Hurouf: The Art of the Word

Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 1

ALI HASSAN B. 1956 THE GREEN TREE
signed and dated 2010 on the reverse 150 by 150cm.; 59 by 59in.

ESTIMATE 18,000 - 22,000 USD Lot Sold. Hammer Price with Buyer's Premium: 18,750 USD

PROVENANCE al markhiya gallery, Doha

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 2

KAMRAN DIBA B. 1937 DOHA EDITION (FROM GLOBAL NEWSPAPER AND FRONT PAGE SERIES)
signed and dated 10 print and acrylic on canvas 177.5 by 144.5cm.; 69 7/8 by 56 7/8 in.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 6,875 USD

CATALOGUE NOTE inscription:

The word al Haya In this new series of works Global Newspaper and Front Page inspired by newspapers and current affairs, Kamran Diba is responding to the impact of modernity and globalisation, most importantly addressing issues of communication at an international level. He is attempting to address and go beyond the limitations of language, a medium which is perceived by the artist as a potentially divisive instrument that encourages segregation. The edited sources of news and images are lifted from a host of multi-lingual daily newspapers, being actual copies of pictures and articles in the international press. Diba painstakingly recreates the news in a collage of visuals and colours, that transcend the barriers of language and race. By abstracting and reducing the information to colours symbolising each news topic, the newspaper which normally has a short life-span, is given a visual permanence. Rendering the black and white illustrations from newspapers, Diba creates compositions with hard edged abstraction and photo realism which endeavour to contrast the figurative with non-figurative imagery. Indebted to the Japanese artist On Kawara, Diba is inspired by Kawara's use of archiving global events in a succinct and abstract manner. Diba embraces his skill of using colour to further enhance the coding of the various topics. This work departs from the rest of the series in that it is not so much a commentary on the divisiveness of language and cultural barrier, but more a homage to the al-Thani family, whose vision for culture, education and society is deeply admired by the artist. Visually organising his canvas into the form of a broadsheet, Doha Edition depicts symbols of the city and the legacy of the ruling family in a stimulating graphic narrative that portrays his respect for their vision.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 3

HASSAN MASSOUDY B. 1944 (I) UNTITLED (JOUBERT) (II) UNTITLED (IBN ZAYDOUN) (III) UNTITLED (ANTOINE DE ST. EXUPERY)
Each: signed twice and dated 2007 pencil and ink on paper, in three parts Each: 74.5 by 54.5cm.; 29 1/4 by 21 3/8 in.

ESTIMATE 8,000 - 12,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

(I) On ne peut trouver de poésie nulle part quand on n'en porte pas en soi - Joubert 1754-1824 (II) Nous n'avons eu qu'à faire ployer les rameaux de l'amour Dont les fruits s'offraient à nous, pour en cueillir autant que nous désirions. - Ibn Zaydoun XI s. (III) Si tu diffères de moi, frère, loin de me léser, tu m'enrichis. - Antoine de St. Exupéry

(I) You cannot find poetry anywhere if you do not hold it within yourself- Joubert 1754-1824 (II) We just have to bend the branches of love Whose fruits are presented to us To pick as many as we desire- - Ibn Zaydoun XI century (III) If you are different from me, brother, it's not wrong, on the contrary you enrich me - Antoine de St. Exupéry

Iraq's most famous contemporary calligrapher and an internationally acclaimed artist, these three works epitomise Hassan Massoudy's virtuoso penmanship and remarkable use of colour.

Born and raised in the profoundly religious town of Najaf, Hassan Massoudy's practice was dominated by a strict code of artistic conduct that prohibited figurative representation. Massoudy therefore invested his time in creating drawings and calligraphies driven by his immediate cultural context.

In 1961, Massoudy chose to leave Najaf and relocated to Baghdad where he was apprenticed to a number of calligraphers. Immersion in Baghdad's burgeoning art scene encouraged the artist to dedicate himself to his calling. But the political events that followed forced Massoudy to leave his native Iraq for Paris, and in 1969 he began his studies at L'Ecole des Beaux-Arts where he experimented with figurative painting. But for Massoudy it was impossible to discard his love of calligraphy and the Arabic language; whilst studying he would design the headlines for Arabic magazines, and in time it became his sole focus. Massoudy had come full circle.

His passion was calligraphy and his muse was philosophy, the words and letters he paints are intellectually driven manifestations of philosophy and emotion. Massoudy is a master of penmanship producing works of controlled energy in exquisitely balanced compositions; departing from tradition in his bright palette, the dynamism of his sweeping brushstrokes and his experimentation with light and performance. In these three vivid works, Massoudy presents lines from three very different writers: the eighteenth century French moral philosopher Joseph Joubert, the celebrated author of Le Petit Prince, Antoine de Saint-Exupéry and the eleventh century Moorish poet Ibn Zaydoun who is renowned for reviving Andalusian poetry. By combining such a broad spectrum of European literary references, Massoudy's brush strokes bring fresh nuances to the Arabic word, informing this distinctly Islamic art with European literature and philosophy. In many ways east and west do finally meet here in Massoudy's work.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 4

SAMIR SAYEGH B. 1945 BARAKA
signed, titled and dated 2010 twice on the reverse acrylic and gold leaf on canvas 99.7 by 99.6cm.; 39 1/4 by 39 1/8 in.

ESTIMATE 10,000 - 15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 15,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription: The word Baraka (Blessing)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 5

NASROLLAH AFJEI B. 1933 UNTITLED
signed twice; signed and dated 1972/2008 on the reverse; signed, dated 1972/2008 and inscribed Tehran on the stretcher oil on canvas 150.5 by 150cm.; 59 1/4 by 59in.

ESTIMATE 40,000 - 50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 50,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 7

KAMAL BOULLATA B. 1942 ALIF LAM MIM (A.L.M.)
signed on the reverse acrylic on canvas, in three parts Each: 100 by 50cm.; 39 3/8 by 19 5/8 in. Overall: 100 by 150cm.; 39 3/8 by 59in. Executed in 2009.

ESTIMATE 18,000 - 22,000 USD

PROVENANCE Artspace Gallery, Dubai

EXHIBITION Dubai, Artspace Gallery, Kamal Boullata, 2009, n.p., illustrated in colour

CATALOGUE NOTE inscription:

Repetition of the letters alif lam mim, and the opening verse of surah al-baqqarah (II)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 8

MOHAMMAD EHSAI B. 1939 UNTITLED
signed and dated 1341 AP/1962 AD 89 by 179.5cm.; 35 by 70 5/8 in.

ESTIMATE 250,000 - 350,000 USD Lot Sold. Hammer Price with Buyer's Premium: 554,500 USD

PROVENANCE Seyhoun Gallery, Tehran Acquired directly from the above by the present owner in 1962

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 9

HUSSEIN MADI B. 1938 THE ARABIC ALPHABET
signed twice; signed twice, titled, dated 2008 and inscribed A.B.C. on the reverse acrylic on canvas 165 by 165cm.; 65 by 65in.

ESTIMATE 40,000 - 60,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Codification of the Arabic alphabet Hussein Madi is widely considered to be one of Lebanon's most important artists, and his experiments with letter form and colour have established him as a master of the Hurufiyyah movement.

Long fascinated with the Arabic script, Madi began work on his Alphabet series in 1973. In much of his work the artist marries a calligraphic line with a more European figurative subject matter, but in this series Madi pushes the boundaries of calligraphy by exploring each letter form, transforming the Arabic alphabet into an inventive calligraphic code.

In 30 medallions, Madi has reformulated the 28 letters of the Arabic alphabet as well as the combined letters lamalif, painted onto a mosaic background. In the first roundel, the word Allah precedes the remainder of the alphabet and thereafter he dramatises and experiments with each letter, multiplying them and creating differing compositions in each sphere.

Inspired by Egyptian hieroglyphics that were largely based both on nature and meaning, Madi creates letter forms that are simultaneously symbolic and naturalistic. The artist places each of his heavily stylised letters in a cartouche, evoking the Pharaonic custom of enclosing their deities in a medallion. This deification ties neatly in to the spirituality of the Arabic script, especially with regard to the word Allah, and is a clever technique that highlights and strengthens the impact of the symbol, conveying its importance to language, to faith and to art.

This is arguably one of Hussein Madi's highest achievements, and is a fascinating homage to calligraphy, and the Arabic alphabet.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 10

NJA MAHDAOUI B. 1937 GRAPHEMES
signed ink and gold paint on paper 135 by 135cm.; 53 1/8 by 53 1/8 in. Executed in 2009.

ESTIMATE 50,000 - 70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 86,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 11

MEHDI SAEEDI B. 1978 UNTITLED
signed and dated 88 AP/2009 AD; signed and dated 88 AP/2009 AD on the reverse acrylic on canvas 119.1 by 99.7cm.; 46 7/8 by 39 1/4 in.

ESTIMATE 18,000 - 22,000 USD

PROVENANCE Xerxes Art, London

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 12

YOUSEF AHMAD B. 1955 MOVEMENT OF LETTER
signed and dated 08; signed, titled and dated 2008 twice on the reverse mixed media on canvas 179.5 by 179.2 by 8.3cm.; 70 5/8 by 70 1/2 by 3 1/4 in.

ESTIMATE 30,000 - 50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 47,500 USD

PROVENANCE Artspace Gallery, Dubai Acquired directly from the above by the present owner in 2008

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 13

ALI OMAR ERMES B. 1945 THE FOURTH ODE (FROM THE PRIZE POEM SERIES)
signed and dated 1993 twice acrylic on paper mounted on canvas, in two parts 250.2 by 302.3cm.; 119 by 98 1/2 in.

ESTIMATE 250,000 - 350,000 USD

EXHIBITION Dubai, Meem Gallery; Kuwait City, Dar Al-Funoon, Ali Omar Ermes, 2008, n.p., illustrated in colour

LITERATURE Ed. Sajid Rizvi, Reaching Out: Conversations on Islamic Art with Ali Omar Ermes, London 1993, pp. 28-29, illustrated in colour

CATALOGUE NOTE inscription:

The full forth ode by the pre-Islamic poet Turfan Ibnu Abd

"Arabic letter forms are the basis of Ermes' paintings, and as such they speak volumes about his beliefs, about the culture from which he comes, and about the ultimate source of his inspiration." Exhibition Catalogue, Dubai, Meem Gallery; Kuwait City, Dar Al-Funoon, Ali Omar Ermes, 2008, n.p. This magnificent painting is the largest work ever to be offered at public auction by the eminent calligrapher Ali Omar Ermes, the artist's fascination with Arabic letter forms is truly captured in this monumental homage to the fourth ode of the Mu'allaqat al Saba'a, the famed Prize Poems. A world renowned calligrapher, and a fixture on the international art scene, Ali Omar Ermes is one of the most celebrated artist/calligraphers of the last thirty-five years. A painter first and foremost, Ermes' compositions revolve around the letter form of the Arabic alphabet. Working in a wide variety of sizes and proportions, the artist challenges calligraphic principles by rearranging passages of text according to his own artistic vision, using a range of colours and working on a monumental scale creating rhythmic and captivating compositions that do not require translation. Although the artist flouts tradition in scale, palette and calligraphic arrangement he continues to work on traditional hand-made paper, as he has in this masterpiece. Ermes' epic painting The Fourth Ode is the largest of a group of seven paintings that celebrates the Seven Odes of Arabic poetry, al Mu'allaqat al Saba'a, known in English as The Prize Poems. When a poem was judged to be exceptional it was embroidered in gold on silk cloth, and hung at the ka'ba as a sign of general acclaim, therefore retaining a notable place in the history of Arabic literature. In this magnificent work, Ermes pays homage to the pre-Islamic poet Turfah Ibnu Abd who wrote the poem. Ermes depicts the full 106 lines of the ode for which Turfah won such high acclaim. Though he died at the age of 26 and he pre-dated the Islamic period, Turfah's work has placed him firmly in the pantheon of great Arab poets. This magnificent painting, with its amalgamation of various letter forms in varying sizes, painted across vast sections of luminous colour is arguably one of Ali Omar Ermes' greatest works to date.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 14

HOUMAM AL SAYED B. 1981 CALLIGRAPHY
signed mixed media on canvas 190 by 150cm.; 74 3/4 by 59in. Executed in 2010.

ESTIMATE 3,000 - 4,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 16

OMAR BILBEISI B. 1976 UNTITLED
signed and dated 2010 acrylic on canvas 70 by 70cm.; 27 1/2 by 27 1/2 in.

ESTIMATE 3,000 - 5,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,000 USD

PROVENANCE Articulate Baboon, Cairo

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 17

CHARLES HOSSEIN ZENDEROUDI B. 1937 LOVE
signed twice and dated 69 acrylic on paper mounted on canvas 48.5 by 63.5cm.; 19 1/8 by 25in.

ESTIMATE 50,000 - 60,000 USD Lot Sold. Hammer Price with Buyer's Premium: 62,500 USD

PROVENANCE Private Collection, Spain (commissioned directly from the artist)

CATALOGUE NOTE inscription:

Stylised script

This seminal work is the transition of Zenderoudi's work from a pure two dimensional alphabetic exercise to more complex forms. The multi-coloured layering of the alphabet, with the characters seemingly super imposed onto each other, shows the transition of Zenderoudi's work as he begins to experiment with more painterly compositions and brushstrokes.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 18

MOHAMMAD EHSAI B. 1939 ESHGH KHOSOOSI (LOVE)
signed and dated 1368 AP/1989 AD oil and gold leaf on canvas 102.2 by 72cm.; 40 1/8 by 28 3/8 in.

ESTIMATE 70,000 - 100,000 USD Lot Sold. Hammer Price with Buyer's Premium: 176,500 USD

PROVENANCE Shams Gallery, Tehran (acquired directly from the artist)

CATALOGUE NOTE inscription:

A couplet by the Persian poet Hafiz

"The sanctuary of love has a threshold beyond reason The person who kisses that threshold is the one who is prepared to risk his life"

A rare and important example of Ehsai's work that is inspired by the Persian lyric poet Hafiz, rather than the graphic letter form.

The genius of Hafiz is still widely recognised today, mainly thanks to the lasting impact of his literary innovation. He was responsible for developing the 'song of love', as the ghazal is known, into its accepted form. It is now an established genre of Arabic poetry, having infiltrated the other classical languages of the medieval Islamic empire including Turkish, Persian and Urdu, in whose literary traditions the ghazal can now be found. Hafiz was a linguistic and literary craftsman who revolutionised poetry in the Islamic lands, becoming one of its pre-eminent and most distinguished poets, and whose works have been described variously as 'exquisite' and 'sublime'.

Love and passion, although not Qur'anic themes, have attained substantial importance in mysticism and Arabic secular literature. Many of Islam's epic poems deal with unrequited love and its attendant madness, as well as the beauty of true love, passion and faithfulness. All the great theologians, poets and artists have made statements on the varying degrees and manifestations of love and it is no wonder that Ehsai drew on Hafiz for inspiration. The flame red, gold and black are the perfect foil for the couplet, and are a powerful visual reminder of the ghazal, the 'song of love'.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 19

SADEGH TABRIZI B. 1939 UNTITLED
signed oil and gold leaf on canvas in artist's frame 179.5 by 180.3cm.; 70 5/8 by 71in. Executed in 2008.

ESTIMATE 20,000 - 30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 28,750 USD

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 20

PARVIZ TANAVOLI B. 1937 HEECH
signed, stamped and numbered 6/6 on the base bronze 40 by 19 by 12cm.; 15 3/4 by 7 1/2 by 4 3/4 in. Executed in 2005, this work is number 6 from an edition of 6.

ESTIMATE 25,000 - 50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 31,250 USD

PROVENANCE Acquired directly from the artist by the previous owner Acquired directly from the above by the present owner

CATALOGUE NOTE inscription:

The letter ha

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 21

ALI TOY B. 1960 ALLAH
signed and dated 2003 ebru, ink and gold leaf on paper 45 by 64cm.; 17 3/4 by 25 1/8 in.

ESTIMATE 5,000 - 7,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

The word Allah Drawing on strong architectural and geometric forms, Ali Toy's calligraphy is a modernist approach to an Ottoman art form; and is a style of script that could be described as constructivist in its simplicity and rigour. The Ottoman period is renowned for the perfection of naskhi script. Students would invest years of practice with the great masters to achieve precision in this neat and scholarly hand. Toy departs from the principles of naskh and the Ottoman format by developing a script that is strong, graphic and minimalist, but no less precise. Interestingly, whilst he departs from calligraphic tradition, Toy has adopted a very traditional presentation. In his use of marbled paper, and in maintaining the landscape orientation of the work, Toy recalls the poetry and calligraphy exercises of the Ottoman period. The combination is a hugely successful union of the traditional and the modernist.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 22

PROF. FUAD KOUICHI HONDA B. 1946 THE GREEN COSMOS
ink, gouache and pen on paper 174.5 by 135.3cm.; 68 3/4 by 53 3/8 in. Executed in 2006.

ESTIMATE 20,000 - 30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 50,000 USD

LITERATURE Honda Takakazu, The Cosmos of Arabic Calligraphy: The Works of Fuad Kouichi Honda, Hakusuisha 2006, p. 76, illustrated in colour

CATALOGUE NOTE inscription: Qur'an, surah al-baqarah (II), verse 255 (ayat al-kursi)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 23

MOHAMED KANOO B. 1963 LA' (NO)
titled acrylic on canvas 130.5 by 130cm.; 51 3/8 by 51 1/8 in. Executed in 2009.

ESTIMATE 12,000 - 18,000 USD Lot Sold. Hammer Price with Buyer's Premium: 15,000 USD

CATALOGUE NOTE inscription:

The word La' (No)

Quite clearly inspired by the Argentine-born artist Lucio Fontana, Mohamed Kanoo transforms standard calligraphy into a conceptual and sculptural triumph. In 1959, Fontana began the so-called Slash Series of paintings that featured precisely cut and slashed painted canvases. A trained sculptor, these works draw on concepts of mass, movement, time and space by transforming a flat and one dimensional surface into something else entirely - simply by introducing the space behind the canvas.

Kanoo began producing his own slash paintings by merging the slash with Arabic script, in this case the word for 'no' La', thus the artist introduces a conceptual and cultural identity to a work that is also driven by physics and the philosophy of time.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 24

BURHAN DOGANCAY B. 1929 CALLIGRAPHIC GAZELLE (FROM THE RIBBONS SERIES)
signed and dated 1979 Gouache on paper 75.5 by 56cm.; 29 3/4 by 22in.

ESTIMATE 12,000 - 18,000 USD Lot Sold. Hammer Price with Buyer's Premium: 15,000 USD

PROVENANCE Collection of Didier Charlet, Paris (acquired directly from the artist in 1981) Private Collection, Switzerland (acquired directly from the above)

CATALOGUE NOTE inscription:

Stylised script

Heavily inspired by the use of the wall as a means of expression, Dogancay's Ribbons Series sources monumental raw material from flat wall surfaces and creates delicate and more intimate dialogues between politics and his own abstract calligraphy. Deteriorating surfaces are beautiful to Dogancay. The various elements of colour, light, shadow and texture influence his sketches, photography and his writings. As with Calligraphic Gazelle, his observations of daily urban life lead to these memorable, calligraphic, layered compositions using paint and occasionally incorporating actual posters and found materials. Each of his works is an artistic expression and it is no wonder that he is one of Turkey's most highly acclaimed artists. Combining graffiti-style script with the beauty he perceives in naturally decaying walls, Calligraphic Gazelle is a textured painting that harmonises the harshness of political posters with the sensitivity of Dogancay's hand.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 25

KHALED BEN SLIMANE B. 1951 ASCENSION VIII
acrylic on canvas 190 by 400cm.; 63 by 157 1/2 in. Executed in 2010.

ESTIMATE 80,000 - 120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 92,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Repetition of the word Allah, and others of His ninety-nine names

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 26

HAMID AJAMI B. 1962 UNTITLED
signed and dated 2007 oil on canvas, in four parts Each: 169 by 70.7cm.; 66 1/2 by 27 5/8 in. Overall: 169 by 282cm.; 66 1/2 by 111in.

ESTIMATE 10,000 - 15,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Repetition of the word Allah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 27

GURKAN PEHLIVAN B. 1970 TAWAKALTU ALA ALLAH (I PLACE MY TRUST IN GOD)
signed and dated 1431 AH/2010 AD ink on paper 90 by 165cm.; 35 3/8 by 65in.

ESTIMATE 20,000 - 30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 25,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Qur'an, surah hud (XI), verse 56:

'I put my trust in Allah, my Lord and your Lord! There is not a moving [living] creature but He has grasp of its forelock. Verily, my Lord is on the Straight Path [the truth]'

Surrounded by the description of the physical attributes of the Prophet Muhammad

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 28

FARHAD MOSHIRI B. 1963 095TTV
signed, titled and dated Spring 2005 twice on the reverse oil, acrylic, gold leaf and glue on canvas 174.7 by 260.5cm.; 68 3/4 by 102 1/2 in.

ESTIMATE 100,000 - 150,000 USD Lot Sold. Hammer Price with Buyer's Premium: 782,500 USD

PROVENANCE Private Collection, Tehran (acquired directly from the artist)

CATALOGUE NOTE inscription:

A series of letters and numbers

Drawing inspiration from the clash of modernity and tradition in contemporary Iranian culture, Farhad Moshiri's oeuvre contemplates in numerous ways the existential crisis inherent to the modern Middle East.

In this series of works featuring numbers and letters overlaid and intertwined to form either an abstract design or a meaningful pattern depending on the perspective, Moshiri combines two very distinct artistic traditions in a visual puzzle drawing on optical illusion.

To a western eye, without knowledge of Arabic letters and numerals or Islamic tradition, this canvas has an intentionally abstract expressionist quality that can be likened to the works of Willem de Kooning dating from the latter half of the 1940s. Suffering financially during this period, de Kooning turned to household enamels in black and white with which to execute his paintings. He completed a series of works that were essentially either black on white ground, or white on black ground exploring the automatic drift of his hand across the canvas. These dynamic paintings and particularly Attic (1949) in the Metropolitan Museum of Art, New York are closely comparable to Moshiri's numerological canvases.

To the middle eastern eye the canvas clearly draws on the traditions of magic and numerology that are alive and well in many provincial pockets of the region, and which was certainly a thriving custom until the late nineteenth century. The recognition of magical forces in Islamic culture manifested itself in many ways, from magic bowls inscribed with numerals and symbols that would cure the patient if he drank from it, to talismanic shirts worn beneath armour that protected the soldier in battle.

For centuries mystic thinkers of the Islamic world pondered the hidden significance of letters, giving them not only a phonetic value but also an arithmetic one. These arithmetic values gave much room for interpretation, for predicting the future, for finding divinity in the written word and for many other purposes. The abjad system was a codification of the Arabic alphabet that applied numerical values to each letter and was used on scientific instruments, and for talismanic codes and magical operations.

In this canvas, Moshiri cleverly combines the modern fundamentally western aesthetic of Abstract Expressionism with an essentially Islamic concept of numerology, and the final result is both a subtle commentary and an elegant work of art.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 29

ZOULIKHA BOUABDELLAH B. 1977 HOBB (LOVE)
aluminium 80 by 167 by 5cm.; 31 1/2 by 65 3/4 by 2in. Executed in 2010, this work is unique.

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 9,375 USD

EXHIBITION Dubai, Gallery Isabelle Van Den Eynde, Zoulikha Bouabdellah - Set Me Free from My Chains, 2010

CATALOGUE NOTE inscription:

Repetition of the word Hobb (Love)

AUTHENTICATION This work is accompanied by a certificate of authenticity signed by the artist

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 31

LULWAH AL-HOMOUD B. 1967 ALLAH (FROM THE LANGUAGE OF EXISTENCE SERIES)
signed, titled, dated 2008 and numbered 5/20 silkscreen on paper 120 by 89cm.; 47 1/4 by 35in.

ESTIMATE 1,500 - 2,500 USD Lot Sold. Hammer Price with Buyer's Premium: 8,125 USD

LITERATURE Exhibition Catalogue, London, SOAS Brunei Gallery, Edge of Arabia, 2008, n.p., illustrated

CATALOGUE NOTE inscription:

Repetition of the word Allah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 32

KATAYOUN ROUHI B. 1965 UT POESIS PICTURA (AS IS PAINTING, SO IS POETRY)
signed and dated 89 AP/2010 AD; signed and dated 2010 on the reverse oil and paper collage on canvas 162 by 130cm.; 63 3/4 by 51 1/8 in.

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 22,500 USD

CATALOGUE NOTE inscription:

Verses from the artist's own poem

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 33

MOHAMED EL BAZ B. 1967 THE CONFERENCE OF THE BIRDS
photograph, neon, wood and glass in artist's frame, in three parts Each: 162.5 by 123.5cm.; 64 by 48 5/8 in. Overall: 162.5 by 370cm.; 64 by 145 5/8 in. Executed in 2010, this work is unique.

ESTIMATE 18,000 - 22,000 USD Lot Sold. Hammer Price with Buyer's Premium: 28,750 USD

PROVENANCE Private Collection, Dubai

EXHIBITION Dubai, Al Bastakiya Art Fair, FOUR, 2010

CATALOGUE NOTE inscription:

(I) The word al Ahram, title of the Egyptian newspaper (II) The word al Hayat, title of the Lebanese newspaper (III) The word al Quds, title of the Palestinian newspaper

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 34

MOUNIR FATMI B. 1970 TÊTE DURE
signed, titled, dated 2006 twice, numbered 1/1 and inscribed Est-ce qu'il se ne ressamblant? / Ceux qui savent ou ceux qui ne savent pas? on the reverse acrylic and gold paint on canvas 200 by 250cm.; 78 3/4 by 98 3/8 in.

ESTIMATE 50,000 - 70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 134,500 USD

PROVENANCE Private Collection, France

CATALOGUE NOTE inscription:

Qur'an, surah al-zumar (XXXIX), verse 9

"Are those equal, those who know and those who do not know?"

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 35

HAJI NOOR DEEN MI GUANG JIANG B. 1963 KHARIYTAH AL-'ALAM (THE MAP OF THE WORLD)
signed, stamped with the artist's seal, titled and dated 1341 AH/2010 AD twice ink and watercolour on paper mounted on canvas 142 by 247cm.; 55 7/8 by 97 1/4 in. Executed in 2010, this work is unique.

ESTIMATE 30,000 - 50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 92,500 USD

PROVENANCE Athr Gallery, Jeddah

CATALOGUE NOTE inscription:

Repetition of the word Allah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 36

MOHAMMED AL SHAMMAREY B. 1962 SHRINE (MAQAM)
signed twice, titled and dated 2010 giclee print and acrylic on canvas 101 by 136.5cm.; 39 3/4 by 53 3/4 in.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 8,750 USD

CATALOGUE NOTE inscription:

Repetition of the word Maqam (Shrine)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 37

LAILA SHAWA B. 1940 AGAINST THE WALL (FROM WALLS OF GAZA III SERIES)
signed and dated 89-09; signed, titled, dated 1989-2009 and numbered 1/3 on the stretcher digital print and mixed media on canvas 100.2 by 147.7cm.; 39 3/8 by 58 1/8 in. Executed in 2009, this work is number 1 from an edition of 3.

ESTIMATE 20,000 - 25,000 USD

EXHIBITION if Galerie, Paris, co-incidences, 2010, another example exhibited

LITERATURE Gerard Houghton, "When She Dreams of Gaza: Laila Shawa", in: Canvas, Vol. 6, September/October 2010, p. 16 &p. 132 (detail), illustrations of another example in colour

CATALOGUE NOTE inscription:

Political slogans

A native of Gaza, it is impossible for Laila Shawa not to be inspired by her surroundings; as a result Against the Wall is simultaneously a means of expression and an artistic achievement. In balancing colour and palette, and overlaying and repeating the forms to create a sense of depth and symmetry, Shawa's work is undeniably a work of art. Yet it takes inspiration from a typical Arab wall in its use of slogans, the simplistic style of the graffiti, the repeated stencils and the incorporation of the cartoon boy Hanthala. The political cartoonist Naji al-Ali's image of Hanthala is graffitied across Palestine, he is found on walls and reproduced on key chains, and is considered to be the visual representation of the Palestinian struggle. Thus this work is conceptually driven, politically motivated and aesthetically refined.

Against the Wall is an accurate representation of a middle-eastern wall, a highly visible and unmonitored means of expression. A form of inner-city literacy, it is one of the ways in which artists, poets and even the common man can communicate their feelings and opinions however great or small, whether artistic or not, for others to witness and consider in their daily lives. The artist's statement; "The graffiti on the walls in Palestine, and particularly in Gaza during the uprising against Israel occupation, was a result of the banning of any kind of media by the Israelis, such as newspapers, radio or television to the Palestinian's. Therefore the Palestinian's had to resort to using the Walls of their city to communicate with each other, sometimes calling for resistance or civil disobedience, and at times actually praising or denouncing a particular situation. My use of the repeated figure of "Hanthala" is a reference to the large number of children killed in the last brutal attack on Gaza in 2009 by the Israeli air force . This work is not your usual inter-city literacy, as seen in other Middle Eastern cities."

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 38

BITA GHEZELAYAGH B. 1966 FELT MEMORIES - ARE BULLETS THE ANSWER TO FLOWERS
metal and embroidery on felt in Plexiglas box 126.4 by 126.4cm.; 49 3/4 by 49 3/4 in. Executed in 2009.

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 6,250 USD

PROVENANCE Private Collection, London

CATALOGUE NOTE inscription:

Javab gol goulgouleh ast? (Are bullets the answer to flowers?)

Previously an architect and art director of several Iranian films, Ghezelayagh has been combining talismanic symbols and embroidery on felt since 2004. Ghezelayagh feels that it embodies qualities such as simplicity and resilience, which she notices are often disregarded in Iran's march to modernity. Her tunics and capes are felt canvasses on which she expresses her memories of growing up in Iran. She found herself heavily influenced by post-revolutionary visual popular culture particularly its symbols of resistance, protection and martyrdom and has sought a new visual language that embraces tradition and modernity through a unique combination of ancient signs, symbols and calligraphy with conceptual art.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 39

HASSAN MEER B. 1972 HOUSE II
photograph 150 by 115cm.; 59 by 45¼in. Executed in 2009, this work is number 2 from an edition of 3.

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,500 USD

CATALOGUE NOTE inscription:

Verses by the Omani poet Asma Issa, and the artist's grandfather

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 40

AFSHIN PIRHASHEMI B. 1974 UNTITLED
Each: signed oil and silver paint on canvas, in two parts Overall (including frame): 130 by 235.3cm.; 51 1/8 by 92 5/8 in. Executed in 2009.

ESTIMATE 50,000 - 70,000 USD

PROVENANCE Homa Gallery, Tehran Acquired directly from above by the present owner

CATALOGUE NOTE inscription:

Two couplets by the Persian poet Jalal al-Din Muhammad Rumi

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 41

LALLA ESSAYDI B. 1956 CONVERGING TERRITORIES #22ABS
Right panel: signed, titled and numbered 8/15 on a label affixed to the reverse chromogenic print mounted on aluminium, in three parts Each: 101.5 by 83.5cm.; 40 by 32 7/8 in. Overall: 101.5 by 250cm.; 40 by 98 3/8 in. Executed in 2003, this work is number 8 from an edition of 15 and was printed in 2008.

ESTIMATE 20,000 - 30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 31,250 USD

CATALOGUE NOTE inscription:

Phrases from the artist's own poems and diaries

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 42

ARMAN STEPANIAN B. 1956 UNTITLED
signed, dated 2008 and numbered 2/7 cibachrome print Image: 98.5 by 65.5cm.; 38 3/4 by 25 3/4 in. Overall: 124.2 by 91.2cm.; 48 7/8 by 35 7/8 in.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 43

NURJAN B. 1987 ALLAH TEARDROP
Swarowski crystals on slate 80 by 60cm.; 31 1/2 by 23 5/8 in. Executed in 2010.

ESTIMATE 1,500 - 2,500 USD Lot Sold. Hammer Price with Buyer's Premium: 5,625 USD

PROVENANCE Mica Gallery, London

CATALOGUE NOTE inscription:

The word Allah Inspired by her British/Turkish/Cypriot/Pakistani heritage, Nurjan, at the tender age of 23years, has emerged as one of London's freshest and brightest creative stars. Her exotic influences are captured in her work, which is a fusion of styles and influences. Specializing in Swarovski crystals, Nurjan trained at the University of the Arts and began to explore different ways of personal expression through art fusing Eastern and Western influences. Each piece is exclusive and never reproduced. She has been working on a special collection juxtaposing the sparkle and beauty of Swarovski crystal against more natural mediums like slate and copper. As a branded partner for CRYSTALLIZED Swarovski Elements, Nurjan has been commissioned by a number of celebrities including Kimora Lee Simmons and has her work in various private collections including Aisha and James Caan (of Dragons Den), Ahlya Fateh (MD of TataNaka and ex-editor of Tatler), Kristiane Backer (Author and TV presenter) and Faiza Seth (CEO of CasaForma). Nurjan has exhibited at the Mica Gallery South Kensington, at Somerset House in the presence of HRH Crown Prince of Malaysia, at Battersea Power Station in the presence of HRH Prince Hassan Bin Talal of Jordan and HRH Princess Badiyah of Jordan. Nurjan was selected out of several hundred emerging artist to create a 'Mosaic of Talent' for their Royal Highnesses, collaborating with Khaver Idrees, which was a special memento to their VIP guests. Nurjan has also exhibited with Candida Arts centre in Islington London as part of The Three Faiths Forum 'WomenArTogether' exhibition. Most recently, one of her Swarovski Crystal pieces raised £12,500 at a charity auction for The James Caan Foundation. The artist's statement; Allah is our creator. Art cannot portray the almighty but the brilliance and sparkling mystical spirit of the Swarovski crystal is intended to capture the beauty of God. This piece consists of thousands of tiny Swarovski crystals, each skillfully hand applied over time, capturing the spirit of traditional Islamic art techniques, which are so lost in the chaos of modern living. One of the 99 names of Allah is An-Nur, meaning The Light. Nurjan is drawn to iridescent beauty of Swarovski crystal because it creates an array of light, sparkle and splendor that no other medium can convey. The colour chosen (crystal aurore boreale) has a special coated effect, mirroring that of diamonds. As the audience view the artwork from various angles, the colours change along with the sparkle from different viewpoints creating an almost magical effect on the onlooker forcing them to stop and reflect on the wonder of God. I have chosen to place Allah in the shape of a teardrop to symbolize the peak of ones spiritual journey. "When submitting to the oneness of God, during prayer tears often roll from my eyes, tears that wash away the chaos, the conflict, the pain, the hedonism around me, lifting my soul to a higher level" Nurjan.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 44

JAMSHID BAYRAMI B. 1961 RHAPSODY
Each: signed on the reverse; titled, dated 2006-2010 and numbered 1/1+2AP on a label affixed to the reverse digital print on canvas, in three parts Each: 216 by 109.5cm.; 85 by 43 2/8in. Overall: 216 by 328.5cm.; 85 by 129 3/8in. Executed in 2006, this work is from an edition of 1 plus 2 artist's proofs and was printed in 2010.

ESTIMATE 10,000 - 15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 12,500 USD

PROVENANCE Xerxes Art, London

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 45

AHMED MOUSTAFA B. 1943 INTERIOR IN THE EXTERIOR
signed and dated 1407 AH/1987 AD tapestry 258 by 416cm.; 101 1/5 by 163 3/4 in. Executed in 1987, this work is unique and is woven by Pinton, Felletin-Aubusson, France in 1988.

ESTIMATE 250,000 - 350,000 USD Lot Sold. Hammer Price with Buyer's Premium: 458,500 USD

EXHIBITION Rome, Pontificia Universitas Gregoriana; Sarajevo, The National Gallery; Barcelona, Museu Diocesà, Where the Two Oceans Meet, 1997-1998

CATALOGUE NOTE inscription:

Qur'an, surah al-baqarah (II), verse 255 (ayat al-kursi)

"God there is no deity save Him, the Ever-Living, the Self-subsistent Fount of All Being. Neither slumber overtakes Him, nor sleep. His is all that is in the heavens and that is on earth. Who is there that could intercede with Him, unless it be by His leave? He knows all that lies before men and all that is hidden from them, whereas they cannot attain to aught of His knowledge save that which He wills. His eternal power overspreads the heavens and the earth, and their upholding wearies Him not. And He alone is truly exalted, tremendous."

The above cited Qur'anic verse is the source of inspiration for this composition. The vision of absolute power and dominion to which the words give expression is as though condensed into the image of a giant black cube placed into the interior of another cube imbued with light. The text of the verse is displayed on the walls of the luminous cube and figures in gold-lettered ribbons three times on the sides of the black cube.

The binary oppositions to which the text gives expression heaven and earth, what is perceptible to man and what is hidden from him are visually echoed by a series of binary oppositions within the composition, most notably the contrast between the alignment of the exterior and the interior cubes. Particularly striking in this respect is the sharp edge of the latter which divides the composition right down the middle. It faces the viewer head-on with such challenge that the entire black cube appears about to spring into motion in order to penetrate both heart and mind.

The words which straddle this crucial edge in threefold repetition are ma bayna aydihim, translated in the rendering cited above as 'all that lies before men'. The Arabic phrase, however, is an idiom which literally translated means 'that which is between their hands'. Seen in combination with this wording, the cutting edge of the cube comes to symbolise 'between-ness' as such - the dividing line which marks all dualities and oppositions and renders them, and with it the visible world as such, perceptible to man. Behind that edge are the four sides of the black cube which remain hidden from view, suggestive of an invisible expanse encompassed by the divine presence which as the verse affirms alone overcomes division.

Originally produced in oil and water colour, the composition was woven into a tapestry by the Pinton company of weavers which was founded in 1767. The best among the heirs of a tradition of high quality, with its unrivalled reputation, Pinton is and has been for quite some time the major tapestry-maker in Aubusson (in fact Felletin, its sister-town). Through the quality of its productions and through its connections with major artists it has played a leading role in the rebirth of modern tapestry. Notably, it was entrusted with the weaving of the largest tapestry in the world, designed by Graham Sutherland and commissioned for the Cathedral of Coventry. Several of Ahmed Moustafa's compositions were woven into tapestries by Pinton, notably the Trilogy of the Arab Horse (1981) which was commissioned by the Ministry of Public Works of the State of Qatar for the conference centre of the Doha Sheraton. Among the artists who had tapestries woven at Pinton studios are Arp, Bazaine, Calder, Le Corbusier, Sonia Delauny, Dufy, Picard le Doux, Fernand Leger, Lurcat, Ubac, Vasarely and Zadkine.

Dr. Stefan Sperl

Senior Lecturer in Arabic School of Oriental and African Studies London

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 46

GEORGE LEWIS B. 1974 BINT AL BASEERA (THE LADY WITH INSIGHT)
signed and dated 2010 on the reverse gouache and acrylic on paper 53 by 70.8cm.; 20 7/8 by 27 7/8 in.

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 6,250 USD

CATALOGUE NOTE inscription:

Excerpt from the writings of the Arab scholar and philosopher, Al-Tahawani

"Vision enlightens the Soul.

Vision casts into the soul the sacred, divine light which reveals the inner reality of being, just as physical sight brings to the mind the outer shape of things.

In its basic form, philosophers call vision the sighted rationality. When kindled by divine light and unveiled by the guidance of truth then philosophers call it the sacred power."

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 47

ZAKARIA RAMHANI B. 1983 FACES OF YOUR OTHER 38 (FROM DE DROITE À GAUCHE SERIES)
signed 199.5 by 240cm.; 78 1/2 by 94 1/2 in. Executed in 2010.

ESTIMATE 20,000 - 22,000 USD

PROVENANCE Artspace Gallery, Dubai

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 48

HAMZA BOUNOUA B. 1979 FIGURES IN LETTERS
signed; signed, titled and dated 2010 on the backing board 120 by 120cm.; 47 1/4 by 47 1/4 in.

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,625 USD

PROVENANCE Acquired directly from the artist by the present owner

EXHIBITION New York, Agora Gallery, Journey into Art, 2010 Kuwait City, Dar Al-Funoon, Art in Kuwait, 2010

LITERATURE Exhibition Catalogue, New York, Agora Gallery, Journey into Art, 2010, n.p., illustrated in colour

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 49

ALI HASSAN B. 1956 NOON (N)
signed and dated 2010 on the reverse 150 by 200cm.; 59 by 78 3/4 in.

ESTIMATE 20,000 - 25,000 USD

PROVENANCE al markhiya gallery, Doha

CATALOGUE NOTE inscription:

The letter noon

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 50

RACHID KORAÏCHI B. 1947 AHMED EZAATAR
signed and numbered 1/2 on the base bronze 210 by 164 by 105.5cm.; 82 3/4 by 64 1/2 by 41 1/2 in. Executed between 1985-2009, this work is number 1 from an edition of 2 plus, 1 Artist's proof.

ESTIMATE 180,000 - 250,000 USD Lot Sold. Hammer Price with Buyer's Premium: 182,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

The artist's own pictograms

There are arguably few highly accomplished sculptors in the Middle East, but Koraichi is firmly placed in this pantheon with this outstanding work of art his largest sculpture ever to be offered at public auction. Simultaneously imposing, intellectual and spiritual, it is one of his most important works to date and is truly of museum quality.

Throughout the region, artists of the mid-twentieth century were inspired by local culture. In North Africa Berber symbols, magical insignia and Islamic motifs were incorporated into mainstream art. In keeping with the hurufiyyah movement, Koraichi utilises symbols, words and talismanic squares taken from local culture that draw upon the Islamic tradition of magic bowls and talismans, protecting the wearer from harm and black magic, as well as absorbing west and north African indigenous icons and beliefs. Yet Koraichi looks outside the boundaries of his immediate locale and is inspired and influenced by extensive international travel, with clear parallels to Far Eastern pictograms notably the phonetic Japanese alphabet Hiragana.

In 1980 Koraichi began developing an etching inspired by Ahmad al Azaatar, a poem written by the celebrated Palestinian poet Mahmoud Darwish, that paid tribute to the struggle within the eponymous refugee camp during the Lebanese Civil War. In August of 1976, this camp was destroyed and the number of victims reached the thousands. Koraichi's etching and Darwish's poem were both published in Une Nation en l'Exil and were conceived as a eulogy to those who lost their lives (Edition Fondation Shoman, Amman). In 2009, Koraichi revisited his iconic symbol and completed the work he had begun thirty years before by casting the sculpture as he had always intended.

In creating this highly individual and esoteric symbol, emblematic of revolution, of peace, of loss, of magic and spirit, of Arabia and the Orient, the artist frees the letter form - creating something that is conversely, not esoteric at all. In its lack of linguistic sense, in its liberated form, this becomes a universal symbol: a pictogram that can be appreciated by any viewer and any culture, both for what it is and what it is not. Whilst his inspiration is deeply rooted in his Algerian heritage, Koraichi is truly an international artist whose works speak to a global audience.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 51

SALWA ZEIDAN ALLAH
Each: signed, titled, dated 2007 and numbered consecutively No. 1-6 on the reverse acrylic on canvas, in six parts Each: 50 by 50cm.; 19 5/8 by 19 5/8 in. Executed in 2007, this work is unique.

ESTIMATE 7,000 - 10,000 USD Lot Sold. Hammer Price with Buyer's Premium: 11,250 USD

PROVENANCE Acquired directly from the artist by the present owner

LITERATURE Abu Dhabi, Salwa Zeidan Gallery, In Light, 2009, n.p., illustrated in colour

CATALOGUE NOTE inscription:

Repetition of the words Allah and Huwa (He)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 52

MOUMTAZ KIOMO LAHDHATOU CHAGHAF (A MOMENT OF PASSION)
signed and dated 10 analog and digital mixed media on canvas 150 by 100cm.; 59 by 39 3/8 in. Executed in 2010, this work is unique.

ESTIMATE 1,000 - 2,000 USD Lot Sold. Hammer Price with Buyer's Premium: 2,750 USD

CATALOGUE NOTE inscription:

The phrases Hal anta jahiz? "Are you ready?" Lahza "A Moment" Hubb hayati "Love of My Life"

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 53

FATHI HASSAN B. 1957 HARAM ALEIKUM (SHAME ON YOU)
signed, titled and dated 2010 twice on the reverse mixed media on board in Plexiglas frame 67.4 by 50.6cm.; 26 1/2 by 23 1/2 in.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

PROVENANCE Private Collection, London

CATALOGUE NOTE inscription:

Repetition of the phrase Haram aleikum (Shame on you)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 54

MAQBUL FIDA HUSAIN B. 1915 ALLAH
signed and dated 010 41.5 by 29.5cm.; 16 3/8 by 11 5/8 in.

ESTIMATE 15,000 - 20,000 USD Lot Sold. Hammer Price with Buyer's Premium: 18,750 USD

CATALOGUE NOTE inscription:

The word Allah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 55

MAQBUL FIDA HUSAIN B. 1915 AL QAF
signed, titled and dated 010 41.5 by 29.5cm.; 16 3/8 by 11 5/8 in.

ESTIMATE 15,000 - 20,000 USD Lot Sold. Hammer Price with Buyer's Premium: 18,125 USD

CATALOGUE NOTE inscription:

Repetition of the letter qaf

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 56

KHALED BEN SLIMANE B. 1951 (I) UNTITLED (II) UNTITLED
(I) signed and dated 2004 (II) signed and dated 2006 (I) painted and glazed ceramic with metal base, in five parts (II) painted and glazed ceramic with metal base, in four parts (I) 181 by 22 by 22cm.; 71 1/4 by 8 5/8 by 8 5/8 in. (II) 147.2 by 21 by 21cm.; 58 1/8 by 8 1/4 by 8 1/4 in.

ESTIMATE 25,000 - 35,000 USD Lot Sold. Hammer Price with Buyer's Premium: 25,000 USD

CATALOGUE NOTE inscription:

(I)-(II) Various spiritual phrases

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 57

FATEMA AL MAZROUIE B. 1913 ARABIC KOHL (FROM THE HERITAGE COLLECTION SERIES)
acrylic and mixed media on wood 110 by 160cm.; 43 1/4 by 63in. Executed in 2010.

ESTIMATE 3,000 - 5,000 USD Lot Sold. Hammer Price with Buyer's Premium: 4,000 USD

PROVENANCE Salwa Zeidan Gallery, Abu Dhabi

EXHIBITION Abu Dhabi, Emirates Heritage Club, Green Art Abu Dhabi, 2010

CATALOGUE NOTE inscription:

A poem on Arabic kohl by an Emirati poet

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 58

KHOLOUD SHARAFI B. 1987 10:11:19
mixed media on fibreboard, in two parts 233 by 245cm.; 91 3/4 by 96 1/2 in. Executed in 2010, this work is unique.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription:

Lyrics from a song by the Egyptian singer Umm Kulthoum

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 59

SHIRINE OSSEIRAN B. 1977 (I) JAMEEL (II) LAYLA (III) SAFAR
Each: signed and dated 2010 twice on the reverse acrylic on board, in three parts Each: 42 by 33.2cm.; 16 1/2 by 13in.

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription:

Various phrases

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 60

AISHA CAAN B. 1959 ALLAH, THE PROVIDER
Right panel: signed and dated 2008 oil on canvas, in two parts Each: 101.5 by 76cm.; 40 by 29 7/8 in. Overall: 101.5 by 152cm.; 40 by 59 7/8 in.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,250 USD

CATALOGUE NOTE inscription:

The words Allah, al Razaq (Allah, the Provider)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 61

CHARLES HOSSEIN ZENDEROUDI B. 1937 SAHRAYE IRAN (THE IRANIAN DESERT)
signed twice and dated 78 acrylic on canvas 122 by 150cm.; 48 by 59in.

ESTIMATE 80,000 - 120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 104,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 62

MOHAMMAD EHSAI B. 1939 MOHABBAT (KINDNESS)
signed and dated 1386 AP/2007 AD oil on canvas 146.9 by 147cm.; 57 3/4 by 57 7/8 in.

ESTIMATE 80,000 - 120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 170,500 USD

PROVENANCE Acquired directly from the artist by the present owner in 2008

CATALOGUE NOTE inscription:

The word Mohabbat (Kindness)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 63

PROPERTY FROM THE COLLECTION OF MOHAMMAD JAMALADINY NASROLLAH AFJEI B. 1933 UNTITLED
signed twice ink on canvas 114.2 by 119cm.; 45 by 46 7/8 in. Executed in 2008.

ESTIMATE 30,000 - 40,000 USD Lot Sold. Hammer Price with Buyer's Premium: 37,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

A couplet by the Persian poet Hafiz

Much like the celebrated naturalistic artist Sohrab Sepehri, Nasrollah Afjei sought inspiration from the world around him. As a child he would go to the desert and paint the trees and the rolling landscapes, he would visit the sea and try to capture the form of the waves; but unlike Sepehri he chose to express the world around through calligraphy. The essential power of the earth and sea, the curve of the landscape and the freedom of the wind are all captured in his dynamic and perspective driven works that form horizons and mountains with the word.

Afjei believes calligraphy is a universal language anyone can enjoy, much like the colour field artists of the 60s and 70s who stripped back landscapes into fields of colour, and created minimalist works to appeal to primal emotion rather than drawing on recognition and association, Afjei utilises the word. Like an engineer, the angles in his script are precisely thought out and he is constantly pushing his own boundaries through trial and experimentation.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 64

MOHAMMAD EHSAI B. 1939 UNTITLED
signed and dated 1351 AP/1972 AD oil on canvas 70 by 99.5cm.; 27 1/2 by 39 1/8 in.

ESTIMATE 70,000 - 100,000 USD Lot Sold. Hammer Price with Buyer's Premium: 98,500 USD

PROVENANCE Aquired directly from the artist by the previous owner Private Collection, Iran (acquired directly from the above)

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 65

SADEQUAIN 1930 - 1987 SURAH AL-RAHMAN
signed and dated 1985 oil and ink on canvas 94.7 by 152cm.; 37 1/4 by 59 3/4 in.

ESTIMATE 60,000 - 80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 31,250 USD

PROVENANCE Collection of M.A. Khan (acquired directly from the artist) Private Collection, London (acquired directly from the above by the present owner)

LITERATURE Dr. Salman Ahmad, The Legend of Sadequain: Renaissance of Calligraphic Art in Pakistan, La Mesa 2010, p. 10, illustrated in colour

CATALOGUE NOTE inscription:

Qur'an, surah al-rahman (LV), verse 19

'He has made the two seas to flow freely (so that) they meet together, Between them is a barrier which they cannot pass.'

A master of calligraphy, Sadequain fast became one of Pakistan's most celebrated artists. This outstanding example of his work illustrates his radical departure from established calligraphic norms.

Devoting the majority of his life to the art of the pen, Sadequain's unabashed departure from calligraphic tradition and the generosity with which he distributed his works, led to his name being synonymous with calligraphy in Pakistan and the Middle East. He was a legend in his own time and is single-handedly responsible for the renaissance of Pakistani calligraphy.

Searching for a new manner of expression, Sadequain was the first, and ultimately the most famous Pakistani to use calligraphy for both religious and artistic purposes. In a short period of time, he had made a huge impact on the calligraphic world and ushered in what has been described as a calligraphic revolution. Inspiring a generation of calligraphers by encouraging experimentation and innovation, in what had arguably become a stagnant art form.

In this exquisite work, the calligraphy and its aesthetic dominate the image, conveying the essential meaning of the script without requiring translation. Even for those who cannot comprehend the inscription, the power and majesty of the words is evident. Sadequain focused on preserving the mystical power of the letter and the concepts behind the word, through visual representation.

Sadequain painted this work in 1985 as part of a series in which he separated the individual refrains of Surah alRahman which he began in 1969. This particular painting is by far the most moving, and evokes the calm serenity of the sea. Surah al-Rahman, The Beneficent, is the fifty-fifth surah of the Qur'an and is often described as 'the beauty' of the Qur'an.

Here the artist chooses to illustrate verses nineteen and twenty, separating the two seas of dark blue and dusty green with a forbidding barrier in white script framed in black, the calligraphy itself forms the "barrier which they cannot pass". Inspired by the medieval Islamic script thuluth, Sadequain elongates the letters generally used in bold inscriptions on facades of religious buildings, or in large copies of the Qur'an visually, calligraphically and conceptually linking this work to its spiritual inspiration.

To this day Sadequain is highly respected for his skill, the way in which he enriched dry traditional forms with a lyricism and artistry that is second to none and his influence on the generations of artists that followed his calling.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 66

GOHAR QALAM B. 1956 SUPPLICATION OF RAHMA
signed and dated 2010 ink, gouache, silver and gold leaf on paper 96 by 60cm.; 37 3/4 by 23 5/8 in.

ESTIMATE 5,000 - 10,000 USD

CATALOGUE NOTE inscription:

Qur'an, surah yusuf (XII), verse 64

'Allah is better at guarding and He is the most Merciful of those who show mercy.'

In this exquisite and poignant work, Gohar Qalam has combined a shaded green background with floating Arabic calligraphy in a soaring lagoon.

In the backdrop of this painting the letters are lit with a delicate but radiant light and are composed in a circular movement. The circle alludes not only to the movement around the Kaa'ba, but also the orbits of the planets, their very shapes, which are also in a circular format.

The buoyant letters in a sea of blue and green also recall the Ocean of Infinity without a shore and also allude to the last verse "Were the sea to become Ink..." of Surah Kahf. The background is in shades of blue and green with the letters in pale pearlescent inks as if floating in their surroundings and thus creating a peaceful and magical effect of a calm sea. In this composition, in green gold leaf, the Ha and Kha shapes are below the base line while the upright Alif's lie above the base. The highlighting of the script with deep green edging to the gold leaf gives a three dimensional feel to the work.

The inspiration of the painting is derived from several Verses of the Holy Quran, since Rahma or Divine Mercy is sent down like water when it falls from the sky thus renewing the earth. The artist has been inspired from the following Verses "And He it is Who from Water hath created Man" (Surah Al Furqan V 54) and "Have not the infidels seen that the heavens and the earth were of one piece. Then We rifted them asunder and from Water made every living thing. (Surah Anbiya V 30) and "He it is Who created the Heavens and the earth in six days and His Throne was upon Water (Surah Hud, V 7). More importantly the painting is directly inspired from the Immortal waters of Life specifically alluded in Surah Kahf just before Moses meets the everlasting Khidr (the green robed one) when the cooked fish (meant for the lunch of Moses and Joshua) suddenly became alive when the drops of the Waters of life fell on them and the fish swam to the sea. Here the artist has combined the supplication of Rahma with the miraculous waters of Life. This composition in monumental Thulth script demonstrates a downward movement since this is Rahma coming down. Both the ideas of Tanzil (which comes down) and rain/water (which also come down) have been explored by the great scholars of Islam in the past and alluded above.

In contemplating this particular painting one is reminded of the words of the late Dr Lings where in he stated " Blue is the colour of the Infinite and identical with Mercy for " My Mercy embraceth all things (Surah VII, v 156).... Closely related to Ar Rahman is the Name Al Muhit, the All Embracing and by extension the word Muhit also means Ocean. As a symbol of Infinite Mercy, the sea is in fact second only to the sky itself whose colour it takes and assimilates..... He states further; if "blue liberates by Infinitude, gold liberates because like the sun it is symbol of the Spirit". As the colour of light gold is like yellow intrinsically a symbol of Knowledge. Blue in the presence of gold is therefore Mercy inclined to Reveal itself."

Tajammul Hussain

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 67

TAJAMMUL B. 1953 WERE THE SEA TO BECOME INK
signed, titled and dated 5th September 2010 ink, oil, silver leaf, gesso, malachite, lapiz and mixed media on canvas mounted on board 75.3 by 120.7cm.; 29 5/8 by 47 1/2 in.

ESTIMATE 20,000 - 30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 25,000 USD

CATALOGUE NOTE inscription:

Qur'an, surah al-kahf (XVIII), verse 109

'Were the sea to become ink for the words of my Lord, surely the sea would be used up before the Words of my Lord were exhausted, even if we added another ocean like it, thereof to aid.'

inscription:

Qur'an, surah al-kahf (XVIII), verse 109

'Were the sea to become ink for the words of my Lord, surely the sea would be used up before the Words of my Lord were exhausted, even if we added another ocean like it, thereof to aid.' When the Quran says "Were the sea to become Ink for the Words of my Lord, the sea would be used up before the Words of my Lord were used up" it is saying that the symbol is not to be compared with that which it symbolizes, namely the Mother of the Book, the Sea which is in fact vast enough to contain the Words of God. None the less, by choosing the material seas rather than any other earthly thing for this demonstration, the Quran affirms that they are, for the Infinitude of the Divine Wisdom, the symbol of symbols. Far from being a concrete image arbitrarily chosen by man to illustrate some abstract idea: a symbol is, as we have seen, the manifestation, in some lower mode, of the higher reality which it symbolises and which stands in as a close relationship to it as the root of tree to leaf. Thus water is Mercy and it would be true to say that even without any understanding of symbolism and even without belief in the Transcendent, immersion in water has an inevitable effect upon the soul in addition to its purification of the water. In the absence of any ritual intention, this effect may be altogether momentary and superficial; it is none the less visible on the face of almost any bather emerging from a lake or a river or even the sea, however, quickly it may be effaced by the resumption of " ordinary life". To perform the rite of ablution is to identify oneself in the world of matter, with this wave of Mercy, and to return with it as it ebbs back towards the Principle, for purification is a return to our origins. The Origin and end of this wave lies in the Treasuries (khazain) of the water which are "With Us "(Surah al furqan : v. 21). The Treasuries of Mercy are also spoken of in just the same terms and it is clear that these Treasuries are no less than the Supreme Source of Mercy Himself, Ar Rahman, the Infinitely Good. The Quran also speaks of its own Archetype, the Mother of the Book, which is also the Divine Omniscience, nor can this Treasury be apart from those of Mercy, for it likewise belongs to Ar Rahman who is the Source of the Book. The Infinitely Good taught the Quran (Surah Rahman - the opening). We have already seen the connection between Mercy and comprehension; and the Treasuries of Water comprise both these aspects of Ar Rahman for water is the symbol of Knowledge as well as of Mercy. Al Ghazali remarks with regard to the verse "He sent down water from heaven, so that the valleys are in flood with it, each according to its capacity (Surah Ar Raad v. 17). The commentaries tell us that the Water is Gnosis and that the valleys are Hearts. Aesthetically, the painting is inspired by the Japanese Zen paintings of the Edo period of Korin Ogata and Sakai Hoitsu (1761 - 1828). Wave paintings were a favourite subject in the Edo period and were done in different styles by the Kano, Maruyama and Rimpa schools. Hokusai 's famous "Great Wave" print is in part a summing of this tradition. Tajammul Hussain.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 68

KHALED AL-SAAI B. 1970 EARTH 1
signed and dated 2005 oil on canvas 191.5 by 71.5cm.; 75 3/8 by 28 1/8 in.

ESTIMATE 12,000 - 15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 17,500 USD

PROVENANCE The Majlis Gallery, Dubai Acquired directly from the above by the present owner in 2007

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 69

ALIREZA KARAMI B. 1949 UNTITLED
signed oil on canvas 109.5 by 180cm.; 43 1/8 by 70 7/8 in. Executed in 2008.

ESTIMATE 15,000 - 20,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 70

AHMED MOUSTAFA B. 1943 THE NIGHT JOURNEY AND ASCENSION
Each: signed and dated 1429-31 AH/2008-10 AD twice oil and watercolour on 638gsm cotton paper mounted on canvas, in two parts 240 by 297cm.; 94 1/2 by 116 7/8 in.

ESTIMATE 700,000 - 900,000 USD Lot Sold. Hammer Price with Buyer's Premium: 842,500 USD

CATALOGUE NOTE inscription:

Qur'an, surah al-Isra (XVII), verse 1

"Limitless in His glory is He who transported His servant by night from the Inviolable House of Worship (at Mecca) to the Remote House of Worship (at Jerusalem) the environs of which We had blessed so that We might show Him some of Our symbols: for verily He alone is all-hearing, all-seeing."

This Qur'anic verse refers to the Prophet Muhammad's (p.b.u.h.) night journey from Mecca to Jerusalem and his ascension from there to heaven where he was granted a vision of the Hereafter and of the secrets of Paradise and Hell. The archetypal encounter with the divine realm, only hinted at in the words 'We might show Him some of Our symbols', is the subject matter at the root of Ahmed Moustafa's diptych The Night Journey and Ascension. It explains the power of the work in which a series of what appear like thunderbolts give rise to bundles of ascending rays of iridescent colour that rise up to a world beyond the confines of the canvas.

The elements of composition ascend with unrestrained velocity as though engaged in an uncommon race on account of a powerful force which attracts them to the heights a force that defies weight, size and quantity and to which no earth-bound gravity applies. As gravity is nullified, time is reduced to a furtive moment in which all of Time itself is contained. Complete chaos seems to arise and yet the viewer senses a hidden order at work which harmonises the outpouring of opposing energies and unites them into a magic image of the Tree of Life 'a blessed tree, an olive tree which is neither of the East nor of the West, whose oil is so bright that it almost shines though no fire had touched it' (Qur'an, surah XXIV, verse 35).

The multiple moving forms which generate the composition consist in fact of repeated visual utterances of the above cited Qur'anic verse which are scattered in different colours and sizes over the lower regions of the painting and from whose letter-shapes emanate the upward charging rays. The varying guises in which the Qur'anic utterance is displayed reflect a plurality of perspective inherent in the wording of the verse, as the divine speaker refers to Himself, first as 'He', then as 'We' and lastly as 'He' once more. Displayed against a deep night-blue background of seemingly limitless depth, the words appear as though discharged into the midst of interstellar space.

The painting, however, appeals not only to the eye, but also to the ear. The utterances are displayed with such rhythm, the upward moving streams of lines are so freely and harmoniously intertwined as though they formed part of a polyphonic chorus of glorious praise. Musical sound is here made visible as it travels through space. In making us aware of the link between hearing and sight, space and time, the composition evokes the closing statement of the Qur'anic verse: 'verily He alone is all-hearing, all-seeing'. In its very grandeur the composition thus hints at a reality which dwarfs it and all else, and is 'measureless to man'.

As summarised by the artist himself, the work strives to give expression to a heavenly, angelic celebration, in which visible forms assume the role of sounds, in which meanings assume the hue of colours, while all is imbued with the scent of camphor and musk, and engulfed with a sprinkling of the dew of eternal life in which there is no 'where' and 'in between', and in which absolute goodness reigns supreme.

Dr. Stefan Sperl Senior Lecturer in Arabic School of Oriental and African Studies London

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 71

LEVENT KARADUMAN B. 1978 UNTITLED
signed and dated 1431 AH/2010 AD ink on paper 150 by 270cm.; 59 by 106 1/4in.

ESTIMATE 30,000 - 40,000 USD Lot Sold. Hammer Price with Buyer's Premium: 47,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Description of the physical attributes of the Prophet Muhammad, surrounded by the repetition of the word Huwa (He)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 72

ALI ADJALLI B. 1939 UNTITLED
signed and dated 1424/1382 AH/AP/2003 AD four times acrylic on canvas 149.7 by 199.5cm.; 58 3/4 by 78 1/2 in.

ESTIMATE 15,000 - 20,000 USD Lot Sold. Hammer Price with Buyer's Premium: 18,750 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 73

VASEEM B. 1966 THE WRECKAGE
stamped with the artist's monogram; signed, titled, dated 2004 and inscribed mixed media on canvas 71.5 by 55.5cm.; 27 1/8 by 21 7/8 in.

ESTIMATE 4,500 - 5,500 USD Lot Sold. Hammer Price with Buyer's Premium: 5,625 USD

PROVENANCE Mica Gallery, London

CATALOGUE NOTE inscription:

The phrase Rabbi yassir bi-al khayri wa-la-tu'assor (Oh Lord, make it easy for me to choose the righteous path)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 74

POOYA ARYANPOUR B. 1971 UNTITLED
signed and dated 1387 AP/2008 AD; signed and dated 2008 on the reverse acrylic on canvas 150 by 200cm.; 59 by 78 3/4 in.

ESTIMATE 10,000 - 15,000 USD

PROVENANCE Acquired directly from the artist by the previous owner Acquired directly from the above by the present owner in 2008

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 75

FARAMARZ PILARAM 1937-1982 SACRE
signed twice and dated 71; signed on the reverse oil on canvas 49 by 69.5cm.; 19 1/4 by 27 3/8 in.

ESTIMATE 10,000 - 15,000 USD

PROVENANCE Galerie Guiot, Paris Acquired directly from the above by the present owner circa 1973

LITERATURE Exhibition Catalogue, Paris, Galerie Guiot, 6 Peintres Contemporain Iranien, 1973, no. 51, illustrated in colour

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 76

PROPERTY FROM THE COLLECTION OF MOHAMMAD JAMALADINY AZRA AGHIGHI BAKHSHAYESHI UNTITLED
oil and pen on canvas 100 by 203cm.; 39 3/8 by 79 7/8 in. Executed in 2008.

ESTIMATE 10,000 - 15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 20,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Qur'an, surah al-qalam (LXVIII), verse 51 to 52:

'And verily, those who disbelieve would almost make you slip with their eyes through hatredness when they hear the Reminder [the Qur'an], and they say: "Verily, He (Muhammad) is a madman!". But it is nothing else than a Reminder to all the 'Alamin [mankind, jinns and all that exists].'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 77

WISSAM SHAWKAT B. 1974 AL ARD WATANI, WA AL INSAANIYA USRATI - KHALIL GIBRAN (EARTH IS MY HOMELAND, AND HUMANITY IS MY FAMILY - KHALIL GIBRAN)
signed and dated 2010 ink and acrylic on paper 100.5 by 70.5cm.; 39 1/2 by 27 3/4 in.

ESTIMATE 7,000 - 10,000 USD Lot Sold. Hammer Price with Buyer's Premium: 8,750 USD

CATALOGUE NOTE inscription:

A couplet by the Lebanese poet Khalil Gibran

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 78

GOLNAZ FATHI B. 1972 UNTITLED
(I)-(III) signed and dated 2009 acrylic, gold leaf and pencil on canvas, in three parts Overall: 118.5 by 237cm.; 46 5/8 by 93 1/4 in.

ESTIMATE 15,000 - 20,000 USD Lot Sold. Hammer Price with Buyer's Premium: 30,000 USD

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 79

PROPERTY FROM THE COLLECTION OF MOHAMMAD JAMALADINY NASROLLAH AFJEI B. 1933 UNTITLED
signed oil on canvas 98 by 200cm.; 38 1/2 by 78 3/4 in. Executed in 2008.

ESTIMATE 60,000 - 80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 74,500 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Qur'an, surah al-qalam (LXVIII), verse 51 to 52:

'And verily, those who disbelieve would almost make you slip with their eyes through hatredness when they hear the Reminder [the Qur'an], and they say: "Verily, He (Muhammad) is a madman!". But it is nothing else than a Reminder to all the 'Alamin [mankind, jinns and all that exists].'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 80

REZA MAFI 1943-1982 UNTITLED
signed twice and dated 1979 oil on canvas 75 by 205cm.; 29 1/2 by 80 3/4 in.

ESTIMATE 15,000 - 20,000 USD Lot Sold. Hammer Price with Buyer's Premium: 18,750 USD

CATALOGUE NOTE inscription:

Stylised script

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 81

MOHAMED ZAKARIYA B. 1942 THERE IS NO DIVINITY EXCEPT GOD
signed and dated 1423 AH/2003 AD ink, gold and gouache on paper 52.5 by 95cm.; 20 5/8 by 37 3/8 in.

ESTIMATE 12,000 - 15,000 USD

PROVENANCE Linearis Institute, California (acquired directly from the artist)

CATALOGUE NOTE inscription:

Allah huwa, La ilaha ill Allah Muhamad-ur Rasul Allah (He is God, there is no God but Allah and Muhammad is his Prophet) "Because calligraphy isn't bound by the need to represent objective reality, it's free from the cultural and political constraints associated with the pictorial arts. This sets the calligrapher free and, at the same time, adds new constraints. This constant tension between constraint, tradition, and standards makes Islamic calligraphy neither a representational art nor an abstract one but something entirely othera living, evolving art of the word, of meaning itself."

Mohamed Zakariya There In No Divinity Except God is a rare and important example of a contemporary calligraphic master working in time-honoured style. Following a visit to the Middle East as a teenager, the American Mohammed Zakariya became fascinated with middle-eastern culture and is today recognised as one of the greatest living masters of traditional calligraphy and the preeminent ambassador of the Arabic script to the United States. He is also the first western calligrapher to be awarded two licenses in calligraphy from the Istanbul Research Centre for Islamic Art, History and Culture, one of the most highly regarded institutions of its type in the Islamic world. Zakariya's fine hand has been developed in the long-established tradition of practise, scholarship and apprenticeship. Engaging the various styles of calligraphy found across the region, Zakariya's dedication to calligraphic institution can be seen throughout his oeuvre. In There Is No Divinity Except God the calligrapher exhibits his mastering of calligraphy in the perfect geometry and proportions of his letter forms, the customary illumination that he produces himself and to great effect by creating different impressions of colour, texture and richness, and even marbling his own paper in the manner of the Turkish ebru tradition.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 82

PROF. NASSAR MANSOUR B. 1967 AYAT AL-KURSI
signed and dated 1431 AH/2010 AD; titled and dated 2010 on a label affixed to the reverse ink, gouache and gold on paper mounted on board 195 by 72cm.; 76 3/4 by 29 3/8 in.

ESTIMATE 20,000 - 30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 25,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE inscription:

Qu'ran, surah al-baqarah (II), verse 255 (ayat al-kursi)

This unique calligraphic panel by the renowned artist and calligrapher Professor Nassar Mansour, presents the Ayat al-Kursi from Surah al-Baqarah and epitomises the monumental muhaqqaq script initiated by the calligraphy of the so-called 'Baysunghur' Qur'an of the early 15th century.

This vast Qur'an, associated with the Timurid prince Baysunghur Ibn Sharukh, himself a great bibliophile and calligrapher, was copied in seven lines on enormous sheets of paper measuring about 177 by 101cm. The script used in the manuscript is a confident and impressive muhaqqaq which is notable for its 'sword-like' descending waw and ra' letters, as well as the meticulous execution of the letter alif, and its overall well-balanced proportions.

The Ayat al-Kursi or Throne Verse (Surah Baqarah V 255) is not only recited often by the Muslims but is a symbol of protection in the Islamic world - either worn as an amulet or as a print or painting in Muslim houses. The nearest analogy in the Western world would be the crucifix which is either worn or its image hung in Christian houses. In this work, Mansour utilizes the muhaqqaq script. Amongst the cursive scripts this is the grandest and was favoured in the Eastern Islamic world for inscribing Qur'anic manuscripts when it was replaced by a smaller script known as naskh by the Ottomans. This is the first time that muhaqqaq has been used since the 16th century and it is the hope of the artist to revive this script to its full glory. More specifically, the work is in jalil al-muhaqqaq script. It is the first time in four hundred years after the Ottoman master, Ahmad Karahisari (d. 1556) and his loyal pupil Hasan Chalabi (d. 1594) last used it in their work. The alternate usage of brown ink bounded with gold and crushed gold outlined with brown ink is clearly inspired from the famous Il Khanid Mushaf inscribed for the Sultan Uljeitu by the great Ahmed as Suharwardy in the early 14th century. The illumination is made on the style of the famous Mamluk illuminator Muhammad ibn Mubadir who was commissioned by Sultan Baybars in the late 13th century. Where Mubadir used two shades of colour in his outer border to fill in the floral petals, in this painting only one shade of blue has been used. The braided pattern surrounding this panel of the Ayat al-Kursi is clearly inspired by a verse from the Quran which states "Hold fast to the Rope of Allah" (Surah III: 104-105). The outer scrolling floral border which is gilded lavishly recalls the Verse of Light (Surah Nur: v. 35) reaching the hearts. Professor Nassar Mansour and Tajammul Hussain.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 83

TUNGKU ISMA'IL A CALLIGRAPHIC EMBROIDERED TEXTILE PANEL IN SQUARE KUFIC SCRIPT
20th Century gold thread on cotton 98 by 94cm.; 38 1/2 by 37in. approx. Kelanton, Malaysia

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,500 USD

CATALOGUE NOTE inscription Qur'an, surah al-baqarah (II), verse 255 (ayat al-kursi)

The present textile was designed by Tungku Isma'il, a prince of the Kelanton Royal Family of North Malaysia. He can be credited with saving the failing 'songkit' weaving industry of Terengganu and Kelanton. He provided lessons and material to the women weavers of the two states to re-start the hand loom industry. In the eighteenth and nineteenth centuries, the main centre of songkit weaving was in Palemband in Sumatra, in which the finest pieces employed the use of gold thread. The present piece was commissioned by the prince as an exercise for the Kelantanese and Terengganu weavers.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 84

ILAHI BAKHSH MUTI' A CALLIGRAPHIC PANEL IN SQUARE KUFIC SCRIPT
signed and dated 1429 AH/2008 AD Ink, Gouache and gold on Paper 70 by 70cm.; 27 1/2 by 27 1/2 in. Pakistan

ESTIMATE 8,000 - 12,000 USD Lot Sold. Hammer Price with Buyer's Premium: 11,250 USD

CATALOGUE NOTE inscription Qur'an, the whole of surah al-nas (CXIV)

One of Pakistan's foremost calligraphers, Ilahi Bukhsh Muti' was born in 1953 and studied calligraphy under Syed Anwer Husain Nafees Raqam. He has received a number of awards for his work, including first prize in the 1998 All-Pakistan Exhibition of Calligraphy, Islamabad; second prize for calligraphy in the International Competition for Painting and Calligraphy, Iran, 1989; and the Special Prize for Khat-e-Naskh, from the Punjab Arts Council, Lahore, in 1999. Muti's work exists in numerous collections across the globe, including the British Museum, the Museum of Art, Dubai, and the National Art Gallery in Islamabad.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 85

YUSUF CHEN JINHUI A LARGE CALLIGRAPHIC PANEL
signed, circa 1990 Ink on rice Paper 68.5 by 128cm.; 27 by 50 3/8 in.

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription

The Bismillah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 86

YUSUF CHEN JINHUI A LARGE CALLIGRAPHIC PANEL
Circa 1990 Ink on rice Paper 128 by 68.5cm.; 50 3/8 by 27in.

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription

The word Allah

China's most renowed Islamic calligrapher, Yusuf Chen Jinhui (b.1938), has exhibited across the globe and his work can be found as part of the permanent collection of the Museum of Asian Civilizations in Singapore. Numerous works were also displayed in Dubai (2003), Islamabad (2000), Tehran (1999), Istanbul (at the IRCICA in 1997) and in Kuala Lumpur (1996). For a further discussion of the artist and his work, please see Selected Arabic Calligraphic Works of Chen Jinhui, Beijing, 2002.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 87

YUSUF CHEN JINHUI A LARGE CALLIGRAPHIC PANEL
signed, circa 1990 Ink on Rice Paper 131 by 68.5cm.; 51 1/2 by 27in.

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 6,250 USD

CATALOGUE NOTE inscription

The Bismillah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 88

YUSUF CHEN JINHUI A LARGE CALLIGRAPHIC PANEL
signed, circa 1990 Ink on Rice Paper 131 by 68.5cm.; 51 1/2 by 27in.

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 8,125 USD

CATALOGUE NOTE inscription

Allah wali al-tawfiq

'God is the guardian of success'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 89

A DECCANI CALLIGRAPHIC COMPOSITION
16th/17th century Ink, gouache and Gold on Paper 34 by 22cm.; 13 3/8 by 8 5/8 in. India

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,625 USD

CATALOGUE NOTE inscription

The top band: the Bismillah

The centre: the Bismillah in mirror form

The lower band: a saying of Imam 'Ali in praise of good hand writing

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 90

ARIF KILANI A GOLD CALLIGRAPHIC SHAMSA
signed and dated 1428 AH/2007 AD Gold and ink on paper 73.2 by 46.8cm.; 28 3/4 by 18 3/8 in. Iran

ESTIMATE 7,000 - 10,000 USD Lot Sold. Hammer Price with Buyer's Premium: 20,000 USD

CATALOGUE NOTE inscription On top: The Bismillah Underneath: the word Allah Around the central roundel: repeat of 'Muhammad is the Messenger of God' In the wide lower band: Qur'an surah al-saff (LXI), verse 9:

'He it is who has sent forth His Apostle with [the task of] spreading guidance and the religion of truth, to the end that He make it prevail over all [false] religion, however hateful this may be to those who ascribe divinity to aught but God'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 91

ASCRIBED TO SHEIKH ABDÜLAZIZ AN ARABIC CALLIGRAPHIC PANEL IN THULUTH SCRIPT
signed and dated [1]314 AH/1896 AD 67 by 34cm.; 26 3/8 by 13 3/8 in. Ottoman Turkey

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 3,500 USD

CATALOGUE NOTE inscription Qur'an surah al-qalam (LXVIII), verse 4: wa innaka la'la khalaq 'azim

'Verily you are the most exalted of character'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 92

A MIRROR-FORM CALLIGRAPHY
20th century 73 by 67.2cm.; 28 3/4 by 26 1/2 in. Ottoman Turkey

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription 'Those who restore the mosques of Allah are the beloved of Allah.' The present work is a copy of an epigraphic work in stone by Hamid Aytac which adorns the main entrance of the Sisli mosque in Istanbul. A reduced version of Aytac's work can be found in M.U. Derman, Eternal Letters, Sharjah, 2009, p.307, pl.69a.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 93

HASAN CELEBI B. 1937 UNTITLED
signed and dated 1419 AH/1999 AD ink and gold paint on board 168 by 110cm; 66 1/8 by 43 1/4 in.

ESTIMATE 30,000 - 40,000 USD

PROVENANCE Acquired directly from the artist by the present owner

CATALOGUE NOTE The Bismillah and names of the four Rightly-Guided Caliphs in Thuluth script.

In the central roundel (the 'crescent'): Visual attributes of the Prophet Muhammad reported from his son-in-law 'Ali in Naskh script.

Beneath (the 'head'), in Thuluth Script: 'You were only sent as grace to the worlds'.

In the lower register (the 'skirt'): Prayers and colophon.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 94

A CALLIGRAPHIC PANEL IN GHUBARI SCRIPT
Circa 1900 ink on paper 54 by 74cm.; 29 1/8 by 21 1/4 in. Ottoman Turkey or Syria

ESTIMATE 4,000 - 6,000 USD

CATALOGUE NOTE inscription Top cartouche: The Bismillah Left cartouche: Muhammad Right cartouche: Allah Throughout, in Ghubari script: Qur'an, surah al-fatiha (I) followed by surah al-hijr (XV) to surah al-anbiya' (XXI)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 95

MUHAMMAD SHAWQI EFENDI AN ILLUMINATED CALLIGRAPHIC PANEL
signed and dated 1284 AH/1867 AD Ink, Gouache and Gold on Paper 52 by 48cm.; 20 1/2 by 18 7/8 in. Ottoman Turkey

ESTIMATE 4,000 - 6,000 USD

CATALOGUE NOTE inscription The names: Allah, Muhammad, Abu Bakr, Umar, Uthman, Ali, Husayn and Fatimah

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 96

SCHOOL OF MEHMED NURI SIVASI A MIRROR-FORM CALLIGRAPHIC PANEL IN GHUBARI AND THULUTH SCRIPTS
late 19th/early 20th century ink on paper 64.5 by 81.5cm.; 25 3/8 by 32 1/8 in. Ottoman Turkey or Syria

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription huwa al-hayya al-qayyum 'He is the everlasting' In white Ghubari script: Qur'an, surah al-fatiha (I), followed by surah al-ankabut (XXIX) to surah al-zukhruf (XLIII)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 97

AL-SAYYID AHMAD IBN ALI A CALLIGRAPHIC COMPOSITION FORMING THE NAMES 'MUHAMMAD' OR 'MAHMUD'
signed and dated 1270 AH/1873 AD ink, gouache and gold on paper 34 by 33cm.; 13 3/8 by 13in. Ottoman Turkey

ESTIMATE 3,000 - 5,000 USD Lot Sold. Hammer Price with Buyer's Premium: 8,750 USD

CATALOGUE NOTE inscription

Within the outer crescents: surah al-fath (XLVIII)

Within the words Muhammad/Mahmud: surah ya-sin (XXXVI)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 98

ASCRIBED TO ABDULLAH FAZA' ILI A MICROGRAPHIC LION-FORM CALLIGRAPHY
signed and dated 1311 AH/1893 AD ink on paper 43 by 58cm.; 16 7/8 by 22 3/4 in. Qajar Iran

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,000 USD

CATALOGUE NOTE inscription The Nada 'Ali quatrain

In Ghubari script: Prayers

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 99

ASCRIBED TO ALI SUHRAWARDI A MICROGRAPHIC PEACOCK-FORM CALLIGRAPHY
signed and dated 1317 AH/1899 AD Ink and gold on Paper 61 by 35cm.; 24 by 13 3/4 in. Qajar Iran

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription

In Ghubari script: Prayers

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 100

ASCRIBED TO MUHAMMAD IBN ALI KAZIMI A MICROGRAPHIC GIRAFFE-FORM CALLIGRAPHY
signed and dated 1317 AH/1899 AD Ink and gold on Paper 47 by 53.8cm.; 18 1/2 by 21 1/8 in. Qajar Iran

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription

In Ghubari script: Prayers

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 101

ASCRIBED TO ABDULLAH IBN AHMAD A MICROGRAPHIC BIRD-FORM CALLIGRAPHY
signed and dated 1311 AH/1893-4 AD ink on paper 72.5 by 50cm.; 28 1/2 by 19 3/4 in. Qajar Iran

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription In the top roundel: Allah

The polychrome bird form comprising the Bismillah

In Ghubari script: Prayers

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 102

BARAKATZADA JAMAL AL-DIN AN ARABIC CALLIGRAPHIC PANEL IN TA'LIQ SCRIPT
signed and dated 1308 AH/1890 AD gold on paper 33 by 118cm.; 13 by 46 1/2 in. Turkey or Syria

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 4,250 USD

CATALOGUE NOTE inscription Hadith: inna allah tuhibu an yara athara ni'matihi ala 'abdihi 'God likes to see the manifestion of His bounty displayed by His servant.'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 103

AFTER 'IMAD AL-HASANI AN ILLUMINATED CALLIGRAPHY IN NASTA'LIQ SCRIPT
signed, circa 1900 gouache and gold on paper 37 by 29cm.; 14 1/2 by 11 3/8 in. Iran

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription Qur'an, the whole of surah al-fatihah (I)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 104

AN ILLUMINATED CALLIGRAPHIC SCROLL
Dated 1305 AH/1887 AD Ink, gouache and gold on Paper 8.7 by 200cm.; 3 3/8 by 78 3/4 in. India

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 20,000 USD

CATALOGUE NOTE inscription

Various different micrographic forms of the Bismillah and the Prophet's family.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 105

AN ILLUMINATED SCROLL-FORM QUR'AN IN GHUBARI SCRIPT
circa 1900 Ink, Gouache and Gold on Paper 18.5 by 970cm.; 7 1/4 by 381 7/8 in. Probably Syria

ESTIMATE 8,000 - 12,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,000 USD

CATALOGUE NOTE inscription Qur'an, with selected hadith, the Ninety-Nine Names of God (asma al-husna) and the names of the Rightly-Guided Caliphs Abu Bakr, Umar, Uthman and 'Ali.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 106

AN ILLUMINATED CALLIGRAPHIC PANEL IN NASTA`LIQ SCRIPT
circa 1700 Gold and Gouache on Paper 13.2 by 39.2cm.; 5 1/4 by 15 3/8in. Iran

ESTIMATE 8,000 - 12,000 USD

CATALOGUE NOTE inscription A verse from a Persian qasida : in manzar-e farkhondeh o in kakh-e mushayyad 'This prosperous scene and this high-raised palace'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 107

AN ILLUMINATED CALLIGRAPHIC PANEL
circa 1900 gouache and gold on paper 70.5 by 46cm.; 27 3/4 by 18 1/8 in. Ottoman Turkey or Iran

ESTIMATE 3,000 - 5,000 USD Lot Sold. Hammer Price with Buyer's Premium: 3,750 USD

CATALOGUE NOTE inscription

Qur'an, surah al-naml (XXVII), verse 30: Innahu min sulaymana wa innahu bismi Allahi al-rahmani al-rahimi

'Behold, it is from Solomon, and it says, "In the name of God, the Most Gracious, the Dispenser of Grace"'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 108

ATTRIBUTED TO MUHAMMAD HUSAYN A LARGE PAGE OF DÉCOUPAGE CALLIGRAPHY
19th century Ink, gouache and Gold with paper cut-outs 63.5 by 47.5cm.; 25 by 18 5/8 in. Qajar Iran

ESTIMATE 8,000 - 12,000 USD Lot Sold. Hammer Price with Buyer's Premium: 10,000 USD

CATALOGUE NOTE inscription Including the name of the Qajar ruler Nasr Al-Din Shah (r.1848-96)

This beautiful and finely executed calligraphy is composed of coloured and gold paper cut-outs in the form of both Thuluth script and intricate floral decoration consisting of sprinkled flowers and leafy sprays. The high quality of the work and presence of the Persian king Nasr Al-Din Shah's name suggest that this particular piece is likely to have been made on royal commission.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 109

HAMID AYTAC A MONUMENTAL ILLUMINATED HILYE
signed 'Azmi Hamid al-Amidi (Hamid Aytac), 20th century Ink, Gouache and Gold on Paper 152 by 113.5cm.; 59 3/4 by 44 5/8 in. Ottoman Turkey

ESTIMATE 80,000 - 120,000 USD

CATALOGUE NOTE inscription

The Bismillah and names of the four Rightly-Guided Caliphs in Thuluth script.

In the central roundel (the 'crescent'): Visual attributes of the Prophet Muhammad reported from his son-in-law 'Ali in Naskh script.

Beneath (the 'head'), in Thuluth Script: 'You were only sent as grace to the worlds'.

In the lower register (the 'skirt'): Prayers and colophon.

Although difficult to define in exact terms, the Hilye can be summarised as a 'description' of the Prophet Muhammad, in that it entails both physical characteristics as well as referring to his temperament and behaviour. In the absence of any images of the Prophet, his description according to 'Ali Ibn 'Ali Talib (his son-in-law and nephew) is generally regarded as the most authentic, providing a powerful 'verbal image'. Thus most Hilyes take 'Ali's description as their basis.

Hamid Aytac, who occasionally signed his works Hamid Al-Amidi (as in this instance), was born in Diyarbakir in 1891, and took up calligraphy at a very young age. He was a prolific calligrapher throughout his long life and is best known for his work in Jali Thuluth script, his proficiency in which he attributed to the stencils prepared by Sami Efendi for the inscriptions on the fountain of Yeni Cami. A number of mosques in Turkey are adorned with his works including the Sisli mosque in Istanbul, and the inscriptions within the domes of the Eyüb Sultan and Findikli Molla Celebi mosques. Hamid Aytac died in 1982 and is buried in the Karacaahmed cemetery. Please see lot 93 for a contemporary Hilye by Hasan Celebi, one of Hamid Aytac's students.

Four further works by Hamid Aytac are in the Collection of Abdul Rahman Al-Owais, and published in M.U. Derman, Eternal Letters, Sharjah, 2009, pp.304-311, pls.69-69c.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 110

HAFIZ TAHSIN AL-HELMI AN ILLUMINATED HILYE DEPICTING THE PROPHET'S TOMB
signed and dated 1303 AH/1885 AD 59.5 by 32cm.; 23 3/8 by 12 1/2 in. Ottoman Turkey

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,500 USD

CATALOGUE NOTE inscription

The Bismillah and names of the four Rightly-Guided Caliphs in Thuluth script.

In the central roundel (the 'crescent'): Visual attributes of the Prophet Muhammad reported from his son-in-law 'Ali in Naskh script.

Beneath (the 'head'), in Thuluth Script: 'You were only sent as grace to the worlds'.

In the lower register (the 'skirt'): Prayers and colophon.

The painting in this Hilye is signed by 'Haqqi', and also dated 1303 AH/1885 AD.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 111

HUSAYN BIN AHMAD AN ILLUMINATED HILYE
signed, circa 1900 gouache, ink and gold on paper 56 by 51.5cm.; 22 by 20 1/8 in. Ottoman Turkey

ESTIMATE 8,000 - 10,000 USD

CATALOGUE NOTE inscription

The Bismillah and names of the four Rightly-Guided Caliphs in Thuluth script.

In the central roundel (the 'crescent'): Visual attributes of the Prophet Muhammad reported from his son-in-law 'Ali in Naskh script.

Beneath (the 'head'), in Thuluth Script: 'You were only sent as grace to the worlds'.

In the lower register (the 'skirt'): Prayers and colophon.

The scribe Husayn Bin Ahmad may well be the Turkish calligrapher Huseyin bin Ahmed Zeynizade.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 112

ASMA AL-HUSNA 'THE NINETY-NINE NAMES OF GOD' IN SCROLL FORM
20th century Ink on Paper 15 by 856 cm.; 5 7/8 by 337in. Probably Syria

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 11,250 USD

CATALOGUE NOTE inscription

In stylised silver Kufic script: asma al-husna 'The ninety-nine names of God'

Within roundels in Ghubari script: Qur'an

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 113

AN ILLUMINATED SCROLL-FORM QUR'AN IN GHUBARI SCRIPT
20th century Ink and Gold on Paper 13.5 by 450cm.; 5 1/4 by 177 1/8 in. Probably Syria

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,500 USD

CATALOGUE NOTE inscription

In micrographic Ghubari script:

Qur'an, forming within it in stylised Kufic script:

asma al-husna, the 'Ninety-Nine Names of God'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 114

AN ILLUMINATED SCROLL-FORM QUR'AN IN GHUBARI SCRIPT
20th century Ink on Paper 12 by 750cm.; 4 3/4 by 295 1/8 in. Probably Syria

ESTIMATE 6,000 - 8,000 USD

CATALOGUE NOTE inscription In micrographic Ghubari script: Qur'an, forming the Ninety-Nine Names of God (asma al-husna)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 115

ASMA AL-HUSNA 'THE NINETY-NINE NAMES OF GOD' IN SCROLL FORM
20th century Ink and gold on paper 12 by 724.5cm.; 4 3/4 by 285 1/8 in. Probably Syria

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,500 USD

CATALOGUE NOTE inscription

In stylised Kufic script: asma al-husna 'The ninety-nine names of God'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 116

A LARGE ILKHANID-STYLE ILLUMINATED CALLIGRAPHY IN RAYHAN SCRIPT
20th century gouache and gold on paper 60 by 42.5cm; 23 5/8 by 16 3/4 in. Probably Syria

ESTIMATE 4,000 - 6,000 USD

CATALOGUE NOTE inscription

Qur'an, surah al-jinn (LXXII), verses 1 to 12

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 117

A MAMLUK-STYLE ILLUMINATED DOUBLE-PAGE FRONTISPIECE
20th century gouache, ink and gold on paper 55.5 by 87cm.; 21 7/8 by 34 1/4 in. Probably Syria

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription

Qur'an, surah al-fatiha (I) and surah al-baqarah (II), verses 1 to beginning of 5

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 118

A MAMLUK-STYLE ILLUMINATED CALLIGRAPHY
20th century Ink, gouache and gold on paper 38 by 28.2cm.; 15 by 11 1/8 in. Probably Syria

ESTIMATE 4,000 - 6,000 USD

CATALOGUE NOTE inscription Qur'an, surat al-baqarah (II), verse 253

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 119

AN ILLUMINATED DOUBLE-PAGE FRONTISPIECE
20th century ink, gouache and gold on paper 74 by 90cm.; 29 1/8 by 35 3/8in. Probably Syria

ESTIMATE 6,000 - 8,000 USD

CATALOGUE NOTE inscription

Qur'an, surah al-fatiha (I) and surah al-baqarah (II), verses 1 to part of 4

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 120

AN ILLUMINATED DOUBLE-PAGE FRONTISPIECE
20th century gouache and gold on paper 74 by 90cm.; 29 1/8 by 35 3/8 in. Probably Syria

ESTIMATE 6,000 - 8,000 USD

CATALOGUE NOTE inscription

Qur'an, the whole of surah al-fatiha (I)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 121

SABRI AN EMBROIDERED CALLIGRAPHIC PANEL
Signed and Dated1304 AD/1886 AD Silk and Metal Thread 33 by 83cm.; 13 by 32 5/8 in. Ottoman Turkey

ESTIMATE 4,000 - 6,000 USD

CATALOGUE NOTE inscription

Allah wali al-tawfiq

'God is the guardian of success'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 122

AN EMBROIDERED CALLIGRAPHIC PANEL
dated 1304 AH/1886 AD Silk, Metal thread and velvet 53.3 by 62.5cm.; 21 1/8 by 24 5/8 in. Ottoman Turkey

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription Qur'an, surah ya-sin (XXXVI), verse 9:

'And we have made before them a barrier and a barrier behind them, then we have covered them over so that they do not see.'

The calligraphy of the present piece is reminiscent of the hand of Sultan Mahmud II (r.1808-39).

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 123

ABD AL-QADIR A PANEL OF DÉCOUPAGE CALLIGRAPHY
signed, circa 1900 Paper 54.5 by 102.5cm.; 21 1/2 by 40 3/8 in. Ottoman Turkey

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 6,250 USD

CATALOGUE NOTE inscription 'Almighty God, you are the Lord of our hearts so stabilise my heart in your religion, your love and the love of your prophet.'

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 124

ATTRIBUTED TO MUHAMMAD HASHIM AL-BAGHDADI A PEAR-FORM DÉCOUPAGE CALLIGRAPHY
circa 1966 116.5 by 89cm.; 45 7/8 by 35in. Baghdad, Iraq

ESTIMATE 6,000 - 8,000 USD Lot Sold. Hammer Price with Buyer's Premium: 7,500 USD

CATALOGUE NOTE inscription Within the pear: Qur'an, surah al-fath (XLVIII), parts of verses 28 and 29. Within the leaves: A prayer and the Bismillah.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 125

AL-SAYYID MUHAMMAD BAHIR A CONCERTINA FORM ASMA AL-HUSNA
signed and dated 1276 AH/1859 AD Ink and Gold on paper Together: 23.6 by 69.5cm.; 9 1/4 by 27 3/8 in.; inner panels: 18.3 by 12cm.; 7 1/4 by 4 3/4 in. Ottoman Turkey

ESTIMATE 50,000 - 70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 104,500 USD

CATALOGUE NOTE inscription

asma al-husna '

The Ninety-Nine Names of God'

Al-Sayyid Muhammad Bahir Bey (1790-1865)

Al-Sayyid Muhammad Bahir Bey studied calligraphy under the supervision of Chief-judge (Qadi-asker) and Qadi of Mecca Abdulkadir Bey (d.1845), son of Rumeli Qadi-asker Emin Bey, and grand-son of Grand-vizier Yaglikchizadeh Mehmed Emin Pasha. Appointed chief calligraphy tutor to the Topkapi Palace, Muhammad Bahir Bey also taught calligraphy, on Thursdays, in his mansion in the district of Molla Gurani, Istanbul. He taught in the Palace on Mondays.

It has been noted that he had more than two hundred pupils, both from the palace and in various districts of the city. Known as the Sheikh al-Khattatin (Master of Calligraphers) of his day, he was most concerned with the quality of the ink and paper he used. Muhammad Bahir Bey was a member of the "Mawlawiyya" sufi order, and died in 1865. He is buried in the Kashghari Dervish-Lodge in the district of Eyub, Istanbul.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 126

MUHAMMAD HASHIM A PANEL OF ILLUMINATED CALLIGRAPHY
signed and dated 1208 AH/1793 AD Ink, Gouache and Gold on Paper central panel: 10.2 by 14.5cm.; 4 by 5 3/4 in.; leaf: 15.5 by 19.8cm.; 6 1/8 by 7 7/8 in. Qajar Iran

ESTIMATE 3,000 - 5,000 USD Lot Sold. Hammer Price with Buyer's Premium: 4,000 USD

CATALOGUE NOTE inscription Qur'an, the whole of surah al-ikhlas (CXII)

Muhammad Hashim is most probably Muhammad Hashim Isfahani, a Persian Naskh scribe of the late eighteenthearly nineteenth century.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 127

A PANEL OF CALLIGRAPHY IN NASKH SCRIPT
signed, 16/17th century Ink on Paper 22.5 by 32.6cm.; 8 7/8 by 12 3/4 in. India

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription Qur'an, surah al-isra (XVII), part of verse 84

In the borders: Persian verses

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 128

MIR HUSAYN AL-HUSAYNI AN ILLUSTRATED AND ILLUMINATED QUATRAIN
signed, 16th century with 19th century margins Ink, Gouache and Gold on Paper central panel: 14 by 7.5cm.; 5 1/2 by 29 1/2 in.; leaf: 33 by 22.8cm.; 13 by 9in. Iran

ESTIMATE 5,000 - 7,000 USD

CATALOGUE NOTE inscription 'Your face is like a moon that illuminates all courtly homes. When angels look upon your face they are like moths hovering around the candle of your beauty. The fire of your absence has nurtured our souls in such a way that all other nurtured souls become moths that hover around our candles.' The present scribe could be Husayn al-Husayni known as Mir Kulangi, a pupil of the famous Mir 'Ali al-Harawi. He worked as a librarian at the Royal Court of 'Abdallah II, in Bukhara and often signed as al-Sultani. He had a long working life and his recorded works are dated between 922 AH/1516-17 AD and 983 AH/1575-6 AD, many copied in Bukhara (see Mehdi Bayani, ahval va asar-e khosh-nevisan, vol. I, Tehran, 1345 sh., pp.164-6). An album page incorporating a panel of calligraphy by Mir Kulangi was sold in Sotheby's London, 6 October 2010, lot 56.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 129

A SILK AND METAL THREAD CALLIGRAPHIC BAND (HIZAM)
Dated 1311 AH/1893 AD Silk and Metal Thread 83 by 825cm.; 32 5/8 by 324in.

ESTIMATE 60,000 - 80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 62,500 USD

CATALOGUE NOTE inscription Main text: Qur'an, surah al-baqara (II), verses 127 and 128

Roundel on the right: Qur'an, surah al-ikhlas (CXII)

Roundel on the left: Invocations to God

Inscription in the form of a teardrop: 'His Excellency, our Lord 'Abbas Hilmi, the Protected Egypt, the year 1311'

This inscription indicates that the Hizam was made in Egypt during the reign of 'Abbas Hilmi, the last Khedive of Egypt, in 1311 AH/1893 AD.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 130

AN IMPORTANT EXTERNAL CURTAIN (BURQA) OF THE HOLY KA'BA DOOR DEDICATED TO SULTAN ABD ALMAJID (R.1839-61)
dated 1263 AH/1846-7 AD silk with applied silver and silver-gilt thread 530 by 270cm; 208 3/4 by 106 1/4in. Ottoman Turkey

ESTIMATE 200,000 - 300,000 USD Lot Sold. Hammer Price with Buyer's Premium: 362,500 USD

CATALOGUE NOTE inscription In the cartouche above the pointed arch: amara bi-'amal hadhi al-burdah al-sharifah mawlana al-sultan al-maghazi 'abd al-majid khan khallada allah khilafatihi sana 1263 'This noble curtain was ordered to be made by our Lord, the one of military virtues, Sultan 'Abd al-Majid, may his caliphate be everlasting, the year 1263 AH/1846-7 AD'. In the small pale roundels in the borders: Repetition of: allahu rabbi 'God is my Lord' and allahu hasbi 'God suffices me'. In the eight long black cartouches on the side borders: Qur'an, surah al-fatihah (I). In the top two long black cartouches, the two large roundels and round the opening arch: Qur'an, surah al-ilkhlas (CXII). In the single black cartouche on top: Qur'an, surah al-naml (XXVII), verse 30 and surah al-isra (XVII), verse 80. In the four lozenge-shaped cartouches: The Bismillah in mirror form. In the wide pale band: Qur'an, surah al-fath (XLVIII), part of verse 27. In the four black cartouches above and below the wide band: Qur'an, surah al-baqara (II), verse 255 (ayat al-kursi). In the two black cartouches next to the top of the arch: Qur'an, surah quraysh (CVI). In the six cartouches on the sides of the opening: Repetition of two different shahadah.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 131

FOUR RICE AND WHEAT GRAIN MICRO-CALLIGRAPHIES
one grain dated 1342 AH/1923 ink on three rice grains and one wheat grain 0.5cm.; 1/4 in. approx. Probably Syria

ESTIMATE 1,500 - 2,000 USD Lot Sold. Hammer Price with Buyer's Premium: 1,875 USD

CATALOGUE NOTE inscription Each inscribed with Qur'an, the whole of surah al-Ikhlas (CXII)

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 132

MUHAMMAD IBN SALIM AL-DIMASHQI A MINIATURE QUR'AN IN GHUBARI SCRIPT
signed and dated 1203 AH/1788 AD ink and gold on paper 3.7 by 2.7cm.; 1 1/2 by 1 1/8 in. Ottoman Turkey

ESTIMATE 20,000 - 30,000 USD

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 133

A SILVER AND GILT-METAL THREAD EMBROIDERED CALLIGRAPHIC PANEL
20th century Silk and Metal Thread 86 by 72cm.; 33 7/8 by 28 3/8 in.

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription Qur'an, the whole of surah al-ikhlas (CXII)

This metal thread embroidered panel, comprising the whole of the Qur'an's hundred and twelfth surah, is a fragment originating from the kiswa cloth that covers the holy Ka'ba at Mecca. Once made in Egypt and brought to Mecca on the mahmal pilgrimage, the kiswa cloth is now manufactured in Saudi Arabia. Traditionally, the kiswa is cut up each year and distributed amongst honoured pilgrims.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 134

TWO LARGE ILLUMINATED MAMLUK QUR'AN LEAVES
14th century Ink and Gold on Paper 43 by 31cm.; 16 7/8 by 12 1/4 in.; 43 by 29cm.; 16 7/8 by 11 3/8 in. Egypt or Syria

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 6,875 USD

CATALOGUE NOTE inscription Illustrated leaf: Qur'an, the whole of surah al-tauuba (X)

Other leaf: surah taha (XX), verses 10 to 58

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 135

TWO OTTOMAN QUR'AN LEAVES
15th century Ink and gold on paper 33 by 49.5cm.; 13 by 19 1/2 in. Ottoman Turkey

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 8,750 USD

CATALOGUE NOTE inscription Qur'an, Surah al-nisa (IV)

Right hand leaf: Part of verse 34

Left hand leaf: Part of verse 27 to part of verse 32

These leaves come from a grand thirty-volume Qur'an almost certainly written in the first half of the fifteenth century. It is an important example of early Ottoman manuscript production, displaying a fine Muhaqqaq script with a strong flowing rhythm, enhanced by varying arrangements of blue and gold lines. A further bifolium from the same manuscript was sold in Sotheby's London, 28 April 2004, lot 13.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 136

A QUR'AN LEAF IN KUFIC SCRIPT
9th century ink on vellum 12 by 18cm.; 4 3/4 by 7cm. North Africa or Near East

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 2,500 USD

CATALOGUE NOTE inscription Qur'an, surah al-hashr, (LIX), verses 3-6

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 137

A QUR'AN LEAF IN KUFIC SCRIPT
9th century ink and gold on vellum 10.5 by 16.2cm.; 4 1/8 by 6 3/8 in. North Africa or Near East

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 3,250 USD

CATALOGUE NOTE inscription Qur'an, surah al-imran (III), part of verse 83 to 85

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 138

A QUR'AN LEAF IN KUFIC SCRIPT
9th century ink on vellum 11.5 by 18.5cm.; 4 1/2 by 7 1/4cm. North Africa or Near East

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 2,500 USD

CATALOGUE NOTE inscription Qur'an, surah sad (XXXVIII), verses 45 to 56

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 139

A QUR'AN LEAF IN KUFIC SCRIPT
9th century ink and gold on vellum 10.2 by 17cm.; 4 by 6 5/8 in. North Africa or Near East

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 2,500 USD

CATALOGUE NOTE inscription Qur'an, surah qaf (L), verses 9 to 13

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 140

A QUR'AN LEAF IN KUFIC SCRIPT
9th century Ink and gold on Vellum 20.5 by 29.2cm.; 8 1/8 by 11 1/2 in. North Africa or Near East

ESTIMATE 8,000 - 12,000 USD

CATALOGUE NOTE inscription Qur'an surah al-ma'idah (V), verses 65 to 66

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 141

A QUR'AN BIFOLIUM IN EASTERN KUFIC SCRIPT
12th century Ink on Vellum 14.5 by 20.3cm.; 5 3/4 by 8in. Persia or Iraq

ESTIMATE 4,000 - 6,000 USD Lot Sold. Hammer Price with Buyer's Premium: 5,000 USD

CATALOGUE NOTE inscription Qur'an, surah al-baqarah (II), verses 25 to 26

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 142

AN ILLUMINATED QUR'AN LEAF IN MAGHRIBI SCRIPT
12-14th century ink and gold on vellum 21.5 by 21cm.; 8 1/2 by 8 1/4 in. North West Africa or Andalusia

ESTIMATE 5,000 - 7,000 USD Lot Sold. Hammer Price with Buyer's Premium: 8,750 USD

CATALOGUE NOTE inscription Qur'an, surah banu isra'el (XVII), verses 105 to end; surah al-kahf (XVIII), verse 1 The script and general style of this Maghribi Qur'an leaf is typical of western Islamic manuscript production of the 12th-14th centuries. However, the quality and refined detail of the illumination is noteworthy.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 143

AN ILLUMINATED QUR'AN LEAF IN MAGHRIBI SCRIPT
circa 1250-1350 AD ink and gold on vellum 18.7 by 17.7cm.; 7 3/8 by 7in. North Africa or Andalusia

ESTIMATE 2,000 - 3,000 USD Lot Sold. Hammer Price with Buyer's Premium: 3,250 USD

CATALOGUE NOTE inscription Qur'an, surah al-an'am (VI), verses 6 to 8

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 144

A LARGE QUR'AN LEAF IN KUFIC SCRIPT
8th century Ink on Vellum 32 by 38.5cm.; 12 1/2 by 15 1/8 in. North Africa or Near East

ESTIMATE 25,000 - 35,000 USD Lot Sold. Hammer Price with Buyer's Premium: 31,250 USD

CATALOGUE NOTE inscription Qur'an, surah al-nisa (IV), part of verse 153 to 162 This Qur'an folio and the following lot originate from a widely dispersed manuscript of great interest, which is notable for its distinctive script and archaic features. The page size is relatively large, the script is characterized by a strong degree of horizontal stretching (mashq), and the 16 lines per page are relatively closely spaced, presenting a quite solid block of text area. There are several features that distinguish the script from most other Kufic scripts. The terminal nun is very rounded, almost semicircular, the medial fa/qaf and 'ayn sit above the line of script, attached only by a very thin vertical ligature, and the actual form of the medial 'ayn (seen here on the thirteenth line of the verso) is a small cup-shape, almost like a minute flower. These and other features have led Déroche to give this script a category of its own, designated by him as style F (see Déroche 1992, pp.46-47). One aspect of the script, the terminal qaf, is of an archaic form that may be associated with the eighth century under the Umayyad and early Abbasid dynasties. Déroche associates the script with two inscriptions of the eighth century, one dated 100 AH/718-19 AD, the other dated 160AH/776-7 AD (see Déroche 1992, p.42). The illumination is also interesting and of an archaic style, characterized by densely decorated polychrome designs employing reticulation and interlacing in the horizontal panels of the sura headings and dense scrolling foliate motifs in the adjoining stylized palmettes, which are also distinctive for being present on both the outer and inner margins. This latter feature is extremely unusual. The palette of the illumination is predominantly green and brown, and the generally dense foliate style is also used on the fully illuminated opening pages of the ajza', as shown by a folio sold in these rooms 8th October 2008, lot 1. Another early feature is the use of rows of angled brown ink dashes for the verse dividers (seen here on the fourteenth line of the verso). This type of verse marker is associated mostly with Qur'ans in Hijazi script and a few early Kufic manuscripts which can be confidently attributed to the Umayyad period, such as the well-known monumental Qur'an in Sana'a with the architectural frontispieces (see von Bothmer 1987, Amsterdam 1999, cat.3641), which has been date on stylistic grounds to circa 710-15, and the monumental manuscript known as the Tashkent Qur'an, which has been carbon-dated to circa 700 AD. The sura titles of the present Qur'an were probably not part of the original design, since they have been squeezed in to the small amount of available space at the end of sura, written in red ink. However, they are written in an identical script to that of the main text and it is possible that they were included by the original scribe after the completion of the manuscript. The letter-pointing (i'jam) is also not original, using a slightly darker ink and being applied in a less neat and refined manner than the text. However, the ink has a fine cracquelure caused by the drying of the ink over the centuries, and thus indicating that it was applied at least in medieval times, perhaps within a relatively short time of the original production of the manuscript. Other leaves from this manuscript are in museum and private collections worldwide, including the Los Angeles County Museum of Art, the David Collection, Copenhagen, the Tareq Rajab Museum, Kuwait and the Nasser D Khalili Collection, London. Examples have appeared at auction over the last several decades, most recently in these rooms 24th October 2007, lot 2, where further listing is given. Folios with illuminated panels are very rare, only four having appeared on the market (Christie's, London, 15 october 1996, lot 47, Sotheby's, London, 29 April 1998, lot 2, Bonhams, London, 1st May 2003, lot 1, and Sotheby's, London, 8th October 2008, lot 1. For further reading see Fraser and Kwiatowski 2006, pp.26-29, Blair 2006, pp.101-140, Déroche 1992, pp.42, 46-7, 122.

Hurouf: The Art of the Word
Doha | 16 Dec 2010, 7:00 PM | DO1001

LOT 145

A LARGE QUR'AN LEAF IN KUFIC SCRIPT
8th century Ink on Vellum 31.5 by 39.4cm.; 12 3/8 by 15 1/2 in. North Africa or Near East

ESTIMATE 25,000 - 35,000 USD Lot Sold. Hammer Price with Buyer's Premium: 33,750 USD

CATALOGUE NOTE inscription Qur'an, surah al-kahf (XVIII), part of verse 5 to 10

See catalogue note to previous lot.

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