Rowling, J. K. Harry Potter and the Order of the Phoenix, first edition, hardback, London: Bloomsbury, 2003. Signed by 16 members of the cast, including Daniel Radcliffe, Emma Watson and Rupert Grint. Daniel Radcliffe has inscribed the front free endpaper, 'Magic Rules OK!' (with his exclamation mark in the form of a lightning bolt). The signatures/inscriptions are dedicated to 'Archie' (see provenance and also refer to Lot 17 in this Harry Potter Auction). Contents very good, clean, bright, appears unread; a couple of light marks to fore-edge; binding tight and square, bold and vibrant, one short nick to upper headcap; dust-jacket with very slight discolouration to spine and light bumping/faint wear to extreme edgesProvenance: Our vendor has provided us with a signed statement confirming 'the books were a gift from the Wardrobe Mistress on the Harry Potter film Harry Potter and The Goblet of Fire, whilst working on this film she arranged for the cast of children to sign a copy of the Harry Potter and the Order of the Phoenix book for each of my children.' A copy of this statement will be included in the sale of this book, but please note that all personal details have been removed
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Rowling, J. K. Harry Potter and the Order of the Phoenix, first edition, hardback, London: Bloomsbury, 2003. Signed by 16 members of the cast, including Daniel Radcliffe, Emma Watson and Rupert Grint. Daniel Radcliffe has inscribed the front free endpaper, 'Magic Rocks!' (with his exclamation mark in the form of a lightning bolt). The signatures/inscriptions are dedicated to 'Chloe' (see provenance and also refer to Lot 16 in this Harry Potter Auction). Contents very good, clean, bright, appears unread; a couple of light marks to fore-edge and one small mark on ffep; binding tight and square, bold and vibrant; dust-jacket with a few light marks, some light bumping/faint wear to extreme edgesProvenance: Our vendor has provided us with a signed statement confirming 'the books were a gift from the Wardrobe Mistress on the Harry Potter film Harry Potter and The Goblet of Fire, whilst working on this film she arranged for the cast of children to sign a copy of the Harry Potter and the Order of the Phoenix book for each of my children.' A copy of this statement will be included in the sale of this book, but please note that all personal details have been removed
Rowling, J. K. Harry Potter and the Goblet of Fire, first edition, hardback, London: Bloomsbury, 2000. Signed by the author in black ink on dedication page. Contents generally good, clean, bright, some pulling at inner gutters in places, a small ink mark running through a few pages; some light marks to endpapers; binding with pronounced shelf-lean, some light creasing to spine and bumping to headcaps; dust-jacket with overall light creasing and slight fading to spineProvenance: The vendor has provided us with a signed & dated statement of provenance, 'I am writing this note to confirm that the enclosed copy of Harry Potter & the Goblet of Fire by J. K. Rowling has been in my family's possession since it was published. It was signed by the author at the Edinburgh Book Festival in St. Andrews Square, Edinburgh. We were very lucky to get tickets as her audience was only 500 people! She used to live very close to my family's home in Edinburgh - about 200 metres away.' A copy of this note will be included in the sale of this book, but please note that all personal information has been removed
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents with pale dampstaining and spotting; cockling to pages and covers; gift inscription with cartoon on half title; some fading and creasing along spine, covers otherwise bold and vibrant; bumping and light creasing around corners/headcaps, light wear to extremities
![Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 19](https://cdn.globalauctionplatform.com/c6dfb498-1acf-463d-bce1-ace70103ff29/8094cb9e-d762-42f5-8ac7-ad1f01111406/468x382.jpg)
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's laminated pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents very good, clean, bright; usual toning to page edges; binding solid with shelf-lean, light bumps/wear to corners and some splitting to joints near top and bottom; lacking laminate on upper board and top section of spine; slight fading to spine. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, and 300 of those were sent to schools and libraries - this being one of the more desirable 200
Rowling, J. K. Harry Potter and the Half-Blood Prince, first edition, hardback, London: Bloomsbury, 2005. This book is one of the original exhibits from a theft and blackmail case involving armed police prior to the release of the novel (see provenance). Six weeks before the eagerly-anticipated publication of the penultimate novel in the Harry Potter series, two copies of the book were stolen from a secure distribution centre in Northamptonshire. An attempt was made to obtain money from two national newspapers by revealing the novel's secrets; one of the journalists involved tried to flee with the books, but the perpetrator fired an imitation Walther PPK pistol in the journalist's direction and was later arrested by armed police. An attempt was also made to blackmail publishers Bloomsbury by revealing the book's contents. The judge delivering sentence was quoted in the media, "It was only through the good services of the press and police that this was prevented and fans of Harry Potter, young and old, were able to read this book without their pleasure being polluted." Contents very good, clean, bright; binding tight and solid; boards bold and vibrant; a couple of light bumps along spine; dust-jacket bold and vibrant with a couple of faint scuffs and knocks along spine.Provenance: Our vendor has provided us with a signed statement outlining their role in the case and confirming that they were presented with this book (one of the two stolen copies) as a reward for their work, together with copies of correspondence from the logistics company and an email from the sales operations manager at Bloomsbury. Copies of these documents will be included in the sale of the book, but please note that all personal details and contact information has been removed
Rowling, J. K. Harry Potter and the Philosopher's Stone, first issue, London: Ted Smart, The Book People Ltd., 1998, hardback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'. Contents very good, clean, bright; tiny chip to fore-edge; binding tight and solid, appears unread; boards bold and vibrant; very faint bumping to corners and edges of joints, one tiny knock to edge of upper board; dust-jacket with fading to spine, very light bumps/creases along extremities, corners slightly bumped with very faint wear
Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, first issue, London: Bloomsbury, 1998, hardback, publisher's pictorial boards complete with dust-jacket, print line reads '10 9 8 7 6 5 4 3 2 1'. Contents good, clean, bright; a small ink mark at top edge of text-block; binding good and solid, vibrant, slight shelf-lean, light wear at extreme corners; dust-jacket bumped and worn along edges. The second novel in the Harry Potter series
![Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 19](https://cdn.globalauctionplatform.com/c6dfb498-1acf-463d-bce1-ace70103ff29/c03aca47-6bbd-42de-9ee4-ad1f011169e3/468x382.jpg)
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's laminated pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents generally good, clean, bright with light fold-lines to page corners and the occasional short nick; front free endpaper and half title loosened along lower half but remaining strongly attached; p.74 loosening slightly at the top; red scribble on p.114; final leaf of text loosened along gutter at bottom; binding bold and vibrant, lacking laminate, wear/loss to headcaps/corners/edges, the spine reinforced with clear tape; slight loss to bottom of front pastedown, evidence of a removed label on ffep with barcode sticker for 'NESLS' (vendor purchased the book from a local library in Aberdeenshire and believes this to be North East Scotland Library Service), reference number in ballpoint pen on copyright page. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, and 300 of those were sent to schools and libraries
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents generally good and bright with usual light toning to page edges; pale spots and marks to first few leaves and final few leaves; occasional fold-lines to page corners; page corners lightly bumped and worn; pale spots to edges of text-block; a very short tear with slight loss at extreme edge of p.86; evidence of restoration to wrappers and laminate, which is most apparent at the corners and along the lower edge of front cover (purchased by vendor without history of restoration); light wear to extremities, light splitting to joints at bottom of spine. Together with three novelty items: a "platform 9 3/4 ticket", a sealed "acceptance letter", and a "Marauder's Map"
A large collection of Harry Potter books, to include four Order of the Phoenix hardback first editions; six Half-Blood Prince hardback first editions; five Deathly Hallows hardback first editions; one Goblet of Fire hardback first edition; two Half-Blood Prince adult hardback first editions; three Order of the Phoenix adult hardback first editions; four Deathly Hallows adult hardback first editions; one Prisoner of Azkaban second issue hardback; one Philosopher's Stone 23rd issue hardback, and others. Condition varied as found, offered as one collection and sold with all faults (74)
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents with prominent dampstain centrally through top and bottom; very pale spotting; light fold-lines to page corners; lacking half title; library stamp on title with faint, erased pencil inscriptions; verso of final leaf with small ink inscription and ink on corner; covers and spine with creasing and marks; some wear around edges/headcaps; slight loss to laminate; old library tape around lower section of spine
Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, first issue, London: Bloomsbury, 1998, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'. Very well-preserved, clean, bright (appears unread); slight discolouration to spine, some very faint little knocks/creases to extreme edges/corners; a few marks to edges of text-block
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents generally good, clean, bright with usual light toning to page edges; a few light spots to opening and closing leaves and inner rear cover; small nick to edge of half title, short tear to edge of final leaf; school prize label on inside cover, printed ownership label on half title; corners of text-block lightly bumped; a few pencil marks to edges of text-block; covers bold and vibrant, slight discolouration to spine; light handling creases to upper and lower covers and along spine, more pronounced at corners/edges; laminate lifting at side of upper cover; faint shelf-lean
Rowling, J. K. Harry Potter and the Goblet of Fire, first edition, hardback, London: Bloomsbury, 2000. Signed by the author in bold blue ink on dedication page, featuring loosely-inserted golden ticket for Harrods, Knightsbridge. Contents very good, clean, bright (appears unread); binding very good, tight, square; boards very well-preserved, bold, vibrant; dust-jacket very well-preserved and bright, a couple of incredibly faint creases and marks but not very apparent; Harrods ticket with some handling marks
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents very good, clean, bright; usual very faint toning to page edges; binding tight and solid, faint creases to covers but generally appears unread; a couple of very faint marks to inner covers; two tiny nicks at extreme edge of half title; faint creasing to extreme corners of closing few leaves; covers bold and vibrant, only very slight discolouration to spine; light wear to extremities, the corners lightly bumped with very slight loss, very light splitting to joints at bottom of spine; laminate lifting slightly along edges with slight loss at bottom of spine
![Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 19](https://cdn.globalauctionplatform.com/c6dfb498-1acf-463d-bce1-ace70103ff29/aaf78014-ed0a-470d-972e-ad1f0113c1c2/468x382.jpg)
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's laminated pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents very good, clean, bright; usual very light toning to page edges; a few nicks to extreme edges of several pages; a couple of light scuffs to fore-edge; an incredibly pale dampstain to the corner of a couple of pages; a few very light creases to page corners; slight chipping/loss to extreme lower edge of opening few leaves; Ravenstone County Primary School stamp on front free endpaper (school closed 1 January 2003); binding tight and solid with very faint shelf-lean; boards bold and vibrant; faint lifting to laminate in a couple of places with very slight loss; a couple of creases to lower board; a couple of light impressions/marks to upper board; light bumping and wear to corners/headcaps. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, and 300 of those were sent to schools and libraries
Rowling, J. K. The Tales of Beedle the Bard [Sotheby's auction catalogue for Rowling's seventh manuscript, which was sold on behalf of The Children's Voice, 13 December 2007, achieving a record price for a modern literary manuscript], London: Sotheby's, 2007. First and only edition. Signed by J. K. Rowling and four cast members from the Harry Potter films: Devon Murray, Matthew Lewis, Fiona Shaw, and Evanna Lynch. Contents very good, clean, bright; embossed card covers well-preserved with very faint creasing around joints and one small, light mark on upper cover; very faint bumps/wear to extremitiesProvenance: Our vendor has kindly provided the following statement: 'I was invited to attended the private launch event held at Sotheby's. What a privilege to be there and to view the handwritten manuscript and I must admit to being a little star struck. Also in attendance that evening were other supporting cast members from the Harry Potter series who I also asked to sign my catalogue. A very ‘magical’ evening indeed!'
Association copies & ephemera from Matthew LaCroix (author of the fan mail that was famously used on the dust-jacket of Harry Potter and the Goblet of Fire), this being a collection of gifts from Bloomsbury to Matthew, together with correspondence and contemporary newspaper clippings recording his story. Collection comprising: Rowling, J. K. Harry Potter and the Goblet of Fire, first edition, London: Bloomsbury, 2000, hardback, featuring Bloomsbury plate signed in black ink by the author (loosely inserted, sticker unused); Harry Potter and the Prisoner of Azkaban, first issue paperback, London: Bloomsbury, 1999; a typed & signed letter from the Commissioning Editor at Bloomsbury, 7 July 2000, 'Dear Matthew, I am delighted to be enclosing with this letter a copy of "Harry Potter and the Goblet of Fire" [the book in this collection]. As you can see, your letter takes pride of place on the jacket! Thank you again for allowing us to use your letter, and I very much hope that you enjoy the latest story in the Harry Potter adventures.'; a typed & signed letter from the branch manager of Waterstones, Telford, 'Dear Brian and Matthew, Thankyou for calling in to Waterstone's on Saturday, it was lovely to see you. I hope you both enjoyed every minute of Matthew's celebrity status! It was great to see him signing books in the store for our customers. Perhaps next time it will be for a book that he has written himself. As promised, I have enclosed a couple of photographs. I look forward to seeing you again before too long.'; two laminated photographs of Matthew signing copies of Harry Potter and the Goblet of Fire at Waterstones (as referred to in previous correspondence); two laminated compliments slips inscribed & signed by the Head of Children's Sales & Marketing at Bloomsbury (relating to the two books & signed bookplate mentioned previously); a large advertising poster from Bloomsbury promoting Harry Potter and the Prisoner of Azkaban, 'New in Paperback', the design featuring Matthew's fan mail, 152cm by 50cm, complete with postage tube bearing Bloomsbury labels, postmarked 30 March 2000; a compliments slip from Bloomsbury, inscribed, 'Poster will be sent separately.'; a large promotional flyer advertising the paperback release of Harry Potter and the Prisoner of Azkaban, the design again featuring Matthew's fan mail with order codes for books and shop display items, 29.5cm by 42cm; a signed letter from the senior librarian at Shropshire County Council, 30 October 2001, thanking Matthew for judging a Harry Potter competition and inviting him to attend the presentation; handwritten fax sheet from Matthew's father to Bloomsbury, 'Thank-you for letter dated 18.1.00. Matthew is over the moon. We have forwarded reply in agreement to his letter being used, he is thrilled!'; a laminated dust-jacket for Harry Potter and the Goblet of Fire; a collection of contemporary newspaper clippings, some laminated, celebrating the story of Matthew's fan mail being used on the jacket of Harry Potter and the Goblet of Fire, some of the press images showing Matthew with the books and posters offered in this collection. The archive is generally well-preserved, clean, bright; the first edition Goblet of Fire has some creasing to jacket, pale spotting to edges of text-block and slight shelf-lean Provenance: Consigned to auction by the family
Elton John: An acetate recording of When I Was Tealby Abbey,early 1968,single-sided, 7inch 45rpm, This Record Co. Limited Demo Disc label with typewritten recording details, good audio qualityFootnotes:An Elton John/Bernie Taupin composition, the copyright was registered in April 1968. This acetate has Elton on vocals and piano with a backing band but no orchestral overdubs. An unreleased version of this song, believed to be the first cover of an EJ/BT composition, exists by the Young Brothers, whose members were Paul Young and Frank Renshaw. The pair had previously been in The Toggery Five, who had a couple of unsuccessful singles on Parlophone in 1964/65 and whose lineup at one time included Mick Abrahams and Clive Bunker, later of Jethro Tull.For further information on this lot please visit Bonhams.com
Elton John: An acetate recording of The Tide Will Turn For Rebecca/Taking The Sun From My Eyes,probably 1969,double-sided, 7inch 45rpm, each side with This Record Co. Limited label with typewritten recording details and + Orch inscribed in black ballpoint, good audio qualityFootnotes:Both tracks are Elton John/Bernie Taupin compositions and both tracks on this acetate have Elton John on piano and vocals with orchestral backing. Taking The Sun From My Eyes was first released as the B-side to a Polydor single by Ayshea in February 1969. London-born Ayshea Hague hosted the TV pop show, Lift Off With Ayshea, 1969-1974. The Tide Will Turn For Rebecca saw its first release on an Edward Woodward album in April 1970 entitled This Man Alone.For further information on this lot please visit Bonhams.com
Elton John: An acetate recording of I Can't Go On Living Without You,probably early 1969,a single-sided, 7inch 45rpm, with This Record Co.Limited Demo Disc label, typewritten recording details, good audio qualityFootnotes:An Elton John/Bernie Taupin composition, this acetate has Elton on vocals and piano with backing band but lacks orchestral overdubs. It was first released in Europe by Lulu in March 1969, on a four-track EP which, with two others, were contenders for the UK's entry into that year's Eurovision Song Contest. It was first released in the UK by Stuart A. Brown as a single A-side, also in March. Brown had been a member of Bluesology, as had Elton.For further information on this lot please visit Bonhams.com
Elton John: An acetate recording of The Tide Will Turn For Rebecca,probably early 1970,single-sided, 7inch 45rpm, Emidisc label with handwritten recording details in black and blue ballpoints, good audio qualityFootnotes:An Elton John/Bernie Taupin composition, it was first released on an album by Edward Woodward entitled This Man Alone, in April 1970. This acetate features a solo performance by Elton on vocals and piano.For further information on this lot please visit Bonhams.com
The Who: A Wembley Stadium Concert Poster for The Who and friends,1979,a Harvey Goldsmith and Trinifold British concert poster for The Who, ACDC, Nils Lofgren and The Stranglers, 18th of August at Wembley Stadium, backed on board, framed, accompanied by a certificate, overall 27 1/2in x 38in (69cm x 96.5cm)Footnotes:Provenance: From the private collection of Harvey GoldsmithFor Harvey Goldsmith The Who are the greatest rock band of all time. The way that they performed on stage was full of energy and excitement which had not been seen before. They always did something new onstage to 'wow' and shock their audience. Early on in their gigging days the bands' renowned after show parties often resulted in the venues dressing rooms being wrecked. As the venues began banning The Who from performing, they quickly realised it would be wise to take the party back to their hotel. Harvey was one of the entourage who witnessed Keith Moon throwing a TV out of a hotel window, for the first time. However, Harvey would often take himself off early as he would have too much to do the following day. He recalls one afterparty which took place at Five Bridges Hotel in Newcastle. After leaving the raucous celebration early on, he was woken the next morning by the hotel manager to discuss the huge damage his hotel's function room and foyer had sustained from the revelry from the night before. Harvey, as the promotor and organiser of the tour, was the hotel manager's point of call. However on this occasion the manager was thrilled as it meant that all the snagging and issues he had with the premises could now be fixed without calling on his insurance.For further information on this lot please visit Bonhams.com
Live Aid: A Baseball-Style Tour Jacket Personalised for Harvey Goldsmith,1985,the black canvas jacket labelled Satin Jackets with red detail to collar, arms, cuffs and waist, with red popper closures, embroidered on the front in white Harvey, the back adorned with Live Aid Africa guitar logo and Hard Rock Café symbol, embroidered Feed The World July 13 1985, with Hard Rock Café Singapore guitar pin, accompanied by a Harvey Goldsmith, Bob Geldof and Maurice Jones for the Band Aid Trust promotional Live Aid poster Live Aid July 13th Sold Out, framed, accompanied by a certificate, the poster overall 13in x 16 1/2in (33cm x 42cm)Footnotes:Provenance:From the private collection of Harvey GoldsmithA career highlight for Harvey and still one of the most famous live events that has ever taken place, was Live Aid. Following the success of Bob Geldof's Band Aid single in December 1984, Harvey was approached by Bob to produce the first live show of its kind. From initial contact to the day of the concert was 10 1/2 weeks. Harvey remembers clearly the press call at Wembley Stadium where he and Bob Geldof announced the event and listed the acts who would be playing. Although at this time the acts had been told the event was to take place, only the Boomtown Rats (Geldof's band) had confirmed that they would play. However this announcement set the tone for artists to confirm their attendance, David Bowie, Madonna, Elton John and U2 being some of the first.Before the time of mobiles phones and the internet, it was a huge feat to keep such a tight schedule. The morning of the concert Harvey sent his runner to find 40 clocks to place backstage. Harvey personally put them in every dressing room, restaurant, green room area and even the toilets affixed with the instruction - 'I don't mind what time you go on, but it does matter what time you come off'. If the artists could stick to their stage exit there was a hope that the live transfer over from Wembley Stadium in London to John F. Kennedy Stadium in Philadelphia would sync without a glitch. Live Aid has become a historic event, with the initial anticipation it would raise £1million. To this day the Band-Aid Trust receives £2-3million each year, and directly following Live Aid a staggering £140million.For further information on this lot please visit Bonhams.com
Bruce Springsteen: A Handwritten Letter and Set-List by Bruce Springsteen,May 2008,the letter on American notepaper, written in black felt pen to a fan Harvey said you've been a long time fan...c'mon backstage and say hi, hope to see you there. Best, Bruce Springsteen with hand-drawn guitar motif; accompanied by a handwritten set list dated 28th May 2008 Manchester UK with twenty-four abbreviated song titles all in Springsteen's hand, songs including Long Walk Home, Lonesome Day, Thunder Road, Born to Run, American Land; with a corresponding printed set list and additional list dated 8th May 2008 Cardiff with twenty-five song titles (and key prompts), accompanied by a certificateFootnotes:Provenance:From the private collection of Harvey GoldsmithHarvey first saw Bruce Springsteen in New York at the Bottom Line in early 1970s when he was the opening act. He was amazed at his performance and on meeting him backstage said that he must come to the UK. Springsteen's response was that it was his first time in New York! It was two years later that Harvey was finally able to promote him at the Hammersmith Odeon in 1975.For further information on this lot please visit Bonhams.com
Bob Dylan/George Harrison and Others: An Important Multi-Signed Les Paul Gold Top 'HALL OF FAME' DELUX EDITION Guitar Signed at The 30th Anniversary Concert Celebration at Madison Square Gardens, New York,16th October 1992,serial no.91631367 blind stamped to the back, dated 12 June 1991, with single cutaway body, mahogany neck and body with maple cap, 22-fret rosewood bound fingerboard with trapezoid inlays, headstock fitted with Kluson delux machine heads and inlaid 'Gibson' logo, decal to back 'Hall of Fame Edition', cream scratch plate, two volume and two tone controls, three way toggle switch, mini-humbucker pickups, accompanying Gibson hard shell case with pink plush lining and matching silk protector, signed by various artists on the night, including Bob Dylan, George Harrison, Eric Clapton, Johnny Cash, Willie Nelson, Chrissie Hynde, Ronnie Wood, Tom Petty, Johnny Winter, Kris Kristofferson, Neil Young and Stevie Wonder, accompanied by a certificateFootnotes:Provenance:From the private collection of Harvey GoldsmithOnly six weeks before the concert was scheduled Bob Dylan personally called Harvey Goldsmith asking for his help with the project. The promotion company he had been using was out of its depth with a project of this scale. Dylan knew Harvey was the right promotor to have on board for such a large and impressive line-up. Harvey accepted the job and simply knuckled down to ensure that it was well organised and managed properly. Although many of the acts had been approached by Dylan and his team to perform, it was only when they knew that Harvey was the promotor that they confirmed they would be available to play, many of whom had worked with Harvey previously. This concert was a huge event for Bob Dylan celebrating his career. It was also an important anniversary concert as it became one of the first big events of this nature to happen in the USA. Previously it was stadium events in Europe which had dominated the scene.For further information on this lot please visit Bonhams.com
John Bonham / Led Zeppelin: a 36 inch Paiste symphonic gong used on stage at the Royal Albert Hall 9th January 1970,a hammered metal gong with original Paiste Chinese logo to the front top and bottom, with large white stencil Zeppelin on the back and various airway stickers including Pan America and Northwest Orient Airlines, the top rim with two suspension holes and attached rope, accompanied by original auction receipt, diameter 36in (91.4cm)Footnotes:Provenance:This gong was purchased from a Chelsea auction house in 1982. At that time Led Zeppelin had an office nearby and it was following the untimely death of John Bonham. It has been identified as the one John Bonham used on stage at The Royal Albert Hall in 1970, illustrated in the image taken by a fan as shown in the catalogue. This early concert is one of the first that was professionally filmed and is available to view on the YouTube link below.Legendary drummer Bonham is seen by many as the greatest rock drummer. His style and stage presence are as synonymous as Keith Moon's were for The Who. According to Carmine Appice, drummer with American rock band Vanilla Fudge, it was he who inspired Bonham to incorporate a gong into his drum kit. Led Zeppelin had supported Vanilla Fudge during their first tour of North America in 1968. Appice says, I brought the gong into rock and then Bonzo brought it in with Led Zeppelin, Carl Palmer had gongs, everybody had gongs, it became like a staple. The two China cymbals on a boom stand, I brought that in and even in Spinal Tap, you had a gong and two Chinese cymbals. Only six months later Led Zeppelin were equal billing with Vanilla Fudge showing the speed at how their popularity grew.This gong is an earlier Paiste model as it has the original Chinese symbols for the brands logo. There are also signs of use as it is blackened. John Paul Jones, referring to the practice of setting fire to the gong at a dramatic point in the band's set said, He did that more or less every night. His roadie Mick Hinton had to set it alight. I think he used lighter fuel, and it was quite dangerous... Additionally due to the scale of the percussion piece, it appears that it did not have a dedicated flight case or bag when taken on tour. It was simply labelled with a stencil Zeppelin had airway tickets stuck to it (which are still attached), and put into the plane's hold.https://youtu.be/r9-42mu1D9YFor further information on this lot please visit Bonhams.com
David Bowie (British, 1947-2016): Two Silver Shell and Resin Filled Lifemasks,1975 & 1995,the Special Edition casts after David Bowie's Edition for his exhibition New Afro-Pagan And Work: 1975-1995, commissioned by the vendor, produced at Morris Singer Foundry, overseen by Singer and Kate Chertavian, by Cal Howard, London 2010, Fine Standard 999, accompanied by photographs of Bowie at Morris Singers Foundry; both 10in (25.5cm) longFootnotes:David Bowie began producing his own artwork in the mid 1970s, a practice which culminated in his first solo exhibition, the 1995 retrospective New Afro Pagan and Work: 1975-1995, held at The Gallery in Cork Street, London. The exhibition displayed a collection of portraits, sculpture, and artworks inspired by German Expressionism and Bowie's recent trip to South Africa. A silver life mask of the artist was also included in the exhibition.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
Vivienne Westwood & Malcolm McLaren: A Parachute shirt,1977,in navy cotton with straps and buckles, 'hoover' ring to centre of chest, chest pocket with half Seditionaries label and neck with Seditionaries Exclusive Collection and SEX original labels, lower sleeves in contrasting turquoise and khaki-coloured cuff to right sleeveFootnotes:Provenance:This and the following five lots were all acquired by the vendor in the 70s/80s. His father taught printmaking at the Central School of Art & Design at the time and one of his students, Alex McDowell, printed shirts at the vendor's home from 1976 onwards for a period of time for Vivienne Westwood and Malcolm McLaren. The vendor was 14 when he first saw the Sex Pistols at the Notre Dame Hall in 1976 and from then on accumulated the items in this auction - usually influenced by things that Alex was involved with, for example, the start-up of i-D magazine.Parachute shirts were designed by Westwood and McLaren in the autumn of 1976, as plans were made to transform their shop, 'Sex', into 'Seditionaries', described by McLaren as the 'ultimate punk enclave'. These strappy tops were part of a new range including bondage trousers, jackets and boots and were originally in black sateen and hard-wearing cotton. By spring 1977 they were produced in brushed cotton in single colours but with elements such as cuffs and sleeves in different colours, such as the example offered here. Photographs by Toro Kogure of Paul Cook and Steve Jones taken in Wessex Sound Studio in May 1977 show them wearing similar tops.Bonhams is grateful to fashion consultant Paul Gorman for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
i-D magazine: The first three issues,1980,each with colour card covers, (3)Footnotes:Provenance:See footnote to Lot 192i-D magazine was founded in 1980 by designer and former Vogue art director Terry Jones and features articles on music, fashion, art and youth culture. The first issue took the form of a fanzine, with stapled covers and typewritten text. Although it has changed over the years to become a glossy publication, it has retained its themes of youth culture and street style. It has become known for its innovative typography and photography and has launched the careers of the likes of photographer Mario Testino and journalist/author Dylan Jones.For further information on this lot please visit Bonhams.com
Ray Lowry (British, 1944-2008): Original concept artwork for the album London Calling By The Clash,1979,ink, watercolour and pencil, comprising: a sketch of what was to become the iconic front cover; two further similar sketches; and two double-sided sheets of back cover design sketches with text, four sheets in clip-frames; together with a watercolour study by Lowry of Joe Strummer onstage with a microphone, mounted and framed, 8in x 10in (20cm x 25.5cm) each, one slightly larger, (5)Footnotes:Provenance:Offered for sale by Samuel Lowry, the artist's son.This, the third studio album by The Clash, was originally released in the UK in December 1979. The album reflected the band's interests, going beyond their punk roots and taking in musical influences such as reggae, rockabilly and ska. London Calling has been included at No.8 in Rolling Stone magazine's list of 'The 500 Greatest Albums Of All Time'.Artist Ray Lowry became friendly with The Clash after they had played in Manchester and this led to him accompanying them on their US tour in 1979 as a 'war artist'. Also documenting the tour was photographer Pennie Smith, who took the photograph of Paul Simonon smashing his bass guitar on stage at the Palladium, New York, an image voted by Q magazine in 2002 as 'the best rock and roll photograph of all time'. Ray Lowry is reported to have said that The Clash were as important as Elvis had been, hence his homage to the cover of Elvis' first album, its black and white image juxtaposed with the vivid green and pink lettering.In an article in Amateur Photographer, February 2021, Justin Williams, former keeper of the Ray Lowry archive explained why Ray chose Pennie's photograph for the cover: 'What Ray recognised within the photograph was Elvis with the open mouth, the closeness of the picture, the black and white...he felt that image captured everything that rock and roll was about. It was a moment, and what Ray saw in Pennie Smith's photo was the same moment.' Conversely, Pennie herself thought that it was of too poor a quality to be used, but Ray's choice has since been proved to have been perfect. In 2010 the UK's Royal Mail issued a set of ten stamps commemorating Classic Album Covers. Alongside albums by the likes of the Rolling Stones, Led Zeppelin and David Bowie was London Calling.The front cover sketch included here was amongst items shown in the Museum Of London's 2020 exhibition, 'The Clash: London Calling'.For further information on this lot please visit Bonhams.com
Paul Spencer (British): Blur 'British Image 1', Chelsea,1987, printed later,unknown edition, C-type photographic print, framed in Perspex format, 31in x 39 1/2in (79cm x 100cm)Footnotes:Paul Spencer has photographed countless idols of music and silver screen over the past 30 years. His portfolio features many iconic images including Blur's acclaimed first press shoot; 'British Image No.1', as well as The Sex Pistols, Elvis Costello, Morrissey, Siouxsie and the Banshees, and Radiohead, among others.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
Ray Smith (British, 1949-2018): The original album cover artwork painting for Heaven 17's The Luxury Gap,1983,acrylic on paper, mounted and framed, image 27 1/4in x 15in (69cm x 38cm)Footnotes:Provenance:Purchased directly from the artist Ray Smith (British, 1949-2018) by Martyn Ware, founding member of The Human League and Heaven 17, and offered for sale by him.For their second album, Heaven 17 commissioned Ray Smith to provide another cover piece. This image was to address and state their socialist beliefs and was a clarification of the occasionally misinterpreted theme of the Penthouse And Pavement cover art. The band are now seen in 'street' clothing, not suits, and appear at first sight to be incongruously attired in a tropical island setting. However, closer inspection reveals the backdrop is actually a billboard poster, peeling in one corner, partially covering the reality of the grim scrapyard scene behind. It is a striking metaphor for the haves and have-nots in society and the deception of luxury for the masses, hence the theme and title of the album.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
Steve Double (British, 1961): Nirvana, Parque del Retiro, Spain,1992, printed later,no.3 of 50, archival photographic print, signed and dated 2008 by the photographer in black ink, framed and glazed, 16in x 20in (40.5cm x 51cm)Footnotes:Steve is a contemporary celebrity photographer who has worked with Oasis, Blur, Stone Roses, Nirvana, Red Hot Chilli Peppers, Foo Fighters and more. Double spent time with Nirvana on two occasions, the first being in c.1990 when he travelled with them in their van for 5 days, and then two years later in Valencia and Madrid.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
Judas Priest: A Moog 'The Source' Analogue Synthesiser,Model 341BX, serial no. 3131X, as owned and used by Judas Priest in the 1980s on albums such as Turbo, with lead, in flight case with various transit labels, apparently in good working order, 12in x 26 1/2in x 3in (30.5cm x 67.5cm x 7.5cm)Footnotes:This was produced by Moog Music from 1981 to 1985 and was the company's first synthesizer to offer patch memory storage, capable of holding 16 presets. It also has a 37-note keyboard. Notable users include New Order whose track Blue Monday, has a throbbing bassline created by the Moog 'Source'.For further information on this lot please visit Bonhams.com
Judas Priest/K. K. Downing: A Tascam 244 Portastudio,1980s,serial no.090404, 17½in x 13½in x 4¾in (44.5cm x 34.3cm x 12cm)Footnotes:Provenance:The property of Ken (K.K.) Downing.This was the world's first four-track recording unit based on a standard compact cassette tape. This, together with its first incarnation, the Teac 144, is generally regarded as launching the home-recording phenomenon and thus is one of the most significant developments in music production technology. The Tascam 244 was introduced in 1982 with various improvements on its predecessor, including recording on up to 4 tracks simultaneously. These units were widely used by musicians for recording home demos, as was this by Ken Downing.For further information on this lot please visit Bonhams.com
The Beatles: An Autographed Copy Of The Album Sgt. Pepper's Lonely Hearts Club Band,1967,first UK pressing, Parlophone PMC 7027, the inner gatefold signed in black ballpoint by Ringo Starr, Paul McCartney and George Harrison, Paul adding To David, with inauthentic John Lennon autograph, complete with insert and vinyl, with statement of provenanceFootnotes:Provenance:The original owner of this album ('David') was a childhood friend of Mal Evans, having lived in the same street. They remained friends and later Mal became the Beatles' road manager and assistant. David was a huge Beatles fan and it was his birthday shortly after the release date of the album in June 1967. Unbeknownst to him, Mal arranged to get the album signed to give to David as a birthday present. The album has remained in David's family since.For further information on this lot please visit Bonhams.com
The Beatles/John Lennon: An Important Group Of early documents including John Lennon's Permits Relating To The Beatles' historic Trips To Hamburg,1960-1962, comprising nine double-sided forms and two single sided, eight sheets signed by John Lennon, including an application for a temporary residency permit, the first page dated 16.8.1960 and listing all five members of the Beatles with their Liverpool addresses, another page completed in blue ink with John's personal details, date and place of birth, occupation and passport issue, 15.8.60; a four-page Announcement of Residence of a Foreigner form, completed by John in blue ballpoint, giving his father's address as Unbekannt (Unknown) and his mother as Dead, employer as Bruno Koschmider and probable duration of stay as two months, the last page dated 25.8.60 and with black and white passport-style photograph of John stapled to it; a form completed by John in black ink and dated 1st Dec 1960, the reverse of which has an overpasted piece of paper with a signed note by John, I have been informed than I can no longer work here I am staying here for a few days as a tourist and will leave before or on the 10 December 1960 Hamburg 6 December 1960 J.W. Lennon; a permit for the Beatles' trip in April-May 1962, variously dated 27.4.62 and 3 Mai 1962; a permit application date-stamped 24 SEP 1962, with typewritten details, including 'Purpose of Sojourn in the Federal Republic' as To play with a group of Musicians at the Star-Club, Hamburg, relating to the Beatles' two trips in November and December 1962; a Police Residency Permit, dated 24. September 1962; and an application completed in blue and red ballpoints by John for the periods 1st Nov-15th Nov 18 Dec-2nd Jan, dated by John 14th Nov '62, each sheet 8 1/4in x 11 1/2in (21cm x 29cm)Footnotes:The Beatles' first visit to Hamburg, in 1960, came about thanks to Liverpool promoter Allan Williams, who had connected with Bruno Koschmider, owner of the Kaiserkeller night club and other venues in Hamburg's red-light district. Williams had sent several Liverpool groups over to Hamburg and Koschmider needed another to play at a new club he was opening, the Indra. Williams offered the Silver Beatles (as they were known then) the opportunity to fill the bill. However, they lacked a permanent drummer, but just two days before they were to leave for Hamburg, they offered Pete Best the job. On the 15th August, the newly-christened Beatles left for Germany with all their equipment in Allan Williams' van, arriving in Hamburg some 36 hours later. John's passport had had to be hastily obtained and this was issued on the 15th August, as is recorded on several of the documents offered here. The arrangement of work-permits had been left to Koschmider, who apparently overlooked this formality, and thus were applied for after the Beatles had arrived in Hamburg, as documents in this lot attest.The Beatles' contract with Koschmider originally ran from 17th August to 16th October. They were required to play for 4 1/2 hours every weekday night and six on both Saturday and Sunday, a pretty gruelling schedule. This contract was then extended to 31st December. However, at the end November George was ordered to leave the country after it had become clear to the authorities that he was under 18 and, according to German law, was not allowed to stay or work in a night club after midnight. At the same time, Paul and Pete went to the squalid 'digs' provided by Koschmider, two tiny rooms just behind the screen of a small cinema he owned, and in order to provide some light in the darkened, closed premises, the two Beatles set light to a wall hanging. They packed their belongings in order to take up the offer of new employment and accommodation in a rival club, the Top Ten, and left the smouldering tapestry. Koschmider was then informed that the Beatles had tried to set fire to the cinema and he went to the police. Paul, Pete, John and bassist Stuart Sutcliffe were soon arrested and put in the cells. When it was clear that John and Stuart were innocent, they were allowed to go but Paul and Pete were deported on a flight back to London on 1st December. John and Stuart visited the police station on 6th December, to provide statements regarding their plans to remain in Germany, as reflected by the document with the overpasted section included in this lot. Underneath John's declaration, there is a handwritten note by Stuart which reads: I have been informed that I may no longer work in this country. I intend to stay here from this day, as a tourist by Mrs. Kirchherr, Hamburg, Altona Eimsbüttelerstr45A, Hamburg 6th December - Stuart Sutcliffe. Mrs. Kirchherr was the mother of a local girl, Astrid, whom Stuart had met and fallen in love with previously and it was planned that he would stay at her family home (eventually returning to Liverpool in February 1961). It appears Stuart mis-spelled the street name, which was crossed out and re-written in a German hand, likely by the attending police officer. Stuart also had trouble with the spelling of Astrid's mother's surname. A possible explanation for this document's format is that John and Stuart were erroneously presented with each other's paperwork. Stuart's statement was written on John's document before the error was discovered and presumably John's statement had already been written on Stuart's document. John was asked to re-write his statement on a blank piece of paper which was then glued onto the form, covering Stuart's statement. Whilst Stuart stayed on, John left Hamburg on the 7th December, undertaking the somewhat arduous journey by boat and various trains back to Liverpool, complete with his amplifier, and arrived there in the middle of the night on the 8th. He returned to his home at his Aunt Mimi's and had to throw stones at her bedroom window to let her know he was there.Despite the troubles of a few months earlier, the Beatles returned to Germany to take up a three-month residency at the Top Ten Club in April 1961. Stuart had already returned to Hamburg, to continue his romance with Astrid and enrol in the city's State College Of Art. He was a very promising student but became ill and, after a series of increasingly-severe headaches, suffered a violent convulsive fit on 10th April 1962. He went into a coma and died a few hours later. It was two months short of his 22nd birthday. That same day, John, Paul and Pete had arrived yet again in Hamburg ahead of a seven-week residency, this time at a new venue, the Star-Club.In all, the Beatles made five trips to Hamburg between 1960 and 1962. Their final appearances at the Star-Club in December 1962 brought their stage time in the city to around 1,100 hours. Beatles historian Mark Lewisohn sums up that experience: Quite how valuable the work tied up in this remarkable statistic was to prove was, at this point, beyond comprehension. The Beatles had served their apprenticeship, and served it the hard way. They were now ready to take on whatever the world could throw at them. In an interview in 1969, John described their time in Hamburg thus: 'We went in young boys and came out old men.'Provenance:Ex-Lot 237, Rock & Roll Memorabilia, Sotheby's London, 22nd December 1982.Literature:Lewisohn, Mark, The Complete Beatles Chronicle, Pyramid Books, London, 1992.Lewisohn, Mark, All These Years Volume 1: Tune In, Little, Brown, London, 2013.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Harrison: A three page autographed letter from George to Astrid Kirchherr,circa September 1962,written in blue ballpoint pen on white note paper, the insightful letter to Astrid following Pete Best's departure from the band, he writes We went to London to record 'Love Me Do', again...and do another song for the B [P.S I Love You], following on from discussing their music George shares the news John & I have both got new guitars - Gibson Jumbo country and western style, with a small guitar doodle in George's hand, he also mentions Paul's new car a Ford Classic - bigger than mine... and comments that their new band member Ringo is drumming very nice, signed off Cheerio, love from George 5in x 8in (12.75cm x 20.5cm)Footnotes:Provenance:From a Private German CollectionThe kind letter from George updating his dear friend Astrid of his new address written at the top of the first page and again at the bottom of the last page as a reminder. George's move from Upton Green the family home he had lived since the age of 6 years old was a sign of the start of the band's success. He was still only 19 at this point, as he tells Astrid about a recent fight he had been in where he got a black eye. Followed shortly by being knocked down by a bus on his way home from the hospital. He goes on to tell her about recording 'Love Me Do' and the re-recording of the B side which was originally, according to George, 'How Do You Do'. On the third page of the letter George updates Astrid on the band's new look, which includes suits that are dark brown. Astrid, the quintessential Mod many believe was instrumental in starting the band's makeover, away from the Teddy-Boy look when she met them in Hamburg. Additionally to the new clothes George mentions excitedly about his and John's new Gibson jumbo guitars. These matching Gibson J-160s are documented being used at numerous concerts such as The Operation Big Beat in September 1962, and there are still images of them using the Gibson's performing for Granada TV. George also expresses joy at their new amplifiers, another sign that after all their hard work the band were starting to see some of their due rewards.For further information on this lot please visit Bonhams.com
Iain MacMillan (British, 1938-2006): Two prints of The Beatles on Abbey Road,1969,two original vintage chromogenic prints, the first depicting the Beatles walking from left to right (frame no.5) as seen on the album cover, signed and numbered 7/25 by Iain Macmillan in silver metallic pen, together with a second print depicting the Abbey Road street sign with the girl in the blue dress as seen on the back of the album, signed and numbered 8/25 by Macmillan in silver metallic pen, both 20in x 24in (51cm x 61cm), (2)Footnotes:Provenance:Property from the Iain Macmillan Collection.Having met John Lennon at the Indica Gallery with Yoko Ono in 1966, Lennon later invited Macmillan to photograph the Beatles for the cover of their final album 'Abbey Road'. Given the Beatles recorded most of their music at the EMI Studios on Abbey Road, St John's Wood, London, they decided to name their last album after the road. Armed with a sketch Paul McCartney had given him a couple of days before of what the picture should look like, Iain knew he didn't have long to get the right shot for the world's most famous band.On 8th August 1969, at around 11:30 am, a hired policeman stopped the traffic, Iain climbed up a large stepladder in the middle of Abbey Road and took just six pictures of the Beatles crossing the street. In approx 10 minutes Iain shot the band in various orders, but it was frame no.5 that was used for the cover of the album - the only photo where all four of them are striding in perfect formation.'The whole idea was McCartney's. A few days before the shoot, he drew a sketch of how he imagined the cover, which we executed almost exactly that day. I took a couple of shots of the Beatles crossing Abbey Road one way. We let some of the traffic go by and then they walked across the road the other way, and I took a few more shots. The one eventually chosen for the cover was number five of six. It was the only one that had their legs in a perfect 'V' formation, which is what I wanted stylistically.' - Iain Macmillan.After the shoot, Macmillan went to find a road sign for use on the back cover. Over 50 years on, and the cover for 'Abbey Road' by the Beatles is still undoubtedly one of the most iconic album covers of all time.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
Dead of Night,Ealing Studios, 1945,British quad poster backed on thin card, artwork by Leslie Hurry, framed and glazed, 30in x 40in (76cm x 102cm)Footnotes:Dead of Night is a black and white British anthology horror film, made by Ealing Studios. The individual segments were directed by Alberto Cavalcanti, Charles Crichton, Basil Dearden and Robert Hamer. It stars Mervyn Johns, Googie Withers, Sally Ann Howes and Michael Redgrave. The film is best remembered for the concluding story featuring Redgrave and an insane ventriloquist's malevolent dummy. The film is one of just a handful of 'true' horror films of British cinema's first half-century, and certainly the most important film in that genre until the beginning of Hammer's horror cycle a decade later. Released in September 1945, just a month after the formal end of the War, it marks a break from the documentary-influenced realism which had dominated wartime films, particularly Ealing's.Provenance:From the Markku Salmi Collection (1943-2020), filmographer and researcher, who worked at the British Film Institute from 1975 to 2003. Born in Finland, Markku emigrated to Britain in the 1960s, and lived in London the rest of his life. His passion for film led him to the BFI, where he first worked at the Stills Library under Michelle Aubert. There he displayed an innate gift for cataloguing and identification, and compiled and edited the National Film Archive's Catalogue of Stills, Posters, and Designs, published in 1982 and still an invaluable resource. In the late 1980s he became the first head of the BFI's newly-formed Filmographic Unit, overseeing credits for the Monthly Film Bulletin, Sight & Sound, National Film Theatre programme notes, the BFI Film Classics series, and many other BFI publications, as well as the BFI's SIFT database, until his retirement in 2003. He also co-founded the film connoisseurs' magazine Film Dope, for which he researched countless authoritative entries.- Catherine A. SurowiecLiterature:Nourmand, Tony & Marsh, Graham, Film Posters Of The 40s, London: Aurum Press, 2002, pp.96 & 97 (illus.)For further information on this lot please visit Bonhams.com
A Night In Casablanca,United Artists, 1946,Italian 2 foglio, first post-war release poster, folded, 39in x 55in (99cm x 139.7cm)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Ginger Baker: A handwritten poem 'Triangle',circa 1966,written in uppercase in Ginger's hand, blue pen on white paper, twenty-four lines, the first thirteen working proses with amendments and crossing out, last eleven lines the final poem, beginning Magical meeting of three pairs of lips...Footnotes:Provenance:The Ginger Baker FamilyAn unpublished poem written by Ginger which has remained in the family.For further information on this lot please visit Bonhams.com
EMS Synthi VCS3 Mk2 modular synthesizercirca 1978,in original wooden case with two panels providing controls for: two voltage controlled oscillators (VCOs), a low frequency oscillator (LFO), voltage controlled low pass/band pass voltage controlled filter (VCF), trapezoid envelope generator, noise source, ring modulator, voltage controlled spring reverb, 16 x 16 patch board matrix and 18 resistive connecting pins, joystick providing X, Y modulation control, reverse with power connector, headphone output, oscilloscope output, stereo output, two voltage control outputs, keyboard connector, two line level inputs and two microphone level inputs, trigger input, accompanied by a EMS manual and plug, approx 17in wide x 20in high (43cm x 51cm)Footnotes:Electronic Music Studios, Ltd, better known as EMS was formed in 1969 by Peter Zinovieff, Tristram Cary and David Cockerell, mainly as a way to fund Zinovieff's experimental music studio. The Cockerell-designed VCS3 'Putney' (after the location of the studio) was the first commercial product. It was an attempt, at a time when the current offerings from early synthesizer companies such as Moog and Buchla were large modular systems that covered walls, to provide a compact (considered portable at the time) version of an electronic studio, hence the name VCS (Voltage Controlled Studio). The VCS3 was also modular, but utilized an ingenious patch matrix that alleviated the need for patch cables to connect the separate modules. The synthesizer soon found its way on to the soundtracks of popular television programs like Doctor Who and onto a number of popular albums of the day. It was prominently featured on tracks by Pink Floyd (such as the Dark Side of the Moon's 'On the Run,') The Who (the 'Won't Get Fooled Again' intro includes Lowrey organ processed through a VCS3), Roxy Music where it was played by original member Brian Eno who also used it on his solo albums, Led Zeppelin (played by John Paul Jones on 'Four Sticks,') Hawkwind, King Crimson, Jean Michel Jarre, Tangerine Dream, etc.The VCS3 Mk2, known as the 'Synthi' remedied some of the issues of the earlier iteration especially regarding the oscillator instabilities and issues with the power supply and added envelope triggering on external audio through the input channel. This particular example was purchased by the consignor directly from EMS in the late 1970s and carefully maintained through the years. It's uncertain how many VCS3s were built, but some estimates put the number at 800. Doubtlessly, many of those had been discarded with the change of fashion that came with widely available digital synthesis and MIDI in the 1980s. This is a rare opportunity to purchase one of the legendary British synthesizers from the golden age of synthesis.For further information on this lot please visit Bonhams.com
Elton John: An acetate recording of I've Been Loving You,probably early 1968,single-sided, 7inch 45rpm, with Dick James Music Ltd. Demo Disc label, typewritten recording details, good audio qualityFootnotes:Recorded in the DJM studio before Christmas 1968, with Caleb Quaye as producer, this track was Elton's debut UK single release as Elton John, in March 1968. Although composed solely by Elton, Bernie Taupin was given a writing credit in order that he would earn his first publishing royalties. This acetate has Elton on vocals and piano, with backing band but no orchestral overdubs.For further information on this lot please visit Bonhams.com
CELTIC BRACELET CENTRAL EUROPE, HALLSTATT CULUTRE, C. EARLY FIRST MILLENNIUM B.C. cast bronze, of penannular form, with a repeating motif of raised circular sections bordered by repeating constrictions(6cm diameter)Footnote: Provenance: Private collection, Walton-on-Thames, acquired 1930s - 1960s The Jon Lawton Collection, United Kingdom
UMHALLA'S PIPE SOUTH AFRICA carved wood and inlaid pewter, with a 19th century label, reading: Umhalla's Pipe. This pipe (of native kaffir manufacture) was promised to Rev F. Fleming when at Chief's Kraal the *****, with Bishop Gray, Aug 1850 - Kaffir War shortly after this broke out, no more was seen of Umhalla until Aug 4 1853 when he was met in King Will (?) town, Kaffaria. Reminded of his promise, he at once acknowledged it. Said he had the pipe still. Then gave it as promised F.F.(16.2cm long)Footnote: Provenance: Umhalla (Nathaniel Cyril Umhalla) Reverend Francis Fleming, gifted by the above 1853, thence by descent Note: A Xhosa pipe with exceptional provenance. Originally belonging to Umhalla, a Xhosa prince, it was gifted in 1853 during the Eighth Kaffir (Xhosa) War. Umhalla was a son of Cheif Mhala, who was a prominent figure in the Xhosa War, resisting British aggression and fighting to retain control of his land. Following the end of the conflict he was later sentenced to death, which was later reduced to twenty years hard labour on Robben Island. Prince Umhalla himself, born most likely in the late 1830's, was one of a select group of Xhosa royal children chosen to be sent to Cape Town in 1850 immediately prior to outbreak of the war as part of the British strategy to 'assimilate' local power centres into the colonial economy and structures. It was during this period that Umhalla met the young Rev. Francis Fleming at a Xhosa Kraal. Umhalla and Fleming struck up a friendship, with Umhalla promising his pipe as a gift to Reverend F. Fleming. Shortly after their meeting the Xhosa War broke out and the two did not meet again until three years later, in August 1853, when Umhalla, remembering his promise, gifted the pipe to Fleming. In later life, Umhalla remained a respected senior member of the Xhosa tribe. In 1878 he became one the first citizens in Cape Colony to be charged with treason for refusing to favour the Colonial War against the Ngqika Xhosa of Ngcayecibi. After this period, he worked Cape Colony legal system and when on to edit the first Xhosa language newspaper. He was also noted as being one of the finest cricket players in South Africa.
FOUR ADINKRA CLOTHS GHANA strip cloth, the first with a series of separate panels, each block printed with geometrical designs on a yellow ground, the strips sewn together with multicoloured thread; the second block printed on a black cotton ground, the strips sewn together with multicoloured thread; the third block printed on a white cotton ground, the strips sewn together with multicoloured thread; the fourth block printed on a maroon cotton ground, the strips sewn together with multicoloured thread (4)(largest 336cm x 211cm)Footnote: Provenance: The Keir McGuinness Collection of African Textiles Note: For a similar example please see; The Metropolitan Museum of Art, New York, accession number 2015.614.6
PAIR OF YORUBA MEN'S ROBES, AGBADA NIGERIA silk and hand spun cotton, the first with an embroidered pattern in yellow thread across the chest; the second with a embroidered pattern onto a red and white striped cotton fabric (2)(largest 274cm x 124cm)Footnote: Provenance: The Keir McGuinness Collection of African Textiles Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 152.
FOUR ADINKRA CLOTHS GHANA strip cloth, the first with a series of separate panels, each block printed with geometrical designs on a blue ground, the strips sewn together with multicoloured thread; the second of similar design to the first; the third block printed with geometrical designs on a yellow ground within maroon squares; the fourth of similar design to the third (4)(largest 356cm x 231cm)Footnote: Provenance: The Keir McGuinness Collection of African Textiles
PAIR OF EWE TEXTILES EASTERN GHANA OR TOGO strip woven cotton, the first formed of twenty strips with weft facing bands on a red, grey and pink ground with weft float motifs in orange; the second formed of twenty-five strips with various weft float patterns of fish, combs and geometric forms (2)(largest 360cm x 178cm)Footnote: Provenance: The Keir McGuinness Collection of African Textiles
PAIR OF FOOD BOWLS PAPA NEW GUINEA carved wood, the first with a deep bowl, rounded sides tapering to a subtle point at the square-sectioned handle, traces of red pigment within; the second of rhomboid form with rounded edges, traces of red pigment within and an integral handle with central perforation(longest 56.5cm)Footnote: Provenance: Private collection, Sydney, Australia
CYCLADIC IDOL HEAD CYCLADES, EARLY CYCLADIC II, C. 2600 - 2400 B.C. carved marble, the head upon a broad cylindrical neck, the smooth facial plane with a convex form, bending back as if gazing upwards, with gently rounded chin and central rectangular nose, raised on a bespoke mount(11.5cm tall)Footnote: Provenance: Private collection, Switzerland, acquired January 1992 Private collection, London Please note that this piece is accompanied by an Art Loss Register Certificate dated to the 9th May 2005. Note: The Cyclades, an archipelago in the southwestern Aegean, comprises thirty-nine small islands and many more islets. In ancient Greek they were referred to as the kyklades, envisioned as a circle (kuklos) around the sacred island of Delos, home to the most sacred temple of Apollo. In the fourth millennium B.C. a distinctive culture emerged in the islands which ran for over two thousand years. Sitting at a favourable location in the Aegean sea and rich in mineral resources, in particular iron ores and copper, the inhabitants of the Cyclades benefitted from the trade in these raw materials at a time when metallurgy was developing rapidly across the Mediterranean. Existing largely tangentially with the great civilisations of the Minoans and Mycenaeans, Cycladic people are counted among the three major Aegean cultures. It was the Cycladic people who produced the very first masterpieces of Greek marble sculpture. “Idols” such as the present example were spread throughout the archipelago, with the tradition of carving such figures lasting for well over one thousand years. Their exact use is unclear, some resemble fertility figures encountered across the Near East. Others have been interpreted as images of the deceased or servants for the afterlife. It is clear however that they were used in both funerary contexts and day-to-day ritual life, as some have been found with ancient repairs. Though they are today notable for their minimalist appearance, scientific analysis has shown that the surface of the marble would originally have been painted with mineral-based pigments, azurite for blue and iron ores or cinnabar for red. Many of the figures show a remarkable similarity in their proportions, suggesting that the production of these idols was regulated using a type of early compass. The sense of abstraction offered by ancient Cycladic art stimulated many of the great twentieth century artists, including Brancusi, Modigliani, and Picasso. The present piece is a wonderful example of the type, though carved over four thousand years ago its geometric appeal remains distinctly modern.
PAIR OF PUCARA POTTERY FIGURES PERU painted terracotta, both hollow, the first in the form of a strongly built bull, with concentric circles painted in red, yellow and umber throughout the body, a spout at the back; the second in the form of a horse, wearing full tack, with a loop handle running across the withers, its weight placed slightly towards the back legs (2)(longest 39cm)Footnote: Provenance: Private collection, Scotland, acquired mid-20th century in Peru, thence by descent Note: For a similar example that sold for $10,000, please see Christie's, New York, 10th May 2018, The Collection of Peggy and David Rockefeller: Travel and Americana, lot 1084.
JOHN TAKAWIRA (SHONA B.1938 - D.1989), FEMALE BUST ZIMBABWE carved and polished springstone, signed to base(37.2cm tall)Footnote: Provenance: Private collection, Scotland Note: John Takawira (1938 – 1989) was a Zimbabwean artist and leading figure in the Shona sculpture movement of the mid-20th century. Takawira was among the first members of the Workshop School at what is now the National Gallery of Zimbabwe, where his work was exhibited from 1963 onwards. His noted sculpture Skeletal Baboon was displayed as part of the exhibition Arte de Vukutu in 1971 at the Musée National d'Art Moderne and in 1972 at the Musée Rodin where it was described by Charles Ratton as “the finest art to emerge from Africa in the twentieth century". The present example, carved in springstone (a form of black serpentine) likely depicts a village girl. The influence of Modigliani might be detected in the elongated face and stylised features. Though Modigliani himself was of course shaped by African art in turn, particularly by the streamlined, pursed lips of the Guro masks of the Ivory Coast.
DEF LEPPARD - WHITE LABEL TEST PRESSINGS (2021 RELEASES). Hot off the press and for the first time on vinyl are these 3 x 2021 white label test pressing LPs from Def Leppard. Due for May 2021 release by Mercury/Virgin Records. Titles are X (3545182), Songs From The Sparkle Lounge Volume 3 (3545181) and Yeah! (3545179). With UMC compliments slips.
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