An Album of Ottoman Calligraphic Exercises, signed by Ferhat Pasha (Mehmed Ibn Mustafa), Turkey, 16th century

Arabic manuscript on gold-sprinkled paper laid down in a later album, 8 leaves, a total of 16 panels of calligraphy, each 3 lines to the page, written in large and small muhaqqaq script in black ink, ruled in silver and gold, signed on final page, red morocco binding with gilt-stamped foliate medallions and gilt ropework borders 

In generally good overall condition, calligraphy bold, some wormholes, as viewed.
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Ferhat Pasha, born Mehmed Ibn Mustafa, was educated at the prestigious Enderûn-u Hümậyûn within the imperial walls of the Topkapi Palace. The Hungarian-born Pasha would later ascend to significant roles within the Ottoman Empire including becoming its chief gatekeeper and the agha of janissaries in 1553. After hastily rising through the ranks following his marriage to Huma Sultan, the daughter of Sehzade Mehmet and the grand-daughter of Suleyman the Magnificent, Ferhat Pasha was appointed the Third Vizier in 1565. He died shortly after in 1575 at an early age.

Despite being immersed in his stately role, Ferhat Pasha had a passion for calligraphy. He studied under the leading calligrapher of the period, Ahmet Karahisari, taking thuluth and naskh lessons from him. He was particularly adept at naskh script and wrote numerous Qur’ans when he could find the time amid his official state duties. Selaniki Mustafa Efendi writes that "among the great viziers no such calligrapher, famed as a penman, had held the office of the vizierate" (G. Necipoglu, The Age of Sinan Architectural Culture in the Ottoman Empire, London, 2005, p.400). A former director of the Topkapi Museum, Mr Kemal Cig, wrote the following about Ferhat Pasha’s talent in calligraphy in an article entitled ‘Hattat Vezirler' (The Calligrapher Viziers):

‘Ferhat Pasa was one of the most talented and valuable students raised by Ahmet Karahisari. Despite becoming a groom to the Palace and having a prominent title, Ferhat Pasa wasn’t consumed with the ambitious nature of his position or wealth, steering clear of intrigue and plots at the palace and instead completely immersing himself in his art. He spent most of his time copying the Qur’ans and selling them for 100 gold coins. Like his tutor Karahisari, he didn’t have any interest in the material world and devoted himself to producing great works. These Qur’ans are highly revered art objects due to the outstanding quality of their calligraphic merit’ (Rado 1983, p.74).

Examples of Qur’ans written by Ferhat Pasha can be found in the Topkapi Palace Museum, Y.811 and in the Turkish and Islamic Arts Museum, no.338.