Heraldry today remains an outward and visible symbol of family and corporate identity and of pre-eminence and authority, just as it did at Bannockburn, Agincourt and the Field of the Cloth of Gold. Heraldry possesses universal appeal in the unrestrained vigour of its art, the mystery of its symbolism and the nobility of its tradition.

It is exceedingly beautiful. The interpretation of heraldic symbolism in a variety of materials is an ancient and honourable craft requiring great skill and inventiveness, qualities acquired only through rigorous training, long experience and an appreciation of the 'heraldic imagination'.


Kevin Arkinstall's double-headed eagle is typical of the finely detailed line artwork of this highly individual heraldic artist and expert calligrapher.
An heraldic crest by Anthony Wood prepared on calfskin vellum, using gouache colours and 23 carat powder gold.
A ring seal engraved in negative relief by Clare Street. Her work includes two dimensional line engraving for mounted silver plaques, medal dies and desk seals, gold and platinum jewellery
Painting in gouache of a modern American coat of arms by John Ferguson, an internationally known heraldic artist and designer. His work includes library paintings, bookplates etc
An engraved bookplate by Gordon MacPherson, an outstanding Canadian heraldic designer and an Officer of Arms to the Canadian Heraldic Authority.


Four of a series of painted and gilded wooden shields by Baz Manning, an expert painter and gilder.

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