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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.

An important George III mourning brooch for King Edward IV, circa 1789, the glazed brooch of oblong outline in hair work and sepia, depicting a tomb with an urn and crown flanked with the initials ER, inscribed EDWARD IIII REX DIED 9 APRL 1483, to a fluted gold border and plain reverse, measuring 3.0 x 1.7cm This Georgian mourning brooch commemorates King Edward IV (1442-1483). Edward was a central figure in the Wars of the Roses, a brutal conflict between Yorkist and Lancastrian cadet branches of the Plantagenet dynasty that overwhelmed medieval England. Edward was the son of Richard, Duke of York, and inherited the Yorkist claim to the throne upon his father's death in 1460 at the Battle of Wakefield. After defeating the forces of the Lancastrian Henry VI, he became Edward IV in 1461. His controversial marriage to Elizabeth Woodville set him at odds with his advisors, most notably the Earl of Warwick, and he was deposed in 1470, in favour of the king he deposed, Henry VI. Fleeing and gathering his strength in Flanders, he invaded the next year, and was re-crowned in 1471, reigning for twelve years before dying in 1483. His young son and heir Edward V became one of the vanished, presumed murdered 'Princes in the Tower', and the throne was seized by Richard III. During renovations of St George's Chapel, Windsor (which Edward IV had extensively remodelled during his reign), his coffin was accidentally opened while being moved. Some of his hair was found to be preserved, and was used to make mourning jewellery. Locks of Edward IV's hair are in possession of the Society of Antiquaries and the Wellcome Collection, London, and a related mourning ring was sold at Christie's, 11th October 1995, lot 24 Lots 1603 - 1608: A private collection of early jewellery.

Art Nouveau vase, female figure alongside a gourd shape urn with trailing flowers. Height approx 32cm. Sigened to rear T Schoop. Body of urn broken and repaired.

A George I style silver large caster, pieced domed cover with urn shaped finial, hallmarked Sheffield, 1915, approx 7.15 ozt (222.5 grams) 

An early 19th Century French 950 standard silver mustard pot and cover, pierced urn shaped body on square plinth on four ball feet, geometric handle, domed cover with urn shaped finial, with blue glass liner, hallmarked by Jacques Favres, Paris, circa 1809-19 together with a George III silver mustard spoon, by Williams Fearn & Eley, London, 1806 (2) 

A pair of Oriental style rose design ceramic lustre urn vases converted to table lamps. Each sitting on a hardwood base. H.54cm.

A Chinese style blue and white ceramic lidded urn vase converted into a table lamp. Decorated with peaches and sitting on a hardwood base. H.57cm.

A pair of Louis XVI gilt bronze and white marble cassolettesthe urn shaped nozzles with beaded rims and spiral moulded scrolling handles on leafy pedestal supports and milled socles, the covers with fruiting knopped stiff leaf finials, each raised on an integral half column pedestal and square shallow plinth base with beaded and foliate borders, 21cm high (2)For further information on this lot please visit Bonhams.com

A monumental Victorian silver and parcel-gilt double-handled cup and coverCharles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905) Tapering urn form, polished gilt highlights to the whole, the vase-shaped flaring neck embossed with symmetrical arabesques, repoussé ovals, diamonds and hearts against a matt and burnished ground, a shaped scroll and foliate upper rim, the pull-off double-knop circular cover topped by a baluster finial, the two handles formed by a pair of cast female Winged Victory, one either side draped in diaphanous garb, a circular laurel wreath in each hand, arms outstretched, both elegantly balanced on the head of a roaring mythical beast, to the main a three dimensional English Civil War diorama with Roundheads and Cavaliers on horseback, arms and flags aloft, and on the reverse an engraved armorial for SIR DAVID BAXTER (1793-1872), First Baronet of Kilmaron, within applied fleur-de-lis and foliage, a gilded double banded girdle to the lower body, repeating arabesques tapering to a shaped octagonal mount, the knop beneath joined to a spreading circular base adorned with cast mythical sea creatures and scrolling leaves, a domed heart-shaped cartouche either side inscribed with initials and set within an openwork shield, the stepped foot with zig-zag motifs and gilded rim, height 65cm, diameter approx 28cm, weight 228oz.PLEASE SEE BONHAMS WEBSITE FOR THE FULL FOOTNOTE ON THIS LOT:-Bonhams : A monumental Victorian silver and parcel-gilt double-handled cup and cover Charles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905)

A George III silver two-handle cup and covermaker's mark WH, for William Hall or William Hunter, London 1802Urn form, with an upper band of scrolling vine, lower body chased with stiff leaves, on a circular foot with flutes and a leaf and berry band, either side with two oval panels, one with an armorial engraving, the cover with similar ornament and further chased with scale panels and applied flower head motifs, height 41.5cm, weight 80.5oz.Footnotes:ProvenanceChristie's, New York, 21 October 2011, lot 190The arms appear to be for the family of CRAUFURD who by 1840 were considered to be of Burgh Hall, Lincolnshire, when Sir George CRAUFORD (1797-1881), 3rd Baronet Craufurd of Kilbirney, Scotland, was vicar of Burgh-le-Marsh, Lincolnshire and built the hall there. He was the son of, and succeeded, Sir James GREGAN-CRAUFORD (1761-1839), 2nd Baronet who himself succeeded to the baronetcy in 1797 and would have been the holder of the arms at the time of assay.For further information on this lot please visit Bonhams.com

Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Victorianischer Heißwasser-Samowar (Coffee Urn), Dobson & Sons, London, 1883.925/-Silber (jeweils gestempelt: Korpus, Henkel, Deckel u. Brenner; 4-beiniges Gestell ungestempelt/vielleicht versilbert, vermutlich später ergänzt; Gewicht des Silber-Wasserkessels mit Deckel ca. 735 g); Wasserkorpus mit unten angesetztem (versilberten?) Hahn und Knochen-Knauf, Deckel mit ebonisiertem Knauf; seitlich angesetzter Bogenhenkel, oben mit Bastverkleidung; teils vertikales blattlanzettartig gerilltes Relief, Perlschnurprofile und Blattreliefs am Henkelansatz; 4-beiniges Gestell vermutlich später ergänzt (ungemarkt, vielleicht versilbert); kleiner gewichteter Brenner mit teils undeutlicher englischer Silberstempelung; kleine Druckstellen/Gebrauchsspuren; Gesamthöhe 32,5 cm; Silberstempel mit Stadtmarken, Jahresbuchstaben, Steuermarken Königin Victoria und Herstellermarken "TW/D/HH" im Wappenschild, im Korpusboden zusätzlich geprägt "Dobson Piccadilly 273".Gesamtgewicht 1132 g.

ENAMEL AND DIAMOND BROOCH, LATE 18TH CENTURY/EARLY 19TH CENTURYThe plaque depicting a funerary urn, set with a pear-shaped and rose-cut diamonds, on a blue guilloché enamel ground and within a cushion-shaped diamond border, pear and cushion-shaped diamonds approx. 1.85cts total, length 3.1cmFor further information on this lot please visit Bonhams.com

A weathered cast stone garden planter fashioned as an urn with lion mask handlesLocation: G

A composition bust of Apollo Belvedere, 13" high, another bust of a horse, on rectangular marble base, 16 1/2" high, and a similar model of a Greek urn, on square stepped base, 12 3/4" high

A Villeroy & Boch white glazed tapered vase, 12" high, a smaller similar urn with relief decoration and a smaller similar pair of urns

A contemporary fluted column torchere stand with gilt highlights, 32" high, a smaller similar white painted stand and a white glazed urn with ram's head handles, on square stand

A black marble urn shaped table lamp with scrolled handles and crimson and gilt highlights, on four fluted padded supports, 16" high

An Italian style crackle glazed urn with gilt metal mounts and floral decoration (now converted to a table lamp), 17" high

An Edwardian Sheraton design mahogany and marquetry brass mounted shape top urn stand, fitted single slide, on square tapered supports united by an undertier, 12" wide x 31" high

A pair of large contemporary terracotta table lamps: each in the form of a classical urn with moulded reeded and garland decoration, 72cm high inc. fitting.

Two Royal Worcester white shell table salts and a Samson famille rose armorial two-handled urn and cover: 10/12 and 15cm high.

A large Continental porcelain figure group: modelled as a huntsman stood before a pillar and urn holding a rifle and game birds his female companion holding a hawk with hounds at foot, set on a rustic rectangular base, impressed 2417, 19th century, 51cm high, [some repair].

A pair of late 18th century brass candlesticks: with urn-shaped sconces on tapering stems and circular bases, 24cm high, a silver plated flower holder in the form of a two handled basket, 17cm wide, a rectangular box, the interior painted with a floral spray, 12cm wide and an Art Deco period clear glass scent bottle and stopper, 12.5cm high.

A cold painted bronze cockatoo: marked for Bergmann, naturalistically modelled perched on a stump, impressed urn mark, Geschutzt and numbered 33053, 30.5cm high.

A 19th Century fire basket in the Adam style: the rectangular basket supported on swept brass front legs with urn- shaped finials, and pierced scrolling apron, 69cm wide.

An early 19th century gilt-bronze candlestick: the foliate decorated urn-shaped sconce mounted on a reeded column with three acanthus capped lion's paw feet raised on a trefoil base, converted to electricity, 52cm high.

A pair of late 18th century brass candlesticks: with urn-shaped sconces on knopped stems and square bases, 23cm high, five other assorted brass candlesticks and two chambersticks.

A pair of 19th century French gilt metal three-light wall appliques: with flared urn-shaped nozzles and pierced drip trays mounted on foliate branches issuing from a pieced scroll and foliate backplate 36cm; together with a gilt bronze twin-branch wall applique with garland and ram's head decoration, 45cm high.

Japy Frères, Paris, an ormolu and porcelain mantel clock: the eight-day duration movement striking the hours and half-hours on a bell with the backplate stamped with the trademark roundel and serial number for Japy Frères, 7399, the Sevres-style blue porcelain dial having black Roman numerals, a cherub painted to the centre and brass spade hands, the decorative ormolu case with matching porcelain panels to the sides and front, applied floral mounts, Satan-head mounts to the sides and surmounted by an urn, height 45cm. Movement detached from case.

William Horne, London, a small Georgian inlaid mantel clock: the thirty-hour fusee watch movement having a verge escapement with pierced and engraved balance cock, Bosley regulation and engraved Wm. Horne, Ratcliffe Highway, London, No.416, the four-inch white enamel dial with black Arabic numerals, the mahogany case with Sheraton-style urn-and-snake inlaid decoration to the front walnut panel, satinwood crossbanding, a brass carrying handle to the top and standing on brass bracket feet, height 27cm without handle, 29cm with handle.

A fine mahogany and marquetry linen press in George III Sheraton style, 19th century,: the scrolled 'broken' swan neck pediment and dentilled cornice with floral paterae, oak sprigs and bellflower swag inlay, above twin doors each with a central urn in an oval satinwood reserve, beneath beribboned festoons above scrolling foliate arabesques, all within coromandel outer borders; above two short and two long drawers, all with conforming marquetry and edging, on turned and waisted urn form feet; 231cm high, 138cm wide, 62cm deep.

A Victorian rosewood and marquetry bonheur du jour, last quarter 19th century,: the serpentine cresting of the bevelled rectangular mirror inset with an urn flanked by scrolling foliage, the doors either side with further neoclassical marquetry motifs; above a tooled red leather skiver; the twin frieze drawers with gilt metal handles, on square section legs tapering to castors; 125cm high, 91cm wide, 50cm deep.

A Victorian brass and iron mounted stick stand, late 19th century,: of rectangular form with two rows of rectangular apertures, to urn finials at the corners; the corner rods descending to a cast iron base with lift out drip tray; 63cm high, 50cm long, 23cm wide

A Victorian parcel gilt, black lacquered papier-mâché and wood occasional table, circa 1860,: the circular flip top decorated with a pedestal urn in inlaid mother-of-pearl; the tapering hexagonal section shaft descending through a baluster moulding to a triform base, on three shaped disc feet; 69cm high, 56cm diameter

A Victorian carved and giltwood framed oval wall mirror, in Neoclassical style, circa 1875,: the openwork cresting with flower stems rising from a central urn, flanked by scrolling foliage; the conforming underside with pendant bellflowers terminal; 110cm high overall, 54cm wide

A pair of giltwood and composition framed oval wall mirrors in the Adam style, early 20th century,: each with a flambeau urn finial with bellflower swags to bow-tied ribbons each side; the mirror plates bevelled; 84cm high, 47cm wide

A Kashmiri silk prayer rug:, the brick red mihrab with a design of flowerheads, foliage and palmettes radiating from an urn, enclosed by a main indigo similar border, 130cm x 76cm.

A plated twin branch candelabrum: with urn-shaped reeded sconces on swept reeded branches issuing from a knopped and tapering stem on a circular weighted foot, 48cm high.

A pair of George III silver plated candlesticks, maker M Boulton & Co: the urn-shaped sconces with reeded nozzles, on a tapering and knopped stem, mounted on a weighted circular base with reeded decoration, 30cm high.

A pair of late Victorian silver candlesticks, maker Thomas Bradbury & Sons, London, 1895: with urn-shaped sconces and gadrooned nozzles, raised on square tapering stems on a stepped square and weighted base, 19cm high.* The property of the Late Ann Meyrick

A pair of George III silver pepperettes, maker Duncan Urquhart & Naphtali Hart, London, 1802: monogrammed, of urn-shaped outline, raised on square bases, 9cm high, total weight of silver 114gms, 3.69ozs.

A 19th century German silver goblet and cover: of pineapple design, the lobed, domed cover with urn-shaped finial, the lobed body decorated with panels of fruit and flowers, on a knopped stem and domed circular spreading foot, 29cm. high, 13.10ozs.

A George VI silver twin handled trophy cup and cover, maker Adie Brothers Ltd, Birmingham 1937: inscribed, the lift-off cover with urn finial, the cup with swept handles, raised on a circular spreading foot, 19.5cm high, 214gms, 6.91ozs

A C R Dyson of Bourne 17thC style walnut and marquetry inlaid longcase clock, the brass break arch dial with urn spandrels, moon face showing a three masted sailing vessel on choppy seas, silvered chapter ring bearing Roman and Arabic numerals, subsidiary seconds dial, eight day two train movement, with bell strike, the hood with shaped pediment carved Prince of Wales figures, inlaid with flowers and butterflies, the door flanked by demi pilasters, the trunk similarly inlaid with a vase and urn of flowers, and a viewing bullseye glass, above a bombe base, inlaid an urn of flowers, further flowers and butterflies, raised on paw feet, with pendulum weights, no keys, 212cm high.

An early 20thC copper tea urn and cover, of cylindrical form, with brass carrying handles and tap, 45cm high.

A Victorian copper and brass twin handled tea urn, of baluster form, 38cm high, and a Victorian copper kettle, 28cm high. (2)

17th Century European Semi Cup Hilt Rapier 31 3/4 inch, double edged narrow blade.  Short central fuller marked to both sides "Solingen".  Steel, part cup guard with engraved crowned coat of arms.  Flat steel bar running off the bowl meeting the D shape knuckle bow.  Steel urn pommel.  Wire bound grip.   PAYMENT BY BANK TRANSFER ONLY

Royal Air Force Commemorative Knife by Wilkinson10 3/4 inch, double edged, narrow blade.  One side with floral ended panel inscribed "For Outstanding Services To The RAF Benevolent Fund 1971-1974".  The forte with the post 1953 Wilkinson Sword logo.  Gilt crossguard with floral central panel.  Gilt urn pommel with Kings crown RAF eagle.  White composite grip.  Contained in its leather covered scabbard with brass mounts.   PAYMENT BY BANK TRANSFER ONLY

Victorian Court Dress Sword32 1/2 inch, double edged, narrow blade.  Etched, crowned VR cypher, crossed lances and foliage scrolls panels.  Gilt brass shell guard with edge stud decoration and engraved foliage scrolls.  Gilt crossguard with downturn quillon, D shape knuckle bow, urn pommel and square form grip, all with edge stud decoration.  Contained in its leather scabbard with gilt brass mounts.  Complete with its gilt wire sword knot.  PAYMENT BY BANK TRANSFER ONLY

19th Century Court Dress Sword32 inch, double edged, narrow blade.  Etched crossed lances and foliage scroll panels.  Maker panel "J B Johnstone Dublin & London".  Gilt brass shell guard with edge stud decoration.  Gilt brass crossguard with downturn quillon, D shape knuckle bow, urn pommel and square form grip all with edge stud decoration.  Contained in its leather scabbard with gilt brass mounts.  Complete with its gilt wire sword knot.   PAYMENT BY BANK TRANSFER ONLY

Napoleonic War Period 1796 Infantry Pattern Sword. scarce and good quality example by Osborne 1798. Straight 32 inch blade with etched decoration depicting crowned GR cypher, panel of a crown above BA, initial E.J, Britannia etc. The hilt of regulation pattern with gilt single bar, urn pommel and wire grip. Complete with steel scabbard. The sword has been professionally restored, with some pitting to the blade, etching clear. PAYMENT BY BANK TRANSFER ONLY

Late 18th Century Small Sword 32 1/2 inch, triangular form, hollow ground blade with traces of etched foliage scrolls.  Gilt brass boat shell guard.  Gilt brass pas d'ane, crossguard and knuckle bow.  Gilt brass urn pommel with line decoration.  Checkered wooden grip.   PAYMENT BY BANK TRANSFER ONLY

Two boxes of stoneware jars and a marble urn.

Edwardian urn on pottery stand Ht. 42cmCracks in various places, crazing throughout, few marks, scratches, chips in places, no repairs done to it.

AMENDED DESCRIPTION - Wedgwood blue jasperware urn and cover, 30 cm high and a twin handled vase (2)Condition Report: Only one with a cover, otherwise both appear to be in good condition.

Sale Item: COPPER URN (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%

A presentation silver trophy goblet, by Charles S Green & Co Ltd., Birmingham 1919, urn shaped bowl, part-fluted decoration, on a raised circular foot, inscribed 'Alexandria Open Polo Tournament 15th June 1921', height 20cm, approx. weight 8oz.

λA late-Victorian silver and tortoiseshell photograph frame, by James Samuel Bell & Louis Willmott, London 1898, upright rectangular form, applied with flowers and ribbons, green covered easel back, height 23.4cm plus an Edwardian silver and tortoiseshell frame, by William Comyns, London 1904, upright rectangular form, pierced applied decoration with an urn and foliate decoration, wooden easel back, height 22.2cm. (2)

A pair of modern Irish silver three-light candelabra, by Royal Irish, Dublin 1973, lobed baluster stems, foliate scroll branches each supporting an urn capital, and with a central capital, on a raised lobed circular base, height 39.4cm, approx. weight 100oz. (2)