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A figured walnut canterbury watnot with brass balustrade gallery, 100cm high x 70cm x 42cm

Large Balustrade cast iron lamp, 95cm, on 35cm x 15cm baseDue to the nature and fragility of the lots in this auction, we are unable to offer an inhouse post and packing service for items purchased in this sale and strongly advise using a professional packing company. Further information on independent shippers can be found on our website - www.reemandansie.com/collection-and-shipping/

Shapland & Petter; Barnstaple (1854-1999) - Art Nouveau circa. 1900s mahogany display cabinet, raised shelf over panel inlaid with heart and stylised tulips with curled leaves, flanked by balustrade, enclosed by two astragal glazed doors, the lined interior fitted with two shelves, recessed central upright fitted with single shelf, arched lower section fitted with undertier, the spandrels inlaid with further stylised flower heads and trailing branches, on style supports terminating to moulded pad feet, the locks stamped 'S&B, B', retailed by 'Denby & Spinks, Leeds' plaque versoDimensions: Height: 171cm  Length/Width: 119cm  Depth/Diameter: 37cm

Victorian rosewood three-tier what-not or etagere, raised balustrade gallery top over three shaped tiers on turned supports, turned feet with brass cups and castors (W48cm, H83cm, D34cm); Georgian design mahogany dumbwaiter or what-not, two graduating circular moulded tiers on turned stem, three out splayed supports (W38cm, H77cm)

Late Victorian walnut bobbin turned armchair, curved cresting rail with bead moulding over turned spindle back, upholstered arms on turned balustrade supports, cane work seat over seat rail with matching bead moulding, loose seat cushion upholstered in olive green fabric, on tapering bobbin turned front supports with brass and ceramic castors, Dimensions: Length/Width: 69cm  Depth/Diameter: 105cm

Victorian copper club fender, leather upholstered cushioned seats on turned balustrade supports, drop centre with C-scroll corner brackets, on stepped moulded curb Dimensions: Height: 60cm  Length/Width: 174cm  Depth/Diameter: 57cmCondition Report:Internal measurements excluding L shaped lip - W138cm x D47cm.

20th century brass telescopic club fender, burgundy upholstered seats with stud bands on turned brass balustrade, on moulded curbCondition Report: The telescopic mechanism is stiff and does not close up completely. This may need some attention. Max width - 160cm

Chinese School, Qing Dynasty, a needlework panel, horse, and exotic birds against a balustrade and pagoda surrounded by foliage and a potted plant, worked in colored and gold bullion threads in relief, 24 by 18cm, gilt frame, label verso with provenance inscription by John Denness dated 1847

A French repeating carriage clock, late 19th Century, gilt brass and paste set corniche case, visible platform lever escapement, Arabic numerals dial on a blind fretwork ground with garden balustrade, corinthian columns, raised on a plinth, the movement striking on a gong, 20cm high, 10cm wide, (key)

Miniatur-Mariensäule von MöderbruggAuf quadratischem, gestuften Sockel aus schwarz lackiertem Holz, eine breite Balustrade mit hölzernen Balustersäulen und silbernem Handlauf. In der Mitte ein mehrfach profilierter, quadratischer Sockel mit vier Inschrifttafeln und darauf eine hohe, glatte, steinerne Säule, die über akanthusblattverziertem Kapitell die Miniaturskulptur der Jungfrau Maria trägt, die in betender Haltung auf einer Weltkugel steht, welche von einer Schlange umwunden wird. Maria und Säulendekor vergoldet. Inschrift der Tafeln "Zum Andenken von A : W = M in Möderbrugg" vielerlei Fürbitten und "Im Jahre 1827 den 5ten August ist durch ein Fest nach 100 Jahren diese Säule erneuert worden. (...) Jos Zeitlinger". Rep.; H. 41 cm. 21 cm x 21 cm.An Austrian miniature Marian column made of wood, stone and parcel-gilt silver. Repaired.Österreich. Möderbrugg. Um 1827.

Italian School (18th century) View of a palazzo façade with doorway and balustrade, pen  and brown ink, yellow, green and brown wash, on thick Italian laid paper without watermark, sheet 313 x 207 mm (12 3/8 x 8 1/8 in), arched top, ruled black ink borderline, minor surface dirt, unframed, [late 18th century]Provenance:Michael Mayr (1796-1870) [Lugt 1804a]Collection of John and Eileen Harris*** Suggested attributions to Faustino Trebbi (1761-1836), or someone working in his circle, are recorded by Harris.  

Dreiteilige Kamingarnitur im Louis-XVI.-Stil Frankreich, 19. Jh. In Form einer Balustrade, die gebogten Seitenteile mit applizierten Löwenköpfen, Festons und Vasenbekrönung. Bronze, feuervergoldet. L. ges. ca. 118 cm.

FLASCHENSTÄNDER, deutsch, 1920er,ausgestellter Stand, durchbrochen gearbeitete Manschette in der Art einer Balustrade mit Festons, MZ (verschlagen), Beschau ca. 125g 800- Silber, 11,5 x 4,5 cm,

A 20th century oil on canvas, figures in a continental park beside a stone balustrade, initialled CS and dated '13, 76x95cm

Jan van Mieris, Vanitasporträt einer jungen FrauÖl auf Holz. 21 x 17,4 cm.Signiert und datiert auf der Säulenplinthe: J. van Mieris / 1687.ProvenienzW. Baumgärtner, Oberer Luisenpark, Mannheim (laut eines Etiketts auf der Rückseite). - Auktion Heidelberg, "Kunst und Kuriosa", 9.6.2017 (als Pieter van der Werff und als unsigniert). - Daxer & Marschall, München, 2018 (als Jan van Mieris). - Sotheby's, New York, 30.1.2021, Lot 535 (als J. v. Mieris). – Sammlung Matarazzo di Licosa, Italien.LiteraturM. van der Hut: Jan van Mieris (1660-1690), His Life and Work, Visual Heritage in the Netherlands 4, Amsterdam 2021, S. 126-27, Nr. B-G-4, m. Farbabb.Die Darstellung einer jungen Frau vor einer Balustrade erweist sich erst auf den zweiten Blick als Vanitasbild. Es scheint, dass sie um ihre (vorübergehende) Schönheit und ihren möglichen Tod besorgt ist, wie die abgefallenen Blütenblätter der verwelkten Tulpe andeuten. Das bezaubernde Bildnis ist ein charakteristisches Werk von Jan van Mieris, dem Sohn des berühmten Leidener Feinmalers Frans van Mieris dem Älteren. Der Einfluss des Vaters erschließt sich auch in der Wahl der Thematik. Dessen „weinende Frau“ in der Sammlung Bute zeigt ebenfalls eine Frau vor einer Balustrade mit einer Rose, die bald verwelken wird (siehe O. Naumann, Frans van Mieris the Elder (1635-1681), Doornspijk 1981, II, Kat. Nr. 115). Als sein Vater 1681 starb, übernahmen Jan und sein jüngerer Bruder Willem die Familienwerkstatt. Zweifellos waren dort beide Brüder zum Zeitpunkt des Todes ihres Vaters bereits als Lehrlinge beschäftigt. Jan starb im Alter von nur dreißig Jahren in Rom. In seiner Heimatstadt Leiden schuf er ein kleines, aber stilistisch zusammenhängendes Œuvre, das größtenteils den Gemälden seines berühmten Vaters verpflichtet war.

Royal Navy Interest.A Victorian silver and enamel calling card vesta case, of rectangular form, with applied enamel plaque of a calling card, 'Commander Maurice A. Bourke, R. N. / H. M. S. Surprise', with integral striker and hinged cover, Sampson Mordan, London 1889, length 5.7cm, weight 40g/1.28ozt gross approxCatalogue Notes: "Bourke was a naval officer who commanded HMS Surprise, for Prince Alfred, later Duke of Saxe-Coburg-Gotha in the 1880s. During this time, he was romantically linked to Princess Victoria of Prussia (1866-1929). In 1893, he was in command of HMS Camperdown which collided with HMS Victoria, near Tripoli, northern Lebanon, while on exercise with torpedoes and mines. It caused the ship to run aground and sank within 10 minutes and all 358 crew were killed. There was a court-martial but Bourke was cleared of any blame. HMS Victoria is said to be the world's only vertical shipwreck and is now a historic monument, protected in law." (www.rct.uk, 2024)A studio photograph of Maurice Bourke, standing against a balustrade, in naval uniform and his cap nearby, is held by the Royal Collection Trust, inventory number 2930890.Reference: www.rct.uk. (2024). Richard Ellis (1841-1924) - Captain Maurice Archibald Bourke (1853-1900). [online] Available at: https://www.rct.uk/collection/2930892/captain-maurice-archibald-bourke-1853-1900.‌

A Composition Table-Top Model of a Classical Building, 20th century, with removable green painted and perspex roof, the base with five steps leading to classical arches and pilasters, the balustrade gallery interior painted to simulate bricks and hanging lanterns25cm by 70cm by 80cmA Model of a Bandstand, with domed tiled roof supported on six pillars and on stepped hexagonal plinth45cm highA Small Painted Bust, on wooden plinth19cm overall (3)

The Reproduction Green-Painted Furniture, comprising: a pair of waterfall bookcases or bedside tables, of graduated form with two fixed shelves, single drawer and wavy-shaped apron56cm by 30cm by 121cma pair of occasional tables or plant stands, with square moulded tops above turned balustrade galleries, on square-form legs joined by an H stretcher25cm by 25cm by 64cma larger occasional table or plant stand35cm by 35cm by 72cm (5)

An English Delft Flower Brick, circa 1750, painted with a Chinese figure stood by a balustrade, with a duck in flight and pagoda beyond14cmSome glaze and deeper chipping to all edges. Mainly expected. One larger foot chip. No cracks and free from restoration.

late 19th century German wall clock having a circular dial inscribed with a chapter of Roman numerals, the case with glazed pendulum aperture above a balustrade gallery with a turned under-finial. Measures approx 80cm.

LOMBOK LAMPS, a pair, balustrade rustic carved wood, 83cm H. (2)

ASSORTMENT OF BRASS CANDLESTICKS comprising brass turned candlesticks stamped England 1550, each 53cm high; another smaller pair, 28 cm; a colonnade square candlestick with balustrade design to top, 30cm high; two brass candlesticks converted to table lamps and two further brass candlesticks (9)

TWO ANTIQUE MAHOGANY FOOT STOOLSthe smaller example with balustrade detail (2)

BRASS FIRE FENDERwith balustrade gallery, 140 cm long

Prunkvoller Gründerzeit-Freischwinger. Werk-Nr. 33226. Wohl ergänztes, gemarktes Werk mit Halbstundenschlag auf Tonfeder. Funktion nicht geprüft, Revision empfohlen. Weißer Ziffernring mit arabischen Zahlen, Minutenkranz, durchbrochenen Fantaisie-Zeigern und reliefierter Blattmitte mit Rocaillen und Blattwerk. Nussbaum. Ca. 120 x 47 x 22 cm. Aufwändig gestaltete, 3-seitig verglaste Historismus-Wanduhr mit architektonischem Aufbau, Rundgiebel mit floraler Bekrönung, kassettiertem und floral beschnitztem Pendelbrett, Pendelbalkon mit korinthischen Säulen und Balustrade, Bronze-Applikationen mit weiblichen Hermen, Maskaron und Rosetten. Leichte Alters- und Gebrauchsspuren, Ziffernblatt rissig. Mit Schlüssel. Pendel und 2 Gewichte fehlend. Aufrufzeit 23. | Okt. 2024 | voraussichtlich 16:54 Uhr (CET) Pompous Wilhelminian-style cantilever clock. Movement no. 33226. Well completed, marked movement with half-hour strike on gong. Function not tested, overhaul recommended. White chapter ring with Arabic numerals, minute ring, pierced fantaisie hands and leaf center in relief with rocailles and foliage. Walnut. Approx. 120 x 47 x 22 cm. Elaborately designed, 3-sided glazed historicism wall clock with architectural structure, round gable with floral crowning, coffered and florally carved pendulum board, pendulum balcony with Corinthian columns and balustrade, bronze applications with female herms, mascaron and rosettes. Slight signs of age and wear, clock face cracked. With key. Pendulum and 2 weights missing. Call time 23 | Oct. 2024 | probably 16:54 (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.

Großer Gründerzeit-Freischwinger. Gustav Becker. Nach 1900. Gemarktes Werk mit Halbstundenschlag auf Tonfeder und Repetition (Zugseil fehlt). Funktion nicht geprüft, Revision empfohlen. Floral geprägtes Messingziffernblatt mit arabischen Zahlen, Minutenkranz, durchbrochenen Fantaisie-Zeigern und reliefierter Blattmitte mit Rocaillen und Blattwerk. Nussbaum. Ca. 125 x 50 x 20 cm. Aufwändig gestaltete, 3-seitig verglaste Historismus-Wanduhr mit architektonischem Aufbau, Aufsatzbekrönung, eckigem Pendelbalkon mit kassettiertem Pendelbrett und Balustrade, Bronzeapplikationen mit Maskaron, Putten und Rosetten, Drechsel- und Säulchenzier. Leichte Alters- und Gebrauchsspuren. Mit Pendel und Schlüssel. Aufrufzeit 23. | Okt. 2024 | voraussichtlich 16:56 Uhr (CET) Large Wilhelminian-style cantilever chair. Gustav Becker. After 1900. Marked movement with half hour strike on gong and repeater (pull rope missing). Function not tested, overhaul recommended. Florally embossed brass dial with Arabic numerals, minute ring, pierced fantaisie hands and center with rocailles and foliage in relief. Walnut. Approx. 125 x 50 x 20 cm. Elaborately designed, 3-sided glazed historicism wall clock with architectural structure, crowning, angular pendulum balcony with coffered pendulum board and balustrade, bronze applications with mascaron, putti and rosettes, turnery and column decoration. Slight signs of age and wear. With pendulum and key. Call time 23 Oct 2024 | probably 16:56 (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.

Seltener Satz von 3 Wandkonsolen. Ende 19. Jh. Nussbaum furniert und massiv, Messingappliken. Je 31 x 35 x 17 cm. In der Grundform gleich gestaltete Konsolen mit halbrunder Balustrade und geschweiftem Grundbrett mit Volutenstütze. Leicht voneinander abweichende Verzierungen bzw. Appliken. Minimale Furnierausbesserungen. Aufrufzeit 23. | Okt. 2024 | voraussichtlich 17:49 Uhr (CET)Rare set of 3 wall brackets. Late 19th century Walnut veneered and solid, brass appliqués. 31 x 35 x 17 cm each. Consoles of the same basic shape with semi-circular balustrade and curved base board with volute support. Slightly differing decorations and appliqués. Minimal veneer repairs. Call time 23 Oct 2024 | probably 17:49 (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.

Late Victorian walnut parlor sofa, balustrade rail back, pink dralon upholstery, length 140cm; and a pair of Edwardian stained walnut tub chairs, olive dralon upholstery, the hoop supported by three vase splats, width 70cm.(3)Condition report:Sofa: Condition of upholstery generally good, seat a little soft. Frame sound.Chairs: generally good, although one chair back is loose.

GIUSEPPE GALLI DA BIBIENA - Umkreis: Freilichttheater. Von mit Atlasfiguren geschmückten Säulen umgebener Innenhof mit jubelnden Zuschauern auf der darüber liegenden Balustrade, im Hintergrund Durchblick zu einem prächtigen Gebäude. Stellenweise in Zartblau aquarellierte Federzeichnung in Sepia. Auf Bütten. 27, 5 x 33,4 cm. Mit geglätteter, teils beschädigter und hinterlegter, vertikaler Faltung sowie mit Knickspuren. Stellenweise gebräunt, angestaubt und fleckig. [bg]

A set of Seven composition, concrete garden, ornaments in the form of classical urns these are cemented to a balustrade, but will come off quite easily sold in situ buyer to collect. Height 39cm

A Chinese gilt-bronze, champlevé and cloisonné enamel 'pagoda' incense holder the hexagonal roof with lion-dog finial, four slender supports each applied with a sinuous dragon, the octagonal base with pierced balustrade, late Qianlong/Jiaqing, 34cm [central incense holder and four hanging bells lacking].

A George IV rosewood Davenport desk, c.1825, the top section slides forward and has a balustrade gallery back and hinged leather covered writing surface, four side drawers opposed by four dummy drawers all with turned knob handles, above the drawers is a small pen and ink pull-out drawer that swings forward for use, on a plinth base which is raised on casters, the panelled front with decorative flat pillars and carved tops, 47 x 52 x 88cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.

* Chevalière d'Éon (1728-1810). Portrait of Charles Genevieve Louis Auguste Andree Timothee D'Eon, after Francis Haward (1759-1797), dated 1846, pencil on paper (with decorative embossed border), with light touches of pale red to her lips and cheeks, half length, slightly turned to the left, wearing a dark dress with a bow and the star of the Order of St Louis, set against an additional ornamental background of curtains, a balustrade and writing implements, initialled and dated 'M.E.M.B. 1846', contemporary ink manuscript 5 line caption to lower margin, tiny spot of abrasion to forehead, lower right corner lightly creased, sheet size 34.3 x 26 cm (13 1/2 x 10 1/4 ins, 4 cm of blank upper margin folded over in frame), framed and glazed (34 x 29 cm)QTY: (1)NOTE:A fine early pencil copy after the engraved portrait by Haward, (after a painting probably by Angela Kauffman, itself after the original print of 1779 by Pierre Jean Baptiste Bradel), of a man who dressed as both a man and as a woman, and had an important career in the military and as a diplomat and spy, before living as a woman from 1777. In her later years, d'Eon achieved fame in Britain as a celebrity female fencer. The caption below the image is taken from the Haward version of the portrait:"Carola-Genovefa-Louisa-Augusta-Andrea-Timothea-D'Eon De Beaumont, Knight of the Royal and Military order of St. Louis Captain of Dragoons, and the Volunteers of the Army, Aide-de-Camp to the Marechal Duke & Count de Broglio, Minsiter Plenipotentiary from the King of France to the King of Great Britain in 1763, &c. &c. &c. Born at Tonnerre 5.th of Oct.r, 1728. Painted in her 25th Year."

Frank Owen Salisbury CVO (1874-1962) - Portrait of a Sybil Rhodes, three quarter length in a white gown with pink and lavender roses and jewels seated on a garden balustrade, signed and dated 1-6-49, signed and dated again and inscribed  verso (MRS FRANK RHODES PAINTED JUNE 1946 BY FRANK O SALISBURY)   oil on canvas, 111 x 84cm

A pair of Late Victorian sterling silver salts cellars and a set of silver tongs. The salt sellars by Hayes Brothers, hallmarked Birmingham 1893. Each stood 10cm high, of balustrade form with engraved pattern and stood on pedestal foot. The tongs not to match of later production. 110.8 grams gross weight.

A French repeating carriage clock, late 19th Century, gilt brass and paste set corniche case, visible platform lever escapement, Arabic numerals dial on a blind fretwork ground with garden balustrade, corinthian columns, raised on a plinth, the movement striking on a gong, 20cm high, 10cm wide, (key)

A group of six French tapestry cushions, late 18th and 19th century, comprising: a pair with a balustrade flanked by winged sphinx and centred by flowering urns, with pink tassels, 59 x 55cm; four cushions centred by putto, possibly representing the seasons, within lozenge borders, 38 x 40cm and 30 x 38cm; and a square cushion with fruit stitched on to a velvet ground, 50 x 53cm (7)

A Victorian partially ebonised mahogany desk chair ensuite with a chair without arms, both with backs button upholstered in brown leather above a balustrade of cylindrical columns, the column style repeated in the front legs

Alexandre Marie Colin, 1798 – 1875, zug.DES SULTANS MUSEÖl auf Leinwand.73,5 x 59 cm.In breitem Empire-Rahmen.In einem Kiosk mit offen gearbeiteter Balustrade und textilem Baldachin eine musizierende Schönheit vor einem Sultan in reicher Gewandung. Hinten mit Park und Architekturen abschließend.Provenienz:Bonhams London, 20. Oktober 2021, Lot 8. (14014824) (13)Alexandre Marie Colin, 1798 – 1875, attributedTHE SULTAN‘S MUSE Oil on canvas.73.5 x 59 cm.Provenance: Bonhams, London, 20 October 2021, lot 8.

Giovanni Antonio Canal, genannt „Canaletto“, 1697 Venedig – 1768 ebenda, Nachfolge desCAPRICCIO EINER PALASTLOGGIA MIT FIGURENSTAFFAGEÖl auf Leinwand.132,2 x 93,5 cm.In vergoldetem Prunkrahmen.Bei dem Gemälde handelt es sich nicht eigentlich um ein „Capriccio“, dazu ist das Gesamtgegenständliche zu entschieden realistisch, die architektonischen Einzelheiten zu detailgenau gezeigt, wie wir dies eben bei Werken Canalettos kennen. Dennoch ist hier möglicherweise eine Fantasiearchitektur ins Bild gesetzt, die vom Innern einer hohen, von Säulen getragenen Loggia mit Blick auf eine Parkmauer in ungewöhnlicher Weise auch die Raumdecke der Loggia in einem Halbbogen offen zeigt. Solche fantastischen Architekturideen sind uns von Stichen des Piranesi geläufig. Der Wechsel von Schatten im Raum und hellem, im Sonnenlicht stehendem Gebäude verleiht dem Gemälde eine attraktive Spannung. Man scheint die südlich-sommerliche Temperatur zu spüren, bei der die Staffagefiguren sich sämtlich im Schatten aufhalten. Höchst originell hierbei die Personen auf der oberen Emporenbalustrade, von der ein großes Velum herabhängt, wie ebenso der schräg im unteren Raum hängende ovale Goldrahmen oder die extrem lang herunterhängende Laterne links im Bild. Die Darstellung ist weitgehend identisch mit einem 1765 geschaffenen Werk Canalettos, mit Museumsbetitelung „Colonnade Opening onto the Courtyard of a Palace“ im Cannon Hall Museum, bei Barnsley in South Yorkshire (56 x 42 cm.)Eine weitere Version („Perspektive mit Porticus“) in kleineren Abmessungen (42 x 32,5) befindet sich in der Sammlung Carmen Thyssen Nationalmuseum Thyssen-Bornemisza, Inv.Nr. CTB 1981.39, dort mit variierenden Einzelheiten einer ausführlicher geschilderten Staffage, mit einem Bettler, einem Mann mit Kind sowie Hühnern in der Loggia, die Parkmauer ist anders dargestellt, anstelle der Vase mit Figuren bekrönt. Ferner ist eine weitere Darstellung bei Stephen Ongpi Fine Art bekannt geworden, ausgeführt in Gouache und Feder, mit Aufschrift „Anto. Canale“, in den Abmessungen 36,4 x 28,7 cm, erstmals 1919 im Petit Palais, Paris, ehem. Slg. Luigi Albertini, Rom, zusammen mit dem dazugehörigen Ölbild ausgestellt. Canaletto, in Europa längst bekannt, wurde am 11. September 1763 in die 1750 gegründete venezianische Akademie aufgenommen, und hatte dazu ein Musterbeispiel seines Könnens einzureichen, das sich heute in der Galleria dell´Accademia in Venedig befindet. Das Bildthema, von dem mehrere Versionen existieren, dessen Darstellung auch Giovanni Antonio Guardi (1698/99-1760) zu einem seiner Bilder inspiriert hat, ist 1765, also in der nämlichen Zeit entstanden, in der Canaletto sich erneut wieder Gegenständen seiner Heimatstadt zuwandte. So reiht sich das vorliegende Gemälde in die bereits bekannten Versionen ein, zum Teil auch von der Werkstatt geschaffen, die weitgehend Detailunterschiede erkennen lassen.Literatur: Vgl. Ettore Modigliani, Capolavori veneziani del’700 ritornati in Italia, in: Dedalo. Rassegna d’Arte diretta da Ugo Ojetti, Mailand/ Rom 1924-1925.Vgl. Terisio Pignatti, Il Museo Correr di Venezia: Dipinti del XVII e XVIII Secolo, Venedig 1960. Vgl. W. G. Constable, Canaletto. Giovanni Antonio Canal 1697-1768, Oxford 1962, Vol.1, S. 155.Vgl. Lionello Puppi, L’opera completa del Canaletto, Mailand 1968.Vgl. André Corboz, Canaletto: Una Venezia immaginaria, Mailand 1985, Vol.2, S. 768-769. Vgl. Dario Succi, Capricci Veneziani del Settecento, Turin 1988. Vgl. Jane Martineau and Andrew Robison (Ed.), The Glory of Venice: Art in the Eighteenth Century, Ausstellungskatalog, National Gallery London, 29. Januar - 23. April 1995, London 1994. A.R. (1370321) (11)Giovanni Antonio Canal, also known as “Canaletto”,1697 Venice – 1768 ibid., follower ofCAPRICCIO OF A PALACE LOGGIA WITH FIGURE STAFFAGE Oil on canvas. 132.2 x 93.5 cm.The painting is not actually a “capriccio” as the overall objective is too decidedly realistic for that, and the architectural details are shown with too much detail, as is typical of Canaletto´s works. Nevertheless, an imaginary architecture is possibly depicted here. From the inside of a high loggia supported by columns with a view of a park wall, it also shows the open ceiling of the loggia in a semi-arch in an unusual way. Such fantastic architectural ideas are familiar from engravings by Piranesi. The alternation of shadows in the room and a bright building standing in the sunlight gives the painting an attractive tension. One appears to feel the southern summer temperature, in which the staffage figures are all in the shade. The people on the upper gallery balustrade, from which a large veil is hanging, are highly original, as is the oval gold frame hanging diagonally in the lower room or the extremely long hanging lantern on the left of the painting. The depiction is largely identical to a work by Canaletto from 1765, titled Colonnade Opening onto the Courtyard of a Palace in Cannon Hall Museum, South Yorkshire (Part of Barnsley Museums, 56 x 42 cm). Another version (Perspective with Porticus) with smaller dimensions (42 x 32.5) is held at the Carmen Thyssen Collection (Thyssen-Bornemisza National Museum, inv. no. CTB 1981.39), there with varying details of a more detailed figure staffage including a beggar, a man with a child and chickens in the loggia. The park wall is also depicted differently, surmounted by figures instead of a vase. Another illustration by Stephen Ongpin, Fine Art, is known, executed in gouache and pen, with the inscription “Anto. Canale” (36.4 x 28.7 cm), exhibited for the first time in 1919 in the Petit Palais, Paris, formerly Coll. Luigi Albertini, Rome, together with the accompanying oil painting. Canaletto, long known in Europe, was admitted to the Venetian Academy founded in 1750 on 11 September 1763, and he had to submit a model example of his skills, which is now held at the Galleria dell’Accademia in Venice. The subject of the painting, of which there are several versions and whose depiction also inspired Guardi to create one of his paintings, was created in 1765, i.e. at the same time that Canaletto was again turning to subjects from his hometown. Thus, the present painting aligns with the already known versions, in part also created by the workshop, which largely show differences in detail.

In the manner of William Morris - Arts & Crafts period corner chair, swell turned horizontal rails with balustrade back, rush seat on ring turned supports, black paint finish Dimensions: Height: 75cm  Length/Width: 41cm  Depth/Diameter: 41cm

Victorian design brass telescopic extending club fire fender, the corner seats upholstered in buttoned green fabric over plain balustrade, on moulded base with floral cast corner brackets Dimensions: Height: 35cm  Length/Width: 169cm  Depth/Diameter: 53cmCondition Report: Extended width - 200cm.Internal - W152cm, D44cm.Extended internal - W184cm, D44cm.

Late Victorian walnut framed chaise longue, rolled back and sprung seat, upholstered in blue and beige floral damask fabric, cushioned rail on balustrade support, on turned feet with castors Dimensions: Height: 79cm  Length/Width: 180cm  Depth/Diameter: 62cm

Twelve glazed balustrade spindles, 49cm (h) / Please bring equipment and labour to assist with removal of all lots. All lots are located at St. Marys Cottage, Old Lane, Dockenfield, Farnham, Surrey, GU104HG. Viewing and collections are via appointment only, please see our important sale information for more info. Collections must be completed by Thursday 26th September due to premisis move. Regretfully Wellers are unable to offer any type of packing or shipping.

A French Arts & Crafts period oak draw-leaf dining table, in the Henry II taste, parquet de Versailles top, figural supports, shaped balustrade X-stretcher centred by an urnular finial, bun feet, 76cm high, 139.5cm extending to 264cm long, 99.5cm wide, c.1920

A collection of cast stone balustrade, each section 100w x 90h cm

A George IV Mahogany Davenport, stamped T Wilson, 68 Great Queen Street, London, 2nd quarter 19th century, inlaid with boxwood, the three-quarter balustrade gallery above a hinged writing slope with inset brown leather skiver, the interior with four mahogany-lined small drawers, a moulded panel below inlaid with shell patera flanked by four sham and four real drawers to the side, on gadrooned feet with recessed castors60cm by 63cm by 87cm

A 1970s bamboo freestanding kidney shaped bar, having a black laminate inset top, three open interior shelves, with lower bamboo and metal applied balustrade, h.95cm, w.95cm

A RARE FRENCH LARGE FOUR-DIAL NOVELTY AUTOMATON LIGHTHOUSE TIMEPIECE WITH BAROMETER AND THERMOMETERSPOSSIBLY BY ANDRE ROMAIN GUILMET, PARIS, RETAILED BY F. GUILLEBOT, BORDEAUX, LATE 19th CENTURYThe timepiece with circular eight-day movement with platform cylinder escapement regulated by sprung monometallic balance vertically planted on the backplate stamped V.R., BREVETE PARIS over serial number 2524, the 2.25 inch circular dial with gilt centre inscribed F. GUILLEBOT, 52 COURS DE L'INTENDANCE, BORDEAUX within silvered Roman numeral chapter ring with blued steel spade hands set behind hinged cast gilt brass bevel-glazed bezel with canted insert to interior, mounted within a nickel-plated cylinder in a cruciform arrangement with a pair of conforming curved mercury tube CENTIGRADE and REAUMUR scale thermometers to the sides and a BAROMETRE ANEROIDE to rear, similarly signed for the retailer's to centre within silvered scale calibrated in mm hg 690-800 numbered for every ten and with the usual observations in French, with blued steel pointer and recording hand to glass matching those for the paired thermometers, the nickel-finish cylinder assembly forming the lantern of the lighthouse capped with a gilt cupola engraved with brick courses and with finely executed weather-vane, slowly revolving via a separate going-barrel driven movement set within the base of the lighthouse structure, the tower formed as a tapered column with gilt balustrade gallery supported on corbels over brick-coarse engraved shaft applied with staggered gilt arched windows, over moulded foot incorporating hinged door to reveal the winding square for the automaton movement, on rounded circular base set on a Belge noir marble plinth.62cm (24.5ins) high, 23cm (9ins) diameter at the base. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side. Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc.The present lot possibly belongs to Guilmet's 'marine series' and would appear to be a particularly rare larger variant of his lighthouse timepiece, with the other smaller variant having small exposed vertical tube thermometers to the sides of the lantern (rather than the glazed dials of the current timepiece). Condition Report: Clock movement is reasonably clean and is in working condition however a precautionary gentle clean/service is advised if intending to put into long term service. The barometer responds to change in pressure (has been 'bag tested') hence is also in working condition. Both thermometers are intact and in working condition. All four dials are in good original condition but with some slight mellowing to the gilt and silvered finishes. The bezels (rings bordering the dial glasses) have wear/rubbing to the gilt finishes and the nickel-plated finish to the lantern section has some noticeable patchy degradation/spotting to the surface. The rest of the case is in very good condition with good strong gilding exhibiting minimal wear/oxidation and the dark patination with only a few minor age-related scratches mostly near the winding hole for the rotating mechanism; the rotating mechanism/movement is in working order. The block marble plinth has one noticeable shallow edge chip and a couple of smaller ones that can only be detected on closer examination.AMMENDMENT 09/09/2024 - the rotation mechanism driving the 'lantern' section of the lighthouse is a little lazy in its action and prone to stopping hence probably requires a service.Timepiece is complete with two winding keys. Condition Report Disclaimer

GOVAERT FLINCK (NACHFOLGER)1615 Kleve - 1660 AmsterdamALTER MANN LEHNEND AUF EINER BALUSTRADE Öl auf Leinwand (doubl.). 95,5 x 78 cm (R. 115 x 98,5 cm). Part. min. rest., part. Altretuschen. Rahmen. Provenienz: Rheinische Privatsammlung.

Two hardwood balustrade hand rails

A circa 1900 gilt brass fire fender, with railed balustrade and raised on hairy paw feet, width 127.5cm, together with a 19th century pierced brass fire fender (2)

Late Victorian hallstand, raised pediment over balustrade frieze, bevelled mirror back with coat hooks over glove drawer, fitted with two drip-trays to baseDimensions: Height: 193cm  Length/Width: 96cm  Depth/Diameter: 30cm

Late Victorian walnut matched two-piece salon suite upholstered in rust buttoned leather - open armchair, reed moulded frame and turned balustrade arm supports, on turned front feet with brass and ceramic castors (W60cm, H92cm, D70cm); nursing chair, fan carved cresting rail, moulded frame, on turned front feet (W58cm, H93cm, D73cm)

Balustrade3-tlg.; Messing, vergoldet. Jeweils querrechteckig angelegter, durchrochen gearbeiteter Korpus aus zentralem, von Strahlen umgebenen Relieftondo eines Pelikans mit seinen Jungen, als christliches Symbol für Opferbereitschaft und Hingabe und somit als Zeichen für Hoffnung und Trost, umgeben von üppigem Blattwerk bzw. aus Säulenarkaden mit stilisiertem Maßwerk. Je 52 cm x 104 cm bzw. 108 cm.Provenienz: aus der Auflösung einer bedeutenden norddeutschen Privatsammlung.A three piece French gilt brass balustrade.Frankreich. Um 1900.

MAHOGANY VICTORIAN CHAISE LONGUElater upholstered in cream, with balustrade detail and turned legs with brass ends and castors, 160 x 71 x 56cm

Tablett mit Lackmalereiwohl England, 19. Jh., ungemarkt, Weißblech dunkel gefasst und in feiner Stilllebenmalerei mit aufwendigem Blütenbukett verziert, Ovalform mit umlaufender Balustrade und zwei seitlichen Handhaben, leichte Altersspuren, etwas berieben, L 60 cm.

Schreibtisch Historismusim Neoklassizismus, 2. Hälfte 19. Jh., Eiche massiv, dunkelbraun gebeizt, frei im Raum stellbares Möbel, große Schreibplatte mit zwei Schubkästen, getragen von massiven kannelierten Vierkantfüßen, die Verstrebung von gedrechselter Amphore bekrönt, die umlaufende geschnitzte Balustrade mit mittigem Sprenggiebel verziert, Altersspuren, einige Zierteile lose, restaurierungsbedürftig, Maße 102 x 190 x 83 cm.

Theodore Alexander: a mahogany architectural model of a case of spiral stairs, in the style of the Loretto step, with moulded banister and balustrade, 46 cm diameter x 115 cm.Good structural condition. Some surface pitting and marks in places, but nothing unsual.

Three sections of painted balustrade, 20th century, in the manner of fairground artwork, each 280cm long82cm high approximately (3)Condition ReportModern. tops of the balustrades have been detached but are present.