Decorative Arts by Leonard Joel

A GILT BRONZE AND MARBLE MANTEL CLOCK

BY VULLIAMY

Decorative Arts

25.11.2024, 6pm

fri 22 – sun 24 nov 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

Three times a year we feature our Decorative Arts offerings, taking great care in curating these auctions to exhibit the best examples of applied arts and design to the Australian and greater International market. Our November offering being no exception, boasts a broad range of craftsmanship across diverse categories of furniture, art, silver, clocks, ceramics and objets d’art.

We open the auction with a private collection of art glass lots (lots 1-20), formed from the 1960s onwards. The collection is a veritable road map of art glass techniques over the late 19th to early 20th century. Moving from Webb Cameo glass in Stourbridge, to Daum Freres in Nancy, with rare examples from Loetz in Bohemia, and Tiffany in New York.

Within our ceramics section are four lots from the Terry Whelan suite; a dinner and tea and coffee service, made by Robert Mair and decorated by John Olsen (lots 63-66). As its name indicates, this set was commissioned from Mair and Olsen by Terrance (Terry) Whelan in 1970. The suite, the largest Olsen ever decorated, combines inspiration from Oriental ceramics with the artistic interests of both artists and patron. It was exhibited in the National Gallery of Victoria's 2016 retrospective of Olsen’s career, John Olsen: The You Beaut Country, and is now offered in three lots (together with another related lot) comprising over one hundred and twenty pieces.

Keeping to an Australian theme but from an earlier era, another feature of the auction are several lots of Australian historical significance, including notable preparatory art works by George Baxter (lot 68) and for Victoria Illustrated, 1862 (lot 69). Another highlight is a large and impressive 1:30 scale builder’s model of the Adelaide Steamship Company’s S.S. Wandilla (lot 73). This highly- detailed model made in 1912, is very well preserved within a glass case, standing 227cm high and 460cm wide, a museum quality model of historical significance. Leading our clock section and featured on our front cover, is a wonderful circa 1800 mantel clock by Vulliamy (lot 131). The father and son makers, Benjamin and Benjamin Lewis Vulliamy, renowned as amongst Britain’s finest clockmakers of the eighteenth and nineteenth centuries.

As a second generation clockmaker, Benjamin Snr excelled in his field from an early age, awarding him a Royal Warrant as clockmaker to the King, and later leading to a major commission to build the regulator clock for the King’s observatory in Kew Gardens in 1780, responsible for keeping the official time of London for over a century.

Vulliamy continued to serve the royal family from George III through to Queen Victoria. Their legacy is recognised for their designs, the quality of their work, and their elegant cases.

We look forward to seeing you at our viewing and discussing the other features of the auction in person.

chiara curcio head of decorative arts, design & interiors

A private collection of art glass

lots 1 – 20

1 A VICTORIAN THOMAS WEBB & SONS

CAMEO GLASS PERFUME BOTTLE WITH STERLING SILVER COVER

Dated 1889

The cranberry glass body carved with flowers and foliage in white overlay, above a patterned border, the screw-top sterling silver cover, conical, embossed with conforming decoration, hallmarked Army & Navy Cooperative Society Ltd (Frederick Bradford Macrea), London, 1889, THOMAS WEBB & SONS to base

14cm high, 9cm wide

$1,000-1,500

TWO CAMEO GLASS SCENT BOTTLES WITH STERLING SILVER MOUNTS

Attributed to Thomas Webb

The smaller perfume globular, the cranberry glass body with white carved overlay of blossoming flowers and foliage beneath a lappet border to the neck, the screw top cover with hallmarks for C C May & Sons (Charles May), Birmingham, 1887 (lacking internal stopper), the other of flattened teardrop shape, the deep amber glass body with white carved overlay of blossoming flowers, the screw top cover with hallmarks for Walker & Hall, Sheffield, 1902 (Lacking internal stopper)

The teardrop perfume 12.5cm long, 4cm wide

$800-1,200

3 A THOMAS WEBB & SONS THREE-COLOUR

CAMEO GLASS VASE

Late 19th century, circa 1890

Ovoid bottle shape, carved and overlaid in translucent red and opaque white on a yellow glass ground, decorated with flowers and foliage, acid etched circular mark, THOs WEBB & SONS

CAMEO

25.5cm high

$700-800

4 A THOMAS WEBB & SONS ‘IVORY’ CAMEO GLASS VASE 1880s

Of bulbous form with a slender neck and a scalloped rim, decorated with flowers, foliage and a butterfly, the cameo work stained in brown enamel, acid etched arched mark, THOs WEBB & SONS underside 20cm high

$800-1,000

5 A FINE ‘OCTOPUS’ FEDERZEICHNUNG

GLASS VASE BY JOHANN LOETZ 1880s

Bulbous bottle form, the satin cased glass with scrolling air trap design with federzeichnung ‘pen drawing’ gilt vermicelli decoration overall, the neck gilded with lappet design and black enamel scrollwork decoration, enamelled ‘Patent 9159’ to underside

27cm high, 18cm at widest point

$600-800

6 A GOLD FAVRILE IRIDESCENT GLASS VASE BY LOUIS COMFORT TIFFANY

Tiffany Furnaces, New York, 1920s

Baluster-shaped with a long neck on a raised circular foot, inscribed ‘LOUIS C. TIFFANY FURNACES, INC. FAVRILE / 9985M’ underside

38cm high

$1,000-1,500

A RARE RUSSIAN ART NOUVEAU

ACID-FROSTED AND ENAMELLED GLASS VASE WITH 84 SILVER MOUNT

Second Artel, Moscow, 1912-1916

The vase of tapering flattered form, decorated in enamel and remanent gilding with flowers and foliage to one side, a single stemmed flower and butterfly to the other, all on an acid-frosted colourless glass ground, mounted with an embossed Russian silver rim and twin handles, struck on the neck and one handle with maker’s mark, 84 standard 24.5cm high, the handles 15cm wide

$1,000-2,000

8 A SILVER-MOUNTED BURGUN & SCHVERER CAMEO GLASS VASE BY DÉSIRÉ CHRISTIAN

Circa 1900

Ovoid, acid-etched, wheel-chiselled, martelé and gilded glass with a design of purple wisteria against a marbled blue and brown glass ground, the rim with a French silver mount cast with fruiting vine, signed ‘B S & Co. / VERRERIE D’ART DE LORRAINE déposé’ underside in gold.

16cm high, 13.5cm wide

$3,000-4,000

A DAUM FRÈRES OPALESCENT GLASS VASE

Nancy, circa 1895

Slender trumpet form, acid-etched, cut and gilded with a Plane tree design on matt-etched opalescent glass ground, hand painted Daum Nancy with Cross of Lorraine signature in gold underside

33.5cm high, 11cm at widest point

$2,000-3,000

10 A DAUM FRÈRES ‘NICOTIANA’

CAMEO GLASS VASE

Nancy, circa 1915

Tapering form on a spreading foot, acid-etched, wheel-carved and cameo glass, with flowering Nicotiana (Tobacco) plant on a colourless martelé glass ground with orange and red pigment powder inclusions, engraved Daum Nancy with cross of Lorraine to side

31cm high

$800-1,000

11 A DAUM FRÈRES ‘NICOTIANA’

CAMEO GLASS VASE

Nancy, circa 1910

Tapering form on a rounded foot and raised martelé rim, acid-etched, wheel-carved and cameo glass, with flowering Nicotiana (Tobacco) plant on a colourless glass ground with orange and red pigment powder inclusions, engraved Daum Nancy with cross of Lorraine to foot rim

21cm high

$600-800

A DAUM FRÈRES ‘SNOWDROP’ CAMEO GLASS VASE

Nancy, circa 1900

Elongated ovoid form on a spreading foot, acidetched, wheel-carved and cameo glass, with blossoming Snowdrop flowers, colourless martelé glass ground with white and various blue powder inclusions, conforming engraved floral motifs to the foot, engraved Daum Nancy signature with Cross of Lorraine underside

35cm high

$2,000-3,000

A DAUM FRÈRES ‘DIABOLO DÉCORÉ DE LIERRE’ GLASS VASE

Nancy, Circa 1910

Baluster tapering form with slightly everted rim, acid-etched and enamelled, decorated with berries and foliage on colourless glass ground with white, yellow and green pigment powder inclusions, acid-etched and enamelled Daum Nancy cameo signature with cross of Lorraine to side

14.5cm high, 10cm at widest point

$800-1,200

A DAUM FRÈRES CAMEO GLASS VASE

Nancy, Circa 1910

Baluster tapering form with slightly everted rim, acid-etched and enamelled, decorated with sailboats at dusk, on colourless glass ground with red, yellow and green pigment powder inclusions, acid-etched and enamelled Daum Nancy cameo signature with cross of Lorraine to side

14.5cm high, 10cm at widest point

$700-900

A DAUM FRÈRES ‘ARNICA’ GLASS VASE

Nancy, circa 1925

Elliptical ‘pillow’ form, acid-etched and enamelled, decorated with flowering arnica on cased colourless glass ground with white, yellow, green and pink powder inclusions, painted Daum Nancy France with cross of Lorraine to side.

10cm high, 11.5cm wide

$800-1,000

A DAUM FRÈRES CAMEO GLASS MINIATURE VASE

Nancy, circa 1910

Of beaker form, acid-etched and enamelled, decorated with flowering Japanese boxwood and foliage on colourless glass ground with white, orange and red pigment powder inclusions, acid-etched and enamelled Daum Nancy cameo signature with cross of Lorraine to side.

5.2cm high, 4cm wide

$600-800

A LE VERRE FRANCAIS ‘DIGITALES’ CAMEO GLASS VASE

1920s

Ovoid, overlaid and acid-etched with stylised bell flowers and foliage in red, orange and brown, on a mottled pink and white ground, engraved signature to foot ‘Le Verre Francais’, acid etched to base ‘FRANCE’ 17cm high

$700-900

20 A RENE LALIQUE ‘LE JADE’ OPAQUE GREEN

GLASS SCENT BOTTLE

Lalique for Roger et Gallet, Paris, 1926

In Chinese snuff bottle form, moulded with a parrot against a scrolling thicket of branches. Impressed ‘ROGER ET GALLET / PARIS’ verso, also monogrammed ‘R.L / FRANCE’ underside

Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, ROGER & GALLET- 15, p. 948

A LE VERRE FRANCAIS ‘ESCARGOTS’

CAMEO GLASS EWER

1920s

Elongated ovoid form on a spreading foot, overlaid and acid-etched with stylised snails, branches and cane work in orange and brown, on a yellow glass ground, engraved signature to foot ‘Le verre Francais’, 32cm high

$1,200-2,000

19 A LE VERRE FRANCAIS ‘PRIMEROLLES’

CAMEO GLASS VASE

1920s

Tapering shape on a spreading foot, overlaid and acid-etched with stylised primrose flowers and foliage in orange and brown, on a mottled yellow and orange ground, engraved signature to foot ‘Le Verre Francais’, acid etched to base ‘FRANCE’

27.5cm high

$800-1,200

A FRENCH PATE-DE-VERRE GLASS ‘DANCER’ PENDANT BY GABRIEL ARGY-ROUSSEAU 1920s

The circular pendant decorated in relief with a ballerina in white, within a black square frame, set against a floral border in purple, monogrammed ‘G.A.R’ to bottom right hand corner, suspended on original purple woven cord with tassel

The plaque 5.5cm diameter, the total length including tassel 51cm

literature

Janine Bloch-Dermant “Catalogue Raisonné - Les pâtes de verre Gabriel Argy-Rousseau” no. 20-30, page 185 - Les Editions de l’Amateur 1990

$800-1,000

A RENE LALIQUE ‘FAUCON’ CAR MASCOT Designed 1925, 1930s

The falcon modelled naturalistically in clear and polished glass with an amethyst hue, moulded ‘R LALIQUE’ and wheel-cut ‘FRANCE’ to base, mounted on a chrome collar, on a black marble base, the chrome collar engraved ‘BREVES GALLERIES/ KNIGHTSBRIDGE / S.W.3./ PAT. No. 309301’ 21cm high, the base 9.5cm diameter

literature

Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 1124, p. 498

$1,800-2,400

A LALIQUE ‘BACCHANTES’ VASE

Designed 1927, post 1945

The tapering body moulded with a continuous scene of dancing maidens, in frosted blue-grey crystal, script-etched ‘LALIQUE FRANCE/ R / 0742’ to base, edition number 0742, together with original box and certificate of authenticity 24cm high

literature

Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 997, p. 438 (another example illustrated)

$2,000-3,000

A LALIQUE ‘VICHY’ VASE

Third quarter 20th century, the model introduced 1937

Of tapering elliptical form, the clear glass body moulded with frosted garlands of stylized flowers and foliage in relief, ‘Lalique Cristal France’ underside 17cm high, 20cm wide, 13cm deep

literature

Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 10-909, p. 466

$700-900

A LALIQUE ‘BACCHUS’ CLEAR AND FROSTED GLASS VASE

Third quarter 20th century, the model introduced 1938

Tapering in form, relief moulded with fawns in foliage, acid etched ‘LALIQUE FRANCE’ 18cm high

literature

Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 10-992, p. 469

$1,000-1,500

A MOSER ENAMELLED AMBERINA GLASS

Late 19th century

Of ovoid form, with slender neck and circular foot, the whole richly decorated in raised enamel, the centre decorated with applied parrot on a branch against a ground of applied acorns, enamelled insects, oak leaves and raised gilt tendrils, the amberina glass body with gilded handle, rim and foot, partial original label and painted 2789/ D180 in gilt script to base

43.5cm high

$2,000-3,000

Silver & Gold

AN UNUSUAL VICTORIAN AUSTRALIANTHEMED STERLING SILVER AND MARBLE COVERED BOWL ON FOOT

John Samuel Hunt, London, 1862

Oval in outline, the deep bowl with a domed cover with a naturalistic figure of a standing kangaroo as a finial, lobed frills to the rim of the bowl and edge of the cover, the interior gilt, mounted on a broad spreading nero portoro marble foot, conforming marks to the kangaroo, its retaining nut, cover, and bowl

19.5cm high, 14cm wide, 10cm deep, 228g in total (excluding the marble foot)

provenance

Private collection, England

$1,500-2,500

provenance

Kozminksy, Melbourne, 1982

$1,000-1,500

A RARE AUSTRALIAN COLONIAL SILVER BUTTER KNIFE BY ALEXANDER DICK

New South Wales, circa 1837, maker’s mark

A.Dick followed by lion passant, lion’s head, date letter E, and duty mark

The raised fiddle-shaped handle with shell crest, hallmarked to underside of handle

14.5cm long, 22g

$500-700

30 A PAIR OF AUSTRALIAN 9ct GOLD NAPKIN

RINGS BY ERIK ELKS

Melbourne, 1970s

Rectangular, engraved and pierced, each decorated in a stylized foliage design, inset with a single gem, engraved 9ct / ELKS to interior

2.5cm high, 3.5cm wide, 3.5cm deep, 48g total weight

$1,200-1,800

A CHARLES I SILVER-GILT SEAL-TOP SPOON

The deep pear-shaped bowl with a faceted stem with a fluted baluster-shaped terminal, its top prick punched with initials and date ‘F.F’ / MB / 1630’, an unidentified mark of a crown to the bowl

16.5cm long, 36g

A CASED SET OF FOUR STERLING SILVER AND VERMEIL SHELL DISHES BY MAISON

Paris, second half 20th century

Each naturalistically cast as an oyster shell with a polished silver interior and vermeil exterior, fitted in the original leather-covered Odiot case with the gilt emblem of the Aga Khan as Ismaili Imam to the centre of the cover

Each shell 3.5cm high, 8cm wide, 9cm deep, 930g

Hilton and Brenda Nicholas, Melbourne, presented by Prince Karim Al-Husseini, Aga Khan IV, and Begum Salimah Aga Khan, 1979

Thence by descent

AN ARTS AND CRAFTS STERLING SILVER BELT BUCKLE DESIGNED BY KATE HARRIS

William Hutton & Sons Ltd, London, 1906

In three parts, the square central plate cast in low relief with the head of a ‘Puritan maid’ in profile to the left within a roundel, the side pieces with vertical baguettes

6cm high, 11.5cm wide (overall), 98g

provenance

By descent through three generations of the vendor’s family

$700-1,000

A GEORGE V STERLING SILVER TRAY

William Comyns & Sons Ltd (Richard Comyns), London, 1932

Of shaped square outline with pointed centres and raised moulded edge, on moulded bracket feet at the corners, the centre engraved with initials in a cipher, impressed LONDON HAND MADE underside

2.5cm high, 35.5cm wide and deep, 1,632g

$1,200-1,800

36 AN EARLY VICTORIAN STERLING SILVER AND SILVER PLATE CHAFING DISH, APPARENTLY WITH ROYAL PROVENANCE

The cover by Robert Garrard II, London, 1844, the probably-associated silver plate base of similar period

Of lobed circular outline, the cover with a finial of a crown on a cushion, the base with a pair of handles and standing on four foliate scrolling feet, a mount for a burner to its interior, the cover engraved to one side with the combined coats of arms of Edward and Victoria, Duke and Duchess of Kent and Strathearn (Queen Victoria’s parents) and to the opposing side with a monogram V beneath a crown (lacking interior dish and fittings)

Overall 24cm high, 34cm wide, across the handles (the cover alone 15.5cm high, 24cm diameter), the cover 954g

provenance

Apparently, Victoria, Duchess of Kent and Strathearn (1786–1861)

other notes

In addition to the combined coat of arms, the particular form of the crown finial, with a thistle to its top, also appears to be associated with Edward and Victoria, Duke and Duchess of Kent and Strathearn. Given the date of the cover and that the Duke died in 1820, any connection must be to the Duchess alone, as is perhaps indicated by the V monogram.

While of matching outline, it is presumed the cover and base are associated; it seems unlikely that a cover by a leading maker and apparently with elevated provenance would have been accompanied by a silver plate base. In any event the cover and base do not fit neatly together, lacking the intermediary part, an internal dish, that would unite them.

$1,400-1,800

13 lothig (813 standard), maker’s mark E.S, Vienna, 1846

In an elegant pattern, the stems of the forks and spoons of English King’s shape with indented terminals and pointed bowls to the spoons, ninetytwo pieces, comprising eighteen each of table knives and forks, fruit knives and forks, and table spoons, and a pair of serving spoons, together with a set of twenty fiddle pattern tea spoons by the same maker and of the same date and standard, the terminals of both sets uniformly engraved with initials B.Z beneath a coronet (for Alfonz, Baron Zois), in a possibly original leather covered wooden case

The main service 3,954g (including the fruit knives with silver blades but not the table knives with steel blades); the tea spoons 564g in total

provenance

Alfonz, Baron Zois (1820–1889), Carniola, Austria

His daughter, Bertha Maximiliana, Baroness ZoisEdelstein (1859–1949), the painter also known as Bertha Zois-Moro

Thence by descent to her great-great-grand-daughter, the present vendor

$2,400-3,200

38 AN ANTIQUE AUSTRIAN SILVER CENTREPIECE TAZZA

800 standard, maker’s mark ‘FR’, Vienna, late 19th century

The circular dish raised on a baluster stem with two lightly-draped exotic figures above the lobed oval base, rococo floral and foliate decoration in relief throughout 40cm high, 30cm diameter, 1,666g

$1,000-1,500

A GEORGE IV STERLING SILVER GOBLET BY PAUL STORR

London, 1823

The bowl with a band of flowering foliage above the gadrooned lower half raised on a waisted pedestal with a moulded and foliate foot, the interior gilt

15.5cm high, 228g

$1,500-2,500

A VICTORIAN STERLING SILVER CLARET JUG

Daniel & Charles Houle, London, 1860

Baluster-shaped on a circular foot, repoussé decoration to the body and foot of flowers, grapes, and foliate scrolls, the handle modelled as a grape vine, the hinged cover with a grape bunch finial, the interior gilt washed, the body engraved to one side with monogram DT within a roundel

36cm high, 1,200g

$1,000-1,500

A VICTORIAN STERLING SILVER

Atkin Brothers (Henry Atkin), Sheffield, 1877

Baluster-shaped on a circular foot, the body, foot, and handle with repoussé and chased floral and geometric decoration, blank shaped cartouches each side of the body, beaded edges to the mouth and foot

36.5cm high, 806g

The facetted baluster-shaped body with scrolling handle on a spreading hexagonal foot, the hinged cover with spire finial, the body, cover, and foot with chased floral and foliate decoration 37 AN ANTIQUE AUSTRIAN SILVER PART FLATWARE SERVICE FOR EIGHTEEN

A VICTORIAN STERLING SILVER

Edward, John, & William Barnard, London, 1848

47 AN ANTIQUE FRENCH PAINTED PORCELAIN PLAQUE

Possibly Montereau, early 1880s

AN ART NOUVEAU GLAZED CERAMIC BUST OF A WATER NYMPH

Produced by Ernst Wahliss, Vienna, circa 1900

Circa 1900

Modelled with flowers in her wet hair, her hand to her mouth, indistinct incised signature, possibly 'Thiem', to the base, impressed Ernst Wahliss Turn, Wien mark to the reverse with numbers 216 / 2 73cm high

$700-1,000

44 A MATCHED PAIR OF JAMES MacINTYRE & Co. FLORIAN DESIGN VASES

Of baluster shape with an everted rim and spreading circular foot, green and gold tubelined tulip-type design on a dark blue and green ground, printed Macintyre mark and with green painted initials for William Moorcroft, pattern No. ‘M2096’

31.5 and 32cm high respectively, 16cm at widest point

$2,400-3,000

A ROYAL WORCESTER PORCELAIN VASE, DECORATED BY GEORGE JOHNSTON

Dated 1908

Baluster-shaped on a square foot, a pair of foliate handles to the shoulders with husk swags between these, the body finely decorated in enamels and raised gilt work with swans in flights amidst reeds on the all-over pale blue ground, a black swallow in flight to reverse, puce factory marks and model no. 1937 underside (lacking cover) 20cm high

$1,000-2,000

A ROYAL WORCESTER PORCELAIN EWER, DECORATED BY JAMES STINTON

Dated 1903

The pierced mouth, neck, and shoulder above the ovoid body on circular foot, the front decorated with pheasants in a landscape, signed Jas. Stinton, the reverse with a spray of flowers, green factory mark underside with number G965 underside 16cm high

$700-1,000

Rectangular, the field decorated with a bust-length portrait of a young woman in period dress on a geometric blue and gilt floral ground, signed ‘Lecomte’, within a gilt and yellow-ground border of anthemia, the remains of the original manuscript label to the reverse with the date 1883

34.5 x 27.5cm

other notes

Possibly after a composition by Émile VernetLecomte (1821–1900).

$600-800

A MEISSEN HAUSMALEREI GOLDCHINESEN TEAPOT AND COVER

Circa 1725, Augsburg, the decoration slightly later Of squat globular form, with a domed cover, with stalk handle, the curved spout with a mask terminal, gilded in the Seuter workshop, with oriental figures in various pursuits, spout and finial with silver-gilt rings joined by chains

12.5cm high

literature

A Hausmaler Goldchinesen teapot of this form and size is illustrated in Siegfried Ducret, Meißner Porzellan, bemalt in Augsburg, 1718 bis um 1750, Band I (Brunswick, 1971), p. 193, no. 214.

$4,000-5,000

A ROYAL COPENHAGEN ‘FLORA DANICA’ SQUARE BOWL

Pattern no. 20, shape no. 3510, late 19th / early 20th century

The shaped gilded border with cantered corners, the centre decorated with botanical specimen Galeobdolon Luteum Huds, inscribed with the Latin name verso, green factory stamp above blue waves, numbered 20/3510, impressed W to underside. 7cm high, 22.5cm wide, 22.5cm deep

$800-1,200

‘FLORA DANICA’ OVAL DISHES

Pattern no. 20, shape no. 3537, last quarter 19th century

Each with shaped, reticulated and gilded borders, the centre decorated with botanical specimens Humulus Lupulus. L. & Lonicera Hylosteum. L., inscribed with their Latin names verso, the first dish with green factory stamp above blue waves, numbered 20/3537, impressed K to underside, the second with green Danmark stamp above blue waves.

Each 3.5cm high, 26.5cm wide, 22cm deep

$1,200-2,000

THREE ROYAL COPENHAGEN

‘FLORA DANICA’ PLATES

Pattern no. 20, shape no. 3553, last quarter 19th century

Each with shaped, reticulated and gilded borders, the centre decorated with botanical specimens Syringa vulgaris. L., Myosolis stricta. Link. & Atropa Belladonna. L., inscribed with their Latin names verso, each with green factory stamp above blue waves, numbered 20/3553 to underside 25cm diameter

$1,200-2,000

FIVE ROYAL COPENHAGEN ‘FLORA DANICA’ PLATES

Pattern no. 20, shape no. 3554, late 19th / early 20th century

Each with shaped, reticulated and gilded borders, the centre decorated with botanical specimens Lappa tomentosa. Lam., Prunella grandiflora. Jacq., Geranium dissectum. L., Trifolium fragiferum. L. & Muscari botryoides. DC., inscribed with their Latin names verso, one with green factory stamp above blue waves, numbered 20/3554, the others bearing green Danmark stamp above blue waves

22cm diameter

$2,400-3,000

FIVE ROYAL COPENHAGEN ‘FLORA DANICA’ PLATES

Pattern no. 20, shape no. 3554, late 19th / early 20th century

Each with shaped, reticulated and gilded borders, the centre decorated with botanical specimens Anchusa Officinalis. L., Cerastium alpinum B. glabratum. Lind., Scabiosa suaveolens. Desf., Hydrocharis Morsusranae. L., & Endymion nutans. Dum., inscribed with their Latin names verso, one with green factory stamp above blue waves, numbered 20/3554, the others bearing green Danmark stamp above blue waves

22cm diameter

$2,400-3,000

A LARGE MASON’S ‘CHARTREUSE’ PATTERN DINNER SERVICE

Second half 20th century

An assembled service of approximately two hundred and twenty-five pieces, basically for twelve places with larger or smaller numbers of some pieces, comprising soup plates, handled soup bowls and under-plates, entrée plates, dinner plates, side plates of two sizes, cereal / fruit bowls, tea and coffee cups and saucers, tea and coffee pots, cream jugs and covered sugar basins, and a large number of serving and accessory pieces including platters, dishes, and bowls of various types and sizes, covered vegetable dishes, sauce boats and under-plates, condiment and salt and pepper pots, and various pitchers, factory marks underside

The coffee pots 25.5cm high, the largest platter 44cm wide

$1,600-2,400

FOUR DUTCH DELFT EARTHENWARE DISHES

Variously 18th and 19th century

Comprising two large blue and white ‘Peacock’ dishes, circular with ochre rim, the centre decorated with an urn containing an arrangement of peacock feathers and flowers, the rim with stylised flower heads against a scrolling ground, one with underglaze blue mark for De Porceleyne Claeuw under 250, together with two smaller plates, each with stylized floral designs

The peacock plates 30cm diameter, the smaller dishes 24cm and 25.5cm diameter

$500-600

A LARGE ANTIQUE ITALIAN MAJOLICA

VASE IN RENAISSANCE MANNER

Pesaro, late 19th / early 20th century

Of baluster shape with a pair of exuberantly scrolling handles between the shoulder and the everted mouth modelled as twinned serpents with a grotesque mask at the base, decorated in sixteenth century ‘istoriato’ manner with the Triumph of Neptune and Amphitrite to the front and a landscape to the reverse, the foot signed ‘C. Gai / Pesaro’

provenance

Purchased from Antique Décor (Gary Kay), Melbourne, 1985

$800-1,200

A PAIR OF ANTIQUE ITALIAN MAJOLICA VASES IN RENAISSANCE MANNER

Late 19th / early 20th century

Each of baluster shape with a pair of scrolling handles between the shoulder and the everted mouth modelled as twinned serpents with a grotesque mask at the base, each with its original separate low plinth, decorated in sixteenth century ‘istoriato’ manner with Classical mythological scenes to the front and reverse

Each 79cm high, including plinth

provenance

Purchased from Antique Décor (Gary Kay), Melbourne, 1985

$1,000-1,500

A LARGE IMARI PORCELAIN VASE

Meiji period (1868-1912), circa 1890

Ovoid with an undulating everted mouth and modelled with bow-tied cord above the shoulder, decorated in underglaze blue and polychrome enamels with plum blossom, bamboo, and chrysanthemum and a repeating design to the flanks of recumbent deer alongside a meandering stream

65cm high

$1,000-1,500

A WEDGWOOD & BENTLEY BLACK BASALT ‘THREE GRACES’ TABLE LAMP WITH SHADE

‘Reinventing Elegance’ series, number 21 of an edition of 75

Modelled after the Three Graces marble sculpture by Antonio Canova, mounted on a stained hardwood plinth, together with a pleated cream shade, the shade and base with original fitted box and certificate of authenticity

Total height 76cm (including shade), the base 21.5cm wide, 18cm deep

$1,500-2,500

A PAIR OF WEDGWOOD & BENTLEY

BLACK BASALT FIGURES, ‘CUPID’ AND ‘PSYCHE’

‘Reinventing Elegance’ series, numbered 3 of an edition of 200

Modelled after the classical, together with fitted acrylic plinths, each with the original fitted box and certificate of authenticity

Total height 23cm & 24cm respectively (including plinth), each base 15cm wide, 15cm deep

$1,000-2,000

AN AUSTRALIAN GLAZED EARTHENWARE

FIGURE OF A WOMAN BY MARGUERITE MAHOOD

1930s

Modelled wearing an elaborate gown, her face tilted upward, with one hand raised toward her neck, the other hand resting on a ruffle of her gown, incised ‘Marguerite Mahood’ and numbered ‘P2237’ to the edge of the foot

13.5cm high, the base 8cm diameter

$800-1,200

The Terry Whelan dinner suite

lots 63 – 66

decorated by John Olsen

63 © John Olsen/Copyright Agency, 2024

A LARGE 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, seventy-eight pieces comprising fourteen each of dinner plates, entrée / dessert plates, cereal / fruit bowls, and goblets, fifteen handled ramekins with covers, thirteen side plates, two large covered serving dishes, and two small pitchers of different sizes, all decorated by Olsen with various freelydrawn 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 larger covered dish 14cm high, 30cm wide; the dinner plates 27cm diameter; the goblets 20cm high (some variations between pieces)

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

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 64 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.

$50,000-80,000

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 63.

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.

$3,000-5,000

65 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

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 63.

$18,000-24,000

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, eleven pieces comprising six mugs, bamboo-handled tea pot, coffee pot, two covered sugar basins (one lacking its cover), 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 24cm high (including handle), the coffee pot 23cm 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

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 63.

$10,000-15,000

Australian historical interest

lots 67 – 73

Robert HODDLE (1794–1881)

Mount Tennant, on the Murrumbidgee River, the resort of a notorious bushranger, New South Wales Watercolour

Previously catalogued as being signed and inscribed in the lower part of the sheet, now concealed beneath the mount

Inscribed as title on a modern label to the reverse of the frame, this presumably transcribing the concealed original inscription on the sheet

26.5 x 41cm

provenance

Captain Benjamin Baxter (1805–1892), Melbourne, father of Hoddle’s second wife, Fanny (according to the 1973 Leonard Joel catalogue entry)

Leonard Joel, Australian Paintings, Melbourne, 7 November 1973, lot 420 Private collection, Melbourne Thence by descent

$5,000-8,000

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, each with Baxter’s embossed mark in the lower margin

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.

$4,000-6,000

Attributed to John Francis SALMON (1808–1886)

Two drawings for ‘Victoria Illustrated – Second series’ (1862):

‘Union Bank of Australasia, Melbourne’ and ‘Melbourne and Hobson’s Bay Railway Station, St Kilda’

Watercolour over pencil, the first on paper with a Whatman Turkey Mill watermark

The first signed and dated 1859 lower right: J. Salmon / 1859

19 x 24cm and 16.5 x 24cm (sight), 25.5 x 36cm and 17.5 x 26.5cm (sheet sizes)

provenance

Private collection, England

literature

Engraved and published in Victoria Illustrated –Second series (Sands and Kenny, Melbourne,1862)

other notes

The first volume of Victoria Illustrated was published by Sands and Kenny in Melbourne in 1857, all of its engraved plates being based on drawings by S.T. Gill.

Victoria Illustrated – Second series bears a publication date of 1862, although contemporary advertisements record it being promoted in 1861. The date on the first work in the present lot indicates that work on the volume was underway at least two years before that.

The plates in the second volume are known to have been based on drawings by various artists but, with the exception of Nicholas Chevalier, it appears that none of the artists involved have been identified, nor that any preparatory works relating to the volume have previously come to light.

John Francis Salmon was an English artist, largely producing topographical work. No record of him visiting Melbourne has been found but the closeness of both the style of the present watercolours and the signature on the first to his own suggests an attribution to him.

$3,000-5,000

70 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

$3,000-5,000

BOUGAINVILLE, Louis de, A VOYAGE ROUND THE WORLD … London, 1772

Lewis [i.e. Louis] de Bougainville [and John Reinhold Forster, translator], A Voyage round the World performed by Order of His Most Christian Majesty, in the years 1766, 1767, 1768, and 1769 (J. Nourse and T. Davies, London, 1772)

Quarto, with one folding engraved plate and five folding charts, in contemporary full calf with bordered boards and gilt-decorated and lettered spine

$1,400-1,800

PHILLIP, Arthur, A VOYAGE OF GOVERNOR PHILLIP TO BOTANY BAY … London, 1789

[Arthur Phillip], The Voyage of Governor Phillip to Botany Bay, with an Account of the Establishment of the Colonies of Port Jackson & Norfolk Island, compiled from Authentic Papers … (John Stockdale, London, 1789)

Quarto, with the forty-seven plates and six charts called for and the advertisement at the end, the title vignette in its second state, in mid-twentieth century red cloth with plain gilt-lettered spine

$1,800-2,400

73 A VERY LARGE AND IMPRESSIVE 1:30 SCALE BUILDER'S MODEL OF THE S.S. WANDILLA Circa 1912, for William Beardmore and Co., Glasgow

A highly-detailed full model in painted wood with metal fittings and wire and thread cables and rigging, mounted in its original oak and glass case with the cipher of the Adelaide Steamship Co. in a crest to each of its long sides

Please note: The model will remain at the Geelong Naval and Maritime Museum until its removal by the purchaser, with very limited opportunity for pre-auction viewing. Collection will need to be arranged promptly after the auction directly between the purchaser and the City of Greater Geelong which manages the Museum site.

The model 136cm high, 410cm long (approximately); the case 227cm high, 460cm wide, 110cm deep

provenance

The Adelaide Steamship Company, acquired circa 1912 Geelong Grammar School, gifted by Edward Northcote, General Manager of the Adelaide Steamship Company, 1918

exhibitions

Exhibited by the Adelaide Steamship Co. in a tour of various centres around Australia in 1913–1914 to promote the introduction to service of S.S. Wandilla and her sister ships

Geelong Naval and Maritime Museum (now closed), 1990s to present, on long-term loan from Geelong Grammar School

other notes

Built by William Beardmore and Co., Glasgow, for the Adelaide Steamship Co., the S.S. Wandilla entered service in 1913, operating between Sydney and Fremantle, before being acquired in 1915 for war service as an Australian troop transport and hospital ship. After returning to civilian service and several changes of ownership and name, she was sunk in 1942 while serving as an Italian hospital ship.

$6,000-10,000

Furniture

A GEORGE II GILT-FRAMED PIER MIRROR IN THE MANNER OF WILLIAM KENT

The rectangular plate within a moulded cassetta type frame with sanded plate surmounted with a pediment enclosing an armorial escutcheon between scrolling

L.J. Cook & Co., Melbourne, from whom purchased by the vendor, December 2002 ($35,000)

A VICTORIAN FIGURED WALNUT WRITING

The rectangular top with rounded corners and lined with gilt-tooled leather above a pair of frieze drawers to one side, raised on a pair of turned supports with

A FINE ANTIQUE FRENCH BRASS-INLAID ROSEWOOD AND GLAZED BOOK-CASE

The moulded cornice and frieze surmounted with a gallery above the glazed door flanked by brassmounted Corinthian columns and a drawer to the base, on turned feet, the front and sides inlaid with grotesque and foliate designs in engraved brass, the bird’s eye maple-veneered interior with adjustable (later) shelves and a drawer below, later fitted with

AN ANTIQUE ITALIAN

SCAGLIOLA

The plain cylindrical shaft finished to simulate red porphyry on a cavetto-moulded base simulating white

120cm high, 28.5cm, 28.5cm diameter (across the top of the shaft), 40cm wide (across the foot)

78 A PROVINCIAL LOUIS XV WALNUT

COMMODE

Mid-18th century

Of ‘tombeau’ shape, the rectangular top with slightly serpentine front and moulded edge above three long drawers, on shaped feet and aprons, the sides panelled 85cm high, 126cm wide, 65cm deep

$1,000-1,500

79 A NAPOLEON III MARBLE-TOPPED CARVED AND GILT WOOD CONSOLE

Third quarter 19th century

In Louis XV style, the breche d’Alep marble top above the carved and pierced frieze raised on scroll supports with a low stretcher, the frieze and stretcher with rocaille centres, the frames with similar decoration throughout 79cm high, 79cm wide, 39cm deep

$700-1,000

80 A REGENCY MAHOGANY-FRAMED DAY BED

Circa 1820

The upholstered scrolling ends above the seat with squab cushion, on outswept feet with brass lion’s paw caps and casters, the front with brass rosettes to the

84 A VICTORIAN PORCELAIN-MOUNTED BURR THUYA AND EBONISED SECRETAIRE SIDE CABINET

1880s

In Louis XVI manner, the rectangular top mounted with a tall gallery of three open and enclosed compartments above three frieze drawers, the central drawer fitted with an adjustable rising leather-lined writing surface, raised on turned and fluted supports to the front with two under-tiers, on brass caps and casters, the gallery, frieze, and supports with painted porcelain and gilt metal mounts (the oval panels to the gallery doors later replacements not in porcelain)

150cm high, 122cm wide, 57cm deep

other notes

Originally identical to the preceding lot, this lot retaining the brass caps and casters to the feet but with replacement panels to the gallery doors.

$2,000-3,000

81 A LARGE KERMANSHAH PERSIAN RUG

The deep blue-ground field with quatrefoil medallion amidst trailing flowering foliage and spandrels, the claret-ground border of Herati type 362cm long, 303cm wide

$1,200-1,800

82 AN ANTIQUE FRENCH PARCEL-GILT JARDINIÈRE ON STAND

Last quarter 19th century

In Louis XVI manner, the oval jardinière with a pink and orange breche marble cover enclosing a removable metal liner, raised on a pair of open supports joined with a stretcher, a figure of a putto on a swing between the supports, the interior of the jardinière with impressed number S6840, repainted and regilt throughout 92cm high, 66cm wide, 47cm deep

$700-1,000

A VICTORIAN PORCELAIN-MOUNTED

BURR THUYA AND EBONISED SECRETAIRE SIDE CABINET

1880s

In Louis XVI manner, the rectangular top mounted with a tall gallery of three open and enclosed compartments above three frieze drawers, the central drawer fitted with an adjustable rising leather-lined writing surface, raised on turned and fluted supports to the front with two under-tiers, the gallery, frieze, and supports with painted porcelain and gilt metal mounts

143cm high, 122cm wide, 57cm deep

other notes

Originally identical to the following lot but now without the brass caps and casters to the feet.

$2,000-3,000

AN ANTIQUE PROVINCIAL FRENCH

OAK ARMOIRE

Late 18th / early 19th century

In Louis XV style, the moulded cornice and frieze above a pair of doors enclosing (later) removable shelves and a drawer to the base, its shaped front serving as the apron between the scrolling feet, the frieze with a carved crest of birds and flowers above panels of similar decoration in relief to the doors and drawer front

237cm high, 184cm wide, 61cm deep

$1,000-1,500

A LOUIS III or XIV WALNUT CENTRE TABLE

Mid-17th century

Rectangular, the thick top with moulded edge above the frieze raised on turned supports rising from a moulded platform stretcher of double cross form, the frieze moulded on all sides and with turned pendants to its underside at the corners and centres of the long sides

78cm high, 114cm wide, 68cm deep

$800-1,200

87 A LOUIS III or XIV WALNUT WRITING OR CENTRE TABLE

Mid-17th century

Rectangular, the top with moulded and carved edge above a frieze drawer to one side, raised on spiralturned supports united by a conforming H-form stretcher with a pair of further supports rising from that at the centre alternating with turned pendants to the underside

80cm high, 111cm wide, 61cm deep

$1,000-1,500

A GEORGE II WALNUT SIDE TABLE 1730s

The rectangular quarter-veneered and cross-banded top with re-entrant corners above a cock-beaded frieze drawer, raised on square cabriole supports 70cm high, 60cm wide, 43cm deep

$700-1,000

89 AN ANTIQUE ITALIAN FIGURED WALNUT COMMODE

Mid-18th century

Rectangular with a serpentine front, the top with moulded edge above three long drawers, on bracket feet, the top quarter-veneered within broad crossbanding, the drawer fronts also cross-banded 81cm high, 107cm wide, 61cm deep

$1,600-2,400

90 A CARLOS II WALNUT CENTRE OR SIDE TABLE

Second half 17th century

The rectangular single-slab top above three frieze drawers to one long side with fronts carved to geometric designs, the opposing side with similarly carved panels, raised on splayed shaped and carved trestle supports with wrought iron braces

78cm high, 169cm wide, 69cm deep

$2,600-3,400

A BAROQUE PERIOD ITALIAN WALNUT

SGABELLO 17th century

The thick shaped back with moulded edges above the rectangular seat with canted corners and a deep frieze below, raised on a pair of solid shaped supports

92cm high, 34cm wide, 44cm deep

$700-1,000

92 A SMALL PROVINCIAL LOUIS XVI MARBLE-TOPPED WALNUT COMMODE

Last quarter 18th century

Rectangular, the grey-veined white marble top above two drawers, raised on fluted tapering square supports, the front carved in low relief with a basket of wheat and vases of flowers

85cm high, 83cm wide, 45cm deep

$800-1,200

93 A CHARLES II WALNUT SIDE TABLE 1680s

The rectangular top with moulded edges above a frieze drawer, raised on bobbin-turned supports joined with low peripheral stretchers

95 GEORGE III LEATHER-UPHOLSTERED SOFA

Late 18th century

The straight back and closed arms above the seat with a long squab cushion and pair of back cushions, on tapering square supports with brass caps and casters, in green leather

81cm high, 183cm wide, 78cm deep

provenance

L.J. Cook & Co., Melbourne, from whom purchased by the vendor, July 2003 ($18,000)

$2,000-3,000

96 A PAIR OF TÔLE PEINTE PEAR TREE WALL LIGHTS

Italian or French, second quarter 20th century

Each modelled as a spray of fruiting pear branches with two lights on a pair of branches extending from the base

Each 63cm high, 38cm wide

provenance

Grafton Galleries Antiques, Sydney, 2018

$700-1,000

97 A VICTORIAN FIGURED WALNUT AND INLAID BOOK-CASE CABINET 1880s

The upper part with a moulded cornice and frieze above a pair of glazed doors, the projecting lower part with a pair of frieze drawers above a pair of panelled cupboard doors flanked by half-columns, on a plinth base with flattened bun feet, the front in highly figured walnut and inlaid with floral designs in box and other woods to the centres and corners

216cm high, 125cm wide, 46cm deep

$800-1,200

96 (part)

AN ANTIQUE LOUIS XV-STYLE ORMOLUMOUNTED KINGWOOD BUREAU PLAT

Late 19th century

The shaped rectangular top lined with gilt-tooled leather above the frieze with three drawers to one long side and false drawer fronts to the other, raised on cabriole supports, the top and all sides mirrorveneered, ormolu mouldings and mounts throughout 75cm high, 117cm wide, 60cm deep

$2,000-3,000

99 A GEORGE III BRASS-BOUND MAHOGANY CELLARETTE

Last quarter 18th century

Octagonal, the hinged cover enclosing the original zinc-lined interior with bottle dividers and draining spigot to the base, on tapering square supports with brass casters, brass carrying handles to the sides 68cm high, 48cm wide, 45cm deep

$800-1,200

100

A GEORGE III MAHOGANY LIBRARY BOOKCASE OF THE PERIOD AND IN THE MANNER OF THOMAS CHIPPENDALE

Third quarter 18th century

Of four bays in break-front outline, the upper part with a swan-neck and fretwork pediment and moulded and dentilated cornice above the four Gothic tracery-glazed doors enclosing adjustable shelves, the projecting lower part with a pair of panelled cupboard doors to its central section flanked by flights of drawers, on a moulded plinth base 256cm high, 247cm wide, 55cm deep

other notes

Various details of this bookcase derive from designs published by Chippendale in the 1754 first edition of his The Gentleman and Cabinet-maker’s Director. The overall configuration, and particularly the design of the lower part, relates closely to the design for a library bookcase shown in plate LXII of the Director; plate LXXI is clearly the source of the design and Gothic manner of the glazing bars of the present bookcase, the upper register of which almost directly follows Chippendale’s design; and the fretwork swanneck pediment is similar to that atop the bookcase shown in plate LXXIII.

$10,000-15,000

101

A LATE REGENCY MAHOGANY

BREAK-FRONT SIDE CABINET BY GILLOWS

Circa 1820

The rectangular top with projecting centre and moulded edge above a pair of panelled doors enclosing sliding trays flanked by flights of drawers with turned and reeded columns between the doors and the drawers and at the outer corners, on a moulded base with melon feet conforming with the columns, reeded mouldings within the door panels and arouund the edges of the front, the underside of one drawers signed in pencil ‘Thomas Townson Lancaster 1820’ 114cm high, 212cm wide, 66cm deep

provenance

Bonhams, The Owston Collection, Sydney, 25 June

102

A GEORGE III MAHOGANY AND SATINWOOD-BANDED SERVING TABLE

Circa 1780

Rectangular with a serpentine front, the top with moulded edge and cross-banded in satinwood mounted with a brass curtain rail to the rear above a pair of frieze drawers, raised on square supports, those to the front moulded 132cm high (to the tops of the rail supports), 138cm wide, 69cm deep

$800-1,200

103

A GEORGE III-STYLE MAHOGANY TWO-PILLAR EXTENDING DINING TABLE

19th century and later

The rounded rectangular top with reeded edge

104

A FINE GEORGE III MAHOGANY AND EBONY-INLAID SECRETAIRE BOOK-CASE

Circa 1800

The upper part with a moulded cornice and frieze of applied pendants above a pair of tracery-glazed doors enclosing adjustable shelves, the projecting lower part with a fall-front secretaire drawer enclosing a leather-lined writing surface and fitted interior of small compartments and drawers veneered in figured maple, three long drawers below, on French bracket feet with shaped aprons, the frieze pendants, cockbeading to the drawers, and stringing in ebony 208cm high, 95cm wide, 51cm deep

provenance

Bonhams, Fine English Furniture and Works of Art, London, 16 June 2010, lot 156 (described as satinwood)

$2,000-3,000

105

A PAIR OF ANTIQUE LOUIS XV-STYLE BEECH AND UPHOLSTERED FAUTEUILS

19th century

Of typical form, each with a shaped back and padded arms above the serpentine seat, the moulded frames with carved crests and other details, the upholstery in (faded) purple-pink linen

Each 96cm high, 65cm wide, 69cm deep

$1,200-1,800

106 A PERSIAN QUM PURE SILK RUG

Second half 20th century

The burgundy-ground field with a lobed floral medallion surrounded by vases of flowers, birds, and foliage within floral spandrels, the border of repeating floral and foliate design

168cm long, 109cm wide

$1,500-2,000

107

A GEORGE III MAHOGANY CHEST-ON-CHEST

1770s

The upper part with a moulded and dentilated cornice and fluted frieze above two short and three long drawers between canted and fluted corners, the lower part of three long drawers on bracket feet, the drawers apparently retaining their original swanneck pulls

181cm high, 117cm wide, 54cm deep

$1,800-2,400

108

A GEORGE IV MARBLE-TOPPED ROSEWOOD SIDE CABINET IN THE MANNER OF GILLOWS

Circa 1825

Rectangular, the black shell fossil marble top above a pair of panelled doors enclosing adjustable shelves between panelled pilasters, on gadrooned bun feet, gadroon and beaded mouldings throughout 104cm high, 152cm wide, 50cm deep

$800-1,200

109

AN ANTIQUE PROVINCIAL FRENCH

WALNUT DINING TABLE

First quarter 19th century

The rectangular top with semi-circular drop-leaf ends above the plain frieze, raised on tapering square supports

76cm high, 365cm long (extended – 272cm not extended); 107cm wide)

$1,800-2,400

110

A SET OF SIX ANTIQUE LANCASHIRE ELM

SPINDLE-BACK SIDE CHAIRS

First half 19th century

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

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

$1,000-2,000

AN ANTIQUE ITALIAN KINGWOOD-INLAID

WALNUT COMMODE

Second half 18th century

Of semi-circular outline, the flush-edged top above three drawers, on shaped supports, the top, drawer fronts, and sides veneered in various geometric fields with kingwood borders, the drawer rails with gilt flutes

102cm high, 131cm wide, 55cm deep

provenance

Roger Wheaton, Adelaide (as one of a pair, subsequently separated)

David Roche, Adelaide

Lee Harper Antiques, Melbourne, 1990s

other notes

According to information from Lee Harper at the time of its acquisition by the present vendor, this commode is one of a pair that had been together in the collection of Roger Wheaton in Adelaide but were then separated, perhaps in the early 1990s.

112

A REGENCY FIGURED MAHOGANY BREAKFAST TABLE 1810s

The tilting rounded rectangular top raised on a turned pedestal and four outswept feet with brass caps and casters, the knees of the feet carved with lotus leaf lappets

71cm high, 146cm wide, 103cm deep

$700-1,000

113

A MARBLE AND WROUGHT IRON DINING TABLE

The rectangular grey- and pink-veined marble top with canted corners raised on a scrolling wrought iron frame

76cm high, 225cm long, 100cm wide

$1,800-2,400

114

A PAIR OF MURANO GLASS TABLE LAMPS, ATTRIBUTED TO ALFREDO BARBINI 1950s

Each of reeded campana shape on a spreading circular foot, a pair of fixed ring handles to the sides, the bold orange glass with controlled bubbles throughout and gold foil inclusions 55cm high (not including fittings)

$800-1,200

115

A PAIR OF LOUIS XV-STYLE BEECH AND UPHOLSTERED FAUTEUILS

Probably 19th century

Of typical form with cartouche-shaped backs and padded arms, the moulded frames with carved crests and other details, later lime-washed over the remains of the original finish, the upholstery in cowhide covers

Each 117cm high, 64cm wide, 67cm deep

provenance

The selected contents of Highbury, Toorak

$700-900

114

116

A NAIN SILK-BLEND RUG

Second half 20th century

The whole in blues, browns, and other colours on a cream ground, the field with a small shaped floral medallion within an all-over design of flowering foliage, the border of floral designs 210cm long, 128cm wide

$1,200-1,600

117

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

118

A GEORGE II MAHOGANY TRIPOD TABLE

Mid-18th century

The circular top with moulded raised edge mounted with a bird cage action on the ‘gun barrel’ pedestal on three outswept feet 73cm high, 75cm diameter

$600-800

119

A UNUSUAL WILLIAM IV MAHOGANY CHEST OF DRAWERS

Early 1830s

The rectangular top above four graduated long drawers between fluted and reeded pilasters, on gryphon’s paw feet to the front flanking the shaped apron with scrolls to its ends, the drawers retaining their original brass floral ring pulls 104cm high, 110cm wide, 55cm deep

$600-900

122

A REGENCY MAHOGANY SOFA TABLE 1810s

120

AN ANTIQUE GEORGE III-STYLE GILT-FRAMED MIRROR

Last quarter 19th century

The plate divided by reeded columns and cross-bars into a main and marginal plates within the moulded frame with beaded edges 113cm high, 82cm wide

$700-1,000

121 A VICTORIAN BRASS HEARTH FENDER

Last quarter 19th century

In Classical manner with a balustrade of gryphons and foliage between square urns at the corners 29cm high, 165cm wide, 37cm deep

$600-900

Of typical form, the rounded rectangular top with double-bead edge above a pair of frieze drawers to one side and false drawer fronts to the other, raised on a pair of turned supports each end with outswept feet with brass lion’s paw feet and casters

70cm high, 141cm wide (extended – 90cm not extended), 68cm deep

$600-900

123 A VICTORIAN PORCELAIN-MOUNTED FIGURED WALNUT JARDINIÈRE ON STAND

Late 19th century

In Louis XVI manner, the rectangular jardinière with cover raised on tapering turned and fluted supports joined with a stretcher, painted porcelain panels to the centres of the cover and the front and side friezes, gilt metal mounts throughout 83cm high, 64cm wide, 43cm deep

$1,000-1,500

124 A SYRIAN INLAID GAMES TABLE AND PAIR OF CHAIRS

The table first half 20th century, the chairs a little later

The rectangular table with swivelling fold-over top (square when extended) enclosing a removable baize-lined board above inlaid backgammon boards, a storage compartment below, raised on square cabriole supports with a low under-tier, richly inlaid throughout in various contrasting woods and with nacre highlights; the hardwood chairs of metalpinned folding type with removable crests to the toprails, the forward surfaces and seats inlaid in a manner similar to the table

The table 78cm high, 72cm wide, 36cm deep (not extended); the chairs each 107cm high, 47cm wide, 58cm deep

$1,600-2,400

125

A LARGE PERSIAN RUG

Second half 20th century

The burgundy-ground field with lions, panthers, and deer amidst the all-over stylised floral design, the cream-ground Herati border with horses

333cm long, 234cm wide

$1,200-1,800

126

A WILLIAM IV ROSEWOOD LIBRARY TABLE IN THE MANNER OF GILLOWS

Early 1830s

The rectangular top lined with gilt-tooled red leather above the frieze with a pair of drawers to the long sides, raised on a pair of panelled trestle supports with scrolling brackets to their tops and bases and joined with a turned stretcher, on reeded bun feet with concealed brass casters

77cm high, 145cm wide, 120.5cm deep

128

A PROVINCIAL LOUIS XV WALNUT BUREAU PLAT

Mid-18th century

Rectangular with a lightly shaped front, the top lined with gilt-tooled green leather above five drawers arranged around a knee hole to the front, the opposing side panelled, on cabriole supports with hoof feet

78cm high, 169cm wide, 75cm deep

$2,000-3,000

129

A PROVINCIAL LOUIS XV WALNUT COMMODE

Mid-18th century

Rectangular, the front of ‘arc en arbalète’ outline, of three drawers, on scrolling feet to the front, the front corners and the sides panelled, the drawers apparently retaining their original bronzes and locks 91cm high, 133cm wide, 62cm deep

$2,000-3,000

130

AN ANTIQUE LOUIS XV-STYLE FIGURED WALNUT AND SATIN BIRCH

BUREAU DE DAME

Second half 19th century

Of typical form on cabriole supports, the sloping fall enclosing a gilt-tooled leather-lined writing surface and fitted interior of an open compartment, small drawers, and a pair of wells with sliding covers, gilt metal mounts all round

85cm high, 75cm wide, 43cm deep

$1,000-1,500

A GILT BRONZE AND MARBLE MANTEL

No. 331, circa 1800, by Benjamin Vulliamy or Single fusee movement with anchor escapement, the engine-turned dial with black-enamelled Roman numerals and blued steel Breguet hands in a drum case atop a white marble plinth of Classical design with gilt mouldings and mounted to the front with a gilt bronze relief of the embracing Eros and Psyche, the back-plate of the movement engraved ‘Vulliamy /

Michael Potter, London, from whom acquired by the

132

A NAPOLEON III GILT BRONZE MANTEL

CLOCK IN RESTAURATION STYLE

Third quarter 19th century, the dial signed ‘Moinet

Aimé a Paris’

Eight-day movement with silk suspension and countwheel strike to bell, the engine-turned Roman numeral dial with Breguet hands within a NeoClassical case surmounted with a lyre between a Classical female figure holding a butterfly and a column supporting a vase of flowers, all on a platform base with ball feet, finely cast and chased throughout, enclosed within a glass dome on ebonised stand

The clock 48cm high, 36.5cm wide, 13cm deep (the dome and stand overall 55cm high, 47cm wide)

$1,200-1,800

133

A LOUIS XV-STYLE ORMOLU CARTEL

CLOCK

French, last quarter 19th century

The eight-day count wheel bell-striking movement and enamelled Roman numeral dial with gilt hands and convex glass cover within an asymmetrical foliate case modelled with acorns and oak leaves 62cm high, 29cm wide, 11cm deep

$800-1,200

134

AN ITHACA CALENDAR CLOCK Co. ‘No. 3½’ TWO-DIAL CALENDAR CLOCK

A ‘Parlor’ model, Ithaca, New York, circa 1880

The brass spring-driven eight-day movement with count wheel strike mechanism hour-striking on a bell, the gridiron pendulum with etched bob, the blackenamelled clock dial with spade hands, the glass 31-day calendar dial revealing the movement and bell behind, the bell, pendulum, hands, and numbers all silvered, all within an upright hardwood case of architectural form with carved and ebonised details 52cm high, 26cm wide, 14cm deep

$1,200-1,800

135 A JAEGER-LECOULTRE ATMOS

TABLE CLOCK

Calibre 526-5, numbered 76554, 1955

The polished and brushed brass movement with polished brass and cream Roman numeral and dagger dial in a polished brass and glass case, the front glass with printed LeCoultre mark upper centre 22.5cm high, 18cm wide, 13.5cm deep

$1,600-2,000

136

A JAEGER-LECOULTRE ATMOS

TABLE CLOCK

Calibre 526-5, numbered 90206, 1956

The chromed and brushed metal movement with chromed and burgundy Roman numeral and dagger dial in a chromed metal and glass case

22.5cm high, 18cm wide, 13.5cm deep

$2,000-3,000

137

A JAEGER-LECOULTRE ATMOS

TABLE CLOCK

Calibre 528-8, numbered 508629, late 1970s

The polished and brushed brass movement with polished brass, black, and cream Roman numeral and dagger dial in a brushed brass and glass case

23.5cm high, 21cm wide, 16cm deep

$1,200-1,600

138

A VICTORIAN OAK LONG-CASE CLOCK

Thomas Gaunt, Melbourne, 1860s–1870s

Eight-day movement with anchor escapement bellstriking on the hour, the white-japanned Roman numeral dial in a drumhead with glazed bezel resting on a cushion of volutes above the trunk with glazed door and upright scrolling brackets to its sides, all on a low plinth

194cm high, 54cm wide, 25cm

$800-1,200

139

AN EARLY VICTORIAN MAHOGANY

LONG-CASE CLOCK

Thomas Bunyan, Salford, circa 1840

Eight-day movement with anchor escapement bell-striking on the hour, the painted Roman numeral dial with subsidiary seconds and calendar dials decorated with shells in the spandrels and a scene of a boys fishing in a landscape in the tympanum above, the Georgian-style case with glazed hood with swan-neck pediment and flanking spiral-turned columns above the trunk of typical form with an arch-topped door also with flanking spiralled columns above the tall plinth base on ball feet

237cm high, 62cm wide, 27cm deep

other notes

Thomas Bunyan is recorded as being established in Salford in the mid-1830s.

$1,800-2,400

140

A GEORGE III MAHOGANY LONG-CASE CLOCK

Gilbert Allison, Sunderland, late 18th 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 shells and flowers in the spandrels and a scene of a woman seated in a square in the tympanum above, all within the glazed hood with arched cornice and flanking columns, the trunk of typical form with an arch-topped and cross-banded door above the tall plinth base on low bracket feet, the front of the hood and case inlaid with stringing 215cm high, 52cm wide, 25cm deep

$2,000-3,000

141 A LATE GEORGIAN MAHOGANY LONG-CASE CLOCK

Thomas Snow, Knaresborough, circa 1830

The 30-hour birdcage movement with anchor escapement countwheel striking, the painted Roman numeral dial decorated with scenes of sheep in the spandrels and a dog guarding a sleeping boy in the tympanum above, all within the glazed hood with arched cornice and flanking columns, the trunk of typical form with an arch-topped door above the tall plinth base on bracket feet, the front of the hood and case inlaid with decorative details and stringing throughout 220cm high, 54cm wide, 25cm deep

other notes

Thomas Snow is recorded as working at Knaresborough in the 1830s and at other places in North and West Yorkshire earlier in the nineteenth century.

$1,200-1,800

142

Martin SNAPE (1852–1930)

An extensive Hampshire landscape, a prospect from a wooded hill

Oil on canvas

Signed lower left: M. SNAPE

The stretcher with the remains of the artist’s original pen and ink label inscribed with the title ‘Stone[...?] Hampshire’ and his address, Spring Garden Cottage, Forton, Gosport

135.5 x 97.5cm

$800-1,200

143

John GLOVER (1767–1849)

A view in Cumberland

Grey wash, laid down to an album sheet of the same period

Inscribed as title in brown ink in an early nineteenth century hand to the reverse of the album sheet 21.5 x 32.5cm (the album sheet 25 x 37cm)

provenance

Private collection, England

other notes

This study is, with some variations, close to the composition of Glover’s painting, A mountain torrent, in the Joseph Brown Collection in the National Gallery of Victoria (acc. no. 2004.179), painted several years after Glover’s settlement in Tasmania.

As the NGV notes of that painting, ‘Glover found there was a ready market in Van Diemen’s Land for European views. These were either copies of views he had painted in Britain before emigrating, or were worked up from his British sketchbooks. A mountain torrent, circa 1837, is thought to be a replica of one of the Welsh or Lake District views he exhibited in the 1820s.’

While the present study, formerly in an English private collection, appears not to have been among the studies Glover bought to Australia to use in his work here, it clearly relates to the 1820s work on which A mountain torrent is based.

$2,000-3,000

144

Attributed to Samuel Mountjoy SMITH (circa 1809–1874)

A half-length portrait of the artist’s wife Oil on canvas

Apparently unsigned

The artist and sitter identified in a nineteenth century manuscript label to the stretcher: ‘Mrs S.M. Smith / 1833. by S.M. Smith’

73 x 62cm

$1,000-1,500

After Quentin MASSYS or METSYS (1466–1530)

Late 18th / early 19th century

The Virgin in prayer Oil and gold leaf on pine panel

The panel overall 67.5 x 48.5cm, the top arched (sight size slightly smaller)

provenance

An unidentified, possibly noble European collection, early nineteenth century (an illegible manuscript label to the reverse with red wax heraldic seal with coronet)

A Melbourne educational institution, acquired at an unknown date in the twentieth century, probably by donation

other notes

After an early sixteenth century composition of which various versions by Massys and his studio are known.

$5,000-8,000

146 Paul THOMAS (1868–1910)

A colonnaded hall in a European palace Oil on canvas

Remains of original labels to the reverse

64.5 x 52cm

provenance

Sotheby’s, Fine Decorative Arts and Jewellery, Melbourne, 26 May 2009, lot 419

$800-1,200

147

EUROPEAN SCHOOL

Second half 19th century

A landscape with figures and sheep beside a waterfall Oil on canvas

Unsigned

87 x 147cm

$1,000-1,500

148

Wilhelm von KAULBACH (1805–1874)

Anacreon Oil on canvas

Unsigned

Mounted in the apparently original gilt frame, inscribed below with the artist’s name and the title of the work 118 x 96cm

provenance

Arthur Tooth & Sons, London, last quarter 19th century (remains of their label to the reverse of the frame

Sotheby’s, Fine Australian and International Paintings, Melbourne, 2 May 2000, lot 341

other notes

Another larger version of this work by Kaulbach, also apparently unsigned, was sold at auction in 2006 (Nagel, Königliches Württemberg, Stuttgart, 6 December 2006, lot 616) while a smaller preparatory oil sketch for it was sold elsewhere in Germany the same day (Neumeister, PeintureObjets d’art - Mobilier, Munich, 6 December 2006, lot 707).

$2,600-3,400

149

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

$2,000-3,000

150 Edward Benjamin HERBERTE (1857–1893)

The Meet Oil on canvas

Signed lower left: E. B Herberte / 1885 49 x 74cm

provenance

C.S. Booth, Melbourne (label to the reverse of the frame)

$2,600-3,400

151

Follower of John GLOVER (1767–1849)

Second quarter 19th century

An English wooded landscape with figures and cattle crossing a river Oil on canvas

Unsigned 86 x 125cm

$4,000-6,000

152

Thomas FLINTOFF (circa 1809–1891)

A half-length portrait of a woman wearing a black dress and gold locket, her hand towards a vase of flowers Oil on canvas

Signed and dated lower right: T. Flintoff 1882

Accompanied by an ill-fitting antique gilt frame with applied silvered plaque engraved with a presentation inscription to Samuel Vincent Winter (1843–1904) in his capacity as the first mayor of the City of Richmond ‘as a token of esteem by a few fellow citizens and friends’ dated December 1882

91.5 x 71.5 cm (canvas overall, to the edges of the stretcher)

provenance

Leonard Joel, Australian Paintings, Melbourne, 7 November 1973, lot 777 (unsold)

other notes

The fact that both the painting and the plaque affixed to the accompanying frame are dated 1882 might suggest that the frame is original to the painting (they were together when the painting was offered at auction in 1973), and therefore that the plaque might provide a clue to the identity of the sitter – perhaps Winter’s wife, Lucy, who had died earlier in 1882 –but the fact that the rebate of the frame is, by some margin, too small to accommodate the painting seems to rule out this possibility.

$600-900

153

ENGLISH SCHOOL

Mid-19th century

A bust-length portrait of a woman wearing a pink dress, her hair in a pearl-jewelled snood Oil on canvas

Apparently unsigned 73.5 x 60cm, oval

other notes

The particular form of the Winsor & Newton stencil to the reverse of the canvas indicates its midnineteenth century date.

$800-1,200

154

Henri de TOULOUSE-LAUTREC (1864–1901)

‘Quatorze lithographies originales (Mélodies de Désiré Dihau)’: the suite of fourteen Lithographs

First published 1895, this set published by A.C. Mazo & Cie., Paris, 1978, printed by Mourlot from the original stones, each editioned 130/450 in pencil in the lower margin, uniformly mounted and framed

Each about 39 x 39cm (sight size), 60 x 49cm (frame overall)

$1,000-1,500

155

Edward LADELL (1821–1886)

A still-life of fruit on a stone ledge Oil on canvas

Signed lower left: EL (conjoined, the E reversed) 38.5 x 28.5cm

provenance

Deutscher~Menzies, 19th & 20th Century Fine

Australian and International Art, Melbourne, 28 November 2001, lot 137 (unsold)

$3,000-5,000

156

Attributed to Bernhard von GUÉRARD (1771–1836)

A bust-length portrait of a lady, said to be Maria Theresa of Savoy

Watercolour with touches of gouache

Laid down on card, the reverse of the card inscribed in ink in a nineteenth century hand: ‘MINIATURE II, by Bernhard v. Guérard 1828 + Neapel 1836’

21.5 X 15.5cm, oval

provenance

Private collection, Sydney, from which acquired by the late owner

$1,000-1,500

157

Attributed to Robert THORBURN (1818–1885)

A bust-length portrait of a gentleman Miniature

Apparently unsigned

15.5 x 13.5cm (frame overall)

$1,000-1,500

158 FRENCH SCHOOL

First half 19th century

A half-length portrait of a young woman in a garden, possibly Pauline Fourès Miniature in enamel on metal, convex Apparently unsigned

Possibly attributed to ‘Delattre’ in a nineteenth century pen and ink inscription to the reverse

6.5cm diameter (the frame overall 14 x 11.5cm)

$800-1,200

Items of Interest

159 (part)

AN ITALIAN MARBLE FIGURE OF AN EAGLE AND A HARDWOOD PEDESTAL

The sculpture by Ruggeri Fornari, first half 20th century, the associated pedestal of similar period

The sculpture in translucent mottled and veined grey marble with glass eyes, carved as an eagle standing on a rock with its head down and wings partly open, incised signature ‘Ruggeri Fornari’ to the reverse of the rocky base; the associated Australian hardwood pedestal with a carved and reeded shaft between a moulded square top and base

The sculpture 52cm high, 38cm wide, 51cm deep; the pedestal 90cm high, 40cm wide and deep

AN ANTIQUE ITALIAN MARBLE AND ALABASTER

SCULPTURAL LAMP

The lamp sculpture by G. Mascagni, late 19th century, the associated pedestal of similar period

The light within a domed cover raised on a slender column on a rocky base against which stands a young female figure drawing water from a wall fountain, incised signature ‘G. Mascagni’ to the edge of the fountain basin, all on a low base; the associated square marble plinth of Classical design with relief of the ‘Rape of the Sabines’ to the front

The lamp 84cm high; the plinth 44cm high, 39.5cm

161

AN ANTIQUE ITALIAN MARBLE AND ALABASTER SCULPTURAL LAMP

The sculpture by G. Mascagni, late 19th century

The light within a domed cover raised on a slender column on a rocky base on which also sits a barelydraped smiling young female figure, on an integral low octagonal base, incised signature ‘G. Mascagni’ to the reverse of the rocky base

69cm high

$800-1,200

162 EUROPEAN SCHOOL

Second half 19th century

Venus de Milo

Marble

After the Hellenistic original In two parts, meeting at the hips, on an integral low shaped plinth base

89cm high

$800-1,000

163

After Jacques BOUSSEAU (1681–1740)

Late 19th century

Ulysses bending his bow Bronze, in a dark patina with high points worn to brown

Unsigned

47cm high, 20cm wide, 18cm deep (the base 14.5cm wide and deep)

$800-1,200

164

A PAIR OF ANTIQUE FRENCH BRONZE URNS

Late 19th century

Of Classical form, the exterior of both bodies modelled in high relief with the same compositions of battling knights to the front and a more peaceful scene of figures to the reverse, handles in the form of female angels to the sides, the removable covers mounted with different groups of battling knights, each on a tall shaped and moulded marble plinth

50.5 and 49.5cm high

$800-1,200

165

Bruno ZACH (1891–1945)

A lightly-dressed woman dancing with a fan Bronze, various parts silvered and gilt, on an onyx and black marble plinth

The integral base cast with signature: Zach 25.5cm high

$1,000-1,500

166

AN AUSTRIAN COLD-PAINTED BRONZE KANGAROO BY FRANZ BERGMAN

Circa 1900

Naturalistically modelled standing with head turned to one side, painted with various hues of brown and cream, rubbed amphora mark underside 15.5cm high, 21cm wide, 6cm deep

$1,000-2,000

171

A LARGE EARLY SPANISH MANUSCRIPT VOLUME OF ANTIPHONAL MUSIC

17th or early 18th century

Comprising approximately 175 double-sided paginated vellum folios of choral music in black and red ink, many with rubricated initials in red and blue and other decorative details, in the original calfcovered binding with thick pine boards secured with a decorative wrought iron hasp latch 71cm high, 51cm wide, 11cm deep (the volume standing upright)

provenance

Terry Whelan, Melbourne, from whose estate now offered

$3,000-5,000

172

TWO SIMILAR GRAND TOUR

MICROMOSAIC AND GOLD-MOUNTED BEETLE SHIRT STUDS

Rome, third quarter 19th century

Each circular, set with a very fine micromosaic of Egyptian revival beetle motifs within a gold frame and post, the gold apparently unmarked but testing electronically at around 12ct, housed within an antique fitted leather case

2.4cm and 2.5cm diameter respectively

$800-1,200

173

AN AQUARIUM TABLE LIGHTER BY BEN SHILLINGFORD FOR DUNHILL

1950s

In ‘half-giant’ table size, the lobed lucite body decorated in reverse intaglio with underwater scenes of an angel fish to one side and three cardinal fish to the other, the silver-plated hardware stamped DUNHILL, REG. No. 737418, MADE IN ENGLAND

8cm high, 10cm wide, 4.8cm deep

other notes

The 'Aquarium' lighters were crafted and meticulously hand-made by Ben Shillingford from 1949 to 1959 for Alfred Dunhill. When Shillingford retired, the expertise required to produce these lighters was lost, leading to the end of their production. Each 'Aquarium' lighter is a unique masterpiece, no two identical.

$2,000-3,000

174

AN ANTIQUE SWEDISH SWORD AND SCABBARD

Morell & Co., Stockholm, mid-19th century

The hilt with gilt brass guard cast with the Three Crowns and milled wood grip, the fullered steel blade plain, the leather scabbard with long foliate repoussé brass locket and chape 95cm long overall (the sword in the scabbard)

other notes

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

$600-800

175 AN ANTIQUE SWEDISH SWORD AND SCABBARD

Apparently without maker’s mark, mid-19th century

The hilt with foliate gilt brass guard and wire-bound shagreen grip, the slightly curved damascened steel blade with gilt coats-of-arms and foliate cartouches enclosing patriotic mottos, the polished steel scabbard with two suspension points 86cm long overall (the sword in the scabbard)

other notes

Before bidding, prospective purchasers not resident of Victoria must make their own enquiries and satisfy themselves as to the process and requirements for importing the sabre to their jurisdiction.

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

$700-900

SABRE AND SCABBARD

Marked ‘Warranted’ but apparently without the maker’s name, first quarter 19th century

The hilt with pierced brass guard and wire-bound shagreen grip with lion’s head pommel, the steel blade engraved with differing quality with the royal coat-of-arms and various martial and patriotic motifs, some gilt, the leather scabbard with brass locket, chape and suspension point 84cm long overall (the sword in the scabbard)

other notes

Before bidding, prospective purchasers not resident of Victoria must make their own enquiries and satisfy themselves as to the process and requirements for importing the sabre to their jurisdiction.

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

$600-900

Albanian or Greek, circa 1800, unidentified maker’s marks to the flats and locks

Unidentified proof marks at the breeches, each with a two-stage barrel octagonal at the breech becoming round, the repoussé white metal muzzle sleeve with integral false ramrod, the rounded lock engraved with indistinct inscription, the full walnut stock finely carved throughout with foliate designs and inlaid with wire scrolls and tiny stones and a white metal crowned escutcheon to the back of the butt, the spurred white metal pommel terminating in a chiselled foliate cabochon, the flats and tang, side plate, trigger guard, and pommel all decoratively engraved

One 46cm long (barrel 30.5cm), the other slightly shorter

other notes

No licence is required to purchase this lot.

$3,000-5,000

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

general manager

Wendy Carter

fine art

Wiebke Brix, Head of Art

Amanda North, Specialist

Hannah Ryan, 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

Natasha Berlizova, Administrator

asian art

Luke Guan, Head of Department

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

Yuan Li, Jewellery Assistant

Echo Liu, Administrator

Bethany McGougan, Consultant & Senior Auctioneer

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Specialist

Amy Butler, Assistant

luxury

Indigo Keane, Specialist

prints

Hannah Ryan, Art Specialist

furniture

April Chandler, Manager

Angus McGougan, Assistant

Alex Sargeant, Assistant

Shawn Mitchell , Interiors Consultant

jewellery

Leila Bakhache, Manager

Yuan Li, 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, Account Manager

Nick Guiney, Accounts Assistant

client services

Kim Clarke, Client Services 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