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Click here to subscribeA Turkish silk Kayseri rug, Central Anatolia, last quarter 19th century, The central field with three floral medallions surrounded by stylised floral motifs, the floral border with panels of calligraphy, on a blue and ivory ground, 182 x 120cmCondition Report: most fringe is lost, small repair to two corners, minimal wear, no rips, colours are mostly good
‡ ZAO WOU-KI 趙無極 (Chinese-French, 1920-2013) etching with aquatint - Composition I from Randonnées (Rambles), Ågerup 257, signed (in Pinyin and Chinese) and dated in pencil 74, unumbered, (pl) 24 x 18.5cmsProvenance: private collection MonmouthshireAuctioneer's Notes: This composition is the first of five created for the book Randonnées (Rambles) by Roger Caillois. It was printed by Atelier Bellini and published by Yves Rivière in 1974. There were also three artist’s proofs and 4 hors commerce (out of trade) impressions on Japan paper. A master of post-war art and among the highest-selling Chinese painters of his generation, Zao Wou-Ki synthesized tenets of modernism, calligraphy, and traditional Chinese landscape painting. Using primarily oil paint, watercolor, and eventually ink, Zao developed a unique style defined by contrasting colours, intense linework, and lyrical abstraction. Like traditional Chinese landscapes, Zao’s paintings function as fragments of larger scenes and possess a fluidity, transparency, and graceful luminosity that reflect the interior energies of the artist himself. Zao cited Paul Cezanne, Henri Matisse, and Pablo Picasso as early influences. In 1948, he moved to Paris, where he immersed himself in the city’s avant-garde scene and befriended artists including Alberto Giacometti, Joan Miro and Sam Francis. During his lifetime, Zao exhibited worldwide. He received the Japan Art Association’s Praemium Imperiale Award for Painting and the Ordre national de la Légion d’honneur. Today, his work can be found in the collections of the Louvre, Pomidou Centre, the Gudggenheim Museum, the Metropolitan Museum of Art, and the Tate.Literature: Ågerup, J. (1994). Zao Wou-Ki - The Graphic Work - A Catalogue Raisonné 1937-1995, Copenhagen: Heede & Moestrup.Comments: glazed ready to hang
2 boxes of mostly Irish interest. Box of Book Studies including Concise Dictionary of Irish Biography by Crone.1928 [scarce]]; History of Dublin University Press by Kinane, Catholic Printing in Dublin; , History of Marsh’s Library; Irish Character in print etc. plus good Republican and calligraphy. Circa 50 books
A Chinese silver bowl, late Qing dynasty, circular, richly chased with a wide band of flowers enclosing a vacant shield, stamped mark in Chinese calligraphy Gan Sheng, Hong Kong and YOK SANG, Shanghai, 20.5cm diameter, 578 grams 晚清 鏨花銀碗 Condition Report: in good condition commensurate with age Condition Report Disclaimer
In the style of Lin Hunyin (1904-1955), Fish, signed and with one seal of the artist, accompanied with a separate section of calligraphy signed Liang Sicheng, ink and colour on paper, scroll, picture size 26.5cm x 18.5cm林徽因（款）《遊魚圖》設色紙本 捲軸 Condition Report: minor foxing and splits to the edgesCondition Report Disclaimer
A Chinese red silk wall panel, Qing dynasty, circa 1880, depicting a prominent rock with tree peonies, bamboo, blossom and birds and with calligraphy, with a fret border interspersed with Pekin knot flowers and gold thread bats, approximately 230cm x 43cm Provenance: By Family descentMme Marie Violet who was a private collector circa 1890-1915晚清 紅地緞繡花鳥掛屏拍品來源：瑪麗·維奧萊特 (Marie Violet) 女士家族傳承，入藏於1890 年至 1915 年間 Condition Report: overall in very presentable condition slight loss of gold thread on bottom left hand corner other minor damages Condition Report Disclaimer
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.
NO RESERVEKITAO SHIGEMASA (1738-1820) NISHIKAWA SUKENOBU (1671-1751) AND OTHERS EDO PERIOD, 18TH/19TH CENTURY A collection of six Japanese woodblock prints from e-hon (printed books), the first a diptych by Kitao Shigemasa of the hero Minamoto no Yorimitsu; two by Nishikawa Sukenobu, one depicting travellers taking refreshments, with long lines of calligraphy above, the other with a woman and child standing beside a stand; two other prints variously depicting figures, and the last a theatre programme, 36.5cm x 29.1cm max. (6) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: an English private collection, Devon.
NO RESERVEKATSUKAWA SHUNSHO (1726-93) POETS EDO PERIOD, 18TH CENTURY Four Japanese woodblock prints from the series Hyakunin Isshu (One Hundred Poems by One Hundred Poets), each depicting a figure with calligraphy above, one a portrait of famous female writer Izumi Shikibu (976-1030); together with an anonymous drawing in sumi ink of a man striking another whilst his female companion hides behind him; all framed and glazed, 22.8cm x 15.8cm max. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the Milne Henderson Collection of Japanese Art.
3x Fishing Prints / Pictures - all from Sweets Tackle Shop Usk to include a hand calligraphy fishing poem 1980 titled The Beautiful Blagdon by J Hammer - size #38cm x 79cm, a print of the Salmon 68 ½ lb taken out of the river Usk 1782-37cm x 64cm, and a Lionel Sweet fishing portrait with 5 Salmon taken from the River Usk 1923 - size 44cm x51cm, all framed under glass (3)
A Persian Faience Ewer, in 12th century Mina'i style, of ovoid form with knopped cylindrical neck and loop handle, painted with a band of calligraphy over a panel of five figures22.5cm highA Kashan Blue-Glazed Bottle Vase, with wrythen-moulded panels28cm highThree Various Persian Bowls and A Small Dish, with incised geometric decoration picked out in green and manganese glazes (6)
A Cairoware Box and Cover, late 19th/20th century, of oval section baluster form, inlaid in copper and silver with panels of calligraphy and strapwork14cm highA Similar Cylindrical Box and Cover9cm highA Similar Squat Ovoid Bowl15cm diameterEleven Various Circular Bowls13cm diameterThree Various Small PlatesFour Zarfs (qty
An Indian Brass Ewer, 20th century, of flattened baluster form with mythical beast handles and with raised bosses applied with cabochons, marked SCHOOL OF ART JEYPOUR28.5cm highA Cairoware Vase, late 19th/20th century, of pear form with flared neck, inlaid with calligraphy, strapwork and latticework31cm highA Similar Miniature Ewer7.5cm highTwo Small Bowls13cm and 11.5cm diameterA Coffee Pot18.5cm highA Conical Vase13cm high (qty)Cairoware vase - foot quite badly mishappen and hence rocks slightly when stood, numerous other dents around. No splits, holes or repairsOther items in the lot reported
A Pair of Chinese Porcelain Incense Holders, 20th century, as caprisoned elephants, painted in famille rose enamels 19cm high Provenance: labels for the Allen Collection A Faux Bois Saucer, painted with wood grain effect and a gilt roundel with calligraphy, four character mark to the reverse 13cm diameter (3) Elephants - some restorationSaucer - good condition
A Pair of Cairoware Baluster Vases, late 19th/20th century, with trumpet necks, inlaid in copper and silver with panels of calligraphy and strapwork within bands of scrolls30cm highA Similar Vase23cm highAnother16cm highA Pair of Pear-Shaped Vases19cm highA Small Bottle Vase9.5cm high A Silver-Inlaid Copper and Enamel Bottle Vase29cm high (8)
A Cairoware Large Tray, late 19th/20th century, of circular form, inlaid in copper and silver with a central panel of calligraphy and scrollwork within four further panels of calligraphy and on a ground of geometric panels with scrolls and strapwork74cm diameter, with turned folding six-legged stand
A Cairoware Circular Tray, late 19th/20th century, inlaid in copper and silver with a central foliate roundel within shaped panels of calligraphy and panelled border32cm diameterA Similar Smaller Tray25.5cm diameterA Silver-Inlaid Circular Tray, with geometric decoration within a calligraphic border32cm diameterA Silver-Inlaid Copper Alloy Tray, with panels of calligraphy on a foliate scroll ground30cm diameter (4)
A Chinese Soapstone Hand Seal, late Qing Dynasty, carved with figures on a rectangular base inscribed with calligraphy, the matrix with further calligraphy10cm highA Chinese Rootwood Carving of a Water Buffalo, late Qing Dynasty, recumbent, a boy on its back, with glass eyes and bone teeth, incised two-character mark33cm long, on foliate carved and pierced hardwood standA Silver-Metal Figure of a Bearded Man, playing bowls6cm high (4)Seal - numerous surface scratches and some minor edge chipsBuffalo - boy missing right ear, some surface wear and scratchesBowler - wesar and small surface dents
Two biographical sets and sixteen Thames & Hudson presentation volumes: 1. J. Ewing Ritchie - 'The Life and Times of the Right Honourable William Ewart Gladstone', in six volumes (The London Printing and Publishing Company, London); 2. F. W. Farrar - 'The Life and Work of St. Paul', in four volumes (Cassell & Company, London). 3. The sixteen annual Walter Neurath Memorial Lectures (1969-1986) in slipcases and comprising: Nikolaus Pevsner - Ruskin and Viollet-le Duc: Englishness and Frenchness in the Appreciation of Gothic Architecture (1969); Peter Murray - Piranesi and the Grandeur of Ancient Rome (1971); Glyn Daniel - Megaliths in History (1972); John Summerson - The London Building World of the Eighteen-Sixties (1973); Michael Sullivan - The Three Perfections: Chinese Painting, Poetry and Calligraphy (1974); C. V. Wedgwood - The Political Career of Peter Paul Rubens (1975); E.H. Gombrich - Means and Ends: Reflections on the History of Fresco Painting (1976); J. R. Hale - Renaissance Fortification: Art or Engineering? (!977); Stuart Piggott - Antiquity Depicted - Aspects of Archaeological Illustration (1978); Kenneth Clark - What is a Masterpiece? (1979); Roy Strong - Britannia Triumphans; Inigo Jones, Rubens and Whitehall Palace (1980); Michael Levey - The Painter Depicted - Painters as a Subject in Painting (1981); H. C. Robbins Landon - Mozart and the Masons: New Light on the Lodge 'Crowned Hope' (1982) David M. Wilson - The Forgotten Collector; Augusts Wollaston Franks of the British Museum (1984); Lawrence Gowing - The Originality of Thomas Jones (1985); John Rewald - Cezanne, the Steins and their Circle (1986).
A set of three Chinese porcelain famille jaune dishes - first half 20th century, of shallow cupped form with a circular foot, printed seal marks, with four circular reserves with iron red and gilt calligraphy, on a yellow enamelled ground with flowers, gourds and leafy scrolls, below a polychrome keywork band, 15 cm diameter, 4.2 cm high; together with a similar, larger dish, with painted four-character Qianlong mark but 20th century, painted with four four-lobed floral reserves on a yellow enamelled ground decorated with lotus flowers and polychrome leafy scrolls, below a Greek key band, 24.5 cm diameter, 6.2 cm high, chip and hairline crack to rim. (4)* Condition: Three small dishes - a little gilt wear, otherwise in good condition, with no chips, cracks or restoration. The large dish has a chip and hairline crack to the rim, plus several small glaze frits elsewhere to the rim.
A RARE JAPANESE ILLUSTRATED NOH POEM ALBUM, 18TH CENTURY. Containing six different images made up of a variety of techniques including wood, gold and silver appliqués. Each image includes a Noh poem written in exceptionally fine calligraphy. Dimensions: 39cm (15.25 inches) x 30.5cm (12 inches). Provenance: From the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton. Fairly extensive worm damage to pages.
Ōtagaki Rengetsu (1791 - 1875)A Japanese ink on paper painting mounted as hanging scroll, depicting a samurai with boy under a section of calligraphy, probably a waka poem, 91 x 28cm, with a Japanese wood box; and a Japanese hanging scroll mount. Condition Report: Creasing to the painting and mount, minor foxing to the mount. Holes to the top of the mount, a tore to the left side of the mount.
Four Chinese paintings by Shen Yan, two calligraphies and a Japanese painting Comprising: four paintings by Shen Yan, depicting various subjects including prunus, bamboo, yellow flowers, birds perching on bamboo branch, ink and ink and colour on paper, each signed by the artist, three with seals, 95 x 30.5cm, 94 x 42cm, 93 x 30cm; a red ground calligraphy dated 1974, 129.5 x 33cm; an oracle script calligraphy by He Weifeng from Shunde, 93 x 23cm; and a Japanese painting of mountainous landscape signed by the artist with three seals, 132 x 34.7cm (7).二十世紀/明治 沈雁繪畫四副，書法兩幅，及日本畫一幅 Condition Report: Paintings by Shen Yan:Yellow flowers: staining, minor foxing and creasing to the mount and painting.Birds on bamboo: creasing, foxing to the mount and painting, fraying to the edges of the mount. Prunus: damage to the top of the mount, two torn areas to the mount, the longest of approx. 6.5cm. Foxing and creasing to the painting and mount.Bamboo with flower: a teared area to the mount, of approx. 6.5cm long. Red ground calligraphy: molding to the mount, creasing to the mount and calligraphy.Oracle calligraphy: significant creasing to the calligraphy and mount, foxing through out, water stain to the mount.Japanese painting: fraying to the mount, yellowing and creasing to the mount and painting, minor foxing to the painitng.
Tetsuryo Myoan (1705-1779) A Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reading: I sit on great courage peak, signed Jotoku Myoan with three seals, 128.5 x 25.5cm, with a Japanese wood box.cf. Tetsuryo Myoan was a monk of the Soto Zen school, he was a monk rotated in various temples including Ko'un - ji in Nagano, Zensho-ji in Shiga, Teisho-ji in Nagano, Jotoku-ji in Shiga, Myoko-an in Noto, Ishikawa.Condition Report: Loss to the top right corner of the paper and fraying throughout the painting, Minor creasing and staining to calligraphy and mount commensurate with age. This calligraphy has been remounted.
Hakuin Ekaku (1685-1768)Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reading: I devote myself to the Lotus Sutra, with seals reading Rinzai shoju, Hakuin and Ekaku, 98 x 18.5cm.Provenance: Christie's auction, sale 2725, 18 September 2013, lot 558.Condition Report: The calligraphy has been remounted, and probably has been trimmed. Restoration to top section, creasing and staining to the paper.
Dogen Jinmyou (1876-1966)Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reads: the wind of love is born naturally, signed with three seals, 33 x 45cm, with a Japanese wood box. cf. Dogen Jinmyou was born in Kyoto Miyazu, he was the 52th superintendent priest of the Obakusect Manpuku-ji.
Bunsho Kasumi (1905 - 1998)A Japanese Zen calligraphy, ink on paper mounted as hanging scroll, transcription reading Cranes makes a nest to the pine which passed through 1000 years, 191 x 22.5cm, with a Japanese wood box.cf. Bunsho Kasumi was born in Gifu prefecture, he was the abbot of Kaisei-ji of Nishinomiya and superintendent priest of the Myoshin-ji in Kyoto, Japan.
Illuminated manuscript. Missa Beatae Virginae et aliae Orationes, Bologna, 1494, [ii] 145 [ii] leaves, illuminated manuscript on vellum, Rotunda Italiana script in Latin, 11 lines per page, leaf 31 with full page illumination depicting the Virgin and the Infant Christ within full-page border, scrolling decoration at head and foot on a red and green ground, urns and flowers with jewels and pearls on a deep blue ground, shield at foot azur an eagle or with initials N.M., leaf 66 with elaborate illuminated 5-line D with stave of flowers, leaves, scrolls, jewels and pearls on crimson, blue and gold grounds, one-line crosses in red and blue, some rubrics in Italian towards the end, 2-line liquid gold illuminated letters on red, blue and green grounds with scrolling decoration, initial letters with traces of gold, partially rubricated, title and ex libris of Isabella Sofia Commercati (circa 1800) added to the recto and verso of the first and last leaves respectively, 20th century bookplates of Pamela and Raymond Lister and Michael Tomkinson, occasional slight marginal soiling, small oil-stain to blank outer corner of last three leaves, blue watered silk endpapers, all edges gilt, early 19th-century black morocco with quadruple-rule in blind, the upper panel stamped with the arms of the Malpassuti (di Tortona) family, 12mo (66 x 95 mm), contained in folding boxQTY: (1)NOTE:Provenance: Malpassuti family of Tortona, Lombardy (armorial binding); Michael Tomkinson; Pamela and Raymond Lister. Isabella Sofia Comercati not traced.An attractive pocket-sized liturgical work. Folios 1-19 contain a calendar of saints, amongst which are Saint Petronius, indicating a Bolognese provenance, Mark the Evangelist and the apostle Barnabas. Folios 20-51v comprise the Mass of the Virgin. The Confiteor, Misereatur and Blessing are followed by the Pericopes arranged in chronological order (John 1, 1-14; Luke 1, 26-37; Matthew 2, 1-12; Mark 16, 14-20). The striking and colourful fullpage illumination marks the start of the Mass of the Virgin. It opens with psalm 44, before moving onto a farced Gloria with additional tropes specifically for the Marian mass, a collect, epistle, gradual, the Nicene Creed, Ave Maria, Eucharistic prayer II, the Preface of Mary, Sanctus, Agnus, Benedictus, Salve Regina, the Marian antiphons, Psalm 90, prayers of Saint Augustine, and on the Passion. Folios 51v-81 contains the prayers of Saint Bridget on the passion of Christ and 81v-85 the prayers of Saint Anselm. Folios 86-134 contain the seven penitential psalms and litanies beginning with a fine elaborate illuminated letter, then follow prayers of Saint Bernard on folios 135-138r. Folios 138v to the end give the prayers used at the Lateran Basilica in Rome and for papal indulgences.Originally written for ‘Jacopo’ (whose name appears several times in the text in the same hand), the reference to Saint Anselm dates the book to after 1494, when Anselm was canonized by Pope Alexander VI. The small size of the book indicates private use, and the arms and initials within the fullpage illumination a lay origin. The clear and elegant calligraphy – the very regular rotunda script indicating a high-end scribal production for a wealthy patron – and style of illumination point towards by the circle of the famed calligrapher Sallando – though this is not his hand – and the illuminator Marmitta, both of whom were working in Bologna from the last decade of the 15th century, and who made use of a palette of strong, dark colours and foliage. The N.M. monogram at the foot may indicate an earlier member of the Malpassuti family.
A Chinese blue and white vase, 19th c or later, painted with the eight immortals in a continuous landscape, the diaper shoulder reserved with the four friends, the waisted neck with bamboo, 32.5cm h, Yongzheng and two other square marks, circumscribed by calligraphy in underglaze blue Undamaged, no restoration
ink and acrylic on paper, 123 by 123cm Provenance: Michael Goedhuis Footnote: Born in Datong, Shanxi, in 1964, Wei Ligang has been at the forefront of contemporary ink painting’s development on the mainland, and he was one of the organizers of the June 1999 “Bashu Parade: ’99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the 20th Century” exhibition. In 1981, at the age of 17, Wei was admitted to Nankai University in Tianjin to study mathematics. He became the president of the calligraphy society at the university, which enabled him to connect with leading local calligraphers. After graduating in 1985, Wei was assigned to teach mathematics at the Teachers’ Training School in the industrial city of Taiyuan, but he succeeded in persuading the school to allow him to teach calligraphy in 1988. Wei Ligang moved to Beijing in 1995 to concentrate on his art. His training in mathematics has contributed to his abstract form of calligraphy. Many of his works are based on “Wei Squares,” a formula inspired by the square framework printed on practice paper for the characters that students copy repeatedly when learning calligraphy. Different from his gold-ground paintings, in which individual brushstrokes are not discernible, the Wei Square calligraphic paintings subtly combine painting and calligraphy: the density of ink ranges from solid black with dry brushstrokes to pale greys. Wei Ligang constantly deconstructs and re-forms the characters in his paintings while hinting at traditional script-forms (such as formal, running, or “grass” script), thus declaring his deep roots in Chinese culture. His works were included in the pioneering exhibition organized by Gordon Barrass at the British Museum in 2002.
ink on xuan paper, 96.5 by 180.3cm Provenance: The Origo Collection. Michael Goedhuis Published, Illustrated and Exhibited: Jason C Kuo, Chinese Ink Painting Now, New York, 2010, p.144, where the author notes that Zhang Dawoo was born in Beijing in 1943, and has been actively involved in the modern calligraphy movement. Coming from a cultivated family, Zhang had an unhappy childhood as his parents separated when he was three. In his early teens, Zhang lived in Tianjin with his father, who was a professor of English at Nankai University. During this period, Zhang studied with two master calligraphers, Li Henian and Wu Yuru, which built a solid technical platform for his later development. From 1963 to 1979, Zhang lived in the northeast of China, and the wild landscape he saw there greatly increased his appreciation of art stimulated by nature. After the Cultural Revolution, Zhang returned to Beijing in 1979; he began teaching calligraphy, and in the mid-1980s trying novel effects. In 1992 he set off for Tasmania, where his innovative calligraphic experiments developed. Since then Zhang Dawo has lived and worked in both Beijing and Australia. This led to his work being included in the pioneering exhibition of calligraphy organized by Gordon Barrass at the British Museum in 2002. The rugged landscape in Tasmania has become an endless inspiration for Zhang’s later works, in which he continues to explore the spatial arrangements and chromatic possibilities of Chinese calligraphy, attempting to render it relevant to modern viewers, wherever they’re from.
comprising: a cream jade ring carved in low relief with a string of coins, 2.5cm high; a greyish-green jade ring carved in low relief with an archaistic taotie band between key-fret bands, 2.4cm high; a mottled cream and brown jade ring carved with a band of calligraphy, 2.5cm high; and a mottled brown and cream jade ring carved in low relief with a dragon, 2.1cm high Provenance: The ring with carved string of coins, acquired from Frank Ormonde, 1992.
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![2 boxes of mostly Irish interest. Box of Book Studies including Concise Dictionary of Irish Biography by Crone.1928 [scarce]]](https://cdn.globalauctionplatform.com/552239d1-41b1-4a9e-9d86-b176011b1b2c/cdaaebca-0049-4a34-ba0f-b17601217e90/468x382.jpg)
![Illuminated manuscript. Missa Beatae Virginae et aliae Orationes, Bologna, 1494, [ii] 145 [ii] leaves, illuminated manuscript](https://cdn.globalauctionplatform.com/dd84a124-1580-49ca-a704-b13201270f77/f60f1f2d-c7d8-4c44-bbf9-b16200a8f88c/468x382.jpg)
