Decorative Arts

DECORATIVE ARTS

AUCTION CATALOGUE VOLUME 16 ISSUE 2

LJ8675

COVER: LOT 161

A FINE REGENCY CAVALRY OFFICER’S SABRE BY JOHN PROSSER, PRESENTED TO THOMAS POTTER MacQUEEN

Dated 1819

$5,000-7,000

leonardjoel.com.au

DECORATIVE ARTS

VIEWING

Viewing in Melbourne: Friday 3 - Sunday 5 March 2023 333 Malvern Road, South Yarra, VIC 3141

Chiara Curcio

Head of Decorative Arts, Design & Interiors (03) 8825 5635 chiara.curcio@leonardjoel.com.au

David Parsons

Head of Private Estates and Valuations Decorative Arts Specialist (03) 8825 5638 david.parsons@leonardjoel.com.au

Please refer to our website for viewing times

AUCTION MONDAY 6 MARCH 2023, 2PM MELBOURNE leonardjoel.com.au

Craftsmanship across the centuries

I am pleased to return from my maternity leave to present our first offering of Decorative Arts in 2023.

The auction opens with a single owner collection of Doulton Lambeth stoneware ceramics, assembled by a Melbourne-based aficionado. The collection includes examples by renowned Doulton decorators, sisters and naturalists Hannah and Florence Barlow, exhibiting both their specialisations; Florence her bird, flower and animal studies and Hannah her horse and animal designs, with examples executed in sgraffito and pâte-sur-pâte. Highlights from this collection include a large pair of vases by Florence Barlow, finely decorated in pâte-sur-pâte with geese in grasses (lot 2), and a large vase by Hannah Barlow, decorated with lions in sgraffito (lot 12).

Although our auctions normally celebrate 18th & 19th century silver, for this auction we have turned our focus to more contemporary workmanship, highlighting 20th century silversmiths Georg Jensen and Stuart Devlin. Synonymous with the name Georg Jensen is his coveted acorn pattern tablewares, and we are pleased to be presenting not one, but two acorn pattern cutlery sets (lots 38 & 39), together with two examples of his 263 pattern comports (lots 40 & 41). From Devlin’s studio we are offering three lots of his surprise eggs (lots 43-45) alongside a rare miniature menagerie in sterling silver (lot 46).

For our third auction running, we are fortunate to present a collection of items crafted by Robert Prenzel, including two lots of portrait panels (lots 51 & 52), a mountain ash smokers cabinet (lot 49) and a rare study of a Waluningma tribe female (lot 50).

The largest component of our auction remains traditional Furniture and Furnishings including a lovely 17th century French verdure tapestry depicting the The Games of Louis XIV as a child (lot 119), and good examples of 18th & 19th century continental furniture with an emphasis on French provincial pieces in cherrywood and chestnut. Finally, gracing our front cover is a fine regency cavalry officers presentation sabre crafted by John Prosser, Royal Sword Cutler and belt maker, commissioned for and presented to Thomas Potter MacQueen (lot 161). Examples of Prosser’s presentation swords and sabres can be found in important English collections including the National Maritime Museum and the Royal Collection, and occasionally on the market. In addition to its fine craftsmanship and design, the MacQueen sabre has excellent provenance, having remained and descended within MacQueen’s family since its presentation to him 204 years ago, a rare advantage for any serious collector. It is also accompanied by a framed photographic reproduction of a mezzotint engraving after James Ramsay’s painted portrait of MacQueen standing beside his mount in his full military regalia with the Prosser presentation sword at his hap.

It has been a pleasure, as always, to curate this auction, and I am looking forward to answering any queries you may have.

Chiara Curcio | Head of Decorative Arts, Design & Interiors

Circa 1880

Of tapering form, the body decorated with pâte-surpâte birds and foliage on a stippled ground, flanked by a stylized bird form handle, incised markers mark, impressed date mark of 1880 and rosette factory mark to underside of base, together with other impressed and incised marks including assistant monograms

27.5cm high

$600-800

Circa 1905

Each of slender baluster form, with a fluted neck, decorated with floriate motifs and pâte-sur-pâte geese amongst grasses on a stippled ground, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks including artist and assistant monograms EES & RB

41cm high

$1,000-2,000

Circa 1905

Of baluster form with a fluted neck, each decorated with floriate motifs in the Art Nouveau taste, incised markers mark and impressed circle, lion and crown factory mark to underside of base, together with other impressed and incised marks including assistant monogram for Jane Rumbol

47cm high

$700-900

1 A DOULTON LAMBETH STONEWARE EWER DECORATED BY FLORENCE BARLOW

2 A PAIR OF DOULTON LAMBETH VASES DECORATED BY FLORENCE E. BARLOW

3 A PAIR OF DOULTON LAMBETH STONEWARE VASES DECORATED BY ELIZA SIMMANCE

A PAIR OF DOULTON LAMBETH STONEWARE VASES DECORATED BY FRANK A. BUTLER

Circa 1905

Each of slender form, decorated with repeating relief moulded oak leaf designs, incised markers mark and impressed circle, lion and crown factory mark to underside of base, together with other impressed and incised marks

28cm high

$500-700

5 A DOULTON LAMBETH STONEWARE VASE

DECORATED BY FLORENCE BARLOW

Dated 1882

Of urn form, a central oval cartouche to obverse and reserve decorated with landscape scenes, surrounded by pâte-sur-pâte birds and foliage on a stippled ground, incised markers mark, impressed date mark for 1882 and rosette factory mark to underside of base, together with other impressed and incised marks including assistant monograms

32cm high

$500-700

6 A DOULTON LAMBETH STONEWARE VASE

DECORATED BY FLORENCE BARLOW

Dated 1882

Of tapering form, decorated with two oval cartouches of foliate motifs, flanked by raised pâte-sur-pâte sparrows and foliage on a stippled ground, incised markers mark, impressed date mark for 1882 and rosette factory mark to underside of base, together with other impressed and incised marks including assistant monograms for Florence Tegetmeier, Mary Aitken and Eleanor Burrell

28.5cm high

$600-800

7 A DOULTON LAMBETH STONEWARE VASE DECORATED BY FLORENCE BARLOW

Of baluster form, decorated with a central band of flying geese in pâte-sur-pâte on a stippled ground, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks including assistant monogram for Ethel Beard

31.5cm high

$600-800

8 A LARGE DOULTON LAMBETH STONEWARE VASE DECORATED BY ELIZA SIMMANCE

Dated 1886

Of subtle baluster form, with a fluted neck, decorated overall in foliate motifs and beadwork on a central stippled ground, incised markers mark, impressed date mark of 1886 and rosette factory mark to underside of base, together with other impressed and incised marks including assistant monogram for Mary Aitken, Lydia Greig and others

53cm high

$700-800

A PAIR OF DOULTON LAMBETH STONEWARE VASES FOR ART UNION OF LONDON, DECORATED BY ELIZA SIMMANCE

Circa 1900

Of baluster form with a fluted neck, decorated overall with beadwork and repeating scrolling floriate motifs, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks including assistant monogram for Emily J. Partington

40cm high

$800-1,000

10

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY FLORENCE BARLOW & FRANCIS

E. LEE

CIRCA 1880

Bottle shaped with a slender neck, decorated with scrolling foliage surrounding a central oval cartouche featuring a scene of pâte-sur-pâte ducks amongst grasses, incised markers marks and impressed rosette factory mark to underside of base, together with other impressed and incised marks including assistant monograms

29.5cm high

$500-700

11

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY FLORENCE E. BARLOW

Circa 1900

Of baluster form, decorated with three reserves of pâte-sur-pâte geese amongst grasses on a stippled ground, incised markers mark and impressed circle, lion and crown factory mark to underside of base, together with other impressed and incised marks including apprentice mark MB

24cm high

$600-800

12

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Dated 1887

Of baluster form, with a central band of sgraffito lions and lionesses in landscape, incised markers mark, impressed date mark of 1887 and rosette factory mark to underside of base, together with other impressed and incised marks including assistant monograms

45cm high

$700-900

13

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW & ELIZA SIMMANCE

Circa 1900

Of baluster form, with a central band of sgraffito cattle in landscape setting, incised markers marks and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

46.5cm high

$800-1,200

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW & ELIZA SIMMANCE

Circa 1900

Of baluster form, decorated with a central band of sgraffito sheep in landscape setting, incised markers marks and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

40.5cm

$600-900

15

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Circa 1900

Of tapering baluster form, the central band decorated with sgraffito cattle in a landscape setting, incised markers mark and impressed rosette England factory mark to underside of base, together with other incised marks including assistant monogram for Eleanor Tosen

40.5cm high

$600-800

16

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY ELIZA SIMMANCE

Circa 1900

Baluster in form, with a fluted and frilled neck, decorated overall with repeating floriate motifs in the Art Nouveau taste, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

36cm high

$500-700

17

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Circa 1905

Baluster in form, the central band with sgraffito scene of deer and doe in landscape setting, incised markers mark and impressed circle, lion and crown factory mark to underside of base, together with other impressed and incised marks

31cm high

$800-1,000

18

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Circa 1900

Baluster in form, the central band decorated with a scene of sgraffito doe in a landscape setting, incised marker mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

30.5cm high

$500-700

19

A DOULTON LAMBETH STONEWARE TYG

DECORATED BY ELIZA SIMMANCE

Dated 1896

Of typical form, decorated with beadwork and scrolling foliage, with a sterling silver mount hallmarked London, dated 1896, makers mark rubbed, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

16.5cm high

$500-700

20

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Circa 1910

Baluster in form, the central band decorated with sgraffito horses and donkeys in a landscape setting, incised markers mark and Doulton Lambeth England factory mark to underside of base, together with other impressed and incised marks including artist monogram for Emily E. Stormer

23.5cm high

$600-900

21

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Baluster in form, the central band decorated with a sgraffito scene of cattle in landscape, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

34cm high

$700-900

22

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY HANNAH BARLOW

Decorated with a central band of sgraffito goats in a landscape setting, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks including artist monogram for Nessie Newbury, and assistant monograms for Clara Baker and others

32cm high

$600-800

A PAIR OF DOULTON LAMBETH STONEWARE

VASES DECORATED BY HANNAH BARLOW & FRANCES E. LEE

Of tapering form, with a slender fluted neck, decorated with a central band of sgraffito sheep, incised markers mark and impressed rosette England factory mark to underside of base, together with other impressed and incised marks

27cm high

$700-900

24

A DOULTON LAMBETH STONEWARE EWER

DECORATED BY HANNAH BARLOW

Dated 1876

Of typical form, decorated with a central band of sgraffito horses and sheep in a landscape setting, incised markers mark and impressed rosette factory mark to underside of base, together with other impressed and incised marks including assistant monogram for Harriett Hibbut & EOL

37.5cm high

$600-900

25

A DOULTON LAMBETH STONEWARE URN

DECORATED BY FLORENCE E. BARLOW

Dated 1877

Twin handled, decorated with four oval reserves each with a sgraffito storks in landscape settings, incised markers mark and impressed date of 1877 and rosette factory mark to underside of base, together with other impressed and incised marks including assistant monogram for Emma Martin

28cm high

$500-700

26

A DOULTON LAMBETH STONEWARE VASE

DECORATED BY MARK V. MARSHALL

Circa 1905

Of tapering form, the flared neck applied with repeating foliage decoration, incised markers mark and impressed circle, lion and crown factory mark to underside of base, together with other impressed and incised marks including assistant monogram

44.5cm high

$600-900

27

A DOULTON LAMBETH STONEWARE VASE DECORATED BY ELIZA SIMMANCE

Of baluster form, with a fluted neck, decorated with reserves of pâte-sur-pâte blossoms within borders of carved foliate scrollwork, incised markers mark, impressed date mark of 1884 and rosette factory mark to underside of base, together with other incised marks

37cm high

$800-1,000

28

A SUITE OF VICTORIAN DERBY CHINA IN THE IMARI PALETTE

Second half 19th century

Thirty-six pieces, comprising twelve each of dinner plates, soup plates, and side plates, all circular, typical stylised floral and foliate decoration in red and blue with gilt details, impressed and painted marks underside

Dinner plates 26cm, soup plates 27cm, side plates 22.5cm

$700-1,000

29

A PAIR OF GEORGE PROCTOR & CO PORCELAIN VASES

LATE 19TH CENTURY

Each of square form, painted with a central cartouche of a female and male French court figure to the obverse and a musical trophy to the reverse, flanked by lug-form handles, raised on splayed bases 22cm high

$800-1,200

30

SIX GERMAN PORCELAIN BUSTS OF FRENCH HISTORIC FIGURES

19th century

Modelled as Henry IV, Francois I, Moliere, Gabrielle l’ Estrees, Charles I, and Louise de la Vallière, each identified underside

13.5cm high, 8.5cm wide, the base 5.5cm deep $600-800

AN ENGLISH STAFFORDSHIRE SALT-GLAZED DISH

18th century

The shallow dish with moulded bas relief decoration around the shaped border 23cm diameter

$500-700

32

A MURANO BLOWN GLASS VASE IN THE MANNER OF BAROVIER & TOSO Cylindrical tapering towards the foot, the softly facetted body decorated with applied bulbous swirls and irregular subtle drifts of gold flakes within the glass

40.5cm high

$1,000-2,000

33

A CAMEO GLASS VASE

By Daum Nancy, circa 1900

Of tapering form, carved with a repeating lakeside scene on a graduated orange and purple mottled ground, cameo Daum Nancy signature with the cross of Lorraine

12.5cm high, 21cm diameter

$1,200-2,000

34

A COMPOSITE STERLING SILVER OLD ENGLISH THREAD AND SHELL PATTERN FLATWARE SERVICE FOR TWELVE

The forks and spoons, Langfords Silver Galleries, London, the knives C.J. Vander Ltd, Sheffield, various 1960 and 1970s dates

Ninety-one pieces, comprising twelve each of entrée knives and forks, table knives and forks, soup spoons, dessert spoons, and tea spoons, together with three further table forks, three table spoons, and a ladle

4,420g in total (not including the steel-bladed knives)

$2,500-3,500

35

AN ASSEMBLED STERLING SILVER QUEEN’S PATTERN FLATWARE SERVICE FOR TWELVE

Various dates and makers, 19th century and later Eighty-four pieces, comprising twelve each of entrée knives and forks, table knives and forks, table spoons, dessert spoons, and tea spoons, various English maker, mostly Georgian and nineteenth century dates, the knives twentieth century

4,201g in total (not including the steel-bladed knives)

$2,500-3,500

36

A LATE GEORGIAN OR EARLY VICTORIAN STERLING SILVER NUTMEG GRATER

Nathaniel Mills, Birmingham, second quarter 19th century (date mark lost)

Rectangular with a hinged cover, horizontally reeded, the cover with central tablet engraved with monogram MH

2.3cm high, 3.5cm wide, 2.5cm deep, 26g

$400-600

37

TWO GEORGE III STERLING SILVER NUTMEG GRATERS

The larger by unidentified maker (mark rubbed), London, 1791, the other Wardell & Kempson, Birmingham, early 19th century (mark rubbed)

Both elliptical in outline, the smaller with a domed cover, both with bright cut decoration

The larger 2cm high, 10.2cm wide, 3.5cm deep, 54g in total

$600-800

A GEORG JENSEN STERLING SILVER ‘ACORN’ PATTERN FLATWARE SERVICE

Post-1945 manufacture

Generally a service for eight places with a greater or lesser number of some types of pieces, 113 pieces in all, including knives of five types, starter and main forks, spoons of five types, and a ladle and carving knife and fork

2,656g in total (excluding knives and serving pieces with polished steel parts)

$8,000-12,000

39 A GEORG JENSEN STERLING SILVER ‘ACORN’ PATTERN FLATWARE SERVICE

Post-1945 manufacture

Generally a service for six places, 102 pieces in all, comprising six each of fish knives and forks, starter knives and forks, main knives and forks, soup spoons, dessert spoons, and various other types of smaller forks and spoons, twelve each of cake forks and tea spoons, two ladles, and ten assorted serving pieces including carving knife and fork and slices; accompanied by a set of six ‘Acorn’ pattern silver gilt coffee spoons and a set of six Jensen ‘84’ pattern coffee spoons

2,971g in total (excluding those knives and serving pieces with polished steel parts)

$6,000-8,000

40 A GEORG JENSEN STERLING SILVER COMPORT

Design 263A, post-1945 manufacture to Georg Jensen’s 1918 design

The circular bowl with everted rim and subtly planished exterior raised on a twisted support and a spreading foot, the underside of the bowl decorated with suspended bunches of grapes

12.5cm high, 13cm diameter, 278g

$1,000-2,000

41

A GEORG JENSEN STERLING SILVER COMPORT Design 263B, post-1945 manufacture to Georg Jensen’s 1918 design

The circular bowl with everted rim and subtly planished exterior raised on a twisted support and a spreading foot, the underside of the bowl decorated with suspended bunches of grapes 19cm high, 18cm diameter, 624g

$2,500-3,500

42

A GROUP OF GEORG JENSEN STERLING SILVER CONDIMENT PIECES

Post-1945 manufacture to Georg Jensen’s earlier designs

A set of four salt and pepper casters (two salt, two pepper - design 741), and pair of 2A salt cellars with cobalt-enamelled interiors (design 2A), and a pair of ‘Acorn’ pattern salt spoons

The casters 9cm high, 356g in total $500-800

43

THREE STERLING SILVER SURPRISE EGGS

Stuart Devlin, London, 1971, 1975, and 1976

The eggs of typical form, opening to reveal various floral arrangements within, each in original case

The eggs 7.5cm high. The boxes 6cm high, 8.5cm wide, 10.5cm deep, 394g in total $800-1,200

44

THREE STERLING SILVER SURPRISE EGGS

Stuart Devlin, London, 1972, 1977, and 1981

The eggs of typical form, comprising Silver Jubilee egg, Diana and Charles commemorative egg and a jester egg, each in original case

The largest 8cm high. The silver jubilee box 6.5cm high, 8.5cm wide, 10.5cm deep, 598g in total $800-1,200

45 A STERLING SILVER SURPRISE EGG

Stuart Devlin, London, 1974

Of typical form, opening to reveal a kangaroo and joey, numbered 13 underside

The egg 7.5cm high. The box 6cm high, 8.5cm wide, 10.5cm deep, 226g $400-600

46

THIRTEEN STERLING SILVER FIGURES OF ANIMALS

Stuart Devlin, London, variously 1973-1981

Comprising two cockatoos, two deer, two lions, a rabbit, a donkey, an owl, a panther, a camel, a bear and a pair of putto

The cockatoo 5cm high, 1,076g in total $1,500-3,000

41

AN AUSTRALIAN STERLING SILVER EWER, PRESENTED AS THE ‘LEARMONTH COURSING

CUP’, 1875

Kilpatrick & Co., Melbourne, 1875

The globular body with tall neck and loop handle raised on a spreading foot, the handle modelled as a woody grape vine stem with applied leaves and tendrils spreading from its terminals, the cover mounted with a figure of a standing greyhound, a similar figure of a greyhound modelled in relief within a reserve to one side of the body, its other side with engraved inscription ‘Learmonth Coursing Cup / 1875 / The Gift of G.G. Morton Esq. / WON BY / ‘BANNER’ / OWNER / D. Gunn Esq. J.P.’, marked to the edge of the foot STIRLING [sic] KILPATRICK SILVER

29cm high, 539g

$1,800-2,400

48

A CARVED MOUNTAIN ASH FIGURE OF A KOOKABURRA BY ROBERT PRENZEL

Circa 1920, signed with a stamp

Naturalistically carved perched on a branch, the base root wood, twice stamped to the back of the lowest tail feathers ‘R. PRENZEL’

50cm high, 34cm wide, 28cm deep

PROVENANCE:

Acquired directly from Robert Prenzel in the 1920s by Gordon Gidney, Melbourne

Thence by descent to the late John Gidney Pennell

$4,000-6,000

49

A CARVED MOUNTAIN ASH SMOKER’S CABINET BY ROBERT

PRENZEL

Circa 1910–1920

Rectangular with a pair of doors enclosing a divided interior with adjustable shelves, the recessed panels of the doors finely carved in relief with, respectively, a spray of flowering and fruiting eucalyptus and a spray of flowering banksia

43cm high, 54.5cm wide, 21.5cm deep $3,000-5,000

50 Robert PRENZEL (1866-1941)

‘Juanju’, a woman of the Waluningma Tribe, Gilbert River, North Queensland, after J.W. Lindt Black chalk, ink, watercolour, and paint on paper Signed and dated lower right: Robt. Prenzel 1922 56 x 38.5cm

OTHER NOTES:

The origin, meaning, and variety of Prenzel’s 1920s carved hardwood portraits of indigenous Australian men and women is discussed by Terence Lane in his Robert Prenzel, 1866-1941: His Life and Work (National Gallery of Victoria, Melbourne, 1994), pp 37-40.

One of the rarer types of these portraits - ‘Juanju’, an example of which, dated 1922, was recently sold by Leonard Joel (Decorative Arts, 5 December, 2022, lot 69) - is based on a photograph made by Prenzel’s friend J.W. Lindt which was captioned ‘”Juanju”, Waluningma Tribe. Gilbert River. N.Q.’ (Lindt’s photo numbered 2127, a print of which was sold at Gibson’s Auctions, The Australian Collection, June 16, 2019, lot 138; a differently posed photo by Lindt of the same subject is illustrated in Lane, pl. 68).

The present drawing, which generally follows Lindt’s photo 2127 closely and was made the same year as the ‘Juanju’ recently sold by Leonard Joel, was presumably made as part of Prenzel’s process of converting Lindt’s photo into sculptural form.

$700-1,000

51

A CARVED HARDWOOD PORTRAIT PANEL OF AN INDIGENOUS AUSTRALIAN MAN BY ROBERT PRENZEL

Signed, early 1920s

Bust-length, carved in very high relief, the barechested man in a laughing expression, stained dark brown, in its original fiddleback blackwood frame applied to the edges of the panel, incised signature lower right ‘R. PRENZEL MELBOURNE’ 60cm high, 47cm wide, 4.5cm deep

OTHER NOTES:

The origin, meaning, and variety of Prenzel’s 1920s portraits of indigenous Australian men and women is discussed by Terence Lane in his Robert Prenzel, 1866-1941: His Life and Work (National Gallery of Victoria, Melbourne, 1994), pp 37-40.

$7,000-10,000

52

A PAIR OF CARVED MOUNTAIN ASH PORTRAITS OF AN INDIGENOUS AUSTRALIAN MAN AND WOMAN BY ROBERT PRENZEL

Both signed and dated 1921

Both bust-length, carved in very high relief, the bare-chested man in a laughing expression, the woman wearing a scarf and shawl and with a pipe from the side of her mouth, stained dark brown except her clothing, both with incised signature and date ‘R. PRENZEL 1920’ lower right

The man, 45cm high, 36.5cm wide, 9cm deep; the woman, 41cm high, 37.5cm wide, 9.5cm deep

PROVENANCE:

Acquired directly from Robert Prenzel in the 1920s by Gordon Gidney, Melbourne

Thence by descent to the late John Gidney Pennell

OTHER NOTES:

The origin, meaning, and variety of Prenzel’s 1920s portraits of indigenous Australian men and women is discussed by Terence Lane in his Robert Prenzel, 1866-1941: His Life and Work (National Gallery of Victoria, Melbourne, 1994), pp 37-40.

$10,000-14,000

53

AN OAK LOW BOOK-CASE BY ROBERT PRENZEL 1929

The rectangular top with a low back and bevelled edge above a single cabinet door flanked by adjustable open shelves, the panelled door finely carved in relief with a spray of eucalyptus with open flowers and nuts, with incised signature lower right ‘R. PRENZEL 1929’ 100.5cm high, 125cm wide, 38.5cm deep

PROVENANCE:

Dr Gweneth Wisewould (1884–1972), Melbourne, acquired by her from Prenzel when they were near neighbours and friends in South Yarra

By descent to the vendor, a cousin of Dr Wisewould $3,000-5,000

AN ART NOUVEAU OAK-CASED MANTEL CLOCK ATTRIBUTED TO ROBERT PRENZEL

Early 20th century

The enamelled dial set within a spreading upright case dividing into four feet, the front carved in relief with a stylised flowering plant on a stippled ground 27cm high, 16.5cm wide, 7cm deep

PROVENANCE:

Acquired directly from Robert Prenzel in the 1920s by Gordon Gidney, Melbourne

Thence by descent to the late John Gidney Pennell

$1,400-1,800

55

A LOUIS XV-STYLE MARQUETRY ROSEWOOD AND MARQUETRY COMMODE

First half 20th century

The rouge royale marble top above three drawers, raised on outswept feet, the drawer fronts and the sides inlaid with floral marquetry, gilt metal mounts throughout

89cm high, 90cm wide, 48cm deep

$1,200-1,500

56

A LOUIS XV-STYLE ROSEWOOD AND MAHOGANY BONHEUR-DU-JOUR IN THE MANNER OF FRANÇOIS LINKE

First half 20th century

The gallery of two drawers flanking an open compartment above the shaped top with leatherlined writing surface and three frieze drawers, raised on cabriole supports, ormolu mouldings and mounts throughout, one of these with incised signature ‘F.

Linke’

102cm high, 90cm wide, 53cm deep

OTHER NOTES:

A bonheur-du-jour of identical form by François Linke was offered at Christie’s in 1999.

$2,000-4,000

57

A SMALL TULIPWOOD SECRÉTAIRE À ABATTANT IN TRANSITIONAL LOUIS XV / XVI STYLE

Mid-20th century

Of subtle arbalète outline, the thick pink and yellow breche marble top with moulded edge above the fall enclosing open compartments and a leather-lined writing surface, beneath that a slide with bookrest and a pair of cupboard doors below, the front, sides, and inner surfaces of the slide and cupboard doors quarter-veneered

127cm high, 86cm wide, 41cm deep

$1,000-1,500

A LOUIS XVI-STYLE MAHOGANY AND BOIS SATINE BOOK-CASE

Mid-20th century

Of breakfront rectangular outline, the stepped and moulded top above a wire-grilled door enclosing adjustable shelves extending full width behind the flanking false door fronts, on tapering turned feet, gilt metal mounts to the doors and feet

177cm high, 155cm wide, 43cm deep

$1,200-2,000

59

A PAIR OF LOUIS XIV-STYLE WALNUT FAUTEUIL

Of typical form, each a square back and down-swept open arms, on turned supports with conforming stretchers, covered in period style needlepoint 102cm high, 66cm wide, 72cm deep

$800-1,200

60

A ROSEWOOD AND PAINTED COMMODE IN TRANSITIONAL LOUIS XV / XVI STYLE

First half 20th century

Of breakfront rectangular outline, the grey-veined white marble top above a central cupboard door flanked by recessed panels, raised on cabriole supports, the door painted with a scene of winged putti in a landscape in the manner of François Boucher signed M. Lebrun, the adjacent panels with conforming printed decoration, gilt metal mouldings and mounts throughout 102cm high, 90cm wide, 46cm deep $2,500-3,500

61

A WALL MIRROR IN AN ANTIQUE-STYLE CARVED AND GILT FRAME

The rectangular plate within a frame exuberantly adorned with exotic flower buds and leaves 153cm high, 128cm wide

$1,200-1,600

62

A GEORGE IV ROSEWOOD GAMES TABLE Mid-1820s

The rounded rectangular top enclosing a baize-lined playing surface, raised on a square pedestal, platform base with outswept feet with brass caps and castors 74cm high, 92 cm wide, 47cm deep

$500-700

63

A REGENCY FIGURED MAHOGANY PEMBROKE

TABLE 1810s

The rounded rectangular top above a frieze drawer to one end and a conforming false drawer front to the other on ring-turned tapering supports with brass caps and castors, the top crossbanded in satin wood and rosewood, the friezes inlaid in various woods

72cm high, 95cm wide (extended), 81cm deep

$600-800

A GEORGE III BRASS-BOUND MAHOGANY CELLARETTE ON STAND

Late 18th century

Of oval outline, the hinged top enclosing a zinclined interior, resting on a stand with tapering square supports with brass caps and castors 69cm high, 58cm wide, 41cm deep $500-700

65

A LOUIS XV-STYLE MARQUETRY ROSEWOOD, TULIPWOOD, AND MARQUETRY COMMODE

Second half 19th century

Of bombe form, the rouge royale marble top above three drawers, raised on outswept feet, the upper drawer with a fall-front enclosing a rosewood interior with small drawers and leather-lined writing surface, the drawer fronts and the sides inlaid with floral marquetry, ormolu mounts throughout 92cm high, 90cm wide, 45cm deep $1,500-2,500

66

A GEORGE II-STYLE MAHOGANY AND UPHOLSTERED SOFA

Late 19th / early 20th century

The hump-back and rolled arms above the seat for three, on foliate ball-and-claw forefeet, recently recovered in amethyst Zoffany ‘Tespi’ velvet with removable sleeves to the arms 90cm high, 199cm wide, 91cm deep $1,500-2,500

67

A STAINED BEECH AND UPHOLSTERED OPEN ARMCHAIR IN GEORGE II ‘FRENCH’ STYLE

Early 20th century

The arched back and padded outswept arms above the generous seat, on foliate cabriole supports, recently recovered in amethyst Zoffany ‘Tespi’ velvet 94cm high., 67cm wide, 77cm deep $800-1,200

68

A PAIR OF MAHOGANY AND UPHOLSTERED OPEN ARMCHAIRS IN GEORGE II ‘FRENCH’ STYLE

Late 19th / early 20th century

Each with a square back and padded outswept arms above a generous seat, on foliate cabriole supports, recently recovered in Zoffany grey velvet 93cm high, 74cm wide, 84cm deep $1,500-2,500

69

A FRENCH EBONISED PIER CABINET IN BOULLE MANNER

Second half 19th century

Rectangular in outline, the frieze above a glazed door enclosing a red baize-lined interior with a removable shelf, on a plinth base, the front inlaid with borders and panels of simulated tortoiseshell and cut brass, polished brass mouldings and mounts throughout 91cm high, 66cm wide, 34cm deep $800-1,200

70

A FRENCH MARBLE-TOPPED WROUGHT IRON

TABLE

Early 20th century

The rectangular top on a scrolling wrought iron base 69cm high, 105cm wide, 80cm deep

$700-900

71 A PROVINICIAL LOUIS XV WALNUT COMMODE

Mid-18th century

The shaped rectangular top with moulded edge above two drawers, raised on cabriole supports, the drawer front and sides decoratively moulded 89cm high, 130 wide, 60cm deep $3,000-5,000

72

A LOUIS XV-STYLE GILT-FRAMED MIRROR

19th century

Of asymmetrical cartouche outline, with a shell and dragon to the crest and foliate and rocaille decoration throughout, oil-gilt with water-gilt highlights

127cm high, 86cm wide

$1,000-1,500

73

AN ANTIQUE FRENCH WALNUT GAMES TABLE

Late 19th century

Of square outline, the hinged top with inlaid checkerboard, enclosing a backgammon board, raised on cabriole supports

79cm high, 54 cm wide, 54 cm deep

$400-600

74

A FRENCH EMPIRE-STYLE MAHOGANY BUREAU PLAT

Late 19th century

The rectangular top above an arrangement of drawers to one long side and a slide extending from the each shorter side, on turned supports, a curving cross-stretcher, the top and slides lined with gilttooled black leather, gilt metal escutcheons to the drawers and collars and feet to the supports 78cm high, 150cm wide, 79cm deep $800-1,200

75

AN ART DECO GILT WOOD AND UPHOLSTERED SUITE OF A CANAPÉ AND PAIR OF ARMCHAIRS

Second quarter 20th century

In stylised Louis XVI manner. the canapé and chairs each with a rounded back with inward-carving arms above the seat with loose cushion, on turned supports

The canapé 86cm high, 166cm wide, 70cm deep; the chairs 86cm high, 73cm wide, 74cm deep $800-1,200

76

AN ART DECO ROSEWOOD BOW-FRONT SIDEBOARD IN THE MANNER OF JULES LELEU

Mid-20th century

The stepped top above a central door enclosing drawers between pairs of diaper-veneered doors enclosing adjustable shelves, all divided by halfround columns, raised on two broad feet, the columns and feet brass-mounted 93cm high, 257cm wide, 62cm deep

$2,500-3,500

AN ART DECO ROSEWOOD VITRINE IN THE MANNER OF JULES LELEU Mid-20th century

The bevel-glazed door between moulded sides enclosing a blonde wood interior with adjustable glass shelves, on splayed feet with brass sabots

159cm high, 96cm wide, 39cm deep

$1,500-2,500

78

A CHINOISERIE SIX-LEAF LACQUERED SCREEN 20th century

Decorated in gold on the black ground with various figures in a landscape

183cm high, 246cm wide

$800-1,200

79

A FRENCH MARBLE-TOPPED OAK AND PINE SIDE TABLE

H. LEMOINE, PARIS, early 20th century

The rectangular top with inset grey-veined pink marble above a pair of frieze drawers, raised on tapering turned supports, the mouldings and supports turned to simulate bamboo, Lemoine’s stamp to the top beneath the marble

75cm high, 95cm wide, 60cm deep

$1,300-2,000

80

A SET OF SIX LOUIS XV-STYLE GILT WOOD AND UPHOLSTERED SIDE CHAIRS

Late 19th / 20th century

Each with a padded cartouche-shaped back and upholstered seat raised on cabriole supports, the frames moulded throughout and carved with floral details, covered in striped ivory and lemon-coloured

silk

91cm high, 53cm wide, 56cm deep

$700-900

81

A PAIR OF LOUIS XV-STYLE GILT WOOD AND UPHOLSTERED FAUTEUILS

Each with a padded cartouche-shaped back and outswept arms above the upholstered seat raised on cabriole supports, the frames moulded throughout and carved with floral details, covered in ivorycoloured damask

$600-800

82

A GEORGE II-STYLE PIER MIRROR

The rectangular plate in a carved and silvered frame with rocaille and floral crest and other details

128cm high, 74cm wide

$700-900

83

A FRENCH BRASS ADJUSTABLE HEARTH FENDER

Late 19th century

The ends modelled as urns on pedestals, flanking the pierced rail 32cm high, 110 cm wide (extended)

$500-700

84

A FRENCH EBONISED PIER CABINET IN BOULLE MANNER

Second half 19th century

Rectangular in outline, the frieze inlaid with simulated tortoiseshell and cut brass frieze above a glazed door enclosing a red baize-lined interior with removable shelves flanked by columns to the corners, on a plinth base, gilt metal mouldings and mounts throughout 107cm high, 74cm wide, 35cm deep

$800-1,200

85

A GEORGE III MAHOGANY TRIPOD TABLE

Circa 1780

The tilting circular top raised on a baluster support and outswept feet

77cm high, 80cm diameter

$500-800

86

A SET OF EIGHT WILLIAM IV MAHOGANY DINING CHAIRS

Early 1830s

A pair of elbow chairs and six side chairs, each with a tablet top-rail and shaped horizontal splat above the drop-in seat, on turned fore-supports with crossstretchers

The elbow chairs 87cm high, 54cm wide, 56cm deep, the side chairs slightly narrower

$600-900

87

A GEORGE III-STYLE MAHOGANY SIDEBOARD

19th century

The rectangular top with bow-front centre above an arrangement of drawers and a cupboard, on tapering square supports, the top and its edge banded in satinwood, the front with inlaid decoration

91cm high, 209cm wide, 68cm deep

$1,000-1,500

88

A WILLIAM AND MARY FIGURED WALNUT MIRROR FRAME

Circa 1700

Of typical cross-grain moulded form with a cushion plate between the convex sight and back edges

55.5 x 50cm (sight 33 x 27.5cm)

$600-900

89

A GEORGE II OAK DROP-LEAF DINING TABLE

Mid-18th century

The top oval when extended above a frieze drawer to one side, raised on turned supports with club feet

77cm high, 158cm wide (extended), 131cm deep

$600-900

90

A SET OF SIX LANCASHIRE STAINED ELM SPINDLE-BACK SIDE CHAIRS

First half 19th century

Of typical form, the back with shaped toprails above two tiers of spindles, with seagrass seats, minor variations in the turned details

Each 95cm high, 49cm wide, 43cm deep

$500-800

91

A LATE VICTORIAN WALNUT CORNER BOOKCASE

Circa 1890

Of three shelves raised on turned supports, the upper-most with a mirrored gallery back 118cm high, 186cm wide, 119cm deep $500-800

92

A FRENCH WALNUT WRITING TABLE IN ANTIQUARIAN MANNER

First half 20th century

The rectangular top with leather writing surface above frieze drawers to one side and conforming false drawer fronts to the other, raised on moulded square supports with stretchers 76cm high, 145cm wide, 70cm deep $600-900

93

A PAIR OF RÉGENCE-STYLE WALNUT AND UPHOLSTERED FAUTEUILS À LA REINE

Second half 19th century

Each with a high square back above down-swept arms and a generous seat, on cabriole supports with curving cross-stretchers, the moulded frames carved with foliate details, covered in period-style needlepoint

120cm high, 69cm wide, 71cm deep $800-1,200

94

AN ITALIAN WALNUT-FRAMED OVERMANTLE MIRROR

19th century

The shaped plate within a fretwork frame of trailing grapevine design

172cm high, 97cm wide

$700-900

95

A SPANISH OAK AND FRUITWOOD SIDE TABLE

Late 17th / 18th century

The rectangular top above a pair of frieze drawers, raised on splayed shaped trestle supports, the drawer fronts and apron with incised and carved decoration

82cm high, 162cm wide, 72cm deep

$2,000-2,500

97

96

A GEORGE III-STYLE MAHOGANY AND UPHOLSTERED WING ARMCHAIR

Late 19th century

The high shaped back and generous wings above rolled arms, raised on moulded supports, in wellworn buttoned and close-nailed leather 117cm high, 81cm wide, 79cm deep $800-1,000

97

A GEORGE III OAK HIGH DRESSER

Last quarter 18th century

The plate rack with a moulded cornice above three shelves and a breakfront arrangement of six small drawers below, the lower part of breakfront outline with an arrangement of drawers and panelled cupboard doors with reeded square quarter columns to the corners, on shaped bracket feet, the brasses apparently original 207cm high;, 192cm wide, 50cm deep

PROVENANCE:

Graham Cornall Antiques, Melbourne $2,000-3,000

98

A SET OF EIGHT GEORGE II-STYLE MAHOGANY

DINING CHAIRS

Early 20th century

A pair of elbow chairs and six side chairs, each with a shaped and carved toprail and pierced interlaced splate above a generally stuff-over seat, on cabriole fore supports with ball-and-claw feet, the elbow chairs with outswept arms

The elbow chairs 98cm high, 64cm wide, 58cm deep; the side chairs 96cm high, 61cm side, 56cm deep $800-1,200

A GEORGE III-STYLE MAHOGANY CHEST-ONCHEST

Late 19th century, incorporating 18th century elements

The upper part with a moulded and dentilated cornice and blind fretwork frieze above two short and three long drawers between blind fretwork chamfers, the lower part with a slide above three long drawers, on shaped bracket feet

185cm high, 82cm wide, 57cm deep

OTHER NOTES:

This appears to be a George III period chest that has been reduced in width and had its drawer fronts reveneered. The secondary wood of the carcass and drawer linings (oak and pine) are mostly eighteenth century.

With the revival of interest in the Georgian style as a fashionable furnishing style in the late nineteenth and early twentieth century, dealers quite commonly had original Georgian pieces reduced in size to be more practical and desirable for flats and smaller houses.

$800-1,200

100

AN ENGLISH OAK GATE-LEG TABLE

Early 18th century

The top slightly oval when extended, raised on attractively-turned supports with conforming stretchers

77cm high, 155cm wide, 149cm deep (extended)

$800-1,200

101

A FRENCH PROVINCIAL CHERRY WOOD BUFFET

19th century

Rectangular, with a pair of frieze drawers above a pair of panelled cupboard doors, all with decorative iron escutcheons, the shaped apron with incised floral decoration

107cm high, 131cm wide, 60cm deep

$700-900

102

A PAIR OF TULIPWOOD AND WALNUT GUERIDONS IN TRANSITIONAL LOUIS XV / XVI STYLE

Circular, each raised on three slender cabriole supports with a triangular stretcher, the top with a pierced brass gallery, brass mounts throughout 77cm high, 50cm diameter

$600-900

103

A FRENCH PROVINCIAL CHESTNUT VAISSELIER

Late 18th century

The upper part with a moulded cornice above three galleried shelves, the lower part with three frieze drawers above a pair of panelled cupboard doors, on shaped forefeet

234cm high, 138cm wide, 62cm deep $1,000-1,500

104

A FRENCH CHERRY WOOD AND CHESTNUT FARMHOUSE TABLE

Late 18th century

The cleated rectangular top above the plain frieze with a drawer to one side, raised on chamfered square supports 76cm high, 226cm long, 92cm wide $1,000-1,500

105

A LARGE SPANISH WALNUT AND OAK SIDE

TABLE

18th century

The rectangular top with moulded edge above three frieze drawers, raised on square baluster supports with peripheral low stretchers, the drawer fronts carved with stylized floral decoration, the other friezes carved with wavy decoration 83cm high, 193cm wide, 85cm deep $3,000-5,000

106

A STAINED BEECH LIBRARY TABLE IN EIGHTEENTH CENTURY ITALIAN STYLE

Late 20th century

The removable octagonal top above a moulded frieze with a drawer to one side and conforming false drawer fronts to all other sides, raised on a baluster pedestal and crossed sled feet, stained and distressed to simulate well-patinated walnut 79cm high, 107cm width and depth

PROVENANCE:

Acquired from Graham Geddes, Melbourne $1,600-2,400

107

A FRENCH PROVINCIAL WALNUT BUFFET

Late 18th century

The rectangular top with moulded edge above a flight of drawers flanked by cupboard doors, all with shaped and moulded panels, the apron carved in low relief with a basket of fruit and trailing flowers between the scrolling forefeet

84cm high, 193cm wide, 56cm deep

$1,400-1,800

108

A FRENCH WALNUT AND OTHER FRUITWOOD VENDANGE TABLE

Early 19th century

Of typical form, the circular top tilting on its trestle and sled-foot supports 75cm high, 100cm diameter

$700-1,000

109

A DUTCH BURR WALNUT BOOK-CASE CABINET

Late 18th / early 19th century

The upper part with an arched and moulded cornice and frieze above a pair of conformingly-shaped glazed doors enclosing shelves between glazed sides, the projecting lower part of double arbalète outline with four drawers, on ball-and-claw forefeet

257cm high, 213cm wide, 47cm deep

$1,800-2,400

110

A GEORGE III OAK DRESSER

Last quarter 18th century

The plate rack with a moulded cornice above three shelves between shaped and reeded sides, the lower part of breakfront outline with an arrangement of drawers and panelled cupboard doors and reeded square quarter columns to the corners of the projecting centre, on shaped ogee bracket feet 209cm high, 158cm wide, 53cm deep

$1,800-2,200

111

A FRENCH PROVINCIAL CHERRY WOOD SIDE

TABLE Early 19th century

The rectangular top above three drawers and a bread board slide to one side, raised on tapering square supports 81cm high, 188cm wide, 54cm deep $1,000-1,500

112

A FRENCH PROVINCIAL CHERRY WOOD SIDE

TABLE Early 19th century

The cleated rectangular top above a pair of frieze drawers and a bread board slide to one side, on chamfered square supports with an H-form stretcher 73cm high, 120cm wide, 62cm deep $600-800

113

A FRENCH PROVINCIAL CHERRY WOOD BUFFET

Early 19th century

The rectangular top above a pair of panelled cupboard doors flanking an open compartment, on cabriole forefeet 102cm high, 216cm wide, 43cm deep $700-1,000

114

A CHERRY WOOD BUREAU PLAT IN PROVINCIAL LOUIS XV-STYLE

The rectangular top above a pair of drawers flanking a kneehole, raised on cabriole supports 75cm high, 180cm wide, 90cm deep $700-1,000

115

A FRENCH PROVINCIAL CHESTNUT FARMHOUSE

TABLE

Second half 18th century

The rectangular top above panelled friezes on the long sides, one with a central drawer, and a drawer to each end, raised on tapering supports 78cm high, 194cm wide, 70cm deep $800-1,200

116

A FRENCH WALNUT AND OAK VENDANGE

TABLE

First half 19th century

Of typical form, the circular top tilting on its trestle and sled-foot supports 76cm high, 97cm diameter $500-700

119

117

A FRENCH PROVINCIAL OAK SIDE TABLE

Late 18th century

The rounded rectangular top with moulded edge above a frieze drawer, on square cabriole supports 68cm high, 79cm wide, 57cm deep $500-700

118

1770s

The rectangular top with moulded edge above three drawers arranged around an ogee-shaped recess, on square supports, the brass handles original 72cm high, 81cm wide, 47cm deep $700-900

119

A FRENCH VERDURE TAPESTRY

Last quarter 17th century

Depicting three children with a pet cat and spaniel in a wooded landscape with a chateau beyond, said to be the future Louis XIV as a boy with companions, retaining the original floral and foliate border, backed with linen

268 x 278cm (approximately)

A GEORGE III MAHOGANY SIDE TABLE

A FLEMISH VERDURE TAPESTRY

Early 18th century

The central panel with a dragon at the foot of a sapling watched by other beasts and birds and with a landscape in the distance, retaining the original border with angel’s heads and other masks amidst flowers and foliage, linen-trimmed and backed (with hanging loops)

300 x 200cm (approximately)

PROVENANCE:

Acquired from Graham Geddes Antiques, Melbourne

$3,500-5,500

121

AN ANTIQUE SULTANABAD PERSIAN CARPET

Early 20th century

The field with chamfered corners with an all-over design of stylised floral motifs on the red ground, the spandrels of similar design on a dark blue ground 440cm long, 348cm wide

PROVENANCE:

Behruz Studio, Melbourne

$2,000-4,000

122

A PATCHWORK RUG

Composed of fragments of earlier 20th century rugs 482cm long, 382cm wide

PROVENANCE:

Behruz Studio, Melbourne, from whom acquired by Stuart Rattle in 2011 for a design scheme by him for the vendor

$1,200-1,800

123

A PERSIAN SILK RUG

The field with a small dark-ground medallion of flowers within an all-over floral design on the red ground, the borders conforming with the medallion 224cm long, 140cm wide

$700-1,000

124

A PERSIAN SILK RUG

The field with a symmetrical design of flowering foliate in blues and pastels on the red ground, the main border with stylised flower heads 171cm long, 92cm wide

$500-700

125

A PERSIAN SILK RUG

The dark blue-ground field with a centre of small flower heads and botehs amidst a design of trailing flowering foliage and double botehs to the corners, the main border of similar design 156cm long, 103cm wide

$600-800

126

A EUROPEAN WROUGHT IRON CHANDELIER

Early 20th century

Of irregular spiralling form supporting eight lights, decorated with stylized flowers and leaves in tole 102cm high, 100cm wide, 93cm deep

$700-900

127

A THREE-LIGHT ART NOUVEAU CHANDELIER

Hand-forged brass with empoli opalescent blue glass shades 42cm high, approximately 46cm diameter, 82.5cm high including chain and canopy $1,500-2,000

129

128

AN EIGHT-LIGHT CZECH CRYSTAL MARIE THERESE CHANDELIER

1950s

60cm high, 55cm diameter, 104cm high including chain and canopy $1,500-2,000

129

A ‘CHANDELIER THERAPY’ CUSTOM-DESIGNED CZECH CRYSTAL MARIE THERESE CHANDELIER

Finished in satin black, adorned with schonbek crystals

90cm high, 63cm diameter, 138cm high including chain and canopy $4,000-5,000

130

AN EMPOLI GLASS PENDANT LIGHT Mid-20th century

With a diamond optic pattern 43cm high, approximately 22cm wide,111cm high including chain and canopy $800-1,200

131

A PAIR OF CERAMIC TABLE LAMPS

The body of each in the form of a large Chinese moon flask decorated to both sides with English hunting scenes, with pleated fabric shades 97cm high, overall $400-600

132

A FRENCH BRASS BOUILLOTTE-TYPE TABLE LAMP

Of three lights on scrolled supports above the pan base, the shade of adjustable height 69cm high $400-600

133

A PAIR OF NEO-CLASSICAL GILT METAL-MOUNTED GREEN JASPER WARE

TABLE LAMPS

Columnar on a circular plinth and square platform base, each with a pleated fabric shade 60cm high, overall $400-600

134

AN ITALIAN ALABASTER URN FORM LAMP By Rossi, second half 20th century

The baluster body with a moulded surface, raised on a socle waist above a square base 70cm high, 22cm wide, 21.5cm wide base $600-800

135

A LATE GEORGE III MAHOGANY-CASED LONG-CASE CLOCK

The dial signed [Joshua] Bates, Huddersfield, circa 1820

The decoratively enamelled dial within the glazed hood with finialed swan-neck pediment and flanking columns, the trunk with clustered columns to its corners, variously inlaid and banded throughout 201cm high $1,000-1,500

136

A LATE GEORGIAN STAINED SYCAMORE-CASED BRACKET CLOCK

George Booth & Son, Aberdeen, circa 1830

The double fusee bell-striking movement and enamelled Roman numeral dial with glazed brass bezel within a case of architectural form brass-inlaid to the front and with lion mask handles and grilles to the sides, on brass ball feet, the dial and movement both signed ‘G. [and Geo.] Booth & Sons, Aberdeen’

42cm high, 30cm wide, 18cm deep

OTHER NOTES:

George Booth & Son are recorded as working at 36 Union Street, Aberdeen, from 1820 to 1846.

$1,500-2,000

137

A WILLIAM IV MAHOGANY-CASED BRACKET CLOCK

William Vale, Litchfield, 1830s

The double fusee bell-striking movement and enamelled Roman numeral dial with glazed brass bezel within a case of architectural form with a grape bunch finial above the brass-inlaid front and ring handles and fretwork grilles to the sides, on brass ball feet, the dial and movement both signed ‘Wm.

Vale, Litchfield’

53cm high, 29.5cm wide, 17.5cm deep

$1,500-2,000

138

AN EARLY VICTORIAN MAHOGANY-CASED BRACKET CLOCK

Richard Morse, Charing Cross, London, circa 1840

The double fusee bell-striking movement and enamelled Roman numeral dial with glazed brass bezel within an upright case with carved scrolls and foliate details, the dial signed ‘Morse Charing Cross

London’

49cm high, 36cm wide, 15cm deep

$1,500-2,000

140

139

Gábor MELEGH (1801–1832)

A bust-length portrait of a lady wearing a ribbon headdress and white lace ruff and collar Oil on mahogany panel

Signed and dated lower right (very lightly incised in the paint): Melegh 1831

33 x 26cm

$800-1,200

140

Follower of Jan WIJNANTS (1632–1684)

Late 17th / early 18th century Various figures in a lightly-wooded open landscape Oil on canvas

With a lengthy nineteenth century inscription in German(?) on a paper label to the stretcher ascribing the work to Wijnants

32 x 45cm

$2,000-3,000

141

EUROPEAN SCHOOL after David Teniers (1610–1690) Second half 19th century

A pair: An alchemist in his laboratory; and An alchemist at his desk

Oil on metal sheet

Each 20 x 24cm

OTHER NOTES:

The first work is a copy, in reverse and with other variations, of a 1650 painting by Teniers in the Mauritshuis, The Hague (no. 261); the other is likely to also be based on an original by Teniers.

$700-1,000

Daniel Thomas WHITE (working circa 1860–1890)

A scene in a shop with a young child

Oil on canvas

Inscribed in a later hand to the reverse ‘Study for Academy picture by D.T. White’

23.5 x 18cm

OTHER NOTES:

Daniel White showed fifteen paintings at the Royal Academy from the first in 1864 to the last in 1882 but judging from the recorded titles of these, it is not clear to which of these, if any, the present oil sketch relates.

$600-900

143

ENGLISH SCHOOL Circa 1800

Ships of the Royal Navy in a swell near cliffs

Oil on canvas (relined)

41 x 63cm

$1,000-1,500

144

EUROPEAN SCHOOL First half 19th century

A half-length portrait of a finely-dressed lady standing beside a column

Oil on canvas

67.7 x 54.5cm

$600-900

145

CHINA TRADE SCHOOL

Early 19th century Mid-19th century

A pair: Two scenes of a Chinese imperial or official procession of palanquins with many attendants passing through a rural area

Oil on canvas

Each 45 x 59cm

PROVENANCE:

The Estate of the late Seton Marshall

145

146

EUROPEAN SCHOOL after Marten de Vos (1532–1603) 18th century

King David visited by Gad and the Angel of Death while sacrificing to God

Oil on canvas

87 x 123

PROVENANCE:

The Estate of the late Seton Marshall

OTHER NOTES:

Based on a late sixteenth century engraving after a design by Marten de Vos illustrating a passage in the second Book of Samuel (24: 15-25).

$1,000-1,500

147

ENGLISH SCHOOL Second half 19th century

An English harbourside town with various vessels and figures

Oil on canvas

39 x 56.5cm

$500-700

148

Franz ROUBAUD (1856–1928)

A mounted Circassian warrior at speed along a coastal cliff

Oil on canvas

Signed lower right: F. Roubaud

59 x 37.5cm

$4,000-6,000

149

EUROPEAN SCHOOL after Tiziano Vecellio, called Titian (1488–1576) 19th century

A young woman in furs

Oil on canvas

83 x 62.5cm

OTHER NOTES:

After Titian’s circa 1536 painting in the Kunsthistorisches Museum, Vienna (inv. Gemäldegalerie, 89).

$700-1,000

150

EUROPEAN SCHOOL after Jean-Baptiste Greuze (1725–1805) 19th century

A young woman lying in a bed

Oil on canvas

39 x 49cm

OTHER NOTES:

After Greuze’s circa 1800 painting now at Upton House, Warwickshire.

$700-1,000

151

Circle of George SMITH, of Chichester (1714–1776)

An extensive Italianate river landscape with various buildings and figures

Oil on canvas, in a substantial nineteenth century carved and gilt frame 70 x 90cm

PROVENANCE:

By repute, Carl Edvard Johan Dahl (1856–1929), Danish Vice Consul, Palmerston North, New Zealand

His son Oscar Sidney Dahl, Queensland, thence to Oscar Dahl’s daughter Mrs Allsop

On the market in Queensland, 1980s, where acquired by the present vendor

OTHER NOTES:

This is a good early copy after a larger painting (of about 102 x 127cm) by George Smith of around 1760 that, until recently, was known only from an engraving made of it soon after by William Woollett (see the proof state impression of this engraving in the British Museum, reg. no. 1867,0713.2).

Several other versions of this composition have appeared at auction during the past two decades, all sold as being by Smith, including one of virtually the same dimensions as the present work sold at Sotheby’s in London in 2006 (7 June, lot 183, sold for £18,000). That work was sold again in 2020, initially catalogued as being by Smith but reattributed before auction as a work from the ‘Studio of George Smith’ (Bonham’s, Old Master Paintings Part I, London, 7 July 2020, lot 174, sold for £7,000). This reattribution was prompted by the rediscovery in a private collection of Smith’s original painting comparison with which indicated that other versions previously attributed to Smith are not by him.

A photograph of Smith’s rediscovered original was not available to assist in preparing this note but, judging from Woollett’s engraving of it, there are several differences between it and the present lot. The most obvious of these is the absence of the sketching party of three men - believed to represent Smith himself and his two brothers, John and William - included in the right foreground of Smith’s painting (this party is also absent in the version sold at Bonham’s and most others that have come to the market). Other differences are in the group of figures around the camp fire to the left, the figures and animals on the bridge, and the buildings. Interestingly, the town in the distance in Smith’s painting, which appears to be based on eighteenth century Chichester (with its recognisable cathedral) and which is more or less copied in other versions of this composition, is replaced in the present work with a quite different town of impressive NeoClassical architecture, reminiscent of Edinburgh’s New Town, development of which began in the late 1760s.

$6,000-9,000

ACKERMANN, Rudolph, A HISTORY OF THE UNIVERSITY OF CAMBRIDGE (1815)

Rudolph Ackermann [publisher], A History of the University of Cambridge, its Colleges, Halls, and Public Buildings (R. Ackermann, London, 1815)

Large quarto, two volumes, in contemporary gilt panelled green morocco, the spines labelled HISTORY OF CAMBRIDGE, all edges gilt

A set without the apparently optional plates of the Founders but with all other plates as called for, i.e. the uncoloured engraved portrait of the Duke of Gloucester, 64 hand-coloured aquatint views, and 15 hand-coloured engraved academic costume plates

$1,400-1,800

153

HEMINGWAY, Ernest, A FAREWELL TO ARMS (1929)

First edition, first printing

Ernest Hemingway, A Farewell to Arms (Charles Scribner’s Sons, New York, 1929)

First edition, first printing (without the disclaimer on p. x and with ‘Catherine’ spelled as ‘Katherine’ on the front flap which retains the price intact), octavo, in the publisher’s black cloth with gilt paper labels and dust-jacket, housed in a clam-shell box with giltlettered back

$2,000-3,000

154

JUKES, J. Beete, NARRATIVE OF THE SURVEYING VOYAGE OF H.M.S. FLY (1847)

J. Beete Jukes, Narrative of the Surveying Voyage of H.M.S. Fly, commanded by Captain F.P Blackwood, R.N., in Torres Strait, New Guinea, and other islands of the Eastern Archipelago during the years 18421846 […] (T. & W. Boone, London, 1847)

First edition, octavo, two volumes bound as one, with all engraved plates, folding maps, and woodengraved illustrations in text as called for, late 19th century tan half morocco retaining an earlier giltlettered and filleted back

$1,400-1,800

155

MacGILLIVRAY, John, NARRATIVE OF THE VOYAGE OF H.M.S. RATTLESNAKE (1852)

John MacGillivray, Narrative of the Voyage of H.M.S. Rattlesnake, commanded by the late Captain Owen Stanley, R.N., F.R.S., &c. during the years 1846-1850 […] (T. & W. Boone, London, 1852)

First edition, octavo, two volumes, with all engraved and lithographic plates, folding maps, and woodengraved illustrations in text as called for, in later burgundy half calf with gilt-lettered labels and marbled boards, former public library copy with associated stamps including perforated stamps to titles and plates

$1,800-2,400

159

160

156

After AGASIAS of Ephesus

The ‘Borghese gladiator’ Bronze, in a greenish brown patina Cast by Ferdinand Barbedienne, Paris, late 19th or early 20th century

Cast with a reproduction of Agasias’s Greek signature on the marble original

With the founder’s incised signature to the rear edge of the base: F. BARBEDIENNE, FONDEUR.

PARIS

49cm high, 34cm wide, 44cm deep $1,400-1,800

157

AUGUSTE NICOLAS CAÏN (1821–1894)

‘Lion et lionne se disputant un sanglier’ Bronze, in a mottled gilt and brown patina

Cast last quarter 19th century

Cast with incised signature to the front of the base, lower right: A. CAÏN

38cm high, 63cm wide, 35cm deep

OTHER NOTES:

The Musée d’Orsay holds a very large version of this sculpture (accession no. RF 600) and another similar in size to the present example (accession no. 1905).

$2,000-3,000

158

ALPHONSE EMMANUEL de MONCEL de PERRIN (1866–1930)

‘Les amoreux’ Bronze, with a brown patina Cast by Ferdinand Barbedienne, Paris, early 20th century

Cast with incised signature to the left side of the seat: ADOLPHE MONCEL

With the founder’s incised signature to the right of the base: F. BARBEDIENNE, Fondeur 49cm high, 45cm wide, 30cm deep

PROVENANCE:

Camille Picard, president of the Chambre Syndicale Commerçants Magasiniers, Nice, to whom presented by the Chambre in April 1913 (as commemorated by an engraved plaque to the base of the sculpture)

OTHER NOTES:

Moncel’s marble original of this sculpture was exhibited at the Paris Salonm in 1898. $1,400-1,800

159

‘DIANA OF GABII’

French, late 19th / early 20th century

Bronze, in a dark brown patina, after the Hellenistic marble sculpture now in the Louvre

Incised to one side of the plinth ‘Reduction Sauvage’ 33cm high

$500-700

160

‘APHRODITE AU PILIER’

Cast by Ferdinand Barbedienne, Paris, early 20th century

Bronze, in a brown patina, on a green marble plinth, after the Roman marble sculpture now in the Louvre

With the Collas reduction stamp and the founder’s incised signature to the rear of the base: F. BARBEDIENNE, Fondeur 32cm high

$600-1,000

161

A FINE REGENCY CAVALRY OFFICER’S SABRE

BY JOHN PROSSER,

PRESENTED TO THOMAS POTTER MacQUEEN

Dated 1819

The gilt hilt with a milled grip and wolf’s head pommel, cross-guard with spread eagle badges in relief, acanthus leaf langets, and dog’s head terminals, and guard modelled as a spiral of oak leaves and acorns with a red and gold rope sword knot with tassel; the curved steel blade with yelman and retaining traces of bluing and gilding to some details etched to one side with MacQueen’s achievement of arms in a cartouche flanked by trophies and other martial and foliate decoration extending to three-quarters of its length, the other side similarly decorated and etched with Prosser’s name and an inscription ‘This sword was presented to Thomas Potter MacQueen Esquire, of Ridgemount House, Major Commandant, of the

Bedfordshire Yeomanry Cavalry, by the Officers […?], Commissioned Officers, and Privates of the said Corps as proof of […?] regard as an officer and affectionate esteem as a man, July 3rd 1819’; the gilt metal scabbard with interlaced suspension loops pierced with panels of oak leaf acorn decoration backed with black velvet between locket and chape with martial and foliate decoration in relief trimmed with rope-twist edges; the top of the original mahogany with inset bronze roundel engraved ‘Lieutenant Colonel Thomas Potter MacQueen Ridgemont House’ and retaining Prosser’s paper label to the underside of the cover

Sold with a framed reproduction print of Charles Turner’s mezzotint engraving after James Ramsay’s circa 1820 portrait of MacQueen in his Yeomanry uniform and wearing the present sword.

PLEASE NOTE: If resident in Victoria, the purchaser of this lot will be required to show a current Victorian edged weapons license.

Those wishing to handle the sabre in pre-auction viewing in Melbourne will be required to present an edge weapons license to do so.

Before bidding, prospective purchasers not resident of Victoria must make their own enquiries and satisfy themselves as to the process and requirements for importing the sabre to their jurisdiction. If resident in Victoria, the purchaser of this lot will be required to show a current Victorian edged weapons license.

Length 96cm

PROVENANCE:

Thomas Potter MacQueen, Ridgmont, Bedfordshire, presented to him in 1819

Thence by descent to Seton Marshall, Melbourne

The Estate of the late Seton Marshall

OTHER NOTES:

Born at Segenhoe manor, Ridgmont, Bedfordshire, Thomas Potter MacQueen (1791-1854) followed in his early adult life in England a conventional course as a country squire. From 1816 to 1830, he represented Bedfordshire constituencies in Parliament and in 1817 became an officer in the Bedfordshire Yeomanry Cavalry. MacQueen was soon major-commandant of this corps and in 1820 was promoted to become its lieutenant-colonel - an event likely to be connected to the presentation of the present lot to MacQueen by the officers and men of the corps in 1819.

Around this time, MacQueen was also becoming increasingly interested in the further colonisation of Australia as its British colonies moved away from

their original penal and military character. Inspired by official reports on the Australian colonies and his correspondence with prominent settlers in New South Wales such as his friend John Macarthur, MacQueen became convinced of the potential for development in Australia, both for its own sake and as a solution to social and economic problems affecting the poor in England, an issue that greatly concerned him.

Upon receiving a grant of 10,000 acres in New South Wales in 1823, MacQueen beginning giving effect to his vision. While remaining in England himself, he entrusted his overseer in New South Wales to establish his property in the Hunter Valley as a model enterprise - named Segenhoe, after MacQueen’s birthplace - and, before long, a

community around it. In 1824, MacQueen sponsored the emigration of a party of farmers, mechanics, and livestock to New South Wales - the first such free emigrant endeavour - and in following years keenly promoted various agricultural and commercial initiatives to support settlement and development in different parts of Australia. From 1834 to 1838 MacQueen lived in New South Wales himself, leading an active public life at Segenhoe and in Sydney, before returning to England and publishing works recounting his experience of Australia.

$5,000-7,000

162

A VICTORIAN SCOTTISH SILVER-MOUNTED CEREMONIAL DIRK

Second half 19th century

The silver-mounted hilt with a hardwood grip carved as basket work studded with silver and pommel set with a coloured glass jewel, the plain polished steel blade with a fullered spine to the forte and false edge below, the silver-mounted leather-covered sheath with pockets accommodating a small knife and fork, their hilts conforming with the dirk 46cm long overall (the dirk in its sheath)

PROVENANCE:

The Estate of the late Seton Marshall $1,000-1,500

163

A FRENCH SILVER AND ROSE GOLD INLAID PIQUE SCENT ETUI

19th century

Of tapering faceted form, inlaid with foliate and scroll work inlaid in silver and rose gold, the hinged top opening to reveal two cut crystal scent bottles 6.5cm high, 3cm wide, 2cm deep $400-600

164

FOUR ENGLISH ENAMEL SCENT BOTTLES

18th century

Three of tapering bottle form, each painted with landscape scenes; the last of faceted form decorated with a courting scene.

The largest 9cm high, 5cm wide $500-700

165

THREE PORCELAIN SCENT BOTTLES

19th century

The first modelled as two putti and a fish, capodimonte mark to underside of base, no stopper; the second with two courting figures and a brocage stem, spurious gold anchor mark to underside; the last of rocaille form, finely painted with two seaside figural scenes, Meissen mark to underside of base 9cm high, 9.5cm high & 8cm high respectively $400-600

166

A RARE JOSIAH WEDGWOOD JASPERWARE SCENT BOTTLE

Etruria, late 18th century

Of circular flattened form, classic blue ground with white low relief decoration of with floral garlands and rosettes, Prince of Wales portrait to one side, and other male portrait to the other side with later screw-on cover.

7cm high, 5cm wide $600-800

171

167

TWO SCENT BOTTLES

18th & 19th centuries

The first a Georgian faceted glass and bright cut silver combination scent bottle with a the central patch box opening to reveal a mirrored compartment; the other faceted glass and enamelled metal

The georgian scent 10.5cm high, 3cm wide $500-700

168

A GEORGE II GOLD-MOUNTED AGATE ETUI

Late 18th century

Of cylindrical form, agate cased with an 18ct gold cage setting decorated with floral swags and columns, the base revealing a small hinged compartment 10.5cm high, 1.5cm wide

$500-700

169

A CASED CONTINENTAL GOLD-MOUNTED CUT CRYSTAL SCENT BOTTLE

19th century

Of shaped form in cut crystal, with hinged gold top and stopper, hallmarked, and housed within a fitted leather case, together with a Georgian crystal scent bottle, with gilt highlights, labelled ‘To a Friend’, also housed in fitted leather case

The French scent 10cm high, 6cm at widest point $500-700

170

A GROUP OF TWELVE LATE GEORGIAN AND EARLY VICTORIAN FACE SCREENS

Second quarter 19th century

Three pairs and others similar, variously papiermaché, wood, and card, all similarly lacquered or painted with chinoiserie scenes of figures in gardens and landscapes

The largest 42 x 26cm

$1,500-2,500

171

A FRENCH MUSICAL AUTOMATON OF A GIRL AT HER DRESSING TABLE

20th century

The figure in eighteenth century dress and holding a hand mirror and powder puff seated at her dressing table on which rests a mirror and other objects, mounted on a gilt plinth with and drawer, the musical clockwork movement turning the figure’s head and raising her arms to bring the mirror and puff to her face

34cm high

$1,200-1,500

172

AN ITALIAN MICROMOSAIC PAPERWEIGHT DEPICTING THE PANTHEON, ROME

Mid-19th century

The oval mosaic set within a border of red and blue stones in a rectangular black marble plaque with bevelled and fluted sides

0.9cm high, 15.5cm wide, 10.5cm deep

$600-900

A POCKET SUNDIAL BY ROBERT BUTTERFIELD, IN ITS PAINTED LEATHER CASE

Early 18th century, the dial signed ‘Butterfield à Paris’

The engraved brass dial of typical octagonal form with compass and hinged gnomon, fitted in its original leather case decorated to its top and underside with Classical landscapes

The case 2cm high, 8cm wide, 7.5cm deep

$1,500-2,500

174

AN ITALIAN POLYCHROME HARDWOOD MODEL OF A CEREMONIAL BOAT

Circa 1800

Of broad elliptical outline, open except for fore and aft decks, the prow modelled as a duck, the gunwales balustraded all round with a section of this removable on one side, the hull apparently worked from a single block 33cm high, 100cm wide, 41cm deep

PROVENANCE:

Acquired from Graham Geddes Antiques, Melbourne

$800-1,000

175

A SUBSTANTIAL ‘RENAISSANCE REVIVAL’ COPPER-PLATED BRONZE VESSEL

Late 19th century

Apparently a punch bowl, the cover and removable rim enclosing a removable liner within the hemispherical body raised on a quadraped base, the finial modelled as two putti, the handles to the body mounted with grotesque lions, the body and base with bacchanalian scenes, figures, and other Classical decoration in relief

56cm high, 63cm wide, 48cm deep

$800-1,000

176

A PAIR OF FRENCH GILT BRONZE CANDELABRA

Each of four lights on scrolling branches raised above a figure of a putto standing on a black marble plinth with paw feet

46.5cm high

$800-1,000

177

A PAIR OF LOUIS XVI-STYLE MARBLE AND BRASS MANTEL URNS / CANDLESTICKS

In Neo-Classical manner, the ovoid bodies and plinths in white marble, the tops inverting for use a candlesticks

22cm high

$1,000-1,500

178

A PAIR OF LOUIS XVI-STYLE MARBLE AND BRASS MANTEL URNS

In Neo-Classical manner, the ovoid bodies and plinths in variegated pink and purple marble, the tops not removable 25.5cm high

$800-1,200

179

AN ITALIAN ALABASTER URN

By Rossi, second half 20th century

Of baluster form with a fluted neck, above with writhen body 55cm high, 25cm wide, 20cm wide base $600-800

180

A PAIR OF ITALIAN ALABASTER URNS ON MATCHED PEDESTALS

By Rossi, second half 20th century

Each of baluster form, egg and dart decoration, flanked by scrolling handles, raised on a socle base, each sitting on a matched alabaster pedestal 71.5cm high, 53cm wide (including handles), 157cm high with pedestal $1,500-2,000

181

A MIRROR PAIR OF ALABASTER URNS

By Rossi, Second half 20th century

Of campana form with fluted decoration, raised on a square pedestal base 71cm high, 49.5cm diameter, 21.5cm wide base $1,500-2,000

182

AN ANTIQUE CAST IRON GARDEN VASE

Second half 19th century

Of Classical campana shape, mounted on a spreading square plinth, in weathered old grey paint 89cm high, overall $500-700

CONDITIONS OF BUSINESS / SUMMARY

Special Conditions of Sale – Jewellery

Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement.

Authenticity Certificates

As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.

GST

In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact:

Marie McCarthy accounts@leonardjoel.com.au

Admission

Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.

Commission (Absentee) Bids

Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves.

Telephone Bidding

Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.

Bidder Registration

To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.

Buyer’s Premium

There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

Property subject to the Artist Resale Royalty

Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

Damage

Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Title

Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports

Condition reports will be available for any lot upon request, subject to conditions.

Estimates

Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates.

Payment

In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.

Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.

Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply.

Bank telegraph transfers should be directed to:

Account name: Leonard Joel Pty Ltd

Address: Westpac Banking Corporation

150 Collins Street, Melbourne VIC 3000 Australia

BSB: 033–364

Account no: 942956

Collection of Lots

Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

Removal and Storage

Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense.

Removal Charges

Each lot: $55

Storage Charges

Each lot: $33 per day

Protection of Movable Cultural Heritage Act 1986 (PMCH

Act)

Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to

restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index

Exporting Significant Australian Cultural Heritage

The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia.

The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’.

More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage

Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810

E: movable.heritage@environment.gov.au

CITES Regulations

It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale.

Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from:

The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities

GPO Box 787

CANBERRA ACT 2601

Leonard Home Delivery

Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au

Recommended Carriers

For recommended carriers please refer to our website.

Partners:

To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

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John Albrecht BA LLB MBA

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Marie McCarthy

Leonard Joel Specialists

FINE ART

Olivia Fuller BArtTh, Head of Department

Lucy Foster EMA, Senior Specialist, Fine Art

Hannah Ryan, Specialist

INDIGENOUS ART

Olivia Fuller BArtTh, Head of Department

Lucy Foster BCA EMA, Senior Specialist

DECORATIVE ARTS

Chiara Curcio BA, Head of Department

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

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Carl Wantrup, Consultant, Asian Art

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SYDNEY

Ronan Sulich, Senior Advisor

Madeleine Norton BFA, BComm, MLitt, Associate

Head of Decorative Arts & Art

Marcella Fox, Manager

IMPORTANT JEWELS

Hamish Sharma, Head of Department, Sydney

Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist

FINE JEWELS & TIMEPIECES

Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne

Patricia Kontos F.G.A.A., Senior Jewellery Specialist

Indigo Keane, Jewellery & Luxury Manager

Isabella Macciolli, Jewellery & Luxury Assistant

Leila Bakhache, Administrator

Henrietta Maiyah, Consultant

MODERN DESIGN

Rebecca Stormont, Specialist

Paul Nicol, Modern Design Assistant

Anna Grassham BA Contemporary Arts, Consultant

LUXURY

John D’Agata F.G.A.A., Head of Department

PRINTS

Hannah Ryan, Art Specialist

The Auction Salon

FURNITURE

Angus McGougan, Manager

April Chandler, Assistant

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Indigo Keane, Manager

Isabella Macciolli, Assistant

ART SALON

Amanda North, Manager

Noelle Martin, Assistant

OBJECTS & COLLECTABLES

Dominic Kavanagh MFA, Manager

Kyle Walker, Assistant

VALUATIONS

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Troy McKenzie, Queensland Representative Specialist

Anthony Hurl, South Australia Representative Specialist

John Brans, Western Australia Representative Specialist

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Yue Zhang, Finance Manager

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Adam Obradovic, Photographer & Videographer

GRAPHIC DESIGN

Maria Rossi

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