Collections

A hundred studies of the new crescent moon, the hilal: over dunes, still water and city skylines, and as pure form, phase, line and pattern, in midnight ink, warm bone and a single muted gold.

Twenty verses of the Quran in Uthmani script, set in the language of mushaf illumination: gold and ink on deep grounds and quiet light ones, with ornament drawn exactly and sparingly.

All ninety-nine Beautiful Names of God, each set in classical Naskh calligraphy within a fine gold geometric frame on deep jewel and warm bone grounds, with an overview plate of the complete list.

Twenty Arabic words for a home, from salam to bismillah, drawn large in contemporary type with their meaning set quietly beneath.

Twenty words and phrases in square Kufic, each letter built brick by brick on a grid in the manner of Timurid tilework, in ink, bone, terracotta, lapis, turquoise and gold.

Twenty Arabic words, from bayt to du’a, set large in bone on calm bands of plain wool cut into Persian and Anatolian carpet designs.

The full Arabic alphabet in thirty pieces, all twenty-eight letters plus lam-alif and the hamza, each drawn large in a different classic or modern typeface and set with blocks of colour, like a contemporary type-specimen poster series.

The two holy mosques of Makkah and Madinah drawn as calm, empty scenes at dawn and by night: the Kaaba, the Green Dome, arches, minarets and the mountains nearby, in marble white, kiswa black, gold and green.

The arch as modern architecture: horseshoe, pointed, ogee, cusped and round openings drawn as colour-blocked studies of plaster, shadow and southern light.

Twenty posters built on the khatam, the eight-point star of two squares, drawn with Swiss restraint: exact geometry, flat colour and plenty of open ground.

Twenty prints about how Islamic star patterns are made: compass work, fine gold and ink line, tone-on-tone relief and a great deal of quiet ground, all drawn from true eight-, twelve-, sixteen- and twenty-four-fold geometry.

Twenty prints that treat Islamic star patterns as flat colour: cut-tile fields, counterchanged halves, rosettes taken apart and glaze-bright palettes, every piece on true eight-, twelve- and sixteen-fold geometry.

Twenty prints drawn from across the tradition: ten- and twelve-fold knots, ribbed domes and painted ceilings, Iznik tulips, lamps, doors, arcades, carpets and instruments, each built from its real geometry, with no script and no figures.

The art of the illuminated page: star rosettes, twisted gold bands and scrolling blossoms in lapis, turquoise, madder and gold, and a quiet set of inked drawings from the stage before the paint goes on.

The endless scroll of Islamic ornament: spiralling vines, split palmettes and hatayi blossoms in lapis, gold, turquoise and coral, drawn after Ottoman, Safavid and Timurid illumination, bookbinding and carved stucco.

A hundred plates on the visual language of Islamic art, from girih and zellige to muqarnas, scripts, carpets, astrolabes and gardens, each drawn by construction and captioned like a page from a fine design atlas.

The honeycomb vaults of Islamic architecture drawn as modern architectural prints: domes, portal hoods, capitals and cornices built cell by cell from the builders’ plan units and lit by a single steady light.

Twenty studies of the wooden lattice screens of Cairo, Jeddah, Damascus and the Gulf, and of the patterned sunlight they throw across floors, walls, stairs, cushions and water.

The great domes of the Islamic world, from Ottoman cascades and Mamluk stone to Persian tile and Mughal marble, drawn as mid-century travel posters and quiet architectural studies.

Twenty doors from across the Islamic world, from Fez to Bukhara, each drawn straight on with its wall, step and a plant or two. Collect one, or hang them together as a series.

Historic Cairo after dark, in flat colour: lanes of wooden balconies, Mamluk minarets and carved domes, lanterns, coloured-glass windows, courtyards and the Nile beneath a violet sky.

Modern colour fields and cut-paper shapes in the natural pigments of the Islamic world: saffron, henna, indigo, ochre, malachite, kohl and rose clay. Courtyards, moons, wells and doorways reduced to calm blocks of colour.

Plants of the Islamic world’s gardens drawn after dark: jasmine, pomegranate, cypress and rose in pale gold, cream and soft green on deep indigo, ink green, aubergine and black.

Gardens, rocks and golden skies in the idiom of Persian and Mughal miniature painting, with the figures left out so only their world remains. Each scene sits in an illuminated frame on a gold-flecked paper margin.

Long-tailed birds, peonies, lotus and saz leaves under a gold moon, in jewel colours after the Persian, Mughal and Ottoman garden pictures of the sixteenth and seventeenth centuries.

The garden of the Islamic west: a long tiled rill between myrtle hedges, cypresses in a row, orange trees in a paved court, water stairs, jasmine on a warm wall and the fourfold garden seen from above. Greens, terracotta and cobalt in flat gouache, drawn for rooms that want shade, water and fruit on the wall all year.

Flowers from Mughal painting and marble inlay: guldasta vases in cusped niches, single plants drawn in profile, and carnelian, lapis and jade set into white stone, in saffron, turquoise, coral and gold.

The everyday beauty of a Muslim home: a brass lantern in its niche, the coffee dallah, mint tea on a tray, pomegranates, a prayer mat, a tiled courtyard and the new moon over the domes. Warm still lifes and interiors in saffron, terracotta, teal and brass that sit with Ramadan & Eid all year round.

The light of Ramadan evenings: a single great fanous, a lantern shop hung to the ceiling, windows glowing in a night façade, an arcade of lamps and one candle in a plaster niche. Warm gold on deep indigo, drawn so the glow itself is the picture. A companion to Ramadan & Eid for the whole month and for every dark evening after it.

Still lifes from the market, drawn in bold flat colour: spice cones, brass lanterns, folded rugs and tea glasses, arranged with the rhythm of a well-kept stall.

Bowls, jugs, lamps and glasses from the ceramic, glass and metalworking traditions of the Islamic world, drawn as quiet object studies under one soft light, like plates from a fine auction catalogue.

The instruments and furnishings of the majlis drawn as quiet still lifes: oud, qanun, ney and frame drums, with coffee, incense and sadu cushions, in walnut, brass, mother-of-pearl and deep sadu red.

A seasonal line for Ramadan and the two Eids: crescents, lanterns, iftar tables, Eid sweets and the days of Hajj, in gold on midnight, emerald, plum and indigo, with warm bone and sand pieces that stay up all year.

The five daily prayers as five times of light, from the first rose of Fajr to the deep blue of Isha, seen through arches, across skylines and over still, polished floors.

Twenty prints of the sun, the moon and the stars, drawn flat and fine: mid-century suns, moons crossing the sky, the constellations of both hemispheres and planets on their orbits, in midnight and gold, terracotta and sand, black and bone, and dusk pinks.

Instruments and diagrams from the scientific golden age of the Islamic world, drawn as precise plates in brass and ink. Astrolabes, globes, clocks and optics, each with its geometry properly worked out.

Dunes, mesas, salt and a low sun, reduced to bands and curves. Some are printed flat in a few colours, some carry the slow gradients of heat and dusk. Each is drawn wide enough to be hung in landscape.

Places of prayer in the open, built from broken strokes of sky, grass and light: a prayer mat laid beneath a wind-bent tree, on a dune at dusk, above the sea or in falling snow.

The Mediterranean and Levantine countryside in the manner of a mid-century travel poster: olive terraces, stone villages, cypress roads and harvest light, built from flat planes of olive, limestone, ochre and dusk violet.

Dhows, harbours, reefs and night skies from the Gulf, the Red Sea, the Arabian Sea and the Swahili coast, drawn as calm flat-colour travel prints in sea teal, turquoise, sand, coral and teak.

The caravan routes between Xi'an and Damascus drawn as mid-century travel posters: caravanserais and blue domes, oases and mountain passes, night camps and markets, in turquoise, lapis, apricot and desert sand.

Flat-woven motifs from Anatolia, the Caucasus, Persia and the Atlas mountains, redrawn on a true weave grid in madder, indigo, saffron and undyed wool.

Palestinian cross-stitch drawn stitch by counted stitch: stars, cypresses, medallions and borders from the embroidered dress, in madder, indigo, gold and olive on linen.

The keffiyeh's weave and the things of the land, from olive and orange to anemone, wheat and sabr, drawn flat in bold colour.

Sun and moon rosettes, pomegranates, tulips and serrated leaves from the embroidered suzanis of Uzbekistan and Tajikistan, redrawn as bold modern prints with a fine stitched texture, as if worked in silk on cotton.

The boteh, the curled teardrop of Persian brocade and Kashmir shawls, redrawn as contemporary prints in madder, saffron, indigo and teal, from single monumental motifs to seamless repeats.

Twenty prints made the way ebru is made: drops of colour floated on water, then drawn into stone, combed and flowered patterns with stylus and comb. Classic Ottoman pigments of indigo, ox-blood and ochre, with a few in softer modern colours.

Gilded ornament drawn with a jeweller’s precision: cartouches, sunbursts, lanterns and gems on emerald, oxblood, sapphire and lacquer grounds.

Twenty prints built from a single mark, the dot. Halftones, grids, spirals and fields, each one worked out by rule and drawn flat, so the picture comes from how the dots are counted, sized and placed.

One line, one circle, a niche, a slope, a single dot: prints reduced until each mark has to earn its place, on warm paper, oat, putty, clay, charcoal and deep moss.

Warm modern abstracts: stacked stones and soft blobs, brushed forms, torn strips, cut shapes and colour fields in terracotta, caramel, sand, sage and charcoal, with a few deep teal, oxblood and olive statement pieces.

Torn paper, worn seals, clay arches, plaster niches and ink pools, cut and printed in warm earth colours. Abstract pieces meant to be collected as one series.

Twenty drawings, each made in one unbroken line over soft grounds and warm flat shapes: crescents and coffee pots, lanterns and palms, and the quiet objects of a welcoming home.

Leaves, stems, seed heads and gardens drawn with a botanist's patience: fine line, flat shape and pressed specimens in sage, olive, terracotta and bone, with a few deep forest and ink grounds.

Twenty sleepy little animals under the new moon: a bunny on the moon, a bear with a lantern, a fox curled on a rug, a lamb in the grass, an owl on a branch, a whale on the waves and friends, in soft sage, sand, blush and night blue. Made for nurseries and children's rooms, and as gentle gifts for a new baby, Ramadan or Eid.

Women together in bright headscarves and shawls, in soft layered washes of colour: crowds, friends, mothers and daughters, and quiet studies of cloth, in saffron, magenta, emerald, cobalt and coral.

Gentle animals of the desert and the Middle East, drawn in soft shapes and warm sand, rose and sage, with a few quiet night skies for winding down. Made for nurseries and kids' rooms.

Friendly whales, turtles, octopuses and fish drawn in soft rounded shapes and sea blues, coral and sand, with a few calm night waters for bedtime. Made for nurseries and kids' rooms.

Sleepy moons, glowing lanterns and gentle animals for Ramadan and Eid, drawn in soft rounded shapes in night navy, butter yellow, blush and mint. Made for nurseries and children's rooms.

Fifty large-format postage stamps, each pairing one of the Beautiful Names with a plant drawn in the manner of a fine steel engraving, white line on a single ink.

Fifty bright stars that still carry names from Arabic astronomy, each drawn as an engraved star chart with its modern name, the Arabic original and what it means.

Fifty Arabic words and short phrases, each set beside its English meaning in calm, editorial type: a bilingual library of virtues, everyday greetings and quiet lines from the Quran for every room.

Creatures named in the Quran, drawn as natural-history engravings with jewel colour and geometric borders: the bee and the ant, the hoopoe and the camel, the great fish, the moth and more.

The Arabic alphabet for little ones: twenty-eight letters, each with a gentle animal or everyday thing whose name begins with it, drawn in soft rounded shapes and calm nursery colours.

Sunlit rooms, loggias and courtyards that open onto gardens of palms, cypresses and lemon trees, drawn in flat, saturated colour with long clean shadows.

Fifty prints of enamel plates in emerald, carnelian, saffron, cobalt, turquoise and black, each worked in raised gold line: star rosettes, lattices, arabesques and short Arabic words of blessing.

Fifty market stalls packed edge to edge in bold flat colour and thick navy line: spices, lanterns, tea glasses, carpets, sweets and one sleeping cat.

Fifty grids of square tiles in sorbet colours: checks, rings, half-moons, stars and arches, each grid following its own rule and breaking it exactly once.

Village and tribal carpets piled one over another, madder, indigo and rust, with guls, latch hooks, stars and fringes; half carry a single line of Arabic in warm ivory.

Doorways, steps, terraces and courtyards in late warm light: stone and limewash, jasmine and bougainvillea, and the long violet shade of leaves across a wall.

Domes, arches, moons, palms and pomegranates broken into rounded slabs of glaze and fitted together with dark grout: celadon, rose clay, aubergine, ochre and mineral blue, with speckle, pooling and a glossy shine.

Hill towns, harbours, oases, courtyards and gardens pieced together from patches of fabric texture, weave, tweed, herringbone and ikat, in indigo, rust, teal and mustard.

Diamond-set pattern panels in candy colours, each diamond framed with scallops, dots or rickrack and holding a motif from Islamic art: tulips, carnations, eight-point stars, girih and arabesque.

Fifty pictogram prints in cobalt, cream, red and black: the coffee pot and the tea glass, the crescent and the lantern, the palm, the dhow and the courtyard, set out in bold grids and single signs of home.

Quiet rooms and still objects, an oud on a chair, a coffee tray, a lattice window, a lantern on a step, cut through by large planes of translucent colour that tint everything they cross.

Ram's-horn ornament from the felts of Kazakhstan and Kyrgyzstan, built up in layers of cut colour with a cord outline and a soft shadow. Bold, warm prints for walls that want pattern with a long history behind it.

Mirrored folk gardens on a night ground: cobalt stems and saz leaves, tangerine tulips and carnations, pomegranates, birds and gazelles under a crescent moon and small gold stars.

Gardens, arches, domes and fountains built up from bold flat cut shapes, with striped columns, fruit trees and garden birds under bright skies.

Everyday things from the Muslim home, the tea glass, the dallah, the lantern and the incense burner, drawn again and again from every side in black and one bright ink, in the offset two-colour manner of a risograph print.

Fruit from the gardens and orchards of the Muslim world, from pomegranates and figs to dates, quinces and citrus, set in warm seamless repeats and a few single studies. Autumn colour with a soft crayon texture, made for kitchens and family rooms.

Single Arabic words of blessing, patience and home, each given a tactile finish: cross-stitch, beads, mosaic, chenille, felt, woodblock, stencil and neon. Warm retro colours, and every word kept clear and correctly written.

A view from the ground up through enormous tulips, irises, carnations and pomegranate blossoms, under pink, lavender and dusk skies with petals drifting down.

Glasshouses, garden pavilions and deep-set windows in high summer, with leaf shadow and dappled light falling across periwinkle, sage and cream. Calm, sunlit prints with a single note of tomato red.

Suns, arches, date palms and patterned pots in warm earth colours, edged with the woven bands of Bedouin sadu and the triangles and lozenges of Amazigh design.

Coffee pots, tea glasses, lanterns, crescents and stars from the Arab and Islamic home, rendered as glossy liquid chrome on bright, saturated grounds.