FRANCE, Second Republic, a silver prize medal by A. Vauthier-Galle, un-named, 45mm; Marriage of Napoleon III and Eugenie, 1853, a white metal medal by A. Caqué for Massonnet, 50mm; Universal Exposition, Paris, 1855, a zinc medal by A. Caqué for Gervais et Cie, 50mm (Page-Divo 244); a white metal medal by A. Caqué for Massonnet, 50mm; International Exhibition, London, 1862, a white metal medal by A. Bovy for Massonnet, 50mm; Universal Exposition, Paris, 1867, a copper medal by H. Ponscarme, 37mm; Universal Exposition, Lyon, 1894, a silvered-bronze medal by A. Patey, rev. named (Roscio Felice), 63mm; BELGIUM, Archives de la Chambre des Comptes, 1807, a bronze medal, unsigned, 34mm [8]. Varied state; two in original card boxes £150-£200
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FRANCE, Richard Wagner, 1904, a bronze plaque by O. Yencesse, 55 x 42mm (Niggl 2263; Coll. R. Marx 155; BM Acq. 1978-82, pl. 51, 208; BDM VI, 695; A.u.E. 965; cf. DNW M2, 2650); Enfant aux Roses, 1906, a bronze plaque by O. Yencesse, named (République Française 1925, à Mademoiselle Théodorine Tarzile Boland), 54 x 33mm (Maier 196; Coll. R. Marx 159; ANS Exh. Cat. 1910, p.369, 7; Jones, Art of the Medal, 334a; BDM VI, 695; cf. DNW 187, 782); Conciliation Internationale, 1907, a bronze award medal by O. Yencesse after E. Carrière, for the Groupe Parlementaire Français de l’Arbitrage International, 45mm (Coll. R. Marx 175; ANS Exh. Cat. 1910, p.369, 5; BM Acq. 1983-7, pl.49, 161; BDM VII, 695; cf. DNW M1, 1666) [3]. Very fine £120-£150
FRANCE, Paul-Henri d’Estournelles de Constant, 1907, a bronze medal by O. Yencesse, 50mm (cf. PBE 1024; cf. ANS Exh. Cat. 1910, p.369, 18); Art Décoratif, 1912, a bronze medal by O. Yencesse, 50mm (PBE 1011; Coll. R. Marx 158; BDM VI, 698; BM Acq. 1983-7, pl. 49, 162); Amédée Godard, 1912, a bronze medal by O. Yencesse, 50mm (cf. PBE 1027; Coll. R. Marx 166) [3]. Second very fine, others nearly so £100-£150
FRANCE, L’Ange de Reims, 1914, a bronze medalet by O. Yencesse, 25mm (BM Acq. 1978-82, p.50, 207; BDM VIII, 304); L’Ange de Reims [1914], a bronze medal by O. Yencesse for l’École Rocroy-St Leon, 1927, 50mm; Essence Moteurine Paix et Cte Pétrole Fides, 1917, a bronze medal by O. Yencesse, 50mm; Henry Bazin, 1917, a bronze medal by O. Yencesse, 40mm [4]. Very fine, first with loop for suspension, third pierced for attachment £80-£100
FRANCE, Champagne Henri Abelé, Reims, 1917, a bronze medal by O. Yencesse for Henri-Marie-Joseph-Louis Abelé, St Rémy filling an empty vat with wine, rev. overflowing fountain of champagne, vine branch with grapes above, 50mm. Good very fine, rare; in original gilt and maroon card box £60-£80 --- Maison Henri Abelé, founded in 1757, is the fifth-oldest champagne house in France
GERMANY, Flight of the Airship LZ 3 over Munich, 1909, a silver medal by K. Goetz, bust of Ferdinand von Zeppelin facing three-quarters right within wreath, rev. airship over cityscape, 35mm (K 46; Kaiser 310.4). About extremely fine, rare £240-£300 --- Provenance: Meister & Sonntag Auction 5 (Stuttgart), 19 September 2007, lot 2231; A Collection of Medals Relating to Aviation, the Property of a Gentleman, DNW Auction 156, 20-21 February 2019, lot 1432
KUWAIT, Liberation of Kuwait, 1991, a silver medal, similar, 39mm, 28.20g/12h; FRANCE, Universal Exposition, Paris, 1855, a copper medal by A. Caqué & J. Wiener for Gervais et Cie, 68mm; together with an Ethiopian silver Birr [3]. First brilliant, as struck, in case of issue, second with carbon spot on reverse otherwise extremely fine, last fine £60-£80
Austria, Franz Joseph I, restrike 4 Florins, 1892 (KM. 2260; F 503R); FRANCE, Napoleon I, a small gilt-silver medal by B. Galoppi, 14mm; GERMANY, Craft and Trade Exhibition, Neuss, 1927, a silvered-bronze medal, unsigned, 40mm; PAPAL STATES, Clement X (1670-76), a cast lead medal, undated, 30mm [4]. Varied state, last pierced £150-£200
New Zealand, Auckland, Licensed Victuallers Association, Penny, 1871 (A 326; KM. Tn6); S. Hague Smith, Penny, undated (A 470; KM. Tn63); M. Somerville, Penny, 1857 (A 499; KM. Tn64); Christchurch, Milner & Thompson, Pennies (2), 1881 (A 376, 379; KM. Tn47, Tn51); Grahamstown, George McCaul, Penny, 1874 (A 359; KM. Tn44); together with a silver prize medal [7]. Varied state, last scratched on reverse £100-£150
A group of coin pendants, comprising a Birmingham Mint 22ct gold on solid sterling silver Queen Elizabeth II medal for The Silver Jubilee 1977, boxed with limited edition certificate number 4052, an official bicentenary commemorative medal for The Royal Australian Mint dated 1988, boxed, a silver liberty five cent coin in modern abstract pendant on silver chain, boxed. (3)
Shackleton, Ernest H. South The Story of Shackleton's last Expedition 1914-1917. London: William Heinemann, 1920. First edition, fourth impression, 8vo, original dark blue cloth lettered and decorated in silver, colour frontispiece, all halftone plates as called for, folding map, ownership inscription 'Ernest Welsby 1925' and 'Alan Williams, Cardiff, Mar 1988' to front pastedown, fraying to spine-ends, wear to corners, a few marks to sides, front inner hinge cracked and very tender, rear inner hinge superficially cracked, text-block toned, half-title browned, extensive closed tear in folding map (repaired verso), a few spots and marksNote: Association copy, inscribed by Shackleton's second-in-command Frank Wild on the half-title, 'To Vince, from those who appreciate his worth & villanies [sic], Frank Wild', and additionally signed below Wild's inscription by the expedition's surgeon James McIlroy ('J. A. McIlroy, (Mick)'). The recipient is likely to have been John Vincent (1884-1931), bosun on the voyage, though later demoted to able seaman on account of his aggressive behaviour. He was selected by Shackleton as one of five men to accompany him on the James Caird on the journey to South Georgia while Wild was left in command at Elephant Island; on the return to England he was one of only a handful of expedition members not to be recommended by Shackleton for the Polar Medal.
A Wedgwood Black Basalt Silver Jubilee pint mug, boxed; a pair of Wedgwood Black Basalt Royal Silver Wedding medallions, limited edition 909/1,000, boxed; another The Duke of Windsor, boxed; a Royal Crown Derby Charles and Camilla loving cup, 471/1,500, certificate boxed; a similar trinket dish; other royal commemorative mugs, paper knife, celebration medal; qty
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927-2014)."Clock", 1962.Unique piece.Terracotta and marble.Work catalogued in the Espai Subirachs archives.There is some slight chipping in the terracotta.Measurements: 28 x 19 x 9 cm.J. Corredor Matheos called the period of time in which Subirachs experimented with abstract language "the stage of penetrations and tensions". His most frequently used imagery included wedges fitted together and iron screws which, as on this occasion, formed an irrevocable part of the work. After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 he entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he showed his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founded, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returns to Spain, and in 1958 he is awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in Europe, Asia and the United States, and in 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected a member of the Royal Academy of Fine Arts of San Jorge. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
JOAN MIQUEL ROCA FUSTER (Palma de Mallorca, 1942 - 2006)."Child and horse".Oil on canvas.Signed in the lower right corner.Measurements: 100 x 81 cm; 127 x 108 cm (frame).Dreamlike and suggestive composition, resolved with a palette of soft tones, starring two figures that remind us of peace of mind: a white horse and a child. Roca Fuster began his artistic training in Palma de Mallorca but soon, in 1958, he moved to Barcelona and enrolled at the Sant Jordi School of Fine Arts. On his first trip to Madrid in 1960, in the Prado, he was fascinated by the paintings of Velázquez, Zurbarán, Goya and El Greco. During this decade of the sixties he became interested in abstraction and informalism, even painting pictures in which figurative elements were relegated to a secondary role. A key element in his work was always music, as well as the myths of cinema and theatre. During the seventies and eighties he drew closer to Rembrandt and Caravaggio, as well as to the Pre-Raphaelite school. His first exhibitions, held in 1965 in the Grifé Escoda galleries in Madrid and Palma, were a great success with the public and critics. In fact, the following year he made the leap abroad, with his solo exhibition at the Don Quixote Gallery in London; almost all his work from this period was sold in England to important private collections. From then on he exhibited his work throughout Europe and the United States, with group and solo shows in New York, Stockholm, Oklahoma, Chicago, Antibes (France), Lyon and Los Angeles, in addition to his repeated participation in the International Fairs in Basel, Frankfurt, Los Angeles and New York. Throughout his career he won numerous prizes, such as the first prizes for Young Painting from the Sala Parés (1961) and from the Dirección General de Bellas Artes (1962), the first medal at the Salón de Otoño de Palma de Mallorca (1966), the extraordinary prize at the I Bienal Internacional de Barcelona (1967), and the first medal at the Salón de Otoño de Madrid (1968), among many other mentions. Although most of his work is in private collections, we can see an exhibition at the Museo de Arte Contemporáneo de Madrid.
JAUME PLENSA (Barcelona, 1955).Untitled, 1992.Mixed media on paper.Signed and dated in the lower margin.Size: 68 x 48 cm; 71 x 51 cm (frame).Jaume Plensa studied at the Llotja School and the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.
JAUME PLENSA (Barcelona, 1955).Untitled, 1992.Mixed media on paper.Signed and dated in the lower margin.There is a tear and a sticker stain in the lower margin.Measurements: 68 x 48 cm; 71 x 51 cm (frame).Jaume Plensa studied at the Llotja School and at the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927-2014)."Venus", 1967.Marble sculpture.Unique piece.Signed on the base.Size: 45 x 49 x 14 cm.It is in the Venus and torsos of the sixties that we can best appreciate the logical and extremely coherent evolution that Josep Maria Subirachs carried out throughout his singular career: starting from an essentialist classicism of Mediterranean style, he would go through a radical abstract purification, to later derive in an unprecedented synthesis. His Venus of 1967 (see his public sculpture on the hill of Peñíscola), of which he made versions in bronze and marble, condense this search into a single image: the female body, without wanting to detach itself from its Mediterranean style, extends into an abstract mass whose rough surface links (almost as if it were the rings of a tree) the history of its conceptual development over time. In this way, the piece unites form and abstraction, time and space, reformulating the concept of beauty from its foundations.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 he entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he showed his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founded, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returns to Spain, and in 1958 he is awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in Europe, Asia and the United States, and in 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected a member of the Royal Academy of Fine Arts of San Jorge. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
FRANCISCO LEIRO LOIS (Cambados, Pontevedra, 1957)."Untitled".Wood sculpture.Provenance: Puchol Gallery, Valencia.Measurements: 190 x 55 x 50 cm.Francisco Leiro began his training as a self-taught artist, influenced by popular Galician imagery and by his father, a stonemason by profession. He then moved to Santiago de Compostela to enter the city's School of Arts and Crafts, and later completed his studies at the School of Fine Arts in Madrid. In 1975 he held his first exhibition, at the Cultural Society of Cambados, and during this decade he formed part of the artistic group Foga, while the influence of surrealism was accentuated in his production. At the beginning of the eighties he took part in the Atlántica collective exhibitions, which brought together the emerging generation that was to renew Galician art. Soon, before the end of the decade, he was a constant presence in artistic circles in Spain, Europe and the United States; in 1985 he represented Spain at the São Paulo Biennial, and the following year he took part for the first time in the ARCO fair in Madrid, where he has shown his work regularly ever since. In 1988 he settled in New York, and that same year he received his first public commissions: "My sofas" (Pontevedra) and "Coloso" (Palacio de la Magdalena in Santander). The following year he was selected for the 1st Mostra Unión Fenosa in A Coruña, where his work "Torso Sentado" (Seated Torso) was acquired by the company. Also in 1989 he carried out another important public commission, "Balboas III" (El Ferrol). In fact, from this moment on, his public projects were repeated: "Nave" (Santiago de Compostela, 1990), "Sireno" (Vigo, 1991), "Puertas de la Torre de Hércules" (A Coruña, 1992), "Porta Santa" (Santiago de Compostela Cathedral, 1993), "Homenaje a Castelao" (Santiago de Compostela, 1995), "Bañista no Areal" (Vigo, 1997), "Miarritz" (Biarritz, France, 1999), "Marzo del 73" (Fene, A Coruña, 1999), "Astronauta" (Valdemoro, Madrid, 2001), "Vértigo" (Autovía M50, Madrid, 2004), "Dama de Navalcarnero" (Navalcarnero, Madrid, 2007) and "Simeón sentado" (Torre Espacio, Madrid, 2007). Having consolidated his international career, in 1990 he began to work for the Marlborough Gallery in New York, where he had a solo exhibition of sculpture that year. Since then he has held solo exhibitions in this gallery as well as in others in Spain, Portugal, the United States, Chile, Buenos Aires, Brazil and El Salvador, as well as taking part in important group shows and fairs in Europe and the United States, in such prominent centres as the Palais Royal in Paris (2001) and the MNCARS in Madrid (2006). He has also been awarded the Castelao Medal by the Xunta de Galicia (2000) and the Medal for Fine Arts by the CEOE (2003). Francisco Leiro's plastic language has gone through different periods, but he has always remained faithful to a totally personal expressionist figuration, closely linked to traditional Galician popular sculpture. His sculpture also displays a certain archaic air, a hieratism of Egyptian and Mesopotamian heritage, which links harmoniously with the monumentality of Michelangelo and German expressionism. He is currently represented at the MACBA in Barcelona, the Museo de Arte Contemporáneo Patio Herreriano in Valladolid, the Marugame Hirai in Kagawe (Japan), the Stedelijk in Amsterdam, the Fundación Caixanova, the Museo de Castrelo in Vigo, the Museo de Bellas Artes in Álava, the Instituto de Crédito Oficial in Madrid, Grounds for Sculpture in New Jersey, the collections-foundations La Caixa, Coca-Cola and Caja de Madrid, the Centro Gallego de Arte Contemporáneo in Santiago de Compostela, the Centro Cultural São Laurenço in Almancil (Portugal), the Asociación de los Amigos del Museo Nacional Centro de Arte Reina Sofía and the Akron Art Museum in Ohio (USA), among other collections.Among other public and private collections.
TOMÁS DÍAZ MAGRO (Madrid, 1941)."Bleached face", 2019.Textiles and polychrome wood.Signed and dated in the lower right area.Measurements: 65 x 50 x 9 cm.Known for his successful career as an industrial designer, Tomás Díaz Magro began his professional career in 1959 with the Spanish Society of Design. His research into the curved wood system won him the Gold Medal at the Brussels Inventors' Exhibition in 1961. Three years later, he was a founding member of the ODM, for the development of materials. From 1968 he worked for Talleres de Arte Granda, and for other companies such as TAG, Otaola, Huarte muebles or LOEWE. Throughout his career he has won numerous awards, including the IFI International Prize. 1988, the Brúmel International Award (prefabricated and mobile platform for Renfe.1991, and the BEDA International Award. 1993, among others. In addition, in 1998, he took part in the exhibition "Industrial Design in Spain; a century of creation and innovation", which was held at the Reina Sofía Museum and Art Centre. From the 1980s onwards, Tomás Magro, who has always been linked to the world of design, began to devote himself entirely to artistic creation. His knowledge of materials and mastery of matter have given him a skill that he develops in his balanced works of art, in the words of the author himself; "This daily contact with matter, imagination and drawing, has created a world full of ambition, understood as how to make the different proposals that were being generated a reality. I observed the artists' works and I continue to look at them out of the corner of my eye, I don't want to know more about them, I don't want to learn too much, their burden will weigh me down. However, I enjoy them inside me like a collector, some of them live with me".
SHEPARD ALAN: (1923-1998) American astronaut, the second person, and the first American, to travel in space. Commander of the Apollo XIV mission, becoming the fifth man to walk on the moon. Signed colour 9 x 7 photograph of Shepard standing in a full-length pose receiving the NASA Distinguished Service Medal from President John F. Kennedy in 1961. Signed in bold black ink with his name alone to a light area at the base of the image. Matted in beige (bearing the pencil limitations number 1758 of 2500) to an overall size of 14 x 11. VG
MUSSOLINI BENITO: (1883-1945) Italian Fascist Dictator of World War II. Executed. An excellent and rare Autograph Manuscript by Mussolini,one page, 4to, n.p. [Rome], 23rd January 1931, in Italian. Mussolini´s bold black ink manuscript is written to the verso of a printed proof page from his Dottrina del Fascismo ("Doctrine of Fascism") which would be published a year later, and refers to Balbo´s transatlantic flight, recommending the grant of the gold medal for his aeronautical merits, stating in part `..ad Orbetello per oltre un anno, e in silenzio, uomini e machine, per la crociera transatlantica. A preparazione materiale e morale ultimate, assumeva il Comando della Squadra e attraverso poche tappe difficili e fortunose effetuava con undici apparecchi.. il grande volo oceanico, mai prima tentato in formazione.. esempio altissimo di perizia e di ardimento..´ ("..at Orbetello, for over a year, and in silence, men and machines, worked on the transatlantic cruise. With the material and moral preparation completed, he [Balbo] assumed command of the squad and through a few difficult and fortunate stages he carried out with eleven aircrafts… the great ocean flight, never before attempted in formation .. a very high example of expertise and courage.."), further and demonstrating that the new regime leaders are the first to prove `..nell´adempimento del dovere e nello sprezzo del pericolo´ (".. in the fulfilment of duty and in contempt of danger") Two years later Mussolini, concerned because of the increase of popularity of Balbo, appointed the Marshal of the Italian Air Force Governor-general of the Italian colony of Lybia. Upper corners clipped and pinhole to corners, otherwise G Italo Balbo (1896-1940) Italian Marshal of the Air Force and heir apparent to Benito Mussolini.Balbo led several transatlantic flights. The first, and the one referred to by Mussolini in the present manuscript, consisted of twelve flying boats (initially fourteen), Savoia-Marchetti S-55, departing from Orbetello on 17th December 1930, reaching Rio de Janeiro in Brazil and returning to Italy on 15th January 1931.
GEORGE V: (1865-1936) King of the United Kingdom 1910-36. D.S., Appd. G. R. I., as King, one page, Whitehall, 30th September 1914. The document is in the form of a T.L.S. by Reginald McKenna (1863-1943, British Politician, Home Secretary) on the printed stationery of the Home Secretary, recommending to the King that the Imperial Service Medal be awarded to 192 retired members of the Home Civil Service. VG
[CAPONE AL]: (1899-1947) American gangster and crime boss during the Prohibition era. [CAPONE ALBERT FRANCIS 'SONNY'] (1918-2004) Only child of Al Capone and his wife, Mae Josephine Coughlin. A metal medal presented to Sonny Capone by the Florida East Coast Pistol League in 1949 for his participation as a marksman in the Camp Perry course, with the original green and yellow ribbon featuring a plaquette at the base with a low relief of a pistol. Pinned to a cloth backed piece of card. Some light age wear, about VG Provenance: Accompanied by a printed certificate issued by Al Capone's granddaughter, Barbara Mae Capone.
A Charles I silver pierced counter box, cylindrical form, the pull-off cover with medallic bust of Charles I to left, the base with a bust of Queen Henrietta Maria, containing a set of thirty three counters in imitation of engraving (by or after Simon van de Passe), the medal on the pierced box cover, and that on the base, in the style of Thomas Rawlins, the side three panels pierced with foliate decoration, height 2.8cm, approx. weight of box 0.53oz. Provenance: The Arthur Holder Collection.
Queen’s South Africa Medal 1899, with clasp “Cape Colony”, awarded to 977 Pte G. Bacon, 1st City Volunteers; King’s South Africa Medal 1902, with clasps “South Africa 1901” & “South Africa 1902”, awarded to 5107 Pte J. Penfold, Hampshire Regt.; Africa Service Medal 1943, awarded to 608310 C.J. Barnard; two other medals; & various regimental cap badges, etc.
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183841 item(s)/page