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Lot 173
Victorian Magic Lantern projector by The 'J.T. Chapman plus a collection of photographic slides Victorian Magic Lantern projector by The 'British' J.T. Chapman, Photographic Chemist, Manchester and a large collection of approximately 300 photographic slides of mainly British scenes and landmarks but also some African, North American and European. Retailed by Newton & Co, London and Flatter & Garnett Ltd. Manchester. Plus 28 hand watercolored examples of the coast of England & Scotland by James Valentine (J.V.). Many without labels. The bellows are damaged especially on one side with a few holes at the corners. See images.
Lot 122
AN IMPERIAL GILT-DECORATED 'TROMPE-L'OEIL' PORCELAIN VAJRA, CHINA, 18TH CENTURYThe four-pronged porcelain vajra is masterfully glazed in imitation of worn gilt-bronze and splashes of green to simulate malachite encrustations. The prongs extend out of dragon mouths and are flanked by lotus petals. The central band shows a robin's egg glaze with perfect porcelain copies of lapis lazuli and coral cabochon inlays. Provenance: From a Swedish private collection. Condition: Expected old wear, three prongs with small old repairs, some firing irregularities and minor glaze flakes, tiny nicks and losses.Weight: 130.5 g Dimensions: Length 16.4 cm The vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Vajras are considered to be imbued with magic. The famous Manhattan-based Chinese art dealer Robert H. Ellsworth once owned a related bronze vajra and shared an interesting story: It was given to Mr. Ellsworth by a dear friend who, having learned that Mr. Ellsworth was ill, sent the vajra from his personal shrine to Mr. Ellsworth with instructions to sleep with it under his pillow. Two weeks later, Mr. Ellsworth called his friend to report he had made a full recovery. From that point on, the vajra remained on Mr. Ellsworth's bedroom headboard, resting at the feet of a seated yogi.Trompe l'oeil porcelain is a highly unique genre of Imperial porcelain objects made during the Qing dynasty. It refers to porcelain made in decorated imitation of other objects. These objects varied from archer's rings to imitation wood basins, from lacquer boxes to auspicious symbols like this imitation-bronze vajra. During a rare private viewing of Qing trompe l'oeil porcelain at the National Palace Museum, Chih-En Chen delved into the museum archeology behind ten pieces-these include the comparisons given here and more-with the hopes of finding where these objects were found in situ and whether this was inside or outside the Forbidden City. He discovered that many of the pieces were in fact in the Forbidden city and that they were assembled in only five places: the Jingrengong, the Yangxindian, the Yongshougong, the Shouangong, and the Ningshougong. Chen managed to discover a link between all these locations, namely that they were all associated with buildings intended for the women of the court living at the Forbidden City. The only exception to this is Nigshougong, the Qianlong emperor's retirement palace. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2013, lot 3031 Price: HKD 9,640,000 or approx. EUR 1,420,000 converted and adjusted for inflation at the time of writing Description: A rare trompe-l'oeil celadon reticulated vase, seal mark and period of Qianlong Expert remark: This trompe-l'oeil porcelain is made in imitation of nuts and dried fruits on a plate with a porcelain vase. Note the similar expert craftsmanship of the imitation nuts and fruits which are masterfully glazed.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2007, lot 516 Price: HKD 5,360,000 or approx. EUR 950,000 converted and adjusted for inflation at the time of writing Description: An unusual pair of 'famille-rose' trompe-l'oeil wall vases, marks and period of Qianlong Expert remark: These two vases are made in the imitation brocade fabric and wood in form of a pipa instrument tucked inside a brocade bag tied at the neck. Note the similar glazing to imitation wood along the pipa's neck. 十八世紀御製仿真描金陶瓷金剛杵四股陶瓷金剛杵，巧妙模仿鎏金銅表面和綠松石鑲嵌物。四股從龍口伸出，兩側鑲有蓮瓣。中央飾帶上飾有爐鈞釉釉，並配有仿青金石和珊瑚的鑲嵌物。 來源：瑞典私人收藏 品相：磨損，小修，一些燒製不規則和輕微刻痕和缺損。 重量：130.5 克 尺寸：長16.4 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，8 4月 2007年，lot 516 價格：HKD 5,360,000 EUR 950,000 （相當於今日） 描述：乾隆款及年代一對罕見粉彩仿真瓷壁瓶 專家評論：這兩個花瓶是仿錦織物和木材材質，形狀像琵琶，放在錦袋裡。請注意琵琶琴頸上與仿木材質。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
Lot 654
A GILT COPPER-ALLOY FIGURE OF KUNZANG AKOR, BON TRADITION, TIBET, 14TH-15TH CENTURYKunzang Akor is seated in padmasana, hands held in dhyanamudra on his lap, wearing elaborate jeweled necklaces. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot behind the elaborate foliate crown. The mantra 'AH' is cast on his chest. The sealed base is incised with a double-lined wan symbol.Provenance: From an old Austrian collection. The base with a collector's label, '515. 24T.' Condition: Fine condition, commensurate with age. Some wear, mostly to gilt, and expected casting irregularities. Small nicks, dents and losses, minor warping, and light surface scratches. The base is sealed. Fine, naturally grown patina with some cuprite and malachite encrustations.Weight: 826.6 g Dimensions: Height 17.3 cm The deity Kunzang Akor is the meditational form of Shenlha Okar. As in the present example, he is generally recognized by the Tibetan letter 'AH' placed on the chest at the level of the heart. The two hands are placed in the lap and hold the stems of two flower blossoms supporting a stylized yungdrung symbol on the right and a vase on the left. There are numerous traditions of ritual cycles and meditation practices for Kunzang Akor. It is also common to have a sculpture of Kunzang Akor created as a death memorial. While in Tibetan Buddhism it is more common to have a painting created in memoriam, a sculpture is more common in the Bon Religion. The Tibetan lettering on the chest, not found on Buddhist sculpture, confirms that this deity is from the Bon tradition. For a closely related example, see S. Karmay and J. Watt, Bon: The Magic Word, 2007, page 50, fig. 38. Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 12 December 2013, lot 240Price: EUR 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: Statuette Bun de Kunzang Akor en bronze dore Tibet, XVE siecleAuction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1356Price: USD 13,750 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Kunzang Akor, Tibet, 14th/15th Century 西藏十四至十五世紀合金銅貢桑阿闊像，苯教傳統貢桑阿闊成蓮花坐姿，手結禪定印，佩戴精緻的寶石項鍊。他面容平靜，雙眼微閉，眉毛微彎，雙眉之間有白毫，頭髮捲曲，垂在肩上，部分在精緻的葉冠后成一個高髻。他的胸口鑄有三字明咒中的“啊"。密封的底座上刻有萬字符。 來源：奧地利私人舊藏，底座收藏標籤 '515. 24T.' 品相：品相完好，有些磨損，主要是鎏金部分，小缺口、凹痕和缺損、輕微翹曲和輕微表面劃痕。底座密封。精美的天然包漿，帶有一些紅綠色結殼。 重量：826.6 克 尺寸：高17.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2013年12月12日，lot 240 價格：EUR 18,750（相當於今日EUR 24,000） 描述：西藏十五世紀鍍金銅貢桑阿闊像 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得， 2009年3月20日，lot 1356 價格：USD 13,750（相當於今日EUR 18,000） 描述：十四至十五世紀鎏金銅貢桑阿闊像
Lot 160
Bjorn Wiinblad for Rosenthal, a pair of cabinet plates from the Aladdin & the Magic Lamp series, and a further example, Sinbad the Seafairer, no cracks or chips, each D: 16 cm (3), no apparent losses to paint, slight wear to gilt and surface marks to all plates, one plate appears to have a scrape to under the rim which is visible under UV light, no cracks or visible damages slight pitt marks to rim of one plate but overall good condition. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)
Lot 437
Hale (Kathleen). Orlando's Magic Carpet, 1st edition, London: John Murray, 1958, colour & monochrome illustrations, original cloth in dust jacket, some very minor rubbing to the head of the covers, oblong 4to, plus 10 further 'Orlando' volumes by Kathleen Hale, some in dust jackets, together with:Dahl (Roald), Charlie and the Chocolate Factory, 1st edition, London: George Allen & Unwin, 1967, monochrome illustrations by Faith Jaques, some light red pencil to the front & rear pastedowns, some light marginal toning, original illustrated boards, spine very lightly rubbed to head & foot, 8vo, plusSharp (Margery), The Rescuers, 1st edition, London: Collins, 1959, monochrome illustrations, some very light marginal toning, original cloth in dust jacket, small loss to the head of the spine, 8vo, and other early to mid-20th century mixed edition juvenile & illustrated literature, including works by Enid Blyton, Elinor M. Brent-Dyer, Frank Richards, Lorna Hill, Michael Bond, all original cloth, mostly in dust jackets, G/VG, 8vo/folioQTY: (5 shelves )
Lot 124
Pair of porcelain figurines from the Millennium series, these captivating pieces showcase Frederik sitting with a book in front of him, while the teddy bear is holding him tight. The figurine of Emma is sitting on her magic carpet with a white dove on her hand. The white dove is seen as a sign of and hope for peace on earth. Royal Copenhagen gold backstamp on bottom. Largest piece measures 3.75"L x 2.5"W x 3.25"H. Artist: Sven VestergaardIssued: 2001Manufacturer: Royal CopenhagenCountry of Origin: DenmarkCondition: Age related wear.
Lot 29
BADFINGER - LP PACK. A fine selection of 4 LPs by Badfinger. Titles include Straight Up (SAPCOR 19, record strong VG+/ sleeve VG+, light crease to top right corner), Magic Cristian Music (SAPCOR 12, original black paper inner. Record Ex/ sleeve strong VG+), Ass (SAPCOR 27, printed inner has some edge splits. Record Ex/ sleeve VG, some staining on the back cover) & No Dice (SAPCOR 16, record Ex/ sleeve has some water damage rippling, VG).
Lot 9
BADFINGER - LP RARITIES PACK. A fine selection of 3 LPs by Badfinger. Titles include Magic Christian Music (SAPCORE 12, record is strong VG+, displays some light paper marks. Sleeve Ex), The Best Of Badfinger (724383012916, records Ex+/ sleeve Ex+) & Straight Up (SAPCOR 19, record strong VG+/ sleeve Ex).
Lot 269
KAY NIELSEN (ill): 1- Fairy Tales by Hans Andersen. Hodder and Stoughton, nd (1924), 1st. Edn. 4to. With 12 tipped-in colour plates & numerous other illustrations (some full page).Original gilt pictorial cloth and pictorial endpapers, recased; 2- Quiller-Couch: In Powder and Crinoline, Old fairy tales. Hodder & Stoughton, no date (1913), 1st. Edn. With 25 tipped-in colour plates. 4to. Original pictorial cloth, teg, rubbed & faded; recased with the original spine and new endpapers; 3- Romer Wilson: Red Magic, collection of the world's best fairy tales. J. Cape, 1930, 1st. Edn. With 8 colour plates & 50 full page illustrations. Original boards. (3)From the Paul Bentley collection of maps and atlases.
Lot 1
A 19th Century black-painted tinned iron and brass Magic Lantern, a.f., lacks illuminant, lacquered brass Ross 4in Concentric lens, with wheel of stops, serial no 48373, iron apothecaries' pocket scales and weights, cased, and darkroom enamelled dishes, books, plate holders, plate washer, Eastman Thermometer, flasks and lamp (a lot)
Lot 13
3¼in sq Magic Lantern Slides, Merl La Voy (1885-1953), one slide credit, and others - photographic slides taken in China during ascendancy of warlord Chang Tso Lin, probably mid-1920s, including US troops in role to protect Western interests - in sandbagged guard post on Soochow Creek, Shanghai, US officer with General Liu Wang Tao (La Voy credit), digging trenches, Chang tso Lin's artillery, US marines with machine gun and ammunition wagon, Japanese naval landing party drilling, with Nanking National council group, and others (21)
Lot 18
3¼in sq Magic Lantern Slides, photographic North Wales topographical - unnamed, printed numbers, good quality images, title slide 'Lliwedd, Lllanfairpwllgwngwll, Machynlleth', including Menai Bridge, bathing machines, probably 'Fire Queen', 1848, now at Penryhn Castle, with slate wagons on Padarn Railway, slate quarries, ships, castles and ladies, images circa 1870 (51)
Lot 3
3¼in sq Magic Lantern Slides, photographic including P&O ships under construction and at sea, Indian topographical and others, some with P&O titles, chromolitho Boer War, including British leaders, religious, slides from chromolitho story sets, astronomical, Egypt, UK churches, Switzerland, Germany, Italy, natural history, quarter-plate negatives, shipping, fishing and fishermen, James Valentine Norway, UK country houses and others (large qty, apx ¾ of cage trolley)
Lot 30
3¼in sq Magic Lantern Slides, Canada and USA photographic topographical, some coloured - Canada From Quebec to the Rocky Mountains' (49), 'Three Weeks in the USA and Canada', with Riley Bros reading (26 out of 30), part set 'United States and Canada' (24) and chromolitho transfer Primus 'Our Colonies - Canada' (8), P-G (107)
Lot 35
A late 19th Century mahogany and brass Biunial Magic Lantern, with pair of hinged access doors to each side, twin carrying handles, tinned iron chimney cowl and sliding brass dissolve curtain, 650mm high, F, lacks illuminants, possibly once later fitted with star dissolve or electric illuminants
Lot 38
3¼in sq Magic Lantern Slides, early 20th Century - including good quality Glasgow wealthy amateur - family portraits and groups, three girls in snow on sledge, family servant washerwoman, two children with nursemaid, dog, young man with bicycle (2), grooms with pony trap, girls in running race and keen rider with Ordinary (Pennyfarthing) bicycle and others, with George Washington Wilson 'Characters and Types' (4), street vendor, S J Beckett, FRPS (1870-1940), Swiss views (4), and others, F-G (85)
Lot 39
3¼in sq Magic Lantern Slides, UK good amateur photographic topographical, taken and used by vicar for lectures (see lot P15), including holiday trip to New Forest, including portrait groups of travellers in camps, sign posts, roads with stones or flints alongside for repair, also Cambridge, Ruined Monasteries and other churches and buildings, in four wooden cases, circa 1930, G, with story sets, unchecked (5) and chromolitho chromatropes, one a.f. (2) (apx 300)
Lot 4
3¼in sq Magic Lantern Slides, quarter-plate religious negatives, UK topographical, photographic theatrical Hamlet, G W Wilson Scotland (6), photographic story sets, European topographical, Rhodesia/Zimbabwe, Durban, 19th Century travel, natural history, Royal Navy ships, yachts racing and Cornish and Belgian beach holidays (large qty, apx half of cage trolley)
Lot 41
A full description can be found at https://www.specialauctionservices.com/Auction-Calendar/2023/Photographica-and-Cameras-Auction-(5)The Noakes 'Quad' Magic Lantern or Noakesoscope (Special Auction Services wishes to extend its gratitude to Dr Richard Crangle for the following lot description and analysis), description - the lantern body of single, unitary mahogany and lacquered brass construction (not triunial with a demountable ‘single’ or two stacked biunials), but stands no taller than the average triunial: 35 inches including the baseplate, plus 2 inches for the detachable domed top and maybe another 6 inches for the absent chimney cowl; the body is 10 inches long and 9¼ inches wide, attached to its baseplate (23 by 11 inches) by two hinges along its back edge – this allows it to be tilted to elevate the lenses by around 10 degrees, secured by rotary clamps at the front corners ;there are no lifting handles; all references to ‘right’ and ‘left’ here refer to the sides of the lantern when looking ‘forward’ towards its lenses; there are four hinged access doors (6½ by 5¾ inches) on the right side, aligned with the illuminant chambers inside, and four dummy doors (moulded wooden panels screwed onto the body, complete with fake catches and inspection windows) in matching positions on the left side; the interior of the body is lined with tinned iron sheet spaced from the wood; the original chimney cowl is missing (and also not visible in a 1940s photograph); the chimney hole in the lantern top has been blanked off with a metal sheet to prevent light escaping upwards; from the ‘workshop’ photo the chimney cowl appears to have been a standard Noakes pattern; there are three sets of objective lenses (6, 8 and 10 inch focal length) and a set of lens extension tubes - these allow configurations for projection in spaces ranging from a small parlour (Gordon Noakes used the lantern in his home) up to the Albert Hall (around 130 feet [40m] ‘throw’, giving an image width of 40 feet [12m]); there are also, unusually, five extra sets of condenser lenses of varying convexity and focal length, which could be swapped in and out of the cylindrical condenser mounts within the lantern body to give further variations; in other words this was the travelling set-up of a highly professional, indeed perfectionist, lanternist who knew exactly how to achieve the best effect in different situations; it was originally illuminated by limelight: screw holes in the back of the lantern correspond to the mountings of a dissolving gas tap and pipe fastenings, as seen in the ‘workshop’ photograph; however there are references in accompanying press cuttings to electric arc illumination, so it was modified at some stage (perhaps by Gordon Noakes); the current lamp fittings, which are fed by post-1970s cables arranged neatly on the back of the lantern, are bayonet mountings for large 500-watt projector bulbs, which are mounted on horizontal bars with thumbscrews for lateral adjustment relative to the lantern body, which probably relate to the electric arcs rather than being original (they are not visible in the ‘workshop’ photograph); dimensions of lantern - 920mm high, 690mm deep, 280mm, dimensions of iron-bound wooden lantern-carrying chest - 970mm high, 640mm wide, 330mm deep, dimensions of iron-bound wooden slide chest- 840mm high, 660mm wide, 350mm deep. Analysis - the 'Noakes Quad' was a ‘workhorse’ rather than a ‘show pony’ – compared to some triunials there is no ostentatious decoration, beyond the typical wooden beading, shaped chimney and brass fittings contrasting with the mahogany body; this may reflect its being built for Noakes’s own use, rather than in the hope of attracting commercial orders; it shows signs of considerable use: some of the metal surfaces are rubbed and worn, and there is localised charring to the wooden body; rather surprisingly, the four lenses are not aligned along the vertical centre-line of the lantern body, being one inch closer to the right side than to the left: there is no obvious practical explanation for this; the same arrangement is replicated inside the body, where the metal lining includes an additional spacing chamber at the left side, running through all four compartments; both sides carry engraved brass plates reading ‘NOAKES’ PATENT'; however, no patent for a four-lens lantern is known, and it is unlikely that such an ‘invention’ would have been patentable anyway, being just an extension of the principles well-known in the ‘prior art’ of biunial and triunial lanterns.; if the four-lens configuration had been patented, we might expect it to have been made commercially: patents require the invention to find commercial success to recoup the initial and ongoing fees; the ‘Noakes Patent’ designation must refer to one or more detailed design refinements, probably the same ones claimed by similar plates on Noakes’s triunials; the right side also has a brass maker’s plate at the top, reading: 'D.W. NOAKES, “PLEYDELL”, HUMBER ROAD, WESTCOMBE PARK S.E.'; that is the address recorded for Noakes in the 1901 Census, and is probably the house at Westcombe Park mentioned as “lately purchased” in an 1897 OMLJ interview, where he lived until around 1924; the plate could, of course, have been added later, though it is overlaid by other fittings and looks original; if it was attached during construction, the lantern can have been made no earlier than 1896; there is other circumstantial evidence on dating: Noakes published a small booklet listing lectures he offered, giving the same Humber Road address and including the remark that “I have constructed a Quadruple projection apparatus (the only one existing)"; the booklet quotes glowing press reviews, including one praising a “very fine lantern, which was manipulated with practised skill” – however the original 1893 newspaper source used the wording “very fine patent triple lantern;” in other words the Quad was not in use in 1893, yet it definitely was in use by 1901, when (the earliest press reference found so far) a lecture by Pastor Charles Spurgeon was supported by “Mr D.W. Noakes with his Quadruple Dioramic Lantern". Magic Lantern Slides - the 'Noakes Quad' magic lantern to be offered with large collection of mahogany-mounted 3¼sq. in. magic lantern slides, mainly photographic and coloured photographic, being the working collection of David Noakes as a professional lanternist, including slides from 11 out of the 12 readings in Noakes' printed 'Syllabus of Dioramic Lectures', probably printed circa 1901 (treating No. 12 and No. 13 'England Bisected by a Steam Launch' as one set, missing only No. 3 'A Visit to Cloudland'), three period copies of the Syllabus included in lot, some sets in the Syllabus including effects, with occasional rackwork slides, contents of each set not checked for completeness, some slides for use in more than one set - sets detailed as : No. 1 'The Victorian Era' (122), No. 2 'Picturesque Devon' (50), No. 4 'Rambles in Normandy and Brittany' (78), No. 5 'Antwerp, Brussels and Waterloo' (54), No. 6 'River Rambles or The Strange Adventures of a Steam House Boat' (69), No. 7 'The Channel Islands through my Camera' (99), No. 8 'Manxland & its Beauties' (70), No. 9 'Tamesis', including 'RW', probably Raising Wrecks (104), No. 10 'The Greatest Cities of the World' (95), No. 11 'Ancient and Modern Methods of Travelling' (82), No. 12 'England Bisected by a Steam Launch Part 1 The Outward Journey and Part II
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