The Brans Collection: An Eye for the Exceptional by Leonard Joel

The Brans Collection An Eye for the Exceptional AUCTION SUNDAY 21 NOVEMBER 2021, SYDNEY

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AUCTION CATALOGUE VOLUME 14 ISSUE 22 LJ8444 COVER (detail) LOT 176 AN ITALIAN ORMOLU-MOUNTED EBONY AND PIETRA DURA INLAID CABINET $200,000 – 300,000 BACK COVER LOT 137 A CHINESE MARBLE SEATED TORSO OF BUDDHA $30,000 – 40,000

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The Brans Collection An Eye for the Exceptional AUCTION SUNDAY 21 NOVEMBER 2021, 4PM SYDNEY The Bond, 36–40 Queen Street Woollahra NSW 2025

CONTACT

Madeleine Norton

Ronan Sulich

Marcella Fox

Decorative Arts & Fine Art Specialist (02) 9362 9045 | 0405 565 644 madeleine.norton@leonardjoel.com.au

Senior Adviser (02) 9362 9045 | 0407 018 492 ronan.sulich@leonardjoel.com.au

Sydney Manager (02) 9362 9045 sydney.manager@leonardjoel.com.au

Please refer to our website for viewing details

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How wonderful it is to live with art from across the ages and across cultures…

Welcome to “The Brans Collection: An Eye for the Exceptional”, our first auction after 46 years of trading in the art and antiques business. I have spent my entire life immersed in this business in one way or another. Around the time of my birth my Mum and Dad opened their first shop; a humble stall in the Fremantle Markets which followed in a family tradition on Dad’s side – his father was an auctioneer in South Kensington and his grandmother had an antique shop on Lillie Road, Fulham. For me, a childhood spent viewing auctions, restoring pieces in the shed, attending fairs, visiting the homes of clients and, of course, living with beautiful things, was all part of an early training that led me to enter the family business full-time in my late teens. By this time the business had matured and grown a great deal and moved from dealing mainly in silver and smalls to predominantly English and European furniture. It was also about this time that we moved to our gallery in Mosman Park. Now, after more than 30 years in that gallery and a lot more evolution in the business, we have recently sold the building and so the timing seemed perfect to partner with Leonard Joel in presenting a collection at auction. It is a great pleasure to present to a wider audience a selection of interesting, unusual, and exceptional pieces that we have collected over the years. As I was going through our collection, deciding what to send over to Sydney, I was reminded of the individual stories behind many of the pieces we have included. They range from pieces Dad collected in my childhood right through to pieces only recently acquired and the provenance is just as vast with some from private collections in Western Australia, items from dealers all over Europe, pieces deaccessioned from great international museums, and those from both large and small international auction houses. The process of collecting these pieces has been a journey of its own and taken us from incredible private homes in Italy though to dark and dingy warehouses in the middle of nowhere, from flea markets to TEFAF Maastricht and many places in between – all in the pursuit of beauty. This searching has taken place through the discerning eye developed over generations in this field and the relentless hunt for quality and originality in everything we acquire. I truly believe that surrounding oneself with beautiful objects and works of art can enrich one’s life visually, intellectually, and soulfully. Right now as I sit at my desk at home, I can look away from the screen and momentarily be transported from here to the Western desert, to 19th century Naples, to Renaissance Florence, to Meiji Japan, to tribal Kazakstan and even back to Ancient Rome, depending on which piece I gaze upon. To live and work with art is a great privilege and a source of wonder. I do hope that many of you will take home pieces from our collection that will enrich your own experience through the work of the artists and craftspeople who created these beautiful things, and the work of time that has embellished them with the patina of life. — John Brans

2 © The Estate of Jeffrey Smart

1 AMALIE SARA COLQUHOUN (1894–1974) The Leonard Joel Porter oil on canvas signed lower right: Amalie Colquhoun 81.5 × 65cm OTHER NOTES: Depicting a Leonard Joel porter in the saleroom with a landscape by Arthur Streeton hanging in the background. $4,000–6,000

2 § JEFFREY SMART (1921–2013) Detail for 'Trumper Park 1961' 1960 ink on paper 17.5cm × 10cm (46.5 × 38.5cm framed) PROVENANCE: Philip Bacon Galleries (label verso) Australian Galleries (label verso) acquired from the above 2011

EXHIBITIONS: "Drawings and Studies 1942–2001", Australian Galleries, 11 September – 3 October 2001, Sydney and 13 October – 4 November 2001, Melbourne, catalogue number 51, Illustrated p.60 “Jeffrey Smart Exhibition of Drawings, Watercolours & Studies”, Philip Bacon Galleries, Brisbane, 9 September – 11 October, 2003, Cat.No.19 “Jeffrey Smart The Perth Exhibition: Recent and Early Works 1940-2011” Australian Galleries in association with The Swansea Gallery, Perth, 3 – 13 May 2011, Cat.No.83 $2,500-3,500

3 A PAIR OF ALUMINIUM FRAMED ARMCHAIRS AFTER A DESIGN BY MARCEL BREUER Manufactured by ICF Cadsana S.p.A, Italy, circa 1985, each with stitched black leather back, seat and arms, in a shaped aluminium frame. Height 83cm OTHER NOTES: A similar example with a wooden slatted seat and back can be found in the design collection of the Museum of Modern Art, New York. $1,200–1,800

4 A PAIR OF ALUMINIUM FRAMED ARMCHAIRS AFTER A DESIGN BY MARCEL BREUER Manufactured by ICF Cadsana S.p.A, Italy, circa 1985, each with stitched black leather back, seat and arms, in a shaped aluminium frame. Height 83cm $1,200–1,800 5 SIR STANLEY SPENCER (British, 1891–1959) Stan & Mary Drawing Each Other lithograph, ed. 30/75 inscribed lower left: STANLEY SPENCER STAN & MARY DRAWING EACH OTHER numbered and dated lower right: 5.8.79 30/75 image 40 × 37cm (59 × 46cm framed)

6 AN ITALIAN ONYX RECTANGULAR TABLE TOP Early 20th century, with a quarter veneered panel to the centre within red marble and crossbanded borders, on a low black granite support. 105 × 50cm $1,500–2,500 7 A PAIR OF INDIAN TRIBAL CARVED WOODEN DOLLS Each with articulated arms and four-legged support. Height of tallest 70cm PROVENANCE: Collection of Lord McAlpine of West Green, United Kingdom $800–1,200

OTHER NOTES: This edition was printed posthumously. $200–300

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8 AARON R. GRAY (American) Time Will Tell 1968 oil on canvas on panel signed lower left: Aaron / R / Gray inscribed and dated verso: Time will tell / 6-14-68 45 × 35cm (64 × 54cm framed) $400–600

9 A TANZANIAN CARVED WOOD ALTAR FIGURE Ngamwesi tribe, in the form of an elongated female figure. Height 40cm $300–400

10 A CARVED LUGURU CHIEFTAIN'S CHAIR East Tanzania, late 19th century, the panel back with a carved human head terminal and having a pair of breasts between two bands of geometric relief ornament, the circular seat on three integral carved legs. Height 116cm $800–1,200

11 A BACTRIAN BRECCIA STONE ANICONIC IDOL 3rd-2nd millennium B.C, of flared conical outline with incised line to top and bottom surfaces. Height 25cm PROVENANCE: B.C. Galleries, Armadale acquired from the above $600–800

12 § JOHN CHARLES GOODCHILD (1898–1980) The Iron Triangle 1948 oil on canvas signed and dated lower right: John C. Goodchild '48 52cm × 72.5cm (57.5 × 78.5cm framed) $500–700 13 A SCRATCH BUILT MODEL OF A TWO MASTED LUGGER Late 19th/early 20th century, with extra associated spars, on mahogany stand. Length of hull 124cm $1,000–1,500

14 A VICTORIAN ELM AND BEECH WINDSOR CHAIR The typical arched stick back with pierced splat, the bowed back rail with spindle turned supports above a shaped solid seat on turned legs with turned stretchers. Height 99cm $300–400

15 A WELSH OAK DUODARN Early 19th century, the moulded cornice above a frieze with turned pendants, having three arched panelled cupboards, the central door enclosing drawers flanked by shelves, the base with three frieze drawers above two panelled cupboards on bracket feet. Height 191cm, Width 144cm, Depth 57cm $2,000–3,000

16 A JACOBEAN OAK JOYNED STOOL The rectangular moulded top above a shaped apron on turned supports joined by stretchers. Height 52cm, Width 45.5cm, Depth 28.5cm $1,000–1,500

17 A MATCHED PAIR OF GEORGE III MAHOGANY BEDSIDE COMMODES Each having a gallery top with handles above a panelled opening and pull-out drawer on square sectioned supports. Height 81cm, Width 60cm, Depth 45cm $4,000–6,000

18 A PAIR OF GEORGE II CAST BRASS CANDLESTICKS Circa 1750, each on a circular lobate foot rising to a knopped stem and cylindrical nozzle. Height 19.5cm $300–500

19 A VERDURE TAPESTRY FOUR PANEL SCREEN Early 20th century, each panel with a shaped top mounted with machine made tapestry with green velvet borders. Each panel: Height 199cm, Width 53.5cm $300–500

20 A GEORGE III MAHOGANY AND INLAID HANGING CUTLERY BOX With shaped pierced cresting above the hinged top and tapering body inlaid with boxwood and ebony with a crossed knife and fork. Height 50cm $200–300

21 A COLLECTION OF VINTAGE TOYS Comprising a wooden steam engine, a wooden aeroplane, two tin plate cars, a tin plate motorcyclist, a tin plate yacht hull, and a cast aluminium racing car. (7) $300–500

22 A GEORGE III SILVER MOUNTED COCONUT CUP Of simple design, on turned lignum vitae stem and square base. Height 15.5cm $400–600

23 A CARVED AND POLYCHROME OAK PIGEON DECOY Late 19th century, with glass eyes and metal beak, mounted on steel base. Length 35cm $200–300

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24 A CHARLES II OAK JOINED CHEST OR COFFER The rising plank top above a panelled front with carved decoration to the frieze of scrolls and flowerheads above three panels, the central panel with flowerheads in an interlocking device flanked by lozenges. Height 69cm, Width 119cm, Depth 56cm $1,500–2,000

25 *A TAXIDERMY HAWKSBILL SEA TURTLE (Eretmochelys imbricata) Length 64cm $600–800 26 A PAIR OF CUSHIONS FASHIONED FROM TWO FRAGMENTS OF 17TH CENTURY VERDURE TAPESTRY 46 × 33cm $300–500

27 A QUEEN ANNE STYLE WALNUT AND UPHOLSTERED ARMCHAIR Early 20th century, the arched padded back flanked by padded arms and seat on lappet carved front legs with pad feet and cabriole back legs. Height 99cm $400–600

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28 A BLUE AND WHITE DELFT CHARGER 18th century, the central medallion depicting a seated fisherman enclosed within a foliate border and rimmed with cross hatched decoration. Diameter 35cm $600–800

29 A PAIR OF GEORGE III BRASS CANDLESTICKS Late 18th century, each on a circular foot rising to a tapering shaft with urn shaped nozzle. Height 22cm $300–400

30 A VICTORIAN AESTHETIC MOVEMENT CAST IRON UMBRELLA STAND In the manner of Thomas Jeckyll, the pedimented back centred with a sunflower and foliage above triple baluster panel, removable drip tray, registration number 5831 to the reverse. Height 80cm, Width 41cm, Depth 25cm $200–400

31 A BLUE AND WHITE DELFT CHARGER 18th century, painted to the centre with a goblet of flowers within flower border, signed verso “B P 180”. Diameter 30cm $400–600

32 A BLUE AND WHITE DELFT CHARGER 18th century, with a design to the centre of an urn of flowers. Diameter 31.5cm $400–600

33 A BLUE AND WHITE DELFT CHARGER 18th century, painted to the centre with flowers and foliage. Diameter 31cm $400–600

34 *A LARGE AUSTRALIAN COLONIAL CEDAR AND ROSE MAHOGANY BREAKFRONT BOOKCASE FOR THE MITCHELL LIBRARY Mid 19th century, the moulded cornice above stepped frieze, having three pairs of glazed doors flanked by panelled pilasters, the lower section with conforming cupboard doors on a moulded plinth base. This item is located in Perth, WA and will not be on view in Sydney Height 288cm, Width 565cm, Depth 73cm PROVENANCE: The Mitchell Library, Sydney James R. Lawson Pty Ltd, Sydney Rustic Charm Antiques, Sydney The Estate of the late Anthony Arnold Graham, acquired from the above 1985 Bonhams Sydney, Australian, European & Asian Decorative Arts including The Colonial Sale, 25 November 2013, lot 115 acquired from the above $60,000–80,000

The State Library of New South Wales had its origin in the Australian Subscription Library which opened its doors in 1827. Through the first half of the 19th century this establishment occupied various buildings in the growing town and by 1845 had built its own fine sandstone building on the corner of Macquarie and Bent Streets. As befitting a temple of learning the suitably classical structure had a broad cornice supported by Corinthian pilasters with an elegant Palladian window looking to the south. Though popular, it was not a commercial success and was continually in debt so in 1869 the New South Wales Government purchased the building and books and it became the Sydney Free Public Library. Photographs from this period show a tall four-story reading room with over 20,000 volumes in simple purpose-built shelves. A further wing along the Bent Street side was added in the 1880s by James Barnet, colonial architect. By the end of the 19th century the expanding collections of the now Public Library of New South Wales had outgrown this structure, and in 1898 the incredible Australiana collection of the David Scott Mitchell bequest which came with the condition that a new library was built to house it saw the start of what is now called the Mitchell Wing on Macquarie Street in 1906. The sandstone building that we see today was not completed until 1964, and the modern wing on Macquarie Street finished in 1988. This grand breakfront library bookcase may have been supplied for the Bent Street wing of the Free Public Library and is typically of the high quality supplied to the government offices at the time. The broad cornice and the pilasters that flank the glass doors echo the architecture of the library building and provide a suitable frame for the learned volumes they house. Ronan Sulich | Senior Adviser, Sydney

What appears to be the present lot in a photograph of the 1911 Forestry Conference taken by Mr Trefle in the Public Library. With thanks to Richard Neville, Mitchell Librarian

35 AN ITALIAN SOFT PASTE PORCELAIN JUG Early 19th century, of helmet form, tin glazed blue with a stylised flower spray. Height 13cm $200–300

37 A GEORGE III MAHOGANY WINE TABLE The circular tilt top on turned baluster pedestal and three swept legs with pad feet. Height 71.5cm, Diameter 80cm $400–600

39 A GEORGE III LEATHER FIRE BUCKET Of conical form with original red paint and brass studded base and seam, marked ST. VT. / 4. Height 29cm $200–300

36 A JACOBEAN OAK BACK STOOL 17th century, having a moulded panel back above a solid seat with bobbin-turned supports and front stretcher and rectangular side stretchers. Height 103.5cm $400–600

38 RICHARD PETER RICHARDS (1840–1877) Pickpocket with His Dog watercolour signed lower right: R. P. RICHARDS 17 × 42cm (48 × 64cm framed) $100–200

40 A SMALL TURKOMAN RUG AND A SADDLEBAG The rug with three rows of four hooked ghuls on red field within geometric border; the saddlebag with a central hooked medallion within multiple borders. (2) Rug: 149 × 92cm; Saddlebag: 57 × 56cm $300–400

41 A SMALL NORTHWEST PERSIAN RUG With an all over repeated design of geometric flowerheads within a meander and geometric border. 120 × 110cm $200–300

42 A PORTRAIT OF A LADY IN THE MANNER OF THOMAS GAINSBOROUGH Circa 1780, bust length, wearing a cream silk bodice with blue sash and powdered coiffure, with label to verso: Mrs Richard Rideout – Sarah – widow of / Samuel Nicoll of Court Lodge Sussex / daughter of Francis Carter Nicoll of St Albans / Born 1759 died 1809 / Buried at St Albans. 76.5 × 64cm (89 × 76cm framed) $2,000–3,000

43 AN ANGLO-INDIAN SATINWOOD, EBONY AND MOTHER OF PEARL INLAID WRITING SLOPE Circa 1830, rectangular with ebony borders framing panelled satinwood, inlaid with stylised flower sprays, inset to the centre with an ebony panel with initials SC in script, opening to reveal a fitted interior. Height 15.5cm, Width 40.5, Depth 25.5cm $1,000–2,000

44 A CHARLES II NEEDLEWORK PANEL Depicting the flight into Egypt, Joseph leading the donkey carrying Mary and Jesus through an exotic landscape. 54 × 44cm (75 × 65cm framed) $2,000–3,000

45 A SILVER MOUNTED WALNUT AND SHAGREEN CYLINDRICAL BOX BY JOHN PAUL COOPER (1869–1933) With silver maker's label to interior of lid. Height 9.5cm, Diameter 9cm OTHER NOTES: John Paul Cooper (1869–1933) was a secondgeneration artist of the Arts and Craft Movement and is credited with reviving the lost art of shagreen at the end of the 19th century. This cylindrical box is typical of Cooper's shagreen work and during his lifetime such boxes were a popular commodity. $1,500–2,000

46 THE ROYAL WEDDING GOBLET: A PAIR OF ELIZABETH II SILVER AND SILVER GILT GOBLETS Maker's mark of Stuart Devlin, London 1981, each with a plain triangular bowl supported by the coronet and three feathers of the Prince of Wales, on a plain circular foot engraved "LADY DIANA SPENCER. 29 JULY 1981. HRH THE PRINCE OF WALES.", accompanied by a certificate of authenticity from the Franklin Mint, one with original box. Height 18.8cm $700–1,000

47 A PAIR OF GEORGE III MAHOGANY HALL CHAIRS Of sgabello type, each with a relief carved cartouche shaped back, on shaped seat and supports. Height 97cm $3,000–4,000

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48 A GEORGE III PLUM-PUDDING MAHOGANY TEA TABLE The serpentine fold-over top with ovolo carved edge above the plain frieze centred with a drawer having original rocaille cast handle, the moulded and chamfered square sectioned front legs with carved angles and reverse gate-leg central support to rear. Height 75cm, Width 90cm, Depth 45cm (closed) $1,500–2,000

49 A REGENCY ORMOLU MOUNTED MAHOGANY LIBRARY BOOKCASE In the manner of Thomas Hope, the moulded cornice above a plain frieze centred with a tablet mounted with a mask flanked by griffons and scrolls, the three astral glazed doors within a reeded surround with patera mounted corners, the base with conforming reeded and patera uprights flanking the three moulded cupboard doors with anthemion mounts to the corners raised on reeded tapering legs with gilt metal feet. Height 232cm, Width 213cm, Depth 52cm PROVENANCE: Bonhams, Sydney, The Owston Collection, 25–26 June 2010, lot 660 $25,000–35,000

50 A GEORGE III MAHOGANY SERPENTINE CARD TABLE Circa 1770, the baize-lined fold over top with boxwood line inlay above a plain frieze on square tapering legs with block feet. Height 74cm, Width 91cm, Depth 44cm (closed) $1,200–1,800 51 BEETON'S DICTIONARY OF UNIVERSAL INFORMATION 1858, S. O Beeton, 248 Strand, London, two volumes in three books, three quarter bound in brown leather with marble boards. Each 21.5 × 14.5cm OTHER NOTES: Samuel Orchart Beeton (1831–1877) is best known as the husband of Mrs Isabella Beeton and publisher of the famous "Mrs Beeton's Book of Household Management". $150–200

52 CASSELL'S ILLUSTRATED HISTORY OF ENGLAND 1857, Cassell, Petter, and Galpin, Ludgate Hill, London, eight volumes, three quarter bound in black and red gilt tooled leather. Each 26 × 19.5cm $200–300

53 BAILY'S MAGAZINE OF SPORT AND PASTIMES 1878, A. H Baily & Co., Cornhill, London, 28 volumes, half bound in leather with marbled boards. Each 22 × 14.5cm $200–300 54 THE NEW POPULAR ENCYCLOPAEDIA 1903, The Gresham Publishing Company, London and Glasgow, 14 volumes, half bound in red leather. Each 26 × 18cm $300–500

55 A GEORGE III MAHOGANY METAMORPHIC CHEST Last quarter 18th century, the rising top above removable panel with six false drawer fronts, opening to reveal a fold-out occasional bed with webbed base on turned legs, standing on bracket feet. Height 115cm, Width 94.5cm, Depth 59cm PROVENANCE: Warwick Oakman Antiques, Richmond, Tasmania John Hawkins Antiques, Chudleigh, Tasmania acquired from the above 4 July 2016 $3,000–5,000

56 A LATE VICTORIAN GREY PAINTED AND GILTWOOD OVERMANTEL MIRROR OF ARCHITECTURAL DESIGN The broken arched pediment centred with a scrolled cartouche and palm fronds above an egg and dart moulded frieze centred with a panel of vitruvian scroll, the bevelled plate flanked by stop fluted classical pilasters with gilt capitals. Height 206cm, Width 157cm $3,000–5,000

57 A GEORGE II MAHOGANY CLOTHES PRESS With a moulded cornice above a pair of panelled doors enclosing slides, the base with one long drawer with two false fronts above two deep short drawers on a moulded plinth base. Height 210cm, Width 127.5cm, Depth 65cm $2,000–3,000

58 A LATE GEORGE III MAHOGANY CIRCULAR DINING TABLE The tilt top with a moulded edge on a turned pedestal and four hipped splayed legs and brass castors. Height 72cm, Diameter 144cm $1,200–1,800

59 A PORTRAIT OF A GENTLEMAN IN THE MANNER OF REMBRANDT Late 17th/early 18th century, oil on canvas, bust length, the white-haired gentleman wearing a velvet cloak with gilt clasp and similar cap. 58 × 46cm (82 × 70cm framed) $4,000–6,000

60 A PAIR OF FLEMISH CARVED WALNUT CARYATIDS 16th century and later, each with a fruit basket on her head, one holding a lute and the other dressed as Athena with griffon at her feet, on an acanthus carved socle and faux lapis lazuli painted plinth. Height of tallest 127cm (including plinth) $3,000–4,000

62 © Robert Juniper, Copyright Agency, 2021

61 A PAIR OF ITALIAN WALNUT FAUTEUILS Mid 18th century, each with a shaped upholstered back and seat flanked by scrolled carved arms with acanthus leaf detail, on cabriole legs with cabochon carved knees and scrolled toes, upholstered in peacock velvet. Height 113cm $5,000–8,000

62 § ROBERT LITCHFIELD JUNIPER AM (1929–2012) Landscape After a Fire 1974 oil on canvas on board signed and dated lower left: Juniper ’74 83 × 129cm (112 × 147cm framed)

63 A BRONZE HIPPOCAMPUS Modern, after a Renaissance original, the fish tailed horse on stylised waves. Height 23cm $600–800

PROVENANCE: McKenzies Auctioneers, Fine and Decorative Arts, Jewellery, Furniture and Wine, 23 October 2018, lot 28 acquired from the above $8,000–12,000

64 AN ITALIAN CYPRESS TABLE CABINET 17th century, the fall front decorated with 15 relief carved panels decorated in penwork with scenes from the life of Christ, within similarly decorated borders, opening to reveal two shelves, with panelled sides on bun feet. Height 57.5cm, Width 83.5cm, Depth 33cm $2,000–4,000

65 A FRENCH BRONZE OF THE CROUCHING VENUS Circa 1840, after the Antique, the naked goddess crouching on a base naturalistically modelled with rocks and foliage on an integral moulded plinth and modern wooden base. Height including base 49cm $3,500–5,500

66 A LOUIS XV AUBUSSON TAPESTRY PANEL Woven in wools with a scene of birds and a distant farmhouse framed by trees and verdure within a scrolling border. 203 × 142cm $5,000–8,000

67 A GEORGE III MAHOGANY TILT TOP TRIPOD TABLE Circa 1770, with circular top on a baluster pedestal with acanthus carved knop on three swept supports with pad feet. Height 71cm, Diameter 76cm $2,000–3,000

68 A SMALL BRONZED BUST OF MICHELANGELO Early 19th century, after the original by Daniele da Volterra. Height 10.5cm $400–500

69 A PAIR OF ITALIAN BRONZE CANDLESTICKS 19th century, each on a scroll and mask cast circular base rising to a baluster shaped shaft cast with fruiting vines supporting the conforming nozzle and drip pan. Height 20cm $400–600

70 A BRONZE BUST OF DANTE Mid 19th century, in a laurel wreathed Phrygian cap, on circular marble plinth. Height 15cm $300–400

71 A LOUIS XV WALNUT SERPENTINE COMMODE Having two short above two long drawers all with carved panel fronts with rocaille brass handles and escutcheons, a central hidden drawer and a scroll and flower carved apron, flanked by cabriole legs with scroll toes, partially legible stamp on top right hand back corner "?OUASSE". Height 89cm, Width 127cm, Depth 57cm $3,000–5,000

72 A PAIR OF ITALIAN BRONZE CHERUBS 19th century, in the Baroque manner, each seated on a modern turned wood base. Height of tallest including base 40cm $5,000–8,000

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73 AN ITALIAN BRONZE INKWELL Mid 19th century, in the form of an urn with rams’ heads supported by three addorsed tritons in a basin of scallop shells on a shaped base. Height 16.5cm $800–1,200

74 A VICTORIAN BRONZE REDUCTION OF THE FARNESE HERCULES Circa 1860, the naked hero resting on a rock with the Nemean lion skin and club under his arm, the cast by Elkington and Company, foundry mark and reference number on base. Height 29.5cm $1,000–1,500

75 AN ITALIAN ROCOCO STOOL Mid 18th century, the close nailed velvet upholstered seat on moulded cabriole legs with scroll toes decorated cream and gilt. Height 41cm, Width 44cm, Depth 44cm $600–800

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76 AN ITALIAN NEOCLASSICAL GILTWOOD CONSOLE TABLE Late 18th century, the giallo antico marble veneered rectangular top on a flowerhead and bell flower carved frieze centred with a pair of nesting doves, on leaf carved and fluted tapering supports. Height 94cm, Width 111cm, Depth 56cm $8,000–12,000

77 A SCANDINAVIAN APPRENTICE PAINTED CHEST OF DRAWERS Mid 19th century, of bow-front outline having three short above two long drawers on bracket feet, in original red decoration with printed paper borders and motif to the top. Height 27cm, Width 17cm, Depth 12.5cm $300–400

78 A PAIR OF SWEDISH PAINTED ARMCHAIRS ATTRIBUTED TO EPHRAIM STAHL (1768–1820) Each with a shaped moulded frame decorated with bell flowers terminating in a pair of lion heads, above a padded seat on turned leaf carved and fluted legs, decorated pale grey and upholstered in blue linen. Height 85cm $4,000–6,000

79 A CENTRAL EUROPEAN OAK AND CYPRESS PANELLED COFFER Second half 17th century, the front with four elaborately moulded tapering pilasters dividing the three moulded panels inlaid throughout with fruitwood, ebony and bone within rippled moulded panels, the frieze with oyster laburnum inlay, the sides with panels centred with split turned details, the rising top with three conforming panels modified in the 19th century. Height 67cm, Width 147cm, Depth 66cm $3,000–4,000

80 A PAIR OF CARVED AND POLYCHROME WOODEN REINDEER Central Europe, 19th century, each naturalistically carved in grazing position on a stylised knoll. Height 79cm $1,500–2,000

81 A REPOUSSE BRASS ALMS DISH Central Europe, 17th century, having central lobate boss with traces of original inscription, the border with punchwork decoration. Diameter 37cm $600–800

82 AN ANGLO CHINESE AMBOYNA AND EBONY LIBRARY TABLE Mid 19th century, the rounded rectangular top inset with a panel of amboyna within ivory and ebony borders, the frieze inset with two drawers and reeded corners, on a spirally reeded and leaf carved pedestal and fluted quatreform base on hairy paw feet with brass castors. Height 78cm, Width 102cm, Depth 61cm $5,000–8,000

83 AN ANGLO-INDIAN VIZAGAPATAM EBONY BOX WITH IVORY INLAY Mid 19th century, sarcophagus shaped on four gilt ball feet, the rising top revealing a fitted interior tray, profusely inlaid to top and front with scrolled designs and flower sprays. Height 15cm, Width 31cm, Depth 21cm $1,000–1,500

84 A CHINESE CELADON BOTTLE FOR THE DUTCH EAST INDIA COMPANY The pear-shaped body rising to an annular neck, decorated in underglaze blue with the monogram of the Vereenigde Oost Indische Compagnie (VOC) within a foliate wreath, a further monogram within a double circle to the base. Height 35cm $600–800

85 A CHINESE CARPET Late Qing Dynasty (1644–1912), with a central circular foliate medallion on a navy blue ground with scattered flower sprays and flower and fretwork spandrels, within faded pink and ivory borders decorated with tendrils, antiques, flowerheads, and shou symbols to each corner. 363 × 532cm $1,500–2,000

86 A CHINESE EXPORT BLUE AND WHITE PORCELAIN OCTAGONAL CHARGER Second half 18th century, painted to the centre with a pine tree and peonies within diaper borders. Diameter 36cm $300–400

87 *A 19TH CENTURY CHINESE ROSEWOOD OCCASIONAL TABLE Circa 1850, the marble inset lobed top within a beaded border above carved and pierced foliate aprons on cabriole legs with lion mask headers and stylised paw feet. Height 45cm, Diameter 41cm $600–800

88 A GROUP OF THREE CHINESE EXPORT BLUE AND WHITE PORCELAIN PLATES Last quarter 18th century, one decorated with sprays of peonies and other flowers, another with birds and a peony by a fence, the third with peonies and trees. Diameter 23cm $400–600

89 A CHINESE EXPORT BLUE AND WHITE PORCELAIN TANKARD Early 19th century, decorated in underglaze blue with boats and pavilions by a lake with a double loop handle. Height 11cm $200–300

90 A CHINESE HONGMU LOW TABLE The panelled top on outward curved supports carved with a frieze of flowering prunus and birds. Height 40.5, Width 100cm, Depth 39cm $800–1,200

91 *A PAIR OF CHINESE ROSEWOOD YOKE BACK ARMCHAIRS Early 20th century, each with a curved splat carved in relief with a stylised dragon above a fielded panel seat, on turned supports united by shaped aprons carved in relief with stylised dragons. Height 73cm $2,000–3,000

92 A PAIR OF BURMESE BLACK LACQUER OCTAGONAL BOXES Each with a removable cover above tall moulded sides decorated all-over with incised lines and leaf sprays, having decorative roundels with various animals and mythical beasts. Height 39cm $300–500

93 A CHINESE BLUE AND WHITE PORCELAIN VASE 18th century, of squat baluster form, painted all over with prunus blossom on a cracked ice ground, with later pierced and carved wood cover and stand. Height 36cm $600–800

94 A KOREAN CELADON BOTTLE VASE Of squared baluster form, the neck with two dragon handles, the sides with reticulated panels of figures within cloud scrolls, impressed seal mark to base. Height 24cm $400–500 95 A JAPANESE KORANSHA PORCELAIN VASE Meiji Period, of tall, slender ovoid form, painted in underglaze blue with a pair of sinuous dragons above a band of stylised waves, signed to base. Height 44cm $5,000–7,000

96 A JAPANESE IMARI PORCELAIN JARDINIERE Late 19th century, decorated in underglaze blue and red and gold enamel in typical Imari style. Height 23cm, Diameter 30cm $200–300 97 THREE UKIYO-E WOODBLOCK PRINTS By Kunisada (1786–1865), depicting scenes from Kabuki theatre, actors and history. 31 × 21cm; 31 × 22cm; 20 × 22cm $300–400

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98 A LARGE JAPANESE BRONZE FIGURE OF A BIJIN HOLDING A LAMP Meiji Period, Tokyo School, the beautiful woman stepping carefully in geta holding her kimono with her right hand, her hair elaborately dressed, signed with seal: Hosho/Takanobu, and another reading: Isho toroku dai 1536 go (patented design, no.1536). Height 89cm PROVENANCE: Bonhams London, Fine Japanese Art, 5 November 2009, lot 266 acquired from the above $3,000–5,000

99 A SMALL JAPANESE EXPORT COFFER 18th century, rectangular with chamfered corners, black lacquered and inlaid with mother of pearl all-over with sprays of flowers and foliage, the top with a pair of figures admiring a rockwork, with brass handles and hardware, the rising top revealing a paper lined interior. Height 31cm, Width 40cm, Depth 29cm $1,000–1,500

100 A JAPANESE EXPORT COFFER 18th century, rectangular with chamfered corners, black lacquered and inlaid with mother of pearl all-over with sprays of flowers and foliage, the front panel with a scene of a traveller and his attendant on the road, with brass handles and hardware, the rising top revealing a paper lined interior. Height 41cm, Width 51cm, Depth 36cm $1,200–1,800

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101 A JAPANESE CLOISONNE VASE Meiji period, of slender ovoid form with short flared neck, decorated all over with a continuous design of poppies on a blue/black ground, silver plated base. Height 24cm $600–800

102 A JAPANESE BRONZE KORO IN THE FORM OF A CAPARISONED ELEPHANT CARRYING A TEMPLE Mid 19th century, the two tiered pagoda with phoenix finial and fretwork openings, on an embellished and brocade cloth with pearl fringes, signed to underside "Hasegawa, Setsuinuzuka, Harusada". Height 56cm, Length 56cm, Width 19cm $7,000–10,000

103 A JAPANESE SILVER INLAID BRONZE CENSER Meiji Period, rectangular with two loop handles above a frieze inlaid with geometric inlay on four cabriole legs. Height 13cm $400–600

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104 A JAPANESE WARABE GUSOKU (BOY'S ARMOUR) Edo Period, the suji-kabuto in lacquer to replicate iron with a two-stage lacquer shikoro (neck protection), the bottom stage in gold scrolling wave design having a kuwagata-dai of stylised antlers and sun, the leather-clad fukigaeshi (turnbacks) with gold lacquered mabizashi (visor) above the lacquer ressei menpo (mask with fierce expression) gilt three-lame tare (throat guard); four-stage o-sode (shoulder guards) and oda-gote (arm guards) with

lacquer highlights, the do (main trunk armour) of lacquer with gold moriage style decoration of peonies and karashishi (temple lions), over which hang the sendan and kyubi no ita (armpit guards), with six five-stage kusazuri (leg protectors) hanging from the do, lacquer and silk suneate (shin guards) with decoration of scrolling clouds and family kamon (crest), in original karabitsu (storage chest). $3,000–5,000

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105 A THAI BRONZE HAND OF BUDDHA Traces of gilt, on a velvet covered wooden base. Length of bronze 10.5cm PROVENANCE: David Jones Art Gallery $500–800

106 A BRONZE FIGURE OF VAJRABHAIRAVA WITH HIS CONSORT VAJRAVETALI Sino-Tibetan, the yidam and consort depicted in ecstatic union on a lotus leaf base. Height 33cm PROVENANCE: Christie's, Sydney, 1972 Estate of D'Arcy Ryan Shapiro, Fine Furniture, Painting, Decorative and Asian Art, 22 March 2015, lot 111 acquired from the above $800–1,200

107 A CHINESE BRONZE FIGURE OF GUANYIN 19th century, seated with traces of gilt and lacquer. Height 35cm $800–1,200 108 SOUTHEAST ASIAN SCHOOL Two Market Scenes 1980 oil on canvas each indistinctly signed and dated 1980 56 × 74cm (73 × 91cm framed) $400–600

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109 A CHINESE CELADON SHALLOW BOWL With all-over even glaze and craquelure. Diameter 26cm, Height 7.5cm $800–1,200 110 A CHINESE HONGMU OPEN DISPLAY CABINET Late 19th century, having six graduated open shelves with faux bamboo carved uprights, supports and edges, above a pair of panelled doors carved in relief with bamboo and flowering vines, on short cabriole legs with a pierced and carved apron. Height 141cm, Width 80cm, Depth 32cm $3,000–5,000 111 A CHINESE BRONZE CENSER IN THE FORM OF A MYTHOLOGICAL BEAST Ming Dynasty (1368-1644), the fearsome squat beast standing on four legs. Height 20cm

PROVENANCE: Captain W.E. Frank Jones (British advisor to the Chinese government in early 20th century) Gallery Desmet, Brussels acquired from the above March 2012 EXHIBITIONS: Exhibited in 1939 in an exhibition raising funds for a “scientific approach to peace”. $2,000–3,000 112 A THAI BRONZE BUDDHA Mid 19th century, seated in padmasana with one hand touching the ground and the other on its lap, with elongated earlobes and downcast enamel eyes in a robe trimmed with green glass sequins. Height 39cm $2,000–3,000

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113 A CHINESE CARVED MARBLE HEAD OF BODHISATTVA Ming Dynasty (1368–1644), or earlier, wearing elaborate diadem and curled top knot with downcast eyes and serene expression on a white marble plinth. Height 29cm, Height including plinth 48.5cm $4,000–6,000 114 A CHINESE BAMBOO BRUSH POT Qing Dynasty (1644-1912), carved with a lady in a landscape with a pavilion, an egret and a pine tree. Height 15.5cm $1,500–2,000 115 A CHINESE CAST IRON HEAD OF GUANYIN Ming Dynasty (1368–1644), on carved hardwood base. Overall height 38.5cm PROVENANCE: Moron Père et fils Antiquités, Marseille acquired from the above 25 February 2017 $5,000–8,000

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116 A CHINESE ANCESTRAL PORTRAIT Second half 19th century, ink and watercolour on paper, depicting three men and three women from the same family, the women in red robes with rank badges and elaborate headdresses, the men in fur lined winter coats, inscription above and below. 180 × 90cm (215cm × 120cm framed) $3,000–4,000

117 A CHINESE BURL WOOD INSET HUANGHALI SIDE TABLE Qing Dynasty (1644–1912), the burl wood panel set within the thick rectangular frame above a narrow waist, the scrolled aprons fitted against square sectioned legs terminating in hoof feet. Height 79cm, Width 56cm, Depth 46.5cm $8,000–12,000

118 A PAIR OF CHINESE FAMILLE NOIRE PORCELAIN VASES 20th century, in the Kangxi style, each with a tapering square sectioned body and a flared neck decorated with lotus flowers and foliage on a black ground, six character mark to base. Height 50cm $2,000–3,000

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119 AN INDIAN BUFF SANDSTONE CARVING OF A LION AND AN ELEPHANT Probably Mughal, 17th century or earlier, the stylised lion subduing the smaller pachyderm on integral rectangular plinth, traces of polychrome. Height 49cm, Length 54cm, Width 15cm PROVENANCE: Peachtree and Bennett, Atlanta, Fine Antiques & Mid Century Modern, 12 April 2014, lot 269 Gallery Desmet, Brussels $3,000–5,000

120 A SOUTHERN INDIAN FINELY CARVED SANDALWOOD GLOVE BOX Mid 19th century, rectangular with chamfered corners, decorated all over with a design of foliage with birds and animals. Height 6cm, Length 28cm, Depth 10cm $400–500

121 A PAIR OF CHINESE EMBROIDERED SILK RANK BADGES Qing Dynasty (1644-1912), each with a crane standing on a rockwork surrounded by flowers with a sky of stylised clouds and bats. Each 29 × 29cm (59 × 58cm framed) $600–800

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122 A CHINESE BRONZE ARCHAISTIC WINE VESSEL 19th century, the flattened baluster shape with two ring handles, bands of taotie masks, characters to base. Height 34cm $400–600

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123 A PAIR OF CHINESE BLUE AND WHITE PORCELAIN JARS Late Qing Dynasty (1644-1912), each of ovoid form decorated in underglaze blue with stylised designs of lappets, roundels and bats. Height 22cm $2,500–3,500

124 A CHINESE BRONZE PLAQUE Cast in relief with three deities and inscribed with Chinese characters to the reverse. Height 9.5cm $300–400

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125 A THAI GILT BRONZE FIGURE OF THE STANDING BUDDHA 19th century, wearing an elaborate conical headdress and richly decorated loincloth and cape, standing on a multi-tiered base. Height 57cm PROVENANCE: Gray's Auctioneers, 6 February 1974, lot 108 Estate of D'Arcy Ryan Shapiro, Fine Furniture, Painting, Decorative and Asian Art, 22 March 2015, lot 66 acquired from the above $1,200–1,800

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126 A MATCHED PAIR OF CHINESE PORCELAIN JARS Late Ming/Transitional Period, each of baluster form decorated in underglaze blue with a procession of courtly ladies admiring peonies. Height 46cm $8,000–12,000

127 A CHINESE SILK AND METALLIC THREAD CARPET Late Qing Dynasty (1644–1912), the central lobate medallion with a five-clawed dragon chasing a flaming pearl on a fretwork and flowerhead field, the lobate spandrels with further five-clawed dragons within an inner pearl border and wider meandering flowerhead border. 189 × 283cm PROVENANCE: Collection of Joaquim Eulálio do Nascimento e Silva OTHER NOTES: Joaquim Eulálio do Nascimento e Silva was ambassador to Chongqing from 26 May 1944 – 31 August 1946. $3,000–5,000

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128 A PAIR OF INDIAN RED SANDSTONE FIGURES OF CELESTIAL MUSICIANS Rajasthan, 12th century, well carved in the round with gently rounded forms, one holding a drum and the other a stringed instrument, both adorned with a festooned belt and multiple necklaces, the faces bearded with large almond-shaped eyes beneath gracefully arched brows, the hair neatly arranged in two rows of spiralling locks. Height of largest 48cm

These elegant musicians or gandharvas would originally have formed part of the decoration of a Jain or Hindu temple constructed in what is now known as the Solanki style. Between the 11th and 13th centuries the Solanki Dynasty ruled parts of Rajasthan and Gujarat in northwest India and the architecture of temples built at this time was structured with a complex design of repeating projections and recesses, accommodating a multiplicity of sharply carved statues in niches. The display wall and mouldings were adorned with continuous lines of horse riders, elephants, and kīrttimukhas. Hardly any segment of the surface was left undecorated.

PROVENANCE: Property from a Private Roman Collection Christie's New York, Indian and Southeast Asian Art, 21 September 2007 lot 70 $25,000–35,000

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There are a great many gandharvas in Hindu, Jain and Buddhist mythology and they accompany and entertain the higher gods. The flight of these celestial creatures is suggested by their pose: legs lifted off the ground, knees bent, back legs thrown upward, and the deeply curved bodies billow like sails. One boy is holding a sitar-like stringed instrument; the other, in a similar pose, holds a drum and fragmentary arms suggest that he was part of a larger group. They both wear crisply carved necklaces, armlets and bracelets and their elegant coiffures seem to form halos above their ecstatic faces. Except in the early periods, the Indian sculptor did not use wings to depict flying figures. Instead, he relied upon movement and the posture of the body. Ronan Sulich | Senior Adviser, Sydney

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129 A CHINESE EXPORT BLUE AND WHITE PORCELAIN MEIPING 18th century, of typical baluster form with short neck, decorated with ladies in a pavilion and a garden. Height 27cm $400–600 130 A CHINESE BOXWOOD CARVING OF THE RECLINING BUDDHA 19th century, depicted laughing and holding a string of beads, on a separate carved wood base. Overall length 27cm $300–400

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131 A CHINESE EXPORT BLUE AND WHITE PORCELAIN GINGER JAR 18th century, with underglaze decoration of scholar’s objects, with later pierced and carved wooden lid. Height 25cm $1,200–1,800 132 A KASHMIRI CARVED HARDWOOD OCCASIONAL TABLE IN THE CHINESE MANNER Srinagar, early 20th century, the circular top with lobate border, richly carved in relief with four dragons and Chinese symbols around a plain octofoil panel, on a folding cruciform stand composed of dragons and Chinese symbols. Height 62cm

OTHER NOTES: It was not uncommon for Indian craftsmen to use Chinese decoration to appeal to the local market for Tibetan antiques. For a similar example in the Victoria & Albert Museum, London, see “Furniture from British India and Ceylon” by Amin Jaffer, page 301. $600–800

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133 A NEPALESE BRONZE MYTHOLOGICAL GUARDIAN BEAST 19th century, holding a candlestick, with turquoise eyes, the oval pierced base with a foliate border. Height 18.5cm PROVENANCE: Captain W.E. Frank Jones (British advisor to the Chinese government in early 20th century) Gallery Desmet, Brussels acquired from the above March 2012 EXHIBITIONS: Exhibited in 1939 in an exhibition raising funds for a “scientific approach to peace”. $2,000–3,000

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134 A PAIR OF CANTONESE FAMILLE ROSE PLATES 19th century, painted and gilt with courtiers, warriors and sages radiating from a central medallion within a border of flowers and sacred objects. Diameter 22cm $400–600

136 LIU DE-LIU (ZI HE) (Chinese, 1806–1875) Pigeon, Sparrows and Fruiting Nandina ink and colour on paper, mounted on silk scroll signed with two seals top left 127 × 30.5cm $800–1,200

135 A SILK EMBROIDERED PANEL WITH CHINESE FIGURES Depicting a deity flying on the back of a crane with two other court figures and a deer in the foreground, on an ivory silk ground. 192 × 151cm $600–800

137 A CHINESE MARBLE SEATED TORSO OF BUDDHA Tang Dynasty (618-907), seated in padmasana with right hand raised and left hand resting on the left knee, on the lotus throne, together with custom made wooden plinth. Height 64cm, Width 34cm, Depth 37cm PROVENANCE: Private collection, Italy acquired from the above 3 March 2011 $30,000–40,000

This sculpture in marble depicts Amitabha (the Buddha of Infinite Light), a celestial Buddha who created through his merit, a pure realm for his devotees to inhabit upon calling his name with sincerity. Amitabha is one of the most popular representations of Buddha throughout Asia, primarily due to his approachability and ease of worship for lay devotees. The figure is carved with graceful, flowing lines to the diaphanous drapery and a plump fullness to the modelling of the limbs and torso. It is an excellent example of the sculpture of the 8th Century, the high-point of Tang Dynasty sculpture. In the earlier dynasties, Chinese Buddhist sculpture had been more angular and heavily stylised, demonstrating a more ancient native influence, but in the Tang, probably spurred on by a renewed interest in seeking rare Buddhist scriptures from India, Buddhist sculpture took on a pronounced influence from Indian sculpture of the Gupta Period (early 4th to late 6th Century). The sculpture of the Gupta Period was highly influential on both Buddhist and Hindu sculpture throughout Asia, including Southeast Asia, the Korean peninsula, Japan and China, as India was the centre of Buddhist learning, being the birthplace of Buddhism. Gupta sculpture is known for its generous, rounded modelling, graceful curves, and naturalism. It inherited the tradition of naturalistic Classical and Hellenistic sculpture brought to the region by Alexander the Great (356–323BC), via the sculptural traditions of the Kushan Empire of India and the Ancient Region of Gandhara. It was in Kushan that representational Buddhist sculpture was first born and developed during the 1st to 3rd Centuries. This marble figure of Buddha is therefore a clear descendant of the Greek sculptural tradition and represents the birth of naturalism in Chinese sculpture. Carl Wantrup | Asian Art Consultant

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138 A PERSIAN RUG Having an oval pictorial medallion of a snake threatening birds in a nest, on a brown field with animals and further pictorial panels, within a flowerhead and pine tree border. 127 × 179cm $1,500–2,000

139 A SOUTH EAST ASIAN CELADON JARLET WITH A CARVED WOODEN TRIBAL STOPPER Height 18.5cm $300–500

140 A NEW GUINEA CARVED AND POLYCHROME WOOD TRIBAL MASK Sepik River, fringed with coconut husk decoration, on metal stand. Overall height 48cm $400–600

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141 A NEW GUINEA CARVED WOODEN HOUSE HOOK Sepik River, early 20th century, on metal stand. Overall height 87cm $300–400

142 *A TAXIDERMY SAND GOANNA (Varanus gouldii) Length 85cm $500–800

143 AN INDIAN CASKET 18th century, the imitation leather cover with relief decoration of stylised leaves (distressed), the fitted interior painted with flower sprigs on an orange ground. Height 11cm, Width 41cm, Depth 25cm $600–800

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144 A BENIN BRONZE COMMEMORATIVE HEAD 20th century, in a ribbed cap with projecting ornament and matching collar. Height 31cm $400–600

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145 AN AFRICAN CARVED WOOD TRIBAL MASK Early to mid 20th century, on metal stand. Mask 27cm × 23cm $400–600

146 A GHANAIAN CARVED WOOD AND LACQUERED ASHANTI DOLL Of typical form on a metal base. Height 36cm $600–800

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147 A LARGE NATURAL COCO DE MER Together with stand. Overall height 33cm $800–1,200

149 *A TAXIDERMY FRESHWATER CROCODILE (Crocodylus johnstoni) Length 88cm $500–800

148 AN AFRICAN TRIBAL CARVED WOOD FIGURE OF A WOMAN Mid 20th century. Height 43cm $200–300

150 A ROMAN STYLE BRONZE HAND MIRROR The circular reflector decorated to one side in low relief with Minerva and a lion. Length 22cm $300–500

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151 AN APULIAN RED-FIGURE BELL KRATER 4th century B.C., painted to one side with a naked youth holding a dish and a basket looking towards a maenad holding a tympanum above a Greek key border, the other side with two himation clad youths holding staffs, painted with palmettes beneath the handles, a band of laurel under the rim, details in added white. Height 37.5cm PROVENANCE: Sotheby's, Fine Decorative Arts, 25–27 May 1997, lot 747 acquired from the above OTHER NOTES: Details of this item have been published in a work by Professor Dale Trendall and it is from the Schulman Group. $8,000–12,000

The ancient Greek colony in Apulia, now Puglia, in southern Italy was the largest centre of pottery production at the time of its heyday in 430–300 B.C., and over half the approximately 20,000 surviving pieces have been found in this area. The eminent Australian academic Professor Arthur Dale Trendall considered it the work of the Schulman painter who he named after a calyx krater in the Schulman Collection in Boston. His work mainly features Dionysiac scenes probably connected to funerary traditions and grave cults, as many of the vases were made as grave offerings, and this krater is a typical example. On one side the red figures of a youth and maenad are highlighted in white and seem to dance with their offerings to the god of wine, whilst on the opposite side, the sober and static figures of ephebes draped in their himations offer a total contrast and seem to suggest the balance between life and death. Ronan Sulich | Senior Adviser, Sydney

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152 A GREEN PORPHYRY VENEERED TABLE TOP 20th century, in the neoclassical style inlaid with a Greek double meander in Sienna marble, on simple timber boxed base. Height 141.5cm, Width 80cm, Depth 4.5cm $8,000–12,000

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153 *AN OCTAGONAL ROSEWOOD CENTRE TABLE ATTRIBUTED TO CARLO DI CARLI (1910-1971) The top with a faceted frieze on a flared square sectioned base with chamfered angles. Height 76cm, Width 129cm, Depth 129cm $7,000–10,000

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154 AN EARLY 20TH CENTURY GOYARD WARDROBE TRUNK Circa 1920, leatherbound with brass hardware and chevron Goyard canvas, tan leather interior with chromed hanging racks, painted owner's stencil: R.N. Jackson / T.S.S. IBERIA / FREMANTLE, together with key. Height 105cm, Width 54cm, Depth 38cm OTHER NOTES: The SS Iberia was an ocean liner completed in 1954 at the Belfast shipyard of Harland and Wolff for the Peninsular and Oriental Steam Navigation Company (P&O), it originally provided service between London and Sydney via the Suez Canal. $8,000–12,000

155 A FRENCH KINGWOOD ENVELOPE CARD TABLE BY PAUL SORMANI (1817–1877) Of Louis XV design, the swivel top opening to reveal a baize lined plain surface above a shaped apron with quarter veneered panels and ormolu rocaille mounts and chutes to the slender cabriole legs terminating in scrolled sabots, the lock signed: P SORMANI PARIS 10, rue Charlot. Height 73cm, Width 58cm, Depth 58cm $5,000–8,000

156 AN ITALIAN WHITE MARBLE FIGURE OF THE BIRTH OF VENUS ATTRIBUTED TO FERDINANDO ANDREINI (1843–1922) Circa 1900, the naked goddess rising from a scallop shell and stylised waves, together with a carved serpentine plinth entwined by a dolphin. Overall height 224cm PROVENANCE: Sotheby’s Billingshurst, Garden Statuary & Architectural Items, 13 October 1997, lot 358 acquired from the above $15,000–20,000

Born of the foam of the sea, the Roman goddess Venus emerges from the waves elegantly poised upon a shell with her hair billowing behind her and a smaller shell nestled on top of her head. Her pure white form is carved from the finest Carrara marble with her undulating curves a prime example of Italian Romantic sculpture. The present lot forms part of a long tradition of representations by artists who have been enamoured by the goddess of love. The renewed interest in classical Roman mythology during the Renaissance saw a great variety of depictions of Venus, perhaps most notably is Sandro Botticelli’s The Birth of Venus painted in the late 15th century and housed at the Uffizi Gallery, Florence. Botticelli’s depiction, like the current lot, shows Venus after her birth having arose from the sea, blown by the west wind, Zephyr, and standing gracefully on a shell. These Renaissance depictions became popular references for artists in Florence during the late 19th and early 20th centuries. Ferdinando Andreini was born in Settignano, a few miles north-east of Florence, and studied under the sculptor Ulysse Cambi (1807–1895). Andreini’s sculpture has become known for its skilful juxtaposition of matte and polished surfaces, which is particularly prominent in the present lot in the texture of the waves that rise embracing Venus’ form. His masterful ability to balance the weight of the marble can be seen in this figure as she stands delicately in contrapposto, seemingly weightless, propelled forward by the power of the sea and the breath of the wind. During the last quarter of the 19th century Andreini executed a series of comparable sculptures of mythological and allegorical subjects romanticising the female figure, another example, his sculpture Diana, is housed in the Warrington Museum & Art Gallery, UK. Madeleine Norton I Decorative Arts & Fine Art Specialist

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157 A PAIR OF RUSSIAN ORMOLU CANDLESTICKS Early 19th century, in the manner of Andrei Schreiber, St Petersburg, each on an octagonal foot cast with a stiff leaf band and central star rising to half reeded shaft with band of oak leaves and faceted decoration, the conforming urn shaped nozzle with milled edge. Height 25cm $1,000–1,500

158 A FRENCH BRONZE PUTTO Mid 18th century, seated on a granite ormolu mounted column on a green marble base. Overall Height 36cm, Width 20cm, Depth 20cm $2,500–3,500 159 A LOUIS XV STYLE INLAID AND GILT BRONZE MOUNTED ETAGERE Last quarter 19th century, the shaped top and under tier quarter veneered in kingwood with rosewood and tulipwood crossbanding, on slender cabriole legs. Height 76.5cm, Width 49cm, Depth 38cm $1,500–2,500

160 FRANCISQUE JOSEPH DURET (1804–1865) Vendangeur Improvisant sur un Sujet Comique 1839 bronze signed on the barrel: DURET titled on the base: IMPROVVISATORE Height 54.5cm OTHER NOTES: Cast after the original in the Louvre. Duret won the Prix de Rome at the age of 19 and later received numerous official commissions including the Fontaine Saint-Michel in Paris and was a professor at l'Ecole des Beaux-Arts. $3,500–5,500

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161 AN EARLY LOUIS XV CARVED AND GILTWOOD MIRROR The rectangular bevelled plate in a moulded frame centred with a carved rocaille cresting above a shell and flower swag, the corners with shell clasps, and a carved pierced border. Height 62cm, Width 77cm $2,500–3,500

162 A PAIR OF VENETIAN ROCOCO GILTWOOD ARMCHAIRS Mid 18th century, each with a cartouche shaped moulded padded back with rocaille cresting, flanked by scrolled arms above a shaped padded seat with shell and rocaille apron on conforming cabriole legs, upholstered en chassis in distressed pink silk. Height 110cm $6,000–8,000

163 A RÉGENCE/EARLY LOUIS XV OAK COMMODE Of small proportions, the arc en arbalete top above two bombé drawers flanked by rocaille carved uprights and above a carved apron on slender cabriole legs terminating in hoof feet. Height 79cm, Width 95cm, Depth 52cm $4,000–6,000

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164 A PAIR OF NAPOLEON III FIVE LIGHT BRONZE AND ORMOLU CANDELABRA Each on an ormolu and rouge marble column pedestal, with a draped putto supporting the candle brackets in the form of three hunting horns and two oak branches, one putto with a stag's head and the other with a boar's head at his feet. Height 77cm $8,000–12,000

165 A FRENCH BRONZE BUST OF A GREEK GOD 19th century, wearing a plumed helmet with draped shoulders on a square golden bronze socle. Height 37cm $1,000–1,500

166 A GEORGE II STYLE PAINTED MAHOGANY BREAKFRONT SERVING TABLE Of bowed outline, with ribbon and leaf carved edge above a plain frieze with central tablet and Vitruvian scroll edge, having a central concealed drawer, the apron carved to the centre with a shell and flower swag motif, on cabriole legs with scrolled toes and moulded block feet, later decorated in pale grey. Height 96.5cm, Width 230cm, Depth 75.5cm $2,500–3,500

167 Attributed to ALESSANDRO SALUCCI (Italy, circa 1590–1655/60) Architectural Capriccio with Elegant Figures Dancing Before an Obelisk, a Fortified Coastline Beyond oil on canvas 123 × 153cm (138 × 178cm framed) PROVENANCE: Tomasso, London $25,000–35,000

Derived from reality but in fact a reflection of the artist's imagination, this architectural fantasy or capriccio exemplifies decorative canvases popular in the 17th century. These extravagant and whimsical landscapes were born out of early examples of quadrature – illusionistic murals painted as large-scale frescoes, usually on the ceiling of a church. The architectural elements in quadrature were intended to extend the real architecture of the room and lift a congregation's thoughts to heaven, often providing some of the finest examples of trompe-l’oeil in art. Artists Alessandro Salucci and Viviano Codazzi utilised the techniques of quadrature painters and designers (such as linear perspective and masterful representation of architectural space) to paint imaginary scenes for decorative rather than spiritual ends in their capricci. Their conjured alternate realities provided audiences with visual escapes that were a playful composite of the real and ideal. Salucci was particularly well known to demonstrate creativity and liberty in his approach to piecing together elements in his scenes. He would frequently pull Roman monuments, baroque churches and renaissance facades from various sources in reality, as well as his imagination, and use them to his own extravagant compositional ends. Capricci painters (capriccisti) would often employ other artists to populate their canvases. Flemish painter and engraver Jan Miel was Salucci's most frequent collaborator. As one of the bamboccianti genre painters, he specialised in scenes of contemporary life, often observing and depicting the lower classes in Rome, where he lived from the 1630s. His popular subjects include those depicted in this capriccio – villagers dancing, noble people, musicians, beggars, and urchins. In this example, revellers congregate around an obelisk to dance in the golden light, with nobles emerging from the porticos of the grand palazzo to participate. Additional miniature anecdotal scenes are contained within the setting, including a beggar appealing to a nobleman on the central stairs, and a dog stealing the ragged shoe of another beggar at the foot of these stairs between two Tuscan columns. Receding into the distance are the ruins of an ancient building atop a fortified town, the crumbling grandeur of the past coexisting with the extravagant aristocratic present, and the everyday life of lower-class society. Marcella Fox | Sydney Manager

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168 AN ITALIAN WALNUT CASSETTONE Bologna, circa 1650, the rectangular moulded top above a carved dentil frieze and three long drawers with relief carved moulded fronts, on a moulded base, the bracket feet with moulded and fleurs-de-lis carved motif, the cast bronze handles of scroll foliate design centred with a putto mask. Height 98cm, Width 149cm, Depth 60cm $8,000–12,000

169 after LUCA GIORDANO (Italian, 1634–1705) The Holy Family Adored by Angels, John the Baptist and Saint Elizabeth oil on canvas 70 × 83cm (96 × 107cm framed) $3,000–5,000

170 AN ITALIAN MARBLE FIGURE OF A PUTTO WITH A DOLPHIN Possibly Florence, late 16th century, the standing curly haired putto looking slightly to dexter on an integral square base. Height 67cm PROVENANCE: Manfredonia, Naples acquired from the above February 2017 $12,000–18,000

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171 A MASSIVE TUSCAN RENAISSANCE WALNUT CENTRE TABLE Circa 1580, the solid double plank top above three frieze drawers with panel fronts and bronze knobs, on turned baluster legs with panelled headers and bases, all joined by solid stretchers. Height 82cm, Width 262cm, Depth 103cm PROVENANCE: Property of The Metropolitan Museum of Art, New York (Rogers Fund, 1913) Christie's, New York, Living with Art, 15 December 2015, lot 159 acquired from the above $20,000–30,000

172 A BRONZE RELIEF PLAQUE WITH A SCENE FROM THE LIFE OF SAINT ZENO OF VERONA 19th century, after the original on the doors of the Basilica of San Zeno, Verona (11th–12th century), depicting the patron saint of anglers and fisherman, mounted on a wooden panel. 43 × 41.5cm $800–1,200

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173 AN ITALIAN BRONZE BUST OF A SMILING FAUN Probably Naples, late 19th century, wearing a goatskin pelt over one shoulder on a grey Africano marble socle, possibly a Chiurazzi cast. Height 60cm $3,000–4,000

175 A PAIR OF ITALIAN AQUATINTS Early 19th century, one depicting a group of antiquarians measuring an ancient Roman foot and the other of a scene in a country house courtyard. Each 15 × 12.2cm (34 × 27.5cm) $1,200–1,800

176 AN ITALIAN ORMOLU-MOUNTED EBONY AND PIETRA DURA INLAID CABINET Florence, 17th Century, of architectural form with a moulded breakfront cornice above an arrangement of eight drawers flanking a central architectural aedicule formed by a pair of stop fluted, fior di pesco marble columns with ormolu composite capitals supporting a pair of ormolu urns, with a cupboard door to the centre enclosing three drawers and five further secret compartments, with a concealed drawer above and below; the cupboard and double panelled drawer fronts inset with town scenes in pietra paesina and pietra dura, a moulded base supported by four double lion-cast feet; on a modern ebonised stand. Cabinet: Height 85cm, Width 148cm, Depth 45cm; Including stand: Height 185cm, Width 152cm, Depth 54cm

Today the Uffizi Gallery in Florence is one of the most prominent art museums in Europe, however, when it was first established in 1560 it housed the central administration of the Medici government and a variety of workshops highlighting Tuscan industry known as the Medici Grand-Ducal workshops. It was in the Uffizi in 1588 that Grand Duke Ferdinando I established the Galleria de’ Lavori, where he hired and trained local craftsmen to restore ancient carved-stone objects and create original works of art. These artists perfected the process of pietra dura which involved finely cutting pieces of semi-precious stone selected for their colour, opacity, brilliance and grain to piece together interlocking imagery that produced an elaborate pictorial effect often referred to as “painting in stone”. These panels were frequently used to adorn custom-made pieces of furniture, decorative arts and buildings, notably the Cappella dei Principi in the Basilica di San Lorenzo, Florence. By the 1700s pietra dura became increasingly fashionable and the artisans trained in the workshop travelled all throughout Europe to work for noble and royal households who commissioned elaborate pieces.

PROVENANCE: The Estate of Margaret B. Nichols Christie's New York, 500 Years: Decorative Arts Europe, Including Oriental Carpets, 22 October 2010, lot 633 acquired from the above $200,000–300,000

Pictorial pietra dura panels also often incorporated pietra paesina, a rare type of stone mined in the Arno area of Italy for its natural colour and graining which can be used to resemble mountainous landscapes. The current lot is a superb example of the refined craftmanship of the Galleria de’ Lavori with its panels of pietra dura and pietra paesina depicting various scenes of Italian towns and landscapes, fitted to an ebony and ormolu-mounted cabinet. It is possible that these panels were originally assembled by a wealthy patron whilst undertaking the Grand Tour and the cabinet was then commissioned to display them. Such cabinets fulfilled dual functions; both as a ‘cabinet of curiosities’ in which special or interesting items were kept and as a statement piece of furniture to demonstrate the refined learning and wealth of the cabinet’s owner. Renamed the Opificio delle Pietre Dure in the mid-1800’s, the workshop continues to operate today as a state-supported institution. Similar cabinets are held by important institutions around the world such the Metropolitan Museum of Art, New York, the Detroit Institute of Arts, Detroit, and Chirk Castle, Wrexham. Madeleine Norton | Decorative Arts & Fine Art Specialist

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177 AN ITALIAN BRONZE OF THE CESARINI VENUS AFTER GIAMBOLOGNA 19th century, the nude goddess partially draped with one foot on a small plinth, mounted on a Rosso di Verona marble base. Height including base 38.5cm

178 A GEORGE I WALNUT TEA TABLE Circa 1720, the rectangular dished top with moulded edge above a plain frieze on cabriole legs with carved pad feet. Height 70.5cm, Width 81cm, Depth 54cm $800–1,200

OTHER NOTES: The Cesarini Venus is one of Giambologna's most celebrated compositions. It is closely related to a near life-size marble figure that the artist carved for Giovanni Giorgio Cesarini - from whom the model now derives its name - in 1583. Forty years later, in 1623, the marble was given to Cardinal Ludovisi, and it remains in situ in the former Ludovisi Palace in Rome. The complex pose combined with a sinuous female elegance ensured that the composition would be re-cast and re-interpreted from the time of its creation to the present day. $2,000–3,000

179 A CARVED OAK RELIQUARY IN THE FORM OF A BISHOP SAINT Italy, 17th century, wearing a mitre and with a later copper cover to the receptacle on a moulded base. Height 45cm $2,000–3,000

180 AN ITALIAN PAINTED AND GILDED COAT OF ARMS (STEMMA) 17th century, painted on canvas in the form of an elaborate gilt cartouche having two cherubs holding a scroll with the motto "nodo ordito nel ciel stringa si en terra" (let the bond ordained by Heaven be tied on earth), centred with two conjoined arms. Height 188cm, Width 172cm OTHER NOTES: The arms are those of the Cini-della Valle family (left) and the Vitelli family (right). $4,000–6,000

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181 A 17TH CENTURY ITALIAN WALNUT AND INLAID ARMADIO Circa 1680, of architectural form, the moulded and dentil cornice above a frieze inlaid with birds and flowerheads, above a pair of doors with carved and fielded panels flanked by moulded panel uprights with cherub head corbels, on a moulded base and standing on scroll feet, doors opening to reveal three adjustable shelves, old address label verso. Height 229cm, Width 184cm, Depth 80cm $8,000–12,000

182 A GEORGE III TRIPOD TABLE The rectangular tilt top on a fluted baluster pedestal with partially gadrooned knop on three acanthus carved swept supports terminating in claw and ball feet. Height 71cm, Width 70cm, Depth 55cm $2,500–3,500

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183 AN ITALIAN MARBLE URN AND COVER Late 18th/early 19th century, in Egyptian alabaster of ovoid outline with domed cover on a square base. Height 63cm $4,000–6,000

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184 A CHARLES X GILT COMPOSITION OVERMANTEL MIRROR The rectangular plate in a moulded frame with applied scroll and cartouche ornament. 95 × 76cm $600–800

185 A PICTORIAL TAPESTRY Brussels, mid-16th century, woven in wools with a scene of a high-ranking woman and attendants on a terrace with a parkland scene and pavilion to the background within a border composed of biblical figures and cornucopias, linen backed. 327 × 386cm $18,000–25,000

186 circle of FRANCESCO LA MURA (Italian/Naples, 1696–1782) Madonna and Child c. 1760 oil on canvas inscribed verso "Francesco La Mura" 48 × 35cm (64 × 51cm framed) $6,000–8,000

187 AN ITALIAN WHITE MARBLE HEAD OF A YOUNG ANGEL Probably Venice, late 15th century, with curled hair and an open smiling mouth, on an ebonised turned wood and porphyry socle. Overall height 30cm $8,000–12,000

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188 A CARVED AND POLYCHROME WOODEN FIGURE OF THE CHRIST CHILD Italy, 18th century, dressed in a robe ornamented with brocade panels and sewn with glass bugle beads and a silver lace fringe, on later support and stand. Overall height 39cm $2,000–3,000

189 A SHELL CAMEO ATTRIBUTED TO CONSTANTIN ROESLER FRANZ Probably Rome, mid 19th century, depicting Euterpe the Muse of lyric poetry, holding a lyre on a pedestal in original tooled leather box. 51 × 41mm $900–1,200

190 A LOUIS XV CHINOISERIE OVERDOOR PAINTING Oil on canvas, depicting a fanciful Chinese family making music in an idyllic landscape within a rocaille and mask surround on a turquoise ground. 73.5 × 120cm framed $2,000–3,000

191 AN ITALIAN BRONZE OF THE MEDICI LION Circa 1820, the standing beast with his paw on a ball on a modern ebonised plinth. Height including plinth 39cm OTHER NOTES: After the marble version carved circa 1594 by Flaminio Vacca for the Villa Medici in Rome, itself a companion to the Ancient Roman version in the Medici collection from the 1st or 2nd century AD. $5,000–8,000

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192 A ROMAN ROCOCO GILTWOOD CONSOLE TABLE Mid 18th century, the Sienna marble top of shaped outline with moulded edge standing on a giltwood base composed of rocaille, shells and scrolls, the four cabriole legs terminating in scroll feet united by an X-stretcher centred with rocaille, shell and flowers. Height 90.5cm, Width 157cm, Depth 78.5cm $8,000–12,000

193 RODOLFO MELI (Italian, b. 1948) Ragazzo in Gold Trimmed Cap oil on canvas initialed lower right: RM signed verso: Rodolfo Meli 140.5 × 100.5cm $3,000–5,000

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194 A SMALL BRONZE BUST OF POPE PIUS IX Mid 19th century, wearing the zucchetto, mozzetta and embroidered stole with the keys of Peter and papal tiara, titled on socle PIO IX. Height 15cm $200–300

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195 A COPPER BUST OF THE YOUNG AUGUSTUS CAESAR Late 19th century, after the original held in the Vatican, on an integral circular moulded socle. Height 51cm OTHER NOTES: Gaius Octavius was the adopted heir of his maternal great uncle Julius Caesar and eventually became the first Roman Emperor Caesar Augustus reigning from 27 B.C. until his death in 14 A.D. $2,500–3,500

196 A BRONZE FIGURE OF MERCURY AFTER GIAMBOLOGNA 18th century, the naked god with his winged helmet and feet standing on the breath of Zephyr on an integral bronze moulded plinth. Height 111cm $12,000–18,000

Flemish sculptor Jean de Boulogne moved to Italy in 1550 to study the sculpture of classical antiquity. It was here that he became known as Giovanni da Bologna, or more commonly Giambologna. As the court sculptor to three successive Medici Grand Dukes, Giambologna's influence on European sculpture was tremendous. Under the patronage of Francesco De' Medici in Florence, he created numerous sculptures for public spaces, bronzes and marbles for the Medici gardens, and also widely disseminated his works by creating bronze statuettes which became popular collector's items. These works were admired for their refined surfaces, elegance, beauty, and sense of dynamism. Giambologna met Michelangelo in Rome early in his career and the aging master had a formative influence on his artistic process. Taking inspiration from both Hellenistic sculpture and the Classical contrapposto stance which is most often associated with Michelangelo's masterpiece David, Giambologna further exaggerated the pose in his works, revitalising Florentine sculpture which had become overly academic and stagnant in the mid-16th century. His complex and energetic marble group depicting Samson slaying a Philistine (1561–62) and his bronze Fountain of Neptune (1563), commissioned by Pope Pius IV, cemented his reputation in elite circles at the time, and continue to demonstrate his technical virtuosity to this day. Giambologna's most celebrated composition is his flying figure of Mercury, messenger of the gods, and god of all things requiring skill and dexterity. According to the early art historian Giorgio Vasari, Giambologna’s original bronze of Mercury was sent as a diplomatic gift to Holy Roman Emperor Maximilian II as part of marriage negotiations between the emperor's sister Johanna and Francesco de' Medici. Emperor Maximilian considered Mercury to be his personal protector and a 1551 medal of Maximilian with the flying god on the reverse by Leone Leoni is thought to have been the inspiration for Giambologna's gift. Giambologna is known to have completed at least four versions of Mercury, though the chronology is uncertain, and it is unknown which version was sent to the emperor. Thought to embody Mannerist ideals in sculpture, Mercury was created to be viewed from all angles and was designed to direct the viewer's eye around it, feigning a sense of movement and seemingly defying gravity. The god is propelled into the air by the breath of Zephyrus, which escapes from the mouth of a putto. Owing to its popularity, numerous statuettes of Giambologna’s iconic Mercury were produced by well-known founders for the Grand Tour market of young nobility travelling and studying throughout Europe in the 17th, 18th and 19th centuries. However, examples such as the present lot, finely cast and of a good size were expensive and remain rare. Marcella Fox | Sydney Manager

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197 A GERMAN BRONZE BUST OF HERMES Late 19th century, after the marble sculpture discovered at Olympia and attributed to Praxiteles, titled to socle on integral bronze plinth. Height 35cm $800–1,200

198 RODOLFO MELI (b. 1948) The Modern Ceres oil on canvas initialed lower right: RM signed verso: Rodolfo Meli 151 × 100.5cm $3,000–5,000

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199 A LARGE SPANISH WALNUT LIBRARY TABLE 17th century, the double plank top above a pair of frieze drawers carved in relief with flowerheads and foliage and separated by carved and fluted corbels, the reverse with flowerheads and panel carved detail on moulded trestle-end supports joined by stretchers. Height 82cm, Length 193cm, Depth 94cm $8,000–10,000

200 AN ITALIAN BRONZE OF THE MEDICI VENUS Circa 1880, after the Antique, the naked goddess flanked by Cupid riding a dolphin. Height 34cm $1,000–1,500

201 THE MADONNA AND CHILD WITH SAINT JOHN IN A LANDSCAPE IN THE MANNER OF COSIMO ROSSELLI Florence, late 15th century, tempera on panel, seated on a rock in an idealistic wooded landscape with a bridge and town by a river beyond and distant cliff and mountains. 67.5 × 66cm (77.5 × 79cm framed) PROVENANCE: Wannenes Art Auctions, Genoa, Dipinti Antichi e del XIX Secolo, 28 March 2014, lot 1045 acquired from the above $30,000–40,000

The iconography of the Madonna and Child has been represented in a variety of formats which has evolved throughout the centuries. In the Early Middle Ages in the West, traditional representations of the Madonna and Child Jesus were adhered to – highly formulated, rigidly composed representations depicting the regal Madonna enthroned with the Christ Child and flanked by angels. However, in the 15th century depictions emerged of the smaller, seated Madonna appearing more maternal and less formally presented than in earlier representations. These works were generally intended for a small altar or domestic use and would often contain symbolism relating to the Passion of Christ. The babies modelled as Jesus became increasingly naturalistic, and a more maternal sweetness in Mary's demeanour becomes apparent. In the present work Mary’s gaze is pensive but serene, as she contemplates her devotion to her son, shadowed by his impending suffering. She wears a transparent silk veil and her signature blue mantle, indicating her purity, virginity and royalty. Blue was not a naturally occurring pigment and was thus considered a valuable hue reserved for only the most elevated subjects. One of the earliest blue pigments was made from lapis lazuli, a semi-precious stone once more costly than gold. The colour became associated with the Virgin Mary in the 5th century, when she was declared "Queen of Heaven, Spiritual Mother, and Intercessor" by the Church. The red and pink hues of Mary’s robe hold complex connotations, but in this instance likely symbolise motherhood, love, passion and devotion. This particular composition of the seated Madonna and Child – which includes St John the Baptist, Jesus’ cousin and the protector and patron of Florence – was especially popular in 15th century Florence. St John's hands are joined in worship as the Child Jesus blesses him with his right hand, holding a book with his left. St John the Baptist's biblical role is to prophesise the coming of the Messiah, and then to recognise Jesus in later life by baptising him. His reed cross symbolises a future of betrayal and death. The idealised bucolic landscape in the background composed of lakeside woodlands, an architectural structure and mountains on the horizon demonstrate the progress that was made in the Renaissance regarding systems of graphical perspective. It was not until the 14th century that narratives in painting were set against a landscape background, and by the 15th century this was the accepted form in European painting. This Madonna and Child is a graceful, untouched example of Early Renaissance painting, full of the symbolism and devotion which would have inspired the 15th century Florentine Christian in their home. Marcella Fox | Sydney Manager

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202 A CARVED MARBLE CORPUS FIGURE 19th century, the fragmentary figure of the crucified Christ on a wrought iron wall bracket. Height 45cm $1,800–2,400 203 A BRONZE FIGURE OF JULIUS CAESAR Mid 17th century, standing contrapposto wearing a decorated cuirass with his right arm raised, on later green and white marble pedestal. Height including pedestal 40cm $2,000–3,000

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204 AN ITALIAN BRONZE FIGURE OF FLORA 17th century, the sparsely draped naked goddess standing on one foot holding a cornucopia and a sickle, on an 18th century variegated marble column and ormolu mounted pedestal. Height 52cm $4,000–6,000

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205 A LIFE-SIZE BRONZE OF THE DRUNKEN SATYR Late 19th century, reclining on a lion pelt and wine skin on a naturalistically carved marble base, cast by Fonderia Chiurazzi Naples. Overall approximately: Height 155cm, Width 188cm, Depth 70cm PROVENANCE: The Koplar Brown Family Collection, Lake Ozark, Missouri Christie's New York, 19th Century Furniture, Sculpture, Works of Art and Ceramics, 25 October 2007, lot 406 acquired from the above EXHIBITIONS: The Italian Pavilion at the Louisiana Purchase Exposition of 1904, St. Louis, Missouri $30,000–50,000

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In 1750 Karl Weber, a Swiss engineer working for King Charles VII of Naples, hit upon a spectacular polychrome marble floor during his excavations of Herculaneum. This led to a fifteen-year excavation of one of the most luxurious houses of the Roman world, known as the Villa dei Papiri, named for the volumes of papyrus scrolls it housed. The Villa, along with its treasures of mosaic floors, frescoed walls, marble and bronze statues, had been both destroyed and preserved by the volcanic eruption of Vesuvius in AD 79. Four years after Weber first came across the Villa, in 1754, his notes describe the discovery, at the end of the long peristyle (porch), of the Drunken Satyr. In Greek mythology a satyr, also known as a silenus, is a male nature spirit with ears and a tail resembling those of a horse and are lovers of wine, music, dancing and women. In the present lot the elderly satyr is depicted reclining on one arm, his right leg stretched out in front of him whilst his other arm reaches high into the air calling for more wine. Beneath him the lion pelt resting upon a naturalistically carved marble rock is believed by conservators to have been added to the figure after it was excavated in the 18th century. Due to the reusability of the metal, it was rare to find bronzes, particularly of this size, intact as they were often melted down and transformed into other pieces. The original sculpture is not only rare in its existence but also encapsulates the potential of bronze and its capability to defy gravity. With the satyr’s two limbs extended out into space his structural integrity is still maintained, this would have been considerably more difficult if constructed from marble due to its greater weight and lesser tensile strength. The original bronze is now safely held in the National Archeological Museum in Naples and the other known replica, aside from the present lot, is at the Getty Villa, Los Angeles, where it adorns the ornamental pool in the Peristyle Garden. Madeleine Norton | Decorative Arts & Fine Art Specialist

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FINE ART MELBOURNE AUCTION Tuesday 23 November, 6pm 333 Malvern Road, South Yarra, VIC 3141

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JOHN COBURN (1925-2006) Nullabor oil on canvasboard signed lower right: Coburn 60 × 75.5cm $18,000 – 22,000

FINE JEWELS & TIMEPIECES MELBOURNE AUCTION Monday 22 November, 6pm 333 Malvern Road, South Yarra, VIC 3141

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KILPATRICK & CO, 18CT GOLD, SEED PEARL AND TOPAZ CAMEO COLLAR, AUSTRALIAN, CIRCA 1870 (detail) $18,000 – 24,000

AN OUTSTANDING MUZO EMERALD, ARGYLE FANCY PINK DIAMOND AND DIAMOND RING $320,000 – 480,000

IMPORTANT JEWELS SYDNEY AUCTION Tuesday 7 December, 6pm The Bond, 36-40 Queen Street Woollahra, NSW 2025

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CONDITIONS OF BUSINESS / SUMMARY Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement. Authenticity Certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale. GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged. For further information contact: Marie McCarthy accounts@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves. Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis. Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them. Buyer’s Premium There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

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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 For recommended carriers please refer to our website. Partners:

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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 email: info@leonardjoel.com.au leonardjoel.com.au CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht BA LLB MBA CHIEF EXECUTIVE OFFICER Marie McCarthy

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist DECORATIVE ARTS Chiara Curcio BA, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton, Decorative Arts and Fine Art Specialist Marcella Fox, Manager IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney 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 Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department Paul Nicol, Modern Design Assistant LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant PRINTS Hannah Ryan, Art Specialist

FURNITURE David Price, Manager Angus McGougan, Assistant Ari Walpole, Assistant JEWELLERY Hannah Sass, Jewellery Manager Indigo Keane, Assistant ART SALON Amanda North, Manager Tessa Pietsch, Assistant OBJECTS & COLLECTABLES Rebecca Stormont, Manager Natasha Berlizova, Assistant

— VALUATIONS Caroline Tickner BA Hons, F.G.A.A., Head of Department Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist ACCOUNTS Yue Zhang, Finance Manager Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Lucy Lewis, Client Services Liaison Richard Grieve, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant MARKETING & COMMUNICATIONS Blanka Nemeth, Marketing Manager Keryn Gilchrist, Database Administrator PHOTOGRAPHY Robert Frith Adam Obradovic Henry Murphy BA Geoff Sumner GRAPHIC DESIGN Liz Cox

LOT 205 A LIFE-SIZE BRONZE OF THE DRUNKEN SATYR $30,000 – 50,000

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