Rare Third Reich SS Honour Ring (SS-Ehrenring / Totenkopfring), very fine example of the extremely rare award personally bestowed on the recipient by the leader of the Third Reich Schutzstaffel, better known as the SS, Heinrich Himmler. The ring of silver with Totenkopf skull to the centre and the band decorated with various runic symbols between oakleaves. The ring is engraved to the inside with the recipients name, “s.lb. Strutz” the date 20.4.37 and the signature of Heinrich Himmler. The ring remains in very good overall condition showing just very light wear and evidence of polishing when looked under a glass. This ring was given to the vendors mother Janette Diefendorf by an American serviceman. Her mother served with the Clubmobile Group of the American Red Cross, an American from Greenwich, Connecticut with German ancestry. The vendor has provided copies of newspaper cuttings which feature her mother and detail her wartime service which took her from New York to Northern Ireland and then onto mainland Europe, landing in France in July 1944 and following the American 1st Army through France, Belgium (Ardennes offensive) and into Germany. It was whilst stationed in Germany she believes her mother was given this ring. The SS honour ring was not something that could be bought, it had to be personally awarded and as such was very highly regarded and used as a symbolic item of SS ideology. In 1938, Himmler ordered the return of all rings of dead SS men and officers to be stored in a chest in Wewelsburg Castle. This was to be a memorial to symbolize the ongoing membership of the deceased in the SS order. In October 1944, Himmler ordered that further manufacture and awards of the ring were to be halted. Himmler then ordered that all the remaining rings, approximately 11,500, be blast-sealed inside a hill near Wewelsburg. By January 1945, 64% of the 14,500 rings made had been returned to Himmler after the deaths of the "holders". In addition, 10% had been lost on the battlefield and 26% were either kept by the holder or their whereabouts were unknown.
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WW2 German Artillery Officers Triple Erel Peaked Cap, good example of a high form officers peaked cap in the fine doeskin wool material associated with the premier cap maker of Erel. Red piping to the crown and bordering the central bottle green band. The cap retains its original officers frosted silver cap eagle and special pattern cockade with the Erel patented vented cockade. Officers chin cords supported by side buttons. Fine black patent peak with cross hatching to the underside. Interior of the peaked cap has the original tan leather sweatband with the perforated forehead section and the silver tooled Erel makers details. Interior of the cap has fine yellow artificial silk lining with the tailors diamond inside for Erel and the very rare to find original paper label for the Erel maker, making this cap a triple Erel as it is known in collectors circles. The cap is probably an un-issued example as it shows no service wear. Sadly the cap does have some moth tracking and light areas of repair but still a very good example. Peaked caps with the original Erel paper label to the interior are extremely rare to find, especially for a combat branch of service.
Rare WW2 German Nebelwerfer (Rocket Troops) NCO’s Peaked Cap, fine example produced in a fine wool material with Bordeaux red piping to the crown and bordering the central bottle green band. Complete with later war zinc cap eagle and cockade insignia. NCO’s pattern chinstrap with plain black side buttons. Interior with green fibre sweatband, green cloth lining and celluloid tailors diamond by Pekuro with the black velvet edging to the sweatband which is a feature of this maker. The cap shows light service wear but generally still very good condition. One of the rarest branches of service to find.
Rare Luftwaffe Air Traffic Control NCO’s Peaked Cap, fine example of a mid to late war period peaked cap in Luftwaffe blue grey wool with black central ribbed band. Apple green piping to the crown and bordering the central band. Aluminium cap eagle and cockade. NCO’s patent chinstrap and peak. Interior with orange cloth lining with tailors diamond to the centre. Typical mid war paper cloth sweatband. Cap shows some service wear but is still a very good example. The apple green piped NCO’s peaked caps of the Luftwaffe is one of the rarest piping colours to find, very few are on the market compared to the other branches of service.
Rare Variation of 1st Pattern German Tropical Pith Helmet, fine example of a 1st pattern pith helmet but with the much harder to find olive green canvas cloth covering to the body of the helmet. Light tan leather trim and chinstrap fitted to the helmet. Pair of Afrika Korps dust goggles to the helmet. Fitted to the helmet are metal helmet decals for the Waffen-SS, including rune shield and party decal shield, these are possibly later applied. Interior of the helmet with tan leather sweatband and red cotton cloth lining. These olive green canvas examples are much harder to find than the standard 1st pattern helmets.
WW1 Welsh Machine Gunners Knife, excellent quality reproduction of the very rare pattern knife used by WW1 Welsh Machine Gunners, often referred to as a “Welsh Knife”. Large swollen blade with central ridge. Engraved to the blade “DROS URDDAS CYMRU” (For the Honour of Wales). Steel pointed pommel, rope covered grip and circular folding guard. Housed in a canvas covered leather scabbard. Knife shows some wear. Blade 44cms, overall 62 ½ cms.
pencil and watercolour, inscribed in pencil DESIGN FOR BROOCH IN TURQUOISE AND SILVER-/ OR PENDANT10cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M21Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
cold painted bronze, carved and painted ivory, onyx, inscribed F. PREISS, impressed to bronze PK33.8cm wide, 58.5cm high (overall), 52cm high (figure and plinth), 37cm high (figure only)Footnote: Literature: Catley, B. Art Deco and other Figures, Woodbridge 2003, p.289Alberto Shayo, A. Ferdinand Preiss, Art Deco Sculptor, the fire and the flame, Woodbridge 2005, p.105 where the smaller version of this model is illustratedNote: At the beginning of the 20th Century the German Ferdinand Preiss established a company with Arthur Kassler known as Preiss-Kassler and until his death in 1943 he continued to design sculptures. Regarded as one of the most important Art Deco sculptors, he is acclaimed for his popular mixed media (chryselephantine) figures which were affordable to the middle class and appropriately sized for the home. His works were usually based on classical and mythical subjects, such as The Archer, circa 1925, which appears to represent Diana the huntress from Roman mythology. Amongst his other favoured subjects were idealised children, women at leisure sunbathing or holding parasols, or figures involved in sporting endeavours such as ice-skating, playing tennis, football or golf, or even javelin throwing. Preiss' Archer was executed in two sizes, the present lot representing one of only a few known examples of the rare larger variant.Note: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
pencil and watercolour, inscribed in pencil - PLEASE PUT ON/ EXTRA RING &/ FASTEN CHAIN TO PENDANT-17.5cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M20Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
pencil, watercolour and silver paint16.5cm x 12.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M19Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
pencil and watercolour, inscribed in pencil ENAMEL -/ SIDE-/ FRONT-/ BACK-10.5cm x 14cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M23Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
A rare copper and brass ceiling light probably by WAS Benson, the copper frame of foliate form with brass strap supports and James Powell vaseline glass shade unsigned, 24.5cm. diam. Provenance.Private collection.Catalogue notesThis design was also produced by G.E.C. but with a slightly different hanging arrangement. Another example of this light was attributed to be by Benson by the Country Seat in 2006.
A rare WAS Benson silvered metal table lamp, model no.1192, on domed square base with pad feet, the scrolling stem flanked with spiral tendril, the articulated fitting with James Powell vaseline glass shade stamped Benson to articulated fitting, 44cm. high Literature Ian Hamerton (editor) WAS Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books,page 147 plate 125 for a comparable example illustrated Provenance Private collection.
UNITED STATES - Special Interest – California Zephyr and Southern Crescent Prestige passenger trains Pre-Amtrak AMTRAK – US nationalised rail passenger services operator; Special Interest – Variety of pre-Amtrak US TTs AMTRAK – US nationalised rail passenger services operator; Special Interest – additional pre-Amtrak US TTs; US Official Bus Guide 1976 – 3 parts Greyhound TTs 1970, 1976 Suburban Transportation Guide 1975 – No. 1, may be rare; Working Timetables 1960s and 1970s, and Rules and Instructions documentation Pennsylvania RR, Penn Central RR, Indiana Harbour Belt RR; Working Timetables 1960s Boston and Maine; Boston and Maine New York New Haven and Hartford RR Chicago and North Western Reading RR May be rare - Great Western Railway (Colorado) Also New Jersey Working TTs 1989 – Newark and Hoboken Divisions; AMTRAK – US nationalised rail passenger services operator National Timetables – extensive set from 1971 to 1992, including first year of operation Scarce - First Amtrak Timetable, May 1, 1971 Amtrak Regional and Route TTs; VIA – Canadian nationalised rail passenger services operator National timetables from 1981 to 1987 Some regional TTs and leaflets; Canadian National Summary TT 1973 Montréal – CP Lake Shore and Farnham; CTCUM (Montréal Public Agency) Lake Shore Montréal – CM St Hyacinthe and Deux Montagnes; CTCUM Deux Montagnes Vancouver Trolleybus TTs British Columbia Railway GO Transit (Toronto Area Public Agency); Ontario Regional Timetables Algoma Central Ontario Northland Lake Nipissing Steamer; Canada, Heritage, VIA, CN City Transit, Calgary, Edmonton, Ottawa, Montréal; Railway Historical Society NY; and AMTRAK Reports and study papers. - a box
Preview of 1973 Accelerated CIÉ Rail Services, HeliRail flyers – 2x (not identical) Very rare Items – especially HeliRail The HeliRail Service operated for just 11 weeks in 1984 and carried a total of just 258 passengers in that time; CIÉ Special publications - Foolscap size CIÉ special notices 1976-2007 Various CIÉ publications - CIÉ Rail Development Plan documents, Great Southern Hotels Brochure Studies in Rail Viability; CIÉ Rare and unusual items - Aran Island Shipping Services, Papal Visit Special Arrangements Galway and Limerick City Bus Service TTs Cork City Bus Services – 2 batches CIÉ Holiday arrangement booklets 1959 – 1986 - a box
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209761 item(s)/page