15th May, 2026 10:00
Asian and Islamic Art
303
A Hindustani single line of 'nasta’liq' poetry in sepia ink
circa 1860s, Northern India, Delhi,
written in monumental Hindustani nasta'liq script, signed by the calligrapher Firuz al-Din, opaque pigments heightened with gold on paper
12 x 17cm, framed and glazed
Footnote:During the latter half of the 19th century, North Indian calligraphers based in Delhi were working through a transformative period, as the Mughal Empire’s official patronage waned and British colonial influence expanded.
The city initially experienced a brief cultural revival under the last Mughal emperor, Bahadur Shah Zafar (1775-1862), who was a mystic, poet, and accomplished calligrapher. During his reign, Bahadur Shah fostered a vibrant court culture and a short-lived resurgence of the arts and literature. He was a patron of celebrated poets such as Mirza Ghalib and Meer Zauq and was himself highly skilled in both poetry and calligraphy.
After the formal end of Mughal rule, many calligraphers transitioned from royal commissions to working in Old Delhi’s historic bazaars, such as the Urdu Bazaar, often competing for patrons in a changing cultural economy. The rise of lithography and photography also changed the production of manuscripts, enabling mass reproduction and reducing the market value of hand-copied works. To survive, many master calligraphers became katibs (a writer or scribe) for lithographic presses, allowing their work to appear in newspapers, Qur’ans, and other printed texts but diminishing the status of their calligraphy as unique, authorial creations.
Although the Mughals were no longer great patrons of the arts as they once were, the British officials stationed in India soon replaced them as active buyers and keen collectors of the local crafts. As an example, Colonel George William Hamilton (1807-1868), a British officer who served in India from 1823 to 1867 and was appointed Commissioner of Delhi in 1862, compiled one of the most complete examples of post-Mughal Hindustani calligraphy albums, now preserved in the Wigan Archive near Manchester. After his death, the British Museum purchased 352 manuscripts from his widow, Charlotte Logie Hamilton (1817-1893). These volumes now form a significant portion of the British Library’s South Asian manuscript holdings.
Other similar Hindustani calligraphic albums, closely related to the style of poetry, calligraphy, and signature of the example above, survive today in many public British collections, such as the John Rylands Research Institute and Library in Manchester.
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£300 - £500
Buyer's premium: 30.00% (inclusive of VAT, where applicable)
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Auction: Asian and Islamic Art, 15th May, 2026
We are excited to present the full catalogue for our next Asian and Islamic Art sale, which takes place on Friday 15 May at 10am.
Discover a carefully curated selection of exceptional works, including fine ceramics, intricate textiles, calligraphy, metalwork, and decorative pieces spanning centuries of craftsmanship and cultural heritage. From finely executed Chinese and Japanese porcelain to striking Indian paintings, Islamic manuscripts, and South Asian bronzes and sculpture, each lot offers a thrilling opportunity for collectors and enthusiasts alike.
Viewing
London Viewing
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Friday 8 May, 10am - 4pm
Saturday 9 May, 10am - 1pm
Sunday 10 May, 10am - 1pm
Monday 11 May, 10am - 4pm
Tuesday 12 May, 10am - 4pm
Wednesday 13 May, 10am - 4pm
All lots are, however, extensively illustrated and carry detailed condition reports - see 'Condition report' at the foot of each lot description.
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