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A good George III oval mustard pot with urn finial to cover, 4 inches over handle, London 1799 by SH, 132 g excluding bgl

A 20th century French cast composition stone garden urn of square campana form, height 35cm, diameter 53cm.

VICTORIAN CANDLESTICK GARNITURE, 19TH CENTURY comprising a twin-branch candelabrum and a pair of candlesticks, each with urn form sconce over a tapered column, and shaped square foot, scroll and foliate embossed borders, along with a twin-branch canthe candlesticks 34cm high

JAPANESE IMARI BOWL, AND OTHER ITEMS the bowl late 19th century, along with a Chinese cloisonne urn and a decorative plateplate 25cm diameter Qty: 3

CHINESE TWIN HANDLED URN, 20TH CENTURY the lidded urn depicting figures surrounded by flowers and foliage56cm high (including lid)No makers mark present, appears to be some residue in the midle section of the urn (photo added) apart from that the Urn itself is in good condition with no additional noticeable damage or signs of repair.

Urn shaped tea pot by Walker & Hall, Sheffield 1928. , various other cream jugs and sauce boats, sugar castor, Sheffield 1936 and a two handled cup with monogram, various dates and makers, total weight 47oz 1470gm

Wedgwood - a blue and white jasperware twin handled urn and cover, on square footed base, marked underneath, approx. 30.5cm high.  Further details: no signs of damage, general wear.

Vasenpendule66 x 34 x 25,5 cm.Gestempelt „Osmond“ für Robert Osmond (Canisy 1711-1789 Paris, Meister ab 1746).Paris, um 1760-1765.Funktionen: À jour gearbeitete vergoldete Zeiger für Stunden und Minuten, Schlag auf Glocke zur vollen und zur halben Stunde. Ein Pendel und ein Schlüssel vorhanden.Gehäuse: Bronze, gegossen, ziseliert und feuervergoldet. Der mehrstufige Sockel erhebt sich auf annähernd quadratischem Grundriss. An der Unterseite bildet er vier im Grundriss L-förmige Füße mit angedeutetem Mäandermotiv aus. Die darauf folgende hohlkelig eingezogene Zone weist allseitig eine oben halbkreisförmig eingeschnittene Rahmung mit fein punzierter Vierblatt-Füllung auf. An den drei Schauseiten sind üppige, plastisch ausgearbeitete Eichenlaubgirlanden mit Blättern und Früchten aufgehängt, welche in ihrem Ansatz Rosetten entspringen und U-förmig nach unten ausschwingen. Darüber erhebt sich eine glatte, zwei-stufige Sockelplatte, auf der die urnenförmige Vase steht. Deren unten von einem Lorbeertorus umsäumter Fuß ist stark eingezogen mit schräger Kannelierung und mündet in einem Schaftring. Robert Osmond (1711-1789) war ab 1735 als cieseleur-bronzier Lehrling in der Werkstatt von Louis Regnard. 1746 erhielt er seinen Meisterbrief und führte eine Werkstätte in der Rue des Canettes bei Saint Sulpice, bis er 1761 in die vornehmere Rue Macon umziehen konnte. Im Jahre 1766 unterzeichnete er die wichtige Erklärung der Pariser Maitres fondeurs über den Urheberschutz ihrer Modelle. Das Ende seiner beruflichen Tätigkeit ist wohl im Zeitraum zwischen 1770 und 1775 festzusetzen. Sein Inventar wurde 1789 nach seinem Tod erstellt. Ein dem hier angebotenen Exemplar nahestehendes Objekt wird im Musée Condé in Schloss Chantilly in der Nähe von Paris verwahrt. Zifferblatt: Weiß emailliert mit römischen Stunden, arabischen Minuten, Aufzugslöchlein neben der III und der IX, schwarze Signatur „Ferdinand Berthoud“.Literatur:Vgl. Roland de L´Espée. Die Osmond, ein Familienbetrieb und seine Produktion, in: Hans Ottomeyer und Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, Bd. 2, S. 539-547.Jean-Dominique Augarde, Les ouvriers du temps, Genf 1996, S. 255.Vgl. Svend Eriksen, Early Neo-Classicism in France, London 1874, Abb. 187.Pierre Kjellberg, Encyclopédie de la Pendule francaise du Moyen Age au XX Siècle, Paris 1997, S. 212f.Anmerkung: Vergleichbare Uhren befinden sich in: Cleveland, Museum of Art, Inv.Nr. 1985.11 (publiziert in: Jean-Dominique Augarde, Les ouvriers du temps, Genf 1996, S. 254f.Chantilly, Musée Condé (publiziert in: Hans Ottomeyer und Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, S. 155, Abb. 3.1.2.). (1390083) (13)Vase pendule66 x 34 x 25.5 cm.Stamped (Osmond), for Robert Osmond (Canisy 1711-1789 Paris, master since 1746).Paris, ca. 1760 – 1765.Case: Bronze; cast, chased and fire-gilt. The multi-tiered base rises from an approximately square layout. It is supported by four L-shaped feet with a hint of a meander motif on its underside. The subsequent hollow-shaped zone features a frame on all sides with semi-circular incisions on the top set with finely punched four-leaved filling. On the three display sides, opulent, three-dimensional oak leaf garlands with leaves and fruit are hung rising at their base from rosettes and swinging downwards in a U-shape. Above this is a smooth, two-tiered base plate which supports the urn-shaped vase. Its base, surrounded by a laurel torus at its foot, is strongly recessed with slanted fluting ending in a shaft ring. Robert Osmond (1711-1789) was an apprentice bronze-caster in the workshop of Louis Regnard from 1735. He became a master in 1746 and ran a workshop in the Rue des Canettes near Saint Sulpice until he was able to move to the more elegant Rue de Mâcon in 1761. In 1766 he signed the important declaration of the Parisian maîtres fondeurs regarding the copyright protection of their models. His professional career probably came to an end between 1770 and 1775. His inventory was made in 1789 after his death. An object close to the example on offer for sale here is held at the Musée Condé in The Château de Chantilly near Paris.Dial: White enamel with Roman hours, Arabic minutes, winding holes next to the III and IX, black signature “Ferdinand Berthoud”.Functions: Openwork gilt hands for hours and minutes, strike on bell on the full and half hour. With pendulum and a key.

Two stoneware vases and a green handled urn Wedgwood Barlaston pattern vase. (3)

Vase/ Urne/ Vorratsgefäß, Ostasien/ China, Ming Dynastie (bis 1644).Steinzeug, Balusterform, hellgrauer Scherben, hellgraue Glasur mit Netzkrakelee. Rand abgesetzt, alter Chip. Standring min. best. H. 17,5 cm. Ancient urn/ storage pot, China, Ming dynasty, stoneware with greyish glaze with craquelure, chip to mouthrim, stand minor chipping. H. 17,5 cm.

Grande console en fer patiné et doré, travail français vers 1940De forme rectangulaire d'inspiration néoclassique à décor d'urne antique et de croisillons, elle repose sur huit pieds, ceux avant à enroulements feuillagés et fleuris.Dessus de marbre vert veinéH. 92 cm - L. 148 cm - P. 52 cmA large gilt and patinated iron console table, French work circa 1940Rectangular in shape, neoclassical in inspiration, decorated with an antique urn and lattice work, it stands on eight legs, the front ones with foliage and flowers. Green veined marble topFor further information on this lot please visit Bonhams.com

Pendule Vénus et l'Amour en bronze doré d'époque Louis XVILe cadran émaillé à chiffres arabes et romains est signé de Berthoud; il est inscrit dans une urne couverte cannelée et rehaussée d'une guirlande de fleurs.Le mouvement signé Lespine hger du Roy à Paris.Base rectangulaire et petits pieds patins.Signée sur la base à l'arrière 'Cambien'H. 44 cm - L. 40 cm - P. 14 cmA Louis XVI ormolu Venus and Cupid clockThe enamelled dial with Arabic and Roman numerals is signed Berthoud; it is inscribed in a covered fluted urn enhanced with a garland of flowers. The movement is signed Lespine hger du Roy in Paris. Rectangular base and small feet. Signed on the base at the back.For further information on this lot please visit Bonhams.com

Pendule bois doré figurant Hercule et Dejanire, Italie de la fin du XVIIIe siècleLe mouvement cylindrique présente un cadran émaillé blanc à chiffres arabes, et est supporté par un autel et surmonté d'une urne couverte à têtes d'aigle retenant une guirlande de feuillage; les deux héros l'encadrent et reposent sur une base rectangulaire à ressaut. Petits pieds boules.H. 53 cm - L. 37 cm - P. 13 cmA giltwood clock depicting Hercules and Dejanire, Italy late 18th century The cylindrical movement has a white enamelled dial with Arabic numerals, is supported by an altar and is surmounted by a covered urn with eagle heads holding a garland of foliage; the two heroes frame it and rest on a rectangular base with a projection. Small ball feet.For further information on this lot please visit Bonhams.com

A Linthorpe Pottery urn vase designed by Dr Christopher Dresser, model no.433, covered in a streaked brown, green and blue glaze, impressed factory marks, facsimile signature, 23.5cm. high

Φ Georges Duvernet (1870-1955)Oblivion, a patinated bronze model of a crouching lady offering up an onyx urn with gilt cover, on veined marble baseetched Duvernet to top of base, stamped 234 to foot,

A Victorian bronze and ceramic urn style side pieceLocation:

Elizabeth II silver caster of plain octagonal form, pull off pierced lid with urn finial, Birmingham 1970, makers mark for D. Bros, 17cm tall, 155gms

Pair of George V silver pepper casters of baluster form upon a spreading circular foot, having gadrooned edges and pull off pierced lids with urn finials, hallmarked London 1931, makers mark for Crichton Bros, 11.5cm tall, 156gms

A large English giltwood oval mirror, of Adam style, first quarter 20th century, the moulded gadrooned frame with egg and dart border, urn crest and floral surmounts, 190 x 118cmCondition Report: crack to the mirror round the border, some loss of gilt decoration, split and repair to surmounts, split and possible repair to the bottom of the frame

A brass lantern clock, late 18th century and later, the bell above three pierced frets and slender urn finials, the chapter ring with Roman numerals, the dial centre signed Willm Ray SUDBURY, the weight driven movement with anchor escapement, with associated pendulum and weight, on later wall bracket, 38cm high, 16.8cm widePlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.   Footnotes: Note: William Ray is recorded as working Next to the Moot Hall, Sudbury (Suffolk), b.1735 son of Daniel Ray (II), q.v., mar. 1758, free 1788-d.1808 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, London: N.A.G. Press, 2022, p.642

A Persian silk Qum carpet, last quarter 20th century, the central field with cusped medallion surrounded by trees and urn motifs issuing flowers, on an ivory ground, contained by floral and urn motif borders, 362 x 278cmProvenance: Property From the Collection of Kartika Soekarno.Condition Report: some minor loss of fringe, some minor stains, no rips or repairs, overall very good condition 

A George II green japanned longcase clock, by Thomas Moore, Ipswich, mid-18th century, the case decorated with gilt chinoiseries, the caddy top with three giltwood urn finials above break arch hood with columns, the trunk with arched and moulded door, on a plinth base, the arched brass dial with silvered chapter ring with Roman and Arabic numerals, enclosing a matted dial centre with subsidiary seconds and calendar aperture, flanked by urn and scrolling foliate spandrels, the arch with silvered convex plaque signed Tho.s Moore Ipswich within dolphin and foliate spandrels, the five-pillar eight day movement striking a bell on the hour, with pendulum, brass cased weights and winder, 244cm high Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.   Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré. Footnotes: Note: Thomas Moore of Ipswich (Suffolk) b.1690 son of Roger Moore of Ipswich, q.v. mar.c. 1711-62 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, London: N.A.G. Press, 2022, p.548

An English brass and wrought iron fire-grate, late 19th century, with pierced engraved serpentine frieze, the tapering uprights with urn finials and coiling serpents, 73cm high, 96cm wide, 43cm deep

A pair of modern patinated and lacquered brass three-light 'colza' hanging lights, by Robert Kime Ltd, each surmounted by foliate and lotus-leaf corona, suspended from triple chains supporting a lotus leaf-cast lamp centred by an urn, with frosted glass shades, fitted for electricity, 91.5cm high, 56cm wide, approx (2)Provenance: Christie's, London, Wilton Crescent: A Robert Kime Interior, 23 July 2020, lot 1.It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Photograph: © Christie's Images

A pair of large French gilt and lacquered bronze chenets, last quarter 19th century, each modelled as a flaming athénienne above a fluted column encircled by an oak wreath joined by a berried laurel frieze to a smaller urn with berry finial atop a conforming column, 42cm high, 43cm wide (2)Provenance: Christie's, London, Gloria: Property from the late Dowager Countess Bathurst, lot 24.Photograph: © Christie's Images

A COLLECTION OF SILVER CRUET ITEMS To include: a pair of Victorian barrel shaped napkin rings by Edward Hutton, London 1882, engraved NJ, 4cm (1 1/2in) diameter; a pair of urn shaped pepperettes by Gorham Manufacturing Co., Birmingham 1917, on three bird claw feet, 7cm (2 3/4in) high; a baluster mustard and pepperette by William Suckling Ltd., Birmingham 1933, the mustard with an urn finial to the domed cover, a scroll handle and on three pad feet, 7cm (2 3/4in) long; and two other pepperettes 209g (6.75 oz) Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

A MATCHED SILVER FOUR PIECE OVAL TEA SET THE TEA POT BY HARRODS LTD., SHEFFIELD 1929, THE HOT WATER POT BY BARKER BROTHERS, CHESTER 1911, THE SUGAR BOWL BY GOLDSMITHS & SILVERSMITHS CO., SHEFFIELD 1891, AND THE CREAM JUG BY JOSEPH RODGERS & SONS, SHEFFIELD 1899 The tea pot with a composition urn finial and angular handle and a half lobed body 30cm (11 3/4in long 1271g (40.9 oz) gross Condition Report: Tea pot - Marks clear, slight play to the hinge, handle tight, no engraving, stands well Hot water pot - Maker's mark partially rubbed, rest are clear, hinge good, handle tight, no engraving, wobbles Cream jug - Marks clear, no engraving, badly wobbles, Sugar bowl - Marks are well struck, no engraving, stands well All with light scratches and wear commensurate with age and use Condition Report Disclaimer

A COLLECTION OF SILVER CRUET ITEMS To include: a pair of cylindrical pepperettes by Deakin & Francis Ltd., Birmingham 1893, with pierced domed handles and scroll handles, 8cm (3 1/4in) high; a baluster pepperette by Mappin & Webb, London 1923, with a pierced domed cover, a girdle and on a circular moulded spreading foot, 9cm (3 1/2in) high; another pepperette; an Edwardian circular baluster mustard, maker's mark W ..., Chester 1901, with an urn shaped finial to the domed cover, a scroll handle and on three stepped pad feet, 8cm (3 1/4in) long, with a blue glass liner; and five assorted spoons 337g (10.85 oz) gross Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

An Honourable Artillery Company Officer's Spadroon, of 1796 pattern, with 81cm single edge fullered steel blade, the brass stirrup hilt with oval half hinged guard, flat angular shaped crossguard and knuckle bow engraved with husk borders and lozenge rosettes, the urn shaped pommel faintly engraved with HAC lion, with silver wire bound grip and modern black leather scabbard with brass locket and chape,The blade has deep pitting and grey patching to the surface, with nicks to the edge. The brass hinged guard has a broken steel spring. The scabbard is later.

A 1796 Pattern Infantry Officer's Sword, the 71cm single edge fullered steel blade engraved with crowned GR cypher and Royal coat of arms, the back edge signed J.J.Runkel, Solingen, the brass stirrup hilt with shell guard stamped K4 (one half missing), urn pommel and later silver wire bound grip, lacks scabbard, 87cm (K4 possibly for 4th (King's) Regiment of Foot)Grey patching to blade with nicks to edge and slightly rounded tip. Guard broken and ground off, with crack above. Later wire binding. Lacks scabbard.

An Arts and Crafts silver plated tumbler cup. Duchess of Sutherland Cripples Guild, c.1910. Of circular form with a hammered finish, stamped to the underside with mark of D.S.C.G. beneath a ducal coronet, 7.8cm dia., 4.8cm high. Together with a Victorian silver pepper shaker, London, 1888, Charles Stuart Harris, the urn-shaped body engraved with scrolling foliate motifs and a vacant cartouche, raised on a stepped circular foot, gilding to interior, 9.5cm high, total weighable silver approx. 1.3ozt (2)Footnotes: The Duchess of Sutherland Cripples Guild was formed by Lady Millicent Fanny St. Clair-Erskine, Duchess of Sutherland, in 1900. The aim of the Guild was to raise funds for disabled children from the Staffordshire Potteries. Working conditions in the potteries were harsh and Millicent, nicknamed 'Meddlesome Millie' by the manufacturers, used her influence to improve those conditions,  campaigning, for example, against the use of lead in the industry. Another aim of the Guild was to teach children craft skills so that they could make a living for themselves.The Guild began to produce metalwork, as well as other objects, and was an influential part of the British Arts & Crafts movement. Most items were made in copper or silver plate, but some fine examples of silver work were also produced. From 1907, the Guild began to create replicas of 16th -18th century pieces from the collections of private owners or museums. It also started to add the mark of D.S.C.G. under a ducal coronet to its pieces. A shop was opened up on New Bond Street, London and the Guild was successful at selling its creations to a very wealthy clientele, including the King and Queen. The Guild was impacted by the First World War and began to produce items in support of the conflict. By the early 1920s tastes were changing and the Guild was closed.Condition Report: The silver plated tumbler cup is not included in the weighable silver. Tumbler cup approx. weight 3ozt 

Of golfing interest. A George VI silver trophy cup. Mappin & Webb, Sheffield, 1937. The urn-shaped body to bifurcated twin handles and a cover with ovoid finial, engraved 'Hadley Wood Gold Club, Replica of the Lord Essendon Challenge Cup. Winners 1937 C.M. Gold & A. Henderson' On a wooden plinth, 18.5cm high (inc. plinth), 14.5cm high (exc. plinth), weighable silver approx. 6.5ozt 

A Japanese silver and mixed metal Aesthetic Movement bowl. Import marks for Cornelius Brabrook Pare, Birmingham, 1878. Of shaped, circular form, the textured foliate sides applied with mixed metal animals including butterflies and a crab, the interior lightly gilded, some gilding to exterior also, 5.5cm high, 11.9cm wide, gross weight approx. 6.2ozt Footnotes: Christopher Dresser was a leading figure in the Japonisme movement in the West, and his efforts to promote Japanese art and design led him to set sail for Japan in 1876-1877. This was the first visit to Japan by a European Designer, and Dresser was commissioned to form two collections of 'reliable tutorial value': one for the London based importer of Japanese wares, Londos & Co., and the other for Tiffany & Co. of New York. Charles and Louis Tiffany commissioned him to bring back some 8000 objects from Japan, from which their own craftsmen could take inspiration and obtain technical knowledge. These were delivered by Dresser on his return journey from Japan in 1877.Dresser is known to have worked as an advisor to the firm of Londos and Co. (a partnership between Cornelius Brabrook Pare (whose sponsor’s mark is on this bowl), Peter Charles and John Reynolds). The partnership was dissolved in 1879. The hallmarks on this bowl (Birmingham, 1878, Cornelius Brabrook Pare) suggest that it was one of the items brought back by Dresser for Londos & Co. in 1877.Based on the design of an interesting Tiffany & Co. chocolate pot made in New York in 1979, it seems reasonable to conclude that a similar bowl may have included in the collection that Dresser amassed for Tiffany. The chocolate pot features similar applied mixed metal animals including a crab (see pg. Fig. 8.13, pg. 262 In Pursuit of Beauty. Americans and the Aesthetic Movement, The Metropolitan Museum of Art, New York, 1987, and https://www.metmuseum.org/art/collection/search/20121).The book describes this chocolate pot in the following words: The dramatic and difficult combination of copper and silver is seen in a graceful Tiffany & Company chocolate pot made in 1879. The form of this piece is Western, yet it is covered with a reddish patina and decorated with sea-life motifs, suggesting Japanese print sources. Crabs and lobsters cast in silver are affixed to the copper surface, which has been soldered and hammered to the silver body of the pot. (Pg. 262) In providing Tiffany with such a wealth of examples, David Hanks asserts that Dresser ‘acted as a catalyst for the influence of Japanese art on American manufacturers and designers (Gorham and Tiffany, for example, both produced items of silverware applied with mixed metals). Dresser marvelled at the way in which Japanese craftsmen combined beauty and utility in the goods they made for everyday use, and he incorporated a number of Japanese themes into his own creations, including butterflies, frogs, cherry, reeds and insects. His motto ‘In Pursuit of Beauty’ became virtually synonymous with Japonisme.Dresser devoted several pages of his book Japan: Its Architecture, Art, and Art Manufactures to descriptions of the virtues of Japanese metalwork, of which a few are included below.Our first acquaintance with Japanese (metal) manufacturers revealed their skill in the casting of metals...The great peculiarity which I noticed in the Japanese method consisted in a fresh model being made for every work produced...It will be seen that this process, although laborious, gives variety and interest to the works produced ; and while all such methods must seem to us to involve an unnecessary expenditure of labour, I yet think that the Japanese gain as much as they lose by their processes. The Japanese method of casting gives a certain amount of variety in the work produced, for no two objects are precisely alike (pp. 417-420)Pg 428 The Japanese have more nearly achieved the production of colour harmony in metals than any other people; and in many of their works we see gold, silver, copper, zinc, black-metal, tea-urn bronze, green bronze, and other metals and alloys brought together; and not only brought together, but so arranged that their colours are brightened by reflected lights, and brought into harmony by skilful juxtaposition.Pg 429: One other point connected with Japanese metalwork is worthy of most careful consideration, namely, the various textures given to metals. We are too fond of bright surfaces, and not unfrequently prefer glitter to repose; but to the Japanese, glitter is vulgar.References: Christopher Dresser and Japan, (Catalogue Committee, 2002); Christopher Dresser and the Arts of Japan, Harry Lyons & Chris Morley (RSA Journal, Vol. 148, No. 5496 (2001), pp. 90-91); Japan: Its Architecture, Art, and Art Manufactures, Christopher Dresser, London, 1882; Old Bailey Record “t18841020-998”,1884; In Pursuit of Beauty. Americans and the Aesthetic Movement, The Metropolitan Museum of Art, New York, 1987; The Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/20121, New York).Condition Report: Some minor surface scratching, pitting and nicking commensurate with age. Some small holes noted around the rim which look as though they may have occurred during the manufacturing process. A very small split noted under 10x magnification where one of these holes meets the rim. A small patch of solder nearby. Some remains of gilding to exterior and faded gilding to interior. In our opinion, it looks as though some of the applied motifs (possibly foliage) may have been removed as there are raised areas visible to the interior where these may have been and dark impressions in these same places visible to the exterior. Some wear to the decoration and applied metal motifs commensurate with age and some small splits/bruising noted to the body of the crab under 10x magnification. Hallmarks to underside clear. Overall an attractive and characterful bowl. Further images available to download via this link: https://we.tl/t-GVzYYzzmNA 

A French brass and enamelled mantel clock, late 19th century, with four finials and central urn above painted dial, with Arabic numerals and gong striking movement by Mougin, Mercury twin jar pendulum, Corinthian capped columns to the front, on enamelled toupie feet 45cm high, 25cm wide

A Regency painted pine corner stand, the top with cutouts for washbowl etc. (now with glass top) above a frieze painted with a neoclassical urn and raised on downsplay legs, the whole painted in cream and green (decoration refreshed)100 x 42 x 42cmStructurally soundDecoration refreshed in recent years and showing some light wear to the edges and a small dent in the frieze

A finely-woven silk and metal thread rug, of intricate design with central urn within a mihrab field101 x 60cm

A pair of leather topped brass etageres, 20th century, each with two rectangular tiers on column supports with urn finials63.5 x 46 x 36cmIn general good condition, some very light wear to gilt tooling

A 19th Century carved marble wall plaque or surmount, relief carved in the form of a shrouded urn, 48 x 38cms wide.

Concrete garden urn H50cm approx 

Pair of early 19th century Bloor Derby porcelain two handled urn shaped vases on a cobalt blue and gilded ground with hand painted vignettes of exotic birds amongst foliage. Indistinct but red Derby mark to the underside. 23cm high approx. (2) (B.P. 21% + VAT)

A reconstituted stone campana garden urn and plinth, 84cm high overall, 47cm diameter; a garden figure group, The Three Graces; bird baths (4)

A Victorian copper samovar or tea urn, the handles decorated with foliage, stepped cornice, 34.5cm high; a pair of brass candlesticks, 25cm high; a brass candlestick, in the Corinthian order, 25cm high (4)

A pair of reconstituted leaf moulded urn planters, each raised upon an integral stepped plinth base, 52cm H x 47cm D (2)

A set of four brass Adam style two branch wall light fittings, 20th century, each of urn and tapering fluted form, extending to reeded 'S' shaped arms and bud sconces, 33cm H x 30cm W (4)

A George V silver ring tree, Henry Matthews, Chester 1915, the five branch ‘tree’ upon circular florally detailed base, 7.5cm high (weighted) with pair of silver candlesticks, Sanders and Mackenzie, Birmingham 1968, the urn shaped sconce leading to shaped tapered stem and spreading stepped circular base (weighted) 13.5cm high (3)

A French Japy Freres gilt metal and bleu celeste porcelain clock garniture, late 19th century, the scrolling acanthus case surmounted with an urn over the 9cm bleu celeste dial applied with Roman numerals and enclosing the eight day movement stamped with the makers name and striking on a saucer bell, the case inset with further conforming porcelain panels, 36cm high, along with a pair of vase garnitures, each adorned with a pastoral landscape, 28cm high, with pendulum (at fault)

Henriette Turotte (French, 19th century),Still life with flowers, stoneware urn and dove,Oil on canvas,Signed lower right,60cm x 49cm,Framed

A brass three branch ceiling light fitting, early 20th century, the central baluster column with petal collars over the three scrolled branches applied with urn finials, 68cm H x 38cm D Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.

An Adam style six branch chandelier, 20th century, the urn shaped column applied with rope swags extending to a dish shaped boss and six reeded 'S' shaped arms, 50cm H x 54cm D, along with a brass three branch chandelier, the baluster shaped column and dish shaped boss supporting scrolled arms with frosted glass domed shades, 45cm H x 50cm D (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.

An iron clockwork roasting jack, copper coal scuttle, copper bed warmer, two iron trivets, two anodised single candle wall sconces, a flat iron, a gophering iron stand, two baskets and a pair of leather and iron shackles and a gilt bronze and alabaster table lamp as a putto holding aloft an urn of foliage

A pair of early 20th century Persian silver candlesticks, each urn shaped sconce above a tapering cylindrical stem on a circular foot, typically decorated with flowers and palm leaves, weight 369.2g, and a small group of other silver, including a salt and matching pepper caster, Birmingham 1922, weighable items 128.5g.

A CONTINENTAL WHITE MARBLE AND ORMOLU MOUNTED TABLE LAMP, early 20th century, of urn form with square key pattern handles, on square base, 21" high (Est. plus 24% premium inc. VAT)Condition Report: Small chips, losses and scratches to the marble body in places.

A SALTGLAZE STONEWARE CACHE-POT AND STAND, early 19th century, of baluster form with two scroll handles, sprigged with putti below swags of fruit and flowers, the base with fruiting vine, 7" high, together with a similar cache-pot and stand of flared cylindrical form with two mask lug handles and sprigged with urns of flowers and large flower heads, 6" high overall (2) (Illustrated) (Est. plus 24% premium inc. VAT)Condition Report: Urn has chips to rim ,base to 2nd has chips to footrim

GIANT PLATED URN

Modern oriental style urn shaped table lamp standing 40cm tall.

A reconstituted stone campana urn, with fluted border, on a square base, 46cm high, 60cm diameter.

Two reconstituted stone square urn planters, each with a rose border, on a three layered stepped foot, 41cm high, 54cm x 54cm top. (2)

A pair of 19thC reconstituted stone campana urn planters, each with further moulded handles and shell border, on square foot, 47cm high, 51cm wide.

A pair of mid 20thC slatted wooden garden benches, with cream painted ends with urn and lion mask, 72cm high, 127cm wide, 52cm deep. (2)

A George III giltwood and gesso oval mirror, c.1790, the frame with urn cresting and floral and foliate scrolls, enclosing a later glass plate,55cm wide125cm high