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Click here to subscribePOSTERS - a collection of posters to include x3 posters measuring 60"x40" from the bands - Oasis International Magic 2009 and Stop the Clocks and Kasabian, x2 Oasis 2008 Planet Collage by Pyramid Posters (both measuring 24"x36", one sealed), Stop the Clocks measuring 30"x20", Coldplay X&Y measuring 35"x20", and x3 measuring 12"x16½" to include bands Feeder, Big Country and Alter Bridge with special guests Black Stone Cherry. (10)
A Mamod steam traction engine with power-press, to/w a boxed Japanese Ko tinplate 'Billy the Ball-Blowing Magic Whale' with clockwork movement, a clockwork bear 'Shoe-Maker', a Britains Howitzer, Dinky Harrow, Coventry Climax Forklift Truck, Borguard Isabella, Simca Chamboro, Chevrolet Corvair
Freddie Mercury From The Magic Tour 1986, comes with folder of drawings. All four inflatables of the band were released at Wembley with one leaving the stadium and later being found in a garden after an appeal on Radio 1. Comes with a fan. NOTE: Paint has faded and cracked, split seam which will require high frequency welding to repair and part of lower leg is missing
Brian May From The Magic Tour 1986, All four inflatables of the band were released at Wembley with one leaving the stadium and later being found in a garden after an appeal on Radio 1. Comes with a fan. NOTE: Seam known to be split will require high frequency welding to repair, remainder of condition unknown
King Triton Approximately 50' Tall inflatable, inflated in 30 seconds in the middle of an artificial lake to open Euro Disney in 1992. Comes with folder containg negatives, grand opening schedule, master plan production schedule, resort notes, (From The Magic of the Enchanted Lake), plus road case 1.53 m x 1.02 m x 1.20 m and fan
Six LPs by Nektar and Four Gig Posters. Posters from St Johns College Hall Inc. 'Stephane Grappelli in concert with Diz Dizley Trio' Sat 19th Jan 1974, 'Archbishops Night Ball feat. Geordie & Ducks Deluxe ', 'The Presidents Ball feat. Brett Marvin & The Thunderbolts' and 'Casablanca Disco Bar' all sizes UK Double Crowns 20"x30". LPs include 'A Tab in the Ocean' (UAS 29499), 'Remember the Future' (UAG 2955), 'Down to Earth' (UAG 29680), 'Recycled' (Decca SKL-R 5250), 'Sounds like this' Double Album and 'Magic is Child'.
Grosavescu: Odeon O-8596 Tosca / Rigoletto, O-8600 Rigoletto /Meistersinger, O-8588 Magic Flute / Carmen, Rxx 80887/8 Pagliacci, Rxx 80885/6 Butterfly / Tosca, Rxx 80892/3 Meistersinger/ Carmen; Dux: Polydor B24008/043293 Pearlfishers / Butterfly, Schallplatte 043325 Brantlied / 044317 (w. Kutzner) wenn der Dudelsack erklingt (8)
*SOOTY, a good collection of ephemera covering the career of Harry Corbett and Sooty, inc. prototypes of posters, programme and greetings cards, sketches of Sooty's Panto Theatre, handwritten scores and printed sheet music, typed and handwritten scripts (some early on headed notepaper), together with a large scrapbook (Sept 1958-Apr 1975) laid down with many newspaper cuttings and photos, programmes (12), flyers (10), Friendship Circle letter, Magic in Manchester brochure (1959), press photos, telegrams etc., interesting archive of one of Britain's beloved entertainers of the late 20th century, generally G, Qty.
Roman Period, 30 BC-323 AD. A bronze statuette of Harpocrates on a rectangular base with peg to the underside; the figure standing, nude with side-lock and deshnet crown of Lower Egypt. 87 grams, 11cm (4 1/4"). Ex Bonhams, 1 December 1999, lot 292 (Part); from the private collection of William Kearney, Ireland. Harpocrates is the Greek form of the Egyptian name Heru-Pa-Khered which means Horus the Child. Harpocrates is the son of Isis and Osiris and was conceived through the magic of Isis who resurrected the dead body of her husband after he had been killed by their brother Seth. Harpocrates plays an important role in the cult of Isis as it spread throughout the Roman Empire and he was recognised as an important saviour god. [No Reserve] Fine condition, right arm absent.
10th century AD. A flat-section silver plaque depicting a standing female in profile in pleated skirt and ornate headdress holding a drinking horn in her extended hands, pierced lug to the reverse; remains of gold on the surface. 5.03 grams, 27mm (1"). From an old Munich collection; acquired on the German art market before 2000. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Cf. Graham-Campbell, J. Viking Art, London, 2013, item 34; Swedish History Museum, item 108864. Accompanied by an Art Loss Register certificate. Representations of female figures holding drinking horns have often been referred to as Valkyries. Although it is impossible to verify this identification securely, it is highly tempting to make the connection between Valkyries and serving of a magical drink in myths. Drinking horns, popular in modern picture of Vikings, were probably used only during special occasions, such as greeting important guests, celebration or seasonal holidays. They were closely connected to aristocracy, not only by virtue of their material value, but also as a result of their social and ritual roles. As M.J. Enright points out, it is probable that Germanic tribes adapted the concept of the military group, which played an important role in strengthening the bond between a king/chief and warriors, from Celts in the age of Roman expansion. In a Germanic environment, this concept was slightly modified, and the serving of a drink by a noble/spiritual woman under the supervision of king/chief was viewed as a cultic act to strengthen the bond in that specific group, with the god Wodan (Odin) as a patron (see Lady with a Mead Cup: Ritual, Prophecy and Lordship in the European Warband from La Tène to the Viking Age"). In later sources, especially Eddas, we can find several examples of goddesses serving or preparing a drink. Hel is waiting for Balder with mead in her realm of death, giantess Gunnlod is the guardian of the magic mead (later stolen by Odin) or Freyr's bride-to-be Gerd serving a drink to Skirni as an act of welcome and also reconciliation. The connection between giantess and a magic drink is strong, as goddess Freya asks another giantess, Hyndla, to serve a magic beer to her protégée Ottar. We can also find a reference to a minor goddess Beyla, servant of god Freyr, whose name can be a reference to a 'bee' and thus connecting her to preparation of an 'ordinary mead'. In Asgard (the realm of the gods) goddesses Sif and Freya served the drink as an act of peace and conciliation, but it had no magical attributes. Women with drinking horns are also depicted on famous Gotland picture stones either greeting a rider on a horse, approaching a bounded figure in a snake (?) pit (possibly Gunnarr or Ragnar Lodbrok) or serving a drink to a hero (possibly Sigurd"). The connection with rider scenes is one of the main reasons of identifying them as Valkyries, servants of Odin choosing the one who will die on a battlefield and go to Valhalla. It is possible that we observe the same ritual 'bonding' between fallen warrior and his king, Odin. An alternative identification for these female figures might be lesser deities. As R.Simek pointed out, the majority of small female figures have no drinking horn, but are richly adorned, and most likely represent minor fertility goddesses. These goddesses are named in Eddas as servants of Frigg and Freya, but originate in the much older tradition of the so-called matrones, known from the late Roman period. Whether fertility goddess or Valkyrie, the image of a noble 'lady with a drinking horn' had a special meaning developed through centuries, making it one of the most distinctive and mysterious features of Viking culture. Very fine condition. Excessively rare, possibly only one other example known.
7th-9th century AD. A gilt-bronze figurine of a female standing with left hand on the chest and right hand over the groin, fingers spread; bulbous head with lentoid eyes, flange ears, integral loop above. 4.58 grams, 32mm (1 1/4"). Property of a German collector; acquired in the 1980s and 1990s. Cf. Pestell, T. Paganism in Early Anglo-Saxon East Anglia in Heslop ,T. A., Mellings, E.A. & Thofner, M. Icon? Art and Belief in Norfolk from Prehistory to the Present, Woodbridge, 2012 for similar, earlier examples; for similar face details, see female figurines found in Denmark (Hårby, Revninge, Tissø) and figures from St Manchan's shrine in Ireland (see Wilson, D.M. and Klindt-Jensen, O. Viking Art, New York, 1966, plate LXXVIII, item a"). The pose is typical of bronze and other figurines of early Anglo-Saxon date, from the first half of the 7th century, both males and females. However, the figure's face resembles those of Viking period figurines found in Denmark and in the Dublin area inhabited by Viking settlers. The figurine possibly represents Freyja, the goddess of love, fertility and magic. Very fine condition. Extremely rare.
2nd century AD. A bronze statuette of the goddess Isis-Aphrodite standing nude in the classic pose of the Capitoline Venus with left hand over her genitals and right hand raised to her chest; the head slightly turned to the left, centre-parted hair tied in a chignon; armlets to the upper arms; a hole behind the diadem to accept a separate Egyptian crown of Isis; mounted on a marble pedestal stand. 876 grams, 25cm (9 3/4"). From the private collection of Louis de Clercq (1826-1901); thence by descent. Cf. B.S. Ridgway, Hellenistic Sculpture I, 1990, p. 355-356, Taf. 181 - B. Accompanied by an Art Loss Register certificate. Isis-Aphrodite is a form of the great goddess Isis that emphasises the iconographic and fertility aspects associated with Aphrodite (Venus in the Roman pantheon"). Herodotus identified Isis with Demeter, but in the early Hellenistic period, she was identified with Aphrodite. The worship of Isis reached Rome early in the first century BC, and was a mystery religion requiring initiation. By the early first century AD, the cult was flourishing throughout the empire. (Adkins, L. and Adkins R.A. Dictionary of Roman Religion.) In Egyptian religion, Isis was worshipped as the ideal mother and wife as well as the patroness of nature and magic. She was known as protector of the dead and goddess of children, often depicted with her son Horus. Venus was an important goddess associated with beauty, desire, fertility and prosperity, known in Roman religion under numerous cult titles. However, the goddess Venus, like many of the other Roman deities, was identified with her Greek counterpart Aphrodite and adopted most of her mythology and iconography. She was also a divine ancestor of the Roman people through her son Aeneas, who fled from Troy to Italy. This syncretic goddess is a beautiful example of exchange between Graeco-Roman and Egyptian cultures, resulting in connection of two most important goddesses of fertility and maternity in one universally recognisable figure. Very fine condition; Isis crown absent.
5th-1st century BC. A rectangular flat-section tablet of sheet lead with incised text in twenty-six lines (with some superscript characters), a ?????????? or curse tablet, originally rolled into a tight scroll; unrolled and mounted in a glazed modern frame. 573 grams, 30.5cm including frame (12"). Property of a Surrey collector; acquired in the early 1970s. See Eidinow, E. Oracles, Curses and Risk Among the Ancient Greeks, Oxford, 2007 for a discussion of the uses of such tablets. In the ancient world it was common to curse an enemy by writing a spell onto a tablet, usually made from lead, and then dedicate it to a god or spirit. Known in Latin as defixiones, over a thousand are known from many parts of the Graeco-Roman world and date from the fifth century BC to the fifth century AD. They are commonly found at cemeteries, in wells, at shrines and temples, as well as sacred springs such as that dedicated to Sulis Minerva at Bath. Often dedicated to gods of the underworld they commonly deal with justice and revenge, sex and love magic, legal disputes, and winning a bet at the games. They are an important insight into the minds of people in the Classical past. Fine condition.
Early 12th-early 14th century AD. A silver ring with shield-shaped flanges to the shank and a hexagonal bezel with inlaid silver equal armed cross glass inlay to the outside and gold filling to the inside of the cross. 10 grams, 22.69mm overall diameter, 19.39mm internal diameter (approximate ring size S 3/4 British; 9 1/2 USA; 19 1/2 Europe; 19 Japanese) (1"). Property of a London gentleman; acquired before 1970. The Order of the Knights Templar were a military organisation that was established to protect pilgrims on their journey to the Holy Land and whilst in the city of Jerusalem. The Order became a favoured charity throughout Christendom and grew rapidly in membership and power. Templar knights, in their distinctive white mantles with a red cross, were among the most skilled fighting units of the Crusades. Non-combatant members of the Order were involved in financial techniques that were an early form of banking, as well as building fortifications across Europe and the Middle East. With the eventual loss of the Holy Land, the Order began to decline and their extreme wealth came under close scrutiny from the Church and State alike, particularly by the French monarch Philip IV who was deeply in debt to the Order. Rumours circulated of secret initiations and black magic and the remaining members were arrested, tortured and eventually executed. The hexagonal shape to the bezel of this ring recalls the shape of the Temple of Solomon in Jerusalem. Very fine condition.
Roman Period, 30 BC-323 AD. A D-section gold hoop expanding to a discoid plaque with inset carnelian cloison; intaglio design of the serpent Ourobouros biting its own tail surrounding a Greek magical text '?????????/???????????/???????????/????????CIE?/E??? IERPBHKA/A?CIAIADA?/NI' invoking the help of the spirit Marmarao(?"). 8.16 grams, 25mm overall, 19.37mm internal diameter (approximate size British S 1/2, USA 9 1/4, Europe 20.73, Japan 20) (1"). UK art market, acquired prior to 1980. Cf. Marshall, F.H. Catalogue of the Finger Rings - Greek, Etruscan and Roman - in the Department of Antiquities, British Museum, London, 1968, item 1130 for type; 'Marmarao' or 'Marmaroth' is possibly the name of an ancient Near Eastern 'angel', spirit or minor deity. See Cresswell, J. The Watkins Dictionary of Angels, London, 2011. Accompanied by an Art Loss Register certificate. The Ouroboros was seen in the Greek and Roman worlds as a creature that was without beginning or end and according to Plato it was as the first living thing; a self-eating, circular being—the universe as an immortal, mythologically constructed entity. Due to the circular shape that it formed it was seen as having protective and magical properties and everything that it enclosed was seen as sacred. Magical spells were popular in the Graeco-Roman world and have been found in many parts of the Roman Empire. They take many forms such as writing onto pottery sherds or on papyrus as well as sheets of lead, silver or gold. Many gem stones were carved with magical symbols and spells and display an elaborate syncretism of Greek, Egyptian, Jewish, and even Babylonian and Christian religious influences. These stones were set into rings to protect the owner or help cure a long standing medical condition. The type of stone was also important as many had specific magical connotations. Whilst many of the spells can be translated some are composed of letters that form phonetic sounds with no meaning or are written backwards or even groups of letters that make no sense at all except to the magician who was consulted by the client; very often it was the cryptic form of the letters that was often the most important in harnessing divine help. According to Cresswell, Marmarao is 'an angel invoked in magic to cure bladder trouble'. Very fine condition.
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