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

A Chinese Shoushan artist's seal, a carved jade tablet with calligraphy, a carved jade roundel and jade fruit (5)

A COLLECTION OF CHINESE SEALS Comprising: A recumbent horse and her filly on an oval base carved with script to the underside; A Qilin issuing smoke and a stack of books from his mouth, the oval base with calligraphy; A winged Bixi seated on an oval base carved with script; and A bronze seal of a horseman the taller 6,5cm high (4) NOT SUITABLE FOR EXPORT

19th or Early 20th Century Japanese School. Samurai warriors attacking a rival clan's castle or palace. Watercolour. 47cm x 59cm. Signed with red seal mark and calligraphy. Poor condition with damp staining, foxing and mould.

Aldermaston Pottery - 22 cm bowl with polychrome stylised foliage, Lawrence McGowen (c 1978); 17.5 cm blue glazed bowl with calligraphy by Sike Nerger; 21 cm bowl by Edgar Campden (a/f) and goblet, also by Campden, 16 cm (4)

Islamic Art A religious calligraphy dated 1327 AD (1909 AD) and signed Omar Ebn Mahmud . . Cm 69,00 x 48,00. Frame present

Islamic Art A wall hanging textile printed with religious calligraphy Irant, second half 20th century . . Cm 115,00 x 73,00.

Eight Islamic Silver and Gemstone Rings. Two are having inscribed calligraphy. Various sizes. 56g total weight.

HENRI CHEN KEZHAN (SINGAPOREAN, B.1959) - CALLIGRAPHY Ink on paper, with three seals 27 x 24cm; 44 x 41cm (including frame) Condition: Minor signs of wear commensurate with age and use Provenance: From the collection of Mr Frank Hickley and Mrs Pamela Hickley, OBE Additional Information: Pamela and Frank Hickely were long term Singapore residents, collectors and benefactors. Pamela was born in Malacca but spent the majority of her life in Singapore. She worked as the personal assistant to the last two colonial Governors of Singapore, Sir Robert Black and Sir William Goode. Pamela and her husband were both founding members of the Southeast Asian Ceramic Society, in Singapore in 1969. Pamela also serving as the Society’s president from 1996 to 1998. The couple were avid collectors of Oriental ceramics and together they formed one of the finest collections of Dehua blanc de chine ceramics in the world, the collection now in the Asian Civilizations Museum, Singapore.

Ghom Jagdmotiv. Seidenteppich. Mit Kalligraphien. Um 1960.Circa 211 cm x 140 cm. Orientteppich. Handgeknüpft. Seide auf Seide.Ghom hunting motif. Silk carpet. With calligraphy. About 1960.Circa 211 cm x 140 cm. Oriental carpet. Hand-knotted. Silk on silk.

Saruk Persien. Um 1960. Mit Kalligraphien.Circa 361 cm x 278 cm. Orientteppich. Handgeknüpft.Saruk carpet Persia. Around 1960. With calligraphy.Circa 361 cm x 278 cm. Oriental carpet. Hand-knotted.

An extensive silver part cutlery suite in the Fiddle pattern, principally Edinburgh circa 1820-1830, but some with London assays from the period, and comprising 17 table forks, 6 table spoons, 13 dessert forks, 12 dessert spoons, 12 teaspoons, 8 egg spoons, 5 mustard spoons, pair of sauce ladles, sifting spoon, 2 butter knives, 2 soup ladles, 2 fish slices, and 4 stuffing spoons, each having armorial engraved terminals opposing the monogram JD in calligraphy script, gross weight 146.6oz, various dates and makers but principally Edinburgh, circa 1830

A Chinese Longquan Celadon Glazed Dish, 15th/16th century, carved with calligraphy within a fluted border incised with stylised foliage and barbed rim, 32cm diameterCondition report: Some minor surface scratching and wear.

^ A Chinese Porcelain Brush Washer, Qianlong reign but probably late 19th century, of square form with re-entrant corners, painted in the Qianjiang palette with objects, a bird perched in a branch, a landscape and a figure in a garden and with calligraphy and two seals for Wang Shaowei, four-character reign mark in red, 6cm highWith Peter Wain Antiques, 1996Condition report: Some typical minor wear, particularly to gilding, glazed frits to the top and foot rim

^ A Chinese Porcelain Vase, Qianlong reign mark but 20th century, of ovoid form with flared neck, painted in famille rose enamels with peony, bamboo and rockwork and with calligraphy within formal yellow foliate and panel borders, bears four-character reign mark in overglaze blue, 21cm highWith Peter Wain Heavenly Pieces Exhibition, 1993Condition report: Some typical minor wear and scratching, 

Chinese zitan scroll weight, decorated with incised and gilt calligraphy and a small red design in low relief. A Christie's Hong Kong label is adhered along the underside.Provenance: Christie's Hong Kong, November 1998; Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 19 1/4 in x width: 1 3/4 in x depth: 3/4 in.

Group of three Chinese porcelain pieces. Includes two mugs and one tea bowl, which is decorated with an interior scene and a calligraphy inscription.Large mug (not including handle); Height: 5 1/4 in x diameter: 4 1/4 in. Small mug (not including handle); Height: 3 1/4 in x diameter: 2 3/4 in. Cup; Height: 2 1/2 in x diameter: 3 3/4 in.

A Chinese silk embroidered picture, 20th century, decorated with exotic birds and flowering tree, calligraphy and red seal, 66.5 x 43cm.

A Cairoware brass and silver inlaid box, circa 1900, with fixed wooden liners, the hinged cover with a central palmette enclosing arabic calligraphy, the front with a panel of calligraphy, height 3.5cm, width 10.5cm, depth 7cm.Condition report: hinges and clasp work find. There is some movement to the wooden base.

An Indian tinned copper bowl, Deccan, late 18th/early 19th century, with arabic calligraphy beneath the top rim, height 12.5cm, diameter 20cm.

An Islamic painted manuscript, 19th century, depicting calligraphy and two portrait roundels above a scene depicting figures in a courtyard, the reverse with multiple rows of calligraphy, later framed, 23 x 13cm, frame size 42 x 32cm.

A set of five Persian manuscript leaves, early 19th century, each painted with figures on horseback, arabic calligraphy front and back, 32 x 18.5cm.

A Persian design prayer rug, mid 20th century, the ivory mihrab with a stylised tree and foliage, below three cartouches enclosing arabic calligraphy, signature cartouche to bottom left, 93.5cmm x 66cm.

A Chinese painting of birds perched on a branch, by Zhang Tong Yu, with calligraphy and red seal, complete with certificate of authenticity, frame size 66 x 59cm.

A Chinese bronze incense burner, 20th century, height 14.5cm, width 13.5cm a carved wood figure, height 33.5cm and a Chinese wooden box, 20th century, with calligraphy, height 7cm, width 12cm, depth 12cm.

FREDERIC VILLIERS. 'Port Arthur: Three Months with the Besiegers: A Diurnal of Occurrents,' original coth with calligraphy to front board, b+w photographs, Longmans, Green, and Co, London, 1905; 'The War in the Far East 1904-1905: By the Military Correspondent of the Times,' numerous maps and plans Percy Fisher, John Murray, London, 1905; FLORENCE AYSCOUGH. 'A Chinese Mirror: Being Reflections of the Reality behind Appearance,' drawings by Lucille Douglass, quarter cloth, Jonathan Cape, London, 1925; J. DYER BALL. 'Things Chinese or Notes Connected With China,' original yellow cloth with gilt and embossed lantern to front board, fourth edition revised and enlarged, Kelly & Walsh, Hongkong, 1903; J. JOHNSTON ABRAHAM. 'The Surgeon's Log: Impressions of the Far East,' signed and inscribed by the author, Chapman and Hall, London, 1926; H. B. TRISTRAM. 'Rambles in Japan: The Land of the Rising Sun,' original cloth with pictorial gilt tooling to front board, forty-five illustrations by Edward Whymper, The Religious Tract Society, 1895; Plus four other books. (10)

A Chinese Shoushan hardstone carving of Louhan, possibly 18th century, signed on reverse of figure, with finely carved hardwood stand and silk lined presentation box, five paper calligraphy panels, height of figure 10cm, width 9.3cm, depth 7cm, weight 627 grams; box size, height 20cm, width 15.5cm, depth 11cm.Condition report: hardstone figure is in excellent condition.

A Chinese stoneware pottery vase, early 20th century, the body with a flambe glaze and calligraphy, seal mark to base, height 31cm, width 24cm.

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 blue and white porcelain dish, late Ming Dynasty, decorated with a stylised dragon, height 4cm, diameter 20cm, a Chinese blue and white porcelain base of a tulip vase, 19th century, height 11cm, diameter 16cm, a Chinese tea bowl, 20th century and a Japanese porcelain tea bowl, signed and rows of calligraphy to interior, height 6cm, diameter 7cm.Condition report: Chips and cracks to the dish, stem lacking to tulip vase.

A Moroccan pottery twin-handled vase, mid 20th century, with calligraphy and geometric motifs, height 21.5cm, width 17cm.

A pair of Chinese fan-shaped watercolours on silk, each depicting river scenes, signed, frame size 29.5 x 49.5cm, a large Chinese silk painting, mid 20th century, calligraphy and red seal mark, 84.5 x 27cm and a pair of Japanese prints, frame size 43 x 13.5cm.Condition report: The pair of fan pictures in good condition. Some light foxing. The pair of Japanese prints have foxing throughout. The painted silk picture has foxed blemishes all over and a ballpoint pen mark to the sky area.

A Persian circular wooden tray, early 20th century, the border with calligraphy, diameter 31cm.

A framed Chinese silk embroidered panel decorated with birds with calligraphy and seal mark as part of the design 57cm by 35cm

A collection of eight Japanese woodcut prints (five framed) including after Kunisada, each with calligraphy and seal marks 35cm by 25cm, together a reproduction print after Ju Peon, 'The Peace of a long Summer's Day', paper label verso, 44cm by 26cm

Three Chinese scrolls, to include one decorated with a mountainous snow covered landscape, top right with calligraphy and seal mark picture area 96cm by 30cm, one with mountainous landscape with calligraphy and seal mark picture area 97cm by 30cm

A 20th century Chinese Republic style porcelain vase, of baluster shape with applied polychrome enamels, the top with floral patterns above a central scene of figures on a boat, the reverse with calligraphy, possibly a poetry passage, the underside with partially rubbed iron red seal character stamp, 44 cm high, together with a faux-ivory carved vase with elephant handles, carved intricately with landscapes, figures and foliate motifs, on a carved hardwood base, 31 cm high

An Islamic glass dish, late 19th century, the hand-blown bowl, etched in Ottoman and Islamic tradition, with the entire surface being covered in naskh calligraphy, 23cm diameterCondition report: Calligraphy is fading, hand blown so evidence of air bubbles an imperfections

Chinese brass casket decorated with assorted enamel cabochons, Chinese calligraphy and symbols, applied Buddhas and a wood-lined interior, 9cm high, 23cm wide and 12.5cm deep.

Meiji period fan with shibayama guard sticks inlaid with insects. The finely painted paper signed and sealed by the artists and with lines of descriptive calligraphy.

A 19th century Chinese bronze censer of rectangular form with flaring side and two side handles archaic calligraphy to interior. 18 cm wide.

Cairo ware brass dish with silver inlaid calligraphy 13" across.

A calligraphy Box and pen, 11 1/2'' x 8'' x 5 1/2'' deep.

A Chinese blue and white stem bowl, inscribed with a continuing band of calligraphy over lappet and scroll borders, Xuande reign mark inside but not of the period, 17.5cm diameterCondition report: No notable provenance, good condition, free from damage and repair

'CHILDREN AT PLAY', INSCRIBED DING GUANPENG (ACTIVE 1708-1771)China, Qing Dynasty, mid-18th – early 19th century. Ink and watercolors on silk. The work either from the hand of Ding Guanpeng himself, or one of his disciples at the palace painting academy, or a combination of both. Superbly painted with four children in a noble garden mimicking the Full Moon Ritual (manyue) by 'washing' a statue of the infant Buddha.Inscriptions: Lower right, 'Ding Guanpeng'. Dated to the 4th month of the 26th year of the Qianlong reign (corresponding to 1761). One seal of the artist.Provenance: UK trade, by repute acquired from a British private estate.Condition: Very good condition with minor wear, soiling, creasing, few minuscule losses. Mounted as a hanging scroll.Dimensions: Image size 115.5 x 48 cm, Size incl. mounting 213.5 x 63 cmOne child is kneeling on an oval rug with hands folded in prayer, one holds a bowl of peony blossom offerings, one is pouring water from a kundika to 'wash' a statue of the infant Buddha, supported on an elaborate lotus base, held by another child, next to a small vase with lingzhi fungi, and all below a gnarled tree, large lingbi stones, peonies, and bamboo.The scene and specifically the objects are painstakingly detailed, and upon closer inspection, one can discover such interesting things as a crackled turquoise glaze on the vase or a fine gilding on the infant Buddha statue. The fence in the background also shows numerous ornaments, and the various rocks and plants surrounding the children have meticulously executed minutia. One can understand the children's excitement, as we can all look in fascination at the intensity of the mimicked ceremony.The rich details of the playthings are matched by the carefully rendered clothing and delicately drawn faces of the children. The children's finely woven silk brocades reveal their noble, if not Imperial upbringing, and their enjoyment of the event is patent in their expressions of glee and wonderment as they play with the ceremonial objects. The elaborate rock and flowering plants indicate this is a garden setting. Likely within the walls of a family compound, the location of the painting is another indication of the wealth and prestigious status to which the children belong.Ding Guanpeng (active 1708-1771) was a Chinese painter who lived during the Qing dynasty. A native of Beijing, he was active from the later part of the Kangxi period to the mid-Qianlong period. At one point he studied oil painting under Giuseppe Castiglione. He was noted for painting people and landscapes, both in his distinct own style and by precisely copying the work of important masters such as - in the present lot - Su Hanchen. He spent about 50 years in the Palace Painting Academy and painted at least 200 major works with his own hand.Expert's note: The present lot is an exact copy after a work by the Song Dynasty artist Su Hanchen (active 1130s–1160s), which is currently in the National Palace Museum in Taipei. It is known that during the reign of Emperor Qianlong (1736-1795) masters from the Palace Painting Academy, such as Ding Guanpeng, were commissioned to copy a significant number of ancient works from the Imperial palace collection, predominantly for conservatory purposes, but also for a number of other reasons. Occasionally, some of the more prominent artists involved in this undertaking were allowed to sign these copies with their own names.Auction result comparison: Compare a related painting by Ding Guanpeng at Poly International, 3 December 2014, lot 3213, bought-in at an estimate of CNY 300,000-500,000 (approx. EUR 40,000-65,000). Compare another copy of a work by Su Hanchen at Bonhams, in Chinese Paintings and Calligraphy, 20 March 2013, New York, lot 3009, sold for USD 86,500.《童子浴佛圖》丁觀鵬（活躍於1708-1771）款中國，清代，十八世紀中葉至十九世紀。紙本設色。這幅作品可能出自丁觀鵬本人之手，也有可能出自其他宮廷畫師之手，或是兩者合作皆可能。這幅作品畫工精細，四個孩子在貴族花園裡模仿滿月儀式，以淨瓶清洗一尊嬰兒佛像。款識：乾隆二十六年四月臣丁觀鵬敬繪鈐印：觀鵬來源：英國古玩市集，據說購於英國老收藏。品相：狀況極好，輕微磨損、汙跡、皺褶，一些微小缺損。裝裱為掛軸。尺寸：畫面115.5 x 48 厘米，總213.5 x 63厘米。一個孩子跪在橢圓形的地毯上，雙手合十祈禱；一個孩子拿著一碗牡丹花供品，一個孩子正從淨瓶中倒水 "清洗 "一尊嬰兒佛像。佛像立於蓮花底座上，由另一個孩子拿著，旁邊的地上立著一個裝靈芝的小花瓶。周圍有一棵參天大樹、大靈璧石、牡丹花和竹子。此場景和周圍物件都是精心設計的，諸如花瓶上綠松石釉面開片，以及嬰兒佛像上精細的鎏金等。背景中的圍欄也有許多裝飾物，孩子們周圍的各種岩石和植物都有細緻的描繪。觀畫者可以感受孩子們的興奮，猶如身歷其境地看著這場模仿儀式。這些道具的豐富細節與孩子們精心繪製的服裝和精緻的面孔相匹配。孩子們身著的絲綢錦緞顯示了他們高貴的地位、甚至皇室的教養。由他們在玩弄儀式物品時歡快和驚奇的表情，可看出對這件事的享受。花園中精心設計的岩石和盛開的花朵，可知這花園可能是在一個大宅邸的牆內，它的位置也表明了孩子們的出身。丁觀鵬（活躍於1708-1771年）為清朝畫家，北京人，活躍於康熙後期至乾隆中期，他曾向郎世寧學習油畫。他以人物和風景畫聞名，既有自己獨特的風格，也能精確地模仿大師的作品，如本拍品即為仿蘇漢臣的畫作。他任職於宮廷畫院約50年，至少親手畫了200幅作品。專家註釋：本拍品是根據宋代藝術家蘇漢臣（活躍於1130-1160年）的作品精確複製的，該作品現藏於臺北故宮博物院。乾隆時期（1736-1795）為了保存的目的和其他原因，宮廷畫院的大師們，如丁觀鵬，被委託臨摹大量皇宮收藏的古代作品。一些參與這項工作的著名藝術家，偶爾被允許在這些副本上題上自己的名字。拍賣結果比較：比較一幅相關的丁觀鵬的畫作，見北京保利2014年12月3日「藝林藻鑒—中國古代書畫」，拍品編號3213，估價CNY 300,000-500,000 (大約為EUR 40,000-65,000)。比較一件蘇漢臣的作品，見紐約邦翰斯2013年3月20日lot 3009，售價 USD 86,500。

'SCHOLAR READING A SCROLL', LATE MING TO EARLY QING DYNASTYChina, 16th-17th century. Ink on very fine silk. Remarkably detailed painting depicting a bearded scholar wearing voluminous robes and a prominent headdress, holding a fan in one hand, seated on a barrel stool at a table and reading a scroll unrolled before him.Provenance: From an English private collection. Condition: Good condition, as expected and commensurate with age. With old wear and traces of use, soiling, browning, foxing, creasing, small losses, minor touchups.Dimensions: Image size 59 x 42.7 cm, Size incl. mounting 78 x 68.7 cmA stack of books rests beside the scroll, a small censer on an incense stand (xiangji) as well as further scrolls, a lacquer box, various vessels, and other scholar's objects on a high table behind a standing screen painted in magnificent quality with crashing waves, all behind a large curtain with floral roundels to the right side.With an imperial yellow silk brocade frame, laid down on board.Auction result comparison: Compare a related silk painting of a scholar and students, dated late 15th-16th century, at Bonhams New York in Chinese Paintings and Calligraphy on 20 March 2013, lot 3013, sold for USD 62,500.明末清初《文人觀畫圖》中國，十六至十七世紀。絹本水墨。文人坐於書房内，一手持扇一手按著面前的一幅畫。四周場景描寫細緻入微。 來源：英國私人收藏。 品相：狀況良好，符合預期並與年齡相稱。有磨損和使用痕跡、污漬、褐變、起毛、摺痕、小缺損、輕微修飾。 尺寸：畫面59 x 42.7 厘米, 總78 x 68.7 厘米 絹本裝裱。 拍賣結果比較：比較一件相似的十五至十六世紀絹本《文人書生圖》，見紐約邦翰思Chinese Paintings and Calligraphy 2013年3月20日 lot 3013, 售價USD 62,500。

'PLUM BLOSSOMS AND BAMBOO LEAVES', BY WANG YAOQING (1881-1954)China, first half of the 20th century. Ink and watercolor on segmented paper. The upper fan-shaped painting shows calligraphy. The lower painting depicts branches of a plum tree covered in red blossoms, bamboo leaves on the left. Calligraphy and seal mark on the left side. Laid down on paper with protective cover.Inscriptions: Upper image: The text describes a scene in autumn, gifted to Mr. Youting. Lower image (translated): 'To Mr. Youting'. Signed 'Wang Yaoqing'. One seal: 'Yaoqing'.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The upper painting with some minor material loss at the margin, a few tears, and abrasions, especially along the folds, touch-ups. The lower painting with some abrasions along the folds, minor material loss, and a tear on the right side.Dimensions: Upper image size 46 x 20, lower image size 46 x 20.3 cm, paper cover 63.5 x 65 cmWang Yaoqing (1881-1954) was one of the most famous actors of the Peking Opera in the early 20th century. He was known for playing various female roles in the Peking Opera. In the early 1930s, Wang Yaoqing taught at the Chinese Opera Specialized School. Later, he became the principal of the Chinese Opera School and trained many talented actors, for example, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, and Shang Xiaoyun. He is also a renowned Chinese painter, known for his paintings of plums, chrysanthemums, lotus flowers, turtles, and shrimps.Auction result comparison: Compare a similar painting, depicting a tree branch with blossoms, also from Wang Yaoqing, with the title 'Ink Prunus (墨梅),' at Xiling Yinshe Auction in Chinese Painting and Calligraphy on 25 June 2016, lot 992, sold for RMB 140,000 (ca. EUR 19,400). 王瑤卿 (1881-1954) 《秋山色》與《梅竹圖》 中國，二十世紀上半葉。紙本設色。分別爲《秋山色》七言小律與《梅竹圖》。 款識: 七言小律一面為“佑廷先生正”；《梅竹圖》一面為“佑廷先生正之”及“王瑤卿”；朱印“瑤卿”。 王瑤卿，清末民國京劇旦角演員、戲曲教育家。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：書法面邊緣處有一些輕微缺損和撕裂，有水跡和修補。繪畫面有些磨損，材料輕微缺損，右側有撕裂。 尺寸：分別爲46 x 20 厘米 與 46 x 20.3 厘米，總 63.5 x 65 厘米 紙本裝裱，有保護層。 拍賣結果：比較一張王瑤卿的《墨梅》，見西泠印社 Chinese Painting and Calligraphy 2016年6月25日 lot 992, 售價RMB 140,000。

A BUDDHIST VOTIVE PAINTING DEPICTING AVALOKITESHVARA, POSSIBLY IMPERIALChina, 17th-18th century. Ink and watercolors on silk. Superbly painted, seated in dhyanasana atop a lotus pedestal borne on a thick stem issuing buds and blossoms, flanked by two guardian attendants standing on swirling clouds with hands clasped in front. His many hands hold various attributes, running the full gamut of Buddhist iconography, and issuing from his ten heads (in place of the eleventh) is an image of Buddha Amitabha seated on a lotus throne supported on clouds, flanked by two celestial figures.Provenance: UK market, by repute from an old English estate.Condition: Very good condition with minor wear, soiling, creasing, few minuscule tears and losses. Laid down on paper.Dimensions: 153 x 75.2 cmThe present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the middle of the Ming Dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.The Qing dynasty witnessed a revitalization of the cultural contacts between Tibet and imperial China, and the Manchu ruling class officially patronized Tibetan-style Buddhism in the capital of Beijing. This period also witnessed an explosion in the production of Buddhist art, particularly during the reign of the Qianlong Emperor (r. 1735-1796).Literature comparison: Compare two related Imperial Buddhist votive paintings, showing a similar treatment of the clouds, one at Christie's Hong Kong, 26 April 2004, lot 999, and the other at Christie's Hong Kong, 26 May 2021, lot 858.Auction result comparison: Compare a silk painting of Cundi, dated to the 17th century, at Christie's Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 26 May 2021, lot 860, sold for HKD 275,000. Compare a silk painting depicting the Water-Moon Guanyin at Christie's Hong Kong in Fine Classical Chinese Paintings and Calligraphy on 28 November 2005, lot 1056, sold for HKD 384,000. 或爲御製《千手寳相觀音圖》中國，十七至十八世紀。立軸，絹本水墨設色。圖繪千手寶相觀音坐於蓮座上，中間雙手合十，其他各手分別持小斧、蓮花、寶劍、弓箭等各種法寶；頭上祥雲朵朵飄蕩，雲中托出小佛一尊。左右兩側分別站著一位天神。來源：英國古玩市場，據説來自英國私人老收藏。品相：狀況極好，有輕微磨損、汙漬、摺痕，少量撕裂和缺損。紙本裝裱。尺寸：153 x 75.2厘米拍賣結果比較：比較一件十七世紀絹本設色的准提菩薩，見香港佳士得Fine Chinese Classical Paintings and Calligraphy，2021年5月26日 lot 860, 售價HKD 275,000。比較一件絹本設色水月觀音，見香港佳士得Fine Classical Chinese Paintings and Calligraphy，2005年11月 28日lot 1056, 售價HKD 384,000。

'MAGNOLIA, PEONY AND PRUNUS', BY ZOU YIGUI (1686-1722)China. Ink and watercolors on paper. Finely painted with leafy and flowering branches of magnolia, peony, and prunus, with some buds still closed. Note the appealing contrast of colors between the white magnolias, pale pink cherry blossoms, and almost lavender peony.Inscriptions: Center left, signed 'Zou Yigui'. One seal of the artist.Provenance: British market, by repute from an old English private collection. Inscribed in pencil, '30 Tsou I Kuei', and with an old paper label inscribed with an inventory number, '30'.Condition: Fair condition with wear, soiling, creasing, some losses with associated old repairs and touchups. Mounted on paper.Dimensions: Image size 83 x 40.5 cm, Size incl. mounting 111.5 x 56 cmZou Yigui (1686-1722) was a famed Chinese painter who lived during the earlier Qing Dynasty. He was born in Wuxi, Jiangsu Province. He painted for the Imperial family and was highly skilled in painting flowers, with meticulous attention to detail. He was also talented in painting landscapes and once wrote a book named 'Art of Painting of Xiaoshan', discussing the experience of painting.Auction result comparison: Compare a closely related painting by Zou Yigui, 175 x 97 cm, also depicting magnolia, peony, and prunus, at Lempertz Brussels, 18 June 2017, lot 1094, bought-in at an estimate of EUR 21,000-22,000. Compare a related painting by Zou Yigui of a white peony, 58 x 40 cm, at Christie's Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 26 November 2012, lot 938, sold for HKD 225,000. 鄒一桂款《玉出牡丹》中國。立軸，紙本設色。繪有枝葉繁茂的玉蘭、牡丹和桃花，花蕾含苞欲放。請注意白色玉蘭、淡粉色桃花和近乎薰衣草色的牡丹之間迷人的色彩對比。款識：辛未仲冬，小山鄒一桂鈴印：一桂來源：英國古玩市場，據説來自英國私人收藏 。有鉛筆手寫的 “30 Tsou I Kuei” 字樣，紙標籤有收藏編號 “30”。品相：狀況良好，有磨損、汙漬、摺痕，以及相關的舊維修和修補造成的一些損失。 紙本裝裱。尺寸：畫面83 x 40.5厘米，總111.5 x 56厘米拍賣結果比較：比較一件鄒一桂的《玉出牡丹》，175 x 97 釐米，見布魯塞爾Lempertz 藝廊2017年6月18日 lot 1094, 估價EUR 21,000-22,000。比較一幅鄒一桂《白牡丹》，58 x 40 釐米，見香港佳士得Fine Chinese Classical Paintings and Calligraphy 2012年11月26日 lot 938, 售價HKD 225,000。

'TOAD', BY PAN TIANSHOU (1897-1971) AND ZHANG ZONGXIANG (1882-1965)China. Ink on a paper folding fan. Finely painted to depict a toad with large eyes and distinct feet perched on a rock. The reverse with a poem in cursive script.Inscriptions: To the front, signed 'Shouzhe', dated 1956, two seals of the artist, and dedicated to Wang Lifu (1911-2014). To the reverse, signed 'Zhang Zongxiang', with another dedication to Wang Lifu, and two seals of the artist. The fan frame dated to the Dinghai year (corresponding to 1947).Provenance: Wang Lifu (1911-2014). Thence by descent within the family and subsequently to the last owner. Wang Lifu was a Chinese revolutionary and government official, who joined the Chinese Communist Party in 1937. He later served as a Director of the Foreign Affairs Office, and the Deputy Secretary of the Party Leadership Group.Condition: Good condition with minor wear and soiling, few small tears, minimal losses and traces of usage.Dimensions: Length 49.5 cm, Height 18 cm (the painting) and 30 cm (the frame)Pan Tianshou (1897-1971) was a Chinese painter and art educator. He was born in Guanzhuang, Ninghai County, Zhejiang Province. He studied Chinese traditional painting with Wu Changshuo, and built the foundation of Chinese traditional painting education. He was persecuted during the Cultural Revolution until his death in 1971.Auction result comparison: Compare a related scroll painting (58 x 44.5 cm) of a toad by Pan Tianshou at Poly International in Important Modern Chinese Painting and Calligraphy on 4 December 2020, lot 670, sold for CNY 5,750,000 (approx. EUR 724,895). Compare also a related fan painting by Pan Tianshou and Zhang Zongxiang at Poly International in Modern Chinese Painting and Calligraphy on 17 October 2020, lot 1902, sold for CNY 575,000 (approx. EUR 73,238). 潘天壽《蛙聲滿田圖》張宗祥書中國。成扇紙本水墨。一面靈蛙伏於石上，墨韻濃重、焦淡相滲疊，以凝煉和沉健的線條將青蛙的姿態描寫得栩栩如生。構圖精簡而意遠。青蛙身體朝向畫外，似要躍出畫面，畫面的右側有行草書題寫的自作詩，錯落有致。另一面可見張宗祥為王黎夫草書題詩。 款識：江南水滿田，蛙閣閣，聲連天。歌頌禾黍豐收，年年復年年。一九五六年夏日，黎夫同志 屬，壽者。鈴印：壽者、阿壽。張宗祥 (1882-1965) 草書詩一首，黎夫同志正；鈴印：張宗祥印、冷僧。扇骨上可見“丁亥夏日行人唐雲寫於邏思齋”（應爲1947年）。 來源：王黎夫 (1911-2014) 收藏，在同一家族保存直至最後一任藏家。王黎夫曾是中國共產黨幹部，後曾任浙江省人民政府外事辦公室原主任。 品相：狀況良好，磨損和輕微污漬，少量撕裂，損失和使用痕跡極少。 尺寸：長49.5 厘米，高18 厘米 (畫) ，成扇高 30 厘米 拍賣結果比較：比較一件相似的潘天壽《蛙聲滿田圖》(58 x 44.5 厘米) ，見保利《望山堂藏畫》Important Modern Chinese Painting and Calligraphy 2020年12月4日 lot 670, 售價CNY 5,750,000 (approx. EUR 724,895)。比較一件潘天壽與張宗祥的成扇，見保利Modern Chinese Painting and Calligraphy 2020年10月17日 lot 1902, 售價CNY 575,000 (approx. EUR 73,238)。

'CIRCUS SCENES', AN ALBUM BY PU RU (1896-1963), WITH A TOTAL OF 16 LEAVESChina. Ink on paper. The present album consists of eight leaves by the artist, each with a depiction of a different circus act, including acrobats, feats of strength, balancing acts, a tightrope walker, and a trapeze artist, with annotations to each opposite leaf. With silk brocade front and back covers.Inscriptions: The cover titled 'Album with Circus Scenes by Pu Xinshe [Pu Ru]', signed 'Kanbai Wu Ping', with two seals, 'Wu Ping' and 'Kanbai'. Each painted leaf with a title. The last leaf signed 'Xinshe', dated Yiwei year (corresponding to 1955), dedicated to Wang Aiyun (1906-2004), and with a total of ten seals of the artist. Each opposite leaf with an annotation, praising Pu Ru and describing his life and art, inscribed and signed by Jiang Zhaoshen, Zeng Shaojie, Wang Zhuangwei, Chen Hanguang, dated Bingshen year (corresponding to 1956), with another dedication to Wang Aiyun, and a total of nine seals.Provenance: Wu Ping (1920-2019) and thence by descent. Wu, whose style name was Kanbai, was a native of Yuyao in Zhejiang province. He possessed notable talent in the arts of calligraphy, painting, and seal carving, and formerly served as a director of the Department of Painting and Calligraphy at the National Palace Museum, Taipei.Condition: Very good condition with minor wear, soiling, and foxing. Some old wear and traces of use to album cover.Dimensions: Image size ca. 11 x 8 cm (each), Leaf size 15.2 x 11.2 cm (each)Chinese circus acts include a wide range of acrobatic acts, balancing acts and other demonstrations of physical skill traditionally performed by a troupe in China. Many of these acts have a long history in China and are still performed today. While the English term "Chinese circus" has been used to describe Chinese variety arts even in the earliest Western historical texts, the East views the Chinese term 'circus' as an altogether separate, Western style of show. Clowns, for example, belong exclusively to the Western circus. Eastern elements include Shaolin monks, Peking opera characters, and the Monkey King.During the Qin and Han periods, Juedi or Baixi variety shows were popular with the common people. Juedi was originally an entertainment where men wearing horns charged at one another like bulls, but became a general term used interchangeably with Baixi to describe popular entertainment during the Han Dynasty. It consisted of a variety of acts such as conjuring, acrobatics, wrestling, musical performances, dance, martial arts, horsemanship, and juggling. Over the centuries, performances became more elaborate and during the Tang Dynasty, the performing arts were highly popular in the Emperor's court and the acts became even more refined. Eventually, the performing arts lost favor in the Imperial Court and moved back to the common people and most performers performed in the street. Towards the end of the Ming Dynasty (1368-1644), the performers again came off the street and started performing on stage. During the end of the Qing Dynasty (1644-1911), it regained popularity with the Imperial Court and has remained a popular art form to this day.Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power, and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison: Compare a closely related handscroll (14 x 119 cm) by Pu Ru with similar depictions at Poly International, 1 December 2019, lot 2113, sold for CNY 1,265,000 (approx. EUR 163,222). 《溥心畲寫馬戲冊》，冊頁八開中國。紙本水墨。冊頁中溥心畲繪製了八頁，分別描繪了八個不同的馬戲場景，包括項象、人獸鬪、走索、戲馬、曡羅漢、蹬椅人、飛人、牛拉車。另外八頁則由一些鑒賞家與藏家的相關詩文。綾綿裱褙。 款識：封面：《溥心畲寫馬戲冊》，堪白吳平；鈴印“吳平”“堪白”最後一頁上書“藹雲先生屬，乙未（1955）五月，心畬。”“藹雲”即為台灣著名收藏家王藹雲（1906-2004）。為冊頁題詞的有江兆申、曾紹傑、陳含光、王壯為，分別落款及鈴印。 來源：吳平 (1920-2019)，保存至今。吳平字堪白，生於浙江餘姚，幼承家學，隨父親習字作畫，筆勢結構成自家風格，後來成爲臺北故宮博物院書畫部主任。 品相：狀況極好，有輕微磨損、污漬和起毛。冊頁封面可見使用痕跡。 尺寸：畫面約 11 x 8 厘米，冊頁 15.2 x 11.2 厘米 拍賣結果比較：比較一件溥心畲的卷軸 (14 x 119 厘米)，見保利2019年12月1日 lot 2113, 售價CNY 1,265,000 (approx. EUR 163,222)。

Black fountain pen and steel calligraphy set

Decorative Ceramics. A modern Chinese blue and white teapot in the 18th-century style, with eight rows of calligraphy to one side, the other with ten (probably a poem), a blue reign mark to base, lacking original cover but with a wooden substitute, 21cm long, together with an early 19th-century pearlware plate, in iron-red and green depicting an animal within foliate ground, damaged, 22cm diameter, a pair of 18th-century Persian pottery dishes decorated with figures in the Iznik palate, both damaged and old repairs, 15cm diameter, various 19th century and later meat plates and other itemsQty: ( A carton )

'FISHERMAN IN LANDSCAPE', BY HUA SHANA (1806-1859)China, dated 1857. Ink on segmented paper with metallic ground. The fan-shaped painting depicts a landscape with mountains, trees, and a sole fisherman on a boat. A cottage stands hidden behind trees. Calligraphy and two seal marks on the upper left. Laid down on paper with a protective cover.Inscription: Text (translated): 'Hua Shana (1806-1859) painted in the summer of the year Dingsi (1857), dedicated to brother Futing'. Two seals: 'Hua Shana yin' and 'Song Cen.'Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden.Condition: The painting with abrasions along the folds, minor material loss, especially at the margin. A few nicks, scratches, and tears, with touchups.Dimensions: Image size 51.5 x 20.5 cm, paper cover 63.5 x 65 cmHua Shana was a scholar in Imperial Hanlin Academy during the Daoguang Period and later served as a minister of the imperial government. In 1859, he went to Tianjin to negotiate peace and signed the Treaty of Tianjin with the UK and France. In June 1859, the emperor sent Hua Shana to Jiangsu and concluded a commerce treaty with the UK, France, and the United States.Auction result comparison: Compare with a painting from Hua Shana, titled "Landscape", at Shanghai DuoYun Xuan auction in Ancient Calligraphy and paintings on 28 June 2016, lot 936, sold for RMB 60,000 (ca. EUR 8,400). 花沙納《溪山漁人》 中國，1857年。灑金紙水墨設色。扇頁上描繪了漁夫蕩舟山間小湖上，湖邊樹後隱藏這一座草屋。 款識：丁巳閠夏寫奉輔廷五兄大人雅屬 愚弟花沙納鈴印：花沙納印，松岑 伍彌特·花沙納（公元1806～1859年），號松岑，清朝大臣，《天津條約》的簽約代表。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：褶皺處有磨損，些微缺損，主要是在邊緣處。 局部刻痕、劃痕和水跡，並有修補。 尺寸：畫面 51.5 x 20.5 厘米， 總 63.5 x 65 厘米 紙本裝裱，有保護層。 拍賣結果：比較一件花沙納《山水》，見上海朵雲軒Calligraphy and paintings 2016年6月 28日lot 936, 售價RMB 60,000。

'GHOSTS', BY PU RU (1896-1963), TEN PAINTINGSChina. Ink on paper. Finely painted with different ghosts or demons, each with fierce expressions and rendered in a dynamic manner, including a servant of Zhong Kui, an armed 'rat' in the street, cattle as a scholar, a thunder ghost, a dragon bringing rain, a fox bookkeeper, a mountain ghost, a demon performing a rain dance, a turtle as a scholar, and a beggar ghost. Each painting with a descriptive inscription.Inscriptions: To each painting, 'Finger Painting of Xinshe' and one seal, 'Pu Ru'.Provenance: UK market, by repute from a private estate.Condition: Good condition with minor old wear, soiling, and creasing.Dimensions: Image size ca. 64 x 32 cm (each), Size incl. mounting 104 x 48 cm (each) Auction result comparison: Compare a closely related single painting by Pu Ru, 28 by 20.3 cm, similarly painted with cattle as a scholar, at Sotheby's New York in Fine Classical Chinese Paintings & Calligraphy on 12 September 2019, lot 1056, bought-in at an estimate of USD 12,000-18,000. 溥儒(1896-1963)指畫小妖，十幅中國，紙本設色。心畲指畫小妖，各具兇猛，卻又生動可愛：鍾馗侍者，牛相公，雷鬼，龍伯興雨，狐司帳，木客，夔罔兩，鱉相公，丐鬼以及橫槍黨路 。 款識：每幅畫上都可見"心畲指畫"鈴印：溥儒來源：英國古玩市場，據説購於英國私人收藏。 品相：狀況良好，有輕微磨損、污漬和摺痕。 尺寸：畫面各64 x 32厘米，總共各104 x 48厘米 拍賣結果比較: 比較一件溥儒的作品《牛相公》，28x20.3 厘米，見紐約蘇富比Fine Classical Chinese Paintings & Calligraphy 2019年9月12日lot 1056, 估價USD 12,000-18,000。

'CLOUD MOUNTAIN', BY QIANG ZENGHONGChina, dated 1928. Ink on segmented paper. The fan-shaped painting depicts a cloud mountain in the style of the Ming dynasty old masters. Calligraphy and two seal marks on the upper right. Laid down on paper.Inscriptions: Text (translated): 'In August of the year Wuchen (1928)', signed 'Yunmen Qiang Zenghong'. Two seals: 'Zenghong' and 'Yunmen'.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden.Condition: The painting with soiling and tears and minor material loss on the left and right, touchups.Dimensions: Image size 54.5 x 22 cm, paper 63.5 x 32.5 cmQiang Zenghong was an artist at the end of the 19th century known as "Mr. Yunmen". He was an expert in calligraphy and painting, especially known for his landscape paintings, following the Loudong school (e.g., Wang Yuanqi-Models of ancient Chinese paintings).Auction result comparison: Compare a fan painting by Qiang Zenghong and others, titled: "Landscapes, Poems in Running Script", at Sotheby's New York in The Tang Hung and Fung Bi-Che Collection Of Chinese Paintings & Calligraphy on 13 September 2018, lot 510, sold for USD 37,500. 強增閎《雲山圖》 中國，1928年。紙本水墨。仿明清大師雲山圖。 款識: 戊辰八月既望雲門強增閎畫並記鈴印：增閎，雲門 強增閎（近代），字雲門，江蘇溧陽人。清末民初著名官吏強運開之子。工書畫，山水近婁東派。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：污漬和撕裂，局部輕微材料損失，有修補。 尺寸：畫面54.5 x 22 厘米，總 63.5 x 32.5 厘米 紙本裝裱。 拍賣結果：比較由啓功、溥儒和強增閎等人合作的扇頁《山水 行書時》，見紐約蘇富比The Tang Hung and Fung Bi-Che Collection Of Chinese Paintings & Calligraphy 2018年9月13日 lot 510, 售價USD 37,500。

A BAITONG INK BOX, LATE QING DYNASTYChina, c. 1900. The copper-nickel alloy container of square shape, with its lid neatly incised with different seal marks and calligraphy. The rim of the lower part pierced with seven holes.Provenance: From a French private collection, by repute acquired at Lempertz. Condition: Good condition with surface scratches, few dents and nicks on the underside and edges. The letters with extensive wear, losses and traces of use.Weight: 210 gDimensions: Length 7.9 cm, length 7.9 cm, height 2.8 cm 晚清白銅印盒中國，約1900年。方形銅鎳合金容器，蓋子上可見印章與祝願，下部的邊緣刺出七個孔。 來源：法國私人收藏，據説購自 Lempertz藝廊。品相：狀況良好，表面有劃痕，底部和邊緣有少量凹痕和刻痕。信有大面積磨損、缺丟和使用痕跡。 重量：210 克 尺寸：長 7.9 厘米, 長 7.9 厘米, 高2.8 厘米

'ROCKS IN AN AUTUMN FOREST', BY XU FENGChina, dated 1895. Ink and watercolor on segmented silk ground. The fan-shaped painting depicts a fisherman on his boat, hidden behind trees. On the left, a stream runs through some lush green rocks and pours into the river. Calligraphy and seal mark on the right. Laid down on paper.Inscriptions: Text (translated): 'In the early summer of the year Yiwei (1895), Xu Feng gave it as a gift to Chunzhou'. Signed 'Nantai Xu Feng'. One seal 'Nantai'.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: The painting with some abrasions and discoloration along the folds, some material loss, and touchups.Dimensions: Image size 52.3 x 22 cm, paper 63.5 x 32.5 cmXu Feng, also called Nantai, was a Shanghai-based artist. He is known for his blue-green landscape paintings in the style of Wen Zhengming and Zhao Mengfu.Auction result comparison: Compare a painting from Xu Feng, with the title 'Landscape (高嶺橫雲)', at Shanghai Duo Yun Xuan auction in Chinese painting & calligraphy (II) on 21 April 2017, lot 864, sold for RMB 30,000 (ca. EUR 4,200).許鳳《秋林石壁》 中國，1895年。絹本設色。青綠秋林石壁之間，漁夫湖上泛舟。 款識: 秋林石壁，己未初夏為春洲仁兄先生正之，南臺許鳳。朱印：南臺。 許鳳，字南台，上海人，工青綠山水，仿文徵明，趙孟頫技法。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：褶皺處有些磨損和變色，局部材料損失和修補。 尺寸：畫面 52.3 x 22 厘米，總 63.5 x 32.5 厘米 拍賣結果：比較一幅許鳳《高嶺橫雲》，見上海朵雲軒Chinese painting & calligraphy (II) 2017年4月21日 lot 864, 售價RMB 30,000。

'CALLIGRAPHY', BY SUN SONGZHAO (1878-1968)China, dated 1924. Gold ink on segmented paper. The paper in aubergine. The fan-shaped painting shows calligraphy with a seal mark. Laid down on fabric coated paper.Inscriptions: Two poems by Tao Yuanming in the summer of the year Jiazi (1924), signed 'Sun Songzhao', and one seal 'Songzhao.'Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden.Condition: Good condition. The painting with some abrasions along the folds, minor material loss at the margin, and a few tears, touchups.Dimensions: Image size 50.4 x 21.5 cm, paper 63.5 x 32.5 cmSun Songzhao (1878-1968) was a writer, a calligrapher, and an artist. She learned calligraphy and painting from her father from an early age. In 1920 she studied in the Painting Research Institute of Peking University, where she specialized in Chinese and Western painting. After moving to Peking, Sun Songzhao became one of Qi Baishi's students. In 1952, she started working in China Central Institute for Culture and History until she retired. 孫誦昭《錄陶淵明詩二首》 中國，1924年。藍紙金字，小楷錄陶淵明詩。 款識：甲子夏日錄淵明詩，孫誦昭學鈴印：誦昭 孫誦昭（1878－1968），女，字宋若，江蘇無錫人，自幼隨父親學習書法、國畫，1929年拜齊白石為師學畫。中國畫畫家，中央文史館館員。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：狀況良好。褶皺處有一些擦傷，邊緣有輕微缺損，局部一些撕裂和修補。 尺寸：畫面50.4 x 21.5 厘米，總 63.5 x 32.5 厘米 紙本裝裱。

A John Lewis paper effect ceramic cylindrical table lamp with calligraphy and gilded details. Makers stamp to the base.

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".