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Lot 52a
Howard Koslow (American, 1924 - 2016) "Firemen Raising the American Flag" Signed lower right. Acrylic on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. On the morning of September 11, 2001, the worst terrorist attack in U.S. history struck America at its core after four airliners were hijacked. Two were flown into the twin World Trade Center towers in New York City, one hit the Pentagon in Washington, D.C., and a fourth was brought crashing down into a Pennsylvania field by its heroic passengers. More than 2,800 people were killed. That day ordinary people performed extraordinary deeds, defying danger and death to save others. In a valiant rescue effort, courageous fire fighters in New York City charged up the stairs of the flaming towers of the World Trade Center, and many sacrificed their own lives when the buildings collapsed. A sense of grief and loss spread across the nation, evoking a surge of patriotism and a heartfelt willingness to share. Thomas Franklin of the Bergen, New Jersey Record captured the moment in his photograph of New York fire fighters Dan McWilliams, George Johnson and Billy Eisengrein raising the U.S. Flag amidst the rubble of the World Trade Center. In the days following the disaster, the Flag continued to serve as a symbol of respect, love, and national unity. The Stars and Stripes sprouted like wildflowers after a spring storm -- on houses, stores, trucks, cars, and lapels. Simultaneously, the inspirational image of fire fighters raising Old Glory atop a heap of rubble, like that of Marines raising the Flag on rugged Iwo Jima during World War II, became a symbol of the indomitable American spirit. Image Size: 14 x 12 in. Overall Size: 20.5 x 18 in. Unframed. (B16957)
Lot 92a
Jack Fellows (B. 1941) "Space Shuttle Atlantis" Signed lower left. Oil on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands PresentationPak for the 1996 Space Shuttle Atlantis $10 Commemorative Coin. The mission assigned to space shuttle Atlantis for its outer space debut received the highest security classification from the United States Department of Defense. Shuttle commander Karol Bobko and pilot Ronald Grabe flew mission specialists David Hilmers, Robert Stewart and William Pailes on one of the shorter shuttle flights, lasting just over four days. Like the other orbiters in America's space fleet, Atlantis bears the name of a pioneering sea vessel that established new frontiers in research and exploration. Atlantis was named in honor of the primary research vessel for the Woods Hole Oceanographic Institute in Massachusetts from 1930 to 1966. This two-masted sailing ship was the first American vessel to be used for oceanographic research and contained two onboard laboratories. The ship studied water samples, currents and marine life while using the first electronic sounding devices to map the ocean floor. The shuttle Atlantis carries the spirit of this famous sailing ship into space. Image Size: 16.5 x 14 in. Overall Size: 18 x 16.5 in. Unframed. (B15351)
Lot 62
Antique Russian Icon, Lord Sabaoth. Tempera and oil on gold leaf on wood. Size: 12.25 x 10.5 inches. his icon type is also called the ?Fatherhood.? God the Father (also called Lord Sabaoth) is depicted with the Holy Spirit in the form of a dove and God the Son (Jesus) seated on his lap. Below is a six-winged Seraph, which is traditionally painted red. The presence of God the Father, the Son and the Holy Spirit makes this an icon representing what is known as the ?Trinity.?. Previous Exhibitions- Brevard Museum of Art (Foosaner Art Museum), Melbourne, FLSept – Nov 1994- Pensacola Museum of Art, Pensacola, FL Nov 1995 – Jan 1996- Hearst Center for the Arts, Cedar Falls, IADec 1996 – Jan 1997- Durham Western Heritage Museum, Omaha, NEMarch – May 1998- Biblical Arts Center, Dallas, TXDec 1998- Visual Arts Center of Northwest Florida, Panama City, FLDec 1998 – Jan 1999- Gallery at the American Bible Society, New York, NYJune – Oct 1999- Samuel P. Harn Museum of Art, Gainesville, FLAug 2000 – Jan 2001- Museum of Fine Arts, Springfield, MAFeb – May 2001- Loveland Museum and Gallery, Loveland, COJan – March 2002- Gallery at the American Bible Society, New York, NYApril – June 2002- Lauren Rogers Museum of Art, Laurel, MSOct – Nov 2002- Albin Polasek Museum and Sculpture Garden, Winter Park, FLApril – June 2004- Hearst Art Gallery as St. Mary’s College, Moraga, CANov – Dec 2004- Albin Polasek Museum and Sculpture Garden, Winter Park, FLOct 2013 – April 2014
Lot 52
Dennis Lyall (American, B. 1946) "Firemen Raising Flag At World Trade Center" Signed lower middle. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Commerative Cover for Old Glory's Proudest Moments postmarked on the anniversary September 11, 2002. On the morning of September 11, 2001, the worst terrorist attack in U.S. history struck America at its core after four airliners were hijacked. Two were flown into the twin World Trade Center towers in New York City, one hit the Pentagon in Washington, D.C., and a fourth was brought crashing down into a Pennsylvania field by its heroic passengers. More than 2,800 people were killed. That day ordinary people performed extraordinary deeds, defying danger and death to save others. In a valiant rescue effort, courageous fire fighters in New York City charged up the stairs of the flaming towers of the World Trade Center, and many sacrificed their own lives when the buildings collapsed. A sense of grief and loss spread across the nation, evoking a surge of patriotism and a heartfelt willingness to share. Thomas Franklin of the Bergen, New Jersey Record captured the moment in his photograph of New York fire fighters Dan McWilliams, George Johnson and Billy Eisengrein raising the U.S. Flag amidst the rubble of the World Trade Center. In the days following the disaster, the Flag continued to serve as a symbol of respect, love, and national unity. The Stars and Stripes sprouted like wildflowers after a spring storm -- on houses, stores, trucks, cars, and lapels. Simultaneously, the inspirational image of fire fighters raising Old Glory atop a heap of rubble, like that of Marines raising the Flag on rugged Iwo Jima during World War II, became a symbol of the indomitable American spirit. Image Size: 15 x 12.75 in. Overall Size: 16 x 18.5 in. Unframed. (B16958)
![Contract With God graphic novel (1978) signed by Will Eisner to splash page. Moisture stain to lower front cover [vg+]. With](https://cdn.globalauctionplatform.com/645dd40e-d1bc-4516-80b3-ab5f00f5fd46/b5929c86-19ae-498b-bebf-ab5f00ff8c97/468x382.jpg)
Lot 48
A late 19c theodolite by Troughton and Simms of London having a lacquered brass sighting scope fixed parallel to a similar sized spirit level upon which is mounted a compass with silvered dial under a glazed bezel marked out with 360 individual degrees. The underside bears a threaded mount for a tripod. It is contained in a felt lined mahogany box 10in w overall.
Lot 317
A large stoneware flagon, stamped W.O Gray Spirit Merchants Stratford upon Avon, approx 56 cms h together with four stoneware flagons Doulton & Watts, stamped Langtons Scott Edden Wholesale Druggists approx 43 cms h, Smith & Spencer Ltd 'Old Style Ginger Beer' Stratford upon Avon approx 35 cms h; Pearson & Co ginger beer approx 35 cms h and E. Lardner & Sons Wine & Spirit Merchants Compton Moreton in Marsh approx 43 cms h (5)Condition for this Lot - Sale 18/12/19Chip evident to mouth rim.
Lot 722
70s ROCK - LPs. Rockin' out with this cool collection of around 89 x LPs. Artists/titles include Canned Heat, Fleetwood Mac inc. Rumours and Mirage, Fox, Cheap Trick, Steve Winwood, Todd Rundgren, Malcolm Tomlinson, Little Feat - Dixie Chicken, American Flyer - Spirit Of A Woman, Judie Tzuke, Night And Daydream, Joe Cocker, Santana inc. S/T, Abraxas and Festival, 5000 Volts, Sensational Alex Harvey Band, Toto - IV, Supertramp inc. Indelibly Stamped, Al Kooper - I Stand Alone, Patrick Moraz, Steve Hackett, Steve Harley + Cockney Rebel, Ian Hunter, Colin Blunstone, Steve Miller Band, Tom Petty And The Heartbreakers. Gary Brooker and Lynyrd Skynyrd. Condition is generally VG to Ex though some do vary.
Lot 524
JIMI HENDRIX NEWPORT 1969 CONCERT PROGRAMME. An original 1969 concert programme for the Newport Pop Festival 1969 with the line-up to include: Jimi Hendrix Experience, Byrds, Creedence Clearwater Revival, Eric Burdon, Sweetwater, Taj Mahal, Spirit, Jethro Tull, Marvin Gaye, Ike & Tina Turner. To measure 12x12" ,VF condition due to some slight discolouration/age wear.
Lot 68
RARE TAPE REELS. RARE RECORDINGS - TAPE REELS. Six boxed tape reels to include: a tape reel with Olympic Studios label showing that contents include the first side of the sought after Carnaby LP from 1969 'Spirit of John Morgan', alo a 1972 Trident tape reel with labels to suggest contents include both sides of Reparata and the Delrons - Octopus' Garden. Also - four boxed reels of audio tape with handwritten labels, contents include: 'Mary Travers With Eric Clapton, Crosby Stills and Nash 1972 recording, Eric Clapton 1975 recording, outtakes from Tom Thacker's 'White Trash'. Includes CD copies of recordings. Note - sold as artefacts only with no copyright (s) included.
Lot 768
YA HO WHA 13/CA QUINTET - LP (REISSUES). Entering the mad world of Jim Baker and Ya Ho Wha 13 with 6 x LPs as well a reissue of the phenomenal LP from C.A. Quintet. Ya Ho Wha 13 titles are I'm Gonna Take You Home (AE 46009/10), Penetration, An Aquarian Symphony, Father Yod And The Spirit Of 76, The Operetta, The Feather Of Wisdom and To The Principles, For The Children. Also with the limited edition 1996 Sundazed Records issue of C.A. Quintet - Trip Thru Hell (SUNDAZED LP 5037). Condition is primarily Ex to Ex+.
Lot 3281
An Archangel Loco builders, High Wycombe live steam engine of a Davies & Metcalf Ltd Bromley 1902 (cab side plate), 2-6-2T locomotive 'Prince of Wales' (original loco possibly built for the Vale of Rheidol Railway), spirit fired with outside cylinders, cross head and hand water pumps, pressure gauge, painted green with white lining (Archangel plate on cab rear) 39cm with two all wood side bench coaches, brass fittings; another two similar and brake van (6)
Lot 492
Mid 16th-early 17th century AD. A rapier of possible Spanish or Italian manufacture; the open basket-hilt sword, fitted with the blade, has straight double-edges with a pointed blade(?), presenting a hilt with straight quillons; the side guards are still preserved, together with the arms of the hilt and the knuckle bows; with two additional rings on the lower part of the hilt, bowing towards the flat undecorated blade; the sides of the blades show strong signs of employment in battle. See Tarassuk L., Blair C., The complete Encyclopedia of arms and weapons, Verona, 1986. 1.6 kg, 94cm (37").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.A variety of swords were used by the Englishmen during the Tudor period, these included the cutting sword, the broadsword and the rapier. The cutting sword was useful in the medieval period but was less effective on the battlefield by the time the Tudor era began. It was consequently replaced by the rapier which was sleeker and was adopted from Spain. It was a slender sharply pointed sword, mostly used for thrusting attacks, as in fencing. It was very thin and sharp, making it look like a thin pole. The rapier was also used by English noblemen to test their skills at fencing which had become a popular sport during the Tudor period. It was common for the noblemen to wear their rapier along with the civilian dress, usually as a part of the clothing. Discussions about the origin of the use of the rapier in England frequently begin by focusing on the very late 16th century. The term rapier was borrowed in 16th century from the French rapière, which was recorded first in 1474AD in the expression épée rapière, which itself derived from the contemporary Spanish espada ropera, the dress sword carried daily by the Spanish noblemen and gentlemen (Tarassuk-Blair, 1986, pp.401 ff."). This weapon was lighter than the arming sword. With the development of the art of fencing in 16th and 17th century the rapier became narrower and lighter, and so suitable for thrusts only. The teaching of rapier was established in England before 1569, and well before that, the school of the famous Italian teacher Rocco Bonetti, who was already established and active in 1576. Accounts from the 1630s set the time when the rapier replaced the sword and buckler as the weapon of choice for civilian combat as being '20. yeare of Queene Elizabeth' or about 1578. But in order for a weapon to become popular there has to have been training beforehand, in which the Masters of Defence of London played the major' part. This sword is an interesting piece belonging to the early period of diffusion of the rapier in England, with all probability from a battlefield, a castle or a military site. The weapon that embodied the duelling spirit was the rapier. The introduction of the rapier into England was one of the most significant single innovation, yet for those unwilling or unable to use such a 'sophisticated' weapon the 'cut and thrust' sword, arming sword or broadsword remained the primary edged weapon, that is after the omnipresent dagger. The new technique of swordplay, introduced in the mid XVI century, gave emphasis to the point of the blade as main instrument of attack. This brought the change of the structure of the sword's guard. In order to point the blade more effectively, some swordsmen used to put one or more fingers in front of the quillons, and these fingers needed to be protected by the arms of the hilt and side guards. Since ordinary gloves were usually worn during an encounter, the increase of all these elements of the guard became a necessity to cover the hand of the target nearest to the opponent. The English at the end of the 16th century followed the continental fencers in taking on the use of the rapier. Just to give a glimpse we can remember as on September 22nd, 1598, two men wandered out into the damp fields of Hoxton, north of London. On that muddy ground, they drew swords – at least one of which was 'a certain sword of iron and steel called a rapier, of the price of three shillings” and fought. At the end of the affray, one man lay dead, suffering 'a mortal wound, to the depth of six inches and the breadth of one inch' to his right side. That man was Gabriel Spencer, a play-actor in the Lord Admiral’s Men and the man that killed him was Ben Jonson, the playwright, friend of William Shakespeare and one of the most famous dramatists of the age. In defence of a proper English technique, George Silver published a treatise called the Paradoxes of the defence, a treatise which was used to espouse the use of the English weapons and to downplay the use of the rapier. Silver hated the Italians and Spanish and made sure that his readers knew that these styles were more dangerous for the user than good English practices. He also wrote a treatise on his Paradoxes called Brief Instructions. The Italian Elizabethan Masters were instead Saviolo and Di Grassi. Saviolo' s works cover not only his view on fencing mechanics but also the concept of the honour. Di Grassi treatise in particular was one of the finer manuals translated to English in this time period. Although Di Grassi predates the Elizabethan period, his manual, which was originally published in 1570, was translated into English in the late Elizabethan period. Not every sword maker could make a good rapier blade. The most part of the blades were made in specialised workshops: in Italy, Milan and Brescia; in Spain, Toledo and Valencia; in Germany, Solingen and Passau. From these cities the blades were exported throughout all Europe, and the hilts mounted in accordance with local fashion and decoration. For example, although Milano, Napoli, and Palermo were subjects of Spain, the decoration style was typically Italian. In Southern Italy the dominant features were the fuller running down the blade and the decorative work using the technique à jour.Fine condition. Rare.
Lot 418
LUBA CARYATID STOOL, DEMOCRATIC REPUBLIC OF CONGO This stool embodies all of the qualities of a royal Luba stool, the figure has carved wooden conical nails at the back of her coiffure in place of tacks, she has a crossshaped Kaposhi hairstyle, once reserved for Luba chiefs and their wives. The female figure with her curvilinear legs symbolises the importance of women in Luba society, as it was women who brought new life and as a result held power and spiritual secrets. Luba objects were usually owned by Luba male nobility and this stool was always a symbolic seat of power rather than a place to sit, village repair 36cm high PROVENANCEWalter Dehne, an employee of Woermann-Linie, Hamburg, 1898"Stools are among the most important symbols of Luba kingship, as they are for many African peoples. Not only is the Luba king’s palace referred to as a “seat of power", but seating is a metaphor for the many levels and layers of hierarchy that characterize Luba royal prerogatives. There are two principal types of Luba stools. Almost all of those that have entered Western collections are caryatid stools, supported by single or occasionally double female figures. Stools are such potent emblems that they are often kept secretly in a different village from their possessor’s home, to diminish the possibility of their theft or desecration.As the receptacle for a king’s spirit, it is not primarily a functional seat as such. The infrequency with which these stools are viewed reinforces the idea that they are intended not for human eyes (at least not primarily), but for those of the spirit world”Roberts, M.N. and Roberts, A. F., 1996. Memory: Luba Art and the Making of History, Prestel, Munich
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