We found 13121 price guide item(s) matching your search

A large collection of vintage dip pens and a vintage tin of calligraphy nibs. Various makers and designs.

A SMALL CHINESE Y-HSING TEAPOT decorated with calligraphy, 4" high, a Bizen brown stoneware TEAPOT and a Japanese Kutani porcelain model of a DOG with gilded highlights, 4" high (3). £30-£50

Calligraphy & illuminating reference. A comprehensive collection of reference relating to the history and technique of calligraphy and illumination etc., including Tributes to Edward Johnston Calligrapher, Privately printed by the Society of Scribes and Illuminators, Maidstone College of Art, 1948, monochrome plates, front free endpaper with the signature of Dorothy Hutton (1889-1984, painter, calligrapher and printmaker), original cloth, 8vo; Handwriting: Everyman's Craft by Graily Hewitt, 1st edition, London: Kegan Paul, 1938, front free endpaper signed by the author, original cloth, 8vo; 2,000 years of Calligraphy: A three-part exhibition organized by the Baltimore Museum of Art, Peabody Institute Library [&] Walters Art Gallery, June 6-July 18, 1965, London: Frederick Muller Ltd., 1972, monochrome illustrations, original cloth, 4to (limited edition 54/250); Calligraphy Today by Heather Child, London: Studio Books, 1963, half-title signed by the author, original cloth in slightly worn dust jacket, 4to; Writing & Illuminating, & Lettering by Edward Johnston, 1st edition, London: John Hogg, 1906, frontispiece, plates and illustrations, original cloth-backed boards, in modern book box, 8vo; Swan's Plain and Ornamental Alphabet Coopy Book for the use of Schools, Glasgow: Joseph Swan, circa 1850, original printed wrappers, browned and some wear, slim 4to; Alexander (J.J.G., Temple, E., & Kauffmann, C.M.), Survey of Manuscripts Illuminated in the British Isles, volumes 1-3 (of 6, Insular Manuscripts 6th to the 9th century, Anglo-Saxon Manuscripts 900-1066, Romanesque Manuscripts 1066-1190), London: Harvey Miller, 1978, 76, 75 respectively, colour and monochrome plates, original cloth in dust jackets, folio, and others similar, including some booklets and periodicals (including issues of The Scribe magazine etc.)QTY: (approx. 200)

Pigment powders. A collection of 12 pigment powders and related accessories, suitable for illumination, calligraphy & painting etc., pigments include genuine vermilion (149g), cadmium vermilion (105g), lead read (94g), cerulean blue (268g), Egyptian indigo (121g), scarlet vermilion (98g), chromium oxide (190g), and five others (majority made by Cornelissen & Son Pigments), accessories include small quantities of bronze, silver & crimson copper powder & Reichgold tro-col bronze, together with a bag containing approx. 0.8 kg of gum ammoniac, a 10cm and 5cm muller, three glass grinding plates, ox gall liquid, Blanc fixe, ceramic dishes and palette, two palette knives, plus two reference books, Formulas for painters, by Robert Massey, 1979 and An anonymous fourteenth-century treatise: de Arte Illuminandi, the technique of manuscript illumination, translated from the Latin of Naples MS XII.E.27 by Daniel Varney Thompson, Jr. and George Heard Hamilton, 1933 QTY: (small carton)

Gilding & calligraphy materials. A selection of gilding & calligraphy materials and related hand tools etc., including five books of Whiley gold leaf, five near full books of gold leaf, three books of silver leaf, gold powder, gold cushion, gilder's tip, knife and selection of burnishers, small jars containing brazil wood, ground saffron, Egyptian saffron, gum tragacanth, glaire crystals etc., approximately 0.8 kg of gum ammoniac, Arkansas stone, three speedhall steel brushes, Japanese black grinding stone, quill knife, plus a small selection of bookbinding hand tools, and three related reference books, Bookbinding, and the care of books, by Douglas Cockerell, 4th edition, reprinted, 1945, Fragments of bookbinding technique, by T. Harrison, [1950?], Japanese bookbinding instructions from a master craftsman by Kojiro Ikegami, adapted by Barbara B. Stephan, 2nd edition, 1988QTY: (a carton)

A Chinese Porcelain Plaque, Qianjiang School, late 19th/20th century, of rectangular form, painted with an extensive mountainous landscape and with calligraphy, seal marks in red36.5cm by 24.5cmSome typical minor wear and flakes to edges.

A Chinese Porcelain Teapot and Cover, Republic Period, late 19th/20th century, of square form with fruit knop, painted with winter landscapes and with calligraphy, bears Cheng Men seal marks in red, 18cm longTypical minor wear to decoration, free from damage and repair

A Pair of Canton Enamel Hors d'Oeuvres Dishes, 19th century, of fan shape, painted in famille rose enamels with figures in landscape and with calligraphy within a floral meandering border, 16cm wideOne with heavy chipping to the underside of the top rim, heavy chips to all corners of the underside, chip to top left and bottom right inside corners, two chipped shards to the inside top right corner, series of fine cracks throughout the edges inside and out, the other dish heavy chipping to bottom right outside corner, small chip lower rim, outside, chip to the outside top right corner, two chips to top edge, outside, large chipped shard top edge, inside, similar series of cracks, less substantial than the first

A Pair of Cantonese Porcelain Ointment Pots and Covers, mid 19th century, of cylindrical form, typically painted in famille rose enamels with flowers and figures in panels on a foliate ground, 4cm high; A Similar Ogee Bowl, 11cm diameter; A Saucer, painted with figures and panels of calligraphy, six-character reign mark in red, 14.5cm diameter; A Rice Bowl Cover, painted in enamels for the Persian market with foliage in lappet shaped panels, 15cm diameter; and Two Chinese Blue and White Covers (7)Ointment pots and covers, one ointment with inner chip to rim of the cover, both with some fritting, the ogee bowl in good condition, the figure painted saucer in good condition, rice bowl cover, with four hair cracks to the rim, blue and white covers, heavy chipping and fritting to the rims

A Dutch-Decorated Blanc de Chine Wine Cup, 2nd half 17th century, of flared octagonal form, painted in kakiemon style with a banded hedge, pine, prunus and bamboo within a bitter chocolate rim, on four stub feet, bears four character mark in red, 6cm wideAt first glance the four red Chinese characters are easily dismissible as a Western attempt at a Chinese mark, but after spending a bit of time with them, the first two characters (top and bottom right) are- with some leeway- readable. The first meaning “Ben”- a book and the second “Mi”- a river in Hunan Province. As when reading Chinese or Japanese characters there can be many interpretations which may be multiplied by inscrutable calligraphy and the lack of skill of the reader.Hair crack to the rim, one small abrasions to the rim, light enamel wear

A Pair of Chinese Lacquered Hat Stands, 19th century, of hexagonal form, carved and pierced with auspicious objects and calligraphy on latticework picked out in gilt on a red ground, 37cm highThe top rim of one is lacking, the same with lifting and chips to the lacquer, the other with some edge chips to the lacquer

IRANIAN CERAMIC GLAZED TILES AND FRAGMENTS, 13TH CENTURY. To include two ceramic tiles decorated in relief with calligraphy and foliage in cobalt blue and turquoise with metallic sheen. Together with one other tile decorated in relief with Kufic calligraphy and floral scrolls in cobalt blue. Together with bottle vase (af) Largest tile 30.5cm length. With original auction catalogue and receipt.Provenance: From a private English collection.Purchased from Etude Daussy Ricqles, Paris, Islamic Art Sale, 1st July 1991. With copy of purchase invoice.

A LARGE CHINESE FRAMED PORCELAIN TILE, 20TH CENTURY. Painted with a landscape scene and calligraphy. Total frame size 103cm x 45cmTile in good condition. Frame in worn condition. No damages.

A CHINESE FRAMED PORCELAIN TILE, 20TH CENTURY. painted with scene of figures in landscape scene with calligraphy. Frame size. 54.5cm x 36.5cmTile in good overall condition bu loose in frame. Frame in worn condition.

LING SHUHUA (BEIJING, CHINA B.1904-1990) INK ON PAPER. Rock in landscape scene with poem in calligraphy dated 1962 with red seal. Mounted on silk. Framed and glazed. Artwork size 53cm x 51cm. Frame size 87cm x 71cm.Provenance: From a deceased estate in Devonshire. Reference: Ling Shuhua was born Ling Ruitang on March 25th 1904 in Beijing. Shuhua was the daughter of the third concubine of a high ranking Qing official, Ling Fupeng, from the southern province of Canton, who later served as the mayor of Beijing. Ling Shuhua learned to paint as a child from the famous Qi Baishi.

LING SHUHUA (BEIJING, CHINA B.1904-1990) INK ON PAPER. Of rock in landscape scene with calligraphy describing her style of painting. Signed with two red seals. Mounted on silk. Framed and glazed. Artwork 61cm x 45.4cm. Fram size 96cm x 66cmProvenance: From a deceased estate in Devonshire. Reference: Ling Shuhua was born Ling Ruitang on March 25th 1904 in Beijing. Shuhua was the daughter of the third concubine of a high ranking Qing official, Ling Fupeng, from the southern province of Canton, who later served as the mayor of Beijing. Ling Shuhua learned to paint as a child from the famous Qi Baishi.

LING SHUHUA (BEIJING, CHINA B.1904-1990) INK ON PAPER. Of rock in landscape scene with bamboo with calligraphy describing her painting style. 'Quickly painted in old style'. Signed with two red seals. Mounted on silk. Framed and glazed. Artwork 57cm x 44.5cm. Frame size 91cm x 65cmProvenance: From a deceased estate in Devonshire. Reference: Ling Shuhua was born Ling Ruitang on March 25th 1904 in Beijing. Shuhua was the daughter of the third concubine of a high ranking Qing official, Ling Fupeng, from the southern province of Canton, who later served as the mayor of Beijing. Ling Shuhua learned to paint as a child from the famous Qi Baishi.

LING SHUHUA (BEIJING, CHINA B.1904-1990) INK ON SILK. Of a landscape scene with calligraphy. Signed with one red seal. Mounted on silk. Framed and glazed. Artwork size 60cm x 38.5cm. Frame size 84cm x 57cmProvenance: From a deceased estate in Devonshire. Reference: Ling Shuhua was born Ling Ruitang on March 25th 1904 in Beijing. Shuhua was the daughter of the third concubine of a high ranking Qing official, Ling Fupeng, from the southern province of Canton, who later served as the mayor of Beijing. Ling Shuhua learned to paint as a child from the famous Qi Baishi.

CHINESE FRAMED PAINTING AND EMBROIDERIES, 19/20TH CENTURY. To include a red ground silk embroidered panel of floral spray in gilt wood frame. Together with a framed painting on silk of coastal scene and a vintage framed embroidery of children and calligraphy. Large gilt frame 60cm x 26.5cm (3)All items in good general condition.

PAIR OF CHINESE PAINTINGS ON SILK OF TIGERS, 20TH CENTURY. In landscape scenes with calligraphy mounted on card. Total size 35.5cm x 25.5cm. (2)Both in good general condition.

A CHINESE INK ON PAPER OF BAMBOO LANDSCAPE. With calligraphy and red seal. Mounted on silk and card. Artwork 57cm x 32cmIn good general condition.

A JAPANESE FRAMED YUZEN CHIYOGAMI PAPER CUT STENCIL. Abstract with floral stems with calligraphy. In perspex frame. Perspex 63cm x 49cmLoss to corner

A SET OF FOUR CHINESE YIXING POTTERY TEAPOTS. Each with incised calligraphy and foliage decoration. Four-character makers marks to base and inside of cover. 12cm length.(4)All in good general condition.

A Victorian folk art painted wood watch holder, the door with glazed aperture, height 39cm, together with a cased sovereign balance, an Indian votive figure, and an Islamic napkin ring inlaid with calligraphy (4).

A mixed group of jewels, comprising: a mid-19th century pearl, turquoise and diamond pendant on a rope twist chain (pearls untested); a cultured pearl bar foliate bar brooch, fitted case; a shell cameo brooch depicting two goddesses and an eagle, reverse signed C.Noto; two smaller shell cameo brooch/pendants depicting a woman in profile and a rose respectively; a bar brooch set with a cabochon opal, stamped 9ct; an enamelled egg-shaped pendant of pierced open work design of Arabic calligraphy, fanning open to reveal a Arabic inscription, to a fine curb chain; and a 9ct gold ring set with a cultured pearl, size P, British hallmarks

A 17th century chalcedony intaglio, inscribed with Arabic calligraphy, the centre quoting the 'Throne Verse', of the Qur'an, (Chapter 2 verse 256), the border reading 'In the name of God the Merciful the Compassionate' and quoting Qur'an chapters 109, 112, 113 and 114, measuring 4.5 x 3.2cm, case

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink and graphite on paper.There are tears on the outer perimeter without affecting the drawing.Apocryphal signature and inscription.Measurements: 31 x 41.8 cm.In the oriental culture, painting has a great link with calligraphy, materials such as brush and ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Floating water lilies".Ink on blue card.Slight lack in the upper left corner.Signed in the lower left corner.Measurements: 31,5 x 45 cm.In the oriental culture painting has a great link with calligraphy, the materials such as the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink on blue card.There are tears and faults in the corners.It has damp stains.Signed in the lower left corner.Measurements: 44,5 x 32 cm.In the oriental culture the painting has a great link with the calligraphy, the materials like the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Indian mughal era painting of two figures, 18th/19th century profusely decorated in gold, inscriptions on lower border, verso an Islamic or Persian calligraphy. Framed. Page measures 37cm by 21cm. Provenance: previously in a collection in Stockholm, Sweden.

2 mixed boxes to include Chinese calligraphy items, boxed games, flexi lamp, tub of knitting needles, card making items, and a boxes of cutlery etc

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."I guess this is the shape of my desire (white), 2022.Mixed media (acrylic and tacks) on wood.Attached certificate issued by the artist.Signed on the back.Size: 10,5 x 10,5 x 4,5 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the rooftop of the Zapadores Museum in Madrid.

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."13F19". Series A-B-S-S-T-R-A-C-T, 2019.Acrylic on canvas.Attached certificate issued by the artist.Signed in the lower right corner. Signed and dated on the back.Measurements: 101 x 120 cm.The artist's website dedicates these words to the work: "Pain is a simple word, but there are so many different types of pain. This artwork represents a memory with pain that is repressed and locked in a small box in the mind, so much so that you don't remember it every day. However, the memory itself remains in the mind for so long that it creates pain without you even realising it. The Abstract series to which this work belongs visualises human emotions that are not easily captured in words. It challenges the linguistic perception of oneself and is an attempt to label the phenomena of the human mind. Through the process of creation, it tries to reduce the amount of conscious intensity of the human attempt to make something perfect in order to extract the unconsciousness, which it can handle to gain more information and allows access to the essence of human experiences / Seeing humanity as a small part of the universe. partially experiencing universal phenomena the process of creation tries to incorporate the essence of nature/universe in an attempt to turn inorganic materials into organic beings.Linked to the world of sports, after winning the Japan Inter High School Taekwondo Championship, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and earning a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.

A 19TH CENTURY INDIAN KHANJAR OR DAGGER, 33cm recurved wootz damascus blade, the back edge with gilt highlighted scalloped reinforcing strip, the forte decorated in gold calligraphy, characteristic polished horn grip.

A LATE 18TH OR EARLY 19TH CENTURY INDIAN TABAR OR AXE, 20cm crescent form head with traces of silver damascene decoration and chiselled with a panel of calligraphy and foliage, 68cm haft.

A 19TH CENTURY TURKISH OR OTTOMAN SHAMSHIR, 83.5cm sharply curved Wootz damascus blade inlaid with two panels of calligraphy in gold to one side, characteristic hilt with brass crossguard, two-piece riveted rhinoceros horn grips, silver backstrap with incised decoration and struck with a maker's mark, contained in its leather wrapped wooden scabbard with silver mounts decorated to match and also struck with maker's marks, steel chape, complete with suspension strap. Please ensure that you comply with all CITES laws.

A 19TH CENTURY INDO-PERSIAN DHAL OR SHIELD, the 46.5cm diameter body profusely decorated with bands of geometric design, panels of stylised calligraphy, a large rayed sun form amidst scrolling foliage, gilt highlights, brass trim to the rim.

An Egyptian brass bowl, early 20th c, with rolled rim, decorated with calligraphy in two registers, 20cm h Old polish residues and dents around widest part, not holed or repaired

Ottoman calligraphy. Secretarial document, the five lines of text alternating in red and black, illuminated with the tughra of Sultan Abdul Hamid II, docketed (perforated), paper, creased where folded, separating in places, 76 x 54.5cm, framed

Miscellaneous chased embossed and engraved ornamental brassware, Middle Eastern and South East Asian, 20th c, to include a gong with calligraphy Good condition

An Early Persian Islamic Small Copper Holy Bowl - Engraved with calligraphy. 3.5cm x 12cm diameter.

A CULTURAL REVOLUTION FIGURE The male figure on plinth base inscribed with Chinese calligraphy 44cm tall 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 PAIR OF CARVED BAMBOO WALL HANGINGS Carved with calligraphy Each 132cm high x 13cm wide 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.

An Islamic miniature painting on board, depicting a female figure holding a water vessel, the border with calligraphy and gold splash design, 13.5" x 9.5", (unframed).

A portrait of Fath Ali Sha, the King of Persia kneeling upon a carpet holding a huqqa pipe in one hand and a string of beads in the other hand with a landscape beyond, calligraphy to the top left, oil on canvas, 46.5"x 31".

A PAIR OF CHINESE PAINTED MARBLE HARDWOOD TABLE STANDS, QING DYNASTY, LATE 19TH CENTURY清 加彩八仙大理石硬木架一對 十九世紀晚期Painted with Daoist immortals, calligraphy to the reverse, together with a marble topped square shaped stand, inscribed to underside (5)Height: the table stands - 23cmThe square stand: 15cm x 15cm x 10cmProvenance: The collection of Lt. Col. George Douglas Gray, OBE, MD RAMC (1872 - 1946), thence by family descentCondition ReportThere is minor rubbing and flaking to the enamels on the marble panels and some discolouration around the edges commensurate with age, the table stand is in good condition.

Two trays of jigsaw puzzles and a writing/calligraphy set. Jigsaw puzzles, to include: 'Lookout !' Angela Harding, 'Stokksnescape Iceland', 'Royal Botanic Gardens Kew' Marianne North and 'Fantasy Flock' (all 1000 pieces, 2 un-opened) (5) (B.P. 21% + VAT)

An Islamic carved marble tile with Arabic calligraphy, possibly Persian, H.6.5cm L.28cm D.22cm

Salomé Wu Bled, 2022 Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Salomé Wu b. 1996, is a multi-disciplinary artist whose practice involves oil painting, printing on silk, installations, and performance. As a teenager, Salomé admired a teacher who encouraged her to pursue training in calligraphy and painting. Her work examines otherworldliness through translations and ever-evolving reinterpretations of a mythology, formed from her observation of time, fragility, and the interplay between reality and the unseen. Understanding herself primarily as a global citizen, Salomé works to keep her art devoid of contemporary models of identification and taxonomy, relying on obliquely biomorphic figures and depictions of universal emotions to populate her work. Across mediums, she presents a nonlinear journey, weaving together seemingly disparate moments to unveil previously concealed narratives. Salomé lives and works in London, UK.   Education   Royal College of Arts, London (MA Painting), 2022-2024 Camberwell College of Arts, London (MA Printmaking), 2019-2020 Chelsea College of Arts, London (BA Hons. Textiles Design & Print Plus), 2016-2019 Central Saint Martins, London (Foundation Diploma in Art & Design), 2015-2016   Select Exhibitions/Awards   There Are No Strangers Here, Canopy Collections x Modernity, London Synthesis, Saatchi Gallery, London (curated by Delphian Gallery) An Arcadian Kind of Love, Soho Revue, London The Reality In Whytch You Create, Studio West, London 2021 The Artists Contemporary Atelier, London (solo) When Shit Hits the Fan Again, Guts Gallery, London Opening Exhibition, Changing Room Gallery, London Underpinned by the Movements of Freighters, The Florence Trust, London (curated by Joe Moss) Les Danses Nocturnes, East Contemporary Gallery, Entrevaux, France A New Art World, Guts Gallery, London Open Call Winners 2021, Delphian Gallery, London Ambrosia, Purslane Gallery, London In a New Light, Art City Works, London Dandelion, Delphian Gallery, Basel She Curates X CloverMill Artist Residency Open Call Exhibition, Wilder Gallery, London With Love II, Paint Talk, London 2020 Ode to Oaths, Guts Gallery, London (solo) The Tales We Tell Ourselves. Virtual Gallery, Purslane Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Salomé Wu New Life Emerges, 2022 Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Salomé Wu b. 1996, is a multi-disciplinary artist whose practice involves oil painting, printing on silk, installations, and performance. As a teenager, Salomé admired a teacher who encouraged her to pursue training in calligraphy and painting. Her work examines otherworldliness through translations and ever-evolving reinterpretations of a mythology, formed from her observation of time, fragility, and the interplay between reality and the unseen. Understanding herself primarily as a global citizen, Salomé works to keep her art devoid of contemporary models of identification and taxonomy, relying on obliquely biomorphic figures and depictions of universal emotions to populate her work. Across mediums, she presents a nonlinear journey, weaving together seemingly disparate moments to unveil previously concealed narratives. Salomé lives and works in London, UK.   Education   Royal College of Arts, London (MA Painting), 2022-2024 Camberwell College of Arts, London (MA Printmaking), 2019-2020 Chelsea College of Arts, London (BA Hons. Textiles Design & Print Plus), 2016-2019 Central Saint Martins, London (Foundation Diploma in Art & Design), 2015-2016   Select Exhibitions/Awards   There Are No Strangers Here, Canopy Collections x Modernity, London Synthesis, Saatchi Gallery, London (curated by Delphian Gallery) An Arcadian Kind of Love, Soho Revue, London The Reality In Whytch You Create, Studio West, London 2021 The Artists Contemporary Atelier, London (solo) When Shit Hits the Fan Again, Guts Gallery, London Opening Exhibition, Changing Room Gallery, London Underpinned by the Movements of Freighters, The Florence Trust, London (curated by Joe Moss) Les Danses Nocturnes, East Contemporary Gallery, Entrevaux, France A New Art World, Guts Gallery, London Open Call Winners 2021, Delphian Gallery, London Ambrosia, Purslane Gallery, London In a New Light, Art City Works, London Dandelion, Delphian Gallery, Basel She Curates X CloverMill Artist Residency Open Call Exhibition, Wilder Gallery, London With Love II, Paint Talk, London 2020 Ode to Oaths, Guts Gallery, London (solo) The Tales We Tell Ourselves. Virtual Gallery, Purslane Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.      

Craig (John) Britten's Aldeburgh, number 339 of 440 copies signed by the artist, wood-engravings & linocuts by Craig, some tipped in and folding, original half cloth, uncut, slip-case, Risbury, Whittington Press, 1997 § Theroux (Paul) The Shortest Day of the Year: a Christmas Fantasy, one of 201 copies signed by the author, 3 colour typographical constructions by Sebastian Carter, original cloth, Leamington Spa, Sixth Chamber Press, printed at the Rampant Lions Press of Cambridge, 1986 § Tew (David) Sewstern Lane, copy C of 100 copies, calligraphy by Maureen Hallahan, illustrations by Jill York, some colour, original morocco-backed cloth, Wymondham, Brewhouse Press, 1975 § Bridges (Robert) The Testament of Beauty, number 78 of 250 copies, publisher's printed note loosely inserted, slight staining to upper edge, original cloth, dust-jacket, Oxford, 1929; and a bundle of press prospectuses etc., v.s. (a bundle)

NO RESERVE Zapf (Hermann) Pen and Graver: Alphabets & Pages of Calligraphy, limited edition, original vellum-backed boards, New York, 1952 § Tschichold (Jan, editor) Schatzkammer der Schreibkunst: Meisterwerke der Kalligraphie..., original cloth-backed boards, dust-jacket, Basel, 1945 § Kredel (Fritz) The Little ABC Book of Rudolf Koch, signed and inscribed by the typographer and designer Berthold Wolpe to the printer Rowley Atterbury on half-title, original cloth, Boston etc., 1976, illustrations; and 9 others on calligraphy and manuscripts, v.s. (12)

A LATE 19TH/EARLY 20TH CENTURY CHINESE ROSEBOWL with a shaped and moulded rim, a collet foot and alternate panels of applied and engraved decoration (calligraphy, birds, chrysanthemums, bamboo, etc, struck underneath with character marks, c.1900; 7.5" (19cm) diameter; 13 oz

A Chinese porcelain bush pot, probably 20th century, of cylindrical form, decorated with landscape scene, the reverse with calligraphy, four character mark to base, 5 5/8in. (14.4cm.) high. * No chips, cracks, hairlines or star cracks to glaze - in good condition. Some small glaze scratches and one larger vertical glaze scratch below the calligraphy (which looks like it might be a hairline crack, but is definitely not - it is a surface scratch to the glaze). Some rubbing to calligraphy and character mark. A few iron oxide stains to unglazed section of footrim, from firing. Some tiny imperfections to lower edge of glaze just above the unglazed footrim - these are from the firing and are not later glaze frits.

Old Arabic document with calligraphy and drawing depicting figures with animals in a garden, double-sided 30x20 cm

Teak calligraphy table with carved bottom, 4 drawers at the front, of which 2 deep and 2 drawers at the back, deep drawers with symbol on the side, Asia late 20th century, 82.5 cm high, top size 122x81 cm

A Chinese inscribed white jade gourd shaped plaque on stand, with calligraphy,12cms high.

THREE BLUE AND WHITE PORCELAIN CERAMICS Comprising a bowl with sweet pea decoration and trailing vines, one example with stylised calligraphy, and a kamcheng and cover (repairs and restorations) Largest example 29cm diameter Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Additional Information: All lots are on view at 23 Maple Avenue, Singapore, 277580 on Thursday 30 June, Friday 1 July and Saturday 2 July, between 10am and 5pm. Please do not attend the property at other times. No appointments are necessary.

A GROUP OF EIGHT CARVED JADE DISKS Mostly with shallow carved decoration of flowers, bats, another with archaic calligraphy Largest 6cm diameter Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Additional Information: All lots are on view at 23 Maple Avenue, Singapore, 277580 on Thursday 30 June, Friday 1 July and Saturday 2 July, between 10am and 5pm. Please do not attend the property at other times. No appointments are necessary.

AN EGGSHELL PORCELAIN LANDSCAPE VASE Of slender form, decorated with extensive frozen mountainous landscape and calligraphy 44cm high Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Additional Information: All lots are on view at 23 Maple Avenue, Singapore, 277580 on Thursday 30 June, Friday 1 July and Saturday 2 July, between 10am and 5pm. Please do not attend the property at other times. No appointments are necessary.