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Lot 422
A collection of 20th century audio / music equipment. The collection to include an Akai GXC-36D stereo cassette deck, a Realistic twelve band Stereo Frequency Equalizer, a Sharp RT-1010 stereo cassette deck, a Trio KR-2300 stereo receiver, alongside a Panasonic boombox speaker system, and a Garrard turntable.
Lot 114
2000 Rover Mini 40 'KAD' Transmission: manualMileage:1100Kent Auto Developments is a pioneering automotive company renowned for its expertise in performance tuning, bespoke vehicle enhancements, and motorsport preparation. With a focus on innovation and quality craftsmanship, the company offers a comprehensive range of services tailored to meet the diverse needs of enthusiasts and professional drivers alike. Their team of skilled technicians combines advanced technology with meticulous attention to detail to ensure optimal results for every project. Whether it's optimizing horsepower, improving handling, or refining aerodynamics, Kent Auto Developments is dedicated to pushing the boundaries of automotive excellence. With a reputation for excellence and a commitment to customer satisfaction, Kent Auto Developments continues to elevate the driving experience for automotive enthusiasts worldwide.This Mini was a full build by Kent Auto Developments, which really can only be described as a work of art. The car started life as a limited edition Mini 40 but has since been 'backdated' with a clubman front end and painted in Ferrari Verde Silverstone. It is understood that more than £60,000 was spent on the build of the car, with the brief being 'to beat everything on track days but still have the comfort to drive to the South of France'. Power comes from a KAD built 1480cc, 16v, twin-cam engine with a whopping 180bhp, which is plenty in a mini! The engine is fitted with Jenvey throttle bodies and Omex 600 management, which has just had a £700 refresh and tune. A Piper 4-2-1 stainless manifold with Playmini stainless exhaust system is fitted, giving an incredible exhaust note. The car is fitted with a KAD five-speed straight cut dogleg gearbox, Quaife ATB limited slip differential, KAD alloy flywheel and KAD quick shifter. Stopping power comes from KAD four-pot calipers up front with 7.9€ vented and grooved discs and a KAD rear disc conversion with KAD adjustable bias pedal box. As if a Mini didn't handle well enough already, the car has been fitted with AVO full adjustable suspension, KAD alloy swing arms, camber arms, alloy front hubs, KAD front and rear anti roll bars and electronic power steering with a Quaife quick steering rack. KAD 6x10€ magnesium wheels have been fitted with Yokohama Advan 032R tyres, perfect for road/track use. The interior really is the best of both worlds, trimmed in sumptuous black leather with a full roll cage (also painted in Ferrari Verde Silverstone), Pioneer speaker system with Bluetooth, AVIC F220 navigation system and a full length electronic sunroof.This is an outstanding mini built with huge attention to detail and was truly a no expense spared build. Offered to auction with a comprehensive history file, V5C registration document and an MoT test certificate valid until September 2024. Whether you're a Mini enthusiast or not, this car is quite hard not to love and is offered at a fraction of its original build cost having covered just over 1,000 miles since completion. Consignor Fraser Smith
Lot 62
A GREEN JADE ‘BIRD’ PENDANT FRAGMENT, WESTERN ZHOU DYNASTY 西周鳥形玉珮Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1100-1000 BC. The flat stone carved in the form of a stylized bird, each side with grooves forming the wings and tail. The opaque jade of a grayish-green color with 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 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: Condition commensurate with age. Old wear, weathering and erosion, nibbling, some chips and losses. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 7.2 g Dimensions: Length 7.6 cmExpert's note (added 20.2.2023): Jades such as the present lot can be dated to as early as the Shang Dynasty. It has been theorized that they were once made as adornments and supports for elaborate lacquer vessels imitating the designs of ritual bronzes (see image section). None of these complete vessels have ever been found. This original intended use eventually fell out of fashion with the repurposing of these archaic examples for bodily adornment. 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 closely related jade plaque, described as a fish, Western Zhou dynasty, in the Metropolitan Museum of Art, accession number 24.51.7. Compare a closely related jade plaque of a bird, in the British Museum, accession number 1947,0712.465, and illustrated in J. Rawson, Chinese Jades from the Neolithic to the Qing, British Museum, 1995, p. 227, fig. 1, where she notes that during the Western Zhou dynasty, the tail became more horizontal and looks more like a ‘fish’ tail, such is the case for the present lot.Auction result comparison:Type: RelatedAuction: Sotheby’s Hong Kong, 26 May 2021, lot 127Price: HKD 56,700 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A celadon jade ‘bird’ pendant, Western Zhou dynastyExpert remark: Compare the related form and grooves. Note the much smaller size (5.3 cm).
Lot 182
A WUCAI ‘THREE BOYS’ JAR AND COVER, SHUNZHI PERIOD 順治五彩《三童戲牡丹》蓋罐 Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 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. The shoulder with a hairline.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).
Lot 86
A GRAY AND BLACK JADE ‘DRAGON’ PENDANT, MING DYNASTY 明代灰黑玉龍紋佩Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1368-1644. Of flattened form and boldly carved in openwork to depict a sinuous dragon, its body finely decorated with partly interlocking C-scrolls, the long curved horn and curling tail neatly incised, the mouth pierced with a small aperture. The finely polished, translucent jade of a pale gray tone with a black patch, icy inclusions, and russet veins.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.7.6. 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. 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: Very good condition with expected old wear, minimal signs of weathering and erosion, minor nibbling to the edges, and few small nicks. The stone with natural fissures, some of which may have developed into small hairline cracks.Weight: 47.1 g Dimensions: Length 8.6 cm Auction result comparison: Type: Related Auction: Sotheby’s London, 2 November 2022, lot 255 Price: GBP 5,040 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A gray and black jade ‘dragon’ plaque, Ming dynasty Expert remark: Compare the closely related manner of carving with similar C-scroll and gray and black color. Note the slightly different form with multiple heads, and the size (11.4 cm). 明代灰黑玉龍紋佩中國，1368-1644 年。扁平形，雕刻一條蜿蜒的龍，其身體上飾有雲紋，長而彎曲的角和尾巴線條簡潔，嘴上穿有一個小孔。精細拋光的半透明玉，呈淺灰色調，帶有黑色斑塊、白色絮狀物和赤褐色紋理。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號T.7.6。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：狀況非常好，有磨損，風化和輕微侵蝕跡像，邊緣有輕微的磕損，並且有一些小刻痕。玉石上有天然裂縫，有的可能發展成細小裂縫。 重量：47.1 克 尺寸：長8.6 厘米拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2022年11月2日，lot 255 價格：GBP 5,040（相當於今日EUR 7,000） 描述：明灰玉仿古龍紋珮 專家評論：比較非常相近雕刻風格和灰黑玉。請注意不同的外形和多頭和尺寸 (11.4 釐米)。
Lot 289
A GRISAILLE AND IRON-RED-DECORATED ‘LI TIEGUAI’ VASE, HONGXIAN MARK, EARLY REPUBLIC PERIODPlease note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: For an interesting discussion of porcelain produced during the short period from December 1915 to February 1916 when General Yuan Shikai adopted the reign title Hongxian in an attempt to restore the monarchy to China, see the article by Simon Kwan, 'Hongxian Porcelain and the Role of Wang Xiaotang', published in Orientations, October, 1991, pp. 65-70. In particular, the author notes that a batch of Hongxian-marked porcelain wares was most likely indeed produced for Yuan Shikai. The painting on the present porcelain vase is of the highest quality. The painter not only executed the meticulous wrinkles and folds of Li Tieguai’s skin with a deft hand, but he also painted the clothes with an intricate pattern and shaded the rocks with remarkable mastery. This vase belongs to a rare group of grisaille-decorated porcelain from the Republic period which were decorated by the most skilled painters in Jingdezhen, of which there were exceedingly few left at that time.China, c. 1915-1930. Delicately potted, the ovoid body supported on a short foot and rising to a gently rounded shoulder with a waisted neck and flared mouth. Superbly painted to the exterior in predominantly iron-red and grisaille with Li Tieguai leaning on his iron crutch as he sits on a dramatically cragged and pierced rock under a towering tree with gnarled branches, before a flaming brazier with his double gourd placed on top, surrounded by further vessels and implements. The base with an iron-red four-character seal mark Hongxian nianzhi within a double square.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.3.16. 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: Very good condition with minor wear and firing irregularities, the body with a fine and short hairline.Weight: 553.5 g Dimensions: Height 20 cm Auction result comparison:Type: Closely relatedAuction: Christie’s New York, 15 September 2011, lot 1642Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: An iron-red and grisaille-decorated baluster vase, 20th centuryComparison: Compare the closely related iron-red and grisaille decoration, immortal subject, and Hongxian mark. Note the different form and the size (32.9 cm).Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 29 May 2013, lot 2033 Price: HKD 437,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A grisaille-decorated ‘landscape’ vase, Hongxiang yuzhi blue enamel mark within double-squares, Republic period Expert remark: Compare the closely related iron-red and grisaille decoration and Hongxian mark, as well as the similar size (20.2 cm). Note the different subject and form.Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.由于Drouot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 355
‘BUDDHAS, BODHISATTVAS, ARHATS, AND A VAJRAPANI’ Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, pp. 18-20 and 111, no. 8.China, Ming dynasty (1368-1644). Ink, watercolors, gouache, and gold highlights on silk. Mounted as a hanging scroll with a paper frame. Finely painted with five buddhas above four bodhisattvas, nine luohan, and a fierce Vajrapani, all amid thick scrolling five-color clouds. Inscriptions: Upper left, titled ‘Buddhas of the Ten Directions, Eight Great Bodhisattvas, Luohans, and a Vajrapani’. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. 130. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and a 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 wear, creases, small tears, and minor losses with associated old repairs. The paper frame in similar condition with losses, tears, creasing, and associated repairs. Presenting overall very well given its age and material. Dimensions: Image size 83.8 x 134 cm, Size incl. frame 94.3 x 184 cmThe grandest of the Buddhist mortuary rites is the Water-Land (shuilu) ritual. This esoteric ceremony is conducted for the salvation of “all souls of the dead on land and sea.” The ostentatious ritual was performed for imperial ancestors and high officials from the Song (960–1279) to the Ming dynasties and drew large crowds. On the second day of the weeklong ceremony, paintings are hung in the inner altar.Originally one of a pair, most likely flanking a central painting of the Buddha. It has been claimed that the total of twelve characters is a feature of a painting created at the imperial court. Almost certainly, the matching right-hand painting of the pair would have featured another inscription in gold, with details of the temple where it was dedicated and the date.At the top of the painting, against a background of auspicious 'five-colored' clouds, are five of the Buddhas of the Ten Directions. They are not individually identified, but display different mudras or hand gestures. From the left, these are: abhaya, dharmacakra, anjali, abhaya, and dhyani mudra.Immediately below them are four of the Eight Great Bodhisattvas, who are more easily identifiable by the attributes they hold. From the left, the first figure, holding a khakkhara or priest's staff, and with a Sanskrit seed character in his headdress, is Kshitigarbha; next to him, holding a ruyi or wish-fulfilling sceptre, is Sarvanivaranavishkambin; following him is Maitreya holding a fan on which is depicted the sun and moon and a two-story building representing the Tushita Paradise in which he resides; and finally Samantabhadra. Similarly, the group of nine luohan in this painting would have been completed by a parallel group in the facing painting. Although they are not all immediately identifiable, they have very distinctive characters, old and young, Chinese and foreign. The first figure in the second row, holding a fan with outline clouds, is Pindola, an old man with immensely long, white eyebrows.Museum comparison:Compare a pair of related Water-Land ritual paintings, dated 1454, in the Cleveland Art Museum, accession number 1973.70.
Lot 343
A THANGKA OF CHATURBHUJA AVALOKITESHVARA, TIBET, 18TH-19TH CENTURY 西藏十八至十九世紀四臂觀音Please note this Lot is to be sold at No Reserve. 本拍品不設底價Distemper on cloth. Seated on a lotus pedestal in dhyanasana with his primary hands holding a jewel at his chest while his secondary hands hold a lotus blossom and mala beads. Clothed in a blue and red dhoti and wearing a billowing green scarf. His serene face with sinuously lidded eyes below elegantly arched brows, a broad nose, and full lips forming a calm smile. His hair arranged in a high chignon topped by the red-skinned head of the Buddha Amitabha behind the five-leaf tiara, backed by a radiating mandorla and green halo.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.46. 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 minor wear, minimal soiling, creasing, few small losses.Dimensions: Image size 44 x 29.5 cm, Size incl. frame 65.9 x 51.9 cm The lower register with Manjusri seated in dhyanasana on a lotus throne, wielding his sword with his right hand and holding a lotus in his left coming to full bloom at the shoulder supporting a book, and Mahakala striding in alidhasana, wearing a tiger skin, engulfed in flames. All within a verdant landscape with fruiting leafy peach branches below the sun and moon.Literature comparison:Compare a related thangka of Chaturbhuja Avalokiteshvara, dated to the 19th century, in the Tibet House Museum in New Delhi, illustrated on Himalayan Art Resources, item no. 72057.Auction result comparison: Type: Related Auction: Christie’s New York, 14 September 2010, lot 154 Price: USD 6,250 or approx. EUR 8,000 converted and adjusted for inflation at the time of writing Description: A thangka of Chaturbhuja Avalokiteshvara, central Tibet, Menri style, 19th century Expert remark: Compare the closely related subject and manner of painting. Note the size (65.5 x 44.5 cm).Auction result comparison: Type: Related Auction: Christie’s New York, 18 September 2013, lot 277 Price: USD 11,875 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A painting of Chaturbhuja Avalokiteshvara, Tibet, 18th century Expert remark: Compare the closely related subject and manner of painting. Note the different mandorla and the size (64.1 x 43.2 cm).
Lot 101
Bang Olufsen Beovision 11 40" Hotel LCD TV Resolution: 1920 x 1080 (Full HD) Tucked away under the detachable felt cover are no less than six 32W Class D amplifiers, driving two sets of four-inch woofers, 2in mid-range drivers and three-quarter inch tweeters. As if all that audio hardware wasn’t already startling enough, the BeoVison 11 series of TVs can also power an astounding 10 external speakers, within which you can establish as many as nine different defined speaker groups for different uses in different areas of your living space (NO REMOTE SUPPLIED)
Lot 98
Bang Olufsen Beovision 11 40" Hotel LCD TV Resolution: 1920 x 1080 (Full HD) Tucked away under the detachable felt cover are no less than six 32W Class D amplifiers, driving two sets of four-inch woofers, 2in mid-range drivers and three-quarter inch tweeters. As if all that audio hardware wasn’t already startling enough, the BeoVison 11 series of TVs can also power an astounding 10 external speakers, within which you can establish as many as nine different defined speaker groups for different uses in different areas of your living space (NO REMOTE SUPPLIED)
Lot 100
Bang Olufsen Beovision 11 40" Hotel LCD TV Resolution: 1920 x 1080 (Full HD) Tucked away under the detachable felt cover are no less than six 32W Class D amplifiers, driving two sets of four-inch woofers, 2in mid-range drivers and three-quarter inch tweeters. As if all that audio hardware wasn’t already startling enough, the BeoVison 11 series of TVs can also power an astounding 10 external speakers, within which you can establish as many as nine different defined speaker groups for different uses in different areas of your living space (NO REMOTE SUPPLIED)
Lot 99
Bang Olufsen Beovision 11 40" Hotel LCD TV Resolution: 1920 x 1080 (Full HD) Tucked away under the detachable felt cover are no less than six 32W Class D amplifiers, driving two sets of four-inch woofers, 2in mid-range drivers and three-quarter inch tweeters. As if all that audio hardware wasn’t already startling enough, the BeoVison 11 series of TVs can also power an astounding 10 external speakers, within which you can establish as many as nine different defined speaker groups for different uses in different areas of your living space (NO REMOTE SUPPLIED)
Lot 3729
Illustrated literature – Goldsmith (Oliver, 1728-1774), illus. Poirson (V. A.), The Vicar of Wakefield, prefatory memoir by Saintsbury (George), London, John C. Nimmo, 1886, royal 8vo, xvi + 291 + 23 (publisher’s catalogue) 114 colour illus., maroon endpapers, bevelled gilt and colour printed grey boards and spine; Kingsley (Revd. Charles 1819-1875), illus. Wilson (Edward A.) Westward Ho! 2 vols., New York, Limited Editions Club, 1947 royal 8vo, Vol. I: 292pp, Vol. II: 293-579pp, both with colour plates and vignettes, teal endpapers, quarter buff cloth over illustrated boards, five gilt royal crests to spine with gilt titles; Barrie (Sir James Matthew, 1st Bt., OM), illus. Thomson (Hugh, RI, 1860-1920), Quality Street, a Comedy in Four Acts, London, Hodder & Stoughton, n. d. (1913), No. 322/1000 MS signature of Hugh Tomson, 4to, viii + 198, 21 mounted colour plates and other vignettes in monochrome, flyleaf MS inscr. Mildred Lowther/November 1913, gilt embossed vellum boards and spine, but stained and dirty, contents good (3) ***Hon. Mildred Lowther OBE (1890-1973), civil servant, was the only daughter of James, Mr. Speaker Lowther, later 1st Viscount Ullswater GCB, PC and his wife, Mary, daughter of aristocratic amateur architect Alexander Beresford-Hope. She served as assistant pay officer, command Pay Office, 1915-1919, and in the second world war served in the diplomatic corps, the Ministry of Information and the Board of Trade. She was later an active councillor for St. Marylebone, London, and died in London unmarried 2nd July 1973.
Lot 497
Hi-Fi separates: A pair of Royd "The Soceror" speakers and stands; A60 integrated amplifier by A&R Cambridge; a Yamaha K-222 double cassette deck; an Eclipse compact disk player; two pairs of Bose noise cancelling headphones, in shell cases; together with two pairs of speaker cables and three pairs of audio inter connect cables.
Lot 159
1958-1959 Marchant Emaphone 112 Jukebox. 112 selection jukebox playing 45 RPM records. It comes with 28 records. The jukebox isn't fully original it comes with a NSM speaker instead of the original one. Overall in a good visual condition. All the lights on the jukebox are working. The jukebox isn't fully complete it's missing some tubes and has no backdoor. Currently not in a playing condition, doesn't make a selection. Coin-operated, but missing the coingrinder. Comes without keys, unlocked. Requires 220V power. The machine is in a nice visual condition, missing some parts but a good base for a restoration. Dimensions (H x W x D): 145 x 75 x 63 cm. Location: The Netherlands, Tilburg. Video link: youtube.com/shorts/n8ZbLkavsLw?feature=share
Lot 127
1959-1963 Seeburg Jukebox Speaker Set Model TW1-8. Compatible with all Seeburg Jukebox models. The Seeburg logo in both upper left corners has the same crown as used on the Seeburg jukebox AY models. The speaker set is in an overall good condition. Dimensions (H x W x D): 43 x 30 x 25 cm. Condition: Good. Location: The Netherlands, Tilburg.
Lot 69
1957 Rare Marchant Emaphone 96 Jukebox. 96 selection jukebox playing 45 RPM records. It comes with 44 records. The jukebox appears to be fully original. In a good orinal visual condition, showing some more wear on the sides. All the lights on the jukebox are working. The juekbox is almost fully complete only missing the backdoor. Currently not in a playing condition. Speaker mounting broken, reproduces no sound, motor isn't running. Coin-operated with the coingrinder present but not functional. Comes without keys, but unlocked. Requires 220V power. Serial number: 1530 A. Nice rare machine that is very restorable. Dimensions (H x W x D): 130 x 72 x 58 cm. Location: The Netherlands, Tilburg. Video link: youtube.com/shorts/-iIWL-WnFdU?feature=share
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