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ARMY & NAVY C.S.L. A .410 (3IN.) DOUBLE-BARRELLED BOXLOCK EJECTOR, serial no. 48254, circa 1907, 27in. sleeved nitro barrels, the rib engraved 'ARMY & NAVY C.S.L. LONDON.', 3in. chambers, bored approx. full choke in both, treble-grip action with removable striker discs, automatic safety, border and scroll engraving, brushed bright and reblued finish overall, 15 1/4in. semi-pistolgrip stock including 1in. recoil pad, weight 4lb. 11oz. S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act

Five boxed Britains military diecast models to include Mechanical Transport And Air Force Equipment Underslung Lorry With Driver, No. 1335 Army Lorry, No. 1264 4.7 Naval Gun, No. 1512 Army Ambulance and No. 1432 10-Wheel Covered Tender, diecast vg, boxes vg overall with some light signs of wear

Ten boxed Matchbox Lesney Series diecast models to include 38 Vauxhall Victor Estate Car, 29 Austin Cambridge, 49 Army Half Track MK III, 57 Chevrolet Impala, 48 Sports Boat and Trailer, 65 Jaguar Sedan, 40 Long Distance Coach, 10 Foden Sugar Container, 31 American Ford Station Wagon and 5 London Routemaster Bus, all diecast ex overall with a couple of very small paint chips and marks in places, boxes vg overall with some signs of storage and edge wear, all flaps intact

Boxed Frog Mark IV Single Seater Interceptor Fighter with US Army livery Aeroplane, all complete and in vg condition with instructions, contained within original box with wind-up propeller mechanism, box showing signs of wear throughout and a couple of rips to corners, but fair-gd overall

Eight boxed Matchbox Moko Lesney Series diecast models to include 34 Volkswagen Van, 54 Saracen Personnel Carrier, 2 Muir-Hill Site Dumper, 58 BEA Coach, 70 Thames Estate Car, 33 Ford Zodiac, 54 Bedford 2-Ton Tipper and 63 Army Ambulance, all diecast ex overall with a couple of paint chips and marks in places, boxes vg overall with some signs of storage and edge wear, all flaps intact

Around 43 Dinky military related diecast models to include 10 Ton Army Truck, Mini-Moke With Parachute, Medium Artillery Tractor, Chieftain Tank, 155mm Mobile Gun, 3 Ton Army Wagon, etc, all diecast showing varying amounts of playwear, but gd overall

Britains - Band of the Royal Welsh Fusiliers [Un-catalogued - Special Paint,Circa 1938], comprising: Drum Major and 11 x Marching Musicians. Ref: GBoB - Opie, P.329 for a Similar [unboxed] RWF Band. Generally Excellent overall, contained [re-strung - facsimilie insert] in a generally Excellent [Green] Types of the British Army label set box. From The John Dennis Military Band Collection. Extremely Rare Issue

Britains - From Sets 1316/17 - Salvation Army, [1st & 2nd Versions] in Blue/Red, now comprising: Trombonist, Colour Bearer [Small Flag] & SA Woman Walking [Empty Handed]. Some minor paint chipping otherwise generally Excellent overall. [3]

Mignalu, Quiralu or Similar Maker, 60mm Scale Figures, WW1 Army Series, comprising: French Colour Bearer, Belgian Colour Bearer, British Colour Bearer [Lithographed Flags & 2 x Hollowcast British Stretcher Bearers. Conditions range from Fair to Excellent overall. [8 Pieces Including Flags]

Britains - Anti-Aircraft Units of the British Army Series - Set 1728 - Predictor & Operator [1939 Issue], comprising: 1 x Tripod Mounted Predictor & Operator in Steel Helmet & Set 1731 - Spotting Chair & Observer [1939 version] - Spotting Chair on Swivel Base & Spotter with Binoculars in Battle Dress & Set 1729 - Height Finder - [1939 version] - standard model of UB7 Height Finder together with Operator in Battle Dress & Steel Helmet. Generally Excellent overall, contained in generally near Mint "Anti Aircraft Units of the British Army" illustrated [Grey / Pink] label set boxes. [2]

Britains - Set 1602 - Famous Regiment Series - Duke of Wellington's Regiment, [1937 version], comprising: Empty Handed Officer & 7 x Other Ranks Marching at the Slope. Near Mint overall, contained [strung] in an Excellent [minor storage wear] "Famous Regiments of the British Army" [Orange] label box. Scarce

Britains Limited Editions, comprising: Set 5391 - The United States Army Band of Washington D.C., The W. Britain Collection Set 5799 - Fleet Marine & Set 5800 - Green Howards. Mint overall, contained in near Mint set boxes & matched outers. From The John Dennis Military Band Collection [3]

Britains - Set 138 - Cuirassiers - [1925 version / 1946 Issue], comprising: Officer on Grey Cantering Horse with Drawn Sabre & 4 x Troopers on Walking Horses with Drawn Sabres. Generally Excellent overall, contained [strung - plain insert] in a generally Fair [moderate storage wear] "Types of the French Army" [Green] printed label set box.

Trophy Miniatures - World War 1 Range, comprising: Set Trophy Miniatures - World War 1 Range, comprising: Set EQ62 - Army Service Corps - Wagon, 2 x Draught Horsrs, Supplies Driver & Dog & Set - Royal Horse Artillery [Full Dress] Mounted Officer & 4 x Mounted Gunners Holding Carbines. Generally Mint overall, contained in generally Mint Trophy set boxes. [2]

Britains - From Sets 1316/17 - Salvation Army, [1st & 2nd Versions] in Blue, now comprising: 2 x [1st Issue] Women with War Cry, 2 x [2nd Issue] Women with War Cry & 2 x Empty Handed Men. Some minor paint chipping otherwise generally Excellent overall. From the John Dennis Military Band Collection. [6]

Britains and Similar Modern Makers - Military Bands, comprising: A Quantity [85+ pieces] of Military Bandsmen Types, Includes: Mounted Carabiniers, Salvation Army, Black Watch, Etc, Generally Mint overall. From the John Dennis Military Band Collection. [Qty]

Britains - From Set 1317 - Salvation Army Band, [1934 Version] in Blue, now comprising: 2 x Trombones, Euphonium & Trumpet. Some minor paint chipping, otherwise generally Excellent overall. From the John Dennis Military Band Collection. [4]

Moritz-Gottschalk [or Similar] - Marienburg-Sachsen, Germany, circa 1935 - Feldlazarett-Kirche - [Field Hospital in Church], comprising: Ruined Church with Tower & Red Cross Markings [probably later editions] Measures: 30cm x 18cm, Constructed from Wood & Cardboard Covered with Sculpted Composite Material & Painted in a Green/Brown Scheme [modelled on examples from WW1]. Some minor age wear otherwise generally Excellent overall. Together with: 13 x Assorted German Army Types by Leyla, Elastolin & Lineol . Generally Fair to Good overall. [15 Pieces]

Britains - for C.F. Eckhardt - From the Army Service Corps Supply Wagons and Escort - 1908 version, now comprising: 10 x Infantrymen marching at the Trail all have Undated Oval Bases & are Depicted in the CIV Khaki Uniform with Slouch Hats. Some minor paint chipping otherwise near Excellent overall. Scarce Issues [10]

Dorset and Similar Modern Makers - Military Bands, comprising: A Quantity [110+ pieces] of Military Bandsmen Types, Includes: Bavarian Town Band, Indian ArmyJordanian Army Drums & Pipes, Etc, Generally Mint overall. From the John Dennis Military Band Collection. [Qty]

Britains - Set 2117 United States Army Band [1956 1st version], comprising: Marching Drum Major & 11 x Marching Bandsmen Playing Various [Correct] Instrumentation. Depicted in Service Dress with White Steel Helmets. Generally near Mint overall. From the John Dennis Military Band Collection. [12]

Britains - Anti-Aircraft Units of the British Army Series - Set 1728 - Predictor & Operator [1939 Issue], comprising: 1 x Tripod Mounted Predictor & Operator in Steel Helmet & Set 1731 - Spotting Chair & Observer [1939 version] - Spotting Chair on Swivel Base & Spotter with Binoculars in Battle Dress. Near Mint overall, contained in a generally near Excellent [minor storage wear] illustrated [Green / Mauve] label printed set boxes. [2]

Ducal Traditional Military Figures, comprising: Band of the King's Gragoon Guards [11 Figures] & Steadfast Soldiers - Set: Band of the Indian Army [13 Figures]. Possible minor display wear otherwise generally Mint overall, contained in near Mint set boxes. From the John Dennis Military Band Collection. [2]

Britains - Set 1621 - Indian Army - 12th Frontier Force Regiment [1938 issue], comprising: 8 x Sepoys Marching at the Slope - Khaki Turbans & Uniforms with Black Facings, Black Gaiters & Brown Boots. Some paint chipping other generally Very Good overall. [8]

Lone Star - Modern Army Series, early 1960's Plastic Issue, comprising: Stretcher Party Set - 2 x Stretcher Bearers in Combat Dress & White M1 type U.S. Helmets & Casualty on Stretcher [Grey Helmet]. Minor age wear otherwise generally near Excellent overall, contained in a near Mint illustrated set box. Rare, to Find Complete & Boxed.

Wend-Al - "Solid Aluminium Models" - Salvation Army Band, comprising: 2 x SA Officers, Band Conductor, 2 x Colour Bearers [1 flag replaced], Standing Base Drummer with Separate Bass Drum [Rare] & 22 x Marching Bandsmen Playing Various Instrumentation. All Depicted in Red Jackets with White Frogging, Blue Trousers & Peaked Caps. Some paint chipping otherwise generally Very Good overall. From the John Dennis Military Band Collection. Scarce Figures. [29 Pieces including drum]

Britains - Set 1537 - The Territorials [1938 version], comprising: Marching Empty Handed Officer & 7 x Territorials Marching at the Slope, Depicted in Review Order - Blue Uniforms with Peaked Caps & Tan Bases. Generally near Mint overall, contained [strung] in a generally Good [some storage wear] illustrated "Types of the Territorial Army" [Powder Blue] label box.

Britains - Un-catalogued - Indian Army 12th Cavalry - Khaki Service Dress [1947/8 - Unlisted Figures], comprising: 1 x Mounted Officer with Drawn Sabre & 11 x Sowars with Lances - Red Pennons. All mounted on Cantering Horses. Dark Khaki Green Uniforms & Khaki Green Turbans & Cummerbunds. Minor old repairs wear otherwise generally Excellent overall. Scarce Figures. [12]

Britains - Paris Office - The British Army in Khaki, circa, 1914, comprising: Infantry Officer with Furled Colours. Depicted in Standard Uniform Khaki Uniform, Peaked Cap & Brown Belts/Gloves & Black Boots/Gaiters. Dated Base - 16. 11. 1905. / DEPOSE Some minor age wear otherwise generally Excellent overall.

Britains - From Set 1317 - Salvation Army Band, [1934 Version] in Red, now comprising: Cymbalist, Cornet, Bass Drummer [one stick damaged], 4 x Trumpets, Trombonist, Tuba & 3 x Euphonium. Some minor paint chipping, otherwise generally Excellent overall. From the John Dennis Military Band Collection. [12]

Britains, John Hill & Similar Makers, Pre/Post War Issue Military Types, comprising: A Quantity [70 pieces] of Various Army Types, Includes: Infantry in Khaki, Scots Greys, Highlanders, Etc. Some paint chipping & minor damages otherwise generally Very Good to Excellent overall. [Qty]

A collection of approx one hundred and twenty metal and gilt British Army cap badges, in a glazed pine case, 42 x 55.5cm overallCondition ReportAll fair, used, loose in the velvet lined case

Section 1 Firearm: Ruger Old Army .44 Blackpowder Stainless Steel Revolver Serial Number 145-00095. Low serial number 1972 production. 190mm long barrel. Overall length 335mm. NOTE: Section 1 Firearm buyer must hold a valid Firearms Certificate with authority to posess or be a RFD.

Reproduction WW1 British Army Kukri Knife with single edged blade 335mm in length, marked "Co I GII 1917 37". Wooden grip with brass furniture. Overall length 470mm. Complete with brown leather scabbard and frog.

WW1 Imperial German Army Mauser Butcher Bayonet with single edged fullered blade 365mm in length, maker marked "Alex Coppel, Solingen", spine of blade date stamped "W17". Wooden grips, working release catch. Pommel inspection marked. Overall length 500mm. Complete with scabbard with original black painted finish.

WW1 Imperial German Army Close Combat Knife with 147mm long blade. Inspection marked. Wooden grips. Overall length 272mm. Complete with metal scabbard.

Military Interest: Late Victorian signed watercolour depicting distinguished British army officers, including Sir Evelyn Wood, William Earle and Sir John Clyde etc, dated 1896, indistinctly signed, believed to be German, overall size 52cm x 40cm.

German Third Reich Hitler Youth dagger, the hilt with black chequered grips and enamelled diamond shaped H.J. badge, broad single edged blade by Carl Heidelberg, Solingen, the H.J motto on the reverse side has been ground, but a slight shadow of it remains, some losses to the plating but otherwise in an untouched condition, lacking scabbard, 13.5cm blade, 24.5cm overall Salvaged by the vendor’s late father, John Pierce Lane. Lane was born in Oxford on 3rd April 1920. In the late 1930's he joined the Territorial Army and was called up to the regulars at the outbreak of war in 1939. He was in the artillery with the Northumberland Hussars. In June 1944, now with the officer rank of Captain, he participated in the allied invasion of France landing on Gold Beach in Normandy. Over the course of the next many months, he fought through northern France and into Belgium (the Battle of The Ardennes), then on into Holland with direct involvement in the Battle of Arnhem. Finally, he was part of the allied push into Germany resulting in German surrender and the end of the war. He remained in Germany for some months engaged in settlement, restructuring and social rebuilding work before finally returning to England for de-mob in 1946. He returned home with the three other daggers/knives, which he acquired towards the very end of the war in Germany

Third Reich N.C.O. dress bayonet, 24cm blade by W.K.C., plated hilt with working mortise button, black chequered grips with badge of the Prussian Guards on one side, badge comprises a sunburst with an eagle in the centre surrounds by the motto 'Suum Cuique' - (To each their own), in its scabbard and frog, 41cm overall Salvaged by the vendor’s late father, John Pierce Lane. Lane was born in Oxford on 3rd April 1920. In the late 1930's he joined the Territorial Army and was called up to the regulars at the outbreak of war in 1939. He was in the artillery with the Northumberland Hussars. In June 1944, now with the officer rank of Captain, he participated in the allied invasion of France landing on Gold Beach in Normandy. Over the course of the next many months, he fought through northern France and into Belgium (the Battle of The Ardennes), then on into Holland with direct involvement in the Battle of Arnhem. Finally, he was part of the allied push into Germany resulting in German surrender and the end of the war. He remained in Germany for some months engaged in settlement, restructuring and social rebuilding work before finally returning to England for de-mob in 1946. He returned home with this and two other daggers/knives, which he acquired towards the very end of the war in Germany.

* JANKEL ADLER (POLISH 1895 - 1949), FIGURE (OPUS 104) watercolour on paper, signed, titled label verso mounted, framed and under glass image size 48cm x 35cm, overall size 67cm x 53cm Labels verso: Gimpel Fils, London.Note: Polish painter. He was born at Tuszyn, near Łódź, and studied in Germany at the School of Arts and Crafts in Barmen (now part of Wuppertal), 1913–14. In about 1922 he settled in Düsseldorf, where he became a friend of Paul Klee and painted several murals, including frescos for the Planetarium. He left Germany in 1933 because of the rise of Nazism and travelled widely in the next few years, living mainly in Paris, where he worked with Hayter at Atelier 17. On the outbreak of war he joined the Polish army in France and in 1940 was evacuated to Britain, where he lived for the rest of his life, first in Scotland and then from 1943 in London. Adler was primarily a figure painter, best known for his portrayals of Jewish life in Poland (as a youth he had considered becoming a rabbi). His style in his mature work was eclectic and expressionistic, influenced by Klee and Picasso. In turn his cosmopolitanism was a stimulus against wartime isolation for several young British artists, notably Colquhoun and MacBryde (in the mid-1940s Adler shared a house with them in Bedford Gardens, London).

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), STORM BEACH watercolour on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 33cm, overall size 47cm x 53cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* JAMES WATT RGI (SCOTTISH 1931 - 2022), COAST WITH LIGHTHOUSE oil on canvas, signed framed and under glass image size 41cm x 66cm, overall size 58cm x 84cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), BROKEN EDGE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 43cm x 59cm, overall size 70cm x 85cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* JANKEL ADLER (POLISH 1895 - 1949), STANDING FIGURE (OPUS 119) pen and ink on paper, signed and dated 1945, titled label versomounted, framed and under glass image size 50cm x 11cm, overall size 71cm x 31cm Label verso: Gimpel FIls, London.Note: Polish painter. He was born at Tuszyn, near Łódź, and studied in Germany at the School of Arts and Crafts in Barmen (now part of Wuppertal), 1913–14. In about 1922 he settled in Düsseldorf, where he became a friend of Paul Klee and painted several murals, including frescos for the Planetarium. He left Germany in 1933 because of the rise of Nazism and travelled widely in the next few years, living mainly in Paris, where he worked with Hayter at Atelier 17. On the outbreak of war he joined the Polish army in France and in 1940 was evacuated to Britain, where he lived for the rest of his life, first in Scotland and then from 1943 in London. Adler was primarily a figure painter, best known for his portrayals of Jewish life in Poland (as a youth he had considered becoming a rabbi). His style in his mature work was eclectic and expressionistic, influenced by Klee and Picasso. In turn his cosmopolitanism was a stimulus against wartime isolation for several young British artists, notably Colquhoun and MacBryde (in the mid-1940s Adler shared a house with them in Bedford Gardens, London).

* JAMES WATT RGI (SCOTTISH 1931 - 2022), DORUS MHOR oil on canvas, signed, titled and dated 1983 versoframedimage size 31cm x 46cm, overall size 44cm x 59cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.

* ROBERT HENDERSON BLYTH (BRITISH 1919 - 1970), VILLAGE watercolour on paper, signedmounted, framed and under glassimage size 27cm x 35.5cm, overall size 52cm x 56cmNote: Born in Glasgow he studied at the Glasgow School of Art from 1934 to 1939. In 1941, Henderson Blyth joined the Royal Army Medical Corps and served with them until the end of the Second World War. During the war, Henderson Blyth continued to paint and sketch despite being on active service, producing works often influenced by his experiences. Four paintings produced from this period were acquired by the War Artists' Advisory Committee. In 1946, Henderson Blyth began teaching at the Edinburgh School of Art and became an artist in residence at the acclaimed Hospitalfield House. In 1954, Henderson Blyth moved to Aberdeen to take a post at Gray's School of Art, where he became Head of Drawing in 1960, a post he maintained until his death in 1970. The Scottish Arts Council organised a memorial exhibition to Blyth which toured Scotland during 1972. 35 of his paintings are held in UK public collections.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), ARRIVING TIDE watercolour on paper, signed, titled label versomounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* DOUGLAS PHILLIPS (SCOTTISH 1926 - 2012), SWEET NIGHT AIR oil on board, signed, titled labels versomounted, framed and under glass image size 15cm x 19cm, overall size 32cm x 36cm Handwritten artist's label versoExhibition label verso: The Art Of Giving, Christmas Exhibition, December '87, The Scottish Gallery, EdinburghNote: Douglas Phillips was born and brought up in Dundee. He studied at the former Dundee Art College in Bell Street before being called up to the army towards the end of the Second World War for service in India and Ceylon. On returning to Dundee he began work in the art department of DC Thomson where he illustrated for The Rover and The Victor, amongst others. After leaving D C Thomson’s went on to illustrate over 100 books but also continued to maintain a connection with the company, featuring in more than one thousand issues of The People’s Friend as the pen and brush of J Campbell Kerr. He also documented old Dundee with his lively pen and ink drawings and book collaborations with the late journalist, broadcaster and Courier columnist Ron Thompson. Latterly he followed in the footsteps of two artists he greatly admired, Joan Eardley and his good friend Lil Neilson, producing vibrant, expressive paintings of Catterline and the East Coast of Scotland which he loved so much. His work is held in public and private collections worldwide.

PHILIP IV: (1605-1665) King of Spain 1621-65 and King Philip III of Portugal 1621-40. A very fine D.S., `Yo el Rey´, one page, large folio, Madrid, 23rd April 1632, addressed to the Duke of Feria, in Spanish. The heading the document states ''Don Phellipe, by the Grace of God, King of Castile, of Leon, Aragon, the Two Sicilies, of Jerusalem, Portugal, Navarre and the Indias, Archduke of Austria, Duke of Milan, Bourgogne and Brabant, Count of Habsbourg, Flanders and Tyrol''. The King orders the Duke of Feria, member of the council of State, to pay Eugenio Morante de la Madriz, his Secretary in Milan, an increase of salary, stating in part `Teniendo consideración que por ser corto el salario que Eugenio Morante de la Madriz, mi secretario goza en la ocupación de los papeles de la Secretaria de Milan donde hace muchos años que es el oficial mas antiguo de ella, y que no tiene lo necesario para poderse sustentar le he mandado socorrer con doscientos ducados Castellanos en cada uno de los años pasados por via de ayuda y librados en ese Estado, y siendo justo continuarselos por las mismas consideraciones y satisfacción que tengo de la asistencia y cuidado con que me sirve, he tenido por bien que se libren en el dicho Estado los del año pasado...´ (''Translation: "Considering that the salary that Eugenio Morante de la Madriz, my secretary, enjoys in the occupation of the papers of the Secretariat of Milan, where he has been the first senior official for many years, and that he does not have what is necessary to support himself, I have ordered that I help him with two hundred Castilian ducats in each of the past years by way of aid and delivered in that State, and it being fair to continue them for the same considerations and satisfaction that I have for the assistance and care with which he serves me, I have considered it good that those of last year be delivered in the said State...") Countersigned at the base by the secretary Antonio Carnero. Bearing a very large and attractive Royal paper seal affixed to the verso. Very small overall minor age wear to the right edge and two extremely small tears not affecting the text or signature, otherwise G to VGGómez Suárez de Figueroa y Córdoba (1587-1634) Spanish Nobleman, State counselor of the King, Diplomat and army Commander. 3rd Duke of Feria and 2nd Marquis of Villalba. Best known as the "Gran Duque de Feria" for his military skills. He is regarded as one of the last and more important military commanders of the Spanish Empire. The Duke of Feria was also appointed Viceroy of Valencia and Catalonia as well as Governor of Milan.

PHILIP II: (1527-1598) King of Spain 1556-98. During his marriage to Queen Mary I of England, he was King of England and Ireland 1554-58. A very fine L.S., `Yo el Rey´, one page, folio, San Lorenzo, Madrid, 29th July 1586, to the Prince of Parma,, in old Spanish. The King sends the present letter to his nephew, Governor and Captain General of Flanders, instructing to increase the monthly payment of Pedro Lobeto, granting four additional escudos per month, stating in part `Por ende, os encargamos y mandamos que deis orden desde el dia de la presentacion de esta carta y en adelante todo el tiempo a Pedro Lobeto que sirviere y residiere en la Infantería Española de los Tercios de Flandes ese mio ejercito y se le libren y paguen los cuatro escudos de ventaja cada mes...´ (Translation: "Therefore, we charge and command you to give orders from the day of presentation of this letter and henceforth for all time to Pedro Lobeto to serve and reside in the Spanish Infantry of the Tercios of Flanders in this army of mine and to free and pay him the four crowns of advantage each month...") Countersigned at the base by the King´s secretary. Bearing beneath the King´s signature a blind embossed Royal seal. Small overall age wear, mostly to edges. With address leaf. G to VG

MASO MARQUEZ BARTOLOME DE JESUS: (1830-1907) Cuban Politician and military Patriot. A main figure of Cuban independence. President of the Cuban ''Republic in Arms'' 1897-98. D.S., `Bart. Masó´, two pages, Cuba, 1st of August 1898, to officer Eligio Fariñas, in Spanish. The partially printed document, bearing the heading ''El Presidente de la Republica de Cuba'', is a military appointment in favour of Eligio Fariñas, appointing him as infantry Lieutenant. Signed at the base by the President of the Republic Bartolomé Masó. The present document is signed during the short period of 12 months that Masó was President. Bearing to the front three blind embossed seals, one of the Liberating Army. With several countersignatures to the verso by several members of the government, including Jose Clemente Vivanco (1873-1946), also bearing several ink stamps of various ministries of the Republic of Cuba. Overall age wear and creasing, mostly to edges. F to G

MACEO Y GRAJALES JOSE ANTONIO: (1845-1896) Guerrilla iconic Leader and second-in-command of the Cuban army of independence. Cubans nicknamed Maceo ''The Bronze Titan'' because of his multiple wounds in battle, while Spanish nicknamed him ''The elder Lion''. Maceo was killed near Punta Brava by Spanish forces after being betrayed by the physician of his headquarters. Rare D.S., `Jose Maceo´, one page, folio, Head Quarters of El Perico, 14th March 1896, in Spanish. The present letter was signed by Maceo six months before being killed. The partially printed document bears a printed coat of arms to the upper left corner and is the appointment of vice-Lieutenant Miguel Fernandez as Lieutenant, and signed by Mateo y Grajales in his capacity as General Major of the Liberation Army of Cuba. Overall important age wear, creasing and staining, with few holes and small tears to edges. Large repairs to the verso. P

HENRY IV: (1553-1610) King of France 1589-1610 and King of Navarre 1572-1610. First French Monarch of the House of Bourbon. Assassinated. A very fine A.L.S., `Henry´, one page, folio, Fontainebleau, 28th May 1595, to La Mothe-Gondrin, in old French. An interesting content letter, where the King himself organizes the war preparations down to the smallest details, stating in part `Monsieur de La Mothe-Gondrin, Vous entendrez du sieur de la Force, capitaine de mes gardes l'occasion pour laquelle je l'envoie par-delà. Je lui ai donné charge de conférer avec vous comme avec ceux de mes bons serviteurs désirant vous prier de l'assister et fortifier … d'icelle de vos bons avis et des moyens que vous avez de le servir pour la venue que je ferai que vous avez au pays. Car c'est chose que j'affectionne et qui m'importe grandement. Et je le reconnaîtrais à votre contentement ainsi qu'il vous dira...´ (Translation: "Monsieur de La Mothe-Gondrin, You will hear from Monsieur de la Force, Captain of my guards, the reason why I am sending him beyond, I have charged him with conferring with you as with those of my good servants who wish to ask you to assist him and strengthen him… that of your good advice and the means that you have to serve him for the coming that I will make that you have to the country. For this reason it is something that I am fond of and that greatly matters to me. And I will recognize it by your satisfaction as he will tell you…") Countersigned at the base by his secretary. With an attractive watermarkAddressed to the verso, with remnants of a former red wax seal. Small overall minor age wear, and edges very slightly trimmed, otherwise VGThe present letter is addressed to Arnaud de Pardaillan (1562-1624), Lord of Gondrin, Field Marshal and Captain in the armies of Henry IV. The King, who had declared war on Spain, had instructed Marshal de La Force to raise an army in Guyenne. Jacques Nompar de Caumont (1558-1652), Duke of La Force, was Marshal of France and Lieutenant-General of Guyenne. The King writes to Gondrin so that he could consult with Marshal de La Force in preparation for the campaign.We are witnessing here the beginning of a conflict which would last three years, taking place in Burgundy, the Netherlands and Picardy, and which would end with the Peace of Vervins, signed on 2nd of May 1598, under the terms of which Spain and France agreed to return to each other the territories occupied previously.

CUBA - AMNESTY DECREE: CESPEDES DEL CASTILLO CARLOS MANUEL (1819-1874) Cuban Revolutionary. Known as the ''Father of the Motherland'', Cespedes is considered a Cuban hero who freed slaves and leaded the declaration of Cuban Independence in 1868. An attractive signed printed document, one page, large folio, San Hilario, Bayamo, 27th February 1869, in Spanish. The document being a decree is entitled ''Republic of Cuba - Liberatory Army of Cuba and its provisional Government - Decree of Amnesty - Carlos Manuel de Cespedes, Chief General of the Liberatory Army of Cuba and Leader of the Provisional Government", and bears a very attractive and large vignette to the heading, showing a coat of arms with flags. The decree contains three articles, and commences stating ''The terror and despotism of the oppressor, in the face of the cry for independence and blood shed by the revolution. The nascent Cuban republic must not be intolerant..." further saying on its first article `I grant amnesty to all Cubans and foreigners residing in the territory of the Republic....´, and to its second article `All defendants who are serving prison sentences or are being sentenced for political reasons will be immediately released and may return to their homes without being harassed for their past actions or opinions...´ Boldly signed by Cespedes at the base of the document `C. M de Cespedes´. With several countersignatures, including Ignacio Martinez and by Fernando Fornaris y Cespedes. Bearing a large black paper seal affixed of the Liberator Cuban army at the base. Overall very small age wear, mostly to edges. Repaired to the central fold to the verso. G

A Great War Western Front D.C.M. group of six awarded to Sergeant A. E. Dalton, 67 Siege Battery, Royal Garrison Artillery Distinguished Conduct Medal, G.V.R. (27570 Sjt: A. E. Dalton. 67/Sge: By: R.G.A.); 1914-15 Star (27570, Bmbr. A. E. Dalton. R.G.A.); British War and Victory Medals (27570 Sjt. A. E. Dalton. R.A.); India General Service 1908-35, 1 clasp, Malabar 1921-22 (1403402 Sergt. A. E. Dalton. R.A.); Army L.S. & G.C., G.V.R., 1st issue (27570 Sjt. A. E. Dalton. D.C.M. R.A.) mounted court-style for display, contact marks and overall wear, otherwise nearly very fine (6) £1,000-£1,400 --- D.C.M. London Gazette 3 June 1918; citation published 21 October 1918: ‘27570 Sjt. A. E. Dalton, R.G.A. (Jersey). For conspicuous gallantry and devotion to duty. When the battery was heavily shelled his example of cheerfulness and courage inspired his detachment at all times to fight their gun, regardless of casualties. He was finally wounded.’ Arthur Edward Dalton was born at Ongar, Essex, in about !890. He enlisted into the Royal Artillery in October 1906. In the 1911 Channel Islands Census, he is recorded as being 21 years old, single, and serving as a Gunner with the 20th Company, R.G.A. at Elizabeth Castle, St Helier. Upon the outbreak of the war he was stationed in China but entered the French theatre of war on 4 April 1915, and was later wounded during the final enemy spring offensive of the war in March 1918. For this and for similar bombardments he was awarded the D.C.M. for general good work during the operations, resulting in the capture of Passchendaele Ridge, when he continued to work his battery under particularly difficult and dangerous conditions. He was one of ‘Three Heroes Honoured at the Town Hall’, at St Helier in October 1918, on which occasion he was presented with a large certificate. Sold with two post card photographs of him in uniform with his wife, together with copied research including Medal Index Card which confirms all awards. Also sold with 1939-45 Star, France and Germany Star, Defence and War Medals awarded to his son, Dennis Arthur Dalton, who was wounded whilst serving with the Royal Field Artillery in Western Europe in 1945 (G.S.W. of left forearm - further details included with Lot).

Airfix - Roden - Revell - Others - A group of plastic military model vehicle, figure, and accessory kits in 1:72 and 1;76 scales. Lot includes Esci #8301 1:72 Leopard 1 A2 tank; Airfix #02302 1:72 Buffalo Amphibian & Jeep; Roden !;72 FWD Model B 3-Ton US Army Truck and similar. seven of the kits are presumed to be in Mint condition, being in a factory sealed boxes; whilst remainder appear to range Good - Very Good in condition with loose parts and parts on sprues, some in bags and some with parts sitting loose in boxes. Boxes overall appear some Poor - Fair , but mainly Fair Plus - Very Good some very dusty, with age and storage wear. All kits are unchecked for completeness. (This does not constitute a guarantee) (K)

WWI Imperial German Army Butcher Bayonet Model 1898 02This impressive WWI Imperial German Army Butcher Bayonet, also known as the Model 1898/02, features a formidable overall length of 19.5 inches, with its distinctive serrated/saw-backed blade measuring 14.25 inches. The bayonet exhibits notable historical wear, evident in its tarnished metal components and aged, grooved wooden handle, which is reinforced by two attachment rivets and a metal guard with a downward-curving quillon. Although the inscriptions on the blade are difficult to decipher due to the age, they add to the authenticity and historical value of this piece. This bayonet is a noteworthy collector's item, encapsulating the essence of WWI military history and the craftsmanship of early 20th-century German armaments.

A late 19th century French Army officer's sword, with leather and brass scabbard, length 92cm.Condition Report: No inscription to the blade. Tarnishing and losses to gilding to the blade, minor wear/perishing to the grip and scabbard, rubbing to the brass and metalware, but overall good.

2nd-3rd century A.D. Hollow-formed with fluting to the shoulders and foliage panel to the underside, plaque with inset garnet cabochon bearing an eagle in three-quarter view gripping a lightning bolt, head turned, laurel wreath in the beak; supplied with a museum-quality impression. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, items 186, 211, for type. 11.80 grams, 30.64 mm overall, 17.06 x 12.36 mm internal diameter (approximate size British F, USA 2 3/4, Europe 3.67, Japan 2 3/4) (1 1/8 in.). [A video of this lot is available to view on Timeline Auctions Website]From the collection of a deceased lady, 1990s. Ex London, UK, gentleman, 2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12523-231876.This splendid intaglio of an eagle depicts what Pliny the Elder calls the: ‘most honourable and strongest of all birds’ (Naturalis Historis.10.3.1), and Aelian remarks that it possesses the ‘keenest sight of all birds’ (De natura animalium. 1.42). However, the animal was not revered in antiquity solely out of admiration for its natural attributes, it was esteemed during the Greek, Roman Republican and Imperial times as the bird that held the lightning of the sky god Zeus/Jupiter, whose identifying symbol is the thunderbolt and his primary sacred animal is the eagle. It is also a symbol of Victory, power and immortality, since it is associated with the passage of a deified emperor’s spirit into the world of the immortals. The primary military use of the eagle was as a standard, which comprised of a golden or gilded metal eagle, clutching thunderbolts in its talons, perched atop a long metal pole with a butt-spike for planting in the ground. Both Ovid and Plutarch place the inception of manipular ensigns with Romulus, where bundles (manipuli) of hay were tied to high poles which served as rallying points for units of the army. Eventually, icons of animals replaced these ensigns: the eagle, wolf, Minotaur, horse, and boar. In 107 B.C., Gaius Marius made sweeping military reforms and the Aquila became the sole standard of the legion, which according to (Pliny NH. 10.5.16) ‘By making the Aquila the standard for all legions improved unity and gave soldiers a symbol that expressed their attachment to an all-encompassing body, to which the soldiers’ loyalty could be directed’. Due to its place at the head of each legion, it became the emblem of the Roman legions, which enforced Roman rule in the provinces, giving the eagle its connotation of dominion.

Army vehicle pair including: (1) Marx Royal Artillery Covered Truck with gun, tinplate, 13"/33cm; (2) Triang Minic sherman tank, plastic, within Fair box; overall Good to Good Plus; (2).