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Lot 1
Tolkien (J.R.R.). The Fellowship of the Ring / The Two Towers / The Return of the King, 1st ed., pub. George Allen & Unwin, 1954/5, Richard Adams's copy, with his ms. ownership signature and bookplate to each vol., and a few pencilled annotations in his hand, folding map to each, a.e.g., recent scarlet crushed morocco for Asprey, with orig. cloth covers bound in at rear of each vol., spines with gilt dot dec. raised bands, gilt lettered direct on a seme dot ground in second and third compartments, remainder with art nouveau flower tool surrounded by seme dots within double fillet frame, covers with gilt single fillet border, inner dot-filled double fillet border, with stylised flowers at corners, central single fillet panel filled with dots and roundels, with scabious flower at centre of each side, single fillet to board edges, gilt dec. turn-ins, 8vo. With six pages of important manuscript notes by Richard Adams, in which he pours out his thoughts about Tolkien's work and compares it to his own, in a free-flowing hand, with numerous additions and underlinings. He calls Gollum a marvellous conception... the awful, unacceptable outsider, who nevertheless is of huge value, and compares him to others who he sees as similar figures, such as Van Gogh, Shelley, Nelson, Emmeline Pankhurst and John Wesley. He goes on to say that Tolkien did not influence his own work, but changes his mind as he writes: I dont care for Magic and dont resort to it at all... I cant think of any respect in which Tolkien has influenced me. Afterthought. What about The Girl in a Swing?Ó Supernatural. M.R. James?. Adams expresses his disappointment that there are only two female characters in Lord of the RingsÓ - Galadriel and Eowen - neither of whom, he says, exactly represent real Womanhood: (Im sure that Women's Lib. dont care for the overwhelmingly masculine tone of the conflict and the characterisation.) Ask Germaine Greer?Ó (And Watership DownÓ has been criticised for this. But the whole W.D. story hinges on the necessity of the female to a true society.) Adams concludes that his feelings about Lord of the RingsÓ echo Dr. Johnson's about Paradise LostÓ: No man ever wished it longerÓ. (3)
Lot 1
Del Rio (Martin Antoine). Disquisitionum magicarum libri sex in tres tomos partiti... Nunc secundis curis auctior longe, additionibus multis passim insertis: correctior quo[que] mendis sublatis, 2nd ed., Mainz: Johann Albin, 1603, three parts in one with eng. vign. border to general title, (spotted and somewhat soiled with old ownership name of Bloutn at upper margin), some spotting or light browning throughout, lacks folding table, ex libris Prinknash Abbey, contemp. calf with old reback, covers and title det., some wear, folio. This famous book, first published at Louvain in 1599, deals with magic in general, diabolical magic, maleficia, prophecy and divination, rules for judges, function of the confessor. (1)
Lot 1
Records - Grapefruit, 'Around' (Stateside, SSL5008); Chicken Shack, 'O.K. Ken?' (Blue Horizon, 7-63209); Chicken Shack, 'Forty Blue Fingers...' (Blue Horizon, 7-63203); The Mothers of Invention, 'Absolutely Free', mono (Verve, VLP9174); Captain Beefheart and his Magic Band, 'Safe as Milk' (Pye, NPL28110); and assorted other albums and singles, (two cases and a box).
Lot 1
Pop and Rock ephemera, programmes etc. including early Rolling Stones souvenir brochure published by J K Smith, another - The Sensational Rolling Stones (Robert Stigwood Associates Ltd.), The Beatles Get Back 1969, The Beatles Illustrated Lyrics 1969;The Beatles Christmas Show Souvenir Programme 1963-64; Elton John World Tour 1985-1986 and The World Tour 1989-1990, Elton John Sotheby's London sale 4 catalogue boxed set (unopened in original plastic seal); Queen A Kind of Magic Tour 1986 brochure, Michael Jackson World Tour 1988 brochure; few older song sheets, etc (a box, condition varies)
Lot 1
Magic and Conjuring, 12 volumes: HOFFMANN, Professor. Tricks with Cards, 1889; Modern Magic, second edition (?); The Secrets of Stage Conjuring, 1881, all in good pictorial cloth gilt; The Secrets of Conjuring and Magic, 1878, split to front endpaper along hinge, a.e.g. in somewhat worn cloth; The lllustrated Book of Patience Games, 4th edition 1902, cloth with rubbed spine; More Magic, 1890, ex Magic Circle Library with stamps and worn half binding; Later Magic, 1925, worn cloth, and 5 others later (12)
Lot 1
Harold Knight, R.A., 1874-1961 harvesting the sea signed and dated 1900 oil on canvas 135x175cm.; 53x69in. How little do we realise the cost of herring on our breakfast plate! For such realisation it is necessary to experience the relentless battering of an equinoctial gale. In late September and early October, the herring shoal, in its tour around England, passes the Yorkshire coast. It is then that a fleet of Herring Cobbles, caught unaware in the North Sea, has short shrift to get back to shore through the white water breaking on the reefs, whose shallows run further than the horizon line. A (wildified) place is Steers as the locals called Staithes. (Laura Knight, The Magic of Line, 1965, p. 107) In 1895 Laura Johnson and her future husband Harold Knight visited the rugged Yorkshire coastal town of Staithes and were truly captivated by the landscape and its people. After their return to London Laura and Harold discussed the prospect of moving permanently to Staithes and after marrying in 1903 they resided there for fourteen years. The previously unremarkable town of Staithes had been popular with artists since the 1880s. It had attracted painters from the Midlands and the North who wanted to paint similar subjects to those favoured by the plein air painters in Newlyn. Laura summed up the freedom offered by this little town, As long as I can remember I wanted to run wild in a broader life, away from factories, miles from houses in rows, dressed-up shops and the gentility of town where no one knows what their neighbour enjoys or endures. Here in Staithes we share each others joys and sorrows. (Caroline Fox, Dame Laura Knight, 1988, p. 12) Following the precedent of the Barbizon and Hague School of painters, artists in Staithes sought to paint the everyday life of the working class residents. Harold and Laura both developed a great admiration and fascination with the hardiness of the fisher-folk of whom Laura wrote the majority of its people, both man and woman, dedicated to toil of the hardest as they were, and knowing tragedy at first hand. (ibid Knight, p. 107). They believed the fishermen to be the descendants of a Viking race whose ship foundered on the shores and never left, a belief augmented by the sight of one particular example; a majestic figure Ð six foot tall or more, his shoulders and chest enormous, his features aquiline, his pointed beard red; his eyes are the sort of blue that has a special look Ð a sea-eye look one used for big distances Ð his skin is bronzed by the sun and toughened by wind and salt water. (ibid Knight, p. 109) These mortal Poseidons were the models for the small number of dramatic pictures painted by Harold to convey the brutality of the sea and the strenuous courage of the men who worked upon the herring cobbles. Another of these men was Argy (Isaac) Verrill who the Knights befriended and were permitted to accompany to sea in his old cobble. They would often sit around his fireside eating Herring toasted by his daughter Anna-Margaret and listen to his stories of near-death and to his mighty singing voice. It is likely that Argy posed for the present picture and one or more of the other figures, is probably another fisherman friend Mattie Theaker or John Jones. The present view captures the toughness of the Staithes fishermen and the strenuous work as they toil against the ocean. They are dressed in the clothes that Laura described thus; Bleached by weather and sea-water are the garments worn by both women and men. As for the mens trousers Ð never was such a variety of colour found as in the numberless patches. (ibid Knight, p. 109). The pictures painted by Harold Knight in Staithes are rare although several were exhibited at the Royal Academy between 1900 and 1904, including The Last Coble of 1900, Evening, Staithes of 1901 and Unloading Herrings, Scarborough of 1902. A small picture of a similar subject entitled Staithes Pier was sold in these rooms, 9 November 1988, lot 4. By 1905 K
Lot 495
Jefferies (Richard). Bevis, the Story of a Boy, 3 vols., 1st ed., Sampson Low, 1882, half-title to vol.1 (as issued), 32pp. ads. at rear of vol.3, occasional light browning or spotting, hinges to each vol. broken with entire contents loose inside, vol.2 lacking all leaves prior to B1 (p.1), bookplt. to each front pastedown with evidence of removal of earlier label from pastedown of vol.1, orig. brown dec. cloth gilt, rubbed, some wear to edges, 8vo, together with Wood Magic, A Fable, 2 vols., 1st ed., Cassell, 1881, half-title to first vol., ads. at rear of second, hinges cracked with upper hinge of first vol. entirely broken, orig. green dec. cloth gilt, rubbed, some wear to spines, 8vo (5)
Lot 740
* Cartes-de-visite and cabinet cards. A miscellaneous group of albumen print cards, 19th-century,. including many of actresses, together with two partially filled albums, one of which contains photographic reproductions of the Russian royal family, together with a group of approx. 250 magic lantern slides contained in two wooden slide boxes, and mainly relating to geological subjects including the Severn Bore plus a gelatin silver print portrait of Queen Elizabeth II and Prince Philip, approx. 24 x 17 cm, mounted, signed and dated in facsimile on mount beneath, contemp. morocco desk frame with slightly broken stand (a carton)
Lot 1
A quantity of Victorian magic lantern slides including seventeen of tableau form and various single slides, some in sets or part sets, including; 'Dick Whittington', 'Puss in Boots', 'Jim and his Charges', a photographic story in three boxed sets, 'Our Lifeboat Men' and 'The Dogs and Monks of St.Bernard', together with a Bear's Eclipse single lantern slide carrier and two handle turn kaleidoscopes.
Lot 1
A set of 5 "Magic" postcards by Rose & Coop, each with red and green "lens" which when detached from the card can be used to see two different images on each card, with original envelope; a similar advertising card for HP sauce; a booklet of Living Pictures of RMS Queen Mary with spectacles and other novelty 3D postcards, good
Lot 1
An Ernst Plank nursery film projector of simple metal construction with original lens and turning handle to one side; another smaller German made projector; three tins of British made Toy cinema Films including "The Parting Guest" two unboxed reels of film; a collection of wooden framed colour printed magic lantern nursery slides and some smaller similar slides
Lot 1
Ricci (Franco Maria, pub.). Tarots, the Visconti Pack in Bergamo and New York, Critical Examination by Sergio Samek Ludovici, Text by Italo Calvino,1975/Arcimboldo, text by Roland Barthes, with an Essay by Achille Bonito Oliva, 1980, both with numerous mounted col. plts., patterned endpapers, orig. cloth gilt, with col. illusts. mounted to upper covers, contained in orig. cloth solander boxes, folio, (limited edition, 1534/3000 and 366/3000 copies respectively, both signed by the publisher), together with Heath (William, illust.), The Beauties of Washington Irving, 1st ed., 1825, six hand-col. etchings, occn. light foxing and browning, orig. floral figured cloth, spine label chipped, upper joint split, and cover becoming detached, 12mo in 6's, plus Cruikshank (George, illust.), The Good Genius that Turned Everything into Gold or The Queen Bee and the Magic Dress, A Christmas Fairy Tale by the Brothers Mayhew, 1st ed., 1847, four etched plts., letterpress engs., occn. light foxing, endpapers renewed, orig. blindstamped cloth gilt, rebacked, sm. 8vo, plus Gilbert (W.S.), "Gretchen." A Play, in Four Acts, 1st ed., 1879, red edges, bookplate of Eric S. Quayle, orig. bevel-edged cloth, sl. rubbed and marked in places, 8vo, plus others similar (11)
Lot 1
Waite (Arthur Edward). The Book of Black Magic and of Pacts, including the Rites and Mysteries of Go‘tic Theurgy, Sorcery, and Infernal Necromancy, 1st ed., 1898, eng. frontis., and nine plts., letterpress illusts., scattered light foxing, half-title and endpapers browned, orig. bevel-edged cloth, rubbed and soiled, 4to (1)
Lot 1
[Gough, Richard]. British Topography, 2 vols., 1780, seven eng. plts. only (of 9), some folding, water-stained throughout, contemp. diced russia gilt, worn, with upper covers detached, 4to, together with other miscellaneous books, incl. Curiosites of London, by John Timbs, new ed., pub. John Camden Hotten, c.1880s (in Dulwich College prize binding), The New Woodcut, by Malcolm Salaman, pub. The Studio, 1930, plus others various, incl. costume, illustrated, art reference, bindings, and twenty-three volumes of King Penguins, incl. Magic Books from Mexico, etc. (2 cartons)
Lot 1
An Italian sculpted white marble model of a maiden personifying Night, after Michelangelo Buonarroti's Tomb of Giuliano de' Medici, late 19th century, portrayed wearing crescent moon corona and reclining amongst drapery, an owl beneath her raised left knee, on an architectural base, 45.5cm high, 61cm wide. The iconography of this work is more complex than it might at first seem. The figure wears the half moon crown usually associated with Diana the Huntress. This accoutrement though is indicative of the Moon and therefore Night, another and lesser known of Diana's associations. (Luna, Goddess of the Moon was associated with Diana by the Romans). The mask beneath her is suggestive of the casting off of a disguise to reveal newness behind, as happens with sleep. The owl, whilst usually associated with Athena as a symbol of Wisdom, was in the 16th century more reminiscent of witchcraft, magic and death, and therefore again, Night.
Lot 1
* Magic - Maskelyne and Cooke. Berkeley Castle, January 20, 1870, In Honor of the Visit of His Royal Highness the Prince of Wales, Messrs. Maskelyne and Cooke the Celebrated Illusionists will appear as above in their new and original Entertainment, Entitled, A Grand Melange of Science and Mytery!! Mirthful and Inexplicable Wonders. Programme, Part One. An Exposition of Spiritual Manifestations, a la Daniel Home... , Nevil Maskelyne original decapitation scene... , an illustration of Chinese Jugglery... , original Transformation scene... Introducing the Mystic Freaks of Gyges! Or, the Monster Gorilla in his Enchanted Den, printed A. & J.T. Norman, Cheltenham, [1870?],. orig. souvenir programme printed in gilt on blue silk with decorative border, fringed braid with corner tassels, 34 x 26 cm. John Nevil Maskelyne (1839-1917) was born in Cheltenham and descended from the astronomer royal Nevil Maskelyne. As a boy he was a keen amateur conjuror and in 1865 he exposed the famous spiritualists the Davenport brothers as imposters. This led Maskelyne and his friend George Alfred Cooke, a cabinet-maker, to embark on a joint career as professional magicians, their first appearance being at Jessop's Aviary Gardens, Cheltenham on 19th June 1865. They toured the provinces for eight years and eventually took a lease in the Egyptian Hall in Piccadilly where they successfully remained until the buildings demolition in 1904. Maskelyne was also an inventor taking out patents on numerous commercial inventions, including a cash register, a typewriter and his coin-operated lock for public lavatories (1892) which remained in use in England until the 1950s. His son Nevil and grandsons Clive, Noel and Jasper continued the Maskelyne tradition of magic into the 1930s. (1)
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30126 item(s)/page