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Walnut gueridon Italy, 20th centurycircular top resting on a balustrade base73x50 cm.

Walnut refectory table Italy, 20th centuryoctagonal top resting on two balustrade supports80x312x85 cm.

Gueridon in various woods and golden wood Italy, 20th centurycircular top resting on a balustrade base decorated with vegetal motifs78x80 cm.

Mudejar cabinet chest in walnut wood with bone inlay. Decorative “Pinyonet” or rice grain technique. Aragonese manufacture from Teruel. Torrellas. 16th century.32 x 48 x 29.5 cm. Magnificent example of Aragonese Mudejar furniture. Structurally, it has two hinged doors and an interior body divided into three sections, the first being a single receptacle without a lid, while the last two house drawers: the central section is divided into two drawers, and the lower one is composed of a single drawer.It retains all its original iron fittings: hinges, handles and the lock, which remains complete but has lost the surround for the keyhole.As is usual in the highest quality examples, this cabinet chest is completely covered with “Pinyonet” decoration. The front of the chest is ornamented with a very architectural design that, in our opinion, creates a sensation of depth on two planes. In the second plane, there is a balustrade with two large arcades decorated on the inside with a border of geometric motifs, which end on both sides with a kind of fountain vase at each end, all supported by amphorae serving as columns, topped by a pomegranate on each side.Superimposed in the foreground of this landscape are two square vases that preside over the decoration. Nine flowers in their maximum splendor are displayed in the vases and there are also two lateral ones that seem to wither towards their pots, with the intention of creating movement in order to, with this format, better combine their forms with the previously mentioned amphorae on each side. A simplified version with some variations of this decoration can be found on the inside of the upper lid.The sides present concentric circles with sinuous garlands. Following the same pattern, we find richer and more elaborate decoration on the inside of the front lid. It should be noted that the lid has old stains, perhaps ink stains, due to the use of the lid as a writing desk.Finally, the decoration on the drawers displays elements that we have already seen adorning the external part of the chest, such as pomegranates, eight-pointed stars typical of the Mudejar style, flowers and sinuous garlands. It is very interesting to read the article recently published in 2023, in “Vegueta. Anuario de la Facultad de Geografía e Historia” by Mª Isabel Álvaro Zamora "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" (Furniture in 16th century Zaragoza homes. Lexicon, functionality, ornament and prestige), because, as she says in her introduction, she ’studies the furniture existing in 16th century houses, of varied social class and different economic position in Zaragoza [,] based on unpublished documentation from the archive of notarial protocols of Zaragoza (which includes, above all, inventories, as well as partitions of goods, sales, wills, marriage contracts, repossessions and work contracts)’. As it is of specific interest to the piece we present here, we quote an excerpt from section 2.7. dedicated to the “Escritorio, Escribanía, Arquimesa”, included in the section “Muebles de guardar y exhibir” (Furniture for storing and exhibiting) which, as the author indicates, groups together “all those pieces of furniture whose main function was to store one or more types of belongings in their interior or exterior, with the intention of keeping them safe, although some of these pieces of furniture, because of their material, shape and coating, could be decorative objects in themselves”. Such would be the case with this desk. Álvaro Zamora explains that “the documentation consulted in Zaragoza shows that they were almost exclusively owned by the wealthier classes. Thus, we find this type of cabinet chest in the living rooms of the houses of several gentleman merchants. As an example, the “pine cabinet chest with its lock and key” owned by Joan de Palomar, with the “the books of the business, study scissors, a lead inkwell and a dustpan”; the “walnut chest with a base”, that both Miguel Piquer and Miguel de Portas had, the first having documents related to Piquer´s trade and the second having numerous delivery notes, cash, some jewels and silver pieces, a mirror, a prayer book and even a gold tooth cleaner, which also had “two writing desks with two knives and scissors”. They were also found in the study of some notaries, such as Francisco Tobeña, who had “a large pine desk with a red cloth cover” (upholstered). And, exceptionally, we find another one in the house of two well-placed Moors from Villafeliche (Zaragoza), in 1609, a year before their expulsion. [...]However, the most refined and expensive examples were owned by nobles, such as Count Sástago II or the Duke of Villahermosa IV. Of the former, two archives were recorded in the study of his house in Pina de Ebro, one “in which there are two large drawers full of writings”, and another “of walnut carved with inlaid wood”, with documents of the county possessions and lineage kept in their drawers, and writing utensils (“silver and lead inkwells, penknives, silver powder compact and tin salver”). The second had “two small desks of plain wood”, “a small writing desk made of inlaid wood covered in black leather with eight drawers”, there was another one “with eight drawers inside and covered in crimson velvet with golden studs” and another one “made of inlaid wood with eight drawers”, as well as “a chest cabinet covered with green velvet with golden studs and six drawers” and another “of inlaid wood with two drawers”, presumably Spanish furniture that joined other German furniture, such as “a wooden desk from Germany with five drawers”, “a chest cabinet with German inlay with gilded trimming and ten drawers” and another, ‘of German wood with seven drawers and gilded studs with six pieces of carved glass rings.’  It is clear that the upper classes treasured the best chest cabinets as luxury objects that they exhibited and which gave them prestige, from the examples with Torrellas inlay to the pieces that were gilded and upholstered with the best leathers and fabrics, or the highly prized German ones, arriving especially from Ausburg.” This lot has been imported, so its export permit from the Ministry of Culture is guaranteed. Reference bibliography:Álvaro Zamora, Mª Isabel. (2023). "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" en "Vegueta. Anuario de la Facultad de Geografía e Historia", 23 (2), 629-659. ULPGC. https://doi.org/10.51349/veg.2023.2.04 

Richard Cosway (1742-1821)Portrait of Izabella Czartoryska (1743 - 1835)Daughter of Count D. Flemming and Mistress of Prince Repninaf, Polandfull-length, standing by a balustrade, a dog at her feetwatercolour and pencil23cm x 13cm John Wentworth Smith; Christie's, 11 June 1968, lot 125 (160 gns to E. Smith) The paper appears a bit fade/yellowed, a couple of very minor spots of foxing. Old Christie's stencil verso. Not examined out of frame. Overall appearance is is fair.

A George II mahogany tripod table, the circular top with balustrade gallery and handholds, upon a turned stem with spiral fluted knop, on tripod legs, 63cm diameter, 72.5cm highoverall fair condition, structurally sound, tilt top functional, gallery predominantly in good condition with some cracks to ovoid features but stable, old crack restore across top, base a little rubbed in parts but in good original condition. Wear, scuffs and light scratches commensurate with age and use.

Victorian cast iron length of balustrade of slightly bowed form with scrolled and turned column decoration, approximately 300cm long

A WELL-PRESENTED 1:32 SCALE BOW SECTION MODEL FOR H.M.S. RENOWN [1749] (EX-FLAME; EX-RENOMMÉE, 1745) modelled by I. Antifieiev in fruitwoods and yellow pine, planked and pinned / open framed hull with chain plates and deadeyes, angel figurehead holding trumpet, head rails with gratings, catheads with sheaves, belaying rails and pins, partially planed decks with stove chimney, deck rings, cleats, capstan, balustrade rail with brass bell, some internal fittings including brass guns on rigged carriages, companionway, enclosed stove, metal deck bracing and other details, mounted on single pedestal support to plush-lined display base with plate and Plexiglass cover, overall -- 13½ x 15 x 11½in. (34 x 38 x 29cm.)Built at Brest and commissioned as Remmonée in 1745, she was captured off Ushant by H.M.S. Dover in 1747, and briefly served as H.M.S. Flame before becoming Renown until broken up at Woolwich in 1771.Fine overall condition.

A WELL-PRESENTED NAPOLEONIC FRENCH PRISONER-OF-WAR STYLE BONE MODEL OF H.M.S. CONQUEROR (74)the 10in. hull with finely carved stern and warrior form figurehead, open gunports with red lids, planked deck with carved bone fittings and contrasting strakes, decorative well deck, bound masts with standing and running rigging, bone blocks and ships boats rigged between fore and mizzenmast, mounted on inlaid bone base with balustrade with statuettes, secured to baize-lined base within ebonised wooden glazed case -- 21½ x 29 x 14in. (54.5 x 73.5 x 35.5cm.)Fine overall condition.

Lladro Porcelain Group "At the Stroke of Midnight" on wood base, by D.José Roig and d. Julio Ruiz limited edition 385/1500With box and certificate In good overall condition slling with box and certificate.  Some slight losses to the roses on the balustrade. One of the chains detached from the horse.  No restoration.

Mid-20th century mahogany open bookshelf, the rectangular top with a brass balustrade gallery, over three shelves each supported by turned column uprights, on shaped apron baseDimensions: Height: 113cm  Length/Width: 64cm  Depth/Diameter: 34cm

Wrought metal and brass fire fender, L-shaped corner seats upholstered in burgundy fabric with stud bands, dished centre on balustrade and plain curb Dimensions: Height: 50cm  Length/Width: 176cm  Depth/Diameter: 60cm

Royal Doulton presents Clarinda HN2724, a captivating fine bone china figurine designed by William K. Harper. Introduced in 1974, this elegant piece depicts a refined lady in an 18th-century-style gown, gracefully poised beside a balustrade with a charming bluebird perched nearby. The exquisite detailing of her flowing teal dress, delicate ruffled sleeves, and finely sculpted features showcases the master craftsmanship for which Royal Doulton is renowned. This figurine bears the Royal Doulton backstamp on the base.Issued: 1974Dimensions: 9"HCountry of Origin: EnglandCondition: Age related wear.

SIR EDWARD BURNE-JONES (1833-1898) AND JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. 'ST CECILIA' TAPESTRY, 1888 lunette, wool and silk, within carved giltwood frame   99cm x 117cm (frame size 116.5cm x 135cm) Provenance: Commissioned by Mrs. Playfair, circa 1888Morris & Company Mrs. Lucius Gubbins and by descent Literature: The Revival of Tapestry-Weaving, An Interview with Mr William Morris, The Studio, no. 16 (July 1894), p. 100, Vallance A. William Morris His Art His Writings and His Public Life, London 1898, pp. 119-121Marillier H.C. History of the Merton Abbey Tapestry Works, London, 1927, pp. 18-20, illustrated pl. 12Wilhide E. William Morris: Decor and Design, Harry N. Abrams 1991, p.107, where this tapestry is illustratedThe original drawing for this figure is held in the collections of the Huntington Library, San Marino, California (2000.5.1525E William Morris Collection)Sewter A. Charles The Stained Glass of William Morris and his Circle- A Catalogue, Yale University Press 1975, p.42Sewter A. Charles The Stained Glass of William Morris and his Circle, Yale University Press 1974, pl. 413In his 1893 essay Textiles, William Morris called tapestry “the noblest of the weaving arts,” highlighting the importance of “elegance of the silhouette” and “crispness and abundance of beautiful detail” in a successful design—qualities that St Cecilia certainly embodies.The final design for St Cecilia was a collaboration between Edward Burne-Jones and Henry Dearle, a former pupil of William Morris who later became the chief designer for Morris & Co. in 1890. Burne-Jones created the figure, while Dearle designed the fruit trees and balustrade. The design for this version of St Cecilia was first used in a stained-glass window for Morris & Co. in 1873, which now features in the South transept window of Jesus College Chapel, Cambridge. The figure is nearly identical to the St Cecilia in the tapestry offered here in terms of pose, drapery, and expression, and was chosen for the simplicity of the drapery. A slightly different version of St Cecilia was woven a year earlier, in 1887, as part of a series of seven single-figure panel tapestries, also adapted from existing Burne-Jones stained-glass designs. Like those works, this lunette includes Burne-Jones' figure set within Dearle’s intricate millefleur flower and foliage patterns, with the curved balustrade helping to delineate the figure.St Cecilia was woven in 1888 by William Sleath at Morris & Co.’s Merton Abbey Works. The company had moved there in 1881 to accommodate larger dye vats and weaving looms, each operated by up to three workers. Sleath, one of the first apprentices taken on at Merton Abbey, was an experienced weaver by the time he created this tapestry. According to records kept by Morris & Co.’s last managing director, H. C. Marillier, the 1888 St Cecilia was commissioned by Mrs. Playfair.In the early part of the 20th century, Morris & Co. bought back the tapestry, a not-uncommon practice for pieces they had manufactured. St Cecilia was then purchased by the prolific patron of the firm, the New Zealand-born Mrs. Lucius Gubbins, who furnished her Eastbourne home with Morris pieces. It is from her descendants that this tapestry now comes to sale.

A Victorian cast iron table base with swept supports, trailing foliate detail and balustrade stretcher, beneath a fixed possibly associated rectangular white marble top, 73 cm high x 123 cm x 59 cm (marble af)

Mahogany table book stand, early 20th c, with turned balustrade and beadwork border, on reeded feet, 20cm h Possibly some restoration or replacement to base and feet, otherwise overall condition is good

A vintage Indian cot with a hand turned spindle balustrade and slated base (H37cm W87cm D52cm)

20th century A silver plate surtout de table, composed of three sections with four pine cones marking the corners. With a Neoclassical style balustrade and marked 'NJD' Property of a nobleman Dimensions: 18 in. (W) x 53 in. (L)

Genueser Schule des 17. JahrhundertsPaar bedeutende Marmor-Hochrelief BilderDER HEILIGE FRANZISKUSsowieHEILIGE ANTONIUS VON PADUAInnenkästen: 23,5 x 15,5 cm.Ebonisierte Außenrahmen mit Frontverglasung des 19. Jahrhunderts.In weißem Marmor geschnitten, vertieft in Kastenrahmungen eingefügt. Die Franziskusdarstellung zeigt den Heiligen mit seinen Wundmalen vor einer Felsengruppe im Gebet, das Kreuz Christi in den Armen, während er von einem Engel gestützt wird. Die Gegendarstellung zeigt den jugendlichen Antonius, in den Armen das Jesuskind, vor Säulen, Velumdraperie und Balustrade, die einen Raum andeuten. Links ein Tisch mit darauf liegendem Buch. Der Hintergrund mit geschwärztem Glas hinterlegt.Die Marmorarbeiten von hoher bildhauerischer Qualität, wohl der Genueser Schule. A.R.Anmerkung:Laut Beschriftung auf der Rahmen-Rückseite ehem. päpstliches Geschenk: „Diese beiden Skulpturen aus Carrara Marmor (Ende 17./Jahrhundert) angeblich ein Geschenk Pius IX. (1846–1876) an den Fürst-/erzbischof Kardinal Tarnoczy in Salzburg (1850–1876) gingen von diesem/in den Besitz seines Sekretärs, des Domkapitulars Dr. M. Kaserer, Salzburg über./Aus dessen Nachlaß erwarb sie der kgl. Hofgraveur Max Gube i. München, der/dieselben Weinachten 1901 mir käuflich überließl. J. O.“. (1390047) (11)Genoese School, 17th centuryA pair of important marble high reliefsSAINT FRANCIS and SAINT ANTHONY OF PADUA Interior casket dimensions: 23.5 x 15.5 cm.Ebonized outer frame, glazed at front, 19th century.Notes:According to the inscription on the back of the frame, former papal gift: “These two Carrara marble sculptures (end of the 17th/century) supposedly a gift from Pius IX (1846–1876) to the prince-/archbishop Cardinal Tarnóczy in Salzburg (1850–1876) went into the possession of his secretary, from the cathedral chapter Dr M. Kaserer, Salzburg./From his estate it was acquired by the royal court engraver Max Gube in Munich, who/sold me the same for Christmas in 1901. J. O.”.

A large walnut architect's model of a staircase, late 19th/early 20th century, probably French, of rectilinear form with a pierced balustrade,58cm wide43cm deep80cm highCondition ReportIn good and stable condition with a few cosmetic issues commensurate with age and use. Light watermarks on the steps. Slight wear and rubbing to the varnish. Overall good and ready for placement.

Victorian walnut and amboyna lady's drawing room chair, with open balustrade back rest, upholstered in later fabric, on turned supports with ceramic castors, 78cm high.

A Flemish cabinet on standIn rosewood and rosewood veneeredDrawer fronts lined with tortoiseshell with yellow metal appliques in relief, cut-out and pierced, depicting figures, lions and foliage motifsWith fourteen drawers and central door concealing seven drawers simulating thirteen, to the interiorMetal balustrade galleryStand decorated with ivory inlays and metal mounts19th century(losses, defects and signs of wear)175x125x41.5 cm

Brass telescopic fire fender, L-shaped corner seats upholstered in burgundy leather with brass stud work, plain balustrade over shaped extending curb Condition Report: Total width extended - 170cmInner width extended - 153cm (at hearth level)Total width at smallest - 140cmInner with at smallest - 124cm (at hearth level)

Wrought metal and brass fire fender, L-shaped corner seats upholstered in burgundy fabric with stud bands, dished centre on balustrade and plain curb Dimensions: Height: 50cm  Length/Width: 176cm  Depth/Diameter: 60cm

Late Victorian mahogany open armchair, arched cresting rail decorated with turned roundel, upholstered in buttoned burgundy leather, the upholstered arms on turned and lobe carved balustrade, turned and lobe carved front feet with brass and ceramic castors Dimensions: Height: 101cm  Length/Width: 70cm 

Early 20th Century Drop Leaf Table. Box-Shape Balustrade Stretcher.

Unattributed Maker - A 1930s Art Deco bronze figure of a female snake charmer in exotic costume with a snake wrapped around her shoulders, mounted to a green variegated marble base with a framed balustrade around her, unsigned, height 21cm.

A late 19th/early 20th century carved and painted neoclassical style wall clock with two ball and spire finials on a balustrade above a moulded cornice, the Art Nouveau style gilt metal and enamel dial being surrounded by carved scrolling decoration in relief above three glazed arches with shaped and hand bevelled plates, all flanked by two twin turned and fluted columns on a moulded plinth base with further finials protruding from the underside. H.112 W.40 D.25cm.

Country wood backstool with balustrade back, solid seat and turned legs, 57 x 89 x 45cm.

Vier Terrinen/Saucieren und zwei Porzellanlöffel mit Zwiebelmuster, Kgl. Meißen um 1900 und "Trembleuse", 20. Jh.Zwei gedeckte runde Terrinen mit Handhaben (ein Griff gechipt, minimale Randchips), Dm 27,5 cm; eine ovale Deckelterrine mit Löffel, 25 x 16 cm sowie eine Sauciere mit Löffel, 25 x 17 cm, alle mit Knaufschwertern, dazu eine Zwiebelmuster-Zittertasse mit Doppelhenkel, die Untertasse mit einer "Balustrade", um ein Verschütten des damals kostbaren Kakaos zu verhindern, der Dekor in Eisenrot und Gold gehöht, Teil der Balustrade geklebt, H 8 cm

BALUSTRADE COLUMN ROUND METAL OCCASIONAL TABLEthe top with lip, 69cm diameter x 48cm high

A large brass Fender, late 19th Century, with square tubular reeded top rail with urn finials on a balustrade with moulded base, 60" (152cms). (1)

An Aesthetic movement ebonised Settee, with padded button top raised on a balustrade support above a padded seat on turned legs, 54" (137cms). (1)

Four similar brass Fenders, each with attractive balustrade on moulded base, approx. 140cms (55"). (4)

A pair of hardwood balustrade table lamps, of recent manufacture, each of square form on an ebonised plinth, 82cm high overall (2)Condition Reportgood, no major faultsPAT test - Passed

Large quantity of reconstituted stone balustrade supports, A/F, (qty)POA https://www.bradleys.ltd/quotation-request-form

Attributed to Philip Webb for Morris & Co., an ash Sussex chair, with four spindle balustrade over turned open arms and string seat on turned supports92 x 48 x 46cmplease see further imagesSplit to left hand arm (shown)Repair and string whipping to rear of left hand arm (shown)Legs have uneven colour with bottom 10cms or so consistent with water damage from mopping (front right leg has split to base)Block to top of front left hand leg has split and losses (shown)Minor movement to frameRush seat seems in good orderplease see further images

Late Victorian mahogany framed chaise longue, upholstered in turquoise buttoned fabric, the upholstered rail on turned balustrade supports, decorated with stylised foliate carvings, on turned feet with brass and ceramic castors Dimensions: Height: 75cm  Length/Width: 180cm  Depth/Diameter: 65cm

HOFER, R. Die Tellkapelle am VierwaldstätterseeÖl/Holz. Rechts unten signiert, verso betitelt. 21 x 27,5 cm. Gerahmt : 30,5 x 37 cm (Goldstuckrahmen); 1,3 kg. Staffagefiguren an der Balustrade der Kapelle mit Blick auf den See zu den Booten unter wolkigem Himmel. Altersspuren. Aufrufzeit 01. | März 2025 | voraussichtlich 17:50 Uhr (CET) HOFER, R. The Tell Chapel on Lake LucerneOil/wood. Signed lower right, titled on verso. 21 x 27.5 cm. Framed : 30.5 x 37 cm (gold stucco frame); 1.3 kg. Staffage figures on the balustrade of the chapel with a view of the lake to the boats under a cloudy sky. Traces of age. Call time 01 | March 2025 | probably 17:50 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Set of probably Edwardian cast iron balustrade panels decorated with ears of corn and trailing vine together with another arched panel of similar design. (7) (B.P. 21% + VAT). Length of curved iron piece 17cm approx. There are six panels and one arched panel.

A group of assorted cast metal Art Nouveau style cast metal balustrade sections, together with three wrought metal rods with hook and eye ends, possibly from a country house kitchen spit. (8) (B.P. 21% + VAT)

An early 20thC French Faience plate, decorated with a balustrade and urn, and another decorated with flowers, possibly La Rochelle, 24cm diameter.

19th century aesthetic-movement bamboo display cabinet, the upper section with an arched balustrade pediment over a single glazed door opening to two fixed shelves with leather fringes, the base with two glazed doors opening to three fixed shelves, 207cm high x 100cm wide x 36cm deep 

Runder Guéridon, Louis-XVI-Stil, Frankreich19. Jh. Mahagoni massiv u. furniert. In der Zarge 2 kl. Schübe u. 2 Ausziehböden m. grünen Einlegeböden. Auf 4 halbhohen kannelierten Beinen m. Messingschuhen. Weiß-grau gesprenkelte Marmorplatte m. durchbrochener Messing-Balustradeneinfassung. H 75, D 64 cm. Gebrauchsspuren, Marmorplatte fleckig, Balustrade verbogen.

Salver/ kl. Tablett, Tiffany um 1900.Sterlingsilber. Quadrat. Form m. einge- schwungenen Ecken. Ges. Rand umlaufend m. fein durchbrochener Balustrade m. Flechtmuster u. geschweifter Kreuzbandkante m. Weintrauben- Motiven, die Ecken auf kl. Tatzenfüßen. Glatter Spiegel mittig m. Monogr.gravur "MA" (ligiert). Oberfläche berieben, ges. minimal verzogen. 20,8 x 20,8 cm 560gdurchbrochen, MA, Monogramm, quadratisch, viereckig, Sterlingsilber, Tatzenfüße, Trauben, Wein

A pair of 19th century brass Balustrade lamps, with flame shades, approx 69.5cm high (2)

Arts & Crafts period mahogany centre table, octagonal moulded top on ring turned supports united by undertier, arched lower balustrade on spindle supports Dimensions: Height: 69cm  Depth/Diameter: 66cm

Victorian brass fire fender, central pierced panel depicting floral basked and dolphins within scrolling leafage, ornate balustrade on moulded curb (W131cm, D35cm); together with two fireside tools with lion finials Condition Report:Internal width - 120cm

Exquisite Lladro porcelain figurine depicting a graceful lady leaning on a balustrade beneath an arched trellis of flowering branches. Dressed in a flowing pastel gown with delicate lace details, she wears a stylish sun hat adorned with floral accents. A small dog attentively stands by her side, adding charm to the composition. The soft color palette and high-gloss finish highlight Lladro's signature craftsmanship and attention to detail. Lladro backstamp. Artist: Fulgencio GarciaIssued: 21st centuryDimensions: 19"HCountry of Origin: SpainCondition: Age related wear. As is.

Three: Torpedo Instructor G. S. Kemp, Royal Navy, who subsequently served as personal assistant to Guglielmo Marconi, and was present alongside Marconi on all his major experiments, including the first Transatlantic signal Egypt and Sudan 1882-89, dated reverse, 1 clasp, Alexandria 11th July (G. S. Kemp. Cox: Cutt: H.M.S. “Alexandra.”); Royal Navy L.S. & G.C., V.R., narrow suspension (G. S. Kemp, Torpo. Instr., H.M.[S.] Hecla) impressed naming; Khedive’s Star, dated 1882, unnamed as issued, contact marks from star, better than good fine, the LS&GC rare to rate (3) £600-£800 --- George Stephen Kemp was born in Minster, Kent, on 3 November 1857 and joined the Royal Navy as a Boy Second Class on 1 January 1873. He served in H.M.S. Alexandra from 12 March 1880 to 14 November 1882, being advanced Leading Seaman on 1 January 1882, and Petty Officer Second Class on 15 July 1882, and took part in the bombardment of Alexandria. Promoted Petty Officer First Class on 1 September 1884, and Chief Petty Officer on 23 May 1888, he was for many years a Torpedo Instructor, and was promoted Chief Torpedo Instructor in 1887. Shore pensioned on 11 November 1895, his record of service notes: ‘Has invented a method of communication over long distances by means of an ingenious adaptation of existing telegraph gear which is to be experimented on and carried out in H.M.S. Vernon.’ Appointed to the engineering staff of the Post Office, Kemp first met Guglielmo Marconi on 27 July 1896. The story of this encounted is told by Degna Marconi in her book ‘My Father, Marconi’: ‘My father told me that he set up one of his first demonstrations on the roof of the Post Office in St Martin's-le-Grand where he planned to signal to the Savings Bank Department on Queen Victoria Street. When he looked over the ornate stone balustrade, he saw a red-headed fellow watching him curiously. The man on the pavement caught my father's eye and shouted up, “What are you doing there?”Marconi called back, “Come on up and I'll show you.” The onlooker arrived on the roof with such remarkable promptitude that my father believed he had scrambled up the drain (I sincerely hope not, for the Post Office is a towering eight storeys high). The moment George Kemp reached the rooftop he went to work for Marconi and continued to work for him forever after.’ ‘In this manner Kemp, an ex-Naval Petty Officer, became Marconi's first personal assistant. As such he sailed to Newfoundland with him on the epic transatlantic experiment and shared in the triumphs and disappointments which led ultimately to a successful commercial trans-ocean service. All Marconi's subsequent personal assistants displayed great devotion to him, but none more intensely than Kemp, whose activity in implementing the experiments proposed by his leader was tireless. At his death he left a valuable legacy behind him in the form of twenty-one volumes of the day-to-day journal that he kept until his death. It is to the existence of these that the Company is indebted for much of the detail of its early history.’ (A History of the Marconi Company, by W. J. Baker refers). Kemp died in 1933. His diaries, referred to above, are held as part of the Marconi Archive at the Bodleian Library, Oxford. Sold with a First Day Cover (13 September 1972) commemorating the 75th Anniversary of the first wireless transmission across water, the photograph depicting both Marconi and Kemp; a copy of ‘A History of the Marconi Company’, by W. J. Baker, the cover of which features the same photograph; and copied record of service and medal roll extract.

A mahogany tub armchair, the leather upholstered back and underarms above a balustrade of pairs of bars, the circular seat on turned front legs with brass caster feet

Britains lead My Garden comprising rockery (4), lead paving slabs (49), top for garden table, long stone wall (5) and balustrade, pergola, square flower bed pieces (4), flowers (over 100), generally playworn, most of the larger flowers are incomplete, with a Pixyland Kew wall, F, (over 170pcs),

Wooden Balustrade, Railings, Doors & Door Accessories, Metal Work, Mirror Frames, Brass Wire. (1000g). - Condition Report - All Appears as new.

Italienischer Maler 1. Hälfte 18. Jh., wohl Umkreis Giacomo Antonio Mechiorre Ceruti (1698 - 1767), Halbfigur eines Mannes vor einer Balustrade mit Paar, Öl auf Leinwand, doubliert, restauriert, Retuschen, starke Altersspuren, 97,5 x 72,5 cm, im profilierten Holzrahmen, Gesamtgröße 108,5 x 83,5 cm.  4858-026

Circle of Sir John Lavery RA RSA RHA (Irish, 1856 –1941) A view of a park through a balustrade Oil on panel Signed 'Daniel B ?...' verso Dimensions: (Frame) 6.75 in. (H) x 10 in. (W) (Panel) 5.75 in. (H) x 9 in. (W)

EIGHT VINTAGE HEAVY METAL BALUSTRADE PANELS

A LARGE CANTON STYLE BALUSTRADE VASE WITH FIGURAL SCENESE OF CHILDREN AND LION HANDLES - 37.5 CM

An Arts and crafts oak mirror back dresser sideboard. Raised gallery top with balustrade, central bevelled mirror flanked by cabinets, glazed doors with green glass, the sides with pierced shaped decoration, fitted with two drawers and two glazed cupboard doors, engraved strapwork hinges and fixtures, chamfered square supports. H171cm x W177cm x D72cm Condition Report: Repair to the top left hand corner approx 15cm x 1cm in size. Light scratches throughout, water marks and grease marks to top, small piece missing from front left leg approx 3cm x 1cm. General wear commensurate with age.

An Edwardian Continental Vase Shaped Porcelain Table Lamp Decorated in Cobalt Blue and Gilt with Coloured Cartouches Depicting Maidens Watching From Balustrade, Shade AF, 83cms High

Beautiful glossy porcelain scene, depicting an elegant lady leaning on a balustrade in a garden with her little dog. Lladro backstamp. Artist: Fulgencio GarciaDimensions: 13''L x 7.5''W x 19.25''HCountry of Origin: SpainCondition: Age related wear.