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.
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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](https://cdn.globalauctionplatform.com/594fd030-0d04-4570-94fb-ae3900e0087d/c7738bcd-118b-44e4-a90a-ae40010f1bef/468x382.jpg)
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]
dating: 1916 provenance: England, 'The Armory of the Tower of London'. Two volumes. Volume 1: His Majest's Stationary Office, London, 1916; 220 numbered pages with 25 plates and numerous b/w illustrations. Volume 2: numbered pages from 221 to 499 with b/w illustrations and various reproductions of marks. Volumes with small signs of use and time. Pen-note on the end-paper. Blue, canvas hardcovers with title in gold. height 28 cm.
dating: 1868 provenance: Kingdom of Italy, Consisting of a solid, iron breast-plate and a back-plate painted in black, the former with a big, star-shaped, silver-colored badge on a gilded radial pattern, remains of marks and dots inside the gussets. Brass rosette shaped as daisies along the border. Back-plate en suite (lighter, with the same dots at the inside). Complete with armored straps with iron mounts featuring plates and provided with brass rivets and with leather belt with rectangular buckle. In very good conditions. On February, 7th 1868, by order of the Ministry of War, 80 mounted Carabinieri were called in Florence (40 from the Legion of Florence, 20 from the Legion of Milan, 20 from the Legion of Bologna) to be the escort of honor to the royal procession when Princess Margherita of Savoy, marrying Prince Umberto, would solemnly enter the city.The Carabinieri, on this occasion, wore the helmets and breastplates that had already been used in 1842 during the wedding of the Duke of Savoy (future King Vittorio Emanuele II) and the Archduchess Maria Adelaide of Lorraine. Only some details were modified: the iron royal monogram 'CA' of the helmet was replaced by the golden one 'VE'; the iron cross on the chest by a silver star on a large golden rayed pattern; the iron cusped buttons along the edges by round buttons shaped as a daisy. The iron rivets of the armored straps were replaced by similar ones made gilded brass.This breast-plate, in very good conditions, is certainly one of the most beautiful and rare pieces among the Italian Risorgimento ones, since it was manufactured in only a few dozen specimens preserved in the main Italian museums (including the Royal Armory of Turin; the Museum of Artillery of Turin; the Museum of Castel S. Angelo in Rome; the Stibbert Museum in Florence). height 42.5 cm.
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.
Heraldry.- Legh (Gerard) The Accedens of Armory, first edition, woodcut title, double-page woodcut armorial plate bound as frontispiece trimmed and laid down, numerous woodcut illustrations, some full-page, woodcut initials, some early ink annotations including ink ownership inscription of W[alter]. Stonehouse, the Yorkshire antiquary at head of title, other ink inscriptions on front endpapers and beneath colophon, some leaves at beginning working loose, slight worming at end, affecting a few words, 17th century blind-stamped calf, with gilt fleuron and initials 'I.S.' to covers, corners worn, rebacked, some ties replaced, [STC 15388], 8vo, by Richard Tottill, 1562.⁂ Scarce and important early heraldic work with a distinguished provenance.Provenance: Walter Stonehouse (ink inscription on title and another on endpaper "Ex dono Walter Stonehouse 1648"; Samuel Savile (ink inscription presumably in Stonehouse's hand "For Mr Samuel Savile the yonger From his servant W.S."; Thomas Lord Fairfax (ink inscription on another endpaper explaining that this copy was sold by Stonehouse's son "to Thomas Lord Fairfax, and by his Executors to Mr. Thoresby father of the Learned Mr Ralph Thoresby author of the History of Leeds", the inscription initialled J.L., presumably John Lund who has signed an inscription beneath colophon at end and whose bookplate is on front pastedown); "Thomas Beckwith of York, Painter" (ink inscription dated 1753, plus another tipped-in signature and his engraved bookplate); Mary Laye of Scarborough (bookplate on rear pastedown).Thoresby mentions this copy on pp.104/105 of Ducatus Leodiensis, 1715 "That timble or temble was generally used for Temple, may be attested by old books. I have particularly the Accedens of Armory (the first book of Heraldry that ever was printed in the English Tongue) which is expressly said to be Imprynted at London in Fleet Streete, within Temble barre, etc."
FOX-DAVIES A. C. The Art Of Heraldry, An Encyclopedia Of Armory. Col. & other plates & text illus. Dec. pict. cloth bdg., worn. 1904; also The De Walden Library, Banners, Standards & Badges from a Tudor Manuscript, col. frontis & illus. throughout, large quarto, rather worn orig. cloth, 1904. (2).
Two stained and leaded glass panels, one probably for Pembroke College, Cambridge, 22 x 18cm, the other probably for Viscount Sidmouth, 22 x 19cm Blazon: barry of ten argent and azure, an orle of martlets gules (Valance) - impaling - gules, three pallets vair, on a chief or a label azure (St. Pol), probably for Pembroke College, Cambridge The arms are for Aymer de VALANCE (1275-1325) 2nd Earl of Pembroke during his second marriage in 1321 to Mary de St POL (1303-1377) daughter of Guy IV (1254-1371) Count of St Pol, France. Their short marriage was childless and after Aymer's death Mary de St POL was styled Countess of Pembroke, baroness Wexford, Ireland and baroness Bellac and Rancon, France. After the death of Aymer Mary never remarried and continued to use the arms of her husband until her death. This would usually mean that the arms can be dated 1321-1371 but on this occasion Mary de St POL went on to found in 1347 Pembroke College Cambridge, an the College have assumed the arms as their own ever since. This mean that the glass could be of any date since 1347 to the present day but the use of a dimidiated form suggests an earlier date. Blazon: per pale ermine and ermines, on a chevron between three fleurs de lis, five lozenges all counterchanged (Addington), probably for Viscount Sidmouth No grant of arms to the ADDINGTON family has ever been recorded and exemplification during a Herald's Visitation has not taken place, however there is a record in the College of Arms manuscripts of the arms being used c1520 with four lozenges rather than five as in this lot. This is then confirmed in the later Burkes's Armory (1884), when the arms are used by the ADDINGTON family of High Bickington Devon who were from London. Burke's Armory also records arms derived from the original with five lozenges and fleurs de lis or for the Viscount Sidmouth (created 1805). Condition Report: Sidmouth:The lower section has been bent and consequently two of the glass panels are cracked and will repairing. This can be seen in the online image but not clearly - please see additional image for better detail. The Cambridge panel overall appears intact wihtout serious cracks to the glassPlease refer to additional images for visual reference to condition Condition Report Disclaimer
SPRINGFIELD ARMORY, USA A .45-70 (GOVT) SINGLE-SHOT CARBINE, MODEL '1884 TRAPDOOR SPRINGFIELD', serial no. 395934, circa 1887, with blued black-powder reproved 22in. barrel, block and blade fore-sight, elevating ladder rear-sight, hinged breech-block marked 'US MODEL 1884', bar-action lock marked with an American eagle alongside 'U.S. SPRINGFIELD', side hammer, walnut half-stock, iron furniture including a barrel-band and heel-plate, swinging trapdoor in the heel-plate concealing aperture for cleaning rods (not present), no provision for clearing rod, strong traces of blued finish, fitted with side-bar and saddle-ring. S1 - Sold as a Section 1 Firearm under the 1968 Firearms Act
SPRINGFIELD ARMORY, USA A .58 PERCUSSION SINGLE-SHOT RIFLED MUSKET, MODEL '1863 TYPE II', no visible serial number, dated for 1864, with brushed bright (as original) 40in. barrel, block and blade fore-sight, twin leaf and aperture flip-up rear-sight, solid top-tang, plain flat bar-action lock signed 'SPRINGFIELD' and marked with an American Eagle device and the date, walnut full-stock, heavy iron furniture including three barrel bands retained by flat-springs, nose-cap and cup-ended ramrod, fitted with swivels, good condition.
FREEMAN, USA A SCARCE .44 PERCUSSION SINGLE-ACTION REVOLVER, MODEL 'ARMY', serial no. 1727, circa 1863-64, with round 7 1/2in. barrel (expertly restored to full length), plain cylinder with recessed nipples, solid frame with flat spring retaining catch for cylinder, the top-strap originally signed 'FREEMAN'S PAT DECR. 9 1862' over 'HOARD'S ARMORY, WATERTOWN N.Y.' alongside the sighting groove (only partially legible), single action trigger-mechanism, smooth flared working replacement horn grips and articulated under-barrel loading lever, cleaned and stained finish.
SPRINGFIELD ARMORY, USA A .50 (C/F) SINGLE-SHOT SERVICE-RIFLE, MODEL '1870 TRAPDOOR', serial no. 49489, for between 1870-72, with round 32 1/2in. barrel, block and blade fore-sight, folding ladder rear-sight, top of breech-block dated '1870' and marked with an eagle's head above crossed arrows and 'U.S', 'Allin' closure catch, plain top-tang, plain lock of civil war style dated 1863 on the tail and marked 'U.S. SPRINGFIELD', together with an eagle and shield device forwards of the hammer, walnut full-stock, iron furniture and flat-tipped jag-ended clearing-rod, some cleaning to iron surfaces with spotting and staining, 51 1/2in. overall, weight approximately 9lbs.. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
WHITNEY ARMS CO, USA A .32 RIMFIRE FIVE-SHOT POCKET-REVOLVER, MODEL 'WHITNEYVILLE ARMORY', serial no. 278, circa 1875, with nickel-plated octagonal 3 3/8in. barrel signed on the top-flat 'WHITNEYVILLE ARMORY CT. US' over 'PAT MAY 23 1871'? (date obscured), nickel-plated brass solid frame (losses to plating) with spur trigger and exposed central hammer, fluted cylinder and smooth wood birdshead grips. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
Cecil de Blaquière Howard, 1888 Clifton, Kanada – 1956 New YorkTIREUSE A L‘ARC, 1926-28 93 x 44 cm. Signatur auf der Plinthe.Beigegraue Steinfigur eines stehenden Frauenaktes in Haltung beim Bogenschießen. Der Körper frontal zum Betrachter, der Kopf nach rechts gerichtet, der Pfeilarm abgewinkelt. Ein gerafftes Tuch zieht vom Bogenarm über den Rücken, die Schulter und dann zum Boden. Der Bogen in Holz gearbeitet. Der amerikanisch-kanadische Bildhauer entstammt einem englisch-französischen Familienhintergrund mit mehreren in verschiedenen Bereichen bekannt gewordenen Mitgliedern. Bereits 16-jährig ging Howard an die Académie Julian in Paris, war alsbald mit Rembrandt Bugatti (1884-1916) eng befreundet, mit dem er zusammen in Antwerpen Tierfiguren schuf. Die kräftige, sportliche, aber stämmige Körperform tradiert den bildhauerischen Stil von Aristide Maillol (1861-1944, der später auch Freund von Howard wurde. Die Skulptur weist eine extrem feine Oberflächenbehandlung auf. Das Ziel höchste Ästhetik zu erreichen, lässt die Erinnerung an die Antike ebenso wachrufen, wie die Suche nach einer Direktaussage, die stilistisch hier ganz zum Art Déco gehört. So hatte der Bildhauer – ähnlich wie Maillol – den Idealismus vollkommener Körperformen angestrebt. Sein Werk „The artist“ hatte 1913 angelegentlich der Armory Show bereits großes Aufsehen erregt, was bereits damals als Beginn der Moderne in Amerika gesehen wurde. 1917 mit dem französischen Modell Céline Louise Coupet verheiratet, hielt er sich bis 1939 in Paris, in den Sommermonaten bis zum Zweiten Weltkrieg mit Familie in der bretonischen Künstlerkolonie Ploubazlanec auf, um alsbald wieder nach New York zu ziehen. Später ging er in seinen Bildern zu einem abstrakten Kubismus über, angeregt durch den mit ihm befreundeten Guillaume Apollinaire (1880-1918). Werke seiner Hand finden sich in zahlreichen internationalen öffentlichen Sammlungen und Museen, vor allem in Paris, Whitney Museum N.Y., Chicago oder Pennsylvania. A.R.Literatur: Janis Conner, Joel Rosenkranz, Rediscoveries in American Sculpture. Studio Works. 1893-1939, Austin 1989. Christine Rohrschneider, Howard, Cecil, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL), Bd. 75, Berlin/Boston 2012. (1291013) (11)Cecil de Blaquière Howard,1888 Clifton, Canada – 1956 New YorkTIREUSE A L’ARC, 1926-2893 x 44 cm.Signature on plinth.Beige-grey stone figure of a standing female nude in archery posture. The body is facing the observer, while her head is pointing to the right with the arrow arm angled. A gathered cloth is pulled from the bow arm over her back and shoulder and down to the floor. The bow is made of wood.Literature:Janis Conner, Joel Rosenkranz, Rediscoveries in American Sculpture. Studio Works. 1893-1939, Austin 1989. Christine Rohrschneider, Howard, Cecil, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL), vol. 75, Berlin/ Boston 2012.
Dolch aus der Higgins Armory CollectionLänge: 53,5 cm. 17. Jahrhundert. Klinge in Rhombenform mit Parierstangen zur Klingenspitze zweifach gebogen. Gemuscheltes Gefäß, Gehilz umwickelt mit gewundener Kette, ovoider Knauf. (†)Provenienz: Ehemals John Woodman Higgins Armory collection, nummerierte Plakette: 1805. (12901258) (13)
ELIZABETHAN PRIVY COUNCIL: A good L.S. by three members of Queen Elizabeth I's Privy Council comprising William Cecil (1520-1598) 1st Baron Burghley, English Statesman, Secretary of State 1550-53, 1558-72, Lord High Treasurer 1572-98, Charles Howard (1536-1624) 1st Earl of Nottingham, English Statesman and Lord High Admiral, commander of the English forces during the battles against the Spanish Armada, and Henry Carey (1526-1596) 1st Baron Hunsdon, English Nobleman and Courtier, a cousin of Queen Elizabeth I and the patron of the Lord Chamberlain's Men, William Shakespeare's playing company, one page, 4to, Greenwich, 24th April 1592, to [Robert Price], executor of [Joan] Lady Mordaunt. The Privy Councillors write following the death and burial of Lady Mordaunt 'whose funerals being to be solemnized agreeable to her condition and degree as a baroness, you nevertheless as we are given to understand would otherwise order the same in an obscure and private manner, not fitting to a personage of her degree, being a baroness, and besides having left sufficiently to perform the same in good sort; wherefore inasmuch as it hath pleased her majesty to authorise us by her commission under the great seal to exercise the place and authority of Earl Marshall, we do therefore will and require you to order her funerals agreeable to her degree and calling, by the advice and direction of Mr Garter the Principal King at Arms, to whom by his office it appertaineth, or otherwise to make your appearance before us to show sufficient cause of your refusal; and we do not a little marvel that of your self you would undertake to appoint eschutcheons of arms or other like things of armory to be made (as we understand you have done) without the allowance of the said Mr Garter to whom the same belongeth'. Subscribed at the foot 'Order was taken at Greenwich the court being there on the Monday 15th of May by these lords that Robert Pryce then present should pay and satisfy Mr Garter for the same funeral and adjudged to be punished for his proceedings therein and contempt but pardoned of prisonment….'. Some light overall damp staining, only very slightly affecting the text (which remains completely legible) and with a few darker stains and small tears (strengthened to the verso) to the edges, G The office of Earl Marshal was in commission between the death of George Talbot, Earl of Shrewsbury, on 18th November 1590 and the appointment of Robert Devereux, Earl of Essex, in 1597.The office of Garter King of Arms was held by Sir William Dethick between 21st April 1586 and 10th December 1606, although he had surrendered and been deprived of his patent in 1603. Joan Mordaunt, Lady Mordaunt, was the daughter of Sir Richard Fermor of Easton Neston in Northamptonshire. She died in 1592 as widow of Sir Thomas Kempe (d.1591), having formerly been the wife of John Mordaunt (1508-1571), second Baron Mordaunt, and before of Robert Wilford (d.1545). Her will of 6th October 1591 (a copy of which is included in the lot), expressing a wish only that she be 'decently' buried, was proved in the Prerogative Court of Canterbury by her son-in-law Robert ap Rees on 5th April 1592. The strict line taken by the Privy Councillors with her executor may have been the result of the family's overt Catholicism, or of the argumentative, dishonest and generally outrageous character of William Dethick, Garter King of Arms.
A SET OF TWELVE GEORGE I/II SILVER PISTOL GRIP KNIVES AND FORKSMOST WITH STERLING STANDARD MARK ONLY, CIRCA 1725The handles engraved with a crest, the steel knife blades of scimitar I type with flying bolster, stamped for Ephraim How and the Cutler's Company of London, the steel two-tine fork 20cm (8in) long, the knives 27.5cm (11in) longSee Brown, Peter (editor) 'British Cutlery: an illustrated history of design, evolution and use' York Civic Trust 2001, p. 102, pl. 69 for examples of these blades.Burkes General Armory identifies the grantee of arms associated with this crest as PAYNE or PAINE of Duntram, Norfolk. The crest was being used from the early 19th century by Samuel PAINE (1797-1868) of Brighton and backtracking his ancestry: a Thomas PAINE (born 1650) also at Brighton (wife Elizabeth) whose son, also Thomas PAINE (born 1687) in Brighton, married Johanah NEWTON, their son being Friend PAINE (born 1725). Maybe it is one or both of the Thomas' here that could be the owner of the present lot.The blazon of the crest: an ostrich's head or, issuing out of a plume of feathers argent.Condition Report: Nicks dents and scratching to silver commensurate with age and use, blades with rust to most, scratches from buffing, all intact, tines intact and straight, some stained from use, marks generally poor, some now non existentCondition Report Disclaimer
Holme (Randle) The Academy of Armory or A Storehouse of Armory and Blazon, first edition, additional engraved title, 3 engraved plates (on 2 leaves), engraved whole-page illustrations, woodcut end-pieces and ornaments, general letter from author laid down to front and rear pastedowns, *2? mis-bound after **4, small marginal tape repair to verso **4, a few leaves with small marginal defects (Q1-2, 2Q3), some touching text with slight loss (L3, 3K), 3F1-2 slightly soiled, occasional browning and spotting, rear endpaper defective, contemporary calf, upper joint cracked and worn but holding firm, [Wing H2513], Chester, for the author, 1688; Jeayes (I. H., editor) The Academy of Armory, additional pictorial title, browned, title in black and red, black and white illustrations, contemporary morocco-backed boards, scuffed, for the Roxburghe Club, 1095; and another related, v.s. (3) ⁂ In 1688, although presenting a full table of contents, the second half of the total work is described as 'ready for press', and was in fact, never printed. A unique extant copy in the Royal Library at Windsor contains 191 pages of this unprinted section, and these were published by the Roxburghe Club in 1905; they include Liber III, ch. 14-21 and Liber IV, ch. 4-13 (the first 3 chapters being lost). Regarding the 1688 edition, no dedication page recorded for the work, yet lettering suggestive of a dedication on the verso of the author's letter to the reader, laid down to the pastedowns is partially visible; 'To... James, Prince of Wales, Duke of Cornwall....'. James Stuart, later known as the 'Old Pretender' was born in June 1688 and both titles were bestowed upon him before deposition of his father James II later that year. It is conceivable a dedication celebrating the new royal birth, perhaps printed during the summer of 1688, was later removed before issue to the public in light of growing anti-Stuart sentiment or as a result of the official publication date being after the deposition itself.
dating: 1863-1864 provenance: USA, Rifled, round, 44 cal. barrel, with foresight; smooth six-shot cylinder, smooth frame, remains of the original bluing (40%). Marked on the top 'FREEMAN'S PA. DEC.R. 9. 1862 / HOARDS ARMORY, WATERTOWN, N. Y.'. Wooden grips. Under the grips the serial number '13xx'. Working mechanics. Very scarce. Kept in a wooden case (not pertinent) lined with green velvet inside, with a Colt revolver instruction label on the lid, and with a small flask and a bullet mold. length 34 cm.
dating: 1838 provenance: USA, Round, rifled, 52 cal. barrel at the nozzle (clean bore), with foresight. The breech block with bolt action that lifts from below thanks to the iron lever placed in front of the trigger guard. Incorporated in the bolt, the flintlock, with back hammer, pan and batteria. Working mechanics. Remains of the markings 'J.H. HALL / H. FE... / US 1838'. Full, brown stained wooden stock. Iron mounts. Butt plate with some pitting. Iron ramrod. Attached are historical notes collected by the owner.This rifle, manufactured by Harpers Ferry Armory under license from John J. Hall, was the first mass-produced breech-loading military rifle adopted as a nationally issued sidearm. A large number of these models were used in the Civil War and converted to rimfire by the Confederate army. See Flayderman's Guide, 9th Edition, pp. 556-557. length 134 cm.
dating: about 1860 provenance: USA, Round, smooth, 53 gauge barrel with adjustable rear sight and foresight. Bolt action and lower hammer. Full, wooden stock with iron mounts, the tang marked 'GREENE'S PATENT/NOV. 17. 1857'. Compartment in the butt-plate. Manufactured by the A. H. Waters Armory, Milbury, Massachusetts circa 1859-1860. Only 1500 US examples and 3000 for a contract with Russia. It was the first Bolt Action rifle adopted by the US Army. length 133 cm.
PUNISHER LOT - (20 in Lot) - (MARVEL) - Includes PUNISHER ARMORY # (1992) + PUNISHER ANNUAL #1 (1988) + PUNISHER #62 & 79 (1992/93) + PUNISHER 2099 #1 (2020) + PUNISHER #228 (2018) + PUNISHER (MAX) #11, 15, 16, 17, 19, 20, 21, 22, 61 (2004/08) + PUNISHER vs BULLSEYE #2, 3, 5 (2006) + PUNISHER: RED XMAS #1 (2005) + PUNISHER: THE PLATOON #6 (2018) - Flat/Unfolded
ÉPÉE DE TYPE MÖRINGEN, BRONZE, CIRCA XIE-VIIIE S. AV. J.-C. A EUROPEAN BRONZE SWORD, LATE BRONZE AGE-EARLY IRON AGE, CIRCA 9TH-8TH CENTURY B.C., the blade with medial rib, the hilt with arched guard riveted to the blade, the grip ridged, the disc-shaped pommel with central knob, 61.5cm long, 5cm wide, 5cm deepFootnotes:Provenance:John Woodman Higgins Armory Collection, inv. No. 2780. Offered at Parke-Bernet Galleries Inc., New York, 17 November 1944, lot 111a. Property Sold by Order of the Trustees of the John Woodman Higgins Armory Collection; Thomas Del Mar Ltd, in association with Sotheby's, London, 20 March 2013, lot 116. This sword belongs to the Moringen type, a relatively common shape in Continental Europe, associated with burial sites of the Urnfield culture. For an analysis of the site of Moringen, cf. F. Keller, The Lake Dwellings of Switzerland and Other Parts of Europe, 2012, p.276, pl. XL.For further information on this lot please visit Bonhams.com
Burke's Peerage and Baronetage, 71st edition, 1909, 106th edition, 1999, two volumes, Burke's Peerage, Baronetage and Knightage, 107th edition, 2003, three volumes, Burke's Landed Gentry, centenary Edition, 1937, plus 17th edition, 1952, 18th edition 1965-9, Three volumes, 19th edition, 2005, two volumes, plus Burke's General Armory, 1884, Burke's Extinct and Dormant Baronetcies and Burkes Family Index. (16)
A 19th Century French 1866 pattern ' Chassepot ' rifle bayonet. The bayonet having ribbed brass hilt, muzzle ring and forward facing quillon. The crossguard marked 'J 36049 ' and the blade spine engraved "Mre Impale de St Etienne Aout 1867" (Manufactured in the Imperial Armory of St. Etienne in August 1867). The recurved ' Yataghan ' style blade housed within an original steel scabbard. Measures approx 71cm.
E. REMINGTON & SONS, USA A VERY RARE .50-45 CADET (13.2x32R) RIFLE, MODEL '1867 NAVY CADET ROLLING-BLOCK', issue no. F249, manufactured in 1868 by Springfield Armory utilising Remington made actions, with 'in the white' (as supplied) round 32 1/2in. barrel, block and blade fore-sight, rocking 'L' shaped rear-sight (as found on the 1864 Musket), slab-sided receiver (traces of faded colour hardening), rolling breech, central hammer, the left side of receiver struck with a small anchor mark, the right marked 'P' over 'FCW', Remington signature and patent dates to 1866 on top-tang, walnut butt-stock, the iron heel-plate marked on the top tang 'US' and 'F' over '249', full-length walnut fore-end with two iron barrel-bands and loop-ended clearing rod. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
A 19th Century French 1866 pattern ' Chassepot ' rifle bayonet. The bayonet having ribbed brass hilt, muzzle ring and forward facing quillon. The crossguard marked 'J 36049 ' and the blade spine engraved "Mre Impale de St Etienne Aout 1867" (Manufactured in the Imperial Armory of St. Etienne in August 1867). The recurved ' Yataghan ' style blade housed within an original steel scabbard. Measures approx 71cm.
Oak cased Kerr's patent five shot percussion cap revolver patent no430 with 5" 1/2 octagonal barrel with various proof marks engraved to the top, 8 Andrew Street Edinburgh L. A. C. Frame work stamped London Armory with checkered grip side slide safety action marked Alexander Henry in fitted case with various accessories and instructions labeled for Kerr's new patent revolving pistol over stamped soul manufacturers The London Armory Company Limited
Aristide Maillol, Ruhender Aktweiblicher liegender Rückenakt, Lithographie auf handgeschöpftem Bütten, 1948 erschienen in Dialogues des courtisanes, rückseitig typographischer Text, leicht fleckig, unter Passepartout montiert, Darstellungsmaße ca. 12 x 22 cm, Blattmaße ca. 38,5 x 28 cm. Künstlerinfo: eigentl. Aristide Joseph Bonaventure Jean Maillol, bedeutender frz. Bildhauer, Maler und Graphiker (1861 Banyuls-sur-Mer bis 1944 Banyuls-sur-Mer), Besuch des Collège Saint Lois in Perpignan, 1881 ging er nach Paris und Besuch eines Zeichenkurses an 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.
Odilon Redon, "Junger Mann"Rückenansicht eines Mannes mit zur Seite gerichtetem Blick, rechts im Stock monogrammiert, Holzschnitt, rückseitig typographisch bezeichnet "Odilon Redon (1840-1916) "Junger Mann", um 1910. Holzschnitt nach einer Zeichnung zu "La Tentation de Saint Antoine" von Gustave Flaubert. Der Holzstock wurde für Redon von George Aubert angefertigt. Einmalige autorisierte Nachauflage von 50 nummerierten Exemplaren. Mit Erlaubnis der Sammlung Ian Woodner, New York. München 1986", weiterhin in Stempel nummeriert "15/50", minimale Altersspuren, Darstellungsmaße ca. 21,5 x 17 cm, Blattmaße ca. 57 x 76 cm. Künstlerinfo: frz. Maler und Graphiker des Symbolismus (1840 Bordeaux bis 1916 Paris), erhielt mit 15 Jahren (1855) Malunterricht im Aquarellieren, 1862 und 1864 versuchte er, die Aufnahmeprüfung an der École des Beaux-Arts zu bestehen, 1870-71 Teilnahme als Infanterist am Deutsch-Französischen Krieg, anschließend Umzug nach Paris und Beschäftigung mit der Kohlezeichnung, Ende der 1880er Jahre wandte er sich der Farbe zu, seit 1878 Beschäftigung mit der Lithographie, 1884 Mitbegründer der „Société des Artistes Indépendants“ sowie des „Salon des Indépendants“, 1886 Teilnahme an der letzten Ausstellung der „Impressionistischen Gruppe“, 1913 auf der „Armory Show“ in New York vertreten. Quelle: Thieme-Becker und Wikipedia.
A collection of books about British and European nobility, including: Burke's 'Peerages of the British Empire' London, Harrison, 1866, J.H. Pinches, European Nobility and Heraldry', Wiltshire, 1994, Princely Armory, Calcutta, facsimile of 1877 original, Stephen Patterson, 'Royal Insignia', London, 1996 and other titles
Karabiner M 73 (Sachsen) Hersteller: ohne Angaben. Kal.: 11,15x60mm R (Patr. M 71) Seriennummer: 344. Kavallerieausführung des Karabiner M 73 für Sachsen in den Dresdener Zeughauswerkstätten nach den Änderungskonstruktionen von dem sächsischen Hauptmann Bremer und dem Dresdener Zeughausbüchsenmacher Einhorn aus dem frz. Chassepotmodell für die Patrone M 71 hergestellt. Hülse linksseitig: Seriennummer 344 und Modellbezeichnung: Mod. 73 . Hülse rechtsseitig: Reste eines franz. Abnahmestempel.Schloss mit diversen französischen Abnahmestempeln und alter französischer Seriennummer, sowie der nach erfolgter Änderung eingebrachte S.Nr. 344. Neben der Hülse befindet sich ebensfalls die Seriennummer an der linken Seite des Laufansatzes. DerAbzugsbügel ist ebenfalls noch mit diversen französischen Abnahmestempel und der S.Nr.344 versehen. An der rechten Kolbenseite befinden sich drei diverse deutscheAbnahmestempel sowie an der linken die Seriennummer 344. Ebenso Seriennumer und Abnahmestempel auf den Anbauteilen, Schloss undSystem. Originale Bräunierung und Brünierung an dem Ring noch zu fast 98% im Original erhalten. Die sehr seltene Waffe befindet sich in originalem, nummerngleichen, wenig gebrauchten, sehr schönem, fast neuwertigem Gesamtzustand. Erlaubnis-, bzw. Erwerbscheinpflichtig. Luger 7,65mm Semi Automatic Pistol. Serial number 13139. Caliber 7,65mm pistol features maker mark for "DWM" and comes without year of production stamp. Well preserved civilian Luger pistol Model 02 (Officer's weapon) retains over 90% of its original factory finish with light rust patina to side plate and other smaller parts. The trigger, safety and locking bolt retain their original straw finish. The left side of the frame features the civilian proofs: crown over B and crown over U. Otherwise, the frame is unmarked. The toggle parts feature the DWM logo along with the proof marks "crown over B" and "crown over U". The forward toggle link features civilian proof marks "crown over B" with the last two digits of the serial number only found on the rear toggle. The toggle pins are of the slanted variety. The front grip strap features the complete serial number 13139. Grip safety shows light wear/age and is not labeled with "GESICHERT". Barrel is without caliber designation but features the serial number 13139 along with period civilian proofs crown over B, crown over U and crown over G. This pistol features all the usual markings for a civilian Luger along with all the appropriate the serial numbers. This rare and well conditioned weapon, features a correct early and nicely conditioned magazine for an early Model 02 Luger. The wooden base does not feature a serial number. Carbine M73 (Kingdom of Saxony) . Serial number 344. Carbine M73 11,15 x 60mm R (M71) without maker was modified in the Dresden armory for the M71 cartridge based on the French Chassepot model. This modification was in accordance with the design by the Saxon Captain Bremer and the Dresden armorer Einhorn. The left side of the receiver is marked with the serial number "344" and model nomenclature Mod. 73, the right side features the remnants of a French acceptance stamp. Bolt shows various French acceptance stamps and old French serial numbers along with the added serial number 344 which was applied after the modifications. Next to the receiver is also the serial number on the left side of the barrel. The right side of the stock features three acceptance stamps along with the serial number "344" to the left side. All appropriate parts i.e. the bolt, receiver, etc. feature the original acceptance stamps and retain 98% of the original factory finish. This very uncommon weapon is offered at auction in original matching condition showing light wear/age and is in almost MINT condition. Important : under German law this gun requires a license. If your license qualifies you to buy this type of firearm we will be pleased to obtain an export license for you based on your import permit (if required in the country you live) . We can also export to your licensed firearms dealer. If you have any questions please do not hesitate to contact us, we will be pleased to help you.
Kristine Moran Overcoming Waves - Study, 2021 Oil on Arches Paper for Oil Signed on verso 10 x 15cm (3¾ x 5¾ in.) Born in Montreal, Kristine Moran earned a BFA from the Ontario College of Art and Design in 2004 and went on to earn an MFA from Hunter College, NYC in 2008. She has exhibited at Monica DeCardenas Gallery, Milan; Western Exhibitions, Chicago; Nicelle Beauchene Gallery in New York City; The Hole NYC; the Daniel Faria Gallery in Toronto and the Glenbow Museum in Calgary. Her work has been reviewed in Artforum, FlashArt, MOMUS and Artslant.com, as well as in NYArts Magazine, Canadian Art Magazine, Bordercrossings, Art Papers, Elle Magazine and Harper's. Moran's work is featured in Phaidon's painting anthology, Vitamin P2: New Perspectives in Painting. Her work is included in the collection of the Albright-Knox Art Gallery, the Glenbow Museum and the University of Toronto. 2008 MFA, Hunter College, Department of Art, New York City 2004 BFA, Ontario College of Art and Design GROUP EXHIBITIONS 2020 CUBED, The Hole NYC, with artists Andreas Angelidakis, Ara Peterson, Clinton King, Irina Ojovan, Jean Nagai, Jonny Niesche, Kristine Moran, Lilah Rose, Luke Diiorio, Luke Murphy, Palma Blank, Rebecca Ward, Robert Moreland, Thomas Trum 2018 The Armory Show, NYC, with Daniel Faria Gallery Expo Chicago, with Daniel Faria Gallery Art Toronto, with Daniel Faria Gallery 2017 Nasty, Daniel Faria Gallery, Toronto 2016 Cuevas Tilleard, NYC, Scale A Wall, curated by TownHall Meeting Mercer College Gallery, NJ, Magic, curated by Tiffany Calvert Mulherin New York, Practice Makes Practice, NYC Left Field Gallery, CA, How High? curated by Ryan Travis Christian GP Presents, NYC, curated by Anna Ortt RESIDENCIES 2022 Interlude Artist Residency, Livingston New York 2015 Artist Residency, Detroit Michigan 2009-2010 LMCC Workspace Artist-in-Residence, NYC 2008-2009 Marie Walsh Sharpe Foundation Artist in Residence, NYC About the Postcards Through this latest painting series I continue to explore my obsession with swimming and all of its various meanings to me. My paintings contend with the sensations, rhythms and mental states experienced during long periods of time spent swimming across a body of water such as a lake or a river. Because a lack of movement can bring on death, swimming uniquely positions itself as a way to confront one's own mortality. A mental game is played to fight off fears of failure and the desire to survive is expressed at every stroke. The "Mad Cap Swimmers" are a group of women. They are the joining of forces that together are stronger than the sum of their parts. The water begins to rise and the swimmers are ready. They have been training for the challenge ahead. Their goal is an unknown place - an ambiguous landscape that is in view but just out of reach.
Kristine Moran Diving In - Study, 2021 Oil on Arches Paper for Oil Signed on verso 10 x 15cm (3¾ x 5¾ in.) Born in Montreal, Kristine Moran earned a BFA from the Ontario College of Art and Design in 2004 and went on to earn an MFA from Hunter College, NYC in 2008. She has exhibited at Monica DeCardenas Gallery, Milan; Western Exhibitions, Chicago; Nicelle Beauchene Gallery in New York City; The Hole NYC; the Daniel Faria Gallery in Toronto and the Glenbow Museum in Calgary. Her work has been reviewed in Artforum, FlashArt, MOMUS and Artslant.com, as well as in NYArts Magazine, Canadian Art Magazine, Bordercrossings, Art Papers, Elle Magazine and Harper's. Moran's work is featured in Phaidon's painting anthology, Vitamin P2: New Perspectives in Painting. Her work is included in the collection of the Albright-Knox Art Gallery, the Glenbow Museum and the University of Toronto. 2008 MFA, Hunter College, Department of Art, New York City 2004 BFA, Ontario College of Art and Design GROUP EXHIBITIONS 2020 CUBED, The Hole NYC, with artists Andreas Angelidakis, Ara Peterson, Clinton King, Irina Ojovan, Jean Nagai, Jonny Niesche, Kristine Moran, Lilah Rose, Luke Diiorio, Luke Murphy, Palma Blank, Rebecca Ward, Robert Moreland, Thomas Trum 2018 The Armory Show, NYC, with Daniel Faria Gallery Expo Chicago, with Daniel Faria Gallery Art Toronto, with Daniel Faria Gallery 2017 Nasty, Daniel Faria Gallery, Toronto 2016 Cuevas Tilleard, NYC, Scale A Wall, curated by TownHall Meeting Mercer College Gallery, NJ, Magic, curated by Tiffany Calvert Mulherin New York, Practice Makes Practice, NYC Left Field Gallery, CA, How High? curated by Ryan Travis Christian GP Presents, NYC, curated by Anna Ortt RESIDENCIES 2022 Interlude Artist Residency, Livingston New York 2015 Artist Residency, Detroit Michigan 2009-2010 LMCC Workspace Artist-in-Residence, NYC 2008-2009 Marie Walsh Sharpe Foundation Artist in Residence, NYC About the Postcards Through this latest painting series I continue to explore my obsession with swimming and all of its various meanings to me. My paintings contend with the sensations, rhythms and mental states experienced during long periods of time spent swimming across a body of water such as a lake or a river. Because a lack of movement can bring on death, swimming uniquely positions itself as a way to confront one's own mortality. A mental game is played to fight off fears of failure and the desire to survive is expressed at every stroke. The "Mad Cap Swimmers" are a group of women. They are the joining of forces that together are stronger than the sum of their parts. The water begins to rise and the swimmers are ready. They have been training for the challenge ahead. Their goal is an unknown place - an ambiguous landscape that is in view but just out of reach.
Adam Handler Lavender Ghost, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Adam Handler Lemon Angel Ghost, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Adam Handler Tangerine Ghost, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Adam Handler Tangerine Ghost at Night, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
‡ A RARE PAIR OF MEXICAN SO-CALLED "CONQUISTADOR" STIRRUPS (ESTRIBOS DE CRUZ)^ LATE 17TH CENTURY/18TH CENTURY ¦of characteristic T-shaped form^ chiselled over their entire outer surface with scrolling foliage enclosing pairs of addorsed mythical beasts^ the top panels also involving demi-figures and masks^ the lower borders raised outwards and decorated with a pattern of waves^ chiselled in imitation of rivets and washers at the top and bottom^ the corners of the top panels with small spherical terminals (two missing^ one corner chipped)^ and integral loops for suspension^ painted with red inventory numbers L.1608.2 and L.1608.3¦39.5 cm; 15 ½ in high ¦¦Provenance¦Acquired by Edgar K. Smoot in Mexico^ circa 1910¦¦Exhibited¦Metropolitan Museum of Art^ New York^ from 1916^ on loan (nos. L.1608.2 and L.1608.3)¦¦Stirrups of related form may have been in use significantly earlier^ and were perhaps worn at the Battle of Otumba (7th July 1520). Carlos de Bustamante wrote of this battle^ in his introduction of 1826 to the History of the conquest of Mexico by Francisco Lopez de Gomára: |[Cortés charged the Mexicans]…..with such impetuosity that those of the enemy he did not kill with the lance he threw to the ground with stirrups [called mitral^ but rather resembling a cross of no little weight]^ which must have been large and of iron^ such as were lately in use| ¦ ¦A pair of similar stirrups^ from the John Woodman Higgins Armory^ were sold in this room^ 20th March 2013^ lot 366. Another pair are preserved in the Metropolitan Museum of Art^ New York^ inv. no. 08.56.11. See Grancsay 1986^ pp. 207-209.¦
This lot will be auctioned on Thursday, July 1st. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or June 30th. A Nazi dagger crew gift from the production of Matthew Vaughn's superhero adventure X-Men: First Class. Production gifted the armory department with daggers like those concentration camp survivor Megneto (Michael Fassbender) used while hunting down Nazi leader Sebastian Shaw (Kevin Bacon). This metal dagger features an eagle accent on the grip and a detailed black leather and metal sheath. The blade is engraved "blut und ehre" (blood and honor) and "X-MEN First Class. 2010 9 of 10 With Thanks. The Armory Department." It exhibits minor signs of wear from age, but remains in excellent overall condition. Dimensions: 13" x 3" x 1" (33 cm x 7.75 cm x 2,5 cm) Estimate: $800 - 1,200
This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. RoboCop's (Peter Weller) Auto 9 pistol from Paul Verhoeven's sci-fi action film RoboCop. The Auto 9, a Beretta 93R modified to match the film's dystopian technological aesthetic, was RoboCop's signature firearm. This hand-painted silver, epoxy resin machine pistol comes from firearms expert Bernard C. White, who received it as a gift from production after advising the armory department on its development. White originally designed a Desert Eagle handgun for RoboCop, but as the weapon looked too small in RoboCop's armored hand, a modified Beretta 93R was ultimately selected. This pistol features a winged rear sight and a slatted, extended barrel engraved "Mod. 93R Made in Italy" with the Beretta trademark. It exhibits visible paint scuffing and chips to the barrel and front sight from production, but remains in good overall condition. Dimensions: 13" x 7" x 3" (33.25 cm x 18 cm x 7.75 cm) Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide. Estimate: $2,000 - 3,000
This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Hellboy's (Ron Perlman) packaged Good Samaritan bullet from Guillermo del Toro's fantasy action film Hellboy. Hellboy selected bullets for his signature pistol out of his armory at the beginning of the film. Made by Weta Workshop, this oversized resin BPRD bullet is painted brass and silver-color to appear metallic and affixed to a custom cardboard package labeled "KBS-13A." The lot is in fair overall condition with significant scraping, yellowing, and bending to the package from production. Dimensions: 5.25" x 3.5" x 1.5" (13.5 cm x 9 cm x 4 cm) Estimate: $800 - 1,200
This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. An extended laser rifle from Stephen Hopkins' sci-fi adventure Lost in Space. Long and short laser rifles sat in the Jupiter II's armory, which John Robinson (William Hurt) raided during the battle with the space spiders. This futuristic dense rubber rifle is hand-painted black, silver, and bronze with steel screws connecting a front section, an extended middle section, a tail section, and two ridged handgrips. The rifle exhibits clear signs of production use, including white stains from handling and flaking paint throughout, but remains in good overall condition. Dimensions 23" x 9" x 2" (58.5 cm x 23 cm x 5 cm) Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide. δ Estimate: $800 - 1,200
This lot will be auctioned on Thursday, July 1st. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or June 30th. Ivan Danko's (Arnold Schwarzenegger) Podbyrin 9.2mm pistol from Walter Hill's action adventure Red Heat. Moscow Militia Captain Danko wielded his signature pistol when he teamed with American detective Art Ridzik (James Belushi) to stop a drug kingpin. This hand-painted black, high-density foam pistol comes from firearms expert Bernard C. White, who received it as a gift from production after advising the armory department on its development. The pistol was designed specially for the production by armorer Tim LaFrance, who combined elements of a P38 and Desert Eagle 357 Mk 1 following Walter Hill's request for "A (Walther) P38 but bigger and meaner. A P38 on steroids." White assisted in this process. Also included is a glossy color photo of Schwarzenegger holding the gun. It exhibits minor paint chipping and damage to the sight from production, but remains in good overall condition. Dimensions: 13" x 7" x 3" (33 cm x 17.75 cm x 7.5 cm) Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide. Estimate: $3,000 - 5,000
dating: Second half of the 19th Century provenance: USA, Straight, double-edged blade, ribbed at the center, partially engraved with racemes, with USA emblems and 'U.S.', signed 'U.S. ARMORY Springfield Mass'. Brass hilt with remains of gilding. Valves with emblems in bas-relief. Grip covered with leather and wire binding. Pommel en suite with eagle. Some signs of use and time. Nickelled iron scabbard (some missing parts in the finish) with gilded hilts, three lugs. length 95 cm.
Enfield Pattern 1853 Rifle Musket, italienischer Nachbau Runder, brünierter, gezogener Lauf mit blanker Seele. Länge 99 cm. Treppenvisier bis 800 yards Die Schlossplatte bunt gehärtet und gemarkt mit Krone und "London Armory Co.". Nussholzschaft mit Eisen- und Messinggarnitur. Beide Riemenbügel. Eiserner Ladestock. Gesamtlänge 140cm.Zustand: I -Enfield Pattern 1853 Rifle Musket, Italian replica Runder, brünierter, gezogener Lauf mit blanker Seele. Länge 99 cm. Treppenvisier bis 800 yards Die Schlossplatte bunt gehärtet und gemarkt mit Krone und "London Armory Co.". Nussholzschaft mit Eisen- und Messinggarnitur. Beide Riemenbügel. Eiserner Ladestock. Gesamtlänge 140cm.Condition: I -
SPRINGFIELD ARMORY, USA FOR FOX STUDIOS A .45-70 (GOVT) SINGLE-SHOT SERVICE-RIFLE, MODEL '1884 TRAPDOOR', serial no. 209602, circa 1885, with blued 32 1/2in. barrel, block and blade fore-sight, elevating adjustable long-range rear-sight, the breech-end numbered '148' and stamped 'FOX STUDIOS', colour-hardened trapdoor marked '1884' with drilled auxiliary holes, further holes drilled to the signed lockplate, walnut full-stock, iron furniture including two barrel-bands and iron under-barrel ramrod, weight approx. 9lb.. S1 - Sold as a Section 1 Firearm under the 1968 Firearms Act
SPRINGFIELD ARMORY, USA A 50-70 SINGLE-SHOT SERVICE-RIFLE, MODEL'1868 TRAPDOOR', serial no. 39961, for between 1868-72, with round 32 1/2in. barrel, block and blade fore-sight, folding ladder rear-sight, top of breech-block dated '1870' and marked with an eagle's head above crossed arrows and 'U.S', 'Allin' closure catch, plain top-tang, plain lock of civil war style dated 1863 on the tail and marked 'U.S. SPRINGFIELD' together with an eagle and shield device forwards of the hammer, walnut three-quarter stock, iron furniture and flat-tipped jag-ended clearing-rod, some surface corrosion spotting and staining, 51 1/2in. overall, weight approximately 9lbs.. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
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