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Pre 1919 (22) & 7 post 1919 silver 3d (29)

Silver stamps, including a cased Post Office Official Commemorative Proof Quality Sterling Silver Replica of 10p Stamp Together with First Day Cover, With Certificate; a Hallmarks Replica Limited The Royal Silver Wedding Commemorative stamp replicas silver 3p stamp, numbered 0186, with certificate, box and outer card case; The Royal Wedding Stamp Replicas", two silver ingots, commemorating the marriage of HRH The Princess Anne and Captain Mark Phillips, 14th November 1973, in a fitted case; and an HRH The Prince of Wales 100 gram silver fine silver ingot in fitted case. (4) Condition Report:

A replica GVIR Post Office post box, painted in red, 58cm high, 28cm wide, 37.5cm deep

limited edition giclee print on paper, signed, titled and numbered 293/500 mounted, framed and under glass image size 22cm x 30cm, overall size 48cm x 55cm Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. From 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.

oil on board, signed framed image size 64cm x 92cm, overall size 73cm x 101cm Note: Born in Kirkcaldy in 1930, she studied at Edinburgh College of Art and then took up a post as visiting teacher of art in the Western Isles in 1956. This experience reinforced her life long love of wild and desolate places and her desire to depict isolated panoramas and landscapes. Walker’s work describes a powerful connection with nature and the feeling of isolation of existing in remote landscapes. This longing for wild terrain led the artist to seek inspiration from her native Scotland – particularly the Western Isles – and from the Antarctic. The large-scale Antarctica paintings reveal still, glacial landscapes completely untouched by human beings and are perhaps Walker’s ultimate depiction of solitude. In 1958 Frances was appointed Lecturer in Drawing and Painting at Gray’s School of Art where she taught for many years before taking early retirement in 1985 to devote more time to her studio practice. She has travelled extensively, taking inspiration from the wildest, most remote terrains. In 2003 Frances was awarded an Honorary Degree of Doctor of Letters from Heriot Watt University, Edinburgh. Frances Walker is represented in many private and corporate collections including the Robert Fleming Collection, and the Royal Scottish Academy. Thirty-seven of her artworks are held in UK public collections.

limited edition giclee print on paper, signed, titled and numbered 259/600 mounted, framed and under glass image size 25cm x 31cm, overall size 51cm x 56cm Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. From 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.

limited edition print on paper, signed, titled and numbered 375/500 mounted, framed and under glass image size 26cm x 30cm, overall size 52cm x 55cm Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. From 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.

Ca. 800 BC. A lidded pyxis with a flattened, globular body decorated with incised striations at the shoulder, a pair of abstract bird protomes at the rim, and an openwork, symmetrical ornament at the lower end. The lid also has bird protomes that fit neatly against those at the rim and a single vertical post/handle. This form of pyxis is called a "sickle" type. For similar see: Benaki Museum, Athens, (ΓΕ 7888). Size: 115mm x 100mm; Weight: 190g Provenance: Property of a central London gallery, acquired on the US art market; Private Connecticut Collection, acquired late 1990s; Ex. Ariadne Gallery, NYC; Ex. Bavarian Collection prior to late 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Badge of the Exemplary Signalman WZ.53The badge is a single-piece, enameled shield with a lightning bolt in the center, symbolizing Communications. Above the bolt is the inscription "Exemplary Signalman." On both sides of the shield are two golden ears of wheat, and the whole is mounted on a cogwheel.The reverse of the badge is smooth, with a central attachment post and an aluminum nut from the State Mint.Ministry of National Defense Order 1953, No. inventory MSM.0.4096Dimensions: 41 mm x 28 mmOverall condition as shown in the pictures.

Defense of Lviv November 1918 by S. Batowski from 1935, rotogravure from Przewodnik Katolicki, Poland post-1935, color, with a format close to A4.Dimensions: 34.5 cm x 24.8 cm.

Single-piece badge of the Higher Air Force Officer School (WOSL), with a smooth reverse and a central attachment post. The badge is signed on the obverse with the initials of the manufacturer, Emil Trzonkowski (ET).Dimensions: 32 mm.

Polish cap eagle featuring an eagle with outstretched wings, sitting on an Amazon shield. The head is devoid of a crown. The reverse shows a broken post for attachment.The eagle was used by the Polish Army in the early post-war years.Dimensions: approx. 52 mm x 36 mm.Condition as shown in the photos.

The badge in the form of an eagle with outstretched wings, sitting on an Amazon shield. The head is topped with a closed crown. Archaic design. The reverse shows a trace of a post. Struck from a die. Visible remnants of silver plating.Polish Cap Eagle wz. 39, produced in Palestine from 1942. Used by the Polish 2nd Corps under General Anders. Very good condition, as shown in the photos.This version of the eagle is mentioned in Tomasz Zawistowski's book "Orły do Czapek w 2 Korpusie" on page 115, illustration 147.Dimensions: 54 mm x 34 mm.Condition as shown in the photos.

Badge of the Exemplary Signalman WZ.53The badge is a single-piece, enameled shield with a lightning bolt in the center, symbolizing Communications. Above the bolt is the inscription "Exemplary Signalman." On both sides of the shield are two golden ears of wheat, and the whole is mounted on a cogwheel.The reverse of the badge is smooth, with a central attachment post and an aluminum nut from the State Mint.Ministry of National Defense Order 1953, No. inventory MSM.0.4096Dimensions: 41 mm x 28 mmOverall condition as shown in the pictures.

Polish WW2 badge of the 3rd Carpathian Rifle Division. The front of the badge is shaped like the Monte Cassino Cross, with an overlaid tree (symbolizing the 3rd Carpathian Rifle Division). Beneath the tree is the Tobruk badge, referencing the division's origins from the Independent Carpathian Rifle Brigade. On the upper arm of the cross is the abbreviation "3DSK," denoting the 3rd Carpathian Rifle Division.The reverse of the badge is smooth, with a threaded post. Around the post is the inscription "Wiara, Wytrwałość, Zwycięstwo" ("Faith, Perseverance, Victory").Dimensions: 43.5 mm x 40 mm.

Single-piece badge made of tombac, attached with a nut. The badge is shield-shaped, with the Warsaw mermaid at the top, symbolizing the 2nd Polish Corps (2KP), and at the bottom, the identification badge of the 8th Army, surrounded by the inscription "2 Korpus Polski" with laurel branches above the text.The reverse is smooth with the stamped number, and a repaired attachment post in the center. The nut is not signed.The badge has a low number, 1023, which is becoming increasingly rare on the collectors' market.Dimensions: 36.5 x 20 mm.Overall condition as shown in the pictures.

The badge in the form of an eagle with outstretched wings, sitting on an Amazon shield. The head is topped with a crown. The reverse shows a threaded post. Cast from brass, made in the Middle East.This version of the eagle is mentioned in Tomasz Zawistowski's book "Polskie Orły do Czapek w Latach 1939-1945" on page 54, illustration 87.Dimensions: 52 mm x 32 mm.Overall condition as shown in the photos.

Badge of the Exemplary Sapper WZ.53The badge is a single-piece, enameled shield with two crossed sapper axes in the center. Above the axes is the inscription "Exemplary Sapper." On both sides of the shield are two golden ears of wheat, and the whole is mounted on a cogwheel.The reverse of the badge is smooth, with a central attachment post and an aluminum nut from the State Mint.Ministry of National Defense Order 1953, No. inventory MSM.0.2761Dimensions: 41 mm x 28 mmOverall condition as shown in the pictures.

The Polish cap eagle depicting an eagle with outstretched wings, sitting on an Amazon shield. The eagle's head is topped with a closed crown. This eagle was produced by the H. Skarnik & M. Fiszbein workshop in Warsaw. It is made of white metal, additionally silver-plated, and has a post attachment.This version of the eagle is mentioned in Tomasz Zawistowski's book "Polskie Orły do Czapek w Latach 1919-1939" on page 51, illustration 70.Overall condition as shown in the photos.Dimensions: 59.10 mm x 41 mm.

Single-piece badge stylized in the form of a diving eagle against the backdrop of a parachute, divided by a combat knife. The reverse is smooth with a central attachment post and a nut signed "Panasiuk Warszawa."Overall condition as shown in the pictures.Dimensions: 47 mm x 31 mm.

Badge of the 3rd Carpathian Rifle Division, made of 800 silver. The front of the badge is shaped like the Monte Cassino Cross, with an overlaid tree (symbolizing the 3rd Carpathian Rifle Division). Below the tree is the Tobruk badge, referencing the division's origins from the Independent Carpathian Rifle Brigade. On the upper arm of the cross is the abbreviation "3DSK," denoting the 3rd Carpathian Rifle Division.The reverse is smooth, with a threaded post and a nut signed by the manufacturer "F.M. Lorioli, Milano-Roma." Around the post is the inscription "Wiara, Wytrwałość, Zwycięstwo" ("Faith, Perseverance, Victory").Dimensions: 43 mm x 40 mm.Overall condition as shown in the pictures.

A badge in the form of a laurel wreath, with the Russian Imperial double-headed eagle placed at the center. Both the eagle and the wreath are movable. The badge is mounted on a threaded post with a signed backing plate and nut. The badge is large in size (61mm x 47mm). The overall condition is as shown in the photos.

Vinyl - Over 140 New Wave / Post Punk / Rock and Pop 1970’s / 1980’s 7” singles to include: The Glove (Robert Smith) - Punish Me With Kisses (SHE 5, UK 1983 paper labels), Cult Figures - In Love (Rather Records – gear eight, UK 1980), Vaughn Toulouse (Department S.) Department S., Elvis Costello & The Attraction, Ian Dury, The Fall, Wreckless Eric, 13 Altered Images singles (including promos and foreign pressings), Wasted Youth, The Psychedelic Furs, Theatre Of Hate x 4, Tenpole Tudor, Spear Of Destiny, Simple Minds x 2, Repetition, Marine, Eddie & The Hot Rods x 7 (including German picture sleeve), T. Rex x 11 (including Promo flexi disc), Lou Reed, The Bluebells, The Rolling Stones, Kraftwerk, Prince, Guns N’ Roses, and flexi discs to include: The Professionals, The Scars, Acid Reign, The Passage / Blancmange, Becketts, Soft Cell and many others. Condition at least VG+ overall.

Vinyl / Autographs - Benny Andersson and Björn Ulvaeus pre - ABBA worldwide 7” releases including: Björn Ulvaeus & Benny Andersson x 7 (including 1 signed by Björn Ulvaeus), The Hep Stars x 13 (some post Benny Anderson), The Hootenanny Singers ( 2 singles and one reel to reel, one single signed by Hansi Schwarz). Condition VG overall

A Silhouette of a Young Lady, mounted in a turned treen box, 8.5cm diameter; a daguerreotype of a gentleman, in a leather case, a circular miniature of a Pekingese dog, a miniature of a lady with black dress and large lace stand-up collar, other miniatures, silhouettes, cards, etc.Miniature of Native American is signed 'B. Smith'. Pekingese dog and native american both oil paintings, dog in copper frame and Amercian in gilt plaster frame. No we wouldn't be able to post in house.

ARR STUART WALTON (Leeds Artist, b.1934) *ARRTerraced Houses and Lamp Post, oil on board, signed and dated (19)74 lower right,33 x 46cm. top and bottom hand corner - canvas coming away from board, it is cut off the frame which is an Ikea frame.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth

SCOTTISH INTERNATIONAL, COLLECTION OF FOOTBALL PROGRAMMES, CIRCA 1940s ONWARDS including Scotland vs. England League International 12th March 1947, Scottish vs Irish League 7th Sep 1949, along with further related items including The Big Book of Football Champions, Sunday Post Famous Football Clubs 1933/4 teams, Topical Times cards

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

XIX Century 1 Volunteer Battalion, The Princess of Wales Own (Green Howards/ Cartridge Box, 7 Battalion Prince of Wales Own West Yorkshire Regiment cigarette case, recruits 5th Kings Own Yorkshire Light Infantry skill at arms 1929 medallion in case, WWII and post WWII information booklets and manuals/plaques x 2, German pistol holster and other miscellaneous items. Also, after Robert Gibb RSA (1845-1932) *ARR 'The Thin Red Line' print 54cm x 87cm.

WWI Medal Duo British War Medal, awarded to 202155 SJT C Shepherd Re, with photographs and postcards relating to Sergeant Shepherd's Service. Also post WWII photographs recording service of British soldier in Burma and souvenir cigarette case.

WWII Home Front Brodie Helmet and Post War mark IV Turtle Combat Helmet, both with liners and chin straps.

Extensive Collection of WWI to Post WWII British Army Cap and Collar Badges, with examples from cavalry, infantry and support corps (approximately four hundred).

Extensive Collection of Post WWII British Army Stabrite Cap and Collar Badges, with examples from cavalry, infantry and support corps (approximately five hundred).

Post WWII British Army Royal Engineers Soldier's Photograph Album with photographs of service personnel and German railway infrastructure, also soldiers service pay book and ephemera relating to 14103963 Corporal John Brian Nixon RE.

A Pair of Large Diamond Set Cluster Earrings, claw set throughout with uniform brilliant cut stones, stamped "K18" (hinged hoop backs / post fitting, one misshapen).1.6cm width (from point to point). The diamonds have allover visible inclusions under 10x loupe giving a silver/grey hue.

Isle of Man and Channel island stamps, including mint stamps, first day covers, miniature sheets, Guernsey Post Office special postmarks, Alderney 'total eclipse' miniature sheet etc, a large quantity housed in various books, folders and loose, in three boxes

Great British and World stamps, including Queen Elizabeth II pre and post decimal, Great British first day covers with special postmark examples, Isle of Man cover and miniature sheet, various Benham covers etc, housed in various albums or folders and loose, in two boxes

JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cmNote: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.

JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), THE RIGHT HONOURABLE J PARKER SMITH PC, JP, DL, FRSE pastel, chalk and pencil on paper, signed and dated 1918, titled label versomounted, framed and under glass (original mount and frame)image size 46cm x 31cm, overall size 71cm x 53cm Handwritten artist's label verso.Note 1: After settling in Edinburgh, James Paterson drew several accomplished portrait sketches of high-profile contemporaries including a self-portrait drawing (1916) in pastel, chalk and pencil which is now in the collection of The National Galleries Of Scotland. The portrait offered here is an outstanding example of his characteristic style as a draughtsman. Paterson often used hatching in red and grey chalk to model the face and give it depth. James Paterson`s work was exhibited at The Kelvingrove Gallery as part of the major "Glasgow Boys" Exhibition (2010) and at The Hunterian Art Gallery (Glasgow) in "James Paterson : Works From The Artists Studio" (2010)-an exhibition dedicated entirely to his own work.The Sitter: James Parker Smith of Jordanhill, PC, JP, DL, FRSE (30 August 1854 – 30 April 1929) was a Scottish barrister and politician who served as Liberal Unionist MP for Partick. He was first elected at a by-election in 1890 but lost the seat in 1906. He was a Cambridge Apostle. He had previously contested Greenock and Paisley. He was born on 30 August 1854 the son of Archibald Smith of Jordanhill (son of James Smith of Jordanhill) and his wife, Susan Emma Parker. Although his father was Scottish he was born in London and spent much of his life in England. He was educated at Winchester College. He then studied law at Trinity College, Cambridge, graduating with a BA in Mathematics (as fourth Wrangler) in 1877 and an MA in 1880. He qualified as a barrister in 1888. From 1890 to 1906 his interests changed from law to politics. In January 1900, Smith was appointed assistant private secretary to Joseph Chamberlain, Secretary of State for the Colonies. He held this post until 1903. He was sworn of the Privy Council in 1904. In 1915 he returned to Winchester as a fellow and as warden of the college. He later became a director of the Union Bank of Scotland. In 1921 he was elected a fellow of the Royal Society of Edinburgh. His proposers were Frederick Orpen Bower, Ralph Allan Sampson, Sir Edmund Taylor Whittaker and Sir James A. Ewing. In 1882 he was married to Mary Louisa Hamilton. They were parents to Archibald Colin Hamilton Parker Smith, the 5th Laird of Jordanhill, and Wilmot Babington Parker Smith. His brothers included Arthur Hamilton Smith, Henry Babington Smith, Lt Commander Charles Stewart Smith and Rev Walter Edward Smith. He died at the Brooks's Club in London on 30 April 1929Note 2: In our auction of 11th August 2010, lot 13 "Portrait of a Lady" (dated 1916) a similar pastel, chalk and pencil portrait by James Paterson sold for £2600 (hammer).

A PAIR OF BLACK PEARL AND DIAMOND EARRINGSin 9ct rose gold, each set with a stylised halo stud set with round brilliant cut diamonds, articulated to a black pearl of c.9.2mm, secured with post and butterfly fittings, stamped '375', '9K', c.1.7cm, (c.3.5g)

A PAIR OF OPAL DROP EARRINGSin 9ct gold, each set with an opal cabochon held in a claw setting, surrounded by a stylised ropework border, articulated to a stylised stud, secured with post and butterfly fittings, no assay marks, c.1.7cm, (c.1.0g)

A PAIR OF PEARL AND DIAMOND DROP EARRINGSin 18ct gold, each comprising an openwork bombé design, set with round brilliant cut diamonds, suspending a pearl drop of c.7.6mm, secured with post and butterfly fittings, stamped 'Au750', c.2.3cm (c.4.2g)

A PAIR OF PEARL AND SAPPHIRE DROP EARRINGSin 18ct white gold, each set with an oval cut sapphire and diamond cluster stud, suspending a pearl drop of c.12.2mm, surmounted by a rose cut diamond, the sapphires totalling c.1.50 carats, secured with post and butterfly fittings, stamped 'Au750', c.2.5cm, (c.5.4g)

A PAIR OF AMETHYST AND DIAMOND STUD EARRINGSin 9ct gold, each designed as a flower, set with a round cut diamonds and marquise cut amethysts, secured with post and butterfly fittings, no assay marks, c.1.2cm, (c.1.7g)

A COLLECTION OF PERIDOT JEWELLERY including a pair of peridot and diamond drop earrings in 9ct gold, each set with step cut peridot drop, surmounted by three single cut diamonds, secured with post and butterfly fittings, no assay marks, c.2.4cm; together with a pair of peridot stud earrings in 9ct gold, each set with an oval cut peridot, secured with post and butterfly fittings, no assay marks, c.8.0mm; a pair of peridot and diamond stud earrings in 9ct gold, each set with an oval cut peridot held in a bezel setting, surmounted by a single cut diamond, secured with post and butterfly fittings, no assay marks, c.0.9mm; and a stylised peridot and seed pearl pendant in 15ct gold, maker's mark 'Ra', serial numbered, stamped '15', c.3.2cm, (c.11.3g gross weight)

A PAIR OF PEARL STUD EARRINGSin 9ct gold, each set with a cultured pearl of c.8.0mm, secured with post and butterfly fittings, (c.1.8g)

A PAIR OF GEM-SET DROP EARRINGSin 18ct gold, each set with a round faceted aquamarine, articulated to a round white gemstone, terminated by a pear shape amethyst, secured with post and clip fittings, no assay marks, c.3.5cm, (c.11.4g)

A PAIR OF OPAL AND DIAMOND EARRINGSin 9ct gold, each set with an opal cabochon held in a bezel setting, surmounted by a stud set with single cut diamonds, secured with post and butterfly fittings, partial British hallmarks, stamped '375', c.1.5cm, (c.2.2g)

A PAIR OF OPAL AND DIAMOND CLUSTER EARRINGSin 9ct gold, each set with an opal cabochon, surrounded by a cluster of round brilliant cut diamonds, secured with post and butterfly fittings, partial British hallmarks, c.1.0cm, (c.1.6g)

A PAIR OF PEARL DROP EARRINGSin 9ct gold, each comprising a gold stud, suspending a chain, terminated by a cultured pearl of c.9.5-10.0mm, secured with post and butterfly fittings, no assay marks, c.4.2cm, (c.2.2g)

A PAIR OF SAPPHIRE AND DIAMOND PANTHER EARRINGSin 9ct gold, pavé-set with round brilliant cut diamonds and accented by round cut sapphires, secured with post and clip fittings, stamped '375', c.1.7cm, (c.5.2g)

A PAIR OF RUBY AND DIAMOND CLUSTER EARRINGSin 18ct gold, each set with a faceted glass-filled ruby surrounded by a hexagonal border of round brilliant cut diamonds, carved detailing to the reverse, secured with post and butterfly fittings, stamped '18K', c.1.5cm, (c.7.2g)

A VINTAGE RUBY LEAF BROOCH AND EARRING SUITEin 18ct gold, the brooch designed as a leaf, set with round cut rubies to the centre, secured with a pin clasp, maker's mark 'RHB', full British import marks for Birmingham, 1960, c.4.2cm; together with a matching pair of stud earrings, set with round cut rubies, secured with post and butterfly fittings, c.2.3cm, (c.17.3g gross weight) (2)

A PAIR OF TURQUOISE STUD EARRINGSin 9ct gold, each set with a turquoise cabochon held in a claw setting over a stylised border, secured with post and butterfly fittings, full British hallmarks (obscured), c.1.2cm, (c.1.8g); together with a diamond bar brooch in 18ct gold, set with an old mine cut diamond, secured with a pin clasp, no assay marks, c.5.1cm, (c.4.0g)

A PAIR OF DIAMOND DROP EARRINGSin 18ct gold, each comprising a gold stud articulated to a bar terminated by a round brilliant cut diamond, both totalling c.0.40 carats, secured with post and butterfly fittings, no assay marks, c.2.2cm, (c.1.7g)

A PAIR OF RUBY AND DIAMOND FLOWER EARRINGSin platinum, each designed as a flower set to the centre with a round cut ruby and single cut diamonds, accented by further round brilliant cut and baguette cut diamonds, secured with post and butterfly fittings, no assay marks, c.2.4cm, (c.9.6g)

CARTIER: A PAIR OF VINTAGE EARRINGSin 18ct gold, each comprising graduated interlinking concentric hoops, secured with post and clip fittings, signed 'Cartier' '1993', serial numbered, Italian assay marks, c.4.0cm, (c.27.4g)

A PAIR OF RUBY AND DIAMOND EARRINGSin 18ct gold, each set with a round brilliant cut diamond stud, articulated to a pear shaped drop set with a pear cut ruby in a border of round brilliant cut diamonds, secured with post and butterfly fittings, full British hallmarks, c.1.5cm, (c.3.5g)