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Click here to subscribeGlazed finish porcelain sculpture depicting a graceful lady in a flowing gown and wide brim hat, resting thoughtfully against a balustrade beneath a floral arch, with a small attentive dog at her feet. Lladro backstamp. Artist: Fulgencio GarciaDimensions: 7"L x 14"W x 19.5"HCountry of Origin: SpainCondition: Age related wear.
A QAJAR-REVIVAL COFFEE-HOUSE STYLE PORTRAIT OF A COURTLY MAIDEN Iran, first half 20th centuryOil on canvas, depicting a large-sized portrait of a Qajar maiden, possibly a princess, dressed in a bejewelled courtly garb, wearing a feathered headdress, holding a delicate glass decanter in her left hand and a gold drinking cup or goblet in her right, her dress and headpiece meticulously embellished with rows of painted pearls and turquoise, the figure framed by curtains and set against a stylised interior with a balustrade, following the canon of Qajar interior scenes, signed on the lower left Sazkari (?), a form to state the painting was 'handmade', possibly a retailer's mark, the overall composition evocative of the elegant Qajar court portraiture style but echoing it from a melancholic distance, attributing the painting to a later period, possibly part of the coffee-house painting cycle.78.5cm x 125cm 78.5cm x 125cm Qty: 1
A circular dining or centre table The glass top on a painted hexagonal wrough iron base.130cm diameter x 79cm highQty: 1The glass top in good condition with very minor marks to the edge. The base designed with distressed paintwork. The supporting elements previously used as part of a Continental window or balustrade.
Majolika Wand-Weihwasserbecken in barocker Altarform, dreifach geteilter Aufbau mit gesprengtem Rundgiebel über Bildtafel "Muttergottes und Christuskind" zwischen figürlichen Karyatiden und gemalten Säulen, darunter bombiertes Becken mit Balustrade und Wappenschild von Engel getragen, heller Scherben polychrom staffiert, wohl Toskana 16./17.Jh., 51x21x9cm, verso Ritzzeichen, best.
A MONUMENTAL NEO-CLASSICAL WHITE-MARBLE FOUNTAIN BALUSTRADE, of architectural form, the central section centred by shaped column supports flanked by downswept ends with carved female masks and shell and dolphin bases above a mythical scene with foliage, with a quantity of conforming sections. Central section approx. 214cm high, 575cm wide, 150cm Please note: This lot is not on public view, contact our offices for more information
A SCOTTISH TERRACOTTA BALUSTRADE BY GARNKIRK, 19TH CENTURY, comprising a run of turned balusters with moulded plinths and a shaped coping stone, stamped 'GARNKIRK', approx. 20 metres in length overallProvenance: Middleton House, WestmeathThe Garnkirk Fireclay Company, established in 1831 by Mark Sprot (1780–1847) near Glasgow, became one of the leading producers of ornamental fireclay in Victorian Britain and Ireland. Drawing on the region’s high-grade refractory clay, Garnkirk specialised in finely moulded architectural and garden wares, including urns, pedestals, fountains, and statuary. Exhibited at the Great Exhibition of 1851, its products were noted for their durability, precise modelling, and classical ornament—qualities that aligned with mid-19th-century demand for industrially produced, historically informed design. The company was also awarded a medal at the 1862 International Exhibition, reinforcing its position as a major supplier of neoclassical garden ornament. Garnkirk’s output was widely used across Britain and Ireland in both public and private settings, reflecting the integration of industrial manufacture into mainstream landscape and architectural design.
Dose für Beilagen, China/ Kanton Anf. 20. Jh.Silber. Meistermarke f. Sing Fat. Behälter m. zylindr. Wandung, lose auf rundem Unterteller m. kl. Standring und durchbrochener Balustraden- Kante, auf 3 halbkugeligen Füßen. Gewölbter Deckel m. breiter, gebogter Kante und Ast-Knauf. Reiches florales Dekor: Deckel m. Kirschblüten- Relief, Wandung umlaufend m. Blütenzweigen auf Felsen in partiell mattierter Gravur, am Unterteller wiederholt, Balustrade m. Blüten und Blättern m. Binnenzeichnung. Innen Glas-Einsatz, dazu 3 kl. Silber-Gabeln m. Bambus-Stiel und Scheiben- Griff m. chines. Zeichen (orig. zugehörig, gleiche Marken). Oberflächen leicht berieben, Glaskante minimal bestoßen. D Unterteller 12,5 cm Silber zus. 327gGravurdekor, Kirschblüten, Marke, Relief, Signatur, Silber, Sing Fat, Zeichen
A Pair of Giltwood and Gesso Wall Mirrors, late 19th/early 20th century, the plain mirror plates framed by C scrolls and flower garlands, with thee platform shelves, the middle tier with a balustrade gallery and flanked by a bird 80cm by 32cmProvenance: The Selected Contents of Scorborough Lodge from the Estate of Stephen Thornley-Wilson
A Pair of French Gilt Metal Chenets and Fender Rail, late 19th century, with urn shaped finials issuing flambé suspending swags all above a balustrade gallery maximum extended length 111cm A French Gilt Metal Adjustable Chenet, late 19th century, comprising of vine and scroll decorated end sections above fluted bases, the central fender section decorated with rosettes maximum extended length 100cm A Pair of Victorian Fire Implements, comprising a shovel and tongs, each with knopped handles (4)Provenance: The Selected Contents of Scorborough Lodge from the Estate of Stephen Thornley-Wilson
A 19th century Victorian church chapel ecclesiastic pulpit. The pulpit having fielded panel to lectern, flanked by turned balustrade staircase. With 1930s brass bar light to top. Total length of base (end of stairs to end of stairs) 245cm length. Total height 164cm tall. Lectern length 103cm. Collection from Easter Compton, BS35 postcode. Vendor to dismantle the pulpit with skirting board attached.
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
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.
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.
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.
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.
Unbekannter Maler, Blumenstillleben: Arrangement aus Sommerblumen in einer orangenen Vase mit zwei Äpfeln davor. Im Hintergrund ein Ausblick über eine Ballustrade hinweg sowie eine ornamental verzierte Tapete. Die bewegte ornamentale Gestaltung erinnert an Stillleben von Henri Matisse. Signiert "P. Heuer", Öl/Lwd. 53 x 71 cm. / Unknown painter, floral still life: Arrangement of summer flowers in an orange vase with two apples in front of it. In the background, a view across a balustrade and an ornamentally decorated wallpaper. The animated ornamental design is reminiscent of still lifes by Henri Matisse. Signed "P. Heuer", oil on canvas. 53 x 71 cm.
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.
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)
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
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.
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
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
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![A WELL-PRESENTED 1:32 SCALE BOW SECTION MODEL FOR H.M.S. RENOWN [1749] (EX-FLAME; EX-RENOMMÉE, 1745) modelled by I. Antifieie](https://cdn.globalauctionplatform.com/b457304b-abaf-4ac9-bbbe-b2a50106e996/2dd57b72-7e03-4cdc-973e-b2ad0119cfce/468x382.jpg)
