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A pair of 18th century wine glasses, the trumpet bowls engraved with grape vines above facetted stems and circular feet, 19cm (7.5in)

`F C Rein and Son, 108 Strand London`, a cased pair of mid Victorian gilt hearing aids, each inscribed within the mouth of the trumpet, the earpieces of ivory, 7cm (2.75in) wide

A wine glass, the drawn trumpet bowl with multiple series air twist stem and applied glass trail to the centre, raised on a conical foot (chipped) 15cm high

A WMF EP table centre piece, circa 1920, No. 483, the central cut glass trumpet vase, within a circular fan moulded and etched glass bowl on a female figural mount with raised arms, the base with fan moulded triangular boat shaped clear glass bowls, between two geometric handles, 64.5cm high, 51cm wide

A silver plated EPNS epergne with central cut glass trumpet and 3 outer trumpets, supported on a shaped base ending in claw feet.

A Victorian glass table epergne, the circular dish base with wavy rim supporting two trumpet vases and two scroll brackets.

TWO CONTINENTAL SILVER SPOONS with figure finials, THREE VARIOUS SOUVENIR SPOONS, SMALL SILVER TRUMPET VASE (af) and a PLATED MATCHBOX HOLDER on four ball feet

A pair of Art Deco trumpet shaped vases, with gilt stylised decoration of flowers on black ground and raised on marble bases, 23cm

Killarney - A Clarice Cliff shape 278 footed trumpet vase circa 1935 hand decorated with a repeat geometric triangular pattern in tonal green, blue and brown within graduated green and black banding, Bizarre mark, height 15.5cm. Condition - No chips, cracks or restoration, few minor paint scuffs.

Rhodanthe - A large Clarice Cliff 613 shape ribbed trumpet vase circa 1934/5 hand painted with a stylised tree landscape in tonal brown and orange, Bizarre mark, height 47cm. Condition - Restored around the base and across the underside of the foot.

Gibraltar - A Clarice Cliff shape 278 footed trumpet vase circa 1931 hand decorated with a seascape scene with sailing boats with blue, yellow and pink banding, FANTASQUE and Bizarre mark, height 15.5cm. Condition - Hairline crack professionally restored from the rim through the body. [From the 278/280 range this was an old Newport Pottery (and classic) vase shape, which was popular between 1929 and 1936, featuring this stylish 1931 Fantasque seascape pattern with yachts in the foreground. DM]

Rhodanthe - A large Clarice Cliff shape 702 footed trumpet vase circa 1936 hand decorated with a stylised tree landscape in tonal brown and orange with internal graduated brown to yellow banding, script signature, height 31cm. Condition - Small chip professionally restored to the foot rim.

Rhodanthe - A large Clarice Cliff shape 613 footed trumpet vase of ribbed form circa 1934 hand decorated with a stylised tree landscape in tonal brown and orange with an internal Delecia style tonal brown streaked brown and yellow decoration, Bizarre mark, height 47.5cm. Condition - No chips, cracks or restoration, light crazing.

A ROYAL STANLEY WARE "JACOBEAN" VASE of trumpet shape, decorated with fruiting vines in mauve, greens and yellows, 12" high.

A trumpet, with case

A Wedgewood "Fallow Deer" trumpet vase 7" tall

An 18th Century Cordial Glass, with trumpet shaped bowl and double opaque twist stem upon a splayed foot, 15cms x 25cms high See illustration

THREE CLARINETS, and a trumpet

A PAIR OF SILVER TRUMPET SHAPED VASES, Birmingham 1927, 20 cm high

A BESWICK PORCELAIN LIFEGUARD WITH TRUMPET MOUNTED ON HORSE 1624 ( 14" HIGH )

Pair of cranberry glass trumpet vases with ribboned wavy edge, circular clear base and applied clear glass spiralling decoration, 27cm (2)

A cranberry glass epergne, late 19th Century, the circular base with wavy rim edged in trailed lime green and raised on a clear glass pulled foot, supporting a central trumpet flanked by two smaller, each of cranberry tint with lime green wavy rim, height approx 43cm.

A Mdina glass vase of tapered cylindrical shape with flared trumpet neck applied with a prunt to the shoulders, together with a small group of glassware, including a set of six harlequin gilt overlaid drinking glasses (minor faults).

A pair of Canton `famille-rose` two-handled vases, 20th century, each of ovoid form with trumpet neck, painted with panels of dignitaries, birds and insects on a ground of floral scrolls, the neck set with a pair of stylised chilong handles, 43cm high, one handle missing (2)

A pair of Oriental trumpet shaped vases, each decorated with a dragon and on circular bases.

A pair of cranberry coloured glass, trumpet shaped flower flutes, with plated stands decorated with foliate motifs and a pair of plated metal and glass coffee percolators.

A LARGE SILVER TRUMPET STYLE POSY VASE of plain design, with bead edge to base. Birmingham 1910. 8.25ins high.

A MOORCROFT TRUMPET SHAPED VASE decorated on a graduated green green and painted with flowers. Impressed mark to base. 8ins high.

A modern Chinese blue and white tulipière, decorated with a continuous foliate pattern above a butterfly border, with five vases around a central trumpet, an apocryphal Qianlong mark to the base, 28.5cm.

A Japanese Arita blue and white trumpet vase, painted with a phoenix amidst peony beneath floral lappets, c.1700, restoration, 51.2cm.

The Pelham Water Buffalo. An Exceptional Chinese Imperial Spinach-Green Jade Water Buffalo with a Fine Gilt Bronze Stand. Qing Dynasty, Qianlong Period 1736-95, 20.8cm long. Description: The recumbent beast with a serene mildly inquisitive expression, carved from a massive spinach-green boulder; is depicted with his head turned and raised to the right, his facial features with flaring nostrils and alert eyes, framed by horns curling back to his spine, the trumpet-shaped ears and horns finely incised with lines depicting the fur, his dewlap beneath the neck naturalistically carved flowing down to the base, the form of the body accentuated by the superbly defined spine extending to the tail that curls above his hind leg, all four hooves boldly carved on the underside. The gilt bronze base incised with flowers and foliage to the surface above a key fret band bearing a four character Qianlong mark. A narrow band of scrolling flowers and foliage dividing elaborated stylized lappets and with a second key fret band at the foot. Paper label for John Sparks Ltd. 128 Mount Street London. And another inscribed 'The property of Sackville, 5th. Earl of Yarborough'. Provenance: Purchased from John Sparks Ltd. 24th June 1938 for £300. Listed in the Sparks archive as "No. 2988 - 1 v.fine green jade Buffalo, gilt stand, Ming". The property of the late Sackville George Pelham, the 5th Earl of Yarborough, d.1948, and thence by descent. Sackville George Pelham, 5th Earl of Yarborough, MC (17 December 1888 -7 February 1948) was a British peer and soldier, known as Lord Worsley from 1914-1926 and Lord Conyers from 1926 until his accession to the earldom in 1936. Pelham was the second son of Charles Pelham, 4th Earl of Yarborough and his wife, Marcia. In 1910, he became a Second Lieutenant in the 11th Hussars and initially fought as a lieutenant in France during World War I before being promoted to the rank of captain in 1916. During the war his elder brother, Charles, was killed in action and Sackville assumed the former's courtesy title of Lord Worsley. After the war, he was awarded the Military Cross and retired from the Army in 1919 when he married Nancy Brocklehurst (a niece of Lord Ranksborough). On the death of his father in 1936, Sackville inherited the earldom; in the same year he commanded the Nottinghamshire Yeomanry as a Lieutenant Colonel, being posted to Palestine at the outbreak of World War II. On returning to Britain in October 1940, the ship carrying the Earl and Countess of Yarborough came under enemy fire and was sunk. Although most of the passengers and crew survived, the Earl contracted respiratory problems from the smoke, which contributed to his early death in 1948 at the age of 59. His jade buffalo then became the property of his eldest daughter, Lady Diana Miller, who in the same year emigrated to Southern Africa. Whilst the existence of this piece of jade was not in doubt, its whereabouts were subject to some speculation. Many of the Earl's possessions would appear to have been packed and placed in storage at the outbreak of the Second World War and over the subsequent years some inventory records were mislaid. In 2005 Lady Diana Miller returned to the United Kingdom. A large wooden chest, thought to contain porcelain, was opened in July of that year. Inside, amongst the various items, was found an old wooden box, sealed with rusty nails, string and sealing wax. The box was opened for the first time in 65 years, and inside, carefully wrapped in newspapers dated 1940, were the magnificent jade buffalo and its gilt bronze pedestal. Catalogue Note: A small number of large jade carvings, mainly of water buffaloes and horses, were included in the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London 1975, cat. Nos.391-7. They are discussed in the accompanying Transactions of the Oriental Ceramics Society, vol.40, 1973-75, p.118, as being: 'among the most ambitious and monumental examples of jade ever worked in China and perhaps all of them once had their place in the pavilions of the various palaces of Peking.' Another animal from this series, looted from the Summer Palace Beijing in 1860, and reputedly rescued on the troop ship from a soldier who was trying to destroy it, now in the collection of Sir Joseph Hotung, was included in the exhibition Chinese Jade from the Neolithic to the Qing, The British Museum, London 1995, cat.no..26:19. The Jacob Goldschmidt buffalo was exhibited at the influential Ausstellung Chinesischer Kunst, Gesellschaft für Ostasiatische Kunst and Preußische Akademie der Künste, Berlin, 1929, cat.no.1085. The Oscar Raphael buffalo, now in the Fitzwilliam Museum, Cambridge, formed part of the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London, 1975, together with two other jade buffaloes, cat.nos.395-7. Compare the superb gilt bronze stand with those of a pair of spinach-green jade lion dog censers from the Palace Museum, Beijing, GU103379 and GU103380, illustrated: China The Three Emperors, 1662-1795, no.21. The Water Buffalo. The water buffalo is the traditional symbol of spring, strength and tranquillity. Its bucolic aspect evokes the simple and true life in the countryside, and as the reputed mount of the philosopher Laozi, the buffalo has strong Daoist connotations. An important animal in all rice cultivation societies, we find buffaloes depicted in art dating back thousands of years. The Chinese practice of lining the shores of lakes and rivers with bronze buffaloes dates from the Tang dynasty. It is based on the belief that Da Yu, the legendary emperor who is credited with founding the Xia dynasty, (circa 2100 - 1600 BC) and controlled China's floodwaters, used to place iron buffaloes beside each of his projects. The most famous is the bronze example overlooking Lake Kunming in Beijing's Summer Palace, which was cast and then personally dedicated by The Emperor Qianlong in 1755. With thanks to Miss Ching-Yi Huang of SOAS for her help in researching the Sparks' archive. Est: Refer Department

A set of false teeth, 19th Century, and a copper ear trumpet

19th Century Enamelled Box, or circular form, decorated with a lute, trumpet, flowers and ribbon ties.

A Boosey & Hawkes "Varsity" brass Trumpet (lacks mouthpiece)

A William Moorcroft - James Macintyre & Co gold and green Florian ware vase, the trumpet vase with waist collar tubelined with stylised flower heads, green monogram and printed mark, 22cm high. ILLUSTRATED ON PAGE 21.

A miniature Ruskin pottery lily vase of footed and flared trumpet form decorated in a high gloss kingfisher blue lustre glaze, impressed marks and dated 1925, height 10cm. ILLUSTRATED ON PAGE 28.

A small Ruskin pottery lily vase of footed flared trumpet form decorated in a high gloss Kingfisher blue lustre glaze, impressed marks and dated 1922, height 14.5cm.

A near pair of 18th Century wines circa 1740 having a spread and folded circular foot rising to a teared stem with drawn trumpet bowl, height 16.5cm, one A/F, together with a similar example with plain foot and swollen knop below the bowl, height 17cm.

A large Edwardian Stourbridge glass garniture of vases comprising one large and a smaller matched pair, each with a radial star cut foot rising to a flared petal edged trumpet and cased in ruby over clear crystal with flash cut diamond and fan motifs, tallest 40.5cm. ILLUSTRATED.

A later 20th Century Galle TIP cameo vase of flared trumpet form cased in deep bronze over blue and amber ground and acid cut with a flowering bough, bears acid signature, height 31cm.

A late 19th Century Stourbridge glass mirror base table centre, the bevelled edge base set with a central flared cranberry trumpet, height 35cm.

A late 19th Century Stourbridge four flute epergne having a deep frill rim bowl with a large central trumpet surrounded by three low trumpets all with applied clear crystal trim over the graduated cranberry opalescent ground, height 53cm. ILLUSTRATED.

A late 19th Century Stourbridge cranberry glass epergne having a deep frill rim bowl with a tall central trumpet, two low side trumpets, two twist clear crystal canes and one hanging basket, the whole decorated with applied clear crystal drawn trim, height 53cm.

A late 19th Century Stourbridge cranberry glass posy vase of footed trumpet form with a quatrolobed rim decorated with crimped clear crystal applied trim, height 21.5cm.

A late 19th Century Stourbridge cranberry glass posy vase of footed trumpet form with a petal edged rim and applied crimped clear crystal trim, height 22.5cm.

A late 19th Century Stourbridge posy vase of footed trumpet form rising to a quatrolobed rim with a graduated cranberry opalescence, height 29cm.

A hallmarked silver epergne with shaped hexagonal base supporting central trumpet vase with three scroll arms supporting three conforming examples, 30cm high, S/D. Sheffield 1921. ILLUSTRATED.

A hallmarked silver trumpet bud vase, and silver small pot and cover with a silver plated triangular shaped letter rack. (3).

DOYLE ARTHUR CONAN: (1859-1930) Scottish Author, creator of Sherlock Holmes. Interesting series of four A.Ls.S., with his initials A C D, seven pages (total), 8vo, Windlesham, Crowborough, Sussex and Grosvenor Hotel, London, 22nd November n.y., and n.d. (two letters annotated in pencil in an unidentified hand 1921), all to Harry (Engholm?). Doyle corresponds with his friend regarding a séance that he had organised and at which an impostor was present, in the first letter discussing the proposed guests, 'I have Mrs. Johnson for Wed. Dec, 14th 3pm and hope you will be able to come as I have several inquirers & want a few of the real old guard to make weight. There will be my wife & I, Lady Cowan (who is very keen & a great woman), d'Egville, said to be a rising man, Filson Young of the Saturday Review. That makes 5. You make 6 and Colonel Cowley, no doubt, would wish to come. That leaves one vacancy and the bold thought has occurred to me of asking Bennett of "Truth", under promise to play no tricks. I wou d not tell the others who he is, so there need be no mental tension. What say you? Advise me. He can only refuse, which would weaken his position.', in the second letter confirming arrangements and in the third letter, evidently written following the séance, Doyle announces 'It seems that that bounder Filson Young was putting "spirit hands" on his neighbours & eventually seized the trumpet. He admitted it. I have written him a letter he won't forget & declined his future acquaintance. What extraordinary people there are in this world!'. Doyle's next letter begins 'Wars and the rumours of wars!' and continues to again make reference to Filson Young, '…the point is that he means to publish & we must fight. My idea is to draw up a little synopsis of the sitting…I would draw attention to the fact that shortly after the start, before anything had occurred, Young declared that he'd heard a ringing of bells in his corner. That no one corroborated this. It was clearly a false statement and a trap…He said soon afterw rds he could see a white object building up in the centre. This had already been notified by one member of the company. Mr. Young was the only other one who was able to see it…he initiated psychic phenomena, pushed his neighbours with his hands and kicked them with his feet, pushed his chair about, struck the trumpet and knocked it down, and continually talked. All this he did although it had been explained to him that harmony was the first essential to success…' In a postscript to the letter, Doyle confirms that he has drawn up a tentative document and suggests it be sent to those present at the séance with a note 'saying that it is only for publication in case Mr. Young attacks us, as he may do.', together with the statement Doyle refers to, a two page 8vo holograph document reaffirming the points made in his letter and concluding 'Mr Young was at perfect liberty to form his own opinions, but he actually outraged the convictions of others, and broke every condition which experience has shown to be necessary for success.' Also included is a T.L.S. J. Conan Doyle, by Doyle's wife, one page, 8vo, Windlesham, Crowborough, Sussex, 9th November 1931, to Mr. Engholm, stating that she is pleased her correspondent is happier and adding 'Sometime when I am in Town I will let you know and arrange a meeting, and you can then tell me what it is you would like to talk to me about.' A fascinating series of letters. Generally VG, 6 Harry Engholm: Screenwriter whose credits include the 1914 film version of A Study in Scarlet Filson Young (1876-1938) Journalist. Young's account of the seance referred to in these letters and his exchanges with Doyle are recounted at length in Filson Young-The First Media Man by Silvester Mazzarella.

A Doulton Lambeth mug with golfing decoration early 1900s, the trumpet flare mug in the Art Nouveau style with golfers in white raised relief, damage to rim, height 12.5cm., 5in.

An African ivory oilphant (ritual trumpet), with pierced elliptical aperture, repaired break to wide end, 20.25in (51.4cm) l, and an African tusk carved a leopard, snake and bird, applied printed label 'Collection C.S.Gilbert,' 12in (30.5cm) l, both with inventory numbers. (2)

An Edward VII Silver mounted and Cut Glass Toiletry Bottle, the hobnail cut body of trumpet form with an applied and embossed floral and foliate collar, to a ground in spire-shaped stopper, height 6 ½", Birmingham 1905.maker’s mark JHW

A near pair of Trumpet Vases, each with flared and crimped rims to baluster bodies, and raised on spreading circular bases (loaded), height 5 ¼", various dates and makers (2)

A Mixed Lot comprising: a pair of inverted baluster Trumpet Vases, each with flared rims and fluted bodies, with spreading circular bases (A/F); together with a third plain smaller example, various dates and makers (3)

A good quality 20th Century large drawn Trumpet Goblet, raised on a short opaque twist stem and heavy spreading circular foot

A collection of various Venetian Glass: a Lustre (chipped, drops missing etc); a pair of decorative Vases with dentil rims, each applied with cameo portrait plaques; two Scent Bottles (one with chipped rim, one shortened); and a further balustered Trumpet Vase (broken base) (6)

Crested Ware: WH Goss: Model of ancient ewer in St Nicholas Church Looe for Ascot x2, 3 footed cauldron for Southport, E Hughes: covered cheese dish for Mayor & Council Borough of Calne Wilts 836, Willow Art: trumpet vase, Gibraltar, banjo for Aberystwyth, vase for Folkestone, pitcher for Eastbourne, Foreign: throne for Felixstowe, Grafton: pepper pot with comical face for Margate, Arcadian: bull dog for Kippax, Regis: shoe for Walsall, Unnamed: loving cup for Magdalen founded 1458, beaker for Farringdon, Podmore: stove Home Sweet Home- East of West Home Is Best for Margate (15)

A NEW HALL SILVER SHAPED TEAPOT, pattern number 748, decorated with floral border with iron red 'trumpet' flowers, a single rose spray and small sprigs of flowers, numbered to the base

A pair of Royal Doulton stoneware fruit decorated vases with trumpet bases, height 7 1/4ins.

Three pieces of Pilkingtons Royal Lancastrian orange vermilion, to include: a trumpet shaped vase, height 17.5cm no.8256, a smaller shaped vase, height 13cm no.2598 and a fruit bowl, no.3225, diameter 22.5cm bowl af (3) (illustrated)