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Magic Lantern (poor). Megaphone, padlock display Toshiba projector, Ever Ready radio, brass American footballer, etc:- Two Boxes.

An 18ct white gold 'Magic' ring, by Georg Jensen,of coiled court section form, with a knife edge centre, no.1314, followed by enclosed R, '58, fully hallmarked with GJLtd, size Q, 10.5g.

50 Rock and Pop vinyl LP albums including signed examples and private pressings to include: Led Zeppelin (3 albums), Jack White, Duffy Power, Design (fully signed by the band), Al Stewart (signed by Al Stewart), Mick Softley (CBS), Lord Sutch And Heavy Friends (plum Atlantic), Lucifer’s Friend, Deep Purple, Rolling Stones (original unboxed Decca), Animals (original blue Columbia labels), Principal Edwards magic Theatre (Dandelion Records), Johnnie Taylor (Soul City Records) The Hep Stars, Bearfoot Beware, Keith & Donna (US), Coley - Goodbye Brains (numbered), B. Lance, Eric Justin Kaz, Grupo Batuque (double), Dirty Beatniks, Wichita Fall and many others. Condition VG+. 

Vinyl: a collection of 1970s-80s LP albums, mostly Rock and Pop - to include XTC; The White Noise; Steely Dan; Lou Reed; Wings; The Rutles; Sparks; OMD; Roxy Music/Bryan Ferry (x4); Magic Fly; Dan Fogelberg; ELO/Jeff Lynn (x 7); Roy Wood/Wizzard (x 4); Manfred Mann's Earth Band (x 2); Elton John (x 6); 10cc (x 2); The Steve Miller Band; Steve Winwood (x 2); David Essex (blue vinyl); Dave Edmunds (x 3); The Doobie Brothers; Chris White; City Boy; Graham Gouldman; Blue Mink; John Dummer Band; Dave Mason; David Foreman; etc. (approx. 125)

Ella Kowalska M is for Mother, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ella Kowalska Time Traveller, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Zena Blackwell Major, 2025 Oil on linen Signed on Verso 10 x 15cm (3¾ x 5¾ in.)About Zena Blackwell is an award-winning contemporary painter whose work explores themes pertaining to childhood, parenthood and family life. Working primarily in oils, Zena allows the story on the canvas to unfold organically, with her source material ranging from her personal archive of family photos to specifically sought out found images. Education 2021-2022 TURPS Correspondence Course 2010-2011 MFA In Fine Art, Central Saint Martins 1996 - 1999 BFA in Fine Art, Wimbledon College of Art Solo Exhibitions 2022 A Delicate Balance: Solo show at Canfas, Cardigan, Wales 2018 Seen Not Heard: Solo Exhibition at Cardiff MADE, Cardiff, Wales Group Exhibitions 2025 A Dream Within A Dream, Liminal Gallery, Margate, England Intersum, Oriel Canfas, Cardiff, Wales BEEP Painting Biennial, Aberystwyth School of Art gallery, Aberystwyth, Wales 2024 The Walls Between Us, Saatchi Gallery, London, England BEEP Painting Biennial, Elysium Gallery, Swansea, Wales (Winner of the Friends of the Glynn Vivian Award) Rejects, Art Friend @ Stokey Pop Up, London, Englan Y Lle Celf, National Eisteddfod, Rhondda Cynon Taf, Wales Among Women, Vol 1 curated by Occupata, Art Market, Cardiff, Wales Primal: Tribal: Beats, Studio Cennen, Llandeilo, Wales Made in Roath Open, g39, Cardiff, Wales Arcade Campfa Studio Show, Art Market, Cardiff, Wales Breath: Inspire: Spirit at Studio Cennen, Llandeilo, Wales Cardiff MADE Winter Exhibition, Cardiff, Wales 2023 Latent Dreaming: AucArt x SeeFood Room at SeeFood Room, Hong Kong Through the Looking Glass (Aucart Group Show), Fitzrovia Gallery, London, England New Wave, Spitalfields Studios, London, England SOTA Marketplace: Accessible Art Fair, The Lab, London, England Resilience, Cardiff MADE, Cardiff, Wales Human: Nature, Studio Cennen, Llandeilo, Wales Best of the Solo Art Prize winner's exhibition, Cardiff MADE, Cardiff, Wales Awards 2024 Friends of the Glynn Vivian Award, BEEP Painting Biennial 2022 Shortlisted for BEEP Painting Biennial, BEEP 2021 Shortlisted for Summer Exhibition, Royal Academy 2019 3rd Prize at PAINT, PS MIrabel 2017 1st Prize Summer Exhibition, Cardiff MADE Statement About AOAP Submitted Artwork 'Major' is based on a found photograph of a lion by the same name that used to be an attraction at Magic Mountain theme park in California in the 1970s. He was heavily sedated and children would have their pictures taken with him. Generally, my work explores parental anxiety. Lions first started appearing in my work a few years ago, becoming a symbol of danger but also of protection. I also think a lot about the natural world and Man's destruction of it and what the future will look like for our children.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ella Kowalska Yellow, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

A Selection of Ladies and Gent's Wristwatches, including Seiko, Pulsar, DKNY, Rotary, Casio, sekonda, etc, together with imitation pearl bead necklaces, a Ronson lighter and "Magic Lantern Slides" (incomplete) :- One Tray

* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), STUDY FOR OVER THE BRIDGE - HELL FOR LEATHER pencil on paper, signed, titled label versomounted, framed and under glass image size 21cm x 28cm, overall size 43cm x 50cm Label verso: Roger Billcliffe Fine Art, Glasgow.Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), THE LOVERS bronze sculpture on marble base, signed42cm high (including base), 31cm wideNote: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

Bank of Elfland, a note for £100 advertising the performances of Wiljalba Frikell, often known as Professor Frickell, 11 May 1868, serial number W/F 74899, signature of Wiljalba Frikell, bearing more than a passing resemblance to a real Bank of England £100, including the wording and vignette, edge damage at low left, overall fine to very fine and scarce
Outing unlisted £100-£150 --- Wiljalba Frikell (1816-1903) was a remarkable man, and a pioneer of the modern magic show. He is believed to have been the first magician to perform in evening dress, as opposed to the flowing robes hitherto used by all. He lost all his equipment in a fire early in his career and was accordingly forced to improvise a stage show using nothing but his hands, a few small objects and slight of hand. This type of show became his trademark and inspired a lot of modern magic. This note may relate to performance in Greenock as part of his UK tour in 1868.

Bank of Elfland, a note for £5 advertising the performances of Wiljalba Frikell, often known as Professor Frickell, 11 May 1868, serial number W/F 74899, signature of Wiljalba Frikell, bearing more than a passing resemblance to a real Bank of England £5, including the wording and vignette, good very fine to extremely fine, scarce
Outing unlisted £100-£150 --- Wiljalba Frikell (1816-1903) was a remarkable man, and a pioneer of the modern magic show. He is believed to have been the first magician to perform in evening dress, as opposed to the flowing robes hitherto used by all. He lost all his equipment in a fire early in his career and was accordingly forced to improvise a stage show using nothing but his hands, a few small objects and slight of hand. This type of show became his trademark and inspired a lot of modern magic. This note may relate to performance in Greenock as part of his UK tour in 1868.

19TH C. MAHOGANY MAGIC LANTERN STAND, ivorine label stamped 'W. Watson & Sons, manufacturers of High Holborn, London', 86cm (h)Comments: scuffs & wear, minor losses, viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

* Magic Lantern. An Edwardian hanging lantern made from magic lantern slides, the square oak frame with four panels each with five coloured lantern slides, showing children at play, with a steel hanging chain, 36 cm high QTY: (1)

* Morrell (Ottoline, 1873-1938). A large needlework panel embroidered by Lady Ottoline Morrell, circa 1915/16, densely worked all over in bright polychrome silk threads using mainly long and short stitch and french knots, with a profusion of large flowers and leaves, including sunflowers, carnations, tulips, daffodils, and roses, a few loose threads, on a beige cotton ground with machine-stitched centre join, ground perishing in places and expertly consolidated with stitching by The Royal School of Needlework in 2009 (mainly to lower left-hand edge - latter also sustaining a few minor losses to embroidery), brass rings on linen tabs for hanging to top corners, approximately 195 x 173 cm (77 x 68 ins)QTY: (1)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); her daughter Julian Vinogradoff (née Morrell, 1906-1989); thence by descent.An extraordinarily vibrant coverlet, worked by Lady Ottoline Morrell whilst living at Garsington Manor, Oxfordshire, during the First World War, and later hung on the walls of Julian's home, Broughton Grange, near Banbury, Oxfordshire. Philip and Ottoline Morrell moved into the beautiful old manor house of Garsington in 1915, and held court there for over a decade to a coterie of avant-garde painters, writers and philosophers who became known as the Bloomsbury Group. Amongst the numerous visitors - many of them long-staying house guests - were D.H. Lawrence, Virginia Woolf, Duncan Grant, Mark Gertler, Vanesa Bell, T.S. Eliot, Aldous Huxley, Dora Carrington, and E.M. Forster. Reacting against the conventional mores of the Victorians, the Garsington set embraced pacifism, feminism and sexual freedom, Ottoline writing in her diary in 1915 'conventionality is deadness'.In many ways, this needlework is an embodiment of those impulses. It decries the usual rules of form and colour found in Victorian and Edwardian embroidery: the pattern appears to take shape on the fabric anamorphously; a wide, almost clashing, colour palette is used; and startlingly unexpected hues appear, so that, for example, daffodils are depicted in shades of blue and purple, and carnations are multi-coloured.Like the coverlet Ottoline was flamboyant, unexpected, and colourful in all aspects of her life. She favoured brightly coloured clothes in highly original designs which differed both from the fashions of the day and the more bohemian styles worn by some. The interior of the home she made at Garsington was described as a 'fluttering parrot-house of greens, reds and yellows', which was filled with Persian carpets, Chinese boxes and cabinets, beautiful porcelain, silk hangings, lacquered screens, and ornate mirrors: 'the walls were painted a rich Venetian red and iridescent sea green: colours chosen from the palette at Bolsover Castle - an estate within the family that Ottoline had visited as a child' (Miranda Seymour, Ottoline Morrell: Life on a Grand Scale, 1992, p.35). Perhaps the aspect of Ottoline's life most mirrored in the embroidery - for obvious reasons - is the garden she created at Garsington. Although a formal Italiante garden, it was dense with colour, as she herself described: 'I felt so happy watching the flowers - the brown ringed sunflowers, the red hot pokers, the phlox and montbretia, the zinnias and marigolds all crowded together in luxurious company.'While stylistically this panel is all one might expect from the needle of a woman such as Lady Ottoline, the manner of its creation is also symbolic of the life she led. Juliette Huxley, wife of Julian, described how she and her sister-in-law Maria, wife of Aldous Huxley, contributed to the sewing of the coverlet, whilst being read to by Bertrand Russell, with whom Ottoline was having an affair: 'Ottoline sat in the armchair under the wide-shaded lamp, smoking cigarettes and sucking peppermints at the same time, with some handwork she was engaged on. It could have been crocheting one of the many-coloured counterpanes, or embroidering the coverlet she describes in her book; Bertie in the corner, reading aloud the Causerie du Lundi, by Sainte-Beuve, in his faultless accent, vividly, absorbingly; Maria and I .. contributing to that coverlet of exploding flowers, for which Ottoline had an array of exquisite silks to choose from, all designed from an Italian fragment ...'.Ottoline's own words about the making of the bedcover corroborate this scene of intellectual and spiritual conviviality: "I sat in my special chair under the lamp with a piece of embroidery and all my coloured silks spread out around me. Maria, when at home, sitting at my feet and she would be allowed to embroider a flower in one corner of the vast bedspread on which I was at work, Juliette at another corner. How much is woven in that coverlet! How intense the feelings as we worked at it. What interesting and vital ideas were blended with the silks and woven into the pattern of gay flowers. Some flowers must be bright with poetry, some dark and smudged with war; others vivid and bizarre with thoughts of life; and a lovely rose will always speak of the fragile beauty of love and friendship, and a sunflower was like one that grew in the garden with thoughts of Blake's 'weary of time'. Maria's flowers are red and sensual. Juliette's gay and multi-coloured, but perhaps rather too pretty." (Juliette Huxley Leaves of the Tulip Tree, John Murray, 1986, p.46)In 1916 Lady Ottoline wrote of Garsington Manor: ‘The house has all the magic thrill to me, even tho’ I have lived within its walls and it has become absolutely familiar to me, pressed so near that we almost seem one. I have interpenetrated the house - vivified it - filled it with flaring orange - and reds and greens - filled it with myself - my thoughts - actions.' (Lady Ottoline Papers, Univeristy of Maryland, USA)

Collection of 10 British Quad Film Posters from the 1970s for: Saturday Night Fever (1977), Cromwell (1970), Magic (1978), Force 10 From Navarone (1978), 7 Brides for 7 Brothers / King Solomons Mines (1954/50) Double Bill, The Lord of the Rings (1978), The Champ (1979), The Concert for Bangladesh (1972), The World is Full of Married Men (1979), Somebody Killed Her Husband (1978), all folded, all approx. 30 x 40 inches (10 items) Condition Report: Various conditions

A quantity of Compact Reference books, including Vintage Ladies Compacts Identification & Value Guide by Roselyn Gerson, Vintage Compacts & Beauty Accessories with values by Lynell Schwartz, Compacts & Smoking Accessories by Roseann Ettinger Revised Second Edition, Vintage & Vogue Ladies Compacts Identification & Value Guide Second Edition by Roselyn Gerson, Vintage Vanity Bags & Purses an Identification & Value Guide by Roselyn Gerson, American Compacts of the Art Deco Era The Art of Elgin American, JM Fisher and others by Howard W Melton and Michael A Mont, A Kind of Magic Art Deco Vanity Cases The Kashmira Bulsara Collection by Sarah Hue-Williams & Peter Edwards, The Evans Book Lighters, Compacts, Perfumers, Compacts by Larry Clayton with price guide, Divine Beauty The Art of Collectibles Compacts, Lipsticks, Scent Bottles by Soraya Feder x 2, Hope in a Jar The Making of America's Beauty Culture by Kathy Preiss, La Poudre S'est Moi by Genevieve Fontan, Millers Perfume Bottles A Collector's Guide, Ladies Dress Accessories and Fashion Accessories by Eleanor Johnson, Trench Art by Nicholas J Saunders, Millers Smoking Accessories, Compacts Powder & Paint with values by Frances Johnson, Van Cleef & Arpels by Anne-Marie Clais and International Hallmarks on Silver collected by Tardy

This Swarovski Crystal Snowflake Ornament figurine is a stunning holiday collectible, crafted with precision-cut clear crystal to reflect light beautifully. Introduced as part of Swarovski’s annual ornament collection, this elegant snowflake measures 1.75"dia and features a faceted design that captures the magic of winter. Suspended from a satin ribbon, it includes a metal tag marked with the year of release. This timeless piece is perfect for collectors or as a festive gift. Includes original box measuring 3.5"L x 3.5"W x 1"H. Marked with the Swarovski acid-etched logo.Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

Swarovski Crystal Figurine Antonio, part of the 2003 Swarovski SCS Magic of Dance trilogy, designed by Martin Zendron. This elegant piece captures the essence of a passionate flamenco dancer, crafted from clear crystal with red crystal accents on the hat and decorative elements. Acid-etched with the Swarovski logo, this collectors edition comes with a matching crystal plaque engraved with the name Antonio, the year 2003, and the designers name. Includes the original black display base to enhance presentation. Accompanied by its original boxes. Figurine: 8.5"H. Base: 6.25"L x 1.5"H. Plaque: 2.5"L x 1.25"H.Artist: Martin ZendronIssued: 2003Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

KILIM AND WEAVING INTEREST,A collection of mainly hardback books including 'Kilim - The Complete Guide' by A Hull & J Luczyc-Wyhowska; 'Dhurrie - Flatwoven Rugs of India' by Shyam Ahuja; 'Woven Magic' by I Albertsson & P Willborg, etc. (c.14)

Brunel University: Original music concert and related posters, 1969-1971 -a group of fourteen promotional concert and related posters, all rolled, various sizes, the largest 20 x 30 inches, to include:Moody Blues Days of Future Past – Happiness Rains, Junior’s Eyes, The Game, artwork by A Young H Design, Brunel University, Kingston Lane, Uxbridge, Saturday 22nd February 1969.Family, East of Eden, Atomic Rooster and others, Brunel University, Carnival at Lyceum Strand, WC2, printed Impact, Windsor, 68379.Alan Price & His Friends, Brunel University, Kingston Lane, Uxbridge, Friday 28th Feb 1969, other acts included The Wurzels and the Brian Fredericks Band, printed b Rufus Manning?, Cambridge 63305.Jon Hisman’s Colosseum Jigsaw Classic and Guest groups, Optic Nerve Lights, Discs etc., Brunel University, Kingston Lane, Uxbridge, Rag Christmas Rave, Saturday 13th December 1969, printed by Impact, Windsor.Georgie Fame and the Blue Flames; Aylesbury BluesVille, Borough Assembly Hall, Aylesbury, Tuesday 22nd September 1970, featuring Speedy, printed by Arthur’s, Woodchester, Stroud.John Mayall and Black Cat Bones, Brunel University, Kingston Lane, Uxbridge, Saturday 15th February 1969.Traffic, Fairport Convention, Searchers, Brunel University, Kingston Lane, Uxbridge, End of Term Flop Out, Friday 7th March 1969, Printed by Impact, Windsor, 68379Caravan, Brunel University, Kingston Lane, Uxbridge, Saturday 1st November 1969, featuring Idle Race and Screw, Printed by Impact, Windsor, 68379Third Ear Band, Magna Carter, Brunel University, Woodlands Av., Acton, W.3, Friday 21st November 1969, Printed Impact, Windsor, 68379Kenny Ball Jazz Men, Aylesbury Bluesville, Borough Assembly Hall, Aylesbury, Tuesday 26th January 1971, Printed Arthur’s, Woodchester, StroudSix Hour Summer Special, Brunel University, Kingston Lane, Uxbridge, featuring Uriah Heep, Matthew’s Southern Comfort, Bob Kurr’s Whoopee Band and others, printed Impact, Windsor; together with,Christine Perfect, Principal Edwards Magic Theatre, Stone The Crows, design by Pete Morrow, printed by London College of Printing, Elephant and Castle, London SE1.Clouds Village, Hardin & York, London College of Printing, c. 1970s,Hertfordshire Constabulary Recruitment poster, “Step Towards a Worthwhile Career” c. 1970s. (14) Provenance:The vendor attended Brunel University and as Social Secretary during the late 1960s and 70s was responsible for booking bands and artists for the University's concerts and events during this time. Georgie Fame and the Blue Flames - tape present to top edge.John Mayall and Black Cat Bones - tape present on corners, clean edge tear top centre.Kenny Ball Jazz Men – chips to lower left edgeSix Hour Summer Special - clean edge tear lower right edgeChristine Perfect - tape present to corners

IVES BURL: (1909-1995) American folk music singer and actor, Academy Award winner for Best Supporting Actor in 1958 for his role as Rufus Hannassey in The Big Country. A good signed 8 x 10 photograph of Ives seated in a three-quarter length pose, smoking a cigar, in costume as the caretaker Osh Popham from the American musical film Summer Magic (1963). Signed by Ives in bold blue fountain pen ink with his name alone to a light area of the background. VG

GLEASON JACKIE: (1916-1987) American actor and comedian, an Academy Award nominee for Best Supporting Actor in 1961 for his role as Minnesota Fats in The Hustler. A good vintage signed 8 x 10 photograph of Gleason in a head and shoulders pose. Signed in black ink to a light area of the image, ´To Snag, my magic & talented friend, Jackie Gleason´. Authentically signed vintage photographs of Gleason are rare. Some very light, extremely minor wrinkling to the upper edge, otherwise VGSamuel Edward ´Snag´ Werris (1910-1987) American actor and comedy writer for Jackie Gleason, Ed Wynn, Red Skelton and others, as well as an amateur magician and founding member of the Magic Castle (a noted private magicians club in Hollywood).

An 18ct gold ring set with an oval cut amethyst and four diamonds (2g, size J) and 10k 'Magic Glo' ring set with a sapphire and diamonds (1.4g, size J)

A Myth and Magic novelty chess set, with pewter chess pieces, dimensions of board 10cm x 47cm x 47cm

UK MOTOWN LP COLLECTION - a collection of 33 UK Motown LPs, including rarities. Collection to include: Chris Clark - Soul Sounds - Tamla Motown (TML 11069), Various - On State - Stateside (SL 10065), Martha and The Vandellas - Heat Wave - Tamla Motown (TML 11005) - Ridin' High - Black Magic - Greatest Hits, The Marvelettes, Marvin Gaye, Isley Bros, Marvin Gaye & Tammi Terrell, Gladys Knight & The Pips, Stevie Wonder, Various - Motortown Revie Live, Smokey Robinson and The Miracles, Jackson 5, Thelma Houston, Marvin Gaye & Kim Weston, Four Tops and more. The collection is generally in BG with some dropping below.

7" UK & US MIXED - MAINLY SOUL / NORTHERN. Nice joblot of 65+ 7" mainly Soul / Northern US & UK singles. Titles include The Parliaments - Don't Be Sore at Me (RV 211 - Ex), The Thrillers - Detroit City Soul (GC-101 - Vg), Jackie Moore - Both Ends Against The Middle (K 10481 - Ex), The Chi-Lites - Stoned Out Of My Mind DEMO, Eddie Regan - Playin' Hide and Seek, Bobby Hutton - Lend A Hand, Shirley Brown - Woman to Woman DEMO, Willie Mitchell - Six To Go and The Olympics - Baby, Do The Philly Dog in generally Vg to Ex condition. Other artists include Bunny Sigler, Slyvia, Mel & Tim, Ramsey Lewis, First Choice, Marc Copage and The Magic Band in generally Vg to Ex condition. Some may benefit from a professional clean.

KIKI DEE - ON A MAGIC CARPET RIDE/ NOW THE FLOWERS CRY 7" (UK FONTANA - TF 983). A northern favourite by Kiki Dee - On A Magic Carpet Ride/ Now The Flowers Cry (TF 983, 1968 UK pressing on Fontana. 3-prong centre labels are bright and clean. The record is superb Ex+. Comes in Fontana paper sleeve).

JAZZ - BRITISH (PRESSING) LP COLLECTORS' PACK. A pack of 10 x LPs. Artists/ Titles are Ornette Coleman inc Change Of The Century (LTZ-K 15199, Ex+/VG+), Ornette! (LTZ-K 15241), The Shape Of Jazz To Come (587022), The Curtis Counce Group - Carl's Blues (LAC 12263), You Get Mor Bounce With Curtis Counce (LAC 12133), The Curts Counce Group (LAC 12073), Eric Dolphy - Outward Bound (PR7311), Todd Dameron - The Magic Touch (RLP9419), Kenny Ernie - Clarke Amd Wilkins (LTZ-C15008) and Cannonball Adderley - Wham! (FJL.117). The records are generally Ex to Ex+ and the sleeves are generally VG to Ex.

US SOUL 7" COLLECTION - a collection of approximately 50 US Soul 7"s. Collection to include: Little Hank - Mister Bang Bang Man, Johnny Maestro - Heartburn, The Magic Tones - Together We Shall Overcome, Madeline Bell, Spiral Staircase, Major Lance, Archie Bell & The Drells, Monk Montgomery, Jackie Moore, Johnny Nash, Bettye Swann, The Natura'elles, Aaron Neville, Betty Everett, The O'Kaysions, The Packers, The Parliaments, Bobby Patterson and The Mustangs, The Tams, Sandy Borden, Robert Parker, The Platters, The Adorables, Patti LaBelle & The Bluebelles, and more. The collection is generally in VG+ to Ex condition, with some dropping below.

GRAPEVINE / DESTINY / BLACK MAGIC / CASINO CLASSICS 7" PACK NORTHERN. A good mix of x24 7" uk northern soul / soul reissue labels with some rare bits. Titles include Flaming Emeralds - Have Some Everybody (GRP 104 - Ex), Rita & The Tiaras - Gone With The Wind (Is my Love) (PICTURE SLEEVE EX DS 1002 DEMO - EX+), Jimmy Burns - I Really Love You (GRP 118 - Vg+), De-lites - Lover (DS 1022 DEMO - Vg+), The Lovelites - Get Him Off My Conscience, Lorraine Chandler - Love You Baby, Tamala Lewis - You Won't Say Nothing, E.J Chandler - I Can't Stand To Lose You, and Connie Laverne - A House For Sale in generally Vg+ - Ex Condition. Other artists include - Dobie Gray, Chico Revill, John Leach, Gerri Granger and The Creation in generally Vg+ to Ex condition

MODERN SOUL / DISCO 7" RARITIES PACK. Nice pack of x8 7" modern soul / disco singles. Titles are Willi J. & Co. - Boogie With Your Baby (NR7194 - Ex), Gil Scott Heron & Brian Jackson - The Bottle (PICTURE SLEEVE FRENCH C 004 - Ex), C. Henry Woods Troupe - The Stranger (EN-004 - Vg), Major Lance - Don't You Know I Love You (CS.2045 - Vg+), Ripple - I Don't Know What it is, But It Sure is Funky (GRC 1004 - Vg), Catch - Mr. Nice Guy (HLZ 10543 - Ex-), Magic Disco Machine - Control Tower (TMG 1004 - Ex) and Cloud One - Atmospheric Strutt (Part 1) (CS 2119 - Vg). Please note that they could benefit from a professional clean.

THELMA LINDSEY - PREPARED TO LOVE YOU 7" (US NORTHERN - MAGIC CITY - MC-005/ 6). A rare to see original US 7" pressing of Prepared To Love/ Why Were'nt You There by Thelma Lindsay (MC-005/ 6, 1967 US pressing on Magic City. Labels are bright and legible, small sticker on Aside. The record is Ex).

BLUES - LP COLLECTION. A collection of 30 x LPs. Another great selection of 30 x LPs. Artists/ Titles include Magic Sam Blues Band - Black Magic (DS-620, Ex+/VG), Furry Lewis - Back On My Feet Again (BV 1036), Fred McDowell Vol. 2 (F1027), Mississippi, In London Volume One, Mississippi (FS-253), I Do Not Play No Rock 'n' Roll, Fred and Annie Mae McDowell - My Home Is In The Delta, Memphis Minnie Vol. 2, Blind Millie McTell - King Of The Georgia Blues Singers, Brownie McGhee & Sonny Terry, Mance Lipscomb - Texas Sharecropper And Songster, Furry Lewis, Albert King and J. B. Lenoir. The condition is generally VG+ to Ex+ with some records falling below this.

Magic Lantern Ether Saturator Illuminant,English, c.1880, unmarked, constructed of brass with valve regulators and controls to the rear, on 3 screw feet, 20cm longNote: this improved design of saturator uses a pressurised jet of oxygen passed through a reservoir of etherthen mixed with a separate stream of oxygen before being burnt on a piece of limestone

Magic Lantern Slides,English, c.1860, unmarked very well hand-painted scenes of British Sea Ports to include: Salisbury Platform Portsmouth, Canarvon Castle, Ramsgate from the sea, Park Hill Torquay & Cove of Cork

An Impressive Mechanical Magic Lantern Slide of a Magician With Changing Heads,French, mid 19th Century, paper label to rear for 'EMILE LIOTARD, Pasteur, LA VERNAREDE (Grad), the slide constructed of wood with a brass top face, with lever to one side that ratchets the heads around on a glass disk, 12cm x 25cmNote: The element of surprise was captured by magic lantern showmen using slides which when operated produced an unexpected result. The transformation of a human head to that of an animal is well illustrated in this complex slide where the head of the magician is supplanted with a dozen different heads.

A Part Set of Magic Lantern Nursery Rhymes,English, c.1880, unmarked but each with a printed descriptive label and numbered 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 20, 2122, & 24, standard sized glass slides in wooden mounts, very finely painted

Magic Lantern Slide, Circus Acrobats,English, c.1850, unmarked, wooden frame with contra-rotating glass disks each showing an acrobat flying through the air in opposite directions in a circus, slide 24cm wide

Collection of Magic Lantern Slide Sets,to include: set of 6 hand-painted comic slides, c.1830's; set of 5 hand-painted slides titled Rural Romance - Marriage - After Marriage; set of 4 'Good Night' slides; Set of 4 hand-painted slides by Carpenter & Westley, c.1850's of the holy land; a hand-painted slide of a fish wife,

2 Toy Magic Lanterns,including a German Ernst Plank type lantern with a brass oil lamp mounted on a wooden base, and a French tinplate lantern finished in orange

2 Magic Lantern Microscope Attachments,English, c.1860, unmarked, brass body with 2 sprung slots to accept slide carry, projection lens with rack and pinion focus, 17cm long; and another smaller projection microscope with a conical body (2)

Magic Lantern Slide, Circus Acrobats,English, c.1860, unmarked, wooden frame with contra-rotating glass disks each showing an acrobat flying through the air in opposite directions in a circus, slide 24cm wide

Magic Lantern Slide Set, Jack & the Bean Stalk,English, c.1854, frames stamped 'Carpenter & Westley 24 Regents St London', circular glass in wooden mounts, numbered 1, 3, 4, 6, 7 & 8, after George Cruikshank's Fairy Library, from the history of jack and the beanstalk edited and illustrated with 6 etchings by Cruikshank published by David Bogue, London 1854, delicately hand painted scenes on circular glass mounted in wooden frames

‘The Smoking Dog’ Hand-Painted Magic Lantern Lever Slide, ‘the smoking dog’ hand-painted magic lantern lever slide. works well. measuring 7” x 4 1/2”.

Magic Lantern Slide, Man Eating Rat,English, c.1860, unmarked, mechanical rotating disk with rat, and slip to close mouth, mounted in wooden slide

A Hand-Painted Windmill Magic Lantern Slide, windmill’ hand painted rackwork magic lantern slide. works well. measuring 7” x 4”

A Llama Bezoar Stone,A Llama Bezoar stone on a turned wooden stand under a small glass dome, the base marked 'LLAMA BEZOAR', stone 1cm wideThe Bezoar Stone: A Historical Perspective on its Use in Medicine.A bezoar (/ˈbizɔːr/ BEE-zor) is a mass that forms in the gastrointestinal system, often in the stomach or intestines, and has a long history of intrigue, particularly in traditional medicine. While modern science views bezoars primarily as medical anomalies that can cause blockages and require removal, they were once revered for their supposed magical and curative properties.Origins and Varieties of Bezoars.The word "bezoar" is derived from the Persian word "pādzahr," which means "antidote." Historically, bezoars were believed to possess powerful healing properties, particularly as antidotes to poison. The stones themselves are found in various forms, depending on their composition. Some bezoars are organic, composed of materials like hair (trichobezoars) or plant fibres (phytobezoars), while others have inorganic constituents.In addition to these naturally occurring bezoars, there are also pseudobezoars—indigestible objects intentionally introduced into the digestive system, often for medical experiments or other purposes.The Use of Bezoars in Traditional MedicineBezoars were highly prized in medieval and early modern medicine, particularly in the Middle East and Europe. Physicians, alchemists, and royalty alike believed that these stones held miraculous properties. The most famous type of bezoar was the "oriental bezoar," found in the stomachs of wild goats and other ruminants in the East. These were especially valued and often commanded exorbitant prices.The primary use of bezoars in traditional medicine was as an antidote to poison. It was believed that placing a bezoar in a drink or consuming it could neutralize any toxins. This belief was so widespread that bezoars became a must-have item in the courts of European nobility. Monarchs would often carry a bezoar with them, ready to use it if they suspected they had been poisoned.In addition to their supposed antidotal properties, bezoars were also believed to cure a range of ailments, from epilepsy to the plague. Physicians would grind the stones into a fine powder and administer them to patients. Some believed that bezoars could purify the blood, cure fevers, and even protect against evil spirits.The Scientific Reassessment of BezoarsWith the advancement of medical science, the mythical status of the bezoar began to wane. By the 17th century, more sceptical voices emerged, questioning the effectiveness of bezoars as universal antidotes. Scientific experiments, such as those conducted by the French physician Ambroise Paré, demonstrated that bezoars did not have the miraculous properties attributed to them. Paré famously tested a bezoar on a condemned criminal who had ingested poison, only to find that the stone had no effect.Despite these findings, bezoars continued to be valued for some time, especially among those who clung to traditional beliefs. However, their use gradually declined as modern medicine provided more effective treatments for poisoning and other ailments.Bezoars in Modern MedicineIn contemporary medical practice, bezoars are recognized as a health hazard rather than a cure. They can cause blockages in the digestive system, leading to symptoms such as nausea, vomiting, and abdominal pain. Treatment often involves the removal of the bezoar, either through endoscopic procedures or surgery.While their role in medicine has dramatically shifted from revered antidotes to medical curiosities, bezoars remain a fascinating chapter in the history of medicine. They serve as a reminder of the ways in which ancient cultures sought to understand and combat the dangers of their world, blending myth, magic, and early science in their pursuit of health.Provenance: from the estate of Wilf Lunn (1942–2023)who was a British inventor, Collector of all things curious and unusual, prop maker, and television presenter, best known for his work on children's TV shows such as Vision On and Jigsaw. Born in Rastrick, West Yorkshire, Lunn was raised by deaf parents and later taught lip-reading. His creative flair for quirky inventions and novelty bicycles earned him a devoted following. Lunn's eccentric persona made him a beloved figure on British TV in the 1960s and 1970s. In addition to his TV career, he authored several books and showcased his inventive spirit through stage shows. He passed away in December 2023.https://en.wikipedia.org/wiki/Wilf_Lunnhttps://www.imdb.com/name/nm0526767/https://www.telegraph.co.uk/obituaries/2023/12/20/wilf-lunn-madcap-inventor-tricycles-vision-on-deaf/

Bonne Presse Magic Lantern Lime Light IlluminantFrench, c.1880, engraved to the top 'BONNE PRESSE PARIS' and numbered 1130, gas controls to rear for mixing Oxygen and Hydrogen, with mechanical adjustment to lime light holder on heavy base 25cm long

Magic Lantern Slides,Large Collection of 21 Good Slip Slides, Large Collection of very Victorian good slip slides, including magician & Green Devil; man in stocks; cricket; transformation - giants head; Punch with expanding nose; Dancing blue imp; arlequin and many others, all in a wooden storage box

Magic Lantern Chromatrope Set,French, c.1880, unmarked, main slide with contra rotating spiral designs, with slide in glass plates, 4 with abstract designs, a rose design, an anchor, a star, a crown, a fleur de lys and a fountain all in the original wooden box marked in script to the top 'Chromatrope.' Note: slide will need restringing to operate

Magic Lantern Limelight burner,English, c.1880, unmarked, oxy-hydrogen lime light burner

Magic Lantern Set of 23 wood-framed slides. Shepherd Boy in the Valley of Death Excellent

Magic Lantern Slides, Magicians Cave, Dissolve Set,English, c,1860, stamped 'Newton & Co, Opticians, 3 Fleet Street, to show magician in his cave with a magic cauldron with changing figures emerging, comprising of a slip slide with magician and a rack slide of characters, to be used with a biunial magic lantern.

Cased Set of 13 Astronomical Magic Lantern SlidesEnglish, c.1860, unmarked, wooden framed hand painted slides showing astronomical bodies and events, includes a slipping slide to show the moon, another to show a solar eclipse and another to show the curvature of the earth and how things disappear over the horizon, all in a fitted wooden box

Magic Lantern The Fairy GlenSet of slides with holder, The Fairy Glen, a hand-painted, dissolve set. Labelled instructions for use on slides.Excellent condition

German Tin Plate Lantern,German, c.1890, brass plaque stamped EP for Ernst Plank, paper covered wooden case opens to reveal, lantern, along with 12 lantern slides, with a large retail label for 'Rowntrees Magic Lantern, lantern with original oil lamp and later electric lamp, case 28.5cm wide

Magic Lantern Slide of Fairbottom Bobs, Newcomen-Type Beam EngineStandard squate magic lantern Slide, label in script reads '200 Fairbottom Nr Oldham', slide shows a very clear image of the Newcomen-type steam engine, used in the 18th century as a pumping engine to drain Fairbottom's colliery near Ashton-under-Lyne.Footnote:Fairbottom Bobs is a Newcomen-type beam engine taht was installed around 1760 or 1764 at Cannel Colliery in Fairbottom, near Ashton-under-Lyne, England. Its primary function was to pump water from the colliery, featuring a 28-inch (71 cm) bore cylinder with an 8-foot (2.4 m) stroke, capable of raising water from a depth of 240 feet at 14 strokes per minute.The engine's design included a single wooden king post beam with wrought iron straps and wooden arch heads at each end, supported by a dressed stone pillar. Notably, there was no engine house or roof to protect it from the elements.Beyond draining the colliery, Fairbottom Bobs contributed to maintaining water levels in the Ashton Canal by discharging into the Fairbottom Branch Canal at Fennyfield Bridge. After the colliery ceased operations in the 1820s, the engine continued to function until its abandonment in 1826 or 1827.In 1927, Henry Ford acquired the engine for preservation. It was dismantled and reassembled at the Henry Ford Museum in Dearborn, Michigan, where it remains on display as a significant artifact of early steam engineering.