The Collector's Auction by Leonard Joel

THE COLLECTOR'S AUCTION AUCTION MONDAY 7 DECEMBER 2020, SYDNEY i

AUCTION CATALOGUE VOLUME 13 ISSUE 18

Front Cover 204 (detail) A WILLIAM IV OLD SHEFFIELD PLATE TWIN HANDLED TRAY $1,000 - 1,500 Inside Cover 334 (detail) CHARLES BLACKMAN (1928-2018) The Garden of the White Cat 1971 wool, cotton ed. 6/6 238 x 400cm $80,000 - 120,000

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THE COLLECTOR'S AUCTION AUCTION MONDAY 7 DECEMBER 2020 AT 12PM, SYDNEY

VIEWING Sydney Wednesday 2 December by appointment only, 10am – 4pm Thursday 3 – Sunday 6 December, 10am – 4pm The Bond, 36 – 40 Queen Street, Woollahra NSW 2025

CONTACT

Hamish Clark

Madeleine Norton

Head of Sydney Office (02) 9362 9045 | 0406 867 776 hamish.clark@leonardjoel.com.au

Auction Administrator & Client Liaison (02) 9362 9045 sydney.manager@leonardjoel.com.au

Jane Messenger

Ronan Sulich

Consultant (02) 9362 9045 sydney@leonardjoel.com.au

Consultant 02 9362 9045 sydney@leonardjoel.com.au

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The Collector's Auction Decide. Decide between exquisite objects created by international masters of design: William Morris, Tiffany Studios, Patek Philippe, Georg Jensen, Dunhill, Stuart Devlin and Lucie Rie. Decide between compelling art works created by leading Australian modern and contemporary artists: Elioth Gruner, Grace Cossington Smith, Charles Blackman, Ray Crooke, Jason Benjamin and Bill Henson. Decide between Pablo Picasso prints or a Mr Brainwash pop-art homage to one of the greatest artists of the twentieth century. Decide between 450 lots and mark a fitting end to 2020. The December Collector’s Auction celebrates International and Australian Fine and Decorative Arts, reflecting the distinct passions of three major contributors. It highlights significant works from the Collection of Sir George and Lady Proud, the Collection of Dr Trevor Hyde and a Collection from the historic cottage Swanton (built 1827). Fine English furniture, rarely seen at market, by William Trotter and Gillows of Lancaster, exceptional cased watches by Markwick Markham, John Ellicott and Daniel Quare, treasured bracket clocks by George Etherington and John Constantine, important Royal Worcester and historically significant portrait painting by Alan Douglas Baker from the Kokoda Track campaign promise to delight and await the collector’s decision. — Hamish Clark | Head of Leonard Joel, Sydney

3 A 19TH CENTURY CAST IRON WINE COOLER Decorated with a classical frieze, two handles. Height 24.5cm; Diameter 24cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 4 A SURVEYOR’S CYLINDRICAL FULLER CALCULATOR By Stanley, with Bakelite handle, in case. $500-700 5 A SURVEYOR’S CYLINDRICAL FULLER CALCULATOR By W. F. Stanley, Westminster, London with wooden removable handle in wooden case. $500-700 6 A SURVEYOR’S CYLINDRICAL FULLER CALCULATOR By Stanley, with wooden handle, in case with retailer’s label for E. Esdaile & Sons, Sydney. $500-700

1 A SCRATCH BUILT MODEL OF THE CLIPPER SHIP ‘LADY BARKLY’ Fully rigged, in a glazed case. Height 75cm; Length 97cm; Width 38cm; Height of vessel 55cm

2 A FIRST BATTALION GRENADIER GUARDS DRUM Painted with the royal crest and listing battles. Maker George Potter & Co. Potters Corner ALDERSHOT. Height 35cm; Diameter 37.5cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-4,000

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

7 A NUCLEAR ENERGY SLIDE CALCULATOR, BY THE ADMIRALTY RESEARCH LABORATORY, TEDDINGTON Printed, with aluminium frame, in wooden case. $400-600

8 A SILVERED SURVEYOR’S LINE RULER By Cooke, Troughton & Sims Ltd (London & York), in cedar case with retailer’s label of the Precision Instrument Co, 30 Hunter Street, Sydney. $500-700 9 AN AUSTRIAN LACQUERED BRASS MICROSCOPE, AND A PRECISION DIAL BY C. REICHERT AND ANOTHER MICROSCOPE BY R & J BECK The Reichert microscope No. 10241 in fitted case retailed by A. Frazer Edinburgh; the precision dial in leather box; the Beck microscope in fitted box. (3) $400-600 10 A MAHOGANY SLIDE/SPECIMEN CABINET With brass carrying handle to the top, the glazed door enclosing 28 narrow labelled drawers and one deeper drawer, on a moulded plinth base, brass label for Negretti & Zambra, London inside door. Late 19th/Early 20th century. Height 50cm; Width 42cm; Depth 34cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 11 ‘THE STAG’ A BRONZE BY RICK LEWIS A.R.A, M.B.E Edition 60/500 dated 1984, on a marble base and wooden plinth, with certificate. Height 54cm; Length 43cm; Depth 20.5cm $3,000-5,000

12 12 A DUNHILL TIGER’S EYE AND ONYX CIGAR BOX Rectangular with gilt metal fitting, marked ‘dunhill’ inside lid. Height 3.5cm; Width 18.5cm; Depth 13.2cm PROVENANCE: From the Collection of Sir George and Lady Proud $1,000-1,500

13 A BOXED SET OF SIX BOTTLES OF PENFOLDS GRANGE VINTAGE 1997 The unopened box stamped ‘6 x 750ml.’ and printed ‘L2102N3 17:55’, with original paper label reading ‘PEBAQKM Grange 2 93 10297 00500 4 10KG’ $2,500-3,500

14 A TIFFANY STUDIOS LEADED GLASS AND BRONZE ‘ACORN’ TABLE LAMP The shade stamped ‘TIFFANY STUDIOS NEW YORK’. Early 20th century. Height 52cm $9,000-12,000

15 A PAIR OF WILLIAM IV ORMOLU TWO LIGHT ARGAND LAMPS Each with an ovoid urn-shaped reservoir above the foliate branches supporting frosted shades, on a scroll, rocaille and flower cast tripartite pedestal base surmounted by three dragons. (2) Height 51cm PROVENANCE: W. F. Bradshaw Antiques, Woollahra The Hon. Justice Don Stewart From the contents of Swanton (built 1827), Sutton Forrest, NSW $4,000-6,000 16 A LATE VICTORIAN WALNUT, EBONISED AND INLAID COMBINED STEREOSCOPE/ GRAPHOSCOPE AND A COLLECTION OF STEREOSCOPIC CARDS With scroll carved cresting to the graphoscope lens frame and fretwork detail to the card holder, on a moulded plinth base; and a quantity of cards with scenes of the street preparations for the celebration of Federation in Sydney and Melbourne and for the visit of the Duke of York; and a boxed set ‘The Travel Lessons on the life of Jesus’ by Forbush showing scenes in Palestine in 1900. $800-1,200 17 TWO BLACK SILK TOP HATS IN THEIR ORIGINAL LEATHER HAT BOXES One by Tress & Co. London, Sydney and Calcutta, the other by Fred Watts & Co. London. (2) $200-400 18 A VICTORIAN RAM’S HORN SNUFF MULL WITH ELECTROPLATED MOUNTS The lid surmounted by a collared greyhound, gadrooned borders on a scroll mount and footed supports. The horns tipped with claw-shaped mounts. Maker George Cutts & Sons, Sheffield, active 18571896.

15 19A A TAXIDERMY BADGER HEAD MOUNTED ON A OAK SHIELD

20A A TAXIDERMY FOX HEAD MOUNTED ON AN OAK SHIELD By F. W. Bartlett, Taxidermist, 23 High Street Banbury, “Skins dressed and made up to order, Hoofs and Horns, etc. polished and mounted.”

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

20 A LARGE TURTLE SHELL Length 750cm; Width 600cm

21 TWO PAIRS OF STAG ANTLERS Both unmounted with skulls. (2) Height of largest 85cm

PROVENANCE: Grafton Galleries, Ruschcutters Bay acquired from the above in 2005 From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: Rippon Lea Estate, Elsternwick, Victoria From the contents of Swanton (built 1827), Sutton Forrest, NSW OTHER NOTES: Rippon Lea Estate was built in 1868 for Sir Frederick Surgood, a wealthy Melbourne businessman, politician and philanthropist. $4,000-6,000 19 A VINTAGE ZEBRA SKIN 305 x 188cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000 Illustrated on page 95

23 22 TWO PAIRS OF STAG ANTLERS Each mounted on a wooden shield-shaped panel. Height 54cm; Height 48cm

24 A TAXIDERMY CASED TROUT Presented by Lord Bledisloe, Governor General of New Zealand

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,200-1,400

23 A CASED PAIR OF TAXIDERMY SHELDUCKS Naturalistically posed on rocks and seaweed. Height 48cm; Width 82cm; Depth 22cm

25 A MAORI SKIRT, PIU PIU Made from New Zealand flax (phormium tenax) with plaited waistband and ties, the pendant grasses with twisted sections and striped front panel in traditional form, in a box frame. 76.5 x 115 x 6cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-4,000

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $4,000-6,000

24 6

26 A MARBLE BUST OF A WOMAN Modern, in the classical Greek style, on ebonised plinth. Height 36cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 27 AN ANTIQUE ITALIAN GILTWOOD ALTAR CANDELSTICK AND TWO PHILIPPINO SANTOS FIGURES The candlestick on tripartite leaf carved base, a carved and polychromed santos of St Francis and another of a female saint. Height of candlestick 87cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400

25 28 A WROUGHT IRON CANDLESTAND In the 17th century style, the slender baluster shaft on three scrolled legs. Height 139cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 29 THREE ROMAN TERRACOTTA OIL LAMPS AND AN EGYPTIAN BASALT SCARAB One lamp moulded with a bust of a maiden, another with a wild boar, the third with a bearded man; the scarab engraved with hieroglyphics. (4) $120-180 30 A MINIATURE COMMEMORATIVE TORTOISESHELL MUSIC BOX The lid decorated with a battle scene commemorating the battle of Grochów, 25th February 1831. The movement stamped ‘H MG’ and numbered 2251. Width 9.5cm; Depth 6cm; Height 3.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $500-700

31 A MASSIVE CARVED OAK CORBEL Incised ‘M & Co’ above the scroll drop carved with foliage and fruit. French, 19th century. Height 140cm; Depth 41cm; Width 26cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-1,500 32 A MODERN ADJUSTABLE BRASS DESK LAMP WITH GREEN GLASS SHADE Height 59cm $200-400 33 A FRENCH BRONZE AND IVORY FIGURE OF A BRETON GIRL Wearing a typical bonnet and apron, on a shaped marble base, stamped BRONZE FRANCE. Early 20th century. Height 29cm PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200

34 A BRONZE BUST OF A SOUTH ASIAN WOMAN Incised H. Miguez, to verso, her hair in a topknot, on marble plinth. Height 24cm PROVENANCE: From the Collection of Sir George and Lady Proud $700-900 35 TWO CHINESE AGATE SNUFF BOTTLES One carved with flowers and leaves, the other carved with a fish in relief. Late Ching Period. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $500-700 36 A CHINESE HARDSTONE SNUFF BOTTLE Mottled colours of brown and cream. 19th Century. Height of largest 8cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $600-800

37 A LATE VICTORIAN MAHOGANY FRAMED WALL CLOCK Having a moulded frame, brass bezel and painted dial with Roman numerals and retailed by F. ALLERDING & SON 25 HUNTER STREET SYDNEY, with brass twin train movement. Diameter 60cm PROVENANCE: From the offices of the stockbroking firm Hordern, Utz & Bode OTHER NOTES: Stanley Frederick Utz (1898-1974) went into partnership with L. G. I. Bode, son of his old schoolmaster. Utz & Bode began trading in 1927. After Sam Hordern joined the partnership in 1938, Hordern, Utz & Bode developed into one of Sydney’s leading stockbroking firms. F. Allerding & Son were jewellers and scientific instrument retailers who operated from 25 Hunter Street in Sydney. Friederich Allerding (1815-1900) had been operating a shop in Hunter street from as early as 1863 and around 1879 changed the name to incorporate his son Henry into the business which he continued to operate after his father’s death well into the 1900s. $2,000-4,000

38 A LATE GEORGE III MAHOGANY QUARTER CHIMING ASTRONOMICAL LONGCASE CLOCK WITH RHOMBOID PENDULUM, BY WILLIAM LEIGH, NEWTON The case with crossbanded and chequer strung inlaid panel to the plinth on ogee bracket feet, the gothic arched trunk door flanked by cluster columns below a frieze inlaid with boxwood shell and paterae, the hood with swan neck pediment flanked by reeded urns and above verre eglomisé panels, supported by fluted columns; the brass dial signed Wm: Leigh Newton within a foliate cartouche in the centre within further foliate engraving, the silvered chapter ring with Roman and Arabic chapters, dot minute markers and outer concentric full calendar engraved with each month and the date, the hour minute, calendar and sweep seconds hands all finely pierced in blued steel, foliate spandrels, the arch set with a rolling moonphase painted with a coastal lighthouse scene to one sector and an Arcadian landscape to the other, the outer ring engraved with the moon’s age and with further tidal

indication in Roman chapters, the outer silvered ring with the motto ‘On TIME’S uncertain DATE eternity DEPENDS’; the three train movement with four pillars, going train with deadbeat escapement with rhomboidal pendulum, rack strike on the main bell above the plates, the quarters chiming on six bells via six hammers carried on a sub-plate and with trip cord. Circa 1790. Height 250cm PROVENANCE: Christie’s London, Important Clocks Including the Collection of the late Alan Wagstaff Esq., 7 December 2005, lot 73 LITERATURE: Ernest L. Edwardes The Grandfather Clock (1980) pages 142-3 illustrated pages 144-5. Steve & Darlah Thomas William Leigh of Newton-leWillows Clockmaker 1763-1824: Part 2 Antiquarian Horology Volume 33, No. 4 (June 2012), pp. 469-478 $15,000-20,000

William Leigh, of Newton-le-Willows was born circa 1763 in South Lancashire, and by 1776 (aged about 13) was apprenticed for seven years to William Lawson of Newton-le-Willows. As was not uncommon in the clockmaking trade, Leigh married late for the 18th Century, aged 27. His wife, Ruth Lawson, is believed to be the daughter of his former master – sealing the typical commercial and social relationship between master and apprentice. This present example of Leigh’s craft, intricate both in case and movement, is one of two fine examples of his domestic timepieces. It is very likely from the quality and special features of both clocks that they were both commissioned, though these original clients are now unknown. This clock features a number of intricate and thoughtful astronomical complications, demonstrating the enlightened understanding of the natural world at the end of the 18th Century: the month and date is given on a full calendar located on the outer register of the dial from an additional centre sweep hand. The seconds are too indicated on the dial via the fourth sweeping hand. The rolling moon phase is located in the arch of the face, with the present tide shown on the outer section. Most unusual is the inclusion of a rhomboidal pendulum (credited to Dr Robert Hooke) to counter the effects of heat expansion on the regular swing of the pendulum. The thermal expansion of the steel outer vertical elements (making the pendulum longer) is counteracted by the greater rate of expansion the brass horizontal brace undergoes (which makes the pendulum wider). The effect of these competing metals and structural elements is to cancel out any expansion. This ensures that the pendulum remains the same in dimensions, and the consistency of the swing does not alter. The use of this form of compensated pendulum is highly unusual in longcase clocks, and was typically reserved for fine turret clocks for public buildings. This is mainly due to the physical limitations of a rhomboidal pendulum: it must be broader than it is tall, not particularly desirable in a slender longcase for a domestic setting. The mastery of Leigh’s work here is that he has achieved much of the effect of the rhomboid in counteracting thermal expansion while keeping the pendulum proportionately slender. It is believed that the inclusion of a second pendulum bob at just below middle acts to lower the centre of gravity to compensate for the proportioned down design. The trunk of the longcase is also uncharacteristically wider to allow for such a pendulum. Matthew Jump, Leonard Joel, Sydney S. Thomas, D. Thomas, ‘William Leigh of Newton-le-Willows, Clockmaker 1763-1824: Part 1’, Antiquarian Horology, xxxiii, (2012), 311-12. The sister clock to this present example has been identified at Anglesey Abbey, near Cambridge, purchased by Lord Fairhaven in the early twentieth Century. Steve Thomas, Darlah Thomas, ‘William Leigh of Newton-le-Willows, Clockmaker 17631824: Part 2’, Antiquarian Horology, xxxiii, (2012), 469. Mention of a rhomboidal form compensating pendulum, accrediting it to Dr Hooke, can be found in Rev. A. Rees, ‘The Cyclopaedia; Or, Universal Dictionary of Arts, Sciences and Literature’, 1819 XXVI. Steve Thomas, Darlah Thomas, ‘William Leigh of Newton-le-Willows, Clockmaker 17631824: Part 2’, 469; Thomas, Thomas, ‘William Leigh of Newton-le-Willows, Clockmaker 1763-1824: Part 1’, 316-18.

38A A FINE JOHN HALLIFAX STRIKING LONGCASE CLOCK The case with canted angles, a plain plinth with later skirting and a breakarch trunk door. The hood with detached columns, ball and spire finial to the breakarch top. The face with silvered dial set against urn and eagle spandrels, with Roman chapter ring and Arabic numerals for the minutes, with foliate engraved half hour markers, signed at bottom John Hallifax Barnsley. The Matted centre with an aperture displaying the age and phase of the moon, with an aperture for the date below, a chamfered cut out for the day of the week and the relevant Roman deity painted underneath. Above, an arch with revolving calendar disk to show the months, their days, the signs of the zodiac, relevant Saints’ Days and historical days (e.g. ‘Powder Plot’), hours of daylight and the sun’s declination. The movement going train with anchor escapement, the striking train with inside counterwheel striking on a single bell. England, circa 1740-50 Height 251.5cm PROVENANCE: Christies London, Important Clocks Including the Collection of the late Alan Wagstaff Esq, 7 December 2005, lot 42 OTHER NOTES: John Hallifax (before 1694-1750), born in Lincolnshire, was renowned for the quality of clocks and barometers produced by him in Barnsley, Yorkshire from about 1711. Hallifax was particularly noted for having his barometer cases modelled on the form of his longcase clocks. John’s third son, Sir Thomas Hallifax, was Lord Mayor of London in 1776-77, and sat as a Member of Parliament for Coventry and Aylesbury. He founded Vere, Glyn & Hallifax, since called William & Glyn’s Bank, now part of the Royal Bank of Scotland. $9,000-12,000

39 A GEORGE III OAK LONGCASE CLOCK WITH AN EARLIER MOVEMENT BY DANIEL DELANDER (D. 1733) The plain plinth below an arched trunk door, the domed hood with glazed door; the eleven day movement with silvered chapter ring having Roman hours and Arabic minutes, matted centre, pierced blued steel hands, foliate spandrels signed 'Delander London'. Height 195cm; Width 48cm; Depth 24cm OTHER NOTES: Daniel Delander (c.1678-1733) of the Dial, Devereaux Court in the Middle Temple (later moved to between the Temple Gates on Fleet Street) was bound as apprentice to Charles Halstead in 1692, becoming a freeman of the Clockmakers' Company in 1699. He is known to have worked for Thomas Tompion as a journeyman alongside George Graham while also producing his own work. Delander was an admired watchmaker and clockmaker in his time, and was the first to produce a stopwatch with independent centre seconds. Examples of his work exist in the Science Museum, London, the Guildhall, London, the British Museum, London and the Metropolitan Museum of Art, New York. $7,000-9,000

40 A RARE EDMUND MASSEY TORTOISESHELL REPEATING AND ALARM BRACKET CLOCK Basket top form with gilt brass handle, the door bezel top with gilt repoussé swag fretwork culminating in a cherub at centre. The sides with gilt floral and figural sound frets backed with crimson silk. Sat on gilt claw feet. The square brass face incorporating a silvered Roman chapter ring for the hours and subsidiary Arabic numerals for the minutes. The plain matted centre with a single winding square and pendulum aperture for bob, with engraved work to the inset aperature edge. Signature set within pendulum bob aperature, ‘Massey London’. Silver alarm setting ring at centre. Gilt cherub spandrels to edges. The gilt movement backplate unsigned with elaborate engraved foliate decoration culminating in a cornucopia. A catch claw for keeping the pendulum during travel. Verge escapement rack. Cord pull repeating the quarters on a single bell. A charging cord pull for the alarm to the side. Circa 1695. Height 34cm PROVENANCE: G. E. Marsh Antique Clocks, Winchester, United Kingdom The Collection of Dr Trevor Hyde, Sydney, acquired from the above $60,000-80,000

Edmund Massey was bound as apprentice to one of the finest clockmakers in the 16th Century, Joseph Knibb, in 1673.1 Knibb has been described as one of the greatest horologists of his time after Tompion.2 Massey studied and worked within the City under Knibb at his practise, at the Dyal, near the now defunct Inn of Court of Serjeant’s Inn in Fleet Street. While Massey became a freeman of the Worshipful Company of Clockmakers in 1682, his work continued to reference the quality and style of his old Master. Knibb’s sparse and elegant manner can be seen in a number of elements on the face of this present clock. For instance, the bare matted dial is typical of fine examples of Knibb’s work, on view in the Metropolitan Museum of Art, New York, and held in Victoria and Albert Museum, London.3 4 More obvious are the gilt ‘fat cherub’ head form spandrels, incorporated here by Massey that are directly identical to examples found on Knibb’s own work.5 The quality of Knibb’s work was revered to the extent that he was requested to produce a number of Royal commissions: a turret clock for the quadrangle at Windsor Castle in 1677, as well as a novel ‘night clock’ for Prince Rupert between 1665-1675. Records show that he was paid for other ‘clockwork’ by Charles II in July of 1682.6 The similarities in quality and attention to detail (such as the inclusion of the alarm mechanism) in this present example by Massey, to other fine examples by Knibb indicate that Massey enjoyed a similarly rich patronage. It is possible that Edmund Massey was the son of Nicholas Massy, a French protestant Huguenot who fled religious persecution after 1660. An example in the Metropolitan Museum signed ‘Nicholas Massy’ from circa 1660 locates its manufacture to Bois in southwestern France.7 Nicholas Massy became free of the Clockmakers’ Company in 1682 with the note that he was already trading as a clockmaker.8 That Edmund Massey finished his education with Knibb and became free in the same year indicates perhaps that Nicholas was inducted to the livery company with the help of Edmund. The reputation that Nicholas Massy held was perhaps why Edmund was able to undertake such an illustrious apprenticeship under Knibb. Interesting too is the similarities in decorative elements on the face of two bracket clocks signed by Nicholas Massy (or Massey) to those of Edmund Massey and Knibb. Suggesting perhaps an association between the three clockmakers. One example with Anthony Woodburn, Sussex uses a similar stylistic flair of placing the signature behind a false pendulum bob on the face to the present example here. The Massey family continued to prosper in the 18th and 19th centuries. A later potential relative of Edmund Massey: Edward, and his son (also named Edmund) invented an important improvement on Graham’s lever escapement: the patented Massey type IV lever escapement, in 1814. The Father and son were located at 89 Strand –under a kilometre from where the earlier Edmund Massey had learned his craft under Joseph Knibb on Fleet Street. Matthew Jump, Leonard Joel, Sydney

41 A GEORGE ETHERINGTON TORTOISESHELL BRACKET CLOCK Basket top form with silver handle, the door side bezel with silver repoussé swag and floral fretwork, the sides with silver floral and figural sound frets backed with dark crimson silk. Sat on silver claw feet. The square brass face incorporating a silvered Roman and Arabic chapter ring for hours and minutes, with signature to base. Subsidiary strike/silent setting dial to the upper right, with a regulation dial to the upper left. The matted centre with winding squares, sparsely decorated date aperture and pendulum aperature for bob. Cherub spandrels to edges. The gilt movement backplate signed George Etherington London within medallion, the rest covered with engraved floral motifs. A catch claw for keeping the pendulum during travel. Verge escapement rack striking on a bell. Cord pull repeating the quarters on three nested bells. Circa 1690. Height 31cm PROVENANCE: G. E. Marsh Antique Clocks, Winchester, United Kingdom The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: The false pendulum bob aperture (attached to the verge staff) to the face was popular between 1690 and 1695. The cherub spandrels were common on bracket clock faces until 1690. $60,000-80,000 Domestic clocks were not produced in any regular manner until the late 16th and early 17th Century.1 The lantern clock (mounted to the wall and powered by a slowly descending weight held against gravity) developed from small watch clocks around 1600 – reaching Britain in about 1620. The demands of reliable timekeeping for commerce, and the enlightenment desire to understand the natural world led in part to the establishment of The Worshipful Company of Clockmakers’ by Royal Charter of King Charles I in 1637 to manage the trade and manufacture of clocks and watches. The motto of this newly minted Livery Company shows the spirit of the age, and the growing need for accuracy – Tempus Rerum Imperator: ‘Time, the Ruler of all things’. The Pendulum and Verge Escapement The pendulum was widely introduced in Britain in 1658 by Ahasureus and John Fromanteel, who applied the invention of the Dutch Christiaan Huygens from 1656 (later set out in Horologium Oscillatorium sive de motu pendulorum). He in turn had been inspired to use the pendulum from the writings of Galileo Galilei from the beginning of the 17th Century.2 The use of the regular swing of the pendulum revolutionised timekeeping to the extent that a loss of ten to fifteen minutes a day was reduced to merely a few seconds. At first these clocks and their pendulums were kept in longcases or hooded lantern clocks.3 Though, the need to move the clock around the house due to the enormous expense of having a clock in each room led to the incorporation of the pendulum in a smaller, portable case from about 1660 onwards.4 The handle and feet of these clocks made it easy for moving, and it is likely that concern regarding portability prompted the use of the more durable verge escapement over the Robert Hooke anchor escapement of 1657 and common in long case clocks. An escapement works like the narrow middle of a sand hourglass. The pent-up energy of a wound, coiled spring or a weight pulled up against gravity is restricted and regulated by the escapement, which gradually releases the energy in regular pulses. The verge mechanism consists of a saw-toothed crown with an odd number of teeth horizontal to a metal rod with two spaced pallets, called the verge. The pendulum, which drives the rod with pallets (the verge) regularly and consistently in time engages and disengages the pallets with the crown, allowing the energy to drive the gears for the hour and minute hands. The pallets are positioned at different angles on the rod, ensuring that one is engaged with the crown wheel while the other is angled away. When the pendulum swings the rod rotates, making the other pallet locks with the crown - but for a brief moment when neither is engaged. At this brief moment the crown wheel, and the pent-up energy behind it, is allowed to move forwards, driving the clock hands forward a predetermined amount.5 Such a design to regulate energy over time has been in use since 13th-century Europe, where its invention led to the development of the first all-mechanical clocks, it was in use for the next 400 years, being only phased out in the majority of pocket watches by the 1820s.6 Matthew Jump, Leonard Joel, Sydney 1

Gavin Lucas, The Changing Face of Time: English Domestic Clocks from the Seventeenth to Nineteenth Century, Journal of Design History, Vol. 8 No.1, 1995, p.1

Michael S. Mahoney, ‘The Measurement of Time and of Longitude at Sea’, in Studies on Christiaan Huygens, Swets & Zeitlinger, 1980, pp. 234-270

See B. Loomes, Grandfather Clocks and Their Cases, David & Charles, 1985

Gavin Lucas, The Changing Face of Time, p. 2

F. J Britten, Old Clocks and Watches & Their Makers, 3rd ed, Antique Collectors’ Club, p.47

Ibid. p. 407

42 A JOHN CONSTANTINE TALL EBONY BRACKET CLOCK Gilt brass double basket top form, finely pierced with repoussé work backed with crimson silk. Matching busts on the upper and lower registers of the baskets on all four sides, set against a repeating ribbed quatrefoil pattern. Basket finials topped with acorns to the four corners. The front and rear door bezel with gilt repoussé floral fretwork culminating in a cherub to top and bottom, the left and right bezel with a keyhole portico. The sides with pierced and repoussé gilt floral and quatrefoil sound frets set against crimson silk. Sat on gilt disk feet. The square brass face incorporating a silvered Roman chapter ring for the hours and subsidiary Arabic numerals for the minutes. Signature set centred above amongst an engraved floral motif. Strike/ silent setting switch to the left. The matted centre with winding squares, date aperture and pendulum aperature for bob. Cherub spandrels to edges. The gilt movement backplate signed ‘John Constantin Londini fecit’ within medallion, set within a pattern of engraved foliate motifs. A catch claw for keeping the pendulum during travel. Verge escapement rack striking on a bell. Cord pull repeating the quarters on four nested bells. Circa 1690. Height: 48cm, Width: 23.5cm, Depth: 14cm PROVENANCE: G. E. Marsh Antique Clocks, Winchester, United Kingdom The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: John Constantine (or Constantin) had promised to join the Worshipful Company of Clockmakers in order to obtain his freedom of the City in 1688, but never did so. $30,000-50,000

43 A FINE JOHN BUSHMAN GILT BRASS REPOUSSE EBONISED QUARTER REPEATING AND STRIKING BRACKET CLOCK Elaborate gilt brass repoussé and pierced basket top with floral motif set against crimson silk, with centre front and verso medallions depicting St George slaying the dragon, female busts within medallions on each end. The gilt handle in the form of two mermaids, their arms turned backwards to meet at a floral motif. The door bezel with gilt repoussé swag and floral fretwork, the sides with repoussé and pierced gilt sound frets set against crimson silk culminating in a laurel medallion with a windowed viewing port. Sat on gilt claw feet. The square gilt face incorporating a silvered Roman and Arabic chapter ring for hours and minutes, with signature to base. A silent / strike setting switch to the top. The matted centre with winding squares, date aperture decorated with engraved floral motifs and a pendulum aperature for bob. Cherub spandrels to edges. The gilt movement backplate signed John Bushman London within medallion, the rest covered with engraved floral motifs. The main spring set-up rachets visible at the backplate. A catch claw for keeping the pendulum during travel. Verge escapement rack striking on a bell. Cord pull repeating the quarters on three nested bells. Circa 1690s. Height 42cm; Width 23cm; Depth 14cm PROVENANCE: G. E. Marsh Antique Clocks, Winchester, United Kingdom The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: John Bushman of Aldersgate Within, in the City of London was the son of the renowned clockmaker Johann Bushmann II was active in London between 1687 and 1710. He became a freeman in the Clockmakers’ Company in 1692 The false pendulum bob aperture (attached to the verge staff) to the face was popular between 1690 and 1695. The cherub spandrels were common on bracket clock faces until 1690. $25,000-35,000

44 44 A JOSHUA WILSON EBONY AND BRASS BRACKET CLOCK Of basket top form with gilt brass handle, plain front bezel with a pierced brass sound fret to top of door, with similar fretwork to the sides backed by crimson silk, viewing glass to both sides below. Sat on gilt round feet. The square gilt face incorporating a silvered dial with Roman chapter numerals for the hours and subsidiary Arabic numerals for minutes. A plain matted centre with two winding squares. Cherub spandrels to edges. Signed â&#x20AC;&#x2DC;Joshua Wilson Londonâ&#x20AC;&#x2122; below the dial. The gilt movement backplate signed within a medallion and surrounded by engraved foliate scrollwork culminating in a green man above the signature. A catch claw for keeping the pendulum during travel. Verge escapement rack striking on a bell. Circa 1695. Height 42cm; Width 25.5cm; Depth 16cm OTHER NOTES: Joshua Wilson was bound as apprentice to William Fuller in 1688, he was active until 1733. $7,000-9,000

45 45 A REGENCY ROSEWOOD REPEATING TABLE CLOCK The gilt brass mounted rectangular case with fish scale fretwork grilles to the sides and raised on ball feet, the white enamelled dial signed DES GRANGES LATE RECORDON LONDON with Roman numerals and serpentine hands, the twin train movement striking on a bell. Circa 1820. Height 33cm; Width 23.5cm; Depth 15.5cm PROVENANCE: J. B. Hawkins Antiques, Sutton Forest From the contents of Swanton (built 1827), Sutton Forrest, NSW OTHER NOTES: Peter des Granges watch and clock maker fl.17841842, he succeeded Louis Recordon in 1817. $4,000-6,000

46 A FRENCH EMPIRE BRONZE AND ORMOLU MANTEL CLOCK Surmounted by a bust of bearded Greek deity on a stepped plinth, the silvered dial with engraved sunburst centre, Roman numerals and signed NAVRANCOURT, within a snake bezel, above a tazza, on block feet, the silk suspension movement striking on a bell. Height 46.5cm PROVENANCE: William Bradshaw Antiques, Queen Street Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000

47 A LARGE VICTORIAN GILT BRASS TABLE REGULATOR BY HUNT AND ROSKELL The coup-perdue deadbeat escapement, chiming on a bell, the gridiron pendulum with thermometer in bob, having an enamel chapter ring for seconds with Arabic numerals, the subsidiary hours and minutes with Roman numerals, in a rectangular four glass case, the dial and movement signed “Hunt & Roskell London”. Height 51cm; Width 28cm; Depth 20cm PROVENANCE: From the Collection of the late John Schaeffer AO $30,000-50,000 48 A RARE PATEK PHILIPPE GILT BRASS RECTANGULAR SOLAR-POWERED DESK CLOCK With Brazilian rosewood panelled dial and sides, gilt baton numerals, signed PATEK PHILIPPE GENEVE and numbered 1086. Height 14cm; Width 20cm; Depth 9cm PROVENANCE: From the Collection of Sir George and Lady Proud $5,000-7,000 49 A GEORGE III MAHOGANY AND BOXWOOD STRUNG BANJO BAROMETER With swan neck pediment above a hygrometer, thermometer and a small ebonised framed convex mirror, the engraved silver dial within brass bezel, the spirit level signed ‘C. Pozzi Warranted’. Height 97cm $2,000-4,000 50 A THOMAS EARNSHAW GOLD AND ENAMEL PAIR CASE VERGE WATCH Gilt fullplate movement with fusee, engraved and pierced balance bridge cock. Verge escapement. Smooth doric columns. The fullplate signed Thos Earnshaw London, with serial number 3210. The enamel dial with gold poker hands and Arabic numerals, signed Earnshaw London. The inner 18k gold case signed ‘TC’ with hallmarks for London, 1802, with winding hole to rear. The outer case with enamel bezel and rear, the front decorated with flora, the polychrome rear depicting a nativity scene. Diameter: 48mm

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: Thomas Earnshaw (1749-1829) operated from 119 High Holborn. He was a famed maker of marine chronometers, with one of his used on HMS Beagle during Charles Darwin’s expedition. Another chronometer was used by Captain William Bligh on HMS Providence. $2,000-4,000

48 17

51 A CHARLES CABRIER GILT PAIR CASE CYLINDER ESCAPEMENT WATCH Gilt fullplate movement with fusee, engraved balance cock with diamond endstone. Cylinder escapement. The fullplate signed C Cabrier London, with serial number 5673. The gilt cap dust cover also signed with matching serial number. The gilt inner case marked ‘IN’. The enamel dial with Arabic numerals and gilt delicate star hands. The outer case gilt with guilloche. Diameter: 51mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $1,500-2,500 52 A SWETMAN, LONDON GILT PAIR CASE VERGE ESCAPEMENT WATCH Gilt fullplate movement with fusee, large engraved balance cock. Verge escapement. With date complication. The fullplate signed Swetman London. The face with silvered dial, roman numerals with subsidiary outer arabic numbered minute track, gilt hands. Signed at centre. Outer gilt case with repoussé foliate design. A repoussé scene to rear, possibly of Mary and Joseph traveling to Bethlehem. Diameter: 56mm PROVENANCE: Christie’s, 8th October 1980, Lot 227 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $4,000-6,000

53 A FINE ISAAC ROBERTS GILT METAL PLUNGE REPEATING PAIR CASED WATCH The quarter repeating movement with pierced and engraved gilt balance cock, round pillars, signed Isaac Roberts, London, numbered 1139. With a gilt metal dust cover signed and numbered, white Roman numeral dial with gold hands. The pierced and engraved inner case, gilt pierced and engraved outer case decorated with shells and scrolls with shagreen protective case. London, 18th century. Diameter: 47mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $2,000-4,000 54 A J. F. BAUTTE OPEN FACE ENAMEL KEY WIND WATCH Gilt cylinder movement with three-arm balance, engine turned offset gold dial with Roman numerals, steel hands. The champlevé case decorated in a foliate design with matching watch chain and key. The dust cover engraved 'J. F. Bautte, Geneve, Arguelles, No 48843'. Circa 1830. Diameter: 35mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: Jean-Francois Bautte was an eminent watch maker in Geneva and Paris who specialised in making very thin watches. This example is just under 6mm thick. $2,000-4,000

55 A GIRARD GILT AND ENAMEL OPEN-FACED POCKET WATCH Gilt fullplate movement with fusee, large pierced and engraved balance cock. Verge escapement. Plain round columns. The fullplate signed D Fredh Othenin Girard, with serial number 8560. The face with enamel dial, Roman chapter ring and outer Arabic ring for the minutes, blued hands and winding hole. The case with rear polychrome enamel scene depicting a lady feeding a bird of prey within a garland border. Paste bezel to front. French or Swiss, circa 1800. Diameter 57mm PROVENANCE: Sotheby’s, Melbourne, 28th October - 29th October 2008, Lot 39 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $600-800

56 A FINE CURTIS VERGE ESCAPEMENT GOLD REPOUSSÉ TRIPLE CASED WATCH Gilt fullplate with fusee, pierced and engraved balance bridge cock. Verge escapement. plain round columns. The fullplate signed Jn Curtis London with serial number 2458. The gold inner case marked IW with hallmarks for London 1784. The face with enamel dial, Roman chapter ring with outer Arabic ring for the minutes, the minute band track forming curves typical of watches produced for the Dutch market. The second case with high relief repoussé work backed by an engraved gold foil sheet pinned to the case. The scene possibly depicting the Leper kneeling before Christ to be cured. The fitted outer shagreen protective case with clear glass viewport to the repoussé scene with pique riveting to bezel front and back. London, circa 1784. Diameter: 53mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: A very similar movement signed Jno Curtis (dated 1786, serial no. 5921), though with an embossed and chased case is on permanent display at The William and Judith Bollinger Gallery, The Victoria and Albert Museum, London $3,000-5,000

57 A VERY FINE MARKWICK MARKHAM, PERIGAL GOLD AND ENAMEL PAIR CASE VERGE WATCH, MADE FOR THE TURKISH MARKET Gilt fullplate movement with fusee, engraved and pierced balance cock. Verge escapement. The fullplate signed Markwick Markham Perigal London, with serial number 1219. The enamel dial signed with Turkish numerals and gold beetle and poker hands. The inner case signed ‘AN’ and hallmarked London 1813 with a very fine polychrome enamel floral scene to the rear, with a floral and leaf motif around the rim and bezel. The outer case hallmarked with the same date stamp, with an delicately worked polychrome enamel floral scene, painted over guilloché, with floral motifs around the edge and bezel. With an enamel and gilt winding key. Diameter: 37mm PROVENANCE: Anne Schofield Antiques, Sydney The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1979 OTHER NOTES: Markwick Markham (1720-60) was known to associate with other makers, and held a strong enough reputation that makers such as Perigal and Story traded with his name after his death, likely by arrangement with Markham’s representatives. Other watches with ‘Story’ have been known to originate from the 1780s. $20,000-40,000

58 A VERY FINE AND RARE MARKWICK MARKHAM, H. STORY GOLD AND ENAMEL TRIPLE CASE OPEN FACE VERGE WATCH, MADE FOR THE TURKISH MARKET Signed Markwick Markham H. Story London No. 1952. The frosted gilt fusee movement with pierced cock and foot and other furniture, with diamond endstone. Classical filigree decorated pillars. The white enamel dial with Turkish numerals and gold beetle and poker hands. Case makers mark S. G. The miner gold case with polychrome enamel floral decoration, the back centred by a painted basked of flowers on a pink background, the intermediate case with polychrome floral decoration on a pale blue ground, the back centred by a painted classical scene of military trophies with red translucent red enamel on guillochĂŠ base with scallop-shaped rim, the outer with polychrome enamel floral decoration on a pale blue ground and the back centred by a painted Alpine scene on guillochĂŠ background with similar scallop-shaped rim. Dial and movement signed. Together with matching gold and enamel decorated key. Diameter 46mm PROVENANCE: Philips, London, 18th July 1989, lot 120 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $30,000-50,000

59 59 A VERY FINE JAMES REITH, VERSAILLES GOLD PAIR CASE VERGE ESCAPEMENT REPEATER WATCH WITH REPOUSSE SCENE BY ISHMAEL PARBURY Gilt fullplate movement with fusee, engraved balance bridge cock with diamond endstone. Verge escapement. Repeater complication for the hour on push of the stem. The fullplate signed James Reith Versailles, with serial number 70. Gilt cap dust cover also signed with faint scratched serial ‘F335-65’. The inner case edge delicately engraved and pierced with scroll and bird motifs culminating in a sun motif. The outer case pierced with scroll and swag decoration with four repoussé cherub motifs to edge. The rear with a repoussé depiction of the baptism of Christ, with an iconographic representation of the Holy Spirit as a dove by Ishmael Parbury, signed Parbury fecit. Diameter: 52mm PROVENANCE: Sotheby’s, London, 20th July 1989 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $5,000-7,000 60 A STORY GOLD PAIR CASE WATCH The slim sparsely decorated gilt fullplate movement with fusee, engraved and pierced balance bridge clock. Verge escapement. The fullplate signed Story London with serial number 812. Plain columns. The inner case marked L6fM with serial number 812 and 8, with winding hole. The face with enamel dial with Roman numerals for the hours and outer Arabic numeral ring for the minutes, gilt beetle and poker hands, signed to centre Story London. The outer case with a polychromed enamel pastoral scene with cherubs over guilloché, set within a navy blue border with gold and green floral edge. London, late 18th to early 19th century. Diameter: 47mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $2,000-4,000

61 61 A WILLIAM WEBSTER GOLD PAIR CASE VERGE ESCAPEMENT Gilt fullplate movement with fusee, engraved balance bridge cock with diamond endstone. Verge escapement. The fullplate signed WM Webster Exchange Alley. The inner case marked ‘TV’ with serial number 3033. Bearing the hallmarks for London, 1769. The face with white enamel dial, roman numerals and blued beetle and poker hands. The outer case verso with elaborate engraving depicting Britannia sat with the City of London behind her, across the Thames in relief. Hallmarks rubbed. 18th century. Diameter: 48mm PROVENANCE: Sotheby’s, 18th December 1986 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $3,000-5,000 62 A PIERRE ROMILLY GOLD, ENAMEL AND GEM SET QUARTER REPEATING VERGE POCKET WATCH With gilt fusee movement, three arm balance, eccentric winding hole. The movement signed 'Romilly A. PARIS 1344 8/67'. White Roman numeral dial with Arabic numeral chapter ring signed Romilly, scroll diamond set hands. The case decorated profusely with enamelled, engraved and chased decoration, diamond set bezel, diamond thumb piece and pendant and mounts. The inner case signed 'ROMILLY' on the side. The case back with an oval enamelled portrait of a young woman signed D. PETITOT. Paris, circa 1780. Diameter: 40mm PROVENANCE: Sotheby's, Geneva, 12th May 1988, Lot 71 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $2,000-4,000

64 63 A JAMES GREY GILT VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with fusee, engraved and pierced balance cock. Verge escapement. Square columns. The fullplate signed Jam Grey London 4184. The face with enamel dial, Roman chapter ring with outer Arabic ring for the minutes, steel beetle and poker hands. The plain inner gilt case with winding hole, the outer gilt case with repoussé classical scene set within a floral border, the front bezel with repeating floral and scrollwork motifs. London, circa 1800. Diameter: 50mm PROVENANCE: Christie’s, 23rd July 1980, Lot 324 The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: James Grey, is known to have been active opposite the Crown in Chick Street around 1800. $800-1,200 64 AN ESQUIVILLON & DE CHOUDENS SMALL GOLD PAIR CASE VERGE ESCAPEMENT WATCH Gilt fullplate movement with fusee, engraved balance bridge cock. Verge escapement. The fullplate signed frf Esquivillon De Choudens, with serial number 29029. The face with white enamel dial, Roman numerals for the hours and a subsidiary Arabic ring for the minutes, with two-tone gilt and steel hands, the centre signed. The gold inner case marked ‘I’ with matching serial number. The outer case with glass gems arranged in foliate patterns, the reverse with a polychome enamel portrait of a lady. Diameter: 44mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: Les Frères Esquillion et De Choudens are listed in Paris between 1765 and 1830 $3,000-5,000

65 A DANIEL DE ST. LEU VERY FINE LARGE FORMAT GOLD TRIPLE CASED TWO TRAIN QUARTER STRIKING WATCH, FOR THE TURKISH MARKET Gilt fullplate movement with a dual fusee two-train verge escapement, finely engraved balance cock. Strikes on the quarter, half-hour and hour. The engraved fullplate signed ‘Dan De St Leu Watch Ma.r to her Majesty London’. Gilt cap dust cover also signed. The face with white enamel dial, Turkish numerals. The inner pair case finely engraved and pierced to edges and rear. A silence/strike lever in the bezel. The outer pair case rear with trophy and swag decoration. The third case in tortoiseshell with gilt decorative elements. The pair case diameter: 61mm; The third case diameter: 71mm

66 A FINE AND RARE ECKHERT MINIATURE GILT METAL QUARTER REPEATER VERGE PAIR CASE POCKET WATCH Gilt full plate fusee verge movement with silver pierced and engraved balance cock, regulated, square tapered pillars. Movement signed Eckhert, London. The inner case pierced and engraved, the outer repoussé 4 reclining figures round a table, white Roman numeral dial with Arabic numeral outer seconds chapter ring, steel hands. Circa 1750. Diameter: 35mm

67 A SAM NORTHCOTE 18CT GOLD REPOUSSE VERGE PAIR CASED WATCH The gilt metal plate movement with finely pierced and engraved balance cock, silver regulation, square baluster pillars, movement signed ‘Sam Northcote, Plymouth’. The gold champleve dial with black enamel Roman numerals and a five minute chapter ring, signed ‘Northcote’, blued steel hands. The gold inner case hallmarked London 1764, maker Richard Palmer I, the outer gilt metal case with repousse decoration in high relief of a classical scene of a seated emperor receiving gifts, together with an associated 18th Century shagreen protective case decorated with gold pin work. Circa 1764. Diameter of the pair case: 50mm; Diameter of the protective case: 57mm

PROVENANCE: Terence Camerer Cuss, London, The Collection of Dr Trevor Hyde, Sydney, acquired from the above $10,000-15,000

PROVENANCE: A. Selby The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1982 $2,000-4,000

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $4,000-6,000

68 A T. MILLER GOLD VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with fusee, pierced and engraved balance cock with pierced lightly bevelled edge. Verge escapement. Square columns. The fullplate signed T. Miller London, with serial number 8465. The plain inner case with rubbed casemaker’s stamp, possibly ‘TR’, with hallmarks for London 1862, with winding hole. The face with enamel dial, Roman chapter ring and Arabic outer ring for the minutes. steel beetle and poker hands. The outer case with repoussé scene depicting Meleager presenting the head of the Calydonian Boar to Atalanta, set within a border of scrolls and floral decoration extending to the bezel. London, circa 1762. Diameter: 45mm

69 A SMALL GOLD AND SEED PEARL BROOCH PIN POCKET WATCH The keyless movement with lever escapement unsigned, the rear case back signed A. Schmider A Chatellerault. The face with enamel dial, Arabic ring for the hours, gold hands. The case rear decorated completely with seed pearls, the front bezel with a border of seed pearls. With a brooch pin and watch fob clasp, the brooch decorated with barley border and a line of seed pearls. With fitted case. Swiss, 18th Century Diameter: 28mm

PROVENANCE:

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $1,500-2,500

70 A MORICAND & CO. GOLD QUARTER REPEATING SINGLE CASE WATCH Quarter repeating mechanism at press of stem. The face with enamel dial, Roman chapter ring and outer Arabic ring for the minutes, signed at centre Moricand & Compagnie, gilt hands with seed pearl hands, with winding hole. The case reverse with a central floral cartouche of seed pearl and red gem set against an emerald green guilloché ring before a floral border of enamel and pearl. The front bezel with seed pearl border. Swiss, circa 1780-1800. Diameter: 45mm PROVENANCE: Sotheby’s, Geneva 12th May 1988, Lot 66 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $1,500-2,500

Sotheby’s 12th May 1998, lot 60 The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: T. Miller may be Thomas Miller, who is known to have been active from 1764-1780. A watch in the Metropolitan Museum of Art, New York is hallmarked to 1762 and bears the serial number 10492. When Artemis, the Greek goddess of the hunt was forgotten at a sacrifice by King Oeneus, she sent the Calydonian Boar to ravage the land. Melanger among many other heroes joined a hunt to kill the beast. Whilst it was unusual for a female huntress to take part, Melanger who lusted after the chaste Atalanta persuaded his father Oeneus to include her. Atalanter was the first to draw blood from the beast, which led to its ultimate death at the hands of Melanger. He is seen her presenting the hide to Atalanta in gratitude. $4,000-6,000

71 A NICH LIND GILT METAL ENAMEL OPEN FACED WATCH Gilt metal plate movement, chain fusee and verge escapement. The white Roman numeral dial with Arabic numerals and seconds chapter ring, gold hands. Circular case with hinged bezel, the bezel and the back of dark blue enamel decorated with bunches of flowers. The movement signed ‘Nich Lind, London’ and numbered 1388. Circa 1780. Diameter: 53mm

73 A FERDINAND BERTHOUD GOLD VERGE ESCAPEMENT PAIR CASE WATCH Matted gilt fullplate movement with fusee, pierced and engraved cock. Verge escapement. Plain round columns. The fullplate signed fd Berthoud / Paris. The face with enamel dial, Roman chapter ring and outer Arabic ring for the minutes, signed at centre ‘Fd Berthoud A . Paris’, winding hole, gilt hands. The inner case within engine turned and enamel purple cartouche an enamel scene to rear of a grisaille putto holding a burning torch, floral swag border with another repeating swag border to the front bezel. The outer gilt case plain with viewing glass to rear for the enamel scene on the inner case. Paris, circa 1760-90.

74 A VERY FINE DANIEL DE ST. LEU GOLD PAIR CASE TWO TRAIN QUARTER STRIKING WATCH, MADE FOR THE TURKISH MARKET Gilt fullplate movement with a dual fusee two-train verge escapement, finely engraved balance cock. Movement strikes on the quarter, half-hour and hour. The engraved fullplate signed ‘Dan De St Leu Watch Ma.r to her Majesty London’. Gilt cap dust cover also signed the same. The face with white enamel dial, Turkish numerals, signed George Prior London. The inner pair case finely engraved and pierced to edges and rear. A silence/strike lever in the bezel. The outer pair case in tortoiseshell with large gilt piercings and raised circular decorative elements. An intricately painted scene of a ship setting sail verso, with floral motifs to edges. Diameter: 60mm

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $2,000-4,000 72 A SILVER GILT REPOUSSÉ BOX Made from two 18th century watch cases with gilt metal mounts. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: Ferdinand Berthoud (1727-1807) was a distinguished French scientist and watchmaker. Berthoud was particularily well known for his work on marine chronometers and maritime navigation, for which in 1770 he was titled the ‘Horologist-Mechanic by appointment to the King and the Navy for the inspection of the construction of sea clocks’. $2,000-4,000

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: Daniel de St. Leu (active 1753-1797) was of Swiss origin. He is known to have manufactured some of the finest watches in the 18th Century, becoming Watchmaker to Queen Charlotte, wife of King George III in 1765. All watches following his appointment bear reference to his title. $6,000-8,000

75 AN EARDLEY NORTON GOLD REPOUSSE QUARTER REPEATING KEY WIND OPEN FACED PAIR CASED WATCH Gilt metal full plate cylinder movement with finely engraved and pierced balance cock. The movement signed ‘Eardley Norton London’ and numbered 2668. The white enamel dial with Arabic numerals, gold ‘arrow’ hands. The pierced and engraved gold inner case hallmarked London 1769. The gilt metal repousse outer case depicting a classical scene of justice. The cloth to the inside ‘To a friend’ and hand written ‘I. B. Marshall. A small token of Brotherhood T. M.’ with a black leather traveling case. Circa 1769.

76 A VERY FINE DANIEL DELANDER GOLD PAIR CASE CYLINDER ESCAPEMENT QUARTER REPEATER WATCH Gilt fullplate movement with fusee, engraved and pierced balance cock with diamond endstone. Cylinder escapement. Plain round columns. Repeater complication for the hour and quarter on push of the stem. The fullplate signed Daniel Delander London with serial number 255. Gilt dust cover cap with floral motif lightly hand etched 255 verso. Gold dial with roman numerals and outer Arabic minutes, signed to centre. The inner case pierced with scroll decoration, serial number 255 engraved on outside by stem. The outer case pierced with scroll decoration, with four fruit motifs. The rear depicting a repoussé scene by Henry Manly depicting Heracles with his club and coat of Nemean Lion, possibly with Hermes, signed Manly fecit. London, Circa 1730. Diameter: 50mm

PROVENANCE: Sotheby’s 1982 The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: Eardley Norton, born 1738, Lincolnshire; working from 49 St John Street, Clerkenwell London from the mid-18th Century. He is recorded as patenting in 1771 a striking mechanism for clocks and repeating movement for watches. Member of the Clockmakers Company in 1770. $4,000-6,000

PROVENANCE: Terence Camerer Cuss, London The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1985 OTHER NOTES: Daniel Delander (c.1678-1733) of the Dial, Devereaux Court in the Middle Temple (later moved to between the Temple Gates on Fleet Street) was bound as apprentice to Charles Halstead in 1692, becoming a freeman of the Clockmakers’ Company in 1699. He is known to have worked for Thomas Tompion alongside producing his own work. Undoubtably Tompion’s influence is evident in this example through Delander’s use of the cylinder escapement, which Tompion invented in 1695.

Delander was an admired watchmaker and clockmaker in his time, and was the first to produce a stopwatch with independent centre seconds. Examples of his work exist in the Science Museum, London, the Guildhall, London, the British Museum, London and the Metropolitan Museum of Art, New York. The outer case is likely to be an early example of Henry Manly’s work. Since Daniel Delander died in 1733, this piece is a late example that may have been completed by his son, Nathaniel Delander. $10,000-15,000 77 A JOSEPH WINDMILLS TORTOISESHELL CASED GILT VERGE STRIKING WATCH Gilt fullplate movement with two train fusee, engraved and pierced balance cock, with pierced guard around striking fusee. Tulip pillars. Verge escapement. Strikes on the hour and half hour. The fullplate signed ‘Jos Windmills London’. The movement hinged to a single case with gilt bezel. The gilt face with Roman numeral chapter hour dial and Arabic minutes in an outer ring, signed ‘Windmills London’ within two repoussé scrolls. The tortoiseshell with gilt piqué riveting at outer bezel front and reverse, the reverse with shutters to winding holes. London, Circa 1700 Diameter: 57mm PROVENANCE: Sotheby’s, London, 15th December 1983, Lot 50 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $5,000-7,000

78 A VERY FINE JOHN ELLICOTT GOLD VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with fusee, engraved and pierced balance cock culminating at edge with an engraved Green Man. Verge escapement. Floral styled columns. The fullplate signed Jn Ellicott London. The inner case marked JB and bearing the hallmarks for London 1751, the outside rear engraved ‘Elizabeth Pattisson G.Grandmother of Talfourd Ely, 1748’, with winding hole. The face with enamel dial, Roman numeral chapter ring and outer Arabic ring for the minutes, beetle and poker blued hands. The outer case with fine repoussé and engraved scene of Cupid crowning Psyche set within a border of scrollwork and floral motifs continuing to the bezel, signed ‘Manly’ for Henry Manly. With later watchpaper for retailer Camerer Cuss & Co, New Oxford Street (post-1914). With a shagreen protective case. Diameter: 47mm PROVENANCE: Elizabeth Pattison (circa 1748), Thence by descent to Talfourd Ely FSA, Sotheby’s, 16th October 1987 Where purchased by Terence Camerer Cuss, London The Collection of Dr Trevor Hyde, Sydney, acquired from the above LITERATURE: Illustrated in T. C. Cuss, English Watch 1585-1970, 2008 OTHER NOTES: John Ellicott (1706-1772), son of the fine watchmaker John Ellicott, is known to have established himself in Sweeting’s Alley, near the old Royal Exchange. By 1738 he had joined the Royal Society as a fellow on the recommendation of Sir Hans Sloane (the renowned physician and collector, of which Sloane Square, London is named after), John Senex (cartographer to Queen Anne), and John Hadley (Mathematician and inventor of the naval octant). Ellicott was also clockmaker to the King for George II and III. Ellicott’s work is prized for its excellent workmanship, with his finer watches being lavishly decorated with elaborate repoussé scenes. The present example bears a rich depiction of the moment Cupid crowns the revered mythological beauty Psyche, signifying their immortal marriage. Henry Manly, (active 17301760) was a particularly celebrated chaser and engraver, he is known to have found ‘great favour with Kind George of England and was commissioned to make for him many beautiful works, which brought exceptional acclaim’. The inscription to the inner case implies that the watch was owned by Elizabeth Pattisson, the Great Grandmother of the British archaeologist and classical scholar, Talfourd Ely of University College London and the Society of Antiquaries. The movement bears single fluted columns flanked by pierced foliate scrollwork, a characteristic trait of Ellicott’s oeuvre. $30,000-50,000

79 A JOHN PYKE GOLD PAIR CASE VERGE WATCH Gilt fullplate movement, engraved and pierced balance cock. Verge escapement. Floral pillars. The fullplate signed John Pyke London, with serial number 775. The enamel dial with blued beetle and poker hands, Roman numerals and Arabic numerals for the minutes. The inner case with rubbed hallmarks possibly indicating London 1779 and winding hole. The outer case with repoussé bezel and repoussé scene to rear possibly of Salome receiving the head of John the Baptist. Diameter: 50mm

80 A GEORGE RITHERDON 22CT YELLOW GOLD REPOUSSE PAIR CASED WATCH Gilt metal plate movement with finely pierced and engraved balance cock and three-arm balance, silvered regulation square baluster pillars, white enamel dial with Arabic numerals and outer five minute dots, gilt hands. With a polished hinged inner case, ornately engraved in 22ct yellow gold outer repousse hinged case with a classical scene of two soldiers and two women at a table. Movement signed. Circa 1760.

81 A SMALL GOLD PAIR CASE WATCH The plain gilt fullplate with fusee, with pierced and engraved balance bridge cock. Verge escapement. Unsigned. Plain columns. The inner case with polychrome enamel scene to rear depicting a country courtship scene, engraved scrollwork to both front and rear bezels. The face with enamel dial with Roman numerals for the hours with outer Arabic ring for the minutes, gilt beetle and poker hands, winding hole at the fourth hour. The outer case with glass to rear to view the enamel scene. Likely French, Late 18th to 19th Century. Diameter: 35mm

PROVENANCE: G. E. Marsh Antique Clocks, Winchester, United Kingdom The Collection of Dr Trevor Hyde, Sydney, acquired from the above

PROVENANCE: Bonhams, London December 2011 The Collection of Dr Trevor Hyde, Sydney, acquired from the above

OTHER NOTES: John Pyke was a watchmaker operating from Bedford Row in Gray’s Inn, London during the 1720s. $2,000-4,000

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $800-1,200

OTHER NOTES: George Ritherdon (1753-1783). $5,000-7,000

82 A JOHN FINCH VERGE ESCAPEMENT QUARTER REPEATING TRIPLE CASE WATCH The gilt fullplate movement with fusee, engraved and pierced balance cock. Verge escapement. Quarter repeating mechanism at press of stem. Plain round columns. The fullplate signed Jn Finch London. The inner case with raised and lightly engraved pedestal for the movement, ‘EG’ stamped under the bell. The outside of the inner case with finely pierced and engraved foliate pattern to sides culminating in a Green Man portrait at bottom. The silver dial with Roman chapter ring and outer Arabic ring for the minutes, the centre decorated with the Royal Coat of Arms, beetle and poker hands. The second case with scene possibly depicting Psyche and Cupid within a classical garden, set within a scroll border with pierced and engraved floral fretwork with crimson silk underneath. The final shagreen case with engraved silver border at rear edge, remnants of pique riveting to bezel. London, circa 1690. Diameter: 65mm PROVENANCE: Sotheby’s, 7th December 1983 The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: John Finch (circa 1654-1711) is known to have been bound to Nathaniel Barrow as apprentice in 1668. He later became a freeman of the Clockmakers’ Company in 1675. It is likely that he practised his trade from the vicinity of St. Edmund’s, on Lombard Street. Finch’s ability was recognised in him being granted Master of the Clockmakers’ Company in 1706 - two years after Tompion, and two years before Daniel Quare. $5,000-7,000

83 A FINE JOSIAH EMERY GOLD AND ENAMEL QUARTER REPEATING CYLINDER ESCAPEMENT WATCH The thin gilt fullplate movement with fusee, pierced and engraved balance cock with diamond endstone. Cylinder escapement. Plain round columns, with fitted gilt dustcap ring to cover mechanism between the two fullplates. Repeating mechanism at press of stem, the hammer tapping the hours and quarters on the dustcap. The fullplate signed Josiah Emery / Charing Cross London, with serial number 687. The hinged single case with casemaker initials MR and rubbed hallmarks, possibly indicating London 1775. The face with slim repeating pattern gold bezel before an enamel dial, Roman chapters and Arabic minutes for the hours, gold hands. The case decorated to the rear with a central royal blue oval guilloché cartouche with radiating finely engine turned and enameled rings in green and blue, within which sits engraved gold foliate swags, the outer edge with scrollwork converging at the three corners, with repeating white enamel dot pattern between. London, circa 1770-1780. Diameter: 38mm

84 A THOMAS MUDGE AND WILLIAM DUTTON GOLD PAIR CASE CYLINDER ESCAPEMENT WATCH Gilt fullplate movement with fusee, engraved and pierced balance cock with diamond endstone. Cylinder escapement. Square baluster columns. The fullplate signed Thos. Mudge W Dutton London, with serial number 1400. Gilt cap dust cover also signed within a cartouche and lightly marked with serial number 1400 verso. The inner case marked ‘JC’, with later keyhole hole. Bearing the hallmarks for London, 1789. The face with white enamel dial, roman numerals and gold beetle and poker hands. The later outer case bearing hallmarks for London, 1847, with casemaker initials CM, stamped 18k. London, Circa 1789. Diameter: 50mm

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney LITERATURE: For more information on Emery's work and life, see Jonathan Betts, 'Josiah Emery, Watchmaker of Charing Cross', Antiquarian Horology, (Five parts), Vol.22, No.5, March 1996-97 OTHER NOTES: Josiah Emery was a Swiss born watchmaker who conducted business from before 1760, outside the City of London at 33 Cockspur Street in Charing Cross, London. His skill and ability was recognised by him being made an Honorary Freeman of the Clockmaker's Company in 1781. He was the first to use the lever escapement following the invention of it by Mudge. $2,000-4,000

PROVENANCE: Christie’s, 10th December 1980, Lot 255 The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: Thomas Mudge (1715-1794) was bound as apprentice to George Graham in 1730. Graham, a pioneering clockmaker advanced and perfected the cylinder escapement from his own master, Thomas Tompion, the influence of Graham is undoubted through Mudge’s choice here to use that form of escapement in this example of his work. Mudge quickly advanced to the freedom of the Clockmakers’ Company in 1738 and was chosen by Graham to continue his business at The Dial and One Crown ‘opposite the Bolt and Tun’ in Fleet Street, London 1751. Another of Graham’s apprentices, William Dutton, joined Mudge in partnership in 1755. Mudge is credited as having created the lever escapement around 1765, which in its inline Swiss form is used in the vast majority of mechanical watches today. Though Mudge did not favour the escapement, using it in only two of his watches. In 1776 Mudge’s work in producing fine examples for George III was recognised with him being made watchmaker to the King. $4,000-6,000

86 85 A DAVID GORDON, DUBLIN TORTOISESHELL AND SILVER PAIR CASE VERGE WATCH WITH ‘SUN AND MOON’ DIAL Gilt fullplate movement with fusee, engraved and pierced balance cock. Verge escapement. Egyptian columns. The fullplate signed Davd Gordon Dublin, with serial number 842. The silver face with a ‘sun and moon’ dial for the hours and a outer Arabic numeral ring for the minutes, indicated with the blued poker hand. The face signed ‘Manly’ to the centre, encompassed with engraved foliate scrollwork. The silver inner case signed ‘LC’, with winding hole. The outer tortoiseshell case with silver pique work to bezel and rear, culminating in a pique hunting scene surrounded by foliate scrollwork. Diameter: 50mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $3,000-5,000 86 A JOHN BERRY UNUSUAL SILVER SINGLE CASED REPEATING AND STRIKING DUAL TRAIN VERGE ESCAPEMENT WATCH Gilt fullplate movement with dual train fusee engraved balance cock. Verge escapement. Strikes on the hour and repeats to strike the hour on a press of the stem. The fullplate signed John Berry London, with serial number 616. The single case pierced and engraved with foliate scrolling culminating in a cornucopia to rear. Holes to access the two winding stalks to rear of case. The face with silver dial, Roman numerals in a chapter ring, with a subsidiary outer minutes ring in Arabic numerals. Blued beetle and poker hands. Diameter: 57mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $2,000-4,000

87 A (JOSEPH or DOM) WILLIAMSON SHAGREEN AND SILVER PAIR CASE VERGE ESCAPEMENT ALARM WATCH Gilt fullplate movement with two train fusee, engraved balance cock. Verge escapement. The fullplate signed ‘[Dove] Williamson, Cadiz’ (partially obscured by balance bridge). The inner silver case finely pierced and engraved at bezel, with winding holes and an engraving of the holy trinity to back. The silver face with engraved gilding bordering Roman numerals for the hour and a subsidiary dial to set the alarm. The outer case with silver bezel and punching, to edges, with shagreen outer. Within outer case is a traced depiction of the crucifixion. Mid 18th century. Diameter: 54mm

88 A MORIN MARCHINVILLE UNUSUAL SILVER VERGE WATCH WITH PORTRAIT MINIATURE ON MOVEMENT Gilt fullplate movement with unusual portrait miniature of a young lady on balance cock, with the inscription ‘le bel ouiseaux pour ma cage...’. Lower edge of balance cut out to show a mock pendulum attached to the balance wheel. Verge movement. Egyptian pillars. The silver dial with Roman chapter numerals and Arabic numerals for the minutes in an outer ring, steel beetle and poker hands. The single silver case with looking glass opening to show the portrait miniature. Early 18th century. Diameter: 48mm

89 A LATE 17TH CENTURY MERCIER ASTRONOMICAL VERGE PAIR CASED WATCH The frosted gilt chain fusee movement with finely pierced and engraved cock and foot secured by one screw, with the tail to the edge of the top-plate, other pierced and engraved furniture containing a mythical figure as indicator for the silvered regulation disc, pierced and faceted tulip pillars with mythical fish design, the finely engraved gilt champleve dial with black enamel Roman numerals, guilded central section with a silvered disc for aspects of the moon, outer calendar chapter ring. The plain silver inner case with bullseye glass. The shagreen covered outer case with silver pin work. The movement signed ‘Franciscus Mercier’. France, circa 1680.

PROVENANCE: Possibly The Collection of Robert Napier of West Shandon, Dumbartonshire The Collection of Dr Trevor Hyde, Sydney LITERATURE: G.H Baillie, Watchmakers and Clockmakers of the World, under ‘Williamson’; J.C Robinson, The Catalogue of the Works of Art forming the collection of Robert Napier of West Shandon, Dumbartonshire, 1856 OTHER NOTES: Two clockmakers named Williamson are known to be active in Spain during this period, Joseph Williamson (d.1725), Clockmaker to the King of Spain and Dom Williamson. This present example bears significant similarity to an silver shagreen alarm clock ascribed to Dom Williamson of Cadiz from the Shandon collection. $3,000-5,000

PROVENANCE: Sotheby’s, London, 18th December 1980, lot 42 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $2,000-4,000

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $8,000-12,000

90 A SMALL SILVER POCKET WATCH BY LE ROY, PARIS, FOR THE TURKISH MARKET The silvered key wind movement with 23 rubies. Straight line lever escapement. The brass inside case back signed Le Roy a Paris ancre ligne droite (indicating a straight line lever escapement) 23 Rubis. The case back marked Argent. The face with intricate gilt dial with Turkish numerals, raised silver scroll decoration. The outer case with polychrome enamel guilloche decorative motif on both sides. French, Early 19th Century. Diameter: 40mm

91 A GERRIT BRAMER, AMSTERDAM, SILVER EARLY 18TH CENTURY PAIR CASED WATCH Full plate brass movement, silver regulation, square baluster pillars, movement signed ‘Gerrit Bramer, Amsterdam’. White enamel dial with Roman arcaded chapter ring with outer five minute divisions, gilt hands, plain silver inner and outer casing. Holland, circa 1740.

92 A JOSEPH FOSTER SILVER PAIR CASE VERGE STRIKING WATCH Gilt fullplate movement with fusee, engraved and pierced balance cock. Verge escapement. The fullplate signed ‘Jos Foster London’. Striking mechanism for the hours. Tulip columns. The inner case siudes and bezel pierced and engraved with foliate scrollwork culminating in a Green Man at one end and an idealised classical scene on the other, possibly depicting St. Pauls Cathederal from outside the City of London walls. Two winding holes. The face with silver dial, Roman numeral chapter ring and Arabic numeraled outer ring for the minutes. Signed at centre ‘Field London’, beetle and poker hands. The outer case with pierced and engraved foliate scrollwork culminating in the Green Man at both top and bottom, stamped ‘IL’ with other partially legible stamps bearing ‘IL’, with serial number 8930. London, circa 1690-1710 Diameter: 55mm

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $600-800

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney OTHER NOTES: Bramer was listed as working in Amsterdam between 1712-1760. $800-1,200

PROVENANCE: Sotheby’s, 15th December 1983, Lot 48 The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: Joseph Foster listed at Exchange Alley, London from 1694, he was bound as apprentice to Francis Stamper in 1684 and became a freeman of the Worshipful Company of Clockmakers in 1691. He became a Master of the Clockmakers’ Guild with pupils between 1694 and 1704. $3,000-5,000

93 A DANIEL QUARE SILVER AND TORTOISESHELL PAIR CASE VERGE ESCAPEMENT WATCH Gilt fullplate movement with fusee, large pierced and engraved balance cock. Verge escapement. The fullplate signed Quare London, with serial number 107. The silver dial with gilt engraved edge and Roman numerals for the hours and outer Arabic minutes, beetle and poker hands. Centre engraved and signed. The inner case signed ‘IM’ with winding hole. The outer case in tortoiseshell with silver piqué riveting at bezel, culminating in a riveted foliate decorative pattern to rear. London, Circa 1690. Diameter: 54mm PROVENANCE: Sotheby’s, 15th December 1983, Lot 46 The Collection of Dr Trevor Hyde, Sydney, acquired from the above LITERATURE: For notes on the significance of Quare, and a similar watch in the Pierpont Morgan Collection, New York refer to F.J. Britten, Old Clocks and Watches & Their Makers, 3rd Ed. This example predates the earliest repeater serial number listed in G. H. Baillie, Watchmakers and Clockmakers of the World, 2013. OTHER NOTES: Daniel Quare was a watchmaker, known best for inventing an early repeating watch movement in 1680. He was also an early proponent of the use of a minute hand actuated alongside the hour hand. Admitted as a brother, and later Master of the Clockmakers’ Company in 1708. He famously made a number of important watches for William III and George I. A very similar silver and piqué tortoiseshell watch by Quare is in the Pierpont Morgan collection, New York, dating to circa 1690. $8,000-12,000

94 A LARGE SILVER POCKETWATCH BY BOVET FOR THE CHINESE MARKET Highly ornate gilt and engraved Chinese calibre movement. Lever escapement, keywound movement. Large ruby at balance cock, blued steel screws and winding accents. Signed 'Bovet Feurier 624'. The silver case signed JDB 1044 and 624, the inside case back engraved with a sunburst surrounding a Chinese symbol, bordered by foliate scroll border. Winding and setting hole. The enamel dial with Roman numerals, blue steel hands and a centre second hand. Switzerland, circa 1840-1860 Diameter: 55mm

96 A HARDY BROTHERS 18CT YELLOW GOLD SPLIT SECOND CHRONOGRAPH FULL HUNTER POCKET WATCH The movement signed Hardy Brothers, London & Sydney, numbered 11179. The 18ct case hallmarked London 1869, makerâ&#x20AC;&#x2122;s mark R. N. The white Roman numeral dial with two subsidiary dials and a sweep second hand. Signed Hardy Bros Ltd London & Sydney. $2,000-4,000

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $2,000-4,000

97 A 19TH CENTURY FRENCH GOLD QUARTER REPEATING MUSICAL OPEN FACED KEY WIND WATCH Gilt cylinder with plain three-arm balance, repeating on two gongs, pinned disk for music with 27 individually screwed tynes. The engine turned gilt dial with black Roman numerals, out minute truck blued steel Breguet style hands. The case with fine engine turned decoration, reeded band and bezel plunge pusher, music lever at 6, silent lever to band at 9. Circa 1810. Diameter 6cm; Height 2cm PROVENANCE: Gerald Marsh, Winchester The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1978 $5,000-7,000

99 A SMALL 14K GOLD LADIES HUNTER POCKET WATCH The 11 ruby keyless movement with lever escapement, unsigned. The inner back case engraved remontoir patent (indicating keyless mechanism), 11 rubis, No.230868. The back case stamped 14k. The face with enamel dial, Roman numerals and subsidiary seconds at the 6-oâ&#x20AC;&#x2122;clock position, gilt hands. The outer engraved with scrollwork front and rear. Diameter: 32mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600

101

101 A SMALL ENAMELED POCKET WATCH WITH FLEUR-DE-LIS DECORATION The unsigned keyless Swiss movement with lever escapement. The face with enamel dial with Roman numerals for the hours, beetle and poker hands with gold and green enamel cross motif. The outer royal blue enamel case with gold fleur-de-lis repeated motif. Diameter: 26mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600

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102 A ROLEX HUNTER CASED GOLD PLATED POCKET WATCH Lever movement, 15 jewels, three adjustments, no. 6200679, signed Rolex. White enamel Roman dial, blued spade hands, signed to centre, subsidiary seconds dial. The gold plated case signed Dennison. Diameter: 50mm $1,000-1,500 103 A SMALL SILVER OMEGA POCKETWATCH RETAILED BY FAIRFAX & ROBERTS The lever escapement, keyless movement signed Omega, made in Switzerland, with serial number 3900140. The silver case signed Fx&R and marked 925. The enamel dial with black Arabic numerals for the hours, gilt hands and a subsidiary dial for the seconds, signed at centre Fairfax & Roberts Ltd / Sydney & London / Made in Switzerland. Switzerland and Australia, Circa 1910-1930. Diameter: 32mm $600-800

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104 A 14 CARAT GOLD EROTIC AUTOMATON HUNTER CASE POCKET WATCH The white enamel dial with Roman numerals, outer five minute register, and subsidiary dial for constant seconds, the cuvet opening to reveal an engraved dairy scene with polychrome enamel milkmaid and lad in an erotic embrace, the repeat mechanism operated by a slide in the band, the case engraved with a monogram and a stag. Diameter 5.5cm $2,000-4,000

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105 A SWISS 18CT BALL-SHAPED PENDANT WATCH Gilt finished lever movement, white enamel dial, red and blue Arabic numerals, ball shaped case with scroll ornaments. Switzerland, circa 1900. Diameter 1.8cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $1,500-2,500

108 106 A FRENCH GOLD AND SILVER COMBINATION SNUFF BOX AND TABLE WATCH The top with a glass inset hinged lid revealing an engraved plate set with a pocket watch movement signed ‘S. Marchant, London’. The silver sides and base with applied gold decoration of sprigs of flowers and leaves. The hinged lid to the base revealing a plain interior. Height 7.5cm; Width 8cm; Depth 4.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $1,200-1,800 107 A WILLIAM MANN SILVER VERGE ESCAPEMENT AUTOMATON PAIR CASE WATCH Gilt fullplate movement with fusee, pierced and engraved balance cock with face of Green Man. Verge escapement. Plain round columns. The fullplate signed Willm Mann with serial number 969. The plain inner case stamped WJ, with hallmarks for London, 1813, with winding hole. The face with enamel dial, Arabic numerals for the hours and a painted military fort scene with soldiers at centre. An aperture to an automaton mimicking marching horses driven by the movement at the gates of the painted fort. The plain silver case stamped by the same casemaker, with the same hallmarks. Diameter: 55mm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $800-1,200

109 108 A WILTER, LONDON SILVER AND SHAGREEN TRIPLE CASED VERGE ESCAPEMENT WATCH Gilt fullplate movement with fusee, engraved large balance cock. Verge escapement. With date complication. Egyptian pillars. The fullplate signed Wilter London, with serial number 4367. The silver dial with Roman numerals for the hours, with an outer Arabic for seconds. The centre dial with gilt scrollwork decorating the date aperture and signature ‘Wilter’. The inner case marked ‘FI’ with matching serial number, with winding hole. The outer second silver case with repoussé foliate scrolls, a porcelain and enamel polychromed scene of a mother and child to rear. The outer third case in shagreen with silver bezel at edges. Mid-late 18th century. Diameter: 65mm PROVENANCE: G. E. Marsh Antique Clocks, Winchester, United Kingdom The Collection of Dr Trevor Hyde, Sydney, acquired from the above OTHER NOTES: John Wilter was known to be active between 17601784. Some Continental watches from the late 18th century were signed ‘Wilter, London’, of which this may be one. $1,500-2,500

110 109 A JOHN FOWLE VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with fusee, pierced and engraved balance bridge clock culminating in a Green Man. Verge escapement. The fullplate signed John Fowle E. Grinstead with serial number 7975. The silver inner case with hallmarks for London 1847, casemaker initials rubbed (possibly JW), winding hole. The face with enamel dial, Roman numerals for the hours, beetle and poker hands. The plain outer case with initials JW and identical hallmarks. With hand setting key East Grinstead, Surrey (England), 1847. Diameter: 60mm $1,000-1,500 110 A SILVER PAIR CASE WATCH, BY JAMES DUNCAN Gilt fullplate movement with fusee with finely pierced and engraved balance cock with ruby, culminating in a Green Man. Verge escapement. Square pillars. The fullplate signed James Duncan London, with serial number 48. Gilt dust cap cover signed by another maker, E E Champion, London within a cartouche. The silver inner case marked IL with hallmarks for London 1784, with winding hole. The face with enamel dial with Roman numerals for the hours, gilt beetle and poker hands. The plain outer case by the same maker with identical hallmarks, two watchpapers inside, one for Mallett in Jersey, another later one for Charles Taron, 10 Queen St, St Helier, Jersey. With Rotherhans London winding key. London, 1784. Diameter: 47mm $1,500-2,500

114 111 AN EDWARD MATTHEWS WELSH SILVER VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with pierced and engraved balance bridge cock culminating in a Green Man. Square columns. Verge escapement. The fullplate signed E Mathews Welshpool. The inner case marked HH with hallmarks for Birmingham 1821. The face with enamel dial, Roman numerals and gilt hands. The outer case by the same maker with identical hallmarks, watchpaper for P. Cattaneo, Croydon, Surrey. Welsh, circa 1821. Diameter: 55mm OTHER NOTES: Edward Matthews is recorded as being active in Wales between 1803-1844. $1,500-2,500 112 A SILVER PLATED JOHN BARREL POCKET WATCH WITH STOPWATCH TO REAR Keyless movement with lever escapement. Stopwatch complication to rear. The face signed John Barrel Locle. The face with enamel dial and Roman numerals for the hours, subsidiary dial for the seconds, blued hands. The silver plated case engraved for R. Field, clear window showing the movement to rear at centre. Brass winding crown. Diameter: 50mm $400-600

115 113 A HOWLETTE & CARR SILVER VERGE ESCAPEMENT SINGLE CASED WATCH The gilt fullplate with pierced and engraved balance bridge cock culminating in a vase. Verge escapement. Square columns. The fullplate signed Howlette & Carr Coventry. The adjustment dial on the fullplate with unusual engraved hand pointer in the fullplate to show setting. In a later case, initialled ML, with hallmarks for Chester 1825. Winding hole accessed through case back swing door. The face with enamel dial with the hours and minutes displayed in a subsidiary dial at the 12 o’clock position, Roman numerals, gilt hands. A sweeping blued hand at centre, with Arabic numerals at edge for the seconds. English, circa 1790. Diameter: 50mm $1,500-2,500 114 A KEYSTONE WATCH CO. GOLD HUNTER POCKETWATCH The keyless movement with patented dust cover for the balance and escapement. Marked ‘adjusted’ with serial number 364885, signed Keystone Watch Co. The face with enamel dial, Roman numerals for the hours, with subsidiary dial for the seconds, signed at centre Keystone Watch Co, blued hands. Engraved foliate decoration to rear of case front and back. $1,000-1,500 115 A SILVER NOVELTY POCKETWATCH FOR THE CHINESE MARKET Elaborately gilt, engraved and decorated Chinese calibre keywound movement. Lever escapement with exaggerated and elongated lever. Unsigned. Movement behind inner view window with winding holes. Chinese symbol within cartouche on inside back case. The face with enamel painted depicting a urban scene, The time depicted within a subsidiary dial with Roman numerals and steel hands. A second hand at the centre of the face. A novelty windmill ticking with the seconds and a mock pendulum bob. With a winding and hand setting key. Swiss, circa 1840-1860. $1,000-1,500

116 116 AN EDWARD PRIOR TORTOISESHELL TRIPLE CASED VERGE ESCAPEMENT WATCH, FOR THE TURKISH MARKET Gilt fullplate movement with fusee, pierced and engraved balance bridge cock culminating in a cornucopia. Tulip columns. The fullplate signed Edw Prior London with serial number 73282. The face with enamel dial, Turkish numerals and gilt hands, signed Edward Prior London to centre. The inner gilt case with winding hole, stamped W.e . The second gilt case with etched texture decoration to edges, with original watchpaper from Edward and George Prior London. The final outer case in tortoiseshell with repeated pique pattern motifs to edges. With winding key. London, circa 1850-1860 Diameter: 62mm OTHER NOTES: Edward Prior (active 1800–68) was a noted maker for the Turkish market. A similar Tortoiseshell watch with a slightly lower serial number is in the Metropolitan Museum of Art Collection, New York, dated to 1850. $1,500-2,500 117 A SILVER VERGE ESCAPEMENT PAIR CASE WATCH, BY WILLIAM DAWSON The gilt fullplate movement with fusee, pierced and engraved balance bridge cock culminating in a Green Man, verge escapement. The fullplate signed Wm Dawson Foulsham with serial number 42641. Square columns. The inner case marked JMH for John Martin Hardy, with hallmarks for London, 1827. The face with enamel dial and Arabic numerals for the hours, gilt spade and poker hands. The plain outer case by the same casemaker with identical hallmarks. London, 1827. Diameter: 47mm $1,000-2,000

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118 A BOVET SILVER POCKET WATCH FOR THE CHINESE MARKET Elaborately gilt, engraved and decorated Chinese calibre keywound movement. Lever escapement with exaggerated and elongated lever. Signed Bovet. Movement behind inner view window with winding holes. Chinese symbol within cartouche on inside back case. The face with enamel dial, Roman numerals, steel hands and centre second hand. With winding and hand setting keys. Swiss, circa 1840-1860. Diameter: 55mm $800-1,200 119 A CHARLES PEARSON SILVER PAIR CASE VERGE ESCAPEMENT WATCH The gilt fullplate movement with fusee, finely pierced and engraved balance bridge clock culminating in a basket of flowers. Square columns. The fullplate signed Charles Pearson Towcester with serial number 10417. The face with enamel dial and Roman numerals for the hours, gilt poker and spade hands. The inner case signed JW with hallmarks for London 1837, with winding hole. The outer case by the same maker with identical hallmarks. Diameter: 45mm $1,000-2,000

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120 AN H ALDNIN VERGE ESCAPEMENT PAIR CASE WATCH The gilt fullplate movement with fusee, verge escapement. The fullplate signed H Aldnin London with serial number 6611. The inner case with rubbed marks indicating London 1767, with winding hole. The face with enamel dial and Roman numerals for the hours and an outer Arabic ring for the minutes, blued beetle and poker hands. The plain outer case with hallmarks for 1774, marked JC. London, 1767 $1,000-2,000 121 A SILVER VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with fusee, pierced and engraved balance bridge cock. Verge escapement. Square columns. The fullplate unsigned with serial number 2339. The face with enamel dial and Arabic numerals for the hours, gilt hands. The inner case with mark JO and hallmarks for 1807. The outer case with identical casemakerâ&#x20AC;&#x2122;s mark and hallmarks. Likely English, circa 1807. Diameter: 60mm $1,000-2,000

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122 A TM ALCOCK SYDNEY SILVER HUNTER CHRONOGRAPH The keyless movement signed by T M Alcock Sydney, with serial number 41642. Lever escapement. Chronograph complication. The rear case inner with hallmarks for London 1883. The face with enamel dial, Roman numerals for the hours with outer ring for chronograph metrics, a subsidiary dial for the seconds and a dial for the chronograph minutes, gilt hands, blued chronograph hand. Engine turned decoration on outside of case. London and Sydney, circa 1883. Diameter: 52mm OTHER NOTES: T M Alcock was a respected watchmaker and jeweller who was recorded at 672 George Street, Sydney in 1882. $1,000-2,000 123 A SILVER VERGE ESCAPEMENT PAIR CASE WATCH Gilt fullplate movement with fusee, pierced and engraved balance bridge cock. Verge escapement. The fullplate signed W. Gresham Lincoln, with serial number 261. Square columns. The inner case with JH initials, hallmarks for Birmingham 1840. The face with enamel dial, Roman numerals for the hours, gilt poker and spade hands. The outer case signed by the same casemaker with identical hallmarks. English, 1840. $800-1,200

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125 AN 18TH CENTURY GILT BRONZE CHATELAINE Comprising of one quiver-form etcus east with two figures, scrolls and geometric design borders in high relief opening to reveal an incomplete fitted interior with two similarly decorated thimble holders and gilt metal open faced, key wind, repousse decorated pocked watch. Signed ‘Sam Smith, Liverpool’ with engraved full plate movement elaborately pierced and engraved balance cock, white enamel dial with Roman numerals and outer minute trunk. Plain gilt metal inner case, the outer case repousse decorated in a central classical scene surrounded by scrolls and flowers. All suspended on a similarly decorated gilt metal frame. England, circa 1760.

127 A GOLD CHATELAINE Composed of three 22ct yellow gold chased panels, the central panel decorated with a classical scene, three suspension loops each with ornated thread clip clasps, supported on a gilt metal chatelaine clip. England, circa 1740. Length: 12cm

128 A GILT METAL ETUI & CHATALAINE The chain mail design chatelaine with a central panel decorated with a classical scene, with a clip back decorated with mythological creatures suspending two thimble cases and an etui, finely cast and chased with figures on a matted groun with classical scrolling foliage, the etui fitted with three contemporary implements. England, circa 1750. Length 20cm

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney LITERATURE: “Chatelaines: Utility to Glorious Extravagance” (1994) by Genevieve E. Cummins. $1,500-2,500 126 A GILT METAL ETUI AND CHATELAINE The three panel chatelaine each decorated with classical figures, chatelaine clip, suspending an etui decorated with classical maidens, scrolls on a matte ground. Circa 1760. Length 21.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $800-1,200

PROVENANCE: Laurie Gould, UK The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1978 $5,000-7,000

PROVENANCE: Grovs Antiques, London The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1979 $1,500-2,500

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129 AN 18TH CENTURY GILT METAL ETUI AND CHATELAINE The chatelaine with ornate chainlinks of shells and pierced panels with clip back suspending a thimble case and an etui, finely cast and chased with figures on matted ground with scrolling foliage. The etui fitted with various contemporary and later implements. Circa 1750. Length 19.5cm PROVENANCE: Grovs Antiques, London The Collection of Dr Trevor Hyde, Sydney, acquired from the above in 1979 $1,500-2,500

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130 A MULTI STRAND 12CT GOLD WATCH FOB Chain two box link and two snake link chains with two moveable tri coloured gold spacers decorated in an Etruscan style, two terminals, supporting a further chain, split with two gold tassels, bolt ring and parrot clasp. 19th century. Length 41.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $2,500-3,500

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131 A MULTI STRAND 9CT GOLD WATCH FOB CHAIN Two rope twist design chains and two snakelink, one tri coloured gold moveable spacer, two terminals, supporting a further chain section with a gold tassel, bolt ring and parrot clasp. 19th century. Length 33cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $1,000-1,500 132 TWO VICTORIAN WATCH FOBS One 9ct rose gold with three panels set with red stones, the other with 9ct rose gold Art Nouveau ends, parrot clasp and large bolt ring. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

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133 THREE 19TH CENTURY WATCH KEYS One of cornucopia design, the other two decorated with swags and scrolls. (3)

136 FOUR 19TH CENTURY WATCH KEYS Each with a swivel set with semi precious hard or gemstones. (4)

139 A COLLECTION OF SIX 19TH CENTURY WATCH KEYS Some gold, some gold plated. (6)

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

134 A COLLECTION OF FIVE EARLY 19TH CENTURY DUTCH SILVER WATCH KEYS Traditional design with foliate design borders. (5)

137 A COLLECTION OF FIVE GOLD 19TH CENTURY PENDANT WATCH KEYS (5)

140 A COLLECTION OF FOUR GOLD 19TH CENTURY RATCHET DESIGN WATCH KEYS (4)

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

135 A COLLECTION OF FOUR EARLY 19TH CENTURY DUTCH SILVER WATCH KEYS Traditional design, one with a porcelain panel, one decorated with a horse, one with a Dutch girl, the other foliate design. (4)

138 A COLLECTION OF SEVEN 19TH CENTURY WATCH KEYS Some gold set with hardstones, carnelian, bloodstone, others with semi previous stones, some gold plated. (7)

141 A DUTCH GOLD WATCH KEY Set with two decorative hair panels, hinged top and bottom. 19th Century.

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

PROVENANCE: Sothebyâ&#x20AC;&#x2122;s 1989 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $200-400

142 FOUR 19TH CENTURY DUTCH SILVER WATCH KEYS All with some filigree decoration. (4) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 134

143 A COLLECTION OF THIRTEEN EARLY 19TH CENTURY WATCH KEYS Mainly in gold, two crank design, one plain ratchet design, nine Breguet design with ratchet mechanism. (13) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $500-700 144 A COLLECTION OF SIX 19TH CENTURY SILVER WATCH KEYS Various designs including hammer and axe, axe and saw, initials etc. (6) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

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145 THREE 19TH CENTURY GOLD WATCH KEYS Raised foliate decoration. (3) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 146 A COLLECTION OF NINE 19TH CENTURY SILVER WATCH KEYS Some with filigree decoration. (9) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 147 A COLLECTION OF NINE EARLY 19TH CENTURY WATCH KEYS Some gold and some gold plate, decorated with various designs including twin fish, basket of fruit, shells and scrolls. (9) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 148 FOUR 19TH CENTURY GOLD PLATED WATCH KEY FOBS One designed as a swan, two as scissors, the other a pair of pincers. (4) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

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149 A COLLECTION OF SEVEN 19TH CENTURY WATCH KEYS Two with enamel decoration, three gem set, two set with hardstones. (7)

153 A COLLECTION OF FIFTEEN 19TH CENTURY WATCH KEYS Eight set with semi previous stones, eight plain gold or gold plated. (15)

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

150 A COLLECTION OF EIGHT 19TH CENTURY WATCH KEYS Mostly gold plated set with hard and semi previous stones, one with cut steel mount. (8)

154 A COLLECTION OF FIVE EARLY 19TH CENTURY WATCH KEYS Mostly gold with foliated decoration. (5)

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 151 A COLLECTION OF NINE 19TH CENTURY WATCH KEY FOBS Set with semi previous stone, bloodstones, carnelian, amethyst and others. (9) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 152 A COLLECTION OF FOUR 19TH CENTURY WATCH KEYS Each set with round cabochon turquoise. (4) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 155 A COLLECTION OF FIVE 19TH CENTURY WATCH KEYS All set with semi previous stones, mostly 9ct gold. (5) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 156 THREE 19TH CENTURY WATCH KEYS One modelled as a pair of polo mallets, one plain rectangular with engraved decoration, the other of two putti profiles. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

157 A COLLECTION OF NINE 19TH CENTURY WATCH KEYS Two locket design with enamel decoration, three set with semi previous stones, one rope twist design, one key and foliate design. (9) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 158 FIVE 19TH CENTURY GOLD AND GOLD PLATED WATCH KEY FOBS Three attached to chains, four set with semi precious stones. (5) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600

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159 A COLLECTION OF TEN 19TH CENTURY WATCH KEY FOBS One in the form of an axe, four set with semi previous stones, five smaller with ornate gold tops. (10) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 160 A COLLECTION OF FOUR 19TH CENTURY WATCH KEYS Two gold and two gold plated. (4) PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 161 TWO OVAL GOLD AND CARNELIAN WATCH KEY FOBS Each with one side engraved with initials. English circa 1790. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 162 A LARGE PINCHBECK WATCH KEY FOB One side set with carnelian, the other with agate. England, circa 1800. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

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163 A COLLECTION OF NINE POCKET WATCH KEYS Consisting of a steel ‘gun shot’ watch key, an acorn form viewer watch key, with an optical viewport projecting ‘A Memory of Dollar’, a Breguet style key, a pencil and toothpick with empty cameo top, a finely worked watch key with empty cameo top and form of dog, a hoop form watch key, a pencil style watch key, a crank watch key, a key with double sided empty cameos. (9)

164 A 19TH CENTURY 15CT YELLOW GOLD SOVEREIGN CASE Plain design, stamped 15ct. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

165 A 19TH CENTURY 14CT YELLOW GOLD FOB SEAL With a carved bloodstone intaglio seal. English circa 1830. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 166 TWO 12CT YELLOW GOLD FOBS WITH A CARNELIAN INSET Carved with an intaglio seal. English circa 1810. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 167 A 12CT YELLOW GOLD FOB WITH A CARNELIAN INSET Carved with an intaglio seal. English circa 1830. PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 168

168 A 14CT GOLD MOUNTED HARDSTONE AND MOTHER OF PEARL TRIPLE DESK SEAL Formed as a mother of pearl first emerging from a chalcedony sleeve and clasping a baton, leaf chased gold mounts, the smaller lapus and green chalcedony matrix carved with a dog and a bird, the main slate matrix engraved with a thistle and ‘DINNA FORGET’ with a turquoise bead gold band. England, circa 1840. $3,000-5,000 169 AN 18CT YELLOW GOLD MOUNTED HAND DESK SEAL Formed as a hand and sleever, the hand clasping a batton, leaf chased 15ct yellow gold mounts, the smaller bloodstone and chalcedony matrix carved with a moth and a flower and stem, the main pale green calcedony matrix blank. The hand with a gold natural pearl set ring, chain and pendant. England, circa 1840. $2,000-4,000

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170 A 14CT YELLOW GOLD MOUNTED CITRINE DESK SEAL The tapered facetted citrine handle to a 14ct gold work mount of foliate scroll and shell design, terminating in a citrine metrix carved with two lions, a unicorn and the hand of Ulster. England, circa 1820. $3,000-5,000 171 A TURQUOISE AND CITRINE DESK SEAL Tapering pavé set turquoise with a gold band, terminating in a lavishly decorated 18ct yellow gold seal mount enclosing a citrine seal engraved with a monogram. Probably St Petersburg. OTHER NOTES: The use of cabochon turquoise beads to ornament the surface of this desk seal relates it to known Russian snuff boxes of the period. An identically adorned cylindrical snuff box made in St Petersburg, circa 1820, with all of it’s surfaces turquoise set, is in the Rosalinde and Arthur Gilbert Collection, London. Another example by Carl Helfried Barbe, circa 1810, is in the collection of Hillwood Estate Museum and Gardens, Washington DC. A further related example, formed as a trompe-l’oeil parcel from St Petersburg, circa 1840, was sold at Sotheby’s Geneva, 21 November 1991. $4,000-6,000

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172 A LATE 19TH CENTURY LAVA CAMEO BROOCH Carved in high relief to depict a bacchante in a silver gilt Etruscan style brooch mount. Circa 1880. $5,000-7,000 173 A LAVA CAMEO PENDANT The oval cameo depicting Leonardo da Vinci in a 9ct yellow gold mount with pendant loop, stamped 9ct. Circa 1820. 3.5 x 2.7cm $2,000-4,000 174 TWO LAVA CAMEOS MEDALLIONS Oval profiles, one depicting Socrates, the other Pythagoras, both in gilt metal frames. Circa 1840. $600-800

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175 AN EARLY 19TH CENTURY AGATE CAMEO BROOCH The oval cameo depicting a classical female profile in a 9ct yellow gold rope twist design mount. Circa 1840. 4.5 x 3.5cm $5,000-7,000 176 A 19TH CENTURY AGATE CAMEO BROOCH The oval finely carved cameo depicting a classical female profile in an 18ct yellow gold Etruscan style Greek key pattern, bead and rope twist design mount. Circa 1860. 6 x 5.1cm $5,000-7,000

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177 A GLASS AND SILVER CAMEO BROOCH The oval glass cameo depicting Perseus in profile with an applied winged helmet and shield in an 11ct yellow gold and half pearl mount. Circa 1840. 3.4 x 2.6cm $4,000-6,000

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178 A 19TH CENTURY SHELL CAMEO BROOCH The oval cameo depicting a classical female figure in a 9ct yellow gold open scroll work frame with safety chain. $300-500 179 A GEORGE III ENAMELLED GOLD MOUNTED HARDSTONE EGG SHAPED BONBONNIÈRE The bloodstone body with gold cage work of rocaille and scrolls, the girdle with enamelled motto: L’AMOUR SURMONTE TOUT OBSTACLE. London, circa 1770. Length 5cm $4,000-6,000 180 A SILVER, TORTOISESHELL AND MOTHER OF PEARL PIQUE BOX The rectangular lid with silver and mother of pearl decoration of classical figures in a landscape. Naples, mid-18th Century. Length 10.5cm; Depth 3.5cm; Height 2.2cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-300

181 A 14CT CONTINENTAL YELLOW GOLD CASE The sun burned design top with applied white gold initials G. P set with old cut diamonds, plain sides, sunburst design back. Engraved to the back of lid ‘15 June 1930, Von deimen Eltern’ (from your parents) in script. PROVENANCE: From the Collection of Sir George and Lady Proud $3,000-5,000 182 AN 18CT YELLOW GOLD GENTLEMANS DRESS SET Including cufflinks and four dress studs each with tri coloured gold knot design, fronts set with band of single cut diamonds. Stamped 750. $1,500-2,500

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183 AN ELIZABETH II STERLING SILVER GILT NOVELTY EGG Maker Stuart Devlin, London 1981, number 27, the matted exterior opening to reveal a flower with a bee, on a silver gilt lattice work stand, London 1982. Overall height 9cm PROVENANCE: From the Collection of Sir George and Lady Proud $700-900 184 AN ELIZABETH II STERLING SILVER GILT NOVELTY EGG Maker Stuart Devlin, London 1982, number 31, the grained exterior opening to reveal a bird’s nest with three eggs and a spray of flowers, on a silver gilt lattice work stand, London 1982. Overall height 9cm

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PROVENANCE: From the Collection of Sir George and Lady Proud $700-900 185 AN ELIZABETH II STERLING SILVER GILT NOVELTY EGG Maker Stuart Devlin, London 1982, number 43, the matted exterior opening to reveal a squirrel offering an flower in a bed of enamelled flowers, on a silver gilt lattice work stand, London 1982. Overall height 8.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $600-800

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186 AN ELIZABETH II STERLING SILVER GILT NOVELTY EGG Maker Stuart Devlin, London 1981, number 180, the grained exterior opening to reveal a coronet with Prince of Wales feathers, with enamelled flowers, on a silver gilt lattice work stand, London 1982. Overall height 8.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $600-800

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187 A PAIR OF GEORG JENSEN ACRON POULTRY SHEARS The sterling silver handles in the acorn pattern with stainless steel blades. Stamped Georg Jensen, Denmark, the handles stamped Georg Jensen Sterling. $200-400 188 AN ELIZABETH II STERLING SILVER MODEL OF THE CORONATION CHAIR Maker S. J. Rose & Son, London 1952, in fitted presentation box. Height of chair 7.5cm

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PROVENANCE: From the Collection of Sir George and Lady Proud $200-400 189 A SET OF SIX GEORGE VI STERLING SILVER GILT AND ENAMELLED COFFEE SPOONS Each yellow enamelled bowl and handle, in a case, retailed by Proud’s Ltd, Sydney. Maker William Suckling Ltd, Birmingham 1938. (6) PROVENANCE: From the Collection of Sir George and Lady Proud $80-120

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191 A VICTORIAN STERLING SILVER SOUP LADLE Maker’s mark of Chawner and Co., London 1859, fiddle pattern. Length 34cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 192 A GEORGE IV STERLING SILVER STRAINING SPOON Maker’s mark of William Chawner II, London 1822, King’s pattern engraved with a crest. Length 30.5cm

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PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

194 193 A GEORGE III STERLING SILVER STRAINING SPOON Maker’s mark of William Eley and William Fearn, London 1805, Old English pattern engraved with a P. Length 30cm

195 A SET OF SIX GEORGE III STERLING SILVER TABLE SPOONS Maker’s mark of George Day, London, 1810, fiddle and shell pattern engraved with a crest. Length 22cm

197 A PAIR OF GEORGE II STERLING SILVER BERRY SPOONS London 1745, later decorated with leaf and matted designs. Length 20.5cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

194 A SET OF ELKINGTON SILVER PLATE COBURG PATTERN CUTLERY Comprising twelve table forks, twelve table spoons, twelve dessert forks and twelve dessert spoons, two serving spoons, all cast with the crest of ThomasChalloner Bisse-Challoner (1788-1872). Date letter for 1862.

196 A PAIR OF WILLIAM IV STERLING SILVER TABLE SPOONS Maker’s mark of William Eaton, London 1832, fiddle pattern, engraved with a crest. Length 22.5cm

198 TWO STERLING SILVER SAUCE LADLES One London 1820 in Old English pattern, the other London 1914 in Rattail pattern. (2)

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,500-2,500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400

204 199 A SET OF FOUR GEORGE III STERLING SILVER SALT SPOONS One maker’s mark of Paul Storr, London 1817, in Fiddle thread and Shell pattern, engraved W. Length 10.5cm

202 A GEORGE III OLD SHEFFIELD PLATE TWIN HANDLED BOWL Mark of T & J Creswick, deep sided with beaded rim and reeded handles. Height 9cm; Diameter 22cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $700-900

204A FINE PAIR OF GEORGE III PERIOD STERLING SILVER CANDLESTICKS Plain classical design with turned wooden inserts to the base, with Old Sheffield Plate twin candelabara mounts with drip trays. Maker John Green, Roberts, Mosley & Co. Sheffield, 1819. Height 38cm $2,000-$4,000 Illustrated on page 76

200 A QUEEN ANNE STYLE STERLING SILVER COFFEE POT Maker Thomas Bradbury & Sons. Of tapering cylindrical form with tuck-in base on moulded circular foot, scroll spout, double scroll wooden handle, the handle joins with an architectural drop, double domed hinged cover. Hallmarked London 1906. Height 22.6cm $500-700

203 A GEORGE III OLD SHEFFIELD PLATE TWIN HANDLED TRAY Of rounded rectangular outline with gadrooned border, having a pair of dolphin and shell handles, engraved to the centre with the initials ED in a lozenge within an oak wreath, on gadrooned scroll feet. Width 77cm; Depth 48cm; Height 3cm

205 A VICTORIAN SILVER WINE EWER Maker’s mark of Martin Hall & Co. Sheffield 1859, with acorn filia to the hinged cover, scroll handle with ivory insulators, the ovoid body with repoussé decoration of strapwork scrolls, flowers and vine leaves, the cartouche engraved. Height 35cm $2,000-4,000

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,200-1,800

206 A VICTORIAN STERLING SILVER ARMADA JUG London, 1890 by Sibray, Hall & Co (Frederick Sibray and Job Frank Hall). Classical baluster shape with traditional ornate chased and applied designs of floral and foliate patterns. Height 31.5 cm $2,500-3,500

201 A GEORGIAN STYLE STERLING SILVER SALVER Maker Walker and Hall, Sheffield. Traditional pie crust border, the centre with hand beaten finish and a central cartouche on three scroll feet. Hallmarked Sheffield 1922. Diameter 20.8cm $400-600

204 A WILLIAM IV OLD SHEFFIELD PLATE TWIN HANDLED TRAY Oval with a shell and scroll cast pie crust border and engraved with the arms of David Leytonstone, Essex impaling the arms of Cope of Hanwell (Castle), Oxfordshire and 'DECIDE'. Width across handles 88cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-1,500

206A A PAIR OF GEORGE III CAST SILVER CANDLESTICKS Apparently unmarked, in the manner of Ebenezer Coker, each on a rocaille and flower cast circular foot with an engraved crest, rising to an inverted baluster shaft and acanthus nozzle and removable drip pan with flower cast border, with an associated pair of twin light candelabra arms, makers' mark of Louisa Coultauld and George Cowles, London 1772, of neoclassic design with fluted nozzles and flame finial. (4) Height 37.5cm $6,000-$8,000 207 A VICTORIAN SILVER PLATED TWIN HANDLED TRAY Oval with rocaille cast handles and pie crust border and engraved field. Width across handles 74cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 208 AN EDWARD VII OAK AND SILVER PLATE TRAY Rectangular with chamfered corners, on bun feet, having gallery with ball supports and twin handles, vacant cartouche to the centre, maker’s mark of Daniel & Arter, Birmingham. Width across handles 75cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700 209 TWO MEXICAN SILVER BEAKERS Each with a spirally reeded body engraved with flowers and scrolls, on a circular moulded foot, one parcel gilt. Height 11.5cm; Diameter 6cm PROVENANCE: From the Collection of Sir George and Lady Proud $300-500 210 A PAIR OF SMALL STERLING SILVER CANDLESTICKS Maker Winfield Rowbotham & Co, Suffolk Road, Sheffield. Corinthian column design of stepped square base. Hallmarked Birmingham 1900. Height 11.5cm

211 AN EDWARD VII STERLING SILVER CORINTHIAN COLUMN TABLE LAMP Marks rubbed, probably Sheffield 1903, the square stepped base with egg and dart moulding and incurved panels urns and foliate detail, supporting a stop fluted column. Height 47.5cm $2,000-4,000 212 A GEORGE V STERLING SILVER CORINTHIAN COLUMN TABLE LAMP Maker’s mark of Frank Cobb & Co, Sheffield 1928, the square stepped base with beaded moulding, rising to a square plinth with column corners, supporting a stop fluted column. Height 50.5cm $2,000-4,000 213 AN EDWARD VII STERLING SILVER BOX Birmingham 1909, of plain rectangular form, the cover engraved with a crest and motto ‘VIGILANS ET FIDELIS’ and further engraved ‘BOMBAY GYMKHANA BILLIARD HANDICAP 1912’. Height 7cm; Width 23cm; Depth 14.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 211 214 A COLLECTION OF SILVER CUTLERY Comprising four Old English Shell tea spoons, Sheffield 1922; a circular ice spoon and tea strainer with renaissance style handles, London 1895; a Scottish shell bowl serving spoon with figural handle, Edinburgh 1905; four cake forks, Sheffield 1934; a pair of silverplate King’s Pattern sugar tongs and a hen shaped egg cutter. (13) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 215 A SET OF SILVER PLATED FISH KNIVES AND FORKS In the Renaissance style, with engraved blades and tines. Late 19th century. (24) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400 212

220 216 A 19TH CENTURY CHINESE BLUE AND WHITE FOOD CONTAINER The base with three layers and a dome top lid, with traditional transfer decoration of birds and panels. Height 28cm; Diameter 19cm

219 A LARGE CHINESE CELADON FIGURE OF GUANYIN The standing goddess of mercy in flowing robes holding a pearl, wooden base. Height 78cm

PROVENANCE: Lynette Cunnington Asian Art, Queen Street Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200

217 A FINE PAIR OF CHINESE IMARI TYPE PLATES In dry ironed enamel with gilt highlights on an underglaze blue and white porcelain. Late Kangxi Period, (1662-1722). Diameter 23cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $1,000-1,500 218 A CHINESE PORCELAIN PILLOW, KANGXI PERIOD Rectangular with pierced openings painted in underglaze blue with lotus and other flowers. Early 18th century. Height 15cm; Width 12cm; Depth 7cm PROVENANCE: Grafton Galleries, Ruschcutters Bay From the Collection of Sir George and Lady Proud, acquired from the above in 1984 $600-800 54

220 EIGHT PLATES AND TWO SERVING DISHES PROBABLY COALPORT Retailed by Daniell London. Each with apple green and gilt shaped borders, crested in the centre. The crest is of the Gage family originally from Cornwall, it depicts a ram above the red hand of Ulster and the motto ‘Bon Temps Viendra’ (Good Times Will Come). Circa 1830. PROVENANCE: Grafton Galleries, Ruschcutters Bay From the contents of Swanton (built 1827), Sutton Forrest, NSW OTHER NOTES: A. B & R, P Daniell, Manufacturers to her Majesty and the Royal Family, 129 Bond Street and 18 Wigmore Street, London. $800-1,200

221 A SET OF SIXTEEN FRENCH PORCELAIN PLATES, ALFRED HACHE & CO Shaped circular, with a rampant lion and star crest to the centre within a border of scrolls and rocaille. Late 19th century. (15) Diameter 24cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700 222 A DUDSON JASPERWARE CHEESE DOME AND STAND The cover with acorn finial, decorated with the classical muses, anthemia and bands of convulvulus on a pink ground. Unmarked, incised E to base. 19th century. Height 27cm; Diameter of base 27cm $700-900 223 A VICTORIAN MAJOLICA CHEESE DOME AND STAND, THE DESIGN ATTRIBUTED TO GEORGE JONES Having a pair of branch handles to the dome, moulded all over with flowering dog roses and ivy in pink and ochre. Unmarked. Height 24cm; Diameter of base 30cm $400-600

224 A PAIR OF ENGLISH DELFT POLYCHROME PLATES Decorated with traditional stylised geometric patterns. London circa 1760. Diameter 22.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 225 A LARGE DUTCH DELFT BLUE AND WHITE SHALLOW DISH The decoration both in the central panel and the border of stylised flowers, berries and leaves. Dutch circa 1760. Diameter 36.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500 226 AN ENGLISH DELFT BLUE AND WHITE OCTAGONAL PLATE Decorated with a central panel of an exotic bird in a landscape surrounded by a border of stylised butterflies and scrolls. Liverpool circa 1760. Diameter 23.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400 227 AN ENGLISH DELFT BLUE AND WHITE SOUP PLATE The flat flanged dish with bianco-sopra-bianco floral border surrounding a polychrome centre with a Chinese man on a bridge in a landscape. Probably made in Bristol circa 1760-1770. Diameter 22.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400 228 A CHINESE UNDERGLAZE BLUE AND WHITE PORCELAIN PLATE With iron brown rim and a central scene of nature with a willow tree, rock and flowers. Qing Dynasty, Qianlong Period (1736-1795), circa 1750. 27.5 x 3cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $300-500

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229 A GEORGE III CREAMWARE PLATE Handpainted to the centre with the Bruce Clan crest and motto FUIMUS (we have been) within a border of leaves. Diameter 24cm

230 A PAIR OF 19TH CENTURY STAFFORDSHIRE GREYHOUNDS Each modelled standing with a hare in its mouth on a naturalistic base with applied foliage and gilt band. Staffordshire, circa 1900. $200-400

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $150-250

231 AN EXTENSIVE LUNEVILLE FAIENCE ‘REVERBERE ROSE ET TULIPE’ DINNER SERVICE Comprising forty dinner plates, ten soup plates, two oval and one rectangular platters, a salad bowl, a tureen, four circular serving plates, ten small plates, four oval dishes a sugar basin and cream jug (variations in patterns). Late 19th/Early 20th century. $600-800 232 A HUTSCHENREUTHER PORCELAIN GROUP OF ITALIAN GREYHOUNDS The three dogs well modelled and leaping over the grassy base, transfer printed mark HUTSCHENREUTHER GERMAN KUNSTABTEILUNG. Width 50cm; Height 23cm $1,000-1,500

233 A VICTORIAN MOORE BROTHERS CENTREPIECE VASE In the form of a pair of putti with an osier patterned urn, on an oval base. Height 22cm; Width 27cm; Depth 12cm $200-400 234 A MEISSEN CONTINENTAL PORCELAIN FIGURE OF A COCKATOO With naturalistically modelled plumage, standing on a tree stump with flowers, pressnummers 1778 & 156. Under glazed blue crossed swords mark to base. Late 19th century. Height 36cm $3,500-4,500 Illustrated on page 55

235 A COPELAND TOPOGRAPHICAL CABINET CUP AND SAUCER The mauve ground having gilt framed reserves with named views ‘PONT DE L’ARCHE’ to the cup and ‘HONFLEUR’ and ‘ST GERMAIN EN LAYE’ to the saucer. Diameter of saucer 12.2cm PROVENANCE: From the Collection of Sir George and Lady Proud $400-600 236 A PARIS PORCELAIN VASE In the Sèvres style, the elongated ovoid body with flared rim and square base painted all over with blue bands and gilt scrolled cartouches with musical trophies and flowered filled urns, signed to the base: ‘Dessiné et peint entiérement à la main par Le Callée à Paris France’. Height 32cm PROVENANCE: From the Collection of Sir George and Lady Proud $400-600

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241 A ROYAL CROWN DERBY BALUSTER VASE BY ROBERT BARRATT Green ground with raised gilt highlights foot and rim. The central gilt framed panel painted with roses signed R. Barratt, the reverse of a small bunch of roses. Printed factory marks and impressed 1421 in script. Height 18cm PROVENANCE: From the Collection of Sir George and Lady Proud $300-500 242 A ROYAL CROWN DERBY BY ALBERT GREGORY The two handled lidded vase on lions paw feet, gilt highlights and lion mask ring handles. Cobalt blue ground with a central panel of flowers, signed A. Gregory. Printed factory marks on both vase and lid. Height 25cm PROVENANCE: From the Collection of Sir George and Lady Proud $300-500

240 237 A PAIR OF NAPOLEON III SÈVRES PATTERN VASES, ADAPTED AS TABLE LAMPS Each ovoid body with an oval reserve painted with a scene after Greuze, the dark blue ground with gold scrolls, masks and fluted socle, on a circular base; pleated shades. (2) Height including shades 58cm $500-800 238 A ROYAL CROWN DERBY IMARI OVOID URN Decorated in the Imari palette, with scrolled handles. Height 30.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $400-600 239 A PAIR OF ROYAL CROWN DERBY IMARI COVERED URNS Each of navette shape, flanked by scrolled arms, the cover with pierced finial, decorated in the Imari palette. (2) Height 14cm PROVENANCE: From the Collection of Sir George and Lady Proud $600-800

240 A RARE ROYAL CROWN DERBY VASE BY DESIRE LEROY Of ovoid form with gilt entwined acanthus leaf scroll side handles on four scroll feet, the royal blue ground with some white panels decorated with cornflowers. The central panel decorated with a bunch of wild flowers and roses, signed Leroy. Shape 1424, pattern no. 7364.,Printed factory marks. Circa 1900. Height 16cm PROVENANCE: From the Collection of Sir George and Lady Proud OTHER NOTES: Desire Leroy is regarded as the most distinguished artist to have ever worked at the Royal Crown Derby Porcelain Company. He was born in France in 1840 and at the age of 11 was apprenticed to Sevres, the French National Works. He soon rose to prominence as one of the leading artists. In 1874 he migrated to England to be employed by Minton. Minton exhibited various of his works at the 1878 Exposition Universelle, Paris. In 1890 Leroy was retained as the Art director and designer at the Royal Crown Derby porcelain works, which gained the Royal warrant in that year. $4,000-6,000

243 A ROYAL WORCESTER TWO HANDLED LIDDED VASE BY HARRY STINTON Painted with three Highland cattle in a landscape and a Highland scene to the reverse, gilt highlights, base and lid. Signed H. Stinton. Printed black factory marks, dated 1924, Rd No. 669183, model No. 2713. Height 21cm PROVENANCE: From the Collection of Sir George and Lady Proud $1,400-1,600 244 A ROYAL WORCESTER LIDDED POT POURRI VASE AND COVER BY HARRY STINTON Painted with Highland cattle in a landscape. Printed factory mark. Shape number 169/H. Date code 1956. Height 19.1cm PROVENANCE: Sotheby’s Belgravia, English Ceramics, October 1976, Lot 265 $800-1,200 245 A PAIR OF ROYAL WORCESTER TWO HANDLED VASES BY JOHN STINTON Each painted with two Highland cattle in a landscape and a Highland locke scene to the reverse. Gilt highlights, foot and neck, moulded mask handles. Signed J Stinton. Puce factory marks, dated 1919, model 1911. Height 32.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $3,000-5,000

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246 A ROYAL WORCESTER POTPOURRI VASE BY HARRY STINTON Painted with three Highland cattle in a landscape with a Highland scene to the reverse. Gilt highlights, base and pierced lid. Signed H. Stinton. Printed black factory marks, dated circa 1950, model 1286. Height 30cm PROVENANCE: From the Collection of Sir George and Lady Proud $2,000-4,000 247 A ROYAL WORCESTER VASE BY ALBERT SHUCK (1880-1961) Cylindrical form with short pierced neck, standing on four leaf-cast scroll feet, painted with fruit in a landscape. Signed A. Shuck. Printed factory marks, dated 1899, model C42. Height 14.5cm PROVENANCE: From the Collection of Sir George and Lady Proud OTHER NOTES: Albert Shuck was regarded as one of the best fruit painters of the Worcester factory. $800-1,200 248 A ROYAL WORCESTER VASE BY ALBERT SHUCK (1880-1961) Oval shape on a circular foot painted with fruit in a landscape. Signed A. Shuck. Printed factory mark, dated 1898, model H302. Height 13.5cm

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249 A ROYAL WORCESTER POTPOURRI BY FRANK ROBERTS Painted with fruit in a landscape, gilt mounts, pierced rim and lid. Signed F. Roberts. Printed factory marks, shape H278. Height 13cm $300-500 250 A ROYAL WORCESTER POTPOURRI VASE BY L. K. TILL Fully painted with fruit in a landscape, pierced lid, on squat round foot. Signed L. K. Till. Printed factory marks, shape H291. Height 12.3cm $200-400 251 A ROYAL WORCESTER PLATE BY HARRY AYRTON Fully painted with peaches, grapes and cherries in a woodland background. Signed H. Ayrton, gilt shaped border. Black printed factory mark, impressed 3DW6, circa 1950. Diameter 27.5cm $300-500 252 A ROYAL WORCESTER COFFEE CUP AND SAUCER BY FRANK ROBERTS Fully painted with fruit in a landscape, shaped raised gilt border and handle. Printed black factory marks, impressed W12. $300-500

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253 A ROYAL WORCESTER PLATE BY HARRY DAVIS Painted with three Highland sheep in a misty mountainous landscape with heather in the foreground, in a blue rim, gilt border. 20th Century. Diameter 23cm PROVENANCE: Sotheby’s Belgravia, English Ceramics, March 1980, Lot 205 $800-1,200 254 A ROYAL WORCESTER SQUARE SHAPED DESSERT DISH BY ERNEST PHILLIPS Painted with a central reserve of colourful wild flowers, the crimped and scalloped edge richly decorated in dark blue with swags and bows. Printed factory mark, pattern code W6528. Date code 1903. 23 x 23cm $300-500 255 A ROYAL WORCESTER CABINET PLATE BY RAYMOND RUSHTON Painted with a scene of Windsor Castle within a shaped scalloped gilt rim. Printed factory mark. ‘Windsor Castle’ in script to reverse. Date code 1937. Diameter 26.5cm PROVENANCE: Dunbar Sloane Ltd., 32 Waring Street, Wellington, New Zealand, 1976. $200-400

PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200 59

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256 A ROYAL WORCESTER CUP AND SAUCER AND PLATE BY ALBERT SHUCK (CUP), HORRICE PRICE (SAUCER) AND EDWARD TOWNSEND (PLATE) Painted with fruits and berries in a woodland bank, gilt undersides. Printed factory marks. $400-600

259 A ROYAL WORCESTER JUG BY ALBERT SHUCK (1880-1961) Fully painted with fruit in a landscape, gilt handle, foot and interior. Signed A Shuck. Printed puce factory marks, dated 1923. Height 10.5cm $300-500

257 SIX ROYAL WORCESTER DEMITASSE COFFEE CUPS AND SAUCERS BY W. H. AUSTIN, WILLIAM HALE AND ALBERT SHUCK Fully painted with fruit in a landscape, gilded handles and interiors. All but one saucer signed by the artists, two by Austin, two cups and one saucer by Hale, one unsigned. Printed puce factory marks.

260 A ROYAL WORCESTER TWO HANDLED LIDDED VASE BY JACK SOUTHALL Fully painted with a pair of peacocks on a branch in a wooded landscape. Gilt handles, base, neck and lid. Signed J. Southall. Puce factory marks, rg no. 442799, model no. 2336. Height 35.5cm

PROVENANCE: From the Collection of Sir George and Lady Proud $400-600

PROVENANCE: From the Collection of Sir George and Lady Proud $1,500-2,500

258 A CHAMBERLAIN’S WORCESTER PART TEA SERVICE, CIRCA 1800 Comprising six tea bowls and saucers and a lidded sugar basin, all of spirally fluted design, painted with a spray of roses en grisaille and gilt. (13)

261 A ROYAL WORCESTER CROWN TOPPED LIDDED POT-POURRI VASE WITH INTERIOR COVER BY REGINALD AUSTIN Painted with pink and red roses. Printed factory marks. Shape number 1286. Circa 1910. Height 25.3cm

PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

PROVENANCE: Mrs M. K. Nielsen Antiques, Seaford House, High Street, Moreton-in-Marsh, Gloucestershire, 1978. $1,200-1,800

262 A ROYAL WORCESTER VASE BY JAMES STINTON Painted with a pheasant in a hedgerow. Printed factory marks. Shape number 1047/G. Date code 1906. Height 21.6cm PROVENANCE: Sotheby’s Belgravia, English Ceramics, May 1978, Lot 262 $900-1,200 264 A PAIR OF ROYAL WORCESTER EQUESTRIAN GROUPS OF WELLINGTON AND NAPOLEON From the series of Military Commanders, modelled by Bernard Windshall, circa 1969. The later modelled after the painting by Jacques-Louis David, on santos rosewood and gilt-metal rectangular plinth bases. Wellington 409 of 750; Napolean 745 of 750 with certificate. Height of Wellington 42.8cm; Height of Napoleon 38.7cm PROVENANCE: From the Collection of Sir George and Lady Proud LITERATURE: For a similar pair: Christie’s London, Mrs Thatcher - Property from the Collection of the Right Honourable The Baroness Thatcher of Kesteven, LG, OM, FRS, 15 December 2015, lot 156 $4,000-6,000

265 A ROYAL WORCESTER EQUESTRIAN MODEL OF THE DUKE OF EDINBURGH PLAYING POLO After a model by Doris Lindner, on a wooden base. Printed factory marks, facsimile signature. Model 3163. Number 595 out of a limited edition of 750, with certificate. Dated 1968. Height 40cm $400-600 266 A ROYAL WORCESTER EQUESTRIAN MODEL OF ‘HYPERION’ THE RACE HORSE After a model by Doris Lindner, on a wooden base. Printed factory marks and facsimile signature. Number 492 of a limited edition of 500, with certificate. Model 3758, issued in 1963. Height 25.4cm $400-600 267 A ROYAL WORCESTER FIGURE OF “ISIS” BY GEORGE EVANS The nature goddess sitting on rocks holding a green cloth to cover her nakedness. Printed factory marks. Impressed ‘G. Evans Sc’. Rd number 320255. Date code 1898. Height 27cm PROVENANCE: Sotheby’s Belgravia, English Ceramics, January 1979, Lot 275 $800-1,200

268 A ROYAL WORCESTER PORCELAIN CANDLE SNUFFER In the form of a Victorian woman in a poke bonnet. Height 9cm $200-400 269 A LATE VICTORIAN CHAMBERLAINS WORCESTER SCENT FLASK WITH SILVER MOUNTS Finely painted with central panels of classical ruins and a landscape. Overall decoration in navy with gilt highlights, silver hinged top hallmarked London, 1894. Length 11.5cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600 270 A MEISSEN PORCELAIN PERFUME BOTTLE AND STOPPER In the form of a spaniel standing on its hind legs. German 19th century. Height 7.5cm PROVENANCE: Sotheby’s, Decorative Arts, Melbourne, 2001 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $800-1,200

271 A MEISSEN SILVER GILT MOUNTED PORCELAIN SCENT BOTTLE Outside decorated perfume bottle and stopper modelled in the form of arm. The hand holding a bunch of grapes, with an orange sleeve with flowers in gilt and white cuff. German 19th century. Height 8.5cm PROVENANCE: Sotheby’s, Decorative Arts, Melbourne, 2001 The Collection of Dr Trevor Hyde, Sydney, acquired from the above $800-1,200 272 A FRENCH 19TH CENTURY PORCELAIN AND SILVER GILT SCENT BOTTLE The shaped porcelain body with a central cartouche of sprays of flowers with surrounding gilt decoration of scrolls and foliage. Heavily embossed hinged silver gilt lid. Circa 1850. Length 8.2cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $400-600

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275 A PAIR OF ROYAL WORCESTER FIGURES Both modelled in regency English costume, gilded overall except for face, hands and feet. Black printed factory marks, model 1016. Circa 1950. Height 20.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200 276 A KERR AND BINS WORCESTER PARIAN FIGURE The draped maiden holding a gilded dove. Stamped factory mark to base K & B Co, Worcester. Height 24.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $400-600 277 A ROYAL WORCESTER RETICULATED VASE AND COVER BY GEORGE OWENS Of slightly compressed globular form supported on three openwork scroll feet on a circular base, finely pierced with bands of honeycomb and geometric pattern, the conforming cover with hollow finial. Impressed Worcester factory mark, pattern no. 110. Circa 1910. Height 19cm PROVENANCE: From the Collection of Sir George and Lady Proud $2,000-4,000

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273 A VICTORIAN SPECKLED GLASS SCENT BOTTLE WITH SILVER TOP The ovoid shaped glass body with crackled finish. The hinged silver top with engraved decoration, glass stopper. Circa 1880. Length 9.2cm PROVENANCE: The Collection of Dr Trevor Hyde, Sydney $200-400

274 A PAIR OF ROYAL WORCESTER WHITE CHINOISERIE FIGURES MODELLED BY A. AZORI Titled ‘Le Panier’ and ‘L’Oisedu’, both seated on plinths above square bases. Printed factory marks, shape 3585 and 3587. Height 30.5cm and 29.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200

278 A ROYAL WORCESTER RETICULATED VASE AND COVER BY GEORGE OWENS Of slightly compressed globular form supported on three openwork scroll feet on a triform base, finely pierced with bands of honeycomb and geometric pattern, the rims applied with beaded bands, the conforming cover with hollow finial. Gilt printed factory mark and shape no. 1429, incised signature G. Owen. Circa 1904. Height 18.4cm PROVENANCE: From the Collection of Sir George and Lady Proud $7,000-9,000

DAME LUCIE RIE DBE (Austria/Britain 1902-1995)

"I work in a completely unorthodox manner, no longer using any form of scientific method, I glaze my pots raw, often using a number of glazes on top of each other and sometimes between one glaze and the next layer of slip." Lucie Rie is regarded as one of the leading international ceramicists of the twentieth century. The rich variety of her sculptured forms and her introduction of previously unseen glazes altered the course of Britain’s rustic ceramic tradition. Rie, whose father Benjamin Gomperz worked as a consultant to Sigmund Freud, studied pottery under Michael Powolny, the founder of the Wiener Keramik workshop (later part of the Wiener Werkstätte) in Vienna. She was also mentored by Josef Hoffmann at the Arts and Design School; whose progressive design approach remained a constant influence throughout her career. When Hoffman designed the Austrian Pavilion for the 1937 World Exhibition Paris, he built a glass corridor to exhibit 70 of Rie’s pots, for which she won a silver medal. Rie used the opportunity to travel to Paris and then London, where she immigrated the following year after Austria was annexed by the Nazis. The War years provided little opportunity for Rie to work with pottery and her neo-classical aesthetic, which was informed by modernist ideals, was out of step with rustic British traditions. Thus, she began her London career by making buttons, developing a profile within the fashion industry that led to a collaboration with Issey Miyake in 1989. The 1950s and 60s represented a creative flowering for Rie, which was met with critical and commercial success. A bold variation in form appeared in her practice, including her iconic tall-necked vase with a rounded body and flaring of the flattened rim, seen masterfully evolved in Bottle Vase with Bronzed Flaring Rim. The complex form with a distinguished silhouette was made from two pieces. Rie threw the pieces separately with her mind on the finished work, combining the parts accordingly (strengthening the join with a smoothed sausage of clay). The footed bowl, Rie’s most celebrated form as in the example Footed Pink Bowl with Bronzed Rim, was also developed during this period. The rich variety of Rie’s creativity was further expressed through her application of previously unseen glazes – vivid yellows, pinks, greens and blues. The 60s and 70s were a particularly exciting period of colour experimentation and development. She painted the glazes directly onto the wet clay before completing the work with a single firing, with the permutations enhancing the possibilities for surface and colour. The delicate form and exquisite glazed finish of Footed Pink Bowl with Bronzed Rim distinguish it as a masterpiece. The sgraffito (inlay design of radiating lines, incised using a sharp needle) is testament to Rie’s painstaking attention to detail. Likewise, with the oxidised green line work in Bottle Vase with Bronzed Flaring Rim. Excellence is also evident in her use of multiple colourants. The combination of watermelon pink with turquoise and golden manganese banding, separated by a fine ribbon of unglazed white porcelain, in Footed Pink Bowl with Bronzed Rim is exceptional. Jane Messenger

279 LUCIE RIE (Austria/Britain 1902 - 1995) Footed Pink Bowl with Bronzed Rim, c. 1980 with a watermelon glaze, turquoise and golden manganese banding, sgraffito design, and a bronzed rim and inner well porcelain signed, impressed with artistâ&#x20AC;&#x2122;s seal on the underside Diameter 21 cm PROVENANCE: New Craftsman Gallery, St Ives, England $150,000-200,000

280 LUCIE RIE (Austria/Britain 1902 - 1995) Bottle Vase with Bronzed Flaring Rim with a white glaze to foot, linear detailing and a controlled running bronzed rim, neck and midsection stoneware signed, impressed with the artistâ&#x20AC;&#x2122;s seal on the underside Height 24.5 cm PROVENANCE: New Craftsman Gallery, St Ives, England $60,000-80,000

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281 A LARGE IRISH GEORGIAN CUT GLASS DECANTER Mallet shaped with cut mushroom shaped stopper, triple ring neck the body with bands of fluted and hobnail cut decoration. Height 27.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 282 A GEORGIAN CUT GLASS MALLET SHAPED DECANTER With bull’s eye stopper above four ring neck and partially facetted and fluted body. Height 27cm

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285 A LARGE GEORGIAN CUT GLASS MALLET SHAPED DECANTER With bull’s eye stopper above four ring neck and partially facetted and fluted body. Height 30cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 286 TWO GEORGIAN CUT GLASS DECANTERS Each with facetted and fluted cut decoration, one with a tear drop stopper, the other with gourd shaped stopper. (2) Height of tallest 33cm $400-600

283 A GEORGIAN GLASS MALLET SHAPED DECANTER With bull’s eye stopper, triple ring neck and partially fluted sides. Height 27cm

287 A COLLECTION OF THREE GEORGIAN AND ONE LATER GLASS DECANTERS Comprising an Irish cut glass decanter with mushroom stopper, triple ring neck and diamond cut and fluted body; a mallet shaped decanter with triple ring neck, facetted and fluted body and mushroom stopper; another similar with four ring neck and facetted body and a later rectangular cut glass example. (4) Height of largest 26cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-500

284 A GEORGIAN GLASS MALLET SHAPED DECANTER With hexagonal mushroom stopper, triple ring neck and panelled sides. Height 26cm

288 A GROUP OF THREE VICTORIAN CARAFES Each mallet shaped with fluted necks, one with star and oval cutting. Height 22cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

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289 THREE VICTORIAN CUT GLASS CARAFES With oval faceted decoration. Height of tallest 17.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 290 A GROUP OF THREE VICTORIAN CARAFES The large carafe of mallet form with faceted neck, one smaller carafe with wheel etched stars and foliage, the other plain. Height of largest 21cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 291 A COLLECTION OF ANTIQUE AND LATER GLASSWARE Comprising a pair of Georgian toasting glasses with facetted stems; a small conical wine glass; three liqueur including a cut and footed glass; and two tumblers. (8) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 292 A SET OF SEVEN ANTIQUE LIQUEUR GASSES Each with a facetted tulip bowl, facetted stem and star cut circular base. Height 10.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

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293 A SET OF SEVEN CHAMPAGNE FLUTES Each with half fluted bowl on baluster stem and circular foot. Height 16.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

296 A SET OF SIX CUT GLASS TUMBLERS With facetted and incised decoration. Height 10.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

294 FOUR CHAMPAGNE FLUTES Two similar antique examples with half facetted conical bowls and two plain glasses.

297 THREE ANTIQUE GLASS RUMMERS Two Georgian glasses with heavy stems on a circular foot, and a later example. Height of largest 15cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

295 A GROUP OF FIVE TUMBLERS Three facetted examples, one plain and one with moulded flutes. Height of tallest 12cm

298 TWO GEORGIAN GLASS LARGE RUMMERS Each with plain ovoid bowl on stem and circular foot. Height of largest 17cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

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299 A COLLECTION OF ANTIQUE GLASSWARE Comprising two Irish cut glass rummers, one with conical bowl the other barrel shaped, two similar footed conical tumblers, and two cylindrical ale glasses. (6) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 300 A GROUP OF EIGHT EDWARDIAN WATER GLASSES Seven etched and lattice cut, and a wheel cut example with stylised flowers. PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 301 A SET OF SIX CUT CRYSTAL HIGHBALL GLASSES With star cut base and hobnail cut sides. (6) Height 14cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800

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302 A MATCHED SET OF EIGHT ANTIQUE WINE GLASSES Each with conical half facetted bowl, on knopped stem and circular foot. Height 14.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 303 SEVEN CUT CRYSTAL WINE GLASSES Each with spherical bowl, three with hobnail cut decoration and four with facetted and circle cut decoration (one smaller). (7) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700 303A A GROUP OF ANTIQUE WINE GLASSES Comprising a set of four deceptive glasses with facetted bowls; two larger glasses of similar design, and two facetted wine glasses. (8) Provenance: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-$600

304 AN ART DECO CUT GLASS AND SILVER PLATE MOUNTED COCKTAIL SHAKER AND JUG Both with pierced strainers. (2) Height of shaker 23cm

307 A LALIQUE ‘DAPHNE’ POWDER BOX Circular with gilt metal mounts, the lid with a frosted female nude, engraved ‘Lalique France’ to base. Diameter 7.5cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

PROVENANCE: From the Collection of Sir George and Lady Proud $300-500

305 AN ART DECO CHRISTOFLE ‘GALLIA’ SILVER PLATED COCKTAIL SHAKER Of plain tapering form with reeded base. Height 26cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $100-200 306 A LALIQUE ‘IGOR’ CAVIAR SERVER The covered caviar dish with sturgeon finial, in silver plated support in a hemispherical ice bowl on a triple addorsed sturgeon support, engraved ‘Lalique France’. Height 25cm $400-600

308 A SET OF FIVE LALIQUE ‘ANGEL’ WINE GLASSES Each with a tulip shaped bowl etched with a pair of wings, the stem moulded with the frosted angel’s head, engraved ‘Lalique France’. (5) Height 20.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $500-700 309 A SET OF FOUR LALIQUE ‘SAINT HUBERT’ WATER GLASSES The plain bowl on a partially frosted foot moulded with stylised oak leaves, engraved ‘Lalique France’. (4) Height 13cm PROVENANCE: From the Collection of Sir George and Lady Proud $400-600

302

312

310 A SET OF BACCARAT GILT CRYSTAL HOCK GLASSES Each with a different overlay coloured bowl with a band of engraved gilt enamel decoration. (6) Height 18cm PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200 311 A SET OF BACCARAT CRYSTAL HOCK GLASSES Each with a different overlay coloured bowl with cut decoration. (6) Height 20cm PROVENANCE: From the Collection of Sir George and Lady Proud $800-1,200 312 A PART SUITE OF GILT ENAMELLED BACCARAT CRYSTAL STEMWARE Each with a triple band of gilt oak leaves and acorns with Greek key, on facetted stem plain foot, comprising: eight champagne coupes, eight sherry, eight tumblers, eight large water glasses and eight smaller water glasses. Acid etched Baccarat mark to base. (40) PROVENANCE: From the Collection of Sir George and Lady Proud $2,000-4,000

313 A PART SUITE OF GILT ENAMELLED CRYSTAL STEMWARE Baccarat style, each with a band of gilt scrolls, on a hexagonal foot, comprising: four champagne coupes, six water, six white wine, eleven sherry glasses. (27) $1,000-2,000 314 AN ‘HOUR LAVIGNE’ & BACCARAT CLEAR GLASS ROTARY CLOCK The reeded clear glass ovoid body with gilt metal mounts, the hour band with roman hours and Arabic minutes, engraved ‘Hour Lavigne’. Acid etched Baccarat mark to base. Height 19cm $400-600 315 EMILE GALLÉ (1846-1904) A small cameo glass elongated ovoid vase, carved with a spray of flowers and foliage in shades of pink and mauve, cameo signature. Height 14cm PROVENANCE: From the Collection of Sir George and Lady Proud $300-500 316 EMILE GALLÉ (1846-1904) A cameo glass elongated ovoid vase, carved with a continuous river landscape in shades of purple, cameo signature, reduced in height. Height 29cm PROVENANCE: From the Collection of Sir George and Lady Proud $400-600

317 A “CANE” FREE BLOWN ART GLASS VASE BY OLA & MARIE HOGLUND In colours of blue and green. Signed and dated ‘O & M Hoglund America’s Cup 2003’ in script on base. Height 40cm $700-900 318 FOUR INTERNALLY DECORATED GLASS PAPERWEIGHTS Two with stylised snake motifs. (4) Height of largest 8.5cm PROVENANCE: From the Collection of Sir George and Lady Proud $300-500 319 FOUR PIECES OF ANTIQUE GREEN GLASS A pair of 18th century wine glasses with conical bowls and knopped stems, and a pair of 19th century tumblers with engraved and gilt initial ‘A’. Height of tallest 11.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400

320 ROBERT PENGILLEY (British/Australian, b. 1944) signed lower left R. Pengilley Calabash Creek 1987 oil on canvas signed lower left: R Pengilley signed and dated verso, top edge: Robert Pengilley 1987 titled verso, top edge 136 x 135cm PROVENANCE: Private collection, Sydney $2,000-4,000 321 ANN THOMSON (born 1933) Tensor 1993 oil on board signed and dated verso upper left: Ann Thomson ‘93 titled verso upper right 109.5 x 91.5 cm PROVENANCE: Australian Galleries, Sydney Private collection, Sydney $4,000-6,000 322 JEFF DORING (b. 1942) Flood Drawing 1 1981 watercolour, pencil, acrylic on paper signed and dated verso, top left corner: JD/ JEFF DORING 1981 titled verso 227.5 x 102cm $1,000-2,000

320

323 JEFF DORING (b. 1942) Flood Drawing 3 1981 watercolour, pencil, acrylic on paper signed bottom left corner: JEFF DORING signed and dated verso, bottom right corner: JD/ JEFF DORING 1981 titled verso 227.5 x 102cm $1,000-2,000

321 © Ann Thomson/Copyright Agency, 2020

ALAN DOUGLAS BAKER (1914-1987)

Many a mother in Australia, When the busy day is done, Sends a prayer to the Almighty For the keeping of her son, Asking that an Angel guide him And bring him safely back Now we see those prayers are answered Slow and careful in bad places, On the awful mountain track, And the look upon their faces, Makes us think that Christ was black. … Many a lad will see his Mother, And the Husband, Weans and Wives, Just because the Fuzzy Wuzzy Carried them to save their lives. The Fuzzy Wuzzy Angels, Sapper H “Bert” Beros, 1942 NX 6925, 7th Div., RAE, AIF

And so, a special generation of Papua New Guineans who, during World War II transported much needed supplies up to the front and carried wounded soldiers down the Kokoda track during the Kokoda Campaign, were named the Fuzzy Wuzzy Angels. Alan D Baker’s portraits honour two of these Angels, Kila Itama and Api Hure. He creates a sense of stoicism and strength by tightly cropping each image, pushing his subjects to the front of the picture plane. The broad bush work and minimal layering of paint indicate that Baker executed the portraits rapidly, capturing each likeness in a single sitting. There is also a sense of intimacy, reflecting a personal connection with his sitters. Kila Itama is represented in three-quarter profile with his gaze averted, distant. His distracted expression hints at the pained memories of war. By late 1942, Hula Airfield was built as an emergency landing ground for USAFF and RAAFF. Kila, from Hula on Hood Point (in Central Province on the southern coast of Papua), likely assisted with the sick and wounded, and the carrying of ammunition and rations. Contradictions surround the history of the conditions to which the so-called Fuzzy Wuzzy Angels were subjected, with evidence of mistreatment and conscription of labour.[1] Colonial attitudes towards Indigenous people can be interpreted in Baker’s romanticised images, notably in relation to head and neck wear adoring his sitters. But the portraits are also informed by respect and gratitude. The wreath worn by Kila, for example, references ancient Greek mythology, were wreaths were awarded to the victors. Baker documents and preserves the identity of two heroes from the Kokoda Campaign, who would otherwise have remained anonymous within the context of Australian military history. Baker volunteered to serve with the Second Australian Imperial Force in Papua New Guinea from 1943-45, in the small crafts (boats) division. Although not an official War Artist, Baker painted portraits of his fellow servicemen, including Papua New Guinean nationals as seen here. Returning to Australia, he was a finalist in the Archibald Prize more than 20 times, but his practice became better known for still-life paintings. Jane Messenger

324 ALAN DOUGLAS BAKER (1914-1987) Kila Itama, Hood Point Hula 1944 oil on canvas board signed and dated top right corner: ALAN D BAKER 1944 titled top right corner 19.5 x 14.4cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000

325 ALAN DOUGLAS BAKER (1914-1987) Api Hure c. 1944 oil on copper signed bottom centre: ALAN D BAKER titled bottom left corner 28 x 21.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000

326 326 ELIOTH GRUNER (1882-1939) Homestead on the Penrith Planes 1916 oil on canvas on panel signed and dated lower right: E Gruner 1916 22 x 30 cm PROVENANCE: Artarmon Galleries, Artamon, New South Wales (label verso) Lister Gallery, Perth Company Collection, Perth Sotheby’s, Melbourne, 20 April 2010, lot 7 Susanna Lloyd-Jones, Sydney $35,000-45,000

Homestead on the Penrith Plains captures the clarity of morning light on the landscape, attentive to the colours that consequently appear. Elioth Gruner is regarded as one of Australia’s most prominent landscape painters, best known for his ability to capture the ephemeral effects of light as seen here. Gruner, age twelve, began attending art classes at Julian Ashton’s Sydney Art School, where he later worked as gallery manager while devoting himself to become a fulltime artist. The mid 1910s represent a critical period for Gruner. He begins to look increasingly to Impressionism developed by E Phillips Fox, following a period under the influence of the tonal theorist Max Meldrum, and consolidates his direction as a plein-air landscape painter. In 1915 Gruner began to travel to the farmlands of Emu Plains, where he created some of his most celebrated paintings, including The Morning Light 1916 and Spring Frost 1919 (both collection Art Gallery of New South Wales), which were awarded the Wynne Prize the same years. Homestead on the Penrith Plains belongs to this distinguished body of work. Gruner applies impressionist theories in Homestead on the Penrith Plaines, applying broken brushwork with minimal blending of the paint on the canvas, to create a radiant sense of light emanating from within. However, he introduces a modernist interest in form and compositional structure. Colour continues to inform how representation is created, but form is no longer dissolved by light. Jane Messenger

327 327 GRACE COSSINGTON SMITH (1892-1984) Still life with bottle 1953 oil on canvas on board signed and dated lower left: G Cossington Smith 53 signed and titled label verso 70 x 22 cm PROVENANCE: Macquarie Galleries, Sydney (label verso) Private collection, Sydney Sotheby’s, Melbourne, 5 May 2009, lot 217 (label verso) Susanna Lloyd-Jones, Sydney $25,000-35,000

The 1950s mark the beginning of a new creative phase for Grace Cossington Smith who, since the mid 1910s, had changed the direction of Australian art history by orientating it towards international modernism. Where she had captured the powerful energy of the Sydney Harbour Bridge during construction and the momentum of roadways cut through the landscape in the 1920s, she now looked inward to her home for subjects. She captures images of still-lives and interior settings with drapes or open windows. In so doing, she reveals her debt to the French artist Henri Matisse, creating paintings that defy being labelled as ‘domestic’, despite their subject and size. Her images, as typified by Still Life with Bottle, are governed by colour and ambiguous spatial relationships, with energy contained within her mosaic-like brushwork. Still Life with Bottle is controlled, structured, in composition and execution. The placement of the glass bottle, ceramic jug with a single flower and white bowl are balanced against the red and white drapes. The power of the images lies in the clarity and purity of colour. Jane Messenger

328

328 RAY CROOKE (1922-2015) Walkabout, Cape York 1960 oil on composition board signed lower left: R Crooke titled verso upper right 60.5 x 76.5cm

329 MARGARET MAITLAND HOWARD (British, 18981983) Portrait of a Woman oil on canvas signed lower right: MAITLAND/ HOWARD 63 x 48.5cm

PROVENANCE: The Johnstone Gallery, Brisbane. Mr Brian Johnstone and Mrs Marjorie Johnstone, Brisbane. Christie’s Australia, Brisbane, 5 June 1994, lot 59, illustrated. Private Collection, Adelaide. Sotheby’s Australia, Melbourne, 14 August 2012, lot 52 Private collection, Perth, acquired from the above Sotheby’s Australia, 20 November 2018, lot 70 Susanna Lloyd-Jones, Sydney, acquired from the above $25,000-35,000

PROVENANCE: J.B Hawkins Antiques, Sydney From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000 Illustrated on page 76

331 BILL HENSON (b. 1955) Untitled 2005-06 c-type colour photograph, ed.1/5 signed, dated, and titled lower right: ‘Untitled 2006’ Bill Henson inscribed lower left: CLSH 560 ‘FB’ N7 105 x 155cm (image) PROVENANCE: Roslyn Oxley Gallery, Sydney, cat no. 41 (label verso) Graham Geddes, Melbourne Private collection, Melbourne A compelling landscape image of a rocky island rising from a dark ink-blue sea and silhouetted against a morning sky, demonstrating a masterful consideration of light and texture. $8,000-10,000

332 JASON BENJAMIN (born 1971) Night Paddock Wimmera oil on canvas 227 x 366cm PROVENANCE: Private collection, Melbourne Joel Fine Art, Melbourne, 26 March 2007, lot 58 (label verso) Private collection, Sydney $40,000-60,000

Jason Benjamin resists the dominance of ideas in contemporary art – he prefers to champion art as experience. Benjamin’s exquisitely rendered oil paintings, with their careful distillation of light and space, invite contemplation and emotional engagement. Despite now being based in Sydney, this country’s largest city, Benjamin engages with the visual language and tradition of landscape and still life painting. While his memory and experience of particular locations may ignite each new body of work, Benjamin’s paintings are rarely literal or precise. Elusive and prophetic titles invite a narrative and an attachment between viewer and painting, one based on hope and renewal. Benjamin cites a fascination with Chinese landscape traditions, the influence of which can be detected in his calligraphic gum trees. He confesses his love for the elegant minimalism of Canadian born painter Agnes Martin and the estranged melodies of Estonian composer Arvo Pärt. Like them, he is committed to refining his idiom by stripping away all unnecessary elements. Certainly, a minimalist spirit has crept into Benjamin’s most recent painting – his palette is more restricted and his subjects more spartan. Submitting to simplicity has liberated Benjamin and lead to a new found serenity, for both the artist and his paintings. Jason Benjamin has exhibited extensively since 1990. He has been a finalist in multiple art prizes including the Archibald Prize, the Wynne Prize, the Doug Moran National Portrait Prize, The John Leslie Art Prize and the Fleurieu Landscape Prize. His entry in the 2005 Archibald Prize was awarded the Packing Room Prize. His work is included in collections both nationally and internationally, including the National Gallery of Australia, National Gallery of Victoria, Parliament House Art Collection, Artbank and Gold Coast City Art Gallery. from Jan Murphy Gallery https://www.janmurphygallery.com.au/artist/jason-benjamin/profile/

333 MR BRAINWASH (French/North American, b. 1966) Picasso 2011 mixed media on canvas on board signed and dated verso Mr Brainwash/ 2011 inscribed verso: NoP30416607A 91.5 x 61cm PROVENANCE: Opera Gallery, Seoul Private collection, Sydney, acquired from the above $30,000-40,000

Audacious and unapologetic, Mr Brainwash presents the viewer with a collision of street art and pop art. He liberates the space of ‘high-art’, breaking codes and conventions to create instantly accessible imagery for all. But the results are carefully orchestrated. He appropriates iconic images of two twentieth-century stars, Pablo Picasso and Kate Moss. The juxtaposition locates Picasso, arguably the most influential artist of the 20th century, within the realm of celebrity. The message is simple: Picasso and Moss are both icons because of what they do. Moss is to Mr Brainwash as Marylin Monroe was to Andy Warhol. As a self-proclaimed Pop artist, the cult of the celebrity occupies an important role within Mr Brainwash’s practice. But he is not interested in deconstructing the phenomenon as a product of the mass media, or the slippage between the real and the ideal. His passion lies with the possibility and promise of individuals who realise their dreams to life. As he stated: It’s about people, people who had a dream and let it happen. They show that you can become a legend if you want to be. These people had a dream, but they didn’t give up. They let it happen. And that is what I want to show the other people. The message is never, never, never give up, you know? Follow your dreams. Love is the answer, life is beautiful. When you see those iconic people, you realize they are all just people, just like you and me. They become iconic [because] of what they do.[2] Here, Mr Brainwash reinforces his message with the vibrant pink word LOVE across the composition, as though freshly painted by Picasso. Mr Brainwash, a pseudonym for Thierry Guetta, navigates between the works of film, celebrity culture, music, sport and contemporary art. He has created album covers for Madonna and his works of art were curated into the series Billions. After discovering the secret identity of his cousin, as the street artist Space Invader, Guetta created a film documenting his cousin’s life and work. This led him to Shepard Fairey and then Banksy, who suggested Guetta should try creating street art. Jane Messenger [1] Sarah Cascone, “On View”, ArtNet News, 26 October 2018 https://news.artnet.com/exhibitions/mr-brainwash-new-yorkexhibition-1381450 [2] Thierry Guetta quoted in Cait Munro, “Galleries”, ArtNet News, 22 May 2015 https://news.artnet.com/market/mr-brainwash-interview-301002

334 CHARLES BLACKMAN (1928-2018) The Garden of the White Cat 1971 wool, cotton ed. 6/6 signed with woven signature, lower right: Blackman monogram lower right: FTP fino [Manufactura de Tapecarias de Portalegre] 238 x 400cm PROVENANCE: The Artist, Sydney Savill Galleries, Sydney Dr Jan Altmann, Melbourne Sotheby’s, Sydney, 13 May 2014, lot 26 Savill Galleries, Sydney Private collection, Sydney

LITERATURE: Sandra McGrath, ‘A Botanist’s Delight in Tapestry’, The Australian, Sydney, 25 March 1972, pp. 15 Nadine Amadio, Charles Blackman: The Lost Domains, A.H. & A.W. Reed, Sydney, 1980, cover (illustrated, dust jacket), pp. 82, ‘White Cat’s Garden at Afternoon’, 86, ‘White Cat’s Garden (Tapestry)’, 96 (illustrated), 143, plate 6.17 (another weaving) Thomas Shapcott, The Art of Charles Blackman, Andre Deutsch, London, 1989, plate 127, pp. 42-44, 172 (illustrated), 259 (another weaving) Felicity St John Moore, Charles Blackman: Schoolgirls and Angels, National Gallery of Victoria, Melbourne, 1993, pp. 24, 105 $80,000-120,000

The late 60s saw the development of a new body of work within the oeuvre of Charles Blackman, which followed the success of his School Girl and Alice in Wonderland series. It was inspired by a move to Paddington, Sydney, and particularly the vantage point over a neighbour’s garden from his roof top studio. Blackman looked down from the studio window, his mind lost to the patterns of colour and light that he observed at different times of day in the perfectly manicured garden. So began his body of garden paintings, which he reflected to be some of his best and most loved paintings[1]. It was the regular visits by the family cat into the garden that captivated Blackman’s imagination completely and resulted in his celebrated White Cat’s Garden paintings (Afternoon, Evening and Night). The success of the paintings lay in their quiet anonymity, the luminosity and rhythm of colour, evoking a secret garden to which only the white cat was privy. As Blackman stated: I’d never really painted a garden like that successfully before… I just started and painted away at it. If I had been a different kind of painter, I would have been sitting away painting all the clouds or abstract pictures; to me it was the white cat’s garden, absolutely beautiful and inspiring, so I painted pictures of it.[2] As remarkable is Blackman’s ability to transpose the sentiment of White Cat’s Garden, Afternoon (since destroyed in a house fire) into the grand scale tapestry as seen. The tapestry is an arresting masterwork, combining modernist traditions of Henri Rousseau with medieval stain glass window designs. Blackman was dedicated to creating a series of tapestries as a body of work in their own right, inspired from existing imagery. The idea seeded in his mind during the summer of 1965 while touring northern France and Flanders. Blackman returned London in 1968 to study the magnificent Raphael Cartoons in the Victoria and Albert Museum. He dedicated 1970 to studying more tapestries in Europe and to begin the process of designing his own cartoons.[3] Blackman created the design for White Cat’s Garden, Afternoon from a studio in Paris, working from the memory and perhaps sketches of the related painting. He chose to commission the weaving from workshop in Portugal, the Tapecarias de Portugal, instructing them to use pure Australian merino wool and visiting four times to oversee production. Jane Messenger [1] Thomas Shapcott The Art of Charles Blackman , Andre Deutsche, London, 1989, p. 42 [2] Charles Blackman quoted in Thomas Shapcott The Art of Charles Blackman , Andre Deutsche, London, 1989, p. 42 [3] Nadine Adadio, Charles Blackman. The Lost Domains, Reed, Sydney, 1980, p. 82

335 Â© Succession Picasso/Copyright Agency, 2020 335 PABLO PICASSO (SPAIN/FRANCE, 1881-1973) Les Mains Liees III lithograph 49.5 x 65cm PROVENANCE: Neal Menzies Contemporary Art, Los Angeles Private Collection, Sydney, acquired from the above $8,000-12,000

336 Â© Succession Picasso/Copyright Agency, 2020 336 PABLO PICASSO (SPAIN/FRANCE, 1881-1973) Minotaure Embrassant une Femme engraving Plate size 39 x 23.5cm PROVENANCE: Neal Menzies Contemporary Art, Los Angeles Private Collection, Sydney, acquired from the above $8,000-12,000

337 GUY GILMOUR (b. 1955) Cow and Dog at Watering Trough oil on canvas board signed lower right: GILMOUR 38 x 30cm PROVENANCE: Robin Gibson Gallery, Sydney (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 338 BRYAN WESTWOOD (1930-2000) Portrait of a Terrier in a Napoleonic Uniform oil on canvas signed with initials lower left 67 x 44cm PROVENANCE: Robin Gibson Gallery, Darlinghurst $2,500-3,500

339 ANNE MARIE GRAHAM (Australian/New Zealander b. 1925) The Masseur of Surfers 1967 oil on board signed and dated lower left: Anne Gresham 1967 20 x 14cm

341 PETER O’DOHERTY (b. 1958) House oil on canvas signed and dated lower left corner: Peter O’Doherty, 2008 20.2 x 20.2 x 4cm

PROVENANCE: Christies, 20 September 2005, lot 16 (label attached verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

340 PETER BOGGS (b. 1941) Camellias, Suzie’s Vase 2000 oil on canvas board signed with artists monogram and dated lower right: PB ‘00 30 x 23cm PROVENANCE: Brian Moore Gallery, Sydney (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

342 MARTIN BROWN (b. 1971) Terraces, dusk 2003 oil on board 11 x 9cm (32 x 28.5 cm frame) PROVENANCE: Australian Galleries, Sydney (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

340

343 LEONARD BROWN (b. 1949) Untitled ink on paper 84.5 x 59.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400 344 JOHN MANDEL (North America, b. 1941) Onotological Prophylaxis acrylic on canvas signed and dated verso top left corner: John Mandel/ 1975 109.5 x 91.5 cm PROVENANCE: Max Hutchinson Gallery, Houston, Texas Private collection, Sydney $1,000-2,000

345 GUY GILMOUR (b. 1955) Three Dogs at the Water Trough acrylic on canvas signed lower right corner: Gilmour titled verso tape on stretcher tape 77 x 76.5cm PROVENANCE: Robin Gibson Gallery, Sydney (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000

347 ELIZABETH DUGUID (b. 1941) Blue Flowers oil on canvas signed lower right: Duguid 49.5 x 39cm PROVENANCE: Philip Bacon Galleries, Queensland From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

346 GORDON FITCHETT (b. 1953) Homestead pastel, colour pencil on paper signed lower right edge: Gordon Fitchett signed and titled verso 50 x 35cm

348 BYRON TOWNSEND (20th Century) Waterfront 1932 oil on canvas signed lower right corner: [illeg]. signed and dated verso: January 1932/ [illeg] titled verso upper left corner 60 x 82cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800

349 TOM ALBERTS (b. 1962) Self Portrait in Black 1992 charcoal, conte on paper signed and dated centre right: tom Alberts/ 1992 70 x 50cm PROVENANCE: Rex Irwin Art Dealer, Sydney (label verso) Sotheby’s, Sydney, 26 August 2003, lot 231 (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW EXHIBITIONS: Oddfellows: The Essence of Contemporary Western Australian Figurative Artists, Lawrence Wilson Art Gallery, University of Western Australia touring exhibition 1996-1998 $1,500-2,000 350 GARRY SHEAD (b. 1942) The Presence etching, aquatint on paper, ed. 46/50 signed in margin lower right: Garry Shead editioned and titled in margin, lower left and bottom centre 25 x 32cm PROVENANCE: Lawson-Menzies (now trading as Menzies), Sydney 15 April 2003, lot 291 (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200 349 351 PETER KINGSTON (b. 1943) A group of four handcoloured etchings ‘The Blue Line-Portsea’ edition 35/90, signed and dated ‘91 ‘St Kilda -Melbourne’ edition 59/90, signed and dated ‘89 ‘Busy Circus’ edition 26/90, signed and dated ‘89 ‘Coney Island’ edition 37/90, signed and dated ‘88 Plate size 44 x 36cm $1,600-2,200 352 PETER KINGSTON (b. 1943) A group of six handcoloured etchings of Sydney Scenes ‘Busy Bondi’ W/P 3/14, signed and dated ‘91 ‘Circular Ski’ edition 46/90, signed and dated ‘89 ‘Pooling’ edition 54/90, signed and dated ‘88 ‘Southerly Buster’ edition 75/90, signed and dated ‘89 ‘Betty at Lavender Bay’ Artist’s Proof IV/XIV, signed and dated ‘88 ‘Ena at Lavender Bay’ edition 40/90, signed and dated ‘88 350

Plate size 44 x 36cm, variations in frames $3,000-5,000

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353 GEORGE BELL (1878-1966) Farmyard watercolour, pencil on paper signed lower left: George Bell 44 x 32cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

354 CAPT. R.A.V. HAMILTON (British, fl. early 20th Century) Portrait of a Black Setter in the Landscape 1909 oil on canvas signed and dated lower right: RAV HAMILTON/ DEC 1909 44 x 54cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000

355 EUROPEAN SCHOOL (19th century) Landscape oil on canvas 33.5 x 43.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800

356 BRYANT CHAPIN (American, 1859-1927) Loch Lomond c. 1915 oil on board signed lower right: BRYANT 28.5 x 38cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000 357 ALAN UPTON (fl. 20th Century) Arial View of a Coastal Landscape 1993 oil on canvas signed and dated lower left: Alan Upton 1993 32.5 x 44.3cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 360 UNKNOWN ARTIST (19th century) Portrait of a Thoroughbred grisaille watercolour on paper 11 x 13cm PROVENANCE: Robert Morrison Antiques, Queen Street Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 361 EUROPEAN SCHOOL (late 19th century) Figures in a Landscape with Country Estate watercolour on card 23.5 x 31cm (oval)

358 UNKNOWN ARTIST (20th century) Wooded Landscape with a Stream oil on canvas on board 44 x 49.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

357

359 UNKNOWN ARTIST Landscape with Rocky Stream oil on canvas 24.5 x 29cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-300

362 ALAN UPTON (fl. 20th century) Road Though a Tropical Forest 1992 oil on canvas signed and dated lower right: Alan Upton/ 1992 30 x 44.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 363 GUY GILMOUR (b. 1955) Cows oil on canvas board signed lower right: GILMOUR 38 x 30cm PROVENANCE: Robin Gibson Gallery, Sydney From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 364 after JOHN SINGER SARGENT (19th century) Lady Agnew of Lochnaw oil on canvas board 24 x 19cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-300

360

370 UNKNOWN ARTIST (19th century) Racehorse with Jockey hand coloured engraving 35.4 x 44cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 371 UNKNOWN ARTIST (20th century) Hounds oil on canvas signed lower left corner: PS [ ]MAN 79 x 99cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-400

376

365 EUROPEAN SCHOOL (19th Century) Portrait of a Gentleman oil on canvas 76 x 62cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 366 BRITISH SCHOOL (19th century) Portrait of a Junior Barrister oil on canvas 75.5 x 62.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000 Illustrated on page 92 367 BRITISH SCHOOL (19th century) Portrait of a Gentleman 1840s oil on canvas signed and dated bottom right corner: [illeg] 184[…] 74.5 x 49cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800

368 after JACQUES-EMILE BLANCHE (France 1861-1942) MARSHALL FOCH 1925 oil on canvas signed and dated lower right corner 155.5 x 99.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-4,000 Illustrated inside back cover 369 EUROPEAN SCHOOL Portrait of a Military Officer, Half Length, Wearing Full Dress Uniform oil on canvas 78 x 62.5cm PROVENANCE: Ros Palmer Interiors, Queen Street Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-4,000 Illustrated on page 95

372 EUROPEAN SCHOOL (19th/20th century) Fish catch oil on canvas signed lower right: [illeg] 39 x 45cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 373 EUROPEAN SCHOOL (18th/19th century) River Landscape oil on canvas 26 x 34cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 374 HARMENSZ VAN RIJN REMBRANDT (Dutch, 1606-1669) Three Oriental Figures (Jacob and Laban?) 1641/1868 etching, 2nd of 2 states, published by P. G Hamerton “Etching and Etchers”, vol I, London 1868 signed and dated upper right (in reverse): Rembrandt f.1641 14.5 x 11.2cm (plate) PROVENANCE: Josef Lebovic Gallery, Sydney Private collection, Sydney LITERATURE: B. Holl. 118; H. 183 ii/iii $1,000-1,500

375 CAMILLE PISSARO (French, 1831-1903) Vachère au Bord de L’eau 1890 etching in brown ink, published by Gazette de Beaux Arts, Paris 1904 19.5 x 13.5cm PROVENANCE: Josef Lebovic Gallery, Sydney Private collection, Sydney LITERATURE: Delteil: 93 viii/viii $800-1,200 376 NICCOLO BOLDRINI (Italy, born c. 1510, active c.1530-70 after TITIAN (Italy c.1485-1576) Landscape with a Milkmaid c.1525 woodcut 37 x 52.2cm PROVENANCE: Australian Galleries, Sydney Private collection, Sydney $6,000-8,000 377 LEONARD TSUGUHARU FOUJITA (Japanese/ French, 1886-1968) Jeune Femme Blonde 1931 heliogravure, from an edition of 100 signed and dated in plate: [in Japanese characters]/ Foujita/ 1931 39 x 30.3cm PROVENANCE: From the Collection of Sir George and Lady Proud

LITERATURE: Buisson: 31.90 $1,000-2,000 378 FOUR ETCHINGS BY G. FREMAN The Friendship of David and Jonathan, etching by J Kip, 40 x 25cm; Gideons Soldiers, etching by J Kip, 40 x 25.5cm; The Taking of Jerico, etching by J Kip, 40 x 25cm; Rohoboams Couniellors, engraving, etching by M Van Derguilft, 38.5 x 25cm $400-600 379 CORNELIS MARTINUS VERMEULEN (French 1654/57-1708/09) after FRANÇOIS DE TROY (French, 1645-1730) Joy de Mezetin rare et nouveau Proteé 1694 engraving signed and dated in plate bottom left / right corner: F de Troy pinxet / C. Vermeulen Sculp 1694 Plate 55 x 39cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 90

376

380 JOHN SMITH after JONATHAN RICHARDSON (British, 1664-1721) David Boyle, Earl of Glasgow mezzotint 1711 signed, engraved in plate bottom left / right: J Richardson pinx / J Smith fec 42 x 49cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 381 JEAN-CHARLES DELAFOSSE (French, 1734-1789) Two etchings: La Savoye, and Lâ&#x20AC;&#x2122;Ecosse etching Plate 38 x 23cm $350-450

384

382 JAMES GILLRAY (British, 1757-1815) The Union Club 1801 etching, published by H. Humphrey signed and dated in plate lower left / lower centre: Js Gillray inv & fect / Publishd Jan 21st 1801 Plate 30.5 x 44cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200 383 after SIR EDWIN LANSEER R.A (British, 18021873) Two Engravings; The Maid and the Magpie, and Shoeing engraving The first 71 x 59cm; The second 76.5 x 59cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 384 HAND COLOURED ETCHING OF HERCULES FIGHTING THE NEMEAN LION In a handsome boxed gilt frame with silhouette leaf motif in corners. Plate 11.5 x 16cm; Frame 35.5 x 40 x 7.5cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

385

391 385 ELLIOTT T. FAY (English, late 19th/early 20th century) The Hunt gelatin silver print signed in margin lower right: Elliott T. Fay 23 x 29cm PROVENANCE: Grafton Galleries, Rushcutters Bay From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 Illustrated on page 91 386 after MELVIN VANIMAN (1866-1912) A panoramic view of Launceston, and a view of the Tasmanian wilderness, possibly the Franklin River, printed signature and registered 1904, in original frames. (2) 46.5 x 124 cm (including frames) $200-400 387 A PAIR OF 19TH CENTURY CONTINENTAL OVERDOOR PAINTINGS ON CANVAS In the manner of Francois Boucher, each painted en grisaille with three putti disporting with flowers and emblems of love. Late 19th century. 67 x 114cm (each) PROVENANCE: Ros Palmer Interiors, Woollahra $3,000-5,000

392 388 GARRY SHEAD (b. 1942) The Chase 1976 ink on paper signed and dated lower right: 6.7.76/ Shead 41 x 34cm PROVENANCE: Lawsons, Sydney, 01 December 1998, lot 196 (label verso) Lawson-Menzies (now trading as Menzies), Sydney, 15 April 2003, lot 191 (label verso) Moss Green, Melbourne, 31 May 2011, lot 197 (label verso) From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-2,000 389 PHILLIP PIPERIDES (born 1956) Standing Dancer bronze, ed. 5/20, on granite plinth signed in bronze base: Piperides editioned in bronze base Height 67cm (plinth height 3 cm) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $6,000-8,000 390 CRESSIDA CAMPBELL born 1960 The Woodblock Painting of Cressida Campbell, 2008 book, open edition, edited by Peter Crayford, Public Pictures, Bronte 2008 PROVENANCE: Private collection, Sydney $1,500-2,500

391 A CHINESE HUANGHUALI HORSESHOE-BACK ARMCHAIR The curved top rail with scrolled ends and shaped spandrels, the splat carved with a Chinese character, the hard mat seat set into a rectangular frame above shaped scroll carved apron and spandrels the square sectioned legs with scroll carved toes, joined by stretchers and a footrest. Height 98cm; Width 68cm; Depth 54cm PROVENANCE: Lynette Cunnington Asian Art, Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $4,000-6,000 392 A LOUIS XVI ORMOLU AND SCAGLIOLA GUÃ&#x2030;RIDON, THE DESIGN ATTRIBUTED TO DOMINIQUE DAGUERRE The green scagliola top in flowerhead and lappet cast frame, on three slender reeded and scrolled supports with pendant rings and paw feet with castors, having a conforming circular undertier. Height 74.5cm; Diameter 60cm PROVENANCE: Martyn Cook Antiques, Woollahra $15,000-20,000 393 A GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS The moulded top above a baize lined slide and four long graduated drawers, flanked by blind fretwork keeled angles and on ogee bracket feet. Height 94cm; Width 128cm; Depth 58cm $7,000-9,000 Illustrated on page 66

394 394 A GEORGE III MAHOGANY SERPENTINE DRESSING CHEST The well figured moulded top above four long drawers, the uppermost with leather lined slide revealing a fitted interior, all flanked by blind fretwork keeled angles and on ogee bracket feet. Height 90cm; Width 112cm; Depth 62cm $8,000-12,000 395 A GEORGE III MAHOGANY AND ELM OCCASIONAL TABLE The moulded tilt top on a turned pedestal and three downswept legs. Height 74.5cm; Width 58cm; Depth 48cm $300-500

396 A GEORGE III MAHOGANY PEMBROKE TABLE The rectangular twin flap top above a boxwood strung end drawer, on square tapering supports with castors. Height 72cm; Depth 71cm; Width 85cm $1,000-1,500 397 A GEORGE III MAHOGANY TORCHERE STAND The octagonal top with pierced fretwork gallery, on a stop fluted column pedestal with acanthus carved baluster knop, on acanthus carved cabriole legs with cabochon carved knees and claw and ball feet. Height 80.5cm; Diameter 32cm $1,000-1,500

398 A GEORGE III MAHOGANY PEMBROKE TABLE The rectangular twin flap top above two drawers, on turned tapering legs with castors. Height 72cm; Width 79cm; Depth 55cm $600-800

399 A NORTH EUROPEAN MAHOGANY CENTRE TABLE, PROBABLY DANISH The circular top with gadrooned edge, on a facetted pedestal with pendant drops the quatreform platform base with lion paw feet and castors. Early 19th century. Height 75cm; Diameter 120cm PROVENANCE: Christie’s New York, French and Continental Furniture and Objects of Art, 21st March 1996, lot 224 LITERATURE: A related centre table, the stem with similar gothic ornament is illustrated in S. Wallin, Nordiska Museets Möbler Fran Svenska Herremanshem, 1935, vol. III p.91, figs 1015-1016 $2,000-4,000

399

400 A FINE PAIR OF WILLIAM IV MAHOGANY LIBRARY CHAIRS Each upholstered in olive green leather. The reeded ‘S’ shaped seat supported on two reeded and tapered turned front legs and two plain back legs with brass castors. England, circa 1830. PROVENANCE: Sotheby’s November Decorative Arts, Melbourne, 23 November 2008, lot 601 From the contents of Swanton (built 1827), Sutton Forrest, NSW $10,000-15,000 401 A GEORGE III MAHOGANY PEMBROKE SUPPER TABLE The twin flap top crossbanded in rosewood, above a concealed end drawer, on a turned pedestal and four reeded, swept legs with acanthus carved knees, terminating in lion paw castors. Height 71.5cm; Width 130cm; Depth 89cm $800-1,200 402 A GEORGE III MAHOGANY TRIPOD TABLE The circular tilt top on a fluted column pedestal with acanthus carved knop on leaf carved moulded cabriole legs with scroll feet. Height 71cm; Diameter 75cm $700-900

400

403 A SET OF TEN ANTIQUE ELM WINDSOR DINING CHAIRS Of typical form each with an arched back with pierced central splat flanked by sticks, curved armrest above a solid shaped seat, on turned legs with turned stretchers, comprising two large and eight smaller chairs all with striped squab cushions. (10) $2,000-4,000 404 A GEORGIAN GENTLEMANâ&#x20AC;&#x2122;S WING CHAIR Upholstered in burgundy leather with bronze studs, shaped cushion, tapered and reeded front legs. England, circa 1820. PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000 405 A VICTORIAN MAHOGANY CELLARETTE The moulded rising top above an arcaded form with a pair of doric pilasters, having brass ring handles to either side, on ogee bracket feet. Height 70cm; Width 56cm; Depth 50cm $2,000-3,000 405

403 (3 of 10)

406

406 A FINE WILLIAM IV IRISH MAHOGANY SARCOPHAGUS SHAPED CELLARETTE BY WILLIAMS AND GIBTON The shaped hinged top, enclosing original leadlined interior, on four bun feet with original recessed castors. The interior stamped Williams and Gibton and numbered 41626. Dublin, circa 1830. Width 76cm; Depth 51cm; Height 56cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW OTHER NOTES: The Irish firm of Williams and Gibton (1830-44) are listed as cabinetmakers, auctioneers, valuators and house agents. They evolved from the well known firm of Mack, Williams and Gibton (1811-29) who were at 39 Stafford Street, Dublin and were appointed ‘Upholsters and Cabinetmakers to His Majesty, His Excellency the Lord Lieutenant and His Majesty’s Board of Works’ in 1806. They supplied some of the most important public buildings in Ireland including the Four Courts, the War Office, the Barracks Office, Dublin Castle, the Chapel Royal and the Treasure and Viceregal Lodge. Simultaneously they were commissioned to produce furniture for many of the Irish country houses, such as Ballynegall, Co Westmeath, Oakley Park, Co Meath and Stokestown Co Roscommon. $4,000-6,000

407 A PAIR OF REGENCY MAHOGANY SINGLE CHAIRS Curved top rail above three leaf carved and reeded, tapered splats, drop-in green leather covered seat. England, circa 1810. $400-600

409 A GEORGIAN STYLE MAHOGANY TWIN PEDESTAL DINING TABLE The rectangular top with reeded edge taking two extra leaves, on ring turned column supports and four swept legs with brass cap castors. Height 72cm; Width 107cm; Length 244cm

408 A PAIR OF MAHOGANY ARMCHAIRS In the Hepplewhite style, each with an undulating top rail above a pierced baluster shaped splat, the scrolled arms flanking the stuffover seat on moulded square sectioned legs with an H stretcher. Late 19th century. (2)

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-4,000

Height 92cm; Width 66cm; Depth 49cm $1,200-1,800

410

410 A SET OF FOUR SCOTTISH REGENCY MAHOGANY SIDE CHAIRS, ATTRIBUTED TO WILLIAM TROTTER Each with a broad fiddleback panelled top rail with volute ends, above a central acanthus leaf splat flanked by bobbin and rope twist uprights, moulded swept side rails with terminal scrolls, the buttoned drop in seat above a gadrooned seat rail on scrolled and moulded sabre legs. (4) Height 88cm; Width 48cm; Depth 54cm PROVENANCE: Haughey Antiques, Kirkby Stephen, Cumbria, UK OTHER NOTES: Each chair numbered with a Roman numeral, the highest number being XVIII so they were part of a much larger set, one pair stamped with the initials TR and IR. William Trotter of Edinburgh (1772-1833) was Scotlandâ&#x20AC;&#x2122;s most outstanding cabinetmaker of his period. He was largely responsible for introducing London and classical revival styles to Edinburgh. $3,000-5,000

411

411 A SET OF EIGHT SCOTTISH GEORGE IV MAHOGANY DINING CHAIRS, ATTRIBUTED TO WILLIAM TROTTER Each with a broad, flame veneered top rail with incised lines and lotus carved terminals on swept and scroll carved uprights with bellflower drops the padded seats on tapering ring turned reeded legs, comprising an elbow chair and seven single chairs. (8) PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $5,000-7,000

100

412 A GEORGE IV MAHOGANY ELBOW CHAIR The broad top panel with scroll and acanthus carved terminals above a pair of moulded scroll arms and a plain back rail, the padded leather seat on a bolection moulded seat rail and turned tapering facetted supports. Height 86cm; Width 65cm; Depth 59cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

414

413 A GEORGE IV MAHOGANY ELBOW CHAIR The flame veneered top panel with lotus carved terminals above a pair of reeded scroll arms and a plain back rail, the buttoned leather seat on turned tapering facetted supports. Height 91.5cm; Width 58cm; Depth 59cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

413A A GEORGE III OPEN ARMCHAIR In the French Hepplewhite manner, the oval padded back in fluted moulded frame, the padded scrolled arms flanking the buttoned seat, having a fluted seat rail, the fluted legs with anthemion carved headers, decorated cream and gilt. Height 96cm; Width 63cm; Depth 60cm $3,000-$5,000

414 A VICTORIAN OAK LIBRARY BOOKCASE, BY GILLOWS OF LANCASTER The moulded dentil cornice above a carved and fluted frieze, the four arched doors with bevelled glass panels, egg and dart moulded frames and fluted uprights, enclosing adjustable shelves, the base with three frieze drawers above cupboards with egg and dart moulded fielded panels centred with foliate carved roundels, on a plinth base; stamped GILLOWS to central drawer. Height 240cm; Width 198cm; Depth 51.5cm $7,000-9,000

101

416

415 A VICTORIAN MAHOGANY LIBRARY BOOKCASE The moulded cornice above a plain frieze and a pair of arched glazed doors enclosing adjustable shelves, the base with a pair of arched panelled doors, on a plinth base. Height 254cm; Width 117cm; Depth 48cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000 416 A WILLIAM IV MAHOGANY LIBRARY CHAIR With ‘S’ shaped arm supports and turned and reeded legs on brass castors. Covered with red leather upholstery. England, circa 1835. PROVENANCE: The Collection of Mr & Mrs René Rivkin, Sotheby’s Sydney, 3 June 2001, lot 219 The Collection of the Honourable Donald G. Stewart From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000

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417

417 A GEORGE III MAHOGANY WING BACK LIBRARY CHAIR Upholstered in red leather with square tapering legs, H stretcher. England, 18th century. PROVENANCE: Sotheby’s Melbourne, Decorative Arts, 29 August 2008, lot 619 From the contents of Swanton (built 1827), Sutton Forrest, NSW $3,000-5,000 418 A GOOD GEORGE I WALNUT CORNER CHAIR The back with raised shaped crest rail centred upon flat shaped arms, supported on three tapering round columns with turned capitals and bases and flanking a pair of vaseform splats rising from moulded shoes, all above a red leather upholstered square slip seat, cabrol leg. England, circa 1720. 418 PROVENANCE: Barry D Conner, Bowral NSW From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,500-3,500

419

419 A 19TH CENTURY AMERICAN MAHOGANY DROP SIDE TABLE The rectangular top with plain edge, leading to twin drop sides, all on a central tapered square pillar, quadraform base with scroll feet. Probably Boston, circa 1835. Height 73cm; Width 110.5cm; Depth (extended) 124.5cm PROVENANCE: W. F Bradshaw, Queen Street, Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-4,000 420 A 19TH CENTURY AMERICAN MAHOGANY DROP SIDE TABLE The rectangular top with thumb moulded edge, leading to twin drop sides, all on a central tapered square pillar, quadraform base with paw and claw feet, brass castors, single drawer. Probably Boston, circa 1835. Height 74cm; Depth extended 1090cm; Width 1160cm PROVENANCE: W. F Bradshaw, Queen Street, Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $4,000-6,000

420

421 A 19TH CENTURY FRENCH PINE AND FRUITWOOD TILT TOP WINE TABLE Traditional design, circular top, twin column stretcher base. Height 74.5cm; Diameter 97.5cm

424 A RUSTIC FRUITWOOD AND ELM FARMHOUSE TABLE The rectangular top above the plain frieze with single drawer, on square sectioned tapering legs. Height 76cm; Length 160cm; Width 75cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,500-2,000

422 A FRENCH NAPOLEON III DRESS TABLE On four octagonal legs with turned extremities, the top and sides consisting of inlaid ebony, brass and amboyna. The shaped lift top with front drawer and organising compartments within, a mirror to the lift top inside. Circa 1850. Height 74cm; Width:67.5cm; Depth: 41.5cm $2,000-3,000

425 A 17TH CENTURY (AND LATER) OAK JOINT STOOL Plank top, turned legs joining in a stretcher base. Height 44cm; Width 46cm; Depth 27cm

423 A GEORGE III MAHOGANY AND INLAID BEDSIDE COMMODE Of bowed outline with boxwood lines and chequered inlay, having four false drawers, and brass handles to the sides, on swept bracket feet; the rising top revealing a record player. Height 78cm; Width 61cm; Depth 52cm $1,000-1,500

426 AN ANTIQUE OAK AND ELM WINDSOR DINING CHAIR The arched back with central urn splat, the solid seat on turned legs and stretchers. Height 86cm; Width 44cm; Depth 49cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $200-400

103

427 A PAIR OF HOWARD ARMCHAIRS Upholstered in bennison fabric, tree parrot, faded on oyster. PROVENANCE: Ros Palmer Interiors, Woollahra From the contents of Swanton (built 1827), Sutton Forrest, NSW $600-800 428 A PAIR OF GEORGE II STYLE MAHOGANY OPEN ARMCHAIRS Each with a padded wing back and arms, the foliate carved armrest supports flanking the padded seat, on cabriole legs with leaf carved and cabochon knees terminating in scrolled pad feet, the carved apron centred with rocaille. 19th century. Height 111cm; Width 76cm; Depth 78cm $15,000-25,000 427 429 AN EDWARDIAN MAHOGANY LADYâ&#x20AC;&#x2122;S PEDESTAL WRITING TABLE Kidney shaped with gilt tooled blue leather inset top above a beaded edge and uprights, having three frieze drawers above three further drawers to each pedestal on slender bracket feet. Height 77cm; Width 137cm; Depth 73cm $800-1,200 430 A GEORGE III MAHOGANY SINGLE DINING CHAIR With shaped top rail above the pierced scroll carved splat, the drop in padded seat on square tapering legs with H stretcher. Height 93cm; Width 53cm; Depth 47cm $300-500 431 AN EARLY 19TH CENTURY STAINED OAK HALL CHAIR Reeded urn-shaped back with sabre legs. Circa 1810.

428

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500 432 AN EARLY 19TH CENTURY MAHOGANY HALL CHAIR With finely carved shell and scroll shaped back with tapering turned front legs. Circa 1830. PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600

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433 433 AN ANGLO-INDIAN ROSEWOOD DWARF LINEN PRESS With a gadrooned cornice and frieze with carved flowerheads, above a pair of patera panelled doors enclosing slides, the base with two short and two long moulded drawers with recessed brass handles, gadrooned mouldings and reeded bun feet. Early 19th century. Height 149cm; Width 129cm; Depth 59cm $1,000-1,500

434 AN ITALIAN WALNUT CENTRE TABLE The rectangular top above three drawers and two faux drawers, each decorated with incised panels, above six ring turned baluster legs and stretcher base. 18th century and later. Width 176cm; Depth 67cm; Height 80cm PROVENANCE: Sothebyâ&#x20AC;&#x2122;s Jewellery, Asian Art and European Decorative Arts, Melbourne, 2 May 2007, lot 512 From the contents of Swanton (built 1827), Sutton Forrest, NSW $5,000-7,000 Illustrated on page 106

435 A SPANISH CHESTNUT LOW TABLE In the 17th century style, the rectangular top on carved trestle end supports with wrought iron stretchers. Height 43cm; Width 68cm; Depth 39cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $500-700

105

106

436 AN ANTIQUE FRENCH FRUITWOOD FARMHOUSE TABLE The planked top above two narrow end drawers on square chamfered legs, united by an H stretcher. 19th century. Height 78cm; Width 82cm; Length 200cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-1,500 437 A HUON PINE DRESSER BASE The plain rectangular top above a pair of cupboards with arched panels, enclosing shelves. Early 20th century. Height 83cm; Width 168cm; Depth 57cm $800-1,200 437A A WILLIAM IV YEW & BURR YEW-WOOD SMALL TRIPOD TABLE The circular moulded top on turned pedestal with reeded knop, and three cabriole legs. Height 51cm; Diameter 31cm $400-600

441 A GEORGIAN STYLE UPHOLSTERED ARMCHAIR With shaped top rail, the padded back and arms upholstered in close nailed olive green suede, on square sectioned legs joined by an H stretcher. Height 105cm; Depth 70cm; Width 66cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $1,000-1,500 442 A PAIR OF VICTORIAN BRASS FIREDOGS Each with an acorn and sphere finial on entwined dolphin supports. PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $400-600 Illustrated on page 95 443 A HAMADAN RUG With two cream, hooked medallions on a brick red ground with all over flower heads and small medallions, within triple border. 313 x 207cm

438 A LATE VICTORIAN EBONISED ELM ‘SUSSEX’ ARMCHAIR, PROBABLY BY MORRIS & CO. With turned uprights, spindle details, rush seat. Height 84cm; Width 53cm; Depth 43cm $600-800

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-3,000

439 A REGENCY STYLE ARMCHAIR The pierced back with turned supports, caned seat with fitted leather cushion, turned sabre legs. England, circa 1900.

444 A MACHINE MADE CARPET With a central multi-lobate medallion with pendant lamp motifs, on a trailing flower field with corner spandrels and Islamic inscriptions, within a multiple confirming border. 411 x 314cm

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $300-500

PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

440 A LATE VICTORIAN MAHOGANY SERPENTINE CHEST OF DRAWERS, BY MORISON & CO, EDINBURGH In the George III style, with a 3/4 pierced brass gallery, having two short and two long drawers with moulded fronts flanked by blind fretwork, on ogee bracket feet. Height 84cm; Width 110cm; Depth 55cm OTHER NOTES: Morison & Co. were cabinet-makers and upholsterers established by Mathew Morison in Ayr, Scotland in the early 19th century. The business was sold to W. Turner Lord and Co. of London, in 1902 who continued to use it as a trading name, and in 1906 was commissioned to fit out most of the firstclass accommodation of the of the Cunard liner Mauretania. $1,000-1,500 107

445

445 A NORTHWEST PERSIAN CARPET The red field with all over repeating Shah Abbas flowers and flower sprays, within multiple borders. 395 x 290cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-3,000 446 A HAMADAN RUG The navy field with all over pattern of flowerheads, tendrils and mahi, within a triple border. 197 x 133cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

108

447 A HERIZ RUG The stellar medallion on a brick red ground with ivory spandrels, within a triple border of meandering tendril and flowerheads. 311 x 180cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $2,000-3,000 448 A TURKISH RUNNER With seven hooked medallions, on a red field within narrow borders. 351 x 125cm PROVENANCE: From the contents of Swanton (built 1827), Sutton Forrest, NSW $800-1,200

446

447

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— To be read in conjunction with our General Conditions of Business as displayed on our website.

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

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

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.

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.

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

Title Leonard Joel guarantees good title to all lots. Warranties and Condition Reports Condition reports will be available for any lot upon request, subject to conditions. Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale. Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer. Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply. Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars. Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property,

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 Joel Recommended Carriers Daniel Hochberg PACK & SEND Kings Cross Shop 3, 200 William St, Woolloomooloo, NSW, 2011, Australia T: (0)2 9331 2700 | F: (0)2 9331 3700 E: kingscross@packsend.com.au www.packsend.com.au/kingscross Peter Orinuela GRACE FINE ART T: 1300 766 233 | E: porinuela@grace.com.au

CONTACT A LEONARD JOEL SPECIALIST 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 email: info@leonardjoel.com.au leonardjoel.com.au MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA

LUXURY John D’Agata F.G.A.A., Head of Department PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

The Thursday Auction — Anthony Riepsamen, Manager FURNITURE Nick Bastiras, Manager David Price, Assistant Angus McGougan, Assistant JEWELLERY Maria Walker F.G.A.A., Manager ART SALON Hannah Ryan, Manager Ella Perrottet BFA, Assistant

Leonard Joel Specialists —

OBJECTS & COLLECTABLES Rebecca Stormont , Assistant

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Summer Masters BDes Hons, Administrator

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INDIGENOUS ART Olivia Fuller BArtTh, Head of Department DECORATIVE ARTS Chiara Curcio BA, Head of Department Hamish Clark, Head of Sydney Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney FINE JEWELS & TIMEPIECES Julie Foster F.G.A.A., Dip. Dt., Head of Department Bethany McGougan F.G.A.A., BA Hons, MSc, Senior Jewellery Specialist Maria Walker F.G.A.A., Manager Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant Alex Turnidge, Administrator MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department

VALUATIONS Caroline Tickner BA Hons, F.G.A.A., Head of Department ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Madeleine Norton, Auction Administrator and Client Services Liaison, Sydney OPERATIONS & LOGISTICS Anthony Riepsamen, Manager MARKETING & COMMUNICATIONS Blanka Nemeth, Head of Department Nicole Kenning, Consultant Keryn Gilchrist, Database Administrator PHOTOGRAPHY Andrew Burn Adam Obradovic Henry Murphy GRAPHIC DESIGN Maria Rossi

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