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黃庭堅 A Chinese Scroll Calligraphy By Huang Tingjian. Song Dynasty. Dimensions (Sight/Painting View): 43 1/4 x 24 3/8 in.(110cm x 62cm). 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.

Schale mit eisenrotem Lotusdekor. CHINA, Qing-Dynastie (1644-1912). Der weisse Fond ist eisenrot bemalt mit Lotus, Rankwerk, Fledermäusen und Kalligraphie. Standring und Rand sind mit ornamentalen Musterfriesen mit Türkis und Blau verziert, D: 22 cm. Altersspuren, berieben.| Bowl with iron-red lotus decoration. CHINA, Qing dynasty (1644-1912). Bowl with iron-red lotus decoration. CHINA, Qing dynasty (1644-1912). The white base is painted in iron-red with lotus, tendril work, bats and calligraphy. Stand ring and rim are decorated with ornamental pattern friezes with turquoise and blue, D: 22 cm. Signs of age, rubbed.

Vierkantvase. CHINA, Qing-Dynastie (1644-1912) Hochrechteckige Form mit eingezogener Schulter und weiter Mündung, mit zwei seitlichen Löwenkopfhenkeln, darunter Kalligraphie in Gedichtform, schau- und rückseitig dekoriert in den Farben der famille rose mit Päonien, dem Symbol für Demut und Hingabe und je einer Blauelster, die in China als Glücksbotin verehrt wird. Die ursprünglich vergoldeten Löwenkopfhandhaben und der vergoldete Rand wurden nachträglich (wahrscheinlich während der Kulturrevolution unter Mao Zedong) ohne Sorgfalt mit roter Farbe übermalt, H: 57 cm. Alters- und Gebrauchsspuren, wie z.B Chips am unteren Rand sowie Unregelmäßigkeiten und Imperfektionen, wie z.B.: zwei linienförmige Unebenheiten im Porzellan und diverse Brandflecken sowie Beschädigungen in der Bemalung. | Square vase. CHINA, Qing dynasty (1644-1911). High rectangular form with indented shoulder and wide mouth, with two lateral lion head handles, below calligraphy in the form of poems, show and back decorated in the colors of the famille rose with peonies, the symbol of humility and devotion and a blue star each, which is revered in China as a messenger of good luck. The original gilded lion head handles and gilded rim were subsequently painted over with red paint without care (probably during the Cultural Revolution under Mao Zedong), H: 57 cm. Signs of age and use, such as chips on the lower rim and irregularities and imperfections, such as: two linear bumps in the porcelain and various burn marks and damage to the painting.

TIFFANY: ART NOUVEAU GOLD, RUBY AND CAT'S EYE CHRYSOBERYL BANGLE, CIRCA 1882Chased throughout in a breaking wave pattern, the front inset with three cat's eye chrysoberyl cabochons between cushion-shaped rubies, the back with an applied gold design, possibly inspired by Islamic calligraphy, engraved Dec 12th 1882. 'KISMET', signed Tiffany & Co, one cat's eye chrysoberyl replacement, inner circumference 19.4cm Footnotes:Accompanied by a document from IAJA Expertise stating that the bangle is by Tiffany. Number: XP1347-240723, dated 24 July 2023.ProvenanceMary Louisa Schenck (1842-1954)Descent to the current ownerThe three bangles, lots 87, 88, 89, have been in the vendors' family for four generations, belonging to their Great Grandmother, Mary Louisa Schenck (1860-1954) and Great Great Aunt Emma Schenck (1855-1935).The ruby and chrysoberyl bangle (lot 87) is thought to have been a gift from John Frederick Schenck (1842-1905), a New York Stockbroker, on his engagement to Mary Louisa Stone. The emerald bangle (lot 88) was a gift to Mary Louisa on the birth of their daughter, Aleid Schenck in 1884.The sapphire and diamond bangle (lot 89) belonged to John Frederick Schenck's sister, Emma Schenck and was a gift from her husband Charles Rowe Shepard on their wedding day.Four generations of the family are pictured in the photograph where one of the bangles is being worn by Mary Louisa Schenck. The image was taken in 1949.For further information on this lot please visit Bonhams.com

Verlaine (Paul). 'Poesies'. Calligraphy by Philippe Gronin, Paris 1939. 47pp. with coloured illustrations. Ltd. 28/30. Fine blue leather binding by A Cerutti with stylised gilt scrolls (285 x 190mm) outer half leather cover and slip case

Chinese Export saucer dish with calligraphy, 20.5cm diameter.

Eight Sheaffer fountain pens, each black, two in packet with calligraphy leaflet and two spare nib holders and nibs

A Chinese Bronze Tray of Stepped Square Form with Calligraphy Verses to Top and Dragons in Relife Chasing Flaming Pearl Verso, 14cm Square

Porcelain Famille Rose brush pot for calligraphy supplies with polychrome decor of birds on a branch and Chinese characters, China Tongzhi period ca. 1870, 16 cm high, 16 cm diameter (hairline)

A Chinese calligraphy inscribed brush pot, 12cm

An Islamic Pottery Bowl, probably Nishapur, 10th/11th century, painted in yellow and brown with a figure on horseback and with pseudo calligraphy on a ground of scattered flowerheads33cm diameterBadly broken into many pieces and painstaikingly re stuck. No over spray, cracks left honest but with some areas of infill repair.From a private house in Cheshire

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.

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

A Middle Eastern brass pedestal stand, profusely chased and engraved in the Islamic taste with Arabic calligraphy, dished plateau, 22.5cm high, early 20th century

A Chinese faux-tortoiseshell tetradecahedron snuff bottle, decorated in gilt with calligraphy inscriptions, 5.5cm high; others, a 19th century chinoiserie papier-mâché snuff box, 9.5cm wide; another, etc (15)

A Kashmiri rectangular playing card box, decorated in the Persian Islamic taste with hunting scenes and calligraphy, enclosing twin compartments, 11cm high, paper label

A pair of Middle Eastern Islamic gilt damascened steel calligraphy scissors, 24.5cm long, Ottoman, 19th century

A Persian lacquer tray, of European silver shaped, the field painted in polychrome with a hunting scene, the border with calligraphy verse, 37cm wide, 19th century

A set of Japanese Uta-garuta playing cards, composed of the Hyakunin Isshu of the Hundred Poets, each painted in watercolour and calligraphy, the fragmentary box 16.5cm wide, Meiji period

Ashot Bayandur (Yerevan 1947-) An abstract modern oil on canvas with calligraphy, titled at the back 'twelve', 130x130cm, signed at the back, with paperwork and receipt of purchase dated 1997 from OPUS 39 Gallery. Provenance: From the Estate of the late Thanos Zintilis.

Vu Cao Dam (Vietnamese/French, 1908-2000). Color lithograph on paper titled "Saint-Paul-de-Vence" depicting the hilltop commune in Southeastern France, 1971. Pencil signed and dated along the lower right; numbered 103/150 along the lower left.Lot Essay:Born in Hanoi in 1908 to a well-to-do family, Vu Cao Dam displayed an early interest in the arts. His father, a well-educated Catholic, brought him up in a home surrounded by traditional Chinese calligraphy and a wide range of cultural influences. In 1926, he began his formal artistic education at the painter Victor Tardieu’s École des Beaux-Arts de l'Indochine, now the Vietnam University of Fine Arts. Tardieu and his instructors taught academic European painting to his students as well as decoration, architecture, anatomy, and sculpture. It was at sculpture that young Vu Cao Dam most excelled, and he joined the newly minted sculpture program at the École des Beaux-Arts, where he created several bronze busts that won him early acclaim.In 1931, following his graduation from the École des Beaux-Arts de l'Indochine, Vu Cao Dam received a scholarship to continue his art education in Paris. He began his Parisian studies at the Cité Internationale Universitaire de Paris. During his first year there, Vu Cao Dam received the prestigious honor of an invitation to display his works in the Exposition Coloniale Internationale. He then continued his studies at the École du Louvre, where he was able to view the works of the great European academic masters he had been trained to emulate. However, he was most compelled by more recent works of the impressionists and post-impressionists, as well as great sculptors such as Auguste Rodin and Alberto Giacometti.Vu Cao Dam’s career took off following the completion of his education. He and fellow Vietnamese expatriate Le Pho, a dear friend with whom he had studied in Hanoi, found success and popularity on the Paris art scene. Vu Cao Dam began sculpting what would become his most famous subject matter: elegant Vietnamese ladies. He continued to paint as well as sculpting, often painting on silk, a form of painting taught at the École des Beaux-Arts de l'Indochine. He also began to put down personal roots in France, marrying and having two children.When World War II broke out, Paris became a dangerous place to live and work; Vu Cao Dam sent his family to the countryside to escape the Nazi-occupied city. However, he stayed in Paris, frantically creating art out of any material available under strict rationing, and bicycling the 100-km distance to see his family whenever he could. During this time, he executed several of what are now seen as his finest works out of terracotta, demonstrating his resourcefulness and commitment to his art.In 1949, plagued by ill health, Vu Cao Dam moved to the south of France with his family, to a villa named Les Heures Claires. The bright, airy atmosphere of southern France had a large impact on his painting, as did the work of his new neighbor, Marc Chagall. His works take on a sunny, pastel air at this point. Throughout the 1950s and into the early 1960s, Vu Cao Dam gained international success, exhibiting throughout France, particularly in Nice, as well as in Sweden, Belgium, and the UK. In the early 1960s, Vu Cao Dam signed an exclusive contract with Wally Findlay Galleries in the United States. This brought his work notoriety in the United States, and there are many fine examples of his work in the United States that originate from this partnership. Vu Cao Dam remained in France for the rest of his life, continuing to create art until his death in 2000.Sight; height: 20 1/2 in x width: 26 1/2 in. Framed; height: 30 1/2 in x width: 36 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

A Chinese Celadon ground ginger jar, decorated with warriors, calligraphy, and mythological figurines. 19th/20th C.Dimensions:(H:32 x D:22 cm)

Two Chinese gouache paintings on fabric, each of a bird perched on a blossoming branch, calligraphy and red seal mark below, 74cm x 35cm, mounted in glazed gilt frames Location:

[A PRIVATE SCOTTISH COLLECTION, EDINBURGH] COLLECTION OF ART REFERENCE BOOKS ON CHINESE ART: MUSEUM COLLECTIONS AND EXHIBITIONS 中國藝術參考書籍：館藏及展覽（約五十三本） Including but not limited to:Art Chinois: Musée Cernuschi acquisitions 1993-2004. Paris: Paris-Musées, 2005.Asiatic art in the Seattle Art Museum: a selection and catalogue. Seattle: Seattle Art Museum, 1973.Bruckner, Christopher. Chinese Imperial Patronage: Treasures from Temples and Palaces. London: Asian Art Gallery, 1998.Catalogue of the International Exhibition of Chinese Art: 1935-6. London: Royal Academy of Arts, 1935.Chinese Art from the Cloud Wampler and Other Collections in the Everson Museum. New York: Frederick A. Praeger, 1968.Chinese Art in the Royal Ontario Museum. Toronto: Royal Ontario Museum, 1972.Christie, Anthony. Chinese Mythology. Feltham: The Hamlyn Publishing Group Limited, 1968.City of Edinburgh Arts Centre. Gateway to the Silk Road: Relics from the Han to the Tang dynasties from Xi'an, China. Edinburgh: City of Edinburgh Museums and Galleries, 1996.Clunas, Craig and Harrison-Hall, Jessica et al. Ming: 50 Years That Changed China. London: British Museum Press, 2014.Clunas, Craig. Superfluous Things: Material Culture and Social Status in Early Modern China. Chicago: University of Illinois Press, 1991.Cook, Brian. Chinese Art. London: B. T. Batsford Ltd, 1935.Crawford, John M. The Crawford Bequest: Chinese Objects in the Collection of the Museum of Art, Rhode Island School of Design. Rhode Island: Brown University, 1993.Edmunds, Will H. Pointers and Clues to the Subjects of Chinese and Japanese Art. London: Sampson Low, Marston & Co., Ltd.Fang, Jing Pei. Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers. Berkeley: Ten Speed Press, 2004.Feng shui: gli oggetti dell'equilibrio. Milan: La Galliavola, 1998.Fong, Wen C. and Watt, C. Y. Possessing the past: treasures from the National Palace Museum, Taipei. New York: Metropolitan Museum of Art, 1996.Gombrich, Richard and Bechert, Heinz. The World of Buddhism. London: Thames and Hudson Ltd, 1991.Hay, Jonathan. Sensuous Surfaces: The Decorative Object in Early Modern China. London: Reaktion Books, 2010.Lawton, Thomas. Asian Art in the Arthur M. Sackler Gallery: The Inaugural Gift. Washington: Arthur M. Sackler Gallery, 1987.Ledderose, Lothar. Ten Thousand Things – Module and Mass Production in Chinese Art (The A. W. Mellon Lectures in the Fine Arts). Princeton: Princeton University Press, 2000.Lee, Sherman E. A History of Far Eastern Art. New York: Harry N. Abrams, 1982.Lee, Sherman E. et al. Eight Dynasties of Chinese Painting: Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 1980.Lin, James C. S. (Ed.). The Search for Immortality: Tomb Treasures of Han China. New Haven: Yale University Press, 2012.Ma, Baojie (Ed.). The Liaoning Museum. Hong Kong: London Editions, 2008.Michaelson, Carol. Gilded Dragons: Buried Treasures from China's Golden Ages. London: British Museum Press, 1999.Musée Cernuschi. Promenade Dans Les Collections Chinoises. Paris: Musée Cernuschi, 1983.Musée du Petit Palais. La Cité Interdite: Vie publique et privée des empereurs de Chine 1644-1911. Paris: Paris-Musées, 1996.National Museums of Scotland. Ming: The Golden Empire. Edinburgh: NMS Enterprises Limited, 2014.Rawson, Jessica and Rawski, Sakakida. China - the Three Emperors 1662 – 1795. London: Royal Academy of Arts, 2005.Rawson, Jessica (Ed.). Mysteries of Ancient China: New Discoveries from the Early Dynasties. London: British Museum Press, 1996.Rawson, Jessica (Ed.). The British Museum Book of Chinese Art. London: British Museum Press, 1992.Rawson, Jessica. Chinese Ornament: The Lotus and the Dragon. London: British Museum Publications Ltd., 1984.Rawson, Jessica. Ancient China: Art and Archaeology. London: British Museum Publications, 1980.Selected Masterpieces of Asian Art: Museum of Fine Arts Boston. Boston: Museum of Fine Arts Boston, 1992.Scott, Hugh. The Golden Age of Chinese Art: The Lovely T'ang Dynasty. Rutland: Charles E. Tuttle Company, Inc., 1966.Schloss, Ezekiel. Foreigners in Ancient Chinese Art; From Private and Museum Collections. New York: China House Gallery, 1969.Smith, Lawrence and Hulton, Paul. Flowers in Art from East and West. London: British Museum Publications Ltd., 1979.Splendeurs des Han: Essor de l'empire celeste. Paris: Flammarion, 2014.The Charles B. Hoyt Collection: Memorial Exhibition February 13 - March 30, 1952. Boston: Museum of Fine Arts.The Mount Trust Collection of Chinese Art. London: Victoria and Albert Museum, 1970.The Schiller Collection: illustrated catalogue. City Art Gallery Bristol, 1948.Thorp, Robert L. and Blower, Virgina. Spirit and Ritual: The Morse Collection of Ancient Chinese Art. New York: Metropolitan Museum of Art, 1982.Treistman, Judith. Pre-History of China: An Archaeological Exploration. Exeter: David & Charles, 1972.Watson, William. The Genius of China: An Exhibition of Archaeological Finds of the People's Republic of China. London: Times Newspapers Ltd, 1973.Watt, James C. Y. and Patry Leidy, Denise. Defining Yongle: Imperial Art in Early Fifteenth-Century China. New York: Metropolitan Museum of Art, 2005.Watt, James C. Y. (Ed.). Exhibition of Paintings, Calligraphy and Porcelain of the Ming Period, 1368-1644. Min Chiu Society. Hong Kong: City Hall Museum and Art Gallery, 1966.Watt, James C. Y. The Arts of Ancient China. New York: Metropolitan Museum of Art, 1990.White, Julia M. and Otsuka, Ronald Y. Pathways to the Afterlife: Early Chinese Art from the Sze Hong Collection. Honolulu: University of Hawaii Press, 1993.Whitfield, Susan. The Silk Road: Trade, Travel, War and Faith. London: The British Library Publishing Division, 2004.Yang, Xiaoneng (Ed.). The Golden Age of Chinese Archaeology – Celebrated Discoveries From the Peoples Republic of China. New Haven: Yale University Press, 1999.Zhang, Wenjun (Ed.). Henan Museum. Hong Kong: London Editions, 2009.中華歷史文物. Taipei: The Globe International Corporation, 1977.Zwalf, W. Buddhism: Art and Faith. London: British Museum Publications Ltd, 1985 Provenance:Provenance: Private Scottish collection, Edinburgh Note: Note: Please note this lot will be offered with no reserve. 本拍品不設底價

A large 19th century Ottoman Islamic silver bowl unmarked of circular tapering form the interior engraved to centre with a medallion containing Arabic calligraphy within bands of scrolling decoration containing a signature, the exterior with a conforming banddiameter 25.7cm., weight approx. 29.44oztCondition: Scratches and wear commensurate with age. Slightly pushed sides so not perfectly circular

Chinese Yixing teapot with calligraphy decoration, 10cm

FU YIYAO (1947-), PAINTING STONE a fan leaf, mounted and framed, ink and colour on paperInscribed, with one seal of the artist Fu Yiyao (b. 1947) is the daughter of the Master Chinese artist Fu Baoshi (1904-1965).The exquisite calligraphy by Fu Yiyao of a poem, ‘Painting Stone’ by Liu Shang (active 766-779). Liu Shang was a poet and painter in the Tang dynasty, and his poem described that the stone with lichen had been painted for a thousand years, and it symbolised the quality of faithfulness. The poem quotes the legend of ‘Nuwa bu tian’ to express that the stone could become very helpful in saving the world.

Chinese carved jade lidded vessel, likely for storing an archer's ring, with calligraphy throughout the exterior. The translucent stone of a pale grayish-white coloration. The lid with low relief carvings. The poem is on the theme of chrysanthemums by the Qianlong Emperor (r. 1736-1795).Provenance: Private Minneapolis Collection - collected in China prior to 1985.Height: 1 1/2 in x diameter: 1 3/4 in. Weight: 70.52 grams.Condition: There are no chips, cracks, losses, or restorations. Some natural veining. Losses to the pigment used to paint the calligraphy. Holes through the center and bottom to allow a cord or chain to pass through.

Group of two Chinese folio paintings, both 20th century. One depicting a scholar speaking to two children and the other depicting scholars discussing a scroll of calligraphy.Provenance: From the collection of Malcolm E. Lein, former director of the Minnesota Museum of American Art.Malcolm Emil Lein (1913-2003) was the director of the Minnesota Museum of American Art during its early and formative years. During his 30-year tenure, he fought to procure the museum funding, grow its permanent collection, and establish it as St. Paul's premiere gallery. Along with his wife Miriam, who worked at the Walker Art Center, he was a fixture in the Twin Cities artistic community throughout his life.(Each) Sight; height: 10 1/4 x width: 8 1/4 in. Framed; height: 14 3/4 x width: 11 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Zheng Shanxi (Chinese, b. 1932). Ink and light colors on paper scroll painting depicting an idyllic mountain village. Bordered by a light cream silk. With calligraphy and red seal along the upper left of the painting.Huaxin; height: 23 1/2 x width: 21 1/4 in. Scroll; height: 70 in x width: 26 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Chinese inside painted glass snuff bottle depicting two scholars in a garden, one gazing into the distance, the other casting a spell to view a pavilion in the clouds. Bottle marked on both sides with clear elegant calligraphy and seals.Provenance: Private Minneapolis Collection - collected in China prior to 1985.Height: 2 3/4 in x width: 2 in x depth: 1 in.Condition: There are no major cracks or major losses. There are small chips along the top and foot rims. There is a sticker affixed along the underside. Light wear to the amethyst stopper.

Chinese inside painted glass snuff bottle well decorated with a sepia washed landscape with elegant trees, rocks and waterfalls in the distance. Well marked with clear calligraphy and seal marks.Provenance: Private Minneapolis Collection - collected in China prior to 1985.Height: 2 1/4 in x width: 1 1/2 in x depth: 3/4 in.Condition: No cracks or major losses. There is a small chip along the top rim. Adhesive tape residue along the underside. The spoon has detached from the lid and is stuck inside the bottle. Some wear to the amethyst lid.

Chinese inside painted glass snuff bottle with two landscapes. One side depicting a scholar in a pavilion viewing a man on a boat. The other side with a similar view in a mirror format. With clear calligraphy and seal mark along one side.Provenance: Private Minneapolis Collection - collected in China prior to 1985.Height: 3 in x width: 1 3/4 in x depth: 1 in.Condition: There are no major cracks, losses, or restorations. There are a few minute chips along the inner rim. There is a sticker affixed along the underside of the bottle. Light wear jade stopper.

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 KASHAN STYLE MOULDED HEAD EWER, the body painted with stylised animal motifs and the neck with a band of calligraphy, traces of turquoise glaze to the rim and top of handle, 31cm high.

A LATE 19TH CENTURY TOMBAK GILT COPPER BOWL, with engraved decoration and calligraphy, 20cm diameter. 

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 VERY LARGE ISLAMIC BRASS TRAY, with panels of calligraphy, 73.5cm diameter.

A 16TH CENTURY TIMURID BRONZE POURING SPOON, with engraved panels of calligraphy, (lacking handle), 16cm diameter.

A FINE 19TH CENTURY SYRIAN DAMASCUS MAMLUK REVIVAL SILVER AND COPPER INLAID BRASS TRAY, decorated with fine calligraphy and Mamluk style geometric designs, 30.5cm x 41cm.

A VERY FINE 19TH CENTURY SYRIAN DAMASCUS MAMLUK REVIVAL SILVER SILVER AND COPPER INLAID BRASS BOWL, with a band of large fine calligraphy, 17cm diameter, 13cm high.

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

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).

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.

AN OTTOMAN TURKISH IZNIK GLAZED POTTERY VASE, with calligraphy, 21cm high.

A SPANISH ISLAMIC MARKET BLUE AND WHITE CHARGER, painted with central decorative motif and calligraphy, 42.5cm diameter

A SPANISH COPPER LUSTRE PLATE FOR THE ISLAMIC MARKET, with calligraphy, 23cm diameter.

A FINE 19TH CENTURY CHINESE CANTON EXPORT PORCELAIN DISH MADE FOR MU'TAMID AL-MULK YAHYA KHAN, enamel painted with birds, butterflies, flora, and objects, with a panel of calligraphy, further embellished with gilt highlights, 33.5cm diameter.

A CHINESE PICTURE ON SILK, depicting a robed female figure, with calligraphy inscription to the top right and two red deal marks, framed in a wooden bamboo style frame and glazed, image 61cm x 31cm.

A VERY FINE 12TH-13TH CENTURY PERSIAN SELJUK COPPER INLAID BRONZE EWER, with engraved calligraphy and decorative motifs, 23cm high.

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).

Three Large 20th Century Chinese Porcelain Calligraphy Vases decorated in the Famille Rose Palette, Two with Shou and The Other Court Scene with Script Verso, All with Red and Gilt Seal Marks to Base, 46cms High. Condition, Not in Perfect Order with One Having Glue Repair

An Ethiopian gold ring, the band with applied calligraphy, 8.5g, size L Scratched from wear

A Syrian brass candlestick, early 20th c, chiselled with figures between bands of calligraphy, 20cm h and an Indo-Persian chiselled brass ewer with zoomorphic spout (2) Complete and undamaged, some wear and polish residues

A pair of 19th Century Chinese bronze vases. Each with calligraphy decorated bamboo shoots and cock fighting scenes. The base of the rims having Greek key design, the top rims with inlaid silver decoration. Measures approx. 28.5 cm high.

Four Chinese silk embroidered pictures including birds of paradise and a calligraphy scroll (each framed), largest 62cm x 36

A Chinese enamelled porcelain plaque, decorated with a mountainous landscape and calligraphy, framed, overall 47cm x 34cm

Indian School, gouache, Hunter on horseback with calligraphy borders, 20cm x 13cm

A MEDICINE CABINET STYLE ELM CONSOLE TABLE Fitted with an arrangement of small drawers with calligraphy inscriptions 178.5 x 33 x 82.5 cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.