An original watercolor by Byron Birdsall (1937–2016), “Matanuska Isawa” presents a sweeping interpretation of Alaska’s Matanuska landscape, combining rugged terrain with the clarity and compositional elegance of Japanese woodblock prints. Viewed from an elevated perspective, fractured foreground rock opens onto a luminous expanse of water, its pale blue-green and golden washes framed by dark, overlapping ridges. Snow-covered peaks stretch across the distance beneath a narrow band of deep indigo sky. The vertical composition creates a striking progression from the immediate foreground to the distant mountains. Angular rock formations draw the eye inward, while successive bands of olive, brown and nearly black terrain establish depth through sharply defined silhouettes. Across the broad central passage, delicate transitions of color suggest reflected light and lend the scene a remarkable stillness. Pale blue shadows articulate the distant snowfields, balancing the warmth of the water with the coolness of the mountain skyline. The painting offers a particularly clear expression of Birdsall’s documented admiration for Japanese printmaking. During his travels in Hong Kong, he encountered the work of Hiroshige and Hokusai and began studying their techniques. Here, the elevated viewpoint, simplified contours and broad areas of color show how effectively he adapted that visual language to Alaskan scenery. The small red seal beside his signature further complements the composition’s Japanese character. The landscape suggests the upper Matanuska River valley, with an elevated perspective comparable to views around Glacier View and Lion’s Head. The precise vantage point has not been established. Born in Arizona and raised in California, Birdsall moved to Alaska in 1975 and became one of the state’s best-known watercolorists. His subjects ranged from dramatic mountain and coastal landscapes to wildlife, flowers and nostalgic views of Alaska’s communities. A largely self-taught painter, he developed a distinctive command of light and simplified form, while his widely distributed limited-edition prints introduced his work to a broad audience. Dated 1977, this painting belongs to the early years of his Alaska residence. Signed and dated “Byron Birdsall 1977” at lower left, beside a red seal. Presented in a silver-tone metal frame with a broad charcoal-gray mat and a narrow light inner border. Sight dimensions approximately 19" × 13.5"; overall framed dimensions approximately 26.25" × 20.25". Auction Estimate: $1,200–$1,800.

An appealing pair of antique leaded stained and hand-painted glass decorative panels, circa 1890–1910, depicting a haloed female saint and an angel bearing a crown. Executed in the Pre-Raphaelite and Arts and Crafts tradition, the panels combine expressive figure painting, silver-stain highlights and rich cathedral-glass tones with flowing robes and botanical ornament. The narrow rectangular panel presents a full-length figure with her head gently inclined and her hands resting one over the other before her. Long reddish-brown hair frames the softly modeled face, while a broad golden halo stands against a leafy surround. Deep green, burgundy and amber passages articulate the mantle and gown, their descending folds emphasizing the figure’s slender proportions. The pale face and hands provide points of quiet expression within the darker drapery, and a narrow border of colored glass encloses the composition. The saint’s identity has not been established. The second panel centers on a circular medallion containing a youthful, haloed angel holding an ornamented golden crown at chest height. Delicate painted lines describe the curling hair, eyes and slender fingers, while cream and ochre robes brighten the foreground. Red-brown and blue passages articulate the layered wings against a deep blue field. A patterned border encircles the figure, with two smaller radial rosettes extending from the upper and right edges to form the panel’s distinctive, asymmetrical outline. The crown-bearing gesture gives the composition a ceremonial character. Their idealized figures, botanical ornament and richly colored glass reflect the medieval revival aesthetic championed by William Morris, Edward Burne-Jones and contemporary English glass studios. In that revival, the window became both an architectural ornament and a vehicle for expressive figure painting. Here, painted contours and shading define the faces, hands and garments, while the lead cames organize the larger fields of color. No particular designer or workshop has been established. The shaped angel panel suggests an element from a larger decorative or tracery arrangement, although its original configuration and architectural setting are unknown. The rectangular panel is fitted with two upper hanging loops. An original relationship between the two panels has not been documented. Visible condition includes weathered leadwork, surface wear and localized losses to the painted decoration. The extent of previous restoration or replacement glass has not been established. The rectangular panel measures approximately 7.5" wide × 19.25" high. Auction Estimate: $800–$1,200.

Two framed paintings in ink and color on paper, presenting later interpretations of Japanese bijin-ga, or pictures of beautiful women. The smaller composition follows Kitagawa Utamaro’s portrait of Hanaōgi of the Ōgiya, a celebrated courtesan depicted in his 1794 series of fashionable beauties. The companion portrays a standing woman in layered robes. Both are painted against warm ochre grounds and bear vertical inscriptions with red seals. Utamaro’s design is recognizable in the seated woman’s fan-patterned kimono, elaborate arrangement of radiating hairpins and relaxed pose, with one hand raised beside her temple and the other holding a long kiseru smoking pipe. Here the robe has been rendered in cream and coral rather than the more densely patterned coloring of the documented print, while a black sash anchors the composition. The original printed title and Utamaro signature have been replaced by a different inscription. This is a painted adaptation of the design, not an original Utamaro woodblock impression. The taller companion provides a contrasting full-length silhouette. Her pale outer robe opens over blue-green garments patterned with circular flower motifs, with red lining at the neck and hem and a long, pale sash sweeping across the front. Fine dark outlines describe the face and clothing, while the white motifs retain visible, individually applied brushwork. The two works share a presentation and subject tradition, although common authorship has not been established. Presented with dark mats in coordinated reddish-brown wooden frames with decorative metal hanging fittings. Visible condition includes scattered spotting and uneven coloration of the grounds, with wear to the frame finishes. The works have not been examined out of their frames. The larger work measures approximately 14" wide × 26" high at the mat opening and 18.75" wide × 30.75" high overall, framed. Auction Estimate: $150–$250.

A large Japanese Imari porcelain charger, Meiji period (1868–1912), with a scalloped square rim and an elaborate combination of figures, birds, flowers and patterned reserves. At approximately 17.5" across, the dish gives unusually generous space to its asymmetrical central design: a roofed pavilion at left is balanced by flowering peony, bamboo, pine and a long-tailed bird at right. Beneath the gray-blue tiled roof, three robed figures appear against a gilt ground, one holding a circular drum and beater. Their small, carefully drawn faces and patterned garments contrast with the broad flowers and sweeping tail feathers beside them. Iron-red curtains, deep cobalt bands and a yellow honeycomb-patterned panel frame this scene, creating the effect of a picture within the larger composition. The precise narrative has not been established. The broad rim alternates bird-and-flower and landscape reserves with corner panels of flower baskets and butterflies. Green interlocking circles connect the reserves, while gilt floral scrolls brighten the iron-red grounds. Underglaze cobalt supplies both pale washes and dark structural accents; overglaze red, green and yellow enamels and gilding give the surface its additional colour and detail. The reverse is more restrained, with blue scrolling foliage and cloud-like ornaments beneath a pale gray-tinted glaze. A broad circular foot supports the square body; the base is unmarked. With wear to the gilding and painted decoration consistent with age. Measures approximately 17.5" wide × 17.5" deep × 3" high. Auction Estimate: $400–$600.

A signed, editioned bronze female nude by John Henry Waddell (American, 1921–2019), numbered 28/35. The figure stands with her feet firmly apart, her torso arched and head lifted, one hand placed behind the head while the other arm crosses the lower abdomen. The open triangle beneath the raised arm and the broad stance give the compact sculpture a clear, animated silhouette. The bronze preserves a markedly worked surface, with small ridges and depressions defining the shoulders, ribcage and limbs rather than smoothing them into a continuous skin. A dark brown patina is relieved by warmer tones on the projecting forms. From the side and reverse, the rotation of the shoulders and curve of the back become particularly apparent, making this a work intended to be seen in the round. The figure stands on an integral, irregularly shaped base inscribed “Waddell 28/35.” Waddell devoted much of his career to the expressive possibilities of the human figure, in intimate bronzes as well as monumental groups. His twelve-figure composition Dance, completed in 1974, reflects that sustained interest in the body in motion. This smaller sculpture brings the same concern with gesture and balance to a tabletop scale; it is not identified as a study for that public work. With light surface wear, particularly to the base, and four green felt pads underneath. Measures approximately 7.75" wide × 3.5" deep × 11.25" high. Auction Estimate: $600–$800.

A bronze and polychrome champlevé enamel vase, probably Japanese, Meiji period (1868–1912), adapting the pear-shaped outline and mask ornament of Chinese archaic bronzes. Its broad body rises through a narrowing shoulder to a flared mouth, with horned beast heads projecting from either side of the neck. Long, downward-curving loops issue from the creatures' mouths and terminate in small inward scrolls. The principal enamel panels contain symmetrical, wide-eyed masks surrounded by tightly interlocking scrollwork. Turquoise, cobalt, cream, green and russet colours fill recesses divided by broad bronze outlines—the characteristic structure of champlevé decoration. A smaller band of paired bird-like forms circles the neck above the larger mask panel. These densely coloured passages alternate with exposed metal patterned in a fine hexagonal diaper, while vertical bronze strips carry the design down either side of the body. Six pale, rounded insets punctuate the patterned bronze: four around the shoulder and one on each side of the lower body. Their glossy surfaces have prominent dark crack lines, adding a distinct material contrast to the matte, dark-brown metal. Small cast masks provide further relief ornament between the enamel panels. A three-character mark is cast within a rectangular reserve beneath the base. The decoration deliberately recalls ancient Chinese ritual vessels, but this is a later decorative interpretation, not an ancient bronze. Its combination of archaistic masks, champlevé panels, patterned metal and sculptural handles is consistent with Japanese metalwork of the late nineteenth and early twentieth centuries. Visible condition includes rubbing and scratches to the metal, scattered pitting and wear to the enamel, cracked pale insets, and patches of loss to the dark interior surface finish. Measures approximately 10" at the widest point × 14.25" high. Auction Estimate: $400–$600.

A large Chinese famille rose porcelain figure of Lu Xing, probably early twentieth century, depicting the auspicious deity associated with prosperity and official advancement. Standing approximately 26" high without its fitted wooden base, he wears a gilded official's cap and an intricately enamelled dragon robe, with a ruyi scepter held upright in his left hand. Green dragons coil across the iron-red robe on both front and reverse, their individual scales drawn in black against close ranks of small, cloud-like strokes. Scattered blossoms, gilt accents and blue floral borders relieve this densely patterned ground. At the chest, a raised green-and-gold ornament interrupts the painted surface; below, the fingers rest against a projecting cobalt-blue belt decorated with small floral and shaped reserves. The ruyi's curved handle continues into a long blue shaft and gilded, lobed head. The lower robe is particularly elaborate. Paired dragons flank a small pavilion-like motif above bands of curling waves and diagonally rising, multicoloured stripes, recalling the lishui water patterns of Chinese court dress. Black shoes emerge beneath the hem. Delicately drawn brows, flushed cheeks and a black moustache and pointed beard give the face a more restrained treatment than the brilliant costume. The porcelain has small circular openings at the cap and in several areas of the robe; the underside is unglazed around a larger central aperture and bears an impressed oval seal and separate handwritten ink characters. Lu Xing belongs to the auspicious trio Fu, Lu and Shou, associated with good fortune, prosperity and longevity. His courtly appearance relates specifically to rank and the rewards of official service. Here, the ruyi scepter and formal dress support that identification, while the richly embellished costume makes the figure a substantial decorative expression of those wishes. Accompanied by a dark-stained wooden stand with a shaped recess fitted to the figure's base; a handwritten label reads “Wealth in Red Dress.” Visible condition includes a small chip exposing the white body at the upper edge of the blue belt, wear to gilding and enamels, and wear and soiling around the lower edge. The stand shows scratches, finish losses along the recess and several splits. The porcelain figure measures approximately 8.5" wide × 6.5" deep × 26" high, excluding the stand. Auction Estimate: $400–$600.

Two Japanese bird netsuke, late nineteenth to early twentieth century, contrasting a long-billed crane or egret with a compact, resting duck. Dark accents emphasize the plumage and small eyes. Their rounded bodies and tucked limbs follow the compact form of netsuke, the toggles traditionally used to secure suspended personal accessories at a kimono sash. The long-billed bird turns its head back over one wing, the slender neck curving around the shoulder and the pointed bill lying close against the body. Broad, descending wing feathers overlap a lower band of longer flight feathers, their shafts and diagonal barbs picked out with incised lines. The underside continues the modelling with folded legs and deeply recessed details; two circular cord openings sit near the tail. The back-turned neck keeps the silhouette contained while giving the bird a recognizable preening gesture. The duck holds its head forward above a slightly open, broad bill. Pointed feathers overlap along the wings, changing from small, closely set strokes near the shoulders to longer, deeply outlined forms toward the tail. Its webbed feet are detailed on the underside beside two unequal cord holes. Beneath the breast is a darkened two-character mark, 秀光, read as Hidemitsu. The crane is unsigned in the supplied views. Visible condition includes surface marks and discolouration, darker deposits in recessed areas, and a fine crack crossing the crane's wing feathers and continuing to the lower edge. The larger piece measures approximately 1.75" long × 1" wide × 1" high. Auction Estimate: $250–$350.

A Chinese porcelain bottle vase enamelled with fruiting peach branches and flying bats, bearing an iron-red four-character Juren Tang mark. The rounded body rises into a long, nearly cylindrical neck, allowing the decoration to climb from the foot through the shoulder and onto the neck against a glossy white ground. Probably twentieth century; an early-Republic manufacture date has not been established. Two twisting trunks anchor the design, their bark worked in ochre, grey-brown and black. Slender branches carry ripe peaches, pink-and-white blossoms and leaves in contrasting yellow-green and deeper blue-green tones. The fruit is shaded from pale cream and green into stippled pink and russet blushes, with fine outlines defining the central clefts. Branches continue around the body, opening into larger areas of white on the reverse where iron-red bats appear in flight. Further bats occur among the branches and close to the foot, rather than being confined to the two shown on the reverse. Peaches and bats form an auspicious combination in Chinese decorative art: peaches evoke longevity, while the word for bat, fu, echoes the word for good fortune. The vase's fruit-laden branches adapt this familiar decorative language to the rounded bottle form. The recessed glazed base bears the seal-script mark 居仁堂製, Juren Tang zhi, meaning “Made for the Hall of Dwelling in Benevolence.” The mark is recorded as present; it does not establish a commission for Yuan Shikai or manufacture during his lifetime. With light surface wear consistent with age. Measures approximately 5" in diameter × 8.25" high. Auction Estimate: $200–$300.

Two Japanese animal netsuke, late nineteenth to early twentieth century, one depicting a recumbent ox and the other a dragon-headed tortoise. The pairing contrasts the ox's broad, polished flanks with the mythical creature's dense pattern of scales, shell plates, whiskers and flowing hair. Both have paired cord openings on their undersides and two-character marks on the soles of their folded limbs. The ox rests with its legs bent close against the body, its head raised and turned toward the viewer. A rope halter crosses the muzzle and forehead, with a textured lead extending down the back and along one flank. Short horns, projecting ears, large outlined eyes and a slightly open mouth lend the animal an alert expression. Its tail curls around the haunch, while the underside reveals individually modelled legs and divided hooves. The mark is picked out in red on a hind leg. The second figure is specifically a dragon-turtle, rather than a coiled dragon. A domed carapace divided into polygonal scutes rises above four short, scale-covered legs; the underside is articulated as a tortoise's belly shell. Above it, the dragon's head turns back, with prominent brows, horns, an open mouth, curling whiskers and a long beard. A flowing mane descends behind the head, and the curved tail returns against the shell. Dark accents deepen the incised details, making this combination of tortoise anatomy and dragon features legible at miniature scale. Its underside mark is darkened rather than red. Visible condition includes scattered surface marks, small pits and darker material in the recesses. The ox has pronounced surface gloss, while the dragon-turtle's ridges and recessed ornament show a more varied finish. The larger piece measures approximately 1.75" long × 1" wide × 1.25" high. Auction Estimate: $250–$350.

A large Japanese Imari porcelain charger, Meiji period (1868–1912), painted in underglaze cobalt blue, iron-red enamel and gilt with seven karako children and a boldly patterned shishi lion. The broad, shallow form gives the painter room to set an open landscape against a densely ornamented field of flowers, geometric panels and overlapping roundels. A dark-stained wooden display stand accompanies the charger. The children carry baskets and long-handled rakes among low-growing pines, their clothing picked out in fine red lines and small patterned details. Some turn toward their companions while others lean over their tools; the pale ground leaves these individual gestures unusually legible within the elaborate decoration. At the lower right, a cobalt-blue shishi lifts its head toward the group, its spotted body, curling mane and spreading tail traced with gilt. The figures are not simply repeated border ornaments: their varied poses and the lion's larger scale give the dish a distinct pictorial center. Around them, iron-red floral bands wind between octagonal diaper panels and blue roundels filled with interlocking circles. The outer cobalt border carries a fine gilt lattice. This extensive use of gold over a red-and-blue palette belongs to the decorative vocabulary commonly described as kinrande, or gold-brocade decoration. The broad underside is more freely painted with cobalt-blue leafy scrolls, while five firing-support scars remain within the circular foot. No maker's mark is visible. Scattered light wear, consistent with age. Dimensions: Approximately 18½ inches in diameter. Auction Estimate: $300–$500.

An Imperial Russian evening purse, circa 1900, decorated with multicolored floral ornament and a personalized Cyrillic dedication, accompanied by its apparently original fitted presentation case. The rigid rectangular body has gently rounded corners, a slender chain handle and an oval pinkish-red cabochon thumbpiece. The silver-colored body is made of non-precious metal. The front is richly ornamented with roses, smaller blossoms and scrolling foliage in contrasting yellow-gold, rose and muted green tones. Fine engraved details articulate the leaves and petals against a closely textured ground, while latticework fills the upper corners. Small dolphin-like heads emerge from the lower scroll terminals. An asymmetrical rocaille cartouche at the upper center encloses an elaborate interlocking monogram, its flourished lettering complementing the surrounding ornament. These shell-like curves, floral sprays and lattice panels give the design its Rococo Revival character. Engraved on the largely plain reverse is the dedication, “To dear Roza Arsenyevna, from her friends.” The inscription preserves a personal connection to the purse’s original recipient and identifies it as a collective presentation gift. Although the occasion and Roza’s identity remain unknown, the engraved dedication, monogram and fitted case give the piece a more individual history than an unpersonalized fashion accessory. The purse reflects the taste for elaborately decorated metal evening accessories around the turn of the twentieth century. Its contrasting metallic colors and cabochon-set clasp complement the practical hinged construction, which opens to a royal blue moiré-patterned fabric interior divided into three expanding compartments. Scalloped reinforcement finishes the upper edges of the dividers. The colored ornament’s composition and method of application have not been established, and the cabochon has not been identified. The apparently original presentation case has a dark blue velvet-covered exterior, a cream-colored lid lining and a fitted recess accommodating the purse. Its survival preserves the formal presentation of the gift as well as providing a display setting for the decorated face. Condition includes tarnish, surface scratches and edge wear, with greenish deposits around portions of the frame and clasp setting. The interior lining shows wear, staining and localized fraying; the presentation case also shows wear and discoloration. Small struck marks have not established a maker or metal standard. Measures approximately 7.5" wide × 1" deep × 3" high, with a 7.5" handle drop. Auction Estimate: $300–$500.

A pair of Paoli Model 60M vacuum-tube monoblock power amplifiers, circa early 1970s, bearing consecutive identification numbers 451119 and 451120. Designed by Walter Key and produced by Paoli High Fidelity Consultants, Inc., of Paoli, Pennsylvania, these uncommon amplifiers belong to the formative years of American high-end audio, when independent designers were developing ambitious alternatives to established manufacturers. Each monoblock provides a separate amplifier and power supply for one channel of a stereo system. The pair has a distinctive industrial appearance, combining bright metal chassis with black perforated-steel tube cages and bold white Paoli Model 60M badges. Behind each cage, an extended chassis carries an exposed transformer between two substantial cylindrical Mallory electrolytic capacitors, visibly marked 2,000 MFD and 350 VDC. These components give physical expression to one of the design’s defining features: its extensively revised power supply. The low chassis, ventilated enclosures and exposed hardware retain the practical appearance of vintage laboratory equipment. Developed from the Dynaco Mark III platform, Walter Key’s design incorporated solid-state rectification, substantially increased power-supply capacitance and a separate supply for the output tubes’ screen grids. These changes went well beyond cosmetic modification, revising how power was delivered to the circuit while retaining the established Dynaco foundation. Built and distributed under Eugene Coggins, the 60M was intended to compete with contemporary high-end tube amplifiers, including those from Audio Research. The model attracted enthusiastic praise from influential audio critic J. Gordon Holt, who admired its musical performance and considered it a serious alternative to the Audio Research Dual 76. Its reputation also endured among later enthusiasts, including audio writer Dick Olsher, who restored a pair for use in his own reference system. In recollections published by Olsher in 2015, Coggins estimated that approximately 200 pairs had been produced, while acknowledging that the original production records were no longer available. This limited output, together with the design’s place in the development of American high-fidelity equipment, gives the 60M particular interest for collectors of vintage tube audio. The connection panels provide RCA inputs, loudspeaker screw terminals marked common, 4, 8 and 16 ohms, slide power switches and octal bias-setting sockets. The chassis are labeled for 117-volt, 50/60 Hz operation and retain “Patent Pending” labels and two-prong power cords. A yellow D&R fuse tin containing cartridge fuses and assorted screws accompanies the pair. Recently discovered in the estate of a dedicated high-end audio enthusiast whose collection was notably well kept. The amplifiers present as well cared for, with surface scratches, scattered oxidation and minor wear to the cages and labels. Believed to be in excellent overall condition based on the estate history and reported recent operation; APAA has not tested the amplifiers or verified their electrical performance. Each amplifier measures approximately 9.25" wide × 14.25" deep × 7.5" high. Auction Estimate: $1,000–$1,500. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

Five matching Japanese porcelain bowls, late Meiji to early Taisho period (c. 1895–1920), finely painted with a gathering of seven Chinese scholars within gilt dragon borders. Two inscriptions identify Nakamura, one unusually incorporated into the scene itself: the small scroll held by the figure at left reads 横濱中村造之, “Made by Nakamura of Yokohama.” The iron-red underside marks read 大日本中村造, “Great Japan, made by Nakamura.” The shallow, broad bowls give the painter room for individually characterized faces, wispy beards and carefully articulated hands. Seated and standing figures gather around a table furnished with a wine vessel, small cups and writing implements; bamboo rises behind them. Pale blue, green and lavender robes alternate with stronger iron-red passages, their folds and patterned borders picked out in gold. Close comparison reveals small variations in the faces and brushwork from bowl to bowl. Around each rim, two long dragons wind through gilt cloud forms, green scales contrasting with their reddish bodies. The seven figures, bamboo setting and convivial scholarly gathering suggest the Seven Sages of the Bamboo Grove, a Chinese literary subject long adopted by Japanese artists. The scene evokes cultivated companionship and withdrawal from official life, rather than identifying each figure by an inscribed name. Its colorful figure painting and extensive gilding belong to the rich decorative vocabulary of Japanese export porcelain of this period. The Yokohama inscription is a useful distinction: it records the decorator's or supplier's location, but does not by itself establish where the porcelain blanks were fired. No particular individual named Nakamura has been securely identified. One underside also retains an Imari Inc. dealer label. With rubbing to the gilded rims and decoration consistent with age. Each measures approximately 9" in diameter × 1.5" high. Auction Estimate: $200–$300.

An original-generation VTL TL-5.5 vacuum-tube stereo preamplifier, handcrafted in Chino, California, with the model’s distinctive offset silver-and-black faceplate. From the same well-kept estate collection as the Paoli monoblock amplifiers, this component served as the control center of a separate-component audio system, providing source selection, volume adjustment and signal output to an external power amplifier. Introduced in 1997, the TL-5.5 expanded on VTL’s earlier TL-2.5 design with a more extensively equipped tube line stage. It reflects the company’s commitment to vacuum-tube amplification at a time when solid-state electronics dominated the wider audio market. This example is the earlier rotary-control version, preceding the later TL-5.5 Series II Signature. The broad faceplate combines straightforward rotary controls with a restrained two-tone finish, while the black metal enclosure houses the circuitry and power supplies. Front-panel functions include source selection, tape monitoring, balance, volume, phase inversion and mute. The layout provides direct access to everyday listening adjustments, with remote volume capability incorporated into the model’s design. The original TL-5.5 line stage uses six small-signal tubes and separate power supplies for the left and right channels within a single chassis. Relay switching and a motorized volume control complement the tube circuitry, while a buffered output stage was designed to provide low output impedance and sufficient current drive for connection to a power amplifier. These features made the TL-5.5 a versatile choice for systems assembled from separate high-end components. The installed tubes and any subsequent servicing or modifications have not been inspected in this example. An extensive rear connection panel accommodates multiple analog sources. Connections include a balanced XLR output pair, two sets of single-ended RCA outputs, tape and processor loops, and inputs labeled Video, Tuner, Tape, CD, Aux 1 and Aux 2/Phono. Gold-plated RCA sockets are arranged in corresponding left and right channel rows. A further XLR pair labeled “Phono Balanced” sits beside the turntable ground terminal. The model was offered with an optional internal phono stage; installation of that option has not been confirmed in this unit. The manufacturer’s label identifies serial number 99143178 and specifies 120-volt, 50/60 Hz operation, with 40 watts marked as power consumption. A detachable power cord accompanies the preamplifier. No remote control is shown in the supplied photographs. Recently discovered in the estate of a dedicated high-end audio enthusiast whose equipment was notably well cared for. The unit presents with light surface wear and is believed to have been in working condition based on the estate history. It powered on at the time of cataloging; APAA has not conducted audio testing or verified full functionality. Measures approximately 18" wide × 12.5" deep × 3.75" high. Auction Estimate: $1,000–$1,500. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A pair of VTL De Luxe 300 vacuum-tube monoblock power amplifiers, designed by David Manley and handbuilt in California, dating approximately to the late 1980s or early 1990s. Rated at 300 watts per monoblock, the model combined substantial power with tube amplification for demanding high-fidelity systems. The rear labels identify both as De Luxe 300 and carry consecutive serial-number suffixes, 3005063 and 3005064. Their open construction gives the pair a commanding presence. Eight GE 6550A output tubes occupy each slate-gray deck in two banks of four, with two smaller signal and driver tubes positioned between them. Substantial black transformers flank two tall cylindrical filter capacitors toward the rear. Black protective rails frame the exposed components above brushed black faceplates bearing the VTL logo and the inscriptions “Deluxe Ultra-Linear Power Amplifier,” “Handbuilt in California” and “Designed by David Manley.” The De Luxe 300 belongs to VTL’s early American manufacturing period. David Manley’s designs grew from his experience in recording and studio playback, with an emphasis on bringing that approach to home listening systems. Following the company’s expansion into California in 1987, its range grew to include increasingly powerful monoblocks, among them the 300-watt De Luxe. These amplifiers represent that formative period, when VTL established its reputation for substantial tube power and straightforward, purpose-built construction. Each amplifier contains its own power supply, transformers and output stage, keeping the two audio channels physically separate. The pair supplies the power amplification for a stereo system, with source selection and volume control handled by an external preamplifier. The ultra-linear output configuration and banks of 6550A tubes distinguish these units from smaller, lower-powered tube amplifiers, making their power capability an important part of the model’s appeal. The installed GE 6550A output tubes are accompanied by smaller National- and GE-marked 12AT7 tubes and GE-marked 12BH7-family tubes. These markings identify the photographed components; tube strength and matching have not been tested. Each chassis provides a front-mounted rocker power switch and indicator, with a single RCA input, red and blue loudspeaker binding posts, fuse holder and detachable power-cord inlet at the rear. Recently discovered in the same estate collection as the Paoli monoblocks and VTL TL-5.5 preamplifier, assembled by a dedicated high-end audio enthusiast who clearly cared for the equipment. The pair appears in excellent overall cosmetic condition for its age, with localized scratches, scuffs, light dust, and finish wear to the chassis, protective rails, and transformer surfaces. Believed to have been in working condition based on the estate history; APAA has not tested the amplifiers or verified their electrical performance. Each amplifier measures approximately 19" wide × 11" deep × 8.5" high. Auction Estimate: $2,000–$3,000. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A pair of Joule Electra VZN-100 Mk IV Marquis vacuum-tube monoblock power amplifiers, accompanied by their matching external Variac control unit. Handcrafted in the United States, these amplifiers represent Jud Barber’s distinctive approach to high-end tube amplification, combining an output-transformerless circuit with individually adjustable output tubes and substantial separate chassis. Rear labels identify the amplifiers as VZN-100MIV/101A and VZN-100MIV/101B, confirming the fourth-generation model and corresponding A/B designations. Forest-green, leather-grained coverings, glossy black top plates and gold-colored Joule Electra Marquis lettering give the components a coordinated appearance. Each amplifier carries six large output tubes arranged in two rows of three, accompanied by five smaller tubes, a recessed digital meter and an array of adjustment controls. Brass-colored fasteners punctuate the dark surfaces, while the exposed glass tubes give the pair the unmistakable appearance of specialist tube equipment. The Marquis belongs to Joule Electra’s output-transformerless, or OTL, amplifier family. Conventional tube power amplifiers use an output transformer to couple their output stage to the loudspeaker. Barber’s design dispenses with that component, using a bank of high-current triodes to drive the speaker directly. This approach was central to the company’s pursuit of transparency, musical detail and immediacy, and distinguishes the Marquis from more conventional transformer-coupled designs. The VZN-100 family was designed to deliver approximately 100 watts per channel, with each monoblock providing an independent power stage for one side of a stereo system. The accompanying Variac supplies adjustable voltage to the output-tube filament circuit, while the accessible controls and built-in meters allow the owner to monitor and adjust operating settings. Source selection and volume control are supplied by an external preamplifier. The installed large tubes bear Cyrillic 6С33С-В markings, commonly rendered commercially as 6C33C-B. Visible smaller-tube markings include Sylvania 6350 and JAN Philips. Rear connections include RCA inputs, speaker binding posts, power connectors, fuse holders and small toggle switches. The green-covered wooden enclosures are consistent with Joule Electra’s standard cabinet construction. Connecting leads, an additional loose large tube and a detached control knob accompany the system. From the estate of a dedicated high-end audio enthusiast whose collection was notably well kept. The amplifiers present attractively and are reported to have been functional during the owner’s use. Visible cosmetic wear includes fine surface scratches and wiping marks to the glossy black tops, with scattered dust and minor wear to the coverings and trim. One adjustment position is shown without its knob; a loose knob of similar appearance is included, although its fit and mounting condition have not been confirmed. A rear power-inlet housing appears to show a split along its lower edge, requiring closer inspection. APAA has not tested the amplifiers, accompanying Variac or tubes and has not verified their current electrical or audio performance. The detached control and apparent inlet damage should be inspected before operation. Auction Estimate: $3,000–$4,000. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

Five Japanese cloisonné enamel vases, probably early to mid-twentieth century, decorated with flowers, birds and a butterfly against luminous ruby-red grounds. The group includes a closely corresponding pair of blossom-decorated baluster vases and three individual examples, their differing profiles and floral arrangements united by translucent red enamel and silver-colored rim and foot mounts. The largest vase carries two open roses, shaded from white to pale pink, above branching stems, buds and densely veined green leaves. A slender vase combines yellow chrysanthemum-like flowers and pink-edged, five-petaled blooms with a blue-winged butterfly. A broader, footed example presents two small blue-and-cream birds among white plum blossoms, with a spray of white, yellow-centered flowers below. On the corresponding pair, spreading gray-brown branches support clusters of pale pink blossoms and pointed green leaves, with the compositions varied rather than exactly repeated. Another layer of decoration appears beneath the translucent red enamel: bamboo stalks and leaves, together with butterflies on the slender floral vase, emerge within the reflective ground as the light changes. This shimmering effect is characteristic of ginbari, a technique incorporating patterned metal foil beneath translucent enamel. Fine cloisonné wires outline the flowers, foliage and birds, combining precisely defined surface ornament with the depth and reflected light of the foil-backed ground. The foil treatment does not establish that the vase bodies or mounts are solid silver. Visible condition includes light surface wear, scattered small marks and tarnish or rubbing to the metal mounts. A small impressed mark is present on the foot rim of the bird-and-blossom vase; its reading and maker have not been established. The largest measures approximately 5.25" in diameter × 9.75" high. Auction Estimate: $400–$600.

A Japanese photographic souvenir album containing forty mounted, hand-colored albumen photographs, Meiji period, late nineteenth century, retaining its decorated black-lacquer front and back covers, now detached. The substantial views record the shrines and cedar avenues of Nikko, mountain villages and waterways around Hakone, and coastal landmarks extending from Kamakura and Enoshima to Nagasaki. Printed English caption slips identify the subjects beneath the photographs, while numerous images retain white negative numbers within the composition. Nikko forms the heart of the album, with an extensive photographic survey of its sacred architecture and wooded surroundings. Views include the richly carved Yomeimon gate, Ieyasu’s bronze tomb and the long stone stairway approaching it, the gate before Iemitsu’s tomb, the sacred bridge, stable, bell and revolving lantern. Close architectural studies preserve details of carved pillars, elaborate roof brackets, ornamental metalwork and coffered ceilings, with hand-applied red, yellow and green accents distinguishing the decoration. Among the most striking landscapes is “View of Nikko Road Imaichi,” in which immense cedar trunks frame a receding roadway, dwarfing the figures beneath them. Other photographs capture the cascading water of Urami and Kirifuri Falls, rocky river channels, the quiet shoreline of Lake Chuzenji and the mountain settlement of Yumoto. Stone steps, bridges and tree-lined paths draw the eye into the scenes, while small figures, boats and village buildings establish their scale. The wider journey includes the Great Buddha at Kamakura, the arsenal waterfront at Yokosuka, Enoshima’s cave and coastal paths, Hakone village, the Dogashima River near Miyanoshita, the steaming landscape of the Great Boiling Springs, and an elevated view across Nagasaki’s roofs toward its harbor. Together, these photographs preserve a varied record of Japan’s landscapes, religious monuments and travel destinations during the Meiji era. The photographs belong to the hand-colored souvenir tradition commonly known as Yokohama-shashin, developed for a growing market of travelers and collectors. Transparent washes of green and pale blue enliven foliage, water and sky, while more concentrated touches pick out architectural ornament and clothing without obscuring the underlying photographic detail. The combination of photography and individual hand coloring gives the images both documentary interest and the delicacy of painted views. Several numbered photographs correspond to subjects in Kusakabe Kimbei’s studio catalogue, including the Imaichi cedar avenue (751), the steps approaching Ieyasu’s tomb (775), Ieyasu’s bronze tomb (777), the gate before Iemitsu’s tomb (785), Urami Falls (793) and Chuzenji Road (796 and 797). These correspondences connect part of the album’s imagery with Kimbei’s commercial photographic repertoire. As prints and negatives circulated between studios, they do not establish that Kimbei personally made every photograph or that his studio assembled this particular album. The lacquer covers complement the photographs with gold and colored decoration against glossy black grounds. The front features fans and shaped reserves enclosing miniature landscapes, birds and flowers, accompanied by a red tasseled cord and circular three-leaf crest. Butterflies, a mantis and scattered botanical motifs ornament the back. Recorded photograph captions are listed below, retaining period spellings and the repeated titles assigned to different views: - Jikwan Waterfall, at Nikko - View of Yumoto - Bronze Tomb, of (Iyeyasu) at Nikko - Daibutsu, Bronze Image at Kamakura - View of Stone-Steps Front Iyeyasu Tomb in Nikko - Urami Waterfall at Nikko - Kirifuri Waterfall Nikko - Hakone Road, near Odawara - View of Nikko Road Imaichi - Bell of Nikko - Cathedral Tonosawa - The Stable at Nikko - View of Takinoo, at Nikko - Revolving Lantern, at Nikko - Abuto (Island Sea), Tomotsu - Nekomon (Cat-Gate), at Nikko - Arsenal at Yokosuka - Chiusenji Lake at Nikko - View of Yenoshima - Storehouse for Treasure At Nikko - View of Nagasaki - Ganman No Fuchi at Nikko - Dogashima River, near Miyanoshita - Yomei Mon at Nikko - Cave of Yenoshima - View of Sacred Bridge, at Nikko - View of Wind Cave, at Nikko - Iyeyasu Temple, at Nikko - Hakone Village - The Bronze Arch & (Great Gate) at Nikko - Iyeyasu Temple, at Nikko - View Ojigoku, or Great Boiling Springs, Hakon - View of Chiusenji Road, at Nikko - View of Tomioka - The Bronze Gate and Tomb, (Iyeyasu) at Nikko - Gongen Road Hakone - Iyeyasu Temple, at Nikko - Kokamon Front Iyemitsu Tomb, at Nikko - Yomei Mon, at Nikko - Sanmai Bashi (Bridge) near Youmoto The album survives with its covers detached and mounted leaves loose or separating. Condition varies, with toning, foxing, localized staining, edge wear, peeling and tears to the mounts; at least one tear reaches the edge of a photograph. The images show scattered surface marks and variable fading, although many retain strong detail and attractive coloring. The lacquer covers exhibit scratches, rubbing and edge losses. Measures approximately 14" × 10.75", with a recorded thickness of approximately 2". Auction Estimate: $800–$1,200.

Volume I of Henry M. Stanley’s In Darkest Africa; or, the Quest, Rescue, and Retreat of Emin, Governor of Equatoria, published by Charles Scribner’s Sons, New York, in 1890. First American edition, Demy Quarto Edition de Luxe, limited to 250 numbered copies signed by the author. This example is number 43, with Stanley’s handwritten ink signature on the limitation leaf. Offered as Volume I only; Volume II is not included. The deluxe large-paper format distinguishes this edition from the standard issue, combining broad margins, substantial paper and an elaborate publisher’s binding. Dark, richly grained morocco leather covers the spine and corners, contrasting with cream vellum boards edged in narrow gilt-tooled borders. Five raised bands divide the spine into gilt-lettered and decorated compartments. The front board bears the title above a flag-and-foliage device and a gilt facsimile of Stanley’s signature, separate from the author’s handwritten signature within. The top edge is gilt, while the fore and lower edges retain their untrimmed character. Inside, the title page is printed in red and black, and a tissue guard protects the frontispiece portrait of Stanley. Illustrations range from broad landscapes and expedition scenes to closely observed objects and architectural details. A panoramic view of the southern end of Albert Nyanza accompanies the expedition’s arrival at the lake, while a drawing of a milk vessel introduces the chapter describing the meeting with Emin Pasha. The generous page size allows these images to be appreciated alongside the narrative. The work recounts Stanley’s Emin Pasha relief expedition of 1887–1889, organized after the Mahdist revolt isolated Equatoria’s Egyptian administration. Its route through the Congo and Ituri forest toward Lake Albert produced an account of difficult travel, negotiations, correspondence, hunger and survival. Both influential and controversial, the narrative remains an important primary source for the history of African exploration and European colonial involvement, reflecting Stanley’s own perspective on the expedition and the people encountered. The combination of the author’s signature, numbered limitation, large-paper printing and morocco-and-vellum binding gives this volume particular interest to collectors of signed nineteenth-century books and exploration literature. The binding shows rubbing, leather flaking and wear to the spine bands, corners and headcap, with exposed board at the upper front corner. The vellum boards have scattered scuffs, soiling and discoloration. Interior leaves show light toning and localized spotting, with darker staining at the front inner gutter. Measures approximately 10" wide × 3.5" thick × 12" high. Auction Estimate: $600–$800.