We found 4467 price guide item(s) matching your search

Exhibition quality working scale model of the Second World War 'Abdiel' class Royal Naval mine layer, 'HMS Welshman (M84)' (1941-43), launched 1939, built by Hawthorne Leslie of Hebburn, 2415 tonnes, 400.6ft long with a 40ft beam, drawing 11.3ft, powered by four Admiralty three drum water tube boilers with Parsons geared steam turbine on two shafts, saw service with first mine laying squadron in the early part of the war in Scotland and Bay of Biscay, Gibraltor and Dover, followed by refit and operations in the Mediterranean escorting convoys and transporting stores to Malta, sunk whilst transporting stores and personnel in February 1943, torpedoed by Submarine U Boat U617 with loss of life. Fitted with electric motor for radio control with two propellers. Overall length of model 132cm approx. On a display stand within a fitted wooden transporting box. (B.P. 21% + VAT) Overall appearing in good condition. Rather dusty but no obvious damage. Provenance: these models by Robert Gerald Iles (1940-2019), a former British Army Officer who had always been interested in model making but did not have enough spare time whilst serving, resident in Pembrokeshire and joined the Pembrokeshire Model Sailing Yacht club where he won numerous trophies at club and national level. He also started his own business 'The Top Rig' making sails for model yachts, he then started making model ships for his own enjoyment, primarily British war ships and he took his models to modelling exhibitions all around the UK. Particularly well known in Wales. Approximate length 136 cm.

VICTORIAN ARMY OFFICERS DRESS SWORD, with curved half fullered blade above a brass cross guard pierced with Royal Cipher, knucklebow and circular pommel, wire boned shagrin grip, with brass scabbard, 98cm long overall

An extremely rare Civil War Allen & Wheelock centre hammer .44 cal Army percussion revolver, one of only possibly approx 700 made 1861-1862, this example is number 193, in overall good condition with fine grips and crisp action

WW2 Colditz Castle British Motor Sport double signed cover Major Anthony Rolt (1918 2008) MC & Bar, was a British racing driver, soldier, escapee and engineer. In 1940 he was captured and taken prisoner of war just before the Dunkirk evacuation. Rolt escaped seven times from various German prisoner of war camps before eventually being sent to the maximum security prison, Oflag IV C in Colditz Castle on 14 July 1943. In one attempt to escape, he got within yards of the Swiss border before being recaptured which accounted for his transfer to the East German fortress. For his determined escape attempts, Rolt was awarded a Bar to his Military Cross. In early 1944, he was one of the masterminds behind the audacious glider escape plan but in spring 1945, the US army liberated the castle, obviating the need for it. Also signed on the cover is Peter Blond who was active as a sports car driver in the 1950s. Thanks to the considerable family fortune, he was able to finance his racing activities himself. Several racing cars were in his possession. In 1955 he competed in national sports car races in Great Britain with a Jaguar C Type. In 1958 he drove a Tojero at the 24 Hours of Le Mans and was overall sixth at the RAC Tourist Trophy. 1959 was his last season as an active racing driver. Both signed on a Biggin Hill International Air day 14 15th June 1997 cover, flown in a Jaguar GR1 aircraft. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Britains Mechanised Transport of the British Army 'Beetle Lorry', in red card box, and Britains Army Ambulance in red card box, (2),Condition Report: Lorry- paint slightly chipped on bonnet and top of cabin, cabin roof slightly loose, bonnet slightly dented, box with light pencil marks, rubbed overall. Ambulance- paint on figures and wheel arches slightly chipped, box with 12/1 o/poo written in pencil on lid, rubbed overall.

Ed Vebell (American, 1921 - 2018) "Surrender At Yorktown" Signed lower right. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. In March 1781, Britain's Cornwallis moved into Virginia, where his troops all but captured Thomas Jefferson and the Virginia legislature. Confident of delivering the mortal blow to the American cause, Cornwallis retired to the Yorktown Peninsula with 7,000 troops to await reinforcements from the triumphant British fleet. But things did not work out that way. In the nick of time, French Admiral DeGrasse sailed from the West Indies to Yorktown, where he soundly defeated a British relief expedition, and proceeded to bottle up Cornwallis. Washington, still smarting from the loss of New York City, seized the strategic opportunity. By forced march he reached Chesapeake Bay at Annapolis where DeGrasse's ships, with three thousand reinforcements, ferried him to Yorktown. By the beginning of September, with the arrival of further reinforcements under Lafayette, Washington commanded a vast army of 26,000 men, and moved in for the kill. Days of heavy bombardment shattered the defenses and the morale of the out-numbered British; attacks in which Lafayette and Colonel Hamilton distinguished themselves, taking one redoubt after another. Facing annihilation, Cornwallis surrendered on October 17. Two days later, 7,274 British soldiers marched to the tune of the "World Turned Upside Down," and stacked their arms. Over in London, upon hearing of surrender, King George drafted a letter of abdication, but thought better of it; the Americans turned to building a nation. Image Size: 19.75 x 21 in. Overall Size: 26 x 26.5 in. Unframed. (B06575)

Jim Butcher (American, B. 1944) "British General Surrenders At Saratoga" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the U.S. 18c Yorktown & Lexington/Concord stamp issues of October 16, 1981. Confident he would prevail where his superiors could not, British General John Burgoyne convinced King George to invade the colonies from Canada along the natural route formed by Lake Champlain and the Hudson River. The three-pronged attack -- including an auxiliary force operating through the Mohawk Valley and other troops following the Hudson from New York City -- held Albany as its focal point. Following an easy victory in the retaking of Fort Ticonderoga, Burgoyne would find little more to cheer about. He had underestimated his enemy and overestimated Loyalist support. A foraging party was smartly whipped in the Battle of Bennington, the Redcoats in the Mohawk Valley were routed at Fort Stanwix, and the reinforcements from New York City failed to materialize. Then Burgoyne's campaign stalled completely when it encountered the superior and firmly entrenched army under General Horatio Gates. Two pitched battles ensued, with Burgoyne suffering terrible losses. After stalling for time in hope that reinforcements would save the day and his chance for glory, the "Gentleman" General finally agreed to surrender terms. News of the Surrender of Saratoga gave great heart to the American cause, bringing France into the war as an open ally -- an event crucial to ultimate victory. Image Size: 16.25 x 16 in. Overall Size: 20 x 20 in. Unframed. (B07279)

David K. Stone (American, 1922 - 2001) "German Invasion" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Republic of the Marshall Islands 30? Invasion of Russia 1941 stamp issued June 22, 1991. Ever the master of betrayal, Adolf Hitler turned his troops against the Soviet Union -- a former ally -- on June 22, 1941. With all the swiftness and surprise that had become a German trademark, some three million men poured across the border and cut deeply into the heart of the mighty Red Army. By the day's end, LVI Panzer Corps under General Erich von Manstein had cut one hundred miles into northern Russia while invading armies in other parts of the Soviet Union experienced similar victories. To Hitler and his generals, this first day would be a jubilant one, but the elation was short-lived. As with Napoleon I before him, Hitler's invasion of Russia would be the beginning of the end. Image Size: 19.5 x 23.75 in. Overall Size: 24 x 26.75 in. Unframed. (B12733)

David K. Stone (American, 1922 - 2001) "German Tanks Approaching Moscow" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Republic of the Marshall Islands 29c Siege of Moscow 1941 stamp issued October 2, 1991. Adolf Hitler viewed Operation Barbarossa -- the invasion of Russia launched in June 1940 -- as a tremendous success. Made overconfident and enticed by the impressive early victories, Hitler on October 2, 1941 turned his armies toward Moscow. The Wehrmacht made rapid progress at the start, but in the final days of October, the rains came. Mud mired down the army. Then, when the snow began to fall, the Germans lacking winter uniforms, perished by the thousands. Finally in early November, a salient of Germans broke through to see the spires of the Kremlin rising in the distance, which would be the closest they would come to the city. The Red Army fought harder as the weather grew worse and Hitler's grand plan died in the snow along with his troops. Image Size: 16.25 x 23.75 in. Overall Size: 23.75 x 26.75 in. Unframed. (B12812)

Chris Calle (American, B. 1961) "William T. Sherman" Original Mixed Media painting on Illustration Board. Signed lower right. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the 32c William T. Sherman Classic Collection Series stamp issued June 29, 1995. William Tecumseh Sherman graduated from West Point in 1840, sixth in a class of 42, and first in demerits. In 1853, he resigned from the "dull, tame life" of the army only to fail over the next few years as a banker and lawyer. He became superintendent of the state military academy in Louisiana, but resigned when Louisiana seceded from the Union. With the outbreak of the Civil War, Sherman accepted a commission in the Union Army as colonel. His first battle experience was at Bull Run, where Union troops were routed, convincing Sherman that he was unfit for independent command. Abraham Lincoln felt differently, promoting him to brigadier general. During the early part of the war, Sherman was often nervous and confused, even called "crazy" by one newspaper. He was soon recognized for his special talent in military tactics, and worked closely on the plans for General Ulysses Grant's campaign. In March 1864, Grant became commander of all Union armies and Sherman was assigned to command in the South. After a long siege, he occupied Atlanta, then marched with 62,000 men on a broad swath through Georgia, ravaging the countryside and leaving the South psychologically devastated. "War is hell" is the statement attributed to him. After the war, when Grant became president, Sherman was named general-in-chief of the army. When an attempt was made to draft him as a presidential candidate in 1884, he responded with characteristic succinctness, "I will not accept if nominated, and will not serve if elected." Image Size: 14 x 12.25 in. Overall Size: 23 x 18 in. Unframed. (B15202)

Steve Ferguson (American, B. 1946) "A-17A Nomad" Signed lower left. Original Mixed Media painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands 33c A-17A Nomad stamp issued June 1, 1999. The Northrop A-17A Nomad, the most famous U.S. attack plane of the 1930s, was based on the company's successful Gamma and Delta commercial monoplanes. The service life of the Nomad was a relatively short four years, since it was decided to use twin-engine designs on future Army attack aircraft. Image Size: 16.5 x 14 in. Overall Size: 20 x 15 in. Unframed. (B14427)

Books - Celebrities of the Army parts I-IX, together with Men of Note In the British Coal Mining Industry, illustrations Condition: Various wear and tear to the Celebrities of the Army, creases, small tears present, please check extra images provided. Books etc - Unless specifically stated, books have not been collated (ie checked for correct pagination and the presence of all stated prints. Due to the large nature of many books, reports are not prepared for every page and a general overview is given. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

WW2 Royal Army Medical Corps 21st Army Group / 59th Infantry Division Battle Dress Blouse, good 1940 pattern battle dress with printed RAMC shoulder titles, embroidered 21st Army Group formation sign, maroon felt arm of service strip and embroidered 59th Infantry division formation sign. Lower sleeve with RAMC trade bars and good conduct chevrons. 1939-45 star and France & Germany star medal ribbons above the breast pocket. Interior with original non-dated tailors label, ink stamped with WD and M date letter for 1944. Good overall condition.

Imperial German Leib-Garde Hussar Regiment Officers Sword, model 1889 cavalry sword with folding guard having Prussian eagle to central cartouche. Plain black composite covered grip without wire binding. Housed in a black painted steel scabbard with fixed single hanging ring and belt bar to the reverse. Straight single edged blade with etching and blue panels to both sides. Regimentally marked to the central blue panel in gothic script “Leib-Garde Husaren Regt”. No makers trade mark to the blade. The blade measures 80 ½ cms, overall 100cms. Sword shows some wear and tarnishing but still marked to one of the elite cavalry regiments of the Imperial German army.

WW2 German Army Officers Sword by WKC, good untouched example with gilded hilt and central langet with army eagle and swastika. Black celluloid grip with wire binding in place. Relief of oak leaves and down winged army eagle to the knuckle bow. Housed in its blackened steel scabbard with single hanging ring. Officers leather and bullion sword knot attached to the knuckle bow. Plain single edged slightly curved blade with fuller to three quarters of the back of the blade. WKC makers trade mark to the base. Blade shows some light scratches but generally good condition. Blade measures 83 ½ cms, overall 104 ½ cms.

WW2 German Army Transport Section Attributed Officers Peaked Cap, fine example constructed in a fine doeskin wool with cornflower blue piping (faded to grey) to the crown and bordering the central band. Officers bullion embroidered cockade and zinc cap eagle. Officers chin cords supported by pebbled side buttons. Interior with brown leather sweatband and cloth lining. Makers diamond to the interior with retailers details and Erel manufactures mark. The cap has the original owners printed name label inserted into the diamond, “THEODOR HORSTKOTTE”. The cap shows some service wear and staining which is consistent with age. Good high form front shape. Overall a good example of a cap to a scarce branch of service.

TELEVISION, signed album page by John Le Mesurier, overmounted beneath colour photo, half-length in character from Dad's Army, 12 x 18 overall, EX

Early Roman/Etruscan-style mounted bronze male figure with arms outstretched, 6.5cm high approx overall, bearing old label to base inscribed 'Phallic figure dug from the ruins of Pompeii' This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  

A REPUBLIC OF TEXAS MANUSCRIPT, DEED REQUEST FOR LAND TITLE VALIDATION, ASHBEL SMITH AND CHARLES C. GIVENS OF HARRIS COUNTY TO CHIEF JUSTICE OF WASHINGTON COUNTY, 1837-1844, hand inscribed ink on cream laid paper with a heraldic blind stamp. 7 3/4" x 6 1/4" Note: "To the Hon. The Chief Justice of Washington County, The Petition of Ashbel Smith of Harris County sets forth that he purchased and paid for, several years ago, a tract of land situated on San Jacinto Bay, belonging then and the property of Charles C. Givens. Said C.C. Givens then executed a bond for title to the petitioner with two good and sufficient witnesses and also delivered possession of the land to the petitioner. The bond for title was duly recorded in Harris Co. records shortly after its execution, and the petitioner has ever since held undisputed possession of the land in question. As the C.C. Givens died a few years since before making a title in regular form to the petitioner. Your petitioner therefore prays your honorable court to order and require Givens' administrator of C. C. Givens deed to make title to said tract of land, conformally with law and the written contract between C.C. Givens and petitioner. And your petitioner writes and pray, Ashbel Smith of Harris Co."Ashbel Smith (1805-1886) is recorded in the Texas State Historical Association Handbook of Texas writing, "Smith had a long and distinguished medical career. When he arrived in Texas in the spring of 1837, he became Sam Houston's roommate and close friend. Houston appointed him surgeon general of the Army of the Republic of Texas on June 7, 1837. In this role, Smith set up an efficient system of operation and established the first hospital in Houston, a military institution. He also served as the first chairman of the Board of Medical Censors, which was established by the Second Congress of the Republic in December 1837. During the devastating epidemic of yellow fever in Galveston in 1839, he treated the sick, published factual reports of the progress of the disease in the Galveston News, and after the epidemic abated, wrote the first treatise on yellow fever in Texas...In 1842 Ashbel Smith traveled to Europe as the charge d'affaires of Texas to England and France, a position he held from 1842-1844. In 1848 Smith met with ten other Galveston doctors to begin working for the formation of the Medical and Surgical Society of Galveston. When the Texas Medical Association came into being in 1853, he was chairman of the committee that drafted its constitution and bylaws...After Texas became a state Smith served three terms (1855, 1866, and 1879) in the state legislature as a representative from Harris County. As a legislator, he supported measures to aid railroad construction, validate land titles, improve common schools, found the University of Texas, and pay off the public debt...He spent his last years in an unceasing effort to establish a state university with a first-class medical branch. As president of the University of Texas Board of Regents, established in 1881, he led the effort to recruit the best professors available for the university faculty and to set up a curriculum necessary for a first-rate institution of higher learning." Noting the particularly European style blind stamp, the present letter is attributed to Ashbel Smith's time spent performing ambassadorial and diplomatic duties. Unfortunately undated, the surviving examples of Ashbel's handwriting and age of the paper are consistent with his other known early Texas documents. The work he is conducting here anticipates his legal ownership of lands he had apparently purchased by a word of mouth "handshake" deal between himself and early Texas Pioneer Charles C. Givens. Ashbel Smith writes to the "Chief Justice of Washington County," possibly John P. Coles (1793-1847), where the records for the Republic of Texas were held until Texas was annexed to the United States, and at that time the records were moved to Austin. The location of the records department helps date the work.Charles C. Givens, Esq., is not recorded with any birth or death dates, though his passing is mentioned within the present, undated letter. He appears to have arrived in Texas as a bachelor, which appears to have persisted throughout his lifetime, potentially causing this very land dispute. In one of a few documents that retain his name, C.C. Givens is directed, at the request of Stephen F. Austin, in a correspondence dated October 14, 1836, to supply two oxen in order to ensure supplies. The entry is found in The Quarterly of the Texas State Historical Association, edited by George P. Garrison, Number 4, The Journal of the Permanent Council (October 11-27, 1835), page 258. Otherwise unmentioned within the early Texas record, Charles C. Givens' name is found published in an archive held at the Houston Public Library containing information on the first settlers of Harris County (1822-1845), "In 1824, Stephen F. Austin accompanied by his secretary Sam M. Williams and the commissioner, Baron de Bastrop, came by appointment to the house of William Scott (1784-1837)…'There was no provision in the law for granting land to men without families. These were joined in groups of two or three and each group constituted a legal family." Just below Adele B. Looscan pens that, "Those in Harris County who received titles at this time (1824) and located their land in this county were: [listing the names of early Harris County settlers followed by.]…There seem to have been only about thirty original grants made in Harris County at this time, but there were several settlers in the county who located their lands in other counties embraced within Austin's first colonial grant and the lands of a few located in two counties, which adjoined each other. Besides the settlers who received land titles, there were others, members of the same families who should be mentioned...Charles C. Givens and Presley Grill, who immigrated with William Scott, and Dr. Knuckles..." Reference: "Harris County, 1822-1845, Adele B. Looscan, in The Southwestern Historical Quarterly, Oct. 1914, Vol. 18, No. 2, pp. 195-198. Provenance: Estate of Dr. Paul E. Shutts, Houston, Texas. Condition: Some expected toning, creases as issued, red staining near edges, probably trimmed, undated, blind stamp somewhat illegible, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.

SAM HOUSTON (1793-1863) AN AUTOGRAPH LETTER SIGNED REPUBLIC OF TEXAS MANUSCRIPT, ISSUING A SECOND CLASS HEAD RIGHT TO HEIRS OF DR. WILLIAM W. BOMAR, TEXIAN VETERAN, BATTLE OF SAN JACINTO, MAY 15, 1838, manuscript on wove paper, "Let this be audited, Dr. Bomar was in the Battle of San Jacinto, and is entitled to pay for Surgeon for the time he served, as well as a head Right with land due to those in the battle of San Jacinto," signed with flourish, "Sam Houston," and dated "15th May 1838," with remnants of red wax seal. 7 3/4" x 3 3/8" Note: William W. Bomar (1797-1837) is documented by the San Jacinto Museum of History in the Kemp Biographical Sketches held at the Herzstein Library. William Bomar is best described as a Texian patriot, Surgeon of Battalion, Regimental Surgeon, and veteran of the Battle of San Jacinto. His service in the Texian Army as Regimental Surgeon running approximately March 1, 1836-May 25, 1836. The present manuscript documents Sam Houston's personal response to, most likely the heirs of William W. Bomar, upon their petition for the land due him, which was posthumously formalized on May 26, 1838, and awarded his heirs. Provenance: Estate of Dr. Paul E. Shutts, Houston, Texas. Condition: Some losses at lower left corner, some stains, expected toning, pencil collection inscriptions at top, remnants of wax seal, probably trimmed, some tears at edges, and overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.

Late Victorian Army and Navy stores oak gun cupboard, brass fitted interior enclosed by glazed doors, makers label to interior, 48cm wide x 28cm deep x 144cm highCondition report: Good overall condition with nice colour . The interior baize has been partly replaced and apart from some minor scuffs is in very good order.

λ  GEORGES CSATÓ (HUNGARIAN 1910-1983)UNTITLED (NO. 67)Oil and acrylic on canvas, in six partsThree signed, each with atelier stamps and variously inscribedEach 120 x 60cm (47 x 23½ in.)Overall 120 x 360cm (47 x 142 in.) (6)Provenance:Direct from the artist's estate Georges Csató was born in Budapest in 1910. After completing classical art studies in Vienna, in the 1930s he headed to Berlin to continue his training and was fortunate to have met and studied with a number of the most influential artists of the day, including Alexander Archipenko, Käthe Kollwitz, Karl Hofer, Paul Klee and Lionel Feininger.The artist later wrote of this time 'I was a realist painter to begin with because in Berlin in 1932 abstract art was very, very rare, though I received some lessons in abstract composition from Klee. And then the war came and disrupted everything.'With the rise of Nazism, Csató escaped Germany to Prague where he studied under Oskar Kokoschka and Otto Thiele. But the onset of war, saw him captured by the Russians and put into a labour camp. Whilst there he painted portraits of his captors. A particularly compelling diary entry of the period tells of an extraordinary encounter: 'A commanding officer told me that I had to paint the most important portrait that I had ever done in my life. They blindfolded me and put me in an army car. We drove at high speed for about an hour until we arrived at a little peasant house where I was searched. They took me into a room where an old man was sitting behind a huge table. It was Stalin! While I was sketching him he never spoke a single word, he just sat there chain smoking. The only movement he made was to push a bottle of Vodka and a packet of cigarettes across the table to me.'After the war, Csató retuned to Budapest but Hungary fell under Stalinist rule with abstract painting strictly prohibited and he fled to Paris as a refugee where he remained for the rest of his life.Csató's bold expressive style was well received in Paris and Jean Cocteau organised his first exhibition at Librairie Paul Morihien in 1948. He became a popular figure in the Parisian avant-garde scene and went on to participate in a number of the radical salons such as the Salon des Réalités Nouvelles and the Salon des Comparaisons. He exhibited widely in Paris and by the 1970's he had also achieved international acclaim, exhibiting successfully in London, New York, Sydney, Melbourne, Amsterdam, Bonn, and Canada. Notable exhibitions include Galerie Silvagni, Paris, 1951; Hanover Gallery, London 1953; Gallerie de Berri, Paris 1954; Galerie Furstenberg, Paris 1956; Galerie Mariac, Paris 1959; Gallerie di Meo, Paris 1959; Santes Landweer, Amsterdam 1967; Walton Gallery, London 1970; Chastenet Gallery, London 1979; Salon D'Automme, Paris 1979; Arcadia Gallery, Paris 1981 & 1982; Gallerie L'Obsidienne, Paris 1986.The artist's work is now represented in several major public collections including Musée d'Art Moderne de la Ville de Paris; Bibliotheque Nationale, Marseille; Museum of Modern Art, Bogota, Columbia; Mendel Art Gallery, Canada.During his lifetime Csato painted many well known figures from life including Bela Bartok, Karen Blixen, Winston Churchill, Colette, Albert Einstein, Sigmund Freud, Charles de Gaulle, David Ben-Gurion, Ernest Hemingway, J F Kennedy, Pablo Picasso, Bertrand Russell, Albert Schweitzer as well as Joseph Stalin.Condition Report: Three of the canvases are slightly uneven on the stretchers. They all appear to be in good original condition. Condition Report Disclaimer

George V Army officer's dress sword with 89cm fullered steel blade inscribed Hobson & Sons Lexington Street Golden Square to the ricasso, royal cypher and scrolls to both sides, three-bar hilt and copper bound fish skin grip, in polished steel scabbard L104cm overall - Condition Report Small amount of rusting to scabbard, particularly around the lower ring fitting.Also some rusting to the hilt.Sword and scabbard are both very straight and the sword fits well in the scabbard.Pommel does not have any �jiggle�.

In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteA superb Great War 1915 ‘Ypres’ D.C.M. campaign combination group of eight awarded to Sergeant H. J. Salter, Military Mounted Police, late 7th Hussars and 9th Lancers Distinguished Conduct Medal, G.V.R. (633 L. Cpl. H. Salter. M.M.P.); British South Africa Company Medal 1890-97, reverse Rhodesia 1896, 1 clasp, Mashonaland 1897 (..2 Pte. H. J. Salter. 7th Hus..) suspension loose, contact marks; Queen’s South Africa 1899-1902, 7 clasps, Belmont, Modder River, Relief of Kimberley, Paardeberg, Johannesburg, Diamond Hill, Wittebergen (4121, L. Cpl. H. J. Salter, 9/Lcrs.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (4121 Pte. H. J. Salter. 9th Lancers); 1914 Star (633. L. Cpl. H. J. Salter. M.M.P.); British War and Victory Medals (633. L. Cpl. H. J. Salter. M.M.P.); Army L.S. & G.C., E.VII.R. (633 L. Cpl. H. J. Salter. M.M.P.) mounted for display, minor edge bruising overall, generally very fine unless otherwise stated (8) £1,600-£2,000 --- D.C.M. London Gazette 5 August 1915: ‘For great bravery and consistent good work from the 9th to 28th May, 1915, near Ypres. He was employed, both day and night in collecting stragglers, directing traffic and collecting war material. During the 24th May he assisted to places of safety several hundred men, who were suffering from gas poison. Most of the time, and especially on the 24th and 25th May, the town was being heavily shelled.’ Henry James Salter was born in Lambeth, London in July 1874. He attested for the 7th Hussars at Canterbury in November 1890. Salter transferred to the 9th Lancers in December 1897, and advanced to Lance Corporal in March 1899. He served with the Regiment in South Africa, October 1899 - April 1902. Salter transferred to the 5th Lancers in March 1902, and transferred to the Military Mounted Police in January 1905 (awarded L.S. & G.C. in 1909). He was discharged, 25 November 1911, having completed 21 years service. Salter resided at 63 Woodcock Street, Birmingham and was employed as a Commissionaire at Hulford Cycle Co., Ltd, Moor Street. He re-engaged for service during the Great War with the 7th Reserve Cavalry Regiment, 8 September 1914, transferring later that month as Lance Corporal to the Military Mounted Police. He served with the M.M.P. in the French theatre of war from 4 October 1914, and advanced to Acting Sergeant in August 1917. Salter was discharged, 14 March 1919, having served for a total of 25 years and 205 days. 1 of 34 D.C.M.’s to the Military Mounted Police for the Great War. Sold with extensive copied research, including a photographic image of recipient.

In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteFour: Sergeant F. Booker, Military Mounted Police 1914-15 Star (P-1063 L. Cpl F. Booker. M.M.P.); British War and Victory Medals (1063 Sjt T. Booker. M.M.P.) rank officially corrected on pair; Army Meritorious Service Medal, G.V.R., 1st issue (P-1063 Pte - A. Sjt - F. Booker. M.F.P.) mounted for display, contact marks overall, nearly very fine (4) £100-£140 --- M.S.M. London Gazette 18 January 1919 (France and Flanders). Fred Booker served during the Great War with the Military Mounted Police in the Gallipoli theatre of war from 9 July 1915.

In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteSix: Captain A. J. Morgan, Royal Army Service Corps 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Malaya, G.VI.R. (Capt. A. J. Morgan. R.A.S.C.); Coronation 1953, unnamed as issued, mounted as originally worn, light contact marks overall, generally very fine (6) £100-£140

Britains - An unboxed Britains #1335 six wheeled army lorry finished in blue and black, which appears in Good overall condition but has a broken door; together with a unboxed Britains tipping trailer which also appears in Good overall condition with signs of play.

Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "Battle of Verdun Defines the Savagery of War" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting originally appeared on the Republic of the Marshall Islands 60c Battle of Verdun Defines the Savagery of War stamp issued October 15, 1997. The carnage of war has been a major blot on the 20th century, sometimes dimming the glory of mankind's great achievements. The Battle of Verdun, one of the most devastating engagements of World War I, epitomized the horror and destruction of war. On February 21, 1916, the German army began shelling the French city of Verdun and its surrounding fortresses. Advancing along a 20-mile front with little opposition for four days, the Germans captured Fort Douaumont. At this crucial juncture, French reinforcements arrived. General Henri Petain took command and managed to slow the German advance by several French counterattacks. The savage fighting lasted until July and both armies suffered hundreds of thousands of casualties. Image Size: 10 x 13.5 in. Overall Size: 15.5 x 22.25 in. Unframed. (B15769 / B15770)

Dennis Lyall (American, B. 1946) "Peace Flag" Signed lower middle. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 33c Peace Flag Classic Collection Series stamp issued June 14, 2000. In the decades following the Civil War, the Peace Flag was created to symbolize America's dedication to world peace. One of the first steps in promoting this lofty goal began in 1899, at The Hague, a scenic city in the Netherlands. The Hague Court held its first international peace conference where representatives met to settle international quarrels and prevent war. The purpose of this conference was to codify international law by providing official procedures in mediation, inquiry and arbitration. In addition, delegates hoped to establish statutes to peacefully solve international disputes and promote disarmament. The United States was represented by Ambassador Andrew D. White, former president of Cornell University; Seth Low, president of Columbia University; Stanford Newell, minister to the Netherlands; Captain William Crozier of the U.S. Army; Captain T. Mahan of the U.S. Navy, and GREW. Holls, a member of the New York bar. Although the conference failed to reach agreement on disarmament, it did establish conventions concerning the pacific settlement of international disputes, the rules of land warfare, and the application to naval war of the principles of the Geneva Convention of 1864. Image Size: 13.5 x 11.5 in. Overall Size: 19.5 x 15 in. Unframed. (B16822)

Dennis Lyall (American, B. 1946) "Forster Flag" Signed lower left. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 33c Forster Flag Classic Collection Series stamp issued June 14, 2000. The American Revolution began on April 19, 1775, when Minutemen and redcoats engaged in battle for the first time at Lexington and Concord. British general Thomas Gage had ordered his army to secretly destroy an American supply depot at Concord, Massachusetts. When Joseph Warren, a Boston doctor, found out about the plans, he sent patriot leaders Paul Revere and William Dawes to ride the 16 miles from Boston to Lexington on the road to Concord and arouse the colonists. The British army arrived in Lexington at dawn on April 19, 1775. They were met by Captain John Parker and his band of Minutemen on the village green. No one knows which side fired the first shot, but several colonists were killed. The British continued marching toward Concord, where they destroyed the targeted military stores. The shots fired at Lexington had aroused the colonists in the area, who joined the Minutemen and drove the British out of Concord and back to Boston. The Forster flag is a British flag that was reportedly captured by the Minutemen on April 19, 1775 -- the historic day that marked the beginning of the American Revolution. Image Size: 18 x 13 in. Overall Size: 19.5 x 15 in. Unframed. (B16782)

A scabbard for a US Army M1 bayonet, overall length 27cms (10.625ins) together with a US Army fighting knife with a blade length of 17cms (6.75ins)

An Imperial Japanese Army World War II Type 95 NCO's Shin Gunto sword and scabbard, blade numbered 149509, overall length 96cm.

* Quarter-plate ambrotype of a young boy (army cadet?) in uniform with Prince of Wales plume badge, late 1850s, three-quarter length and seated, gilt buttons and fleur-de-lys cap insignia, 10 x 8 cm, blue paper mat to underside with stencilled oval stamp, ‘Taken by Herve at the Celebrated Lyceum Gallery, 114 Strand’, gilt and black passepartout frame, glazed, gilded thick wooden wall frame with eye hook, overall 15.5 x 13.5 cmQty: (1)

Robbins of Dudley WWI Trench Knife, with original scabbard, the double-edged blade set into cast knuckle duster type grip stamped with maker's mark, the leather scabbard frog bears faint inscription 'Cooper King 8 attributed to Temporary Lieutenant Cooper King. 25cm overall length. Footnote: 8th (Service) Battalion18.09.1914 Formed at Lichfield as part of the Second New Army (K2) and joined the 57th Brigade of the 19th Division and moved to Salisbury Plain, and then Bristol.Feb 1915 Moved to Weston-Super-Mare and then Tidworth.18.07.1915 Mobilised for war and then landed in France and engaged in various action on the Western Front including;During 1915The Action of Pietre.During 1916The Battle of Albert, The attacks on High Wood, The Battle of Pozieres Ridge, The Battle of the Ancre Heights, The Battle of the Ancre.During 1917The Battle of Messines, The Battle of the Menin Road Ridge, The Battle of Polygon Wood, The Battle of Broodseinde, The Battle of Poelcapelle, First Battle of Passchendaele, The Second Battle of Passchendaele.07.02.1918 Transferred to the 56th Brigade of the 19th Division and continued to fight on the Western Front;During 1918The Battle of St Quentin, The Battle of Bapaume, The Battle of Messines, The Battle of Bailleul, The First Battle of Kemmel Ridge, The Battle of the Aisne, The Battle of the Selle, The Battle of the Sambre.11.11.1918 Ended the war in France, Bry west of Bavai.

Stunning Display! The Evil Dead Bruce Campbell hand signed professionally mounted display. This beautiful display consists of a 10"x8" photo, hand signed by Bruce Campbell as Ash from the classic horror, Evil Dead: Army of Darkness. This has been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

A German W.W.2 period Army Officer's Dress Dagger, with twisted amber coloured celluloid grip, the crossguard in the form of an eagle wth outstretched wings, holding a wreathed swastika, the blade marked at the base 'Puma Solingen' in original scabbard complete with belt hangers and portepee knot, the blade 10¼in (26cm) long, overall length, 15in (38cm).

A German Third Reich Period Army Officer's Dress Sword, with wire banded grip, eagle and swastika to the gilt crossguard, the curved single edged fullered blade with 'Eickhorn' makers mark to base, in original black painted scabbard with suspension ring, the blade 33in (84cm) long, overall length 38in (96.5cm)

A German Third Reich Period Army Officer's Dress Sword, with wire banded grip, eagle and swastika to the gilt crossguard, the curved single edged fullered blade with 'Eickhorn' makers mark to base, in original black painted scabbard with suspension ring, the blade 31¾in (80.5cm) long, overall length 36½in (95.5cm)

An Elizabeth II 9ct white gold and enamelled sweetheart brooch for the Royal Army Service Corps, maker Garrard & Co Ltd, Birmingham, 1981, 2.7cmCondition report: Light surface scratches to the back, but overall condition is good.

Dinky Toys No 622 - 10 Ton Army Truck, overall good plus, very good, chipping to wheel archers, boxed, staining, rubbing to box.

A rare sculpted oak model of a European merchant or army officer, first quarter 18th century, Dutch or possibly French, in contemporary attire including tricorn hat, cravat and long coat with sash and billowing drape, with buckled boots, on a rectangular base, 41cm high, 16cm wideThe present lot shows similarities to depictions of East India traders manufactured in the English and Dutch colonies during the early years of the 18th century. The best-known versions of these are by Chinese plaster sculptor Amoy Chinqua. His circa 1716 model of merchant and colonial administrator Joseph Collet, in the collection of the National Portrait Gallery, London, is particularly similar in attire. As the sculpture presented here is made of oak, it is more likely an unusual European rendition of a similar subject.Condition Report: The sculpture bears the usual minor marks, knocks and scuffs overall consistent with age.There is some evidence of minor old worming, particularly to the base and the left sleeve, though this doesn't appear to be active.There is an old repair across the socle, mostly visible to the underside. There are two shallow surface inconsistencies (narrow, each circa 0.5-1cm long) to the coat, possibly inconsistencies in the timber of very small chips. The left elbow is a little scuffed.Condition Report Disclaimer

A Second War Period carved ivory bust of a British Army Officer, on wood plinth base, label on reverse reads "Made by POW in Jap Camp 1944, only tools were a nail and broken glass", overall height 9cmGood original condition, natural discolouration, no damage

Indian Army Interest Similar Six Silver Teaspoons.Comprising Silver Spoon Hallmarked Birmingham 1938 “Coorg & Mysore Rifles” ... (unmarked silver) “Bombay Light Patrol”. .... Indian Silver “Calcutta Scottish” Presented to “O.B. Bundock 1930-1”. .... HM Birmingham 1933 “Bareilly A.F.I.” ..... Silver “Eastern Bengal Railway Battalion” . .... HM Birmingham 1905 Shooting prize spoon. Accompanied by a Officer’s Mess spoon possibly for the East Madras Volunteers. Engraved devise faint . Overall GC (7 items)

WW2 Showa Period Japanese Officer’s “Surrender” Sword with accompanying Paperwork & Provenance.A scarce near complete grouping, this being the sword of Lieutenant Yosuida an Artillery Officer of the Southern Army. Comprising: Sword, this with a 27 inch polished blade of good quality. The tang with maker’s stamps, indicating made by O-Gawa Kanekuni of Noshu Province. The hilt with military mounts the pommel with a family “Mon” indicating Yosuida. Housed in painted metal scabbard. The sword retains original sword knot and brown leather field cover for the handle. The scabbard with original linen surrender label giving details of the original owner and his unit details. Good clean condition ... The sword is accompanied by the original Certificate of Possession allowing 14763319 Sergeant R Brown to have the sword issued by the Special Investigation Branch May 1946 ... A photograph of Sergeant Brown and Lieutenant Yosuida ... Silk Japanese Prayer flag with signatures. Overall condition is near Very Good a very complete and comprehensive grouping. Interpretation of tang markings and surrender label accompanies the lot. The regimental number indicates that Sgt Brown was service with the General Service Corps. The interpretation of the markings on the tang and label are supplied by the vendor. Potential buyers should satisfy themselves to the accuracy of the interpretation before bidding.

Early 19th Century Officer’s Cavalry Pattern Sword A good example with a plain curved 31 inch piped back quill point blade. The hilt with shagreen covered grip enclosed within a scroll and pierced guard. Housed in steel scabbard engraved with the retailer’s details of “R. Johnston Late Bland & Foster” of St. James London. Overall GC. Similar example shown in Swords of the British Army (2nd Edition) page 85 Variation of the 1820 pattern.

Victorian Watercolour of an Officer of the Army Service Corps in the Manner of Richard Simkin.This is an unsigned watercolour depicting a mounted Officer wearing full dress uniform. He can be seen wearing home service blue cloth helmet, dark blue tunic with white facings, his Charger with regimental pattern saddle cloth. Colour and detail good. Mounted into a card mount. Overall size 11 x 12 inches.

Indian Army Interest Six Silver Teaspoons.Comprising Silver Spoon Hallmarked Birmingham 1926 decorated with the devise of the “V (BOM) BDE RFA AFI”. ... Similar (unmarked silver) Indian Army Ordnance Corps”. .... Silver Madras Infantry Volunteers. .... HM Birmingham 1936 with rifle shank Rangoon Btn. ..... HM Birmingham 1935 Shooting Prize Rangoon. .... HM Birmingham 1911 with rifle shank. Overall GC (6 items)

A Study for 'The Battle of Waterloo', with the Duke of Wellington and his staff officers to the left, the battlefield extending to the right oil on canvas 29 x 40cmFootnote: Provenance: By descent in the artist's family to the present owner The present work belongs to the series of depictions of the Battle of Waterloo by George Jones, for which he earned the nickname ‘Waterloo Jones’. Jones previously served under the Duke of Wellington in the Peninsular War, but it was the Waterloo campaign which captivated him more than any other military event. The Duke of Wellington reportedly approved of Jones’s style, commenting that it was “very good – not too much smoke” (H. Ottley, Biographical and Critical Dictionary of Recent and Living Painters and Engravers, 1866, vol. I, p. 98). Jones served as a Captain in the Royal Montgomery Regiment of Militia and was part of the Army of Occupation in Paris in 1815 after Waterloo. Although he did not fight at Waterloo, he had ample opportunity to visit the battlefield and record numerous sketches of its topography, providing the models for his full-scale works. Some of these sketches were engraved and published in The Battle of Waterloo […] by a Near Observer, in 1817. From 1816 onwards, Jones exhibited five paintings of the battle at the Royal Academy and six at the British Institution alongside other scenes peripheral to the battle, such as the village of Waterloo (see Peter Harrington, ‘The Battle Paintings of George Jones, RA (1786-1869)’, Journal of the Society for Army Historical Research, vol. LXVII, no. 272, Winter 1989, pp. 239-252). All these paintings depict a sweeping panoramic view of the battlefield and attest to Jones’ technical accuracy and understanding of the topography of the terrain. Amongst these depictions, the largest are in the Royal Hospital Chelsea (304 x 421cm) and in the Royal Collection (238 x 320cm). The latter was commissioned by George IV in 1822 for the Throne Room in St James’s Palace, where it still hangs. It is to this full-scale work that the present oil study appears to be most closely related. Although the composition is reversed, with the Duke of Wellington mounted on Copenhagen in the left foreground in the study, both works depict Wellington pointing to the sunken lane in the middle distance and having just replaced his hat (unlike in the Chelsea picture and other compositions which have come to the auction market in recent years, where Wellington points his hat towards the enemy to signal the advance following the repulse of Napoleon's Imperial Guard). In addition, Jones also uses the motif of a white horse, which anchors the composition in the left foreground. However, with the smoke rising behind Wellington, the present study is also reminiscent of the scene depicted in the ‘Final Defeat of the French at Waterloo’ (47 x 68.6cm) exhibited at the Royal Academy in 1816 as the first of the series of Waterloo related works by Jones, and sold at Bonhams, London, on 1st April 2015, lot 148, for £29,000.Condition report: Oil on canvas which has been lined. The paint layers are thinly applied in some areas and has suffered from wear. The paint is stable overall. There is extensive overpaint in the sky covering wear and old cracks.

Exhibition quality scale mode of the steam trawler 'St Nectan' registered in Hull, no: H.411, overall length 175cm approx. On wooden display stand. Note: vessel St Nectan 564 tonnes gross weight, built in 1937 by Cook, Welton & Gemmell, Beverley. Believed to be fitted with battery electric motor for radio control.(B.P. 21% + VAT) Rather dusty commensurate with storage. No obvious damage.Provenance: these models by Robert Gerald Iles (1940-2019), a former British Army Officer who had always been interested in model making but did not have enough spare time whilst serving, resident in Pembrokeshire and joined the Pembrokeshire Model Sailing Yacht club where he won numerous trophies at club and national level. He also started his own business 'The Top Rig' making sails for model yachts, he then started making model ships for his own enjoyment, primarily British war ships and he took his models to modelling exhibitions all around the UK. Particularly well known in Wales.

Exhibition quality scratch built scale model of the Royal Navy 'Dido' class light cruiser 'HMS Hermione' 1850 tonnes fully loaded with a length of 485ft, 512ft overall, 50.5ft beam drawing 114ft, powered by Parsons geared turbines to four shafts with four Admiralty three drum boilers producing 62000shp, built by Alexander Stephen & Sons of Glasgow, launched 1939, sunk June 1942 by German Submarine U205 in the Mediterranean with loss of life. Finely detailed model with figures on bridge, turrets and armament. Electric motor powering four propellers for radio control. On wooden display stand, overall length 1.6m approx.(B.P. 21% + VAT) A couple of items in the way of one mast and deck fittings have become loose in transit but basically good condition.Provenance: these models by Robert Gerald Iles (1940-2019), a former British Army Officer who had always been interested in model making but did not have enough spare time whilst serving, resident in Pembrokeshire and joined the Pembrokeshire Model Sailing Yacht club where he won numerous trophies at club and national level. He also started his own business 'The Top Rig' making sails for model yachts, he then started making model ships for his own enjoyment, primarily British war ships and he took his models to modelling exhibitions all around the UK. Particularly well known in Wales.

A CHINESE JADEITE BELTHOOK AND PLAQUE MOUNTED AS A HAND HELD MIRROR 19TH/EARLY 20TH CENTURY The belthook terminating in a dragon's head, the plaque carved in shallow relief with a phoenix standing on rockwork by two large peony blooms, both attached with silvered mounts decorated with bats and an incised floral spray, the reverse set with a glass mirror, 17cm overall. Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent. Richardson joined the 2nd King Edward VII's Own Gurkha Rifles in India in 1931 before working as an instructor at Sandhurst between 1938 and 1940. Richardson was awarded an immediate DSO in 1944 when commanding the 1st Battalion of the 2nd Gurkha Rifles during the Italian campaign at Monte Cassino. He then received a bar to this DSO later in the same year. Afterwards, Richardson served in Greece, India, Singapore, Malaya and Hong Kong. He retired from the British Army in 1964 and then spent nine years in Nepal working for the Overseas Aid Development Corporation.

Officers of the Indian Army Compiled by Dodwell and Miles (East India Agents) 1st Edition 1838 c.300pp., Spine worn, overall good condition, Uncommon.

A late George III silver shaped oval basin by Joseph Angell I, London 1819, the chased rocaillework rim with roses and scroll foliage, engraved with two coat-of-arms accolly with a motto 'Fidelle a Mon Roi' to the incurve, scratch weight 76.17 beneath, 43.5cm (17in) long, 2360g (75.85 oz)The arms are for General Sir Miles NIGHTINGALE KCB (1768-1829). The blazon: ermine, a rose gules, on a chief embattled or two banners in saltire the staves enfiled by a wreath of laurel proper, a canton gules charged with a medal proper (Nightingale). A Knight Commander of the Bath. - emparlée - (same Nightingale) - impaling - azure, a lion rampant argent (Smith). Miles NIGHTINGALE (1768-1829) was born at Horwich nr Bolton, Lancashire the son of Humphrey NIGHTINGALE (1739-1784) by Alice HAMPSON (born 1743). In 1785 he married Hannah SMITH (1771-1808) daughter of Peter SMITH (1738-1818) of Gisburn, Yorkshire by Jane WHITTICAR (1736-1816). He was a career soldier, entering the army in 1787 and serving in India, England and South America. He was a commander in Ireland and Ambassador Extraordinary to France in 1802. Soon after he was stationed in the British penal colony of New South Wales, commanding the 73rd Regiment. He commanded the 1st Division in the Peninsula War before returning to India where he commanded the Bombay Army 1816-1819. On 23 Jul 1819 he was invested as Knight Commander of the Bath (KCB). From 1820-9 he served as Tory MP for Eye, Suffolk.   Condition Report: Overall wear commensurate with age and use. One small knock to the centre, approximately 4mm long. No other dents or bruises. Surface scuffs and scratches as expected from age and use. Hallmarks are clear and readable. The armorials are crisp and clear. On the underside of the border there is an old 25mm forked split which appears have been filled in and has some porosity bubbles suggesting it maybe a minor fault in the original casting.Condition Report Disclaimer

A Remington .44 calibre New Model Army 1858 single percussion action revolver, no.51531, with 8in (20cm) named barrel, impressed mark to wood grip,35.5cm overallCondition report: Repolished overall and no original case hardening remaining

A Colt .44 calibre Model 1860 Army 6-shot step cylinder percussion revolver, no. 9373 on all parts, stamped 'Colts Patent' to the action,36cm overallCondition report: The polished finish is not original and later finished.

Ɵ Boniface VIII,Liber sextus decretalium, the Constitutiones clementinae and other collections of Papal judgements on aspects of Canon Law, in Latin, decorated manuscript on parchment [France (Paris), mid-fourteenth century]To view a video of this lot, click here. 96 leaves (plus 3 paper endleaves at front and back), complete, collation: i10, ii-vii12, viii8, ix6 (iii and vi singletons, but no losses to text; this last quire an early addition and including 3 endleaves at back), some quire and leaf signatures, seventeenth- or eighteenth-century foliation in outer upright margin of rectos, double column of 45 lines of a good university hand, capitals touched in red, paragraph marks in red or dark blue, red rubrics (with hairline guides for rubricator often surviving in margins), running titles in alternate red or blue capitals, one-line initials in same, 2-line initials in same but with penwork flourishing in contrasting colour extending in long whip-like tendrils far into the margins, nine large variegated initials in red and blue with penwork infill and surrounds opening major text sections, the final additional quire with text in single column of 41 lines, with some sections here in double columns, all opened by a single red initial, slight cockling to first and last few leaves (with 2 small initials causing burn through of parchment on fol. 1), some rodent damage to edges of a number of leaves, small spots and stains, else good and presentable condition, 275 by 185mm.; eighteenth-century Italian paper-covered pasteboards printed with patterns of green leaves, corners and spine covered in brown leather, spine with gilt-tooled panel: "XXXI LIBR DECR MS.", scuffed and bumped in places, overall solid in binding A handsome fourteenth-century legal codex, with a probable origin point among Italian law students studying in Paris, and a likely provenance in the medieval library of the Dominican convent of San Domenico di Guzmán in Gaeta Provenance:1. Most probably written in Paris by a scribe who had trained in Italy: the script is a professional Italian littera bononiensis, but the decoration and some details of script (such as the use of the tironian 'et' symbol), indicate an origin in the French capital. The book was evidently completed there in the form it is now in, and the additions on fols. 89r-93v are in French hands.2. Probably from the Dominican convent of San Domenico di Guzmán, Gaeta, central Italy (founded 1229, expanded under Neapolitan royal patronage from 1308 onwards, suppressed 1809 by Napoleonic army and reused as barracks, and its goods then scattered): part of a group of eleven manuscripts of predominantly Dominican interest later owned by the Hispanic Society of America. As noted by Faulhaber, these are all in identical bindings and with similar descriptions at foot of opening leaves in scrawling hand of the previous century (here "Decretalium sextus liber bonifacii" and "C 6"); and one of these certainly from the house (Peter of Tarentaise, Commentary on Peter Lombard's Sentences with an ex libris "Iste liber est conventus sancti dominici de gayeta ordinis predicatorum" on fol. 1r and the classmark "E 5": now Yale, Beinecke, MS. 1207: see Faulhaber, no. 35). Further shared features are the nineteenth-century inscriptions on their back pastedowns (here "Foglie # 100 Miniature # 7" and "Foglie No 100 Iniziali # 7 Segnato NAP"). Many of these codices had French features, and were presumably written by, or carried by, Italian students of the University of Paris, while returning home. A number of the group had brief French descriptions of the nineteenth century (as here pasted inside front board, numbering this 'XXXI', agreeing with number on spine), and they appear to have been taken to France soon after the suppression of the house and entered the trade as a single unit there.3. Hispanic Society of America, acquired in early twentieth century (perhaps in France), their B2565 (Faulhaber, pp.127-8), with cataloguing in Spanish by A. García y García on a folded sheet of blue paper pasted to last endleaf; their sale in Christie's, 12 November 2008, lot 26. Text:The Liber sextus decretalium was commissioned by Pope Boniface VIII from Guillaume de Mandagot, bishop of Embrun, Berenger Fredoli, bishop of Beziers and Ricardo Petroni of Siena, papal vice-chancellor, as a practical collection of papal letters (also known as decretals) that contained clarification on individual points of Canon Law. It had been finished by 1298 when its pronouncements entered into law, and copies were then disseminated to universities to replace earlier textbooks. Once in use, it came to be known as the Liber sextus, as it supplements the five books of Gregory IX's Decretals, which had been promulgated in 1234. The present volume was probably ultimately copied from one produced for teaching in the University of Paris, and addresses the doctors and scholars of that institution in its opening line ("... doctoribus et scolaribus universis Parisius"). To this has been added decretals judged of some importance, but outside the official compilation (here fols. 53v-59r). These are followed by the Constitutiones clementinae (fols. 59v-81v, also called the Liber septimus decretalium), which were compiled under Pope Clement V and sent to the University of Orleans and the Sorbonne in 1314, but more widely disseminated by his successor Pope John XXII in 1317 (here prefaced by the latter's introductory letter, again addressing the doctors and scholars of Paris). The main section of the book ends with a collection of further decretals of Clement V, including those from the Council of Vienne in 1311-12 (fols. 81v-83r), as well as those of Popes Martin IV (fols. 83r-85v), and John XXII (fols. 85v-89r). To this body, hands of the late fourteenth or fifteenth century then added an anonymous text beginning "In vita bonorum et optimorum primo Ethicorum ..." (fol. 89rv), a Declaratio constitutionis 'Execrabilis' of John XXII (fols. 90r-92v), and an alphabetical subject index to the Liber sextus (fols. 93r-v). Published:A. García y García, 'Manuscritos juridicos medievales de la Hispanic Society of America', Revista Española de Derecho Canónico, 18 (1963), pp. 546-48, n. 1.Charles B. Faulhaber, Medieval Manuscripts in the Library of the Hispanic Society of America, 1983, pp.127-8. 

A 1940’s INTERNATIONAL WALES RUGBY UNION JERSEY MATCH-WORN BY BILLY CLEAVER (1921 – 2003) in traditional red with white collar, Prince of Wales feathers embroidered directly on to the jersey, with blue ribbon and ‘ICH DIEN’, bears label for D L Davies’ outlet ‘The Bon’, Swansea (faintly inscribed J W Kyle – please see provenance below), printed black ‘F’ to canvas panel stitched to back, together with a black and white still photograph of Cleaver’s kicking action Auctioneer’s Note: William Benjamin Cleaver was born in Treorchy in 1921. He was known as Billy Cleaver and later by his nickname, ‘Billy Kick’. There is perhaps an unfair perception that the typical Welsh amateur era rugby-player was a man lacking in culture, that their strength and determination came from hard labouring jobs in the collieries and heavy industry. Such a theory was often disproven, especially in the years following the second world war. The famous Welsh backline quartet during that period consisted of Bleddyn Williams, a product of Rydal School, Doctor. Jack Matthews – a physician, Haydn Tanner who attended Harvard Business School and then Billy Cleaver. Cleaver was a graduate of Mining at Cardiff University, he was a wine connoisseur, a tenor and an art enthusiast who later became the Secretary of the Contemporary Art Society of Wales. Cleaver’s nickname ‘Billy Kick’ was a betrayal of his personality and his rugby play, which was as cultured as the man himself. He had a far greater depth to his game than simply kicking. Cleaver was a robust, reliable and charismatic individual.  With his distinguishable mop of blonde hair, he is an unmistakable figure in the team photos from the period - even in black and white. Cliff Morgan in ‘Heart and Soul: The Character of Welsh Rugby’, described one such photograph from the 1950 British Lions tour : ‘Rex Willis, Jack Matthews, Bleddyn Williams, Billy Cleaver and Cliff Davies look like a complete team in themselves; they stand (all much the same size and height whatever their position) with the confidence of gentlemen, some with their hands in their pockets, Bleddyn holding the ball, not unlike a group of army officers who have just won a regimental tour in Penang’. Cleaver was not only cultured and a gentleman of distinction, but he was one of the great utility backs of the early post-war era. He was best known for his defensive play but he had great technical ability in attack, being able to seamlessly take a pass on the move without interrupting the rhythm of play, while then moving the ball on to his outside with elegance, invariably he would then spirit behind his centres to make himself available again in the move. If the ball was dropped or came loose, he regularly scooped the ball effortlessly from his toes before it was turned over to the opposition. As with many naturally gifted sportsmen, Cleaver was not inclined to train too hard. His playing colleagues were staggered that he could muster such emphatic performances in a match while having such a casual approach to the game. He won 14 caps for Wales between 1947 and 1950, winning nine matches and drawing two. His many achievements included the distinction of playing in three different positions against the 1947-48 Wallabies on their tour of Europe and finishing on the winning side each time. He was also an intelligent and very effective pivot in Wales’ Grand Slam of 1950, their first after a thirty-nine-year barren spell. In the same year, he toured Australia and New Zealand with the British Lions, when he played in all three of the New Zealand tests at fullback. One of the old after-dinner stories from the 1950 British Lions tour was that the tourists stopped at Ceylon on their sea-passage home, where they played a one-off match against the national team. Billy Cleaver, much to the amusement of the rest of the party, ended up running the line for the match where he was constantly heckled by the locals to give the score. Cleaver could excel anywhere in the backline, but fly-half is where he enjoyed playing the most. He spent six years at Cardiff RFC primarily as a fly-half, between 1945 and 1951, making 150 appearances. During the Second World War years he firstly played with Billy Darch as his half-back partner for Cardiff, who was replaced when  Haydn Tanner joined the club, and they teamed up in one of the most famous halfback partnerships in rugby history. The 1947/48 season was particularly special at Cardiff, one in which he partnered with Tanner at scrumhalf and with the sublime partnership of Bleddyn Williams and Jack Matthews on his outside. That season was regarded as Cardiff’s best, they scored a remarkable 182 tries in 41 games and lost only twice. In ‘Rugger, My Life’ Bleddyn Williams writes a glowing tribute: ‘Cleaver was a natural footballer; but because people wanted a fly-half moulded on classical lines he was in and out of the Welsh team, playing at centre and full-back as well. But fly-half was his position, and I felt so all the time I was playing there for Wales against England in 1947. If “Billy Kick” had been out half that day I think Wales might have won.’ On his return from the Lions tour of 1950, Cleaver declined an invitation to be captain of Cardiff, instead retiring from the game entirely at the age of 29, to pursue further his career in mining. By the young age of 28 years of age, he had already become manager of North Celynen Colliery in Monmouthshire, eventually becoming a Deputy Director of the South Wales Coalfield. His premature retirement was a great loss to Welsh Rugby. But it was typical of the man who regarded rugby casually, as just another of his many interests and talents. He did however come back to figure at scrumhalf for the Lions against his beloved Cardiff to commemorate their 75th anniversary in 1951, partnering with Jack Kyle for one of the most spectacular games in post war rugby. Provenance: consigned in Ireland, from the collection of the late Jack Kyle OBE (1926 - 2014), one of Ireland's most famous players. The two players swapped jerseys on one of the occasions that they faced each other in 1947 or 1949 before the Wales team used a numbering system. The two players became good friends on tour with the British Lions where ‘he and Jack Kyle were as loth to appear at training periods as modern players are to pass the ball out in their own “25”….both their names will never be forgotten in the history of Rugby football.’ (Rugger, my life; Bleddyn Williams; Anchor press, 1956) Condition Report: one of the two buttons missing, faded printed ‘F’ on panel, small area of fading on back down spine, one small stitching repair on back which is believed to have been done during playing days, a few small blemishes but not serious, structurally no problems, in excellent condition overall, it has not been displayed so generally not faded and without pinholes or long-term folds

A Flintlock Musket/Jezail probably circa 19th c., possibly modified from a match-lock and of Sindh design, the unusual curvature of the stock and positioning of the trigger facilitating the possibility of firing whilst held in one hand on horse-back. Probably issued to north-west frontier tribal forces of the British India Army. This antique weapon has a 34 5/8" long Damascus barrel, flared and engraved at the muzzle, which has a copper pip foresight, the bore approximating to 11.5 mm calibre. There are two pierced brass barrel-bands and brass decoration to the stock as well as an applied brass nine-point star to the right hand side, which is stamed with the number "830". The action cocks and fires. Overall the musket measures 52 3/8" and weighs 2.79 kg. (6 lbs. 2 1/2 ozs.), approx. THIS WEAPON IS AN ANTIQUE AND ACCORDINGLY MAY BE PURCHASED BY AN UNLICENSED PERSON, SUBJECT TO CERTAIN AGE LIMITATIONS.

11 Boxed Dinky military diecast models to include 621 3 Ton Army Wagon, 677 Armoured Command Vehicle, 693 7.2 Howitzer, 626 Military Ambulance, 688 Field Artillery Tractor, 674 Austin Champ x 2 (one box missing end flap) (missing end flap), 673 Scout Car with driver 643 Army Water Tanker, 676 Armoured Personnel Carrier, and 641 Army I Ton Cargo Truck, diecast gd/vg overall, boxes tatty but acceptable

CHEKHOV ANTON: (1860-1904) Russian Playwright and short-story writer. Autograph envelope, unsigned, being a significant fragment of the front panel only, addressed by Chekhov in bold dark fountain pen ink to Captain Alexander Ivanovitch of the 22nd East Siberian Front Regiment, 10th Company, and with an affixed postage stamp and several cancellations, one dated 13th April 1904. With light overall creasing, some tears and irregularly torn edges, none of which significantly affect the text. Neatly laid down. Together with Olga Knipper (1868-1959) Russian Stage Actress, wife of Chekhov. A.L.S., Olga Tchekhova Knipper, three pages, 8vo, n.p., n.d., to a gentleman, in French. Knipper sends her correspondent the front panel from her husband's envelope and explains that it was sent by Chekhov from the Crimea, in the south of Russia, whilst he was serving in the Manchurian Army in the war against Japan in 1904. To the verso of the second page Knipper provides an English translation of her husband's text from the envelope. Some light overall staining and age wear, G, 2 Chekhov's envelope is post marked a little over three months before the writer's death which has since become known as one of 'the great set pieces of literary history'.