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

A 19TH CENTURY INDIAN MINIATURE PAINTING of flowers and a butterfly, with calligraphy borders, image 31cm x 22cm.

A FINE 18TH CENTURY INDO PERSIAN ENGRAVED BRASS MAGIC BOWL, the interior with calligraphy boteh and fish, 22cm diameter.

AN 18TH CENTURY OTTOMAN PAINTED WOOD PANEL, depicting calligraphy and stylised flowers, 84cm x 26cm.

A SET OF PERSIAN QAJAR MOULDED POTTERY TILES FORMING A FIRE SURROUND, the tiles decorated with various figures and animals amongst flowers, calligraphy to the bottom edges (AF).

A RARE 19TH CENTURY CHINESE CARVED JADE BOX AND COVER for the Islamic market, of lobed form, the lid carved with calligraphy, 9cm long

A RARE PAIR OF 18TH/19TH CENTURY MUGHAL INDIAN GOLD INLAID STEEL ARMOUR PLATE, with panels of calligraphy within a scrolling border, each 31cm x 23cm.,

A GOOD LARGE EARLY ISLAMIC HISPANO MORESQUE LUSTRE DECORATED WATER BASIN, with a central stepped, raised ewer stand, surrounded with painted stylised leaves, the broad rim painted alternately shield shape emblems, latticework and leaves with calligraphy, 47cm diameter.

A FINE ISLAMIC INLAID WOOD AND MOTHER OF PEARL ROUNDEL PICTURE - FRAMED, the timber inlaid with mother of pearl to depict calligraphy script, 54cm square.

AN ISLAMIC CARVED HARDSTONE SUFI TELSIMTASI 12 IMAMS, in carved star form with calligraphy. 3.5cm

A RARE BLUE & WHITE IZNIK TURKISH POTTERY TRI HANDLE MOSQUE LAMP, with panels of calligraphy surrounded with floral motif decoration, the interior with burn marks from use, 30cm high x 21.5cm diameter.

AN ISLAMIC POTTERY TILE DEPICTING MECCA , a stylized view with calligraphy in black to the left side, with a pale blue grond upon a crackle glaze, 30 x 29cm,

AN ISLAMIC TURQUOISE POTTERY CALLIGRAPHIC MOSQUE LAMP, with raised bands of calligraphy and floral motif decoration, 28cm high x 23cm wide.

AN ISMALIC SILVER INLAID BRASS BOWL, with inlaid calligraphy, the interior with a signature mark central, 8.5cm

A GOOD INDIAN MUGHAL GILT STEEL DAGGER, with gilt decorated motif and birds, the blade with carved with a figure and a calligraphy mark, with a velvet sheath, 36.5cm

A GOOD 19TH CENTURY SYRIAN SILVER, COPPER AND BRASS RECTANGULAR CASKET, with panels of calligraphy and foliate decoration, 15cm wide, 10cm high, 9cm deep.

AN IRANIAN NISHABOUR POTTERY BOWL WITH CALLIGRAPHY AND CROSS, the inner decorated with calligraphy and a cross, 24.5cm.

AN IRANIAN NISHABOUR POTTERY BOWL WITH CALLIGRAPHY, the inner decorated with calligraphy, 24cm.

A GOOD TURKISH OTTOMAN CERAMIC TILE WITH PROPHET MOHAMMED NAME IN CALLIGRAPHY, 25cm square.

TWO PERSIAN / INDIAN MINIATURE PAINTINGS, one depicting three figures interior, 33cm x 29cm, the other depicting 12 figures interior with calligraphy script to the the upper section, framed 34.5 x 25cm.

A PAIR OF CHINESE ENAMEL YIXING CLAY HEXAGONAL VASES, the body with display of flora and calligraphy in enamel, the bases with impressed marks, 16cm high.

An Italian Maiolica tin glazed pottery alberro style jar pharmaceutical jar with two cartouches of Renaissance figures in profile, probably a 19th Century reproduction, height 19cm, together with a twin handled Cornish motto ware jug with sgraffito decoration and incised caption 'If you Cant be aisy, be aisy as you can.', height 15cm, an Iznik style tile with central calligraphy surrounded by flowers, 15cm x 15cm and a monochrome pottery bowl by Joan Cowper, with incised artist's signature to base and limited edition numbers 5/36, diameter 38cm (4)

Two framed and glazed Japanese prints, Mt. Fuji and calligraphy, stamped. 53x63cm

CHINESE CASED CALLIGRAPHY SETS (3) and two Chinese bamboo handled fans

WINNIE THE POOH COLLECTORS' ITEMS including a small soft toy circa 1970s, Walt Disney, haberdashery, calligraphy and vintage desk items and a small quantity of horticultural and other reference books

A Persian glazed ceramic lustre bowl decorated with a woodpecker among foliage and calligraphy around the outside on a white ground. Signature to base. d18.5

A Japanese mounted scroll, ink on paper, calligraphy, various red artist's seal marks. L.210x43cm

A Japanese mounted scroll, ink on paper, calligraphy within a floral silk border, signed. L.116x42cm

A framed and glazed Islamic ink calligraphy. 43x50

An Islamic brass engraved decorative astrolabe. Decorated with calligraphy. L 37cm

Maqbool Fida Husain (Indian, 1913-2011)Horses signed in devanagari upper right oil on canvas70 x 132cm (27 9/16 x 51 15/16in).Footnotes:ProvenanceAcquired in 2009 directly from the artist.Private collection, Texas, USA.Note: The work has been authenticated by the artist's family, Shafat Husain, in 2009 when the work was purchased by the vendor.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 Gujrat. As a founding member of the 1947 Progressive Artists Group, formed after the partition of India and Pakistan, 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, some notable ones being his first solo exhibition held in Zurich in 1952, his exhibit at India House in New York in 1964 and the São Paulo Biennale in Brazil in 1971. Over a career that straddled multiple 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.The depiction of horses has been one the key elements in Husain's oeuvre throughout his career, and here the various horses are portrayed with gaping mouths and wide staring eyes. The muted colours of browns and whites draws the viewer in to the work and catapults them into the frenzied sprinting of the horses.'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, Harry N. Abrams, 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

A LATE 18TH OR EARLY 19TH QAJAR KULA KHUD, characteristic single piece steel skull profusely decorated with courtly figures and scenes amidst foliate and floral panels, the base surrounded with a band of calligraphy and pierced for a chain neck guard, fitted with two plume holders either side of the adjustable nasal bar, square section spike finial.

A 19TH CENTURY OTTOMAN AXE, 73cm over all, 17.5cm crescent form head chiselled with calligraphy and foliage, highlighted in brass, square faced fluke chiselled with calligraphy, the haft decorated with faceted and spiral panels with traces of silver damascene decoration, spherical terminal.

A PAIR OF 19TH CENTURY INDAN DHAL OR SHIELDS, each of characteristic convex form and 52.5cm in diameter, each face profusely etched with four differing bands of calligraphy set amidst scrolling foliage and flowerheads, each with four central foliate decorated domed bosses. (2)

A 19TH CENTURY MOROCCAN KOUMMYA OR JAMBIYA, 23cm curving double edged blade, characteristic white metal mounted hilt decorated with panels of foliage, rhinoceros horn grip, contained in its white metal scabbard decorated to match and bearing a small panel of calligraphy.

A 19TH CENTURY TURKISH OR OTTOMAN YATAGHAN, 61cm curved fullered blade decorated with a long panel of calligraphy in gold to one side and with a smaller panel of stylized calligraphy on the other, characteristic hilt mounted with a riveted two-piece walrus ivory grip and corals, contained in its silvered brass mounted blue velvet wrapped wooden scabbard.

A 19TH CENTURY TURKISH YATAGHAN, 62cm curved blade with narrow double fullers along the back edge, struck with a maker's mark and decorated with panels of scrolling foliage and calligraphy in brass and white metal, characteristic hilt mounted with a riveted two-piece Walrus ivory grip, one cracked.

A LATE 18TH OR EARLY 19TH CENTURY OTTOMAN SHAMSHIR, 76cm sharply curved blade etched with a small panel of calligraphy, characteristic hilt with brass crossguard with lobed terminals, later riveted wooden grip.

A LATE 19TH CENTURY VIETNAMESE KIEM OR SWORD, 57.5cm double fullered blade chiselled with smoke and flames at the forte, characteristic white metal mounted hilt decorated with stylized dragons and dragon heads, polished horn grip carved with foliage and stylized calligraphy, contained in its white metal mounted wooden scabbard decorated to match. Crushing to hilt mounts. Virtually identical to the typical Chinese jian.

A LATE 18TH OR EARLY 19TH CENTURY INDIAN TULWAR, 81.5cm sharply curved blade incised with two lines of calligraphy just above the forte, characteristic hilt retaining most of its original silvered finish, scroll knuckle guard, slightly dished large disc pommel.

A LATE 18TH CENTURY INDIAN KATAR, 24cm curved damascus blade with large armour piercing tip, the broad shallow fuller finely chiselled at the forte with a panel of scrolling foliage, characteristic hilt with good traces of silvered decoration, chiselled with foliage at the extremities, two small panels of calligraphy beneath the root of the blade, moulded and pierced grip. See Lot 77, June 2017, Thomas Del Mar Ltd for a very similar example.

A Chinese carved & painted Yixing ovoid vase in the manner of Ren Ganting (1899-1969), of yellow ground with band of ruyi-heads in relief, the body decorated with magnolia & bamboo, inscribed with calligraphy, & on three zoomorphic supports, seal mark to base, 8” high.

A Chinese porcelain wine cup, decorated in famille rose enamels with figures between panels of calligraphy, with gilt highlights, raised on short foot Daoguang seal mark in iron-red to base; 2¾” high.

A Chinese famille rose porcelain large basin decorated with precious objects & flowers, a band of ruyi heads to the flared rim, the un-glazed base with painted calligraphy; 16” diam. x 5” high

* BRUCE TIPPETT (BRITISH 1933 - 2017), UNTITLED charcoal on paper, signed and inscribed '6.58' (June 1958) 46cm x 36cm Mounted, framed and under glass. Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "In 1957, he (Tippett) saw Japanese brush paintings for the first time at the British Museum (which now houses nine Bruce Tippett drawings). He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century Gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Betty Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery (New York) from 1967 and had his last solo show there in 1981, the year before Betty Parsons died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.

Indian School Erotic scene in a garden with two attendants and with calligraphy Watercolour, 17cm by 10cm; and A Similar Watercolour, 16cm by 8cm (2)

Chinese Republic flowers, birds and calligraphy vase, signed, 43cm high

A rare Straits China (Peranakan) beadwork wedding footstool, Bangku Kaki Kahwain, 19th century, of quatrefoil shape, centred on a lotus flower surrounded by Feng and butterflies amongst flowers, within a border of finger citrons and flowers with cartouches of deer and flowers, the handles with birds and flowers, the sides with a continuous band of blossoming flowers, 33cm x 28cm, together with a Peranakan beadwork marital headdress, and a pair of red silk panels with gilt thread calligraphy, 176cm x 29cm,Qty: 4Condition report: The stool:The beadwork is missing from one tab handle also some needlework border of the central panel is missing in places.The side sections are worn through in places.See the images for clarificationThe Bridal headdress:The hanging sections are rotted in the pink and orange areas due to dye corrosion?See imagesThe Beadwork panel:The central section is damaged to the foundation and quite a lot of beads are missing as a result. The border also has similar but less damage.See imagesPair of red silk banners:Banner 1The banner is rotten in many places and has large holesBanner 2The banner is rotten in a lot of places but has less holes than its counterpart.Please follow the link below for multiple imageshttps://drive.google.com/drive/folders/1azmutAG7dYS8-8J3DCRF0JvYIQYGKxNK?usp=sharing

A pair of Persian Islamic calligraphy scissors, damascened in gilt with dense scrolling foliage, 26cm long, 19th century

A Middle Eastern silver and copper damascened brass circular bowl, in the Mamluk manner, profusely decorated in the Islamic taste with Arabic calligraphy, fish and scrolling leafy stems, 19.5cm diam, marked to base, 19th century

O'Brien, Flann. The Poor Mouth (An Béal Bocht), A Bad Story about the Hard Life. Edited by Myles na Gopaleen (Flann O'Brien), Translated by C Power and Illustrated by Ralph Steadman. Limited edition No. 18/130, published by Bernard Jacobson Ltd. With limited edition engraving (no. 18/130), signed by Steadman and also on the title page. Original rough broad-weave cloth with Steadman's calligraphy, illustrated throughout by the artist

Two work boxes containing a quantity of Calligraphy items including nibs, inks, dip pens, instructions, tools and other items.

After general Zhu; Painted calligraphy on Chinese ikon paper. (220cm x 108cm)

A Chinese painted blue & white cylinder vase, decorated with bird of prey and calligraphy poem. (14.5cm tall) Good condition.

Artists Wooden Easel, cased Painting Set and boxed Calligraphy set

A 20th century Chinese octagonal porcelain barrel-shaped garden seat profusely decorated with various calligraphy etc. (33cm wide x 47cm high) Condition Report: The piece is fairly modern and was made either late 20th century or early 21st century. There is a printed character mark to the underside and also a paper label, the underside of the foot is discoloured and dark around the edge commensurate with age. The blue characters decorated on the outside and top appear to be painted by hand. There is a small 1.5cm hairline visible on the underside (hardly visible from the top). Otherwise in good general order.

Chinese school, a group of figures and calligraphy woodblock print, framed and glazed.

A Persian Slip Painted Earthenware Bowl, probably Nishapur, 10th century, painted in green/white with a central character within a border of loose calligraphy and dotted rim on a manganese ground, 21.5cm diameter For a discussion of these green slip on black slip bowls see Watson (Oliver) Ceramics of Iran, Islamic Pottery from the Sarikhani Collection, pg.81, where it is noted that wares in this striking colour combination were found in quantity at Nishapur, but with apparently fewer to be found at Samakand and none at Tashkent. The present example exhibits the discussed typical bowl shape and decoration to reverse. See also Watson (Oliver) Ceramics from the Islamic Lands, The Al-Sabah Collection, pg.212, and Fehervari (Geza) Ceramics of the Islamic World in the Tareq Rajab Museum, pg.59.. Reconstructed from fragmentary condition.

Ibrahim El-Salahi (Sudanese, born 1930)Untitled, circa 1960 signed 'Salahi' (lower right)ink and whitewash on paper60 x 45.4cm (23 5/8 x 17 7/8in).Footnotes:ProvenanceThe collection of the artist;The Vigo Gallery, London;A private collection.LiteratureHassan, S. M., 'Ibrahim El-Salahi, A Visionary Modernist', pub Tate, 2013, illust p. 56.El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity. Following his graduation from the Slade School of Fine Art in London, El-Salahi returned to Sudan in 1957 where he devoted his attention to the ancient artistic traditions of the region and the study of calligraphy. His works from this period reflect these interests, fusing African, Arab, Islamic and Western influences.Executed circa 1960, this ink drawing is an excellent example. The graceful lines show a clear debt to calligraphy. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El Salahi, interview with Sarah Adams in April, 2002)This drawing is not easily navigable. It asks the viewer to really look, to concentrate and engage. The reward is well worth the effort.A similar piece was sold in these rooms in March 2019.El-Salahi's work can be found in the collections of the Museum of Modern Art, New York, Metropolitan Museum, New York, The Art Institute of Chicago, Chicago, The British Museum, London, Tate Modern, London, The Smithsonian Institute, Washington DC, The Guggenheim Museum, Abu Dhabi, The National Gallery, Berlin, and many others.We are grateful to Toby Clarke from the Vigo Gallery for providing provenance and information used in the above footnote.For further information on this lot please visit Bonhams.com

A papier mache domed jewellery box, late 19th century; a Bell and Howell cine camera; postcards, topographical and souvenir; tins; butter pats; calligraphy brushes; hand warmers; Canon pocket camera; two oil lamps; etc

A group of George III and George IV silver Crowns, a William IV half-Crown, an 1820 George III Crown, an 1826 Shilling and others, along with a Chinese silver ingot with calligraphy to all sides, 38.4g in weight