Vinyl: LED ZEPPELIN 2 II PLUM FIRST UK ORIGINAL RARER CONTRACT PRESS KT CODE LEMON SONG

An Important Foreword Regarding Condition & Grading: Previous visitors to my listings will know that I offer albums which range from very good plus to near mint in terms of condition. I don’t restrict my offerings to just near mint, and I don’t just call everything great or excellent plus regardless of condition. Occasionally a rare album turns up which in some respects grades very good plus but in other ways is outstanding so providing each of the features are individually and accurately graded, and I take great care with this, I am happy to offer it for sale. However, all vinyl albums I offer are at least highly presentable and deliver enjoyable audio, and most are much better than that – if you are intending to bid please read the individual grading and check that you are satisfied before placing your bid.

Vinyl Cleaning: I use machine cleaning only when my ‘ear’ tells me that the audio performance has deteriorated by exposure over time and will obviously be returned closer to the original sound by using this method. If I think a vinyl will benefit from this I carry out the procedure with great care using my ‘Moth’ RCM2, but I do not clean vinyls for the sake of it - many I offer for sale have had little use and although there can be slight contamination in the grooves, even when new, that is the original authentic sound. My preferred method with little used vinyls is by soft ‘light touch’ hand brush with natural fine hair gently moved in the direction of the microgrooves. In all methods of cleaning I use a mild solution of isopropyl alcohol with a spot of gentle detergent to lubricate and clean the playing surfaces. I am aware that cleaning can be a controversial subject with vinyl collectors, audio purists and enthusiasts so I will state on each individual listing if, and how, the vinyl(s) have been cleaned in the section just before the ‘Play Grade’.

Specific notes concerning this album: This leader paragraph highlights and describes specific aspects regarding condition of the album(s) offered. The dedicated sections below gives my assessment of the appropriate grade for each component based on Record Collector ‘Rare Record Price Guide 2012’ , followed by a ‘play grade’ and ‘audio performance’ report. I hope that this format, including the extensive photo gallery, will prevent bidders from overlooking key points in their evaluation. This particular album has been played from time to time during the last 42 years, the gatefold is ‘very good plus’ and the vinyl is ‘excellent’ – the audio is terrific, much nearer excellent plus. I should point out that I mention age in my listings not as an excuse for condition but as a matter of fact. I do not regard condition as age related, it is primarily dependant on care, and if you ever see something described as ‘good for its age’ I recommend you avoid it like the plague. Also, I use photographs as an aid to bidders, not a sales tool, and I always ‘frame’ the shots to highlight any flaws or blemishes – not to obscure or avoid them. My photo galleries always feature photos taken from as many angles as reasonably possible with ‘zoom’ and ‘enlarge’ facilities because I want visitors to have the best opportunity to examine visual condition. The non laminated second variant UK issue gatefold cover has limited edge, corner and surface rub wear with a few light surface creases - please see close up photos. The entry edges are slightly frayed but it is minor and not unpleasant. The full colour printed centre spread has the slightest of interface pick-up / print transfer but otherwise remains excellent plus – one of the best I have seen. The spine shows evidence of wear towards the ends and down the centre where it slightly fades parts of the text – but it’s moderate, not severe, and represent only reasonable wear for this type of cover. Overall it’s a highly presentable example – please see photographs which show the actual item clearly and provide an informative and accurate representation. The magnificent heavyweight (155 grammes) vinyl looks brilliant with high gloss surfaces and a deep lustre; it has some light superficial hairlines probably caused by brushing against the inner but they have no significant audio consequence. The album has clearly been played but the audio delivery remains remarkably clean and clear, alongside the best I have heard from any example of this album. The record labels display some light spindle lines that I can see and remain in excellent to plus condition. The original earliest (for this album) ‘Foreign Patents Pending’ text poly-lined inner with square cut entry edge is just lightly creased and slightly discoloured with age. This, more than usual, is a very rare and collectable classic for the reasons I explain in the following rarity section.

Album / Record Title: LED ZEPPELIN II (2)

Rarity: EXTREMELY RARE AS UK FIRST PRESSING WITH ‘LEMON SONG’ ON THE RECORD LABEL AND GATEFOLD, AND PARTICULARLY RARE IN THIS CASE WITH UNUSUAL PRESSING FORMAT AND MATRIX - A landmark album in the world of heavy blues based progressive rock and sold in massive quantity all around the world so there is no shortage of supply even now providing you are not particular about variant or condition. However, the release of this album turned out to be something of a commercial and variant ‘obstacle course’ with misprints and disputes over copyrights and, as a result, certain variants are very rare indeed – and this is one of them. The very first UK issue vinyl was pressed on the plum / orange record label and distributed in the affectionately titled ‘brown bomber’ gatefold which is the same format as the one shown in this listing but with a lighter, softer brown principal colour. The first pressing found inside that gatefold had track 2 side 2 titled, Livin’ Lovin’ Wreck and track 3 side 1 titled ‘The Lemon Song’. The ‘Wreck’ misprint should have been ‘Maid’ – which is hard to explain as there is no obvious correlation between the two words – and this was quite quickly noticed and corrected with only an estimated few thousand misprinted examples in general circulation which are now highly prized by collectors. The second variant was in the same colour gatefold with the corrected track and ‘The Lemon Song’, on gatefold and label. The change leading to the next variant is more understandable as a dispute arose between lawyers representing Chester Burnett aka Howlin’ Wolf and the group / publishers / record company over the copyright to ‘The Lemon Song’ in which, Burnett’s lawyers successfully claimed, was for all intents and purposes his ‘Killing Floor’ and should be credited accordingly. This track title and credit was subsequently changed, however, before this change was made a third variant appeared in a darker brown gatefold which still showed ‘The Lemon Song’ on both gatefold and record label – THAT IN PRINCIPLE IS THE VARIANT IN THIS LISTING, BUT WITH MATRIX ANOMALIES. The fourth variant had the label titles corrected to ‘Killing Floor’ but was distributed in the darker brown gatefolds which still listed track 3 side 1 as ‘The Lemon Song’. This distribution was very limited and a fifth, fully corrected, variant soon followed which was the last on the plum / orange label. Thereafter Atlantic moved into a label transition stage and the vast majority of the fully corrected variants were issued on the green/orange Atlantic label.

THE MATRIX AND LABEL FORMAT ON THIS VINYL PRESSING: I have seen many variants of this album during the past 42 years but none of them match, or even resemble, the matrix and pressing format I find on this vinyl. The heavy weight of the vinyl is fairly typical of first pressings at 155 grammes but that is where the similarity ends. This appears to be a UK contract pressing having, in my experience, more in common with the UK Reprise format than the Atlantic Polydor pressings. It would be no surprise to find that pressings of this album were contracted out because of the huge, and concentrated, demand - indeed what is more surprising is that they seem to be so rare. All the UK Atlantic variants I have come across have machine imprinted matrix – the catalogue number followed by A//2 & B//2 for the earliest (there were no //1 master codes in retail distribution) moving on up to //5 & //6 for the later examples. These master codes were then followed by a series of machine imprinted digits denoting the mothers and stampers. However, this has completely hand etched matrices, and ‘KT’ purchase tax code, in a much different format which looks much more like that found on Reprise pressings from the era – it is reasonable to assume therefore that this was pressed by one of the pressing plants working primarily for Reprise UK. The catalogue number is followed by just ‘A’ & ‘B’ with no master number, the mother is marked with ‘1’ and the stampers are denoted by a single letter – all hand etched. The side 2 matrix is also error corrected with the second 8 in the catalogue number having been originally marked as a 9 and then etched out with the 8 being placed above. Also, the label pressing format is more typical of a Reprise pressing than Atlantic-Polydor with two pressing rings creating a ‘flange’ or ‘Saturn effect’ a short distance out from the spindle hole - please see photographs which clearly show all of these features. The UK purchase tax code ‘KT’ also appears hand etched into the vinyl ‘run-off’ areas on side 1 which I have not seen before on Atlantic Polydor pressings but does frequently appear on Reprise pressings from this era. Collectors can make their assessment of rarity based on the facts but in any event this is an excellent vinyl delivering terrific audio and well worth having in any collection on that basis alone.

The key features are summarised below:

• COMPLETE ORIGINAL UK ALBUM FIRST PRESS & FIRST ISSUE
• FIRST MATRICES, FIRST CONTRACT MOTHERS, EARLY STAMPERS
• UK PURCHASE TAX CODE ‘KT’ HAND ETCHED IN MATRIX SIDE 1&2
• SUPERB HEAVYWEIGHT VINYL EXCELLENT TO PLUS CONDITION
• STEREO RECORDING FORMAT DELIVERING SENSATIONAL AUDIO
• ATLANTIC PLUM / ORANGE ‘COPYRIGHT CONTROL’ TEXT LABELS
• ORIGINAL E. J. DAY NON LAMINATED DARKER BROWN GATEFOLD
• ORIGINAL ‘SQUARE CUT - FOREIGN PATENTS’ POLY -LINED INNER
• EXTREMELY RARE CONTRACT PRESSING EXCELLENT CONDITION

Artiste(s): LED ZEPPELIN - Robert Plant, Jimmy Page, John Paul Jones, John Bonham

Producers & Engineers: Jimmy Page / Peter Grant & Eddie Kramer, George Chkiantz, Andrew Johns, Chris Huston

Disc Format & Playing Speed: 12” LP & 33 1/3 rpm

Recording Format: STEREO

Record label: ORIGINAL PLUM ORANGE ATLANTIC WITH WHITE CENTRE BAND AND TEXT / ATLANTIC LOGO IN BLACK PRINT

Catalogue Number: 588198

Made in and first published date: Gt. BRITAIN 1969 (October)

Vinyl ‘run off’ matrices side 1: 588-198 A (hand etched)

Vinyl ‘run off’ matrices side 2: 588-198 B (hand etched with second 8 error corrected from a 9)

Vinyl ‘run off’ mother side 1: 1 (hand etched)

Vinyl ‘run off’ mother side 2: 1 (hand etched)

Vinyl ‘run off’ stamper codes side 1: R (hand etched)

Vinyl ‘run off’ stamper codes side 2: C (hand etched)

Vinyl ‘run off’ initials / cryptic side 1: KT (hand etched UK purchase tax code)

Vinyl ‘run off’ initials / cryptic side 2: KT (hand etched UK purchase tax code)

N.B. Please note that all matrices, mothers and stampers quoted in my listings are machine imprinted except where I state an alternative method next to them.

Track Listing as per label: SIDE 1: WHOLE LOTTA LOVE / WHAT IS AND WHAT SHOULD NEVER BE / THE LEMON SONG / THANK YOU / SIDE 2: HEARTBREAKER / LIVIN’ LOVIN’ MAID (SHE’S JUST A WOMAN) / RAMBLE ON / MOBY DICK / BRING IT ON HOME

Background and summary of condition: There is little I can say about this album that is not already in the public domain and easily accessible. Most visitors to the listing will be well informed collectors and/or enthusiasts with their own reasons for looking so I will just summarise the condition. This is undoubtedly a fine example of one of the best and rarest variants and they are extremely hard to find. Based on my experience very few of this particular were produced This is a fine example with FIRST CONTRACT MATRICES, FIRST MOTHERS & EARLY STAMPER CODES on a FINE HEAVYWEIGHT VINYL WHICH DELIVERS IMPRESSIVE AUDIO. The original EJD gatefold exhibits the type of wear consistent with its type and age but is overall a highly presentable example and is well above average – the photographs show it clearly and accurately. This represents a rare opportunity to buy an EXCELLENT & HIGHLY COLLECTABLE album.

MY GRADING OF THIS ALBUM based on Record Collector ‘Rare Record Price Guide 2012’ (**n.b. please note that I grade accurately backed up by a description. I neither over-exaggerate nor under-exaggerate. I see no point in grading an item with multiple ++++ marks, or under-grading it and then stating that it should be graded better - I consider these methods to be confusing. I use the Record Collector system with either a PLUS or a MINUS to indicate slight variations either side of a grade). I always include a full set of super-sized photographs to provide bidders with the best possible opportunity to make their own visual assessment of each album in conjunction with my detailed descriptions.

Vinyl Visual side 1: EXCELLENT TO PLUS

Vinyl Visual side 2: EXCELLENT TO PLUS

Label Visual side 1: EXCELLENT TO PLUS

Label Visual side 2: EXCELLENT TO PLUS

N.B. Please note that I make no adjustment or allowance in grading for minor marks, slight shrinkage marks, stretch marks / lines on labels, misalignment or marginal print bleed caused in original pressing; these features are quite normal and in my opinion are individual characteristics – not defects.

Outer Cover: VERY GOOD PLUS , please see leader paragraph and photos.

Spine: VERY GOOD PLUS , please see leader paragraph and photos.

Inner Sleeve: VERY GOOD PLUS , please see leader paragraph and photos.

Vinyl Warp: none visible when eye tested on a moving turntable.

Vinyl Weight: 155 grammes (an astounding ATLANTIC heavyweight)

Vinyl Cleaning: Carefully cleaned by me on my ‘Moth’ RCM2.

Play Grade: I consider all aspects of an albums condition and grading to be highly important and I place particular emphasis on the quality of the audio delivery; superior audio performance is, above all, the main reasons for listening to vinyl. For this reason I have decided to extend my play grade to rate separately how ‘clearly’ and ‘cleanly’ the sound is received. It is quite possible with vinyl to experience great ‘clarity’ and reality without the sound being exceptionally ‘clean’ - that’s ok with me, but it may not satisfy the audiophile. So, a NEAR MINT & NEAR MINT will be the best grade with VERY GOOD PLUS & VERY GOOD PLUS or better being highly satisfactory.

For CLARITY the audio from this vinyl grades: EXCELLENT TO PLUS

For CLEANLINESS the audio from this vinyl grades: NEAR EXCELLENT

Audio Performance: THIS IS HIGHLY IMPRESSIVE AUDIO - AUTHENTIC SOUND OF GREAT PRESENCE AND CLARITY. I HAVE LISTENED TO MANY EXAMPLES DURING THE LAST 42 YEARS AND THIS FULFILLED MY BEST EXPECTATIONS. THE REASON I HAVE LOWERED THE ‘CLEAN’ GRADING SLIGHTLY IS DUE TO THE REASONABLE MINIMUM OF LOW LEVEL NON INTRUSIVE CRACKLE WHICH CAN BE HEARD OCCASIONALLY IN THE NON RECORDED AND QUIETER SECTIONS, BUT IT IS NOT DISTRACTING AND FOR ME IT DOES NOT IN ANY WAY SPOIL THE ENJOYMENT AND PLEASURE OF LISTENING TO EXCELLENT ROCK MUSIC FROM THE BEST POSSIBLE MEDIUM. AS REGULAR VISITORS TO MY LISTINGS WILL KNOW I ALWAYS SAY PLEASE BEAR IN MIND THAT THIS SECTION AND THE GRADING IS BASED ENTIRELY ON MY PERSONAL OPINION AND AUDIO PERCEPTION BELONGS TO THE INDIVIDUAL. WITH VINYL CLARITY THERE IS ALWAYS LIGHT TRANSITIONAL SURFACE SOUND WHICH IS INEVITABLE FROM THIS MEDIUM, EVEN WHEN NEW , AND OCCASIONALLY A LITTLE LIGHT CRACKLE WHICH IS OFTEN STATIC; OR EVEN A RANDOM SOFT TICK - BUT I WAS IMPRESSED BY THIS DYNAMIC DELIVERY - REAL SOUND FROM VINYL AS IT SHOULD BE - CAPTIVATING, CRYSTAL CLEAR AND POWERFUL - IT WOULD BE DIFFICULT TO FIND A MUCH BETTER ONE .

PLEASE TAKE A LOOK AT MY OTHER LISTINGS BY CLICKING ON THE ‘VIEW SELLERS OTHER ITEMS’ IN THE TOP RIGHT HAND CORNER BOX OF THIS LISTING - THANK YOU.

GENERAL NOTES

Thank you for visiting my listing. The section immediately above sets out information specific to the particular album / record offered in this listing. Below are some of my general comments about vinyl which you may want to browse through if you have time. Please feel free to email me with any related comments or observations; particularly if you have any reliable information which contradicts any of my descriptions as I am always interested in adding to my knowledge on this subject. When preparing my listings I use a combination of facts from reliable sources, more than forty years of personal experience and, occasionally, music industry anecdotes.

Just a visual inspection of used vinyls is almost always misleading so I play grade every vinyl I offer, before listing, on a Project III deck fitted with an Ortofon OM 5E cartridge down-force set at 17.5 mN (1.75 g), fitted with a first grade stylus which I renew at intervals according to manufacturers specification, through a manufacturers pre-set Rega Brio amplifier with sound delivered by Focal Chorus 706 loudspeakers, which is unforgiving where there are surface imperfections.

Although it is extremely rare, there can be a difference between my descriptions, and opinions, and an individual buyer’s expectations so I have a clearly stated Returns Policy for added reassurance which is detailed at the bottom of all my listings. In the unlikely event that you want to use this facility please read the details carefully first, and then contact me to agree the procedure. There really will never be a reason to have any problem with an item you purchase from me. Before bidding please read my terms and conditions of sale below which are there to inform bidders and prevent any misunderstandings.

First Issues, First Pressings & Originals: Please note that when I refer to a First Issue I mean that the evidence suggests that the album offered is from the first batch that was issued for commercial release in the country of origin stated in the listing. Where I state First Press I mean that based on a reasonable interpretation of the matrices and stamper codes the vinyl comes from the first batch pressed using that particular ‘mother’; these statements alone do not always mean that the vinyl is from the very first ’stamper’ ever made. However, where I state First Issue and First Press it is likely that the album offered includes one (or more) of the early vinyl(s) produced in the country of origin from the first ‘mother(s)’ and early ‘stamper(s)’. Original means that the record bears the first label design for that particular pressing and, in the case of the cover, it is from the first cover manufacturer for that pressing; the label and / or cover may have very slight changes, if they were made within the first production run or, if the album was issued with an ‘in run’ label change or choice of cover designs or colours on first release, but in these cases I will try and explain the differences. This is not an exact science and anomalies will occur where I may make a mistake but I believe this will not happen very often - if it does then all of my buyers have the unequivocal reassurance of my Comprehensive Returns Policy.

My definition of a rare vinyl: Generally there is agreement that to qualify for the description rare there should not be too many of the type offered, available on the market at the time. With my listings that will be the main criterion however I will also occasionally claim rarity based on excellence of condition, or some other key feature, or an accompanying item such as an insert, which is not often found with similar vinyls.

UK first and early pressings: In many cases inexperienced sellers claim first pressing status without knowledge or evidence in the hope of achieving high prices – experienced buyers will know better and avoid those offers. Of course with the more popular huge selling albums, where the record companies were fairly sure of major sales from the outset, there were many first pressings. Also, in cases where demand was sustained or emerging the first press run was maintained over an extended release period; in other cases the first press run was specific. Generally the lower the numbers in the matrices and stamper codes on the vinyl ‘run off’ areas, on both sides of a record, the earlier the pressing therefore ‘A1’ & ‘B1’ are most often first or early pressings, but there are variants and exceptions to the rule. The most notable ones, for example where the ‘1’ matrix was only used for test, promo or industry pressings so the commercial releases started at ‘2’ or even higher, and there are a few more observations which are worth noting. There are low numbered matrices which belong to second and even third pressings (in these cases the record companies gave similar numbers to the first press of a re-issue) you can normally identify these by, examining the labels which are often different in texture and/or design, and by checking the weight of the record as the earlier pressings were normally heavier. Sometimes different symbols were used in the matrices; these may indicate an earlier pressing, a contract pressing or just simply a change of format. For example some records have A 6 1 & B 6 1 others A // 1 & B // 1 others A-1 & B-1 and so on. In these cases the mother and stamper references can help with establishing the proximity of an individual record to the original recording – each different record company had their own coding system, some using letters from words to indicate numbers, others just using numbers. Better known examples include GRAMOPHLTD & BUCKINGHAM – used by EMI and DECCA respectively. Occasionally there are high numbers on first pressings, but this is unusual. Other points to note are the manufacturer of the ‘cover’ or ‘outer sleeve’ and various characteristics or design variants. The ‘inner sleeve’ or ‘bag’ can also be an indicator. However it is not wise to rely on details beyond the matrices and labels as the covers and sleeves can easily be interchanged. ‘Made Up’, Swapped’ or ‘Doctored’ sets are not uncommon, particularly with high value albums which have inserts and special text, so the best advice is to try and make sure that everything matches the criteria thus eliminating most of the risk (a good look at the photographs on the listing, if they are of the actual item offered as they are on all of my listings, is always advisable – hopefully the sellers will also include the ‘zoom’ and ‘enlarge’ photograph facility which only costs pennies to include and it remains a mystery to me as to why many avoid this service?). As a general rule I suggest that you don’t pay hundred’s or thousands of pounds unless you are buying from a reliable source who provide you with comprehensive information and have a clearly stated ‘Returns Policy’ - or unless you’ve got money to throw away (and in that case there are any number of far more deserving charities)

Audio reproduction on vinyl: In my experience there is always an element of surface or background sound with audio reproduction on vinyl, even when new - very hard to imagine how there could not be when two solid surfaces come into contact with each other and are then amplified! In my opinion anybody who claims there is no surface sound, or ‘silence’, is hard of hearing, has not turned the amplifier on, or is using very poor quality audio equipment. Almost all used vinyl has at least light surface scratches which are always visible when viewed under a bright halogen light - which is what I use for inspection. So if you are uncomfortable with a bit of light crackling it’s probably best not to buy vinyl. In my opinion the light surface sound is more than compensated for by the clarity and ‘reality’ of the overall sound reproduction. I listen carefully to every album I list, before listing it for sale.

Please Note: All of this comment contained in this listing is subjective, it is based only on my opinion and your expectations may not necessarily correspond with my standards. If you receive an album from me and you have some differences please remember to use reasonable communication as a first option. I have a comprehensive non confrontational ‘Returns Policy’ which is clearly set out below and providing there is no abuse, or use the negative feedback system, I will always reimburse you in full for your direct costs if you return the album correctly.

TERMS AND CONDITIONS OF SALE

Are given in good faith, but they are based on my opinion and standards. Bidders should note that they offer at their own risk and must satisfy themselves that they have sufficient information about the item before they enter the bidding process. Please ask questions before you become involved with the auction, NOT afterwards! Where I list sizes/dimensions they are either as stated on the item/label by the supplier/manufacturer or reasonably accurately hand tape measured; however, they are not necessarily precise, should be taken as approximate and not relied upon where absolute precision is required. This clause does not in any way affect your rights under the terms of my ‘Returns Policy’, it is stated to prevent unnecessary inconvenience to both parties.

INFORMATION: Whilst I take care to try and provide accurate information on the original listing it is possible that new information may become available to me afterwards. I therefore strongly recommend that all bidders read any revisions and the ongoing questions / answers section of the listing before bidding as they may contain updated information which could affect your valuation of the item(s). In the event that new information is published, after the time you have become the high bidder, which adversely affects your valuation of the item(s) and you wish to withdraw from the bidding process please email your request and I will use the cancel bid option with no ongoing liability to any of the parties involved in the auction.

PHOTOGRAPHS: All photographs contained within this listing show the actual item (s) offered – they are not catalogue, archive or library photographs. Furthermore they are direct images and not re-touched or modified in any way. I try to make good and comprehensive use of images on the listing in order to give the prospective bidder the best opportunity to evaluate the item(s); however it is possible that in some circumstances the photographs can enhance the appearance of the item(s) due to compression so please take this into account before bidding and do not hesitate to ask for more images or information which I am happy to send by attachment to email. This is particularly recommended with overseas buyers where returns are often not a viable option.

OVERSEAS BUYERS WELCOME: I am pleased to deal with buyers from anywhere in the world. My method of LP packaging reduces the risk to your valuable vinyls & covers in transit. Makes no sense to me to buy something important and then play a ‘high risk of damage game’ when having it shipped around the world – I hope you feel the same. I will only dispatch using a fully insured and Signed-for delivery service.

PACKING & POSTAGE: Vinyl’s are removed from covers and placed in separate transit sleeves. All components are then placed side by side in a polythene inner for extra safety and water resistance and then secured between two corrugated card stiffeners. I use Heavy Duty Mailers Specifically Designed for Vinyl Albums, which provide excellent security and protection, in conjunction with my own Ultra Safe reinforced sealing and packaging method. Internally I use 2 of the highest grade ‘B’ flute corrugated card stiffeners to prevent bending, deformation or edge/corner creasing. Packing & postage prices are NOT negotiable on items dispatched individually or separately. However, if you are a similar time multiple buyer where all items purchased are being sent to the same address and they can be combined safely, you can ask for a discounted quotation before bidding. I will only dispatch using a fully insured and Signed-for delivery service.

Postal insurance is subject to Royal Mail Standard Terms & Conditions. Quotations for other insurance such as premiums to cover non-standard risks or consequential losses are available on request.

For Buyers WITHIN the UK : PayPal, or Pound sterling cheques / money orders, with minimum 7 days to clear before despatch.

PAYMENT: For Buyers OUTSIDE of the UK : Payments by PayPal only please.

CANCELLATION: The Seller reserves the right to cancel any bid, entirely at his discretion and without giving prior notice, in the following circumstances:

T hey have reason to believe that the bidder has not complied with the terms of their offer as set out on the listing.

The bidder’s feedback is of such limited quantity that it cannot be regarded as reliable.

The bidder’s feedback is of dubious quality and/or gives the seller any

MY FEEDBACK POLICY: I leave feedback for buyers after they inform me that they have received the item(s) and have left me their feedback. As I have a clearly stated Returns Policy, which does not expose the buyer to any direct loss whatsoever, I see no reason for either side to indulge in negative feedback. Providing the buyer does not engage in threats, abuse or use of negative feedback I will resolve any problem in a fair and reasonable way. If you have a problem or complaint about any transaction you have made with me contact me on and we will find a solution that is acceptable to you.

SUPERSIZED PHOTOGRAPHS: I have super-sized the photographs above to provide prospective bidders with the best opportunity to make their valuation before entering the bidding process, please just click on the ‘Zoom or Enlarge’ and arrows to use this facility. Sometimes due to reflection these images can appear slightly distorted, ‘graining’ can appear and dust particles can be exaggerated by the light - in reality there are no defects of this kind.