We found 68904 price guide item(s) matching your search

A slate mantle clock with spelter Medici lion finial with a pair of urn shaped garnitures Condition Report:Available upon request

A bronzed birdbath in the form of an antique urn with twin acanthus handles and figures from a bacchanalian scene Condition Report:Available upon request

19th century Sevres style porcelain vase of urn shape, depicting an 18th century courting couple in landscape on blue and gilt ground with gilded rams mask handles, 28.5cm high.

Pair of French gilt metal and enamel clock garniture supporting vases of urn shape with mask handles, raised on vase shaped supports, 25.5cm tall.

19th Century Sudanese Sword26 1/2 inch, double edged, curved blade with central shallow rib.  Polished wooden grip of typical form.  Contained in its leather scabbard.  Together with a late 19th century German foil.  22 1/2 inch, shortened, square form blade.  Steel figure of 8 crossguard.  Steel urn pommel.  Wooden grip.  2 items. PAYMENT BY BANK TRANSFER ONLY

A George V silver teapotBirmingham, 1932, Barker Brothers Silver Ltd, with a faux bois handle and knop, of fluted urn form, edges beaded, the spout facettedspout to handle 26cm, weight overall approx 19.24oztCondition: In good condition overall.

Montre de poche en or, fin du XVIIIe siècle, et chatelaine en pomponne et métal doré plus tardiveA gold pocket watch, late 18th century, and gilt-metal or pomponne chatelaine watch, slightly laterThe gold watch signed on the inside 'Mallet a Paris', the reverse in three types of gold with an urn and faithful dog, hanging from a slightly later chatelaine or gilt metal with engraving of gardening subjects, 19cm long including chatelaine, the watch 5.4cm, gross weight of the watch 45.26 engraved signature on the inside (some corrosion to the case)For further information on this lot please visit Bonhams.com

A silver Sugar Castor, of urn shape, on turned circular base by George Unite, Birmingham, approx. 6 1/2 ounces; a heavy silver Napkin Ring by Jay, Richard Attenborough, Co. Ltd., London, approx. 2 ounces, and another engraved silver Napkin Ring (marks worn) 1/2 ounce; and a set of 8 'Apostle' type Spoons, with embossed design and monogrammed, approx. 8 1/2 ounces, by Elkington & Co., as a lot, w.a.f. (a lot)

A set of 12 fine Russian Imperial Niello work and silver gilt Caviar Spoons, makers mark B.C. 84, 1879, each with tapering stem and urn finial, 13cms (5 1/4''). (12)

A 19th Century mahogany three tier Whatnot, with four urn finials above three square shelves on turned supports and legs, 115cms x 35cms (45" x 13 1/2"); together with a small 19th Century three tier mahogany Washstand, 76cms h (30"). (2)

A silver plated Tea Urn, Sheffield, 19th Century, of unusual small proportions with two handles on a half reeded body with tap, on stem base and quadruple pod with shell capped paw feet, 31cms h (12"); together with an English silver Georgian style Cream Jug with pad feet, 2ozs, maker S. Blanckensee & Son, Ltd. (2)

An important large pair of 19th Century French bronze and ormolu seven light Candelabra, with cherub supports, the rustic design branches with vines and grapes interwoven, supported by cherubs on rock holding an urn, surmounted on circular bases with out scrolled leaf decorated legs, each approx. 76cms (30") h.  (2)

A fine heavy modern silver Porringer & Cover, London 1909 by CH & JW, distributed by Thomas, New Bond St., London, the cover with open strap work, bead edge and urn finial on an ogee shaped body with two handles, 38.60 ounces, 1096 grams. (1)

A quality 19th Century Irish mahogany Stick Barometer, the rectangular glazed top with stamped capital, etched scales marked 'Mason, Essex Bridge, Dublin," and vernier adjustment, the trunk with glass thermometer (damaged) enclosed mercury tube, and urn shaped cistern cover, approx. 97cms (38") long. (1)

A collection of miscellaneous silver Platewares,  comprising a large oval silver plated Teapot, a small silver plated Coffee Pot with cavity centre, an urn shaped Claret Jug, 34cms (13 1/2") a rectangular crested and plated Tray with pierced gallery and canted corners on lion paw feet, 46cms (18"), an oval Meat Platter, a four compartment Sandwich Stand, and two small circular Waiters. (8)

A fine pair of George III style demi-lune satinwood and kingwood crossbanded inlaid Commodes, each top inlaid with a central fan issuing anthemions above a frieze inlaid with hanging swags supported by ribbon bows including the frieze drawer, the two doors below and two side panels inlaid with a large classical urn on four square tapering spade legs, 92cms x 132cms (36'' x 52''). (2)

A French brass Mantle Clock, in the Indian style, the movement by Japy Freres, striking on a gong, the centre dome with an urn finial and a conforming urn to each corner above a brass turned column to each corner and a porcelain dial decorated with birds and flowers, and Arabic numerals, on a moulded step base, 30cms (12''). (1)

A Majolica Urn, of circular baluster form with flared rim, the body decorated with Renaissance style depictions of the Arts and Crafts in amber and pale blue, raised on circular stepped base, the underside inscribed 'Be Brave Be Not Too Brave,' approx. 42cms (16 1/2'') tall (some damage). (1)

Godfrey Kneller (1646 - 1723) Portrait of a Lady, said to be Agnes Huckle, standing by a Classical Urn   O.O.C, 239cms x 147cms (84" x 58”) Signed and dated. Provenance: The Chamberlain family, Abbeycwmhir Hall, Llandrindod Wells, Powys, Wales. This full-length portrait depicts a young woman, said to be Catherine (also known as Agnes) Huckle, the natural daughter of the artist. Probably in her teens, Agnes is shown wearing a white satin dress and standing on a balcony. Her hair is tied back, allowing the painter to depict face and neck, emphasising the red lips and slight blush on her cheeks. The girl’s hand rests on a pedestal, on which stands a classical urn containing a bouquet of flowers. Beyond is a wooded landscape, with a sunset. Her blue satin wrap is held with a string of pearls, worn casually over the shoulder. Although Kneller was married to Susanna Grave, the marriage was childless, and he had a mistress named Voss (or Vos), who, according to one account, ran a coffee house in St. James’s Market. She and Kneller had a daughter, Catherine (also known as Agnes), who was born around 1690. Agnes was the model for several paintings by Kneller, including St. Agnes and Mary Magdalene. She later married James Huckle and had a son named Godfrey, who changed his name to Kneller and became the artist’s heir.  Born in Lubeck, Germany, the son of a surveyor, Godfrey Kneller attended the University of Leiden where he studied mathematics. An interest in art led him to move to Amsterdam, where he was apprenticed to Rembrandt. His early works, such as Isaac blessing Jacob, reveal the influence of Rembrandt and Ferdinand Bol. Painted in 1672, his Elijah and the Angel is in the Tate collection. That same year, Kneller, along with his brother, went to Rome to study with Bernini and Carlo Maratta, and copy works by Raphael. They returned to Lubeck in 1675, before travelling to England, where they were keen to see works by Anthony Van Dyck. In London, Kneller, competed with, and imitated, the leading portraitist Peter Lely. Building up his reputation and studio, he painted portraits of King Charles II, the Duke of Monmouth and other leading members of society, including James Cecil, Earl of Salisbury, and Henry Somerset, Duke of Beaufort. Two years after Lely’s death in 1680, the Kneller brothers moved to the Piazza, Covent Garden, where Lely had lived. In 1684, Godfrey, by now the leading portrait painter in England, went to France to paint Louis XIV. During the reign of William and Mary, he was appointed court painter, and painted equestrian portraits of the Duke of Schomberg and William III. In 1700 he was made a Knight of the Holy Roman Empire. For Queen Mary, he painted a series of portraits known as the ‘Hampton Court Beauties’. He also painted a series of admirals. Kneller maintained a large studio, with assistants, and had many sitters per day. He is famous for his ‘kit-cat’ portraits, measuring 36 x 28 inches and named after a Whig dining club. In the early eighteenth century, his style became more classical. With the accession of George I in 1714, Kneller was named principal painter and created a baronet. He died in 1723. Dr. Peter Murray, 2023

A Majolica Jardinière, of urn form the multi coloured ground moulded in high relief with ram head handles hung with fruiting swags, above four seated putti on a circular base, 48cms h x 57cms w x 43cms d. (1)

A very fine Irish brass mounted Longcase Clock, the shaped cornice above a square brass dial, Signed  Dan O'Neill, Dublin, the silverised chapter ring with Roman & Arabic numerals and a subsidiary dial for seconds, the arched and ebony strung trunk door with bead and urn pilasters, on a conforming moulded and ebony strung box base with plinth, 211cms x 47cms (83'' x 18 1/2''). (1)

An attractive 19th Century French Desk Companion, decorated with ormolu seated hound, urn on assimilated tree stump and hinged inkwell, mounted on a shaped and stepped base with beaded rim. (1)

A GEORGE II MAHOGANY KETTLE OR URN STAND CIRCA 1740 Incorporating a well figured top 60cm high, 37cm wide, 34cm high Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including: under close inspection there are some indistinct possible small dowel fixings to the top, with some fine cracks; some cracks to the leg/frieze joint areas and to some sections of the frieze border; some later blocks and stain to the underside; some marks to the underside of the feet; the simplicity of the design belies the quality of this piece.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer

A PAIR OF GEORGE III BLUE JOHN, ALABASTER, AND POLISHED BLACK ASHFORD SLATE COLUMNS CIRCA 1800 Each with urn finial above well figured columns, stepped bases 50.4cm high, bases 9cm square Condition Report: Under strong light signs of old glue around joint sections of urns finials, column shafts and around margins of bases Under UV clearer signs of restorations to losses and breaks throughout- UV images taken but difficult to catch on camera Variance in colour between the two urns and slight difference in turning to upper banding- this may be original to the pieces from the selective use of minerals employed but one ball clear urn finial almost certainly later Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.   Condition Report Disclaimer

A FRENCH LOUIS XV ORMOLU CARTEL WALL TIMEPIECE WITH PULL-QUARTER REPEAT GODEFROY, PARIS, CIRCA 1770 The single train movement with later Brocot-type recoil escapement and pull-quarter repeat mechanism visible on the backplate, the circular white enamel Roman numeral dial Signed 'GODEFROY, A PARIS' to centre and with fine scroll-pierced and engraved gilt brass hands, the case cast with urn surmount and female terms flanking the dial 66cm high, 33cm wide  Condition Report: Ormolu case looks to be largely untouched- surface dirt from age which has left overall appearance slightly less impressive than it actually is- will be rewarded from having a good sympathetic clean. Small hole drilled to side of top- no missing ornament that we can tell- perhaps for suspension? Dial with loss around winder and further small nibbles to outer edge- later screws to margins around dial, hands possibly original and minute hand with old repair. Movement as per cataloguing- later additions and in need of clean and overhaul, with a later pendulum but no winder. Has not been in use or working order for some time Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Condition: due to the mechanical nature of clocks and the fact that most are of great age we cannot offer any guarantee as to whether they are in working order or free from major faults or restoration. Although we endeavour to catalogue items in a fair and informed manner, omission of any comments or observations regarding the condition or originality of a clock in the description does not necessarily indicate that it is free from significant faults, restoration or is in working condition. We would strongly advise any prospective purchaser to view the item in person or request a condition report and/or further images prior to bidding. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A GOOD PAIR OF ITALIAN GRAND TOUR ALABASTER VOLUTE KRATERS EARLY 19TH CENTURY 67cm high, 30cm wide across the handles, bases 19cm square These rare vases derive their shape from the Greek volute Kraters used as mixing vases for water and wine. The earliest date from around 600 B.C and were traditionally made in terracotta and then painted with scenes of feasting, mythological events, and allegorical vignettes. By the Roman times, craftsmen utilised the shape but in marble and semi-precious hardstones with relief carved scenes. Excavations in the late 18th century and early 19th century had brought rediscovery of these Roman vases to the attention and delight of collectors and travellers on the Grand Tour: Most notable were the krater with dancing figures in the Borghese collection, the Townley Vase, and the Sosibios Vase- the inspiration for Keats in his Ode to A Grecian Urn : O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought.... When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,-that is all Ye know on earth, and all ye need to know." In this pair of vases the craftsmen has chosen to cherish for posterity the colour and beauty of the stone itself, with carved further embellishment deemed unnecessary. Comparison with the Faustino Corsi collection at Oxford would suggest that the stone is close to what Corsi called Alabastro di Palombara but with inclusion of further richer reds of iron oxides. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. With some natural flaws and faults- some of which have had remedial infill- from the varying colours of this under UV we would suggest that some is from original construction and some of which is later. Neck to one with remedial restoration and also to top of handle by it- the other with some nibbles and loss to neck- some corner fritting and losses to basesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

ROMAN SCHOOL (LATE 18TH CENTURY) DRAWING OF A ROMAN CINERARY URN IN ORIENTAL ALABASTER, KNOWN AS THE URN OF LIVILLA Watercolour, pencil, and ink Inscribed 'English fecit for the vase' (lower right); further extensively inscribed (lower centre) 91 x 56.5cm (35¾ x 22 in.)Provenance: Mr. R. Doughty, Leominster, United KingdomThe ancient Roman urn of Livilla was discovered in 1777 in the remains of the Mausoleum of Augustus and takes its name from six travertine funerary cippi - the fragments of which are reproduced in the lower section of the present sheet - each bearing the name of a member of the Imperial family, and the nearest to the urn was that of Julia Livilla (c. 18-41 A.D.). She was the sister of Caligula, daughter of Germanicus and great-granddaughter of Augustus. Given the prominent location where the urn was found, its imposing size and exquisite material, it is possible that it did once contain Livilla's ashes, or those of another member of the imperial family. The urn is in the Vatican Museums and is most probably carved of Alabastro di Palombara, often referred to as Oriental, or Egyptian, alabaster. The lustrous patterns and changing hues of the alabaster's rings and veining have been so meticulously recorded , that it was most likely made in Rome, in the presence of the object. The inscription and scale in English indicates that it was made for a British audience, likely a Grand Tourist visiting the Eternal City. The art historian Professor Cinzia Sicca has suggested that given the date of the excavation of the Urn of Livilla and its presence in Rome, our sheet could have been commissioned by an agent such as the prominent antiquary Thomas Jenkins (c. 1722-1798), who employed draughtsmen including Claude François Nicole (c. 1700-1783), Nicolas Mosman (1727-1787) or Friedrich Anders (born c. 1734), all of whom specialised in drawings recording antiquities. Professor Sicca has also suggested that the present work may have served as the model for two drawings of the Urn of Livilla in the collection of the London Society of Antiquaries and perhaps the former was owned by a member of the Society, who offered to have it studied and copied. It is interesting to note that, like the present watercolour, the drawing in the Society of Antiquaries (Classical Antiquities Album 10) illustrates the alabaster urn without any cracks on its surface, nor the inscription added at the behest of pope Pius VI at its base, characteristics that reinforce the potential connection between the two drawings. Condition Report: There is a horizontal folding crease running along the centre of the sheet. Various repaired tears to the edges of the sheet, together with some further creasing. Some spots of discolouration scattered throughout. Under glass, unexamined out of frame.Condition Report Disclaimer

An Edwardian silver caddy of plain bombe design with hinged lid and urn finial with applied gadrooned rims, supported on four paw feet, hallmarked Chester 1901, makers marks are rubbed, 224gms

A late Victorian cased set of six silver teaspoons and tongs, each with plain bowls with twist stems and urn finials, London 1890, makers mark for Mappin & Webb, g/w 98gms

GOOD JACOBEAN-STYLE OAK MONK'S BENCH, having applied moulding to the back and lower panels, carved urn supports to the arms, with hinged box seat on turned bun feet, 75.5cms H (closed), 96cms H (fully open), 122cms W, 51cms DProvenance: private collection London

Two Bing & Grondahl vases together with further set of four baby figures, Royal Copenhagen leaf shaped dishes, porcelain urn etc

A Danish copper water urn, height 77 cm

Chinese plum streaky glaze urn shaped vase, blue seal mark to base, 22cm.

Spode limited edition lidded urn vase decorated with windmill and cottage in landscape scenes.

77cm sharply curved fullered blade with traces of an incised maker's mark, characteristic hilt with trefoil terminating langets, bulbous domed quillons, scroll knuckle guard with bud terminal, urn-form grip, shallow dished disc pommel with sun-form dome finial, the whole profusely decorated with panels of flowers and foliage, with good traces of gilt highlights, the inside of the guard with a band of calligraphy, contained in its leather wrapped wooden scabbard.

87.5cm tapering blade with raised medial ridge and drawn out to an armour piercing tip, the forte with foliate chiselled reinforcing strap, characteristic hilt with broad upturned guard, urn-form grip, the winged pommel with foliate chiselled reinforce. For similar swords see Elgood, Hindu Arms and Ritual.

80.5cm flattened diamond section fullered blade incised J.J. RUNKEL SOLINGEN to either side, regulation gilt hilt with heart-shaped guard and D-shaped knuckle bow, urn pommel, silvered wire bound grip, contained in its steel scabbard.

80.5cm blade decorated with stands of arms, crowned GR cypher and the Royal arms, traces of gilt highlights, characteristic hilt with D-shaped knuckle guard, single scrolling side bar support, urn-shaped pommel, wire bound fishskin grip.

Very large classical garden urn on a plinth Ht 125cm Diameter 78cm

Five Various pieces of Galvanised Iron to include Square box Chicken feeder with Top Carry Handle, Rectangular Smaller Example, 30 Section Trough Feeder and Two Milk Urn Lids

A 19TH CENTURY MARINE-THEMED COPPER HOT WATER URNtricorn base with dolphins supporting pot-bellied urn with mermaid handles, tap, and dolphin handled lid -- 17½in. (44.5cm.) high probably missing burner, over overall condition.

A WOOD SHAVING BOX, REPUTEDLY BELONGING TO CAPTAIN HARDY, CIRCA 1800 the box fitted for shaving utensils and mirror (now lacking) with later engraved plaque, now detached, stating ownership by Captain Thomas Masterman Hardy: “and was on board HMS Victory at the Battle of Trafalgar” -- approx: 11 x 9 x 5in. (28 x 23 x 13cm.); together with two shaped black japanned tin boxes for naval bicorn hats, 19th/20th century, one with plaque stating: “W Sherlock Esq. RN” -- 22in. (56cm.) high max.; four oval brass furniture fittings, circa 1810, stamped with an urn inscribed “Trafalgar Sacred to Nelson”; and a modern leather case(8) Shaving box: Sotheby's London, 3 May 2000, lot 232.

A Wedgwood Jasperware miniature mantel clock, with a pair of Wedgwood Jasperware twin handled urn vase garnitures; together with a Maling ceramic table lamp and a Lladro figure of a dog. (5)

A selection of decorative ceramics and pillboxes, including: an Edwardian twin handled trophy cup or urn, decorated with roses, within pink and gilt borders, faint mark to underside, likely by Minton; a pair of Continental floral encrusted pot pourri vases; a Derby twin handled urn vase; a Villeroy & Boch miniature cream jug, with blue floral decoration; a Royal Crown Derby ‘Derby Posies’ pin dish; a pair of miniature a Royal Doulton ‘Bunnykins’ egg cup; and others. (A/F)

A George III oak and mahogany longcase clock,with an urn finial, above a painted 12" dial with Roman numerals, inscribed 'Lewis, Swansea', subsidiary seconds dial and date aperture, with rolling lunar dial to the upper arch, to fluted pilasters, on ogee bracket feet, 51cm wide24.5cm deep225cm highCondition ReportWith weights and pendulum. Two splits to the front of the case. Crazing to the painted dial. Please note that the movement has not been tested and therefore, the working condition is unknown.

A collection of six various antique South American terracotta objects; a.o. Chancay, small figure urn, 900 - 1200 AD and a stone Guerero slab figure with a bound stone rectangular with modern rope and a large metal implement. various sizes [5]

A large Chinese bronze twin handled urn with an etched decoration of pagoda in moonlight. H.23 Dia. 25 cm.

Urn stand, Chinese carved hardwood. H.90 W.30cm.

A large Naples twin handled campana porcelain urn, moulded with figures, buff and glazed finish, 62 cm high, 46 cm diameter, marks to underside

A Victorian cast brass door plate with a central urn 40cm x 18.5cm and a pair of brass scrolled curtain tie backs. (3)

A Regency style 'tea caddy' with an all over simulated marquetry finish, surmounted by an urn finial.

A weathered cast composition stone garden ornament in the form of a standing classical water maiden 83 cm high, raised on an associated stepped circular natural stone plinth, 96 cm (combined height), together with a further weathered composition stone urn with classical tied ribbon and swag relief detail, 40 cm diameter x 33 cm high (2) (AF)

A weathered cast stone ornament in the form of a standing maiden releasing a bird, together with three terracotta flared flower pots of varying size and design, a weathered rectangular composition stone planter, a further weathered urn socle, 4 painted and glazed flower vases with incised lettering (collection) (AF)

A weathered cast composition stone garden urn of classical design raised on a loose socle and square stepped pedestal, the urn 41 cm diameter x 88 cm (full height) together with a further weathered composition stone pedestal with raised laurel garland detail, 35 cm square approx x 41 cm high and two further weathered cast composition stone planters of circular tapered form with relief detail (4) (af)

An old painted and weathered cast iron garden urn, the shallow circular bowl with flared egg rim, fixed on an unusual stepped circular base 48 cm diameter x 59 cm high

A weathered garden seat on a simulated trunk base, a number of terracotta pipes and a circular weathered urn with trailing and fluted detail

An Edwardian mahogany and inlaid writing table, of bow fronted outline, with tooled leather top, with two long and two short drawers with urn and garland inlaid decoration, raised on square tapering legs terminating in spade feet, 95cm wide.

A 19th century French Empire Egyptian revival circular table, with black marble top with a moulded edge, the frieze with flowerhead and foliate ormolu decoration, raised on three Egyptian caryatid supports linked by a triform undertier with urn finial, raised on gilded paw feet

A George V silver coffee pot, maker Harrison Brothers & Howson, Sheffield, 1923, inscribed, of cylindrical tapering form, with shallow domed hinged lid with urn finial, raised on a spreading circular foot, 22cm high, 582gms, 18.71ozs.

A pair of Victorian silver urn shaped pedestal pepperettes, Henry Wilkinson & Co Ltd, Sheffield, 1880, 83mm.