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

A Persian brass calligraphy box, with inkwell and hinged compartment. 24cm long.

A BOX OF ASSORTED ITEMS, to include various cufflinks, brooches, fruit knives, a ladies 'Rotary' quartz wristwatch, a ladies rolled gold 'Technos' wristwatch, paste set necklaces, beaded necklaces, non-pierced earrings, a green and a purple rough glass specimen, three clay AF smoking pipes, two boxed 'Renault' fountains pens, a 'Conway Stewart' fountain pen, a carved bone shoe horn, a carved bone letter opener, a boxed 'Osmiroid' Calligraphy writing set, a box containing various commemorative coins with modern and old English coinage etc

° ° The Gift of Heritage, Selection from the Xubaizhai collection of Chinese painting and calligraphy, 2 vols in a folding case, 37.5 X 28 cm

A CONTEMPORARY CHINESE VASE BY ZHANG ZHONGWEN (B.1964) Decorated in underglaze red and famille rose enamels with Shou-Lao holding a large peach, with an attendant by his side, teh reverse with calligraphy inscription 26cm high Provenance: Chinese Arts & Crafts, Pacific Place, Admiralty, Hong Kong, 2004 Exhibition Condition: Condition Report Some occasional surface dirt/marks but the work appears in good condition 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.

A PAIR OF CHINESE SILVER BALUSTER VASES 20th Century, with engraved decoration of birds perched on flowering branches, a lady with deer and children, and with calligraphy inscription, 26cm high 1087g Condition: Condition Report Some minor knocks to the bases, 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.

A GROUP OF CERAMICS AND METALWARE ITEMS Comprising four famille rose tea bowls and covers; and a pair of brass candle holders, decorated with calligraphy and flowering prunus, with four drip pans Candle holder : 26cm long 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.

A LARGE IRON RED DECORATED PORCELAIN VASE Decorated with foo dogs, with twin mask ring handles and calligraphy to reverse 60cm high Condition: Condition Report Old chipping to the glaze around the shoulder and some of these areas with discoloured restoration, wear to the gilding on ring handles, fritting/ small chips to rim edge 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.

THREE FAMILLE ROSE PORCELAIN ITEMS Comprising two twin handled pots, lacking covers, decorated with ladies seated on clouds with precious objects, the reverse decorated with calligraphy (covers lacking), and a cylindrical teapot decorated with fruiting vines (damaged) 18.5cm diameter 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.

A FAMILLE ROSE PORCELAIN LANTERN VASE Decorated with immortals pursuing various activities in a mountainous river landscape and calligraphy to the reverse, within yellow ground scrolling foliate borders, bears apocryphal Qianlong mark to base 40cm high Condition: Condition Report Some staining to the glaze on interior of rim, base and yellow borders, light occasional wear to gilt rim 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.

A FAMILLLE ROSE PORCELAIN FOUR TIERED BOX Each tire decorated in famille rose enamels with flowering prunus to one side and calligraphy to the reverse, 20.5cm high Condition: Condition Report Some losses to enamel, particularly on the handles, age related wear to the metal handle, a hairline crack to the rim of the cover and wear to the gilt rim on the cover 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.

A BLUE AND WHITE PORCELAIN CANDLE STAND Of bell form, decorated with a continuous panel of calligraphy 11cm high Condition: Condition Report Some wear to the glaze around the central rim, some dirt around the central section 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.

A scarce 19th century Persian white metal Kashkul (beggars bowl), of kindney form with small spout, repousse and engraved all-over, the side with band of calligraphy, (white metal assessed as silver), length 14cm, to later metal chain, (301.2g), together with a 19th century white metal plated copper Kashkul, of boat form, length 22.5cm. (2)

Various Chinese boxed calligraphy sets, brushes, Mah Jong set with lacquered tile-stands, embroidered robe etc (box)

ANGEL "LA2" ORTIZ,DON GATO SKATES,Acrylic Marker & Paint on Skate Board, signed, 79cm x 20cm, OriginalNew York City graffiti artist LA II (a.k.a. Angel Ortiz) is best known for his collaborations with Keith Haring. Ortiz’s career took off after Haring spotted his “Little Angel” tag upon moving to New York and asked to meet the then-teenage artist. Throughout the ’80s, Haring and Ortiz combined their signatures to create murals, sculptures, train paintings, and other objects, and Ortiz’s style and technique are thought to have influenced Haring’s solo practice from then on. Along with several joint exhibitions of his work and Haring's, Ortiz's own mix of contemporary symbols with Asian calligraphy has been shown in galleries and museums across the United States.

A floral vase with calligraphy to the side

§ Alan Davie C.B.E., R.A., H.R.S.A. (British 1920-2014) Angel's Hiding Place, Opus O.592A, 1968 signed, titled, dated and inscribed (to reverse), oil on canvas Dimensions:122cm x 152.5cm (48in x 60in)Provenance:Exhibited:Gimpel Fils, London, Alan Davie: Major Works of the Sixties, 3 October - 11 November 1989, cat. no. 12 (illustrated).Note: "[N]ot only does the bespattered and encrusted surface of Davie take on a positive richness, as of medieval jewellery or stained glass, but formal analogies appear… the froth of new buds or leaves seem to crystalize out of the swift, ragged calligraphy; there, flat blunt chinks of form resolve themselves into somewhat heraldic emblems of the human figure."Patrick Heron writing about Alan Davie (1956)

Mohammad Ehsaie (b. 1939), “Mana”, porcelain, signed with initials ME (recto) and inscribed ME Ehsaie for Stephano Ricci (verso), 21cm. diameter; circa 2010, manufactured by Stephano Ricci edition of 20Mohammad Ehsaie is undoubtedly one of the most gifted calligraphers to emerge from Iran within the past century. Utterly devoted the perfection of his craft, Ehsaie has married the technical finesse of his formal training within a modern visual schema. Traditional Persian calligraphy has historically been rife with ornament and embellishment; with calligraphic texts often accompanied by miniature paintings, encased in cartouches and flanked by a myriad of geometrical and floral motifs. Ehsaie's approach to the craft, however, is markedly divergent, and in choosing the pure architecture of the Persian letterform as his principal subject matter, he relinquishes the visual excess of traditional manuscript art. The depiction of unadorned script against a monochromatic, often black background not only shifts the focus of the viewer onto the mechanics and minutia of the letterform,  but forces the writing to compensate for the now absent decorative elements. Ehsaie's text fills the empty spaces with a newfound freedom, taking lifelike, prehensile shapes as Ehsai demonstrates the suppleness and elasticity of Persian nast’aliq. Ultimately, Ehsai's contorted letter forms are not written to be understood, emphasizing the ineffability of the deity itself.Please refer to department for condition report

Juz 19 of a Chinese Qur'an, China, dated 953AH/1546AD, Arabic manuscript on paper, 51ff., with 5 lines of black sini script to the page, vowel markers in black and corrections in red, surah headers in red, illuminated double page frontispiece 'Unwan decorated with geometrical and floral designs in gold and colours in a typical Yunnan style of mainly gold on a red ground highlighted with green and blue, original leather binding with blind tooled Islamic and Chinese influenced design, folio 25.5 x 19 cm.Provenance: Private UK collection formed in the 1960s and 70sAn excellent example of the Islamic Chinese style of Qur'anic calligraphy and illuminationThe colophon statement in red script on the last folio reads: It was copied by Shams al-Din ibn Musa al-Sini in the month of Safar of the year 953 AH (1546 AD) in the city of Yunnan one of the Chinese cities which has been honoured and blessed by Islam. Please refer to department for condition report

Nizami Ganjavi (1141-1209 AD, Khamsa, Persia, 15th century, several drawings and one miniature painting, Persian manuscript on paper, 126ff. with, 25 ll. of fine black nast'liq arranged in four vertical columns within gold borders, text headings alernating in red, gold and blue muhaqqaq script, in later green binding, folio 20.8 cm x 13.3 cm.Provenance: Christie's South Kensington, 06/10/2008, lot 294This work was in all likelihood originally a commission by a member of royalty or an elite member of society. The finely and precisely executed calligraphy is of high quality, and the drawings have been carefully rendered in a pale sepia ink before they would have been completed with pigment. The miniature painting on f 102r, which is almost complete, shows the fine detail and artistry for which Persian painting is renowned. Please refer to department for condition report

A page from an Arabic-Hebrew lexicon or reference book, India, Mughal, circa 1645, Arabic manuscript on paper, with 22ll. written in naskh with a lavishly illuminated chapter heading decorated with arabesques in gold and colours, verso with an illuminated shamsa, or sunburst medallion, containing the ink impression of the original owner's seal, inscribed: amir 'abd al-razzaq khan khanazad-i shah jahan 1055 (Amir 'Abd al-Razzaq Khan, born at the court of Shah Jahan, AH 1055/[1645-6 AD]'), with later scribal notations and another owner's stamp, mounted glazed and framed, 35cm. x 18 cm.Provenance: Spink & Sons, 1998Published: Paper, Parchment Steel & Stone, Calligraphy and the Arts of Islam from the 8th-19th century, exhibition catalogue 27 April - 15 May 1998, Spink, no. 11.According to Dr Ebba Koch, the text of this manuscript describes and analyses Hebrew words. It is a kind of dictionary. 'Abd al-Razzaq, the patron of this manuscript, was the son of Amir Khan, a high-ranking nobleman in the court of Shah Jahan, who served as governor of Thatta in Sindh. 'Abd al-Razzaq, his son, was styled ''khanazad'' because he was born of one already in service to the emperor. He was however less successful than his father. While Amir Khan attained the rank of 3000 zat/2000 sawar, 'Abd al-Razzaq attained the modest rank of 900 zat/3400 sawar. He died in the year AH 1063/1652-3 AD. Please refer to department for condition report

An album page with a Safavid drawing and borders from an album made for Emperor Shah Jahan, Persia and India, circa 1625-50, ink, gouache and gold on paper, the drawing with false attribution to the artist Farrukh Beg, laid down with inner borders of floral illumination with panels of nasta'liq calligraphy, wide outer borders with floral decoration from an album made for Emperor Shah Jahan, 38.6 x 24.9cm. Provenance: Ex-collection Ardeshir; Sotheby's London, 'The Property of a Gentleman', 10 July 1973, lot 8; Sotheby's, 05/10/2010, lot 58This album page has been assembled using the exquisite floral borders from one of the well-known albums made for the Mughal Emperor Shah Jahan. The albums made for Shah Jahan and his father Jahangir in the first half of the seventeenth century were notable for the extremely high quality of the border decoration, and the leading artists of the royal atelier were employed to decorate them.The skillful drawing of an old man with a grey beard is executed in Safavid style of the first half of the seventeenth century, approximately contemporaneous with the production of the royal albums of Shah Jahan. However, it is probably not the original work intended for this album page. More likely, it was inserted into these borders, which may have lost their original central panel, sometime in the early twentieth century, when many album leaves were disassembled and re-assembled. The drawing bears a later and fictitious attribution to the Perso-Mughal artist Farrukh Beg.Laid down on card backing

A group of 32 Islamic Art and Antiquities catalogues and books, comprising:Ernst J. Grube, Eleanor G. Sims, Islamic Art II, Islamic Art: An Annual Dedicated to the Art and Culture of the Muslim World (Geneva, New York, 1987)Sheila S. Blair and Jonathan M. Bloom, Images of Paradise in Islamic Art John Beckwith, Caskets from Cordoba (London, 1960)Godfrey Goodwin, The Janissaries (London, 1994)Oleg Grabar and Sheila Blair, Epic Images and Contemporary History, The Illustrations of the Great Mongol Shahnama (London and Chicago 1980)Marc-Edouard Enay, Oriental Manuscripts, Autographs, Calligraphies and Binding (2010)A.S. Melikian-Chirvani, Les Frises Du Shãh Nãme Dans L’Architecture Iranienne Sous Les Ilkhãn (Paris, 1996)La Collection Charles Kettaneh, Bijoux Archéologie - Islam Glyptique, Glyptique Bijoux Antiques en or Archéologie Arts de L’Islam (Paris Les 29 Février et 1er Mars 1988)Antiques Arts De L’Islam, Collection de L’Ambassadeur X Anciennes Collections J. Matossian – J. Pozzi – N. Landau A Divers, Drouot Montaigne – Salle Bourdelle (Paris 1989)Claude Boisgirard, Arts D’Orient, Jeudi 25 September 1997 Claude Boisgirard, Archéologie Islam, Hotel Drouot, Paris. 30 Juin – 1er Juillet 1993Arts D’Orient, Claude Boisgirard, Jeudi 25 September 1997, Islam – Art Chrétien D’Orient, Vendredi 26 September 1997 Archéologie, Hotel Drouot Archéologie Art Musulman, Collection du Docteur X. et A Divers Amateurs Claude Boisgirard Jeudi 26 et Vendredi 27 November 1987 Hotel Drouot – Salle N 4Arts D’Orient, Archéologie et Islam, Claude Boisgirard, Le Mercredi 14 Décembre 1994 à 30, Hotel Drouot – Salle 7. Paris.B.W. Robinson, Fifteenth – Century Persian Painting: Problems and Issues, New York (New York and London. 1991)Oriental Art, Autumn 1982, Volume XXVIII No. 3Annemarie Schimmel with the assistance of Barbara Rivolta, Islamic Calligraphy, The Metropolitan Museum of ArtThe Society of the Friends of the A.U.B. Museum, Calligraphy: In the Arab and Islamic World, Exhibition Dates: 27th October – 12th December 1999, at A.U.B. MuseumR.W. Hamilton, F.S.A. with a contribution by Dr. Oleg Grabar, KHIRBAT AL MAFJAR, An Arabian Mansion in the Jordan Valley, (Oxford, at the Clarendon Press, 1959)The Dyson Perrins Collection Part II, Sotheby & Co. Auction, 1959, (Day of Sale: Tuesday, December 1, 1959), Catalogue of “Forty-Six Western and Oriental Illuminated Manuscripts”, the property of the late C.W. Dyson Perrins, ESQ., D.C.L., F.S.A. HALI, Carpet, Textile and Islamic Art, Issue 113 November – December 2000, The Pazyryk Felts, Ersari Rugs, Moroccan Shawls, Punjabi Phulkaris & Baghs, Caucasian Pictorial Rugs, Hemp & Ramie in Guizhou, Chinese – Style Bird Paintings in PersiaLadan Akbarnia with Francesca Leoni, Light of the Sufis: The Mystical Arts of Islam, The Museum of Fine Arts, Houston (Distributed by Yale University Press, New Haven, and London 2010)Hashem al-Khattat, Iraqi Cultural Centre Gallery, 11 October – 2 November 1978David Roberts: A Journey in Egypt, Commentary on drawings by David Roberts: Rita BianucciDavid J. Roxburgh, Writing the Word of God: Calligraphy and the Qur’an, The Museum of Fine Arts (Houston 2007)Prof. Dr. A. Schimmel, Iconography of Religions XXII, I, (Leiden 1970)SOTHEBY'S CATALOGUE, BIBLIOTHECA PHILLIPPICA, New Series: Medieval Manuscripts Part I, 30/11/1965 SOTHEBY'S CATALOGUE, BIBLIOTHECA PHILLIPPICA, New Series: Medieval Manuscripts Part IV, 25 and 26/11/1968Art Ottoman, Objects d’art de I’lslam, 3 Centenaire de la Maison Soustiel 1883 – 1983, Exposition: Galerie Jean Soustiel, Paris. 13 avril 1984. George Manginis, Mount Sinai: A History of Travellers and Pilgrims (London, 2006).R. Pinder-Wilson, Paintings from Islamic Lands, Oriental Studies, Volume IV (Bruno Cassirer Publishers Ltd. 1969)Harry Adès, A Traveller’s History of EGYPT, (Gloucestershire, 2007). (32) Please refer to department for condition report

Sheaffer calligraphy pen

Pair of Chinese carved bamboo brush pots decorated with water buffalo and calligraphy, 17cm high

19th c. Russian copper samovar for the Persian Qajar market having engraved vignettes of portraits of rulers with Arabic calligraphy

A Quantity of Decorative Chinese and other Eastern Ceramics, Metalwares and carvings, including a 19th century teabowl and saucer, celadon teapot, a green hardstone and bone calligraphy brush, carved hardstone panorama, a Chinese Republic period vase, desk tops, seals and cloisonne etc (five trays)

Oil on canvas glued to board. Measurements: 23 x 28.5 cm, framed measurements: 38.5 x 44 cm. Signed and dated 1909 in the lower left corner. Provenance: private collection of Don Jorge Mañach, Cuba, before 1950, private Spanish collection, a photograph from the time of the Cuban intellectual is provided along with the painting we present. Albert Marquet (March 27, 1875 – June 14, 1947) was a French painter associated with Fauvism. After a difficult childhood, 6 his studies at various Parisian art schools brought him closer to the post-impressionist effervescence and to those who would be his closest friends. Life was not easy for a young artist without resources. With a temperament more secret than solitary, Marquet as a child seems to have found in drawing a way out of "his intimate suffering of him" of him. At the end of 1907 he remained in Paris and devoted himself, together with Henri Matisse, to a series of urban views. The fundamental difference between the two is that while Matisse used strong colors, Marquet preferred dull yellows, muted violets, or blues. Black is normally used as a violent contrast to light colors for forms such as bare tree trunks or calligraphically drawn people in contrast to often very light yellow or orange streets and sidewalks. Another difference is that Marquet used a traditional perspective approach, although his colors and compositions constantly referred to the rectangle and intersected its plane with his calligraphy. In Moreau's studio, he and Matisse bonded with Henri Manguin and especially Charles Camoin with whom they would remain united until the end of their lives. 5 Less will the camaraderie with others last (Jules Flandrin, Louis Valtat, Henri Evenepoel, Simon Bussy or Georges Rouault), even if they have spent their afternoons fixing the world at the Café Procope. After a brief passage through the course of Fernand Cormon and then the celebrated Académie Julian, Marquet and Matisse attended the Camillo private academy, rue de Rennes, where they received advice from Eugène Carrière, one of the thinkers of social art, who sought to popularize art education; there they meet André Derain, Pierre Laprade, Jean Puy and Maurice de Vlaminck. From then on, Marquet never stopped touring the city drawing and painting in small format views of the Seine, the quays, the bridges6. He begins to take revenge on life,

"A. R. PENCK"; RALF WINKLER (Dresden, Germany; 1939- Switzerland, 2017)."Olympia".Mixed media on paper.Signed in the lower left corner.A. R. Penck originally created this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 70 x 50 cm; 85 x 65 cm (frame).The controversy aroused by the work that we now present to the Barcelona 92 Olympic Organising Committee was due to its highly erotic nature. The fact that Penck depicted a young lady like Olympia, with her breasts exposed (multiplied by 5, each corresponding to an Olympic ring) or with two naked pubes, was reason enough to censure the work as inappropriate. It was not the first time that an Olympia had aroused controversy in art: when Édouard Manet presented his work of the same name at the Paris Salon in 1865, it was branded pornographic owing to its high degree of eroticism, causing a great stir among the critics of the time. It is striking how, despite the time difference of almost 130 years between the two works, history is repeating itself.Ralf Winkler, who also used the pseudonyms Mike Hammer, T.M., Mickey Spilane, Theodor Marx, "a. Y." or simply "Y" was a German painter, printmaker, sculptor and jazz drummer. Penck was born in Dresden, during his teenage years he began attending painting and drawing classes with Jürgen Böttcher, known by the pseudonym Strawalde, and joined him to form the renegade artists' group Erste Phalanx Nedserd, notable for its members' refusal to study at an academy. Members of the group were also denied acceptance into the GDR Association of Visual Artists. They therefore had to earn their living as labourers or craftsmen. Later he worked for a year as a trainee draughtsman at the state advertising agency in Dresden. From 1955 to 1956, Winkler was a draughtsman at the advertising agency DEWAG and from 1956, he tried to enter the Academy of Fine Arts in Dresden and the Berlin University of the Arts in East Berlin, but it was not until 1966, when Winkler became a candidate to join the Association of Fine Artists, now under the artistic pseudonym A. R. Penck. Which was elected after the geologist Albrecht Penck. From 1969 onwards he had more and more problems with the GDR Ministry of State Security. His paintings were confiscated and his acceptance into the GDR Association of Visual Artists (VBK) was refused.Winkler was one of the founding members, in May 1971, together with Steffen Terk, Wolfgang Opitz and Harald Gallasch, of the artists' group GAP, which existed until 1976. From 1973 he worked under the pseudonyms Mike Hammer and TM. After serving in the military in 1974, he was awarded the Will Grohmann Prize in 1975 by the West Berlin Academy of Arts. In 1976, Penck met the West German painter Jörg Immendorff, with whom he would collaborate in the following years. In their work they campaigned for the abolition of the German internal border, and for dissidents, among them Rudolf Bahro and Robert Havemann. From 1976, he also signed simply Y. In 1977, some of his paintings were confiscated. In May 1979, several of his works and records were destroyed during a burglary at his studio. On 3 August 1980, he was transferred to West Germany. After emigrating, Penck became one of the leading exponents of the new figuration, along with Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Their work was shown in major museums and galleries in the West throughout the 1980s. They were included in several important shows, such as the famous Zeitgeist exhibition at the famous Martin Gropius Bau Museum and the important New Art exhibition at the Tate in 1983. He first lived in Kerpen, southwest of Cologne. In 1981, the Goethe Foundation awarded him the Rembrandt Prize in Basel, Switzerland. In 1983, Winkler moved to London and received the Aachen Art Prize in 1985. In 1988 he took part in the exhibition Made in Cologne, in the same year he was appointed professor of painting at the Düsseldorf Academy of Arts.His paintings depict worlds and spaces of experience, full of symbolic abbreviations. He used stick figures and graphic icons reminiscent of cave paintings, Asian calligraphy and graffiti art. In the 1960s and 1970s, he created a series of paintings and sculptures, which he called Standarts, a combination of "standard" and "art", echoing the German word for banner or flag, Standarte, by which he meant an art form that used simple, archaic pictorial symbols, such as road signs or trademarks. In the 1980s.

A Chinese Yixing pottery teapot, 19th century. The fluted body with rows of calligraphy, height 10.5cm, length 17.5cm, diameter of body 11cm.The items were bought by the vendors grandfather, Frederic Lipscombe in the 1930s. He was an artist who after studying at the Slade school of art went on to work with Bernard Leach. He worked in clay and was a wood carver, a silversmith, and a printmaker. In the 1930s he taught in New Zealand at art schools including Wellington College. He travelled widely in the Far East and acquired objects that interested him to use as inspiration for his work. This included many carved pieces, particularly netsukes and jades. He returned to England on the outbreak of the 2nd World War. When he died in 1968 his collections were shared between his children, one of whom was the vendors father. The family are now selling the collection as their parents are deceased.There is no damage apart from two chips on the underside of the lid. See images

A 20th century ceramic charger with central calligraphy roundel. Diameter 30cm.

A Chinese porcelain plaque, 20th century. Painted with a female figure in a garden, calligraphy and red seal, 17.5 x 12cm, frame size 27.5 x 22cm.

A large Chinese Yixing teapot, 19th century. Decorated with flowering branches opposed by calligraphy, seal mark to base, (lacking cover) height 14.5cm, width 20cm, depth 7.5cm.Light rubbing to the base. In good overall condition.

A Chinese watercolour ink scroll. Decorated with chickens amongst foliage and calligraphy.Some crease lines to the paper, but the watercolour is in good condition. Foxing to the scroll, but this doesn't impact the painting itself.

A Chinese famille rose porcelain teapot, 19th century. With two metal swing handles, the circular body decorated with warriors and calligraphy, 10.5cm, length 13cm.One 2cm crack to shoulder. See imageno other damage and very minor wear

A Chinese famille rose porcelain double-spouted teapot, 19th century. With two seated figures in a garden opposed by a bird perched on a flowering branch, two rows of black calligraphy flanking each spout, the interior with a central partition, red calligraphy to the top and red seal to base, cover missing, height 10cm, width 18.5cm, depth 7cm.Footnote: This was used to serve two different types of tea

A Chinese carved heidao nut carved as a sampan with calligraphy to the base and a resin stand. Together with a Chinese carved bamboo pot, height 10.5cm diameter 14.5cm.

A Chinese carved soapstone seal with goat finial and calligraphy. Height 7.5cm, togther with various other hardstone seals and blanks. (7)

A Flambe glazed porcelain globular bottle vase makers mark to base. Height 24.5cm together with a Japanese porcelain vase decorated with flowers and calligraphy. (2)

Qianlong Period Interest. Calligraphy Brush From the Qianlong Period. Approx Size 16 Inches In length.

Qianlong Period Interest. Calligraphy Brush From the Qianlong Period. Approx Size 14 Inches In length.

A Chinese porcelain lozenge shape shallow bowl, early 20th century, painted with a bird upon a flowering hibiscus tree above four character narks, the rear painted with calligraphy, four character mark, 26.5cm dia; and a pair of Chinese porcelain vases, early 20th century or later, painted with boys in various pursuits, apocryphal four character Tongzhi mark, 23.3cm highQty: 3

A Chinese porcelain blue & white bitong, of cylindrical form, painted bands of Islamic style calligraphy, apocryphal Yongle mark, 17cm highIn good condition and of recent manufacture.

A group of 18th century and 19th century Chinese porcelain to include a small 18th century porcelain famille rose bowl, 18th century tea caddy, 19th century Canton famille rose charger decorated with the Mandarin Garden pattern, and a Tongzhi period quatrelobed footed dish decorated with a seated figure and calligraphy verse (some damages) Location:

A SMALL CHINESE FAMILLE ROSE DOUBLE GOURD VASE finely painted with figures and panels of calligraphy, the base with six-character mark in red. 17.5cm high

A 15TH/16TH CENTURY MAMLUK ENGRAVED BRASS BOWL, the exterior with a band of calligraphy. 15.5cm diameter

A LATE SAFAVID / EARLY QAJAR MINIATURE PAINTING ON PAPER, depicting a battle scene with panels of calligraphy, framed and glazed, image 22cm x 15cm.

AN ISLAMIC GOLD INLAID STEEL FOLDING QURAN STAND, with bands of calligraphy, 31cm wide (when opened).

BOXED CALLIGRAPHY SET

2 Japanese calligraphy scroll wall hangings 67” long x 18” wide

D'APRÈS SONG HUIZONG (1082-1135)FauconAFTER SONG HUIZONG (1082-1135 AD)FalconInk and pigment on silk, inscription, apocryphal Yushu seal and signature of the artist, glazed and framed. 146cm (57 1/2in) high x 70cm (27 1/2in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935; the painting is shown in a photograph at Robert Rousset's Paris apartment, circa 1950sJean-Pierre Rousset, Paris (1936-2021) The most artistically talented emperor in Chinese history, Emperor Huizong of the Song dynasty (1082-1135), had the great misfortune to be ruling at a time of great turmoil and decline – much of it due to forces beyond his control. In 1126 the Jurchen-led Jin dynasty invaded the Song realm and captured the capital Kaifeng, marking the end of the Northern Song dynasty. Huizong and his Court were taken captive and sent north to Manchuria. He was further humiliated by the Jurchen who gave the former emperor a new title - Duke Hunde (literally 'Besotted Duke'). He died a broken man after nine years in captivity at the age of 52. His sad life is held as a warning to the dangers of neglecting government at the cost of art, and even the thin, spidery form of calligraphy he invented - 'slender gold' calligraphy – is seen as superfluous and decedent, unsuitable for upright leaders to emulate. His contribution to the arts, however, is unparalleled: he established a painting academy, created a huge collection of art, and invested much time and money into gardens, tea ceremony, poetry, painting, calligraphy and music. In Emperor Huizong's second year on the throne (1101), the censor Jiang Gongwang submitted a memorial saying he had heard a rumour that someone had entered the Rear Garden of the palace with a falcon:'The other day I, your subject, heard a rumour on the street that some high-ranking men including one named Jia entered the Rear Garden with falcons on their shoulders to hunt birds. This I could not believe... How could a ruler who is benevolent busy himself with going hunting? How could anyone devoted to the dynastic ancestors have the leisure to pursue the pleasure of hunting'.The censor claimed not to believe the rumour, but he still went on at length on the reasons Emperor Huizong should not involve himself with anything as cruel and dangerous as hunting. If the emperor did ever go hunting, no record of it has been preserved; see P.Ebrey, Emperor Huizong, London, 2014, p.301.宋徽宗（款）鷹 設色絹本 鏡框來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏；約二十世紀五十年代攝於其公寓照片中可見巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TRÈS RARE ET IMPORTANTE TABLE EN HUANGHUALI SURMONTÉE D'UN PLATEAU EN PIERRE PORTANT UNE INSCRIPTIONFin de la dynastie Ming (XVIe/XVIIe siècle) AN IMPORTANT AND VERY RARE HUANGHUALI INSCRIBED STONE-TOP TABLE Late Ming Dynasty (16th/17th century)Of rectangular form with a single floating purplish-grey and green stone panel, likely duan stone, inscbied with a calligraphic inscription, set in a mitred frame of mortise and tenon construction with moulded edges, above straight waist and a plain apron, supported on four legs of slender square section terminating in hoof feet and joined by humpback stretchers, the well-grained lustrous wood of warm amber-honey tone. 89cm (35in) high x 150cm (59in) wide x 58.7cm (23in) deep. The stone 98.2cm (38 5/8in) wide x 42.5cm (16 5/8in) long.Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021), acquired in the 1980'sTables with a stone top such as the present lot were particularly useful when playing the guqin – a seven stringed zither – with sound boxes underneath. The stone surface allowed the sounds to bounce off and reverberate more loudly. The inscription at the right corner of the stone top highlights its dual use of supporting the musical instrument as well as for reading. Following is the inscription:質賦衡峰，貞似玉溫，而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文Which may be translated as:Its quality is harder than Hengshan mountain,The texture as smooth and gentle as jade.Playing qin solemnly on the lustrous marble top,And feeling the gentle breeze.Reading under the bright light,Dedicated to the Court: duty, loyalty and diligence.Seal: Zhao Wen (朝文)As the poetic inscription suggests, the present table would have been suitable for playing the qin, or for reading, aiding in study and serving the Court. A very similar table of more narrow form and without stone top, late 16th/early 17th century, is illustrated by Grace Wu Bruce, Living with Ming: the Lu Ming Shi Collection, Paris, 2000, p.110, no.23. The author notes on that tables with stone tops are quite rare, 'presumably because they break and perish at a higher rate compared to their wooden counterparts', see ibid., p.12. See also another related huanghuali table of similar form, but without a stone top, circa 1550-1650, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.49. The author notes that according to the Classic of Lu Ban, this is a xiao qin zhuo shi, 'small qin table type'. That the present table is also inscribed with a poem, perhaps signifies its importance to literati gatherings where the qin was played, poetry recited, paintings and calligraphy written and exchanged. It is more likely that such a table with a poetic inscription and imbued with cultural capital would be more suitable for playing the qin, one of the Four Arts of the Scholar along with qi (chess), shu (calligraphy), and hua (painting).See a huanghuali incense table with stone top, inscribed with various collectors seals, Ming dynasty, including that of Xiang Yuanbian, which was sold at Poly Beijing, on 28 July 2022, lot 5563.Les tables similaires à celle-ci étaient particulièrement utiles pour jouer du guqin - une cithare à sept cordes- le plateau en pierre formant une caisse de résonance. En effet, la surface en pierre permettait aux sons de rebondir et de se réverbérer plus fort. L'inscription au coin droit de la pierre souligne son usage double : celui de support pour l'instrument de musique ou pour la lecture:質賦衡峰，貞似玉溫，而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文 Que l'on pourrait traduire ainsi:D'une qualité plus dure que le Mont Heng,Son grain aussi doux que le jade,Jouer du qin avec solennité sur la pierre brillante,Et sentir la brise tièdeLire sous la lumière vive,Dédié à la Cour : devoir, loyauté et diligenceSceau: Zhao Wen 朝文 Comme le suggère l'inscription poétique, cette table aurait convenu pour jouer du qin, ou pour lire, utile dans le cabinet du lettré et pour servir la Cour. Une table très semblable, mais plus étroite et sans plateau en pierre, fin du XVIe ou début du XVIIe siècle, est illustrée dans Grace Wu Bruce, Living with Ming: the Lu Ming Shi Collection, Paris, 2000, p.110, n°23. L'auteur note que les tables à plateau en pierre sont assez rares, « probablement parce qu'elles se cassent et disparaissent davantage que celles en bois. », Ibid. p.112.Voir également une autre table en huanghuali de forme similaire mais sans plateau en pierre, vers 1550-1650, illustrée dans C.Clunas, Chinese Furniture, London, 1997, p.49. L'auteur écrit que d'après le Classique de Lu Ban, il s'agit d'une xiao qin zhuo shi, un type de petite table à qin. Le fait que cette table soit gravée d'un poème est peut-être une indication de son importance lors de réunion de lettrés où l'on jouait du qin, récitait de la poésie ou réalisait et échangeait des poèmes et calligraphies. Cette table, dotée d'une inscription poétique, était particulièrement appropriée pour jouer du qin, un des Quatre Arts du Lettré avec les échecs (qi), la calligraphie (shu) et la peinture (hua).Voir une table à encens en huanghuali avec un plateau en pierre, inscrite de plusieurs sceaux de collectionneurs, dont celui de Xiang Yuanbian, dynastie Ming, vendue chez Poly à Pékin le 28 juillet 2022, lot 5563.明晚期 黃花梨四面平式嵌石面詩文條桌來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏，於二十世紀八十年代前入藏因石質空隙易與聲響產生共鳴，可作為音響加強音色，如本拍品般之嵌石面條桌尤宜作為琴桌使用。刻於該桌桌面右側的詩文亦引證其曾為士人琴桌及書桌的角色：質賦衡峰，貞似玉溫而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文。與本拍品相類但稍窄且無石桌面之十六/十七世紀早期琴桌 可見於伍嘉恩（Grace Wu Bruce）著，Living with Ming: the Lu... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

PEINTURE REPRÉSENTANT UNE DAME DE COUR ET SA SERVANTEProbablement dynastie Ming (1368-1644) ou antérieurA PAINTING OF A COURT LADY AND LADY-ATTENDANTProbably Ming Dynasty (1368-1644) or earlierInk and pigment on silk, with apocryphal seal of Song emperor Huizong, reading Neifu tushu zhi yin on the top left, seal of Jin dynasty emperor Zhangzong, reading Mingchang Yulan, collector's seal lower right reading Nanchang wanshi zhencang, framed and glazed. 135cm (53in) long x 56cm (22in) wide. Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present lot depicts an elegant Court lady holding in her hand a sheng or free-reed wind instrument, seated outside beside a gnarled rock issuing peony. Behind her stands an attendant draped in green robes, the relatively large size of the lady indicates her importance compared to the smaller attendant.The Court lady wears an elaborate headdress with seven phoenix, perhaps indicating that this is Bixia Yuanjun, the primordial sovereign of the dawn clouds, or Lady of Mount Tai. In Daoism, she is considered not only the Goddess of Mount Tai, but also of childbirth and destiny. She became an important deity particularly in the north of China during the Ming and Qing dynasties. The detail of the clothes is particularly magnificent. The Lady is clad in gorgeously decorated robes detailed with a Daoist Immortal carrying a staff from which hangs a double-gourd containing an elixir, and facing a crane and tortoise, symbols of longevity. This again would seem to indicate that the figure is a deity or connected to Daoism. In the centre of the painting is a spurious seal reading 'Mingchang Yulan', seal of the Jin emperor Zhangzong (r.1188–1208). Emperor Zhangzong attempted to supersede the former Song emperor Huizong as an art connoisseur and inherited a large collection of art which he inscribed or attached his seal to. See the painting, for example, of 'Lady Guoguo's Spring Outing', attributed to Zhang Xuan, where emperor Zhangzong added the three characters 'Tian shuimo', which actually belonged to Huizong; see Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Another collector's seal on the bottom right reads 'Nanchang wanshi zhencang' which likely belonged to Wan Chengzi 萬承紫(1775-1837). In the upper left is another apocryphal seal reading 'Neifu tushu zhi yin' (內府圖書之印 'Seal for Painting and Calligraphy of the Palace Storehouses'), the seal of Emperor Huizong.Although the painting echoes the work of Tang dynasty painter, Zhou Fang, and his 'Court Ladies Wearing Flowered Headdresses', illustrated in Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, with their large chignons and elaborate headdresses, the style of the painting would suggest a a later date. See for example, related figures of ladies in a Daoist wall painting 'Homage to the Highest Power', originally from the Longmen Monastery in Shanxi Province, c.1300, in the Royal Ontario Museum (acc.no.933.6.3).Cette œuvre dépeint une élégante dame de Cour tenant un sheng (instrument à vent à anches libres), assise à côté d'un rocher tortueux traversé par un arbuste couvert de pivoines. Derrière elle se tient une suivante dans une robe verte, et la plus grande taille de la dame manifeste son importance.La dame de Cour porte une coiffe élaborée à sept phénix, indiquant peut-être qu'il s'agit de Bixia Yuanjun, la souveraine primordiale des nuages de l'aube, appelée aussi Dame du Mont Tai. Dans le taoïsme, elle est non seulement la déesse du Mont Tai, mais aussi celle de l'accouchement et du destin. Elle devint une divinité importante, surtout dans le Nord de la Chine, durant les dynasties Ming et Qing.Le détail des vêtements, en particulier, est magnifique. La dame est habillée de robes superbement décorées, dont une rouge présentant un motif d'immortel taoïste tenant un bâton où est accroché une double-gourde contenant un élixir, et faisant face à une grue et une tortue, des symboles de longévité. Ceci semble encore montrer que ce personnage est une divinité ou est lié au taoïsme.Au centre de la peinture se trouve le sceau apocryphe « Mingchang Yulan », prétendument le sceau de l'empereur Zhangzhong (r. 1188-1208) des Jin. L'empereur Zhangzhong tenta de remplacer l'empereur Huizong des Song comme connaisseur des arts et hérita d'une vaste collection d'art sur laquelle il calligraphia ou apposa son sceau. Voir par exemple la peinture de L'excursion printanière de Dame Guoguo, attribué à Zhang Xuan, sur laquelle l'empereur Zhangzhong a ajouté les trois caractères « Tian shuimo », qui appartenaient en fait à Huizong, cf. Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Il y a autre sceau de collectionneur en bas à droite, « Nanchang wanshi zhencang », probablement celui de Wang Chengzi 萬承紫(1775-1837). En haut à gauche se trouve un autre sceau apocryphe indiquant « Neifu tushu zhi yin » (內府圖書之印), le sceau de l'empereur Huizong.Bien que la peinture évoque le travail du peintre Zhou Fang de la dynastie Tang et ses Dames de la Cour portant des coiffes fleuries illustrées dans Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, avec leurs grands chignons et coiffes élaborées, le style de cette peinture suggèrerait une date plus tardive. Voir par exemple des personnages comparables de dames sur une peinture murale taoïste, Homage to the Highest Power, provenant probablement du monastère de Longmen dans la province du Shaanxi, vers 1300, et conservé au Royal Ontario Museum (acc.no. 933.6.3或明或更早 仕女圖 設色絹本 立軸來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏本拍品描繪一位優雅宮裝仕女，手持竹笙，安坐於牡丹花旁的嶙峋石上。其身後為綠袍侍女。從二人的身量大小區別可見其身分區別。該宮裝仕女頭戴七鳳冠，或表明其為碧霞元君或泰山娘娘之身分。在道教中，她不只被認為是泰山山神，還是主生育的神祇，並在明清時代的華北地區廣受崇拜。本拍品對人物衣飾著墨甚多。主角華麗的衣袍上甚至可見了肩挑懸壺的道教仙人形象，亦有仙鶴壽龜等紋樣，均為長壽之象徵... For further information on this lot please visit Bonhams.com

ALBUM DE PEINTURES D'APRÈS DES ARTISTES DE LA COUR DES SONG DU SUDXVIIIe/XIXe siècleA PAINTED ALBUM AFTER SOUTHERN SONG COURT ARTISTS18th/19th century Containing six paintings after Song dynasty artists including Xiao Zhao, Li Song, Yan Ciping, Ma Yuan, Xia Gui, and Fan Long, and six leaves of calligraphy, with apocryphal seals and signatures, inscription dated to 1813 by Mianning. The album, 45.5cm (18in) long x 42cm (16 1/2in) wide, the largest painting 34.5cm (13 1/2in) long x 33cm (13in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Seals: First page: Jiaqing yulan zhibao Second page: Mao Dui Shi Yu wan wuAfter Zhu Rui, Tengwang Pavilion: Jiaqing yulan zhibao, Zhou Ding Yanxi zhibao , Shiqu baoji, Baoji san bianAfter Xiao Zhao, lotus: Hangzhi After Li Song, goat: two illegible seals After Yan Ciping: no sealsAfter Ma Yuan：Song Luo shending After Xia Gui: Gu di shangjian jishuAfter Fan Long, waterfall: Fan Long, Jiaqing Jianshang, Sanxitang jingjian xi, Yi zisunCalligraphic postscript: apocryphal Zi chen Mianning, Jing shu 十八至十九世紀 仿南宋名家山水冊 設色絹本 六開來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

ENSEMBLE DE SEPT ESTAMPES DU MANUEL L'ATELIER DES DIX BAMBOUSXVIIIe/XIXe siècleSEVEN WOODBLOCK PRINTS FROM TEN BAMBOO STUDIO 18th/19th centuryInk and pigment on paper, the largest 34cm (13 3/8in) wide x 27cm (10 5/8in) long; together with six prints of flowers and insect, and four prints of chrysanthemums (Ju pu) 29.5 (11 5/8in) wide x 26cm (10 2/8in) long. (17).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) With the growth of population, wealth, literacy and mobility in Ming dynasty China, cities such as Nanjing and Suzhou became centres for the educated scholar and wealthy merchant classes, and for printing. Scholars who could not find employment as officials at Court sought to enhance their reputation through costly individual print projects and initiated colour printed manuals. Commercial workshops on the other hand responded to the demands of the urban population for novelty by producing sets or single-sheet prints, often emulating the culture of the elite. As C.Von Spee wrote, 'Colour printing reached a level of perfection in the early seventeenth century. Outstanding examples are Ten Bamboo Studio Collection of Calligraphy and Painting (c.1633)... and single-sheet prints of birds, flowers, insects and antiquities printed and signed by members of the Ding clan in Suzhou'; see The Printed Image in China: From the 8th to the 21st Centuries, London, 2010, p.18.The Ten Bamboo Studio Collection of Calligraphy and Painting, is the earliest picture collection in China to be printed in colour and the first to include isolated illustrations of subjects such as plants, flowers, birds etc. The Ten Bamboo Studio was the name of the residence of Hu Zhengyan in Nanjing. He was an accomplished scholar in ink making and seal carving, as well as calligraphy and painting, who initiated the production of the manual. See related examples of prints from the Ten Bamboo Studio Collection of Calligraphy and Painting, illustrated in Ibid, pp.72-75.十八/十九世紀 十竹齋木刻版畫 一組七幀來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

A 15th century Egyptian Mamluk engraved brass bowl, Islamic calligraphy and stylised banding decor, H.6.5cm D.15cm

A large early 16th century Syrian Mamluk tinned copper bowl bearing calligraphy and arabesque decoration, H.21.5cm D.36.5cm

A 12th century Seljuk bronze ewer, bird finial and band of calligraphy, H.20.5cm

Mir Imad Al Hasani, a rare and fine 17th century Persian Safavid calligraphy on paper by Mir Imad Al Hasani, gilt heightened

A fine 10-11th century Egyptian Fatimid carved stucco tile with large Kufic calligraphy, 27.5cm x 21cm

A welcome home banner, a Chinese leader calligraphy poster on silk and a silk banner of Chinese bridge a/f.