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 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.

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 codex is known primarily through photographs in the Gotthelf Bergsträßer archive, taken in the early 1930s. Although the original manuscript is no longer identifiable in the current museum catalogue, these rare photographs survived World War II and provide a crucial record of this early text.

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 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 early manuscript was acquired by Johann Gottfried Wetzstein, a Prussian consul in Damascus, and was subsequently cataloged by Wilhelm Ahlwardt. It is notable for its minimalist orthography typical of the early Kufic style.

This nearly complete 8th-century Quranic manuscript is notable for its extensive preservation, containing text from the very beginning of the Quran to its final Surah. Curiously, folio 134 has been reported missing from the French National Library since approximately 2000, and no microfilm image of it survives.

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.

An endowment (waqf) note on folio 7r, added by a later hand, states that the volume was donated to the mosque of Fustat by 'Amran b. al-Talab on November 10, 940 AD (6 Safar 329 AH). The manuscript also features unique decorations for verse groupings, including outlined alifs for groups of five and specific medallions for tens, fifties, and hundreds.

This codex is notable for its early Kufic D.III script and rich illuminations. It features golden circular vignettes for Surah headings and a highly ornate full-page decorative band with interlaced geometric patterns, leaf motifs, and red and green accents marking the beginning of the 23rd Juz'.

This codex is highly decorated for its time. It features rosettes to separate individual verses, golden letter 'hāʾ' to indicate groups of five verses, and intricately illuminated medallions that write out the names of ten-verse groupings in full. Sura titles are also indicated in gold letters within decorated bands.

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.

Documented in Bernhard Moritz's seminal 1905 work 'Arabic Palaeography', this manuscript is known only through two surviving images, with its physical dimensions and total leaf count remaining a mystery. It serves as an important surviving example of early Kufic script from the Abbasid era.

This fragmentary manuscript is written in the C.III style of Kufic script and features distinctive ten-verse markers consisting of four dots (two red and two green) inside a yellow circle. It also contains explicit surah headings added in red ink.

The black dots that originally separated the verses in this manuscript were later replaced with golden dots. Furthermore, golden 'hāʾ' letters were added to indicate groups of five verses, and golden medallions with letter-numerals were used to mark groups of ten, while a later hand added surah titles and verse counts in golden ink.

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 early Quranic fragment is notable for its illuminated Surah titles, where the title and verse counts are written with words in alternating red and green ink. The manuscript also employs rare oblique strokes for diacritical marks and red dots for vocalization, alongside red Kufic 'hāʾ' letters to mark groups of five verses.

Folio 3 of this manuscript has been reported missing from the French National Library's collection since approximately 2000, leaving only microfilm copies available for study. The text features red dots for vocalization, golden Kufic hāʾ characters to mark groups of five verses, and medallions with the decade spelled out for groups of ten.

This Abbasid Qur'an manuscript features fine examples of early geometrical ornamentation at its front and back.

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 single folio, originally part of the last volume of a four-part Qur'an, is uniquely striking for its horizontal format despite being written on paper. The script is impressively large, with each line standing 4 centimeters high, and it features highly original letter forms for the New Style I script.

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.

This manuscript is a prime example of New Style I script, characterized by its stark verticality and angularity. It features modern shapes for the shaddah, sukūn, and hamzah written in green ink, while comma-shaped gold devices elegantly mark the end of every verse.

The manuscript is noted for the size of its script, with each line being roughly 4cm high, presenting a considerable challenge to the calligrapher. It is also richly illuminated, with evidence suggesting each of its seven volumes had an illuminated double-page frontispiece and finispiece.

This manuscript is a rare case where a Quranic codex is precisely dated by a colophon (completed on May 5, 1204 AD) and the scribe, al-Faḍl b. ʿUmar ar-Rāʾiḍ, is a known Iraqi scholar mentioned in Muslim scholarly literature. It also contains an exegetical compilation detailing circumstances of revelation, abrogated verses, and variant readings.