JETHRO TULL STAND UP UK ISLAND RAREST 1969 BLACK BLOCK FIRST VARIANT OUTSTANDING

	£		158
	$		209

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: These leader paragraphs highlight and describe specific aspects regarding condition of the album(s) offered. The dedicated sections which follow give the ‘provenance’ in terms of the matrix – mother – stamper trail which determines the ‘position’ of a record in the pressing process and an assessment of the appropriate grade for each component based on Record Collector ‘Rare Record Price Guide 2014’. The essential ‘play grade’ and ‘audio performance’ report rounds up the description just prior to the ‘general notes’ which is the same on all of my listings. I hope that this format, including the extensive photo gallery, will prevent bidders from overlooking key points in their evaluation. Please read the following description and take a careful look at the comprehensive photographs which show the actual item clearly and provide an informative and accurate representation.

WITHOUT DOUBT THIS IS ONE OF THE BEST EXAMPLES OF THE RAREST VARIANT OF ‘STAND UP’ I HAVE SEEN OR HEARD FOR AT LEAST A DECADE. IT HAS EXPERIENCED RELATIVELY LITTLE USE DURING THE LAST 44 YEARS. THE FULLY INTACT GATEFOLD WITH CORRECTLY FITTED AND WORKING STAND UP FEATURE GRADES AN IMPRESSIVE EXCELLENT PLUS. THE VINYL & AUDIO GRADES ARE NEAR MINT FOR CLARITY AND EXCELLENT PLUS FOR CLEANLINESS OF SOUND - I EXPLAIN THE DIFFERENCE IN MY PLAY GRADE SECTION FURTHER ON IN THE LISTING – A TOP QUALITY ALBUM THROUGHOUT.

Where I mention age in my listings it is not an excuse for poor 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 because more often than not it’s an excuse for something that has not been carefully used.

I do not use photographs to enhance albums they are included as an aid to bidders and I always ‘frame’ the shots to highlight any flaws or blemishes – not to bleach out, 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 UK original first issue gatefold cover (designed by James Grashow, printed and made by E. J. Day) with unique novelty ‘pop-up’ feature in the centrefold is of non-laminated heavy rigid card construction which is vulnerable to damage and wear. Overall this one is the best I can recall having seen for at least a decade – it is ‘right’ in every aspect. Apart from some very light age related discolouration on the light areas, which is barely noticeable, a little minor edge tip and corner tip rub wear and some tiny, barely visible, spotting it is incredibly well preserved. The back of this cover is particularly noteworthy and deserves a special comment – most examples in circulation these days are heavily discoloured, marked and stained but this one is remarkably clean with very few blemishes. It does have a very small original price sticker (37/5, which is £1-17 shillings and 5 pence as it was in 1969 pre-decimalisation money, or £1.87p converted to today’s decimal currency). I have no intention of trying to remove this sticker because it adds to the authenticity and stature of this great album – and I do not adjust grading for this type of sticker as it is a positive feature. The entry edge has a few mini-dents and the slightest of light discolouration. The centre spread is almost as new with a superbly fitted ‘pop-up’ feature in full working order. The spine is just as remarkable as the back with very little evidence of wear or discolouration, all text remains clean, clear and fully readable – please take a look at the detailed sectional photographs. The impressive heavyweight (151 grammes) vinyl looks brilliant with high gloss surfaces retaining much of its original gloss and deep lustre; it has some light superficial hairlines caused by brushing against the inner but nothing which has any significant audio consequence – please read the full play grading further down the listing. The sumptuous and distinctly textured record labels have only two or maybe three spindle traces lines that I can see and they remain almost as new – near mint – please take a look at the photographs. The original era specific standard plain cream paper poly-lined inner sleeve with centre window and ‘U.K. Patent No. & Foreign Patents Pending’ in blue print with centre window is fully intact and very clean, just slightly discoloured and lightly creased. This is one of the best examples you are likely to find of this progressive folk rock masterpiece.

Album / Record Title: STAND UP

Rarity: EXTREMELY RARE AS THE UK ORIGINAL FIRST PRESS, FIRST ISSUE, SECOND LABEL VARIANT IN OUTSTANDING CONDITION THROUGHOUT – There are a lot of good things to be said about ‘Record Collector – Rare Record Price Guide’ but their coverage of this album is not one of them. Of course they cover tens of thousands of albums and generally do a good job but they are only human and when they make a mistake it’s often a real clanger – and, in my opinion, they really do not understand the variants of this album at all.

This album is a rare treat for me because I consider it to be, in its entirety, one of the best albums of the genre ever made. I pre-ordered my first copy and collected it from my local record shop on the first day of UK release in August 1969 – it has the pink Island label with orange / black ‘ball’ logo. My closest friend at the time listened to my record and enjoyed it so much that he bought one of his own a few weeks later – it had the pink Island label with black ‘block’ logo. I remember this because we used to get together almost every weekend, play our records and enthuse about them – in this case I clearly recall us commenting on the striking difference between his labels and mine. To anybody other than a vinyl and audio enthusiast of the genre this will seem trivial but we were devotees and went to see Jethro Tull ‘live’ on numerous occasions. I didn’t give the label design any further thought at the time but in later years I have researched all aspects of this album fairly extensively. As a result not only am I certain that this variant was as much a part of the first pressing as the orange / black ‘ball’ logo variant but this one is probably the rarest first pressing. One thing it most definitely not is a ‘1970 re-pressing’ because the black ‘block’ logo was not even in use by Island in 1970. In fact, as far as I can ascertain, the black ‘block’ logo was only used by Island during September 1969 in between the phasing out of the orange / black ball and the introduction of the white ‘i’. Also, it seems obvious, and visibly apparent, that as there would have been a large number of pre-release first pressings on the orange / black ball logo label which continued for two weeks after release before being transferred to the black ‘block’, still within the first pressing, for just two or three weeks until it was transferred again to the white ‘i’ for all future pressings the black ‘block’ variant would be rarest. If you are in any doubt about the significant rarity of this label take a look at other Island pressings around this period in particular ‘Free – Tons Of Sobs’, ‘Fairport’s – Unhalfbricking’, ‘Nick Drake – Five Leaves Left’, Blodwyn’s – Ahead Rings Out’, ‘Free – self titled’ and you will see exactly what I mean. ‘Five Leaves Left’ was one of the first to be issued only on the black ‘block’ as a first pressing and that was released on 1st. September 1969 whereas ‘Free – self titled’ was one of the first to be issued only on the white ‘i’ as a first pressing and that was released on, or around, 1st. October which clearly indicates that the black ‘block’ was only in use during September 1969. This fact, along with the clear presence of the original deeply stamped +A & +B matrix references of the first masters for the first pressings leave no doubt that this is the rarest variant from the first pressing.

The album itself and the condition of this particular example push the rarity to maximum. From the unique cover concept through the superb lyrics, musical accomplishment, production and engineering expertise it flirts with progressive folk rock perfection; perhaps only challenged in the overall sense by their own brilliant catalogue of work. Most examples of this now 44 year old album turn up in relatively poor condition, played to submission on relatively crude record players in the 60’s and 70’s and invariably with damaged or repaired stand up feature in a dirty, ‘dog-eared’ gatefold – which is anyway vulnerable due to the non-laminated, light base colour – BUT THIS IS ONE IS ABSOLUTELY SUPERB IN EVERY WAY. THE GATEFOLD IS REMARKABLY CLEAN, TIDY AND FULLY INTACT THE BRILLIANT FIRST PRESS HEAVY VINYL IS OUTSTANDING DELIVERING AT LEAST EXCELLENT PLUS AUDIO AND THE LUXURIOUSLY TEXTURED LABELS ARE ALMOST MINT.

The key features are summarised below:

• COMPLETE ORIGINAL UK ALBUM, FIRST PRESS AND FIRST ISSUE
• FIRST +A & +B MATRICES NO MOTHERS OR STAMPERS SPECIFIED
• SUPER HEAVYWEIGHT (151 GMS.) VINYL GRADE EXCELLENT PLUS
• STEREO RECORDING FORMAT DELIVERING SENSATIONAL AUDIO
• ORIGINAL ISLAND PINK TEXTURED BLACK BLOCK LABELS N MINT
• ORIGINAL UK ‘STAND UP’ GATEFOLD E.J.DAY MONIKER ON FOOT
• ONE OF THE BEST EXAMPLES OF THIS - THE RAREST - VARIANT

Artiste(s): JETHRO TULL - Ian Anderson, Martin Lancelot Barre, Glenn Cornick, Clive Bunker

Producers: Ian Anderson & Terry Ellis

Disc Format / Playing Speed: 12” LP & 33 1/3 r.p.m.

Recording Format: STEREO

Record labels: ORIGINAL ISLAND PINK TEXTURED LABEL WITH BLACK BLOCK LOGO – please see label photographs for full details.

Catalogue Number: ILPS-9103

Made in & first published date:  ENGLAND 1969 (August)

Vinyl ‘run off’ matrix side 1:     ILPS+9103+A

Vinyl ‘run off’ matrix side 2:     ILPS+9103+B

Vinyl ‘run off’ mother side 1:     unspecified

Vinyl ‘run off’ mother side 2:     unspecified

Vinyl ‘run off’ stamper codes side 1:    unspecified

Vinyl ‘run off’ stamper codes side 2:    unspecified

Vinyl ‘run off’ initials / cryptic / other side 1:  none visible

Vinyl ‘run off’ initials / cryptic / other side 2:  none visible

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: Please see label photographs for full details

MY GRADING OF THIS ALBUM based on Record Collector ‘Rare Record Price Guide 2014’ (**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 PLUS

Vinyl Visual side 2: EXCELLENT PLUS

Label Visual side 1: NEAR MINT

Label Visual side 2: NEAR MINT

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: EXCELLENT PLUS, please see leader paragraph and photos.

Spine: EXCELLENT 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: 151 grammes (an impressive ISLAND heavyweight)

Vinyl Cleaning: By hand only, light touch soft brush, very little required.

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. With vinyl the listener can experience almost perfect ‘clarity’ and reality without the sound being perfectly ‘clean’ due to the fact that this is a medium where physical contact is unavoidable and the ‘finish’ in the original pressing process could vary during the course of a production run. Other factors can make very small differences: for example - lack of use, environment or type of equipment can cause variations in cleanliness. Therefore, where my cleanliness grade is lower, based on the conditions prevailing at the time I carried out my audio test, with careful use this is likely to improve.

For CLARITY the audio from this vinyl grades: NEAR MINT

For CLEANLINESS the audio from this vinyl grades: EXCELLENT PLUS

Audio Performance: THIS IS A BRILLIANT VINYL DELIVERING SUBLIME AUDIO OF GREAT CLARITY AND QUALITY FROM EVERY PART OF THE PLAYING SURFACES – A REALLY OUTSTANDING PIECE OF AUDIO ENGINEERING IN EVERY WAY. IT LOOKS AND SOUNDS TO HAVE BEEN PLAYED JUST A FEW TIMES AND CAREFULLY. THERE IS THE REASONABLE MINIMUM OF LIGHT SURFACE SOUND DURING THE NON RECORDED AND QUIETER PASSAGES BUT PROBABLY MORE FROM LACK OF USE THAN ANY OTHER REASON. 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 THIS IS ONE OF THE GREATEST PROGRESSIVE FOLK ROCK MASTERPIECES EVER PRODUCED AND IT IS DELIVERED ON ONE OF THE BEST VINYLS YOU ARE EVER LIKELY TO SEE OR HEAR.

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 LINN SONDEK LP12 deck fitted with a LINN K5 cartridge down-force set at 17.5 mN (1.75 g) and a top quality stylus which I renew at intervals according to manufacturers specification, through a manufacturers pre-set REGA BRIO amplifier with sound delivered through FOCAL CHORUS 706 loudspeakers - this is a brilliant and revealing combination enabling me to be informative with play grading.

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, mothers and stamper codes the vinyl comes from the first, or extended first, production run; 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 matrix sets, first or early ‘mother(s)’ and first or 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 A61 & B61 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

DESCRIPTIONS: 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.

PAYMENT: 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:

They 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 indication or reason to doubt the credibility of the bid.

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 somemightsell_e@btinternet.com 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.