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COLLECTION OF MYTH AND MAGIC THE TUDOR MINT MODELS, including Contentment, Dark Secrets, The Cauldron of Light, Requesting the Potion and Crystal DragonQty: 5

COLLECTION OF MYTH AND MAGIC MODELS, comprising Master of the Deep and Lord of the Dragons Ice Versus LakesQty: 2

COLLECTION OF MYTH AND MAGIC THE TUDOR MINT MODELS, comprising The Dragon of Ice, The Protector, Sleepy Friends, Mischievous Dragonets and Underworld SorcererQty: 5

A Tudor Mint Myth and Magic Dahalagris figure, number 3614, boxed, 21cm high.

George Morrison (Ojibwe, 1919-2000). Woodcut on paper depicting an intricate pattern of contrasting woodgrains in gold metallic ink, 1976-78. Pencil signed and dated along the lower right; numbered P.P. 1/4 along the lower left; Vermillion Editions Limited blindstamp along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 1/2 in x width: 44 1/2 in. Framed; height: 33 1/2 in x width: 48 in.

George Morrison (Ojibwe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape" depicting a horizon in vibrant colors, 1990-96. The colors fit together perfectly, as if pieces of a puzzle, to form a colorful whole. Pencil signed and dated along the lower right; numbered CTP 10/22 along the lower center; titled along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Height: 21 in x width: 17 in.

George Morrison (Ojibwe, 1919-2000). Mixed media on paper painting depicting an abstracted figure in blue, red, yellow, and black, 1946. Pencil signed and dated along the lower right.Provenance: Private Minnesota Collection.Reference: "Modern Spirit: The Art of George Morrison," Minnesota Museum of American Art, 2013. A very similar work is illustrated in this exhibition (plate 5, pg. 68), depicting three figures.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 10 1/4 in x width: 8 in. Framed; height: 23 1/4 in x width: 19 in.

George Morrison (Ojibwe, 1919-2000). Black ink on Strathmore paper depicting a horizon comprised of thousands of lines, 1972. A thread of lines runs through the center of the composition - connecting the upper and lower halves of the drawing - creating a continuous weaving passage. Signed and dated along the lower left. A tag from the Walker Art Center is affixed to the verso.Provenance: Private Minnesota Collection.Exhibition: George Morrison Drawings Dates: 15 April - 27 May 1973; Heard Museum Phoenix, Dates: 23 June - 5 August 1973; Amon Carter Museum of Western Art, Fort Worth Dates: 10 November - 5 January 1974.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.In an interview with Philip Larson conducted for the 1973 Walker exhibition Morrison stated that these drawings were "laid out with precise straight and curved lines, all the same distance apart, and the whole surface is evenly textured. There is an effect of shallow cubist depth made with overlapping lines, and a sense of indefinite space extending outwards from all four sides...I sometimes deliberately create a passage going up diagonally from the bottom left to top right. That it is going through is very obvious - a passage of lines that becomes immersed in other lines, weaving in and out." This ink weaving is clearly evident with the central vertical passage in this work, creating a connection between the top quarter of the painting into the lower half.Sight; height: 23 1/8 in x wide: 23 1/8 in. Framed; height: 25 1/4 in x width: 25 1/4 in.

Katherine Bernhardt (American 1975-), 'Scotch Magic Tape ', 2021, lithograph with variable colours from 10 plates on Somerset tub sized radiant White 410gsm paper, signed, titled, dated and numbered from an edition of 50 unique works in pencil, published by Counter Editions; sheet: 83 x 128.5cmsheet: 83 x 128.5cmIn very good condition No knocks, tears or creases to the sheet This work has been stored flat and has not been framed.

Multifaceted clear crystal with red hat trim, second of the Magic of Dance trilogy. Swarovski etched backstamp. This item has its original box.10.75"L x 6.5"W x 5.75"H. Issued: 2003Dimensions: 3.5"L x 3"W x 8.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

This figurine was the final piece in the Magic of Dance trilogy. Anna was designed to represent the famous Russian ballerina Anna Pavlova and is made from clear and yellow crystal. This item has its original box which measures 10"L x 5"W x 10"H. Swarovski etched backstamp. Artist: Anton HirzingerIssued: 2004Dimensions: 8"L x 3"W x 7"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Tsung mit magischen Masken, China, Liang Zhou KulturWeißlich bis grüne Jade, geschnitzt. D. 7 cm, Bohrung 3,9 bis 3,8 cm, H. 3,8 cm. Teil der Sammlung Renier-Bley, Luxembourg. Originalrechnung beiliegend. Quadratischer Korpus mit Lochbohrung in der Mitte, welche sich nach Innen etwas verjüngt. An den Ecken jeweils zwei magische Masken. Ein Tsung stellt das Symbol der Erde dar. Tsung with magic masks, China white to green jade, carved. Part of the collection of the Renier-Bley family, Luxembourg. With original invoice.

Crowley, Aleister: Tannhäuser: A Story of All Time, new edition, blue cloth bound with gilt lettering to front board, Boleskine, Foyers, Inverness: Society for the Propagation of Religious Truth, 1907Footnotes: Note: Edward Alexander Crowley (1875-1947), known by his adopted name Aleister Crowley, was an English occultist, philosopher, novelist, and the founder and self-identified prophet of the religion of Thelema. Crowley rejected his fundamentalist Christian Plymouth Brethren upbringing to pursue an interest in Western esotericism, and trained in ceremonial magic under Samuel Liddell MacGregor Mathers and Allan Bennett. 'Tannhäuser' was originally published by Kegan Paul et. al. in 1902. By repute, Crowley composed the entire book in one uninterrupted 67-hour-long writing session. 

Crowley, Aleister: The Soul of Osiris: A History, First Edition, quarter linen bound with brick red cloth boards and paper label to spine, London: Kegan Paul, Trench, Tubner & Co. Ltd., 1901Footnotes: Note: Edward Alexander Crowley (1875-1947), known by his adopted name Aleister Crowley, was an English occultist, philosopher, novelist, and the founder and self-identified prophet of the religion of Thelema. Crowley rejected his fundamentalist Christian Plymouth Brethren upbringing to pursue an interest in Western esotericism, and trained in ceremonial magic under Samuel Liddell MacGregor Mathers and Allan Bennett. 'The Soul of Osiris' is the second half of 'The Mother's Tragedy', a publication so long that the publisher Kegan Paul suggested it be split in two. Despite the subtitle, the contents are a collection of poems arranged in chapters with religious subtitles. The present lot is one of only 500 copies published in the first edition (L. C. R. Duncombe-Jewell, Notes Towards An Outline of A Bibliography of the Writings in Prose and Verse of Aleister Crowley, The Works of Aleister Crowley, Volume III, Appendix A, Gordon Press, New York, 1974, p. 235.).

Crowley, Aleister, Why Jesus Wept: A Study of Society and of the Grace of God, First Edition, First Impression, original Japanese vellum wrappers, titled to spine and front cover, Phillipe Renouard colophon to back cover, privately published, printed by Phillipe Renouard, Paris, 1904 Footnotes: Note: Edward Alexander Crowley (1875-1947), known by his adopted name Aleister Crowley, was an English occultist, philosopher, novelist, and the founder and self-identified prophet of the religion of Thelema. Crowley rejected his fundamentalist Christian Plymouth Brethren upbringing to pursue an interest in Western esotericism, and trained in ceremonial magic under Samuel Liddell MacGregor Mathers and Allan Bennett. According to his various biographers, Crowley authored the religious satire 'Why Jesus Wept' while on honeymoon with his wife Rose Edith Kelly, the sister of the painter Gerald Kelly and a friend of Crowley's, whom he wed in a "marriage of convenience" to prevent her from entering a marriage arranged by her family, which subsequently damaged his friendship with Gerald. The present lot is one of 100 copies printed by Phillipe Renouard on hand-made paper in the first edition (L. C. R. Duncombe-Jewell, Notes Towards An Outline of A Bibliography of the Writings in Prose and Verse of Aleister Crowley, The Works of Aleister Crowley, Volume III, Appendix A, Gordon Press, New York, 1974, p. 238.).Condition Report: This copy lacks the laid-in copy of the 8-page pamphlet 'Mr. Crowley and The Creeds and The Creed of Mr. Chesterton with a postscript entitled A Child of Ephraim Chesterton’s Colossal Collapse', usually found to the back of the book. 

Toys, a selection of toys to include, Lesney 1950s metal painted Muffin The Mule puppet, Corgi Basil Brush car, Corgi Noddy's Car, Corgi Magic Roundabout Ermintrude, small toy Pirate pistol and more (a little playworn gen gd) (9)

A mixed lot of collectables including penknives, horn handled knife, glass magic lantern slides, etc.

Seventeen Book on Fishing - The Perfect Cast 2011 Tom Quinn, The Fisherman's Bedside Story 1980 David and Gareth Powell, Fish Tales A Collection of True Angling Stories 1989 Billie Chapman Pincher, Fishing with my Father 1993 Roger Pierce, Tails and the Unexpected A Collection of Unusual Angling Stories 1995 Billie Chapman Pincher, Competitive Fly-Fishing 1982 Tony Pawson, Fly-Fishing the 41st 2003 James Prosek, Fishing Yellowstone National Park 2007 Richard Parks, Trout and Trout Waters 1956 Lancelot Peart, A Report on the Food of Trout 1971 New Zealand Maring Department, Trout in Scotland 1960 K.A Pyefinch x2, The Lakes of Yellowstone 1987 Steve Pierce, A Taupo Season 1979 John Parsons (signed), Trout of the World James Prosek, Trout An Illustrated History 1996 James Prosek, The Magic Wheel An Anthology of Fishing in Literature 1986 David Profumo and Graham Swift - Mixed condition

Eighteen Book on Fishing - Tube Flies Two Evolution 2007 Mark Mandell and Bob Kenly, A Particular Lunn 1991 Clive Graham-Ranger, Fisherman's Bounty 1972 Nick Lyons, The Compleat Lee Wulff 1989 Lee Wulff, Salmon on a Fly 1992 Lee Wulff, The Earth Is Enough 1996 Harry Middleton, Top Fishing Spots of Australia 2004 Alistair McGlashan, Weather to Fish 1990 Jack Meyler, Fly-Fishing 1992 C.B McCully, Trout Fishing in the Pacific North West 2008 Gary Lewis and John Van Vliet, How to Fool Fish with Feathers 1992 Jon Margolis and Jeff MacNelly, Pursuing Wild Trout 1998 Bob Magic, Fishing Widows 1974 Nick Lyons, Confessions of a Fly Fishing Addict 1999 Nick Lyons, The Field and Stream International Fishing Guide 1973 A.J McClane, The Waterlogue A Flyfisher's Workbook 1981 Darrel Martin, Trout Fishing 1970 Kenneth Mansfield, Wilerness Fishing for Salmon and Steelhead 1974 Roy A McInturff - Mixed condition

A Royal Albert Magic Moments pattern part coffee service, to include five cups, six saucers, milk jug, coffee pot with printed design of flowers, on a cream ground with pink highlights.

A selection of magic lantern slides in 2 boxes including humour, travel etc

A large quantity of COMICS, almost exclusively DC, mainly BRONZE AGE various characters and issues including SWAMP THING, UNKNOWN SOLDIER, MIGHTY ISIS, WORLD’S FINEST, THE SUPERMAN FAMILY, METAL MAN, BLACK MAGIC, WANTED, LEGENDS etc, over 100 comics, various condition.

STAMPS-WELL-FILLED FACILITY STAMP ALBUM, plus The Brittania (Schoolboy type), plus The Magic Album comprising a small mixed lot

SWATCH ‘MAGIC SPELL’ LIMITED EDITION WRISTWATCH, GZ148, (1995), in red and gilt book pattern case with attached booklet

A mahogany and brass Magic Lantern (in need of repair) together with a collection of miscellaneous lantern parts and lenses (a lot)

A 19th century rackwork magic lantern slide 'A Diagram to prove the Earth's Round', unsigned, the earth with figures holding telescopes showing lines of sight over Asia with two sailing rotating the globe, remains of paper label to one side, 10.5 x 17.5cm

A group of six mahogany framed transfer printed single slip Magic Lantern slides, unsigned, humour and other subject matter (6)

A late 19th/early 20th century tinplate Magic Lantern, the lacquered brass lens with rack and pinion focus, together with a wooden slide carriage in original tin case.

Five mahogany framed hand painted brass lever Magic Lantern slides, including 'Notice Tiger Sale' stamped 'E G Wood & Coo', one of a man on a Donkey, woman playing piano, farewell to sailors and a man feeding a donkey (5).

A late 19th/early 20th century mahogany and brass Magic Lantern, unsigned, black tinplate chimney over mahogany body with brass fittings and enclosing limelight illuminant, fitted 1 1/2 inch lens with rack and pinion focus, 41 x 44 x 25cm.

A hand painted brass lever Magic Lantern slide 'Rabbits stealing a gun of sleeping hunter', unsigned

Folding bow corkscrews of various sizes, including a marked Plant's patent 'MAGIC NO. 12140', and two examples with foil cutters (29)

A group of three late 19th/early 20th century brass and tinplate Magic Lanterns (3)

A 19th Century magic lantern lever slide of a monkey with a fork over a fish bowl, unsigned, 10 x 18cm* Provenance- From the David Henry Collection

Two double lever corkscrews, circa 1930s, comprising an English MAGIC LEVER CORK DRAWER, and a Spanish one marked BOJ (trademark of B. Olanta y Juaristi)

A Chromotrope Magic Lantern slide, unsigned, together with a smaller transfer printed Chromotrope slide and two other rackwork slides (4)

An early 20th century French brass and tinplate Magic Lantern, fitted lacquered brass lens with rack and pinion focus and signed ' Maison De La Bonne Presse, Paris', 26cm x 35cm.(incomplete)

Two 'Boy's Own' tinplate Magic Lanterns. (2)

A late 19th/early 20th century tinplate Magic Lantern, unsigned, fitted lacquered brass lens with rack and pinion focus and oil burner illuminant, together with one other tinplate Magic Lantern (incomplete)(2)

An early 20th century tinplate Magic Lantern, unsigned, 28cm high together with an '...Optikon' tinplate lantern, 25cm high (2) (incomplete)

1948 The Magic Beano Book: D.C. Thomson & Co Ltd: Nice bright copy, some spine wear , crease to front cover otherwise VG.

1950 The Magic Beano Book D.C.Thompson & Co Ltd Nice Bright copy, some spine wear, bottom right had corner of cover has some paper loss otherwise nice clean copy of this rare annual.

1970s Sindy's Magic Cooker No. 44481, generally excellent in excellent to good plus Pedigree box (Sindy S collectors symbols present), battery-operated (untested) features including cooking noises, oven timer, lights and rotisserie, with saucepans, grill pan, etc. Contents unchecked for completeness or correctness and untested. Viewing recommended.

1949 The Magic Beano Book D.C.Thomson & Co Ltd. Nice clean copy of this rare Beano book, minimal spine loss, neat inscription, overall VG copy.

Cullmann lightweight flat Magic One tripod in box

A Tin Containing Collection of Coloured Magic Lantern Slides, Various Subjects

An early 20th Century metal and brass mounted Magic Lantern

A Perken Son & Rayment Magic lantern

An early 20th Century British made tin plate and brass Magic Lantern

The Verlux Church Army tin plate Magic Lantern and tin carrying case

A collection of miscellaneous Magic Lantern slides to include a Kaleidoscope example; various Magic Lantern parts etc.

A tin plate Magic Lantern AF with tin case

A Walter Tylers New Pattern Helioscopic Magic Lantern pattern 2459

Two boxed sets of photographic magic lantern slides including military and a mahogany cased collection of wood radii templates stamped Hudelo, Paris, longest box 73cm

A SMALL WOODEN BOX WITH ITEMS, to include a single silver teaspoon, hallmarked Birmingham, a boxed silver scent bottle pendant fitted on a fine figaro chain, hallmarked London, together with a funnel hallmarked London, approximate gross weight 46.1 grams, EPNS cutlery, a pair of heavy duty scissors with pouch, various cap badges 'City Rifle Club, Boy Scouts, Defenders of Ladysmith Association, N.R.A' etc fob medals, medallions a Magic Pocket Savings Bank coin holder etc

A GROUP OF BOXED ENESCO HARRY POTTER ITEMS, comprising a Harry Potter cookie jar (glasses loose), Harry Potter and Hermione Granger book buddy bookends, three limited edition magic trinket boxes: Fat Lady in the Portrait, Norbert and Scabbers, four limited edition secret boxes: Harry Potter, Hermione the Bookworm, Harry and Hagrid at Gringotts and Golden Snitch, and a Harry Potter Storyteller Figurine (11+ 11 boxes) (Condition Report: pieces appear in good overall condition, obvious specific damage as stated, sd to boxes)

SIX BOXED ROYAL DOULTON 'HARRY POTTER' FIGURINES, comprising 'Harry Casts A Magic Spell' HPFIG2, a limited edition 'Rescue In The Forbidden Forest' HPFIG26- 755/5000 (small scratch to paint on back left leg), 'Gringotts Bank' HPGW5, 'Hermione Studies For Potions Class' HPFIG3, 'Slytherin or Gryffindor' HPFIG11, 'Struggling Through Potions Class' HPFIG10 (6 + 6 boxes)

11 Queen / Freddie Mercury LPs including: Greatest Hits II, The Works, Sheer Heart Attack, Barcelona, II, Live Killers, Night At The Opera, The Game, Live Magic, Kind Of Magic, etc.

A Cambridge Computer Ltd Z88 Personal Computer with Power Cable, User Guide and Z88 Magic volume

A Marx Toys Flasy Flicker Magic Picture Gun with four films present, Hi and Lois, The Phantom, Blondie and Prince Valiant, films and gun in original card boxes