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Trace Elliot ELF Ultra Compact Bass Amplifier; 200 watts; still in factory packaging and delivery box with paperwork; and Trace Elliot 10" speaker cabinet; 300 watts 8 ohms; serial no.OVBHL050100; L36cm (2)Condition Report:Virtually mint condition.

A PALE YELLOW JADE 'TIGER' PENDANT, WESTERN ZHOU DYNASTYChina, 1046-771 BC. Of elongated flattened form, the arc-shaped pendant worked in the form of a crouching tiger with legs tucked beneath the body and a furcated tail that curls upwards, pierced at the snout and tail. The translucent stone of a pale yellow tone with hues of pale celadon, cloudy inclusions and areas of white calcification. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Old wear, some weathering, soil encrustations, surface alterations and traces of use, all as expected. Minor nibbling. The jade had broken into three pieces and was reassembled, with associated small losses.Weight: 18.7 g Dimensions: Length 9.9 cmExpert's note (added 20.2.2023): Bi disks of the Neolithic period lost their attraction to early Western Zhou dynasty nobility, leading to the repurposing of the circular bi into curved pendants that could be reworked by Western and Eastern Zhou craftsmen into attractive new forms. Such curved pendants, often in the form of birds or tigers, are frequently found amongst the artifacts from the tombs of Zhou period royalty (see image section). See Qian Yang's thesis: The Circulation of Jades in Early China (Late Neolithic – Eastern Zhou, ca. 4500 -221 B.C.). Literature comparison:Compare a related jade pendant depicting a tiger, 7 cm, dated late Shang to Western Zhou dynasty, in the British Museum, museum number 1945,1017.118.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3435Price: HKD 93,750 or approx. EUR 12,000, converted and adjusted for inflation at the time of writingDescription: A jade 'tiger' pendant, Western Zhou dynastyExpert remark: Compare the related motif, form, and pierced ends.

A PALE CELADON AND RUSSET JADE 'BIRD' PENDANT, LATE SHANG DYNASTYChina, 1300-1050 BC. Flat stone worked in the form of a bird in profile, perched on its claws, with a distinct round beak pierced with a circular aperture for suspension, the head surmounted by a crest, and finely incised with plumage. Semi translucent stone of pale celadon color with russet inclusions and areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was without doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s, he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years, the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with expected old wear and weathering, little nibbling, and minuscule chips.Weight: 3.2 g Dimensions: Height 2.7 cm Literature comparison:Compare a related jade pendant of a bird, late Shang dynasty, 3.7 cm, in the Smithsonian Museum, accession number F1979.25.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 22 September 2020, lot 248Estimate: USD 8,000 or approx. EUR 8,700 converted and adjusted for inflation at the time of writingDescription: A calcified jade 'bird' pendant, Shang dynasty or laterExpert remark: Compare the related flat form, pierced beak, and incision work. Note the slightly larger size (3.7 cm) and different color of the stone. Also note that this lot is possibly of a later date.

A GRAY JADE 'DRAGON' PENDANT, LATE MING TO EARLY QING DYNASTYChina, 17th/18th century. Of flattened form and finely carved in openwork to depict a coiling dragon, the body neatly decorated with partly interlocking C-scrolls, curling horn, long tail, beard, hair, flaring nostrils, and open mouth subtly incised. The opaque jade of a fine gray tone with cloudy dark-gray and black inclusions. Excellent polish, the surface with an unctuous feel overall.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.S.123. Two old paper labels, one mentioning a purchase date of 1935, and referring to the Beasley collection. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition with some wear, minor signs of weathering and erosion, nibbling, small nicks. The stone with natural fissures, some of which have developed into small hairline cracks.Weight: 19.7 g Dimensions: Length 5.8 cm Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 140 Price: HKD 150,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A rare yellow and russet jade 'dragon' carving, 17th/18th century Expert remark: Compare the closely related manner of carving with similar C-scrolls, openwork, and incision work. Note the slightly more rounded form, yellow and russet color, and the size (8 cm).

COMPLETE DISC JOCKEY SET UP TO INCLUDE DECKS WITH BUILT IN AMPLIFIER, DESK STAND, SPEAKERS, SPEAKER STANDS, FLASHING LIGHTS, STROBE LIGHT, CD PLAYER, MICROPHONE LEADS ETC PLUS A LIFEMAX FREE STANDING HIGH VISION BLACK LIGHT MODEL 250, IXBLK, 24W  (IN WORKING ORDER AT TIME OF CONSIGNMENT)

"The Speaker of Mandarin" by Ruth Rendell Hutchinson, 1983 first edition; " A Landing on the Sun" by Michael Frayn, Viking, 1991 first edition, ex library; "The Mystery of the Campden Wonder" by Jeremy Potter, Constable 1995 first edition, ex library; "Victorian Nightmares" edited by Hugh Lamb, W.H. Allen, 1977 first edition, ex library 

Loewe LED TV with accessories, speaker columns and receiver, etc. (B & O cassette deck, CD player) With manual. Type: Individual. Dimensions: 100 x 100 x 40 cm. In good condition.

A POLYCHROME STUCCO FRESCO FRAGMENT DEPICTING A CELESTIAL MAIDEN, YUAN TO MING DYNASTYChina, 13th-16th century. Finely painted in polychrome pigments with details picked out in gesso relief. Depicting a celestial maiden standing in front of a daybed decorated with floral and scroll designs, holding a sheng in front of her, dressed in flowing robes and billowing scarves of red, pale blue, ochre, and white, the head gently tilted downward, her face painted with delicate features, the hair tied into a high chignon with a fine ornament.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.8.3. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition, commensurate with age. Old wear and expected age cracks, minor losses and touch-ups. The frame with some wear, nicks, and scratches. Presenting very well overall.Dimensions: Image size 82.1 x 45.4 cm. Size incl. frame 90 x 53.8 cm With a wood frame.The style of the present fresco is inspired by the late Tang dynasty temple painting style. This is evident in the treatment of the roundness of the 'melon-seed'-shaped faces and the swirling scarves, giving a dynamism to the work, which was popular amongst builders and decorators of Buddhist temples of the time and continued throughout the Song, Yuan and Ming dynasties.The sheng is a Chinese mouth-blown polyphonic reed instrument consisting of vertical pipes. It is one of the oldest Chinese instruments, with images of the instrument dating back to 1100 BC. Some examples of the instrument are dated as far back as the Han dynasty. It is one of the main instruments in kunqu and some other forms of Chinese opera. Ancient instruments like the sheng with gourd wind chambers, varying numbers of pipes, or with bamboo or metal reeds have been discovered in archaeological finds at the tomb of the Marquis Yi of Zeng (c. 433 BC) in present-day Hubei province, and the Han tombs at Mawangdui (c. 2nd century BC) in Hunan province.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 11 September 2019, lot 816Price: USD 37,500 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A polychrome stucco fresco fragment, Yuan / Ming dynastyExpert remark: Compare the related figural motif and size (77.5 x 45.5 cm) 元至明灰泥彩繪神女壁畫中國，十三至十六世紀。彩繪神女，細節以石膏浮雕呈現。描繪一位仙女站在花卉紋床榻前，手持笙，身著飄逸的長袍，紅、淡藍、赭色、白色的絲巾飄揚，頭微微下低，精緻的五官，頭髮紮成高髻，飾有精美的髮飾。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號M.8.3。 品相：狀況良好，有磨損和年代裂縫、輕微缺損和修補。外框有一些磨損、刻痕和劃痕。 尺寸：畫面82.1 x 45.4 厘米，含框90 x 53.8 厘米 木框。拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 816 價格：USD 37,500（相當於今日EUR 40,500） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較相近的人物主題和尺寸 (77.5 x 45.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN EXTREMELY RARE SILVER-INLAID 'FUDING DING' BRONZE TRIPOD CENSER, SONG TO MING DYNASTYChina, 960-1644. Of archaic ding form, the bowl cast with shallow rounded sides supported on three tall bird-shaped legs, the rim set with two upright loop handles. Finely inlaid in remarkably thin silver wire to the body with bands of scroll, raised bosses and geometric designs against leiwen grounds, stiff pendent leaves enclosing key-fret and S-scrolls, and to the legs with further scroll designs. The bronze with a fine, naturally grown patina with scattered malachite encrustations.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.5.6. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. In 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with expected old wear, some corrosion and casting irregularities, few minuscule nicks, light scratches, small dents, and few losses to inlays.Weight: 298.4 gDimensions: Height 10.3 cm Literature comparison:This finely cast bronze vessel is after late Shang and early Western Zhou period archaic ding. Compare a Western Zhou bronze censer of this form, dated 11th-10th century BC, preserved in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.20. The hemispherical body, handles and flattened legs of this censer relate to several bronze tripod censers of Shang dynasty date, illustrated by Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1987, pp. 448-51, figs. 80.2-80.4, no. 81 and fig. 81.1. For further examples, see one in the Palace Museum, Beijing, illustrated in Bronzes in the Palace Museum, Beijing, 1999, pl. 86, standing on related bird-form feet; and the late Shang dynasty bronze fangding, its legs cast as birds standing on their long tails, illustrated in Ancient Chinese Bronzes from the Stoclet and Wessen Collections, Eskenazi London, 1975, cat. nos. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2012, lot 155 Price: HKD 275,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writing Description: An archaistic bronze censer, Ming dynasty Expert remark: Compare the closely related form. Note the complete lack of inlay decoration. 宋至明錯銀三足銅爐中國，960-1644年。古鼎式，淺圓邊，鳥形足，雙耳直立。精細的錯銀線，雷紋，芭蕉葉與雲紋。銅爐有細膩的自然包漿，綠色結殼。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號T.5.6。 品相：狀況良好，有磨損、一些腐蝕和鑄造不規則、微小刻痕與劃痕、小凹痕以及少量鑲嵌缺損。 重量：298.4 克 尺寸：高 10.3 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2012年4月3日，lot 155 價格：HKD 275,000（相當於今日EUR 42,500） 描述：明青銅仿古「鳥紋」出戟雙耳三足爐 專家評論：比較非常相近外形。請注意此爐沒有鑲嵌裝飾由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A THANGKA DEPICTING RUDRA CHAKRIN, THE LAST KULIKA KING OF SHAMBHALA, TIBET, 18TH-19TH CENTURYPublished: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148, no. 46.The heavily armored red-skinned king with wrathful expression, protected by a parasol above and engulfed in dark flames, riding a dark blue horse and driving his lance through the chest of an enemy general who has fallen from his slain horse lying beside him. The upper register with a central image of Buddha Shakyamuni flanked by a lama of the Gelugpa order and the Future Buddha Maitreya, the lower register Green Tara surrounded by two further warriors as well as offerings, all within a verdant landscape.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.43. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with some old wear, light soiling, and minor creasing.Dimensions: Image size 38 x 27.2 cm, Size incl. frame 65.8 x 51.7 cm Distemper and gold on cloth, with a silk brocade frame.According to Roderick Whitfield, “The main figure represents Rudracakrin, the 25th (or, in some lists, 32nd) and last Kulika King of Shambhala. He is an emanation of the Bodhisattva Manjushri, defeating the four invading armies of the Mlecchas or barbarians, led by Krinmati, King of Delhi." (See Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148.)In the Tibetan Buddhist tradition, the hidden kingdom of Shambhala, believed to be north of the Tibetan plateau, is surrounded by an impassable mountain range. Shambhala is ruled by the future Buddha Maitreya. The Shambhala narrative is found in the Kalachakra tantra, a text of the group of the Anuttarayoga Tantras. Thirty-two Kings of Shambhala reside in the mythical kingdom. The first notable king, King Suchandra is reported to have requested teaching from the Buddha that would allow him to practice the dharma without renouncing his worldly enjoyments and responsibilities. In response to this request, it is said the Buddha gave him the first Kalachakra root tantra. By practicing the Kalachakra, the whole of Shambhala eventually became an enlightened society. The most recent twenty-five of the thirty-two Kings of Shambhala are known as Kalki kings, meaning 'Holder of the Castes'. The Kalki are holders of the Kalachakra (Wheel of Time), which are the teachings of Buddha Shakyamuni passed down from the original seven Dharmarajas of Shambhala. The final king prophesied in the Kalachakra, Rudra Chakri, is further prophesied to appear to all humanity in 2424, and to establish a planet-wide Golden Age subsequent to his defeat of degenerate world rulers.Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2019, lot 947 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A thangka depicting a king of Shambhala (Manjushrikirti), Tibet, Narthan Style, 18th/19th century Expert remark: Compare the related subject, albeit painted in a different style. Note the size (71 x 44 cm). 西藏十八至十九世紀香巴拉王魯德拉查克林唐卡布面膠畫描金，緞面裝幀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A WHITE AND EMERALD-GREEN JADEITE 'PHOENIX' TABLE SCREEN, CHINA, 19TH CENTURYOf rectangular form, carved in low relief to one side with a phoenix standing on a rocky outpost beside a towering tree, the other with a river landscape with some villagers on the coast as a fisherman makes his way to the shore, the calm scenery detailed with pine and willow trees, imposing rockwork, and a modest bridge. The translucent stone of white, pale gray and emerald-green hue with distinct icy inclusions. The fitted hardwood stand carved in openwork with scrolling foliage.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.1. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Very good condition with minor wear and manufacturing irregularities, light scratches, and tiny nicks.Dimensions: Size 18.3 x 10.2 cm (excl. stand) and 24.5 x 11.4 cm (incl. stand)Weight: 406.8 g (excl. stand) and 459 g (incl. stand) Auction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 10 December 2019, lot 108Price: EUR 12,500 or approx. EUR 13,500 adjusted for inflation at the time of writingDescription: A pair of jadeite table screens, Qing Dynasty, 19th centuryExpert remark: Note the size (15.1 cm) and that the lot comprises a pair. 十九世紀翡翠雕刻鳳凰紋硯屏長方形，一面淺浮雕一隻鳳凰站在一棵樹下，另一面為山間小橋流水人家，岸上有一些村民與鬆樹和柳樹，還有一座小橋。白中飄翠半透明玉石，帶有明顯的絮狀物。硬木支架雕刻有卷葉紋。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.1.。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有輕微磨損和製造不規則、輕微劃痕和微小刻痕。 尺寸：18.3 x 10.2 厘米 (不含底座) ，24.5 x 11.4 厘米 (含底座) 重量：406.8 克 (不含底座)，459 克 (含底座) 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2019年12月10日，lot 108 價格：EUR 12,500（相當於今日EUR 13,500） 描述：清十九世紀翠玉雕山水紋硯屏一對 專家評論：請注意尺寸 (15.1厘米) ，以及此為一對。

A WUCAI 'THREE BOYS' JAR AND COVER, SHUNZHI PERIODChina, 1644-1661. Of ovoid form, the body decorated in bright enamels of red, green, aubergine, and yellow as well as underglaze-blue with three boys hanging from the stems of peony blossoms amid leafy scroll, framed by line borders, with stylized wave bands above the foot and to the neck, and a band of lotus and peony blossoms borne on leafy scrolling vines at the shoulder.The domed cover similarly decorated with peony sprays and topped by a bud-form finial.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.3.2. The base with an old label, 'Apley 173'. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: The jar in good condition with expected old wear and firing irregularities, including glaze recesses and a firing crack to the base. Light scratches, glaze flakes, minute chips to foot, and a smoothened chip to the rim. The cover with shallow chips and losses.Weight: 2,382 g Dimensions: Height 28.8 cm Boys were a highly auspicious subject in China, representing wishes relating to fertility. Images of boys with blossoming peonies, such as in the present example, emphasized the wish for family success and for sons to achieve a high social rank by passing the imperial examinations.Literature comparison:Compare a related jar and cover illustrated in Michael Butler, Julia Curtis, and Stephen Little, Shunzhi Porcelain: Treasures from an Unknown Reign, pp. 102-103, pl. 10. Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2019, lot 1112 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: A wucai 'boys' jar and cover, Shunzhi period Expert remark: Compare the related form, motif, and wucai decorations. Note differently decorated cover. Note the size (38 cm). 順治五彩《三童戲牡丹》蓋罐中國，1644-1661 年。罐身為直口，豐肩，斂腹，圈足，附寶珠頂高圓蓋。罐身五彩琺瑯描繪纏枝牡丹紋，三個男童在卷葉紋間戲耍。上下修飾卷葉紋。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 M.3.2。 品相：罐子狀況良好，有磨損和燒製不規則，包括釉面凹陷和底部的燒製裂紋，輕微劃痕、釉面剝落、腳部微小缺口，以及邊緣平滑缺口。蓋子有淺缺口和缺損。 重量：2,382 克 尺寸：高 28.8 厘米文獻比較： 比較一件相近的蓋罐，見Michael Butler，Julia Curtis和Stephen Little，《Shunzhi Porcelain: Treasures from an Unknown Reign》，頁102-103，圖10。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年9月13日，lot 1112 價格：USD 18,750（相當於今日EUR 20,500） 描述：清順治五彩嬰戲紋蓋罐 專家評論：比較相近的外形、主題和五彩裝飾。請注意不同的裝飾和尺寸(38厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE FAMILLE-ROSE 'SHOULAO AND THE EIGHT IMMORTALS' VASE, SHENDETANG ZHI MARKChina, 1830-1930. Of baluster form, the body is finely painted with a continuous scene depicting the Eight Immortals in a garden with craggy rockwork and a gnarled towering pine. He Xiangu holds her lotus flower next to Lu Dongbin, holding his fly whisk with his sword sheathed on his back, and the elderly Zhang Gua, holding his tube-shaped bamboo drum. Zhongli Quan holds his fan next to young Han Xiangsi, who plays his flute. An attendant holds a basket of flowers behind Cao Guojiu and his castanets who watches Li Tieguai as whisps of red smoke rise from the double gourd strung to his back.Inscriptions: The base with an iron-red four-character mark, 'Shendetang zhi' (Hall of Prudent Virtue).Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.50. An old label to the interior of the vase reads, 'KW N2.50.' Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition with old wear and minor firing irregularities, some rubbing and flaking to the enamels, and minute chips to the foot. Overall displaying exceptionally well.Weight: 3,717 g Dimensions: Height 46.1 cm Shendetang ('Hall of Prudent Virtue') is a hall mark associated with a range of fine porcelains made for the Hall of Prudent Virtue, a summer residence of the Emperor Daoguang. The Daoguang Emperor was known as a prudent, kind, and frugal ruler, investing heavily in the dilapidated Old Summer Palace (yuanmingyuan). The financial review of the Yuanmingyuan in 1824 showed significant surplus left over, which enabled Daoguang to construct the Shendetang ('Hall of Prudent Virtue') within the Old Summer Palace. This became his new living quarters in 1830. Daoguang porcelain inscribed with the Shendetang mark can be dated between 1831 and 1850 and is often characterized by their novel designs.Auction result comparison: Type: RelatedAuction: Sotheby's London, 18 January 2023, lot 88Price: GBP 75,600 or approx. EUR 88,500 converted at the time of writingDescription: A small famille-rose 'immortals' bowl Qing dynasty, 19th centuryExpert remark: Compare the related decor, manner of enameling, and the Shendetang mark. Note the different form and the smaller size (14.5 cm).Auction result comparison: Type: RelatedAuction: Bonhams Edinburgh, 15 November 2012, lot 337Price: GBP 17,500 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A mirrored pair of famille rose vases, bearing four character hall mark, Republic periodExpert remark: Compare the related decoration and Shendetang mark. Note the smaller size (23 cm), and that the lot comprises a pair. 大型粉彩《壽老與八仙》賞瓶，慎德堂款中國，1830 -1930 年。 侈口，直頸，通景描繪山間八仙群會場景，何仙姑手捧荷花，呂洞賓背劍執飛拂，張果老手持魚鼓，漢鍾離拿著扇子，旁邊是吹笛子的韓湘子，身後曹國舅拿著響板，藍采荷提著花籃，還有鐵拐李背著葫蘆。 款識：礬紅釉四字款“慎德堂" 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.50。瓶底有一個標籤 'KW N2.50.'。品相：狀況良好，有磨損和輕微的燒製不規則，琺瑯有一些摩擦和剝落，足部有微小的缺口。 重量：3,717 克 尺寸：高 46.1 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A fine 'Defence of Ladysmith' Queen's South Africa Medal awarded to Private A. Spray, King's Royal Rifle Corps, who was blown up by a 6-inch shell from a Boer artillery piece commanding high ground to the south of the town, and was later wounded in the knee Queen’s South Africa 1899-1902, 3 clasps, Defence of Ladysmith, Orange Free State, South Africa 1902 (8601 Pte. A. Spray, K.R.R.C.) small pawnbroker’s mark to obverse, extremely fine £200-£240 --- Arthur Spray was born in Beeston, Nottinghamshire, in 1873, the son of lace mender Eliza Spray. He attested for the King's Royal Rifle Corps at Birmingham on 20 June 1894 and was posted from depot to the 4th Battalion at Winchester on 22 October 1894. For reasons unknown, Spray absconded just before Christmas Day in 1895, and spent almost a month on the run from the military authorities. Placed in confinement on 21 January 1896, he was tried by the District Court Martial and found guilty of desertion and loss of equipment resulting in 30 days' imprisonment with hard labour. Remarkably, less than a year later, Spray returned to the cells when given a further 14 days' hard labour on 10 December 1896, but the unexpired portion of his punishment was remitted upon Spray's agreement to transfer to the 2nd Battalion, and he headed to South Africa forthwith.  According to the recipient's Army Service Record, Spray served three terms in South Africa, from 15 December 1896 to 5 April 1899, 18 September 1899 to 26 July 1900, and 11 December 1901 to 9 October 1902. These were separated by five months in India and a brief spell back in England. Most importantly, Spray was present throughout the Siege of Ladysmith in Northern Natal, from 2 November 1899 to 27 February 1900, and returned home to give a rare firsthand account which was published in The Nottinghamshire Guardian on 28 July 1900: 'A Nottingham Soldier's Experience At the invitation of Mr. Godfrey L. Evans, a meeting was held on Tuesday on the lawn of his residence, Hamilton-road, the chief object of the gathering being to hear an address by Private A. Spray, of the 2nd King's Royal Rifles, on "The Siege of Ladysmith..." He said that many of the soldiers looked like scarecrows, having gone seven days without a wash and with no change of underclothing. "Gentleman Joe," the name of a gun, sent his first shot on the morning of November 27th, just after breakfast, and another shell struck the ground a few feet in front of where the speaker was standing, sank six feet, and then exploded, blowing up the rough sun-shelter, and scattering the men right and left, but hurting no-one. The speaker described the various battles in which he had taken part, and the circumstances under which he was wounded in the knee. After the 6th of January, when the Boers were supposed to have lost only a few men, he saw them carting their dead and wounded all day long, under the white flag. The lecturer then described, in vivid fashion, the scene when the relief column came to Ladysmith, and said that the invalids were splendidly treated on board the hospital ship, Lismore Castle, on their way home...'  Spray was particularly fortunate that the 96-pound shell from the French-manufactured creusot gun "Gentleman Joe" had failed to find its mark, for other similar weapons including "Long Tom" and "Puffing Billy" had delivered a particularly intense barrage from 8 to 9 a.m. that morning. Ladysmith: The Diary of a Siege points to a most unpleasant incident not far away, and taking place just minutes earlier: 'This morning a Kaffir was working for the Army Service Corps (being at that moment engaged in kneading a pancake), when a small shell hit him full in the mouth, passed clean through his head, and burst on the ground beyond.'  Referring to the events of 6 January 1900, Spray's life was saved once again when large numbers of Boers, encouraged by President Kruger, launched a major attack on Ladysmith designed to overwhelm the garrison and take the town. At Wagon Hill, a confused and fierce fight took place in the dark between the Boers and the men of the King's Royal Rifles, Gordon Highlanders and Imperial Light Horse, supported by a hotchkiss gun. The enemy retreated but the siege prevailed, and by mid-January 1900, the remaining cavalry horses had to be shot for food.

Sonos gen 1 play 5 speaker/ dock

New boxed portable DVD layer, small Bush dvd player along with trust speaker set and blank recordable DVDs

Kant (Emanuel). Project for a Perpetual Peace. A Philosophical Essay, Translated from the German, London: Vernor and Hood, 1796, [4], 75, [1] pp., half-title present, bound with Erskine (Thomas), A View of the causes and consequences of the present War with France, 16th edition, London: J. Debrett, 1797, [4], 138, [2] pp., half-title and advert leaf present, bound with Pitt (William, Earl of Chatham), Authentic Memoirs of ... the late Earl of Chatham, London: J. Wenman, 1778, [2], 102 pp., bound with Foster (John), Speech of the Right Honorable John Foster, Speaker of the House of Commons of Ireland; delivered in Committee of the whole House on Thursday the 11th of April, 1799, London: G. G. and J. Robinson, 1799, [6], 111, [1] pp., half-title (with closed tear), errata leaf, bound with Tucker (Josiah), Cui bono?, or, An inquiry : what benefits can arise either to the English or the Americans, the French, Spaniards, or Dutch, from the greatest victories, or successes, in the present war ; being a series of letters addressed to Monsieur Necker, Glocester: Printed by R. Raikes, for T. Cadell, 1782, 141, [3] pp., publisher's advert leaf at rear, bound with Pitt (William), A Speech of the Right Honourable William Pitt, in the House of Commons, on Friday, February 21, 1783, London: J. Debrett, 1783, 39, [1] pp., half-title, advertisement to verso of final leaf, bound with Watson (Richard), An Address to the People of Great Britain, 11th edition, London: R. Faulder, 1798, [4], 42, [2] pp., half-title with signature W. Horton to upper margin, publisher's advert leaf at rear, bound with Tickell (Richard), Anticipation: containing the substance of His M---------y's most gracious speech to both H------s of P----l-----t, on the opening of the approaching session, together with a full and authentic account of the debate which will take place ... With notes, 7th edition, London: T. Becket, 1778, [8], 74, [2] pp., half-title, publisher's advert leaf at rear, and bound with Brossays du Perray (Joseph Marie), Historical remarks and anecdotes on the Castle of the Bastille, translated from the French published in 1774, London: T. Cadell, 1780, [6], 29, [11] pp., folding engraved plan repaired to verso and close-trimmed at foot, occasional toning, spotting and few marks throughout volume, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedown, contemporary half sheep, worn, 8voQTY: (1)

Thom (Robert). The Chinese Speaker or extracts from works written in the Mandarin Language, as spoken in Peking. Compiled for the use of Students, by Robert Thom, Esq. H. M. Consul at Ningpo, Part I [all published], Ningpo: Presbyterian Mission Press, 1846, 102 pp. [i.e 204 pp.], text in English and Mandarin Chinese, some spotting and small water stains, Han-Shan Tang Ltd, London label to rear endpaper, a few tears to tissue endpapers, small ink stamps and previous owner ink inscription at front, original limp stitched wrappers, some fading and light stains, 8voQTY: (1)NOTE:Very scarce, only 3 copies traced at auction. The author was a diplomat and translator and was involved in the First Opium War (1839-42) between Britain and the Qing dynasty, and the subsequent Treaty of Nanking (1842), negotiated with Thom's assistance by Sir Henry Pottinger (the first Governor of Hong Kong from 1843). The book is dedicated to Sir Henry Pottinger but Thom was not satisfied with the production, a further work was intended but cut short due to his death in Ningpo in September 1846.

A Squire 15 practise amp and a J210A powered speaker.

Mesa Boogie Mark 5 (V / Five) combo electric guitar tube or valve amplifier, with three channels (fat clean, crunch & high gain), and 12" speaker, with original slipcover and foot switch module

AN ASSORTMENT OF ITEMS TO INCLUDE A CIRCUIT BOARD AND SPEAKER SKINS ETC

A PAIR OF METAL SPEAKER STANDS

Collection of Political ephemera and autographs, to include: Margaret Thatcher Blandford 15th July 1982, M. E. Thomson Assistant Secretary to the Speaker, Betty Boothroyd, various letter, John Major etc. (B.P. 21% + VAT)

A Bose Wave Sound Touch music system, with instructions, and a Bose Bluetooth speaker.

Two pairs of Eltax Millennium speakers and an Eltax Millennium centre speaker, boxed. Not available for in-house P&P

VLADYKA, SVYATOSLAV (Ukrainian, b.1975) "Don't cry for me mother", Blue / Akra Tapeinosis', block mosaic image of the Mother Mary, using wood, acrylic and pigment, 80 x 105 cms Further information: Svyatoslav Vladyka, From the first days of the war, he defended Ukraine  in the ranks of the Armed Forces of Ukraine, Born on 12/05/1975 in Ivano-Frankivsk. Lives and works in Lviv. Education; 2008 – Lviv National Academy of Arts. Master of the Department of Sacred Art of the Lviv National Academy of Arts. Lecturer-speaker at the Ukrainian Catholic University. Member of the Ukrainian Union of Icon Painters. Member of the Sacred Commission of the Lviv Archdiocese of the UGCC. Laureate of the State Prize of Ukraine in the field of architecture. Founder of the Association of Sacred Art. Founder of the Sacred Universe mural group. In 2011, he was awarded the State Prize in the field of architecture for the polychromy of the Church of the Nativity of the Holy Virgin in Sykhov in Lviv. In 2016, he was awarded the "Boom Awards" in the "integration of art" nomination. In 2017, he received the first place in the rating of the TOP 100 most influential people of Lviv region in the "Art and culture" section by the Media Star information agency. The author of the largest murals in Lviv. The author of paintings and church interiors: Joseph Obruchnyk Church, Lviv; Church of the Assumption of the Blessed Virgin Mary, Mukachevo; Church of the Imposition of the Girdle of the Most Holy Mother of God, Lviv; Church of the Nativity of the Holy Mother of God, Lviv; Church. Peter and Paul, Novoyavorivsk; Church of Ioanna Myronositsa, Lviv, Suhovolya; ;Church of Nossa Senhora Auchiladora Brazil; Church. St. Apostle Ivan the Theologian, Ternopil; Church of Nossa Senhora Auchilador Brazil. "Part of the Whole" project, "ICONART" gallery, 2013 Group exhibitions: Ukraine / Greece / Czech Republic / France / Spain/Poland Works are in private collections: USA / Canada / France / Germany/Poland/Italy Hobbies: Eastern martial arts. Has a first dan, black belt in Moto-Ha Yoshin Ryu. Practices modern Ju Jutsu at the Aikibujutsu Academy in Lviv. Co-founder of the public organization "Lviv Christian Martial Arts Foundation "Spiritual Way of a Warrior". CONDITION: Svyatoslav VladykaFrom the first days of the war, he defended Ukraine in the ranks of the Armed Forces of Ukraine Born on 12/05/1975 in Ivano-Frankivsk. Lives and works in Lviv Education; 2008 - Lviv National Academy of Arts. Master of Sacred Art.Laureate of the State Prize of Ukraine in the field of architecture. Lecturer-speaker at UKUFounder of the Association of Sacred Art. Founder of the Sacred Universe mural group The author of the largest murals in Lviv Member of the Ukrainian Union of Icon Painters The author of paintings and interiors of churches:Ts. Yosyp Obruchnyk, LvivCenter of the Dormition of the Blessed Virgin Mary, Mukachevo Center of the Position of the Belt of the Holy Mother of God, Lviv Center of the Nativity of the Holy Mother of God, Lviv Center of Peter and Paul, NovoyavorivskK. loanna Myronositsy, Lviv, Suhovolya Ts. St. Apostle Ivan the Theologian, Ternopil*Part of the Whole" project, "ICONART" gallery, 2013group exhibitions: Ukraine / Greece / Czech Republic / France / Spain/Poland works are in private collections: USA / Canada / France / Germany/Poland/Italy

STUDIO OF SIR PETER LELY (DUTCH/BRITISH, 1618-1680)Portrait of Margaret Wale (1640-1674), Daughter of Sir William Wale and wife of Sir Edward Seymour 4th Bt. (1633-1707), three-quarter length, standing, wearing a light brown dress with a blue cloak, leaning on a stone pedestal inscribed 'Margaret Daughter of Sr. William Wale First Wife to the Speaker Seymour / Sr. Pr. L' (lower right) oil on canvas 126 x 102cm in an ornately carved late George III gilt-wood frame The present work will be on view at Cromwell Place on 26th & 27th SeptemberProvenanceThe sitter's family and by descent to Miss J. M. Seymour, East Knoyle House, Wiltshire;Sale, Christie's London, 19th January 1945, (lot no. unknown);Frederick Poke Esq., thence by descentFootnoteImages of the present work have been seen by Catherine MacLeod, Diana Dethloff and David Taylor, authors of the forthcoming catalogue raisonne on Sir Peter Lely.  In their opinion the painting is likely to have been executed by Lely's studio, possibly with Lely's hand rendering some of the work to the sitter's head.  The composition is directly comparable to a number of Lely's portraits, in particular that of Lady Elizabeth Howard, Lady Felton (1656-1681), painted in circa 1676 and held in the collection at Ickworth House, Suffolk.Margaret's father, Sir William Wale (d.1676) was Alderman of London and became Master of the Vintner's company in 1660.  he held the office of High Sheriff of Leicestershire between 1671-1672 and lived in North Lappenham in Rutland.  On 7th September 1661 Margaret married Sir Edward Seymour of Berry Pomeroy MP, 4th Baronet and descendant of Edward Seymour, 1st Duke of Somerset.  Seymour was a renowned political orator and was twice appointed Speaker of the House, the first non-lawyer to hold the position for some time.  They had two sons Edward, 5th Baronet (1663-1741) and William (1664-1728) who rose to the rank of Lieutenant-General.Condition ReportThe canvas has been relined.  The paint surface is dirty with scattered surface flecks of staining.  Traces of light craquelure throughout, stable.  Discolouration to blues in the sitter’s robe and a repaired tear, visible to the naked eye, lower right.  Ultraviolet reveals retouching to a surface repair, upper right and a smaller surface repair, upper left; a small area of retouching to the sitters dress off the lower, central border and to the aforementioned repair to the sitter’s sleeve.  Held in an ornate carved wooden frame with some repairs and losses to decoration.

A late 20th century Sony audio stereo amplifier with BOSE bass speaker and surround sound speaker system. Comprising of a Sony digital audio / video control centre stereo amplifier (STR - DG910), along with a floor standing BOSE Acoustimass Module with 6 surround sound speakers. Includes cabling and remote control. 

Mordaunt Short - Aviano 7 -  NOS / New Old Stock floor standing digital subwoofer speaker, boxed. Model no. MS519-BK. Serial no. MN M5127 0908 0093. With Instructions. 

Wharfdale Super 12/RS/DD speaker

Lab Series L9 100 watt speaker/amp

A Veho portable wireless speaker

Pair of 'The Quad' Electrostatic speakers. (Cabling for ES157. 2 power cables. 2 speaker cables. 1 non Quad Amp conversion box.)

A TECHNICS HIFI SYSTEM, comprising an ST-GT550, an SL-PG500A, an SU-V500M2, an RS-TR474M2, along with a pair of teak framed Wharfedale Dovedale speakers (condition report: powers on but untested due to no speaker cables) (4)

A COLLECTION OF HOUSEHOLD ELECTRICAL ITEMS including a Harman Kardon Wireless Soundsticks speaker system (no power supply), a Silvercrest Food Mixer (appears to be new), an Electrolux Enviro Steamer, a Delta Steam Cleaner, etc (all untested)

A BOX AND LOOSE VINTAGE FILM EQUIPMENT ETC, to include a Wirek Reporter portable sound recorder, Thompson Houston speaker with transformer, Eumig P8 Imperial projector, Eumig C3 cine camera, two Eumig super 8 cine cameras, British Thompson Houston 16mm sound projector, Polaroid camera, Olympus Trip 35mm film camera, Minolta Riva compact film camera etc, ALL UNTESTED

A pair of Yamaha S15E floor standing speakers, with associated cables and owner's manual, speaker height 65cm

A pair of Atacama speaker stands. H60cm

Three Panasonic hifi seperates, Stereo cassette deck 635, Integrated Amplifier SU-2800, Stereo tuner ST-2800L together with pair of Panasonic speakers CONDITION REPORT: No speaker covers

A pair of Wharfedale diamond 9.1 speakers with speaker leads

A Bowers and Wilkins Zeppelin air speaker with iPod dock, wifi and aux inputs.

VINTAGE CINE EQUIPMENT ETC, to include a Bell & Howell 16mm TQ1 Filmosound projector, GB Equipments L516 16mm projector, two Sekonic 80P projectors, Bolex 18-9 Duo 8/S8 projector, Bauer T60 Stereosound S8 projector, Goodmans Audios 60 speaker, Boxed Polaroid SX70 model 2 camera and film etc, older models may be incomplete

A COLLECTION OF VINTAGE AUDIO-VISUAL EQUIPMENT, to include a Simplex-Ampro Premier 20 16mm cine projector, a Meopta Almo 2055 film mounter, an N M Sound Equipment projector by N Marshall, Notts, and a Goodmans Industries Ltd speaker, all cased (4) (Condition Report: AF, pieces and parts unchecked and untested, would benefit from a clean)

A B.T.H BRITISH THOMAS-HOUSTON Co.LTD 35MM SOUND PROJECTOR, c1940 with a Taylor-Hobson lens No.331167 Pat. No. 376025, with original carry case, lighting system and loud speaker type AA10 A serial No. 151627 (s.d) (2 cases + projector)

A collection of stereo components to include a Marantz AV Surround Receiver SR4200, serial No. MZ010149010517 with remote and manual w.44cm, d.32cm, h.15cm, a Mission model 70ASE Powered Subwoofer, a Wharfdale Valdus Centre speaker a pair of Paradigm Micro speakers and one other pair of Paradigm speakers. (7)

A Denon Hi-Fi stacking system comprising a PMA 880R amplifier; DRM cassette deck; DCD 1550AR cd player; an EVA 666  turntable and a vintage pair of Tannoy LSU/HF/12/8r loudspeakers, serial numbers 110825 and 10666, 84 cm h (6)Condition - speakers original but as removed, one with 'Tannoy' nameplate broken off, same speaker has scratches and back corner chipped to one side, general scuffing through use, all block feet present, backs unopened, fabric faces worn and a bit tatty, original labels intact, working when removed, the Denon components dusty but working when removed 

Vintage radios to include a HMV Radiogram, model 1622, a Whiteley Electric Radio Co Ltd Stentorian Baby Cabinet Speaker, Sanyo, National Panasonic, Dansette and other. [5]. [W]NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.

A boxed Bose Soundlink Color 2 speaker, appears unused and a 21" television with remote. [2]. [W]

Dansette - Major. A Dansette Major Record player, 16 to 79rpm, Off / On / Reverse functions. Power cable appears to be actual speaker cable and thankfully does not have a plug attached to it. Unable to confirm working. Item appears in Playworn condition yet I have no doubt with a little TLC this record player would be restored to it's former glory. (This does not constitute a guarantee).

A Monitor Audio Radius 250 HD wall mounting speaker, with instructions, 76 x 10.5 x 13 cm

A 1930s-1940s walnut radio speaker by Aceradio Ltd, model 'EX 8', 31 x 14 x 26 cm

A Eumig Mark-S-710D 8mm sound projector together with a speaker and a quantity of film including Laurel & Hardy, etc

Hacker Radio Ltd - Model RG16 - A vintage 20th century teak veneered Hacker RG16 record player with matching speaker. The record player having an hinged top opening to reveal a Garrard  AT6 Mk IIA table. Record player & speaker raised on teak squared tapering supports. Each measuring approx. 65cm x 55cm x 44cm

Onkyo CR-315DAB. CD player and DAB receiver, the original pair of Onkyo bookshelf speakers are included, along with the remote, speaker cables, and antenna.The Onkyo has been fully tested and is in working order. The player has also passed its PAT test.

Fernandes ZO-3 DigiZo Electric Guitar w/ Effects & Speaker. Very cool and playable electric guitar with onboard 9v battery powered amp and effects. Currently working and playing well. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.

Fernandes ZO-3 DigiZo Electric Guitar w/ Effects & Speaker. Has onboard 9v battery powered amp and effects. Not working.

A Bush Model DAC 10 Wireless Receiver with dual-tone bakelite case, bearing 'Property Of British Wireless For The Blind Fund' transfer by the push buttons; and a Maestro 3-band bakelite set with inset profile dial and speaker grille (2)

An Early Wireless Crystal Set with open detector and arc-scale tuning, in wooden case; with a size B BTH horn speaker with driver in bakelite base, brown finished swan neck horn (2)

Smaller Bakelite Vintage Wireless Speakers a GEC in heptagonal case; a bulbous-front example; a dual-tone white and black Ferranti; a HMV drum louvre front heater; and a nice green and dark brown speaker (5)

Essex. Colchesters Teares: Affecting and Afflicting City and Country; Dropping from the sad face of a new Warr, threatning to bury in her own Ashes that wofull Town. Faithfully collected, drawn out into a moderate Relation and Debate, humbly presented to all Free-born Englishmen by severall persons of Quality. Who much doubted and desired to see the Truth in the mist of various relations obscuring the same, but now convinced by their own eyes, doe conceive themselves bound to give out this brief Narrative, to satisfie all unprepossessed civil and moderate men, and good Christians, who truly love Jesus Christ, their King, city, and Countrey, and sincerely desire the settlement of Peace and Truth, London: John Bellamy, 1648, [1], 15 pp., title-page with tissue repair at head of gutter margin, page number to verso of A1 slightly shaved, some browning and scattered spotting, together with:[Rushworth, John]. A Letter sent to the Honorable William Lenthal Esq; Speaker of the Honorable House of Commons, of the late Fight at Colchester, and, how the Suburbs of the said Town were fired by the Lord Goring, Lord Capel, Sir Charls [sic] Lucas, and the rest of the Enemy. Printed by the Command of the Honorable William Lenthal Esq; Speaker of the Honorable House of Commons, London: Printer for Edward Husband, printer to the Honorable House of Commons, July 17. 1648, 7, [1] pp., ornamental border to title, page number '3' to upper margin of A2 slightly shaved, slight spotting, plusS. (T.). A True and Exact Relation of the taking of Colchester, sent in a Letter from an Officer of the Army, (who was present during the siege in that service) to a Member of the House of Commons. With a List of the Ordnance, Arms, and of 3076. private souldiers there taken…, London: Printed by Robert White for John Partrige, 1648, [2], 6 pp., ornamental border to title, upper margin of A2 slightly shaved at head lightly toughing few words to first line on verso of leaf, slight toning and minor spotting, all volumes with top edges gilt, burgundy morocco gilt bookplates of W. A. Foyle, Beeleigh Abbey to front pastedowns, 20th-century maroon half morocco by Sangorski & Sutcliffe, slim 4toQTY: (3)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate to each).1. ESTC R205022; Thomason, E.455[16]; Wing C5018.A plea for the townspeople of Colchester from a Royalist position. In 1648 Colchester underwent a long and bitterly contested siege by the parliamentary forces under Fairfax and was punished by Parliament for its occupation by the Royalists, probably against the citizens’ wishes.2. ESTC R203404; Thomason E.452[42]; Wing R2325. A vivid account of the intensity of the fighting at the Siege of Colchester, written from a Parliamentary viewpoint.3. ESTC R203705, Thomason E.461[24], Wing S186. One of two variant issues of the same year, Wing says 'var.' In CSmH and Thomason copies the 'A' of 'A3' is under the second 'c' of 'accompt' as seen in this example.