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THREE TITLES OF RIFLE AND SPORTING GUN INTEREST, comprising 'British Sporting Guns & Rifles, Parts I and II', 2 large volumes of makers' advertising material compiled by G A Hoyem, Armory Publications inc. 1969, Part I 1906-1929 comprising Dixon, Holland & Holland, Jeffrey's, Lang, Eley, Webley; Part II 1909-1934 comprising Purdey, Westley Richards, Lancaster, Gibbs, Greener, BSA, Holloway, Midland, Rigby, Locke; 'Small Arms of the Anglo-Boer War 1899-1902 - a comprehensive study of all handguns and edged weapons used by the opposing forces during the Anglo-Boer War', R Bester and Associates 2003 with DW. Average good condition (3).

Sharpe (Philip B.) A Complete Guide to Handloading, 4to, boards, illus., New York and London, second edition 1942, autographed copy, signed and dedicated by the Author; Harding (C.W.) The Birmingham Cartridge Manufacturers, 4to, cloth, illus., 2009, with dw; The Holland & Holland Ltd. Catalogue, c.1904, re-print edition, 4to, cloth, Armory Publications, Oceanside, California 1990; Knibbs (John) B.S.A. and Lincoln Jeffries Air Rifles, sml. 4to, cloth, illus. by Gilbert Kerry, first edition 1986, with dw; Stimpson (Derek) (Editor) The Worshipful Company of Gunmakers: A History, 4to, cloth, illus., 2008, with dw; and other books on guns and gunsmithing. (17)

LL 580mm, TL 1020mm, brünierter Rundlauf mit 4 Zügen. Leitervisier, Dachkorn. Lauf rechtsseitig mit Arretiernase für Bajonett. Flache buntgehärtete Schlossplatte, gestempelt "London Armory Co.". Geölte Nussholzschäftung, brünierte Laufbänder, Vorderschaftabschluss, Abzugbügel und Kolbenkappe aus Messing, Riemenbänder. Stählerner Ladestock. #3441 STR Zustand 1

Jacques Villon, Abstrakte Kompositionungegenständliche, aus Schraffuren bestehende Komposition, Radierung, um 1930, unter der Darstellung in Blei signiert "Jacqes Villon" und Nummerierung "12/60", leicht gegilbt, unter Passepartout und hinter Glas gerahmt, Plattenmaße ca. 25,3 x 18,5 cm. Künstlerinfo: eigentlich Gaston Èmile Duchamp, franz. Maler und Graphiker (1875 Damville bis 1963 Puteaux bei Paris), Bruder der Künstler Raymond Duchamp-Villon, Suzanne Duchamp und Marcel Duchamp, Studium der Rechtswissenschaften und kurzzeitig als Notar tätig, ab 1894 Studium an der Ècole nationale supérieure des beaux-arts in Paris und 1894-1906 als Karikaturist für mehrere Pariser Zeitschriften tätig sowie Plakatentwerfer, 1899 bis 1909 druckte er bei Eugéne Delâtre ca. 60 Farbaquatintaradierungen, Umzug nach Puteaux, ab 1912 Mitglied der Künstlergruppe Section d´Or, 1913 Teilnahme an der Armory Show in New York, 1919 erste ungegenständliche Bilder, ab den 1940er Jahren Beschäftigung mit der Buchillustration, 1950 Verleihung des Carnegie-Preises in Pittsburgh, 1956 Großer Preis der Biennale in Venedig, Teilnahme an der documenta I und II sowie posthum an der documenta III, Quelle: Thieme-Becker, Vollmer, Bénécit und Wikipedia.

Aristide Maillol, Weiblicher Aktliegende nackte Frau mit gespreizten Beinen, Lithographie, um 1920, rechts unten ligiertes Monogramm "M", Papier leicht gegilbt, unter Passepartout montiert, Darstellungsmaße ca. 14 x 11 cm, Blattmaße ca. 22,5 x 18,5 cm. Künstlerinfo: eigentl. Aristide Joseph Bonaventure Jean Maillol, bedeutender frz. Bildhauer, Maler und Graphiker (1861 Banyuls-sur-Mer bis 1944 ebenda), Besuch des Collège Saint Lois ijn Perpignan, 1881 ging er nach Paris und Besuch eines Zeichenkurses an der 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.

Ryan Mosley Big Cat, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Smoke Rings, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Deep Water, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ryan Mosley Open Water, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release.   Select Exhibitions/Awards   2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Five blank firing and replica revolvers and pistols including MGC Smith & Wesson Snubnose Magnum, Sussex Armory, Sprint etc, with related holsters, one in original box. 

ALBERT LEON GLEIZES (France, 1881 - 1953).Untitled, 1928.Gouache on lithographic base on paper.Work published in the artist's catalogue raisonné (Varichon, 1273).Signed and dated in the lower right corner.Size: 49.5 x 41.5 cm; 79.5 x 71 cm (frame).During his early years, Gleizes worked in his father's industrial design studio in Paris. Finally, after completing his secondary education, he spent four years in the army and then began his career as a painter, initially painting landscapes. His first works are in the Impressionist style, with works such as "La Seine à Asnières", exhibited at the Société Nationale des Beaux-Arts in 1902. The following year he took part in the first Salon d'Automne in Paris, and soon came into contact with Fernand Léger, Robert Delaunay, Jean Metzinger and Heri Le Fauconnier. In 1910 he joined Cubism, of which he was one of the first and most important theoreticians, together with Metzinger. That same year he exhibited at the Salon des Indépendants. Three years later he took part in the group exhibition at the Armory Show in New York. During the war he re-enlisted in the army, and after the war he moved to New York. He also travelled to Barcelona and Bermuda, and in 1916 held his first solo exhibition at the Galerías Dalmau in Barcelona. Two years later he was fully committed to the search for spiritual values, which was reflected in both his painting and his texts. In 1927 he founded in Sablons Moly-Sabata, a utopian community of artists and craftsmen, in a way a continuation of the Abbaye de Créteil which he had formed, together with other artists and writers, on the outskirts of Paris in 1906. In 1931, Gleizes participated in the Abstraction-Création committee which acted as a forum for international non-figurative art. By then, his work reflected the strengthening of his religious convictions and in 1932, in his book "La Forme et l'histoire" he examined Celtic, Romanesque and Oriental art. During these years he gave lectures in Poland and Germany, and was commissioned to paint murals for the Paris Universal Exhibition of 1937. Almost a decade later, between 1949 and 1950, he worked on illustrations for Blaise Pascal's book "Pensées sur l'homme et Dieu". In 1951 Gleizes was appointed to the jury of the Prix de Rome, and the French government awarded him the Legion of Honour. Considered a great renovator of religious art, in 1951 he produced his last great work, a fresco entitled "Eucharist", which he painted for the Jesuit chapel in Chantilly. Albert Gleizes is currently represented in the Guggenheim Museums in Venice and New York, the Centre Georges Pompidou in Paris, the Albright-Knox Gallery in Buffalo, the MoMA and the Metropolitan in New York, the National Museum of Western Art in Tokyo, the Reina Sofia in Madrid, the Tate Gallery and the Thyssen-Bornemisza, among other collections around the world.

MODERN METAL - LP COLLECTION. Another superb selection of 15 modern metal LPs. Unless stated, releases are either black vinyl or stock copies. Artists/ titles include Twin Temple - Bring You Their Signature Sound.. Satanic Doo-Wop (RISELP225, red vinyl), Cradle Of Filth inc Hammer Of The Witches (NB3408-1), The Manticore And Other Horrors (801056840912), Venom - Black Metal (803341394087), The Infernal Sea inc The Great Mortality (NIHIL45LP, clear/ black splatter), Negotium Crucis (803343267020, silver vinyl), Melechesh - Enki, Over Kill - White Devil Armory (picture disc vinyl), Gozu inc Equilibrium, Revival. Insomnium - Shadows Of The Dying Sun, Sea Bastard - S/T, Iced Earth - Enter The Realm, War Wolf - Riding With Demons (10") & Infestus - The Reflecting Void.

An American three-piece silver tea serviceAndrew Ellicott Warner, Baltimore circa 1840, stamped A.E.WARNER in serrated rectangle and 11 in small rectangle All tapering octagonal form, comprising a teapot on spirit stand, with a flush hinged domed cover topped by a compressed baluster finial, a leaf-capped S-shape handle with mahogany insulators, an octagonal tapering spout with tongue-capped opening, on a moulded collet foot which sits securely on an octagonal raised spirit stand on four leaf bracket feet, in addition a matching jug and large bowl, all plain polished with delicate chasing top and bottom, featuring scrolls, floral and foliate decoration to each panel, an inscribed armorial for the 'GOUGH' family on each, height teapot 19cm, weight 76oz. (3)Footnotes:Provenance Acquired by the Edmondson family of Baltimore and thence by family descent.FootnoteThe crest appears to be that of the GOUGH family and the family is identified in many indexes as of Ireland and Somerset. However Burkes General Armory leads to an identification for the GOUGH family of Oldfallings and Perry Hall, Staffordshire.Blazon of the crest: a boars head couped, pierced by a spearHarry Dorsey Gough (1745-1808) was a prominent 18th-century merchant, planter, and patron of the fledgling Methodist Church in Baltimore Maryland, in the early United States.Harry's father was the English merchant Thomas Gough, who emigrated to the United States prior to the outbreak of its Revolution against Britain. As his new home was near Patapsco Ferry and his new wife had extensive holdings in the colonies, Thomas would later side with the revolutionaries against the Crown. Thomas had already married the American Sophia Dorsey, who bore him Harry on January 28, 1745, in Annapolis.In addition to his father's wealth, Harry inherited £70,000 at a young age and became a successful merchant. The money came from his English half-brother John William Gough (1729–1767), by Thomas Gough's first wife Ann Brooksby. John's year-old son was subsequently brought to America and raised in Maryland. Confusingly, this nephew was also named Harry Dorsey Gough (1766–1807) and his son (1793–1867) would later also bear the same name.The eldest Harry Dorsey Gough's estate eventually comprised 2,000 acres (810 ha) along the Great Gunpowder River northeast of Baltimore. Much of this was Corbin Lee's 1,000-acre (400 ha) plantation The Adventure, which Gough purchased for £5,000 in 1774 from Archibald Buchanan after Corbin's death in 1773. He renamed it Perry Hall in honour of his family's ancestral home in Staffordshire and completed construction of its 16-room manor in 1776. Many years later, modern Baltimore's Bel Air Road (U.S. Route 1) was known as 'Gough's Road' or 'Perry Hall Road'.For further information on this lot please visit Bonhams.com

WWII and Later Military Kit Accessories Diecast Models and Kits, various items, boxed, Dragon Armor 63001 Chinese Armoured Personnel Carrier, Hobby Master HG 3401 M-10 tank Destroyer (loose in case), Armour Collection 3126 UN Piranha, all 1:72 scale, two Corgi M151 Utility Jeeps, both with damage unboxed but with Unsung Heroes booklets, bubble packed Italeri 1:10 scale fighter jet, Italeri boxed 6700 Operation Overlord war game (with factory packaged contents kit parts on the sprue, but unchecked), boxed Armory 1:72 scale M72212a resin T-18 tank kit, Tamiya 1:350 scale 78009 US Navy Aircraft set no 2 (2), all three appear complete but unchecked, Conflix boxed resin static displays, EM6506 Stalingrad Ruins (2), EM6501 Pill Box & Dug Out (1), Corgi Fighting Machines boxes only (2), Eight DVD box set Vietnam War by Green Umbrella GRDSL1125, nine unboxed diecast WWII and later military aircraft models Atlas Edition or similar with stands (some with damage) and a group of loose plastic military aircraft kits and decals, parts on the sprues, some possibly complete), P-E, packaging F-E, 9Qty) in two boxes

CARTER (Matthew) Honor Redivivus, or, An Analysis of Honor and Armory, 1st edition London:printed by E. Coates 1655, 12mo, engraved frontispiece and title, 7 engraved costume plates, numerous shields to text, a little age toned, calf; another copy, for Henry Heringman 1660, 12mo, without frontis, 7 plates and shields in text, title slightly chipped to top margin, later half calf; [HANSON (Levett)] An Accurate; Historical Account of all the Orders of Knighthood, 2 vols. in one, circa 1800, 8vo, morocco, rubbed, Duke of Norfolk bequest label to first paste down; DAWSON (Thomas) Memoirs of St George, the English Patron, and of the Most Noble Order of the Garter, London 1714, 8vo, portrait frontis and Garter plate, all a little age toned, rebacked calf; CARLISLE (N) A Concise Account of The Several Foreign Orders of Knighthood ... conferred upon British Subjects, 1839, large 8vo, red cloth; CLARK (H) A Concise History of Knighthood, 2 vols. 1784, 8vo, plates, cloth (7)

Bernard Burke, Genealogical and Heraldic Dictionary of the Peerage and Baronetage, fortieth Edition, London 1878, Burke Encyclopaedia of Heraldry or General Armory, third edition with supplement.

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

dating: 1875-1890 provenance: USA, Round, rifled, 22 rim fire cal barrel marked 'WHITNEYVILLE ARMORY CT. USA', blued, with front sight. Smooth, seven-shot cylinder, browned. Bronze frame with spur trigger. Wooden grips. Working mechanism. Serial number '35xxR'. length 17.5 cm.

dating: 16th Century provenance: Spain, Made of light leather; shaped as a kidney, ribbed at the centre, decorated with two engraved and pierced brass mounts, with eight ornamental grooves at the border and two polychromatic coat of arms at the centre; the internal surface lined with brown Moroccan leather, provided with a central cushion with two handles and decorated with floral imprints. Interesting and rare shield survived to fights on horseback, often practiced at the Spanish court; among them the “Juego de las cañas”, sport of Moorish tradition spread in Spain between the 16th and 17th century.Count of Valencia de Don Juan, in the Royal Armory of Madrid catalogue, quotes nearly twenty shields, among them a moorish one decorated with inscriptions in Arabic, and a New Spain one presented to Felipe II and decorated with a mosaic of feathers; the other shields were probably decorated with simpler patterns and linkable to the one described above.. A similar shield can be found in the Royal Armory of Madrid (D. 86 adarga morisca siglo XV); more similar examples can be seen in the engraving 'The Battle of Clavijo' (in the National Gallery of Art, Washington, inv. B-14150) by the German engraver Martin Schongauer; the extremely realistic picturing of the soldiers' equipments is considered to be due to the fact that the artist visited Spain in the middle of the 15th Century, and therefore his works are considered the most reliable documents in this subject. This kind of shield can also be found in another painting attributed to Gerardo Stannina (a.k.a. 'Il Maestro del Bambino Vispo'), datable around 1425, showing a battle between groups of Moorish soldiers. The painting is kept in the Lindenau-Museum in Altenburg. Bibliography: Count of Valencia de Don Juan: “Catálogo de la Real Armería de Madrid” Madrid, 1898. dimensions 84 x 73 cm.

Carter (Matthew). Honor Redivivus: or, the Analysis of Honor and Armory, 3rd edition, 1673, engraved frontispiece, additional title and nine plates, armorial woodcuts to text, occasional light spotting, later endpapers, bookplate depicting initial 'C' with baron coronet above, contemporary calf, rebacked with gilt decorated spine and morocco title label, corners neatly repaired, upper joint cracked, 8vo QTY: (1)NOTE:Moule, Bibliotheca Heraldica, p. 187; Wing C661.

(1881 Meiderich b. Duisburg - 1919 Berlin) nach"Büste der Knienden (Geneigter Frauenkopf)". OriginaltitelBronze, patiniert. Künstler-Bez.; Posthumer, zeitgenössischer Guss (Ende 20./Anfang 21. Jh.) nach der in verschiedenen Materialien ausgeführten, berühmten Plastik von 1912/14 (vgl. Schubert 61). 1910 - 1914 hielt sich Lehmbruck in Paris auf, wo er 1911 seine "Kniende" im Salon d’Automne in Paris zeigte, mit der er zwei Jahre später als einziger deutscher Bildhauer auch auf der durch Amerika tourenden "Armory Show" (in New York, Boston und Chicago) vertreten war. Wie bei der "Großen Sinnenden" führte er auch von der "Knienden" kurz danach auch Fragmentierungen der Figur als Torso bzw. Büste oder Kopf aus, die für ihn durchaus eigenständige Werke waren. Diese Einstellung verband Lehmbruck mit Auguste Rodin. Partiell ger. ber.; H. 42,5 cm.After Wilhelm Lehmbruck (1881 - 1919). Dark brown patinated bronze. Inscribed. Posthumous, contemporary cast, late 20th/early 21st C.; Minor rubbing to some areas.

1904 THE ART OF HERALDRY AN ENCYCLOPEDIA OF ARMORY BY ARTHUR CHARLES FOX-DAVIES ACCEPTABLE CONDITION

Jacques Villon, Die Frau mit dem Hündchenjunge Frau mit Hut, beim Schmusen mit ihrem Hündchen, im oberen Bereich bezeichnet "Ed Sagot Rue de Chateyu dun 39 1/2", Radierung mit leichtem Plattenton, in der Platte signiert und datiert "Jacques Villon", etwas lichtrandig und minimale Erhaltungsmängel, Darstellungsmaße ca. 24,5 x 21 cm. Künstlerinfo: eigentlich Gaston Èmile Duchamp, franz. Maler und Graphiker (1875 Damville bis 1963 Puteaux bei Paris), Bruder der Künstler Raymond Duchamp-Villon, Suzanne Duchamp und Marcel Duchamp, Studium der Rechtswissenschaften und kurzzeitig als Notar tätig, ab 1894 Studium an der Ècole nationale supérieure des beaux-arts in Paris und 1894-1906 als Karikaturist für mehrere Pariser Zeitschriften tätig sowie Plakatentwerfer, 1899 bis 1909 druckte er bei Eugéne Delâtre ca. 60 Farbaquatintaradierungen, Umzug nach Puteaux, ab 1912 Mitglied der Künstlergruppe Section d’Or, 1913 Teilnahme an der Armory Show in New York, 1919 erste ungegenständliche Bilder, ab den 1940er Jahren Beschäftigung mit der Buchillustration, 1950 Verleihung des Carnegie-Preises in Pittsburgh, 1956 Großer Preis der Biennale in Venedig, Teilnahme an der documenta I und II sowie posthum an der documenta III, Quelle: Thieme-Becker, Vollmer, Bénécit und Wikipedia.

Aristide Maillol, Pferdebändigernackter junger Mann, beim Bändigen eines Pferdes, Holzschnitt, um 1930-40, unter der Darstellung in Blei nummeriert "XVII/XX" und Monogrammstempel in Rot "M", Papier im ehemaligen Passepartoutausschnitt leicht gebräunt und etwas fleckig, an den rechten Blattecken Knickspur weit außerhalb der Darstellung, Darstellungsmaße ca. 11 x 13 cm, Blattmaße ca. 32,5 x 24 cm. Künstlerinfo: eigentl. Aristide Joseph Bonaventure Jean Maillol, bedeutender frz. Bildhauer, Maler und Graphiker (1861 Banyuls-sur-Mer bis 1944 ebenda), 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.

A WWI period 1907 pattern bayonet by Remington: the blade stamped with the date '1913' and armory marks, in a steel scabbard with later WWII period leather frog dated '1940', blade length 42.5cm.

A PAIR OF GEORGE III SILVER BEAKERS MAKER'S MARK TH ONLY, POSSIBLY THOMAS HEMING, CIRCA 1780 With an applied foliate swag and flower band, engraved with a crest 9cm (3 1/2in) diameter 421g (13.55 oz) Provenance: The Property of the Trustees of the Davenport Estate   The crest appears to be that of Davies DAVENPORT (1757-1837) of Woodford Marton, Calveley and Capesthorne Cheshire, he resided at Capesthorne Hall. He was the only son an heir of Davies DAVENPORT (1723-1758) of Woodford and Capesthorne Cheshire by Pheobe DAVENPORT (1735-1757) the daughter and co-heir of Ralph DAVENPORT of Calveley, Cheshire. In 1777 he married Charlotte SNEYD (1756-1829) daughter of Ralph SNEYD of Keele Staffordshire.   Davies DAVENPORT (1757-1837) was MP for Chester 1783 and for the county of Cheshire 1806-1830. The male line of the family became extinct in 1677, when Elizabeth the eldest daughter of John DAVENPORT inherited the Davenport estate. There are a number of cadet lines of the family distributed throughout Cheshire and it is from them that descendancy occurs and right to the family arms is gained. The DAVENPORT family are descended from the time of the Norman conquest of an ancient family of Cheshire.   Blazon of the crest: a man's head couped at the shoulder and side head proper, with a rope around the neck or.   Burke's General Armory gives the following interesting entry: The singular crest is supposed to have been born on the helmets of the Master Sergeants in their perambulations through the Peke Hills and forests of Leek and Macclesfield to the terror of the numerous gangs of banditti which infected in former times these wild districts.     Condition Report: Stamped TH only, one badly struck Crests crisp Both slightly wobble One slightly misshaped Light scratches and wear commensurate with age and use Condition Report Disclaimer

J.J. Foster: 'Concerning the True Portraiture of Mary Queen of Scots', London, Dickinsons, 1904, limited edition deluxe (113-175), numbered, numerous full page plates (two plates loose a/f), ex Repton School Library, large folio, quarter calf gilt (worn); Arthur Charles Fox-Davies: 'The Art of Heraldry An Encyclopaedia of Armory', L, Jack, 1904, 153 plates (of which many coloured), ex Repton School Library, folio, original cloth (very worn), rebacked retaining original backstrip; plus 'Old England A Pictorial Museum', Charles Knight, 1845, colour plates and engraved ills. throughout, old half calf gilt (3)

SPRINGFIELD ARMORY, USA A .45-70 (GOVT) '1873 TRAPDOOR' SERVICE RIFLE, serial no. 52538, dated for 1873, with 32 1/2in. nitro reproved barrel, blade fore-sight, rear tangent sight, hinged breech-block engraved 'US MODEL 1873', plain flat lock signed 'SPRINGFIELD US' over the date and with an American Eagle device, plain hammer, walnut full-stock with inspectors cartouche stamped opposite lock (inlet repairs alongside top-tang), iron furniture including heel-plate and iron under-barrel clearing rod S1 - Sold as a Section 1 Firearm under the 1968 Firearms Act

Marina Abramović My Skin, 2022 Unique Pigment Print Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. She created some of the most important early works in this practice, including Rhythm 0 (1974), in which she offered herself as an object of experimentation for the audience, as well as Rhythm 5 (1974), where she lay in the centre of a burning five-point star to the point of losing consciousness. These performances married concept with physicality, endurance with empathy, complicity with loss of control, passivity with danger. They pushed the boundaries of self-discovery, both of herself and her audience. They also marked her first engagements with time, stillness, energy, pain, and the resulting heightened consciousness generated by long durational performance. The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualise the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation. From 1975-88, Abramović and the German artist Ulay performed together, dealing with relations of duality. She returned to solo performances in 1989 and for The Artist Is Present (2010) she sat motionless for at least eight hours per day over three months, engaged in silent eye-contact with hundreds of strangers one by one.   Select Exhibitions/Awards   Abramović was one of the first performance artists to become formally accepted by the institutional museum world with major solo shows taking place throughout Europe and the US over a period of more than 25 years. Her first European retrospective 'The Cleaner' was presented at Moderna Museet in Stockholm, Sweden in 2017, followed by presentations at the Louisiana Museum of Modern Art in Copenhagen, Denmark, Henie Onstad, Sanvika, Norway (2017), Bundeskunsthalle, Bonn, Germany (2018), Centre of Contemporary Art, Torun (2019), and Museum of Contemporary Art Belgrade, Serbia (2019). The artist's operatic project '7 Deaths of Maria Callas' debuted at the Bayerische Staatsoper, Munich, Germany in 2020, and toured to Palais Garnier, Paris, France and the Greek National Opera, Athens, Greece in 2021. Further performances are scheduled for spring 2022 at Deutsche Oper Berlin, Germany (8-10 April) and Teatro di San Carlo, Naples, Italy (13-15 May). In 2023, Abramović will be the first female artist to host a major solo exhibition in the Main Galleries of the Royal Academy of Arts in London. Select solo exhibitions include 'Akış / Flux', Sakıp Sabancı Museum, Istanbul, Turkey (2020); 'As One', NEON + MAI, Benaki Museum, Athens, Greece (2017); 'The Space In Between Marina Abramović and Brazil', SXSW, Austin, Texas, USA (2016); 'Terra Comunal - Marina Abramović + MAI', SESC, Pompeia, São Paulo, Brazil (2015); '512 Hours', Serpentine Gallery, London, UK (2014); 'Holding Emptiness', Contemporary Art Center, Malaga, Spain (2014); ''The Life and Death of Marina Abramović' (with Robert Wilson), Park Avenue Armory, New York, NY, USA (2013); 'Balkan Stories', Kunsthalle Wien, Vienna, Austria (2012); 'The Abramović Method', Padiglione d'Arte Contemporanea, Milan, Italy (2012); 'The Artist Is Present', Garage Center for Contemporary Culture, Moscow, Russia (2011); 'The Artist is Present', Museum of Modern Art, New York, NY, USA (2010); and 'Seven Easy Pieces' at the Guggenheim Museum, New York, NY, USA (2005). Abramović has participated in many large-scale international exhibitions including the Venice Biennale (1976, 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). She has also established the MAI (Marina Abramović Institute) to support the future exploration and promotion of performance art.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Dan Rizzie Wine, 2022 Collage on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York.   Education   1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas   Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Dan Rizzie Polka Dot Moon, 2022 Collage, Paint on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York.   Education   1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas   Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Dan Rizzie Raven, 2022 Paint, Collage on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York.   Education   1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas   Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Dan Rizzie 2025-10, 2022 Collage, Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York.   Education   1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas   Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

A CHARLES II PORRINGER *with two cast caryatid scroll handles, a campana-shaped body a chased calyx of stiff leaves around the lower body and a small circular foot, engraved on one side with a coat of arms** within plumed mantling, the base with the scratchweight "10-15", maker's mark "IH" (over a fleur de lys and pellets***), London 1677; 7.45" (19cm) wide overall; 10.3 oz * Provenance: Chambers Court, nr Tewkesbury, Glocs **The arms are possibly those of Spencer of Witton, co. Salop and co. Stafford who bore the arms of Sable a chevron between three hares' heads erased argent Ref: Burke's General Armory p.953 *** See Jackson's Revised PP 130 for this mark, as seen on a cup and the Dodding Tankard 1677-78

Orden & Ehrenzeichen Deutschland - Württemberg : Orden vom Goldenen Adler - Gestickter Bruststern zum Ordenskreuz. Silberlahn und Pailletten, das fünfteilige Medaillon Gold und Emaille. Der Untergrund der transluziden rot emaillierten Kreuzarme und des grünen Mittelmedaillons mit der Chiffre "FR" König Friedrich I. fein guillochiert. Ein unserem Exemplar sehr ähnlicher und höchstwahrscheinlich von demselben Juwelier gefertigter Bruststern aus dem Besitz Kaiser Napoleon I. befand sich in der 1815 in der Schlacht von Waterloo erbeuteten Karrosse des Kaisers und wurde zusammen mit seinen übrigen Orden bis 1945 im Zeughaus in Berlin ausgestellt. Die Orden befinden sich heute im Besitz der Russischen Föderation und wurden vor einigen Jahren im Museum der Ehrenlegion in Paris ausgestellt und publiziert. Die offiziell durch die Ordenskanzlei des Ordens vom Goldenen Adler verausgabten Bruststerne wurden stets mit gestickten Medaillons hergestellt. Offensichtlich hatte der Hersteller des Napoleon - Sterns und unseres Exemplars das Verleihungsstück mit gesticktem Medaillon als Vorlage. Dabei muss es zu einer ikonographischen Fehlinterpretation gekommen sein. Kurioserweise befinden sich deshalb bei dem von Napoleon getragenen und mutmaßlich von einem französischen Juwelier hergestellten Ordensstern, ebenso wie bei unserem Exemplar "Äxte" statt der statutengemäßen Jagdhörner zwischen den Kreuzarmspitzen. Vgl. Ausstellung und Katalog des Musée National de la Légion d'Honneur et des Ordres de Chévalerie: "La berline de Napoléon, le mystère du butin de Waterloo (du 7 mars au 8 juillet 2012), présentait autour d'une des berlines personnelles de l'empereur prise à Waterloo en juin 1815, de nombreux éléments du butin, dont la presque totalité des ordres français et étrangers décernés à Napoléon Ie.". Außerordentlich seltener, möglicherweise ebenso wie das Zeughaus - Exemplar für Kaiser Napoleon selbst hergestellter Bruststern dieses in der Zeit seines Bestehens von 1807 - 1816 in nur etwas mehr als 100 Exemplaren verliehenen Orden (Gottschalk nennt 75 Träger, Klein u. Raff nennen 15 gekrönte Häupter sowie 13 Ordensträger aus dem Hause Württemberg und 95 weitere Ritter gemäß der Hof- und Staatshandbücher des Königreichs Württemberg 1807-1815). German Orders and Medals - Kingdom of Wurttemberg : Order of the Golden Eagle - Embroidered Breast Star to the Order. Kingdom of Wurttemberg - Order of the Golden Eagle Grand Cross Breast Star. Silver lantern and sequins, the five-part medallion gold and enamels. The translucent red enameled cross and the green enameled center medallion with the cipher "FR" (King Frederick I) of particularily fine workmanship. A breast star very similar to our specimen and most likely made by the same jeweler and owned by Emperor Napoleon I was in the Emperor's carriage captured at the Battle of Waterloo in 1815. It was displayed with his other orders and medals in the Armory (Zeughaus) in Berlin until 1945 when captured by the Soviets. The medals are now in the possession of the Russian Federation and were exhibited in the Museum of the Legion of Honor in Paris 2012. All breast stars officially issued by the Chancellery of the Order of the Golden Eagle were made with embroidered medallions. Obviously, the manufacturer of the Napoleon star and our example had the award piece with the embroidered medallion as a template. Curiously, the star worn by Napoleon himself and presumably made by a French jeweler, as well as our specimen, have axes instead of the statute-compliant hunting horns between the tips of the arms of the cross. See exhibition and catalogue: Musée National de la Légion d'Honneur et des Ordres de Chévalerie: "La berline de Napoléon, le mystère du butin de Waterloo (du 7 mars au 8 juillet 2012), présentait autour d'une des berlines personnelles de l'empereur prise à Waterloo en juin 1815, de nombreux éléments du butin, dont la presque totalité des ordres français et étrangers décernés à Napoléon Ie." Extraordinarily rar breast star most probably made by the same jeweller as Napoleon's star. From 1807 - 1816 only a little more than 100 awards of the Order of the Golden Eagle were made. (Gottschalk names 75 recipients, Klein u. Raff mention 15 crowned heads as well as 13Knights of the Order from the House of Württemberg and 95 other knights according to the court and state handbooks of the Kingdom of Württemberg 1807-1815.

Artist: Julian Alden Weir (American, 1852-1919). Title: "Arches in the Forest". Medium: Watercolor on paper. Date: Composed c1890s. Dimensions: Overall size: 11 1/4 x 15 3/8 in. (286 x 391 mm). Image size: 9 1/2 x 13 1/2 in. (241 x 343 mm).Lot Note(s): Signed lower left. Light cream textured wove paper. Good condition; staining in corners from old mat. Provenance: The Aiken Collection (see label). Comment(s): Weir was an American Impressionist and an organizer of the 1913 Armory Show in New York. He was also President of the National Academy of Design from 1915 to 1917. [28344-3-1200]

Burke's Armory by John Burke Esq., hardback, published by Edward Churton 1842, and The Strand Magazine hardback, Jan to June 1895

A reproduction woold and metal pin fire rifle by the London Armory Co, 140cm.

WEBER, Max, zugeschrieben(1881 Bialystok - 1961 Great Neck, NY) Kubistische FigurenkompositionKohlezeichnung. Monogrammiert "W". Nach 1912. Blatt: 68 x 45 cm. Gerahmt & hinter Glas97 x 75 cm. Ecken mit Löchern durch Befestigung, Blatt gebräunt und fleckig. Wenn Max Weber, dann: US-amerikanischer Maler, polnischer Abstammung, der 1913 an der Kunst prägenden Ausstellung "Armory Show" in New York City teilnahm und 1955 in die American Academy of Arts and Letters gewählt wurde.

WEBER, Max, zugeschrieben(1881 Bialystok - 1961 Great Neck, NY) 2 kubistische Damenkompositionen2 Gouachen auf Japanpapier. 1x monogrammiert "W". Nach 1912. Blatt: 56,5 x 20,5 cm | 56,5 x 25,5 cm. Gerahmt & hinter GlasIn 1 Rahmen: 83 x 76,5 cm. Je knick- und griffspurig. Wenn Max Weber, dann: US-amerikanischer Maler, polnischer Abstammung, der 1913 an der Kunst prägenden Ausstellung "Armory Show" in New York City teilnahm und 1955 in die American Academy of Arts and Letters gewählt wurde.

LÉON: THE PROFESSIONAL - Leon's (Jean Reno) Springfield M1911-A2 SASSLeon's (Jean Reno) Springfield M1911-A2 SASS from Luc Besson's action thriller Leon: The Professional. Leon kept his Springfield Colt in his signature firearms case throughout the film. Though not fired in the final cut, Leon used his M1911-A2 pistol in deleted scenes and promotional materials.Hand-chosen by director Besson himself, this Springfield M1911-A2 SASS pistol features an adapted magazine insert engraved "Springfield Armory USA," which acts as a barrel release as part of a conversion adapting it into a single-shot weapon. Its silver-color main body is engraved with serial number "NM1427." The upgraded barrel attachment, which converts the pistol to a single-shot model capable of firing a variety of calibers, and the textured grip are black. It features a safety and removable magazine.It exhibits scratching throughout with tape applied to the barrel by production. Dimensions: 12" x 6" x 2" (30.5 cm x 15.25 cm x 5 cm)This weapon is a live firearm; see U.S. live firearm notice in the Buyer's Guide. Estimate: $6,000 - 8,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am 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 Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.

A box containing Marvel The Punisher comics to include The Punisher volumes 1-104 excluding 87,91; The Punisher war journal volumes 1-80 excluding 61,63,71,74,86; The Punisher war zone volumes 1-40 excluding 6,8,12,15,16,34,39; Marvel knights 'The Punisher' volumes 1-12; The Punisher 'back to school special'; Punisher P.O.V volumes 1-4; The Punisher 'Armory' volumes 1-3; The Punisher  'invades the NAM' volume 1-2. The Punisher annuals volumes 1-7; The Punisher 'War zone' annual volume 1

dating: mid-17th Century provenance: Germany, Rifled, octagonal, 15 mm cal. barrel, bell-mouthed toward the nozzle, engraved and gilt with floral motifs at the first part and the nozzle, the owner's name 'W.C.V. KLENGEL OBRISTER' at the centre, all on blued background, blued, adjustable rear-sight and gilt foresight; tang decorated en suite; beautiful lock, inside wheel covered by a polychrome enamelled disk depicting trophies, flat plate engraved and gilt with warrior, trophies and floral motifs, the hammer and the plate at the same level, pan cover with spring button hidden behind a flower; dark, walnut full stock, decorated with finely engraved bone plaques, at the counter-plate the effigy of a war camp, soldier with war mace and halberd near a cannon among curls and flowers; at the left side another warrior over a large trophy, at the base tents and cannon; another trophy at the right, bone patchbox cover with trophy, more small plaques at the nozzle; semi-clear, smooth butt-plate, anatomic iron trigger guard, pierced, gilt iron base, leaf-shaped trigger, set trigger. Bone-tipped wooden ramrod with iron base. Some restorations. The name W.C.V. Klengel Obrister on the barrel corresponds to the name of the owner of this beautiful rifle. An Obrister (Oberster Feldhauptmann) was chief of a regiment of 4000/5000 soldiers in the 16th Century Germany. Wolf Caspar von Klengel (Dresden 8h of June 1630 - 10th of January 1691) was architect and engineer with the grade of artillery colonel. Klengel is considered as a founder of the Saxonian baroque architecture and was art-historically a most important Saxonian architect of the 17th Century. He was upper agriculture master and upper supervisor of the civilian and military buildings under the Saxonian cure prince Johann George II. Literature: 'Wolf Caspar von Klengel' by Günter Passavant, Deutscher Kunstverlag München, 2001.The weapon is attributed to Christian Herold, gunsmith of Prince Johann George II of Saxony. The Dresden Museum keeps other weapons by the gunsmith. The Dresden Armory keeps also an armour which used to belong to Wolf Caspar von Klengel. length 116 cm.

Burke's Landed Gentry 1952, Burke's Peerage, Baronetage and Knightage 1897, London, Harrison, Pall MallCrockford's Clerical Directory 1947, black cloth, backstrip been repaired with sellotape Papworth's Ordinary of British Armorials, red cloth, circular pastedown plate on ffep - Abbey Gloucester Cathedral 681-1981, this also has been repaired,Burke's General Armory Heraldry Today, red cloth, pencil initials to front board (6)

Heraldry.- [Legh (Gerard)] The Accedens of armory, second edition, woodcut pictorial title, numerous woodcut arms and illustrations in text, occasional contemporary ink marginalia (including ownership inscriptions), lacking folding plate and final 'The way to understande Trickyng' / colophon f., repairs to title (including 1 small at head with tape) with a little loss to image, a few marginal repairs, mostly in sig. A and to final f., water-stained, occasional spotting, lightly browned, later speckled calf, rebacked, preserving majority of original gilt backstrip with a later (to style) burgundy leather label, rubbed, [Gibson 468; STC 15389], small 4to, [In Fletestrete within Temple Barre at the signe of the Hand and Starre, by Rychard Tottel], [1568].⁂ The second edition contains the arms of Sir Francis Bacon for the first time with the motto 'Mediocria Firma'. The full-page woodcut on S4r supposedly depicts Legh in the guise of the fictitious 'Panther Herald'. Provenance: Calwich Library; W.B. Dundas, Royal Artillery (engraved armorial bookplates).

Ganzstahlwaffe mit SA-Abzug, Handballensicherung. Kimme seitlich eingeschlauft, Korn im Schlitten integriert. Rechtsseitig ist das Griffstück über der Nummer beschriftet "United States Property". Linksseitig unter dem Verschlussfanghebel "GHD", Stempel des Abnahmebeamten Brigadegeneral Guy H. Drewry. Braune Kunststoffgriffschalen mit Fischhautmuster. Hellbraunes Schulterholster gestempelt "US", Rückseite "US Enser-Kress 1944. Diese Pistole wurde im November 1944 an die Springfield Armory geliefert. #1682242 WES Zustand 2

Burke's Armory by John Burke Esq, hardback, published by Edward Churton 1842, and The Strand Magazine hardback, Jan to June 1895

Doctor Who - Series 1-4 - collection of x10 autographed official Dr Who trading cards. Autographs comprising; Lesley Sharp, Chipo Chung, Ayesha Antoine, Matt King, Christina Cole, Ellie Haddington, Vinette Robinson, Jennifer Hill, Yasmin Bannerman and Beccy Armory. All signed to the front, undedicated. Each obtained personally by the original owner.

RICHARD STIPL (Czech Republic, 1968)."Tribute to Ron Mueck's dead dad", 2005.Polychrome resin.Signature on the base of each piece.Size: 52 x 17 x 7 cm.The sculpture "Tribute to Ron Mueck's dead dad" presented in our auction is a tribute to Ron Mueck's work "Dead dad" (1996). A reproduction of the nude body of his dead father, reduced to two thirds of its actual size, and exhibited in the controversial exhibition "Sensation: Young British Artists from Saatchi Collection" at the London Royal Arts Academy. This hyper-realistic sculpture leaves no one indifferent, and leads the viewer to reflect on the ephemeral and the proximity of death from its physical side.Richard Stipl is a Czech visual artist based in Prague. He graduated from the Ontario College of Art with an honours degree in 1992 and in the same year received the prestigious Governor General's Award.Although he began as a painter, he has devoted himself to sculpture. Using himself as a model, his busts and figures present a marked expressiveness, symbolism and disturbing hyperrealism, and develop various contemporary themes such as consumerism, totalitarianism and the consequences of globalisation. In recent years, the interest in Stipl's work and its impact have been on the rise. He has been presented at art fairs such as Frieze Art Fair in London, Art Basel Miami, Armory in New York, Volta Art Fair, TIAF and ARCO Madrid among others. Today it is part of numerous private collections around the world, such as the Collette Collection, Robert Runtak Collection, SOLO Madrid Collection, Sherringa Museum for Realism, Hugo Voeten Art Center, etc.

Carter, Matthew: Honor Rediviuus or An analysis of Honor and Armory by Matt Carter Esq, London printed for Henry Herringman, 1660. And Are to be Sould by Henry Herringman at the Anckers on the lower side of the New-Exchange, full leather binding 8vo. (1)

Wilhelm Lehmbruck, 1881 Duisburg – 1919 BerlinMÄDCHEN MIT AUFGESTÜTZEM BEIN, NACH 1910 Höhe: 63,5 cm. Verso in der Bronze signiert und ortsbezeichnet „W.LEHMBRUCK / PARIS“, sowie Gießereimarke „H(enri). Gonot Fondeur, Paris“.Bronze, gegossen, mittelbraun patiniert. Auf einem Felsblock steht eine junge Frau mit gefalteten Händen unter ihrem Kinn ohne dieses zu berühren, sodass der Kopf die Spannung nicht verliert, die dem Körper inneliegt und in einer Linie von dem rechten Fuß über den Rücken bis hin zum hohen Scheitel des Kopfes forgeführt wird, während das linke Bein im rechten Winkel auf einem Felsbock ruht. 1910 beschließt die Familie Lehmbruck nach Paris zu ziehen, wo Wilhelm Lehmbruck Auguste Rodin (1840-1917) in dessen Atelier in Meudon besucht. Lehmbruck präsentiert im folgenden seine Werke auf dem Salon der Société nationale des beaux-arts, der Berliner Secession, der Kölner Sonderbund-Ausstellung sowie der Armory Show in den USA. In der Pariser Zeit entstehen einige seiner wichtigsten Werke wie die Stehende weibliche Figur (1910), die Kniende (1911), die Große Sinnende (1913) und der Emporsteigende Jüngling (1913/14). Als der Erste Weltkrieg ausbricht, muss die Familie nach Deutschland zurückkehren.Literatur: Vgl. A. Hoff, Wilhelm Lehmbruck, Life and Work, London 1969 (anderer Guss auf Seite 66-67). Vgl. R. Heller, The Art of Wilhelm Lehmbruck, Washington 1972, Nr. 15 (ein anderer Guss auf Seite 87). Vgl. D. Schubert, Die Kunst Lehmbrucks, Stuttgart 1981, Nr. 125 (Tafel 79 mit der Gipsausformung). Vgl. D. Schubert, Die Kunst Lehmbrucks, Dresden 1990, Nr. 133 (die Gipsausformung auf Tafel 85). (1301301) (13)Wilhelm Lehmbruck,1881 Duisburg – 1919 BerlinGirl with propped-up leg, after 1910Height: 63.5 cm.The bronze with signature and place name on the reverse “W.LEHMBRUCK / PARIS”, and foundry mark “H(enri). Gonot Fondeur, Paris”.Bronze; cast with mid-brown patina.Literature:cf. A. Hoff, Wilhelm Lehmbruck, Life and Work, London 1969 (different cast on p. 66-67).cf. R. Heller, The Art of Wilhelm Lehmbruck, Washington 1972, no. 15 (different cast on p. 87).cf. D. Schubert, Die Kunst Lehmbrucks, Stuttgart 1981, no. 125 (plate 79 with plaster cast).cf. D. Schubert, Die Kunst Lehmbrucks, Dresden 1990, no. 133 (plaster cast on plate 85).

Burke's Armory by John Burke Esq, hardback, published by Edward Churton 1842, and The Strand Magazine hardback, Jan to June 1895

George William Russell ("AE") (1867-1935) "Nereid," gouache and  pencil on paper, approx. 28.5 h x 28 w cms (11¼" x 11")  (1) Beneath a green arching wave, a Nereid swims down into the depths of the sea, reaching out her hand towards a flying fish, from whose mouth issues a cascade of gold flakes. Shielding herself from light emitted by the gold with one hand, the Nereid reaches out with the other, perhaps to grasp the flying fish. In Greek mythology, the Nereides, or Nereids, were beautiful sea-nymphs who dwelt in a cave at the bottom of the Aegean sea. The name derives from the Greek word nêros, meaning ?wet?. Responsible for protecting sailors and fishermen, Nereids were often depicted swimming with dolphins. One of their leaders was Thetis, mother of the hero Achilles, and Amphitrite who became Poseidon?s queen. Remembered today as a leading figure of the Irish Literary Revival, the painter, poet and mystic George Russell was also an influential economist, editor, and promoter of rural development. Although practical in terms of politics and social and economic change, he also believed in the existence of a spiritual world, inhabited by ethereal beings. He delighted in painting scenes of both earthly and otherworldly beings, depicted children playing by the seashore, and also gods and goddesses. In works such as Apparell?d in Celestial Light and Aeons as yet Unrolled, Russell?s belief in an otherworld inhabited by spiritual beings is evident. Sometimes the boundaries between earthly and otherworlds is blurred, when sprites and fairies interact with mortal human beings. 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. He also found time to study esoteric religions, joining the Dublin Theosophical Society in 1888, and later forming the ?Hermetic Society?. Influenced by Symbolist artists such as Gustave Moreau and Puvis de Chavannes, he expressed himself through paintings, novels, plays and poetry, often evoking a world tinged with wistful nostalgia. Russell was also involved with drama, in 1902 becoming vice-president of the Irish National Theatre Society (later the Abbey Theatre Company). 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. The scene depicted by Russell here is probably intended to illustrate a particular story. The fact that the painting spans two sheets of paper also suggests it may have been a design originally intended for reproduction within an architectural or theatre setting, perhaps at the Theosophical Society?s headquarters at Ely Place. Russell signed his work ?AE?, an abbreviation of Æon, meaning both an infinite period of time, and also the power of a supreme deity. Dr. Peter Murray, 2022

George William Russell ('AE') (1867-1935) "Portrait of a Young Girl in a white Dress holding Flowers,"  O.O.C.,   62 x 51cms (24 1/2" 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, Febrauary 2022        

Carter, Matthew: Honor Rediviuus or An analysis of Honor and Armory by Matt Carter Esq, London printed for Henry Herringman, 1660. And Are to be Sould by Henry Herringman at the Anckers on the lower side of the New-Exchange, full leather binding 8vo. (1)

Charlotte Keates Under Treetops 1 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte's work is inspired by interiors, travels, and architectural composition, in seamless communion with elements from the natural world. Trees push through flat concrete, while perspectives unfold in sheets of glass. These images of modernist leisure leave one with the feeling of having entered a space only recently vacated, dramatising stillness without surrendering movement. These are environments that suggest, technically as well as artistically, indistinct human activity and motion. "The interiors that I paint are entirely imagined - I am very interested in architecture; a certain angle or spatial construction within a room. I do not necessarily have a constructed interior in my head, I start with one element that has inspired me and let the painting unfold. There is a sense of anticipation yet stillness, almost like a moment frozen in time, remembering the split second of a place or object. It is this fragility and vulnerability I want to convey, almost waiting for something to happen or even emerge."If, as Kevin Lynch argues in his essay The Image of the City (1960), architecture is 'construction in space' and therefore a 'temporal art', then Keates's paintings, replete with geometric and trapezoidal imagery, are the artist fracticalising the no-less concrete practice of the architect. Keates's work is interdisciplinary, meta-textual - serene, airy landscapes that shock the viewer with 'more than the eye can see, more than the ear can hear', evermore settings, corners and aspects 'waiting to be explored'.Charlottes works can be found in collections across the globe including the UK, Europe, US, Bahamas, Taiwan and Hong Kong.   Select Exhibitions/Awards   UPCOMING Mestre Projects, Bahamas London Art Fair 2022, Arusha Gallery May 2022 Group Show, Asia Art Centre, Taiwan   2021 The Armory Show 2021, New York Group show with Cristea Roberts 'Just what is it...?' Safe as Milk, Arusha Gallery, London A Constant Hum, Arusha Gallery, London   2019 London Art Fair, Arusha Gallery 'Art on the Mind' Charity Auction, Mayfair PULSE Miami Contemporary Art Fair (group booth presentation with Arusha Gallery)   2018 PULSE Miami Contemporary Art Fair (solo booth with Arusha Gallery) 'LA Summer' group exhibition, Arusha Gallery, Edinburgh 'A Focus On Painting' Cynthia Corbett Gallery London Columbia Threadneedle Prize, Mall Galleries London January (2 paintings) London Art Fair, Arusha Gallery Marie Curie 'Garden of Light' Charity Installation - guest artist, London 'Art on the Mind' Charity Auction featuring Tracy Emin, Antony Gormley, Anish Kapoor Mayfair, April   2017 'Sojourn' Solo Exhibition, Arusha Gallery   2016 Royal Academy Summer Exhibition London, exhibiting artist Lynn Painter Stainers Prize Exhibition, The Mall Galleries London 'Geometry of Space' Group Exhibition The Porthminster Gallery 'Form, Colour, Light' Group Exhibition, The Project Gallery 'Exploiting Perspectives; a harmony in chaos' Solo Exhibition Arusha Gallery Stockholm Art Fair, Arusha Gallery   2015 'Perspectives on Space' The Project Gallery 'Alternatives Never Found' Arusha Gallery, Edinburgh 'Margaret Lovell Retrospective: 50 Years On Accompanied by Charlotte Keates and paintings, drawings and prints by St Ives Modern Artists such as Barbara Hepworth, Peter Lanyon and Ben Nicholson' The Porthminster Gallery, St Ives 'Summer Collective Exhibition' The Project Gallery Manchester Art Fair, Arusha Gallery 'Small Scapes' The Project Gallery, Arundel, West Sussex

Charlotte Keates Under Treetops 2 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte's work is inspired by interiors, travels, and architectural composition, in seamless communion with elements from the natural world. Trees push through flat concrete, while perspectives unfold in sheets of glass. These images of modernist leisure leave one with the feeling of having entered a space only recently vacated, dramatising stillness without surrendering movement. These are environments that suggest, technically as well as artistically, indistinct human activity and motion. "The interiors that I paint are entirely imagined - I am very interested in architecture; a certain angle or spatial construction within a room. I do not necessarily have a constructed interior in my head, I start with one element that has inspired me and let the painting unfold. There is a sense of anticipation yet stillness, almost like a moment frozen in time, remembering the split second of a place or object. It is this fragility and vulnerability I want to convey, almost waiting for something to happen or even emerge."If, as Kevin Lynch argues in his essay The Image of the City (1960), architecture is 'construction in space' and therefore a 'temporal art', then Keates's paintings, replete with geometric and trapezoidal imagery, are the artist fracticalising the no-less concrete practice of the architect. Keates's work is interdisciplinary, meta-textual - serene, airy landscapes that shock the viewer with 'more than the eye can see, more than the ear can hear', evermore settings, corners and aspects 'waiting to be explored'.Charlottes works can be found in collections across the globe including the UK, Europe, US, Bahamas, Taiwan and Hong Kong.   Select Exhibitions/Awards   UPCOMING Mestre Projects, Bahamas London Art Fair 2022, Arusha Gallery May 2022 Group Show, Asia Art Centre, Taiwan   2021 The Armory Show 2021, New York Group show with Cristea Roberts 'Just what is it...?' Safe as Milk, Arusha Gallery, London A Constant Hum, Arusha Gallery, London   2019 London Art Fair, Arusha Gallery 'Art on the Mind' Charity Auction, Mayfair PULSE Miami Contemporary Art Fair (group booth presentation with Arusha Gallery)   2018 PULSE Miami Contemporary Art Fair (solo booth with Arusha Gallery) 'LA Summer' group exhibition, Arusha Gallery, Edinburgh 'A Focus On Painting' Cynthia Corbett Gallery London Columbia Threadneedle Prize, Mall Galleries London January (2 paintings) London Art Fair, Arusha Gallery Marie Curie 'Garden of Light' Charity Installation - guest artist, London 'Art on the Mind' Charity Auction featuring Tracy Emin, Antony Gormley, Anish Kapoor Mayfair, April   2017 'Sojourn' Solo Exhibition, Arusha Gallery   2016 Royal Academy Summer Exhibition London, exhibiting artist Lynn Painter Stainers Prize Exhibition, The Mall Galleries London 'Geometry of Space' Group Exhibition The Porthminster Gallery 'Form, Colour, Light' Group Exhibition, The Project Gallery 'Exploiting Perspectives; a harmony in chaos' Solo Exhibition Arusha Gallery Stockholm Art Fair, Arusha Gallery   2015 'Perspectives on Space' The Project Gallery 'Alternatives Never Found' Arusha Gallery, Edinburgh 'Margaret Lovell Retrospective: 50 Years On Accompanied by Charlotte Keates and paintings, drawings and prints by St Ives Modern Artists such as Barbara Hepworth, Peter Lanyon and Ben Nicholson' The Porthminster Gallery, St Ives 'Summer Collective Exhibition' The Project Gallery Manchester Art Fair, Arusha Gallery 'Small Scapes' The Project Gallery, Arundel, West Sussex

Jo Bradford Portal: Sky Cameraless Photography Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Jo Bradford was born in Hertfordshire, UK, and raised in South Africa. She now lives on Dartmoor, UK with her two children. Jo has worked with experimental, alternative process and cameraless photographs in her colour darkroom for over two decades. Jo has exhibited widely and has works in public and private collections around the world. Her work is created using only the primary tools of analogue photography, with precisely timed flashes of light captured on light sensitive paper in utter darkness. These detailed working methods produce in essence a kind of pure photography - not representational of the external physical world, but acutely resonant of something entirely more abstract and possibly internal. Whatever the resonance, there is a subversion, or inversion of the photographic process as it's commonly understood.   Education Master's Degree (Distinction) in Photography: Critical Practice from University College Falmouth in 2004   Select Exhibitions/Awards Exhibitions Photo London. Gas Gallery - Somerset House, The Strand, London, UK. 2021 Expo Chicago. NFP Editions with the Tate and Whitechapel Gallery - Navy Pier, Chicago USA. 2019 Women In Colour: Anna Atkins, Colour Photography and Those Struck by Light - Galerie Miranda, Paris, France. 2019 The Armory Show. Field Editions / NFP Editions; with the Tate - Piers 90, 92, and 94, New York, USA. 2019 Fotofever Art Fair - Paris, France. 2018 Expo Chicago. Field Editions / NFP Editions with the Tate and the Royal Academy et al - Navy Pier, Chicago USA. 2018 NADA New York. Field Editions - Skylight Clarkson Square, New York, USA. 2018 NADA Miami. Field Editions at NADA PROJECTS - Miami Beach, Miami, Florida, USA. 2017 Expo Chicago. Field Editions at Expo Editions - Navy Pier, Chicago USA. 2017 London Art Fair. Eyestorm Gallery - Islington, London, UK. 2017 Lutyens - Showing 22 works by Bradford at 85 Fleet Street, London, UK. 2016 Facing Changes - Guys Hospital, London, UK. 2015 Bristol Festival of Photography - Bristol, UK. 2014 The Photocopy Club presents Space is Ace - Doomed Gallery, Dalston, London, UK. 2014 Photogram - Urmson Burnett Gallery, Salisbury, UK. 2014 Beautiful Science at the Imperial Science Festival - London, UK. 2013 Beautiful Science - Brick Lane Gallery, London, UK. 2012 NASA Space Shuttle Endeavour STS-134 - Launched 16th May 2011, docked with the international space station, orbited for 16 days and 16 million miles around earth, returned to earth. Cliché Verre in the Digital Age - Jenkins Johnson Gallery, San Francisco, USA. 2011. Photo Alchemy - 23 Sandy Gallery, Portland, Oregon, USA. 2011 The Museum of Contemporary Art, Chicago, Illinois, USA. 2011 Facing Changes - Gordon Museum, London, UK. 2011 Low Tech - Center for Fine Art Photography, Fort Collins, Colorado, USA. 2010 Urban - Stramash Space, Glasgow, UK. 2010 Kennedy Space Centre, Florida, USA. 2010 Fort Worth Art Centre, Texas, USA. 2010 Light! Colour! - Madera Design Studio, Downtown, Los Angeles, USA. 2009 La Galerie D'Art - Atelier Mandarine, Brest, France. 2007 Indications of the Infinite - Out Of Place Gallery, Porthtowan, Cornwall, UK. 2007 Heart Of A Garden - Great Oak Hall, Westonbirt National Arboretum, UK. 2007 Cream Of The Crop - Custard Factory, Birmingham, UK. 2003 Homegrown - Millennium Point, Birmingham, UK. 2002 Out Of Bounds - Wallsworth Hall, Gloucestershire, UK. 2000   Awards 2016 - Arts Council England - Grants for the Arts Award. 2015 - DNPA 'Your Dartmoor Fund' Grant - Project Funding Award. 2010 - AA2A - Artist in Residence Scheme - Plymouth College of Art. 2008 - Saatchi Gallery & Harper Collins Publishers - Finalist -Book Cover Design. 2006 - Unlocking Cornish Potential - Graduate Placement Award. 2004 - Fenton Arts Trust Grant - Project Funding Award. 2003 - Arts Council England - Creative Development Award. 2003 - West Midlands Arts - Funding Award. 2002 - Arts Council England - Creative Development Award. 2002 - West Midlands Arts - Funding Award   Gallery Representation Gina Cross Art + Design Eyestorm Gallery Miranda   Statement about AOAP Submitted Artwork My photography begins in the absence of light. Undertaken in a completely black darkroom, in a time-consuming process requiring decades of practiced hand movements to mask light exposures and with continuous precise adjustments made to an array of dials and buttons not visible to the eye my work begins. Combining this with an understanding of the way colours mix in light to create primary and tertiary colours, and through a lot of trial and error and endless patience, hands and masks are used to create areas of shadow, which alter the path of light on its way to the paper during the brief flashes of light exposure. This non-figurative work subverts the established fidelity of the photograph as a record of an object, referring only to itself, without seeking to illustrate or represent anything. In a sense, it is a self-portrait made of photography, whereby the photographic means becomes the object and the medium becomes the subject.

A GEORGE II SILVER STRAIGHT-TAPERED COFFEE POT JOHN SWIFT, LONDON NO DATE LETTER With a bell shaped finial to the ogee domed cover, an ebonised double scroll handle, a leaf-capped spout cast with a base leaf, on a tuck in base, engraved with two armorials, one with a crest and a motto 'Frappez Avec Raison' 24cm (9 1/2in) high 794g (25.5 oz) grossFor the first arms: The paternal (dexter) arms are likely to be SQUIRE of London and the maternal (sinister) arms DAVIES of Vines Hall, Sussex. A marriage in 1743 of John SQUIRE and Jane DAVIES was held at Stoughton, Sussex and may be relevant.The second armorial: The distinctive paternal (dexter) arms are for the GOLDFRAP family, however the family name is incorrectly listed in Burke's General Armory as GOLDTRAP and that error is subsequently transferred to later heraldic indexes. The name confirmed as GOLDFRAP by reference to the College of Arms indexes and parish register entries, the motto of the arms offering further confirmation. There is very little genealogical information about the family, other than that the grant of arms was made in 1749 to James GOLDFRAP merchant of Dover, Kent, son of James GOLDFRAP glover formerly of Worcester. The grantee married in 1747 at Dover Mary RAWLINGS and it is expected that a descendant of their surviving son John George GOLDFRAP (born 1751 Dover) was the owner of the arms as seen. The less distinctive maternal (sinister) arms are likely to be of the SQUIRE family of London. No marriages have been found link the family names here. Crest: a lions jambe between two wings elevated or holding a baton of the last (Goldfrap). Motto: FRAPPEZ AVEC RAISON (Goldfrap).Condition Report: Maker's mark beneath crisp, standard and town marks by handle top rubbed, cover unmarked, hinge tight, cover sits well, scratches and nicks commensurate with age and use, pinprick dent near spout, sits well, engraving goodCondition Report Disclaimer

Genealogy and Heraldry - Provincial Yorkshire Imprint, Banks (Sir T.C., Bart.), Baronia Anglica Concentrata [...], two-volume set, first edition, Ripon: Printed for the Author by William Harrison, 1843-44, rebacked contemporary moiré cloth boards, 4to, (2); another copy, later rebacked green cloth, 4to, (2); Crisp (Frederick Arthur, editor), two sets: Visitation of Ireland, six-volume set, facsimiles of the original imprints, blue wrappers, 4to, (12); Family Notes/Harrison-Branfill, second edition, [Printed] for Private Circulation, 1897, original armorial cloth gilt, 8vo, (1); Hall (Winifred), Canting and Allusive Arms of England and Wales, 1966, blue buckram, 8vo, (1); Clay (J.W., F.S.A.), Dugdale's Visitation of Yorkshire: Exeter: Wm Pollard & Co. Ltd., 1894, later 20th century buckram, 4to, (1), [&] Parts IX & X only, Exeter: Wm. Pollard & Co. Ltd., 1909-1912, original wrappers, 4to, (2); Howard (Joseph Jackson, editor) & Crisp (Frederick Arthur, editor), Visitation of England and Wales, volumes 7 & 9 only, numbers 386 & 140 out of a limited edition of 500, [London]: Privately Printed [at the Private Press of F.A. Crisp, Grove Park], 1899 & 1901, gilt vellum over cloth, 4to, (2); George's Genealogical Tables [...], fifth edition, Oxford: Clarendon Press, 1916, cloth over boards, oblong 4to, (1); De Ruvigny (Marquis, editor), The Nobilities of Europe, London: Melville and Company, 1910, original cloth, large 8vo, (1); Burke's General Armory, reprint of the 1884 edition, large 8vo, (1); The Genealogist, volume XVII only, 1901, three-quarter calf, 8vo, (1); etc., [32]