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Bea Denton Out of Darkness ii, 2021 Digital Print on Hahnemühle Signed verso 15 x 10cm (5¾ x 3¾ in.)   Bea Denton's practice explores ideas around death and loss, faith and ritual. Photography, printmaking, found materials and lost images are intrinsic to her creative process. Pushing the boundaries of the technical and physical limitations of photography, her work transcends its realist conventions to achieve a deeper resonance. Denton is a collector and archivist of anonymous lives, departed and reincarnated, in pursuit of an essence in the image: the 'soul'. In her examination of faith and death, Denton attempts to find meaning and dimension through the imprint of time, light and phenomena. In a circuitous process, found images are penetrated, interrogated and excavated through alternate layers of photography, projection, recaptured from the lens of a Camera Obscura, from there back to photography and finally to print. The resulting enigmatic, dislocated images challenge a traditional idea of photography as a faithful record of reality, and instead explore the nature of perception, belief and memory.   Education   Denton graduated from UAL with Distinction in MA Fine Art Printmaking.   Exhibitions/Awards   She has exhibited widely, including publicly-sited work. She won the 2009 Creekside Open prize selected by Jenni Lomax; the 2007 Deptford X MacDonald Egan Award for Public Art, and the 2002 Ardizzone Prize (Major) for Printmaking. Denton has taught at AUB, UAL and in Brazil and China, and is a Trustee for Lewisham Education Arts Network (LEAN). www.beadenton.com / Instagram: Bea_Denton_Art   MA Fine Art Printmaking (Distinction) / University of the Arts London   Selected Exhibitions 2020 A Personal Perspective curated by Liz May / APT Gallery, London RA Summer/Winter Exhibition 2020 Woolwich Contemporary Print Fair National Brain Appeal - Everyday Things 2019 Creekside Open 2019 curated by Sacha Craddock RA Summer Exhibition 2019 National Brain Appeal - A Letter in Mind 2018 RE Masters / Bankside Gallery, London 2016 Ladies and Gentlemen / The Bawden Kingston tile project / Kingston Guildhall and Morley College 2014 PBA Gallery / Featured Artist / London 2012 Occupy My Time / Past and Present RA Summer Exhibition 2012 2009 Creekside Open 2009 selected by Jenni Lomax (Award winner) 2008 Cupboard Love / Site specific work / Greenwich Foot Tunnel (south side), London Electric Blue / Bargehouse Gallery (Oxo Tower), London RA Summer Exhibition 2008 2007 Via Dolorosa / site specific installation / Ha'Penny Hatch Bridge, Deptford (Winner - McDonald Egan Award for Public Art) 100% Glass / Three White Walls Gallery, Birmingham On Earth as it is... / Solo show / Bearspace and Renewal Gallery, London 2006 WhereNow / Six of One group of artists / APT Gallery, London 2005 Sculpture in Gardens / Godington House, Kent 2004 Glass Inspiration / British Glass / Burgdorf, Switzerland Where / Six of One group of artists / The Menier Gallery, London British Glass Biennale / International Festival of Glass Challenge the Nail / Salon Des Arts, London 2003 Art in Heaven / The Meeting House, Sussex University Campus Prints inspired by Poetry / 20:21 Visual Arts Centre, N. Lincolnshire Impact 2003 / Do-Don't/Can-Can't Michaelis School of Fine Art at the University of Cape Town / Rhodes University School of Fine Art, South Africa 2001 Imagining the body; The Figure as a container of experience / Kala Bhavana, Shantiniketan India, The National Art School Sydney Australia and Camberwell College of Art   Awards 2002 The Ardizzone Prize (Major) for Printmaking 2007 The MacDonald Egan Award for Public Art (Via Dolorosa) 2009 Creekside Open 2009 Prize selected and awarded by Jenni Lomax Teaching   2019 Head of School, Preparation for Higher Education, Arts University Bournemouth 2018 Programme Leader, FE Programmes / Escola Britânica de Artes Criativas, Brazil 2017 Curriculum Coordinator / Pathway Leader (Fine Art) Central Saint Martins.   About the postcard artworks   In this work for Art On A Postcard, I have considered resilience inherent in women, exemplified by The Virgin Mary, whose part in the birth of Christ was distinguished by steadfastness, strength, grief and absolute faith. The ephemeral shadow of her stone effigy captured by half-light alludes to these characteristics of resilience; an image revealed by the brilliance of light seeping into darkness, and fixing its place in the soul."

Bea Denton Out of Darkness iii, 2021 Digital Print on Hahnemühle Signed verso 15 x 10cm (5¾ x 3¾ in.) Bea Denton's practice explores ideas around death and loss, faith and ritual. Photography, printmaking, found materials and lost images are intrinsic to her creative process. Pushing the boundaries of the technical and physical limitations of photography, her work transcends its realist conventions to achieve a deeper resonance. Denton is a collector and archivist of anonymous lives, departed and reincarnated, in pursuit of an essence in the image: the 'soul'. In her examination of faith and death, Denton attempts to find meaning and dimension through the imprint of time, light and phenomena. In a circuitous process, found images are penetrated, interrogated and excavated through alternate layers of photography, projection, recaptured from the lens of a Camera Obscura, from there back to photography and finally to print. The resulting enigmatic, dislocated images challenge a traditional idea of photography as a faithful record of reality, and instead explore the nature of perception, belief and memory.   Education   Denton graduated from UAL with Distinction in MA Fine Art Printmaking.   Exhibitions/Awards   She has exhibited widely, including publicly-sited work. She won the 2009 Creekside Open prize selected by Jenni Lomax; the 2007 Deptford X MacDonald Egan Award for Public Art, and the 2002 Ardizzone Prize (Major) for Printmaking. Denton has taught at AUB, UAL and in Brazil and China, and is a Trustee for Lewisham Education Arts Network (LEAN). www.beadenton.com / Instagram: Bea_Denton_Art   MA Fine Art Printmaking (Distinction) / University of the Arts London   Selected Exhibitions 2020 A Personal Perspective curated by Liz May / APT Gallery, London RA Summer/Winter Exhibition 2020 Woolwich Contemporary Print Fair National Brain Appeal - Everyday Things 2019 Creekside Open 2019 curated by Sacha Craddock RA Summer Exhibition 2019 National Brain Appeal - A Letter in Mind 2018 RE Masters / Bankside Gallery, London 2016 Ladies and Gentlemen / The Bawden Kingston tile project / Kingston Guildhall and Morley College 2014 PBA Gallery / Featured Artist / London 2012 Occupy My Time / Past and Present RA Summer Exhibition 2012 2009 Creekside Open 2009 selected by Jenni Lomax (Award winner) 2008 Cupboard Love / Site specific work / Greenwich Foot Tunnel (south side), London Electric Blue / Bargehouse Gallery (Oxo Tower), London RA Summer Exhibition 2008 2007 Via Dolorosa / site specific installation / Ha'Penny Hatch Bridge, Deptford (Winner - McDonald Egan Award for Public Art) 100% Glass / Three White Walls Gallery, Birmingham On Earth as it is... / Solo show / Bearspace and Renewal Gallery, London 2006 WhereNow / Six of One group of artists / APT Gallery, London 2005 Sculpture in Gardens / Godington House, Kent 2004 Glass Inspiration / British Glass / Burgdorf, Switzerland Where / Six of One group of artists / The Menier Gallery, London British Glass Biennale / International Festival of Glass Challenge the Nail / Salon Des Arts, London 2003 Art in Heaven / The Meeting House, Sussex University Campus Prints inspired by Poetry / 20:21 Visual Arts Centre, N. Lincolnshire Impact 2003 / Do-Don't/Can-Can't Michaelis School of Fine Art at the University of Cape Town / Rhodes University School of Fine Art, South Africa 2001 Imagining the body; The Figure as a container of experience / Kala Bhavana, Shantiniketan India, The National Art School Sydney Australia and Camberwell College of Art   Awards 2002 The Ardizzone Prize (Major) for Printmaking 2007 The MacDonald Egan Award for Public Art (Via Dolorosa) 2009 Creekside Open 2009 Prize selected and awarded by Jenni Lomax Teaching   2019 Head of School, Preparation for Higher Education, Arts University Bournemouth 2018 Programme Leader, FE Programmes / Escola Britânica de Artes Criativas, Brazil 2017 Curriculum Coordinator / Pathway Leader (Fine Art) Central Saint Martins.   About the postcard artworks   In this work for Art On A Postcard, I have considered resilience inherent in women, exemplified by The Virgin Mary, whose part in the birth of Christ was distinguished by steadfastness, strength, grief and absolute faith. The ephemeral shadow of her stone effigy captured by half-light alludes to these characteristics of resilience; an image revealed by the brilliance of light seeping into darkness, and fixing its place in the soul."

Bunyan (John). The Pilgrim's Progress from this World to that which is to come ... The Nineteenth Edition, with Additions of New Cuts [... The Second Part ... The Tenth Edition, with Addition of Five Cuts], 2 volumes, London: for M. Boddington [volume 2: for N. and M. Boddington], 1718 & 1717, engraved portrait frontispiece to each volume, woodcuts throughout, light browning, a few marks, volume 1 without final advertisement leaf, contemporary manuscript genealogy to frontispiece recto, volume 2 closely trimmed at head and foot frequently cropping headlines, catch-words and the bottom line of text, frontispiece laid down, uniform late 19th or early 20th century sheep by Birdsall and Son, 12mo (14.1 x 8.4 cm), together with: Malvezzi (Virgilio). Romulus and Tarquin. First written in Italian. And now taught English by H. Ld Cary of Lepington, the Second Edition, London: by J. H. for John Benson, 1638, engraved title-page, lacking signature N1, closely trimmed frequently shaving box-rules, a few marks and stains, bookplate (Thomas Holley FSA), contemporary marbled boards, rebacked, 12mo (12.9 x 7.2 cm), Keach (Benjamin). The Progress of Sin; or the Travels of Ungodliness, wherein the Pedigree, Rise (or Original) Antiquity, Subtilty, Evil Nature, and prevailing Power of Sin, is fully Discovered; in an apt and Pleasant Allegory, 1st edition, London: for John Dunton, 1684, engraved frontispiece repaired in fore margin, lacking signatures E6-7, browning, a few marks, contemporary calf, rebacked (and tightly bound in the process), 12mo (14 x 8 cm), and 7 others (not collated): Keach, War with the Devil, New Edition, Leeds, 1795; Quarles, Boanerges and Barbanas, 6th edition, 1664 (with engraved portrait); The Oxford Sausage, A New Edition, [1780?]; Owen's Book of Fairs, 6th edition, [1756?]; A Collection of Occasional Papers for the Year 1716, 1716; Maurice, An Impartial Account of Mr John Mason of Water-Stratford and his Sentiments, 1st edition, 1695 (title-page badly frayed and soiled, modern boards); and Cowper, Poems, New Edition, 2 volumes, 1800Qty: (12)NOTESESTC T58896 (Bunyan, volume one: ten copies world-wide), T58926 (Bunyan, volume two: two copies world-wide) S111908 (Malvezzi: four copies in UK libraries) R11998 (Keach, The Progress of Sin: four UK copies); STC 17220 (Malvezzi); Wing K80 (Keach, The Progress of Sin).

Don Balke (North Carolina, B. 1933) "The Wetlands" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day of Issue Postal Card for the U.S. 15c America the Beautiful, The Wetlands, issue of March 17, 1989. America's wetland swamp areas are a soggy-but-splendid, fertile-but-fragile cornucopia of plant and wildlife. One such area is Georgia's legendary Okefenokee Swamp Park. It is also among the largest and most primitive of the American wetlands. Covering over six hundred fifty square miles, it serves as the headwaters for the Suwanee and St. Mary's Rivers. Set aside in 1937 as a National Wildlife Refuge by President Franklin Roosevelt, Okefenokee is home to more than two hundred species of birds, fifty species of reptiles, forty species of mammals and thirty-two species of amphibians. The American alligator, the Florida panther and the bald eagle are among the endangered species that frequent the area. Referred to as America's greatest natural botanical garden, Okefenokee Swamp was cited in 1986 as a Wetland of International Importance, only the fourth area so designated in the United States. Okefenokee comes from a Native American word meaning "land of trembling earth. " Though the name alludes to the shaky swamp floor made of layers of centuries-old vegetation, it is also an apt description of the precarious state of the American wetlands. Up to four hundred fifty thousand acres are lost every year, mainly due to drainage for human use and urbanization. Image Size: 14.75 x 13 in. Overall Size: 20 x 21.75 in. Unframed. (B11905)

1934 Frazer Nash TT ReplicaCoachwork by AFN LtdRegistration no. AMT 411 Chassis no. 2109*Listed in Thirlby's 'The Chain-drive Frazer Nash'*Present enthusiast ownership for over 55 years*Known ownership history from new*Restored in 1967*Recently re-commissioned by Blakeney MotorsportFootnotes:In the current enthusiast ownership for over 55 years, 'AMT 411' is listed in David Thirlby's authoritative work, 'The Chain-drive Frazer Nash'. The car was delivered on 13th February 1934 to Hugh Hunter, a well-known Brooklands competitor who owned and raced a 2.9-litre Alfa Romeo, a single-seater Alta, and a BMW 328. This is worth mentioning since it reflects the quality of the Nash in so far as showing that a man that could afford the best bought one. Hunter specified various 'extras' for his car, which was delivered with the 1,500cc six-cylinder Blackburne engine. 'AMT 411' was featured in The Autocar magazine (23rd March 1934 edition, copy article on file), being described as of striking appearance, 'chiefly because of its uncommon colour scheme, which is golden brown with cherry-red upholstery'. The Autocar noted the following interesting features: Elektron cooling ribs to the brake drums; large Bosch headlamps and spotlights; Scintilla Vertex magneto ignition; an additional (emergency) hand-operated fuel feed system; a Burgess silencer; and adjustable hydraulic shock absorbers at the rear. A photograph on file shows Hunter at the wheel of 'AMT 411', which is adorned with an impressive array of club badges. Hunter drove and enjoyed the 'Nash for many years, including using it for European tours with his family. Photographs on file show 'AMT 411' in Ypres, Belgium and in London. In 1948 Hunter sold the 'Nash to R J C Waterlow, who kept it until 1955. In his ownership the original Blackburne engine was removed and a V8 of unknown origin fitted in its place. 'AMT 411' passed through the hands of Ron Truscott, E J Humby, Stevenson and Lovell and at some time between 1955 - 1965 the car was fitted with the current correct-type Meadows 4ED engine. The recently deceased owned, Ian Trainer, bought the 'Nash in the early 1960s. A wonderful scrapbook accompanies the car, a truly fantastic piece of Frazer Nash history recording Mr Trainer's exploits with the 'Nash from 1965 to 2004. This includes photographs of the 1967 restoration that he undertook himself together with those taken at the many VSCC events in which it competed and the famous 1969 Frazer Nash Car Club Raid to Bolzano in the Dolomites. Trainer used the 'Nash extensively in England and Europe much like Hunter. Competition trips included the infamous Nordschleife circuit; the Dutch International hill climb at Vaals; and competition amongst 'Nash men up the Stelvio pass. A rather apt photograph from Silverstone in April 1968 shows the 'Nash overtaking a blown Bugatti Type 55 - both legends of the road, although that day the 'Nash won. Having been off the road for at least the last 10 years, 'AMT 411' has recently been re-commissioned by marque specialists Blakeney Motorsport. A replacement magneto has been fitted and a full fluid service, check over and set-up carried out. The car is now running and driving well although the clutch is almost worn out; it would also be advisable to fit new wheels and tyres plus rewire the car as the electrical cables are those installed in 1967. We offer for auction 'AMT 411' for the first time in over half a century by the executers of the late Ian Trainer. Other than the aforementioned scrap book there is no other paperwork included in the sale. A replacement V5C Registration Certificate has been applied for. The Automobile magazine will be publishing a road-test article on the car in their March 2021 edition. A copy will be included for the fortunate new custodian. Rarely do so such correct Frazer Nash TT Replicas come to the market. 'AMT 411' - a real gem.To view a video of this lot please click hereFor further information on this lot please visit Bonhams.com

Bible [English]. The Holy Bible, Containing the Old Testament, and the New: Newly Translated out of the Original Tongues: and with the former Translations diligently compared and revised, by his Maiesties speciall commandement. Imprinted at London by Robert Barker, 1613, general title and New Testament (dated 1614) titles within decorative woodcut borders (both with some old ink marks and annotations, very slightly trimmed, and both now encased in laminated clear plastic), Book of Common Prayer bound at front (defective, with some soiling and lacking all leaves before A6), double-column black letter text, occasional light soiling and ink marks (margins generally intact), bound with Two right profitable and fruitfull Concordances, or large and ample Tables Alphabeticall..., London: Christopher Barker, Printer to the Queenes Maiestie, no date, defective at end, also bound with at rear The Whole Booke of Psalmes. Collected into English Meeter, by Thomas Sternehold, John Hopkins, and others, conferred with the Hebrew, with apt Notes to sing them withall..., London: Company of Stationers, 1618, title encased in laminated clear plastic, incomplete at rear lacking H1-2 and all after H5, some handling marks and soiling throughout volume, later (18th century?) full mottled plain calf, spine with thin horizontal gilt rules, some wear to joints with neat old repairs, 4to, leaf size 207 x 154 mmQty: (1)NOTESHerbert 331; STC 2230. With "she" in Ruth 3:15.

John Cosmo Clark (18897-1967) - Midday Apt Provence - gouache, signed & dated 1858 lower right, RWS and letter to verso, framed & glazed, 43 by 30cms (17 by 12ins).

The Hat - Anxiety, oil on panel triptych, the centre panel 82 x 58cm, outer panels each 82 x 33.5cm.Note: 100% of the hammer price will be donated to the charity. ‘Suffolk Banksy’ painting donated to the Zoological Society of East Anglia goes up for auction The Zoological Society of East Anglia, the charity which runs Banham Zoo in Norfolk and Africa Alive! in Suffolk, is putting up for auction the artwork donated to them by the elusive Suffolk artist, ‘The Hat’.‘Anxiety’, an exclusive and stunning triptych painting by the artist, otherwise known as the ‘Suffolk Banksy’ was left at the gates of Banham Zoo under the cover of darkness while the zoo was closed to the public during lockdown one. It is widely speculated that the artist behind the anonymous moniker is global superstar, Ed Sheeran, although this claim is refuted by his team.Claudia Roberts, Managing Director, said: “Thank you to ‘The Hat’ for such a kind and generous gesture during our time of need. ‘Anxiety’ is a magnificent painting that would make a beautiful addition to any home or private collection – its name is also quite apt given our charity’s circumstances over the last eight months. Part of the charity’s ethos is to provide opportunities to increase social wellbeing through the proven connection between wellbeing, animals and nature”. The Zoological Society of East Anglia (ZSEA) set up a new fundraising campaign when the pandemic first struck, ‘Wild About Survival’, to help Banham Zoo and Africa Alive! survive the difficult time ahead. The charity is now putting this painting up for auction with all proceeds from the sale of the painting going into this campaign.Claudia Roberts commented: “Paintings by ‘The Hat’ are currently selling well and some are even being sold for up to £4,000. We have been undecided whether to auction off the painting or keep it for our guests at the zoo to enjoy. By putting it up for auction it means that a lucky member of the public can enjoy it from the comfort of their own home and we also get to raise vital funds”. The Zoological Society of East Anglia (ZSEA) were forced to close both of their zoos in March due to the coronavirus pandemic. During this time, they lost almost £2 million in visitor income. Although the zoos reopened, the implementation of social distancing measures and limited visitor numbers, in addition to the most recent closure due to lockdown two, the charity is still forecasting a drop in revenue. See www.banhamzoo.co.uk or www.africa-alive.co.uk or to donate to the ‘Wild About Survival’ fundraising appeal on JustGiving hereFor further press information please contact: Ann Scott, Genesis PR: ann.scott@genesispr.co.uk or call 07834 222508NOTES TO EDITORSIn 2019 Africa Alive was named ‘Best Large Visitor Attraction’ at the Norfolk & Suffolk Tourism Awards and Banham Zoo voted Best Animal Day Out in the Eastern Region in the Day Out with Kids Awards. Together they achieved all time visitor records of approaching 400,000 during the year.On an average day in May, Banham Zoo and Africa Alive can expect to welcome 2,000 visitors between them. A number which soars in good weather and during key holiday periods. Since lockdown nine weeks ago, the two attractions have been running on a skeleton staff of dedicated animal keepers, who continue to provide vital care to the animals and have been keeping supporters updated via the charity’s social media.The vision of the Zoological Society of East Anglia, the charitable organisation which was formed in 2013 to secure the long term futures of both attractions is: ‘Our world will be a haven for wildlife and people’.The charity’s mission is ‘Connecting communities to nature for conservation’ and its strategy has three pillars: conservation, education and community.In conservation the charity is currently engaged with protecting the critically endangered blue eyed black lemur in Madagascar and work to locate and protect the saola, an animal that looks like an antelope but is actually more closely related to cattle, in South East Asia.In education the charity is primarily engaging with local schools and visitors to provide a wide range of high quality educational opportunities that are built on a programme of 'Nature Connectedness'. These have the aim of deepening awareness as well as knowledge of biodiversity and they include Key Stage pathways for schools.In community Africa Alive and Banham Zoo empower people to make positive changes in their lives and local communities by promoting the connections between nature and wellbeing.Banham Zoo first opened its doors in 1968 and over 2000 animals are cared for in 50 acres of beautiful parkland and gardens.Africa Alive was purchased in 1991 but kept the name Suffolk Wildlife Park for a number of years before becoming Africa Alive when the Zoological Society of East Anglia was formed in 2013. It is set in 80 acres of stunning countryside in Kessingland near Lowestoft in Suffolk and cares for over 800 animals.A small army of just over 100 volunteers and fundraisers are integral to the successful operations of both Banham Zoo and Africa Alive and their role in helping the charity to rebuild are essential to the survival plan.A fundraising appeal during Covid-19 has raised over £35,000 to date, with many supporters running their own virtual fundraising events in aid of the charity.

Various OO Gauge Locomotives Hornby Railways APT Set (G box P) Ex-Caledonian LMS Single, Sir Dinadan and GWR Pannier tank (generally G-F boxes F); Triang R1X Passenger set and two locomotives in incorrect boxes

Fateh Moudarres (Syria, 1922-1999)The Three Graces oil on canvas, framedsigned 'Moudarres' and dated '65' (lower right), executed in 1965200 x 115cm (78 3/4 x 45 1/4in).Footnotes:Provenance:Property from a private Lebanese collectionThe present work is a stunning, monumental rendition of a popular artistic subject matter by Syrian artist Fateh Moudarres. In Greek mythology, the Graces were the three goddesses of charm, beauty, nature, human creativity, goodwill, and fertility. The usual roster, as given in Hesiod, is Aglaea ('Shining'), Euphrosyne ('Joy'), and Thalia ('Blooming'). Moudarres weaves these figures, who have been depicted by centuries of renowned and accomplished sculptors and painters, into the stylistic framework of his own individual artistic styleThe present work embodies all of the prominent features of Moudarres oeuvre: use of rich, earthly, ochre hues characterizing the rural palette of his native Syria, depictions of totemic, angular figures recalling the art of primitive Mesopotamia, and huddled groups, clinging to each other with a mixture of affection and anxiety.Moudarres has been broadly classified as a painter within the expressionist tradition, accordingly, his mysterious figurative depictions are animated almost entirely by subjective experiences and esoteric perceptions of his natural environment.The product of a fragmented family, Moudarres' yearning for domestic fulfilment is writ large in his works, which often revolve around sympathetic depictions of family units closely clustered together. Moudarres' sentiments are channelled through the aesthetic of ancient Mesopotamian reliefs and Neolithic statuary, an apt visual language given early arts fixation on the primitive subject matters of fertility, vitality and tribal solidarity.Its liberal application of paint gives it a tactile and almost gestural quality. In place of Moudarres' usually crowded canvases, this is notable in placing compositional centrality on the three main figures depicted. Vibrant, lyrical and exemplary, the present work demonstrates the expressive finesse characteristic of Moudarres' oeuvre.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

Grant Watson Welsh Window, 2020 Oil on Fabriano Tela Signed verso 15 x 10cm (5¾ x 3¾ in.) Grant Watson holds his MA Fine Art, Eastern Illinois University and BA, Fine Art, Portsmouth Polytechnic and is the recipient of the Antonio Ratti Foundation Purchase Prize for Drawing, Advanced Studies in Drawing Course, led by Karel Appel, Eric Fischl, Anish Kapoor and Gerard Garouste.   Select solo shows include the City Art Museum, Charleston, Illinois and Geraldine Anvari Gallery, London. Recent group exhibits include: Matthew Collings, Helen G Blake, Grant Watson', Three Works, Scarborough 2020, Beep painting prize 2020', Castlegate Art Prize 2020, Creekside Open, APT Gallery, London, 2019; Royal Academy Summer Exhibition, London, 2019, 2017, 2014, 2009, 2008; 2006, 2004, 2003 and 2002; NEAC Annual Exhibition, Mall Galleries, London, 2019; Espacio Gallery, London, 2019; Royal Glasgow Institute, Kelly Gallery, Glasgow, 2019; Saatchi Gallery, London, 2018; Collect Art Gallery, Cheshire, 2018; Margate Washhouse, Margate and The Brewery Tap UCA Project Space, Folkestone, 2017; Creekside Open, APT Gallery, London, 2015; 32SQM Project Space, London, 2015; The Cello Factory, London, 2015; Platform Projects, Art-Athina, Athens, 2015 and 2014; Plymouth College of Art, 2014; ACME Project Space, London, 2013; Lubomirov-Easton, London, 2012; The London Group Open, The Cello Factory, London, 2011; International Emerging Artists, Sothebys, Tel Aviv and Chicago.  

Grant Watson Seagulls, 2020 Oil on Fabriano Tela Signed verso 10 x 15cm (3¾ x 5¾ in.) Grant Watson holds his MA Fine Art, Eastern Illinois University and BA, Fine Art, Portsmouth Polytechnic and is the recipient of the Antonio Ratti Foundation Purchase Prize for Drawing, Advanced Studies in Drawing Course, led by Karel Appel, Eric Fischl, Anish Kapoor and Gerard Garouste.   Select solo shows include the City Art Museum, Charleston, Illinois and Geraldine Anvari Gallery, London. Recent group exhibits include: Matthew Collings, Helen G Blake, Grant Watson', Three Works, Scarborough 2020, Beep painting prize 2020', Castlegate Art Prize 2020, Creekside Open, APT Gallery, London, 2019; Royal Academy Summer Exhibition, London, 2019, 2017, 2014, 2009, 2008; 2006, 2004, 2003 and 2002; NEAC Annual Exhibition, Mall Galleries, London, 2019; Espacio Gallery, London, 2019; Royal Glasgow Institute, Kelly Gallery, Glasgow, 2019; Saatchi Gallery, London, 2018; Collect Art Gallery, Cheshire, 2018; Margate Washhouse, Margate and The Brewery Tap UCA Project Space, Folkestone, 2017; Creekside Open, APT Gallery, London, 2015; 32SQM Project Space, London, 2015; The Cello Factory, London, 2015; Platform Projects, Art-Athina, Athens, 2015 and 2014; Plymouth College of Art, 2014; ACME Project Space, London, 2013; Lubomirov-Easton, London, 2012; The London Group Open, The Cello Factory, London, 2011; International Emerging Artists, Sothebys, Tel Aviv and Chicago.  

Grant Watson Police Horses, 2020 Oil on Fabriano Tela Signed verso 10 x 15cm (3¾ x 5¾ in.) Grant Watson holds his MA Fine Art, Eastern Illinois University and BA, Fine Art, Portsmouth Polytechnic and is the recipient of the Antonio Ratti Foundation Purchase Prize for Drawing, Advanced Studies in Drawing Course, led by Karel Appel, Eric Fischl, Anish Kapoor and Gerard Garouste.   Select solo shows include the City Art Museum, Charleston, Illinois and Geraldine Anvari Gallery, London. Recent group exhibits include: Matthew Collings, Helen G Blake, Grant Watson', Three Works, Scarborough 2020, Beep painting prize 2020', Castlegate Art Prize 2020, Creekside Open, APT Gallery, London, 2019; Royal Academy Summer Exhibition, London, 2019, 2017, 2014, 2009, 2008; 2006, 2004, 2003 and 2002; NEAC Annual Exhibition, Mall Galleries, London, 2019; Espacio Gallery, London, 2019; Royal Glasgow Institute, Kelly Gallery, Glasgow, 2019; Saatchi Gallery, London, 2018; Collect Art Gallery, Cheshire, 2018; Margate Washhouse, Margate and The Brewery Tap UCA Project Space, Folkestone, 2017; Creekside Open, APT Gallery, London, 2015; 32SQM Project Space, London, 2015; The Cello Factory, London, 2015; Platform Projects, Art-Athina, Athens, 2015 and 2014; Plymouth College of Art, 2014; ACME Project Space, London, 2013; Lubomirov-Easton, London, 2012; The London Group Open, The Cello Factory, London, 2011; International Emerging Artists, Sothebys, Tel Aviv and Chicago.  

Grant Watson Welsh Track, 2020 Oil on Fabriano Tela Signed verso 10 x 15cm (3¾ x 5¾ in.) Grant Watson holds his MA Fine Art, Eastern Illinois University and BA, Fine Art, Portsmouth Polytechnic and is the recipient of the Antonio Ratti Foundation Purchase Prize for Drawing, Advanced Studies in Drawing Course, led by Karel Appel, Eric Fischl, Anish Kapoor and Gerard Garouste.   Select solo shows include the City Art Museum, Charleston, Illinois and Geraldine Anvari Gallery, London. Recent group exhibits include: Matthew Collings, Helen G Blake, Grant Watson', Three Works, Scarborough 2020, Beep painting prize 2020', Castlegate Art Prize 2020, Creekside Open, APT Gallery, London, 2019; Royal Academy Summer Exhibition, London, 2019, 2017, 2014, 2009, 2008; 2006, 2004, 2003 and 2002; NEAC Annual Exhibition, Mall Galleries, London, 2019; Espacio Gallery, London, 2019; Royal Glasgow Institute, Kelly Gallery, Glasgow, 2019; Saatchi Gallery, London, 2018; Collect Art Gallery, Cheshire, 2018; Margate Washhouse, Margate and The Brewery Tap UCA Project Space, Folkestone, 2017; Creekside Open, APT Gallery, London, 2015; 32SQM Project Space, London, 2015; The Cello Factory, London, 2015; Platform Projects, Art-Athina, Athens, 2015 and 2014; Plymouth College of Art, 2014; ACME Project Space, London, 2013; Lubomirov-Easton, London, 2012; The London Group Open, The Cello Factory, London, 2011; International Emerging Artists, Sothebys, Tel Aviv and Chicago.  

Travel Agents display model of British Railways APT Power Unit and 2 coaches constructed by Space in the mid 1970's. In excellent condition measuring 50.5in long. Partial loss of one side of a Bogie set but displays well looking from the other side.

Poster BR THE SHAPE OF TRAVEL TO COME INTERCITY APT THE MOST ADVANCED PASSENGER TRAIN. Double Royal 25in x 40in. In excellent condition.

[Pepys, Samuel]. Memoires Relating to the State of the Royal Navy of England, for Ten Years, Determin'd December 1688, 1st edition, 1st issue, [London]: Printed Anno MDCXC [1690], engraved portrait frontispiece of the author by R. White after G. Kneller, title printed in red and black, folding letterpress table, occasional manuscript corrections and neat underlining, shoulder note on p. 120 (with manuscript correction) shaved, small tear and marginal toning to endpapers, bookplate of Hugh Cecil Earl of Lonsdale (fifth Earl Lonsdale, 1857-1944), manuscript shelf number, contemporary mottled calf, old repairs to joints (now cracked), neat repairs to corners, 8voQty: (1)NOTESProvenance: Bernard Quaritch pencilled collation note to rear pastedown. ESTC R13464; Pforzheimer 793 (for the regular edition); Wing P1449. The first issue, intended for presentation, with 'Printed Anno MDCXC' to title; the issue for public circulation has the imprint 'for Ben. Griffin, and are to be sold by Sam. Keble, 1690'; there was also a large-paper issue, without the imprint. The present copy has the usual manuscript corrections to pages 11, 33, 39, 40, 42, 57, 70, 90, 92 and 103, which if not by Pepys himself were likely carried out under his direciton. Pepys was appointed Clerk to the Acts of the Navy in 1660, under the influence of his cousin Edward Montagu, later 1st Earl of Sandwich, and later became secretary to the Admiralty in 1673, instituting important naval reforms. 'This is the diarist's only acknowledged publication. Upon this he lavished a great deal of thought and care. It represents a side of Pepys's life which is apt to be ignored' (Pforzheimer).

Hornby R543 APT Train Set - Includes Pantograph - Boxed. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Hornby R543 APT Train Set - Includes Pantograph - Boxed. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Rapido Trains Inc., 00 gauge set 13001 British Rail APT-E, boxed,PROVENANCE: From a deceased estate. This collection was put together by a gentleman who worked on the railways for many years and carried on his passion for trains at home with this collection, purchased over a number of years. Marks to lid of box. Separation down short edges of box cover.Train - No damage found.

Hornby 00 Gauge APT Advanced Passenger Train Pack, comprising two Driving Trailers, Power Car 'City of Derby' and two Van Trailers, in original box, VG, lacks pantograph, box F, some tape repairs

Gemälde Jef Verheyen 1932 Heist-op-den-Berg - 1984 Apt "o.T. (Entwurf für eine Arbeit - Kunst am Bau)" Acryl/Holz, 29,8 x 74,2 cm Provenienz: Privatsammlung Frankfurt. Es liegen 3 handschriftl. Briefe von Jef Verheyen an den damaligen Eigentümer in Kopie vor. Ein org. Umschlag sowie ein Brief mit der Datierung "1964". Lit.: AKL

Banksy (British, b. 1975)Oh My God 2006 tagged; signed and dated 21 July 2006 on the reversespray paint and emulsion on found metal129.5 by 91.5 cm.51 by 36 in.This work is unique.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, Los Angeles (acquired directly from the Barely Legal exhibition)Robert Berman Gallery, Santa MonicaAcquired directly from the above by the present owner in 2011ExhibitedLos Angeles, Barely Legal, 2006Literature and FilmBanksy, Wall and Piece - Now with 10% More Crap, London 2006, p. 240 illustrated in colourElio Espana, Banksy and the Rise of Outlaw Art, 2020, 1:32:05 (installation view)One of the definitive artists of the new millennium, Banksy has left an indelible mark on the walls of art history as a true maverick of the genre. From his emergence as a figurehead of street art, Banksy has risen to the heights of global superstardom through a course of breakthrough exhibitions, political activism, and artistic showmanship. Presented here for sale, Oh My God was first displayed at Banksy's most significant exhibition, Barely Legal, his debut show in the United States in Los Angeles in 2006. Irreverent, playful, and littered with art historical and cultural allusions, Oh My God is a work in Banksy's quintessential stenciling style on a rare metal support, demonstrating all the panache and appeal that places this amongst his most collectible works.Painted on a found piece of metal, the present work reflects the gritty, urban environment that Banksy was borne of – a painting true to his roots as a street artist and anti-establishment renegade. In a typical revisionist twist on the classical portrait, the iconography of the image feels remarkably familiar, whose sitter's tilted glance conjures the timeless pose of Johannes Vermeer's Girl with a Pearl Earing (1665) or Pablo Picasso's compelling portraits of Dora Maar produced at the end of the 1930s. Such comparisons have long since become entirely apt for the anonymous British artist, whose career has defined the cultural landscape of the last two decades, and become synonymous with contemporary art criticism and political discourse in the twenty-first century. Known for his sardonic wit and pointed irony, Banksy has never shied away from a searing commentary of the art world that has embraced him. In the present work this is brought to the fore with a piquant and wry humour. Feigning interest or enthusiasm for the role of the artist, Banksy's depiction of his subject pokes fun at the superficiality of the cultural dilettante and part-time art lover; it is a picture of the artists perspective of the patent triviality of the 'in' crowd who laud him. Like all great artists, Banksy's aloofness and ardent refusal to heed his now-celebrity status has only cemented his legacy as a true outlier and hero to the public who view him in the vein of Robin Hood, undermining and ridiculing the established order of contemporary art. He is also the embodiment of that peculiarly British, self-effacing sense of humour whereby he mocks the faux seriousness of artists, their overweening narcissism and therefore his own. Here is the essence of his work: he is polemic, scathing and satiric and everyone is a possible target, including himself.It was in keeping with his raison d'être that Banky organised Barely Legal; an exhibition that drew celebrity and global press attention, culminating in the watershed moment of the artist's career. Already amassing a cult following through his self-initiated solo exhibitions in London in the early 2000s, it was a break-out event attended by leading collectors, and dealers, whose guest list teemed with Hollywood A-listers including Brad Pitt, Angelina Jolie, Jude Law, and Cameron Diaz. Such hype, however, did not stymie the artist's unshakeable faith in his work to speak truth to power, producing a complete exhibition of works that called out the twisted realities of consumer culture. In Banksy's own words, 'as soon as I cut my first stencil I could feel the power there. I like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in 'The Story Behind Banksy,' Will Ellsworth-Jones, The Smithsonian, February 2013, online).His taste for theater, black humour and activism have distinguished him from his street art kin such as Blek Le Rat and Shepard Fairey, and placed Banksy in a category of his own. Undoubtedly, his anonymity and resilience as a political entity in his own right – who single-handedly became a symbol of hope stenciling graffiti in the Gaza Strip in 2015, and more recently launched an independent search-and-rescue vessel for asylum seekers adrift in the Mediterranean – has meant Banksy's legacy is unrivalled in its depth and scope not only in graffiti circles, but in the art world at large. At his core, he remains one of the greatest artists of our time, and the present work is a veritable embodiment of the adroit hand, cunning mind and values that have made him so celebrated and his works so highly sought-after. As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist. His technique remains singular and immediately identifiable, and Oh My God is amongst those most rare of Banksy works whose subject appears completely unique. Exhibited first at Barely Legal, the exhibition that would redefine Banksy as one of the most admired artists of the period, Oh My God is central to the mythology that accompanies his work and the cult following he has garnered, and its sale represents an opportunity to acquire one of the finest examples from the crucible of Banksy's career to date.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Hornby OO APT, 2x Further DMU's & 3x Coaches - Unboxed. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Salvador Dali(Spanish 1904-1989)THE NEGLECTFUL MEET VIOLENT DEATH from THE DIVINE COMEDY SERIES authenticated by Frank Hunter of the Salvador Dali Archives Ltd,New York on the reversewoodblocksheet size: 33 by 26,2cm, unframed  “But while their sudden flight was scattering those souls across the plain and toward the mountain where we are racked by rightful punishments.”¹ Eccentric and imaginative, Salvador Dali’s repertoire extended far beyond his painting. In the 1950s, Dali was commissioned by the Italian Minister of Culture to illustrate a special edition of Dante’s Divine Comedy, which was released in 1965 on the 700th Anniversary of Dante’s birth. The Divine Comedy Suite is made up of 100 colour woodcuts produced between 1960 and 1964. This particular work is titled The Neglectful Meet Violent Death. It is from the second part of Dante's Inferno, Purgatory. The work is the illustration that accompanies the third canto of purgatory. Purgatorio 3 is written as a song and falls into two parts. The separation of the canto into two parts allows Dante to employ the technique of authorial dialogic- human consciousness exists in two paradoxical parts which are always opaque to one another, but not absolutely opaque. The partial opacity of human consciousness allows Dante to blur right and wrong. This is particularly apt in Purgatorio 3, which focuses on a group of departed souls trapped between worlds. Dali’s illustrations for Dante’s Divine Comedy employ metaphorical imagery, rather than being literal representations.² The delicate washes of colour in Purgatorio 3 perfectly complement the story of drifting souls in purgatory. The blandness of the colours, muted browns and greys, emphasise the nothingness of purgatory, the world that stands between heaven and hell. (Inferno and Paradiso). In our February 2020 Premier Auction in Cape Town a very similar work by Dali, Prayer of Saint Bernard also from the Divine Comedy series and similar in size and medium, sold for R16 000 on the hammer, outperforming its estimate of R 6000 – R 9000. Source: 1. Dante Aligheiri, Canto 3- Purgatorio, Accessed 10/6/2020 Dante Aligheiri 2. Dali, Psychoanalysis and Dante’s Divine Comedy, Accessed 9/6/2020 Dali, Psychoanalysis and Dante’s Divine Comedy

COUTHON GEORGES: (1755-1794) French Politician and Lawyer. President of the National Convention 1793-94. A proficient speaker who often exploited his condition as a paraplegic in order to gain the Assembly`s approval of his proposals. A close associate to Robespierre and Saint-Just in the Committee of Public Safety. Couthon, responsible of the huge increase of executions, was himself guillotined alongside Robespierre. A good multiple signed document. Signed `Couthon´, in bold black ink beneath a fifteen lines annotation to the upper front page left border, Paris, 15th March 1794. The holograph lengthy annotation is in the hand of LAZARE CARNOT (1753-1823) French Physicist and politician. Known as the Organizer of Victory in the French Revolutionary Wars. Signed at the base, alongside Couthon´s signature `Carnot´. The annotation states `To be forwarded to the Minister of war, and to take in consideration the advantageous report done by General Ferrand abut citizen Dessolff who seems apt for a post. The committee instructs the Minister of War to get all the necessary information and to send to this committee his decision.´ The lengthy annotation is signed by Couthon and Carnot as members of the Committee of Public Safety. The document being a L.S., `Ferrand´, three pages, folio, Maubeuge, 5th February 1794. General Ferrand reports in detail about his aide de camp, a refugee from Holland, citizen Frederic Christophe Dessolff, about his services, his wounds, his presence at the besiege of Dunkirk. The report contains a second report signed by a representative of the People. The document bears at the conclusion a red wax seal. Small overall age wear and very small creasing, otherwise G Jean Baptiste Bouchotte (1754-1840) French Minister of war 1793-94. During his mandate the predominant role of the Committee of Public Safety did not leave much scope for the new minister, yet he rendered services in the organization of the republican armies, and chose his officers with insight, among them Kleber, Massena, Moreau and Bonaparte. Despite his incontestable honesty, he was accused by the anti-revolutionists and was tried by the tribunal, although was acquitted. He the withdrew from politics.

An Art Deco silver-mounted desk calendar, Sanders & Mackenzie, Birmingham 1928 to/w a Royal Doulton Kingware pin-tray with golf scene 'Ye 19th Hole', a carved wood ring-box with padded silk lining, a tortoiseshell lorgnette, Bakelite magnifier, novelty tinplate clockwork butterfly toy (a/f), an electroplated feeder-spoon and a glass paperweight backed by a print of Queen Victoria and family (8 - from the APT Henderson Collection)Lorgnettes - very good, small graze where lenses retract, lenses not scratched

A Mauchlin Ware revolving pin-cushion with crank-handle, 'Tighnabruaich' and a Mauchlin snuff box, 'Ben Nevis from Corpach' and 'Fort William', 'made of wood hewn near Ben Nevis', to/w various other small trinkets inset with souvenir scenes including the Crystal Palace, Osborne House, Great Yarmouth, Weymouth, Llandudno, Hastings, Clifton Bridge, Corfe Castle, etc (14 - from the APT Henderson Collection)

A Hornby "OO"Gauge/4mm Class 370 Intercity Apt Three Car Set, power unit, dummy locomotive and coach, unboxed, playworn plus four Hornby MK2 etc, coaches, playworn, over painted (7)

Heraldry.- Mysticism.- Morgan (Sylvanus) Armilogia sive Ars chromocritica, the language of arms by the colours & metals: being analogically handled according to the nature of things, and fitted with apt motto's to the heroical science of herauldry in the symbolical world, first edition, full-page woodcut arms of the dedicatee Edward, Earl of Manchester, to verso of title, full-page engraved table of Egyptian and mystical symbols to D4, numerous woodcut and engraved coats-of-arms in text, lacking 2I4, small worm traces to head and foot of title, A2&3 repaired at head, affecting headlines, occasional spotting, stained, lightly browned in places, an engraved portrait from another work mounted on front free endpaper, antique style calf, [Wing M2738], small 4to, printed by T. Hewer for Nathaniel Brook at the Angel in Cornhil, and Henry Eversden at the Greyhound in S. Pauls Church-yard, 1666. ⁂ A rare copy of this work that views heraldry from a symbolic and mystical point of view, paralleling the alchemical interest and literature of the period. Most copies of this book are thought to have been destroyed in the Great Fire of London.

STS37 crew signed plain envelope signed by NASA Astronauts Steven R. Nagel, Kenneth D. Cameron, Linda M. Godwin, Jerry Ross, Jerome Apt. Scarce. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Hornby OO Gauge 5x Car APT Set - Including Pantograph - UnboxedP&P group 2 (£20 for the first item and £2.50 for subsequent items)

Gregynog Press.- Life of Saint David (The), number 114 of 175 copies, printed in blue, red and black, hand-coloured wood-engraved illustrations by R.A.Maynard and H.W.Bray, paragraph marks in red drawn with a quill by Bray, prospectus loosely inserted, original limp vellum, t.e.g., others uncut, spine very slightly faded, board slip-case (browned, rubbed at edges), [Harrop 7], 4to, Newtown, Gregynog Press, 1927.⁂ Attractive work from the press with the illustrations, "apt and charming and delicately and subtly coloured,...the most successful feature of the book". [Harrop].

Opie [née Alderson] (Amelia, novelist and poet, 1769-1853) 7 Autograph Letters signed "Amelia Opie" or "AO", (6 to her cousin Thomas John Alderson & 1 to Mrs Carr), 19pp. most with address panels, 4to & 8vo, Earlham, Norwich & London, 18th December 1814 - 39, conversational letters to her cousin, including: on her Quaker faith, "Joseph & I walked to meeting (quaker's meeting)... I am glad to make an excuse to go to hear Priscilla [Priscilla Wakefield (1750-1832), author and philanthropist; mother of Elizabeth Fry]... she preached a fine sermon today..."; her clothes, "I want to know whether thou couldst endure me in a morning dress or pelisse of ye Waterloo blue - I have a passion for it ever since I saw Miss Bailey's..."; and poetry, "As I am apt to plague myself after I sent ye verses I took alarm & thought Mrs B[ingham] might think I took a liberty in sending her complimentary verses- still they are so true..."; 4 Autograph Poems signed mostly to her cousin Thomas John Alderson, manuscript, 10pp., including: "Lines written after sleeping in the yellow garret at Earlham [Hall] now usually occupied by J.J. Gurney", 1816-29; and a quantity of others, including manuscript notes, Journey to Brussels, correspondence from her cousins, the Brigg family etc., folds, browned, some tears, v.s., v.d., 19th century (c. 100 pieces).⁂ An interesting collection of letters and other material from a prominent 19th century novelist and poet. "In 1830 the Edinburgh Review placed Opie with Maria Edgeworth and Jane Austen among the major women novelists of the previous three decades, and defined her particular 'province' as 'the passions' and 'the exhibition of their workings' (EdinR, 51, July 1830, 450)." (Oxford DNB). However, in later years her reputation dwindled as her work was seen to be both mawkish and sentimental. "Late twentieth-century historical and contextual research has initiated new understanding of the complexity and originality of her fiction and poetry." - Oxford DNB.

Hornby Intercity APT and coaches together with Lima TGV etc.

A Meissen Porcelain Six-Light Chandelier, circa 1866, with leaf sheathed baluster column and scroll branches naturalistically modelled and applied with scrolling foliage, each branch and column hung with a foliate pendant, the whole picked out in pastel and naturalistic colours and gilt, 77cm high Provenance: Purchased by Historic Royal Palaces at Badum Auktionen Banberg, Germany on 25 May 2004 for the Garden Room at Apt 1A, the apartment of HRH Princess Margaret at Kensington Palace. Approved for disposal in March 2017 and transferred to Milford Buildings Preservation. Some typical minor losses. 071019

A Hornby OO Gauge R543 Advanced Passenger Train Set, containing 5-coach APT train with power car 'City of Derby', with track and small mains controller, VG, box F-G

Early-late mid 14th century AD. A Western Middle Age iron longsword from Italy, of Oakeshott's Type XV.A, cross style 8, pommel style J (recessed); strongly tapering, acutely pointed blade of four-sided 'flattened diamond' section; the edges are straight, and taper without curves to the strongly reinforced point; strong signs of battle nicks along the edges to both sides that may have reduced the width of the blade; cross style characterised by the very solid écusson which grows naturally out of the two arms, tapering gradually outward to sharply down-turned tips; long grip with slight taper, disc pommel with chamfered edges, with gold inlay once probably indicating a heraldry, today lost; shiny brown patina, no serious pitting; nice example of a well employed sword, ideal for a weapon designed to deal powerful cutting and thrusting blows. See Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Oakeshott, E.,Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E.,Sword in hand, London, 2001 (2007); many specimens recall our sword: but the most striking sample is the one from the Lake of Lucerna (Oakeshott, 2001 (2007), p.140); another extremely similar sword, although lacking the grip, was found in the Thames in London, and should still be in the collection of the Society of the Antiquaries at Burlington House in London; this can be dated with some certainty between about 1310 and 1340 AD, because it was found in the Thames when the foundations were being prepared in 1739 AD for Westminster Bridge, and evidently it fell into the river in its scabbard, so that when it was discovered, the three silver mounts of it were still upon its blade; these are exactly of the same type as on the sword of Can Grande Della Scala in Verona and that on the Berkeley effigy in Bristol (Oakeshott, 1960, pp. 308-309); others similar specimens are from a group exemplified by one in the collection of the late Sir James Mann, found in Northern France, another in Yorkshire, and yet another with an Arabic inscription which probably came from Italy; they vary a little in size, otherwise they seem almost identical (Oakeshott, 1964 (1994), p.59"). 1.1 kg, 1.05m (41 1/4").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.Type XV seems first to have appeared in the second half of the thirteenth century. With type XV we come to a form of blade which does not seem to have been in use since the days of the short Roman gladius or the longer spatha of the Roman Empire. The general outline or silhouette of this type is much like that of the previous type XIV, but the section of the blade is different, as in the prime function of the sword. The type XIV was conceived and used when the main protective armour was mail, with or without metal, leather or quilted reinforcement, and it was primarily a hewing and slashing weapon. The type XV allowed the warrior to deliver a lethal thrust, also if the protection was completely made of metal plate. The blade XVa type was similar, though generally narrow and slender, to the general typology. The grip was much longer, from 7 to 9 or even 10. Forms of pommel and cross are the same as for Type XV. Many swords of this type, like our specimen, have long grips, like the war-swords of Type XIII. After about 1350 AD, nine swords out of ten seem to have such grips, and are today variously referred to as 'hand-and-a-half' or 'Bastard' swords. The latter term was used in the fifteenth century AD, but it is not certain that it was applied to this particular kind of weapon. 'Hand-and-a-half'', though modern, is a name more apt for it; these swords were single-handed weapons, but by being furnished with long grips, could at need, be wielded easily in both. All these hand-and-a-half swords have grips about 7 long, sharply tapering blades of four-sided section about 32 long, straight crosses tapering towards the tips, which are abruptly turned downwards and large pommels of Type J. Various military effigies and brasses of the period 1360-1420 AD, show swords like this one; there is only a limited variety in the forms of hilt, and the blades are long and slender. However, we cannot say for certain that they are of Type XVa, because they are sheathed; and many of the swords of Type XVII are of the same shape and proportions, but have a different blade-section. On English effigies of the second half of the fourteenth century AD, are many such swords; the best (and the best known) is at the Black Prince's side on his tomb at Canterbury; one almost identical is on the effigy of Lord Cobham (Oakeshott, 1960, fig.139"). In these effigies the cross is nearly always shown as a straight or slightly curved bar of square section, possibly because to portray the rather delicate down-turned tips would be difficult and over-fragile in stone. Type XV may seem to have been misplaced, for it continued in use for almost two centuries and was most popular after 1350 AD, yet the sub-type seems to have gone completely out of use within the second half of the 14th century. The reason being that Type XV began during the latter part of the 13th century, whereas XVI may not have come into use until just after 1300 AD.Fine condition, restored.

16th-17th century AD. A war hammer or Nazdiak of Polish origin, the head composed of two pieces; the twisted shaft made of solid iron, and the head, made of one single piece, shaped like a hammer from one side and a pointed spike or dagger from the other side; the dagger showing a strong quadrangular outline, fixed to the shaft with an upper insertion hole and then rivetted, with the help of an auxiliary iron cap; its spike of a 'raven beak' shape of quadrangular section, while the hammer is flat at the top; the shaft is particularly twisted, and ends, in the lower part, with a short handle. See Йотов В, Въоръжението и снаряжението от българското средновековие (VII-XI век), Варна, 2004; Brzezinski, R., Polish Armies 1569-1696 (1), London, 1987; Gilliot, C., Armes & Armures/Weapons & Armours, Bayeux, 2008. 2.1 kg, 60cm (23 1/2").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The war hammer was a bulky weapon. The wider use of hammers, especially among riders, began in the 13th century, with the spread of armour, although traces of war hammers could already be found in 10th century Byzantium, with the weapon called akouphion (Yotov, 2004, pp.106-107"). At the beginning it was made of a lead cylinder, extremely heavy with a handle (Gilliot, 2008, p.150"). In the late Middle Ages (XIV-XVI centuries), with the introduction of a new means of defence - the plate armour, against which swords, axes, maces and other melee weapons were less effective, various types of war hammers became widely used. The old cylindrical plommée (lead cylindrical hammer) were replaced in the early 15th century, by the more solid and light iron hammer. This was a lighter weapon, not exceeding 2.5 kg, the knob of which was a hammer itself or had a hammer on one side and a beak on the other, that is, a facetted spike or a massive blade of different lengths, a straight or slightly curved blade. The name hammer comes from one of the elements of the warhead, even if the a real hammer itself may not be on it. Because of their appearance, hammerheads with beaks were often known by bird-related names, such as ‘black beak’ in Spain, ‘crow’s beak’ or ‘eagle’s beak’ in France, ‘falcon beak’ in Italy and ‘parrot beak’ in Germany and Poland. The bec de courbin' had a particular pointy beak aimed at delivering strong thrusts. Often there was also a point pointing upwards and additional short spikes, directly inserted on the impact surface of the hammer or sideways. The beak was capable of breaking chain mail or breaking through plate armour. With a hammer, the enemy could be stunned and his armour deformed. Beaks could also be used to capture the enemy, primarily pulling the rider off of his horse. But for this, hammers having long shafts were better suited. In this case the bec de courbin took up a long handle in the middle 15th century and was called, because of its primary use by the Swiss infantry, 'Lucerne Hammer'. Compared to the mace and the axe attached to the saddlebow (arcione), the war hammer originated several variants which, to date, make it rather difficult to discriminate its archetypal form. The weapon presented here had in fact, enormous similarities with the horseman's pick, only in some of its regional variants well distinguishable from the war hammer (eg. the Polish nazdiak,) often called a raven-headed hammer of the type here represented. It has good parallels with Polish originals of 16th-17th centuries in the Wojska Polskiego Museum (Polish Army Museum), Warsaw, and illustrated in contemporary documents (Brzezinski, 1987, p.41"). Most probably this specimen is from a battlefield or a castle as it is in excellent condition. The horseman's pick has remarkable similarities with the war hammer, so that some variants of the two weapons are almost identical. In the Germanic areas, both weapons are identified as hammer ('hammer' in German language): reiterhammer ('knight's hammer') the horseman's pick and kriegshammer ('war hammer') the war hammer. The distinguishing element is the shape of the hammer head. Weapon apt to injure by blow, the proper war hammer had often a serrated and massive head. The hybrid forms (eg. Polish czekan,) similar to the peak of arms, instead present a hammerhead reduced to a mere counterweight for the long metallic 'beak' that protrudes on the other side of the head, destined to pierce the armor or the opponent's helmet. However, by comparing a Polish nazdiak with a French or Italian war hammer, fundamental differences stand out. There where the western war hammer (like the heaviest Italian mazzaapicchio) which is able to strike both with the head of the hammer, often toothed, and with the curved tip; the horseman's pick striking mainly with the pointed peak, while the hammerhead was reduced to a mere counterweight. Another distinctive feature of the Polish nazdiak is it being made entirely of metal, like the Italian war mace, and it being longer than the war hammer. Eloquent in regard to its efficiency, is the witness of the account of Abbot J?drzej Kitowicz, who lived at the time of August III of Poland (1696-1763): '[The nazdiak] is a terrible instrument in the hands of the Poles, especially if they are in a warrior or altered mood. With the sabres you can cut off someone's hand, tear his face and injure him in the head and the sight of the blood that flows from the enemy can thus calm the resentment. But with the nazdiak you could cause a fatal injury without seeing the blood and, not seeing its, calm down, instead ending up hitting several times without cutting the skin but breaking bones and vertebrae. The nobles with clubs often beat their servants to death. Because of the danger it posed, they were forbidden to be armed during large assemblies or parliamentary sessions. [...] And in truth, it was a brigand's instrument, because if you hit someone with the pointed beak of the nadziak behind the ear, you kill it instantly, the temple pierced by the deadly iron. '(Jędrzej Kitowicz, Opis obyczajów za panowania Augusta III)'.Fine condition. Very rare.

Five Items of Hornby 'OO' Gauge/4mm Class 370 APT Train Set, SC48101 Trailer, SC 48102 (Front Rear Unit), SC 48601 and 48602 Tilt Passenger Cars, plus SC 49003 Power Car, all unboxed with damages/missing small parts.

Hornby "OO"Gauge/4mm Class 370 APT Part Train Set, comprising power car R/No SC 49003, two dummy locomotives R/No's SC 48101 and 48102 and two coaches SC 48601 and 48602, all contained in original box, base condition very good through power car has had part decal removed.

Jay Apt signed 10x8 colour NASA portrait photo. American astronaut and professor at Carnegie Mellon University. Before he became an astronaut, Apt was a physicist who worked on the Pioneer Venus 1978 space probe project, and used visible light and infrared techniques to study the planets and moons of the solar system from ground-based observatories. Dedicated. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Macallan 12 Year Old Pure Highland Malt Scotch Whisky Miniature 80° proof, 12/3 fl. ozs., 4cl, (one bottle) together with a Whisky Miniature Collection comprising: Balveie 8yo 75° proof 12/3 fl.ozs. (one bottle), Cardhu 12yo 40% 5cl (one bottle), Bowmore Legend 40% 50ml (one bottle), Bowmore De Luxe 70° proof, 12/3 fl.ozs., (one bottle), Glenmorangie 10yo 2x 40%, 1x 70° (three bottles), Dewar's ''White Label'' 3x 40%, 3x 70° (six bottles), Glenfiddich 40% 5cl (thirteen bottles), Glen Grant 12yo 40% (one bottle), Glen Grant 10yo 70° proof (one bottle), Teachers Highland Cream 40% 5cl (one bottle), Whyte & Mackay Special Scotch Whisky 6x 70° proof, 1x 40%, 1x 1983 Aviemore (eight bottles), Todmore 10yo 43% 5cl (two bottles), Old Bushmills Irish Whiskey 40% 70.31ml (one bottle), VAT 69 Finest Scotch Whisky 70° proof (two bottles), Mackinlay's Old Scotch Whisky 70° proof (two bottles), Highland Queen 40% (three bottles), The Famous Grouse 40% (four bottles), William Grant's ''The Family Reserve'' 40% 5cl (one bottle), Grant's Standfast 70° proof, 12/3 fl.ozs. (two bottles), Johnnie Walker Red Label 70° proof (three bottles), Johnnie Walker Red Label 70° proof British Transport Hotels Ltd. (one bottle), Bell's Extra Special 1x 70° proof, 2x 40% (three bottles), Bell's Specially Selected 40% brown decanter (one bottle), Inter City 125 High Speed Dram produced by Eddie Cairns, Auchentoshan, 70° proof (one bottle), Inverness - Kyle Railway produced by Eddie Cairns, Auchentoshan, 70° proof (one bottle), InterCity APT by William Grant & Sons, Ltd., 40% (one bottle), The Antiquary by J&W Hardie, South Queensferry, 70° proof (one bottle), Islay Single Malt Scotch Whisky 12 Year Old 40% 5cl (one bottle), Speyside Single Malt Scotch Whisky 12 Year Old 40% 5cl (one bottle), Glen Calder from the Glenlivet district, blended Whisky by Grant Bonding Co., Elgin, 70° proof (one bottle), Sheep Dip 8yo 40% 5cl (one bottle), Queen Anne Rare Scotch Whisky, 70° proof (one bottle), Long John 40% 5cl (one bottle), Newton & Ridley 40% 5cl (one bottle), Pig's Nose blended by Sheep Dip, 40% 5cl (one bottle), Marks & Spencer 1x Highland Malt Whisky 40% 5cl, 1x Pure Single Highland Malt 40% 5cl, 1x Scotch Whisky 40% 5cl (three bottles) (78)

A JERRY GARCIA STUDIO RACKcomprising 1. a Roland GR50 guitar synthesiser; 2. An MX8 midi patch bay/processor; 3. An Opcode Systems Studio 3 Midi Interface; 4. two Meyer Sound 833 Studio Moniters; 5 a Mitsubishi VP video controller VC-1200U; and 6. An APT Holman preamp

JOHNSON, SAMUEL. 1709-1784.A Dictionary of the English Language: In which the Words are deduced from their Originals, and Illustrated in their Different Significations by Examples from the best Writers. London: printed by W. Strahan, for Knapton, Longman, Hitch, et al., 1755. 2 volumes. Folio (418 x 248 mm). Titles printed in red and black. Double column. Modern half calf and marbled boards. Browning and staining to lower margin, with some chipping to lower margin of second volume.Provenance: Stewart (armorial bookplate with motto 'Avito Viret Honore'); Fursdon Library (name on front paste-down).FIRST EDITION OF JOHNSON'S DICTIONARY, one of the most influential books in the history of the English language. 'Dr Johnson performed with his Dictionary the most amazing, enduring and endearing one-man feat in the field of lexicography ... It is the dictionary itself which justifies Noah Webster's statement that 'Johnson's writings had, in philology, the effect which Newton's discoveries had in mathematics'. Johnson introduced into English lexicography, principles which had already been accepted in Europe but were quite novel in mid-eighteenth-century England. He codified the spelling of English words; he gave full and lucid definitions of their meanings (often entertainingly colored by his High Church and Tory propensities); and he adduced extensive and apt illustrations from a wide range of authoritative writers ... but despite the progress made during the past two centuries in historical and comparative philology, Johnson's book may still be consulted for instruction as well as pleasure' (PMM). Indeed, the labor and genius of Johnson's production still awes us today. Over a period of eight years, 'with no real library at hand, Johnson wrote the definitions of over 40,000 words ... illustrating the senses in which these words could be used by including about 114,000 quotations drawn from English writing in every field of learning during the two centuries from the middle of the Elizabethan period down to his own time' (W. Jackson Bate Samuel Johnson, 1977, p 247). Courtney & Smith p 54; Grolier English 50; PMM 201; Rothschild 1237.

Milton, John; Martin, John (illus.) Paradise Lost. Printed for Henry Washbourne, 1853. 4to, full coarse-grain plum leather gilt; 24 mezzotints by John Martin. Martin's mezzotints were first sold in stages to subscribers. Twenty-four were then selected to accompany the poem, originally in a two-volume edition in 1827. Mezzotints seem especially apt for Milton's work, with their emphasis on the contrast between dark and light. Typical of all artists, in imagining Milton's work, Martin has drawn on his own Romantic sentiments, The poem becomes an embodiment of the sublime. His figures disappear before the grandeur and the terror of the setting. Both Heaven and Hell are greater than those within them, eternal, magnificent and legitimately awe-inspiring.

‡SIR FRANK BRANGWYN RA RWS RBA (1867-1956)Breaking up the 'Hannibal'original etching, pencil signedPl. 19 1/2 x 24 1/2 in From the only edition of 70 signed proofsLiterature: Gaunt 36This is one of Brangwyn's earliest large scale etchings. Etched on zinc after a preparatory sketch. HMS Hannibal a wooden screw-ship of the line was built in 1854, powered by 450 horse-power engines. The scene shows the massive hulk of the old wooden Hannibal lying in Castle's breaking-yard at Charlton, Woolwich The artist and writer Walter Shaw Sparrow wrote in 1919 of Brangwyn's depiction of 'Hannibal' comparing it to Turner's Fighting Temeraire, noting however that the 'Hannibal was brought too close to my eyes, occupying so much of a large plate that I cannot see her poetry because I see much of her bulk'. By contrast the Temeraire was 'surrounded by a great seascape and visiting sunset'...As a big study full of apt concentration, Brangwyn's 'Hannibal' is very good; but yet...it seems to me that he ought to have achieved more because his emotion was all of a piece with Turner's'

HMS Hood. Cover dedicated to the 85th anniversary of the launching of HMS Hood, with matching 85th anniversary BFPO 2752 postmark dated 23 August 2003 with the ships crest inset and used by kind permission of Lord Hood. The stamp on this cover is the Naval Gallantry stamp DSM and DSC and very few were ever produced with this, the most apt stamp available affixed. This has been signed by Ted Briggs, who at the time of signing was the last living survivor of the sinking of Hood by the Bismarck. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Hornby OO Gauge Inter-City Diesel and Electric Trains, most in I-C white or fawn/red/charcoal livery, class 90 001, 91 014 and 86 504 'Halley's Comet', all with operating pantographs, another 91 014 and 90 020 with dummy pantographs, two DVT's no 82 205, 0-6-0DS no 08673 and 0-4-0DS 06 008, Lima class 20 (un-numbered), two 'Motorail' GUV vans, two NHA full brakes, four Mk IV coaches, and four 'intermediate' APT coaches (no cab ends or motor car), mostly VG, class 20 slightly retouched (22)

Hornby 'OO'Gauge/4mm Class 370 "APT" Five Car Set, centre cars R/No.'s SL48601/48602 end units, SL48101/48102. Plus power car SL49003 (damage to pantograph), unboxed, overall very good.

Hornby: An unboxed Hornby Inter-City APT, 5-Car Set, 'City of Derby'.

OO Gauge. 6 unboxed Locomotives by Hornby, Mainline etc. including APT (with Dummy Unit) and Diesel Inter City Locomotives with five Inter City coaches, also unboxed.  (12)

Wilbye, John, - The Second Set of Madrigales to 3.4.5. and 6. parts, apt both for Voyals and Voyces (Cantus), printed by Thomas Este, alias Snodham for John Browne, 1609, first edition, 22 leaves, rebound with marbled boards and morocco spine, approx 21cm x 15cm Condition: Some headlines cropped, some worming, small tear to last leaf, small stains on title. **General condition consistent with age

Mosse (Miles). Justifying and Saving Faith Distinguished from the Faith of the Devils. In a Sermon preached at Pauls Crosse in London, May 9. 1613, 1st edition, Cambridge: printed by Cantrel Legge, and are to be sold by Matthew Law, 1614, without initial and final blanks, browning, title-page marked, leaf L2 partly loose, contemporary ink underlining and marginalia, 19th-century half roan, rubbed, loss to foot of spine, 4to (18.5 x 13.4 cm) , together with: Bales (Peter), Oratio Dominica: or, the Lords Prayer, pleading for better Entertainment in the Church of England. A Sermon preached at Saint Mary Woolnoth, London, Jun 11. 1643, 1st edition, printed for F[rancis] E[glesfield]. 1643, leaves softened and frayed throughout, to loss of text in final 2 leaves, modern boards, 4to (18 x 14.2 cm), Morley (George), A Sermon preached at the Magnificent Coronation of the Most High and Mighty King Charles the IId ... at the Collegiate Church of S. Peter Westminster, the 23d of April, (being S. George's Day) 1661, 1st edition, printed by R. Norton for T. Garthwait, 1661, 2 engraved plates (royal arms and portrait), final blank present, modern cloth, 4to (19 x 14.4 cm), Comber (Thomas), A Discourse on the Offices for the Vth of November, XXXth of January, and XXIXth of May, 1st edition, Samuel Roycroft for Robert Clavell, 1696, without 4 pp. advertisements, occasional damp-staining, contemporary panelled calf, rubbed, joints cracked, small 8vo (18.5 x 11 cm) , and Bible [Psalms; English], The Whole Booke of Psalmes, collected into English Meter, by Thomas Sternhold, John Hopkins, and Others, conferred with the Hebrew; with Apt Notes to sing them withall, printed for the Companie of Stationers, 1627, A-P6 Q4, woodcut title-page, text in black letter, toning, occasional faint damp-staining, K6 repaired, bookplate of William Sargant (British psychiatrist, 1907-1988), 20th-century full sheep, folio (26.6 x 17.6 cm) (Qty: 5)NOTESSTC 18209 (Mosse); Wing B550 (Bales), M2794 (Morley), C5463 (Comber); this edition of Sternhold and Hopkins's psalter not in ESTC.

Hornby OO Gauge Intercity APT 5 Car including Pantograph Unboxed

Tray containing nine coaches to form APT; Hornby H0 (G)

Various Railway Related Publications And Other Paperwork including LSWR Locomotives 1873-1922, SE&CR Locomotives 1878-1923, LB&SCR Locomotives 1870-1927, Titans of the Track (Southern Railway No.2), Pall Mall Gazette Extra 'The Best Trains summer Service 1888', British Expresses 1898, LMS List of Collieries 1924, British Electric Trains- HWA Linegar, various Ian Allen publications, an APT brochure and others (qty)

TTR Trix Twin Railway DMU set plus a Hornby OO gauge Intercity APT 5 car set (8 items)

Shakespeare (William) Titus Andronicus, or the Rape of Lavinia, edited by Edward Ravenscroft, final gathering trimmed at foot, just affecting signature, catchwords and 'Finis', lightly browned, modern calf, gilt, [Wing S2949], 4to, Printed by J.B. for J. Hindmarsh, 1687.⁂ The first edition to be edited by Ravenscroft and the fourth quarto edition overall. Believed to be the first time that doubt was cast on Shakespeare's authorship of this play, in his prefatory note, Ravenscroft states: "I should acquaint you that there is a Play in Mr. Shakespears Volume under the name of Titus Andronicus, from whence I drew part of this. I have been told by some anciently conversant with the Stage, that it was not Originally his, but brought by a private Author to be Acted, and he only gave some Master-touches to one or two of the Principal Parts or Characters; this I am apt to believe, because 'tis the most incorrect and indigested piece in all his Works; It seems rather a heap of Rubbish then a Structure..."

BERT STERN (1929 - 2013) Marilyn Crucifix II, from 'The Last Sitting, 1962'. Limited Edition Fine Art Print, 2010, signed, titled 'Marilyn' and numbered 6/36 in red crayon by the photographer lower centre on the margin, his signature and inscription in black ink on verso 'The orange cross was / made by Marilyn herself / with day glo magic marker / in 1962 ', signed in red crayon, photographer's printed stamp, red crayon copyright 'C', 2010 in photographer's hand; 16.5cm. x 16.5cm. set within contact sheet border; unframed. accompanying certificate of authenticity titled, numbered, dated and signed in red crayon, together with original Image King, New York envelope address label Bert Stern, 330 East 39th Street, APT. 326. (3) DDS