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Click here to subscribeEight various model cars, including Revell 1:43 scale Triumph TR3A, Deetail Cars Ferrari F50 and Oxford Automobile Company Jaguar V12 E-Type, all within plastic display cases.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Nine Vitesse 1:43 scale model cars, including Chevrolet Corvette, Jaguar XK8 coupé and Lotus Elise, all within plastic display cases.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Thirteen Franklin Mint and Danbury Mint 1:24 and 1:43 scale model cars, including Jaguar SS-100, 1968 Chevrolet Corvette, 1934 Packard V12 LeBron and Buick Skylark convertible, mostly boxed with polystyrene packaging.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Ten Corgi 1:50 scale articulated tankers, including No. 76102 Canute, No. 74904 W.R. Wood and CC12006 NTM, all boxed (boxes lightly creased and scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A scratch-built ship's model 'Holmsider', built by Allan Manson, the scale-built tug model fitted for radio control, superstructure 49 x 43cms, full ship 117 x 28cms, with battery remote control, two specially fitted carrying cases, and a file containing blueprints and photographs of the ship's progression and model being built, and other details.
Brass/ iron scale, big size, with on top lion heads, on 4 klauwed legs, class to weigh 20 lb, by: Benfield Hastings, with porcelain bowl, decorated with Justitia and Fides, h. 114 w. 84 d. 33,5 cm.Messing en gietijzeren balans, groot formaat, bekroond met leeuwenkoppen, rustend op zuilvormige stam uitlopen in 4 sprant met klauwpoten, class to weigh 20 lb, adres: Benfield Hastings, met porseleinen plaat met afbeelding van Justitia en Fides, h. 114 br. 84 d. 33,5 cm.
18 boxed Formula 1 racing cars by Minichamps (Paul's Model Art), all 1:43 scale displaying vehicles from 2000-2006 driven by Jensen Button for various teams, includes Benetton Playlife B200, BAR Honda 006 San Marino, BAR Honda 007 'Japan Power' model and Honda RA 107/108 - see photos for all model details (18)
Mixed collection of Formula 1 model cars comprising 4 boxed racing cars by Spark, all 1:43 scale, including Vodaphone McClaren Mercedes 2011, Force India VJM04 2011, Sauber C30 Ferrari 2011 and Lotus 76 1974 Jacky Ickx, together with 11 assembled Kyosho Ferrari racing cars, 1:64 scale, most with information cards, and a model 1956 Ferrari D50 by IXO in presentation tin and with original outer box (16)
A QUANTITY OF ASSORTED TOYS, to include boxed Schuco plastic remote control Porsche 924 Turbo, No.25-8674, 1/20 scale, not tested but appears complete and in fairly good condition, boxed Marx plastic clockwork Midget Racer, not tested but appears complete and in fairly good condition, box damaged, a boxed Knights Head Precision Models Mangle, appears complete with instructions and spanner, boxed Sacul 'The Waggly Duck Family', fairly good condition box damaged, boxed Marx plastic battery operated Traffic Light, box damaged, Schuco plastic battery operated Mercedes Benz 200 Police Car, not tested, missing several parts, boxed Meccano Super Tool Set, unboxed Hong Kong and other plastic and rubber car models etc., Tinkertoy Construction Set (not checked) (2 boxes)
Anselm Feuerbach 1829 Speyer - 1880 Venedig Landschaft, Felsgestein. Um 1857/58. Öl auf Leinwand. Ecker 293. 74 x 62 cm (29,1 x 24,4 in). PROVENIENZ: Kunsthandlung Fritz Gurlitt, Berlin. Privatsammlung Bayern (seit den 1920er Jahren in Familienbesitz). LITERATUR: Hermann Uhde-Bernays, Feuerbach: beschreibender Katalog seiner sämtlichen Gemälde, München 1929, Nr. 158 (m. Abb.). Fotokonvolut: Wolfgang Gurlitt-Archiv, Bildarchiv Foto Marburg, Bilddatei-Nr. fm145146 (www.bildindex.de/document/obj20418121). Anselm Feuerbach erreicht in den 1870er Jahren große Bekanntheit als Vertreter einer neuen Schule mythologisch-literarischer Historienmalerei, wie sie neben ihm die sogenannten Deutschrömer Arnold Böcklin und Hans von Marées aus der Taufe heben. Großformatige Bilder wie „Medea“ (1870, Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München) oder „Iphigenie“ (1871, Staatsgalerie Stuttgart) überführen die Grandiosität und Erhabenheit, die er in seiner Wahlheimat Rom gefunden zu haben meint, in ihr visuelles Äquivalent. Während seiner ersten Studienjahre an der Düsseldorfer Akademie begegnet er Größen wie dem aus dem Umkreis der Nazarener geprägten Wilhelm von Schadow, und dem Vorbild romantischer Landschaftsmalerei Johann Wilhelm Schirmer. Künstlerisch prägend ist für ihn ebenso die Zeit im Pariser Atelier des Historienmalers Thomas Couture. 1855 reist Feuerbach über Venedig nach Rom, wo er sich bis 1872 mit nur vereinzelten kurzen Unterbrechungen aufhält. Feuerbach ist ebenso auf der Suche nach einer Idealität und dem Fortwirken antiker Erhabenheit, wie er sie in den italienischen Menschen – wie insbesondere seiner über alles verehrten Muse Nanna – aber auch in der seit Jahrhunderten dort existierenden Natur zu finden glaubte. So entstehen auch einige Landschaften von mysteriöser Wirkung. Menschenleer und trotzdem auf seltsame Art beseelt in seiner zerfurchten und verschatteten Struktur, in der Hitze vor dem blauen Himmel aufragend scheint der zerklüftete Fels ideale Heimstätte für Wald- und Naturgeister wie Faune und Dryaden. Feuerbachs derzeitige römischer Malerkollege Arnold Böcklin führt diese Vorstellung 1858/1860 mit dem im Schilff versteckten oder aus dem Gestein auftauchenden Pan, einen Hirten erschrecken, malerisch aus. (Neue Pinakotheks sowie Sammlung Schack, München). Im schattigen Gras am Boden liegend und beobachtend, scheint man als Betrachter:in nur auf das Auftauchen der Naturwesen zu warten. Die Landschaft wird – ähnlich wie Feuerbachs Vorgehen in seinen Historiengemälden – trotz ihrer ruhenden Monumentalität zum bewegten Gefühlsträger, in dem sich die Empfindungen des Realen mit dem Idealen und der Imagination zu vermischen beginnen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAnselm Feuerbach 1829 Speyer - 1880 Venedig Landschaft, Felsgestein. Um 1857/58. Oil on canvas. Ecker 293. 74 x 62 cm (29.1 x 24.4 in). PROVENANCE: Art dealer Fritz Gurlitt, Berlin. Private collection Bavaria (family-owned since the 1920s). LITERATURE: Hermann Uhde-Bernays, Feuerbach: beschreibender Katalog seiner sämtlichen Gemälde, Munich 1929, no. 158 (with illu.). Fotokonvolut: Wolfgang Gurlitt-Archiv, Bildarchiv Foto Marburg, image file no. fm145146 (www.bildindex.de/document/obj20418121). In the 1870s, Anselm Feuerbach achieved great fame as a representative of a new school of mythological-literary historical art, which he created alongside the so-called “Teutonic Romans” Arnold Böcklin and Hans von Marées. Large-scale paintings such as “Medea” (1870, Bavarian State Painting Collections, New Pinakothek, Munich) or “Iphigenie” (1871, State Gallery of Stuttgart) translate into their visual equivalent the grandiosity and sublimity he believed to have found in his adopted hometown of Rome. During his first years of study at the Düsseldorf Academy, he met famous artists like Wilhelm von Schadow, who was inspired by the Nazarenes, and Johann Wilhelm Schirmer, the paragon of Romantic landscape painting. His time at the Paris studio of the historical painter Thomas Couture also had a formative effect on him. In 1855, Feuerbach traveled first to Venice and then on to Rome, where he stayed with brief interruptions until 1872. Feuerbach searched for an idealism and a continuation of ancient sublimity which he believed to have found both in the Italian people – especially in his idolized muse Nanna – and in the nature that had survived there for centuries. His search gave rise to a number of landscapes that are imbued with a mysterious effect. Deserted and yet strangely animated in its ragged and shaded structure, towering in the heat against the blue sky, the craggy rock appears to be the perfect abode of forest and nature spirits like fauns and dryads. Feuerbach’s fellow artist in Rome, Arnold Böcklin, painted this concept in 1858/1860, with Pan hiding in the reeds or emerging from the rocks, frightening a shepherd. (New Pinakothek and Schack Collection, Munich). Lying on the ground in the shady grass, looking on, the viewer seems to be waiting for the emergence of the mystical creatures. Similar to Feuerbach’s approach in his historical paintings, the landscape – despite its dormant monumentality – becomes a turbulent vehicle of emotions, merging perceptions of reality with the ideational and the imaginative. [KT] Called up: December 10, 2022 - ca. 15.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Wilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Großherzog Ernst Ludwig von Hessen und bei Rhein. Wohl 1904. Öl auf Leinwand. Vgl. Rohrandt G 278. Rechts oben monogrammiert. 76,5 x 62 cm (30,1 x 24,4 in). Wir danken Herrn Dr. Klaus Rohrandt, Kiel, für die freundliche wissenschaftliche Beratung. Das Werk wird in das Werkverzeichnis aufgenommen. PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Vgl. Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, S. 278. Zur Entstehungszeit dieses Porträts ist Wilhelm Trübner auf der Höhe seines Erfolgs angekommen. Nach seinem Studium in Karlsruhe, München und Stuttgart hatte er auch im Austausch mit Künstlerkollegen wie Corinth, Slevogt und Liebermann zu seinem farbkräftigen und pastosen, breiten Stil gefunden, der nicht nur seinen Landschaften eine prägnante Kraft verleiht. 1904 ist er Direktor der Karlsruher Kunstakademie, an der er ebenso 1903–1917 als Professor lehrt. Für den Großherzog Ernst Ludwig von Hessen und bei Rhein (1868–1937) entstehen um 1904 Brustbildnisse und ein großformatiges Reiterporträt in seiner Uniform, die er im Rahmen seiner für den Adel üblichen militärischen Laufbahn trägt. Auf der Brust gut sichtbar der Großherzoglich Hessische Philipps-Orden mit dem Ritterkreuz der Schwerter. Ernst Ludwig ist bis 1918 der letzte Großherzog in Hessen und ein wichtiger Mäzen vor allem in Darmstadt, wo er den Ausbau der Künstlerkolonie vorantreibt und die Stadt zu einem Zentrum des Jugendstils werden lässt. In seinem Porträt gelingt es Trübner hier erneut auf faszinierende Weise, mit seinen breiten Strichen dennoch eine höchst präzise und fein modellierte Darstellung der charakteristischen Physiognomie des Modells zu erreichen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Großherzog Ernst Ludwig von Hessen und bei Rhein. Wohl 1904. Oil on canvas. Cf. Rohrandt G 278. Monogrammed in upper right. 76.5 x 62 cm (30.1 x 24.4 in). We are grateful to Dr. Klaus Rohrandt, Kiel, for the kind expert advice. The work will be included into the catalog raisonné. PROVENANCE: Private collection Rhineland-Palatinate. LITERATURE: Cf. Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, p. 278. At the time this portrait was painted, Wilhelm Trübner had reached the height of his success. Following his studies in Karlsruhe, Munich and Stuttgart, his contact with fellow artists such as Corinth, Slevogt and Liebermann helped Trübner develop his own broad, colorful impasto style which lends his landscapes their striking power. In 1904 he was appointed Director of the Karlsruhe Art Academy, where he also taught as a professor from 1903 to 1917. Around the year 1904, he painted bust portraits and a large-scale equestrian portrait of Ernest Louis Grand Duke of Hesse and by Rhine (1868–1937). With military careers common among the nobility at the time, the Grand Duke is depicted in his uniform. Clearly visible on his chest is the Grand Ducal Hessian Order of Philip the Magnanimous bearing the Knight’s Cross of Swords. With his reign ending in 1918, Ernest Louis was the last Grand Duke of Hesse and a key patron of the arts, above all in Darmstadt where he promoted the expansion of the artists’ colony and transformed the city into a center of Art Nouveau. Although applying his typical broad strokes in this portrait, Trübner nevertheless achieves a strikingly accurate and finely modeled portrayal of the Grand Duke’s distinctive physiognomy. [KT] Called up: December 10, 2022 - ca. 15.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Militaria Deutschland - Preussen : Offiziers - Tschako der preußischen Landwehr - Infanterie, um 1830. Ledertschako mit vorderseitiger preußischer Kokarde und großem aufgelegten Landwehrkreuz. Breite, gewölbte, vergoldete Schuppenketten an versilberten Rosetten. Feldzeichen in offiziersmäßiger Ausführung aus versilberten Metallfäden mit schwarzem Samtuntergrund. Komplett mit Fangschnur mit breiten Silberquasten aus Metallfadengespinst. Originales, gelaschtes, schwarzes Lederfutter. Sehr schöner und seltener früher Tschako. Vor allem mit originaler Fangschnur sehr selten.German Militaria - Prussia : Officer's Tschako of the Prussian Landwehr Infantry, around 1830. Leather shako with Prussian cockade on front and large applied Landwehr cross. Wide, domed, gilt scale chains on silvered rosettes. Field insignia in officer style made of silver plated metal threads with black velvet background. Complete with catch cord with wide silver tassels of metal thread spun. Original, lashed, black leather lining. Very nice and rare early chako. Especially with original catch cord very rare.
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE POLYCHROME-PAINTED CIZHOU 'BIRD' BOWL, JIN DYNASTY 金代罕見磁州窯彩繪鳥紋碗China, 1115-1232. With rounded flaring sides resting on a stoutly potted ring foot, covered inside and out with a chalk-white slip, vividly painted in bright iron-red, green, and yellow enamels with a songbird shown in profile in a central medallion framed by four concentric rings interspersed with clustered red dots lined up on an inner circle, all covered with a clear glaze, the exterior plain and the white slip ending above the foot, the exposed stoneware fired tan-brown.Provenance: The Jiyuanshanfang Collection. North American trade, acquired from the above. The Jiyuanshanfang Collection is currently housed on New York's Upper East Side and was originally founded upon an old family collection. A comprehensive catalog of the collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”. Condition: Very good condition with some old wear and firing flaws, including dark spots and kiln grit, minor nicks to the foot, a few small and shallow chips to the exterior sides, one hairline, and light surface scratches. The enamels are remarkably well preserved overall.Weight: 391.2 g Dimensions: Diameter 16.8 cmExpert's note: Cizhou bowls of this red and green enameled type are usually decorated with fish or flower motifs. Examples with bird designs are extremely rare.Literature comparison:Compare a related Cizhou painted bowl with bird, dated to the Jin dynasty (1115-1232), exhibited in J. J. Lally & Co. Oriental Art, Song dynasty ceramics: The Ronald W. Longsdorf Collection on 15 March -13 April 2013, no. 46. Compare a Cizhou bowl of this form painted with an aquatic bird design, in the collection of the Tokyo National Museum, illustrated in the catalog entitled Chugoku no toji: tokubetsu ten (Chinese Ceramics: Special Exhibition), Tokyo, 1994, p. 147, no. 216. The same bowl was previously published in the catalog of the Osaka Municipal Museum exhibition entitled So Gen no bijutsu (The Arts of the Song and Yuan), Tokyo, 1980, col. pl. 26.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2018, lot 832Price: USD 43,750 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A polychrome-decorated Cizhou 'fish' bowl, Jin dynasty (1115-1234)Expert remark: Compare the closely related decoration, enamels, and size (17.8 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2016, lot 711Price: USD 13,750 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A polychrome-decorated Cizhou deep bowl, Jin dynasty (1115-1234)Expert remark: Compare the closely related decoration, enamels, and related size (19.2 cm)金代罕見磁州窯彩繪鳥紋碗中國，1115-1232年。碗口外撇，圓弧腹，圈足。内外施白色的化妝土，碗内開光塗有明亮的鐵紅色、綠色和黃色琺瑯，描繪了鳥紋。圈足部位露胎。 來源：北美古玩交易市場，購於吉緣山房收藏。吉緣山房收藏 坐落於紐約上東區，最初建立在一個古老的家庭收藏基礎之上。曾出版過《宋瓷八大窯系一覽——吉緣山房藏品》（美國加州，2008年）一書，北京故宮博物院李知宴做前言 。此畫冊的另一作者為Martin Lorber，紐約蘇富比前經理。吉緣山房收藏的第一個展覽是2012年在新澤西Morris Museum；2015年吉緣山房曾給弗羅里達Norton Museum of Art出借過一批中國早期瓷器參加“High Tea: Glorious Manifestations - East and West” 展覽。 品相：狀況極好，有一些磨損和燒製缺陷，包括黑點和窯砂，足部有輕微的刻痕，外側有一些小而淺的碎屑，一條髮絲細線和輕微的表面劃痕。琺瑯整體保存極好。 重量：391.2 克 尺寸：直徑16.8 厘米 專家注釋：這種紅綠琺瑯的磁州窯碗多飾以魚或花卉圖案。鳥紋碗極為罕見。由於字數限制，完整中文敘述請至www.zacke.at查看。
A gent's Breitling stainless steel Navitimer automatic chronograph wristwatch, circa 1970, ref No.806, the signed black dial with fine scale inner dial, the circular black dial with luminous Arabic 12 and baton markers, silvered subsidiary hour, 30 minute, and constant seconds dials, chronograph centre seconds, and inner rotating slide rule bezel, automatic movement, back cover stamped Breitling and numbered 806, case dia.40mm, on rubber braceletIn running order.Chronograph functions work.Outer rotating dial with some discolouring and wear.Luminous batons discoloured.Glass with numerous light surface scratches.Case generally good but with numerous surface scratches and light wear consistent with age, would benefit from a clean.Rubber bracelet generally good with light fading.Clasp is broken.
A WW II double sided silk map of North Africa, scale 1:3,000.000 or 47.34 English miles to an inch, framed with label of provenance verso 40 x 60cm, together with six other maps to include Greece, Bulgaria-Roumania, 59 x 48cm, France, 46 x 37cm, Southern Italy and Sicily, 39 x 49cm, The Balkans, 40 x 57cm, The Middle East (Turkey), 57 x 38cm and Bulgaria-Roumania, 52 x 41cm. (7)
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