155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Two 19thC poetic works one Honest John by Catherine Drew of Cinderford the other The Lamentation of John Jones a Collier who was injured underground by an explosion of fire damp on the 19th June, 1855, Aberdare, Glamorganshire, Wales, larger example 45 x 19cm 

Approximately 30 music related t shirts including Nine Inch Nails, Levellers, The Selecter, The Who, Nothing But Thieves etc

A collection of ex Peter Gabriel posters to include five Genesis, Peter Gabriel promotional examples, a Seventh Wave Things To Come promotional poster and a Mozo example Mozo being the "Mercurial Stranger" invented by Gabriel, a fictional character who came from now here to disrupt peoples lives, created to appear on planned album/screenplay and film ref.davewainscott.blogspot.com 2011/01

Approximately 60 albums including Steppenwolf, Pink Floyd, Jimi Hendrix, The Rolling Stones, ZZ Top, The Who etc

Approximately 60 albums including Led Zeppelin, Pink Floyd, Fleetwood Mac, Fairport Convention, Queen, Rolling Stones, The Who, Jefferson Airplane, Tonto's Expanding Head Band, Blodwyn Pig, Can, Hawkwind, Black Sabbath etc

Approximately 110 albums including The Who, The Rolling Stones, Bob Dylan, Genesis, Deep Purple, Creedence Clearwater Revival, The Groundhogs, Wishbone Ash, Focus, Jefferson Airplane, Bob Marley etc 

The Who - Live At Leeds (2406001) blue stamp with 12 inserts and Tuesday poster, record appears Ex. with very slight wear to cover 

David Bowie - Hunky Dory (SF8244), Ziggy Stardust (SF8287), Space Oddity (LSP4813), The Man Who Sold The World (LSP4816), Aladdin Sane (RS1001), Lodger (BOWLP1), all orange labels, generally VG/Ex

David Bowie - 14 albums including Space Oddity, Man Who Sold The World, Hunky Dory, Ziggy Stardust, Aladdin Sane, Live, Young Americans, Station to Station, Low, Heroes, Lodger, Scary Monsters, Ziggy (Motion Picture) and Let's Dance 

Sandy Denny - Who Knows Where The Time Goes ? (SDSP100) box set includes 4 albums and book, records appear Ex with slight wear to box 

Six Royal Albert Beatrix Potter figures, comprising Rebeccah Puddle-Duck, Mrs Tiggywinkle takes tea, Mrs Ribby, Appley Dapply, The Old Woman who lived in a shoe knitting, and Mother Ladybird.

Eight Beatrix Potter figures, brown back stamp, comprising Timmy Tiptoes, Samuel Whiskers, Tommy Brock, Foxy Whiskered Gentleman, Pigling Bland, Mrs Tittlemouse, The Old Woman Who Lived In A Shoe, and Little Pig Robinson.

Vinyl Records - 7" singles including The Beatles - Love Me Do (20th Anniversary Picture Disc) RP 4949; Twist and Shout - GEP 8882; I Feel Fine - R 5200; Help - R 5305; John Lennon - Woman; Queen - Bohemian Rhapsody - EMI 2375; Somebody To Love - EMI 2565; The Rolling Stones - The Rolling Stones - DFE 8560; Fool To Cry; Donovan - Donovan Vol 1 - NEP 24239; Edward Woodward - It Had To Be You (Promotional Copy) - DJS 249; The Who - Substitute; Others including Alice Cooper; The Kinks; Fleetwood Mac; Joan Baez; Leo Sayer; Procol Harum; Robert Palmer; Stevie Wonder; 10cc; Cat Stevens; Eagles; etc (Qty)

Vinyl Records - 7” singles and Promotional copies including Jerry Byrne - Lights Out - SON 5011; Stevie Wonder - Outside My Window - TMG 1179 - Promotional Copy; Masterblaster (Jammin') - TMG 1204; Send One Your Love - TMG 1149; Steeleye Span - Hard Times of Old England - CHS 2085 - Promotional Copy; Merle Haggard - It's Been A Great Afternoon - MCA 388 - Promotional Copy; Neil Young - Four Strong Winds - K 14493; Jo Jo Gunne - Run Run Run - AYM 501; Ronnie Lane - Kuschty Rye - GEMS 12; T,Rex - Children Of The revolution - MARC 20; John Denver - Welcome to My Morning - PB 9046 - Promotional Copy; Randy Meisner - I Really Want You Tonight - K 13130; Others including The Gibson Brothers; Neil Diamond; The Jam; The Who; The Rolling Stones; T. Rex; Booker T. & The M.G.'s; Diana Ross & Lionel Richie; The Commodores - There's A Song In My Heart - TMG 902; Tubeway Army; Dollar; Duran/Duran; Elvis Costello; Nick Lowe; Gary Numan (Qty)

1st Canadian Armoured Carrier Regiment WW2 cap badge circa 1944-45.Good scarce die-stamped brass Kangaroo on “ARMATOS FUNDIT” scrollLoopsVGCRaised 24.10.44 by Lt.Col. GM Churchill who designed the badge and had them swiftly produced in England.

AN ORIGINAL FRAMED 'THE WHO MAXIMUM R & B LIVE AT LEEDS ' POSTER

Victor Jean Nicolle (Paris 1754-1826)Figures by a staircase leading to an arcade pen, brown ink and grey wash on laid paper18.1 x 12.1cm (7 1/8 x 4 3/4in).and ten others by the same hand of landscapes with Italianate ruins, figure studies and a view of Venice, various sizes laid down onto four unframed sheets (11)Footnotes:ProvenanceCharles Wall (1756-1815) who married Harriet Baring in 1790Their son Charles Baring Wall (1795-1853)Thomas Baring (1799-1873), his cousin, and thereafter by descent through the familyFor further information on this lot please visit Bonhams.com

François Marius Granet (Aix-en-Provence 1775-1849)Monks in an interior signed 'Granet' (lower left)en brunaille on wove paper19.8 x 12.7cm (7 13/16 x 5in).unframedFootnotes:ProvenanceCharles Wall (1756-1815) who married Harriet Baring in 1790Their son Charles Baring Wall (1795-1853)Thomas Baring (1799-1873), his cousin, and thereafter by descent through the familyFor further information on this lot please visit Bonhams.com

An Albumcontaining a quantity of drawings by John Laporte, and political lithographs by John Doyle (HB); with a second album with drawings and watercolours by George Henry Harlow, Sir Francis Grant, Thomas Lawrence, Dr Thomas Monro, John Luard, William Noble Hardwick and John Laporte as well as a quantity of amateur works by Lady Denbigh, Lady Stuart, Lady Scott and others(2)Footnotes:ProvenanceCharles Wall (1756-1815) who married Harriet Baring in 1790Their son Charles Baring Wall (1795-1853)Thomas Baring (1799-1873), his cousin, and thereafter by descent through the familyFor further information on this lot please visit Bonhams.com

Humphry Repton (Bury St. Edmunds 1752-1818 Aylsham)Plan for the alteration of the prospect from the south front of Norman Court, with wooden fencing giving way to a balustraded terrace, a deer park and a classical folly inscribed 'No I' (upper right)watercolour on wove paper with overlay tab and original washline mount20.3 x 30.5cm (8 x 12in).unframedtogether with watercolours of the new south and east front by Henry Harrison signed and dated 1820, three further drawings by Blore (?) and two sketches of cottages at Norman court (5)Footnotes:ProvenanceCharles Wall (1756-1815) who married Harriet Baring in 1790Their son Charles Baring Wall (1795-1853)Thomas Baring (1799-1873), his cousin, and thereafter by descent through the family Charles Wall married the daughter of his employer Sir Francis Baring (1740-1818), founder of Barings Bank of which Wall was to become a majority shareholder. He bought Norman Court in 1806 and commissioned Charles Dance and Humphry and John Repton to draw up a scheme to improve the house and grounds. The historic manor house had been replaced with a red brick building in 1752 and their proposal shows an update to the house and outbuildings in the classical style. The plans were never implemented and Wall's son remodelled the house in 1818-20 to plans by Henry Harrison. Repton's watercolours often feature the use of an overlay tab that, when drawn back, reveals his suggested modifications to buildings and landscape.For further information on this lot please visit Bonhams.com

Humphry Repton (Bury St. Edmunds 1752-1818 Aylsham)North-east view of Norman Court showing a proposal for classical north front and outbuildings inscribed 'No.V.' (upper right)watercolour on wove paper with overlay tab and original washline mount23.6 x 30.8cm (9 5/16 x 12 1/8in).unframedFootnotes:ProvenanceCharles Wall (1756-1815) who married Harriet Baring in 1790Their son Charles Baring Wall (1795-1853)Thomas Baring (1799-1873), his cousin, and thereafter by descent through the familyFor full footnote see lot 234.For further information on this lot please visit Bonhams.com

Humphry Repton (Bury St. Edmunds 1752-1818 Aylsham)View of the south front of Norman Court inscribed 'No.III.' (upper right)watercolour on wove paper with original washline mount19 x 30cm (7 1/2 x 11 13/16in).unframedFootnotes:ProvenanceCharles Wall (1756-1815) who married Harriet Baring in 1790Their son Charles Baring Wall (1795-1853)Thomas Baring (1799-1873), his cousin, and thereafter by descent through the familyFor full footnote see lot 234.For further information on this lot please visit Bonhams.com

Carl Ludwig Christinec (? 1732-circa 1794 Saint Petersburg)Portrait of Clementina Gomm, half-length, in a black dress with a fur collar oil on canvas89.9 x 70.6cm (35 3/8 x 27 13/16in).Footnotes:ProvenanceBy descent from the sitter to the present ownerThe sitter was the niece of William Gomm (1728-92), an entrepreneur and merchant banker who went to Russia in 1750 to help develop the port of Odessa; Clementina joined her uncle and cousins in St Petersburg and while there she sat to Christinec in the 1760s. She married John Stones in Clerkenwell in 1771.For further information on this lot please visit Bonhams.com

Michele da Verona (Italian, born circa 1470-died before 1536), and StudioThe Triumph of Chastity; and the Triumph of Love a pair, oil on panel28.2 x 45.7cm (11 1/8 x 18in). (2)Footnotes:ProvenanceWith Ludwig von Glenk (1886-1908), BerlinThe Collection of Edgar Worch, Berlin, by 1927 (according to literature) and thence by descent to the present ownerExhibitedOn loan to Seattle Art Museum, 1970-2018LiteratureP. Schubring, 'Zwei Bilder der Atalanta- Sage', in Der Cicerone. Halbmonatsschrift für Künstler, Kunstfreunde und Sammler, vol. XIX, 1927, pp. 559-561 (as Michele da Verona)M. Vinco, 'Gli inizi di Michele da Verona', in Proporzione, Annali dalla Fondazione di Roberto Longhi, vol. IX-X, 2008-2009, pp. 43-4, ill. fig. 55-56 (as Michele da Verona)M. Vinco, Cassoni Pittura profana del Rinascimento a Verona, Milan, 2018, cat. no. 78, pp. 250-1, ill (as Michele da Verona and studio)Pairs of cassoni were among the most popular wedding gifts in renaissance Italy from the late 14th century until well into the 16th century, serving both as storage chests for clothes and as seating. The most impressive examples included painted panels on the front and sides, the subjects of which were intended to provoke discussion. The theme of chastity (represented by the unicorn) and love (represented both by Cupid and by the boar, symbol of carnal love) illustrated in the present panels strongly suggests that they would have adorned just such a wedding chest. A cassone displaying two panels of similar subjects is in the collection of the Museo di Castelvecchio, Verona, inv. 48-1B838 and illustrated in P. Marini et al, Museo di Castelvecchio. Catalogo generale dei dipinti e delle miniature delle collezioni civiche veronesi. Dalla fine del X all'inizio del XVI secolo, 2010, pp. 227-229 (according to the Fondazione Zeri website). Henry (Heinz) Trubner (b.1920) was Curator of Asian Art at the Seattle Art Museum 1968-1987, and these panels were on loan to the Museum from 1970-2018, reference number T.L. 71.1-.4. He was the nephew of Edgar Worch (1880 - 1972), the renowned antiques dealer who specialised in oriental art.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

E. P. Constable (British fl. 1879)Rocky coastal landscapeOil on canvas Signed lower left 61.5 x 92cm (24 x 36 in.)E.P. Constable was a London landscape painter who is known to have exhibited three landscapes at the Royal Academy and the Royal Society of British Artist, Suffolk Street in 1879.

Follower of George Romney (British 1734-1802)Portrait of Thomas MorlandOil on canvas142.5 x 104.5cm (56 x 41 in.)In a carved giltwood frameProvenance:Property of the Morland Family, Court Lodge, Kent Thomas Morland was the only son of William and Ellen Morland. He married Ann Matson who came from the Westmorland area where the Morlands originated from.

Circle of John Linnell (British 1792-1882)Portrait of Ann Matson, second daughter of Jacob Morland of Capplethwaite, wife of William MatsonOil on board, oval27 x 22cm (10½ x 8½ in.)Provenance:Property of the Morland Family, Court Lodge, Kent Ann Matson nee Morland married William Matson and was mother of Ann Matson, who in turn married Thomas Morland.

Ten Beatrix Potter Beswick figures, brown backstamps - The Old Woman who lived in a shoe, Hunca Munca Sweeping, Appley Dapply, Lady Mouse, Hunca Munca, Amiable Guinea-Pig, Cousin Ribby, Miss Moppet, Tabitha Twitchett, and Ribby

An early 20th Century novelty German tobacco jar in the form of a grotesque boy with thumb raised up to his lips, height 15cm, together with two further tobacco jars in the form of dogs, and two crested china items 'who burnt the cloth' (5)

A FASCINATING MEMENTO OF THE GREAT WAR’S FIRST HOSPITAL SHIP a silver vesta case, hallmarked Birmingham, 1912-13, the front bearing crossed enamelled flags of St George and the Royal Fleet Auxiliary, and engraved J.G. from G.H.H., 1914-15, H.M.H.S. 'Oxfordshire' -- 2.25in. (67.4g)Provenance: This is one of a small number commissioned by Captain G.H. Harris, the Master of H.M.A.S. Oxfordshire and who presented them to his Officers to commemorate their time together.Condition report: excellent condition

ATTRIBUTED TO JOHN CONSTABLE (1776-1837) WATERCOLOUR SKETCH OF PAXHILL PARK HOUSE, SUSSEX MEDIUM: WATERCOLOUR AND PENCIL ON PAPER.VERSO: J S MASS & CO LTD, NEW BOND STREET GALLERY LABEL. IMAGE SIZE: 16.5 CM X 10.5 CM.EXTERNAL FRAME DIMENSIONS: 38 CM X 33 CM  THIS SMALL WATERCOLOUR SKETCH THAT WE BELIEVE TO BE BY JOHN CONSTABLE IS LIKELY TO HAVE BEEN POSTED AS PART OF A LETTER FROM CONSTABLE TO SOMEBODY WHEN HE WOULD HAVE BEEN STAYING AT PAXHILL HOUSE IN SUSSEX WHILST FULFILLING HIS COMMISSION OF PAINTING PORTRAITS OF THE CRAWFURD FAMILY WHO HAD BEEN THE OWNERS OF PAXHILL PARK FROM 1768 TO 1864.PAXHILL PARK IS CURRENTLY THE RESIDENCE OF AMNESIA INTERNATIONAL;  ACCORDING TO 'VISITATION OF ENGLAND AND WALES NOTES 3 1898, PORTRAITS OF THE CRAWFURD FAMILY BY JOHN CONSTABLE ARE HELD AT EAST COURT, EAST GRINSTEAD.ONE OF THE CONSTABLE'S LIFE SIZE PORTRAITS OF CHARLES CRAWFURD AS A TODDLER IS DOCUMENTED AS MISSING SINCE 1979THE JOHN CONSTABLE SIGNATURE IS A FRAGMENT WHICH IS LIKELY TO BE FROM THE THE LETTER THE SKETCH WAS ENCLOSED WITH.REFERENCE: VISITATION OF ENGLAND AND WALES NOTES: VOLUME 3 1898, PAGE 127.BY JOSEPH JACKSON HOWARD, FREDERICK ARTHUR CRISP

J. Purdey & Sons, a pair of 12-bore self-opening sidelock ejector shotguns, consecutive serial numbers 15342 & 15343, with rose and scroll engraving by Thomas Sanders, chambered for 2 1/2inch with 29inch barrels - the ribs engraved for the maker, and with figured walnut stocks and forends, the stocks with ebonised pads, 115cm in length overall, in a brass cornered, leather clad and oak lined gun case, late 19th century, red baize lined, the lid with applied paper label for James Purdey & Sons, Gun Makers, Audley House, South Audley St. London, W., LATE OF 314 1/2 OXFORD STREET, and with the Royal Warrants for Her Majesty The Queen and H.R.H. The Prince of Wales, 9cm x 85cm x 34cm, together with some accessoriesProvenance: Private collection, WantageThe makers have kindly confirmed that these guns were completed in July 1896 for a Captain Darby-Griffith. They note these were originally supplied with 30inch barrels but shortened to 29inches circa 1923. By 1923 these guns were in the possession of a Dr. E. T. Fisher. The 'Captain Darby-Griffith' mentioned in the Purdey records is presumed to be Captain Christopher William Darby-Griffith JP who The London Gazette noted retired as a Captain from the Grenadier Guards on 11th November 1896. He came from a prominent military family, his Grandfather was Major-General Matthew Chitty Darby Griffith of Padworth House, Berkshire. Similar examples of gun cases and labels are illustrated and described in the appendices of Donald Dallas, James Purdey & Sons, Gun & Rifle Makers, Two Hundred Years of Excellence, Quiller.The firm of James Purdey & Sons has operated from their current address in South Audley Street since their move from the address at 314 1/2 Oxford Street in 1882. In 2014 the company celebrated its bicentennial. Please note: these will only be released to persons carrying a valid shotgun licence for purposes of Section 2 of the Fire Arms Act 1968. Condition Report: No. 1: Small fillet of wood repair to stock, small finger nail size.No. 2: Small scratch to stock near ebonised end.The pull 14 3/8inch to bothWall Thickness: No. 1: RHB = 010021; LHB = 0.0022. No. 2: RHB 0.0020+; LHB 0.0025.Internal Bore: No. 1: RHB = .737; LHB: .736: No. 2: RHB .736; LHB .736.Some minute knocks, scratches and small historic rust spots (cleaned) commensurate with age and use.each 1/4 choke in both barrels. The case will need attention, new strap, work to hinge possibly. The case is possibly associated to the guns but is of a similar period. The book by Donald Dallas mentioned in the cataloguing makes it clear that the cases were never made by Purdey but were provided to the purchaser by the firm - there are often some quirks in design due to the wims of the purchaser, as such it is hard to always tell if these are later additions or alterations. It is missing its charge sheet which would have been serial numbered and would have categorically confirmed if this is the original case for these guns. Condition Report Disclaimer

A 14 BORE PERCUSSION DRUM AND NIPPLE CONVERSION OF A FORMER HIGH QUALITY FLINTLOCK RIFLE made by the famous London makers tatham and Egg who were Gunmakers to King George III and who operated between 1801 and 1814, the rifling has been removed from the 24'' barrel and it is now smooth bored, it's Damascus barrel bears it's maker's name on the top face, it's rear sight has been removed and it has lost the under rib to the barrel but retained it's original ramrod complete with worm, it's brass trigger guard bears a Trophy of Arms design on the bow and terminates with a pineapple finial, it's walnut stock is in good condition and is fitted with raised cheek rest

TWO BOXES CERAMICS, ORNAMENTS ETC, to include four Beswick Beatrix Potter figures 'Mrs Tiggy Winkle', 'The Old Woman who Lived in a Shoe-Knitting', 'Mr Benjamin Bunny' (chipped ear) and 'Ribby' (chipped ears), Border Fine Arts mouse on apple core and 'Mrs Apple and the Children' (Brambly Hedge), Poole Pottery mouse, two sets seated Spaniels, Masons wash jug (hairline), Delft charger, glass scent bottles etc

Charles J Lundgren (New York, Connecticut, 1911 - 1988) "U.S.S. Georgia" Signed lower right. Original First Day Cover oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Fleetwood Commemorative Cover for the U.S.S. Georgia. The U.S.S. Georgia received her commission on 24 September 1906 with Captain R.G. Davenport in command. Her first tour of duty made her the flagship for the Atlantic Fleet Division 2, Squadron 1. After completing gunnery practice off Guantanamo Bay, Cuba, she joined the rest of the Atlantic Fleet at the Jamestown Exposition on 10 June 1907, and passed in review of President Theodore Roosevelt, who proclaimed 11 June Georgia Day. Then, the U.S.S. Georgia sailed with the Fleet for target practice. During these drills, a powder charge ignited prematurely in her aft 8-inch turret, killing 10 officers and men. Repaired and refitted in a matter of weeks, the powerful battleship participated in the tercentenary of the landing of the first English Colonists 16-21 August, 1907. Perhaps U.S.S. Georgia's proudest moment came on 16 December 1907 as she passed in review of President Roosevelt along with fifteen other battleships, a torpedo squadron and transport vessels. This was the great naval review preceding the cruise of the Atlantic Fleet to the west coast. This first leg of the "Great White Fleet" received international acclaim and stirred the hearts of the American people. The onset of World War I found the U.S.S. Georgia in American waters running training and gunnery exercises. She was reassigned to the 3rd Division, Battleship Force as an escort vessel, and, at War's end, she was attached to the Cruiser and Transport Force. Image Size: 13.5 x 15.5 in. Overall Size: 20.75 x 21.75 in. Unframed. (B09712)

Dennis Lyall (American, B. 1946) "Marblehead, Lake Erie Lighthouse" Signed lower right. 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 Cover for the U.S. 32c Marblehead Lighthouse stamp issued June 17, 1995. Located on the northeastern tip of Ohio's Marblehead Peninsula is the oldest continuously-operating light on the Great Lakes. Marblehead Lighthouse -- known as Sandusky Bay Lighthouse until 1870 -- was erected in 1812 on the northern border of Sandusky Bay. It is located in a region called the Lake Erie Firelands, which was so named for the Connecticut citizens who were burned off their land during the American Revolution. In compensation for their losses they were given a portion of the 500,000-acre tract dubbed the Firelands that now spans four counties. One reason the lighthouse was built at this site is because the area is often subjected to fierce winds accompanied by "nor'easters" -- powerful storms that churn Lake Erie's waters from Buffalo, New York, to Marblehead. In fact, it's not unusual for tremendous waves to crash up against this limestone beacon, sending sprays to the top of its 65-foot tower. For more than half a century -- before a separate rescue station was established in a nearby location -- Marblehead housed crews that consistently risked their lives to save those whose crafts had been battered by the menacing storms. Over the years the light has undergone several renovations. Between 1897 and 1903, the tower was extended by 15 feet to its present height of 65 feet, and in 1923 it was first powered by electricity. Today, Marblehead Lighthouse continues to guide ships in and out of Sandusky Bay. Image Size: 13.25 x 11.5 in. Overall Size: 16.25 x 14 in. Unframed. (B15037)

Exhibited 19th C. Russian Icon, "The Interceding Mother of God". Tempera/wood. This was probably the left panel from a three-panel Deisis. The central panel would have depicted Christ, and the right panel- John the Forerunner. Mary inclines her head and raises her hand in a sign of intercession. The scroll contains her words: "Ruler most gracious, Lord Jesus Christ, hear the prayer..." This icon is the work of the so-called "Serbian Wandering Painters" who immigrated into the southern border regions of Russia and set up village workshops there. Icons produced by them generally have a cinnabar-red border and the background and halo ornamented in silvery leaf with incised and embossed decoration. Sometimes the silver is covered with a tinted varnish to make it appear gold. Size: 18 x 13 in. Previous Exhibitions:Brevard Museum of Art (Foosaner Art Museum), Melbourne, FLSept - Nov 1994Pensacola Museum of Art, Pensacola, FLNov 1995 - Jan 1996Hearst Center for the Arts, Cedar Falls, IADec 1996 - Jan 1997Durham Western Heritage Museum, Omaha, NEMarch - May 1998Biblical Arts Center, Dallas, TXDec 1998Visual Arts Center of Northwest Florida, Panama City, FLDec 1998 - Jan 1999Gallery at the American Bible Society, New York, NYJune - Oct 1999Samuel P. Harn Museum of Art, Gainesville, FLAug 2000 - Jan 2001Museum of Fine Arts, Springfield, MAFeb - May 2001Loveland Museum and Gallery, Loveland, COJan - March 2002Gallery at the American Bible Society, New York, NYApril - June 2002Lauren Rogers Museum of Art, Laurel, MSOct - Nov 2002Albin Polasek Museum and Sculpture Garden, Winter Park, FLApril - June 2004Hearst Art Gallery as St. Mary’s College, Moraga, CANov - Dec 2004Albin Polasek Museum and Sculpture Garden, Winter Park, FLOct 2013 - April 2014

Carved wooden statue of Russian Orthodox monk, Saint Nil Stolbenskii. Three dimensional religious objects are rare in Russian Orthodoxy, however statues of St. Nil were regularly found throughout the 19th and 20th C. They were sold to pilgrims who visited his monastery.Height: 9 in.

Victor Vasarely (French-Hungarian, 1906 - 1997) "La Torca" Color Serigraph. Pencil signed lower right, numbered (87/250) lower left. Believed to be one of his early works. Victor Vasarely, was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op art movement. His work entitled Zebra, created in the 1930s, is considered by some to be one of the earliest examples of Op art. Sight Size: 16 x 15.5 in. Overall Size: 24.5 x 24 in. Framed behind glass.

Ernest Tino Trova (American, 1927-2009) "Falling Man: Six Prints" 1968 Serigraph. Pencil signed, numbered (16/150) and dated ('68) lower right. Known for his Falling Man series in abstract figural sculpture, he created hard-edge images that brought him widespread attention because they seem to strike a chord of empathy with viewers who recognized themselves as human beings challenged by a technological society. Also, they are the only creatures aware of their mortality. He is considered highly innovative because of his successful combining of technological methods to create his art. Sight Size: 13.5 x 11.75 in. Overall Size: 23.75 x 16.25 in. Framed behind glass.

George Sottung (American, 1927 - 1999) "Jazz Music Legends Band" Signed lower left. Original Oil painting on Illustration Board. 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. 29c Jazz Music stamp issued September 17, 1994. Derived from the term "blue note," a flatted third or seventh note in a chord where a major interval would be expected, the Blues is an offshoot of pre-Civil War ballads of work and sorrow. Eventually the music acquired a recognizable pattern characterized by a slow tempo and mournful melody. Among those credited with perpetuating the Blues are Ma Rainey, Billy Holiday, Howlin' Wolf and Muddy Waters. Jazz, another form of music that originated in America, was first played in the United States during the late 1800s. One of its most distinctive attributes is the use of improvisation, allowing singers and musicians to spontaneously perform their own versions of small segments of a Jazz song. Recording artists Mildred Bailey and Bessie Smith are just two of the pioneers who made great strides in the development of this truly American form of music. Image Size: 15 x 13.25 in. Overall Size: 22 x 19.25 in. Unframed. (B14803)

David K. Stone (American, 1922 - 2001) "Edwin Aldrin" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Edwin E. Aldrin, Jr. Commemorative Cover postmarked January 20, 1979. On July 20, 1969, Edwin Aldrin soared into the history books when he successfully piloted the Eagle lunar module. Born in Montclair, New Jersey, in 1930, Aldrin graduated from the United States Military Academy in 1951 and received his Doctor of Science from M.I.T. in 1963. As both a scholar and as a test pilot for the Air Force, he was especially qualified to become an astronaut in the NASA space program. On the Gemini XII flight in 1966, he established a new record for extravehicular activity, spending 5-1/2 hours outside the spacecraft. He also performed the first space rendezvous using on-board computations, and he made the first fully automatic reentry of a spacecraft. On the historic flight of Apollo XI, it was his great responsibility to place the Eagle lunar module safely and precisely on the moon's surface. Having completed man's first ascent on the moon, Aldrin and Armstrong maneuvered their lunar module to a rendezvous with command module pilot Michael Collins who had remained in lunar orbit in the Columbia. Aldrin's perfect performance in the difficult landing and docking feats helped assure the success of Apollo XI and is recorded forever in the annals of aerospace history. Image Size: 17.75 x 21 in. Overall Size: 22.25 x 25.25 in. Unframed. (B95376)

Tom McNeely (Canadian, B. 1935) "Olympics-Equestrian Events" Signed lower left. Original Watercolor painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This watercolor was published on the Fleetwood First Day Cover for the U.S. 15c Equestrian Events stamp issued September 28, 1979. The first Equestrian Olympic Competition was held at the Paris Games of 1900. Accomplished horsemen and their superbly-trained mounts competed in high jump, long jump and individual dressage events. As in all Olympic sports, riding has its great champions -- those who have mastered the correct combination of flexibility, dexterity and control that equestrian events demand. Successful horsemanship requires the rider to establish a genuine partnership with his mount, demonstrating a fine balance of firmness and gentleness in controlling the horse. The skills mastered by the Olympic equestrian are not soon diminished, and talented champions have returned to the games for repeat performances. The grueling three-day Olympic event begins with a dressage competition followed by an endurance test and ends with show-jumping. Equestrian competition in the Olympic Games is a dignified, regal and athletically demanding contest deservedly entitled the Sport of Kings. Image Size: 19.75 x 18 in. Overall Size: 30 x 22 in. Unframed. (B06012)

Wu Jiankun (Chinese, B. 1935) "Yellow Dragon Pool in Lushan Mountains" Stamped lower right. Original Mixed Media painting on Rice Paper Glued to Heavy Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the China 8fen Yellow Dragon Pool stamp issued July 20, 1981. Situated amid the serenity of soaring mountain peaks and fresh-scented pine forests is a testament to China's longstanding fascination with the mythical dragon: Yellow Dragon Pool. Known as lung, Chinese dragons, the gods of rain and water, also symbolized the power of the Emperor himself, the Son of Heaven. Dragons were often thought to serve as custodians of imperial treasures, as evidenced by the magnifient Nine-Dragon Wall guarding the royal Forbidden City in Peking. The Emperor T'ang, who ruled in 766 B.C., made a pottery figure of a dragon so that the clouds would come to his dry land. Thus, the Chinese saying "Earthen dragons cause the rain to come." The Duke of Cheh in the land of Chu apparently liked dragons since he had them painted on all his walls and trays. Tzu-kao, too, exclaimed how much he liked dragons and had them painted all over his house. When a dragon came to pay him a friendly visit, Tzu-kao was so frightened he is said to have tripped over the dragon's tail while trying to run away from it. The dragon did him no harm, however, and the following summer was unusually wet. When good emperors ruled, natural forces were thought to be in harmony with the Empire and thus, the rain fell at the right times and places. The Yellow Dragon Pool of the Lushan Mountains stands as a silent reminder of the Chinese fascination with this beautiful creature of myth and legend. Image Size: 16.25 x 13.5 in. Overall Size: 19.75 x 19 in. Unframed. (B06601)

Yan Bingwu (Chinese, B. 1954) & Yang Wenqing (Chinese, B. 1951) "Dung Beetle" Signed and stamped lower right. Original Watercolor on Silk/Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the 33c Dung Beetle Classic Collection Series stamp issued October 1, 1999. Dung Beetles belong to the Scarabaeidae family, one of the largest beetle families, with over 30,000 species. In ancient Egypt, these insects were believed to represent the sun and were considered sacred. Their images were depicted on Egyptian monuments, bas-reliefs, seals and jewelry. Egyptians believed a giant celestial scarab kept the Earth revolving, in the same way that the tiny ground scarab made its dung ball revolve. These scavenging insects occur in or near dung, manure and carrion. Using dung, they form a large ball much bigger than themselves, then roll it a certain distance before digging a hole beneath the ball. Once the ball drops into the hole, it's buried and serves as food for the Dung Beetle, who eats more than its weight in one day. At breeding time, a pair of male and female dung beetles roll and bury a large ball of dung. After reshaping it underground, the female lays an egg in the roll. The larva feeds on the ball and stays underground until it emerges from the pupal stage, then it makes its way to the surface. Known in the United States as tumblebugs, Dung Beetles are harmless insects that benefit man by keeping the ground fertile for planting. Size: 14.75 x 12 in. Unframed. (B16500)

Ren Yu (B. 1945) "Red Variegated Camellias" Signed middle right. Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Although it is native to the forests and gardens of the Far East, the Camellia has long been a favorite in the Western world as well. The first Camellias to be exported from China to England were probably owned by Lord Petre, a collector of rare plants. However, these flowers promptly died when planted in the warm conditions of a greenhouse. Occasionally, sailors from the British East India Company would bring the lovely Camellias home from their exciting voyages to the exotic East. Their tales of manicured gardens and brilliantly hued blossoms dangling pendant-like from forest trees no doubt painted vivid mental pictures for hopeful gardeners and quickened European interest in the elegant flowers. However, it took the enchanting novel La Dame aux Cam?lias to raise the flower to the romantic vogue it so long enjoyed in Europe. This enthralling book, based on a true story, tells the tale of Alphonsine Plessis, a girl loved by both the composer Liszt and the novel's author Dumas. When the young woman, who often wore Camellias in her hair, died at the age of twenty-two, heartbroken mourners covered her grave with her favorite blossom. Soon, Camellias became the rage in Europe and many flower dealers made their fortunes speculating in new species. The Camellia was first introduced in the United States in 1797. Over the years, the blossoms have become just as popular here as they were in Europe. Image Size: 9.25 x 10.75 in. Overall Size: 14.25 x 15.75 in. Unframed. (B05689)

Ren Yu (B. 1945) "Chrysanthemum Petal" Signed middle right. Original Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Although it is native to the forests and gardens of the Far East, the Camellia has long been a favorite in the Western world as well. The first Camellias to be exported from China to England were probably owned by Lord Petre, a collector of rare plants. However, these flowers promptly died when planted in the warm conditions of a greenhouse. Occasionally, sailors from the British East India Company would bring the lovely Camellias home from their exciting voyages to the exotic East. Their tales of manicured gardens and brilliantly hued blossoms dangling pendant-like from forest trees no doubt painted vivid mental pictures for hopeful gardeners and quickened European interest in the elegant flowers. However, it took the enchanting novel La Dame aux Cam?lias to raise the flower to the romantic vogue it so long enjoyed in Europe. This enthralling book, based on a true story, tells the tale of Alphonsine Plessis, a girl loved by both the composer Liszt and the novel's author Dumas. When the young woman, who often wore Camellias in her hair, died at the age of twenty-two, heartbroken mourners covered her grave with her favorite blossom. Soon, Camellias became the rage in Europe and many flower dealers made their fortunes speculating in new species. The Camellia was first introduced in the United States in 1797. Over the years, the blossoms have become just as popular here as they were in Europe. Image Size: 9.25 x 10.75 in. Overall Size: 14.25 x 15.75 in.. Unframed (B05668)

Exhibited Antique Russian Icon, "Feodor Mother of God". Tempera/wood. This icon takes its name from Saint. Theodore (Feodor) Stratilates. At the beginning of the 12th century, the original Mother of God icon is said to have been kept in a chapel in the town of Kitezh. Later when the Tartar Batu Khan ravaged the countryside, the icon miraculously survived and was seen by Prince Vasilii of Kostroma in 1239 during a hunt. The prince found the icon hanging on the branch of an evergreen tree. When the icon was finally secured, it was recognized as the same image seen carried through the town by a mysterious warrior who looked like Saint Theodore; thus, the icon received its name. This icon is associated with Mikhail Feodorovich Romanov, Tsar of the Romanov Dynasty. The bare left leg of the Christ Child characterizes this particular icon type. The border saints are (left) the unmercenary physician Kozmas and (right) and Saint Anna. Size: 14 x 13 in. Previous Exhibitions:Brevard Museum of Art (Foosaner Art Museum), Melbourne, FLSept - Nov 1994Pensacola Museum of Art, Pensacola, FLNov 1995 - Jan 1996Hearst Center for the Arts, Cedar Falls, IADec 1996 - Jan 1997Durham Western Heritage Museum, Omaha, NEMarch - May 1998Biblical Arts Center, Dallas, TXDec 1998Visual Arts Center of Northwest Florida, Panama City, FLDec 1998 - Jan 1999Gallery at the American Bible Society, New York, NYJune - Oct 1999Samuel P. Harn Museum of Art, Gainesville, FLAug 2000 - Jan 2001Museum of Fine Arts, Springfield, MAFeb - May 2001Loveland Museum and Gallery, Loveland, COJan - March 2002Gallery at the American Bible Society, New York, NYApril - June 2002Lauren Rogers Museum of Art, Laurel, MSOct - Nov 2002Albin Polasek Museum and Sculpture Garden, Winter Park, FLApril - June 2004Hearst Art Gallery as St. Mary’s College, Moraga, CANov - Dec 2004Albin Polasek Museum and Sculpture Garden, Winter Park, FLOct 2013 - April 2014

Exhibited Antique Russian Icon, "Feodor Mother of God". Tempera/wood. This icon takes its name from Saint. Theodore (Feodor) Stratilates. At the beginning of the 12th century, the original Mother of God icon is said to have been kept in a chapel in the town of Kitezh. Later when the Tartar Batu Khan ravaged the countryside, the icon miraculously survived and was seen by Prince Vasilii of Kostroma in 1239 during a hunt. The prince found the icon hanging on the branch of an evergreen tree. When the icon was finally secured, it was recognized as the same image seen carried through the town by a mysterious warrior who looked like Saint Theodore; thus, the icon received its name. This icon is associated with Mikhail Feodorovich Romanov, Tsar of the Romanov Dynasty. The bare left leg of the Christ Child characterizes this particular icon type. The border saints are (left) the unmercenary physician Kozmas and (right) and Saint Anna. Size: 14 x 13 in. Previous Exhibitions:Brevard Museum of Art (Foosaner Art Museum), Melbourne, FLSept - Nov 1994Pensacola Museum of Art, Pensacola, FLNov 1995 - Jan 1996Hearst Center for the Arts, Cedar Falls, IADec 1996 - Jan 1997Durham Western Heritage Museum, Omaha, NEMarch - May 1998Biblical Arts Center, Dallas, TXDec 1998Visual Arts Center of Northwest Florida, Panama City, FLDec 1998 - Jan 1999Gallery at the American Bible Society, New York, NYJune - Oct 1999Samuel P. Harn Museum of Art, Gainesville, FLAug 2000 - Jan 2001Museum of Fine Arts, Springfield, MAFeb - May 2001Loveland Museum and Gallery, Loveland, COJan - March 2002Gallery at the American Bible Society, New York, NYApril - June 2002Lauren Rogers Museum of Art, Laurel, MSOct - Nov 2002Albin Polasek Museum and Sculpture Garden, Winter Park, FLApril - June 2004Hearst Art Gallery as St. Mary’s College, Moraga, CANov - Dec 2004Albin Polasek Museum and Sculpture Garden, Winter Park, FLOct 2013 - April 2014

Dean Ellis (New York, 1920 - 2009) "Tropical Fish" Signed lower right. Original Oil on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The world's tropical waters teem with spectacular marine life whose beauty continually delights those fortunate enough to observe, firsthand, nature's breathtaking display. Many tropical fish and other sea creatures, however, thrive in home aquariums that re-create the natural habitat of tropical marine life. Aquariums are not only enjoyed by hobbyists, but are also useful research tools for marine biologists, who study these amazing creatures for various scientific purposes. Image Size: 21 x 16.75 in. Overall Size: 24.5 x 21 in. Unframed. (B13834)

Skip Whitcomb (American, B. 1946) "Fishing Boat Tied Up" Signed lower right. Original Watercolor 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 for the 19c Fishing Boat Coil issued June 25, 1994. "I never lost a little fish - yes, I am free to say it always was the biggest fish I caught that got away." Poet Eugene Field's words still ring true today, a century after they were originally penned, for modern fishermen continue to boast about immense catches that consistently seem to wriggle off the hook. Typically, prize catches are found in deeper waters, far from shore. To pursue such creatures, fishing from boats is essential. Throughout the world, such vessels are vital to those who depend upon the fruits of the sea for their survival and livelihood. In Canada and throughout Polynesia, for example, canoes are among the most popular watercraft used for fishing. Relatively unchanged from those once fashioned by early inhabitants, these time-honored boats continue to carry modern fishermen to areas beyond the casting range of shore anglers. Another craft commonly used for plying offshore waters is a rowboat. These small vessels are easily maneuvered in places such as sandbanks and shallow stretches of sunken mud, where fish gather to feed on worms, dead crabs and even smaller fish. Image Size: 15.75 x 13.5 in. Overall Size: 18 x 16 in. Unframed. (B12955)

Ron Sloan (American, B. 1950) "U.S. Flag Behind Capitol" Signed lower right. Original Mixed Media 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 22c Flag Over Capitol stamp issued March 29, 1985. For more than two hundred years, the American Flag has reflected the growth and glory of the United States. It has stood as the proud symbol of the American people's hard-won freedoms, hopes, and aspirations. With its broad stripes and field of bright stars, it has recorded the expansion of the American domain from the eastern seaboard . . . to the shores of the Arctic Ocean . . . to the tropical waters of the mid-Pacific. Indeed, this one Flag has reflected the achievements and shared the sorrows of the United States of America. Although it is well understood what the Flag of the United States represents, the exact origins of this proud Banner are clouded in legend and romantic tradition. One story that caught the popular imagination concerns a Philadelphia seamstress named Betsy Ross who made flags during the Revolutionary War. Legend has it that this young widow created the first American Flag at the request of George Washington. While it is known that Betsy Ross was a flag maker, most historians discount this charming and popular tale of the first American Flag. Better evidence credits Francis Hopkinson -- a signer of the Declaration of Independence -- as the designer of the first Flag of the United States. Whatever the origins, the Star-Spangled Banner remains, even today, a cherished emblem of the American people. Image Size: 17.5 x 16.25 in. Overall Size: 25.5 x 19.75 in. Unframed. (B09455)

Tom McNeely (Canadian, B. 1935) "Great American Indian Chiefs" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood United State First Day Cover. The American Indian. Iroquois ... Seminole ... Apache ... Sioux ... these are just a few of the Native American tribes and nations that developed their own cultures and ways of life long before the white man discovered the "New World." The Indians' history is as rich and varied as the histories of the many different peoples who later inhabited our land. Indian art, Indian values, reverence for nature, and Indian culture influence America even today -- and provide a rich heritage for all Americans to share. This magnificent artwork depicts four famous Indian chiefs -- Sitting Bull, Crazy Horse, Red Cloud and Chief Joseph. Image Size: 17.75 x 17.25 in. Overall Size: 30 x 22.25 in. Unframed. (B12172)

Ed Vebell (American, 1921 - 2018) "Santa Fe Trail" 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. The first of the great trails West was the Santa Fe. As early as 1619, Spain had made the little mission town of Santa Fe the capital of New Mexico, and zealously guarded it against intrusion by Americans. Then in 1821, Mexico won independence from Spain, all was changed: the new government welcomed American traders -- and textiles, tools, weapons and money -- in exchange for silver, furs and wool. It was an early explorer, William Becknell, who first marked out one of the several trails to Santa Fe, from Independence, Missouri to the Great Bend of the Arkansas, then to the Rockies and south across the Cimarron Desert to Santa Fe. Not until the acquisition of New Mexico by the United States did trade with Santa Fe become important. Scores of traders, muleteers and "bullwackers" wound their way across the plains and into the country of the Indians. The discovery of gold in California gave new life to the Santa Fe Trail, for it was an alternate route to the Pacific. The trail reached its greatest days in the 1860s when over 2,500 wagons, with over three thousand men and women and almost thirty thousand oxen made the venture in one season. It came to an end in 1880 when the Santa Fe Railroad was completed. Perhaps, in the long run, its greatest contribution was to the American imagination and American literature. Image Size: 20 x 21.25 in. Overall Size: 26.5 x 27.5 in. Unframed. (B06710)

Ed Vebell (American, 1921 - 2018) "First Pony Express" 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. In all history no nation ever expanded as rapidly as the new United States. Railroads reached the Mississippi River as early as 1850, but it would take another twenty years before they linked the Atlantic to the Pacific. With the eruption of Civil War it became essential to have a speedier link between Washington and California than that supplied by the Overland Stagecoach, or ships sailing around the Strait of Magellan. The freight firm of Russell, Majors and Waddell took up the challenge in the spring of 1860 when it launched the "Pony Express." The exploits of the Pony Express in carrying mail across 1800 miles of wilderness caught -- and held -- the imagination of the American people. And well it might! To accomplish this perilous task, the firm bought hundreds of fast Indian ponies; hired daredevil riders, such as the legendary William "Buffalo Bill" Cody, who, at the tender age of fourteen, covered some 320 miles in a mere twenty-one hours; and built some 150 way stations where fresh ponies and riders awaited those who came racing in. Traveling day and night, across trackless desert and forbidding mountains, inhabited only by hostile Indians, the intrepid riders covered the distance between St. Joseph, Missouri and Sacramento, California in ten days. In the eighteen months of its history, the Pony Express missed only one trip. Alas for the enterprising freight firm of Russell, Majors and Waddell, telegraph lines joined Mississippi and California in October 1861. Image Size: 19.75 x 21 in. Overall Size: 24.25 x 26.75 in. Unframed. (B06112)

Arthur Singer (New York, 1917 - 1990) "Rhode Island Red and Violet" Signed lower right. Original Watercolor 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 20c Rhode Island: Rhode Island Red and Violet stamp issued on April 14, 1982. Rhode Island Red - In Adamsville, Rhode Island, there is a monument to the Rhode Island Red, the famous bird with fan clubs as far away as India and Australia. Known throughout the world, the Rhode Island Red breed of poultry traces its ancestry back to a farm in Little Compton in the year 1854. This is the hen that gave the poultry industry to the world when it replaced the scrawny barnyard fowl. It is well-known for its succulent meat as well as for high-quality egg-laying. The Red's profile decorates veteran's caps, the doorways of a Rhode Island association of grocers, and is used to illustrate letterheads and programs. When traveling, many of the state's citizens wear a Rhode Island Red lapel pin. Violet - Garden Violets are generally hybrids and may be purple, blue, yellow, white, or combinations of these, sometimes with double flowers and heart-shaped leaves. The Violet has long been regarded as a symbol of modesty. Followers of Napoleon, who promised to return from Elba with Violets in the spring, used the blossom as a badge. Various species, particularly the sweet Violet, have been used for perfume, dye, and medicine. Though in winter a Violet seems to disappear, it does not die. The root-stock shrinks, but with the coming of spring it sprouts anew. Violets have five petals, one upper pair and another pair separated by a broader petal. Image Size: 13.75 x 11.75 in. Overall Size: 19.5 x 17.5 in. Unframed. (B05078)

Dennis Lyall (American, B. 1946) "Desert Storm Triumph Parade" 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 8, 2002. On August 2, 1990, Iraqi President Saddam Hussein -- the Iraqi tyrant greedy for domination of the Middle East -- launched a brutal assault on the tiny, defenseless country of Kuwait. In response to Hussein's naked aggression, U.S. President George Bush initiated Operation Desert Shield -- a unilateral mobilization of both active and reserve military forces to Saudi Arabia. On January 16, the day after a United Nations deadline directing Hussein to withdraw from Kuwait, word came. Operation Desert Storm -- the liberation of Kuwait -- had begun. For the next forty-three days, more than half a million American sons and daughters from all five branches of service -- the Air Force, Navy, Army, Marines and Coast Guard -- battled an implacable enemy. Vastly outnumbered, they fought valiantly and achieved one stunning victory after another. On February 28, Saddam Hussein -- his heinous war machine decimated and his army in rout -- capitulated. This artwork is dedicated to the Heroes of Desert Storm, the brave men and women who did the hard work of freedom in January and February 1991 and is a magnificent tribute to our Armed Forces, who answered the call to arms and braved a merciless despot to sever the shackles of oppression in Kuwait. Image Size: 15 x 12.75 in. Overall Size: 18.5 x 16 in. Unframed. (B16965)

Howard Koslow (1924 - 2016) "Tomb of the Unknowns" Signed lower left. Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was originally published on the Fleetwood Commemorative Proofcard for America's Greatest Military Heroes series, postmarked November 11, 1993. The "Tomb of the Unknowns" is, perhaps, the most sacred shrine to military heroes in the country. Originally designated the Tomb of the Unknown Soldier, this monument was built to honor all American soldiers killed during wars in the 20th century. The monument was established in March, 1921 when Congress, following the custom of European countries, approved the building of a national shrine to honor soldiers who could not be identified after they died in World War I. The first Unknown Soldier died in Europe during that war. He was selected on October 23, 1921, from among four unidentified American soldiers who were to be buried in military cemeteries in France. The shrine's name was changed in 1958 to the "Tomb of the Unknowns" when two servicemen, one killed in World War II and the other from Korea were interred. Since then, an American soldier who fought in Vietnam has also been interred. The Tomb has a perpetual honor guard by a member of the Sentinels of The Old Guard. A Sentinel is always there, in light or dark, eyes straight ahead, uniform immaculate. He paces back and forth while swiftly moving through the manual of arms: 21 paces south, left face, 21 seconds, left face, left shoulder arms, about face and so on. The 21 paces and seconds are symbolic of the 21-gun salute, the military's highest honor. Image Size: 13.75 x 12 in. Overall Size: 20.25 x 18 in. Framed behind glass. (B10468)

Dennis Lyall (American, B. 1946) "Statue of Liberty #2" Signed lower left. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Fleetwood Mint Stamps of the World Statue of Liberty Centennial Collectors Panel produced July 4, 1986. The Lady, the Goddess, Miss Liberty -- she has been called many names, but she has always been the symbol of freedom. Our grand Lady of the Harbor evokes the hopes and dreams of all those who gaze upon her brilliant face and flock to her open shores. The Statue was a gift from France to the people of the United States -- whose striving for liberty and social justice helped inspire the French in their own search for liberty. To help bring the vision of the statue to reality, the French government enlisted the help of a young sculptor, Frederic Auguste Bartholdi. Initially given the name Liberty Enlightening the World, Bartholdi envisioned the statue to embody the everlasting spirit of Liberty, which would serve as an inspiration for all nations, for all peoples, for all times. After experimenting with several models, Bartholdi revealed the statue in her final form: a serene but forceful woman in classical garb, with an upheld torch of freedom, a crown of radiant light, with chains of bondage broken at her feet, and a sacred tablet inscribed with the date of the Declaration of Independence. Since her dedication in 1886, the Statue of Liberty has stood proudly in New York Harbor, beckoning the thousands of immigrants from faraway lands to her free and prospering shores. The story of over one hundred million Americans literally cannot be told apart from the story of the Statue of Liberty. Image Size: 26 x 21 in. Overall Size: 29.75 x 23.5 in. Unframed. (B10370)

Shannon Stirnweis (Arizona, New York, New Hampshire Oregon, B. 1931) "Statue of Liberty" Signed lower right. 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 Cover for the U.S. 22c Statue of Liberty Stamp issued July 4, 1986. The Lady, the Goddess, Miss Liberty -- she has been called many names, but she has always been the symbol of freedom. Our grand Lady of the Harbor evokes the hopes and dreams of all those who gaze upon her brilliant face and flock to her open shores. The Statue was a gift from France to the people of the United States -- whose striving for liberty and social justice helped inspire the French in their own search for liberty. To help bring the vision of the statue to reality, the French government enlisted the help of a young sculptor, Frederic Auguste Bartholdi. Initially given the name Liberty Enlightening the World, Bartholdi envisioned the statue to embody the everlasting spirit of Liberty, which would serve as an inspiration for all nations, for all peoples, for all times. After experimenting with several models, Bartholdi revealed the statue in her final form: a serene but forceful woman in classical garb, with an upheld torch of freedom, a crown of radiant light, with chains of bondage broken at her feet, and a sacred tablet inscribed with the date of the Declaration of Independence. Since her dedication in 1886, the Statue of Liberty has stood proudly in New York Harbor, beckoning the thousands of immigrants from faraway lands to her free and prospering shores. The story of over one hundred million Americans literally cannot be told apart from the story of the Statue of Liberty. Image Size: 17.5 x 15 in. Overall Size: 21.75 x 18.75 in. Unframed. (B10255)