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A Victorian mother-of-pearl marquetry and black papier-mâché rectangular panel, decorated with a still life, the urn filled with roses and country flowers, picked-out in gilt, 18cm x 14cm, 19th century gilt frame, 27cm x 23cm overall

Treen - a 19th century lignum vitae campagna urn, outswept everted rim, turned pedestal base, 21.5cm high

Coins, Roman Imperial, Late Empire, comprising billon denarius, Julia Soaemias, obv. head r., IULIA SOAEMIAS, rev. PIETAS AUG, GF; Billon Antoninianus (silvered) Valerian II (256-258), obv. radiate head r., C L VALERIANUS CAES AUG, rev. PIETAS/AUG, urn F/.GF; AE Antoninianus, Gallic Empire, Postumus (260-269), obv., radiate head r., IMP C POSTUMUS PF AUG rev. VICT/ORIA AUG victory stdg. L., EF; Follis, Maxentius (306-312), Rome mint, obv. laur. hd. r., IMP C MAXENTIUS PF AUG, rev. CONSERV URB SUAE temple, in ex. RBQ; AE3 Licinianus I (308-324) Cyzicus mint, obv. laur hd. R., IMP C VAL LICINIANUS PF AUG, rev. IOVI CONS/ERVATORI figure stdg., XIII, in ex. SMKA, VF; AD3 Thessalonica mint, Constantine I, c. 330, obv. URBS ROMA helmeted head l., rev. she wolf, two stars flanking annulet above, in ex. TES, VF; AE4, Constantine II as Caesar (317-337), obv., diademed head r., CONSTANTINUS IUN NOB, rev. CAESARUM NOSTRORUM, in wreath VOT X, VF; AE3 Trier mint, Constantine II as Caesar (317-337), obv. laur. head r., CONSTANTI/NUS [NOB CAES], rev. two soldiers flanking two standards GLORIA EXERCITUS in ex. TRP, F; AE3 Constantius II (337-361), obv. diademmed head r., DN CONSTAN/TIUS II PF AUG, rev. FEL TEMP RE/PARATIO emperor l. beating captive, GVF; other small third/fourth century bronze coins, [15]

Pair of reconstituted stone urn planters

2 reconstituted stone urn planters, bird bath & a plant pot

Reconstituted stone urn, Sanford stone plant pot & other gardenware

Reconstituted stone urn planter

Reconstituted stone bird bath along with a reconstituted stone urn

Reconstituted stone urn planter along with another planter

WILHELM KAGE for Gustavsberg, an Argenta lidded urn, with silver reverse panel decoration, makers marks to base - Kage 876, WK, date letter H 1938, height 25cmGood condition, no chips, cracks or restoration

Three piece Victorian urn shaped silver tea set by Martin, Hall & Co, London 1884 together with a cased set of teaspoons Gross weight 36.9oz 1148.6gm

A 9ct rose gold charm bracelet with heart shape padlock and a two handled urn, stamped 750, and a gilded George III shilling in glazed coin mount, 31.6grams gross.

A Chinese celadon glaze vase with dragon motifs along with a hand painted twin handled porcelain urn and a red and white Chinese tea bowl. The tea bowl has character mark to the base. H.32 Diam12cm (largest)

A pair of late 19th century rosewood armchairs with satinwood swag and urn inlay on square tapering supports terminating in spade feet.

William Ashford 1746-1824  "A Landscape based on Dawson Grove, Co. Monaghan, with the artist sketching, 1785" O.O.C.,   17" x 24" (42 x 62cms),  Signed (on urn pedestal) 'WAshford' and dated 1785 Bears label  J. S. Maas & Co Ltd  New Bond Street Although William Ashford is best known today for his views of Dublin, commissioned by Viscount Fitzwilliam, in the late eighteenth century he painted landscapes and houses throughout Ireland, including at Tourin on the Blackwater River, Maynooth Castle, Powerscourt, and Charleville in Co. Offaly. In the foreground of this Claudean landscape, a view of the Dawson Grove estate in Co. Monaghan, Ashford depicts an artist; presumably a self-portrait. Seated, with a large sketchbook on his knees, the artist looks across a river valley, with woods and mountains in the distance. On the right stands a large urn on a pedestal, close to the corner of a Palladian temple. While the location is identifiable, Ashford has taken some liberties with the landscape, including moving the temple?in fact a mausoleum to Lady Anne Dawson, wife of Thomas Dawson?to a new location on the hillside. Designed by James Wyatt and built in 1770, the mausoleum was (and is) on Black Island, on Dromore Lough. Ten years later, Thomas Dawson replaced the old Dawson Grove house with a new Georgian mansion. This painting was evidently commissioned not long afterwards. Thomas?s son Richard, who followed him into politics, died young, and was commemorated also with a memorial designed by James Wyatt, in this case a classical column, erected in 1809. The urn depicted by Ashford, a copy of the Borghese Urn in Rome, may once have been at Dawson Grove, or may have been introduced into the composition for artistic effect. With building projects and improvements being carried out over the course of the eighteenth century, Dawson Grove was depicted by several artists, including Paul Sandby, whose view of the mausoleum at an early stage of its construction was engraved by William Walker and published in Sandby?s 1778 The Virtuosi's Museum. The artist Thomas Roberts also painted several views of Dawson Grove in 1770. Destroyed by fire in 1846, the Georgian house at Dawson Grove was replaced by a large Victorian mansion, named Dartrey House, which in turn has since been demolished. Born in Birmingham, William Ashford moved to Dublin in 1764 where he worked in the Ordnance Office, a government post which involved touring around the country, inspecting munitions stores. Ashford sketched as he travelled, developing his skills as a topographical artist. However his first paintings were flower pieces, and it was not until 1772 that he began to exhibit landscape paintings, at the Society of Artists of Ireland. The following year he exhibited his first painting of Dawson Grove at the Society?s exhibition. From then on, Ashford became celebrated for his idealised landscapes, receiving commissions from several landowners to record their demesnes. He delighted in depicting lush, well-tended country scenes, complete with lakes, fields and trees, and would often use a building as the focal point for a composition, as in his view of Cloughoughter Castle in Co. Cavan (Fota House). Unlike many of the generation that succeeded him, Ashford was neither a revolutionary nor a Romantic painter, but one who delighted in depicting peaceful estates and houses. If he encountered distressing scenes on his travels, he left no visual record of them. Greatly esteemed in his own lifetime, in 1813 he was elected President of the Society of Artists of Ireland, and a decade later became President of the newly-founded Royal Hibernian Academy. He died at his home in Dublin, in 1824.   Provenance: Christie's London, 3 July 1964, lot 128 (as An extensive view of Dawson Grove, County Cavan, with an artist sketching below a classical urn in the grounds of the Doric Mausoleum) With J. Maas, London (according to a label on the reverse) Private Collection, Ireland. Dr. Peter Murray, 2022

BROWNING (ELIZABETH BARRETT)The Battle of Marathon. A Poem Written in Early Youth... Printed for her Father in 1820 and Now Reprinted in Type-facsimile. With an Introduction by H. Buxton Forman, LIMITED TO 50 COPIES ON PAPER, some foxing, crushed half morocco gilt by Myers & Co., gilt lettered spine with floral tool at each end, large 8vo, For Private Distribution Only, 1891; The Seraphim, and Other Poems, FIRST EDITION, inscribed 'E.J. Smith from H. S Boyd Esqre' on front free endpaper, a little staining in some corners, contemporary green morocco, elaborately gilt with large urn device at centre of covers, spine chipped, upper cover detached, Saunders & Otley, 1838; Poems, 2 vol., FIRST EDITION, light soiling throughout, without advertisements, green half morocco gilt by Tout, gilt panelled spines with raised bands, Edward Moxon, 1844; Casa Guidi Windows. A Poem, FIRST EDITION, half-title, 36pp. publisher's catalogue at end, occasional spotting, lacking front free endpaper, publisher's cloth, spine ends frayed, Chapman & Hall, 1851; Poems, 2 vol., third edition, contemporary half calf gilt, spines rubbed, Chapman & Hall, 1853; [AND ROBERT BROWNING] Two Poems [title on wrappers], FIRST EDITION, later brown half morocco gilt, preserving publisher's wrappers, spine faded, Chapman & Hall, 1854; Poems, 3 vol., fourth edition, half-titles, publisher's blind-stamped green cloth, spines gilt, Chapman & Hall, 1856; Aurora Leigh, FIRST EDITION, , half-titles, publisher's green cloth, soiled, spine ends frayed, front hinge split, Chapman & Hall, 1857; Poems Before Congress, FIRST EDITION, slight browning at edges, publisher's blind-stamped red cloth, lettered in gilt, spine darkened and slightly frayed, Chapman & Hall, 1860; Last Poems, FIRST EDITION, lightly browned, first 3 leaves detached, publisher's blind-stamped light blue cloth, spine gilt, slightly soiled, new endpapers, Chapman & Hall, 1862 8vo (14)Footnotes:Provenance: The Seraphim, Hugh Stuart Boyd, mentor to the young Elizabeth Barrett Browning, presentation inscription to Ellen Jane Smith on his behalf. Two Poems, Maurice Buxton Foreman, bookplate. Maurice has been posthumously implicated as a party to his father and T.J. Wise's literary counterfeit schemes, which included the use of the format of (presumably) the present copy of Two Poems for their forgeries.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A George III memorial panel ring, the oval panel depicting a funerary urn and the motto 'NOT LOST BUT GONE BEFORE', within a red stone border, to a white enamel hoop inscribed 'Hannah Robinson OB 5 Aug 1769 AE 19', (some stones deficient or later replaced), together with a George III hairwork memorial panel, verso inscribed, with later stick pin fitting, and a 19th century half pearl and hairwork memorial panel ring, (shank deficient, half pearls untested for origin), first ring size approximately P (3)

A small collection of silver items, comprising a sugar castor of urn form, London 1934, 19.5cm high, a five bar toast rack, a pair of dwarf candlesticks with weighted bases, and a Georg Jensen acorn pattern spoon, 8oz weighable, together with a set of four silver plated toast racks, a set of six plated fruit knives and forks, and other oddments. (qty)

A silver coffee pot, of half lobed urn form, with ebonised handle and knop, on oval pedestal foot, by Barker Bros Ltd, Chester 1926, 25cm high, together with a matching twin handled sucrier by the same maker, Chester 1919, and a similar milk jug by Henry Hobson & Sons, Birmingham 1905, 33oz overall. (3)

A good quality19th century French clock garniture, the clock set in a green marble case mounted with a bronze model of four putto, the base of the cherubs signed Feuchere (French 1807-1852), the white enamel clock face with Roman numerals and twin winding holes to a brass movement striking on a bell, the clock face signed E Vittoz Paris, green marble case with applied gilt metal detail, together with a pair of accompanying bronze and green marble urn type vases, largest piece 51cm high (3)

Thomas Henry Kendall: an important large carved oak figure of a maidenModelled standing and wearing flowing diaphanous robes, she wears a beaded headdress and carries an urn, set on a plain block base130cm high.Footnote: Exhib: Sotheby's Chester, 1983, item 6.Footnote: Not thought to have been made as a specific commission, the figure remained in the Kendall studios in Chapel Street, Warwick, until its sale and dispersal in 1957. It is illustrated in The Connoisseur magazine, 1956, in a feature on the studio written by Denys Hinton and described as 'Figure bearing an urn'. When exhibited by Sotheby's in 1983 it was described as 'An Eastern Slave Girl'. Although part of the same collection, it was not submitted for auction the following year but retained by the owner, remaining unseen until now.Condition report: Minor/negligible signs of age.  Please refer to images.

A Victorian silver gilt two-handled cup and cover of urn form, Comyns & Sons, London 1896, the plain polished urn with acanthus leaf base and scrolling border between beaded rims, with removable acanthus leaf decorated cover, two scrolling handles and raised on wrythen pedestal foot, 23.5cm high, weight approx 21.2ozCondition report: Hallmarks clear, cover sits well to the cup, general wear but no significant visible damage, just in need of a slight polish, refer to images

A French ormolu and porcelain clock garniture, late 19th centuryThe clock with urn finial above an arched case with leaf-capped scroll spandrels, on a plinth base with further small vases, raised on toupie feet, inset with Sevres-style porcelain, a panel forming the dial finely painted with a bucolic scene, the segmented chapter ring with black Roman numerals around a vignette of putti amid clouds, all within gilt borders on a bleu celeste ground, the flanking ewers, possibly associated, of amphora shape and decorated with flower sprays, clock 48cm high, ewers 32cm high.

J*** van Geil A still life of flowers in an urn with fruit and a bird's nest on a stone ledgesigned 'J van Geil' (lower right)oil on canvas83 x 68.5cmCondition report: 102 x 87.5cm (framed)The painting is executed in oil on a fine weave canvas support which has been lined. The lining adhesion between the canvases is poor and lumps have formed in the background where the two are no longer attached. A horizontal line of loss and cracking is present in the bottom half of the painting with scattered losses. There are localised areas of blistering in the paint layer with lifting and flaking. In some areas the paint layer appears worn and abraded. Overpaint is present along the join and in the background. The varnish is yellowed and matte in areas.

An iron and brass fire grate, 19th century, the arched back plate relief cast with a classical urn above a bowed basket with urn finials and pierced frieze59 x 72 x 30cm

A Worcester plate, circa 1765, decorated in the workshop of James Giles, painted to the centre with an urn and trailing roses, the brown line border with trailing foliage, gilt line shaped rim 22cm diameterCondition report: Slight scratching to the enamel and slight ware to the gilding

A giltwood urn stand, 19th century, the circular top with carved acanthus leaf edge raised on four shaped legs with scrolled feet47 x 45cmProvenance: Stoke Hall, Calver, Derbyshire

A French gilt metal and porcelain clock garniture, 19th century, in Sevres style with urn finial above painted 8cm dial and two lovers in a landscape below, flanked by small vases, upon a shaped base, with bell striking drum movement, with a pair of accompanying candlestick vases with reversible finials, with giltwood stands, the clock 40cmCondition report: One garniture is broken at the bottom of both handles, the bird plaque has also slipped slightly. Both garniture are quite unsteady and will need some attention Overall the gilt metal is quite rubbed in places, the porcelain is also rubbed with some knocks and minor chips to the body and corners Central clock with a bad knock to the base at the back, also missing the back cover, pendulum and winder present although untested, assume it will need a good service Fabric covered plinths tatty and lossing their trim See photos

A circular giltwood occasional table, 19th century, with inset marble top raised on turned and fluted legs united by a wavy X-frame stretcher with carved urn finial 75 x 51cm

A French red marble and gilt metal garniture de cheminee, 19th century, the flattened urn top square section case with 9.5cm dial (cracked), and bell striking drum movement marked for Barrard & Vignon, on scroll feet, together with a pair of matching candelabra the clock 41cm high, the candelabra 58cm highProvenance:Birling Ashes, KentCondition report: some cracks and old damage to the marble in places

A pair of tole ware lamps, modern, the urn shaped bodies decorated with oriental figures and pagodas with black and gilt banded shades97cm high including shades

A Continental oak centre table, 19th century, with later marble inset top over a central carved urn column raised on lion paw feet72 x 72cmProvenance:Birling Ashes, Kent

A 19th Century French enamel rectangular Plaque depicting urn with flowers and putti in gilt, mounted on green velvet in ebonised frame, 8 1/2 in x 7 in including frame

A COLLECTION OF PHOTOGRAPHS by Giorgio Sommer, Fratelli Alinari, Edmund Behles , Robert Bird and others, depicting Italian Landscape subjects, including scenes at Capri, Rome, Florence, Venice, Verona, Milan, Naples and Sorrento, the albumen prints ( the majority sized c. 8 x 10 in or c. 7 x 9 1/2 in) mounted on album pages, the pages with varying degrees of browning/discolouration, many of the images bearing pencil or printed inscriptions underneath, within a dark green Album by De La Rue ,London, gilt embossed ?Photographs' on front cover, the album and binding worn at edges, the album covers with some surface scratching; (two pages have unrelated 20th century inscriptions on them); the images comprise : 1. Observatory Vesuvius 2 La Basilica e il tempo di Nettuno , Paestum 3 L?Ospedale Milano 4 La Loggetta Venezia 5 Tivoli Grotta di Nettuno. 6 Pisa Battistero 7 Torino Piazza S Carlo 8 Moncenisio Vahala 9 Campanile di Giotto 10 Firenze Panorama 11 Arch di Vespasian 12 Arch G 13 Panorama Val Pisano, Rome 14 S. Maria Maggiore 15 Castel di Ponti-St.Angelo Rome 16 Rome S. Pietro 17 Rome 18 Roma Arco di Constantine 19 Roma Arco Antonina 20 Fono Romano 21Rome Campidoglio 22 Foro Romano 23 Foro Vestavano 24 Rome Colosso 25 Arena Verona 26 Venise Place S. Marco 27 Venise Elite de la Salate et Grand Canal 28 Venise Pont de Rialto 29 Sorrento Pris de Capodimonte 30 Bay of Naples 31 Naples Posilipe de S Martin 32 Capri 33 Capri prise des Oliviers de Sorrento 34 Sorrento 35 Naples Cemetiere et Vesuve 36 Bay of Naples 37 Sorrento vieve gene a Capodimonte 38 Grotto Naples (after print) 39 Mummified Figures , Pompeii 40 2 Mummified Figures, Pompeii 41 Pompeii, Vue des Tombeaux 42 Pompeii Ampitheatre 43 Pompeii forum pris du temple Jupiter 44 Pompeii Panorama deiscavi Nuovi e Anfiteatro 45 Pompeii Fontaine Maison au grand balcon 46 Neapolitan scene with figures (after print) 47 Pompeii 48 Wreck of Barque 1860 (after print) 49 A Palace 50 Palace Courtyard 51 Decorated Urn 52 Venice . Crucifixion relief 53 Interior San Marco 54 Interior San Marco 55 Relief 56 Cathedral Venice interior 57 Palace de San Marco, Venice 58 Backwater Venice 59 Interior Church, Venice 60 Venice from high point, with Steamer 61 Interior Cathedral 62 Venice 63 Venice Square 64 Venice, Bridge of Sighs 65 Venice Duomo 66 Venice 67 Interior 68 Venice with Gondola 69 Venice Statue San Marks 70 Iron Gate

A satinwood bow fronted glazed top Cabinet with arched pediment, the upper section fitted adjustable shelves enclosed by two bow fronted glazed doors, an arched pediment, lower section with two door painted cherubs with urn, floral and leafage pattern, the sides of cabinet painted musical instruments and swags 6ft 2in H x 2ft H

A FRENCH EIGHT DAY FEMALE FIGURAL CLOCK GARNITURE, the movement signed Societe Clusienne S.C.A.P.H. Cluser, the spelter case on variegated marble base showing two female figures astride a central clock head, with matching spelter urn garnitures and marble bases, H 34 cmConditon Report:small crack on marble base to rear.

A late Victorian black slate and marble mantle clock, with urn finial with single train movement and raised on splayed bracket feet. Height 36 cm, width 20 cm.

A large composition garden urn on triform stand with horse supports. Height 124 cm, diameter 78 cm (see illustration). CONDITION REPORT: The urn and stand are in generally good condition. The bowl itself has numerous chips and losses to the top edge and is generally showing signs of weathering. There are however no significant cracks and the piece sits well on the stand with little movement. The horses are all complete with only minor edge nibbles and are weather worn in places. The triform base beneath the horses has a break right across one angle and this piece is detached. However when the piece is together there is no movement.

A pair of Chelsea Derby Gold Anchor cabinet plates, each decorated to the centre with an urn and with blue and gilt border. Diameter 23 cm. CONDITION REPORT: Both plates have signs of wear and engrained dirt due to age. Both have a significant losses to the edge. One has a significant chip to the base. Both are heavily worn around the gilt edges. These plates are not in good condition.

A 19th century cast iron urn with integral stand, with Bacchanalian type masks and scroll handles. Height 40 cm, width 37 cm.

Vintage fancy link charm bracelet, with magnetic clasp and original bolt ring clasp, with fourteen charms attached, including a monogram cut out charm stamped 18 ct, Italian gondola, testing as 18 ct, an urn stamped 10 ct, tower bridge, a book of images of Westminster Abbey, a bull and other charms all in 9 ct yellow gold Condition Report: Gross weight 28.4 grams

A group of Indian wood and metal artefacts, including a painted wood standing figure, height 58cm, a metal urn with painted tiger hunting scene, and an Indian carved wood carriage, length 27cm (4)

A Chinese terracotta urn, with painted decoration and neck ring handles, height 30cm, and an Egyptian terracotta bowl, diameter 13cm (2)

A William IV mahogany duet music stand, with brass urn finial, bulbous reeded centre column and shaped platform base, height excluding finial 140cmGood original condition

A 19th century gilt-framed triple-glass over mantel mirror, with urn and acanthus pediment, and ribbon and thread relief frame, width 132cm, overall height 74cmFrame has a few spots of oxidisation, gilding is original with a few minor abrasions but generally in good original condition

A Victorian lignum vitae turned box and cover, mid 19th century, the box and cover with reeded and fluted horizontal bands and concentric circular details, 11.5cm diameter (max), 12.5cm high, with a fruitwood turned box and cover of urn form, 12cm high (at fault), with a brass mounted turned walnut tobacco box and cover, 17cm diameter (3)

A 19th century Vienna style porcelain vase converted to a lamp base, of urn form raised on square base, decorated with a classical maiden surrounded by cherubs, cobalt collar and foot with gilt highlights, 32.3cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.

A Victorian opaline glass three-piece garniture, the central urn with vignette depicting Athena with a putti in a natural surround, the vases with vignettes depicting angels and infants in outdoor scenes, all within floral and foliate borders against a white ground, with black banding and gilt highlights, urn 53.5cm high, vases 36.5cm high (3)

An Edwardian Adams influence silver plated oil lamp, the associated etched glass shade above a cut glass reservoir, and an associated candlestick cast as a classical urn upon a fluted tapering torchere, extending to a plinth base applied with linen swags and bead detail, 52cm high, stamped 'Walker & Hall', with shade 66cm highcondition reportVery minor nibbles to lower rim of shade, overall tarnishing, reservoir attached to candlestick with a form of putty, heavy corrosion to underside of candlestick

An Adams style gilt wood and gesso oval wall mirror, 19th century, the frame surmounted with an urn extending to scrolling foliate detail, above the bevelled mirrored plate within a beaded border, 79cm H x 93cm W

A mid 19th century burr walnut toilet mirror, the arched mirror raised upon tapering cylindrical columns below urn shaped finials, applied with brass candle sconces, upon the serpentine plinth base with hinged compartment on compressed bun feet, 86cm H x 69cm W x 27cm D

A Victorian rosewood triangular drop leaf occasional table, the segmentally veneered top above the three shaped drop leaves, each inlaid with a satinwood foliate urn, raised upon simulated fluted supports united by a triform undershelf upon slender tapering curvilinear legs, 69cm H x 44cm WCondition reportsVery minor joint splits to table top, along with very minor marks and scratches, evidence of glue at the top of the legs where they join the top and also at the joints on the under tier indicating some level of restoration, although joints appear firm with very little or no play 

After the antique, an alabaster sculpture of the crouching Venus,20th century, seated on an urn, raised on a rippled base, 36cm highCondition report: damages to the fingers, scratches and marks to the surface, abrasions to areas of high relief

A pair Meissen porcelain figures of gardeners, late 19th century, each decorated in polychrome and dressed in 18th-century costume, crossed swords mark, she incised 'C 68' and impressed '67', he incised 'C69', impressed '62', each 19cm high (2)Condition report: Lady, trowel with losses, flowers on urn.

A large composite stone urn,20th century, modelled overflowing with fruit, raised on a lobed square plinth base,40cm wide40cm deep80cm highProvenance: Bracken Knoll, Highgate, London, N6.

B... Muhler (German, late 19th century)'Afrika';'Asien', portraits of young women, one by a doorway, the other outside a mosquea pair, both signed 'B Muhler' l.r., oil on canvas53 x 26cm (2)Condition report: Both paintings are executed in oil on linen canvas supports with are unlined. The lady with an urn has a network of age cracks which are stable but pronounced and starting to the pull the canvas forward, out of plane. There are minor undulations to the canvas support. The varnish is glossy but yellowed. The lady standing in a doorway also has minor undulations to the canvas support. The paint layers are in a good stable condition. The varnish is yellowed but even and semi-glossy.

A gilt-bronze and Sèvres-style porcelain clock garniture,c.1880, the clock surmounted by a Sèvres-style urn and cover, decorated in gilt and enamel on a bright blue ground, the gilt-bronze clock ornately cast with foliage, stiff leaves and lion's mask handles, the matched candelabra with scrolled sconces and gilt-bronze bases, clock 41cm highcandelabrum 51.5cm high (3)Condition report: No bell, key or pendulum, cover to urn with well restored chip.Candelabrum matching.Movement not tested.

Two alabaster table lamps,one of classical urn shape with angular handles and a band of carved, stiff leaves,the second of ovoid shape on a square base,each with a pleated shade,46cm high68cm high with shades (4)Condition report: General good condition.PAT test 18/3/22: one passed and one failed (frayed flex).

Continental School, 19th centuryStill life of flowers in an urn on a stone ledgeoil on canvas76.5 x 64cmProvenance: Bracken Knoll, Highgate, London, N6.Condition report: The painting is executed in oil on a linen canvas support which is unlined. The canvas tension is slack and there are minor undulations across the surface. There are several small tears to the canvas which have been repaired with small canvas patches. The damages have been retouched and some localised overpaint has been applied to reinforce some of the leaves in the composition. The varnish is slightly yellowed but even and acceptable. There is a light layer of surface dirt present

A pair of Gustavian three-light table girandoles,late 18th century, each gilt-mounted white marble urn, with festoons and lustre drops to a central prism,31cm wide61cm high (2)Condition report: The mounts to the top of each prism are loose and the plaster has lost its key.