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A painted pine trunk, with metal mounts and handles, 95 cm wide

Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.

R. Taylor, an early 19th-century 8-day oak long-case clock, the painted broken arch dial bearing the portrait of Queen Caroline, the hood with swan neck pediment, 47 cm wide x 25 cm deep x 220 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire The glass of the hood is cracked. There are no weights or pendulum, so not in working order.Updated:The movement looks very clean and looks as if it has been recently restored and re-gutted.The cheeks that support the movement are uneven. It would seem that a packing block is missing from the right-hand side. This causes the dial to sit awkwardly in the hood/mask. It is common for these to be replaced.The hood door has a cracked glass panel, the clock has some patches to the veneers.The trunk door does not have a key.The clock does not have either weights or a pendulum.In short this clock would need some work to make good but it looks as if most of the horological work has been done, but sadly it will require a pendulum and weights.

A Chinese Famille Rose porcelain baluster vase, late Qing Dynasty probably Guangxu,but bearing an apocryphal zhuanshu mark for Qianlong, painted with pheonix beneath a paper bark maple in a peony strewn rock garden, bearing mark in seal to the base, mounted as a lamp but undrilled, 16 cm diameter x 32 cm height of vase, together with a Chinese Famiile Rose porcelain Gu shaped vase painted with cranes, Lady Amhurst pheasants below a gnarled tree trunk, 20 cm diameter x 40 cm height of vase, mounted as a lamp but undrilled.The baluster vase has a wooden bung glued into the mouth but is in good order without chips or cracks or holesThe Gu shaped vase is damaged and glued back together at the rim, but it is un drilled.

Liberty Heritage limited edition pewter and enamel clock, 188/250, design no. 9808, with enamelled face, within rounded rectangular border, stylised foliage to the trunk, 23cm high From the collection of the late Maurice Costley Condition ReportThere are some small scratches and wear to the casing. The battery pack inside is loose. The hands are not currently moving, but it may just need a new battery - I can't tell without changing the battery.

A mahogany longcase clock by Andrew Smith, North Berwick,12 1/2in dial, 220cm high overallCondition ReportTrunk: 34.5cm wide, 18.5cm deepHood: 52cm wide, 25.5cm deepKnocks and wear throughout with holes to the interior back. Crack to the glass on the hood.With historic flight holes. It is difficult to tell if the dial is original, I would think it may be slightly later. The truck does not appear to be warped. Please see additional images.

AN INDIAN WHITE METAL MAKARA PALANQUIN FINIAL Possibly Lucknow, Awadh (Oudh) or North India, 19th centuryWith a long cylindrical body, the white metal sheet finial designed as a Hindu mythological sea creature (makara), the vahana (vehicle) of the river Goddess Ganga, with an elaborate elephantine head with a curly mane on the forehead, a pair of small tusks projecting from the sides of the mouth, a long, upward-curled trunk with a lotus flower roundel instead of nostrils, and a crocodile-like mouth with a long, movable tongue, the bulging almond-shaped eyes encrusted with untested rubies, mounted on a plain, inclined metal stand.47cm long excluding the stand 47cm long excluding the stand Qty: 2

METAL SHIPPING TRUNK, GILT FRAMED MIRROR Condition

KIDS ROCKING HORSE, MAHOGANY COLUMN TABLE LAMP, LARGE HEAVY DUTY LOCK FAST ALUMINIUM STORAGE TRAVEL TRUNK Condition

LARGE SHIPPING TRAVEL TRUNK, LEATHER VINTAGE CASE, MAHOGANY IN BRASS FITTED COAL SCUTTLE Condition

LARGE METAL TRUNK WITH LARGE QUANTITY OF EARTHING WARE CONTAINERS, METAL LIDDED COOKING POTS, 3 JELLY PANS, LARGE TEAPOT, VARIOUS BRASS PANS ETC Condition

A Louis Vuitton Steamer Trunk, circa 1926, of rectangular form with monogram canvas and end brass carrying handles, stamped 1 rue Scribe Paris and with owner’s stencilled initials ‘E.B.C’, together with a modern purpose built stand30 x 112 x 55cmProvenance: The Collection of Lord Myners, former Chairman of the Board of Trustees at the Tate

Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light.  A couple of small marks to the cover where it has knocked against the handle.  Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body.  A small dent to one side, and some other light surface wear and scratching more commensurate with age and use.  Please see additional images and video online.  The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images.  Handle rotates freely.

A polished mahogany rectangular trunk with hinged lid and brass hinges and handles on claw and ball feet, 41½" long

A 19th Century pine domed sea trunk with iron handles and mounts 36" long

An Eastern carved camphorwood rectangular trunk decorated all-over with numerous figures and landscapes 40" long

A 19th century polished pine rectangular trunk with hinged lid, 35" long

An old rectangular cabin trunk with raised metal mounts 33" long

A 19th Century pine rectangular trunk with iron handles and mounts 31" long

A small old pine rectangular trunk with panelled front and hinged lid 30" long

Vintage metal travel trunk, geometric patterned rug, quantity of fabrics etc

Vintage travel trunk

Blue metal trunk

Roger Fry (1866-1934)Sous Bois, oil on canvas, 58.5 x 71.5cm. Provenance: Magdalene Street Gallery, Cambridge; The collection of Oliver Carey. Repair work to the reverse of canvas top left corner.Paint losses to painting. The white marks on our photos are where the losses are. Tree trunk, and other specks throughout.Patchy areas of craquelure throughout.Please see new photos.

Hugh Wilkinson (19th/20th century)River landscape with trees, signed, oil on board, 43.5 x 58.5cm Some craquelure to the tree trunk, otherwise appears to be in good condition, framed behind glass.

A GEORGE III OAK LONGCASE CLOCK BY RICHARD HARDWICK OF ASHWICKthe eight day two train movement striking on a bell, the brass dial with Roman numerals, subsidiary second dial and date aperture, the case with a caddy top over a gilt tooled red leather frieze, a slender trunk above a stepped plinth base, 217cm high x 50cm wide x 24cm deep

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) STUDY FOR SPRAWLING TREE TRUNK Watercolour, ink, pencil and collage Signed (upper right);titled and dated 1937 (to upper left edge) 20.1 x 15.3cm (7¾ x 6 in.)Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descentLiterature: D. Cooper, The Work of Graham Sutherland, London, 1961, no.12a (illustrated) Condition Report: Stuck down to mounting card at three corners. Light surface dirt throughout. Condition Report Disclaimer

A painted metal travelling trunk, named for 'Capt. R. Binyon 174314 Dulverton, Somerset, GB.', 98cm wide, 45cm deep, 30cm highRobert Giovanni Bertram Binyon (1921-2005). Army 1939-45 including service in Burma; worked in London 1945-50; Monk of Prinknash Abbey 1950-2005.

After Pierre-Jules Mêne (1810–1879) a bronzed metal figure of 'The Browsing Stag' by a tree trunk, 42cm high

An Anatolian floss silk prayer rug, the ivory field with a flowering tree of life design with a variety of perching birds, the landscape below with deer and a mosque in the background, the tree trunk with a coiled snake, with an indigo mihrab and indigo border with flowering trees and birds, 150cm x 98cmAll over good condition with no losses or stains. ends and selvedge good. Back appears to have an adhesive backing at some point which has been removed, no glue residues.

A mahogany lamp table, 68 cm diameter, a painted trunk, 48 cm wide, two other trunks and three suitcases (qty) Please note collection is from TA9 4LJ only on 22nd, 23rd, 24th & 25th October. Payment to  be made beforehand as there is no facility to pay on site

Pair of white porcelain candlesticks, originally candelabra, modelled as two cherubs holding a woven basket of flowers, perched before a tree trunk, possibly by Montreuil-sous-Bois, double crossed swords mark beneath and incised no. 1533, H23cm x W16.5cm

Late XVIII Century Oak and Mahogany White Dial Eight Day Longcase Clock, hood with a swan neck pediment, column supports, trunk with a shaped crossbanded door, panelled base, the white dial with minute and date apertures.Pendulum is present

LOUIS VUITTON A COATED COATED CANVAS MALLE CABINE TRUNK, NO. 790495, 20TH CENTURY With brass and leather trim, wood slats, twin loop handles, key and flip lock clasps, painted E.M.C, opening to a cream canvas interior 81 x 47 x 33cm Condition Report: Heavily worn with scuffs, marks and losses Split along the hinge line No key Stains to the interior There is an address written in pencil to the interior   Condition Report Disclaimer

Vintage red trunk and quantity of coals for artificial fire

A fine quality late-Regency satinwood, mahogany and marquetry stick barometer - by George Purchon of Glass House (probably Leeds, Yorkshire), the architectural top with barber's pole and toothed banding, above a glazed door fronting a signed, painted 'Summer - Winter' dial with floral and foliate spandrels and sliding brass vernier marker, the trunk with inlaid bell flower meanders, over a marquetry cistern cover with oak leaves and acorns, 99.5 cm long. 

A very impressive handmade yew wood wine rack by Rack & Ruin - with inset metal maker's plaque, the rack of naturalistic trunk form, with twenty-six bottle apertures, 200 cm high. 

An early 19th century silkwork embroidery of a shepherdess - seated beneath a tree, with two lambs at her feet, the trunk of the tree embroidered with the word ‘TANCRED’, 30.5 x 25.4cm, within a verre eglomise oval, in a period giltwood and gesso frame with foliate spandrels, 45.5 x 40cm.

A 19th century inlaid mahogany eight-day longcase clock with moonphase by Edward Massey of Burslem - the floral painted Roman arched dial with subsidiary seconds dial at noon and arched date aperture at six, pierced brass hands, fronting a bell strike movement with four knopped pillars and anchor escapement, the case with swan neck cornice with brass rosette rondels and central ball finial, over fluted columns and an ogee moulded door, probable later alterations to case, the trunk with fluted quarter columns and a cross banded glazed door, on a cross banded plinth with fan spandrels, with ogee bracket feet, probable alterations to case. (LWH 60.5 x 28 x 246.5 cm)

ROYAL HOUSEHOLD UNIFORMS OF THE HON. ALEXANDER GRANTHAM YORKE (B.1847-1911) LATE 19TH/EARLY 20TH CENTURY Comprising a blue full dress coat with red facings and gold embroidery, a blue undress coat with red facings and gold embroidery, a black Edwardian evening dress tailcoat with ER VII buttons, a pair of white breeches, three cocked hats with varying loops and buttons a braided sword knot and one uniform trunk Provenance:The Hon. Alexander Grantham Yorke, and thence by descent  The Hon. Alexander Yorke was a son of the 4th Earl of Hardwicke and was a Groom-in-Waiting to Queen Victoria (1884-1901) and Extra Groom in Waiting to King Edward VII (1901-1911). He was a courtier to Queen Victoria and, by popular account, the provoker of the most famous remark in British regal history. He was attending one of the Queen's dinner parties at Windsor Castle and at one point turned to his German neighbour and told him a slightly risqué story. The German, who evidently was pleased easily, burst into near hysterical laughter and began to clutch his sides in riotous appreciation. The Queen then asked to hear the story and, after Yorke had reluctantly repeated it, she delivered her historic riposte: "We are not amused."   Condition Report: All in worn condition, showing signs of age and long term storage. Lining of the brocade coat is distressed. Some old moth damage throughout all. All buttons present. Hats are worn but still possess shape and inner lining. Appliques intact. Trousers with heavy surface wear and further moth holes - buttons presentChest size approximately 36-38". Short body. Condition Report Disclaimer

A box containing various leather mounted horse brasses, stoneware and glass inkwells, a box containing various writing and jewellery boxes to include a parquetry inlaid example and one as a pile of books, a wooden trunk containing a kettle and trivet, a reproduction Austin Seven car poster and a box of assorted 45s

A metal covered trunk and contents of various equestrian tack, leather straps, girth, helmet, stocks, bits, stirrups, etc.

A dome topped traveling trunk, 54cm x 77cm x 46cm; washing dolly tub, 54cm high, small terracotta pancheon bowl, 39cm diameter, 1957 H B & Co bucket, sieves

A Royal Crown Derby paperweight, Elephant, with trunk raised, decorated in the 1128 Imari palette, printed mark in red, gold stopper, boxed

A WWI Grimwades Peace Mug, Beatty & Haig, For Freedom and Honour, Peace 1919; others, Plumtree Notts George V & Queen Mary coronation mug, Ind Coope Brewery , etc; Hornsea Flora & Fauna tree trunk vases, jugs etc qty

Under table lot comprising a trunk, pair of speakers, collection of metalware etc

Pine trunk and an oak blanket box

Middle Franconian Trunk, Wholenut , rectanuglar form with one lid , wide flat bottom edge, stepped and rounded lid borders, Iron hinges, on the sides folding carvings with ornaments, the front with half relieff carvings of the tree of Jesse, inside, old metal lock ,keyhole closed at a later date, some old repairs,stabilization additions and replacements , 70x90x180cm around 1550.

Alpine Country Trunk, rectangular shape on four feet. Lid. Iron lock and hinges – key missing. On three sides carved ornaments and fruit wood intarsias. Described on the bottom Lorenz Nudersh and dated 1737 and marked C and B. Probably South Tyrol 18th Century, with some later adaptions. 108 x 45 x 80 cm.

An 18th Century oak longcase clock, the hood with pagoda pediment and turned pillars, full length door and reeded side columns to the trunk, on bracket feet with circular dial and 30 hour movement, by Kidd Malton, height 227cm.

An early 19th Century oak longcase clock with mahogany cross banding, the hood, with swan neck pediment and turned columns, full length door to the trunk with 1/4 turned reeded pillars, arched painted dial and 30 hours movement, by Foxtan Sutton. Height 216cm.

Henry Wilkinson (1921-2011)  Set of three coloured etchings  Gundogs and various fowl, each signed in pencil and variously numbered, framed and glazed, 27.5cm x 36.5cm  Coloured etching Signed, by the same artist, three dogs investigating a tree trunk, framed and glazed (4) 

18TH CENTURY SHROPSHIRE LONGCASE CLOCK inscribed Baddely (of) Tong, having brass face, an oak trunk with twin pendulum and weight, 213 (h) x 51 (w) x 26cms (d)Provenance: private collection Gwynedd

A Georgian mahogany stick barometer the silvered dial engraved with barometric markings, vernier gauge, hygrometer and signed Bellatty, the mahogany stick case with inlaid shell decoration to the trunk, a turned cistern cover and inset barometer to the trunk, surmounted by an architectural pediment with brass finial.

An Anglo-Chinese brass bound camphorwood trunk, late 19th /early 20th century; with inset strengthening brackets at corners and angles, each end with a brass swing handle; the interior with paper label for AH FOO, CARPENTER & CABINET MAKER FROM CANTON, NO 32 QUEEN'S ROAD HONG KONG; 46cm high, 86cm wide, 50cm deep

Peerless, Germany a contemporary walnut longcase clock the eight-day duration spring-driven movement chiming the quarters on a nest of eight gong rods and striking the hours on a further four gong rods, the backplate stamped with the trademark for Peerless and numbered 1832092, the break-arch brass dial having a raised silvered chapter ring engraved with black Roman numerals with the arch having a silvered dial for selecting Westminster/Whittington or Winchester, the mahogany and walnut case having an arched moulding to the trunk door and cast-brass capitals to the hood pillars, height 172cm.

An electric master longcase clock the square black dial having an applied chrome chapter ring and corners with Arabic hour numerals and stylised black counter-weighted hands, with the movement setting off an electric impulse set within the trunk, the oak case with a curved top, straight sides, glazed trunk door, and standing on a curved plinth.

A French 19th century mahogany wall barometer of rectangular form with boxwood stringing, with Barometre scales painted to the top, two thermometers set to the trunk showing Réaumur and Centigrade scales, the visible tube with vase-shaped bulb.

An 18th century oak longcase clock, having an eight-day duration movement striking on a bell with the twelve-inch break-arch brass dial having a silvered chapter ring engraved with black Roman numerals and decorative blued-steel hands, with the centre having a subsidiary seconds dial and date aperture, with cast-brass female-head spandrels to the four corners, the arch with a brass boss engraved Tempus Fugit and with an engraved eagle, the oak case with mahogany crossbanding to the trunk and hood and with star-inlaid decoration to the trunk, the break-arch hood having three-quarter plain pillars and surmounted by a cast-brass eagle finial, all standing on bracket feet, height 217cm without finial, 234cm including finial..

A Regency period brass bound black leather trunk inscribed 'P Bingham', with studded decoration, brass bound corners and bail handles, 50 x 105 x 52.5cm.