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Click here to subscribeA selection of cold painted cat figures, to include a cold painted bronze novelty cat group, 20th century, modelled as a waiter serving a patron in a cafe, 9cm wide, with a similar cold painted bronze cat modelled playing tennis, 6.5cm high, four players from a cat orchestra, two cat pin cushions etc. (12)
A George V silver desk stand, Elkington & Co, Birmingham 1934, the shaped rectangular base raised on four hoof feet, with two pen wells, inscription 'Presented to Dr.W.L.English by the Bronze & Blue Turkey Clubs January 1935', 18.5cm x 13cm, with a pair of fitted glass inkwells with silver covers and knops realistically modelled as turkeys, each 7cm high, weight (excluding inkwells) 10.09ozt
A Sino-Tibetan bronze figure of buddha/boddhisattva, seated in dhyanasana, right hand in raised shuni mudra, left hand in dhyana mudra holding a lotus pod, 20cm high CONDITION REPORT - There are losses to the tips of the fingers on the right hand, holing can be seen to the left arm, the right leg and the reverse of the figure, moulding appears particularly naïve, a break/loss can be seen to the front centre of the base, general surface wear throughout
A large and substantial Chinese bronze censer, 19th century, of compressed circular form with plain polished exterior, two handled, raised on three feet, extensive character mark to the underside, 21cm wide CONDITION REPORT - The exterior showing surface blemishes, multiple minor dents, no obvious signs of solder repair, the interior is unpolished and shows signs of commensurate wear,
A pair of Paris porcelain pot pouri, 19th century, each modelled as a hemispherical urn on square plinth, the urns with cast pierced bronze covers and faun mask handles, the sides enamelled with exotic birds among foliage in the manner of James Giles, the plinths with beaded and fluted columns to the corners, the sides enamelled with alternating panels of exotic birds and butterflies, gilt highlights throughout, each 29cm high CONDITION REPORT:Both pieces show fine surface crazing throughout (extensive in places), rubbing to the gilt highlights, some staining, the odd firing pit and frit, and evidence of restoration to the faun mask handles. One piece shows a "V" shaped hairline crack to one of the butterfly panels, glazing faults to the top beaded ring, and small chips and nibbles to the corners. The other shows larger chips to the corners. Both finials show tarnishing and polish residues.
Maureen Coatman (British, 1919–2005), a clay bust of a young boy, signed at base of neck, finished in a bronze glaze and set to a natural wood plinth, 35.5cm high overallPROVENANCE: Commissioned from the artist by the sitter's family.BIOGRAPHICAL NOTE: Maureen Coatman was a British sculptor born in Woking, Surrey. She exhibited at the Royal Academy, and completed numerous private and public commissions, including for many churches and schools. She is best known for her bust of the racehorse Red Rum.
Two patinated bronze putti, 19th century, each modelled as the infant Bacchus, one standing on a wine skin, the other on a wine jug, on matching turned slate plinths, each 46cm high (2) (at fault) CONDITION REPORT:The putti with the wine jug shows significant movement in the joint where the foot meets the base. Both pieces show wear to the patinated finish, moulding seams to the upper arms, and residue to the bases and plinths.
Signed 'P.J MÊNE' on base, bronze with brown patinaHeight: 11 in. (27.9cm)A later cast.ProvenancePrivate Collection, Pennsylvania.LiteraturePierre Quarré, Catalogue des Sculptures du Musée des Beaux-Arts de Dijon, Musée des Beaux-Arts de Dijon, Dijon, 1960, no. 603 (another model illustrated).Michel Poletti and Alain Richarme, Pierre-Jules Mêne 1810-1879: Catalogue Raisonné, Univers du Bronze, Paris, 2007, pp. 58-59, CHE. 1 (another model illustrated).To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child.
Signed 'H. Haller' on base; also with 'CIRE PERDUE/M. PASTORI/GENÈVE' foundry stamp on base, bronze with golden brown patinaHeight: 13 5/8 in. (34.6cm)ProvenancePrivate Collection, New York, New York.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Neapolitan school of ca. 1810."Portrait of a gentleman.Relief in polychrome wax.Bronze frame. Convex glass.Measurements: 7 x 2,5 cm.In this work we see a typical nineteenth-century portrait with the gentleman of three quarters in the foreground. The man wears a black suit and a white shirt, and looks towards the horizon in a proud and inspiring attitude.
Spanish school of the late 18th-early 19th century. Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850)."Portrait of a lady, possibly of Queen Maria Cristina de Borbón".Gouache on vellum.Bronze frame.Measurements: 8,5 x 7 x 0,5 cm.We are in front of a miniature in which, most probably, Queen Maria Cristina de Borbón is represented, queen consort of Spain by her marriage with the king Fernando VII from 1829 to 1833, and regent of the Kingdom between 1833 and 1840, during most of the minority of her daughter Isabel II. The wedding portrait that Vicente Lopez Portaña painted of her in 1830, now in the Museo del Prado, bears aesthetic similarities to the present miniature. There is another portrait by Luis de la Cruz y Ríos, also in the Spanish art gallery, in which the pose and affable gesture bear close similarities to our work.Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society and alternated his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Spanish school of the last third of the 18th century."Portrait of Guardia de Corps de Carlos IV".Gouache on vellum.Bronze and wood frame, with faults.Measurements: 6,5 cm (vellum diameter); 10 cm (frame diameter).Portrait of an officer of the Guard of Corps of Charles IV, a type of troop of the royal house whose origin goes back to the French "Garde du Corps". It is a delicate miniature painting, a genre that developed in Europe from the 16th century onwards. They were mainly paintings that were embedded in objects such as medallions, table clocks or small boxes. They were executed in a wide variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.
English school, ca. 1800."Portrait of a lady with a dog.Gouache on vellum.Bronze frame.It presents faults.Measurements: 2,5 x 2 cm; 6,5 x 4,5 x 0,4 cm.From the Renaissance the miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or as gifts, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.
PABLO SERRANO AGUILAR (Teruel, 1908 - Madrid, 1985).Untitled.Bronze sculpture.Wooden cross.Signed on the back.Measurements: 67 x 80 x 25 cm (figure); 100 x 90 x 60 cm (cross).A piece of great emotional intensity with which Pablo Serrano revisits the pathos of Christian art from an existentialist point of view.An artist trained in sculpture, he received his first lessons at the Salesian School in Sarriá. After finishing his studies he moved to Argentina where he was taught the art of carving. After this period abroad, he decided to return to Spain in 1955 with a renewed technique in which diversity and unity prevailed. Serrano evolved through experimentation in each of his stages, as he was guided by his own will and not by the requirements of society. In 1956 he settled in Madrid, where he became a founding member of the El Paso group of Madrid's most innovative artists. Pablo Serrano works through poetry, delving into juxtaposed terms such as beginning and end, life and death, despair and hope. He also works on the figure of the human being, trying to explain and understand the human situation through his works. During his career, Serrano won the Sculpture Prize at the Hispano-American Biennial in Barcelona. In 1962 he exhibited twenty-three sculptures at the Venice Biennale to great critical acclaim. In 2003 the Ministry of Foreign Affairs dedicated a retrospective exhibition to him. Works by Pablo Serrano can be found in the museum that bears his name in Zaragoza, the Museo Reina Sofía, the Museo Nacional in Montevideo, the Museo San José in Uruguay, the Museo Nacional de Arte Moderno in Paris, the MoMA and the Guggenheim in New York, the National Galleries in Rome and Budapest, the Rio Piedras University in Puerto Rico, the Brow University in Providence, the Clear Lake Clear Lake University in Clear Lake, and the University of Puerto Rico, Brow University in Providence, Clear Lake City University in Houston and the University of Zaragoza, the Gulbenkian Foundation in Lisbon, the Hermitage in St. Petersburg, the Wadsworth Atheneum in Connecticut, the Galleria d'Arte Moderna in Venice, the Vatican Museum and the Middelheim in Antwerp, among many others.
ERNEST RANCOULET (France, act. 1870 - 1915)."La recompénse" or "Allegory of industry and agriculture", ca.1900.Patinated bronze.Signed at the bottom, in the book.Measurements: 87 x 50 x 35 cm.This allegorical couple follows the fin-de-siècle taste but with clear debts to classicism, which was characteristic of the author. The bodies present an idealised and graceful canon, enriched with elements with a desire for detail. The cornucopia as a symbol of abundance, books and construction tools accompany the allegories.Born in the French town of Bordeaux in the mid-19th century, Ernest Rancoulet trained as a pupil of Lequesne and at the Ecole Municipale in his native city. He exhibited his works at the Paris Salon from 1870 onwards, and his works were widely published in bronze. Ernest Rancoulet is now represented in the Musée de Reims, as well as in private European and American collections.
ANTONIO GUIJARRO GUTIERREZ (Villarrubia de los Ojos, Ciudad Real, 1923 - Madrid,2011)."Woman and trap to catch birds".Oil on canvas.It has a small perforation in the central part of the canvas.It has damage in the frame.Signed on the back and titled on the frame.Measurements: 100 x 81 cm; 123 x 104 cm (frame).Antonio Guijarro began his artistic studies in Valencia, in the School of Fine Arts of San Carlos, in 1942. Two years later he moved to Madrid and continued his training at the San Fernando School. He made his individual debut in 1951, at the Biosca gallery in Madrid, and that same year he took part in the Salón de los Once. Since then he has held personal exhibitions in Spain, Sweden, the USA, Portugal and Norway. His awards include the National Painting Prize (1954), the First Medal at the National Fine Arts Competition in Barcelona (1957), the Juan March Foundation Scholarship (1958) and the Bronze Medal at the Alexandria Biennial (1968), among others. He is represented in leading collections all over the world, such as the Reina Sofía Museum in Madrid, the Modern Art Museums in Cairo, Lisbon and Venice, the Collector Gallery in Miami, the Irosuke Batanuki in Kobe (Japan) and the International Graphic Society in New York.
VADIM ANDROUSOV (St. Petersburg, 1895-1975)."Circus Acrobat".Patinated terracotta.Signed on the base.Size: 25,5 x 19 x 11 cm.Vadim Androusov grew up in a family interested in culture (his grandfather was the archaeologist Heinrich Schliemann, discoverer of Troy and Mycenae - which explains why many of Androusov's sculptures are inspired by Classical Antiquity). As an artist, he preferred the use of terracotta, plaster, wood or stone to bronze. Throughout his career as an artist, he exhibited his works at the Salon des Tuileries and the Salon des Indépendants. In parallel to his work as a sculptor, he collaborated with decorators and produced wall lights, furniture handles and lock escutcheons; throughout the 1930s, 1940s and 1950s, his creations adorned neoclassical furniture made by André Arbus and Jean Pascaud.
A pair of Japanese Meiji period bronze vases decorated with bubble blowing man in relief with traditional dress and bubbles floating up to the swelling neck, with areas of gilt splatters to body of vase, two character signature to base height 30cm. Appears to be in good condition, with no obvious signs of damage, repair or restoration.
LoetzIridescent Phaenomen glass broad necked vase, PG 7506, circa 1898Undulating parallel bands of metallic gold with pink hues, on a bronze/brass ground, the interior covered with iridescence.16 cm high, 20 cm wideGround out pontil.For further information on this lot please visit Bonhams.com
Attributed to Dr Christopher Dresser: Possibly made by Elkington & CoThree-handled bowl, circa 1865Patinated, silvered and gilt bronze, cast decorative bands.7.5 cm highFootnotes:LiteratureChristopher Morley, Dresser Decorative Design, Salisbury, 2010, p.213, fig. 414 (Similar form illustrated and noted as probably made by Elkington, circa 1865)For further information on this lot please visit Bonhams.com
A FRENCH BRONZE AND GILT BRASS 'CHARIOT' MANTLE CLOCK, 19TH CENTURY,formed as Helios in a horse drawn chariot, the wheel formed as the clock dial, cast with Arabic numerals, on rectangular plinth, decorated with musical trophies, on compressed bun feet. 44cm wide, 36cm highCondition Report: See additional images
A FRENCH TURQUOISE AND ORMOLU MOUNTED TABLE LAMP, C.1900,the slender tapering neck and bulbous body applied with a bronze figure of a girl with a bird amongst rococo cast decoration, on a pierced masked base. 70cm highCondition Report: Lamp is untested Old style electrical fittings, we would recommend rewiring
A FRENCH 19TH CENTURY BRONZE AND GILT BRASS MANTLE CLOCKthe white enamel drum dial signed Cresson Bould, Montmarte 9, surmounted by a flower filled urn and flanked by reclining amorini, the bowed pedestal base filled with a porcelain panel with amorini flanked by square floral panels, on a similarly bowed plinth with foliate mounts. 55cm wide x 50cm high
A FRENCH BRONZE ORMOLU AND MARBLE THREE-PIECE CLOCK GARNITURE,comprising a mantle clock and figural candlesticks, the clock formed as a drum on cast scrolling waves alongside a putti holding a beater and blowing a trumpet, the candlesticks formed as musical cherubs blowing trumpets and holding naturalistic sconces, all raised on marble base plinths and turned disc feet. The clock 26cm high, 19cm wideCondition Report: All three pieces in good conditionLight spots of green Verdigris inside one candle socket Movement ticking over and chiming Comes with winding key, no pendulum necessaryLate 19th century not reproduction See additional images
***PLEASE NOTE THE CATALOGUE DESCRIPTION SHOULD READ***AN ART NOUVEAU WROUGHT BRONZE STANDARD JARDINERE, STAMPED HINKS For James Hinks & Sons. 411cm high Condition Report: Please note description should read:AN ART NOUVEAU WROUGHT BRONZE STANDARD JARDINERE, STAMPED HINKS For James Hinks & Sons 411cm high This a Jardinière not a lamptop section comes off with screw Damage to baseSee additional imagesCrack to stretcher
Northumberland Fusiliers 5th Regt of Foot, silver 5th period Order of Merit 1805. Obverse St George with Dragon, scroll "Quo Fata Vocant" above; "Revived Apr 23. 1805" in exergue; reverse "Vth Foot Merit Medal March 10th 1767" within laurel. Edge named/engraved "William Knipe", diameter 34mm. Pierced with ring suspender. VF Balmer states these medals were silver for 21 years service. Also 2 similar bronze Order of Merit medals: 1767 cast AE on thicker flan, no means of suspension and another 5th Period AE. F-VF (3) £150-200
A small collection of base metal shooting medals etc including: AE "Ascham & Woolwich Teacher's RC - NRA S.M.R.C" on circular flan, white target and crossed rifles to openwork centre, reverse engraved "Championship 1914 Special Medal Miss Bates", 30mm, NEF; "The Daily Telegraph Cup, Rifle Competition between teams of Regulars and Volunteers in the Home District 1900" bronze medallion, diameter 50mm, GVF; 3 Society of Miniature Rifle Clubs bronze and enamelled medals for Territorial Army Teams, 1933, 1934 and 1935, VF (some enamel loss); a modern AE medallion commemorating the Northumberland & Newcastle Yeomanry and the Presentation of Colours 1820 GVF; and a base metal medallion commemorating Queen Victoria's Review of the Scottish Volunteers in Edinburgh 1881, NF, worn, and 7 various RAF base medals for No 90 Group SAA Bisley 1952 Rifle Championship, RAF Small Arms Association etc, average VF and 4 other shooting medals. GC (18) £50-80
3 Continental bronze silvered Shooting awards: "Union des Societes de tir et de Preparation Militaire de la Marne" showing 2 Riflemen in front of flag waving female figure, diameter 50mm, VF in case; Pavillon De Sports Montreux Du 25.4.30 2eme Prix" named to Madeleine Maurice, reverse 2 riflemen, 64mm x 45mm, VF in Paris maker's case (case stained); "2 Pr Jule Cup 1959" showing marksman with shield, reverse plain of design except Oslo maker's name, VF, (some plating wear). A Freundschafts Schiessen" medal with 3 laurel leaves and 1954 ribbon emblems, Neuchatel maker, VF; and a 4 lugged badge of crossed rifles over laurels and with ribbon scroll "3 Prix De Tir", VF. (5) £70-80
A German Third Reich period "donkey ear" prismatic periscope binocular, of heavy bronze, steel and aluminium construction, marked "C P GOERZ BERLIN S.F. 14G H/6400 Gi" etc, with individually adjustable eye pieces and vertical and horizontal spirit levers. Basically GC (the steel barrels dented, eye piece covers missing, all original finish removed); mounted on a wooden base for display) £200-250
English Twenty County Championship bronze and enamel shooting medal/badge in case; and a corresponding teaspoon. 5 HM silver and 14 EPNS teaspoons mostly with rifle/pistol shooting motifs; 5 forks and 1 serving spoon, plated, marked "Bisley Camp Pavilion"; 4 items of cutlery stamped NRA; a souvenir teaspoon of The White House. Also a shield/plaque in HM silver, on stand, inscribed Bisley 1929 (dented); a Sussex County RA ashtray; a small plated cup on 3 crossed rifles "trophy" and 3 other items. GC £40-60
Eleven various cap badges: small cast KRRC officers, CLB Cadets KRRC, Huntingdonshire Cyclists or Home Guard, bronze Liverpool Pals, Cambridgeshire (with and without "e"), Bucks Bn, Jersey LI, bronze GRV Ryl Military School (no lugs), very small Kent horse, and 19th century brass bugle. Average GC £50-60
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