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A Chinese celadon bowl, Ming Dynasty, diameter 16cm, height 6.5cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese Longquan celadon dish, Ming Dynasty, with a wide fluted border and scallop shaped rim, diameter 32cm, height 7cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese celadon dish, Ming Dynasty, with a part glazed central roundel, within a raised scalloped edge, diameter 17cm, height 4cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese celadon bowl, Ming Dynasty, the interior with a central roudel surrounded by a pale green glaze, brown outer glaze, diameter 16.5cm, height 7.5cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese celadon bowl, Ming Dynasty, diameter 16cm, height 6.5cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese celadon bowl, Ming Dynasty, the interior with an unglazed central roundel, diameter 16cm, height 5.5cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese celadon bowl, Ming Dynasty, diameter 16cm, height 7cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese Longquan celadon dish, Ming Dynasty, the centre with a floral spray within a fluted border and scalloped rim, diameter 20cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.Condition report: Hairline crack to the underside of the rim approx 1.5cm, crackle to glaze throughout, glaze flaw to the underside. Images of affected areas on David Lay website.

A Chinese celadon bowl, Ming Dynasty, the interior with central plain roundel surrounded by a part celadon glaze, diameter 16cm, height 6.7cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese pottery bowl, Ming Dynasty, the interior decorated with scrolling vines, diameter 15.5cm, height 7cm and a Chinese crackle glazed bowl, Ming Dynasty, diameter 14cm, height 5cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese Longquan celadon bowl, Ming Dynasty, the fluted interior decorated with swirls, diameter 17cm, height 6.5cm.Provenance:The Chris Davis collection of Chinese ceramics acquired in Vietnam during the mid 1980's.

A Chinese Celadon Brush Washer , 13thcentury or earlierFound in Tonkin ( Vietnam , near Dai Là Thanh the old capital)with an old French label .10 cm diameter

Three boxed Corgi die-cast models, Los Angeles fire department helicopter, Vietnam series 2 unsung heroes etc.

Three: Chief Petty Officer C. Brunton, Royal New Zealand Naval Hospital Vietnam 1964-73 (461833 DCPO C Brunton RNZN); Royal Navy L.S. & G.C., E.II.R., 2nd issue (Brunton C. C. 461883 D.C.P.O. M R.N.Z.N.H.); South Vietnam Medal 1964, 1 clasp, 1960- (461833 C Brunton) note differing official numbers, mounted as worn, minor contact marks, otherwise very fine and scarce (3) £600-£800

Five: L. D. Edgar, Australian Forces 1939-45 Star; Africa Star; Pacific Star; War Medal 1939-45; Australia Service Medal, last two both officially named ‘20262. L. D. Edgar.’, nearly extremely fine War Medal 1939-45 (WX19575 R. A. Pretlove) good very fine Four: Private S. D. Baker, 3rd Battalion, Royal Australian Regiment Korea 1950-53, 1st issue (52063 S. D. Baker); U.N. Korea 1950-54 (52063 S. D. Baker); Vietnam 1964-73 (52063 S. D. Baker), with ‘1960-’ clasp on riband; Army L.S. & G.C., E.II.R., 2nd issue, Australia (52063 S. D. Baker) good very fine (10) £300-£400 --- Sydney Desmond Baker was born in Subiaco, Perth, Western Australia, on 6 March 1933, and served with the 3rd Battalion, Royal Australian Regiment, in Korea from 24 July 1953 to 24 July 1954. He subsequently served with the 85 Transport Platoon, Royal Australian Army Service Corps, and died in March 2007. Sold with copied research.

This lot will be auctioned on Tuesday, November 9th. 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 November 10th or November 11th.Donlon's (Gary Landon Mills) screen-matched helmet cover from Stanley Kubrick's Vietnam War film Full Metal Jacket. Donlon was one of the Lusthog Squad, joined by Private Joker (Matthew Modine). The camouflage helmet cover matches the one seen on screen through its unique handwritten ink markings and drawings.The cover is intentionally distressed to look battle-worn and scarred. It has additional wear from production use and age, most notably the faded text. Estimate: £5,000 - 7,000 M

This lot will be auctioned on Wednesday, November 10th. 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 November 9th or November 11th.A collection of ephemera and a production office stamp from Stanley Kubrick's Vietnam war film Full Metal Jacket. This lot comes from the personal collection of renowned production manager Philip Kohler.The collection includes 95 behind-the-scenes photos, mostly featuring Bassingbourn Barracks and Beckton Gas Works, which doubled as the Parris Island Marine boot camp and Hue, respectively. The paperwork includes call sheets, equipment lists, memos, an export licence application, location surveys, and shooting schedules. The hand stamp reads "Full Metal Jacket". The collection shows wear from production use and age, including creasing and fold lines. The biggest photos and the shooting schedule have been rolled for storage. Dimensions (largest photo): 30.5 cm x 40.5 cm (12" x 16"); (call sheets): 29.5 cm x 21 cm (11½" x 8¼") Estimate: £800 - 1,200 M

Vietnam War period Tiger camouflage USMC captains hat. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Vietnam War period Underwater Bomb Disposal Unit beret. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

American Vietnam War period embroidered Special Forces boonie. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Vietnam War period US Army white metal class ring, size Z. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Vietnam War period US Polyamide USMC Medics Helicopter crew flight suit. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Corgi WWII and Later Military Vehicles, a boxed/bubble packed collection comprises VE Day CC60411 M16, Legends CC60502 Tiger Tank (both bubble packed with card sleeves), D-Day 60th anniversary US60401 M3, US60204 Panther, CC60404 M3 White, WWII Collection CC510015 Sherman, North Africa CC60004 Maffei semi track, Western Front CC60301 Bedford QLT and Operation Barbarossa CC60203 Panther, CC60102 Churchill MKIV, together with Forgotten Heroes Korea US51003 Sherman and Vietnam Unsung Heroes US50204 Deuce and a Half M35, G-E, Boxes G-E, (10)

Corgi and Matchbox Collectibles WWII and Later Military Vehicles, a boxed group comprises World War II Collection CC60101 Churchill MKIII, Operation Barbarossa CC60001 Maffei Semi track, Allies CC51004 Sherman and Fighting Machines CS90107 Panzer MKIV, Vietnam Unsung Heroes US50105 M151 Mutt, Firebase Nam US50302 Patton Tank and Fighting Machines Desert Storm CS90086 M1 Abrams, together with Matchbox Collectibles DYM37579 Sherman, DY37586 Panzer IV, DYM37581 Panther, G-E, Boxes F-E, (10)

Modern Diecast Military Vehicles, a boxed collection of WWII and later vehicles includes Corgi World War II Collection, CC60101 Churchill MKIII, CC51005 Sherman M4A2, CC0301 Bedford Troop Carrier (minus box inserts), CC60101 (minus an aerial), WWII Heroes CC51006M4A3 Sherman and Unsung Heroes Vietnam, M48 Patton Tank and Huey Helicopter (part of landing gear missing), together with Solido military models (7) includes a helicopter some appear incomplete/loose in boxes, F-G, Boxes F, (14)

Vietnam 20 Xu (20) dated 1966 (TBB B202a, Pick38a) EF+ to about Uncirculated

Vietnam South 10 Dong 1968, never issued as they were all captured during a joint US/Vietnam operation, this example framed with a note 'To LTC Howard C. Walters Jr, with best wishes to a comrad in arms.'

World (300 plus a large group of Hell notes), a good mix with many European Countries seen, India, Malaya, Vietnam, Chine etc., duplication noted, mixed grades

World, Asia (22) a good group of REPLACEMENT notes from Afghanistan, Bhutan, Cambodia, India, Myanmar, North Korea, Pakistan, Sri Lanka, Vietnam all Uncirculated or about

John Voight matted signature piece includes a colour photograph and a signed card. Voight ( born December 29, 1938) is an American actor. He came to prominence in the late 1960s with his Academy Award nominated performance as Joe Buck, a would be gigolo in Midnight Cowboy (1969). During the 1970s, he became a Hollywood star with his portrayals of a businessman mixed up with murder in Deliverance (1972); a paraplegic Vietnam veteran in Coming Home (1978), for which he won an Academy Award for Best Actor; and a penniless ex boxing champion in the remake of The Champ (1979). Good condition Est.

Jon Voight signed 10x8 inch colour photo. Jonathan Vincent Voight born December 29, 1938, is an American actor. He came to prominence in the late 1960s with his Academy Award nominated performance as Joe Buck, a would-be gigolo in Midnight Cowboy 1969. During the 1970s, he became a Hollywood star with his portrayals of a businessman mixed up with murder in Deliverance 1972; a paraplegic Vietnam veteran in Coming Home 1978, for which he won an Academy Award for Best Actor; and a penniless exposing champion in the remake of The Champ 1979. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

A collection of medals and badges ranging from WWII to Vietnam era, including Police special medal, buckle, Vietnam medal, possibly some reproduction.

Vietnam War Era Provincial Recon Beret (Mercenaries).

Vietnam War Era Special Forces Tour Boonie. 1968-69.

Vietnam War era Special Forces White Metal Ring. UK Size X 1/2. US Size 12.

Retro Copy Vietnam War Era Special Forces Wind Proof Lighter

Vietnam War Era US M1 Helmet with Special Forces Tiger Cam Cover.

Vietnam War Era US M1 Medics Helmet and Liner.

China Vietnam 2 porcelain vases, white blue, 19th C. - Sizes: H =150mm L =75mm - Weight (K): 0,48kg - Condition: at first glance - good condition - no restoration - no repair

Jacques Monory (1934-2018)Dreamtiger n° 2 1971 signé et daté 71; signé, titré, daté 1971 et numéroté N° 396 au revershuile sur toile et collage marouflés sur panneausigned and dated 71; signed, titled, dated 1971 and numbered N° 396 on the reverseoil on canvas and collage laid on board114 x 162 cm.44 7/8 x 63 3/4 in.Footnotes:ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelExposition Paris, Jardin des Plantes, Les artistes au Jardin des Plantes, mai 1990, p. 160, illustré en couleurLittératureJean Christophe Bailly, Monory, Paris 1979, p. 195, n° 396, illustré en noir et blancPierre Tilman, Monory, Paris 1992, p. 312, n° 396, illustré en noir et blancAujourd'hui Poème, Février 2007, n° 78, illustré en noir et blanc en première pagePionnier du mouvement de la Figuration Narrative, Jacques Monory est l'un des représentants du Pop Art européen les plus sous-évalués et néanmoins les plus importants qui émergent dans les années 1960. Combinant la peinture et la réalisation de films, la vision de Monory est singulière et fascinante ; elle taille en pièces tous les aspects superficiels du grand écran et injecte dans ses toiles des idées complexes qui partagent beaucoup avec les philosophies de Michel Foucault et Roland Barthes. Nous présentons ici deux peintures exceptionnelles qui traduisent la prescience étonnante dont témoigne encore et toujours l'art de Monory : Dreamtiger n°2 et Le Peintre n°18, de 1971 et 1986 respectivement. Comme la rétrospective qui lui a été consacrée par la Fondation Maeght à Saint Paul de Vence en 2020 l'a démontré avec éclat, l'œuvre de Monory est plus vivante que jamais. Elle explore le pouvoir et la violence de l'image médiatisée et l'idéologie qui sous-tend notre culture contemporaine du spectacle.Dans les années 1960, la France était un melting pot d'énergie philosophique et artistique. Cette décennie a vu l'avènement d'un mouvement critique d'avant-garde, le structuralisme, dont les représentants les plus célèbres ont été Foucault, Barthes, Jacques Derrida et Louis Althusser. Ces penseurs extrêmement influents ont ouvert la voie à une nouvelle école d'artistes français, une version purement européenne du Pop Art, créée à partir de l'impact universitaire considérable de ces théoriciens critiques. Tandis que le Pop Art américain éprouvait une véritable fascination pour les images raffinées de la culture populaire – comme en témoignent les œuvres d'Indiana, de Lichtenstein, de Warhol et de Wesselmann ; artistes qui ont tous parodié ce qui faisait l'essence de l'identité américaine après la guerre (répétition, style, célébrité et sexe) – les artistes français du mouvement de la Figuration Narrative se sont intéressés à la psychologie profonde des mass media. Réagissant à la prolifération de la chose imprimée, de la musique, de la télévision et du film, les peintures de Monory sont des commentaires tranchants comme un rasoir de la nature illusoire de la culture populaire et de la séduction qu'elle exerce ou, comme pourrait le dire Barthes, de la mythologie : « le mythe ne cache rien et ne révèle rien ; sa fonction est de déformer ; le mythe n'est ni un message ni un aveu ; c'est une inflexion » (Roland Barthes, Mythologies, Londres : 2009, p. 153). Ce n'est donc peut-être pas un hasard si l'exposition majeure organisée en 1964, - dont Bernard Rancillac et Hervé Télémaque ont été les curateurs -, qui a été l'année fondatrice du mouvement de la Figuration Narrative, propulsé au premier plan de la création artistique contemporaine, a été intitulée Mythologies Quotidiennes. Le groupe a émergé comme l'un des courants artistiques les plus puissants et les plus cohérents pendant les années 1960 et 1970. Les deux peintures présentées ici, dans le style monochrome qui représente la quintessence de l'œuvre de Monory, sont des exemples exceptionnels de cette œuvre qui synthétisent la peinture et le collage en donnant un effet dramatique à l'ensemble. Barrant sa composition dans Dreamtiger n°2 par des lignes de code, « anonymisant » son sujet derrière un écran noir, ou obscurcissant le paysage de Le Peintre n°18, l'artiste fait constamment allusion à des récits cachés et des intentions déformées. Créée pendant des périodes de profonds bouleversements mondiaux, marquées par la guerre du Vietnam, les Guerres froides, les mouvements de protestation de mai 1968 et la Révolution culturelle, l'œuvre de Monory est profondément évocatrice de son époque, empêtrée dans des conflits mondiaux, sociaux et culturels.Peintes dans un bleu monochrome, inspiré par le « CinémaScope » et les planches de contact photographiques dont Monory a régulièrement nourri son imaginaire, ces deux œuvres utilisent une technique inédite tirée du film noir pour donner une impression de drame et créer un suspense. Dreamtiger n°2 est indubitablement l'une des œuvres les plus puissantes d'une série cruciale créée par l'artiste entre 1970 et 1972. Le tigre féroce, représenté enfermé dans une cage et rendu dans un bleu froid façon « CinémaScope », a d'abord été peint sur toile avant d'être découpé et reconstitué sur carton. Après le retour au thème du tigre dans les années 2000, Dreamtiger n°2 est certainement l'une des œuvres de Monory les plus intéressantes pour un collectionneur, qui arrive aujourd'hui sur le marché.Faisant écho au réalisme et au montage dynamique des films de La Nouvelle Vague, ces deux peintures élégantes sont iconiques et dignes des collectionneurs les plus exigeants. Monory, dont le style est peut-être le plus proche de celui de l'artiste du Pop Art américain James Rosenquist, demeure une sommité du Pop Art mondial, dont la carrière a été revigorée par de récentes rétrospectives organisées en Europe et aux États-Unis, et continuera sans aucun doute à susciter l'attention des acteurs institutionnels majeurs du marché. Comme en témoigne la présence de ses œuvres dans des collections muséales mondiales, y compris le Stedelijk Museum, Amsterdam, le Musée national d'Art moderne, Paris et le Fukuoka Art Museum, Japon, Monory continue d'exercer un attrait incontestable dans le monde, comme l'un des peintres majeurs des années 1960, et les deux œuvres présentées ici sont emblématiques de la carrière de l'un des artistes les plus éminents du Pop Art européen de cette période.A pioneer of the Figuration Narrative movement, Jacques Monory stands as one of the most undervalued yet significant European Pop artists to emerge in the 1960s. Encompassing painting and filmmaking, Monory's vision is singular and compelling; unpacking the superficialities of the silver screen and injecting his canvas with complex ideas that share much with the philosophies of Michel Foucault and Roland Barthes. Presented here are two except... For further information on this lot please visit Bonhams.com

Gudmundur Erro (born 1932)Gandhi 1974 signé et daté 74 au revers peinture glycérophaltique sur toilesigned and dated 74 on the reverseglycerophaltic paint on canvas162 x 131 cm.63 3/4 x 51 9/16 in.Footnotes:Cette œuvre est accompagnée d'un certificat signé par l'artiste.ProvenanceCollection particulière, France (acquis auprès de l'artiste) Puis par descendance au propriétaire actuelLittératureGeorges Herscher, Erró: Catalogue Général 1944-1974, Tome I, Paris 1976, p. 202, no. 8, illustré en noir et blancLes peintures d'Erró - l'un des artistes du Pop Art les plus sous-appréciés de l'époque -, ont été une riposte audacieuse au ton feutré du Pop Art américain des années 1960 d'Andy Warhol, de Roy Lichtenstein, et de son grand ami James Rosenquist. Les œuvres d'Erró – qui est né en Islande en 1932 et a percé à Paris à la fin des années 1950 -, ont été instantanément reconnues pour leur angle politique et la puissance de leur commentaire social véhiculant un sentiment d'opposition à la guerre et cherchant à démystifier l'image médiatisée et le consumérisme. Se servant des motifs et des techniques de composition de la bande dessinée, s'inspirant de références iconiques de l'histoire de l'art, puisant leurs sources dans l'imagerie des journaux et des magazines, les peintures d'Erró sont provocatrices et intenses – elle dépeignent le glamour naissant et l'importance du sexe dans la société de consommation, en tant que foyer de désirs et d'idées qui s'entrechoquent. Erró a produit un type complètement nouveau de Pop Baroque ; extravagant et effréné. Exposé avec d'autres artistes français de la Figuration Narrative, notamment Alain Jacquet, Jacques Monory, Bernard Rancillac, Valerio Adami et Peter Klasen, Erró a créé une branche du Pop Art qui est demeurée unique en son genre et totalement à part, par rapport à la nature conceptuelle et philosophique de ses homologues européens. Lors de ses voyages en Amérique en 1963-1964 et entre 1966 et 1971, Erró a rencontré notamment Lichtenstein, Robert Rauschenberg et Jim Dine. S'inspirant du conflit culturel provoqué par la guerre du Vietnam et des politiques sociales progressives qui commençaient à se répandre plus largement à l'époque, et mélangeant la peinture classique et l'œuvre imprimée, l'artiste s'est servi de son style inspiré de la B.D. pour fusionner le tout et créer des paysages presque oniriques qui évoquent les déserts de De Chirico et de Dali, comme en témoigne en particulier son Don quichotte de la mancha, qui date de 1979. Erró est l'un des artistes du Pop Art les plus iconiques des 60 dernières années – un précurseur, comme Keith Haring, KAWS et Murakami – et il continue d'influencer la création contemporaine et d'être exposé dans les plus grands musées, avec des rétrospectives au Centre Pompidou et au Musée des Beaux-Arts de Lyon en 2010 et 2014, respectivement. Nous présentons aujourd'hui un grand ensemble d'œuvres très variées, qui va de grandes toiles jusqu'à des collages qui sont comme des pièces d'orfèvrerie, marquant ainsi l'arrivée sur le marché de certaines des œuvres les plus emblématiques du style vif et éclatant d'Erró.One of the most underappreciated Pop artists of the period, Erró's paintings have offered a bold retort to the muted tone struck by American Pop Art of the 1960s in Andy Warhol, Roy Lichtenstein, and his good friend James Rosenquist. Born in Iceland in 1932 and emerging in Paris at the end of the 1950s, his work was instantly recognised for its political edge and strong social commentary that championed anti-war sentiment and sought to demythologise the mediated image and consumerism.Using motifs and compositional cues taken from comic strips and iconic art historical references, sourcing and composing imagery from newspapers and magazines, Erró's paintings are provocative and intense – depicting the nascent glamour and sex of consumer culture as a hotbed of desire and colliding ideas. What he produced was a completely novel type of Pop Baroque; extravagant and unrestrained. Exhibiting with the French Figuration Narrative, amongst other artists including Alain Jacquet, Jacques Monory, Bernard Rancillac, Valerio Adami and Peter Klasen, Erró's brand of Pop Art remained unique and aside from the conceptual, philosophical nature of his European counterparts. Travelling to America in 1963-1964 and between 1966 and 1971, Erró met with Lichtenstein, Robert Rauschenberg and Jim Dine, amongst others. Drawing upon the cultural conflict that was brewing over American military conflict in Vietnam and socially progressive politics that was becoming more widely championed, as well as sampling classical painting and print material, the artist used his cartoon-like style to stitch together almost dreamlike landscapes that evoke the deserts of De Chirico and Dali, most notably in the work Don quichotte de la mancha, from 1979. One of the most iconic Pop artists of the last 60 years – a precursor to the likes of Keith Haring, KAWS and Murakami – Erró's legacy continues to influence contemporary practice and be featured in major institutions, most notably being honoured with retrospective exhibitions at the Centre Pompidou and the Musée des Beaux-Arts de Lyon in 2010 and 2014, respectively. Presented here are a huge variety pieces from large works on canvas to jewel-like collages, amounting to some of the most exemplary pieces of Erró's vivid style to come to market.For further information on this lot please visit Bonhams.com

Vietnam & Mongolia Mint range in stockbook. STC £355 (few 100s)

Collection. WW2 Vietnam US ace Abner Aust signed colour montage 10 x 8 inch photo inscribed Iwo Jima 1945. Good condition Est and Aviation print 28x20 titled Catalina Take Off by the renowned aviation artist Roy Cross. Good condition Est.

B39a 22 Mar 82 Jersey. Introduction of Boeing B. 29 renamed The Washington 1 to the Royal Air Force 22 March 1950. Flown cachet. Flown in B29 Super fortress, Personally Signed by Brigadier General Robin Olds (July 14, 1922 June 14, 2007) was an American fighter pilot and general officer in the U. S. Air Force. He was a triple ace, with a combined total of 16 victories in World War II and the Vietnam War. He retired in 1973 as a brigadier general. Details enclosed. Est.

ERIC BURDON & THE ANIMALS - WINDS OF CHANGE 12" SAMPLER ACETATE. Here we have a curious 12" sampler acetate pressing of Eric Burdon & The Animals 1967 LP Winds Of Change. The acetate appears to contain 8 tracks from the album. EMIDISC printed centres. The lacquer playing surface has many surface marks but no cracking or peeling. Comes in a homemade-looking sleeve with The Vietnam War Is Dirty sign on the cover.

Two Crown Staffordshire Royal Wedding mugs and a pair of Vietnam 'Dona' vases, 9 1/2'' tall.

American Vietnam War era Airbourn Special Forces Pin badges (2) on in the design of a Red Beret with crossed daggers and the other in the shape of the Card deck Spade with 'Sat Cong' and a skull and cross bones.

Vietnam 1947-100 Dong, Pick 10b, fine scarce

A 1960 Australian Vietnam medal together with American

Vietnam War Era INERT US M.67 Grenade. The idea was that every all American boy could throw a baseball so they designed the Grenade around one.

Vietnam War Era US M1 Helmet with reversible Mitchel-Duck Hunter Cam Cover.

Vietnam War Era 1st R.V.N Marine Corp Battalion Helmet.

Vietnam War Era Recon Team Tour Memorial Boonie hat and Parachute Material Jungle Boonie Hat.

Vietnam War Era US Boonie Hat Adorned with 4 hand Grenade rings.

Vietnam War Era Vietcong Silky Material Victory Banner ?National Liberation Front of South Vietnam? Victory Phang Can Gio 1969 and a Vietcong Flag

Selection of war related DVDs to include an eight DVD Vietnam box set. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Reproduction Vietnam windproof lighter with Special Operations group logo. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Pair: Private G. H. Kewin, 1st Battalion, Royal Australian Regiment Vietnam 1964-73 (54108 G. H. Kewin); South Vietnam Medal 1964, 1 clasp, 1960- (54108 G. H. Kewin), mounted court-style for display, good very fine (2) £240-£280 --- George Henry Kewin was born in Liverpool on 29 March 1940 and, having emigrated to Australia, attested for the Australian Regular Army at Perth, Western Australia, on 2 February 1960. He served with the 1st Battalion, Royal Australian Regiment, and was advanced Sergeant. He was discharged on 1 February 1969. Sold with extensive copied service papers which state that the recipient was injured on 30 April 1964, whilst serving with HQ 1 Division, when he crushed two fingers on his left hand as he ‘was loading beer kegs at Resch’s Brewery, Waverley, and caught his fingers between two nine gallon kegs.’

Two Oriental pictures, one framed 23 x 48 cm, the other by Haha Hoian, Vietnam, 30 x 40 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Vietnam war era white metal American Army class ring set with purple stone. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)