The Collector's Auction by Leonard Joel

THE COLLECTOR'S AUCTION AUCTION TUESDAY 21 SEPTEMBER 2021, SYDNEY

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AUCTION CATALOGUE VOLUME 14 ISSUE 17

Cover: 70 (detail) A LARGE MOORCROFT TASMANIAN BLUE GUM VASE DESIGNED BY SALLY TUFFI $8,000-12,000 Inside Cover & Inside Back Cover: Highlights from The Collector’s Auction

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THE COLLECTOR'S AUCTION AUCTION TUESDAY 21 SEPTEMBER 2021 AT 6PM, SYDNEY The Bond, 36-40 Queen Street Woollahra NSW 2025

CONTACT

Madeleine Norton

Ronan Sulich

Marcella Fox

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

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

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

Please refer to our website for viewing times.

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The Collector's Auction It’s often said that we are only the custodians of artworks and

grasses from a paddock into a lyrical still life (lot 16). Works

antiques, and like Elaine of Astolat (lot 1) carefully guarding

by Robert Dickerson, Fred Cress, Ray Crooke, Roger Kemp,

and studying the shield of Sir Lancelot, re-living the romance

Wendy Sharpe and Charles Blackman give an eclectic view

and history of all the dents and scratches that it bears,

of twentieth century life and a group of ceramics by John

modern collectors love the world of antiques and art for the

Perceval and the Boyds extend the painterly vision into three

stories it can tell and the light it can shine on past lives and

dimensions. The quirky terracotta “Dog Beach Bowl II”

past collectors.

by Michael Bell (lot 41) is one of the items in the auction offered from the estate of Jenny Manton, a great benefactor

The group of 20th Century Murano glass in the sale

of the Conservation Department of the Art Gallery of New

(lots 53-70) would appeal to many a modernist bower bird

South Wales.

with its dazzling colours and designs and array of collectable names such as Elsa Peretti, Archimede Seguso, Fratelli Toso

It would be difficult not to be impressed by the massive

and Luigi Onesto.

Anglo-Indian four poster bed in solid ebony (lot 119) originally from the stylish Clarence Street Sydney apartment

Other names that stand out in the sale are great international

created by Thomas Hamel and Martyn Cook. Equally

artists, and it is exciting to offer a newly discovered painting

impressive is the Irish Chippendale style suite of settee and

by the French post-impressionist artist, Henri le Sidaner, (lot

pair of chairs (lot 109) carved with ribbons and oak leaves

11) his Soir of 1896 a moody nocturnal scene last exhibited

and redolent of old school connoisseurship. The group of

in 1897. Other household names of European modern art on

oak furniture also harks back to the great days of antique

offer are Pablo Picasso, with his charming Madoura ceramics

collecting, but also has a pleasing, honest aesthetic that

(lots 45 & 46), Joan Miro’s unmistakable graphic lithographs,

would sit happily in a modern interior. In a similar vein,

and Salvador Dali, with a suite of etchings from 1971 (lot 51)

the beautiful Japanese modernist ceramics (lots 174, 176)

and a bronze (lot 52), and for the novice collector there is

translate ancient practices into modern forms that have

even a charming bronzed resin bust of Renoir’s son Coco

great appeal.

(lot 10). As these pieces find new custodians for the future we hope In the Australian offerings from our Collectors Auction,

that there is something that will speak to you and join your

the colours of the flowering eucalyptus are captured in

collection.

the rare Moorcroft vase in the sale (lot 70) and the noted

—

female artist Ellis Rowan transforms a handful of thistles and

Ronan Sulich | Senior Adviser, Sydney

M A RY E V E L I N A K I N D O N

Elaine the fair, Elaine the loveable, Elaine, the lily maid of Astolat, High in her chamber up a tower to the east Guarded the sacred shield of Lancelot Which first she placed where morning's earliest ray Might strike it, and awake her with the gleam ALFRED LORD TENNYSON, ‘LANCELOT AND ELAINE’, IDYLLS OF THE KING (1859-1885).

In 1138 Geoffrey of Monmouth finally put down his quill after completing his magnum opus Historia Regum Britanniae (History of the Kings of Britain) which launched an enduring legend based on King Arthur and served as inspiration for numerous writers, poets and artists throughout the centuries that followed. Prominent Arthurian writings went on to include those of 12th century Frenchman Chretien de Troyes, Sir Thomas Malory’s Le Morte d’Arthur (1485) and Alfred Lord Tennyson’s poems The Lady of Shalott (1832) and Idylls of the King (1859-1885). In all these legends we are introduced to differing versions of the same character; Elaine of Astolat, also known as the Lady of Shalott. In Malory’s depiction Elaine meets Sir Lancelot when he takes part in a jousting tournament organised by her father Bernard, the Lord of Astolat. Elaine becomes enamored of him and looks after his shield while he competes with another. After Lancelot wins the tournament he is wounded and tended to by Elaine but when he recovers he leaves the castle never to return, ten days later Elaine dies of heartbreak. In accordance with her wishes her body is placed in a small boat, clutching a lily in one hand and her final letter in the other, floating down the river to Camelot. Mary Evelina Kindon’s beautiful depiction of Elaine shows her sat by the window, full of hope, with the shield of Sir Lancelot in front of her and her hands clasped waiting for his return. Her soft and delicate features and white dress convey a sense of innocence and naivety with her dreamy gaze full of love and adoration. The dappled light from sunrise casts an elegant glow across her face and reflects on to the shield of Lancelot perfectly illustrating Tennyson’s poem. Elaine has captured the minds of many artists, becoming one of the most recognisable tertiary characters from Arthurian legend, others who have depicted her story include Dante Gabriel Rossetti, John William Waterhouse and John Atkinson Grimshaw. In fact, Kindon and Waterhouse were contemporaries, both beginning their studies at the Royal Academy (RA) in the same year, 1871. Prior to studying at the RA Kindon gained recognition as an accomplished copyist and was commissioned by Prince Leopold, Duke of Albany, to copy Turner’s Old Temersire which was sent to Windsor Castle (1). In 1879 she exhibited her first picture at the Royal Academy, a study of a head called An English Girl. She went on to exhibit several times at the RA and also at many of the other principal London exhibition venues such as Burlington House, Guildhall Art Gallery, Society of British Artists and the Institute of Painters in Watercolours, not to mention those in Birmingham, Southport, Liverpool, and Paris. Her work is held in the collection of the Bushey Museum and Art Gallery, Hertfordshire, UK. 1. “Miss Mary Evelina Kindon”, The Queen, The Lady’s Newspaper, June 22 1889, page 887 (with thanks to Allan Willingham for his assistance with research)

Madeleine Norton | Decorative Arts and Fine Art Specialist, Sydney

1 MARY EVELINA KINDON (British, 1849-1919) Elaine of Astolat, Lady of Shalott oil on canvas signed lower left: M. E. Kindon 92 x 62cm (120 x 89cm framed) $3,000-5,000

2 After AUGUSTE MOREAU (French, 1855-1919) Premier Baiser (First Kiss) bronze signed to base: Aug. Moreau bronze label to base: PREMIER BAISER / PAR AUG. MOREAU / MÉDAILLE D’OR À L’EXPOSITION stamped number under base: 34401 Height 28cm $2,000-3,000 3 A PAIR OF FRENCH PASTELS OF YOUNG WOMEN 19th century, one depicting a pensive girl with roses in a diaphonous dress, the other of a girl in rustic costume holding a basket of roses, each in a Louis XVI style oval frame with ribbon cresting. 60 x 48.5cm (83 x 59.6cm framed) $1,500-2,500

4 After JOHAN TOBIAS SERGELL (1740-1814) A PLASTER PROFILE RELIEF OF CARL MICHAEL BELLMAN Depicted facing to dexter, signed and dated under the truncation of the neck “Sergell 1787”, the relief framed by a raised border with repeating acanthus leaf and beaded decoration. Diameter 66cm OTHER NOTES: The Swedish poet, composer and songwriter Bellman (1740-1795) was a close friend of Sergell.

5 WILLIAM THOMAS FRYE (1711/12-1762) Self Portrait, from Life-Sized Heads 1760 mezzotint Inscribed on the image: TF [monogram] / Ipse Inscribed on plate lower left: T. Frye Pictor Invt & Sculp Inscribed on plate lower right: Hatton Garden 1760 Sheet 51.5 x 37cm, plate 50 x 34.5cm (76.5 x 61cm framed) $4,000-6,000

$800-1,200

6 (part)

6 A SET OF FIFTEEN ENGRAVINGS FROM “HEADS OF ILLUSTRIOUS PERSONS OF GREAT BRITAIN” Engraved by Jacobus Houbraken, first half 18th century, including Mary Queen of Scots, Sir Isaac Newton and other worthies and noblemen. Each 51 x 37cm framed $1,500-2,000

7 A VICTORIAN PORTRAIT MINIATURE OF A GENTLEMAN First half 19th century, bust length with a black coat and stock and white shirt, in a gilt composition frame. 3.5 x 4cm (21 x 20cm framed) PROVENANCE: The Estate of J Manton, Sydney $800-1,200

8 MARIE DE GARAY (French, 1861-1953) The New Dress oil on panel signed lower left: M. de Garay 26 x 35.5cm (51.5 x 61.5cm framed) $800-1,200

9 after KARL GIRARDET (1813-1871) Forty Centuries Look Down Upon Him etching and aquatint on paper after the original painting of 1851, published by Goupil & Cie, Paris, third quarter of the 19th century Paper 86 x 62.5cm, Plate 66 x 51.5cm (96.8 x 81.5cm framed)

10 After PIERRE-AUGUSTE RENOIR (1841-1919) Tete de Coco 1908 bronzed resin Height 27cm, with plinth 42cm $500-800

$200-300

HENRI LE SIDANER

A rare early example of French-Mauritian artist Henri Le Sidaner’s famously seductive nocturne paintings, this poetic riverside scene represents a turning point in his career, when he discovered how to successfully capture the atmosphere and mysticism of gloaming light. Demonstrating much talent in his youth, Le Sidaner was granted a place at the prestigious École nationale supérieure des Beaux-Arts in Paris. However, he fundamentally disagreed with the rigid academic teachings of the school and those of his teacher Alexandre Cabanel, and in 1885 resigned on the grounds of “artistic differences.” Le Sidaner retreated to the small village of Étaples in northern France to focus on his artistic training in solitude. This attitude of rebellion, experimentation and discovery would remain with Le Sidaner throughout his career. The summer of 1896 was particularly experimental for Le Sidaner. Whilst staying with his sister and brother-in-law in Montreuil-Bellay, he became fascinated with nocturne painting – capturing the silent, mystic moments at dusk, when the world is not yet completely shrouded in darkness. Undocumented since 1897, when it was last seen on the walls of Galerie Mancini in Paris, Soir is one of the works created that summer. Despite resisting classification, his works of this period display subtle Symbolist tendencies, Soir included. Symbolist ideals rebelled against naturalism and objectivism, desiring to externalise the ‘subjective interior’ of the artist through their work. Le Sidaner had moved from Étaples back to Paris in 1894, and befriended writers, poets, musicians and artists of the movement, such as Edmond Aman-Jean and Henri Martin. His neighbour was Symbolist composer Gabriel Fabre, for whom Le Sidaner designed musical score covers. Le Sidaner was unmistakably influenced by this company, as evidenced by Soir, in which he seems to be utilising the conventions of painting to convey his inner state of serenity. His study and use of colour was not for the ultimate purpose of capturing the effects of light like it was for the Impressionists, but it was rather a tool for Le Sidaner to evoke a feeling in his work. The motif of the single burning lamp is one that he would use frequently throughout his career. Its warm, diffused light acts as a symbol of human presence, indicating that there is life, without disturbing the quiet atmosphere. Soir exemplifies Le Sidaner’s masterful ability to paint a veil of velvety shadow over a world, his signature light burning in the open window evoking a tumult of emotion in the viewer loneliness and peace, and warmth on a cool, quiet night. Marcella Fox | Sydney Manager

11 HENRI LE SIDANER (French, 1862-1939) Soir 1896 oil on board signed and dated lower right: Le Sidaner / 1896 23.8 x 33.5cm (48 x 58cm framed) EXHIBITIONS: “Exposition le Sidaner”, Galerie Mancini, Paris, January - February 1897, no. 19 OTHER NOTES: Accompanied by a photo certificate of authenticity from Yann Farinaux-Le Sidaner. This work will be included in the forthcoming supplement to the catalogue raisonné of Henri Le Sidaner. $20,000-30,000

12 ROSEMARY MADIGAN (1926-2019) Still Life with Frangipanis and Jug 1985 pastel on paper signed and dated lower left: Rosemary Madigan 1985 60 x 50cm (83.5 x 71.5cm framed) PROVENANCE: The Estate of J Manton, Sydney $500-700

13 DAVID DAVIES (1864-1939) Roadside Cottage, France watercolour signed lower left: D. DAVIES 27 x 21.5cm (65 x 56cm framed) PROVENANCE: Christopher Day Gallery, Woollahra (label verso) acquired from the above 1996 EXHIBITIONS: “Summer Collection”, Christopher Day Gallery, Woollahra, 1996, no. 24 $2,000-4,000 14 DERMONT HELLIER (1916-2006) Towards Yea 1964 oil on board signed lower left: Dermont Hellier 49 x 59.3cm (65 x 75cm framed) PROVENANCE: Rotary Art auction, Camberwell, Victoria Thence by descent $500-700

15 DOUGLAS ROBERT DUNDAS (1900-1981) Spring in the Boltons watercolour signed and dated lower right: D.R. Dundas 1952 25.9 x 37cm (50.7 x 59.2cm framed) PROVENANCE: Bonython-Meadmore Gallery, Woollahra acquired from the above 1989 $500-800 16 ELLIS ROWAN (1848-1933) Thistles and a Cabbage Moth watercolour signed lower left: Ellis Rowan 37.3 x 22.6cm (64.3 x 49.1cm framed)

$2,500-3,500 17 RUBERY BENNETT (1893-1987) Contemplation oil on board signed lower left: RUBERY BENNETT 24 x 29cm (42 x 47cm framed) PROVENANCE: Gordon Galleries, Double Bay (label verso) $1,000-2,000 18 JOHN MCQUALTER (b. 1949) Summer Portsea 1980 oil on board signed lower right: McQUALTER 15 x 22.5cm (36 x 41cm framed) $300-500

19 LOUDON SAINTHILL (1919-1969) A Chorus Lady in Pekin gouache and chalk on black card Signed and inscribed lower left : 4 Chorus Ladies / Act II inc. Finale / Sainthill 58 x 46.5cm PROVENANCE: David Jones Art Gallery acquired from the above 1972 EXHIBITIONS: “Loudon Sainthill Memorial Exhibition”, David Jones’ Art Gallery, Sydney, 3 - 28 October 1972, no. 44 $2,000-3,000

20 WILLIAM ROBINSON (b. 1936) Female Seated Nude pencil on paper signed lower right: William Robinson 44 x 37cm (67 x 59.5cm framed) $800-1,200 21 ROBERT DICKERSON (1924-2015) Young Boy charcoal on paper signed lower right: DICKERSON 76 x 54cm (102 x 80.5cm framed) PROVENANCE: Art Galleries Schubert, QLD acquired from the above 1999 OTHER NOTES: From the late 1960s, this is a study for one of Dickerson’s oil paintings, likely executed whilst he was living in Sydney. $3,000-4,000

21 © Jennifer Dickerson/Copyright Agency, 2021 14

22 ARCH CUTHBERTSON (1924-2000) Untitled Landscape mixed media on paper signed lower right: Cuthbertson 56.5 x 76.3cm (84 x 101.5cm framed) $300-500 23 PETER O’HAGAN (1942-2013) The Three C’s for a Sydney Summer Twilight 2005 watercolour and gouache on paper on board signed lower right: PETER O’HAGAN titled, signed and dated verso: “The 3 C’S FOR A SYDNEY SUMMER TWILIGHT” / Peter O’Hagan May 2005 25.5 x 38.1cm (53.5 x 66.5cm framed) $1,200-1,500

24 JOHN THOMAS RIGBY (1922-2012) Light Keeper’s House, Dent Island 1986 oil on canvas signed and dated lower right: Rigby / ‘86 signed and dated verso: Rigby ‘86 46 x 51cm (65 x 70cm framed) PROVENANCE: Wagner Art Gallery, Paddington (label verso) acquired from the above 1986 EXHIBITIONS: “Tropical Landscape”, Wagner Art Gallery, Paddington, 1986 $800-1,200 25 WENDY SHARPE (b. 1960) Circe Painting on Men 1990 oil on canvas signed, titled and dated: Circe painting on Men / W. Sharpe 90 166 x 136cm (173.5 x 143 framed) $3,000-5,000

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27 © Geoffrey Proud/Copyright Agency, 2021

26 GEOFFREY PROUD (b. 1946) Standing Nude with Flowers mixed media on perspex, reverse painted signed lower right: Proud 120.5 x 89.5cm (133.1 x 102.5cm framed)

27 GEOFFREY PROUD (b. 1946) Nude Leaning Out Window with Flowers mixed media on perspex reverse painted signed lower right: Proud 74.9 x 108cm (118.6 x 85.3cm framed)

PROVENANCE: Robin Gibson Gallery acquired from the above 1985

$800-1,200

$2,000-4,000

28 © Ray Crooke/Copyright Agency, 2021

28 RAY CROOKE (1922-2015) Family Group oil on canvas signed lower right: R Crooke 59.5 x 49cm (86 x 76cm framed) PROVENANCE: Art Galleries Schubert, QLD (label verso) acquired from the above 1999 OTHER NOTES: This work from the late 1970’s/early 1980’s is the continuation of a series of works begun on Thursday Island. $7,000-10,000

29 DIANA WATSON (b. 1940) Chelsea I 2006 oil on canvas signed and dated lower right: Diana Watson 2006 signed, titled and inscribed verso: A150 / Chelsea I / 36 x 42” / Diana Watson 91.5 x 107cm PROVENANCE: Wentworth Gallery, Sydney acquired from the above October 2006 $2,000-4,000

30 FRED CRESS (1938-2009) Regent 2004 acrylic on canvas signed, titled, dated and inscribed verso: Cress 04 / CRESS / “REGENT” 2004 / 125 x 125 cms / Acrylics/ canvas 120 x 120cm PROVENANCE: From the artist’s estate $7,000-9,000 31 ROGER KEMP (1908-1987) Untitled acrylic on paper 39 x 62cm (74.5 x 96cm framed) PROVENANCE: Eastgate & Holst, Melbourne acquired from the above $3,000-5,000

YOSL BERGNER

Yosl Bergner fled Poland in 1937 and arrived in Melbourne aged 17. In Australia he established his artistic practice and went on to become an important proponent of the social realist group of painters during the 1940s. He engaged with many of the local artists who now epitomise modern Australian art including John Perceval, Arthur Boyd, Sidney Nolan and Albert Tucker. In 1948 he left Australia and eventually settled in Israel. At the age of 90, after establishing a successful career spanning multiple decades in the mediums of painting and drawing, Bergner turned his artistic focus to sculpture. In 2014 he demonstrated his new-found mastery of sculpture with an exhibition of unique pieces based on his paintings from the 1960s at Leonard Joel in South Yarra. Musicians were often the subjects of Bergner’s work and the violinist found in Lot 32 is a recurring motif from many of his earlier paintings and drawings. Madeleine Norton | Decorative Arts and Fine Art Specialist, Sydney

32 YOSL BERGNER (1920-2017) Yossi’s Violin bronze, ed. 9/9 signed and editioned at base accompanied by a certificate of authenticity from the artist 39 x 13 x 10cm PROVENANCE: Private collection, Melbourne $8,000-10,000

32 © Yosl Bergner/Copyright Agency, 2021

33 GEOFFREY DYER (1947-2020) Tasmanian Gorge mixed media on paper signed lower right: G Dyer 148 x 99cm PROVENANCE: Wagner Contemporary, Paddington acquired from the above $4,500-6,500 34 DALE FRANK (b. 1959) The End Of The Honeymoon (Roslyn’s Recession) 1992 mixed media on paper initialled and dated lower right: DF 92 150 x 180cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney Private Collection, Goulburn acquired from the above 2008 EXHIBITIONS: “Dale Frank: Recent small drawings”, Roslyn Oxley9 Gallery, Sydney, 4 March – 21 March 1992 $3,000-5,000

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35 © Charles Blackman/Copyright Agency, 2021

35 CHARLES BLACKMAN (1928-2018) The Fisherman’s Dream 1965 oil on paper on board signed lower left: BLACKMAN 47.5 x 64cm (72 x 87cm framed) PROVENANCE: Nadine Amadio acquired from the above 1999 $12,000-18,000

36 JOHN PERCEVAL (1923-2000) Landscape with Trees and Bright Sun 1990 pastel on paper signed and dated lower right: J. Perceval ‘90 26.5 x 37cm (45 x 55cm framed) PROVENANCE: The Artist Purchased from the above by David & Fay Meares (formerly trading as Highfields Fine Art) $700-900

38 A SET OF CERAMIC TEAWARES BY JOHN PERCEVAL (1923-2000) & ARTHUR MERRIC BOYD POTTERY Circa 1950, comprising four cups, a sugar bowl and a cream jug with black painted designs on a brown ground, all signed to base: Perceval / A. m. B. Height of jug 7.5cm PROVENANCE: The Collection of David & Fay Meares (formerly trading as Highfields Fine Art) $300-500

37 A GLAZED CERAMIC BOWL BY JOHN PERCEVAL (1923-2000) Circa 1950, in a mint green glaze resting on three feet, signed to base: Perceval. Height 10cm, Diameter 21cm

39 A CUP AND SAUCER BY DAVID & HERMIA BOYD TOGETHER WITH ANOTHER SAUCER Circa 1954, the cup and saucer with a dark matte wash to exterior and a mint green mottled glaze to interior, the other saucer with a blue and black crosshatch interior, both saucers signed to base: D & H Boyd. (3) Height of cup 7.5cm PROVENANCE: The Collection of David & Fay Meares (formerly trading as Highfields Fine Art) $300-500 40 A CERAMIC KOALA BY MERRIC BOYD (18881959) 1950, with incised decoration and light grey glaze, signed, titled and dated on base: Merric Boyd / Koala 1950. Height 11cm

PROVENANCE: The Collection of David & Fay Meares (formerly trading as Highfields Fine Art)

$300-500

$200-400

41 MICHAEL BELL (b. 1959) Dog Beach Bowl II 2000 glazed ceramic glazed signature to interior: Bell Height 17.5cm, Diameter 35cm PROVENANCE: The Estate of J Manton, Sydney $500-700 42 JANE BARROW (b. 1957) Beneath the Skin incised stoneware with gold lustre glaze Height 45cm, Diameter 23cm

OTHER NOTES: Barrow’s work can be found in the following public collections: NGA, Canberra; AGWA, Perth; Newcastle City Art Gallery; Art Bank; and private collections in Australia, USA, UK, Japan, Korea and Germany. $600-800 43 NICHOLAS MUKOMBERANWA (Zimbabwean, 1940-2002) My Spirit and I springstone accompanied by a certificate of authenticity Height 60cm PROVENANCE: African Art Promotions, QLD

OTHER NOTES: Nicholas Mukomberanwa was a pioneer of the contemporary Shona sculpture movement. His sculptures are collected by institutions worldwide and he has exhibited at the Musée Rodin, Paris, and the Institute of Contemporary Arts, London. $1,000-2,000 44 JOHN HOUSTON (1930-2008) Pentland Firth, Dusk 1972 watercolour signed lower right: Houston 1972 30 x 30cm (50 x 50cm framed) PROVENANCE: Mercury Gallery, London (label verso) Stefan Ptrowski Esq., 3 October 1972 gift from the above $600-800 42

PA B L O P I C A S S O

Before his sixtieth birthday, Picasso had already carved out a lasting place for himself in art history. He had co-founded Cubism, evolved through his various “periods”, painted Guernica, engraved and etched his famous Vollard Suite and been the subject of many major museum exhibitions. However, Picasso was always searching for new artistic horizons to explore and new ways of experimenting and expressing himself artistically. In July 1946, he visited the small coastal town of Vallauris in the South of France known for its annual pottery exhibition. Picasso quickly became enamored with the ceramics being produced by the Atelier Madoura, owned by Suzanne and Georges Ramié, and thus begun a 25-year collaboration, ushering in one of the most prolific periods of his career. Picasso designed 633 different ceramic editions between 1947 and 1971. The process of making ceramics intrigued Picasso, he enjoyed how quickly and inexpensively he could create these new works. He also loved the idea that his works were both aesthetically pleasing and functional – he frequently gifted his pots, plates, pitchers, and bowls to friends and family members. Each piece is modelled by the artist’s own hands and infused with his raw energy, the editioned ceramics are each a one-off, offering a unique opportunity to hold an original Picasso. Rising to prominence in the art market over the past decade, Picasso’s ceramics have become one of his most quickly enduring market segments. The works are not only exclusive and limited but also accessible to emerging collectors. The ceramics he produced while working at Madoura have been acquired by some of the most notable collectors of modern art and now appear in museums all over the world including the NGV, Melbourne and the Metropolitan Museum of Art, New York. Madeleine Norton | Decorative Arts and Fine Art Specialist, Sydney

45 PABLO PICASSO (Spanish, 1881-1973) Polychromatic Head 1961 glazed ceramic, ed. 191/200 Inscribed verso: Edition Picasso / 191/200 / Madoura 25.5 x 25.5cm LITERATURE: Alain Ramié, Picasso: Catalogue of the edited ceramic works 1947-1971, Galerie Madoura, Vallauris, 1988, p. 239, no. 455 $6,000-8,000

45 © Succession Picasso/Copyright Agency, 2021

After World War II my father explored the full potential of working in pottery, including the different techniques of painting with slips and glazes. Over a period of some twenty years, he modelled, shaped, designed, decorated, engraved and carved over 3,500 fired clay objects. The great invention and originality of this large body of work has established his importance in the development of 20th-century art pottery. —Claude Picasso, From “Picasso: Painter and Sculptor in Clay,” Royal Academy of Arts, 1998

46 PABLO PICASSO (Spanish, 1881-1973) Face No. 157 1963 glazed ceramic, ed. 137/150 Inscribed verso: No 157 / Edition / Picasso / 137/150 / Madoura Diameter 25cm LITERATURE: Alain Ramié, Picasso: Catalogue of the edited ceramic works 1947-1971, Galerie Madoura, Vallauris, 1988, p. 250, no. 489 $9,000-11,000

PABLO PICASSO Spanish artist signs an autograph / Alamy

46 © Succession Picasso/Copyright Agency, 2021

JOAN MIRÓ

THE WHIMSICAL WORLD OF JOAN MIRÓ One of the most influential artists of the 20th century, Spaniard Joan Miró displayed much promise as a young painter. Exhibiting in Barcelona between 1915 and 1919, he experimented with Fauvism and Cubism, and looked to the work of Vincent van Gogh and Paul Cezanne like other artists. However, upon his arrival in Paris in the early 1920s Miró rejected conventional painting methods and rapidly developed his own unique approach to artmaking stimulated by his dreams and visions from his unconscious mind. The signature style he pioneered is marked by fantastical forms, bold lines and vibrant colours, his canvases a playground for his wandering mind. According to André Breton, principal theorist of the Surrealist movement, Miró’s arrival upon the Parisian art scene was “an important stage in the development of surrealist art.” His ability to give his unconscious mind free rein led Breton to declare Miró “the most Surrealist of us all”, though Miró did not agree with all the precepts of the movement or the expectation that the school had of painting. Throughout the rest of his long artistic career he strove to paint as though he were a child equipped with the intelligence of an adult or in other words to liberate his unconscious mind and capture his dreams. Miró was an experimental artist, always seeking new methods of creation with a range of different media. His love of printmaking in part stemmed from a love of collaboration. Miró openly rejected the image of the solitary artist and embraced opportunities to work with other creatives and artisans, oftentimes transforming his prints into posters and book collections. Lot 50, Miró a l'encre: Feminique was created to accompany first editions of the book, ‘Miró à l'encre’ (Miró in Ink), published in collaboration with French artist, author and critic Yvon Taillandier. Similarly, Lot 49, the design for a poster, was produced to promote a show of his work at Galerie Gérald Cramer in 1969. Miró saw printmaking as a democratic medium; a way in which he could “increase the reach of [his] message,” and share his beautiful and mysterious universe with as many people as possible. The last twenty years of Miró’s life were spent on the island of Mallorca, revisiting and refining his style with a free, assured hand. We have the pleasure of offering for sale a charming group of such late works, which beautifully illustrate Miró’s active mind, naive style and love of dramatic, strong lines, executed with confidence and playfulness. Marcella Fox | Sydney Manager

47 JOAN MIRÓ (Spanish, 1893-1983) Morning Rose by Moonlight 1958 lithograph, ed. 58/300 signed lower right: Miró numbered lower left: 58/300 plate 39.5 x 48cm (74 x 78cm framed) 47 © Successió Miró/ADAGP. Copyright Agency, 2021

LITERATURE: Joan Miró Lithographs, Maeght, Paris, 1975-1992, no. 1713 $2,500-3,500 48 JOAN MIRÓ (Spanish, 1893-1983) Untitled lithograph, ed. 48/300 signed lower right: Miró numbered lower left: 48/300 embossed stamp lower left: Maeght Editeur, Paris. 45 x 60cm (60 x 75cm framed) $2,500-3,500

48 © Successió Miró/ADAGP. Copyright Agency, 2021

49 © Successió Miró/ADAGP. Copyright Agency, 2021

49 JOAN MIRÓ (SPANISH, 1893-1983) Design for poster for the exhibition ‘Joan Miró, Engravings and Lithographs’ 1969 lithograph ed. 51/75 Signed lower right: Miró Inscribed lower left: 51/75 77 x 55cm LITERATURE: José Corredor Matheos, Miró’s Posters, Chartwell Books Inc., New Jersey, 1981, no. 38 Joan Miró, Joan Miró Lithographs: Vol. IV 1969-1972, Adrian Maeght, Paris, 1981, no. 627

OTHER NOTES: Design for poster for the exhibition “Joan Miró, Engravings and Lithographs (Joan Miró, oeuvre gravé et lithographié)”, Galerie Gérald Cramer, Geneva, June-September 1969. Another example from this edition is in the Museum of Modern Art, New York. Published by Galerie Gerald Cramer, Geneva/Paris, printed by Arte Adrian Maeght, Paris. $3,000-5,000

50 © Successió Miró/ADAGP. Copyright Agency, 2021

50 JOAN MIRÓ (Spanish, 1893-1983) Miró a l’encre: Feminique 1972 etching and aquatint, ed. 44/70 signed lower right: Miró numbered lower left: 44/70 63 x 47cm (79 x 62cm framed) LITERATURE: Jacques Dupin, Miró Graveur, Daniel Lelong Éditeur, Paris, 1984-2001, no. 564 OTHER NOTES: This print was produced to accompany the first copies of the book ‘Miró à l’encre’. $3,000-5,000

S A LVA D O R D A L Í

One of modern society’s most distinctive artistic icons, Salvador Dalí is best known for his eccentric personality and highly surreal paintings. His seminal artwork, The Persistence of Memory (1931), defies reason with its melting clocks and uncanny landscape, and embodies the driving principles of Surrealism; accessing the subconscious mind (the world of dreams) to enhance artistic creativity and subvert societal norms. Throughout his career Dalí’s works were dominated and fuelled by his relentless imagination. However, around 1941, after his move from his native Spain to the United States, his work began to incorporate a more Classical style oftentimes containing religious themes intertwined with scientific concepts, a style he called “Nuclear Mysticism”. Such themes were in line with his interest in the supernatural, though it has been suggested that the change in subject matter and style reflected his fear that World War II would result in the collapse of Western civilisation and unprecedented human suffering. Regardless of the ambiguity of his underlying motives, this featuring of religious themes and characters continued until his death in 1983. From approximately 1965 to 1979, Dalí’s output largely comprised commissions of works on paper for production as limited-edition prints. He was commissioned to illustrate Dante’s Divine Comedy in the 1950s, and Biblia Sacra, an edition of the Bible published by Rizzoli, in 1969. In 1968, Dalí’s first artistic explorations of Old Testament and Judaism occurred when Samuel Shore of Shorewood Publishers in New York commissioned the artist to produce an artwork commemorating the twentieth anniversary of the founding of the State of Israel. The result is a series of works on paper (later released as limited edition prints) entitled Aliyah (meaning “migration to the land of Israel”) inspired by the Old Testament and contemporary Jewish history. Lot 51, a set of 12 etchings, also draws on themes and characters from The Old Testament, taking inspiration from Song of Songs, the last section of the Hebrew Bible, the Tanakh. The suite illustrates the romance between King Solomon and an unnamed, beautiful Shulamite woman. The intimacy between Solomon and the Shulamite in Song of Songs celebrates love, yearning and harmony and is often seen as an allegory of the relationship between God and Israel, or in Christian tradition, of Christ and his bride, the Church. While Dalí departs from his emblematic style in these illustrations, they remain immediately recognisable as his work through certain elements, such as the dreamlike landscapes in the background of each work and the slim, elongated silhouettes. Demonstrating the artist’s preoccupation with religious themes in later life, the dramatic yet sensitive drawings use fluent, radiating lines and gold dust to convey a mysticism and holiness, the entire suite presenting a compelling narrative of love and longing. Marcella Fox | Sydney Manager

51 SALVADOR DALÍ (Spanish, 1904-1989) The Complete Set of 12 etchings from “Song of Songs” 1971 etching with stencil colouring and gold gilding on Arches paper, HC ed. S 163/200 All signed and numbered in pencil: S 163/ 200 Dalí Including: King Solomon; The Kiss; The Shepherd; The King’s Train; The Dovelike Eyes of the Bride; The Bridegroom Leaps upon the Mountains; The Beloved Looks Forth Like a Roe; The Beloved is as Fair as a Company of Horses; Thou art Fair, My Love, and Thy Breasts...; The Beloved Feeds Among the Lilies; The Fruits of the Valley; and Return, O Shulamite. each sheet 45.5 x 28cm, plate 40 x 25cm (70 x 52cm framed) LITERATURE: Lutz Löpsinger & Ralf Michler, Salvador Dalí: The Catalogue Raisonné of Etchings and Mixed-media Prints, 1924-1980, Munich, Prestel, 1994, nos. 468-479 There was also an edition of 250 issued with portfolio. $5,000-7,000 52 SALVADOR DALÍ (Spanish, 1904-1989) Day & Night gilt bronze and marble, ed. 68/500 cast signature and editioned upon sculpture cast signature: LICENSED/SalvadorDalí 36.4 x 33 x 14cm PROVENANCE: Private collection, Texas Private collection, Melbourne acquired from the above 2008 $2,000-3,000

51 © Salvador Dalí, Fundació Gala-Salvador Dali.VEGAP/Copyright Agency, 2021

63 58 53 34

A B R I E F H I S T O RY OF MURANO GLASS

The Venetian Island of Murano has been a center for glass production since the 13th century. Known today for its art glass Murano has had a long history of innovations in glassmaking and artistic decorations. Although there are records of glassmaking factories in Venice as early as the 8th century it wasn’t until 1291 that glassmakers were required by law to move to Murano to avoid the risk of furnace fires spreading to the largely wooden structures of Venice. This convergence of all factories in one central district encouraged glassmakers to develop new innovations and methodologies which were prevented from spreading beyond the island and thus Murano became Europe’s most prominent glassmaking centre with a monopoly in manufacturing and selling the highest quality glass. In the 15th century master glassmaker Angelo Barovier invented the process for producing clear glass (cristallo) which enabled Murano artisans to become the only producers of mirrors in Europe. In the 17th century new techniques such as avventurina (metal flecks embedded in glass for a sparkle effect) and calcedonio (marbled glass to imitate semiprecious stones) were invented proving so successful that royal courts were ordering glassware from Murano. At the same time new centres of craft emerged in Bohemia, England, and France drawing inspiration from the Italian masters, followed by the 18th century which saw the first successful glass company in America founded in 1739. Today master glassmakers in Murano are still enamored with reproducing classical styles as well as exploring new styles and techniques to find a happy medium between the technical mastery and the outline, colour and decoration of the glass. This continuous innovation has not only ensured the enduring popularity of Murano glass but has influenced glassware artisans and studios all around the world. 55

Madeleine Norton | Decorative Arts and Fine Art Specialist, Sydney

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53 ELSA PERETTI (1940-2021) A RED ART GLASS BOWL FOR TIFFANY & CO. Circular with indented rim and gold inclusions, incised signature to base. Diameter 27.9cm, Height 12cm $800-1,200 54 ANTONIO DA ROS (1936-2012) A MURANO GLASS TOUCAN FOR GINO CENEDESE Circa 1960, the stylised bird of circular form with internal sommerso and fenicio decoration. Height 19cm $1,800-2,200

55 A SEGUSO VIRO MURANO ART GLASS FOOTED BOWL The oval free form bowl on a tall narrow conical foot internally decorated with black and white striped canes in a spiral design to each side, etched signature to base. Height 31cm, Width 37cm, Depth 27cm $1,400-2,200 56 PINO SIGNORETTO (1944-2017) A MURANO GLASS VASE FOR CANALI COLLECTIONS 1982, the black glass spherical form with light blue and red cane decoration, etched signature and marks to base. Height 34.3cm, Diameter 36.8cm $2,000-3,000

57 A SALVIATI VENETIAN ART GLASS BOWL Of conical outline in clear and red glass, etched mark to base and dated 2005. Height 9.5cm, Diameter 21.5cm $300-500 58 DINO MARTENS (1894-1970) A VETRO ORIENTE MURANO GLASS VASE Circa 1950, the bottle with a band of applied glass petals around the elongated neck, with copper glass and polychrome inclusions including a large star murine, manufactured by Vetreria Aureliano Toso, model 5139.F, label to base. Height 36cm, Width 18cm LITERATURE: Marc Heiremans, Dino Martens Designer muranese del vetro, Arnoldsche, Stuttgart, 1999, p. 163 $1,200-1,800

59 LUIGO ONESTO (b. 1935) MURANO GLASS BOTTLE VASE The oval body with a short annular neck, internally decorated with shades of pink and a black spiral, etched signature to base, Oggetti Italy label to body. Height 16.5cm

61 LUIGI ONESTO (b. 1935) MURANO GLASS TEARDROP VASE In shades of amber and crimson, etched signature to base, Oggetti Italy label to body. Height 24cm $350-450

$400-600 60 AN EMPOLI BLUE GLASS VASE Of elongated cylindrical form with internal spiral fluting. Height 49.5cm $250-350

63 LUIGI ONESTO (b. 1935) ART GLASS VASE FOR VETRERIA OBALL Of flattened oval form with layers of blue green and clear glass surrounding the central well, etched to base: V. Oball / Murano. Height 23.5cm, Width 19cm $1,000-1,500

62 ATTR. FRATELLI TOSO (1884-1979) A MURANO GLASS BOWL The ogee shaped black glass bowl internally decorated with a spiral of orange, red and copper glass, paper label to base. Height 8.9cm, Diameter 24.1cm

64 ARCHIMEDE SEGUSO (1909-1999) A PAIR OF PINK MURANO GLASS CANDLE HOLDERS Circa 1950s, cylindrical with striated ribbed sides, original labels to base. Height 12.5cm, Width 5.5cm

$400-600

65 AN EMPOLI GLASS EWER In orange glass of baluster form with applied glass handle and flared rim. Height 35cm $150-250 66 LUIGI ONESTO (b. 1935) MURANO ART GLASS VASE The flattened oval shape with layers of blue and purple glass and clear glass bubbles, signature to base. Height 18.4cm $800-1,200 67 EDVIN OHRSTROM (1906-1994) AN ‘ARIEL’ GLASS BOWL FOR ORREFORS Of shaped circular outline, internally decorated with alternating stripes of dark red and air bubbles, etched to base: ORREFORS / Ariel 1717E / E. Ohrstrom. Diameter 14.5cm $400-600 68 EDVIN OHRSTROM (1906-1994) AN ETCHED CRYSTAL VASE FOR ORREFORS Circa 1940, in clear glass etched with a scene of a young man serenading a woman at a window, signed and numbered. Height 35cm $400-600

69 GRANT DONALDSON (b. 1959) A TEARDROP BOTTLE VASE The internally decorated striated red, orange and yellow glass with frosted exterior. Height 73cm $1,000-1,500

70 A LARGE MOORCROFT TASMANIAN BLUE GUM VASE DESIGNED BY SALLY TUFFIN Numbered 19/50, of baluster form decorated with flowering gum nuts amongst gum leaves on a blue ground, signed and dated: S. T. Des 4.10.93, signed and dated: J. Moorcroft 22.9.94, accompanied by a certificate of authenticity. Height 42.2cm, Diameter 24cm PROVENANCE: Liberty Lane, Sydney acquired from the above 1994 LITERATURE: Paul Atterbury, Moorcroft Revised Edition 1897-1993, Denis and Edwards, England, 1993, p. 193 $8,000-12,000

71 A GROUP OF DAUM AND ST LOUIS GLASS ORNAMENTS Comprising three pate-de-verre Daum dishes moulded with orchids, another ornament with a frog, an oval dish of clear glass mounted with a pate-deverre kitten and a St Louis crystal minstrel playing a harp, all with etched signature. (6) Length of dish 16cm PROVENANCE: The Estate of J Manton, Sydney $800-1,200 71A A CAMEO GLASS VASE BY GALLÉ The flattened ovoid body decorated with waterlillies and other aquatic flora in deep purple signed with cameo mark ‘Gallé’ preceded by a star to body. Height 24cm PROVENANCE: Christie’s Australia, Melbourne, 29 March 1993, lot 22 Sotheby’s Australia, Melbourne, Decorative Arts and Antiques, Oriental Art and Jewellery, 10 November 1996, lot 13 Mr Hans Mueller and Mrs Gertrud Mueller, Sydney Sotheby’s Australia, Fine Asian, Australian and European Arts & Design, 18 July 2018, lot 111 Private Collection, Sydney, acquired from the above $1,000-2,000

72 AN ART DECO VENETIAN STYLE MIRROR The oval bevelled plate in a shaped bevelled blue glass frame with chrome angles. Height 100cm, Width 75cm $2,000-4,000 73 CHARLES & RAY EAMES ‘DCM’ SET OF EIGHT CHAIRS FOR HERMAN MILLER The moulded plywood backrest and seat with chrome frame and natural rubber shock mounts, assembled 2000 (label to underside). Height 76cm, Width 50cm, Depth 43cm OTHER NOTES: The 1946 Eames DCM Chair is an abbreviation which stands for Dining Chair on Metal base. The chair was originally part of a small series of chairs and tables that were a result of a long-standing collaboration with the Evans Plywood Company and which boosted the career of Charles and Ray Eames into notoriety. Herman Miller purchased the manufacturing operation and all licenses in 1949 and since then the DCM has consistently proved to be so popular that it has remained on the Herman Miller catalogue to this day. $3,500-5,500

71A

74 AN OVAL OAK DINING TABLE IN THE MANNER OF LUTYENS Late 19th century, the plank top on double baluster legs with turned feet. Height 76.2cm, Length 185cm, Width 109.5cm

76 A LARGE WALL MIRROR In a wood veneered frame. Height 140cm, Width 260cm, Depth 7.5cm

$1,000-1,500 75 A PAIR OF TRADITIONAL UPHOLSTERED SEMIWING ARMCHAIRS In rust coloured corded velvet. Height 89cm, Width 80cm, Depth 90cm

77 A 19TH CENTURY CONTINENTAL RUSTIC PINE SIDE CABINET With two frieze drawers above a pair of panelled cupboards flanked by scroll carved and fluted uprights on later bun feet. Height 86.6cm, Width 102.4cm, Depth 44.2cm

$600-800

$800-1,200

$1,000-1,500

78 A GEORGIAN OAK WELSH DRESSER The plate rack with moulded cornice above a shaped frieze and shaped sides, the base having three drawers above an arcaded pot board with chamfered supports. Height 188cm, Width 143cm, Depth 43cm $3,000-5,000 79 A VICTORIAN ROSEWOOD AND IRON FRAMED EASY CHAIR The arched, buttoned upholstered back on a padded seat above turned and carved inverted baluster legs with porcelain castors. Height 84cm, Width 74cm, Depth 95cm $1,000-1,500

80 A LATE VICTORIAN GILT COMPOSITION FRAMED LOOKING GLASS Height 71.7cm, Width 56cm $300-500 81 A VICTORIAN WALNUT AND INLAID OVAL OCCASIONAL TABLE On four turned supports with carved swept legs. Height 61.7cm, Length 102.5cm, Width 72.7cm $400-600 82 A VICTORIAN MAHOGANY TALLBOY Two short above five long drawers with turned knob handles on a plinth base with flattened bun feet. Height 156cm, Width 92cm, Depth 45cm $800-1,200 83 A VICTORIAN BURR WALNUT AND INLAID LADY’S BONHEUR DU JOUR Circa 1870, the superstructure with a central mirrored cupboard flanked by six small drawers, on a serpentine base with central drawer and cabriole legs, having rocaille bronze mounts throughout and a leather lined writing surface. Height 120cm, Width 116cm, Depth 63cm

$1,200-1,800 84 A VICTORIAN ANTLER MOUNTED CARVING SET By Mappin & Webb, comprising a steel, two knives, a fork and an associated fork, in presentation case. $300-500 85 A VICTORIAN WEDGWOOD IVORY GROUND BOTTLE VASE Having a pair of elephant head handles above the ovoid body decorated with sprays of flowers above a band of olive ground lappets and a conical moulded foot, transfer printed mark and paper label reading ‘Richard Dennis Wedgwood Exhibition 1982’ to base. Height 25cm $300-500 86 A MINTON’S ORIENTAL-INSPIRED LUSTREWARE CIRCULAR BOWL Circa 1900, with gilt transfer decoration of scrolls and foliage, the centre with a circular reserve of birds sitting on a flowering urn. Height 8cm, Diameter 29cm PROVENANCE: The Estate of J Manton, Sydney 85

$500-1,000

87 A VICTORIAN CEDAR CHIFFONIER The raised panelled back with a shelf on turned uprights above a pair of bolection moulded frieze drawers and arched cupboards enclosing shelves, on a plinth base. Height 116.2cm, Width 90cm, Depth 41cm $2,000-4,000 88 A WILLIAM IV MAHOGANY THREE PEDESTAL DINING TABLE Comprising a central drop leaf section and two end sections, all with a shaped frieze centred with a beaded tablet on tapering faceted column pedestal and quatreform base with lappeted bun feet concealing castors. Length 222cm (extended), Width 116cm, Height 77.5cm $3,000-5,000 89 A SET OF SIX WILLIAM IV MAHOGANY DINING CHAIRS Each with a shaped panel top rail above a scroll carved back rail, the drop in seats on turned and lappeted front legs. Height 89.5cm, Width 49.5cm, Depth 50cm $1,000-1,500

90 A LATE GEORGIAN MAHOGANY OCCASIONAL TABLE The rectangular tilt top on a turned pedestal and three swept feet. Height 71.5, Length 66.4cm, Width 52.9cm $400-600 91 A BIEDERMIER MAHOGANY PIER CABINET Circa 1830, the stepped top above an ovolo moulded frieze drawer and a bowed cupboard door enclosing shelves, flanked by a pair of engaged columns on a moulded plinth base. Height 138.5cm, Width 70.3cm, Depth 51.8cm PROVENANCE: Eaglemont Antiques, Victoria $3,000-5,000

92 A REGENCY MAHOGANY SCROLL END SOFA Circa 1820, the padded back, arms and seat in striped upholstery, the reeded scroll arms and reeded seat rail supported by inverted baluster legs with bronze castors. Length 220cm, Height 92cm, Depth 65cm PROVENANCE: Leonard Joel acquired from the above 2005 $3,000-5,000 93 A REGENCE STYLE OAK CENTRE TABLE Late 19th century, the shaped rectangular top with moulded edge above a rocaille carved apron and shell carved cabriole legs, joined by scrolled stretchers. Height 77cm, Length 147cm, Width 110cm

94 A SET OF FOUR NAPOLEON III SALON CHAIRS In the Louis XV style, each moulded frame with a cabochon and scroll cresting above the padded back and padded seat, on cabriole legs. Height 93cm, Width 40.5cm, Depth 47.5cm $1,000-1,500

$800-1,200 95 A FRENCH PROVINCIAL STYLE OAK BREAKFRONT BUFFET The two central cupboards with shaped moulded panels flanked by a drawer and a further cupboard, the shaped apron centred with a scallop shell and flower sprays on short cabriole legs. Height 100cm, Width 208cm, Depth 63.3cm $3,000-5,000

97 A LOUIS XIV STYLE BOULLE BRACKET CLOCK Mid 19th century, the arched case surmounted by a figure of Cupid, the front with a musical trophy on leaf scroll and claw feet, the circular dial with blue and white enamel Roman numerals, with enamel plaque signed ‘Bataille a Paris’, the case, base, and bracket veneered in red tortoiseshell and cut brass scroll decoration, the movement stamped ‘Japy Freres & Cie’. Height 80cm (overall), Width 33cm, Depth 18cm $3,000-5,000

$1,000-1,500

96 A PAIR OF CHARLES X PARIS PORCELAIN VASES Each of ovoid form with winged caryatid handles, the reserves painted in ‘le Style Troubadour’ of courting couples on gold enamelled ground, with later wooden bases and covers. Height overall 46cm

98 A VIENNESE ENAMEL COFFEE CUP AND SAUCER AND MINIATURE TANKARD 19th century, the bell-shaped coffee cup decorated with mythological scenes and a scrolled handle with matching saucer, the tankard with domed cover and painted with courting couples. Height of cup 7.5cm PROVENANCE: The Estate of J Manton, Sydney $400-600 99 A LOUIS XV STYLE BEECH CENTRE TABLE The circular inset marble top with flower and rocaille carved frieze on leaf carved cabriole legs, joined by scrolled stretchers. Height 76cm, Diameter 81cm $500-800

100 A PAIR OF 19TH CENTURY CAST IRON CAMPANA URNS Each with an egg and dart cast rim and reeded body on a square base. Height 26.5cm, Diameter 22cm $500-800 101 A NAPOLEON III AUBUSSON TAPESTRY Centred with a bouquet of flowers on a pale green strapwork ground within elaborate flower garland and scrolled borders. 340 x 315cm $1,500-2,000 102 A FRENCH WALNUT BIBLIOTHEQUE Last quarter 19th century, in the Henri II style, the moulded cornice above a carved frieze and a pair of arched glazed doors with renaissance style carved panels below enclosing adjustable shelves flanked by fluted and turned columns on a moulded plinth and bun feet. Height 232cm, Width 139cm, Depth 48cm

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$800-1,200 103 A FRENCH CAST IRON GARDEN URN Late 19th century, in the Louis XIV style with an egg and dart rim, the campana shaped bowl with bearded mask and gryphon ornament to either side on a fluted base and socle. Height 89cm, Diameter 82cm $2,000-3,000

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104 A LOUIS XV/TRANSITIONAL STYLE SMALL COMMODE The shaped marble top with three quarter pierced gilt metal gallery above two drawers veneered in kingwood and crossbanded in rosewood and ebony, on slender tapering supports. Height 78cm, Width 61cm, Depth 41cm $600-800 105 A FRENCH WALNUT SEMAINIERE Circa 1880, the seven drawers with burr walnut panelled fronts flanked by scroll carved uprights on bun feet. Height 118.7cm, Width 68.1cm, Depth 44cm $3,000-5,000

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106 A FRENCH OAK BUFFET Late 18th/early 19th century, the moulded rectangular top above two frieze drawers and two moulded cupboard doors on fluted uprights. Height 103cm, Width 130cm, Depth 61cm $1,000-1,500 107 A RUSTIC FRENCH TILT-TOP WINE TABLE Late 19th century, the circular pine top on an oak trestle base with shaped rotating support. Height 69.5cm, Diameter 122.5cm PROVENANCE: Appley Hoare Antiques, Woollahra $800-1,200 108 A HAMADAN CARPET The faded red ground with an all over design of Shah Abbas flowers, foliage and tendrils within a blue border of similar design. 544 x 368cm PROVENANCE: Walford and Horgan Interiors, Woollahra $3,000-5,000

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109 AN IRISH MAHOGANY SETTEE AND PAIR OF ARMCHAIRS Late 19th century, probably by Butler of Dublin, in the Chippendale manner, each with an elaborate pierced and carved splat having scrolls, ribbons, oak leaves and acorns, the settee centred with a bird, the outswept arms carved with acanthus and terminating in mythical beast heads, flanking drop in upholstered seats, the apron carved with shells, foliage, flowers and scrolls, and centred with a shell and oak spray; the cabriole legs with shell carved knees terminating in hairy paw feet. (3) The settee: Height 104cm, Width 176cm, Depth 54cm

110 A GEORGE IV CALAMANDER TEA CADDY Of sarcophagus form, the domed rising top revealing twin caddies; flanked by ring handles on reeded bun feet. Height 22cm, Width 36cm, Depth 19.5cm PROVENANCE: David Jones’ Antiques Department, 27 November 1974 thence by descent $600-800

$1,000-2,000 112 A LOUIS XV STYLE CANAPÉ Late 19th century, the moulded frame with flowerhead carved cresting, the padded arms flanking an upholstered seat on short cabriole legs. Height 96cm, Width 134cm, Depth 75cm $600-1,000

$8,000-10,000

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111 A VENETIAN STYLE MIRROR The oval bevelled plate in a cut and faceted surround with a scrolled cresting. Height 118cm, Width 69cm

113 A LOUIS XV STYLE VERNIS MARTIN OCCASIONAL TABLE Late 19th century, the shaped rising top with a velvet lined interior on gilt metal mounted slender cabriole legs, painted with 18th century scenes and motifs on a gold ground. Height 76cm, Width 48cm, Depth 39cm $300-500 114 A NAPOLEON III EBONY, ROSEWOOD AND BRASS INLAID CARD BOX Rectangular, the rising top with a central scrolled cartouche, having seven compartments within. Width 31cm, Depth 23cm, Height 6cm $600-800 115 A HAMADAN RUG The navy ground with all-over repeating ghuls in a grid within geometric motif borders. 193 x 107cm $200-400 116 A LOUIS XVI STYLE GILTWOOD JARDINIERE STAND The circular inset marble top above beaded and ribbon decorated frieze, the moulded legs joined by wreaths and terminating in scrolled feet. Height 100cm, Diameter 45cm $300-500

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117 A PAIR OF LOUIS XV STYLE FAUTEUILS EN CABRIOLET Late 19th century, each with a shaped back and scrolled padded arms above serpentine seat, on cabriole legs. Height 82cm, Width 58cm, Depth 62cm $750-1,000 118 AN ANGLO-INDIAN CEDAR CENTRE TABLE Circa 1850, the circular tilt top on a leaf carved baluster pedestal on moulded and gadrooned socle, the triform platform base terminating in three scroll feet. Height 77cm, Diameter 132cm $800-1,000

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119 AN ANGLO INDIAN EBONY FOUR POSTER BED 19th century and later, the four elaborately turned and reeded uprights joined by a headboard with shaped cresting and spindle turned rail, and footboard with lattice panel; supporting a slightly arched canopy. Length 250cm, Width 188cm PROVENANCE: John Hobbs, London The Estate of Martyn Cook Thence by descent $4,000-6,000

Thomas Hamel and Associates & Matt Lowden 50

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120 A VERY LARGE WALL MIRROR With gilt slip within a Dutch style ebonised frame. Height 183cm, Width 335cm, Depth 13cm $1,000-1,500 121 A PAIR OF LOUIS XVI STYLE HALL PORTER’S CHAIRS Each with a domed top and upholstered wings, the buttoned back above a padded seat with moulded black painted frame on cabriole legs. Height 152cm, Width 77cm, Depth 75cm (approx) $1,000-1,500

122 A LOUIS XVI STYLE MAHOGANY SECRETAIRE À ABATTANT The white marble top above a frieze drawer and fall front and three further drawers on turned tapering legs. Height 144cm, Width 92cm, Depth 49cm

124 A LOUIS XVI STYLE GILTWOOD CONSOLE TABLE The inset apricot marble top above an acanthus and ribbon decorated frieze on scrolled, flower wreathed legs, united by shaped stretchers with central vase finial. Height 92cm, Width 99cm, Depth 44cm

$1,500-1,800

$1,200-1,600

123 A FRENCH GILT COMPOSITION OVERMANTEL MIRROR Late 19th century, the bevelled plate in a bead and scroll decorated frame having a rocaille and flowerspray cresting. Height 155.6cm, Width 80.7cm

125 A LOUIS XV STYLE BERGERE A L’OREILLES AND A FAUTEUIL The moulded shaped frame with leaf carved armrest supports on cabriole legs, together with a Louis XV style fauteuil on cabriole legs. (2) $600-800

$1,500-2,000

126 A NAPOLEON III MAHOGANY AND GILT METAL MOUNTED BIBLIOTHEQUE The shaped top with a three quarter gallery above the grille door enclosing shelves and flanked with gilt metal flower swags and fluted uprights, above a tambour front cupboard on gilt metal mounted toupie feet. Height 148cm, Width 72cm, Depth 38cm $1,000-1,500 127 A PAIR OF FRENCH GILT METAL FIVE LIGHT TABLE LAMPS Mid 19th century, each in the form of a baluster shaped vase issuing sprays of lilies, foliage and candles. Height 56cm $1,500-1,800 128 A LATE VICTORIAN MAHOGANY LADY’S PEDESTAL DESK In George III style with two frieze drawers above panelled cupboards on plinth base. Height 71cm, Width 105cm, Depth 52cm $500-800 129 A GILT COMPOSITION PIER MIRROR The shaped top with ribbon and flower cresting, the frieze with a painted medallion flanked by flower swags, above the bevelled plate within a reeded flower decorated frame. Height 149cm, Width 73cm

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$500-800 130 AN ANTIQUE FRENCH COPPER AND IRON CHOCOLATIERE AND MOLINET TOGETHER WITH AN AMERICAN TOBACCO TIN The chocolate pot of baluster form, the turned beech molinet with ball finial, the tobacco tin by The United States Tobacco Co. Richmond Virginia. Height of chocolatiere 13.1cm $300-500 131 A PAIR OF GEORGE IV BRONZE MINIATURE CANDLESTICKS Each with a flower cast nozzle on a tapering shaft and shell cast circular base. Height 13.5cm $500-800

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132 A CHIPPENDALE STYLE MAHOGANY DINING ROOM SUITE Comprising a dining table, eight dining chairs and a sideboard, all with cabriole legs and ball and claw feet. Table: Height 76.4cm, Length 227cm, Width 107.5cm; Chairs: Height 100cm, Width 56cm, Depth 46.5cm; Sideboard: Height 112.6cm, Width 168cm, Depth 58cm

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PROVENANCE: Theo Varvaressos, Bellevue Hill OTHER NOTES: Custom made for Theo Varvaressos of Victoria Road, Bellevue Hill by Traditional Furniture Co., 145 Regent Street, Redfern, dated 28 November 1951 $2,000-3,000

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133 A PAIR OF GEORGE IV POLE SCREENS Each with a triform base rising to a reeded baluster shaft, the pole with a needlework panel with biblical scenes, one finial lacking. Height 153cm $600-800 134 A GEORGE III MAHOGANY PEMBROKE TABLE Circa 1780, the rectangular twin flap top above a single drawer on fluted and chamfered square sectioned supports, joined by an X-stretcher. Height 71cm, Width (extended) 97.9cm, Depth 87.6cm PROVENANCE: John Williams Auctions acquired from the above 2009 $500-700

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135 A GEORGE IV ROSEWOOD CENTRE TABLE The circular tilt top on a column pedestal carved with stiff leaves and lappets, the triform base with octagonal bun feet concealing castors. Height 70.5cm, Diameter 127cm $500-800 136 A JAPANESE SATSUMA STYLE TABLE LAMP The ovoid body decorated with pheasants amongst flowers. Height 62cm $300-500 137 A SPANISH STYLE CENTRE TABLE The rectangular moulded top on scroll and shaped trestle-end supports united by scrolled wrought iron stretchers. Height 78cm, Length 100cm, Width 64cm $1,800-2,400 138 A FRENCH BRONZE AND GILT BRONZE TWINLIGHT SCONCE Late 19th century, in the form of a putto sitting on a beribboned basket issuing two flowering branches terminating in light fittings (lacking shades). Height 37cm $300-500

137

139 AN EDWARDIAN MAHOGANY AND SATINWOOD ENVELOPE CARD TABLE BY P.E. GANE LTD (1909-1954) In the Sheraton revival style, painted with swags of roses and foliage, having boxwood lines and satinwood crossbanding throughout, the single drawer on square tapering legs with a shaped X-stretcher. Height 73cm, Width 56cm, Depth 56cm $800-1,200 140 A WILLIAM IV OAK DRESSER The moulded cornice above a plate rack on a base with an arrangement of four narrow drawers flanking a deep central drawer on baluster turned supports with pot board, on bracket feet. Height 213cm, Width 175cm, Depth 45cm $2,500-4,000 141 A VINTAGE TIMBER MINIATURE GARDEN SHED AND SET OF FOUR ORNAMENTAL DICE The garden shed with two chimneys and painted stone exterior with brickwork trim, the dice decorated cream and brown. Height of shed 41cm $400-600 142 AN ASHWORTH BROS IRONSTONE PART DESSERT SERVICE Circa 1870, in the Old Japan pattern, comprising eleven plates, three deep bowls, an oval plate, a tall tazza and a low tazza, impressed and printed marks. Diameter of bowls 26cm

140

$200-400 142A A COLLECTION OF ENGLISH PORCELAIN TEAWARES Second half 18th century, including: a Worcester trio painted with flower sprigs in cobalt and gilt; a Caughley fluted teabowl and saucer with similar decoration; another trio with spiral fluted design and painted with harebells; a fluted cup and saucer; and a cup and saucer with dish of fluted porcelain with blue banded borders decorated with gold sprigs and flower sprays. (13) Height of cup 6.5cm $600-800 139

142

144

153 (part)

146

141

147

141

108

PROPERTY FROM AN OAK COLLECTOR LOTS 143-156 143 A CARVED OAK STORAGE BOX OR BIBLE BOX 17th century and later, the moulded and incised rising top above a relief carved front with a stylised scrolling tendril design. Height 25cm, Width 62cm, Depth 39cm $800-1,200 144 A DUTCH BRASS CHESTNUT ROASTING PAN Late 17th century, having a turned brass handle and pierced engraved cover with a design of a flowering urn. Length 190cm $500-800 145 A JACOBEAN OAK DROPLEAF DINING TABLE Late 17th century, the oval top on barley twist gateleg supports. Height 76cm, Width 168cm, Depth 143cm

143

$2,000-3,000 146 A LATE MEDIAEVAL BRONZE PRICKET CANDLESTICK The circular base rising to a triple knopped shaft and spiked top. Height 38cm $1,000-1,500

145

147 AN OAK JOYNED ARMCHAIR OR WAINSCOT CHAIR 17th century, Yorkshire, the shaped top rail carved with scrolls and foliate detail above a panelled back carved to the centre with a lozenge, the shaped arms above the solid seat on turned legs with stretchers. Height 122cm, Width 61cm, Depth 43cm LITERATURE: See a comparable example illustrated in Oak Furniture/The British Tradition by Victor Chinnery, Antique Collectors’ Club Ltd, 1979, page 470 figure 4:116. $1,500-1,800 148 AN OAK AND ELM REFECTORY TABLE Late 17th century, the three plank cleated top on baluster turned end supports with a solid central stretcher. Height 73cm, Width 83cm, Length 240cm PROVENANCE: Sotheby’s London 1995 $2,000-4,000 149 AN OAK JOYNED ARMCHAIR OR WAINSCOT CHAIR 17th century, the shaped top rail with scrolled corners, above a panelled back with a moulded and incised lozenge, flanked by scrolled brackets, the shaped arms above a rising panel seat on turned legs with stretchers. Height 125cm, Width 62cm, Depth 44cm

156

LITERATURE: See a comparable example illustrated in Oak Furniture/The British Tradition by Victor Chinnery, Antique Collectors’ Club Ltd, 1979, page 470 figure 4:116. $1,500-1,800

148

150 A HENRY VIII OAK COFFER The rising top above panelled sides, the front with linenfold carved panels. Height 67cm, Width 130cm, Depth 56cm

152 A PAIR OF GEORGE III PROVINCIAL OAK AND ELM SIDE CHAIRS Each with a square back and triple stick splats above a panelled seat on square sectioned legs.

$3,000-5,000

$600-800

151 A GEORGIAN OAK AND ELM COMB BACK WINDSOR CHAIR Thames Valley, the shaped top rail and baluster splat with stick uprights and curved back rail above a solid seat on cabriole legs with pad feet, joined by turned stretchers. Height 111cm, Width 63cm, Depth 41cm

153 THREE GEORGIAN BRONZE SKILLETS OR POSNETS Late 18th century, each of typical cylindrical form standing on three short legs, with a long handle, all marked ‘WARNER’ and the capacity; 4 pints, 8 pints and 2 quarts. Length of largest 54cm

154 A GEORGIAN OAK DALES CHAIR Of typical form with panelled back and shaped wings, the outscrolled arms flanking a loose cushion on a padded base. Height 124cm, Width 76cm, Depth 72cm $1,800-2,200

$1,000-1,500

OTHER NOTES: The brothers John and Tomson Warner are recorded as having a metal working business in Cripplegate, London in the 1780s. $300-500

155 AN OAK COFFER Late 16th/early 17th century, the panelled rising top revealing a candle box to the interior, having panelled sides and later iron handles. Height 53cm, Width 97cm, Depth 42cm $800-1,200 156 A CHARLES II OAK TURNER’S CHAIR Of typical form with turned members issuing from a central upright, the triangular seat on turned legs united by stretchers. Height 81cm, Width 60cm, Depth 46cm PROVENANCE: The Estate of Len Evans AO OBE acquired from the above $2,000-3,000

150

OTHER PROPERTIES

157 A PAIR OF GEORGE III SILVER CANDLESTICKS Maker’s mark of John Green, Roberts, Mosley & Co., Sheffield 1796, each with an oval fluted base rising to a tapering fluted shaft and partially fluted urn shaped nozzle. Height 29.5cm, Weight 1350g $1,200-1,800 158 AN EDWARD VII SILVER BRUSH AND MIRROR SET Maker’s mark of William Aitken, Birmingham 1903, the mirror and hairbrush with a design of Herons and lilypads amid art nouveau stylised foliage, the clothes brush with similar conforming design. (3) Length of mirror 28.3cm $200-300 159 A GROUP OF FOUR VICTORIAN SILVER MOUNTED TOILET JARS Mixed makers and dates, comprising a spherical cut crystal scent bottle, and a cylindrical jar similar, and two tall facetted jars.

162

$200-400 160 AN EDWARD VII SILVER MOUNTED WATCH STAND Birmingham 1903, the ebonised strut support with a repousse panel decorated with art nouveau scrolls and stylised tulips holding a pocket watch. Height 16.5cm, Width 13.3cm $400-600 161 A SWEDISH SILVERPLATE THREE PIECE TEA SET First quarter 20th century, in the Jensen style, comprising teapot, sugar basin and cream jug, with hammered finish and leaf and bud decorated handles. Height of teapot 22cm $400-600 162 A GEORGE V SILVER TWIN HANDLED TRAY Maker’s mark of Roberts & Belk Ltd., Sheffield 1921, the shaped oval with gadrooned rim having four stylised palmette motifs above the pad feet. Width 67.5cm, Weight 3820g $2,800-3,200

158

163 A PAIR OF WEDGWOOD MOONSTONE URN SHAPED VASES Each of campana shape with scallop shell handles and a reeded body on a turned socle, impressed and transfer printed marks. Height 24.5cm $200-400

169

164 A PART SET OF WATERFORD CRYSTAL STEMWARE AND A DECANTER In the ‘Tralee’ pattern comprising four white wine, six sherry, six hock; and a mallet shaped decanter. (17) Height of decanter 33cm

170

167 A ZIMBABWEAN SILVER BREACHING HIPPOPOTAMUS BY PATRICK MAVROS With hallmarks and maker’s mark to base. Length 3cm, Weight 46.6g $300-500

$800-1,200 165 A ZIMBABWEAN SILVER SEATED HIPPOPOTAMUS BY PATRICK MAVROS From the Round Series, maker’s mark only to base. Height 4cm, Width 6.8cm, Weight 146.2g

$2,000-4,000 168 A ZIMBABWEAN SILVER SUBMERGED CROCODILE BY PATRICK MAVROS Hallmarks and maker’s mark to base. Length 8.1cm, Weight 107.3g $500-800

$800-1,200 166 A SET OF THREE ZIMBABWEAN SILVER AARDVARKS BY PATRICK MAVROS Each with hallmarks and maker’s mark to base. 6.7cm, 4.5cm and 4.5cm, Weight 246.4g (together)

170 A ZIMBABWEAN SILVER ELEPHANT BY PATRICK MAVROS From the Round Series, hallmarked and maker’s mark to reverse. Height 6cm, Width 8cm, Weight 229g

169 A ZIMBABWEAN SILVER RHINOCEROS BY PATRICK MAVROS From the Round Series, hallmarked to base. Height 4.5cm, Width 5cm, Weight 127.4g

171 A SET OF 16 ZIMBABWEAN SILVER PLACE CARD HOLDERS BY PATRICK MAVROS Each with an oval base surmounted by various different African animals and birds; Cape Buffalo, Porcupine, Gorilla, Pea Hen, Meerkats, Dik Dik, Pangolin, Hyena, Kudu, Ostrich, Cheetah, Wildebeast, Tortoise, Zebra, Aardvark and a Sable Antelope; each with hallmarks and maker’s mark to base and signed underneath. Length 4.2cm (each base), 500g (together) $4,000-6,000

$800-1,200

171

172

177

183

185 (part)

186

191

185 (part)

172 A JAPANESE STUDIO VASE BY ITO TOZAN I (1846-1920) MEIJI (1868-1912) OR TAISHO PERIOD (19121926) The square section vase with two ear handles in archaistic Chinese style, covered in a cobalt and iron glaze, by Imperial Household Artist (teishitsu gigei-in) Ito Tozan I, with tomobako (original signed wooden box). Height 27.4cm, Width 11cm $800-1,200 173 THREE PIECES OF JAPANESE LACQUER Comprising a black tray decorated with a gilt mon and border with original storage box; a square box with stylised clouds and waves to the cover; and another similar with cover decorated with peacocks. Largest box 12 x 29 x 27cm $400-600 174 A JAPANESE MODERNIST STUDIO VASE BY KUSUBE YAICHI (1897-1984) SHOWA PERIOD (1926-1989), CIRCA 1950s Of elegant form decorated with protruding vertical lines between conical bosses, covered in an iron glaze simulating ‘murashi’ patinated bronze., with tomobako (original signed wooden box). Height 22cm, Diameter 18.5cm $500-700 175 A GROUP OF JAPANESE LACQUER FOOD BOXES Comprising two early 20th century circular examples with concentric decoration, one black lacquer and the other with bands of red, green and yellow, both with red interiors, and a third red square food box decorated in gilt to lid with cypress, an egret and a tortoise. (3) Height of tallest 19cm

172

$400-600

173

176 A JAPANESE MODERNIST ‘SAIYU’ VASE, TOKUDA YASOKICHI III (1933-2009) SHOWA PERIOD (1926-1989) The slender-necked porcelain vase covered in glazes in the manner of a colour field painting, signed to base. Height 26cm, Diameter 9.5cm OTHER NOTES: This is an early period work by the artist, before he was designated Living National Treasure in 1997. $500-700 177 A JAPANESE LACQUER SUZURIBAKO EDO PERIOD (1603-1868), 18TH CENTURY Decorated to the cover with a monkey beneath a chestnut tree beside a river, and the interior an island against a nashiji ground, fitted with a fine gilt-copper chestnut-form suiteki (water dropper) and a later inkstone. Height 23.8cm, Width 20.7cm $1,200-1,800 177 178 A PAIR OF JAPANESE SAKE TOKKURI BY EIRAKU WAZEN (1823-1896) MEIJI PERIOD (1868-1912) Each decorated with a design of bamboo in gilt enamel over a pure white ground, marked ‘Dai Nihon Eiraku Zo’ in underglaze blue to the base. Height 14.5cm $400-600 179 A JAPANESE BIZEN OKIMONO OF A BULL, KIMURA TOHO (b. 1928) SHOWA PERIOD (1926-1989) Modelled as a recumbent bullock with fierce eyes in classic Bizen clay, with ‘goma’ glaze effect across its back, signed to base, with tomobako (original signed wooden box). Length 27cm $400-600

184

181

183

180 A JAPANESE BRONZE ALMS BOWL AND LATER COVER EDO PERIOD (1603-1868) OR EARLIER Adorned simply with an incised horizontal line around the rim, the patina with some verdigris. Height 13.8cm, Diameter 16cm

182 TWO JAPANESE CARVED WOOD NETSUKE EDO PERIOD (1603-1868), 19TH CENTURY One finely carved as a toad nestled on a sandal, signed to base; the other carved as a snarling mountain wolf hunched over a human skull. The wolf: Height 3.7cm, Width 4cm

$500-700

181 A JAPANESE KO IMARI OKIMONO OF A MAN GENROKU PERIOD (1688-1704) Modelled as a standing gentleman holding a fan, with brocade patterns in coloured enamels and gilding, the base with impressed cloth pattern. Height 31.5cm

183 A KHMER STONE HEAD OF BUDDHA MUKHALINDA BAYON PERIOD, LATE 12TH/EARLY 13TH CENTURY Carved from sandstone, with a radiant smiling face, backed by a mandorla of serpents, on a fitted black stand. Height 23cm, Width 19.5cm (Height 28.5cm with stand)

$1,000-1,500

PROVENANCE: The Sculpture Gallery, Hong Kong acquired from above early 1990s

184 A KOREAN MOULDED CELADON BOWL GORYEO KINGDOM (918-1392) Of globular form decorated with a subtle repeating moulded design to the cavetto, and a flower to the centre, the whole including the foot rim covered in a fine sea-green glaze, the base with three stilt-marks within the foot. Height 8.5cm, Diameter 19.3cm $1,000-1,500 185 TWO THAI SUKHOTHAI STYLE BUDDHA HEADS 15TH/16TH CENTURY One of bronze, with fine features and remnants of gilding, on a metal stand; the other of stucco, the face applied over an earlier, probably Mon-Dvaravati head, on a black perspex stand. The bronze head: Height 11cm, Width 7.5cm (Height 17cm with stand) $600-800

$1,200-1,800

190

186 A CHINESE BLACK LACQUER CABINET With gilt metal mounts, decorated with landscapes and pavilions in gold on a black ground. Height 91.7cm, Width 61cm, Depth 30.7cm PROVENANCE: The Estate of J Manton, Sydney

188 A CHINESE BLUE AND WHITE BOWL MING (1368-1644) OR EARLY QING DYNASTY (1644-1912), 17TH CENTURY Decorated with floral sprays to the exterior beneath a scrolling cloud border. Height 6.5cm, Diameter 12cm $400-600

$400-600 187 A CHINESE CELADON JADE CARVING Of a boy with a gourd. Height 5cm, Width 3.5cm PROVENANCE: The Estate of J Manton, Sydney $200-300

189 A GROUP OF TEN BRONZE OPIUM WEIGHTS AND ANOTHER BRONZE Mid-19th century, nine with duck finials graduating in size, one with a dragon and the other bronze in the form of a seated pigeon. (11) Height of largest 6.7cm Height of largest 6.7cm PROVENANCE: The Estate of J Manton, Sydney $200-300

190 A CHINESE JIEXIU WHITE-WARE CHRYSANTHEMUM-FORM DISH NORTHERN SONG DYNASTY (960-1127) With a rippled cavetto to form a chrysanthemum shape, the pure white body covered in a clear glaze. Together with a Chinese blue cotton cloth covered box inscribed by renowned specialist dealer in early Chinese ceramics K.Y. Ng. Diameter 4.5cm PROVENANCE: K.Y. Fine Art, Hong Kong Private Collection, Sydney, acquired from the above $5,000-7,000 191 A CHINESE CIZHOU IRON-DECORATED JAR YUAN DYNASTY (1279-1368) The wide baluster shaped jar covered with white slip and further decorated with underglaze iron brown flowers and foliage within two shaped reserves. Height 16cm, Diameter 20.5cm $600-800

192

192 A CHINESE YIXING ZISHA BELL-FORM TEAPOT REPUBLIC PERIOD (1912-1949) Of archaic bell form in deep purplish-brown clay, with incised calligraphy and landcsape decoration to each side, marked to the base. Height 9.5cm, Width 15.5cm $400-600

193

194 TWO CHINESE INSCRIBED YIXING ‘LIPINI’ TEAPOTS REPUBLIC PERIOD (1912-1949) OR LATER Both of ovoid form with a textured ‘pear skin’ surface, each inscribed to the base with an incised poem. The larger: Height 8.5cm, Width 13.8cm $500-700

193 A CHINESE YIXING ZISHA TEAPOT QING DYNASTY (1644-1912) OR LATER Of compressed globular form in very deep purplishbrown clay, marked to the base and inside lid. Height 7.5cm, Width 14cm

195 A CHINESE BURR WOOD BOX With brass mounts. Height 12cm, Length 31.5cm, Depth 18cm

196 TWO CHINESE YUEYAO BOWLS WARRING STATES PERIOD (475-221BC) One with high sides and a waisted rim, the rim decorated with impressed circular marks; the other of low flattened form, decorated to the interior with a carefully executed incised spiral, both covered with an olive-green ash glaze. The larger bowl: Height 5cm, Diameter 12.5cm PROVENANCE: Old Japanese collection $300-500

$300-500

$400-600

194

198

197 A CHINESE AMBER GLAZED WINE CUP LIAO DYNASTY (916-1125) The pink terracotta body covered in a white slip to highlight the amber glaze, with an old fitted Japanese wooden box. Height 4.5cm, Diameter 8.5cm $500-700

197A A CHINESE DINGYAO FOLIATE-RIM BOWL FIVE DYNASTIES (907-979) OR NORTHERN SONG DYNASTY (960-1127) The rim with five lobes, covered in an ivory-tinged glaze exhibiting tear-drops to the exterior. Height 4.5cm, Diameter 16.75cm PROVENANCE: Raymond & Victoria Tregaskis Leonard Joel, Melbourne, Chinese Ceramics And Works Of Art, 3 March 2021, lot 20 Private Collection, Sydney, acquired from the above $3,500-4,500

198 A CHINESE JIZHOU ‘GUAN’ JAR SOUTHERN SONG DYNASTY (1127-1279) Of compressed baluster form with a rolled rim, covered in a rich iron brown glaze and splashed with a lighter phosphatic glaze, with a Chinese cloth covered box. Height 11.4cm, Diameter 13.5cm PROVENANCE: K.Y. Fine Art, Hong Kong Sotheby’s, London, Asian Art, 9 November 2018, Lot 203 Private Collection, Sydney EXHIBITIONS: “Objects of Desire: The Classic Age of Chinese Ceramics Song to Yuan Dynasties, 10th to 14th Centuries”, Asian Arts Institute of Australia, Sydney, 2013, cat. no. 74 $7,000-9,000

199 A CHINESE ARCHAIC BRONZE MIRROR EASTERN HAN DYNASTY (25-220) OR THREE KINGDOMS (220-280) Finely cast in circular form with a raised boss to the centre, surrounded by figures and geometric symbols, with a silvery patina having partial verdigris encrustation, with an old, fitted Chinese silk-lined box. Diameter 10cm $1,000-1,500 200 A CHINESE CIZHOU-TYPE RIBBED BLACKGLAZED JAR JIN DYNASTY (1115-1234) Of globular form with an inwardly turned rim and two loop handles to the shoulders, decorated to the body with six groups of vertical raised slip lines, covered in a deep iron brown glaze running thin and showing a paler brown colour over the lines, the old Chinese blue cotton covered box inscribed by renowned calligrapher and scholar of Chinese ceramics Professor Liu Lianyou, and with his collectors seal reading ‘Yun Bao Xuan’. Height 12.7cm, Diameter 14cm

199

PROVENANCE: Professor Liu Lianyou collection, Taiwan Capital Gallery, Hong Kong Private Collection, Sydney, acquired from the above circa 1997 EXHIBITIONS: “Objects of Desire, The Classic Age of Chinese Ceramics Song to Yuan Dynasties, 10th to 14th Centuries”, Asian Arts Institute of Australia, Sydney, 2013, cat. no. 58 $8,000-10,000 200A A CHINESE RED CYPRESS-WOOD BRUSHPOT QING DYNASTY (1644-1912) Fashioned from a natural, unfinished branch of ‘hong do shan’ (red cypress), with fine old patina. Height 13cm PROVENANCE: Private Collection, Sydney $500-700

200

201 A CHINESE PORCELAIN JARDINIERE Republic Period (1912-1949), decorated in enamels in the famille-rose pallette with lobate reserves of peonies and birds, on a pink ground with scrolls and flower heads, on a carved wooden stand. Height 50cm, Diameter 54cm PROVENANCE: The Estate of J Manton, Sydney $1,000-1,500 201A A PAIR OF CHINESE FAMILLE ROSE COVERED CUPS P.R.O.C. PERIOD (1949-), 1980s The Western-style cups with fine decoration of birds and flowers to the sides and lids, and iron red marks reading ‘Zhonguo Jingdezhen’ and ‘made in China’ to base. Height 14cm, Width 12cm PROVENANCE: Private Collection, Sydney $150-250

202 (part)

201

202 FOUR CHINESE FAMILLE ROSE ‘EIGHT IMMORTALS’ PORCELAIN PLAQUES LATE QING DYNASTY/ EARLY REPUBLIC PERIOD Each plaque decorated with two of the eight Taoist immortals within rocky landscapes in famille rose enamels, mounted in old hardwood frames. 43.2 x 30.3cm (each) PROVENANCE: The Estate of J Manton, Sydney $3,000-5,000 203 A CHINESE PORCELAIN JARDINIERE Republic Period (1912-1949), decorated in enamels in the famille-rose pallette with lobate reserves depicting ladies at various pursuits, on a pink ground with scrolls and flower heads, on associated carved wooden stand. Height 33cm, Diameter 37cm PROVENANCE: The Estate of J Manton, Sydney $600-800

202 (part)

203

NOTES

The Leonard Joel Diamond Ring in Platinum, 25.02 Carats Sold for the Australian Record Price of $1,125,000

NOW CONSIGNING — Leonard Joel offers specialist experience and regular, curated auctions across a diverse range of categories. MELBOURNE 333 Malvern Road, South Yarra, VIC 3141 info@leonardjoel.com.au (03) 9826 4333

SYDNEY The Bond, 36-40 Queen Street, Woollahra, NSW 2025 sydney@leonardjoel.com.au (02) 9362 9045

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leonardjoel.com.au 73

DECORATIVE ARTS AUCTION MONDAY 18 OCTOBER, MELBOURNE

A Victorian Sterling Silver Cellini Pattern Ewer By Creswick & Co., Sheffield, Circa 1865 $1,500-2,500

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ASIAN WORKS OF ART AUCTION MONDAY 18 OCTOBER, MELBOURNE

A Chinese Blue And White And Copper-Red 'Meiping' Vase Kangxi Period (1661 - 1722) $1,500-2,500

leonardjoel.com.au 75

WOMEN ARTISTS AUCTION WEDNESDAY 20 OCTOBER, MELBOURNE EVELINE SYME (1888-1961) Sydney Tram Line 1936 linocut ed. 10/25 from 3 blocks 24.4 x 17.9cm $20,000-25,000

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you are invited to our global event art to roam

Please join us for art to roam Hosted by

John Albrecht

ifaw Board Member and Chairman of Leonard Joel. When: World Animal Day Time: Tuesday 5 October 7am (AEST, AU) Monday 4 October 4pm (NYC, USA) Monday 4 October 1pm (CA, USA) Monday 4 October 9pm (London, UK) Where: Virtual Auction hosted by Leonard Joel This will be an exciting online auction where John will be live, auctioneering the works from artists all around the world, with proceeds benefiting ifaw’s room to roam project & supported studios.

Art to roam is a unique event which will see artists from around the world collaborating with ifaw to create an exclusive online auction. Never before have supported studios from around the world joined hands in this way. These studios support neurodiverse artists who produce extraordinary art. It is the first dedicated art event for ifaw’s room to roam project; a campaign created to join networks of African landscapes where wildlife can roam safely between core habitats, and the people who share the landscapes can thrive along with the animals. For more information and to register: www.ifaw.org/arttoroam Australian auction house, Leonard Joel, has a long-standing relationship with ifaw, having collaborated on and implemented, a voluntary policy to cease auction trade in elephant ivory and rhinoceros horn.

— To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

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

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CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Hannah Ryan, Specialist Noelle Martin, Administrator and Registrar

Nick Bastiras, Manager

SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE OFFICE 201 Latrobe Terrace, Paddington QLD 4064 Telephone: 0412 997 080 ADELAIDE OFFICE 429 Pulteney Street, Adelaide SA 5000 Telephone: 0419 838 841 email: info@leonardjoel.com.au leonardjoel.com.au CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht BA LLB MBA CHIEF EXECUTIVE OFFICER Marie McCarthy

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

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

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

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