4 134 résultats
Small folio. 3 vols. (2 vols. of text and 1 plate vol.). 288 pp. 256 pp. 64 plates. Contemporary half calf on raised bands, red morocco spine labels, black volume numbers. Marbled endpapers. First edition, one of 125 copies. - The learned Italian abbot and orientalist Michele Angelo Lanci (1779-1867) taught Arabic at the Sapienza in Rome. For his "Trattato", Lanci studied Islamic artefacts such as the famous "Vaso Vescovali" (now in the British Museum), of which he provided the first scholarly account. Includes engravings of inscriptions on talismans, amulets, arms and armour, metalwares and textiles. - Some foxing. From the library of the Ducs de Luynes at the Château de Dampierre: their bookplate reproducing the arms of Charles Marie d'Albert de Luynes (1783-1839), 7th Duc de Luynes, on pastedown. - Of the utmost rarity, no copies recorded at auctions since decades. No copy in the US. ICCU UBO\3282249. OCLC 41653985. Cf. Gay 2094. Brunet III, 809. Graesse IV, 93 (1846 ed.).
Oil on wood. Signed and dated. Framed (455 x 258 mm). Museum-quality panoramic painting of Istanbul with steamships and sailboats on the Golden Horn and the Hagia Sophia in the background. The foreground is dominated by the Grand Vezier Hüseyin Avni Pasha in a coach, escorted by horsemen, surrounded by a crowd. - The Regensburg-born Heinrich Lang, noted painter of horses and battles as well as writer and illustrator, studied with Karl Steffek in Berlin, Friedrich Voltz and Franz Adam in Munich and Adolf Schreyer in Paris. He travelled to Greece and Turkey and proved himself a careful observer of Ottoman costume and culture. His colourful paintings of Turkish tradesmen, camel drivers, donkey-drawn wagons and splendidly decorated carriages show his great attention to detail and were greeted by contemporaries as a much-welcomed relief from the grey military scenes that had dominated the previous years (cf. ADB Ll, 551).
Royal folio (380 x 506 mm). Persian manuscript on paper. 140 pp., 9 lines in 2 columns to the page, first leaf and final 3 pp. blank save for the borders. Large Nasta'liq calligraphy in black ink, chapter headings in red. Text enclosed within blue, black, gilt and red borders. Title in red to fol. 2r, large 'unwan headpiece on fol. 2v, column separator decorated with gilt floral designs on fols. 2v-3r, 2 meticulous gilt and coloured colophon decoration on fol. 69r. With a total of 18 coloured illustrations of the Holy Sites (7 full-page, the remainder half-page or larger). Splendidly ornamented embroidered cloth binding with pink morocco edges and pastedowns and fore-edge flap. Monumental manuscript copy of the first Islamic guidebook for the pilgrimage to Mecca and Medina, which Muhi al-Din Lari (d. 1526/27) completed in India in 1505/06. The book provides instructions on the Hajj pilgrimage rituals and descriptions of important sites that Muslim pilgrims can visit, including of the Kaaba in Mecca. Whilst no early illustrated Indian copies are known, the work began to be widely copied with often lavish illustrations from the later 16th century onwards, mostly in in Ottoman Turkey. - The 18 large-scale illuminations in the present manuscript show the holy sites, locations between Medina and Mecca, and the various stages of the Hajj. The illustration of the Masjid al-Haram in Mecca shows the Kaaba, the areas assigned for worship by the various branches of Islam, as well as the doors to the sanctum, minarets, and two rows of colonnades. - In excellent state of preservation throughout.
3 vols. and 1 vol of plates. (2), II ff., 388 pp. (6), 222, (6) pp. (4), VI, 326 pp. With 14 lithogr. plates (4 in colour). Printed original wrappers. Folio (390 x 295 mm). Atlas: (4) pp., 85 plates (some double-page-sized), including 65 photogravures by Charles Nègre after Louis Vignes. Original half cloth portfolio. Ties. Rare travel report describing the scientific expedition to Palestine undertaken by the French archaeologist de Luynes (1802-67) in 1864. First edition, very rarely encountered complete: only two copies sold at international auctions during the past decades (both incomplete; the last set wanting plate 44: Sotheby's, 15 Oct. 2003, lot 676, GBP 8500; only 40 plates from the set, including glass and collodium negatives, fetched 21,450 EUR at Sotheby's Paris, 22 March 2003, lot 583). - The work is sought for its splendid illustrations based on photos by Henri Sauvaire and the Naval Lieutenant Louis Vignes. Vol. 1 contains the Duke's travel diary; vol. 2 contains the reports "De Petra à Palmyre" by L. Vignes and "Voyage de Jérusalem, à Karak et à Chaubak" by Mauss and Sauvaire; vol. 3 contains the "Géologie" by L. Lartet (with its own set of plates at the end). The atlas is divided into two parts with a total of 85 plates (thus complete): 67 plates pertain to the Duke's report (3 unnumbered and 64 numbered: 1 map and 1 itinerary in colours, 1 engr. double plate, and 64 photogravures by Charles Nègre after photos by Vignes (views of sites, towns, ruins, etc.); Mauss's report is illustrated by 18 numbered plates: 1 double-page-sized itinerary, 3 plans (2 in colour), and 14 lithogr. plates by Cicéri after photos by Vignes and Sauvaire (views of Karak, Zat-Raz, etc.). - Occasional slight foxing (esp. in vol. 3); plates clean and spotless throughout. A fine, complete set in the original printed wrappers as issued; text vols. are uncut and wide-margined. Röhricht (Bibl. Pal.) 515f., no. 2824. Röhricht (Pilgerreisen) 637, no. 872. Henze III, 312. Parr/Badger, The Photobook I, 33.
Folio. 3 unnum. leaves, 40 original photographs on albumenized paper (approx. 245 x 180 mm) on stiff cardboard mounted on hinges, and 42 unnum. leaves of explanations. Publisher's half brown hard-grained morocco, blind stamped calico boards, with gilt title and figures, raised bands. Edges gilt. Beautiful photographic album made in Cairo, the first illustrated catalogue of the first Egyptian Museum. While copies dated 1871 exist, both copies preserved in the French National Library bear the date 1872. The photographs by Hippolyte Délié and Émile Béchard show the halls and antiques of the Bulaq Museum, founded in Cairo in 1863 by the great Egyptologist Auguste Mariette (1821-81). The Museum was created by Auguste Mariette, who in 1858, following his appointment as head of the Antiquities Service, moved the banks of the Nile, in Bulaq, where he assigned four rooms in his residence for exhibitions. Mariette obtained permission to settle in Bulaq in the abandoned offices of the River Company. On these dilapidated premises, where he lived with his family, the "Director of the Historical Monuments of Egypt and the Cairo Museum" converted the first four exhibition halls with the assistance of his faithful assistants Bonnefoy and Floris. The period photographs, published in this 'Album du musée de Boulaq', show the low buildings by the river, almost completely devastated during the flood of 1878. In the preface dated November 1, 1871, Mariette explains the origins of this monumental album: "Mr. Hippolyte Délié and Mr. Béchard requested permission from the Directorate of the Bulaq Museum to reproduce by photography some of the monuments on display in our galleries. Not only the application [...] was explicitly welcomed, but the Director of the Museum feels he must promote the work of the great photographers from Cairo, opening up for them the cabinets of the Museum and choosing among the objects it contains those that appeared to him most worthy of inclusion in the proposed Album. Mr. Délié and Mr. Béchard have followed, for the classification and arrangement of their proofs, the order adopted in the Notice sommaire, which is for sale at the entrance of the Museum. The three plates showing the interior and exterior of the Museum serve as an introduction to the Album. The monuments are then classified into religious, funerary, civilians, historical, Greek and Roman sections. The photographic Album [...] is thus an illustrated catalogue of the Museum. The remarkable execution of the plates allows us also to recommend to everyone this album by Mr. Délié and Mr. Béchard. Travelers will indeed use it as a souvenir of their visit to the Bulaq Museum. Scholars will find the hieroglyphic texts reproduced with such clarity as if they were in direct presence of the monuments. Finally artists will not study from any other work on Egyptology as well as from the beautiful proofs delivered from the apparatus used by Mr. Délié and Mr. Béchard, the difficult problems that relate to the history of art in Egypt". The French photographer Émile Béchard was active during the years 1869-90: "Béchard arrived in Egypt probably together with his partner Délié. He collaborated with him in the production of the Album du Musée Boulaq and in the carte de visite photographs of native types and costumes. There is little information on the life of Béchard. It is known that he was awarded a first class gold medal at the Exposition Universelle of 1878 in Paris, and his images appear in many of the travel and topographic albums until almost the end of the century. His major achievement was no doubt his monumental album of photographs of the most important archaeological sites and antiquities of Egypt […]. It is worthy to note that Béchard did have a great deal of talent in picturing architecture. The neatness of the execution and printing of the final image adds tremendously to the monumentality he was able to reflect in them" (cf. Perez, p. 123). "Délié arrived in Egypt the year the Suez Canal was opened and settled in Cairo. Until the mid-1870s he was in partnership with Émile Béchard. The two collaborated on a major photography album on the Boulaq Museum that was very highly praised as one of the most luxurious and finely printed books of the period. […] Délié's photographs were known already in 1869, and some of them were used that early for woodcuts illustrating articles in Le Tour du Monde. In 1876, he became a member of the Société Française de Photographie, and in 1878 he was awarded a bronze medal at the Exposition Universelle in Paris. For some reason, Délié's images, although equal in quality, are much rarer than those by Béchard, even though both continued to work after they dissolved their partnership. His photographs are exclusively of Egypt, mainly ruins, antiquities, and cityscapes, with a few genre studies" (p. 153f.). Perez also devotes a long notice to the archaeological activity of Mariette, a familiar to photography: "Best known as Mariette Bey, this famous Egyptologist became an archaeologist almost by chance. He was a young schoolteacher in the provincial town of Boulogne-sur-Mer, writing bad novels and chairing the local fishing-club, when he happened across the papers of a relative, Nestor L'Hote. L'Hote's writings of Egypt aroused Mariette's interest, and he turned to the study of Coptic writings and hieroglyphs. He published a number of papers that attracted the attention of Charles Lenormant, who sent him to Egypt in 1850 to hunt down Coptic manuscripts, which were at the time actively collected by British scholars. He remained in Egypt four years, during which time he realized the importance of finding and saving the archaeological treasures still buried in Egypt. Mariette shared his conviction with Ferdinand de Lesseps, whom he met in 1857. The latter appealed to the Viceroy of Egypt, and Mariette was appointed head of the department of Antiquities, a post he created and held until his death in Cairo in 1881. During his years there he displayed an unusual instinct in finding excavation sites; his contribution to Egyptology is invaluable. He was also founder of the Boulaq museum. Photography became an inseparable part of his activity. He mainly employed professional photographers such as Délié, Béchard, and Brugsch, but he himself also photographed, using an 8x10'' camera, newly found artefacts and ancient structures in remote parts of the Egyptian desert. It is interesting to note that, although technically not perfect, Mariette's photographs have a certain precision of angle and composition that makes the image 'right' and authentic. This is no doubt the result of his love and understanding of the objects he was photographing" (p. 194). - Spine scuffed, some foxing. Cf. Nissan N. Perez, Focus East, 1988. On Mariette cf. also J.-M. Carré, "Voyageurs et écrivains français en Égypte", p. 223-249.
8 parts in one vol. Titles within wide woodcut borders and numerous woodcut illustrations throughout. Contemporary speckled calf, rebacked preserving original label on spine, 8vo. Second edition of this important manual of riding, breeding, hunting, farriery and veterinary matters (following the first of 1607), by one of the earliest western owners of and dealers in Arabian horses. Markham praises the virtues of Turkish and Barb horses, which are said to be "beyond all horses whatsoever for delicacie of shape and proportion, insomuch that the most curious painter cannot with all his Art amend their naturall lineaments. They are to be knowne before all horses by the finenesse of their proportions, especially their heades and necks, which Nature hath so well shap'd, and plac'd, that they commonly save Art his greatest labour: they are swift beyond other forraigne horses, and to that use in England we only imploy them [...]". With notes on saddles and bits (several illustrated), as well as numerous cures for horse ailments. - "Divided into eight books with separate titles. The 2nd and 3rd books bear the date of 1616" (Huth). The title page itself bears no imprint, but rather has the word "Cavalarice" sandwiched between the dates "16" and "17". - Occasional slight browning or marginal waterstaining; several small wormholes to margins near end. Title with dated 1745 inscription, 17th century ink annotation to title verso (traced by a later hand), 20th century ink annotation and tipped-in auction catalogue description to front free endpaper. From the library of Francis McIlhenny Stifler with his bookplate to front pastedown. Scarce; only three copies of this edition sold at auction in the last 30 years. BM-STC 17335. Poynter 19.2. OCLC 18813278. Cf. Huth 15. Podeschi/Mellon 18. Graesse IV, 403. Mennessier de la Lance II, 156. Not in Wellcome.
Folio (422 x 528 cm). Lithographed title-page and 60 lithographed plates, all in original hand colour, captions often raised in gilt. With 10 leaves of letterpress text. Half calf with giltstamped spine. (Includes): Die Uebergangsländer von Asien und Afrika, begreifend: Arabien nebst Mesopotamien und Syrien und das Nilgebiet. Munich, C. Wenng, 1845. Engraved map with contemporary border colour. 640 x 544 mm. Scale 1:7,000,000. Only edition of the rare variant with all the plates and in their splendid original colour: "Published in ten parts. The plates show costume of the period and also that of earlier times, taken from paintings" (Hiler). The picturesque views, which include Cairo, Alexandria, Jerusalem, La Valletta, Luxor, and Thebes, genre scenes and landscapes, are all framed within a decorative border and arranged as a small painting. The Nuremberg artist Mayr, known especially for his depictions of battle scenes and horses, was personal painter to Duke Maximilian, whom he accompanied on his 1838 journey of the Orient. The group had departed from Munich on January 20 with a small entourage, travelling via Venice, Korfu, Patras, Athens, Alexandria, and Cairo to the Holy Land. They returned to Munich after eight months on 17 September 1838; the following year, Maximilian was made honorary member of the Bavarian Academy of Sciences. - Some foxing, otherwise splendidly preserved. Includes the extremely rare map of the Arabian Peninsula and the Middle East which was published only in 1845, at the instigation of the naturalist Gotthilf Heinrich von Schubert (1780-1860) and the geologist Joseph von Russegger (1802-63), to satisfy this frequently noted lack in Mayr's production (some foxing, but also finely preserved). Ibrahim-Hilmy II, 26. Gay 90 (only 36 plates). Lipperheide Ma 22 (= 1589). Hiler 578. Tobler 161. Graesse IV, 457. Engelmann 124. Kainbacher 265 ("a rarity"). Thieme/Becker XXIV, 477. Nagler VIII, 498f. ("highly memorable drawings"). ADB XXI, 139ff. Not in Blackmer or Abbey (Travel). Not in Colas.
4to. 2 vols. (12), 264 pp. (4), 265-643 pp., final blank. With frontispiece portrait and 8 photographic plates. Contemporary stamped cloth with cover and spine titles. Second printing of the equally scarce 1919 first edition of this notable work of travel literature by the British Army officer S. B. Miles, who served as a diplomat in various Arabic-speaking countries, notably Oman, which he came to know better than any other European of the time. His intent to revise the notes he had "jotted down on odd bits of paper as he rode through the desert on his camel" (Preface) was rendered impossible due to his failing eyesight. Five years after his death his widow decided to publish the manuscript as she found it, enriching it with Miles's travelogue of Mesopotamia as well as an index. The work includes the political and economic history of Oman and the Gulf as well as the history and geography of Dhofar, Arab tribes, and pearl fishing. The plates show the forts at Bahila, Yabreen, and Rostak, as well as the house of Seyyid Hamed Bin Azzar at Rostak, a group of locals, and date palms, while the frontispiece depicts Miles resting in a chair wearing his sunglasses. - Binding slightly rubbed and soiled, cockling to upper cover of vol. 2, rebacked. A good copy of this popular work that saw re-issues in 1966 and 1994. Cf. Ghani 250 (1966 reprint only).
4to (195 x 165 mm). (191) ff., including paste-downs and about 55 blanks. The journal with an engraved view as frontispiece, 15 full-page, 1 nearly full-page and 1 smaller manuscript maps and coastal profiles, plus a small engraved view mounted on 1 page. The lecture notes with a matching pair of engravings of a scull on and facing the title-page, and 27 pencil and/or ink anatomical drawings (including 2 full-page), some also with red. - Including: [Anatomical manuscript]. Morse, Edward George. Lecture Book [notes on anatomical lectures by Joseph Constantine Carpue]. [London], November-December 1828. Contemp, sheepskin parchment. A manuscript ship's journal kept by Edward George Morse (Bromyard 1805?-Deal post 1850?), who no doubt served, among other functions, as the ship's surgeon. Morse reflects on Arabian navigation and Arabian explorers, including the deservedly famous Ibn Battuta. "The Arabians like the Chinese are said to have employed the compass to guide them through the trackless sands of the desert or to enable them at the hours of prayer to direct their faces with precision towards the city of Mecca and tomb of the prophet. In the sixteenth century moreover when the Portuguese first visited the Indian seas they found that the Arabians are the chief navigators of those seas [...]". - Morse made his earliest dated entries in April 1831 at the island Mauritius in the Indian Ocean and others at Madagascar and its surrounding islands from May to August 1831. Those around Madagascar indicate he was on the barque Manchester, but from at least 11 December 1831 to his arrival back in England on 14 March 1833 he was on the barque Sarah, a 600 ton ship sailing out of London. In it he spent a year in the Seychelles 11 December 1831-15 December 1832, including Make Island, Bird Island, Praslin Island and La Digue. - In very good condition. The binding is soiled and rubbed, and the boards slightly warped, but it remains structurally sound. A fascinating and unusual ship's journal with numerous maps, kept in the unused leaves of the author's illustrated anatomical lecture notes of a few years earlier.
5 glass positive lantern slides (85 × 100 mm), each with a black paper mask, paper tape around the edges, a letterpress slip at the foot giving the publisher's name and city, and a slip at the head with the manuscript title. Stored in a contemporary purpose-made wooden box with brass fittings, with the word "Mekka" on the top of the hinged lid. Five of the earliest and best photographs of Mecca and Medina, beautifully preserved as silver gelatin glass plates, including the first photograph of the Ka'ba in Mecca's Masjid al-Haram (Great Mosque). Two of the photographs were taken by the first person to photograph Mecca and Medina, the Egyptian Colonel Muhammad Sadiq Bey (1832-1902), who made them in 1880 for the Ottoman Sultan Abdülhamid II. The others were taken by the first European to photograph Mecca, Christiaan Snouck Hurgronje, and Al-Sayyid 'Abd al-Ghaffâr, who worked closely with him. Snouck Hurgronje (1857-1936), one of the greatest pioneering Dutch Arabists, converted to Islam and lived in Mecca from January to about July 1885. The photographs by these three men are best known and most frequently reproduced from the published collotype facsimiles, while the rare surviving early albumen prints are usually faded or otherwise in bad condition. The present five plates, sold as lantern slides for magic lantern presentations, are therefore of the greatest importance as well-preserved high quality specimens of these famous photographs, providing the best early images of the mosques of Mecca and Medina. - All five slides are in very good condition, with only a bit of dust and the occasional smudge on the glass. They show: 1) The Masjid al-Haram in Mecca (the Great Mosque); 2) a closer view of the Ka'ba in Mecca; 3) the portrait of an unidentified Mu'ezzin in Mecca; 4) a portrait of an unidentified East Indian pilgrim; 5) the al-Masjid an-Nabawi in Medina (the Prophet's Mosque). Cf. D. v.d. Wal, Christiaan Snouck Hurgronje (2011); J. J. Witkam, new introduction to the 2007 reprint of the 1931 English translation of Hurgronje, Mekka.
4to. (10), 171, (1) pp. William Brodrick's copy with 3 original watercolours by him, heightened with gum arabic. 28 hand-coloured lithographed plates after William Brodrick, some heightened with gum arabic. Contemporary half green morocco, gilt. Second edition, revised and enlarged: the best edition of this handsome work. This copy, with an impeccable provenance, is enriched by the inclusion of three fine original watercolours by the eminent William Brodrick (1814-88), falconer, taxidermist, physician, and artist, whose works of avian portraiture set the standard of their times. - Provenance: "Wm. Brodrick, Little Hill, 1873" (ink inscription to front free endpaper, and a partially erased pencil inscription to title). - Occasional spotting, heavier to endpapers and half-title; spine faded to brown, corners worn, rubbed. Harting 67. Nissen IVB 147. Schwerdt II, 145.
Folio (208 x 289 mm). 3 parts in 1 volume: 4 (instead of 8?) pp. of preliminaries (blank, alif, ba, gim); 131, (1 blank) pp. and 80 pp. (bound alternatingly), with 56 etched plates; 39, (1 blank) pp.; 283, (1 blank) pp. Contemporary half calf with gilt-stamped spine and marbled covers. The first edition of the first illustrated medical book ever printed in the Muslim world: the pioneering Ottoman physician Sanizade's (1771-1826) medical compendium, the first three books (on anatomy, physiology, and internal medicine) of what would later be known as "Sani-zade's Canon of Five", "Kitâb ül-evvel fi t-tesrihât" ("Mir'âtül-ebdân fî tesrih-i a'zâil-insân"), "Kitab üs-sânî fi 't-tabîyat", and "Kitâb üs-sâlis Miyâr ül-etibbâ". This was one of the earliest Turkish medical works to draw thoroughly on western, Paracelsian and Vesalian science: indeed, it is modelled on and partly translated from Italian and German sources, such as Anton Störck, Bartolomeo Eustachi, Gabriele Fallopio, and Costanzo Varolio, reproducing anatomical illustrations from a variety of sources including Vesalius. - "[B]y and large Ottoman medicine remained [...] attached to its Galenic roots. [...] Real paradigmatic change began to appear only with the upheavals of 19th-century reforms, when translations and adaptations of new European knowledge made their way to the core of the medical profession. One of the first books to spark this revolution was Ataullah Sanizade's compendium 'Hamse-i sanizade', a series of five books published in Ottoman Turkish from 1820 onward, incorporating new medical knowledge from Europe. Sanizade was a brilliant and innovative physician and theorist (as well as musician, astronomer, and historian) who did much to integrate new medical knowledge with the old. His views on medicine encountered much opposition, mainly because of his support for surgery-based study of anatomy. As a result his request to dedicate his chef d'oeuvre to Sultan Mahmud II was denied. In time, however, the compendium came to replace the earlier canonic texts, and was fondly named 'kanun-i sanizade' (Sanizade's canon), referring, of course, to the old master's 'Qanun'. Although the compendium formally adhered to the humoral system and other concepts of ancient medicine, it was here that blood circulation was mentioned for the first time as a scientific concept and as part of a different medical theory. Some of the terminology included in this book formed the basis for a new medical profession that was beginning to take shape" (D. Ze'evi, Producing Desire [2006], p. 20f.). A five-volume Arabic edition appeared at Bulaq in 1828 by direct order of Mehmet Ali. - Part 1 bound as follows (agreeing with the copy in the BSB Munich): 4 pp. of prelims (blank, alif, ba, gim); 3, (1) pp., (2 plates), 2 pp. [index], 5-34 pp., (17 plates), 3-22 pp. [index], 35-68 pp., (9 plates), 23-35 pp. [index; pp. 25-28 numbered 3-6 in error], 1 bl. p., 69-94 pp., (12 plates), 37-48 pp. [index], 95-100 pp., (6 plates), 49-55 pp. [index], 1 bl. p., 101-106 pp., (3 plates), 57-60 pp. [index], 107-120 pp., (5 plates), 61-70 pp. [index], 121-128 pp., (2 plates), 71-80 pp. [index], 129-131 pp., 1 bl. p. Some dampstaining throughout, more prominently so in several plates. In all, a good copy of this rare work, the only edition published during the author's lifetime. OCLC 608102180.
Albumen print (vintage), hand-coloured and raised in gilt and opaque white. Matted (ca. 280 x 360 mm) and framed (ca. 530 x 640 mm). Signed "Lafayette" on the mat. His Royal Highness Saud of Saudi Arabia, second son of and immediate successor to Abdulaziz Ibn Saud, the founder of Saudi Arabia, as a young prince. A fine, splendidly hand-coloured portrait by Lafayette Studios, Photographers Royal and among the world's most prestigious studios of the early 20th century. - In immaculate condition.
8vo (154 x 208 mm). Arabic manuscript on paper. 267 ff. (final 6 leaves are supplied in a 19th century hand). Naskh script in black and red, with many numerical charts and calculations in text and margins. Rebacked contemporary red morocco, ruled and stamped in blind. Commentary on a work by the Egyptian mathematician Ahmad ibn Muhammad ibn al-Ha'im (ca. 1352-1412), the "Murshidat al-talib ila asna al-matalib fi ilm al-hisab" ("A student's guide to the summit of learning on the science of mathematics"). Al-Ha'im is famous for his contributions to mathematics, especially in the field of early algebra. The author of the commentary, Baha al-Din Muhammad al-Shinshawri (d. 1590), finished this work in 1587. The present copy was completed by the scribes Abd al-Rahman bin Wali Allah and Shihab al-Din al-Wiqay al-Shinway al-Shafi' on Friday, the 18th of Rabi' al-Thani 1023 AH at Cairo's Al-Azhar Mosque in Ottoman Egypt. - The text incorporates several small mathematical charts as well as marginal calculations, which provide a key insight into the development of mathematical notation and visual organization in the early 17th century. - Covers rebacked and spine replaced, along with final six leaves which were probably completed in Western Asia in the 19th century. Several small waqf stamps. A few paper repairs and marginal wormholes, otherwise well-preserved. Cf. GAL II, 125.
8vo (194 x 130 mm). Arabic manuscript on paper. 90 leaves, 15 lines per page written in more than one hand in cursive script with several words in red; numerous diagrams and tables. Contemporary limp red morocco. The three works comprise: - 1. "Al-Durr al-manthur fi'l-'amal bi-rub' al-dustur". A treatise on calculating time with the aid of the sine quadrant, for any region (GAL II, p. 218, 1, attributed by Brockelmann to Sibt al-Maridini's grandfather, the astronomer Abdallah ibn Khalil ibn Yusuf Jamaladdin al-Maridini al-Qahiri, d. 1406). - 2. "Raqa'iq al-haqa'iq fi hisab al-daraj wa'l daq'iq" ("Subtleties of Truths on Arithmetic of Degrees and Minutes"). Instructions for the calculation of celestial motions with the aid of minute proportions (GAL II, p. 217, 11). A commentary on a work by his teacher, the Egyptian mathematician and astronomer Shihab al-din Abu'l-'Abbas Ahmad ibn Rajab ibn Tibugha 'Ibn al-Majdi' (1365-1447), entitled "Kashf al-haqa'iq fi hisab al-daraj wa'l-daq'iq" ("Opening Truths on Arithmetic of Degrees and Minutes"). - 3. A commentary, "Risalah [al-Fathiyya (al-Shihabiyya)] fi'l-'amal al-jaybiyya" ("Treatise on [Fath al-Din (Shihab al-Din)]". Operations with the sine quadrant (GAL II, p. 216f., 7). - Sibt (Ibn Bint) al-Maridini (the Elder, 1423-1506) lived in Cairo and Damascus. He served as the muwaqqit (time-keeper) of the al-Azhar mosque in Cairo, and was a pupil of Ibn al-Majdi. His works are often conflated with those of his grandfather, and with those of his like-named son, who died in 1527 (GAL II, p. 468). - A few old repairs occasionally affecting letters; altogether very well preserved. Provenance: from the property of Dr. Eugene L. Vigil (b. 1941), of Lynden, Washington, USA. For Sibt al-Maridini see B. A. Rosenfeld & E. Ihsanoglu, Mathematicians, Astronomers & Other Scholars of Islamic Civilisation and their Works, Istanbul 2003, pp. 276f., no. 815, and pp. 293-298, no. 873.
8vo (116 x 180 mm). Arabic manuscript on paper. 52 pp. on 28 ff. of very fine polished paper (8 ff. on pink paper), complete. Meticulous Naskh in black ink with occasional red; numerous diagrams in red in the margins and occasionally within the text itself. Bound with an astronomical treatise in Persian. 50 pp. Black ink with occasional red; several diagrams in red throughout the text. Altogether 59 ff. 18th century red morocco, ruled in gilt and stamped in blind, modern rebacking. A 16th century Arabic manuscript of the "Sphaerics" by the Greek astronomer and mathematician Theodosius of Bithynia (ca. 169-100 BCE). Unknown in the West during the Middle Ages, the "Sphaerics" proved instrumental in the restoration of Euclidean geometry to Western civilization when the book was brought back from the Islamic world during the crusades and translated from Arabic into Latin. - The text is decorated throughout with geometric diagrams drawn in red ink with a delicate and exacting hand. Each is labelled, and many are quite intricately detailed, showing the geometric qualities of the sphere and progress to astronomical diagrams exploring orbits and planetary movement. This present manuscript was copied by Muhammad Taqi bin Aqa Jalal al-Kilani, dated to Sha'ban 1000 H. - Bound with another astronomical treatise, in Persian, written on somewhat coarser paper stock. Covers worn and rebacked, some dampstaining, otherwise very well preserved. A fine piece in the history of mathematics.
Small 4to (21 x 15 cm). (16), 410, (6) pp. With woodcut arms of the Dominican order (with the IHS and cross covering the centre) on title-page, and a variant version on the last page, and 3 woodcuts in text (2 saints and the Cross). Further with 24 decorated woodcut initials in two series, including 11 repeats. Contemporary gold-tooled mottled calf, each board with the coat of arms of the French Seguier family and with the monogram PSMF (Pierre Seguier and his wife Madeleine Fabry) repeated 6 times on the spine, rebacked (on recessed cords) with original gold-tooled backstrip laid-down, a later spine label (between the 1st and 2nd monogram), the year of publication 1611 at the foot of the spine, later endpapers. First and only edition, in Spanish, of an early work on Ethiopia by the Spanish Dominican monk Luis de Urreta (ca. 1570-1636), who wrote two volumes glorifying his own order's accomplishments in Ethiopia while diminishing those of the Jesuits (his Dominican coat of arms incorporates the IHS with cross, often used by the Jesuits). In the present work, the second of the two, he deals specifically with the Dominican presence in Ethiopia and the history of the Ethiopian saints. Like the first work, the "Historia ecclesiastica" published in 1610, it is a late example of a stream of geographical fantasies where Ethiopia was presented as the wondrous utopian kingdom of Prester John, and Urreta makes the case for an ancient Dominican presence in the country, arguing that they should thus be given precedence over the Jesuits as Catholic missionaries in that country. On pp. 88-90 it gives the information from a report to Pope Gregory XIII (1502-85) on two Dominican monks (Blackfriars) from the Alleluya monastery, who entered Mecca around 1580 and had contact with a Faqih and a Marabout. Everyone who travelled from Africa to Mecca supposedly had to travel by way of the Alleluya monastery as the rest of the region was considered uninhabitable (p. 61). - From the library of Pierre Seguier, Lord Chancellor of France from 1635 to 1672, best known for his appearance in The three musketeers, with his arms and monogram stamped in gold on the binding. And with an owner's inscription of the 17th-century French scholar Etienne Baluze ("Stephanus Baluzius Tutelensis") on title-page. With a faint water stain in the lower margin of four leaves in the introduction, a tiny corner torn from the title-page and two tiny tears in the margins of the main text, otherwise in very good condition. Binding heavily restored, but with the gold-tooled coat of arms still very clear. Olivier, 271(4). Finger & Piccolino, The shocking history of electric fishes, p. 117; Palau 345993; Salva 3417; cf. Gay, Bibl. de l'Afrique et l'Arabe 2690.
Folio (368 x 255 mm). Etched and engraved title and 31 etched plates (numbered 1-30 and one unnumbered). Contemporary French red morocco gilt, arms of Louis-François-Armand de Vignerot du Plessis, duc de Richelieu et de Fronsac on covers (Olivier 407, fer 15), within gilt border of Richelieu’s repeated motif of two crossed batons intertwined with an ornamental “R”, repeated with coronet within arabesques at the corners, spine gilt in compartments with same motif. First edition; a large-paper copy with Richelieu's arms. Vien's charming series of etchings depicts the costumes worn by members of the French Academy in Rome for a "Turkish masquerade" held during the Carnival celebrations of 1748. This masque is an outstanding example of the influence the orient exerted on western style during the late-Baroque era, showcasing the degree to which cultural transfer was possible and even a matter of enthusiastic adoption by the west but little more than half a century after the siege of Vienna. The elaborate masquerades at the French Academy constituted an important fixture in the Roman calendar. As director of the Academy, Vien organised the masque of 1748, the fabulous costumes of which are presented here, designed, drawn and etched by Vien himself. The costumes in the present suite are "a curious mixture of authentic Turkish habits and European invention" (Blackmer), showing the stock figures of the Turkish court liberally enhanced with elements of Vien's own concoction. The fantastical nature of the creations is a far cry from the sober neo-classical style with which Vien is commonly associated (his pupils included some of the foremost artists of the period, notably Jacques-Louis David). Vien's original drawings and oil paintings for the Mascarade are held by the Musée du Petit Palais; they were exhibited in Berlin in 1989. - Some marginal dampstaining and foxing, binding rebacked retaining most of original spine, corners repaired. This copy commanded $26,000 at Christie's New York in 1997. - Provenance: from the library of Louis-François-Armand de Vignerot du Plessis, duc de Richelieu et de Fronsac (1696-1788), a close friend of Louis XV of France, though critical of Madame de Pompadour. He is supposedly the model for the character of Valmont in Choderlos de Laclos' "Les Liaisons dangereuses". Atabey 1288. Lipperheide Sm 10. Colas 3005 (suggesting the plates are un-numbered). Hiler 879. Le Blanc II, 122, 8-39. Cohen/R. 1014f. Brunet V, 1211. Cf. Blackmer 1730. Cf. Gay 3644. Graesse VI/2, 311 (Paris, Bassan et Poignan).
4to. (8), 79, (1) pp. With woodcut headpiece on t. p. and initials. 19th century orange-red crushed morocco by Riviere with leading edges gilt and elaborate gilt inner dentelle, rebacked. All edges gilt. The exceedingly rare first edition of one of the earliest English treatises on horsemanship, derived in part from Xenophon, Federico Grisone's "Ordini di cavalcare", and other authors, and in part from Astley's own experience. This is, in fact, the first translation into English of Xenophon's treatise "Peri hippikes" ("On horsemanship"). - The publication of Astley's "Art of Riding", perhaps his single most lasting achievement, came late in his life as an Elizabethan courtier. Here, he relays the doctrine of the Italian riding schools as he and other Gentleman Pensioners understood it, particularly on training the horse to respond to the hand. Astley was on friendly terms with Thomas Blundeville, whose Grisone translation two decades earlier counts as the first treatise on horsemanship to be published in English. - First three leaves slightly browned, with the upper right corner of each leaf imperceptibly restored from another copy; a closed tear to f. A4. Altogether a remarkable clean and crisp copy in an English master binding. The Fitzwilliam-Gloucester copy, bound with a common companion piece, Claudio Corte's "Art of Riding" (also published by Denham in the same year) commanded £14,400 at Christie's in 2006. The catalogue notes that the scarcity of these two work "at auction varies markedly; ABPC records some 5 copies of Corte's work at auction since 1975, but none of Astley's". Huth p. 11. STC 884. Mellon/Podeschi 12. Hoffmann III, 609 (s. v. Xenophon).
Small 4to (146 x 206 mm). 64 pp. With printer's woodcut device on title-page. 19th century red boards. Only edition of this early milestone of Arabic typography from the Roman Medici Press, including a Latin treatise on Arabic script. The Medici Oriental Press, the first printing press in Europe dedicated to printing books in an Arabic typeface, was founded in Rome under the direction of Giovanni Battista Raimondi and the patronage of Pope Gregory XIII. For the Arabic types, Raimondi commissioned the famous typefounder Robert Granjon: "In a few years Granjon had cut a large number of oriental characters, following superb calligraphic designs provided by Raimondi. On September 6, 1586, he completed the small Arabic typeface [...] Because cutting the Arabic typefaces took such a long time, establishment of the Medici Press went slowly. Though the contracts formally setting up the press were signed on March 6, 1584, the first book to bear its imprint did not appear until 1591. Legible and much more 'oriental' in feel than those of de Gregorii, Postel or Spey, this face was not improved upon until the time of Ibrahim Müteferrika in the early 18th century [...] Once underway, however, the Medici Press was very productive. In 1592 it issued a prospectus of its Arabic type faces under the title 'Alphabetum arabicum' - a 64-page masterpiece of design which not only displays Granjon's beautiful types, but contains a careful Latin Essay on the Arabic writing system" (Lunde). Until 1610 Raimondi printed a mere eight works with Granjon's types, "all equally rare" (Smitskamp 29b), before a long hiatus ensued - probably due to the sluggish distribution of the works in the Orient, where everything produced in the West, and especially any printed specimen of Arabic script, was received with the utmost caution (cf. Fück 55). Even Smitskamp cites only four other productions of the Medici Press, but not this exceptionally rare one. One of the only three other copies known to have appeared in the trade was even thought to be incomplete by Sotheby's, since Adams's collation - based on the Trinity College copy - cites a 24-page appendix that is, in fact, an independent Medici Press grammar bound with the Trinity 'Alphabetum'. - Binding worn and rubbed; spine rebacked. Interior somewhat dust-soiled throughout with occasional light dampstaining; a few marginal annotations on the verso of the title cropped by binder. Title-page with minute wormhole affecting one word on verso; a small hole to the last leaf with loss of a few letters; stamp of a monk to margin of final page. Front pastedown has 1880s bookseller ticket by G. A. Young & Co. of Edinburgh pasted in. An entirely complete copy of an important and excessively rare publication. Adams A 780. BM-STC Italian 36. Schnurrer 41. Edit 16, CNCE 1227. OCLC 47816774. Lunde, Paul, "Arabic and the Art of Printing", in: Aramco World 32/2 (1981) (with illustration). J. Balagna, L'imprimerie arabe en occident (Paris 1984), p. 135. Le Livre et le Liban (mentioned on p. 190; no copy in the catalogue). Not in Smitskamp or Fück.
Hand-drawn military map and organizational flowchart, 1.37 x 1.45 m. Coloured ink and watercolour on paper. Accompanied by 9 original photos. Unique hand-drawn chart of Bahrain's naval force as it was projected in the early and mid-1970s, including two large maps: firstly, of the island's location in the Gulf showing the Navy's planned 200-mile range as well as strategic points throughout the Gulf, and secondly, a smaller scale map showing the defensive coastal artillery firing range and radar ranges reaching out to the north and east of Qal'at al-Bahrain, Galali, and East Sitra bases around Manamah. An inset flowchart shows in detail the organization of Bahrain's Navy, to be headed by the Commander of Naval Forces, presiding over the branches of Supplies and Exercises (Engineers, Supplies, Medical Office), of Operations, Planning, and Signals (all commanded by the Chief of Staff), as well as the Naval Armed Forces proper (Fleet, Special Forces, and Coastal Artillery). The extensive annotation describes the maritime theatre of war around Bahrain, identifies vital targets (Port Sulayman, oil terminal, national airport, oil wells and storage tanks, refinery) and crucial points to be observed, and sketches the projected scope of the navy: initially a small fleet of armoured motor vessels with radar-guided automatic ordnance, later to be upgraded with surface-to-surface rocket launchers with a tactical range of ca. 180 nautical miles. The planning stage is to encompass some 2 to 3 months, followed by a development stage of about 3 years and an implementation phase of another year. - The chart is accompanied by a set of nine original mid-1970s photographs of members of the Egyptian General Staff who assumedly were closely involved in advising the government of Bahrain on the structure and implementation of their new Naval Forces, which became fully operational in 1979. - A fine survival, undocumented and at the time undoubtedly a closely guarded military secret.
Folio (214 x 342 mm). 3 vols. bound in one. (4), 120 (instead of 124) pp. (2), 142 pp. 172, (4) pp. Two title pages printed in red and black. With a total of 97 (instead of 98) half-page woodcuts in the text. Period style dark brown calf, elaborately gilt decorated spine and boards, red morocco spine label, raised bands, marbled endpapers. First editions of three separately issued parts of the very scarce "newly-opened amphitheatre", comprising the America, Asia, and Turkey volumes. The exceptional large woodcuts show the native inhabitants of the various parts of the world. Of special interest is the rare volume dedicated only to Ottoman society, as well as that on Asia: together, they cover the Islamic countries of the early modern period, including details on the Arabian Peninsula. Among the illustrations are various Muslim clerics, Northern Arabians and desert Arabians in Bedouin costume, coffee salesmen, sweetmeats salesmen, and a Turkish gentleman carrying the Qur'an on his head, as well as Persians, the Sultan, Janissaries, archers, dancers, etc. The Asia volume, produced later, repeats a single illustration but contains much new matter on Arabia, including a discussion of the Muslim religion, the Qur'an, ablutions performed with sand, and the trade in incense, coffee, and spices, as well as pearl fishing in Bahrain (p. 54). The America volume covers the discovery and exploration of America, with woodcut illustrations including portraits of Columbus, Vespucci, Magellan, and 30 depictions of Native Americans from throughout the New World, including Virginia, California, Pennsylvania, Maryland, etc. - This present set omits the parts on Europe and Africa, which were published first, and thus contains parts 3 (America) and 4 (Asia) of the four-part "Neu-eröffnetes Amphitheatrum" (the final part of which was produced only after a five-year hiatus), along with the "Neu-eröffnetes Amphitheatrum Turcicum", separately issued in 1723, from which the 1728 volume on Asia drew freely. Severely browned throughout due to paper. Title page of "America" vol. remargined; edge-wear to first and last few leaves only; wants quire G (pp. 25-28, including one illustration). Quire K in "Turkey" vol. (pp. 37-40) with expert paper repairs. In a highly appealing modern binding. Lipperheide Ac 5. Colas 2187. Hiler 652. Sabin 52360. Palmer 364. Not in Atabey or Blackmer. Not in Hünersdorff (Coffee).
Mostly folio (315 x 210 mm). A manuscript compilation of loose leaves and bifolia, with about 104 drawings (some in ink; some in coloured gouaches, many including gold, silver and other metallic colours) and about 53 engravings (some black on white; some white on black), each drawing and engraving showing the obverse and reverse of an Islamic coin or medal (except for about 3 that show only one side). Most of the drawings and engravings are on slips attached to leaves with notes in Arabic and French. An extensive study of Islamic coins, medals, and seals prepared on loose leaves and bifolia, with about 104 drawings (in ink or coloured gouaches, many with gold and/or silver and occasionally copper or metallic blue) and about 53 engravings, most drawings and engravings with manuscript notes in Arabic and French. Nearly every drawing and engraving shows both the obverse and the reverse of the coin or medal, some shown at the original size and some enlarged, so the diameter of the coins in the drawings ranges from about 1½ cms to about 10 cms, though even some of the larger ones note that they are drawn at the original size. Some of the ink drawings were made directly on the leaves, but nearly all of the colour drawings and engravings are on separate slips mounted on the leaves (some pasted, some with sealing wax, some with pins). The notes on these leaves usually give the dates of the coins (whether or not the coins themselves are dated) following the Islamic Hijri calendar and sometimes also following the Christian calendar. They often give a transcription of the inscriptions in a naskh Arabic hand (though they appear on the coins in several styles of Arabic script, including Kufic). A few include longer notes in French. The coins come from Egypt, the Ottoman Empire, Morocco, Algeria, Tunesia, Tripoli and elsewhere. - The dates given for the coins range from at least AH 93 to at least AH 1203 and probably to AH 1219 (712-1788 CE and probably to 1804/05 CE). The compilation of these drawings, engravings and notes probably began in the 1790s and may have spanned two or three decades. A few of the leaves (including some with drawings made directly on the leaves) show a paper stock with a watermark date "1791", and many leaves show a distinctive kind of watermark that was used in 1805. They frequently include abbreviated references to Jacob Georg Christian Adler, Museum Cuficum Borgianum velitris, Rome, 1782; Denis Samuel-Bernard, Mémoire sur les monnaies d'Egypte, Paris, 1809; and Description de l'Égypte ... État moderne, plates vol. II, Paris, 1817 (plates h-k show 127, 123 and 178 coins and medals), the last giving the earliest possible date for the completion of the compilation. Many of the engravings in the present compilation are taken from these three sources, and there is even what may be a proof of an unfinished plate from Bernard. One leaf has a mounted letterpress fragment with a biography of Ahmed ben Mohammed Khan, clipped from p. 67 of the 1776 Maastricht edition of Barthelemy d'Herbelot de Molainville, Bibliotheque orientale. - Although the manuscript nowhere names its compiler(s), Jean Joseph Marcel (1776-1854), grandnephew of the Consul Général in Egypt, was a brilliant student at the University of Paris, where he received many prizes in 1790 and 1791 and began his study of oriental languages. He came into contact with the orientalist Louis-Mathieu Langlés, who arranged for him to accompany Napoleon on his 1798 Egyptian Campaign (1798-1801), where he took charge of the Campaign's printing office (printing an Arabic type specimen in 1798), made the first steps toward deciphering the Rosetta Stone, and collected medals, manuscripts and inscriptions. Back in Paris he became director of the Imprimerie Impérial, a post he held until 1815. He wrote, compiled or translated numerous works concerning Arabic and other oriental languages. He may have planned to produce a publication based on the present compilation, but no such publication appeared. The compilation in any case shows Europe's new interest in Islamic studies after Napoleon's Egyptian Campaign, with Paris as its most important centre. - About 3 small drawings appear to have been made on oiled paper, probably in order to trace coins or engravings of coins, and a few are drawn on tissue paper. Many of the larger drawings are in colour, and a few are enlarged copies of the smaller drawings or engravings. Some leaves are tattered along the edges and a few have had their corners cut off, none of this affecting the illustrations or text. In a very small number the ink has corroded in the paper, more severely in 2 leaves, and one of the drawings on oiled paper has been cut up with 3 (of 4?) pieces surviving, but most of the leaves remain in good condition. A remarkable record of Islamic coins and medals, compiled ca. 1791-1817, with about 157 illustrations. For Marcel: Alain Messaoudi, Les Arabisants et la France coloniale (2015), pp. 239-240.
Large folio (620 x 508 mm). A total of 31 albumen prints (of an average size of 390 x 280 mm), individually mounted on card. Contemporary red half morocco and pebbled red cloth, titled in gilt on spine. A fine album of large-format photographs mainly of Egypt and Palestine, including numerous fine and early views of mosques, all by the most famous 19th century photographer of the Arab world, Félix Bonfils (1831-85). Among the famous locations captured in his high-quality albumen prints are the Mosque of Sultan Hassan, the newly-built Great Mosque of Muhammad Ali (one image showing the fountain of ablution), the Sultan Qaytbay Mosque and funerary complex, as well as the Tombs of the Caliphs, the Fountain of the Valide Sultan, and the so-called Chair of Omar (Membar) in the Temple Square. Ancient Egypt is well represented, as well. In Jerusalem, the collection includes views of the Mosque of Omar (that is the Dome of the Rock, or Qubbat al-Sakhrah), the Church of Saint Anne with the Dome of the Rock, as well as Zion Gate and several street scenes in the older districts of the city, but also the Church of the Holy Sepulchre (Kanisatu al-Qiyamah), with Christian priests posing on a balcony, some standing on a ladder which is famously permanent - by rumour due to the Status Quo agreement between the numerous Christian sects which use the church. In Istanbul (Constantinople), the Hagia Sophia Grand Mosque is pictured. A few additional images show the tidewater at Jaffa and two sites in Athens. All photographs are signed and titled in plate by Bonfils. - Some exterior wear; the large-sized photographs are well preserved.
4to. (90), 560 [but p. 255f. repeated], (10) pp. Latin title printed in red and black; one Latin and two Arabic (woodcut) half-titles. Preface in Latin, text in vocalized Arabic throughout. Contemporary half calf with marbled covers and giltstamped label to sparsely gilt spine. The famous "Hamburg Koran": while not actually (as it was long considered) the first printed Qur'an ever, the first accessible printed edition of the Arabic text. Only in 1987 was a unique copy of Paganino de Paganinis's Venetian edition (c. 1538) rediscovered, a work whose press run either was destroyed immediately or was limited to the sole surviving specimen, apparently a proof copy (cf. A. Nuovo, "Il Corano arabo ritrovato", in: Bibliofilia LXXX, IX, 1987). Four years after the present edition, in 1698, Lodovico Marracci produced his own Qur'an, but its two big tomes were anything but easy to consult - hence, the Hamburg Koran remained "the only available and handleable" (Smitskamp) edition until the early 19th century. - Abraham Hinckelmann (1652-95), a Hamburg theologian, studied at Wittenberg and collected many Oriental manuscripts. He compiled a Quranic lexicon in manuscript and planned a Latin translation of the Koran, but this was never realised. - Some browning throughout, as common due to paper; slight waterstaining near end. Ms. ownership of Joseph Venturi in Arabic, Hebrew, and Latin ("emit Romae An. 1789") on Latin title (his quotation from Brunet on first Arabic title), with early 19th c. ownership of Blasius Milani. This is the uncommon variant with two different woodcut Arabic titles. Schnurrer 376. Smitskamp, PO 360. Fück 94. Le Livre et le Liban 135f. Woolworth 279. Hamilton, Europe and the Arab World 33. Brunet III, 1306. H. Bobzin, From Venice to Cairo, in: Middle Eastern Languages and the Print Revolution (2002), p. 151-176, at p.160f., with 2 illustrations (figs. VI and 74). The Heritage Library: Treasures of Islamic and Arabic Heritage (Qatar 2006), s. v. "Religion", with illustration.