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Click here to subscribeTHREE BOXED PELHAM SL POP SINGER PUPPETS, Guitarist, Saxophone Player (missing Saxophone) and Drummer (missing drumsticks), all in striped suits, all appear complete except as noted above and in fairly good condition with only minor paint loss, marking and wear, no drum kit, Guitar Player in worn yellow lidded box marked '1 Pop Singer 973', other two in modern plain cardboard boxes with names written on one end of lid in pencil
Royal Opera House Covent Garden 19th October 1960 Gala Performance programme in honour of their Majesties the King and Queen of Nepal and in the presence of Her Majesty the Queen and His Royal Highness The Duke of Edinburgh; together with approximately 54 1950's Covent Garden Ballet and Opera Season programmes featuring artists such Margot Fonteyn and Beryl Grey and Alicia Markova amongst others and two Covent Garden programmes featuring The American National Ballet. Music hall and classical sheet music (some with guitar scores) to include Johann Strauss The Gypsy Baron (operetta in three acts), vocal score Die Fledermaus by Johann Strauss, News Chronicle Song book listing various plantation songs, sea shanties, children's songs, hymns and carols. A Boosey Hawkes Baritone songs 75 songs for radio, film and stage by Lawrence Wright, Campbell Connelly's 3rd book for Buskers and the Big Book of Waltzes together with a large number of various sheet music approximately 100 covering classical, waltzes, musical theatre and ragtime and a copy of 'When I'm Cleaning Windows' written and composed by Harry Gifford, Fred E. Cliffe and George Formby and many others. This lot includes BBC Opera Libretto programs dating between 1927 and 1930, the list is as follows: The Blue Forest by Aubert; Le Roi L'a Dit by Delibes, Werther by Massenet, Orpheus by von Gluck, The Bohemian Girl by Michael William Barte, Pelleas & Melisande by Debussy, Cavalleria Rusticana by Pietro Mascagni, Gianni Schicchi by Puccini, La Boheme by Messages, The Swallow by Giacomo, Coq d Or by Rimsky-Korsakov, a collection of 12 opera librettos dating from 1926, 1927, 1929,1930 comprising Les Cloches de Corneville by Robert Planquette, Faust by Faust, Romeo and Juliet by Gounod, Martha by Friedrich von Flotow, The Magic Flute by Mozart, Philemon and Baucus by Gounod, Fidelio by Beethoven, La Boheme by Puccini, The Bartered Bride by Smetana, The Barber of Seville by Rossini, Shamus o' Brien by Sir Charles Villiers Stanford, further twelve programmes comprising (1927, 1928), Marion Lescant by Puccini, Rigoletto by Verdi, Joseph and his Brethren by Mehul, The Girl of the Golden West by Puccini, Cosi Fan Tutte by Mozart, Tannhauser by Richard Wagner, Il Trovatore be Verdi, Armida by Gluck, The Return of Ulysses by Montereidi, The Merry Wives of Windsor by Nicolai, and further programmes dated 1927, 1928, 1929 and 1930. The Daughter of the Regiment by Donizetti, Penelope by Ferrers, a further Roi d' Ys by Lalo, Thais by Massenet, many broadcast by the BBC for the first time.
(Venezia 1879 - Venezia 1933)Cm 28x37 | In 11.02x14.57Oil on panelA daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.
Martin D-45 Custom acoustic guitar, serial number 421326, the Mandolin Brothers of Staten Island NY, commissioned Martin to build 91 D-45 guitars based on the specifications of the original pre-war D-45's, known as the 'Holy Grail' of steel stringed acoustic guitars. This guitar offered for sale is number 1 of 91 of the custom made D-45's produced by Martin exclusively for the Mandolin Bros. The plaque sits inside on the neck block. We believe only around 60 were ever produced.In original Martin hardcover case. Condition Report: The guitar to the naked eye appears in good condition, neck is straight and solid with no movement. There are various surface marks and light crazing to the varnish.
Johnny Turnbull / The Blockheads: A Gibson Les Paul 20th Anniversary Guitar owned and played by Johnny Turnbull, 1974, impressed serial no.398533 to the back, tobacco burst finish, with single cutaway body, mahogany neck and body, 22-fret ebony bound fingerboard with trapezoid inlays, headstock inlaid 'Gibson' logo, cream scratch plate, two volume and two tone controls, three-way toggle switch, mini-humbucker pickups, with Gibson chainsaw case; accompanied by a letter from Johnny Turnbull, guitar 39in (99cm) long Footnotes: Provenance Offered directly by Johnny Turnbull. This guitar was used by Johnny Turnbull while playing with The Blockheads on many occasions. This includes at Penn Festival in 2013. For further information on this lot please visit Bonhams.com
Noel Gallagher / Oasis: A Gibson Les Paul Standard Owned By Noel Gallagher, 1982, impressed serial no.83562505 to back of headstock, bound body and neck in wine red finish, mahogany back and neck, two humbuckers with four gold bonnet control knobs (two volume, two tone), three-way selector, rosewood fingerboard with trapezoid markers, cream scratchplate signed in blue pen Noel Gallagher, headstock with Gibson Deluxe tuners, in hardshell case; accompanied by a letter confirming the provenance, guitar 39in (99cm) long Footnotes: Provenance This guitar is accompanied by a letter which details its use by Noel Gallagher. It was owned by Noel in 1999 and used during his location recording session for the 'Standing On The Shoulders of Giants' album. This was the fourth studio album from the band and the first under 'Big Brother Recordings', at a time when two original members of Oasis, Paul 'Bonehead' Arthurs and Paul 'Guigsy' McGuigan' had left or were in the process of leaving. Now that the band's original line-up had changed, Noel, therefore, needed extra equipment to cover much of the instrumental on the tracks. He began looking for instruments and guitars that were older and provided a different sound. This enabled the musical direction of 'Standing On The Shoulders Of Giants' to move away from their characteristic Britpop to that of electronica and heavy psychedelic rock. It is the 16th fastest-selling album in UK chart history and has been certified double platinum by the British Phonographic Industry (BPI). The album recording began in France at Chateau de la Colle Noire, Montauroux. The guitar was purchased by a recording technician when the album was completed, who used to work at Abbey Road Studios and was known by the band. He was hired by Oasis to oversee the technical aspects of the recording at Chateau de la Colle Noire. However, it was not until the band continued recording at Wheeler End Studio in London, that Noel's guitar tech asked the vendor if he was interested in buying it directly from Noel. The guitar was too heavy for Noel to play on stage and so he decided to part with it. When the vendor arranged to collect the guitar at Olympic Studios in Barnes, Noel was there and signed the scratch plate for him. For further information on this lot please visit Bonhams.com
Slash: An Epiphone Slash Les Paul Standard Electric Guitar Signed By Slash, 2021, serial no.21021527007 stamped to the headstock, mahogany body, Vermillion-burst finish, signed by Slash in silver metallic pen, Slash custom C-shape neck with Slash decal to the headstock, two custom ProBucker humbuckers, two volume and two tone controls, accompanied by a shaped Epiphone hard case with red velvet lined interior, Guitar 40in (101cm) long Footnotes: Inspired by the guitars used by Slash throughout his career, the guitar is from the Slash Collection at Epiphone and features all the appointments the influential Guns N' Roses guitarist preferred on his personal instruments. Provenance: Generously donated to Kidscan Children's Cancer Charity by Slash. All proceeds from the sale of this Lot will go to Kidscan which exists to find new treatments for children with cancer so that every single child diagnosed can survive it. For more information, please visit: www.kidscan.org.uk For further information on this lot please visit Bonhams.com
Nile Rodgers: A Fender Nile Rodgers Hitmaker Stratocaster Guitar Signed by Nile Rodgers, 2022, serial no.NR00131 stamped on neckplate, contoured alder body, white finish, signed by Nile Rodgers in black ink, maple neck with dot markers, Nile Rodgers Hitmaker single-coil Strat pickups, locking Sperzel tuners and a set of white speed knobs, with 'Nile Rodger' printed decal on headstock, together with a vintage-style case with Hitmaker-embroidered interior made by G&G, 38in (96.5cm) long Footnotes: Inspired by Nile Rodgers' 1960 Fender hardtail Stratocaster that he bought in a Miami music shop which is now known as 'The Hitmaker'. Provenance: Generously donated to Kidscan Children's Cancer Charity by Nile Rodgers. All proceeds from the sale of this Lot will go to Kidscan which exists to find new treatments for children with cancer so that every single child diagnosed can survive it. For more information, please visit: www.kidscan.org.uk For further information on this lot please visit Bonhams.com
Jeff Beck: A Ronnie Montrose Signature Model Amp Owned By Jeff Beck, made by Big Industries, retro-style with bright turquoise finish, accompanied by a letter of provenance, 10in x 5in x 8 1/2in (25.5cm x 13cm x 21.5cm) Footnotes: Provenance: Offered by Suzy O'Hara who was in a relationship with Jeff Beck from 1994-1996. According to the vendor this amp was used by Jeff Beck when he travelled. Beck gifted the amp to her so that she could practice playing the Stratocaster guitar wherever she was. For further information on this lot please visit Bonhams.com
Jeff Beck: An Important Graffiti Yellow Working Prototype Fender Stratocaster Guitar Made Specially For Jeff Beck by Fender and Used On Tour Between 1986-1989,1986-1990,Serial no.V016129 stamped to neckplate, contoured alder body, custom bright yellow finish, white scratchplate with one volume and two tone controls, five-way switch, body with eleven holes from a previous 60's style scratchplate, now fitted with an eight-screw 50's-style scratchplate, three Lace Sensors, two point pivot tremolo bridge, maple neck with Brazilian rosewood fingerboard with dot inlays, headstock with Wilkinson Roller nut, Fender Stratocaster decal and Sperzel Star locking tuners, walnut skunk stripe, the heel of the neck inscribed JEFF BECK'S NECK in black ink, the neck pocket marked with a '3' in black ink, internally the bridge and neck Lace Sensors are housed in rectangular covers with label reading Patent Pending no.028046, the middle Lace Sensor housed in a rounded cover with label reading Patent no.4-809-578, original Reissue CTS pots from August 1985, with white whammy bar, guitar fitted with black guitar strap, accompanied by three packs of Ernie Ball Music Man guitar strings and housed in an original Selmer tweed rectangular hard case embellished with a piece of masking tape hand-inscribed YELLOW STRAT, 'Fragile' stickers and transit labels including one for an American Airlines flight from London Heathrow to John F. Kennedy Airport in New York printed AA 106, 20th Jan, BECK/JEFF, accompanied by a Japanese 1989 tour programme showing Jeff Beck with the guitar, a CD for 'Jeff Beck, Definitive Yokohama, 1989' in Japan on the 11th and 12th August 1989, a rare copy of the Japanese magazine 'Young Guitar' from 1989 which features Jeff Beck on the cover with the guitar, and a letter of provenance from the vendor, with CITES license no. 631153-01, Guitar 38in (96.5cm) longFootnotes:Provenance:Offered by flying instructor and long-haul pilot Suzy O'Hara who was in a relationship with Jeff Beck from 1994-1996. For further information on this lot please visit Bonhams.com
High Numbers/The Who: A Rare Railway Hotel 'Tuesday R & B Club' Membership Card, 1964, numbered 894 in blue ballpoint, expiry date stamped 5 Jan 1965, unused and near mint, 4in x 11in (10cm x 28cm) when folded out Footnotes: Provenance: From the collection of Richard Barnes, who was Pete Townshend's sixties art school flatmate. Barnes ran the Railway Hotel in 1964 where The Who had a residency. It was at this historic venue that Townshend first smashed his guitar and where managers Kit Lambert and Chris Stamp first met the band. Barnes was the Who's first official biographer with his best-selling book 'The Who: Maximum R&B', first released in 1983. The High Numbers played regularly at this venue in north west London, the club having been initiated by harmonica player Cyril Davies, a pioneer of British R & B. It was here that Christ Stamp and Kit Lambert first saw the band, and also here that Pete accidentally damaged his guitar on the low ceiling above the stage, prompting the band's destruction of their instruments. For further information on this lot please visit Bonhams.com
The Who: A Custom T-Shirt Made For Keith Moon, Designed And Printed By Richard Barnes, 1974, one of only two produced, with distinctive Panic In New York and Moon Doom graphics, the other worn by Keith for the Charlton Athletic Football Club concert, 18th May 1974, this one was the backup and stored ever since, Footnotes: Provenance: From the collection of Richard Barnes, who was Pete Townshend's sixties art school flatmate. Barnes ran the Railway Hotel in 1964 where The Who had a residency. It was at this historic venue that Townshend first smashed his guitar and where managers Kit Lambert and Chris Stamp first met the band. Barnes was the Who's first official biographer with his best-selling book 'The Who: Maximum R&B', first released in 1983. A crowd of some 50,000 attended the day's events at the Charlton football ground, with support acts Lou Reed, Humble Pie, Bad Company, Lindisfarne, Maggie Bell and Montrose. The Who took to the stage that evening and, whilst it wasn't perhaps one of their best concerts musically - Pete Townshend admitted to being drunk - the crowd were well pleased with the characteristic energy of the band's performance. Please contact the department for images of Keith Moon performing in 1974 while wearing the only other shirt produced with this design. For further information on this lot please visit Bonhams.com
The Who: A Collection Of Lanyards, Programmes, Tickets And Invitations, 1970s-circa 2000, including programmes for UK Tour 1975, US 1980, 1981 Tour, The Kids Are Alright Tour, 1989, Tommy at the Royal Albert Hall, charity show, October/November 1989; a collection of lanyards including Who UK Tour 1981, The Who Summer 1980, Quadrophenia US Tour 1979, World Tour 1989, Wembley Stadium 1989; Paul & Linda McCartney's invitation to the launch party of the album Face Dances; and tickets and passes, Glasgow Apollo, 15th October 1975, Wembley Empire Stadium, 18th August 1979, Civic Arena, Pittsburgh, 2nd December 1979, Rainbow Theatre, 2nd May, Zurich, 27th February 1976, (Qty) Footnotes: Provenance: From the collection of Richard Barnes, who was Pete Townshend's sixties art school flatmate. Barnes ran the Railway Hotel in 1964 where The Who had a residency. It was at this historic venue that Townshend first smashed his guitar and where managers Kit Lambert and Chris Stamp first met the band. Barnes was the Who's first official biographer with his best-selling book 'The Who: Maximum R&B', first released in 1983. For further information on this lot please visit Bonhams.com
Pink Floyd: An Important and Rare 'Evolutions' Southampton University Concert Poster, Friday 26th January 1968, printed on metallic paper, for a concert featuring performances by Pink Floyd, John Peel, Incredible String Band, Jimmy Cliff and the Shakedown Sound, Tyrannosaurus Rex, Chicken Shack, Nelson's Column, held at the Old Refectory, University of Southampton, England, 20in x 30in (51cm x 76cm) Footnotes: Provenance: The title of this event is eerily apposite, the date being that on which Pink Floyd effectively sacked Syd Barrett. His increasingly drug-related erratic and difficult behaviour through 1967 and the band's evolving musical direction led them to seek another guitar player. At the end of that year they brought in one of Syd's friends, David Gilmour, and the band played a handful of gigs as a five-piece in January 1968. It was upon travelling to Southampton for this gig, that the band simply decided not to pick Syd up en route. Those who attended this event had real value for the ticket price and were treated to an eclectic mix of music, from the psychedelia of Pink Floyd and the mystic folk of the Incredible String Band and Tyrannosaurus Rex, to the West Indian-influenced Jimmy Cliff and the blues/rock of Chicken Shack and Nelson's Column. This is only the second example we have seen at auction, the first being one owned by John Peel which was sold at Bonhams on the 14th June 2022. For further information on this lot please visit Bonhams.com
Mike Rutherford/Genesis: A Rickenbacker 360-12 guitar owned and used by Mike Rutherford, 1974 serial no.NB913 on the jackplate, in Fireglo finish, two high gain pickups, five controls (two volume, two tone and one blend control) and a three-way selector switch, split-level scratch plate, Rickenbacker bridge with six adjustable metal saddles and Rickenbacker 'R' tailpiece, bound body and neck, fretboard with triangular markers, three-piece maple/walnut/maple neck with Rosewood fingerboard, Kluson Deluxe tuners, with flight case; accompanied by a letter concerning the provenance from Mike Rutherford, guitar 39 1/2in (101.5cm) long Footnotes: Provenance: This guitar was given to the vendor directly by Mike Rutherford, his lifelong friend. The owner, along with Mike, was in the formative Genesis band and had lent Mike his own Rickenbacker guitar, a 360-12V64, dating from 1964. When the friends left Charterhouse school, this original Rickenbacker stayed with the band and in Mike's possession. Genesis, a now internationally prolific band, took the guitar on the Lamb Lies Down on Broadway tour of North America in 1974. On 6th December, at the Academy of Music in New York City, the band played the first of two back-to-back shows. That night, the group's guitars were stolen and immediately a replacement Rickenbacker was needed for the second gig the following night. According to Mike, on the 7th December he purchased the guitar offered in this lot from the famous Manny's Store. The Rickenbacker purchased from Manny's was to be Mike's guitar with the band for a number of years. The accompanying letter from Mike reads: Trick of the Tail was the next album after Peter Gabriel left and the first with Phil Collins singing. The album opened with a guitar riff which was played on this 12-string guitar - a song called 'Dance On A Volcano'. It was used on 'Wind & Wuthering'; and 'Then There Were Three'; 'Duke'; 'Genesis' and 'Invisible Touch'. It was towards the end of the 1980s that Mike gave the guitar in this lot to the vendor to replace the original, stolen Rickenbacker borrowed from their school days. It has remained in the vendor's possession ever since. For further information on this lot please visit Bonhams.com
Bee Gees / Maurice Gibb: A Rickenbacker 4001 Bass Guitar Owned And Played By Maurice Gibb, Signed By Each Member Of The Bee Gees, 1970, serial no.JG143 to jackplate, with checkerboard binding, Natural finish signed and inscribed in black pen by Maurice, Barry and Robin Gibb, maple and walnut through-neck with lacquered African rosewood fingerboard with triangle inlays and twin truss rods, two pickups (one neck Toaster pickup and one bridge Horseshoe pickup), two volume and two tone controls with a selector switch, stereo Rick-o-Sound wiring, clear plastic finger rest with flight case; accompanied by an autographed letter from Maurice Gibb on 'Gibbs Bros Music' headed paper stating this bass was used in the recording of the Saturday Night Fever soundtrack album, and a copy of the released double-LP vinyl, guitar 44 1/2in (113cm) long Footnotes: Provenance Offered from the family of Stuart Grundy. This guitar was gifted to BBC Radio 1 producer and documentary presenter Stuart Grundy. He worked for the broadcaster for 25 years interviewing leading musicians such as David Bowie, members of The Who, Marvin Gaye, Stevie Wonder, Iggy Pop and Eric Clapton. In the accompanying letter, he states that he knew Maurice Gibb well having worked with the band on numerous occasions. This included the 1987 series The Bee Gees which he wrote and produced discussing the band's lives and careers. Maurice Gibb and the Rickenbacker Bass guitar are synonymous. It was his favoured make and model that he used throughout his career and there are many images of him on stage playing similar guitars. On inspection, this Rickenbacker could be a special order guitar or an early experimental one as it has a very rare 21-fret fingerboard (usually a 20-fret fingerboard). Additionally, it appears the colour choice for this model replicates a faded sunburst and is not a standard finish found in Rickenbacker's catalogue. The autographed typescript letter from Maurice Gibb that accompanies this lot is on Gibb Bros Music headed paper. The letter is dated December 4, 1991 and it states; Just a short note to verify that the Rickenbacker Bass Guitar Serial No. 143...I played on the Bee Gees' tracks that appear on the 'Saturday Night Fever' soundtrack album. The Bee Gees were well-established throughout the 1960s, and following a reformation of the band in the early 1970s their music was brought to international attention once again. Having their songs featured in the 'Saturday Night Fever' film release starring John Travolta, they experienced huge international interest. Initially, the Bee Gees music was not included in the film and they were brought in during post-production. Driven by the film's huge success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history. More than 40 million copies sold, and since then Saturday Night Fever is still among music's top five best-selling soundtrack albums of all time. The album epitomised the disco phenomenon on both sides of the Atlantic and was an international sensation that still resonates in today's Popular Culture. The soundtrack album included the iconic disco anthems; Stayin' Alive and Night Fever and How Deep Is Your Love. In 2014 the album was added to the National Recording Registry in the Library of Congress for being culturally significant. For further information on this lot please visit Bonhams.com
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