1. B.W. Robinson, A descriptive catalogue of the Persian paintings in the Bodleian Library (Oxford, 1958), xxi.

2. S. Vernoit, “Islamic art and architecture: an overview of scholarship and collecting, c. 1850-1950,” in S. Vernoit, ed., Discovering Islamic art: scholars, collectors and collections 1850-1950 (London, 2000), 13.

3. Vernoit, “Islamic art,” 14.

4. Vernoit, “Islamic art,” 13.

5. On the effects of geopolitics on the acquisition and sale of Islamic manuscripts and other art objects during the nineteenth century, see S.C. Welch, “Private collectors and Islamic arts of the book,” in T. Falk, ed., Treasures of Islam (London, 1985) 25-31; Vernoit, “Islamic art,” 7-14; S. Stronge, “Collecting Mughal Art at the Victoria and Albert Museum,” in Vernoit, ed., Discovering Islamic art, 85-95; and J.M. Rogers, “The collecting of Islamic art in nineteenth-century Russia,” in Vernoit, ed., Discovering Islamic art, 62-70.

6. Vernoit, “Islamic art,” 7.

7. Stronge, “Collecting Mughal art,” 89.

8. On the collecting and displaying of Islamic ceramics and metalwork as ‘industrial’ arts see Vernoit, “Islamic art,” 8, 18-21.

9. On Vever, see G. D. Lowry and S. Nemazee, A Jeweler’s eye: Islamic arts of the book from the Vever Collection (Washington, 1988); On Cartier’s Indian- and Persian-inspired jewelry and objets d’art, see J. Rudoe, Cartier: 1900-1939 (New York, 1997) 156-187.

10. That some of the first museums to develop substantial collections of Islamic book arts were ‘decorative’ art museums is indicative of prevalent nineteenth-century notions regarding the position of Islamic painting in relation to the ‘fine arts’. On the 1912 Exposition d’Art Persan and other exhibitions of Islamic art at the beginning of the twentieth century, see Vernoit, “Islamic art,” 20-21; and D. Roxburgh, “Au bonheur des amateurs: collecting and exhibiting Islamic art ca. 1880-1910,” Ars Orientalis 30 (2000), 9-38.

11. See H. Vever and G. Marteau, Miniatures persanes…au Musée des Arts Décoratifs (Paris, 1913).

12. The definitive study of the Great Mongol Shahnameh was written by Oleg Grabar and Sheila Blair, and includes a discussion of the damage inflicted upon the manuscript by Demotte: Epic Images and Contemporary History: The Illustrations of the Great Mongol Shahnama (Chicago, 1980), 1-10.

13. Lowry and Nemazee, Jeweler’s eye, 31.

14. For two varied perspectives on this important, early exhibition of Islamic art, see B.D. Wood, “‘A great symphony of pure form’: the 1931 International Exhibition of Persian Art and its influence,” Ars Orientalis 30 (2000), 113-130; and B.W. Robinson, “The Burlington House Exhibition of 1931,” in Vernoit, ed., Discovering Islamic art, 147-155.

15. Welch, “Private collectors,” 30.