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George Chann (Chinese/American, 1913-1995). Mixed media on canvas abstract painting in blue, yellow, and red. Signed along the lower right.Provenance: Private Texas Collection, 2023; Private Minnesota Collection.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 16 3/4 in x width: 21 1/4 in. Framed; height: 20 3/4 in x width: 25 in x depth: 1 in.Condition: The painting is in good condition overall. The surface is stable with no visible cracks or losses. When viewed under UV light, there are no visible areas of restoration. There is some soiling to the verso that does not affect the recto. The frame has some wear.

After Qui Ying in imitation of Zhang Ze Duan, hand scroll painting, ink and colour on paper, late Qing dynasty, depicting a village landscape scene, signed with separate panel with calligraphy and red seal, the outer green fabric decorated with butterflies, the scroll tied with a piece of jade, the landscape panel 382cm long x 32cm wide, the calligraphy panel 106cm long x 29cm wide, the whole scroll 989cm long x 36cm wide close ups showing damage and wear

A pair of late 19th or early 20th century Chinese porcelain baluster vases, with long necks and everted rims, polychrome decoration of cranes in a river landscape with fir trees and deer, each with a pair of fixed ring handles held by Fo Dogs, the backs with extensive Chinese calligraphy, on gilt wood stands, 9in. (22.9cm.) diameter 24in. (61cm.) high. (2)

Y A WILLIAM III SILVER MOUNTED EBONY TABLE CLOCKTHOMAS HERBERT, LONDON, CIRCA 1695The six finned and latched twin chain fusee movement now with anchor escapement and later system of 'three-in-two' quarter striking on two bells, sounding ting-tang for the quarters and single blow on the larger bell at the hour, the backplate finely executed and attributed Tompion's engraver 'Graver -155' with symmetrical foliate scrollwork incorporating festooned bell-flower swags over a shaped cartouche signed Thomas Herbert, LONDINI within a broad engraved laurel band outer border, the 6.25 inch square brass dial with finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced sculpted steel hands, applied cast silver winged cherub mask spandrels to angles and N/S strike/silent selection switch at twelve o'clock, the ebony veneered case with foliate-bud tied hinged silver carrying handle to the domed caddy surmount applied with silver repousse foliate scroll pierced mounts to front and sides, over double ogee top mouldings and silver foliate scroll pierced repousse lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll decorated silver escutcheon mounts, the sides with conforming lozenge repousse sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case applied with further matching escutcheon mounts, on ogee moulded shallow skirt base with moulded squab feet, (formerly with verge escapement and hour striking with pull-quarter repeat work).33cm (13ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Thomas Herbert is recorded in Loomes, Brian Clockmakers of Britain 1286-1900 as born around 1651 and becoming a Free Brother of the Clockmakers' Company in 1676, having possibly previously gaining his freedom of the Needle Makers' Company. In 1676 Thomas Herbert was appointed 'Watchmaker and Clockmaker in Extraordinary' to the King (Charles II), and Married Sarah East (daughter of the clockmaker Edward East) at Knightsbridge Chapel in December of that year. He is subsequently noted as the 'King's Clockmaker' when he took as an apprentice Evan Herbert in 1680; and then as the 'Queen's Clockmaker' when accepting John Okey as an apprentice in 1693. In 1699 Thomas Herbert petitioned to the Crown for payment of his account for watches 'furnished for the Pages of the Bedchamber' and was paid £9 15s 6d for work undertaken at Hampton Court in 1702. Three years later Thomas Herbert was awarded £100 per annum 'in lieu of such bills as he did annually make for mending, cleaning and taking care of her Majesty's clocks and watches...'. Further requests 'in regard of his great poverty' were made on 1708, and in 1713 a telling record notes 'to be paid to Thomas Herbert for half a year's salary due Midsummer 1701, as clockmakers to King William III, by general letters of privy seal'. Loomes does not record his date of death, but it is likely that it was fairly soon after this date due to his advancing years. The engraved decoration to the backplate of the present lot can be closely compared to the backplates of 'The Selby Lowndes Tompion' (no. 217) and 'The Medici Tompion' (no. 278) illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 239-40 (Figures 13.24 and 13.25). Most notable is the strong similarities within the rendering of the foliate scrollwork with 'larger more luxuriant leaves' than often seen, as well as the delicate bell-flower festoon swags. The Signature script also has strong similarities especially within the calligraphy for 'LONDINI'.Although the movement of the present clock has had historic alteration to the mechanism it does present as a very attractive scarce silver mounted example by a fine and rare maker, which could be brought back to working condition in its present form without a great deal of expense. Or, conversely, presents as a tantalising project for restoration back to its original specification. Condition Report: As catalogued the movement has been altered in the 19th century from hour-striking with pull-quarter repeat to 'three-in-two' ting-tang quarter striking; the strike train has also been converted form verge escapement regulated by short bob to anchor regulated by lenticular bob. Hence, due to these alterations, all wheelwork above the fusee for both trains has been changed/renewed. In addition to this there are a series of filled holes to both plates as well as additional filled slots to the frontplate. The going train is currently not running as the fusee chain is detached at the fusee end; the chain however appears not to be broken and the train itself free form visible damage. The spring will 'tighten' when the barrel is rotated however we cannot vouch for the overall integrity of the mainspring. The strike train is in working condition but is a little lazy and will probably require some adjustment. Two of the movement pillars have lost their latches (one is pinned and the other has been filed flush with the frontplate) and the strike-side lower pillar has some slight marking from the chain becoming detached from the fusee. The dial is in good original condition with no visible evidence of notable alteration except for al, the feet now being pinned rather than latched and the hour hand being repaired at its tip. The chapter ring has overall oxidation/mellowing. The case is generally in sound original condition. The caddy superstructure has some noticeable cracking within the veneers visible within the front and rear surfaces. The interior of the caddy also has brass reinforcements to the handle fixings, hence it is possible that the caddy has become detached at some point. The corners have neatly filled holes to the top edges suggesting that finials were fitted at some point. The mask around the dial (behind the front door hence only visible when door is open) has some shrinkage cracking and veneer patch repairs to the overlap. The lower right-hand joint of the front door is also a little loose. The right-hand side has some veneer cracking and wear around the upper fret aperture and the left hand has similar cracking and a small veneer patch repair. The rear door has a veneer patch repair adjacent the key escutcheon mount and the lower rail has been scooped-out (along with a small amount to the surrounding frame beneath) to allow clearance for the swing of the larger later lenticular pendulum bob. The rear edge of the seatboard is also cut with a slot for the same purpose. The front right hand corner of the seatbaord and the base of the case is cut with a slot aperture most likely to allow for a pull-quarter repeat lever which is no longer present. The silver mounts are all in good condition. The locks and hinges appear original however the feet are replacements. Faults to the case are otherwise very much limited to crack in the left-hand side glass, minor bumps, scuffs and shrinkages.Clock has a case key but no winder. Condition Report Disclaimer

A LARGE 19TH CENTURY PERSIAN ENGRAVED BRASS EWER, with openworked foliate lid and panels, engraved with calligraphy and figures, 43cm high.

A FINE 18TH-19TH CENTURY PERSIAN QAJAR GLAZED POTTERY TILE, with calligraphy, birds, and flowers, 19.5cm square.

Calligraphy & Penmanship Richards (William H.) Manuscript Ornamental Album entitled 'Manuscript Ornamental Album comprising Specimens in Penmanship and Drawing' folio, dated 1847, including ink penmanship of title, unrelated title design, Ode to Spring, a page of decorative devices, and map of England and Wales with coloured borders inscribed W. H. Richards 1847, sample book pages with vignettes, an architectural plan and elevation and several pencil sketches including one further pasted and one loose, some signed W. H. Richards and dated, the pasted portrait sketch inscribed Jenny Lind 1847

An export porcelain baluster vase and cover, 20th century, Chinese, painted in enamels with lotus flowers and calligraphy, 24cm diameter40cm high (2)Provenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportPittting present to the porcelain, some wear to the decoration, minor chips around the rim. The gilding to the handle of the cover rubbed. A star crack to the base. Gilding to calligraphy worn.

A Chinese ancestor portrait - probably first half 20th century, finely painted in ink and colours on paper with an elderly nobleman in his court robes in an interior, a screen with panels of calligraphy behind him and a clock and vase at his side, with various attendants to the foreground, 122.5 x 65cm, on a hanging scroll, overall size 165 x 73.5cm.The watercolour does appear to be considerably earlier than the scroll backing and is in good condition overall, with some evidence of old restorations and retouching. There are several patches which have been retouched in the past - these include two thumbnail sized patches of repainting to the blank panel to the left of the seated figure's head. Another two larger patches to the top left hand panel with gold on black calligraphy. A retouched tear to the top edge at the centre and two small retouched spots to just to the right of the screen behind the seated figure. Two small retouched areas above the outstretched hand and head of the child figure at the lower left and a few small retouched restored tears to the right hand margin and the lower right corner. There is also evidence of some retouching / overpainting around the seated figure's headdress. There are horizontal creases across the paper throughout the painting and the paper shows some time staining across the surface.

Large Box of Good Quality Costume Jewellery, some boxed, to include Equilibrium silver plated pendant suspended on long bead necklace, necklace and earrings set, Pineapple watch with white leather strap, earrings, bangles, bracelets, beads, boxed Calligraphy set, Italian inlaid musical box, rings, etc. Great lot for sorting.

A Chinese ovoid porcelain jar and a matched cover. Circa 1900, painted in polychrome with a lady with a basket, and another with a ribbon, with calligraphy to the reverse, height 30cm.

A Chinese Yixing blue ground teapot. With rustic twig handle, and incised calligraphy, height 21cm, together with a Chinese export blue and white sauce boat, a Japanese teapot and cover, and an Islamic brass vase (4).

A Chinese twin section bamboo brush pot, 19th century. The front carved with pagoda, bridge and trees, with calligraphy to the rear, height 17cm.

A pair of Chinese watercolours each depicting a horse, 19th century. Calligraphy and red seal, frame 38.5 x 49cm. (2)

A pair of Japanese calligraphy panels. Each with a further inscription and red seal mark, 38X15cm (2).

A 19th Century Japanese woodblock print, of a Geisha girl in typical attire, fan with calligraphy to left hand side, image 23cm x 34cm, framed and glazed; and a Chinese watercolour of shellfish, calligraphy and red seal mark, image 21cm x 46cm, framed and glazed 

A Chinese blue and white export ware bowl; a 19th Century plate with basket on flowers decoration, character mark to the base; a small saucer dish with bird on a branch decoration beneath calligraphy; a 19th Century Chinese blue and white octagonal shallow dish decorated peony and fence pattern and a collection of five various 18th / 19th Century tea bowls (some damage)

Islamic Ottoman Ka'aba silk and metal thread embroidery - possibly 18th century  -  with a Turkish calligraphy panel, the original deep red backing has faded but the colour does peep through, there is wear and loss to the centre, the paper used to frame the embroidery is still visible in parts, 195 cm x 100 cm approx

A fan-shaped ink and watercolour painting on segmented paper depicting a spring plum blossom by Chinese artist Jinke Bao. Dated 2012 with calligraphy and seal marks, comes with a booklet of the artist. Frame size W95xH65cm.

A pair of double page Indian miniatures depicting Sikhs under siege, calligraphy verso, framed and glazed 28cm x 35cm

A quantity of Korean embroidery and Chinese calligraphy panels. The former each 31.5 x 50 cm.

A yellow metal dumbbell bar brooch, set with Mandarin calligraphy, sponsor CW, numbered 12 but tests as approx 18ct gold, 28mm, 2.6g

A large Japanese calligraphy sheet, painted in black on canvas, with studio seals, 158 x 56cm, in glazed black lacquered frame; together with two modern Japanese watercolours, each 103 x 33cm

A GROUP OF CHINESE / JAPANESE ITEMS. 19/20TH CENTURY. To include a string of cash coins, once part of a coin sword, together with a note from the British Museum dated 1988; A framed ink and colour on paper of a bird, with Christie's label to frame backing; Together with a calligraphy on paper with multiple red seals, Japanese dated 1935. Frame 31cm x 22.5cm. (4)

A GROUP OF CHINESE PRINTS, LITERATURE, NOVELS, CALLIGRAPHY DICTIONARIES ETC. 19/20TH CENTURY. To include 'Daxue Zhongyong' dated to the 21st year of Guangxu period, corresponding to year 1896; 'Xiao Kai' by Liu Gongquan, one of the great masters of late Tang calligraphy; A collection of prints of famous works; Early 20th century flash cards for Chinese language titled 'Fenn's Character Cards' used by the College of Chinese Studies, Peking; and others. (16)AF with some loose sections and tears to covers. Please contact us with any specific questions on condition.

A CHINESE BRONZE TRIPOD CENSER WITH SINGING BOWL, 20TH CENTURY. The incense burner of circular form with lion mask handles with relief calligraphy roundels, six character mark of Xuande to base; Together with a singing bowl of splayed foot. Censer 18cm wide. (2) In good overall condition.

A GROUP OF REFERENCE BOOKS AND CATALOGUES ON INDIAN AND ISLAMIC ART. To include six Spink catalogues 1982-2000; The Arts of Islam Masterpieces from the Khalili Collection, J.M Rogers; Manuscripts and Calligraphy by Sam Fogg; Indian Miniatures from the Collection of Howard Hodkin, and more. (17)Used in good condition.

A CHINESE CARVED HARDWOOD FIGURE OF IMMORTAL, EARLY 20TH CENTURY. The figure stood dressed in robes open at the chest, holding a staff with calligraphy brush and beads. Mounted on a later square base. 54.5cm tall. Some cracking to front of figure with some smaller surface cracks in places. No major losses and no signs of repairs.

A box of collectables - including a Chinese brass, bamboo and white metal cigarette box, 9 x 7.5 x 5.2cm; an Oriental pierced white metal scroll case, 31.5cm long; a cased Victorian ambrotype of a lady seated in a spindle back chair; a white metal Alpacca tea infuser; a Eurohike Engineer Lesatic Compass; two mid-century tie presses; a boxed Penalli pen set; a cased Manuscript calligraphy pen; a miniature Chinese-style brass gong; a boxed pair of Oriental enamel Baoding balls; and a pair of vintage spectacles. Condition:- Chinese cigarette box: In good condition overall. One of the Shou character symbols on the lid has a loss to one side and is lifting a little at one end. There is also a loss to the keywork semi-circle to the other side of the lid.- White metal scroll holder: In good condition, with just a few small spots of corrosion to the metal in a few places.- Miniature gong: The tips of the five-pointed roof are bent, with one heavily creased.- All of the other pieces are in good condition.

A Chinese Jade Snuff Bottle and Stopper, of rounded rectangular form with re-entrant corners5.5cm highA Similar, with two raised panels painted with calligraphy6.5cm highA Lapis Lazuli Snuff Bottle7cmA Jade Model of Gourd, naturalistically carved and suspended from hardwood frame23cm high (4)

Eleanor Ekserdjian They Will Not Take My Island III, 2024 Oil and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Eleanor Ekserdjian Red Nocturne, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Eleanor Ekserdjian New Green, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* Jade. A Chinese jade archer ring, engraved with three rows of calligraphy infilled in gold, bordered by repeating geometric decoration, 30 mm long, together with two further archer rings including an example with a flat top showing a good mottled orange colour to the stone, 35 mm long, plus two jade bi discs, one carved in relief with entwined dragons, 50 mm diameter and a similar jade panel QTY: (6)

NESHAT SHIRIN: (1957- ) Iranian photographer and visual artist. Signed 8 x 10 photograph, the image depicting an Islamic woman wearing a black veil and holding the barrel of a rifle to the centre of her face, which is overlaid with Persian Farsi calligraphy, being Neshat´s photograph entitled Rebellious Silence from her Women of Allah series (1993-97). Signed by Neshat in black ink with her name alone to a light area of the background. EX

Two circa 1900 Chinese bamboo brush pots with carved decoration depicting figures in bamboo forest, 28cm h together with Chinese calligraphy brush and two ink sticksLocation: R2.3If there is no condition report shown, please request

India, Mughal Empire, Jahangir (AH 1014-1037 / 1605-1627 AD), gold Mohur, Zodiac type, month of Ardibihisht, Class A, AH 1030 / RY 16 (22 April - 21 May 1621 AD), Agra mint, constellation of Taurus, zebu standing right, radiate sun behind. Rev. Name of Jahangir, son of Akbar, Mint and AH date with indication of year 16 in Persian, translation: Received ornament on gold at Agra from Jahangir Shah [son of] Akbar Shah’, 10.72g (Liddle Type G-78; BM 327-8; IMC (Wright) 572-3; Adams III, lot 2400 (same dies); Hull 1383; KM 180.5; Friedberg 763). In NGC holder graded VF Details – Edge Damage (6866422-001). Only two recorded in NGC census. Photo by NGC. Lovely red tone to surfaces. Extremely rare.  Zodiac Mohur of JahangirThe Mughal Emperor Jahangir struck some of the most incredible and artistically accomplished coins. Some of the most famous ones belong to his Zodiac series, bearing representations of each of the twelve constellations of the Zodiac. Since the Ilahi months were solar months and corresponded with the solar ecliptic (an imaginary line in the sky that marks the annual path of the sun), each month was represented by an appropriate sign of the Zodiac, recording its particular month of issue. These Mohurs are extremely rare and divided in four classes based on their authenticity and quality. Class A to which this coin belongs are undisputed originals with high quality calligraphy and best reliefs.

China. Qi Baishi (齊白石) & I-Ran Yu (余毅然; editor), The Late Mr. Chi Pai-Shih's Paintings, two volume set, first edition thus, [Taiwan]: Published by Cultural Museum Agency, Printed by Hai Kung Printing Co., October 1970, parallel English and Taiwanese Mandarin contents leaves, offset printed, the first 13 leaves of volume I are reproduced in colour, the rest b/w, volume II with 11 leaves printed recto and verso with red seals, some creasing in places, original wrappers and stitching, limp, folio (37.5 x 26cm); Lantingji Xu, third impression thus, Beijing, February, 1997, monochrome printed facsimile of an earlier Chinese scroll, original wrappers, creased in places, folio (40 x 28cm); Shanxi Historic Stele, second edition, Shanzi People's Publishing House, 1980, rubbings of archaic epigraphy reproduced in monochrome, original wrappers, folio (37 x 25.5cm); Cai Xiang, Ink Calligraphy of the Song Dynasty, Eighth Series, Published by the Nation Museum of the Republic of China, 1999, printed in monochrome, original wrappers, slipcase en suite, (38.5 x 27cm); further printed reproductions of Chinese manuscripts and works of art, various publishers and dates, mixed bindings and sizes, (27)

China. 钱汝诚/Qiang Ru Chen/Qian Rucheng, 清錢汝誠臨宋四家書/Qing Qian Ru Cheng, Lin Song Si Jia Shu/Qian Rucheng Lin Song Sijia shu; [The compilations of the calligraphic writings of The Four Great Calligraphers of the Song Dynasty, Su Shi, Huang Tingjian, Mi Fu & Cai Xiang], Qing dynasty, [16]ff of manuscript calligraphy, signed with two red seals of the scholar-calligrapher, further inscribed, the paper leaves with ink-ruled borders, now split into three parts, contemporary Chinese hardwood covers, presumably zitan, the upper-cover carved in relief with vertical lettering, the lower-cover plain, yellow and gold splash endpapers, the upper-cover with a late 19th c manuscript label, inscribed in English and indistinctly monogrammed, rather worn and inscribed: ' *** the Library of [crossed out] in the S*** [Summer Palace?/Yuanmingyuan?] of the Emperor **** 1860 by *** ', 13 x 9.3cm (closed) The Shiqu baoji documents 24 works by Qian Rucheng, excluding this particular work. Qian's own as well as his collaborative works were stored across the imperial residences in Beijing, including within the different palaces and halls of the Summer Palace complex. In the opinion of Shichun Lei of Northumbria University, 'Based on the mount of the work, it is certainly an imperial work, but to tell its original location is difficult; if the attached old label tells [us] it was taken from the Summer Palace, I guess this calligraphy work once had been stored in the Summer Palace.'  Provenance: 1) The Imperial Collection, Beijing; 2) the O'Reilly family of Knock Abbey, Co. Louth, Ireland, and thence by descent to the present vendor. A member of the aforementioned family, Lt.-Col. Charles Myles O'Reilly (1869-1942), is noted as having served with International Forces in China, 1900. It's probable that he collected the book during his overseas service. However, the manuscript label's monogram, though indistinct, does not seem to include the letters of the O'Reilly family's surname. Therefore, it's entirely plausible that between leaving the Imperial Collection and the Irish country house's library, the manuscript book passed through another's hands.  Mellors & Kirk would like to thank Professor Louise Tythacott of SOAS and Shichun Lei of Northumbria University for their help and expertise in the cataloguing of this lot. Complete. The paper leaves with discernible signs of handling, with some soiling in places but never affecting the legibility of the text. The text now split into three portions, as catalogued, one leaf bearing a small late 19th/early 20th c English printed scrap, presumably from an ad hoc repair contemporary to the scrap. The MS label of the upper-cover worn and now indistinctly legible. The hardwood covers with some surface wear and light scratching, but no splits or repairs.

A box containing various calligraphy items to include inks, pen nibs etc.

Elegant Pair of Framed Chinese Silk Artworks Featuring Birds and Floral DesignsThis exquisite set features two framed silk pieces, each showcasing intricate bird and floral motifs. In the gold-colored frame, two small birds are depicted perched on a branch adorned with vibrant pink and red flowers and lush green leaves. The second artwork, presented in a natural wood-toned frame, highlights a green bird sitting amid large red, white, and pink blossoms, complemented by verdant foliage.Noteworthy elements include the detailed embroidery of the birds, which exhibit shades of blue, tan, and green. Each artwork is further embellished with black calligraphy and red rectangular seals, signifying cultural and artistic significance, of Chinese origin. These refined pieces blend natural beauty with traditional artistic techniques, making them a sophisticated addition to any collection.

Framed Chinese Artwork with Cranes and Calligraphy A vertical rectangular artwork, approximately 20 inches by 10 inches, housed in a sleek black frame. The composition features two cranes, one standing upright with head raised and the other with head lowered. The scene includes delicately painted grasses and a pine branch, symbolising longevity and harmony in Chinese tradition. At the upper section, Chinese calligraphy is inscribed, accompanied by a red seal stamp, indicative of cultural authenticity. The natural tones are set against a pale background, enhancing the detailed brushwork. A refined piece of traditional Chinese artistry.

Miniature Chinese Folding Tabletop Screen A decorative four-panel folding tabletop screen, likely of Chinese origin. Each panel features a hand-painted ceramic or porcelain tile set within a light-toned wooden frame, connected by brass hinges. The frames include pierced fretwork designs at the top and bottom, with darker-toned openwork detailing at the base adding to its craftsmanship. The painted porcelain tiles depict traditional Chinese scenes, carefully rendered with delicate brushstrokes. These include landscapes showcasing mountains, trees, rivers, bridges, and pavilions in soft tones alongside female figures in vibrant traditional attire engaging in cultural activities such as playing a pipa (lute), painting, or holding decorative objects. The paintings use a naturalistic palette with occasional bright accents. Each tile contains vertical Chinese calligraphy inscriptions and red seal stamps, likely artist markings or poetic verses related to the imagery. One panel includes a date, "1988.6.7," suggesting a late 20th-century creation, possibly drawing on traditional artistic styles. Approximate dimensions estimate the height of the panels to be 25–40 cm. This screen served as a decorative display item, highlighting traditional Chinese artistry and cultural themes. It is an intact example of craftsmanship, reflecting both aesthetic and collectible value.

**Antique Brass Tray with Engraved Design** Circular brass tray, approximately 12 inches in diameter, featuring a scalloped edge and intricate engraved details. The central motif includes stylised Arabic calligraphy, surrounded by floral and vine patterns, characteristic of Middle Eastern or Islamic design. Crafted from brass with an aged patina, showcasing masterful hand-engraved craftsmanship. Suitable as a decorative or collectible item.

Intricately Decorated Chinese Famille Rose Ceramic Stick Stand with Elaborate Crane and Floral MotifsThis exquisite Chinese Famille Rose ceramic stick stand features intricate and colorful designs depicting cranes amongst vibrant flowers, set against a backdrop of meticulous and skillful hand-painting. Spanning 18 inches in height and 8 inches in diameter, the piece boasts detailed Chinese calligraphy alongside a patterned border with heart-like shapes in yellow, pink, and red hues.The decorative elements include an array of pastel-colored sections, with accents of turquoise, pink, purple, and red/brown dots, enhancing the stick stand's visual appeal. Noteworthy is the inclusion of a hairline crack, which has been filled internally. This artistic piece captures the essence of traditional Chinese artistry and would be a treasured addition to any collection.

Vintage Parker The Calligraphy pen set along with several assorted cartridges

Chinese octagonal wooden ebonised stand with red lacquered rim and painted calligraphy, remnants of red wax seal to the base, 15.5cm wide

Chinese pewter teapot / wine warmer, inscribed with calligraphy and bamboo, in two sections, 11cm

Chinese bronze patinated metal censor and three stile feet, 13cm diameter, a smaller Chinese bronze censor with stylised legs and a box and cover with calligraphy (3)

Arabic Calligraphy Silver Hinged Cuff Bracelet tested as silver weight 54g

A mixed group of Oriental ceramics and works of art, to include a Chinese Archaistic style bronze vase, 21.5cm high; a pair of soapstone seals, 19.5cm high; and a boxed calligraphy set. (8)

A small Japanese Suzuribako calligraphy writing box, with metal mounts, the hinged top over two drawers, together with a traditional inkwell, 26x12.5x15cm

A Japanese stained pine Suzuribako calligraphy writing chest, with iron mounts, the hinged lid over three drawers, 32x20x26cmH

A Chinese teak framed screen, with inset panel with calligraphy design to one side. Width 115cm, height 122cm, depth 31cm.Feet loose from frame.

A Famille Rose 'Silk Production' porcelain bowlChina, Qing Dynasty (1644 - 1912), Daoguang (1820 - 1850)Finely decorated in overglaze famille rose enamel on the exterior with calligraphy and scenes related with silk production.Provenance: Portuguese private collectionHeight: 6.5 cm, , Diameter: 15.5 cm€ 1 200 - € 1 500

Phillips, Tom (British, 1937-2022); b. Clapham ENGLAND, The Vellinger Medal, 1994, a cast bronze medal by T. Phillips [Lunt Castings] for the British Art Medal Society, calligraphy, rev. gleaming discs revealing their contents, 97mm, 495.46g (Attwood 106; The Medal 26, pp.155-6; cf. Noonans 311, 616). Extremely fine £60-£80 --- Edition of 61. The inspiration for the medal comes from the character Vellinger in the novel Unhaunted Comma by H.W.K. Collam (1943), initially created as Rima’s Wall by Phillips in 1991

Binding - Clarkson (Christopher, 1938-2017). [Three Classics of Italian Calligraphy: the writing books of Arrighi, Tagliente and Palantino, with an introduction by Oscar Ogg, bound in 3 volumes, New York: Dover, 1953], bound without general title and preliminaries before page vii, leaves within each volume misbound, top edge gilt, contemporary morocco by Christopher Clarkson (vol.1 in blue, vol. 2 in purple and vol. 3 in dark green), with blind embossed feather design to boards, slim 8vo, contained together in purpose made oak slipcase with pull tab at base to ease removal of each volume, together with a selection of original related artwork and original alloy blocking plate designed by Christopher Clarkson QTY: (-)NOTE:Provenance: Christopher Clarkson (1938-2017); thence by descent. 

Various Asian collectables, including bamboo boat, brass peach censer, Japanese lacquer calligraphy blotting pad, etc

Japanese School (early 20thC), Buddhist deity, a tree, two woodblock prints on rice paper, with calligraphy, one bearing a seal mark, 35cm x 26cm.

1963-1999 A.D. Roman Ghirshman - Perse: Proto-Iraniens, Medes, Achaemenides - Paris, 1963, hardback with dustwrapper, 441 pp, maps, colour and monochrome images; James Allan - Islamic Ceramics - Oxford, 1991, card covers, 79 pp, map, colour images; Yosef Garfinkel - The Yarmukians - Jerusalem, 1999, card covers, 96 pp, colour images; Ariadne Galleries - Idols: Beginning of Abstract Form - catalogue, New York, 190, card covers, 123 pp, monochrome images; Y.H.Safadi - Islamic Calligraphy - London, 1978, card covers, 144 pp, monochrome images. 3.9kg total. 15 x 21 - 22 x 28cm (5 7/8 x 8 1/4 - 8 5/8 x 11in.). [5, No Reserve] Property of a North West London gentleman.