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Two Brass and Copper Pails, 19th century, with urn finials and swing handles, 45cm (2)Pail One - large split to the rim of the bucket. Numerous dents to the cover and main body. Pail Two - lacking two roundels. Lacking five lion masks. Splits and dents throughout. The lids do fit.

A Victorian Copper and Brass Tea Urn, two similar kettles, a pair of ewers, brass trivet and fireside ornaments

PAIR OF LARGE MODERN FIGURAL URN STANDS modelled as male and female, with gilt highlights, on shaped stands127cm high Qty: 2

PAIR OF PLATED CANDELABRA MID 20TH CENTURY each twin branch, with urn shaped nozzles and on tapered stems42cm highQty: 2

A cast iron urn Planter on square base, 30'' high x 23'' diameter, (slight damage to banding).

Pair of late 20th century silver candlesticks, of George III style with urn form sconces with tapering stems on filled navette shaped bases, hallmarked James Dixon & Sons, Chester 1992, H29cm

AN INLAID BRONZE 'ELEPHANT' TRIPOD CENSER AND OPENWORK COVER, 18TH CENTURYChina. Heavily cast, the censer is decorated in relief with lotus scrolls flanked by a pair of handles in the form of caparisoned elephant heads with their trunks raised, supported on three further elephant heads, their curved trunks forming the legs. The openwork cover is pierced with lotus scrolls surrounding the finial cast as a recumbent elephant with an urn on its back filled with auspicious and precious objects including a conch, ingot, the Three Jewels, and a cash coin. The censer is embellished with inlays of pearl, glass, and semiprecious stones. The base cast with a lotus knop. Provenance: From a Danish private collection and thence by descent. The underside with faint remnants of an old collector's inscription. Condition: Very good condition with old wear, traces of use and casting irregularities, some losses to inlays, the handles slightly loose. Fine, naturally grown, rich patina.Weight: 3,577 g Dimensions: Height 31 cmExpert's note: The fine inlays of pearl, glass, and semiprecious stones strongly indicate an imperial connection to this censer, which also compares favorably to Qianlong-marked examples, see for example Christie's Hong Kong, 29 May 2019, lot 3115.Literature comparison: The tradition of using three elephant heads as the feet of imperial bronze censers and braziers can be traced back at least as far as the Xuande reign (1426-1435). An example of a censer, bearing a six-character Xuande reign mark, on which the elephants balance on their rolled trunks, as on the present lot, is in the collection of the National Palace Museum, Taipei, and illustrated in A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties, Taipei, 1994, p. 199, no. 54.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2012, lot 4128 Price: HKD 524,000 or approx. EUR 82,000 converted and adjusted for inflation at the time of writing Description: A bronze 'elephant' tripod censer and openwork cover, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, decoration, and inlays, as well as the related size (33.6 cm). Note the gilt handles and finial, which may possibly be of a later date. Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 24 June 2013, lot 1119 Price: USD 92,500 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A large bronze tripod censer and cover, Qianlong period Expert remark: Compare the closely related form, decoration, and inlays. Note the apocryphal dating inscription (corresponding to 1651) as well as the larger size (51.5 cm).十八世紀銅嵌寳太平有象三足銅爐中國。熏爐體型碩大，造型繁複絢麗，一尊大象伏臥於爐蓋之上，雙耳肥碩，象鼻彎曲，寶象滿飾纓絡，背負聚寶盆，内有吉祥珍品，如海螺、元寶等。爐蓋高聳，通體透雕纏枝蓮花紋，枝葉錯縱盤繞，蓮花盛開其間。雙象首耳，象鼻、象牙造型誇張，腹部浮雕纏枝花卉，下承三象首足，裝飾瓔珞並嵌飾各色寶石，整體造型華美，銅質精良。 來源：丹麥私人收藏，保存至今。底部可見藏家款識。 品相：狀況極好，有磨損、使用痕跡和鑄造不規則，鑲嵌物有一些缺損，手柄略微鬆動。黃銅色皮殼包漿自然。 重量：3,577 克 尺寸：高31 厘米 專家注釋：珍珠、玻璃和半寶石的精美鑲嵌表明此香爐與皇家有關，與乾隆時期的例子相比也毫不遜色，見香港佳士得，2019年5月29日，lot 3115。 文獻比較： 以三象頭為御製青銅香爐和火盆足的傳統，至少可以追溯到宣德年間。一件六字款的宣德年款象足銅爐，收藏於臺北故宮博物院，見《A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties》，臺北，1994年，頁199，編號54。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年5月30日，lot 4128 價格：HKD 524,000（相當於今日EUR 82,000） 描述：清十八世紀銅太平有象三足熏爐 專家評論：比較非常相近的外形、裝飾、內鑲嵌，以及相近尺寸 (33.6 厘米)。請注意有鎏金雙耳和頂蓋鈕，可能年代較晚。

A PAIR OF GILT-LACQUERED WOOD ALTAR EMBLEM STANDS, QING DYNASTYChina, 18th-19th century. Each supported on a domed lotus-petaled base bordered with lappet bands, the scrolled openwork standard rising to a large lotus pod enclosed by layered petals, the body lacquered in a thick layer of gilt. (2)Provenance: Collection of Frederick W. Hinke, and thence by descent in the same family. Frederick William Hinke (1900-1960) was an American diplomat and the son of Dr. William John Hinke, a prominent scholar and close friend of many of Washington D.C.'s politicians, including the well-known Dulles family. Frederick Hinke became politically active and served as U.S. Vice Consul from 1926-1929 and as U.S. Consul in Guangdong Province, China in 1932, before moving to Tianjin in 1938. His work allowed him to build a collection of Chinese works of art which was kept in the family for around 70 years before it first entered the art market.Condition: Some old wear, chips, light scratches, few losses here and there, expected age cracks, flaking to the lacquer, one stand with losses to the scroll-form supports.Weight: 1,486 g and 1,488 g Dimensions: Height 36.3 cm and 35.9 cmEmblem stands such as the present pair are usually found in Buddhist altars where they are used as bases to hold the Seven Emblems of Imperial Power (qizhengbao), which according to the Buddhist Sutra, are the accessories of the universal monarch, the Chakravartin. The Seven Emblems represent the different abilities or aides that a king must possess in order to stay in power and can be symbolically offered to the Buddha. The Seven Emblems include the Precious Wheel, the Precious Jewel, the Precious Queen, the Precious Minister, the Precious General, the Precious Elephant and the Precious Horse. For a related gilt-lacquered wood ceremonial vessel, see lot 284 in this catalog.Closely related sets of gilt-lacquered wood emblem stands are in situ in various halls of the Yonghegong Lama temple in Beijing. It was built in 1694 on the site where originally stood an official residence for court eunuchs of the Ming dynasty, and converted into the residence of Prince Yong, who would later become the Yongzheng Emperor. In 1711, Hongli, the fourth son of Yongzheng, the future Qianlong Emperor, was born in the East Academy of the building. In 1744, the Qianlong Emperor issued an edict converting the Palace of Peace and Harmony into a lamasery. Subsequently, the monastery became a residence for large numbers of Tibetan Buddhist monks from Mongolia and Tibet, and so the Yonghe Lamasery became the national center of Lama administration. Since 1792, with the foundation of the Golden Urn, the Yonghe Temple also became a place for the Manchu government to exert control over the Tibetan and Mongolian Lama reincarnations.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 29 June 2016, lot 9282Price: USD 18,750 or approx. EUR 21,000 converted and adjusted for inflation at the time of writingDescription: A pair of gilt lacquered wood lotus stands with Buddhist emblems, late Qing/Republic periodExpert remark: Compare the closely related form, decoration, and lacquer. Note the emblems on top of the stands and the sizes (55 and 53 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 24 March 2018, lot 1784Price: USD 6,875 or approx. EUR 7,400 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-lacquered carved wood altar emblem stands, Qing dynasty, 19th centuryExpert remark: Compare the closely related form, decoration, and lacquer. Note the size (50.2 cm).一對清代木雕漆金蓮花供座中國，十八至十九世紀。仰覆蓮花供座，四重蓮瓣組成，瓣葉飽滿規整，蓮瓣端頭尖挺有力。供座通體施一層厚厚的金漆。(2) 來源：Frederick W. Hinke收藏, 在同一家族保存至今。Frederick William Hinke (1900-1960) 是美國外交官，William John Hinke 博士的兒子。William John Hinke博士是一位著名學者，也是華盛頓特區許多政客的密友，其中包括著名的杜勒斯家族。 Frederick Hinke 在政治上十分活躍，曾於1926 年至 1929 年擔任美國副領事，並於 1932 年擔任美國駐中國廣東省領事，之後於 1938 年移居天津。這件拍品在其家族中保存了大約 70 年。 品相：一些磨損、缺口、輕微的劃痕和缺損，老化裂縫，漆面剝落。一個供座在鏤空裝飾有缺損。 重量：分別為1,486克與1,488克 尺寸：高 36.3 釐米 and 35.9 釐米

A WILLIAM AND MARY WALNUT AND MARQUETRY CABINET ON STAND early 18th century, the top section with a moulded cornice over crossbanded doors, each inlaid with a central image of urn and flowers, the doors open to a fitted interior with numerous short drawers surrounding a central cupboard, the bottom section has a single frieze drawer, on barley twist legs joined by an x-frame stretcher, similarly decorated with floral marquetry, on turned bun feet, 146cm high x 94cm wide x 42cm deep

A GROUP OF EIGHT PLASTER MOULDINGS OF ARCHITECTURAL FRIEZE sharing urn subjects, one example, mounted on a slate background, 60cm wide x 30.5cm high, another of vertical form, 88cm high x 19cm wide, the smallest 20cm high x 40cm wide (8)Provenance: The Christopher Hodsoll Collection.

A GROUP OF FOUR PLASTER FRIEZE MOULDINGS 20th century, the largest, depicting wolves in a landscape, 23cm high x 46cm wide, another, in the manner of Robert Adam with griffons flanking an urn, 14cm high x 60cm wide (4) Provenance: The Christopher Hodsoll Collection.

A GROUP OF ELEVEN PLASTER MOULDINGS largely consisting of architectural urn motifs cast in relief, the largest 19cm high, the smallest 12cm high (11)Provenance: The Christopher Hodsoll Collection.

A GROUP OF FIVE PLASTER ARCHITECTURAL MOULDINGS including a large floral patera, 55cm wide, a neoclassical urn in relief, 96cm high x 26.5cm wide, and three further mouldings (5)Provenance: The Christopher Hodsoll Collection.

Fine walnut and floral marquetry-cased 8-day longcase clock George Murgatroyd, London, circa 1700, the 12-inch square brass dial having silvered Roman chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and inner quarter hour track, additionally signed Geo: Murgatroyd, London framing a matted centre with ringed winding arbors, silvered subsidiary seconds ring and calendar aperture within engraved scroll border, within crown and twin cherub supporters to spandrels, engraved signature 'George Murgatroyd London' to lower edge,the four (formerly five) finned pillar movement with anchor escapement, inside countwheel striking on a bell, regulated by seconds pendulum, the case with floral marquetry-inlaid caddy top, hood door, throat moulding, long trunk door (with oval lenticle) and base, the trunk door incorporating an urn, birds, tulips and other flowers, scrollwork etc, the plain hood sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with moulded skirt, 227cm high (sold with two weights plus pendulum and winder)George Murgatroyd is recorded in Britten, F. J., 'Old Clocks and Watches and their Makers' as working in London circa 1710 - however, features such as the convex throat moulding to the case, and ringed winding holes coupled with stylised sword-hilt half hour markers to the dial, would suggest a date just prior to this for the current lot.Dial - general tarnishing to silvered chapter ring. Discolouration to edges of brass dial. Movement - one hole to front plate is unused (so something has been removed). There is packing to upstands beneath seatboard.Case - damage and depletions commensurate with age, including (but not limited to):Superstructure (over caddy) may be an old replacement, and has been reattached. Front corners of caddy surmount appear to be separate sections, of slightly different colourGlazed side panels of hood are replacedSime cracking to moulding beneath hood door.Losses and fading to vertical edges of hood door- mainly from handling.Veneer and carcase losses to one front corner of throat moulding.Losses to inlay at top of trunk doorSome wrinkling to veneer surrounding trunk door.Lock is later and applied (originally did not have a lock)Base has moulding loss to back edge at one side.Horizontal cracks to sides of base.Later plinth cuts through base of inlaid panel.Small losses to crossbanded border.Some old drill holes to backing.

19th Century French brass and ormolu mantel clock with urn finial, Japy Freres & Cie, retailed by Guibal a Paris, 3-inch dial with Roman hours and Arabic minutes, behind bevelled convex glass and beaded bezel, the two-train movement outside countwheel-striking on a bell, the case with urn and swag surmount over leaf-capped scrolls and a bow-breakfront base on toupie feet, 21cm wide x 30.5cm high, sold with pendulum

Dated mid 19th Century French Sèvres-style porcelain and gilt metal mantel clock, P. H. Mourey, Paris, 1863, the 3-inch cellular Roman chapters on bleu celeste ring framing floral centre, the two-train movement, with Vincenti Exposition stamp and numbered 23118, outside countwheel-striking on a bell, the case with wreath-topped urn surmount and a pair of oval putto panels, on breakfront base with further panel, stamped verso '11 P H MOUREY 63' (for November 1863), 40cm high (sold with pendulum)

Constance Spry for Stevens and Williams, a Royal Brierley glass flower vase, circa 1930s, optic moulded Campana urn form with everted rim, on plain foot, etched facsimile signature, 15cm high Note: author and florist Constance Spry designed a number of vases in both glass (for Stourbridge manufacturer Stevens and Williams) and ceramic (for Fulham Pottery) to complement her well known flower arrangements and designs, on which she wrote numerous educational books.

George Owen and E Phillips for Royal Worcester, a pair of reticulated ewer vases, model 1144, 1912, Kedleston Ewer type, urn form with horned mask handles and crimped spouts, pierced with bands of hexagonal honeycomb and geometric decoration above floral painted swags, white jewelled borders, on square bases, puce marks and incised signatures, 17cm high

A George V silver twin handled trophy cup and cover, Goldsmiths and Silversmiths Company, London 1912, pedestal urn form, acanthus whiplash handles and gadrooned borders, with double ogee domes lid and urn finial, presentation inscription for the Khartoum Racing Club, Army and Navy Cup 1912, 48cm high overall, 57.79ozt

George Owen for Royal Worcester, a reticulated ewer vase, model 1144, 1899, Kedleston Ewer type, urn form with horned mask handle and crimped spout, pierced with a blue band of honeycomb hexagonal decoration, above painted rose swags and gilt Rococo scroll cartouches, white jewelled borders and square base, puce marks, apparently unsigned, 16.5cm high

John Stinton for Royal Worcester, a Highland Cattle painted twin handled pedestal vase, 1906, urn form with relief moulded foliate handles and acanthus beaded lid, blush ivory ground, decorated with cows in a misty mountain landscape, signed, puce marks, 28cm high

A matched pair of George III silver sauce tureens and covers, Abraham Peterson and John Emes, London 1807, twin handled pedestal urn form, half reeded, angled handles, ogee lids with foliate loop handles, gadrooned bands to each foot, 25cm long, 48.52ozt (2)

A George III silver pounce pot, probably Joseph Biggs, London 1817, Campana urn form, cast foliate rim and ogee domed lid, ball finial, 7.5cm high, 2.15ot

A pair of Edwardian silver candlesticks, Asprey and Co, London 1902, oval section Neoclassical form with reeded and fluted knopped trumpet and urn columns, weighted, 17.5cm high (2)

A C Lewis for Royal Worcester, a pair of Hadley Ware vases, 1905, pedestal urn form, painted with pheasants on branches in pine woodland, signed, green marks, 18.5cm high (2)

A George V tortoiseshell and silver mounted ink stand, William Comyns, London 1910, ogee settee form inlaid with Neoclassical urn and swags, central engraved glass inkwell, husk beaded borders, on bracket feet, 22.5cm long

British School, early 18th Century, portrait of a Mary Bolle, aged 14, inscribed Mary Bolle Aetis 14 c.l., half length in a blue dress, holding a quill pen in her right hand, her left resting on a book beside a classical stone urn, oil on canvas, 72 by 60cm, in an 18th Century carved gilt wood Lely frame. Provenance: Col. Bosville M.C

A Chinese bronze two-handled urn decorated with scrolling pattern and a Chinese duck finial to the lid, 34cm high

Composite garden urn, height 70 cm, width and depth 50 cm

A cast metal bronzed urn with bacchanalian cherub and ram decoration, the twin handles set with fruiting grape vines, the lid set with cherub with empty cup 35 cm high

A 19th Century Continental gilt bronze urn or lamp stand, the pierced Greek key style galleried top enclosing a Sienna marble circular panel on reeded column supports, united by a pierced floral and foliate medallion decorated undertier with tin dish to the centre, raised on foliate decorated eagle claw and ball feet, top 28 cm diameter (overall width 43 cm) x 78 cm high CONDITION REPORTS The top is loose on one of the supports - appears to be lacking a screw. Also is slightly misshapen along the top edge. The sienna marble has had several repairs and is heavily scratched. Lacquer is missing / rubbed throughout. Remains of cleaning fluid residue evident throughout. Cracks / splitting to the metal columns. Wear to the gilding. Knocks, bumps, etc. Has had heavy wear and tear conducive with age and use. See images for further detail.

A circa 1900 Capodimonte vase as four young musicians around a large lidded urn with swag decoration, bears blue underglazed mark to base 29 cm high together with a 19th Century cut glass jug 16 cm high, together with a collection of MacMillan Collector's Library pocket books to include "Poems of Childhood introduced by Michael Morpurgo", "Poetry of the First World War" edited by Marcus Clatman, ANTON CHEKHOV "In the Ravine and other stories", CHARLES DICKENS "Bleak House", etc, and a late Victorian walnut and inlaid framed circular footstool on pottery feet, 30.5 cm diameter

Two Georgian steel fire iron sets, each comprising poker, shovel and tongs, one with urn style finials (poker 67.5 cm long), the other with octagonal shaped finials (poker 74 cm long) CONDITION REPORTS The octagonal finial fire irons have significant rusting throughout, the pair of tongs: the rivet holding the locking mechanism together is broken and cracked to one side and the other side is missing and the tong plate has some corrosion. Otherwise heavy wear and tear conducive with age and use.The urn topped set, again rusted throughout. The poker: possibly the shaft is a replacement lopsided to the handle, otherwise general wear and tear conducive with age and use

Caverswall China large two handled gilded Capana urn & cover hand painted with men and women with bird cage by R A Shufflebotham, 2 small hairline cracks to underside of the base, h.51cm.

Carlton Blush ware handled urn with classical decoration, by Wiltshaw & Robinson, c1900, height 23cm

Wedgwood Jasperware twin handled lidded urn, height 30cm.

Wedgwood light blue Jasperware two handled urn & cover, decorated all around with classical scenes, C1900, impressed marks Wedgwood Etruria England. h.38.5cm. Acorn finial re-stuck, 2cm hairline crack to circular base edge and several cracks to small relief.

19th century Wedgwood dark blue dipped Jasperware two handled urn & cover, decorated all around with classical muses, h.33cm.

A large Wedgwood pale blue Jasperware two handled urn and cover, 31.5cm

A Wedgwood Jasperware two handled Campagna lidded urn, decorated with Neo classical muses. 28cm in height.

A Wedgwood Tri Colour twin handled lidded urn, made in 1992, signed by Lord Wedgwood in gold in 1993. Boxed. 29.5cm tall.

A c1820 Wedgwood Rosso Antico twin handled urn, hand painted enamels with Chinese Flowers. Measures 23.5cm in height.

Wedgwood terracotta Jasperware two handled urn & cover. Height 30cm lid restored.

Wedgwood blue Jasperware two handled urn & cover, lid restored. Height 30cm.

A large 2 handled urn with butterfly and floral decoupage decoration. Pottery base and Papier Mache lid. Black ground with gilt detail throughout. Damage to neck rim and internal lid. Approx. 47cm tall.

A modern circular glass topped coffee table of classical design. Heavy resign base with central urn shaped pedestal surrounded by 4 bronze effect figureheads. Approx. 56.5cm tall x 60cm diameter.

Eight miniature Oriental vases, including double gourd form and urn, tallest 16cm

A Berthold Muller silver classical form urn vase with Ram and Swag detail, raised on three legs. Import marks for Chester 1901, 22.5cm tall, 369g

* Boutis de Provence. A finely-worked quilt portion, probably French, early 19th century, padded white cotton, pieced, with 2 vertical joins, close-quilted by hand overall, with spirals terminating in flowers and hearts, and a two-handled urn at one end, one small area of toning, 46 x 153.5 cm (18 x 60.5 ins), together withA large Boutis de Provence marriage quilt, French, early 19th century, padded white linen bedcover, close-quilted by hand overall, large central panel with lattice design set within a wide border of patterned diamonds, 3 sides of border with repeated large motif of spirals, hearts, and flowers, remaining side with large motif of flowers and heart within a wreath, some toning and a few stains, portion with crudely repaired closed tear (approximately 21 x 11 cm), faint ink stamp to edge on verso, 209.5 x 226 cm (82.5 x 89 ins), plus a French boutis petassoun quilt, mid 19th century, small infant lap quilt of hand-quilted white cotton, with flower basket design, toned, and some small stains, 49.5 x 46 cm (19.5 x 18 ins) QTY: (3)

* Embroidered panel. A silk panel of 18th century appliquéd embroidered metalwork motifs, 7 expertly stitched motifs within a border, comprising large flower urn cornerpieces, each different, motifs including a carnation, acorns, a Tudor rose, and a tulip, with flaming fleur-de-lys ornament to 2 opposing sides, and a pointed oval wreath to a third side, enclosed in a 4 cm wide border of scrolling flower and leaf stems, hand-worked in polychrome silks and metal threads, using padded satin stitch, bullion stitch, stem stitch, basketweave, and long and short stitch, and incorporating spangles, 3 motifs with remains of original red silk ground, each motif and border carefully stitched to a backing of crimson silk stretched over thick board, edges a little soiled, water-stain to lower left corner (not quite touching threadwork), motifs approximately 16 x 16 cm (6.25 x 6.25 ins) and slightly smaller, overall size of border 53 x 53 cm (21 x 21 ins), overall size 69 x 67 cm (27 x 26.25 ins), together with:An embroidered apron front panel, late 18th/early 19th century, panel of polychrome silk embroidery on brown silk, with two vertical joins, hand-worked with flower and leaf stems, using long and short stitch, satin stitch, French knots, and stem stitch, some small losses to threadwork, silk ground slightly frayed to left-hand margin with a few small holes, 25.5 x 70 cm (10 x 27.5 ins), framed (28.3 x 73.2 cm), plus 2 late 18th century uncut embroidered cream silk waistcoat panels, comprising front panels and pocket flaps, finely worked in coloured silks (faded) with floral and foliate decoration, silk beginning to perish in places, each panel approximately 77 x 26.5 cm (30.25 x 10.5 ins) QTY: (4)

* Fabric. A collection of fabric pieces, 17th century and later, including: an early 17th century Spanish 'collarin' or priest's liturgical collar, with gold velvet appliquéd pattern of arabesques, outlined in gold metallic thread and with stems worked in red thread, on a green velvet ground, fixing loop to each side, worn with losses, backed with linen, backing annotated in ink in an early 19th century hand 'de Cordova año de 1622' and in a later hand above 'Victoria', and further annotated in a late 19th century hand 'Parroquia de Palma año de 1889', 20.5 x 63 cm (8 x 24.75 ins); a large cushion cover of red voided velvet on a gold satin ground, one side depicting a floral urn flanked by mythical beasts and putti, and the other depicting Cupid with sculptural face above, surrounded by foliate volutes and acorns, stitched by hand to 3 sides, lower edge open, some wear and a number of darns, 12 x 23.5 cm patch to centre of lower edge on Cupid side, 59 x 57.5 cm (23.25 x 22.5 ins); a pieced portion of metallised brocade, with large pattern of flowers and pears in shades of yellow, green, and pink on a gold ground interwoven with silver thread, with central vertical machine-stitched join, gold metallic trim to edges, faded and some minor fraying, 73.5 x 41 cm (29 x 16.25 ins); a piece of bizarre silk, patterned in blue and gold on a red ground, worn and with numerous repairs, loosely backed with early red and gold damask (held by repair stitches), 146 x 53 cm (57.5 x 21 ins); and an appliquéd runner in red and gold with metalwork outlines, possibly Portuguese, worn, 20.5 x 121 cm (8 x 47.5 ins)QTY: (7)NOTE:The current church of Santa Victoria in Córdoba [or Cordova], Andalusia, Spain, wasn't built until the end of the 18th century, and therefore it is likely that the contents of an earlier church on the site were dispersed at some time, perhaps explaining the subsequent appearance of the collar in Palma, Mallorca, Spain.

MIXED LOT OF CERAMICSincluding a Lladro polar bear, Royal Copenhagen robin, Royal Doulton figurines of Ninette HN2379 and Christmas Celebration HN4721, Miquel figurine of a lady, Beswick foal, New Hall lustre centre bowl, Maling lustre oval dish, Royal Winton oval dish, and a large gilt urn with floral decoration

Royal Worcester figure of a man holding a horn and an A Davenport two handled Imari urn, both of these items have extensive damage - figure has chips and loss to brim of hat and piece re-stuck to base, plus urn has impact damage to base, with pieces present. (2)

Superb Royal Worcester two handled urn & cover, gilded and hand painted with fruit by Horace Price, shape no.1428, dated for 1939, h.30cm.

A large terracotta urn, 52x52x38cm, and a plastic planter. (2)

A weathered concrete two section garden urn. 48x75cm

A weathered concrete garden urn. 50x68cm.

A pair of late 18th century Spanish Teruel majolica hand painted pottery urn and peacock design plates. Diam.26cm

A WILLIAM AND MARY STYLE VERRE EGLOMISÉ PIER GLASS basically late 17th century with replacements including the principal bevelled plates, the upper plate arched and with an engraved urn in the centre, the verre églomisé blue glass borders with arabesques, strapwork and foliage, 182cm high x 85cm wide Provenance: Bt. in the early 1970's, probably at Christie's.

A SÈVRES FLUTED SUGAR BOWL of urn form with orange and gilt ground, fleur de lys mark within interlaced "L"s gilt "QZ" and "20 Juin BT" for 1837, 10.5cm high