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Ink on PaperChina , dated 1985Dimensions: 106 cm x 35 cmLin Sanzhi was good at poetry, painting and calligraphy.This piece of calligraphy was written in cursive script in May of 1985, at the age of 87. The text means that curve and straight line, square and circle can be converted to each other. All the changes of lines are due to the calligrapher’s manipulation to his brush. As long as you keep practicing, you can become a master. This is actually Lin’s insights on calligraphy.

Ink on PaperChina , dated 1947Dimensions: 68 cm x 23 cmZhang Daqian is known as one of the most talented artists of the 20th century.He is a master of traditional Chinese painting, calligraphy and seal cutting. This horizontal scroll was written in running script in June 1947 at the age of 48.The text reads Dui jiu dang ge, which means "singing while drinking".Inscription: Dinghai liuyue ximo Signature: Daqian Jushi Seal: Da feng tang

§ § Hock-Aun Teh (Malaysian-Scottish 1950-) A letter from homesigned with monogram (centre right); artist's label to the reverseacrylic on board81 x 113cmFootnote: A self-described “kampung boy” at heart, Malaysian born artist, Hock-Aun Teh, has gained international acclaim for his vigorous and dynamic abstract compositions, which have been exhibited throughout Asia and Europe and are held in public collections including The National Visual Arts Gallery in Kuala Lumpur, National Art Museum of China, Beijing and Glasgow’s Gallery of Modern Art, Glasgow. Born to Chinese parents in, Sungei Gedong, a remote Malaysian village, in 1950, Teh spent his early childhood training in traditional Chinese ink painting and calligraphy, before being accepted to study at The Glasgow School of Art in 1970. The first person of Asian descent to graduate from Glasgow’s Drawing and Painting Department, Teh’s work has been praised for its anomalous fusion of the delicacy and lyricism of traditional calligraphic lines with the gestural hyper-masculinity associated with abstract expressionism.Condition report: The frame is quite loose. The surface with a light layer of dust. A few fibre inclusions beneath the paint layer. Thr right hand side with a small abrasion and subsequent paint loss and the lower edge with a larger abrasion (approx 10cm) with paint loss.Overall there is a scattering of very minor surface accretions, but overall in good condition. See additional images.

§ § Katrin Fridriks (Icelandic 1974-) Flying Awareness 2signed, titled and dated 2014 to the reverseacrylic on box canvas100 x 100 x 10.5cmProvenance: With The Lazarides Gallery, London Footnote: One of Iceland’s foremost contemporary artists, Katrin Fridriks has gained international acclaim for her furious and explosive abstract expressionist works, which draw influence from the rugged, and often contradictory, landscape of her native country. Discussing the influence of Iceland’s landscape upon her works, Fridriks has commented: “Most of the aesthetic in my painting originates there: rivers looking like veins from above, unpredictable geysers, melting glaciers, and molten lava. My painting is strongly connected with these natural phenomena, both technically and mentally.” Juxtaposing blacks and whites against vibrant eddies and striations of molten reds, rich purples, and acidic yellows, Fridriks’ works demonstrate why Iceland is popularly known as The Land of Fire and Ice. Drawing upon a broad spectrum of artistic practices, including graffiti, calligraphy and pop art, Fridriks’ hyperkinetic works have been the subject of several solo exhibitions and are held in permanent collections throughout Europe.Condition report: Canvas is stretched over a box support, which is approximately 10.5cm in depth. There are small pinprick sized craters throughout, some of which have are surrounded by small cracks, they are most evident in the upper yellow passage of paint. The lower left hand side, where the medium has been thickly applied, shows some deep cracks, though these do not detract from the overall impression. Please see additional images.

A Persian silver photograph frame, engraved with calligraphy and floral scrolls, on an easel support, 28cm x 23.5cmCondition report: Glass cracked.

Collection of eight Chinese carved stone seals with various finials in the form of figures and mythical creatures, the smallest 6cm high, the largest 12cm high (five with plain bases and three incised with English names - David, James-Ian and Joan with additional calligraphy; also a carved figure of a Dog of Fo on rectangular plinth base, 8cm high.  (9).

Chinese watercolour painting on silk of a lady reclining on a day bed, signed with calligraphy and seal marks, 22.5cm x 17.5cm; also another smaller painting of a sage and his acolyte, 6.5cm x 11cm.  (2).

Chinese cast bronze twin elephant heads handled sensor, calligraphy mark to base standing on three legs in the form of elephant heads, 14cm diameter

Chinese cast bronze twin lion/dog heads handled sensor, calligraphy mark to base, 8cm diameter

Chinese cast bronze twin handled sensor upon three feet, calligraphy mark to base, 8cm diameter

A fine and unusual double-sided album page from the Imperial Mughal Library during the reign of the Emperor Aurangzeb, with scenes from the life of the Sufi Shaykh Majd al-Din Baghdadi Herat, 16th Century, with Deccani and Mughal additions of the second half of the 17th Centuryrecto, six scenes in gouache and gold on paper, perhaps excised from a manuscript of Jami's Nafahat al-Uns, laid down on an album page with an inner silver-sprinkled light blue border, nasta'liq inscriptions within gold cloudbands in upper and lower border, outer border with undulating foliate motifs in gold on a light pink ground, seal impression of Mughal Imperial Librarian at lower right corner; verso, a circular painting of a noblewoman, Mughal, late 17th Century, laid down on sections from Deccani and Mughal gilt-decorated album page borders of the late 17th-early 18th Century, gold-sprinkled inner borders, fine marbled border outside these, upper outer border with nasta'liq inscription, lower border with two lines of text in nagari script in gold (trimmed at right-hand edge), perhaps later, numbered 69 in Arabic at lower left corner each scene recto 100 x 95 mm. and slightly smaller; painting verso 103 mm. diam.; album page 390 x 278 mm.Footnotes:ProvenanceThe Imperial Mughal Library, apparently during the reign of the Emperor Aurangzeb (reg. 1658-1707).Private US collection, early 1970s-present.The seal impression in the lower right corner (recto) is that of a Mughal official, and reads: sohrab khan khaneh zad-e 'alamgir padshah, 'Sohrab Khan, born in the household of 'Alamgir Padshah'. The date is not clear, but it is clearly from the reign of Aurangzeb/'Alamgir I (1658-1707), and judging by the terminology, probably the early years of his reign. The seal impression of Sohrab Khan is found on other album pages including one in the Philadelphia Museum, while another was on a portrait of the Mughal nobleman Farrukh Fal, dated 1650-75, with Francesca Galloway (Indian Miniatures, London 2005, pp. 16-17, no. 6). This also had the same kind of nagari inscription indicating a Rajput collection, perhaps Amber. An album page with Sohrab Khan's seal impression, depicting a Mughal nobleman recto and with calligraphy by Javaher Raqam verso, dated to the third quarter of the 17th Century, was sold at Sotheby's, The Khosrovani-Diba Collection, 19th October 2016, lot 15.The Persian text verso consists of a couplet in praise of the beauty of a lady (perhaps by implication, that depicted in the painting below). The nagari text at the bottom also praises her beauty, comparing it to spring.The fragments of plants on a gold ground are reminiscent of imaginary plant studies in a dispersed manuscript of Indian philosophy, the Aparoksha Siddhanta, produced in the Deccan, at Aurangbad, and dated 1669 (see Francesca Galloway, op. cit., pp. 4-7, nos. 1, 2; also N. Haidar, M. Sardar, Sultans of Deccan India 1500-1700: Opulence and Fantasy, New York 2015, pp. 292-293, no. 169).Marbling is of course a technique strongly associated with the Deccan, and the example here in the outer border verso is particularly striking. The petal-like differentiated areas were probably created using some sort of stencil or resist-masking technique for blocking off sections (though there is some suggestion that the technique is decoupage). For examples of Deccani marbling, and a discussion of the technique, see Haidar and Sardar, op. cit., pp. 156-169, esp. p. 158.The absence of text makes it impossible to say if the paintings recto were excised from a manuscript of Jami's Nafahat al-Uns, or another text on Sufis, or were simply depictions of the life of Shaykh Majd al-Din, made in an album for a specific patron.Jami's Nafahat al-Uns told the lives of six hundred and eleven Sufi saints. Shaykh Majd al-Din Baghdadi was a pupil of Najm al-Din Kubra. Khwarazm Shah asked the Caliph of Baghdad to send him a physician and Majd al-Din was sent. The Khwarazm Shah threw him in dajlah (referring, it seems, to a river as large as the Tigris - a scene perhaps depicted at lower left). Examples of the complete text have appeared at auction a few times: the only illustrated instance was a single leaf, dated to Herat, circa 1500 (see Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 11th April 2008, lot 102. For complete examples of the text, see: Christie's, Islamic, Indian and Armenian Art and Manuscripts, 12th October 1999, lot 80 (dated AH 910/AD 1504); Bonhams, Islamic and Indian Art, 5th December 2002, lot 496 (Afghanistan or North India, 17th Century); Christie's, Art of the Islamic and Indian Worlds, 31st March 2009, lot 138A (a Turkish translation, dated 1520).Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A calligraphic composition comprising a hadith of the Prophet Ottoman Turkey, 17th CenturyArabic manuscript on paper, eight lines written horizontally, 13 diagonally, in naskhi script in black ink with diacritics and vowel points in black, gold roundels and florets marking the end of verses, inner margins ruled in gold and black, later marbled border, 193 x 192 mm. with borders; and a single line of bold calligraphy in diwani script, Ottoman Turkey, 17th Century, Arabic manuscript on grey-green paper, one line of text written in bold diwani script in black ink and some gold, laid down on modern card 101 x 202 mm.(2)Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1915-2011)Untitled (Horse) signed upper leftoil on canvas120.5 x 120cm (47 7/16 x 47 1/4in).Executed in the early 1980sFootnotes:ProvenancePrivate Indian Collection: presented by the artist to the singer, Mohammed Rafi. Thence by descent.Private Dubai Collection: acquired from the above by the owner in 2015.Born in Maharashtra, India in 1915, Maqbool Fida Husain's initial interest in art was piqued through his study of calligraphy at a Madrasa, and his interest was further developed during his studies at the Sir J J School of Art. He honed his skills in the 1930s painting posters for the Bollywood industry whilst also painting landscapes in Gujarat. As a founding member of the 1947 Progressive Artists Group, formed after the partition of India, he sought to create a new movement in art that was in direct opposition to the nationalistic rhetoric espoused by the Bengal School.He held numerous exhibitions over his career, notably his first solo exhibition in Zurich in 1952, at India House in New York in 1964 and the São Paulo Biennale in Brazil in 1971.Over a career that straddled decades, he employed his modified Cubist style to depict themes and topics that include the Ramayana, Mother Teresa, the Mahabharata, the British Raj and motifs of Indian urban and rural life.He was the recipient of multiple awards, some of which include honorary doctorates from the universities of Benares, Mysore and Jamia Millia, the Padma Shri in 1955, the Padma Bhushan in 1973, the Padma Vishushan in 1989 and the Aditya Vikram Birla Kala Shikhar Award for lifetime achievement in 1997.The horse has been one of the key elements in the artist's oeuvre over the course of his career, and is here portrayed with a gaping mouth and wide staring eyes. The crazed animal has been executed in opposing colours exemplifying its vigour and strength. 'Like his bulls, spiders and lamps on women's thighs, boastful snakes and blackly passionate suns, Husain's horses are subterranean creatures. Their nature is not intellectualized; it is rendered as sensation or as abstract movement, with a capacity to stir up vague premonitions and passions, in a mixture of ritualistic fear and exultant anguish.' (R. Bartholomew and S. Kapur, Husain, New York, 1972, p. 42)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ismail Gulgee (Pakistani, 1926-2007)Untitled (Calligraphic) signed and dated '92 lower leftoil on canvas59.5 x 44.5cm (23 7/16 x 17 1/2in).Footnotes:'My work is the externalisation of my inner journey. Through it I communicate with the pulse of life. The calligraphic form and movement that emerges is not premeditated or cerebral, it is intuitive and articulates something deep inside me. It is important that no thought of how people will react to my work intrudes, as they would destroy the thread and take the truth away. I am enchanted by Islamic calligraphy and feel close to the Sufi mystics. At the mystic level, barriers melt away and religious experience whether Buddhist, Hindu or Muslim become one. One could call it human experience of the ineffable.'(Annemarie Schimmel in M. Ismaili, Gulgee, Ferozesons, 2000, unpaginated)For further information on this lot please visit Bonhams.com

A rare blue and white Iznik Turkish pottery tri-handle mosque lamp with calligraphy, scroll and leaf decoration, 26cm tall x 18cm wide, one handle missing, small chips to other handles, multiple chips to top rim and small crack to rim, otherwise generally good colours bright, condition consistent with age

A good lot of calligraphy pens, nibs and sets etc, almost all new in packaging

PAIR OF PERSIAN ISLAMIC CALLIGRAPHY SCISSORSdamascened with dense scrolling foliage, 25.5cm long

A PAIR OF 19TH CENTURY ISLAMIC GILT METAL OPENWORK CALLIGRAPHIC PANELS, inlaid with turquoise and ruby like stones, with open work calligraphy, 14.5cm x 16.5cm.

A pair of Chinese porcelain vases of flattened hexagonal form, each with two panels of female figures with rolls of calligraphy against a salmon pink ground below a band of yellow ruyi heads, each with six character seal mark to underside (modern) (29.5cm)Condition Report: Some bubbling to the glaze noted inside the neck, some darkening to the underside of the foot, otherwise in excellent overall original condition.

A CHINESE YIXING TEAPOT, the body with calligraphy script, the base with impressed mark, 20cm handle to spout, 13cm high.

TWO CHINESE SNUFF BOTTLES - one with a white ground with black overlay, the other with carved relief fish and calligraphy, 6cm & 5cm

5 CHINESE FAMILLE ROSE PORCELAIN PANEL SECTIONS - each decorated with scenes of figures / warriors with upper calligraphy, each panel measures 26cm high x 13.5cm wide.

A CHINESE ISLAMIC MARKET PORCELAIN BOWL AND SAUCER, the bowl interior with 'magic square' and calligraphy as also present on saucer, cup 9.5cm diameter, saucer 14cm diameter.

A LARGE CHINESE OCTAGONAL SHAPED VASE, decorated with four figures on a background of calligraphy roundels, 40cm high.

A GOOD ISLAMIC CALLIGRAPHIC TINNED COPPER BOWL, with carved calligraphy and flora, 20cm

TWO BRONZE QAJAR CATTLE BELLS - each with raised lion decoration one with calligraphy, 11cm & 17cm (2)

AN ISLAMIC BRASS CANDLESTICK, engraved with bands of calligraphy and decorative motifs, comprised of three pieces, overall height 37cm.

A GOOD TURKISH OTTOMAN ISLAMIC RELIGIOUS PORCELAIN TILE, depicting a view of a temple and calligraphy, 29cm

A CHINESE SONG STYLE CELADON BOWL, the centre carved with calligraphy, 22cm diameter.

A GOOD 19TH / 20TH CENTURY PERSIAN COPPER CALLIGRAPHIC LAMP, the lamp with openwork design with chased calligraphy, fitted with lamp electrics, 140cm high.

A LATE 19TH CENTURY QAJAR SPELTER CALLIGRAPHIC DISH, with calligraphy and foliate panel decoration, 30cm.

AN 18TH CENTURY OTTOMAN ENGRAVED BRASS CANDLESTICK, the base with a band of calligraphy, 25.5cm.

A CHINESE SCHOOL SCROLL PAINTING depicting seated figures of a man and a young boy beneath a calligraphy panel, 86cm x 26cm.

AN INDIAN SCHOOL MINIATURE PAINTING with central panel depicting a young couple with musicians, with four panels depicting figures and two panels of calligraphy, image 28cm x 19cm.

A CHINESE ARCHAIC STYLE BRONZE LIDDED TWIN HANDLE VESSEL, incised with calligraphy, 30cm high.

A GOOD 17TH CENTURY PERSIAN TINNED COPPER CALLIGRAPHIC BOWL & COVER - SIGNED MOHAMMAD HERAVI, the body with panels of floral motif decoration, smaller panels of animals, with bands of calligraphy, and a finial, 29.5cm

A CHINESE TRANSITIONAL TALL BLUE AND WHITE VASE, with figures, trees and calligraphy, 48cm high.

A VERY GOOD PAIR OF REPUBLIC CIRCULAR DISHES, painted with birds, chrysanthemums and calligraphy, 22cm diameter.

A CHINESE CARVED JADE SNUFF BOTTLE - carved with boys and funghi the verso with calligraphy, 8cm

A GOOD PERSIAN POTTERY PLATE - decorated with formal floral motif with borders of calligraphy, 27cm

A 19TH CENTURY INDO PERISAN TINNED COPPER CALLIGRAPHIC JUG / EWER, the body with carved floral panels, traces of tin, with bands of Persian script / calligraphy, 29cm high

ZAO WOU-KI (Beijing, 1921 - Nyon, Switzerland, 2013). "7-700", 1989. Etching and aquatint engraving. Hand signed and dated. Ediciones Polígrafa. Size: 38 x 54 cm (print); 55 x 75 cm (paper). Zao Wou Ki was born into a Franco-Chinese family and grew up in a very cultured environment, interested in the arts and sciences. He studied calligraphy as a child, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he followed the artistic courses of Émile Othon Friesz and came into contact with the contemporary artistic avant-garde. His painting is eminently abstract and colourist, strongly influenced by the work of Paul Klee, for its expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting colour, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of colour, germinal "big bangs", the origin of a world in creation, as we can see in this etching.

ZAO WOU-KI (Beijing, 1921 - Nyon, Switzerland, 2013). "Composition 340", 1989. Etching and aquatint engraving. Hand signed and dated. Ediciones Polígrafa. Size: 38 x 54 cm (print); 55 x 75 cm (paper). Zao Wou Ki was born into a Franco-Chinese family and grew up in a very cultured environment, interested in the arts and sciences. He studied calligraphy as a child, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he followed the artistic courses of Émile Othon Friesz and came into contact with the contemporary artistic avant-garde. His painting is eminently abstract and colourist, strongly influenced by the work of Paul Klee, for its expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting colour, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of colour, germinal "big bangs", the origin of a world in creation, as we can see in this etching.

Andy Moore (Contemporary)/Blowing in the Wind..on Fern Hill/calligraphic depiction of the words of Bob Dylan's song and Dylan Thomas's poem/ink on paper, 27.5cm x 75cm and a framed textile square printed with calligraphy by David Kindersley, 43cm x 42.5cm [2] CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Lalla Essaydi (Maroc, née en 1956)Harem #4 Impression chromogène montée sur aluminium avec un stratifié anti UVsigné, daté, titré et numéroté au dos, numéro 2 d'un tirage de 10 exemplairesexécuté en 2009152 x 122cm (59 13/16 x 48 1/16in).chromogenic print mounted on aluminium with a UV protected laminatesigned, dated, titled and numberedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde Arabe'Traditionnellement, la présence des hommes définit les espaces publics : les rues, les lieux de rendez-vous, les lieux de travail », écrit Essaydi. « Les femmes, d'un autre côté, ont été confinées dans les espaces privés, dans l'architecture des maisons. Dans mes photographies, je restreins les femmes à ces espaces, leurs espaces propres, cloisonnés par des murs et contrôlés par des hommes'-Lalla EssaydiL'art de Lalla Essaydi est influencé par ses expériences de femme marocaine, élevée dans un foyer musulman de Marrakech. Son travail dépeint des femmes posant dans des décors ornementés, qu'elle aime imaginer et construire dans les moindres détails. Ses œuvres reflètent l'iconographie orientaliste de la peinture du 19ème siècle, alors que les femmes du Moyen-Orient et d'Afrique du Nord étaient sexualisées dans les portraits de la société occidentale. Plutôt que de présenter son travail comme des miroirs de la réalité, qui seraient influencés par une vision masculine de la femme, Lalla Essaydi propose une lecture fantaisiste et satirique de ses photographies.'Traditionally, the presence of men has defined public spaces: the streets, the meeting places, the places of work,' Essaydi writes in her artist's statement. Women, on the other hand, have been confined to private spaces, the architecture of the home. In my photographs, I am constraining the women within space and also confining them to their 'proper' place, a place bounded by walls and controlled by men.'-Lalla EssaydiLalla Essaydi's art draws from her experiences as an Arab woman who grew up in a traditional Muslim household in Marrakech, Morocco. Her work depicts women posing in ornate sets that Essaydi creates from scratch. She photographs the women, who sometimes stare sensually directly into the lens of the camera.Her photographs reflect the orientalist iconography popularized in 19th century paintings, when women in the Middle East and North Africa were portrayed as highly sexualized to Western societies. Rather than looking at her work with a male gaze, Essaydi wants people to be aware that the images they see are a fantasy, not real life. Essaydi also uses calligraphy in her work, an art form typically reserved for men. In a twist, Essaydi writes using henna, which is often worn by women.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Nasser Al Aswadi (Yémen, né en 1978)Salam Li Bayrut (Peace for Beirut) huile et pigments sur toilesigné 'Nasser Al Aswadi' et daté '2020'exécuté en 2020130 x 130cm (51 3/16 x 51 3/16in).oil and pigments on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde Arabe« J'emprunte aux parchemins enfouis dans chaque maison, dans chaque porte, dans chaque meuble du Yémen, pour les porter vers la lumière et vers l'œil contemporain. ». « J'utilise l'énergie des mots et de la lumière. L'écriture est au coeur de mon travail : elle échappe au registre de la terminologie pure pour entrer dans le champ du signe, du langage visuel.»- Nasser Al Aswadi C'est dans le village d'Al Hujr, près de Taiz, troisième ville du Yémen, que Nasser, né le en 1978, vit jusqu'à ses 16 ans. Plus tard, il étudie l'architecture à Taïz, puis à Sanaa où il expose ses premières œuvres en 2001. A partir de 2008, il multiplie les voyages entre le Yémen et la France.L'art de Nasser est inspiré par les événements du Printemps Arabe, les réalités quotidiennes, les paysages ruraux, l'architecture et le mouvement incessant des foules dans les rues. Pour lui, la calligraphie est un moyen d'exprimer des sentiments et des pensées sans qu'ils ne soient spécifiquement liés à la langue. Il utilise des lettres arabes, des mots et des formes ainsi que des références religieuses et musicales. Les lettres et les mots ne sont pas tracés de manière linéaire ou horizontale, mais peints et empilés séparément et de manière identique les uns aux autres, emmêlés et perdus dans l'espace imaginaire de la peinture.'I borrow from each ancient scroll hidden in every corner of Yemen and take them out to light, to contemporary eyes. ' - Nasser Al Aswadi Nasser Al Aswadi was born in October 4th, 1978 at al Hujr village, not far from Taiz, the third city of Yemen. He lived in his village until he turned 16 years old. Later on, he studied architecture in Taiz and then in Sanaa. He exhibited his first works in Sanaa in 2001. Since 2008, Nasser has been moving between Yemen and France.Nasser's work is inspired by the events of the Arab Spring, daily realities, rural landscapes, architecture, and public crowds on the streets.For Nasser Al Aswadi, calligraphy is a way to express feelings and thoughts without them being specifically linked to the language. He uses Arabic letters, words and forms as well as religious and musical sources. The wide variety of meanings and styles nourish the artist's creativity. The purpose of using interlocking letters is to offer an artistic style of his own. Nasser has exhausted all the different styles of Arabic writing to create a world in which his work is abstract and is obviously inspired by everyday events and concomitantly makes use of the energy and light of the words he selects. Writing is the core of his work and it strays from the normal usage of those terms to enable others to enter into a world of sign and visual language.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

An oriental ink on paper calligraphy scroll. With red seal marks.

THREE PRINTS, A MIRROR AND TWO WALKING STICKS, comprising a pair of Oriental style prints with calligraphy flowers and butterflies in gold effect frames, large picture of children playing, frame approximately 89.5cm x 65.5cm, mirror with decorative metal detail (back of frame is warped and mirror and frame are marked with paint), two walking sticks, one with antler handle (condition:- picture frames have some paint drips and small chips, mirror as mentioned) (6)

A Parker Vector calligraphy set in original box

A Lamy Joy calligraphy set in original tin box

Chinese Famille Rose Porcelain Panel depicting Figures carrying and drinking water, with calligraphy and seal mark, 59cms x 39cms, contained within a Wooden Frame

Jaume Plensa (B. 1955)SHADOWS I 2006 stainless steel and stone 242 by 192 by 196 cm. 95 1/4 by 75 9/16 by 77 3/16 in. This work was executed in 2006, and is unique.Footnotes:ProvenancePrivate Collection, US (acquired from the artist)Selling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2007 Acquired directly from the above by the present ownerTowering at nearly eight feet tall with arresting presence SHADOWS I, executed in 2006, is a stunning example of Spanish artist Jaume Plensa's text-based sculptures that transform the environments they inhabit.Born in Barcelona, Plensa is renowned for his large sculptures and public installations, which are widely exhibited across the globe with celebrated projects in cities such as Calgary, Chicago, San Diego, Montréal, London, Paris, Dubai, Bangkok, Shanghai, and Tokyo. Installations of his monumental sculptures can be seen in public spaces at the Rockefeller Centre and 30 Hudson Yards in New York City, the Museo Nacional de Arte in Mexico City and Plaza de Colón in Madrid. Over the past 35 years, the artist has produced a multifaceted body of work creating sculpture that speaks to the power and beauty of humanity, bringing people together and enriching communities through their presence. He works with conventional sculptural materials like glass, steel, and bronze but has also gone further to blend this with unconventional media such as water, light and sound to create hybrid works of intricate energy and symbolic richness. Composed of stainless-steel letters that are weaved together in a linguistic fluid form, this present work is an elegant personification of Plensa's sculptures that are so definitive of the artist's oeuvre. Here, a figure sits upon a stone plinth with its arms clasped around its legs in what appears to be a meditative and serene posture, suggesting a sense of tranquillity and peace. Despite its striking originality, we are encouraged to see parallels to the figures we identify in classical sculpture, in its concern with aesthetic beauty and earnest examination of the human soul in the most simplified form. This figure bears no expression, no facial features or the complexities of human existence. Rather than a straightforward portrait, Plensa plays with proportions thus giving instead a sense of spirituality to his faces, as he examines the relationship between body and soul. Plensa's sculptures are unique in their remarkable ability to transform the environments which they inhabit. This present lot invites a dialogue between the sculpture and the surrounding landscape which is readily visible through the interlaced letters that comprise the figure. The sculpture exists in harmony within its setting and transforms the space around it, most notably in the way in which the open and closed form of the letters alter light and shadow. This subject of transparency was of great allure to Plensa; he was intrigued with how he could bring light and its related openness to metal and found he could achieve this through this use of open weave, lattice like letters. Plensa's work explores not only the human form, but also the role of language in the human experience. An avid reader, Plensa was fascinated with language and classical literature; he has a particular interest in the workings of Shakespeare, William Blake and Johann Wolfgang von Goethe regarding their texts as some of his main sources of inspiration. For Plensa, a language and its calligraphy, or alphabet, provided a portrait of cultures, and through the process of incorporating letters together, but without specific meaning, sought to provide a positive metaphor of our world today. He avoids any negative connotation in his work, and instead expresses messages of hope, beauty and unity, he seeks to portray feelings of unanimity despite the conventional barriers that separate humankind. He believed poetry, which for him was a far greater influence than the visual arts, to be a universal language with the capacity to bring humanity together; and has expressed his utopian vision of a world without boundaries. As the artist himself noted, 'One letter alone is nothing, but together with other letters you get a word. A word with a word becomes a text, and so on. A person alone is nothing, but together with others we become family, a neighbourhood, a city, a county, a country.' (The artist in an interview with Ginny Van Alyea, 'An Interview with Artist Jaume Plensa', Chicago Gallery News Online, 8 November 2017).The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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