in 1941 and the Yarborough Hotel, New Holland was sold, being advertised for sale in 1947.) A 49% stake in the haulage firm Mutter, Howey & Co. Ltd. It took shares in a large number of bus companies, including for a time a majority stake in United Automobile Services Ltd. In Halifax and Sheffield, it participated in Joint Omnibus Committees with the LMS and the Corporation. In 1935, with the LMS, Wilson Line of Hull and others it formed the shipping company Associated Humber Lines Ltd. In 1938 it was reported that the LNER, with 800 mechanical horse tractors, was the world's largest owner of this vehicle type. Ships The LNER operated a number of ships, including three rail ferries. In total, 6 turbine and 36 other steamers, and river boats and lake steamers were used by the company during its existence. Liveries The most common liveries were lined apple green on passenger locomotives (much lighter and brighter than the green used by the Great Western Railway) and unlined black on freight locomotives, both with gold lettering. Passenger carriages were generally varnished teak (wood) finish; the few metal-panelled coaches were painted to represent teak. Some special trains and A4 Pacific locomotives were painted differently, including silver-grey and garter blue. Advertising The LNER covered quite an extensive area of Britain, from London through East Anglia, the East Midlands and Yorkshire to the north east of England and Scotland. The 1923 grouping meant that former rivals within the LNER had to work together. The task of creating an instantly recognisable public image went to William M. Teasdale, the first advertising manager. Teasdale was influenced by the philosophies and policies of Frank Pick, who controlled the style and content of the London Underground's widely acclaimed poster advertising. Teasdale did not confine his artists within strict guidelines but allowed them a free hand. William Barribal designed a series of bold Art Deco posters in the 1920s and 1930s. When Teasdale was promoted to Assistant General Manager, this philosophy was carried on by Cecil Dandridge who succeeded him and was the Advertising Manager until nationalisation in 1948. Dandridge was largely responsible for the adoption of the Gill Sans typeface, later adopted by British Railways. The LNER was a very industrial company: hauling more than a third of Britain's coal, it derived two thirds of its income from freight. Despite this, the main image presented was