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Panel of calligraphy from an Ottoman Muraqqa, in Arabic, illuminated manuscript on green paper [Ottoman Turkey, dated 1277 AH (1859-60 AD)] single leaf, text split into three panels, the top containing a single line of large muhaqqaq, the second with three lines fine of black naskh and the third with a smaller text panel containing the signature and date (this rather scuffed and illegible), gilt decorations and floral devices adorning the first and second panels, leaf rather rubbed with loss to text on lower panels and some outer margins, 140 by 210 mm.; in modern card mount, framed and glazed

Three fine calligraphic leaves from the Gelpke Album, in Arabic and Farsi, illuminated manuscripts on paper [Timurid and Safavid Persia, sixteenth and seventeenth centuries] three loose leaves, comprising: (i) a Timurid panel of calligraphy formed of two lines of large black thuluth framed around two smaller lines naskh, all outlined in clouds against a gold background, ruled in red, rather rubbed, with lines of Persian verse to the reverse in blue gold and black nasta'liq, with very decorative pink margins painted with delicate gilt spiralling flowers and vines; (ii) large panel of 18 lines of black naskh, signed Abd'ullah at the end of the colophon, two sections in slightly varying naskh scriptions written diagonally, reverse similar to item "i" above; (iii) panel with 12 lines of black nasta'liq in one and two columns, with three panels of verse above and below the text-block, gilt decorations to the margins, reverse from a similar manuscript with 12 lines of black nasta'liq in one and two columns, with a single line of larger nasta'liq both above and below the text-block, margins also painted with gilt decorations; all with a little surface soiling, overall very presentable leaves, each c. 290 by 175 mm.

Calligraphic quatrain of poetic verse, in Farsi, illuminated manuscript on paper, from a Safavid album [Safavid Persia, probably late seventeenth century] single leaf, depicting a single quatrain (four lines)of elegant black nasta'liq calligraphy, in cloud-shaped outlining margins with a gilt background, framed within multiple coloured banners of blue pink and green, each decorated with a gilt foliate design, outer margins also decorated with gilt patterns or spiralling floral vines, some light rubbing and surface soiling, mounted on thick card, in card mount, 395 by 257 mm.

Nasser Assar (Iran, 1928-2011)Mystical Sunset oil on canvas, framedsigned 'N.ASSAR' and dated '66' (lower right), executed in 1966 147 x 89cm (57 7/8 x 35 1/16in).Footnotes:Provenance:Property from the estate of a distinguished Iranian academic, CaliforniaShimmering, delicately rendered and enigmatic, Nasser Assar's 'Mystical Sunset' is one of the largest and most powerful canvases by an artist whose works were squarely inspired by a combination of Eastern painterly traditions and Western Abstraction. Reflecting a tender and meditative appreciation of nature, Assar's rosy bucolic Sunset recalls the placid and sympathetic depictions of the sunset over Mount Fuji by the revered Japanese print-maker HokusaiBorn in Tehran in 1928, Nasser Assar is one of the most seminal protagonists of the Iranian modernist movement. His works mark both a compositional departure from the academic formalism of the turn of the century, and a clear thematic circumvention of the dominant neo-traditionalist orthodoxy of his time. His migration to Paris in the 1950s coincided with a critical juncture in the progression of European modernism. Still in its infancy, the French post-war art scene eventually gave rise to the establishment of Tachism and Lyrical Abstraction, movements which heavily influenced the work of Assar. However, whilst operating alongside luminaries such as Tapies, Fautrier, De Stael and Wou Ki, Assar still developed a unique and distinctive style of abstract expressionism which was neither derivative nor imitative of his European counterparts.Assar's canvases are wrought with a strong sense of conceptual duality derived from the inner-collation of calligraphy and landscape. Taken compositionally, Assar's depiction are built up of pseudo calligraphic oriental letterforms set in an ethereal, polytonal landscape. Yet within the composition itself, letterforms and natural forms are inseparable, having seamlessly permeated their surroundings. This unrestricted oscillation between world and environment, aside from being technically progressive, itself serves as an aesthetic device for the expression of a far more profound artistic impulse whose genesis is found in the Zen calligraphy whose influence is so evident in Assar's work.In the Zen Buddhist tradition, performing calligraphy, or hitsuzendo, is a meditative practice seminal towards the attainment of spiritual unity with the divine. In light of the universality of his practice, the language in which the calligraphy is composed becomes irrelevant, and Assar's choice to diverge from his native Persian, far from being an act of disregard, is merely an aesthetic affirmation of his belief in the transcendental and universal characteristics of divine truth. Concurring with the Sufi tradition, this entails an understanding of the world which treats worlds, languages and systems of communication merely as names and symbols for illusory, transient, material objects, which cast a deceptive veil of sense experience over the unified, absolute, and singular underlying spiritual reality. It this underlying reality which Assar attempts to penetrate, by demonstrating that the material landscape of our world is purely an artefact of our linguistic habits, and not a source of absolute truth. This is all achieved within an aesthetic which is both technically proficient and visually diverse, and whose freedom of hand evolves a spontaneity which is at once expressive and unrestrained.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Ahmad Shibrain (Sudan, 1931-2017)Letters from Khartoum mixed media on paper, framedsigned in Arabic (lower left), executed circa 197036 x 36cm (14 3/16 x 14 3/16in).Footnotes:Provenance:Property from a private collection, CumbriaPurchased directly from the artist by the above, who was a teacher at the University of Khartoum in the late 1960'sAhmed 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.'As students, we used to rush into the other art studios, but entering his studio, we were always well-prepared as we felt that we were in the presence of creativity and achievement. He used to spend 10 minutes with each student, discussing their creative productions. Those 10 minutes were more than enough to feed us for the whole week, as they were so deep and interesting. Shibrain was fully aware of our potential and was the flaming fire that fed our creativity. We, as students, felt that he was living this 'age of the arts', and that he was always up to date and fully aware of where the arts was going' -Professor Hussein JumaanThis lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)Amulet for the Cipher of Secrets oil on canvas, framedtitled on the verso, signed and dated 1971, further authenticated on the verso, executed in 197180 x 80cm (31 1/2 x 31 1/2in).Footnotes:Provenance:Property from a private collect, AmmanAcquired directly from the artist by the present owner'In the introduction of the exhibition catalogue of a show I had in Washington D.C. that talked about the use of calligraphy in my works, the curator wrote that he could not see Arabic calligraphy in my works but rather a series of 'signs'. That statement gave me more confidence in what I was doing. By trying to produce an art that is accessible to everyone I was not only attempting to bridge the contemporary and the ancient, but also to bridge Western and Eastern art'- Dia AzzawiDia Azzawi is Iraq's foremost living Modern Artist.The present work a superlative manifestation of the artist's work incorporating Arabic letter-forms and numerals. In this painting, the outward beauty and decorative scheme of the composition mask the symbolic significance of the characters depicted. In the medieval era, numeral and textual calligraphy served an important spiritual function in traditional Sufi practice. Numerological characters formed both mystical talismans and secret languages which Sufi dervishes used as forms of coded communication. A belief in the divinity of number, as expounded by mystic philosophers and scientists like Al-Farabi and Ghazali, coupled with the notion that mathematics was an artefact of heavenly order, led to complicated numerological charts, treatises, and codes being used both as tools of spiritual understanding and as objects of talisman worship. Azzawi's homage to the archaic ritual of mystical numerology, however, is related through a distinctly modern artistic agenda. The numeral forms themselves no longer serve their traditional purpose, and are therefore reduced to visual remnants of a redundant practice. With this gesture, Azzawi reminds us that practices that once served as a cultural backbone of Muslim society are now fragments of history, worthy of aesthetic recollection but not of functional application.This lot is subject to the following lot symbols: * AR P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

A Qur'an leaf written in kufic script on vellum Near East or North Africa, 9th CenturyArabic manuscript on vellum, 7 lines to the page written in bold kufic script in brown ink with vowel points in red, one verse-marking consisting of three small gold dots in a triangular formation, losses to edges 195 x 292 mm.Footnotes:TextSura II, al-Baqarah, The Heifer, part of verse 259 to part of verse 260.Leaves from this dispersed Qur'an manuscript are notable for their strong and disciplined hand, as well as the strong, exaggerated mashq present here, indicative of 'perfect mastery of the pen' (François Déroche, The Abbasid Tradition, London 1992, p. 69). Other sections from this Qu'ran are in the Chester Beatty Library, Dublin, The Iran Bastan Museum, Tehran (Ms. 4289: see M. Lings, The Qur'anic Art of Calligraphy and Illumination, Westerham 1976, no. 5), and the Pars Museum, Shiraz.Various other folios from this Qu'ran displaying the same features have appeared at auction: see for example, Sotheby's, 24 October 2007, lot 4; two leaves, 9th April 2008, lot 13; 1 April 2009, lot 2; 14 April 2010, lots 1 & 5; 5 October 2011, lot 54; a bifolium, 24 April 2013, lot 3; 20 April 2015, lot 2; 19 October 2016, lot 152.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

A TRAY CONTAINING VARIOUS COLLECTABLES TO INCLUDE THIMBLES, CALLIGRAPHY PENS AND NIBS, WATCH FACE, BRASS ETC

Calligraphy & Private Press.- Hewitt (Graily, novelist and calligrapher, 1864-1952) Truth, calligraphic manuscript word "Truth" on a foliate background with gold decoration and an eagle flying above, manuscript word and decoration on vellum, laid down on card, card splayed, pencil inscription on verso: "Original script by Graily Hewitt", 155 x 245mm., n.d. [c. 1920]; and a small quantity of letters and postcards from various Private Presses and artists to William Downing bookseller, including: St John Hornby, Joseph Southall, Cobden Sanderson, Fritz Lensvelt (pen and ink design for a bookplate), James Guthrie, Emery Walker, M.H. Spielman etc., v.s., v.d. (c. 35 pieces).

Calligraphy.- Senault (Louis) Heures Nouvelles dediées a Madame la Dauphine, first issue with dedication and with head-piece of sirens on p.210 revealing their breasts (covered in later issue), finely engraved throughout with ornamental borders, vignettes, head- & tail-pieces and pictorial initials, no p.47 as correct but lacking g2 & 3 (pp.223-226, p.223 is apparently numbered twice, first present), very occasional light marginal soiling, book-label of James Stevens-Cox, handsome late nineteenth century dark blue morocco, ruled in gilt with simple strapwork design forming a diamond panel, spine with compartments of gilt-ruled diamonds and five raised bands, inner gilt dentelles, g.e., very slight rubbing to corners but a lovely copy, [Bonacini p.308; cf. Cohen-de Ricci 487, later variant printed by Hansy], 8vo, Paris & Versailles, chez l'Autheur..., [before 1690].⁂ Exquisite calligraphic prayer book beautifully illustrated with charming decorations of flowers, birds etc.

Calligraphy.- Seddon (John) and George Shelley. The Penman's Magazine: or, a New Copy-Book, of the English, French and Italian Hands, after the Best Mode...Supervis'd and Publish'd by Thomas Read..., comprising letterpress title (cut in two with upper half bound at beginning and lower half at end), additional engraved title and 29 plates including dedication in 2 parts (?only, ?of 32), possibly lacking other leaves (?preface and 4pp. text), contemporary ink inscription "[?]In.o Aldes Gloucester" to title, rather soiled and stained, some tears or fraying, unbound but spine crudely reinforced with old cloth, oblong 4to, printed, and sold by J.Holland [&c.], 1709; sold not subject to return⁂ Originally published in 1705, in folio format with 2 plates to each sheet and a leaf of verse by Nahum Tate. In this copy the sheets have been cut in two and plates bound separately (as in the 1705 Macclesfield copy); the poem is not present. The 1709 edition is not recorded by ESTC or Library Hub but WorldCat lists 3 copies in North America.

A Chinese Republican ovoid vase with its original lid decorated with foo dogs and calligraphy (circs 1910). 30x20cm.

Carved wood figure of a standing bear, various other carved wood items, Chinese calligraphy pen, wooden bottle caskets etc

Four porcelain plates Chinese, 20th century decorated with landscape scenes, each with calligraphy to the front, the bases with iron red Zhongguo Jingdezhen mark 27cm across (4)

Four scrolls Chinese variously painted with lotus flowers, hawks and calligraphy, one bears the seal of Chen Shi

Collection of white metalChinese, 20th Century to include a pagoda, with hanging ornaments to the sides 12.5cm high and two lidded white metal boxes with Chinese calligraphy to the top 3.5cm x 8cm (3)

Plated trophy cup Chinese, 20th Century engraved to one side depicting birds in flight, the other side with calligraphy 18.5cm high

Group of pieces Chinese including a pair of green ground cloisonne vases and covers,17.5cm high, a Peking stitch cap, stands and various ink and calligraphy sets

Five cased ink stones Chinese, 20th Century all with gold calligraphy to one side, the other sides depicting scholars, in a custom made lacquer box 24cm x 14cm together with two ink stones in a custom made boxProvenance: By direct descent of Katherine Talati. Born in 1922 in Beijing Katherine received private painting lessons with Prince Pu Quan,(great grandson of the Emperor Daoguang) from 1945 until her departure to London in 1948. Her paintings are evidence of her fully accomplished technical skills in Chinese painting after having studied with Pu Quan and various teachers in Beijing prior to her departure.

A quantity of Oriental collectables to include a Yixing type teapot, the bisque body in beige, terracotta and blue hues, with raised bamboo and blossom decoration and seal mark to base, 17.5cm x 9cm, a 20th Century Chinese vase with decoration of a peacock, with seal mark to base, calligraphy and ruyi head border, 19cm, Hang Seng Bank desk weight and others (10+)

A quantity of Chinese snuff bottles with underglaze blue decoration, including an example with a Long Eliza, an example with a figure leading camels under a gatehouse, one with an attendant presenting an object to a seated figure, another hexagonal example with calligraphy, the tallest height 8cm (9)condition noteoval b/w has some damage to glaze, two with chips to base, others have light marks otherwise ok

Depicting temple lion with cub, 4 sides all with calligraphy carvings, 5 cm. tall.

Toko Shinoda (b.1913) NOH PLAY Lithograph, 1999, signed l.l., numbered 9/50 in pencil, printed by K Kimura embossed l.l. image 35.5 x 25cm approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) FAINT Lithograph, signed l.l., dated and numbered 24/35 in pencil, embossed stamp printed by K Kimura image 26.5 x 35.5 approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) VELOCITY Lithograph, signed l.l., dated and numbered 93/95 in pencil, embossed stamp printed by K Kimura image 25.5cm x 34.2 approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) PROFOUND Lithograph, signed l.r., dated and numbered 47/50 in pencil, embossed stamp printed by K Kimura image 35.2 x 25.3cm approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) HOMAGE painted in Sumi ink, 2009, signed l.r. image 45cm x 31.3cm approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

A R Esaterbrook Relief No. 90 fountain pen, grey; a Parker 45, silver, gold plated fitments; another (faults) a rolled gold propelling pencil; lead holder; a calligraphy pen etc.

Postcards and Silver Jubilee stamps in album and a quantity of calligraphy/drawing pens. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A selection of Staedler drawing pens and Osmiroid multi nib calligraphy pen

A MODERN SQUARE SHAPED GLASS VASE, etched with Chinese calligraphy. 10ins high.

A GOOD 19TH CENTURY ISLAMIC WOODEN CALLIGRAPHIC COFFER, the coffer with brass bound decoration and studs, with front central carved calligraphy, 33cm high x 89cm wide x 37cm deep.

A GOOD CHINESE FAMILLE ROSE YONGZHENG STYLE PORCELAIN PLATE, decorated with scenes of landscapes and peacocks, the upper left section with calligraphy, the base bearing a yongzheng mark. 14cm diameter.

TWO 19TH / 20TH CENTURY CHINESE FAMILLE ROSE PORCELAIN SNUFF BOTTLES, one with a coral red ground with roundel panels depicting floral display and calligraphy, the base with a seal mark 7.5cm high. the other with twin panels of boys playing, gilt highlights, yongzheng mark to base, both with stoppers,

A GOOD 19TH CENTURY ISLAMIC SILVER & COPPER INLAID BRASS CALLIGRAPHIC TRAY, with chased decoration and inlaid calligraphy, 34cm diameter

A GOOD CHINESE HANGING SCROLL PAINTING OF A LANDSCAPE, the paining depicting scenes of a native landscape with calligraphy to the upper right section.

A CHINESE RU WARE MOULDED CRACKLE GLAZED CALLIGRAPHY DISH, the centre with incised and gilded calligraphy, 19cm diameter.

A GOOD CHINESE REPUBLIC PERIOD FAMILLE ROSE PORCELAIN TILE / PLAQUE, the plaque depicting sprays of native flora and butterflies, with calligraphy and seal marks, 55cm x 31.5cm.

A VERY FINE EARLY 19TH CENTURY PERSIAN QAJAR ISLAMIC HAND CHISELED GOLD INLAID STEEL HUQQA TOP WITH CALLIGRAPHY, on a carved wooden base, 18cm high.

AN 18TH / 19TH CENTURY FRAMED CHINESE PAINTING ON PAPER - BATTLE SCENE - WAR OF JIN JI MOUNTAIN, the painting depicting a famous war in ancient china, with calligraphy reading" war of jin ji mountain", housed in a black painted bamboo style frame, framed: 126cm x 79cm

A GOOD LARGE ISLAMIC SPANISH BLUE AND WHITE POTTERY DISH, depicting a winged serpent with calligraphy border, 43cm diameter.

A GOOD 19TH CENTURY ISLAMIC COCO KASHKOOL, carved with Islamic calligraphy and scroll decoration with two metal hanging mounts, 11.5cm high, 17cm wide.

A 19TH CENTURY OR EARLIER ISLAMIC CARVED COCO KASHKOOL, decorated with carved panels of calligraphy and figures with further decoration of figures and scrolling vine, the base with carved temple scenes, 28cm wide, 13cm.

A GOOD 19TH CENTURY TURKISH / PERSIAN TIMURID TINNED COPPER EMBOSSED JUG, decorated with floral scenes beneath a band of calligraphy and mythical creature handle, 12cm high, 13.5cm wide.

A GOOD PERSIAN SAFAVID MINIATURE PAINTING, depicting seated figures in garden setting between calligraphy, the verso with calligraphy, glazed, 26cm x 17.5cm.

A GOOD CHINESE QIANLONG / QIANLONG STYLE PORCELAIN WALL HANGING VASE, the body with turquoise splash with gilding, the main panel depicting birds amongst native flora, the upper section with Chinese calligraphy, the reverse with hanging groove and turquoise glaze, the base with a four character iron red qianlong mark, 20.5cm high x 11.4cm wide.

A GOOD CHINESE REPUBLIC PERIOD CARVED IVORY TUSK VASE ON STAND, the vase decorated with scenes of boys playing in a landscape setting, the upper right section with chinese calligraphy, fitted to a hardwood carved stand, the tusk itself 19cm high x 11cm wide.

AN EARLY PERSIAN QAJAR HAND CARVED BONE / IVORY DAGGER, with carved decoration of figures and animals, with a panel of calligraphy and a brass chased mount, 40cm long.

AN EARLY QAJAR STEEL DAGGER, the sheath carved with scrolling foliage, the blade with traces of silver inlay and calligraphy, 45cm long

A GOOD 19TH CENTURY PERSIAN PAPIER MACHE PAINTED ROUND PANEL, with calligraphy reading " ali mohammad" the panel depicting hunting scenes with panels of calligraphy, 58cm diameter.

A GOOD 19TH CENTURY QAJAR STAR SHAPED TILE - ALEXANDER THE GREAT, the star form tile decorated with scenes of Alexander the great in a balcony setting, with calligraphy to the side, 39cm both ways.

A 19TH CENTURY SPANISH ISLAMIC CALLIGRAPHIC FRAMED TILE PANEL, with raised calligraphy in blue poly chrome, 20cm x 30 cm

A GOOD PAIR OF ISLAMIC WHITE METAL PIERCED CALLIGRAPHIC PLAQUES, The pair of pierced plaques with Arabic calligraphy, 20.5cm x 54cm

A GOOD 19TH CENTURY MUGHAL ISLAMIC GOLD INSCRIBED KOFTGARI ARCHER'S RING, with three sections of gold calligraphy and a gold inlaid flower with a central ruby-like stone, 4.5cm and the opening approx. 2cm.

A MASSIVE 19TH CENTURY CAIROWARE EGYPTIAN OR SYRIAN SILVER OVERLAID CIRCULAR TRAY / CHARGER, engraved with large motif cartouches with a central roundel of calligraphy, further decorated with scrolling border design, 85.5cm diameter.

A 15TH CENTURY MAMLUK ENGRAVED CALLIGRAPHY BRASS BOWL, 15cm diameter x 7cm high.

AN EARLY ISLAMIC BRONZE TEMPLE BELL/GONG, the lower section with carved calligraphy, 24cm high, 15cm diameter.

A GOOD CHINESE MING STYLE LONGQUAN DRAGON DISH, the dish with decoration of dragons and calligraphy, 24cm diameter.

A 19TH CENTURY ISLAMIC SILVER INLAID BRASS CALLIGRAPHIC DISH, with circular bands of inlaid calligraphy and floral design, 34cm diameter.

A GOOD IZNIK STYLE PORCELAIN TILE, decorated with scrolling foliage and raised calligraphy which proports to read 'Mohammad', 25cm square.