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AN ASIAN GILT BRONZE MODEL OF BUDDHA seated on a high lotus throne, with pierced flaming aura, engraved with calligraphy to the stepped base, 28cm high, wood stand Condition Report: age wear to left arm and left knee and base. aura loose.

Hardstone standing Buddha with calligraphy to the stand 21 cm H

Good Oil canvas, pair of white fantailed pigeons on a rock with Chinese calligraphy and seal mark within green velvet frame, 132 x 72cm

PAIR OF PAINTED MARBLE TABLE SCREENS QING DYNASTY, 19TH CENTURY one of the central marble panels painted with 'Eight Immortals' in a courtyard, and the other with figures in a courtyard entertained by three women dancing and playing musical instruments, each of the backs inscribed with indistinct poetry in calligraphy and two seals, the marble panels enclosed within hardwood frames set into a stand(45cm high (including stand))

A Chinese vegetable ivory snuff bottle, 20th century, of waisted oval form, character signature in red, painted with two storks to the front and calligraphy to the back, 2½in. (6.4cm.) high; together with a horn snuff bottle of flattened curved tapering form with elongated cylindrical stopper, decorated to the front with repeating rows of turquoise and other stone cabochons, central calligraphy and stylized gilt borders, signed in red to base. (2)

A large Chinese archaic style carved ivory dragon turtle seal, probably 19th century, the dragon turtle with head raised and open mouth, seated upon an oval seal with carved Zhuanshu calligraphy beneath, 3 7/8in. (9.8cm.) high. * Please note that this lot is subject to international CITES regulations. It will be the buyer's responsibility to check that their country of residence will permit import with the correct documentation before bidding. It is also their responsibility to obtain a valid CITES import permit from their country of residence before the item can be released. Payment will still be required within our usual terms and all bids will be binding.

Three Chinese interior painted glass snuff bottles, 20th century, of varying forms, each with domed stoppers, the larger interior painted with mountain river scene with house on the shoreline, oval foot and yellow stopper, 3 5/8in. (9.3cm.) high; together with a rounded rectangular bottle, interior painted with winter mountain scene with insects; the third decorated with two sisters reading and relaxing; together with an exterior enamelled bottle with fisherman in mountain scene to one side, the other with calligraphy, blue character signature to underside. (4)

Ahmad Shibrain (Sudan, 1931-2017)Composition No.22 mixed media on paper, framedsigned 'Shibrain' in Arabic (lower left), executed circa 1960s140 x 60cm (55 1/8 x 23 5/8in).Footnotes:Provenance:Acquired directly from the artist by the present owner in the 1980sTHE LARGEST WORK BY AHMAD SHIBRAIN EVER TO COME TO MARKET Conceiving of calligraphy as primarily a form of spiritual practice, Shibrain explores the primitive and mystical functions of the Arab letter form in a manner seldom seen in the history of Islamic calligraphy. Academic, formalized and rigid, calligraphy was traditionally the highest form of religious and court craft in the Arab world. Shibrain completely subverts these principles; densely inter-locked forms, relief-like imprints and a sense of spontaneity all pervade the composition. For his canvas, Shibrain chooses the rugged aesthetic of the urban wall, breaking the constraints of conventional 'easel' painting and ultimately questioning the validity of the very notion of an 'artistic surface'.Ahmed Shibrain is an integral and leading figure of Modernism in Sudan. Shibrain was born in 1931 in Berber, Sudan. In the early 1950s, Shibrain studied at the Khartoum Technical Institute when the institution was the hub of contemporary African art of the region and in 1957 he went onto studying at the Central School of Art and Design in London. Alongside his influential contemporaries Ibrahim El-Salahi and Kamala Ishag, Shibrain was one of the founders of The Khartoum School in the 1960s. The Khartoum School was a movement of visual artists who cultivated a new visual style called Sudanawiyya, which expressed local and Pan-African traditions alongside Western influences. Through the use of calligraphy, the aesthetics of hurufiyya (transforming Arabic letters into abstract shapes; named after harf the Arabic word for letter) and Islamic motifs, the movement attempted to convey the cultural fabric of Sudan. After returning to Khartoum, Shibrain became the head of the graphics department at his former college in 1970, and its dean in 1975. He was known for his design of presidential medals, postal stamps and various ebony murals.He held numerous exhibitions in Africa and abroad, published several books and critical essays and held many functional and academic positions in Sudan. In 1966 Shibrain founded the non-profit Shibrain Art Gallery which showcases Sudanese artists.'From time to time I tackle different topics about the state of contemporary art in Sudan. But I have never told the whole story of the School of Khartoum, and how it came to constitute a school of aesthetic importance to the visual culture of Sudan in the last fifty years of the 20th century.Up to 1960, our visual art in Sudan was fixated on the traditional European schools and copied the same academic styles and technical methods. By 1960 and when I came from abroad after finishing my specialization in graphic design, I had been appointed as a lecturer in the College of Fine and Applied Art of the University of Science and Technology (previously Khartoum Technical Institute). And, after a short time, I asked myself, if design constitutes measures and dimensions based on an international common ideals, then where is the cultural uniqueness in these ideals? We have to originate our own art through our own interpretation to realise the full conceptual qualities of our vision. And that was what has happened. Then I started to tackle this through my daily graphic design, through Arabic calligraphy by giving rich treatments based on an abstract interpretation of the Arabic letter. The experiment came to be very exciting and appealed more to my inner feeling and impressions. This was my very original start as a Sudanese graphic designer considering our national culture as the proper base to create a kind of art that I felt was authentic with certainty. And you may also ask, why these trends became so active and so influential in contemporary culture. And if you wait for the reason, I can say that Arabic calligraphy with its flexible motion and with its famous decorative notation comes to be more than calligraphy. It is a body of aesthetic cultural production intending to elevate the Islamic being to its full contemporary representation in the plastic art. In brief this was the moment of my real involvement in art starting from 1960 up today.Prof. Ahmed Shibrain. 1998, Khartoum - SudanFor further information on this lot please visit Bonhams.com

12th century AD. A large cylindrical cast bronze mortar with everted rim and collar at foot; pierced and convex base; the body decorated with two rows of floriated Kufic calligraphy; sticker reading '700' on inner face. 5.7 kg, 19.5cm (7 3/4"). From the private collection of a London gentleman; acquired on the London art market; previously in the private collection of the late Oliver Hoare (1945-2018); Oliver Reginald Hoare, Princess Diana's art dealer, described as arguably the most influential dealer in the Islamic art world. Fair condition.

CHINESE PORCELAIN CALLIGRAPHY BOWL

A Selection of Interesting 20th Century Chinese and Japanese Fans, starting with a wood example with simple bands of piercing to the gorge and quite a modern linear textile fabric design to each side of the narrow paper leaf. Finished with a simple cord adorned with a green bead. Together with a folding fan with narrow cotton leaf featuring mountain ranges, the gorge with a drawing of an elder and servant passing a stylised tree. The verso has a gorge design of small birds pecking for food. Both sides have calligraphy; a light wood extensively pierced brisé fan, with the addition of a band of sunflowers. Both sides alike; another wood brisé, with folding action, decoratively pierced and featuring a rural scene with pagodas and stylised trees, the verso with a bunch of grapes, and leaves; a wood fan, painted black, the sticks serpentine and shaped at the shoulder, which is actually where the fan sticks pivot to fold in two, and gilded. The paper leaf is painted with a lady dressed in a blue kimono walking in front of water, habitation behind. The verso, in pastel shades, has the effect of haphazardly applied glitter; a paper cockade fan, the leaf a simple design of clouds, with wood sticks to the centre, the smooth handle with a mechanism for folding the fan closed; a fabric fan with mountain scene, the snowy cap in the tallest peak being worked in silk thread; and a cockade fan on dark wood, the handle smooth, the leaf paper with a design of rolling clouds, the handle in two sections clipping together to hold open. (7). Generally all good used condition.

A Dramatic Fan with black background, featuring mountain ranges and wide river, the land built with ornate temples, the buildings in orange and gold, the figures throughout the scene dressed in robes in pastel green and pink. A dragon boat ferries visitors from one bank to another, most having arrived at the departure point in carriages carried by servants. To the right, a large and ornately decorated dragon boat, figures seen on the upper decks. Dancers in the foreground give rise to the possibility of a major ceremony or celebration. Label with calligraphy to the right of the recto. Monture of mottled wood. The verso is plain black. Together with A Selection of Oriental Tourist Fans to include a pale coloured woven fibre cockade (11)

Chinese Embroideries from the 19th and 20th Centuries: to include a rectangular pale blue silk panel on which are embroidered the collar, sleeve panels and borders for a Chinese robe. Uncut, the design incorporating flowers, birds with varied and colourful plumage, butterflies and other insects. Together with a panel of cream silk embroidered in diagonal lines with colourful and detailed butterflies, flowers and insects; a small section of the wave embroidery from the bottom of a robe; a small purse or letter holder with two compartments, the exterior embroidered with blue flowers and calligraphy in black pen, backed with faded pale blue cotton; two embroidered silk fragments; a fine turquoise silk panel with gold thread couched embroidery showing paeonies, other flowers and leaves; a further panel of gold couched thread embroidery on sea-green silk, the flowers filled in with silk thread in orange, salmon and cream; a good pair of sleeve bands, embroidered in vibrant colours of blue, green, yellow, and soft pastels, peacocks shown on water, smaller birds in pairs amongst flowers, a golden bird with pointed beak, all surrounded by delicate flowers and leaves. Finally, two small 20th century silk panels, one with birds and butterflies, the other with flowers (11). Variable. To note, the second panel, cream silk, has a hole and staining. The pair of sleeve bands in cream with ornate birds has a tear to the silk at both top and bottom and an area of damage half way down.

A Good 19th Century Chinese Fan, Qing Dynasty, with unusual wood sticks, the guards with white overlay and calligraphy, the double paper leaf full of symbolism including bats in the borders. The leaf centre, in gold on black, has a central oval with calligraphy, and to each side a dense area of gold symbols surrounding two further vignettes featuring pastel flowers. The verso features a mountain range and rural dwellings. Together with A Second Fan of the period, gorge sticks of bamboo, the guards painted black. The recto features a bird with black wing tips landing on a rocky outcrop close to colourful flowers, the verso is printed with calligraphy and gold coloured flakes; and A Third Chinese Wood Fan, the black leaf featuring a rural landscape with houses, all in shades of green (3). Some rubbing to the folds, fan 1.

A Good Chinese Fan, 19th century, Qing Dynasty, the slender sticks with black lacquer and detailed gold decoration, the guards particularly finely worked in alternating bands of flowers and more foliate designs. The gorge sticks are decorated in three of four horizontal bands, two with lattice type designs and the central band similar but not identical to the central panel on the guards. Both sides of the double cream silk leaf are covered in calligraphy, perhaps reproducing a story or poems.. One central gorge stick lacking. Slight foxing to the silk.

Carne Griffith Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.  

Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.

Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.

Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.

NO RESERVE Calligraphy.- Scalzini (Marcello) [?Il secretario di Marcello Scalzini detto il Camerino della città di Camerino, cittadino romano, inventore, scrittore in Roma], 42 engraved plates and pp.55-82 of text only, c.15 plates and all text nibbled at head, just within border of a few plates, affecting text on a number of ff., stained, contemporary limp vellum, ink inscriptions, stained and nibbled, oblong small 4to, [?Venice], [?Domenico Nicolini], [?1587]. sold not subject to return.

HISTORISCHE GRAND PARURE: 2 ARMBÄNDER, COLLIER, BROSCHE, OHRHÄNGER. HISTORISCHE GRAND PARURE: 2 ARMBÄNDER, COLLIER, BROSCHE, OHRHÄNGER. Wohl Österreich. Um 1860-70. 333/- Gelbgold, Punze, Goldmalerei, Gesamtgewicht: ca. 203,0 g. Armbänder Länge 18,3 cm, Ohrhänger 5,6 cm, Collier 41,0 cm. Parure dem Alter entsprechemd beschädigt, teilweise defekt, gerissen, Steine fehlend. Orig.Box anbei. Email teilweise abgetragen. Goldene, osmanische Kalligraphie, Übersetzung anbei. Armbänder gekürzt. Beilage: passender Parfum-Flakon. Schmuck 1870er Parure Gelbgold Österreich Erläuterungen zum Katalog HISTORISCHE GRAND PARURE: 2 ARMBÄNDER, COLLIER, BROSCHE, OHRHÄNGER. HISTORIC GRAND PARURE: 2 BRACELETS, NECKLACE, BROOCH, EAR PENDANTS. Presumably Austria. Ca. 1860-70. 333/- yellow gold, with mark, gold paint, total weight: 203,0 g. Bracelets length 18,3 cm, ear pendants 5,6 cm, necklace 41,0. Parure damaged according to age, partly damaged, cracked, stones missing. Orig. box enclosed. Enamel partially worn. Goldtone, Ottoman calligraphy, translation enclosed. Bracelets shortened. Enclosure: matching perfume flacon. Explanations to the Catalogue Jewellery 1870s parure Yellow gold Austria

A QAJAR LUSTRE PAINTED TILE, PERSIA, 19TH CENTURY of rectangular form, with scrolling band of relief arabesques, a line of calligraphy above, and two further decorative bands below, framed 16 x 19cm Provenance: Property of a European Private Collector (Lots 242-282, for further details see lot 242); Juliette Noujaim, Louvre des Antiquaires, Paris, 26 November 2005; Collection of Ambassadeur C. Graeff, French Ambassador to Iran 1988-1991. (A copy of the invoice is sold with this lot).

A BRONZE CANDLESTICK, ANATOLIA, PROBABLY KONYA, 14TH/15TH CENTURY the waisted body pierced and engraved with a row of roundels, with split palmette design above and below, the flared base with register of pseudo-kufic decoration, decorated around the top with a waisted frieze of calligraphy 23.5cm high Provenance: Property of a European Private Collector (Lots 242-282, for further details see lot 242); Kunstkammer Georg Laue, Munich, 9 October 2003

A CHINESE CELADON VASE, CONG, INCISED WITH CALLIGRAPHY TO EACH SIDE, 22CM H Good condition

A CHINESE SOFTWOOD SIGNBOARD WITH INK CALLIGRAPHY, EARLY 20TH C, TWO BRANDED MARKS TO REVERSE, 11.5 X 139CM Slightly worn and scratched

Artist's Materials - a portable easle compendium; a Chinese brush set, cased; a Calligraphy set, boxed; a pantograph, boxed; a Meccano set, Special Edition, number 0530

A 1960's Chinese inside painted snuff bottle of court ladies in a garden with extensive calligraphy on the reverse, H. 8cm.

Including book of calligraphy and artwork.

A collection of vintage calligraphy and fountain pens, to include Giant Pen and a vintage geometry set (1 bag) 

Signed, Unusual Carved Snuff Bottle Depicting Figures Beneath a Shade Tree. Calligraphy inscription in upper right portion of the bottle. Inscribed on bottom of bottle. Provenance: Important Downtown Sarasota Florida collection. Height: 3.75 in.

Important and unusual massive antique chinese scroll painting. With 12 red collector/artist seals throughout the image. Original Watercolor/ink. With a landscape painting and a calligraphy poem on each side of the landscape. Signed lower left of painting with three seals, lower right hand portion of image has 5 red seals. Inscribed on backside of scroll. Provenance: Important New York City collection. Overall Length: 17' 3". Height: 10.25 in.

Unique design of the flowers above and below ground level. Signed and stamped.The calligraphy 星期日 xingqi ri means “Sunday”. The calligraphy style in the lower half suggests the pieces are Japanese, as does the circular red seal.The sizes are 25 3/4 x 10 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Antique calligraphy signed Chinese jar lamp, with blossoming tree and bird imagery. Unknown as to working order.Approx. height w. finial: 28 in.

Two Chinese porcelain bowls one with polychrome decoration, one with calligraphy (2)

Two interesting sketchbooks with various prints and watercolours of Oriental scenes, with calligraphy (2)

Late 19th/early 20th century Chinese porcelain hexagonal vase decorated in polychrome with flowers, Chinese dignitaries and calligraphy with pierced shaped panels, 30cm high

A late 19th Century Chinese antique calligraphy water dropper in the form of a teapot. The porcelain water dropper having hand painted blue floral motifs and a glazed finish. Measures approx 9x15cmA water-dropper is a small device used in East Asian calligraphy as a container designed to hold a small amount of water. In order to make ink a few drops of water are dropped onto the surface of an inkstone. By grinding an ink stick into this water on the inkstone, particles come off and mix with the water, forming ink.

A collection of 30+ antique Indus Valley (Pakistan) silver coins / fragments dating from the 12th / 13th Century. Many having stamped calligraphy. Great collection.

Y A Chinese inscribed shell, the spiraling shell fitted to the apex with a blue glass terminal, the mouth rim incised with gilded calligraphy denoting auspicious phrases referencing the autumn of the 45th year of the Qianlong reign, the axis pierced for the attachment, the shell 17cm long and a Chinese shell and glass court necklace, comprising 108 shell beads divided by four blue glass fotou, overall length approximately 64cm (2) "乾隆四十五年"款法螺 及砗磲佛珠一串Y - Indicates that this lot may be subject to CITES regulations when exported. For further details on CITES regulations, visit: www.gov.uk/guidance/cites-imports-and-exports.Condition Report: some natural flaws to the shell and wear to the cord commensurate with age natural flaws to shell necklace and lacking tassles and beadsCondition Report Disclaimer

A Chinese pale celadon and spinach jade calligraphy brush, 20th century, the pale celadon jade handle carved with clouds, the end carved with two rings, the jade 20cm long and overall length including brush 27cm, in brocade covered box玉笔一件Condition Report: in good condition Condition Report Disclaimer

Two large Persian Textiles, Kirman, Persia, Qajar period, first half of 19th century, comprising, a large hanging with boteh design, red ground, with white calligraphy cartouche to one end, 252cm x 113cm a woven wool boteh panel with orange ground, 143cm x 102cm (2) Condition Report: some stains to bothCondition Report Disclaimer

A SET OF SIX CHINESE FAMILLE ROSE PORCELAIN PLATES, each with a different view of a female figure interior, with calligraphy and seals, the back with calligraphy also, 21.5cm

A GOOD CHINESE BLUE & WHITE PORCELAIN PANEL OF LUOHAN - AFTER WANGBU, the figures depicting drinking from a vessel whilst one is on the floor, with calligraphy upper left, in a hardwood frame and metal hanger. ( after Wangbu 1898 - 1968 ) 39cm wide x 63cm high.

A 19TH CENTURY INDIAN STEEL CALLIGRAPHIC FINIAL, with calligraphy and a view of an arch and signed, 39cm.

A PAIR OF CHINESE REPUBLIC STYLE FAMILLE VERTE PORCELAIN LIDDED JARS, each decorated with scenes of figures in landscape settings, with calligraphy, the bases with iron red seal marks, 25cm high.

A GOOD ISLAMIC CARVED WOOD AND INLAID MOTHER OF PEARL CALLIGRAPHIC PANEL, the centre with inlaid mother of pearl calligraphy, and bands off flora to the corners.29.5cm x 23.5cm.

AN 12TH / 13TH CENTURY LARGE PERSIAN ISLAMIC TURQUOISE & BLACK CALLIGRAPHIC POTTERY BOWL, the bowl with outer band of black calligraphy upon a turquoise ground, the interior decorated with scrolling formal foliage motif, (af) 26.5cm diameter x 12cm high.

A LARGE PAIR OF CHINESE WATERCOLOUR PAINTINGS OF BIRDS, the large pictures depicting an array of birds amongst waterside floral landscapes, the upper section with calligraphy and seal marks, 194cm high x 60cm wide .

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

A LARGE AND HEAVY CHINESE WARRING STYLE STATES TRIPOD FORM TWIN HANDLE BRONZE CAST CENSOR, with carved archaic style decoration, the interior with carved calligraphy in archaic form, 57cm high x 48cm wide.

A GOOD PAIR OF 19TH / 20TH CENTURY INDIAN FRAMED MUGHAL MINIATURES, each depicting scenes of figures and animals in battle, with calligraphy bands and gilt highlights, framed; 37.5cm x 27cm 818.

A FINE 19TH CENTURY OR EARLIER SILVER INLAID BRASS DAMASCUS TRAY, with roundel's of decoration and calligraphy, 39cm diameter.

A LARGE 19 / 20TH CENTURY PERSIAN QAJAR HAND PAINTED TEXTILE, painted with various scenes of figures upon horseback and interior, with bands of calligraphy.

A 19TH CENTURY TURKISH OTTOMAN SILVERED BRASS CALLIGRAPHIC MAGIC BOWL, with panels of calligraphy and a raised centre section, with traces of silver, 20.5cm diameter.

A GOOD ISLAMIC ALHAMBRA POTTERY TWIN HANDLE VASE WITH METAL TRIPOD STAND, the body with yellow ground with horse decoration between bands of calligraphy, with twin handles and a fluted rim, the vase alone standing 72cm, overall 127cm.

A GOOD ISLAMIC ALAMEDA MOSQUE FORMED MIRROR, 21cm x 18cm , with calligraphy,

A GOOD ISLAMIC QAJAR CARVED BRONZE MOULDED DISH, With decoration of figures and animals, and bands of archaic calligraphy, 26.5

A 19TH CENTURY CHINESE CARVED BAMBOO CANTON BRUSH POT, decorated with figures amongst garden scenes with calligraphy, 12cm x 18cm.

A GOOD PAIR OF 19TH CENTURY JEWISH JUDAICA CARVED WOOD ARM CHAIRS, carved with the star of David and calligraphy verso, 80cm high x 54cm wide x 62cm deep.

A CHINESE YIXING CLAY CALLIGRAPHY TEA POT, the body of the pot with carved calligraphy, also to the lid, the base with an impressed mark, 8.5cm high x 18cm wide.