She is generally regarded as the finest female calligrapher of her era, and the first female to become a professional calligrapher. Her work is only partially documented. Problems associated with attribution have been exacerbated by the absence of any signature. Female calligraphers, especially, were expected to show humility and did not always sign their work. Recent scholarship, however, has uncovered previously unknown examples of her work. In addition, works that were previously attributed to her husband have now been attributed to Esmâ Ibret Hanim. Examples of İbret's work can be found in the Topkapı Palace Museum. Other examples of her work include:<ref>Kazan, H., Dünden Bugüne Hanım Hattatlar (Female Calligraphers Past And Present), Istanbul: İstanbul Büyükşehir Belediyesi, 2010</ref> Hilye-i Sharīf, gift for the Vālide Sultan (queen mother), now at the Topkapi Palace Museum Hilye-i Sharīf, dated 1209/1795, now at the Turkish and Islamic Arts Museum Alif juzu (Arabic alphabet), dated 1213/1798-99 at the Ekrem Hakki Ayverdi Collection Dalāil-i Hayrāt now at Istanbul University Library Qit'a, dated 1222/1807, now at the Ekrem Hakki Ayverdi Collection Qit'a'', undated, now at the Saffet Tanman Collection See also Culture of the Ottoman Empire Islamic calligraphy List of Ottoman calligraphers Ottoman art References 1780 births 18th-century artists from the Ottoman Empire Calligraphers from the Ottoman Empire Ottoman culture Women calligraphers Year of death missing