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Lot 1176

*A post WW2 German M35 steel helmet, painted red with leather liner and chin strap, a type used by the Volunteer Fire Brigade of Waldmanshofen, Wurzburg, Bavaria, together with a German polycarbonate fireman`s helmet c. 1966, white with leather liner, produced by the Berlin based company Aver & Co for Civil use and as a new trial helmet for the German Fire Service used by the Civil Defence (T.H.W.) and the Red Cross, plus a German steel fireman`s helmet c. 1960, yellow with yellow and red rank markings and helmet plate of Bavaria, leather liner chin strap and neck curtain, manufactured by `Schmohl & Sohn K.G. Munchen` (3)

Lot 1182

*A collection of police memorabilia, including a post-WWII Metropolitan police officer`s tunic, with eight silvered buttons, three pips and buttons to each shoulder strap, a Metropolitan police helmet, two turned wooden truncheons, four pairs of Victorian iron handcuffs, a Metropolitan police whistle and key (10)

Lot 1193

*A Victorian other ranks Glengarry badge of the Royal Berkshire Regiment, brass stag backed, with red velvet together with another of the West Surrey Regiment backed with red velvet, each mounted on a blue velvet shield by `Walter Jones, Sloane St`, plus a Sergeants badge of Black Watch, Post 1902, bi-metal mounted on a shaped blue velvet base (3)

Lot 1197

*A WW1 Royal Naval Air Service Chief Petty Officer`s cloth cap badge, WW2 Royal Air Force officer`s cloth badge and brevet badge, and Post WW2 RAF officer`s cloth badge, together with various items including 1914-15 Star (6599 Pte A. Hartley, A.Cyc.Corps.), Victory Medal (1705 Pnr. A.J. Wootton. R.E.) 1705 Pioneer A.J. Wootton, served during the Great War with the 54th (East Anglian) Division Signal Company, Royal Engineers, died in Gallipoli 25.8.1915 most probably after the failed attack on Anfarta from Sulva on 21st August, Wootton is buried in the Azmak Cemetery, Sulva, Turkey. (9)

Lot 1206

*A Victorian helmet plate of the Royal Berkshire Regiment, (post-1881), silver stag backed with red velvet, the base with silver `Royal Berkshire Regiment`, three lug fasteners (1)

Lot 1211

*Flying Officer C. McLaren-Reid, Royal Air Force, Boei Glodak P.O.W. Camp, Java 1942-45, A rectangular teak table top inscribed with the names of all the R.A.F. Officers and Warrant Officers at the time of imprisonment in Boei Glodok, 1942-45, the top left with characters for the Japanese equivalent of McLaren-Reid`s initials, with central design of the solitary confinement cells, within chain border and bottom link inlaid with signed silver plaque of Mountbatten of Burma, 50cm x 85cm, together with an number of original documents relating to the table top, including, Letter from Buckingham Palace dated September 1945, welcoming Reid home, a letter confirming release of the table from Customs 1946, Caxton Exercise Book with names and addresses of the names on the table top, an archive of letters from fellow prisoners and their families, photographs Japanese Prisoners in Batavia formerly connected with Allied Prisoners-of-War, portrait photograph of Reid in uniform and one Reid and the table top, newspaper cuttings detailing the story of the table top, documents discussing the table top being exhibited at The Scottish United Services Museum in 1949 R.A.F. section at the Edinburgh Castle, exhibited with other P.O.W. work from the Napoleonic Wars. The Clarion magazine published 1949, detailing the story of the table top, also included in the lot is a heavy silver cigarette case engraved with heraldic crest and motto `Nihil Amanti Durum` (nothing is hard for one who loves), the reverse engraved with a record of service from January 1916 - February 1953, approx. 5.5 oz, Birmingham 1943, and three personal photograph albums, mainly post WW2. The Tale of a Table, Java 1942, The R.A.F. orderly room in Boei Glodak, the civil gaol in Batavia for long-term prisoners, in half of which some 1200 R.A.F. personnel were crowded, was a cell-like room in the administration block some twelve feet by six. The furniture consisted of one small table, a chair and a couple of empty boxes, and the table did duty for the C.O., myself and the clerk, as necessity demanded. After cajoling, threatening and imploring the officer in charge of the workshops for a month or more an extra table was made for myself. The table was made from old sleeping boards used by the civil prisoners in peace time, but found to be hopelessly bug-ridden as to be unusable by our men. The top was a single piece of teak, approximately thirty-four inches by twenty inches. As Adjuntant and interpreter, my time was more than fully occupied for the first three months, but after that things got easier, and I occasionally found myself with nothing to do, there being very few available. The then Japanese Commandant, a regular officer, had encouraged arts and crafts, and a successful exhibition had been held, many of the exhibits being made by expert hands. One day it crossed my mind to do something of the sort myself, and the idea of carving the names of the Officers and Warrant Officers on my table occurred to me. I found that I had more space than was needed, so included a view of the solitary confinement cells. I finished up by placing a symbolic chain round the outside, the links being copied from the chains used on the civilian prisoners. I managed to borrow an extremely blunt and jagged-edged gouge for a short while to remove the wood to give depth to the picture, but, apart from that, had only one blade of a `Dewars` advertisement penknife, a bone handled nail file and a sharpened nail or two to work with. It took nearly four months to complete and looked a pretty amateurish job when I had finished, but it kept me occupied and I was quite pleased with, not to say proud of it. In October, the night before our first draft left, I got everyone available to autograph the back of it, but one man would never be there to sign. He had been captured one night early in April with two Sergeants pilots while making a gallant and very nearly successful attempt to steal an aircraft from the local aerodrome, after they had escaped from the gaol and made their way through the town. We never saw them again. I put a coating of brown boot polish on the carving, made a three ply cover for it, and was looking for a place to hide it when, quite unexpectedly, in January 1943 the R.A.F. were moved to a camp at Tandjong Priok, the port for Batavia. Before leaving I handed it over to a Dutch friend, Lieut. G. Vischer, R.N.N.R. to hide for me. We stayed at Tanjong Priok only three months, and were moved to `Cycle Camp`, Batavia, an old Dutch army barracks. Here I met Lieut. Vischer again. His crowd had been moved suddenly from Boei Glodak the day after we left, so he had handed the table over to an Ambonese officer, who had been unable to hide it before he himself left and the gaol was closed. The gaol was re-opened for some months as a rope-spinning factory, and several hundred British personnel went there from `Cycle Camp`. The Adjutant found the table and looked after it, but, when the time came to leave, was too busy to hide it, so once again it was left lying about. Although they closed the gaol again the Japanese decided to keep on the vegetable gardens around the gaol, and for quite a while a party went there daily from `Camp Cycle`. The Dutch officer in charge of the party told me that he had been inside the gaol, and had seen the table stowed away in a furniture store. And that was the last I heard of it up to the time I left Java at the end of September, 1945. London 1946 One day in June my friend Dudley Grundy telephoned to my flat and said he had great news for me. He had just heard from `Wiggie`, Squadron Leader C.C. Wigram, that the table had been found. Wiggie had just arrived from India, where he had been recuperating after our release, and on the way home in H.M.T. `Cape Town Castle` had met a Wing Commander of the R.A.F. Regiment. It transpired that the latter had been in Java, particularly Batavia, and, while describing what had been going on there after the arrival of the British, mentioned that one of his raiding parties had found a bit of wood with a lot of names mentioned on it, and had taken charge of it. Wiggie recognised the description as that of my table top, and told the Wing Commander that he knew the owner and would pass on the information. As a result I got in touch with the Wing Commander, who told me that the carving was in safe hands, but he could not say where. At his suggestion I went to the Historical Records Section of the Air Ministry it was not there, but a lot of stuff was expected from Singapore, and I was assured that if it arrived I would be informed at once. I then wrote to the Officer in charge of the Historical Records Section in Singapore asking him to keep it, if he had it, as I was sailing for Malaya very shortly. I received no answer to this letter. When I reached Malaya I started my search again. After a number of letters had been written and answered I traced the table top to the R.A.F. Provost and Security Services in Singapore, in whose custody it was pending onward transmission to the War Museum. I then wrote to the Air Officer Commanding-in-Chief S.E.A. asking for the necessary authority for its release, and, on 8th December, 1946, saw it again after nearly four years. It was a bit knocked about. Several of the letters were chipped and vandals had seen fit to knock a few rusty nails into it, but the boot polish finish was still there. The autographs on the back had nearly all faded away, and did so completely when I oiled the wood. I finished off the carving by inserting the date of our release, and by splitting the bottom centre link of the chain, which, with justifiable optimism, I had made larger than the others, in preparation for the day when our bonds would be broken. (I did not explain this to the Japanese who saw the table!)Now there was one thing left to do. There was space inside the broken link for an autograph, and there was one person only whose name I wanted there. I intended sending the carving itself to England, but it was bulky, and would be inconvenient; in addition to which it would take months to get there and back. Instead of this I took the spoon and fork which I had used throughout my prisoner-of-war time, which constituted the last of the `Family silver`, the remainder having been looted from my house in Malaya, to a local silver-smith, who made a flat plate out of them. This I posted home by air mail, and, in a few weeks, it was returned, autographed, together with a short but gracious letter. A coat of varnish to keep the silver from oxidising and into its place it went. Of those whose names are on the carving the majority are alive. I send them this card as a memento of hard times shared, and with my best wishes for the future. To the relatives of those who are gone, I offer it as my humble tribute to the memory of the dead.()

Lot 153

Three boxes of books and maps, including: early 20th century bound editions of the Strand magazine, a 1941 London Post Office Directory, various Ordnance Survey cloth backed and other maps including Bartholomew`s.

Lot 326

Attributed to Philip Robinson and others, a folio of unframed watercolours, various, including: post Blitz buildings, landscapes etc.

Lot 447

Medals/Militaria - Third Reich - A group of four comprising: West Wall Medal, Sudetenland Medal, Eastern Front Medal and Krim Shield It is thought that some may possibly be post-war restrikes so would advise viewing in person - General condition consistent with age **

Lot 448

Medals/Militaria - Third Reich - A group of three comprising: War Merit Cross (1st class with swords), War Merit Cross (2nd class) and Wound Badge (black) It is thought that some may possibly be post-war restrikes so would advise viewing in person - General condition consistent with age **

Lot 467

A lady's 18ct white gold Rolex Datejust wristwatch, the dial fully set with diamonds, the bezel and strap also set with diamonds, serial number W583419 (post 1992) See illustration

Lot 140

A Group of fifteen Post Office Instructions for Airgraph Service forms (Kenya, Tangaika, and Uganda) each with attached 30c George VI Stamp

Lot 150

Bulging blue album of Post Office cards, 1970`s & 80`s, all in sets.

Lot 154

Freezer bag of All World stamps including GB packs, sets & Post Office cards.

Lot 162

A collection of mostly mid 20th century post cards and post card sized pictures of steam and diesel locomotives etc, contained within four albums (a lot, as viewed) approx 340 and four modern loose leaf albums containing a collection of mid/late 20th century photographic postcards of British trains, both steam and diesel approx 650 (a lot, as viewed)

Lot 164

A collection of mostly mid/late 20th century coloured photographic postcards principally relating to the Royal Family and nostalgic war time scenes, many from the Nostalgia Postcard Collectors Club, contained within three modern loose leaf albums. Approx 600 and a large collection of mid /late 20th century post office issue First Day covers, cards etc interest. Contained within five albums approx 500 and two modern albums containing a collection of photographic postcards of bridges and two shoe boxes full of mid to late 20th century, mostly topographical, postcards (a lot, as viewed) approx 850

Lot 236A

Fourteen early post-war Dinky toys, including light commercials and military vehicles.

Lot 274

A 19th century metal and brass Post Office weighing scales by Salter.

Lot 61

Silver and white metal items including Islamic pill/snuff box, Victorian silver salt by Elkington, another salt with liner, silver pencil M & Co, spoons, ring, brooches including running pig, amethyst and glass pill box, hallmarked post label etc.

Lot 150

A group of WW2 medals and a post-war service medal to Frederick Howard Cole

Lot 241

Three 1902 Edward VII and Queen Alexandria Queen consort coins, a quantity of pre 1947 silver/post 1920 three penny pieces - weight approx 68 g together with a quantity of pre 1920 silver threepenny piece, approx total weight 259 g.

Lot 261

27 Airfix models kits of WW2 and post war Japanese, Russian and German fighter aircraft

Lot 357

Twenty boxed models of post 1950 racing cars by Crumm, all in original boxes.

Lot 485

Five Chad Valley money boxes, two in the form of clocks, one in the form of a globe, one in the form of a `Happy Days` book and one in the form of an airways air mail post box.

Lot 500

17 money boxes to include, a Royal Mail post box, two modelled as drums, one in the form of a clock, one converted from a Schuco garage, one in the form of a fire bucket etc.

Lot 1041

A Collection of AA Badges, post-war including a Burma and a New Zealand badge

Lot 1270

Picture Goer, Picture Post and song sheets, mounted and framed, together with `The Outlaw` lobby card

Lot 263

A RUSSIAN ICON OF THE CRUCIFIXION AND RELATED SCENES, 19TH CENTURY. A large and colorful icon depicting the crucifixion at top and below various post resurrection scenes. The borders with family Saints Vasilliy, Prince Vladimir, Feodosiy, and Alexander Nevsky. 17.75 inches x 14.5 inches (45 x 36 cm).

Lot 274

"JOHN STEUART CURRY(American 1897-1946)The First Snow- 1930Oil on canvasSigned and dated lower right “John Steuart Curry 1930”25.25 inches x 31 inchesProvenance:Acquired directly from the artist by Dr. Wellwood Nesbit of Madison, Wisconsin.Thence by descent through the family to the present owner Mrs. Kathy Doll (granddaughter of Dr. and Mrs. Genevieve Nesbit).Literature:The Lakeside Press Galleries, Chicago, Illinois, "Catalog of a Loan Exhibition of Drawings and Paintings by John Steuart Curry", March 1st to April 28th 1939, page 11 (unillustrated).Laurence E. Schmeckebier, John Steuart Curry’s Pageant of America, American Artists Group, New York, 1943, page 129, 133 and 134 and illustrated as Figure 80. (This lot is accompanied by a copy of both of these publications).Exhibited:The Lakeside Press Galleries, Chicago, Illinois "A Loan Exhibition of Drawings and Paintings by John Steuart Curry, March 1-April 29, 1939 as Item 10.The offered lot features an oil painting created by John Steuart Curry (American 1897-1946) in 1930 during a transitional period in the artist’s career. The painting, First Snow depicts a quiet and still winter residential view from his home and studio in Westport, Connecticut. Like the following lot, the offered painting was acquired directly from the artist by Dr. Wellwood and Mrs. Genevieve Nesbit whom Curry had become acquainted through his friendship with fellow Regionalist artist Grant Wood, a childhood friend of Genevieve Nesbit.Born and raised in Kansas, Curry became interested in art at an early age. Before finishing high school, Curry briefly enrolled in art programs at the Kansas City Art Institute and the Art Institute of Chicago. Years later, he finished his education at Geneva College, a Presbyterian school in Beaver Falls, Pennsylvania. Curry’s art and educational pursuits continued to move him farther away from his family’s farm in Dunavent, Kansas. In 1919, Curry moved from Pennsylvania to Leonia, New Jersey to begin his illustration career. From 1921-1926, Curry worked as a freelance illustrator for publications such as Boy`s Life, Country Gentleman and the Saturday Evening Post under the artistic mentorship of Harvey Dunn (American 1884-1952) who was revered for his renderings of scenes from the American West. Both Harvey and Curry shared an interest and respect for uniquely American subjects and sought to create art accessible to the common man.In 1923, Curry married Clara Derrick. A year later, after living in Greenwich Village, New York for less than a year, the couple moved to Westport, Connecticut where Curry purchased a home and studio at Otter Ponds by the Saugatuck River. The move to Westport marks a decided shift in Curry’s career. In the mid-1920s, after losing commercial illustration jobs, Curry decided to stop working as a professional illustrator and refocus his efforts solely on painting. As Curry underwent this change, the couple’s finances suffered. With the hopes of improving his draftsmanship and elevating his paintings, Curry traveled to Europe in 1926 for 8 months to study under the Russian artist Basil Schoukhaieff in Paris. The trip was funded by an affluent banker and art collector Seward Prosser who loaned Curry $1,500 and additionally provided a job for Clara at the Bankers’ Trust Company in Paris for additional income.Curry returned to Westport in June of 1927 determined to prove himself as an artist. Fortunately, Prosser’s investment and Curry’s hard work paid off. By 1928, Curry finished his painting Baptism in Kansas for the Corcoran Gallery, Washington D.C. and in turn, gained national recognition in the art world. Two years later in 1930 (the same year the offered lot was executed), Curry received his first one-man show through the Whitney Studio Club. Despite the strides Curry made professionally, the late 1920s and early 1930s were especially difficult times for the artist emotionally. Curry’s distance from his family and the Midwestern subjects wore on his spirit and resulted in a general unhappiness toward life. Some art critics on the East Coast claimed that Curry “painted life…with a homesick brush”. Continuing this line of thought, the artist’s biographer Lawrence Schmeckebier wrote “Curry’s father had often comforted him in his despondency by offering to give him land out in Kansas and some stock to start life over again.” Perhaps in the hopes of changing his emotional state, Curry returned home to the Midwest. In the summer of 1929, Curry spent six weeks on his family’s farm in Kansas to revive his inspiration. Some writers support the significance of this trip by referring to it as a pilgrimage. The respite proved to be motivating and helped spur his development of key subjects in the coming year. Taken within the context of Curry’s intense focus on his career and his despondence with the Northeast the offered lot, First Snow, provides a unique and personal glimpse into Curry’s perspective in 1930. The offered painting breaks from more traditional examples where Curry depicts the homeland and instead focuses on the artist’s distance from his Midwestern subjects and family and his life in Connecticut. In the painting, two leaf barren icy trees frame the reflection of two homes in the Saugatuck River which remain clear and motionless despite a small group of waterfowl enjoying a brisk swim. Curry’s thoughtful composition of this work is vital as it solicits an emotional response of solitude and even loneliness. No other figures are present as the crisp morning begins. This scene and the self-reflective state that stems from it can be read as a slice of Curry’s daily life at that time. By depicting this view in such a still and austere manner, Curry establishes intimacy and allows the audience to see this particular setting from his perspective as an outsider. In so doing, Curry generates the necessary environment for the audience to empathize with his internal state of discontent. First Snow illustrates Curry’s ability to, as Schmeckebier wrote of the artist, “express moods that vary from the utter physical abandon…to a quiet spiritual, almost romantic dreaming or even yearning.” Curry’s longing to return to the Midwest, his family and his rural subjects is evident in this interesting view across the water from his home and studio in Westport, Connecticut. Life would get harder for Curry as America sank into the Great Depression after the market crash of 1929. Soon thereafter, his wife Clara passed away from heart complications in 1932. After her sudden death, he worked in a small studio in New York City. However, Curry’s troubles did not last for long. In 1934, he married Kathleen Shepherd and returned to Westport with a renewed enthusiasm for his work. As the financial struggles of Depression Era artists were alleviated through Franklin Delano Roosevelt’s public art initiatives promulgated through the New Deal, Curry gained a commission to paint the murals for the Kansas State Capital Building in Topeka. Following this project, Curry became the first Artist in Residence at the University of Wisconsin, Madison in 1936. The Artist in Residence program at the University was the first in the country and was made possible, in large part, by this painting’s original owner Dr. Wellwood Nesbit. Dr. Nesbit and his wife, Genevieve were great supporters of the arts and close friends with Regionalist art icon Grant Wood who grew-up and attended school with Dr. Nesbit’s wife Genevieve in her native Iowa. Through their relationship with Wood, the Nesbits also became friends with Curry and Thomas Hart Benton. Using his position at the Medical School at the University of Wisconsin, Madison and being a staunch supporter of the arts, Dr. Nesbit helped bring the Artist in Residence position, which Curry first held, to fruition. Indeed the same year that Curry was inducted as the first Artist in Residence on campus, his good friend Grant Wood was granted an honorary degree from the University, once again, through the influence and commitment of Dr. Nesbit. In fact, when Wood came to Madison to accept the honor, he declined an invitation to stay in the University President’s home and chose instead to stay with his good friends, the Nesbits."

Lot 953

A PAIR OF VICTORIAN BRONZED METAL NEWEL POST FIGURES, CIRCA 1900. Depicting the figure of a young Hercules with lion skin and the figure of a young nymph, each holding upright a torch later mounted with etched crystal cylinders with jeweled and metal embellishments. Height 49.5 inches (126 cm).

Lot 385

A British Railways cast iron 3 Mile post together with a wooden painted Beware of The Trains Sign mounted on metal post and a modern British Railways Warning sign.

Lot 1014

Pullen, G x 3 – "Cod", Trout" & "Carp", all 1st editions, Modern Fish Keeping issued by Spratt`s Patent Ltd., with post war restriction label, S/b, 2 x Allcock Angler`s Guides 1938/39 distressed and 1950, fine, various other general angling books and magazines.

Lot 477

ROD: Hardy "The Palakona" 8` 2 piece trout fly rod, post numbered model, no intermediate whips, agate butt guide, snake intermediates, whipped red, tipped green, bronze ferrule, keeper ring, 7" cork handle, up screw alloy reel fittings, fine, in MOB.

Lot 581

FIRST DAY COVERS: Collection of approx. 120 Izaak Walton 1st day covers, all post stamped 1983, Izaak Walton Tercentenary 16th. Jan, 1983, Stafford, with 15.5p leaping salmon stamp, the cover printed Isaak Walton`s Cottage with pull out information leaflet relating to Walton`s life, ideal dealer lot for selling at approx. £2.50 each.

Lot 707

REELS: (3) A 6" Nottingham star back reel, sadly damaged in the post, worthy of restoration, twin cow horn handles, brass lined, a 3.5" Nottingham wood and brass reel and an Allcock Aerialite wide drum pike reel.

Lot 220

An Irish Railway`s green and yellow enamel telegraph pole signs, `Post No Bills` (2) and `Persons Throwing Stones at the Telegraph will be Prosecuted`

Lot 158

A group of eight Goss cottages comprising the house at Lichfield in which Dr Samuel Johnson was born, model of the ancient chapel of St Nicholas, St Ives, Cornwall, model of Miss Ellen Terry's farm near Tenterden, model of Shakespeare's house, model of Wordsworth's birthplace, Cockermouth, the first and last Post Office in England, Charles Dickens house, Gad's Hill and Ann Hathaway's cottage, also an unmarked bisque cottage "The Old Curiosity Shop", marked to the reverse "Published by Hy Jones & Co, London" (9). CONDITION REPORT: Shakespeare's House: minor paint on right upright. Chapel: minor losses to cross. Rest appear good with no further obvious signs of faults, damage or restoration. Ellen Terry House is missing a chimney

Lot 251

A full size violin labelled "Made by George Craske (born 1797 died 1888) and sold by William E. Hill and Sons, London", with two-piece back, cased with a bow stamped Tourte, length of back 35.5cm. CONDITION REPORT: There have been repairs to scroll, quite a bit of damage to ribs, sound post loose and rattling about, in cataloguers opinion bow is not a genuine Tourte bow but a copy.

Lot 470

TWO ALBUMS OF EARLY POST CARDS on Japan, including various major cities Tokyo, Okayama - Hiroyoshima and Nagasaki, plus various others of famous temples, works of art and a group depicting military aspects of the Sino-Japanese war era

Lot 598

A pair of white gold, diamond and cultured pearl earstuds, each mounted with a single circular cut diamond above a cultured pearl, the backs with post and butterfly clip fittings.

Lot 611

A collection of gold and colourless gem set jewellery, comprising a line bracelet, the snap clasp detailed `14k`, a marquise gem set five stone ring, detailed `10k`, a three stone colourless gem set ring, a pair of solitaire earstuds with post and butterfly clip fittings, and a solitaire pendant with a 9ct gold curblink neckchain on a boltring clasp.

Lot 614

A pair of diamond set earrings, each in a four row slanting design, mounted with a row of circular cut diamonds, the backs with post and butterfly clip fittings.

Lot 699

A pair of mauve paste and seed pearl set earrings, the tops with post and butterfly clip fittings, a pair of blue and colourless paste set earrings, and a pair of colourless paste set earrings.

Lot 1572

A Royal Worcester figure Chinoiserie Boy, modelled by Gwendolen Parnell, post 1950, model No. 3354.

Lot 1645

A Minton Parian figure of Una and the Lion, post-1851, raised on a rectangular base, applied diamond registration lozenge and John Bell mark to top of base, length approx 34cm (Una missing left foot).

Lot 2093

A pair of post modern design armchairs, the bentwood frames supporting upholstered seats and backs.

Lot 2188

A pair of post-modern design chromium plated armchairs with cream leather seats and backs, one bearing paper label printed `Pieff, Worcestershire, England`.

Lot 572

A WWI period post card album containing portraits of Gladys Cooper, French silks, soldier photos etc

Lot 3009

An album of Israel first day covers from 1951-1968, a stock book, including Israel stamps, and a Great Britain 1999 Millennium Post Office Year Book.

Lot 11

HORNBY DUBLO IMMEDIATE POST WAR BOXED THREE RAIL PASSENGER TRAIN SET EDP1 `SIR NIGEL GRESLEY` complete with locomotive and tender in LNER blue livery, two teak finish lithograph tinplate coaches, control unit, track phial of oil, good pictorial box good but with torn corners to lid together with ORIGINAL PRICE GUIDE BUYOUT GUIDE and membership application a SELECTION OF BOXED THREE RAIL TRACK including electric points, SEVEN ALMOST MINT AND BOXED ITEMS OF GOODS ROLLING STOCK to include DI Horse Box, Coal Wagon, Open Wagon, Fish Van and Goods brake van, D2 High Sided wagon and DI `Royal Daylight` oil tank wagon BOXED 12 VOLT TRANSFORMER EST 200-250

Lot 144

MINT AND BOXED DIE CAST TOY VEHICLES VARIOUS MAKERS, all in view boxes, makers include Lledo Days Gone By Post, Matchbox Models of Yesteryear TOGETHER WITH 3 SETS IN POSTAL BOXES, viz Daily papers-six classic vans, SIMILAR FOUR vehicle set `World Cup 1990`, and ANOTHER Royal Mail horse drawn vehicles and busses, 47 vehicles in total, boxes mainly good (47) EST 35-50

Lot 163

DINKY 36A ARMSTRONG SIDDELEY, post-war smooth hubs-grey (poor, no paint, broken headlight and mudguard) 36D Rover Streamline-green/black (good, missing radiator), 38A Frazer-Nash- grey (chips, missing plastic windscreen), 38F Jaguar SS100 Sports-red, (chips, missing plastic screens), 102 Midget `TF`-yellow/red (very chipped) (5) EST 40-50

Lot 164

DINKY 24d/30d/36a LIMOUSINE-Vauxhall Hybrid-late pre-war 1939 or early post-war 1945 viz; 30d Vauxhall body with 24d Bentley radiator on a 36a chassis with slots for driver/passenger, smooth hubs, white tyres but thick chromed axles- light blue/black (VG, one headlight missing) and 30d Vauxhall with shield radiator post-war with plain chassis baseplate- brown/black (chips, broken headlight and bumper) (2) EST 50-80

Lot 166

DINKY RACING AND SPORTS CARS, 23c `Speed of the wind` post war-red, no racing No. (good, missing baseplate), 237 Mercedes-Benz-I white (chips) 113 MG-B- green (missing driver and screen), 134 Triumph Vitesse- green (missing screen), 217 Alfa Romeo x 2, 187 De Tomasso x 2, Fiat Abarth, 106 Austin-all good to poor (9) EST 30-40

Lot 195

DINKY ROAD SIGNS PRE AND POST WAR, 12a GPO letter box, 47d Belisha beacons x 3, 47a 4 way traffic light x 3, 47p and 47s Road signs, 12c red telephone box, 760 pillar box EIIR- red (all good), and GILCO road signs and bus stops (good) and DINKY 754 pavement set (mint/box good) (22) EST 30-40

Lot 262

TRIANG `MINIC` PLASTIC VEHICLES c.1950`s with tinplate bases, Jaguar XK120-C/W OK. red (fair-missing screen and hard top), Morris GPO Van-red (poor-cracked and dirty, Morris `Post Office Telephones` Van-olive green-WK OK. (good, but missing plastic roof ladder) (3) EST 15-20

Lot 305

CHAD VALLEY `AIR MAIL` PILLAR MONEY BOX, 6" high, rare 1948/50-showing a meteor jet fighter on blue above clouds (VG-small rust patch and scuffing to top edges), ANOTHER PILLAR BOX-identical size by ACME Toys `Nikki`s Money Box`, showing teddy bear posting pennies (good-few chips and rust spot), W. Dunsmore and Sons Ltd BISCUIT SQUARE MONEY BOX `Time is Money-Save it`, with children leaving sums and currency and diversion list panels and clock (missing hands?)-box has keyhole and lockable (good but scratched), CHAD VALLEY GPO RED PILLAR BOXES 2 1/2" high one G.R.E. one EIIR (mint and good) and 6" PILLAR BOX with children playing in snow (poor-very strathced) and tiny 2" penny post box (poor-rusty and scratched). DANISH `PENGE-POST KASSE` MONEY BOX c.1970`s-red (VG) (7) EST 30-40

Lot 306

POST OFFICE 1960`s-80`s MONEY BOXES-ALL TINPLATE, Reliable-double box (dent) with alphabet, 5" high, ANOTHER `EIIR Post Office` Postman Pat box, 2x `Prince of Wales and Diana Spencer` boxes, 2 x `Savings Post` boxes, `3 Cats` box, `Drink Coca Cola` box, 3 x 3" pillar boxes with children collecting mail, plain red 3" pillar box and red TELEPHONE BOX SWEET CONTAINERS-children making call- Churchill Toffee`s c. 1996 and ANOTHER `Bentleys Toffees` with monk calling `Le Shuttle` (all mint to VG) (15) EST 20-30

Lot 337

LLEDO-`DAYS GONE` PROMOTIONS-Walkers Crisps x 5, RMLI, Whitbread, Sweater Shop, PO, John West, ACDO, Kingsmill and Mercedes 300 SLR, Alfa, Morgan, TR3 unboxed (all mint/post boxes mint) (17) EST 15-20

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