Sotheby’s to auction rare Islamic arms and armor collection 

A Rare Ottoman Wicker Shield (Kalkan), Turkey, 17th Century (estimate £60,000-80,000). (Supplied)
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Updated 25 March 2025
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Sotheby’s to auction rare Islamic arms and armor collection 

DUBAI: Sotheby’s is set to showcase a collection of Islamic arms and armor, representing more than 500 years of history and spanning more than 100 lots in April in London, Dubai and at the biannual Arts of the Islamic World & India. 

The collection presents the artistic traditions of numerous Islamic dynasties, from Spain to Indonesia, and is the result of over 50 years of study and acquisition by scholar-collector Philippe Gilles René Missillier (1949-2022).

The auction will take place on April 29 at Sotheby’s London, followed by the biannual Arts of the Islamic World & India sale on April 30. 




The collection presents the artistic traditions of numerous Islamic dynasties, from Spain to Indonesia. (Supplied)

Prior to the auctions, highlights from the collection will be exhibited at Sotheby’s Dubai gallery in Dubai International Financial Center from April 7-11. 

The collection highlights the technological evolution of weaponry, tracing developments from the equestrian age of chivalry through the gunpowder revolution and into the modern era. 

The items showcase skilled craftsmanship, featuring vegetal and geometric patterns combined with calligraphy. Similar motifs appear across different weapons, highlighting the connections between Islamic art across time and place.




An exceptional Sabre presented to Claude Martin by Nawab Asaf Al-Dawla of Awadh, India, late 18th century (estimate £300,000-500,000). (Supplied)

Notable items include rare Mamluk and Aqqoyunlu pieces, as well as examples from the Safavid, Ottoman and Mughal empires. Highlights include artifacts from the Siege of Vienna’s Turkenbeute and the personal swords of Mughal emperor Shah Jahan and French army officer Claude Martin.

Missillier, who assembled the collection over half a century, immersed himself in his field, visiting museums, attending auctions and studying reference works. 

His collection was exhibited in Paris in 1988 as part of Splendour des Armes Orientales, the largest exhibition of its kind in the 20th and 21st centuries. 

This upcoming sale marks the first public viewing of the collection since that exhibition.


Sale of Saudi artist Safeya Binzagr’s work sets record at Sotheby’s auction in Riyadh

Updated 01 February 2026
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Sale of Saudi artist Safeya Binzagr’s work sets record at Sotheby’s auction in Riyadh

RIYADH: A painting by Saudi artist Safeya Binzagr sold for $2.1 million at Sotheby’s “Origins II” auction in Riyadh on Saturday, emerging as the top lot of the evening and setting a new auction record for a Saudi artist.

The work, “Coffee Shop in Madina Road” (1968), sold for $1.65 million before the buyer’s premium, the additional fee paid by the purchaser to the auction house on top of the hammer price.

The result nearly doubled the previous auction record for a Saudi artist and became the most valuable artwork ever sold at auction in the Kingdom. It also ranks as the third-highest price achieved for an Arab artist at auction.

It was presented as part of “Origins II,” Sotheby’s second auction staged in Saudi Arabia, comprising 62 modern and contemporary lots and bringing together Saudi artists alongside regional and international names.

Collectors from more than 40 countries participated in the auction, with around one-third of the lots sold to buyers within Saudi Arabia.

The sale totaled $19.6 million, exceeding its pre-sale estimate and bringing the combined value of works offered across “Origins” and “Origins II” to over $32 million.

Saudi artists were central to the evening’s results. All nine Saudi works offered found buyers, achieving a combined total of $4.3 million, well above pre‑sale expectations.

Ashkan Baghestani, Sotheby’s head of contemporary art for the Middle East, told Arab News at the auction that “Safeya made more than any other artist tonight, which is incredible.”

He said the results demonstrated Sotheby’s broader objective in the Kingdom.

“The results tonight show exactly what we’re trying to do here. Bring international collectors to Saudi Arabia and give them exposure to Saudi artists, especially the pioneers.”

All nine works by Saudi artists offered in the sale found buyers, generating a combined $4.3 million. Additional auction records were set for Egyptian artist Ahmed Morsi and Sudanese artist Abdel Badie Abdel Hay.

An untitled work from 1989 by Mohammed Al-Saleem sold for a triple estimate of $756,000, while a second work by the artist, “Flow” from 1987, achieved $630,000.

The sale opened with the auction debut of Mohamed Siam, whose “Untitled (Camel Race)” sold for $94,500. Also making his first auction appearance, Dia Aziz Dia’s prize-winning “La Palma (The Palma)” achieved $226,800.

The sale coincided with the opening week of the Contemporary Art Biennale in Riyadh, reinforcing the city’s growing role as a focal point for both cultural institutions and the art market.

Baghestani added that Saudi modern artists are now receiving long‑overdue recognition in the market.

“There’s so much interest and so much demand, and the price is where it should be,” he said.

International highlights included works by Pablo Picasso, Roy Lichtenstein, Andy Warhol and Anish Kapoor, underscoring Saudi Arabia’s growing role as a destination for major global art events and collectors.

Picasso’s “Paysage,” painted during the final decade of the artist’s life, sold for $1,600,000, becoming the second most valuable artwork sold at auction in Saudi Arabia.

Seven works by Lichtenstein from the personal collection of the artist and his wife, including collages, prints, works on paper and sculptures, all found buyers. Warhol was represented in the sale with two works: “Disquieting Muses (After de Chirico),” which sold for $1,033,200, and a complete set of four screenprints of “Muhammad Ali,” which achieved $352,000.

Baghestani said the strength of the results was closely tied to the material’s freshness. “These were not works from the trade. Some of them had not been seen since the 1970s,” he said.