Allen mss., 800-1972

General:

1. In French

General:

1. Bound in red and gold.
2. In French

General:

1. Bound with this is "Tractatus de statu et conditione...," 35v/38v.
2. With this are photostats of the ms.

Language: Arabic .

General: It is in early Kūfic script. The chapters' titles are gold, and the beginnings of each Juzʾ (part) and Ḥizb (portion) are indexed in the text and the margins. Contains verses 31-39 and 49-52 from chapter 69, verses 1-24 from chapter 70, verses 5-28 from chapter 72, and verses 1-20 from chapter 73.

1. Black slip case.

If one looks at folio No. 12, one can see that the vellum is cut; however, the text is continued on the vellum sewed to the gathering. Additionally, the ink on the first page of folio 12, compared to the second page, seems newer and might have been written later.

This fragment is very important becuase the calligrapher method of writing is very clear and allows specialists to follow the movment of the writing tool, calligraphy reed pen, Qalam , on the vellum. It also shows that at the time the calligrapher has used a Qalam that had a curved tip.

Language: Arabic .

General: This book is a copy of the Egypt Library's manuscript no.م99. The copyist has written in the first leaf that s/he has copied this from the manuscript mentioned above. It is in black ink, and all titles are in red. The copyist has numbered paragraphs in English and mentioned that each paragraph is a copy of the recto or the verso of a certain leaf from the referred manuscript in the Egypt Library. The copyist left marginal notes in Arabic indicating that he has even copied vacant space in his copy. This copy is a manuscript that a researcher has copied for personal research or study, thus we see penciled notes throughout in German. Probably the copyist is Professor Franz Taeschner, whose seal is above the recto of the first leaf, or he ordered someone to copy that for him. It has catchwords. In the first leaf, one reads: The fifth part on the territory of Turks in Rome (Constantinople) copied from the book: Masālik al-abṣār fī akhbār mulūk al-amṣār. The author is: al-ʿAllāmah Shihāb al-Dīn abī abbās Aḥmad bin Yaḥyā bin Faḍl bin Majlī bin Daʿjān bin Khalaf bin Naṣr bin Manṣūr bin ʿUbayd Allah bin Yaḥyā bin Muḥammad bin Abībakr bin ʿUbayd Allah bin Muslimah bin ʿUbayd Allah bin ʿAbd allah bin ʿUmar al-adwī al-ʿUmarī. He is called Shihāb al-Dīn Aḥmad bin Faḍl Allah al-ʿUmarī(d.1349) too. His book title is "Masālik al-abṣār fī mamālik al-amṣār," however, for any reason, it differs from what the manuscript has recorded. The author has recorded a poem at the end of the book. This poem first comes in the book Tārīkh madīnat Dimashq by ʻAlī ibn al-Ḥasan Ibn ʻAsākir (d. 1176). Because both books are on history and the area they have written about are close to each other, it seems that the second author has used Ibn ʻAsākir's book as a source for his book even though he has not referred to him.

1. Notes from slip pasted in back cover.
2. Bound in marbled boards.
3. Pencilled notes throughout in German.
4. Formely owned by Professor Franz Taeschner, Munich, Westphalia

General:

1. Part nine (pts. of Surahs 8 & 9) in gold and black wallet binding.
2. Gold and blue illuminations.
3. About 16 leaves.
4. Approximately 35 x 24 cm.

General: This is a manuscript of Haft Awrang (Seven Thrones) by Mūḥammad ʿAbd al-Raḥmān Jāmī (1414-1492).

1. Jami died in 1492.
2. Contains 20 full-page illuminations.
3. 310 leaves.
4. Copyists' names given.
5. Accompanied by analysis and notes.
6. Bound in black with inlays.
7. In sand-colored leather slip case.
8. Persian ms.
9. See Sotheby catalog description.

It is in Nastaʿlīq script and has been written by different calligraphers. This manuscript has 310 folios.

Silsilat al-Dhahab In the folio No.52 and 75, one can see the two colophons at the end of the first and second parts of the Silsilat al-Dhahab : literally "The Golden Chain," and through this, metaphorically, referring to something that leads one to the Ultimate Goal; In Islamic works this title is given to several things. For example, in Sunnī Islam, it is the title for a book series that have gathered the sayings of the Prophet of Islam. In Shīʿī Islam, it is a saying of the Eight Shīʿah Imām. Jāmī has chosen that as the name of the first part of Haft Awrang , and by this, he means that the parts of this book are the rings of a golden chain that leads followers to the Ultimate Spiritual Goal. The colophon is signed by ʿAbd al-Ḥayy bin ʿAlāʾ al-Dīn Muḥammad al-Kātib al-Haravī. The first is dated November 19, 1552, and the second on November 3, 1553. The calligrapher is the son of ʿAlāʾ al-Dīn Muḥammad al-Kātib al-Haravī (active in 1503). He is one of the six calligraphers called the "The Six Masters of Calligraphy," namely Sulṭān Muḥammad Khandān, Sulṭan Muḥammad Nūr, ʿAlāʾ al-Dīn Muḥammad al-Kātib al-Haravī, Mawlānā Zain al-Dīn Muḥammad Dāmād, Mawlānā ʿAbdī Nayshābūrī, and Muḥammad Qāsim Shādīshāh. They are the disciples of Sulṭān ʿAlī Mashhadī (1453-1520), the great master of Nastaʿlīq script. Thus, the first chapter (in two parts) of this book could be essential for the researchers who study the evolution of Nastaʿlīq script. That being said, the first and second leaves are on different paper than the rest of the chapter, and the handwriting differs. Thus, the first two leaves have been added later. However, the added leaves and their handwriting are quite the same as the papers and handwriting of a portion of Khirad Nāmah-yi Iskandarī from folio 259 to folio 275 of this manuscript. Thus, the book missed these leaves, and someone later tried to solve the issue.

Some of the miniatures in this manuscript could have occurred at the same time as the calligraphy and some could not, and the miniatures are not the same in quality as the calligraphy. What indicates that the calligraphy and miniatures have not occurred concurrently is whether the verse after each miniature is the supposed following verse for what has come before the miniature or if there are omitted verses. If there are omitted verses where a miniature is placed, we should know that the illustrator has painted the miniature over the calligraphy. Thus, the miniatures in folios 32, 41, 56, and 67 could occur simultaneously as the calligraphy. However, the miniature in folio 59 covered the calligraphy there. Thus, it has been added later. It also has less quality compared to the other miniatures.

Laylī va Majnūn The colophon is signed by Salāmat a-Kātib date November 1552. He is unknown as a calligrapher, yet the quality of his Nastaʿlīq is good. There are two miniatures on folios 90 and 117 that could occur at the same time with the calligraphy.

Salāmān va Absāl The colophon on folio 143 does not contain any date. The name of the calligrapher is Maḥmūd bin ʿAlī. The quality of his Nastaʿlīq is good. However, it is less in quality than the other calligraphers we mentioned earlier.

Yūsuf and Zalīkhaʾ The colophon on folio 199 is dated June 18, 1552. This date "پانزدهم جمید الثانی سنة تسع و خمسین و تسعمائه" has been written bilingually, half in Persian and half in Arabic. This method of dating the colophon differs from what we have had in the first chapter with ʿAbd al-Ḥayy bin ʿAlāʾ al-Dīn Muḥammad al-Kātib al-Haravī. This calligrapher has dated another colophon in this manuscript in the same way. The name of the calligrapher is Muḥammad Jāvīd bin ʿAbd al-Wahhāb al-Ḥusaynī. The quality of his Nastaʿlīq is advanced. He is a master, however, not in the caliber that ʿAbd al-Ḥayy bin ʿAlāʾ al-Dīn Muḥammad al-Kātib al-Haravī is; moreover, he is unknown as a calligrapher. The colophon's method of writing could suggest that the calligrapher belongs to later centuries; however, the date appeared in a way that shows the manuscript older and more valuable. In this chapter, the miniatures in folios 165, 174, and 181 each have covered 3, 2, and 3 verses. Because these number of verses cannot fill a page, they were located in their pages in a way that could merge into the miniature. However, the illustrator did not follow that suggestion and simply covered the verses with his painting. This fact weakens the guess that these miniatures could not be at the same time as the calligraphy.

Tuḥfat al-Aḥrār The colophon on folio 226 is dated September 6, 1552. This date, "هفتم رمضان المبارک سنة 959" has been written bilingually, half in Persian and half in Arabic. Also, the date has been written in digits rather than letters. This method of dating the colophon differs from what we have had in the first chapter from any other calligraphers in this manuscript. This calligrapher, whose name has not appeared, has a good Nastaʿlīq . His skill is not even close to the advanced skill of the previous calligraphers, and the colophon's method of writing could suggest that the calligrapher belongs to later centuries. However, the date is presented in a way that shows the manuscript is older and more valuable. In this chapter, the miniature in folio 213 has covered two verses; however, these verses do not make the context incomplete there. Namely, they could be considered as those verses that are considered variants in different copies of a work. This raises the possibility of concurrency of the calligraphy and the miniature. The miniature in folio 216 conforms with the calligraphy. Therefore, they could be concurrent. However, immediately after this folio, there are some missed leaves (at least two leaves), and the subtitles here testify to this loss. One can see that the subtitle "the Sixth Article" is followed by the subtitle "the Eleventh Article." The two miniatures of folio 222 and the miniature in folio 224 conform with the text, and there is no omission in verses there; thus, they could be concurrent with the calligraphy.

Silsilat al-Dhahab (The third part) There is no colophon on folio 242 at the end of this chapter. There is no date and no name for the calligrapher. This chapter also does not contain any miniatures. This calligrapher has a good Nastaʿlīq , but it is not even close to the advanced skill of the previous calligraphers.

Khirad Nāmah-yi Iskandarī On folio 275, where this chapter ends, there is no colophon, name, or date. There is a note there in Shikasti-Nastaʿlīq script that belongs to later centuries. Along with the note, there is a date and two seals. However, the date is 1396, when Jāmī, the book's author, was not born yet. From folio 259 to folio 275, papers, hand, and illustration ornaments differ from the rest of the chapter. They are quite the same as the first two leaves of the first chapter. The only miniature of this chapter is on folio 254 before the change in the hand and papers and ornaments. This miniature conforms with the text, and there is no omission in verses there; thus, it could be concurrent with the calligraphy. The hand of the calligrapher before the change is a good quality Nastaʿlīq script close to advanced. However, where the change happens, the quality of the hand yet is good; it is incomparable to what one could see before the change.

Subḥat al-Abrār The colophon on folio 310 is dated August 21, 1553. The calligrapher, again, is Muḥammad Jāvīd bin ʿAbd al-Wahhāb al-Ḥusaynī, who has written the chapter entitled Yūsuf and Zalīkhaʾ . As it comes before, the quality of his Nastaʿlīq is advanced. He is a master, however, not in the caliber that ʿAbd al-Ḥayy bin ʿAlāʾ al-Dīn Muḥammad al-Kātib al-Haravī is. In this chapter, the miniatures are in folios 284, 295, and 309. They conform with the text, and there is no omission in verses; therefore, they could be concurrent with the calligraphy.

Creator: Muḥammad Amīn Ḥilmī, Active in 1251 A.H. (1835 C.E.)

Language: Turkish, Ottoman (1500-1928) .

Indexed Terms:

• Subjects:
  • astrology

General:

1. About 8.2 cm. wide and 99 cm. long.
2. Decorations in dark red and gold.
3. Scroll finished in maroon leather.
4. Calendar in Arabic with commentary about the months in Turkish.

General: The illumination begins with a crown ( Tāj ) with Khatāʾī foliates. In both sides of the crown are a gilded Du-bandī Khatāʾī foliate that make bādāmak (almond shape) foliates filled in red. After that, a ( si-islīmī ) foliates are repeated on both sides of the scroll to the end.

It is in Naskh script in almost good quality. The calligraper is Muḥammad Amīn Ḥilmī. His name appears twice in the scroll, once in the seal above the scroll on the incipit leather piece and once at the end of the scroll. He is an Ottoman calligrapher. His name appeared in a manuscript of Dalāʼil al-khayrāt wa shawāriq al-anwār fī dhikr al-ṣalāh ʻalá al-nabī al-mukhtār dated 1251 A.H. (1835 C.E.) ( MS Or 229 ).

This calendar covers years from 1211 A.H. (1796 C.E.) to 1297 A.H. (1879 C.E.). Marginal notes explain the context for the users. It addresses the year 1211 A.H. (1796 C.E.) as a date that had already passed and uses that as an example to explain the logic of foretelling the characteristics of a certain year. This kind of calendar contains some tips for astrological beliefs: for example, a certain day is good for marriage and trade, and another is not good for making or sawing clothes fabrics, or another is good for planting or harvesting. See Rûz-nâme : manuscript, [ca. 1845] ; Rûznâme ; Gurrenâme ; Ġurre-nāme ; Rûz-nâme ; روز نامه : manuscript, [ca. 1845] ; روزنامه ; غره نامه ; روز نامه .

There is a gilded Khatībah beneath the crown ( Tāj ). The date written on it has been erased, and therefore the date of the calendar is not certain. A previous cataloger supplied the year 1211 or 1212 A.H. based on two tables at the top of the calendar; however, according to the marginal notes, the year 1211 is only a manual example for calendar users. It is unlikely that the calendar is from either of these years as it recorded the death of Abūbakr and succession of ʿUmar, which is the 19th of Jumādī al-Thānī in the early (first ten days) of Dalv (Aquarius) in the solar calendar. Had the calligrapher Muḥammad Amīn Ḥilmī, who was active in 1251 A.H.(1835 C.E.), copied his calendar, it could have happened most probably on January 29, 1826 C.E. or January 24, 1859 C.E., in which the 19th of Jumādī al-Thānī eclipsed the 9th or 4th of Dalv; unless we consider a long life for him, or we put the authenticity of the signature and the seal in question.

This calendar suggested that marriage is good on the first day of Dalv, January 21, 1826 C.E. or January 21, 1859 C.E. Poultry husbandry is good on the 11th of Dalv, January 31, 1826 C.E. or January 31, 1859 C.E. It also forbids bloodletting therapy on the first day of Jady, December 22, 1825 C.E. or December 22, 1858 C.E. This was a regular traditional medicine that took place at the time in public baths.

Language: Arabic .

General: It is in Naskh script. The first and last few pages are added in a different hand and poor imitation in decoration. This Quran is incomplete. Though the text block does not seem to have been dispatched or rebound, the order of the chapters is unusual: it begins with chapter 79 and ends with chapter 107, while one can see chapter 26 in the almost middle of this part. All pages have round shape medallion Shamsah golden and black frames drawn with liner, and the title of each chapter is in gold.

1. Turkish use.
2. In metal case.
3. Accompanied by descriptive note from British Museum, August 26, 1965.

It is housed in an octagonal steel box. Many phrases in Thuluth script from the Quran appeared on the box's lid, sides, and back. The method for gilding this box uses hair-width gold filaments and a small hammer that patches that on the surface of the work. On the cover is the first verse of chapter 46: انا فتحنا لک فتحا مبینا. Around the box are verses 51 and 52 of chapter 68; traditionally is believed that they can refute the enchants of a devil's eye: و ان یکاد الذین کفرو لیزلقونک بابصارهم لمّا سمعوا الذکر و یقولون انه لمجنون و ما هو الا ذکر للعالمین: And lo! those who disbelieve would fain disconcert thee with their eyes when they hear the Reminder, and they say: Lo! he is indeed mad (51); When it is naught else than a Reminder to creation(52). These are the most probable verses to appear on a case for an octagonal miniature Quran used as an amulet.

General:

1. Many blank pages in the volume bound in dark green.
2. About 19 x 54 cm.

General:

1. In black ink with some parts in red.
2. About 90 pages.
3. Georgian language.

Creator: Muḥammad bin Muḥammad al-Mahdī al-Ḥulū

Creator: Mustamlī Bukhārī, Ismāʻīl ibn Muḥammad, -1043

Language: Arabic .

General: 2˚ European paper; it is in Maghribī script. In some words, the letters are in gold with a black outline. On the first page of folio no. 3, all words are in gold. The recto of the first leaf has pasted on a paper that later the binder has chosen for binding. This book is a rebound. It has three double-page frontispieces Sarlawḥ muzdawaj and four headpieces ( sarlawḥ ) illuminated in medium quality. Of the three double-page frontispieces Sarlawḥ muzdawaj , one is the colophon. The colophon and the final page of each chapter contain illuminations whose gold and colors differ from the other six illuminated pieces mentioned above. Thus, they must probably have been added when the book was a rebound.

1. Turkish Maghrib style.
2. Bound wallet style in brown, blue and gold.
3. Illuminations.
4. 420 leaves.
5. Accompanied by letter from British Museum, Apr. 21, 1965

The first Sarlawḥ muzdawaj on both sides toward the outer edges contains two red half-crowns ( nīm-Tāj ) and one blue crown ( Tāj ). Two mandorlas are between the crown and half-crowns. All foliates are Maghribī Islīmī that have filled a geometrical design. The design is a medallion, Shamsah , which is made out of 8 circles. There are four katībah s at the top and bottom of each Sarlawḥ that are filled with a question about the quiddity of revelation, and it answers from Quran 4:163.

The first Sarlawḥ in both sides toward the outer edges contains two red half-crowns ( nīm-Tāj ), and one gilded mandorla is placed between the half-crowns. All foliates are Maghribī Islīmī that have filled a geometrical design. The design is a medallion, Shamsah , which is made out of 2 squares. There are two katībah s at the top and bottom Sarlawḥ that are filled with a question about Islamic Pilgrimage namely Ḥajj.

The second Sarlawḥ on both sides toward the outer edges contains two blue half-crowns ( nīm-Tāj ), and one gilded mandorla is placed between the half-crowns. All foliates are Maghribī Islīmī that have filled a geometrical design. The design is a medallion, Shamsah , which is made out of 8 crossed clover leaf shape geometric designs. There are two katībah s at the top and bottom Sarlawḥ that are filled with the title on the beginning of creation and Quran 30:27 about that.

The third Sarlawḥ on both sides toward the outer edges contains two red half-crowns ( nīm-Tāj ), and one gilded mandorla is placed between the half-crowns. All foliates are Maghribī Islīmī that have filled a geometrical design. The design is a medallion, Shamsah , which is made out of 8 crossed Celtic knot shape geometric design. There are eight leaves rosette in the center. There are two katībah s at the top and bottom Sarlawḥ that are filled with the title of the chapter, namely Quran exegesis.

The fourth Sarlawḥ in both sides toward the outer edges contains two blue half-crowns ( nīm-Tāj ) and one red crown ( Tāj ) placed in between. All foliates are Maghribī Islīmī that have filled a geometrical design. There is a gilded double square design in the center. The central square contains a blue circle scallop shape which contains the chapter title. There are two katībah s at the top and bottom Sarlawḥ that are filled with the Quran 46:15 on ethics.

The second Sarlawḥ muzdawaj , which is the colophon, has two squares that contain a gilded ellipsoid scallop shape mandorla. The space between this ellipsoid and the borders is in blue and is filled with Maghribī Islīmī foliates. On the right page, the mandorla contains the colophon text that contains the copyist's name and the date. The left page mandorla contains nothing and is seemingly left without any design. This incomplete mandorla and another ending katībah at the end of each chapter suggests that the other illuminated pages were added later.

The third Sarlawḥ muzdawaj in both sides toward the outer edges contains two half-crowns ( nīm-Tāj ) and one crown ( Tāj ) that have scallop shape borders. They have foliated inside. All foliates are Maghribī Islīmī . The central design is a medallion, Shamsah , which is a repetitive geometrical design that has been made out of 8 complex Celtic knots. These have made a very small gilded medallion in the center. There are four katībah s at the top and bottom of each Sarlawḥ that are filled with an unknown poem from an unknown poet in praise of the book "Ṣaḥīḥ Bukhārī."

Marginal notes are errata. Some of them have been cut while rebinding. However, the binder kept some, that were supposed to be cut, folded inside.

Leather binding with an envelope flap with a gilded central mandorla ( turanj ) which is filled with an islīmī foliate frame and has been surrounded by four blue background lachak in corners. Two sar-turanj (head mandorla), with islīmī leaves and flowers foliates inside, are on both sides of the central turanj . It does not have sūkht leather art, but it has a gold stamp. There is a Khatāʾī shape foliates around the fromt and back covers. It has a double-square gilded stamp on front and back covers.

General:

1. Made in Istanbul.

General:

1. Georgian manuscript of 55 leaves.
2. Four full-page miniature, four other smaller miniatures.
3. Presentation inscription from Prince Teimurazi to Sir Gore Ouseley, April 7, 1815, at St. Petersburg

General:

1. 177 pages in Russian.

Series:

General:

1. On vellum.
2. 480 x 345 mm.
3. 7115 A.C.

General:

1. Cyrillic alphabet.
2. Vellum, 480 x 350 mm.
3. 7121 A.C.

General:

1. Cyrillic alphabet.
2. Vellum, 495 x 410 mm.
3. 7176 A.C.

General:

1. In Rumanian in Cyrillic alphabet.
2. Vellum, 555 x 395 mm.
3. 7189 A.C.

General:

1. In Rumanian in Cyrillic alphabet.
2. 7230 A.C.

General:

1. On paper.
2. In Rumanian in Cyrillic script.

General:

1. Dismounted from bound volume and filed in brown box.
2. 25 drawings.

General:

1. Copy of the Redaction B - finished before Orbeliani's mission to Europe in 1713.
2. 323 leaves.
3. Written in red and black by the scribe Ioanne Laradze for Mzedchzbuk Orbeliani, Judge of Atskhur (a cousin of the author) in 1724.
4. 37 illustrations of letters or words.
5. Ownership inscriptions of Prince George Nikolaevich Begration-Mulkhransky.
6. See Sotheby catalog description.

General:

1. Several miniatures in color.
2. Scroll on 3 pieces of paper in cylindrical leather traveling case.
3. 9 x 17 cm.
4. Armenian ms.

Series:

General:

1. Beturin.
2. Paper.

General:

1. On paper.

General:

1. Given at Glukhov.
2. In Russianised Ukranian hand on paper

General:

1. A ms. collection of 77 bawdy folk tales.
2. This may be a copy of all or part of "Russkiya Zavyetniya Skazki" published anonymously after A.N. Afanasiev's death in Geneva in 1872 in a small number of copies with the fictitious imprint "Vallam" Kilgour, No. I.
3. Corresponds in some respects to the "Russkiya Narodniya Legendy" (Russian folk legends) which Afanasiev published in Russia in 1860 and then was withdrawn from sale at the demand of the Metropolitan Filaret of Moscow.
4. Cloth-backed boards.
5. Title on spine "Secret Russian Stories"

General:

1. 440 pages.
2. Written by three scribes in 17th century cursive script.
3. In red, i.e. brown, contemporary Russian binding of leather over wooden boards, two clasps and catches.
4. In beige slip case.

General:

1. Signed at Warsaw.
2. In contemporary calf box, enclosed with 3 seals in silver gilt cases.

General:

1. 7 p. (four leaves.)
2. Original grant, September 12, 1720. Copy made 26 March, 1726.
3. Illuminated on vellum.

Series:

General:

1. 7122 A.C.
2. In old Russian, chancery hand.
3. Marginal decorations, Tsar's seal in red wax. 380 x 365 mm.

General:

1. In old Russian in chancery hand.
2. Decorated initial.
3. 580 x 450 mm.
4. With Russian transcript

General:

1. With English translation.

General:

1. In old Russian on vellum.
2. Illuminated borders, seed pearls, amethysts, and turquoises.
3. At Moscow, 820 x 620 mm.
4. Removed from large gold-colored frame.

General:

1. Document in old Russian on vellum.
2. Seed pearls.
3. Illuminations.
4. Moscow.
5. 590 x 480 mm.
6. Removed from smaller gold-colored frame.

General:

1. Moscow.

General:

1. Moscow.

General:

1. Oversize.

General:

1. Moscow.
2. Oversize.

General:

1. Moscow.
2. With English translation.

General:

1. Written in semi-uncial script.
2. 580 x 395 mm.
3. Moscow.
4. On vellum.

General:

1. On vellum in semi-uncial script.
2. Elaborate ornamentations.
3. 720 x 530 cm.

General:

1. In semi-uncial script.
2. Ornamented.
3. 660 x 480 mm.

General:

1. Includes envelope of calling cards.
2. Two boxes.

General:

1. Bound in brown leather.

General:

1. Written in an "Exercise Book" and containing several loose leaves laid in.
2. Plans for vegetables, flowers.

General:

1. Volume A: Files 1-15, 1922, 1926-1929; records date, item, and occasional comment in red.
2. Volume B: Allen family chronolgoy, 1856-1934; additions to library, 1957-1961.
3. Volume C: Notes on Caucasia.

General:

1. Also includes one large picture of a woman.

General:

1. Volumes bound in black with miscellaneous typed, holograph and printed material relating to Armenia, Georgia, Transylvania and Turkish history, 1916-1921.

General:

1. Pencilled copy of report given to the 25th International Congress of the Orientalists held in Moscow, 9th to 16th August, 1960.
2. Enclosed in a letter to Allen, 4 May 1961.

General:

1. Life Cuirassier, Russia, 1788; The Life Guards, 1821; Life Jager, Denmark, 1858.
2. Life regiment of Horse and Foot.
3. Each, 30 x 21 cm., white background.

General:

1. 859 plus pages.

General:

1. His family, his wine cellar, his ornamental objects, photograph and news clipping.

General:

1. Carbon typescript concerning Helene Langlois.
2. 9 pages.

General:

1. In pencil, "A very short summary of its contents."

General:

1. A review, typescript, and carbon.

General:

1. Translated by Humphrey R. A. Higgens.
2. Carbon copy.

General:

1. With notes.

General:

1. Translation by Evan Ralphs, typescript.
2. About 70 pages.

General:

1. Typescript, pages 136-153.

General:

1. Xerox copy, 22 pages.

General:

1. Ms. with notes.

General:

1. Typed copy.
2. Pages 1-29.

General:

1. 25 pages.
2. Typed.

General:

1. Typed copy.
2. 187 pages.

General:

1. Holograph.

General:

1. Holograph.

General:

1. 41 pages.

General:

1. Typed copy.
2. 93 pages.

General:

1. 5 holograph pages.

General:

1. Typed.
2. 42 pages.

General:

1. Includes cutting from Tule Tree, Oaxha; notes to Violet; copy about Colville letter; Society for PaleoMediterranean Studies (in French); Biographical notes; A.A. Pallis, The Phanariots (mimeo copy); The Turkish Minister of Interior's speech, 30 January 1947 (mimeo copy); Holograph draft of speech or article on Russian, Scandinavian and Irish influences; notes on a printed program.

General:

1. Formerly owned by Professor Franz Taeschner.

General:

1. Formerly owned by Professor Franz Taeschner.

General:

1. Galleys, page proofs (2 sets, corrected), drafts, typescripts, correspondence, reviews.

General:

1. Four parts, original and carbon typescript and in pencil.
2. With many maps.

General:

1. Includes Diary of W.E.D. Allen, 1941.

General:

1. Includes maps

General:

1. Translation by A. Gujushvile.

General:

1. With photograph and correspondence.

General:

1. Translated by G.C. Wheeler.

General:

1. Carbon copy.
2. 82 pages.

General:

1. With introduction and notes by W.E.D. Allen.
2. Typed copy with corrections and notes.
3. 33 pages and 56 pages.

General:

1. Formerly owned by Franz Taeschner.
2. Includes Bibliographie meiner Veroffentlichungen, 3 pages; Bibliothekarisches, 4 pages; Reimstudien, ein erster Versuch zu einer Geschichte des Reims von George Jacob, 43 pages; Zur Geschichte des bindenden Endreims, 4 pages; Deutsche Kosenamen als Familiennamen, zusammengestellt von G. Jacob, 5 pages.

General:

1. Some works by W.E.D. Allen; other pieces inscribed to Allen; numerous reprints.