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Lot 27
A TALISMANIC AND APOTROPAIC STAMPED CLEAR GLASS SEAL WITH SCORPION PROPERTY FROM A PRIVATE GLYPTOLOGY COLLECTOR Seljuk Anatolia or Iran, 11th - 12th century Of circular shape, with rounded profile, the central field of the light blue, clear glass bead cast with the stylised form of a scorpion.10.10mm x 11.32mm In the arts of Islam, images of scorpions can be found on a number of artifacts, especially on geomantic manuscripts and brass magic bowls, and they serve a double function, both educational and apotropaic. Following traditional Islamic religious texts, such as the Qur'an and the hadiths, scorpions are very harmful and poisonous creatures, and as such they are considered haram. According to shariatic laws, Muslim believers are even allowed to kill them in the holy sites of pilgrimage of Medina and Mecca, together with only a handful of other animals like crows, kites, mice and rabid dogs. Given their feared status, specific prayers (ruqya) have been formulated for those stung by scorpions, which are often followed by the recitation of the first Quranic sura, Sura al-Fatiha. Concurrently, the general association of scorpions as embodiment of evil, malice and death in classical Islamic texts becomes reversed in mystic practices. In fact, in Muslim folklore, items bearing the image of a scorpion act as a form of talismanic 'antidote', a protective figural spell against these very animals as well as evil forces. Moreover, in Sufi beliefs, scorpions are recurrent, powerful symbols indicating the ability of Sufi dervishes to master evil and redirect its influence elsewhere. Given the above, it is not surprising that the use of amulets, seals and pendants with the image of scorpions became a widespread practice across the Islamic Lands. 10.10mm x 11.32mm Qty: 1
Lot 7087
Northern Soul - A good collection of 1960s and early 1970s US Soul singles to include Ceasar Valentino - 'Back In the Game Again / What It Is' (Moonlite Sounds 102), Mel Williams - 'That Don't Make Me Mad / Never Loved A Woman' (Soul Time Records 713), Mary Lou - 'My Baby For You / Everybody's Got A Home But Me' (Magic Eye Records 1101), Jimmy Norman - 'Dotted Line / You Crack Me Up' (Polo Records 211), These Gents - 'Yesterday Standing By' (Western World Music WW 55101), The Flame 'N' King /The Flame 'N' King Band - 'The Love Man / Fast Steppin' (HSP Records G-101), The Daylighters - 'For My Baby / Sweeter' (Tip Top 2010), Tony McKay - 'Detroit / Nobody's Perfect' (Claridge Records CR-307, promo), Jimmy St. Clair - 'Louisiana Preacher Man / All Men Seek For Thee' (Advana Records ARS-10013), Boby Franklin & Friends - 'This Is the Place' (Lakeside LS-3102), The Time Keepers - '3 Minutes Heavy' (Generation 111, promo), Alexander Patton -'Make The Best Of What You Got / I Know It Was Wrong' (Duo Disc 113, promo), John Ladrew - 'What's The Matter With Me / You're Just What I Need' (Roulette R-4688, promo), Carl Underwood with Zeke Strong Band - 'That's What They Said / Don't Ever Stop' (Progress Records 320), The Falstaffers - 'For Guys Who Like It' (Falstaff Brewing N-OM-7342), Frankie & Johnny - 'Sweet Thang' (International Artists IA-112), Garret Coope - 'Say That You Love Me / On the Inside' (Equator GC-101), The Ambassadors - 'Power Of Love / I Wonder Why' (Reel Records R-117, promo), Johnny Gillam and Everything Nice - 'Tell Your Friend (It's Over) /Peace On Earth' (Cancer Records No.2372), Jr. Walker & The All Stars - 'Shoot Your Shot / Ain't That The Truth' (Soul S-35036, promo), The Maskman And The Agents - 'There'll Be Some Agents / Never Would Have Made It' (Dynamo Records D-118), James Crawford - 'If You Don't Work You Can't Eat / Stop And Think It Over' (Mercury 72441), Little Milton - 'Man Loves Two / Believe In Me' (Checker 1149), Joey Gilmore & Blues - 'It's My Own Fault / Got It Together' (Lauderdale Intl'l Music, Inc. LIM 002), Flaming Embers / Al Kent - 'Bless You (My Love) / Bless You (My Love) instrumental' (Ric-Tic Records RT 140), Charles Gray - 'I'm Gonna Be A Winner / Here I Go Again' (Mercury 72608), Al Kent - 'Where Do I Go From Here / You've Got To Pay The Price' (Rict-Tic Records RT 127), The Magic Tones - 'Together We shall Overcome / Fun To Be Young' (MAH's Records 1037), Edwin Starr - 'War / He Who Picks A Rose' (Gordy G 7101), The Norvelles - 'Without You / Why Do You Want To Make Me Sad' (Penny Record Co. P-107), Googie Rene Combo - 'Chica-Boo / Mercy, Mercy (Too Much For The Soul' (Class C-1518), The Vogues - 'That's The Tune / Midnight Dreams' (Co & Ce Records B-242), Nate Nelson - 'Once Again / Tell Me Why' (Prigan Records 2001), Face Of The Earth - 'Sign Of The Times / So the Saying Goes' (Sonday SND-6002, promo), The New Formula - 'My Baby's Coming Home / Burning In The Background Of My Mind' (Roulette R-7023), Alex Brown - 'I'm In Love / What Would You Do Without Someone To Love' (Tangerine Records TRC-101), The Ballards - 'God Bless Our Love / My Baby Knows How To Love Her Man' (Venture Records VE 615), Rocki Lane And The Gross Group - 'Happy Hairy Hippy Harry Claus / Santa Soul' (Epic 5-10556, promo), Bettye Swann - 'Fall In Love With Me / Lonelvy Love' (Money Records 129), Archie Bell & The Drells - '"There's Gonna Be A" Showdown / Go For What You Know' (Atlantic AT 2583X), Richard Berry - 'Trackin' Machine / Doin' It' (Jonco Records JC-51), Sugar And Sweet - 'Stop Crying / The Only One' (S.S.J. Records 1002), The Dells - 'Wear It On Our Face / Please Don't Change Me now' (Cadet 5599), The Marvelettes - 'You're The One / Paper Boy' (Tamla T-54072) and Al Wilson - 'Who Could Be Lovin' You / When You Love, You're Loved Too' (Soul City SCR 759) (46, vinyl G-EX, mostly VG+)
Lot 7070
CAPTAIN BEEFHEART & HIS MAGIC BAND: A group of seven LPs to include 'Safe As Milk' 1970s reissue (BDS 5063, hole punched sleeve), 'Mirror Man' in die-cut gatefold sleeve (2365 002), 'Clear Spot' German reissue (REP 54 007), 'Strictly Personal' in textured sleeve (SLS 50208), 'The Spotlight Kid' with card lyric insert (K 44162), 'Shiny Beast (Bat Chain Puller)' with lyric inner (201 425-320) and 'The Legendary A&M Sessions' (BLIMP 902) (7, vinyl generally EX+, sleeves VG-EX)
Lot 7018
CAPTAIN BEEFHEART & HIS MAGIC BAND: Three 'Grow Fins' rarities LPs on Xeric, to include 'Grow Fins Vol.I: Just Got Back From The City / Electricity' (XER-LP-98), 'Grow Fins Vol.II: Troust Mask House Sessions' (XER-LP-97), and 'Grow Fins Vol.III: Grow Fins' (XER-LP-96, sealed) (3, vinyl and sleeves EX+)
Lot 132
Meccano - Airfix - Marx - Lilliput - A group of vintage toys including a boxed Airfix Flight Deck, Meccano Vehicle Set 3, a Lilliput Junior Typewriter, a collection of plastic soldiers including Marx, a Magic Roundabout Kaleidoscope, Skittles game and more. They show signs of age and use and are unchecked for completeness. (This does not constitute a guarantee) [ba]
Lot 82
Corgi - 3 unboxed diecast items to include 2 Corgi Comics comprising of Popeye Paddle - Wagon (loose / damaged accessory) and Basil Brushes Car. Also Magic Roundabout Mr McHenrys Trike. Items show some signs of use and age. Items not checked for completeness. (This does not constitute a guarantee) RG
Lot 131
Merit - Binatone - Spears - A group of vintage games and toys including Magic Robot, Table Tennis, TV Master MkIV, Backgammon,Embroidery Craft and Spirograph. They all show signs of age and use and are unchecked for completeness, they appear Fair overall. (This does not constitute a guarantee) [ba]
Lot 426
TWO BOXES OF RECORDS, approximately two hundred vinyl singles by artists to include The Rolling Stones It's All Over Now F11934, (I Can't Get No) Satisfaction F12220, Queen A Kind of Magic, Culture Club, UB40, Michael Jackson, Eric Clapton, Kenny Rogers, The Shadows, Dire Straits, Bee Gees, Elvis Presley, George Michael, Blondie, Carly Simon, etc (2 boxes) (sd, some holes cut for jukeboxes)
Lot 50
Part of the Magic of Dance trilogy. Depicting the dancer Isadora Duncan in clear and blue crystal, capturing her grace and artistry with movable bracelets on her wrists. Completed by a matching crystal plaque adorned with blue crystals including its original box which measures: 3.75''L x 5.75''W x 1.5''H. Completed by base with its original box. Box dimensions: 5.75''L x 6.25''W x 10.5''H. Swarovski etched backstamp. Issued: 2002Dimensions: 4.5"L x 3.5"W x 8"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 47
Second in the Magic of Dance trilogy. Features clear faceted crystal with red crystal details. Accompanied by a base that measures: 6.25''L x 4.5''W x 1.5''H. Swarovski etched backstamp. This item has its original box, dimensions: 11.25''L x 6.5''L x 6''H. Artist: Martin ZendronIssued: 2003Dimensions: 3''L x 3''W x 8.5''HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 46
From the Magic of Dance Trilogy. Presents a stunning depiction in clear and yellow crystal of the famous ballerina Anna Pavlova. Swarovski etched backstamp. This item has its original box. Dimensions of the box: 9.25''L x 9.5''W x 4.5''H. This item has a base included with its original box, dimensions: 4.75''L x 7.25''W x 2''H. Artist: Anton HirzingerIssued: 2004Dimensions: 7.5''L x 2.5''W x 7''HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 421
DAVIES (W H) Collection of 5 poetry works, including: The Hour of Magic, illustrated by William Nicholson 1922, signed large paper copy [edition of 110], boards; Ambition, 1929, dust jacket; The Story of Love, 1926; ORIGO (I) Allegra, 1935, dust jacket; SACKVILLE-WEST (V) Solitude, 2nd impression 1939; [BUDGEN (L.M.)] "Acheta Domestica". Episodes of Insect Life, 1st, 2nd, 3rd series, 3 vols., 1849-51, 8vo, wood-engraved frontispieces and illustrations, original pictorial cloth gilt, rather dusty; one other - Poetica Erotica, USA 1927 (11)
Lot 200
HOFFMAN (PROF), MODERN MAGIC, 2nd edition, George Routledge, 1877; HOPKINS (A), MAGIC STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS, illustrated, pictorial cloth, paste over for Hamley’s Magic School; NEIL (C), THE MODERN CONJURER, London, Arthur Pearson, 1911; 29 other books on magic and games, (32).
Lot 128
Registration No: URK 397 Chassis No: BN1223802 MOT: ExemptUnderstood to have been despatched directly to Donald Healey Garages in 1955 before receiving a full conversion to M-specificationBelieved to have been raced in the US and at the Nassau Speed week before being repatriated to the UK as early as 1958Retaining its original M-specification engine plus a BN2 four-speed gearbox with overdriveMille Miglia eligibleDonald Healey's eponymous company built a prototype two-seater sports car for display at the 1952 London Motor Show. It was based on Austin A90 Atlantic mechanicals and sported a notably sleek body designed by Gerry Coker and built by Tickford. It was dubbed the 'Healey Hundred' (a moniker chosen to reflect the car's ability to reach the magic 100mph), and, subject to a suitably encouraging response, Healey planned to build production versions in-house at his factory in Warwick. As things transpired, not only did the Ice Blue prototype more than impress the public, but it also excited Austin's Managing Director, Leonard Lord, so much that he struck a deal to build the car in volume at Longbridge. The newcomer was renamed the Austin-Healey 100/4. The rest, as they say, is history.The 100/4's chassis was a departure from the company's previous backbone designs and comprised a pair of three-inch square box-section side members running the length of the car, some 17 inches apart. These were braced by parallel and cruciform cross-members to which the steel floor pressings were attached. After the first 25 cars had been constructed at Healey's own premises in Warwick, the production of the mainstream bodyshells was turned over to Jensen. Once complete, the shells were transported to Longbridge, where the Healeys were assembled alongside the A90.As part of his tireless publicity campaign to promote the newly introduced Austin-Healey 100/4 BN1, Donald Healey entered a team of four pre-production cars for the 1953 Le Mans 24-hour race. Running with standard windscreens, interiors and even bumpers, two of this mildly tweaked quartet survived to finish 12th and 14th overall (an amazing result for such comparatively inexpensive cars in near showroom condition). Eager to capitalise on this success (and also to comply with the event's homologation requirements) Healey persuaded BMC to list a 'Le Mans kit' (twin 1.75 inch SU carburettors, high-lift camshaft, revised distributor advance curve and stronger valve springs etc) in its parts catalogue for 1954. Known officially as part P-280, it was available to fit on new or old models alike, and by dealers or private individuals. A handful of BN1 100s were to be delivered from Longbridge directly to the Donald Healey Motor Co. to be fitted with the 'Le Mans Modification Kit' when new; but upon launch of the BN2 it was to be adopted by BMC themselves for the 100M version and subsequently introduced at the 1955 London Motor Show. The upgrade has remained a popular modification package ever since and continues to be reproduced today.According to the accompanying Heritage Certificate, chassis BN1/223802 was built on 8th February 1955 in right-hand drive configuration for the Australian market. It is said to have all the hallmarks of a car that was uprated to ‘Le Mans’ specification at Donald Healey’s Warwick factory rather than being modified (either in period or more modern times) by a dealer or private individual. The requisite ‘telltales’ apparently being: a bend in the shroud bracket to clear the cool air box, aluminium louvred bonnet (crafted by Jensen cars) and hand etched numbering to the uprated SU carburettors etc. Seemingly shipped to the Bahamas when new (rather than Sydney), the 100 is further understood to have participated in that year’s Nassau Speed Week. Sadly, there are no reliable records to confirm its participation. The Big Healey is understood to have had a damaged rear end and have been repainted British Racing Green over Yellow when it was found by Dr Pryor whilst holidaying in the Bahamas during 1957. The vendor believes there is a chance that BN1/223802 was diverted to Nassau at the behest of Sir Sydney and Lady Greta Oakes who were prominent members of the Caribbean racing scene at the time and friends with Donald Healey.Repatriated by Dr Pryor in 1958 and issued with the Croydon registration number ‘URK 397’, he took the two-seater off the road following an accident in which his daughter was injured but retained possession until 1971. First owned by the vendor from 1980-1985 during which time he had it restored and repainted in its original Ice Blue over Old English White colours, the 100 later passed to Tony Elshof who previously served as the Austin-Healey Club’s Competitions Secretary and amassed a collection of significant examples of the marque. Changing hands several times thereafter, including a sojourn in France, ‘URK 397’ was reacquired by the seller during 2018. Entrusted to Rose’s Garage and Bushell’s Vehicle Restorations for servicing and maintenance since then, the Big Healey is deemed to be in ‘very good overall’ mechanical condition. Running and driving well during our recent photography session, the improved BN2 four-speed manual gearbox and gearlever-operated overdrive were both a boon. Although no longer concours, the two-seater remains presentable. Potentially eligible for such prestigious events as the Mille Miglia Storica, ‘URK 397’ is offered for sale with extensive history file, spare wheel, hood, tonneau cover and spare parts (the original, very rare distributor vacuum unit and the original cylinder head). It will also be accompanied by the V5C Registration Document.i For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Lot 403
Magic Lantern Ross Wheel of Life, Ross Wheel of Life Maker unknown (10 x 4 1/2 x 3/4 inches), rotary pulley mechanism with counter-rotating shutter. Including 4 spare wheels, 2 glass, 2 perspex. The invention by Thomas Ross in the early 1870s was an important forerunner of the bioscope and first moving film. But the high cost of manufacture prevented many being made. Hence, they are rare. Runs perfect. New bands fitted.
Lot 371
Lifeboat Rescue, Complex Mechanical Magic Lantern Slide, English, late 19th Century, unsigned, mechanical slide with rocking lifeboat, rocking waves both on a cam, with a moving background on a rack all driven by rotating the handle at the side, all encased in a polished mahogany slide, 11.5cm x 28cm
Lot 184
Goa Bovine Bezoar Stone & Stand, A Bovine Bezoar Stone reputidly from Goa, India, in a silver cup engraved 'BEZOAR', the cup stamped stirling on a wooden base under a glass dome, stone 6.5cm wide The 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 fibers (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 Medicine Bezoars 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 Bezoars With the advancement of medical science, the mythical status of the bezoar began to wane. By the 17th century, more skeptical 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 poisonings and other ailments. Bezoars in Modern Medicine In 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_Lunn https://www.imdb.com/name/nm0526767/ https://www.telegraph.co.uk/obituaries/2023/12/20/wilf-lunn-madcap-inventor-tricycles-vision-on-deaf/
Lot 447
Magic Lantern Slides of Hogarth's Drawings, Mahogany frames impressed 'NEWTON 3 FLEET ST LONDON', each with hand painted scenes of Industry & Idleness, by Hogarth, 5 from a set of 12 (Slides 3, 4, 6, 9, 12), 16.2cm x 10cm William Hogarth FRSA (1697–1764) was an English artist renowned for his prowess as a painter, engraver, and social commentator. His work spans from lifelike portraiture to serialized narratives known as "modern moral subjects." Among his most celebrated works are the iconic series "A Harlot's Progress," "A Rake's Progress," and "Marriage A-la-Mode." Hogarth's influence is so profound that satirical political illustrations in a similar vein are often described as "Hogarthian." Born into a lower-middle-class family in London, Hogarth's early life was marked by financial instability, with his father experiencing periods of prosperity and adversity, including imprisonment due to unpaid debts. These experiences lent a poignant depth to Hogarth's later artistic endeavors. Influenced by French and Italian art, Hogarth's creations primarily revolve around satirical caricatures, occasionally tinged with bawdy humor, yet consistently displaying a mastery of realistic portraiture. His works enjoyed immense popularity during his lifetime, widely disseminated through prints, making him the preeminent English artist of his era. Charles Lamb aptly characterized Hogarth's images as "books," rich with layers of meaning akin to words, setting his art apart as not merely something to be viewed but also to be deciphered and understood.
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