A 19th century Heavy cavalry sword and scabbard with anthemion and ladder pierced hilt, wire bound hardwood grip and single fullered spear point tip, bearing an indistinct makers mark to the back of the blade and a crowned number 3 to the flank of the blade (inspector's or armory number?), blade length 89 cm x 36 mm width of blade, together with a (M1860 type) cavalry sword and scabbard, fitted with a curved single fullered blade bearing the legend: FAD.Toledo possibly Portuguese. with swept and pierced brass hilt. 85 cm length of blade (foreshortened) 30 mm width of blade.A private estatePlease see the heavy sword laid in the correct aspect next to the scabbard.I think the blade seems to fit very well with minimal movement when the blade is seated to the hilt, but, of course could be a replacement scabbard, what is apparent is that both sword and scabbard are of the same/very similar age.Please see the extra images for further reference.
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Heraldry.- Legh (Gerard) The Accedens of Armory, woodcut pictorial title, numerous woodcut arms and illustrations (a couple full-page), occasional ink marginalia in different hands, part only of folding woodcut plate (laid down at end), outer and lower margins of title repaired, some worming (mostly to inner gutters), the odd marginal repair, water-stained, some damp-spotting, lightly browned, 19th century parchment-backed marbled boards, backstrip detached (majority of which loosely inserted, including red morocco label), corners worn, rubbed and scuffed, [STC 15390], small 4to, Richard Tottel, 1576. *** A below par copy lifted by an attractive provenance. Provenance: Gifted by Rev. Mark Noble (antiquary, biographer and clergyman, author of A History of the College of Arms, 1804, 1754-1827) to Sir George Nayler, 10th March, 1798 (Garter King of Arms and Fellow of the Royal Society, 1764-1831) (inscription to front free endpaper); bought from his sale by T. Howell (ink inscription to front pastedown); John Frederick Freher, 1684 (ink inscription to verso of title); Harold Marshall (20th century armorial bookplate stamped 'Duplicate' to front pastedown).
dating: 1879 - 1886 provenance: USA, Rifled, round, 24' barrel (visible rifling, slight pitting inside), marked in one line 'WHITNEYVILLE ARMORY CT. U.S.A.', provided with pewter foresight and adjustable rear sight, stamped '44 CAL.' at the breech. Iron frame with upper tang marked with 1973 and 1979 patent inscriptions. Working mechanism. 'S'-type lever. Serial number '9xx' on the lever and the lower tang. Smooth butt plate and fore-end made of walnut. Iron butt plate with ramrod compartment (not present). Produced in about 15,000 examples, the 'S'-lever models are older and only produced until 1883 after which the traditional lever was used. Interesting also for the low serial number. See Flayderman's Guide, 9th Edition, pp. 292-293. 5J-078. length 107,8 cm.
Incidents of Travel In Central America, Chiapas, And Yucatan. By the Late John Lloyd Stephens. With numerous Engravings. Revised From the Lastest American Edition, With Additions by Frederick Catherwood. Published London: Arthur Hall, Virtue & Co., 1854, full calf; Three Voyages Of A Naturalist, by M J Nicoll, 2nd edit, Witherby, 1909; On A Mexican Mustang Through Texas, from the Gulf to the Rio Grande by Alex E Sweet & J Armory Knox, 1884; and The Land Of The Amazons, translated from the French of Baron De Santa-Anna Nry by G Humphrey. London, Sands, 1901 (4)
Framed and glazed hand painted engraving of the Horse Armory Tower, 37cm (h) x 43cm (w) / All lots are located at The Barn, Hampstead Farm, Nr Henley on Thames, Oxfordshire, RG9 4LG. Regretfully Wellers are unable to offer any type of shipping, please see our important information for courier recommendations and collections information.
(Heraldry, Nobility.) Andrew Johnston: 'Notitia Anglicana. : Shewing, I. The atchievements of all the English nobility compleat ... II. Their several titles of honour ... To which is added, by way of introduction, a concise essay, upon the nature rise, and intent of arms and armory.', London, A. Johnston, J. Senex et al, 1724, 1st edition, volume 2 (of 2) only, 82 engraved plates of coats of arms, foxing, disbound 8vo
FLASH GORDON (1980) - Ming Guard's Sword - A Ming guard's sword from Mike Hodges' Flash Gordon. Guards protecting Ming the Merciless (Max von Sydow) wielded swords stocked in the War Rocket Ajax's armory when they captured Flash Gordon (Sam J. Jones). Gordon later used one of their swords to break up Ming's wedding, and wielded a similar style of sword on the film's theatrical poster.This fiberglass and resin sword features a curved blade with a decorative star-shaped engraving at center and a shiny gold-color finish, as well as a matching pommel and plated crimson grip. The sword exhibits extensive paint flaking, with much of its finish peeling and some fractures along the blade. Dimensions: 45" x 8" x 2.5" (114.5 cm x 20.5 cm x 6.5 cm)Estimate: $2,000 - 4,000Bidding for this lot will end on Friday, August 16th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Saturday, August 17th or Sunday, August 18th.
HALO (T.V. SERIES, 2022 - PRESENT) - UNSC M57 Pilum Assault Weapon Rocket Launcher - A UNSC M57 Pilum Assault Weapon rocket launcher from the television series Halo. The United Nations Space Command armory contained numerous weapons used by the UNSC soldiers, such as the M57 Pilum Assault Weapon (M57 PAW).Originally introduced in the game Halo 5: Guardians, this lot consists of one rocket-propelled grenade launcher made of rigid foam and resin painted in shades of black and olive green. It features a "UNSC RPG 5420" stamp on the sides in black, as well as "UNSC" toward the back, and "M57 PILUM." This lot exhibits scuffs, worn off print, discoloration, and a buildup of grime. Dimensions: 48" x 10" x 12" (122 cm x 25.5 cm x 30.5 cm)Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide.Estimate: $1,000 - 2,000Bidding for this lot will end on Friday, August 16th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Saturday, August 17th or Sunday, August 18th.
STAR WARS: A NEW HOPE (1977) - Ponda Baba/Walrusman's Photo-Matched Blaster - Ponda Baba, also known as Walrusman's, photo-matched blaster from George Lucas' Star Wars: A New Hope. Surly Aqualish bar patron Ponda Baba drew his blaster on Obi-Wan Kenobi (Alec Guinness) after the Jedi Master attempted to stop him and Dr. Cornelius Evazan (Alfie Curtis) from harassing Luke Skywalker (Mark Hamill) in the Mos Eisley cantina. In the ensuing confrontation, instigated with Evazan's infamous line "He doesn't like you. I don't like you either," Kenobi severed Baba's hoofed arm while it still held his blaster.In addition to several nicks along its right side, the serial number on this blaster, 68796, photo-matches to a vintage behind-the-scenes image taken by renowned armorer Bapty documenting the weapons it provided to the production. As with many of the film's now-iconic extraterrestrial weaponry, Bapty specifically fabricated this distinctive otherworldly blaster for the film, a process they later repeated for The Empire Strikes Back. Following production, a large number of production weapons were returned to Bapty, in whose armory they were later to be rediscovered with many of their parts stripped.In a now-infamous continuity error in the theatrical release, an insert shot of Baba's severed arm showed his hand changed from an Aqualish hoof to a hairier, werewolf-like appendage and the blaster changed to Dr. Evazan's blaster. However, the original blaster appeared in rough cut footage from the cantina sequence later included on the Blu-ray release as well as multiple behind-the-scenes images from the production. Boelo, one of Jabba the Hutt's human henchmen, also carried the same style of blaster in the Special Edition release. This blaster was originally constructed from several different real-world components, including the metal body and barrel of a self-loading .22-caliber ArmaLite AR-7 Explorer rifle with serial number "68796" engraved near the trigger and a winged steel muzzle. The body, barrel, muzzle, scope end cap, and scope ring all originated from Bapty. The blaster features custom-drilled holes from where a scope was added during production. A metal and glass scope and aluminum scope rail replicas are screwed into those existing holes. Its twisted red grip is also a replica added to complete the weapon's distinctive look.The blaster exhibits visible signs of production use, including scratches along its body and flaking paint around the trigger, barrel, and butt. It was sympathetically deactivated by Bapty in 2006, allowing it to be possessed with a deactivation certification. Dimensions: 16" x 7.5" x 2" (40.75 cm x 19 cm x 5 cm)Firearm deactivated; see firearm deactivation notice in the Buyer's Guide.Additional Provenance: Bapty Certificate of De-Activation.Estimate: $40,000 - 80,000Bidding for this lot will end on Thursday, August 15th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, August 16th, Saturday, August 17th or Sunday, August 18th.
FACE/OFF (1997) - Pair of Castor Troy's (Nicolas Cage) Stunt Custom Springfield Armory M1911-A1 Pistols - Castor Troy's (Nicolas Cage) stunt custom Springfield Armory M1911-A1 pistols from John Woo's Face/Off. Troy wielded his signature gold-plated pistols throughout the film, including when he shot a hole through Sean Archer's (John Travolta) helicopter windshield and in the airport shootout with the FBI. Later, Archer-as-Troy (Cage) received another identical pair from Dietrich Hassler (Nick Cassavetes). Considered among the greatest action films ever made, Face/Off furthered director Woo's ascent in Hollywood's top ranks, earning $245 million at the box office and an Academy Award® nomination for Sound Effects Editing. In a career of wild performances, it also featured one of Cage's best, with Troy's over-the-top weaponry now considered inextricable from his dual roles.These dense rubber stunt .45-caliber pistols are molded and hand-painted to resemble gold titanium-plated Springfield Armory M1911-A1 V12 pistols with the Springfield Armory logo, serial number "N355076," and the model number engraved on both barrels. The grips are painted black, textured on front, and engraved with dragon symbols on either side. Both pistols have accumulated minor grime since production, and their rubber exhibits minor scuffs. Dimensions: (each) 8.5" x 5.5" x 1.5" (21.75 cm x 14 cm x 4 cm)Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide.Estimate: $6,000 - 12,000Bidding for this lot will end on Thursday, August 15th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, August 16th, Saturday, August 17th or Sunday, August 18th.
BATMAN V SUPERMAN: DAWN OF JUSTICE (2016) - Batman's (Ben Affleck) Mech-Suit Grapple Gun - Batman's (Ben Affleck) mech-suit grapple gun from Zack Snyder's Batman v. Superman: Dawn of Justice. Bruce Wayne kept his Batman suit and his grappling gun, among other weapons, in his Batcave armory. During his epic battle against Superman (Henry Cavill) in his specialized mech suit, Batman threw down Superman various floor levels of an abandoned building and used his grapple gun to descend to the same level. Production created two versions of the grapple gun for Batman to use. This version, made oversized as the regular grapple gun looked too small in the large gloves of the mech-suit, is made of black and silver-color painted resin with a black and gray "hydro-dipped" carbon fiber design on the piece connecting the grip. This lot exhibits minor scuffing and paint chipping. Dimensions: 9" x 6.5" x 3.5" (23 cm x 16.5 cm x 9 cm)Estimate: $4,000 - 8,000Bidding for this lot will end on Thursday, August 15th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, August 16th, Saturday, August 17th or Sunday, August 18th.
TERMINATOR 2: JUDGMENT DAY (1991) - The Terminator's (Arnold Schwarzenegger) Stunt M79 Grenade Launcher - The Terminator's (Arnold Schwarzenegger) stunt M79 grenade launcher from James Cameron's Terminator 2: Judgment Day. The Terminator used the grenade launcher he took from Sarah Connor's (Linda Hamilton) armory throughout the assault on Cyberdyne and later during its battle with the T-1000 (Robert Patrick) at the steel mill.Molded from a real-world M79, this black foam rubber stunt launcher is painted brown on the fore-end assembly and butt to appear wooden with metal buckles under the fore-end and butt for affixing a strap. The grenade launcher exhibits some grime and staining along the body as well as light tearing along the seamline inside the muzzle. Dimensions: 28" x 5" x 2" (71.25 cm x 12.75 cm x 5 cm)Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide.Estimate: $4,000 - 8,000Bidding for this lot will end on Thursday, August 15th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, August 16th, Saturday, August 17th or Sunday, August 18th.
HALO (T.V. SERIES, 2022 - PRESENT) - UNSC M6G PDWS Pistol - A UNSC M6G PDWS pistol from the series Halo. In Season 1, Episode 6 "Solace" M6G Personal Defense Weapon System pistols were visible on the walls of the United Nations Space Command armory. This lot consists of one futuristic pistol made of resin with switches that can be toggled. It features a "Model 6B UNSC Property" stamp on the side in white. This lot exhibits scuffs, worn off print, discoloration, and a buildup of grime. Dimensions: 10.5" x 8.25" x 2" (26.75 cm x 21 cm x 5 cm)Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide.Estimate: $1,500 - 3,000Bidding for this lot will end on Friday, August 16th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Saturday, August 17th or Sunday, August 18th.
Klaus Jörres, "Bluhm für Goslar", 7 signierte Farboffsetlithographien von 2004Klaus Jörres, *1973, lebt und arbeitet in Berlin. Hier: "Bluhm für Goslar", 7 Farboffsetlithographien/Karton, je handsigniert, 84 x 59,5 cm, je handsigniert, im Druck unten links bezeichnet, Mönchehaus-Museum für moderne Kunst Goslar, o. RahmenZum Künstler: 1996-99 Studium der Malerei an der ABK Maastricht. Von 1999 bis 2002 setzte er sein Studium an der Hochschule der Künste Berlin fort und wurde 2001 als Meisterschüler von Katharina Sieverding ausgezeichnet. Seine Werke wurden in Institutionen wie der Mercedes-Benz Art Collection, Pace Gallery NY, dem Neuen Berliner Kunstverein ausgestellt; zudem auf internationalen Kunstplattformen wie der Armory Show oder der Art Cologne präsentiert. Er generiert seit 2000 hauptsächlich digital analoge Malerei auf der Basis einer Rasterstruktur.
DERWENT LEES (AUSTRALIAN 1884-1931) A TREE AMONGST DUNES Oil on panel Signed and dated 1911 (lower right) 25.5 x 35cm (10 x 13¾ in.)Provenance: Sale, Sotheby's, London, 11 December 1968, lot 257 From a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne. Condition Report: In good original condition, no evidence of retouching visible under ultraviolet light. Some surface dirt and would benefit from a light clean.Condition Report Disclaimer
DERWENT LEES (AUSTRALIAN 1884-1931) COLLIOURE Oil on panel Signed and dated 12 (lower right) 25 x 35.5cm (9¾ x 13¾ in.)Provenance: Redfern Gallery, London Thomas Agnew & Sons Ltd., London From a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Exhibited: Sherborne, Sherborne House, Going Modern - Being British, 2004, cat. no. 26 Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne.
George William Russell (?AE?) (1867-1935) 'Portrait of a Young Girl in a white Dress holding Flowers,' O.O.C., 62cms x 51cms (24.5" x 20" ). (1) The term ?Celtic Twilight? accurately describes the art of George Russell, with many of his paintings depicting scenes of childhood. He delighted in creating a fantasy world, peopled with mythological beings. In such paintings, suffused with the glow of wistful nostalgia, his figures, generalized rather than specific portraits, are enveloped in a haze. This portrait of a young girl however is more formal, and depicts an actual rather than an imagined person. Dressed in a white muslin pinafore dress over a blue blouse, her dark hair tied with a bow, the girl sits in a chair looking out at the observer with a curiously determined expression. In her hands she holds a small spray of flowers. The background is a uniform brown deepening to a dark shadow behind the girl, and the initials of the painter ?AE? are painted the top right corner. The identity of the sitter is not known; it may be an early portrait of Kitsy Franklin, whose mother Victoria Franklin was the sister of the writer Susan Mitchell, who edited the Irish Statesman and was a close friend of Russell. Adopting the initials ?AE? as his signature or monogram, Russell is remembered today as one of the leading cultural figures of the Irish Literary Revival. In addition to being a painter, he was also an influential economist, editor, and promoter of rural development. Practical, and well versed in politics and economics, Russell nonetheless also believed in the existence of a spiritual world, inhabited by ethereal beings. Influenced by Symbolist artists such as Gustave Moreau and Puvis de Chavannes, he espoused Theosophy and esoteric religions, giving expression to this vision through a prolific output of paintings, novels, plays and poetry. Born in Lurgan, Co. Armagh, as a child Russell moved to Dublin with his family. After studying at the Metropolitan School of Art, in 1887 he began working for the Irish Agricultural Organisation Society, and edited the IAOS newspaper, The Irish Homestead. Alongside these practical concerns, he found time to study esoteric religions, joining the Dublin Theosophical Society in 1888, and later forming the ?Hermetic Society?. He was also involved with drama, in 1902 becoming vice-president of the Irish National Theatre Society (later the Abbey Theatre Company). His plays include Deirdre, (1902), while his first book of poetry, Homeward: Songs by the Way, published in 1894, was followed by his 1913 Collected Poems. In addition to painting, plays and poetry, Russell wrote on agricultural policy and political theory, in The Building up of a Rural Civilisation (1910), and The National Being (1916). He was highly regarded as an artist, and, in 1913, with the support and encouragement of the lawyer John Quinn, his paintings were shown at the Armory Show in New York. Encouraged also by William Butler Yeats, Russell painted murals depicting his mystical visions, at 3 Upper Ely Place, headquarters of the Theosophical Society. He also painted portraits, of Yeats, Lady Gregory and others. Dr. Peter Murray
A collection of 35+ Classic/New Wave/Country/Folk Rock/Progressive LPs to include; Skids, Steeleye Span, Robert Plant, Simon & Garfunkel, The Armory Show, The Triffids, Pretenders, Slade, Rick Wakeman, as well as others; All conditions generally from Good Plus to Very Good Plus with generally Good to Very Good sleeves.
A FLEMISH TARGET CROSSBOW, LATE 17TH/18TH CENTURY with robust steel bow stamped with three star marks on the inside and a further mark, retained by a pair of moulded irons with shaped finials, later string, walnut tiller with flaring rest of characteristic form, applied with a large brass panel of shaped outline on each side of the nut cavity, fitted with later steel cord release, later nut, double set trigger, brass lined bolt channel, brass trigger-guard, heart-shaped iron stirrup (bent), and the rear of the tiller fitted with an adjustable steel rest (losses), 96.0 cm tiller ProvenanceAnderson Galleries Inc., New York, 16th March 1927, lot 313John Woodman Higgins Armory (inv. no. 196), sold in this room 20th March 2013, lot 451
dating: last quarter of the 18th Century provenance: Prussia, Round, smoothbore, bluing (refreshed finishing), two-stage, 16 mm cal. barrel with rings at the girdle, gilded marks of the Naples’ Royal Manufacture at the base, silver swallowtailed foresight; engraved and gilded tang marked “44”. Lock with a slightly round plate, decorated with a quiver, arrows and floral motifs in gold and silver - perfect Tula style. Wooden half-stock majestically sculpted, and featuring fine floral carvings, vine shoots on the outside of the butt. Extraordinary mercury-gilded bronze mounts, partly fretworked and plated with dark-blued iron plates, long trigger guard with bas-relieved birds on a granulated background, counter-plate consisting of bands of leaves and garlands, butt-plate with trophy, escutcheon with the monogram 'FW' under an iron decorative element among trophies, mercury-gilded bronze chain and dragon. Dark horn muzzle, gilded bronze barrel bracket and ramrod holder decorated en suite. Ramrod with missing part. A very classy and elegant weapon. In the Musée de l'Armée in Paris, there is a flintlock gun dating back to 1790 circa (Nr. M 636), with the same monogram, described as a gift from King Frederick William II of Prussia to General Clarke, Duke of Feltre and Governor of Berlin during the Napoleonic occupation. This rifle features the number 43 on the tang. Our gun is marked '44.' King Friedrich Wilhelm II (1786-1797). These guns were originally kept in the armory of the famous 'Residenz' of Sanssouci in Potsdam, near Berlin, and probably some of them were taken by the French occupiers as war booty. length 145 cm.
dating: 1863-1864 provenance: USA, Cylindrical, rifled, 44 cal barrel (some pitting on the nozzle and inside, visible inside), with semi-circular front sight, numbered '14xx'. Smooth six-shot cylinder. Working mechanism. Frame with serial number '15xx' and marked with 'S', marked 'FREEMAN'S PAT DEC.R 9 1862 / HOARD'S ARMORY, WATERTOWN, N.Y.' on the back. Pitting. Dark, walnut grips. A rare revolver dating back to the time of the Civil War, there is no documented evidence of the federal government purchasing these revolvers, though it is possible that various units were acquired by state governments. Around 2000 units were produced. Refer to 'Flayderman's Guide,' 9th Edition, pages 358-359, 7A-031, for more details. length 31,5 cm.
A hardstone-hilted steel dagger (pesh-kabz) North India, 18th/ 19th Centurythe single-edged watered-steel blade of slightly curving form with flattened spine, decorated in silver overlay to both sides with inscription-filled cartouches, the forte with cartouches containing floral interlace, the spine with further inscription-filled cartouche and palmette motifs, the faceted moss agate hilt of pistol-grip form with silver hilt mount, the wood scabbard clad in red velvet with silver mounts 34.9 cm. longFootnotes:ProvenanceBonhams, Eastern Arms & Armour from the Richard R. Wagner Jr. Collection, 29 April 2015, lot 141.ExhibitedHiggins Armory Museum, Worcester, MA, September-December 1994LiteratureOliver S. Pinchot, Arms of the Paladins, The Richard R. Wagner Jr. Collection of Fine Eastern Weapons, Rhode Island, 2014, p. 50, fig. 3-108.Inscriptions: to one side of the blade, 'God, Muhammad, 'Ali'; to the other side, 'Shah Sri Sadafi, His Holiness Junayd'; to the spine, 'Aba (sic) Bakr, 'Umar, 'Uthman, Haydar (i.e. 'Ali).'For further information on this lot please visit Bonhams.com
Rare Double-barrel percussion shotgun, Eusebio Zuloaga, royal gunsmith, Spain, mid-19th century. The barrels of this gun and all metal parts are richly decorated with etching in the form of floral decoration and hunting scenes. The inscription on the barrels in Gothic script "Zuloaga, Arcabucero de S.M." The butt of the gun is decorated with carved floral decoration. Eusebio Zuloaga was one of the greatest advocates of the modern decorative damascene technique, thanks to preparation of the surface for inlay by means of fine undercut hammering. He achieved international fame. He learned the arms trade in the family, first of all with his uncle Ram—n in Placencia de las Armas, and later with his father, in Madrid. He did time as an apprentice at the workshop of Jean Lepage in Paris and again in Saint-etienne (1830-32). In 1834 he is named Major Lieutenant Armorer by the Royal Armory, and in 1844, Royal Arquebusier, by Queen Isabel II. Having opened his workshop in Madrid in 1842, in 1848 he opened another in Eibar. A wonderful collectible shotgun in good condition. Length 123 cm..
Burke's Peerage, Gentry and Armory, six volumes comprising: 'Peerage 1880' (rebound, without pages preceding lxiii) 'History of the Landed Gentry 1906' (spine at fault) 'History of the Landed Gentry' (vol. I, 1886 7th ed., A-K) and vol. II, 1871 5th ed., L-Y) 'Dormant, Abeyant, Forfeited and Extinct Peerages 1883' (spine at fault) 'The General Armory 1884' (1969 facsimile)
Marvel Comics: The Punisher. A group of forty (40) comic book issues (1988 -2014).The Punisher (Frank Castle) is a divisive antihero appearing in American comic books published by Marvel. Usually for American superhero characters the character displays a violent nature and willingness to kill in an effort to fight crime leading to many brutal and psychologically testing storylines and enjoying mainstream success despite the dark nature of the character. The character was created by writer Gerry Conway and artist John Romita Snr (1930 2023) making his first appearance in The Amazing Spider-man No. 129 (February 1974).Lot includes:PUNISHER (2nd series 1988) No. 13, 15, 17, 19, 20, 22, 29-32, 34-37, 49-52, 55-57, 59-61, 71, 73, 76.PUNISHER (2nd series) ANNUAL (1989 & 1992) No. 2 & 5 (1 KEY).PUNISHER (6th series 2001) No. 1-3, 5.PUNISHER (8th series 2009) No. 2 (MIKE MCKONE VARIANT).PUNISHER (10th series 2014) No. 1 (SAMNEE ANIMAL VARIANT).PUNISHER NIGHTMARE (2013) No. 1PUNISHER WARZONE (1st series 1992) No. 8.PUNISHER 2099 (2nd series) No. 9.PUNISHER ARMORY (1992) No. 3 (COVER PAINTING BY JOE JUSKO).PUNISHER: ASSASSINS GUILD (1988) TRADE PAPERBACK.All issues come bagged and boarded in new Polypropylene bags and comic boards.~(40)Majority of issues in VF+ / NM Condition (8.5 / 9.4)Condition Report: Majority of issues in VF+ / NM Condition (8.5 / 9.4)All issues come bagged and boarded in new Polypropylene bags and comic boards.
DUKE (E) The Druidical Temples of the County of Wilts, 1846, 8vo, folding map and 2 plates, author's presentation inscription, original cloth; BINGLEY (Rev. W) A Tour round North Wales, in 2 vols. 1800, 8vo, 4 plates, 16pp. engraved music, some foxing and browning, modern half calf; CARTER (Matthew) Honor Redivivus, or, An Analysis of Honor and Armory, London 1673, 12mo, engraved title, lacking frontis, with 9 engraved costume plates and numerous shields to text, a little age toned, calf; BOSWELL (James) London Journal 1762-63, Heinemann 1951, no.659/1050 copies, vellum backed cloth, slip case (5)
BLACK WIDOW (2021) - Young Natasha Romanoff (Ever Anderson) and Yelena Belova's (Violet McGraw) Photographs with Gas Mask, Shotgun Shells, and Ammunition Cases - Young Natasha Romanoff (Ever Anderson) and Yelena Belova's (Violet McGraw) photographs with a gas mask, shotgun shells, and ammunition cases from Cate Shortland's Black Widow. After the older Yelena Belova (Florence Pugh) sent her childhood "sister" Natasha Romanoff (Scarlett Johansson) vials of Red Dust to free other Widows along with a photo of them as children, the two traveled to find their surrogate mother, Melina (Rachel Weisz), who kept a secret armory in her home. This lot consists of two color photo strips featuring young Natasha (Ever Anderson) and young Yelena (Violet McGraw); 10 red and gold painted resin shotgun shells with a black painted metal canister; a gray acrylic ammo case with 48 gold-color metal bullet casings; one black acrylic ammo case with 49 black and gold-color metal 9mm Luger bullets; and a black rubber gas mask with rubber straps and a clear acrylic visor. This lot exhibits tears on the photos and minor chipped paint on the shells and canister. Dimensions: (largest) 6" x 7" x 1.25" (18 cm x 15.25 cm x 3.25 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.
THE DARK KNIGHT RISES (2012) - Set of Printed Tumbler and The Bat Concept Designs - Printed Tumbler and The Bat concept designs from the production of Christopher Nolan's The Dark Knight Rises. Bane (Tom Hardy) stole camo-painted Tumblers from Batman's (Christian Bale) armory and Batman fought back using his new flying vehicle known as the Bat. Similar renderings of these vehicles were also used in promotional materials for the film.These three concept designs, one depicting a camo-painted Tumbler against a black background and two depicting the Bat, are both color-printed on heavyweight paper with white borders. They exhibit scratching throughout. Dimensions: (largest) 8.25" x 11.75" (21 cm x 30 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.
LEIGH (Gerard): 'The Accedence of Armorie..': a 16th century edition, lacking title leaf and some final leaves including colophon, fo.(3), 1-136, 1-28 (only), fo.26 at rear with upper quarter torn away, recent calf with red morocco label lettered 'the science and skill of armory', 8vo. For sale with all faults and not subject to return. (1)
Guns, Shooting, Hunting etc, approx. 35 assorted books and booklets, including Colonel R.E. Gardner: 'Small Arms Makers: A Directory of Fabricators of Firearms, Edged Weapons, Crossbows and Polearms', 1963, original cloth, Rainer Daehnhardt & W. Keith Neal (ed.): 'Espingarda Perfeyta or The Perfect Gun', Sotheby Parke Bernet, 1974, facsimile of the original 1718 edition, 20 plates as called for, orig. cloth, dust wrapper, Claude Blair: 'Pollard's History of Firearms', NY, 1983, 1st US edition, ills. throughout, orig. cloth, dust wrapper, 'Rifles: Volume Two of The N.R. A. Book of Small Arms', 1952, 2nd printing, orig. cloth gilt, dust wrapper, bookplate and ownership signature of Henk Visser (1923-2006), Dutch arms and armory collector, Sir J. Emerson Tennent: 'The Story of the Guns', L, Longman, 1864, inscribed on half title by the author to General Charles Grey (1804-1870) British army officer, Politician and Private Secretary to Queen Victoria, frontis + 3 plates as called for, orig. cloth gilt, plus others pistols, revolvers, Colt, Winchester, Walther P-38, Moisin-Nagant rifles, deer stalking, pistol collecting etc
William Glackens (1870–1938) was an American realist painter and one of the leading figures of the Ashcan School, a group of artists who focused on portraying scenes of everyday urban life in early 20th-century America. Glackens was known for his diverse range of subjects, including city scenes, portraits, and landscapes, and his work reflected the vibrancy and diversity of American society during his time.Key points about William Glackens:1. **Early Life and Education:** William James Glackens was born on March 13, 1870, in Philadelphia, Pennsylvania. He began his art education at the Pennsylvania Academy of the Fine Arts, studying under Thomas Anshutz.2. **Ashcan School:** Glackens was a prominent member of the Ashcan School, a group of artists who rejected academic traditions and focused on portraying the realities of urban life. The movement aimed to depict scenes of everyday life in New York City and other urban areas.3. **Realism and Impressionism:** While associated with the Ashcan School, Glackens also experimented with Impressionist techniques. His works often combined aspects of both realism and Impressionism, capturing the energy and spontaneity of his subjects.4. **Armory Show:** Glackens participated in the groundbreaking Armory Show of 1913, an exhibition that introduced European modernist movements, such as Cubism and Fauvism, to the American audience. The show had a profound impact on the American art scene.5. **The Eight:** Glackens was part of a group of artists known as "The Eight," who rebelled against the conservative policies of the National Academy of Design. The group, which included artists like Robert Henri and John Sloan, paved the way for the Ashcan School.6. **Illustration and Journalism:** Earlier in his career, Glackens worked as an illustrator and journalist. His experience in these fields influenced his approach to painting, contributing to his keen observation of everyday life.7. **Travel and Influence:** Glackens traveled extensively, both within the United States and abroad. He was influenced by European art, especially the works of the French Impressionists, and he incorporated these influences into his own unique style.8. **Later Career:** In the later years of his career, Glackens continued to paint a variety of subjects, including landscapes, portraits, and scenes from everyday life. His style evolved, and he became known for his use of bold color and loose brushwork.9. **Legacy:** William Glackens is remembered as a versatile and influential American artist. His contributions to the Ashcan School and his role in introducing modernist ideas to American audiences have left a lasting impact on the development of American art in the early 20th century.William Glackens' works are held in major museums and collections, and his legacy is celebrated as part of the rich tapestry of American art history.Measures 46.5 x 38.
Childe Hassam, full name Frederick Childe Hassam (1859–1935), was an American Impressionist painter and one of the most prominent figures in American art during the late 19th and early 20th centuries. Here are key points about Childe Hassam:1. **Early Life and Education:** Childe Hassam was born on October 17, 1859, in Dorchester, Massachusetts. He initially worked as an apprentice to a local wood engraver before pursuing formal art education.2. **European Training:** Hassam studied art in Boston and later traveled to Paris to further his training. In Paris, he was exposed to European art movements, including Impressionism, which had a profound impact on his artistic style.3. **Impressionism and American Art:** Hassam embraced the principles of Impressionism, characterized by a focus on capturing the effects of light, color, and atmosphere in a scene. He played a crucial role in introducing Impressionism to American audiences.4. **Flag Paintings:** One of Hassam's most famous series is the "Flag" series, created during and after World War I. These paintings depict American flags displayed on city streets, capturing a sense of patriotism and national identity.5. **Urban Scenes:** Hassam was known for his depictions of urban scenes, particularly in New York City. He captured the energy and dynamism of the city, portraying crowded streets, parks, and buildings with a vibrant use of color.6. **The Isles of Shoals:** Hassam frequently visited the Isles of Shoals, a group of small islands off the coast of New Hampshire and Maine. He painted numerous seascapes and landscapes inspired by the natural beauty of this area.7. **Member of The Ten:** Childe Hassam was a member of a group of American artists known as The Ten American Painters. The group was formed in 1898 and aimed to promote progressive and innovative ideas in American art.8. **Versatility:** Hassam demonstrated versatility in his art, exploring various subjects and styles. In addition to urban scenes, he painted landscapes, portraits, and still lifes.9. **Exhibitions and Recognition:** Hassam exhibited his works widely and received critical acclaim. He participated in major exhibitions, including the Armory Show of 1913, which introduced modern art to American audiences.10. **Later Years and Legacy:** Childe Hassam continued to paint until his later years. He left a significant legacy as a leading American Impressionist, and his influence extended to subsequent generations of artists. His works are held in major museums and collections.Childe Hassam's contributions to American art, particularly in popularizing Impressionism and capturing the spirit of his time, have secured his place as a key figure in the history of American painting.Measures 22 x 18.
Legh (Gerard) The Accedens of Armory, third edition, woodcut title, double-page plate, armorial illustrations, initials all finely coloured in an early hand and many heightened with gold, some offsetting and show through, a few with surface abrasion, occasional foxing and soiling, modern dark blue crushed morocco by Sangorski & Sutcliffe, g.e., [STC 15390], 4to, Imprynted...by Richard Tottel, 1576. *** A superb copy with wide margins of this important early heraldic work with fine early colouring.
BindingsA Collection of Leather Bound Books, including: Gibbon (Edward), The History of the Decline and Fall of the Roman Empire., London: T. Cadell and W. Davies, 1813, 12 volumes, speckled calf bindings (re-backed); [Browne (Thomas)], Religio Medici, 1678, seventh edition, full calf (re-backed); [Horace], Quintus Horatius Flaccus. Daniel Heinsius, Leiden: Elzevier, 1638, full morocco binding, 16mo; Honor Redivivus: or, the Analysis of Honor and Armory, 1673, third edition, recent full calf gilt; with 25 others. (40)
![NO RESERVE [Orleans (Louis Philippe duc d')] Extrait de Mon Journal du mois de mars 1815, errata leaf at the end, original wr](https://cdn.globalauctionplatform.com/bf58cd80-af82-4596-a690-b0cf00c91450/5992e57b-7d63-49ef-8213-b0cf010e30e1/468x382.jpg)
NO RESERVE [Orleans (Louis Philippe duc d')] Extrait de Mon Journal du mois de mars 1815, errata leaf at the end, original wrappers, printed label on spine, chipped, Twickenham, G. White, 1816; and 22 others, comprising 3 nos. of The Panoplist; or, The Christian's Armory, 1808 and 19 nos. of The Massachusetts Baptist Missionary Magazine, 1808-16, printed wrappers, some loose and torn, edges chipped, 8vo (23).
A GERMAN STONEBOW (SCHNEPPER), FIRST HALF OF THE 17TH CENTURY with slender steel bow fitted with later string of twisted cord incorporating a pocket for the pellets, a pair of fixed fore-sight pillars, built-in gaffle retained by a spring-catch at the rear, stamped with the maker's mark, in a shield a prancing stag (Neue Støckel 5143 or 8442), carved fruitwood butt decorated with scrolls and linear frames, inset with an engraved plaque on the left charged with crowned Bavarian ducal arms (chipped) on the left, and with scenes from the chase on the right, steel loop, and trigger-guard59 cm; 23 1/4 in tiller ProvenanceErnst Schmidt, Munich, 5th June 1930, no. 24John Woodman Higgins Armory, Worcester Massachusetts (inv. no 1106), sold in this room 20th March 2013, lot 259. Ivory Registration reference QZSMP6KS
Steel Two-handed Sword, Germany 16th-17th centuries, Provenance: Higgins Armory Museum, Worcester, Massachusetts. Straight, powerful, steel blade with double-sided sharpening. Forged steel hilt with thickenings at the ends. The wooden handle is wrapped in leather. The iron pommel is skillfully decorated with grooves. Provenance: Higgins Armory Museum, Worcester, Massachusetts, Bonhams Skinner, 20 November 2010, lot 221.Height: 132 cm;
A magnificent dagger, probably from the period of the Crusades, Syria, 10th-13th (?) century. The fine gilt bronze grip rendered in Scythian motifs, including a lion crouching on the pommel and mounted shamans, one wearing an antlered headdress and the other a Phrygian cap; the guard of chiseled steel with fully-modeled lionÕs heads. Knikok double-edged, showing layered construction throughout. Provenance: John Woodman Higgins Armory Museum, Worcester, Ma., Auctions Imperial Inc, March 20, 2011, lot 112. A dagger similar in morphological characteristics was published in the book by Bashir Mohamed. The Arts of the Muslim Knight. Institut du monde arabe (France). The Furusiyya Art Foundation Collection. Ð Rizzoli, 2009. page 155.Height: 37 cm;
An exceptional quality work of weapon art, a ceremonial battle axe, Italy, Late Renaissance, 16th century or later. Their steel was completely forged. A sharp four-sided spike on one side and a wide blade on the other. Square hole in the middle for attaching to the shaft. The entire surface of the battle ax is decorated with very deep engraving. Depiction of battles and ancient heroes in the characteristic style of the Late Renaissance. A wonderful item worthy of the collections of the world's best museums. Provenance: The John Woodman Higgins Armory Museum Collection, acquired from the Morosini Sale, held at the American Art Association, New York on October 10-15, 1932. Auctions Imperial Inc, March 20, 2011, lot 175. Length 25 cm.
Very rare Italian ceremonial sword with gilding and mother-of-pearl from the 15th century. The broad blade of sharply tapering form consistent with Oakeshott Type XV, forged with a high median ridge and marked with a trefoil at either side. The forte finely worked with figures on both sides, probably Biblical, and inlaid with gold. The stepped grip of horn inlaid with mother of pearl panels, lightly-recurved guard and fig-shaped pommel of copper heavily gilt, superbly engraved overall in elaborate vine motifs. Late 15th century. Chiseling and inlay at forte showing wear, grip lacking one mother of pearl panel. Provenance: Deaccessioned from the John Woodman Higgins Armory Museum, Worcester, Ma. Acquired by the Higgins from the American Art Association Auction, New York, of October 10-15, 1932, from the Morosini Collection, lot 525, Auctions Imperial Inc, May 20, 2011, lot 100. A magnificent museum quality item.Height: 111 cm;
Rare, European, Two-handed Flamberge sword, wavy sword, 16-17th century. Massive faceted, wavy blade. At the base of the blade are the marks of the master. Large, forged guard with thickenings at the ends. the wooden handle with spiral grooves is wrapped in leather and twisted wire. Faceted iron pommel at the end of the hilt. Rare collector's item in good condition. Provenance: Higgins Armory Museum, Worcester, Massachusetts, Bonhams Skinner, July 16, 2011, lot 569.Height: 119 cm;
Twenty various volumes on guns and rifles, including Bill West: 'Winchester Complete; Winchester for Over a Century', 6 volumes, volumes I & II 1981, 3rd edition, vols III-VI 1965-69, 1st edition, uniform red leatherette/red cloth gilt; Philip B. Sharpe: 'The Rifle in America', NY, 1947, 2nd edition, original cloth, dust wrapper; W.H.B. Smith: 'The N.R.A. Book of Small Arms. Vol. I Pistols and Revolvers. Vol. II Rifles', 1953, 4th printing, 1952, 2nd printing, 2 volumes, uniform orig. cloth gilt, dust wrappers; Harold F. Williamson: 'Winchester. The Gun that Won the West', 1952, 1st edition, 4to, original cloth, dust wrapper, bookplate and ownership signature of Henk Visser (1923-2006), Dutch arms and armory collector; plus others Charles S. Landis, Jack O'Connor etc. (20)
U.S. Armory and Arsenal Springfield: a .50-70 Model 1868 single loading 'trapdoor' service rifle, serial number 7890, barrel 32.25 in., forward pivoting breech block dated 1870 and marked with eagle head and crossed arrows over 'U.S.', thumb latch to right of action, lock plate dated 1863 and marked ''U.S. SPRINGFIELD' and with eagle, with jag head clearing rod. Section 58(2) - no licence required if possessed as a curiosity or ornament.132cm OAL
ƑU.S. Armory and Arsenal Springfield: a 45-70 Model 1884 'Trapdoor' service rifle, serial number 460200, barrel 32.5 in., Buffington back sight adjustable for windage and elevation, colour hardened action, fluted trigger, upper band with sling and piling swivels, steel clearing rod, 2023 Birmingham black powder proof. Section 1 - FAC or RFD required to purchase. 132cm OAL
The 'Buckmaster' Goblet: a highly important Beilby enamelled armorial goblet, circa 1765Probably by William Beilby, the generous bucket bowl painted in polychrome with an elaborate coat of arms in red, blue and white, the blazon per pale gules and azure, a lion rampant between seven fleurs-de-lis argent, within a rococo scroll cartouche in shades of puce, embellished with floral swags in white and leafy fronds in shades of green, the reverse with a pendant spray of fruiting vine in white, the rim gilt, raised on a double-series opaque twist stem enclosing a pair of heavy opaque white spiral threads around a central tubular column, over a conical foot, 18.5cm highFootnotes:ProvenanceC Kirkby Mason CollectionSotheby's, 21 March 1947, lot 122Sotheby's, 24 November 1986, lot 66Sotheby's, 18 December 1997, lot 78With Namara Fine Art, 1997Durrington CollectionLiteratureJoseph Bles, Rare English Glasses of the 17th and 18th Centuries (1924), pp.180-1, pl.61G Bernard Hughes, English Glass for the Collector 1660-1860 (1958), pl.14The Glass Association, 'Exhibitions and Fairs', The Glass Cone, No.43 (Autumn 1997), p.12 and front coverSimon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, No.9 (2001), p.32Peter Dodsworth, The Durrington Collection (2006), no.31ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.36In the catalogue of the Durrington Collection, Simon Cottle notes that this remarkable goblet is perhaps one of the most exceptional examples of what might be William Beilby's early work, see Dodsworth (2006), p.36. The coat of arms is unrecorded in all standard indexes and are therefore unlikely to have been officially granted by any authority. They are therefore likely to be assumed or falsely represented, meaning that the individual or family to which they relate cannot be positively identified. The absence of a crest, supporters or motto further hinders identification. It has been previously suggested that they may have been the arms of Buckmaster of Lincolnshire, Northamptonshire and Devon, but these are recorded in Burkes General Armory as argent, a lion rampant between seven fleurs-de-lis sable. Whilst they bear some resemblance to the arms on the present lot, the differences are marked and so the historic association of this goblet with the Buckmaster family would appear to be erroneous.The pair to this goblet is in the Cecil Higgins Art Gallery in Bedford, illustrated by James Rush, The Ingenious Beilbys (1973), p.104, pl.57 and A Beilby Odyssey (1987), p.75, pl.40, and also by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.329, no.1069. When sold by Sotheby's in 1997, this goblet set a record auction price for a Beilby enamelled glass.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
George William Russell (“AE”) (1867-1935) 'Portrait of a Young Girl in a white Dress holding Flowers,' O.O.C., 62 cms x 51cms (24.5" x 20" ). (1) The term ‘Celtic Twilight’ accurately describes the art of George Russell, with many of his paintings depicting scenes of childhood. He delighted in creating a fantasy world, peopled with mythological beings. In such paintings, suffused with the glow of wistful nostalgia, his figures, generalized rather than specific portraits, are enveloped in a haze. This portrait of a young girl however is more formal, and depicts an actual rather than an imagined person. Dressed in a white muslin pinafore dress over a blue blouse, her dark hair tied with a bow, the girl sits in a chair looking out at the observer with a curiously determined expression. In her hands she holds a small spray of flowers. The background is a uniform brown deepening to a dark shadow behind the girl, and the initials of the painter ‘AE’ are painted the top right corner. The identity of the sitter is not known; it may be an early portrait of Kitsy Franklin, whose mother Victoria Franklin was the sister of the writer Susan Mitchell, who edited the Irish Statesman and was a close friend of Russell. Adopting the initials ‘AE’ as his signature or monogram, Russell is remembered today as one of the leading cultural figures of the Irish Literary Revival. In addition to being a painter, he was also an influential economist, editor, and promoter of rural development. Practical, and well versed in politics and economics, Russell nonetheless also believed in the existence of a spiritual world, inhabited by ethereal beings. Influenced by Symbolist artists such as Gustave Moreau and Puvis de Chavannes, he espoused Theosophy and esoteric religions, giving expression to this vision through a prolific output of paintings, novels, plays and poetry. Born in Lurgan, Co. Armagh, as a child Russell moved to Dublin with his family. After studying at the Metropolitan School of Art, in 1887 he began working for the Irish Agricultural Organisation Society, and edited the IAOS newspaper, the Irish Homestead. Alongside these practical concerns, he found time to study esoteric religions, joining the Dublin Theosophical Society in 1888, and later forming the ‘Hermetic Society’. He was also involved with drama, in 1902 becoming vice-president of the Irish National Theatre Society (later the Abbey Theatre Company). His plays include Deirdre, (1902), while his first book of poetry, Homeward: Songs by the Way, published in 1894, was followed by his 1913 Collected Poems. In addition to painting, plays and poetry, Russell wrote on agricultural policy and political theory, in The Building up of a Rural Civilisation (1910), and The National Being (1916). He was highly regarded as an artist, and, in 1913, with the support and encouragement of the lawyer John Quinn, his paintings were shown at the Armory Show in New York. Encouraged also by William Butler Yeats, Russell painted murals depicting his mystical visions, at 3 Upper Ely Place, headquarters of the Theosophical Society. He also painted portraits, of Yeats, Lady Gregory and others. Dr. Peter Murray, February 2022
HALO (T.V. SERIES, 2022) - UNSC M6G PDWS PistolA UNSC M6G PDWS pistol from the series Halo. In Season 1, Episode 6 "Solace" M6G Personal Defense Weapon System pistols were visible on the walls of the United Nations Space Command armoury.This lot consists of one futuristic static pistol made of dense foam rubber. It features a "Model 6B UNSC Property" stamp on the side, along with "MISRIAH ARMORY," and "Manufacture Code KVA1031-OX." Production intentionally distressed this pistol to appear used. This lot exhibits some pitting and rough edges from the moulding process, as well as some discolouration and notable paint marks. Dimensions: 26.75 cm x 21 cm x 5 cm (10.5" x 8.25" x 2")Estimate: £1,000 - 2,000 Ω View all lots from HALO (T.V. SERIES, 2022)Bidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 9th, Friday, November 10th or Sunday, November 12th.
Thies & Schmid Schwäbische Waffenauktionen GmbH - Erlaubnispflichtige Waffen (Militärische Ordonanzwaffen) : Gewehr Garant Modell M1 Kaliber .30-06 Springfield, Seriennummer 1548202, nummerngleich.Gewehr Garant Modell M1 Kaliber .30-06 Springfield, Seriennummer 1548202, nummerngleich. Gewehr Garant Modell M1 aus Springfield Armory in gutem, nicht Arsenalüberholter original Zustand. Gehäuseoberseite U.S. RIFLE CAL. .30 M1 SPRINGFIELD ARMORY sowie Seriennummer. Verschlussdeckel mit Beschaffungsnummer. Waffe in original Phosphatierung, nicht überarbeitet, jedoch weitestgehend abgenutzt. Schaft mit geringen Gebrauchsspuren. Erwerbscheinpflichtig!Thies & Schmid Schwäbische Waffenauktionen GmbH - Military Guns (License Required). : Gewehr Garant Modell M1 Kaliber .30-06 Springfield, Seriennummer 1548202, nummerngleich. Rifle Garant Model M1 caliber .30-06 Springfield, serial number 1548202, matching numbers. Rifle Garant Model M1 from Springfield Armory in good, non arsenal refurbished original condition. Case top U.S. RIFLE CAL. .30 M1 SPRINGFIELD ARMORY and serial number. Breech cover with procurement number. Weapon in original phosphate finish, not refurbished, but largely worn. Stock with minor wear. Acquisition certificate required!Erlaubnispflichtige Schusswaffe / License requiredPlease note bidders should check if the item is permitted in their country of origin prior to bidding.All guns are antique firearms as described
Guns Arms Armour Militärische Ordonanzwaffen Ausland - Langwaffen (militärisch) : Gewehr Garant Modell M1 Kaliber .30-06 Springfield, Seriennummer 334750, nummerngleich. Gewehr Garant Modell M1 aus Springfield Armory in sehr schönem, nicht Arsenalüberholter original Zustand. Gehäuseoberseite U.S. RIFLE CAL. .30 M1 SPRINGFIELD ARMORY sowie Seriennummer. Verschlussdeckel mit Beschaffungsnummer. Waffe in original Phosphatierung, nicht überarbeitet. Schaft ohne Dellen in schönem Zustand. Erwerbscheinpflichtig! Militärische Ordonanzwaffen Ausland - Langwaffen (militärisch) : Gewehr Garant Modell M1 Kaliber .30-06 Springfield, Seriennummer 334750, nummerngleich. Rifle Garant Model M1 from Springfield Armory in very nice non arsenal refurbished original condition. Case top U.S. RIFLE CAL. .30 M1 SPRINGFIELD ARMORY and serial number. Breech cover with procurement number. Weapon in original phosphate finish, not refinished. Stock without dents in nice condition. Acquisition certificate required! Erlaubnispflichtige Schusswaffe / License required Please note bidders should check if the item is permitted in their country of origin prior to bidding. All guns are antique firearms as described
* Phelan Gibb (Henry William, 1870-1948). Still Life with Bowls and Vases of Flowers, circa 1946, oil on canvas, signed ‘Phelan Gibb’ lower left, 50.7 x 61cm (20 1/8 x 24 ins), in an Italian wooden frame, with a label verso typewritten 'Lent by Lucy Werthheim', frame 59.5 x 69 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
* Phelan Gibb (Henry William, 1870-1948). Composition, oil on card, signed ‘Phelan Gibb' lower left, 28.5 x 33.5 cm (11 1/4 x 13 1/4 ins), gilded wood frame, with typewritten label to verso 'Collection of Derwent Wise. Phelan Gibb 1870-1948. Abstraction-probably about 1945. This painting was acquired from Mr. Michael Dawson. It had been given to him by Lucy Wertheim during a period when he worked in her Gallery. She represented his work in her Galley and also was an author of a biography of Phelan Gibb', with additional handwritten inscription by Michael Dawson to the label, dated 23 iv 05', frame 45 x 49.5 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
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