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Lot 733
Silver reduced copy of The Winchester Bushel, the hammered bowl with applied Latin calligraphy translated Henry VII by the grace of God King off England & France with 2 lug handles on stump feet, 18cm Diam by F J Ross (of Winchester) London 1937 20ozt. The original in Westgate Museum in Winchester, known to vendors father, won the 1st gold medal at Athens in 1896
Lot 699
A PALE GREEN JADE CARVING OF A 'HEAVENLY HORSE' CARRYING BOOKS, LONGMA18th century Deftly carved in recumbent position above swirling waves, carrying a bundle of books tied with a flowing ribbon on its back, the body flanked by waves issuing from the sides, the head finely detailed with a neatly combed mane and turned towards the back, the stone of pale white-greyish tone with milky-white inclusions.9.2cm (3 5/8in) long.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十八世紀 青白玉雕龍馬負書擺件Provenance: Christie's Paris, 7 December 2007, lot 216Published, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2008, no.88.來源：巴黎佳士得，2007年12月7日，拍品編號216展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2008年，編號88The longma (龍馬), literally 'dragon horse', is an auspicious creature that according to legend emerged from the Luo River revealing itself to Fuxi, the first of the three legendary sovereigns of ancient China. The markings on the creature's back inspired Fuxi to invent the Eight Trigrams, which led to the invention of writing and calligraphy, represented by the books on the creature's back. The Han dynasty scholar Kong Anguo (156-74 BC) wrote that 'its shape consists of a horse's body, yet it has dragon scales...and walks upon the water without sinking'; see M.W.de Visser, The Dragon in China and Japan, Amsterdam, 1913, p.58.The present beast is carved to appear like a horse, and is very similar in style to the mythical creature found on a well-known group of Yongzheng mark and period doucai porcelain dishes, such as the one in the Palace Museum collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Beijing, 1999, p.238, no.218.For a similar pale green jade example of a longma carrying books across waves, 18th century, see R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, pl.193, which was later sold at Christie's New York, 24 March 2011, lot 1507. A related jade carving of a mythical horse carrying books on its back while crossing the sea, mid Qing dynasty, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures in the Palace Museum: Jadeware (III), Hong Kong, 1995, p.110, no.90.For further information on this lot please visit Bonhams.com
Lot 729
A FINE WHITE JADE 'FOUR SCHOLARLY ACCOMPLISHMENTS' CARVINGQianlongThe smoothly-polished stone deftly carved in the form of a seven-stringed guqin within a brocade sash loosely tied with a ribbon and partially exposing the instrument, wrapped together with two scroll paintings on the side, a book on the front and a weiqi board on the reverse, finely incised on one side of the instrument with a qian trigram seal, the semi-translucent white stone with faint russet inclusions. 7.2cm (2 3/4in) long.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清乾隆 白玉雕琴棋書畫把件The carefully-carved qian trigram flanked by two chi-dragons on the present lot can be also found on one of the personal seals of the Qianlong emperor, of which the seal impression is published in the Collections of the Palace Museum: Album of the Seal Impressions of Qing Emperors and Empresses, vol.6, Qianlong part II (Gugong bowuyuan cang: Qingdai Dihou Xiyinpu. Di Liuce. Qianlong juan er), Beijing, 2005, p.127.This delicately-carved jade group depicts 'The Four Scholarly Accomplishments', siyi: the four main academic and artistic accomplishments required of the aristocratic Chinese scholar-gentleman, which comprised playing the seven-stringed zither, qin, the strategy game of qi, writing calligraphy or shu, and painting or hua.The seven-stringed zither or qin was an instrument which every scholar in Imperial China was expected to play. The board game of weiqi was considered equally a pastime and an art form. Chinese calligraphy equally comprises a minimalist set of rules which facilitate a system of complexity and grandeur. Calligraphy was highly regarded as an expression of the practitioner's poetic nature and a significant test of manual dexterity. Finally, every scholar was expected to learn the art of brush painting, which was regarded as the greatest expression of individual creativity, through which a Chinese scholar would demonstrate his mastery over the art of line.Compare with a related white jade 'Four Scholarly Accomplishments' paperweight, 18th century, of slightly larger size, but without the qian trigram, which was sold at Sotheby's Hong Kong, 8 October 2010, lot 2196; and another pale green jade carving, 18th century, worked with a similar motif, which was sold at Christie's London, 8 November 2011, lot 172.For further information on this lot please visit Bonhams.com
Lot 739
A BAMBOO INSCRIBED WRISTREST18th/19th centuryThe rounded section of bamboo carved with the maxim of the Ming dynasty philosopher Wang Yangming, Zhi xing he yi, in running script calligraphy, the bamboo with a dark-brown patina.17.8cm (7in) long.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十八/十九世紀 竹雕「知行合一」臂擱Published, Illustrated, and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2005, no.124. 展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2005年，編號124The Ming dynasty philosopher Wang Yangming (1472-1529) was unique among scholars and literati in also being a rebellion-quelling general who not only dealt with abstract ideas, but also practical issues as well. He is well known for advocating the idea of 'knowledge and action together as one', as is carved on the present wristrest.For further information on this lot please visit Bonhams.com
Lot 740
A BAMBOO INSCRIBED WRISTREST19th centuryThe long section of bamboo carved on the underside with a long inscription in running-script calligraphy, the patina with a warm golden-honey tone, with box. 31.7cm (12 1/2in) long. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十九世紀 竹刻「夙興夜寐箴」臂擱The inscription describes Sun Feng's (active during the 19th century) feeling of weariness and need for this wristrest. Sun Feng was a Qing dynasty official, originally from Shanxi Province, serving in Yixing and Shanghai during the Daoguang period.For further information on this lot please visit Bonhams.com
Lot 754
A LINGBI SCHOLAR'S ROCKProbably Qing DynastyShort and narrow, the grey-black stone densely striated to form a sharp and craggy exterior, wood stand. 22.8cm (9in) long. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價或清 靈璧賞石The collecting and connoisseurship of extraordinary-shaped rocks has a long and compelling history in Chinese aesthetic culture. Throughout the centuries, both the emperors and the scholar-elite have considered the rocks' unusual forms worthy of contemplation in both an exterior garden setting as well as inside the home. Enjoyed for their dynamic shapes that could be judged with similar criteria used for calligraphy, traditionally the highest art form in China, or appreciated for their resemblance to lofty mountains or coiled dragons, fantastic rocks (guaishi) were prized for their abstract qualities as well as their inspiration for imagination. Some of the most prized examples came from Lingbi, in Northern Anhui Province; which many of the largest ones were dredged as deeply-hollowed fantastic shapes from Lake Tai, and used in famous 'landscape' gardens at Suzhou and elsewhere.For further information on this lot please visit Bonhams.com
Lot 766
FIVE RICEPAPER PAINTING ALBUMS AND A MISSIONARY'S ALBUM19th centuryGouache on paper, the first album stamped 'Sunqua Macao', containing twelve paintings of Mandarins and ladies; the second with label 'Wing Tai Hing Rice-Paper-Picture Shop. In Wai Yuen Yik Street. Canton.' containing twelve boat paintings; the third containing thirty-five paintings of various subjects; the fourth containing twenty-two paintings of tradesmen; and the fifth containing nine paintings of tradesmen; together with an album containing painting fragments and calligraphy with an accompanying missionary's letter dated 23 August 1886. The largest album, 42.5cm (16 3/4in) long x 34.5cm (13 5/8in) wide (6).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十九世紀 外銷畫冊五冊 及 詩畫合璧冊一冊 一組六件The last album is inscribed with prose-poem 'Ode to the Goddess of the Luo River' (Luo shen fu) by Cao Zhi 曹植 (192-232). In the poem, Cao Zhi describes his romantic encounter with the nymph, or goddess, of the Luo River in central China. See a related example of paintings showing scenes of working life in Guangzhou illustrated by Ching May Bo and Cheng Cunjie, Views from the West: Collection of nineteenth century pith paper watercolours donated by Mr Ifan Williams to the City of Guangzhou, Guangzhou, 2001, no.042.For further information on this lot please visit Bonhams.com
Lot 166
Chinese School, Fine Watercolor/ink Scroll Painting. Calligraphy ink inscription upper left. With remnants of two faint artist seals upper left. Depicting a scholar seated near a pavilion in a mountainous landscape. Provenance: Private Seattle WA collection. Image Size: 35.5 x 6 in. Overall Framed Size: 43 x 12 in. Framed behind glass.
Lot 14
A CHINESE RED LACQUER CABINET The pair of cupboard doors decorated with black and gilt panels featuring calligraphy and foliage, the interior fitted with shelves and drawers 176cm high x 73cm wide x 55cm deep Condition: Minor signs of wear commensurate with age and use, a chip to an inside drawer, some chips to the lacquer in places
Lot 237
KIKUGAWA: AN INLAID IVORY MANJU NETSUKE DEPICTING HOTEI WITH TREASURE BAG AND FANBy a member of the Kikugawa family, signed KikugawaJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)The two-part manju finely carved in shishiaibori (sunken relief) to one side with Hotei seated on his sack and holding his fan with inlays in one hand, the face with a characteristically cheerful expression, and to the other with a half-opened scroll with calligraphy and the signature – KIKUGAWA – a well-known family of manju makers.DIAMETER 4.8 cmCondition: Excellent condition with minor surface wear.Provenance: Dutch private collection, acquired from W.E. Bouwman of Aalderink, Amsterdam, on 1 April 1999.
Lot 250
MIWA: AN EDO SCHOOL WOOD NETSUKE OF A DRUNK STORYTELLERSigned MiwaJapan, Edo, early 19th century, Edo period (1615-1868) The wood of an appealing chocolate brown color with an excellent hand patina. Depicted is a storyteller (possibly Fukai Shidoken) dressed in a long flowing robe, a low table before him with an open book, showing finely incised calligraphy. One hand is placed on the table (note the finely carved, bony fingers) and the other holds a cup, presumably filled with an alcoholic beverage (sake), as his face is quite telling. His wide-jawed mouth is opened as he is bellowing the contents from the book before him. His elongated head is of somewhat phallic proportions, The underside with one typically large himotoshi and the other ringed in stained bone. Signed MIWA. HEIGHT 3.3 cm, LENGTH 3.1 cm Condition: Good condition, minor wear, tiny nicks. A small section of one ear with an old fill. Provenance: Japanese private collection. Though the work certainly has all the characteristics of a Miwa netsuke, it is this author’s opinion that this was in fact an unsigned Miwa netsuke and the signature appears to have been added later.
Lot 276
THREE CALLIGRAPHIES FROM THE RICHARD LANE COLLECTIONJapan, Edo period (1615-1868)Comprising three calligraphies written in ink on paper; the first reading Ryugi (‘Righteousness’), signed Hekidojin, sealed Rakuto Hekido (‘Hekido in Eastern Kyoto’) and Kuraku-tane (‘Seeds of pain and happiness’), the third seal illegible; the second with a lengthy calligraphy which can be roughly translated as ‘This is written to celebrate the teachings of Zen priest Chido, we live our life following disciplines’, signed Sogetsu gisho (‘written by Sogetsu in amusement’), and sealed Sogetsu dojin (‘Sogetsu, a man of Tao’) and Shofu (‘The wind through pine trees’); the third signed Gyokuen sho (‘written by Gyokuen’) and sealed Toyo, the second seal illegible.SIZE 53.5 x 15.6 cm (the smallest) and 66.7 x 25.4 cm (the largest)Condition: Good condition with minor wear, creasing, one sheet with some minuscule losses.Provenance: Ex-collection Richard Lane. Formerly in the collection of the Honolulu Museum of Art. Collector and art dealer Richard Douglas Lane (1926-2002) was a leading figure in the field of ukiyo-e research. In 2003, the Honolulu Museum of Art obtained his collection of approximately 11,000 Japanese woodblock-printed books and manuscripts and 3,000 Chinese, Korean and Japanese paintings.
Lot 97
A SUPERB SILVER-MOUNTED INLAID LACQUER SUZURIBAKO WITH A LANDSCAPEJapan, 18th-19th century, Edo period (1615-1868)Of rectangular form with rounded colors, the cover superbly decorated in copper-brown and gold takamaki-e and hiramaki-e as well as silver takazogan and mother-of-pearl (aogai) inlays depicting a vast mountainous landscape with houses and trees, a lone figure inside the larger house looking up at the full moon and taking in the beautiful scenery, all against a roiro ground, the interior with an inset tray of nashiji fitted with a silver water dropper finely decorated with crashing waves, the interior of the box and cover both with nashiji as well, the interior rims of both mounted in silver. With a nashiji lacquer writing brush and a wood storage box with calligraphy inscription and one seal to either side of the cover.SIZE 4.7 x 27.5 x 24.3 cmCondition: Good condition with only minor surface wear. Loss to one mother-of-pearl inlay. The wood storage box with minor chips and few natural age cracks.Provenance: US private collection.Auction comparison:Compare a related but earlier suzuribako, attributed to the Igarashi school and dated to the 17th century, at Sotheby’s, Fine Japanese Art, 5 November 2019, London, lot 63 (sold for 40,000 GBP).
Lot 40
Charles Hossein Zenderoudi (Iran, born 1937)ZAMIN LARZEH acrylic on canvas, framedsigned and dated 1971150 x 134cm (59 1/16 x 52 3/4in).Footnotes:'To create a painting, I begin with the preliminary study, which consists of sketches on paper, followed immediately by the painting of letters and colouring on canvas... I am thus able to immediately express my spontaneous feelings on canvas. Sometimes I leave a canvas to work on another, this is like improvisation in music, for I treasure freedom more than anything else. I couldn't be what I am if I didn't have freedom to express my lyricism. I don't believe in teaching painting, since I do not believe that technical training is required to make one a great painter. Painting can be done with any tool or any piece of equipment, I believe all schools of fine art, all over the world, should be shut down'- Charles Hossein Zenderoudi, Midi Libre, No 9401, 9 April 1971Provenance:Property from a private French collectionCharles Hossein Zenderoudi is one of Iran's most accomplished modern artists, as a founding father Iranian neo-traditionalism Zenderoudi is a master of blending traditional Persian motif's within a distinctly avant-garde aesthetic.His choice of subject matter, calligraphy, has historically been the most established mode of formal artistic expression prevalent in Iran, but, by emphasising form over meaning, and by stripping the written word down to its aesthetic, structural, fundaments, Zenderoudi subverts the traditional values of Persian calligraphy. Zenderoudi's text is intentionally illegible and carries no literal meaning, freeing it from the constraint of linguistic limitation, and imbuing it with a sense of universality which rescues the archaic practice of calligraphy from obscurity, giving it renewed relevance in a contemporary context.Zenderoudi's compositions pay homage to centuries of Persian religious imagery and employ a systematic repetition of letter-forms that finds its genesis in the mystical practice of Sufi numerologists, who believed in the spiritual significance of singular letters and worked these principles into hugely intricate talismanic charts. Zenderoudi's methodical compositions, whilst not accurately following the grammar or axioms of numerology, capture the aesthetic and conceptual qualities of its cryptic nature.Zenderoudi's early works focused on dense talismanic imagery, mixing iconography, freehand script and numerals. The density of these compositions sought to capture the visual intensity of popular religious expression in Iran, where banners, standards, altars, murals and mosques exuberantly adorn the urban landscape.Works from the present series, composed in the 1970's, mark a shift towards a more avant-garde, patterned, technical and measured approach to calligraphy. The crowded iconography of the early works is replaced by a greater focus on singular and recurring letter-forms, which exhibit a formal refinement lacking in their earlier counterparts. The present work also marks a conceptual shift away from the more overtly traditional subject matters and more towards a pure, patterned aesthetic which emphasises the meditative and visual elements of letter depiction over their linguistic connotation.Measured but spontaneous, technical yet effuse, Zenderoudi' manipulates Persian calligraphy with effortless ease, boasting a visual scope which faithfully captures the salient elements of Iran's traditional popular religious aesthetic. Rendered with the use of rich and vibrant colours, his canvases replicate the tonal and textural qualities of the votive art so common to the Iranian urban landscape.Almost rhythmic in its grace, balance and composition, the present work is one of the finest examples of Zenderoudi's work from this period.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
Lot 60
Hamed Abdalla (Egypt, 1917-1985)The Workers oil on panel, framedsigned 'H. Abdalla' (lower right)45 x 55cm (17 11/16 x 21 5/8in).Footnotes:Provenance:Property from a private collection, CairoBonhams are honoured to present these two lots by the pioneer of the Creative word and a prolific figure in Egyptian Modernism, Hamed Abdullah. Abdullah took his artistic focus one step further than the rest of his counterparts with his expansion into what he labelled the 'Creative Word.' The result was a series of written words expressed in paint, combining abstract concepts and human forms to bring radically different cultures, religions, and philosophies together on canvas. He was a self-taught artist from a modest peasant family of upper Egypt who gained recognition early in his life for this artist talent. At the age of 24 he had his first solo exhibition and from there showcased his works all over Egypt and was honoured a solo exhibition at the Museum of Egyptian Art in Cairo in 1949. Over the next decade he showcased his works worldwide and in 1956 he participated in a group exhibition at the Metropolitan Museum of Art in New York. He left Egypt to Denmark in 1956 and then moved to France in 1966.Abdullah refused to decide between figuration and abstraction, and the attraction he had for the experimentation of forms with various materials, brought Abdalla closer to the Cobra movement he was introduced to in the 1950s. This series defines one of the most original and radical moments in his diverse practice. Initially trained in calligraphy in Egypt but frustrated by the political and social situation in his home country, Abdalla settled in Copenhagen, where he experienced a period of intense experimentation and discovery. The ideas that had pervaded the work of the CoBrA artists (based in Copenhagen, Brussels and Amsterdam) were still prominent at this time in the local and international context. Their concepts of freedom of form and colour had a significant impact on Abdalla, who shared CoBrA's fascination with scrutinising familiar methods and radically exploring new artistic forms.Abdalla was an autodidact who loved to experiment by himself to find his own voice and claimed his Arab and Oriental heritage: 'my main rule - like the Oriental artist - is to paint nature as I see it in my mind and not as it appears to the eye. ' Having migrated from his country in March 1956, fleeing the regime's slavish art-propaganda and no longer in immediate contact with the physical realities of his people, Abdalla found inspiration in the Arabic letters with which he invented new forms, unique in their kind, even suggesting 'the Arab being', in line with the emancipation projects of his time.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
Lot 4330
Kaiser Wilhelm II. als König von Preußen – Adelsbrief für Johannes von Hahn, Oberstleutnant im Stab des Infanterie-Regiments Hamburg (2. Hanseatisches) Nr. 76, datiert 1907 Pergamenturkunde mit sechs Blättern, davon fünf Seiten mit handgeschriebenem, kalligraphisch gestaltetem Text (teilvergoldet) und eine mit farbig gemaltem Adelswappen (Künstlersignaturen "von Borwitz und Harttenstein", "Max Block"). Am Schluss die Datierung 1907 und die eigenhändige Tintensignatur "Wilhelm R" sowie die Unterschrift Moltkes. Mappe aus geprägtem Leder mit preußischem Adler auf dem Deckel, silbernen Ecken, weißem Seidenrips-Vorsatz und großer Siegelkapsel (Durchmesser 15,5 cm) aus Silber (Meistermarke "H. Schaper 26513" sowie "800" Halbmond/Krone) an Silberkordel mit Silberquasten. Schön erhaltenes rotes Wachssiegel in separatem Fach. In maßgefertigter, braun belederter Kassette mit geprägtem preußischen Adler auf dem Deckel und Futter aus gelber, gemusterter Seide. Teilweise leicht beschädigt, Altersspuren. Maße ca. 44 x 35 x 14 cm.Außergewöhnlich repräsentativer preußischer Adelsbrief in hervorragender Erhaltung.Zustand: II +Kaiser Wilhelm II as King of Prussia – a patent of nobility for Johannes von Hahn, Oberstleutnant in the staff of the Infantry Regiment Hamburg (2nd Hanseatic) No. 76, dated 1907 The parchment document with six sheets, of which five pages have hand-written calligraphy (partially gilt) and one painted with a noble coat of arms in colour (bearing the artists' signatures "von Borwitz und Harttenstein", "Max Block"). The date 1907 at the end, along with the original signature "Wilhelm R" in ink and Moltke's signature. The folder made of embossed leather with the Prussian eagle on the lid, silver corners, the flyleaf in white ribbed silk, a large seal box (diameter 15.5 cm) in silver (stamped with the master's mark "H. Schaper 26513" and "800" crescent/crown) on a silver cord with silver tassels. The well-preserved wax seal in a separate compartment. In a customised casket, covered in brown leather, with an embossed Prussian eagle on the lid and lined in yellow, patterned silk. Slightly damaged in places, signs of age. Dimensions approx. 44 x 35 x 14 cm.An exceptionally distinguished patent of Prussian nobility in outstanding condition.Condition: II +
Lot 1168
Kaldewey Press - Chuang Tsu. Dreams of a Butterfly. Translation from the ancient Chinese and Calligraphy by Bun-Ching Lam. Poestenkill 1995. Mit acht kolorierten Radierungen von Gunnar Kaldewey. Gelb-schwarzer Originalpappband mit Silberdruck (Thomas Zwang). In Originalchemise und -schuber.Edition Kaldewey 24. - Eins von 40 Exemplaren. - Von Bun-Ching Lam und dem Künstler signiert. - Auf Chinapapier. - »Die Seiten des Buches sind durch Doppelfalzungen wie Schmetterlingsflügel zusammengefügt« (Gunnar Kaldewey). Englischer und chinesischer Text, gegenläufig gedruckt, das Impressum in der Mitte des Buches. - Tadellos erhalten.31 : 31 cm. [40] Seiten.Von Lucius, S. 217. - Kat. WLB Stuttgart, S. 49
Lot 106
Chiang Yee signed and dedicated hardback book titled Chinese Calligraphy. This second edition book was published in 1954 and signed by the author dated 1955. Item contains many well-presented illustrations but due to its age is showing some signed of wear on the sleeve. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 65
Asian calligraphic manuscript.- Compilation of 43 calligraphic drawings in miniature Ghubari script, title with a prayer to the Prophet Muhammad within ruled border of yellow and yellow and black decoration in the Chinoiserie style at head (probably from a different work), 43 calligraphic drawings on 22 leaves, each within gold decorative Chinoiserie border (some incomplete), the first and last depicting a vase of flowers, others with one of the names of God, browned and stained, later limp cloth, stitched, 4to (295 x 211mm.), Probably China or S.E. Asia, 19th century.Saleroom notice: the text is printed not manuscript⁂ According to Sheila Blair, "Ghubar is derived from naskhi script, and its minuscule letters are usually less than 3 mm., often as small as 1.3 mm. Ghubar script is said to have been invented to write messages carried by pigeon post, but calligraphers in Iran came soon to use it in other ways, notably for amulets, talismans, and even entire copies of the Qur'an" see Islamic Calligraphy, Edinburgh, 2006, pp.259-260.
Lot 123
Utagawa Hiroshige (1797 - 1858), Kusatsu - Post House, 52nd station on the Tokaido, censors kiwame seal, published by Takeuchi, colour woodblock print, oban, further seal mark and calligraphy in the marginsCondition report: Mounted, framed and glazed. Looking at the bottom edge, it appears to be glued down, as a substance is showing through the paper.
Lot 153
A large Chinese bronze Fang Ding, Qing, late 19th century, of square form with pierced loop handles, the sides cast with lines of calligraphy terminating with two chop marks, alternating with a facing dragon amongst clouds, supported on tall archaic style legs, 30cm wide, 33.3cm high, interior diameter 26cm, 27.7cm high excluding handlesCondition report: The bottom with a circular patch repair.
Lot 96
A large Japanese Kutani hundred scholars charger, Meiji period, the centre with peony and fronds heightened with gilding with karakusa, bordered by a hudred scholars with boy attendants, the scholars playing Go, and looking at art and calligraphy, against a gilt ground beneath pine trees, the rim border with wan trellis and kiku cartouches, the underside with a border of blossoming foliate tendrils, five stilt marks, 44.5cm diaCondition report: Gilding to the rim rubbed, otherwise no obvious faults.
Lot 1215
A Chinese famille-rose rouleau vasefour character Qianlong seal mark but laterpainted with a building in a mountainous landscape between iron-red borders, the reverse with black calligraphy and three seals, 31cm highThere is a substance painted on top of the glaze on the front of the vase on the mountain behind the building, approx. 1.5cm square
Lot 1299
A Chinese paper fan and two others20th centurythe first with bamboo sticks, painted on one side with a landscape, the reverse with calligraphy, the guardsticks with incised inscriptions, 50cm wide open; another paper fan with wooden sticks, decorated with flowering branches and calligraphy; the third with calligraphy on a gold speckled ground (3)First fan- some tears to the paper at the edges along the folds. Minor markings to the paperSecond fan- a pin holing the sticks at the base lacking. One of the guardsticks has become unstuck from the paper.Some brown staining to the paperThird fan- poor condition with extensive tears to the paper
Lot 1309
A pair of Chinese calligraphy hanging scrollson paper, each printed with black characters against a deep pink ground, 79cm by 19cm; also a pair of calligraphy scrolls on a mottled deep yellow/orange ground, 65cm by 24cm and a single calligraphy scroll with characters on a brown ground, 27cm by 86cm (5)First pair- some wear losses, tears to the edges, creases where rolledSecond pair- each with extensive pink staining to the bordersSingle scroll- paper discoloured and marked
Lot 1318
A Chinese hanging scroll and another scrollthe first printed with a mountainous landscape beneath lines of calligraphy and seals, 88cm by 27cm; the second scroll printed with calligraphy on a speckled gold ground, 64cm by 129cm (2) 6815, 6816The mountain scroll with discolouration to the paper, some stains and markingsThe calligraphy scroll with a tear to bottom right corner. Some light staining in places
Lot 102
Egypt, 53 AD. A rectangular papyrus fragment with handwritten inked Greek text in ten lines; acknowledgement of payment of rental at Fayum, 12th year of Tiberius Claudius (?); mounted in a glazed modern frame.Cf. Maggs Bros. Ltd, European Illumination & Calligraphy, also early writing from Egypt catalogue, London, 1992, no.543.145 grams total, 15.5 x 12.2cm (6 x 4 3/4"). Ex central London gallery; previously in the collection of Stephen Keynes OBE, (1927-2017); formerly in the Erik von Scherling collection; accompanied by an old copy of Maggs Bros Limited catalogue listing (item 543), dated November 1982.The description and translation of the incomplete document, made by Professor E.P. Wegener, says: 'The document is issue by the lessee, (Straton)ikon son of Orseus, to the lessor, son of Hippalos. Usual receipt for the payment of a rental in 1st century Roman Egypt, written in Greek, at that time the unofficial language of the Empire in the Eastern Provinces.' [No Reserve] Fine condition.
Lot 488
PAINTINGS AND PRINTS, ETC, to include pencil signed engraving prints by Sydney E Wilson after Joshua Reynolds, calligraphy religious motto by I.Dooley 1850, modern landscape watercolour by R.M. Walters, 'Sunset on The Nile', by E Dooley 1918, oil on board, pair of early half 20th Century landscape oils on paper, Louis Wain engraving print of cats in a Barber Shop, etc
Lot 315
Three Chinese calligraphies dedicated to Sir Percy Cradock, GCMG PC (1923-2010), comprising: a pair by Huang Miaozi (1913-2012), dated 1983, with artist's seals, one framed and glazed, one just framed, picture size 98cm x 28.2cm; and one calligraphy by Zhang Yanli, with artist's seals, framed and glazed, picture size 98cm x 38.7cm (3)黄苗子等作赠柯利达爵士书法三幅柯利达爵士：GCMG（1923-2010），英国外交官，1978年至1983年出任英国驻华大使，是主要参与草拟《中英联合声明》的英方人物Condition Report: One glaze brokenCondition Report Disclaimer
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13121 item(s)/page