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Click here to subscribeFleming (Ian) The Spy Who Loved Me, first edition, original pictorial boards with dagger embossed in silver and blind on upper cover, spine lettered in silver, fine, dust-jacket, spine with slight toning and a few small light splash-marks, but a sharp, near-fine example otherwise, preserved in custom morocco-backed drop-back box, 8vo, 1962.
Fleming (Ian) Moonraker, first edition, issue with "shoot" on p.10, original black boards lettered in silver, small mark to upper cover, dust-jacket, spine a little dulled and toned, minor chipping to spine tips and corners, light rubbing to extremities, an excellent example overall, preserved in custom morocco-backed drop-back box, 8vo, 1965.
A Grecian Style Alternate Panel Bracelet, with cabochon highlights, stamped "925", similar clip earrings, stamped "925", a child's bangle, stamped "Silver", etc, together with a selection of costume jewellery, including brooches, bead necklaces, further clip earrings, gent's wristwatches, including Accurist, Reflex, etc, a large jewellery box, etc:- Two Trays.
A GOLD AND SILVER-INLAID 'FIGHTING BEARS' BRONZE MAT WEIGHT, WARRING STATES TO HAN DYNASTYOpinion: While bronze mat weights from the Warring States Period or the Han dynasty are rarer and rarer to come across on the market, it has nowadays become almost impossible to find one with such well preserved and detailed inlay work. The drama of the depiction has been copied over and over during later periods, and for all kinds of purposes, but it has never been achieved again to the extent found in the present lot.China, 5th century BC to 2nd century AD. Boldly cast as two ferocious bears locked in combat, one biting into his opponent's back as this one roars in anguish with his tongue outstretched. Finely inlaid in gold and silver, the two animals with scroll and geometric decoration as well as subtle detailing to their bodies, the sides of the circular base with a scroll band between line borders.Provenance: From a noted private collector in the Pacific Northwest, USA.Condition: Superb condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, malachite and cuprite encrustation, nicks, scratches, losses and cracks. The gold and silver inlays exceptionally well-preserved. A bronze weight of around 2,000 years of age or more in such well-preserved condition must be considered exceedingly rare.Weight: 590.0 gDimensions: Diameter 6.7 cm, Height 5 cmWith a velvet-padded silk storage box. (2)Mat weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The sculptural depiction of animals in combat was introduced to China from the nomadic and semi-nomadic cultures of Central Asia, the Eurasian steppes, and the Ordos region, and was an innovation particular to the Warring States and Han dynasty periods. During the early Western Han dynasty, the imperial Shanglin zoological park and hunting reserve adjacent to the walled city grew in size and importance. Conceived as a microcosm of the empire, it allowed the emperor and his courtiers to observe and study the various species of plants and animals known at the time. The site also served as a venue for orchestrated animal combat for the entertainment of the court.Literature comparison: Compare a closely related silver and gold-inlaid bronze mat weight from the Han dynasty depicting a ram and tiger, illustrated by Jenkins, Mysterious Sprits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, page 60, and now in the collection of the Portland Art Museum. Compare a pair of related bronze figures of tigers, with similar gold and silver inlay, but of larger size (29 cm), dated to the Warring States period, illustrated by Christian Deydier, Oriental Bronzes, XXIIIe Biennale des Antiquaires, Paris, September 2006, pages 10-21.Auction result comparison:Type: Related Auction: Christie's New York, 16 September 2010, lot 886 Price: USD 182,500 or approx. EUR 240,000 converted and adjusted for inflation at the time of writingDescription: A Rare Gold and Silver-Inlaid Bronze Tiger-Form Weight, Eastern Han Dynasty (25-220 AD) Expert remark: Compare the similar size (6.7 cm) and purpose, and the inlay in gold and silver.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 13 October 2021, lot 3674 Price: HKD 441,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: An inscribed gold and silver-inlaid bronze weight, Han dynastyExpert remark: Compare the closely related subject matter, dynamic posture, and size (6.8 cm). Note the different decoration, albeit still employing gold and silver inlay.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2022, lot 7 Price: USD 88,200 or approx. EUR 86,500 converted at the time of writingDescription: A gold, turquoise and malachite-inlaid bronze weight, Early Western Han dynastyExpert remark: Compare the closely related subject matter, gold inlay, and size (6.9 cm). Note the use of turquoise and malachite inlays.戰國至漢代錯金銀“斗熊”銅席鎮中國，公元前五世紀至公元二世紀。銅鎮作兩隻正在打架的熊造型，一隻熊正雙目圓睜，雙耳後抿，寬鼻闊嘴，回首咆哮；另一隻咬住對手的後背。細部刻畫入微。通體採用錯金銀工藝。形小而氣勢雄渾，造型生動自然，十分精緻。由於字數限制，完整中文敘述請至www.zacke.at查看。
A GOLD REPOUSSE FIGURE OF BUDDHA SHAKYAMUNI, AYUTTHAYA KINGDOM, 1351-1767Thailand, 17th-18th century. Seated in dhyanasana atop a finely chased, double lotus base, the right hand lowered in bhumisparsa mudra, the left resting on his lap, dressed in monastic robes. The serene face with a benevolent smile, flanked by long earlobes, the hair in tight curls surmounted by a flaming ushnisha.Condition: Very good condition with old wear, expected soil encrustations, minor losses, dents and nicks. The core is still in place.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: 698.4 gDimensions: Height 18.5 cmWith a recent fitted silk storage box. (2)Expert's Note: This pristinely modeled Buddha was fashioned from a sheet of 24-carat gold, using the repousse embossing technique, neatly modeled above an ancient resin or bitumen core. The style combines characteristics of both Cambodian and Thai sculptural schools. Statues made of pure gold, dating back to this era, are generally considered as rare.Literature comparison:Compare a related Ayutthaya Lopburi-style gold repousse Buddha, dated before 1424, but of smaller size (10.6 cm high), in the collection of the Cleveland Museum of Art, accession number 1999.316. Compare a related Ayutthaya gold and silver repousse Buddha, dated 1300-1600, in the collection of the Asian Art Museum of San Francisco, object number 1989.44.
A RARE AND SIGNED GILT-SPLASHED ARCHAISTIC WINE VESSEL, JUE, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Superbly cast, with a characteristic pair of short posts on the mouth rim dividing the elongated pouring mouth and an exaggerated lip, decorated around the exterior of the cylindrical receptacle with taotie-masks against leiwen-ground and divided by vertical flanges, one side with a loop-handle emerging from an animal-head, all raised on three long tapered legs, decorated overall with characteristic gilt splashes. The base carved with a six-character seal script mark.Inscriptions: To base, 'Boshen zuo Baoyi' (Boshen made this precious yi).Provenance: The Property of a Gentleman. Christie's Hong Kong, 30 April 2001, lot 771. The Collection of Hedda and Lutz Franz, Hong Kong, acquired from the above. The silk box with an old label from the Christie's sale. Hedda and Lutz Franz, who met in Hong Kong in 1979, have spent over forty years assembling a spectacular collection of Chinese art, at first focusing on snuff bottles and eventually branching out into scholar's objects and paintings, as well as Japanese inro and Kilim carpets. The couple has worked closely together with their friend and advisor, Hugh Moss, and have published five books on their collection, entitled Franz Art, with one book, Franz Art Jade, winning a Silver award at the 2011 Gold Ink Awards in Chicago.Condition: Excellent condition with minor old wear and casting irregularities, few minuscule nicks, occasional light scratches. Fine natural patina overall.Weight: 948.7 g Dimensions: Height 21.5 cmWith a fine velvet-padded silk storage box. (2)The base is inscribed in archaic script with Boshen zuo Baoyi, 'Boshen made this precious yi'. Yi may be translated as a cup or libation vessel. It is interesting to note that not only the form and decoration were copied in reverence to archaism, but the inscription had been taken directly from characters inscribed on late Shang/early Zhou dynasty vessels. The name Boshen appears to be unrecorded.Bronze vessels of this type were valued by the literati class in China for their reverence to archaism, and those bearing an epigraphic inscription were considered even more precious. Gerard Tsang and Hugh Moss in Arts from the Scholar's Studio, Hong Kong, 1986, page 184, quote Ulrich Hausmann saying, “Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable; so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. ...what could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.”Literature comparison: Compare a near identical gold-splashed censer, bearing the same five-character archaic inscription, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161. A further gold-splashed jue is illustrated in Egan Mews, 'Gold-splashed Bronzes in the collection of Mr. Randolph Berens', Connoisseur, November, 1915, p. 144, and a pair, bearing the same inscription as the present example, was included in the exhibition The Minor Arts of China, Spink & Son, London, 1987, cat. no. 77.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 4 April 2012, lot 139 Price: HKD 524,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze censer, jue, signed Boshen, Qing dynasty, 18th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (21 cm). This jue is also the one illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 27 November 2013, lot 3591 Price: HKD 600,000 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-splashed archaistic wine vessel, jue, late Ming dynasty, 17th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (22 cm).明末清初罕見灑金饕餮紋銅爵中國，十七至十八世紀。灑金地，爵杯仿先秦禮器爵所製，作圜底杯式，流部扁寬，角略長而尖，流角相對，處於同一高度；口沿設一對扁柱狀帽頭，腹中部弦紋圍成的帶狀開光內，以雲雷紋為地，飾饕餮紋，器物雄渾莊重。底承三棱狀足，踞地沉穩。整器包漿均潤厚潤。 由於字數限制，完整中文敘述請至www.zacke.at查看。
AN IMPERIAL SCROLL-SHAPED ZITAN BOX AND COVER, QIANLONGChina, 1736-1795. Naturalistically carved as three stacked scrolls, the upper scroll with a neatly incised lozenge diaper pattern in deep relief, the lower two with similarly executed floral and wan-symbol patterns, respectively. Each of the three with a bone-inlaid plaque imitating a label, meticulously engraved with gilt inscriptions identifying the paintings once contained in the box, all framed by a remarkably fine silver-inlaid T-scroll border, and cleverly decorated with further inlays to imitate the clasps and scroll handles. The sides again meticulously carved and painted to imitate the scroll ends. The interiors delicately padded with lozenge-diapered Imperial yellow silk.Inscriptions: The upper scroll box, 'Poetic Ideas from the Imperial Jiguang Temple, painted by Qian Weicheng, calligraphy by Liang Shizheng'. The lower left scroll, 'Poetic Ideas of the Imperial Jade Belt Bridge, painted by Xu Yang, calligraphy by Wang Yudun'. The lower right scroll, 'Poetic Ideas on the Boat Journey to Spring, painted by Dong Bangda, calligraphy by Liang Shizheng'.Provenance: British trade. Condition: Very good condition with some old wear and traces of usage, also to the interior, light surface scratches, minuscule age cracks, nicks and losses. The gilt to the incised inscriptions slightly worn off. The textiles to the inside slightly faded, with loose thread and minor creases.Weight: 1,194 g Dimensions: Length 27.8 cm This exquisitely conceived box is remarkable for the combination of zitan wood, gilt bone inlays, and silk textiles which all have been carefully assembled resulting in a harmonious design overall. Skillfully modeled to simulate three scrolls, such elaborate curiosity pieces are rare and would have enjoyed a place of prestige in an elegant scholar's studio or even an Imperial palace.The Qianlong Emperor's love of painting and calligraphy fueled the development of boxes for such treasured items. The characteristics of these containers included the use of choice materials, the preferences being zitan, carved lacquer, cloisonne, and bamboo, due to their durability and fine quality which would complement the painting and calligraphy. The shape and decoration of these containers were also carefully considered to reflect both their contents and the imperial authority. Scroll boxes in the form of either three or five stacked scrolls were made in a variety of materials and demonstrate the importance given to packaging during the Qianlong reign.The paintings contained in such scroll boxes were usually made by well-known court painters and the boxes usually depict the title on the cover. The present box is decorated with three meticulously carved inlaid plaques imitating labels, each inscribed with the title of a famous painting, all three by court painters known to be active during the reign of Qianlong. One is a landscape depicting the Yudai bridge by Xu Yang, another a landscape painting of the Jiguang temple by Qian Weicheng, the last a painting of a boat by Dong Bangda.Literature comparison:Boxes made to imitate scrolls were popular in the Qianlong period and were made in various materials and designs. Compare the near-identical scroll-form box made of zitan and inlaid ivory, and the one in carved red lacquer, both in the Palace Museum, Beijing, and illustrated in The Sumptuous Art of Imperial Packaging, Macau, 2000, pp. 30-31, nos. 2 and 3.Compare an imperial carved cinnabar lacquer scroll box and cover, dated to the Qianlong period (1736-1795), at Christie's New York, 19 March 2009, lot 589. Compare a gilt-bronze and cloisonne enamel covered box, dated to the Qianlong period, at Sotheby's Paris, 16 June 2022, lot 141. Compare a hardwood scroll shaped box and cover, dated to the Qing dynasty, at Sotheby's London, 6 November 2013, lot 73.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3413 Estimate: HKD 500,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A pair of ivory-inlaid zitan scroll-shaped boxes and covers, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, inlays, and decorations. Note that this lot comprises two boxes.乾隆御製紫檀卷軸蓋盒中國，1736-1795年。紫檀卷軸刻雷紋、團花紋與萬字紋，嵌象牙，象牙上刻所裝書畫名稱等畫名。可開啓。此包裝的造型采用卷軸冊頁式，製作精美。盒内襯雷紋黃地絲綿。 款識：御制玉帶橋詩意，徐揚畫，汪由敦書；御制積廣詩意，錢維城畫，梁詩正書；御制舟行春興詩意，梁詩正書，董邦達畫。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和使用痕跡，內部也有輕微的劃痕，微小的老化裂縫、刻痕和缺損。鎏金略有磨損，内襯略微褪色，線鬆散，有輕微摺痕。 重量：1,194 克 尺寸：長 27.8 厘米 紫檀木、鎏金象牙以及絲綢紡織品的組合使盒子顯得尤爲珍貴，整體設計和諧，深受文人雅士甚至皇宮之中所推崇。由於字數限制，完整中文敘述請至www.zacke.at查看。
Box of Misc Collectables. Includes Kienzle Automatic Clock, Some 1890's Newspapers, Some Other Paperwork etc, 1 Silver Plate Teapot, 3 Pictures Includes 1 Small Robin Limited Edition 39/500 By David Binns, 1 Gap In the Wall of Sheep Picture, 1 Blue bell Time by Betty Morris 1991 + Wood Block.
Edwardian Period - Sterling Silver Trinket Box, With Gilt and Velvet Interior. Raised on 4 Feet. Hallmark Chester 1908. Maker G.N - RH. 4 Inches - 10 cms Wide. Weight 155.5 grams + A Victorian Period Sterling Silver Lidded Trinket Box, Raised on 4 Feet. Hallmark Birmingham 1901. Maker C.H ( Charles Horner ) Silver Weight 96.6 grams. 4.5 Inches - 11.25 cms Wide.
Collection of Antique and Vintage Sterling Silver Brooches and Other Items. All Fully Hallmarked for Sterling Silver. Comprises 1/ Sterling Silver Sovereign Holder, Hallmark Birmingham 1910. 2/ Signed Stone Set Silver Celtic Brooch. Hallmark Birmingham 1902. Signed F.M. 3/ Art Nouveau Silver Stylised Stick Pin, Marked Silver. 4/ Scottish Silver Stone Set Swords Crossed Circular Brooch. 5/ Scottish Celtic Stone Set Silver Brooch, Hallmark Edinburgh 1914. Signed R,A, 6/ Pair of Large Sterling Silver Blues Enamel Cuff Links, Hallmark Edinburgh 1944. 7/ Ornate Lidded Silver Pill Box. 8/ Scottish Silver Brooch In the Form of a Sword +Small Pill Box.
Meiji period tobacco box with cast lid, with cedar wood liner, Grand Tour lava cameo bracelet (parts), silver pendant ingot, copper and white metal bangle with plaited white metal centre stamped makers mark, C19th Dresden brooch numbered on reverse and pewter lid with inset porcelain plaque showing a classical scene
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