155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

KEVIN AYERS/VAN DER GRAAF GENERATOR - ORIGINAL UK PRESSING LPs. Charismatic selection of 2 x original UK LPs. Titles are Kevin Ayers - Joy Of A Toy (UK original. unboxed Harvest SHVL 763 A1/B1 - VG with surface marks noted, not heavier with no scratches/Ex nicely presented gatefold sleeve showing only a little light laminate wear, with 'Printed and made by Ernest J Day...') and Van Der Graaf Generator - H To He, Who Am The Only One (Charisma pink scroll label original, CAS 1027 A-1U/B-1U - Ex nice and clean record, a few light hairlines/VG solid condition sleeve, general edgewear and a light 'wavy' nature on the front that is usually associated with water damage).

Set of 5 Beswick Frederick Warne & Co 1950s Beatrix Potter figurines - Tiny Town-mouse 1954, Tommy Brock 1955, The old woman who lived in a shoe 1959, Hunca Munca 1951 and Lady Mouse 1951

A small Bilston enamelled box, "Esteem the Gift for those who give and Joy attend you while you live", 45mm, damaged, three a Victorian mother-of-pearl card cases, other items of carved mother-of-pearl, a miniature portrait, a miniature silver goblet, a silver pincushion in the shape of a tortoise etc.

Dirk van der Ploeg - Zen Music Group - A fantastic rare mid 20th Century retro oil on canvas painting by Dirk van der Ploeg who was the guitarist for Dutch music band Zen. The painting depicting a guitar having pegs to the foreground with branches appearing from the top. Signed and dated 68. Measures  Note - The painting was part of a publicity stunt for the band who then hit number one in 1969 with their version of Hair. Other members of the band also produced artwork. Measures 70cm x 30cm. 

A 1940's framed photograph, Field Marshall, the Viscount Montgomery of Alamein in a Turret of a Tank bearing signature but faded, said to have been bought from his neighbour who was his chauffeur Dimensions including frame, Width 21cm, Height 17cm  

Ed Vebell (American, 1921 - 2018) "Washington At Valley Forge" Signed lower right. Original Acrylic painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. As a chapter in the military history of the American Revolution, Valley Forge was negligible. As a chapter in American story and legend, tradition and symbol, it contributed more than any other in the history of the war. The Washington whose memory still quickens the pulses of Americans is not so much the soldier who commanded at Yorktown or even the President who presided over the birth of the republic, but the General who somehow held together a neglected army, starving and desperate on the wintry hills of Valley Forge all through the bitter winter and spring of 1777-78. General Howe had captured Philadelphia -- only twenty miles east of Valley Forge. When Washington and his troops arrived at Valley Forge on December 19, 1777, what they had to face was, luckily, not a powerful and well-equipped army, but lack of food, clothing, shoes, blankets, housing, and medical supplies to cope with the breakdown of the commissary and the threat of pneumonia, typhus and smallpox. When, in the late spring of '78, Howe finally evacuated Philadelphia for New York, Washington was able to pursue him and at Monmouth Court House fight the British to a standstill. With that reversal of roles, with the American victory at Saratoga and with news of the French Alliance, the tide of the Revolutionary War turned. Image Size: 20 x 21 in. Overall Size: 24 x 26.75 in. Unframed. (B05363)

Brian Sanders (British, B. 1937) "Raid on Saint-Nazaire" Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 29c Raid on Saint-Nazaire 1942 stamp issued March 27, 1992. In 1942, the British Admiralty decided to destroy the only dock large enough to accommodate the German battleship Tirpitz. On March 26, the HMS Campbeltown and a small flotilla sailed from Falmouth for Saint-Nazaire, France. Shortly after 1:00 a.m. on March 27, the Campbeltown, laden with timed explosives, rammed the lock's caisson. The torpedo boat fired its timed torpedoes into the lock as well. More than 600 commandoes put ashore to begin their sabotage efforts, but heavy enemy fire forced their withdrawal. More than 140 men died, and many others were captured. But the ensuing explosions on March 28 demolished the caisson and terrified the German soldiers, who in a panic shot hundreds of their own men and civilian dock workers. Image Size: 13.75 x 16.75 in. Overall Size: 17.75 x 20.25 in. Unframed. (B13663)

Brian Sanders (British, B. 1937) "USS Olympia" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The USS Olympia was the flagship of Commodore George Dewey, who engaged the Spanish Fleet in 1898 at Manila during the Spanish-America War. Following his historic command, "You may fire when you are ready, Gridley," Dewey's squadron proceeded to decimate the Spanish ships, thereby avenging the sinking of the Maine in Havana harbor by alleged Spanish saboteurs. Image Size: 10.5 x 13 in. Overall Size: 14.5 x 17 in. Unframed. (B15945)

Ed Vebell (American, 1921 - 2018) "Pershing Arrives in Paris" Signed lower right. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. American leaders knew that it would take months to raise the kind of army the Allies would need to win World War I. But, after their April 6, 1917 declaration of war, the United States sent General John J. Pershing to France with one division. Pershing arrived in Paris, June 14, 1917, as Commander of all the American forces to be sent to the Western Front. Soon after he arrived, the stern commander placed a wreath on the Marquis de Lafayette's tomb. In a speech on General Pershing's behalf, Col. Charles E. Stanton announced, "Lafayette, we are here." This action thrilled Allied troops and symbolized that the Americans had come to repay all the valiant Frenchmen who had helped them during the Revolutionary War. For the Germans, Pershing's arrival in Paris was demoralizing. They soon discovered that under his harsh and almost despotic command, the growing number of American troops were being trained in marksmanship and sharpshooting. The German armies realized that the Americans had become a hard driving force in a short time. On May 31, 1918, German fears that incoming American troops would overwhelm them were realized when Pershing's men began fighting in France. By early August, Pershing's army had stopped the advancing Germans, and this victory ahad a decisive effect on the Allied triumph in World War I. Pershing's arrival in Paris prior to these battles is commemorated on this artwork. Image Size: 20 x 21 in. Overall Size: 26.5 x 27.5 in. Unframed. (B06411)

J. Craig Thorpe (American, B. 1948) "Massachusetts Locomotive" Signed lower right. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Massachusetts Commemorative Cover postmarked February 9, 1985. During most of the 1800s, Hoosac Mountain, situated in the northwest corner of Massachusetts, had been a hindrance to Boston merchants who wished to ship their goods west. During that era, this formidable, natural barrier stood in the way of the Iron Horses that were quickly spreading throughout America. By 1842, the Western Railroad was providing east-west passage from Boston through southern Massachusetts. However, the cost of freight transportation on that line was prohibitive for most merchants. Thus, boring through the mountain -- located 136 miles west of Boston -- became a reality. In 1874, it became America's largest railroad tunnel at a length of 4-3/4 miles. Its construction was a great engineering feat for its time. Yet, the road to its completion was long and arduous. For almost a quarter of a century nearly 1,000 men toiled on this monumental undertaking, experimenting with a variety of tools and explosives. An estimated 200 workers lost their lives while boring through this seemingly impenetrable monolith, and the cost exceeded $15 million. But on February 9, 1875, the first train passed through Hoosac Tunnel, arriving at the depot in North Adams, Massachusetts. The illustration on this artwork recreates that historic event by featuring a depiction of Fitchburg Railroad's engine No. 50 -- a 4-4-0 type built by Hinkley Locomotive Works in 1869 -- emerging from the west portal of the tunnel. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B14946)

Dean Ellis (New York, 1920 - 2009) "Roman God Apollo" Signed lower left. Original Mixed Media painting on Masonite Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 50c The Sun stamp issued July 20, 1994. Among the ancients, the Sun took the place of a supreme deity. It was called Ra by the ancient Egyptians, Mithras by the Persians, and Apollo by the early Greeks, who believed it was set in a crystal sphere -- along with the Moon and stars -- that rotated around the Earth. It took men like Galileo, Kepler, Brahe and Newton to open the doors to modern astronomy and the Sun we understand today. Even so, the source of the Sun's enormous energy was a mystery for centuries. Not until the 1930s did it become apparent to scientists that some form of nuclear energy must be what was keeping the Sun burning for billions of years. This exciting painting shows the Sun's astrological sign symbolizing power and wealth, and Apollo, the Greek god of light and prophecy, thundering across the heavens in a horse-drawn chariot. Image Size: 12.75 x 16 in. Overall Size: 15.75 x 19 in. Unframed. (B14589)

Pencil on Paper. LBJ had an obsession with all things related to his native Lone Star state. In this piece he illustrates what appears to be a wooden ranch fence atop wind-swept grass. Johnson prints the word "TEXAS" in capital letters at the top of the stationery, and then, like his own unpredictable personality, adds an alien-like head above the printed words United States Senate and two smaller heads on the two fence posts. Such doodling behavior was not unusual for LBJ who typically wandered off into a mindset of illusions. Provenance: Collection of John Burke Jovich, Presidential Historian. Sheet Size: 10.5 x 8 in. Unframed.

Kirk Stirnweis (Colorado, New Hampshire, B. 1967) "Scarlet Tanager" Signed lower left. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day of Issue Maximum Card of the 22c Scarlet Tanager issued on June 13, 1987. The brilliant Scarlet Tanager male enlivens the summer scenery with lush, flame red feathers perfectly accented by the sooty black of its wings and tail. These beautiful birds spend much of their time in the very tops of trees high above the forest floor. There they move freely, though rather sluggishly, in search of berries and the leaf-eating insects on which they dine. Because of their preference for lofty heights, Scarlet Tanagers are seldom seen except when lured by cool, clean water for bathing. Aside from these rare appearances on the ground, this striking bird's presence is generally marked only by its melodic song. A bit husky in tone, the Tanager's call has been described as sounding like "a robin with a sore throat." Nonetheless, it is a song which gladdens those who listen for it. Come fall, the Scarlet Tanager molts, exchanging his brilliant summer plumage for the olive-green coloring of his mate. Then it is time to join the flock as they migrate, under the cover of darkness, to the warmer climates of South America. Image Size: 13.5 x 18.25 in. Overall Size: 17.5 x 22.5 in. Unframed. (B10716)

Chuck Ripper (American, B. 1929) "American Bald Eagle Perched on Branch" Signed lower right. Original Gouache painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover of the United Nations Endangered Species Series 32c American Bald Eagle stamp issued March 24, 1995. At a distance this stately eagle appears to be bald. Closer inspection, however, reveals that its head and neck are actually clothed in snowy white plumage -- a handsome contrast with its dark brown body and wing feathers. Many years ago, the Bald Eagle's flight plumes were sought after by Native Americans who used them to adorn their magnificent headdresses. Although this eagle was then plentiful throughout North America, several decades ago its numbers began to decline, despite the passage of America's National Emblem Law of 1940, prohibiting the killing of these precious creatures. In 1973, in fact, there were fewer than 500 breeding pairs of Bald Eagles left -- a far cry from the many thousands that filled American skies during the 1800s. In addition to hunting, the recent decline has also been attributed to the use of toxic chemicals, particularly those formulated for agricultural pesticides. Currently there is a ban on the international trade of these eagles and the only live specimens that can be imported into the U.S. are those which have been bred in captivity in European or Canadian zoos for the purpose of replenishing America's wild eagle stock. Pesticides such as DDT have been banned as well. Fortunately such conservation measures have begun to prove successful. The results of a 1994 census of Bald Eagles concluded that their numbers had risen sufficiently to remove the species from the "endangered" list and place it under the less precarious category of "threatened." Image Size: 12.5 x 14.5 in. Overall Size: 15 x 17.75 in. Unframed. (B14968)

Dennis Lyall (American, B. 1946) "Troops Land at Normandy" Signed lower right. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Commerative Cover for Old Glory's Proudest Moments postmarked on the anniversary June 6, 2002. Perhaps at no other time is the American flag recognized as an inspiring symbol of freedom than in war. Since the Revolution, Old Glory has proudly flown in battle, instilling courage and pride in the hearts of American troops who have risked their lives for their country. One of the most horrific battles ever faced by U.S. armed forces happened during World War II when Allied forces invaded Normandy. On June 6, 1944 -- D-Day -- some 5,000 ships carrying over 150,000 Allied troops steamed across the blustery English Channel toward the forbidding beaches of Normandy. Invasion forces included the British-Canadian sector on Gold, Juno and Sword beaches, and the American sector on Utah and Omaha beaches. By dawn, U.S. infantrymen were wading through chest-high water and clouds of artillery smoke. On Utah Beach, American troops were accompanied by 33-ton Sherman tanks that were floated ashore in inflatable canvas covers. To the relief of the Allies, there was very little German opposition. But on Omaha Beach, the U.S. V Corps came up against the battle-hardened German 352nd Infantry Division. Most of the American tanks and artillery never made it to the beach, sinking in the choppy water. Using only light weapons, infantrymen were required to carry out a frontal assault on heavily fortified German positions. By the end of the day, despite the high number of casualties, the Americans held a precarious beachhead six miles long and less than two miles deep -- a hold they would not relinquish. Image Size: 15 x 12.75 in. Overall Size: 18.5 x 16 in. Unframed. (B16989)

Tom McNeely (Canadian, B. 1935) "Sitting Bull" Signed lower left. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day of Issue Maximum Card for the U.S. 28c Sitting Bull stamp issued September 28, 1989. Named for his father, the great Indian leader Sitting Bull was born in a time of turmoil. He believed strongly that his Sioux heritage was a noble one, and he quickly proved himself a great hunter and warrior. At the age of just fourteen, he accompanied his father on the warpath against the Crow Indian tribe. In the years that followed, Sitting Bull also became known among the Sioux tribes as a medicine man, a peacemaker and an organizer. His influence was great and his dedication to his people was unsurpassed. When white settlers began to infringe upon Sioux lands, Sitting Bull saw the threat. He watched as the Indian ways began to die, and he resisted the limitations put upon his people. It was Sitting Bull who organized thousands of warriors of the Sioux Confederacy to meet General George Custer at the Battle of the Little Big Horn. Just before that historic battle, Sitting Bull told his men about a dream he'd had of soldiers falling into the Indian camp. That vision of victory provided inspiration to the Indian warriors. Throughout the battle, Sitting Bull prayed for additional spiritual guidance. After Custer's defeat, Sitting Bull fled to Canada and did not return to the U.S. until 1881, when he was granted amnesty. Confined to the Standing Rock reservation, Sitting Bull remained a great leader and a symbol to his people until he was killed in a scuffle with Indian police on December 15, 1890. Image Size: 17.5 x 15.25 in. Overall Size: 28.25 x 22 in. Unframed. (B11708)

Mel Crawford (Canadian, B. 1925) "Philippines" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.N. 20c Philippines Flags of the U.N. Series stamp issued September 24, 1982. When Magellan first landed in the Philippines in 1563, he saw a land filled with dark green jungles, delicate purple orchids, and sparkling white beaches. In the centuries since Magellan's visit, the natural, pristine beauty of the land has remained. Moreover, this magnificent labyrinth of islands contains one of the most varied collections of natural resources of any country in the Pacific. From the thick forests of "Philippine Mahogany" to the gold and silver mines in the South, the resources of the Philippines offer a sound foundation on which the dreams of development can be built. Today, those dreams are well on their way to becoming reality for the roughly 7100 islands that form one of Asia's leading nations. The gleaming towers of Manila not only reflect the perfect blue water of the bay, but also the fact that the city is one of the most advanced in Asia. The inhabitants of the Philippines, diverse as the many bright seashells found on the beaches, often choose to preserve their traditional way of life in spite of modernization. For example, deep in the jungles of the southern islands live some of the most primitive tribes in the world who subsist by eating only food that they gather that day. In the South, the Muslim Moros, following traditional methods, still dive into the seas for the treasured pearls. The motive seems clear: this charming land cherishes its past so that it can better adapt technology to meet the needs of its people. Image Size: 14.25 x 12.25 in. Overall Size: 17 x 15 in. Unframed. (B07572)

Tom Lydon (American, B. 1944) "Flag over Porch" Signed lower right. Original Chalk on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover of the 32c Flag Over Porch Self-Adhesive stamp issued April 18, 1995. Colorful parades. Stirring speeches. Waving flags. All mark the observance of Veteran's Day across America. Originally instituted as Armistice Day by President Woodrow Wilson in 1919, this national holiday was first enacted to commemorate the signing of the truce that ended World War I. However, in deference to all American war veterans, on June 1, 1954, President Dwight D. Eisenhower signed an act of Congress "to honor veterans on the eleventh day of November of each year ... a day dedicated to world peace." Thus Veteran's Day was born. One of the most moving tributes to American veterans is held annually in Arlington, Virginia. There services take place at the Tomb of the Unknown Soldier located in Arlington National Cemetery. Over the years, group naturalization ceremonies have also become an important part of Veteran's Day activities. In Canada, November 11 has come to be known as Remembrance Day, and in Great Britain, the Sunday closest to that date is called Remembrance Sunday. Both countries have set aside these days to honor those who died in world wars. In France, November 11 continues to be celebrated as Armistice Day. Deemed one of the holidays during which the U.S. flag should be displayed, Veteran's Day is marked by Old Glory flying in front of homes and public buildings throughout America. Image Size: 14 x 12.25 in. Overall Size: 20 x 15.75 in. Unframed. (B15086)

Peter Barrett (British, B. 1935) "Composite of Dogs" Signed lower right. Original Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Combination First Day Cover including the Great Britain 9P Old English Sheepdog, 11P West Highland Terrier, 10-1/2P Welsh Springer Spaniel and the 13P Irish Setter stamps issued February 7, 1979. The path trod by man and dog winds back to the dim caves of history. They have traveled far, these two, working and playing together as only best friends can do. And nowhere does the story of this lifelong companionship unfold with more heartfelt emotion and delightful humor than in Great Britain. Where the Englishmen long ago formed the habit of taking his dog wherever he went ... from pub to pew. Appropriately, on February 7, 1979 - in celebration of the world famous annual Cruft's Dog Show - Great Britain released four stamps honoring the best-known and best-loved native British dogs: West Highland Terrier, Welsh Springer Spaniel, Old English Sheepdog, and Irish Setter. For this important First Day of Issue, Fleetwood commissioned Peter Barrett, the British artist who designed the stamps, to create original works of art for The Magic of Man's Best Friend collection which included this beautiful Composite of Dogs piece. Image Size: 6 x 6.75 in. Overall Size: 11.75 x 12.75 in. Unframed. (B95308)

Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "1920s - Art Deco" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. Celebrate the Century Series 32 Art Deco Style stamp issued May 28, 1998. The surge toward modernism in the 1920s was evident not only in personal dress and mannerisms -- featuring raccoon coats, long cigarette holders and hip-flasks -- but in architecture and interior design as well, which changed from traditional, richly-carved ornamentation to sleek, simple geometric patterns. The speed and efficiency of mass production influenced builders and furniture makers who strived to create modern as well as functional new designs. The challenge was to achieve harmony between technology, practicality and aesthetics, elements that appeared often in the 1920's Art Deco Style of architecture. A classic example is New York City's spectacular Chrysler Building. Designed by William Van Alen, construction of this skyscraper was begun in 1926 and completed in 1930. Geometric patterns predominate in the building's decorative facade and interior. One of the first skyscrapers to sheath large surfaces with stainless steel, the Chrysler Building features automobile icons in the frieze on the setback of the tower's base. The stately spire, decorated with a distinctive sunburst pattern, presents a striking contrast against the Manhattan skyline. The building's pierless corners and classic design typify 1920's modernism. Art Deco architecture continued well into the 1930s, as exemplified by New York's RCA Building and the Empire State Building. Image Size: 17.75 x 13.25 in. Overall Size: 23.25 x 16 in. Unframed. (B16099 / B16100)

Alexander Mikhailovich Kurkin (Russian, B. 1916) "The Frog Princess -- The Brothers Shooting Arrows" Signed lower edge. Original Painted lacquered plate. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the MIPS Mint Stamp for the Marshall Islands "The Frog Princess" stamp issue of April 28, 2002. One of the most popular fairy tales depicted in the Russian Palekh style of painting is The Frog Princess. The story begins when Prince Ivan and his two brothers must find a bride by shooting an arrow into the air. His brothers arrows are returned by love ladies, but Ivan's arrow is returned by an enchanted frog. The king orders each bride to sew him a shirt, bake him a loaf of bread, and dance for him. Ivan despairs because his "frog princess" cannot possibly accomplish these tasks. But each night the frog casts off its skin and turns into a beautiful maiden, winning the king's favor -- afterwards she turns back into a frog. One night, Ivan destroys the frog's skin, hoping that the princess; will never become a frog again. As a result, she is forced to leave Ivan forever. Years later he finds a hut in which an old woman lives who shows him how to get the princess back. Ivan and the princess are reunited and fly off together on a magic carpet. Diameter: 9.5 in. (B06860)

Alexander Mikhailovich Kurkin (Russian, B. 1916) "The Frog Princess -- First Brother Finds Wife" Signed lower edge. Original Painted lacquered plate. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the MIPS Mint Stamp for the Marshall Islands "The Frog Princess" stamp issue of April 28, 2002. One of the most popular fairy tales depicted in the Russian Palekh style of painting is The Frog Princess. The story begins when Prince Ivan and his two brothers must find a bride by shooting an arrow into the air. His brothers arrows are returned by love ladies, but Ivan's arrow is returned by an enchanted frog. The king orders each bride to sew him a shirt, bake him a loaf of bread, and dance for him. Ivan despairs because his "frog princess" cannot possibly accomplish these tasks. But each night the frog casts off its skin and turns into a beautiful maiden, winning the king's favor -- afterwards she turns back into a frog. One night, Ivan destroys the frog's skin, hoping that the princess; will never become a frog again. As a result, she is forced to leave Ivan forever. Years later he finds a hut in which an old woman lives who shows him how to get the princess back. Ivan and the princess are reunited and fly off together on a magic carpet. Diameter: 9.5 in. (B06861)

Howard Koslow (New Jersey, New York, 1924 - 2016) "Count Basie" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover of the American Music Series 32c Count Basie stamp issued September 11, 1996. Born in 1904 to talented amateur musician parents, William Basie first learned to play the drums with his school band. While still in his teens, Basie began taking piano lessons from his mother. He later studied with the master of piano jazz, Fats Waller, who also taught Basie how to play the organ. Basie performed in the early 1920s in Harlem, a city with a rich musical night life. In 1926, he headed west to Kansas City, Missouri, where jazz had come into its own, and found his first job there playing pit organ for a theater. In 1935, he became the leader of a nine-piece band. Basie was renowned for having a fine sense of tempo and a distinctive playing style. "He left out more than a lot of people played," commented Joe Williams, who sang for the Basie band in the 1950s. To promote himself, Basie adopted the nickname "Count" and had business cards printed with the saying "Beware - The Count is Here." The name stuck. Basie and his band developed a swinging style that was large and robust, and appealed to audiences everywhere. The band's notoriety attracted the best and the brightest, including such greats as Billie Holiday and Jimmy Rushing. For nearly five decades, Count Basie entertained audiences and his love for jazz never faltered. In the early 1980s, a series of illnesses made walking difficult for Basie, so he purchased an automatic wheel chair. With enormous flair, he would drive onto the stage, slide onto the piano bench and swing his band into spirited action. Image Size: 14 x 12 in. Overall Size: 20.75 x 18 in. Unframed. (B15526)

Chris Calle (American, B. 1961) "Robert E. Lee" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.S. 32c Robert E. Lee stamp issued June 29, 1995. Handsome and intelligent, a moralist who never drank, smoke or cursed, Robert E. Lee believed duty to be the noblest word in the English language. During the Mexican War, General Winfield Scott called the brave young Virginian the "greatest military genius in America." Unlike many Southerners, Lee was opposed to slavery and secession, and had freed the few slaves he inherited long before the Civil War began. But he admired George Washington and believed his state was protecting the liberty, freedom and legal principles that Washington had fought for. On May 31, 1862, General Joseph E. Johnston, commander of Confederate forces in Virginia, was wounded at the Battle of Fair Oaks. The following day, Lee took command, calling his troops the Army of Northern Virginia. Although seriously outnumbered, Lee won impressive victories at the second Battle of Bull Run, Fredericksburg and Chancellorsville. Taking the offensive at Gettysburg, Lee's forces met defeat in a three-day battle that proved to be the turning point of the war. In the spring of 1864, facing Ulysses S. Grant for the first time, Lee's outmanned and outgunned troops were cut to pieces in the Wilderness campaign. Lee surrendered to Grant on April 9, 1865. He chose to spend his last years as president of Washington College in Lexington, Virginia. Following his death on October 12, 1870, the school was renamed Washington and Lee University. Image Size: 15.75 x 16 in. Overall Size: 23.25 x 18.5 in. Unframed. (B15014 / B15057)

Dennis Lyall (American, B. 1946) "1888 Presidential Campaign Badge" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 37c Campaign Badge stamp issued April 3, 2003. Celebrating America's centuries-old love affair with Old Glory, this art depict a presidential campaign badge from 1888 which prominently incorporates the American flag into its design. A fascinating example of 19th-century political memorabilia, the badge features a miniature brass canteen. Inset into the canteen's middle is a cardboard photograph of Benjamin Harrison, who became America's 23rd president. Inscribed on the canteen are the words, "We drank from the same canteen, 1861-1865." The canteen itself is suspended from a bar engraved with the year of the campaign, 1888. Above the bar, the eagle and shield of the United States form the badge's majestic crown. A ribbon replicating the American flag hangs behind the canteen, infusing this curious campaign memento with powerful patriotic meaning. Since the flag was first adopted by the Continental Congress in 1777, this powerful symbol of American patriotism has flown over some of the remotest spots on the planet ... as well as beyond. Captain Robert Gray sailed around the world in 1787 and discovered the Columbia River, bringing Old Glory with him. In 1909, explorer Robert Peary planted a flag sewn by his wife at the North Pole. Climber Barry Bishop placed a flag atop the summit of Mount Everest in 1963. And, in 1969, astronaut Neil Armstrong triumphantly erected an American flag on the surface of the Moon, its stars and stripes held perpetually unfurled over the windless landscape by a metal bar along its top edge. Image Size: 12 x 14 in. Overall Size: 15.5 x 18 in. Unframed. (B17108)

700-1100 AD. Viking Age. Bronze amulet in the form of a dragon with a circular suspension loop, which also stands for the beast’s wings, beaked head, corded scales, and legs and tails ending in loops which probably symbolise claws. Dragons were important figures in Norse mythology, and were known for their powerful, destructive nature, perhaps reflecting a claim to power by the individual who once owned this bracelet. Good condition. Size: L:34mm / W:42mm ; 9g; Provenance: From an old British collection formed in the 1980s.

700-1100 AD, Viking Age. A superb gold example of an axe or Perun amulet comprising a suspension loop and stylised blade incised cross hatch decoration. This type of amulet is modelled after the axe Molnia and is often seen as a counter part to the common Mjolnir amulet. Some associate these axe pendants with Perun who was the ruler of living world, sky and earth who used the axe to kill the snake that stole the earthly light. Excellent condition, with neck chain. Wearable. Size: L:28mm / W:12mm ; 3g; Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

c. 900-1100 AD. Viking age. An iron bearded axe head with an squat, heavy blade and a round socket. The bearded axe, or Skeggøx (from Old Norse Skegg, "beard", and øx, "axe") was common from the 6th century AD onwards in Scandinavia, but made most famous by the Vikings, who used these axes in battle to terrible effect. Bearded axes are named for the fact that the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of his (or her) opponents. Further information on Viking axes can be found in Petersen, Jan (1919). De Norske Vikingesverd. Kristiania. Good condition; on a custom made stand.Size: L:145mm / W:180mm ; 1kg; Provenance: From an old British collection formed in the 1990s; previously acquired in Germany.

700-1100 AD, Viking Age. A heavy silver twisted bracelet comprised strands of silver woven together, with applied granulations and with looped terminals decorated with incised dots meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;” Old Norse Jörmungandr, “Great Beast”), also called the “Midgard Serpent,” is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition. Size: L:55mm / W:75mm ; 44g; Provenance: Private Kent collection, formed in the 1980s on the UK art market.

c. 900-1100 AD. Viking age. An iron bearded axe head with a, heavy blade, a lentoid shoulder and a round socket. The bearded axe, or Skeggøx (from Old Norse Skegg, "beard", and øx, "axe") was common from the 6th century AD onwards in Scandinavia, but made most famous by the Vikings, who used these axes in battle to terrible effect. Bearded axes are named for the fact that the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of his (or her) opponents. Further information on Viking axes can be found in Petersen, Jan (1919). De Norske Vikingesverd. Kristiania. Good condition; on a custom made stand. Size: L:130mm / W:190mm ; 860g; Provenance: From an old British collection formed in the 1990s; previously acquired in Germany.

c. 900-1100 AD. Viking age. An iron bearded axe head with an elongated, heavy blade and a round socket. The bearded axe, or Skeggøx (from Old Norse Skegg, "beard", and øx, "axe") was common from the 6th century AD onwards in Scandinavia, but made most famous by the Vikings, who used these axes in battle to terrible effect. Bearded axes are named for the fact that the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of his (or her) opponents. Further information on Viking axes can be found in Petersen, Jan (1919). De Norske Vikingesverd. Kristiania. Good condition; on a custom made stand. Size: L:150mm / W:170mm ; 735g; Provenance: From an old British collection formed in the 1990s; previously acquired in Germany.

700-1100 AD, Viking Age. A heavy bronze twisted bracelet comprised strands of bronze woven together with looped terminals meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;” Old Norse Jörmungandr, “Great Beast”), also called the “Midgard Serpent,” is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Good condition. Wearable.Size: L:54mm / W:72mm ; 36g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1990s.

1-200 AD. Roman. A set of three bone dice with carefully carved dot-in-circle pips which are typical of dice of the Roman period. Games involving were played throughout the Roman world, but the some of the biggest gamers were soldiers, who would have whiled away the long hours on watch duty by duodecim scripta, an ancestor of modern backgammon. These beautiful dice would probably have belonged to one such soldier, who served to defend the frontiers of an empire which at its peak stretched from Northern Britain to the Middle East. Good condition.Size: L:12mm / W:11mm ; 6g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

c. 1200-1600 AD. Medieval. Silver ring with circular hoop and a round bezel. The bezel bears incised decoration in the form of a two soldiers supporting a family crest over an eagle. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began c. 12th century AD in battlefield contexts were elitesneeded a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic ring was a key part of this personal branding as it allowed the owner to stamp their coat of arms on their correspondences. Fair condition. Wearable.Size: D: 18mm / US: 7 3/4 / UK: P 1/2; 4g; Provenance: From an old London collection formed in the 1980s;

2000-1000 BC, Bronze Age, Luristan. Bronze axe head with curved blade, sharply tapering head, and deep round socket, incised with geometric decorative motifs. Bronze weaponry production flourished from 3000 BC – 1200 BC, when it was gradually replaced by iron over the following 500 years. Axes, swords, spears, and arrows were important symbols of war in Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; beautiful patina; on a custom stand. Size: L:55mm / W:115mm ; 200g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.

c. 1200-1600 AD. Medieval. Bronze ring with circular hoop, gently flaring shoulders and an octagonal bezel. The bezel bears incised decoration in the form of a crown poised over a shield and surrounded by vegetal motifs and the shoulders bear vertical lines and vegetal motifs. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began c. 12th century AD in battlefield contexts were elitesneeded a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic ring was a key part of this personal branding as it allowed the owner to stamp their coat of arms on their correspondences. Fair condition. Wearable.Size: D: 19.84mm / US: 10 / UK: T 1/2; 9.4g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

C. 700-1100. Viking Age. Gilded silver amulet featuring a disc shape with an integral suspension loop. The central section depicts the god Odin gripping two ravens. The ravens probably represent Hugin and Munin (pronounced “HOO-gin” and “MOO-nin”; Old Norse Huginn and Muninn), the two ravens in Norse mythology who are helping spirits of Odin, the god of knowledge, war and battle. Excellent condition; wearable. Size: D: 20mm / US: 10 1/4 / UK: U; 5g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed before 2000.

700-1100 AD, Viking Age. A gold coiled ring comprising four coils curving outward leaving an open lozenge shaped frame at the centre of the ring. This ring is intended to evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;” Old Norse Jörmungandr, “Great Beast”), also called the “Midgard Serpent,” is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition; wearable. Size: D: 16.4mm / US: 5 7/8 / UK: L 1/2; 9.2g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

C. 900-1100 AD. Viking Age. Bronze Valkyrie amulet comprising heavy suspension loop, stylised circular arms and abstract draped clothing. In Norse mythology, Valkyries were a host of female figures charged with choosing who would die and who would live during a battle, and then with conveying the dead to Valhalla, the Norse afterlife. Good condition; professionally restrung; wearable.Size: L:43mm / W:16mm ; 8.8g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

C. 700-1100. Viking Age. Gilded silver amulet featuring a disc shape with an integral suspension loop. The central section depicts the god Odin gripping two ravens. The ravens probably represent Hugin and Munin (pronounced “HOO-gin” and “MOO-nin”; Old Norse Huginn and Muninn), two ravens in Norse mythology who are helping spirits of Odin, the god of knowledge, war and battle. Excellent condition; wearable. Size: L:23mm / W:18mm ; 3g; Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.

700-1100 AD, Viking Age. A superb silver ring comprised of a twisted band with wrapped terminals. This ring was intended to evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;” Old Norse Jörmungandr, “Great Beast”), also called the “Midgard Serpent,” is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Good condition. Wearable.Size: D: 18.6mm / US: 8 5/8 / UK: R; 5g; Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

700-1100 AD, Viking Age. A silver ring with D-shaped hoop and flattened, circular bezel bearing an incised depiction of a stylised wolf within a circle. Fenrir (pronounced “FEN-rir;” Old Norse Fenrir, “He Who Dwells in the Marshes”) is the most infamous of the many wolves in Norse mythology. His importance for the pre-Christian Scandinavians is demonstrated by his being depicted on numerous surviving runestones, not to mention his ubiquity in Old Norse literary sources. This ring may have belonged to a Viking warrior, who wore it as a sign of his prowess in battle. Good condition; wearable.Size: D: 16.7mm / US: 6 1/4 / UK: M 1/2; 3.3g; Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

1200-800 BC, Greek Archaic Period. Bronze Age. A bronze spearhead with a leaf-shaped, lentoid sectioned blade, a wide raised midrib and a short, neck decorated with incised lines that transitions into a tang with a laterally curved terminal. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand. Size: L:520mm / W:55mm ; 560g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.

ca. 1200 - 800 BC; Greek Archaic period. A bronze sword with a gently tapering, bevelled blade, wide raised midrib, a raised, crecent-shaped decoration on the blade's base, a cylindrical grip, an intact hemispherical stone pommel and a lovely green patina. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Superb condition; on a custom-made stand. Size: L:520mm / W:70mm ; 1kg; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1980s.

700-1100 AD, Viking Age. A heavy bronze bracelet with punched dot and box decoration, and incised lines on the terminals thought to be a stylised depictions of dragons, which frequently appear on Viking-age ornaments. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Dragons were important figures in Norse mythology, and were known for their powerful, destructive nature, perhaps reflecting a claim to power by the individual who once owned this bracelet. Good condition, beautiful patina.Size: L:53mm / W:62mm ; 37g; Provenance: Private London collection, formed in the 1970s on the UK and European art market.

700-1100 AD, Viking Age. Beautiful silver bracelet with elongated terminals which feature two grooves ornamented with a ‘scale’ pattern and end in cross motifs. Bracelets of this type are intended to depict stylised dragon. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Dragons were important figures in Norse mythology, and were known for their powerful, destructive nature, perhaps reflecting a claim to power by the individual who once owned this bracelet. Good condition; wearable.Size: L:66mm / W:73mm ; 35g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

C. 900-1100 AD. Viking Period. This beautiful bronze torc has a twisted design, with its terminals fashioned into a loop and flattened, angled square plaque, respectively. This pieces is made even more stunning by it’s beautiful patina. Torcs are found in many European cultures c. the 8th century BC to the 3rd century AD. However, these elaborate items of jewellery made a reappearance during the Viking period c. 900-1100 AD perhaps due to their twisting nature which recalls Loki’s snake/dragon son Jormungand who lives in the ocean that surrounds Midgard. Torcs such as this one would also have served as important symbols of rank and wealth. Superb condition. Wearable.Size: L:165mm / W:165mm ; 110g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

ca. 1200 - 800 BC; Greek Archaic period.This beautiful bronze sword has a tapering, bevelled blade with a raised midrib adorned with two shallow fullers or “blood groves” and short tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Superb condition, on a custom-made stand.Size: L:450mm / W:65mm ; 350g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1980s.

700-1100 AD, Viking Age. A heavy silver twisted bracelet comprised strands of silver woven together, with looped terminals meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;” Old Norse Jörmungandr, “Great Beast”), also called the “Midgard Serpent,” is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition.Size: L:54.5mm / W:72mm ; 26.5g; Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

700-1100 AD, Viking Age. Rare bronze amulet depicting a highly stylised rider, Odin, on horseback; a suspension loop protrudes from Odin’s head. Odin, who can be identified on the basis of his beard, (picked out with careful incised decoration) was a major deity, who served as the god of wisdom, healing, death, royalty, the gallows, knowledge, war, battle, victory, sorcery, poetry, frenzy, and the runic alphabet. Good condition.Size: L:30mm / W:31mm ; 4.6g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

700-1100 AD. Viking Age. A silver ring with D-shaped hoop with incised hatching decoration on the shoulders, and flattened, elliptical bezel bearing an incised bird motif, perhaps intended to represent either Hugin or Munin. Hugin and Munin (pronounced “HOO-gin” and “MOO-nin”; Old Norse Huginn and Muninn) are two ravens in Norse mythology who are helping spirits of Odin, the god of knowledge, war and battle. Good, wearable condition. Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2 ; 3.9g; Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

1-300 AD, Roman. Gold ring with D-shaped hoop, and an elliptical bezel with a red gem intaglio bearing a bust of Sol Invictus wearing a radiate crown. Sol Invictus (Latin for: "Unconquered Sun") was a major divinity in Late Roman Religion. Sol Invictus was a patron of soldier and became part of official state religion in AD 274 under the Emperor Aurelian. The cult continued into the 5th century as St Augustine felt it necessary to preach against Sol to his Christian congregation. The connection between Sol and soldiers means that this item may well have belonged to a Roman legionary, who wore it a in hope of protection during military campaigns. Superb condition. Wearable. Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 5g; Provenance: Property of a central London Ancient Art Gallery; previously obtained from a British private collection formed before 2000.

1100-1500 AD. Medieval. Large silver gilt ring with D-shaped hoop, with applied shields containing wing motifs on each shoulder, and flat, circular bezel with depicting an incised eagle with outstretched wings. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began c. 12th century AD in battlefield contexts were elites needed a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic pendant was a key part of this personal branding as it allowed all who viewed it a glimpse into the owner’s genealogy. Within this context, eagles were common heraldic symbols because of their connotations of nobility and power. This exceptional item may have belonged to a general or other senior noble. Excellent condition; wearable. Size: D: 19.1mm / US: 9 1/8 / UK: S; 13.5g; Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

ca. 1200-800 BC, Greek Archaic Period. A bronze spearhead with a slightly barbed leaf-shaped, lentoid sectioned blade, raised midrib and a short tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand.Size: L:165mm / W:32mm ; 45g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

ca. 1200-800 BC, Greek Archaic Period.A bronze spearhead with an elongated trianglular, lentoid sectioned blade, raised midrib and a very short tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Superb condition, on a custom-made stand.Size: L:160mm / W:25mm ; 33g; Provenance: From an old British collection, acquired on the UK art market in the 1990s.

700-1100 AD, Viking Age. A superb silver example of an axe or Perun amulet comprising a suspension loop and a stylised axe head. This type of amulet is modelled after the axe Molnia and is often seen as a counter part to the common Mjolnir amulet. Some associate these axe pendants with Perun who was the ruler of living world, sky and earth who used the axe to kill the snake that stole the earthly light. Excellent condition, with neck chain. Wearable. Size: L:20mm / W:11mm ; 2.6g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

1-300 AD, Roman. Ring with circular loop, and raised round bezel bearing an incised decoration comprising a sun motif surrounded by concentric circles and a band of small squares arranged to form a penultimate concentric circle. The sun stands for Sol Invictus (Latin for: "Unconquered Sun"), a major divinity in Late Roman Religion. Sol Invictus was a patron of soldier and became part of official state religion in AD 274 under the Emperor Aurelian. The cult continued into the 5th century as St Augustine felt it necessary to preach against Sol to his Christian congregation. The connection between Sol and soldiers means that this item may well have belonged to a Roman legionary, who wore it a in hope of protection during military campaigns. Good condition, wearable.Size: D: 16.9mm / US: 6 1/2 / UK: N; 4g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1990s.

c. 1000-1500 AD. Medieval Crusader period. A silver ring with a round hoop and a circular bezel bearing incised decoration in the form of a ship and sailors. This item may have belonged to a merchant who made his fortune in shipping. Good condition.Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 3.7g; Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

ca. 1200-800 BC, Greek Archaic Period.A bronze spearhead with a slightly barbed leaf-shaped, lentoid sectioned blade, raised midrib and a short tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand.Size: L:145mm / W:25mm ; 40g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.

C. 600 AD. Migration Period. A long iron sword with a long, pointed, bevelled blade, a rectangular guard, and a long, rectangular tang for affixing a handle The Migration Period of European history during and after the decline of the Western Roman empire saw the widespread migration of and invasions by peoples, notably Germanic tribes and the Huns, within and into the Roman Empire. Many of these warlike peoples were heavily armed and able to carve out their own kingdoms through force of arms. This sword may have belonged to a warrior from a Germanic tribe, who fought for his people’s place in the world during a brutal and savage time when might in battle was prized above all else. Good condition; on a custom stand. Size: L:860mm / W:90mm ; 1kg; Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market before 2000.