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Lot 1795
Collection of Medals belonging to Captain John Mark Noel Richardson & photographs and ephemera, Long Service Medal awarded to '2310575 SJT . J. M. N. RICHARDSON', medals to include 39-45 Defence and star medals, Africa Star, France & German Star, and six dress medals, together with Officer's ration card, various photograph's to include troops, cars etc, Army Book 3, etc etc. (quantity)
Lot 1812
A Guernsey interest snuff box, the plated metal box of navette form, inscribed 'John Marsh 2 Tower Hill Guernsey' to the cover amidst chased scrollwork, the base with a chased sunburst, 2¾in. (7cm.) long; together with a WW1 Queen Mary Christmas 1914 brass tin; and a WW1 1914-15 Star medal, inscribed '18466 L.CPL. A. MARSH WILTS:R'. (3)
Lot 324
Sir John Everett Millais, Bt., PRA, RWS (British, 1829-1886), An historically important drawing of the artist and his wife Effie as Queen Victoria and Prince Albert, inscribed lower edge 'EVER & EFRI REX' and extensively inscribed on the reverse, pen and brown ink, circular 4in. (10.2cm.) diameter; mounted with the Great Exhibition bronze medal of 1851 of Queen Victoria and Prince Albert, designed by William Wyon, and from which Millais derived the image.. * * Provenance: Christie's, London 27th February 2007, 27, £9,000; Private collection, Jersey.. * ** It is thought that the drawing was made around the time of Millais' marriage on 3rd July 1855 to Euphemia, known as Effie, who had previously been married to the art critic John Ruskin. Millais and Effie had fallen in love while holidaying in Scotland with Ruskin in 1853 and she successfully had her marriage annulled on the grounds of non consummation. This intensely private and sensitive matter was reported in detail by the press eager to satisfy the public's curiosity. To escape the gossip surrounding their marriage Millais and Effie spent the first six years of their marriage in Scotland. Effie often appeared in Millais' paintings, most famously in The Order of Release (Tate Britain) which was exhibited at the Royal Academy in 1853.. * Although born in Southampton, Millais spent his childhood in Jersey and would always describe himself as a Jerseyman.. * Good condition.
Lot 463
Royal Jersey Infantry interest - Lord Alexander Coutanche's uniforms contained in metal trunk, the uniforms - scarlet tunic, having seven brass buttons to the front bearing crowned lion on crown, missing epaulettes, gold trim black collar with silver badge, gold trim cuffs, the back with two white pipes with button to top, leather belt with 3rd Royal Jersey Light Infantry buckle, navy blue trousers with red pipping, scarlet Mess / tunic with brass beaded fasteners to the front, black collar with gold piping, gold braided woven epaulettes with applied buttons and badges and letter 'M', gold trim black cuffs; dark navy blue jacket with black woven detail and black toggle fasteners, waist coat with gold trim; khaki jacket with three 'Tria Juncta In Uno' pips and button to epaulettes, medal stripe, sown on tag to inner 'R.B. COLLEY & CO JERSEY, Lieut A M Coutanche, Date - June 25/19', khaki cap with badge, together with other buttons and badges, the trunk. 27 x 13½ x 9½in. (68.6 x 34.3 x 24.2 cm.) high.. * * Alexander Coutanche was posted to Belgium during World War One as a Lieutenant with the War Claims Commission and left in 1920 as a Captain.. *
Lot 559
A George III Christ's College, Cambridge Beilby Porteus Medal, 1808, by J. Phillip, the edge engraved JOHANNES COLLETT REYNOLDS. AD.MDCCCXLL., high grade gold (tests as 22ct), 49mm, weight 82.8g, cased.. * * Beilby Porteus (1731-1808), Archbishop of Canterbury, Chaplain to George III and a Fellow of Christ's College.. *
Lot 283
Coins - a Westminster British Monarchy Commemorative Collection, The House of Normandy 1066-1154 set, comprising four proof cupro-nickel coins; a United Nations Official 25th Anniversary Commemorative medal in sterling silver and a Franklin Mint Presidential Journey for Peace Eyewitness medal in sterling silver
Lot 590
A Victorian silver brooch, Birmingham 1889; a miniature cobalt blue enamel pocket knife, 2.5cm; another in powder blue; a strand of polished coral beads, some loose; an Art Deco style arrow brooch; a Primrose League gilt brass medal, cased; a "Dame or Knight Warden" enamel badge; a Swarovski necklace, boxed; a strand of simulated pearls; a 1977 Silver Jubilee medal, boxed; an Old England fashion watch with two further straps; qty
Lot 437
FAMILY GROUP OF WWI MEDALS, group of 3 medals War, Defence & 1914 /15 Star to Captain F J A Hart, RFA, also George V Jubilee medal and George VI Coronation medal with set of miniatures to match, together with 1914/18 War medal to Major F W Hart, PWD, with an Edward VII Long Service & good Conduct medal to the same recipient, also 2 boxed medallions to Lance Corp. F W Hart for Civil Engineering in 1891 and Mathamatics 1891 and other badges
Lot 1063
A 9ct gold University of Aberdeen 'Seafield Medal', depicting the full coat of arms of the Earl of Seafield, with a scroll and Earl's coronet surmount, with Latin presentation inscription verso, awarded to C. Carnegie, Birmingham 1934, 40mm diameter, 30.95gCondition ReportSurface marks/scratches.Some minor dents to the surmount.
Lot 1506
A gold charm bracelet, a 9ct gold fancy curb link bracelet with side lever clasp and safety chain, Birmingham, suspending a quantity of assorted gold charms, to include three sovereigns, dated 1875, 1898 and 1912, all spectacle set to 9ct gold scroll top mounts, a 14ct gold articulated spinning wheel charm, Dublin, a solid frog charm, a solid crescent moon and owl charm with synthetic rubies grain set to the owl's eyes, an envelope and letter, etc., all hallmarked or tested as approximately 9ct gold, 82.56gCondition ReportSurface marks/scratches.Hollow cross charm with some minor dents.Medal charm with centre boss deficient.
Lot 751
A gold and hematite Masonic ring, decorated with a square and compasses motif and an initial 'G', detailed '585', weight 10.5g, ring size approx S1/2, together with various Masonic insignia, comprising a German medal, a pair of Mexican cufflinks, a synthetic red gem set brooch, detailed '10K', weight 1.1g, and four American stud badges.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 891
A MID 19TH CENTURY OIL ON CANVAS A champion short-horn, indistinct signiature and dated 1864, labelled verso 'Champion Short Horn & Medal at Birmingham / bred by William Lambe of Aubourn' - in moulded maple frame with gilt slip44.5cm high 59.5cm wideThere is a patched repair to the left of the signature otherwise no other damage or restoration, some crazing to the paint but very stable.
Lot 481
Large collection of mixed coins, to include a 1951 festival of Britain boxed crown,11 sets of uncirculated coins, 4 x £2 coins, 10 £5 coins, 3 Birmingham mint commemorative coins, a box of half crowns, a box of 2 shillings coins , box of one penny coins, a box ox half pennies , brass three penny coins and sixpences. a silver anglers welfare fund medal a small cigarette lighter and other items.
Lot 113
Quantity of Decorative Modern Blue and White China: a pair of Chinese style glower vases with circular flower holes to top, no damage, 20cm H; and a pair of Chinese style with pagoda lids, no damage, 33cmH; and a pair of ginger jars and covers on gilded style medal stands and rims and pineapple finials, no damage32cmH and a matching pair of footed raised open vases;
Lot 13
A French late 19th/early 20th century ormolu mounted kingwood bowfront vitrine by Francois Linke (1855-1946)Circa 1900, with scrolled foliate, floral and acanthus mounts, the moulded marble top above an arched glazed panel mounted door, enclosing a mirrored interior with three adjustable glass shelves, the door mounted to the base with a central foliate spray-adorned shell and waterfall, on keeled cabriole legs terminating in sabots, two mounts, and probably others likewise, stamped: 'F.L.', 91cm wide x 42cm deep x 168cm high, (35 1/2in wide x 16 1/2in deep x 66in high)Footnotes:A Francois Linke vitrine of the same, or at least virtually identical, design to the offered lot sold Christie's, London, 19 March 2008, 19th Century Furniture, lot 127. This example follows index number 1185. Another similar vitrine by Linke sold Christie's, New York, 26 November 2013, The Opulent Eye, lot 82 whilst a related model, albeit one following index number 208, sold Bonhams, London, 10 July 2007, Fine Continental Furniture, lot 92. A further Linke comparable sold Christie's, New York, 13 April 2017, Opulence, lot 119.Similar 'crab-like' waterfall, shell and foliate mounts to the one appearing prominently on the present vitrine are typically associated with the oeuvre of Francois Linke, and can often be directly linked to the designs of Léon Messagé. However, dynamic variants of this mount can also be found on some of the furniture produced by Joseph-Emanuel Zwiener or the Zwiener firm, especially during the period 1890-c.1900.François Linke was born in Bohemia but moved to Paris where he established his business circa 1880 at 170, Rue du Faubourg Saint-Antoine, and from 1900 onwards he opened a showroom at 26, Place Vendôme. Linke made a huge impact at the Paris 1900 Exposition Universelle at which he presented vigorous reinterpretations of the Rococo style. He was ultimately honoured with a gold medal and his success acquired wealthy patrons from across the world. He was admired so much in France that he was even awarded the 'Croix de la Légion d'Honneur' in 1906.LiteratureC. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 74
A French 19th century ormolu mounted kingwood vitrine attributed to Paul Sormani (1817-1877)Of slightly serpentine form, with acanthus, rocaille, C-scroll, shell and floral mounts, with foliate chutes, the raised central top section of double ogee and bombé outline, above one large and two small shaped glazed panels incorporating a central door, enclosing three adjustable glass shelves and a mirrored interior, over a shaped apron, on keeled cabriole legs terminating in floral and foliate sabots, approximately: 129cm wide x 40cm deep x 168cm high, (50 1/2in wide x 15 1/2in deep x 66in high)Footnotes:ProvenancePurchased: Bonhams, New Bond Street, 10 July 2014, Fine European Furniture, lot 125.A virtually identical Sormani vitrine to the offered lot, one with a lockplate signed: 'P. Sormani, 10 Rue Charlot, Paris', sold Christie's, London, 18 September 2014, The Opulent Eye - 19th Century Furniture, lot 220. Another vitrine of this model, also bearing a lockplate engraved for Paul Sormani, sold Christie's, London, 19 March 2009, 19th Century Furniture, lot 181. A further closely comparable Sormani example, again with similarly stamped lockplate, sold Christie's, 24 February 2000, The 19th Century Interior, lot 75.Paul Sormani was one of the most important ébénistes of the 19th century. Although Italian by birth, his first gallery and workshop were established in 1847 in Paris. It is documented that his business was based at 114, rue du Temple until 1867, from which time onwards it was re-located to 10, rue Charlot. Following Sormani's death in 1877 the firm, which continued under the combined direction of his widow Ursule-Marie-Philippine and his son Paul-Charles, was renamed 'Veuve Paul Sormani & Fils'.Specializing in furniture made in the Louis XV and Louis XVI styles, Sormani advertised his workshop with high praise: 'toute sa production revèle une qualité d'éxecution de toute première ordre'. His most impressive pieces and objets d'art were often exhibited and frequently also rewarded at the major international Exhibitions of the 1860s and 1870s. In fact, Sormani received a medal of première classe at the Exposition Universelle in 1855, followed by another medal at the 1862 Exhibition in London.LiteratureC. Mestdagh, l'Ameublement d'Art Francais, 1850-1900, Paris, 2010.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 77
A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 90
Attributed to Francois Villemsens (French, fl. mid 19th century): An impressive pair of First Universal 'Great Exhibition' gilt bronze Neptune ewersCirca 1851Each with mythological aquatic figural decoration, the elaborate rocaille cast urn bodies with intertwined sea serpent high scrolling handles and eagle pouring lips, the swept upper bodies cast with the sea gods drawn by twin pairs of hippocampi, trumpeting mermaids and mermen, shells and acanthus leaves, above foliate girdles applied with Neptune masks, dolphins and alternating shells and starfish, each raised on mermen and mermaid tripod supports, above rockwork tripartite platform footed bases, 56.5cm high (2)Footnotes:The model of the offered ewers is almost identical to a vase exhibited by the bronzier François Villemsens at the first Universal Exhibition known as the Great Exhibition, held in London in 1851. In the Art Journal illustrated catalogue the entry notes for his work commented: 'the three vases are from the establishment of M. Villemsens of Paris, worker in bronze, and manufacturer of church ornaments; the latter branch of business especially, being largely carried on by this house. During our visit to Paris towards the close of the past year, we saw in his extensive showrooms a vast variety of objects, exhibiting more or less taste in composition, and ingenuity of workmanship; these were principally executed in bronze and in brass, and were adapted as well for the embellishment of the private dwelling as for purposes of ecclesiastical use and decoration - statues, vases, chandeliers, candelabra, delicate rail-work, etc. The three bronze vases and dishes selected from the contributions of this firm are distinguished by beauty of outline and elaborate ornament, approaching very closely to the best antiques'.Likely descended from a family of goldsmiths in the 18th century, François Villemsens established his workshop in the Marais, first at 18 rue Michel Le Comte, then at 71 rue du Temple. In 1834, he exhibited a facsimile of the armour of Francis I, which was hailed by the Archives du Commerce et de l'Industrie (Paris, 1834, p. 157). By 1835, he entered the Réunion des Fabricants de Bronze, heir to the former corporation of foundrymen, and regularly participated in the Expositions des Produits de l'Industrie Française. Winning a silver medal at the Exhibition of 1839, Villemsens joined the 'Bronze of Art and Furnishings' category alongside Thomire & Cie and Victor Paillard before winning a further silver medal at the last Exposition des Produits de l'Industrie Française in 1849. With these successes he approached the Universal Exhibition in London in 1851 where he won a new medal by submitting the vases mentioned above, including the Neptune vase. The success led him to New York where he participated in the Universal Exhibition of 1853 and appeared in the official catalogue of the New York exhibition of the industry of all nations, p. 154, at No. 15 as 'Bronze candelabras, groups, lamps, etc. Villemsens & Co, manu. 71 rue de Temple, Paris'... He was again a medallist at the Universal Exhibition in Paris in 1855 and by 1863 Villemsens had offered to finance the award of a carving prize that would be awarded each year by the Réunion des Fabricants de Bronze. After participating in the Universal Exhibition of 1867 where he presented a cast door from the Baptistery of Florence, he finally retired from business.From the second quarter of the 19th century onwards sculptors, bronziers and goldsmiths particularly appreciated the shape of the ewer to express ornamentation in all its manifestations, giving a free rein to exuberance and eclecticism. Renaissance art was one of their main sources of inspiration, and in particular Mannerism, utilising mythological themes and motifs as illustrated by the present lot. The sculptor Adolphe-Victor Geoffroy-Dechaume and the goldsmith Charles Wagner, who were contemporaries of Villemsens, similarly produced a ewer on the theme of Ondine in 1844, which is reproduced in the Maciet Albums. Characteristically the decoration to this piece does not leave a single part of the vessel plain. Although renowned for the execution of religious ornaments, Villemsens did not limit himself to this field and contributed to renewing the genre of decorative bronzes for a secular and wealthy clientele during the mid 19th century. For a comparable identical pair of vases see Sotheby's Paris, Robert de Balkany, Rue de Varenne, Paris – Evening sale, 20th September, lot 51Related LiteratureD. Alcouffe, A. Dion-Tenenbaum and P. Ennès, Un âge d'or des arts décoratifs 1814-1848, Paris, 1991, op. cit., p. 311, fig. 162a.E. Voirot, Création le multiple : la Réunion des fabricants de bronze (1839-1870), phD thesis, Université Paris Ouest Nanterre - La Défense, 2014This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 25
WW1 British Memorial Plaque to George Alfred Bye, bronze memorial plaque mounted onto a display board with details of a Private George Alfred Bye who served with the 1st Battalion South Wales Borderers and was killed on 10th November 1917. Mounted with a regimental cap badge. In remembrance of 44368 Private George Alfred Bye, 1st Battalion South Wales Borderers who was reported missing in action, presumed killed on 10th November 1917 aged 36. Originally from Brightlingsea, Essex he is remembered on the Tyne Cot Memorial, Belgium. Also entitled to a British War and Victory medal
Lot 27
WW1 British Memorial Plaque to Douglas Greig Duncan, bronze memorial plaque mounted onto a display board with details of a Private Douglas Greig Duncan who served in the 1/4th battalion Royal Scots Fusiliers and who died on 19th April 1917. Mounted with a regimental cap badge. In remembrance of 202871 Private Douglas Greig Duncan 1st/4th Royal Scots Fusiliers. From Newmilns Ayreshire he died in Palestine on 19th April 1917 aged 20 years old and is buried in Gaza War Cemetery, Israel and Palestine. Entitled to a British War and Victory medal.
Lot 306
Third Reich S.A (Sturmabteilung) 9th November 1923 Commemorative Cased Non Portable Award, fine bronze medal showing a group of SA troopers marching across bridge with flag barer to the front, above “MARSCH UBER DIE LUDWIGSBRUCKEN 9. NOV. 1923”, below is eagle and swastika. Reverse of the award has the Munich maid emblem with eagle and swastika plus “EINWEIHUNG DER BRUCKEN NEUBAUTEN 3. NOV 1935”. Housed in red leatherette case.
Lot 316
Impressive Third Reich SS Tunic Medal Ribbon Bar, consisting of bar to the Iron Cross with emblem, War Merit Cross with swords 2nd class, Prussian order with swords, Prussian medal with crown emblem, 1914-18 Honour Cross with swords, SS 25 Year Service medal, SS 12 Year Service medal, Entry into Austria Medal and Austrian Franz Joseph medal. Complete with pin back to the reverse. Possibly post war assembled.
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183158 item(s)/page