![[WILDE OSCAR]: (1854-1900) Irish poet and playwright. WILDE DOROTHY (1895-1941) English socialite, the niece of Oscar Wilde.](https://cdn.globalauctionplatform.com/e7cffcd7-440f-486d-9683-b22600c0cba1/1e31c3cb-e2df-4143-b0a6-b22601317125/468x382.jpg)
[WILDE OSCAR]: (1854-1900) Irish poet and playwright. WILDE DOROTHY (1895-1941) English socialite, the niece of Oscar Wilde. Dolly Wilde, a lesbian, alcoholic and heroin addict, had a reputation as a charming and witty conversationalist and this, along with her famous family connections, made her a popular guest at salons in Paris. A rare autograph poem signed, with her initials D.W., one page, 8vo, n.p., n.d., in bold pencil. The manuscript poem celebrates the American writer Edgar Allan Poe and commences ´O Poe! O magic two syllables/ Beginning of the word most divine/ Poetry! Such a name as was thine/ Was written on dismal twelve tables´ and concludes with the lines ´Nothing else but ashes hear below/ But, above, a winged great shadow/ Which covers thy starry native land/ "Encomium!" says thine owns high clamour/ And Europe, from afar, says: "Honour"!´. Some creasing, light overall dust staining and a few minor, light brown stains, about G
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Nineteen Indian painted clay 'Poona' figures, 20th c, approx 11cm h, miscellaneous Victorian and later magic lantern slides, of people and places, including sea houses and South Shields, coloured illustrations, etc and a pipe rack made from the blade of a rowing oar, early 20th c, decorated with the arms of Clare College Cambridge, 82cm h Poona figures - Some faults but many good, pipe rack - Top section of pipe rack missing, minor scuffs and scratches, otherwise good condition
Myth & Magic by The Tudor Mint - Four early 21st century cast pewter statue dragon figurines. Including no. 3384 'Secret of The Crystal Spa', no. 3369 'Wizard of The Aurora', no. OY2003 'The Dragon's Gathering', and no. 3662 'The Celtic Beast'. With original boxes and packaging. Not all of the wooden plinths match the figure. Measuring approx. 16cm x 26cm x 26cm, including the box.
Myth & Magic by The Tudor Mint - A 2005 cast pewter statue dragon figure, 'Daredevil' no. 3660. Limited edition of 500 pieces. Depicting a dragon biker driving over a ramp, with three dragon bikers cheering underneath. Makers mark to the underside of the figure. Unboxed. Measuring approx. 21cm x 37cm.
Myth & Magic by The Tudor Mint - Three early 21st-century cast pewter statue dragon figurines. Including 'Contenders' no. MM3413 199 out of 500, 'Crystal D'Amour' no. 3412, and 'Summoning The Dragons' no. 9017. All with their plinths. Makers marks to the bottom of each piece. The largest measuring approx. 23cm tall.
Myth & Magic by The Tudor Mint - Collection of fourteen early 21st century cast pewter statue dragon figurines. Including 'Bewitched', 'The Lookout', 'The Dreamy Dragon', 'The Dragon Knight' and more. Four come with their original wooden plinths. Varying in size, with the largest measuring approx. 16cm tall. Makers marks to the bottom of each figure.
Myth & Magic by The Tudor Mint - Four early 21st century cast pewter statue dragon and mythical figurines. Including 'Immortal Combat' no. 3385 limited edition of 1,250 pieces, a Fantasy & Legend 'Le Morte D'Arthur' figure, 'Protector of The Fairy Princess' no. OY2000 and 'The Nest of Dragons'. All with their original wooden plinth. Unboxed. Largest measuring approx. 18cm tall.
THREE BOXES AND LOOSE CHILDREN'S TOYS AND MISCELLANEOUS, to include a complete set of carved wooden chess pieces in a wooden box, two packs of playing cards new presented in a wooden box with The Blue Train in gold printed on, a selection of games include Pie Face, Poundland Monopoly, HangMan, Chess, vintage game Past Times 'The Viking Game, a red leather look cased backgammon set, Magic sets, etc. Hot Wheels slot car track set 5+, Lego Ninjago 8-14, toy cars, Trivial Pursuit bite size Genus Edition, six Skylanders figures and carry bag, a floor standing wood statue of Charlie Chaplin height 96cm, two academic robes and hood by Ede & Ravenscroft robe makers, approximately twenty TY beanie toys, etc. (3 boxes +loose), (sd/af)
Mattel titian Bubble cut vintage doll 1964 and # 1645 Golden Glory dress and coat , black magic sheath and net cape and bag and a midnight blue #1617 ballgown dress , included with the doll-please see all photographs. ( doll and clothing( selection) You are personally invited to Bishton Hall for the Viewing day 11-3pm on Sunday 1st December , the day prior to the sale and view and see the dolls toys and teddy bears and fashion and textiles for yourself in person
ITEM: 'Manu fica' amuletMATERIAL: FaienceCULTURE: Roman, EgyptPERIOD: 1st - 3rd Century A.DDIMENSIONS: 20 mm x 8 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman manu fica amulet, also known as the "fig sign" or "fig-shaped hand" amulet, was a powerful and widely used symbol of protection in Roman society. Shaped to resemble a fist with the thumb placed between the index and middle fingers, the gesture is often associated with warding off the evil eye, a common belief in ancient Roman and Mediterranean cultures. The manu fica symbol was believed to protect the wearer from jealousy, misfortune, and the malevolent gaze of others, often serving as a talisman to keep away bad luck or curses. This gesture was so significant that it appeared not only in amulet form but also in various other objects like rings, pendants, and pottery, reflecting its widespread cultural importance.The use of the manu fica amulet was prevalent in both personal and public contexts. Roman soldiers, for example, often wore these amulets as protective charms during battles and long journeys, seeking divine or supernatural aid against the dangers they faced. Wealthy individuals and aristocrats also utilized these amulets to safeguard themselves from the negative effects of envy or malicious gossip, which were believed to be potent forces in Roman society. The manu fica was not only used as a protective device but also as a statement of defiance against misfortune, reflecting the Roman emphasis on resilience and control over external forces.The manu fica gesture itself, with its thumb between the index and middle fingers, was a form of folk magic that crossed cultural boundaries, appearing in Greek, Roman, and later European traditions. In Roman times, the amulet was often worn in everyday life and incorporated into a range of jewelry and personal items. In addition to its protective function, the manu fica could also be used as a sign of fertility or a symbol of good luck.
ITEM: Phallic amuletMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 32 mm x 15 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Oxfordshire, acquired from Alan Cherry of Bournemouth between 2003 - 2005Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phallic amulets, known as fascina (plural of fascinum), were widespread symbols of protection, particularly against the evil eye, in Roman culture. These small, often intricately carved amulets typically depicted the male genitalia and were considered potent talismans for warding off negative influences and harmful magic. The Romans believed that the image of the phallus had the power to avert misfortune and bring good luck, due to its association with fertility, strength, and vitality. Phallic amulets could be made from materials such as bronze, bone, or terracotta, and were worn as jewelry or placed in homes, businesses, and even public spaces like crossroads and gates to ensure protective benefits.These amulets were not limited to personal adornment but were also incorporated into broader social and religious contexts. In Roman households, phallic symbols could be found on doorways or incorporated into the decor to protect the home from malevolent spirits. Additionally, children, who were considered particularly vulnerable to harm, were often given phallic amulets to wear around their necks or as part of their clothing to shield them from danger. The presence of these symbols in everyday life reflects the deeply ingrained superstitious beliefs in ancient Roman society, where the need for protection was a constant concern.Beyond their apotropaic (warding-off) function, phallic amulets also reflected Roman attitudes toward sexuality and masculinity. The open display of the phallus was not considered vulgar but rather a symbol of life, virility, and generative power. This frankness about sexual symbols stood in contrast to later cultural norms and reveals the Roman perspective on sexuality as a natural and essential force.
ITEM: Phallic amuletMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 15 mm x 7 mm x 25 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Oxfordshire, acquired from Alan Cherry of Bournemouth between 2003 - 2005Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phallic amulets, known as fascina (plural of fascinum), were widespread symbols of protection, particularly against the evil eye, in Roman culture. These small, often intricately carved amulets typically depicted the male genitalia and were considered potent talismans for warding off negative influences and harmful magic. The Romans believed that the image of the phallus had the power to avert misfortune and bring good luck, due to its association with fertility, strength, and vitality. Phallic amulets could be made from materials such as bronze, bone, or terracotta, and were worn as jewelry or placed in homes, businesses, and even public spaces like crossroads and gates to ensure protective benefits.These amulets were not limited to personal adornment but were also incorporated into broader social and religious contexts. In Roman households, phallic symbols could be found on doorways or incorporated into the decor to protect the home from malevolent spirits. Additionally, children, who were considered particularly vulnerable to harm, were often given phallic amulets to wear around their necks or as part of their clothing to shield them from danger. The presence of these symbols in everyday life reflects the deeply ingrained superstitious beliefs in ancient Roman society, where the need for protection was a constant concern.Beyond their apotropaic (warding-off) function, phallic amulets also reflected Roman attitudes toward sexuality and masculinity. The open display of the phallus was not considered vulgar but rather a symbol of life, virility, and generative power. This frankness about sexual symbols stood in contrast to later cultural norms and reveals the Roman perspective on sexuality as a natural and essential force.
This majestic and romantic work by Russian artist Yuli Yulievich Klever takes the viewer into the mysterious world of a winter sunset, saturated with a poetic atmosphere. The painting created by the author enchants with its expressiveness and richness, conveying the magic of a pre-sunset snowy evening.The central element of the composition is the golden-orange glow of the setting sun, which envelops the winter landscape and fills it with magic. Magnificent golden distances and fiery reflections of the sunset contrast with the silhouette of a lonely hut and the delicate lace of purple snow. Light, symbolizing life and hope, breaks through the clouds, penetrates the winter forest and is reflected on the surface of a thawed stream. Orange-golden rays gently envelop the forest space, warming the silent distance and snowy branches of the fir trees. The warm glow of the sunset illuminates the tree trunks, creating piercing reflections on the water and giving the whole scene a picturesque trepidation. Every detail of the landscape, from the gray snow to the majestic fir trees, is depicted with a deep sense of love and attention to nature, forming a unique poetic image. The gloomy forest is filled with light, giving the viewer a feeling of hope and confidence in the future, emphasizing the philosophical thought of the fleetingness of time and the inevitability of change. Oil on canvas measuring 122.5 x 96.5 cm is enclosed in a wide gilded frame, emphasizing its magnificence. In the lower right corner, the author`s signature of Y. Klever and the date 1912 are visible, testifying to the high skill and talent of the artist. Width: 131cm, Height: 158cm, Depth: 15cm, Weight: 30kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11174
Nam June Paik, Selbstbildnis/Kopf mit einer HandVideoskulptur: Bronze mit grünlich-schwarzer Patina und Fernseher mit Mediaplayer (SD-Speicherkarte). Bronze Höhe ca. 30 cm. Fernseher 34,5 x 36,5 x 38 cm. Installationsmaß variabel. Unikat. - Mit Atelier- und leichten Altersspuren.ProvenienzDirekt vom Künstler (1982); Privatsammlung Wulf HerzogenrathAusstellungenBerlin 2019 (Akademie der Künste), Magic Media, Media Magic, Videokunst seit den 1970er Jahren aus dem Archiv Wulf HerzogenrathBremen 1999 (Kunsthalle Bremen), Nam June Paik, Fluxus, Video, Ausst.Kat.,S.257 mit Abb. (hier: Selbstbildnis/Kopf mit zwei Händen)Auf dem Bildschirm sehen wir die früheste Medienarbeit von Paik, eine Performance als Film von Wolfgang Ramsbott aufgenommen während der Proben zu ORIGINALE von Karlheinz Stockhausen 1961 im Kölner Theater am Dom. Paik hat den Film als Video für seine Arbeit genutzt.Zu dieser Arbeit existiert eine weitere Fassung, in der die Bronze mit zwei Händen ausgeführt ist.
Nam June Paik, Candle TV (II)Fernsehgehäuse mit mattierter Frontscheibe und elektrischer Wachskerze (batteriebetrieben) 58 x 63 x 35 cm. Kerze Höhe ca. 20 cm. - Mit Atelier- und leichten Altersspuren.ProvenienzDirekt vom Künstler (1982); Privatsammlung Wulf HerzogenrathAusstellungenBerlin 2019 (Akademie der Künste), Magic Media, Media Magic, Videokunst seit den 1970er Jahren aus dem Archiv Wulf HerzogenrathBremen 1999 (Kunsthalle), Nam June Paik, Fluxus, Video, Ausst.Kat.,S.256 mit Abb.
Magic Lantern Slides: Scenes of Britain and Abroad: A collection of 164 glass lantern slides depicting British landscapes including Oxford and Windsor, along with overseas scenes, Morocco, Jordan, Bedoin, Constantinople and illustrated series, to include slides 1-6 of an Illustrated History of the Union Jack, contained in period wooden box. (1 box)
Magic Lantern Slides: Scenes of Europe: A large collection of 182 glass lantern slides depicting topographical and touristic shots of Spain, Germany, Austria, and Lisbon, examples include, Beethoven's House, La Sagrada Familia, and Bullfighting, contained in two period wooden hinged boxes. (2 boxes)
Magic Lantern Slides, together with a Kodak Film Developing Tank: Printed and Illustrated Scenes: A collection of 83 glass lantern slides, series include, Infantine Enquiries, Band of Hope Waxworks, 10 Little Boys, The Volunteer Organist, Lion Poaching and Historical Representations of the Life of Frederick II of Prussia, contained in period wooden hinged box. (1 box, 25 loose glass slides, 1 developing tank with accessories)
Herbs & spices.- Husson (Camille) Étude sur les épices, aromates, condiments, sauces et assaisonnements, leur histoire, leur utilité, leur danger, half-title, 5 hand-coloured lithographed plates, upper hinge cracked, contemporary brown morocco-backed marbled boards, gilt spine in compartments, rubbed, [Bitting p.239; Vicaire 450], Paris, Dunod, 1883 § Budge (Sir E.A.) The Divine origin of the craft of the herbalist, Elizabeth David's copy with her bookplate, plates, original cloth, spine ends nicked, faded, Society of Herbalists, 1928 § Leyel (Mrs. C.F.) The Magic of herbs. A Modern Book of Secrets, Elizabeth David's copy with her bookplate, original cloth, stained and faded, Jonathan Cape, 1926; and a quantity of others, 20th & 21st century Herbs & Spices, v.s. (Qty.)
Michael Morpurgo (ed.): 'Muck and Magic: Stories from the Countryside', London, Heinemann, 1995, 1st edition, limited edition, number 211 of 250 numbered and signed copies sold on behalf of Farms for City Children, signed on the half title by 17 of the contributors/illustrators, including Michael Morpurgo, Ted Hughes, Joanna Lumley, Dick King-Smith, John Lawrence, Anthony Horowitz, Michael Foreman, Anthony Browne, Tony Ross, Elizabeth Laird, Bel Mooney, small pen & ink sketch of a winged horse (possibly by Elisabeth Frink?, who illustrates the title story 'Muck and Magic' by Michael Morpurgo), etc, pictorial end papers by Quentin Blake, original cloth gilt with mounted colour illustration to front cover by Quentin Blake
Matchbox, Blisterpackungen andere 1980 - 1983, 38 Ford Model A Truck, "Champion Spark Plugs", 51 Midnight Magic, 55 Ford Cortina, 56 Peterrbilt Tanker, MILK ONE, 60 Piston Popper, Mach1, Nr. 60, 62 Chevy Corvette, 67 Datsun 260Z, "Datsun 2+2", 73 Ford Model A, gellbraun, 74 Fiat Abarth, meist Z 1
Katherine Bernhardt (b.1982)Scotch Magic TapeMonotype printed in colours, 2021, signed, titled and dated in pencil, numbered from the edition of 50, each unique, published by Counter Editions, Margate, on Somerset wove paper, the full sheet printed to the edges, sheet 829 x 1289mm (32 5/8 x 50 3/4in)
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30123 item(s)/page