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A 14 karat rose gold tourmaline pendant. Featuring a deep bottle green verdelite step cut tourmaline of ca. 19 ct. in a four prong setting and ornate gallery. Gross weight: 7.6 g. L 3 x B 1.5 cm.

An 18 karat gold gentleman's wristwatch by IWC, ca. 1960's. Mechanical movement. TV case, round champagne coloured dial, batons and convex crystal. To a 14 kt yellow gold, slightly tapered Bismarck bracelet with 2 step closure. No box, no papers. Gross weight: 67.9 g. totale lengte 17.5 cm., kast ca. 33 mm.

ROLL OF 3M SAFETY WALK STEP COVERINGS

TWO ALLOY STEP LADDERS.

Pair of wooden step ladders

A 19th century cast iron door step of a horse.

The history of the Sportster in the Harley Davidson range can be traced back to the introduction of the side valve K series machines introduced in 1952. Intended to compete with the overhead valve 500cc British machines on both the track and the road, the new models were considerably lighter than their overhead valve brothers. The next major step in the evolution of the range came in 1957 when the overhead valve 883cc XL series of machines was introduced to be joined at the beginning of the 1970's by a larger capacity variant initially displacing 997cc. Whilst the 883cc engine size would remain a constant, continuing to this day, the larger variant would undergo two further increases in capacity, the first coming in 1986 with the introduction of the Evo 1100cc the second in 1988 when the 1200cc engine was adopted. Throughout production the Sportster, in both capacities, has retained its slim, stripped down appearance, with the 883 proving to be particularly popular with riders purchasing their first Harley.This iconic motorcycle is presented in metallic grey and has only covered a mere 9,940 miles from new. The present owner had the bike fully recommissioned in 2020 which included a new drivebelt, new battery and serviced. It has covered zero miles since 2020 and has been stored carefully. A great touring bike with low mileage, ready to use!

Some ideas are just moments of genius, shifting a concept around 180° and leaving other manufacturers playing catch-up. This was the case with Fiats new Multipla. Not only was it their first rear wheel drive car but they went one step further and moved the cockpit over the front wheels, allowing this interior to now seat six people in three rows in comfort, a concept still in production today. The engine in the 600D was 767cc unit, an eminently flexible motor with a top speed just under 70mph making these charming and practical little vehicles among the most sought after of all post-war Fiats.This charming Multipla has spent most of its life in Italy, until four years ago when our vendor purchased from the previous long-term owner. Having undergone a full bare metal, no expense spared restoration and repaint with underbody renovation by Automotive in Martina Fraca, Southern Italy to showcase their paint products. More recently having been used to ferry friends and family around on the Isle of Wight where it presides, wherever it goes it creates quite a stir. A best in show winner on the two occasions it has been entered, we are informed by the vendor she starts, drives, and stops superbly, with all gears selecting correctly. Offered with V5C registration document, current MoT certificate and original import papers. Classic Multiplas in this superb condition are rare and this one, goes as well as it looks€¦and it looks gorgeous. 

The 996 is the internal designation for the Porsche 911 model manufactured and sold between 1998 and 2005. On its debut, the 996 featured the most significant changes to the Carrera model since its 1963 introduction, namely the water-cooled engine replacing the previously air-cooled unit. Progressively stringent noise regulations, environmental concerns, a higher expectation for refinement and a high-performance, four-valve per cylinder engine made the switch necessary. Other changes included a sleeker body with a more steeply raked windshield and a redesigned interior. The performance characteristics remained superb with reliability at its core. The Targa models now featured a full glass and electronically operated roof. The 996 was another step forward for Porsche, making cars that not only excited their fan base but appealed to those who wanted a comfortable and practical everyday sports car that could sprint to 60 mph in a shade over five seconds.First registered 15th March 2002 this example presented in silver cost £66,608 when new which included cost options such as Porsche stability management, 18 inch Turbo wheels, sound package and painted instrument dials. Delivered to its first owner in Ascot the accompanying service booklet shows 10 main dealer stamps followed by a further 9 services with specialists with accompanying invoices the last with Northway which was a major service with spark plugs in October 2021. We are informed by the vendor that the car also boasts new discs and pads, a recent bore inspection in March 2021, new Bilstein shock absorbers, springs and bump stops and has a modern Apple Play/DAB stereo fitted the original also suppled. Offered with full book pack and an MoT test certificate until September 2022. The previous owner was a mechanical engineer and the attention to detail shows, recently ceramic coated this is a lovely example of the 996 incarnation and viewing is highly recommended.

THREE CORGI DIECAST MODEL MODERN TRUCKS comprising a No.CC13405, M.A.N. TGA XL Step Frame Curtainside Trailer 'Eddie Stobart'; No.CC12709, E.R.F. ECS Feldbinder Tanker 'Blue Circle Cement'; and No.CC11903, E.R.F. EC Feldbinder Tanker 'British Sugar', each mint or near mint and complete with unfitted wing mirrors, each boxed.

A CIRCUS BICYCLE painted orange, with a high frame and rear foot step/rest, the wheels 61cm (24 inches) diameter, overall 151cm high (floor to handle-bars).

A small pair of aluminium steps and a large step ladder.

Two wooden step ladders: six and eight rungs.

Emerald and diamond ring, the step cut stone approximately 15.1mm x 10.9mm x 6.5mm deep, with a trio of small brilliant cuts to either side, the white metal mount stamped '750', size Q, 7.3g gross approxCondition report: The stone has most likely been treated to enhance its colour and/or hide inclusions. The stone is a vibrant green and appears more bluey/green in the photos. Very few visible inclusions even with a 10 x loupe. No chips or abrasions. The mount is in good condition. We would highly recommend viewing in person. **General condition consistent with age and use.

Rare George III brass and shagreen-cased pedometer, signed Spencer & Perkins, London, the enamel main dial demarcated in tens to 100 for step counting, subsidiary dials for miles and dozens of miles, the mechanism set within a gilt brass case and operated by a tilting rod numbered `516`, 53mm diameter, terminating in a waistband hook, 14cm overallFootnote: Spencer and Perkins are recorded as watch makers at 44 Snow Hill, London, 1765-1806. When hooked over the waistband, the mechanism advances the count by ratchey inclunation from the movement of the thigh.Condition report: Dial has a few flecks but is otherwise good. Shagreen back has some variation in colour and has a couple of small rusted iron spots. Mechanism advances when rod is moved, but is otherwise unwarranted.

AN 18CT GOLD DIAMOND AND EMERALD COCKTAIL RING the octagonal plaque measuring 1.9cm by 1.6cm and comprising a step cut emerald measuring 1cm x 0.7cm and surrounded by fourteen single cut diamonds, each measuring 0.3cm, the shoulders fitted with three tiny diamonds, each side on a ridged outer shank, the shank with rubbed 750 hallmark, maker RSC, ring size M ½ weight 10grams

A set of vintage teak step ladders by Simplex Ladders. H. 159 W.36

Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Dancing Bride, circa mid-1960s signed 'Y Adebayo Grillo' (verso)oil on board122 x 81cm (48 1/16 x 31 7/8in).Footnotes:ProvenanceA private collection, UK.With a career extending over six decades, Yusuf Grillo (1935-2021) is one of the most significant figures in Nigerian art. As a young man, he belonged to the influential Zaria Art Group formed by pioneering artists including Uche Okeke, Bruce Onobrakpeya, and Demas Nwoko while studying together at the Nigerian College of Arts, Science and Technology, Zaria in the 1950s. These artists challenged the hegemony of the European canon in the landscape of contemporary African art. They embraced their West-African cultural heritage to establish a modern Nigerian aesthetic at a time when the country was fighting for its independence from British colonial rule. Elements of Western art history were fused with themes, techniques, and mediums indigenous to Nigeria in a process that Okeke termed 'Natural Synthesis'. While Grillo proactively engaged with the ideas propagated by the Zaria Art Group, he distinguished his approach to artmaking by privileging the role of the individual artist in this process of synthesisation. Working across diverse media including painting, sculpture, mosaic, and stained glass, he asserted that this fusion of European and Nigerian references ought to be seen 'in the light' of individual experience 'knowing that you are part of the system' (Grillo quoted in Sike and Oyelola, 1988: p. 64). Grillo's conviction in the significance of the artist's creative vision led to his own formulation of a distinctive painterly style and subject matter, as evidenced in The Dancing Bride. Thematically, Grillo painted the people he encountered in Lagos. He favoured female subjects and had a particular interest in the Yoruba heritage which he believed to be at the heart of the city in which he was born and lived most of his life. In the present work, he captures a moment of celebration. A sense of movement is conveyed through the energetic brushstrokes used to depict the dynamic stance of the female figure: her weight rests on one leg while her hips are cocked to the side as if anticipating the next step of the dance. Executed in the cool blue and purple tones synonymous with Grillo's paintings, The Dancing Bride evidences the influence of both Pablo Picasso's Blue Period (which the artist had encountered as a student in Zaria) and abide (the indigo-dyed cloth of the Yoruba people). While Grillo primarily takes the human figure as his subject, Chika Okeke-Agulu argues that this 'subject matter is meaningful only to the extent that it permits him to engage enduringly and passionately with form, colour and painting' (C. Okeke-Agulu, 2020: p. 41). The female figure is elongated in a process of stylization. Reflecting Grillo's enduring interest in mathematics, her body is expressed through flattened planes that echo the geometric shapes that comprise the non-representational background. The drapery of the bride's dress is transformed into curved forms which are carefully balanced against the jagged triangles that frame the figure. As in his other paintings from the mid-1960s depicting stylised women such as Two Women (1965) and Ayi and Tayi (1965), Grillo's engagement with the female form can be conceived as much a formalist experiment as a representational exercise. Fusing mathematics, Western art historical references, and Yoruba culture, through The Dancing Bride Grillo synthesises a distinctive approach to painting which stands as a powerful contribution to postcolonial modernism within the canon of Nigerian art.BibliographyPaul Chike Dike and Pat Oyelola (eds.), The Zaria Art Society: A New Consciousness (Lagos, 1998)Chika Okeke-Agulu, Yufus Grillo: Painting. Lagos. Life (Milan, 2020).For further information on this lot please visit Bonhams.com

Alexis Preller (South African, 1911-1975)Mapogga Women with a Child signed and dated 'Preller '53' (lower right)oil on canvas51 x 40.8cm (20 1/16 x 16 1/16in).Footnotes:ProvenanceAcquired directly from the artist;By direct descent to the present owners.Created in 1953, Mapogga Women with a Child was painted at the height of South African artist Alexis Preller's engagement with the 'Mapogga' theme. He had first encountered the people he called the 'Mapogga' (a term devised by the Boer settlers to name the Ndzundza group of the Southern Ndebele people) in 1935 on a sketching trip north of Pretoria. He came across a group of Ndebele women working in the fields and followed them to their village. Enraptured by the indigenous dress of the women, Preller embarked upon a career-long artistic project to capture his perception of the 'Mapogga' culture.In his treatment of the theme, Preller was not motivated to produce anthropological studies of the indigenous communities he encountered in South Africa. Crucially, his depictions of the Ndebele women (who served as his greatest source of inspiration) were rather shaped by his desire to formulate an iconic symbol of the essence of Africa – a distinctly modernist enterprise out of step with contemporary attitudes. His female figures are consequently highly stylised with elongated limbs, high-set breasts, and small ovoid heads. In the present work, the arms, necks, and ankles of the women are encircled with the rings typically worn by the Ndebele and their clothing is reimagined as geometric forms that enshroud the figures. Through a process of formal simplification, Preller transforms the matriarchs into icons 'through which I can convey what Africa means to me' (Preller quoted in Esmé Berman and Karel Nel, 2009a: p. 146).Preller conceived of his depiction of the 'Mapogga' people in relation to both his own situated experience and the avant-garde in Western art history. He described his painterly project as a means 'to identify myself with my age and place: Africa and the Twentieth Century' (Preller quoted in Esmé Berman and Karel Nel, 2009b: p. ix). The artist had left for England in 1934 where he studied for a year at the Westminster School of Art. In 1937 he continued his studies at the Académie de la Grande Chaumière in Paris. Here, he engaged with the paintings of French Post-Impressionists including Paul Gaugin and Vincent van Gogh, along with the work of twentieth-century modernists including Picasso whose paintings dominated the city's galleries in the 1930s. The stylisation of the figures in Preller's 'Mapogga' works resound with references to this European modernism along with the surrealist aesthetic of the Italian artist, Giorgio de Chirico. While the first work on the 'Mapogga' theme was exhibited in 1936, the present work marks Preller's particular interest in the Ndebele women which he began to pursue with renewed vigour in the early 1950s. The compositional arrangement of the figures evidences the influence of the artist's trip to Italy made in 1953, the same year in which the current work was created. The central figure holds a child with one arm, emulating Western art historical imagery of Mary with the baby Jesus. Preller fuses his mythologising of the Ndebele people with the iconography of Christianity to present a reimagining of the mother with child in his distinctive painterly style. BibliographyEsmé Berman and Karel Nel, A Visual Biography. Alexis Preller: Africa, the Sun and Shadows (Saxonwold, Johannesburg, 2009a)Esmé Berman and Karel Nel, A Visual Biography. Alexis Preller: Collected Images (Saxonwold, Johannesburg, 2009b).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A yellow sapphire and pearl brooch millegrain-set with a rectangular step-cut yellow sapphire, flanked to either side by a half-pearl, in a floral surround, unmarked(Length: 6.5cm)

A ruby and diamond ring part collet-set with an octagonal step-cut ruby, flanked to either side by a square step-cut diamond, each shoulder channel-set with four baguette-cut diamonds, stamped 750(Ring size: K/L)

An emerald ring claw-set with a rectangular step-cut emerald, stamped 18(Ring size: S)

A mid 20th-Century diamond double clip brooch of scrolling design, channel-set with two central rows of square step-cut diamonds and throughout with graduated eight-cut and round brilliant-cut diamonds, unmarked(Width: 6.5cm)

SAPPHIRE AND DIAMOND PENDANTSet with an oval-cut sapphire within a marquise and brilliant-cut diamond surround, within a brilliant-cut diamond ground, each end accented by step-cut sapphires, diamonds approx. 3.50cts total, length 4.1cmFor further information on this lot please visit Bonhams.com

ALAN MARTIN GARD: DIAMOND-SET RING, 1968; TWO DIAMOND-SET RINGS1st: Of textured design, set with step-cut diamonds to the front, 2nd: Of textured design, set to the front with brilliant-cut diamonds, 3rd: Of swirling design, set with brilliant and old brilliant-cut diamonds 1st: signed AMG, London hallmark, ring sizes approx.: 1st H½, 2nd N, 3rd G (sizing beads) (3)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com

EMERALD SAPPHIRE AND DIAMOND-SET RING; ABSTRACT RING; ARTHUR KING: GREEN TOURMALINE AND DIAMOND RING, CIRCA 19701st: Designed as a series of overlapping polished and textured rods, set with step-cut emeralds, circular-cut sapphires and baguette cut diamonds, 2nd: Of polished abstract design, 3rd: Of abstract design, set with a step-cut green tourmaline, accented by brilliant-cut diamonds, 1st: signed King, ring sizes approx.: 1st M, 2nd K (leading edge), 3rd M (3)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com

PATRICE FABRE: DIAMOND AND CONCRETE BANGLE, CIRCA 1985Of lattice design, filled with concrete and accented with square step-cut diamonds, signed Patrice Fabre, maker's mark, French assay mark (rubbed), inner circumference approx. 16.0cmFootnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com

SOLANGE AZAGURY-PARTRIDGE: LACQUER AND SILVER 'HOTLIPS' RING, 2007; GAVELLO: AMETHYST PENDENT EARCLIPS1st: Designed as lips in purple lacquer over silver, 2nd: Each polished surmount suspending a step-cut amethyst with a brilliant-cut diamond accent, 1st: maker's mark, London hallmark, ring size approx.: N (leading edge), earclip length 4.5cm (2)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com

CULTURED PEARL, EMERALD AND DIAMOND BRACELETThe five rows of 6.0-7.0mm cultured pearls, with step-cut emerald and brilliant and marquise-cut diamond spacers, length 18.3cmFootnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com

TWO DIAMOND CLIPS, CIRCA 1940Set throughout with brilliant, old brilliant and step-cut diamonds, diamonds approx. 4.55cts total, length 2.4cmFootnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com

AQUAMARINE AND RUBY RINGThe rectangular step-cut aquamarine, between square step-cut ruby shoulders, ring size approx. MFor further information on this lot please visit Bonhams.com

DIAMOND-SET RINGSet with step and brilliant-cut diamonds, ring size approx. MFor further information on this lot please visit Bonhams.com

DIAMOND, SAPPHIRE AND RUBY-SET NECKLACEThe pendant set with a pear-shaped sapphire cabochon, brilliant and baguette-cut diamonds, and step-cut rubies, on a flattened curb-link chain, diamonds approx. 1.85cts total, lengths: pendant 4.2cm, chain 41.5cmFor further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND CLUSTER RINGThe step-cut emerald within a brilliant-cut diamond surround, mounted in 18 carat gold, London hallmark, ring size approx. UFor further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND CLUSTER RINGThe step-cut emerald within a marquise-cut diamond surround, diamonds approx. 1.40cts total, ring size approx. U½For further information on this lot please visit Bonhams.com

DIAMOND, SAPPHIRE, RUBY AND CULTURED PEARL NECKLACE, EARRINGS AND RING SUITEThe necklace set to the front with brilliant and step-cut pavé-set diamonds and demi-lune and cabochon rubies and sapphires, on a two row 5.5mm cultured pearl necklace with brilliant-cut diamond spacers, the earrings and ring of similar design, lengths: necklace 35.5cm, earrings 2.5cm, ring size approx. M (3)For further information on this lot please visit Bonhams.com

EMERALD AND RUBY DOUBLE HEADED SNAKE RING, 19TH CENTURYDesigned as two snakes coiled in an eternal knot, set with step-cut emeralds and rubies, ring size approx. NFor further information on this lot please visit Bonhams.com

PINK SAPPHIRE AND DIAMOND EARRINGSEach designed as a radiating spray set with a step-cut pink sapphire and brilliant-cut diamond accents, length approx. 3.4cm Footnotes:Accompanied by a report from the Gem & Pearl Laboratory, stating that the pink sapphires, weighing 1.08cts and 0.68cts are natural, of Burma origin with no evidence of heat treatment. Report numbered 20903, dated 14 December 2021.For further information on this lot please visit Bonhams.com

AQUAMARINE AND DIAMOND RINGThe rectangular step-cut aquamarine, within a brilliant-cut diamond surround and shoulders, Swedish assay mark, ring size approx. KFor further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND CLUSTER RINGSet with step-cut emeralds and single-cut diamonds, diamonds approx. 1.00ct total, ring size approx. LFor further information on this lot please visit Bonhams.com

SAPPHIRE AND DIAMOND-SET NECKLACEThe collar set to the front with circular and step-cut sapphires, and brilliant-cut diamonds, diamonds approx. 1.60cts total, length approx. 37.0cmFor further information on this lot please visit Bonhams.com

AQUAMARINE AND DIAMOND RINGThe step-cut aquamarine, between baguette-cut diamond shoulders, ring size approx. N½ For further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND DRESS RINGThe step-cut emerald within a spray of brilliant-cut diamonds, obliquely set between crossover shoulders, diamonds approx. 0.70ct total, ring size approx. N½ (leading edge)For further information on this lot please visit Bonhams.com

SAPPHIRE AND DIAMOND RING, CIRCA 1950The octagonal step-cut sapphire, weighing 19.33 carats, between brilliant-cut diamond accents, within radiating courses of baguette-cut diamonds, in a raised wirework setting, diamonds approximately 1.20cts total, French assay mark, ring size approx. MFootnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the sapphire is of Sri Lankan origin with no evidence of heat treatment. Report number 19751, dated 7th April 2021.Accompanied by a report from Laboratoire Français de Gemmologie stating that the sapphire is of Sri Lankan origin, with no indications of heat treatment. Report number 156924, dated 28th September 2001.Please note this lot has VAT at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

DIAMOND HALF ETERNITY RING, 1989Set with step-cut diamonds, mounted in 18 carat gold, London import mark, ring size approx. MFor further information on this lot please visit Bonhams.com

DIAMOND FOB WATCH, CIRCA 1940The circular dial with Arabic numerals within a brilliant-cut diamond bezel, suspended from an openwork scrolled surmount set with brilliant, old brilliant and step-cut diamonds, diamonds approx. 2.45cts total, length 4.7cmFor further information on this lot please visit Bonhams.com

A vintage wooden folding step ladder, and a cased Bosch PST 700 PE jigsawLocation:

Outstanding Medals, Insignia and Paperwork Archive of Signalman Robert W Chapman Royal Signals Attached 1st SAS Brigade, Late Kings Own Royal Regiment, Captured After S.O.E Operation Disclaim in Occupied Yugoslavia, Multiple Escape Attempts from Captivity, Finally Escaping in 1945 and Operating with Partisans in Yugoslavia, the medals consist of General Service Medal 1918-62 George VI with single clasp Palestine “3711283 PTE R CHAPMAN KINGS OWN”, 1939-45 star, Africa star, Defence medal, 1939-45 War medal and EIIR Regular Army Long Service Good Conduct medal “3711283 S. SGT. R. W. CHAPMAN. R. SIGS.” Medals are swing mounted for wear and accompanied by matching miniature medals; cloth insignia including a privately tailored, possibly middle east made embroidered cloth shoulder title “1ST S.A.S”, pair of embroidered S.A.S parachute qualified jump wings, bullion embroidered Army Recruiter shoulder title, Royal Signals cloth shoulder title and regimental blazer badge. The grouping is also accompanied by a very large archive of original documents and photographs taken during the pre-war service in Palestine, but also during WW2, including one of himself and another comrade in uniform said to be in a house where they were hidden which was eventually blown up by Soviet Russian forces during the Russian advance west. Some of the documents include original letters sent by Chapman from prisoner of war camps, original POW leaflets, including one produced by the Germans titled “To all Prisoners of War! The escape from prison camps is no longer a sport!”. His regular army certificate of service document details his periods of service and confirms his time as a POW in Germany from 7th February 1942 until 1945, he continued to serve after with the BAOR into the late 1950’s. Many photographs accompany the group, showing Chapman in uniform, many of which he proudly wears the SAS parachute qualification wing. A truly fantastic archive which needs to be viewed to appreciate the grouping. Robert William Chapman was born on 10th February 1918 in Barrow in Furness, he enlisted into the Kings Own Royal Regiment on 29th February 1936. He served with the regiment during the campaign in Palestine, moving to the Royal Signals in 1941. He served and a wireless operator with the Royal Signals and was attached to the 1st SAS brigade at Kabrit on 25th December 1941. Chapman was selected by British Intelligence officer Major Kevan Elliott for the Special Operations Executive (S.O.E) Operation Disclaim. The mission was to re-establish contact with General Mihailovic, who was perceived to be the leader of the Yugoslavian resistance forces, who along with his men were in hiding in the mountains of Yugoslavia. Intelligence was very weak and they did not have an accurate idea of exactly where Mihailovic was. Chapman was requested for the mission because he had been trained in the specialist radio equipment which was being used. The two were accompanied by Fight Sergeant Miljkovic and 2nd Lieutenant Crnjanski of the Royal Yugoslav Air Force. The team trained in Egypt before departing from Malta in a Whitley bomber with ling rang fuel tanks for Yugoslavia on 4/5th February 1942. They parachuted over the Romania plateau east of Sarajevo into deep snow and icy cold. It was a disaster. The area was crawling with Germans and Croats alerted by the Whitleys endless circling before the drop, and most of their supplies fell out of reach, or were smashed. The four men were captured on the 6th or 7th February 1942. Because they were in uniform, otherwise they would have been shot for being spies. When captured Major Elliott was already known to the German Gestapo. An extract from Chapman’s interrogation report states the following, “The plane, after everything had been dropped and everyone had jumped, turned back towards Alexandria. Whilst the plane was manoeuvring one of the side doors came off and fell to the ground. It was a beautiful moonlight night; the snow was thigh deep. Acting according to his instructions he buried his parachute in the snow and flashed a signal with his pocket torch, a signal to which there was however, no reply. It began to get foggy. He walked for 20 minutes, sinking into the snow at every step, towards the edge of a wood; he tired rapidly, at dawn he found himself about 1600 meters from a farm. He fired three pistol shots in the air. After half an hour Major Elliott arrived, he too had buried his parachute. After another half an hour, and after another two shots had been fired, the two Serbs were traced. Finally the short-wave transmitter was also found. When day came they took cover in a hiding place in the snow which had probably been prepared by the partisans. Chapman buried the radio. They passed the whole day in the hiding place. They thought they could see some containers with parachutes attached about 1600 meters away, but they did not dare to leave their hiding place because at about the same distance away, at about 0700 hours, they noticed 30-40 men walking along the road. They thought they saw the four containers taken by these men. They awaited the evening in the hiding place, but did not dare to leave even during the night and remained in the same place trembling from the cold. On the morning of the 6th they decided to go and look for the containers. After the first 200 meters Major Elliott and the Serbian sergeant were so tired that they dropped to the ground and stayed there. Chapman and the other Serbian went on further but nothing was found. Completely exhausted they returned to their hiding place and spent another night and day there. On the morning of the 7th they decided to move into the apparently uninhabited farm. Chapman and the Serbian 2nd Lieutenant went ahead followed by the Serbian sergeant who carried on his shoulders the completely exhausted Major Elliott. At 1000 hours some Croatian soldiers captured the parachutists who put up no resistance”. Chapman made numerous escape attempts from being a prisoner of war, the first was along with 60 others from Stalag Luft IIIe on 1st May 1942, after making his way across Europe, he was eventually captured again on 11th May and returned to Stalag Luft IIIe. In October 1942, whilst imprisoned at Stalag 8B, he along with 14 others made an escape attempt but searchlights and machine guns opened up and they were returned to the camp. His 3rd attempt was whilst part of a working party at Stramberg cement factory on 1st May 1943, he was on the run for 3 weeks, in Yugoslavia, however he was betrayed and was once again captured. His final escape was successful, in April 1945 he managed to escape and contacted Partisan forces along with a Corporal Hudson. They managed to find a Partisan house where they were helped with civilian clothes, this house was eventually bombed by the Soviet Russian forces during the fighting. Chapman fought with the partisan forces until 23rd May 1945, being repatriated on 30th May 1945, returning to England. He continued to served in the Royal Corps of Signals with the British Army of the Rhine

Rare Modified Irvin Jump Jacket Smock Used by the Polish Airborne Forces, heavy duty canvas material smock, being a step in type with a single zip. Two heavy duty angled breast pockets and two lower pockets with zip openings. Enforced shoulder patches. No markings or labels to the interior. Generally good condition. Rare item of uniform, which was favoured by the Polish Airborne and also the French SAS troops.

EMERGENCY UNICEF UKRAINE APPEAL AUCTION! - Joe Doe Guitars Apollocaster electric guitarWe have teamed up with Joe Doe Guitars who have kindly donated one of their unique one of a kind original guitars builds, with all sale proceeds going to Unicef to help provide the children of Ukraine with water, food and shelter.All premiums have been waived with every penny going towards the charity.Joe Doe's guitars all have a unique back story. The Apollocaster is no different: "As well as being the Chief Mechanical Engineer working on the construction of the Apollo 11 lunar Excursion Module, Ray Davenport Jnr also played rhythm guitar in the NASA house band, One Small Step. Davenport Jnr built the Apollocaster guitar during breaks between shifts, but was fired in 1972 after it was discovered he had been stealing vital metal parts in the construction of the Apollocaster guitar. (That's the story we're telling at Joe Doe Guitars...)"Tech Spec: - 2 piece Alder body- Moon White nitrocellulose finish on body and headstock- 3D Custom designed Apollo Lunar Module Scratchplate- Replica commemorative plaque on rear (as found on Lunar Module ladder)- ‘United States’ decals, taken from Apollo F12 rocket boosters- Allparts quarter sawn, 10” radius neck, medium C, finished in Tru Oil- Nasa pin- 3D ‘Apollocaster' headstock logo- Bone nut- Bridge and neck Bareknuckle Mule humbuckers- Gotoh Bridge- Gotoh tuners- CTS split coils pots and Switchcraft 3 way- Fender Pro Series hard caseA message from Joe Doe - "EMERGENCY AUCTION!! You like helping out right? So do we which is why we're donating one of our unique, one of a kind Joe Doe Original guitar builds to the upcoming Guitar Auction at Gardiner Houlgate UK on Wednesday 9th March. All proceeds go to Unicef to help provide the children of Ukraine with water, food and shelter. The Joe Doe Apollocaster is a custom made, never to be repeated build with premium hardware, knackered nitro finish, Bareknuckle Mule split humbuckers and its own origin story! Bareknuckle pickups? Gotoh bridge and tuners? Check, check and check. No buyers premium will be charged so smash the piggy banks, shake the change out of your sofa and help out! Eternally grateful."

An Art Deco style aquamarine and diamond ring. The ring set with an octagon step cut aquamarine flanked by diamond set scale steps to plain shank, in white gold. Twelve round brilliant cut diamonds estimated total diamond weight  0.60ct. Aquamarine measures approx 11.1x 8.8  x 6mm. Unmarked tests indicate 18ct gold.  Weight 5.9g. Size Q.

Full title: Charlotte Perriand (1903-1999): '529 Rio Low Table' for Cassina, [1962]Description: H 34,5 cm - Dia.: 139 cmDesigned originally in 1962 for the home of Jacques Martin in Rio, Brazil, The Rio Table by Charlotte Perriand was also adapted in 1962 and 1967 in a larger size for the Japanese Embassy in Paris. The re-edition by Cassina is the original smaller 1962 version. Made up of six staggered segments of different radii, an outer edge in solid wood, inserts in Viennese straw and a central hole which becomes the centre of its spatial gravity. The beauty of this piece lies in its unique decorative elements and its extreme functionality.Ê Ê Charlotte Perriand was a French architect and designer. Charlotte liked to take her time in a space before starting the design process and placed emphasis on functionality, durability and items that could be mass produced. At age 24 Charlotte joined the studio of Le Corbusier, where she experimented with steel, aluminum, and glass, developing a series of tubular steel chairs that remain a modern icon. In 1940, she traveled to Japan to advise the government on how to export products to the West, and spent WWII exiled in Vietnam, where she discovered local woodwork and weaving techniques and embraced natural materials.Ê Cassina was established in 1927 in the Northern region of Brianza, Italy, an area noted for its skilled artisans and woodworkers. Rooted in high quality Italian craftsmanship Cassina began acquiring licenses to reproduce some of the worlds most well renowned furniture designs. Cassina's mission is to provide extremely high quality products by paying close attention to every step of the manufacturing process. From woodworking to upholstery, their attention to detail and perfection is unmatched. The incredible quality of materials leads to the most amazing expression of form and function celebrating new design as well as highlighting notable designs of the past.Ê Ê Interior photos by Kato Peeters.Ê Ê Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Five: 1939-45 star, Africa star with 8th Army clasp, Italy star, Defence and War (un-named as issued, with a condolence slip named to Sergeant L D J Holmes RAF), VF mounted as worn, see note below. Single 1939-45 star (un-named as issued) in original carton addressed to Mrs E.S Holmes, West Croydon (Sgt Holmes step mother). Pair: BWM and Victory (235275 Sjt E C Salmon, Leic. R), VF in carton, served 7th Battn. Note: Sergeant L D J Holmes lost his life on 1st September 1942 in an airfield crash and is buried at Kano Township Christian Cemetery, Nigeria. £80-100

AN ART DECO SAPPHIRE AND DIAMOND DRESS RING CIRCA 1930The step cut sapphire estimated to weigh 13.37 carats in a four claw setting, to pierced fan shaped baguette cut and old cut diamond shoulders, approximately 0.30 carats total, the shank stamped Platinum and numbered 3698Size/dimensions: finger size K 1/2Gross weight: 7.9 gramsOffered for sale with a Gemmological Certification Services Sapphire Report, number 5782-817, dated 21.02.2022, stating:Origin Sri LankaComment No indications of heatingCondition Report: The sapphire has some abrasion to the crown facet edges, some nibbling, the claws holding the sapphire have worn through in places, but the stone is currently secure in the setting, they will need retipping. Some wear and abrasion to the setting commensurate with age and use, the shank has been resized smaller. The diamonds are present and correct, bright and lively. Offered for sale with a Gemmological Certification Services Sapphire Report, number 5782-817, dated 21.02.2022, stating:Origin Sri LankaComment No indications of heatingCondition Report Disclaimer

A 1930S FRENCH DIAMOND AND EMERALD BRACELETThe pierced oval brilliant cut diamond set links, approximately 5.60 carats total, with step cut emerald set connectors, stamped with French poinçonsSize/dimensions: 18.2cm longGross weight: 19.5 gramsCondition Report: 0.9cm wide, The bracelet has French gold marks the bracelet has partial French platinum stamps, the diamonds are all present and correct, bright and lively, colour mostly H-J, clarity mostly VS. There are some scuffs to the setting, some wear to the settings from use, but the stones appear secure, four of the emeralds have big chips, some smaller chips to the other emeraldsCondition Report Disclaimer

AN ART DECO DIAMOND BROOCH CIRCA 1930The pierced oval brooch set with eight cut, old brilliant cut and step cut diamonds, approximately 2.50 carats total, stamped with French platinum poinçonSize/dimensions: 4.9cm wideGross weight: 11 gramsCondition Report: The brooch pin and clasp are later soldered on, some light wear to the settings commensurate with age and use. There is a platinum poincon to the frameCondition Report Disclaimer

A MID 20TH CENTURY TOPAZ AND DIAMOND CLUSTER RINGThe step cut topaz with canted corners estimated to weigh 7.23 carats, within a surround of eight cut diamonds, approximately 0.60 carats total, to a pierced swaged gallerySize/dimensions: finger size LGross weight: 8.5 gramsCondition Report: Topaz measures approximately 12.2mm x 10mm x 6.95mm, some scratches to the sides of the table, the table is bright and well polished. The diamonds are bright and lively, varying colour and clarity, the shank has been resized, partial possible platinum and gold indicator stamps, some wear commensurate with age and useCondition Report Disclaimer

A RUBY AND DIAMOND CLUSTER RINGThe cushion cut ruby estimated to weigh 1.86 carats, within a surround of brilliant cut and step cut diamonds, with step cut diamond set shoulders, approximately 1.00 carat total, the shank stamped 750Size/dimensions: finger size I 1/2Gross weight: 6.4 gramsCondition Report: Ruby 8mm x 7.35mm 3.6mm. There is some abrasion to the ruby crown facet edges, there are some needle like inclusions and other inclusions, and further inclusions, the diamonds are all present and correct, bright and lively, clarity mostly VS, colour mostly I, assessed in setting.Condition Report Disclaimer

A SAPPHIRE AND DIAMOND CLUSTER BRACELETThe open clusters centred with a step cut sapphire with canted corners within a surround of brilliant cut and marquise cut diamonds, with hooped brilliant cut diamond connectors, approximately 5.44 carats total, to a concealed clasp stamped with French post 1912 exported platinum poinçonsSize/dimensions: 16.5cm longGross weight: 38.4 gramsCondition Report: The bracelet has some light wear commensurate with age and use, the diamonds are all present and correct, bright and lively, colour mostly G-J, clarity mostly VS-SI, some I1. The clasp is in good working order. The sapphires have some nibbling to the crown facets, some internal fractures, one sapphire has a surface reaching fracture right under a claw. Condition Report Disclaimer

A PAIR OF SAPPHIRE AND DIAMOND CLUSTER EAR PENDANTSThe open cluster drops centred with a step cut sapphire with canted corners within a surround of brilliant cut and marquise cut diamonds, with hooped brilliant cut diamond set pediments, approximately 2.12 carats total, post fittingsSize/dimensions: 3.7cm longGross weight: 11.4 gramsCondition Report: 3.7cm long11.4 grams grossThe sapphires have some abrasion to the crown facet edges, sapphires well matched, the diamonds are all present and correct, bright and lively. The bottom cluster panel is approximately 1.9cm long.Condition Report Disclaimer