AUCTION CATALOGUE VOLUME 16 ISSUE 13
LJ8689
COVER: HIGHLIGHTS
INSIDE COVER: LOT 135 (detail)
A FINE WILLIAM AND MARY OYSTER-VENEERED OLIVE WOOD AND FLORAL MARQUETRY CHEST OF DRAWERS
Late 17th century $5,000-8,000 leonardjoel.com.au
Viewing in Melbourne: Friday 21 - Sunday 23 July 2023 333 Malvern Road, South Yarra, VIC 3141
Chiara Curcio
Head of Decorative Arts, Design & Interiors (03) 8825 5635 chiara.curcio@leonardjoel.com.au
David Parsons
Head of Private Estates and Valuations Decorative Arts Specialist (03) 8825 5638 david.parsons@leonardjoel.com.au
Please refer to our website for viewing times
AUCTION MONDAY 24 JULY 2023, 2PM MELBOURNE leonardjoel.com.au
Our second Decorative Arts offering for 2023 opens with two private collections. The George and Janice Rayner collection features a curated selection of René Lalique glass, comprising sought after patterns such as Bacchantes (lot 6), Ceylan (lot 6) and Davos (lot 5), as well as a rare and impressive Vendome pattern ceiling light (lot 1) that illuminated the family dining room of the Rayner residence for over 20 years.
Following on from the Rayner collection is property from a late Toorak gentleman, formed over several decades. The collection encompasses a variety of traditional paintings (lots 39-43), figurative sculptures with a particular focus on Viennese bronzes (lots 32-34), animalia figures (lot 27-29), and Australian and International Decorative Arts including a striking diorama of Australian birds in an original cedar case (lot 21), and a cabinet attributed to Gabriel Viardot (lot 50).
In addition to our single owner highlights there are several rare and interesting items from our multi-vendor categories of sterling silver, paintings, porcelain, furniture, sculpture, and items of interest, with some items rare to the market, and others with very good provenance, attractive to any connoisseur or novice collector.
Adorning our front cover are two English pieces of excellent quality: the George I William Webster repeating table clock (lot 163) with provenance tracing back to 1730, and a fine William and Mary oyster-veneered olive wood chest of drawers (lot 135).
From the 20th century are two rare furniture items crafted by Ernest Gimson (lots 91 & 92). Ernest Gimson (1864-1919) was one of the pre-eminent figures of the English Arts and Crafts movement. In the early 1890s he joined with others in moving to the Cotswolds to establish a community of like-minded designer-craftsmen and artists, thus establishing what was to become known as the Cotswold School. The furniture designed by Gimson and made in his workshop is widely regarded as being amongst the finest and now most sought after of English Arts and Crafts furniture. Both lots are amongst those acquired from Gimson in this period by his friend Harry Peach (18741936), another keen believer in William Morris' vision to revive and promote traditional English artisanship; and have remained with Peach's descendants until now.
Also crafted in the early 20th century but modelled in a sixteenth-century Venetian type ‘Sansovino’ frame is a very large fauna and floral mirror by Robert Prenzel (lot 93), beautifully adorned with fruiting foliage and a cockatoo crest.
We look forward to discussing any lots of interest with collectors at the viewing.
Chiara Curcio | Head of Decorative Arts, Design & InteriorsLOTS 1–20
Designed 1930
The central circular plate with moulded concentric beadwork design, radiating eighteen stepped elements, all of conforming design, in frosted glass, supported by a faceted nickel plated copper stem with a stepped ceiling cap, stenciled ‘LALIQUE
FRANCE’ to circular plate
Approximately 82cm long (from ceiling cap), 85cm diameter
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 2293, p. 668
OTHER NOTES:
The unique stepped sunburst outline of this ceiling light likely inspired by the Architectural elements of the Chrysler Building in New York City, which was constructed between 1928-1930, standing as the world’s tallest building upon its completion.
$4,000-6,000
2
Designed 1929
Of tapering form, moulded with stepped floral borders, in frosted and opalescent glass with blue patina, script-etched ‘R. LALIQUE FRANCE N: 1019’
16.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 1019, p. 443 (another example illustrated) $1,000-2,000
3 A
Designed 1932
Moulded with a scene depicting fish swimming in opalescent glass with blue patina, stencilled ‘R. LALIQUE FRANCE’
13.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 10-900, p. 464 (Another example illustrated) $800-1,200
4 A RENE LALIQUE ‘FORMOSE’ VASE
Designed 1924
The spherical body with a continuous pattern of swimming goldfish in relief, opalescent glass, moulded ‘R. LALIQUE’ 17cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 934, p. 425 (Another example, illustrated)
$1,200-1,800
5
A RENE LALIQUE ‘DAVOS’ VASE
Designed 1932
Moulded with an overall design of clusters of bubbles of varying sizes in opalescent glass, stenciled ‘R. LALIQUE FRANCE’ 28.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 1079, p. 455 (Another example, illustrated)
$1,600-2,200
6 A LALIQUE ‘BACCHANTES’ VASE
Designed 1927, post 1945
The tapering body moulded with a continuous scene of dancing maidens, in frosted glass with sepia patina, stenciled ‘LALIQUE FRANCE’ 24cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
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
7
A RENE LALIQUE ‘ACTINIA’ VASE
Designed 1934
Of waisted tapering form, with undulating raised and moulded decoration in opalescent glass, stenciled ‘R. LALIQUE FRANCE’ 21.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonné, de L’oeuvre De Verre, Paris, 1994, p. 462
$1,500-2,000
10
8
A LALIQUE ‘GANYMEDE’ SEAU À CHAMPAGNE
Post 1945
The cylindrical body moulded with dancing nymphs amoungst leaves, in frosted crystal, script-etched ‘LALIQUE FRANCE’ 23cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Marc Lalique & Marie-Claude Lalique, Lalique Par Lalique, Edipop, Geneve, 1988, p. 555 $800-1,200
9
A RENE LALIQUE ‘DAHLIAS’ VASE
Designed 1923
The body of compressed globular form, moulded with dahlias in frosted glass with black patination, moulded ‘R. LALIQUE’ 12cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 938, p. 425 $600-800
A RENE LALIQUE ‘DRUIDE’ VASE
Also known as Gui De Chene, designed 1924
The spherical body with a narrow flaring neck, moulded with Mistletoe in relief, opalescent glass, script-etched, R LALIQUE FRANCE No. 937’ 19cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 937, p. 425 (Another example illustrated) $600-800
11
A RENE LALIQUE ‘BOUCHARDON’ VASE
Designed 1926
The spherical body with a narrow flaring neck, applied with twin handles moulded as nude female figures holding a garlands, opalescent glass with blue patina, script-etched, R LALIQUE FRANCE No. 981’ 12.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 981, p. 435 $1,800-2,600
12
Designed 1930, post 1945
Six water glasses, one burgandy glass, five bordeaux glasses, six madeira glasses and eleven liqueurs, each of conical form moulded with frosted acanthus leaf decoration to lower body, some script-etched and others stenciled ‘LALIQUE FRANCE’
The water glasses 12.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 5267, 5268, 5269, 5270, 5272, p. 848 $300-500
13
Designed 1930
The tapering body moulded with birds amongst branches in opalescent glass, stenciled ‘R. LALIQUE FRANCE’
17.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 1055, p. 450 (Another example illustrated) $700-900
14
A LALIQUE ‘DEUX PIGEONS’ VASE
Designed 1931, post 1945
The cylindrical clear glass bowl faceted in form, with two loop handles applied with moulded birds in frosted glass, stenciled ‘LALIQUE FRANCE’ 20.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 1066, p. 453
$600-800
15
A RENE LALIQUE ‘PERRUCHES’ BOWL
Designed 1931
The body moulded with a band of budgerigars amoungst blossoming branches in opalescent glass, stenciled ‘R. LALIQUE FRANCE’ 10.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 419, p. 302 (Another example, illustrated) $1,800-2,400
16
A RENE LALIQUE ‘CEYLAN’ VASE
Designed 1924
The tapering body moulded with pairs of budgerigars amongst stylised foliage, in opalescent glass with blue patina, wheel-cut ‘R. LALIQUE FRANCE’ 24cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Felix Marcilhac, R. Lalique, Catalogue Raisonne De L’Oeuvre de Verre, Editions de l’Amateur, Paris, 1994, no. 905, p. 418 (Another example, illustrated)
$4,000-6,000
17
A LALIQUE ‘ARA’ SCULPTURE
Second half 20th century
Modelled as a cockatoo with wings outstretched, in clear and frosted glass, original Lalique Cristal label and script-etched ‘LALIQUE FRANCE’ 28.5cm high
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne
LITERATURE:
Marc Lalique & Marie-Claude Lalique, Lalique Par Lalique, Edipop, Geneve, 1988, p. 386 $300-500
18
TWO RARE MEISSEN COMMON STARLINGS
Model no. 973 & 974, after Johann Joachim Kändler, first quarter 20th century
Each modelled realistically, one standing on a rock formation, the other with one wing raised and beak open on a rock formation, blue underglazed crossed swords and model number to base 14 & 15cm respectively
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne $800-1,200
19
John GOULD (1804–1881)
Paradisea papuana
Hand-coloured lithograph
A plate from J. Gould, The Birds of New Guinea and the Adjacent Papuan Islands, including many new species recently discovered in Australia (1875–1888), the lithograph drawn by William Matthew Hart after Gould’s original drawing
The original letter press relating to the plate attached to the back
55 x 33cm (visible within mount)
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne $700-1,000
20
John GOULD (1804–1881)
Paradisea raggiana, Sclater
Hand-coloured lithograph
A plate from J. Gould, The Birds of New Guinea and the Adjacent Papuan Islands, including many new species recently discovered in Australia (1875–1888), the lithograph drawn by William Matthew Hart after Gould’s original drawing
The original letter press relating to the plate attached to the back
50 x 33cm (visible within mount)
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne $700-1,000
LOTS 21–51
21
A LATE VICTORIAN CEDAR-CASED TAXIDERMY DIORAMA OF AUSTRALIAN PARROTS
Arthur Coles, Melbourne, late 19th century
A king parrot, gang-gang cockatoo, crimson and Eastern rosellas, various lorikeets, and budgerigars, variously mounted on a tree and the ground below against a painted background of a wooded river landscape, in an Australian cedar-framed glazed case
Inscribed in chalk to the top of the case 'Mr A. Coles / Cora Lynn / [illegible] / Moonee Ponds'
The vase 114cm high, 101cm wide, 41cm
PROVENANCE:
Private collection, ‘Green Glade’, Torresdale Road, Toorak, Melbourne
Anonymous sale of that collection, E.J. Ainger, 27 November, 1994, lot 251, purchased by the late owner
Property from the collection of a late Toorak Gentleman
OTHER NOTES:
Arthur Coles, born in England in about 1840, set up business as a taxidermist and furrier in a shop in Elizabeth Street, Melbourne, in 1882. Very successful in this field, he exhibited a case of birds at the Victoria Jubilee Exhibition in 1884 and had work shown at exhibitions in London.
A 1926 newspaper article on Mr Coles’s life and work refers to his residence in Moonee Ponds. $1,500-2,500
22
AN ANTIQUE MANTEL CLOCK IN A SPECIMEN WOOD CASE
The movement Waterbury Clock Company, Connecticut, the case possibly in Australian woods, last quarter 19th century
The thirty-hour balance movement and enamelled dial with glazed cover set within an octagonal case raised on a pair of C-scrolls above the elliptical base, the case, supports, and base geometrically veneered in various contrasting woods, the maker’s original printed paper label to the back of the movement 55cm high, 54cm wide, 23cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$800-1,200
23
A NEW ZEALAND SPECIMEN WOOD BOX BY WILLIAM NORRIE
Late 19th century
Rectangular, the slightly cushioned cover geometrically-veneered in various New Zealand woods including burr totara, rewa rewa, puriri, rata, and mottled kauri above the sides in mottled kauri with through dovetail joints and a base moulding, on turned feet, the carcase kauri, accompanied by an original W. Norrie trade card with a pencil diagram to the reverse indicating the woods used 10.5cm high, 31cm wide, 20cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$600-900
26
AN EARTHENWARE FIGURE GROUP IN THE MANNER OF CLODION 20th century
A seated satyr with a nymph and two putti on a rockwork base with circular foot, in a cream slip, indistict incised signature to the back of the base and impressed G.C to the underside 53cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $600-800
27
AN ITALIAN GLAZED EARTHENWARE FIGURE OF A GERMAN SHEPHERD DOG
Last quarter 20th century
Naturalistically modelled in a seated pose with mouth open, impressed mark ‘Made in Italy’ underside 86cm high
PROVENANCE:
Albany Antiques, Melbourne, 2015
Property from the collection of a late Toorak Gentleman $600-800
24
A VICTORIAN MAHOGANY HOMEOPATHIC MEDICINE DISPLAY AND DISPENSING CABINET, INCLUDING EARLY CONTENTS
Last quarter 19th century
A counter-top display cabinet to the front with an integral sloping desk behind, the front comprising a pair of glazed doors enclosing tubular racks, each for one hundred and sixty cardboard vial canisters, largely filled with late nineteenth and early twentieth century canisters, many never opened, flanking a reverse-painted glass advertisement for ‘Keene and Ashwell’s Homœopathic Medicines’ above a small dispensing window and a printed portrait of Samuel Hahnemann below, the desk with a hinged writing surface enclosing a compartment 77cm high, 70.5cm wide, 58cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$2,500-3,200
25
AN ANTIQUE GLAZED EARTHENWARE
UMBRELLA STAND
Late 19th century
Modelled as a fur-clothed North American hunter holding a baby seal, indistinctly signed or inscribed to the base 98cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$500-700
28
A BRONZE FIGURE OF A RETRIEVER DOG 20th century
Naturalistically modelled rearing up on with front legs out seeking attention, on an integral low base, in brown patina with areas of light verdigris, the collar gilt 82cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
A LIFE-SIZE BRASS-PLATED BRONZE FIGURE OF A TIGER
Third quarter 20th century
Naturalistically modelled in a prowling pose, growling and with the tail outstretched, the tail detachable
91cm high, 182cm long
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
30
A PAIR OF BRONZE REPLICAS OF THE ‘RIACE WARRIORS’
Reduced-scale copies after the pair of Classical Greek bronzes discovered in 1972 in the sea near Riace, Calabria, each on an integral square plinth 127cm and 126cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $2,000-3,000
31
A NEO-CLASSICAL MARBLE RELIEF 20th century
In late eighteenth century style, depicting a nude youth playing the violin while a a classically-draped woman dances with another nude youth
92cm high, 69cm wide, 5.5cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman $2,000-3,000
32
Franz Xavier BERGMAN (1861–1936)
An exotic dancer
Cold-painted bronze, the front half of the skirt hinged, lifting to reveal the figure nude beneath Circa 1900
Cast with incised pseudonymous signature to the back: Nam Greb, together with a foundry mark
The rear of the base with applied pressed metal retailer’s label, ‘Nissel & Sikora, Wien’ 33cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $2,000-3,000
33
A VIENNESE PATINATED BRONZE FIGURE OF A FEMALE NUDE
In the manner of Franz Xavier Bergman, circa 1900 Modelled as a young woman standing on a Persian rug, the figure in a brown patina, the rug cold-painted, the base with applied pressed metal retailer’s label, ‘Nissel & Sikora, Wien’ 34cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
34
A VIENNESE PATINATED BRONZE FIGURE OF A FEMALE NUDE
In the manner of Franz Xavier Bergman, circa 1900 Modelled as a young woman standing on a Persian rug, the figure in a red-brown patina, the rug cold-painted, the base with applied pressed metal retailer’s label, ‘Nissel & Sikora, Wien’ 35cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
35
A PATINATED BRONZE FIGURE OF DIANA
Late 19th century, after Jean-Antoine Houdon
On an integral bronze base mounted on a circular ebonised wood plinth, with cast inscription to the base ‘Diane de Houdon’ 66cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $1,200-1,800
A PAIR OF PATINATED BRONZE FIGURES OF MERCURY AND FORTUNA
20th century, loosely after Giambologna
Each on a circular Neo-Classical marble and bronze plinth, each with cast inscription to the base ‘J. Bologne’ (Giambologna)
Respectively 85cm and 79cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$900-1,200
37
TWO SAMSON PORCELAIN FIGURES EMBLEMATIC OF THE ASIA AND AMERICA
After the 18th century Meissen model by J.J. Kaendler, late 19th century
Each female modeled holding their continent’s respective attributes, Asia a camel and America an alligator Asia 19.5cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$600-800
38
A MEISSEN PORCELAIN FIGURAL GROUP
After the 18th century model by J.J. Kaendler, late 19th century
Modelled as Aeneas rescuing Anchises and Ascanius, underglazed blue crossed swords and model no. 2103 17cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman
$700-900
39
FLEMISH SCHOOL First half 18th century
Adam and Eve in the Garden watched by the Archangel Michael Oil on canvas 98 x 73cm
PROVENANCE:
Property from the collection of a late Toorak Gentleman $2,000-3,000
40
Follower of Peter Paul RUBENS (1577–1640) 18th century
The Descent from the Cross Oil on oak panel 57 x 59cm
PROVENANCE:
Property from the collection of a late Toorak Gentleman
OTHER NOTES:
A copy in reverse after the far larger central panel of Rubens’s 1612–1614 triptych in the Cathedral of Our Lady, Antwerp. $800-1,200
41
FLEMISH SCHOOL 17th century
The Lamentation over the dead Christ Oil on copper 27.5 x 34cm
PROVENANCE:
Property from the collection of a late Toorak Gentleman $1,500-2,500
42
P. MOLENA (working late 19th century)
A capriccio landscape of a riverside town in the Near East Oil on canvas Signed lower right: P. Molena 66 x 103xm
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
43
ENGLISH SCHOOL Third quarter 19th century
A group of figures below a watermill in a mountainous European landscape Oil on board 59 x 68cm
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
Last quarter 19th century
In the form of Tuscan order columns, each with a square top in plain black marble above a shaft of variegated red marble on a stepped black marble plinth base, with cast brass capital and mouldings to the base 109cm high
PROVENANCE:
Property from the collection of a late Toorak Gentleman $1,200-1,800
45
AN ANTIQUE-STYLE DUTCH CAST BRASS CHANDELIER
First half 20th century
Of typical form, the twelve lights raised on two tiers of scrolling arms radiating from a baluster stem, 79cm high, 66cm diameter
PROVENANCE:
Private collection, ‘Green Glade’, Torresdale Road, Toorak, Melbourne
Anonymous sale of that collection, E.J. Ainger, 27 November, 1994, lot 233, purchased by the late owner
Property from the collection of a late Toorak Gentleman $800-1,200
46
A GEORGE III FIGURED MAHOGANY EXTENDING DINING TABLE Circa 1770
Comprising a pair of half-round ends, a central section with paired gate-leg supports to each long side to accommodate adjacent leaves, and two spare leaves, all above a plain frieze raised on ‘Marlborough’ moulded square supports 70cm high, 280cm long (fully extended), 122cm wide
PROVENANCE:
Purchased from Pelham Galleries, London, 7 June, 1979
Property from the collection of a late Toorak Gentleman $800-1,200
47
A GEORGE III MAHOGANY ARCHITECT’S TABLE
Third quarter 18th century
The hinged top with removable book-rest rising on a ratchetted support for use at desk height and rising further on a second ratchetted support for use at standing height, the interior of the frieze drawer fitted with a sliding leather-lined writing surface enclosing an arrangement of compartments and concealed drawers and a swing-out pen and ink compartment to the right side, on square supports with engaged quarter-columns to their inner corners, on concealed casters
78cm high (not extended), 90cm wide, 61cm
PROVENANCE:
Property from the collection of a late Toorak Gentleman $1,500-2,000
AN ANTIQUE WALNUT CABINET
Probably Franco-Flemish, late 17th / early 18th century
The egg-and-dart cornice surmounted with a (probably added) swan-neck and urn pediment sculpted with recumbent female figures above a pair of doors enlosing an open space, on a moulded plinth base on double volute feet, the doors panelled between half-columns, the upper panels carved in low relief with Classical designs, the sides panelled 200cm high, 122cm wide, 57cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman $1,000-1,500
49
A GEORGE III FIGURED MAHOGANY CLOTHES PRESS
Early 19th century
The upper part with a moulded cornice and frieze above a pair of oval-panelled doors enclosing an interior with one slide, the lower part with two short above two long drawers, on splayed bracket feet 198cm high, 128cm wide, 64cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman $800-1,200
50
A FRENCH JAPONOISERIE STAINED BEECH DISPLAY CABINET ATTRIBUTED TO GABRIEL VIARDOT
Late 19th century
The raised shaped and moulded top above an asymmetrical arrangement of glazed compartment, open shelves, small drawer, and cupboard, on shaped feet, the velvet-lined interior of the glazed compartment with removable shelves, richly decorated throughout with fretwork, carved elements, applied ivory, and bronze mounts 170cm high, 75cm wide, 45cm deep
PROVENANCE:
Christie’s, Melbourne, 27 March, 2000, lot 273 ($4,800, as by Viardot Frères & Cie)
Property from the collection of a late Toorak Gentleman $1,200-1,800
A FRENCH JAPONOISERIE STAINED BEECH VITRINE IN THE MANNER OF GABRIEL VIARDOT
Late 19th century
The stepped top and key pattern relief frieze above a glazed door and sides enclosing an asymmetrical arrangement of wooden shelves above movable glass shelves, on shaped feet flanking fretwork aprons, the lower part of door and sides with finely carved and incised floral and key pattern decoration 167cm high, 86cm wide, 41cm deep
PROVENANCE:
Property from the collection of a late Toorak Gentleman $1,000-2,000
52
A GOLD CUP, PRESENTED AS THE 1930 ‘MITCHELSON CUP’
Unidentified maker (no mark visible), marked ‘15ct’ and with crown and anchor marks
Of goblet form, the hemispherical body on a spreading foot, with openwork handles to the sides each terminating with the head of a man, the rim and foot decorated with stylised Maori designs, the body engraved to one side ‘MITCHELSON CUP / 1930 / WON BY MR JAS. FREDRIC’S “SEATOWN”’ and with further details, the foot engraved with the monogram of the Auckland Racing Club, mounted on the original turned and ebonised wood plinth
Testing in different places as 12ct and 15ct gold 25cm high overall, the cup 486g (without plinth)
PROVENANCE:
Presented to James Frederic, owner of ‘Seatown’, at Ellerslie Park, Auckland, 4 October, 1930 Thence by descent to his grandson, the vendor $18,000-24,000
53
A COLONIAL SOUTH AUSTRALIAN SILVER GOBLET BY CHARLES EDWARD FIRNHABER
Adelaide, first half 1860s, maker’s mark CEF with leopard’s head and lion marks
The flaring bowl with everted rim and lobed base on an inverted baluster stem and lobed spreading foot, the body engraved with an inscription recording the presentation of the cup as a gift from Dr C.J.F. Mayer and Adelaide Germans to H. Linde as the 1865-1866 ‘Kingship’ prize of the Adelaide German Rifle Club
19cm high, 215g
PROVENANCE:
Property from the collection of the late Herman and Inge Thumm
$800-1,200
54
A LARGE EDWARDIAN STERLING SILVER TRAY Walker & Hall, Sheffield, 1911
In George III style, of serpentine oval outline, the swept gallery sides pierced to a foliate design and with a gadrooned rim rising towards the ends, on bun feet, the centre engraved with a presentation inscription to S.J. Jacobs, as Chairman of the South Australian Tattersalls Club, from the Club’s members, dated 1915
7.5cm high, 59.5cm wide, 42cm deep, 3,272g
PROVENANCE:
Samuel Joshua Jacobs (1853–1937), Adelaide, South Australia
$2,500-3,000
55
A SET OF SIX VICTORIAN STERLING SILVER SOUP PLATES
Charles Stuart Harris, London, 1898
In mid-Georgian style, of shaped circular outline with gadrooned rims, the border of each uniformly engraved with a crest flanked by monograms 24cm diameter, 3,690g in total $3,000-4,000
56
A SET OF FOUR GEORGE V STERLING SILVER SOUP PLATES
F.B. Thomas & Co., London, 1930
In mid-Georgian style, of shaped circular outline with gadrooned rims 24.5cm diameter, 2,722g in total $2,500-3,000
57
A PAIR OF AMERICAN STERLING SILVER CANDELABRA
After a design by Alphonse la Paglia, Durham Silver Co., mid-20th century
Each of two lights raised on outswept bifurcated branches rising from a spreading circular foot, decorated with a central scroll and stylized flower heads and berries
Each 21.5cm high, 26cm wide, 996g in total
$800-1,200
58
AN AMERICAN STERLING SILVER TAZZA
Woodside Sterling Co., early 20th century
The lobed circular dish with slightly inverted rim raised on an openwork pedestal of stylized stiff leaves and berries on a domed circular foot 20.5cm high, 23cm diameter, 790g
$600-800
59
A WILLIAM IV STERLING SILVER TEA AND COFFEE SERVICE
Charles Fox II, London, 1832 and 1833
A tea pot, coffee pot, two-handled sugar basin, and cream jug, the lobed baluster-shaped and compressed globular bodies with foliate decoration to shoulders, spouts, handles, and covers (with a variation between the handles of the pots and those of the smaller vessels), the covers with pumpkin finials, all on foliate feet
22cm high (coffee pot), 2,442g in total
$1,800-2,400
A REGENCY STERLING SILVER SWING-HANDLED BASKET
Unidentified maker (mark rubbed), London, 1814
Rectangular with raised ends on a waisted and moulded foot, the gadrooned rim with shell and foliage corners and centres, the moulded handles with foliate sides
11cm high (handle not raised), 33.5cm wide, 26.5cm deep, 1,138g
$800-1,200
61
A COMPOSITE STERLING SILVER KING’S PATTERN FLATWARE SERVICE FOR TWELVE
Various English makers and 19th and 20th century dates
Ninety-six pieces, comprising twelve each of entrée knives and forks, table knives and forks, table spoons, dessert spoons, and tea spoons (two of these of a different but similar pattern), together with six further table knives (to make eighteen in total) and six coffee spoons, the knife handles silver plate
4,075g in total (not including the knives)
$2,000-3,000
62
A VICTORIAN STERLING SILVER NAUTILUS-SHAPED ENCLOSED SUGAR BASIN
Goldsmiths’ Alliance Ltd, London, 1890
Of stylized nautilus shape with a hinged cover, on a rockwork foot
13.5cm high, 16.5cm wide, 416g $350-450
63
A WILLIAM IV STERLING SILVER PLATE
Rundell, Bridge, & Rundell, London, 1831
In earlier Georgian style, circular with a dished centre, the gadrooned rim with alternating shell and anthemion points
26.5cm diameter, 744g
$600-800
64
A GEORGE V STERLING SILVER COVERED DISH
Jenkins & Timm, Sheffield, 1923
In mid-Georgian style, of rounded square outline, the top of the cover with a floral and foliate gadrooned border, its handle and the rim of the dish conforming
12cm high, 20.5cm wide and deep, 852g $700-1,000
65
A WILLIAM IV STERLING SILVER COVERED DISH
R. & S. Garrard & Co., London, 1831
In mid-Georgian style, of shaped circular outline, the top of the cover with a gadrooned border, its handle and the rim of the dish conforming 13cm high, 27.5cm diameter, 1,684g
$1,500-2,000
66
A GEORGE II STERLING SILVER SALVER
Hugh Mills, London, 1746
Of shaped circular outline, the rim of the moulded edge with foliate details linked by scrolls, on scrolling pad feet, the centre engraved with a heraldic achievement
3cm high, 20cm diameter, 516g
$500-700
67
A SET OF FOUR EARLY VICTORIAN STERLING SILVER SALT CELLARS
Henry Wilkinson & Co., Sheffield, 1836
Goblet shaped, the bodies and feet of interlaced stylised foliage and stem design, the bodies pierced, with cobalt glass liners
Each 7cm high, 367g in total (exlcuding liners)
$400-600
68
A VICTORIAN STERLING SILVER SALVER
Martin, Hall, & Co., London, 1872
Of shaped circular outline, the centre engraved with foliate designs, the moulded edge with beaded and husk borders and foliate points to the beaded rim, on ball and claw feet, the underside engraved with a presentation inscription
Diameter 32cm, 796g
$700-900
69
A PAIR OF MID-VICTORIAN STERLING SILVER DISHES ON FEET
R. & S. Garrard & Co., London, 1856 and 1868
Oval with high, two-tiered coved and ribbed sides, the rims with shell and foliage handles at their four mid-points, on scrolling pad feet, the centre of each engraved with a heraldic achievement
7cm high, 31.5cm wide, 27.5cm deep, 1,669g in total
$1,400-1,800
70
A MATCHED LATE GEORGIAN AND EARLY VICTORIAN STERLING SILVER TEA AND COFFEE SERVICE
Various London makers and 1820s–1840s dates
A tea pot, coffee pot, two-handled sugar basin, and cream jug, the lobed baluster-shaped and compressed globular bodies with scrolling handles, the covers with pumpkin and leaf finials, all on foliate feet
24.5cm high (coffee pot), 2,264g in total $1,400-1,800
71
AN ELIZABETH II STERLING SILVER SALVER
Hardy Brothers, Birmingham, 1963
In George III style, of shaped circular outline, the moulded edge with shell and anthemion points to the rim, on foliate scroll feet
33cm diameter, 1,154g
$800-1,200
72
A SWEDISH 800 SILVER FLATWARE SERVICE FOR EIGHTEEN
W.A. Bolin, Stockholm, 1949 and 1950
In an elegant pattern, plain except for delicate foliate details at the base of the handles, two hundred and twenty-five pieces, comprising eighteen each of fish knives and forks, entrée knives and forks, main knives and forks, fruit knives and forks, table spoons, and dessert spoons, together with twelve tea or coffee spoons and smaller numbers of various other pieces including butter knives, serving spoons, and a ladle, the terminals engraved with a monogram, fitted in the original case 9,410g (not including those knives with polished steel blades)
$3,000-5,000
73
A GEORGE II STERLING SILVER COFFEE POT
William Grundy, London, 1753
Of baluster shape with fluted spout and fruitwood handle on a spreading gadrooned foot, the domed cover with acorn-shaped finial and gadrooned edge 24cm, 747g (including handle)
$800-1,200
74
AN EARLY GEORGE III STERLING SILVER LADLE
William Withers, London, 1763
The circular bowl of stylised shell design on a plain shaft with a reeded and scrolled terminal 36cm long, 207g
$300-500
75
A GEORGE IV STERLING SILVER TEA SERVICE
Rebecca Emes & Edward Barnard I, London, 1825
A tea pot, two-handled sugar basin, and cream jug, the lobed compressed globular bodies with foliate decoration to shoulders, spouts, handles, and covers, the cover of the tea pot with a pumpkin finial, all on foliate feet
14cm high tea pot), 1,391g in totl $1,200-1,800
76
A GEORGE VI STERLING SILVER TEA AND COFFEE SERVICE
Hardy Brothers, Birmingham, 1948
Comprising pots for tea, coffee, and hot water, a two-handled sugar basin, and cream jug, each body lightly lobed and engraved with classical designs below the rim, the pots with stained wood handles and finials
20.5cm high (coffee and hot water pots), 2,864g in total $2,200-2,600
77
A VICTORIAN STERLING SILVER TEA AND COFFEE SERVICE
Martin, Hall, & Co. London, 1881
A tea pot, coffee pot, two-handled covered sugar basin, and covered cream jug, the bodies of chamfered rectangular outline tapering towards their flat tops, the spouts of conforming lines, the bodies, spouts, and covers with engraved decoration of birds and foliage around patterned bands and borders, all fitted in the original oak carrying case 21cm high (coffee pot), 2,226g in total $2,500-3,500
78
A SAINT-LOUIS ‘APOLLINAIRE’ VASE
Of tapering form with a flared rim, in a thick chartreuse green crystal engraved and decorated in 24-carat gold scrollwork decoration, accompanied by original box with certificate of authenticity, marked edition number 7 34.5cm height
OTHER NOTES:
Saint-Louis is the oldest crystal manufacturer in Europe, founded in 1586.
During twenty-five days of manufacturing, eight craftsmen worked on the shaping of this Apollinaire vase, six others worked on the engraving and gold decoration.
RRP $10,000
$5,000-7,000
79
A BACCARAT ‘BAMBOUS’ DOUBLE CANDELABRA
The moulded stem emanating two candelholders, each with an etched glass storm shade and crystal lustre drops, flanking a central crystal spire, Baccarat stamp to base 54cm high
$1,500-2,000
80
A PAIR OF BACCARAT ‘DAUPHIN’ CANDLEHOLDERS
The frosted glass stem in the form of a stylized dolphin on shaped foot, with an etched storm shade and crystal lustre drops, Baccarat stamp to base 58.5cm high
$2,000-3,000
81
A GEORGE II GLASS TAZZA
Mid-18th century
The circular plate, on a silesian stem raised on a domed and folded foot
18.5 cm high, 25cm wide
$600-800
82
A LARGE ROYAL WORCESTER POT POURRI VASE
DECORATED BY JOHN STINTON
Shape no. 1428, date cypher for 1924
The moulded cover with bud finial above the short swag-draped pierced neck and globular body with a pair of handles to the shoulders, on a low circular foot, decorated to the front with a scene of cattle in a Scottish highland landscape by John Stinton (signed), various factory marks underside
33cm high
$7,000-10,000
83
A LATE VICTORIAN PÂTE-SUR-PÂTE VASE, ATTRIBUTED TO GRAINGER & Co., WORCESTER
Late 19th century
Of ‘moon flask’ form with a pair of square loop handles from the mouth rim to the shoulders, pinkglazed with a large circular gilt-framed reserve to the front with a pâte-sur-pâte spray of flowers and leaves on the green ground
25.5cm high
$700-1,000
84
A ROYAL WORCESTER EWER DECORATED BY WILLIAM POWELL
Shape no. 1944, date cipher for 1912
Baluster-shaped on a gilt square foot with a shaped rim and loop handle terminating in a satyr mask, painted with a scene of herons in a stream in an exotic palm-fringed landscape, signed by Powell lower right, gilt details throughout, puce backstamp and shape number 1944 underside
24cm high
$800-1,000
85
A LARGE HEREND PORCELAIN ‘ROTHSCHILD
BIRD’ PATTERN PART DINNER SERVICE
Approximately one hundred and fifty pieces, generally a service for eight places with smaller or larger numbers of some pieces, comprising soup plates, entrée plates, dinner plates of two types, covered and uncovered soup bowls of three types and mostly with matching underplates, a pair of covered dishes, fourteen serving platters, dishes, and bowls of various shapes and sizes, sauce boats, tea and coffee pots, tea cups and saucers of two types (some without matching saucers), demitasse and saucers, covered sugar bowls and cream jug, a candelabrum and assorted other pieces, printed factory marks underside
Largest 27cm wide, 37cm long
$3,000-5,000
86
A LARGE ROYAL VIENNA PORCELAIN PART DINNER SERVICE
Mostly second half 1810s with some later additions
One hundred and seven pieces, comprising soup plates (12), dinner plates (38), side plates (33, in two sets of slightly different size), a large tureen on stand, pair of smaller tureens on stands, pair of covered dishes, fourteen serving platters, dishes, and bowls of various shapes and sizes, most in pairs, a comport, and a salt cellar, white-glazed with borders of a gadroon design in blue within gilt outlines and rims, various factory marks underside including impressed date marks and underglaze blue bindenschild marks
Largest 34.5cm wide, 44cm long $3,000-5,000
87
A WILLIAM MOORCROFT MOONLIT BLUE VASE 1920s
Of baluster form, decorated with trees on deep blue ground, impressed Cobridge factory mark and facsimile signature
25cm high $2,000-3,000
88
A WILLIAM MOORCROFT FLAMBÉ FISH VASE 1930s
Of tapering form, decorated with a continuous underwater scene of fishes swimming amongst seaweed all on a mottled green ground, in a flambé glaze, impressed factory mark, underglazed facsimile signature and impressed ‘POTTER TO HM THE QUEEN’ 23.5cm high
PROVENANCE:
Leonard Joel, Melbourne, May 8th 2002, lot 429 $2,000-3,000
89
A WALTER MOORCROFT FLAMBÉ WARATAH PLATE
Circular with a shallow rim, the cavetto decorated with three large waratah flowers on a mottled red ground, in a flambé glaze, impressed factory mark, underglazed facsimile signature and impressed ‘POTTER TO HM THE QUEEN’ 3.5cm high, 18.5cm diameter $1,800-2,400
90
A LARGE MOORCROFT TASMANIAN BLUE GUM VASE
Designed by Sally Tuffin, dated 1993 Numbered 14/50, of baluster form decorated with flowering gum nuts amongst gum leaves on a green and blue ground, impressed factory mark, impressed diamond mark for 1993, signed and dated: S. T. Des 13.8.93, signed and dated: J. Moorcroft 18.9.94, also marked ‘E.A. JOYCE & SON TASMANIA CENTENARY 1893-1993’ together with the monogram for Sally Tuffin 42cm high
PROVENANCE:
Despard Gallery, Hobart, Tasmania, October 6th 2000
LITERATURE:
Paul Atterbury, Moorcroft Revised Edition 1897-1993, Denis and Edwards, England, 1993, p. 193
$6,000-9,000
Born and raised in Leicester, Ernest Gimson (1864-1919) was one of the pre-eminent figures of the English Arts and Crafts movement. In 1884, as a nineteen year-old articled architectural draftsman, he attended a lecture given in Leicester by William Morris after which the two men conversed for several hours, the beginning of an ongoing mutuallyadmiring relationship based on their shared strong interest in traditional English architecture and craftsmanship.
In addition to his work as an architect (including, in 1912, submitting designs in the competition to design the new Australian capital, Canberra), Gimson turned increasingly towards furniture and other handcrafts inspired by earlier English tradition. In the early 1890s he joined with others in moving to the Cotswolds to establish a community of like-minded designer-craftsmen and artists, thus establishing what was to become known as the ‘Cotswold School’ within the Arts and Crafts movement. The furniture designed by Gimson and made in his workshop is widely regarded as being amongst the finest and now most sought after of English Arts and Crafts furniture.
Also raised in Leicester, Harry Peach (1874-1936) is today perhaps best known as the founder of Dryad Furniture, a highly successful manufacturer of cane furniture, but he was in his work and interests generally another keen believer in Morris’s vision to revive and promote traditional English artisanship and to bring good design and craft into as many households as possible. To this end, in 1915, alongside Ambrose Heal and others, he was a cofounder of the Design and Industries Association which continues to this day (original slogan: ‘Nothing Need Be Ugly’).
As successful business families in Leicester, the wider Gimson and Peach families had been friendly for some years by the time, in the 1910s, Peach began furnishing his house ‘Crowbank’, largely with furniture acquired from Gimson and his foreman (and successor) Peter Waals. The following two lots are amongst those acquired from Gimson in this period and have remained with Peach’s descendants until now.
91
AN IMPORTANT ARTS AND CRAFTS OAK HIGH DRESSER BY ERNEST GIMSON
1910s
The upper part with four cupboards each with a pair of doors in a double bow-front arrangement above an open plate shelf, the projecting lower part, rectangular with gently bowed centres to its sides, with three frieze drawers above a pair of cupboard doors to the centre flanked by a single door each side, raised on stile supports, solid oak of joined construction with exposed dovetail joints and tenon ends as decorative features, with moulded wood latches to the upper cupboard doors and loop handles to the drawers and lower doors, the edges of the bowed parts of the carcase finely chip-carved 182cm high, 141cm wide, 64cm deep
PROVENANCE:
Harry Hardy Peach (1874–1936), ‘Crowbank’, Leicester, England, acquired directly from Gimson
Thence by descent to the present vendor
$15,000-25,000
92
AN IMPORTANT ARTS AND CRAFTS OAK DINING TABLE BY ERNEST GIMSON
1910s
Circular, the four-plank top and its crossed bearers raised on four octagonal supports on a concavesided square base with open centre, the four planks of the top with full-depth butterfly joints, the base with various chamfers enhancing its geometric complexity, the cross-members of the base with protruding through tenons with bevelled ends 72cm high, 145cm diameter
PROVENANCE:
Harry Hardy Peach (1874-1936), ‘Crowbank’, Leicester, England, acquired directly from Gimson Thence by descent to the present vendor
$10,000-15,000
A VERY LARGE FAUNAL AND FLORAL CARVED OAK MIRROR FRAME BY ROBERT PRENZEL
1905–1910
A plate frame of ‘Sansovino’ type, the toprail with a figure of a cockatoo alighting on a crest of two overlaid escutcheons pierced by a spray of fruiting foliage and flanked by clusters of fruit and foliage, the sides with scrolls supporting pendants of fruit and foliage, the lower rail centred on a grotesque cat mask flanked by clusters of flowers and foliage, the mirror plate bevelled 225cm high, 122cm wide
PROVENANCE:
Reg Riddell (d. 1980), Melbourne
Sold from the Estate of Reg Riddell, 1981, purchased by the mother of the present vendor
OTHER NOTES:
In addition to its exceptional size, this frame is notable for its unusual combination of styles and motifs. It is basically a ‘Sansovino’ frame – a sixteenth-century Venetian type characterised by its raised crest, projecting upper corners, and exuberant carved decoration of Classical motifs including large scrolls, figures and masks, and pendants of fruit – but with Prenzel here seemingly combining Old World fruits and foliage with their more exotic Australian counterparts, then strengthening the status of the latter by crowning the whole with the emphatically Australian element of the cockatoo.
The combination of a historical European style, a mode in which Prenzel worked almost exclusively up to around 1900, and the Australian motifs, which began appearing in his work between 1900 and 1905 and soon became dominant, suggests a date for this frame around 1905. The cockatoo to the top of this frame is near-identical to that perched to the top of the chest of drawers in Prenzel’s 1908 suite of bedroom furniture for Thomas and Margaret Laidlaw (sold Leonard Joel, Decorative Arts, 8 August 2022, lot 83). A date for this mirror frame around 1905 is further supported by the treatment of the stems and foliage to the lower parts of its sides which shows the influence of the European Art Nouveau, an influence especially pronounced in Prenzel’s work between 1900 and 1905.
Terence Lane, who suggested that this frame dated to the 1910–1920 period, thought that its unusual combination of styles and motifs was likely attributable to Prenzel making it to the specifications of an unidentified private commission (private correspondence with the owner in 2012).
$20,000-30,000
A VICTORIAN OAK MELBOURNE STOCK EXCHANGE CHAIR
Circa 1890
In Gothic Revival style, the padded square back with a shaped and carved crest centred on the the Stock Exchange monogram flanked by the fleur-de-lis finials of the upright supports above the open arms and moulded seat, on turned front supports and sled feet
124cm high , 62cm wide, 62cm deep
PROVENANCE:
Installed for use as one of the members’ chairs in the former Melbourne Stock Exchange in Collins Street upon its completion in 1891 (now part of the ‘Gothic Bank’), remaining in use there until 1961.
$3,000-4,000
95
A PAIR OF ART DECO-STYLE PENDANT LIGHTS
Each with a circular moulded copper and brass frame and shaped milk glass shade suspended on chains from a central boss, one shade marked ‘Superlux’ 34cm high, 70.5cm diameter
$1,200-1,800
96
A MID-GEORGIAN MAHOGANY GAMES TABLE
Mid-18th century
The rectangular fold-over top extending on a concertina action, raised on lappeted turned supports with pad feet
70cm high, 89cm wide, 43cm deep (85.5cm extended)
$500-800
97
A SMALL ENGLISH JOINED AND PANELLED OAK CHEST
Early 18th century
Of typical form, the top and front with four panels, the sides with two, the frame with bevelled and moulded edges throughout, the central panels of the top with fielded lozenges to their centres
52cm high, 107cm wide, 42cm deep
$700-1,000
98
A LARGE DUTCH BRASS PRICKET CANDLESTICK
Late 18th / 19th century
Baluster-shaped with a broad dish top and foot
49cm high (excluding the pricket)
$400-600
99
A GEORGE II PARCEL GILT MAHOGANY-FRAMED MIRROR
Mid-18th century
The rectangular plate in a moulded frame with gilt composition sight edge and fret-cut crest and base, the pierced foliate centre of the crest and the stylised shell centre of the base gilt
113cm high, 60cm wide
$700-900
100
A GEORGE II-STYLE GILT WOOD CENTRE TABLE IN THE MANNER OF WILLIAM KENT
Second half 19th century
Rectangular, the (later) thick verde antico serpentine top with stepped edges above a top moulding and Vitruvian scroll frieze with a richly carved and pierced rinceau apron with shell centres on the long sides, raised on cabriole supports with foliate knees and compound paw feet
79.5cm high, 131cm wide, 81cm deep
$1,400-1,800
101
A GEORGE III FIGURED MAHOGANY EXTENDING DINING TABLE
Late 18th century
Comprising a pair of half-round ends, a central section with a drop-leaf to one side, and a spare central leaf, all above a plain frieze raised on chamfered square supports
73cm high, 252cm long (fully extended), 119cm wide
$600-900
AN ANTIQUE GREEN MARBLE PEDESTAL
Second half 19th century
The revolving circular top and fluted shaft on a moulded base with octagonal foot
113cm high
$600-800
103
A LATE VICTORIAN OAK GUN CABINET CONVERTED TO A DISPLAY CABINET
Circa 1900
The moulded cornice and frieze above a pair of slanted bevel-glazed doors enlosing glass shelves above a drawer to the base, on stile feet
203cm high, 140cm wide, 51cm deep
$800-1,200
104
A SET OF TEN VICTORIAN STYLE BEECH AND ELM WINDSOR CHAIRS
Each of double-hoop form with a spindle back centred on a pierced splat above the moulded seat, on turned supports with a crinoline stretcher
97cm high, 54cm wide, 59cm deep
$2,000-3,000
105
A GEORGE II OAK ENCLOSED LOW DRESSER
Mid-18th century
The rectangular top with moulded edge above four frieze drawers and a pair of cupboard doors providing access to a full-with internal space, on stile feet, the lower part of the front and the sides with raised and fielded panels
84cm high, 180cm wide, 50cm deep $1,500-2,500
106
A LARGE GEORGE III OAK HANGING PLATE RACK
Second half 18th century
The moulded cornice and shaped frieze of repeating ogee design above two shelves fitted with platerests 90cm high, 201cm wide, 19cm deep $400-600
107
A GEORGE III ELM LOW DRESSER
Last quarter 18th century
The three-plank rectangular top with cleated ends above three frieze drawers, raised on square supports, the edges of the drawer openings moulded, the sides panelled 85cm high, 196cm wide, 52cm deep $1,500-2,500
108
A SET OF EIGHT GEORGE IV MAHOGANY DINING CHAIRS
Circa 1825
Two elbow chairs and six side chairs, the back of each with a bar toprail with incised decoration and gadrooned crest and turned crossrail above the stuff-over seat, the front supports turned The elbow chairs 83cm high, 53cm wide, 51cm deep, the side chairs slightly smaller $1,600-2,400
109
A GEORGE III MAHOGANY SIDEBOARD
Last quarter 18th century
Rectangular with a bowed front, the top above a frieze drawer flanked by a door to the left enclosing two drawers and cellarette drawer to the right, with a further apparently original fall-front compartment to the left side, raised on tapering square supports with spade feet, the front divided into compartments with fine bead moulding and contrasting veneer, the top and supports inlaid with stringing, the central frieze drawer converted and fitted at an early stage as a fall-front secretaire drawer
91cm high, 183cm wide, 74cm deep $1,000-1,500
AN ANTIQUE GEORGE III-STYLE MAHOGANY-FRAMED CHEVAL MIRROR
Circa 1900
The rectangular plate within a frame with a shaped and pierced hand-hold as a crest suspended within square supports, each with an adjustable (and removeable) brass candle holder, on outswept feet with brass caps and casters, the frame and supports with holly stringing throughout
178cm high, 66cm wide, 55cm deep
PROVENANCE:
Bonhams & Goodman, The Estate of the late Robert Valerian Bunda, September 16 2007, Lot 198
$600-800
111
AN ART DECO VENETIAN GLASS
TWELVE-LIGHT CHANDELIER
Second quarter 20th century
The upturned lights on individual curving branches emanating from a central stem, each with a vaseshaped shade above the bobeche, all variously moulded, the stem and bobeches adorned with large glass droplets
78cm high (not including chain)
$1,200-1,500
112
AN ANTIQUE CHINESE LACQUERED
ELM SIDE TABLE
19th century
The half-round top above a waisted frieze and open apron raised on supports with stylized paw feet 78cm high, 146cm wide, 72cm deep
$600-900
113
A PAIR OF RÉGENCE-STYLE HARDWOODFRAMED BERGÈRES
Graham Geddes, Melbourne
Of typical form with intentionally-distressed carved and moulded frames, the close-nailed upholstery in woven patterned cloth
97cm high, 78cm wide, 97cm deep
$1,400-1,800
111
114
A WROUGHT IRON STANDARD LAMP
Ludi, France, mid-20th century
A three-lamp fitting on a standard composed of clustered alternating plain and twisted iron rods on a tripod base with outswept feet
The standard 174cm high (191cm including shade)
$600-800
115
115
A LARGE WALL MIRROR IN A SIMULATED LAPIS LAZULI CUSHION FRAME
The rectangular plate in a frame of glass panels reverse-painted to simulate lapis lazuli
109cm high, 130cm wide
$800-1,200
116
A PAIR OF LOUIS PHILIPPE-STYLE EBONIZED SIDE CABINETS
Each with a rectangular portoro nero marble top above a pair of doors enclosing adjustable shelves, on moulded square feet, the doors with brass grilles backed with pleated fuschia-coloured fabric
82cm high, 99cm wide, 35.5cm deep
$1,200-1,800
117
AN ANTIQUE CARVED AND EBONISED WOOD TORCHÈRE
19th century, probably French
The three-light candelabrum with brass sockets, pans, and arms supported by a figure of a standing child mounted on a pedestal with a spiral-turned shaft and a carved and moulded tripod base with scrolling outswept feet
171cm high
117
BOULLE MANNER
Late 19th / early 20th century
Of typical form, the gallery top above a sloping fall-front enclosing a rosewood interior with leatherlined writing surface, small drawers, and a well, raised on cabriole supports, ebonised with inlaid panels to the top, front, and sides of cut brass within a simulated scarlet tortoiseshell ground, gilt metal mounts throughout
94cm high, 74cm wide, 47cm deep
$1,000-1,500
119
AN ORMOLU-MOUNTED ROSEWOOD VITRINE IN LOUIS XV MANNER
Second half 19th century
Of typical form and serpentine outline, with a shaped and moulded cornice above the glazed top, door, and sides enclosing a red velvet-lined interior with removable glass shelves, on cabriole feet, the lower part of the door and sides with painted decoration in eighteenth century manner, ormolu mounted throughout
203cm high, 106cm wide, 45cm deep $1,600-2,400
120
A GILT-FRAMED THREE-PLATE CONVEX MIRROR
The circular plates arranged vertically in a carved and gilt wood frame modelled as three conjoined laurel wreaths suspended on a crimped ribbon
124cm high, 36cm wide
$500-700
118
121
A WALNUT AND MARQUETRY SIDE TABLE
Late 18th century, probably Italian
The rectangular top above a plain freize with a short drawer raised on tapering square supports, the top inlaid with several rectangular fields containing a heraldic eagle to the centre and ribbon motifs in the borders
76cm high, 86cm wide, 65.5cm deep
$800-1,200
122
A GEORGE III MAHOGANY SECRETAIRE BOOKCASE CABINET
Early 19th century
The upper part with a moulded cornice and frieze above a pair of glazed doors enclosing adjustable shelves, the projecting lower part with a fall-front secretaire drawer fitted with an arrangement of small drawers, compartments, and a cabinet above a pair of panelled doors, on bracket feet 221cm high, 118cm wide, 54cm deep $1,000-1,500
119
123
A GEORGE III MAHOGANY AND INLAID SIDEBOARD
Late 18th century
Rectangular, the front with rounded corners and an inverted bow to its centre, the top with a low gallery of a pair of drawers flanking a shaped back above an arrangement of three drawers and two cupboard doors, raised on tapering square supports, the back of the top and the front inlaid with panels of burr satinwood, marquetry, and contrasting mahogany, the whole inlaid with stringing throughout 121cm high, 230cm wide, 82cm deep
$1,000-1,500
Late 18th century
The arched back of each with moulded toprail and uprights enclosing a pierced splat carved in low relief with husk swags above the square drop-in seat, on tapering square supports with a H-form stretchers
93cm high, 53cm wide, 51cm deep
$1,000-1,500
125
Third quarter 17th century
Rectangular, the moulded cornice and frieze raised on a pair of bulbous columns flanking a polygonal cupboard with panelled door and sides above a mid-height tier with drawer on baluster supports and a potboard below, on bun feet, the mouldings, supports, and fronts of the drawer and base variously carved, the frieze and drawer front also with inlaid decoration
160cm high, 123cm wide, 61cm deep
$1,400-1,800
A LARGE
Franco-Flemish or Dutch, second half 19th century The rectangular main plate within receding border plates in a moulded and ebonised wood frame surmounted with a pediment, the frame with repoussé brass mounts throughout 177cm high, 115cm wide, 11cm deep $1,000-1,500
127
A VICTORIAN YEW CONSOLE
1870s
Wall-mounted, the serpentine top and frieze raised on a pair of carved scrolling supports, the frieze veneered in burr yew 104cm high, 185cm wide, 39cm deep $800-1,000
Last quarter 19th century
In variegated coloured marbles in the form of a Classical architectural column, the square top above a turned and fluted shaft on a plinth base, the shaft with a cast metal capital and base
89cm high
$500-700
129
A DUTCH MAHOGANY AND MARQUETRY GAMES TABLE
Early 19th century
The triangular fold-over top above a frieze raised on tapering square supports, the top inlaid with a classical design of a vase and flowering foliage in various woods, the frieze and supports similarly inlaid
77cm high, 118cm wide, 59cm (not extended)
$600-800
A SMALL GEORGE III OAK CHEST OF DRAWERS
Circa 1780
Rectangular, the top with moulded edge above a leather-lined slide and three graduated drawers, on shaped bracket feet, carrying handles to the sides
76cm high, 80cm wide, 49cm deep
$600-900
131
AN EARLY VICTORIAN FIGURED MAHOGANY TESTER BED
Circa 1840, with some later elements
The full-length tester with moulded cornice and handing rods raised on turned and reeded supports flanking a shaped and panelled footboard and reeded rectangular supports at the head, with a pale gold silk canopy for the tester and head
Overall 230cm high, 192cm wide, 208cm deep; internally, 186cm long, 147cm wide
$800-1,200
132
A GEORGE III OAK HIGH DRESSER
Last quarter 18th century
The plate rack with a moulded cornice above three shelves with moulded fronts and uprights, the lower part with an arrangement of drawers and cupboards, on a moulded base, the sides panelled, the drawer fronts and doors inlaid with ebonised wood stars to their centres and ebonised edges
217cm high, 195cm wide, 52cm deep
PROVENANCE:
Grace Antiques, Armadale
$3,000-5,000
133
AN EARLY GEORGE III OAK LOW DRESSER
Third quarter 18th century
The rectangular top with moulded edge above three drawers and a waist moulding, on turned supports
77cm high, 212cm wide, 49cm deep
$2,500-3,500
AN ITALIAN WALNUT AND MARQUETRY CASSETTONE
Tuscan or northern Italian, late 17th century
The overhanging rectangular top with moulded and dentilated edge above four drawers, on a moulded plinth with fretwork bracket feet to the front, the drawer fronts panelled and inlaid with foliate and geometric designs, the sides panelled 106cm high, 151cm wide, 65cm deep
PROVENANCE:
John D. Dunn Antiques, Melbourne ($57,000)
$4,000-6,000
135
A FINE WILLIAM AND MARY OYSTER-VENEERED OLIVE WOOD AND FLORAL MARQUETRY CHEST OF DRAWERS
Late 17th century
Rectangular, the top with ovolo-moulded edge above two short and three graduated long drawers, on shaped bracket feet, the top cross-banded around an oyster-veneered field with an oval medallion centre and lobed spandrels inlaid with stylised floral and foliate designs in contrasting woods and colours, the drawer fronts and the sides conforming, the drawer fronts with lobed cartouches centred on the drop pulls, the sides with archtopped rectangular floral and foliate panels to their centres, the front of the carcase with half-round mouldings, all mouldings cross-grain 95.5cm high, 102cm wide, 61cm deep
OTHER NOTES:
The construction of the carcase and drawers of this chest largely conforms to what Adam Bowett (English Furniture from Charles II to Queen Anne (2006)) described as ‘first-phase’ case furniture construction, dating to the last quarter of the seventeenth century, but with a couple of variations suggesting transition in the 1690s towards Bowett’s ‘second-phase’ construction.
The secondary woods of the chest and drawers are predominantly oak and walnut with only occasional use of pine.
The bracket feet replace the original bun feet but are of some age and well match the rest of the chest in figuring and colour.
$5,000-8,000
136
A LARGE NAPOLEON III GILT-FRAMED OVERMANTEL MIRROR
Third quarter 19th century
In Neo-Classical manner, the rectangular plate in a frame of conforming shape with portrait relief medallions to the sides and various Classical foliate and other details throughout 244cm high, 158cm wide $2,000-3,000
137
A SUBSTANTIAL CONTINENTAL WALNUT CONSOLE TABLE
Late 19th century
The rectangular top with foliate moulded edge raised on a pair of carved figures of eagles with wings outstretched perched on a moulded plinth base 80cm high, 219cm wide, 84cm deep $1,800-2,400
A PAIR OF WROUGHT IRON STANDARD LAMPS
In mid-twentieth century French style, each of tall tripod form, worked with a hammer-beaten finish throughout
154cm high
$600-900
139
A COLONIAL PERIOD AUSTRALIAN CEDAR PEDESTAL SIDEBOARD
1830s
The pediment back and thick rectangular top above three frieze drawers raised on a pair of pedestals, each enclosing an original removeable shelf, on moulded plinth bases, the back, drawer fronts, and doors panelled with cross-banded edges, the edges of the drawer and door panels gadrooned 119cm high, 151cm wide, 55cm deep
OTHER NOTES:
Of elegant, restrained Classical design relieved by the panelling and gadrooning, reflecting the influence of English Regency and George IV examples to which its maker was clearly looking.
The sideboard is largely solid cedar throughout, including the back, top, carcase, and drawer linings. The drawer fronts and doors are in attractively figured book-matched cedar veeneer (on a solid cedar substrate).
$800-1,200
136
140
A SET OF SIX GEORGE III MAHOGANY DINING CHAIRS
1780s
Each with shaped top rail and pierced splats, above the square drop-in seat, on square supports, with an H-form stretcher
97cm high, 56cm wide, 51cm deep
$1,400-1,800
141
A WALL MIRROR IN AN ANTIQUE ITALIAN CARVED AND GILT WOOD FRAME
The frame second half 19th century
The rectangular plate within a moulded frame with a carved and pierced border of scrolling foliage
81 x 107cm
$600-900
142
A PAIR OF IMPRESSIVE OAK AND MARBLE OPEN SIDEBOARDS
Kim Moir, to a design by Stuart Rattle
In architectural style, each with a fossil marble slab top set into a moulded frame above the breakfront frieze, raised on fluted square supports and a low under tier on a plinth base, the back of the recess mirrored 81cm high, 200cm wide, 52cm deep $3,000-5,000
143
A SUBSTANTIAL OAK DINING TABLE
Kim Moir, to a design by Stuart Rattle
The thick rectangular top in geometric parquetry raised on a pair of trestles of fluted square supports and sled feet joined with a floor stretcher 78cm high, 313cm wide, 109cm deep $3,000-5,000
144
A SUBSTANTIAL OAK DINING TABLE
Kim Moir, to a design by Stuart Rattle
In Charles II manner, the thick rectangular top above a moulded frieze raised on turned supports joined with four stretchers 75.5cm high, 366cm wide, 107.5cm deep $3,000-5,000
145
A SET OF FOURTEEN RUSTIC OAK LADDER-BACK CHAIRS
In nineteenth century English style, two elbow chairs and twelve side chairs, each with a three-rail ladderback above the rush seat, on turned supports, with peripheral stretchers, the frames with an adzed finish throughout
The elbow chairs 95cm high, 61cm wide, 58cm deep, the side chairs a little smaller $3,000-4,000
146
A GEORGE III-STYLE MAHOGANY-FRAMED WALL MIRROR
In Neo-Classical style, the main plate within a border of subsidiary plates in a reeded, beaded, and carved frame
107cm high, 78cm wide $600-900
147
147
Michael O’CONNELL (1898–1976)
The Merchant of Venice
Paste resist dyes and hand-painting on woven woolrayon blend fabric
Maker’s mark lower right: MAEL
From the ‘Pageant Series’, 1948–1950
176 x 263cm
PROVENANCE:
George’s Gallery, Melbourne, ‘Michael O’Connell –Textile Murals’, February 1952 (see further details below)
There acquired by Klytie Pate (1912–2010)
Sold from the Estate of Klytie Pate, 2010 Leonard Joel, Decorative Arts and Fine Furniture, 21 November, 2010, lot 130
Private collection, Melbourne
EXHIBITIONS:
George’s Gallery, Melbourne, ‘Michael O’Connell –Textile Murals’, February 1952, catalogue no. 10 (one of twelve works forming the ‘Pageant Group’) Bendigo Art Gallery, ‘The Lost Modernist: Michael O’Connell’, 26 November, 2011–18 February, 2012
LITERATURE:
Harriet Edquist Michael O’Connell: The Lost Modernist (2011), pp 99-100 (illustrated)
OTHER NOTES:
Born and raised in Lancashire, O’Connell moved to Australia in 1920 and lived in Melbourne for a number of years.
Self-taught in art and very experimental in exploring uses of different materials, including in the production of commercially successful concrete garden sculpture, O’Connell turned to print-making in different media, ultimately concentrating on printing on fabric, combining his interest in modern interpretation of traditional subjects and motifs with pioneering use of synthetic fabrics and dyes.
With his avante garde approach to design and media and regular exhibitions from the 1920s through to the 1950s, O’Connell’s textile works, which ranged from hangings to decorating fabrics, attracted much favourable interest in Australia and in Britain, to which he and his wife Ella, also a print-maker, returned in 1937. (The ‘MAEL’ signature on the present work represents the couple’s given names combined.) In the early 1930s, O’Connell was also involved in an interior design and decorating business in Melbourne in partnership with Frederick Ward and Cynthia Reed. His post-Second War Work in Britain, including work shown at the Festival of Britain in 1951, contributed notably to modern artistic and decorative textile design in Britain and is represented in the collection of the Victoria and Albert Museum and other design collections.
A major exhibition of O’Connell’s work (including the present lot) and his place as a modernist in Australia was held at the Bendigo Art Gallery in 2012. $3,500-4,500
AN ANTIQUE HERIZ RUG
First half 20th century
Geometric floral and foliate designs throughout, the red-ground field with a large rosette medallion with pendants within the light blue-ground spandrels, the Herati main border on a dark blue ground
332 x 250cm
$1,000-1,500
149
AN ANTIQUE PERSIAN RUG
First half 20th century
The red-ground field with an all-over floral design on the Herati pattern with triangular spandrels on a dark blue ground, the Herati main border conforming with the spandrels
315 x 216cm
$800-1,200
150
AN ANTIQUE HERIZ CARPET
Early 20th century
Geometric floral and foliate designs throughout, the red-ground field with a large rosette medallion with pendants within the cream-ground spandrels, the main border of rosettes and trailing foliage on a dark blue ground
557 x 337cm
PROVENANCE:
Bernadout and Bernardout, London, 1986, sold to the following
John Coote, Melbourne
$3,000-5,000
151
A FRAMED FRENCH PICTORIAL TAPESTRY
19th century
Depicting a pastoral scene with figures and sheep by a river in the manner of Francois Boucher, later framed and glazed
154cm x 133cm
PROVENANCE:
Talgai Homestead, Allora, Queensland; reputedly part of the first furnishings of that historic house upon its completion in 1868, the tapestry said to have been acquired in Tasmania to which it had been brought from Britain in 1850.
$1,000-2,000
152
AN AUBUSSON-STYLE TAPESTRY
In early eighteenth century ‘verdure’ manner, the field with a pictorial design of birds and rabbits amidst flowering foliage around a medallion of fruit to the centre, the borders of alternating Classical masks and flowering foliage
260cm x 180cm
$1,200-2,000
153
AN AUBUSSON-STYLE TAPESTRY
In Louis XV style, with cartouches and borders enclosing swags and sprays of flowers, the field and borders predominantly beige and pale blue
175cm x 261cm
$600-800
154
AN AUBUSSON-STYLE TAPESTRY
An all-over repeating design of barbed quatrefoils, each containing a spray of flowers, on a green-toned stylized floral and foliate ground
327cm x 274cm
$700-900
155
AN AUBUSSON-STYLE TAPESTRY
In eighteenth century Classical style, with various cartouches, borders, and medallions enclosing floral and foliate designs, predominantly in cream, pale brown, and pink tones
425cm x 296cm
$600-800
156
A JAEGER-LECOULTRE ATMOS TABLE CLOCK
Serial no. 562724, 1980s
The brass framed five glass body exposing the internal mechanism within, white dial with arabic numerals, calibre 526-5, fifteen jewels with perpetual motion.
22cm high, 18cm wide, 13.5cm deep
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne $800-1,200
157
A NAPOLEON III GILT BRONZE CARTEL CLOCK
The movement by L. Barbaste, Rue Auber 13, Paris, third quarter 19th century
In Louis XV style, the eight-day bell-striking movement and enamelled Roman and Arabic numeral dial with glazed bezel set within a foliagedraped case surmounted with an urn and with an Classical mask to its base, the dial and movement both signed by Barbaste 63cm high, 32cm wide
PROVENANCE:
Property from the George and Janice Rayner Collection, Melbourne $600-800
158
A FRENCH GILT WOOD SUNBURST-FRAMED WALL CLOCK AND A SMALL CONVEX MIRROR OF SIMILAR STYLE
Both early 20th century
The clock 65cm diameter, the mirror 38 x 75cm $600-800
AND VASE GARNITURE
The movement by Jean-Baptiste Delettrez, Paris, third quarter 19th century
In Louis XVI style, the eight-day bell-striking movement and Roman numeral dial in an upright case of architectural form richly modelled with floral and foliate decoration and mounted with a Sèvresstyle porcelain dial and panels variously painted with portraits of ladies, putti, and flowers, the movement stamped JBD within an oval, accompanied with a pair of associated vases of matching style and quality
The clock 49.5cm high, 31.5cm wide, 14.5cm deep; the vases 21.5cm high
$1,400-1,800
160
A LOUIS XVI-STYLE PINK MARBLE AND ORMOLU TABLE CLOCK
French, last quarter 19th century
The eight-day platform movement and enamelled dial with Arabic numeral hours and minutes around floral garlands set within a ring of paste jewels in a lyre-shaped stand on an oval base with turned feet, the whole richly decorated with ormolu garlands and surmounted by a trophy crest 23.5cm high
$1,200-2,000
161
A NAPOLEON III MARBLE AND SILVERED BRONZE CLOCK AND CANDELABRA GARNITURE
Thr case and candelabra by Auguste Lemaire, Paris, the movement by Japy Frères, third quarter 19th century
The eight-day bell-striking movement and gilt Roman numeral dial in a rouge royale marble case of Classical casket form surmounted with a silvered bronze bust of Mary, Queen of Scots, by Mathurin Moreau, signed to the reverse, the dial signed ‘Mon. Aog. Lemaire J. Lohse Suc. Rue Vieille du Temple Paris’, the movement stamped with Lemaire’s and Japy Frères’ marks, the base of the bust with the impressed mark of E. Lohse, the conforming candelabra each of two lights raised on a support in Renaissance Revival style
The clock 60cm high, 34.5cm wide, 21.5cm deep; the candelabra 43.4cm high, 26.5cm wide
$1,800-2,400
162
A FRENCH EMPIRE-STYLE MARBLE AND GILT METAL PORTICO CLOCK
French, second half 19th century
The eight-day bell-striking movement and enamelled Roman and Arabic numeral dial with glazed bezel within a drum raised on a black marble portico decorated with gilt metal mounts of griffins, Egyptian figures, and other Classical motifs 56cm high, 32cm wide, 13cm deep
$1,800-2,400
162
BY WILLIAM WEBSTER I Circa 1720
Double fusee movement with verge escapement and pull repeat on six bells, striking the hour on a single bell, the silvered main dial with matted centre and mock pendulum aperture beneath subsidiary calendar, strike/ silent, and six bells to one bell subsidiary dials within gilt relief spandrels in an ebonised bell-top glazed case of typical form with a brass swing handle to the top and brass mouldings and foliate grilles to all sides, the dial and the richly engraved backplate each signed ‘Wm Webster Exchange Alley London’
41.5cm high (with handle raised), 23.5cm wide, 16.5cm deep
PROVENANCE:
Gifted to Abigail Byzant as a wedding present, 1730, thence by descent to Ernest T. Tennant, Aberavon, Wales, 1927 (information from a previously-prepared history of the clock detailing the various stages of its ownership from 1730 to 1927 passed to A. Bowlt upon his purchase of the clock in 1960)
L.H. Allen Pratt (information from another note on the history of the clock given to A. Bowlt after his purchase of the clock)
Stephenson & Alexander, Chartered Surveyors and Auctioneers, Cardiff, 9 and 10 November, 1960, sold to A. Bowlt
OTHER NOTES:
A comprehensive overhaul of the clock in 2008 by Phillip Gale, clockmaker in St Austell, Cornwall, included reinstatement of the verge escapement, reversing a previous conversion to a recoil escapement and associated modifications, together with replacement and repair of other parts and cleaning of the movement and dial. (Mr Gale’s invoice detailing his work is available for inspection.)
$10,000-20,000
164
A LIFE-SIZE ROMAN MARBLE FIGURE OF A SEATED WOMAN, PROBABLY KYBELE 1st or 2nd century A.D.
Modelled wearing a close-fitting chiton and a himation draped loosely over the left shoulder and around below the right arm, seated on a chair with a curved back-rest and crossed supports, mounted on a modern steel plinth
The figure 124cm high (179cm overall, incuding the plinth)
PROVENANCE:
Graham Geddes Antiques, Melbourne, circa 2005, from whom purchased by the late owner $40,000-60,000
Gino LAPINI (working late 19th / early 20th century)
A girl in sixteenth-century dress
Marble, with incised and stained details
Inscribed signature to the reverse: G. Lapini
54cm high
$2,000-3,000
166
G. BANCHINI Italian, late 19th century
A mother and child
Marble
Inscribed signature to the reverse: G. Banchini 33cm high
$600-800
167
ITALIAN SCHOOL Late 19th century
A child Pierrot Marble 30cm high
$800-1,200
168
A LARGE ANTIQUE ITALIAN MARBLE SCULPTURAL LAMP
The sculpture by Ettore Zocchi, Florence, late 19th century
The light within a bowl and domed cover raised on a slender Corinthian column on a rocky base on which also rests a female figure wearing classical Near Eastern dress executed in contrasting marbles, all on a circular base and moulded coloured marble plinth, signed to the rear of the base ‘ETORE ZOCHI FLORENCE’ 127cm high
$2,500-3,500
169
George Rayner HOFF (1894–1937)
Nereida
Plaster, painted to simulate bronze
The integral rectangular plinth with a frieze in low relief to all sides of scenes of children and animals and with the inscription ‘NEREIDA BORN JUNE TWENTIETH MCMXIX’
Impressed to the rear side of the base of the plinth: G. RAYNER HOFF
21.5cm
OTHER NOTES:
The work is a portrait of Hoff’s daughter.
The Art Gallery of New South Wales holds a similarly-sized bronze version of this portrait (accession no. 175.2019.a-b)
$3,000-4,000
170
Charles Henri Joseph CORDIER (1827–1905)
An indigenous Australian woman, with platypus at foot
Patinated bronze
Cast with incised signature to the rear of rhe base: CORDIER
50.5cm
$4,000-6,000
171
‘LUCE’ (working circa 1930)
A young boy
Ivovy and gilt bronze, on a marble plinth
Cast with incised signatire to the rear of the base: LUCE
15.5cm high
$600-800
172
After Henri Louis LEVASSEUR (1853–1934)
A lightly-draped female figure Gilt bronze
Cast with incised signature to the reverse of the base: Levasseur
22cm high
$1,200-1,800
173
AN ANTIQUE EUROPEAN CARVED HARDWOOD
FIGURE OF A WOMAN
Second half 18th century
Modelled standing with arms back (the right arm lost) wearing a close fitting dress with the upper part of the chest uncovered and a shawl draped over the shoulders and trailing down the left side, the original gesso and paint surface now largely stripped away with some of this remaining in crevices
79cm high
$800-1,200
168
174
Johannes WEILAND (1856–1909)
A painter at work in his studio Oil on canvas
Signed lower right: Weiland 64 x 49cm
$800-1,200
175
FRENCH SCHOOL Second half 19th century Figures in a cottage interior Oil on wood panel
Indistinctly signed lower right
19.5 x 37cm
$600-900
176 DUTCH SCHOOL Last quarter 19th century
A woman seated reading in an interior Oil on canvas
Indistinctly signed lower left 39 x 29cm
$800-1,200
177
EUROPEAN SCHOOL Last quarter 19th century
A street scene in a European city, possibly London Oil on canvas
Indistinctly signed lower right: W.H. Grond[...?]
37 x 27cm
$600-900
178
Herman MOERKERK (1879–1949)
A scene in a Dutch village Oil on canvas
Signed lower left: HERMAN MOERKERK 23 x 32.5cm
$400-600
179
Follower of Anthony van DYCK (1599–1641) Second half 17th century
A shoulder length portrait of Charles I, wearing a crown, lace ruff, ermine, and a jewelled chain Oil on oak panel
28.5 x 23.5cm
$1,000-1,500
180
Petrus Gerardus VERTIN (1819–1893)
A street scene in a Dutch town Oil on canvas
Signed lower left: P. Vertin 23 x 19cm
PROVENANCE: Cooling Galleries, London (label to the back of the frame)
$700-1,000
181
Henry George TODD (1847–1898)
A still-life of fruit on a ledge Oil on canvas
Signed and dated lower right: W.G. Todd 1875 19 x 25cm
$800-1,200
182
Primus SKOFF (1810–after 1872)
A half-length portrait of a lady wearing a blue dress, Frau Weller Oil on canvas
Signed and dated lower right: Primus Skoff / pinxit anno 1847
Inscribed on the handkerchief held by the sitter ‘Fra Weller’, apparently identifying her 63 x 50cm
$1,000-1,500
183
P.G. MOORE (working second quarter 20th century)
Almond blossom
Oil on board
Signed lower left: P.G. Moore
39.5 x 32cm
Exhibition of Paintings [of W.A. Dargie and P.G. Moore], Athenaeum, Melbourne, 25 July–5 August, 1937, no. 10 (as ‘Almond blossom’)
$600-800
184
Fred ROE (1864–1947)
‘There were never such times’
Oil on canvas
Signed and dated lower right: Fred Roe 1888
Inscribed as title by the artist to the reverse and further signed and dated as above
34.5 x 24cm
$400-600
Follower of Peter Paul RUBENS (1577–1640) 17th / early 18th century
The Virgin Mary as Mother of God and Queen of Heaven
Oil on oak panel
27.5 x 26.5cm (panel overall)
PROVENANCE:
Possibly a European noble collection, 17th / early 18th century (see note below)
Acquired by the late owner in the early 1960s
OTHER NOTES:
Derived from a painting traditionally attributed to Rubens and dated to the last years of his life, until recently known only from an engraving by Jan Witdoeck, an engraver in Rubens’s studio (see British Museum, inv. 1927,0518.98).
That painting was rediscovered in a German collection in 2009 and has since been attributed to Rubens in part, completed after his death by another hand (oil on panel, 101 x 72cm, sold Kunsthaus Lempertz, Paintings, Drawings, Sculpture 14th to 19th Centuries, Cologne, 20 November, 2021, €170,000).
The present work has at upper right the faint remains of a heraldic escutcheon, apparently original to the work, suggesting early noble provenance.
$1,600-2,400
186 Marie MÜLLER (1847–1935)
A bust-length portrait of a girl
Pastel
Signed lower right: M. Müller
46.5 x 36cm, oval
$1,600-2,200
187
Follower of Jean-Marc NATTIER (1685–1766)
Late 18th century
A three-quarter length portrait of a lady in rusticstyle dress seated against a column with a landscape beyond Oil on canvas
117 x 95.5cm
$5,000-8,000
188
ENGLISH SCHOOL Mid-19th century
A group of three works by the same hand: A Tyrolean landscape with a town on a river; Windsor Castle from the Thames; and Children playing hide-andseek amongst trees
Each watercolour and gouache
Respectively, 43 x 55cm, 33 x 23cm, and 35 x 26cm
$300-500
187
189
A. SCOTT (working late 19th / early 20th century)
A woman of the fifteenth century, standing in a garden above a rocky shore with the sea beyond Oil on canvas
Signed and dated lower left: AScott 1900
The reverse of the canvas stencilled: A. SCOTT BROADWAY STRATFORD
92 x 61cm
$600-900
190
ITALIAN SCHOOL 18th century
A partly-undraped woman supporting a tray of fruit with one hand and holding up a pear with the other Oil on canvas, later laid down on composition board
72 x 60cm
$600-900
191
ENGLISH or FRENCH SCHOOL Third quarter 19th century
A bust-length portrait of a young woman, in profile to the left
Coloured chalks
47 x 37.5cm, oval
$500-800
192
Florent WILLEMS (1823–1905)
A seventeenth century gentleman and lady embracing upon his departure
Watercolour and gouache heightened with gum arabic
Signed and dated lower left: Florent Willems 1856 23 x 16cm
$600-900
193
A. Struan ROBERTSON (working late 19th /early 20th century
A quayside in a northern European town Oil on canvas
Signed and dated lower right: Struan Robertson / 07 17.5 x 20.5cm
$400-600
194
Thomas LUNY (1759–1837)
On the Teign above Shaldon Bridge
Oil on artist’s board
Signed and dated lower left: Luny 1832
Inscribed as title on a nineteenth century label to the back of the frame
30 x 39.5cm
$1,500-2,500
195
Thomas Sewell ROBINS (1814–1880)
A Piedmontese landscape with a goatherd driving his flock along a riverside track
Watercolour over pencil
Signed and dated lower right: T.S. ROBINS [18]78 24.5 x 45cm
$300-500
196
FORBES, James, ORIENTAL MEMOIRS ... (1813)
James Forbes, Oriental Memoirs: Selected and abridged from a series of familiar letters written during seventeen years residence in India … (Printed for the author by T. Bensley, London, 1813)
Quarto, four volumes, contemporary burgundy morocco panelled front and back with gilt foliate borders enclosing the arms of John Frederick Campbell, 1st Earl Cawdor, the labelled spines giltdecorated
With all but two of the ninety-three engraved and coloured lithographed plates called for (lacking either pl. LI or LII and LXXX) but with one additional coloured lithograph plate
PROVENANCE:
John Frederick Campbell, 1st Earl Cawdor (his arms gilt-tooled to the front and back covers)
$4,000-6,000
197
VICTORIA [Queen], LEAVES FROM THE JOURNAL OF OUR LIFE IN THE HIGHLANDS … (1868)
With Victoria’s autograph presentation inscription [Queen] Victoria, Leaves from the Journal of our Life in the Highlands from 1848 to 1861 [ … ], edited by Arthur Helps (Smith, Elder, and Co., London, 1868)
Second edition, octavo, in the publisher’s original gilt-panelled grained green cloth with crossed antler devices to front and back and gilt-lettered spine
Inscribed by Queen Victoria in brown ink to the fly-leaf: ‘To John New[?] from Victoria R Inveraray Sept. 27. 1875’
$800-1,200
198
TROEDEL, Charles, THE MELBOURNE ALBUM (circa 1864)
Charles Troedel [publisher], The Melbourne Album, containing a series of views of Melbourne & country districts … (C. Troedel, Melbourne, circa 1864) Oblong folio, in the publisher’s half red roan over gilt-lettered green cloth, the cover gilt-lettered with the short title
Fifteen tinted lithographs (lacking title)
Together with a framed and glazed impression of ‘View on Eastern Hill (from Half Way House, Albert Street)’ from the same work
Framed 42.5cm high, 53cm wide $2,000-3,000
199 HUNTER, John, AN HISTORICAL JOURNAL OF THE TRANSACTIONS AT PORT JACKSON AND NORFOLK ISLAND ... (1773)
John Hunter, An Historical Journal of the Transactions at Port Jackson and Norfolk Island, with the Discoveries which have been made in New South Wales and in the Southern Ocean, since the publication of Phillip’s Voyage ... (John Stockdale, London, 1793)
Large quarto, contemporary green half morocco with marbled paper boards, the spine labelled ‘HUNTER’S VOYAGES’
With all but one of the seventeen plates and charts called for (lacking the chart of Norfolk Island)
$1,600-2,200
200
WHITE, John, JOURNAL OF A VOYAGE TO NEW SOUTH WALES ... (1790)
John White, Journal of a Voyage to New South Wales, with Sixty-five Plates of Non descript Animals, Birds, Lizards, Serpents, curious Cones of Trees and other Natural Productions (J. Debrett, London, 1790)
Quarto, contemporary diced calf with gilt-lettered spine
With all plates called for, these uncoloured $2,000-2,500
201
COLLINS, David, AN ACCOUNT OF THE ENGLISH COLONY IN NEW SOUTH WALES ... (1798)
David Collins White, An Account of the English Colony in New South Wales with Remarks on the Dispositions, Customs, Manners, &c. of the Native inhabitants of that Country … (T. Cadell Jun., and W. Davies, London, 1798)
Quarto, contemporary burgundy half morocco with marbled paper boards and gilt-lettered spine With all plates called for $1,400-1,800
J. Lort Stokes, Discoveries in Australia; with an Account of the Coasts and Rivers explored and surveyed during the Voyage of H.M.S. Beagle in the years 1837-38-39-40-41-42-43 … (T. and W. Boone, London, 1846)
Octavo, two volumes, contemporary tan calf with labelled and gilt-decorated spines
With all but one of the plates and charts called for (lacking the chart of Part of Western Australia); the General Chart of Australia is bound into vol. 2 rather than vol. 1 as called for $1,200-1,600
203
AN AUSTRALIAN KANGAROO HIDE STOCKWHIP GIFTED BY ‘FRED LINDSAY’, WITH RELATED AUTOGRAPH LETTER
Mid-20th century
The whip of typical form with a tapering turned hardwood handle with shaped grip and tapering hide plait
Accompanied by an autograph letter signed by Holman James (a.k.a. ‘Fred Lindsay’) in black ink on Constitutional Club, London, note paper, dated 11 December (without year) mentioning to the recipient (name unclear) that the whip had been posted to him and explaining that it is an unused large whip of particularly good quality
Together also with a small group of promotional material and press clippings relating to ‘Fred Lindsay’ and Holman James
The whip 412cm long overall
OTHER NOTES:
Fred Lindsay was the stage name of the Bendigoborn Colonel Holman James (1874–1946) who, as a gentleman-adventurer and former army officer, toured Britain and the United States in the early decades of the twentieth century as a stockwhipcracking showman and raconteur.
$600-800
206
Late 19th century
Of typical tapering form in a dense close-grained figured wood, the shaft above the grip carved in relief in several registers, the lowest with a kangaroo and emu flanking a sun-topped cross on one side and cricket bats, wicket, and ball to the other, the other registers variously with a sheep dog, shears, anchor, clover, thistle, and an encircling snake, the top of the grip incised ‘ADVANCE AUSTRALIA’, the grip inlaid in white metal ‘F.H. WELLS.’ above a lattice design
37cm long
OTHER NOTES:
Francis Harry Wells (1863–1937) served as a South Australian Police Force mounted constable in various rural districts from 1888 to 1912, following which he was appointed South Australia’s first Registrar of Motor Vehicles.
$600-800
205
AN EARLY OAK ALMS BOX
17th century, English or Northern European Cube-shaped with a raised arched back and hinged cover secured with an iron lock (operating), retaining some of its original paint including an illegible inscription to the back
29cm high, 18.5cm wide, 16.5cm deep
$500-700
A CHARLES II PEWTER CHARGER, AND ANOTHER SIMILAR
The first, by Erasmus Dole, the second unidentified The Dole charger with a dished centre and broad rim with reeded edge, duty marks to its upper side and the maker’s touchmark to its underside, the other charger of similar form with a raised edge, its marks indistinct
46cm and 42cm diameter
$500-800
207
A GEORGE III SATINWOOD AND MARQUETRY
TEA CADDY
Late 18th/Early 19th century
Of oval outline, the hinged cover enclosing two covered compartments, the top and front inlaid with floral designs with pen work details, the upper edges and foot cross-banded in rosewood 13cm high, 19cm wide, 11cm deep
PROVENANCE:
Sallea Antiques (Sally B. Kaltman), Connecticut, 1990s (her label)
$600-800
200 (detail)
208
A PAIR OF CHARLES X ORMOLU AND VERD ANTIQUE SERPENTINE SIX-LIGHT CANDELABRA
Circa 1830
In Neo-Classical manner, each with a raised central light with removable flamiform finial surrounded by five further lights raised on a triangular column with a scrolling tripod base on a concave-sided triangular plinth, modelled with stylised foliate details throughout 69cm high
PROVENANCE:
Christie’s, Melbourne, November 16, 1998, lot 436
$1,400-1,800
209
A PAIR OF FRENCH LOUIS XVI-STYLE ORMOLUMOUNTED BRECHE VIOLETTE MARBLE URNS
Early 20th century
Each of Classical baluster form on a moulded square foot and mounted with an ormolu finial, swagged collar, pair of cornucopia-form handles, and foliate stem, the tops not removable
51cm high
$1,600-2,400
210
A VICTORIAN MARBLE BASIN ON FOOT
Second half 19th century
Of Classical form in white marble, elliptical in outline, the swelling body with a moulded rim and foot and scroll handle to each side, the front with incised monogram HC 29cm high, 54cm wide, 29cm deep
$400-600
211
AN ANTIQUE NEO-CLASSICAL MARBLE CASKET 19th century, probably Italian
In white marble, based on the design of the sarcophagus of Lucius Cornelius Scipio Barbatus, the cover enclosing an interior compartment 26cm high, 42cm wide, 34cm deep
$700-1,000
212
A VICTORIAN NEO-CLASSICAL MARBLE CENTREPIECE
Second half 19th century
Of stadium outline in grey-veined cream and orange marble, the moulded body with shallow interior raised on a conforming foot 18cm high, 32cm wide, 23cm deep
$500-800
A MATCHED SET OF FOUR VICTORIAN MARBLE BASINS
Late 19th century
In similar grey-veined cream and orange marbles, of near-identical Classical form in different sizes, each with a hemispherical body with egg-and-dart rim on a carved base with square foot
The largest 20cm high, 30.5cm diameter
$500-800
214
A PAIR OF FRENCH BRONZE FIGURES OF MUSICAL SATYRS
Second half 19th century
Each modelled seated and playing an instrument, respectively the Pan pipes and the tibia, in dark green patina, mounted on painted wood plinths
34cm high overall
$700-1,000
215
A PAIR OF FRENCH BRONZE GRYPHON FIGURE CANDLESTICKS
Second half 19th century
Each in the form of a gryphon rampant supporting a candle socket with pan, all on a circular low plinth base, in mottled green-brown patina
19cm high, 17cm wide, 10.5cm deep
$500-700
216
A PAIR OF BRONZE FIGURES OF GRYPHONS RAMPANT
Late 19th / early 20th century, probably French
In a dark green patina, fully modelled in the round 31cm high, 34cm wide, 11cm deep
$600-900
217
A GROUP OF THREE LIFE-SIZE PAINTED BRONZE FIGURES OF SPOTTED DEER
Early 20th century
A family of an adult and two young, naturalistically modelled in various standing poses, the adult with (detachable) antlers
The largest 140cm high (including antlers)
PROVENANCE:
Tiger Balm Gardens, Singapore (information from Graham Geddes)
Acquired by Graham Geddes, in 1976, then remaining in his personal collection
Graham Gedddes Antiques, Melbourne, 2004, from whom acquired by the late owner
$2,000-4,000
218
A VICTORIAN CAST IRON FIGURE OF A LION
Last quarter 19th century
Modelled in ‘sejant’ pose 75cm high, 64cm wide, 30cm deep
$600-900
219
A HARDWOOD STATIC MODEL OF THE FRENCH NAVY SCHOONER ‘BELLE POULE’
With cloth sails, fibre rigging, and fittings in wood and metal, on a wood stand 85cm high (on stand), 93cm long
$600-800
220
A SCRATCH-BUILT HARDWOOD STATIC MODEL OF THE MALMÖ KETCH ‘FREJA’
Second quarter 20th century
With cloth sails, fibre rigging, and individually made fittings in wood and metal, on a wood stand 128cm high (on stand), 145cm long
$700-1,000
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.
As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.
GST
In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.
For further information contact:
Marie McCarthy accounts@leonardjoel.com.au
Admission
Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.
Commission (Absentee) Bids
Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves.
Telephone Bidding
Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.
Bidder Registration
To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.
Buyer’s Premium
There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.
Property subject to the Artist Resale Royalty
Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.
Damage
Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.
Title
Leonard Joel guarantees good title to all lots.
Warranties and Condition Reports
Condition reports will be available for any lot upon request, subject to conditions.
Estimates
Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates.
Payment
In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.
Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.
Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply.
Bank telegraph transfers should be directed to:
Account name: Leonard Joel Pty Ltd
Address: Westpac Banking Corporation
150 Collins Street, Melbourne VIC 3000 Australia
BSB: 033–364
Account no: 942956
Collection of Lots
Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.
Removal and Storage
Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense.
Removal Charges
Each lot: $55
Storage Charges
Each lot: $33 per day
Act)
Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to
restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.
Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index
Exporting Significant Australian Cultural Heritage
The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia.
The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’.
More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage
Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810
E: movable.heritage@environment.gov.au
CITES Regulations
It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale.
Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from:
The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities
GPO Box 787
CANBERRA ACT 2601
Leonard Home Delivery
Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au
Recommended Carriers
For recommended carriers please refer to our website.
Partners:
To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.
Sale Rooms
MELBOURNE
333 Malvern Road, South Yarra, Melbourne VIC 3141
Telephone: (03) 9826 4333
Facsimile: (03) 9826 4544
Interstate: 1800 264 333
SYDNEY
The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025
Telephone: (02) 9362 9045
Facsimile: (03) 9826 4544
Interstate: 1800 264 333
BRISBANE OFFICE
201 Latrobe Terrace, Paddington QLD 4064
Telephone: 0412 997 080
ADELAIDE OFFICE
429 Pulteney Street, Adelaide SA 5000
Telephone: 0419 838 841
PERTH OFFICE
Telephone: 0412 385 555 email: info@leonardjoel.com.au leonardjoel.com.au
CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS
John Albrecht BA LLB MBA
CHIEF EXECUTIVE OFFICER
Marie McCarthy
Leonard Joel Specialists
FINE ART
Olivia Fuller BArtTh, Head of Department
Lucy Foster EMA, Senior Specialist, Fine Art
Hannah Ryan, Specialist
James Stanton, Administrator and Registrar
INDIGENOUS ART
Olivia Fuller BArtTh, Head of Department
Lucy Foster BCA EMA, Senior Specialist
DECORATIVE ARTS
Chiara Curcio BA, Head of Department
David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist
Trevor Fleming BA, Consultant, Japanese Art
Carl Wantrup, Consultant, Asian Art
Natasha Berlizova, Administrator
SYDNEY
Ronan Sulich, Senior Advisor
Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art, Sydney
Ella Nail, Office Manager & Administrator
IMPORTANT JEWELS
Hamish Sharma, Head of Department, Sydney
Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist
FINE JEWELS & TIMEPIECES
Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne
Patricia Kontos F.G.A.A., Senior Jewellery Specialist
Indigo Keane, Jewellery & Luxury Manager
Isabella Macciolli, Jewellery & Luxury Assistant
Leila Bakhache, Administrator
Henrietta Maiyah, Consultant
MODERN DESIGN
Rebecca Stormont, Specialist
Paul Nicol, Modern Design Assistant
Anna Grassham BA Contemporary Arts, Consultant
LUXURY
Indigo Keane, Specialist
PRINTS
Hannah Ryan, Art Specialist
The Auction Salon
FURNITURE
Angus McGougan, Manager
April Chandler, Assistant
JEWELLERY
Indigo Keane, Manager
Isabella Macciolli, Assistant
ART SALON
Amanda North, Manager
Noelle Martin, Assistant
OBJECTS & COLLECTABLES
Dominic Kavanagh MFA, Manager
Kyle Walker, Assistant
VALUATIONS
David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist
Troy McKenzie, Queensland Representative Specialist
Anthony Hurl, South Australia Representative Specialist
John Brans, Western Australia Representative Specialist
ACCOUNTS
Yue Zhang, Finance Manager
Michelle Draper, Account Manager
Karishma Sareen, Accounts Assistant
CLIENT SERVICES
Kim Clarke, Client Services Manager
Amelia Lewis, Client Services Liaison
Richard Grieve, Client Services Liaison
OPERATIONS & LOGISTICS
Anthony Riepsamen, Manager
Chris Salaoras, Logistics Assistant
MARKETING & COMMUNICATIONS
Blanka Nemeth, Senior Marketing Manager
Lucy Lewis, Database & Marketing Coordinator
PHOTOGRAPHY
Paolo Cappelli, Senior Photographer & Videographer
Adam Obradovic, Photographer & Videographer
GRAPHIC DESIGN
Maria Rossi
leonardjoel.com.au
