A rare calligraphic mufredat, signed by Mir 'Ali Harawi (d.1544), Persia, Safavid, first half 16th century

Persian manuscript on paper, 8 leaves, comprising 14 panels of calligraphy, each with 2 lines of nasta'liq script in black ink, laid down within an Ottoman album with floral illumination, collection label 'Dampierre' to opening doublure, red morocco binding with central cartouche filled with scrolling flowers, with ropework border

Ex-collection Duc de Luynes, Château de Dampierre. Presented to the Duc de Luynes by Faik İzzet Bey  

In good overall condition, a few small stains, minor rubbing to binding edges, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present mufredat, with its fine and elegant nasta'liq script, was executed by the well-known and celebrated nasta'liq calligrapher Mir 'Ali al-Harawi, who was taken to Bukhara together with other artists after the capture of the city by the Uzbek ruler 'Ubayd Khan in 935 AH/1529 AD. Mir 'Ali's calligraphies were not only treasured at the Persian court, but also at the Ottoman and Mughal courts, with Mughal princes eager to collect examples of his work.

The colophon of the present manuscript reads al-‘abd al-mudhnib ‘Ali bi balda-i Herat, bi madrasa-i Sultan Husayn Mirza. This note indicates that the mufradat was written in the early days of Mir 'Ali’s carrier. Historical sources record that the calligrapher was brought up in Herat and practised calligraphy in the Husayn Mirza Madrasa. However, Mir 'Ali left Herat when Ubayd Khan Uzbak captured the city in 1528 and moved to Bukhara, therefore it is certain that the album to hand was compiled before 1528.      

The best-known examples of Mir Ali’s calligraphy are those in two albums assembled for Jahangir: the Muraqqa-i gulshan and another in Berlin. In both of them, pages of calligraphy (predominantly by Mir 'Ali) alternate with paintings. At present the Tehran album contains ninety-nine examples of his work, the Berlin twenty-four; further pages in private and public collections may have come from the Berlin album. The album pages by Mir 'Ali appear to include a compendium of his own verse as well as copies made at various dates, while the pages by other Herat scribes could have been in his possession. 

A calligraphic folio signed by Mir 'Ali al-Harawi from the Gulshan Album was on view in the Arthur M. Sackler Gallery as part of the exhibition Nasta'liq: The Genius of Persian Calligraphy, 13 September 2014-22 March 2015, Washington D.C (Freer Gallery of Art, inv.no.F1956.12).