We found 14191 price guide item(s) matching your search

TWO ORIENTAL ITEMS, BEADS AND A CALLIGRAPHY SET

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief and hand painted with gilt embellishments, with fitted box. Ten blocks altogether. longest 10cm

A Chinese calligraphy stone ink block circa 1900, intricately carved in relief with hand painted gilt embellishments, with fitted box. L.22.5 W.14.5 H.6.5cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief, hand painted, and with gilt embellishments, with fitted box. Eight blocks altogether. Longest 12.5cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief, hand painted and with gilt embellishments, with fitted box. Eight blocks altogether. Longest 8.5cm

A Chinese calligraphy stone ink block circa 1900, intricately carved in relief with hand painted gilt embellishments, with fitted box. L.22.5 W.13.5 H.6.5cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief and hand painted with gilt embellishments, with fitted box. Five blocks altogether. Tallest 11.2cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief with gilt embellishments, with fitted box. Ten blocks altogether. longest 9.5cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief with gilt embellishments, with fitted box. Eight blocks altogether. Longest 8.5cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief and hand painted with gilt embellishments, with fitted box. Eight blocks altogether. Longest13cm

A Chinese calligraphy stone ink block set circa 1900, intricately carved in relief and hand painted with gilt embellishments, with fitted box. Eight blocks altogether. Longest 13cm

Porcelain calligraphy pot consisting of inkwell and brush holder with blue valuables decoration, China Kangxi period ca. 1700, 6 cm high, 8 cm diameter (chip)

An 18th century Japanese calligraphy scroll painting with brocade borders, and a 20th century Japanese scroll, both boxed (2). Condition - fair

A Chinese literati ink stone with calligraphy, 16cm wide. Condition - fair

Assorted Chinese scrolls including Calligraphy

Assorted Chinese scrolls including Calligraphy

A pair of Chinese paintings on silk depicting birds sat on cherry blossom branch, and books on Chinese calligraphy

A Chinese bronze ritual food vessel and cover in the Warring States style, Dou, the bowl has four cast Chilong dragon handles raised on a tall hollow stemmed base with calligraphy inscription, on a spreading foot, the cover with three recumbent Buddhistic guardian lions, both cast with interlaced dragons and other archaic designs in low relief, 31.5 cm high

A FINE 19TH CENTURY SYRIAN DAMASCUS SILVER AND COPPER INLAID BRASS PEN BOX, with fine Arabic calligraphy, 23cm long.

A RARE AND UNUSUAL 12TH-13TH CENTURY PERSIAN SELJUK BRONZE TRIPLE SPOUTED OIL LAMP, with bird head terminals for hanging chain and Kufic calligraphy around the neck, 17.5cm widest point.

A RARE 14TH-15TH CENTURY ISLAMIC ENGRAVED TINNED COPPER BOWL, with calligraphy and Arabesque decoration, 19cm wide.

AN 18TH CENTURY INDIAN DECCANI MINIATURE PAINTING, depicting Imam Ali and his two sons Hassan and Hussein, finely signed calligraphy to the verso, unframed, 25.5cm x 18.5cm.

A FINE 11TH-12TH CENTURY PERSIAN NISHAPUR POTTERY JUG, with a band of Kufic calligraphy, 15cm high.

A CHINESE PAINTING ON PAPER DEPICTING HORSES, together with a calligraphy picture on paper, each framed and glazed, (2).

A VERY FINE 19TH CENTURY SPANISH TOLEDO GOLD INLAID STEEL PIN DISH, bearing Arabic calligraphy, 7.5cm diameter.

AN ISLAMIC METAL BOWL WITH LARGE CALLIGRAPHY, 35cm diameter.

A 10TH CENTURY MIDDLE EASTERN ISLAMIC UNGLAZED POTTERY JUG, with carved calligraphy and animals, 18.5cm high.

A FINE AND UNUSUAL 19TH CENTURY NORTH INDIAN MULTAN GLAZED POTTERY TILE, depicting stylised Arabic calligraphy, 28cm x 26cm.

A VERY FINE AND UNUSUAL PERSIAN SAFAVID WHITE AND GREEN GLAZED POTTERY TILE, with raised Kufic calligraphy, 21cm x 21.5cm.

A Selection of Dominos, Playing Cards, Japanese Calligraphy set and set of Chinese Cloisonne Baoding Balls. (1 Tray)

Pair of Chinese Republic vases with iron red Foo dog decoration & calligraphy on back and character marks to base, 23 cms

Asian inspired framed wall art after American artist Thomas McCoy's original collage The Way II, featuring calligraphy on a gold color background. Deljou Art Group, Inc. exclusively for Opus One Publishing. Housed in a gilded frame and black mat. Artwork can be unframed and rolled for shipment. Artist: Thomas McCoy (American b. 1971)Issued: 2005Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Books - Art, Calligraphy, Typography, Poetry, Craft, Wartime Artists - English Popular Art, by Margaret Lambert and Enid Marx, published by Batsford; Popular Art in the United States, a King Penguin Book; The Ethics of Dust, John Ruskin; Paper Sculpture, by Tadeusz Lipski; The Bird Talisman by A. Wedgwood; Britain in Peace and War, Feliks Topolski, Methuen, second edition, 1946; Breton’s Household Management, 1906; etc, qty, (2 boxes).

A charm bracelet, mid 20th century, the bracelet of elongated gold linking, suspending a series of 21 charms including a high-carat gold medallion with Arabic calligraphy, an enamelled sailor, two lanterns, a Dutch flag, a plane, a ship's wheel and a row boat, bracelet length17cm, fifteen charms with marks for 9ct gold, gross weight 26 grams

A collection of stick pins and two shakudō brooches, late 19th/early 20th century, comprising: a group of eight stick pins capped with: a pink paste, a shield-shaped motif inlaid with sections of jasper and bloodstone, a pear-shaped amethyst, a blue chalcedony cabochon within a circular frame of white enamel, an enamelled 2nd class stamp, jadeite carved with a lingzhi fungus, a gold ivy leaf and a cultured pearl respectively, variously mounted in gold, silver and metal, longest 8.1cm; together with a Japanese shakudō brooch depicting a warrior with a scroll of calligraphy, length 3.7cm, signed Chokuzui; and a shakudō button depicting the fisherman Urashima Taro and turtle, 3.4cm diameter

Utagawa Kunisada/Toyokuni III (Japanese, 1786-1865). Woodblock print titled "Arai" from the series "Famous Places along the Tokaido Road (The Processional Tokaido)," 1863.Height: 14 1/4 in x width: 9 3/4 in.Condition: The sheet is toned. Heavy soiling throughout. Wear along the edges. The work is laid onto scraps of calligraphy paper along the verso along the right edge. The print is not framed.

Utagawa Kunisada/Toyokuni III (Japanese, 1786-1865). Woodblock print diptych depicting two figures surrounded by calligraphy. Likely depicting two actors.Each, height: 14 7/8 in x width: 10 1/4 in.Condition: The sheets are possibly trimmed and lightly toned. Light wear along the extreme edges throughout each. Minute losses throughout each. The work is not framed.

Japanese scroll painting depicting calligraphy, likely a poem, with a landscape of mountains.Huaxin; height: 65 1/2 in x width: 36 1/4 in. Scroll; height: 68 1/2 in x width: 38 1/4 in.Condition: The scroll is lightly toned. There are several losses and tears along the upper left and right edge of the scroll. There are deep horizontal creases and undulation consistent with being rolled throughout the work. Soiling including signs of moisture exposure along the upper left quadrant of the work; light soiling along the margins throughout.

Japanese scroll painting depicting a roaring waterfall. Calligraphy in the lower right.Huaxin; height: 69 1/2 in x width: 37 in. Scroll; height: 83 in x width: 44 in.Condition: The sheet is lightly toned. There are minute losses along the upper left edge of the painting. Some soiling and signs of moisture exposure throughout. Deep horizontal creases and undulation consistent with rolling throughout. Some wear to the silk backing including soiling throughout the verso.

Chinese Republic period famille rose porcelain plate depicting a woman examining her reflection in a mirror, surrounded by scholarly objects. With calligraphy along the right side, signed by Zhao Huimin. The underside with twelve characters in red indicating production in Jingdezhen, Jiangxi Province.Diameter: 8 3/4 in.Condition: No major cracks, chips, losses, or restorations. Three holes drilled in the footrim for display on a wall. Light wear to the footrim.

Large Chinese 20th century famille rose porcelain vase converted to a lamp, decorated with birds, flowers, and calligraphy, 46cm high excluding mountsHairline crack to body, needs new lamp fitting

A group of ten Chinese watercolour prints after Chinese Masters such as Li Keran, Wang Xue Tao. Circa 1953. Each with a different depiction such as waterbuffalo, flowers, a cadged cricket, birds, a spider and web, a bird and river landscape and a boy riding a buffalo. All with artists seal and calligraphy. With original paper folder.  Dimensions 26.5cm x 31.5cm to 28cm x 36.5cm All prints in good condition, minimal foxing and wear commensurate with age.  Paper storage folder worn.

DENIS BROWN (CONTEMPORARY) 'MANUSCRIPT', A 3D MIXED MEDIA WORK OF ART, composed of a book with calligraphy and burnt electrical cable, signed and dated 1993 lower right, signed, titled and dated verso, approximate dimensions of display case H51cm x W72cm x D10cm, (Denis Brown is one of the world's leading figures in the world of Calligraphy) Condition Report: some paint loss and dirty marks the case of the Brown work, Artists Resale Rights will Apply

A late 19th century Norse Puukko hunting knife with tooled leather sheath, the steel blade decorated with calligraphy, mounted on a hardwood grip, L21cm, sold together with another hunting knife, L22cm

A vintage Chinese picture depicting two tropical parrots hand crafted with feathers, glazed behing a black ebonised frame, stamped with red dynasty mark, signed in Chinese calligraphy to the bottom left, w30cm x 30cm.

Ten Japanese calligraphy and sumi scrolls by Zen master Sochu Suzuki Roshi. Estimate: £50-100

OH CHAI HOO (SINGAPOREAN, B. 1960) - WOOD PANELS, 2006 A set of three wooden panels featuring carved calligraphy, signed lower middle 130 x 35.5 cm Ownership Statement: This item is offered for sale without disclosing the identity of the owner. 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.

Cased vintage chinese calligraphy set

Watercolor on paper. Dimensions: 49 x 34 cm. Sava Henția (1848–1904) was a prominent Romanian painter. He was born on February 1, 1848, in the village of Sebeșel, Transylvania. Henția attended primary school in his hometown and moved to Bucharest in 1862. In 1865, he enrolled in the School of Fine Arts, where he excelled, earning the grand prize in 1870 along with a scholarship. In 1871, he traveled to Italy, visited Rome, and later settled in Paris, where he furthered his studies at the Academy of Fine Arts under the guidance of the renowned painter Alexandre Cabanel. In 1873, Henția was admitted to the Paris Salon with his work Psyche Abandoned by Love. The following year, he returned to Romania, bringing with him the painting Aurora. In 1876, Henția was appointed professor of drawing and calligraphy at the girls' secondary school and also served as a drawing teacher at the Elena Asylum, positions he held for decades, still occupying them as late as 1897. During the Russo-Turkish War (1877–1878), Henția found inspiration in the events of the conflict and created numerous works depicting its battles. Among his most notable paintings are The Triumphal Entry of Trajan into Sarmizegetusa, Venus, Portrait of Ana Davila, Mill, Târgul Moșilor, and A Romanian Brings Food to Market. Sava Henția passed away on February 21, 1904, leaving a significant legacy in Romanian art.

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) DARK BORDERS LANDSCAPE, 1925 Signed and dated to canvas verso, oil on canvas 63.5cm x 76cm (25in x 30in) If you have had the pleasure of visiting the long-anticipated, newly re-opened Scottish Art wing at the National Gallery of Scotland in Edinburgh (re-opened 2023), the first painting you are likely to have set eyes on is the monumental masterpiece ‘A Point in Time’ (1929/37) by William Johnstone. The huge canvas is a formidable sight; with abstract twists of black, blues and greens creating fathomless caverns. It is hung against a bold, blood-red wall immediately facing the entrance. In this phenomenal artwork the curators of the National Galleries found the key visual within the collection to challenge tired perceptions. The re-hang’s opening statement could not be clearer: 20th century Scottish art was seriously accomplished, outward-looking and Modern with a capital ‘M’. This curatorial choice also elevates Johnstone himself emphatically and with purpose; literally centralising his significance within the story of Scottish art – not to say international modernism - as never before. Born in the Borders in 1897 to a farming background, Johnstone, a powerful personality, mixed with other radical thinkers in the Edinburgh College of Art in the 1920s. Alongside the poet Hugh MacDiarmid, Johnstone was pivotal within the conception of the “Scottish Renaissance”. This was a cultural movement spanning art and literature that looked to move away from the perceived stagnancy of the centralised British cultural self-view, advocating instead a modernisation - and independence - of Scottish political and cultural values. Though Johnstone’s origins were immutably tied to the Scottish landscape, his burgeoning career soon took a decisively international direction. In 1925 he was awarded a Carnegie Travelling Scholarship which enabled him to study in Paris with André Lhote at the Académie de la Grande Chaumière, as well as the Atelier Colarossi. In 1926 he travelled further afield to Spain, Italy and North Africa, accompanied by Max Bernd-Cohen, an American lawyer-turned-artist who become a lifelong friend. His circle of acquaintances in Paris at that time included the artists Alberto Giacometti, Fernand Léger, and the eminent collectors Leo and Gertrude Stein. In 1927, Johnstone married the American sculptor Flora MacDonald, spending subsequent years in America and Scotland. They settled in London in the 1930s, with intermittent teaching commitments enabling him to return to America sporadically for the next twenty years. Indeed, it was teaching that became his major life’s work and he was no less innovative within this field than within his art practice. He held the position of Principal at the Camberwell School of Art and Design between 1938 and 1945 and later at the Central School of Arts and Crafts. In this capacity he is credited with evolving the ideologies of each school, bringing them more in line with Continental art and design principles akin to the Bauhaus and creating teaching opportunities for exciting young avant-garde artists including Richard Hamilton, Victor Pasmore, Alan Davie and Eduardo Paolozzi. His services to education within the arts earned him an O.B.E. Sojourns teaching in America included positions as Fulbright Lecturer and Director of the Colorado Springs Fine Art Centre Summer School. He also lectured at the Frank Lloyd Wright Foundation in Taliesin, Wisconsin, in 1949 and 1950.  Johnstone’s friend and colleague, the artist and theorist Anton Ehrenzweig, identified three stylistic phases in Johnstone’s painting career. Firstly, a surrealist phase of the 1930s, a cubist phase of the 1940s and finally his calligraphic or tachist phase of the 1950s. ‘Dark Borders Landscape’, dated 1925, can be read as a psychological take on the Scottish landscape; a brooding, abstract suggestion of elemental forces, mood and place. His Borders landscapes are often executed in the darkest of tones, as here. Art historian Beth Williamson has suggested a psychological interpretation of the tumultuous dreichness inherent within these early Scottish landscapes; perceiving a troubled relationship with the soil he and his kin sprang from and laboured over so tirelessly, but which offered only the scantest living in return. She also notes the sense of alienation Johnstone felt upon his return to his home farm after having been conscripted in World War I. Despite fortunately never seeing active duty, the distress caused by the exposure to traumatised front-line soldiers, paired with the sense of his own fate hanging perilously in the balance while waiting for the call up, forever changed the young artist. Even as early as the 1920s, Johnstone had developed an innovative and unique paint application that embraced expressive, totally intuitive brushwork. This expressionistic take on abstraction - “dripping” his paint as early as the 1920s - latterly saw his work referred to in the context of American Abstract Expressionism (the so-called “action painters”). Johnstone’s work in fact pre-figures this school of artists and his approach has, as Ehrenzweig indicated, much more in common with the ‘automatic drawing’ techniques of the Parisian Surrealist school in Paris: psychological forces made tangible in paint. The goal of Johnstone’s art practice was to assimilate his interests and fields of influence to totally unique effect, evolving an entirely personal style. His reference points were diverse but always drawn to that which is distilled and instinctual over pre-meditated: from the Pictish carving of his Scottish homeland to the New Mexico school, and from Asian calligraphy to Primitivism and the artwork of children. At the heart of his paintings, whatever the period, you will always find expressive, intuitive mark-making.This creative belief-system was extrapolated to its extreme in the plaster relief series he created in 1970, as an elderly man. In these works, from one of the most celebrated decades of his artistic career, the physical and metaphysical combine to create extraordinary sculptural objects that read as simultaneously ancient and futuristic. “The earth has been a very great creative mother for the artist, the poet, the composer; but the material of the soil can produce its own art. With these thoughts I made my plaster reliefs in order to find confirmation of my conviction that the medium of plaster would itself reveal its own miracle. I knew that in myself I must produce a condition, relaxed and free from thought or deliberation; that which would be produced through my hands would then be from my inner self and be completely unconscious. I throw the lump of crude, wet plaster on the smooth polished surface; a gesture pf creation... and the plaster sets.”  – William Johnstone, in the catalogue introduction for ‘Genesis’, ten plaster reliefs exhibited by the Scottish National Gallery of Modern Art in 1973.

A calligraphy box, containing a quill pen, a leather desk blotter, decorated with Viking boats, etc., and other similar items.

A Japanese stoneware vase of ovoid form with incised calligraphy, square seal mark to base, turned wood support, 31cm.

A Kashmiri enamel flared cylindrical beaker, decorated in the Persian Islamic taste with stylised lotus and Arabic calligraphy, gilt interior, 13.5cm high, 19th century; another, similar (2)

A SMALL PAK PERSIAN WOOL RUG (97 x 65cm) Hand knotted wool, decorated with floral medallions, animal motifs and calligraphy Ownership Statement: This item is offered for sale without disclosing the identity of the owner. 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 20th century Chinese painting depicting two black-necked cranes in a landscape scene, with a poem inscribed above in calligraphy and multiple red seals, ink, watercolour and bodycolour on silk, mounted on paper with a silk border, frame dimensions: 83 x 133 cm

A large Chinese ink calligraphy scroll poem, framed, 174cm excluding the mount and frame. Condition - fair to good

A bamboo brush pot with scene carved in relief and calligraphy inscription to reverse. 17.5 cm high.

A Chinese white-glazed ceramic inkstone formed as a scroll with Chinese calligraphy inscription in blue. 20 x 11.5 x 2.5 cm.

A paper scroll on a roller with a column of Chinese calligraphy in ink. 166 x 41 cm.

Dimensions: 121 cm x 41 cm Chinese Calligraphy translated:Thrift leads to moderation, and moderation leads to the rise of all good; Luxury courts unbridled, unbridled will indulge all evil. Please have a look here