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Lot 269
A boxed Marx 'Mystery Space Ship' Gyroscopic toy, unchecked for completeness otherwise appears G with instruction leaflet and 'The Space Platform - Today's Magic Carpet' booklet in G/G+ illustrated box, together with a boxed Lone Star 'Space Ace Space Phone' containing two moulded plastic communication devices connected by original red string, G in a F/G box. (2)
Lot 342
An interesting selection of vintage ceramic, celluloid and plastic dolls of various sizes, some with limbs detached including a Heubach Koppelsdorf girl doll and a Schutz-Marke celluloid boy doll, together with a Chad Valley Jemima Puddle-Duck soft toy which retains manufacturers tag around neck, the reverse of which states 'Good Luck from the Magic Goose......Alexandra Theatre Pantomime Birmingham 1936-7' and a boxed miniature Venetian Gondoliers hat which contains an unused bottle of Vidal Gran Canal Perfume. (7)
Lot 101
§ EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) AZTEC HEAD - 1988Signed, dated and inscribed 'For John, Eduardo Paolozzi, 1988' in pencil, papier-mâché (Dimensions: 28.5cm high, 36cm across (11.25in high, 14.12in across))Exhibited: Installation of 'Lost Magic Kingdoms and Six Paper Moons from Nahuatl' exhibition at the Museum of Mankind , London, 1985-9. Biography: Among the chief players of the 1960s Pop Art movement in Britain was the young Scots Italian artist, Eduardo Paolozzi. His unique brand of sculpture, collage and printmaking derived its ingredients from the art inspired by Surrealism and fuelled by American popular culture and found objects which he had created in Paris in the years immediately after the Second World War. Paolozzi's work over the coming half century until his death in 2005 would build on this theme with increasing ingenuity. Using industrial engineering and a diverse array of materials, he managed to create some of the most memorable and highly collectable works of 20th century British art, particularly in print and relief sculpture.
Lot 89
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) MAGIC PICTURE NO.1Lithograph, 39/500, signed and numbered in pencil to margin (Dimensions: 57cm x 77cm (22.5in x 30.25in))Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
Lot 5
AFFINITY - AFFINITY LP - ORIGINAL UK PRESSING (VERTIGO SWIRL - 6360 004 - EX LIBRARY COPY). A (still, well presented) Ex-Library copy of the magic Linda Hoyle fronted Affinity LP from 1970. The record is in VG+ condition with some light surface marks to the playing sides though these are not heavier in nature. Housed with original 'British Patent No. 800513 & 973939' swirl inner in VG+ condition. The sleeve is graded as VG - an ex-library copy (Newcastle-Under-Lyme), there are three stickers on the front, one on the reverse and a sticker on the inside left section of the gatefold showing all the times it had been leant out (fantastic to see that the record was leant out 32 times from our count!)
Lot 69
THE CREATION - UK 7" SINGLES BUNDLE. Makin' a magic bundle of top condition original UK 45s from The Creation - 4 x 7" on Polydor and Planet. Titles are How Does It Feel To Feel (Polydor 56230 - ace Ex+ or 'NM' condition, a couple of extremely faint and wispy paper marks), Life Is Just Beginning (Polydor 56207 - Ex+ or 'NM', a couple of extremely faint paper scuffs), Painter Man (Planet PLF 119 - Ex+ or 'NM' showing very few markings) and Making Time (PLF 116 - Ex+, very light surface mark on A side). All with lovely clean condition original company sleeves.
Lot 115
Tom McNeely (Canadian, B. 1935) "American Indian Headdresses/Cheyenne" Signed lower left. Original Watercolor Painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood Maximum Card for the U.S. 25c "Cheyenne" stamp issued August 17, 1990. For the Cheyenne, as for all Indians, the elaborate feathered headdress was a symbol of immense power and great medicine. Those who wore it were the recipients of that power. One such Cheyenne warrior was the mighty Bat -- known as Roman Nose to the whites -- who stood six-foot, three-in. tall and was thought to be invincible in battle. Roman Nose wore a magic headdress made for him by a medicine man named Ice. Its power was believed so great that whenever Roman Nose wore it into battle, he was untouchable; bullets and arrows whizzed past him time and again. The huge man delighted in proving his prowess, loping on his horse casually across the enemy's line of fire without harm. This feat, of course, inspired the other Cheyenne warriors to follow their hero into battle. However, the medicine of this headdress was neutralized if Roman Nose happened to eat anything taken from a pot with an iron instrument, such as a fork. Accordingly, he diligently avoided the white man's utensils. But on the eve of a battle with fifty frontiersmen in 1868, he accidentally ate a piece of bread taken from a skillet with a fork. The next day, Roman Nose was mortally wounded on the battlefield. The Cheyenne, like Roman Nose, were noted for their horsemanship and their courage. A cautious people, they avoided conflict if possible. Tragically, they often had to pay for the misdeeds of other tribes in their own blood, as many white men thought all Indians to be the same, regardless of tribe. Image Size: 18.75 x 25.75 in. Overall Size: 20.75 x 26.75 in. Unframed. (B12362)
Lot 4
Zhan Jianjun (China, B. 1931) "Fog in the Stone Forest" Original oil on canvas painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is an original unsigned oil on canvas by Zhan Jianjun that was commissioned directly by Helzer for Unicover. Helmuth Stone Gallery and Wind River Studios both guarantee the authenticity of this piece. This painting appeared on the Fleetwood First Day Cover for the China 8fen Fog in the Stone Forest stamp issue of September 18, 1981. Pearl gray light softens the stark outlines of rough cliff walls in China's famous Stone Forest, nature's wonderland carved in rock. Fantasy and enchantment are etched in these unusual stone formations, creating fantastic views and illusions through their everchanging shapes. In a silent, primeval sleep, these strange forms stand like ancient Druids, dark and mysterious. Wisps of fog cling to their rocky faces like spindrift, while a velvet mantle of clouds shrouds them in opaque serenity. Feathery vines garland their craggy ridges with mauve and violet fringe, bringing a delicate, fragile brightness to the lifeless, unreal forms. As haunted air entwines these stone ghosts of antiquity with a heather mist, one has the impression of being in another world, a world of mysterious secrets waiting to be uncovered. The infinity of patterns and hues of the rock formations in the Stone Forest opens a new world of boundless vision to the visitor. Indeed, what can be seen here is limited only by the imagination, varied by the subtle and shifting moods of the days and seasons. Split and carved as if by some magic power into fantastic and even grotesque shapes, the cliffs of China's Stone Forest are pictured in this artwork in a veiled mist. Imbued with the mystery and fantasy of nature, the age-old secrets of these mysterious formations await the thoughtful discovery of contemplation and imagination. Image Size: 27.5 x 23.5 in. Overall Size: 28 x 24.25 in. (B07309)
Lot 432
Howard Koslow (1924 - 2016) "Contemporary Hot Air Balloons" Signed lower right. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 20c Hot Air Ballooning stamp issued March 31, 1983. Just as there were, in the earliest of times, men who watched birds and tried to emulate their flight, there were other dreamers who sought some magic substance that would enable them to defy gravity and soar into the sky. These early dreamers were the first to harness the magic of hot-air ... capturing it in bags and using it to fly high, into the heavens. The art of Ballooning -- some two-hundred years old -- is truly the oldest kind of flying known to man. Except for some war-time applications ... such as the use of tethered balloons as observation posts, and of free flying balloons to get messages and important people out of besieged Paris in 1870 ... ballooning has always been essentially a sporting form of flight. Calm summer evenings are the most popular time for a balloon flight, which begins with the big balloon envelope being laid out, downward of the gondola. After a careful inspection of the whole airship, the narrow neck of the balloon is opened and fiery-hot air is forced into the gigantic envelope. The huge, lifeless balloon suddenly begins to take shape and soon the brightly colored envelope contains enough hot air to lift itself and its passenger high into the sky -- where noises of civilization are blotted out, and the soothing sounds of flowing breezes are company enough for anyone. Image Size: 14 x 12 in. Overall Size: 20.25 x 17.75 in. Unframed. (B07917)
Lot 262
Euclid. The Elements of Geometrie, translated by Sir Henry Billingsley, preface by John Dee, first edition in English of the first complete translation, title within fine woodcut border depicting Ptolemy and Strabo, amongst others, folding letter-press table (torn and repaired, without loss), numerous woodcut diagrams including 37 diagrams on 28 pp. with one or more printed overslips, woodcut portrait of John Day above colophon, woodcut historiated or decorative initials and tail-pieces, lacking final blank, title and final 2ff. with neat restorations to blank outer corners, occasional dampstaining, mostly marginal, 2D2 with burn hole to head, 2V2&3 with small patch of soiling partially obscuring text, small rust hold to 2D1, small paper flaws to 2T2&5 with some minor loss to text, modern antique-style calf with original covers laid down, [STC 10560; cf. PMM 25], by John Daye, [1570].⁂ First edition of the first major science book in English. The clear and precise nature of the text coupled with the numerous illustrations ensured this work's continued popularity as a scientific textbook up to the present day. In addition the use of printed slips here (originally printed as six bifolia bound in at the end) mean that this work can lay claim to being the first illustrated popup work in the English language. John Dee's preface is considered by many to be his most important published work. It outlines the practical applications of Euclid's work, lays the foundations for later experimental science and hints at the use of magic and the supernatural in conjunction with the natural. In addition, Dee also contributed further theorems and annotations.
Lot 234
Demons Of The Flesh - The Complete Guide To Left Hand Path Sex Magic - Nikolas Schreck & Zeena Schreck (2002) - a rare out of print book, detailing the erotic 'black magic' sex practises of the world. Complete, softcover. Published by Creation Books. Rare book. From the estate of Peter Wyngarde.
Lot 588
SEABROOK WILLIAM: (1884-1945) American Journalist, Explorer, Occultist and cannibal. Seabrook served in World War I where he was gassed at Verdun, further becoming a reporter for The New York Times, Cosmopolitan, Vanity Fair and few others. He wrote about his experiences with cannibalism, Satanism and Haitian Vodou in his books Jungle Ways (1930)and The Magic Island (1929). On September 1945 Seabrook committed suicide by drug overdose. Rare T.L.S., `Seabrook´, including multiple annotations, corrections and full sentence in his hand, one page, 4to, Studio Hotel, rue Delambre, Paris, 20th February 1932, to Maurice Garçon, in French. Seabrook states in part `Fels, chief-editor of VOILA, who I first met five years ago, and who always seemed to me a dirty guy, has come to meet me on my return from Tombouctou, with fake compliments, and asked me for the photographs of my reportage in order to publish them with VOILA. I kindly explained to him that it was going to be published by another magazine, but when he kept on insisting I clearly told him that he was pissing me off, and his magazine too. I sent him to hell..´ further saying `..I thought that if someone powerful could warn him a bit and tell him that if he acts so again, he may have strong problems,… Therefore, obviously, I thought about you..´ and before concluding he adds `Forgive my nigger way of writing.´ Folded with small overall age wear. G £80-100 Maurice Garçon (1889-1967) French lawyer and writer.
Lot 54
BEATLES & RELATED - LPs. Super clean collection of 12 x LPs. Titles are Badfinger - Magic Christian Music (UK original SAPCOR 12 - stunning archive condition record looking unplayed/Ex+ or 'NM' sleeve, slight edgewear), Mary Hopkin (x3) - Post Card (SAPCOR 5 - Ex+/Ex with promo postcard), Earth Song (SAPCOR 21 - Ex/Ex) and Those Were The Days (SAPCOR 23 - Ex/Ex), John Lennon/Yoko Ono - Milk And Honey (POLH 5 - Ex+ or 'NM' copy), George Harrison Dark Horse (PAS 10008 with insert and printed inner - Ex+ or archive record/Ex), George Martin - By George! (SLS 50182 - Ex+ or 'NM' copy) and British Maid (SULP 1196 - Ex+ or 'NM' copy), Meet The Rutles, Lennon & McCartney Go Latin With Tony Osborne, Lennon & McCartney Tijuana Style and The Songs Of John Lennon/Paul McCartney (NE 1317 - Ex+ or 'NM' copy). Provenance: From the collection of Don George - a BBC Radio 1 producer from its inception in 1967 until his retirement in the late 80’s.
Lot 376
BINDER, EDWARDS AND VAUGHAN - PAUL MCCARTNEY MAGIC PIANO DESIGN SKETCHES. Incredible collection of original design proofs/materials/sketches by the BEV Collective (Binder, Edwards, Vaughan) for the famous psychedelic designs painted onto Paul McCartney's 'Magic Piano' circa late 1966. Includes three sheets of tracing paper (approx 15 x 10") one in pencil clearly identifiable as a design for the part of the front left portion of the piano, two in pen one with title 'Sketches For Piano' and signed by Douglas Binder, another with handwritten annotations, four further sketches are on 'The Million Volt Light and Sound Rave' stationary (this was another BEV commission), and seven further sketches in pen. Provenance: Provenance: Discovered by a builder/property developer at a property he purchased east of Manchester in 1998. Please see images for page detailing 'Commissions' which mentions Paul McCartney's piano. Note, this page is not included in this lot.
Lot 17
A Swarovski Crystal Annual Edition 'Magic of Dance' trilogy and a boxed 'Home Display' theatre, the figures to include 'Isadora', 2002, 'Antonio', 2003 and 'Anna', 2004, each with box and certificate (Anna with glass title plaque), together with two display stands (7 boxed items) tallest 23cm
Lot 92
NO RESERVE Silver.- Hernmarck (Carl) The Art of the European Silversmith 1430-1830, 2 vol., London & New York, 1977 § Schroder (T.) The Gilbert Collection of Gold and Silver, Los Angeles, 1988 § Butler (R.) The Albert Collection: Five Hundred Years of British & European Silver, 2004 § Magic of the Silversmith's Trade: European Silver in Private Collections from 1500 to 1850, Antwerp, 2000, illustrations, many colour, original cloth or boards with dust-jackets, the first with small tear to edge of vol.1 and also with slip-case; and 8 others on silver, 4to (13)Provenance: The Partridge Fine Arts Research Library
Lot 105
A BOX OF VICTORIAN AND LATER PHOTOGRAPHIC PLATES to include one box of plates which says on the top Darjeeling views & Bazaars, Trench diggers etc. and the contents although difficult to see appear to be such. Also contains Auto-Magic Films for the Auto-Magic Picture Gun (no actual gun) and some 8mm home movies including Walton Fireball XL5 and Stingray
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30123 item(s)/page