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20th Century Chinese painting of flowers and branches, ink on rice paper, with calligraphy inscription and four red seal marks, 54 x 48 cm, mounted, glazed and framed

H/M SILVER DISH & A H/M SILVER CALLIGRAPHY HOLDER - 13 OZS APPROX

Ca. 18th century AD.A gold scroll holder amulet of hexagonal cylindrical form with each end shaped as a cap. It is decorated with horizontal panels of calligraphy and can be inserted with Quranic verses or a blessing. Three suspension loops at the top. For a similar example, see Aga Khan Museum, accession number: AKM624.2. Size: 77mm x 16mm; Weight: 11g Provenance: Private London family collection; formed between 1970-2008. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

A framed Chinese calligraphy black ink painting, signed, framed in Singapore, 22" x 33".

An Islamic Silver Coffee Pot Decorated with Islamic Calligraphy with Rose and Bird Finial.H: Approximately 21.5cm L: Approximately 10.5cm342g

Tribal Art: Caucasian Kinjal Bebut dagger in leather sheath with calligraphy to bronze stud, approx. 36cm long

AN INDIAN BRONZE BOWL the exterior inset with Hindu calligraphy, the interior with cast roundel depicting Ganesha, 6cm high x 13cm diameter

A Chinese jade and 14 ct gold bracelet, having curved jade rods joined by pierced links decorated with calligraphy, import marks Birmingham, 1998, 10.79 g, 19.5 cm, (repaired)

Group of five antique Japanese bound books regarding woodblock prints. Including the following:Katsushika Hokusai "100 Views of Mount Fuji," volumes 1 and 3. Taki Katei "Tansei Ippan," ca. 1896.Yokoyama Seiki, "Calligraphy by Matsuda Kajo: Kajo Shuga Cho," volumes 2 and 4.Condition:Some wear throughout consistent with age and use. No major apparent losses or large rips. Some toning to the sheets. Some areas where the binding is very slightly loose.

A 20th century Chinese painting on fabric depicting birds and flowers in a grassy landscape, red seal mark above calligraphy to the left side Location:

George Chann (Chinese/American, 1913-1995). Oil on board abstract painting depicting a multitude of short lines in yellow, green, red, and blue on a white ground. Signed along the lower left.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 19 1/2 in x width: 15 1/2 in. Framed; height: 21 1/4 in x width: 17 1/2 in.br/>Condition:There are no losses and there are no visible repairs under UV light. Minimal craquelure is present on the upper right quadrant.

A Chinese calligraphy banner, black ink, red seal mark, mounted, 163cm x 53cm overall

H/M SILVER DISH & A H/M SILVER CALLIGRAPHY HOLDER - 13 OZS APPROX

A LARGE CARVED JADE PLAQUE PENDANT BY POH HENG Featuring a large carved jade plaque decorated with calligraphy, below a pierced symmetrical carving of likely serpents, mounted in a yellow gold setting with Chinese gold hallmark, and an additional mark 'Bao Xing' for 'Poh Heng'. 7.8 x 4.3 cm 72.9g Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Architektur - - Graphices. Erster Theil von der Grammica. Manuskript mit 45 (4 ganzseitigen, 7 etwa halbseit.) feinen Original-Zeichnungen und zahlreichen geometrischen Figuren im Text. Deutsche Handschrift in brauner und roter Tinte auf Papier mit lateinischen Einwürfen. Um 1600. 102 (41 leere) Bll. Quer-Kl.-8°. Mod. HLdr. im Stil d. Zt. mit goldgepr. RSchild in passendem Pp.-Schuber. Reich bebilderte, präzise Handschrift zu den Themen Geometrie, Messkunst, Architektur und Fortifikation. Die Initialen der Bücher 1-3 sind kalligraphisch verziert, und die Federzeichnungen zeichnen sich durch außergewöhnliche Feinheit aus. Insbesondere die Miniaturdarstellungen von Gelände- und Architekturelementen zur Messkunst sind mit beeindruckendem Detailreichtum gestaltet. Das Werk umfasst folgende Bücher: 1. "Von der Grammica" (6 Kapitel über Punkt, Linien, Kurven, Winkel, Blätter 1r bis 6v). 2. "Von Epipedographia" (16 Kapitel über Kreis, Oval, Dreieck, Parallelogramm, Trapez, verschiedene Vielecke bis zum Neunzehneck, unregelmäßige Flächen, Blätter 7r bis 19r). 3. "Von der Geodaesia" (20 Kapitel über das Messen von Längen und Strecken mittels Triangulation bzw. Perpendikel, mit zahlreichen exquisiten Federzeichnungen in schwarzer und roter Tinte sowie Berechnungen von Flächen; Blätter 19v bis 44v). 4. "Epipedometri von figuris unndt magnitudinis planis..." (ohne kalligrafisch gestalteten Titel, 5 Kapitel über geometrische Körper, Polyeder etc., Blätter 45v bis 48v). Das darauf folgende, unvollendete Buch zur Fortifikation (Kapitel 7-11, Blätter 49r bis 60v, einige Seiten leer) enthält teilweise ausgeführte und teilweise nur vorgezeichnete Darstellungen. - Einige für Illustrationen vorgesehene Rahmen blieben leer. Bll. 55 nachträglich eingefügt von einer anderen Hand beschrieben. Ab bl. 61 anderes Papier, wobei nur Blatt 61r (ebenfalls von einer anderen Hand) beschrieben ist. Leicht gebräunt mit geringfügigen Fingerflecken. Im oberen Randbereich teils bräunliche Flecken. Bll. 22v/23r (beide nur Text) mit größerem Tintenfleck. Einige kleine Braunflecken im Schriftspiegel. Das erste Blatt im Fußbereich trägt die Unterschrift "Andreas Lengerer" in alter, jedoch abweichender Handschrift. Architectural manuscript with 45 (4 full-page, 7 half-page) fine original drawings and numerous geometric figures in the text. German manuscript in brown and red ink on paper with Latin inscriptions. Around 1600. Half leather in the style of the time with gilt label on spine, in matching cardboard slipcase. - Richly illustrated, precise manuscript on the subjects of geometry, metrology, architecture and fortification. The initials of pts. 1-3 are decorated with calligraphy, and the pen and ink drawings are characterised by exceptional finesse. In particular, the miniature depictions of terrain and architectural elements for the art of measurement are designed with an impressive wealth of detail. The work comprises the following books: see above. The last, unfinished book on fortification contains partly completed and partly only sketched illustrations. - Some frames intended for illustrations empty. Fols. 55 subsequently inserted and inscribed by another hand. From fol. 61 onwards, different paper, whereby only fol. 61r (also by another hand) is inscribed. Slightly browned with minor fingerstains. Some brownish stains in the upper margin. Fols. 22v/23r (both text only) with larger ink stain. Some small brown stains in the text area. The first leaf at the foot bears the signature "Andreas Lengerer" in an old but different handwriting.

Astronomie - - Jacques Cassini. De la carte de la France et de la perpendiculaire à la méridienne de Paris, prolongée vers l'Occident (et) l'Orient. 2 Tle. in 1 Bd. Französisches Manuskript auf Papier mit zwei handgezeichneten und mehrfach gefalteten Karten. Paris, um 1730. 21 nn. Bll. u. 22 nn. Bll. Gr.-8°. Zeitgenössischer dunkelroter Ganzmaroquin auf fünf Bünden mit ornamentaler Vergoldung auf Deckeln und Rücken und goldgepr. Wappen von Germain-Louis Chauvelin, marquis de Grosbois auf beiden Deckeln. Steh- und Innenkantenvergoldung, dreis. Goldschnitt und Marmorvorsätze (etwas berieben und beschabt, Rücken mit kl. professionellen Restaurierungen). Vgl. Poggendorff I, 390/391. Hockey, Biographical Encyclopedia of Astronomers I, 207. DSB III, 104f. Gallois, L'Académie des Sciences et les origines de la carte de Cassini. In: Annales de Géographie, 1909, 289-310. - Der französische Astronom und Geodät Jacques Cassini (1677-1756) wurde 1694 in die Académie des Sciences aufgenommen und begann, gemeinsam mit seinem Vater wissenschaftliche Arbeiten zu verrichten. Um 1698 besuchte Cassini Flandern und dann England, wo er Newton, Flamsteed und Halley traf und in die Royal Society of London gewählt wurde. Im Jahr 1700 unternahmen Cassini und sein Vater ein Projekt zur Messung des Meridians von Paris nach Perpignan. Sie erhielten Ergebnisse, die fälschlicherweise darauf hindeuteten, dass die Erde an den Polen gestreckt war. 1713 schlug er eine neue Methode zur Bestimmung der geografischen Länge anhand der Verfinsterungen der Sterne und Planeten durch den Mond vor. Mit dieser Methode und unter Verwendung der Daten der Vermessung von Paris nach Perpignan aus dem Jahr 1700 wollte er beweisen, dass die Längengrade des Erdmeridians vom Äquator zum Pol hin kleiner werden. Leider hielt Cassini sein Leben lang an dieser Position fest und weigerte sich, die Abflachung trotz der vorgelegten wissenschaftlichen Beweise anzuerkennen. - Das Manuskript folgt Cassini und seinem Gefolge (dem Astronomen Jean-Dominique Maraldi, dem Kartographen l'abbé Jean Delagrive, dem Uhren- und Instrumentenbauer Julien Le Roy und zwei seiner Söhne) quer durch Frankreich. Das Werk ist in einer sauberen und gut lesbaren Kalligraphie geschrieben und mit zwei großen handschriftlichen Karten geschmückt, die die beiden Teile des Manuskripts begleiten. Die gedruckte Version der beiden Texte wurde 1734 an der Académie de Sciences mit leichten Varianten vorgetragen und veröffentlicht. Dort nur eine der beiden Karten vorhanden, die andere Karte wohl unveröffentlicht. - Provenienz: Germain-Louis Chauvelin (1685-1762), Marquis de Grosbois, war ein französischer Politiker, der als "garde des sceaux" (Siegelbewahrer) und Staatssekretär für auswärtige Angelegenheiten unter Ludwig XV. diente. Im Jahr 1727 wurde Chauvelin mit der Leitung der Abteilung für das Verlagswesen, die Druckerei und die Zensur betraut und erhielt den Vorsitz über das Siegel. Seine beeindruckende Bibliothek wurde 1762 in Paris verkauft. Unser Manuskript ist im Katalog unter der Nr. 2365 gelistet. - Eines von vermutlich vier existierenden Manuskriptexemplaren, von denen sich drei in öffentlichen französischen Institutionen befinden, die dem König und anderen wichtigen Vertretern der französischen Regierung gewidmet sind. - Eine Karte mit kurzem Einriss am Falz. - Ein schönes und ausgezeichnet erhaltenes wissenschaftliches Manuskript in einem sehr dekorativen zeitgenössischen Wappeneinband. Astronomy - French manuscript on paper with two hand-drawn and folded maps. 2 parts in 1 vol. Contemporary red full morocco on five bands with ornamental gilt on covers and spine and gilt stamped coat of arms of Germain-Louis Chauvelin, marquis de Grosbois on both covers. Gilt edges and marble endpapers (somewhat rubbed and scuffed, spine with small professional restorations). - The French astronomer and geodesist Jacques Cassini (1677-1756) was admitted to the Académie des Sciences in 1694 and began to carry out scientific work together with his father. Around 1698, Cassini visited Flanders and then England, where he met Newton, Flamsteed and Halley and was elected to the Royal Society of London. In 1700, Cassini and his father undertook a project to measure the meridian from Paris to Perpignan.They obtained results that falsely indicated that the Earth was elongated at the poles. In 1713, he proposed a new method for determining longitude based on the eclipses of stars and planets by the moon. Using this method and the data from the 1700 Paris to Perpignan survey, he wanted to prove that the longitude of the Earth's meridian decreases from the equator to the pole. Unfortunately, Cassini clung to this position for the rest of his life and refused to recognise the flattening despite the scientific evidence presented. - The manuscript follows Cassini and his entourage (the astronomer Jean-Dominique Maraldi, the cartographer l'abbé Jean Delagrive, the clock and instrument maker Julien Le Roy and two of his sons) across France. The work is written in neat and legible calligraphy and decorated with two large handwritten maps that accompany the two parts of the manuscript. The printed version of the two texts was presented and published with slight variations at the Académie de Sciences in 1734. Only one of the two maps is present there, the other map is probably unpublished. - Provenance: Germain-Louis Chauvelin (1685-1762), Marquis de Grosbois, was a French politician who served as "garde des sceaux" (keeper of the seals) and Secretary of State for Foreign Affairs under Louis XV. In 1727, Chauvelin was put in charge of the department of publishing, printing and censorship and was given the presidency of the seal. His impressive library was sold in Paris in 1762. Our manuscript is listed in the catalogue under no. 2365.- One of probably four existing manuscript copies, three of which are in French public institutions dedicated to the king and other important representatives of the French government.- One map with short tear at fold. - A beautiful and excellently preserved manuscript in a decorative contemporary armorial binding.

Miniatur Malerei im Mogul - Stil.29 cm x 18 cm Blattgröße. Handgemalt. Buchseite mit Kalligraphie. Wohl Indien, Persien. Zustand siehe Fotos. Versand kann organisiert werden.Miniature painting Mogul style. 29 cm x 18 cm sheet size. Hand painted. Book page with calligraphy. Probably India, Persia. See photos for condition. Shipping can be organised.

Glaskaraffe mundgeblasen mit kufischer Kalligraphie.40 cm hoch mit dem Stöpsel. Alt, Marokko. Maghreb. Aus einer deutschen Privatsammlung. Erworben vor Ort vor circa 50 Jahren. Handarbeit. Dekor in Goldfarbe. 3 Seiten beschriftet Symbole? Weiße Kaltemaille. Siehe Fotos. Versand kann organisiert werden.Glass carafe mouth blown with kufic calligraphy. 40 cm high with the stopper. Old, Morocco. Magreb. From a German private collection. Acquired in Marocco circa 50 years ago. Handmade. Decor in gold color. 3 sides inscribed symbols? White cold enamel. See photos. Shipping can be organised.

A Chinese carved wooden folding chess board and set - late 20th century, the board with ebony and ivorine squares, the white squares engraved with pictorials and calligraphy, within a border carved with dragons, each side with a drawer containing a carved wooden chess set, 45.5cm. square unfolded; together with a 20th century Chinese bronze dragon bowl, 17.75cm. diameter. (2)

ZHOU Qingyun (1866-1934) canvas with calligraphy decoration - Weight: 13.66 kg - Shipping unavailable - Region: Chine - Sizes: Hors cadre H 1570 mm x L 470 mm - At first glance: normal wear / patina of use

China - ink stone and its wooden case decorated with calligraphy. - Weight: 1.41 kg - Shipping available - Region: Chine - Sizes: H 40mm x l 150mm - At first glance: good condition

Micheal A. Bussey (British,1920-2014), Collection of 20 plus assorted works on paper, including landscape watercolours, pencil preparatory sketches and original calligraphy / design works, varying dimensions, all unframed.

A BRONZE 'CALLIGRAPHY' MIRROR, SONG DYNASTY China, in the style of the Han dynasty (206 BC to 220 AD), yet dating to the Song dynasty, 11th - 12th century. Of circular form, with a central pierced knop, set within a circle with two characters, a band of calligraphy encircling the well, and the rim raised. Condition: Fine condition with surface wear, oxidation, commensurate with age. Extensive patina with malachite encrustation. Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror and box. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018. Weight: 95.5 g Dimensions: Diameter 9.2 cmWith an old circular painted cardboard box and cover, bearing collectors note including remarks on the dating to the Song dynasty. (2)

A FORMATION OF ROCKS BY YEQING 冶青《巨石》China, first half of the 20th century. Ink on paper. The fan-shaped painting depicts a formation of rocks with sparsely sprouting grass. Calligraphy and two seal marks on the top right and left side.Inscriptions: The two texts describe the sketch of rocks, signed 'Yeqing' and 'Daye', and two seals 'Daye' and 'Yeqing.'Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with material loss at the center fold and some discoloration.Dimensions: Image size 52.5 x 23.1 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING 韡慶《山水畫》，王原祈款China, first half of the 20th century. Ink and watercolor on segmented paper. The fan-shaped painting depicts a landscape with a river and mountains in the background and two cabins hidden behind trees and rocks in the foreground. A fisherman waiting on a boat nearby to catch a fish. Calligraphy and a seal mark on the left. A seal mark on each bottom corner.Inscriptions: Text (translated): 'Wei Qing imitated Wang Lutai's work' (pseudonym for Wang Yuanqi, 1642-1715) and 'Painted in Shenjiang'. One seal mark on the upper left, and one seal on the bottom left. Another seal on the bottom right (translated): 'Wei Ting learns drawing at 57 years old.'Fan paintings by Wang Yuanqi are highly sought after. For a landscape fan shaped painting by the master artist see Fine Chinese Classical Paintings and Calligraphy in Christie's Hong Kong on 01 June 2015, lot 1117, sold for HKD 3,200,000.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with some abrasions along the folds, minor material loss to the lower left corner.Dimensions: Image size 50.4 x 21.5 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

AN YIXING ZISHA TEAPOT AND COVERChina, 20th century. The naturalistically potted yixing zisha teapot with the cover surmounted by a twig knob, the handle in the form of a curved stalk, with three long stems in the form of branches, the exterior depicting finely incised calligraphy and the artist's signature on one's side, and on the other a beautiful landscape. Manufacturing marks to the base and inside of the lid.Condition: Very good condition with minor wear. Provenance: Hungarian private collection.Weight: 352 g Dimensions: Height 18.2 cm

AN ILLUSTRATED 'PHRA MALAI' FOLDING MANUSCRIPT, 19TH CENTURYThailand. Ink, watercolors, and gouche on paper. The accordion-style manuscript comprising 44 leaves inscribed with calligraphy on both sides and painted with figural scenes depicting Phra Malai.Provenance: From an Austrian private collection.Condition: Very good condition with some wear, minor creases and soiling.Dimensions: Size 14.5 x 68 cm (each page)The story of the Buddhist saint Phra Malai is thought to have been imported from Sri Lanka around the 13th century, about the same time that Singhalese texts were consulted in the creation of the Sukhothai style. It became one of the most popular subjects of 19th-century illuminated Thai manuscripts, which were frequently donated to monasteries as acts of merit. Phra Malai, according to the various versions of the story, was a Buddhist monk who accumulated so much merit that he acquired great supernatural abilities. Using his powers, he traveled to the various Buddhist hells, where he meets the suffering denizens and is implored to have their living relatives make merit on their behalf. He later traveled to the heavenly realms of the devas, Trayastriṃsa and Tushita, where he met Indra and the future Buddha Maitreya, who instructed him further in merit-making.

A GROUP OF FIVE BUDDHIST PRAYER BOOKSThailand and Tibet, 19th to first half of the 20th century. Each handwritten and held together by wood covers. Comprised of two slender Thai Buddhist prayer books written on cured bamboo leaves in fine calligraphy, and three large Tibetan manuscripts with extensive text, some colored illustrations, and one cover decorated in red lacquer with scrolling designs and Tibetan script.Condition: The Thai manuscripts in very good condition with expected wear, splitting and age cracks typical of organic material, small losses, and minor tears. The Tibetan manuscripts in fair condition with further wear, soiling, fading, expected losses, and tears.Provenance: Old German private collection.Weight: 5.3 kg (total)Dimensions: Length 49.5 cm (the largest)

A BACTRIAN MARBLE COLUMN IDOL WITH INSCRIPTIONSAncient region of Bactria, presumably c. 2000 years old. The column-like object with a cylindrical body tapering in the middle and flaring at the top and bottom, with grooves extending across the ends, the body engraved with calligraphy, possibly of a later date. The dark gray marble with white patches. Condition: Good condition with usual traces of wear and age as well as few notches.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 415 g Dimensions: Height 8 cm

A PARCEL-SILVERED BRASS BOWL, MAMLUK REVIVAL, 19TH CENTURYEgypt. Of typical form with rounded base and long sloping sides rising to a straight rim, engraved, further with raised and silvered Arabic calligraphy against an intricate arabesque design.Condition: Good condition with wear, signs of weathering and erosion, casting flaws, scratches, and small dents.Provenance: Austrian private collection.Weight: 210 gDimensions: Width 11.6 cm

A LARGE IRON BETEL NUT CUTTER, 19TH CENTURY OR EARLIERIran, Qajar dynasty (1796-1925) or earlier. Heavily cast, the horseshoe-shaped loop and broad cutter with long tapering handles terminating into bud-shaped finials. Carved with scrolling foliage and an inscription in Arabic calligraphy to the blade.Condition: Good condition with wear, traces of use, encrustations, small nicks, minor scratches, small areas of corrosion here and there.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 1,010 gDimensions: Length 35.7 cm

A RARE MITSUDA INLAID FOUR-CASE BLACK LACQUER INRO WITH A ROBED FIGURE ON HORSEBACK, ATTRIBUTED TO OGATA KORIN (1658-1716)UnsignedJapan, Edo period (1615-1868)Of upright rectangular form and oval sectional, the four-case inro bearing a fine roiro ground and decorated in gold hiramaki-e, mitsuda (pewter), and aogai to depict a mounted robed figure against a foliate brocade pattern designed to simulate textile. The interior compartments of nashiji with gold fundame edges.HEIGHT 8.5 cm, LENGTH 6.7 cmCondition: Good condition with minor wear, light surface scratches and typical losses, particularly to the pewter-inlaid horse, some with gold-lacquered 'kintsugi' repairs.Provenance: Van Stockum Gallery, The Hague, April 7, 1959. Collection of Robert and Isabelle de Strycker, acquired from the above. An old collector's label to the interior, 'L,548' and '13'. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning 'school of Korin,' Rinpa derives its name from Ogata Korin (1658-1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.Auction comparison:Compare a closely related four-case gold lacquer inro depicting two thatched shelters among bamboo, by Hara Yoyusai, with similarly rendered Rinpa style inlay in mitsuda and aogai, also taken from Korin Hyakuzu , at Bonhams, The Edward Wrangham Collection of Japanese Art, 15 May 2012, London, lot 290 (sold for GBP 22,500).

TOTOYA HOKKEI: A SURIMUNO OF HAWK ON PERCHBy Totoya Hokkei (1780-1850), signed Hokkei Japan, Meiji period (1868-1912) editionA color woodblock print, The surimono titled Hawk on Perch, from an untitled series of Three Lucky Dreams, depicting a hunter´s hawk perched on a post, the bird finely worked in gray tones and contrasting against the bright red post. A verse in calligraphy is written above:Hanamoritei Shiranari Isamashiya noboru/Hatsuhi no iro mitate/Taka ni/Tsukesaru/kurenai no/Fusa Takasagotei Matsunari Hatsuharu no taka wa soredemo murasaki no/ Shobō no iro ni kasumu AkebonoMounted to a passepartout and set inside a black wood frame, behind glass. Condition: Very good condition, color, and impression, with minor browning and wear. Provenance: Austrian private collection, acquired at Galerie Zacke in the 1990s. With old gallery label.Dimensions: Image cut out 22.5 x 22 cm, Size incl. frame 33 x 30.5 cmLiterature comparison: A nearly identical but earlier print is in the collection of the Harvard Museum, Object Number 1933.4.1916.

UTAGAWA HIROSHIGE: IWAMI PROVINCE, MOUNT TAKAZUNO, SALT BEACHBy Utagawa Hiroshige (1797-1858), signed Hiroshige hitsuJapan, 1853Color woodblock print on paper. Vertical oban. Signed Hiroshige hitsu censor's seal Aratame; publisher Koshimuraya Heisuke. Titled Iwami, Takazunoyama, Shiohama (Iwami Province: Mount Takazuno, Salt Beach), number 43 from the series Rokujuyoshu meisho zue (Pictures of Famous Places in the Sixty-odd Provinces).The salt flats at Takatsuyama in Iwami.SIZE of the sheet 36.5 x 23.2 cmCondition: Good condition with minor wear and slight browning of paper. Some wormholes. Mounted on Japan paper, the reverse with calligraphy.Provenance: A German private collection. Galerie Zacke, Vienna, 14 May 2015, lot 419. An Austrian private collection, acquired from the above.Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related woodblock print is in the collection of the British Museum, museum number 1902,0212,0.397.13.

Two Chinese jade coloured dishes with inlaid mother of pearl decoration, dia. 15cm; a Chinese calligraphy set framed

Japanese calligraphy. Ink and watercolour. Signed with the artist's seal. Framed and glazed. H.44 W.33cm.(largest).

20th Century Chinese School, in the style of Shoko Kanazawa (b.1985), Three calligraphy illustrations, framed, mounted, and under glass, the largest measures 49cm x 59cm overallNote - The largest measures 50cm x 56cm overall.

TWO FAMILLE ROSE PORCELAIN CYLINDRICAL VASES 2nd half 20th C., one decorated with three figures before an altar in a garden setting, the other with an elderly figure and children, and inscribed with calligraphy Both 28cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

An Islamic Pottery Bowl, probably Nishapur, painted in yellow and brown with a figure on horseback and with pseudo calligraphy on a ground of scattered flowerheads33cm diameterBadly broken into many pieces and painstaikingly re stuck. No over spray, cracks left honest but with some areas of infill repair.From a private house in Cheshire

An Islamic Iron Alam (Finial), probably 18th/19th century, with five prongs on a knopped shank, engraved with calligraphy42cm highA Glass Beaker, 19th century, of flared cylindrical form, engraved with bands of calligraphy10.5cm high (2)

Lethaby (W. R.) Westminster Abbey Re-Examined, first edition, specially-bound presentation copy to Frederic Stuttig, with manuscript presentation inscription in red calligraphy pen and c. 40 signatures on 7pp. of additional front free endpapers, illustrations, contemporary burgundy morocco bound by the L. C. C. Central School of Arts and Crafts, tooled with decorative corner-pieces and boarder, with 'FS' monogram on upper cover with green onlay, spine gilt in compartments, g.e., spine faded, 8vo, 1925. *** The Central School of Arts and Crafts was established in 1896 by the London County Council, it became part of the London Institute in 1986 and in 1989 merged with Saint Martin's School of Art to form Central Saint Martin's College of Arts and Design. William Richard Lethaby (1857-1931) trained and practiced as an architect, but was also a designer, educator, and architectural theorist and historian. He was a very important influence on art education and on the Arts and Crafts movement in Victorian Britain.  The dedicatee of this presentation binding, Stuttig, settled in England before 1891 and taught wood carving and gilding at the Central School and at Camberwell.

A pair of Chinese silk pictures, 20th century, painted with birds in flowering branches and with calligraphy, 35cm x 25.5cm, a similar picture, smaller, 35cm x 24.5cm, another with figures in a landscape, 35.5cm x 24.5cm and a print of wild horses, 22.5cm x 65cm (5)

A vintage Parker 51 fountain pen; a Parker red Slimfold fountain pen with 14ct nib, plus matching ballpoint pen, the pair cased with instructions; a Parker Cross ballpoint pen for American Express, and a Parker calligraphy set (5)

Two antique Chinese calligraphy brushes with real hair, agate, horn and bone. First half 20th century. Dimensions: L 27 - 29 cm. In good condition.

A Chinese porcelain Blanc De Chine lamp decorated with calligraphy characters on hardwood base. Measures approx. 59cm

A contemporary Chinese / Oriental brush and ink case writing set by Bi Mo Fang. Contains a brush for writing Xiaokai style calligraphy, pine soot and red ink pads, handmade calligraphy paper, inkstone, brass ruler/knife, seal box and table felt. All housed in an African rosewood case. The writing brush, ink, inkpad and inkstone are called the four treasures of study in China with over 3000 years of history, the hallmarks of China's cultural heritage. Brand New In Box - BNIB. Box measures approx 34.5cm x 25cm.

A Chinese bamboo inscribed wrist rest, carved in relief with columns of calligraphy, 30cm wide

A vintage Japanese calligraphy scroll.

An African Hardwood and Sable Fly Whisp, with figural terminal; together with three Japanese calligraphy brushes (4)

An Islamic calligraphy panel, framed and glazed. 57 by 19cm

A large Turkish / Islamic brass coffee pot on stand, decorated with calligraphy within panels, the coffee pot 56cms high, the stand 38cms diameter.

An Indian bronze temple Puja oil lamp, the base decorated with stylised fish and calligraphy, 40cms high.

A fine quality Mamluk Damascus ware brass dish with silver overlay decoration depicting fish and calligraphy, 35cms diameter.

An Islamic wooden spoon with calligraphy, a Qajar painted snuff box and other similar items

An Indo-Persian watercolour depicting figures within a roundel and calligraphy, framed & glazed, 12 by 17cms.

An Islamic enamelled mosque lamp with faceted glass inserts and calligraphy decoration, 41cm high together with an Indo Persian, enamelled box and cover, decorated animals and flowers within panels on a deep blue ground, 19cm diameter (2)

A late 19th century Egyptian Khayamiya cotton appliqué calligraphy panel in blue, red and white (formally the property of Captain W E C Terry, 43rd Light Infantry), approx 115 by 250cms.

A Chinese eggshell bowl decorated with birds, flowers and calligraphy, red seal mark to the underside, boxed, 12cms diameter.Condition Reportgood overall condition

A 19th century Chinese silver coloured metal censer and cover with stylised fish handles and finial on tripod dragon legs, decorated a bird and flowers and calligraphy within an oval panel, 37cm high

A Chinese republic vase, decorated figures and calligraphy and having a four character blue mark to the underside on a hard wood stand, 19cm high. Condition Reportgood overall condition