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A White Marble Mantle Clock, with a decorative urn to the top, the bell ring and workings stamped with CV, enamel dial with Roman numerals. (winder, key and pendulum intact)

A Persian Carpet, with blue and gold floral design on cream ground, decorative urn design to the central panel, approx 170 x 110 cms

A fine French Sevres style porcelain inset ormolu mantel clock, Jean-Baptiste Delettrez, Paris, circa 1865, The circular eight-day bell striking movement with Brocot type pendulum regulation and stamped with oval J.B.D trademark above serial number 31209, 21-9 to backplate, the circular porcelain dial finely painted with a cherub in flight to centre within gilt bordered pink ground Roman numeral cartouche chapter ring and bead cast bezel, the arch-shaped case with cylindrical moulded upstand supporting twin handled urn surmount applied with porcelain plaque portrait of a lady in 18th century dress and flanked by cast floral trails and swags applied to the sides of the arch, the front with arched gilt-edged floral trail decorated panel over dial flanked by further female portaits and conforming floral inserts with shaped panel of a cherub in flight beneath dial between, the sides with bowed porcelain panels finely painted with musical trophies within pink ground gilt borders, the elaborate skirt base with richly chased foliate top moulding and inset with an arrangement of further porcelain panels, on cast toupe feet with foliate apron between to front, 49.5cm (19.5cm) high; with gilt painted wood stand applied with engraved brass presentation plaque dated 1869, 54cm (21.25ins) high overall

A French gilt brass and champleve enamel mounted green onyx four-glass mantel clock garniture, The movement by S. Marti and Cie, Paris, late 19th century, The eight-day circular gong striking movement stamped with S. Marti et Cie, MEDAILLE D’ARGENT 1889 roundel, oval A.1 trademark and numbers 4486, 5 and 2 to backplate and with polychrome enamelled gilt brass twin glass capsule mercury ‘compensated’ pendulum, the gilt dial with rosette decorated centre, Arabic cartouche numerals and steel hands within conforming enamelled bezel, the bevel-glazed case with humped onyx pediment applied with winged motif above leaf cast cornice and twin putto caryatid mounts incorporating sky and cobalt blue ground polychrome enamelled panels and moulded bases to the canted front angles, on skirt base with further band of enamel decoration forming the canted top moulding and generous foliate case squab feet, 34cm (13.5ins) high; with a pair of ovoid urn side pieces en suite, each with gilt flared neck applied with scroll cast lion’s mask side handles and on stepped skirt base incorporating canted polychrome enamelled band and foliate cast squab feet, 27cm (10.5ins) high

A French gilt brass mounted marble portico mantel clock garniture, Unsigned, early 20th century, The circular eight-day countwheel bell striking movement with Brocot type pendulum regulation and stamped with indistinct circular JAPY FRERES trademark and numbered 7690, 5 4 to backplate, the circular cream enamel Roman numeral dial with concentric double stylised swag painted centre and fine scroll pierced brass hands within Arabic five minute outer track and hinged convex bevel glazed cast brass bezel, the drum-shaped case with finial modelled as an oval urn above a pair of columns surmounted with further urns issuing gilt floral sprays flanking tied musical trophy and laurel spray cast apron and pendulum with bob modelled as a basket of flowers, on rectangular base with gilt toupe feet, 41cm (16.25ins) high; with a pair of twin branch candelabra en-suite, each with central column terminating with a nozzle and drip pan flanked by scroll cast branches and on stepped square marble base with cast brass feet, 28cm (11ins) high

A French Directoire period ormolu mounted white marble mantel clock, Unsigned, Paris, circa 1795, The circular outside countwheel bell striking movement with anchor escapement and silk pendulum suspension, the circular convex white enamel Arabic numeral dial inscribed A PARIS to centre and with fine engraved lozenge-pierced gilt hands within outer track with Arabic fifteen minute annotations set behind bead cast hinged convex-glazed bezel, the case with marble shallow-urn surmount issuing gilt rose sprays above glazed jasperware medallion-centred laurel cast apron and rosette bob pendulum beneath dial, supported on a pair of tapered stop-fluted baluster uprights with engine-turned mouldings and floral spray surmounts, the plinth base with central gilt repeating strapwork inset rectangular panel flanked by conforming inserts to the rounded angles, on toupe feet, 50cm (19.75ins) high

A French Louis XIV style gilt brass mounted tortoiseshell mantel clock, Unsigned, circa 1900. The rectangular two train gong striking movement with Brocot type pendulum regulation and stamped with indistinct trademark beside MADE IN FRANCE 60145 to backplate, the 5.5 inch circular twelve piece blue-on-white Roman cartouche numeral dial with symmetrical foliate scroll cast centre and blued steel hands set behind hinged convex bevel glazed moulded brass bezel, the case with cast gilt brass triform urn surmount to the concave sided platform upstand above shallow-arched top fronted with palmette centred leafy scroll crest, the sides of shouldered-scroll outline form fronted with conforming mounts with inset scroll returns beneath dial, on brass-edged rectangular skirt base incorporating shaped apron to underside and leaf cast ogee shaped square section feet, 39cm (15.25ins) high

A French gilt brass mounted Boulle ‘religieuse’ table clock with pull-quarter repeat, The movement signed for Louis Ourry, Paris, late 17th century and later, The two train movement with rectangular plates united by five tapered baluster pillars pinned at the rear and signed Louis Ourry AParis to the lower margin of the backplate, the going train now with Brocot type escapement, the strike train with scroll-cut sculpted steel gate and high position countwheel for sounding the hours on a bell mounted within the superstructure of the case, the pull-wound quarter repeat mechanism with separate hammer for sounding the hours on the same bell and two for sounding quarters on a further pair of bells, the 7.5 inch circular twelve-piece Roman numeral enamel cartouche dial with delicate foliate strapwork rosette decorated matted centre within chapter ring with scroll-chased infill around numerals and every minute numbered to the outer track, with mask applied to the rear of the dial plate incorporating matted infill to the square upper angles to allow secure fitting into the rectangular dial aperture of the case above decorative gilt brass mount modelled as a pair of standing angel-winged nymphs supporting the dial, now in a case with flambeau urn finials to the fine engraved brass, pewter and red shell foliate scroll contra-parti marquetry veneered domed superstructure above cast gilt brass gallery inset frieze incorporating projecting pedestals for the second tier of larger flambeau finials and complex brass bound ebony mouldings to cornice, the front with repeating leaf cast brass surround to the arch-glazed front door with marquetry scroll borders and conforming infill to upper angles flanked by full-height Corinthian strip pilasters with fine cast capitals over geometric strapwork and stylised leafy plant decorated shafts, the sides with tall rectangular windows with cast brass surrounds within foliate borders and flanked by conforming pilasters, the rear with walnut veneered panel door, on moulded base with leaf-cast gilt brass feet, (the case possibly 19th century, clock generally heavily distressed commensurate with being dropped although veneers are generally intact), 58.5cm (23ins) high. Louis Ourry is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Paris circa 1680. He is further recorded on the British Museum website as becoming a master watchmaker in 1684. The movement of the current lot is of fine quality and incorporates pull-quarter repeat which is rarely seen on French clocks of this period. The case appears to have been made for the movement and dial and is also of suitably fine quality however the pattern for the marquetry does not appear to match other ‘period’ examples as analysed in Plomp, Reinier Early French Pendulum Clocks, 1658-1700. Further investigation confirms the presence of comparable Napoleon III ‘revival’ examples with the same basic pattern of marquetry, this would suggest that the current case was made in the 19th century to replace the original, probably due to wear and tear.

A Victorian gilt brass mounted ebonised quarter chiming bracket clock, Retailed by J. Langelaan, Southsea, late 19th century, The four pillar twin chain fusee movement with anchor escapement and two-in-one strike train chiming the quarters on four gongs and striking the hour on a further larger gong, the backplate stamped D.R. PATENT over W&H, Sch for Winterhalter and Hoffmeyer to lower margin, the 7 inch arched brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and foliate scroll cast spandrels beneath arch with twin silvered subsidiary rings for CHIME/SILENT and FAST SLOW set within conforming gilt relief infill centred with a cherub mask to apex,. The ebonised bell-top case with large twin handled oval section urn surmount above applied floral swag mounts and conforming smaller urn finials to superstructure, the front with silvered brass canted bezel inset arch-glazed door applied with cast female mask escutcheons to uprights and scroll cast angles to upper quadrant panels, the sides with arched sunburst mask centred brass sound frets, the rear with rectangular grille inset door, on cavetto moulded skirt base applied with grotesque mask centred apron mount flanked by conforming foliate cast claw feet, the rear with applied trade plate J. LANGELAAN, 105 PALMERSTON ROAD, SOUHSEA, 72cm (28.5ins) high overall

A very rare German Renaissance gilt brass astronomical monstrance table clock case originally fitted with a Universal Astrolabe, In the manner of Jeremiah Metzger, Augsburg, circa 1570, the movement and dial centre later, The high grade English single fusee movement dating to around 1830 with deadbeat escapement, five-spoke wheel crossings, concealed clicks to the fusee and twenty-four hour motionwork to the large diameter frontplate, the dial with later centre engraved with foliate scrolls on a matted ground and incorporating tripartite banner bearing spurious inscription Reighs, Dresden, 1536, set within original narrow twenty-four hour chapter ring with asterisk half-hour markers, button touch pieces and outer track engraved for every minute, the case with ovoid urn finial to the disc-shaped upstand engraved with vestigial subsidiary day-of-the-week dial annotated with respective planets to rear opposing fine foliate scroll cast and pierced rosette within moulded surround to front and with delicate chased open strapwork fret to the circumference, the rear of the principal section with centre cut-out to accommodate the later movement leaving border engraved with lines for stereographic projection around the celestial equator stamped POLUS, MITNECHTLICH to upper margin opposing MITLEGLICH, POLUS at the base, the left and right hand margins with a series of horizontal lines annotated with symbols for the signs of the Zodiac, the outer edge of the ring divided for degrees annotated in five degree intervals for every quadrant set within conforming outer scale to the moulded surround, the edge of the shallow drum casing with continuous border etched in low relief with stylised Arabesque strapwork within tightly moulded bands, the whole raised on a patinated bronze figure cast as Atlas seated on a fine pieced and chased strapwork dome with moulded collar over shallow ogee-shaped foot decorated with conforming continuous Arabesque strapwork, 34.5ins (13.5ins) high; now mounted on a circular turned ebonised wood base, 39.5cm (15.5ins) high overall. The current lot can be closely compared with an example signed by Jeremias Metzger and dated 1564 residing in the collection of the Victoria and Albert Museum (Museum Number 4273-1857). Another similar example is in the Kunsthistoriches Museum, Vienna, and is illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 146 (Fig. 118); whilst a third (which is presumably lost) features in a full height portrait of Anna, Duchess of Bavaria painted by Hans Mielich of Munich in 1556. The presence of a twenty-four hour chapter ring to the main dial of the current lot differs to that of the example by Metzger in the V. & A. which has a relatively simple and fairly conventional twelve-hour dial layout incorporating an alarm disc to the centre. The surviving elements of the dial also indicate that it would have had at least two-hands (hours and minutes) whilst the relatively narrow proportions of the hour and minute rings suggests that space was required in the centre for a reasonably complex feature. The most obvious candidate to occupy this space would be a form of standard astrolabic dial (similar to that fitted to the example in the Kunsthistoriches Museum, Vienna) however the presence of a Universal Astrolabe to the rear of the clock would perhaps render this unnecessary. It is therefore more probable that the dial centre was possibly fitted with a wide concentric band of self-adjusting overlaid sectors giving the lengths of the day and night which, when used, were often positioned within a ring annotated for the signs of the Zodiac with the relative positions of the sun and moon indicated by a pair of hands issuing from a disc engraved with a diagram of aspects to the centre. Close examination of the monstrance clock that features in the portrait of Anna, Duchess of Bavaria by Hans Mielich seems to support the possibility of such a dial layout (which would have been essential for providing the correct time under the system of unequal hours in use during the 16th century). The rear of the case of the current lot is fitted with the remnants of a Universal Astrolabe with enough of the engraving surviving to establish that it was laid-out to a design described and published by the Spaniard Juan de Rojas y Sarmiento in 1551 (although he was describing a design which was already known to exist). The Universal Astrolabe differs from a standard astrolabe in that it projects the celestial sphere from pole to pole (hence ‘from the side’) rather than across the equator as with a normal astrolabe. The inherent advantage of this type of projection is that the relative position of celestial bodies can be plotted for different latitudes whilst standard astrolabes require the position of the stars to be determined and recorded on a template (rete) before their positions for a given time and date can be observed. The Universal Astrolabe is particularly useful for calculating the length of the day for any given time of the year which is particularly relevant when considering the system of unequal hours in use at this time. The Universal Astrolabe originally fitted to the current lot was probably not connected or ‘driven’ by the movement in any way - it was most likely to have bee supplied as a form of accessory to allow independent calculations to be made. The disc-shaped surmount incorporates a dial for days-of-the-week to one side, this would have probably been fitted with a central disc (applied with a pointer to the circumference) as the centre is currently plain with little gilding. The other side is finely cast and pierced with foliate strapwork which resembles the decoration sometimes seen to the exterior of German ‘tambour’ clock watches of the period (see Basserman-Jordan, Hans von THE BOOK OF OLD CLOCKS AND WATCHES page 65, fig. 41a). The fact that this panel is pierced (coupled with the delicate fretwork to the outside edge of the surmount) suggests that it may have also housed a bell - perhaps for an alarm (in addition to the day-of-the-week calendar mechanism). This possibility is supported by evidence in a form of a slot in the case beneath indicating that their was a mechanical connection between the movement and whatever was originally housed within the surmount. The base of the clock would have been fitted with a bell (probably for sounding just the hours). The Atlas figural support appears to be a relatively standard casting as the same basic model appears to have been used on two of the other examples noted above. The unusual low relief ‘Arabesque’ decoration to the ogee-shaped bottom moulding and to the edge of the shallow cylinder of the case can be compared to that on a drum-shaped table clock by Jakob Marquart, Augsburg dating to around 1560 illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 203 (exhibit 39). This decoration reflects the influence of Middle Eastern design borne out of a strong trading relationship with the Ottoman Empire. The current lot is an extremely rare survivor (albeit in partial-form) from the ‘golden’ period of early German Renaissance clockmaking with strong stylistic similarities to an example from arguably the most important workshop of the period - that of Jeremias Metzger of Augsburg. The original fitment of a Universal Astrolabe to the rear of the case appears to be an extremely rare, if not unique feature of possibly documentary importance.

Various items of pale blue Wedgwood Jasperware, and a darker blue small urn.

A reproduction mahogany and marquetry bureau, the fall decorated centrally with an urn above four graduated drawers, flanked by turned pillars on bracket feet, 76cm wide.

A collection of seven British porcelain items to include two Aynsley vases, a Wedgewood urn and a Crown Devon teapot.

A contemporary continental painted ceramic table lamp of Classical urn form, raised on a octagonal pedestal base, decorated with relief studies of putti, together with a cream silk shade. H.75cm

`RELIANCE GEYSER` COPPER URN ON STAND, and various other copper and brassware

A DECORATIVE RESIN OCCASIONAL TABLE, and a similar urn and ashtray (3)

A VICTORIAN BLACK SLATE MANTLE CLOCK, with urn finial and cast metal detail (key and pendulum)

A FRENCH RAPIER, 18th Century, urn pommel, wire bound grip, pierced guard, length 90cm

WEDGWOOD GREEN JASPERWARE TWIN HANDLED COVERED URN, height 32cm

A VIENNA TWIN HANDLED COVERED URN, painted figure scene, indistinctly signed and titled `Angeleia` (restorations)

A LARGE CONCRETE GARDEN URN, on separate base

AN EDWARDIAN MAHOGANY OCCASIONAL TABLE, (Harrods stores ltd label attached), a modern mahogany bookcase, rush seated stool, ceramic urn, bedpan and a chamber pot (6)

Vacheron and Constantin Geneve: a 18ct gold and enamelled pendant watch,with enamelled 18ct chain, movement marked Vacheron and Constantin 369844, back of locket with enamelled floral bouquet in urn (in working order)

PAIR OF SILVER SALT AND PEPPER POTS of urn form, Chester marks, approximately 84g, 9cm high

Regency period hot water tea urn with Egyptian face mask columns. Height 42cm.

DRESDEN German floral porcelain lidded urn, c1950s. 40cm

French porcelain lidded urn with hand painted floral sprays & gilded highlights, 20th century. 28cm

A marble tapering pedestal urn.

An assortment of carriage lanterns and oil lanterns, a large Chinese urn and a boxed set of Ravenhead Slim Jims glasses.

A pair of decorative, heavily embossed urn-shaped ewers, both surmounted with a seated cherub.

A late 18th/early 19th century gilt wood Italian wall mirror, urn surmount with swags - H125cm, W66cm

A tray including a modern Delft urn and cover, Victorian brass kettle, silver-plated bottle coaster etc

An interesting collection of ceramics including an 18th Century enameled box lid, pin cushion dolls, silver topped Bavarian mini urn, miniature cold painted bear together with three miniature moulded figures (2 cats and one dog) possibly early 19th Century.

A three piece contemporary weathered teakwood garden suite comprising table of rectangular form with x shaped frame united by a single stretcher with turned detail, a pair of two seat benches with slatted seats and backs each with central urn shaped panel to backs, each piece bearing plaque Stuart Garden furniture Wiveliscombe, Somerset

A weathered cast composition stone campana shaped garden urn with raised relief trailing floral and face mask detail

A reproduction cast iron fire basket, the arched panelled back with raised relief classical urn, tied ribbon and swag detail over a pierced trellis frieze with urn finials

A weathered composition stone garden urn, the squat circular bowl with deep relief acanthus detail raised on a square stepped pedestal

A Victorian terracotta garden urn, the squat circular bowl with moulded rim and raised leaf detail, raised on a square cut and panelled plinth with oval stamp to the top Hollybrook Brick Company Limited, Bristol (as found, lacks central support)

A Victorian walnut nursing chair, the raised back with carved urn, flowering vase, scrolling acanthus and further detail over a serpentine upholstered seat and scroll cabriole forelegs

A collection of Chinese carved hardwood urn stands, and a cinnabar lacquer circular trinket box

A set of five Georgian-style mahogany dining chairs and two matching carvers with a dome shaped top rails, wheat sheaf and profuse fret work to the urn shaped splats, upholstered seats, raised on tapered fluted legs with `H` shaped supports

Three Georgian-style mahogany dining chairs with dome shaped top rail, profuse fret work to the urn shaped splat, fabric upholstered seats, raised on cabriole legs with `H` shaped stretcher

An early 20th century Mediterranean-style milk-glass oil lamp with etched shade on urn shaped circular support and floral and foliate decoration, 47cm high

A late Victorian parlour armchair with urn marquetry decoration, on cabriole legs.

CONCRETE URN

5 GARDEN ORNAMENTS INC BIRD BATH AND URN

An Edwardian brass half tester bed, the headboard and footboard with square section spindles and urn-topped columns. 227cm by 206cm by 142cm

A collection of miscellaneous ceramics including a Radford vase with green and red stylized flower decoration, a Royal Doulton Camilla pattern vase, an urn shaped Wedgwood vase in the Meadow Sweet pattern, etc

A selection of silver plated wares to include a drinks tray of oval form with pierced gallery sides, embossed borders and shell decorated loop handles, together with a silver plated urn shaped wine cooler with loop handle and chased foliate decoration on pedestal foot, a five piece cruet set with cut glass bottles with plated caps/lids with pierced sides and loop handles, various other plated items to include one coaster with glass liner and plated base, a cased set of fish knives and forks with polished bone handles, etc

OVERMANTEL MIRROR, 19th century French and later grey painted with urn crest, 83cm W x 140cm H.

URN, silver plated with twin handles and foliate decoration, 36cm H x 30cm.

Edwardian Neo-Classical silverplated tea urn by Paynes and Amile Manchester 40cm

Beswick Seagull, Copenhagen jug, Mintons two handled urn, Lladro collectors plaque, Royal Worcester shell vase and three Continental plates

A 19th century Chinese Famille Rose plate of octagonal form, hand decorated in polychrome enamel with birds, flowering urn and trees, 29cm diameter, together with a Cantonese export dish, decorated with bird, strawberries and insects, 15cm and a Famille Rose dish, decorated with figures in a interior within a border of flowers and insects 12cm diameter.

A late 19th/early 20th century copper jardiniere, of lobed urn form on stepped circular foot.

Two pieces of 'Bow' China, a Jardiniere and a tall stemmed Vase, both decorated with birds and flowers in blue with a black surround, together with a stemmed two handled Urn also decorated with birds and butterflies.

A Victorian copper twin handled urn with brass tap, together with a 'Classic Accessories' brass car horn

A late 19th century marble urn of ovoid form

A large concrete urn

A pair of Victorian Spelter figures of urn carriers, height 20`