This codex is one of the earliest surviving Quranic manuscripts, with combined radiocarbon dating of its parchment placing its production between 605 and 651 AD. The seven folios in Berlin were once part of a larger codex that is now split, with 33 additional folios currently held in the Egyptian National Library. The Berlin leaves were acquired in 1939 from the estate of Bernhard Moritz, the former director of the Khedivial Library.

This codex is one of the earliest surviving Quranic manuscripts, with combined radiocarbon dating of its parchment placing its production between 605 and 651 AD. The seven folios in Berlin were once part of a larger codex that is now split, with 33 additional folios currently held in the Egyptian National Library. The Berlin leaves were acquired in 1939 from the estate of Bernhard Moritz, the former director of the Khedivial Library.

This 9-folio parchment fragment is an important early witness to the Quranic text, exhibiting a transitional script that blends elements of Hijazi IV and early Kufic B.Ia styles. It completely lacks vocalization and uses simple dashes for diacritics, which supports its early production date.

This codex is a composite of six different fragments photographed by Gotthelf Bergsträßer around 1930. The fragments encompass a wide range of distinct script styles, from early Ḥiǧāzī and Kūfī to later Maġribī, reflecting a diverse collection of leaves bound or kept together at the Khedivial Library in Cairo.

This codex is a composite of six different fragments photographed by Gotthelf Bergsträßer around 1930. The fragments encompass a wide range of distinct script styles, from early Ḥiǧāzī and Kūfī to later Maġribī, reflecting a diverse collection of leaves bound or kept together at the Khedivial Library in Cairo.

This codex contains a colophon attributing it to ʿAlī ibn Abī Ṭālib and dating it to 40 AH (660 AD), though scholars believe this colophon was added later. It also features a waqf (endowment) deed written on the first page in 1775 AD.

This nearly complete early Kufic Quran was photographed by Otto Pretzl during a research trip to Morocco in 1934. While the main body belonged to the private library of Sherif ʿAbdarraḥmān b. Zīdān, fragments of this codex have since been dispersed to the Royal Library in Rabat, the Tareq Rajab Museum in Kuwait, and sold through auction houses like Christie's.

This nearly complete early Kufic Quran was photographed by Otto Pretzl during a research trip to Morocco in 1934. While the main body belonged to the private library of Sherif ʿAbdarraḥmān b. Zīdān, fragments of this codex have since been dispersed to the Royal Library in Rabat, the Tareq Rajab Museum in Kuwait, and sold through auction houses like Christie's.

Carbon dating of fragments from Arabe 324 (c) places its origin between 660-780 AD. The manuscript is part of a composite codex, where Arabe 324 (c) and Gotha Ms. orient. A 462 are original leaves, while other sections such as Arabe 324 (a) and (d) were added centuries later to replace damaged or missing pages.

This almost complete codex is notable for being written by at least six different scribes in Kufic script. Originally documented in Gotthelf Bergsträßer's archives as 'Medina 1a', its folios were later repaired with paper edges, and a few missing pages were completed in Naskh script.

This almost complete codex is notable for being written by at least six different scribes in Kufic script. Originally documented in Gotthelf Bergsträßer's archives as 'Medina 1a', its folios were later repaired with paper edges, and a few missing pages were completed in Naskh script.

This monumental manuscript is one of the oldest surviving Qurans, traditionally believed to be the personal copy of Caliph Uthman stained with his blood. After being taken by Russian imperial forces in 1868 to Saint Petersburg, it was repatriated to Tashkent in 1923.

This monumental manuscript is one of the oldest surviving Qurans, traditionally believed to be the personal copy of Caliph Uthman stained with his blood. After being taken by Russian imperial forces in 1868 to Saint Petersburg, it was repatriated to Tashkent in 1923.

The physical manuscript is currently lost and its origin is unknown; it survives today only through six photographs published in Bernhard Moritz's monumental 1905 album 'Arabic Palaeography'.

The physical manuscript is currently lost and its origin is unknown; it survives today only through six photographs published in Bernhard Moritz's monumental 1905 album 'Arabic Palaeography'.

This codex fragment was documented in Bernhard Moritz's 1905 'Arabic Palaeography' album and was reportedly discovered in the ancient Egyptian city of Bahnasa (Oxyrynchos). Scholars suggest it may originally belong to the same large codex as other early Quranic fragments currently held in the Vatican, Paris, and the Khalili Collections.

This codex fragment was documented in Bernhard Moritz's 1905 'Arabic Palaeography' album and was reportedly discovered in the ancient Egyptian city of Bahnasa (Oxyrynchos). Scholars suggest it may originally belong to the same large codex as other early Quranic fragments currently held in the Vatican, Paris, and the Khalili Collections.

This manuscript features unique historical touches including faded notes from multiple hands, penciled-in Surah headings, and a small geometric drawing accompanied by blessings. Its original red-brown leather covers, decorated with a blind-tooled pattern of crossing hatched bands, were preserved by being bound directly into its newer binding. Additionally, the text displays colorful editorial marks, with missing letters like Alifs later added in red and green ink.

This manuscript features unique historical touches including faded notes from multiple hands, penciled-in Surah headings, and a small geometric drawing accompanied by blessings. Its original red-brown leather covers, decorated with a blind-tooled pattern of crossing hatched bands, were preserved by being bound directly into its newer binding. Additionally, the text displays colorful editorial marks, with missing letters like Alifs later added in red and green ink.

This manuscript is a highly prized copy traditionally ascribed to the penmanship of Ali ibn Abi Talib, the fourth Caliph. It features modern gold and colored borders on the paper margins.

This manuscript leaf is part of the same original codex as fragments 9 and 10 in the Vatican's Arabic collection. Although heavily damaged by humidity, it preserves a denary (ten-verse) divider after verse 73, which aligns with the verse numbering system of Basra.

This extensive 8th-century manuscript is well-known today through a collection of 471 photographs taken by Gotthelf Bergsträßer around 1930, preserving its contents in his archive.

This near-complete Kufic Quran is bound in brown leather over wood with arabesque interlacing and iron rings. It bears the foundation seal of Sultan Osman III, and its first three leaves as well as sura headings are illuminated.

This nearly complete codex is an exceptional document, as complete codices in Kūfī D script style are extremely rare. The manuscript features illuminated pages for the first three and last six folios, as well as at surah beginnings.

This manuscript features a forged colophon claiming it was copied in 798 AD by order of Caliph Harun al-Rashid. An old legend also suggested it was a diplomatic gift sent to Charlemagne, though scholars have proven both the attribution and the legend to be false.

This manuscript, comprising 213 parchment folios, contains the entire second half of the Quran starting from Surah Maryam (19). It was documented by Wilhelm Ahlwardt in his 1887 catalogue of Arabic manuscripts at the Staatsbibliothek zu Berlin and is notable for its robust Early Kufic script (D.Vb) with characteristic letterforms, such as the initial and medial 'kāf' often resembling 'dāl'.

This manuscript was part of the first palaeographical study of Arabic script in the West, written by Jakob Georg Christian Adler in 1780. Acquired by Friedrich Buchwald in the 17th century, the fragment features a carpet-like tooled design binding with gilded frames and Danish state emblems on the spine.

This manuscript was part of the first palaeographical study of Arabic script in the West, written by Jakob Georg Christian Adler in 1780. Acquired by Friedrich Buchwald in the 17th century, the fragment features a carpet-like tooled design binding with gilded frames and Danish state emblems on the spine.

This manuscript is written in an unclassified script style featuring a long-returning Alif, an open V-shaped 'Ayn, and an X-shaped Lam-Alif. Interestingly, while individual verses are not separated, groups of verses are marked by a circle.

The manuscript uses decorative medallions and bands to mark every ten verses, rather than separating individual verses. A marginal note in cursive script reveals it was once owned by Aḥmad Abū al-ʿAbbās al-Huwaydī, with later readers adding pious notes in the margins.

The manuscript uses decorative medallions and bands to mark every ten verses, rather than separating individual verses. A marginal note in cursive script reveals it was once owned by Aḥmad Abū al-ʿAbbās al-Huwaydī, with later readers adding pious notes in the margins.

This parchment manuscript has suffered significant moisture damage at the margins, causing some ink to offset onto facing pages. Verse endings are marked with golden dots, while every fifth verse is denoted by a larger ornament containing the word 'five' (khams).

This parchment manuscript has suffered significant moisture damage at the margins, causing some ink to offset onto facing pages. Verse endings are marked with golden dots, while every fifth verse is denoted by a larger ornament containing the word 'five' (khams).

Written in the Early Abbasid Kufic E.I script, this manuscript uses distinctive gold Kufic 'hāʾ' letters to mark groups of five verses, alongside red dots for vocalization.

Written in the Early Abbasid Kufic E.I script, this manuscript uses distinctive gold Kufic 'hāʾ' letters to mark groups of five verses, alongside red dots for vocalization.

This codex is reconstructed from 74 scattered leaves across multiple collections, including the Mingana Collection in Birmingham and the Minassian Collection at Brown University. Described by Alba Fedeli, it provides insight into the dispersal of early Qur'anic manuscripts in modern antiquarian markets.

This codex is reconstructed from 74 scattered leaves across multiple collections, including the Mingana Collection in Birmingham and the Minassian Collection at Brown University. Described by Alba Fedeli, it provides insight into the dispersal of early Qur'anic manuscripts in modern antiquarian markets.

This codex is reconstructed from 74 scattered leaves across multiple collections, including the Mingana Collection in Birmingham and the Minassian Collection at Brown University. Described by Alba Fedeli, it provides insight into the dispersal of early Qur'anic manuscripts in modern antiquarian markets.

This codex is largely complete, containing the entire Quran, though the first folio and a few other leaves were supplied by a later hand. Written on parchment, the manuscript represents an important transitional stage in the evolution of the Arabic script toward the Maghrebi style. While generally well-preserved, some of the early and late folios exhibit water damage and have been repaired.

This 10th-century Quranic manuscript is notable for being written on Oriental paper rather than parchment. It features complete diacritics and vocalization, with distinctive colorful verse markers including yellow Kufic 'hāʾ' letters to signal groups of five verses.

This fragment of an Abbasid Qur'ān is written on parchment and features 5 lines per page. It is a valuable example of the 'New Style I' script from the 10th to 11th century.

This fragment of an Abbasid Qur'ān is written on parchment and features 5 lines per page. It is a valuable example of the 'New Style I' script from the 10th to 11th century.

This complete Quran was produced in Baghdad by the renowned calligrapher ʿAlī b. Hilāl, also known as Ibn al-Bawwāb, around 1000-1001 AD. He is a significant figure in Islamic art, closely associated with the adoption of the round Naskh script to transcribe the Quran.

This codex is closely related to two other Andalusian manuscripts held in Istanbul, which were written in Cordoba (1143-1144 AD) and Valencia (1182-1183 AD), suggesting a similar provenance. It features distinctive Maġribī micrography for the main text and angular chrysography for the Surah headings.