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Cairo ware brass and silver inlaid bowl, baluster form decorated with panels of foliage and calligraphy, height 15cm; also a Cairo ware brass and silver inlaid small casket, 9cm (2)

A LARGE 19TH CENTURY CHINESE QING PORCELAIN VASE WITH FIGURAL & CALLIGRAPHY DESIGN, HEIGHT 43CM

Chinese 19th or early 20th century paktong and copper scholar's ink box of overlapping double circle form, with incised decoration of rocks and reeds and two interlocking borders of calligraphy, the interior with three compartments. Impressed two character mark to base, 11cm long.

A Late 19th/Early 20th Century Chinese Republic Calligraphy Vase decorated in the Famille Rose Palette with Scholar and Student Under Blossoming Branches in Garden Setting, The Flared Neck with Stylised Handles Enriched with Gilt, 22.5cms High

A 20th Century Chinese Porcelain Calligraphy Bowl decorated with Maidens in Garden Setting, Gilt Trim, Red Seal Mark to Base, 7cms High, Some Condition Issues

Chinese School, 20th Century/Traditional ink calligraphy art work/signed Zhoupufang/framed with silk, 66.5cm x 33.5cm CONDITION REPORT: some creases and small tears

A pair of large Middle Eastern Islamic brass mosque candlesticks, pierced and engraved with a field of lotus reserves and scrolling foliage, and chased in Arabic with bands of Quranic calligraphy, the girdles set with turquoise cabochons, 60.5cm high, early 19th century

Portfolio of etchings, drawings including nudes, calligraphy, fabric designs etc.

A 19TH CENTURY JAPANESE MEIJI PERIOD (1868-1912) CALLIGRAPHY BOOK, with poems and drawings of peacocksWritten on front cover is the name 'J.G. Wilson' - a possible previous owner.

A Chinese bone and bowenite jade mounted calligraphy brush, 35cm lonh, and a bronze brush washer

Two Shunga makemono depicting a number of Higa; together with two examples of calligraphy, each one mounted as a kakejiku in a fitted hinoki-wood box [4]

Two examples of single kanji calligraphy from the Japanese Gallery; a small print of a Sumo Wrestler; seven single oban tate-e; three small Ukiyo-e images; and a framed hashira-e [pillar print] of two lovers by Kikugawa Eizan [1787-1867] [14]

A boxed calligraphy set.

A pair of Middle Eastern Islamic calligraphy scissors, damascened in the Persian taste with koftgari scrolling leaves, 28.5cm long, 19th century

A Chinese bamboo scholar's calligraphy wrist rest, carved in relief with verse, 28cm long

A pair of large Middle Eastern Islamic brass mosque candlesticks, pierced and engraved with a field of lotus reserves and scrolling foliage, and chased in Arabic with bands of Quranic calligraphy, the girdles set with turquoise cabochons, 60.5cm high, early 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

Ibrahim El-Salahi (Sudan, born 1930)Untitled signed and dated 'Salahi/ 69' (lower right)pen, ink and wash on paper fixed to card 28.6 x 27.2cm (11 1/4 x 10 11/16in).(framed)Footnotes:ProvenanceThe collection of Ella Winter Stewart;A private US collection. Combining traditional forms of Islamic written language and calligraphy into his contemporary artworks, Ibrahim El-Salahi recounts his lineage while looking forward to the future, creating a new narrative of self representation. Born and brought up in a Muslim household from Sudan, the written word of the Quran held an ever presence throughout his childhood. Do they not look at the birds, held poised in the midst of [the air and] the sky? Nothing holds them up but [the power of] Allah. Verily in this are signs for those who believe. (Quran, Chapter 16, Sūrat al-nahl [The Bees], Verse 79 , translated by Yusuf Ali).Indeed, the Arabic calligraphy would manifest itself within his work later on in his life. Upon his education in Fine Art received from both Gordon Memorial College from 1949-1950 and the Slade School of Fine Art in London from 1954-1957, Salahi subsequently became exposed to modernist and art forms.Executed in 1969, the current work employs elements and motifs that are familiar to the artist's series By His Will, We Teach Birds How To Fly (1969). The late sixties was a period of creative freedom for the artist, whereby he felt that that he was able to let go of any formal training in favour of the freedom of immediate expression. The repetitive motif of a bird is used throughout this series, recalling the imagery that arose for the artist when observing his father at prayer; pointing his fingers out from clasped hands resembling a bird. Therefore, while the bird represents a self-presence of El-Salahi within his own works, it also displays a coherence with the new found artistic freedom that the artist was embarking upon.'I am very much obsessed with my work. I am a painter and have no other profession. I go to bed dreaming of figures, forms, and colours and wake up to translate my visions and dreams into works of art.' (Ibrahim El-Salahi in Salah Hassan, Ibrahim El-Salahi: A Visionary Modernist, exhibition catalogue, (Museum of African Art, New York, 2012)).This work was originally owned by prominent German journalist Ella Winter Stewart who contributed to The Carmelite, a controversial and rebellious Californian newspaper for its time. Stewart wished to offer liberal and dynamic points of view against a singular vein of opinion that seemed to dominate 1920's America. Often criticised for her activist views, Ella also wrote on issues of racism and heightened the necessity for fair treatment of marginalised communities. Winter Stewart was the driving force behind the ground-breaking 1969 Camden Arts Centre exhibition, Contemporary African Art and also loaned works by El Salahi from her collection to the Smithsonian Museum of African Art in Washington for their 1974 exhibition Contemporary African Art.BibliographyS. Hassan & T. Clarke, By His Will, We Teach Birds How to Fly, Ibrahim El-Salahi in Black and White, (London: Vigo Gallery, 2018).Donald Ogden Stewart and Ella Winter Papers, (Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library), online.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

An Ottoman mother-of pearl inlaid, square occasional table, circa 1900, the top with a central square panel enclosing a central octagonal mother-of-pearl panel displaying devotional Arabic calligraphy, surrounded by foliate scrolls, each centred by a 6-pointed star, divided by the outer border of a chain of mother-of-pearl diamonds with a plain rosewood band, each side of the base inlaid with script above two architectural arches, raised on rectangular legs inlaid with stringing and chevron edges, minor damage and some restorations, 36cm wide x 52cm highMinor damage and restorations, including chipped edges and corners and some loss of mother-of-pearl, including 0.5cm of one diamond on the outer border, plus some losses on the edges of the legs. Restorations including one middle leg re-stuck and with a wooden strengthening batten on the inside where formerly broken, also isolated patches of inlay restored, including top and sides and edges.

A pair of square Chinese bronze vases decorated with calligraphy in cloisonné enamel. 20th century. Dimensions:(D:8 x W:18 x H:41 cm)

A 19th century Turkish Ottoman, Tophaneware, reptile shape back scratcher, for use at the Hammam and six brass conical shaped Zarfs, engraved with figures, animals and calligraphy, probably Ottoman

Li Yimang (Chinese, 1903-1990). Hanging calligraphy scroll painting, ink on paper. Marked with two red artist's seals along the lower left.Huaxin; height: 31 3/4 in x width: 17 in. Overall; height: 60 1/2 in x width: 20 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 boxed vintage Osmorid calligraphy set

Alan Caiger-Smith MBE (1930-2020) Large wood fired earthenware bowl with brown and blue/black calligraphy brush work decoration on white tin-glaze ground, monogram to base, height 16.5cm, diameter 44cmCondition ReportLight surface marks, hairline crack to rim, old repair and crack to rim, general wear and tear. 

A Collection of Oriental Items to Comprise Chinese Porcelain Famille Rose Circular Tray Decorated with Floral Band on Blue Ground and Having Pagoda, River and Mountain Location Decoration with Calligraphy, a Japanese Noritake and a Study of Guanyin

A Pair of Chinese Porcelain Famille Rose Calligraphy Vases Decorated with Maiden in Garden, Red Seal Mark to Base, 17cm high

SILVER ORIENTAL CALLIGRAPHY BOX - 10'' LENGTH

A selection of drinking glasses including ten wine glasses with fluted bowl, seven champagne glasses, and twelve frosted glasses including high ball and water with calligraphy decoration etc.

An 18th century Chinese cup and a Chinese blue and white brush washer decorated with bamboo and calligraphy. The latter 6.5 cm high.

A Chinese milk glass overlay snuff bottle depicting fishermen, calligraphy, etc. 9 cm high.

A pair of Chinese vases painted with figures and calligraphy, one a/f, 30cm (2)

A pair of Chinese Republic Jingdezhen vases, 20th century, handpainted with pagoda and landscape patterns and with calligraphy script, Zhongguo Jingdezhen Zhi red seal mark, 28.5cm high, (2)

A Pair of Chinese Porcelain Saucer Dishes, Daoguang reign marks but not of the period, painted in famille rose enamals with warriors and dignitaries and with script and calligraphy, bear six-character reign marks in red21cm diameterSome typical minor surface wear and scratching. No chips, cracks or restoration. 

A Chinese Sancai Glazed Model of a Peach, in Ming style, naturalistically modelled with a leafy stem picked out in coloured glazes9cm wideA Similar Model of a Fruit9cm wideA Chinese Porcelain Bowl, of everted circular form, gilt with calligraphy on a coral ground, bears four-character mark11cm diameterA Saucer, Qianlong, painted in famille rose enamals with a family within an arrowhead border11.5cm diameter (4)Both fruit with typical minor surface wear and scratching. Bowl extensively broken and repaired. Saucer with fine hairline crack.

A group of Japanese and Chinese souvenirs including a miniature four fold screen decorated with birds, cranes, ducks etc, (h 24cm) a miniature rosewood screen with views of mountains, (h 17cm) a pair of Chinese style porcelain plates decorated with green dragons chasing the centre pearl of wisdom, (d 18cm) and a matching circular bowl with hairline crack (d 13cm), a Japanese Kutani style scalloped bowl decorated with figures (d 18cm) and a smaller bowl, two Eastern pewter miniature shot glasses, (h 4cm) a modern Chinese presentation calligraphy set including brushes, seal, ink block etc and a white metal Chinese rhu complete with presentation box, ( a lot)

A Chinese bronze incense burner decorated with panels along the side showing a man reading, playing "Go", writing Chinese calligraphy etc, with a foo dog to cover (h - 18cm w- 10cm) and a small metal trinket box decorated cover of cherry blossom and a pagoda scene (h- 1.1cm w- 2.5cm) . (2)

CHINESE BLUE & WHITE PORCELAIN SAUCE TUREEN, COVER & STAND, Qianlong, the domed cover painted with a formal garden with auspicious symbols including jade music stone and a ruyi sceptre etc., sides with flowers and insects, the stand with flowers and calligraphy scrolls, all within diaper borders, handles are in the form of pigs heads, 19cm wide x 11cm high (3)Comments; cover with fritting, stand with stacking wear, tureen with tiny rim chip, one pig's ear chipped

A Chinese Late XIX Century Compressed Tea Block, moulded with a temple between star and calligraphy border, the reverse with a geometric design, 24 x 18.5cm.

A Chinese calligraphy set with various notepaper and ephemera, the lot to include a Naval and Military Club pass to the 1953 Coronation

1172 Hijrah / 1758 or 1759 AD. An 18th century Ottoman Empire Quran copied by Hamza al Shukri(_amzHijrah al-Shukr_). SurHijrah titles in burnished gold leaf with white calligraphy headings. Carpet pages with lapis blue, gold leaf and red pigments highlighted with floral motifs. Burnished gold leaf verse dividers and borders throughout. Original tooled leather cover. Naskh script.Size: L:170mm / W:100mm ; 384gProvenance: Private London collection of F.A; formerly acquired on the UK and International art market; 1970s-2020.

Ca. 15th-18th century AD. An open-work wood carved panel of calligraphy decoration possibly coming from an important building.Size: L:347mm / W:280mm ; 1.15kgProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.

Ca. Late 13th - early 14th century AD. A bowl of a bulbous form with high sides beautifully decorated with interwoven calligraphy and classic roundels - one with a hunter on horseback.Size: L:101mm / W:239mm ; 2.42kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.

Ca. 1200 AD. A gold finger ring of a round hoop with a meticulously decorated bezel setting with applied turquoise gem set within four claws, inscribed with calligraphy. This ring is a very beautiful example of Seljuk jewellery and represents a high level of craftsmanship. For a similar example, see Christie's, Online Auction 19742, Calligraphy: Art in Writing, 7 April 2021, Lot 6.Size: D: 16.92mm / US: 6 1/2 / UK: N; 12.6gProvenance: Private London family collection; formed between 1970-2008.

Ca. Late 18th-19th century AD. A beautiful tinned copper bowl of a wide bulbous form with its walls tapering to a roundish bottom. The exterior is intricately decorated with a central register of a hunting scene and calligraphy flanked by floral bands.Size: L:107mm / W:233mm ; 2.54kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.

Kashan, Ca. 1100-1200 AD. A rectangular-shaped pottery tile with a brown ground decorated with a dotted and vegetal motifs and navy glazed calligraphy in relief. This tile, which would have originally been one of a series of tiles running along the wall of a building, is a testament to the technical skills of Seljuk craftsmen. For further discussion of Seljuk tiles, see Oktay Aslanapa, Herman Kreider & Sheila M. O'Callaghan (1961). Turkish Arts: Seljuk and Ottoman Empire carpets, Tiles and Miniature Paintings.Size: L:255mm / W:225mm ; 1.64KgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 18th -19th century AD Persia. A paper calligraphy panel, densely written with thick strokes of black nasta'liq reserved against a polychrome ground. This item comes professionally mounted in the wooden frame as pictured, with a hanger to the rear.Size: L:500mm / W:320mm ; 1.05kgProvenance: Private London collection of F.A; formerly acquired on the UK and International art market; 1970s-2020.

A FINE 12TH-13TH CENTURY PERSIAN SELJUK BRONZE TRAY STAND, engraved with animals and calligraphy, 20.5cm diameter.

AN ISLAMIC SILVER OVERLAID BRASS EWER, on stand, with panels of calligraphy, 31cm high overall.

A CHINESE WOOD BRUSHPOT, of chamfered square-section with fluted corners, the sides with panels of seasonal rockwork, foliage, and calligraphy, 6.6in high & 4.4in square.

A CHINESE PAINTING OF A LANDSCAPE WITH MOUNTAINS, with calligraphy and red seal, framed and glazed, image 65.5cm x 30cm.

A PAIR OF ISLAMIC BRASS CANDLESTICKS, the bases with calligraphy, 31cm high.

A FINE AND LARGE CHINESE WATERCOLOUR PAINTING, depicting a rocky landscape with waterfall, calligraphy inscription, framed and glazed, image 60.5cm x 121cm.

A VERY FINE 15TH CENTURY MAMLUK COPPER SPOUTED BOWL, engraved with calligraphy and cup symbols, signed under the spout, 24cm wide (including spout), base 20.5cm diameter.

A RARE 13TH-14TH CENTURY EGYPTIAN MAMLUK ENGRAVED BRASS TOP SECTION OF A TRAY STAND, with panels of calligraphy, 26.5cm diameter, prov. Sotheby's April 2016.

A CASED SET OF FOURTEEN CHINESE PORCELAIN SNUFF BOTTLES & STOPPERS, each decorated in grisaille and iron-red with a lady in a garden setting, each reverse with calligraphy, the fitted case 14in x 8.3in x 2.1in high, each snuff bottle 3.1in high.

A 20TH CENTURY CHINESE ALBUM OF TEN PICTURES, each with calligraphy and an artist's seal, each picture depicting a sage, the album 17.75in x 12.6in, each picture 13.4in.

A 10TH-11TH CENTURY PERSIAN GHAZNAVID BRONZE BOWL, with Kufic calligraphy, 13cm diameter.

CALLIGRAPHY SCROLL ATTRIBUTED TO KANG YOUWEI (1858-1927) 康有爲款 《靜觀衆妙室》書法 水墨紙本 卷軸款識: 起道先生屬/康有爲釺印: 康有爲印/維新百日出亡十六年三周大地遊遍四洲經三十一國行六十萬里 ink on paper, signed and sealed of the artist, mounted as a scrollDimensions:125cm x 29.6cm

CALLIGRAPHY SCROLL ATTRIBUTED TO LU YANSHAO (1909-1993) 陸儼少款 《景行行止》書法 水墨紙本 立軸款識: 陸儼少書於止止堂鈐印: 晚晴軒 ink on paper, signed and sealed of the artist, mounted as a hangingDimensions:113.9cm x 30cm

TAO WEIHONG (CHINESE 1940-) THREE INK PAINTINGS, 20TH-21ST CENTURY 二十至二十一世紀 陶為浤 李白、朱熹、陸游詩意圖 紙本設色 鏡框 （共三幅）款識：江寒早啼猿/松暝已吐月/月色何悠悠/清猿响啾啾/李太白詩/吳門陶為浤畫於上海鈐印：雲氣山、吳門陶、為浤、楚煙湘月款識：江空秋月明/夜久寒露滴/扁舟何處歸/吟嘯永佳夕/朱熹詩意/吳門陶為浤畫於上海鈐印：雲氣山、吳門陶氏、為浤書畫、月秀如水⺀[水]如天款識：梅瘦有情橫淡水/雲輕無力護清霜/陸放翁句/吳門陶為浤畫於上海櫻花草堂鈐印：雲氣山、吳門陶、為浤、月滿花香 ink and colour on paper, one inscribed with poem by Li Bai (701-762), signed 'Wumen Tao Weihong Huayu Shanghai' (Wu School Tao Weihong painted in Shanghai), red seal 'Yun Qi Shan', 'Wu Men Tao', 'Wei Hong' upper left, 'Chu Yan Xiang Yue' lower right; one inscribed with poem by Zhu Xi (1130-1200), signed 'Wumen Tao Weihong Huayu Shanghai' (Wu School Tao Weihong painted in Shanghai), red seal 'Yun Qi Shan', 'Wu Men Tao Shi', 'Wei Hong Shu Hua' upper left, 'Yue Xiu Ru Shui Shui Ru Tian' lower right; the other inscribed with a phrase by Lu You (1125-1201), signed 'Wumen Tao Weihong Huayu Shanghai Yinghuacao Tang' (Wu School Tao Weihong painted in the Hall of Primrose, Shanghai), red seal 'Yun Qi Shan' upper right, 'Wu Men Tao', 'Wei Hong' upper left, 'Yue Man Hua Xiang' lower right, all framedDimensions:66cm x 36cm; 65.5cm x 41cm; 64.5cm x 40cmProvenance:Provenance: Private Scottish collection, acquired in the 1990s at Yu Yuan Gardens Gallery (豫園) in Shanghai, with a brochure obtained from the gallery about Tao Weihong's painting exhibition. The cover of the brochure with a calligraphy 'Tao Wei Hong Hua Zhan' (Exhibition of Tao Weihong), signed by a Chinese visual artist Qian Juntao (1907-1998), dated to the year of Yi Hai, corresponding to 1997.Note: Note: Tao Weihong (1940-) is the son and inheritance of Tao Lengyue (陶冷月1895-1985), is known for his individual mode of expression combining Eastern and Western techniques. Tao Lengyue, also known as Professor Cold Moon, established the Lengyue (Cold Moon) School, a branch of the Shanghai School (海上畫派), a style of Chinese art present in the late 19th century and centred in Shanghai.