We found 13124 price guide item(s) matching your search

Yamaoka Tesshū (1836 - 1888)A Japanese Zen calligraphy, ink on paper, mounted as hanging scroll, signed by the artist with three seals, 122 x 55cm.cf. Yamaoka Tesshū was a practitioner of Zen Buddhism, and also samurai, politician, thinker under the employment of the Shogunate government.

Yagyu Shojo (1926-1989)A Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reads: everyday is good day, signed zen Daitoku Yagyu Shojo, with three seals, 99 x 28.5cm, with an inscribed and fitted Japanese wood box.

Tetsuryo Myoan (1705-1779)   A Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reading: I sit on great courage peak, signed Jotoku Myoan with three seals, 128.5 x 25.5cm, with a Japanese wood box.cf. Tetsuryo Myoan was a monk of the Soto Zen school, he was a monk rotated in various temples including Ko'un - ji in Nagano, Zensho-ji in Shiga, Teisho-ji in Nagano, Jotoku-ji in Shiga, Myoko-an in Noto, Ishikawa.Condition Report: Loss to the top right corner of the paper and fraying throughout the painting, Minor creasing and staining to calligraphy and mount commensurate with age. This calligraphy has been remounted.

Hakuin Ekaku (1685-1768)Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reading: I devote myself to the Lotus Sutra, with seals reading Rinzai shoju, Hakuin and Ekaku, 98 x 18.5cm.Provenance: Christie's auction, sale 2725, 18 September 2013, lot 558.Condition Report: The calligraphy has been remounted, and probably has been trimmed. Restoration to top section, creasing and staining to the paper. 

Dogen Jinmyou (1876-1966)Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reads: the wind of love is born naturally, signed with three seals, 33 x 45cm, with a Japanese wood box. cf. Dogen Jinmyou was born in Kyoto Miyazu, he was the 52th  superintendent priest of the Obakusect Manpuku-ji.

Rong Geng (1894-1983)Calligraphy in bronze scriptInk on paper, signed Rong Geng with a seal, 24.4 x 27.8cm.Provenance: Mu-Fei Collection. 容庚金文書法鏡心款識：㝐庚鈴印：「㝐庚」來源：木扉收藏。

Bunsho Kasumi (1905 - 1998)A Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reading Cranes makes a nest to the pine which passed through 1000 years, 191 x 22.5cm, with a Japanese wood box.cf. Bunsho Kasumi was born in Gifu prefecture, he was the abbot of Kaisei-ji of Nishinomiya and superintendent priest of the Myoshin-ji in Kyoto, Japan.

Illuminated manuscript. Missa Beatae Virginae et aliae Orationes, Bologna, 1494, [ii] 145 [ii] leaves, illuminated manuscript on vellum, Rotunda Italiana script in Latin, 11 lines per page, leaf 31 with full page illumination depicting the Virgin and the Infant Christ within full-page border, scrolling decoration at head and foot on a red and green ground, urns and flowers with jewels and pearls on a deep blue ground, shield at foot azur an eagle or with initials N.M., leaf 66 with elaborate illuminated 5-line D with stave of flowers, leaves, scrolls, jewels and pearls on crimson, blue and gold grounds, one-line crosses in red and blue, some rubrics in Italian towards the end, 2-line liquid gold illuminated letters on red, blue and green grounds with scrolling decoration, initial letters with traces of gold, partially rubricated, title and ex libris of Isabella Sofia Commercati (circa 1800) added to the recto and verso of the first and last leaves respectively, 20th century bookplates of Pamela and Raymond Lister and Michael Tomkinson, occasional slight marginal soiling, small oil-stain to blank outer corner of last three leaves, blue watered silk endpapers, all edges gilt, early 19th-century black morocco with quadruple-rule in blind, the upper panel stamped with the arms of the Malpassuti (di Tortona) family, 12mo (66 x 95 mm), contained in folding boxQTY: (1)NOTE:Provenance: Malpassuti family of Tortona, Lombardy (armorial binding); Michael Tomkinson; Pamela and Raymond Lister. Isabella Sofia Comercati not traced.An attractive pocket-sized liturgical work. Folios 1-19 contain a calendar of saints, amongst which are Saint Petronius, indicating a Bolognese provenance, Mark the Evangelist and the apostle Barnabas. Folios 20-51v comprise the Mass of the Virgin. The Confiteor, Misereatur and Blessing are followed by the Pericopes arranged in chronological order (John 1, 1-14; Luke 1, 26-37; Matthew 2, 1-12; Mark 16, 14-20). The striking and colourful fullpage illumination marks the start of the Mass of the Virgin. It opens with psalm 44, before moving onto a farced Gloria with additional tropes specifically for the Marian mass, a collect, epistle, gradual, the Nicene Creed, Ave Maria, Eucharistic prayer II, the Preface of Mary, Sanctus, Agnus, Benedictus, Salve Regina, the Marian antiphons, Psalm 90, prayers of Saint Augustine, and on the Passion. Folios 51v-81 contains the prayers of Saint Bridget on the passion of Christ and 81v-85 the prayers of Saint Anselm. Folios 86-134 contain the seven penitential psalms and litanies beginning with a fine elaborate illuminated letter, then follow prayers of Saint Bernard on folios 135-138r. Folios 138v to the end give the prayers used at the Lateran Basilica in Rome and for papal indulgences.Originally written for ‘Jacopo’ (whose name appears several times in the text in the same hand), the reference to Saint Anselm dates the book to after 1494, when Anselm was canonized by Pope Alexander VI. The small size of the book indicates private use, and the arms and initials within the fullpage illumination a lay origin. The clear and elegant calligraphy – the very regular rotunda script indicating a high-end scribal production for a wealthy patron – and style of illumination point towards by the circle of the famed calligrapher Sallando – though this is not his hand – and the illuminator Marmitta, both of whom were working in Bologna from the last decade of the 15th century, and who made use of a palette of strong, dark colours and foliage. The N.M. monogram at the foot may indicate an earlier member of the Malpassuti family.

A Chinese blue and white vase, 19th c or later, painted with the eight immortals in a continuous landscape, the diaper shoulder reserved with the four friends, the waisted neck with bamboo, 32.5cm h, Yongzheng and two other square marks, circumscribed by calligraphy in underglaze blue Undamaged, no restoration

Antique Persian Kard dagger with hand chiselled & wootz Damascus blade. Interesting calligraphy pierced work to the back of the handle. Date circa 1800. Total length 35.5cm

ink and acrylic on paper, 123 by 123cm Provenance: Michael Goedhuis Footnote: Born in Datong, Shanxi, in 1964, Wei Ligang has been at the forefront of contemporary ink painting’s development on the mainland, and he was one of the organizers of the June 1999 “Bashu Parade: ’99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the 20th Century” exhibition. In 1981, at the age of 17, Wei was admitted to Nankai University in Tianjin to study mathematics. He became the president of the calligraphy society at the university, which enabled him to connect with leading local calligraphers. After graduating in 1985, Wei was assigned to teach mathematics at the Teachers’ Training School in the industrial city of Taiyuan, but he succeeded in persuading the school to allow him to teach calligraphy in 1988. Wei Ligang moved to Beijing in 1995 to concentrate on his art. His training in mathematics has contributed to his abstract form of calligraphy. Many of his works are based on “Wei Squares,” a formula inspired by the square framework printed on practice paper for the characters that students copy repeatedly when learning calligraphy. Different from his gold-ground paintings, in which individual brushstrokes are not discernible, the Wei Square calligraphic paintings subtly combine painting and calligraphy: the density of ink ranges from solid black with dry brushstrokes to pale greys. Wei Ligang constantly deconstructs and re-forms the characters in his paintings while hinting at traditional script-forms (such as formal, running, or “grass” script), thus declaring his deep roots in Chinese culture. His works were included in the pioneering exhibition organized by Gordon Barrass at the British Museum in 2002.

ink on xuan paper, 96.5 by 180.3cm Provenance: The Origo Collection. Michael Goedhuis Published, Illustrated and Exhibited: Jason C Kuo, Chinese Ink Painting Now, New York, 2010, p.144, where the author notes that Zhang Dawoo was born in Beijing in 1943, and has been actively involved in the modern calligraphy movement. Coming from a cultivated family, Zhang had an unhappy childhood as his parents separated when he was three. In his early teens, Zhang lived in Tianjin with his father, who was a professor of English at Nankai University. During this period, Zhang studied with two master calligraphers, Li Henian and Wu Yuru, which built a solid technical platform for his later development. From 1963 to 1979, Zhang lived in the northeast of China, and the wild landscape he saw there greatly increased his appreciation of art stimulated by nature. After the Cultural Revolution, Zhang returned to Beijing in 1979; he began teaching calligraphy, and in the mid-1980s trying novel effects. In 1992 he set off for Tasmania, where his innovative calligraphic experiments developed. Since then Zhang Dawo has lived and worked in both Beijing and Australia. This led to his work being included in the pioneering exhibition of calligraphy organized by Gordon Barrass at the British Museum in 2002. The rugged landscape in Tasmania has become an endless inspiration for Zhang’s later works, in which he continues to explore the spatial arrangements and chromatic possibilities of Chinese calligraphy, attempting to render it relevant to modern viewers, wherever they’re from.

comprising: a cream jade ring carved in low relief with a string of coins, 2.5cm high; a greyish-green jade ring carved in low relief with an archaistic taotie band between key-fret bands, 2.4cm high; a mottled cream and brown jade ring carved with a band of calligraphy, 2.5cm high; and a mottled brown and cream jade ring carved in low relief with a dragon, 2.1cm high Provenance: The ring with carved string of coins, acquired from Frank Ormonde, 1992.

TWO EARLY 20TH CENTURY KASHMIRI LACQUERED BOXES, with calligraphy and figural decoration, along with another letter rack, (3).

A CHINESE BLUE AND WHITE PORCELAIN BOWL, with calligraphy inscriptions and two bands of raised bosses, base with character mark, 15.5cm diameter.

A FINE 13TH CENTURY PERSIAN SELJUK ENGRAVED BRASS DISH, depicting a mythical creature in the centre and fine Kufic calligraphy around the rim, 23.5cm diameter.

A 13TH CENTURY PERSIAN SELJUK BRONZE DISH WITH KUFIC CALLIGRAPHY, 18.5cm diameter.

A FINELY CARVEEDD LARGE 19TH CENTURY PERSIAN QAJAR WOODEN COMB, with calligraphy, together with another two possibly Indian combs, largest 17cm wide, (3).

A VERY FINE AND RARE PERSIAN ENGRAVED COPPER VESSEL, depicting fine zoomorphic Kufic calligraphy and zodiac symbols around the faceted body, base possibly later, 25cm high.

A RARE 12-13TH CENTURY PERSIAN SELJUK KHURASAN BRONZE INKWEL WITH KUFIC CALLIGRAPHY, 7.5cm high.

A 12TH CENTURY NISHAPUR GLAZED POTTERY BOWL, the interior with calligraphy, 19cm diameter.

TESHIGAHARA SOFU (JAPANESE 1900-1979) UNTITLED Sheet Copper Signed SOFU and dated 1962 approximately 399 x 95 x 50cm; 157 x 37½ x 19½ in. The recent sculpture of the master Teshigahara Sofu has served as a major step in establishing a new aesthetic [...]. Until a new order is born, "adjacency" is the most abstract concept we have. The term "composition", which now enjoys currency in aesthetics and art criticism, is too classical, and I am even of the opinion that it should be replaced with "arrangement" Michel Tapié "A Mental Reckoning of My First Trip to Japan (1957)", in From Postwar to Postmodern: Art in Japan 1945-1989, (New York, 2012), p. 99-100. Born in Tokyo in 1900, Teshigahara is regarded as one of the most important Japanese Avant-Garde artists. In 1927 he started the Sogetsu-ryu school of Ikebana flower arranging for which he received the Minister of Education Awards for Art in 1962. From these roots in his mastered field of one of the three classical Japanese arts of refinement Teshigahara expanded his artistic endeavors into painting, calligraphy and sculpture. He first exhibited as a sculptor at Tokyo's Bridgestone Museum in 1957. This untitled work bears similarities with work exhibited in 2020 at the Sogetsu WEST, gallery in Japan which were titled "八百万の神" (YAOYOROZU no KAMIGAMI). TIME Magazine called him the 'Picasso of Flowers' and he was awarded the Order of Arts and Letters by the French government in 1960 and the Legion of Honor in 1961. Condition Report: Weathering and wear, marks, knocks and scratches as per age, handling, use, and cleaning. There are bruises and score marks from previous slightly clumsy handling. The piece is hollow and was shipped to us on a back of a lorry onto blankets- and was loaded onto the lorry with straps and a forklift. It was offloaded by 4 strong men who lifted it into position. The weight is approximately 250/300kg. It does not have a permanent base but 4 feet. It is currently screwed down onto an old tree trunk base in our gardens. For permanent erection/installation it may well benefit from a solid base such as concrete but this will be at at the discretion of the purchaser. 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. 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. 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. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. 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

A Visconti Art of Writing Calligraphy boxed set in orange.

Large Chinese porcelain baluster vase decorated in enamels with a winter landscape within black jewelled borders, with black calligraphy and red seal marks, red seal mark to base, 35cm high

Possibly 17th century Islamic silvered copper bowl, the exterior with floral decoration and calligraphy, D20cm

Three scholars piecesChinese, 19th/20th Centuryincluding a Yixing brush rest with a cricket resting on a branch, impressed mark, 20cm long, a Yixing brush washer, with incised calligraphy, 12cm diameter and a coconut bowl and cover with shou characters, 12cm diameter (3) All the pieces have some wear and marks.

Two Cizhou vasesChineseone of Meiping form with simple foliate decoration and the other with calligraphy around the vase, 36cm and 29cm The taller vase with flaking and chips and the smaller vase with wear and firing faults.

Pair of Calligraphy studiesChinese, 20th Centuryink wash on red and gold speckled ground, 167cm x 35cm (2) Unidentifiable foreign objects behind the glass. The back of the frames have been written on in pencil. Cockled paper. With folds/creases. With water damage/staining. With some potential foxing or staining. Frames with signs of wear consistent with age and use. One frame with an old tape mark.

A selection of pictures to include two 1970s original cartoon illustrations signed Hayro (Hairo Avo, Armenian), and one other signed indistinctly, a Chinese scroll picture of a seated man with sword, calligraphy below, possibly translates to 'Statue God Oharakan/Official of 2 Akusha Shrine Zaitaisha, maps and other items Location:If there is no condition report shown, please request

A Pelikan Graphos calligraphy set with eleven nibs, fitted case, other loose nibd, Anker Precision drawing tools etc; three cased 50p pieces; Auer pocket lighter etc

Of four pictorial painted panels in the famille rose palette, each with a calligraphy verse above. Housed in a hardwood screen. Measurements of each panel 38 cm height, 14 cm width.

A Qing Dynasty gouache on paper depicting a court official of the 5th rank attended by two female family members. All wearing richly embroidered court robes and buzi rank badges of silver peasants. A calligraphy panel above bordered by a dragon chasing flaming pearls. With red seal mark to the lower left corner. Framed and glaze in a contemporary frame. 205 cm x 112 cm.

QTY OF CALLIGRAPHY PAPER, PAPERWEIGHTS & OTHERS

19th/20th Cent. Persian calligraphy with a scripture in Arabic on a bed of flowers || PERZIË - 19°/20° EEUW fraaie gesigneerde kalligrafie met een scriptuur in het Arabisch op een veld van bloemen - 39 x 49

A rare Khorassan bronze candlestick of typical form, 12th - 13th c., a band of stylized calligraphy close to the candle holder, 13'' diameter at base, 10'' high.

A ‘FISH’ PORCELAIN PLAQUE IN THE MANNER OF DENG BISHAN China, 20th century Inscribed with calligraphy and a red seal with an apocryphal Deng Bishan signature and a cyclical dating to 1929. Wooden frame. 79.4 x 21.5 cm  Condition Report: Condition report: THE VISIBLE PART OF THE PLAQUE WITHIN THE FRAME HAS NOT BEEN BROKEN OR RESTORE OR CRACKS ETC.- review the framed with a few scratches, cracks; - look at the back of the plaque visible from the back (we have not fully unpacked the porcelain plaque, but we have managed to open a bit the back to view the back of the porcelain); - scratches. PLEASE REVIEW THE NUMEROUS PICTURES TO ASSESS THE CONDITION THE PLAQUE HAS NOT BEEN REMOVED FROM THE FRAME SO WE CANNOT BE SURE 100% OF THE CONDITION OF THE PART OF THE PLAQUE HIDDEN BY THE FRAME

Two Chinese 20th century blue and white tea bowls, one decorated with calligraphy and the other of a man fishing in a continuous landscape, both with apocryphal marks to the bases

A pair of mid/late 20th century earthenware garden statues of Chinese foo dogs, both in a dark grey glaze, modeled as seating down with one holding a ball and the other with its paw on top of a smaller dog, raised on rectangular moulded bases with panels of calligraphy and floral motifs, 120cm high x 68cm wide x 35cm deep

Two Chinese soapstone seals carved with animals raised on oval formed bases carved with landscape scenes, with character marks to the undersides, 8cm high x 5cm wide, together with a soapstone carved vase with pierced decoration, twin handles and panels incised with calligraphy, 10cm high x 5.5cm wide

An Ottoman Empire shamshir sword, having a curved blade with gilt calligraphy, characteristic gilt brass hilt with two-piece riveted horn grips, contained in its gilt brass mounted and leather wooden scabbard with embossed designs, 88cm total length, sword length 85cm

Two Chinese polychrome figures together with a small blue and white ceramic lidded box with gilt calligraphy to interior.

A small 19th century Chinese bronze vase with calligraphy mark to base, height 8.5cm.

A pair of Islamic brass and silver inlaid candlesticks with Arabic calligraphy, height 30cm.

TSUJI KOYO; two Japanese woodblock prints, 21 x 18cm, and another Japanese woodblock print by Takeuchi Seihō depicting a shell, calligraphy mark lower left, 17 x 22.5cm, all unframed.

A large Islamic copper dish, chased with a central lozenge within six lotus reserves, calligraphy inscription to border, 92cm diameter, India/Persia, 19th century

A Chinese/Tibetan gilt bronze shrine figure, cast with three figures, calligraphy script to verso, 28cm high

Indian School (19th century)Portrait of a Persian dignitary, half-length wearing a turban and holding a sword, the border with Farsi calligraphy,tempera on paper, 69.5cm x 52.5cm

Master Xing Yun (Hsing Yun) 星云法师 Calligraphy “Amitabha” - “阿弥陀佛” 书法 Ink on golden colour cardboard Artist's colophon and two red seals Measures approx. 38cm x 38cm 星云法师 阿弥陀佛 款識：星云  鈐印：「星云」

A Republic Period famille rose cricket box by Xu Changheng. The cylindrical cricket box decorated with a scene of flowers and vases. Further, a verse poem written in Chinese calligraphy to the body. The top having foliate design with flower pattern air holes. Red mark to the base. Measures approx. 7.5cm tall, 8.5cm diameter.  Provenance: from a private Somerset collection.

A CHINESE PORCELAIN POT WITH LUG HANDLES AND CALLIGRAPHY, ALONG WITH A CHINESE PORCELAIN TEAPOT AND COVER DECORATED WITH FIGURES (2), Largest 18cm x 13cm

Vintage pens, large quantity of vintage 1980s, Platignum, ball point pens, Fountain pens and pencils along with some Sheaffer, Conway Stewart, Hill wood and cross, sets of vintage drawing instruments, calligraphy pens and Remington lighters, old new stock,

A GROUP OF CHINESE MUDMEN AND ORIENTAL ORNAMENTS, comprising a carved stone double brush pot/calligraphy pot, four Mudmen figures (fisherman missing rod), a Satsuma style cabinet plate and porcelain figure of a farmer (7) (Condition Report: no obvious damage)

Ca. AD 1100 - 1300.A medieval bronze copper inlaid circular tray from the Seljuk period. The interior of the item is extensively decorated with intricate incised geometric motifs and calligraphy, as well as repousse decorative motifs on the exterior. For similar see: Islamic Metalwork from Afghanistan (9th-13th century), n. 20. Size: 25mm x 185mm; Weight: 625g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1100 - 1300.An Islamic bronze openwork decorated buckler. The exterior of the item is extensively decorated with intricate openwork decoration and calligraphy; central part adorned with moulded Umbo with a hole. For similar see: Islamic Metalwork from Afghanistan (9th-13th century), n 419. Size: 270mm x 270mm; Weight: 1.1kg Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1100 - 1300.An Islamic, copper-alloy, gilded and decorated buckler. The exterior of the item is extensively decorated with intricate, incised decoration and calligraphy, as well as repousse decorative motifs on the hemispherical top. For similar see: Islamic Metalwork from Afghanistan (9th-13th century), n 419. Size: 240mm x 240mm; Weight: 915g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 800 - 1000.An Islamic stone fragment bearing a kufic inscription. The details of the letters are well defined in an elegant calligraphy typical of muslim architecture For similar see: Museum of No Frontiers, Berlin, N. I. 4465. Size: 290mm x 390mm; Weight: 9.8kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1100 - 1300.An Islamic, copper-alloy, gilded and decorated buckler. The exterior of the item is extensively decorated with intricate, incised decoration and calligraphy, as well as repousse decorative motifs on the hemispherical top. For similar see: Islamic Metalwork from Afghanistan (9th-13th century), n 419. Size: 200mm x 200mm; Weight: 565g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1100 - 1300.An Islamic bronze copper inlaid circular tray from the Seljuk period. The interior of the item is extensively decorated with intricate incised geometric motifs and calligraphy, as well as repousse decorative motifs on the exterior. For similar see: Islamic Metalwork from Afghanistan (9th-13th century), n. 20. Size: 30mm x 175mm; Weight: 495g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

China - Porcelain quadrangular vase decorated with a mage, landscape and calligraphy, Quanjicai - Weight: 435 g - Shipping available - Region: Chine - Sizes: H 130MM X L 100MM - At first glance: good condition

China - Carved stone seal surmounted by two lions, calligraphy, Qing period. - Weight: 410 g - Shipping available - Region: Chine - Sizes: H 75MM X L 55MM - At first glance: good condition