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This limited-edition Swarovski brooch was exclusively available to SCS members in 1993, in conjunction with the annual edition release of the Swarovski Elephant. The brooch features a gold-tone elephant with its trunk raised, positioned beside a tree adorned with clear Swarovski crystals. A symbol of elegance and rarity, it represents Swarovski's dedication to craftsmanship. This item has its original box.Issued: 1993Dimensions: 2.5"HCountry of Origin: AustriaCondition: Age related wear.

This elegant collection consists of 10 necklaces and 1 bracelet, each featuring unique and vibrant bead designs. The necklaces include a variety of colors such as pink, coral, turquoise, and white, with beads in shapes like oval, round, and tube. Special highlights include a coral necklace with large, textured beads, a multi-strand design with natural shell elements, and a pink-and-white beaded necklace with a detailed clasp. A turquoise necklace with irregularly shaped beads and a matching pink bracelet complete this striking assortment. These pieces are in excellent condition, with no visible damage or repairs, and will make a colorful addition to any jewelry collection. Longest item measures: 30"L.Issued: c. 1960-1980Dimensions: See DescriptionCondition: Age related wear.

A diverse collection of 18 artisan and vintage pendants crafted from a variety of materials, including glass, ceramic, metal, and stone. This eclectic assortment features hand-blown glass hearts, abstract art glass designs, wire-wrapped crystal pendants, enameled and ceramic pieces, as well as gold-tone and silver-tone charms. Notable pieces include a whimsical Bugs Bunny charm, a celestial sun pendant, a detailed dragonfly with colored rhinestones, and a miniature gold-tone whistle. The mix of handmade and vintage designs offers unique appeal for collectors, jewelry makers, or those seeking one-of-a-kind statement pieces. Largest item measures 2.75"H.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

A unisex aviator style with a pilot shape and full rim frame. They have a silver frame with a gold hinge, silver arms, and black ear socks. This item has its original box which measures 7"L x 3.5"W x 3"H. This item includes dust cover and case.Dimensions: 5.5"L x 6"W x 2.25"HCondition: Age related wear.

A curated collection of 15 vintage pendants featuring a diverse array of gemstones, metals, and intricate designs. This assortment includes heart-shaped, filigree, and cabochon-set pieces, crafted in various metals including gold-tone, silver-tone, and wire-wrapped settings. The pendants showcase an array of gemstones such as onyx, agate, lapis lazuli, jade, and other semi-precious stones, some adorned with rhinestones or enamel detailing. A mix of statement and delicate pieces, ideal for collectors or jewelry enthusiasts. Largest item measures 2.5"H.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

A distinctive cuff bracelet crafted from polished natural horn with a rich, organic pattern on the exterior. The interior is lined with bold, red leather, adding a striking contrast to the earthy tones of the horn. A leather label inside the bracelet reads © 1982 Margarita Popova, indicating the designer and year of creation. This unique piece blends natural materials with artisanal craftsmanship, making it both a statement accessory and a collectible item.Artist: Margarita PopovaIssued: 1982Dimensions: appx. 6"Condition: Age related wear.

A stylish collection of seven vintage scarf clips and belt buckles, featuring a mix of designs and materials, perfect for adding flair to your wardrobe. The set includes various metal finishes, including gold-tone, silver-tone, and an intricate winged motif, along with pieces that highlight smooth enamel accents such as the green oval clip. Each piece showcases the fine craftsmanship typical of mid-century designs, with a combination of decorative textures and shapes, from geometric forms to detailed embellishments. Ideal for collectors of vintage accessories or those looking to enhance their personal style with unique, timeless pieces. Largest item measures: 3.5"L.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

An elegant collection of nine vintage jewelry pieces, including an assortment of necklaces and bracelets in gold-tone metal, faux pearls, and white beaded designs. This curated selection showcases a mix of statement and classic styles, perfect for collectors or those looking to enhance their jewelry wardrobe. Included is a gilt multi-strand necklace: A striking piece featuring interlocking rings and dangling shell charms. White Beaded Necklace: Large round beads with ornate metal filigree caps, exuding a vintage aesthetic. Gilt and Pearl Chain Necklace: A combination of chunky gilt links and large faux pearls for a bold statement look. Layered Faux Pearl Necklace: A timeless multi-strand design with creamy faux pearls, ideal for a classic touch. White Bead Strand Necklace: A simple yet elegant long necklace with uniformly shaped white beads. Gold-Tone Multi-Strand Snake Chain Necklace: A sophisticated layered piece with flexible snake chains in a gold-tone finish. Faux Pearl Bracelet with Heart Clasp: A delicate bracelet featuring a heart-shaped closure, adding a romantic touch. Gold-Tone Clip Chain with Textured Links: A unique chain-link design with decorative clasp closures. Vintage Gold and Pearl Strand Necklace: A luminous strand of champagne-colored faux pearls with a soft glow. Each piece varies in design, era, and material, reflecting the charm of vintage costume jewelry. A wonderful opportunity for collectors or those seeking unique accessories with timeless appeal. Longest item measures 46"L.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

Swarovski limited edition brooch, designed exclusively for SCS members in 1990, in conjunction with the annual edition Dolphins. This elegant piece depicts two dolphins, believed to represent a mother and child. The brooch features one dolphin in gold-plated metal with a crystal eye and the other in pave-set crystals with a gold eye, creating a stunning contrast. The brooch measures 2.25"L and is crafted with polished gold-plated metal and sparkling pave crystals. This brooch was Swarovski's first design made available as an SCS member exclusive. It was introduced and retired in the same year, making it a highly collectible piece. This item has its original box.Issued: 1990Dimensions: 2.25"LCountry of Origin: AustriaCondition: Age related wear.

A curated collection of 28 pairs of vintage shoe clips in a variety of elegant designs, featuring gold-tone, silver-tone, and mixed-metal finishes. This assortment includes classic, ornate, and whimsical styles, ranging from intricate filigree patterns to floral motifs, geometric shapes, and textured embellishments. Some pieces incorporate sparkling rhinestones, sculpted metalwork, and enamel detailing, adding a touch of sophistication to any footwear. Perfect for vintage fashion enthusiasts, costume designers, or collectors, this lot offers a diverse selection of decorative clips suitable for enhancing shoes, handbags, or accessories. Largest item measures 2.25"L.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

Wonderful duo of barrel clasp necklaces that includes a matching set of white and speckled pink colored beads connected with nylon string. Longest item measures 30"L.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

Trials.- 'London Monster'.- Trial (The) of Renwick Williams, (Commonly called The Monster)...For assaulting and wounding Miss Ann Porter. Taken in Short-Hand by L. Williams, engraved portrait frontispiece very slightly offset, a few spots, some very light browning, disbound, housed in a cloth folder, for D. Brewman, [?1790] § Compleat Collection (A) Of Remarkable Tryals Of the Most Notorious Malefactors at the Sessions-House in the Old Baily..., vol. 1 & 2 only (of 4), embossed stamp of The Durdans to head of titles, pencil note "Beckford sale 1883 lot 2744" to vol. 1 front free endpaper, trimmed a few times into headline, occasional light soiling or marginal staining, some spotting, light browning, early 19th century polished calf, spines gilt in compartments, light rubbing to extremities, for J. Philips, 1718; and others on various trials, v.s. (7)  *** In the spring of 1789 reports of knife attacks on fashionable London women began to surface in the newspapers, the victims secretly wounded on different parts of their bodies by a man with a small knife.  These attacks elicited a great media frenzy and public interest in them grew. In December 1790, florist Rhynwick Williams, nicknamed the 'Monster', was convicted of assault on one of the women, Miss Ann Porter, and sentenced to six years in prison. For the second mentioned item, third and fourth volumes were published in 1721, continuing the series up to 1720.  A limited number of printed catalogues are available to purchase for this auction. UK: £35 (incl. postage) Rest of World: £50 (incl. postage) Please contact info@forumauctions.co.uk to place an order.

A COLLECTION OF 19TH CENTURY TEXTILESincluding two Indian shawls, one in ecru embroidered with paisley boteh design throughout, 99cm wide x 190cm long, another on camel coloured wool with embroidery to the edges, 170cm square, a linen runner with red embroidery to the edges, 35cm wide x 222cm long, and another ikat style textile (moth damage throughout each item) (4)

Peter Kinley (1926 - 1988)  Black and White Sketch Oil and pencil on paper Signed top left  Framed W32cm x H38cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Austin / Desmond Fine Art Limited  Sold Christies Modern & Contemporary Paintings , South Kensington 28th June 1991, Lot 5 - purchased direct from the artist in 1956 Note: Peter Kinley was born in Vienna, his father was Jewish and the family was forced to leave after the Anschluss in 1938. He was sent to Lytham St  Anne’s and was fostered by a Catholic family; his parents were interned in France. He  studied at Düsseldorf Academy and later at St Martin’s School of Art,  where he also taught. His knowledge of Islamic art and architecture led, in the  early 1960s, to an interest in other Eastern cultures, especially Indian. He  began to collect Indian paintings and artefacts, and Indian systems of colour  and composition bore a correspondence to his own search for a language in which  objects (people, houses, aeroplanes) could be expressed with all the clarity of  an image, but with no loss of subtlety. He left London in 1970 to teach at Bath Academy, and his work  began to reflect his more rural existence. He saw his own work as being  figurative, not in the 19th Century sense of realism or naturalism, but as based on observation of the subject.

Roger Hilton (British, 1911-1975)  Interior with Figures - work also painted verso of a female seated figure  Oil on board Framed W48.5cm x H39cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Freetask Limited 1995 Note : Roger Hilton CBE (1911–1975) was a pioneer of abstract art in post-Second World War Britain. Often associated with the 'middle generation' of St Ives painters – Terry Frost, Patrick Heron, Peter Lanyon & Bryan Wynter – he spent much of his career in London, where his work was deeply influenced by European avant-garde movements. He was born on 23 March 1911 in Northwood , Middlesex, and studied at the Slade School of Fine Art and also in Paris, where he developed links with painters on the Continent. At the Slade he won the Orpen prize in 1930. During the late 1950s and 1960s, Hilton's career began to take off and he started to spend more time in west Cornwall, moving there permanently in 1965. In the same year he married Rose Phipps, 20 years his junior, having divorced his first wife, Ruth David. He became a prominent member of the St Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize. In 1964 he exhibited at the British Pavilion at the Venice Biennale winning the UNESCO Prize.

Roger Hilton (British, 1911-1975)  Two Women  Etching Framed W44cm x H31cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Austin / Desmond Contemporary Books 1997 Note : Roger Hilton CBE (1911–1975) was a pioneer of abstract art in post-Second World War Britain. Often associated with the 'middle generation' of St Ives painters – Terry Frost, Patrick Heron, Peter Lanyon & Bryan Wynter – he spent much of his career in London, where his work was deeply influenced by European avant-garde movements. He was born on 23 March 1911 in Northwood , Middlesex, and studied at the Slade School of Fine Art and also in Paris, where he developed links with painters on the Continent. At the Slade he won the Orpen prize in 1930. During the late 1950s and 1960s, Hilton's career began to take off and he started to spend more time in west Cornwall, moving there permanently in 1965. In the same year he married Rose Phipps, 20 years his junior, having divorced his first wife, Ruth David. He became a prominent member of the St Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize. In 1964 he exhibited at the British Pavilion at the Venice Biennale winning the UNESCO Prize.

Roger Hilton (British, 1911-1975)  Two Boats Pastel on paper  Framed W29.5cm x H35cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Austin / Desmond Fine Art Limited Note : Roger Hilton CBE (1911–1975) was a pioneer of abstract art in post-Second World War Britain. Often associated with the 'middle generation' of St Ives painters – Terry Frost, Patrick Heron, Peter Lanyon & Bryan Wynter – he spent much of his career in London, where his work was deeply influenced by European avant-garde movements. He was born on 23 March 1911 in Northwood , Middlesex, and studied at the Slade School of Fine Art and also in Paris, where he developed links with painters on the Continent. At the Slade he won the Orpen prize in 1930. During the late 1950s and 1960s, Hilton's career began to take off and he started to spend more time in west Cornwall, moving there permanently in 1965. In the same year he married Rose Phipps, 20 years his junior, having divorced his first wife, Ruth David. He became a prominent member of the St Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize. In 1964 he exhibited at the British Pavilion at the Venice Biennale winning the UNESCO Prize.

Robert Buhler (1916-1989)  Bobbolds Farm (inscribed on reverse)Signed lower rightOil on canvas boardFramed W56cm x H46cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Note :  Born in London to Swiss parents, Buhler studied in Zurich before returning to London in the 1930s to continue his studies at St Martin’s School of Art and the Royal College of Art. The subdued tones of his landscapes and townscapes reflect the influence of the Euston Road Group, many of whom he came to know when visiting his mother’s Charlotte Street bookshop. He exhibited at the Leicester Galleries, Agnew’s and the Leger Galleries. He also showed at the New English Art Club from 1945 and the Royal Academy, where he was elected a full member in 1956. He was a well-respected teacher at art schools including Wimbledon and Chelsea, as well as the Royal College of Art where he was part of the staff from the 1940s.

Michael Cullimore (British 1936-2021)   Normandy Beach  Watercolour on paper  Signed and dated 1991  Framed W74.5cm x H57cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Jennifer Pearce - Jan Fraser Jenkins 1998 Note : Since 1968 Cullimore has exhibited regularly in solo and group exhibitions around UK. His work picks up the tradition of English art where Blake, Palmer, Nash, Spenser and David Jones left off. A list of the series of works gives a clue to the range of interests and influences: Jonah and the Revelation of St. John, Leda, Radiometer, Time, Orpheus and Eurydice, Prospero, Enclosed Gardens. In Michael's own search for meaning in life, his work changes the way people look at existence and the world. Whether it is through a distillation of poetic, mythological or biblical texts, or through his own vision of nature, his work consistently focuses on moments of transformation; shape-shifting experiments dwelling on the eternal cycles of growth and decay, death and rebirth. Michael Cullimore's paintings are in a number of public collections including, The Ceolfrith Gallery, Sunderland; Contemporary Arts Society of Wales; University College of North Wales; The North Wales Arts Association; Hammersmith and Fulham Picture Loans Library; Swansea and The Swindon Collection.

A WW1 Officers Compass , the black japanned case stamped No 45189, 1916, Cruchon & Emons , London. case also stamped Verner's Pattern. The leather case stamped Leatheries Ltd,1917. - Item in good condition.

Prunella Clough (British 1919 - 1999)  Untitled , c1980s Etching and gouache on paper Framed W27.5cm x H31cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Annely Juda Fine Art  Note :  Prunella Clough was a prominent British artist. She is known mostly for her paintings, though she also made prints and created assemblages of collected objects. She was awarded the Jerwood Prize for painting, and received a retrospective exhibition at Tate Britain.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak 'Easy' armchairs, circa 1955 78 x 53 x 63cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

An Aesthetic Movement stained glass hall lantern, of hexagonal form, the facets each inset with coloured glass quarries centred by white glass tablets hand-painted with Japonisme inspired scenes85cm high approximatelyTwo ceiling hooks and a length of chain provided with this lot.One ribbed knop to the base missing.One crescent shaped panels cracked through (painted with vine leaf)This item is not gilded but painted, and likely refreshed.Surface dirt to the interior particularly.No fittings for light bulbs inside, nor wired.All leaded panels are a little loose, the base section sits within brackets and is able to be lifted out.70cm high, but rose and chain would allow variable height diameter is 32cm

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak 'Easy' armchairs, circa 1955 78 x 53 x 63cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture. There is a repair to the rear leg of one of the chairs. Both chairs have minor repairs to their arms. There are minor scratches and dings throughout both chairs but overall in good condition according to age and use. Please refer to the additional images.

Pierre Jeanneret (1896-1967) for Chandigarh, a set of four caned teak PJ-010100T chairs, known as 'Office cane chairs' or 'Secretariat Chairs', painted 'PU' in Punjab for Punjabi University 78.5 x 50 x 49.5cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture. There is one chair with one repair on its arm and another chair with two repairs on its arms. All chairs have sections of fading, some scratches and dings. Please see additional images.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak stools, circa 1965, each with a dished circular seat raised on tapering supports, united with a cruciform stretcher 69cm high Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a model 'PJ-010903' teak and cane bench, circa 1955 46 x 138.5 x 46cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a model 'PJ-010902' slatted teak bench, circa 1955 44 x 138.5 x 46cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of model 'PJ-Si-34-A' caned teak low stools, circa 1955, the slightly dished tops each on a pair of A-shaped legs united by a stretcher 44 x 41 x 30.5cm Provenance: From a private collection, purchased in India during the 1980s Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of circular teak stools, circa 1965, each with a dished circular seat raised on tapering supports, united with an iron ring foot-rest, painted number ZOO-092 to one 55.5cm high Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a set of four caned teak PJEC-010301 Library chairs known as 'Cane wood seat back chair', painted 'Chd. Lib' for Chandigarh Library 76 x 47 x 45.5cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Box of costume jewellery,  Accurist ladies wristwatch, D&K watch in box, Fiordland New Zealand boxed pen, quantity of coins and  mother of pearl handled penknife. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.

Plated pierced metal tray, plated toast rack, quantity of watches, match strikers, cutlery, penknives etc.  This bladed lot is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.

Quantity of cased cutlery including horn topped carving knife set and a Royal Crown Derby bread knife. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.

US British used World War 1 bayonet in leather scabbard. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.

(Bible, New Testament Greek.) 'Tēs Kainēs diathēkēs apanta. = : Novi Testamenti libri omnes, recens nunc editi / cum notis and animaduersionibus doctissimorum, præsertim verò Roberti Stephani, Josephi Scaligeri, Isaaci Casauboni ; variæ item lectiones ex antiquissims exemplaribus, and celeberrimis bibliothecis, desumptæ.', Londini, [id est Leiden : by B. and A. Elzevir] Apud Richardum Whittakerum Bibliopolam, 1633, pp271-274 supplied in manuscript pen & ink Greek c.1824 (ownership inscription and signature at front of one John Horner dated 1824 in same hand), rebound quarter calf gilt

A superb natural sapphire, possibly Burmese, diamond three-stone ring The violet-blue emerald-cut sapphire is 2.5ct approx. with no indications of treatments, and two earlier modern brilliant-cut diamonds on the sides, 0.70ct each approx., estimated I1-2, colour I, set in platinum, stamped PLAT, size K1/2.The country of origin of the stone is based on observation of internal inclusions and colour, full report on the sapphire can be provided for an additional charge by our gemmologist. No certificate on this item.Based on observations of the stone:- the purplish blue colour- growing zones visible under microscope- silk- older type of a cut suggesting of a particular time it was facetedAll these aspects suggest that this stone's country of origin is Mayanmar ( then Burma).The stone is very clean, and do not reveal any other significant features which would suggest otherwise. As for presence of silk the stone is not heat treated.

The Underground - Simon Patterson The Great Bear Lithograph from Tate Publishing, Millbank, London. Framed and glazed 72x60cm. -Item displays London Underground tube map but with comedians, scientists and personalities named instead of stations tube station.

Underworld Evolution (2006) Costume -Costume item from Underworld: Evolution, to include; Peasants bloody dress apron: A woollen apron with distressing,fake blood and added detailed remains, accompanied by a Premiere Props COA. (1)

Star Trek (1966) James Doohan as Scotty Autograph - James Doohan signed Star Trek 10x8 still, professionally framed and glazed in a 11x13 display. We do advise that signatures have not been authenticated by us, therefore please satisfy yourself with own research and judgment prior to bidding on this Lot.(1)Condition Report: Signed in black marker pen. Item is in a plastic sleeve, provided by Amethyst Framing.

Star Trek (1966) Nichelle Nichols As Uhura Autograph - Nichelle Nichols signed Star Trek 10x8 still, professionally framed and glazed in a 11x13 display. (1)Condition Report: We do advise that signatures have not been authenticated by us, therefore please satisfy yourself with own research and judgment prior to bidding on this Lot. Signed in black marker pen. Item is in a plastic sleeve, provided by Amethyst Framing.

Marvel Legends Series - Iron Man's Power Infinity Gauntlet.Iron Mans Infinity stone gauntlet, battery operated functions. Part of the Legends series line. Features in Avengers, used by Tony Stark to even the odds against the antagonist of the franchise, Thanos.Manufactured by Hasbro. (1)Condition Report: Item is Mint in box. No damage to product packaging. Features Avengers movie title on box (Not to be mistaken with Infinity War/Endgame title). Released pre-Disney packaging. One of the rarer items from the range. Originally, sold out on release. Hasbro manufactured more to meet demand. Once supply increased, the second wave took off and stopped people reselling at inflated prices.

Marvel Legends Series Infinity Gauntlet 1:1 scale replica of the Infinity stone gauntlet used by Thanos. Electronic features and full articulation. includes Infinity stones. Manufactured by Hasbro 2017 (first release).Condition Report: Mint in box.The first release of the Hasbro Marvel Infinity Gauntlet. Incredibly high demand after both fans and casual viewers saw the infinity saga on the big screen. Avengers Infinity war/Endgame were some of the highest grossing films. In 2017, action figures saw a boom after years of decline. Hasbro started to have a monopoly on the market and produced many products to compete with companies such as Neca or McFarlane. Due to hype of Infinity war and the infinity saga, The gauntlet was selling such a high quantity of units that it needed to produce several more waves to meet demand.Jumping to 2024, The Gauntlet is only available on the secondary market and is being sold at inflated prices. It is still an item that Marvel collectors adore.

Star Trek (1966) George Takei Walter Koenig, as Hikaru Sulu and Ensign Pavel Chekov Autograph - George Takei and Walter Koenig dual-signed Star Trek 10x8 still, professionally framed and glazed in a 11x13 display. (1)Condition Report: We do advise that signatures have not been authenticated by us, therefore please satisfy yourself with own research and judgment prior to bidding on this Lot.Signed in black marker pen. Item is in a plastic sleeve, provided by Amethyst Framing.

Dan Ackroyd Signed Crystal Head Vodka -Bottle of Crystal Head vodka, signed by actor Dan Ackroyd (Ghostbusters). Limited edition Pride bottle with rainbow design. Signature in gold Sharpie. (1).Condition Report: Please note: Alcohol item. Age restriction.

Marvel Legends Series - Iron Spider Electronic Helmet Spiderman's upgraded suit, Iron Spider from Avengers Endgame. Electronic helmet with light up features. Manufactured by Hasbro.(1)Condition Report: Item is Mint in box.

Collection of 4 The Lord Of The Rings (2001-2008) Bust and Model collection - To include: a limited numbered bust; King Elenoll bust no.1833/3000 Minas Tirth Exclusive DVD collectible (Return Of The King), Orc Overseer Bust (The Fellowship Of The Ring) and The Dark Tower Of Sauron Produced by Danbury Mint including COA. Items originally sculpted by Warren Mahy, Greg Tozer, Mary Maclachlan & P.Flickling. Sideshow collectibles and Danbury Mint produce high quality, premium products which resemble their on-screen counterparts beautifully. (4) 1 box. Condition Report: Fair-good condition. Some chipping to paintwork and small sections from dioramas have come off. Nothing that ruins the overall display of the items. Side show limited no. bust in excellent condition. Danbury Mint item is battery operated, signs of battery leakage rendering the electronic features obsolete. comes with COA. no original boxes included.

Star Trek (1966) DeForest Kelley As Dr.McCoy Autograph - DeForest Kelley signed Star Trek 10x8 still, professionally framed and glazed in a 11x13 display. (1)Condition Report: We do advise that signatures have not been authenticated by us, therefore please satisfy yourself with own research and judgment prior to bidding on this Lot. Signed in black marker pen. Item is in a plastic sleeve, provided by Amethyst Framing.

Collection Of Hollywood Icons Autographs (1950s-1960s) -Collection of 3 Autographs of Hollywood Actors from the 1950s-1960s, To include Edward G Robinson (12.5x17) with COA, Bette Davies (11x13) with COA and other item. professionally framed and glazed. (3).Condition Report: We do advise that signatures have not been authenticated by us, therefore please satisfy yourself with own research and judgment prior to bidding on this Lot.

Marvel Legends Series - The Falcon And The Winter Soldier Shield -1:1 scale Captain America shield, alternative design from The Falcon and the Winter Soldier. Role Play prop item released under Marvel studios. Manufactured by Hasbro. (1)

Advertising Tins - an early 20th century novelty lithographed tinplate biscuit tin, modelled as a pram, the cover with baby wearing a bonnet holding a rattle, and a golly, rotating wheels, 18cm long, c.1910 Notice from the the-saleroom.com: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

A silver single propeller blade shape letter seal, engraved DBW for Diana Barnato Walker, hallmarked for London 1958 by Harrods Ltd, 7.5cm long, accompanied by two publication extracts featuring Diana Barnato Walker. Provenance: This item belonged to Diana Barnato Walker, who was a British aviator, best known for being one of the first women to fly a British fighter aircraft during World War II. She was born in 1921 and came from a wealthy and notable family, being the daughter of Sir John Barnato, a successful businessman, and the granddaughter of the founder of the famous British luxury car company, Bentley Motors. he later set a number of flying records, including the first woman to fly solo around the world in a light aircraft in 1958. Her accomplishments helped pave the way for women in aviation, and she remains an important figure in British aviation history.

ULTRA RARE, circa 1938 Naval Assault dagger - this dagger is an alternative pattern to the 1938 naval officers dirk. Made in small quantities by various manufacturers, it was NEVER ADOPTED. The dagger comes with an article with a photograph of the dagger which states "The photograph, taken from the single remaining prewar catalogue in the Puma factory in Solingen. The caption reads in translation - no 8 German navel officers dirk, PATENT PENDING, finely engraved, with hammered scabbard (Puma pattern)". The catalogue is undated however the same picture also appeared in the special July 1938 issue of the Solingen trade journal "Die Klinge".Please Note - You must be at least 18 years old to buy this item.

Third Reich 1936 Model RLB [Reichsluftschutzbund] dagger by Paul Weyersberg & Co. Solingen.The grip is a carved wood base. The RLB button is an excellent example. In the center are the initials of the organization, raised out in blue enamel. Below the initials is a blue enamel, raised mobile swastika. The nickel crossguard is with a short winged, Art Deco style eagle that looks to the viewer's right. The triangular quillon arms have three accent grooves cut into the obverse facings.is etched with dual ovals containing the name and location of the producer, “Paul Weyersburg & Co./Solingen”. Inside is a downward pointing sword flanked by wheat sheaves.The scabbard has one link with original leather and unmarked metal hanger.Please note - You must be at least 18 years old to purchase this item

RAD Leader dagger, circa 1937 with associated scabbard,Rare model 1937 RAD Führer Haumesser (Officer/Leader's Hewer), complete with original plated steel scabbard. The pommel features the noble eagle looking to the viewer's left. The blade has the acid etched motto “Arbeit adelt” however the other side does not appear to have a makers mark.The scabbard is in good overall condition retaining retains much of the original plating throughout the surface and also retaining is partial pebbling to both sidesPlease note - You must be at least 18 years old to purchase this item.

SS Dagger with etched inscription - SS Oberstamfurhrer ADOLF AX, SS Abschnitt XI 1934 to the top metal part of the scabbard, the other (frontside) etched with the scull and cross-bones. The roundel is copper coloured, there is no district stamp to the lower cross guard but a faint Wf stamp to the lower cross guard. The blade has the expected acid etched "Meine Ehre heisst Treue" motif. Leather hanger with RZM stamp.Please note - Many years ago the vendor purchased this dagger as having been the property of Adolf Ax from a reputable dealer however there is no documentary evidence that comes with it.ADOLF AX (born 23-06-1906 Hainault, Belgium - died 6th Feb 1983, Wiesbaden, Germany)Ax joined the NSDAP (Nazi party on the 12th Jan 1930 and the SS on the 29th October 1930. Initially he was an SS-Mann with the SS Standarten & was promoted to SS-Obersturmfuhrer on the 11-09-1933, then became its commander.He remained in command until 24th April 1934On the 20th October 1939 with the rising of the SS-VT Armoured Division, Ax was appointed as the first commander of the Panzerabwehr-Abteiling, later the SS Panzer division "Das Reich".As the commander of SS-Infantry Regiment 11 he was involved in Operation Barbarosa (Invasion of Russia) however Ax suffered nose problems and was sent to a military hospital in Berlin until 3rd November 1942.He was still in the hospital when he received command of the SS-Panzerjager education department in Hilversum, Holland.Ax stayed in Holland under the command of the Waffen-SS "Niederlande" commander Carl-Maria Demalhuber who liked Ax & thought him and excellent officer.On 1st Sept 1943 Ax was promoted to SS-Obergruppenfuhrer & commander of 32 SS-Feiwilligen Grenadier Division "30 Januar".Ax was relieved of his command by SS-Standartenfurhrer Joachim Richter in March 1945Please note - you must be at least 18 years old to buy this item

Large French venerie hunting dagger. Steel crossguard with two bronze quillons in the shape of boar's heads. Steel pommel topping a green painted carved wood handle. Original leather and metal scabbard with leather hanger.The blade measures 43.5 cm with the overall size being 63 cm. Please note - Many years ago the vendor purchased this dagger as having been the property of Reichsmarshall Herman Goring & that it was taken from his Carinhall hunting lodge, Berlin at the end of the war, however there is no documentary evidence that comes with it.Please note - You must be at least 18 years old to purchase this item.

Revenge Of The Pink Panther (1978 Comedy by Blake Edwards starring Peter Sellers) - original production made large sized sign, believed to have been used at the premiere / post-filming cast and crew party. Wooden construction, in the form of the classic animated Pink Panther. The signpost reading 'Blake Edwards' Revenge Of The Pink Panther - Sorry - My Crew, Cast & Guests Only'. Hand painted. Some repairs to the rear. Measures 76cm tall. Likely a unique item, made exclusively by the production designers. Note: can be delivered worldwide - please view the 'Shipping' tab and rates for Furniture Delivery.

Football - Manchester United 2007/2008 - full squad autographed football. Includes: Rio Ferdinand, Ole Gunnarsolskjaer, Ryan Giggs, Sir Alex Ferguson, Gary Neville, Christiano Ronaldo, Paul Scholes, Wayne Rooney, and many others. Supplied with a certificate naming all the other signatures. Official Man Utd FC issued item, with framed certificate.

Only Fools & Horses (BBC Sitcom 1981-2003) - Trotter Door - autographed Trotter Van rear door, signed by twenty members of cast, including Sir David Jason. The door being an exact lifesize replica of a Reliant Regal Supervan III ' Trotter Van '. Yellow, with full Trotters Independent Trading livery in black, and a clear window to the top. Custom made. Signed in black ink by Jason, adding his famous catchphrase ' Lovely Jubbly! ' Jason has only ever signed a handful of these, and they exist in very limited numbers. Other autographs include: Sue Holderness - MarleneGwyneth Strong - CassandraTessa Peake-Jones - RaquelJamie Smith - DamienPhilip Pope - Tony AngelinoAntoni Corone - Rico OcchettiMichael Fenton Stevens - Alan PerkinsRobin Driscoll - Great RamondoDaniel Peacock - Mental MickeyNabil Elouahabi - GarySarah Duncan - Lady VictoriaMark Colleano - Andy WilliamsMichele Winstanley - Barmaid KarenNula Conwell - Barmaid MaureenJean Warren - SoniaJake Wood - Elvis, Rodney’s assistantJillianne Foot - JackieTony Dow - DirectorAdrian Pegg - Production Manager   The door comes 'as new' with a deliberately dirty paint scheme, and hanging fitments to the rear for easy wall mounting. Difficult to find such an item signed by as many cast members. With certificate from the Only Fools and Horses Appreciation Society. A must-have piece of memorabilia for any Only Fools fan. 83cm x 93cm.