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Ceramic vase Chinese decorated to the body with calligraphy and antiques, 35cm high

Calligraphy decorated brush pot Chinese, 19th Century inscribed to the sides with lines on calligraphy, with two red seals to the side and a seal mark to base, 13.5cm high

Porcelain baluster vase Chinese Cultural Revolution of hexagonal form depicting Chairman Mao with Lin Biao, a Cultural Revolution slogan affirming their comradeship with a poetic inscription in Mao's hand to the reverse, a Chinese porcelain Cultural Revolution wall bracket with Mao portrait and quotation, dated 1967, a large Chinese porcelain Cultural Revolution oval form vase with calligraphy depicting Mao's salute to the first 'big Character Poster' (dazibao) which started the Cultural Revolution (quote taken from Vol. 13 of Hongqi Journal 1967) , largest vase 28.5cm high (3)

Three ceramic plaques Chinese, Republic period (1912-1949) depicting various mountainous landscapes, each signed with calligraphy, 25.5cm x 39cm (3)

Six carvings Chinese comprising a horn seal with calligraphy to one side, the finial depicting a kylin, 6cm high, a hard stone seal with a mythical creature to the top, with carved seal calligraphy to base, 4.5cm high, two amber carvings of figures, 5.5cm high, 6cm high, a green stone carving of Buddha, 5cm high and a horn case containing an ivory seal, 5.5cm across (6)

Deng Baoshan (1894-1968) pen and ink, Yuan Dynasty poem, together with another calligraphy scroll 28cm x 16cm, 22cm x 12cm (2) Provenance: By direct descent of Katherine Talati

Luo Shanbao (20th Century) pen and ink, calligraphy, with red artist seals mark, presented as a gift to Katherine Talati, 35cm x 52.5cm Provenance: By direct descent of Katherine Talati

Collection of wood carvings 19th Century and later to include a bamboo carved brush pot depicting a rocky outcrop, 15.5cm high, a quatrefoil shaped lacquer bowl and cover, decorated to the top and side in mother of pearl, a carved wooden figure of a scholar in a seated position, 9.5cm high, a rectangular shaped lacquer panel of a seated women under a tree, 28.5cm x 16.5cm and a lacquer ink stone case, with calligraphy to the front (5)

Blue and white pot and cover Japanese, Meiji Period (1868-1912) decorated to the body with a river landscape and figures set against a mountainous landscape, the lid finial modelled as a leaf, with repeating patterns of calligraphy and flowers, the inside lid decorated with a river landscape, the base signed Makuzu Kozan, 19cm high

Company school painting Indian, 19th Century watercolour on paper, double sided, one side depicting a Shoe flower (Hibiscus rose), dated Dec 1826, the reverse depicting a lizard and butterfly, with calligraphy to the centre, dated July 1827 21cm high x 28cm across to the flower side and 19.5cm high x 27cm across to the reverse Provenance: From the Collection of the late Hans Calmann, and by descent

Painted Persian panel Iran, 19th/20th Century depicting a court scene with armed soldiers over watching a prince with attendants by the side, the border surrounded by calligraphy, 44cm x 68cm

Painted Persian panel Iran, 19th/20th Century depicting a procession with figures on horseback and playing musical instruments, with bands of calligraphy to the border, 29cm x 44cm

Cairoware brass bowl Egyptian, 19th Century decorated with bands of calligraphy around the sides in silver inlay, 11cm high together with a similar Islamic tray with calligraphy engraved to the centre, 35.5cm across (2)

Small miniature Persian depicting a courting couple with an attendant by their side, with calligraphy to the top, 15cm high x 9cm across

Bronze tray 19th Century decorated with geometric designs and Nasrid style calligraphy, 39cm x 29cm, a ceramic plate with floral decoration and calligraphy in central shield, 28cm diameter and a brass jug with panels of calligraphy, 20cm high (3)

Bidri box 19th Century with Persian calligraphy, 20cm x 9.5cm x 3cm, a jar for kohl (eyeliner) decorated turquoise and a silver kohl container (3)

Safavid calligraphy in Nasta'liq 17th Century on a dark background, signed Mir'imad, 22cm x 12cm

A 20th Century Chinese polychrome millefiori snuff bottle, with four characters to base, height 9cm, together with a well executed Chinese reverse glass painted snuff bottle with galloping horses and calligraphy, another glass example with external decoration of encircling koi carp, two blue and white examples and two red cinnabar examples with birds and oxen (7)

Pair Chinese jars and covers decorated externally with figures on gilt ground and internally with calligraphy, 10.5cm; and Satsuma style cups and saucers.

A fan leaf, ink on gold paper signed Pan Zun Qi, 19th centuryCalligraphy in Running ScriptFolding fan, matted for framing, ink on gold-flecked paper, inscribed and signed 潘遵祁 Pan Zunqi, with two seals. 52cm (20 1/2in).For further information on this lot please visit Bonhams.com

A reference library of National Palace Museum books and a quantity of Chinese Art cataloguesComprising: Kuan Ware of the Sung Dynasty, Kuan Ware of the Southern Sung Dynasty, Book I (Part 1), Book I (Part 2) and Book II; Ju Ware of the Sung Dynasty; Chun Ware of the Sung Dynasty from the series Porcelain of the National Palace Museum, Cafa Company Ltd, Hong Kong (1961);27 volumes from the series Masterworks of (..) in the National Palace Museum, published by the National Palace Museum, Taipei, 1969, and printed by Nikka, Japan, 1970, comprising: Masterpieces of Chinese Miniature Crafts; Masterworks of Chinese Bronze; Masterworks of Chinese Bronze (supplement); Masterpieces of Chinese Enamel Ware; Masterworks of Chinese Porcelain; Masterworks of Chinese Porcelain (supplement); Masterpieces of Chinese Tibetan Buddhist Altar Fittings; Masterpieces of Chinese Portrait Painting; Masterpieces of Chinese Figure Painting; Masterpieces of Chinese Inkstones; Masterpieces of Chinese Album Painting; Masterworks of Chinese Jade; Masterworks of Chinese Jade (supplement); Masterpieces of Chinese Calligraphy; Masterpieces of Chinese seals; Masterpieces of Chinese Bronze Mirrors; Masterpieces of Chinese Silk Tapestry and Embroidery; Masterpieces of Chinese Ju-i Sceptres; Masterpieces of Chinese Carved Lacquer Ware; Masterpieces of Chinese Painting and Masterpieces of Chinese Painting (supplement); Select Chinese Rare Books and Historical Documents; Masterpieces of Chinese Calligraphy; Masterpieces of Chinese Snuff Bottles; and Masterpieces of Chinese Writing Materials;together with a large quantity of Chinese Art catalogues from Bonhams, Christies, Sotheby's and Marchant, various locations and dates from the 2000s.(qty).This lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP Lots denoted with a 'TP' 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

A World War I trench art artillery shell casing overlaid in copper with Islamic decoration and calligraphy. 36cm

A black japanned metal canister, of cylindrical form, painted with a panel of Oriental calligraphy in red and gilt. 39cm by 23cm

A large Chinese parcel-gilt ebonised wooden panel, carved with calligraphy. 238cm by 25cm

1928 London Underground POCKET MAP of the Electric Railways of London "What to see and how to travel". Summer 1928 edition, designed by E G Perman with elaborate calligraphy of station names and border etc. Generally in very good condition, a few small blemishes. [1]

1923 and 1928 London Underground MAPS of the Electric Railways of London "What to see and how to travel", the first dated 1/1/23, designed by MacDonald Gill with his distinctive style of calligraphy and map border and the version which shows the British Empire Exhibition stations with red dots. 50% parting to one vertical fold. The second is the Summer 1928 edition, designed by E G Perman with elaborate calligraphy of station names and border etc. Short partings to one horizontal fold. [2]

A Middle Eastern 18ct. gold pendant/charm, of demi-lune form, cast with calligraphy, impressed "18" in Eastern Arabic numerals to bail, height 27mm. (2.5g)

A framed Chinese calligraphy poem image 38cm x 25cm, mounted, framed and under glass. 

A Chinese wucai ko-sometsuke 'calligraphy' plate, Transitional periodDia.: 15,5 cm

A Chinese blue and white plate with calligraphy, TianqiDia.: 19,5 cm

Ɵ Safi al-Din Abd' al-Mu'min ibn Yusuf ibn al-Fakhir al-Urmawi al-Baghdadi, known as 'al-Urmawi', Kitab al-Adwar (Book of Cycles, a treatise on the theory of music), in Ottoman Turkish, illuminated manuscript on paper [Ottoman territories, dated 1131 AH (1718 AD)]single volume, complete, 32 leaves plus a contemporary endleaf at each end, single column, 15 lines black stylised naskh script with muhaqqaq influences, some headings and vocalisation in red, gilt head-piece opening the text, numerous diagrams throughout the text heightened in gilt, catchwords throughout, leaves ruled in gilt, a few annotations to the margins in a slightly later hand, some faint water-staining to upper edges of leaves (rarely affecting text), overall a very bright and attractive copy, 205 by 155 mm.; nineteenth-century calf-backed boards with flap, decorative medallion stamped to covers in blind, extremities and spine ends a little rubbedThis treatise is, perhaps, the earliest known text dedicated entirely to the theory and practice of music in the medieval Islamic world. It was compiled by the author al-Urmawi (d. 1294) in the thirteenth century, and explores musical divisions, scales, modes and also describes the workings of practical instruments including the five string lute. The treatise offers a scientific explanation to these theories and is comparable in style to the teachings of Avicenna on the same subject in his Danishnama'i Ala'i (a treatise on logic, metaphysics, music theory and other sciences).Little is known about the author's early life, but he is thought to have been born in Urmina, given his surname, in the modern-day Azari region of north-west Iran in the year 1216 AD. He travelled to Baghdad in his early life where his skills in calligraphy granted him the role of copyist in the famous library of al-Musta'sim of the Abbasid caliphate (the final Abbasid Caliph, d. 1258 AD). Towards the end of al-Musta'sim's reign al-Urmawi had become a famous musician and thus survived the fall of the Abbasid caliphate, and was supported through the patronage of private families including influential Juvayni family. The Kitab al-Adwar is one of two notable musical treatises compiled by the author during his lifetime. The second of is the Risalah al-Sharafiyyah fi l'nisbah al-ta'lifiyyah, compiled around 665 AH (1267 AD) and dedicated to his patron in later life Sharaf al-Din Harun Juvayni, focusing on musical intervals. These works have remained integral to the study of music in the Islamic world and have been used consistently since the thirteenth century.  

A calligraphic panel by Ismail Zuhtu, in Arabic, illuminated manuscript on paper [Ottoman Turkey, second half of eighteenth century]  single sheet, 3 lines competent black thuluth, gold circular roundels separating the verses, ruled in black and gold, then mounted on card with eighteenth-century marbled paper added to border, some light surface soiling, some very slight rubbing to final line of text (with slight loss), modern ink inscriptions to versos in ink, 182 by 240mm.  Signed inscriptions of authentication to the verso of this panel are in the hand of the celebrated Uskudar born scribe Necmeddin Okyay Efendi (1883-1976), whose talents extended calligraphy into the arts of marbling and bookbinding.   

Group of six calligraphic panels in a fine Ta'liq script, five of these signed by Muhammad Qasim, illuminated manuscripts on paper [Ottoman Turkey, dated 1283-1284 AH (1866-67 AD)] six leaves, comprising: (i) two lines of black ta'liq, signed by Qasim, with decorative floral design in polychrome to the borders, 185 by 280 mm.; (ii) two lines of black ta'liq, signed by Qasim and dated 1283, calligraphy set against fine marbled background with decorated borders heightened in gilt, 263 by 405 mm.; (iii) two lines of black ta'liq, signed by Qasim and dated 1284, lines framed within gilt and decorated floral polychrome borders, c. 200 by 355 mm.; (iv) two lines of black ta'liq, signed by Qasim and dated 1283, calligraphy against marbled background, borders gilt, 280 by 385 mm;. (v) two lines of black ta'liq, signed by Qasim, against a darkened tan background with bold border decoration, 260 by 435 mm.; (vi) two lines of Arabic verse, unsigned, after Qasim, 240 by 505 mm.; all in clean and attractive condition, mounted to thick card, in mounts

A fine calligraphic panel by Muhammad Shahbazi, in Ottoman Turkish, illuminated manuscript on paper [probably Iran, dated 1398 AS (2018 AD)]single large sheet, containing two rhyming couplets of verse, copied in a very strong and skilled nasta'liq hand, text set against peach-coloured clouds outlined in red, with a background of elaborate gilt spiralling flowers executed with exceptional skill, text-panel framed within banner of blue foliage against a cream background, wide blue margins added, these hand-painted in gilt with dragons, a phoenix in flight and a wolf, this border signed "Qasimi Nijad" and also dated "98", in fine condition, total 390 by 280 mm.; mounted on thick cardA staggeringly refined and crisp example of modern Iranian craftsmanship, with the calligraphy by Muhammad Shahbazi and and illumination by Qasimi Nijad (whose signature appears on the lower edge of the outmost border), both modern masters of their respective arts. Shahbazi (b. 1967) is particularly acclaimed for his award-winning calligraphy that combines modern elements with influences from Safavid calligraphers Mir Ali Heravi and Mir Imad al-Hassani.

Portrait of a Nobleman, artist signed Qasim Ra'isi, from a fine album leaf with three verses of Persian calligraphy to the reverse, illuminated manuscript on card [Mughal India, dated 1254 AH (1838 AD)] single leaf, ink and gouache depicting a nobleman holding a flower, heightened in gilt, with a line of fine black nasta'liq above and below the image, reverse with six lines of Persian verse in nasta'liq, signed Muhammad Hussain Zarrin Qalam, both sides ruled in orange and green and framed within wider silver-specked card border for album page, remains of linen edge to one side, some light scuff marks and finger-soiling, total 380 by 240 mm.

Chinese bowl (17cm) with calligraphy decoration, four character marks and two other pieces

Chinese Republic fisherman and calligraphy porcelain tray, 28cm x 26cm

Chinese Republic porcelain vase having calligraphy and ladies with deer decoration, 43cm high

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

Large Chinese enamelled objects and calligraphy jar with cover 42cm high (small chips to lid)

Large Chinese porcelain phoenix, birds and calligraphy tile/plaque (restored break), 78cm x 23cm

A CHINESE VELLUM TRUNK, 20TH CENTURY, clad in vellum with calligraphy stamps, metal clasp and handles. 34cm high, 77cm wide, 48.5cm deepThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.In generally good condition.

A CHINESE BRUSH WASHER, octagonal, painted to four sides with panels of rockwork and flowers, interspersed by panels filled with calligraphy, highlighted with gilding, raised on eight bracket feet, bears gilded seal mark. 7.2cm high, 10cm diameter

A CHINESE BOWL, circular, the interior with turquoise glaze, the exterior iron red painted with roundels and panels filled with calligraphy and imagery, bears black six-character mark within a box. 10.8cm diameterThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Two hairline cracks showing on outside of bowl from rim. 

A Japanese Meiji period patinated bronze censer of ovoid form; two scenes in relief with a figure and a crane, the opposing relief with one further figure reading calligraphy, with two mask and tongue handles, six-character mark to underside (15.5cm diameter)

A Tabriz rug, North West Persia, the madder field with a sky blue and ivory central medallion, boteh, guls and flowerheads, within a sky blue meandering vine and palmette border with star guls each filled with calligraphy, 215 x 149cm.

Two Chinese rugs, one with calligraphy and seal mark, 123 x 47cm and 110 x 46cm.

A Romanian carpet, islamic calligraphy cartouche to one border, the indigo field with a polychrome lobed medallion, with flowering vines and leaves, with a madder arabesque border, 323 x 233cm.

A Mahal rug, West Persia, with signed calligraphy cartouche, the madder field with a central indigo medallion with the herati pattern, similar ivory spandrels, within a madder flowering meandering vine and palmette border, 250 x 169cm.

A set of four Chinese blue and white porcelain plaques, Republic Period, painted with scenes of “Boys” playing in a garden, some playing games including “Go” and Blind Man’s buff, others practising calligraphy near moon gates and pavilions, with inscriptions, size of plaque 74 x 20.5cm.Condition report: No condition issues regarding the porcelain plaques. Scuffs and scratches to the wooden frames.

A Chinese bamboo brush pot, 19th century, with rows of calligraphy, carved with trees and pagodas with figures in the foreground, two further shaped panels to the rear carved with a bird and deer, height 14cm, diameter 11cm.

A Chinese elm chest, late 18th/early 19th century, the hinged front with numerous brass mounts decorated with calligraphy and swastika, with large brass lock and key, height 82.5cm, width 80cm, depth 43.5cm.

A Chinese famille rose porcelain jar and cover, with the one hundred boys pattern, on a carved wood stand, height of jar 24cm.Condition report: Chip to finial on lid, glaze flaws and some pitting Extra images of calligraphy on David Lay website.

A Cairoware copper and silver inlaid bowl, 19th century, the bulbous body with calligraphy filled cartouches, height 9.5cm, diameter 21cm.Condition report: UK postage: £25+VAT.

A Cairoware brass bowl, 19th century, the body with ten circular roundels, each filled with a central horizontal band enclosing Islamic calligraphy, height 12.5cm, diameter 23cm.

An unusual Cairoware brass bottle, 19th century, decorated with portraits and calligraphy, height 35.5cm, diameter of base 13.5cm.

A Persian manuscript leaf, 19th century, painted with a battle scene beneath a horizontal band of calligraphy, frame size 35 x 26cm.

A Persian manuscript leaf, 19th century, painted with a battle scene beneath a horizontal band of calligraphy, surrounded by animals within foliage, frame size 39.5 x 27.2cm.

A Persian manuscript leaf, 19th century, painted with a hunting scene with horizontal bands of calligraphy, frame size 38 x 26cm.

A Persian manuscript leaf, 19th century, painted with figures in a courtyard within horizontal bands of calligraphy, frame size 38 x 26cm.