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This illuminated title page from Walters manuscript W.581 gives the title of the work, as well as the authors' names. There is also a statement referring to the patronage of the manuscript, indicating that it was made for the Mawlawi (Mevlevi) Library (bi-rasm al-Khizanah al-Karimah al-"Aliyah al-Mawlawiyah).

Leaf from Album of Persian Calligraphy

Walters manuscript W.619 is an illuminated manuscript containing 2 works by Sa"di (died 691 AH/AD 1292): the Gulistan (Rose garden) and the Bustan (Orchard). It was copied in 980 AH/AD 1572 by Muhammad Riza al-Tabrizi in Iran. The text of the Gulistan appears in the main area, while that of the Bustan is inscribed obliquely around the main text area on three sides. Both texts are written in black and gold nasta"liq script. The margins are multi-colored, gold-sprinkled tinted or marbled paper. The original leather binding dates to the 10th century AH/AD 16th and has dentelle-style decorated boards and doublures with gold filigree work over a multi-colored ground of blue, green, red, and black.

Folio from a Qur'an Manuscript

The top and bottom panels of this illuminated finispiece from Walters manuscript W.578 are inscribed with the basmalah and hamdalah in white Thuluth script. The Qur'anic verses in the central panel are written in Square Kufic.

European Banquet Scene (or The Marriage Feast at Cana?)

Book on Navigation

Pichhwai for the Festival of Cows

This page from Walters manuscript W.674 bears 4 diplomas written within illuminated cartouches inscribed in ijazah script by the following master calligraphers: Yaziji zadah, Isma'il al-Zuhdi Katib al-Saray al-Sultani, Muhammad Hasib, and 'Ali al-Wasfi. The page is dated 1219 AH/AD 1804-1805.

This drawing, Walters manuscript leaf W.749, was executed in Safavid Iran, most probably in the late 10th century AH/AD 16th, in Qazvin or Isfahan. Above, a farmer plows; below, a seated young man watches a produce seller weigh his purchase. On the rocks in the center foreground is inscribed the name of one of the most famous painters in Iran in the 11th century AH/AD 17th, Riza 'Abbasi (active 1001-1044 AH/AD 1591-1592 to 1634). As the handwriting does not match that of the artist, an admirer of Riza's work seems to have attributed the drawing to him. The execution and the bucolic subject matter of this drawing relate closely to the oeuvre of the Persian artist Muhammadi Haravi (active late 10th century AH/AD 16th), who worked in Qazvin. It is possible that this composition was conceived as a manuscript page.

Textile

Folio from a Qur'an Manuscript

Canopy with Dragon among Flowers

"Lotto" Carpet

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

"Black Buck", Folio from the Shah Jahan Album

The Flood of Noah (Genesis 7:11-24)

This is the final illuminated page in the codex, Walters W.582. The last panel contains the colophon, written in Riqa' script, giving the name of the scribe as Habib Allah ibn Dust Muhammad al-Khwarizmi.

Carpet

Portrait of Emperor Jahangir

Textile Fragment

Buddhist Priest's Ceremonial Robe

Silk Animal Carpet

Carpet with Triple-Arch Design

Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur)

Leaf from Book of Hours

Mandala Base

Angel (Peri) Riding a Composite Camel

Alexander the Great Enthroned at Persepolis

Hanger in de vorm van een kruis

Silk Kashan Carpet

Fragment van een muurschildering

Dragon in foliage with lion and phoenix heads

Thangka with the Seventh Bodhisattva

Tigers Chasing Deer, with Dragon

Collection of Poems (Divan)

Puppies

Velvet and Silk Carpet

Portrait of a Ladakhi Mountain Goat

Young Woman Smoking a Huqqa

The Greedy Dog

Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama

Ceremonial Cross of Countess Gertrude

"Dancing Dervishes", Folio from a Divan of Hafiz

On this folio from Walters manuscript W.653, a middle-aged woman stands in a landscape, holding a vase of flowers. The salmon pink margins are stenciled with animal and floral forms. The catchword at the lower left indicates that the following folio is missing.

Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara

A Stallion

Center table

A Young Prince on Horseback

This illustration from Walters manuscript W.644 depicts Zulaykha in a blue-domed litter on a camel led by a cameleer. The retinue is entering the capital of Egypt.

"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)

The Wade Cup with Animated Script

In the margins are depicted hybrid angel-musicians, a bear-trainer and musicians, apes trapping a bird, apes at school, a nude man at the far left, and an ape kneeling before a doctor with a urinal.

Rustam's seventh course: He kills the White Div, folio 124 from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020)

Grafmonument met alliantiewapen en vier kwartierwapens

Initial "P" (Primum quidem)

Flowers and Birds in a Spring Landscape

Palampore

Belt clasp

Five Medallion Carpet

Bowl with Inscription, "Sovereignty is God's"

Vasant Ragini: Folio from a ragamala series (Garland of Musical Modes)

Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi

Silk Velvet Designed by 'Ghiyath'

Grapevine in the Wind

An Old Sufi Laments His Lost Youth

Thanka with Buddha

Tile Panel

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Manuchehr Kills Tur, Manuscript from Shahnama

Terracotta dinos (mixing bowl)

Tile Panel

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

Four Portraits from the St. Petersburg Album. Painters unknown, borders by Muhammad Sadiq. Top left: Nadir Shah, Iran, ca. 1740. Top right: Adil Shah, Iran, ca. 1748. Bottom left: Unidentified nobleman, Mughal school, 18th century. Bottom right: Unidentified nobleman, Mughal school, 18th century. Art Institute of Chicago 1919.952 recto

This folio from Walters manuscript W.596 depicts the fall of Samarqand.

A Virtuous Woman Placates the King by Plucking Out Her Eyes

Painting from Flowers and Grasses

Accordion

Carpet with Scrolling Vines and Blossoms

Monkey Hanging on to a Branch

Blackbook I

Fragment (Dress Fabric)

Depicts Zen monk Huike (慧可) thinking. By painter Shi Ke (Chinese: 石恪), from Five Dynasties and Ten Kingdoms Period to Northern Song (about 10th century)

Quilt

Chinese Bird on Snow-Laden Branch

The Eighth Plague: Locusts (Exodus 10:12-15)

Covered box decorated with chrysanthemums and waterfowl among lotus

Peonies

Rectangular Textile Fragment

Autumn Evening with Full Moon on Musashino Plain

Chrysanthemums by the Water

Amir Khusrau Dedicates His Poem to Sultan Ala al-Din Khalji, page from the Quintet (Khamsa) of Amir Khusraw Dehlavi

Hinds House Window

Sparrows on Blossoming Plum

Animal-Spouted Pitcher

Blooming Plum Tree, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Lakeside Retreat

Oribe-Type Ewer