We found 636 price guide item(s) matching your search

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. 

Springfield Armory M1A .22 cal. air rifle with under-lever action and wooden stock; serial no.6300, L116cm overall; in original cardboard box NB: AGE RESTRICTIONS APPLY TO THE PURCHASE OF AIR WEAPONS.Condition Report:Looks to be little used and in very good condition.

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)

A TOWER ARMORY PERCUSSION CAP PISTOL WITH A BRASS TRIGGER GUARD, AN IRON RAMROD HINGED BELOW THE BROWNED BARREL

A TOWER ARMORY FLINTLOCK PISTOL WITH A SAFE LEVER BEHIND THE COCK AND A WOODEN RAMROD BELOW THE BARREL

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)

Gerard Legh, The Accedens of Armory, 16th Century, woodcut and hand painted title, some hand coloured pages, later marble boards and leather tools spine, the spine dating the book to 1562

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).

Amory, mid-late 20th century - Untitled abstract composition, 1978; oil on canvas, signed and dated 'Armory 78', 92 x 127 cm 

Pre-revolutionary France, 1677-1700i. Louis XIV, King of France (1638-1715); order, signed Louis, to [François de Montlézun de] Besmaus, governor of the Bastille, Paris; written at the camp before Cambrai, 12 April 1677 To fire the cannon of the Bastille on the day on which the Te Deum is to be sung at Notre Dame as part of the thanksgiving for the victory achieved by his brother the Duc d’Orleans [at Cassel on 11 April]; countersigned by [Jean-Baptiste] Colbert (1619-1683), First Minister of State.The battle of Cassel took place during the Franco-Dutch war, and led to the surrender of Saint-Omer and Cambrai.François de Montlézun de Besmaus (c1613-1697), a Gascon, was in 1649 appointed captain in the guards of Cardinal Mazarin, who in 1658 appointed him governor of the Bastille, a post he held until his death.ii. Certificate of the arms of Louis de la Grée, seigneur de la Ferriere, with an illustration of the arms, issued by Charles d’Hozier, Keeper of the General Armory of France; Paris, 5 February 1700Register 5, number 110A Louis de la Grée, seigneur de la Ferriere, one of the men-at-arms of the king’s company, living on the Isle-de-la- Cité, Paris, married Madeleine Manjot, widow of Henri Fremin, advocate in Parliament, in 1662.An Edict of 1696 declared that, for a coat of arms to be valid, it had to be registered with the King of Arms, for a fee naturally. As a consequence, 110,000 coats of arms were registered (of which 80,000 by non-nobles) by Charles d’Hozier, the King of Arms. The registers are still in the National Library. By 1709 registration of arms ceased altogether, and the Edict was ignored from then on.The surname d’Hozier is often associated with the both the manuscript and printed versions of the Armorial général de France. The manuscript blazons and illustrations were done under the auspices of Charles-René d’Hozier (1640-1732), while the printed work was done by his nephew Louis-Pierre d’Hozier (1685-1767). They were the Judges of Arms appointed by the king to verify claims of nobility and decide issues regarding the use of arms.

Marvel; The Punisher War Journal #1-10, 14-49, 52-59, 54,  67, 69-70, The Punisher (1989) #2-16, 18-83, 92, 94, 97-98, The Punisher P.O.V #1-3, The Punisher Captain America Blood and Glory 1-3, Wolverine and The Punisher 1, 3, Punisher Ghost of the Innocents 1-2, The Punisher Annual (1988) #1, 6, The Punisher Armory #1-7, The Punisher Summer Special #1-2, The Punisher War Zone #1-3, 5-20, The Punisher 2099 #1-29, 31-34, Marvel Knights (2000) The Punisher #3, 5-8, 10-12, Marvel knights (2001) #1, 3-5, 10-14, 16-17, 19, 24-25, 28, 34-35, MAX Comics The Punisher issues, assorted Punisher titles (qty) Condition Report:Available upon request

A Springfield 1871 pattern rolling block .50-70 calibre three-band rifle, originally designed by Remington but made under licence by the Springfield Armory for a US Military contract, stamped to the action 'H1871', overall length 136cm, SN: 2184.Condition Report: No license required for this lot.

WHITNEYVILLE ARMORY CO; a .32 rim fire five-shot single action revolver, with brass frame and chequered bakelite grips embossed with the letter 'W', overall length 18cm.

Rodrigo Piedrahita, "Boys", oil on canvas, 100 x 130cm, c. 2023. My art is for get a peace and pleasing in painting world and gets an armory space, and see the life until dead, with my landscape and abstraction could see the farway in this road that fear all. Artwork located in Colombia, UK shipping £180.

The Punisher, No's. 1, 11, 12, 13, 14, 15, 16, 17, 18, 50, 94 and 95; The Punisher: War Journal, No's. 1-19; The Punisher: War Zone, No's. 1-6 and 12; The Punisher Armory, No's 1 and 2; together with six other Punisher Comics and graphic novels.

A replica percussion two band musket by the London Armory Co.

An original deactivated Walther P99 pistol prop used by Pierce Brosnan as "James Bond" in the James Bond film Tomorrow Never Dies (Eon Productions, 1997). This Walther P99 P.A.K. blank firing pistol features the serial number “B8041852” and is 9mm with a 3 – 7/8” barrel. This pistol features a blue finish with factory molded grips. Condition is considered to be “very good” with wear to the high points of the slide, as well as the slide release showing loss of finish and minor scratching. The action of the pistol cycles smoothly and the firing pin has been removed. The magazine has been plugged with a steel rod which has been modified to accept only one round at a time. This iconic pistol had been rented by Eon Productions during the production of the film from Bapty & Co., a supplier of weapons and props. This is one of only eleven PAK pistols that were rented for the film. According to 007 The Armoury, "the only modification was to blank out the white factory engravings to better match the all-black appearance of the two 'hero' firearms." James Bond uses this type of firearm throughout the film, replacing the iconic PPK, PP, and P5's that had been used in previous James Bond films. This more contemporary sidearm would first appear in the film when Bond chooses it from Wai Lin's (Michelle Yeoh) armory in Saigon. Bond mentions, "Ah the new Walther, I asked Q to get me one of these." While aboard the Stealth Ship, an undetectable catamaran-style vessel, Bond can be seen using this type of pistol. Tomorrow Never Dies is the second installment of the James Bond film series to feature Pierce Brosnan is the iconic role. When the film was released, it was surpassed only by the release of Titanic (Paramount Pictures, 1997) in the United States and Canada, grossing $333 million worldwide. Accompanied by a copy of 007 The Armoury, a book listing this pistol's serial number as one of the exact firearms issued to the production company during filming. Includes a DVD of the film. Notice: This firearm must be registered in accordance with state and federal laws through Orange Coast Auctions, 1501 N. Raymond Ave., Suite B, Anaheim, CA 92801 at (714) 213-8709. FFL Requirements: This is a modern firearm and must be shipped to a licensed FFL dealer. It is the buyer’s responsibility to verify all local and state gun laws. We will also verify prior to shipping your item. It is also the buyer’s responsibility to provide us with a copy of your FFL or contact your local dealer and have them provide us with a copy of their FFL. We will not be responsible for delayed shipments due to not being provided with the proper paperwork. California Residents Only: This handgun is an off-roster dealer sale and therefore not available for sale to California residents.  

An early 19th century Indian pattern Brown Bess Bayonet: the triangular shaped blade stamped with Queen's crown, the socket engraved with Indian armory marks and fitted Indian patterned spring with three step mortice, overall length 51 cm.

Royal Coat of Arms Mounted on a Shield, Emmanuel College Cambridge coat of arms mounted on a shield, University of Cambridge coat of arms mounted on a shield and other coat of arms. A Derbyshire Armory compiled by Maxwell Craven:- One Basket.

A large metal trunk including various old film 'The Armory, 'Pre-war review of the fleet', and reels to include Coronation King George V Queen-Mary, June 22nd 1911, opening parliament, Sneider trophy, etc.

Braendlin Armory Martini Henry .577/450 cavalry carbine Braendlin Armory Martini Henry .577/450 cavalry carbine 20inch barrel fitted with ladder rear sight and secured by two bands, the rear sight has two screws below for a sight protector. The receiver with Braendlin Armory stamps and two flag logo. Section 58(2) antique / obsolete calibre, can be owned without a licence. Buyer must be over the age of 18, photo ID will be required if this lot is to be posted out. 95.5cm long The carbine is worn throughout but has a pleasing feel to it if you don't mind a gun showing its age and use. The bore has some pitting marks scattered but a strong rifling pattern remains. The action works correctly. The metalwork has some light scratches dents and light pitting, there are also some fresh corrosion spots which would clean up with ease. The joint of the butt to the receiver has a small filled repair, outside this the stock is free from splits or repairs, there are quite a few scratches and dents and wear especially to the forend.

Springfield Armory model 1842 pattern percussion hammer action musket with lock stamped 'Spring Field 1854' and with eagle above 'US', metal ram-rod, leather sling and 42 inch smooth bored barrel, overall length 147cm. 

An etched State Halberd, Central European or Russian, circa 1740, the head with ridged blade, both sides decorated with scrollwork framing an oval filled with a cross device, possibly that of the Russian Order of St. Anna, a small armorial cartouche below, the lower portion formed with a distinctive axe-blade cut with an acutely concave recess in its leading edge and with flat hook-like fluke, etched with an elaborate trophy-of-arms over its centre, and tubular socket with moulded collars: on a wooden haft (light wear), head length 29cmNote: Another, closely comparable but with neither the cross nor the armorial cartouche included its etched design is in the Higgins Armory collection, now at the Worcester Art Museum, Massachusetts (image WAM 2652412)

Excalibur (1981) Limited edition Excalibur sword by Darksword Armory based on the prop used in 1981 movie of the same name, brass cross guard and pommel, with wire bound grip, steel blade with leather bound scabbard, sword belt and COA, 413 of 500, 115 cm.

A quantity of Antique leather-bound books, with gilded and embossed spines, including The Railways Of England, Defences Of Armory, The Crown Of Wild Olive, Railway Appliances, Spanish Armada, Poetical Works etc

Two works of local heraldic history. Rev. Sabine Baring-Gould and Robert Twigge. 'An Armory of the Western Counties (Devon and Cornwall)'. from unpublished manuscripts of the XVI Century, first edition, original boards, 116 pages, James G Commin, Exeter, 1989;W.H. Pascoe (Compiler) D. Endean (illustrator), 'A Cornish Armoury', first edition, Lodenek Press Ltd, Padstow. (2)

Aristide Maillol, Liegender AktRückenansicht einer nackten liegenden Frau, Lithographie in Rötel, um 1930, links unter der Darstellung ligiertes Monogramm "M" im Oval, leicht braunrandig, unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitt ca. 18 x 25,5 cm. Künstlerinfo: eigentl. Aristide Joseph Bonaventure Jean Maillol, bedeutender frz. Bildhauer, Maler und Graphiker (1861 Banyuls-sur-Mer bis 1944 Banyuls-sur-Mer), Besuch des Collège Saint Lois in Perpignan, 1881 ging er nach Paris und Besuch eines Zeichenkurses an École des Beaux-Arts bei Jean-Léon Gérome und anschließend einige Monate Besuch der Kunstgewerbeschule, nachfolgend ab 1885 Studium an der École des Beaux-Arts bei dem Salonmaler Alexandre Cabanel, anschl. lebte er unter größter Armut ca. 20 Jahre in Paris, 1896 Heirat mit Clotilde Narcis, sie wurde in den Folgejahren sein Idealmodell, 1899 Umzug nach Villeneuve-Saint-Georges, 1903 wiederum Umzug nach Marly-le-Roi bei Paris, 1904 Bekanntschaft mit dem Kunstsammler und Mäzen Harry Graf Kessler und Reise mit ihm 1904 nach London, 1908 nach Griechenland und 1930 nach Deutschland, 1913 erste Personalausstellung außerhalb von Frankreich im Kunstkring Rotterdam und Ausstellungsbeteiligung an der Armory Show in New York, 1928 Ausstellung in der Galerie Flechtheim und 1933 in der Kunsthalle Basel, 1944 einige Tage nach einem Autounfall in seinem Wohnhaus verstorben, Quelle: Vollmer, Wikipedia und Internet.

Zwei Auktionskataloge der Galerie Fischer, Sammlung de Westerweller und Sachsen-Altenburgische Rüstkammer, 1935/36 Jeweils in leicht fleckigem Softcover. Ein Katalog mit Waffen und Rüstungen aus verschiedenem Besitz, u.a. dem Stubenbergischen und der Sachsen-Altenburgischen Rüstkammer. Der andere mit Jagdsammlung de Westerweller und weiteren hochqualitativen Waffen diverser Herkunft und von hoher Provenienz. Two auction catalogs of the Fischer Gallery, de Westerweller Collection and Saxony-Altenburg Armory, 1935/36 Two auction catalogs of the Fischer Gallery, de Westerweller Collection and Saxony-Altenburg Armory, 1935/36Jeweils in leicht fleckigem Softcover. Ein Katalog mit Waffen und Rüstungen aus verschiedenem Besitz, u.a. dem Stubenbergischen und der Sachsen-Altenburgischen Rüstkammer. Der andere mit Jagdsammlung de Westerweller und weiteren hochqualitativen Waffen diverser Herkunft und von hoher Provenienz.Condition: II

WW1 USA 1905 Pattern Springfield Bayonet. Maker: S.A. for the Springfield Armory.

Boxed Walther break barrel .177 Luftpistole, with a tin of Sussex Armory .177 pellets

Order of the Garter.- Heylyn (Peter) The Historie of that most famous saint and souldier of Christ Iesus; St. George of Cappadocia; asserted from the fictions, of the middle ages of the Church, and opposition of the present, second edition, engraved additional pictorial copy, errata f. at end, lacking final blank, additional pictorial title mounted on stub, letterpress title with repair to outer margin, 2F2 neatly repaired at foot within text, but without loss, some spotting or mostly light staining, lightly browned, contemporary panelled calf, gilt, rebacked (gilt royal arms from original spine cut out and mounted on front pastedown), lacking ties, corners worn, rubbed and scuffed, [STC 13273], Printed by Thomas Harper, for Henry Seyle, and are to be sold at his shop, the signe of the Tygers-head in Saint Pauls Church-yard, 1633; and a defective copy of Carter's Armory, 1660, with some hand-colouring, small 4to & 8vo (2)⁂ Rare at auction. Our copy with pp.427-[430] and with B5r having contents for both chapters III and IV. Provenance: 'Tho: Sayers his booke' (contemporary ink inscription to verso of 2F4).

Beaumont Adams model 1854 five shot 54 bore double action percussion revolver fitted with (un-stamped) Braziers patent loading lever numbered 534, sliding chamber safety catch and retaining cylinder arbour pin screw, 5.75 inch octagonal barrel, top strap marked for Robert Adams, 76 King William Street, London E. C. the right side marked Adams Patent No. 31708 R, L16035, London proof marks on cylinder and barrel, barrel with L.A.C (London Armory Company) mark, cylinder numbered 31708 R, with chequered one piece grip.Retaining most of its original surface with light oxidation, spotting and surface marks, cylinder with some play, action working.

(Heraldry, Knighthood & Chivalry), Matthew Carter: 'Honor Rediviuus or An analysis of Honor and Armory', London, Printed by E. Coates. Sold by Thomas Heath ...and Henry Herringman ..., 1655, 1st edition, [10],88,171pp, engraved title, engraved frontis + seven engraved plates & numerous text woodcuts, small 8vo, later full vellum

AN ANTIQUE .32'' RIM-FIRE 6 SHOT POCKET REVOLVER FITTED WITH AN OCTAGONAL BARREL, marked on its top face Whitneyville Armory CT. U.S. , it bears the serial number 6769B, it is fitted with a brass frame, a sheath trigger and is machine engraved over the barrel, frame and cylinder, it is in working order and its overall condition is excellent, these were made in the late 1870’s in America, it comes with a modern leather holster, This is classed as an antique under section 58(2) of the 1968 Firearms Act and can be purchased and possessed without any form of licence whilst kept as a curio or ornament

A good quality reproduction limited edition Excalibur sword by Darksword Armory believed to be based on the prop used in 1981 movie of the same name, brass cross guard and pommel, with wire bound grip, forged steel blade with fuller that has been factory sharpened complete with leather bound scabbard, sword belt and framed COA 413 of 500, good condition (3)

He-Man - MOTU - Mattel - Biker Mice from Mars. A loose He-Man Deluxe Dress Up Playset. The Gold Plastic is doing what Gold plastic does: Cracking. Additional armory included and the 1984 He-Man Battlebones carrier. A Princess of Power clock and a Biker Mice from Mars 'Home Run Throttle' Carded. Items appear in Excellent condition unless stated otherwise. (This does not constitute a guarantee).

Carter (Matthew, Esqr), Honor rediviuus, or An analysis of Honor and Armory, second edition, London: printed for Henry Herringman, 1660, lacking frontispiece, allegorical and heraldic title-page engraved by Richard Gaywood, 7 plates, in-text armorial woodcuts, a few minor worm trails to margins and edges, early 19th century quarter-calf over marbled boards, spine with faults, 8vo, Laskey (Captain J.C.), A Description of the Series of Medals Struck at the National Medal Mint by Napoleon Bonaparte [...], London: Printed for H.R. Young, 1818, portrait frontispiece, wood-engraved in-text vignettes, contemporary calf, repaired spine, marbled endpapers, 8vo, Numismatics, Ede (James), A View of the Gold & Silver Coins of All Nations, Exhibited [...], [London]: Printed for J.M. Richardson, n.d. [1808], 34 engravings, comprising engraved title-page, divisional title, and 32 plates, rebacked marbled boards, 12mo in 6s, (3).

Edmondsons Heraldry, A Complete Book of Heraldry, two volumes, 1780, and Arthur Charles Fox-Davies, The Art of Heraldry and Encyclopedia of Armory, 1904 (3)

Wilhelm Lehmbruck 1881 Duisburg - 1919 Berlin Kleine Sinnende. 1910/11. Bronze mit dunkelbrauner Patina. Schubert 55 B b I (von C b). Vorne rechtsseitig an der Standfläche mit dem Namenszug 'W. Lehmbruck'. Hinten mit dem Gießerstempel 'H. Noack Berlin-Friedenau'. 53 x 15 x 15 cm (20,8 x 5,9 x 5,9 in). Von der Firma Noack, Berlin-Friedenau, im Auftrag der Witwe in den 1920er oder 1930er Jahren gegossen. [KT]. • Die 'Kleine Sinnende' gehört neben der 'Knienden' und dem 'Gestürzten' zu Lehmbrucks bekanntesten Bildwerken. • Hauptwerk der beginnenden expressionistischen Plastik. • 1910 siedelt Lehmbruck nach Paris über und beginnt eine neue Stilphase. • Ein erstes Exemplar wird 1911 im Pariser Salon d'Automne präsentiert. Wir danken Herrn Prof. Dr. Dietrich Schubert, Universität Heidelberg, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Privatsammlung Bayern. Die 'Kleine Sinnende', die neben der 'Knienden' und dem 'Gestürzten' zu Lehmbrucks bekanntesten Bildwerken gehört, ist die erste Skulptur Lehmbrucks, die nach dem Umzug nach Paris 1910 unter den neuen künstlerischen Einflüssen entsteht. Lehmbruck findet hier zu einer eigenen, den Raum noch vorsichtig erkundenden Formensprache, die in den geschwungenen Linien des Jugendstils bereits spätere expressionistische Ausdruckskraft erkennen lässt. In ihrem primären Verständnis ist seine Plastik von einer Körperlichkeit geprägt, die aus dem statuarischen Volumen lebt. Kurz nach seiner Übersiedlung nach Paris und der Entstehung der 'Kleinen Sinnenden' ist Lehmbruck auch im avantgardistischen Salon d'Automne vertreten. Er beschickt Ausstellungen in Berlin, München und Düsseldorf sowie die erste New Yorker Armory Show. Eine erste Einzelausstellung widmet dem vielversprechenden jungen Künstler 1914 die Pariser Galerie Paul Levesque. Einerseits beeinflusst vom Vitalismus Rodins und andererseits vom formreduzierten und verdichteten Œuvre Maillols, gelangt Lehmbruck zu einer eigenen Formsprache, in deren Zentrum der menschliche Leib steht. Fortan eine gewisse Typisierung der menschlichen Physiognomie und Anatomie verfolgend, wird der menschliche Körper aber bei Lehmbruck nicht allein zum bloßen formalen Mittel reduziert, sondern steht als beseelter Ausdrucksträger immer für das menschliche Individuum und dessen Seelenzustand. [KT] Aufrufzeit: 10.12.2022 - ca. 17.32 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Lehmbruck 1881 Duisburg - 1919 Berlin Kleine Sinnende. 1910/11. Bronze with dark brown patina. Schubert 55 B b I (of C b). With the name 'W. Lehmbruck' on front right of stand. With the foundry mark 'H. Noack Berlin-Friedenau' on the reverse. 53 x 15 x 15 cm (20.8 x 5.9 x 5.9 in). Cast by Noack, Berlin-Friedenau, on behalf of the widow in the 1920s or 1930s. [KT]. • The 'Kleine Sinnende', along with the 'Knienden' and the 'Gestürzten', is one of Lehmbruck's most famous sculptures. • Main work of early expressionist sculpting. • In 1910 Lehmbruck settled in Paris where a new stylistic period would begin. • A first copy was presented at the Paris Salon d'Automne in 1911. We are grateful to Prof. Dr. Dietrich Schubert, Heidelberg University, for his kind expert advice. PROVENANCE: Private collection Bavaria. The 'Kleine Sinnende', which, along with the 'Kniende' and the 'Gestürzte', is one of Lehmbruck's best-known sculptures. It was Lehmbruck's first sculpture created under the new artistic influences after his relocation to Paris in 1910, where Lehmbruck would attain his own style. Initially still carefully exploring space, the curved lines of Art Nouveau already reveal later expressionist expressiveness. In its primary understanding, his sculpture is characterized by a physicality that lives from the statuary volume. Shortly after his move to Paris and the creation of the 'Kleine Sinnende' Lehmbruck also showed works at the avant-garde Salon d'Automne. He sent works to exhibitions in Berlin, Munich and Düsseldorf, as well as to the first New York Armory Show. In 1914, Galerie Paul Levesque in Paris dedicated a first solo exhibition to the promising young artist. Influenced by, on the one hand, Rodin's vitalism, and, on the other hand, by Maillol's formally reduced and condensed oeuvre, Lehmbruck attained his own formal language, at the center of which we fimd the human body. From then on, pursuing a certain typification of human physiognomy and anatomy, Lehmbruck not only reduced the human body to a mere formal device, but made it a soulful carrier of expression that always stands for the human individual and its state of mind. [KT] Called up: December 10, 2022 - ca. 17.32 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A US Army model 1860 staff and field officers' sword, the ricasso stamped CGS and etched "Springfield Armory Mass."