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A Herbert Terry, black Anglepoise lamp, originally bench mounted, now mounted on two-step iron block, makers stamp, height 92cmRecently rewired, some overpainting.

A Herbert Terry model 1227 beige Anglepoise lamp, with original two-step base, makers stamp, approx height 93cmGeneral good order, some marks and fading to body.

An Edwardian woven silk postcard of the R.M.S Titanic within impressed floral border.NB - These cards were sold on the maiden voyage in 1912 to the passengers reputedly from the Barbers Shop but also after the disaster as souvenirs. Purchased by the vendors step father in Lincolnshire.

Paul Guiragossian (Lebanon, 1926-1993)Fate (from the Gibraniyat series) watercolour on paper, framedsigned 'PAUL G' (bottom centre), executed in 198169 x 49cm (27 3/16 x 19 5/16in).Footnotes:Provenance:Property from a private collection, BeirutNote:This work is sold with a photo certificate from the Paul Guiragossian FoundationKahlil Gibran SeriesThroughout this long decade of exhibitions abroad, Guiragossian never ceased to exhibit locally in the 1980s. In 1981, on the occasion of the international year of Kahlil Gibran, which marked the fiftieth anniversary of the artist/author's death, Guiragossian conducted a series of water colours that were exhibited on two occasions, first from October 23rd until November 3rd at the Hall of Glass of the Lebanese Ministry of Tourism, followed by a second presentation organised by Gallery One from the 3rd until the 24th of December at the Foyer of the Casino du Liban. The series took a year to complete throughout which the artist immersed himself in the world of Gibran. This period of prolonged contemplation resulted in seventy-nine works that were inspired by Gibran's Jesus., The Son of Man and twenty-nine others responding to the themes within Gibran's most famous literary oeuvre: The Prophet. In a review that appeared on the 24th of October, 1981 in An-Nahar newspaper, critic May Mounassa wrote: 'Guiragossian has undertaken a bold step, or a subconscious one, that has translated his philosophical thought, which is hard enough to decipher, let alone through ambivalent lines and free colour. Therefore, in deviating from his traditionalism, albeit neither in form nor in concept, represents a new vision that matches the artist's vision of his world which provides him with his only foundation.' Guiragossian continues to seek new manifestations for constantly reworked vision.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

Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis 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 nine tread wooden step ladder, COLLECT ONLY.

Two good aluminium step ladders, COLLECT ONLY.

A sapphire and diamond cluster ring, the rectangular step-cut sapphire millegrain collet set within a border of single-cut diamonds, two colour precious metal mounted, total diamond weight approximately 0.12ct, ring size L½The sapphire has a mid to dark blue hue with faint whiteish colour zoning and is chipped to one corner, with surface wear to the remainder of the stone. Sapphire dimensions approximately 4mm length x 3.5mm width. Diamonds are well matched and fairly bright, occasional stones with small chips/nicks. The ring mount has signs of general wear and the shank has worn a little thin. Metal standard is untested. Length of setting 0.8cm. Gross weight approx. 2gm.

A citrine and diamond bracelet, designed as a series of openwork scrolled panels, alternately set with square step-cut citrines and trios of single-cut diamonds, yellow precious metal mounted, length approximately 18cmSurface wear throughout, commensurate for occasional use. Citrines are well matched, of orange-yellow hues, some stones with faint colour zoning. Diamonds are well matched and bright, total weight approximately 0.12ct. The clasp is functioning. Metal standard is untested. Bracelet width 1.23cm. Gross weight approximately 21gm.

An early 20th century vari gem-set brooch/pendant, the openwork scrolled cartouche centred with an octagonal step-cut peridot, framed by circular-cut pink stones and channels of graduated half pearls, stamped '15C', (two half pearls deficient, half pearls untested for origin), length 3.15cmSurface wear and facet edge abrasion to peridot and pink stones, shallow blemishes, ripples and scuffs to half pearls. Surface wear to mount, the brooch pin is functioning. Width of panel 2.4cm. Metal standard is untested. Gross weight approximately 4.2gm.

A diamond and gem set swivel hoop eternity ring, centrally channel set with a line of step-cut sapphires to one side and similarly cut rubies to the other, (sapphires and rubies untested for natural/synthetic origin), between two single-cut diamond set swivel bands, white precious metal mounted, total diamond weight approximately 0.30ct, ring size approximately ORubies and sapphires are mostly well matched with surface wear, chips and scuffs but are untested for natural/synthetic origin. One stone is missing to the side of the setting. Diamonds are well matched, bright and lively, estimated SI1 to P1 clarity and I to K colour, assessed mounted. The ring mount is off-round with general surface wear, patchy thinning to the edges of the settings and grease residue throughout. Metal standard is untested. Gross weight approximately 5.8gm.

A sapphire full hoop eternity ring, channel set throughout with square and rectangular step-cut sapphires, the white precious metal mount with foliate scroll engraved sides, together with a synthetic ruby full hoop eternity ring, white precious metal mounted, a white stone full hoop eternity ring, stamped '9CT', and a collection of assorted silver, white metal and costume jewellery, to include a coral corallium rubrum single stone ring, first ring size L½ (qty)First ring only: sapphires have slightly variable mid to dark blue hues, some stones containing fracture and fissure inclusions, with areas of whiteish colour zoning. All stones have surface wear, some stones with nicks/chips. General surface wear to mount. Metal standard is untested. Width of mount 3mm. Gross weight approximately 3gm.

An Arts and Crafts rock crystal pendant necklace attributed to Sybil Dunlop, of stylised scrolled design with bead accents, the pear-shaped pendant accented with oval mixed-cut and square step-cut rock crystals, enclosing a heart-shaped rock crystal in millegrain collet setting, suspended from a similarly set back chain, white metal mounted, the clasp stamped 'STERLING', accompanied by a possibly associated grey cushioned case signed Sibyl Dunlop Ltd., 69 Kensington Church St, London W8, length 40cmProvenance: By repute, purchased by Ernest Read CBE (22 February 1879 – 9 October 1965), an English conductor, organist and music educator, for his wife Helen. Thence by family descent. Light surface wear and scuffs to rock crystal stones, with occasional chips and nicks. The largest heart-shaped stone measures approximately 21.5mm length x 12mm width. General surface wear, scuffs and nicks/chips to the mounts and back chain, commensurate for use, with patchy tarnishing. Some of the connecting jump rings are not soldered. The clasp is currently functioning but may be later replaced. The necklace is not marked and is unsigned, and has surface imperfections that are usual for a possibly hand finished piece, such as porosity and visible solder joins. Metal standard is untested but presumed to be silver. Length of stone set links to necklace approximately 15cm. Pendant length 3.8cm. Gross weight approximately 26.3gm. Patchy staining and signs of general wear to case, with losses to exterior finish.

A collection of unworn gents boots and shoes to include a pair of black Blytz biker boots size European 42, a pair of black Dr Keller comfort shoes UK size 10, a pair of black Safe Step comfort shoes UK size 10.5. Location:G

A 20th century mahogany folding step ladder, 100.5cm highLocation:

Recent Issue Two Tone/Ska LPs to include (1) The Selecter - Celebrate The Bullet (CHRX 1306, Clear Vinyl); (2) The Selecter - Live In Coventry '79 (CDLTTL 5002, Clear Vinyl); (3) Madness - Mad Not Mad (SALVOLP12); (4) Madness - One Step Beyond (SALVOLPV008); All conditions presumed Mint Still Factory Sealed. (4)

Kylie Minogue LPs to include Step Back In Time- limited edition mint green double vinyl; Impossible Princess- 25th anniversary special edition marble vinyl; Fever- 20th anniversary edition on white vinyl with print. All sealed so assumed Mint in Mint sleeves. (7)

An emerald and diamond-set ringthe central rectangular step cornered-cut emerald measuring 7.5mm x 6.0mm x 3.7mm collet-set above the surround of fourteen brilliant-cut diamonds to the 18ct gold tapering shank, import hallmarkring size K, 5.6GCondition: Overall condition good/very goodEmerald: approximate estimated weight 1.50ctDiamonds: approximately +/- 1ct

An aquamarine and diamond-set ringthe rectangular step-cut aquamarine set with a diamond-set trefoil to either side, to the hallmarked 18ct white gold plain shank ring size M, 3.4gCondition: Overall condition good/very good

A Sienna marble and cream marble columnlate 19th centuryin three parts, the cream and grey streaked marble top step cut, the central tapered sienna marble column on a graduated circular socleheight 115cm, diam of top 25cmCondition: Good overall for its age. There is a mark to its top, see image. There are cracked areas and a restored area to the top of the column. Tops and bases with small chips to their edges.

A peridot and diamond cluster ring and a tanzanite and diamond ring the first set with a central oval-cut peridot to the 18 brilliant-cut diamond-set octagonal border, to a plain 18ct hallmarked shank; the second set with a central step-cut tanzanite to the tiered shoulders set with twelve brilliant-cut diamonds, to a plain shank stamped '18K', (2)ring sizes M/N, L, total approx weight 12.7gCondition: Good condition

SOANE (JOHN)Description of the House and Museum on the North Side of Lincoln's-Inn-Fields, the Residence of John Soane Lincoln's-Inn-Fields, the Residence of John Soane, second edition, AUTHOR'S PRESENTATION COPY TO THOMAS FAULKNER, inscribed 'Received this book from Sir John Soane, July 14th 1834. Thos. Faulkner' on front free endpaper, half-title, 18 lithographed and engraved plates, with 6 additional plates (including hand-coloured frontispiece), 14 mounted back to back as issued, 2 wood-engraved illustrations on leaf of introduction, some spotting, contemporary boards, rebacked and sides papered in marbled paper (worn with a few losses to paper), 4to (320 x 245mm.), Printed by James Moyes [for Private Circulation], 1832Footnotes:A COPY GIVEN BY JOHN SOANE TO THOMAS FAULKNER, BOOKSELLER AND AUTHOR OF BOOKS ON THE TOPOGRAPHY OF LONDON, of Soane's description of his celebrated house-cum-museum. First privately published in 1830, Soane had further copies printed by James Moyes in 1832, which were, as described on the John Soane's Museum Collection Online website, issued in a variety of slightly differing forms. This copy is one of the 'grangerized copies [which] have the misnumbered plate 14 corrected to 13 in manuscript, and may be regarded as a step towards the much larger 1835/36... these copies lack a frontispiece but have the hand-coloured aquatint of the Britton's Union bound to face the title-page'.Provenance: Thomas Faulkner (1777-1855).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

2 SETS OF VINTAGE WOODEN STEP LADDERS

An attractive pair of brass mounted and ebonised Table Lamps, each with a brass Doric capital and a vine clad column on square leaf cast three step base, each with pleated ivory shade, 84cms (33"). (2)

A pair of brown patinated bronzed metal Table Lamps, each stem with two star moulded knops on square moulded step base, and beige shade, 94cms (37"); together with a pair of cream painted brass mounted Table Lamps each on circular moulded foot and ivory coloured pleated silk shade, 89cms (35"). (4)

A French brass Mantle Clock, in the Indian style, the movement by Japy Freres, striking on a gong, the centre dome with an urn finial and a conforming urn to each corner above a brass turned column to each corner and a porcelain dial decorated with birds and flowers, and Arabic numerals, on a moulded step base, 30cms (12''). (1)

Airfix a boxed Kit group to include Avro Lancaster B.III, Hawker Fury, Queen Elizabeth 2, One Small Step For Man Set plus others similar. Conditions generally appear Good to Mint in generally Fair to Excellent boxes. (12)

A group of seven decorative watercolours, to include a hunting scene, an elderly homeless man sitting on a step, indistinctly signed lower right 'C. E. Kelly', an interior scene, indistinctly signed, coastal scene, indistinctly signed, a B. Spackman watercolour street scene and two small rural watercolours (7).

A collection of Jazz, Exotica, Soundtrack and Non-Music LPs to include 'Dali In Venice' (MET 230), 'Swinging Saga' (FID 2136), RAY SWINFIELD: 'One For Ray' (MR107P), JOHN BARRY: 'Stringbeat' (33SX 1358), CHALKDUST: 'Origins' (GS 2220) THE TUBBY HAYES ORCHESTRA: '100% Proof' (6382 041), WOODY ALLEN: 'Woody Allen' (PXL 518), GARY BURTON & STEPHAN GRAPPELLI: 'Paris Encounter' (K40378), QUINCY JONES: 'Plays Hip Hits' (MMC 14128), TOMMY EDWARDS: 'Step Out Singing' (E3822) ARTHUR LYMAN: 'Taboo' (SAV 98002) and 'Cotton Fields' (SAV-H 8020), TONY HENDRA & NICK ULLETT: 'The Art Of Tony Hendra & Nick Ullett' (LK 4602) and NORRIE PARAMOR HIS STRINGS AND ORCHESTRA: 'The Zodiac Suite' (33SX 1055) (14, vinyl and sleeves generally VG-VG+, stickers to some front covers)

Dinky cars and accessories, including Dinky Builder, Dinky canvas tote bag, Dinky Toys 3 step display stand, Your First Model Triumph TR2 Sports and boxed road signs and cigarette cards including some silks, BM217 Fokker EIII plane model, Corgi Great Grimsby Street Tramways, Ford Mustang GT battery operated car, Oxo and Westminster tins

2 sets of aluminum step ladders & a multi-purpose articulated ladder 

A Vintage Wooden Decorators Five Step Step Ladder 'Simplex Ladder'

A Decorators Three Step Step Ladder

A Vintage Folding Wooden Two Step Step Ladder

A aluminium step ladder

An aluminium step ladder

A wooden stepladder an aluminium step stool

Running and driving well, this venerable Healey has always been garaged and loved as one of the family. Introduced for 1956, the 100/6 represented the most radical step forward in the Big Healey's development. Despite its initial success, sales of the original Austin-Healey 100 had begun to decline by the mid-1950s and so the model was revamped as the '100/6', BMC's 2.6-litre C-series six replacing the original four-cylinder Austin Atlantic engine. At the same time the wheelbase was lengthened from 7' 6" to 7' 8", which enabled the inclusion of two occasional seats in the rear of the BN4 variant. In 100-6 tune the pushrod six produced 102bhp – 12hp more than its predecessor. Although stylistically very similar to the preceding 100, the 100/6 was nevertheless easily distinguishable by its 'crinkle' radiator grille and bonnet-top air intake. In 1957 an improved six-port engine became available, and this 117bhp unit was fitted to all the newly introduced BN6 two-seater roadsters. Top speed improved to 111mph and 1.7 seconds was cut from the 0-60mph time.The accompanying Heritage certificate confirms that this 100/6 four-seater is an early home-market BN4. It was built on 19th February 1957 delivered in Ivory White with red trim and a black hood and had been optioned from new with a heater, laminated windscreen, disc wheels and overdrive deleted.The first owner, a retired doctor, kept the Healey until his untimely death in early 1960. Offered for sale at Agnew & Graham Ltd, Oxford Street, Belfast, our vendor's father was obviously rather taken with this shiny Healey and purchased it on 2nd July 1960 for £600 and, pleasingly, the Bill of Sale is in the car's history file.Whilst in the family ownership for the last 63 years, the car has been well-maintained and has covered just 64,000 miles from new. Inherited by our vendor and his sister in 1995, the Healey was entrusted to MG Restorations, Belfast who in 1996 carried out a full repaint, but pleasingly it still has its original interior and benefitted from a new hood at the time. Having been jointly owned by the late owner's children for nearly 30 years, only used on high days and holidays, they have decided that the time has come to part with 'Dad's Healey'. An honest, genuine, much-loved 100/6 that has been with the family for six decades.Specification Make: AUSTIN HEALEY Model: 100/6 Year: 1957 Chassis Number: BN4S34252 Registration Number: RZ7314 Transmission: Manual Engine Number: ICH34252 Drive Side: Right-hand Drive Odometer Reading: 64000 Miles Make: RHD Interior Colour: RedClick here for more details and images

Upgraded by Bowler, bespoke styling and just 6,000 miles from new. Since its inception in 1985, Bowler Motors has developed a worldwide reputation in the area of design and construction of Land Rover-based off-road vehicles. Led by the company’s inspirational founder, Drew Bowler, until his untimely death in 2016, the company grew from a nascent workforce of just eight to the present group of 35 highly-skilled engineers. Initially focussing on the preparation of cars for British off-road events, the company's ambitions expanded rapidly to encompass participation in events including the Dakar Rally, Morocco Desert Challenge and Spanish Baja and, for the past two decades, their cars have formed the backbone of many Rally Raid events across the globe.In late 2019, Jaguar Land Rover acquired Bowler to add to their Special Vehicle Operations Division, seeing an opportunity for not just motorsport but the subtle enhancement of their current range, having admired the rapid, road-going examples given the Bowler treatment over the years. A fabulous example of such enhancements is this Firenze Red Defender 90 with black canvas soft-top and first registered on 28th July 2014. With less than 6,000 miles travelled, it has had brand new Recaro-style Black Leather Sports seats with matching facia, dashboard and cubby box with a Momo steering wheel also fitted.Recently fitted with all new 265 BF-Goodrich All Terrain tyres, a Bowler bespoke steering guard, rock sliders, gear levers, LED headlights, DRL bumper, safari snorkel, rear bulkhead deletion, genuine load area rubber mat, LED rear lights, NAS tow step, large diameter stainless steel sports exhaust, re-mapped ECU. As an XS it came with factory-fitted air conditioning, electric windows and central locking.Presented to auction with all its book packs, service book, reams of receipts and a very special pedigree.Specification Make: LAND ROVER Model: DEFENDER SOFT TOP Year: 2014 Chassis Number: SALLDWNP7EA455956 Registration Number: FT14 AAU Transmission: Manual Engine Number: 140615083127DT224 Drive Side: Right-hand Drive Odometer Reading: 6000 Miles Make: RHD Interior Colour: Black LeatherClick here for more details and images

On offer from the Barton J Hubert No Reserve Collection - understood to be a one-owner, 55,000-mile car in America before coming to the UK for a comprehensive restoration. The early Porsche 911 cars (model years 1965-67, also known as the 'zero model range', before the A Series began with Model year 1968) are now considered very pure, featuring a short wheelbase that gave simple yet elegant profile; they were a step-change evolution over the out-going 356, utilising the newly developed and more powerful 1,991cc flat-six 'boxer' engine, unitary construction for the bodyshell and a more modern McPherson strut and trailing arm arrangement.The car presented here is a 1966 Porsche 911 (model-year 1966, denoted by its chassis number: 304562), and was supplied new, as one of 1,710 examples that year, to the US. As a now much sought after early model, it was specified still with a wooden steering wheel and dashboard inlay, now considered very desirable early-model features.By the time this car was built (in May 1966), Porsche was using two triple-choke Weber carburettors on their 1,991cc engine, coined Type 901/05, which this car utilises (again, denoted by its engine number: 907790). Giving 130bhp with sportscar performance and handling, the 911 model quickly found success with its great looks, outstanding performance and the versatility of being either a grand tourer or a circuit racer. Early competition results included a good showing at the 1965 Monte Carlo Rally, with victories coming in the 1966 and 1967 European Rally Championship. In 1968, the 911 emphatically established its credentials as a frontline rally car, with works-entered 911s winning eight of the 15 European Championship rounds, firmly placing the 911 as a mainstay in historic rallying.Chassis #304562 was supplied new via Porsche Cars America as per its accompanying Certificate of Authenticity, specified in Polo Red (6602) with black leatherette (as it presents today). Optional equipment included a Webasto roof, antenna, coloured windows, hubcaps with Porsche crest and safety belts. It's understood that this car was a one-owner, 55,000-mile example in America before it was brought to the UK for a comprehensive restoration (full details upon request). In April 2023, marque specialists Autofarm serviced the car and, without doubt, it is now one of the best-presented 911 SWB examples available to buy today. We welcome any inspection of this superb early 911, you will not be disappointed; this is a significant opportunity, especially as it is offered for sale with No Reserve.Specification Make: PORSCHE Model: 911 2.0 'SWB' COUPÉ Year: 1966 Chassis Number: 304562 Registration Number: KKH 674D Transmission: Manual Engine Number: 907790 Drive Side: Left-hand Drive Odometer Reading: 55000 Miles Make: LHDClick here for more details and images

' Hatherley ' vintage wooden folding decorators step ladder, approx 130cm high

Two vintage wooden folding decorators step ladders, the largest approx 200cm high, the other with metal plaque reading ' The Hatherley Patent Lattistep '

A box of assorted 12" vinyl, to include Meatloaf Bat out of Hell, Madonna You Can Dance, Wings Greatest Hits, The Housemartins Caravan of Love, Human League Dare, and Bibby Brown Every Little Step; together with a box of assorted 7" singles to include Martika Martika's Kitchen, Billy Ocean Pressure, Crowded House Weather with You etc (2)

A certified platinum ring set with an octagonal step cut emeralds and round brilliant cut diamond shoulders, boxed - emerald 2.98ct, round brilliant cut diamonds 0.20ct in total - certificate number WGI9624148425 - ring size M - weight approx 4.92 grams

Vintage step ladder

An 18 Carat Gold Diamond Ringthe yellow textured band inset with four vari-sized round brilliant cut diamonds, two princess cut diamonds and a square step-cut diamond, in rubbed over settings, with vine and bead work decoration, total estimated diamond weight 1.90 carat approximately finger size Q1/2The ring is in good condition. It is hallmarked with sponsor's mark 'AJR', Sheffield, 2012. The approximate qualities of the diamonds are; colour I/J/K, clarity SI1/SI2/I1. Gross weight 13.6 grams. CR made 27.09.23.

A Diamond Solitaire Ringthe fancy rectangular step-cut diamond in a yellow rubbed over setting, to a plain polished shank, estimated diamond weight 1.00 carat approximately finger size PThe ring is in good condition. It bears no hallmark nor stamp but in our opinion would test as gold. The diamond measures 6.49mm x 4.84mm x 3.72mm approximately. The approximate qualities of the diamonds are; colour tinted, clarity SI1/SI2. Gross weight 5.3 grams. CR made 13.09.23.

An Art Deco Style Aquamarine, Ruby and Diamond Broochmodelled as a lozenge motif, set throughout with fancy cut and rectangular step cut aquamarines, round cut rubies and round brilliant cut diamonds, in white claw and pavé settings, total estimated diamond weight 1.40 carat approximately measures 5.7cm by 3.2cmThe brooch is in good condition, with slight chips/nibbles. It fastens with a pin and revolver catch. It bears no hallmark nor stamp but in our opinion would test as platinum. The approximate qualities of the diamonds are; colour H/I/J, clarity SI1/SI2/I1. Gross weight 19.2 grams. CR made 28.09.23.

A Green Tourmaline and Diamond Ringthe rectangular step cut green tourmaline in a yellow channel setting, with a row of princess cut diamonds running parallel, to a plain polished shank, total estimated diamond weight 0.50 carat approximately finger size KThe ring is in fair condition, with abrasion to the green tourmaline, two diamonds are chipped and scuffing to the shank. It is stamped '18K' and in our opinion would test as gold. The green tourmaline measures 16.06mm x 5.43mm x 4.25mm approximately. The approximate qualities of the diamonds are; colour I/J/K, clarity SI1/SI2/I1. Gross weight 19.9 grams. CR made 08.09.23.

Early 19th century mahogany step commode

A Reebok step keep fit machine

A GPO oak step ladder; together with a rustic barn ladder (2).

A Herbert Terry Anglepoise lamp on a square two-step base.

Gordon King Signed Framed Print of a Woman Sat On a Step Looking at Flowers, signed in pencil bottom right 52 x 58cm.

A wooden door, ladder and step ladder.

Aluminum 8 rung step ladder.

A three rung aluminum step ladder.

A step stool and a set of boules.

A small fold up sack truck and a step platform.

MAGNOLIA (1999) - Frank T.J. Mackey's (Tom Cruise) Seminar Swag with Linda Partridge's (Julianne Moore) Hospital BandSeminar swag from Paul Thomas Anderson's Magnolia. Frank T.J. Mackey (Tom Cruise) hosted the seminar "Seduce and Destroy" and provided his attendants with branded swag. He later visited his step-mother Linda Partridge (Julianne Moore) in the hospital after her car accident. This lot consists of "Seduce and Destroy" branded items including one wooden ruler reading "Measure up with Frank T.J. Mackey"; plastic binoculars; an acrylic keychain; black plastic sunglasses; and a plastic hospital band with "Linda Partridge" typed on a paper insert. The sunglasses exhibit minor scuffing. Dimensions: (largest) 31.75 cm x 3.25 cm x 0.75 cm (12.5" x 1.25" x 0.25")Estimate: £600 - 1,200 Ω View all lots from MAGNOLIA (1999)Bidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 9th, Friday, November 10th or Saturday, November 11th.