A MAMLUK ENGRAVED BRASS BASIN EGYPT OR SYRIA, CIRCA 14TH CENTURY The well with central floral roundel surrounded by a trellis design containing repeated scrolls, the lip with a register of thulth calligraphy 48cm diameter Provenance: Bonham's, London, 5th July 2006, lot 69, where purchased by Robert Kime Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The interior with paler surface from cleaning and use- exterior largely retains darker encrusted surface. Edges throughout with knocks and wear from use and age- notably around base edge. Some roughness to upper rim and spikes to rim. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
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A Chinese ‘Tortures of Hell’ handscroll painting on paper, 19th century, with inscribed scenes of labour and torture, surmounted by a large section of calligraphy, paper laid on linen, some tears, 112.5cm x 130cm***CONDITION REPORT***The painted paper image and calligraphy are laid down on linen and there are tears and curled up corners to some of the edges of the paper, some staining in particular to the calligraphy paper and a number of creases to the paper.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Mughal style miniature gouache painting depicting Miran Shah, son of the Central Asian conqueror Timur, 19th century, the figure of Miran Shah seated on a throne, visited by a dignitary, within multicoloured arabesque borders with reserves of calligraphy, the reverse with four line inscription within marbled borders, image 46.5 x 29cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Ink on paperChina , 18th century Dimensions: 240 cm x 68 cm Deng Chong yue was the champion of Kang xi in the sixteeth year, an official in the Qing Dynasty.As the champion, Mr. Deng is not famous for his talent, but for his handwriting. Even the Kang xi Emperor praised his calligraphy attainments as the best in this period.山雨晴时已是秋，苑中行殿日华浮。长杨十里旌旗宿，不使飞霜入画楼。This calligraphy by Deng Zhong yue comes from an ancient poem of the Yuan Dynasty. The key point is his calligraphy, not the poem. His running script is free and unstrained, which is popular among officials.
Cy Twombly (1928-2011), Oil and Wax Crayon on Canvas Image Size: 47 1/8 by 39 1/4 inches (120 by 100 cm) All measurements are approximate. Signed (reverse) Cy Twombly (1928-2011), an American painter, sculptor, and photographer, was a prominent figure in the post-war abstract expressionist movement. His works are characterized by their distinctive blend of calligraphy, graffiti-like scribbles, and bold gestural marks. Twombly's art often conveys a sense of raw emotion, and he drew inspiration from classical mythology, literature, and his personal experiences. His minimalist compositions and use of symbolism have had a profound impact on contemporary art. Cy Twombly's legacy endures as his unique approach continues to intrigue and inspire artists and art enthusiasts worldwide. Please read our policy carefully: 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final. 2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period. 3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold. 4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
THREE FRAMED ISLAMIC MANUSCRIPTS, 19TH/20TH CENTURY, to include: Two Quran pages in Naskh script with burnished gold leaf background, one page with a scrolling floral crest, green mount window 16.5 x 12.5 cm; Naskh manuscript in three sections, with gold leaf background and floral decorations in polychrome pigments within an orange and blue painted border, 36.6 x 17.8 cm; Figure sitting in tashahud position in salah, the calligraphy reads: 'I testify that there is no god other than Allah, and I testify that Muhammad is Allah's messenger' printed in black ink surrounded by a marbled paper and gold painted border, 23 x 17.5 cm all glazed (3)
A CHINESE BAMBOO FAN, ATTRIBUTED TO DA KANG (1926-1999). The paper decorated with flower and poem with further calligraphy to the reverse, signed and dated 1944. The bamboo handle also carved in relief and incised with Chinese characters. Mounted in perspex display stand. Fan approx. 49cm wide opened.Good with no major damage.
A TALL PAIR OF CHINESE BLACK LACQUERED AND GILT WOOD PANELS, 19/20TH CENTURY. Gifted under the rule of Ruan Zhidong, the head of Shandong society. Each with eight gilt characters on a cloud ground with tassels to top corners. To the back are further painted calligraphy. Each 152cm x 25cm. (2)Some losses to back of one.
Wu Guanzhong (Chinese, 1919 -2010) - An original contemporary oil on canvas painting by Chinese painter Wu Guanzhong. The painting depicting a cherry tree in blossom with stone wall in the background. Signed to bottom right. Unframed. Measures approx. 50 x 50cm. Inspired by the vibrant colors of the Fauves and the energy-in-motion of traditional Chinese calligraphy, Wu Guanzhong achieved an elegant reconciliation of Western and Eastern aesthetics and became one of the acknowledged founders of modern Chinese painting. “If a painting contains no abstraction nor impressionistic elements,” he said of his syncretic approach, “it is a kite that will never fly. But if the painting completely breaks the connection between human feeling and the object portrayed, the kite string has been broken. I try to keep the line unbroken.” Wu Guanzhong (吴冠中) was born on August 29, 1919 in Yixing, Jiangsu, China. He initially studied electrical engineering in Hangzhou but transferred to that city’s art academy, against his family’s wishes, in 1936. In 1947, Wu won a government scholarship to study at the École nationale supérieure des Beaux-Arts in Paris, where he became enthralled by the Post-Impressionists. Upon his return to China, he began traveling around the country, seeing familiar landscapes in a new light. After 1966, Wu was prohibited from painting or writing about art, and many of his works were destroyed; in 1970, he and his wife were separated and assigned to two years of hard labor in the countryside as part of the Communist leader’s “re-education through labor” initiative. After Mao’s death in 1976, Wu was able to return to art-making, and held his first major solo show in 1979. In 1992, Wu was the first living Chinese artist to hold an exhibition at the British Museum. Wu died at the age of 90 on June 25, 2010 in Beijing. Today, Wu’s work can be found in the Hong Kong Art Museum, the National Gallery Singapore and the Metropolitan Museum of Art in New York, among other institutions.
Japan - - Tanomura Chikuden. Bildrolle mit Originalzeichnung einer Flusslandschaft. Spätere Edo-Zeit (frühes 19. Jh.). Tusche und Aquarelle auf Seide, eingefasst in ornamentaler Seidenbrokat-Bordüre. Rolle am unteren Ende mit Keramikeinfassung versehen, diese mit blauem floralen Muster verziert. Darstellungsmaße: 81,5 x 22 cm, Maße Bildrolle: 168 x 31 cm. Gerollt in Holzschachtel der Zeit gelagert, diese mit Kalligraphie und Etikett auf dem Deckel versehen (Schachtel etwas gebrauchsspurig). Mit den Stempeln "Chikuden sei" und "Chikuden" "Roho". - Beigelegt ein gestempelter und gefalteter Zettel in Kalligraphie, wonach das Werk 1978 in einem Museum ausgestellt wurde. - Der japanische Maler Tanomura Chikuden (1777-1835) ist ein Vetreter des Nanga-Stils. - Seide etwas gebräunt. Bordüre minimal fleckig, mit einem kurzen Einriss und einer Hinterlegung. Insgesamt schön erhalten. Japan - Pictorial scroll with original drawing of a river landscape. Late Edo period (early 19th century). Ink and watercolours on silk, bordered with ornamental silk brocade. Scroll with ceramic roll at the lower end, decorated with a blue floral pattern. Dimensions of the drawing: 81.5 x 22 cm, dimensions of scroll: 168 x 31 cm. Stored rolled in a cont. wooden box, decorated with calligraphy and label on the lid (box somewhat worn). - With the stamps "Chikuden sei" and "Chikuden" "Roho". - Enclosed a stamped and folded note in calligraphy, according to which the work was exhibited in a museum in 1978. - The Japanese painter Tanomura Chikuden (1777-1835) is a representative of the Nanga style. - Silk somewhat browned. Border minimally stained, with a short tear and a backing. Overall well preserved.
MANUSCRITO.- OFFICIA pro diuersi Sãctis ad vsvm da Me. D. Anta. da Sylva. 1661.- Século XVII (1661).- 48 f.; 12 cm.- E., Manuscript on parchment. Small book of hours, with a simplified structure, composed of the following services (devotion texts) to be read during the eight canonical hours: Ursula (8 readings), Catherine of Alexandria (8 readings), Saint Anthony (8 readings), Prese[n ]tationis B.M. (7 readings), Lectio S Euangelii secundu[m] Matheu[m] (readings [8] to 12), Saint Joseph (8 readings), Lectio Sancti Evangelii secundu[m] Matheu[m] (readings 9 to 12), Seq[u]e[n]t. sancti Evangelii secundu[m] Matheu[m] (1 reading), In festo translationis S. Patris nostri Benedicti (8 readings), Office of the Rosary (8 readings), On the feast of St. Gabriel Archangel (4 + 4 readings), Office of the Guardian Angel (8 readings), Lectio S Evangelii secundum Matheum (readings 9 to 12), Office of the Holy Martyrs (1 prayer and 9 readings). The manuscript is missing page 37, where readings 5 and 6 of the Office of the Guardian Angel should appear, readings 4 and 7 being truncated (the missing page was replaced by a blank page). As decorative elements, we point out: calligraphic title page inserted in baroque cartouche, made with pen; initial F (fol. 1v) watermarked in gold, on a purple background (20x20 mm); large plant separator drawn in pen (fol. 26v); final inscription with the words Finis Lavs Deo., inserted in a cartouche; epigraphs, initials and separators of the readings in red; remaining text in Roman italic calligraphy. It was not possible for us to obtain information about the owner Mother Antonieta(?) da Silva. Contemporary crimson silk velvet binding, retaining the original silver clasp; marbled paper endpapers from the 19th century., unmarked silver, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c)
宋徽宗 A Chinese Scroll Calligraphy By Emperor Huizong Of Song. Song Dynasty. Dimensions (Sight/Painting View): 52 3/4 x 13 3/8 in.(134cm x 34cm). The collection originate from Edward Hobart Seymour's uncle's family. Source: From the collection of Edward Hobart Seymour. Edward Hobart Seymour (1840-1929) was the grandson of Sir Michael Seymour. He studied at Radley College in Southsea and Eastman's Royal Naval Academy, joining the Royal Navy in 1852. He became a Royal Navy officer and the first overall commander of the Eight-Nation Alliance during the Boxer Rebellion. In 1857, Seymour came to China, participating in the Second Opium War, but he returned to Britain due to health reasons. In 1860, he returned to China to suppress the Taiping Rebellion and visited its capital, Nanjing. During the Boxer Rebellion in 1900, Seymour, stationed in Tientsin (Tianjin), ordered "appropriate and practicable measures" to protect British nationals in China. When the Boxers reached Beijing, Seymour initiated military action. In June 1900, the Eight-Nation Alliance formed, appointing Seymour as the commander-in-chief. His forces were blocked at Langfang. Later, he engaged in battles at Shanghai, Nanjing, Wuchang, Shanhaiguan, and Qinhuangdao. The command was later assumed by the German General Waldersee. Seymour was promoted to Admiral in 1901 and returned to England in August of the same year. He visited China three times, receiving numerous art pieces as gifts from the Chinese government and acquiring artworks during the suppression of the Boxers. These artifacts were transported back to the UK with his fleet. Admiral Seymour received the Order of the Bath and the Victoria Cross. He passed away on March 2, 1929, at the age of 88, unmarried and childless. After retirement, Seymour organized his collection and affixed his signature to some items, also sealing them with his family crest. He sold and donated parts of his collection in his later years.
米芾 A Chinese Scroll Calligraphy By Mi Fu. Song Dynasty. Dimensions (Sight/Painting View): 52 1/4 x 15 7/8 in.(133cm x 40.5cm). The collection originate from Edward Hobart Seymour's uncle's family. Source: From the collection of Edward Hobart Seymour. Edward Hobart Seymour (1840-1929) was the grandson of Sir Michael Seymour. He studied at Radley College in Southsea and Eastman's Royal Naval Academy, joining the Royal Navy in 1852. He became a Royal Navy officer and the first overall commander of the Eight-Nation Alliance during the Boxer Rebellion. In 1857, Seymour came to China, participating in the Second Opium War, but he returned to Britain due to health reasons. In 1860, he returned to China to suppress the Taiping Rebellion and visited its capital, Nanjing. During the Boxer Rebellion in 1900, Seymour, stationed in Tientsin (Tianjin), ordered "appropriate and practicable measures" to protect British nationals in China. When the Boxers reached Beijing, Seymour initiated military action. In June 1900, the Eight-Nation Alliance formed, appointing Seymour as the commander-in-chief. His forces were blocked at Langfang. Later, he engaged in battles at Shanghai, Nanjing, Wuchang, Shanhaiguan, and Qinhuangdao. The command was later assumed by the German General Waldersee. Seymour was promoted to Admiral in 1901 and returned to England in August of the same year. He visited China three times, receiving numerous art pieces as gifts from the Chinese government and acquiring artworks during the suppression of the Boxers. These artifacts were transported back to the UK with his fleet. Admiral Seymour received the Order of the Bath and the Victoria Cross. He passed away on March 2, 1929, at the age of 88, unmarried and childless. After retirement, Seymour organized his collection and affixed his signature to some items, also sealing them with his family crest. He sold and donated parts of his collection in his later years.
米芾 A Chinese Scroll Calligraphy By Mi Fu. Song Dynasty. Dimensions (Sight/Painting View): 48 x 18 in.(122cm x 46cm). The collection originate from Edward Hobart Seymour's uncle's family. Source: From the collection of Edward Hobart Seymour. Edward Hobart Seymour (1840-1929) was the grandson of Sir Michael Seymour. He studied at Radley College in Southsea and Eastman's Royal Naval Academy, joining the Royal Navy in 1852. He became a Royal Navy officer and the first overall commander of the Eight-Nation Alliance during the Boxer Rebellion. In 1857, Seymour came to China, participating in the Second Opium War, but he returned to Britain due to health reasons. In 1860, he returned to China to suppress the Taiping Rebellion and visited its capital, Nanjing. During the Boxer Rebellion in 1900, Seymour, stationed in Tientsin (Tianjin), ordered "appropriate and practicable measures" to protect British nationals in China. When the Boxers reached Beijing, Seymour initiated military action. In June 1900, the Eight-Nation Alliance formed, appointing Seymour as the commander-in-chief. His forces were blocked at Langfang. Later, he engaged in battles at Shanghai, Nanjing, Wuchang, Shanhaiguan, and Qinhuangdao. The command was later assumed by the German General Waldersee. Seymour was promoted to Admiral in 1901 and returned to England in August of the same year. He visited China three times, receiving numerous art pieces as gifts from the Chinese government and acquiring artworks during the suppression of the Boxers. These artifacts were transported back to the UK with his fleet. Admiral Seymour received the Order of the Bath and the Victoria Cross. He passed away on March 2, 1929, at the age of 88, unmarried and childless. After retirement, Seymour organized his collection and affixed his signature to some items, also sealing them with his family crest. He sold and donated parts of his collection in his later years.
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