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Soul / Wilson Pickett, sixteen albums including In The Midnight Hour, Hey Jude, Peace Breaker, Pickett in the Pocket, Live In Japan, Mr Magic Man and more - various years and conditions

Badfinger, four reissue double albums from the early 1990s on Apple: Magic Christian Music -SAPCOR 12, No Dice - SAPCOR 16, Straight Up - SAPCOR 19 and Best Of Badfinger - SAPCOR 28 - All in Excellent condition

David Bowie / 12" Singles, six overseas 12" single releases including Heroes, Space Oddity and Scary Monster (all German Super-Sound-Single releases), Heroes (Spanish in round sleeve), Magic Dance (Australian) and Baal (German) - Various years and conditions

George Campbell RHA (1917-1979)Farmers at Bus Stop, RhondaOil on board, 75 x 62.5cm (29½ x 24½'')Signed; signed again and inscribed with title Exhibited: ‘George Campbell, Directions’ the Gallery 22, November, 1978, Cat No. 2 Attracted to Andalucía’s warm climate and low cost of living, Campbell annually traveled to Spain where he frequented Malaga’s La Buena Sombra, a large Inn where locals gathered to discuss literature, music and art. During his visits, Campbell liked to walk around the city making sketches of the people going about their daily lives, singing, dancing, shopping, selling tickets or waiting for trains and buses. Campbell first visited Ronda in the 1950s and returned to the prehistoric city in the 1960s and 70s to seek out subject matter. ‘Farmers at Bus Stop, Ronda’ was probably executed from a sketch when he traveled to the city in the late 1970s. The exhibition at The Gallery 22 in November, 1978 was to be Campbell’s last solo show in Dublin. Months earlier Campbell had contributed to the group exhibition with friends, Arthur Armstrong and Richard Kingston at the newly opened gallery by the Minister for Health, Charles J Haughey. In the mid 1970s Campbell introduced a new softness into his work. Gentle fluent strokes replaced abstract shapes. Colour continued to suggest mood, but an element of mystery emerged from his subjects by changing how he handled paint. Ruined buildings, landscapes in Connemara and figurative paintings were stripped back and forms emerged with less detail. The posture of the men leaning against a wall and the single man standing are central to this work. Commenting on Campbell’s final works, Arthur Armstrong stated that Campbell enjoyed breaking down his paintings into ‘little bits of pure magic.’ (George Campbell RHA, A Tribute, RTE, 1979)By 1978, Campbell enjoyed the status of being a celebrity in Spain and Ireland from media appearances. Wishing for a quieter life, he purchased land in Laragh, Co. Wicklow with a view to spending longer periods away from the city of Dublin. For the first time since the early 1950s George and Madge Campbell did not go to Andalucía for the winter months. With their new house in Laragh almost finished, they went on a three-week holiday instead around the North of Spain. Speaking to a writer during the exhibition, George commented on his life as a painter ‘Well I have always regarded myself as a worker painter…. I don’t see painting as a kind of thing apart. It is part of my life, part of my whole fabric part of breathing and reading and eating and sleeping and walking and moving…’ (The Irish Times, 10/11/78, pg.10) Six months later, George Campbell died suddenly from a brain hemorrhage and was buried in Laragh, on a quiet tree-lined hill overlooking Glendalough.Karen ReihillOctober, 2017

Patrick Collins HRHA (1911-1994)Heavy Water on the BogOil on canvas, 40.5 x 49 (16 x 19¼”) Shaped, signed and dated (19)84; inscribed with title and dated (19)86 (Sic) versoProvenance: The Eamonn Mallie CollectionThis colourful work by Patrick Collins reflects the colour in my relationship with the original owner of the work my late friend and collector Vincent Ferguson from Sligo. We were both crazy romantics who indulged our passions with periodical exchanges of paintings. 'Heavy Water on the Bog' tells its own story, and Vincent's love affair with Collins' paintings. This work stirs many memories of a wonderful day in the late Vincent's ever welcoming home at Rosses Point where he and his wife Noleen were the perfect hosts. When Paddy passed away Vincent decided to mark the occasion with the scattering of the artist's ashes on the waters of the Garavogue River in Sligo where Collins was born. Ciara Ferguson - Vincent's daughter who witnessed the scattering of Patrick Collins' ashes on the water crystallised the extraordinariness of the moment: of Patricia and Penelope Collins she said… Patricia was in a velvet cape and she and Penelope were like Patrick's handmaidens tossing the ashes where he played as a boy. Ciara continued “… the image that stands out in my mind is the moment that the ashes are being scattered on the water to the strains of a lone piper, then in the background I heard the flapping of the wings of a single swan taking off from the water. It was just perfect. Vincent Ferguson held the view that Collins saw his Sligo roots as a child as the source of his magic in his art and he feared that in returning to that spot where he played as a child the mystery of the place might be diffused. That spot was Collins' Shangri La. According to Vincent, Patrick Collins only returned to that river bank a few years before he died. I joined the ashes scattering gathering back at the Ferguson home for drinks and eats. My lasting memory of that afternoon was the sight of Basil Blackshaw, TP Flanagan, Sean McSweeney and Barrie Cooke all gravitating towards their own works on the Ferguson walls, ignoring their fellow artists' images. Blackshaw, Flanagan, Cooke, writers Anthony Cronin, Dermot Healey and Vincent who were all present that day in Rosses Point are now all ar shlí na fírinne - ar dheis Dé go raibh an-anamacha. Tá an t-ádh orainn go maireann 'Heavy Water on the Bog'. Eamonn Mallie

Louis Le Brocquy HRHA (1916-2012)Study towards an Image of W.B. YeatsWatercolour, 22 x 17.5cm (8¾ x 7'')Signed with initials and dated (19)'75Exhibited: The Dawson Gallery (Label verso); 'Louis le Brocquy’, Arts Council of Northern Ireland, Belfast, January - February 1976, where purchased by the current owners; ‘Louis le Brocquy: A Recherche de Yeats’, Musée d’Art Moderne de la Ville de Paris, October - November 1976, Etude 73; ‘Louis le Brocquy: Edinburgh Festival Exhibition’, 1977, Richard Demarco Gallery.Yeats, the most varied mind of the Irish race, the last - and perhaps the only - Romantic poet in English to manage a full career. Le Brocquy, the most dedicated Irish painter since Yeats’ brother died, with an intuitive sympathy for literature and mythology, an increasingly rare reverence before the human. Their meeting has an aspect of inevitability. In the last decade le Brocquy has reinvented for himself the idea of portraiture, moving through family and friends to contemplate master spirits of his country, like Joyce and Beckett. As he says ''simply because by their works I know them, and am drawn to peer through their familiar, ambiguous faces which mask and at the same time embody - the great worlds of their vision''. And now Yeats, whom le Brocquy knew as a boy. Fascinatingly, the ideals and techniques of the two artists have much in common. One of the foolishnesses of modern psychology is to believe that we have only a few, usually warring, selves. But a Prospero, like Yeats, may live many lives, inhabit many faces, while achieving a unity in variety. At an early stage, he began to play with his doctrine of the Mask, the anti-self, as a discipline for spiritual or physical plenitude. ''I call to my own opposite'', he says, ''all / That I have least looked upon''. Let us examine his selves, as they pass before us, in slow procession. There is the dreamy young man who pressed himself to the earth of Sligo and Howth, like a lover. He wanted to go and live on an island, or in a cave, like Shelley's Alastor, a young man burdened with dreams. But dreams can be harnessed and that young romantic, a cowslick of hair carefully plastered over his brow, is a more wily customer that he seems. George Moore might wickedly compare his cawing voice to a crow's, his solemn poet's robes to an umbrella left behind at a picnic, but he also testified to his intellectual strength. It took a masterful man to found and manage the Abbey Theatre, to propagandise for an Irish Literary Renaissance. So the tuneless crow becomes a sacerdotal heron, a high priest of the arts. And the gaunt celibate becomes a great lover, who kneels before Maud Gonne, the English army captain's daughter who was his personification of Ireland, as Petrarch did before Laura, Homer before Helen. Love has as many allotropes as carbon - from soot to diamond - and Yeats weathered all the stages, crying out in frustration for the bosom of his ''faery bride'', swearing friendship with Olivia Shakespeare, collaborating with Lady Gregory, achieving a profoundly psychic exchange in his marriage with his medium wife. For Yeats was a trained mystic, a member of the Order of the Golden Dawn, who did not play with, but actually practised magic. Technically, le Brocquy's method is akin to that of certain noble poems of Yeats where he names and numbers his friends, living and dead, or sets different aspects of himself to dialogue, even to dance. So the painter invokes faces of the poet, public and private, to challenge and exchange. Compare earlier and later visages. The short-sighted sighing inventor of the Celtic Twighlight is now a ''smiling public man'' (No. 5). The right eye sharp, the left hooded, he exudes a satisfied power, like a replete bird of prey, ''the lidless eye that loves the sun''. The cowslick becomes a crest, a ruffled plumage, and the wide black riband, falling from the tortoise-shell- rimmed glasses, is set like a bar across his face. Significantly le Brocquy moves towards whiteness, the full majesty of paint, as the poet moves towards wholeness, definition. But with friends, Yeats could still display the full battery of his moods, changing from rage to affection, from solemnity to boyishness, in a single instant, like sun chasing shadow across a West of Ireland field. For behind the silver-haired Senator, the majestic black hatted Nobel Prize winner, with his carefully rehearsed gestures, is still the young poet, the spiritual fanatic in search of truth. Crow, heron, eagle, scarecrow, le Brocquy dwells with wonder on the changing roles of Yeats; but my supreme favourite among these psychic portraits, these attempts to show how the spirit speaks and shines through the casket of the brain, the exposed or retreated eye, the chosen regalia, is one which combines the earlier and later selves (No. 3). The eyes are lifted triumphantly above the glasses, the lips are widening to smile, the hair is in disarray; this man has lived a strenuous life of achievement, has glimpsed truth and is not afraid of death: his ''ancient glittering eyes are gay''. We acknowledge our thanks to the late John Montague who had granted us permission to reproduce his preface to catalogue ‘Louis le Brocquy. A Ia Recherche de Yeats’ which had included this piece.

EMMA CIARDI (ITALIAN, 1879-1933) THE MEETING Signed and dated 1912, oil on canvas 70cm x 59cm (27.5in x 23in) Exhibited: The Leicester Galleries 1913, no 17 Note: Emma Ciardi's work typifies the wistful spirit of a particularly poignant period in the history of European culture. Born in Venice in 1879 into a family of artists, Ciardi studied under her father, the distinguished Italian realist artist Guglielmo Ciardi, an associate of the proto-impressionist Macchiaoli painters, who specialized in views of the Venetian lagoon, Lombardy and the Veneto. In her late teens, along with her brother Beppe, she took up painting professionally and exhibited for the first time in 1900 at the age of 21 at both the Universal Exhibition in Paris and the Promotrice in Turin. Three years later Ciardi showed for the first time at the Venice International Exhibition, where she would subsequently exhibit regularly until 1932. In 1905 she won a gold cup at Munich, taking another at the 1915 San Francisco Exhibition, where she showed alongside her brother and her father. Ciardi's favoured subjects were the north Italian landscape and the great villas and gardens of her home town of Venice. Although in composition and subject matter her work was influenced principally by Guardi and Longhi, her technique was in a style of highly textured impressionism using a palette which recalled Whistler, Monet and John Singer Sargent. Gradually however, she came to specialise in the neo-18th-century genre scenes of which the two works now on offer provide fine examples. Venice, in the halcyon days of the Belle Epoque before the Great War, was a charmed place, drawing to its palazzo society the aristocracy and gilded youth of Great Britain, Europe and America. The city's magic was sustained by the novels of Edith Wharton and Henry James and in the work of such painters as Sickert, Mortimer Menpes, Frank Brangwyn, and William Merrit Chase. But above all it was Sargent who captured the spirit of the place, his numerous, highly commercial Venetian views possessing, as one reviewer remarked 'the intensity of a dream'. The same might be said of Ciardi's works of the time which, less academic, were also deliberately fanciful in their chocolate box evocation of an imagined Roccoco arcadia. Ciardi perfectly perpetuated the mood of hedonistic escapism, her romantic fetes galantes mirroring the vogue for 18th century costume balls typified by those thrown by city's Grand Dame, the flamboyantly eccentric aristocrat the Marchesa Luisa Casati. Their enormous popularity was demonstrated by the success of Ciardi's first solo exhibition in 1910 at London's celebrated Leicester Galleries, which was followed by a second there in 1913, at which both of these paintings were shown. After the Great War, as the lure of Venice once again offered an escape from the tragedy of the real world, Ciardi was again in the ascendant and, during the 1920s, she received great acclaim in the USA, with numerous shows at the Howard Young Gallery in New York. Further successful exhibitions were staged in London by the Fine Art Society in 1928 and 1933. Emma Ciardi died in Venice in 1933 and two years later was celebrated with a retrospective at the fortieth Venice Biennale.

David TinkerThe Magic MoundOil on boardInscribed versoArts Council of Great Britain Welsh Committee label verso76 x 54.5cm ***Artist resale rights may apply to this lot*** CONDITION REPORT: David Tinker was one of the stars of the Welsh Group’s 50th anniversary retrospective at the national museums and galleries of Wales. In 1956, he was co-founder of the radical exhibiting co-operative 56 Group Wales, acting as chairman of the Welsh Group for 15 years. At Cardiff, his students had included Sir Anthony Hopkins and the painters Ivor Davies and Professor Glyn Jones. In 1962, he moved to the University College of Wales, Aberystwyth, leading its growing art school until his retirement in 1986. Tinker sat on the Welsh Arts Council’s art panel and the executive of the Contemporary Art Society for Wales. Examples of his work are held by the Arts Council of Wales and the National Gallery in Cardiff. He was awarded the Queen’s Medal for Art in 1977.

A collection of magic lantern slides, photographic plates, thermometers etc

A Victorian mahogany and japanned metal lecturer's double-magic lantern, 73cm high, c. 1890

A 19th century French vernis Martin stereoscope viewing card box, as a book, decorated in the 18th century taste with pastoral vignettes in Rococo framework, 18.5cm high, c. 1880; a collection of Magic Lantern slides, various subjects, including Italian Grand Tour, etc

Kunisada I (1786-1864), by and after, Bandō Shūka I as the Servant Meshitsukai Ohatsu, script and seal marks, theatrical coloured woodblock print, [Published 1855], 35.5cm x 25cm, collector's MS label to verso; others, Asao Yoroku II as Yosobei and Kawarazaki Gonjuro I as Son Yonosuke; The Yugao Scene from Inaka Genji, from the Series "Eastern Magic Lantern Slides in Edo Purple, 1847-1852; another Japanese coloured woodblock print, possibly Hiroyuki Kataoka (4)

Ancient Egypt - Art, Architecture, Medicine, Mythology & Miscellaneous - Richards (Janet), Society and Death In Ancient Egypt, Cambridge University Press, Cambridge 2005, h/b, d/j, 4to; Assman (Jan), Death and Salvation in Ancient Egypt, Translated from the German by David Lorton, Abridged and updated, Cornell University Press, Ithaca & London 2005, h/b, d/j, 8vo; Lefebvre (Gustave), Romans et Contes Égyptiens de l'Époque Pharaonique, Traduction Avec, Notices et Commentaire, Librairie d'Amérique et d'Orient, Paris 1949; Pinch (Geraldine), Magic In Ancient Egypt, British Museum Press, London 1994; Robins (Gay), The Art of Ancient Egypt, British Museum Press, London 1997; other British Museum Press title; other academic presses; large White Star Publishing Egyptology photograph books, various titles, h/b, d/j, crown folios; Fletcher (Joann), Egypt's Sun King: Amenhotep III, Duncan Baird Publishers, London 2000, h/b, d/j, 4to; other biographies/studies of pharaohs, various; Tombs of Ramesses VI: Plates, Recorded by N Rambova, Photographed by L.F. Husson, modern reprint of the 1954 edition; facsimile papyri scrolls; qty

Gemology - Gordon (Christine), Diamonds The Quest From Solid Rock to The Magic of Diamonds, Page One, [2008/09], red cloth h/b and slipcase, still polythene clad, tall 4to

Pipes - a collection of gentleman's smoking pipes, including a Modernist pipe, by Falcon, curved shaft; another, straight shaft; Carey Magic Inch; K&P Peterson, various; simulated burrs; others, mid-20th century and later; a 20th century oak circular pipe rack, 12cm high; tobacco pouches; Ronson lighter; qty Condition Report: Generally wear from use over time, including to pipe mouthpieces. Stand good. Lighters not working.

Unique animated cell from the magic flute, together with another similar, approx 17x25cm. The other 20x18cm, both framed and glazed

A boxed Corgi Magic Roundabout playground set No 853

A cased magic lantern together with a boxed transformer and 9 boxes of various slides 200 approx subjects include the suffragettes ruse( 10 slides) ,London views and comical

Box of assorted vinyl LPs and 45 RPMs to include: Principal Edwards Magic Theatre LP, Chubby Checker; The Kinks; Don McClean; Neil Sedaka; Boney M; Eurythmics; The Seekers; Sam Cooke etc. (B.P. 24% incl. VAT)

After Alex Hamilton, Big Cats Over Basrah, limited edition signed print, no.201/230, 42 x 60cm together with, After Nicholas Watts, Sicilian Magic, limited edition print, no.360/500, 44 x 66cm.

A Georg Jensen 18ct yellow and white gold 'magic ring', designed by Regitze Overgaard, the outer ring yellow gold numbered 1314 to band, both with Jensen mark to band, ring size N½, boxed with original black rubber filler, weight approximately 15.8gms

A Panya Boramite bronze figure of a Goddess, Angkor period (12th century) - The Goddess of Wisdom holds a lotus flower in one hand and a Buddha Bible or magic glass in the other - 10.5cm high (not including wooden base)

4th century BC. A pair of gold earrings with central shield decorated with bead wire to the edges; within each shield a series of loops bordered by bead wire; to the centre a rosette consisting of four layers of petals with concave centres and with bead wire edges, with central bead; to the edge of each shield a series of heart-shaped leaves and two layer rosettes with acanthus leaf ornament to the centre; from each smaller rosette a miniature figure of a goddess with hands to breasts and wearing a sheath dress; from the central acanthus leaf is an inverted pyramid pendant with miniature rosettes to each corner and bead wire edge with loops below; to each face of the pyramid a palmette motif in bead wire; granule beads to the base of each pyramid; from each of the heart-shaped leaves on the shield a loop in loop chain joined at the bottom by a rosette from which hangs a ribbed seed-like pendant; wire loop to the back. Cf. Williams, D. and Ogden, J. Greek Gold: Jewelry of the Classical World, London, 1994, p. 181, item 116 for a similar pair from Great Bliznitza, Northern Pontic region. 29.93 grams total, 65mm (2 1/2"). From a European collection; previously in a large American collection formed in Chicago, Illinois, USA, in 1995; previously in the Mansees collection; formed 1950s-early 1990s. Accompanied by X-Ray Fluorescence metal analysis certificate 00921-2017GJ. Disc and pyramid earrings are widely found throughout the Greek world: in addition to the East Greek examples, they have been discovered in the North Pontic region, on Cyprus, in Greece and in South Italy. The East Greek jewellers seem to have been particularly fond of pendants in the form of Nikai, Erotes and female figures. The small pendant images on this earring bear similarities to motifs associated with the so called 'bee goddess' that was popular in Asia Minor and referred to as The Pure Mother Bee in ancient Greece. Honey was regarded as an elixir in Mediterranean societies; a magic potion that ensured a long and healthy life. In addition to being an elixir, honey was a healing substance with a variety of medicinal uses due to its antiseptic qualities.This lot is published at the front of section in the printed catalogue. [2] Extremely fine condition.

20th century AD. A glazed ceramic squat jar with chamfered and everted rim; the sidewall painted with scenes depicting the Süleymaniye Mosque in Istanbul, and two images of Solomon seated on the magic carpet which transported him from Damascus via Istakhar to Kabil in one night. 373 grams, 10.5cm (4"). Ex central London collection; acquired in London, UK, in the early 1980s. Fine condition, rim abraded.

19th century AD. A silver amulet in the form of a sprig of rue with three branches further subdividing to two stalks on each; at the end of each stalk is a symbol comprising: a hand making the mano fico sign, and hand holding a dagger, a snake, the crescent moon with face, a heart, key, rose and cockerel; with three lobed suspension ring. 12 grams, 70mm (2 3/4"). English private collection; acquired in the 1970s. The cimaruta is a very old charm rooted in the lore of the Old Religion of Italy. Like many of the lasting ancient symbols and beliefs the cimaruta design eventually took on symbolic elements of Catholicism. One example of a Christian addition to the design is the appearance of 'the sacred heart' of Jesus. The word cimaruta literally means 'a sprig of rue', a herb that is highly featured in Italian magic and lore.The branch of the rue is divided into three stems symbolising the triformis goddess Diana. Rue is one of the sacred herbs of this goddess. Various charms appear on the rue design and each one bears its own meaning. The primary symbols are the moon, serpent, and key.These represent the goddess in her triple form as Hecate (the key), Diana (the moon) and Proserpina (the serpent"). This ancient grouping of the goddess appears in the ancient writings of such figures as Lucan. Ovid and Horace also feature the goddess Diana in their writings related to witchcraft. These amulets were mostly produced from the late 18th century up to the present day in Naples, South Italy, where belief in the Evil Eye has remained strong. [No Reserve] Very fine condition.

Corgi Toys The Magic Roundabout train set with selection of figures, no box, along with a Deans plush toy of a monkey, (2).

CLASSICAL - UK 1ST STEREO EDITIONS - Terrific selection of 2 x sought after 1st UK stereo edition works. Titles are Don Juan with The Cleveland Orchestra conducted by George Szell performing Don Quixote (Strauss) (SAX 2495 turquoise/silver - very clean Ex condition with a light surface mark on side 2, -1/-4 matrix/very strong Ex 'Magic Notes' sleeve with very faint staining on the reverse, a fantastic copy) and Bizet - Carmen (ASD 331-333 - clean Ex records, with libretto and additional insert/VG+ outer box light wear to the reverse, original company inners and 'Stereophonic EMI Recording' sticker).

12" SINGLES / DANCE /INDIE / POP - Super clean collection of 12" singles, remixes ,colour/picture discs and classics, almost entirely at Ex/Ex+. To include approx 80x titles with artists from: Bryan Adams + Tina Turner, Paul Young, Yellow Magic Orchestra, Sparks, Japan, Howard Jones, Big Country, Human League, Enigma, Rolling Stones medley, Talk Talk, Iggy Pop, Thompson Twins, Art of Noise, OMITD, Bowie, Blancmange, Simple Minds and loads more.

CLASSICAL - UK STEREO FIRST EDITIONS - Terrific set of 2x original stereo pressing LPs. Works are: Christa Ludwig with Otto Klemperer performing Wagner / Brahms (SAX 2462, turquoise/silver, fantastic Ex+ condition, clean Ex "magic notes" sleeve, with name in pen on reverse) and Ernest Ansermet performing Stravinsky: Symphony in C (SXL2237 ED1 original recording by, Ex+ record once again very few markings, Ex sleeve with some minor ringwear to reverse and name in pen).

QUEEN - PICTURE SLEEVE 7" - 'TIME WARP' - An unheralded selection of 17 x picture sleeve/picture disc 7" presented in 'final upgrade' condition. Titles are Friends Will Be Friends (QUEEN 8), Who Wants To Live Forever (QUEEN 9), A Kind Of Magic (QUEEN 7), I Want It All (QUEEN 10), Breakthru (QUEEN 11), One Vision (with printed inner), The Invisible Man (QUEEN 12), Innuendo (QUEEN 16), The Miracle (QUEEN 15), Mercury - Time (EMI 5559), The Great Pretender (R 6151), Interviews with Brian May And Roger Taylor (picture discs x22), (May) - Driven By You and The Cross (x3) - Shove It!, Cowboys And Indians and Manipulator. Condition is Ex+ to archive throughout. Don't miss this!

THE QUEEN ARCHIVE - Going the full works with this outstanding collection of 27 x LPs, 12" and 7" records, often presented in superb condition. LPs include The Miracle (PCSD 107 - Ex+/Ex+ with printed inner), Live Magic (EMC 3519 - archive copy with printed inner), Hot Space (EMA 797 printed inner - Ex/Ex+), A Night At The Opera (EMTC 103 - Ex/Ex+ or archive sleeve with printed inner), (Taylor) - Stranger Frontier (Ex+/Ex+ with printed inner), (Mercury) - Mr Bad Guy (CBS 86312 - Ex+/Ex+ printed inner, The Works , Queen I and II, Sheer Heart Attack, A Day At The Races, News Of The World, Jazz (with poster and Greatest Hits. Also to include It's A Hard Life (12 QUEENP 3 picture disc), (May) - Star Fleet Project, I Want To Break Free, I Want It All and Love Me Like There's No Tomorrow (Mercury). Condition is largely Ex to Ex+ with archive condition records included.

QUEEN - UK VINYL RARITIES - 4x UK issued rarities to include Queen on Fire Live at the Bowl (7 24386 32111 4, Ex+/VG+), a sealed copy of Night at the Opera (0 094633 847811), A Kind of Magic picture disc (0 77774 62672) and a cream 'Made In Heaven' (UK PCSD 167, Ex+).

QUEEN - A KIND OF MAGIC NZ ISSUE- Sought after orange NZ issued 'A Kind of Magic' with gatefold sleeve. Cat number is EMC 3509 and disc looks Ex+, with sleeve also very clean at VG+.

QUEEN - VIP PASSES - Bundle of laminated VIP/CREW/AAA passes from shows. To include Summer Tour 1977, The Magic Tour 86, Ottawa Civic Center stage pass plus a laminated cheque for $6000 from the bank of Dallas from Feb 25th 1977 presumably for ticket sales from the Texas shows of that year.

QUEEN PICTURE DISCS - pack of 9 to include "At Live Aid" (LR001), Live in Leiden (with COA and poster), Queen I (Canada), Queen II (EMA767-P), We Will Rock You (one sided - Japan), Night At THe Opera (EMTC103P), 1973 & 1977, Highlander and Live Magic (French).

QUEEN KOREA LP'S - great pack of 20 LPs from Korea and South Korea to include multiple News of The World (sleeve variants), Queen Live, Night At The Opera, Greatest Hits (sleeve variants), The Works, Best of Queen, Jazz, The Game (sleeve variants) and Kind of Magic. Generally VG to Ex+ condition.

QUEEN PICTURE DISCS - pack of 13 picture discs and coloured vinyl to include Sheer Heart Attack (Mexico), Breakthru shaped, Invisible Man clear vinyl, It's A Hard Life, Kind of Magic 12", Headlong Clear vinyl, You Don't Fool Me (grey), At the BBC (US), Kind of Magic LP, Greatest Hits (Bulgaria PD BTA 11253), Queen I (2 copies - one green and the other on clear vinyl - Both Czech pressings), and Queen II (clear vinyl - Czech). Generally Ex to Ex+ condition.

QUEEN - A KIND OF MAGIC SIGNED - 1986 test pressing copy of A Kind Of Magic signed by all members of the band in marker pen, which were sent out to record execs. Possibly only 30-40 of these exist! Sold with a COA from Sound Machine and has also been authenticated by Roger Epperson prior to entry to this sale.

THE VELVET UNDERGROUND & LOU REED - Loaded collection of 12 x original title and early pressing LPs! Titles are Loaded (original UK pressing '2400 111' space in catalogue number on the plum Atlantic labels A1/B1 - clean Ex/VG+), White Light/White Heat (original US East Coast 1st stereo V6-5046 with 'Three Prong Music' and 'skull tattoo' hologram sleeve - Ex/VG+ a clean copy), Lou Reed S/T (SF8281), Rock N Roll Animal, Transformer (LSP 4807 in shrink), Berlin, Rock And Roll Heart, Lou Reed Live, Street Hassle, Magic And Loss, New York and Coney Island Baby. Condition is generally VG+ to Ex.

CLASSIC ROCK LPs - Diverse collection of 27 x LPs. Artists/titles include David Bowie (x2) - Aladdin Sane (RCA Victor UK RS 1001 3T/3T - Ex/VG+) and Space Oddity (UK RCA Victor orange labels LSP 4813 - Ex/VG+ w/printed lyric inner), Queen - A Kind Of Magic and Live Killers, Fleetwood Mac - Rumours, Tango In The Night and Tusk, Yes - Fragile, Genesis - Duke and Trespass, ELP, Osibisa, Barrence Whitfield & The Savages, The Pattersons and Peter Gabriel (solo). Condition is generally VG+ to Ex.

QUEEN - FAN CLUB MEMORABILIA - Great lot to contain an official fan club binder containing the 1977 Day At The Races tour programme, 5x official Queen fan club biographies and 27x issues of the official fan club magazine. Lot also includes framed print of 'It Was a Kind Of Magic' signed by artist Trevor Horswell, measuring 45cm across by 58cm high and a framed 'Queen Series 2' original ltd edition film cells #40 of 1000 and measuring 49cm across by 47 high.

CLASSICAL - EARLY UK STEREO LPs - Wonderful trio of works with these early UK 1st and 2nd edition pressing LPs. Titles are Maria Callas - Portrays Verdi Heroines (1st UK pressing SAX 2293 turquoise/silver - Ex+ one or two extremely fine and wispy markings/Ex original 'Magic Notes' sleeve with rather light wear to the laminate, with Musical Centres Of The World inner), Sir Thomas Beecham with Royal Philharmonic - Beethoven Symphony No. 2 (1st edition ASD 287, side 1 Ex+, side 2 VG+/clean Ex) and Klemperer - Beethoven Pastoral No. 6 (2nd edition red label semi circle record SAX 2260 - Ex/Ex 1st edition sleeve).

HOUSE/JUNGLE/TECHNO/HIP HOP - Get the floor spinning with these (around) 120 x 12". Artists to include Dave Clarke, Carl Craig, Todd Edwards, Omni Trio, Wax Doctor, Johnny Fiasco, Peter Presta, Hackney Harcore, The Advents, Adam Beyer, Bobby Condors, DJ Suv, The Dream Team, Mike Pung and Ray Keith. Labels include Basement Records, Moving Shadow, Empire State, Strange Fruit, Champion, Bush, Bell Boy, V Recordings and Disco Magic. Condition can vary though many titles will grade between VG and Ex.

NEW WAVE/PUNK/POP/INDIE 7" - Ace collection of around 350 x 7" - great quality titles but please note some of the picture sleeves may have radio station stickers on them. Artists include The Sugarcubes, Sparks, The Damned, The Vibrators, OMD, Jesus And The Mary Chain, The Beat, Yellow Magic Orchestra, Flamin' Groovies, Ian Dury, The Pogues, The Cure, Skids, The Jam, The Spizzles, Alternative TV, The Adverts, Sham 69, Honeybone, Sex Pistols, The Clash, Altered States, James, Cocteau Twins, Echo & The Bunnymen, Neon, Lush, Magazine, JJ Burnel, Psychedelic Furs, The Members, John Foxx, Flying Lizards, Big Audio Dynamite, The Ruts, Angelic Upstarts, Iron Maiden, Zero G, The Undertones, Elvis Costello, Metroz, Agony Column, The Selecter and Furtive Winks. Condition is generally Ex to Ex+.

SOUL/FUNK/DISCO - Movin' collection of 46 x LPs and 12". Artists/titles include Funkadelic - One Nation Under A Groove (US BSK 3209 no bonus), The Gladiators - Proverbial Reggae (Front Line FL 1002), Symarip - Skinhead Moonstomp (TBL 102 original UK, a good starter copy), Parliament, Tyrone Davis, Brass Construction, Otis Redding, Magic Sam, Ike & Tina Turner, Bobby Womack, Staple Singers and Jesse Johnson. Condition is generally VG to Ex.

CLASSIC ROCK LPs - Great collection of around 70 x LPs. Artists/titles include Queen inc. A Night At The Opera, A Kind Of Magic, Flash Gordon and Jazz, Fleetwood Mac - Mystery To Me, Hawkwind - Space Ritual, Genesis, Alex Harvey, Faces, Jack Bruce, The Faust Tapes, Van Morrison, Free, Van Der Graaf Generator, Uriah Heep - Look At Yourself, The Yardbirds, Chris Farlowe, Jackie Lomax, Leonard Cohen, Creedence Clearwater Revival, Roxy Music, Renaissance, Budgie, Rainbow and Jethro Tull. There will be titles grading between VG and Ex though some others can vary.

QUEEN - PICTURE DISCS - Fantastic lot of 7x Queen picture and shape discs to include; I'm Going Slightly Mad (QUEEN PD 17), The Invisible Man (12 QUEENX 12), Headlong (12 QUEEN PD 18), Innuendo (Explosive Version) (12 QUEEN PD 16), It's a Hard Life (12 QUEEN P3), Breakthru (QUEEN PD 11) and A Kind of Magic (12 QUEEN P 7). Condition is generally Ex to Ex+ with most looking unplayed.

A selection of vintage volumes and childrens books including Farmyard Family 1895 Animal magic Harry Frees etc

Original vintage London Transport travel poster Flowers. Flowers at parks are sometimes a race apart - they seem so much better than our own and theirnurturing and naming more magic than culture. From Spring to late Autumn the living flower shows of London's civic gardeners are free to all - they deserve our notice and enjoyment... We suggest therefore that Kew is not merely for country cousins, that Regents Park is for gardeners as well as scullers and zoologists, and Londoners would do well to rediscover the Flower Walk in Kensington Gardens and find new floral pleasures in such little known ones as Hendon's Golden Hill and Streatham's Rookery... Some suggestions to horticulturalists (both Latin and English speaking). Chiswick House Grounds... Dulwich Park... Golders Hill Park... Gunnersbury Park... Hampton Court Gardens... Kew Gardens... Queen Mary's Gardens... The Rookery, Streatham Common... Southwark Park... Terrace gardens, Richmond... Waterlow Park... by London Transport. Good condition, tears on margins, small paper loss on the image. Country: UK. Year: 1952. Designer: William Fenton. Size(cm): 101.5 x 63.5

A steel 'Magic Lever Cork Drawer' and a combination of champagne bottle opening tools by W Marples & Son Co of Sheffield (2).

ENSIGN OPTISCOPE NO.6 ELECTRIC MAGIC LANTERNwith Aldis Uno Projection 10" lens, contained in a travel case, 32cm high; along with a box containing glass slides

EARLY 20TH CENTURY JANUS-EPIDIASKOP MAGIC LANTERNby Andrew H. Baird, Edinburgh, with electric lamp and fittings, approximately 54cm high; along with a large quantity of slides

POSTCARD ALBUM - ISLE OF MAN including GB content, Leicester, Coventry (including Courtauld's Chimney), South Parade Bath, Douglas Isle of Man (Seaman & Co, Storms, Pier, Miniature Railway etc), Port Soderick, Hunstanton, Mountain Ash, Aberystwytyh, Llandudno and many more. Also with Trains (London and North Western, Royal Train 1887, Railway Bridge Colwich, Walsall Station, etc), Ships (SS Magic, Duke of Connaught, Princess Maud, Galtee More, HMS Buzzard, Isle of Man Steamer etc), Actresses, Comic Cards etc.

A Portmeirion 'Magic City' coffee service of 16 pieces

Original boxed Etch-a-Sketch magic screen and a boxed Spirograph

A good collection of used Games Workshop and war gaming figures and accessories to include boxed Dragonlance, Advanced Heroquest, Parker Dungeons & Dragons, Warhammer Space Hulk, Blood Bowl plastic figures, Battle Magic, Dark Elf Warriors, Warhammer books etc.

Britains and others playworn Pre -War Lead Figures, Including British and French troops, cavalry and Highland Regiment, together with a Dinky Whiteley bomber, and Britains farm animals and accessories and a number of Mickey Mouse magic lantern slides, P-F, Qty

1969 Rolls-Royce Silver Shadow MPW Two-Door Saloon- 1 of just 606 made - Professionally re-modelled to 'Bentley' specification by Royce Engineering some thirty years ago- Less than 76,000 miles from new and MOT'd till next AugustThe Shadow's arrival in 1965 was none too soon and did much to reverse the notion that Rolls-Royce was falling behind the times. It resulted in many firsts for the company, including: unitary construction rather than separate body/chassis units, disc rather than drum brakes and independent rear suspension. Though shorter and narrower than the Silver Cloud III it replaced, the John Polwhele Blatchley-penned Shadow nevertheless possessed greater space for both luggage and passengers and certainly boasted far more contemporary looks. At launch it was powered by a 172bhp V8 engine of 6230cc, though this was enlarged to 6750cc during 1970. Early cars employed the same GM automatic transmission as the Silver Cloud, but this was superseded by the much vaunted Turbo Hydramatic system from 1970 onwards. The car's famed 'magic carpet' ride was achieved courtesy of a high-pressure hydraulic system licensed from Citroen. Initially it featured self-levelling at both ends, but this was deleted from the front in 1969. A two-door Saloon variant with coachwork by Mulliner Park Ward was made available from 1966, just 606 examples of which were produced before the model morphed into the Corniche in 1971.On behalf of a valued client, this decidedly handsome Mulliner Park Ward two-door Saloon was converted from a Rolls-Royce into a Bentley 30 years ago, by marque specialist Royce Engineering. It is presented in its original livery of Regal Red coachwork, Beige hide upholstery and Red carpets. The vendor presently classes the V8 engine and automatic transmission as 'excellent' and the bodywork, paintwork and interior trim as 'very good'. The indicated mileage of 75,800 is apparently confirmed by the old MOTs that accompany the car, along with the driver's instruction manual, original tools, and even the emergency window winder handle; plus a current MOT certificate valid until August 18th 2018.PLEASE NOTE: All estimates are subject to a buyer's premium of 16.2% incl. VAT

20th Century French School. "Black Magic", Mixed Media, Indistinctly Signed with Initials, with Certificate on the reverse, 25.5" x 19".

A PORCELAIN GROUP OF THE MAGIC FLUTE, 23CM H, SECOND HALF 20TH C