Decorative Arts by Leonard Joel

Decorative Arts

31.03.2025, 6pm

fri 28 – sun 30 mar 2 Oxley Road, Hawthorn, VIC 3122

Please refer to our website for viewing times — leonardjoel.com.au

CONTACTS

chiara curcio head of decorative arts, design & interiors 03 8825 5635 chiara.curcio@ leonardjoel.com.au

david parsons head of private estates & valuations decorative arts specialist 03 8825 5638

david.parsons@ leonardjoel.com.au

Decorative Arts

Our first sale for the year leads with a strong offering of clocks, commencing with a small single owner collection of small desk clocks and carriage clocks acquired in London in the 1970s. The rarest of these is Liberty & Co. 'Cymric' silver and enamel clock designed by Archibald Knox (lot 5). Other notable clocks in this section include a lovely Regency bracket clock by Whatley (lot 25) and an early Victorian mahogany-cased library clock by William Birch (lot 26).

Our Australian historical section includes an interesting Melbourne collection of colonial and Gold Rush-related items, including a bone pen knife reputedly once owned by John Batman (lot 55) and an original Eureka Stockade-related public notice poster dating to 1854 (lot 56).

Gracing our front cover we have a rare and striking provincial Louis XV bureau-dedame, dating to the first quarter of the eighteenth century. Its rarity is in it being veneered in highly figured burr elm veneer carefully treated and finished to emphasise its figuring. The technique was also used in early eighteenth-century England where veneer of this type was traditionally described as 'mulberry' but was in fact burr and other curly-figured wood from various native species, mostly field maple, elm, and alder.

Also in our furniture section we have from the estate of a private Melbourne collector a group of furniture with notable film star and film production provenance (lots 59–63). This includes a hardwood and travertine dining table and a terracotta table lamp (lots 59 and 62) both formerly the property of Katharine Hepburn and sold in the Sotheby's 2004 auction of her estate in New York. A highlight of this group is a director's chair personalised for Elizabeth Taylor, emblazoned with her name (lot 60), sold in Christie's New York 2011 auction of decorative arts and memorabilia from Miss Taylor's collection. Keenly pursued in that auction, the chair far exceeded its US$2,000-3,000 pre-auction estimate to sell for US$80,500 (including premium).

Lots 129–170 comprise a broad selection of art works from various private collectors, including from the estate of a Melbourne private collector a number of works by notable European artists, such as Edwin Hayes (lot 165), Jacob Jan Coenraad Spohler (lot 166), and Anton Pieck (lot 169), together with rare smaller work by Haughton Forrest (lot 168).

Closing the sale, we have a lovely selection of sculpture including several works in marble and bronze after Classical designs. Featured in this section is a large and impressive Han Dynasty glazed earthenware model of a horse (lot 193) – a commanding presence, standing 136cm tall. It is accompanied by a thermoluminescence analysis report issued by Oxford Authentication.

We look forward to seeing you at the viewing and are always available to answer any questions regarding the auction.

chiara curcio head of decorative arts, design & interiors

A GEORGE V MINIATURE STERLING SILVER AND SHAGREEN CARRIAGE CLOCK

Goldsmiths & Silversmiths company, London, 1924

The French eight day lever platform movement and enamel Arabic numeral dial within a rectangular sterling silver framed case, raised on four bun feet, each side inset with stained shagreen panels, the brass backplate marked JTC 56527

8cm high (handle raised), 5cm wide, 4cm deep

$500-700

2 A GEORGE V STERLING SILVER AND PINK GUILLOCHÉ ENAMEL DESK CLOCK

Wright & Davies (William Frederick Wright), London, 1916

The French eight day lever platform movement and enamel Roman numeral dial within a rectangular sterling silver and pink guilloche enamel case, supported by four bun feet and applied with enamelled insects to each side

9cm high (handle raised), 5cm wide, 3.5cm deep

$700-900

3 A SMALL EDWARDIAN STERLING SILVER CARRIAGE CLOCK

Maker’s mark N.M, London, 1909

The French eight day lever platform movement and white enamel Roman numeral dial within a rectangular sterling silver case, supported by four bun feet and the case with a planished finish

8cm high (handle raised), 4.5cm wide, 4.5cm deep

$400-600

4 A GEORGE V PIQUÉ DESK CLOCK*

Mappin & Webb, Birmingham, 1914

The French eight-day movement and white enamel Roman numeral dial within a sterling silver and tortoiseshell case, arch-formed with finely inlaid sterling silver designs, the dial signed Mappin & Webb Ltd

9.5cm high, 6.5cm wide, 5cm deep

other notes

* CITES permit required for export; obtaining this is the obligation of the buyer; the grant of an export permit from relevant authorities is not guaranteed.

$500-700

5 A LIBERTY & Co. ‘CYMRIC’ STERLING SILVER DESK CLOCK DESIGNED BY ARCHIBALD KNOX

Model 5308, the silver assayed 1904

The French eight day lever platform movement and mottled green-blue enamel Arabic numeral dial within a rectangular sterling silver case, supported by four bun feet and applied with two Ruskin turquoise glazed pottery cabochons to front, stamped 5308 underside

10.5cm high (handle raised), 5.5cm wide, 4cm deep

$3,000-5,000

6 A FRENCH CARRIAGE CLOCK

Late 19th century

The eight day repeating strike movement with alarm and white enamel Arabic numeral dial, within a brass and glass frame, each corner with Corinthian columns between acanthus leaf-tip moulded borders, the brass backplate numbered 9536

14.5cm high, 7cm wide, 6cm deep

$700-900

A FRENCH OVAL CARRIAGE CLOCK

Late 19th century

The lever platform repeating strike movement and white enamel Roman numeral dial within an oval-form brass and glass case, with engraved floriate decoration overall

17cm high (handle raised), 11cm wide, 8.5cm deep

$1,400-1,800

8 A FRENCH SEVRES-STYLE PORCELAIN

INSET CARRIAGE CLOCK

Circa 1900

The eight day movement with bell strike within a rectangular brass framed case, each side inset with a hand painted Sevres-style porcelain panel decorated with 18th century style landscapes and courting scenes, the brass backplate marked J. D. BTE.

S.G.D.G

15.5cm high (handle raised), 7.5cm wide, 7cm deep

$1,200-2,000

9 AN ANTIQUE-STYLE RING WATCH

The watch late 19th century, signed Hersent, the ring later

The watch with white Arabic numeral dial and fusee verge movement hinged in a later gilt metal case set within the elaborate foliate ring with a Classical mask each side, the movement signed ‘Hersent A Paris / N 180’, the gilt metal ring testing at different points as silver and lesser metals

4cm wide, 3.5cm wide, 4cm deep

$800-1,200

A FRENCH LOUIS XVI-STYLE PENDULE d’OFFICER

Late 19th–early 20th century

The eight day lever platform movement and enamelled Roman and Arabic numeral dial with gilt hands and convex glass cover within a gilt-bronze case, raised on four lions paw feet, the case in typical form with applied foliate mounts, surmounted by a serpent loop handle

11cm high, 6.5cm wide, 5cm deep

$1,000-1,200

A NAPOLEON III ORMOLU MANTEL CLOCK

IN LOUIS XV STYLE

Mid-19th century

The eight-day countwheel bell-striking movement and enamelled Roman and Arabic numeral dial with gilt hands and convex glass cover within an upright Rococo revival case cast with floral and foliate scrolls, on an integral stand, the movement impressed A.1 and numbered 1424

30cm high, 21.5cm wide, 13cm deep

$700-1,000

A LOUIS PHILIPPE ORMOLU SCULPTURAL MANTEL CLOCK IN EMPIRE STYLE

Second quarter 19th century, the dial signed ‘Alibert á Paris’

The eight-day movement with silk suspension and countwheel strike to bell, the white enamelled Roman numeral dial with Breguet hands within a NeoClassical plinth case mounted with a seated figure of Psyche playing a lyre between an altar and figure of the young Amor, the lower part of the case applied with a scene of similar character in relief, on bun feet, finely cast and chased throughout

49cm high, 38cm wide, 15cm deep

$1,200-1,800

A FRENCH RESTAURATION BRONZE AND MARBLE MANTEL CLOCK

Delaunoy, Paris, 1820s

The eight-day movement with silk suspension and countwheel strike to bell, the engine-turned Roman numeral dial with Breguet hands and glass cover within a patinated bronze case modelled as rockwork supporting a Classical draped female figure atop a Siena marble plinth with bronze mouldings of anthemia, on scrolling bracket feet, the dial signed ‘Delaunoy, elève de Breguet’, the movement signed ‘Delaunoy a Paris’ and numbered 235 / B3

58cm high, 41cm wide, 15cm deep

$1,200-1,800

A LOUIS PHILIPPE BRONZE AND MARBLE SCULPTURAL MANTEL CLOCK IN EMPIRE STYLE

Second quarter nineteenth century, the movement marked ‘TN’

The eight-day movement with silk suspension and countwheel strike to bell, the gilt engine-turned Roman numeral dial with Breguet hands within a Neo-Classical plinth case of rouge griotte marble mounted with a patinated bronze group ‘Psyche crowning Amor’ after Claude Michallon and with various Classical bronze mounts in relief, on winged paw feet

53cm high, 38cm wide, 19cm deep

$1,600-2,400

AN ANTIQUE LOUIS XIV-STYLE BRACKET CLOCK IN THE MANNER OF JEAN-PHILIPPE GOSSELIN

The movement 18th century, the case possibly of the same period

The movement with anchor escapement, for time only, the enamelled and gilt bronze Roman numeral dial in a glazed case of typical waisted upright form inlaid with cut brass in the simulated tortoiseshell ground and with various gilt bronze mounts including a figure of an amorino to the top, the dial and movement both signed ‘Gosselin A Paris’ 53cm high, 25.5cm wide, 14cm deep

$1,000-1,500

AN ANTIQUE LOUIS XIV-STYLE BRACKET CLOCK IN THE MANNER OF JERÔME MARTINOT, WITH BRACKET

The movement 18th century, the case possibly of the same period

Verge movement with silk suspension and countwheel strike on bell, the enamelled and brass Roman numeral dial in a glazed case of typical upright form inlaid with cut brass in the simulated tortoiseshell ground and with various gilt bronze mounts including a figure of a herald angel to the top and a mask to the base, the movement signed ‘Jerôme Martinot AParis’, the bracket conforming

The clock 69cm high, 31.5cm wide, 15cm deep; the bracket: 29.5cm high, 34.5cm wide, 18cm deep

$1,800-2,400

A VERY LARGE NAPOLEON III BRONZE AND MARBLE CLOCK

Third quarter 19th century, the movement by Miroy Frères, Paris

The eight-day bell-striking movement and white enamelled Roman numeral dial with Breguet hands and glass cover within a drum case alongside a half-recumbent figure of Cincinnatus writing, all mounted on a shaped and moulded verde antico and black marble platform base on adjustable feet 48cm high, 84cm wide, 28cm deep

$800-1,200

A QUEEN ANNE MAHOGANY-BANDED OAK LONG-CASE CLOCK

Edward Rundell, Norton St Philip, Somerset, early 18th century, the case partly of the same period and later 18th century

The month-going bell-striking movement with anchor escapement, the silvered Roman numeral dial enclosing a gilt foliate-engraved and sanded centre with subsidiary seconds dial and calendar aperture all within applied gilt spandrels, each of a pair of putti supporting a crown, the glazed bell-top hood with a frieze carved with foliage in low relief flanked by a pair of parcel-gilt columns, the trunk of typical George III form with a door with shaped top flanked by a pair of fluted quarter-columns on the moulded plinth base with canted corners, the columns and cross-banding to the front of the trunk in mahogany, the hood apparently contemporary with the clock, the trunk circa 1770

226cm high, 56cm wide, 29cm deep

$2,800-3,400

A GEORGE III OAK LONG-CASE CLOCK

William Flint, Snr, Ashford, last quarter 18th century

The thirty-hour bird-cage movement striking on the hour, the white-japanned Roman numeral dial with subsidiary seconds dial and calendar aperture decorated with fruit to the corners, the glazed hood with shaped crest mounted with three gilt wood ball finials above the trunk of typical form on a plinth base

204cm, 48cm wide, 24cm deep

$1,100-1,800

21 A GEORGE II CHINOISERIE MOON-PHASE LONG-CASE CLOCK

Unsigned, second quarter 18th century

The eight-day movement with anchor escapement bell-striking on the hour, the decoratively engraved brass Roman numeral dial with subsidiary seconds dial and calendar aperture within applied brass foliate spandrels beneath the tympanum with painted moon phase, the glazed hood of architectural design with three gilt finials to the shaped top with arched and moulded cornice above the glazed door between columns, the trunk of typical form with an archtopped door above the moulded plinth, the door and front of the plinth decorated in raised gold with Chinese-style scenes of buildings, figures, animals, and birds in landscapes on a simulated tortoiseshell ground, the hood and case otherwise decorated with flowering foliage and other designs on the same ground 235cm high, 50cm wide, 25cm deep

provenance

Graham Geddes Antiques, Melbourne, from whom purchased by the vendor on 22 April, 1987

$3,000-5,000

A GEORGE III MAHOGANY LONG-CASE CLOCK

James Cumming, Craigellachie, late 18th–early 19th century

The eight-day movement with anchor escapement striking on a bell, the painted Roman numeral dial with subsidiary seconds and calendar dials decorated with fans in the spandrels and a Classical urn and flowering foliage in the tympanum above, the glazed hood with swan-neck pediment centred on a brass spread-eagle final above flanking reeded columns, the trunk of typical form with a door with arched top flanked by a pair of reeded quarter-columns on the moulded plinth base, the front cross-banded with rosewood

210cm high, 49cm wide, 23.5cm deep

$1,000-1,600

23 A LATE GEORGE III MANTEL CLOCK

William Watson, York, circa 1820

The double fusee movement striking on a bell, the japanned Arabic numeral dial with strike / silent dial in the tympanum decorated with shells and flowers in the spandrels within the glazed door in a case with arched top and chamfered corners, inlaid with borders and stringing, the dial and movement both signed, the latter also including the maker’s location in Stonegate, York

69cm high, 40.5cm wide, 17.5cm deep

$600-800

AN EARLY VICTORIAN FIGURED OAK MANTEL CLOCK

Second quarter 19th century, the dial signed ‘Robin Sands / London’

Triple fusee, eight bells striking on quarters, the white-japanned Roman numeral dial with strike / silent dial within a Gothic Revival case with ogeepointed top flanked by crocket finials above columns flanking the glazed door, on a moulded plinth base with bun feet, the sides and rear door also glazed 58cm high, 36.5cm wide, 22cm deep

$1,800-2,400

25 A LATE GEORGIAN BRASS-INLAID ROSEWOOD MANTEL CLOCK

Circa 1830, the dial signed ‘Whatley / London’

The double fusee two-train movement bell-striking on the hour, quarter-striking on two bells, the white-japanned Roman numeral dial with glass cover within an upright case of architectural form with pine cone finial, brass-inlaid to the front and with ring handles and grilles to the sides, on brass ball feet, the rear door glazed 46cm high, 29cm wide, 18cm deep

$2,000-3,000

AN EARLY VICTORIAN MAHOGANY-CASED LIBRARY CLOCK

William Birch, London, circa 1840

The single fusee movement and silvered Roman numeral dial with engraved spandrels and blue steel hands within a five-glass mahogany case of Classical pedestal form raised on flattened bun feet, the dial and movement both signed Birch / Fenchuch St. / London

26cm high, 19.5cm wide, 14cm deep

$2,000-3,000

A VICTORIAN STERLING SILVER GILT COFFEE SERVICE OF SMALL PROPORTIONS

Henry Holland, London, 1869

Comprising a coffee pot, two-handled sugar basin, cream jug and sugar tongs, the coffee pot, cream jug and sugar basin of neo-classical shape with beaded and floriate designs, scrolling handles, and standing on circular feet, the hinged coffee pot cover domed with a shaped and beaded finial

The coffee pot 17cm high, 718g in total

$700-1,000

A PAIR OF ANTIQUE CONTINENTAL SILVER THREE-LIGHT CANDELABRA

800 standard, unidentified maker, late 19th century

In the baroque manner, each with a raised central light between two further lights on scrolling arms, each light with integral flared pans, all raised on a shaped stem and domed spreading foot, chased with floral designs

Each 27cm high, 1510g in total

$600-800

A GEORGE V STERLING SILVER COFFEE POT AND MATCHING HOT WATER POT

F.B. Thomas & Co. (Charles Henry Townley & John William Thomas), London, 1932

In George-II style, of tapering form on a moulded circular foot, the hinged covers with spool-shaped finials, and double-scroll hardwood handles

23cm high, 1364g in total (including wooden handles)

$800-1,200

A CANADIAN STERLING SILVER TRAY

Henry Birks & Sons, Montreal, 1954

In George II style, of shaped oval outline with a raised and moulded border and a shell-centred foliate handle each end, the well engraved with a band of scrolling foliage, on four stud feet

5.5cm high, 63cm wide, 38cm deep, 2,374g

$2,000-2,600

31 A CHINESE EXPORT SILVER TROPHY BOWL

Luen Wo, Shanghai, circa 1920

Of circular outline, raised on a small spreading foot, decorated with applied flowering cherry blossom branches to each side, inscribed ‘“SIR LAMEROCK” / 1920’ to centre, maker’s marks underside 11cm high, 22cm diameter, 884g

$800-1,200

32 A WILLIAM IV STERLING SILVER TEA AND COFFEE SERVICE

Richard William Atkins & William Nathaniel Somersall, London, 1836

Comprising a tea pot, coffee pot, two-handled sugar basin, and cream jug, the coffee pot and jug of baluster shape with shaped rims, scrolling handles, and standing on foliate feet, the tea pot and sugar basin of conforming compressed globular shape, the hinged covers of the pots with flower and leaf finials, each piece engraved to the shoulder with an armorial crest of a paschal lamb

The pots 23cm and 15cm high respectively, 2,324g in total

$2,000-2,600

A GEORG JENSEN STERLING SILVER ‘ACANTHUS’ PATTERN FLATWARE SERVICE

Post-1945 manufacture to Johan Rohde’s 1917 design Seventy-four pieces, basically a service for eight places, comprising eight each of entrée knives and forks, dinner knives and forks, dessert spoons, and grapefruit spoons, together with seven soup spoons, six coffee spoons, and various serving pieces including salad serving spoons and fork, cake knife and slice, condiment and sugar spoons and tongs, and bottle openers, the majority fitted in a handsome Australian cedar case

1,988g in total (not including the knives with polished steel blades)

$7,000-9,000

A VICTORIAN STERLING SILVER CLARET JUG

Martin, Hall, & Co (Richard Martin & Ebenezer Hall), London, 1872

Of Neo-Classical form on circular foot, repoussé decoration to the body, handle and foot of ribbons, acanthus leaves, masks and floral garlands, the shaped handle acanthus leaf-modelled, the hinged cover with an acorn shaped finial

35.5cm high, 1,620g

$1,400-1,800

35 A MATCHED GEORGE III STERLING SILVER TEA SERVICE

The pot Rebecca Emes & Edward Barnard I, London, 1812, the other pieces John Watson, Sheffield, 1809

The pot of bombe shape with a moulded and gadrooned top and domed cover, on ball feet, the finial and handle of ebonised wood, the cover and body engraved with foliate bands above an escutcheon of drapery each side enclosing an initial C beneath a gryphon crest, the open sugar basin and cream jug of similar design and decoration

The pot 15.5cm high, 1,310g in total

$1,000-1,500

36 A PAIR OF AUSTRIAN SILVER FIVE-LIGHT CANDELABRA

800 standard, Alexander Sturm, Vienna, early 20th century

Each with a raised central light surrounded by four further lights on outswept arms, all raised on a fluted columnar stem and domed spreading foot, chased with various stylized acanthus leaf designs throughout

Each 45cm high, 2,830g in total

$2,000-2,500

37 A DANISH SILVER FLATWARE SERVICE

830 standard (or higher), Christian Knudsen Hansen, Copenhagen, variously assayed 1936 and 1943

In an original Nordic Art Deco pattern, the flat shafts with a stylised foliate design to the centre and flaring terminals, ninety-nine pieces, generally a service for ten with larger or smaller numbers of some pieces, comprising entrée knives and forks, table knives and forks, butter knives, table spoons, dessert spoons, tea spoons, and coffee spoons together with nine various serving pieces, the underside of each terminal engraved with an initial D 3,030g (excluding the knives with steel blades)

$2,200-2,800

Glass & Porcelain

38 AN EMILE GALLÉ ENAMELLED GLASS VASE

Nancy, circa 1900

Of square-shape, the acid-etched and enamelled amber glass decorated with floral designs against a frosted ground with swirling decoration, remnant gold highlights overall, hand painted ‘Gallé’ to lower right corner to one side 14cm high, 9.5cm wide

$1,200-2,000

39 A THOMAS WEBB & SONS CAMEO GLASS VASE

Circa 1890

Ovoid shape, carved and overlaid in opaque white on a ruby glass ground, decorated with flowering honeysuckle, acid etched circular mark, THOs WEBB & SONS CAMEO 23cm high

provenance

The estate of Graham Joel, Melbourne

literature

Perry, Christopher Woodall, The Cameo Glass of Thomas and George Woodall, Richard Dennis, Somerset, England, 2000, pg 57

$1,500-2,500

A RENE LALIQUE ‘LIÈVRES’ VASE

Designed 1923

The spherical body with a narrow flaring neck, the uncoloured opalescent glass moulded with a band of running hares against a ground of scrolling foliage, script-etched, ‘R LALIQUE FRANCE’ 16cm high

literature

Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 942, p. 426

$1,000-1,500

A FRENCH BRONZE-MOUNTED FAIENCE VASE

In the manner of Joseph-Théodore Deck, circa 1880s

Baluster form, with a pair of handles to each shoulder moulded as bamboo cane and leaves, the body richly decorated with Iznik inspired foliate designs in contrasting blues, within a foliate lappet border and floral bands, mounted with bronze collar and foot

38.5cm high, 23cm wide

$1,000-2,000

A ROYAL DOULTON ‘CHANG’ VASE

BY CHARLES NOKE AND HARRY NIXON

1925–30

Of tall ovoid shape with a short neck, the exterior with thick running glazes in white, red, yellow, and green with blue veins falling over the mottled dark red, purple and yellow ground, remnant painted signatures underside, accompanied by pierced Chinese hardwood lid and stand

The vase 30cm high, total height 45cm

$1,200-2,000

43 A LARGE CHINESE EXPORT WARE BLUE AND WHITE PLATTER

Qing dynasty, 19th century

Rectangular with canted corners, decorated in under-glaze blue with pagodas, mountains, sailboats and a bridge set against a white porcelain ground, within an elaborate ‘Fitzhugh’ border with butterflies decorated throughout 4cm high, 51.5cm wide, 42.5cm deep

$1,000-1,500

Australian Decorative Arts and Historical Interest

lots 44 – 58

A PART DINNER SERVICE FROM THE ‘TERRY WHELAN SUITE’ DECORATED BY JOHN OLSEN

1970–1971, potted by Robert Mair (b. 1943), decorated by John Olsen (1928–2023)

Stoneware, thirty-nine pieces comprising eight each of dinner plates and entrée / dessert plates, seven each of side plates and cereal / fruit bowls, and nine handled ramekins with covers, all decorated by Olsen with various freely-drawn motifs and geometric and abstract organic designs in cobalt blue on the speckled pale grey-white ground, many also with details in brown, the well of each plate with initials TW decoratively drawn to the centre, all with Mair’s impressed mark, all variously signed underside by Olsen in full or with initials and dated 1970 and 1971, the larger pieces also inscribed ‘Terry Whelan suite’ The dinner plates 26cm diameter; the covered ramekins 18cm wide, 8cm high (minor variations between pieces)

provenance

Terrence (Terry) Whelan (1943–2024), Melbourne, part of a large suite commissioned by him from John Olsen and Robert Mair, 1970

The Estate of Terrence (Terry) Whelan

exhibitions

John Olsen: The You Beaut Country, NGV Australia, Melbourne, 16 September, 2016–12 February, 2017 (the whole suite)

literature

Matthew Martin, ‘John Olsen’s Whelan Suite’ in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016) Tom Olsen, Son of the Brush (2020), pp 41–42

other notes

In 1969, John Olsen moved from Sydney to the artists’ community established on Clifton Pugh’s property, ‘Dunmoochin’ at Cottles Bridge outside

Melbourne. The move and his response to the landscape around him prompted various new directions in Olsen’s art and creativity generally, including an interest in working with ceramics, sparked by his exposure to the potters resident at Dunmoochin.

Olsen worked collaboratively with several of these potters, decorating their wares, most closely with the New Zealand potter, Robert Mair, combining his own artist motives with what he learned from Mair and others about ceramic-decorating traditions, particularly Asian techniques and styles, an influence to which Olsen was already drawn.

In 1970, a large paella serving bowl made and decorated by Mair and Olsen (lot 49 in this auction) was acquired by Terry Whelan on a visit to Dunmoochin, soon prompting Whelan to commission a large dinner and coffee service in the same manner - the ‘Terry Whelan suite’.

Olsen’s notes made at the time indicate the degree to which production of the Whelan suite became an intense combination of artistic techniques and interests - the technical challenges of producing such a large service with some consistency and not too many losses together with the intermingled invigorating passions and artistic interests of the artists and patron.

As noted by Matthew Martin in his essay on the suite in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016), accompanying the National Gallery of Victoria’s exhibition of the same title in which the suite was included, Olsen’s decoration of the suite incorporates various motifs relating to the Whelan family, including cross and clover leaves harking to family’s Catholic Irish roots, and others hinting at Terry Whelan’s own personal interests.

$12,000-18,000

45 A PART TEA AND COFFEE SERVICE FROM THE ‘TERRY WHELAN SUITE’ DECORATED BY JOHN OLSEN

1970–1971, potted by Robert Mair (b. 1943), decorated by John Olsen (1928–2023)

Stoneware, thirty-four pieces comprising nine cups and saucers (and two further saucers), nine mugs, bamboo-handled tea pot, coffee pot, two covered sugar basins, and a cream jug, all decorated by Olsen with various freely-drawn motifs and geometric and abstract organic designs in cobalt blue on the speckled pale grey-white ground, many also with details in brown, all with Mair’s impressed mark, the pots signed underside by Olsen in full, the other pieces with initials, some dated 1970 and 1971

The tea pot 22cm high (including handle), the coffee pot 23.5cm high

provenance

Terrence (Terry) Whelan (1943–2024), Melbourne, commissioned from John Olsen and Robert Mair, 1970

The Estate of Terrence (Terry) Whelan

exhibitions

John Olsen: The You Beaut Country, NGV Australia, Melbourne, 16 September, 2016–12 February, 2017 (the whole suite)

literature

Matthew Martin, ‘John Olsen’s Whelan Suite’ in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016)

Tom Olsen, Son of the Brush (2020), pp 41–42

other notes

See the catalogue note to lot 44.

$10,000-15,000

A SET OF FOUR GOBLETS FROM THE ‘TERRY WHELAN SUITE’ DECORATED BY JOHN OLSEN

1970–1971, potted by Robert Mair (b. 1943), decorated by John Olsen (1928–2023)

Stoneware, decorated by Olsen with various freely-drawn motifs and geometric and abstract organic designs in cobalt blue and brown on the speckled pale grey-white ground, all with Mair’s impressed mark, the underside of each signed and dated 1971 by Olsen

Each about 20cm high (slight variations)

provenance

Terrence (Terry) Whelan (1943–2024), Melbourne, part of a large suite commissioned by him from John Olsen and Robert Mair, 1970

The Estate of Terrence (Terry) Whelan

exhibitions

John Olsen: The You Beaut Country, NGV Australia, Melbourne, 16 September, 2016–12 February, 2017 (the whole suite)

literature

Matthew Martin, ‘John Olsen’s Whelan Suite’ in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016)

Tom Olsen, Son of the Brush (2020), pp 41–42

other notes

See the catalogue note to lot 44.

$1,800-2,400

47 A SET OF FOUR GOBLETS FROM THE ‘TERRY WHELAN SUITE’ DECORATED BY JOHN OLSEN

1970–1971, potted by Robert Mair (b. 1943), decorated by John Olsen (1928–2023)

Stoneware, decorated by Olsen with various freelydrawn motifs and geometric and abstract organic designs in cobalt blue and brown on the speckled pale grey-white ground, all with Mair’s impressed mark, the underside of each signed and dated 1970 or 1971 by Olsen

Each 20cm high (slight variations)

provenance

Terrence (Terry) Whelan (1943–2024), Melbourne, part of a large suite commissioned by him from John Olsen and Robert Mair, 1970

The Estate of Terrence (Terry) Whelan

exhibitions

John Olsen: The You Beaut Country, NGV Australia, Melbourne, 16 September, 2016–12 February, 2017 (the whole suite)

literature

Matthew Martin, ‘John Olsen’s Whelan Suite’ in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016)

Tom Olsen, Son of the Brush (2020), pp 41–42

other notes

See the catalogue note to lot 44. $1,400-1,800

48 A GROUP OF SERVING PIECES FROM THE ‘TERRY WHELAN SUITE’ DECORATED BY JOHN OLSEN

1970–1971, potted by Robert Mair (b. 1943), decorated by John Olsen (1928–2023)

Stoneware, two covered vegetable dishes and two small sauce pitchers of different sizes, all decorated by Olsen with various freely-drawn motifs and geometric and abstract organic designs in cobalt blue and brown on the speckled pale grey-white ground, all with Mair’s impressed mark, all variously signed underside by Olsen in full or with initials and dated 1970 and 1971, some also inscribed ‘Terry Whelan suite’

The larger covered dish 16cm high, 27cm wide; the larger pitcher 13cm high

provenance

Terrence (Terry) Whelan (1943–2024), Melbourne, part of a large suite commissioned by him from John Olsen and Robert Mair, 1970

The Estate of Terrence (Terry) Whelan

exhibitions

John Olsen: The You Beaut Country, NGV Australia, Melbourne, 16 September, 2016–12 February, 2017 (the whole suite)

literature

Matthew Martin, ‘John Olsen’s Whelan Suite’ in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016)

Tom Olsen, Son of the Brush (2020), pp 41–42

other notes

See the catalogue note to lot 44.

$2,000-3,000

49 A LARGE STONEWARE PAELLA SERVING

BOWL DECORATED BY JOHN OLSEN

1970, potted by Robert Mair (b. 1943), decorated by John Olsen (1928–2023)

Circular with lightly-rounded sides on a thick bevelled foot, the interior and exterior decorated by Olsen with freely-drawn abstract organic designs in cobalt blue and brown on the speckled pale greywhite ground, Mair’s impressed mark to the foot, inscribed by Olsen underside ‘High diddle diddle’ and signed and dated 1970 18cm high, 44.5cm diameter

provenance

Terrence (Terry) Whelan (1943–2024), Melbourne, acquired 1970

A member of the Whelan family

literature

Matthew Martin, ‘John Olsen’s Whelan Suite’ in D. Hurlston and D. Edwards (eds), John Olsen: The You Beaut Country (2016)

Tom Olsen, Son of the Brush (2020), pp 41–42

other notes

See the catalogue note to lot 44.

It was this bowl, purchased by Terry Whelan at Dunmoochin in 1970, that prompted him to commission what became the ‘Terry Whelan suite’ from Olsen and Mair.

$1,000-1,500

50 A GLAZED EARTHENWARE PITCHER BY MERRIC BOYD

Dated 1932

Of loosely formed baluster shape, the handle as a stylized tree trunk, the exterior modelled in low relief and decorated in brown on the cream ground with applied leaf and apple design, incised signature underside ‘Merric Boyd / 1932 / (apple)’ 12cm high, 16.5cm wide

$1,500-2,000

A LARGE GLAZED EARTHENWARE BOWL

BY MERRIC BOYD

Dated 1936

Of shallow circular form with a flared edge, the interior and underside modelled in low relief with a maple leaf design, decorated in green glaze, incised signature underside ‘Merric Boyd / 1936’ 8cm high, 26cm diameter

$1,000-1,500

Bernard HESLING (1905–1987)

Figures in motion

A large metal dish, decorated in gold, silver, and coloured enamels

Signed and dated lower centre: HESLING. 71 6.5cm high, 65.5cm diameter

$1,600-2,400

George BAXTER (1804–1867)

A pair: ‘Australia: News from home’ and ‘News from Australia’ Watercolour and gouache

Each signed lower left: Baxter

Accompanied by impressions of Baxter’s oil process prints based on the compositions (Lewis, nos 195 and 196), each with Baxter’s embossed mark in the lower margin

Also with three books on Baxter’s prints:

C.T. Courtney Lewis, The Picture Printer of the Nineteenth Century – George Baxter 1804–1867 (1911); C.T. Courtney Lewis, George Baxter – The Picture Printer (numbered 329 of 1,000, n.d. [but 1924]); and H.G. Clarke, Baxter Colour Prints, Pictorially Presented (1920–1921)

The watercolours each 21.5 x 29cm

provenance

Private collection, Melbourne, now offered from the estate of the late owner

other notes

An artist and printer, George Baxter is famous as the inventor and, in 1835, patentee of the first commercially viable colour printing process, by which a base image printed from an engraved plate was overlaid with oil colours applied and successively built up from a series of carefully aligned woodblocks, each block adding one or two colours.

Published in 1853, at the height the Gold Rush boom of emigration to Australia, Baxter’s prints ‘Australia: News from home’ and ‘News from Australia’, capturing both ends of the emigrant experience, were immediately popular in England and remain among Baxter’s best-known prints.

‘Australia: News from home’ is based on a painting by Harden Melville (1824–1894), The squatter’s hut: news from home, exhibited in 1851 and now in the National Gallery of Australia (acc. no. 64.50), which Baxter entered into an agreement with Melville to

reproduce using his process. Baxter’s ‘News from Australia’ is possibly after a painting by Chester Earles (1821–1905).

The watercolours in this lot are Baxter’s preparatory works for his prints, part of his working process in adapting Melville’s (and Earles’s?) paintings to the small scale of his prints. Interestingly, while Baxter was generally faithful to Melville’s composition, the present watercolour study for ‘Australia: News from home’ does reveal intermediate stages in making some of his few minor alterations – for example, the colours of the hounds in the watercolour remain closer to those in Melville’s painting than in Baxter’s print, while the relative prominence and position of details in the scene beyond the door, such as the mounted stockman and the flock of cockatoos in flight, is different in the watercolour from that in both Melville’s painting and Baxter’s print.

$2,000-4,000

OXLEY, John, JOURNALS OF TWO EXPEDITIONS INTO THE INTERIOR OF NEW SOUTH WALES … London, 1820

John Oxley, Journals of Two Expeditions into the Interior of New South Wales, undertaken by Order of the British Government in the years 1817–18 (John Murray, London, 1820)

Quarto, with section titles, one folding engraved plate, five aquatint plates (two hand-coloured), three folding charts, and two folding tables, in nineteenth century half calf with morocco boards and giltlettered spine

$1,000-2,000

AN ANTIQUE BONE PAPER KNIFE, REPUTEDLY FORMERLY THE PROPERTY OF JOHN BATMAN

19th century

A plain piece of bone worked flat with parallel sides and rounded ends, mounted with an inscription describing it as ‘Once the property of John Batman, Founder of Melbourne’, framed behind glass

The knife 22cm long, 2.2cm wide

$400-600

56 A EUREKA STOCKADE-RELATED GOVERNMENT PUBLIC NOTICE POSTER

Printed by John Ferres, Government Printer, December 1854

A public notice printed by authority of Charles Hotham, Governor of the Colony of Victoria, seeking enrolments of citizens ‘to assist in preserving Social Order and Maintaining the Supremacy of the Law’ following ‘Recent events at the Mines at Ballaarat’ [sic]

48 x 38cm (sheet)

other notes

A recruiting poster for a force of special constables raised by the Victorian colonial government to assist in preventing further unrest in the aftermath of the ‘Battle of the Eureka Stockade’ on 3 December, 1854, in which rowdy public protests in Melbourne and elsewhere denounced the government’s actions in Ballarat and expressed support for the miners.

Another copy of the poster is held in the collection of Ballarat Heritage Services.

$800-1,200

57 A GROUP OF THREE VICTORIAN GOLD RUSH DOCUMENTS

Variously 1853–1860

Each printed with details entered in pen and ink, comprising a Gold License issued to Christian Lelong on 6 January 1853, numbered 186, for a licence to dig in the Upper Loddon district, and two Miner’s Rights, both printed on vellum and issued at Ballarat, respectively to Waller Colehett on 25 January 1860 and Henry Haines in July 1860

The License 19 x 19.5cm; the Rights each about 14 x 20.5cm

$800-1,200

58 A GROUP OF SIX COLONIAL TASMANIAN DOCUMENTS

Variously 1820–1846

All but one printed with details entered in pen and ink, comprising:

(i) a ticket-of-leave issued at Campbell Town to Racheal Holmes on 18 October 1839 permitting her to travel to a specified house at Macquarie […?];

(ii) an entirely manuscript ticket-of-leave dated 6 September 1846;

(iii) a Bank of Van Diemen’s Land cheque dated 19 November 1820;

(iv) two promissory notes respectively dated 1824 and 1826; and

(v) a grant by New South Wales Governor Sir Thomas Brisbane of seven hundred acres of land in the district of Amherst, Van Diemen’s Land, to William Allardyce, dated 30 June 1823, on parchment with suspended paper seal

The grant 29.5 x 40cm, the printed ticket-of-leave

13.5 x 16cm, the others smaller

$1,200-1,800

Property of a Melbourne Collector

59 A HARDWOOD AND TRAVERTINE DINING TABLE, FORMERLY THE PROPERTY OF KATHARINE HEPBURN

First half 20th century

In seventeenth century Italian style, the rectangular top of travertine set within a wood frame raised on a pair of baluster supports on shaped sled feet with a further support to the centre, all joined with a low stretcher, retaining Sotheby’s Katharine Hepburn estate auction label to the top (now very faded) 78cm high, 239cm long, 87cm wide

provenance

Katharine Hepburn (1907–2003), Connecticut, gifted to her by John Barrymore, her co-star in 'A Bill of Divorcement' (1932) Sotheby’s, The Estate of Katharine Hepburn, New York, 10 & 11 June 2004, lot 118 (US$9,600 including buyer’s premium)

Private collection, Melbourne, now consigned from that estate

$2,000-3,000

60 A DIRECTOR’S CHAIR PERSONALISED FOR ELIZABETH TAYLOR, EMBLAZONED WITH HER NAME

Last quarter 20th century

Of typical folding form with a thick tan leather back rest and seat on the beech frame, a folding foot-rest to the front, the rear side of the back rest embossed across most of width with a version of Miss Taylor’s signature with a small bird in flight as the dot above the ‘i’ in Elizabeth, the underside of the seat incised ‘EB / 5/89’, retaining Christie’s Elizabeth Taylor estate auction swing ticket 100cm high, 59cm wide, 61cm deep

provenance

Katharine Hepburn (1907–2003), Connecticut, gifted to her by John Barrymore, her co-star in 'A Bill of Divorcement' (1932) The Collection of Elizabeth Taylor: Fine and Decorative Art & Film Memorabilia, including Costumes, Christie’s, New York, 16 December 2011, lot 943 (US$80,500, including buyer’s premium)

Private collection, Melbourne, now consigned from that estate

$2,000-4,000

A CHARLES II OAK PANEL-BACK OPEN ARMCHAIR, FORMERLY THE PROPERTY OF LAUREN BACALL

Circa 1680

The square back with shaped toprail carved with stylised flowers and foliage and a fielded panel above the open arms and dished hard seat, on turned supports to the front joined with an arched stretcher 101cm high, 61cm wide, 55cm deep

provenance

Katharine Hepburn (1907–2003), Connecticut, gifted to her by John Barrymore, her co-star in 'A Bill of Divorcement' (1932) Bonhams, The Lauren Bacall Collection, New York, 31 March 2015, lot 276 (US$2,000 including buyer’s premium)

Private collection, Melbourne, now consigned from that estate

$1,800-2,400

A LARGE POTTERY TABLE LAMP, FORMERLY THE PROPERTY OF KATHARINE HEPBURN

First half 20th century, the pottery vessel possibly earlier

A large globular pottery vessel in copper-coloured glaze with a wood cover, drilled and mounted as a lamp with a three-light fitting on a brass shaft of adjustable height within a wire-framed fabric shade and resting on a simple stained oak base, the lamp and shade retaining Sotheby’s Katharine Hepburn estate auction swing tickets with lot number labels 91cm high (overall, with the shaft extended)

provenance

Private collection, Melbourne, now consigned from that estate

$600-900

63 A BATCAVE DESK CHAIR APPEARING IN ‘BATMAN & ROBIN’ (1997)

The specially fabricated black-painted steel upper part with a shaped back pierced with the classic Batman symbol above the open arms and hard seat with loose cushion, mounted on a commerciallymade swivelling desk chair base with casters 111cm high (raised to full height), 62cm wide, 65cm deep

provenance

Acquired by a Warner Bros. marketing person after completion of filming Bonhams, TCM Presents ... Out of This World!, New York, 21 November 2017, lot 1169 (US$4,375 including buyer’s premium)

Private collection, Melbourne, now consigned from that estate

other notes

One of a pair of desk chairs made to furnish the Batcave in Warner Bros.’ 1997 film Batman & Robin and appearing in scenes with George Clooney (Bruce Wayne / Batman) and Chris O’Donnell (Dick Grayson / Robin).

$1,000-2,000

Furniture & Furnishings

lots 64 – 128

AN ARTS AND CRAFTS MAHOGANY BOX SETTLE

Shapland & Petter, Barnstaple, model R1129, circa 1900

The lightly-arched toprail above a repoussé copper panel with the motto ‘Welcome ever smiles’ (from Shakespeare) and a row of pierced splats of stylised floral design between the arms pierced with heartshaped apertures, the hinged seat with serpentine front enclosing a storage compartment, the rear side of the back impressed ‘R1129 A / 109’ 109cm high, 107cm wide, 41cm deep

literature

Daryl Bennett, Shapland and Petter of Barnstaple – Arts and Crafts Furniture (2005), p. 58, fig. 4.34, illustrating another example in mahogany

$1,400-2,000

AN ENGLISH OR SCOTTISH ARTS AND CRAFTS–ART NOUVEAU WROUGHT IRON, COPPER, AND ENAMEL FIRE SCREEN

Circa 1900

The rectangular copper screen with stylised vegetal designs in repoussé and blue enamel mounted on a wrought iron frame with hammer-beaten loop finials and outswept feet

81cm high, 57cm wide, 26cm deep

$700-1,000

AN ART DECO BRONZE AND WROUGHT IRON CONSOLE AND MIRROR BY OSCAR BACH

Circa 1925

The console of bow-front outline, the portoro nero marble top above the frieze with a grotesque lion mask and heraldic escutcheons amidst scrolling vine raised on iron supports receding towards their scrolling feet, an openwork panel with bird between the central supports, the rectangular mirror within a crested frame conforming with the console frieze, gilt and silvered details to the frieze and mirror frame, ‘Oscar B. Bach Studios, New York’, metal labels applied to the reverse of the console pedestal and the mirror crest

The console 91cm high, 75cm wide, 32cm deep; the mirror 97cm high, 57cm wide

$2,000-3,000

67 A FRENCH ART DECO ROSEWOOD AND UPHOLSTERED SOFA IN THE MANNER OF ÉMILE-JACQUES RUHLMANN

Circa 1930

Of rectilinear design, the high back and solid square arms enclosing the well-upholstered seat above the moulded base, the upholstery and rear side of the back covered in geometrically-patterned velvet, with a pair of matching cushions

100cm high, 199cm wide, 79cm deep

$800-1,200

68 A FRENCH ART DECO MAHOGANY AND WROUGHT IRON CORNER CABINET

1920s

Triangular with chamfered sides, the portoro nero marble top above three drawers and a pair of wrought iron and moulded glass doors enclosing an open interior below, a further tall narrow door each side, on stylised melon-shaped feet clad in soft metal, the glass panels removable from all doors to allow these to be open grille doors, with later-fitted lights to the interior

121cm high, 102cm wide, 67cm deep

$800-1,200

69 A CONTINENTAL ART DECO ALABASTER SCULPTURAL TABLE LAMP

1930s

Modelled as a stepped iceberg mounted with three (removable) figures of bears in stained alabaster

42cm high, 29cm wide, 21cm deep

$800-1,200

70 A PAIR OF FRENCH ART DECO ‘HOTEL de MALANDRE’ CLUB CHAIRS

Circa 1940

After the 1930s design for the Belgian ‘Hotel de Malandre’, each of deep bow-back outline with a front of stylised tulip shape veneered in figured birch, on a circular walnut foot, upholstered in patterned fabric, each with a ‘Hotel de Malandre / Modele Depose’ pressed metal plate inset to the underside of the foot

Each 61cm high, 71cm wide, 68cm deep

$800-1,200

71 A FRENCH MAHOGANY EXTENDING DINING TABLE IN THE MANNER OF JULES LELEU

1930s

The rectangular top with moulded edges and canted corners raised on a central pedestal of four outswept supports on a moulded platform base with bun feet, with three spare leaves, the underside of top with fold-down supports to carry the top when extended 75.5cm high, 255cm long (extended with the three spare leaves; 121cm not extended), 116cm wide

provenance

Fabrile, Melbourne, from whom purchased by the vendor

$800-1,200

A SET OF EIGHT STAINED BEECH AND UPHOLSTERED DINING CHAIRS IN THE MANNER OF JULES LELEU

Circa 1940

Each with a tall rectangular back above the square seat, on tapering square supports, the upholstery in coral pink simulated suede leather

Each 107cm high, 45cm wide, 57cm deep

provenance

Fabrile, Melbourne, from whom purchased by the vendor

$800-1,200

73 A FRENCH WALNUT BUFFET IN THE MANNER OF JULES LELEU

Circa 1940

Of rectangular outline with a shaped front, the stepped top above four doors enclosing adjustable shelves, the central compartment also with drawers, on outwsept feet flanking a shaped apron

101cm high, 240cm wide, 50cm deep

$1,200-1,800

74 A FRENCH ROSEWOOD BUFFET IN THE MANNER OF JULES LELEU

Circa 1940

Of rectangular outline with a serpentine front, the stepped and moulded top above a central flight of four drawers between a pair of doors enclosing adjustable shelves, on a large stepped and moulded foot

97cm high, 170cm wide, 54cm deep

provenance

Fabrile, Melbourne, from whom purchased by the vendor

$800-1,200

EUROPEAN SCHOOL 1920s

Two Art Deco designs for interiors:

(i) a ballroom or similar space with figures in various Classical and other costumes;

(ii) a chandelier and wall treatment in a large interior space with figures in Oriental costumes

Watercolour, gouache, and gold paint over outlines in pencil and chalk on brown paper

Apparently unsigned

The first inscribed ‘NIKH’, ‘RUHL’, and ‘NIKH’ within the wall friezes above the grotesque masks

52 x 164cm and 46 x 118cm

provenance

Fabrile, Melbourne, from whom purchased by the vendor

other notes

Possibly stage designs.

The inscriptions on the wall in the first design might be intended to be read as forming a phrase – ‘nikh ruhl’ is Russian for ‘they collapsed’, perhaps a reference to the energetic or decadent activities to be enjoyed in the space – or may be an allusion to the Hotel Ruhl, Nice, a popular destination in the 1920s. $800-1,200

AN ANTIQUE ITALIAN MARBLE AND ALABASTER SCULPTURAL LAMP ON PEDESTAL

Late 19th century

The lamp modelled as a putto carrying a basket of fruit on his back, the basket containing the light, mounted on a Classical columnar pedestal variously fluted and carved above the moulded base and octagonal foot, the underside of the lamp incised ‘Made in Italy’

161cm high overall

$2,000-2,500

A PAIR OF FINE NAPOLEON III PIER CABINETS IN BOULLE MANNER

Third quarter 19th century

Each with a rectangular black marble top above the glazed door backed with pleated silk fabric enclosing glass shelves, on a shaped plinth base, the door and flanking pilasters inlaid with cut-brass on a scarlet simulated tortoiseshell ground, all other surfaces ebonized and inlaid with brass stringing, richly mounted throughout with gilt metal figures, masks, foliate details, and mouldings

Each 110cm high, 84cm wide, 37cm deep

$6,000-9,000

78 A PAIR OF IMPRESSIVE NAPOLEON III GILT BRONZE SCULPTURAL CANDELABRA

Third quarter 19th century

Each of seven lights arranged as a central light above a tier of four lights on foliate outswept branches with a further pair on pivoting branches below, all supported on an orb raised on a the shoulders of a lightly-draped Classical male figure standing on a stepped circular and square plinth, the tops of the pivoting branches variously impressed PP, D, and with groups of punch marks

Each 67cm high, 50cm wide (with lower branches fully extended), 38cm

$2,600-3,400

A PIETRA DURA AND WROUGHT IRON

PATIO TABLE

Graham Geddes, Melbourne

The circular top of variously coloured marbles and hard stones set in a swirling design raised on three scrolling wrought iron supports around a central stem 77cm high, 88cm diameter

$1,400-2,000

AN EXCEPTIONAL PROVINCIAL LOUIS XV BURR ELM BUREAU-DE-DAME 1720s–1730s

The sloping fall front enclosing a fitted interior of small drawers and compartments and a central well above two short and one long drawer, on cabriole supports, the ovolo mouldings at the edges of the carcarse and drawer fronts in fruitwood, retaining the original iron locks and fittings, the brass escutcheons probably original 99cm high, 90cm wide, 50cm deep

provenance

Purchased from John D. Dunn Antiques, Melbourne, early 2000s

other notes

This very attractive bureau is in a highly figured burr elm veneer treated to emphasise its figuring. The technique was also used in early eighteenth century England where veneer of this type was traditionally described as ‘mulberry’ but was in fact burr and other curly-figured wood from various native species, mostly field maple, elm, and alder.

According to the process described in John Stalker and George Parker’s ‘A Treatise of Japanning and Varnishing’ (1688), once the piece of furniture was complete, the colours and contrasts and marbled appearance of its veneer was heightened first with a wash with nitric acid and then rubbed with finely powdered carbon, which lodged in the grain, with this then rubbed back to the desired degree of contrast and polished.

The intention was to approximate the mottled effect of tortoiseshell veneer used on the highly-refined late seventeenth and early eighteenth century furniture by André-Charles Boulle and others which was then at the height of fashion.

$3,000-5,000

A PROVINCIAL GEORGE I WALNUT CHEST OF DRAWERS 1720s

Rectangular, the top with moulded edge above two short and three long drawers, on (later) bun feet, the drawer fronts panelled with moulded edges within half-round mouldings to the carcase front 104cm high, 101cm wide, 58cm deep

provenance

Lauder and Howard, Hobart, 2022

Jason Sprague, Melbourne

$1,800-2,400

A PERSIAN-STYLE CARPET

Hali, early 21st century

The burgundy-ground field with a symmetrical design of stylised flower heads and foliage predominantly in orange and cream tones, the borders conforming in reversed colours

545cm long, 355cm wide

$1,400-2,000

A FINE VICTORIAN ROSEWOOD AND BURR MAPLE WRITING TABLE ATTRIBUTED TO GILLOW & Co.

English, third quarter nineteenth century

In Louis XV manner, the kidney-shaped top with a finely moulded edge and lined with gilt-tooled leather above the serpentine frieze with a drawer to the concave side, on cabriole supports with gilt bronze mounts to the top and foot of each 73.5cm high, 115cm wide, 66cm deep

other notes

An English table in French style (the drawer fitted with Nettlefolds patent lock by Aubin) of a type made by Gillow & Co. through the mid-Victorian period. The particularly high quality of construction and woods, including in secondary areas such as the finely-finished drawer linings, indicates manufacture by that firm.

$1,000-1,500

AN ANTIQUE ITALIAN BLACKAMOOR

TORCHÈRE

Second half 19th century

Modelled as a well-dressed Nubian figure standing on part of a Venetian gondola and holding a dish aloft, formerly holding an oar and with some component fitting in the dish (both now lost), raised on a separate columnar pedestal, carved wood with a gesso surface decorated with punchwork and painted in gold, silver, and other colours

142cm high

$1,000-1,500

AN ANTIQUE SPANISH WALNUT TABLE

First half 18th century

The rectangular single-slab top above a long frieze drawer with incised geometric decoration, raised on plain trestle supports

81cm high, 152cm wide, 73cm deep

$1,400-2,000

A PAIR OF ANTIQUE CHINESE EXPORT PORCELAIN VASES MOUNTED AS TABLE LAMPS

Late 19th century, the gilt metal mounts probably French

Each of broad-based baluster shape on a pierced gilt metal base with scrolling feet, the bodies respectively decorated in overglaze colours, enamels, and gold with a peacock and peahen amidst flowering foliage and smaller birds between bands of decoration above and below

Each 69cm high overall (including shade)

$600-900

AN ANTIQUE PROVINCIAL FRENCH CHERRY WOOD ARMOIRE

Late 18th–early 19th century

The moulded cornice and frieze above a pair of doors enclosing removable shelves and a drawer below, on scrolling feet flanking shaped aprons, the front decoratively panelled to various designs and with carved details

207cm high, 134cm wide, 59cm deep

$1,000-1,500

A VERY LARGE AND GRAND ANTIQUE FRENCH WALNUT-FRAMED SALOON MIRROR WITH JARDINIÈRE

Late 19th century

The surmount with moulded cornice and panelled frieze above the bevelled plate within a moulded frame with arched top and escutcheon and foliage crest, all raised on a substantial moulded plinth fitted as a jardinière with removable zinc liner, moulded and carved throughout in Classical style

442cm high, 187cm wide, 50cm

$1,000-1,500

A SILKSCREEN TAPESTRY IN ANTIQUE MANNER

Editions d’Art de Rambouillet, late 20th century

After a sixteenth century Flemish original, the field of animals and birds within flowering foliage with a mounted knight within a wreath to the centre, the design printed on a woven base, the back lined with fabric

148cm high, 164cm wide

$800-1,200

90 A FINE GEORGE III MAHOGANY SERVING TABLE

Last quarter 18th century

In the Neo-Classical manner of Robert and James Adam, the bow-front top with projecting centre and finely carved edges above the fluted frieze with foliate paterae and a drawer to the centre, raised on tapering fluted supports with acanthus capitals and stiff leaves rising through their lower halves 95cm high, 194cm wide, 57cm deep

$2,000-3,000

91 A VICTORIAN FIGURED WALNUT AND GLAZED LOW DISPLAY CABINET IN FRENCH STYLE

Third quarter 19th century

In Louis XVI manner, the receding moulded top above a pair of glazed doors enclosing a green felt-lined interior of three shelves, on a shaped plinth base, cross-banded in kingwood or other rosewood and with gilt bronze mounts and mouldings throughout 121cm high, 110cm wide, 36cm deep

$800-1,200

A PAIR OF LARGE ANTIQUE RESTAURATION-STYLE GILT AND PATINATED BRONZE CANDELABRA

19th century

In the Neo-Classical manner of Pierre-Philippe Thomire, each of nine lights arranged as a central light above two tiers of four, all raised on a reeded columnar shaft on a stepped and concave triangular plinth, the upper parts and bases richly modelled with stylised foliate details, discreetly drilled for electricity (not presently wired or fitted for which)

Each 93cm high, 36cm wide

$2,600-3,400

A PROVINCIAL LOUIS XV WALNUT AND OAK COMMODE

Mid-18th century

Rectangular with a serpentine front, of three drawers above shaped aprons between scrolling feet, the sides panelled, the front and sides carved with various rocaille and stylised foliate and geometric designs 85cm high, 132cm wide, 65cm deep

$1,200-1,800

94 AN ANTIQUE ALCOCK & Co. ‘COMMONWEALTH’ MODEL BLACKWOOD BILLIARD OR SNOOKER TABLE AND ACCESSORIES

No. 5623, circa 1910

Of traditional design, the green baize playing surface within moulded rails above the panelled frieze, on turned supports with brass sleeves to the feet, accompanied by a hanging billiard table light, an antique-style mahogany scoreboard by Alcock’s, a rack holding a number of assorted cues, sets of balls, and other accessories, the frame of the table repeatedly impressed ‘5623’

Please note: The table will remain at its present location in St Kilda Road, Melbourne, until its removal by the purchaser, with limited opportunity for pre-auction viewing. The table must be removed from that location by the purchaser within one week of the auction, this to be arranged directly between the purchaser and representatives of the vendor.

84cm high, 378cm long, 200cm wide

$1,500-2,500

95 AN ANTIQUE PINE AND OAK ‘DAVIS’S PATENT ONE POLE LADDER’

Second half 19th century

A folding pole ladder of pine supports and oak treads, retaining the remains of the original pressed metal label

281cm high, 30cm wide (extended; 6cm closed)

$600-900

96 A PAIR OF SILVERED METAL TRIPOD OCCASIONAL TABLES

Second half 20th century

In modern Classical manner, each with a circular metal top with pierced gallery on a slender facetted stem and tripod base

Each 61cm high

$500-700

AN ANTIQUE PROVINCIAL FRENCH OAK FARMHOUSE TABLE

Circa 1800

The rectangular top of planked construction with cleated ends above a plain frieze raised on square supports with moulded capitals and feet

73cm high, 225cm long, 73cm wide

$1,500-2,000

AN IMPRESSIVE CHARLES II OAK PARTENCLOSED CHEST OF DRAWERS Circa 1670

In two parts, the upper part with a moulded cornice and dentillated frieze above one long drawer, the lower part with a pair of doors enclosing three long drawers, on stile feet, the fronts of the upper drawer and the doors boldly articulated with cushioned and geometrically-moulded panels surrounded by applied split turnings, the sides panelled 116cm high, 111cm wide, 62cm deep

$2,100-2,800

A VICTORIAN MAHOGANY SECRETAIRE BOOK-CASE CABINET

Mid-19th century

The upper part with a moulded cornice above a pair of glazed doors enclosing adjustable shelves flanked by pilasters, the projecting lower part with a moulding concealing a slide above a fall-front secretaire drawer with fitted interior of small drawers and compartments, a pair of panelled cupboard doors flanked by pilasters below enclosing a cellarette drawer to one side, on a plinth base 263cm high, 132cm wide, 64cm deep

$700-1,000

100

A LOUIS XV WALNUT OPEN ARM CHAIR

First half 18th century

Of ‘caquetoire’ form, the raked back with moulded top rail and fielded panel above the flat outswept arms and hard seat, raised on chamfered square supports with peripheral stretchers

126cm high, 69cm wide, 67cm deep

$600-900

101

A VICTORIAN MAHOGANY PARTNERS’ DESK

Late 19th century

The rectangular top lined with gilt-tooled black leather and fitted with a leather-lined slide to each short side raised on a pair of pedestals on plinth bases, frieze and pedestal drawers to both long sides with bronze bail pulls, the drawers secured with a central locking system

77cm high, 160cm wide, 120cm deep

$800-1,200

102

A GEORGE III MAHOGANY PEMBROKE TABLE, PAINTED FOR USE AS A PAYMASTER’S TABLE

The table late 18th century, the decoration mid-19th century

Of typical form, the rectangular top with narrow drop-leaves above a frieze drawer to one end and a false drawer front to the other, on tapering square supports, the centre of the top painted with a large oval field enclosing a scene of a barque at sea, one drop-leaf emblazoned ‘PAYMASTER’ within a ribbon, the other with a table inscribed with various denominations of currency, the drawer fronts inscribed ‘V R’

71cm high, 76cm wide, 50cm deep (83cm with leaves extended)

$600-900

103

AN ANTIQUE GEORGE III-STYLE SATINWOOD BOOKCASE CABINET

Late 19th century

The upper part with a moulded cornice and frieze of applied pendants above a pair of geometrically-glazed doors enclosing adjustable shelves, the projecting lower part with a pair of frieze drawers and panelled cupboard doors, on turned feet, cross-banded in kingwood and with ebonised stringing throughout 215cm high, 122cm wide, 45cm deep

$3,000-4,000

1720–1730s

Of conventional ‘coffer’ form, the hinged cover enclosing an open interior, the top and all sides moulded and panelled

60cm high, 109cm wide, 55cm deep

$700-1,000

105

A PAIR OF ANTIQUE FRENCH BRONZE AND BRASS ANDIRON FRONTS CONVERTED TO TABLE LAMPS

The andirons second half 19th century

Each with a turned shaft with large spherical knop on scrolling feet, later mounted on a hardwood base

Each 88cm high, overall

$600-900

106

$800-1,200 104 AN EARLY GEORGIAN OAK CHEST

AN ANTIQUE ITALIAN FRUITWOOD COMMODE

Second half 18th century

Rectangular, of three drawers, on tapering square feet, the top, drawer fronts, and sides variously quarter-veneered and cross-banded

86cm, 121cm, 58cm deep

$1,000-1,500

107 A VICTORIAN FIGURED WALNUT CENTRE TABLE

1870s

The circular quarter-veneered top raised on four inswept supports joined with cross-stretchers, the frieze and supports moulded throughout and carved with various Classical and foliate details

74cm high, 109cm diameter

108

A GEORGE III ELM LOW DRESSER

Last quarter 18th century

The rectangular top with moulded edge above three frieze drawers, on square supports

87cm high, 201cm wide, 44cm deep

$2,000-3,000

109

A WILLIAM IV MAHOGANY LIBRARY SECRETAIRE BOOKCASE

Early 1830s

Of four bays in break-front outline, the upper part with a break-top moulded cornice above a pair of doors with brass grilles enclosing adjustable shelves flanked by open shelves, the projecting lower part with a fall-front secretaire drawer fitted with small drawers and compartments above a pair of panelled cupboard doors with a further door each side, on a plinth base, the doors to both parts flanked and divided by Ionic columns and pilasters

241cm high, 240cm wide, 49cm deep

$3,600-4,400

110

AN ANTIQUE KINGWOOD AND MAHOGANY COMMODE IN TRANSITIONAL LOUIS XV–XVI STYLE

Second half 19th century

The front of ‘arc en arbalète’ outline, the sides serpentine, the thick breche rouge marble top above three drawers, on slender swept bracket feet to the front, the drawer fronts veneered in panels of kingwood to a herring-bone design, the sides quarterveneered, foliate bronze pulls and other mounts to the front

86cm, 125cm, 55cm deep

$1,600-2,400

111

A PAIR OF ANTIQUE ROYAL ITALIAN NAVY CEREMONIAL SIDE OR HALL CHAIRS

Last quarter 19th century

Each with a shaped back elaborately carved and pierced with winged figures as supports flanking a winged lion of St Mark above the heraldic escutcheon and crest of the Regia Marina, the seat of a loose leather-covered cushion raised on cabriole supports to the front, ebonised and gilt with painted escutcheons (the decoration refreshed)

Each 98cm high, 48cm wide, 51cm deep

$700-1,000

112

A GEORGE I OAK GATE-LEG TABLE 1720s

The top oval when extended above an ogee-shaped frieze each end with a drawer to one, raised on slender baluster and block supports

76cm high, 155cm long (with leaves extended; 49cm not extended); 122cm deep

$700-1,000

113

A PAIR OF ANTIQUE NEO-CLASSICAL GILT AND PATINATED BRONZE EWERS, CONVERTED TO TABLE LAMPS

Late 19th century–early 20th century, after a design attributed to Claude Michel known as Clodion

Of Classical ewer shape in High Renaissance manner, the body of each cast in relief with an all-round procession of Bacchic putti, the handle with the figure of an amorino at its top and a ram’s head its base, the upper and lower parts modelled with bunches of grapes and foliage, each drilled at the base and mounted in the mouth as a table lamp with a large black fabric hade trimmed with gilt braid

Each 111cm high overall, including shade

$1,000-1,500

114

A FRENCH EIGHT-LIGHT GILT BRONZE CHANDELIER

Late 20th century

In traditional manner, the candle-type lights above pans on scrolling branches radiating from a decoratively cast bulbous stem

125cm high (from ceiling canopy to the lowest point), 70cm diameter

other notes

En suite with lots 115 and 116.

$1,000-1,500

115

A FRENCH EIGHT-LIGHT GILT BRONZE CHANDELIER

Late 20th century

In traditional manner, the candle-type lights above pans on scrolling branches radiating from a decoratively cast bulbous stem

125cm high (from ceiling canopy to the lowest point), 70cm diameter

other notes

En suite with lots 114 and 116.

$1,000-1,500

116

A SET OF THREE FRENCH GILT BRONZE WALL LIGHTS

Late 20th century

In traditional manner, each with three candle-type lights above pans on scrolling branches radiating from a decoratively cast bulbous stem

Each 53cm high, 50cm wide, 30cm deep

other notes

En suite with lots 114 and 115.

$700-1,000

117

A QUEEN ANNE OAK LOW DRESSER

Early 18th century

The rectangular top above three frieze drawers with panel-moulded fronts, on turned supports with low peripheral stretchers

89cm high, 142cm wide, 51cm deep

$800-1,200

118 A GEORGE III MAHOGANY AND INLAID SECRETAIRE BOOKCASE CABINET

Late 18th century

The upper part with moulded cornice and frieze above a pair of astragal-glazed doors enclosing adjustable shelves, the projecting lower part with a fall-front secretaire drawer with a fitted interior of small drawers and compartments above three long drawers, on bracket feet, inlaid with rosewood borders and other decorative details

237cm high, 130cm wide, 55cm deep

$800-1,200

119 A VICTORIAN ELM HIGH-BACK WINDSOR ARMCHAIR

Yorkshire, mid-19th century, maker’s mark J.R.F.

The raked hoop back centred on a shaped and pierced splat above the bow-back arms and moulded seat, well-turned supports throughout, the underside of the seat impressed ‘J.R.F.’

110cm high, 66cm wide, 74cm

$500-800

120

AN ANTIQUE PROVINCIAL FRENCH ELM FARMHOUSE TABLE

Late 18th–early 19th century

The rounded rectangular top above two drawers of uneven width to one long side, raised on chamfered square supports joined with a low H-form stretcher

74cm high, 145cm long, 75cm deep

$700-1,000

121 A CHARLES II OAK CHEST

Third quarter 17th century

Of conventional ‘coffer’ form, the hinged cover enclosing an open interior, the front and sides moulded and panelled, the three panels of the front each carved in relief with a flowering plant design below the conforming frieze rail

71cm high, 126cm wide, 54cm deep

$800-1,200

122

A GEORGE II OAK HIGH DRESSER

Mid-18th century

The plate rack with a moulded cornice above two shelves and rows of cup hooks, the lower part with three drawers raised on flat baluster supports above a low pot board

192cm high, 171cm wide, 44cm deep

$1,600-2,400

123

A PAIR OF ANTIQUE BRASS AND CUT GLASS OIL LAMPS CONVERTED TO ELECTRICITY

Late 19th–early 20th century, the conversion and shades by Stuart Rattle

Each of Corinthian column form with a cut glass shaft between the brass capital and square plinth base, retaining their reservoirs now each mounted with a single light within a pleated silk shade by Stuart Rattle

Each 94cm high, overall

$1,000-1,500

124

A CHARLES II OAK CHEST

Third quarter 17th century

Of conventional ‘coffer’ form, the hinged cover enclosing an open interior retaining part of its till, the top, front, and sides moulded and panelled, the panels each carved in relief with a geometric and floral design, the lower rails with a guilloche design

57cm high, 106cm wide, 50cm deep

$700-1,000

125 AN EARLY GEORGE III MAHOGANY BREAK-FRONT BOOKCASE

Third quarter 18th century

Of three bays, the upper part with gallery of fretwork and urns and moulded cornice above the astragalglazed doors enclosing a mustard-coloured painted interior of shaped shelves, the projecting lower part with a central flight of drawers flanked by panelled cupboard doors, on a moulded plinth base

228cm high, 146cm wide, 50cm deep

$3,000-5,000

126 AN ANTIQUE FRENCH GILT BRONZE AND CRYSTAL CHANDELIER

Late 19th–early 20th century

Of eight lights on scrolling branches around an open circular frame in Louis XV manner, richly hung throughout with various cut crystal drops and bead swags

112cm high (from ceiling canopy to lowest drop), 69cm diameter

$1,000-1,500

127

A LARGE VICTORIAN SILVER PLATE OIL LAMP CONVERTED TO ELECTRICITY

Elkington & Co., Birmingham, 1859, the conversion and shade by Stuart Rattle

The columnar lamp with circular plinth base retaining its cut glass reservoir and most of the brass burner now mounted with a single light within a pleated silk shade by Stuart Rattle

103cm high, overall

$500-800

128 A GEORGE III MAHOGANY EXTENDING DINING TABLE

Thomas Barrett, London, circa 1800

The pair of half-round end sections raised on tapering square supports with brass caps and casters, accompanied by three leaves (two later), the underside of the top of each end signed in ink ‘Made by Thomas Barrett / 53 Wardour Street Soho London’

72cm high, 255cm long (with all leaves fitted), 122cm wide (the ends together without leaves forming a circular table of 122cm diameter)

other notes

Thomas Barrett was a relative, probably a son, of John Barrett, a furniture maker and warehouse owner recorded working at 53–54 Wardour Street, Soho, from 1789 to 1825.

$600-900

Paintings

129

ENGLISH SCHOOL 17th century

A half-length portrait of a gentleman, said to be Sir Philip Hunloke Oil on canvas (relined)

Apparently unsigned

Attributed to Caspar Smits (circa 1635–circa 1707, also known as Gaspar Smitz) on a plaque affixed to the frame also identifying the sitter as Sir Philip Hunloke (1655–1690)

104 x 79cm

$1,600-2,400

130

ENGLISH SCHOOL

First quarter 19th century

A wooded hilly landscape with a bridge over a river near a ruin Oil on canvas (relined)

Apparently unsigned

64.5 x 87cm

$700-1,000

131

Attributed to Herbert ATKINSON (1863–1936)

A cockerel and two hens in woodland Oil on canvas

Apparently unsigned

provenance

Christies, Decorative Arts, Melbourne, 18 September 2002, lot 273 (as by Atkinson)

other notes

The particular form of the Reeves & Sons mark to the reverse of the canvas allows it to be dated to the first decade or so of the twentieth century.

$800-1,200

132

Robert CLEMINSON (1844–1903)

Two retrievers with the day’s bag of rabbits Oil on canvas, laid down on plywood

Signed and dated lower left: Robt Cleminson / 1880

47.5 x 73cm

$1,000-1,500

133

Attributed to Myrtle LAWRENCE 1880s

‘Mrs Pontin’, a bust-length portrait of a woman in profile to the left Oil on canvas

Apparently signed

Attributed, dated 1883, and inscribed as title on a modern plaque affixed to the frame

42.5 x 36cm

$700-1,000

134

Frederick BURMEISTER (1858–1929)

A portrait of Charles Cameron Kingston Oil on plywood panel

Signed and dated lower right: Fred Burmeister / 1927 120 x 90cm

provenance

Leonard Joel, Australian Paintings, Melbourne, 1 August 1984, lot 782

other notes

Charles Kingston served as Premier of South Australia from 1893 to 1899.

$600-900

135 EUROPEAN SCHOOL

Last quarter 19th century

A group of figures at a cottage door Oil on canvas, relined

Indistinctly signed lower right: J.C. Weit[?...]

75.5 x 62cm

$1,000-2,000

136

After François BOUCHER (1703–1770)

Second half 18th–early 19th century

Venus and Cupid Oil on canvas

Apparently unsigned 90 x 63cm

provenance

Graham Geddes Antiques, Melbourne, from whom purchased by the vendor, circa 2000

other notes

A copy in reverse of painting by Boucher in the collection of the Memorial Art Gallery at the University of Rochester, New York (acc. no. 1950.4).

$1,600-2,400

137 NORTH ITALIAN SCHOOL

First half 18th century

A Classical figure scene Oil on canvas

Apparently unsigned 57 x 46cm

provenance

Graham Geddes Antiques, Melbourne, from whom purchased by the vendor, circa 2000

$1,400-2,000

138

After Jean Germain DROUAIS (1763–1788)

Second half 19th century

The Woman of Canaan at the feet of Christ Oil on canvas

Apparently unsigned

70 x 98cm

other notes

A copy with variations of Drouais’ 1784 painting now in the Musée du Louvre (inv. 4142).

The apparently original stretcher is of Australian cedar, suggesting the work might be a colonial Australian copy.

$500-800

139

AUSTRALIAN SCHOOL

Mid-19th century

A pair of half-length portraits of a young man and a young lady Oil on canvas

Apparently unsigned

Each 62.5 x 52.5cm

$1,400-2,000

140

ENGLISH or AUSTRALIAN SCHOOL

Second quarter 19th century

A side-wheel steam barquentine at sea Watercolour

Indistinctly inscribed, apparently with a name (presumably either a signature or an identification of the vessel) upper right and more briefly lower left 16.5 x 27.5cm

$600-900

141

ENGLISH SCHOOL

Mid-19th century

A bust-length portrait of a girl with her hands clasped, within an inscribed oval Oil on canvas (relined)

Apparently unsigned 56.5 x 47cm

$1,000-1,500

142

Mark DOCKREE (1834–1904)

‘The old mill at Talsarnau’ Oil on canvas

Inscribed as title and signed and dated to the reverse: MEDockree / 1876

In the original gilt frame retaining the Yorkshire exhibition labels to the reverse 138 x 109cm

exhibitions

Royal Academy of Arts, The Exhibition of the Royal Academy of Arts (The One Hundred and Eighth), London, 1876, no. 284 (‘In sheltered nook, the millstream sings it merry lay’)

Yorkshire Fine Art and Industrial Exhibition, York, 1879, no. 205 (under the same title as at the RA in 1876)

$800-1,200

143

Giovanni OTTAVIANI (circa 1735–1808)

A pilaster in the Vatican loggias

Engraving on two joined sheets, later hand-coloured with watercolour and gouache

Lettered in the plate

Plate IX from Giovanni Volpato and Giovanni Ottaviani, Logge di Rafaele nel Vaticano (Rome 1772–1777)

110 x 41.5cm (sight)

$500-800

144

John GOULD (1804–1881)

Two plates: ‘Trichoglossus Swainsonii’ and ‘Trichoglossus rubritorquis’

Hand-coloured lithographs

From J. Gould, The Birds of Australia and Adjacent Islands (1840-1848), the lithographs drawn by Henry Richter after Gould’s original drawings

Each with the original letter press relating to the plate

Each 50 x 34cm (sight)

$1,600-2,400

145

Follower of Godfrey KNELLER (1646–1723)

Early 18th century

A three-quarter length portrait of a seated lady, a landscape beyond Oil on canvas

Apparently unsigned (relined)

123.5 x 97.5cm

$1,600-2,400

146

Follower of Godfrey KNELLER (1646–1723)

Late 17th–early 18th century

A portrait of a young boy seated in a landscape accompanied by a lamb Oil on canvas (relined)

Apparently unsigned

123.5 x 94.5cm

$1,600-2,400

147

After William HILTON, the Younger (1786–1839)

Mid-19th century

Miranda watching Ferdinand gather logs (The Tempest, Act III, Scene 1)

Oil on canvas

Apparently unsigned

52.5 x 42cm

other notes

A copy of the painting exhibited by Hilton at the Royal Academy in 1813.

$800-1,200

148

Maurice LÉVIS (1860–1940)

A French riverside scene with washerwomen at work Oil on wood panel

Signed and indistinctly dated lower left: Maurice Lévis — 1903(?)

23 x 32cm

$600-900

149

Hippolyte PRADELLES (1824–1913)

A French landscape with washerwomen working on a river bank

Oil on canvas

Signed lower right: H. Pradelles

33.5 X 53.5cm

$700-1,000

150

Gérard BUYSEN

(working late 19th century)

A French landscape with figures working on a river bank

Oil on canvas

Signed lower left: Gérard Buysen

63 x 53cm

$600-900

151

Circle of Walter SICKERT (1860–1942)

Early 20th century

A woman in a pink gown seated at her dressing table Oil on canvas

Bears signature lower right: Sickert

Various early auction house stencilled numbers to the stretcher, including one probably of Christie’s 87 x 66.5cm

provenance

Leonard Joel, Australian, British, New Zealand, and European Historical and Contemporary Paintings [etc.], Melbourne, 12 April 1989, lot 1460 (as School of Sickert, ‘The mirror’, illustrated)

$2,000-4,000

152

ENGLISH SCHOOL

Third quarter 19th century

A half-length portrait of a lady, seated, wearing a burgundy-coloured dress

Oil on canvas

Apparently unsigned 86 x 68cm

$800-1,200

157

153

Louis Alphonse COMBE-VELLUET (1842–1902)

A landscape with a party of figures beneath trees and cattle beyond Oil on canvas

Signed and dated lower right: A. Velluet [18]70

58 x 71.5cm

$1,000-1,500

154

ITALIAN OR ITALO-FLEMISH SCHOOL

First half 18th century

A Classical landscape with figures and animals amidst ruins

Oil on canvas

Apparently unsigned

92 x 129cm

$2,000-3,000

155

Edgar BUNDY (1862–1922)

‘The home of my ancestors’ Oil on mahogany panel

Signed lower right: Edgar Bundy

Inscribed as title and with the artist’s name on the slip of original gilt frame

19.5 x 29cm

$800-1,200

156

After Bartholomeus Johannes van HOVE (1790–1880)

Last quarter 19th century

The Spui, The Hague Oil on oak panel

Signed lower right: B.J. van Hove

37 x 47cm

other notes

After van Hove’s 1820 painting now in the Haags Historisch Museum (acc. no. 1975-0015-SCH)

$700-1,000

157

Anton MAUVE (1838–1888)

A ploughman at work with his ox team

Watercolour with touches of gouache

Signed lower left: A. Mauve

25.5 x 39cm

provenance

George Page-Cooper, Melbourne

Leonard Joel, The George Page-Cooper Collection, Melbourne, 8 July 1936

Leonard Joel, Australian Paintings [including international works], Melbourne, 11-13 May 1997, lot 221

$2,000-3,000

162

158

Pieter Gerardus SJAMAAR (1819–1876)

A kitchen maid working by candle light Oil on oak panel

Signed lower left: P.G. Sjamaar 43 x 33cm

$800-1,200

159

George STEVENS (c. 1790–c. 1865)

A still-life of game in a larder Oil on wood panel

Signed on the cloth binding the hare’s legs: G. Stevens / Pinx. / London

14 x 19.5cm

$500-800

160

Oliver CLARE (1853–1927)

A still-life of raspberries and other fruit on a mossy stone bank Oil on canvas

Signed lower right OLIVER CLARE

19 x 24cm

$600-900

161

Follower of Johannes Zoetelief TROMP (1872–1947) Children on a beach Oil on oak panel

Bears signature lower right: J. ZOETELIEF TROMP

29 x 39cm

$800-1,200

162

Johan Mari Henri ten KATE (1831–1910)

Duck shooters in a marsh Oil on mahogany panel

Signed lower left: — m. t. Kate

27 x 38.5cm

$2,000-3,000

163

FRENCH SCHOOL

Mid-18th century

A bust-length portrait of a lady

Oil on canvas

Apparently unsigned

The reverse of the canvas inscribed ‘Rigaud’ in a late eighteenth or early nineteenth century hand

66 x 51.5cm

other notes

The old inscription to the reverse presumably indicates an attribution to Hyacinthe Rigaud (1659–1743).

$800-1,200

164

EUROPEAN SCHOOL

Second half 19th century

A bust-length portrait of a young lady in fine sixteenth century dress

Oil on canvas

Signed indistinctly lower centre: PRické

67.5 x 53.5cm

$800-1,200

165

Edwin HAYES (1819–1904)

A fishing boat approaching a port below cliffs Oil on canvas

Signed lower right: E. HAYES

The reverse of the canvas inscribed, apparently by the artist, ‘Painted by Edwin Hayes, R.H.A., R.I.

39.5 x 59.5cm

$4,000-6,000

166

Jacob Jan Coenraad SPOHLER (1837–1923)

A Dutch winter landscape with figures walking and skating on a frozen river Oil on oak panel

Signed and dated lower right (partly obscured by the frame): J.J.C. Spohler 18[...]

28 x 38cm

$1,800-2,400

167

Hermanus KOEKKOEK II (1836–1909)

Fishing boats offshore near a village Oil on canvas

Signed and illegibly dated lower left: H. Koekkoek [...]

43 x 60.5

$800-1,200

168

Haughton FORREST (1826–1925)

Vessels in heavy seas off rocks Oil on board

Signed lower left: HForrest 12 x 20.5cm

provenance

Leonard Joel, Australian Paintings, Melbourne, 7 July 1982, lot 869 (as ‘Pilot boat returning’)

$1,200-1,800

169

Anton PIECK (1895–1987)

The Buurkerkhof, Utrecht Pencil and watercolour heightened with white gouache

Signed and inscribed within the ribbon lower right: ANTON PIECK / BUURKERKHOF UTRECHT

Together with an etching by Pieck of the Cunerakerk, Rhenen, signed and inscribed in pencil in the lower margin

46 x 30cm (sheet)

other notes

This appears to be the original preparatory work for the commercially-produced print of the same image.

$2,000-4,000

170

ITALIAN SCHOOL

Late 19th century

An angel holding a trumpet aloft, in early Renaissance style

Oil and gold leaf with punched details on wood panel

Unsigned

In its original water gilt Gothic tabernacle frame

50cm high, 20cm, 5.5cm deep overall, including frame

$700-900

Sculpture & Items of Interest

lots 171 – 194

171

John SPEED (1551/1552–1629)

‘A New and Accurat Map of the World, Drawne according to ye truest Descriptions, latest Discoveries, & best Observations [yet] have beene made by English or Strangers / 1626’

Engraving on laid paper with a bunch of grapes watermark, with later hand-colouring

The verso printed with a two-page text ‘The generall Description of the World’

From J. Speed, A Prospect of the Most Famous Parts of the World (1627), by an unknown engraver after Speed’s cartographic work.

39 x 51.5cm (sight)

$4,000-6,000

172

A FRAGMENT OF AN ANTIQUE CLASSICAL ROMAN-STYLE MARBLE SCULPTURE

18th–19th century, or possibly earlier

In white marble, carved in deep relief with the head and shoulders of a bearded and robed man turned to the left against a wall section arching over the head, mounted on a recent black marble plinth

The fragment 39cm high, 35cm wide, 23cm deep; 52cm high overall

provenance

Graham Geddes Antiques, Melbourne

$1,000-1,500

173

A PAIR OF ANTIQUE-STYLE CAST IRON ‘HERCULES AND THE HESPERIDES’ KYLIX TAZZE

Late 20th century after the 1851 design by Edward William Wyon for the Art Union of London

Identical, each of Classical kylix form, the interiors modelled in low relief with figures of Hercules and the Hesperides, finished to simulate bronze

Each 12cm high, 42cm wide, across the handles

other notes

The tazza is based on a design from a vase in Sir William Hamilton’s collection in the British Museum, which depicts Hercules and the Hesperides. Twenty of these tazzas were cast as prizes for the members of the Art Union of London, in 1851

$500-700

171

174

A PAIR OF ANTIQUE-STYLE CAST IRON 'HERCULES AND THE HESPERIDES' KYLIX TAZZE

Late 20th century after the 1851 design by Edward William Wyon for the Art Union of London

Identical, each of Classical kylix form, the interiors modelled in low relief with figures of Hercules and the Hesperides, finished to simulate bronze

Each 12cm high, 42cm wide, across the handles

other notes

See the note to lot 173.

$500-700

175

A PAIR OF GRAND TOUR-STYLE BRONZE AND MARBLE VASES

Late 20th century

Identical, a model with variations of the ‘Borghese Vase’, each on a red marble plinth

33cm high. the base 12cm wide, 12cm deep

$600-800

176

A PAIR OF VERY LARGE AND IMPRESSIVE NEO-CLASSICAL GILT AND PATINATED BRONZE EWERS

20th century, after a design attributed to Claude Michel known as Clodion

Of Classical ewer shape in High Renaissance manner, the body of each cast in relief with an all-round procession of Bacchic putti, the handle with the figure of an amorino at its top and a grotesque mask at its base, the upper and lower parts modelled with bunches of grapes and foliage

Each 103cm high

$1,000-1,500

177

A PAIR OF CLASSICAL-STYLE MARBLE PORTRAITS OF ALEXANDER THE GREAT AND A FEMALE FIGURE

Late 20th century

In Roman manner, each neck length and mounted on a marble cube plinth

Respectively 47cm and 46cm high overall, including plinth

$1,000-1,500

178

A CLASSICAL-STYLE MARBLE PORTRAIT OF A FEMALE FIGURE

Late 20th century

In Roman manner, neck length, mounted on a marble cube plinth

43cm high overall, including plinth

$500-800

179

A PAIR OF LARGE SOLID ONYX VASES

Late 20th century

Of baluster shape with everted rims and spreading circular feet

Each 87cm

$600-900

180

A MATCHED PAIR OF LIBERTY & Co. ‘TUDRIC’ PEWTER ‘TULIP’ VASES, DESIGNED BY ARCHIBALD KNOX

Model 029, circa 1905

Each of Art Nouveau stylised tulip flower shape with a pair of broad foliate loop handles on a domed foot, some variations of detail and size between the two, one impressed underside ‘Tudric / 029’, the other with the model number only

Respectively 25cm and 24.5cm high

$1,000-1,500

181

A PAIR OF LIBERTY & Co. ‘TUDRIC’ PEWTER ‘TORPEDO’ VASES, DESIGNED BY ARCHIBALD KNOX

Model 0226, circa 1910

Each ovoid with three radiating open handles descending to form feet, the body modelled in low relief with an Art Nouveau stylised tulip floral design, each impressed to the underside of the feet ‘Made by Liberty’ and ‘English Pewter 0226’

Each 18.5cm high

$800-1,200

182

Jacques LIMOUSIN (working circa 1920–1930s)

A nude female dancer accompanied by a running greyhound

Silvered and gilt bronze, on a stepped black marble plinth

Incised signature to the reverse of the plinth:

J. Limousin / Paris

44cm high, 70cm wide, 16.5cm deep

provenance

Fabrile, Melbourne, from whom purchased by the vendor

$1,000-1,600

183 A NAPOLEON III GILT-BRONZE AND GLASS CAVE À LIQUEURS

Attributed to Baccarat, second half 19th century

The gilt-bronze and five-glass case with a hinged top and front panel lifting to open to a removable two-tier gilt metal and glass tray with four decanters (two with silver mounts) and six liqueurs, all etched and gilded in flower and foliage designs

29.5cm high, 36cm wide, 28.5cm deep

$800-1,200

184

A PAIR OF PORTORO NERO MARBLE VASES

20th century

Solid marble, each of compressed globular shape with an everted rim

Each 15cm high

$500-800

185

AN ANTIQUE FRENCH CAST IRON DUCK PRESS

Desenne. Paris, early 20th century

Of typical form with a bail handle and standing on decorative paw feet, with removable hinged cover for the press canister, the frame cast with the maker’s name, in a silver-grey finish

40cm high (with handle at lowest level), 28cm wide, 19cm deep

$500-700

186

After Auguste RODIN (1840–1917) ‘Le baiser’

Bronze, in a brown patina

Cast late 20th century

The base cast with incised signatures ‘A. Rodin’ to the reverse and ‘Alexis Rudier / Fondeur . Paris’ to the right side

58cm high, 36cm wide, 37cm deep

$800-1,200

187

Shakspere WOOD (1827–1886)

A portrait bust of a boy wearing a goat hide White marble

Carved signature to the reverse: SHAKSPERE WOOD / ROMAE 1864

62cm high

$1,600-2,400

188 AN OPPOSED PAIR OF BRONZE FIGURES OF RECUMBENT LIONS

Late 20th century

Each naturalistically modelled on a low base, in a simulated verdigris finish

Each 29cm high, 55cmc wide, 25cm deep

$600-800

189 A PAIR OF JAPANESE GILT BRONZE USUBATA VASES

Meiji period, second half 19th century

Of classic form in three segments, a large and impressive pair of gilt bronze usubata (flower vases for ikebana), the bases inlaid in silver and decorated with Japanese festival elements, the mid-section with designs of scrolling clouds and crashing waves and the main sections decorated in inlaid silver and gold of floral scenes, the handles realistically cast as irises in bloom with repeating iris design to the top trays and flat inlay to the sides of the dishes, unsigned 47.5cm high, 26cm diameter

other notes

Originally a Chinese bronze form, usubata were first cast in Japan in the seventeenth century for formal flower arrangements. During the Meiji period, more elaborate, multi-segment designs were manufactured for international exhibitions.

$700-900

190

A PAIR OF JAPANESE MIXED METAL MINIATURE VASES

Meiji period, late 19th century

In the manner of Suzuki Chokichi, cylindrical in patinated bronze decorated in gold, silver, and polychrome inlay of sprays of flowers, on wooden stands, unsigned.

15cm high, 7cm diameter

$700-900

191

AN ANTIQUE JAPANESE BRONZE FIGURE

GROUP OF A MAN SEATED ON A KIRIN

Meiji period, late 19th century

Modelled as an older man, apparently a monk, seated sideways on a kirin and looking upwards while holding a bowl aloft, the kirin standing on a rockwork base raised on an integral platform, formerly with a further component fitting into the interior of the bowl (now lost)

74cm high, 34cm wide, 25cm deep

$700-1,000

192 A PAIR OF LARGE ANTIQUE SINOMONGOLIAN JADE AND STONE-MOUNTED SILVERED COPPER CENSERS

Late 19th–early 20th century

Each of square outline with a large stepped cover with finial above the lower part with a broad ledge above a frieze standing on feet modelled as grotesque figures, the cover and lower aprons intricately modelled and pierced throughout with grotesque creatures amidst foliage, all sides of the cover and base mounted with jade roundels carved with qilongs (a few lost), both parts also with various turquoise and coral mounts, each on a (probably later) carved and ebonised wood platform stand

The censers alone each 58cm high, 38cm wide and deep; the stands 7cm high

provenance

Graham Geddes Antiques, Melbourne, from whom acquired by the vendor circa 2000

$1,000-1,500

193

A RARE LARGE HAN DYNASTY GLAZED

POTTERY FIGURE OF A HORSE

206BC–220AD

Modelled standing foursquare and facing forward with a raised tail, the bridled head modelled with a slightly open mouth and pricked ears, the remains of a green glaze throughout, mostly olive green, brighter green around the head

136m high, 110cm long, 38cm wide

provenance

Dragon Culture, Hong Kong, from whom purchased by the vendor in September, 2000

other notes

This lot is accompanied by an Oxford Authentication Ltd thermoluminescence analysis report dated July 2000 (sample number C100x3) which, based on samples taken from under the head, the stomach, and the front left leg, estimates the date of last firing at between 1,200 and 2,000 years ago, with each sample yielding a similar result.

$25,000-35,000

194

AN OPPOSED PAIR OF LARGE CHINESE RED LACQUER MOON FLASKS

Second half 20th century

Each with a waisted neck with a pair of taotie handles above the flattened circular body on spreading foot, the front with a reserve decorated with flowering peony in applied hardstones of various colours, the reverse with a Chinese poem in applied bone characters, otherwise decorated throughout with trailing foliage with flowers in gold 52cm high, 38cm wide, 15cm deep

$600-800

195

A CHINESE CEREMONIAL ‘TIAN-TSUI’ HEADDRESS

Late Qing period, early 20th century

The black-lacquered frame intricately pierced and carved in a scroll-work pattern overall, all finely applied with kingfisher feathers (Tian-Tsui) in auspicious symbols of flowers, bats, butterflies and deer, together with Chinese emblem ‘Shou’, each side applied with dragons and silk tassels

25cm high

$800-1,200

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: Ety Liong 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 22 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 Environ-

ment, 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/tradeuse/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.

Our Specialists

m anaging d irector & head of important collections

John Albrecht, BA LLB MBA

fine art

Wiebke Brix, Head of Art

Amanda North, Senior Art Specialist

Hannah Ryan, Senior Art Specialist

Charlotte Barrett, Administrator and Registrar

decorative arts

Chiara Curcio BA, Head of Department

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

John Field, Administrator and Coordinator

asian art

Luke Guan MLitt, Head of Department

John Field, Administrator and Coordinator

sydney

Ronan Sulich, Senior Adviser

Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art

Ella Nail, Office Manager & Administrator

important jewels

Hamish Sharma, Head of Department, Sydney

Christel Reid, Administrator

fine jewels & timepieces

Steven Milonas F.G.A.A., Head of Department, Melbourne

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

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

Phoebe East, Jewellery Assistant

Echo Liu, Administrator

Bethany McGougan, Consultant & Senior Auctioneer

John D'Agata, Senior Jewellery Consultant

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Specialist

luxury

Indigo Keane, Specialist

prints

Hannah Ryan, Art Specialist

furniture

Natasha Berlizova, Manager

Angus McGougan, Assistant

Alex Sargeant, Assistant

Inigo Fleming, Assistant

Shawn Mitchell , Interiors Consultant

jewellery

Leila Bakhache, Manager

Phoebe East, Assistant

art salon

Millie Lewis, Manager

Jane Goh, Assistant

objects & collectables

Dominic Kavanagh MFA, Manager

Kieran Grogan Carpenter, 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

accounts

Ety Liong, Finance Manager

Michelle Draper, Accounts Manager

client services

Kim Clarke, Saleroom & Office Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

operations & logistics

David Price, Operations, Delivery & Logistics Manager

marketing & communications

Nadia Barbaro, Marketing, Media, & Communications Manager

Lucy Lewis, Database & Marketing Coordinator

photography

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

graphic design

Maria Rossi

melbourne

2 Oxley Road, Hawthorn, VIC 3122 03 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 02 9362 9045

brisbane 54 Vernon Terrace, Teneriffe, QLD 4005 0412 997 080

adelaide

429 Pulteney Street, Adelaide SA 5000 0419 838 841

perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au