155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Doctor Who - David Tennant & Billie Piper - a fabulous autographed 8x10" colour photograph from Dr Who, signed by both stars David Tennant (The Doctor) and Billie Piper (Rose). Signed in black ink. Professionally framed and glazed. With certificate of authenticity. Wonderful display piece. 

A rare Product Enterprise made Doctor Who Classic ' Radio Command Dalek .' Radio controlled, with lights and sounds. White with gold hemispheres, being a Sci-Fi Collector Exclusive. Factory sealed, unopened and the contents mint. Highly detailed RC replica. Scarce.

Vinyl - 10 ROCK / HEAVY METAL PROG ALBUMS. 1) RUSH - MOVING PICTURES (UK, 1ST, MERCURY 6337 160) MINT- / EX+, 2) RUSH - PERMANENT WAVE (DUTCH 1ST PRESS, MERCURY 9111 065) MINT- / EX++, + INSERT, 3) UFO - NO HEAVY PETTING (UK 1ST PRESS, CHRYSALIS, CHR 1103) VINYL is EX++ (name written on one label), sleeve EX (name written on front).  4) VAN HALEN - VAN HALEN (UK 1ST PRESSING, WARNER BROS. K 56470) VINYL is EX+++ / MINT-, SLEEVE is EX, 5) BLACKFOOR - TOMCATTIN’ (US 1ST PRESSING, ATCO RECORDS, SD 32-101), EX+++ / MINT-, sleeve EX++. 6) IRON MAIDEN - IRON MAIDEN (UK, EMI RECORDS FAME ISSUE, FA 41 3121 1), EX+++ / MINT-, sleeve EX++/EX+++. 7) STATUS QUO - 1982 (UK 1ST ISSUE, VERTIGO RECORDS) EX+++ / MINT-, SLEEVE is EX++, + INNER. 8) STATUS QUO - WHATEVER YOU WANT (PORTUGAL 1ST ISSUE, FULLY LAMINATED !!!, VERTIGO RECORDS), EX+++ / NEAR MINT, sleeve IS EX+++.  9) THE WHO - WHO BY NUMBERS, (HOLLAND 1ST PRESS + UK NUMBERED SLEEVE !!! POLYDOR RECORDS), EX/EX+ (name written on side B. label) + UK NUMBERED LIMITED SLEEVE in EX+ condition 10). TRICKSTER - FIND THE LADY (UK 1ST PRESSING, JET RECORDS), VINYL is EX+/ NEAR MINT, SLEEVE is in EX+ condition

VINYL - CHIP TAYLOR - 1967 US PROMO ONLY PUBLISHER'S SONGWRITING DEMOS LP. APRIL MUSIC ABP 7980 / ABP 189. A unique PROMO ONLY APRIL MUSIC PUBLISHING SONG WRITING DEMO ALBUM for this prolific and amazing singer / songwriter, with an UNRELEASED INSTRUMENTAL VERSION of THE TROGGS "WILD THING" some of the tracks are sung by CHIP TAYLOR and others by the artists who recorded them, with some of the track NEVER BEEN RELEASED !!! WHEN WILL BE THE NEXT TIME YOU SEE ONE OF THESE?, this PROMO ONLY SONGWRITER'S DEMOS LP never came with a P/S, vinyl is in VG condition

THE BEATLES - JOHN LENNON - ORIGINAL BOB GRUEN UNUSED ART WORK FOR THE "WALLS AND BRIDGES" ALBUM. This is a 1990 unused artwork by BOB GRUEN (who was a famous photographer who worked with JOHN LENNON, THE ROLLING STONES, LED ZEPPELIN, ELTON JOHN, KISS, THE NEW YORK DOLLS, THE CLASH, SEX PISTOLS, BLONDIE and THE RAMONES), This was bought at his studios in New York in 1990 directly from him and comes with a HAND PRINTED art work, with HAND WRITTEN comments by on a transparency paper on top of the PRINT, Also comes with a letter from BOB GRUEN from Dec 3. 1990 explaining this art work !!! A UNIQUE BEATLES RELATED, ONE OFF ART WORK !!!

THE WHO - DAVID WEDGBURY OFFICIAL, EMBOSSED ART PRINT - The Who, 1965 : Pete Townshend; Keith Moon; Roger Daltrey; John Entwistle. This print is colour matched to the original and EMBOSSED at the bottom right corner, WITH DAVID WEDGBURY STAMP !!! Matt 250gsm conservation digital paper. WOULD LOOK GREAT FRAMED , these sell for £120.00 framed, MINT- (ROLLED)

THE WHO - DAVID WEDGBURY OFFICIAL, EMBOSSED ART PRINT - The Who, 1965 Live Shot : Pete Townshend; Keith Moon; Roger Daltrey; John Entwistle. This print is colour matched to the original and EMBOSSED at the bottom right corner, WITH DAVID WEDGBURY STAMP !!! Matt 250gsm conservation digital paper. WOULD LOOK GREAT FRAMED , these sell for £120.00 framed, MINT- (ROLLED).

VINYL - Dorsey Burnette - "Love And Glory" / "Poor Little Girl In Hollywood", UNRELEASED U.S. 1961, DOUBLD SIDED 2 TRACKS ROCKABILLY / ROCK 'N' ROLL 8" HARMONY RECORDERS PUBLISHING ACETATE. This is an AMAZING find, a historic UNRELEASED ACETATE by one of the god fathers of Rockabilly Dorsey Burnette, these 2 tracks seem to be UNKNOWN & UNRELEASED, ACETATE CAME FROM the DORAL MUSIC PUBLISHING LIBRARY who published Dorsey Burnette, AND COME IN AN AMAZING EX+++ CONDITION (PROBABLY UNPLAYED UNTIL NOW !!!)

VINYL - Dorsey Burnette - "FEMININE TOUCH", UNRELEASED US 1961 ONE SIDED ROCKABILLY / ROCK 'N' ROLL 10" 78rpm GOLD STAR, PUBLISHING ACETATE. This is an AMAZING find, a historic UNRELEASED DEMO VERSION ACETATE by one of the god fathers of Rockabilly Dorsey Burnette, This is an early version of a track released by DORSEY BURNETTE in 1961 in the US ONLY, ACETATE CAME FROM the DORAL MUSIC PUBLISHING LIBRARY who published Dorsey Burnette, AND COME IN AN AMAZING VG++ / VG+++ CONDITION (ANS ALSO COMES WITH THE ORIGINAL PUBLISHING SHEET MUSIC !!!).

VINYL - Johnny Burnette - "BIG BOY", UNRELEASED U.S. 1961, SINGLE SIDED ROCKABILLY / ROCK 'N' ROLL 10" HARMONY RECORDERS, PUBLISHING ACETATE. This is an AMAZING find, a historic UNRELEASED ACETATE by one of the god fathers of Rockabilly Johnny Burnette, this track seem to be UNKNOWN & UNRELEASED, ACETATE CAME FROM the DORAL MUSIC PUBLISHING LIBRARY who published Dorsey Burnette & Johnny Burnette, AND COME IN AN AMAZING EX+++ CONDITION (PROBABLY UNPLAYED UNTIL NOW !!!)

VINYL - Dorsey Burnette - "YOU'RE GONNA BE SORRY" / "HE DOESN'T KNOW I EXIST" / "ANYONE WITH EYES CAN SEE", UNRELEASED US CIRCA 1961, 3 TRACKS 10" ROCKABILLY / ROCK 'N' ROLL , RCA REFERENCE RECORDING, PUBLISHING ACETATE. This is an AMAZING find, a historic 3 UNRELEASED TRACKS ACETATE by one of the god fathers of Rockabilly Dorsey Burnette, these 3 tracks seem to be UNKNOWN & UNRELEASED, ACETATE CAME FROM the DORAL MUSIC PUBLISHING LIBRARY who published Dorsey Burnette, AND COME IN AN AMAZING EX / EX+ CONDITION (PROBABLY UNPLAYED UNTIL NOW !!!)

ACETATE - THE SHADOWS - "FANDANGO" - UNRELEASED UK 1964 ACETATE VERSION (MILLS MUSIC PUBLISHING ACETATE), This track only appeared on THE SHADOWS "DANCE WITH THE SHADOWS (NO. 2) EP and was never released as a single. This sounds like a slightly earlier version / mix, came from the MILLS MUSIC PUBLISHING library who published the track. ACETATE is in amazing VG+++ / EX condition for it's age

VINYL - Dorsey Burnette - "GONNA BE LOVED BY YOU", UNRELEASED US 1961 ONE SIDED ROCKABILLY / ROCK 'N' ROLL 10" 78rpm GOLD STAR, PUBLISHING ACETATE. This is an AMAZING find, a historic UNRELEASED ACETATE by one of the god fathers of Rockabilly Dorsey Burnette, This is an UNRELEASED track preformed here by DORSEY BURNETTE, ACETATE CAME FROM the DORAL MUSIC PUBLISHING LIBRARY who published Doresy Burnette, AND COME IN AN AMAZING VG++ / VG+++ CONDITION (ANS ALSO COMES WITH THE ORIGINAL PUBLISHING SHEET MUSIC !!!).

ACETATE - CLIFF RICHARD & THE DRIFTERS (THE SHADOWS) - "SERIOUS CHARGE" EP ACETATE. AMAZING EP ACETATE OF THIS 1959 FIRST CLIFF RICHARD EP.  An amazing find an ACETATE of CLIFF RICHARD & THE DRIFTERS (which were THE SHADOWS before a name change).  This Acetate features a slightly different versions of the 4 tracks that would appear on the 'SERIOUS CHARGE" EP in 1959 on Columbia Records. This Acetate came from the PETER MAURICE MUSIC PUBLISHING library, who published the tracks on this EP. The ACETATE also comes with the original typed sleeve and comes in an AMAZING - UNPLAYED CONDITION after 61 YEARS !!!! in EX++/ EX+++ condition

VINYL - VAN DER GRAAF GENERATOR - "H TO HE WHO AM THE ONLY ONE", 1970 CHARISMA RECORDS, CAS 1027. Original UK 1ST PRESSING on the PINK SCROLL Charisma label of this PSYCH / PROG ROCK classic album, with A-1U / B-1U matrices. VINYL is in VG+/VG++ (with only light scuffs), GATEFOLD SLEEVE is in VG+ condition

VINYL - DAVID BOWIE - "I LIVE IN DREAMS" / "I LIVE IN DREAMS (SECTION)", a Unique, Unreleased and never before heard 1966 David Bowie UK Demo Acetate, this Acetate is from 1966 and came from the Orbit Music publishing library. Side B. has about 1 minute of the track before David Bowie stops the recording and says it should be played in a different key !!! David Bowie was signed as a song writer to Orbit Music the Mid-1960's, Orbit Music Publishing was owned and run by the producer Shel Talmy who also worked with The Who and The Kinks, to name but a few. A true Holy Grail for any David Bowie collector, and will be the first time this track is heard, the Acetate is an amazing EX+/ EX++ and probably was never played before now !!!

VINYL - GARY BENSON - 1966 UNRELEASED SONGWRITER'S DEMOS ALBUM. AMAZING UNKNOWN AND JUST DISCOVERED ACID FOLK / PSYCH ACETATE ALBUM by GARY BENSON who would release an album on the PENNY FARTHING label in 1970, but these are songwriting DEMOS for ROBBINS MUSIC PUBLISHING, one of the tracks was release on his 1966 PYE RECORDS single, THIS IS SCREAMING FOR A RELEASE after 54 years !!! ACETATE is in amazing VG++ / VG+++ condition

VINYL - GARY BENSON - 1966 UNRELEASED SONGWRITER'S DEMOS ALBUM. AS IF 1 WAS NOT ENOUGH HERE IS ANOTHER AMAZING UNKNOWN AND JUST DISCOVERED ACID FOLK / PSYCH ACETATE ALBUM by GARY BENSON who would release an album on the PENNY FARTHING label in 1970, but these are songwriting DEMOS for ROBBINS MUSIC PUBLISHING, one of the tracks was release on his 1966 PYE RECORDS single, THIS IS SCREAMING FOR A RELEASE after 54 years !!! ACETATE is in amazing VG+++ condition (with light scuffs and 1 feelable mark on side 2. track 1 that cause some pops but nothing more).

VINYL - ARC - "AT THIS". 1971 DOUBLE SIDED EMIDISC ACETATE ALBUM. ANOTHER UNIQUE ACETATE OF THIS AMAZING PROG ROCK MONSTER that came out on DECCA RECORDS but these again sound like an earlier mix, The ACETATE came from the ROBBINS MUSIC PUBLISHING library who were owned by EMI MUSIC, and comes with the original information sheet attached to the sleeve !!! IT DOES NOT GET BETTER OR RARER THAN THIS !!! ACETATE IS IN EX+++ / ARCHIVE CONDITION + ORIGINAL INFO SHEETS SLEEVES !!!

VINYL - THE PETER B'S / PRE- FLEETWOOD MAC, UNRELEASED DEMO TEST PRESSING 1966 TEST PRESSING SINGLE !!!, WOW, ANOTHER HOLY GRAIL, THE PETER B'S were formed by PETER BARDEN (CAMEL) hence the name THE PETER B'S and were influenced by JIMMY SMITH and BOOKER T. & THE M.G.'S !!! This is the PRE- COLUMBIA self pressed ONE SIDED PROMO ONLY TEST PRESSING by THE PETER B'S who included PETER BARDEN - PRE - CAMEL and MIKE FLEETWOOD, PRE - FLEETWOOD MAC and WAS ALSO THE debut release by PETER GREEN who was also in FLEETWOOD MAC !!! This is a completely different version to the later re-recorded version released on COLUMBIA RECORD as a single !!! A TRUE HOLY GRAIL for FLEETWOOD MAC collectors !!! CONDITION is MINT- ARCHIVE (UNPLAYED).

William “Billy” Butler (William “Henry” Butler) with a big name world renowned group backing - "EARLY MORNING HENRY", 1967 original UK EMIDISC one sided aectate!Well here it is for the first time, one of the holy grails for collectors of this big name world renowned group! This track was recorded in Abbey Road on the 23rd of October 1967 by this big name world renowned group - but never heard before now! For many years people were looking in vain to find this track and after 53 years here is the only remaining proof that this track exists.The story is that the producer on the day Norman “Hurricane” Smith took the master tape with him (see photo of original recording schedule for Abbey Road on that day, NOT INCLUDED IN THIS SALE and is for reference only).  Norman “Hurricane” Smith managed William “Billy” Butler who was also in the studio at the same time and asked this big name world renowned group as a favour to record this track William wrote so that it could be used as a Demo.William “Billy” Butler was in Abbey Road studios at the same time (he was also a sound engineer), so he sang on the track with the big name world renowned group playing and it was done in just one take.William “Henry” Butler was also a member of the groups “Eternal Triangle” and “Gullivers People” and was signed to Jaramine Music as a song writer (from which library this acetate copy came from).  A truly unique piecde of the history of this big name world renowned group available for the first and probably last time!*Following a phonecall from the management of a big name world renowned group we have decided to remove their name from this listing.  Details of the recording session are viewable on the images on this listing.  

The Following Four Lots of Musical Percussion Items were recovered from a gentlemen's house in Wilmslow who was a drummer in a 1930's dance band. A 'Premier' bass drum, 73cm diameter, with beater.

NEWCASTLE UNITED A home black & white long sleeve Asics shirt 1993-1995 with a blue star shirt sponsor on the front, Premier League arm flashes and a neatly sewn number 17 white Asics numbers on a black patch. It appears to be a player issue shirt, but there is no name on the reverse. No. 17 was only used in season 1993/4 for Nikki Papavasiliou. There are 19 signatures in silver marker on the black, 18 of which are on the black stripes plus Andy Cole who signed on the blue star logo. Each player / official has written their name in capitals underneath their signature. Included are Kevin Keegan, Arthur Cox, Terry McDermott, Ruel Fox, Peter Beardsley, Mike Hooper, Philip Albert, Robert Lee, Pavel Srnicek, Darren Peacock and Barry Venison. The shirt has mud stains Good

MUHAMMAD ALI AUTOGRAPH A signed First Day Cover for the 100th Running of the Stawell Easter Gift date stamped 6/4/1981 in Australia signed in blue ink by "Thank You Muhammad Ali" with a smiley face underneath. Plus a 11" X 8" flyer for the Odeon Leicester Square, Viewsports presents live from Tokyo, Muhammad Ali v Antonio Inoki who was a Japanese Wrestling Champion, folded. Good

TOTTENHAM B/W 16 x 12 photo showing players gathering around captain Danny Blanchflower who holds the FA Cup aloft after a memorable 2-0 victory over Leicester in the 1961 Final, signed in black marker by 7 of the team ; Mackay, Smith, Baker, Norman, Jones, Allen and Dyson.

WORLD CUP CRICKET 1999 A collection of 81 signatures of cricketers who played in the 1999 World Cup in England from South Africa , New Zealand , Pakistan , West Indies and Sri Lanka. Generally good

CARDIFF A collection of items pertaining to Harry Ditton who worked as Journalist for the Western Mail and the News of the World. It contains a Bound Copy of " History of Cardiff City History" by Citizen in 1952 , an FA dinner menu (75th Anniversary dinner) from 1938 with a cover with personalised name embossed in gold. Also included is an archive of handwritten letters on official letter heading from Southampton (written and signed by Ted Bates), Derby County (Harry Storer), Manchester United (David Wicks), Birmingham City, Football League (Alan Hardaker) , Sheffield United (Senior Atkin) and the FA (Stanley Rous) plus some later letters from his widow to a Cardiff City collector who appeared to be the proud owner of some of his memorabilia. Generally good

ARSENAL ANFIELD 89 MICHAEL THOMAS AUTOGRAPH A photograph measuring approximately 24" x 16" of Michael Thomas scoring the famous goal that secured Arsenal the title in 1989. Signed in black marker by Thomas and comes with a certificate of authenticity from Big Blue Tube who held a private signing with Thomas. Good.

FOOTBALL BOOK The Football Who's Who issued by The Leader in 1935, without a dust jacket, with several team group panels inc. Sheff. Weds. FA Cup Winners, Arsenal 3 times Champions, Doncaster Rovers, Glasgow Rangers, Charlton Ath. and Manchester City. Generally good

HEARTS Programme for the away Friendly v. British Columbia Allstars 4/6/1960 in Vancouver. The programme also includes pen pictures of Manchester United players who were on the same tour. Generally good

TOTTENHAM 1967 FA Cup Final replica shirt, signed by Dave Mackay who captained the side to a memorable 2-1 victory over Chelsea, inscribed Captain 1967 in black marker. Good

SCOTTISH FOOTBALL A miscellany including a softback book The Men Who Made Hibernian since 1946, brochure Celtic 1965 - 1974, The Heart of Midlothian sheet music which is worn and 30 programmes, mostly 60's and 70's inc. Dundee v Celtic 29/3/58, Hibernian v Leeds Utd. 73/4, Celtic v St. Mirren 31/3/62 SC S-F, Rangers v Clyde 1959 Glasgow Final, Hibernian v Liverpool 75/6, Dundee v Sporting Lisbon 31/10/1962 and Milan S-F 1/5/63, Kilmarnock v Rangers 1960 CF and Gornik v Rangers 87/8. Fair to generally good

MUSIC CONCERT PROGRAMMES Sixteen programmes including Pink Floyd 94, The Who 89, Bruce Springsteen 96/7, Rush 81, Prince 88, Fairport Convention 2000, Camel 78, Simon & Garfunkel 82, The Shadows, Morrissey 92, Rod Stewart 80/1, Neil Young & Crazy Horse 87 and Cliff Richard 89. Generally good

ARSENAL 1970/1 A large bundles of newspapers, including some specials, relating to the first team and Youth Cup team, who both had successful seasons in Arsenal's first Double season. Generally good

LÉONARD TSUGUHARU FOUJITA (1886-1968)Femme allongée, Youki signed and dated 'Foujita 1923' and further signed in Japanese (lower left); signed 'Foujita' and further signed, inscribed and dated in Japanese (on the stretcher)oil on canvas50 x 61.2cm (19 11/16 x 24 1/8in).Painted in Paris in December 1923Footnotes:ProvenancePrivate collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Palais à la Porte Maillot, Salon des Tuileries, 1924.Paris, Musée de Montmartre, Léonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Léonard Foujita et ses modèles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 79. LiteratureF. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couchée' and dated '1924').S. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange. Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Chaïm Soutine, Pablo Picasso and Fernand Léger. The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Léger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Léger, quoted in S. Buisson, Léonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hébuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allongée, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'. Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allongée, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty. Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of Geidō, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

TATO (GUGLIELMO SANSONI) (1896-1974)Lo Stormo signed 'Tato' (lower right); signed and inscribed 'Ali fascisti sull'oceano Tato' (on the reverse)oil on canvas46 x 66.6cm (18 1/8 x 26 1/4in).Painted in 1931Footnotes:The authenticity of this work has kindly been confirmed by the Archivio Tato, under the guidance of Generale Salvatore Ventura.ProvenancePrivate collection, Rome.ExhibitedRome, La Camerata degli Artisti, Prima mostra di aeropittura dei futuristi, 1 - 10 February 1931, no. 34. Paris, Galerie de la Renaissance, Enrico Prampolini et les aeropeintres futuristes italiens, 2 - 16 March 1932, no. 112.Rome, Palazzo Valdina, Tato Futurista. Inventore dell'aeropittura, 21 November - 6 December 2019.Tato was born Guglielmo Sansoni in Bologna in 1896, and would go on to become one of the principal protagonists of the Italian 20th Century movement, Aeropittura.Inspired by the revolutionary spirit of the first wave of Futurism, Tato began creating artworks in the early 1920s that depicted the new Italy. Scenes of the city at night, speeding trains and experiments in Cubist-inflected compositions populate his early work, and display the clear influence of Severini, Boccioni and the group responsible for the 1909 manifesto. The young artist in fact held a mock funeral for himself, where he mourned the 'death' of Guglielmo Sansoni, and celebrated in turn the 'birth' of Tato – a clear demonstration of the Futurist ideal of renewal and a break from the weight of Italy's cultural past. In 1922 he met Filippo Tommaso Marinetti, who of course was a towering figure in the artistic movements that sprang up in the wake of Futurism, and the meeting would accelerate Tato's development of his now-celebrated form of Futurism alongside his fascination with flight. Together they published the Manifesto of Aeropainting in 1929, formalising the interest in flight that Tato, and a number of other young artists, had been exploring in the preceding years.Tato's works define the notion, set out in this manifesto, that 'the changing perspectives of flight constitute an absolutely new reality, one that has nothing in common with the reality traditionally constituted by earthbound perspectives'. His investigation of flight led to the creation of a great number of works tackling the new view of the world from above, such as the present work, Lo Stormo of 1931. Depicting the flight of sea planes, this work is one of three pieces of the same title: a preparatory gouache, a medium-sized canvas (the present work) and a large-scale canvas. This was typical of Tato's process when he was particularly convinced of the success of a composition. Indeed, the present work was selected by the artist to be included in the first Aeropittura exhibition, where the canvas was displayed alongside works by Balla, Dottori, Fillia and Prampolini, and embodies the stylized vision of this boundary-pushing artist.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

LÉONARD TSUGUHARU FOUJITA (1886-1968)Les grues signed 'T. Foujita' (lower left) and further signed in Japanese; signed 'T. Foujita' and further signed, inscribed and dated in Japanese (verso)gouache, pen, India ink and gold leaf on paper31.8 x 39.9cm (12 1/2 x 15 11/16in).Executed in 1920Footnotes:ProvenancePrivate collection, Paris. Private collection, Paris (a gift from the above in the 1930s). Thence by descent to the present owners.ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 8. Dinard, Palais des Arts et du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 35.Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 3. LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 20.12 (illustrated pp. 47 & 178).While it is certainly true that Foujita immersed himself fully in the stylistic nuances of the Western avant-garde, one often finds at the very least a trace of his Eastern sensibility and Japanese aesthetic. In some cases, such as Les grues executed in 1920, the reference is overt, and we see Foujita returning to the visual motifs of his homeland. Cranes hold a particular significance in Japanese and wider Asian culture, and were a favourite subject for Japanese artists and craftsmen. The elegant birds were said to live for a thousand years, and came to symbolise longevity and prosperity. Following the popularisation of the folktale Tsuru no Ongaeshi ('the Crane's Return of a Favour'), in which a crane returns to the man who saved his life in the form of a beautiful wife and provides him wealth and sustenance, the birds also took on a strong romantic connotation. During this time Foujita was in the midst of an intense romance with his new wife, Fernande Barrey, whom he had married in 1917 a mere two weeks after their first meeting. Perhaps it was the notion of the birds mating for life, as cranes are said to do, that inspired the artist at this particular moment in his life. Here Foujita revels in the flat planar representation and elaborately gilded backgrounds of the Edo period screens and lacquer-work that he would have been surrounded by at the time of his education in Tokyo. The two proud figures of the cranes are shown in perfect profile, against a delicately applied gold ground. The foreground of cerulean water and vivid green grass are, in contrast, depicted in a more representational style that recall the early Renaissance naturalism of Duccio or Cimabue. Foujita studied panel paintings by these artists at the Louvre after moving to Paris in 1913, and the melding of this very Western tradition with the references and myths of Japan exemplifies what makes Foujita such a singular artist.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

LÉONARD TSUGUHARU FOUJITA (1886-1968)Paysage de banlieue, Malakoff signed 'T. Foujita' and further signed and inscribed in Japanese (lower right); signed and inscribed 'Malakoff. Paris. Tsuguharu Foujita' (on the reverse) and signed 'Foujita' (on the stretcher)oil on canvas46 x 55.3cm (18 1/8 x 21 3/4in).Painted in Paris in 1917Footnotes:ProvenancePrivate collection, Paris.Private collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'Ecole de Paris, 10 April – 23 June 1991, no. 7 (later travelled to Tokyo). Dinard, Palais des Arts et du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 11.Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 19. LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 17.92 (illustrated p. 156).'I wondered why my predecessors had only come to measure themselves against Europeans with the intention of returning to occupy important positions in Japan... I on the other hand was determined to lead a serious struggle on the continent, to compete on the real battlefield, even if it meant rejecting everything I had learned up until then' (Foujita quoted in S. Buisson, Foujita, Inédits, Paris, 2007, p. 54).Foujita's arrival in Paris in 1913 followed a tradition of young Japanese artists and artisans in training making the long sea voyage to Europe to glean what they could from their European counterparts, and return to their homeland enriched and ready for domestic success. It seemed that from the moment Foujita disembarked in Marseille he was set on a slightly different path. Although undoubtedly the advent of the First World War shortly thereafter would complicate matters for the young artist, his destiny was to make a name for himself in the West. He was keen to immerse himself in the current concerns of the most avant-garde of artists in Paris, and he quickly made friends and acquaintances who would act as his gateway into the heart of Parisian artistic life. One of these figures was the Chilean painter Ortiz de Zarate, who asked Foujita to accompany him on a fateful studio visit on only his second day in the French capital:'The following day [...] Ortiz de Zarate offered to take him to see Picasso. Invitations to see Picasso were rare; but Ortiz quickly understood who merited them. Picasso was not disappointed. Foujita caused a sensation in the studio on Rue Schoelcher [...] Foujita spent a long time examining the African masks, and the guitars and violins that had been cut in half. He noticed cubist canvases and others that were blue and pink of scrawny gypsies. He particularly lingered in front of the paintings by Douanier Rousseau that Picasso had hung alongside his own' (S. Buisson, ibid., p. 52).The impact of this early meeting on Foujita's artistic vision was immense. Evidently Picasso's Cubist works elicited curiosity, and one can see the influence of this in the small number of paintings that have survived from this very early date. Works such as Femme cubiste from 1914 display a mix of Foujita's own love of vivid colour and stylistic flourish, imbued with the shattered perspective and multi-angle construction of the Spaniard's experiments of that time. It was, however, the naïve canvases of the French customs officer that struck Foujita the most, and would provide a lasting inspiration that can be seen in the many landscapes of Paris and its surroundings that he painted towards the end of the First World War. The present work, Paysage de banlieue, Malakoff, is a stunning example of the influence of Rousseau, and Foujita's ever-more unique style. The work depicts a desolate industrial suburb of Paris, and takes delight - just as Rousseau's scenes had - in the mundane details of work being done, goods being transported. The palette is now very restrained, largely due to Foujita's inability to access the materials he had before the war. Using a simple canvas and hues in various shades of grey, Foujita marries the pared-back Japanese aesthetic of his early artistic education with a new European method of representation. The viewer is struck by the simplicity, austerity even, of the scene; poetic in its emptiness. Foujita had left Paris briefly during the height of the War to spend time in London, and had seen active service as a volunteer in the International Red Cross. The conflict had undoubtedly disrupted the time that he would have otherwise spent concentrating on his practice, but this hiatus meant that Rousseau's work was still fresh in his mind come the last years of the War. Returning to Paris in 1917, Foujita had very limited means and was living the life of a true bohemian, moving from studio to studio and surviving on whatever sustenance he could come by whilst making the most of the wild Montparnasse scene. Having befriended a fellow Japanese painter called Kawashima, they attended the most outlandish balls and gatherings and Foujita enjoyed great romantic success with the artists, models and muses of the demi-monde. As his life became ever more rooted in Paris, and success started to become more apparent, his thoughts were far from his homeland. Foujita would soon cut all ties with his father, and his beloved wife Tomiko, and he would begin in earnest his life as one of the most successful painters of the années folles.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RAOUL DUFY (1877-1953)Le retour des régates signed, inscribed and dated 'Deauville Raoul Dufy 1933' (lower left)oil on canvas46.7 x 110cm (18 3/8 x 43 5/16in).Painted in Deauville in 1933Footnotes:ProvenanceM. Bignou Collection (by 1936).Perls Galleries, New York, no. 3311.Anon. sale, Christie's, New York, 8 May 2002, lot 300.Kunsthandel Frans Jacobs, Amsterdam.Private collection, The Netherlands (acquired from the above on 24 October 2002). ExhibitedToledo, The Toledo Museum of Art, European Section of the Thirty Third Carnegie International Exhibition of Paintings, 1 March – 19 April 1936, no. 78. LiteratureM. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Vol. II, Geneva, 1973, no. 864 (illustrated p. 351).Le retour des régates was executed in Deauville in 1933 and stems from one of Raoul Dufy's most iconic subjects. Boat races were painted by the artist on numerous occasions throughout both France and Great Britain: in fact, the subject first appeared in Dufy's work in 1907 and remained an important theme throughout his practice. Executed on a canvas measuring over a metre long, Les retour des régates is one of the largest regatta scenes ever to appear at auction and was painted at the height of the artist's career.In the early twentieth century, Deauville developed into a go-to resort for high society due to its proximity to Paris. With a racecourse, a casino and a harbour, the small town provided entertainment throughout the year. The many festivities that were held established an influx of tourists and formed the ideal environment for Dufy to paint en plein air. The artist could observe the pastimes of the French upper-class from behind the easel, and the joyous and dynamic atmosphere allowed him to experiment with movement and colour. Born on the northern coast of France in the city of Le Havre, the artist was fascinated by the ocean from a young age as he would stand on shore watching the activities around the water's edge. Dufy considered the sea as a backdrop for lively spectacles, and it formed the ultimate location to observe the ever changing light effects: 'Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!...The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees' (Dufy, quoted in D. Perez-Tibi, Dufy, New York, 1989, p. 158).Dufy scrutinised the boat racing theme over the course of his career, which resulted in an array of works on the subject. It allowed the artist to experiment with various structures and colour arrangements in his compositions and he mastered a uniquely free and dynamic style. In the present painting Le retour des régates, the viewer observes the sailing boats returning to the harbour after racing on a sunny day at sea. Dufy captures the scene as seen through the eyes of the sailors in the advancing boats, giving the viewer the sensation that they too are within the composition. With the wind blowing in their sails, the boats navigate towards maritime flags situating the harbour with the shore emerging in the background. Instead of carefully delineated details, Dufy employed bold and rigorous brushwork to create stylized forms on the two-dimensional picture plane. A dazzling palette of blue hues accentuate the sky and sea, evoking the atmospheric climate of his lively design. The present work is proof of the artist's masterful colour technique. In an interview with Pierre Courthion, Dufy elaborated on his choice of colour: 'Blue is the only color which keeps its own individuality across the spectrum. Take blue with its different nuances, from the darkest to the lightest; it will always be blue, whereas yellow darkens in shadow and fades out in lighter parts, dark red becomes brown and when diluted with white, it isn't red any more, but another color: pink' (Dufy quoted in P. Courthion, Raoul Dufy, Geneva, 1951, p. 52).Le retour des régates captures the spirit and influence of the Fauves, with whom Dufy exhibited following his encounter with Henri Matisse's seminal work Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Being exposed to such daring work encouraged the young artist to experiment with a wider palette. As Dufy himself emphasised: 'colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist' (Dufy quoted in D. Perez-Tibi, op. cit., p. 150).The 1930s are regarded as the apex of Dufy's career, as his work started to receive institutional attention and was widely acknowledged across continents. In 1932 the Musée de Luxembourg in Paris acquired one of his works for their permanent collection, and by 1936 Dufy received several important public commissions in Paris, most notably the mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne. In the same year, the present painting Les retour des régates was included in the thirty-third edition of the prestigious Carnegie International exhibition, held in the Toledo Museum of Art in Ohio. This show was initiated in 1896 by industrialist and philanthropist Andrew Carnegie and was the first exhibition with an international allure in North America. In 1936 the show served as an annual survey to identify international trends in avant-garde art to inspire and educate the public. Dufy's work was exhibited alongside paintings by artists such as George Braque and Pierre Bonnard. Other participants of the Carnegie International included Camille Pissarro, Salvador Dalí and Jackson Pollock.Raoul Dufy's spirited and bright compositions remain intrinsic to the art historical discourse of today, particularly his regatta paintings. Comparable works to Les retour des régates can be found in major public collections including the Musée d'Arte Moderne de la Ville in Paris, the Tate Modern in London and the National Gallery of Victoria in Melbourne.For further information on this lot please visit Bonhams.com

George Smart (1774-1846) feltwork collage picture of The Earth Stopper, the rear of the picture with a label detailing in print ‘The Business of an Earth Stopper, the Night previous to a Day’s Sport, is to stop up the Fox’s Earth whilst he is out Feeding. The above gentle Swain is supposed to be on his way home, when by a sudden turn of the Lane he is brought plump upon what he conceives to be nothing more or less than the Devil, but which in fact is a simple Sweep and his Donkey’. 17cm X 24cmGeorge Smart was a tailor in the Sussex village of Frant. A local celebrity, references to him appear in various contemporary guidebooks from the early 1820's onwards. Contemporary prints show Smart’s house in the village, with an array of cloth figures displayed on the wall; George Smart himself can be seen standing in the road, tempting passers-by with his wares. The Postman is one ‘Old Bright’, a familiar local sight at the time, who trudged the road between Tunbridge Wells and Frant, ‘satchel across his shoulder and leading his ass.’ George Smart was a tailor and cloth collage artist noted for his portraits and dummyboards. Recognised as one of the key figures within the history of English Folk Art twenty one works by Smart were included in Tate Britain's British Folk Art exhibition in 2014.Tunbridge Wells Museum has nine examples of his work in their permanent collection and Compton Verney in Warwickshire has a further two works.

A Collection of Approximately Eighty LP's, with artists and titles as Led Zeppelin two (plum label 588198) The Who - Tommy with original insert, The Beatles - Revolver, Please Please Me, with The Beatles, Deep Purple, Rod Stewart, Bob Marley,Queen, Cat Stevens, Smokey Robinson, Four Tops etc

A Collection of LP's, to include Rolling Stones - Sticky Fingers with zip sleeve, Jimi Hendrix and Curtis Knight - Get That Feeling SH 8349, Jimi Hendrix - Are You Experienced 612 001, The Doors - L A Woman vinyl window sleeve, The Kinks - Well Respected, John Martyn - Solid Air ILPS 9226, Link Wray, Grateful Dead, John Mayall, Eric Clapton, The Who, Janis Joplin, T Rex etc.

In Excess of Sixty L.P.'s and 45's, predominately 1960's/1970's artists include Simon and Garfunkel, The Who, Elvis Presley, The Rolling Stones, Fleetwood Mac, Glen Campbell.

Over Fifty CD's Largely Unopened in Their Original Shrink Wrapping, to include artists George Michael, Justin Bieber, The Who, Stereophonics, and many more.

A Quantity of 7" Singles Mainly 1960's and Later, including Gary Numan, Madonna, Jefferson Starship, The Police, Jazz, Roy Orbison, The Who, Donna Summer:- three Boxes

A Collection of Rock LP's, to include Free - Heartbreaker, Rory Gallagher - Calling Card, David Bowie - Aladdin Sane, Queen - Live Killers, Deep Purple - Who Do We Think We are, Black Sabbath - Live at Last, Deep Purple - Come Taste The Band

Rock Interest - thirty six LP's to include The Rolling Stones - Exile on Main St, Coc 69100 gatefold with inners and postcard interest, Sticky Fingers with zip sleeve, Argent - All together Now, Beatles - Sgt Pepper with cut out insert, also 'The Nice', 'Queen', 'Free' 'Johnny Winter'' Pete Townsend','The Who','Santana', etc

Rolling Stones - Aftermath 1966 LK 4786 Decca Label, The Who - My Generation 19656 Brunswick black and silver label LAT 8616, Jethro Tull - This Was 1968 Pink Island Label ILP 985 gatefold sleeve, three Lp's.

Singles: Over 100 60's, 70's and 80's, to include The Rolling Stones - Decca DFE 8560, The Searchers - Ain't Gonna Kiss Ya (signed unverified), The Beatles - Twist & Should EP, The Who, Elvis Presley, Tubeway Army, Soft Cell, etc

HENRY R PLOMER: A DICTIONARY OF THE BOOKSELLERS AND PRINTERS WHO WERE AT WORK IN ENGLAND, SCOTLAND AND IRELAND FROM 1641 TO 1667 - 1668-1725 - 1726-1775, London, The Bibliographical Society, 1907, 1922, 1932, 1st edition, 3 vols, original cloth backed boards, vol 1 split at spine, vols 1 and 2 book plates of Marion Harry Alexander Spielmann, FSA (1858-1948) (3)

WILLIAM BURNEY: NAVAL HEROES OF GREAT BRITAIN OR ACCOUNTS OF THE LIVES AND ACTIONS OF THE DISTINGUISHED ADMIRALS WHO CONTRIBUTED TO CONFER ON GREAT-BRITAIN THE EMPIRE OF THE OCEAN, London, J G Barnard for Richard Phillips, 1806, 24 engraved ports on 4 leaves, 6 maps (some browning) as list, 9pp adverts at end, frontis with some ink splashes, 12mo, modern half morocco marbled boards, spine gilt in compartments, crimson morocco spine labels, new end papers + RICHARD JOHNS & PAULE HARRIS NICOLAS: THE NAVAL AND MILITARY HEROES OF GREAT BRITAIN OR CALENDAR OF VICTORY BEING A RECORD OF BRITISH VALOUR AND CONQUEST BY SEA AND LAND ON EVERY DAY OF THE YEAR FROM THE REIGN OF WILLIAM THE CONQUEROR TO THE BATTLE OF INKERMAN, London, Henry G Bohn, 1860, 1st edition, 24 engraved ports as list, advert end papers, original blind stamped cloth, re-cased preserving major part of original spine (2)

GEORGE EWART EVANS: 12 titles: WELSH SHORT STORIES, London, Faber & Faber, 1959, new [2nd revised] edition, original cloth, d/w; THE FARM AND THE VILLAGE, London, Faber & Faber, 1969, 1st edition, original cloth, d/w; WHERE BEARDS WAG ALL, London, Faber & Faber, 1970, 1st edition, original cloth, d/w; LET DOGS DELIGHT, London, Faber & Faber, 1971, 1st edition, original cloth, d/w ex-lib; ASK THE FELLOWS WHO CUT THE HAY, London, Faber & Faber, 1972, reprint, original cloth, d/w; ACKY, London, Faber & Faber, 1973, 1st edition, original cloth, d/w; THE DAYS WE HAVE SEEN, London, Faber & Faber, 1975, 1st edition, original cloth, d/w; FROM MOUTH OF MEN, London, Faber & Faber, 1976, 1st edition, original cloth, d/w; HORSE POWER AND MAGIC, London, Faber & Faber, 1979, 1st edition, signed, original cloth, d/w; THE HORSE IN THE FURROW, London, Faber & Faber, 1979 reprint, original pictorial wraps; THE STRENGTH OF THE HILLS, London, Faber & Faber, 1983, 1st edition, signed, original cloth, d/w; THE CROOKED SCYTHE, London, Faber & Faber, 1963, 1st edition, original cloth, d/w (12)

PADRAIC COLUM: THE BOY APPRENTICED TO AN ENCHANTER, ill Dugald Stuart Walker, New York, The MacMillan Co, 1920, 1st edition, original pictorial cloth + KATHLEEN COLVILE: MR MARIONETTE, ill Albert Rutherston, Boston and New York, Houghton Mifflin Company, 1925, 1st edition, 4 coloured plates, original pictorial cloth + ELIZABETH PALMER: THE NIGHTINGALE HOUSE, ill Marjorie Peters, New York and London, Charles Scribner's Sons, 1937, 1st edition, 15 plates including 4 coloured (one loose), original pictorial cloth soiled + WALTER DE LA MARE: THE DUTCH CHEESE, ill Dorothy P Lathrop, New York, Alfred A Knoph, 1931, 1st edition, 4 coloured plates, 4to, original cloth gilt, d/w (tatty) + LEONARD WISEGARD: WHO DREAMS OF CHEESE, New York, Charles Scribner's Sons, 1950, 1st edition, 4to, original pictorial cloth, (5)

IAN FLEMING: 7 titles: DIAMONDS ARE FOREVER, London, Jonathan Cape, 1959, 3rd impression, inscription on title, original cloth, d/w; MOONRAKER, London, Jonathan Cape, 1964, reprint, original cloth, d/w; THE MAN WITH THE GOLDEN GUN, 1965, 3rd impression, 2 copies, one with ffep part excised, original cloth; OCTOPUSSY, London, Jonathan Cape, 1966, 1st edition, original cloth, d/w + first softback edition, New York, Signet Books, 1967, original pictorial wraps; THE SPY WHO LOVED ME, London, Pan Books, 1967, 1st softback edition, original pictorial wraps; CHITTY-CHITTY BANG-BANG, THE MAGICAL CAR, London, Pan Books, 1968, 2nd printing, inscription on ffep, original pictorial wraps; DR NO, London, Jonathan Cape, 1973, reprint, original cloth, d/w + KINGSLEY AMIS: THE JAMES BOND DOSSIER, London, Jonathan Cape, 1965, 1st edition, original cloth, d/w + WILLIAM TANNER: THE BOOK OF BOND, London, Pan Books, 1966, 1st softback edition, original pictorial wraps (11)

SPIKE MILLIGAN: 7 titles: ADOLF HITLER, MY PART IN HIS DOWNFALL, London, Michael Joseph, 1971, 1st edition, original cloth, d/w; ROMMEL? "GUNNER WHO", London, Michael Joseph, 1974, 1st edition, original cloth, d/w; MONTY, HIS PART IN MY VICTORY, London, Michael Joseph, 1976, 1st edition, original cloth, d/w; MUSSOLINI, HIS PART IN MY DOWNFALL, London, Michael Joseph, 1978, 1st edition, original cloth, d/w; WHERE HAVE ALL THE BULLETS GONE, Walton-on-Thames, M & J Hobbs, London, Michael Joseph, 1985, 1st edition, original cloth, d/w; GOODBYE SOLDIER, London, Michael Joseph, 1986, 1st edition, original cloth, d/w; PEACE WORK, London, Michael Joseph, 1991, 1st edition, original cloth, d/w (7)

D H LAWRENCE: 2 titles: THE WOMAN WHO RODE AWAY, London, Martin Secker, 1928, 1st edition, 3pp adverts at end, original cloth gilt worn; THE MAN WHO DIED, London, Martin Secker, 1931, (2000), original bevelled green cloth gilt, some toning to spine and boards + ALDOUS HUXLEY: JESTING PILATE, A DIARY OF A JOURNEY, London, Chatto & Windus, 1926, 1st edition, 4pp adverts at end, original cloth gilt, spine browned, (3)

CHRISTOPHER MARLOWE AND GEORGE CHAPMAN: THE AMOROUS POEM ENTITLED HERO & LEANDER, ill Lettice Sandford, London, The Golden Hours Press, 1933, (200) numbered (113A), tipped in slip on limitation page "This edition was originally planned and printed for The Golden Hours Press and 200 copies were made available for sale of this number, balance remains and these have been taken over by Hollis & Carter Ltd Publishing...who now offer the original text in a less elaborate binding...", 4to, original bevelled green cloth gilt, from the collection of Derek Cottam

J K ROWLING: THE HARRY POTTER BOXED SET COMPRISING HARRY POTTER AND THE PHILOSOPHER'S STONE - CHAMBER OF SECRETS - PRISONER OF ASKABAN - GOBLET OF FIRE, London, Bloomsbury, 1997, 1998, 1999, 2000, 4 vols; final work first softback edition, all signed and inscribed by the actor Tom Felton who played Draco Malfoy in the film adaptations, original pictorial wraps, slip-case, also signed by Felton (4)

Y A silver and tortoiseshell triple-cased verge pocket watch Edward Prior, London, circa 1875 The gilt full plate single fusee movement with four column pillars pinned through the backplate, shaped stop-iron block and later English lever escapement regulated by sprung three-arm balance with Tompion type adjustment, the backplate with fine asymmetric foliate scroll pierced and engraved balance cock with Classical urn at the junction of the conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature Edw'd Prior, London, 80185, the circular white enamel Arabic numeral dial with repeat signature EDWARD PRIOR, LONDON to centre, conforming five minute numerals to outer track and blued steel beetle and poker hands, the plain inner case fitted with convex glass and suspension post and marked for London 1875, maker WCS for William Caleb Scott of 70 Rahere Street, Clerkenwell and numbered 185, the second case with conforming date marks, push-button clasp, and decorated with bright-cut foliate scrollwork enveloping a martial trophy centred with the letter P to rear, the outer case covered in mottled shell with studded borders and secured with conforming push-button clasp, the pillar plate 32mm (1.125ins approx.) diameter, the outer case 55mm (2.125ins approx.) diameter overall.   Edward Prior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a maker of repute working 1800-68. His workshops were located at 18 Powell Street, King Square, Clerkenwell and he was the last of the celebrated Prior family who specialised in producing watches and highly decorative clocks for the Middle Eastern market throughout the latter half of the 18th century. Condition Report: As catalogued the movement has been converted from verge escapement to English lever. The mechanism presents in clean condition but hasn't been run for a long time hence lubrication is now dry/gummed causing it not to run although the spring holds power and the escapement will beat when motive force is manually applied to the train. The dial has some very slight edge wear to the bottom edge otherwise is in fine condition. The inner case has some very slight denting to the rear and tarnishing to the bezel otherwise is in fine condition. The second case is in fine condition with minimal wear. The outer case is also in fine original condition only having a light hairline in the tortoiseshell bezel next to the hinge. There is no winding key with this watch   Condition Report Disclaimer

MEDALS (x5) "DAMBUSTERS RAID" INTERESTComprising a Distinguished Flying Cross Group of 5 medals in a blue Hayward & Hall case awarded to Flt Lt. Chadwick of 617 Squadron. The lot contains a DFC dated 1944, together with an Air Crew Europe Star with "France & Germany" bar, the 1939-45 star, defence medal and war medal. Also enclosed is a small bag containing dog collar tags & St Christophers belonging to Chadwick 1434387. Included with the lot are extensive documentation & news reports relating to the "Dambuster" raids and the attacks on the 'Turpitz'.Born on the 14th September 1922 in Nottingham he was the son of Harold and Edith Chadwick who were well known shopkeepers in Uttoxeter. He attended Allynes Grammar School before joining the RAF at the ago of 18. He was sent to Canada to train as a pilot under the Empire Air Training Scheme. Unfortunately, he suffered from chronic nose bleeds and air sickness during his training where he clocked up over 60 flying hours on Stearman PT 17 biplanes and Harvards. His air sickness relegated him to a new air crew category that of Navigator/Bomber. He was eventually to join the elite by becoming one of Bomber Commands most skillful bomb aimers and one of the first to drop the 12000 1b 'Tallboy' over Germany whilst attached to the famous 617 'Dambuster' Squadron. Initially posted to RAF Lichfield an aircrew reception centre, in the middle of 1943, he quickly teamed up with Sergeant Pilot Arthur FEARN, a partnership which lasted throughout the war. Both Chadwick and Fearn were posted to 57 Squadron at Scapton flying Lancasters on many missions to Germany which included nine to Berlin interspersed with trips to Frankfurt, Leipzig and Mannheim. On one of the missions to Berlin a 4000 'Cookie' bomb got hung up under the fuselage of the Lancaster. Harold Chadwick grabbed a fire-axe and an emergency oxygen bottle and started to chop away at the retaining hooks. Working in freezing conditions and a howling gale he managed to release the bomb whch in fact landed on Kassel, a large industrial town engaged in manufacturing V1 rockets. Both Chadwick and Fearn were promoted to Flight Lieutenants whilst with 57 Squadron and awarded the DFC each. Chadwick's citation shows he had completed 20 sorties and flown 131 hours with eight attacks on Berlin and stating 'he had always shown courage and determination to bomb the target accurately and consistently in the face of very strong opposition, and his complete disregard of danger had contributed very largely to the success of an excellent crew. In the spring of 1944 Chadwick and his crew 'volunteered' for an attachment to 617 Squadron. This was to take them on many more dangerous missions over Europe culminating in the sinking of the German Battleship 'Tirpitz' in Tromso Fiord Norway in November 1944. Harold Chadwick's final mission was in late 1944 on a sortie to bomb the U-Boat pens at La Pallice. During the flight heavy flak was encountered and the perspex nose of the bomb-aimers compartment was shattered wounding Harold Chadwick in his face, and ending his combat career after 51 missions.After his wounds had healed he became an instructor for the rest of the war. He later retired to Spain and operated a farm also caring for stray animals. He died in February 1995 in Spain.