A LEAF FROM THE LEGENDARY ‘BLUE QUR’AN’

A large Qur’an leaf in gold Kufic script on blue vellum, Near East, North Africa or Southern Spain, 9th-10th century AD (est. £400,000-600,000)

This rare leaf is from an extraordinary manuscript referred to asthe ‘Blue Qur’an’, which when complete must have been one ofthe most startlingly luxurious manuscripts produced in themedieval Arab world. While the exact geographical origins andstory of the commission behind the manuscript remain elusive, it is universally agreed that the now enigmatic patron must have been a ruler of enormous wealth and ambition – the strikingly opulent dyed blue vellum and gold script sent a bold socio-political message to neighbouring empires.

INDIAN PAINTING

An illustration to the Bhagavata Purana: Kamsa attacks Devakni during her wedding procession, attributed to a Master of the First Generation after Nainsukh, India, circa 1780 (est. £200,000- 300,000)

This dynamic painting is from the celebrated Bhagavata Purana, remarkable for its effortless naturalism and deft and vivid rendering of figures in action. Works from this series are extremely rare in Western collections, and the last painting at auction was offered in 1992 at Sotheby’s.

This work depicts the dramatic scene when the evil KingKamsa hears a voice prophesying that he will be killed by hissister Devaki’s eighth son, and enraged, leaps towards Devakiwith his sword drawn – only stopped by the promise that the newlyweds would hand over all their future sons. The violence is set against the stately progress of the royal wedding procession as it moves across the green hills. This sudden murderous act attracts the attention of many of the entourage – with plenty of alarm and shock visible in their facial expressions – yet the cows, elephants and horses continue to march sedately across the landscape. The contrast achieves a composition that is both lyrical and dramatic.

THREE UNRECORDED PAGES FROM THE VICTORIA & ALBERT MUSEUM AKBARNAMA

The auction offers three previously unknown illustrations from the first illustrated royal copy of the Akbarnama – the official chronicle of Akbar’s reign, begun on the Mughal Emperor’s own orders in 1589. An important addition to the manuscript – 116 illustrations from which are held in the Victoria and Albert Museum – these pages record events in 1548, 1557 and 1574.

Akbar and his entourage journey by boat, illustrated page from the ‘First’ (Victoria and Albert Museum) Akbarnama, India, Mughal, circa 1590-95 (est. £20,000-30,000)

This episode relates to Akbar’s journey to the Eastern Provinces by boat in 1574, an expedition undertaken in order to quell a rebellion. Amidst the choppy water, Akbar himself is seated under a canopy in the central boat, which is elaborately designed with a dragon-head prow.

EXCEPTIONAL INDIAN JEWELLERY

A gem-set gold and enamelled sarpech, India, Benares, circa 1850 (est. £60,000-80,000)

Only the Mughal Emperor, his intimate relations and selectmembers of his entourage were permitted to wear a royalturban ornament, and this triple sarpech is a particularlyelaborate example. During the reign of Shah Jahan, an ornatejewelled brooch took the place of the heron feather in the turban, yet this example retains a stem for the insertion of the original feathered plume.

A diamond, ruby and emerald-set gold Manga Malai necklace, India, 19th century (est. £40,000-60,000)

The southern part of India is renowned for its fine golden jewellery, and pieces like this were traditionally worn for special occasions such as rituals or weddings. The Manga Malai – which directly translates to ‘necklace of mangoes’ – is unique to the ancient Tamil people, dating back to the thirteenth century. According to Hindu mythology, the mango fruit is a symbol of love and fertility, and the principal elements of the design represent nature, with various forms of flowers, leaves, fruits and buds.

A 363.9 carat Mughal emerald crystal set in enamelled mount with seed- pearl string necklace, North India, 18th century (est. £10,000-15,000)

In Mughal India, emeralds were associated with fertility and were believed to aid good vision. During this period, such gemstones were mined in Columbia and reached India via Spanish merchants as trade goods and a strong relationship was forged, with the Mughals purchasing the largest and finest quality emeralds. This necklace is a rare example of an emerald being mounted in its crystalline form, in order to flaunt its size.

A MONUMENTAL SAFAVID CELESTIAL GLOBE

An elegant Safavid brass celestial globe and frame, 17th-century Persia (est. £80,000-120,000)

This well-constructed celestial globe bears the hallmarks of instrument construction in late seventeenth-century Isfahan, which was renowned for the variety and technical sophistication of its output. The number of surviving Safavid globes is remarkably small, and of globes from Safavid Isfahan this is the only known example. Made with extreme accuracy yet elegantly engraved, the piece outlines the greater and lesser circles – the ecliptic, equator, tropic and polar circles.

FURTHER HIGHLIGHTS

A rare and important Ottoman silk and metal-thread brocade panel (Kemha), Turkey, early 17th century (est. £60,000-80,000, detail illustrated on p.1)

This superb Ottoman brocaded silk, in almost pristine condition and with a distinguished provenance, having once been in the collection of Edmund de Rothschild, showcases the very best of the magnificent workmanship and historic ceremonial significance of these sophisticated Ottoman courtly textiles. The design consists of a floral decoration in a pattern of roses, carnations and palmettes, which also formed the basis of inspiration for Iznik ceramics.

Valuable textiles made of luxury materials formed an essential part of Ottoman ceremonies, such as the accession of sultans, parades and receptions. They appeared in the forms of banners, costumes, curtains, wall-hangings and ground-coverings – which lent visual magnificence – and as ‘robes of

honour’ bestowed on foreign diplomats and court servants, serving to represent the Sultan’s generosity and power.

A Kashan lustre pottery vessel in the form of a seated female ruler, Persia, 12th/13th century (est. £10,000-15,000)

Figurines represented a significant part of production at Kashan in this period, with very wide-ranging subject matter. This fine example is sculpted as a seated, enthroned female figure, wearing an elaborately designed coat and long, plaited hair.

A Safavid blue and white pottery dish depicting a lion, Persia, 17th century (est. £8,000-12,000)

This striking dish depicts a stylised lion form walking within a lush vegetal landscape. Inspired by imported Chinese Ming period porcelain wares, the Safavid craftsmen have introduced a more patterned approach to the design, taking the Chinese naturalistic elements and transforming them into decorative patterns.

Formed over fifty years of dedication and passion, this exceptional collection of ninety-four manuscripts has at its heart the very best of calligraphy and illumination. With a remarkable range of religious and secular works, comprising examples from Turkey, India, Persia and the Arab World, it charts over a millennium of fine manuscript production. The refined eye and cosmopolitan taste of the collector – whose collection also encompasses works by Renoir, Van Gogh, Gauguin, Rodin and Man Ray among others – shines through.

The title for the collection was inspired by the architecturally striking Şakirin Mosque in Istanbul – the first mosque designed by a woman. The interior of the modern mosque is lined with verses from the Qur’an commissioned by contemporary calligraphers, which eloquently bears witness to the primacy of the written word in Islamic civilisation.

A monumental illuminated Safavid Qur’an, mid-16th century Persia (est. £200,000-300,000)

One of the finest Qur’ans to have been offered at auction in decades, this magnificent lavishly illuminated and colourful manuscript bears all the hallmarks of the most refined pieces of the Safavid period – and is indeed one of the largest Safavid

THE SHAKERINE COLLECTION Calligraphy in Qur’ans and Other Manuscripts

Qur’ans to have survived today. Thought to have been a royal patronage or noble commission, it was exhibited as part of the Exhibition of Persian Art at The Iranian Institute in New York in 1940, and then went on loan to Harvard University’s Fogg Museum of Art in Boston.