 17 lines in meticulous black ink Naskhi, text within black, blue and gilt rules, verse divisions marked by black-bordered gold discs, red orthoepic markers and diacritics, sura beginnings in red on gilt background, line separators in black and gilt, marginal medallions (Juz' and Hizb markers) in colours and gilt, marginalia in red. Contemporary lacquer binding, covers elaborately painted with floral designs on outsides and insides. Later black morocco spine with stamped title. Stored in contemporary giltstamped leather slipcase with flap. An exceptionally pretty early 19th century Qur'an manuscript probably written in the Pashtunistan or Balochistan region of British India. Occasional insignificant edge flaws or various instances of light browning, but generally a very clean and well-preserved example in a pretty floral lacquer binding (corners bumped, spine repaired in more recent times). Slipcase a little rubbed and worn along extremeties.
8vo (148 x 90 mm). Illuminated Arabic manuscript on paper, 243 leaves plus 2 fly-leaves, complete. 19 lines per page, written in a neat Naskhi script in black ink with diacritics in red, margins ruled in gold and colours. Gold discs or florets between verses, sura headings written in white within gilt cartouches flanked by panels with alternating floral motifs in gold and various colours. Brown morocco with flap and giltstamped borders and central ornaments. Splendid pocket-size Qur'an. Marginal section markers in white naskh on gold ground within polychrome flower blossom, opening double-page frontispiece richly illuminated in lapis lazuli blue, green, red, pink, and gold, the text within cloud bands in gold. - Hinge tender between the first two pages, some light marginal fingering, otherwise in perfect condition. From the library of the scientists and collectors Crawford Fairbanks Failey (1900-81) and Gertrude Van Wagenen (1893-1978), who performed research at Yale and Johns Hopkins in the fields of medical chemistry and biology.
4to. (90), 560 [but p. 255f. repeated], (10) pp. Latin title printed in red and black; one Latin and two Arabic (woodcut) half-titles. Preface in Latin, text in vocalized Arabic throughout. Contemporary half calf with marbled covers and giltstamped label to sparsely gilt spine. The famous "Hamburg Koran": while not actually (as it was long considered) the first printed Qur'an ever, the first accessible printed edition of the Arabic text. Only in 1987 was a unique copy of Paganino de Paganinis's Venetian edition (c. 1538) rediscovered, a work whose press run either was destroyed immediately or was limited to the sole surviving specimen, apparently a proof copy (cf. A. Nuovo, "Il Corano arabo ritrovato", in: Bibliofilia LXXX, IX, 1987). Four years after the present edition, in 1698, Lodovico Marracci produced his own Qur'an, but its two big tomes were anything but easy to consult - hence, the Hamburg Koran remained "the only available and handleable" (Smitskamp) edition until the early 19th century. - Abraham Hinckelmann (1652-95), a Hamburg theologian, studied at Wittenberg and collected many Oriental manuscripts. He compiled a Quranic lexicon in manuscript and planned a Latin translation of the Koran, but this was never realised. - Some browning throughout, as common due to paper; slight waterstaining near end. Ms. ownership of Joseph Venturi in Arabic, Hebrew, and Latin ("emit Romae An. 1789") on Latin title (his quotation from Brunet on first Arabic title), with early 19th c. ownership of Blasius Milani. This is the uncommon variant with two different woodcut Arabic titles. Schnurrer 376. Smitskamp, PO 360. Fück 94. Le Livre et le Liban 135f. Woolworth 279. Hamilton, Europe and the Arab World 33. Brunet III, 1306. H. Bobzin, From Venice to Cairo, in: Middle Eastern Languages and the Print Revolution (2002), p. 151-176, at p.160f., with 2 illustrations (figs. VI and 74). The Heritage Library: Treasures of Islamic and Arabic Heritage (Qatar 2006), s. v. "Religion", with illustration.
8vo (105 x 149 mm). Arabic manuscript on polished paper. 306 ff., 2 flyleaves, 15 lines to the page. Written in fine Naskh script in black ink, verses separated by small gold roundels pointed in red, illuminated floral marginal devices throughout surah headings written in white thuluth script within gold-ground floral panels. Double-page illuminated 'unwan frontispiece elaborately decorated with interlacing polychrome flowers against a punched gold ground. Contemporary full gilt leather with fore-edge flap and gilt floral designs to covers. Endpapers covered with cornflower-blue, relief-stamped floral paper. Edges mottled in red. Stored in matching leather slipcase with flap and bellows-style cloth sides. A beautiful Qur'an manuscript from the early years of the era of Sultan Mahmud II, written in modern-day Turkey by Omar Al-Shawqi, student of Ismael Shawqi. - A small hole in the text of the second leaf, sewing a little loosened in places, otherwise a very attractively preserved example of a pocket-sized Qur'an.
8vo (165 x 105 mm). Illuminated Arabic ms. on paper. 312 ff., 15 lines, Naskh script. Black ink on polished paper. Double-page 'unwan on first two pages shows elaborate gilt ornamentation; ornamental colophon. Borders in red, black and gold. Gold discs between verses, sura headings written in gold. Blindstamped and gilt calf. Signed by a copyist named Hafez 'Ahmad ibn Ahmad al-ma'ruf, "Ahmad the Hafez" (respect title bestowed on those who have proved to know the entire Quran by heart), son of the renowned ‘Ahmad’, as quoted (underlined) in the colophon: Kataba hada-l mushaf as-sarif adafu ibad-‘Allah al-Kabir al-Mutaal Hafez ‘Ahmad, ibn ‘Ahmad almaruf,ba-yawwab-e (?) halifa-zade Hamidu-llah Taala [...] (literally, ‘he who wrote this noble Qur'an is a very foolish slave of God the Greatest, the Exalted, named Hafez ‘Ahmad, son of the renowned Ahmad, servant (?) of Hamidu-llah Taala, offspring of the Caliph […]’), etc. - Binding partially restored, in good condition.
8vo (208 x 150 mm). Contemporary blind- and goldstamped calf with fore-edge flap, decorated with corner stamps. Illuminated Arabic ms. on paper, 305 ff., single 15-line column, Naskh script on polished paper. Double-page 'unwan on first two pages shows elaborate gilt and coloured ornamentation. Text framed by three parallel golden and black lines. Gold discs between verses, sura headings written in gold.
Folio (205 x 312 mm). Arabic manuscript on paper. 53 ff., 33 lines to the page written in minute ghubar script in black ink, verse separated by a gold roundel, surah heading in red thuluth on gold background, margins illuminated with gilt discs or lozenges inscribed in red and enclosed within ornamental borders dotted in blue; fols. 1b-2a with a double-page illuminated frontispiece, lavishly coloured and gilt. Contemporary blindstamped and gilt black leather binding; spine rebacked. Marbled pastedowns. A fine, complete Qur'an manuscript, written in meticulous ghubar script and with pretty illumination, originating from the Kashmir region in the late 18th century. The characteristic calligraphy is known as "ghubar", or "dust script", for the minuscule size of its rounded letter forms. Created around the 10th century, it was first used for information and commands conveyed by carrier pigeon. Even the present, more generous form fits the entire Holy Qur'an into a slim folio of only fifty-odd pages. - Edges occasionally very slightly chipped but generally very fine. Binding well preserved with modern spine. The central compartment of the pretty binding shows a Qur'anic verse (Surah 56, verse 79: "to be touched only by the purified") stamped in blind three times on both covers.
Folio (244 x 345 mm). Arabic manuscript, Bihari script on paper. 287 (instead of 292) ff., foliated 364-655 (lacking 550-551 and 622-624). Surah headings in gilt and colours, verse divisions marked by gold and black ink rosettes, numerous circular and tear-shaped markers in the margins, elaborately ornamented in gold and colours. Bound in modern oriental-style full leather with fore-edge flap and recessed cover decorations. Part four of a pre-Mughal Qur'an commentary, treating the text from Surah XXI, Al-Anbya (The Prophets) to Surah LXXV, Al-Qiyamah (The Resurrection). - Lacks five leaves according to the foliation; some dampstaining; several edge flaws (more severe near the end of the volume), often remargined. Traces of dust in the gutter throughout. In all a fine example of an early Qur'anic manuscript. - Provenance: 1950s private ownership stamp of the "Mohd. Halim Salimi Library", Kandahar, Afghanistan, on fol. 490v. Mohammed Halim Salimi of Kandahar worked in an administrative capacity for the USA's International Cooperation Administration (ICA) Mission to Afghanistan in 1959. In 1960 Salimi applied to the ICA for reimbursement of a lost sum of $123.88; the application was refused on the grounds that Salimi was not in fact an ICA employee but was sub-contracted by the agent Herman Klee (see report B-144148-O.M., 1 Nov 1960). Acquired from Hampel Auctions, Munich. Cf. S. A. Blair, Islamic Calligraphy (Edinburgh 2006), pp. 386-390; Qur‘an, exhibition catalogue (Istanbul 2010), pp. 350f., no. 92.
187 x 276 mm. With a rosette gilt and in gouache colour. Diacritical marks added later in black ink, vocalization marks in red (as well as one in green and one in blue). 5 lines. Well-preserved leaf in monumental Kufic script (line height c. 30 mm), written in dark brown ink. The text is from the middle part of verse 109 of the second Quran sura. The script style belongs to group D (according to Déroche's classification, subtype D.III). Similar examples are usually dated to the 9th century C.E. (cf. François Déroche, The Abbasid Tradition, London 1992. The Nasser D. Khalili Collection of Islamic Art, Vol. I, nos. 25 [p. 76] and 34/35 [p. 84]). The polychromatic rosette shows an inscribed number: The red dots are vocalisation marks; the diacritics (in the form of small slashes) were added later in black ink. - Some browning and staining. Brittle in places due to ink corrosion (minor defects to vellum). Verso rubbed, but still legible. Cf. Fingernagel (ÖNB 2010), p. 33.
170 x 263 mm. With gilt rosette and numerous gilt floral ornaments between the letters and in the margins. Vocalisation marks (dots) in red. 5 lines. Illuminated leaf from a once-magnificent Quran manuscript with fine gilt flower and leaf illustrations as space fillers and ornamental border around the large Kufic script written in black ink (line height ca. 25-30 mm). The ornamentation mainly consists in leaf designs with the occasional blossom. Illumination of this type is exceedingly rarely encountered among the preserved Abbasid Kufic manuscripts pre-dating the year 1000. The script style belongs to subgroup D.I, according to Déroche's classification. Manuscripts in this style are normally dated to the 9th century CE (cf. François Déroche, The Abbasid Tradition, London 1992. The Nasser D. Khalili Collection of Islamic Art, Vol. I, nos. 19-23, pp. 67-71). The red dots are vocalisation marks: diacritic marks were not used until later. - Some browning and staining. Brittle in places due to ink corrosion (slight loss to individual letters). Verso rubbed, but still legible. Cf. Fingernagel (ÖNB 2010), p. 33.
4to. (12), 66, 41, (1) pp. Title-page printed in red and black. With a coin engraving in the text. 19th c. wrappers. Only edition thus: the 30th and the 48th sura (Ar-Rum and Al-Fath) in the original Arabic and with Latin parallel translation. An early and scholarly specimen of Qur'an translation in the West, with extensive commentary. The Arabic text is rendered in Hebrew letters, as Arabic types were unavailable to the printer. M. F. Beck (1649-1701) had studied history and oriental literature at Jena. In 1677 he settled in Ausgburg as a preacher, but kept his focus on the oriental languages. His linguistic proficiency ultimately earned him a pension from the King of Prussia (cf. ADB II, 218). - Some browning; title insignificantly dust- and waterstained, but altogether well preserved. VD 17, 12:128711C. Schnurrer 374. OCLC 13610797.
Oblong 8vo. (4), 42 mounted colour printed plates, some of which heightened in gold, (4) pp. Each plate matted with the corresponding letterpress Qur'an verse with red border to versos opposite. Title-page printed in red and black. Contemporary green full calf with giltstamped title to cover and spine. Top edge gilt. Original stapled plain card slipcase. Only edition. A collection of 42 exquisite illustrations for selected suras from the Qur'an inspired by Persian miniatures. One of the earliest works by the Austrian-born painter and illustrator Lydis (1887-1970), a self-taught artist influenced by Islamic art as well as by the Japanese artist Tsuguharu Foujita. Lydis settled in Paris in 1926 and escaped the Nazis during the occupation, living briefly in England before emigrating to Buenos Aires. Today she is best known for her illustrations in de luxe editions of Boccaccio, Louÿs, Baudelaire, Mirbeau and Valéry. - The plates, in colours and gold, were printed by Ganymed in Berlin, the text by Proeschel & Trepte in Leipzig. - Extremities slightly rubbed. Interior in mint condition. Vollmer III, 278. OCLC 187048571.
8vo. (10), 547, (1) pp. With additional engraved title page and 6 engraved plates. Contemporary vellum with handwritten spine title. Uncommon Dutch edition of du Ryer's version, in a translation by J. H. Glasemaker (previously published in 1658), with a Life of the Prophet and numerous engravings by Caspar Luyken (1672-1708). Du Ryer's 1647 French version served as the basis for further translations of the Qur'an (including English, German, and Russian), and was instrumental in introducing Europeans to the tenets of the Muslim faith. - Block somewhat loosened, but still a good copy. Chauvin X, p. 129 (phi). Cf. Schnurrer 428.
4to. (10), 648 [but: 598], (4) pp. Contemporary half calf with giltstamped spine. Rare first edition of "the oldest complete translation of the Qur'an into a European vernacular" (Encylopedia of the Qur'an). Du Ryer's work served as the basis for further translations of the Qur'an into English, German, Dutch, and Russian, and was instrumental in introducing Europeans to the tenets of the Muslim faith. Du Ryer was a celebrated linguist and had lived in Egypt and Turkey, where he studied classical Arabic. His introduction briefly summarizes the Muslim religion for Christian readers, noting customs such as Ramadan, circumcision, the practice of having as many as four wives, the significance of Mecca and Medina, Sufi brotherhoods and wandering ascetics, and finally the Islamic recognition of Jesus as a prophet but not the son of God. A prayer printed in Arabic is included on the verso of leaf e2. - "Du Ryer's translation of the Qur'an [...] became an unparalleled literary success [...] The easy availability of the Qur'an accompanied a newfound interest in the Orient; additionally, du Ryer's translation lacked the polemical tone of previous editions, an orientation which arose mainly in ecclesiastical contexts. Du Ryer used Islamic commentaries such as al-Bayawi's Anwar al-tanzil, the Tafsir al-Jalalayan by al-Mahalli (d. 864/1459) and al-Suyu i (d. 911/1505), or an excerpt from al-Razi's (d. 606/1210) great commentary made by al-Raghi al-Tunisi (d. 715/1315) entitled al-Tanwir fi l-tafsir, quite casually in his translation, merely noting them in the margins. The deprecatory tone present in the introductory chapter, 'Sommaire de la religion des Turcs,' can be understood as an attempt at camouflage (cf. Hamilton and Richard, André du Ryer, 94f)" (Encyclopedia of the Qur'an). - Some waterstaining throughout; occasional worming; more pronounced edge damage near end. Provenance: 1714 ms. ownership (partly stricken out) of the Castelnaudary Capuchins, dissolved in 1789; acquired by the notary J. L. E. Bauzit of Castelnaudary (his ownership on title and flyleaf). Chauvin X, p. 126. Schnurrer 427. Fück 74. Brunet III, 1309. Encyclopedia of the Qur'an V, 347.
8vo. 42 (but: 40), 678 pp. With engraved frontispiece. Near-contemporary half calf with giltstamped red spine label. All edges red. Second edition of this German Qur'an translation, previously issued in 1773. Following Megerlin's ill-received effort of 1772, this is the second German translation to have been based immediately on the Arabic original. - Pagination of preliminaries agrees with NUC, with pp. 15f. skipped. Includes the frequently lacking engraved frontispiece depicting a Muslim in prayer. Contemporary ownership to flyleaf. Slightly browned as usual; a good, tighly bound copy. Zenker I, 1400. Schnurrer, p. 431. Graesse IV, 44. Woolworth 285. VD 18, 90017838. Not in Enay.
Colour-printed map (56 x 40 cm). The route of Bertram Thomas’s epic traverse of the Empty Quarter from Dhufar to Doha. Al-Qasimi 286.
Two 4to files of ca. 30 leaves each, including distress signal code tables, tips for forced landings, colour-printed route maps, radio beacon maps, emergency airfield maps (folded), and double-sided airfield leaves dedicated to single airfields along the designated route. Original printed wrappers. Perforated and handbound with cords. Two air route books for pilots of the Royal Air Force flying from Cairo to Karachi during World War II, "designed to help [them] to execute flights vital to our fronts in all theatres of war. The information which [they] contain is therefore also of use to the enemy, and must be safeguarded at all times" (p. 1). - The books are in fact useful guides to airports along the way, the plans depicting airfields in Egypt (Cairo West, Almaza, Payne, Heliopolis, Lydda and Luxor), as well as in Bahrein, Sharjah, Jiwani, Karachi, Wadi Halfa, Khartoum, Sheikh Othman, Khormaksar, Riyan and other places. For each airfield general information like coordinates, the length of the runways, the nature of ground signals, existing hangars, repair and fuel facilities, expectable weather conditions, distances to other places, radio aids, and local currency, as well as timetables of morning and evening twilight are given. The folding plans show emergency airfields in Egypt, Palestine and Syria, Iraq, Persia, and the Arabian Gulf area, as well as the routes between the Middle East and India. - Further, the booklets include instructions on what to do after a forced landing in unknown territory, advising to ration water and attract attention of rescue aircraft through a spread-out parachute or fires, including the order: "Don't drink the compass alcohol". - There is no standard collation for the books, as they were added to with monthly supplements. With the handwritten note "Compiled 21.2.45" as well as a signature to inner covers. The "from" and "to" fields on the title-pages (i.e., the front covers) are filled out by the same hand. - Covers show some small creases and edge tears; a few small ruststains, but on the whole well-preserved specimens from wartime Royal Air Force use.
réf. 3003Boston: The Company; Alfred Mudge & Son Printers 1878. . 8vo dusty pink wrappers front printed; some chips; slightly soiled One holding library in OCLC Boston: [The Company]; Alfred Mudge & Son, Printers, 1878. unknown
réf. 2472Boston: The Company Alfred Mudge & son Printers 1878. . 8vo buff wrappers front printed some minor fragments missing from the bottom margin of the first few leaves not affecting text One holding library only in OCLC. Lists all capital expenditures for the year bridge building and other repairs; a breakdown of all shipments sent and the usual financial disclosures Boston: [The Company] Alfred Mudge & son Printers, 1878. unknown
réf. 2472Boston: The Company Alfred Mudge & son Printers 1878. . 8vo buff wrappers front printed some minor fragments missing from the bottom margin of the first few leaves not affecting text One holding library only in OCLC. Lists all capital expenditures for the year bridge building and other repairs; a breakdown of all shipments sent and the usual financial disclosures Boston: [The Company] Alfred Mudge & son Printers, 1878. unknown books
réf. 3003Boston: The Company; Alfred Mudge & Son Printers 1878. . 8vo dusty pink wrappers front printed; some chips; slightly soiled One holding library in OCLC Boston: [The Company]; Alfred Mudge & Son, Printers, 1878. unknown books