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Camden (William). Camden's Britannia, newly translated into English: with large additions and improvements, facsimile edition, 1971, numerous black and white maps, publisher's original cloth in slipcase, spine lightly rubbed, folio, together with Holme (Randle), The Academy of Armory, or A Storehouse of Armory and Blazen, Roxburghe Club, 1905, black and white plates, some light toning, publisher's original quarter morocco, boards slightly rubbed, spine slightly faded and rubbed to head and foot, folio, and Taylor (John), All the Works of John Taylor the Water Poet, facsimile edition, Scholar Press, 1630, previous owner's inscription to front pastedown, original cloth in dust jacket, covers rubbed with loss to head and foot, 4to, plus 16 further facsimile editions, all original cloth, some in dust jackets, G/VG, 8vo/folio (19)

A 19th Century khyber or Afghan long knife, 26ins bright steel blade bearing indistinct armory mark, brass racasso and decoration to lower edge of blade, hardwood grip with decorated pommel, 32ins overall

Rare Sussex Armory Parabellum (Jackal) side lever .22 air rifle circa 1977 with ASI 4x32 telescopic sight and silencer with ABS stock (lacking false magazine), serial no 08460

Paul DoranRIPPEROil on canvas on board, 31 x 31cm, signed and dated 2001 verso. Provenance; Green on Red Gallery, Dublin, Armory Show 2002 (Label Verso)

NO RESERVE Heraldry.- Fox-Davies (Arthur) The Art of Heraldry: An Encyclopaedia of Armory, first edition, colour plates, illustrations, original pictorial cloth, t.e.g., others uncut, some spotting to upper cover but a good copy, 4to, 1904.

Charles I. Eikon Basilike. The Pourtraicture of His Sacred Majestie in His Solitudes and Sufferings. Whereunto are annexed His Praiers and Apophthegms, &c., Printed by W.D. in R.M., 1649, title printed in red and black, poem 'Upon His Sacred Majesties incomparable Eikon Basilike' with woodcut headpiece, folding engraved plate by William Marshall, showing King Charles at prayer (some short tears to folds and lower left margin, one repaired on verso), portrait facing O6, Apophthegmata aurea, Regia, Carolina with separate dated title page, occasionally close-trimmed at head, bound with The Papers which passed at New-Castle betwixt His Sacred Majestie and Mr Alex Henderson: concerning the Change of Church-Government, Printed for R. Royston, 1646, title mis-bound between Apophthegmata pages 46/47, portrait facing A3, generally toned, some light marks towards rear, 18th century calf, a little rubbed, spine slightly frayed at tail, 8vo, together with Carter (Matthew), Honor Redivivus: or, the Analysis of Honor and Armory; Reprinted with many Useful and Necessary Additions; and Supply'd with the Names and Titles of Honour of the Present Nobility of England..., 3rd edition, 1673, engraved frontispiece and additional title, eight engraved portraits, woodcut illustrations to text, first few leaves with small blue stain to fore-edges, occasional minor marks and spots, first and last few leaves with faint embossed library stamp, front pastedown with presentation bookplate to Bath Public Reference Library and ink shelfmarks, contemporary speckled calf, cover with corner-pieces tooled in blind, front hinge cracked, spine rubbed and worn, with remains of paper label, 8vo, plus Holles (Denzil), Memoirs of Denzil Lord Holles, Baron of Ifield in Sussex, from the Year 1641, to 1648, Printed for Tim. Goodwin, 1699, engraved portrait frontispiece, endpapers spotted, front pastedown with ink shelfmark below deleted shelfmark, contemporary Cambridge panelled speckled calf, rebacked with gilt spine label, some wear to extremities, 8vo, and a defective copy of Castara: Carmina non prius Audita..., 3rd edition, 1640, 12mo First item: Madan 22. (4)

dating: 13th Century provenance: Europe, Iron head of a cylindrical shape, surmounted by a hemispherical cap, provided with six, trapezium-shaped flanges, in a single piece with ferrule, cylindrical as well. Wooden haft of a recent production, featuring a plate marked 'The John Woodman Higgins Armory in Worcester Mass.' length 61 cm.

BLACKMORE, Howard L., Guns and Rifles of the World (1965); CURTIS, Tony, Lyle Price Guide: Militaria, Arms & Armour (1993); DAVIS, R. H. C., A History of Medieval Europe: From Constantine to Saint Louis (1957); GRANCSAY, Stephen V., Catalogue of Armor: The John Woodman Higgins Armory (1961); GROENENDIJK, Gert, GRYSE, Piet de, STAAT, Dirk & BRONDER, Helen (eds.), A Farewell to Arms: Studies on the History of Arms and Armour (2004); HELD, Robert (Ed.), Arms and Armor Annual: Thirty Outstanding Articles on Weaponry By Leading Arms and Armor Historians of the World (1973); RIMER Graeme, RICHARDSON Thom & COOPER, J. P. D. (eds.), Henry VIII, Arms and the Man 1509-2009 (2009); ROBERTS, Keith, "Matchlock Musketeer 1588-1688" in Warrior, n. 43 (2002); SOTHEBY PARKE BERNET MONACO S.A., Objets Militaires Provenant de la Collection de Robert Florey (1980); SOUTHWICK, Leslie, The Price Guide to Antique Edged Weapons (1982); STONE, George Cameron, A Glossary of the Construction, Decoration and Use of Arms and Armor in All Countries and in All Times (1961); TOWER OF LONDON, Spanish Royal Armour (1960); WITHERS, Harvey J. S., World Swords 1400-1945: An Illustrated Price Guide for Collectors (2006); WOOD, Stephen, Waffen-und Kostümkunde: The British Gorget in North America (1984)

A Springfield Armory 10x56 mil pot government model telescopic sight 'as new' in an unassociated box

A British SMLE 1907 pattern bayonet by Sanderson:, straight fullered blade stamped as per title to ricasso with armory marks to the opposite side, two piece wooden grip and silver plate mounted black leather scabbard, blade length 43cm.

Blunderbus with spring bayonet. Missing part of flintlock mechanism and damage to stock. No makers name, but bears indistinct armory marks to steel barrel. 80cm approx

HERALDRY, BURKE'S GENERAL ARMORY OF ENGLAND. London: by Edward Churton 1842Thick 8vo. 1/2 red morocco, rubbed and Kelly's Hand book to the Titled, Landed and Official Classes - 1919 (2 vols)

[RUSSIAN ARISTOCRACY / WHITE RUSSIANS] A GROUP OF THREE RARE EARLY 20TH CENTURY BOOKS PUBLISHED BY RUSSIAN EMIGREScomprising:a) ALBOM KAVALEROV ORDENA SV. VELIKOMUCHENIKA I POBEDONOSTSA GEORGIYA B GORGIEVSKOGO ORUZHIYA [Album Of Knights Of Saint Great Martyr And Victorious George And Georgian Armory], (Belgrad: Obschestvo Kavalerov Ordena Sv. Georgiya I Georgievskogo Oruzhiya, 1935), oblong folio, 4to (248 x 348 mm), originally designed cover illustration, soft cover, 198 pp. Text in Russian. Contains photo portraits of Knights of St. George Order and description of their feats and acts of bravery. Condition: last several pages detached.b) BOZHIEYU MILOSTIYU. STARSHAYA LINIYA DOMA ROMANOVYKH POSLE MUCHENICHESKOY KONCHINY IMPERATORA NIKOLAYA II, EGO SEM’IYI I VELIKOGO KNYAZYA MIKHAILA ALEKSANDROVICHA [By God’s Mercy. The Senior Line Of The House Of Romanov Dynasty After The Martyrdom Of Emperor Nikolay II, His Family, and His Brother The Grand Duke Mikhail Aleksandrovich], (Paris, 1957), oblong folio, 4to (216 x 278 mm), soft over, 129 pp. Text in Russian. Entirely consists of black and white photographs with descriptions of the Romanov House.c) Compiler: DENISOV, SVYATOSLAV VARLAMOVICH (1878-1957). BELAYA ROSSIYA. ALBOM N I [White Russia. Album N 1], (New York: Glavnoe Pravlenie Zarubezhnogo Soyuza Russkikh Voennykh Invalidov, 1937), First Edition, oblong folio, 4to (312 x 236 mm), soft cover, 128 pp. Text in Russian. Abundantly illustrated with black and white photographs throughout the album. Presumably signed and inscribed to V.K. Vitkovsky by the author on the back of the title page in 1939.LOT NOTESS.V. Denisov (1878-1957). Colonel, major general, lieutenant general. The Cossack commander S.V. Denisov, who was active in the opposition to Soviet power in South Russia in 1918, was raised at the Lugansk stanitsa in the territory of the Don Cossack Host and, having entered military service in 1896. In the wake of the October Revolution and the disintegration of the old army, Denisov commanded a column of Cossack in rebellion against Soviet power before becoming commander of the Don Army. He resigned from that post on February 1919, when the Krug of the Don Cossack Host passed a vote of “no confidence” in him. Following his resignation, Denisov immediately emigrated. While in emigration, he lived in Turkey and Germany before settling in the United States in 1923. Denisov was a founder and active member of the Cossack Union in the US, serving as a chairman. Denisov died in Stratford, Connecticut.V.K. Vitkovskiy (1885-1978). Colonel, major general, lieutenant general. One of the most dynamic leaders of White forces in South Russia. In the White movement, Vitkovskiy participated in the great march from Jassy to Novocherkassk, commanded the 3rd Infantry Brigade and the 3rd Rifle Division of the Volunteer Army, entered the Russian Army of General P.N. Wrangel, before beign evacuated with his men from Crimea to Gallipoli. Vitkovskiy subsequently lived in Bulgaria (1921-24), as commander of the 1st Army Corps, and as a chairman of the Society of Gallipoliits, before moving to France and then, after the Second World War, to the United States.

Heraldry. SEGAR (William). Of Honour Militarie and Civil, [1602?], small folio, lacking title, fore-margins damp damaged, engraved portraits, later calf; CARTER (Matt) Honor Redivirus: or the Analysis of Honor and Armory. 3rd edition 1673, small 8vo, added title, frontispiece, 351pp., rebacked worn calf; GIBBON (J) Introductio ad Latinam Blasoniam. 1682, 8vo, a little toned, rebacked calf; [FISHER (Payne)] A Synopsis of Heraldry, 1682, 12mo, plates, later half calf; TWINING (Lord) A History of the Crown Jewels of Europe. Batsford 1960, blue cloth; one other (earlier vols. sold with all faults, this lot not subject to return) (7)

HOLME (Randle) The Academy of Armory, or a Storehouse of Armory and Blazon. Chester: for the author 1688, folio, added engraved title by P. Edwards, mounted frontispiece, plates, text in double column, gilt arms to both calf boards, rebacked

WILLIAM SADLER II (C.1782-1839)The Mouth of the Liffey with the Poolbeg Lighthouse and Shipping Oil on panel, 34.5 x 54.5cmsKnown particularly for his competent, atmospheric and topographically interesting views of the countryside around Dublin, Sadler remains an enigma in the history of 19th century Irish art. This is partially because his father, William (fl.1768-1788) and his own son, also William (b.1808) painted somewhat similar scenes in a vaguely similar style and can be confused. William Sadler II, however, stands out as being a better painter than either his father or his son. He is also credited as having taught painting and counted James Arthur O’Connor as one of his pupils. He is recorded as exhibiting, between 1808 and 1821, many paintings on his trademark mahogany panels. The Royal Hibernian Academy records four paintings by Sadler exhibited at the 1828, 1833 and 1836 annual exhibitions, giving his address as Buckingham Street and later at Merrion Avenue. In his 1913 Dictionary of Irish Artists, Walter Strickland notes however that he finally settled in Manders’ Building in Ranelagh where he died in December 1839. Sadler was greatly influenced by and did many copies of the Old Masters, particularly Dutch painters and this influence is seen in his landscape compositions with small figural groups. He also incorporated their technique of painting bright highlights to accentuate the almost three dimensional effect of his figures. The present work is a wonderful atmospheric panorama ranging from the north of Dublin city on the right with it’s church spires over to south county Dublin on the extreme left, with views of Killiney and Dalkey and the Sugarloaf Mountain beyond. The main concentration however is on the myriad of ships that are heading into or exiting Dublin port. Sadler conveys the busyness of the channel leading into the city and the River Liffey, with an anchored coastal trader in the foreground and nearby a British naval frigate heading into port. Numerous other large sailing ships are evident further into the port area. The lively winds are expressed by the rough green seas with it’s highlighted surf and in the somewhat stormy skies. Typical of Sadler, these conditions convey a sense of drama in what is essentially a non-dramatic scenario. The architectural landmarks are accurate, as you’d expect with the artist, whose skill in describing the topography of the city is well regarded. The Poolbeg Lighthouse is prominent, not surprisingly, standing as it does at the end of the four kilometer long Great South Wall. Also visible is the Pigeon House Fort, built around the time of the 1798 Rebellion and which housed an armory, magazine, stores, a hospital and quarters for officers and men. A little further in several domes are visible, perhaps amongst them, the Custom’s House on the Liffey quays. While views of this scene are not uncommon in the artist’s oeuvre it is the scale and grandness of the view that sets the present apart from many others.

Gun Toys of Italy imported by Sussex Armory Panther Deluxe .177 break barrel air pistol, stamped to left hand side Made in Italy. Serial No. 042230.

Jack Butler Yeats RHA (1871-1957) SEA FOG, 1909 watercolour signed lower right Acquired directly from the artist by John Quinn (1870-1924) 1909;His sale, 'Paintings and Sculptures - The Renowned Collection of Modern and Ultra-Modern Art Formed by the Late John Quinn, Including Many Examples Purchased by Him Directly from Artists, Sold by Order of National Bank of Commerce in New York & Maurice Léon Surviving Executors of the Estate of John Quinn, Deceased, New York American Art Association Inc., 1927, catalogue no. 305;Whence purchased by J. Toner;Private collection 'Pictures of Life in the West of Ireland', Leinster Hall, Dublin,10-29 May 1909, no. 22 Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 666, p.159 An old mariner in a heavy coat, red scarf and dark brown cap strides away from the quayside. He has a distinctive gait, with hunched shoulders, hands deep in his pockets and nimble legs, suggesting his years moving about on-board ship. The distinctive combination of robust greens and purples found in many of Yeats' early watercolours is evident here. The shadow cast on the man's shoulders is a deep green while tones of pink suggest the foggy atmosphere of the waterside and the ethereal forms of the waterfront buildings. The painting is described in the catalogue of the posthumous sale of paintings and sculpture belonging to John Quinn, the Irish American lawyer and collector of Modernist art and literature. Lot 305 of the 1927 American Art Association catalogue states 'Figure of an old seafaring man, wearing a pea-jacket and muffler, sauntering from the quay, enveloped in a dull mist through which the masts of a brig faintly gleam in the background'. Quinn was the owner of several important works by Jack Yeats and was responsible for the artist's participation in the famous Armory Show of Modern art in New York in 1913. He was also a close friend and mentor of Jack's father, John Butler Yeats, who moved to the United States in 1908, and of his brother W.B. Yeats. Quinn bought Sea Fog in Dublin on a brief visit to the city in the summer of 1909 after it was included in a one-man show of Jack's work at the Leinster Hall. Quinn was a great admirer of the younger Yeats. In 1904, after Jack and his wife stayed in New York, Quinn wrote, 'He is one of the most simple and unaffected kind-hearted genuine and sincere men I have ever met and I like him more than I can tell'. [1]The exhibition of 1909 in which Sea Fog was included was a critical success. Constance Markievicz commented on the quality of the work shown in it in an article published in the Gaelic American that year. Jack's work, she wrote, 'with its intense originality and life-likeness, seems to appeal to us with almost a shock, and to demand its just due, … as something real and new….'.[2] Yeats and Cottie had travelled in the west of Ireland the previous year, staying mainly in Sligo, where the idea for Sea Fog is likely to have originated. The figure of the old sea dog striding up the town ultimately stems from the childhood fascination that Yeats had for the seafaring life. This began with his journeys along the Garavogue in the ships belonging to his grandparents and his uncles and his great regard for the wisdom of the pilot men, stevedores and gangers that worked on the Sligo quays. 1. B. L. Reid, The Man from New York. John Quinn and His Friends, Oxford University Press, 1968, p.21. 2. Quoted in Bruce Arnold, Jack Yeats, Yale University Press, 1998, pp.160-61. Dr Róisín KennedyAugust 2017 14 by 10in. (35.6 by 25.4cm)

dating: 17th Century provenance: India, Nice and strong, curved, single-and false-edged blade with double groove, round armory stamps, the base with cartouche with inscriptions in Arabic; typical, iron hilt with beaded borders and wide, engraved guard, lo

ARSENAL Programme for the away Armory and Cheesmur Testimonial v. Folkestone Select 5/5/1970, horizontal crease, team changes and scores entered. Generally good

Morris (William).- Mowbray-Clarke (John Frederick) May Morris, bronze circular plaque, 120mm. diameter, titled, signed and dated in the plaque, 1910. ⁂ Mowbray-Clarke was an American sculptor who specialised in medals and one of the organisers of the influential Armory Show in New York in 1913.

Circle of Cattermole - Interior of an Armory, watercolour, initialled lower right corner, 111/2 x 7, framed and glazed, 11.5 x 7

ZETTLER STUDIOS (1870-1934) MADONNA WITH CHILD AND ST ANNE stained glass, after the window of circa 1515 in St Sebaldus Church, Nuremburg 111.8 cm x 43.2 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2954

ZETTLER STUDIOS (1870-1934) SAINT CHRISTOPHER stained glass, after the window of circa 1515 in St Sebaldus Church, Nuremburg Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2955 43.2 cm x 111.8 cm

ZETTLER STUDIOS (1870-1934) SAINT EDWARD THE CONFESSOR stained glass, after the original in St Mary's Church, Ross 81.3 cm x 40.6 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2944

ZETTLER STUDIOS (1870-1934) A BORDER stained glass, after the Jesse window, Le Mans Cathedral Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2946 73.7 cm x 38.1 cm

ZETTLER STUDIOS (1870-1934) THREE APOSTLES AT THE ASCENSION OF CHRIST stained glass, after the window of circa 1134-58 in Le Mans Cathedral 62.2 cm x 49.5 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2931

ZETTLER STUDIOS (1870-1934) A BORDER stained glass, after a 13th century window in Rouen Cathedral Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2948

ZETTLER STUDIOS (1870-1934) DAVID AND GOLIATH stained glass, after the mid-14th Century window in St Stephen's Church, Mulhausen 194.0 cm x 139.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2939.1

ZETTLER STUDIOS (1870-1934) DAVID'S AMBASSADORS ARE DISHONOURED stained glass, after the mid-14th Century window in St Stephen's Church, Mulhausen 194.0 cm x 139.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2939.3

ZETTLER STUDIOS (1870-1934) A BORDER stained glass, after a 13th century window in the Church of St Remi, Rheims Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2949 53.3 cm x 19.0 cm

ZETTLER STUDIOS (1870-1934) SAINT GEORGE SLAYING THE DRAGON stained glass Provenance John Woodman Higgins Armory, Worcester, Massachusetts

ZETTLER STUDIOS (1870-1934) THE FLIGHT INTO EGYPT stained glass, after the window of circa 1280 in the Dominican Friars Church, Colmar, Alsace Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2942

ZETTLER STUDIOS (1870-1934) THE PROPHET MOSES, EARLY 20TH CENTURY stained glass, after the late 11th/early 12th century window, in the southern clerestory of Augsburg cathedral, now mounted in a frame for display 228.6 cm x 61.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2932

ZETTLER STUDIOS (1870-1934) A BORDER stained glass, after a 13th century window in Angers Cathedral 50.8 cm x 29.2 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2933

ZETTLER STUDIOS (1870-1934) MADONNA AND CHILD ATTENDED BY ANGELS (NOTRE-DAME DE LA BELLE-VERRIÈRE) stained glass, after the window of circa 1180-1225 in Chartres Cathedral 215.9 cm x 193.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2935

ZETTLER STUDIOS (1870-1934) SAINT CASPAR stained glass, after the window of circa 1346 in Augsburg Cathedral 81.3 cm x 45.7 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2943

ZETTLER STUDIOS (1870-1934) A BORDER stained glass, after a 13th century window in the Abbey of St Denis Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2947 68.6 cm x 17.8 cm

ZETTLER STUDIOS (1870-1934) DAVID AS KING OF JUDAH stained glass, after the 13th century window in St Stephen's Cathedral, Bourges 289.6 cm x 83.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2940

ZETTLER STUDIOS (1870-1934) JONAH AND THE WHALE stained glass, after the late 13th century Three Magi Window in the Marienkapelle of Cologne Cathedral 84.0 cm x 71 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2937

ZETTLER STUDIOS (1870-1934) KING CLOTAR WEIGHING HIS GOLD ARMOUR MADE BY ST. ELOI (ELIGIUS) stained glass, after the window now preserved in the Louvre, Paris 39.3 cm x 36.8 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2953

ZETTLER STUDIOS (1870-1934) A BORDER stained glass, after a 13th century window in St Cuthberts Church, Cologne 61.0 cm x 22.9 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2938

ZETTLER STUDIOS (1870-1934) CHRIST FEEDING THE FIVE THOUSAND stained glass, after the 15th Century window at Ulm Minster 273.0 cm x 198.1 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2952

ZETTLER STUDIOS (1870-1934) ST SEBALDUS stained glass, after the window of circa 1515 in St Sebaldus Church, Nuremburg Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2956 43.2 cm x 111.8 cm

ZETTLER STUDIOS (1870-1934) THE DEATH AND BURIAL OF THE VIRGIN stained glass, after the window of circa 1260 on the south side of the nave aisle in Chartres Cathedral, donated by the Shoemakers Guild, with its iron and wooden frame for display 243.9 cm x 223.5 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2936

ZETTLER STUDIOS (1870-1934) A COAT OF ARMS IN GERMAN MEDIEVAL STYLE stained glass, involving a helm with houndshead crest Provenance John Woodman Higgins Armory, Worcester, Massachusetts

ZETTLER STUDIOS (1870-1934) ST APOLLANIA AND ST BARBARA stained glass, after the window of circa 1487 in St Lawrence's Church, Nuremburg 99.0 cm x 55.9 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2951

ZETTLER STUDIOS (1870-1934) SAUL SEEKS DAVID'S LIFE stained glass, after the mid-14th Century window in St Stephen's Church, Mulhausen 194.0 cm x 139.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2939.2

ZETTLER STUDIOS (1870-1934) ADAM DELVING stained glass, after the window of circa 1176-80 in the clerestory of the quire at Canterbury cathedral 91.44 cm x 47.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2930

ZETTLER STUDIOS (1870-1934) SAINT FRANCIS stained glass, after the 14th century window in the North trancept of San Nicola, Basilica of St Francis, Assisi 119.4 cm x 78.7 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2941

ZETTLER STUDIOS (1870-1934) ELIAS ASCENDING INTO HEAVEN stained glass, after the late 13th century Three Magi Window in the Marienkapelle of Cologne Cathedral 84.0 cm x 71 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2937

ZETTLER STUDIOS (1870-1934) PORTRAIT OF A FEMALE SAINT stained glass, after the window of circa 1250 in The Sainte Chapelle, Paris 72.4 cm x 114.3 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2934

ZETTLER STUDIOS (1870-1934) MADONNA AND CHILD stained glass, after the early 16th Century window in St Ulrich's Church, Augsburg 281.9 cm x 61.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2950

ZETTLER STUDIOS (1870-1934) THE BEHEADING OF SAINT JOHN THE BAPTIST stained glass, after the window of circa 1250 in The Sainte Chapelle, Paris 72.4 cm x 114.3 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2934

ZETTLER STUDIOS (1870-1934) DAVID SLAYS EIGHT HUNDRED stained glass, after the mid-14th Century window in St Stephen's Church, Mulhausen 194.0 cm x 139.0 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2939.4 The title of this window is somewhat misleading. It probably refers to one of David's warriors, Adino: 'These be the names of the mighty men whom David had: The Tachmonite that sat in the seat, chief among the captains; the same was Adino the Eznite: he lift up his spear against eight hundred, whom he slew at one time.' 2 Samuel 23:8-10.

ZETTLER STUDIOS (1870-1934) THE ARMS OF ENGLAND stained glass, after the window of circa 1360 at St Decumen's Church, Watchet 77.5 cm x 30.5 cm Provenance John Woodman Higgins Armory, Worcester, Massachusetts Inv. No. JWHA 2945

A French 19th Century Military Bayonet, engraved St Etienne Armory stamped 1881 nr 3957, standard pattern with wood and brass grip, engraved makers name and dated to blade spine. Additional markings to the hilt. No scabbard.

A French 19th Century Military Bayonet, engraved St Etienne Armory stamped 1877, standard pattern with wood and brass grip, engraved markings to back of blade with additional markings to the top of the blade. No scabbard.

Heraldry.- [Legh (Gerard)] The Accedens of Armory, woodcut pictorial title, folding plate, arms and illustrations within text, a few hand-coloured, a few full-page, repair to upper corner of final f., not affecting text, some light water-staining and spotting, modern straight-grain morocco, gilt, with a double fore-edge painting concealed beneath the gilt with the arms of Sir Francis Bacon, g.e., [Gibson 468; STC 15389], small 4to, Rychard Tottel, 1568. ⁂ The second edition, which 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".

Whitney-Kennedy Lever Action Repeater, dating: 1879 - 1886, provenance: USA, dating: 1879 - 1886, provenance: USA, Rifled, round barrel marked 'WHITNEY VILLE ARMORY CT U.S.A. KENNEDY', base marked '44 CAL', rear and front sight; tang with patents up till 1879; serial number 'R99x'; wooden stock. , length 108 cm.