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Mantel clock in Empire style model Portico Clock' made in 1830. Crystal columns frame the watch drum and connect the gold parts. The cold shine of glass successfully sets off the severity of architectural geometry. Majestic power and solemnity are conveyed by the proportions and radiance of the gold parts of the order. The solar and floral decoration of the attic and dial convey the idea of rising glory and encouraging prosperity. Dimensions: Height 42 cm, width 22 cm, depth 13.5 cm. References: Pierre Chelberg, Encyclopedie de la Pendule Francaise du Moyen age du XXe Siecle, Paris 1997, p. 455. Width: 22cm, Height: 42cm, Depth: 13.5cm, Weight: 3kg, Condition: Good, Material: Gilded bronze, crystal

A 19th century Irish Killarney marquetry and yew games Table, hinged rectangular top inlaid with an oval reserve of Muckross Abbey, County Kerry, Ireland, bordered by trailing sprays of seamróg shamrocks and outlined with barber-pole stringing, parquetry bands and stiff leaves, enclosing playing surfaces for chess, backgammon and cribbage and further architectural landscapes, possibly Ross castle and Glena cottage, above a deep frieze inlaid with leaves and flowers, panelled 'garlic-mouth' column, serpentine rectangular base, claw feet, note small repair to hinged top and back, also some small damages please see images, W 79 cm x H 77 cm x D 42.5 cm. 

A Victorian black slate mantel clock, of architectural form, the enamel chapter ring showing Arabic numerals, having an eight day movement, height 42cm, together with another similar

A Pair of Gilt and Patinated Bronze Lustre Candlesticks, with foliate sockets and drip pans hung with facetted drops, on leaf-sheathed curved stems issuing from architectural plinths20cm high

An Indian Carved Wood Architectural Section, 19th century, worked in high relief with Shiva and Parvati riding the sacred bull Nandi 38cm high

A 17th Century-Style Oak and Marquetry-Decorated Sideboard, the dentil cornice above moulded fall front drawers between scrolled corbals, two cupboard doors below with moulded architectural panels and applied stiles, on a platform base, the sides with wrought iron carrying handles186cm by 47cm by 131cm

Samuel Prout OWS (1783-1852) "St Symphorien, Tours" Signed, extensively inscribed and dated 1839, watercolour, 24cm by 19.5cm Provenance: Thomas Agnew & Sons, Limited The picture plane is good and even. There a few very tiny disturbances at the edges (see images). The shiny, bodied paint delineating the architectural features and the hat of the figure in yellow has cracked and retracted slightly in thicker places, visible as white line. This looks to be flaking slightly? There are two blotchy water marks bottom let edge, and a white fleck of apparently unpainted paper in the middle window of the left hand building. The blues/reds are fairly vivid, but there has possibly been some fading to other colours. Possibly some light timestaining and one tiny black mark to the bottom right of the sky.

A French white marble eight-day mantel clock - circa 1900, the 10.5 cm ivory enamel and gilt-metal dial with Arabic numerals, the architectural case with gilt brass mounts, the frieze depicting two putti, one striking a drum, raised on twin fluted brass columns, the twin train movement striking the half hours on a gong. (LWH 35 x 14 x 32.5 cm)

A 1920s-30s mahogany two-door record cabinet - the moulded top over a pair of doors carved with architectural-style arched decoration and a blind fret carved imitation lock-plate, enclosing a two-shelf interior with four dividers to each level, raised on turned cup-and-cover supports with pad feet. (LWH 58 x 54.5 x 94 cm), (Splits to top)

A pair of 18th century stipple engravings by F. Bartolozzi in decorative gilt frames - the hand-coloured engravings of fashionable ladies, in 19th century architectural-style gilt frames, 17.5 x 19.5 cm overall.

A Jung Hans mantel clock set in an architectural type case, 47cm high

Ecclesiastical interest: 2 titles: ROBERT GARLAND (Architect): WINKLE'S ARCHITECTURAL AND PICTURESQUE ILLUSTRATIONS OF THE CATHEDRAL CHURCHES OF ENGLAND AND WALES, Volume II.

An early 20th century mahogany bracket clock, having arched architectural case, silvered dial and chapter ring with Roman numerals, subsidiary chime/silent and fast/slow dials, the 8 day movement striking on five gongs, raised on brass bun feet.32cm tall, with key and pendulum.

Two pairs of 19th century Neoclassical gilt metal wall sconces. Each having twin arms with architectural elements to decoration in the form of dentils and fluting. Measures 19cm x 29cm x 30cm. 

A CLASSICAL GILT FRAME WITH ARCHITECTURAL DETAIL PLUS A CAST PLAQUE AND A MODERN PLAQUE (3)

ARCHITECTURE bnd. fol. of architectural photolithos from 'The Builder' 1901-02

An architectural photo frame with decorated border, 9 inches high, Birmingham 1910 by RP DC

A German walnut cased architectural form striking mantel clock with Junghans movement, with pendulum. 42cm high

An early 20th Century highly decorative stirking mantel clock in brass/glazed architectural case with champlevé enamel detail, with associated garniture, 'Made in The People's Republic of China' to back.

An early 20th Century mahogany cased table clock of architectural design with brass and silvered square dial, 1907 presentation plaque to front and Junghans (German) eight day chiming movement

A large late Victorian black slate cased mantel clock of architectural design with six flanking brass columns, visible escapement and eight day gong striking movement - a/f, no pendulum

A large late Victorian black slate cased mantel clock of architectural design with eight day gong striking movement - case damage

A Royal Doulton stoneware advertising font, designed by Mark V Marshall, dated 1931, designed for W.T. Lamb & Sons Brick Makers & architectural ceramicists, Billinghurst, W. Sussex, inscribed to base LP for Lily Partington, height 14cm.

A Post-Regency Gothic Revival mahogany library table, canted rectangular top with moulded edge above a pair of frieze drawers, Bramah locks, architectural tracery brackets, turned stretcher carved with lotus, sledge base, brass casters, 71.5cm high, 122cm wide, 63cm deep, c.1835

An 18th century Continental cherry vestment chest, hinged top enclosing a pair of compartments, drawer to base, the two panel front and sides applied with architectural pilasters, stile feet, 91cm high, 76cm wide, 46cm deep, c.1750

Letarouilly (Pl.). Édifices de Rome Moderne ou Recueil des palais, maisons, églises, couvents..., 2 volumes,Liege, D. Avanzo, 1843, numerous engraved architectural plans & plates, tear to the frontispiece of volume 1, some light toning, spotting & wear, gutters cracked, marbled endpapers, contemporary uniform gilt decorated half morocco, boards & spines rubbed, loss to the head of the spine of volume 2, folio, together with:Schimmelpenninck (Mary Anne), Theory on the Classifaction of Beauty and Deformity, and their correspondence with physiognomonic expression,..., London: printed for John and Arthur Arch, 1815, 37 of 38 monochrome plates (lacking no.20), ex-libris bookplate to the front endpaper, title page torn & repaired, some light spotting & toning throughout, contemporary half calf, boards & spine slightly rubbed, loss to the head & foot ofthe spine, 4to, plusElsam (Richard), An Essay on Rural Architecture, illustrated with original and oeconomical designs:..., 2nd edition, London: printed for Lackington, Allen, and Co., 1805, 29 of 30 aquatint plates, ex-libris bookplate to the front endpaper, some light toning & minor marks, partially detached throughout, contemporary front & rear boards detached, lacking spine, large 4to, and other 19th century architecture & plate books from the library of Mark Girouard, 4to/folioQTY: (40)

Speed (John). The History of Great Britaine under the Conquests of ye Romans, Saxons, Danes and Normans. Their Originals, Manners, Warres, Coines & Seales: with ye Successions, Lives, Acts & Issues of the English Monarchs from Julius Caesar, to our most gracious Soveraigne King James, 1st edition, Imprinted at London: and are to be sold by John Sudbury & Georg Humble, 1611, engraved portrait frontispiece (with reduced margins, possibly from another copy, old folds, lined to verso, with damp-stain), engraved architectural title, woodcut illustrations of seals and coins etc., woodcut head and tailpieces, errata leaf at rear of volume lined to verso, short worm trail to final five leaves at rear and few minor worm holes at head, occasional light dust-soiling, some browning and spotting, early 19th-century calf, gilt decorated spine with morocco title label, light wear to spine and short tear at head, rubbed, folio (44.9 x 27 cm)QTY: (1)NOTE:STC 23045. The pagination is continued from "The Theatre of the Empire of Great Britaine" (STC23041).

* Gabbuggiani (Balthasar). Bases antiqui operis è candido marmore elegantissimè scilptae quae in Basilicâ proecipuâ sive Aulâ Regiâ Domûs Tiberiance in Palatio..., 1724, uncoloured etching of an architectural capital, occasional marginal closed tears, old folds, but not affecting the printed image, 460 x 590 mmQTY: (1)

Chaucer (Geoffrey). The Workes of our Antient and Learned English Poet, Geffrey Chaucer, newly printed. In this impression you shall find these additions: 1 His portraiture and progenie shewed. 2 His life collected. 3 Arguments to euery booke gathered. 4 Old and obscure words explaned. 5 Authors by him cited, declared. 6 Difficulties opened. 7 Two bookes of his neuer before printed, 1st Speght edition, London: Adam Islip, at the charges of Bonham Norton, 1598, black letter text in double column, engraved portrait of the author by John Speed (torn with losses) title within elaborate woodcut architectural border (some light dust-soiling and margins a little frayed), 3 other divisional titles with woodcut borders, woodcut initials, head- and tail-pieces, occasional small marginal worming obscuring a few letters of catchwords, occasional light toning and small damp stains, later calf, rebacked, some wear to corners, folio, 31 x 21 cmQTY: (1)NOTE:Pforzheimer 177 (different imprint); STC (2nd ed.) 5078; Grolier 43 English.'From the form of imprints it would seem that Bishop, Norton, and Wight commissioned Islip to print this edition, and judging from the frequency with which copies with their imprints occur it is probable that Bishop took the largest share and Norton the next' (Pforzheimer).First edition of Thomas Speght’s definitive edition of the complete works of Chaucer and the first to contain an engraved portrait of the author. this copy the Islip and Norton issue. Speght, a somewhat obscure schoolmaster, was assisted in its production by the chronicler John Stow, Francis Thynne, Francis Beaumont (father of the dramatist of the same name), and Robert Glover.

Brooke (Ralph). A Catalogue and Succession of the Kings, Princes, Dukes, Marqueffes, Earles, and Viscounts of this Realme of England, since the Norman Conquest, to this present yeare, 1619. Together with their Armes, Wives, and Children: the times of their deaths and burials, with many their memorable Actions..., 2nd edition, London: Printed by William Jaggard, and fold at his house in Barbican, 1619, title within decorative architectural woodcut border (cropped to border edges and lined to verso), previous ownership inscriptions in ink to title-page of Simon Digby, J. Paul Rylands F.S.A., Highfields 1874 and Sir John Oglanders Booke, to top of A3 further ownership inscription in brown ink 'J V Tuillain Oglandr Brook Oct 24 1697', some toning to endpapers, a few small near contemporary ink annotations to margins, J. Paul Rylands bookplate to front pastedown, final three pages with near contemporary handwritten lists of Earls made since King James came to the Crowne, Earles tempore Caroli Regis 1625, and Vicounts, numerous woodcut armorials and decorative initials throughout, erratic pagination (possibly bound without initial blank as lacking A2), some minor soiling, 19th century half red morocco, gilt title to spine, rubbed at extremities, 4toQTY: (1)NOTE:Collated as STC 3832. Second edition, the first edition was published in 1619 bearing 'to this present yeere 1619' on the title.Sir John Oglander 1585 – 1655) was an English politician who sat in the House of Commons from 1625-1629. A keen writer who kept detailed accounts of his household and estate, which survive today. Sir Richard Worsley, 7th Baronet used them to write his book History of the Isle of Wight, published in 1781. An edition was published by William Henry Long in 1888, as The Oglander Memoirs.

A 20th century Mudejar Moorish manner hand painted dowry chest / blanket box having of architectural form, being hand painted with geometrics and arabesques with plasters to either side. Measures approx. 55cm x 65cm x 35cm. 

An early 20th century Draughtsman's architectural drafter writing table. Having a large rectangular wooden writing platform with adjustable tilting action. Raised on cast metal trestle legs united by wooden block stretcher. Measures approx. 143cm x 115cm x 63cm. 

A group of paintings to include British School (19th century), architectural study with figures. Inscribed verso. oils. 29x35cm approx. Framed. W Fisk, portrait of a gentleman smoking a clay pipe. Watercolours. 26x21cm approx. Together with portrait of a fisherman smoking a pipe in watercolours. 42x32cm approx. Framed and glazed. And D Sore (?), British 19th/20th century, Lane to the Sea, signed. Oils on panel. 24x34cm approx. Framed and glazed. (4) (B.P. 21% + VAT)

Early 20th century carved architectural design two train mantle clock with silver chapter ring, Roman numerals and gilt foliate mounts. (B.P. 21% + VAT)

Attributed to Graham Smith (b.1947)Architectural Study Tyneside silver gelatin print, 16 x 24.5cm, framed and glazedProvenance-given to owner by artist himself.

A late Victorian oak cased bracket clock circular steel dial with Roman numerals, minute track and blued steel hands, brass five pillar twin fusee movement striking on coiled gong, architectural with pierced grilles to sides height 46cm.Condition: Winds ticks and runs however no guarantee can be offered as to the full working order. Shrinkage crack to case above dial. Winding key and case keys present. Pendulum present

Architectural crystal desk clock design was influenced by metropolitan area buildings. CTRE 2005 etched on top. Waterford mark. This item has its original box: 5"L x 5"W x 3.5"H. Issued: 21st centuryDimensions: 4"L x 1.25"W x 4"HManufacturer: WaterfordCountry of Origin: IrelandAge related wear.

AN 18K GOLD NECKLACE, BRACELET, BROOCH AND EARCLIPS EN SUITE, BY CHAUMET, CIRCA 1970 Each composed of openwork square and round links of abstract design, with polished and matt finish, earclips of square-design, each in 18K gold, each signed Chaumet, with maker’s mark 'JC' for Joseph Chaumet, French assay marks, with maker's pouch, necklace length 66.5cm, bracelet length 18.3cm, brooch length 8.7cm, width 6.2cmm, ear clips length 3.2cm (brooch can be worn as the pendant of the necklace) Established in 1780 by Marie-Étienne Nitot, Chaumet evolved into Europe's premier jeweller under his skilful craftsmanship. Successive generations, including François-Regnault Nitot and Joseph Chaumet, furthered the legacy, pioneering opulent designs and expanding clientele to include royalty. Embracing Art Deco and the Roaring Twenties, Chaumet's creations evolved with fashion while maintaining a blend of tradition and modernism, captivating a global audience. Continuing the legacy of excellence, Chaumet's esteemed designers and jewellers, including the likes of Pierre Sterlé and René Morin, upheld the Maison's iconic style while infusing it with a contemporary twist. The 1970s epitomised a time of experimentation and liberation. Across music, politics, fashion, ideals, and space exploration, every realm offered avenues for fresh encounters. Embracing change and exploring uncharted territories required the emergence of new identities, artisans, and visionary thinkers pioneering innovation. These trailblazers significantly influenced the trajectory of jewellery history, they contributed to pivotal moments through advancements in technique, the introduction of novel aesthetics, and the embrace of liberated concepts. In a bold move that reshaped the landscape of jewellery, Chaumet introduced the Arcade, a revolutionary store concept, in 1970, redefining the very essence of luxury shopping. Amidst whispers in the press, Chaumet entertained the idea of crafting a novel sales unit devoted to jewellery and contemporary living. The Chaumet brothers entrusted Agence Bernard Cognard with the task of envisioning this modern realm. The interior designer faced the challenge of giving the Arcade its own architectural identity separates from the historic boutique. They strategically placed a central showcase pillar in one of the twin arcades, creating an open space reminiscent of an art gallery. Black and Orly blond anodized aluminium materials contrasted with Place Vendôme's traditional aesthetics, while frameless windows added an ethereal touch. Inside, the Arcade was designed as a sanctuary for a modern lifestyle, with elements like beige sofas and Chinese lacquer accents blending in hues of rye, amber, and black. Inspired by decades design, the space was engineered for adaptability, with ceiling-mounted rails and wheeled display units. The Arcade symbolized a global transformation during a crucial period in the Maison’s history and the realm of French jewellery craftsmanship. Its design reflected innovative approaches to presenting, selling, and purchasing jewellery, aligning seamlessly with the evolving lifestyle of the 1970s. Despite the coordination of traditional boutiques alongside the Arcade, both units featured their collections in unified sales catalogues. What may appear counterintuitive by contemporary standards was viewed differently in that era. The Arcade spearheaded future advancements for Chaumet and other leading jewellery houses, showcasing iconic collections like Liens and Labyrinthe. At the core of this progressive approach lay experimentation, artisans were granted full creative autonomy, both within the design studio and workshop. This freedom extended to the extent that they appropriated the use of gold nuggets, dubbing their finishing technique the Arcade polish. Gold underwent various treatments, including hammering, polishing, texturing, brushing, and assuming organic forms, moulding itself to the wearer's skin. These creations, blurring the boundaries between traditional jewellery and art, challenged conventions through their innovative designs. The advertising for the Arcade embodied dynamic design, strategically crafted to ward off monotony. This evolution extended beyond mere sales catalogues, encompassing architectural concepts, graphic branding, and the structural organization of boutiques into separate sections such as Chaumet High Jewellery, the Chaumet Arcade, and the enduring Chaumet watches. The “Labyrinthe” collection, made of transformable necklace, bracelet, pendant and brooch. It was made between 1970 and 1980 and sold at l’Arcade.

An early 19th century oak and mahogany longcase clock with architectural pediment and turned columns to the hood, triple arched door and canted base, square painted dial and 8 day striking movement

A RARE BLASHFIELD TERRACOTTA STATUE OF CERES DATED 1871 On an associated Blashfield pedestal stand, figure with hand inscribed signature J M Blashfield, Stamford, 1871, base stamped Published by J M Blashfield Stamford 1869 Figure 166cm high, approximately 252.5cm high overall, base 50cm wide, 49.5cm deep In 1857 Blashfield published "A catalogue of five hundred articles, made of patent Terra cotta". By 1860 and with the growing success of his business his catalogue ran to 700 items "made in patent terra cotta, and red and cane-coloured pottery." As well as the more domestic wide range of garden ornaments such as urns, pedestals, architectural fittings and fountains, many of these catalogue items were copies of classical pieces- working in the tradition of Coade. This figure seems to be unrecorded in the Blashfield publications suggesting it may be a one off commission- a suggestion strengthened with the presence of a hand scratched signature and date- rather than the more familiar stamped mark as found on the pedestal. Condition Report: The figure: Restorations to base, the hands & arms, neck, head and face, and areas of raised detailing. Some later washes of colour some of which are starting to lift such as to neck, right wrist etc. The surface with pocking- presumably from prior weathering, Base edge chips and loses Base: with weathering edge and corner losses and wear Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A LARGE ARCHITECTURAL STACKED LUCITE PAGODA SHAPED TABLE LAMP LATE 20TH CENTURY 82cm high including current shade

A LARGE STONEWARE TAZZA OR FOUNTAIN BASIN ATTRIBUTED TO JOHN MARRIOT BLASHFIELD, LATE 19TH CENTURY Of pedestal form, large shallow bowl 123cm high, bowl 145cm diameter, base 82 by 82.5cm For a similar stamped example of this scale- please see Christie's London, The Michael Roberts Collection of Garden and Architectural Ornaments - Ashurst, Kent, September 27th 2004, lot 575 £38,240 Condition Report: Weathering and colour variance from exposure. Broken and restored to bowl and base. Some loss and wear to plinth edges and corners Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.   Condition Report Disclaimer

A FINE AND LARGE 17TH CENTURY MUGHAL INDIAN CARVED STONE ARCHITECTURAL PANEL, with foliate motif decorative carving, 54cm x 40cm.

A RARE 18TH CENTURY JERUSALEM ENGRAVED MOTHER OF PEARL CLAD OLIVE WOOD ARCHITECTURAL MODEL, 19cm long.

DUGDALE, William & Roger Dodsworth. Monasticon Anglicanum, Richard Hodgkinsonne 1655, first edition, engraved additional architectural title by Wenceslaus Hollar, title in red and black, 44 engraved plates by Hollar and others (3 of which are double-page and/or folding, one with letterpress to verso, one cut out and laid on paper), a few spots but generally clean, last page of text pasted to lower cover, end papers lacking to back and front, 18th century half calf, rubbed and stained, corners worn, weak spine, large 4to

ARCHITECTURAL ENGRAVINGS. Hendrick Hulsberg after Colen Campbell, four plates from Vitruvius Britannicus, or The British Architect (Stourhead, Bow-Steeple, Grimsthorp and Baths in the gardens at Chiswick), 40cm x 26.5cm (or landscape); WITH Francesco Barbazza after Giovanni Stern. 'Prospetto interno della Piazza, di rimpetta al Palazzo', 46cm x 67.5cm (all framed and glazed, 5)

CINEMA INTEREST: A COPY ARCHITECTURAL DRAWING OF SUTTON COLDFIELD ODEON designed by Harry W. Weedon, 1935 (rolled, a/f), with a quantity of cutlery, some with Rank cinemas logo, an 'ODEON' spoon, a 'RANK'S TECHNICAL SERVICES' glass mug etc

A BELOUCH PRAYER RUG with architectural motifs worked in reds and blue, 83 x 160cm (moth damaged)

A Framed German 19th Century Engraving, the Good Friend, Together with Two Framed Architectural Prints

A 19th Century marble onyx eight day movement mantle clock garniture, having circular gilded metal dial face with visible escapement and Roman numerals. Upon an architectural case with composite columns to either side and gilt decoration to front. Measuring approximately 33cm x 37cm x 13cm. 

Stanley Joyce (British, 20th century) - A folio containing a large quantity of drawings and paintings, mostly life drawings as well as architectural sketches lino prints and medieval rubbings, some signed, largest approx. 84 x 60 cm

A small late 19th century German mantle clock, architectural form with inlaid case, 42 cm high, 23 cm wide, with pendulum and key

Three 19th century candlesticks / lamps: A gilt brass ecclesiastical brass example, with broad reservoir and dish, with embossed column over a moulded apron with crucifix motifs, 50cm high, together with a silver plated architectural example in the Puginesque style, 49cm high, also together with a desk / table lamp, the fluted tapering brass column with flared capitol over trefoil base decorated with swans, 45cm high (3) From the private collection of a Cotswold gentleman.

Two good 19th century ecclesiastical candlesticks: A heavy cast brass candlestick with arched guard over a twisted stem and pierced architectural apron, raised on tripod lion’s paw supports, 57cm high, together with a continental gilt brass pricket candlestick, the reservoir mounted with beasts, the pierced apron decorated with eagles, raised on lion’s paw tripod supports, 44cm high (2)From the private collection of a Cotswolds gentlemen

A large and impressive pair of 19th century continental puginesque seven light ecclesiastical candelabra, with fanned open-work frame raised on architectural bases cornered with spires, on scrolled acanthus tripod supports, 72cm high, 56cm wide.From the private collection of a Cotswold gentleman.

A 19th century Puginesque gilt cast brass pricked candlestick, of architectural form, the base cornered with pointed spires, 55cm high.From the private collection of a Cotswolds gentleman.

A pair of 19th century Puginesque brass candlesticks, with flared pomegranate shaped cradles, over fluted columns a d architectural base raised on pierced tripod supports, 44cm high.From the private collection of a Cotswolds gentleman.

A tall and impressive 19th century gothic ecclesiastical brass pricket candlestick, of Puginesque architectural form, 87cm high, accommodating a large collared church candle (2) From the private collection of a Cotswolds gentleman.

A 19th century continental Puginesque gilt brass ecclesiastical pricket candle stick, with pierced architectural decoration flanked with spires, 50cm high, together with another 19th century gilt brass ecclesiastical pricket candlestick, with pierced bowl, wrythen bowl and pierced apron, raised on lion paw supports, 50cm high (2) From the private collection of a Cotswolds gentleman

A large and impressive 19th century ecclesiastical gilt brass pricket candle stick, with arched cradle, raised on a complicated gothic puginesque architectural stem, adored with angels, raised on a pierced apron and stylised supports decorated with birds and heraldic beast masks, 82cm highFront the private collection of a Cotswolds gentleman.