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A Collection of Approximately Two Hundred and Fifty Pre War Postcards, including a real photograph of Marton, M`boro, natural history cards, art cards, dogs by Maud West Watson, religious cards, Shakespearian series, Oilettes, Tuck`s Kings and Queens etc.

A very large quantity of glass lantern slides includes foreign photo topo, religious, some art work reproductions etc (a lot)

Books: five boxes of books to include religious themes, maps of Scotland, philosophy, eight volumes of Samuel Pepys diary from 1905, English literature books, art books etc

Books: four boxes of books relating to religious, art, history, maps, biblical history, science etc

Jacob Kramer (Russian, 1892-1962) Self-portrait, circa 1933, signed and inscribed in pencil lower right "Jacob Kramer", "Self-portrait - To Ella and George with best wishes from Jacob, 1950" , lithograph, 53 x 39cm. An outstanding presentation proof of this striking self portrait. No impression of this scarce print is documented in Millie Kramer's volume on Jacob Kramer's work. This penetrating self portrait is amongst the finest of Jacob Kramer's few known lithographs. Born in the Ukraine, he came to England with his family in 1900 and settled in the Jewish community in Leeds. Jacob had already learned the rudiments of painting from his father, who had been a court painter in their homeland of Russia, and the young boy's innate talent was recognised immediately. His artistic development was heavily influenced by his contact with the members of the Vorticist group, with whom he exhibited in 1915, although he did not join them, choosing instead his own artistic path. His mature style can best be described as Expressionist although it reflects the influence of Cubist ideals. A profoundly serious and sensitive man, Kramer instilled into his art a deep sense of religious conviction revolving around the Jewish community in which he lived and worked. He began printmaking in 1916 and, as far as is known, was entirely self-taught in this branch of art. He remained closely associated with the city of Leeds throughout his life and the city has paid tribute to him by naming the Jacob Kramer College of Art in his honour. This lithograph is thought to date from around 1933, although it appears that Kramer dated individual impressions upon presentation to friends. This impression, from the only edition of 30 signed proofs, is inscribed 1950. On smooth cream wove paper, with full margins. Applied to firm card backboard, as prepared by the artist himself

The Entombment - a medieval Nottingham alabaster panel, circa 1450, the panel depicts the body of Christ partly enveloped in a shroud being placed in the tomb, His head supported by Nicodemus, His feet held by Joseph of Arimathea, the Virgin stands to the centre before three figures, to her right the damaged headless figures of Mary Cleophas, her hands held in prayer, and of St. John holding a palm frond, seated in the foreground Mary Magdalene, a box of ointment at her feet, retaining traces of original colour, in particular the green background painted with characteristic dotted red and white daisy-like florets, 42cm high, 26cm wide, mounted on a fabric covered board. There are 98 recorded English alabaster representations of The Entombment, the majority being panels in or from Passion altarpieces. During the Middle Ages, when the majority of the population could neither read nor write, works of art performed the double function of teaching the Christian religion and providing an aid to prayer, consequently churches were aglow with religious images, carved, painted and in stained glass. Against this background, from about 1380, Nottingham emerged as the European centre for the large scale production of carved, painted and gilded alabaster figures, panels and altarpieces, both for the church and for domestic shrines. There was a thriving export trade and to this day far greater numbers of Nottingham alabasters survive on mainland Europe than in this country. Here, the Reformation initiated by Henry VIII's break with Rome saw the wholesale destruction of 'superstitious' images and the demise of the Nottingham alabaster industry. However, some of these 'condemned' alabasters were hidden away and saved from destruction, but more significantly many escaped via a thriving illicit export trade to France and beyond.

Eric Gill (Brit. 1882-1940)-The skaters, wood engraving, 11 x 11cm Eric Gill was closely associated with the Arts & Crafts Movement and founded his own art colony ‘The Guild of St Joseph and St Dominic (which included David Jones also featured in this sale). A typeface designer and sculptor as well as a printmaker, Gill also designed the ubiquitous Gill Sans typeface. He courted controversy through being a deeply religious man who also produced erotic art.

Postcards large accumulation loose and in folders, local cards, Walberswick including the Windmill, Southwold, Blythbugh plus others also lot of art and religious cards (qty)

A selection of miscellaneous including poker work bookstand, Victorian beadwork, Art Nouveau tile, inlaid tray, vintage French comb set, religious tryptich and a ladies muff

The nationally important Order of Merit group of sixteen awarded to Sir Basil Spence (1907-76), the distinguished post-war architect, and architect of Coventry Cathedral The Order of Merit, E.II.R., Civil Division neck badge, gold and enamel, with neck cravat, minor enamel damage; The Most Excellent Order of the British Empire, O.B.E. (Civil) Officers 2nd type breast badge, silver-gilt; 1939-45 Star; France and Germany Star; Defence and War Medals; Efficiency Decoration, E.II.R., Territorial, rev. dated, 1957, these unnamed as issued; Royal Institute of British Architects Silver Medal (1931), obv. a pair of stylized lions either side of a column, rev. inscribed, Board of Architectural Education awarded to Basil Spence, Edinburgh College of Art, School of Architecture, 88mm., silver; Incorporation of Architects in Scotland Medal (1931), obv. bust of Sir R. Rowand Anderson left, by Hazel Armour, rev. Edinburgh Castle, inscribed, Basil Spence, 1931, 58mm., silver; Royal Institute of British Architects Pugin Medal (1933), obv. a pair of stylized lions either side of an ornate column, mural crown above, rev. heraldic shield (Basil Spence Pugin Student, 1933), 57mm., silver, American Institute of Architects Honorary Fellows Badge (1959), by M.A.C., New York, obv. stylized eagle with an olive branch in its talons, superimposed upon a column, rev. inscribed, Basil Spence 1959, oval, 39 x 32.5mm., silver, with suspension mount, with neck cravat; Royal Architectural Institute of Canada Fellows Medal (1960), obv. seated architect in classical garments, a winged cherub presents a sprig of foliage, a temple in the background, rev. inscription (name and date engraved), Basil Spence, Honourary Fellow of the Royal Architectural Institute of Canada 1960, 46mm., bronze-gilt, ring suspension, with neck cravat; Royal Institute of British Architects Bronze Medal (1963), obv. a pair of stylized lions either side of a column, rev. two builders at work, St. Pauls Cathedral in the background (Sir Basil Spence, O.M., O.B.E., T.D., R.A., A.R.S.A., R.D.I., P.P.R.I.B.A. Falmer House, The University of Sussex, Falmer, Brighton), 63mm., bronze; City of Coventry Award of Merit (1970), obv. stylized phoenix rising from the flames, three crosses in the background, rev. plain, rectangular, 45 x 26mm., gold, 30.7g., hallmarks for Birmingham, unnamed, complete with gold and enamel brooch bar, inscribed, Coventry Award of Merit; Medal of the Academia Nazionale di San Luca, Rome (1972), obv. man in classical garments, knelt, writting upon a scroll, a winged bull in the background, rev. inscribed, Basil Spence, MCMLXXII, 55mm., bronze, ring suspension, with neck cravat; with associated lapel badge, gilt and enamel; French Academie dArchitecture, Grande Medaille dOr (1974), obv. stylized ornamented column by H. Navarre, inscribed in exergue, Grande Medaille dOr 1974 Sir Basil Spence Architecte, rev. seated figure in classical garments enclosed by wreath, 68mm., gold, 212g., edge stamped, 1974 and 3or, some with minor (pin?) marks to edge, in general nearly extremely fine (17) £6000-8000 O.M. London Gazette 23.11.1962 O.B.E. (Civil Division) London Gazette 1.1.1948 Basil Urwin Spence was born in Bombay on 13 Aug. 1907, the elder son of a chemist in the Indian Civil Service. When he was twelve, Spence, whose family were from Orkney, was sent home to Scotland to be educated at George Watson's College, Edinburgh. Having shown a particular ability in drawing he enrolled in 1925 at the Edinburgh College of Art to study sculpture, but then switched to architecture. Spence excelled as a student, and during 1929-30 he completed his practical assignment in London, attending evening classes at the Bartlett School of Architecture at University College, and by day working as an assistant in the London office of Sir Edwin Lutyens where he helped prepare designs for Lutyens' Viceroy House in New Delhi. Spence imbibed Lutyens' masterly combination of classical and modern architectural idioms, and thereafter always acknowledged him as his 'patron and master'. Spence completed his professional training in Edinburgh and gained his architectural diploma in September 1931, having added to his earlier prizes the Rowand Anderson Medal and the Royal Institute of British Architects (RIBA) Silver Medal; in 1933 came the prestigious RIBA Pugin Medal. He was invited to join the leading Edinburgh architects, Rowand Anderson, Balfour Paul & Partners. Within the practice he designed small houses and departmental stores in and around Edinburgh, but his private commissions gave him the opportunity to venture designs that were more modernist and daring. He became a junior partner in 1935 and undertook work for some of the practice's most wealthy and important clients, designing grand country houses that catered to individual tastes, but which at the same time were eye-catching in the way they blended traditional elements with modern and made use of the natural, textured materials of the local landscape. Notable among these structures was Quothquhan, Lanarkshire (1936) for Alexander Erskine-Hill MP, Gribloch (1937-9), near Loch Lomond, for the steel magnate John Colville, and Broughton Place (1937-9), near Peebles. In 1938 he was commissioned to design the Scottish pavilion for the Empire Exhibition in Glasgow. Spence's highly abstract construction owed much to the ideas of Le Corbusier, the influential pioneer of modern design, and was widely praised as one of the chief attractions of the exhibition. There soon followed other exhibition work in Edinburgh and Johannesburg. However, with the onset of war Spence set aside his thriving practice and joined the Royal Artillery, having enrolled with the Territorial Army 1934. He rose to the rank of Major in the camouflage unit where his talent for design was usefully employed. In Normandy, he was shocked by the destruction of ancient religious buildings and in his diary confided his ambition to build a church of his own time if he survived the war. The shortage of new work in the years immediately after the war confined Spence to small-scale architectural commissions and exhibition design, and through the latter area his practice began to pick up. He was awarded major commissions for exhibitions in Edinburgh (1946) and Glasgow (1947) to help foster post-war enterprise, and he was chief architect for the 1949 Britain Can Make It Exhibition in London, having been appointed O.B.E. in the New Year Honours the previous year. He was then commissioned to design the Sea and Ships Pavilion for the Festival of Britain which opened on the South Bank in May 1951. Spence had also been working on designs in the competition for a new cathedral at Coventry to replace that which had been gutted during the enemy bombardment of the city on the night of 14 November 1940-the 'Night of Infamy'. There had been some indecision over how the new cathedral should look. Initially, a new neo-gothic edifice was envisaged with Sir Giles Gilbert Scott as its architect, but Scott's 'ponderous' design was vetoed in 1946, and in setting up the subsequent competition for a fresh design in 1950 it was decided that entrants should be encouraged to think in terms of an adventurous modern church building that would embody the spirit of the new post-war order. In August 1951 it was announced that Spence had won first prize out of 219 entries. It was to be the turning-point of Spence's career. Coventry had a special significance, being the first British city to have had its centre destroyed by enemy bombing. The project to rebuild the cathedral caught the public imagination as symbolising the nation's rise from the ashes of war. On the eve of its consecration in 1962 Spence wrote in The Times: 'When I first visited Coventry with the competition conditions in October 1950, the old cathedral burnt open by fire-bombs seemed to say in a gentle voice, "I

J. PURDEY & SONS -A PAIR OF 12-BORE SELF-OPENING SIDELOCK EJECTORS, serial no. 17783 / 4, 30in. Whitworth-steel nitro chopperlump barrels (wall thicknesses marginal) with matt game ribs, 2 1/2in. chambers, bored approx. imp cyl and 3/4 choke, articulated front triggers, removable striker discs, arrow cocking-indicators, bright finish overall, 14 1/4in. highly-figured semi-pistolgrip stocks including leather-covered buttpads, weight 6lbs. 13oz., in their brass-cornered oak and leather case with canvas outer, the case bearing the crest of a back to back 'D' surmounted by a Ducal crown. The maker's have kindly confirmed that the guns were made in December 1906 for Prince Paul Demidoff Provenance: The Demidof dynasty was one of the wealthiest and most powerful industrial families in Russia. The founder, Nikita Demidof (1656 -1725) was a free blacksmith from Tula. His guns found favour with Peter the Great and such was the relationship that formed, he was to become the main provider of arms to the Russian Army and in 1720 he was ennobled . The family expanded its interests in metallurgy and mining and by the end of the 18th century, they were responsible for the manufacture of 40 percent of Russian cast iron (the Palace of Westminster was constructed using Demidof metal products). With the growth of their industrial might, the Demidof family became great exponents of political, cultural and educational advancement by setting up academies, amassing a world class art collection and founding an annual prize for Russian literature. After the revolution, with Russian society and its religious orders in disarray, it was Prince Paul Alexandrovitch Demidof who would play a key role in the re-establishment of the Russian Grand Priory of The Order of St. John of Jerusalem in exile. He is listed as "ancient officer du reg. des chevaliers gardes, commandant Hereditaire de L'Ordre de Malte" in the Almanach de St Petersburg 1913-14. Membership of the priory was by lineal descent established by Emperor Paul I and as a hereditary Commander, he along with the thirteen other surviving Commanders re-established the activity of the Russian Grand Priory of the Order of Malta in Paris, by virtue of their inviolable privilege as Russian nobility (the 'Union de la Noblesse Russe' having been ratified under French Law in 1926). The Order of St John of Jerusalem was established by Brother Gerard as a separate Order from an existing Benedictine Establishment of Hospitallers, its main purpose being to provide for pilgrims visiting Jerusalem. Given papal independence by Pascal II in 1113 it became an independent monastic Order and then evolved into an Order of Knights, participating in the crusades alongside the Knights Templar and the Teutonic Knights. Their base was established in Rhodes in 1312 where it ruled as a sovereign power before then moving to Malta in 1530 as a feudal power. The Order of St. John was very successful in recruiting members of the European aristocracy and consequently were took control of many wealthy estates throughout the continent -many of which had previously been under the influence of the Knights Templar (having co-existed initially, the Order helped to destroy the Knights Templar in the early part of the 14th century, their leaders being burned alive as heretics) Napoleon's occupation of Malta in 1798 saw the Order dispersed, but many of the Knights sought refuge in St Petersburg. Here they elected the Russian Emperor, Paul I as their Grand Master. As Grand Master he created a Russian tradition within the Hospitaller Order, the "Russian Grand Priory" open to all Christians and following the tradition of St John. And in 1810 / 11, after Imperial Decrees by Alexander I of Russia, the Order was recognised and given full fiscal and legal separation from the main Roman Catholic hierarchy

Allen (Daphne, 1899-1985). A collection of original artwork, approx. 260 pencil sketches, pen and ink drawings, and watercolours, mostly religious, mythological and fairy subjects, approx. 390 x 280 mm and smaller, together with a number of old newspaper cuttings relating to the artist. Daphne Constance Allen was born at Stamford Hill, London, and was taught to paint by her parents. Her father, publisher Hugh Allen, was a well-known painter himself. Daphne wrote and illustrated two books as a child: 'A Child's Visions' (1912) and 'The Birth of the Opal' (1913), and showed a hundred of her works at her first exhibition - at the Dudley Galleries - at the tender age of 13. Her precosity caused a sensation in London, and debate raged over whether or not she was especially talented. She was hailed by many as a 'child genius', and art critic Mr. C. Lewis Hind wrote in the introduction to her first book: 'As a bird sings, so these drawings were made - merely from an impulse for expression. They show no sign of effort, because they are all done in joy, without self-consciousness... I can only express my astonishment that such facility, imagination, and variety should proceed from a child'. Others, however, were less delighted with the young artist's talent and celebrity. For example, Anthony Ludovici wrote: It is bad enough that a pack of hydrocephalous and gushing adults should be found to every attractive or moderately talented child in the British Isles... but when a lot of grown-up men, with Sir Claude Phillips at their head, join their hymns of praise to the rest, and write pompously about this child's nursery productions, as if they really constituted a serious event in the art world, it is time to protest... " ('The New Age', October 9th, 1913). Ultimately Daphne Allen defied both sets of critics and went on to neither wide-acclaim nor obscurity. She became a reasonable artist, who painted and drew mainly fairies and religious subjects, and worked as an illustrator for many magazines, including 'The Illustrated London News', 'The Sketch', and 'The Tatler'. Much of the work here appears to be the product of her earliest years, and as such is an interesting archive showing in some measure the development of her work. (a folder)

Jonathan Meese, B. 1977 SANKT DSCHINGISIS KHAN DE GALAPAGOSSYS signed, titled and dated 2003 on the reverse oil on canvas 50 by 41cm.; 19.75 by 16.125in. The sinister mask glaring at us from Jonathan Meeses transfixing painting Sankt Dschingisis Khan de Galapagossys is none other than Jonathan Meese himself. Drawing on the German Expressionists concern with the visionary, near divine artist-creator, Meese puts much of his effort as a painter, performance and installation artist into cultivating a myth of himself. In the present work Meese paints himself as Genghis Khan one of the mightiest, but also cruellest rulers the world has seen. Meese also adds a nonsensical sainthood title to the Mongolian monarch, a testament to his ongoing dialogue with religious and mythical imagery as he appropriates and subverts classical arts language of power, splendour and devotion to serve his own ends. A dark, violent red dominates the canvas. Rough facial features are scratched into the red paint; crude painterly gestures indicate a devilish black moustache and a pair of glowing yellow eyes. There is an echo of Jonathan Meese the performance artist, as traces of the physical toil of creating the work is left plain to see in smudged paint and fierce brushstrokes. The raw primal energy of the work does not speak a language of rational intellectual contemplation; rather its emotional charge demands a likewise emotional response. Jonathan Meese draws us into a realm where might is right and action speaks louder than words. Portraying the painter as both a saint and a despotic ruler, Sankt Dschingisis Khan de Galapagossys is a key example of Jonathan Meeses intentional blurring of the lines between art and artist. This intense work is a milestone in the artists career and his endeavour to construct an image of himself as a half crazed, mystical creator whose art is fuelled by dark incentives and nightmarish passions. Provenance Gallery Grinzinger, Austria

SCOTTISH ARTS AND CRAFTS STAINED GLASS SAINT MAURICE (OR SAINT VICTOR) WITH A DONOR a stained, leaded and glass panel 50cm x 43.5cm Note; This fine panel is copied from the original late 15th century painting by jean Hey, The Master of Moulins. The panting currently hangs in Kelvingrove Art Gallery & Museum, Glasgow. It was bequeathed to the city by Archibald McMillan in 1854 and is thought to be a fragment. A religious scene would originally have appeared to the left of the picture.

FRANK H ALLEN, (NORWICH ART CIRCLE), SIGNED OIL, Religious study, 13" x 9.5"

A pottery charger by Frank Brangwyn (1867-1957) the large circular charger painted in black with a man supporting a large implement with black lined rims monogrammed FB and incised Ditchling 1926" (a/f) 17.25" diameter. . Brangwyn was born in Bruges in 1867 the son of an Anglo-Welsh architect and ecclesiastical designer; he worked in his fathers workshop and then became an apprentice to William Morris in 1882. He spread his talents over a variety of outlets including painting print making drawing and design and was also a respected mural artist. During the First World War Brangwyn played an important part as a propaganda artist and provoked controversial reactions to his work which depicted the harsh reality of war. Brangwyn increasingly ignored developments in art and continued in his own manner adapting traditional methods to suit his own personal style. He ended his career as he had begun devoting his time to religious art and applied design.

John Atkinson Grimshaw (1836-1893) Gourock, Glasgow Oil on canvas Signed 60cm x 90cm Grimshaw was born in Leeds in 1836, the son of a former policeman turned railwayman. In 1852, he followed his father into the Great Northern Railway Company, working as a clerk. It was during this time that he began painting, met by bitter opposition from his strict Baptist parents. His mother disapproved so strongly that on one occasion she destroyed all of his paints In 1858 he married Theodosia Hubbarde, a cousin of the painter Thomas Sidney Cooper, and in 1861 left his job to devote himself to his painting. His work became increasingly popular in Leeds, and his paintigs were sold through art galleries, picture dealers and bookshops. One of these was an antiquarian bookseller named Thomas Fenteman, Grimshaw's main customer, a deeply religious man who would only buy the pictures if Grimshaw could confirm that they had not been painted on a Sunday. By 1865, Grimshaw was doing well enough to move with his wife to a better part of the city, and by 1870, was renting Knostrop Old Hall, a 17th Century mansion at Temple Newsom which features in many of his paintings Further success followed with the acceptance of the first of five paintings by the Royal Academy in 1874, and with the interest of a London dealer, William Agnew, in purchasing his work. Grimshaw became increasingly interested in painting night scenes, and the towns and docks he painted most frequently were Glasgow, Liverpool, Leeds, Scarborough, Whitby and London, often including the smoke pollution and damp fogs common to industrial cities at this time. He was interested in photography, and sometimes used a camera obscura to project outlines onto canvas, allowing him to repeat compositions several times Although Grimshaw's wife gave birth to fifteen children, only six lived to adulthoood, two of which, Arthur and Louis, became painters themselves

A collection of postcards in two albums including: English topographical scenes, street scenes, transport, World War I, Ireland and France (70). Also pre-World War I, Siena, Perugia, buildings, rustic scenes, art and religious themes (100).

Carl Abrahams (1913 - 2005), Jamaican village scene, signed, oil on canvas, 44 x 54cm.; 17.25 x 21.25in. * Jamaican painter. He began his career as a cartoonist for various local periodicals. In 1937 Augustus John, then working in Jamaica, encouraged him to begin painting. Unlike the majority of his contemporaries, he eschewed the 'official' classes of the Institute of Jamaica and virtually taught himself to paint through self-study courses and manuals and by copying masterpieces from art books. His cartoonist's wit and a sardonic humour became the most important ingredients in work that drew on numerous stylistic sources, from Renaissance painting to Cubism. He was a devout Christian, and produced a host of religious works of an undeniable sincerity, although he transformed many traditional Christian themes into witty contemporary parables. His Last Supper (1955; Kingston, N.G.) is the best known of these. Some of his finest work consists of ironic transformations of the great mythological themes of the past and intensely personal fantasies based on contemporary events. He was also one of the few painters to treat successfully historical Jamaican subjects, for example in paintings of the imagined daily lives of the extinct Arawaks, the landing of Columbus, and a series depicting the riotous living of 17th-century buccaneers in Port Royal. His Destruction of Port Royal (c. 1970; Kingston, N.G.) is a dramatic portrayal of that cataclysmic event. In 1985 he won a competition to create two murals for the Norman Manley Airport in Kingston. The murals successfully combine many of his thematic interests into a montage celebrating Jamaican life and history.

Male (Emile). Religious Art in France. The Thirteenth Century, a Study of Medieval Iconography and its Sources, Bollingen series, XC.2, Princeton University Press, 1984, b & w illusts. from photos., orig. cloth in d.j., 4to, together with Clapham (A.W.), English Romanesque Architecture before the Conquest, 2 vols., Oxford, 1964, b & w illusts. from photos., orig. cloth in slightly torn d.j.s, 8vo, with other misc. art ref., many in d.j.s, G/VG (3 shelves)

Cave, C. J. P. Roof Bosses in Medieval Churches. An Aspect of Gothic Sculpture. Cambridge, 1948; Vallance, Aylmer. Old Crosses and Lychgates. N. d. [1920]. Cautley, H. Munro. Suffolk Churches and Their Treasures. Second Edition, 1928; Esdaile, Katharine. English Monumental Sculpture Since the Renaissance. 1927; Kendon, Frank H. Mural Paintings in English Churches During the Middle Ages. A Intrductory Essay on the Folk Influence in Religious Art. 1923. Together with 9 other books relating to mediaeval churches, architecture and art. Various formats and bindings. (14).

Bergstrom (Ingvar) Dutch Still-Life Painting in the Seventeenth Century, 1947 § Stampfle (Felice) Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, In the Pierpont Morgan Library, Princeton, 1991 § Reiss (Stephen) Aelbert Cuyp, 1975 § Kirschenbaum (Baruch D.) The Religious and Historical Paintings of Jan Steen, 1977 § Collins (Leo C.) Hercules Seghers, Chicago, 1953 § Martin ( Dr. W.) De Schilderkunst in de Tweede Helft van de Zeventiende Eeuw, Amsterdam, 1950 § Bol (Laurens J.) Hollandische Maler des 17. Jahrhunderts Nahe den Grossen Meistern, Braunschweig, 1969, original cloth or boards, all but sixth and seventh mentioned with dust-jackets; and c.50 others, Dutch Art, 4to & 8vo (c.55).