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

CHINESE SCHOOL (CHINA, 20TH CENTURY) WITH SEAL POSSIBLY READING TÁN LÀNG BÁI 谭浪白 A couple of sparrows on a branch charged with lychees Ink and colors on paper Inscribed with a long calligraphy on the upper left Bearing an artist red seal on the middle left part Bearing another and larger red seal on the lower left Framed with a glass Dimensions (as seen within its frame): 23 x 51 cm 中国画作，（可能）为谭浪白印 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

CHINESE SCHOOL (ACTIVE 20TH CENTURY) MAYBE BY XIǍO LÍN SHÌ 晓林氏 Magpies and prunus Ink and ink wash on paper Inscribed with a long calligraphy on the upper left Signed on the upper left Bears an artist seal on the upper left Dated to a xīn yǒu 辛酉 year on the upper left Dimensions (the sole painting): 66,2 x 24 cm 中国画作 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

CHINESE SCHOOL IN THE MANNER OF XU BEIHONG XU 徐悲鴻 (CHINA, 1895-1953) Les trois cormorans - The three cormorants Ink and colors on paper Mounted as a scroll / kakemono With a signature (apocryphal) on the upper left: ‘悲鴻’ With a date (apocryphal) on the upper left: Winter 1935 (‘二十四年冬’) With an artist seal (apocryphal) on the upper left With an handwritten collector label on the scroll mount attributing the painting to Xu Beihong Dimensions (the sole painting): 110 x 59 cm Notes: The son of a painter, Xu Beihong was born in 1895 in Qiting, Jiangsu. He received a traditional scholar education, including classics of Chinese literature, philosophical essays and ink wash painting. From 9 years old onwards, he started copying old master paintings. He later studied at the French Department of the Catholic University of Furen and moved to Paris, France, where he studied at the Paris Fine Arts Institute (Institut des Beaux-Arts de Paris. Upon his return to China, later in his life, he was appointed a professor at the ink wash and calligraphy research Department of the University of Beijing. In 1935, Xu Beihong went to Guilin, Guangxi, where he first got acquainted with one of his favorite subjects: cormorants. Indeed, there, he saw fishermen fishing with those birds. He then studied thoroughly those birds, their interesting shapes, wings, colors and beak etc. He drew many sketches and wrote texts about them. Hence the versions of this subject that we can find in different museums, such as the one preserved in the collection of the Crystal Museum, Taichung, Taiwan, or the one preserved at the Memorial Museum of Xu Beihong, Beijing, China. In our painting, three lively black cormorants are depicted along a lake. The first one - on the first ground - is turning its back to us and the second one - on the middle ground - is seen from its side or profile whilst the third one - in the background - is drying its plumage with its hooked beak. 中国画作，徐悲鸿风格（1895-1953） NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE PRESENTATION EMBROIDERED SILK WALL HANGING FOR A 91ST BIRTHDAY APOCRYPHALLY DATED TO THE 60TH YEAR OF THE REIGN OF EMPEROR KANGXI (1721) CHINA, POSSIBLY 19TH CENTURY A single rectangular shaped gauze silk panel richly embroidered with a lengthy inscription, giving a clear rendition of Confucian values, dated to a ‘康熙六十年’, i.e. the 60th year of Kangxi Emperor reign and bearing seals, one potentially reading ‘楊笆X除’, likely the name of the maker or the author of the calligraphy, a so-called ‘Chú’. The central panel, bearing the principal calligraphy, is circumscribed by another rectangle panel, embroidered with one hundred stylized variations of the shou character standing for a long life, then by a further rectangle with numerous characters, including officials and daoist immortals, and finally with another rectangle adorned with numerous auspicious daoist objects, emblems and beasts. 271 x 407 cm Notes: 1. When made for court personages, government officials, or other members of the aristocracy, commemorative hangings proclaiming meritorious service, major birthdays, or anniversaries could be spectacular objects. The dedicatory inscriptions are typically dated, while the figural imagery relating to family history is Confucian in nature. Taoist emblems connoting long life are also a standard part of the decoration. This hanging celebrates the 91st birthday of an important person. Major birthday celebrations in China were held at 60, 70, and 80 years of age. Prominent writers and calligraphers were typically recruited by the family to compose the actual verse. In that case, the author’s name may be deciphered as ‘Chú’ (‘除’). 2. Compare with a close birthday embroidery, though dated to 1887, preserved in the collection of the Minneapolis Institute of Art under, as part of The John R. Van Derlip Fund, under accession number 42.8.308. 大型且重要的91岁生日丝绸壁挂，康熙年间1721年仿款 中国 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A Chinese painted and inscribed gilt paper fan leaf, 19th century, painted with a lady standing in a bamboo grove, inscribed and with three seal marks, the reverse with a calligraphic poem, in an early 20th century Chinese rosewood frame with lobed stand, Total width 56 cm, minor damagePaintwork and paper rubbed along lower front border; reverse side similarly rubbed affecting calligraphy. Frame and stand good.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. Total width 56 cm, minor damage

A Vintage Persian Turquoise Calligraphy Tile. 16 x 16cm

Three Early Persian, Islamic Agate Small Tablets - with Islamic calligraphy. 2.5 x 1.7cm.

Antique solid silver pocket watch, was made for Persian Ottoman market with Persian calligraphy, hallmarked inside the az nozohour.

THREE YIXING POTTERY TEAPOTS Two plain squat circular examples, and a smaller example inscribed with calligraphy and foliate decoration, all with impressed seal marks to base The largest 11.5cm high Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: Lots 119 - 307 from the collection of former Singaporean diplomat and Member of Parliament, Joseph Conceicao

A FAMILLE ROSE PORCELAIN BOWL Painted to the exterior with a spray of flowering branches and calligraphy, the interior with a peach and finger citron, underglaze blue six character Yongzheng mark within a double circle to base 10.5cm diameter Condition: Some minor rubbing to enamels but generally in very good condition

THREE BLUE AND WHITE PORCELAIN BOWLS One decorated with calligraphy to the exterior; one example with pine, prunus and other trees; and one with blurred underglaze blue decoration to the exterior 14cm diameter Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: Lots 119 - 307 from the collection of former Singaporean diplomat and Member of Parliament, Joseph Conceicao

THREE ENGRAVED SMALL TOGGLES Each decorated with a figure to one side and a passage of calligraphy 3-4cm long Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: Lots 119 - 307 from the collection of former Singaporean diplomat and Member of Parliament, Joseph Conceicao

AUCTION CATALOGUES - ASIAN ART PUBLICATIONS AND CATALOGUES To include: A Tale of Three Cities, Canton, Shanghai & Hong Kon, David S. Howard, Sotheby's; Xubaizhai Collection of Chinese Paintings and Calligraphy, two collection catalogues; Important Chinese Paintings from the Robert Chang Collection; Freedom of Clay and Brush through seven Centuries in Northern China, Yutaka Mino, Cleveland Museum of Art, 1981; and various Chinese ceramics auction catalogues from Bonhams and Hanhai Beijing (13) Condition: Some general minor wear and use

Orden und Ehrenzeichen - Ritterkreuz : Große Verleihungsurkunde des Eichenlaubes zum Ritterkreuz des Eisernen Kreuzes an Hauptmann Helmut Hudel, Kommandeur I. Abteilung Panzer - Regiment 7, 10. Panzer - Division, Heeresgruppe Afrika.Große Verleihungsurkunde des Eichenlaubes zum Ritterkreuz des Eisernen Kreuzes an Hauptmann Helmut Hudel, Kommandeur I. Abteilung Panzer - Regiment 7, 10. Panzer - Division, Heeresgruppe Afrika. DatiertFührerhauptquartier, den 2. April 1942. Mit Unterschrift des Führers und Reichskanzlers Adolf Hitler (Pantograph). Die Urkunde auf großem Pergamentbogen (Doppelblatt) von Hand geschrieben, das Hoheitszeichen und der Name des Beliehenen in erhabenem Gold gehalten. Mit beiden Filzstreifen. Die Eichenlaub-Mappeaus antikem Pergament mit aufgelegtem, feuervergoldeten Hoheitszeichen. Die Innendeckel mit Pergamentspiegeln und handvergoldeter Linieneinfassung. Amrückseitigen unteren Rand signiert "FRIEDA THIERSCH". Helmut Hudel, Kommandeur I. Abteilung Panzer - Regiment 7, 10. Panzer - Division, Heeresgruppe Afrika. Helmut Hudel ( Raunheim , 4. Juli 1915 - Frankfurt am Main ,11. März 1985 ) Kommandeur I. Abteilung Panzer - Regiment 7, 10. Panzer - Division, Heeresgruppe Afrika.zeichnete sich an der Spitze seiner Panzer an derr ussischen Front , in Tunesien , in Italien und schließlich an der Westfront aus. Der im hessischen Raunheim geborene Hudel trat 1934 in die Kraftfahrabteilung 5 ein, wurde 1936 Leutnant, nahm am Polenfeldzug Teil und wurde dann zur Kriegsschule Potsdam versetzt. Helmut Hudel stand 1941 während der Operation Barbarossa an der Spitze eines Panzerzuges der 10. Panzer-Division (eingesetzt im Zentralbereich der Front). Er beteiligte sich an den erbitterten Auseinandersetzungen von Minsk - Bialystock und Smolensk . Während dieser dramatischenKämpfe befand sich die 10. Panzer-Division häufig an vorderster Front, und derjunge Offizier nahm an zahlreichen Kämpfen teil, um den kontinuierlichen Gegenangriffen der sowjetischen mobilen Streitkräfte entgegenzuwirken. Die 10. Panzer-Division war auch während der Schlacht von Moskau engagiert, und Hudel drang mit seinen Panzern bis vor die Tore der russischen Hauptstadt vor, bevor er in die aufreibenden Kämpfe des Winters 1941-1942 eingebunden wurde. Zum Hauptmann und Kompaniechef befördert und zur Stärkung der 20. Panzer-Division in eine provisorische Kampfgruppe versetzt, demonstrierte Hudel Mut und Können und erhielt am 27. Mai 1942 das Ritterkreuz des Eisernen Kreuzes für seine bei den Verteidigungskämpfen in Vyazma bewiesene Tapferkeit. Im November 1942 wurde die 10. Panzer-Division ausgerüstet mit 159 modernen Panzern nach Tunesien gebracht , um den gewaltigen alliierten Streitkräften in Algerien und Marokko entgegenzuwirken . Die Division war sofort in Aktion und Helmut Hudel, der jetzt das I. Feld (Bataillon ) des 7. Panzer-Regiments leitet, führte sofort den ersten Gegenangriff gegen die gefährlichen feindlichen motorisierte Kräfte. An der Spitze der sogenannten Kampfgruppe Hudel (mit etwa fünfzig Panzern) startete er den Gegenangriff mit beachtlichem Geschick (zusammen mit der ebenfalls mit drei Panzer VI Tiger I ausgerüsteten Kampfgruppe Lüder), besiegte in der Panzerschlacht von Tebourba in den ersten Dezembertagen 1942 die Angloamerikanische Streitkräfte und blockiere damit den feindlichen Vorstoß. Es gelang die Front vorübergehend zu stabilisieren. Als Führer der Kampfgruppe Hudel trug er wesentlich zum Erfolg der Schlacht von Tebourba bei, die vom 1. - 4.12.1942 die Alliierten 134 Panzer kostete. Aus Afrika ausgeflogen, wurde er am 1. Juni 1943 zum Major befördert. Anfang 1944 wurde er Kommandeur der mit Tiger Panzern ausgerüsteten schweren Panzer-Abteilung 508 in Italien, die er in den schweren Abwehr-Kämpfen im Raum Nettuno führte. Ab August 1944 wurde er Kommandeur der Panzer-Ersatz- und Ausbildungs-Abteilung "Großdeutschland". Im Februar 1945 wurde er schließlich Kommandeur des Panzer-Lehrregiments im Westen. Als Major geriet er in Gefangenschaft. Die Mappe völlig unberühr mit leichten äußeren Alters- und Gebrauchspuren. Die Feuervergoldung des Adlers etwas oxidiert, jedoch vollkommen intakt und unverputzt. Die Urkunde mitunwesentlichen, kaum sichtbaren, minimalen Stockflecken. Extrem seltenes undbedeutendes Verleihungsdokument dieses tapferen Panzerkommandanten und Zeugnis für die hohe Wertschätzung, die dem Ritterkreuz und seinenhöheren Stufen alsTapferkeitsauszeichnung entgegengebracht wurde. Eine der ganz wenigen Eichenlaubmappen für einen Einsatz auf dem afrikanischen Kriegsschauplatz. Orders and Decorations - Knights Cross : Large Presentation Award Document for the Knight's Cross of the Iron Cross with Oak Leaves Awarded to Captain Helmut Hudel, Commander, 1st Battalion, Panzer Regiment 7, 10th Panzer Division, Army Group Africa.Large formal Presentation Document is dated 2 April 1942 and features facsimile signature of Adolf Hitler. The text of the document is rendered in hand-done calligraphy on large double paged folded parchment. The recipient's name as well as the national eagle are rendered in raised gold lettering. Document features both felt strips.The Oak Leaves "mappe" is crafted from fine-grained antique parchment and is surmounted by a fire gilt national eagle clutching a wreathed swastika. The inner edge of the"mappe" features intricate hand-gilded interlaced ornamentation. The bottom edge of the base features a gold embossed artist's signature "FRIEDA THIERSCH". Important and impressive historical presentation document awarded to a mos tfamous panzer commander. Helmut Hudel, born in 4 July 1915 at Raunheim, joined the Reichswehr in 1934 and initially served with Kraftfahr Abteilung 5, ostensibly a transport unit. It should be remembered, however, that at this time many such units were being used for the surreptitious training of Germany's future tank crews. Identified at an early stage as a potential officer, Hudel subsequently underwent training at military academy and was commissioned Leutnant in 1936, being posted to Panzer-Regiment 7, part of 10. Panzer-Division.Two years later he was appointed to the staff of the Kriegsschule at Potsdam, remaining in that post until 1940 and missing the campaign in the West. On completion of his posting he rejoined Panzer-Regiment 7 in time to take part in the opening phases of Operation Barbarossa on the central sector of the Russian Front, seeing particularly heavy combat around Minsk and Smolensk. In early 1942 Hudel's division was badly battered in heavy fighting against the Soviet winter counter-offensive. Hudel, by now a company commander with the rank of Hauptmann, was temporarily attached to a Kampfgruppe from 20. Panzer-Division. He showed such determination, skilled leadership and gallantry in heavy fighting around Viazma that he was recommended for the Ritterkreuz (Knight's Cross), and the award was made on 27 May 1942. That month the mauled 10. Panzer-Division was withdrawn from Russia for rest and rebuilding near Amiens in France. In November 1942, the 10th Panzer Division was equipped with 159 modern tanks and deployed to Tunisia to counter the powerful Allied forces in Algeria and Morocco. The division was immediately in action and Helmut Hudel, who now was in command of the 1st Battalion of the 7th Panzer Regiment, immediately launched the first counterattack against the dangerous enemy motorized forces. Placed in command of Task Force Hudel (with about fifty tanks), he lau

Orden und Ehrenzeichen - Ritterkreuz : Große Verleihungsurkunde zum Ritterkreuz des Eisernen Kreuzes an Hauptmann Helmut Hudel, Chef der 1. Kompanie / Panzer Regiment 7 / 20. Panzer - Division / Heeresgruppe Mitte.Datiert Führerhauptquartier, 27. Mai 1942. Mit Unterschrift des Führers und Reichskanzlers Adolf Hitler (Pantograph). Die Ritterkreuzmappe aus rotem Saffianleder mit goldgeprägtem Hoheitsadler. Die Innendeckel mit Pergamentspiegeln und handvergoldeter Linieneinfassung. Am rückseitigenunteren Rand signiert: "FRIEDA THIERSCH". Die Urkunde auf großem Pergamentbogen (Doppelblatt) von Hand geschrieben, der Name des Beliehenen inerhabenem Gold gehalten. Die Mappe mit leichten äußeren Gebrauchsspuren, die Urkunde in nahezu perfekter Erhaltung. In der Zeit vom 06. - 08. März 1942 unterstützte Hauptmann Hudel die im Wald südlich Bereski schwer kämpfenden Schützen mit vorbildlicher Einsatzbereitschaft und großem taktischem Geschick. Er trug wesentlich dazu bei, daß der Verlust von Bereski an der Worja dem Feind keinen taktischen Durchbruchserfolg brachte und schoß hierbei zwei 44 - Tonner ab. In den anschließemden Tagen , als die Sowjets mit allen Kräften versuchten den Durchbruch nach Kobelewo zu ihren abgeschnittenen Divisionen zu erzwingen und die Landbrücke nurmehr wenige Kilometer Breite besaß, bildete Hudel das Rückrat der Panzerabwehr. Er schoß bei diesen Kämpfen weitere 5 Schwerpanzer ab und vernichtete in der Abwehr infanteristischer Angriffe 3 Granatwerfer und über 10 MG. Auch hier fügte er dem Feind sehr hohe, blutige Verluste zu. Extrem seltenes Verleihungsdokument dieses besonders tapferen Panzeroffiziers der sowohl in Rußland als auch in Afrika und in Italien überragende Erfolge erzielen konnte. Orders and Decorations - Knights Cross : Large Presentation Document for the Knight's Cross of the Iron Cross Awarded to Captain Helmut Hudel, Commander, 1st Company, 7th Panzer Regiment, 20th Panzer Division /Army Group Middle.Document is dated 27 May 1942 and features facsimile signature of Adolf Hitler. The text of the document is rendered in hand-done calligraphy on large double paged folded parchment with the recipient's name rendered in raised gold lettering. The red saffian leather "mappe" features a gold embossed national eagle clutching a wreathed swastika on the cover. The inner edge of the "mappe" features intricate hand-gilded interlaced ornamentation. The bottom edge of the base features gold embossed artist's signature "FRIEDA THIERSCH". In early 1942 Hudel's division was badly battered in heavy fighting against the Soviet winter counter-offensive. Hudel, by now a company commander with the rank of Hauptmann, was temporarily attached to a Kampfgruppe from the 20th Panzer Division. He showed such determination, skilled leadership and gallantry in heavy fighting around Viazma that he was recommended for the Ritterkreuz (Knight's Cross), and presented on 27 May 1942. Important and impressive historical presentation document awarded to a most famous panzer commander.

Zwei Tassen und zwei Becher, China, Qing-DynastieTässchen Zweipass-bzw. Vierpassform, Bambus, geschnitzt, gravierte Zweige von Pfirsich und Granatapfel mit Schriftzeichen bzw. nur Schriftzeichen, Fond in Silberblech o. versilbertem Blech ausgelegt. Orig. Anhänger mit Exportsiegel. Ein Teil Rissbildung. H. 3 cm; Becher Kokosnuss, in Silberblech ausgeschlagen, Außenwand gravierte Kalligraphie bzw Gräser. Exportsiegel. H. 3 bzw. 4,5 cm Two bamboo cups and beakers, decorated with calligraphy, silver inlay, old labels. One with crack. H. 3cm. China, Qing dynasty.

An 18th century style Chinese black lacquered marriage chest, decorated with pseudo-Oriental temple scenes including calligraphy practice, musicians, offerings, etc, useful as a wardrobe. 109cm long, 52cm deep, 190cm long

An 18th century style Chinese black lacquered marriage chest, decorated with pseudo-Oriental temple scenes including calligraphy practice, musicians, offerings, etc. 109cm long, 52cm deep, 190cm long

1923 London Underground MAP of the Electric Railways of London "What to see and how to travel" - special issue. Designed by MacDonald Gill with his distinctive style of calligraphy and map border, this is the issue dated 1/6/23 and the version thereof which shows the British Empire Exhibition stations with red dots and was specially produced for the Peter Robinson's department store in Oxford St. Generally a good copy, lightly used, but shows on back cover where removed from a brochure. [1]

1923 London Underground MAP of the Electric Railways of London "What to see and how to travel". Designed by MacDonald Gill with his distinctive style of calligraphy and map border, this is the less-common issue dated 1/11/23 and shows the British Empire Exhibition stations with red dots. In good, lightly-used condition. [1]

Zwei runde Übertöpfe. CHINA, 1. Hälfte 20. Jh.: 1.) Mit unterglasurblauer Malerei von Doppelglück-Symbolen und Floralrankwerk, D: 24 cm/H:19 cm, besch. am Rand. 2.) Mit Famille rose-Malerei von Blumenschalen und Kalligraphie, D: 24 cm/H: 16 cm, besch. durch ein nachträglich gebohrtes Loch am Boden.| Two round cachepots. CHINA, 1st half 20th c.: 1.) With underglaze blue painting of double happiness symbols and floral tendrils, D: 24 cm/H:19 cm, dam. at rim. 2.) With famille rose painting of flower trays and calligraphy, D: 24 cm/H: 16 cm, dam. by a subsequently drilled hole at the bottom.

Paar Teedosen. CHINA, 1. Hälfte 20. Jh., sechseckige Rautenform auf sechs Füßchen, bemalt mit figürlichen Darstellungen und Kalligraphie, jeweils mit rundem Holzdeckel, H: 16 und 17 cm. Alters- und Gebrauchsspuren.| Pair of tea caddies. CHINA, 1st half of 20th c., hexagonal diamond shape on six feet, painted with figural depictions and calligraphy, each with round wooden lid, h: 16 and 17 cm. Signs of age and use.

Wooden jewellery box (a/f) containing qty of antique jewellery mostly a/f inc 2 rosaries, crosses & Chinese polished bronze calligraphy item (?)

Leather bound 1797 hand notated music manuscript book of jigs, reels, marches and other music and having calligraphy title page reading "Thomas O'Armston". Together with an 1820 First Edition of "Memoirs of the Life of Nicholas Poussin" by Maria Graham

Islamistik. Contadini, Anna. Arab Painting: Text and Image in Illustrated Arabic Manuscripts. Leiden u. a. Brill. 2007. 4°. Mit Abb. auch farbig. XI, 272 S. Orig. illustrierter Pappband. (11) * Handbook of Oriental Studies. Section I. Vol. 90. Beiliegen: Sheila S. Blair. Islamic Inscriptions. Edinburgh, Univ. Press.,1998. Pappband. / Annemarie Schimmel. Calligraphy and Islamic Culture. New York, Univ. Press. 1990. Orig. geheftet. / François Déroche u. a. Manuel de codicologie des manuscrits en écriture arabe. Bibliothèque national de France, 2000. 8°. Orig. geheftet. / Calligraphie islamique - Islamic Calligraphy. This catalogue has been printed in offset in 2150 copies... Geneva 1988. Geheftet. Zustand: Alle Bde. innen leicht gebräunt und fleckig, vereinzelt mit Anstreichungen und Notizen. Die Einbände sind berieben und bestoßen, an Ecken und Kanten teilweise stärker.

A Persian black lacquered candlestick, early 20th century, height 28.5cm, an Islamic tray, with calligraphy, diameter 31cm, and two Kashmir lacquer items. (4)

A silk embroidered panel with arabic calligraphy, 19th century, 64 x 59cm.

A Persian manuscript, 19th century, painted with three figures in a boat, calligraphy to the reverse, frame size 40 x 30.5cm.

An Islamic brass candlestick, 19th century, with cylindrical base, decorated with panels of calligraphy, height 26cm, diameter 16cm.

J. HACKIN. 'Asiatic Mythology', with 16 plates in colour and 354 other illustrations; SYDNEY L. MOSS LTD. 'The Literati Mode', Chinese Scholar Paintings, Calligraphy and Desk Objects; 'Chinese Decorative Design volumes 1, 2 and 3. (5)

A Chinese Doucai porcelain tea bowl, 18th century, Yongzheng (1723-1755) six character mark, with vivid enamel floral and lingzhi design, with calligraphy, height 5.5cm, diameter 8.5cm.'y' shaped hairline and another hairline. Extra images now available to view on our website www.davidlay.co.uk

Two Chinese famlle rose porcelain bowls, 19th century, the first with figures and calligraphy, height 7cm, diameter 10.5cm and the other decorated with precious objects, height 7.2cm, diameter 11.5cm. (2)One has tiny chips to the rim and a firing blemish to the foot with body discolouration. The other bowl has a rim chip with a hairline crack emanating from this. It also has smaller rim chips. Both have glaze pitting and wear to the enamel decoration.

A Chinese porcelain tea bowl, 18th century, with calligraphy and gilt highlights, six character mark, height 4cm, diameter 6.5cm.

A Chinese blue and white porcelain vase, early 20th century, with a mountainous landscape and calligraphy, height 31cm, width 11cm.

A Chinese famille rose porcelain cup and cover, 19th century, with figures and calligraphy, height 9.5cm, diameter 10.5cm and a Chinese famille rose porcelain bowl, 19th century, decorated with fish, dragons and other animals, height 6cm, diameter 12.5cm, each with red seal marks. (2)Each damaged and repaired.

A large Chinese famille rose porcelain plaque, early 20th century, signed, calligraphy and red seal mark, decorated with two birds perched on flowering branches, in later carved wood frame, 56 x 32cm.

A Chinese famille rose porcelain plaque, early 20th century, signed, calligraphy and red seal marks, decorated with two birds, bamboo and flowering branches, in later carved wood frame, 55 x 31cm.

A Chinese porcelain drinking vessel, late 19th/early 20th century, the green and black speckled spout with calligraphy, height 10cm, length 16cm, width width 12cm.at the spout end there is either a firing blemish or repair. Very difficult to tell. Extra images on our website www.davidlay.co.uk

Chinese School Bird Amongst Peonies and Birds Amongst Flowers A pair of gouache and watercolour on silk Each with red seal mark and calligraphy Framed and glazed Picture size 24.5 x 30cm Overall size 40 x 45.5cm

A Chinese famille rose potpourri - A Republic period potpourri vase, decorated with female figures in a garden pavillion with a female attendant, with poetic calligraphy and red seal marks, the tapering ovoid body with pierced rim and cover, brightly enamelled in pink and tones of green with complex black enamel borders, the rim and cover with iron red and black enamel detail, four character seal mark within double square to base, height 18.5cm, diameter 11cm.

19th century Chinese jardinieres - A pair of hexagonal jardinieres on stands, each painted with two firebirds in a garden setting with prunus, peonies and poppies, a band of black decoration to both upper and lower edges, further black decoration to both rim of jardiniere and stand, calligraphy inscription and three red seal marks, red seal mark to base of stands, overall height 17.6cm, diameter 21cm.

Chinese 20th century ceramics - A teapot decorated with a female figure and a flowering tree with calligraphy inscription, metal wire handle, height 10.5 and another blue and white teapot decorated with birds on flowering branches and fruit, height 8.8cm.

Chinese late 19th/20th century blue and white ceramics - A shallow bowl decorated with figures seated around a table in a woodland setting and with calligraphy inscription, blue four character mark to base, height 3.7cm, diameter 17.3cm, together with two other shallow dishes, both diameter 21cm.

Two vintage Middle Eastern brass Kerosene burner / camping stoves H22cm, together with two tinned brass tea pot with repoussé and chiseled Arabic calligraphy W19cm. Early 20th century. (4)

A Chinese four panel black lacquer screen. Each panel having two sides, one side inlaid in low relief with soapstone, mother of pearl and wood, carved and hand painted with courtiers in front of a gazebo in a fenced garden with steps leading towards the observer, the whole scene outlined by a circle, the outer corners with some calligraphy. The back side of each panel decorated with hand painted wildflowers within a rectangle, H182cm, W45cm x 4 panels. Mid 20th century.

A large Chinese decorative hand painted wall fan, decorated with peony flowers, bamboo branches, peach blossoms, birds and calligraphy, folding to the length of 71cm. Mid 20th century.

A collection of Arabic or Turkish miniature copper and brass objects. Comprising of two dallahs, two ceramic coffee cups in copper holders, a nargile / hookah, a water ewer, a cooking cauldron, a round tray and a rectangular tray with Arabic calligraphy W26cm. (10)

Dame Barbara Hepworth (British, 1903-1975)Stringed Figure signed and dated 'Barbara Hepworth 1966' (lower right); further signed, titled and dated again 'Barbara Hepworth/Stringed Figure 1966' (verso)oil and pencil on board76.2 x 61 cm. (30 x 24 in.)Footnotes:ProvenanceWith Gimpel Fils Gallery, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedNew York, Marlborough-Gerson Gallery, Barbara Hepworth, April-May 1966, cat.no.39 (ill.)London, Gimpel Fils Gallery, Barbara Hepworth, May-July 1966LiteratureAlan Bowness, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay Ltd, London, 1966, cat.no.71 (ill.b&w)Stringed Figure was created at a time when Hepworth was at the peak of her career. In 1964, her most important and famous commission was unveiled at the United Nations Secretariat in New York, the monumental sculpture Single Form. In 1965 she was made a Dame Commander of the British Empire and also appointed a Trustee of the Tate Gallery, while exhibitions both at home and abroad further celebrated her work, with shows in London and New York, the Netherlands and Scandinavia. It was also however, a time of personal difficulty: she was diagnosed with cancer of the tongue in 1965 and underwent a lengthy and painful treatment for this. She wrote to Ben Nicholson in 1966: 'the last six months have been trying. The treatment (radium) for cancer seems to sap one's vitality & give one terrible fatigue. Even worse I could not eat anything & so got very weak. But I am pulling up now & my surgeon is pleased with me. I have worked – meanwhile - & I think well' (Eleanor Clayton, Barbara Hepworth: Art and Life, Thames & Hudson, London, 2021, p.239). As this statement shows, Hepworth was not one to be deterred by these difficulties, and strove even harder to appreciate the world around her, reflecting that: 'through all these health troubles one learns to live each hour with gratitude & open eyes' (ibid., p. 239). Showing her undaunted spirit when later in June 1967 she broke her leg while climbing aboard a helicopter to visit the Isles of Scilly, she later recalled in 1969 that: 'even breaking my leg was a good thing because it made me extend my arms as far as I could' (ibid., p.239). Clearly, Hepworth was not one to allow her creative drive to be diminished.Stringed Figure was created, then, when Hepworth was battling even through personal health difficulties to continue her artistic practice. The Cornish landscape continued to be an evergreen source of inspiration for her, the light, stone and sea informing so much of her work. Since first moving down to Cornwall in 1939 with Ben Nicholson and their triplets, and after several moves within Carbis Bay, in 1949 Hepworth bought Trewyn Studio in St Ives, where she lived from December 1950 until her death in 1975. Many of the paintings and drawings from 1960 onwards were made in Hepworth's Barnaloft studio flat, which had a view of Porthmeor Beach and the Atlantic Ocean. Stringed Figure has a palette which directly references the landscape which she was surrounded by; the tawny light brown of wet sand, the white of pale sand or breaking surf, and the turquoise of the sea and sky, the visible strokes which make up these washes of colour reminiscent of the striations of cloud, the ripples of breaking waves and tide-marks left in the sand. These sweeps of Cornish sea and sand were something she was to write about particularly poetically: 'The incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with felspar and mica.' (Barbara Hepworth, Drawings From A Sculptor's Landscape, London, Cory Adams & Mackay, 1966, p.13). The circle in the top right is also a reference to the natural world, being either sun or moon, both of which featured prominently in her work of this time and relate also to the pierced form in her sculpture. Drawings were for Hepworth a means of capturing new ideas for sculpture, and also – as she was to write in Drawings From A Sculptor's Landscape in 1966, the very year this piece was made – it was a life-affirming act. The above book contained the memorable artistic statement A Sculptor's Landscape from Hepworth, in which she wrote: 'Whenever I am embraced by land and seascape I draw ideas for new sculptures: new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize. For me it is the same as the touch of a child in health, not in sickness. The feel of a loved person who is strong and fierce and not tired and bowed down. This is not an aesthetic doctrine, nor is it a mystical idea. It is essentially practical and passionate, and it is my whole life' (ibid., p.11). Her use of language at such a testing time is very insightful, and her desire to draw is thus the realisation of this vital spirit, which in her words is 'strong and fierce'. The medium of oil and pencil is one which Hepworth favoured and the contrast of strong, definite graphite over washes of colour something which she particularly enjoyed. Writing about her method, she noted: 'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouaches, has a particular kind of 'bite' rather like on slate; then one is lost in a new world of a thousand possibilities' (ibid., p.19). The swing of curving lines is here contrasted with the twisting tension of the diagonal strings, suspended between two arcs. Hepworth has further worked into the surface of the board with light abrasions which show the white of the primed board beneath, echoing the rough rocky surfaces of the landscape. The present lot is a fine example of her very sculptural way of drawing, and how she used this technique to chart and configure three-dimensional space. Seen amid Hepworth's great achievements and writings around this time, Stringed Figure is a work by an artist at the height of her career but also one whose depth of feeling was as strong as ever. Able to look back at her achievements and write authoritatively on them as well as her creative ideals – thrown into sharp relief by her recent health difficulties – this work speaks of a freshness and vitality which was constantly renewed by the remarkable landscape around her, especially given that when inspiration struck her first desire was to put pencil and oil to board. As she wrote so evocatively in the year this piece was made: 'A sculptor's landscape is one of ever-changing space and light where forms reveal themselves in new aspects as the sun rises and sets, and the moon comes up. It is a primitive world; but a world of infinite and subtle meaning. Nothing we ever touch and feel, or see and love, is ever lost to us. From birth to old age it is retained like the warmth of rocks, the coolness of grass and the ever-flow of the sea.' (ibid., p.13). Stringed Figure captures this impassioned and timeless love for the elements perfectly.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing the present lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A Chinese mutton fat jade archer's ring, Qing Dynasty, 18/19th century, worked in relief with a tea pavilion near a flowering prunus tree and six rows of calligraphy 2.7cm high x 3cm diametervery good

A small Chinese silk bound album of watercolours paintings depicting various idyllic mountainous island landscapes, 9 cm w x 13 cm h to/w a Chinese calligraphy ink stick with gilded inscription c/w box (2)

Carved in the round as a gnarled branch issuing clusters of fruit and a single blossom, the dark 'skin' carved as coins and calligraphy 4,3cm wide PROVENANCE The Dr. and Mrs. D Davies Collection

Profusely painted with starburst patterns amongst stylised calligraphy, the reverse with foliate sprigs 26,5cm diameter

Three Chinese works on silk to include: embroidery of cat watching butterfly, 31 x 44.5; watercolour painting of mountains, 26 x 63 cm and a watercolour painting of two birds and flowers, 33 x 98 cm, all bearing Chinese calligraphy and stamps, framed and glazed

A Chinese calligraphy brush pot.

An unusual pair of calligraphy bookends

A CHINESE EXPORT SILVER LADIES BELT decorated with calligraphy, figures and animals, stamped marks, 230 grams, 61cm long Condition Report:Available upon request

FOUR JAPANESE BOOKLETS comprising; Hasegawa, The Open Court, 20 x 16cm, concertina booklet,7.5 x 12cm, another in gouache, 9 x 12cm and a book of calligraphy, 22 x 15cm (4) Condition Report:wear to each item

A CHINESE BRONZE HAND MIRROR cast with calligraphy, 14cm wide and a bronze cash medallion, 13.5cm diameter (2) Condition Report:see online images

A CHINESE COPPER AND TEAK PRESENTATION SHIELD inscribed to Mr A Jones , Garrison Engineer, D.C.R.E (EAST) N.T HONG KONG, decorated with dragons above calligraphy,38cm high Condition Report:Available upon request

Zang Languang (Chinese, 1912-1980). Fan painting on a round fan, ink on silk. The reverse decorated with calligraphy. The bone handle with lovely pierced decoration.Length (including handle): 13 1/4 in x width: 8 1/2 in.