The Tareq Rajab Museum includes collections of manuscripts and miniatures, ceramics, metalwork, glass, arms and armour as well as textiles, costumes and jewellery.

The museum's ceramics collection is very large and comprehensive, and includes objects from pre-Islamic times up to the early 20th century and from across the breadth of the Islamic world.

From important Qurans, to rare manuscripts such as the Al-Kindi book on optics and a folio from the Shahnameh of Shah Tahmasp, the range of works is comprehensive and representative of many styles and regions.

However, Tareq had developed a genuine interest in the arts of the Islamic world, and by the early 1970s, he began collecting seriously, transitioning from a hobbyist to a dedicated collector.

His growing reputation in the market led several dealers to approach him, enabling him to acquire numerous interesting artefacts, including the enamelled jewels of the Sultan of Bukhara, which are currently on display.

On the first day of the occupation, she managed to contact her daughter Nur and her husband Tareq, but soon after, international telephone lines were cut, severing their communication with the outside world for over seven months.

[8][9] Many maintenance workers from the nearby New English School, despite attempts to flee Kuwait, stayed to assist Jehan and Nader in their efforts, which were described as "frantic though purposeful.

[8][9] With the manuscripts and ceramics secured, attention turned to the thousands of pieces of jewellery, costumes, textiles, embroideries, and stringed instruments on the opposite side.

The school's stores contained between three and five hundred hand-woven Iraqi carpets, collected by Tareq and Jehan from the Marsh Arabs of southern Iraq.

[8][9] However, just before the ground war began, Iraqi secret police and army personnel arrived at their home, blocking the road with a machine gun-mounted vehicle.

[9] She met Colonel Jeffrey Greenhut, an American officer tasked with evaluating damage to cultural sites around Kuwait, including the museum.

[9][11] Géza, a professor of Islamic Art and Archaeology at the University of London (SOAS), was a frequent visitor to the museum and had developed a close relationship with Tareq Rajab.

[12][13][14] Some of the earliest examples in the museum include a 7th-century 'Ma'il' Script folio from Hijaz,[15] modern-day Saudi Arabia, and 9th-century Qur'ans written on vellum from North and East Africa.

[17] This display includes gold jewellery from pre-Islamic Arabia, the medieval period, Mughal India, the Indian subcontinent, Tibet, and Nepal.

After Kuwait's liberation, the Gold Room was reopened by the 352nd Civil Affairs Command[18] The Tareq Rajab Museum's ceramics collection is one of its highlights, featuring an extensive array of objects from all periods and regions of the Islamic world.

[19][20] This collection provides a comprehensive overview of the development of ceramic art in Islamic cultures, showcasing pieces that reflect both utilitarian functions and artistic excellence.

[14][21] Some of the earliest examples in the collection include pre-Islamic monochrome glazed amphorae and jars from Syria or Iran, dating back to the Parthian period.

The collection also includes exquisite Timurid ceramics, known for their elaborate decoration and vibrant colours, Iznik ware and Safavid and Qajar tilework and pottery.

[19] The museum aims to illustrate the evolution of Islamic pottery, tracing the development from the early, closely related Umayyad and Abbasid examples to the later, more intricate and colourful pieces such as Iznik tiles.

While many of the firearms originate from the Indian subcontinent, there are also numerous examples from Turkey, the Balkans, the Caucasus, Iran, North Africa, Arabia, and Afghanistan, all dating from the 17th to the 19th century.

[24] Both collections highlight the similarities and differences in the styles and techniques used in the production of arms in the Islamic world, each reflecting the unique cultural characteristics of its origin.

Additionally, the museum houses beakers, cut glass flasks, jugs, ewers, and stem-cups from the 8th to the 14th century AD, showcasing the variety of glassware used in Islamic societies.

A notable highlight is a pair of glass polychrome painted bottles from the 18th-century late Mughal period in India, known for their vibrant colours and detailed designs.

[29] The museum also houses a variety of other metal objects, including ewers, pitchers, jugs, trays, bowls, cauldrons, oil lamps, inkwells and Sufi amulets.

[30][14] Each piece in this collection not only demonstrates the exquisite craftsmanship of its time but also reflects the diverse cultural influences and artistic traditions that have shaped Islamic metalwork throughout history.

By highlighting the intricacies and beauty of these metalworks, the museum offers a comprehensive view of the rich heritage and artistic legacy of Islamic civilisation.

[25][14] The museum serves as a significant resource for understanding the jewellery worn by people across different social strata, from the very poor to the wealthiest members of society.

Some notable examples include a Turkoman 'asyk' from Afghanistan or Iran, and a 'hunkun' or 'hirz' necklace from the Sultanate of Oman, adorned with gold decorations and Empress Maria Theresa thalers.

[25] The Tareq Rajab Museum houses a notable collection of artwork by prominent Orientalists such as David Roberts, Carl Haag, Frederick Goodall, Tomas Moragas, and other lesser-known artists of the period.

[33] The Tareq Rajab Museum houses a large and important collection of textiles, embroideries, and costumes, featuring significant acquisitions from Syria, Palestine, Jordan, and various regions of Ottoman Turkey.