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20TH CENTURY ENGLISH SCHOOL; oil on board, interior hall scene with mantelpiece looking into a dining room behind, unsigned, 62.5 x 47cm, framed.

CARVED & PAINTED WOOD CLASSICALLY STYLED MANTELPIECE/FIRE SURROUND with foliate and bird decorated frieze above twin sets of three turned columns, on stepped bases, with three small pieces of marble interior edging, 145cms H, 239cms W maximum, 31cms D, interior aperture, 111.5cms H, 138cms W at the column bases

A lead horse mantelpiece ornament and another

A Smiths 8 day floating balance mantelpiece clock, circa 1950s, 19cm wide

A Bakelite ink stand; a plastic ice bucket; and a pair of printed mantelpiece figures

A group of mantelpiece items, including eight horn beakers, two leather candle holders, four glass candle holders with metal mounts,largest beaker 11.5cm highleather candles 10cm highglass holders 8.5cm high (14)Provenance: Bracken Knoll, Highgate, London, N6.Condition ReportOne of the leather candle holders has been burnt and subsequently warped. A few small rim chips and losses to horn beakers.

Pair of male and female black and white miniature Staffordshire mantelpiece Spaniel ornaments and 2 other larger pairs in similar style

MANTELPIECE/MINIATURE CLOCK COLLECTION and a quantity of mostly metal portrait frames, ETC

Late 19th / early 20th Century Continental oil on canvas, still life, vase of flowers on a mantelpiece, gilt framed, unsigned, 30ins x 17.5ins

A Beswick Terrier Dog, model no. 398 together with pair of Royal Doulton Old English mantelpiece dogs, model no's. 1378/7

W M Steiner/Still Life/newspaper and stoneware jug on a mantelpiece/oil on canvas, 60cm x 50cm/Provenance: Tidenham Manor CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

THIS LOT IS STILL IN SITU AT THE VENDOR'S PROPERTY, ARRANGEMENTS WILL NEED TO BE MADE FOR THE COMPETENT AND SAFE REMOVAL AT THE BUYER'S OWN EXPENSE. CONTACT DETAILS WILL BE PROVIDED ONCE ALL ACCOUNTS HAVE BEEN SETTLED.CLASICALLY STYLED FIRE SURROUND WITH MANTELPIECE & PINK MARBLE BACKPLATE, carved wood and possibly moulded composition with urn and floriate frieze below egg and dart moulding dressed with three Corinthian capped columns on stepped bases, 144cms H, 247cms max W, 34cms max D, interior measurement 111.5cms H, 141.5cms W, interior marble back measurements 100cms H, 122.5cms W (some slight losses to the reeding on one of the columns, the whole of the surround painted white)

A group of mantelpiece items, including eight horn beakers, two leather candle holders, four glass candle holders with metal mounts,largest beaker 11.5cm highleather candles 10cm highglass holders 8.5cm high (14)Provenance: Bracken Knoll, Highgate, London, N6.One of the leather candle holders has been burnt and subsequently warped. A few small rim chips and losses to horn beakers.

Collection of brass, glass and other lamps, to include a print depicting an interior scene with very similar lamp to the mantelpiece (qty)

Antique religious painting (or mantelpiece?) with annotation 1618. Depicting Jesus praying with an angel. Dimensions: H 100 x W 59 cm. In good original condition.

MYN, H. van der, wohl HERMAN VAN DER MYN (1684-1741), "Paar und Kupplerin in der Stube", linksseitig ein Bediensteter durch die geöffnete Tür tretend, rechtsseitig am Kaminsims bezeichnet. Öl/Leinwand doubliert, HXB: ca. 46x37 cm (64x55 cm mit Rahmen). Craquelé, minim. Berieb am äußeren Rand, restauriert und retuschiert. PROVENIENZ: Nachlass eines Berliner Kunsthändlers. | MYN, H. van der, probably Herman VAN DER MYN (1684-1741), "Couple and procuress in the room", on the left side a servant stepping through the open door, on the right side inscribed on the mantelpiece. Oil/canvas relined, HXW: approx. 46x37 cm (64x55 cm with frame). Craquelé, minimal. Rubbed on the outer edge, restored and retouched. PROVENANCE: Estate of a Berlin art dealer.

A 19th century French Comtoise brass cased, white enamel dial, signed Lambert Saetelli, together with a Churchill Westminster chiming walnut cased mantelpiece clock, 27cm high (2)

An Art Deco mantelpiece clock by Henry Marc, Paris, 30cm high

λ Henry Moore (British 1898-1986) Mother and Child Lead 17.2 x 13 x 6.5cm (6 3/4 x 5 1/8 x 21/2in.) (excluding base)Conceived c.1939-1940.Provenance: Hubert de Cronin Hastings (1902-1986), Private Collection Gifted by the above to his son John Hastings (1928-2019) by 1974 Thence by descent to the present ownerThis previously unknown work is now recorded in the Henry Moore Foundation database with the reference number LH213a.Left undiscovered for over 40 years, nestled amongst trinkets on a mantelpiece in a Wiltshire farmhouse, a previously unknown sculpture by Henry Moore comes to market for the very first time. The present lot Mother and Child was authenticated by the Henry Moore Foundation in October 2021 and has been added to their archives under the reference number LH 213a. The work, produced in lead, was conceived in c. 1939-1940 at a time when Moore was experimenting with casting in different materials and incorporating elements in string and wire.This very special piece comes from the former collection of architectural publisher and editor, Hubert de Cronin Hastings (1902-1986), whose near fifty-year stewardship of the Architectural Review saw him shed a light on the many challenges and debates posed across the architectural world during this transformative period.Mother and Child (LH 213a) most likely entered the collection of Hubert de Cronin Hastings(1902-1986) (more commonly known as H. de C. or by his pseudonym Ivor de Wolfe) in the 1940s. H. de C. was chairman of the Architectural Press and Architects Journal and editor of the Architectural Review (AR) from 1927-1973.H. de C. was born at Merton Surrey in 1902 and was the third son of Percy Hastings, who owned the Architectural Press and founded the Architectural Review in 1896. H. de C. studied at Berkhamsted School before attending the Bartlett School of Architecture at UCL. However, he never went on to qualify, instead moving to the Slade School of Arts where he is likely to have met John Piper during the early-mid 1920s.In 1927, he joined the family business and became joint editor of the AR with Christian Berman. The magazine was published monthly and together they changed the style of the magazine putting an emphasis on the arts with contributions from the likes of Evelyn Waugh, Osbert and Sacheverell Sitwell and Paul Nash, whilst the editorial board included Sir Hugh Casson and cartoonist Osbert Lancaster.The AR became one of the leading architectural magazines to promote modernism throughout the 1930s and regularly featured articles on painting, sculpture and interior design. He deemed architecture an art form and believed that the understanding of one could support the other. H. de C. 'saw the logic of this as a bright new future for society' as quoted in the Oxford Dictionary of National Biography.H. de C. was first introduced to Henry Moore by Jim Richards who was assistant editor at the AR alongside John Betjeman. Richards who had befriended the artist early on in his career published an article on Moore's work in the AR in 1934. Moore later commented in an interview in 1979 with Jonathan Glancey, architectural critic and writer, that he was appreciative of the AR's support. It would be interesting to think that Moore repaid his appreciation by gifting this sculpture to H. de C. or perhaps H. de C.'s support and encouragement of the artist extended to supporting his career by purchasing the work.By 1974 the sculpture had been passed to his son, John Hastings (1928-2019) where it sat on his mantelpiece in the living room beside a Papier Mache elephant and a china bull, objects which were valued for their sentimental rather than monetary value. John was a countryman and farmer who bred sheep and livestock, more interested in animals than fine art. To John, the Mother and Child that made its home on his mantelpiece was a sentimental family object and nothing more.During the authentication process the panel were able to link the present lot to a known sketch by Moore titled Eighteen Ideas for Sculpture (HMF 1460a). This sheet of sketches shows how Moore was working with his traditional forms; reclining nude, standing figure and mother and child whilst adding a new dimension of movement through exploration of materials such as string and wire. Close comparisons can be drawn between the study at the centre of the sheet and the present lot. The study shows the smooth curve of the mother's arm embracing the figure of the child. Around the child, leading towards the mother's face, are lines suggesting placement of string.What is particularly amusing is the same characterful face that shows the mother's eyes looking toward the child and the small dot used to depict the mouth which is whimsical and endearing. It is possible that Mother and Child (LH 213a) was originally intended to be stringed, connecting the dots and intersecting the space around the sculpture.During this same period that Moore was experimenting with stringed sculptures he also began exploring the use of lead to cast his works. Evidence of this exploration is visible in both finished sculptures but also preparatory drawings such as Reclining Lead Figures c. 1940 (HMF 1550) and Ideas of Lead Sculptures, 1939 (HMF 1473). The production of works cast in lead is concentrated to the years 1938-1940 and it is believed that the present lot was conceived during the latter part of this period.It is interesting to compare Mother and Child (LH 186) which was conceived in 1938. Moore has taken a markedly more abstract approach compared to the present lot (LH 213a). The design has been fulfilled connecting the curved forms of each figure with string creating a fluidity across the sculpture. However, it illustrates his continued experimentation with the mother and child motif, casting in lead and other materials such as string and wire.The theme of Mother and Child remained a dominant theme throughout Moore's career. He was particularly drawn to the subject matter for it is a raw and deeply embedded relationship which every human will experience on some level. On a simpler note, Moore was compelled by the compositional opportunities that a large form and contrasting small form can create. The present lot shows two figures bonded as one. The child's head and face turning up towards the mother who looks directly at the viewer with her distinctive markings. The mother's arms swoops down and around the sculptural form to embrace the child on the other side, creating an area of negative space which creates balance and fluidity in the sculpture.

An interesting Omega Workshops plate by Roger Fry, painted with two cranes in red lustre on a tin-glaze impressed Omega mark, 17cm. diam. Provenance Andrew Harriss Literature Isabelle Anscombe Omega and After, Bloomsbury and the Decorative Arts, Thames & Hudson, page 117 plate 44 for a printed linen with comparable birds, illustrated. There is also an unattributed design for textile Mantelpiece Modernism, The Omega Workshops, Bloomsbury, Dorich House Museum, page 15 for a comparable plate decorated with figure, attributed to Duncan Grant. Catalogue notes Roger Fry also produced a comparable marquetry table design for an interior, commissioned by Lady Hamilton which featured comparable cranes.

Tray of moulded and cut glass incl. fruit bowls, water jugs, vases, pair of etched glass mantelpiece displays each on raised circular plinth (7)

A novelty mantelpiece clock constructed of a black-painted artillery shell, the 8-Day French movement with a 3" dial, overall height 45.5cm high

A pair of antique brass mantelpiece horse ornaments

* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young lady and a young gentleman playing tennis, a country house and herbaceous border in the background, with lettering above and below, signed lower left, edges slightly dusty, old pin hole to upper right corner, upper left corner chipped, sheet size 36.9 x 26.8cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.

* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young gentleman driving a veteran car on a winding country road, a young lady wearing a coat with fur collar and a hat and head scarf seated next to him, with lettering above and below, signed lower right, edges a little dusty, an old pin hole to each upper corner, sheet size 36.7 x 26.7cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.

* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young lady wearing a long khaki coat, necktie, and feathered cap, with a case of binoculars slung over her shoulder, and holding 2 greyhounds on a lead, with lettering above and below (former with some previously obliterated lettering underneath just visible), signed lower left, edges slightly dusty, a few old marginal pin holes, sheet size 36.9 x 26.7cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.

* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young lady wearing a long skirt and fur hat sitting atop a 5-bar gate, a young gentleman in plus fours standing beside her leaning on the gate, and 2 bicycles propped up next to them, with lettering above and below, signed lower left, edges a little dusty, an old pin hole to each upper corner, sheet size 36.7 x 26.8cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.

A white-painted fire surround,probably 18th or 19th century, the shaped frieze decorated with floral swags, above the aperture with an egg and dart moulded edge, set between two pairs of Corinthian columns, on a moulded base,204cm wide26cm deep131cm high,aperture 101cm wide81cm highCondition report: Re-painted several times, with thick paint covering some of the finer detail. The mantelpiece possibly later. Some splits and separation to joints. Left return of base moulding loose. Rubbing, knocks and wear to paint. General wear.

A brass mantelpiece letter rack in the form of an Alsatian; and a Crucifix ornament

A marble mantelpiece shelf, L125cm, D38cm

Box of mixed plate ware incl a 3 piece tea service, pair of brass mantelpiece vases and misc.

Pair of Staffordshire Victorian mantelpiece flatback figures each of bonneted lady and gentleman

A late 19th Century brass model range, with opening oven, mounted in a wooden frame with gold painted fire surround, brass trivet, fire irons and fender --13½in. (34.5cm.) high; on top of the mantelpiece a pair of brass candlesticks, a brass chick and a pair of glass scent bottles

A vintage stone sink converted to a trough, height 25cm, width 77cm, depth 56cm, and a two section slate mantelpiece, width 180cm (2).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationThe trough has its draining hole blocked up and is heavily worm along the one edge. he mantelpiece is grubby and scratched with chips and losses throughout. 

Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com

A black Constance Spry style pottery twin handle mantelpiece vase, 30cm long

Margaret Smyth, 'Mantelpiece' gouache, signed and dated 1984, framed under glass, 32 x 14cm

Large white marble fire surround having a moulded mantelpiece, above a central urn with bows and swags and reeded column side supports with capitalsHas two large chips to corners at front and back.Overall size 47ins high x 59ins wide.Fire opening 35.5ins high x 34ins wideI believe this fire surround to be a later 20th Century piece

A Pair of George IV or Later Cut-Glass Scent-Bottles, by John Blades or His Successors Blades and Jones, London, Probably First Half 19th Century, each modelled as the Royal crown, with central detachable scent-bottle with finial formed as an orb and cross, each damaged, one with staple repairs, 12cm high It would seem certain that John Blades was making items such as these as early as 1823 when a view of his upper show room at 5 Ludgate Hill was published by Ackermann, after John Gendall (British Museum Heal,66.11). A close examination shows, among lavish glass for lighting and the table, a number of crown shaped objects. The most compelling comparison for the present scent-bottles is an object showing on the right of the mantlepiece. It is depicted apparently under a glass dome, suggesting it was treated as a very precious item. The mantelpiece shows another similar example in coloured glass and a third on the table which is in white and coloured glass. It is possible that these examples were made as a souvenir for the coronation of George IV which was held on 19 July 1821. John Blades was no stranger to Royalty, having held a Royal Warrant to George III and being known to have supplied diplomatic gifts on behalf of the crown, some of which were designed by the architect J. B. Papworth, see for example a pair of lustres from the Royal Collection, (RCIN 53130). A very similar example is in the collection of the Victoria and Albert Museum (C.791 &A-1936), having been gifted by Queen Mary.. There is significant damage to each with one being re-glued and the other with staple repairs. There are further chips to the glass overall.

A BLACK AND PARCEL GILT CAST IRON GRIFFIN FIRE FENDER IN THE MANNER OF THOMAS HOPE, 19TH CENTURYEach griffin seated, with gilt chain in mouth, plinth support mounted with the head of a "Indian or bearded Bacchus", central adjustable section with central floral scroll designthe griffins 46cm high, the fender at full extension 127cm wideFor two similar but plainer pairs of griffin andirons (provenance William, 4th Earl Fitzwilliam (d. 1833) and by descent at Wentworth Woodhouse until 1998) please see lots 14 and 15 Christie's Fine English Furniture, London, 11th February 1999. Plate 58 from Hope's 'Household Furniture and Interior Decoration, London', 1807, illustrates a mantelpiece/fireplace with pair of griffins, lion-bodied eagles sacred to the sun-god Apollo, as guardian firedog 'chenets' after the French antique manner.Please note, this lot measures 127cm when fully extended and 107cm at its smallest extension, and not as printed in the catalogue.Condition Report: At its smallest- approx. 107cm. In generally good order with no signs of breaks or repairs. Clean and very presentable. Reverse of central section stamped- possibly "*21- GT"? Difficult to read or photograph. Please see additional images which form part of this condition report Please note, this lot measures 127cm when fully extended and 107cm at its smallest extension, and not as printed in the catalogue.Condition Report Disclaimer

Quantity of various Victorian lace and crochet work, Christening gown, patchwork tea cosy, Victorian mantelpiece hanging etc.

Novelty miniature cast iron mantelpiece ornament surrounded by crest and foliage, together with another. (2)(B.P. 21% + VAT)

Z* Nemeth (20th century), oil on canvas, Winter landscape, signed, gilt and green velvet frame, 50 x 60cm and P. Patching, Still life of roses in a vase on a mantelpiece, indistinctly signed, oil on canvas, 60 x 45cm

A 19th century white-painted carved pine fire surround, the mantelpiece with moulded edge above floral swags to the frieze, having egg-&-dart border to the open recess, flanked by full-round fluted Corinthian columns; 80” wide x 56¼” high x 10” deep (open recess: 39” wide x 37¾” high).

Pair of antique carved wood block capitals, each with two satyr mask heads, foliate egg and dart and tongue moulding, probably from a mantelpiece or door frame, each 24cm high, 25cm wide and 20cm deep.  (2).

19th century mantelpiece for mirror with a relief decoration in the top, 181 cm high, 116 cm wide

Arthur Ralph Middleton Todd RA, RE, (1891-1966) - portrait of a gentleman, possibly a self portrait of the artist half length wearing a brown coat standing beside a mantelpiece and mirror, signed and dated 1951, oil on canvas 18" x 15"

W. Hall - British School, late 19th/early 20th centuryWatercolourFigures in a landscape by a lake, signed lower right, 18 x 12cm andBritish School - 20th centuryWatercolourA mantelpiece clock and a mirror, with monogram SM and dated '89 lower right, 18 x 14 cm (2)

A pair of decanters with stoppers, pair of pheasant mantelpiece ornaments, and an EPNS tray

Charles Théodore Perron (1862-1934) Mantelpiece onix clock. Signed CH Perron. schoorsteenmantel klok met brons en onix. Gesigneerd CH Perron. H 73 - 77 cm

Mantelpiece set with 2 vases Decoration angel with harp, marble base signed JF Moreau Schoorsteenmantelset met 2 vazen. Decoratie engel met harp, marmeren voet gesigneerd JF Moreau. H 33,5 B 38 en H 31 cm

Mantelpiece H. Moulders, Antwerp Wooden Clock with 2 decorative jugs. The enamel signed H. Moulders, Anvers. Schouwstel H. Moulders, Antwerpen. Houten klok met 2 sierkannen. Het email gesigneerd H. Moulders, Anvers. H 49 - 45 cm

An exceptionally attractive French Ormolu and porcelain mantle Clock the two-train movement by Leroy & Fils, Paris, serial No. 16549 striking the hours and passing half hours on a bell, the porcelain face 3 1/2" diameter decorated in blue and gold having a colourful atmospheric depiction to the central reserve of a romantic scene in a classical garden with a chateau visible in the distance, the hours marked within individual reserves with Roman numerals.The decorative pendulum has a gilded bob-weight featuring a pair of opposing butterflies clinging to a sphere and it swings before a shaped porcelain panel with a scene of a planted urn on a stone walled terrace whilst beyond in a wooded valley with tall flowering plants is a viaduct enveloped in vegetation leading to a chateau with a pillared terrace high on the valley side. Beneath the pendulum is another flat porcelain panel set into the base, this beautifully portraying a Mediterraneanesque coastal scene with the turquoise seascape framed by an overhanging tree bough and a Yucca. These porcelain panels have various annotations to the reverse in red/brown freehand script with the numbers 16458, which ironically is one digit at variance from that of the mechanism. The very grand Ormolu frame features much symbolism with Angelic faces bearing crowns of fruiting Vines and elsewhere is much trailing foliage, leaf-scrolls and Fuchsia-like flower blooms. The cylindrical clock housing stands on a platform in turn supported on canted porcelain/enamelled Cobalt blue tapering square pillars with Ionic capital design scrolls and fruiting Vine crowned Angelic faces and at their bases Olympic torches, Rose blooms and ribbons. The whole is supported on four leaf-scroll detailed feet whilst the pediment is formed by a Cobalt blue and gold urn, the reserves front and rear illustrating colourful and skilfully portrayed flowers. The time piece is 14 1/4" high, 10" wide and 4 3/8" deep. This clock is sold together with a pair of associated Ormolu and porcelain two-light candelabra having been together for some considerable time. The candelabra each has a plinth base with a porcelain frieze raised on four compressed circular feet and a Cobalt blue, gold and white boss to the stem decorated with colourful flower blooms and with similarly decorated sconces supported on scrolling budded stems, each candelabrum also having a central finial surmounted by an opening flower bud. 11 3/8" high, 7 3/4" wide and 3 3/4" deep. Altogether forming a most magnificent mantelpiece garniture set. The winding key is present as is the smaller key for regulation of the movement from the front via the spindle for such purpose located above the twelve o'clock position. The clock has been running satisfactorily during cataloguing and in the run-up to the auction.

20th Century oil on canvas, still life study, vase of flowers on marble mantelpiece, in a swept gilt frame, unsigned, 23ins x 19.5ins

Victorian wooden painted mantelpiece/fire surround, decorated with simulated marble and a central image of a three masted ship. (B.P. 21% + VAT) Dimensions - 167 x 124 cm Approx.

A Thwaites and Reed gold plated skeleton clock in a glass dome. Two other mantelpiece clocks included.

An antique late 19th / early 20th Century Victorian movement oak fire surround / fireplace having a carved pediment top which acts as a mantelpiece shelf with two carved acanthus leaves brackets and further carved detailing. Measures approx 115cm x 137cm x 24cm.

Jitka Palmer, "Coiled", Portland stone, 2019, 33 x 40 x 11cm. Hand carved stone sculpture, polished. The piece is a poetic expression of a safe and undisturbed shape we sometimes need to find to rest and hide from the intensity of the world around us. Best displayed on the mantelpiece, floor or even on the wall in the garden. Located in Bristol, UK shipping £35.

A jewellery box with crimson lined interior and moveable drawers, 18cm x 32cm, together with a 20th century mantelpiece clock (2)

Pair of Victorian liver brown lustre and white Staffordshire mantelpiece ornaments