We found 31974 price guide item(s) matching your search

John Ruskin (1819-1900), a signed letter, dated '12th Feby 1869', to Edwin W Field Esq. reading: 'Mr dear Sir, I am obliged in order to do my own work in this world often to burn masses of letters unread and submit to the consequent catastrophes. I don't know how other people manage. I know I can do no better. I never saw your letter that I remember. I am deeply interested in it now and will give all attention to the subject. Believe me your faithful servant, J Ruskin', with a portrait of John Ruskin,___ x _____cm, framed

John Ruskin (1819-1900), a collection of twelve signed letters, comprising1) a letter addressed to 'Boyce', stating he had 'written to Rosetti' for his address,2) a letter addressed to 'My dear Sir' responding to a gentleman 'enquiring for a Turner autograph',3) a letter addressed to 'Mr Hall' (S.C. Hall, Esq.), worrying that he 'caused Miss Virtue some trouble by not presenting the enclosed cheque' and he sees 'the Palestine exploration people are in want of funds, perhaps Miss Virtue will be kind enough to write a new cheque for them',4) a letter addressed to 'Calverly Hotel, Tunbridge Wells', stating he enjoyed the poems he had received which 'must be the case with every faithful lover of Derwent water - which in spite of a rather - in full consistence with - a more recent devotion to the Alps, I still claim to be - as one loves one's nurse faithfully',5) a letter addressed to 'Mr Mackay' (Charles Mackay Esq.), apologising for a delay in response and wishing to chat to him on his return to England,6) a letter addressed to 'Mr Smith', discussing plates 'just published, - plate 4. 12 guineas. I think this an exorbitant price - I wish you would ask one or two lithographers here what they would estimate it at',7) another to S C Whitworth Esq., thanking him 'for the gift of your book, with every word of which I concur', complete with its envelope,8) a letter address to 'My dear Madam', thanking the recipient for the book and commenting 'the Flaxmann designs become very interesting in this direct association with the text',9) a letter addressed to 'Dear Mrs Barnard', stating 'You needn't come to Oxford, but you must write out the Charter, and sign it & send it to me',10) a letter to Alexander Edmonston Esq., explaining he 'wanted the second part of Sir Charles Grandison - and on sending the first to the library from which I saw it had been purloined, it was claimed as private property - I must therefore refer again to you - and I send back the Blackwood too',11) a letter to Benjamin Vincent Esq., stating his 'letters are all in arrears - I suppose I can be of no service now about the abstract - If it is not printed yet - just put - Can Grande della Scala for Castruccio Castracani',12) a letter addressed to 'My dear Sir', explaining he is 'now done with Walker and Burnet'... 'but I want to see the other three parts of Burnet's work, if I can.', later wanting 'to know the price of 'Collection of Ancient Fragments', by J. P. Cary, 1832', anda further signed letter by J Rosa Barnard,addressed to 'Dear Madame, stating she has received one of her 'mother's letters from John Ruskin which I enclose. It seemed a pity to cut the signature so I send you all of it & am glad for you to have & keep it. Believe me' (13)

John Ruskin (1819-1900), a group of fourteen signed letters, recipients to include Dr Attwell, Mr Learoyd, Butler, Miss Miller, Woodd, Dixon, Mr Stowe, with subjects to include discussing agates, pearls, and Christmas, together with six envelopes addressed to Samuel Learoyd, and an envelope addressed to Mrs S H Holder (qty.)For a comprehensive transcription, please see the condition report.Condition ReportTranscription of letters:'Brantwood, Coniston, LancashireDear Dr AttwellI was so much interested in looking out those stones for you that I’m ready to lend you another lot directly – if you’ve room and care for them. I hope the new lot sent you yesterday are better than those sent to Whiteland’s – but these others won’t be lost, there either.That’s so interesting and so right – about the moral of monsters – but I hav’nt''Brantwood, Coniston, Lancashire. AmblesideDear Mr LearoydPlease let the agates be sent here, and with thanks for your care and best Christmas wishes believe me your faithful servant John Ruskin Samuel Learoyd Esq.''Brantwood, Coniston, Lancashire.28th April 83My dear SirI am so ashamed of myself for not having answered your kind letters of question about showing the agates – but I have been thinking of several things about them. It seems to me that with your good help, they might be arranged for a loan collection, belonging to the Sheffield Museum, and – when long enough at one place taken to another.You will at once see at looking over them that all have separate phenomena. Several are ,(in my experience unique) and all are chosen for things which need notice in each specimen ‐ If you will at present number and shortly describe each – and show just as you think best. I would afterwards consult with you on what more might be said, with secure basis of science, of the possible mode of production of each – and print the catalogue so settled.This cannot be till after our Oxford work is done – but for the present exhibition please take all authority. I think my stones usually look best on white silk or deep red or purple velvet – in which when the collection is finally arranged you might have niched places for each stone Ever most truly Yours J Ruskin''Brantwood, Coniston, Lancashire.27th Dec. 84Dear Mr. LearoydNo. I could not take up pearls. – they are a result of disease. And would never interest me, but I should like to see an exhaustive book on them – Silica is more than ever I shall manage, ‐ but please tell me of any points of new interest that occur to you in it at any time Ever faithfully yours J Ruskin''Brantwood, Coniston, Lancashire.3rd MayDear Butler,I’m quite delighted with all the small silvers ‐ and all the besicas – and the rest are very nice I return a pound’s worth of what I don’t want – see accounts and enclose cheque for £5 with hearty thanks. The 15/‐ chlorite is superb – quite worth £1 to me – the largest indescent Madagascar, the best I ever saw.I’m not well, stomach out of sorts – or that metal‐book would have been done by this time – I Don’t know what you could have got out of my talk – you said you should like to know things – And I said – so should I! I think that was about all. But I’ll write and print the catalogue of collections for you directly. Ever affectionately yours JR''Brantwood, Coniston, Lancashire.17th April 83My dear SirI will look out the stones directly – but your own arrangement will be entirely satisfactory to me – it will be a delight to think of your seeing them. – I will wait on Col. R; the moment I’m in town againEver faithfully yoursJ Ruskin''Brantwood, Coniston, Lancashire18th May 86My dear SirI accept your Companionship very gladly, having at last given up the idea of the Guild’s being a monied power; and contenting myself with making it a bond and an influence for assured good.Do not hasten to leave your position under Dr. Gore. You could not be in a more useful one that of a practical experimental philosopher – as you grow in years – holding yet the faith you have now signed Ever faithfully yours John Ruskin''Brantwood, Coniston, Lancashire. Christmas 86My dear SirI find nothing so uselessly wasteful of my time as lending either drawings or minerals, and have vowed to trouble myself no more, in that kind – but if I would – assuredly not for Manchester. Even at Xmas time I forgive them not their Thirlmere theft. Ever faithfully yours John Ruskin''Herne Hill, S.E. London20th June 77Dear Miss Miller,I have been twenty times of the edge – never yet well over the edge –of answering your mostvaluable letters – but you will see in next days I have not forgotten them.Is Eastover House an established and permanent school – and would its trustees like me to lend Some agates and other stones for her pupils to play with and think of? Ever gratefully Yours J. Ruskin''Brantwood, Coniston, Lancashire.12th Feb. 85Dear Woodd,Many thanks. The Phots are beautiful. I had taken good ones myself, of course; but these beat them considerably. I’ve ordered a report of St. George to be sent to you. I shall expect a grand subscription to my Museum. Ever affectionately yours J Ruskin Charles H. Woodd, Esq.''I have not read the slips yet they seem most interesting.Venice, 6th MayDear DixonI have been terribly neglectful of you. I was very glad to see your hand today, but what to know how you are.I must really organize this St. George’s company by drawing up some legal documents myself which the Companions shall sign. I am sick of the lawyers’ delays and the Trustees are shy of acting for want of clearly knowing to whom they are responsible.‐ So you will have to declare that you they have no business with the matter – but that you only hold the Master responsible for the management. Ever affectionately yours J Ruskin' 'Denmark Hill23rd AprilMy dear Mr StoweI’ve had this returned letter by me ever so long and always forgotten to ask you to forward it – and now I’m leaving town – but I shall be back D.V. early in the summer – and most happy then to see your friend. Yours very truly J Ruskin''Denmark Hill, CamberwellMonday 1st OctoberMy dear SirI could not earlier reply to your letter – having left several days of this week open to choice to different friends whom I wanted to see – having only just come home from Switzerland – I have no forenoon time open just now – could you & Mr. Gregory favour me by coming some evening? Friday or Saturday? If not I shall have forenoon time next week. Truly yours, J Ruskin It is a long way for you to come – if Mr Gregory could be at Queen Sq. on Saturday, or Friday at one o’clock, I would come there.''Denmark Hill, S.7th Oct.My dear Sir.In this fine weather I am out all day my business goes to the dogs. I am heartily obliged to you for your letters and for the kindness of sending me an account of Mr. Stevenson – Forgive me, as well as him, the trouble we have caused you and believe me yours faithfully and obliged J Ruskin'

This remarkable collection features five Royal Doulton large character jugs from the Williamsburg series, each showcasing exceptional craftsmanship and attention to detail. The set includes the Apothecary (D6567), representing an 18th-century apothecary with a mortar and pestle-themed handle, and the Bootmaker (D6572), a skilled craftsman adorned in traditional garb with a charming boot-themed handle. The Gaoler (D6570) captures the stern demeanor of a jailer, complete with a large key as the handle, symbolizing his duty. The Cabinet Maker (D7010) highlights an artisan with a saw and wooden plane handle design, reflecting his woodworking craft. The Blacksmith (D6571) portrays the robust character of a blacksmith, featuring a hammer and anvil-themed handle to depict his trade. Each piece celebrates historical trades from Colonial Williamsburg and is marked with its respective model number on the base. The tallest jug measures 7.5 inches in height.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

This exquisite crystal glass compote features intricate frosted flower designs and detailed cut patterns along its octagonal bowl, accentuated by elegant saw tooth edges. Resting on an ornate brass pedestal adorned with hanging crystal prisms, the piece beautifully combines delicate craftsmanship with sturdy metalwork. Measuring 11"H x 10"dia, this decorative compote serves as a stunning centerpiece, ideal for both functional use and vintage decor displays.Dimensions: See DescriptionCondition: Age related wear.

Workmate and antique saw

THE LAND BEFORE TIME (1988) - Littlefoot and Mother Original Production Animation Cel Setup - An original production cel setup used in the making of The Land Before Time, featuring Littlefoot cradled tenderly in his mother's mouth - one of the most emotionally powerful moments from this beloved animated classic.This animated feature was a landmark project that saw master filmmaker Steven Spielberg and producers Kathleen Kennedy and Frank Marshall lend their creative powers to the animation genre through Universal Pictures.As one of the defining projects of Amblimation, the film blended Don Bluth's expressive, richly animated style with Spielberg's instinct for heartfelt, cinematic storytelling, setting a new benchmark for animated family films in the 1980s.Apart from the endearing character interaction, the facial expressions make this cel particularly attractive; all three characters' eyes are open, a subtle yet powerful nuance in the 24 frames-per-second world of hand-drawn animation. Daddy Topps and a young Cera also appear at the left-hand edge, adding depth and scale to the scene. The cel is labelled "LB 882, 002, 34, 143" along the bottom edge.This carefully selected setup is paired with a matching litho background and features the official studio seal from the MCA Universal/Amblin art programme. The lot is accompanied by an Amblin Entertainment certificate of authenticity. Dimensions: 34.5 cm x 43.25 cm (13.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

HOW TO FISH (1942) - Goofy Original Production Cel - An original production cel from How to Fish, one of Disney's beloved "How To" shorts starring Goofy. The "How To" series began in the early 1940s and became one of Goofy's defining formats. These shorts, narrated with a mock-serious instructional tone, placed Goofy in a series of sporting situations intent on showing everyone 'how to' do it properly and encourage outdoor endeavours, like fishing, skiing, or golfing. The Goofy comedy unfolds through his bumbling but earnest attempts to master each task. The dry gravitas of the narration, offset by Goofy's slapstick chaos, became an enduring hallmark of the series.Goofy's character development through the 1930s and 1940s saw him evolve from a gangly background comic figure into a full-fledged star. Under the guidance of animators like Jack Kinney, who directed many of the "How To" shorts, and the voice talent of Pinto Colvig, Goofy was shaped into the lovable "everyman" audiences still cherish today. His clumsy resilience and good-natured optimism have made him one of Disney's most relatable and enduring characters.Artwise, these cels are beautifully crafted, with expressive linework, physical comedy, and fluid motion. The addition of effects like water splashes or props like the fishing rod added extra technical challenge and artistry to the production, making a cel setup like this especially appealing.This cel has been beautifully trimmed to the image, including the delicate splash effects and Goofy's fishing rod, and is presented on a Disneyland background that complements the action perfectly. With its fantastic pose and expression, this piece captures classic Goofy charm at its best. It comes presented in a card mount. Dimensions (mounted): 39.5 cm x 45.75 cm (15.5" x 18")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US

JAMES ROSENQUIST (AMERICAN 1933-2017) SEE-SAW, CLASS-SYSTEMS (GLENN 22) Lithograph printed in colours, 1968 Signed, dated and inscribed 'See Saw' in pencil, numbered from the edition of 100, published by Richard Feigen Graphics, New York, with their blindstamp, on Arches paper, the full sheet printed to the edges Sheet: 61 x 87.2cm (24 x 34 3/8 in) Condition Report: The sheet is hinged to the mount at intervals along each edge. The work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer

Henry Bright (1810-1873) watercolour - Saw Mill on the outskirts of Norwich, 28cm x 46cm, in glazed gilt frame. Ex Mandell's Gallery

H.M. Queen Elizabeth II - handwritten letter dated April 5th 1952 on Clarence House mourning notepaper with black Royal crest to Miss 'Woggs' - The Young Queen thanks Miss 'Woggs' for her letter of sympathy after the death of The King and goes on to say how touched and comforted she has been by the expressions of the peoples' sorrow and affection from all over the world. The Queen comments that it is a long time since she and Miss 'Woggs' have met and thanks her very much for writing to her, signed 'Yours sincerely Elizabeth R.'Miss Ethel Taylor - known as Miss 'Woggs' by the Royal children was the housekeeper to Lord Hothfield who resided in Piccadilly. One of her duties was to walk his dog 'Woggles' in the Park where she befriended the Royal nannies who would be taking Princess Elizabeth and Princess Margaret for walks. They saw so much of each other that Miss Taylor acquired the nickname Miss 'Woggs' after the dog Woggles that she was exercising.Provenance: Sold by these rooms 21st June 2011 and 22nd November 2016

Four S.E.L miniature power tools, driven by model live steam engines, to include a grinder, a circular saw and two fans, boxed appear unused.

Mettype/Mettoy three tinplate toy typewriters, boxed, together with three Ideal Toys; miniature battery operated power tools, including drill, jigsaw and circular saw, in fitted carrycases.

Corgi Toys; A boxed Corgi Massey-Furguson '165' Tractor with saw attachment '73'

HUNTING FANG | CENTRAL EUROPE, CENTRAL EUROPEAN | Country: Central Europe | Date: end of the 19th century | Condition: very good | Lot information | Hunting fang from the end of the 19th century, equipped with a scabbard. The blade is made of carbon steel, has a straight back and is equipped with saw teeth, which were intended to cut through the sternum of a hunted game. The shield is made of brass, decorated with ornaments and shaped into a shell motif. The handle is made of deer antler and is fixed with a metal sleeve. The scabbard is made of black leather with reinforced brass fittings, with the upper part having a print for attachment to the belt. | Dimensions | Length: 65.7 cm | Blade length: 49.5 cm | Blade width: 28.5 mm | Weight: 860 g***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.

A Moroccan Nimcha sword (sa'if) handle and fittings, 19th century, the saw-shape rhino horn handle with gold inlaid steel quillons19cm long overall

Mamod SE2 stationary model steam engine and boxed S.E.L. model circular saw / T10

A 20th Century teak side table constructed of timbers from the Royal Navy Ship HMS 'Arethusa'. The rectangular planked top with a lower shelf on square legs, 46cm high, 61cm long, 41cm wide. Note: HMS Arethusa was a 50 gun Fourth Rate ship of the line commissioned in 1849, she saw action in Crimea including the battles of Odessa and Sevastopol, being the last ship of the Royal Navy to enter an engagement under sail power alone. She was used as a training and refuge ship by the Admiralty until 1933 when she was sold.

A Royal Navy Diver's knife circa.1970, maker John Nowill & Sons Ltd, Sheffield, the straight blade with single edge and saw back over a rubber grip, together with plastic scabbard.

A Siebe Heinke Underwater knife, maker C E Heinke & Co ,London, the plated blade with saw and straight edge signed as per title over hilt with one piece cork grip and suspension loop, in a  cast alloy scabbard with leather frog, 29cm long

A Royal Navy NATO pattern Non-magnetic diving knife, with single edge and saw back blade and rubber grip in a black plastic sheath.

A 20th Century cast iron brass ship's badge for HMS 'Kenya'. Of pentagon form with armorial to the centre, paper label to reverse. 19cm high.HMS 'Kenya was a Fiji Class Cruiser launched in August 1939, she took part in a range of convoy operations throughout the war including the relief of Malta in 1942 and the Arctic operations. A notable mission during that year was the transportation of 10 tonnes of gold from the Soviet Union to the United States as debt repayment which she succeeded in doing. After WWII she also saw action in the Korean war, being sold and scrapped in 1962.

A mid 20th Century brass bell, metal taken from HMS Tiger 1916. The bell with inscription 'Metal from HMS Tiger Jutland 1916' mounted on an oak crossbeam with turned supports on a plinth base, 33cm high, 40cm wide, 19cm deep. HMS Tiger was a Battlecruiser commissioned in 1914 and saw notable actions including Dogger Bank, 1915 and Jutland in 1916 where she sustained much damage, she was repaired and refitted to see out the rest of the war, being scrapped in 1932.

2 VINTAGE JOINERS TOOL BOXES COMPRISING SAW, PLANES, CHISELS, ETC

A VINTAGE CORONET 'THE MAJOR' WOODWORKING MULTI FUNCTION MACHINE, on a bespoke work bench, with table saw, lathe, belt sander, planer, etc total length 200cm, bench depth 55cm (PAT pass and working but attachments not checked)

A CLARKE CTS10D TABLE SAW ON STAND, with two extensions to table, parallel and mitre guides (PAT pass and working)

A PARKSIDE PTK2000A1 TABLE SAW, appears to be unused in an open box (UNTESTED as still has plug protector fitted)

A RECORD POWER TSPP250 TABLE SAW, with cast iron bed, sliding arm, parallel guide, etc bed depth 80cm, bed width with extensions 120cm (PAT pass and working)

A COLLECTION OF VINTAGE AND POWER TOOLS, including a Hobbies treadle scroll saw (drive wheel loose), a Parkside mitre saw (PAT pass and working), a vintage Black and Decker drill on stand, three Sainsburys cordless drills with one flat battery but no charger, and a Parkside cordless drill with one battery but no charger (both untested)

A BAMFORDS NO.2 CAST IRON SAW TABLE, with large motor (not fitted and UNTESTED) width 126cm, depth 85cm (VERY HEAVY)

A COLLECTION OF POWER TOOLS, including a McKeller power planer in case, an Erbauer reciprocating saw in case, a Black and Decker jigsaw and a Parkside electric scraper (all PAT pass and working)

LOt to include a 330 mm circular saw, a sander and other. [W]

Shedplate 62A Thornton Junction 1948-April 1967. This ex NBR shed housed around 100 locos throughout the 1950s. with the exotic 4-4-0s of classes D11 D29 D30 D34 and D49 being the celebrities. 1960 saw 5 K4s added but by 1966 only 30 freight class locos were allocated. Some diesel shunters may also have carried this code. In face restored condition with the Scottish District shed casting pattern number etc cast into the back.

A Bosch electric router, cased, together with a circular saw and another (3)

A See-Saw.

Power Craft Chop Saw.

A NuTool table saw with 9" blade.

Makita 2414NB Cut-off Saw with discs.

MT 650 petrol hedge trimmer and pole saw etc.

PERU. Republic, 1822-date. Silver 1 Sol, 1916 FG. LIBERTAD incuse. There are many varieties these coins produced between 1864-1916 These coins saw frequent circulation in El Salvador until they were withdrawn on September 3, 1892. In 1916, 1,101,278 blank planchets were manufactures by the United States Mint in Philadelphia.Central Coat of Arms with date below, REPUBLICA PERUANA LIMA 9 DECIMOS FINO F. G. / Seated Liberty figure with denomination below, FIRME Y FELIZ POR LA UNION. In secure plastic holder, graded NGC AU 58 , certification number 6351499-031.Reference: KM-196.27.Diameter: 37 mm.Thickness: 2 mm.Weight: 25 g.Composition: 900/1000 Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

Fine pair of cased 28 bore flintlock duelling pistols by Prosser of Charing Cross, London, 10" browed octagonal barrels inset with gilt name panel, further engraved makers name to the lock, side-slide safety, saw handle grips with inset initialled cartouche `RA', flattened butts with engraved white metal plates, 40cm overall, in fitted case with various accessories and original John Prosser trade labelShipping £68.00 plus vat (UK Only)Please note Bradley's are unable to ship weapons outside of the UK

American 20 bore saw handled flintlock duelling pistol, 10" octagonal barrel engraved to the top flat ` Hyde & Goodrich', the scroll engraved lock with side safety named `Van Wart, Son & Co', figure spur trigger guard, 41cm overallShipping £38.00 plus vat (UK Only)Please note Bradley's are unable to ship weapons outside of the UK

A NAZWA STYLE QURAYSHIA TRIBE BRASS DALLAH COFFEE POT Bahrain or Saudi Arabia, early 20th centuryOf classic flared cylindrical shape, rising from a wide splayed rounded base, engraved throughout with overlapping bands of vegetal scrollwork, fretwork and stylised flower heads, the tall conical lid surmounted by a pointed finial, with its distinctive ‘saw-tooth’ hinged lid-catch, with a boldly arched spout decorated with further floral designs and a curved handle on the opposite side, the overall design associated with the Qurayshia tribe, fitted with original chains, just below the rim a gold and red seal stamped in Arabic, testifying to the 'superior quality' of the ware, the base left plain displaying natural patina from age and use.32cm high This type of dallah, known as the ‘Nazwa’ style (دلة نزوى), is highly prized in the Arabian Gulf, with close links to Bedouin hospitality and coffee culture (qahwa), particularly among the Qurayshia tribe. This distinct shape is easily recognisable by the strong arch of the spout and the flared lower section. Early 20th-century examples from Bahrain and Eastern Saudi Arabia are increasingly rare, representing an important part of Gulf material heritage and Islamic decorative arts. Such pieces were often used in majlis gatherings, where serving coffee is a symbol of hospitality, social status, and tribal identity. For a related example, please see the collection of the Bahrain National Museum. Other published examples can be found in Traditional Metalwork from Bahrain (Bahrain Authority for Culture & Antiquities, 2012). 32cm high Qty: 1

Boxed Neca Reel Toys Saw 12" figure with tricycle, complete and ex

A BOX OF LEAD AEROPLANES, ANIMALS ETC., boxed Chad Valley tin plate clockwork bus, boxed model power saw and electric motor, eleven unboxed diecast buses / coaches mainly Dinky, small box of Hornby Dublo rolling stock together with a tin plate Asbourne station and a carded Matchbox Jubilee bus

* Playing cards and card games. American Playing Cards, New York: A. Dougherty, circa 1878, four complete decks each of 52 colour lithographed playing cards (French suits), double-ended courts, each AS with 'American playing Cards' and maker's details, no indices, rounded corners, two decks with versos of 4 large flowers with foliage and 4 smaller flowers, one deck in blue the other brown, the other 2 decks with versos of an ornamental pattern incorporating foliage and birds etc., one deck in blue, the other brown, each card 88 x 63 mm, contained together in an unrelated Rubicon Bezique box, with De la Rue Bezique marker and Rules leaflet, together with: Besançon Tarot, France: B.P. Grimaud, circa 1900, 77 (of 78, with facsimile trump XVIII) colour lithographed playing cards (Italian suits), comprising 4 suits of 14, each with pip cards 1-10 and 4 single figure court cards, Republique Francaise (1890) tax stamp on ace of coins, Arnoult 1748 on two of coins, plus 22 trump cards: 21 trumps (bearing Roman numerals I-XXI at head, and title of card at foot) and Fool card, maker's name on most trumps and courts, dusty, some toning and spotting, most pip and court cards with pencilled French suit sign at one end, occasional pale brown marks, trump III with crease, cavalier of swords with cracked surface along horizontal crease (near foot), versos plain brown, each card 119 x 62 mm, plus: Schwarzer Peter, Germany, Nürnberg: J.W. Spear & Söhne, circa 1905, 32 (of 33, without one mountaineer) colour lithographed cards, comprising one Schwarzer Peter card, depicting a caricatured black man with top hat, white tie and red tailcoat, and 16 pairs of cards, each pair depicting a man and a woman (except the 'top hat' pair which have children) undertaking various sports and pastimes, including tennis, ice-skating, delivering post, fencing, skiing, serving food or beer, in traditional German costume, etc., worn with a few tears and creases, Schwarzer Peter with corner loss, inner part only of original box (defective), front panel with image of feet and long legs on yellow, J.W.S. & S. to lower right, and: Florentine Pattern, Italy, Florence: Chiari, circa 1870, 44 (of 52, without all heart courts, QD, JC, AH, and 7 & 8C) hand-coloured lithographed playing cards (French suits), single-figure courts (Mann's 'Florence I' pattern), maker's name on JS, soiled, some stains (mainly to pip cards), rounded corners, versos blue 'cells' (some surface losses), each card 98 x 65 mm, with approximately 94 other decks of playing cards, 9 decks of card games, 3 playing card-related books, and two packs of cartomancy cards, including a 19th century probably Austrian cartomancy deck of 32 colour lithographed cards (unnumbered, in original box), various conditions, many complete, some incomplete, many with original boxQTY: (Approximately 112)NOTE:First item: Hochman AD14. One of the last no-indices decks issued by Dougherty, the ace of spades design was used for the subsequent Indicator series.Second item: Cary, FRA 159.Third item: An early edition, before the company address and logo 'Spear-Spiel' were added to the box, and with adult characters instead of children as in later editions.The other decks include: Dougherty's Climax playing cards No.14, circa 1910; Dondorf's Empire design No.172, original box states The Imperial pack ... E.Hamilton, London, 1894-1903; two packs with images of nude women, one with versos What the Butler Saw (lacking 3 cards); a complete deck of Nederlandsche Speelkaartenfabriek Dietsche Kaart, circa 1912, heraldic aces; A Waddington's advertising deck for Lingfords Baking Powder, in unopened tax wrapper (with box); 5 decks advertising alcoholic beverages and 12 advertising tobacco products; a Goodall deck for Queen Victoria's Golden Jubilee in 1887, designed by John Leighton; the other packs including advertising, non-standard and standard decks from England, Germany, France, Italy, USSR, etc.

A large scythe and a smaller one plus a large two handled saw

An Evolution Rage-3S electric mitre saw and stand

A cased DeWalt DCD796 18V drill - sold with a DeWalt 305mm saw blade

A painted metal portable circular saw bench

RAF35c 30th Anniversary of VJ Day signed MRAF Arthur ( Bomber ) Harris. 15 Aug 75 BFPS 1492 30th Anniversary of VJ Day Special Postmark No 101 Squadron Royal Air Force. 30th Anniversary of VJ Day Flown from RAF Waddington in Vulcan B Mk2 XM575 on a Training Sortie. Personally Signed Marshall of the RAF Sir Arthur Bomber Harris WW1 Pilot. Harris led RAF Bomber Command in World War Two, earning him the nickname 'Bomber Harris'. His implementation of the policy of 'saturation' or 'area' bombing of German cities has made him a hugely controversial figure. Leaving England at the age of 16, he travelled to Rhodesia where he worked on a farm becoming the manager by the age of 21. Having fought in South-West Africa, he returned to Britain and joined the RFC, gaining his RAeC Certificate (No 2015) on 6 November 1915. In March 1916, one of his flight, Lt W Leefe-Robinson, brought down the first Zeppelin over England for which he was awarded a VC. With No 45 Sqn he gained his five victories, thereby raising him to 'ace' status. It was in India that he saw the deplorable state of the RAF in the area and at one point even threatened to resign his commission over the situation. He has often been 'credited' with start 'area bombing', but this decision was made before he took over Bomber Command. However, having been given the task, he carried it out with vigour. He also attempted increase the profile of the command and within months of taking over command had managed to mount three '1000 Bomber' raids against Cologne, Essen and Bremen. After the war, shunned by the British authorities, he returned to South Africa and became Managing Director of the South African Marine Corporation (Safmarine). He was eventually honoured when Churchill returned to Downing Street in 1953, but at his own request was awarded a baronet rather than a peerage. He died on 5 April 1984. Certified Copy No 0521 of 1250. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Apollo 11 Astronaut Neil Armstrong signed 10 x 8 inch colour WSS photo, White space suit image dedicated to Bill Godward. 1st moonwalker. Original NASA Litho with printed information on reverse. Big bold autograph and now exceedingly rare. Neil Alden Armstrong (August 5, 1930 - August 25, 2012) was an American astronaut and aeronautical engineer who, in 1969, became the first person to walk on the Moon. He was also a naval aviator, test pilot, and university professor. Armstrong was born and raised in Wapakoneta, Ohio. He entered Purdue University, studying aeronautical engineering, with the U.S. Navy paying his tuition under the Holloway Plan. He became a midshipman in 1949 and a naval aviator the following year. He saw action in the Korean War, flying the Grumman F9F Panther from the aircraft carrier USS Essex. After the war, he completed his bachelor's degree at Purdue and became a test pilot at the National Advisory Committee for Aeronautics (NACA) High-Speed Flight Station at Edwards Air Force Base in California. He was the project pilot on Century Series fighters and flew the North American X-15 seven times. He was also a participant in the U.S. Air Force's Man in Space Soonest and X-20 Dyna-Soar human spaceflight programs. Armstrong joined the NASA Astronaut Corps in the second group, which was selected in 1962. He made his first spaceflight as command pilot of Gemini 8 in March 1966, becoming NASA's first civilian astronaut to fly in space. During this mission with pilot David Scott, he performed the first docking of two spacecraft; the mission was aborted after Armstrong used some of his re-entry control fuel to stabilize a dangerous roll caused by a stuck thruster. During training for Armstrong's second and last spaceflight as commander of Apollo 11, he had to eject from the Lunar Landing Research Vehicle moments before a crash. On July 20, 1969, Armstrong and Apollo 11 Lunar Module (LM) pilot Buzz Aldrin became the first people to land on the Moon, and the next day they spent two and a half hours outside the Lunar Module Eagle spacecraft while Michael Collins remained in lunar orbit in the Apollo Command Module Columbia. When Armstrong first stepped onto the lunar surface, he famously said: "That's one small step for [a] man, one giant leap for mankind." It was broadcast live to an estimated 530 million viewers worldwide. Apollo 11 was a major U.S. victory in the Space Race, by fulfilling a national goal proposed in 1961 by President John F. Kennedy "of landing a man on the Moon and returning him safely to the Earth" before the end of the decade. Along with Collins and Aldrin, Armstrong was awarded the Presidential Medal of Freedom by President Richard Nixon and received the 1969 Collier Trophy. President Jimmy Carter presented him with the Congressional Space Medal of Honor in 1978, he was inducted into the National Aviation Hall of Fame in 1979, and with his former crewmates received the Congressional Gold Medal in 2009. After he resigned from NASA in 1971, Armstrong taught in the Department of Aerospace Engineering at the University of Cincinnati until 1979. He served on the Apollo 13 accident investigation and on the Rogers Commission, which investigated the Space Shuttle Challenger disaster. In 2012, Armstrong died because of complications resulting from coronary bypass surgery, at the age of 82. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

* BESSIE ELLEN DAVIDSON (AUSTRALIAN 1879 - 1965), ROAD TO THE MANOR, GRENOBLE oil on board, signedframed image size 38cm x 30cm, overall size 46cm x 38cm Note 1: Bessie Ellen Davidson was born in 1879, in Adelaide, Australia, to a family of Scottish and English origin. She was the second child of David Davidson, who was in the mining industry, and Ellen Johnson Davidson. Her great-grandfather, William Gowan was a sculptor, and her grandmother Frances Gowan was a painter. She was educated at the Advanced School for Girls, studied art with the painter Rose McPherson (better known as Margaret Preston) and began exhibiting with the South Australian Society of Arts in 1901. In 1904, after her mother's death, she went to Europe to study art with Preston. They spent the first few months in Munich, where Davidson studied briefly at the Künstlerinner Verein, before moving to Paris. There she studied at the Académie de la Grande Chaumière, where she met and began a lifelong friendship with Philippe Besnard's future wife, Germaine Desgranges. A year after her arrival in France, she was exhibiting at the Salon de la Société des Artistes Français and the year after that at the Société Nationale des Beaux-Arts. In 1922 she would become the first Australian woman elected a member of the Société Nationale des Beaux-Arts. She was also a founding member of the Salon des Tuileries at which she would exhibit almost every year between 1923 and 1951. Returning to Australia in 1907, Davidson rented a studio with Preston and continued painting and exhibiting. In 1910 she returned to Paris and set-up a workshop in Monparnasse in the same street as Raymond Legueult and the Dutch painter Conrad Kickert. She made many other friends in Parisian art circles, including the painter Anders Osterlind. Davidson travelled to Australia in 1914 and was there when World War I began. She returned to France immediately, where she joined the French Red Cross and served in various military hospitals. During the war, she met the woman who would become her companion for the next two decades, Marguerite Leroy (d.1938), whose nickname was Dauphine. The postwar period to 1920 saw Davidson producing quiet, intimate, loosely impressionistic paintings - mostly interiors, still lives, and portraits - in muted tones. Her style evolved in a more vigorous direction in the 1920s and 1930s, with vibrant, dramatic colours laid on with a palette knife. She travelled around Europe, Russia, and Morocco making outdoor sketches that she used as the basis for later studio works. Her landscapes are notable for their quality of light and sense of atmosphere. In 1930 Davidson was a founding vice-president of La Société Femmes Artistes Modernes. She was also a founding member of the Société Nationale Indépendentes and a member of the Salon d'Automne. In 1931 she was the first Australian woman appointed to the French Legion of Honor. She exhibited widely with such artists as Mary Cassatt, Tamara de Lempicka, Camille Claudel, and Suzanne Valadon. Although still a citizen of the British Commonwealth, Davidson decided to stay in France during World War II. She lived with friends in Grenoble and some sources say that she was a member of the French Resistance. Her paintings from this period are strong, bright, and lively. In 1945, she returned to her old studio in Paris, occasionally spending time at a farm she bought near Rouen. In the postwar period she painted mostly outdoors on small wood panels. She died at Montparnasse in France in 1965 and was buried in Saint-Saëns.Note 2: McTear’s sold a similar sized work by Davidson on the 11th October 2023 (Lot 293) for £12,000 (hammer).

LOUIS-ROBERT CARRIER-BELLEUSE (FRENCH 1848 - 1913), MUSSEL GATHERERS, SAINT-MALO, BRITTANY oil on canvas, signed, titled label verso framed image size 33cm x 70cm, overall size 51cm x 88cm Label verso: Tom Bell Fine Art, Troon Note: this lot includes a conservation report and confirmation of signature. Note 2: Born in Paris on 4 July 1848, Louis-Robert Carrier-Belleuse grew up watching his father, Albert-Ernest Carrier-Belleuse, earn his living as a practicing artist. The elder Carrier-Belleuse entered the Ecole des Beaux-Arts in 1840 under the auspices of sculptor David d’Angers, but he elected to study decorative arts at the Petite Ecole shortly thereafter, perhaps because he felt that it would offer a better livelihood for his growing family. When Louis-Robert was only two years old, his father accepted a job in England where he designed ceramics and metalwork models for the Wedgwood factory, among others. This interlude lasted five years, until 1855 when the family returned to France where Albert-Ernest found work in Napoleon III’s massive urban renewal projects for Paris. Throughout these years, the young Louis-Robert studied with his father, absorbing his basic art education through direct observation, on-the-job training, and paternal instruction. Eventually, Louis-Robert entered the Ecole des Beaux-Arts where he focused his studies on painting. Under the direction of Alexandre Cabanel and Gustave Boulanger, two of the most successful painters of the era, Carrier-Belleuse mastered the academic techniques of drawing from plaster casts of famous sculptures, and in due course, the live model. In 1870, just as the Second Empire was coming to its disastrous conclusion, Carrier-Belleuse made his debut at the annual Salon. The eruption of the Franco-Prussian War disrupted life significantly; although it is unknown whether or not the 22-year-old Carrier-Belleuse served in the French Army, most young men performed their military duty at this age. As a result of the war—and the internecine bloodshed of the Commune—life in Paris was fundamentally changed. The city had been beaten and battered, and the political divisions among the citizenry were both painful and raw. The arts community was no exception. Traditionalists who supported the academic canon were impatient with the increasing number of artists who advocated for a fresh approach to painting as well as new venues in which to exhibit their work. Carrier-Belleuse, while not as radical as the Impressionists, nevertheless found his voice as a “painter of modern life” to cite Charles Baudelaire’s famous phrase. Like Constantin Guys, the painter that Baudelaire held up as his example, Carrier-Belleuse captured the daily life of Parisian streets. His images included people from all walks of life, whether it illustrated workingmen delivering sacks of flour in Porteurs de farine of 1885, or casual strollers on the grand boulevards as in The Bookseller of 1881. In both of these images, the painter’s academic education is obvious in the clear delineation of the human body, but his choice of urban subject matter suggests the influence of Degas or Steinlen, especially in the seemingly random combinations of anonymous figures going about their daily routine. Carrier-Belleuse also occasionally painted amusing genre scenes such as The Animal Sculptor. This undated work depicts the sculptor (perhaps Carrier-Belleuse himself) in his studio trying to grab a bite of lunch while the plaster swan on his worktable appears to be interrupting him. Nearby, two live swans observe this action, presumably a bit miffed that they are not being fed as well. The joke is purely visual, and it remains comical today precisely because it does not depend on any external narrative. What is even more intriguing is the compositional structure that Carrier-Belleuse created; the standard two-point perspective grid is offset by a technique that Degas often used of undermining the spatial organization by drawing parallel lines that will not meet at the hypothetical horizon.In 1889, Carrier-Belleuse accepted an appointment as artistic director of the Hippolyte Boulenger & Cie faience manufactory at Clichy-le-Roi where he designed new forms for the earthenware sculpture and pottery. That same year, Hippolyte Boulenger opened a retail store at 18 rue Paradis in Paris to showcase the new designs being produced. In fact, the building itself functioned as a ‘catalogue’ of the ceramic tiles from Choisy-le-Roi. The year 1889 was momentous. Not only did Carrier-Belleuse begin his tenure at Clichy-le-Roi, but he also received a Silver Medal at the Exposition Universelle. In addition, his contributions to France’s art and culture were recognized with the Legion of Honor Medal. At this time, he also began to focus increasingly on sculpture, particularly portrait busts. One of the more curious developments of Carrier-Belleuse’s career was the establishment of his reputation as a sculptor in Central American nations. This appears to have begun with a commission for the tomb of the liberal reformer and modernizer of Guatemala, President Justo Rufino Barrios, who died in April 1885. This in turn led to a large sculptural group designed as a National Monument for Costa Rica in 1890. Located in San José’s Parque Nacional near the Congress Building, the bronze monument commemorates the heroes of Costa Rican freedom. When it was unveiled during Independence Day celebrations on September 15, 1895, the Costa Rican people saw seven figures, five of them women. These allegorical figures represented the nations of Central America—Costa Rica, Nicaragua, El Salvador, Guatemala, and Honduras—each carrying some type of weapon to defend her sovereignty against foreign invaders. The sixth figure is the American military expansionist, William Walker, who attempted to annex Central America to the United States in 1855-57. Carrier-Belleuse depicted him hiding his face from the female defenders of freedom. The seventh figure, a fallen soldier, serves as a universal reminder of the human cost of warfare. The last decade of Carrier-Belleuse’s career was devoted primarily to sculpture and large-scale faience projects. When he died on 15 June 1913, his passing was noted not only in France, but also in the newspapers in London and New York.

Vintage Corgi Farm Tractors and Implements, 54 Massey Ferguson 50B tractor with shovel, 55 David Brown 1412 tractor, 58 Beast Carrier, with animals, missing netting, 61 four furrow plough, 62 farm tipping trailer with detachable raves, some pant loss to bed of trailer, 66 Massey Ferguson 165 tractor with driver (missing exhaust) 67 Ford 5000 Super major tractor, with driver,69 Massey Ferguson 165 tractor with shovel & driver, 71 wheeled controlled tandem disc harrow, 72 Ford 5000 super major tractor with trenching bucket, 73 Massey Ferguson 165 tractor with saw attachment, 74 Ford 5000 super major tractor with hydraulic scoop, 484 Dodge Kew Fargo livestock transporter, with five pigs and from gift set 47 Elevator trailer, missing one rubber conveyer, other rubber belt perished, all in good to excellent unboxed original condition. (14 items)

Boxed J.Falk vertical Steam engine and accessories, single cylinder engine with flywheel and single burner, chimney and four tinplate accessories, windmill, water well, bench saw and pully system, good to fair condition, box fair lid sides with a few splits, one end flap detached and some repair.

Stan McMurty ‘Mac’ (b. 1936) “W.B. Yeats and George Moore Passing Each Other,” c. 1965, Ink and wash on paper, Signed l.r. with monogram ‘Mac’, approx. 27cms x 33cms (10 ½” x 13”). (1) Inscribed ‘Chin-angles, Or – How the Poets Passed.  The story is told in Dublin that W. B. Yeats and George Russell (“AE”) set out respectively from 82 and 84 Merrion Square to see each other . . . and passed at 83!  The Above Shows How it Happened.’   The inscription on this cartoon succinctly describes the possibly apocryphal story of how W. B. Yeats, his ‘head in the clouds’, passed his neighbour George Moore, who was looking down at the pavement. Neither man saw the other. Moore had set out with the intention of visiting Yeats, and vice versa. They duly knocked on each other’s doors, and, when there was no answer, returned to their respective houses, again oblivious to each other’s presence. Born in 1936, the cartoonist ‘Mac’ initially worked as a cartoon film animator. In 1969 he began to work for the Daily Sketch, a newspaper that was taken over in 1971 by the Daily Mail. He then worked for the Daily Mail, retiring in 2018. The following year he began to contribute cartoons for the Mail on Sunday. Dr. Peter Murray 2025

Mary, Queen of Scots (1542-1587), Queen of Scotland 1542-1567 Letter signed, 1565 Letter signed "Marie R." with the joint name “Henry R.” (Henry Stewart, Earl of Darnley) to the Laird of Kilravock, regarding Inverness Castle: “The king and quenis majesties, for certane occasiones moving thame, ordains are officer of armes to pas, and in ther hienes name and auctorite command and charge George Monro of Dawachearty, and Andro Monro his sone, and all vtheris, havars and withhalderis of the castell of Innernes, to deliuer the samyn to Hueheoun Ros of Kilrawak, quhome ther majesties hes commandit and appointit to resaue the samyn, within sex howris nixt aftir thai be chargeit therto, vnder the pane of treasoun. /Marie R. Henry R.”, dated 22nd September 1565, 6 lines in a secretarial hand with the signatures below, 22 x 17cm, laid-down at corners only onto mount according to professional archival standards [Rose, Shaw & Innes p.244] Mary, Queen of Scots, ascended to the throne at just six days old. By the age of 19, she had been Queen Consort of France, widowed, orphaned, and returned to Scotland to assume personal rule in 1561. Her reign began as a Catholic monarch in a country undergoing profound religious change, following the rise of Protestantism led by the Lords of the Congregation and the outspoken reformer John Knox, who questioned whether her subjects were even obliged to obey her. Despite this hostility, Mary agreed to tolerate Protestantism and made no immediate attempt to alter the religious status quo.In July 1565, Mary married her half-cousin, Henry Stuart, Lord Darnley. The union was met with widespread disapproval, not least from Queen Elizabeth I of England, who saw the marriage as a direct threat (both Mary and Darnley had strong claims to the English throne). Elizabeth dispatched Nicholas Throckmorton to Edinburgh to convey her displeasure. Within Scotland, the nobility voiced concerns that Mary had made such a consequential decision without broader consultation. Her half-brother, James Stewart, 1st Earl of Moray, joined forces with the Earls of Argyll and Châtellerault to lead a rebellion, known as the "Chaseabout Raid." Rumours circulated of plans to kidnap and separate the royal couple.Though handsome and initially charming, Darnley soon revealed himself to be immature, arrogant, and frequently drunk. The marriage quickly deteriorated. In a dramatic and brutal episode, Darnley conspired with some of the same Protestant lords involved in the earlier rebellion to murder David Rizzio, Mary’s trusted Catholic secretary. Rizzio was stabbed to death in front of the pregnant queen on the 9th March 1566.Less than a year later, on the night of the 9th February 1567, Darnley was found murdered at the royal residence of Kirk o’ Field, following an explosion at the house. Mary’s conspicuous absence that night fueled suspicion. James Hepburn, 4th Earl of Bothwell, was charged with the murder but acquitted. To the astonishment of many, Mary married Bothwell on the 15th May 1567. The scandal surrounding Darnley’s murder and her subsequent remarriage led to Mary’s arrest, imprisonment, and eventual forced abdication in favour of her infant son James VI, later James I.The four letters presented here, dated September and October 1565 and co-signed by both Mary and Darnley, offer a rare glimpse into a brief period of apparent harmony in their marriage - James VI was conceived in October of that year. The letters concern the Sheriffdom of Inverness and control of the city’s castle, a strategically vital stronghold that had frequently changed hands. In 1562, Clans Munro and Fraser had seized the castle from George Gordon, 4th Earl of Huntly. In September 1565, Mary and Darnley appointed Hugh Rose of Kilravock as its keeper, only to return control to Huntly the following month. These abrupt changes reflect the volatile nature of court politics and shifting allegiances during Mary’s troubled reign.

Palestine Police Force/Middle East interest - a collection of diaries, letters and ephemera by Christopher James Dugdale Sykes, Foot and Mounted Palestine Police Force circa 1941-1948 including his period of service 13.4.45-11.5.48 (upon the disbandment of the force), a walkers year by year book detailing brief reports 1941-1946 including simple details of time off activities and more in depth reports describing bombings, robberies, fighting between Jews and Arabs, murders and other Police matters. Also MBC No. 2269 CJD Sykes notebook commenced on 1st August 1945, signed off 1948 with details of various Police related incidents, extracts from the Palestine Post Tuesday December 30th 1947 "Bomb at Damascus kills fifteen Arabs ..." and various letters to his mother "Buzz" dated 6.2.37 and 1.9.39 "... I am afraid that war was declared yesterday as I suppose you already know ... well all we can hope for is the safety of the family and that it will soon be over ..." and further post-war letters, some extensive and highly detailed talking of events, his opinions on the ground and indications of his mental health as he saw it dated 11.9.46 (District CIDPOB291 Jerusalem Palestine), 2246 Central Police Station Jerusalem 13.1.47 (Mounted Detachment Riding School Baisan Palestine) and 10.9.47 (Tarshiha Police Station Acre Palestine) together with his Palestine Police Force Certificate of Discharge, Palestine Police black leather belt, epaulettes, George VI Palestine 1945-48 medal, ribbons, three various badges, five postcards sent at Christmas from the Holy Land by Salim Abu Khaled, a folder of drawings and writings by Sykes 1946-48 including "1945-48 Impressions of the Levant being notes taken on the travels in Egypt, Palestine, Cyprus and Trans-Jordan containing numerous drawings, notes, maps, portraits conducted in Jenin, Sarona, PMF Hebron, Jerusalem CID, Beisan Mounted School, Acre Mounted Patrols etc together with one volume R.B. SERJEANT AND EDWARD BAWDEN "The Arabs" printed paperboard bound, one volume L. VALENTINE "Palestine Past and Present" published Frederick Warne & Co 1893, tooled and gilded clothboard bound and one volume T.E. LAWRENCE "Seven Pillars of Wisdom: A Triumph" published Jonathan Cape, London 1935, tooled and gilded clothboard bound

WW1 / WW2 Army Service Corps / Staffordshire Yeomanry Medal Group. Awarded to RSM John Henry Hill during the Great War served with the Army Service Corps and from 1921 to 1946 served with the Staffordshire Yeomanry. 1914/15 Star, T3-027040 DVR ASC, British War Medal, Victory Medal DVR ASC, 1939/45 Star, Africa Star, France & Germany Star, Defence Medal, War Medal, Territorial Efficiency Medal (GVR) 540909 SJT J. H. H. HILL STAFF YEO. The group mounted as originally worn. Accompanied by a typed biography ... Original photographs in uniform of the Staffordshire Yeomanry. The Territorial Efficiency Medal awarded in 1933. John Henry Hill born in 1898, volunteered underage in 1914 for service with the Army Service Corps and embarked to France on the 29th July 1915 serving with the 289th Company. He was sent back to Blighty in January 1916 and returned to France, seeing action at Arrass and on the Somme usually taking supplies up the line under shell bombardment. In late 1918 he was posted to the Royal Fusiliers and was discharged from this Regiment. In 1921 he joined the Staffordshire Yeomanry. Remaining with the Yeomanry at the outbreak of WW2 he held the rank of Squadron Sergeant Major. Originaly posted with his Regiment to France with the BEF it was later transferred to the Middle East. Whilst in Egypt he was posted to guard Italian POWs and made up to the rank of RSM. In September 1944 he was posted back the UK and before the end of the war saw service in North West Europe. John Hill died in 1983. Payment by Bank Transfer ONLY