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Lot Essay
Ibrahim 'Afif Effendi, by whom one of these panels is signed, was born in Istanbul and practiced calligraphy with Husayn Habli. Mustaqim-zadeh notes that he did not copy the Qur'an because of his lack of confidence in the style of naskh. He was however celebrated for his well-proportioned thuluth compositions. He passed away in Istanbul in 1767 AD (Sevket Rado, Turk Hattatlari (Turkish Calligraphers), Istanbul 1980, p. 168).
Another of these panels is attributable to Nefes-zadeh Isma'il Effendi (d. 1679 AD). The reverse bears a note stating that the work was inscribed and given as a gift by Nefes-zadeh Isma'il Effendi to Hafiz Othman (d. 1698 AD) following a meeting.
Another panel is signed by Dervish 'Ali the Elder (d. 1673 AD). Born in Istanbul, Dervish 'Ali practised calligraphy with Halid Erzurumi (d. 1631 AD). He became a well known master of calligraphy and many members of the Ottoman elite sent their children to him to improve their skills in calligraphy. Rado notes that the leading 17th century Grand Vizier Koprulu Fazil Ahmed Pasha was amongst his students. He passed away in Istanbul in 1673 (Rado, op. cit., p. 100).
The two final panels in this lot are unsigned but on the basis of the calligraphy are probably attributable to Hafiz Othman or one of his pupils.
Another of these panels is attributable to Nefes-zadeh Isma'il Effendi (d. 1679 AD). The reverse bears a note stating that the work was inscribed and given as a gift by Nefes-zadeh Isma'il Effendi to Hafiz Othman (d. 1698 AD) following a meeting.
Another panel is signed by Dervish 'Ali the Elder (d. 1673 AD). Born in Istanbul, Dervish 'Ali practised calligraphy with Halid Erzurumi (d. 1631 AD). He became a well known master of calligraphy and many members of the Ottoman elite sent their children to him to improve their skills in calligraphy. Rado notes that the leading 17th century Grand Vizier Koprulu Fazil Ahmed Pasha was amongst his students. He passed away in Istanbul in 1673 (Rado, op. cit., p. 100).
The two final panels in this lot are unsigned but on the basis of the calligraphy are probably attributable to Hafiz Othman or one of his pupils.