RIEFENSTAHL LENI: (1902-2003) German film director. A significant and interesting correspondence collection comprising two A.Ls.S. and nine T.Ls.S. (several with holograph additions), Leni Riefenstahl, sixteen pages (total), 4to, various places (Munich etc.), January 1952 - December 1958, the majority to Christian Bourcier de Carbon (and, indirectly, Henri Langlois), in German. Riefenstahl writes on a variety of subjects, including her work and the efforts she made to recover her films reels, which had been confiscated by the French government at the end of World War II and retained at the Cinematheque Française, thanking De Carbon for supporting her in the return of her films, explaining that she intends to go to Paris personally 'as soon as possible to bring about the handover there and I would be happy if I could ask for your help. In order to obtain my French entry permit, it is necessary for me to receive an official invitation….from you as soon as possible (by express) so that I can receive my entry visa from the French consulate in Munich in a few days' (26th January 1952), further stating, in part, 'Many weeks have now passed since my stay in Paris and unfortunately the return of my material to the Austrian Embassy has still not become a fact…..If all these efforts are unsuccessful, then the last resort I see is either a civil suit against Monsieur Petitjean, a French film officer who at the time brought the material to France without permission and without a mandate from the French military government, or that I have to file a complaint with the International Court of Justice in The Hague' (19th March 1952), 'On 4th April I finally have my world premiere of 'Blauen Licht' in Munich….I wanted to go to Kitzbuhel over Easter and from there to Breuil to test the ski area there for my film 'Die roten Teufel'' (1st April 1952), 'Unfortunately I haven't received any sign of life from you since we were last together in Munich and wonder whether you are in Paris and whether you are aware of the outrageous article about me in the magazine 'Samedi Soir' of 10th May 1952. This article took over the pictures of the Munich 'Revue', made the same claims and published more fictional and forged Streicher letters. As a result, the already officially confirmed transfer of my films to the Austrian Embassy was thwarted at the very last hour…..I ask you to treat the contents of this letter as confidential. It is only intended to show you the base means by which my enemies in France are trying to prevent the return of my property. This new setback has made my current situation even more difficult, but I hope to be able to resolve the matter through a lawsuit. For this process I now need an absolutely flawless translation of the article from 'Samedi Soir' and I would be particularly grateful if you would have the same made, as I have no money to pay for the translation…..I will give you back your expenses after the case has been won…..My lawyer will ask the newspaper 'Samedi Soir' to bring a correction. If the newspaper does not do this, I will be forced to sue 'Samedi Soir' and again I would like your advice on which French lawyer I should hire?' (1st June 1952), 'Above all, I would like to tell you that your faith and the trust you have placed in me have given me a lot of strength. On the day of your visit in Munich I was really completely devastated by the mean slanders of the 'Revue'. Your encouragement helped me a lot. The next day I flew to Berlin and had the strength to face a big public hearing in Berlin to refute all allegations against me, although the chairman of the court was a Jew, he possessed the necessary objectivity to conduct the proceedings fairly, I was acquitted on all counts and fully rehabilitated. This was a great victory and will also help me to fend off further attacks. For your information I am enclosing a newspaper report from which you can see the means by which an attempt was made to destroy me. I am also enclosing the copy of the Berlin verdict, which is of particular value because the most severe verdicts are pronounced in Berlin. As a result of this Berlin verdict, I am now in a position to sue the illustrated magazine 'Revue' for defamation and professional damage. So I will once again have to endure a lawsuit, but I am convinced that I will win it and then the way for my future work will be free….I wrote to Mr. Borst today to find out how far my 'Tiefland' affair has progressed…..I cannot understand why the handover has still not taken place. If you are still in Paris, I would be indebted to you if you would ask Mr. Borst, or even better, Mr. Langlois directly, when the handover will take place, It can't be that my life's work is destroyed by the French' (5th June 1952), 'It has been a long time since we last spoke. In the meantime my 'Tiefland' film has begun in Germany and Austria with a very strong response from the press and so far I am very satisfied with the artistic success. If you don't have the opportunity to see it in a cinema somewhere, it will be my great pleasure to show you the film on your next visit to Munich. Only now can I fully immerse myself in the realisation of my ski film 'Die roten Teufel'…..I would now be interested, dear Mr. de Carbon, whether you are still interested in any way in co-financing the film…..I think it's going to be big business and it's worth investing capital in, It would also make the work easier because, if francs are available to me, I could finance French skiers and workers and possibly also some outdoor shots in French territory' (9th June 1954), the later letter of 1958 regarding a proposed ballet based on Das blaue Licht (1932, 'The Blue Light') in which Riefenstahl had appeared as an actress in the role of Junta, with Rosella Hightower suggested for the same role, Riefenstahl asking 'Is this prima ballerina a household name?'. Together with a few associated carbon copies of letters, two original envelopes, a small series of handwritten notes by Riefenstahl, and several French newspaper articles relating to the director. Some light overall age wear and a few letters with small tears and creasing to the edges, G to generally VG, Sml. Qty.Christian Bourcier de Carbon (1912-?) French civil and industrial engineer who invented the de Carbon hydraulic shock absorber in 1953, also establishing the De Carbon Company in the same year.Henri Langlois (1914-1977) French film archivist and cinephile, a pioneer of film preservation and co-founder of the Cinematheque Française.Towards the end of World War II the French government confiscated all of Riefenstahl's editing equipment, along with the production reels of Tiefland. After years of legal wrangling, these were returned to her, but the French government had reportedly damaged some of the film stock whilst trying to develop and edit it, with a few key scenes missing. Riefenstahl edited and dubbed the remaining material and Tiefland premiered in Stuttgart in 1954, however it was denied entry into the Cannes Film Festival. In the 1950s and 1960s the director attempted to make many other films, but was continually met with resistance, public protests and sharp criticism. Although both film professionals and investors were willing to support her work, most of the projects she attempted were stopped owing to ever-renewed and highly negative publicity about her past work in Germany, and Tiefland would subsequently remain as her last feature film.
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MANDELA NELSON: (1918-2013) South African anti-apartheid activist, the first President of South Africa 1994-99. Nobel Peace Prize winner, 1993. T.L.S., N Mandela, one page, 4to, n.p., July 1997, to Marlene Jacobs. Mandela thanks his correspondent for her assistance in helping to host a Children's Party in Cape Town on 4th July 1997 in honour of his 79th Birthday, continuing to remark 'As you know, all children are very close to my heart but particularly those youngsters who are forced to face tremendous difficulties and tragedies in their young lives. The children who attended my party were especially vulnerable, facing severe life-threatening diseases, and by giving support to this Party you helped me give them a day they will never forget' and further adding 'The event was a wonderful success - which is still being commented on - and reflects the very high degree of commitment, professionalism and sheer hard work that you, as part of the organising team, put into the planning and execution of it'. A letter of good content. A light band of discoloration to the edges, evidently caused by previous framing, and with a small tear to the upper right edge, otherwise about VG
JAMES HENRY: (1843-1916) American-born British author. A.L.S., Henry James, six pages, 8vo, Pall Mall, London, 13th November 1911, to Doctor [Joseph] Collins, on the blind embossed stationery of The Athenaeum. James announces 'Your most kind note from the ship does me a world of good, & your guarantee of my appearance of being so well contributes immensely to establish the reality - is in fact quite life-giving' and continues 'The great thing is that I have made so much my own way to it - giving me the sense that I can therefore myself work out what remains (for there still remains something) of the job. And I have a faint hope & faith that I shall see you here again…..I liked so your presence & our talk of the other evening, with things so many, into which I should have liked to go with you deeper. But that will come'. In a two page postscript, signed ('H.J.') by James with his initials, the author informs Collins 'I shall have to send this to the Joneses to pass on to you - it's an illustration of the way that so many American impressions & facts (local & national) fade away & dissolve (from the "European mind") that I have managed to forget all the numerals in both your addresses - so colourless are American addresses "anyway"! I have yours inscribed, but my little book is not at hand'. VG During an extended visit to the United States in 1910 & 1911, James had sought the advice of physician Joseph Collins for methods of losing weight and also the treatment of his 'evil times' (what would now probably diagnosed as depression) following the death of his brother, William.
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine and good association A.L.S., `Renoir´, two pages, written to the first and third page, small 8vo, Cagne, 8th January 1908, to Claude Monet, in French. Renoir writes to his long life friend Monet `Mon cher ami…´ ("My deaf friend…"), and first asks about his correspondent´s health `Tu me diras si tu as toujours mal à l´estomac, c´est une maladie qui rend triste, il faut vite guérir´ ("Tell me if you still have a stomach ache, it's a disease that makes you sad, you have to heal quickly") Renoir further refers to Vollard, their art collector supporter, stating `Vollard est ici, je le portraiterai´ ("Vollard is here, I will make a portrait of him") Further again Renoir thanks Monet and his daughters for the letters they often send him, and before concluding makes a sharp critic of a colleague´s exhibition, stating `Une pièce que je n´irai certainement pas voir c´est celle de Geoffroy à l´Odéon…´ ("A painting that I will certainly not go to see is the one of Geoffoy at the Odeon") To a post-scriptum Renoir referring to the new year 1908, states `Ce 8 me fait bien vieillir´ ("This 8 makes me feel older") VG Claude Monet (1840-1926) French Impressionist Painter.Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc… Jean Geoffroy (1853-1924) French Painter and Illustrator, best known for his scenes with children.
Attributed to J. Bourjinon (Active Amsterdam, 1660-1700)Still life of fruit, vines and a porcelain bowl on a pewter plate oil on canvas40.5 x 55.2cm (15 15/16 x 21 3/4in).Footnotes:ProvenanceSale, Christie's, South Kensington, 11 July 2003, lot 56 (as Follower of Cornelis de Heem).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An early 20th century carved giltwood wall bracket, together with a gilt framed oil on canvas still life signed, a sketch in an ornate giltwood frame, framed photo of Lord Overstone, Henry Freeman lifeboatman and sole survivor of the Whitby Lifeboat Disaster of 1861, one other gilt frame, along with a framed print miniature of Bluchons The Great Pianist Location:
A LATE VICTORIAN/EDWARDIAN WALL MOUNTED REGULATOR TIMEPIECEJ. SMITH AND SONS, LONDON, CIRCA 1900The substantial four double-screwed columnar pillar movement with thick plates measuring 9.5 inches high by 7 inches wide enclosing four-wheel train with Harrison's maintaining power, five-spoke wheel crossings and deadbeat escapement incorporating jewelled pallets regulated by cylindrical steel cannister enclosed mercury compensated pendulum suspended via a wide jaw from the case backboard, the 12 inch square single-sheet silvered brass dial with subsidiary seconds over Roman numeral hour dials and signed J. Smith & Sons, London to centre, within outer minute ring annotated with Arabic five minutes to outer track, with blued steel spade hands within applied canted silvered surround, the case with generous triangular pediment incorporating ogee upper mouldings over cushion moulded glazed door to hood, the trunk with panel-glazed door enclosing deep blue velvet-lined interior over ogee-shaped lower edge mouldings.166.5cm (66.5ins) high, 52cm (20.5ins) wide, 26,5cm (10.5ins) deep. The clockmaking business of John Smith and Sons of Clerkenwell can trace its roots back to 1780 however gained much greater significance when they became established in St. John's Square, at the former manufactory of Colonel Mangier, from 1844. The firm ran extensive workshops which incorporated a dedicated brass foundry, clock case workshop and assembly areas for the various types of clocks produced, and was featured in the 20th September 1851 issue of the Illustrated London News in an article entitled 'Visit to a Clerkenwell Clock Factory'. At the Great Exhibition held that year they exhibited a year going calendar clock and another chiming clock, sounding on 8 bells and striking on a gong. Ultimately John Smith and Sons perhaps became best known for their skeleton clocks, many of which were illustrated in their 1865 catalogue including models based on Litchfield Cathedral and York Minster, however they also produced many fine chiming bracket clocks, longcase regulators, wall clocks and public clocks. The business continued to produce clocks until 1938 when, due to the decline in demand for mechanical timepieces, they diversified to become specialist material stockholders and still continue in this role today. Condition Report: Movement is in fine original condition although it is somewhat dirty/neglected. The pinions exhibit only very light wear and all the pivots are sound. The pallets appear free from chips or noticeable wear. There are no other visible faults to the train. The pillars, plates etc retain old lacquer finish which has mellowed to a dull golden hue. The crutch forks are fixed via a stem threaded into the boss at the base of the crutch, this has sheered hence will require drilling and tapping for a replacement; the fork will presently stay in place through friction but will not stay in place if an attempt is made to impulse the pendulum. The gut line has degraded hence is incomplete however a replacement line is included (the previous owner - an elderly horologist, never got around to servicing it and putting it back into use) a crossed-out pulley is present with the timepiece. The pendulum is suspended from an iron bracket applied to the backboard; the original T-bar suspension spring assembly is present. The pendulum has cylindrical steel cannister filled with mercury for the bob and is in good original condition but with slight overall oxidation/tarnishing to the original finish. The dial is in good origin albeit neglected condition with heavy tarnishing to the silvering; the engraving shows no discernible wear. The movement and dial rest on a mahogany seatboard screwed to the case and is secured by thumb screws through the bottom pillars. The case backboard is of fielded panel construction finished flush at the front with the interior lined in blue velvet. There is no evidence of the inside of the backboard ever being veneered and the velvet appears original. The joints in the backboard have opened a little causing some lines/splits to appear in the velvet. The velvet also shows evidence of a bracket being fitted behind the pendulum about halfway down the rod - this is most likely for some form of electrical contact switch assembly as the pendulum is fitted with a brass disk to the rod and the sides of the case also have a pair of holes possibly for wires to exit. There is also evidence that a beat scale was fitted at some point. The panelled backboard terminates at the throat and a section of later plywood is now fitted behind the hood braced by a large iron plate screwed to the rear. It is probable that the original backboard became structurally unsound behind the hood (due to having to carry the weight of the timepiece) due to its panelled construction hence was cut and the upper section replaced. If this was the case the cut was done very cleanly and early in its life. The unserside has sockets indicating that a pair of support brackets were fitted at some point. The rest of the case is in sound original condition retaining original locks and hinges and with damage limited to minor bumps, scuffs, small veneer chips and edge bruising.Clock has pendulum, original brass-cased weight, two case keys and a crank winder. Condition Report Disclaimer
A RARE SWISS MINIATURE SHAGREEN MOUNTED SILVER PETIT SONNERIE STRIKING AND REPEATING CARRIAGE CLOCKUNSIGNED, CIRCA 1900The frosted gilt eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour on the larger if the two, the strike train winding through the base of the case and the going train with platform lever escapement regulated by sprung bimetallic balance, the 1 inch circular white enamel Arabic numeral dial with blued steel spade hands and Arabic five minutes beyond the minute track set within a silver bezel fitted with convex glass, the case with 'whiplash' curve hinged carting handle and convex cornice over shagreen panel infill around the dial and to the sides, the also lined with shagreen and incorporating a hinged door inscribed E. A. Willmott, Warley Place, Essex to inside surface, on generous convex moulded skirt base.7.5cm (3ins) high with handle down, 5.5cm (2.125ins) wide, 4.5cm (1.75ins) deep. Provenance:Purchased (unrestored and in dirty condition) at Chorley's sale Spetchley Park, The Attic Sale 28th January 2020 (lot 636) for £1,400 hammer. The inscription to the backplate indicates that the present lot was once the property of Ellen Willmott, one of the most significant female horticulturalists of the late 19th century and early 20th centuries. Born in 1858 Willmott, together with her parents and sister, built Warley Place within extensive landscaped grounds after benefitting from a substantial inheritance from Ellen's Aunt, Countess Helen Tasker, who died in 1888. Ellen's skill and dedication in developing the gardens at Warley led her to support plant-hunting expeditions and collect new species for planting; it was the introduction of non-native specimens, such as Veronica prostrata 'Warley Blue', Potentilla nepalensis 'Miss Willmott', and Syringa vulgaris 'Miss Ellen Willmott', that she became best known for. The gardens at Warley were held in such high regard that they were subsequently visited by Queen Mary, Queen Alexandra, and Princess Victoria. Ellen Willmott was also further recognised for her talent by her peers, receiving the Royal Horticultural Society's Victora Medal in 1897, the 'grande medaille Geoffroi St. Helaire' (from the Societe d'acclimation de France) in 1912 and the Hean Hole medal (from The National Rose Society) in 1914. Sadly, heartbreak in her personal life led Ellen to first spend time away in France, before returning to continue with her passion for the garden and music but in a more reclusive manner. Despite this at one point she employed 104 gardeners at Warley Place, purchased and developed extensive gardens both in France and Italy, and published two books (Warley Garden in Spring and Summer 1909 and The Genus Rosa in two volumes 1910-14). Latterly Ellen's behaviour became more erratic and by the late 1920's her inherited fortune had waned causing her to sell he French and Italian properties; died alone in 1934.Ellen Willmott's younger sister, Rose, married into the Berkeley family of Spetchley Park, Worcestershire. Both sisters worked together in developing the Gardens at Spetchley where Rose lived until her death in 1922. It is most probable that the present clock was left at the estate by Ellen Willmott, whist staying there to assist her sister with the gardens. The current lot belongs to a varied series of montre pendulette de voyage carriage clocks and timepieces made in Les Ponts-de-Martel, Neuchatel, Switzerland, by makers such as Mathay-Tissot, during latter years of the 19th century up until the late 1920's. Most of these were either sub-miniature, or mignonette sized. 'Mignonette' translates as 'little darling' with the standard French models coming in three differing heights; at 3.5 inches (with handle up) the size of the present clock sits between mignonette No. 2 and No. 3. UPDATED 13/09/2023 9:15am - Please note that during winding the mainspring to the going train has let go hence requires attention or possibly a new mainspring. The striking train is still fully operational. Condition Report: UPDATED 13/09/2023 9:15am - Please note that during winding the mainspring to the going train has let go hence requires attention or possibly a new mainspring. The striking train is still fully operational.Movement is in clean fully working condition retaining original frosted gilt finish to the plates and with no visible evidence of alteration or noticeable replacements. The dial is in fine condition with no visible damage or evidence of restoration. The case is in fine condition exhibiting only a few extremely minor minor/tiny scuffs and scratches to the silverwork.Unfortunately we do not have a winding key for this clock. Condition Report Disclaimer
A good Great War ‘Western Front’ M.C. group of four awarded to Captain L. J. Kent-Jones, 23rd (County of London) Battalion, London Regiment, for his gallantry during an enemy liquid fire attack on 9 November 1917, in which he was severely wounded Military Cross, G.V.R., the reverse contemporarily engraved ‘2nd. Lt. L. J. Kent-Jones 23rd London Regt. 9th Nov. 1917’; British War and Victory Medals (Lieut. L. J. Kent-Jones.); Defence Medal, contemporarily named ‘Capt. L. J. Kent-Jones, M.C.’, mounted as worn, suspension ring on VM replaced, good very fine (4) £1,200-£1,600 --- M.C. London Gazette, 18 July 1918. ‘For conspicuous gallantry and devotion to duty. After a heavy bombardment, the enemy attacked in large numbers, using liquid fire, and penetrating into a portion of the post. He instantly organised a party and counter-attacked, driving them back. Although severely wounded, he remained on duty until our original sentry posts were re-established. His courage, leadership and example to the men were splendid.’ Lionel John Kent-Jones was born in Camberwell, Surrey on 5 June 1888. A clerk working for London County Council, he attested for service with the 1/2nd (City of London) Battalion, London Regiment for service during the Great War, and briefly served on the Western Front from 28 June 1916, before being selected for a commission and returning home. Commissioned into the 21st Battalion, London Regiment, he returned to the Western Front and was immediately transferred to the 1/23rd (County of London) Battalion, with whom he was awarded the Military Cross whilst serving in the Bourlon Wood area. Kent-Jones’s personal typewritten life story states, ‘On the 9th December at about 6.30 a.m., after a heavy bombardment, the enemy, using flame-throwers, penetrated into a part of our post but they were driven back by us. The enemy’s attack was resumed from time to time all day but they were repeatedly driven off. It was not found possible to get reinforcements through to the garrison of the post but at nightfall the remnants of the company, then about 30 strong only, withdrew to a position at the rear of the post. Here again, the Company Commander who had succeeded Captain Entwisle was awarded a D.S.O. for gallantry, after having been recommended, as Entwisle had been, for a V.C. (I also got a decoration in my case an M.C.). I was severely wounded in this ‘show’ in the right arm and was later evacuated to a Red Cross Hospital at Rouen about a fortnight before Christmas’. A few pages later he wrote, ‘And so, on one fine day in September 1918, accompanied by my wife, I presented myself at Buckingham Palace... Eventually, I reached the dais. I stood rigidly at attention in front of the Sovereign looking straight to my front, saluting with my left hand, because my right arm was still out of action. Then I heard a voice say ‘won’t you shake hands with me?’ I quickly made my apologies to the King and was then warmly shaken by the left hand and was asked about the state of my wound. What the spectators thought about this little incident, I of course, don’t know. Perhaps they thought I had got onto the dais by mistake!’ Post-War Kent-Jones worked for the Ministry of Pensions and served as a Firewatcher during the early part of the London Blitz, before being posted to Lancashire. In 1945, he resigned from the Civil Service, to train to fulfil his ambition to be called to the Bar. He died, aged 82, in Croydon, Surrey, on 19 July 1970. Sold with a detailed and interesting personal 142 page life story, addressed to his son, dated 1970; a photograph of the recipient in Barrister’s robes; and the recipient’s binoculars in the remains of an initialled leather case.
C SMITH "Grapes, oranges and vase of roses" a still life study, oil on canvas, signed and dated 1911 lower right 51 cm x 40.5 cm, KGJ "Roses, flowers and twin handled vase" still life study, initialled lower right, oil on board 19 cm x 29.5 cm, EARLY 20TH CENTURY ENGLISH SCHOOL "Figs and oranges with basket and curtain" still life study, oil on canvas, unsigned 25.5 cm x 33 cm together with a box of assorted decorative pictures and prints, AFTER W HATHERELL "Lord Kitchener's Homecoming" colour print published by Bovril Ltd London 56 cm x 78 cm and AFTER REAMORE "Going to the Rec" black and white print 40 cm x 63 cm, fire surround etc (1 box plus 8)
An 18th Century oak hall settle, the back with three fielded panels and scroll arms over a half box seat with iron hinges over three further fielded panels on stile supports 105 cm wide x 50 cm deep x 107 cm high CONDITION REPORTS Has had several agricultural repairs. Is in a worn state. Has clearly been barn stored and not dry for a proportion of its life. Has been heavily used variously throughout its life. Has a later lock applied. There is a section missing from the front left hand side. Has had ironwork added to the left hand side arm, bracing applied to the right hand side arm. Has got damp and has clearly had some animal/insect wear. Back is coming away from the left hand arm. Hinges have been replaced, repairs throughout. Is in a rough state yet somehow still quite nice. The left hand back leg is present but off. Significant wear and tear conducive with age, use and storage - see images for more details
A collection of mainly 19th Century English pottery including six Davenport "Donovan" foliate relief decorated plates with central sepia painted scenes of rural buildings, 22 cm diameter, together with a matching oval foliate handled dish, 16 cm x 27 cm and similar sepia decorated shaped square dish, together with a pearl ware transfer decorated coffee pot and cover, 29.5 cm high, a water jug decorated in relief with thistles, shamrock and roses, inscribed "Benjamin Shirley Adircliff 1839", 19 cm high, a Doulton Lambeth motto jug "Bitter must be the cup that a smile will not sweeten", 19 cm high, a transfer decorated jug "The Sportsman's Return / Gretna Green or the Red-Hot Marriage", another similar jug with "The Farmers Arms" and resting workers, a Brig jug, a Sunderland lustre type jug "Still as through life our weary steps we bend Let us not sink when beating storms descend...", a transfer decorated mug "Ralph's wife and son as gossips tell...", a relief work jug with horse head spout, a transfer decorated silver lustre lined jug, a puce transfer decorated foliate design jug, pink outlined pineapple relief work decorated jug and a Victorian transfer decorated and highlighted oval tureen and cover (all with some damage)
Maurice Savreux (French, 1884-1971)'A still life of flowers', oil on canvas, signed lower left, framed together with another by the same hand (2)illustrated 44.7 x 32cm, overall size 63 x 50cmCondition: These items have not been examined out of their frames. They are both in good overall condition.
A collection of over fifty pop & rock vinyl LPs, mainly from the 1980s, to include Roxy Music, FLESH+BLOOD and MANIFESTO, Frankie Goes To Hollywood, WELCOME TO THE PLEASUREDOME (with RELAX and TWO TRIBES 12" singles), David Bowie, LETS DANCE, Dire Straits, BROTHERS IN ARMS, Adam And The Ants, KINGS OF THE WILD FRONTIER, and The Rolling Stones, STILL LIFE, with a quantity of 7" singles by T-Rex, The Jam, The Selecter and others, all untested (Qty)
![*Angela von Neumann [German-American, 1928-2010]Still Life of a cauliflower, artichoke, peas and daisies on a kitchen tablesi](https://cdn.globalauctionplatform.com/cad85508-c194-44a5-8983-b01f00ec2fbc/07a21f60-c66c-4149-af02-b06900d0f97e/468x382.jpg)
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