Christopher Wood (British, 1901-1930)Flowers in a Blue Vase oil on canvas35.9 x 30.1 cm. (14 1/8 x 11 7/8 in.)Painted in 1922Footnotes:ProvenanceJack BeddingtonHans & Elsbeth JudaTheir sale; Sotheby's, London, 26 April 1972, lot 132, where acquired by the father of the present ownerPrivate Collection, U.K.ExhibitedSheffield, Graves Art Gallery, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, May-June 1967, cat.no.160LiteratureEric Newton, Christopher Wood, Redfern Gallery, London, 1938, cat.no.9Exh.Cat., Robert Melville, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, Graves Art Gallery, Sheffield, 1967, n.p., cat.no.160 (ill.b&w)For Christopher Wood the year 1922, his twenty-first, was to be the year his artistic aspirations accelerated at a profound rate. In January he wrote to his mother stating 'My ambition as I said is to be a great painter and as I am learning now I shall stand every chance of becoming one' (quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995 p.52). By early summer his sights were set much higher. In June he would again write to his mother declaring 'I have decided to try and be the greatest painter that has ever lived' (Ibid p.59). Wood's charismatic bravado is by no means unique among young artists, however as the following years were to prove his assuredness was quite merited. Throughout the 1920s, Wood led a fascinating and fabled existence, connecting with many great artists including Picasso, Cocteau and Lhote on the continent, and the Nicholsons, Morris and John in Britain. He exhibited successfully, including as a member of The Seven and Five Society, and developed an idiosyncratic painterly vocabulary which joyfully fused post-impressionism and primitivism. The meteoric rise of his star was tragically cut short by suicide just a decade into his career. Despite his short years, it is generally accepted that without Wood's contributions and connections, the history of modern British painting could have taken a different course entirely.The present painting is a rare example dating to the year in which Wood's ambition was at its peak, and his artistry was enlivened by a rich array of influences. With minimal formal training to date, his talent and charm had already attracted the attention of a wealthy collector named Alphonse Kahn. Kahn's renowned collection of modern paintings afforded Wood close access to works by Cézanne, Matisse and the Old Masters, and his sponsorship enabled Wood to study in Paris at the Académie Julian, whilst living in Montmartre. There Wood became acquainted with the Chilean diplomat José Antonio de Gandarillas, with whom he would travel extensively. In February of 1922 Wood and Gandarillas toured Northern Europe, including Brussels, Ghent and the Netherlands. Spring would take them to the South of France and the casinos of Monte Carlo, before crossing the Mediterranean to Tunis and on to Sicily, Malta and Greece. In August they set sail from Athens to Constantinople, before weaving through central Europe back to London in autumn. Throughout he painted a small number of still-lifes, such as the present work and Lemons in a Blue Basket (Pallant House, Chichester). These paintings display Wood's early prowess as a colourist, and as noted by Katy Norris reveal that Wood 'seemed to understand that the creation of emotional narrative was related to the sensuous qualities of the objects and the manner in which they were held together within the space' (Katy Norris, exh.cat., Christopher Wood, Lund Humphries, London, 2016, p.33). Such works are informed in part by Cézanne, especially in composition, but also by Van Gogh, whose letters Wood discovered in 1922 and whom he would develop an adoration of. Specifically, it is Wood's flower paintings which can be considered the fruit of this idolisation. As Katy Norris highlights 'Wood observed a perfect synergy between the simplicity of Van Gogh's paintings and his modest rural existence that was to have a determining impact on the young artist's own approach to art and life' (Ibid. p.46). The present work was formerly in the collection of Hans and Elsbeth Juda. Hans Juda (1904-1975) founded The Ambassador export journal for textiles and fashion, and Elsbeth Juda (1911-2014) was a pioneering fashion and art photographer whose subjects included Henry Moore, John Piper, Kenneth Armitage, Peter Blake, and Graham Sutherland, whom she photographed in 1954 on the occasion of Winston Churchill's final sitting for Sutherland's famously ill-fated portrait of the statesman.We are grateful to Robert Upstone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
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Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
19th century Spanish school."Still life of fruit".Oil on canvas.Size: 53 x 79 cm; 71 x 97 cm (frame).In this work the artist shows his magnificent ability for still life painting, especially appreciable in his way of working the different qualities of the elements, as well as in the careful modelling through the soft variations of lights and shadows. The intense colouring of the fruit also stands out before our eyes, toned and balanced, very well thought out, but at the same time very naturalistic and warm. The dark background, enveloped in a half-light from which the fruits seem to emerge, is inspired by the black backdrop common in 18th-century Baroque painting. Similarly, this asymmetrical yet balanced, rational composition derives directly from the Spanish works of Sanchez Cotán, in which the placement of the foodstuffs, arranged in an apparently natural yet perfectly studied manner, is a priority.
19th century Spanish school."Still life of fruit".Oil on canvas.Size: 53 x 79 cm; 71 x 97 cm (frame).In this work the artist shows his magnificent ability for still life painting, especially appreciable in his way of working the different qualities of the elements, as well as in the careful modelling through the soft variations of lights and shadows. The intense colouring of the fruit also stands out before our eyes, toned and balanced, very well thought out, but at the same time very naturalistic and warm. The dark background, enveloped in a half-light from which the fruits seem to emerge, is inspired by the black backdrop common in 18th-century Baroque painting. Similarly, this asymmetrical yet balanced, rational composition derives directly from the Spanish works of Sanchez Cotán, in which the placement of the foodstuffs, arranged in an apparently natural yet perfectly studied manner, is a priority.
Mansur Aye (Pakistani, 1941-2008)Untitled signed and dated Mansur Aye '05 lower leftoil on canvas, framed61 x 45.7cm (24 x 18in).Footnotes:ProvenanceAcquired from Eye from Art, Karachi in 2022.A self-taught painter, Aye had his first exhibition in Karachi in 1962 at the Karachi Arts Council. Known for his moon faced girls, as seen in the present lot, portraits of women, musicians and still life, he employed a diverse range of materials such as oils, acrylics, mixed media and pencil to create his images. His works are characterised by their simplicity and economy of lines.For further information on this lot please visit Bonhams.com
Francis Newton Souza (Indian, 1924-2002)Sketch Book 1996-97 (20 Drawings including 2 artist inscriptions) all signed and datedmixed media on papereach 18 x 26.5 cmFootnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from Christies, South Asian Modern & Contemporary Art, including Property from the Estate of Francis Newton Souza, 9th and 10th June 2010, lot 138.Born Francisco Victor Newton de Souza, Souza was expelled from St Xavier's College, Bombay for drawing obscene graffiti in the bathrooms. He subsequently enrolled at the Sir J.J School of Art, Bombay but was expelled again, this time for participating in the Quit India Movement and pulling down the Union Jack flag during a school ceremony. Despite this, he became a founding member of the Bombay Progressives in 1947, and later emigrated to the UK in 1949, as his works were deemed to be obscene for Indian audiences. Initially he found little success in the UK, however his sold out 1955 exhibition at Victor Musgrave's Gallery cemented his status in the art world. His works, a combination of the eclectic, drew heavily on the post-war Art Brut movement and elements of British Neo-romanticism. The sketch book on offer in this auction made towards the end of his life is an amalgamation of his most well known motifs; sensual and statuesque nudes, faceless bodies, sex and the visceral and still life. They capture Souza's essence and illustrate the spontaneity that he is so well known for. The 18 drawings are accompanied by 2 inscriptions, as below. The two inscriptions are: 'In a land of geniuses I chose to be a dumb-dumb.' Mumbai, Souza '97.3 January '97 - Calcutta MuseumSo much stuff on fertility: goddesses, lingams, yonis and cults - that no wonder modern India beats the brunt of overpopulation! Men's origin is higgledy-piggledy! Who can ever render an apology to anthropology? That man ever attempts to record history, catalogue the diversity, label the facets shows the absurdity of his egotism, the futility of the exercise - worse: nature makes a mockery of him by forcing him to maintain such records in libraries and museum and archives! (Which turn out to be erroneous eventually...)The infinity of the Cosmos and the cast branching of man cannot be categorised as subjects like cosmology and antropology, (biology and science and religion etc.) The answer is a humble retreat saying, I know that I know nothing.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sadanand K. Bakre (Indian, 1920-2007)Landscape inscribed Bakre 1962 in Devanagari lower right and signed and dated versooil on board, framed45.8 x 60cm (18 1/16 x 23 5/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection UK; Acquired from a shop in Lancashire in the 90s.Note: There is a label on the reverse from Burton Gallery, Burton in Wirral, Cheshire which includes the artist's name, the title, medium, the name of the original collector and the date 30th November 1966. In addition, the artist has signed and dated the work in English and Devanagiri, and there is an address 19 Street Helens Garden, London, W.10. The size of the work 18 x 24 is also written, along with LAD 8434.Born in Baroda, Bakre was one of the six founders of the Bombay Progressive Artists' Group in 1947. He studied at the Gokhale Education Society School, where his talents were encouraged, and at the age of sixteen, he held his first solo exhibition at school, where he showcased his clay models of drapery, watercolour landscapes, still life and figurative works. He subsequently enrolled at the Sir J.J School of Art and received his Diploma in Sculpture in 1944. Always looking for new ways to express himself, he abandoned the medium in 1951 when he moved to London and turned his focus to paintings. The present work was created during the 60s, when Bakre's style evolved considerably. Often considered the most important period for his oeuvre, he moved away from academic realism to abstraction, and was influenced by the sculptors Henry Moore and Jacob Epstein and the jagged and repetitive style of the British Vorticists; they were a group formed in London in 1914 who wanted to create art that expressed the dynamism of the modern world. This period is characterised by the visual similarities between his paintings and sculptures and their bold geometric lines. He perhaps best describes this period himself 'I paint as I like... I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant.' (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965). For a similar work sold in these rooms see, Bonhams, Modern and Contemporary South Asian Art, London, 25th October 2021, lot 46.For further information on this lot please visit Bonhams.com
Sayed Haider Raza (Indian, 1922-2016)Untitled signed and dated 'Raza 72' lower right, further signed, dated and inscribed 'Raza/1972/15F' and 'SHR-16' versoacrylic on canvas65 x 54cm (25 9/16 x 21 1/4in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection, France;Artcurial, Contemporary Art, 29th June 2009, lot 215, Paris;Delhi Art Gallery, New Delhi;Acquired from the above by the current owner.LiteratureKishore Singh, Syed Haider Raza:The bindu as leitmotif for art and life, DAG series, New Deli, Delhi Art Gallery, 2011, p. 41 (illustrated).Anne Macklin (ed.), S H Raza, Catalogue Raisonné, Volume II (1972-1989), Vadehra Art Gallery & The Raza Foundation, New Delhi, 2022, p. TBC.ExhibitionContinuum: Progressive Artists Group, Delhi Art Gallery, New Delhi, 19th January 2011-8th March 2011. Formlessness in its metaphysical aspect also ascribes abstract value to the great life force. Born a Muslim, and married to a Christian, Raza would be familiar with the value ascribed to the unknown: thereby eliciting an epiphany and wonderment in the act of painting. The small work 'Untitled' which comes in the beginning of the decade of the 70s, close in time to works like La Source (1972) and Tarangh (1975) still bears signs of the struggle with darkness—a metaphor for fear as much as for incomprehension, even desire. With this small painting, the artist allows himself some relief. The mood is chilled, even wintry, the rising plant like forms that seem to burst through black hardened surface are seemingly frosted over. And yet they survive, faintly illuminated by the promise of a dawn, breaking just over the horizon. Even in the winter chill, there is the promise of vitality and new life. Perhaps the artist was poised for the rise of the blazing Bindu, like the subcontinental sun, that would continually unfold its significance to him, over the next few decades. - Gayatri Sinha, September 2022.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
Gerald A. Cooper (British, 1899-1975)An abundant still life of daisies and a sunflower signed 'Gerald Cooper' (lower right)oil on board76.9 x 64.2cm (30 1/4 x 25 1/4in).Footnotes:ProvenanceWith E. Stacy Marks Ltd., London, no. c644.Sir Frank Williams CBE, UK.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Wainwright (British, active 1860-1869)Still life with flowers and stuffed birds in a glass domesigned and dated 'Jno Wainwright 1866' (lower left) oil on canvas 50.8 x 40.7cm (20 x 16in).Footnotes:ProvenanceWith Bond Street Galleries, London.Private collection, UK.For further information on this lot please visit Bonhams.com
Cecil Kennedy (British, 1905-1997)Still life of flowers in a silver vase, a self portrait reflected in the vasesigned 'Cecil Kennedy' (lower right) oil on panel 61.3 x 50.8cm (24 1/8 x 20in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Cecil Kennedy (British, 1905-1997)Still life with dahliassigned 'Cecil Kennedy' (lower right) oil on canvas 51.1 x 61cm (20 1/8 x 24in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Cecil Kennedy (British, 1905-1997)Still life of poppiessigned 'Cecil Kennedy' (lower right) oil on canvas 50.8 x 40.7cm (20 x 16in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Pierre Laprade (French, 1875-1932)Still life of flowers, ceramics and books, a pair both signed 'Laprade' (lower right)oil on canvasthe first 49.5 x 126.4cm (19 1/2 x 49 3/4in); the second 48.2 x 115.5cm (19 x 45 1/2in). (2)Footnotes:ProvenanceAnon. sale, Christie's, London, 27 June 2002, lot 64.Private collection, UK.For further information on this lot please visit Bonhams.com
Life and Reign of Lewis XIV, Late King of France and Navarre, engraved portrait frontispiece, woodcut head-pieces and initials, 3pp. publisher's catalogue at end, armorial bookplate of Sir Robert Johnson Eden, some light spotting and browning but still a crisp copy, later calf, gilt, with red morocco label to spine, lightly rubbed, 8vo, Printed by H. Meere et al., 1715.⁂ Published the year of King Louis XIV's death, we can trace only one copy ever appearing at auction.
A collection of Disco, Funk, Soul, Acid Jazz and Contemporary R&B LP's to include Beverly & Duane 'Beverly & Duane' (SW-50051), Law 'Breakin It' (MCF 2785, white label), Wild Cherry 'I Love My Music' (BL 35011, promo), Ashford & Simpson 'Is It Still Good To Ya' (K56547), Crusaders 'Street Life' (MCF 3008), Odyssey 'I Got The Melody' (RCALP 5028), Rose Royce 'Strikes Again' (K56527), Stevie Wonder 'Hotter Than July' (STMA 8035), Atlantic Starr 'All In The Name Of Love' (925 560-1), Mac Thornhill 'Mac Thornhill' (THORN 1, white label, one LP only), Omar Chandler 'Omar Chandler (MCA 10057), CJ Anthony 'Luv's Invitation' (KMA-LP-004), Major Harris 'I Believe In Love' (MKL 3, white label), Impact 'Impact' (SD 36-135, promo), Van McCoy & The Soul City Symphony 'Disco Baby' (AV-69006-698), Innocence 'Belief' (CTLP 20), Ronny Jordan 'The Antidote' (ILPS 9988), En Vogue 'Born To Sing' (7567-82084-1, promo), Delilah 'Dancing In The Fire' (S.P.D 1, test pressing), Will Downing 'Will Downing' (BRLP 518), Sam Dees 'Secret Admirer' (PP1002), Dynasty 'Daydreamin' (ST-72550), Trisha Covington 'Call Me' (XPR 2137, promo), Patti Austin 'Gettin Away With Murder' (1-25276), Gene Rice 'Just For You' (PL83159) and Donna Summer 'Once Upon A time...' (CALD 5003) (26, vinyl F-VG+, sleeves G-VG)
Continental School, late 19th Century/Still Life/of a basket of fruit/indistinctly signed lower left/oil on canvas, 60cm x 50cm/unframed CONDITION REPORT: relinedCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Continental School, 19th Century/Still Life with vase of flowers/oil on canvas, 74.5cm x 62cm/Provenance: Spetchley Park, Worcestershire CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Nigel Ashcroft (born 1951)/Still Life with Bowl of Cherries/initialled, watercolour 26cm x 19cm and/Blue Bowl with Garlic, 16.5cm x 23cm and two other watercolours (4) CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
THE ROLLING STONES - LP COLLECTION. A lovely selection of 25 LPs by The Rolling Stones. Titles include Let It Bleed (LK5025, UK mono on unboxed red label. 1A/ 2A matrix. Record strong VG/ sleeve strong VG+), S/T (LK4605, unboxed red label. 2A/ 4A. VG/ VG), Their Satanic Majesties Request (6835 208, white vinyl), Sticky Fingers (COC 59100, zipper sleeve), Exile On Main St (1C 164-63 077/78), 12x5 (PS402), Beggars Banquet (SKL 4955), Tattoo You, Some Girls, Rewind, Got Live If You Want It, Under Cover, Hot Rocks, Still Life, Get Yer Ya-Ya's Out, Steel Wheels, Dancing In The Street, Black And Blue, It's Only Rock n Roll, Love You Live, Rolled Gold, Time Waits For No One, Get Stoned, Emotional Rescue and Bill Wyman - Monkey Grip. Condition is generally VG to Ex.
CLASSIC ROCK - LP COLLECTION. A quality collection of 36 rock LPs. Artists/ titles include New York Dolls inc S/T (175R-8, Japanese press), In Too Much Too Soon (175R-9, Japanese press). Trainer (BAG 22-291073), Fleetwood Mac - S/T (P-10074R, Japanese), Mountain inc Flowers Of Evil (25AP-1279, Japanese), Climbing (25AP 1277). Brian Jones - The Pipes Of Pann At Joujouka. The Rolling Stones inc Love You Live, Dirty Work, Made In The Shade, Still Life, Gimme Shelter. The Moody Blues (NR21), Sade inc Promise (28-3P-682), Stronger Than Pride. Steppenwolf, Various - Woodstock, Woodstock Two. Mick Taylor, Traffic, Tolonen, Roger Ruskin, Santana, Dire Straits. Condition is generally VG+ to Ex+.
CLASSIC ROCK & POP - LP COLLECTION. Excellent large collection of over 200 x (predominantly) LPs which includes some 12" featuring popular artists from the 60s/80s. Noted with some duplication. Artists/titles include Rolling Stones (and related) inc. Between The Buttons (unboxed UK mono), Get Stones, Big Hits... (unboxed mono), Solid Rock, Great Hits, Still Life, Rolled Gold and Story Of The Stones, Dusty Springfield inc. In Memphis (stock UK og, SBL 7889), The Doors, Cliff Bennett, Manfred Mann, Roy Orbison, The Kinks, The Beach Boys, Walker Brothers, Sandie Shaw, Timi Yuro, Bee Gees, Twiggy, Rod Stewart, Leo Sayer, Elton John, Boney M, 4 Seasons, Lionel Ritchie, Chris De Burgh and 10CC. Condition is generally VG to Ex though some earlier titles can vary.
CLASSIC ROCK / ARTISTS - LP / 7" PACK. A stunning selection of 18 x (almost entirely LPs) and 2 x 7". Tiles / Artists include The Who: 5 original UK Track albums including “Odds and Sods” (braille cover with lyric insert mint), “Meaty Beaty Big and Bouncy” (gatefold mint) “Sell Out/Quick one” (no sleeve mint) “Who Came First” (gatefold with poster mint) “Smash your Head” against the wall (gatefold VG), The Who inc. 5 original UK Track albums including “Odds and Sods” (braille cover with lyric insert mint), “Meaty Beaty Big and Bouncy” (gatefold mint) “Sell Out/Quick one” (no sleeve mint) “Who Came First” (gatefold with poster mint) “Smash your Head” against the wall (gatefold VG), DBX inc. 4 x US albums recorded using the short lived DBX noise reduction technology (can be played on normal stereo equipment) including a demonstration record, “Empire Strikes back”, Tim Weisberg etc. Roxy Music inc. Heart Still Beating, Viva!, Manifesto and Country Life, Jimi Hendrix: A classic 70’s issue unofficial album “Live at the Albert Hall” on white label and US 1984/85 radio broadcast only albums: 3 box sets each with 3 double sided albums + cue sheets featuring 3 hours of music and interviews including Duran Duran, Julian Lennon, Sammy Hagar, Paul McCartney etc. The condition is generally VG+ to Ex+
JOY DIVISION / NEW ORDER - LPs / 12" COLLECTION. A lovely collection of 17 x LPs. Titles include Joy Division - Still (Stock UK Copy, FACT 40 - Ex / Ex+), New Order - Substance 1987 (Embossed Lettering, VG+ / Ex+), Joy Division - Unknown Pleasures (Early UK Copy, Textured Sleeve, Solid Black Vinyl, FACT 10, A2 / B2, Record VG, Sleeve Ex), Substance 1977-1980 (Fact250), New Order inc. Low-life, Power, Corruption & Lies (FACT 75), Movement (Fact50), Technique (Fact275) and Round & Round. The condition is generally Ex to Ex+.
CLASSIC ROCK - LP COLLECTION. Collection of around 95 x LPs. Artists / Titles include Beastie Boys - Licensed to Ill, The Rolling Stones inc. Some Girls (2 x copies), Still Life and Time Waits For No One, David Bowie - Blackstar (OG with Only 2015 on Reverse Sleeve, tear on front of the sleeve, Record Ex, Sleeve Fair), Tom Waits - Blue Valentine, Tom Petty - Full Moon Fever, Bruce Springsteen - Born in the USA, Fleetwood Mac - Rumours, Fleetwood Mac - Mirage, Stevie Nicks - Bella Donna, Stevie Nicks - The Wild Heart, Fleetwood Mac - Tango In the Night, Fleetwood Mac - Live, Fleetwood Mac - Penguin, Lou Reed - Transformer, Grateful Dead - Skeletons From the Closet, Dire Straits - Dire Straits, Whitesnake - Whitesnake, Genesis - A Tuck of the Tail and The Who - Who's Better, Who's Best. The condition is generally VG+ to Ex+ with many records grading at least Ex.
SOUL / FUNK / DISCO / FUSION - LP COLLECTION. Get ready to party with this collection of 83 x LPs. Stevie Wonder - Hotter Than July, 16 Tamla Motown Big Hits, Grace Jones - Living My Life, Grace Jones - Nightclubbing, Michael Jackson - Thriller, Millie Jackson - Still Caught Up, Earl Klugh - Finger Paintings, Various Artists - Still Cookin', Weather Report - Procession, The Crusaders - Chain Reaction, The Crusaders - Free As the Wind, Wilton Felder - We All Have a Star, Womack & Womack - Radio M.U.S.C. Man, Aaron Neville - Orchid in the Storm, Percy Sledge - When a Man Loves a Woman and Tina Turner - Foreign Affair. The condition is generally VG+ to Ex+.
SYNTH POP LEGENDS - 7" COLLECTION. An excellent collection of 32 pop 7" singles, includes many Japanese/ clear vinyl pressings. Artists/ titles include The Human League inc Don't You Want Me (VIPX-1611), Love Action (VIPX-1655), Mirror Man (VIPX-1685), Red, The Lebanon, Human. Japan inc Life In Tokyo (VIP-2745), Forbidden Colours, Enola Gay. Ultravox clear vinyl pressings inc Passing Strangers, Sleepwalk, Vienna, All Stood Still, The Thin Wall, The Voice, Hymn, Reap The Wild Wind, Visions In Blue, We Came To Dance, Dancing With Tears In My Eyes, One Small Day. Midge Ure clear vinyl inc If I Was, That Certain Smile, Wastelands, Call Of The Wild, Answers To Nothing, Dear God. Condition is generally Ex to Ex+/ Archive.
THE ROLLING STONES - LP COLLECTION. An extensive collection of 28 LPs by British rock legends The Rolling Stones. Titles include Aftermath (LK4786), S/T (LK4605), 12x5 (LL3402), Let It Bleed (NPS4), Beggars Banquet (SKL 4955), Exile On Main St (COC69100), Sticky Fingers (zipper sleeve), Big Hits (x2), Steel Wheels, Emotional Rescue, Made In The Shade, Get Stoned, Dirty Work, Black And Blue, Get Yer Ya-Ya's Out, Stone Age, Rock N Rolling Stones, Through The Past Darkly, Some Girls, Rolled Gold, Under Cover, Hot Rocks, It's Only Rock N Roll, Tattoo You, Still Life, Story Of The Stones, The HIstory Of Rock. Condition is generally VG to Ex, some may vary.
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