Everyone knows an MGB! Arguably the most popular British classic car, and for good reason. Produced between 1962 and 1980 the MGB is the quintessential British sports car. Light with a revy 1800cc 4-cylinder engine sending drive via a manual gearbox to the rear wheels.The replacement to the MGA the MGB sold in huge numbers with over 500 thousand being produced, ahead of its time using a unibody structure instead of the normal body over frame design of most cars of the time giving the MGB great rigidity and in turn sharp handling due to its lighter weight.The MGB was one of the first production cars to use crumple zones to protect its occupants from impact.Later cars were facelifted to satisfy the American market and crash standards. These cars from 1974 onwards were raised slightly and larger wrap around style rubber bumpers replaced the earlier slender chrome versions. A popular modification in the UK is to convert these Òrubber bumperÓ models back to pre-facelift by replacing the bumpers and fitting earlier spec suspension and in the case of better conversions such as this one even going to the trouble and large expense of converting the wheel assembly to take wire wheels with knock off fasteners.This 1975 GT has undergone that very conversion giving it the looks of an earlier car without the now huge cost (presentable examples of earlier cars regularly achieve £15,000-£20,000)Bumpers, suspension and wheels have all been changed by a previous owner as well as a repaint in a non-standard MG grey which contrasts nicely with the tidy blue/black interior.Fitted with a wood rimmed steering wheel and glass pop top style sun roof this car is a very affordable way of entering the classic car world and was driven to site by the current owner.
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A fine example of the most elegant supercar of the modern era with full Aston Martin service history.Supplied by Stratstone Aston Martin, Western Avenue, London on the 03/07/2008One of the finest car designs of the modern era with echoes in each new model launchThe 5.9-litre V12 propels the luxuriously appointed DB9 to 100mph in 10 secondsThe full Aston Martin main dealer service history shows the diligence of previous ownersWith an odometer reading of 32,800 miles (atoc) warranted by the detailed history filePresented to auction with an MOT until 06/12/ 2021 and the aforementioned book pack.Launched at the 2003 Frankfurt Motor Show, the exceptional Aston Martin DB9 promised to be one of the most sought after 'Supercars' of the decade. Henrik Fisker's flowing design retained all the good looks of its predecessor, the highly acclaimed DB7. Weight was kept low by the use of aluminium and composites for the bodywork, whilst power from the 5.9-litre V12 was a healthy 450bhp, providing the Aston with acceleration to 100mph from a standstill in only 10 seconds, and on to a near 190mph maximum speed. Weight distribution was a perfect 50:50 thanks to the front / mid-engine layout with a rear-mounted sequential transmission.Most DB9s were delivered with a six-speed ZF automatic gearbox featuring paddle-operated semi-automatic mode, perfect for pootling around town or continental touring. The DB9 was aimed at, like all proceeding Astons, a certain type of owner; an enthusiast who appreciated the speed and soundtrack but also the refinement and discretion. At nearly twenty years old the DB9 has aged phenomenally well, indeed the silhouette is near identical to the current models offered by Aston today. Residual values have plateaued for good examples in recent years and although buying a used supercar is a decision not to be taken lightly, buyers can be reassured by an impeccable main dealer service history.Supplied by Stratstone Aston Martin on Western Avenue, London on the 3rd July 2008, the car was to return there for subsequent services in its early life before being looked after later by main dealers at the following intervals: 10/06/2008 Aston Martin Western Avenue, London at 731 miles14/05/2009 Aston Martin Western Avenue, London at 4,453 miles06/05/2010 Aston Martin Western Avenue, London at 6,130 miles01/07/2011 Aston Martin Western Avenue, London at 8,115 miles04/07/2012 Aston Martin Western Avenue, London at 12,880 miles04/07/2013 Aston Martin Western Avenue, London at 16,701 miles27/10/2014 Aston Martin Welwyn (Now Grange) at 20,240 miles13/06/2016 Aston Martin Welwyn (Now Grange) at 25,148 miles13/06/2017 Aston Martin Welwyn (Now Grange) at 27,802 miles21/05/2018 Aston Martin Birmingham at 29,132 miles12/06/2019 Aston Martin Wilmslow, Cheshire at 30,477 miles16/04/2021 Aston Martin Birmingham at 32,731 milesOffered to auction in a very agreeable condition, the black leather interior shows gentle wear and presents far better than similar mileage models we have seen with lighter coloured interiors. The well-stamped service book displays the diligence of its four former keepers. The car is ready for summer jaunts having just been serviced sixty-nine miles ago in April and the MOT is valid until December 2021. We welcome any inspection of this motorcar and we believe the service history is amongst the best of any comparable car on the market today.SpecificationMake: ASTON MARTINModel: DB9Year: 2008Chassis Number: SCFAC01A48GA10461 Registration Number: LJ08EYZTransmission: AutomaticEngine Number: AM04121742Drive Side: Right-hand DriveOdometer Reading: 32810 MilesMake: RHDInterior Colour: Black LeatherClick here for more details and images
Looking fabulous in Capri Blue, this sparkling DB6 benefits from an upgraded 4-speed auto box and a comprehensive history file.Dating from 1966, DB6/2563/R was delivered new to H.W motors Ltd. for its first owner, J.F.P TateFinished from new in Capri Blue with Dark Blue Connolly hide and dark blue carpetsThe accompanying Aston Martin Heritage Trust Certificate confirms the car was right-hand drive and fitted with a Borg-Warner, 4-speed automatic gearboxFurther optioned with Chrome Wire Wheels, 3-eared spinners, Fiamm horns and Avon TurbospeedsThe automatic four-speed gear box has received the 'Chapman' upgrade offering seamless gear changesFull and interesting ownership history. With our private vendor for the last seven yearsFull matching numbers, factory spec and in a fabulous colour. A lovely example The culmination of Aston Martin's long-running line of DB six-cylinder sports saloons, and thus considered by many to be the last 'real' Aston, the DB6 was introduced in 1965, updating the DB5. Although recognisably related to the Touring-styled DB4 of 1958, the DB6 abandoned the Carrozzeria Touring-developed 'Superleggera' body structure of its predecessors in favour of conventional steel fabrication whilst retaining the aluminium outer panels.Increased rear-seat space was the prime DB6 objective so the wheelbase was now four inches longer than before, resulting in an extensive restyle with a more-raked windscreen, raised roofline and reshaped rear quarter windows. Opening front quarter-lights made a reappearance but the major change was at the rear where a 'Kamm tail' with spoiler improved the aerodynamics, greatly enhancing stability at high speeds. These many dimensional changes were integrated most successfully, as the DB6's overall length increased by only two inches. The Tadek Marek-designed six-cylinder engine had been enlarged to 3,995cc for the preceding DB5 and remained unchanged. Power output on triple SU carburettors was 282bhp, rising to 325bhp in Vantage specification, complete with triple Webers. Borg-Warner automatic transmission was offered alongside the standard ZF five-speed gearbox, and for the first time, there was optional power-assisted steering. High profile owners in the early days included HRH Prince Charles, Paul McCartney, Mick Jagger, Twiggy and Peter Sellers.DB6/2563/R was delivered new to H.W motors Ltd for J.F.P Tate, Esq. finished in Capri Blue with Dark Blue Connolly hide (VM 3282) and dark blue carpets. Although subsequently resprayed, the Aston is still presented today in the same Capri Blue with its very nicely aged original interior. The Aston Martin Heritage Trust Certificate confirms the specification being right-hand drive and fitted with a Borg-Warner, 4-speed automatic gearbox plus non-standard equipment including chrome roadwheels, heated rear window, three-eared hub spinners, Fiamm horns, a powered aerial and Avon Turbospeed tyres. The car was in daily use early on in its life and regularly serviced and maintained including a cylinder head overhaul and front suspension rebuild in 1967. It is still matching numbers, today, unlike many DB6s.The car's second owner was a Mr Pitkethly in 1984 who sold it, in 1992, to a Mr Hine who, in turn, later sold the DB6 to Le Riche 'Automobile Restorers' of Jersey in 2002. A little later, Le Riche were persuaded to part with the Aston by a Mr Hoy of Jersey (Reg. J 6929) who kept the vehicle until its export out of Jersey in December 2009.The next change of ownership was to Aston Martin Works Ltd. in April 2014, who sold it to the owner prior to our vendor. He appears to have cherished the car judging by its lovely overall condition today, and covered less than 600 miles in nearly 4 years.This car retains much of its originality, character and is still on its original number plate. It's matching numbers throughout and presented in the original colour of Capri Blue, a rare hue for a DB6 but one that really suits it making the big GT look slimmer and lighter somehow and will, without a doubt, turn heads as it continues to age gracefully. It is also noted that the automatic four-speed gear box has received the 'Chapman' upgrade, and this is very clear when you experience the smoothness of the shifts.OPC 308D is supplied with a fascinating history file direct from the current private owner who has had it for the last seven years, covering very few journeys but all of them memorable we are assured!The history file includes a Heritage Trust Certificate confirming both the original factory specification and matching numbers status.SpecificationMake: ASTON MARTINModel: DB6Year: 1966Chassis Number: DB62563RRegistration Number: OPC3 08DTransmission: Auto 4 SpeedEngine Number: 400-2461 Make: Interior Colour: Blue LeatherClick here for more details and images
A selection of coins to include one penny, three pences, half crown, other coins, Queen Elizabeth 1977 coin in case, ten shilling note, cigarette lighter. IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered UK only address.
A collection of wristwatches to include, Timex, Avia, Lamontre, Omax, on bracelet straps, two watch faces, one Jean Renet, the other Montine, together with a Junghans fob watch on plated chain, a collection of jewellery to include, a gold club pendant set with diamond accent, together with various pendants, some gemstone set, a silver ingot, rings, brooches, hat pin and cigarette lighter etc., Four bar brooches, one of flower design, initials AJC on back, one with central flower design, one with central gem stone, other a yellow metal plain bar, a red paste dropper necklace, A pair of collar clips, a costume necklace and a pair of cubic zirconia stud earrings, stamped 925. IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered UK only address.
Mixed lot to include a Royal Crown Derby Old Imari pin box, a Crummles Magnolia pin box, a Margaret Rose pin box, a silver topped leather ring box, three bronze frogs, one seated on an amber block, two silver plate napkin rings, a petrol lighter, a ruler advertising S.A. Satchwell Hull and a silvered glass scent bottle.Condition ReportAll items in good condition.
AN EDWARD VII SILVER NOVELTY LIGHTER, by William Henry Stokes & Arthur George Ireland, London 1901, in the form of a kettle with swing handle. Approx. 8.3cm high including handleThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck - further marked on swing handle, inside kettle cover and on lighter stick beneath finial. Stands upright, does not rock. Minor bruises and light surface scratches commensurate with age and use
A VICTORIAN SILVER NOVELTY TABLE LIGHTER, by Lawrence Emanuel, Birmingham 1900, in the form of a ship's port lantern, triangular, loop handle to top, the front with red glass section, the back engraved with faux door fittings. 9.5cm high including handleThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck - further marked with lion passant and date letter to base, and with lion passant to top of handle. Left and back top overhanging corners bent over. Minor dings and light surface scratches commensurate with age and use
An Early 20th Century Carved Mahogany Single-Cane Bergère, recovered in gold and floral damask, the moulded carved frame with overstuffed seat, on acanthus carved cabriole forelegs, 64cm by 67cm by 76cm CONDITION REPORT: Cane work in good condition. The upholstery is good. Framework with some bruises and general faults particularly around the carved legs and the upright of the frame. Some slight variations in colour mainly on the arm rests, these are lighter in colour compared to the rest of the frame.
A Pair of Elm-Seated Stools, mid 19th century, of pegged construction, on turned and spindle supports, 38cm by 25cm by 47cm CONDITION REPORT: One stool is lighter in colour than the other, this lighter coloured stool has numerous cut marks to the top. Some slight movement in the leg joints and traces of green? paint to the underside. The other stool is structurally better but again with some cut marks around the seat. Both chairs are usable.
A George VI or Elizabeth II Silver and Enamel Mounted Cigarette-Lighter, The Silver Mounts by Henry Clifford Davis, Birmingham, Circa 1950, The Lighter by Ronson, Retailed by Asprey, London, of oval section, the front enamelled with two budgerigars within foliage and on a white enamelled ground, the back with a plain white enamel panel, 5cm high. Marked on side with maker's mark and lion passant and further stamped 'Asprey London.' There is some minor wear to the marks, though they are still legible. Stamped underneath 'Ronson Trade Mark Standard Made in England Brit. Pat. 621570'. There are overall some light surface scratches and wear, consistent with age and use. The lighter mechanism does not work properly. Total gross weight including lighter 69gr.
A William Evans 16-gauge Side by Side double-barrelled box-lock selective ejector Shotgun serial No. 17749 having nicely engraved action with scrolling foliage with the maker's name within a banner and having nicely figured Walnut stock and fore-end with checquered grips. 28" long barrels having 2 1/2'' chambers and left hand choke barrel, nitro-proof. maker's name to the rib: "William Evans, 63 Pall Mall, London, SW'', Overall length 46 1/16'', weight 5 lbs 1 oz., (the stock has been lengthened). The pull length (from the forward trigger to the stock-end) is 15 3/4" approx. A quality gun by these highly regarded English gun-makers eminently suited to the younger shooter or indeed to those preferring a lighter gun with very little loss in hitting power in comparison with the much heavier 12 gauge guns. ***PLEASE NOTE*** You MUST have a Valid and Current U.K. Shotgun Certificate to BID for this Lot.
A collection of Victorian and later silver, including a silver pepperette, lobed baluster body with ball feet, James Deakin and Sons, Chester 1894, 9.5cm, a second silver pepperette with applied paw feet, Adie Brothers Ltd, Birmingham 1937, 3.53toz combined, together with a silver bottle coaster, plain convex sides with turned wooden base, marks rubbed, 13.5 by 3.7cm, 4.53toz, a silver capstan inkwell, lacking lid, Birmingham 1908, weighted base, 9.41toz, a Continental tea strainer with pierced foliate rim, marked 90, 7.8 by 2cm, 1.15toz, and a silver plated table lighter, the body decorated with tavern scenes, applied winged shield marked KONI to one side, 8.9 by 7.1 by 4.3cm. (6)
* WWII Jeep & Trailer Desktop Compendium c1940s. A souvenir of war constructed from aluminium scrap from crashed aeroplanes fabricated in the Western Zone Germany; comprising cigarette-box & concealed lighter with ash/pin-tray trailer; popular with service-personnel returning home after cessation of hostilities.Qty: (1)
A large 19th Century Rogers blue and white rounded rectangular tureen and cover decorated to the exterior with large flowers and foliage against a lighter blue ground, the interior decorated to the base with the Elephant pattern, the cover and handles formed as lion heads, impressed mark, length 37cm, A/F.
Thalia Flora-Caravia (Greek, 1871-1960)L'artiste dans son studio huile sur toile103 x 79cm (40 9/16 x 31 1/8in).Peint vers 1903oil on canvasFootnotes:ProvenancePrivate collection, Istanbul. Yannis Perdios collection, Athens.ExposéAthens, National Gallery and Alexandros Soutzos Museum - Mount Sinai Foundation, Treasures of Modern Greek Art, The Yannis Perdios Collection, December 9, 1998 - March 15, 1999, no. 95 (discussed, p. 170, catalogued, p. 308, and illustrated in the exhibition catalogue, p. 171).Washington, D.C., Mariner S. Eccles Federal Reserve Board Building, The Emergence of Modern Greek Painting 1830-1930 from the Bank of Greece Collection [and from several private collections in Athens], September 30 - December 3, 2002, no. 22 (discussed, p. 10, and listed, no. 5, p. 14, in the exhibition brochure; and discussed, pp. 17, 72, catalogued, p. 117, and illustrated in the exhibition catalogue, p. 73).Athens, Megaron - The Athens Concert Hall, The Emergence of Modern Greek Painting 1830-1930, February 18 - March 30, 2003, no. 22 (listed, no. 38, in the exhibition brochure; and discussed, p. 72, catalogued, no. 38, p. 119, and illustrated in the exhibition catalogue, p. 73).Athens, Megaron - The Athens Concert Hall, C.P. Cavafy, his World and the Art Forms of his Time, November 2003 - January 2004, no. 70 (discussed and illustrated in the exhibition catalogue, p. 78). LittératureEthnos newspaper, January 20, 1960 (illustrated).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 164 (listed).D. Tsouryanni, The Painter Thalia Flora Karavia (1871-1960), doctoral dissertation, University of Athens, Athens 2002, pp. 40-41 (discussed), fig. 35 (illustrated).D.M. Tsouryanni, Thalia Flora Karavia 1871-1960, Athens 2005, no. 16, p. 51 (discussed), p.133 (catalogued), p. 52 (illustrated).Griechische Künstler in der Müncherer Akademie im 19. Und 20. Jahrhundert, exhibition catalogue, Tellogleion Art Institute, Thessaloniki 2006, p. 200 (illustrated).D.M. Tsouryanni, Thalia Flora-Karavia, Peak editions, Athens 2018, no. 57, pp. 98-102 (discussed), p.199 (catalogued), p. 99 (illustrated).Istoria tis Technis magazine, no. 6, Summer 2017, pp. 98-100 (discussed), p. 99 (illustrated).A precious jewel in the stellar collection of Yannis Perdios, 'this self-portrait which Thalia-Flora-Karavia painted in 1903, while in Paris, is one of the artist's finest efforts in the field of portraiture. A work of restrained yet excellent technique, is also an outstanding and penetrating psychological portrayal,'1 notes art historian D. Tsouryianni, author of the artist's monograph.Discussing the painting further, the scholar describes it as an almost full-length portrait of the artist, depicted in three-quarter profile, seated in front of her easel and holding her palette and brushes. A second easel suggests that the setting is a painter's studio. In terms of colour scheme, one notices the harmonious distribution of tones—darker at the bottom and increasingly lighter towards the top—culminating in the white lace trimming of her collar and the remarkable chiaroscuro effect on her face. Equally disciplined is the compositional structure, with the strong diagonals of the easels counterbalanced by the inversely inclined diagonal of her palette.D. Tsouryianni continues by noting that the energetic posture, which calls to mind the self-portraits of Titian and Rembrandt, transforms the figure from a passive object into an active subject. Particular emphasis is placed on the sitter's lucid, penetrating gaze, which best describes her disposition. Full of confidence and asserting herself as an artist, she is ready to make her entrance into a male-dominated field. Instead of resorting to sentimentality and idealisation, so evident in the self-portraits of such women artists as Angelika Kauffmann and Elisabeth Vigée-Lebrun, she ventured to depict herself with all her painting equipment, thus emphasizing her view of herself as a fully aware and accomplished artist. Born in Siatista, Northern Greece, and raised in Constantinople, Thalia Flora-Karavia studied art in Munich from 1895 to 1900. Her teachers included Nikolaos Gysis and Nikolaos Vokos. Restless and energetic, she travelled extensively across Europe, and to Asia Minor and Egypt, seeking to expand her thematic repertoire and develop her own style. During the Balkan Wars of 1912-13, she followed the operations of the Greek Army in Macedonia and Epirus, capturing the lives of the soldiers in fine drawings and sketches. 1 The Emergence of Modern Greek Painting 1830-1930, exhibition catalogue, Washington and Athens 2002-2003, p. 73. See also D.M. Tsouryanni, Thalia Flora-Karavia, Peak editions, Athens 2018, pp. 98-102.Précieux joyau dans la superbe collection de Yannis Perdios, « cet autoportrait que Thalia-Flora-Karavia a peint en 1903, pendant son séjour à Paris, est l'une des plus belles œuvres de l'artiste dans le domaine du portrait. Une œuvre procédant d'une technique sobre mais excellente, qui est également un portrait psychologique exceptionnel et pénétrant », note l'historien de l'art D. Tsouryianni, auteur de la monographie de l'artiste.Poursuivant l'analyse de l'œuvre, D. Tsouryianni la décrit comme un portrait presque en pied de l'artiste, représentée de trois quarts, assise face à son chevalet et tenant sa palette et ses brosses. Un second chevalet suggère que la scène se situe dans l'atelier d'un peintre. La palette se distingue par la distribution harmonieuse des couleurs – plus sombres dans le bas de la toile et de plus en plus claires vers le haut – culminant dans le blanc de la dentelle de son col et le remarquable effet de clair-obscur sur son visage. La structure de la composition est parfaitement disciplinée, les puissantes diagonales des chevalets étant contrebalancées par la diagonale inversée de sa palette.D. Tsouryianni poursuit en notant que la posture énergique, qui évoque les autoportraits du Titien et de Rembrandt, a pour vertu de transformer le personnage, lequel n'est plus un objet passif mais devient un sujet actif. Un accent particulier est mis sur le regard lucide et pénétrant du sujet, qui traduit au mieux son état d'esprit. Pleine de confiance et s'affirmant elle-même comme une artiste, elle est prête à faire son entrée dans un domaine dominé par les hommes. Plutôt que de recourir à la sentimentalité et à l'idéalisation, si évidentes dans les autoportraits d'artistes femmes comme Angelika Kauffmann et Elisabeth Vigée-Lebrun, elle ose se peindre elle-même avec tout son matériel de peinture, soulignant ainsi qu'elle se considère pleinement comme une artiste accomplie.Née à Siatista, dans la Grèce du nord, et élevée à Constantinople, Thalia Flora-Karavia a étudié l'art à Munich entre 1895 et 1900. Ses professeurs ont été notamment Nikolaos Gysis et Nikolaos Vokos. Avide de mouvement et débordante d'énergie, elle a voyagé dans toute l'Europe et jusqu'en Asie Mineure et en Égypte, cherchant à enrichir son répertoire thématique et à développer son propre style. Pendant les Guerres des Balkans de 1912-13, elle a suivi les opérations de l'armée grecque en Macédoine et dans l'Épire, saisissant sur le vif l'existence des soldats dans de nombreux dessins et esquisses de grande qualité.... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A good Chinese Flambé double-gourd vase, Qing Dynasty, late 18th or early 19th century, the stoutly-potted body supported on a short foot, covered overall in a rich glaze with purplish-blue-streaked glaze and deep red, the wide unglazed foot rim roughly hued and the foot rim centre glazed in white, the interior of the neck with lighter blue streaked glazed, 42cm high, later wood standProvenance: From the collection of Sir David and Lady Scholey.清18-19世纪 窑变釉大葫芦瓶拍品来源：英国Scholey爵士及女爵伉俪私人收藏，David Scholey爵士为前英格兰国家银行总监及英国国家肖像画廊主席 Condition Report: generally in very good condition with some slight pitting to glaze mainly to the neck interior and the underside of the foot rim typically roughly hued with the glaze uneven around the foot rim area Condition Report Disclaimer
Special Air Services interest, miscellaneous silver plate including a pie crust silver plated tray engraved 'Presented to Major R.G Ball M.B.E by 'The Officers of the 23rd Special Air Service Regiment dated 1971 approx 31 cms raised on shell feet, a silver plated one pint tankard awarded to Sgt Royston Ball by The Sergeants Mess 22 SAS Regiment Malaya 1958, a pewter tankard presented to Sgt Roy Ball by All Ranks 'D' Sqn 22 SAS Regt Malaya 1958, silver plated tankard mm Mappin & Webb. This lot includes a silver plated trinket box (hinge damaged) engraved Presented to RSMRG Ball by WO's and Sgts 22 SAS Regiment approx 11 x 9 x 5 cms, a brass metal toast rack and a Ronson's silver plated table lighter. Note: All the above belongs to Major R.G Ball M.B.E 22 SAS Regiment.
A German Second War Group of Four. Comprising East Front Medal, reasonable finish, the silvering from the helmet has disappeared, ring maker marked number 4 in its original paper packet, which is titled Ost Medalle to the face side with the corresponding maker for the ring number 4 of Steinhauer & Luck of Ludenscheid on the reverse side of the package. Italian Africa Medal, this is the lighter weight version, which is gilded, gilding dull with its correct black, white, red and green ribbon. War Service Cross Second Class with swords in bronze, with its ribbon. Another War Service Cross Second Class in bronze, mint condition with accompanying A5 size citation to Technical Angestellten (Employee) Martin Pieper, late award date of 30 January 1945 with its original paper packet of issue, which is maker marked on the reverse side Grossmann & Co Wien (Vienna), ring to medal unmarked, good condition (4) £100-£140
A Lady's Cartier 18ct gold tank wristwatch, the rectangular white dial with Roman numerals with inner minute track, blue steeled sword hands, set to a plain polished 18ct gold case, sapphire cabochon set crown, reverse stamped with 750 common control mark and number '671171066', case measuring 25mm x 18mm, set to a brown leather strap with buckle fastening, 20cm long, set to a red leather Cartier case, complete with Cartier guarantee card, suede wallet and service paper Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding. Condition Report; Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.This watch is currently in working order.Dial: Good order. All enamel numerals and marks in tact and legible. There is a heavy amount of crazing to the dial, which is mostly concentrated around the outer edge becoming lighter towards the centre.Case: Glass in quite heavily scratched, but no cracks or chipping. Case in in good order, moderate scratching concentrated to the sides and lugs, some dirt build up around the screws, but no splitting or signs of repair. Some wear to the lettering on the reverse of the case, but all marks are legible. Sapphire to crown in good order.Strap: Good order, moderate wear to the leather around the buckle holes and tip of the strap, some general creasing consistent with wear, but no splitting. Strap width 14mm.Accompanying service letter dated 12th February 2003.
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44566 item(s)/page