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A small cast metal urn stand.

Pewter tea urn, H48cm - Condition Report

A planished copper oblong tray and three pieces of brassware including twin handled urn (4)

A pair of modern ceramic Elephant table with circular glass tops, together with a large modern urn shaped table lamp with shade, a pair of brass table lamps with shades, a large ceramic yellow ground baluster table lamp with shade, and a composite Campana urn style table lamp with shade (7)

A 19th century French gilt and marble mantle clock, with urn finial , twin trail movement, with key and pendulum 

A Chinese jade 2 handled urn with Archaic design carved detail. Approx. 17.5cm tall.

AN EDWARDIAN MAHOGANY BOWFRONT CORNER CABINET the frieze with broken swan neck pediment and urn finial, pair of astragal glazed doors above single drawer and further pair of doors, 75cm wide 184cm high

An Elizabeth II silver pill box, makers JS & MJ, London 1998, with gilt interior and embossed design of a flower filled urn and scrolling design, together with a silver travelling scent bottle, maker A J Poole, Birmingham 2000 and a silver thimble in case, maker Charles Horner Ltd, Chester 1911

A RARE LIMITED EDITION ROYAL WORCESTER 'HARD PORCELAIN' FIGURE by Arnold Machin of a diaphonously clad semi naked young woman (one of the seasons) standing before a pedestal with urn and kissing infants, 46cm high, c.1970s. A limited edition set of fifty purchased in its entirety by Thomas Goode & Co of London. See illustration

A PAIR OF LATE 19TH CENTURY NAPLES DOCCIA VASES AND COVERS of urn form, relief moulded with battle scenes beneath pierced necks and conforming covers with crown finials, three angular moulded legs joined by gilt and green swags, concave flattened triangular bases, 36cm high. See illustration

A LATE 19TH CENTURY ORMOLU MOUNTED PORCELAIN VASE, the urn shaped body painted to the front with a young boy and his companion in an extensive landscape with houses beyond, the reverse with floral panel, royal blue ground with gilt foliate frames, pair of rising mask and leaf gilt metal handles, fluted waisted neck, cast ribbon tied garlands, the base with ribbon and leaf collars and incurved square pedestal, 46cm high, late mounted for electricity

A LATE 19TH CENTURY SEVRES STYLE AND ORMOLU MOUNTED VASE and cover, of gros bleu and gilt ground the domed and waisted cover with bud finial, the urn shaped body with ormolu twin grotesque face mask handles, painted with a panel of children gathering flowers and opposing lakeland scene, each within jewelled pearl banding, on a fluted socle with ormolu laurel wreath foot, on square base with egg and dart rim, on four square feet, 37cm high. See illustration

A PAIR OF GEORGE VI SILVER CAFE AU LAIT POTS, of 18th century design, having stained wood handles, domed covers with urn finial, London 1937, maker Manoah Rhodes & Sons Ltd, 20cm, high, approximate gross weight 26oz

20TH CENTURY ENGLISH SCHOOL, still life of summer flowers held in an urn on a marble ledge, oil on canvas, unsigned, 51cm x 61cm. See illustration

A LATE 19TH CENTURY QUARTER-VENEERED SATINWOOD AND PAINTED DEMI-LUNE CABINET, painted with a flower filled urn and foliate scrolls within painted outlines, having a drawer with gilt metal rosette handles, above a two door cupboard, the interior fitted with four pull slides, flanked by a single door cupboard to either side, on square tapered and ball feet, 112cm wide x 51cm deep x 92cm high. See illustration

A 19TH CENTURY COUNTRY HOUSE FRUITWOOD AND CAST IRON UMBRELLA/STICK STAND, the turned post with urn finial set with green painted cast iron ring apertures, the circular base with painted tin drip tray, 90cm high. See illustration

A LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT METAL three piece clock garniture, the clock with drum shaped case with urn finial, the circular white enamel dial with floral garlands and Arabic numerals, four pillars supporting, moulded shaped serpentine base with milled brass disc feet; together with a pair of matching two branch, three light candelabrum, clock 40cm high, candelabrum 38cm high. See illustration

EMERALD GREEN WHITEFRIARS FLATTERNED URN SHAPED VASE WITH TREE BARK DESIGN

CIRCULAR URN ON PLYNTH

A fine George III paper-scroll work, mica, satinwood veneered and glazed tea caddy, circa 1790, of octagonal section, the hinged cover with a central burgundy and gilt foliate reserve and surmounted by a loop handle and with chequer stringing; the front panel with a pastoral print in oval reserve, flanked by mica ground side panels quilled with floral sprays and posies, the rear with pink-foil ground Neo-classical urn, the interior mahogany-banded, 15.5cm high, 17cm wide, 11cm deepProvenance: previously in the collection of the late Sir Ian Fraser, BelfastSir Ian Fraser (1901-1999) was an eminent surgeon, mostly active as a consultant at Royal Victoria Hospital, Belfast and serving as president of the Royal College of Surgeons in Ireland during the 1950s. Described as 'Northern Ireland's best-known surgeon', Fraser was responsible for implementing the use of penicillin in military hospitals during the Second World War. The lot is presented with an invoice from Mallett for the acquisition of the caddy addressed to Fraser and dated 1973. A similar mica ground and quillwork caddy was sold at Christie's, South Kensington, 18 May 2010 (£2,250).Condition Report: The caddy bears the usual minor marks, knocks and scuffs overall consistent with age and use.Three or four sections of the exterior banding have been restored/replaced, and the glazing may also be later. One section of the veneer has a short horizontal split across, and there two or three tiny chips/losses to the chequer stringing. The interior lining to the cover has been replaced, and the underside has a replacement baize covering.The quillwork is quite well preserved overall, aside from one or two displaced scrolls, some fading/discolouration overall, as well as minor losses to the mica and foil grounds.Key present.Condition Report Disclaimer

A pair of Louis XVI gilt bronze cassolettes, last quarter 18th century, the waisted and guilloche cast covers with berried finials and each enclosing a candle socket, rising from ovoid urn bodies cast with bows and bellflower swags, above fluted plinths cast with bands of rope and oak leaves, and on further stepped square bases, raised on bun feet, 23cm high as an urn, circa 20cm high as a candlestickA pair of cassolettes of near-identical design, only with acorn finials, was sold at Christie's New York, the Elizabeth Stafford collection, 1 November 2018, lot 1182 ($1,125).Condition Report: The cassolettes bear the usual minor marks, knocks and scuffs overall consistent with age and use.The gilding looks like it may at one point have been refreshed. Two of the bows have repaired fractures by the central knot, the others have one or two small firing cracks. Similar small cracks to one of the bowls, and one of the drip pans. Possible lacking section to the top of one of the bellflower swags.There is some pitting and scratching to the bowls.Condition Report Disclaimer

An unusual paktong fire fender, late 18th/ early 19th century, possibly Chinese Export, in the manner of designs by Robert Adam, the pierced frieze centred by a stylised patera terminal, flanked on each side by a large flowerhead patera, surmounted overall by four urn finials, on a stepped plinth base, 28cm high, 121cm wide, 34cm deep Paktong, a name derived from the Chinese word meaning white copper, is a rare non-tarnishing alloy of copper, nickel and tin or zinc. Also knownas 'Tutenag' or 'India metal' on account of its importation by the East India Trading Companies, it originated in China and although it first arrivedin London in the 1720s, it was developed by the Chinese much earlier. The principal advantage of paktong is that whilst resembling silver, unlike silver it isunaffected by atmospheric conditions, and can be easily cast, hammered and polished. Its unusual qualities were especially suited to such purposesas chimney-furniture, a fact well recognised in 18th Century Europe (A.Bonnin, op. cit. 1924, pp.18-51) and from about 1750, a limited number ofarticles including grates are known to have been made in England from this material.   Condition Report: The fender bears the usual minor marks, knocks and scuffs overall commensurate with age and use. The surface is slightly tarnished and there are possible minor traces of lacquer or varnish, though overall the casting is crisp and well preserved.Most of the bolts to the rear of the fender have been replaced, and the corners have been later strengthened with steel brackets. There is some slight movement between the frieze and sides, and the sides are positioned at a slightly inward angle (likely due to design).There is some polish residue to the rear, particularly inside the recesses of the beading. The rear panel of sheet metal is slightly bowed between the bolts.The top and bottom rails have an iron core, presumably to weight the sheet metal.Condition Report Disclaimer

A pair of Derbyshire fluorspar campana urns, first half 19th century, each with flared rim and bulbous base, with waisted socles and square bases, 26cm highProvenance: Private Collection, LondonPlease note, there is a slight height difference between the vases, they are not an identical pair but a companion pair. Condition Report: Please note: there is a slight height difference between the vases, they are not an identical pair but a companion pair.The urns bear the usual very minor marks and scuffs overall consistent with age and use.One bears a small circa 1cm chip to one corner of the base.The material is naturally irregular and variegated in colour, though there may be old repairs or stabilisations.There is amber residue present on the inside of each urn, where the bases are joined to the bodies. Likely this is a result of the manufacturing process.Each has a handful of darker flecks particularly to everted rims and by the ring incised decoration, these are either natural inclusions in the material or possibly areas of filling. One has a tiny chip or natural irregularity above the line incision (circa 0.3-0.5cm wide).Overall these urns are in perfectly presentable condition.Condition Report Disclaimer

A pair of fine late George III Blue John solid ornamental urns in Neoclassical style, late 18th/early 19th century, the ovoid bodies with domed integral covers and ball finials, on square section slate bases, 21.5cm highProvenance: Private Collection, LondonBlue John, a rare and precious colour banded form of fluorspar, is mined in Castleton, Derbyshire. The mineral's unusual name is said to derive from the French 'bleu jaune' which translates to 'blue yellow' - referring to its lustrous jewel tones. Another, more vernacular theory is that the term 'Blue John' was used by miners to distinguish it from zinc ore, known as 'Black Jack'. Though prized for their rarity and decorative appeal, fluorspars such as Blue John have long been appreciated for their more functional qualities. The Roman poet Martial, writing towards the end of the first century AD, for example claimed that wine tasted better when consumed from a 'murrine' cup. 'Murra' has been identified with fluorspar, and was introduced to the Romans by Pompey the Great after his expeditions in the East (possibly a variety found in Persia, present day Iran) circa 62 AD. Due to its fragility, fluorspar is often heated with a coating of (pine) resin, in order to stabilise the crystals after the mineral is mined. This longstanding manufacturing process may have accounted for the added aroma referred to by Martial. The mineral was so popular in Ancient Rome that, as naturalist and historian Pliny tells us, Emperor Nero himself apparently paid one million sesterces for a cup. Two Roman drinking vessels made of similar fluorspars are held in the collection of the British Museum (the Barber Cup and the Crawford Cup).The present urns date from a time when Blue John was at the height of its popularity, with makers such as Matthew Boulton and Robert Adam incorporating the fluorspar into their decadent works of art and society commissions.A vase of similar shape and with comparable arrangement of banding was sold at Christie's New York, 28 April 2010, Lot 109.Condition Report: These urns bear the usual very minor marks, knocks and scratches overall consistent with age.One of the the urns has an old restoration of circa 0.5-1cm to the edge of the body, and an area of shallow chipping/nibbling of circa 2cm wide on the opposite side.The other also has one shallow chip to the shoulder of the body (circa 0.5-1cm), and a possible restoration to the upper rim.One has an old repair to the socle.One urn has detached from its slate base, though this is a clean separation and it could presumably be easily reattached.Overall these are well preserved, and the colouring of the purple banding is very vibrant.Condition Report Disclaimer

A substantial late George III Blue John campana urn, early 19th century, the flared and part-lobed sectional body comprising two different veins of Blue John, descending to a waisted socle, on a stepped Derbyshire Ashford black marble base, the vase 21cm high, approximately 25cm high overallProvenance: Private Collection, LondonThe campana shape of the present urn harks back to Greek and Roman antiquities, which were fashionable ornaments in the late Georgian interior. Vases of related shape are in the collection at Chatsworth House and at Kedleston Hall, Derbyshire.See also Sotheby's Amsterdam, 30 September 2008, lot 279 (EUR 6,875) for a similar, though smaller, part-lobed example.Condition Report: There are various chips to the everted rim, the largest being circa 3-4cm wide. There are also a handful of vertical hairline fissures and some irregularities along the darker veins, though these appear to be naturally occurring inclusions and variegations in this naturally banded material. On one or two occasions they may be old repairs. The body is stable overall.Two sections of the slate base have been restored (one corner chip and another along the moulded edge). Possible repair to socle of vase, though again this may just be natural banding or variegation in colour.Condition Report Disclaimer

A pair of fine and rare French banded amethyst quartz and ormolu mounted pot pourri urns and covers, 19th century, each domed cover with a pierced guilloche rim cast with flowerheads, descending to ovoid bodies festooned with fruiting vine and cast with twin satyr mask handles, above a waisted socle and square section plinth cast with imbricated laurel, 37cm high, 15cm wideProvenance: Private Collection, LancashireWith its striking colours and intricate figuring, amethyst quartz has been used by the finest bronziers and furniture makers throughout the late 18th and 19th centuries. A pair of vases by Matthew Boulton cut from the same, rare material, from the collection of the Earls of Portalington, was offered at Bonhams, 20 November 2007, lot 77 (£96,000). While the material was evidently used by important makers in England, the present lot is more likely French in origin. The model, with its fine fruiting garland in the style of Duplessis, and its distinctive wreath finials, has appeared at Sotheby's Amsterdam, 16 April 2007, lot 339, only the bodies were executed in white marble.Interestingly, the wreath finial and pierced rim adorned with flowerheads share distinct similarities with Meissen shapes of the late 19th century. Note for example the pair of cobalt-ground urns sold at Christie's New York, 9 June 2014, lot 286.An amethyst quartz topped gueridon by Maison Millet offered at Christie's London, 10 September 2013, lot 150 (£49,875), is a testament to this fine material's enduring popularity with renowned makers of the late 19th century.Condition Report: Each of the urns bears the usual minor marks, knocks and scuffs overall consistent with age and use, and the gilding is a little rubbed overall. It has a warm, slightly coppery colour in places.Both covers bear old chips and restorations (one of which with a lacking section of circa 1cm and old adhesive residue to the underside), and two of the corners on the bases are chipped on each urn (circa 0.5cm chips).The stone is naturally veined and variegated, with quartz inclusions, however there are areas of stabilisation and filling (in dark red) to the bodies where the stone may have chipped or was naturally irregular.One of the vases in particular has a horizontal split, which stretches approximately half way around the body, though it is not possible to ascertain how deep this fissure is. This being said, both urns are entirely stable overall.The protruding knops to the centre of the bows may have once suspended chains, though this is not certain. Condition Report Disclaimer

A substantial Baltic cobalt and clear glass and gilt bronze mounted twelve light chandelier in Neoclassical taste, early 20th century, in the manner of designs by Johann Zeck, the outscrolled corona cast with anthemia, above a slender stem mounted with a central ovoid urn, descending to a circlet cast with sconces, and swan branches holding aloft a further tier of sconces, hung with two tiers of faceted pendants and further bead swags overall, 131cm high, 112cm wideProvenance: Property from a Private Collection Please note: This lot will not be on view at Donnington Priory but can be viewed, by prior appointment, at our off-site storage premises which are approximately 10 minutes drive from the saleroom. Condition Report: The chandelier bears the usual minor marks, knocks, scratches and scuffs overall consistent with age and use.Some anthemia on the corona are bent, and one is quite loose and would benefit from some tightening. Other mounts to the circlet also have some radial movement. The glass plate inside the corona is cracked. Other metal elements are also bent particularly the stems suspending the swags, the stars to the ball knop, and to a small extent the circlet itself. One of the swans has drilled holes to the neck. Glass drops may be missing or replaced but the current arrangement is pleasing and symmetrical.The chandelier is crated and has not been inspected fully on all sides, as it is not entirely accessible. Condition Report Disclaimer

A pair of George I carved giltwood vase stands, circa 1720, each circular top with carved edge supported by carved as maidens holding their arms aloft, above a stylised urn on three shell and scroll carved feet, each 94cm high, the tops 27.5cm diameter overall This pair of torcheres is derived from a French print of the late 17th century,a copy of which is held in the Rijksmuseum (RP-P-0B-8541). Created and engraved by the print maker, Alexis (I) Loir (1640-1713), and published by Nicolas Langlois of rue St. Jacques, Paris, the print was issued during the reign of Louis XIV, between circa 1650 and 1692. In the late 17th century, Loir gathered together some of his designs in his pattern book, Nouveaux desseins d'Ornemens, de Paneaux, Lambris, Carosse Etc., and the sculptural patterns for torcheres and other furniture items was widely adopted by carvers and other craftsmen, persisting well into the 18th century. For a related pair of torcheres, see Christie's, The Collector, 23rd May 2018, Lot 104 (£42,500).  Condition Report: Both with marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Gilding has been cleaned and refreshed at some point. Some rubbing, chips and losses to gilding. Old glued repairs to one hand of each maiden. The other hand of one maiden with old nail through it into the top to help secure. It is possible that there are old repairs to some elements that have been concealed by later gilding. Cracks to the join between the heads and the tops. These joins appear to have old repairs, one has some slight movement within it. Baize inset to tops is later. Some later timber blocks to undersides of feet. Minor evidence of old worm to undersides. Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A stone composition garden urn on plinth, late 20th century, probably Haddonstone, with egg-and-dart everted rim and twist-lobed body, the plinth of panelled rectangular form, overall height 155cmThe pattern of the present urn closely resembles Pulham Stoneware's 'Westonbirt' vase, illustrated in John Davis, Antique Garden Ornament, Antique Collectors' Club, 1991, p. 196.Condition Report: There is an old break to the waisted socle.Condition Report Disclaimer

A Victorian artificial stone tazza urn attributed to Austin and Seeley, mid-19th century, the everted egg-and-dart cast rim above a part-lobed ovoid body, on a waisted and fluted socle, presented on a carved stone plinth, with rib carved base, the urn 52cm high, overall height 109cm The present vase is closely related to Austin and Seeley's fountain in the Italian Gardens at Tottenham House, Wiltshire. That example is illustrated in John Davis, Antique Garden Ornament, Antique Collectors' Club, 1991, p. 206. For a comparable pair, see also Sotheby's Billingshurst, 27 May 2005, lot 156.Condition Report: The urn and plinth bear the usual minor marks, knocks and scuffs overall consistent with age and use. And each has some weathering commensurate with outdoor exposure.There are various cracks to the bowl, including three or so circa 10-15cm vertical ones from the edge of the everted rim to the upper edge of the lobed body. Some nibbling to the edge of the rim.Areas of old repair overall including to the socle. One of the corners of the square base (of the urn) is chipped, and there are other smaller losses.The interior has been stained dark red in places presumably from previous contents.Condition Report Disclaimer

A painted cast iron garden urn by A. Motteau of Buenos Aires, late 19th century, the lobed rim above a Vitruvian scroll cast neck, above a festooned cylindrical body cast with rams' masks and bows, the square socle mounted with a plaque inscribed 'A. MOTTEAU GARAY 1272 BUENOS AIRES', 72cm high, 55cm wideCondition Report: The urn has another indistinctly inscribed plaque to the other side of the socle, also for Motteau.The urn has a weathered red painted finish and some surface wear and oxidisation overall. The interior and socle are also oxidised. Aside from the usual minor wear and weathering commensurate with age and outdoor exposure, the urn is in perfectly presentable shape. The socle is approximately 26cm squareCondition Report Disclaimer

A French cast iron urn on plinth, last quarter 19th century, the festooned and twin handled urn raised on a swagged square section pedestal cast with lion masks, swags and paw feet, 180cm high overallCondition Report: Overall the urn bears the usual minor marks, scuffs and weathering consistent with age and outdoor exposure. The urn can be separated from the plinth and has a small circular aperture to the socle indicating it was possibly designed as a planter. Two of the urn swags and one of the plinth swags looks like their joins at one point may have been strengthened or restored where they meet the body. There is some minor upward curling of the uppermost top part of the plinth. Would benefit from a gentle clean. Condition Report Disclaimer

A substantial terracotta garden urn, 20th century, of part-lobed campana form, 66cm high, 90cm diameter

Two early 20th century doorstops, one in the form of a Phoenix drinking from an urn and the other in the form of a snail

A 19thC porcupine quill writing slope with inlaid bone and ivory elephant, campagna urn and 'MATURA' decoration, size closed W37 x D28 x H15cm

Shelley (George Ernest). A Monograph of the Nectariniidae, or Family of Sun-Birds, 2 volumes, 1st edition, London: published by the author, 1876-1880, cviii [394] pp., 121 hand-coloured lithographic plates by J. G. Keulemans, heightened in gum arabic, spotting to a handful of plates (e.g. 8, 100, 121) and occasionally to text, a few marginal spots elsewhere, tiny marginal nick to final plate (121), marbled endpapers, inner dentelles gilt, contemporary bookseller's ticket (G. W. Holdich, Hull) to front pastedowns, top edges gilt, others untrimmed, contemporary dark blue calf, spines richly gilt in compartments with dove motifs, twin red morocco labels, concentric dogtooth and French fillet frames gilt to covers enclosing bird-and-urn motifs to corners, tips bumped, 4to (32.4 x 24.2 cm)Qty: (2)NOTESTHE DAVID WILSON LIBRARY OF NATURAL HISTORY PART II Fine Bird Books p. 142; Nissen IVB 873; Wood p. 566; Zimmer p. 588 (‘An excellent monograph of an interesting family of birds’). ‘An important monograph which appeared in twelve parts. A total of 138 species of the group are recognized, all of which, except one, are figured on fine-hand-colored plates by J. G. Keulemans, who was himself acquainted with these small birds in their native haunts, and whose notes on the Sun-birds inhabiting Prince’s Island have been incorporated in the work’ (Wood). The list of contents calls for four pages of descriptive text for each of plates 5 and 55 (Nectarinia famosa and Cinnyris zenobia), but six and two pages respectively appears to be the correct count.

A late 19th/20th century green onyx spelter figural three piece clock garniture, with two train drum movement striking ona bell, surmounted by a pair of classical figures 'La Recontre du Patre' aftre Rousseau, flanked by single urn form candle garnitures, the clock 63 cm h o/a (3) good original, appears complete, a few minor damages to extremities of the onyx, clock movement appears complete but not tested

A 19th century copper kettle; a conical copper measure; a mid Eastern jug; a tea urn etc

PEGGY RUTHERFORD (XX) An early 20th Century unframed oil on canvas still life of flowers in a terracotta urn, unsigned work, 97.5cm x 76.5cm (torn canvas from stretcher at bottom, worn edges and corners)

A Derbyshire Blue John pedestal urn, Treak Cliff vein, the dished bowl on turned Ashford marble column, Blue John and Ashford square pedestal, 13.9cm high, 12.3cm diam

A pair of 18th century Revival mahogany and marquetry elbow chairs, each shaped back with vasular splat inlaid with an urn of flowers, shaped arms, drop-in seat, cabriole legs, carved throughout with anthemions and scrolling acanthus, ball and claw feet, c.1900 (2)

A Victorian cast iron campana garden urn, everted egg-and-dart rim above a frieze of Classical figures, fluted socle, square plinth base, 116cm high overall, 60cm diameter, c.1860

An early 20th century Sheraton Revival gilt oval mirror, with flaming urn and acanthus scroll cresting, beaded and egg-and-dart border, 78.5cm x 93cm

Professor Carlo Pittaluga (Italian, late 19th/early 20th century), by, a tall Carrara marble sculpture, of Euterpe, the Muse of Music, she leans against a rock while playing her emblematic pan pipes, an urn stands by her feet, 78cm high, signed

A Neo-Classical design lapis lazuli and white marble ovoid mantel urn, in the Grand Tour taste, knop finial, inlaid with a band of trompe l'oeil flutes, square plinth base, 39cm high

A pair of unusual 19th century transfer printed Lazy Susans, probably Copeland, each circular plateau centred by an ovoid coffee urn, decorated in tones of blue with the Willow pattern, picked out in gilt, 46cm diam, c.1870

A Thomas Fradley two handled ovoid vase, applied in white with classical figure weeping at an urn, gilt twisted handles, the ground marble in blue, green and brown, 22cm high, impressed mark; others (3)

John Maltby (b.1936) , a stoneware sculpture, of a stylised garden, with two-handled urn, angled base, 14.5cm high, monogrammed; another, of a stylised garden, angled pedestal, 34cm high, unmarked (2) Condition Report: Larger model with stylised leaf reglued

A French Directoire silver-gilt half-fluted campana mantel urn, cockerel finial, caprine masks with loose ring handles to sides, engraved with ribbon-tied swags of flowers and foliage, spreading circular foot, 22cm high, maker NRM, Paris c.1798 - 1809, square lapis lazuli base, ball feet, 26cm high overall

A George III provincial silver coffee pot, hinged lofty domed cover with urn finial, scroll-capped fruitwood handle, reeded borders, circular foot, 32cm high, Robert Pinkney, Newcastle c.1790, 29.5oz gross

A Bow figure, of Water, from the Elements series, modelled as Neptune standing before a large dolphin and holding an upturned urn of flowing water in his left hand, 19.5cm high, c.1756-58 Condition Report: The tail point missing but factory glaze over

A silver neo-classical pedestal sugar caster, engraved with ribbon tied husk swags and tendrils, domed pierced cover, urn finial, spreading circular foot, 15cm high, Cooper Brothers & Sons Ltd, Sheffield 1909, 6oz

A Derby Patch Mark figure, of a Shepherdess and a Sheep, her dress painted with Indianische Bluemn, typical bocage, turquoise and gilt C-scroll base, 15.5cm high, the base numbered 3, c. 1765; another, French Shepherdess, modelled with a calf in her arms, an urn at her feet, painted in polcyrhome enamels, 13cm high, Bradshaw No 57, incised and additionally numbered 6, c. 1800, [2]

A 19th century French Sevres style clock garniture, the enamelled dial with Roman numerals, blue celeste panels painted with courting couples, gilt metal case applied with ribbons and foliage, oversize urn finial, matched side vases, the clock 37cm high, c.1880

A 19th century gilt metal wall hanging combination clock, barometer and thermometer, retailed by J J Wainwright & Co, Birmingham, the 11.5cm dial inscribed with Roman numerals, twin-winding holes, eight-day movement striking on a bell, the case crested by an urn finial and cast throughout with scrolling acanthus and fruiting oak, 66cm long, c.1880

A Neoclassical style malachite and white marble urn, fluted finial, square base, 42.5cm high

A Neo-Classical design Derbyshire Blue John, alabaster and fluorspar ovoid urn, quartz knop finial, turned socle, square plinth, black marble base, 45cm high

A George III style giltwood oval mirror, the bevelled plate within a tongue and dart frame surmounted by an urn and tied swags, 105 cm wide, 88 cm high

AMENDED DIMENSIONS A good antique Persian Kashan rug, the floral urn design on camel ground, 196 x 128 cm

A late Victorian silver urn-shaped ewer in the Adam Revival manner, with pineapple finial to the hinged lid, embossed and chased overall with cherub masks and garlands, on stemmed and moulded foot, Martin, Hall & Co, Sheffield 1898, 31 oz, 33 cm high overall1901 presentation inscription, slight dent to foot