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An Antique Korean Chest, circa early 20th century, Having a hinged front, decorated with brass mounts and handles, enclosing original paper calligraphy, 83cm high, 84cm wide, 34cm deep

Chinese Calligraphy Sets

An Islamic page from an illuminated manuscript, decorated figures, tents and calligraphy, 39 x 22 cm, and another (2)

Early 20th century Japanese cast bronze pot, embossed with twin phoenix and a flowering lotus, with calligraphy mark to base, 14cm high

19th century boxwood inlaid flame mahogany tea caddy, 29cm wide; together with two relief moulded Japanese plaques, one with shrimps, the other with fish, calligraphy signatures and ebonised frames (3)

* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated 14.03.58 42cm x 53cm Mounted, framed and under glass. Artist labels verso. Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "[In 1957], he […] saw Japanese brush paintings for the first time at the British Museum [which now houses nine Bruce Tippett drawings]. He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go […] but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery from 1967 and had his last solo show there in 1981, the year before Betty died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.

A SET OF THREE REPUBLIC PERIOD PORCELAIN CHINESE PLAQUES, depicting various landscape scenes with calligraphy, 17cm W x 24cm H.

An oriental cracklelure Vase with calligraphy.

20th Century Japanese calligraphy woodblock print indistinct signature and title to margin framed and glazed27cm x 17cm

An Asian carved blood stone calligraphy box and cover, signed with floral detail (13cm length) 

TWO CHINESE BAMBOO BRUSH POTS, decorated with water buffalo and calligraphy, 17cm high, and a Bronze 'jue' vessel (3)

An antique Eastern brass tiffin table with dished top with calligraphy around the border, on a folding carved hardwood base.

A box of oriental wares to include Chinese calligraphy brush set, resin figure, framed silk work etc.

An early 20th century Chinese famille vert teapot with calligraphy inscriptions with associated tea cups in straw work case.

An early 20th century Paktong Chinese incense burner, decorated with calligraphy and precious objects.

A 19th cent Chinese porcelain wig stand with calligraphy designPerfect condition no cracks or restoration

A 19th century North African mixed metal and red coral set Quran box, probably Moroccan, fashioned from cupro-brass and white metal, with arched hinged lid, the front set polished cabochon red coral, the verso with calligraphy and Eastern Arabic numerals, fitted pierced lugs to sides, approx. height 14.8cm x width 11cm x depth 3cm.

8¾" DIAMETER CHINESE PORCELAIN BOWL DECORATED WITH VARIOUS FIGURES & CALLIGRAPHY, WITH DAOGUANG SEAL MARK IN RED ON BASE, LIKELY NOT OF THE PERIOD

Ca.1100 Ad, Fine Ancient Persian Seljuk Bronze Basin with calligraphy and floral design. traces of silver inlaid. H:105mm/D:355mmx355mm( 4.13in, 13.97in,); 955gr; Provenance: Private Kent collection, formed in the 1980s on the UK art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 1200 AD. Important Medieval Persian Seljuk, Khorasan region, bronze plate with calligraphy; elaborately inscribed in Arabic. Seljuk artwork wove together elements from Persia, Islam, and the nomadic cultures of Central Asia; it was often local in character, produced under the patronage of small kingdoms or dynasties within the wider purview of the Seljuk Empire. Good Condition; Size: 90mm( 3.54in) ; 80gr;Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Framed, glazed, indistinctly signed, oil on canvas, scene of a Japanese potter molding an earthenware vase in a landscape with blossom trees, and snow-capped mountains, featuring Japanese calligraphy, 75.2cm x 50cm.

PHOEBE RENNELL (1883-1972); blue religious calligraphy verse on vellum with illuminated detail, 'Adorna Thalamum Tuum [...]', unsigned, with part label identifying artist and Rowley of Kensington stamp verso, 70 x 42cm, framed and glazed (D).Provenance: by descent from the artist.Additional InformationSome staining and discolouration and some waviness to the paper, particularly at the corners and edges, some creasing to the paper, particularly lower left, upper right corners and left side. Some small holes at top and bottom edges where has been previously mounted, some faint pencil outlines, some further marks, frame worn.Phoebe Rennell was born in Clapham, London and attended the local Clapham School of Art, later working as a calligrapher, illuminator and illustrator in the Arts & Crafts tradition of William Morris and Walter Crane and a potential student of Edward Johnston or Graily Hewitt, Miss Rennel also occupied Fydell House in Boston during WWII and escaped unharmed when the house suffered bomb damage.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

PHOEBE RENNELL (1883-1972); two religious calligraphy verses in black and gold entitled 'Gloria in Excelsis Deo' and 'Whoso Dwelleth Under the Defence of the Most High: Shall Abide Under the Shadow of the Almighty', unsigned, the first and slightly larger, 48 x 28.5cm, both framed and glazed (2) (D).Provenance: by descent form the artist.Additional InformationSome waviness and turning up at corners and edges particularly, some spotting and foxing, some visible pencil outlines, the first particularly displaying foxing and marks. Both with some dirt, both frames heavily worn and tired.Phoebe Rennell was born in Clapham, London and attended the local Clapham School of Art, later working as a calligrapher, illuminator and illustrator in the Arts & Crafts tradition of William Morris and Walter Crane and a potential student of Edward Johnston or Graily Hewitt, Miss Rennel also occupied Fydell House in Boston during WWII and escaped unharmed when the house suffered bomb damage.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

PHOEBE RENNELL (1883-1972); gold and coloured religious calligraphy, 'The Pageant of Holy Thursday', with verse below bordered by angels in watercolour beneath a multicoloured rainbow with gold calligraphy pen detail, signed and dated 1928, 52 x 47cm, framed and glazed (D). Provenance: by descent from the artist.Additional InformationWaviness to the material, faint visible pencil lines used for the script and possible preparatory sketches, some spotting and foxing, frame worn.  Phoebe Rennell was born in Clapham, London and attended the local Clapham School of Art, later working as a calligrapher, illuminator and illustrator in the Arts & Crafts tradition of William Morris and Walter Crane and a potential student of Edward Johnston or Graily Hewitt, Miss Rennel also occupied Fydell House in Boston during WWII and escaped unharmed when the house suffered bomb damage. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

A 925 silver gilt Chinese college style ring with black enamel plaque top with a calligraphy character, flanked by four white stones to each shoulder, marked 925

Oxford writing box and a calligraphy set

A Middle Eastern bronzed flared bowl, chased with Islamic calligraphy, foliage and motifs, everted rim, 23cm diam, 19th century

The Art of Calligraphy'

A Chinese Qianlong export tureen, the cover with eight Chinese ladies engaged in cultural pursuits, opening to reveal a further ten Chinese ladies similarly occupied, aside each representation there is Chinese calligraphy, the piece has beautiful overglaze polychrome enamel decoration, and gilt peach finial suggestive of immortality, 25 cm wide x 13 cm tall

A Chinese porcelain calligraphy brush handle length 16cm

A Chinese celadon jade rectangular pendant, one side carved with a boy riding a water buffalo, the reverse with rows of calligraphy, 5.5cm. high.

A small Chinese soapstone seal, Qing dynasty, the front incised with lines of calligraphy, surmounted by mythical creature, seated with head turned, 6.5cm. high.

A Chinese ancestor painting, watercolour on paper, painted with a man in blue costume, seated in a garden beside a willow tree, a building to the right and rows of calligraphy to the left, image 63cm,by 127cm.

A Chinese famille-rose vase, 20th century, cylindrical form beneath a waisted neck painted with a man and child standing before a pine tree in a fenced garden, the reverse painted with lines of calligraphy, painted red seal mark to base, (a.f). 40cm. high.

A tall Chinese famille-rose baluster vase, decorated with two figures standing in an extensive river landscape, the reverse with lines of calligraphy, red seal mark to base, 61cm. high.

A Chinese soapstone carving, late 19th/20th century, carved with two scholars and two cranes beneath a pine tree, the base carved as tree roots, 22cm. high; also a brown soapstone seated official, 15cm. high, and a seal engraved with a woman and lines of calligraphy, 11.5cm. high,wood stand (4).

A Chinese soapstone gourd shaped water dropper or snuff bottle, 20th century, carved with gourds and leafy branches, the reverse with rows of calligraphy, 7.5cm. high; also a gilt-metal mounted green soapstone rectangular box and cover, (a.f), 11cm. wide, (3).

A Chinese famille-rose baluster vase, painted with young women at leisure, the reverse with lines of calligraphy, the neck enamelled with flowers against a pink ground, iron-red seal mark, 45cm. high.

A bronze deity and Japanese calligraphy books, etc.

20th Century brass Buddha on a double lotus throne, calligraphy to the back, 20.5cm

19th Century Indo Persian silvered copper dish with incised decoration of game animals and calligraphy 34cm and two further dishes, slightly smaller (3)

Chinese late 19th century scroll painting of a tiger with elaborate calligraphy panel above, top rail missing, 150cm x 77cm. The tiger having won honor of a 'general' in deep mountains

Pair of late 19th Century or early 20th Century Chinese soapstone carving of Buddhist figures seated on thrones, stylised calligraphy to the seal base, 18 cm.

Two 20th Century Chinese paintings of birds on flowering branches, watercolour on silk, each signed with red seal mark and calligraphy. Each 39cm x 29cm.

FOUR 20TH CENTURY ORIENTAL SILKWORK EMBROIDERED PANELS each depicting figures with calligraphy above, each 50 ins x 13 1/2 ins, unframed, an Oriental embroidered PANEL framed as a fire screen, two Oriental painted SCROLLS depicting trees (faults) and a framed Oriental PRINT of two BULLS, signed with calligraphy and seal, 8 1/4 ins x 11 3/4 ins framed.

Rare 11th / 12th century Nishapur pottery bowl with incised roundels and borders, calligraphy to bowl with green, brown and cream glaze, 25cm diameter x 6cm high

A 19TH CENTURY INDIAN CHOORA OR DAGGER, 29.5cm T-section damascus blade with chiselled back edge, characteristic hilt with two-piece riveted bone grips decorated with two bands of red dyed geometric patterns, the back strap with a small panel of calligraphy, contained in its brass wrapped wooden scabbard decorated over its entirety with panels and bands of geometric designs and a further small panel of calligraphy.

AN OTTOMAN YATAGHAN, 56cm curved blade struck with a maker's mark, foliate decorated reinforcing straps, two-piece riveted horn grips, the pommel formed from two white metal coins embossed with calligraphy, contained in its brass mounted wooden scabbard.

A 19TH CENTURY CRETAN YATAGHAN, 61cm curved blade incised with panels of stylised calligraphy to either side, characteristic hilt with two-piece riveted horn grips.

AN INDIAN OR OTTOMAN AXE, 55.5cm over all length, the 8cm broad head decorated to either side with scrolling foliage and flowerheads within geometric borders, highlighted in gilt, further decorated with geometric designs and a panel of calligraphy, all highlighted in gilt, the haft decorated with alternating faceted and spirally incised panels with gilt highlights.

A LARGE 19TH CENTURY CAUCASIAN KINDJAL, 42cm triple fullered flattened diamond section blade finely inlaid in gold with panels of calligraphy, further inlaid in gold with panels of foliage to either side of the forte, characteristic white metal hilt embossed with geometric designs and panels of flower heads, contained in its embossed white metal scabbard decorated to match.

A 19TH CENTURY KASKARA, 87.75cm European broadsword blade inscribed with a talismanic emblem at the forte to either side and a large panel of calligraphy at the mid point, characteristic hilt with well formed flared diamond section crossguard of Crusader form, wooden grip. Pommel lacking.

Chinese, Carved Jade Figural Pendant. Calligraphy poem on backside of pendant. Depicting a scholar and young child on front of plaque. Height: 2.5 inches.

Various framed and unframed prints and calligraphy samples and three wooden picture frames

Chinese hardwood brush pot Bitong carved in relief with Water Buffalo, signed with seals and calligraphy, H15cm x D11cm

A large quantity of printing blocks including cars, animals, calligraphy etc (five boxes)

A calligraphy screen

A CHINESE BRONZE CIRCULAR BOX AND COVER engraved with calligraphy. 3ins diameter.

A PAIR OF CHINESE CIRCULAR BLUE AND WHITE BOWLS with calligraphy and figures, six character mark. 5.25ins diameter.

A CHINESE JADE ARCHER'S RING with calligraphy. 3.5cms diameter.