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Kenner Star Wars vintage Amanaman with staff Last 17. Condition good to excellent

Custom Star Wars Princess Leia 'Jabba's Prisoner' Phicen Doll with Portrait, 3D printed bust and Marvel Comic  in mixed lot. Condition good to good plusThe doll is a phicen (or ACPlay custom) doll with a 12" Hasbro costume. The staff is 3D Printed, the bust is 3D printed,  

Kenner Star Wars vintage Barada with staff Last 17. Condition fair to good

Kenner Star Wars vintage Yak Face with staff last 17. Condition excellent to excellent plus

A group of twenty loose vintage Kenner / Palitoy Star Wars action figures to include Han Solo in Hoth outfit, Hoth Rebel Soldier, Chewbacca (x2, one with backpack), C3PO, Emperor Palpatine, Princess Leia (Endor), Princess Leia in Boushh Disguise (x2), Prune Face, Luke Skywalker Jedi Knight Outfit, Dengar, Luke Skywalker X-Wing Pilot with two blasters, Klaatu, Klaatu Skiff Guard Outfit, Chief Chirpa with staff and hood, Tusken Raider, General Madine Lando Calrissian Skiff Guard Outfit and Darth Vader (20, incomplete)

British Army staff officers' gorget patches and two cap bosses

A Japanese iron sword tsuba, depicting a mythical figure with staff in a mountain setting, bronze-inlaid and having sekigane, 82 mm

A Victorian East Indian Railway Volunteer Rifles presentation pocket watch, being an "Exhibition English Lever, First Quality Patent Keyless" silver hunter-cased pocket watch by Hamilton & Co of Calcutta, having a pin-set and crown-wound movement, the case back bearing the engraved inscription "Presented to Sergt Instr G West by his comrades of the Executive Staff E I Ry Vol Rifles, October 1897", (a/f)

Bancroft, "From Recruit to Staff Sergeant in Quarters, Camp, and Field with sketches of the four great actions of the Sutlej Campaign", Calcutta, 1885

A Victorian 1827 pattern Light Infantry Officer's sword, by E. Woods, Bow St, London, the 81cms single edged blade etched with Royal cypher, crown over horn, and '2nd City R.V. C. Compy Prize, Presented by Capt W.E. Williams, Won By Staff Sergt Inns 1871', the hilt with pierced steel guard decorated with horn around wire bound shagreen grip, no scabbard, 96cms long overall.

A Victorian Royal Artillery Officer's helmet plate, 10.5cms high; together with a First World War Imperial German Prussian pickelhaube helmet plate, missing staff, 12cms high. (2)

Two original plaster casts from Antony Gormley’s “Domain Field”, 2003: one, a male figure, inscribed in marker pen 'no22' and measuring 184cms high, the other female figure, marked 'no26' and is 173cms high. Notes: Originally commissioned by BALTIC Centre for Contemporary Art in the UK, Domain Field (2003) consisted of 287 sculptures in its total form. Volunteers aged from two to eighty-five years were moulded in plaster by teams of specially trained staff. The whole creation process was filmed for the video The Making of Domain Field.

HM Queen Elizabeth The Queen Mother; a signed 1999 Christmas card with gilt embossed crown to cover, colour photograph of Royal Lodge, signed 'from Elizabeth R' together with correspondence all addressed to Alan Maxwell from Clarence House including letters of instructions and memorandum from the Queen's Comptroller; letters of thanks for Christmas cards produced from the Queen's private secretary; a letter signed by the Queen's Lady-in-Waiting Ruth Fermoy (Princess Diana's Grandmother); also included are colour photographs of the Queen with HRH Princess Margaret and her Children David and Sarah Armstrong-Jones aboard Britannia and a collection of Household Staff Reception invitations for Mr and Mrs A Maxell (Q)  Provenance: A lan Maxwell MVO, of photographic and camera specialist, Wallace Heaton Ltd., official suppliers to the Royal Family

HRH Prince Michael of Kent and HRH Princess Michael of Kent; fourteen consecutive Christmas cards from 1984 to 1997,  inscribed and signed individually by Michael and Marie Christine, on heavy white card with their cypher to covers, each with informal family portraits and all addressed to Mr (Alan) Maxwell  together with invitations from Kensington Palace to staff Christmas Parties, a letter of enquiry regarding macro-photography on behalf of Prince Michael; two unsigned Christmas cards with photographs of Prince Michael only and various black and white portraits of Prince Michael etc (1) 

Stik (British 1979-), 'Avenue Of The Immigrants', 2017, pigment print on archival rag paper, signed and numbered from an edition of 10 APs in pencil; 78 x 39.5cm inc frameARR 78 x 39.5cm inc frame In 2017, East London based street artist Stik visited New York in order to grace the streets with a 7-storey high mural. The mural, which can be found on the corner of Allen St. and Delancey, New York, references how since 2004, Allen St was co-named as “Avenue of the Immigrants” as the area used to be a big immigrant enclave. As part of Stik’s visit there, there was also an exhibition at Fat Free Art which included working drawings and art works related to the 7 floor mural. The artist gifted the edition of 10 APs to the staff at the Fat Free Gallery in New York as a thankyou for hosting his first solo show in NY in 2017. Of the 10 prints, 8 were dedicated to specific staff members, 2 (including this one) were not. This work is accompanied by a letter of authenticity issued by the owner of the Fat Free Gallery.In 2017, East London based street artist Stik visited New York in order to grace the streets with a 7-storey high mural. The mural, which can be found on the corner of Allen St. and Delancey, New York, references how since 2004, Allen St was co-named as “Avenue of the Immigrants” as the area used to be a big immigrant enclave. As part of Stik’s visit there, there was also an exhibition at Fat Free Art which included working drawings and art works related to the 7 floor mural. The artist gifted the edition of 10 APs to the staff at the Fat Free Gallery in New York as a thankyou for hosting his first solo show in NY in 2017. Of the 10 prints, 8 were dedicated to specific staff members, 2 (including this one) were not. This work is accompanied by a letter of authenticity issued by the owner of the Fat Free Gallery. In very good condition No knocks, tears or creases to the sheet This work has been framed in a black frame using museum glass This work has been mounted with a black mount This work has not been examined outside of the frame.

B23c Blenheim Cover Signed B Edrich WW2 Pilot and England Cricket Test Player. 12 Apr 85 Jersey 50th Anniversary of the First Flight of the Bristol Britain First. Cover depicts Bristol Blenheim of No 107 Squadron attacking German shipping off the Frisian Islands July 1941. Red Flown cachet flown in BAC111 of the Empire Test Pilots School where the Bristol Blenheim was built and from where the Britain First the forerunner of the Blenheim made its first Flight. Personally Signed. Bill Edrich WW11 pilot awarded DFC. Aircrew History. I. T. W. Hastings Torquay June 1940 - July 1940. E. F. T. S. Burnaston, Derby July - 1940 - August 1940 Magisters, F. T. S. Cranwell September 1940 - November 1940, Nav School Cranage Cheshire December 1940 - January 1941. O. T. U. Upwood Blenheims February 1941 - April 1941 Mk 1V's Operational Great Massingham 107 Sqn May 1941 - July 1941, Watton 21 Sqn August 1941 - September 1941 Staff 2 Group Headquarters Huntingdon September 1941. !942 180 Sqn Mitchell B 25's off operations medical grounds, 1943 - 45 2 Group Headquarters Nov 1945 Demobilised as Squadron Leaders. and played cricket Norfolk CC. C. 1932 ( aged 16 ) to 1936, Middlesex 1937 - 1958 excepting war years, and England 1938 - 1955 with odd omissions. Born 26 March 1916 died 23 April 1986. Details enclosed. Certified Copy No 528 of 1157. Born 26 March 1916 died 23 April 1986. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

German General Seigfried Westphal signed 6x4 inch photo which is affixed in a display mounted on a 8x12 inch cover album page, signed by Seigrfied Westphal who served as Operations Officer under Rommel and was Kesselring's Chief of Staff. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Gilbey's Dry Gin 'The Last Wag Of An Old Friend' This bottle was awarded to staff of IDV upon the closure of W & A Golbey as a Wholesaler in 1991 70cl 40%vol. with two other empty glass bottles.

[Mountbatten (Louis, 1st Earl Mountbatten of Burma)] An Introduction to Polo, with a Foreword by Lord Wodehouse, number 1 of 100 copies, signed by Wodehouse and inscribed by the author "To Peter [Murphy], the perfect collaborator 'Marco'", plates and illustrations, light spotting, original vellum-backed cloth, t.e.g., others uncut, a little soiled, roan label to spine rubbed at edge, 1931; Speeches..., inscribed by the author "To Peter who Marco-ed the only good speeches in this volume from Dickie", specially bound in full brown leather with Mountbatten coat-of-arms in gilt on upper cover, rubbed, [c.1948]; Report to the Combined Chiefs of Staff by the Supreme Allied Commander South-East Asia 1943-1946, 2 vol. including Appendix, signed by the author on title in green ink and inscribed "To Peter this copy of his Marco Masterpiece with grateful thanks from the principal beneficiary Dickie", folding maps in pocket at end, original printed wrappers, a little rubbed and soiled, n.p., [c.1947]; another edition, inscribed by the author "To Peter his Marcopiece with eternal gratitude from Dickie" with accompanying T.L.s. mounted on front pastedown "...I shall bask in the reflected glory of being nearly as great a master of English prose as the Duke of Wellington, and one of these days you will be able to dine out on being the greatest living expert on polo and the higher direction of war..." and with envelope of 5 photographs of Murphy with the Mountbattens loosely inserted, original buckram, spine faded, 1951; and 17 others on Mountbatten and the World Wars, 4to & 8vo (22)*** James "Peter" Murphy (1897-1966) was one of Mountbatten's closest friends since they met at Cambridge. Mountbatten employed Murphy on his staff as a general factotum and confidante and it is evident from the inscriptions in the books that he assisted Mountbatten considerably in his literary output.

JOHN NASH (BRITISH 1893-1977) ⊕ PRIMEVAL FOREST, BUTLEY (RENDLESHAM FOREST)signed and dated John Nash / 1955 lower leftwatercolour over pencil on card55 x 45.5cm; 21 3/4 x 18in82 x 70.5cm; 32 1/4 x 27 3/4in (framed)Property from a Private Collector, West LondonProvenancePurchased from the artist by the grandfather of the present owner in the mid-1950sExhibitedLondon, The Royal Academy, Summer Exhibition, 1961Worthing, Worthing Art Gallery, John Nash, 1971After his relocation in 1944 to Colchester following the Second World War, Nash spent the rest of his life painting the English countryside. A stone's throw from Nash's permanent residence in Wormingford, Rendlesham Forest would become a frequent source of inspiration for the artist where he would depict specific trees, flora and fauna from the area, such as Rendlesham Woods and Dead Fir Tree, Rendlesham Forest, both works on paper executed in 1969.Four watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.

JOHN NASH (BRITISH 1893-1977) ⊕ HIGH TOR, THREE CLIFFS BAY, GOWER PENINSULAsigned and dated John Nash 1939. lower right watercolour over pencil on paper44 x 57cm; 17 1/2 x 22 1/.2in70 x 81.5cm; 27 1/2 x 32 1/4in (framed)Property from a Private Collector, West LondonProvenancePurchased from the artist by the grandfather of the present owner circa 1940ExhibitedLondon, Royal Academy, Summer Exhibition, 1967Worthing, Worthing Art Gallery, John Nash, 1971Nash's visit to the Gower Peninsula near Swansea in Wales in 1939 was the first of many he made to the region. In 1956 the Peninsula became the first area in the UK to be designated an 'Area of Outstanding Natural Beauty'. Four watercolours by John Nash from a Private Collection (lots 34-37)IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’.During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy.That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.

JOHN NASH (BRITISH 1893-1977) ⊕ LANDSCAPE - RECTO; BARN AND SHEEVES OF WHEAT - VERSO signed John Nash lower right - recto; signed and inscribed Evening strong low sun / John Nash lower right - verso; both sides with additional annotations by the artistwatercolour over pencil on two joined sheets of paper35.5 x 46.5cm; 12 x 18 1/4in51.5 x 66cm; 20 1/4 x 26in (framed as one)(2)Property from a Private Collector, West LondonProvenancePurchased from the artist by the grandfather of the present ownerFour watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.

JOHN NASH (BRITISH 1893-1977) ⊕ LANDSCAPE UNDER SNOWsigned John Nash. lower leftwatercolour on paper52.5 x 36.5cm; 20 3/4 x 14 1/2in57 x 74cm; 22 1/2 x 29 1/4in (framed)Property from a Private Collector, West LondonProvenanceCommissioned from the artist by the grandfather of the present owner in the late 1950sExecuted in the 1950s, the current owner's grandfather commissioned Nash to paint the present subject after receiving a Christmas card from the artist of the view. Opening the Christmas missive he was immediately captured by the harmonious composition, the snow-capped trees, rolling hills blanketed by white powder and the mauve shadows cast across the landscape in the card, and asked Nash to develop the composition into a larger format. Nash duly obliged, scaling up the drawing and adding washes of watercolour to fully realise the image that has become a stand-alone depiction of an idyllic winter's morning.Four watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.

Five Dinky Led Station Staff Figurines

Vintage O Gauge Station Staff (unused & boxed)

O Gauge Engineering Staff Figures (unused & boxed)

Six Meccano O Gauge Reproduction Hotel Staff (unused & boxed)

An Edwardian Musketry Staff Sergeant's Scarlet Tunic to the Green Howards (Alexandra, Princess of Wales's Own Yorkshire Regiment), the green facings with gold lace trim, gold gimp embroidered YORK shoulder strap titles, skill at arms and rank chevrons, with brass shoulder titles and general service buttons, with tasselled fringed sash; an Edwardian Scarlet Tunic to a Corporal the 1st Volunteer Battalion the Green Howards (Alexandra, Princess of Wales's Own Yorkshire Regiment), with white facings, embroidered shoulder strap titles, the right arm with gold lace rank chevrons and embroidered efficiency badge, with white metal collar badges and general service buttons, with part of the maker's original paper label (2)

A Massim Ancestor Figure, Papua New Guinea, of dense hardwood, carved as the squatting figure of a man with incised features and decorations rubbed in with white pigment, 35cm; an Igorot Arrow, Philippines, with barbed and fullered steel head on a sennet bound cane haft; an African Ebony Pointing Staff, carved with chevrons and diapered panels; two Chinese White Metal Weights, each of waisted oblong form with character marks (5)The Asmat ancestor figure has two fine vertical grain splits to the front and back of the head, with a similar split to the front base and a deeper split to the back base. The African ebony pointing stick/staff has a sliver of wood missing from one side of the spear shaped head. The arrow has one side of the nock missing

[Brown (R.N. Rudmose), Mossman (R.C.) & Pirie (J.H. Harvey)] 'Three of the Staff' The Voyage of the 'Scotia', Being the Record of a Voyage of Exploration in Antarctic Seas, 8vo Edin. & L. 1906 First Edn., Hf. title, frontis, 3 maps (2 fold.) & numerous plates, orig. pict. cloth, spine faded. Ex. Library. (1)

Royal Ascot Badges etc, a collection of 5 card badges, one for Roof of the Queen's Stand and Paddock, 29 Sep 1962, another for the same stand dated 19 June 1962, another dated 16 June 1965 for the Royal Staff Stand and Paddock, another one for the Royal Household dated 1966 and one for Captain The Hon, Nicholas Beaumont's Stand for the Royal Meeting dated 1970 (gd)

Postcards, a collection of approx. 350 cards of Butlins Clacton on Sea. With approx. 130 b/w and 220 coloured. Many b/w cards pre 1940 (1938,1939). Cards show dining room, Music Hall (Tommy Brown's Band), The Jolly Roger Bar, private beach, billiard room, tennis courts and chalets, putting green, cocktail bar, Smugglers Cave Bar, sunshine chalets, bathing pool, keeping fit, social staff, horse riding school etc. Nice mix (mixed condition)

Photographs, Rail, a collection of approx. 240 post WW2 photographs (1960 onwards) of John Snell's collection of Frederick Paul's photos of the construction of Calstock viaduct (1904-1907), also railway details of the Tamar Valley Railway, with stations at Calstock, Gunnislake, Bere Alston and branch rail to Callington. All in 3 modern albums. Sold with modern album of 360 similar period modern photos of the Tamar Line, with stations at Bere Alston, Gunnislake etc showing stations, steam locos and trains, goods trains, signal boxes, staff, sidings, railway views. A good detailed collection (mainly gd)

Rail Ephemera, a large selection of items to include tickets including a special souvenir ticket for the return of Sir Francis Chichester, Dockyard and other platform tickets, luggage labels for Exmouth, Calstock, Newbury, Plymouth, Bere Alston, Devonport etc. postcards, identity cards, postage stamps, paperwork, invoices, 1936 Southern Railway Instructions to Engineer's Dept Staff, membership card, rules and regulations, 1947 Royal Train instructions to rail staff, 1952 Hours of Openings of Signal Boxes etc (mixed condition)

Photographs, Rail, a collection of approx. 800 post war photographs in 2 modern albums, mainly of the Tamar Valley railway, with locos, trains (steam and diesel), station interior and exterior, sidings, signal boxes, rail views, a few staff and passengers. Stations include Calstock, Bere Alston, Bere Ferrers, Gunnislake, Callington, Tavistock, Camels, St Budeaux etc (some useful notation on reverse of some photos). Nice lot (gd)

Cigarette card, Redford & Co, Armies of the World, type card, Norway - Officer of Staff (some age toning, gd) (1)

King & Country - Set No. LAH087 'Der Führer's New Staff Car', Boxed. Condition generally appears Near Mint overall, contained in a generally Excellent set box. See Photo. 

Britains - Set No. 1R 'Station Staff', Boxed. Circa mid-1950s. Comprising 20 lead figures & accessories on partially strung backing card. Conditions generally appear Excellent overall (although may benefit from some light cleaning). Box tray is Good to Good Plus (backing card could also benefit from cleaning). Box lid is Good (tear to one corner). Also includes orange "complaint" ticket. See photo. 

Marklin Diecast Military Pre-War 8021/11G Army Staff Car - Dark grey body, flat hubs with treaded tyres, 4 X Figures See-Photo - Good to Good Plus (some slight loss of paint on wheel arches) in a Fair to good lift off lid box 

Britains & Morestone - A Pair of Unboxed Military Vehicles. Comprising: Britains Set No. 1448 'Army Staff Car' (1940 version) & Morestone 'Military Police Landrover'. Conditions generally appear Good Plus overall. See photo. 

An Edward VIII Booths silicone china pottery chamber pot bearing royal cipher in under-glazed green transfer and maker's stamp to base, all on a white glazed ground, together with Provenance (see Condition Report section), 22.5 cm diameter x 13 cm high CONDITION REPORTS Provenance: A note from the vendor"In the late 1960's I was a junior RAF officer and was posted to the Headquarters at Buntingsdale Hall, Market Drayton, Shropshire. On RAF stations at that time, the Officer's Mess had monthly formal dinner nights which all officers had to attend. Officers were seated at a long table with the President of the Mess Committee at one end and the most junior officer at the other. No officer was allowed to leave the table during the meal until the President left after the speeches.In the 1930s Dining In Nights were even more formal. At Buntingsdale Hall there was a steward behind each officer who was responsible for looking after him, serving food and keeping his glass "topped" up. No officer was allowed to get up from the table and if he needed the toilet, his steward would go to one of the lockers which surrounded the dining room and get him a chamber pot - returning it to the locker when the officer had finished with it.When George V was King, he had a habit of visiting Service units to meet with his officers at Dining In Nights at short notice and therefore there was little forward planning possible. When he died, Edward VIII succeeded him and Units were concerned that he might continue the custom. Buntingsdale Hall, not knowing if they would be selected at short notice and not willing to change their customs or formalities, commissioned a chamber pot for him and put his crest on it to make it for him in case they were chosen. As history tells, us, Edward abdicated having not continued his predecessor's custom. The chamber pot, therefore, has been around since the mid thirties and is now some 90 years old. It is made of silicone china by Booths.I was a junior officer on the staff and was "given a job to do" by my boss. Over many years it had been the custom for officers who wanted to get rid of something, being paperwork, books, ornaments, boxes, pictures (in fact anything) to throw them all in one unused room in the Headquarters. As a junior officer I was detailed to clear the room as it was now required to be an office. I duly threw out all the "clobber" for the refuse collectors to collect but came across this special chamber pot which had been thrown away. Apart from the rest of the rubbish, this seemed to me to be of historical importance to the Hall but, in spite of bringing it to the attention of my senior officer, I was told to dispose of it.I was reluctant to do this as it must have been unique seeing that Edward had abdicated and was a part of history and these "dining arrangements" were unlikely to be repeated anywhere else! I therefore kept it and, not knowing what to do with it and reluctant to destroy it, took it with me as a "household item" to all my subsequent postings. It has now been in a cupboard of mine for the last 60 years - the last 40 in the same cupboard! I retired in 1993."

ASSORTED ETHNOGRAPHIC ITEMS, including Papua New Guinea bow and three arrows with carved tips bound with chevron woven rattan, Trobriand (Massim) staff carved with figures and animals, three Tuareg tent pegs, probably Niger, all with geometric carved decoration, tallest 79cms (h), Nigerian walking cane, Masai gourd with beaded leather thong, etc.Provenance: private collection South Wales.

French Hornby 0 Gauge Set No.1 Railway Staff, with Station master, Porters *2, Controller, Agent and Guard, G-VG all strung to a non original backing board, Box F

French Hornby 0 Gauge pair of Post war Railway Accessories sets (2), figure set 10 engineers/Station staff (one additional Porter) and No.11 Passengers all strung to original backing boards, E, boxes E, (2)

French Hornby 0 Gauge Dinky Toys Set No.1 Railway Staff, with Station master, Porters *2, Controller, Agent and Guard, G-VG all strung to a non original backing board, box F, The lot also includes Peasant *3 and one other figure, G (5)

French Hornby 0 Gauge pair of Post war Railway Accessories sets (2), figure set No.1 Station staff and No.2 Passengers, all strung to backing boards (one no original), E, box E (2)

An Art Deco 9ct gold cigarette case, with engine turned engraving to front and back covers, engraved inside 'Presented to Mr J V Backes, General Manager of CH, Goldrei Foucard & Son, on the 5th Anniversary of his joining the staff. By Executives & Sales Representatives, with their best wishes and as a token of their appreciation. 11th February 1939"; slide to open hinged mechanism, UK hallmark, Birmingham, 1938, maker Adie Brothers Ltd, measuring approx. 9.5cm x 8.5cm, 129.0grams.

A collection of 00 gauge Hornby Dublo models including box set EDP12 (1954-1958) containing the Duchess of Montrose 2-6-2 locomotive with tender and 2 coaches together with various wagons, lineside accessories, track, Dinky miniature staff figures etc most in original boxes

A gents presentation gold plated Limit half hunter pocket watch, the white enamelled dial with Arabic numerals and secondary seconds, the case back engraved 'Warrant Officers , Staff Sergeants & sergeants, 5th Bn. The Duke of Wellington's Regt. presented to H.T. Hanham, Drum Major, 1913-1934', good overall, case undamaged, dial good, running at time of inspection

WW2 British Royal Engineers Longmoor Military Railway Medal group to 21004668 Staff Sgt. FG Cook, RE. comprising of WW2 Defence Medal, War Medal GR VI General Service Medal with Palestine 1945-48 Clasp and ERII Long Service and Good Conduct Medal all mounted on a bar along with a matching set of miniatures. Tin trunk with his name on containing brass belt buckle, cap badges, buttons, collar dogs, photo albums, Stable Belt, etc.

US Breast Badges: US Secretary of Defence General Officers breast badge: US General Staff Breast Badge: US Air Force Pentagon Air Staff Breast badge. All are marked on the reverse "V21". (3)

Letter Signed by FO john Hunter - Tod 23 Sqn Battle of Britain Pilot. 2 Page Handwritten Letter Signed by FO john Hunter - Tod 23 Sqn at Collyweston by mid-June 1940. He was the Squadron Radar Officer, with the rank of Acting Flight Lieutenant. He was responsible for the training of AI operators and because good ones were in short supply he often flew operationally at night, and Scrambles qualifying for the Battle of Britain clasp. flew sorties on 19th, 21st and 30th June and 30th and 31st July. The AI equipment was still in its very early stages and few contacts were made. Although some enemy aircraft were intercepted and damaged during the period of the Battle, there were no confirmed victories. From 8th to 13th August Hunter-Tod was attached to RAF Digby for signals duties. He flew one further operational sortie with 23 Squadron on 23rd August, he was then posted to the Signals section of Fighter Command on the 26th. He flew a sortie with 600 Squadron from Redhill on 1st October and he also flew sorties with 219 Squadron at Redhill in November whilst still on the staff of Fighter Command. On 16th December 1940 Hunter-Tod joined HQ 12 Group for AI duties. He flew an operational sortie with 25 Squadron on 9th January 1941. He was formally attached to 25 on 8th March from HQ 12 Group and he moved between 12 Group and 25 Squadron. Retired on 30 April 1973 as an Air Marshal. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A VICTORIAN GENERAL OFFICER’S SWORD, HENRY WILKINSON, PALL MALL, NO. 31861 with etched fullered blade decorated with a crowned crossed sword and baton, foliage, crowned mirrored cypher, the owner’s crest, a demi-hunter, and the maker’s details, copper alloy gothic hilt with crowned crossed sword and baton in a wreath within an oval, wire-bound fishskin-covered grip, it its iron scabbard with two large rings for suspension, 82.5 cm blade The Wilkinson sword records state that serial number 31861 was proofed, 26th October 1892, Staff pattern sword and sold to a C. J. Clark, 21st Hussars.

GENERAL STAFF: 4 VOLUMES comprising: General Staff, War Office, Field Service Pocket Book, His Majesty's Stationery Office, London 1917, wrap around cloth binding with pocket. 290 pages, 21 plates, many fold-out; General Staff, War Office, Small Arms training, volume I, His Majesty's Stationery Office, London 1924, 421 pages, illustrated; and General Staff, War Office, Musketry Regulations, Parts I & II, 1909 (reprinted with amendments, 1914), His Majesty's Stationery Office, London 1914, 2 volumes, over 400 pages, illustrated, some fold-out, shelfwear and annotations on the edges (4 volumes) Provenance From the library of William 'Bill' Reid, CBE (1926-2014)

A Chinese carved hardwood figure, of an immortal holding fruit and carrying a staff, 48cm high 

7th/8th Cent. Indian Gupta period pink sandstone "Dancing Shiva" sculpture He is depicted here with eight arms and in each of his hands holds an iconographic attribute associated with him (a staff with a skull, a trident, ...). Through his dance he shows his role as creator and destroyer of the universe: he surveys the endless cycle of time and notices its rhythm with his drum and footsteps. The statue is a precursor to the well-known figure of Shiva dancing a cosmic dance (Nataraja).INDIA - GUPTA PERIODE - 7° / 8° EEUWvrij uitzonderlijke sculptuur in rode zandsteen : "Dansende Shiva" - hoogte en breedte : 95 en 68 cmHij wordt hier afgebeeld met acht armen en houdt in elk van zijn handen een aan hem gekoppeldiconografisch attribuut (een staf met een schedel, een drietand, ...). Door zijn dans toont hij zijn rol alsschepper en vernietiger van het universum: hij overziet de eindeloze cyclus van de tijd en merkt haarritme met zijn trommel en voetstappen. Het beeld is een voorloper van de bekende figuur van Shivadie een kosmische dans danst (Nataraja)prov : uit een oude Belgische collectie

New Caledonian wooden staff decorated with a sculpted human face - with beautiful patinaNIEUW-CALEDONIË staf in hout versierd met een gesculpteerd menselijk gelaat - met mooie patine - hoogte : 99 cm uit een oude collectie van Schilde

Gillet & Johnson of London- Early 20th century 8-day oak cased domestic regulator c1920, flat topped hood with glazed side panels and applied moulding above a square hood door, long trunk door with geometric patterned mouldings on a conforming plinth with applied skirting, 12” sheet brass dial with a matted centre and cast cherub spandrels, silvered chapter ring with Roman numerals, five minute Arabic's, quarter and minute tracks, with matching steel hands and makers name on a silvered cartouche, dial pinned to a substantial four pillar rack striking movement with a deadbeat escapement and maintaining power, striking the hours on a coiled gong. With brass cased weights, pendulum and key. Case with a brass presentation plaque from the staff of Lloyd's register of shipping to E Salmon on the occasion of his retirement in 1926.Gillet & Johnson were founded in London during the mid 19th century and are highly regarded manufacturers of clocks, clock movements and particularly turret clock movements, bells and carillons. The firm is still in existence today.Dimensions: Height: 213cm  Length/Width: 38cm  Depth/Diameter: 24cm

A CHINESE BRONZE IMITATION PORCELAIN FIGURE OF SHOULAO, YOU CHANGZI (1874-1922). The brown glazed and gilt decorated porcelain God of Longevity standing dressed in long robes on a cloud form base next to a crane, holding a peach staff. Eight character impressed factory mark to base 'Fujian Huiguan, You Changzi zao'. (Made by You Changzi, Fujian Guild). Late Qing / Republic period. 29.5cm tall.

TWO CHINESE PORCELAIN BALUSTER VASES, 19/20TH CENTURY. A blue and white vase decorated with lady and boy in a garden scene; Together with a crackle ware vase with lion mask ring handles decorated with man holding a staff, with incised Chenghua mark to base. 26cm and 35.5cm tall. (2) Firing fault to rim with T shaped hairline measuring around 4cm from the rim, with chips and glaze chips around the foot. The crackle ware vase with three sections restuck at the rim, with small chips to foot.