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A group of hand and power tools, Workzone bench grinder, Bosch circular saw, digital calipers, etc. (1 box)

A Powerline band saw BBS-20 Mk II.

A Hitachi circular saw, together with a Black ad Decker part drill bit set

A Charnwood W711 8-inch band saw, sealed in packaging.

A DeWalt drill, an Agojama rechargeable circular saw, and two further Bosch power tools, all boxed.

An Einhell cross-cut and mitre saw, in box.

An Einhell bench-type circular saw, in box.

British WWI trench periscope Mk IX 1918 R & J Beck Ltd No 29914 and trench saw with handles and canvas bag 

A collectors lot to include; a framed and glazed early to mid 20th century "Cars of the Road" jig-saw puzzle of The Austin Seven with original box (wear and loss in places commensurate to age), a similar framed and glazed jig-saw titled "Off For A Holiday In A Morris-Oxford Car", a framed and glazed collection of mixed early to mid 20th century badges including Mayo's Tobacco, Kingbolt etc, a framed and glazed playing card jig-saw by Heller, Austria, and a small framed and glazed diorama of a lady and dog sitting at table.  Further details: age related wear and loss to jig-saws, box etc, some wear to frames.

THE BEATLES - 7" COLLECTION (UK PRESSINGS). A collection of around 49 7" singles by The Beatles. All UK releases, some titles will be duplicated but likely different pressings. Titles include Love Me Do, Please Please Me, From Me To You, She Loves You, Twist And Shout, I Want To Hold Your Hand, Can't Buy Me Love (x2), I Saw Her Standing There, A Hard Day's Night (x2), And I Love Her, I Feel Fine (x2), Help, Ticket To Ride (x2), Day Tripper (x3). Paperback Writer (x2), Yellow Submarine (x2), Strawberry Fields Forever (x2), All You Need Is Love, Hello Goodbye, Lady Madonna, Get Back (x4), Hey Jude (x3), The Ballad Of John And Yoko (x2), Something. Condition is generally VG+ to Ex+.

THE BEATLES - 7" COLLECTION (EUROPEAN PRESSINGS). An extensive collection of around 100 7" singles by The Beatles. All European releases, some titles maybe duplicated but are different pressings. Titles include Love Me Do, Please Please Me, Twist And Shout (x2), PS I Love You, All My Loving, I Saw Her Standing There (x2), She Loves You (x3), Money, Thank You Girl, Ask Me Why, Please Mister Postman, It Won't Be Long, I Want To Hold Your Hand, I Feel Fine (x3), Long Tall Sally (x2), Can't Buy Me Love, And I Love Her, I Should Have Known Better (x2), A Hard Day's Night, Eight Days A Week, No Reply, Rock And Roll Music, Help, Yesterday, I Need You, The Long And Winding Road, Sgt Peppers, Ticket To Ride, We Can Work It Out. Condition is generally VG+ to Ex+, sleeves VG to Ex+.

THE BEATLES - 7" COLLECTION (REST OF WORLD PRESSINGS). An expansive collection of around 47 7" singles by The Beatles. Pressed around the world from countries including USA, Australia, Brazil etc. Some titles maybe duplicated but pressings can vary. Titles include I Saw Her Standing There (5112), Love Me Do (x4) inc (63-3188), (A8105) & (A980). Stars On 45, I'm Happy Just To Dance With You, For You Blue, The Long And Winding Road, Beatles At Miami International Airport, The Beatles (5099968004576, 4x7" box set), I Want To Hold Your Hand (x2), She Loves You (x2), Twist And Shout, Slow Down, A Hard Day's Night, Eight Days A Week, Ticket To Ride. Condition is generally VG+ to Ex+.

FOLK - LP COLLECTION. A collection of 28 x LPs. Artists/ Titles include Ian Matthews - If You Saw Thro' My Eyes, Bob Dylan inc Blonde On Blonde, Subterranean Homesick Blues, The Times They Are A-Changin', Bob Dylan / The Band, Highway 61 Revisited, Van Morrison inc Tupelo Honey, A Peroid Of Transition, Beautiful Vision, Common One, Hard Nose The Highway, Inarticulate Speech Of The Heart, Into The Music, Live At The Grand Opera House Belfast, Wavelength, David Fanshawe - Arabian Fantasy, Rickie Lee Jones, Carole King, Leonard Cohen and Renaissance. The records are generally Ex to Ex+ and the sleeves are generally VG+ to Ex+.

MIXED WHITE LABELS / TEST PRESSINGS / ACETATES - LP PACK. A pack of 8 x LPs. Artists/ Titles are Neil Young - Time Fades Away (K54010, original 1973 UK test pressing, A1/B1, Ex+), Dell Richardson - Pieces Of The Jig-Saw (MUPS491, Ex), Dreams (10" acetate), The Old Wishing Well (10" acetate), Oh Samuel Don't Die (10" acetate), Lighthouse Keepers - Tales Of The Unexpected, The Tempest - Montezuma (12.ANA.17), Ronald Binge - The Last Mile and Professionals (acetate). The condition is generally VG+ to Ex+.

A GardenLine petrol chainsaw along with a ToolTec reciprocating saw and a Champion hedge trimmer.

A box of assorted tools. Includes two wooden metre rulers, wooden mallet, hand saw, drill bits etc.

A Titan TTPS750 electric pole saw with original box

A Draper 315mm saw table with extension plate

A 230V belt driven wood turning lathe / circular saw table / planer.

A Makita 2414MB metal chop saw

A Makita JR3050T 110v reciprocating saw in fitted plastic case

A Rexon SS-16SA scroll saw with original box and instruction guide

A Record RSCM8 8" mitre saw with instruction guide

A TRAY CONTAINING VINTAGE POWER TOOLS including a Wolf heavy duty drill and Black and Decker drill, a sander a Jigsaw and circular saw (all UNTESTED)

A TRAY CONTAINING CARPENTRY TOOLS including a new in box Record No 071, a Stanley No4, a Guardsman chisel set, a Spear and Jackson Superior back saw, other saws, a Stanley brace and bits etc

THREE VINTAGE GARDEN POWER TOOLS including a Flymo petrol strimmer, a Shingu petrol hedge trimmer (both engines pull freely but haven't been started) and a Teleselectric chain saw with 13in blade (UNTESTED)

A TRAY CONTAINING CARPENTRY TOOLS including a Varville and Sons coffin plane, a Record No4 1/2 and a No 0110planes, a 16in wooden plane, a wooden coffin plane, two braces, a shoulder brace, saw, mallet etc

An Evolution and a JCB circular saw together with a toolbox including contents

A Titan battery powered saw together with one other

ECHO EDGER, STILL CHAIN SAW,2 STILL HEDGE TRIMMER NO BATTERY (AS SEEN)

Quantity of garden tools to include a strimmer, brush, spade, hoe, mallet, saw, shears, hose on reel, etc 

Triton RTA300 router table with De Walt router fitted and a HS200 table saw (2) 

Workzone 240 volt scroll saw.

Circular Saw Bench (no blade), 4' x 23 1/2" approx.

Belt driven Saw Bench, 6' x 2'.

Quantity of tools including snow shovel, saws, shears, rake, bow saw, edging shears etc.

Stihl HT75 Pole saw, working.

Titan adjustable table saw, 1500 watt and extension lead.

Evolution 240 volt cut off saw (working order).

MacAllister Perfect mitre saw, slide action adjustable for angle.

Folding Saw Horse.

A wooden workshop bench, fitted with a vice, together with an electric mitre saw (2)154w x 62d x 90h cm

A Clarke Wooodworker ten inch electric compound mitre sawWe have run this and it appears to work. Does show signs of use and has no dust bag. Has been PAT tested by us and passed.

A De Walt DW742 table saw with leg assembly.

A 110 volt chop saw.

A Makita 110 volt radial arm mitre saw.

A Makita 110 volt radial arm compound mitre saw.

A small vintage jewellery making saw, with box, spare blades a/f, rusty

A Gentleman oil painting the pewter collector portrait by Joyce Laing OBE [57x63cm]Laing saw a means of releasing creativity in long term psychiatric in-patients such as Angus McPhee (who did not speak for fifty years) but created woven grass art,] and worked with long-term (including violent) prisoners in the Barlinnie Special Unit, Glasgow, Scotland, such as Jimmy Boyle[8] and Hugh Collins, both in prison for murder, who became sculptors. She was awarded an OBE in 2008 for her work and founded two major Scottish art exhibitions and wrote and edited publications about the evolution of art therapy.Laing was among those leading the call for a Scottish Centre for Art Extraordinary (also known as Outsider art)[14] which was made a permanent exhibition in 2022 in the Kelvingrove Art Gallery and Museum, [10] but she had started with a touring exhibition, Inner Necessity in 1997.[9] Laing donated her collection of over 1100 works of art by prisoners and psychiatric patients to Glasgow museums in 2012.[10] Some of the material she collected was being discarded as large psychiatric units were closed down and Laing was said to have 'rummaged in bins' to save the patients' work, not generally regarded as 'art' by many at the time, but valued by her as made by untrained artists, but a form of vital self-expression or 'compulsion'. In 2023, the gallery will exhibit 50 years of art work from Barlinnie.She also co-founded the Pittenweem Arts Festival in 1981 serving on the board until 2007, which built up from old photographs of local lifeboats to annual open house events (art works exhibited in residents' homes) and grew to involve known artists such as Ian Hamilton Finlay, Will Maclean, Oscar Marzaroli, Joan Eardley and John Bellany.

A Large oil painting depicting military officer with kilt signed Joyce Laing OBE [62x83.5cm]Laing saw a means of releasing creativity in long term psychiatric in-patients such as Angus McPhee (who did not speak for fifty years) but created woven grass art,] and worked with long-term (including violent) prisoners in the Barlinnie Special Unit, Glasgow, Scotland, such as Jimmy Boyle[8] and Hugh Collins, both in prison for murder, who became sculptors. She was awarded an OBE in 2008 for her work and founded two major Scottish art exhibitions and wrote and edited publications about the evolution of art therapy.Laing was among those leading the call for a Scottish Centre for Art Extraordinary (also known as Outsider art)[14] which was made a permanent exhibition in 2022 in the Kelvingrove Art Gallery and Museum, [10] but she had started with a touring exhibition, Inner Necessity in 1997.[9] Laing donated her collection of over 1100 works of art by prisoners and psychiatric patients to Glasgow museums in 2012.[10] Some of the material she collected was being discarded as large psychiatric units were closed down and Laing was said to have 'rummaged in bins' to save the patients' work, not generally regarded as 'art' by many at the time, but valued by her as made by untrained artists, but a form of vital self-expression or 'compulsion'. In 2023, the gallery will exhibit 50 years of art work from Barlinnie.She also co-founded the Pittenweem Arts Festival in 1981 serving on the board until 2007, which built up from old photographs of local lifeboats to annual open house events (art works exhibited in residents' homes) and grew to involve known artists such as Ian Hamilton Finlay, Will Maclean, Oscar Marzaroli, Joan Eardley and John Bellany.

A Baccarat close-packed millefiori cane glass paperweight, the tight arrangement of assorted colourful canes including five Gridel silhouettes comprising a horse, stag, elephant, lovebirds and a dog, internally dated 1848 and initiated B to cane, 7 cm diameter, (small marks and percussive "bruise" to surface) [The most famous Baccarat silhouettes were based on designs created by Joseph Emile Gridel in 1848. Gridel was nine years old when his uncle, Jean-Baptiste Toussaint was general manager of Baccarat. Toussaint was visiting the Gridel family and saw his nephew drawing, painting, and cutting out a menagerie of animals. These charming and simple cut-outs became the models for Baccarat’s silhouette cane moulds. In 1848, Toussaint gave his nephew a paperweight containing fifteen of the eighteen “Gridel” silhouette canes. The weight is still in the possession of the Gridel family.]

10 various boxed Wilesco line shaft and steam workshop accessories, all as issued to include Lamp, Grinder, Saw and others

WWI Naval group of four, 1914-1915 Star, Victory and War, awardedK.18815 R. Dean, A/L Sto, R.N, together with George V Navy Long Service medal, H.M.S. Eagle.H.M.S. Eagle was an aircraft carrier launched in 1918, she saw service in the China Station and was sunk in August 1942 in the Med

A British 1856 pattern Infantry Pioneer Sword, with a saw-back steel 56cm blade with Broad Arrow over WD, R and Crowned 16, with a brass stirrup hilt stamped 22D over 57, with ribbed grip, stamped Broad Arrow twice, with a leather and brass mounted scabbard, stamped CH, Broad Arrow 00.

CD. Capablanca?. I saw Boney M in nineteenseventy – fuckin’ - six. CD in Box mit Booklet und Inlay. 004. Niederlande, Spoken Against You, 1996. Durchmesser 12 cm. In originaler Box. (15) * Das Cover zeigt ein Porträt von José Raoul Capablanca und Teile der Notation der Partie Capablanca – Tenenwurzel von 1911. Die CD hat auf der Oberseite ein Schachbrettmuster und stilisierte Schachfiguren. Rückseite mit Kurzangaben zum Label und zur CD. Zustand: Hülle mit Fehlstellen und Gebrauchsspuren. Funktionsfähigkeit wurde nicht geprüft.

* JOHN HALLIDAY (SCOTTISH 1933 - 2021), OLIVE GROVES, LUCERA oil on canvas, signed, titled and dated 1965 versoframed image size 51cm x 61cm, overall size 68cm x 78cm Provenance: The artist's studio sale, 2021.Note: Born in Kirkcudbright's Atkinson Place in 1933, John Halliday lived for nearly ninety years just two doors along from the house in which he was born. In the intervening decades, his restless life had been one of exploration: creatively, culturally, geographically and personally. Born into a family background where a career in art was not a likely or realistic prospect, Halliday found himself leaving Kirkcudbright Academy at the age of sixteen to take up work as a trainee on the local Galloway News. And there the story might well have ended. But a benign fate, never far away in the Halliday life story, began to take a hand in events. In 1948, Cecile Walton, daughter of the celebrated E.A. Walton, had decided to settle permanently in Kirkcudbright. Although in straitened financial circumstances, she was a woman of some style and flair which extended beyond her art and into her lifestyle. Introduced to Halliday at an Arts Council touring exhibition in St Cuthbert's Hall, Cecile took an interest in the talented teenager. Along with Jean Menzies, John's art teacher at school, Walton worked hard to have him accepted at the Glasgow School of Art despite his lack of formal educational qualifications. But Walton's influence did not end with Halliday's entrance to art school in 1949. Life in Cecile's Millburn studio was a far cry from the more humdrum life-style of Atkinson Place. Despite a lack of money, Cecile did not lack glamour in young John's eyes: "It was a magical place, with its old pot-bellied stove. I remember the furniture, particularly a big bureau, and the chairs were William Morris. She seemed to entertain everybody there, great Sunday lunches in particular, with all kinds of interesting guests from all the arts. And she managed to bring it all off in a single-end in the Millburn." (Tales of the Kirkcudbright Artists: Gordon, 2006). This passion for style and sparkling company left its mark on the young man. His life has been marked by enrichment through association with beautiful objects and with people who have made their mark on the world of the arts and society in general. 1949 was a good year to be arriving at the Glasgow School of Art. Teaching giants such as William and Mary Armour, Geoff Squire and John Miller greatly impressed the young but impecunious Halliday. His digs in a theatrical boarding house adjacent to the School of Art meant he spent more time than most students in the School, drawing every ounce of input from the learning experience before eventually finding himself a tiny studio in the city centre. In his final year at art school, he won two Royal Scottish Academy Awards: the Chalmers Bursary and the award for outstanding Diploma show. Output from this period featured in an exhibition, largely organised by Cecile Walton, in a Castle Douglas gallery shortly after graduation. Here again, fate took a hand. The largest canvas in the exhibition was bought by Douglas Lorimer, managing director of North British Locomotives, who financed Halliday for a year to 'see the world', as he put it. Lorimer's help, together with money from his awards saw John setting out with his friend and experienced traveller, Gerald Ashton, for his first trip abroad - to Sicily. It was a seminal experience, the beginning of a life-long love of this location to which he has returned countless times. An introduction to Glasgow architect Jack Notman led, over the years, to a series of over 70 mural commissions. Ten of these were for panels of famous Scots at Prestwick Airport, others for the Clydesdale Bank, the Bank of Scotland, the Marquis of Bute, Hope Scott, the National Trust for Scotland, Scottish and Newcastle Breweries, Glenfarclas whisky, to name only a few. In many of them his love of architecture, symmetry and the baroque technique of trompe l'oeil was fully explored. It is, however, to Whistler, friend of his own patron, Cecile Walton, that his own work is most often compared, a comparison with which Halliday was not unhappy. " It is his half-tones and quarter tones which I really love and these play an important part in my work also. The light in the early morning or evening can only be realised through them. People talk a lot about my preoccupation with light but it is to those tones that I am really referring," he remarks. New York-based Clare Henry, doyenne of international art critics, is among those happy to make the comparison: "Landscape is Halliday's real love, be it a damp day by the Tweed or noon in Sicily...while studies of ancient facades in Venice are positively Whistlerian." (The Herald, 25th November 1998). Richard Jacques in The Scotsman has seen similar parallels: "Specially rewarding are those Whistlerian images of Kirkcudbright and Galloway in which the elements of landscape are seen in a penumbral create an almost magical effect." (The Scotsman, 18th November 1991). Some might also see a parallel closer to home. In his love of penumbral light and muted tones and outlines, Halliday at times forays into the concerns, if not the palette, of another Kirkcudbright artist, Macaulay Stevenson. John Halliday remained however, very much his own man with a vision of Galloway to which he had been drawn irresistibly throughout a long career. Travels throughout Europe, homes across Scotland have resulted in glorious oils, gouache and crayon images from all parts: from Calabria to Coldstream, from the baking sun of Sicily to wintry scenes in Edinburgh.

Stevenson (Robert Louis). Treasure Island, Puffin Cut-out Book, Harmondsworth: Penguin Books, 1953, 8 full colour leaves, including wrappers, adapted and designed for the Toy Theatre by Geoffrey Robinson, complete and uncut, 27 x 38 cm, together withDahl (Roald). James and the Giant Peach, 1st edition, New York: Alfred A. Knopf, [1961], colour and monochrome illustrations by Nancy Ekholm Burkert, green endpapers, original red blindstamped cloth, 8vo, plusDulac (Edmund, illustrator). The Bookman, a portfolio of pictures illustrating poems by Edgar Allan Poe, London: Hodder and Stoughton, 1929, 4 tipped-in colour plates, original wrappers, illustrated label laid on upper wrapper, slim folio, and 46 other illustrated children's books, including: Mr Visconti, an extract from Travels with my Aunt, drawings by Edward Ardizzone, 1969, Blackie's Children's Annual, [1917], Jim and the Beanstalk, 1970, Gentleman Jim, 1980, Fungus the Bogeyman, 1977, And to Think that I saw it on Mulberry Street, 1971, The First Circus, 1932, Three Old Favourites, etc., various sizes, mainly slim 4toQTY: (1 box)

AR * Shepard (Ernest Howard, 1879-1976), 'Ratty and Mole', [1959], fine pencil, ink and watercolour with body colour on off-white wove paper, signed lower left, 26.5 x 18.5 cm, framed and glazed with photocopies of Shepard’s manuscript labels to picture verso pasted to back of frameQTY: (1)NOTE:Provenance: Acquired by the vendors’ parents directly from the artist at an exhibition of his own work in Haslemere, Surrey, 29 May – 12 June 1965. Framed and mounted for the exhibition the picture was priced at 15 guineas.Shepard’s line drawings were first used to illustrate a new Methuen edition of Wind in the Willows in 1931. In 1959 Methuen published a new Shepard edition with an additional eight colour plates from watercolours by the artist.This watercolour of Ratty and Mole in a rowing boat by the reeds in the near foreground and Otter and his young son Portly on the far side of the river. The scene is described in Chapter 7, ‘The Piper at the Gates’, when Mole and Rat reunite the missing Portly with his father.‘They watched the little animal as he waddled along the path contentedly and with importance; watched him till they saw his muzzle suddenly lift and his waddle break into a clumsy amble as he quickened his pace with shrill whines and wriggles of recognition. Looking up the river, they could see Otter start up, tense and rigid, from out of the shallows where he crouched in dumb patience, and could hear his amazed and joyous bark as he bounded up through the osiers on to the path. Then the Mole, with a strong pull on one oar, swung the boat round and let the full stream bear them down again whither it would, their quest now happily ended.’The picture was also used as a full-bleed design for the upper panel of the dust jacket of the first edition in 1959, but later replaced with a design featuring all four of the book’s major characters and title lettering. The original watercolour of this latter design, which Shepard described as the cover design in his inventory for the Haslemere exhibition, was sold by Sotheby’s, London, 10 December 2019, lot 252. In the reed bed at the lower edge of the drawing Shepard has added a hand-painted roughly torn strip of paper that sits raised above the lower edge to give extra depth to the picture. This overlaid strip is original and intentional and is clearly visible in the reproductions.This 'trompe l'oeil' paper strip is an integral part of Shepard’s original drawing and is clearly visible in the reproductions.

* Fowles (John, 1926-2005). A group of 4 Typed Letters and 1 Autograph Letter Signed, Belmont House/Underhill Farm, Lyme Regis, 1960-74, all to Anthony Rossiter, the first saying that their stepdaughter Anna has been accepted for Bristol, that Elizabeth and he are both sorry we missed the exhibition 'which I hope was successful - and the book. I saw only the rather nasty review from Jupiter Cyril; bad notices from that quarter are almost a compliment, I think, and I'm sure you got justice elsewhere', the second (16 May 1968) giving his thoughts about The Pendulum 'a very remarkable document of courage; a remarkable practical proof of what R. D. Laing has been on about for some time now (hope you've read his book), with the added pleasure of your being a much better writer than he is - and of course, writing from the inside. I wish only that there had been some illustrations - but I gather that's been corrected in the American edition. The book reminded me at times of Montaigne - that almost inhuman contemplation of objectivity about one's own journey through life - and you can't have higher praise from me than that', the last letter (18 December 1974) seemingly referring to his collection of novellas and short stories The Ebony Tower (1974), 'I was delighted the artistic side of the title story meets your approval. I was rather afraid it might be a case of fools rushing in... I think my stepdaughter and her recently acquired husband, who is doing pottery at the RCA, were a little horrified at the use I made of their own miscries in the art-education world. I have also just returned from shocking the Americans a little by suggesting that most of the New York School gigantists are ludicrously over-rated. But so many there have invested so much in the stuff that it is rather like attacking the New York Stock Exchange!', a total of 8 pages, 8vo, plus an Autograph Letter Signed from Elizabeth Fowles to Anneka (12 June 1968), plus the accompanying envelopes and Anthony Rossiter's first edition copy of Fowles's The Collector (Cape, 1963) with some pencil annotations, underscorings and coffee stains, hinges cracked, original cloth in worn dust jacket, 8voQTY: (7)NOTE:Provenance: From the family, by direct descent. For further information please see https://www.anthonyrossiter.co.uk

Microscope, Bronze polished with Iron saw for adjusting , glass lenses on ebonised wooden stand , Central Europe Early or mid of 19. Century. 42 cm high