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* Chinese white-glazed porcelain vase, Kangxi (1661-1722), of slender tapering form with everted rim, two dog of Fo mask handles, the body incised in black calligraphy 'Huang Da Zong' (the name of the owner), the neck chipped with some pieces missing, 28 cm high, together with a Daoguang white glaze vase,1820-1850, of plain form moulded in low relief with a blooming prunus tree and magpie (Xi Shang Mei Shao), two dog of Fo mask handles, the neck with a band of ruyi clouds pattern, vertical hairline crack, 17.5 cm QTY: (2)NOTE:Provenance: The David & Sarah Battie Collection.

A 19th century white metal and red enamelled box (probably French (the head of Minerva to the underside)). The hinged top centrally mounted with a 19th century Chinese pale-celadon jade pendant pierced for suspension, the obverse carved with a man walking with a broom resting on his shoulder and looking upon a small boy with a goose in his arms. The reverse with 14-character script below scrolls. (LWH 10 x 8.5 x 4 cm). * Condition: The jade has old glue residue around the edges to the inside of the lid, from where it has been glued into place in the silver mount. There are no chips, cracks or other faults visible, although it has not been removed from the box - on the inside face with the calligraphy, the edge of the jade is visible - however, the edge is not visible to the front of the pendant, as it is overlapped by the oval mount. The box is in good condition, with no damage to the enamel or silver. The French hallmarks to the edge of the base are clear. The hinge is firm and opens and closes correctly and shuts flush. In good condition overall.

Six unmounted Japanese woodblock prints - all figural subjects to include a print of three bijin beneath a cherry blossom tree and one pasted to a sheet of paper with calligraphy. (All approx. 37 x 25 cm.) * Condition: Colours strong, but wear, creasing and surface dirt to edges from handling. The pasted print has heavier wear and creasing throughout.

A Chinese porcelain 'Wu Shuang Pu' teapot and cover, Guangxu period (1875-1908), the circular pot externally decorated in the famille rose palette with figures and calligraphy scripture, the removable cover similarly decorated, bearing iron-red Daoguang (1821-50) seal mark to the underside, 9cm high overallCondition report; Faint hairline crack ascending from the rim of the cover approx 2.5cm. Further underglaze hairline can be seen to the underside of the cover extending to approx 7cm. Pitted to the underside. Gilt wear to the rim of the pot. Slight nibbles to the tip of the spout. Some pitting to the body of the pot. Decoration and colours appear clean and vivid. 

A VERY LARGE QAJAR SILVER INLAID COPPER TRAY, decorated with central roundel depicting two duelling figures on horseback with various animals, emanating a further band of animals and panels of calligraphy, 77.5cm diameter.

A 14TH CENTURY PERSIAN ILKHANID CARVED POTTERY TILE, with Kufic calligraphy, 15cm x 14cm.

A VERY LARGE OTTOMAN ISLAMIC GREEN SILK AND METAL-THREADED MOSQUE CURTAIN / DOOR HANGING, with embroidered panels of calligraphy and calligraphic emblems all over, 290cm x 235cm, appeared in Oriental Art auction, Holland 04.06.2020.

A 11TH-12TH CENTURY ISLAMIC POTTERY FOOTED BOWL, with moulded calligraphy, 15cm diameter.

A FINE 19TH CENTURY INDIAN MINIATURE PAINTING, depicting holy saints, fine calligraphy to verso, 30cm x 18cm.

A FINE PERSIAN SAFAVID MINIATURE PAINTING, depicting a seated dignitary and attendants, heightened with fine gilt highlights with panels of calligraphy, framed and glazed,. image 18cm x 11cm.

A LARGE 17TH CENTURY TINNED COPPER BASIN, with calligraphy and engraved fish decoration, possibly Deccani or Safavid Persian, 36cm diameter.

THREE 19TH CENTURY IRANIAN ENGRAVED BRASS PIECES; comprising a twin handle vase / vessel with calligraphy, a candle holder with engraved panels of figures, and a lidded jug, (3).

A FINE LARGE 12TH-13TH CENTURY PERSIAN SELJUK KHURASAN COPPER INLAID BRONZE VASE, with bands of Kufic calligraphy around the top rim, neck, and base, 28.5cm high.

A LARGE AND FINE 19TH CENTURY DAMASCUS ENGRAVED BRASS VASE, with a single band of calligraphy and fine decorative motifs, 44.5cm high.

AN EARLY 18TH CENTURY PERSIAN SAFAVID TINNED COPPER BOWL, with engraved calligraphy, 22cm diameter.

A 19TH CENTURY SYRIAN OR EGYPTIAN ENGRAVED BRAS BOWL, with panels of calligraphy, 26cm diameter.

A PERSIAN SAFAVID MINIATURE PAINTING, depicting figures in a garden, with panels of calligraphy, sealed within two sheets of glass, 26cm x 17cm.

A 19TH-20TH CENTURY PERSIAN QAJAR ENGRAVED BRASS MAGIC BOWL, with panels of calligraphy, 16cm diameter.

A VINTAGE KHOROSAN STYLE GLAZED POTTERY BOWL, painted with a figure and calligraphy, 21cm diameter.

A LARGE ISLAMIC OTTOMAN RED / GREEN SILK AND METAL-THREADED MOSQUE CURTAIN / DOOR COVER, with roundels and panels of calligraphy and tughra lower centre, 200cm x 196cm, appeared in Tajan auction, 17.11.2021, (lot 271).

Large Chinese two handled famille vase with chrysanthemum decoration and calligraphy, 57.5cm high

Three Johan Georg Schwander calligraphy prints (3)

A collection of Chinese and Japanese objects of vertu and collectibles, 20th century, to include a cloisonne enamel tripod censer with cover, 17cm high, an archaistic bronze water pot fragment, approx. 8.5cm high, a hardstone carving of two birds among leaves, 14 cm long, a hardstone jadeite pendant with symmetrical carving, 9cm long, a boxwood carved netsuke of an elderly man, approx. 4.5cm high, a tortoiseshell card case with decoration of cranes in flight, approx. 11cm long, a white jade calligraphy booklet, each panel approx. 15 x 7cm, a cloth bound book: N. McLeod, Illustrations to the Epitome of the Ancient History of Japan, third edition, published in Tokyo; various pieces of blue and white porcelain, some AF, various carved hardwood stands, a collection of mother of pearl gaming counters of various shapes and sizes, and others (lot) 

Prinzregent Luitpold - prunkvolle Ernennungsurkunde für Feldmarschall Erzherzog Albrecht von Österreich zum Inhaber des K. B. 5. Chevaulegers-Regiments, datiert 4.7.1886 Pergament, komplett in aufwendiger Handarbeit mit schwarzer, blauer und roter Tinte sowie Goldhöhung kalligraphiert. Der breite Rand in reichster Feinmalerei gestaltet mit Trophäen, Wappen, Inschriften, dabei der Regimentsname und Schlachtorte. Der Prinzregent ernennt als Freundschaftsbeweis seinen Vetter Albrecht von Österreich zum Regimentsinhaber und verpflichtet alle Untergebenen zu Gehorsam. Unten datiert München, den 4. Juli 1886, darunter die eigenhändige Tintenunterschrift "Luitpold Prinz Regent von Bayern".Das anhängende rote königlich-bayerische Wachssiegel (Umschrift "OTTO DEI GRATIA REX BOIOARIAE & & / K M") in einer rot emaillierten Silberkapsel (Durchmesser 10 cm) an blau-silberner Kordel. Im Passepartout, unter Glas, neu gerahmt. Gebrauchs- und Altersspuren. Maße ca. 65 x 80 cm, Rahmenmaße 100 x 104,5 cm. Einzigartige, hochrangige Urkunde in hervorragender Erhaltung, eine der ersten Amtshandlungen des Prinzregenten nach dem Tod von König Ludwig II.Erzherzog Albrecht von Österreich (1817 - 1895) war ab 1863 Feldmarschall und ab 4.7.1886 bis zu seinem Tod am 18.2.1895 Inhaber des K. B. 5. Chevaulegers-Regiments. Er wurde in der Kaisergruft in Wien beigesetzt. Prince Regent Luitpold – a magnificent certificate of appointment for Field Marshal Archduke Albrecht of Austria as proprietor of the K. B. 5th Chevaulegers Regiment, dated 4 July 1886 Prince Regent Luitpold – a magnificent certificate of appointment for Field Marshal Archduke Albrecht of Austria as proprietor of the K. B. 5th Chevaulegers Regiment, dated 4 July 1886Parchment, completely and ostentatiously in handwritten calligraphy in black, blue and red ink, highlighted in gold. The wide margin lavishly embellished with finely painted trophies, coats of arms and inscriptions, including the regiment's name and sites of battles. As a token of his friendship, the Prince Regent appoints his cousin Albrecht of Austria proprietor of the regiment and all subordinates are duty bound to obey him. At the bottom dated Munich, 4 July 1886, below which the original signature "Luitpold Prinz Regent von Bayern" in ink.The attached red Royal Bavarian wax seal (with "OTTO DEI GRATIA REX BOIOARIAE & & / K M" inscribed around the edge) in a red enamelled silver capsule (diameter 10 cm) on a blue and silver cord. In a passepartout, behind glass, re-framed. Signs of age and handling. Dimensions approx. 65 x 80 cm, size of the frame 100 x 104.5 cm. Unique, high-ranking document in outstanding condition, one of the Prince Regent's first official acts on the death of Ludwig II.Archduke Albrecht of Austria (1817 - 1895) was promoted to field marshal in 1863 and was proprietor of the K. B. 5th Chevaulegers Regiment from 4 July 1886 until his death on 18 February 1895. He is buried in the imperial crypt in Vienna.Condition: II +

(2) Pair of famille rose pots decorated with brown birds, flowers and calligraphy on a white background - Weight: 2.00 kg - Shipping unavailable - Region: Chine - Sizes: h 190 mm d 210 mm - At first glance: good condition

Porcelain plaque in a wooden frame with calligraphy inside by Zhu Zi Jia Xun - Weight: 2.04 kg - Shipping unavailable - Region: Chine - Sizes: H 240 MM L 400 MM - At first glance: good condition

Brush pot decorated with calligraphy from the Chinese Republic period (1912 - 1949) - Weight: 195 g - Shipping available - Region: Chine - Sizes: h 110 mm d 75 mm - At first glance: good condition

Antique Chinese calligraphy book. The cover of the book is dark brown as is the title, found on the right. - Weight: 215 g - Shipping available - Region: Chine - Sizes: H 155 MM L 110 MM - At first glance: normal wear / patina of use

Chinese school, coloured print depicting polo players and calligraphy. 47 by 98cm. framed and glazedCondition ReportOverall good condition.

A Chinese Republic style famille rose box and cover of compressed globular form decorated with figures in a landscape and calligraphy, 13cms diameter; together with a similar square form brush washer, 9.5cms high (2).

Ibrahim El-Salahi (Sudan, born 1930)Untitled c.1964 signed 'Salahi' (lower right)ink on paper 24.5 x 21.7cm (9 5/8 x 8 9/16in).(framed)Footnotes:Provenance Collection of Mr and Mrs Oscar Edwards, Australia;A private collection.Ibrahim El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity.Created at a time when El-Salahi was pronouncing himself as an artist, a concurrent stylistic theme can be seen in this work that emerged in the late 1950s and 60s. The inspiration of these figurative depictions can be concluded as stemming from different aspects of the artist's life. Intuitive in his artistic approach, El-Salahi's process in depicting these faces is a response to his inner self, isolated from the outside world. In his art human existence is linked to a world of dreams and mediations which bore a heavy and ever-present presence within his work. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El-Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El-Salahi, interview with Sarah Adams in April, 2002)Towards the top of the work emerges from the black ink, the word 'Lights' in Arabic. Mobilising text as an aesthetic tool, this word assists the nature of the present work given its black background for the fine illustrations to appear, creating a sense of light and dark. As calligraphy bore a strong position in many of the artist's most successful works, the present work can act as a striking example of El-Salahi's incorporation of his Sudanese heritage with his Western artistic training. The Oscar Edwards collection was significantly unusual given its location in Australia. Indeed Mr and Mrs Edwards typically collected non-Australian Art in the 1950s and 60s after selling their predominantly Australian art collection in the 1930s and 40s. This rejection of a parochialistic approach to collecting enabled the couple to enrich their collection, focussing their attention more towards smaller works by great artist's, finding them more aesthetically significant and appealing than a major work by a smaller artist. It was towards the end of the 1950s and early 60s that Ibrahim El-Salahi began to define his original style, a style that would harness his success. In 1962, El-Salahi received a UNESCO Fine Arts Fellowship to study abroad in the USA. In 1964 he would return to travel throughout the Americas and was exposed to influential members of the art world such as Alfred Baar Jr, director of the MOMA. By 1969, El-Salahi had acted as the chief Sudanese representative for the first World Festival of Black Arts in Dakar, was a member of the Committee at the UNESCO Paris headquarters for the study of Arab culture, participated in the Contemporary African Art exhibition at the Camden Arts Centre in London, and was a member of the Sudan Cultural delegation. Despite these monumental achievements, interestingly, the artist and activist noted of the Camden Arts Centre exhibition 'it was exciting, but also frustrating, because there was little response from the rest of the world, or even Africa itself.' (Ibrahim El-Salahi in Mark Hudson, 'Ibrahim El-Salahi: from Sudanese prison to Tate Modern show', The Guardian, (3 July 2013)). Therefore, given the provenance of the present work and indeed his far reach to international collectors, the present work is a colossal demonstration El-Salahi's global reception. BibliographyLena Fritsch, Ibrahim El-Salahi: A Sudanese Artist in Oxford (Oxford: Ashmolean Museum, 2018)For further information on this lot please visit Bonhams.com

A Chinese jade archers ring with carved calligraphy detail. Approx. 3.5cm diameter x 3cm wide.

4 Chinese printed figural and mountainous pictures, with gold floral fabric borders. 2 with calligraphy and red seal marks to top corners. Each approx. 36cm x 28cm.

Full title: Li Keran 李可染 (1907-1989): 'Calligraphy', ink on paper, dated 1986Description:Dim.: 156 x 46,5 cm (the scroll)Dim.: 76 x 38,5 cm (the work)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: Chinese school, signed Zhang Daqian 張大千 (1898-1983): 'A sage and calligraphy', ink and colour on paper, dated 1957Description:Dim.: 142 x 38 cm (the frame)Dim.: 121,5 x 25,5 cm (the work)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

A CELADON-GLAZED LOTUS POD-FORM BOX AND COVER, QING DYNASTYChina, 18th-19th century. Delicately potted with deep rounded sides rising from a short foot with recessed base to a broad flat inward rim, surmounted by a cylindrical cover with slightly concave top, exquisitely molded and incised as a lotus flower centered by a mature pod. The box and cover covered overall in a soft sea-green glaze, nicely thinning at the edges and darkening in the recesses. Probably designed after a cricket box, see literature comparisons below for closely related examples made from Hongmu and ivory.The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi, but probably dating from the early 19th century, see auction result comparisons below for an closely related example from the Daoguang period.Provenance: From a private collection in northern Germany. The wood stand with an old label, '102'.Condition: Excellent condition with only minor old wear and minimal firing irregularities. The wood stand with some natural wear and small age cracks.Weight: 193.9 gDimensions: Diameter 7.1 cm With a finely carved wood stand decorated with chrysanthemum petals, also dating from the Qing dynasty. (2)An appreciation of crickets for their chirping songs and cultural symbolism flourished during the Ming and Qing dynasties. Keeping crickets in specially designed containers became a favored pastime among the literati, scholars, and the upper class. Cricket containers during these periods were typically crafted with great attention to detail and featured intricate designs and embellishments. The containers were often adorned with carvings, paintings, calligraphy, and other decorative elements, showcasing the artistic craftsmanship of the period. They were made from various materials, including bamboo, wood, porcelain, and metal.The present box and cover, designed in the form of a blooming lotus flower, highlights the exceptional creativity exhibited by potters at the Imperial kilns during the Yongzheng era and subsequent periods. These boxes were inspired by earlier containers traditionally made of wood and ivory. Examples of such containers can be found in a range of monochromatic colors, including qingbai and celadon. Despite the presence of preserved examples in prominent collections like the Palace Museum, these boxes remain scarce and are rarely published in literature.Literature comparison: Compare a hongmu cricket box of related form, dated to the 18th century, in the Minneapolis Institute of Art, accession number 2003.100.2A-C. Compare an ivory lotus pod-form box and cover, dated to the 17th century, at Christie's New York, 20 September 2002, lot 131.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 May 2014, lot 3449Price: HKD 325,000 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A small celadon-glazed lotus pod-form box and cover, Daoguang seal mark and of the periodExpert remark: Compare the closely related form, glaze, decoration, and size (7 cm). Note the Daoguang reign mark. While from two different periods, and each with unique qualities, there are noticeable similarities between the finishing work on both examples, where the edge of the glazed body meets the unglazed porcelain. The incision work on the Daoguang-marked example is also of an arguably lesser quality compared to the present lot, which may indicate that the latter is indeed from an earlier date. 清代青釉蓮花紋蓋盒中國，十八至十九世紀。蓋盒呈扁圓形，子母口相合，下承外撇圈足。全器滿施青釉，釉層瑩潤，質地細膩。蓋面微鼓，刻劃蓮花紋，中心蓮蓬碩大，蓮子清晰，環繞飽滿蓮瓣，花瓣重疊富有層次。整體造形秀美。請參閱文獻比較，了解由紅木和象牙製成的相近例子。圈足内青花“大清雍正年製"。可能來自十九世紀初，見拍賣結果比較中來自道光朝的例子。 來源：來自德國北部私人收藏，木底座上有一個舊標籤，上可見 '102' 字樣。 品相：狀況極佳，只有輕微磨損和輕微燒製不規則。木底座有一些磨損和年代裂縫。 重量：193.9 克 尺寸：直徑 7.1 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A CARVED AND RETICULATED BAMBOO PARFUMIER, CHINA, 18TH CENTURYOf cylindrical form, intricately carved in openwork with four ladies gathered around a table as one of them practices calligraphy on a scroll, surrounded by numerous playful boys in a palace garden filled with flowering trees and craggy rockwork. Enclosed by a fence decorated with wan symbols, with a two-story pagoda in the background, all framed by neatly incised key-fret bands. The black-striated bamboo shows a nice grain and attractive color overall.Provenance: Collection of Captain Andre Le Gac, acquired in China in the 1920s, during which time he was the captain of a Yangtze River gunboat, and thence by descent in the same family. Andre Jules Gabriel Le Gac (1895-1960) was born in Brest, France. He joined the French Navy in 1914 and was awarded the Chevalier de la Legion d' Honneur (Knight of the Legion of Honor). He was present for the German surrender at Saint-Nazaire in 1945. Throughout his travels with the navy, which also included a station in Hong Kong, Le Gac assembled a large collection of fine Chinese art which he brought home to France, thence remaining in the family for almost 100 years. Condition: Very good condition with some old wear, minor nicks and traces of use. The buffalo-horn fittings with small chips and natural imperfections including small age cracks. Very good, naturally grown patina.Weight: 203.4 g Dimensions: Height 22.7 cm Two buffalo-horn mounts are neatly fitted to bottom and top of the hollow parfumier. The base is additionally fitted with a hongmu wood stand. All four pieces are original to the lot and not later additions. (4)The carver of this parfumier paid close attention to detail while creating this piece. Not only is the parfumier masterfully carved with extensive openwork, but the many charming scenes show great artistic inspiration, depicting groups of playful boys engaging in different games, all of which are captivating and expressive, and mostly emulate adult behavior. Three boys stand facing each other playing instruments with delighted expressions. Below them, a single boy performs a handstand, lifting his legs straight into the air. To his right, four boys are gathered around a table praying before an altar. In the center, three boys are depicted carting a fourth boy dressed up in imperial costume; one boy pushes the cart, another devotedly lifts a large tree branch over the boy Emperor's head, and the third walks ahead carrying a banner. Above them, two boys point their bows up at ducks flying overhead amid swirling clouds; one boy has met his mark. Two boys are depicted running near the four scholarly ladies, with one chasing after the other.Auction result comparison: Type: Closely related Auction: Sotheby's London, 11 November 2022, lot 66 Price: GBP 18,900 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A carved and reticulated bamboo parfumier, Qing dynasty, 18th century Expert remark: Compare the closely related manner of carving (albeit arguably less elaborate and inspired than the present lot), openwork, and incised key-fret borders. Note the near-identical size (22.3 cm). 十八世紀竹雕香筒圓柱形香筒採用鏤空浮雕，輔以陰刻等技法製成，筒身畫面通景式構圖。四位婦人圍坐在一張桌子旁，其中一位在紙上寫字，周圍是幾個頑皮的孩童。花園里滿是花樹和假山。背后是一座寶塔。上下邊緣一周雷紋。刀法變化多樣，人物衣著行雲流水，樹木枝葉則鏤挖出層次。整個筒身包漿濃厚，皮色暗紅穩重。 來源：Andre Le Gac船長的收藏，於 1920 年代在中國購得，當時他是一艘長江砲艇的船長，在同一家族保存至今。Andre Jules Gabriel Le Gac（95-1960 年）出生於法國布雷斯特。 1914年，他加入法國海軍，並被授予Chevalier de la Legion d' Honneur（榮譽軍團騎士）。 1945 年，他出席了德國在聖納澤爾的投降儀式。在隨海軍旅行期間（其中還曾在香港設有駐地），Le Gac收集了大量中國精美藝術品，並將其帶回法國，留在家族已經有近100年的歷史了。 品相：狀況極好，有一些磨損、輕微劃痕和使用痕跡。水牛角配件帶有小缺口和自然瑕疵，小裂縫，自然包漿。 重量：203.4 克 尺寸：高 22.7 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A THANGKA DEPICTING RUDRA CHAKRIN, THE LAST KULIKA KING OF SHAMBHALA, TIBET, 18TH-19TH CENTURYPublished: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148, no. 46.The heavily armored red-skinned king with wrathful expression, protected by a parasol above and engulfed in dark flames, riding a dark blue horse and driving his lance through the chest of an enemy general who has fallen from his slain horse lying beside him. The upper register with a central image of Buddha Shakyamuni flanked by a lama of the Gelugpa order and the Future Buddha Maitreya, the lower register Green Tara surrounded by two further warriors as well as offerings, all within a verdant landscape.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.43. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with some old wear, light soiling, and minor creasing.Dimensions: Image size 38 x 27.2 cm, Size incl. frame 65.8 x 51.7 cm Distemper and gold on cloth, with a silk brocade frame.According to Roderick Whitfield, “The main figure represents Rudracakrin, the 25th (or, in some lists, 32nd) and last Kulika King of Shambhala. He is an emanation of the Bodhisattva Manjushri, defeating the four invading armies of the Mlecchas or barbarians, led by Krinmati, King of Delhi." (See Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148.)In the Tibetan Buddhist tradition, the hidden kingdom of Shambhala, believed to be north of the Tibetan plateau, is surrounded by an impassable mountain range. Shambhala is ruled by the future Buddha Maitreya. The Shambhala narrative is found in the Kalachakra tantra, a text of the group of the Anuttarayoga Tantras. Thirty-two Kings of Shambhala reside in the mythical kingdom. The first notable king, King Suchandra is reported to have requested teaching from the Buddha that would allow him to practice the dharma without renouncing his worldly enjoyments and responsibilities. In response to this request, it is said the Buddha gave him the first Kalachakra root tantra. By practicing the Kalachakra, the whole of Shambhala eventually became an enlightened society. The most recent twenty-five of the thirty-two Kings of Shambhala are known as Kalki kings, meaning 'Holder of the Castes'. The Kalki are holders of the Kalachakra (Wheel of Time), which are the teachings of Buddha Shakyamuni passed down from the original seven Dharmarajas of Shambhala. The final king prophesied in the Kalachakra, Rudra Chakri, is further prophesied to appear to all humanity in 2424, and to establish a planet-wide Golden Age subsequent to his defeat of degenerate world rulers.Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2019, lot 947 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A thangka depicting a king of Shambhala (Manjushrikirti), Tibet, Narthan Style, 18th/19th century Expert remark: Compare the related subject, albeit painted in a different style. Note the size (71 x 44 cm). 西藏十八至十九世紀香巴拉王魯德拉查克林唐卡布面膠畫描金，緞面裝幀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A RARE AND IMPORTANT ALBUM LEAF FROM THE HUANGCHAO LIQI TUSHI WITH AN IMPERIALLY INSCRIBED SILK PAINTING OF THE EMPRESS DOWAGER AND EMPRESS CONSORT'S DRAGON VEST (CHAOGUA), QIANLONG PERIODExpert's note: The present pair of leaves may belong to the same manuscript as those in the British Library, the National Museums of Scotland, the National Museum of Ireland, the Victoria & Albert Museum, and those sold at Woolley & Wallis, 12 November 2019. Altogether, these may once have been part of the version kept in the Wenyuan Pavilion library in the Yuanming yuan Summer Palace, Beijing, as indicated by the main seal on two pages from the manuscript in the Victoria & Albert Museum.China, 1750-1759. Ink and watercolors on silk, laid down on paper. One side illustrating an Imperial dragon vest (chaogua) of the Empress Dowager and Empress consort, and the other side with eleven lines of inscription regarding the regulations for such vests. Exquisitely painted, the dragon vest is designed with six golden five-clawed dragons pursuing flaming pearls on a midnight-blue ground surrounded by polychrome lingzhi-form clouds above crashing waves. The black-ground hem and borders are shown in gold thread with scroll designs, and the interior is lined with red silk.Inscriptions: Right hand leaf, 'The painting of the official vest of the Empress Dowager and Empress consort.' Left hand leaf, 'The empress dowager and the empress consort's official vest shall be made in accordance with the regulations of our era: the empress dowager and the empress consort's vest should be an azurite blue and have gold hems and seams. The front and back shall have two standing dragons above four further levels with four dragons. Below are to be ten thousand bats and ten thousand shou and behind the color a yellow sash with jewelry. The imperial concubine and crown princess shall follow similar regulations.'Provenance: French trade.Condition: Very good condition with minor wear, little soiling, minor creasing, few tiny losses.Dimensions: 41.8 x 39 cm The present album leaf is part of the Huangchao Liqi Tushi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), an illustrated manuscript commissioned by the Qianlong Emperor. The main body of the work began to be compiled in 1750 and was completed in 1759. After editing and further expansion of the manuscript during the ensuing years, it was duplicated by the Palace Publications Office in the Wuying Palace in 1766 and was eventually added to the Siku Quanshu (Complete Library of the Four Treasuries) in 1773. Only seven copies of the manuscript were produced, stored in libraries across the empire, including the Wenyuan Pavilion library in the Summer Palace (Yuanming yuan), Beijing.The Huangchai Liqi Tushi was part of the Qianlong Emperor's effort from the beginning of his reign to regulate the ritual codes and procedures, and it serves as a record of his passion for a rigid ritualized life. The book consists of six parts - ceremonial vessels, scientific equipment, dress, musical instruments, insignia, and weaponry, containing more than 1,300 leaves of illustrations and explanatory texts. As one of the major imperial commissions, the book is of monumental scale and collaborative in nature. As many as twenty-seven court painters and calligraphers were working on the commission under five editors-in-chief, Yilu (1695-1767), Jiang Pu (1708-1761), Wang Youdun (1692-1758), Guanbao (d. 1776), and He Guozong (d. 1766).The Qing dynasty Chaogua was adapted from the dragon-patterned sleeveless coats worn unofficially at the Ming dynasty court. The mid-eighteenth century court dress edicts assigned three styles of this garment to the upper ranking court women. All were made of dark navy blue silk and featured a center front opening held with five toggle and loop fastenings, angled shoulder seams and deeply cut armholes. The first and second styles were tailored as multi-sectioned constructions with horizontal bands of dragons, clouds, and waves. The third style was full length without sections. A fourth style, which could be worn by all ranks of women including the wives of nobles not related to the imperial clan and the wives of other high officials featured mang, or four-clawed dragons. The chaogua painted on the present lot is of the first style, a full-length vest made of three sections - an upper part, a section from waist to knee, and a section from knee to hem with five horizontal bands embroidered with five-clawed dragons and auspicious symbols.Literature comparison:Compare an illustrated manuscript with 38 folios preserved, two leaves showing the front and back of a similar dragon vest, the leaves of closely related size (42 x 40 cm), dated to the Qianlong period, once in the Summer Palace and now in the British Library, number OR 9430. Compare a closely related page from the Huangchao Liqi Tushi illustrating the front and back of a dragon vest worn by imperial concubines of the first rank, 42.3 x 41.3 cm, dated to the Qianlong period, in the Victoria & Albert Museum, accession number 856-1896.Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 December 2017, lot 108 Price: EUR 47,500 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: Six rare and important album leaves, Huangchao liqi Tushi, Qianlong period Expert remark: Compare the closely related manner of painting, calligraphy, and size (42 x 41 cm), as well as the related dragon vest illustrated on the final page. Note this lot comprises six album leaves.Auction result comparison: Type: Related Auction: Woolley & Walis, 12 November 2019, lot 6 Price: GBP 225,000 or approx. EUR 345,000 converted and adjusted for inflation at the time of writing Description: Album leaves from the imperial household regulations (Huang Chao Li Qi Tu Shi) Expert remark: Compare the closely related manner of painting and calligraphy. Note this lot comprises twelve paintings. Note the closely related size (41 x 42.5 cm).乾隆時期彩繪《皇太后皇后朝褂圖》，《皇朝禮器圖式》彩繪散頁中國，1750-1759 年，絹本設色。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LIU QING 'KINGFISHER AND LOTUS' BAMBOO WRISTREST BY XU YAN, CHINA, DATED 1944Expert's note: The highly intricate technique of liu qing demands an exceptional level of skill, leaving absolutely no margin for error as the artist delicately carves away the negative space of the yellow-green skin to unveil the desired scene amongst the darker and more fibrous inner layer. The stunning result creates an effect of traditional Chinese brush and ink painting.Exquisitely carved on the convex side in the liu qing technique, partially reserving the bamboo skin, to depict a resting kingfisher beside a pond with a large lotus blossom as well as furled leaves, lily pads, and two fish.Inscriptions: Left, signed and dated 'Xu Yan in the Spring of 1944', and titled 'Lotus Pond Pleasure'. Two seals of the artist. Lower right, one seal of the artist.Provenance: Chicago trade.Condition: Good condition with minor old wear, expected age cracks, few tiny losses.Weight: 193.4 gDimensions: Length 32.2 cm Wristrests have been used for centuries in Chinese calligraphy and painting, and they continue to be valued by artists who practice these traditional art forms. They serve as practical tools allowing the artist to make delicate brushstrokes or intricate calligraphy, also alleviating fatigue by providing a comfortable position and reducing strain on the muscles and tendons of the hand and wrist.The pairing of a kingfisher and lotus has been a popular theme in Chinese art and literature for centuries. The kingfisher, revered for its vibrant and iridescent feathers, is seen as an auspicious symbol of prosperity and believed to possess protective qualities against evil spirits and misfortune. The lotus, with its ability to emerge from murky waters and blossom into a beautiful flower, is seen as a metaphor for resilience and strength in the face of adversity.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 26 May 2013, lot 11 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A finely carved bamboo 'bird and lotus' wristrest, signed Xu Subai (1909-1975) Expert remark: Compare the closely related wrist rest form, bird and lotus subject, and liu qing technique. Note the smaller size (27 cm). 竹雕《荷塘清趣》臂擱，許炎款淺浮雕採用留青技法，部分保留竹皮，刻畫在池塘邊站在荷葉莖上的翠鳥，荷花盛開，荷葉捲曲，水中兩條小魚在戲耍。留青工藝極精，能於薄薄的青筠中區分出多個層次，表現物象的透視關係。雜以淺浮雕，多種技法的配合。 款識：荷塘清趣，甲申三月許炎刻。 來源：芝加哥古玩交易。 品相：狀況良好，有輕微磨損，有老化裂紋與微小缺損。 重量：193.4 克 尺寸：長 32.2 厘米拍賣結果比較： 形制：非常相近 拍賣：香港邦翰斯，2013年5月26日，lot 11 價格：HKD 100,000（相當於今日EUR 15,000） 描述：留青柳葉荷塘情趣臂擱 專家評論：比較非常相近的外形，蓮和鳥紋，以及留青技巧。請注意尺寸較小(27厘米)。

AN INSCRIBED AND TRANSLUCENT JADE 'ORCHIDS' BOWL, CHINA, 18th CENTURYInscription: 'Although the orchids belong to the grass, they are graceful and fragrant.'The deep rounded sides rising from a slightly splayed, massive ring foot to a gently everted rim, with a neatly slanted lip, a distinct hallmark of 18th century jade bowls. The remarkably well-polished stone is of a fine white color with hues of pale celadon and some cloudy inclusions. To one side, raised in high relief, we find a single orchid growing from a craggy rock next to a small lingzhi mushroom. The masterfully incised calligraphy is well-defined in gilt and highlighted in red lacquer. Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco. Isidore Cohn, Jr., MD, New Orleans, USA, acquired c. 2002 from the above and thence by descent in the same family. Label to the foot: 'S. Bernstein & Co, San Francisco 2787.' Isidore Cohn (1921-2015) was a prominent surgeon in New Orleans. Dr. Cohn served as the first Vice President of the American College of Surgeons (1993). He was a passionate collector of art, with several exhibitions of pieces from his collection conducted by The New Orleans Museum of Art, including 'Chinese Jades from the Collection of Marianne and Isidore Cohn, Jr.' in 2013-2014. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including 'The Emperor's Jade Suit' and 'Chinese Jade: The Immortal Stone'. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Superb condition with only minor old wear. The stone with natural inclusions.Weight: 145.6 gDimensions: Diameter 9 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1697Price: USD 32,500 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: An Inscribed Pale Olive-White Jade Bowl, Late 18th/19th CenturyExpert remark: Compare the inscription.Auction result comparison:Type: RelatedAuction: Christie's London, 6 November 2012, lot 143Price: GBP 27,500 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A Pair Of Inscribed And Gilt-Decorated Pale Celadon Jade Bowls, 18th CenturyExpert remark: Compare the inscriptions. Note that this lot is for two bowls. 十八世紀詩文蘭草玉碗侈口，深圓腹，圈足。碗口邊緣整齊，這是十八世紀玉碗的明顯標誌。 玉石經過精心打磨，呈現出細膩的白色，帶有淺青色調和一些絮狀物。在碗的一側高浮雕一朵蘭花從崎嶇的岩石中生長出來，旁邊是一朵小靈芝。詩句鎏金雕刻精美，並以紅漆突出。款識：蘭雖為草秀而香 來源：舊金山S. Bernstein & Co.Jade & Oriental Art藝廊；. Isidore Cohn，M.D收藏，2002年購於上述藝廊，自此保存在同一家族中。足部可見藝廊標籤“S. Bernstein & Co, San Francisco 2787"。品相：狀況極佳，只有輕微磨損，具有天然內沁。 重量：145.6 克 尺寸：直徑 9 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年9月20日，lot 1697 價格：USD 32,500（相當於今日EUR 39,000） 描述：清十八/十九世紀青白玉御題詩文盌 專家評論：比較款識。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月6日，lot 143 價格：GBP 27,500（相當於今日EUR 51,000） 描述：青白玉雕石榴紋題詩盌一對 專家評論：比較款識。請注意此為一對。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LIME-GLAZED SEAL PASTE BOX AND COVER BY LI YUCHENG, CHINA, 1862-1908Of circular form, raised on a short spreading foot, the exterior finely decorated in high relief to the domed cover with a mountainous river landscape dotted with clusters of bamboo and pine trees, a small stilted house on the riverbank with three figures inside seated around a table, and to the box with two boats with fishermen as well as two figures resting on the shore. The interior of lid and base covered with a turquoise glaze, the foot left unglazed. The base with a neatly incised four-character seal mark.Inscriptions: To the base, 'Li Yucheng zuo'.Provenance: Paris trade. By repute acquired from old private estate in the North of France.Condition: Excellent condition with minor old wear and firing irregularities including dark spots. Expected signs of use including remnants of seal paste especially around the rim and within the box.Weight: 151.8 gDimensions: Diameter 8.9 cm Traditionally, individual artists remained anonymous on artworks created in Imperial China. Apart from paintings and calligraphy, the names of the artists gave way to the Imperial reign marks, but this custom began to change in the early nineteenth century. Although the Imperial reign marks and important hall marks still represented unshakeable power and privilege, there was a growing impulse for artists and craftsmen to sign their wares if they became sufficiently well known among the patrons to warrant a personal identification.Li Yucheng is known as a master of porcelain carving and was active during the reigns of the Tongzhi and Guangxu Emperors (1862-1908). He produced a series of literati items other than snuff bottles, such as the present lot. His works are considerably rarer than those of the better-known Wang Bingrong. It may be that Wang influenced Li, but since the dates of neither are known with any accuracy, we can only guess. There is a tendency to see Wang as the instigator of their particular style, but this theory may be owed merely to the fact that he made far more exemplars than Li.Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 18 December 2017, lot 986Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A carved lime green glazed porcelain seal paste box and cover, Wang Bingrong, 19th centuryExpert remark: Compare the closely related lime-green glaze. Note the size (10.8 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 466Price: HKD 106,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A yellow-glazed 'birds and flower' waterpot signed Li Yucheng, Qing dynastyExpert remark: Compare this yellow-glazed waterpot by the same artist as the present lot. Note the similar size (10.4 cm). 1862-1908年李裕成款蘋果綠釉雕瓷印泥盒圓盒，圈足。圓盒蓋上高浮雕山間人物風景，岸上有一座小樓，裡面有三個人物圍坐桌邊。盒子外壁延續盒蓋風景，水中有兩艘船，船上可見漁民，還有兩個人在岸邊休息。蓋及盒內施綠松石色釉，圈足未施釉。圈足內有四字款。 款識：李裕成作 來源：巴黎古玩交易，據説購於法國北部一個私人老收藏。 品相：狀況極好，有輕微磨損和燒製缺陷，包括黑點，有使用痕跡包括密封膏的殘留物，主要是邊緣和盒子內。 重量：151.8 克 尺寸：直徑8.9 釐米 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2017年12月18日，lot 986 價格：USD 8,750（相當於今日EUR 10,000） 描述：十九世紀清代王炳榮作蘋果綠釉雕瓷印泥盒 專家評論：比較非常相近的蘋果綠釉。請注意尺寸(10.8 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年5月29日，lot 466 價格：HKD 106,250（相當於今日EUR 13,500） 描述：清十九世紀淺黃釉雕喜上眉梢紋水盂 《李裕成作》款 專家評論：比較此淺黃釉水盂為同一藝術家所作。請注意相似的尺寸(10.4 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAIR OF MONUMENTAL GILT AND RED LACQUERED WOOD FIGURES OF BUDDHIST LIONS, LATE QING DYNASTYChina, 19th century. Both modeled standing in mirror image, the female with a pup clambering at her feet and the male with a pierced brocade ball, and each with a ball in their mouths. The fierce lions with deeply incised curly manes, mouths agape revealing sharp teeth, and a collar around the neck suspending bells. The rectangular stepped base carved with openworked dragons and petal lappets. (2)Provenance: From the private collection of Lu Xiaguang, and thence by descent. Lu Xiaguang (1906-1994) was a Chinese painter who became a protege of Xu Beihong in 1929 and learned oil painting in the Western style. On Xu's advice, he studied painting at the Ecole des Beaux-Arts in Paris and the Royal Academy of Belgium, after which he returned to Paris. He copied famous paintings from various schools in the Louvre, studied with great concentration, and collected paintings, art objects, and antiques. In 1984, he established the Lu Xiaguang Studio in Paris, which contributed to the cultural exchange between China and France. In 1993, Lu Xiaguang donated his life's work and his art collection of cultural relics, calligraphy, and painting to the People's Republic of China. His works and collection are permanently displayed in the Zhejiang Provincial Museum in Hangzhou. Condition: Good condition with old wear, expected age cracks, flaking and abrasions to lacquer, nicks, scratches, chips and losses. Minor old repairs. Fine, naturally grown patina overall - displaying exceptionally well.Dimensions: Height 145 cm and 148.5 cm Buddhist lion statues are an architectural decoration in front of an entrance to a temple, palace, business, tombs, and home. They are always found as a pair; one male with a ball under his right paw and one female with a cub under her left paw. These guardian lions are thought to protect the building from harmful spiritual influences and harmful people that might be a threat. The male lion guards the exterior of the building, while the female is in charge of the building's interior. The cub represents the continuity of protection.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC - AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts" (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178). 清末一對紅漆描金太獅中國，十九世紀。母獅左前爪抬高摟著著一隻小幼崽，雄性右脚罩著一個花球。獅子火焰狀捲毛，嘴裏還叼著一個小球，雕刻手法細緻，神態生動可愛。(2) 來源：呂霞光私人收藏，傳承至今。呂霞光（1906-1994），中國畫家，1929年師從徐悲鴻，學習西洋油畫。在徐的建議下，他先後在巴黎美術學院和比利時皇家學院學習繪畫，之後返回巴黎。他在盧浮宮臨摹各流派的名畫，潛心研究，收藏繪畫、藝術品、古董。1984年在巴黎成立呂霞光工作室，為中法文化交流做出了貢獻。1993年，呂霞光將其畢生心血收藏的文物、字畫捐贈給中國。他的作品和收藏陳列於杭州浙江省博物館。 品相：狀況良好，有磨損、老化裂紋、剝落和漆面磨損、刻痕、劃痕和缺口，有小修。整體包漿細膩。 尺寸：分別高145 厘米與148.5厘米

A MING STYLE PAINTING OF MANDARIN DUCKS20th century Opaque pigments on cloth, depicting two mandarin ducks beneath flowering peonies and lines of calligraphy, 107cm by 41cm, framed and glazedSome discolouration to the cloth. Some tears down the sides. Some markings

A CHINESE BLUE AND WHITE PLATEProbably 18th century Painted with a woman and boy in a fenced garden, inside a border reserved with panels of seated woman alternating with flowering prunus, 23.5cm diameter; also two blue and white `dragon' dishes, 19.5cm and 22.5cm diameter (3)Plate- Fine haircrack to well, approx. 8cm lengthDragon dish, 19.5cm- rim chip and haircracks. The underside is incised with calligraphyDragon dish, 22.5cm - some incised characters beside the dragon. Shallow chip to the rim

A CHINESE JADE PENDANT19th/20th century carved on one side with carved with a female warrior with weapons, the reverse carved with three lines of calligraphy, the stone of pale celadon tone, 5.25cm highGood condition

Manner of Franz Kline (American 1910-1962), ink on paper, abstract Japanese calligraphy study, named Kline lower centre, 38 x 56cm

Writing interest ephemera including transcriptions of ancient Cuniform tablets in the British Museum by Jeremy Black, an Oxford Fellow and writer, two 19th or early 20thC Japanese documents including a hand written example, illuminated manuscript and two poems in hand written calligraphy, one marked as being by Rose Madelene Smith

A GROUP OF CALLIGRAPHY BOOKS AND INK

Two Chinese famille rose 'Wu Shuang Pu' cups and one other the first two painted with heroes, other figures and calligraphy, one with iron-red Daoguang seal mark, 8.5 and 9cm; the third painted with bamboo and flowering plants, 10cm [3].

Pair of Chinese 'Wu Shuang Pu' vases, Republic period, over-glazed with figures and calligraphy inscriptions, both with four character Qianlong marks underneath, height 18.5 cm each (2)

A Chinese paktong inscribed square ink box, late 19th/early 20th century, engraved with a four character mark and two columns of calligraphy, 9.2cm wide

Handwritting calligraphy in celi thuluth on blue charcoal paper.It is dated 1172 AH (1756 AD) and signed Ibrahim Effendi.Dimensions: 25 by 33 cm. it is in very good condition.

This is a poetic calligraphy from the Ottoman period. It was made by the famous Ottoman calligrapher Muhammad Reza Effendi. It is embellished and engraved, illuminated frame with original gold, belonging to Fatima Karaya.Dimensions: 36 by 43 cm.It is in good condition.

Handwritten calligraphy from the Ottoman era. The text contains sayings of the Messenger Muhammad, may God bless him and grant him peace. It was written by the calligrapher Darwish Ali.Dimensions:49 by 34 cm.It is in good condition.

A handwritten Ottoman calligraphy. The text are quotes by the Messenger Muhammad, may God bless him and grant him peace. They are written by Sheik Omar in the year 1130 AH (1714 AD).Dimensions: 42 by 33 cm.It is in good condition.

This calligraphy is a sheet with, among others, the names of Allah, Muhammed sav., Khoulafaa Al-Rashidin and Ashaab- Al-Kahif. In the top frame it says Bismillah al-Rahman al-Rahim. In the center is a Hadith for prophet Mohammed learn your children the names of the people of the cave. When the names are written on the door to a house, this will never burn, if written on an object, this will never be stolen, or if the names are written on ship, this will never sink. Around this center the names of the people of the cave are written: Yemliha, Mekselina, Mislina, Mernus, Debernus, Shazenush and Kefeshtatayyush. It is signed Hafõz _brahim, see the last text line at the bottom. The calligraphy was embellished at a later date, with the decorations on the outside (around the gold center). This is signed Ferine 18, in de blue line at the bottom on the right. The calligraphy is 36 by 26 cm, and it is in good condition.

This Islamic book is handwritten Moroccan calligraphy in black and red ink on yellow paper. It is dated 1279 AH (1861 AD) and has its original leather cover.It is a valuable book which describes the Prophet's biography. There are also many poems about the Messenger Mohammed, peace be upon him, with praises and hadiths.The book is in reasonably good condition, especially considering its age.It has 226 pages and 24 by 19 cm.

This 11th to 12th century AH (17th to 18th century AD) circular tray has a serrated edge and a beautifully sculpted body consisting of two bands of arched-shaped niches, and a central flat field adorned with fine calligraphy inscriptions enclosed in a rounded frame. The entire surface of this tray is covered with interwoven patterns that transport the viewer to a world of infinite beauty and exquisite craftsmanship.The inscription in the center states: My success is due to the will of Allah.The art of calligraphy holds a prominent place in Islamic culture and is evident in the inscriptions that adorn these trays. The Arabic script is a sacred artform that expresses religious themes and serves as a reminder of the divine presence in all aspects of life. The fine calligraphy inscriptions on these trays are masterfully executed, showcasing the skill and creativity of the artisans who created them.Dimensions 3 by 39 cm and weighs 950 gr. It is in very good condition.

An early 19th Century rosewood travelling desk stand, the rectangular body with central turned carrying handle, the hinged cover opens to reveal fitted compartments and pen recess, with single drawer to lower section above gadrooning, the interior with a pair of ink bottles with silver plated covers, calligraphy pen and nibs, the box 25.5cm wide x 15cm deep x 12cm at highest point together with a Regency inlaid mahogany box tea caddy, lined, 11 x 11 x 11cm (2)