The Collection Of The Late John Schaeffer AO

THE COLLECTION OF THE LATE JOHN SCHAEFFER AO AUCTION TUESDAY 25 AUGUST 2020, SYDNEY i

AUCTION CATALOGUE VOLUME 13 ISSUE 10

Front Cover John Schaeffer AO - art collector and philanthropist 2014 by Evert Ploeg. Collection: National Portrait Gallery. © Evert Ploeg

Inside Cover 315 AN EARLY POLYCHROME TILE PANEL

BY WILLIAM DE MORGAN, 1872-1882 $8,000-12,000

leonardjoel.com.au

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THE COLLECTION OF THE LATE JOHN SCHAEFFER AO AUCTION TUESDAY 25 AUGUST 2020, SYDNEY SESSION I AT 1PM (Lots 1–254) | SESSION II AT 6PM (Lots 300–517)

VIEWING Sydney The Bond, 36-40 Queen Street, Woollahra NSW 2025 Thursday 20 - Monday 24 August, 10am-4pm

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@leonardjoel.com.au

leonardjoel.com.au

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The Collection of the Late John Schaeffer AO John Schaeffer AO was a successful businessman, an avid art collector and a

John Schaeffer was a true connoisseur; always aware that his beloved pieces

generous philanthropist. He leaves behind an extraordinary legacy of integrity,

of 19th-century European art, antique furniture and broader collection would

knowledge and passion for art.

not be his forever, and he gleaned much enjoyment from seeing his pieces take their places in galleries and museums across the globe. Now it is time for

As a generous benefactor to public galleries within Australia and internationally,

the next chapter of John’s very personal collection to find new custodians for

Schaeffer provided major contributions to the National Portrait Gallery in

the future.

Canberra, the Art Gallery of New South Wales, the National Gallery of Victoria, the University of Sydney, Tate Britain in London and the Cleveland Museum of

Leonard Joel is honoured to offer The Collection of the late John Schaeffer AO

Art in Ohio USA, amongst others. However, the true extent of his remarkable

at auction and we would like to extend our deepest thanks to Bettina Dalton

generosity is lesser known. His passion for sharing art widely ran incredibly deep

for her support and assistance. We also gratefully acknowledge the support

and he took great pleasure from his contribution to making art accessible to

of Evert Ploeg and the National Portrait Gallery for providing us with John

the wider public.

Schaeffer AO – art collector and philanthropist 2014, for use on the cover of this catalogue, held in the collection of the National Portrait Gallery.

Hamish Clark | Head of Leonard Joel, Sydney

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SESSION I

TUESDAY 25 AUGUST 2020 AT 1PM Lots 1 - 254

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1 A BRONZE MODEL OF A ROARING LION The king of the beasts on a black marble plinth.

Height 23cm; Width 42cm; Depth 17cm $1,000-2,000 2 A WEDGWOOD MAJOLICA FIGURE OF BACCHUS, LAST QUARTER 19TH CENTURY The running god in a goatskin with crossed thyrsoi over his shoulders with game birds, impressed mark, restorations.

Height 41cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A., 18-19 September 2013, lot 525 Purchased from the above $2,000-4,000 3 A VICTORIAN PLASTER CAST OF AN IONIC PILASTER CAPITAL AFTER A DESIGN BY SCAMOZZI Incised HM2569, the volutes issuing from a band of egg and dart with central acanthus bud.

Height 26cm; Width 50cm; Depth 13cm OTHER NOTES: This version of the ionic order was devised by Vincenzo Scamozzi (1552-1616) a pupil of Palladio, and was popular with the English Palladian architects of the early 18th century. $1,200-1,800 4 A COLLECTION OF SIX PLASTER CASTS, SIGNED A.W.R. MACDONALD, 1944 Comprising the eye, nose and lips of Michelangelo’s David; a foot, and ear and a hand holding a scroll (6). $2,000-4,000

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5 A PAINTED PLASTER MODEL OF A POMEGRANATE Naturalistically modelled and coloured.

Height 12cm $200-400

6 6 A PAIR OF ANTIQUE ITALIAN MARBLE LION’S PAWS Each with a square back panel issuing four talons.

Height 10cm; Width 12cm; Depth 13cm $1,500-2,500 7 A VICTORIAN GOTHIC BRASS FRAMED MIRROR The bevelled plate in a pierced surround composed of trefoils with foliate clasps to the corners.

34 x 24cm $500-700

8 A PAIR OF VICTORIAN AESTHETIC MOVEMENT BRASS FRAMED MIRRORS Each bevelled plate in an openwork surround of circles and rope twist.

Height 31cm; Width 31cm $1,500-2,500 9 A SET OF FRENCH BEECH FOLDING STEPS Height 154cm $800-1,200

10 A LARGE VICTORIAN MAHOGANY AND BRASS BELLOWS CAMERA BY G. HARE 26 Calthorpe St London Height 40cm; Width 37cm; Depth 49cm $1,500-2,500 11 A VICTORIAN MAHOGANY AND BRASS BELLOWS CAMERA, LATE 19TH CENTURY With ground glass panel to rear standard, leather strap handle.

Height 24cm; Depth 31.5cm; Width 21cm $800-1,200

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12 A VINTAGE STRAND ELECTRIC TRIPOD SPOTLIGHT With accessories, on a brass mounted tripod stand.

Height 173cm $1,000-1,500 13 A GENERAL ELECTRIC SEARCHLIGHT The swivel lamp supported by an adjustable tripod base.

Height 200cm $2,000-3,000 14 A GOTHIC REVIVAL GILTMETAL ASPERSORIUM, AND AN ASSOCIATED ASPERGILLUM The hexagonal bucket cast with gothic tracery, zinc lined, the silver plated, baluster shaped sprinkler with pierced end.

Height 37cm $500-700

15 AN EARLY VICTORIAN MINIATURE BAPTISMAL FONT BY MINTON & CO Cast all over with gothic tracery, the removable cover with gable finial, the base with panels of trefoils, on stepped octagonal base, impressed “Magdalen” in a cartouche and MINTON to base.

Height 32cm OTHER NOTES: See an identical example illustrated in “A.W.N. Pugin: Master of Gothic Revival” 1996 published by the Bard Graduate Center for Studies in the Decorative Arts, page 250, designed to be used for children who were too ill to be baptised in church, they were a feature of Minton’s production from the 1840s until the end of the century. This example is a replica of the font in the church of St Mary Magdalen, Oxford. $600-800

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16 AN IRON MODEL OF A STRIDING HORSE Adapted from a model by Pierre-Jules Mene, 19th Century. Naturalistically modelled, unsigned.

Height 27cm; Length 41cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A., 18-19 September 2013, lot 491 $2,000-4,000 17 AN ANTIQUE OAK FOLIATE CARVED CROCKET, LATE 19TH CENTURY Height 36cm; Width 26cm; Depth 5cm $200-400 18 A WILLIAM IV BRONZE TWIN LIGHT ARGAND LAMP The facetted urn shaped reservoir above a pair of foliate scrolled arms with frosted shades, on a pedestal base with recessed panels and quatrefoils, electrified.

Height 47cm; Width 47cm $3,000-5,000

19 TWO LATE VICTORIAN BRASS FRAMES A Liberty style hammered brass frame having applied roundel with enamel fleur de lys, traces of silver plate; and a strut frame in the form of an easel, artist’s palette and brushes engraved with a ploughman (2). $300-500 20 A FRENCH MAJOLICA MODEL OF A COCKEREL, CIRCA 1880, BLACK PAINTED MARK FOR DELPHIN MASSIER, VALLAURIS The crowing bird standing by a bundle of maize.

Height 68cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A.18 & 19 September 2013, lot 487 $3,000-5,000 21 A VICTORIAN BOXWOOD SPOON OF HISTORICAL INTEREST The fiddle pattern spoon with paper label “SPOON used by an officer thro Crimea”.

Length 20cm $200-400 22 A GROUP OF FIVE VICTORIAN GREEK REVIVAL CERAMICS A Samuel Alcock orange ground jug, a similar mauve ground vase, two jugs, one with a silver-plate rim, and a pewter lidded jug with transfer printed scenes Day and Night after Thorwaldsen (5). $1,000-1,500

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23 A PAIR OF FRENCH BRONZE EWERS, ATTRIBUTED TO JEAN-JACQUES FEUCHÈRE (1807-1852) Each with an ovoid body cast with bats surmounted by a winged demon grasping a tropical flower, on a snake entwined socle, the integral fluted plinth cast with beads and bands of laurel (2).

Height 36.5cm PROVENANCE: Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 354 Purchased from the above $2,000-3,000 24 A PAIR OF NAPOLEON III ORMOLU SMALL CANDELABRA BY VICTOR PAILLARD, PARIS Each stamped VR beneath a crown, in the Louis XVI style having a pine cone and acanthus cast finial, issuing four fluted supports and two candle branches with urn shaped nozzles, central spirally reeded pedestal on a shaped quatreform base, indistinct maker’s stamp to underside.

Height 23cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A., 18-19 September 2013, part of lot 412 OTHER NOTES: Victor Paillard (1805-1886) was known for his bronzes, ormolu clocks and candelabra. He was chosen to cast the massive zinc and bronze figure of Queen Victoria for the 1851 Great Exhibition and these candelabra may have been acquired by, or presented to the Queen at the same time. $1,500-2,500

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25 A BRONZE TAZZA The shallow dish with a relief of Phoebus Apollo, flanked by mask handles, supported by a winged Egyptian sphinx on a rectangular plinth.

Height 39cm; Width 42cm (across handles) $1,500-2,500 26 reproduction of AUGUSTE RODIN (French, 1840-1917) The Thinker resin (bronzed) Stamp: REPRODUCTION/ MUSEE RODIN/ PROCEDE/ GIRAUDON 37.5 x 27 x 18cm $400-600 27 A PAIR OF MODERN NEOCLASSICAL BRONZE TABLE LAMPS Each with urn shaped nozzle on fluted shaft supported by three lion paw feet on a plinth base.

Height 48cm (excluding shades) PROVENANCE: Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 330 Purchased from the above $2,000-4,000 28 A LARGE COLLECTION OF SEASHELLS Including, abalone, murex, conch and others. $1,000-1,500 29 A FOSSIL FISH PLAQUE In two pieces.

25 x 15cm $400-600 30 A GILT GOTHIC FRAME $300-500 31 A 19TH CENTURY GLASS DOME On an ebonised turned wooden base.

Dome: Height 57cm; Diameter 29cm; Base: Height 3.5cm; Diameter 36cm $300-500 32 A LARGE ANTIQUE CAST CEMENT DOVECOTE Circular with a conical roof, and faux brickwork sides.

Height 112cm PROVENANCE: Parterre, Ocean Street Woollahra, Sydney $1,500-2,500

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33 A PAIR OF ANTIQUE MARBLE COLUMNS In grey veined white marble, moulded foot (2).

Height 98cm $1,500-2,500 34 A LARGE PAIR OF ANTIQUE STONE FINIALS Height 88cm PROVENANCE: Parterre, Ocean Street Woollahra, Sydney $3,000-5,000 35 A COMPOSITION STONE PEDESTAL Moulded to each side with a swag on a fluted panel, with an associated white marble top.

Height 56cm; Width 45cm; Depth 45cm $800-1,200

36 AN ANTIQUE FRENCH TAVERN SIGN In the form of a carved, gilt and polychromed oak bunch of grapes, iron suspension ring. End of 18th century.

Height 66cm $4,000-6,000 37 A CRANBERRY GLASS VASE Urn shaped on a spreading foot.

Height 36cm $300-500 38 A LARGE BOURNE DENBY “DANESBY WARE” OVOID VASE Having an everted rim and overall intense blue streaked gaze, printed mark.

Height 38cm $500-700

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39 A SMALL MALACHITE GLASS VASE Moulded in relief with a continuous frieze of dancing maenads.

Height 12cm $400-600 40 A VICTORIAN PINK VASELINE GLASS TRUMPET VASE The fluted frilled neck issuing from a globular base.

Height 29cm $400-600 41 AN ELIZABETH II LIMED-OAK CORONATION CHAIR 1953, BY NORTH & SONS, WYCOMBE Covered with blue velvet bearing the monogram E R II beneath a crown, stamped ‘NORTH & SONS WYCOMBE., 1953’ and branded ‘ER CORONATION’, with a label ‘114’.

Height 85cm; Width 49.5cm; Depth 43cm $1,000-2,000 42 A GEORGE VI LIMED AND STAINED OAK CORONATION STOOL 1938,

BY MAPLE & CO LTD, LONDON Covered with blue velvet on square chamfered legs, stamped GRVI under a crown and CORONATION, and MAPLE & CO LTD LONDON. Height 49cm; Width 46cm; Depth 32cm $400-600 43 A VINTAGE GLASS ARNOTT’S BISCUIT GLOBE With aluminium cover and foot, enamelled to the glass “ARNOTTS FAMOUS BISCUITS”.

Height 30cm $500-700

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44 A GERMAN GILT SUNBURST CONVEX MIRROR, MODERN Diameter 81cm $1,000-1,500 45 A PAIR DUTCH REPOUSSÉ BRASS WALL LIGHTS, 18TH CENTURY Each oval the shell shaped candle holder below the dished reflector in a surround of scrolling flowerheads, with conforming cresting.

88 x 53cm $3,000-4,000 46 A GILTWOOD SUNBURST MIRROR The convex plate in a carved lappeted frame with radiating flames.

Diameter 72cm $600-800

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47 A SMALL CONVEX MIRROR IN A GILTWOOD SUNBURST FRAME, MODERN Diameter 54cm $400-600 48 A PAIR OF MODERN CONVEX MIRRORS IN GILTMETAL STIFF LEAF FRAMES

By Pigott’s Store, Woollahra (2).

Diameter 40cm $300-500 49 A CAPODIMONTE PORCELAIN FIGURE OF FLORA Underglaze blue crowned N mark, the classically draped woman in a gold lustre robe with red flowes, on a circular base.

Height 25cm $300-500 50 A CLARICE CLIFF WALL MASK, CIRCA 1928 Wearing a moulded radiating headdress and earrings, printed marks, Clarice Cliff Wilkinson Ltd England.

Height 18cm $500-700 51 A HUTSCHENREUTHER PORCELAIN FIGURE OF A DANCER Green transfer underglaze mark, the striding woman in a revealing bodice and skirt.

Height 21cm $400-600 52 AN ART DECO BRONZE FIGURE OF A FAUN ON AN ONYX AND MARBLE BASE bronze, onyx, marble 35cm x 10cm x 10cm $300-500 53 AN AUSTRIAN CHROME MODEL OF A TENNIS PLAYER BY WERKSTATTE HAGENAUER WIEN Stamped ‘WHW Made in Austria’.

Height 26cm $200-400 54 GERHARD SCHLIEPSTEIN (German, 1886-1963) Verklarung (Transfiguration) c.1926 white glazed porcelain, ed. Rosenthal Signed, incised to base with makers name: G. SCHLIEPSTEIN Stamped with ED Rosenthal, Bavaria, No 403 Height 45cm PROVENANCE: Leonard Joel, 24 August 2014, Melbourne, lot 51 $2,000-4,000

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55 A LALIQUE FROSTED GLASS BACCHANTES VASE With a continuous frieze of naked maenads and engraved ‘Lalique France’.

Height 24cm $4,000-6,000 56 A CONTINENTAL MAJOLICA COCKATOO, 19TH CENTURY Naturalistially modelled and coloured perched in a circular hanging frame (repairs).

Height of bird 50cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A., 18-19 September 2013, lot 488 $2,000-3,000

57 A PAIR OF ART DECO FROSTED GLASS AND IRON WALL LIGHTS Each in the form of a stylised basket of flowers in textured iron mount with wrought leaves.

Height 23cm; Width 23cm; Depth 7cm $700-900 58 A MEISSEN PORCELAIN WALLY BIRD Underglaze blue crossed swords mark, and pressnummer W149, the bird standing on a triangular base with foliage.

Height 20.5cm $300-500 59 A MURANO GLASS VASE FOR ARMANI CASA, 2014 Ovoid dark blue glass with an oil spot design.

Height 23cm $800-1,200

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60 A PAIR OF ART DECO STYLE CHROMIUM PLATED WALL LIGHTS With opalescent glass shades (2).

Length 16cm; Diameter of shades 18.5cm $400-600

67 A GLASGOW ARTS AND CRAFTS SILVERED BRASS MIRROR, THE DESIGN ATTRIBUTED TO MARGARET GILMOUR (1860-1942) Shaped oval the repoussé frame with a pair of stylised peacocks and fruiting tendrils.

40 x 89cm $1,500-2,500

61 AN ART DECO BRONZED BEECH STANDARD LAMP The bell shaped shade painted with sprays of roses, on a pedestal carved with rose garlands and a pair of draped maidens to either side, on four shaped feet.

Height 183cm $800-1,200

68 AN ANTIQUE BRASS FRAMED MIRROR 50 x 35.5cm $400-600 68A A LARGE VENETIAN OVERMANTEL MIRROR The arched bevelled plate with incuse corners having mirrored borders incised with flowers and foliage.

181 x 151cm

62 A PAIR OF SCANDINAVIAN BEECH FRAMED ARMCHAIRS With cut out top rail above the padded back and seat, flanked by shaped arms, on square tapering legs united by an H stretcher (2).

Height 94cm; Width 66cm; Depth 66cm $600-900

PROVENANCE: Robert Morrison, Queen Street Woollahra, Sydney $7,000-9,000 69 A CHINESE CLOISONNE ENAMEL TABLE MIRROR The circular plate in a stand decorated with chrysanthemums and peonies.

Diameter 20cm; Height 38cm $600-800

63 A MODERN GREEN MARBLE TOPPED TABLE On a brushed chrome square legged base.

Height 71cm; Length 161cm; Width 100cm PROVENANCE: Berman House, NSW designed by Harry Seidler and Associates, 1996 Shapiro, Studio Ceramics, 2021C Design, Vintage Couture & Jewellery, 1 November 2009, lot 237 Purchased from the above $1,500-2,500

70 A JAPANESE BRONZE VASE, MEIJI PERIOD The squat baluster body with low relief designs of Shi Shi dogs, on three scrolled feet, having a removable liner with broad rim, signed to base.

Diameter 30.5cm; Height 27cm

64 A VENETIAN STYLE WALL MIRROR The bevelled mirrored borders with chromium clasps and etched stylised flower sprays.

165 x 105cm $1,500-2,500

PROVENANCE: Mossgreen Sydney, The Estate of Leslie Walford, 18 November 2012, lot 357 $600-800 71 TWO ANTIQUE INDONESIAN BRASS BETEL NUT BOXES Each with loop carrying handles and moulded edges, the larger with engraved foliate decoration and a pierced liner (2).

The largest: Height 15cm; Width 31cm; Depth 17cm $400-600

65 A GERMAN ART DECO OAK LONG CASE CLOCK The arched top with carved stylised leaf and flower ornament, the silvered dial with Arabic numerals, the glazed trunk on a pedestal base and turned feet.

Height 196cm; Width 52cm; Depth 27cm $800-1,200

72 A CHINESE PORCELAIN BALUSTER VASE, LATE QING DYNASTY Moulded all over and enamelled with birds and sprays of flowers on a celadon ground, two stylised dragon handles.

Height 63cm $500-700

66 A DANISH MID CENTURY ROSEWOOD MIRROR

BY AKSEL KJAERSGAARD, CIRCA 1955 The rectangular plate within narrow uprights, stamped to verso.

120.5 x 51cm $700-900

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73 A STONEWARE OIL VESSEL Of ovoid outline with four lug handles and brown glaze.

Height 62cm $500-700 74 A PAIR OF CHINESE JUNYAO NARCISSUS POTS Each of lobate outline (2).

Height 17cm; Diameter 27cm $500-700 75 A JAPANESE WHITE GLAZED PORCELAIN FIGURE OF A SEATED TIGER, LATE EDO PERIOD C. 1850 Height 15.5cm PROVENANCE: David Bluford Collection and the Estate of John Lane, Elizabeth Bay Sydney Shapiro, SH111, 27 July 2015, lot 63 Purchased from the above $1,500-2,500 76 A CHINESE PORCELAIN INCENSE BURNER, LATE 19TH CENTURY Rectangular with a pierced cover surmounted by a Shi Shi dog, painted with courtly ladies in a garden.

Height 15cm $500-700 77 A CHINESE PORCELAIN SQUARE TEA CANISTER With cylindrical cover, decorated all over with gilt chinoiseries on a black ground.

Width 23cm; Depth 23cm; Height 38cm $300-500 75 78 A CHINESE SCHOLAR’S ROCK Dragon shaped, on a carved rosewood stand.

Width 70cm $3,000-5,000 79 AN ANTIQUE ISLAMIC TILE Painted in colours with a horseman with falcon and hound, box mount.

31 x 22cm (tile) $300-500 80 A MUGHAL BRASS AND GILT BRASS PROTECTIVE MIRROR, LATE 18TH CENTURY Circular with a pierced foliate and sunburst design over the mottled glass.

Diameter 26cm $400-600

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81 A CHINESE CLOISONNÉ ENAMEL MOONFLASK, QING DYNASTY Enamelled in colours with peonies, having a pair of well cast dragon handles flanking the bulbous neck.

Height 51cm $7,000-9,000

84 AN ITALIAN SPECIMEN MARBLE AND GILTWOOD CENTRE TABLE, EARLY 19TH CENTURY The radially inlaid top with 168 specimens, within a white and green border, on an urn pedestal, octagonal moulded base with lion paw feet.

Diameter 80cm; Height 83cm

82 TWO CHINESE PORCELAIN EROTIC TILES Each painted in colours with an amorous couple in an interior (2).

18 x 12cm $400-600

PROVENANCE: Martyn Cook Antiques, Queen Street Woollahra, Sydney $3,000-5,000

83 AN ART NOUVEAU BRASS FRAMED VITRINE Having glazed sides and shelves, the arched front panel with headlight upper section.

Height 70cm; Width 42cm; Depth 27cm $800-1,200

85 A VICTORIAN BRASS AND PINK VASELINE GLASS TABLE LAMP Having pressed glass lobate reservoir and shade with flowers and scrolls, the Aesthetic movement pedestal with two spheres and spreading foot.

Height 68cm (overall) $800-1,200

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86 A VICTORIAN BRASS AND PINK VASELINE GLASS TABLE LAMP The tapering pedestal cast in low relief with dolphins and compasses amidst foliate scroll, the cylindrical reservoir and frilled shade with tendrils and flowerheads.

Height 60cm $800-1,200 87 A WILLIAM IV PORCELAIN TABLE LAMP The square moulded foot rising to pedestal and a leaf moulded socle, the columnar shaft moulded with hops and decorated gilt and cream on a crimson ground, with a gilt metal foliate mount and cut glass reservoir, electrified.

Height 64cm $800-1,200

88 A CONTINENTAL MARBLE TOPPED CIRCULAR OCCASIONAL TABLE The green and white inlaid top with pierced brass border, on slender cabriole legs with paw feet.

Diameter 31cm; Height 68cm $400-600 89 A PAIR OF GOTHIC REVIVAL BRASS CANDLESTICKS, MID 19TH CENTURY Each on an octagonal quatrefoil cast base rising to a spirally fluted knopped shaft and pierced drip tray (2).

Height 52cm PROVENANCE: Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 572 $800-1,200 90 A SMALL WILLIAM IV BOX OTTOMAN The rising top with woolwork panel of stag and doe, concave sides on mahogany reeded bun feet.

Height 41cm; Width 38; Depth 38cm $300-500 91 A VICTORIAN MAHOGANY FIRESCREEN Rectangular with a scroll carved cresting in shaped strut supports with a needlework scene of two huntsmen, a boy and a hound.

Height 68cm; Width 49cm; Depth 25cm $400-600 92 A VICTORIAN RED VELVET CIRCULAR TABLE CLOTH Having a gros point needlework border of flowers and fringed edge.

Diameter 110cm $800-1,200 93 A NOVELTY CASED DECANTER AND GLASSES SET In the form of a stack of four antique bindings, the uppermost with the French imperial eagle, opening to reveal two decanters and five glasses.

Height 13cm; Width 20cm; Depth 14cm $400-600

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94 A VICTORIAN EBONISED AND PAINTED CHILD’S CHAIR With spindle turned back splats, upholstered seat and turned legs.

Height 70cm; Width 38cm; Depth 35cm $200-400

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100 A REGENCY BRASS ADJUSTABLE FIRE KERB Having arched ends with winged torch mounts, united by a pierced band of well cast palmettes.

Height 19cm; Width 90cm; Depth 9cm $1,000-2,000 101 A PAIR OF ORMOLU MOUNTED BLACK MARBLE TABLE LAMPS, LATE 19TH CENTURY Each in the form of a stop fluted ionic column, on a leaf cast square base with bun feet, one inscribed in pencil “Paillard 1880”, electrified.

Height 39cm $600-800 102 A LATE 19TH CENTURY FRENCH MAJOLICA UMBRELLA STAND Cylindrical and naturalistically modelled with flowering iris, zinc liner, incised N 4 to base. $1,500-2,500 103 A COLLECTION OF WALKING STICKS Comprising a knobbly example with a bronze frog mount, three plain crooked sticks in natural woods, a bamboo example, a turned rosewood cane, a brass mounted shoehorn, a Coutts umbrella and another umbrella (9). $300-500 104 A REGENCY STYLE OCCASIONAL TABLE The circular rosewood top on leaf carved pedestal and three swept feet.

Height 52cm; Diameter 45cm $600-800

102 95 A VICTORIAN WALNUT OCCASIONAL TABLE The oval glazed top enclosing a panel of Berlin woolwork of roses and foliage, on a spirally carved tapering pedestal and three leaf carved swept feet.

Height 72cm; Width 52cm $1,000-1,500 96 A VICTORIAN GOTHIC BRASS BOOK STAND Originally part of a lectern, the solid slope on ogee arched sides.

Height 22.5cm; Width 40.5cm; Depth 24cm $1,000-1,500 97 A VICTORIAN GOTHIC REVIVAL OAK KNEELER The sloped needlework top on a frame composed of trefoil arches with pierced spandrels and carved to the side panels with oak and vine leaves, having a pen inscription to the underside “WORKED BY RUTH HARLY 1868”.

Height 32cm; Width 47cm; Depth 29cm $800-1,200

98 A PARIAN FIGURE, JEANNE D’ARC À DOMRÉMY, CAST AFTER THE MODEL

BY HENRI CHAPU (1833-1891) The Maid of Orleans depicted in peasant garb, kneeling on the ground receiving her visions, signed “d’apres Chapus”; on ebonised wood base.

Height 46cm (overall) $800-1,200 99 A SET OF VICTORIAN AESTHETIC BRASS FIRE TOOLS AND A PAIR OF FIRE DOGS Comprising poker, tongs and shovel all with spiral twist shaft and copper flowerhead finials, the fire dogs with triangular end supports and stylised fleur de lys finials (5).

PROVENANCE: Haslam & Whiteway Ltd, London $1,000-2,000

105 A LARGE VICTORIAN AESTHETIC MOVEMENT STAINED GLASS DOOR BY LYON, COTTIER & CO, ORIGINALLY FROM ST JOSEPH’S COLLEGE, HUNTERS HILL Rectangular with an internal arch having a coat of arms on a field of sunflowers, above a panel centred with a full length figure of the blind poet Homer holding a scroll standing before a temple, on a field of stained glass tile patterns with corner panels of birds in branches, titled HOMER in a scroll, within stylised leaf borders.

235 x 123 cm OTHER NOTES: There is a stained glass window with an almost identical depiction of Homer except accompanied by a hound, at St Andrews College, University of Sydney. $8,000-12,000 106 A VICTORIAN EBONISED BEECH EASEL Of strut form the uprights with scrolled finials and anthemion cresting, the adjustable rest carved with scrolls, turned stretcher.

Height 182cm; Width 42cm $1,500-2,500

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107 AN AESTHETIC MOVEMENT BRASS AND IRON CARRYING FRAME With a pair of integral side handles, the front and sides having a Japonaiserie design of roundels and swirling lines. Registration mark for 20th June, 1876.

Height 12cm; Width 53cm; Depth 8cm OTHER NOTES: The National Archive (UK) records that Henry Jenkins and Sons, Unity Works, Vittoria Street, Birmingham registered seven designs for “cruet frames” on this date. $600-800 108 A VICTORIAN OAK OXFORD FRAME With chamfered members, embellished to the corners with sections of antler.

67 x 78cm (overall) $400-600

PROVENANCE: Sotheby’s Australia, Norman Wheeler Collection, August 1994, lot 27 Christie’s Sydney, The Collection of John Schaeffer at Rona, May 2004, lot 75 Purchased from the above $1,200-1,500 112 A REGENCY GILTWOOD AND VERRE EGLOMISÉ SMALL PIER MIRROR The rectangular plate flanked by a pair of fluted columns with ionic and stiff leaf capitals below rosette headers, with a verre eglomisé panel decorated with a trophy of arms in blue and gilt.

99 x 61cm

109 A SILVERPLATED INKSTAND In the form of an ice floe with a polar bear with concealed inkwells. Stamped E.A.P.A.N.S to underside.

Height 16cm; Width 36cm; Depth 19cm $800-1,200

PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A., 18-19 September 2013, lot 406 $2,000-4,000

110 A 19TH CENTURY FRENCH ENGRAVED GLASS GOBLET The bucket shaped bowl on a hollow knopped stem.

Height 21cm $600-800

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111 A PAIR OF ENAMELLED GLASS VASES, 19TH CENTURY Cylindrical with a flared rim, having a design of Chinese figures in a garden.

Height 15cm; Diameter 15cm

113 A GEORGE III MAHOGANY AND BOXWOOD STRUNG BANJO BAROMETER With scroll pedimented top above a silvered hygrometer dial, arched thermometer, ebonised framed convex glass, and an engraved silvered dial, the spirit level inscribed ‘FRAS.BARNASCONI ABERGAVENNY WARRANTED’.

Height 100.5cm $1,000-1,500

116A A COLLECTION OF MEMORABILIA RELATING TO RONA, BELLEVUE HILL Comprising a named coir doormat, a visitors’ book

by Smythson of London, a conservation report, a sign, an aerial photograph of the mansions of Bellevue Hill including Elaine, Rona, Winston, Redleaf and a quantity of framed photographs of Rona. $300-500 117 A WILLIAM IV MAHOGANY GOTHIC REVIVAL HALL CHAIR The arched back with three ogee arched openings, above a panel seat on turned and facetted tapering front legs.

Height 87cm; Width 43cm; Depth 36cm $400-600 118 A REGIONAL LATE GEORGE III STAINED BEECH DINING CHAIR, PROBABLY EAST ANGLIA The broad top rail above four stick splats and a pierced and scrolled back rail the panel seat on square tapering supports with H stretcher.

Height 89cm; Width 48cm; Depth 46cm $300-500

112 114 TWO BRONZE AND MARBLE LIBRARY HERMS, CAST AFTER THE MODELS BY PIERRE-JOSPEH CHARDIGNY (1794-1866) One with a bust of Miguel Cervantes, the other with Richard Wagner, on green marble herm plinths (2).

Height 28cm $1,000-2,000 115 A REGENCY GILTWOOD SMALL PIER GLASS The ball decorated cornice above a broad frieze ornamented with acanthus motifs and rosettes, the arched bevelled plate flanked by fluted Egyptian herms with ebonised faces and feet.

92 x 63cm PROVENANCE: J. Roger (Antiques) Ltd, 26 Fitzjames Avenue London Purchased from the above on 14 June 2014 $1,000-1,500 116 GIUSEPPE ALLESSANDRO MORETTI (Italian, 1970-1953) Portrait Bust of a Gentleman 1919 bronze signed and dated verso: Moretti/1919 Height 20cm $500-700

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119 A 19TH CENTURY CONTINENTAL FRUITWOOD CIRCULAR EXTENDING DINING TABLE The circular moulded top opening to take two leaves the four column turned pedestal united by a cruciform stretcher with pierced trefoils, on bun feet.

Height 75cm; Length 245cm (extended); Width 127cm $2,000-4,000 120 A PAIR OF GILTWOOD NICHES, ITALIAN 17TH CENTURY Each rectangular, with two fielded panels above the recessed niche and a semicircular reeded and fluted support below.

Height 59cm; Width 16cm; Depth 8cm $500-700 121 FRAMED SIR GEORGE FRAMPTON DINNER MENU from The Florence, 12 December, 1908 with signatures of dinner guests watercolour, pen & ink 24 x 30.5cm OTHER NOTES: George Frampton was a notable British sculptor and a leading member of the New Sculpture movement.

Frampton is best known for his bronze statue of “Peter Pan” in Kensington Gardens. $600-800 122 AN EDWARD VII SILVER CORONATION CHAIR PIN CUSHION AND A PLATED PERPETUAL CALENDAR STAND The pin cushion with maker’s mark of Levi & Salaman, Birmingham 1901; the stand by Elkington & Co, on a rectangular moulded foot surmounted by a leapfrogging elf, lacking interior cards (2). $600-800 123 A GEORGE V SILVER CASED GIANT POCKET WATCH The case with maker’s mark of Syner and Beddoes, Birmingham 1916, retailed by Hardy Brothers, with engine engraved decoration, the Swiss watch with Arabic numerals, seconds dial and 8 day movement, retailed by Hardy Brothers Sydney and Brisbane.

Height 14cm; Width 11.5cm; Depth 3.5cm $500-700 124 A GEORGE II SILVER CREAM JUG Maker’s mark indistinct, London 1750, of baluster form, the body with repoussé flowers sprays and a rocaille cartouche engaged with a crest, on three pad feet.

Height 9cm $300-500

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125 A FOUR PIECE SILVERPLATED TEA AND COFFEE SET Maker’s mark of Spurrier & Co, late 19th century, of half reeded design comprising coffee pot, tea pot, covered sugar basin and cream jug, all engraved with the initials NA. Height of coffee pot 25cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia), Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 92 Purchased from the above $3,000-5,000 126 A SILVERPLATED TEA POT, THE DESIGN ATTRIBUTED TO DR CHRISTOPHER DRESSER Retailed by Hardy Brothers, of hemispherical outline with straight wooden handle, impressed mark HARDY BROS. SYDNEY & BRISBANE 12225 MADE IN ENGLAND. Diameter 17.5cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia) Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 94 Purchased from the above $2,000-4,000 127 A CONTINENTAL SILVER SALT, LATE 19TH CENTURY Apparently unmarked, in the form a miniature jardiniere stand, with a scalloped blue glass liner, the sides with pierced panels centred with satyr mask and putti and gryphons amidst scrolls on tapering legs joined by greek key engraved stretchers.

Width 11cm; Height 8cm; Depth 6.5cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia) Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 82 Purchased from the above $1,000-1,500

128 AN EDWARD VII SILVER TWIN HANDLED TROPHY CUP Maker’s mark of Walker & Hall, Sheffield 1907 the pierced scroll handles flanking a girdled bowl on plain foot; engraved MELBOURNE HUNT CLUB DANDENONG POINT TO POINT STEEPLECHASE 13-9-09 1ST TROPHY WON BY G.N. ARMSTRONG’S “BARANGKALI”.

Height 15cm; Width 27cm (across handles) PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia) Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 95 Purchased from the above OTHER NOTES: Charles Nesbitt Armstrong (1858-1948) was married to Dame Nellie Melba in 1882, and after the birth of their son George in 1883, they separated. $4,000-6,000 129 A CONTINENTAL SILVER BOX, LATE 19TH CENTURY Maker’s Mark CM, the cover with a repoussé design of scrolls and rocaille on a sunburst field, Morocco leather base, cedar lined.

Width 11.5cm; Depth 9cm; Height 5cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia) Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 80 Purchased from the above $700-900 129A AN AMERICAN SILVER BON BON DISH Make’s mark of Gorham & Co, date letter indistinct, possibly 1922, shaped square, with repoussé panels of rocaille and flowers and open latticework corners.

Height 3cm; Width 12cm; Depth 12cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia) Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, part lot 81 Purchased from the above $400-600

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130 A DANISH ART NOUVEAU SILVER THREE PIECE COFFEE SET Assay mark of Christian F Heise, 1906-1932, each piece with a beaded rim, and stylised fleur de lys on a moulded foot, engraved with a monogram, the covered coffee pot with bud finial.

Height of coffee pot 23cm $800-1,200

133 A CONTINENTAL SILVER BOWL London import mark for 1925, hemispherical with moulded rim, on three hippocamp feet, inscribed HERBERT GOLDSMITH SQUIERS from his Grandparents MYLES & ETHEL KENNEDY, on his XIth birthday, June 28,1928.

Diameter 13cm; Height 9.5cm $600-800

131 ‘HYMNE Á LA NUIT” A FRENCH SILVERED METAL FIGURINE, LATE 19TH CENTURY The young woman clothed in a star decorated robe and carrying a crescent moon on her shoulders, on a square plinth with relief panels of Venus with Cupid, moulded foot.

Height 44.5cm $400-600

134 A GEORGE V SILVER ART NOUVEAU BOWL Maker’s mark of John Round & Son, Sheffield 1905, with three loop handles and feet, the flared bowl set with blue glass cabochons.

Height 10cm; Diameter 16cm $500-700

132 A VICTORIAN SILVERPLATED EPERGNE Maker’s mark of Horace Woodward & Co, Birmingham, having a central cut and frosted glass trumpet, above a conforming tazza, on a fluted pedestal supported by three addorsed winged hippocamps, on square moulded feet.

Diameter 28cm; Height 49cm $800-1,200

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135 A FABERGE SILVER SOUP PLATE Marked K Faberge, Moscow 1899-1908, of square outline with cut corners, in the Empire style the borders with four pairs of winged hippogriffs with wreaths within a stiff leaf cast border.

23 x 23cm $2,000-4,000 136 A CONTINENTAL SILVER RENAISSANCE STYLE TAZZA WITH IMPORT MARK FOR LONDON 1925 The hammered lobate bowl engraved to the centre "HERBERT GOLDSMITH SQUIERS on his 10th Birthday JUNE 28 1927" on a dolphin pedestal and conforming lobate foot. Importer's mark of Israel Segalov.

Height 15cm; Diameter 125cm $400-600

137 A GEORGE III SILVER SAUCE BOAT Maker’s mark indistinct, London 1771, with scroll handle the body with repoussé flowers and rocaille, on three hoof feet.

Height 11cm $300-500 138 AN EDWARD VII SILVER BON BON DISH Maker’s mark of James Dixon and Co, Sheffield 1909, shell shaped with rocaille border, on short scrolled legs.

Diameter 20cm $300-500 138A A SILVER GOLF TROPHY AND A COVER Conical with a golf ball knop the cover with golf ball finial.

Height 25.5cm $400-600 139 A GROUP OF SILVER ITEMS Comprising a pair of Victorian serving spoons, London 1895 with shell bowls and spiral twist handles with seal knops; a Continental tea strainer; a small Polish silver cylindrical inkwell, Warsaw 1878 with boars’ head and hound decoration, and an oval Continental silver tray with a lobate border (5). $500-700

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140 AN EDWARD VII SILVER TEAPOT AND CREAM JUG Maker’s mark of Elkington and Co. London 1907 Of squat cauldron form with hammered finish, the ebony handle with leaf cast scrolls, and raised on short scroll legs, hinged cover with ebony knob, the matching creamer with gilt interior.

Height of tea pot 13.5cm $800-1,200

144 A GEORGE VI SILVER GILT STANDING PYX Maker’s mark of F. Osborne and Co, London 1940, the circular case engraved with a foliate cross to the hinged door, opening to reveal the eucharist holder, raised on a rectangular stepped foot, in a velvet lined oak carrying case stamped F. OSBORNE & CO. LTD 117, GOWER ST LONDON. Height of the pyx 12.5cm $400-600

141 A PAIR OF VICTORIAN SILVER CORINTHIAN COLUMN CANDLESTICKS Maker’s mark of James Dixon & Sons, Sheffield 1890, each with a stop fluted shaft and on a scroll decorated plinth with beaded and fluted edge (2).

Height 27cm $1,500-2,500

145 A SYNCHRONOME ELECTRIC CLOCK The pressed metal case with painted dial and bezel, roman numerals, later movement.

Diameter 58cm $400-600

142 A COLLECTION OF NINE DECANTER LABELS Comprising six silver examples; whisky, port, hollands, gin, cognac brandy, mixed makers and dates, and three further examples; port and a pair, sherry and Madeira (9). $400-600 143 A GEORGE III SILVER CASTER Maker’s mark of Charles Chesterman II, London 1797, urn shaped with bulbous pierced top, on a square base.

Height 18cm $300-500

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146 A FRENCH CHARLES X ORMOLU MANTEL CLOCK, 19TH CENTURY The silvered dial with Romain numerals in a leaf cast drum on a bookcase flanked by a pensive woman in classical dress, the rectangular plinth with rosette and flower mount and leaf cast borders, on toupie feet.

Height 27cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A., 18-19 September 2013, part of lot 412 $1,500-2,500

147 A LATE VICTORIAN MINIATURE LONG CASE CLOCK The movement by W. Thornhill & Co, 144 & 145 New Bond Street London, in a Georgian style mahogany case inlaid with flowers and a gardening swag to the trunk door.

Height 32cm $500-700 148 A WILLIAM IV MAHOGANY WALL CLOCK The painted dial with Roman numerals in brass bezel, the brass inlaid pendulum box below.

50 x 37cm $500-700 149 AN EDWARDIAN INLAID MAHOGANY DESK CLOCK The enamelled dial with Arabic numerals in a brass bezel, the arched case with boxwood line inlay and a central patera, on a moulded base with brass bun feet.

Height 22cm; Width 15.5cm; Depth 8.5cm $400-600 150 A FRENCH WALL CLOCK AND PERPETUAL CALENDAR, LATE 19TH CENTURY In ebonised case.

Height 35cm; Width 26cm; Depth 13cm $500-1,000

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151 A VICTORIAN OVAL CONVEX MIRROR The moulded frame with later black paint.

69 x 59cm $800-1,200 152 A LATE VICTORIAN MAHOGANY CONVEX MIRROR In a bead and reel moulded frame.

Diameter 54cm $2,000-4,000 153 A PAIR OF CONVEX MIRRORS Each in an ebonised moulded frame.

Diameter 36cm each $2,000-4,000 154 A CONVEX MIRROR With a moulded frame and gilt moulded slip.

Diameter 39cm $1,000-2,000 155 A REGENCY MAGOGANY CHEVAL MIRROR The rectangular swivel plate in a reeded frame, with a pair of well turned uprights and reeded swept legs terminating in brass castors.

Height 171cm; Width 79cm; Depth 85cm $1,000-1,500 156 A NAPOLEON III CREAM DECORATED OVERMANTEL MIRROR Of arched outline with cartouche cresting flanked by flowers, the plate in a beaded moulded frame.

173 x 120cm $2,000-3,000 157 A LOUIS XVI STYLE GILT COMPOSITION OVERMANTEL MIRROR, LATE 19TH CENTURY The arched plate in gilt architectural surround with a scrolled cartouche cresting with flower swags and ribbon tied laurel leaf mouldings, flanked by acanthus scrolls. 203 x 160cm 203 x 160cm $2,000-3,000 158 reproduction of MAXFIELD PARRISH (American, 1870-1966) The Lute Players colour reproduction on paper in ebony stained timber frame Print: 44.5 x 75cm Frame: 76 x 107cm $250-350

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159 LANDSCAPE PAINTING Stormy Seas oil on Masonite 44.5 x 71cm $250-350

161

160 TWO REPRODUCTION PRINTS FROM TATE GALLERY Our English Coasts by William Holman Hunt 1852 Nocturne: Blue and Silver - Chelsea by James Abbott McNeill Whistler 1871 colour canvas reproduction prints Hunt: 73.5 x 100cm; Whistler: 100 x 66cm $500-700

164 reproduction of WILLIAM-ADOLPHE BOUGUEREAU (French, 1825-1905) Madonna and Child photographic reproduction in oak frame 68 x 49cm frame $400-600

165 reproduction of FREDERIC, LORD LEIGHTON P.R.A (British, 1830-96) Dante’s Dream colour print in Arts-and-Crafts timber frame 34.1 x 51.5cm $300-500

161 reproduction of EDWARD BURNE-JONES (British, 1833-1898) Days of Creation 1870 set of six photogravures in a six panel Pre-Raphaelite style oak frame 70 x 162cm $1,500-2,500 162 reproduction of J BERNARD (France, 1859-1945) Tannhauser 1912 photograveur on paper, published by Fishel, Adler & Schwartz Company signed, printed in margin lower left: J BERNARD 51 x 71cm $300-500 163 reproduction of EDWARD BURNE-JONES (British, 1833-1898) The Beguiling of Merlin 1872-1877 photogravure print in timber frame 41 x 55cm $500-700 165

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166 reproduction of EDWARD BURNE-JONES (British, 1833-1898) The Beguiling of Merlin 1872-1877 photogravure printing in timber frame 50 x 28cm $400-600 167 reproduction of FREDERIC, LORD LEIGHTON P.R.A (British, 1830-1896) Summer Noon photogravure on paper 17 x 21cm $900-1,200 168 EDWARD JOHN POYNTER (British, 1836-1919) On the Terrace photogravure, chine colle on paper published by P & D Colnagi and Stephen F Gordon 1898 signed in margin, lower left: Edward J Poynter 70 x 51cm (image) $150-250 169 reproduction of FREDERIC, LORD LEIGHTON P.R.A (British, 1830-96) Wedded photogravure in timber frame 60.5 x 32cm $400-600 170 UNKNOWN ARTIST Bill Dobell gelatin silver photograph signed below image lower right titled below image lower left 29 x 18.5cm 166

PROVENANCE: Thelma Clune, Sydney $300-500 171 PAUL JONES (Australian, 1921-1997) Pair of Camellias gouache on paper signed and dated lower right: Paul Jones 55 45 x 32cm $500-700 172 reproduction of WILLIAM STRUTT (British/ Australian, 1825-1915) David’s First Victory canvas reproduction in carved wooden frame 105 x 74.5cm (overall) $500-700

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173 ALBERTA JOHANNA SMETZ (Dutch, 1893-c.1953) Toadstools (pair) gouache on paper signed with monogram, lower left and lower right: AJS 16 x 17cm each $300-500 174 A QUEEN ELIZABETH II CORONATION FLAG 1953 Printed cotton.

58.5 x 90cm $500-700 175 attributed to WILLIAM DOBELL (Australian, 1899-1970) Portrait of Thelma Clune 1944 pencil on brown paper 22.5 x 14.5cm OTHER NOTES: Inscribed verso backing board: Sir William Dobell first sketch of myself in 1944 in preparation for the oil portrait he completed 1945 for entry in the Archibald Prize, now belonging to the Art Gallery of New South Wales. Thelma Clune, now 12 August 1990. $1,000-2,000 176 A HANDCOLOURED ENGRAVED AERIAL VIEW OF SYDNEY, AFTER A.C. COOKE 1874 Looking east across Darling Harbour towards the Heads, maple and gilt frame.

53 x 91cm $800-1,200

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177 reproduction of GERRIT VAN HONTHORST (Dutch, 1592-1656) Merry Musician with Violin Under Left Arm canvas reproduction in Dutch 17th-century style ebony frame 80 x 64cm $800-1,200 178 reproduction of JAMES TISSOT (French, 1836-1902) Portrait of a Woman canvas reproduction in a carved timber frame 130 x 74cm (overall) $1,500-2,000 179 reproduction of FREDERIC, LORD LEIGHTON P.R.A (British, 1830-1896) Flaming June colour print on paper 97.5 x 97.5cm $800-1,200 180 reproduction of FREDERIC, LORD LEIGHTON P.R.A (British, 1830-1896) Whispers canvas reproduction print in frame 123.5 x 74cm $6,000-8,000 31

185 reproduction of JOHN EVERETT MILLAIS (British, 1829-1896) Ophelia 1851-2 colour print on paper in gold painted wooden frame 72 x 90cm (frame) $800-1,200 186 reproduction of JOHN WILLIAM WATERHOUSE RA (British, 1849-1917) Saint Cecilia 1895 reproduction in 19th century gilt frame.

Height 1570cm; Width 2390cm $2,000-4,000 187 reproduction of LAWRENCE ALMA-TADAMA (British/Dutch, 1836-1912) The Finding of Moses hand-coloured print 47 x 74cm $1,500-2,000 188 reproduction of WILLIAM-ADOLPHE BOUGUEREAU (French, 1825-1905) Nymphs 1878 photographic reproduction in gilt frame $400-600 189 NIGEL THOMSON (Australian, 1945-1999) Susan Rossiter Peacock Sangster Renouf 1984 oil on canvas 101 x 144cm OTHER NOTES: This was originally commissioned as a present for the sitter’s then husband, racing tycoon, Robert Sangster. $4,000-6,000

190 © Nigel Allan Thomson/Copyright Agency, 2020

181 A FRAMED BEVELLED MIRROR AND A GILT FRAME (2).

Mirror: 155 x 92cm; Frame 130 x 98cm $300-500 182 reproduction of JOHN COLLIER OBE RP ROI (British, 1850-1934) The Priestess of Bacchus 1889 reproduction print in gilt frame Height 1385cm; Width 1065cm $1,500-2,500

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183 reproduction of ALEXANDRE CABANEL (French, 1823-1889) Ophelia 1883 colour print on paper in gilt frame with scroll-leaf molding Frame: 130 x 160cm; Print: 77 x 133cm $800-1,200 184 reproduction of JOHN WILLIAM WATERHOUSE (British, 1849-1917) Mariamne Leaving the Judgement Seat of Herod 1887 colour print on paper in gilt frame 108 x 78cm; 130 x 110cm frame $1,500-2,000

190 NIGEL THOMSON (Australian, 1945-1999) Thelma Clune 1984 oil on canvas 190 x 110cm EXHIBITIONS: Art Gallery of New South Wales, Archibald Prize, 1984 Nigel Thomson: Critical Realist, Manly Art Gallery & Museum; Maitland Regional Gallery; New England Regional Art Museum; Campbelltown City Art Gallery, 2004-2005 LITERATURE: Nigel Thomson: Critical Realist, curated by John McDonald, A Manly Art Gallery & Museum Touring Exhibition, 2004, p. 30 $4,000-6,000

189 © Nigel Allan Thomson/Copyright Agency, 2020 191 UNKNOWN ARTIST (British, 19th century) Interior of a Gothic Church watercolour on paper 22 x 15.5cm $1,000-2,000 192 WILLIAM DOBELL (Australian, 1899-1970) Ned Kelly with Longbow c.1960’s pen and ink on paper Signed centre: Dobell Titled bottom right 18.5 x 9.5cm $1,000-2,000 193 after MARINUS VAN REYMERSWAELE (Dutch, c.1490-c.1657) The Misers (The Tax Collectors) canvas reproduction, oil over paint, in ornate gold frame 36 x 29.5cm $1,000-1,500

194 JUDY CASSAB (Australian, 1920-2015) Meeting at the Rock 1988 oil on board signed and dated verso backing board: Judy Cassab/ 1988 titled verso backing board 28 x 37cm $800-1,200 195 EMILIO BOGGIO (Italian/Venezuelan, 1857-1920) Bords de l’oise Auvers 1913 Signed lower right : Boggio Signed and dated verso top centre: Emile Boggio/ 1913 Title inscribed verso Image: 32 x 44.5cm; Frame: 37 x 50cm $500-800 196 F CUBITT (engraver, fl. 19th century) View of Port Jackson hand coloured engraving 16.5 x 34.5cm $400-600

197 NORMAN LLOYD (1897-1985) A Rift in the Clouds 1920 oil on canvas on board signed and dated lower right: NOrMAN LlOYD 20 signed and inscribed with title label verso 24.5 x 28.5cm PROVENANCE: Savill Galleries, Sydney (label verso) Sotheby’s Australia, Fine Asian, Australian & European Arts, Melbourne, 01 April 2015, lot 325 (label verso) Purchased from the above $1,500-2,500 198 A VICTORIAN GOTHIC BRASS MOUNTED CALAMANDER BOOKSTAND The hinged ends with panels of gothic tracery on an adjustable base.

Height 16cm; Width 33cm; Depth 12.5cm $500-700

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198 199 “THE DORÉ GALLERY: CONTAINING TWO HUNDRED AND FIFTY ENGRAVINGS…”

BY EDMUND OLLIER, PUBLISHED BY CASSELL, PETTER & GALPIN 1870 Leather bound with gilt tooled cover.

Height 39cm; Width 30cm; Depth 10cm $300-500 200 THE COMPLETE WORKS OF CHATEAUBRIAND, 24 VOLUMES, PUBLISHED BY POURRAT FRÈRES, PARIS 1839 Calf spines, marbled boards. $300-500 201 A BOOK ON ALFRED GILBERT, BY ISABEL MCALLISTER, PUBLISHED BY A & C BLACK, LONDON, 1929 Together with a framed card “The Studio Kensington Palace Avenue W. This goes to you, with heartfelt thanks, and unbounded gratitude, for your kind and generous acclaim, Alfred Gilbert, XV July 1932” (2). $1,500-2,000

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202 A COLLECTION OF VOLUMES ON GARDENING Including; Gertrude Jekyll “A Gardener’s Testament”; Marina Schinz et al “The Gardens of Russell Page: Leo Schofield “The Garden at Bronte” and others (16). $100-150 203 A COLLECTION OF ART BOOKS RELATING TO OLD MASTERS AND BRITISH ART Including; Gary Tinterow (editor) “Portraits by Ingres”; Bernard Berenson “Italian Pictures of the Renaissance”; J. Richard Judson et al “Gerrit van Honthorst”; and others (13). $150-250 204 ART AND AUSTRALIA 1963-1982, VOLUMES 1-19 AND LATER LOOSE ISSUES The bound set in crimson cloth, with gilt title; and 26 various unbound issues dating from 1987-2002. $500-700

205 A COLLECTION OF ART BOOKS RELATING TO IMPRESSIONISM AND 19TH CENTURY ART Including; Robert Fernier “Courbet”; Cecile Ritzenthaler “Les Pompiers”; Barbara Weinberg, “The Lure of Paris- Nineteenth Century American Painters and Their French Teachers”; Ingo F. Walther ed. “Impressionism”; Susan Alyson Stein “Van Gogh a Retrospective” and others (14). $100-200 206 A COLLECTION OF ART BOOKS RELATING TO MODERN SCULPTURE Including; Carola Giedion Welcker “Contemporary Sculpture; Michel Seuphor “The Sculpture of this Century- Dictionary of Modern Sculpture”; George Rickey “constructivism origins and evolution”; Philip James, ed. “Henry Moore on Sculpture” and others (13). $150-250

207 A COLLECTION OF VICTORIAN AND LATER ART PUBLICATIONS Including “The Magazine of Art” 1880, 1895-1902; Royal Academy Pictures 1892-1896; The Royal Academy Illustrated 1926 & 1940; Christopher Forbes “The Royal Academy Revisited (1837-1901)” (17). $100-200 208 “LE MORTE D’ARTHUR” BY SIR THOMAS MALORY Illustrated by Aubrey Beardsley, J.M. Dent & Co, second edition 1909, bookplate of James Williams Macarthur Onslow. $500-1,000 209 A BOUND PART SET OF ART IN AUSTRALIA 1916-1940 Series 1 issues 1-5, 6-11; Series 2; Series 3 issues 1-81 in 15 volumes; Artist index 1916-1942 (19). $2,000-3,000 210 “THE SCULPTURE OF RAYNER HOFF” with text by the Earl Beauchamp and others, Sunnybrook Press, Sydney 1934. $800-1,200 211 A COLLECTION OF BOOKS RELATING TO ARCHITECTURE AND INTERIORS Including; Hugh Montgomery Massingberd “Great Houses of England & Wales”; James Stourton, “Great Houses of London”; Marcus Binney “The Ritz Hotel, London” and others (10). $200-300 212 A COLLECTION OF BOOKS RELATING TO THE DECORATIVE ARTS Including; Philippe Dejean “Bugatti”; Bryan Catley “Art Deco and Other Figures”; Gilles Néret “Boucheron”; Giorgio Armani “Giorgio Armani” and others (10). $100-200 213 A COLLECTION OF BOOKS RELATING TO AUSTRALIAN ART Including; Heather Curnow “The Life and Art of William Strutt”; Sidney Nolan Exhibition catalogue; Wayne Tunnicliffe ed. “John Russell Australia’s French Impressionist”; Geoffrey Smith “Arthur Streeton 1867-1943”; James Gleeson “Robert Klippel”; and others (12). $150-250

214 A COLLECTION OF BOOKS ON PRE-RAPHAELITE ARTISTS Including; Anthony Hobson “The Art and Life of JW Waterhouse RA”;’ Stephen Wildman “Arthur Hughes His Life and Work”; Simon Toll “Frank Dicksee 18531928, His Art and Life”; Judith Bronkhurst “William Holman Hunt A Catalogue Raisonné” and others (15). $200-300 215 A COLLECTION OF BOOKS ON VICTORIAN ART AND THE PRE-RAPHAELITES Including; Henrietta Garnett “Wives and Stunners”; Christopher Wood, “Victorian Painters”; Susan Beattie “The New Sculpture”; Martin Greenwood “The Designs of William De Morgan” and others (12). $200-300 216 THE NEW VOLUMES OF THE ENCYCLOPAEDIA BRITANNICA Tenth edition, 1902 and a quantity of other antique bindings. $100-200 217 THE ARABIAN NIGHTS Translated by Sir R.F. Burton, illustrated edition, 1897, 12 volumes; bookplate of James William MacArthur Onslow (12). $400-600 218 AUCTION CATALOGUES Including; Sotheby’s New York “The Duke & Duchess of Windsor”; Sotheby’s London “Deborah, Duchess of Devonshire” and “Chatsworth, the Attic Sale”; Christie’s London “The Forbes Collection of Victorian Pictures and Works of Art”; and other various auction catalogues. $150-250 219 A GROUP OF TEN VICTORIAN ENCAUSTIC TILES

BY MINTON & CO Seven with fleurs de lys, two with the number 2, and a plain tile.

Height 15cm; Width 15cm $800-1,200 220 A SERPENTINE PEDESTAL With moulded circular top on a fluted shaft, moulded base and octagonal plinth.

Height 107cm $1,000-1,500 199

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221 A VICTORIAN GILT COMPOSITION PICTURE FRAME Richly cast with laurel and acanthus leaves, now containing a looking glass.

44 x 49cm $700-900 222 A VICTORIAN GILT COMPOSITION PICTURE FRAME With moulded leaf, bead and geometric decoration, fragmentary retailers and exhibition labels to verso.

70 x 57cm $500-700 223 A PAIR OF LOUIS XV STYLE TULIPWOOD OCCASIONAL TABLES Each with a rouge griotte marble top above three small drawers, crossbanded and quarter veneered throughout, on slender cabriole legs.

Height 70cm; Width 37cm; Depth 29cm $1,000-1,500

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224 A GEORGE III STAINED BEECH CORNER CHAIR The bow back supported by baluster turned uprights and pierced splats, the drop in upholstered seat on square sectioned supports joined by stretchers.

Height 80cm; Width 73cm; Depth 63cm $800-1,200 225 A LATE GEORGE III MAHOGANY ELBOW CHAIR AFTER A DESIGN BY THOMAS SHERATON The back with a panel of lattice, the padded seat flanked by turned and partially reeded arms, on turned and partially reeded front legs.

Height 89cm; Width 57cm; Depth 47cm $1,000-1,500 226 A WILLIAM IV MAHOGANY FOUR TIER WHAT NOT Each square tier with lappeted edges and baluster turned uprights on turned legs with castors.

Height 120cm; Width 42cm; Depth 42cm $1,000-1,500

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227 AN ARTS AND CRAFTS OAK HALL SETTLE The deep shelf top with brass hooks flanking niches above a tiled stick stand with zinc liner, and a fabric panel above rising seat section.

Height 182cm; Width 145cm; Depth 40cm $1,200-1,400

228 A GEORGE III MAHOGANY AND INLAID OCTAGONAL CELLARETTE The rising top inlaid to the centre with a wreathed flower patera, the front panel inlaid with an urn, boxwood strung throughout and having brass handles, the stand with square tapering legs.

Height 70cm; Width 43cm; Depth 43cm

229 A NAPOLEON III WALNUT DINING TABLE The circular moulded top extending to take two extra leaves on an octagonal pedestal with scroll carved supports with castors.

Diameter 115cm (closed); Height 72cm $1,000-1,500

PROVENANCE: Mossgreen Sydney, The Estate of Leslie Walford, 18 November 2012, lot 309 $1,000-1,500

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230 A MAHOGANY FRET FRAMED MIRROR In the Georgian style the the bevelled plate in a carved and gilt slip, the pierced and shaped cresting with a gilt ho ho bird.

91 x 51cm $400-600 231 AN EDWARDIAN MAHOGANY DISPLAY CABINET With a moulded cornice, above a lazed door and sides, the interior with chromium plated adjustable shelf supports, on ogee bracket feet.

Height 164cm; Width 68cm; Depth 39cm $1,000-2,000 232 A WHITE MARBLE GARDEN TABLE The circular top on a baluster pedestal and circular plinth.

Diameter 85cm; Height 80cm $400-600 233 A WILLIAM IV ROSEWOOD CENTRE TABLE The circular tilt top with gadrooned edge and lappeted frieze, on a facetted ring turned pedestal with deep lappet edge, the circular platform base supported on foliate scrolled feet.

Diameter 145cm; Height 76cm $5,000-7,000

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234 A LOUIS XV STYLE BEECHWOOD CANAPÉ A L’OREILLES The moulded frame carved with foliate scrolls, flower heads and rocaille, having caned back and sides, the upholstered seat on short scrolled legs.

Height 99cm; Width 188cm; Depth 75cm $2,000-4,000 235 A QUANTITY OF CUSHIONS Including a pair of palmette patterned velvet cushions. $600-800 236 A BRASS MOUNTED EMPIRE STYLE CENTRE TABLE The circular top on four tapering supports with female herms, the shaped undertier on square tapering legs.

Diameter 90cm; Height 75cm $800-1,200

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237 A GEORGE III PAINTED OVAL OCCASIONAL WORK TABLE The rising top revealing sprigged wallpaper lined interior, on square tapering legs with shaped stretchers painted to the top with a band of foliage and flowers and to the frieze with entrelac and beads in gilt on a black ground.

Height 73cm; Width 61cm; Depth 44cm $500-700 238 A VICTORIAN EBONISED AND GILT PRIE DIEU The padded top rail above trefoil arch and cruciform back flanked by incised foliate column uprights, the upholstered serpentine seat on short turned legs, with carved and incised gilt lines. Stamped “HF THOMAS”, Eastgate Street Chester UK. Height 96cm; Width 54cm; Depth 56cm $2,000-4,000 239 AN OCTAGONAL OAK REVOLVING VITRINE TABLE Having bevelled glass to the top and sides, on square sectioned filed legs with an undertier and castors.

Diameter 61cm; Height 70cm $1,200-1,400 236 39

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240 AN AESTHETIC MOVEMENT BRASS AND IRON OCCASIONAL TABLE The oval top with repoussé and hammered decoration on straight legs with swept feet and brass strap stretchers.

Height 79cm; Width 50cm; Depth 36cm $600-800 241 AN AESTHETIC MOVEMENT MAHOGANY OCCASIONAL TABLE, LATE 19TH CENTURY The moulded top on square tapering splayed legs ornamented with spindled arches.

Height 67cm; Width 52cm; Depth 50cm $500-700 242 AN AESTHETIC MOVEMENT WALNUT OCCASIONAL TABLE The square top on turned and Chinese style supports above two undertiers on turned tapering legs.

Height 74cm; Width 38cm; Depth 38cm $900-1,200

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243 AN ARTS & CRAFTS OAK OCCASIONAL TABLE, CIRCA 1900 The circular top on four chamfered square sectioned supports on a pedestal inset with repoussé brass panels of stylised clover leaf design, above the square tapering plinth base.

Diameter 69cm; Height 74cm $600-800 244 A VICTORIAN OAK GOTHIC REVIVAL OCCASIONAL TABLE IN THE MANNER OF CHARLES BEVAN The square top with canted corners and partially moulded edges, on four turned supports with circular openwork headers and incised decorations, the square stretcher base with down curved feet.

Height 61cm; Width 45.5cm; Depth 45.5cm $3,000-5,000

245 A VICTORIAN OAK GOTHIC REVIVAL OCCASIONAL TABLE IN THE MANNER OF CHARLES BEVAN, BY HOWARD & SONS The octagonal moulded top with segmental veneers and cross banded edge, on four beaded column supports on cruciform base with downswept legs terminating in castors, stamped to the underside “HOWARD & SONS BERNERS ST”, and with paper trade label “EASY CHAIR OF SOFA FACTORY HOWARD & SONS Upholsterers 25, 26, & 27 Berners Street LONDON…”.

Diameter 65cm; Height 61cm $3,000-5,000 246 A WROUGHT IRON AND MARBLE CONSOLE TABLE The rectangular moulded top on a Spanish style base with stylised flowers and twisted uprights.

Height 89cm; Width 168cm; Depth 43cm $1,500-2,500

247 A GREEN AND GILT DECORATED CHINA DISPLAY CABINET In the 18th century style, the shaped top above a pair of astragal glazed doors, the serpentine base with a fluted frieze above four cupboards on shaped bracket feet.

Height 210cm; Width 135cm; Depth 48cm $1,000-1,500 248 A CARVED AND POLYCHROMED SOLOMONIC COLUMN, ITALIAN 17TH CENTURY With a gilt corinthian capital, the spiral shaft wreathed in fruiting vines on a pedestal base.

Height 156cm $2,000-4,000 248A AN ANGLO CHINESE EBONISED STANDARD LAMP The elaborately ruched shade with facetted glass finial, on a turned shaft supported by three rearing elephants.

Height 204cm $2,000-3,000 249 A FRENCH OAK CENTRE TABLE In the Louis XV style the shaped moulded top on cabriole legs.

Height 78cm; Width 91cm; Length 182cm PROVENANCE: By repute, the artist Rupert Bunny $2,000-3,000 250 A SET OF SIX EARLY 20TH CENTURY SPANISH OAK DINING CHAIRS In the Henri II style, each with leather back and seat with moulded seat rails and stretchers, inverted baluster supports and turned feet.

Height 86cm; Width 44cm; Depth 42cm $1,000-2,000 251 A GEORGE III MAHOGANY BEDSIDE COMMODE The rectangular dished top with cut out handles, above a tambour front and a sliding pot drawer with shaped apron, on square sectioned supports.

Height 76cm; Width 49cm; Depth 43cm 247 PROVENANCE: Mossgreen Sydney, The Estate of Leslie Walford, 18 November 2012, lot 175 $500-700 252 AN EARLY 19TH CENTURY MAHOGANY SIDE TABLE The plain rectangular top on a frieze with reeded edge, on square tapering legs with brass cap castors.

Height 80cm; Length 186cm; Depth 90cm $1,000-1,500

253 A GEORGE I WALNUT BUREAU The feather banded fall front revealing a fitted interior and well, above two short and two long feather banded drawers, on later turned feet.

Height 107cm; Width 105cm; Depth 58cm $3,000-5,000

254 A GEORGE II OAK AND WALNUT CHEST ON STAND Having a moulded cornice above three short and four long crossbanded drawers, the base with a further drawer and bracket feet.

Height 158cm; Width 95cm; Depth 46cm $800-1,200

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SESSION II TUESDAY 25 AUGUST 2020 AT 6PM Lots 300 - 517

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302

300 A VICTORIAN BRASS GOTHIC GIRANDOLE Having a bevelled mirror within a pierced frame composed of foliate crockets, above a double scrolled candle bracket, on a later black velvet mount.

53 x 30cm $1,000-1,500 301 A 17TH CENTURY GERMAN EXECUTIONER’S SWORD, DATED 1674 With a brass gadrooned pommel, ribbed grip and gadrooned brass chappe, the blade with engraved foliate decoration and the inscription “WAN ICH DAS SCHWERT DU AUF HEBEN” and a Catherine wheel to one side, the other side with ‘SO WUNSCH ICH DEM ARMEN SUNDER DAS EWIGE LEBEN 1674” with a gallows.

Length 170.5cm $2,000-3,000

25 part 44

303

302 A TAXIDERMY ADULT SNOWY OWL On a tree stump, in a mahogany framed case.

Height 81.5cm; Width 55.5cm; Depth 40cm PROVENANCE: Bonhams Sydney, The Owston Collection, 26 June 2010, part of lot 1204 $2,000-4,000 303 A TAXIDERMY MALE RAGGIANA BIRD OF PARADISE Displaying on a twig perch in a mahogany framed case.

Height 63cm; Width 50cm; Depth 39cm PROVENANCE: Bonhams Sydney, The Owston Collection, 26 June 2010, part of lot 1204 $3,000-5,000

304 A TAXIDERMY GOOSE BY E. ALLEN & CO. Cased, standing on a naturalistic rockwork with grasses, trade label to reverse.

Height 71cm; Width 73.5cm; Depth 27cm $2,000-4,000 305 A VICTORIAN TERRACOTTA AND LEAD MOUNTED WALL FOUNTAIN HEAD OF MEDUSA The gorgon with a scrolled head dress wreathed in snakes.

Height 56cm PROVENANCE: Haslam and Whiteway, London Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 600 Purchased from the above $3,000-5,000

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306 A BIRCH VENEERED SCULPTURE PEDESTAL, MODERN Height 90cm; Width 31cm; Depth 31cm $800-1,200 307 A LARGE PLASTER HEAD, EMBLEMATIC OF ASIA, LATE 19TH CENTURY With closed eyes and elephant pelt headdress.

Height 44cm $2,000-4,000

307 45

308 BRITISH SCHOOL (19th century) Agamemnon plaster cast figure on ebonised base Sculpture: Height 148cm; Base: Height 35.5cm $5,000-8,000

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309 BRITISH SCHOOL (19th century) Bacchus plaster cast figure on ebonised base Sculpture: Height 155cm; Base: Height 35.5cm $5,000-8,000

312 310 after WILLIAM RODDAM SPENCER STANHOPE Britain 1829-1903 Knowledge Strangling Ignorance terracotta 68 x 56 x 11cm PROVENANCE: Haslam & Whiteway, London Purchased from the above 4 December 2001 $2,000-3,000 311 A VILLEROY & BOCH STONEWARE BUST OF VENUS, LATE 19TH CENTURY Impressed mark VILLEROY & BOCH MERZIG to reverse.

Height 75cm $2,000-3,000

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313 312 AN ART NOUVEAU JARDINIERE AND PEDESTAL

BY ARCHIBALD KNOX, CIRCA 1900 By the Leeds Fireclay Company, stamped LEFCO WARE to the inside of the ovoid jardiniere, decorated in low relief with art nouveau foliate and flower designs, off white glaze, repairs.

Height 96cm $2,000-3,000 313 TWO “PERSIAN” GLAZED CERAMIC TILES BY WILLIAM DE MORGAN, CIRCA 1895 Painted in colours with a stylised flowerhead and foliage, impressed “SAND’S END POTTERY FULHAM WM DE MORGAN & CO” to reverse, framed together.

Height 15cm; Width 15cm (each) $2,000-3,000

314 A WILLIAM DE MORGAN TILE, CIRCA 1900 Painted with a kingfisher and a fish in green, impressed mark to reverse.

Height 15.5cm; Width 15.5cm $2,000-3,000 315 AN EARLY POLYCHROME TILE PANEL BY WILLIAM DE MORGAN, 1872-1882 Comprising six tiles painted with a scene of Cupid riding a lion being lead by young faun, in stylised fruiting foliage moulded gilt frame, apparently unsigned.

45 x 62cm PROVENANCE: Christie’s South Kensington, Interiors- Style & Spirit, 11th June 2013, lot 266 $8,000-12,000

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316 A GILT BRONZE AND IVORY FIGURE,

BY AFFORTUNATO GORY (1895-1925) Of a young woman in a loose robe holding her pussy, on shaped marble plinth signed A Gory in the marble, the bronze stamped 829.

Height 25cm $5,000-7,000

318 A FRENCH ART NOUVEAU GLASS VASE,

BY LEGRAS Of shaped ovoid outline with flared rim, gilt enamelled with a design of leaves and flowers to the frosted ground, enamelled mark “L & Co St Denis” to underside.

Height 29cm $2,000-3,000

317 AN ART DECO BRONZE, ONYX AND IVORY CENDRIER BY A. TITZE Signed and dated 1924, in the form of a jester with and owl.

Diameter 15cm; Height 9cm $1,000-1,500

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319 TWO LOETZ GLASS VASES A small bottle vase with blue and gold iridescent pattern and an ovoid vase with blue iridescent pattern on yellow ground.

Height of tallest 20cm $1,800-2,500 320 AN ART NOUVEAU GREEN GLASS BOTTLE VASE Shaped with an all over webbed relief pattern.

Height 17cm $800-1,200

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321 AN ART NOUVEAU SILVER OVERLAY LOETZ STYLE GLASS VASE Of baluster outline with dimpled sides, with a stylised pattern of orchids and leaves on the iridescent blue glass.

Height 11cm $400-600 322 A LOETZ GLASS VASE Of squat form with flared rim and dimpled sides, having all over golden oil spot iridescence.

Height 13.5cm; Diameter 16cm $1,200-1,800 323 A J & L. LOBMEYR GLASS VASE BY JOSEF HOFFMANN AND MICHAEL POWONLY FOR WIENER WERKSTATTE, CIRCA 1913 The trumpet bowl on a circular fluted foot, the bowl engraved with three putti holding flowers, incised monogram to base.

Height 18cm; Diameter 15cm $1,500-2,500

320

324 AN ART NOUVEAU STONEWARE OVOID VASE

BY EDMOND LACHENAL With three horned shoulders, in matte blue faience, signed LACHENAL to base.

Height 17cm $500-700 325 AN AUSTRIAN SECESSIONIST TWIN HANDLED VASE BY JULIUS DRESSLER (1882-1945), CIRCA 1910 The neck with a waved pattern above the spherical body, impressed and moulded marks.

Height 25cm; Diameter 22cm $1,500-2,500 326 A THEODORE DECK FAIENCE JARDINIERE, IN THE CHINESE STYLE, CIRCA 1875 Moulded in high relief with two dragons above waves, on short feet, impressed TH DECK mark.

Diameter 22.5cm; Height 14cm $2,000-3,000

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327 A SMALL LUSTRE WARE VASE BY WILLIAM DE MORGAN, CIRCA 1880 The ovoid body with a narrow tapering neck, with silver lustre in the Hispano-Moresque style of flowerheads and foliage on a lemon yellow and Indian red ground, impressed and painted marks.

Height 13cm $1,000-1,500 328 A MOTTLED GREEN GLAZED OVOID VASE DESIGNED BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890, pattern no. 415, with lobate panels of relief moulded geometric decoration, impressed marks.

Height 21.5cm $3,000-5,000 329 A RED AND YELLOW GLAZED MINIATURE VASE DESIGNED BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890 pattern no. 851, ovoid with a moulded design of fleurs de lys, impressed marks.

Height 7cm $1,000-1,500 330 A THEODORE DECK MINIATURE FLAMBE VASE In the Chinese Style, of squat baluster form with elephant head handles, impressed mark TH DECK. Height 10cm $1,000-1,500

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331 A GREEN GLAZED THREE FOOTED CONICAL VASE DESIGNED BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890, pattern no. 893, with incised decoration, impressed marks.

Height 10cm

332A A GREEN GLAZED MINIATURE BOWL DESIGNED

BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890, pattern no. 191, of squat conical outline with incised decoration and oil spot gazed interior.

Height 3cm

334 A PIERCED AND GLAZED MOON FLASK VASE DESIGNED BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890, brown and green glazed with a pierced panel of a rose, impressed marks.

Height 22.5cm

PROVENANCE: H. BLAIRMAN & SONS $800-1,200

PROVENANCE: H. BLAIRMAN & SONS $500-700

PROVENANCE: H. BLAIRMAN & SONS $800-1,200

332 A GREEN GLAZED SPHERICAL POT DESIGNED

BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890, with incised decoration, impressed marks.

Height 7.5cm $1,000-1,500

333 A GREEN GLAZED MOON FLASK VASE DESIGNED BY CHRISTOPHER DRESSER Manufactured by the Linthorpe Pottery, circa 1890, pattern no. 285, with incised decoration, impressed marks.

Height 14.5cm

335 A GREEN AND RED GLAZED JUG DESIGNED BY CHRISTOPHER DRESSER Manufactured by the Torquay Terracotta Stapleton Company, circa 1890, conical with a narrow neck and spout, impressed TTC STAPLETON mark.

Height 15cm

PROVENANCE: H. BLAIRMAN & SONS $1,000-1,500

PROVENANCE: H. BLAIRMAN & SONS $1,000-1,500

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342 A PAIR OF AESTHETIC MOVEMENT IRON AND BRASS INLAID FIREDOGS, LATE 19TH CENTURY Each on a square base rising to a tapering shaft supporting a crescent tool rest.

Height 30.5cm $1,000-2,000 343 AN ARTS AND CRAFTS REPOUSSE BRASS TWIN LIGHT SCONCE, POSSIBLY BY EDWARD SPENCER OR THE ARTIFICERS GUILD Of shaped octagonal outline with a design of stylised pomegranates and fleurs de lys.

Diameter 40cm PROVENANCE: H. Blairman & Sons London $4,000-6,000 344 AN EDWARDIAN ELECTROPLATED SILVER ON COPPER TWO LIGHT SCONCE, BY EDWARD SPENCER OF THE ARTIFICERS GUILD The octagonal backplate with a design of stylised roses and cartouches, marked 886 to the reverse.

Height 38cm; Width 31cm; Depth 15cm PROVENANCE: Edward Spencer and thence by descent H. Blairman & Sons London $4,000-6,000 352 336 A PAIR OF CHINESE TEA DUST GLAZED BOTTLE VASES Each of lobate outline, impressed mark (2).

Height 19cm $600-800 337 A MOORCROFT POMEGRANATE PATTERN VASE Of baluster form painted with a design of foliage, pomegranates and berries in shades of red, blue and brown, impressed facsimile signature, “POTTER TO H.M. THE QUEEN MADE IN ENGLAND”.

Height 15cm $1,000-1,500 338 A MOORCROFT CLAREMONT PATTERN VASE Of squat baluster form painted with a design of toadstools in shades of claret, blue and olive, painted facsimile signature, impressed “Moorcroft Burslem England”.

Height 24cm $8,000-12,000 339 A LARGE MOORCROFT LEAF AND BERRY PATTERN VASE Impressed mark, 1928-1949, of elongated ovoid outline.

Height 35.5cm $3,000-5,000

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340 A POLYCHROME GLAZED AND PIERCED TERRACOTTA STOVE TILE DESIGNED BY A.W.N. PUGIN, MANUFACTURED BY MINTON & CO. Height 22.5cm; Width 22.5cm; Depth 3cm PROVENANCE: H. Blairman & Sons, London OTHER NOTES: Similar tiles were used in a stove created for the Mediaeval Court at the Great Exhibition 1851. Tiles of this pattern are in the collections of the V & A and the Los Angeles County Museum of Art. See: Pugin, (1994), no. 276. $2,000-4,000 341 A GOTHIC WROUGHT IRON WALL BRACKET AFTER A DESIGN BY A.W.N. PUGIN, 19TH CENTURY Painted blue with a gilt fleur de lys finial, the hinged bracket with a design of trefoils, fleurs de lys, and the words AVE MARIA. Height 155cm; Width 85cm PROVENANCE: Fine Art Society, London Purchased from the above $2,500-4,500

345 AN ARTS & CRAFTS BRASS FRAMED OVAL MIRROR, LATE 19TH CENTURY The bevelled plate in a repoussé surround with a design of intertwined stylised foliage.

60 x 38cm PROVENANCE: H. Blairman & Son, London $1,000-1,500 346 A BRASS TABLE LAMP BY W.A.S. BENSON, CIRCA 1902 The heart shaped base with hook and foliate bracket with counterpoise, the arm terminating in a Powell glass shade.

Height 33cm PROVENANCE: H. Blairman & Sons London OTHER NOTES: This base is No. 1293 in Benson Electric Light Fittings, his 1902 trade catalogue: “Alternative Table Lamp and Wall Bracket, doubly jointed and fitted with counterpoise, so as to project over a table or shelf…” The original cost in 1902 was £2. 7s. 6p. $3,000-5,000

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347 A BRASS TABLE LAMP BY W.A.S. BENSON, CIRCA 1900 The heart shaped base with scroll terminal, the long arched arm terminating in a frosted glass shade.

Height 46cm PROVENANCE: H. Blairman & Sons London $5,000-7,000 348 A PAIR OF BRASS HANGING LIGHTS

BY W.A.S. BENSON, CIRCA 1900 Each with triple branch and elongated supports to the circular frame holding the shaped frosted glass shade.

Length 40cm PROVENANCE: H. Blairman & Sons London OTHER NOTES: This model can be found in Benson’s 1912 catalogue “Electric Light Fittings” as E.1434. $10,000-15,000

349 AN AESTHETIC MOVEMENT SILVERED BRASS LAMP BY W.A.S BENSON, CIRCA 1900 The opalescent glass tulip shaped shade on an adjustable arm and three shaped legs, two with trefoil feet, the third hooked.

Height 39cm PROVENANCE: H. Blairman & Sons, London $2,000-4,000 350 A SILVERED BRASS TABLE LAMP

BY W.A.S BENSON The original conical silk shade on a hemispherical reservoir, the base with leaf mounted sphere and three straight legs, stamped ‘W.A.S.BENSON’ to one foot.

Height 75cm $3,000-5,000

351 A COPPER AND BRASS WALL LIGHT

BY W.A.S. BENSON CIRCA 1890 The petalled backplate of silverplate and copper panels, with a tendril supporting a Powell opalescent glass soot shade, above the flue and hemispherical reservoir, electrified.

Height 61cm $6,000-8,000 352 AN IMPORTANT SILVERED BRASS AND GLASS ELECTROLIER BY W.A.S. BENSON WITH SHADES

BY POWELL OF WHITEFRIARS The three lights suspended from arms composed of budding lilies and leaves, the ceiling boss and the pendants lights in the form of flowers, the glass shades.

Length 100cm PROVENANCE: H. Blairman & Sons London $40,000-60,000

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353 A PAIR OF BRASS MOUNTED MOULDED GLASS CORINTHIAN COLUMN TABLE LAMPS, 20TH CENTURY Bases: Height 57cm PROVENANCE: Christie’s London, Mrs Thatcher: Property from the Collection of The Right Honourable The Baroness Thatcher of Kesteven, 15th December 2015, lot 149 $5,000-7,000 354 A CIRCULAR OCCASIONAL TABLE, MODEL 675 DESIGNED BY JOSEF HOFFMAN The hammered brass inset top on a stained beech pedestal with concave sides, on a circular hammered brass base.

Diameter 59cm; Height 71cm OTHER NOTES: Hoffman used this model table as part of the furnishings supplied for the small hall of the Kohn country house in the 1908 Kunstschau. $7,000-9,000

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355 A PAIR OF VICTORIAN FRUITWOOD WALL BRACKETS Each with a rectangular moulded top with a fruiting leaf border above a drapery and wreath carved bearded male mask and leaf carved boss below.

Height 22cm; Width 15cm; Depth 17cm PROVENANCE: Irwin Untermyer Collection, New York, number 345 H. Blairman & Sons, London Purchased from the above in 2011 OTHER NOTES: Irwin Untermyer (1886 -1973) was an American attorney, jurist, and civic leader most notable for his work in New York City. An avid collector of art and antiques, over 2,000 items from his personal collection were bequeathed to the Metropolitan Museum of Art. $10,000-15,000 356 A LARGE REGENCY MAHOGANY AND BRASS INLAID MUSICAL QUARTER CHIMING GOTHICK BRACKET CLOCK The movement by Berquez, Vere St, Cavendish Square, London, wih twin barrel pendulum regulated mechanism striking on eight bells and a coiled gong, the back plate is signed by the maker “Berquez, London” the enamel dial with Roman numerals and secondary date dial, having an architectural case of ogival outline with brass foliate mounts and ebonised and brass line inlay of lancet and trefoil arches and quatrefoils to the case, the sides with pierced gilt brass grilles and lion mask ring handles, on leaf cast ball feet, later base.

Height 207cm; Width 65cm; Depth 50cm PROVENANCE: Martyn Cook Antiques, Sydney OTHER NOTES: Francis Berquez is listed as a watch and clock maker at 17 Vere Street, Cavendish Square, in Johnstone’s London Commercial Guide, and Street Directory of 1817. $10,000-15,000 357 A VICTORIAN SATINWOOD CASED MANTEL CLOCK The dial signed Theodore Downer, London, with Roman numerals, the twin fusée movement striking on a bell, the arched case flanked by architectural scrolls on a moulded base.

Height 34cm $1,500-2,500 358 A LATE 19TH CENTURY FRENCH EIFFEL TOWER TIMEPIECE In bronze and gilt bronze, the upper section with a figure of Fame above the circular dial. The pendulum dated 1889.

Height 66cm $5,000-7,000 356

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359 A FRENCH EMPIRE ORMOLU MANTEL CLOCK The double fusee movement by Bentley and Beck, Royal Exchange, London having white enamel dial with Roman numerals, gilt hands and blued steel seconds hand, the case in the form of an arched aedicule the dial supported by a pair of swans holding a garland, flanked by bronze pilasters with winged herm and foliate scroll motifs above a bench supported by winged lion monopodiae and a pair of classical lovers kissing; on a green marble plinth with gilt thyrsos and wreath mounts and bun feet.

Height 58cm; Width 40cm; Depth 18cm PROVENANCE: Bonham’s Sydney, The Owston Collection, 25-26 June 2010, lot 1178 Sotheby’s Australia, Fine Asian, Australian & European Arts & Design, 27 October 2015, lot 237 Purchased from the above OTHER NOTES: The Royal Collection UK has a clock with a Bentley and Beck movement and an ormolu case of similar arched design with a seated cherub, which was acquired by Queen Mary. Bentley and Beck are listed as working in the Royal Exchange in London between 1805-24. $20,000-25,000

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360 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 $40,000-60,000 361 A LATE GEORGE II WALNUT AND MARQUETRY BRACKET CLOCK The domed case with brass handle above an arched door with seaweed marquetry spandrels, the movement by John Massey with silvered chapter ring, Roman numerals and Arabic minutes below the moon phase and calendar dial, with 8 day fusee movement, anchor escapement.

Height 47cm; Width 27cm; Depth 18cm $6,000-8,000

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362 A LOUIS XVI STYLE ORMOLU MANTEL CLOCK, THE DIAL SIGNED FERDINAND BERTHOUD The silk suspension movement chiming on a bell, the enamel dial with Roman hours and Arabic minutes, pierced gilt hands, the case surmounted by a cock, standing on a sculpted head with a chisel and mallet, symbolic of sculpture, with a bronze putto seated on books regarding a sheet of paper, the base with foliate bosses and panels of entrelac centred with acanthus, on toupie feet, and velvet covered plinth.

Height 29cm; Width 29cm; Depth 12cm (excluding plinth) $3,000-5,000

363 AN EMPIRE STYLE BRONZE MOUNTED MARBLE PEDESTAL The revolving square top above a wreath and anthemion frieze and supported by three female herms with paw feet, on a conforming pedestal with gadrooned and patera mounts.

Height 117.5cm; Width 31cm; Depth 31cm PROVENANCE: Christie’s London, The Opulent Eye, 10 September 2013, lot 171 $8,000-12,000 364 A PAIR OF GILTMETAL MOUNTED SAMSON PORCELAIN TABLE LAMPS, LATE 19TH CENTURY Each of baluster outline decorated in the famille rose palette, with lappeted bands to the shoulders, on leaf cast reeded square base, 78 cm high (excluding shades).

Height 78cm (excluding shades) PROVENANCE: Dame Nellie Melba (1861-1931) Smith & Singer (formerly Sotheby’s Australia), Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 149 Purchased from the above $6,000-8,000 365 A PAIR OF LATE VICTORIAN ADAM STYLE GILTWOOD TORCHERES Each with a circular top on three slender ram’s head supports with leaf and hairy hoof feet on a triform base.

Height 113cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia), Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 150 Purchased from the above $7,000-9,000 366 A CROCODILE JEWELLERY BOX Rectangular with a rising top set to the centre with MELBA in gilt metal script lettering.

Width 15cm; Depth 9.5cm; Height 3.5cm PROVENANCE: Dame Nellie Melba Smith & Singer (formerly Sotheby’s Australia), Property from the Collection of Dame Nellie Melba, Fine Asian, Australian & European Arts & Design, 31 Mar & 1 April 2015, lot 38 Acquired from the above $2,000-3,000

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367 Attributed to FRANZ VON STUCK (1863-1928) Beethoven The laurel crowned plaster life mask on painted wooden base incised with the composer’s name in gold within an egg and dart frame.

47 x 50cm PROVENANCE: Daniel Katz, London Purchased from the above $9,000-12,000 368 GUSTAVE COURBET (French, 1819-1877) La dame a la mouette (the woman with the seagull) plaster, grey painted signed: G. Courbet Diameter 73cm

369 A PLASTER RELIEF OF THE ARCHANGEL MICHAEL, CAST AFTER THE MODEL BY BENJAMIN CRESWICK 1853-1946 Depicted standing in a gothic niche, in armour holding a flaming sword and scales for weighing souls, standing on a scroll inscribed B. CRESWICK. 90 x 30.5cm OTHER NOTES: Creswick was encouraged by John Ruskin to take up sculpture and worked on many architectural commissions with A.H. Mackmurdo. $3,000-5,000

PROVENANCE: Joanna Barnes Fine Art, 2001 OTHER NOTES: Commissioned from Courbet in 1876, when the artist was in exile in Switzerland, it was his last work and was one of two reliefs depicting women, which he executed for the façade of a building on the corner of the quai Perdonnet and the place de l’AncienPort, Vevey. Representing a woman with downcast eyes with a seagull head dress she was also called “La Dame du Lac” by Courbet. It is also thought that she symbolised exile and the seagull her thoughts flying to her distant homeland. Courbet also painted “Fille aux mouettes” in Trouville in 1865, depicting a young girl with dead seagulls, also see Jules Breton’s “La mouette blessée” of 1878 depicting a tender Breton girl with an injured seabird. $20,000-40,000

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370 A MASSIVE FRENCH PLASTER CAST OF THE LUDOVISI JUNO, LATE 19TH CENTURY The serene goddess wearing an anthemion cast diadem, inscribed to the lower edge: “274C JUNON COLOSSALE ANTIQUE. FRAGMENT VILLA LUDOVISI”.

Height 110cm; Width 66cm; Depth 55cm OTHER NOTES: The original Roman marble of Juno was modelled on the features of Antonia Minor, one of the daughters of Mark Anthony. She was one of the more important women of the Julio Claudian dynasty as she was related to Augustus, Tiberius, Caligula, Nero and was the mother of Claudius. Originally in the collection of Cardinal Ludovico Ludovisi, it is now in the National Museum, Rome. $15,000-20,000 371 AN ITALIAN CARVED MARBLE BUST OF DANTE 19TH CENTURY Depicted facing frontally wearing a wreath of laurels, over his cap the three-quarter length bust; on an associated marble socle.

Height 53.3cm PROVENANCE: Christie’s London, A Tribute to John Fowler: Furniture and Decorations, 14 September 2006, lot 402 $3,000-5,000 372 AN ITALIAN WHITE MARBLE COPY OF THE “RONDANINI MEDUSA”, MID 19TH CENTURY The winged gorgon’s mask wreathed in snakes, on a square sectioned waisted socle.

Height 60cm OTHER NOTES: Thought to be a Roman copy of a Greek 5th Century BC original, the original version of this work was in the collection of the Marchesi Rondanini in Rome.

Much admired by Goethe who was struck by its “unspeakable anguished stare of death” it was later acquired by King Ludwig of Bavaria and is now in the Glyptothek in Munich. $40,000-60,000 373 A FRENCH OAK SCULPTOR’S PEDESTAL, LATE 19TH CENTURY The moulded rotating top on four square sectioned, incised and fluted supports on a moulded platform base with concealed rollers.

Height 112cm; Width 62cm; Depth 62cm $3,000-5,000 374 A CARVED AND BRONZED CHESTNUT FEMALE HERM, 19TH CENTURY The classically draped female bust on a tapering shaft with bronzed feet, on plain plinth base.

Height 135cm $1,500-2,500 60

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375 A BRONZED PLASTER RELIEF OF A SLEEPING WOMAN, SIGNED WITH INITIALS C.B. In ebonised frame, with fragmentary exhibition label to verso, “WOMEN’S EXHIBITION LONDON 1900 Fine Art Section” also pencil inscription “1361 Liverpool 1899/1920 Royal Academy 1899”.

50 x 42cm OTHER NOTES: The official guide to the Woman’s Exhibition of 1900, held at Earls Court in London, has in the “Statuary” section, page 57, item, 2145A, “Sleep- Mrs Clarissa Barker” which is likely to be this work. $1,000-1,500 376 A FRENCH GILT BRONZE RELIEF PLAQUE, ENTITLED ‘LA CHATIMENTS’ Cast by Susse Frères, Paris, from the model by AiméJules Dalou, early 20th century. Signed ‘DALOU’ and inscribed ‘Susse fRES EDT Paris’ and with Susse Frères Editeurs stamp, in a stained oak frame.

The plaque: 36.3 x 36.8cm; overall: 48.8 x 36.7cm PROVENANCE: Private Collection Christie’s London, The Opulent Eye, 10 September 2013, lot 48 Purchased from the above OTHER NOTES: Les Châtiments (The Punishments) is a collection of satirical poems written by Victor Hugo as a protest against the coup d’état and rule of Emperor Napoleon III. Dalou made this relief depicting Les Châtiments so that an etching could be taken from it as a frontispiece for an edition of Victor Hugo’s work.

The plaster of circa 1885 is in the Musée d’Orsay, Paris (RF 2464) and Dalou exhibited a bronze cast of it at the Salon in 1890 (N° 1259). On 26 July 1899 Dalou authorised the Susse Frères foundry to edit the bas-relief in bronze. $5,000-7,000

377 A CAST BRONZE DOOR KNOCKER BY ALFRED STEVENS, LATE 19TH CENTURY The foliate cast drop centred with a crouching putto.

Height 28cm; Width 12cm; Depth 4cm OTHER NOTES: Alfred Stevens (1817/18-1875) was a British sculptor, designer and painter. A plaster model for a similar door knocker can be found in the collection of the Victoria & Albert Museum, London. $4,000-6,000 378 A LARGE BRONZE DOOR KNOCKER, ITALIAN 18TH CENTURY Cast as a grotesque mask with a snake embellished ring in its mouth.

Height 36cm; Width 18cm; Depth 10cm $9,000-13,000 379 A VICTORIAN ALABASTER COLUMN PEDESTAL Height 103cm $1,000-1,500 380 EMMANUEL VILLANIS (French, 1852-1914) A bronze figural jardiniere The sculptural body formed as waves with naked sea nymphs in various attitudes of abandonment, signed E.Villanis Height 41cm; Width 44cm $2,000-4,000 381 A CAST IRON LIFE SIZE STATUE OF BACCHUS, FRENCH LATE 19TH CENTURY, PROBABLY BY THE VAL D’OSNE FOUNDRY The standing naked god holding a flask and drinking from a cup, draped in vine leaves, on an associated pink granite plinth.

Height 196cm PROVENANCE: Mossgreen Sydney, The Estate of Leslie Walford, 18 November 2012, lot 23 $8,000-12,000

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382 A FRENCH BRONZE ALLEGORICAL GROUP EMBLEMATIC OF INDUSTRY, CAST FROM A MODEL BY EMILE LOUIS PICAULT (1833-1915), LATE 19TH CENTURY/EARLY 20TH CENTURY The naturalistic base inscribed ‘E. PICAULT’ on a square canted vert maurin marble base above a conforming mahogany pedestal.

Height 75cm (excluding pedestal) PROVENANCE: Christie’s London, The Opulent Eye, 10 September 2013, lot 49 $12,000-18,000 383 A FRENCH PATINATED BRONZE FIGURE OF PROMETHEUS, ON PEDESTAL CAST FROM THE MODEL BY JEAN JULES CAMBOS (1828-1917), LATE 19TH CENTURY Signed to the rockwork base ‘CAMBOS’, on a rouge griotte marble circular moulded base and an oak pedestal carved to the body with floral swags and stiff leaves, drilled for electricity.

Bronze: Height 102cm; Pedestal: Height 107cm PROVENANCE: Christie’s London, The Opulent Eye, 10 September 2013, lot 47 $15,000-25,000

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384 A FRENCH BRONZE FIGURAL LAMP, CAST AFTER THE MODEL BY RAYMOND SUDRÉ (1870-1962) CIRCA 1910 Titled to the plinth ‘DEPART DE MERCURE PRIX DE CONCOURS ECOLE DES BEAUX-ARTS, PARIS” the naked god holding aloft a torch, adjusting his winged sandal.

Height 75cm $2,000-4,000 385 LUCIEN (CHARLES EDOUARD) ALLIOT (French, 1877-1967) Dancer with a Ball c.1930 bronze, glass on marble base signed in bronze base: L ALLIOT Height 30cm (with base) $1,000-2,000

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386 ALFRED DRURY RA (English, 1856-1944) Griselda 1907 bronze on green marble plinth Signed and dated to reverse Height 38cm $3,000-4,000 387 AN ART DECO STYLE PLINTH Of tapering rectangular form with rounded corners, in faux marble finish.

Height 103cm; Depth 26cm; Width 31.5cm $800-1,200

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388 A BRONZE OF THE NARCISSUS OF POMPEII, LATE 19TH CENTURY The naked youth looking down with a pelt on his shoulder, a fig leaf and sandalled feet, on a circular plinth.

Height 59cm $5,000-7,000 389 A VICTORIAN RED MARBLE COLUMN PEDESTAL Height 116cm $2,000-3,000 390 AN ITALIAN BRONZE OF THE DANCING FAUN OF POMPEII, 19TH CENTURY The ecstatic nude wearing a crown of acorns, on an integral rectangular moulded plinth.

Height 84cm OTHER NOTES: The House of the Faun in Pompeii was excavated

by German archaeologists in 1830 and its impluvium was decorated with the bronze that gave the house its name. $2,000-4,000 391 AN ITALIAN BRONZE OF THE NARCISSUS OF POMPEII, 19TH CENTURY Possibly by the Chiurazzi Foundry, the naked youth looking down with a pelt on his shoulder and sandalled feet, on a circular plinth with leaf cast moulding, patinated finish.

Height 62.5cm

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OTHER NOTES: The original was excavated in 1862 from the House of Narcissus on the Vico de Lupanare, Pompeii. $5,000-7,000

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392 ARTIST UNKNOWN (early 20th century) Art Deco Seated Nude with Billowing Shawl bronze on wooden base signed with monogram, etched into base: WMP 27.5 x 17.5 x 21cm PROVENANCE: The Maas Gallery, London (note to base) $2,000-4,000 393 A BRONZE FIGURE OF A NAKED MAN Man imploring the Sky bronze Height 49cm PROVENANCE: Robert Bowman Ltd, London Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May 2004, lot 284 Purchased from the above $2,000-4,000 394 BRUNO ZACH (Austrian, 1891-1945) The Hugger bronze on marble base signed, stamped to bronze base with artists mongram Height 16cm $1,000-2,000

395 CYRUS EDWIN DALLIN (American, 1861-1944) Nude Sleeping in the Landscape 1903 bronze signed and dated, inscribed in base: C E Dallin 1903 Height 93cm; Width 79cm; Depth 86cm PROVENANCE: Springville Museum of Fine Art, Utah Purchased from the above $30,000-50,000 396 ALBERT ERNEST CARRIER-BELLEUSE (French, 1824-1887), possibly with AUGUSTE RODIN (French, 1840-1917) The Abduction of Hippodamia (L’Enlèvement d’Hippodamia), 1877/79, cast after bronze with brown patina on variegated green marble plinth Signed, inscribed in bronze to base: Carrier-Belleuse Height 77cm $80,000-120,000 Carrier-Belleuse portrays a wrenching struggle between woman and beast in this abduction scene from Greek myth. The inebriated centaur, a guest at the wedding feast of Hippodamia and the Lapith king, grabs the young bride, pinning her to his side and setting off a battle between the human Lapiths and the wild centaurs. Hippodamia is rescued, but the episode starts a greater war between the two factions. In the end, the Lapiths triumph and the centaurs retreat to the mountains. With its classical references (the wedding garlands worn by both figures and the overturned wine jar), nineteenthcentury viewers would have recognized the story—a motif for the moral struggle between rationality and bestiality, between civilized behaviour and primitive instincts.

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With his Abduction, Carrier-Belleuse introduced an extraordinary neo-baroque dynamism to a classical subject. He captured the figures at the moment of highest tension: the centaur seems to explode as he turns and thrusts both up and back, while Hippodamia twists and stretches, forcing energy out from the centre.

Scholars speculate that while the sensuous, longlimbed Hippodamia is characteristic of CarrierBelleuse's female nudes, the overall expressive intensity of the sculpture—particularly the centaur's bulky musculature and bellowing mouth—reflect the energetic modelling of Auguste Rodin. CarrierBelleuse employed Rodin in his studio in the 1870s; it is very possible that the younger artist contributed to this work.

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from The National Gallery of Art, Washington https:// www.nga.gov/collection/art-object-page.56386.html

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397 THÉODORE RIVIÈRE (French, 1857-1912) Salammbô Chez Mathô. Je t’aime! Je t’aime (Salammbo with Matho. I love you! I love you) 1892 bronze, rich mid-brown patina, on loose wood plinth signed and dated, inscribed to base: THEODORE RIVIERE/ 1892 stamped to base with foundry: SUSSE FRERES EDITEURS PARIS titled, inscribed to base Height 42cm PROVENANCE: Sotheby’s London, 19th & 20th Century Sculpture, 21 May 2014, lot 75 Purchased from the above OTHER NOTES: This is a particularly fine Susse cast of Rivière’s celebrated model, with beautiful waxy detailing.

There is a bronze and ivory version in the Musée d’Orsay, Paris. The subject was taken from Gustave Flaubert’s exotic historical novel, Salammbô, published in 1892. It represents the Carthaginian priestess Salammbô retrieving her city’s sacred veil, the Zaïmph, from her enemy Mathô, who is consumed with desire for her. $10,000-15,000

398 LOUIS-ERNEST BARRIAS (French, 1841-1905) Jeune Fille de Bou Saada 1890 marble, bronze inlay with pearl and turquoise Signed, inscribed to base: E Barrias/ Susse Fres Edtr Foundry stamp to base: SUSSE FRERES EDITEURS PARIS Height 48cm PROVENANCE: Private Collection Sotheby’s, 19th & 20th Century Sculpture, London, 20 May 2015, lot 98 Purchased from the above OTHER NOTES: First exhibited at the Paris Salon in 1890 as a wax model, and later at the Exposition Centennale in 1900, this sculpture was inspired by a painting by Achille Guillaumet entitled La Carieuse de aine de Bou-Saada of 1885 (Musée des Beaux-Arts, Rouen).

Barrias has interpreted his figure with a more opulent and orientalist eye compared to the humble Realism of Guillaumet, who depicts her in a dejected mood and a plain shawl, whereas the sculptor embellishes the model with elaborate jewelled clasps set with semiprecious stones. The Susse foundry offered the model in various sizes and materials including a seated version with arms. There is a marble and bronze example in the Musée des Arts Décoratifs, Paris. $50,000-70,000

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399 JEAN JACQUES FEUCHERE (French, 1807-1852) Michelangelo bronze, dark brown patina signed, inscribed in base: F Feuchere Scpt title, inscribed in plaque Height 45cm $6,000-8,000 400 GILBERT BAYES F.R.B.S (English 1872-1953) The Underworld (75) 1913 Bronze with gold and black patination, signed and dated in the bronze; on a modern ebonised plinth Height 156cm (overall); Height of bronze 24cm PROVENANCE: The Fine Arts Society, London 2015 OTHER NOTES: The inspiration for this bronze is Rudyard Kipling’s 1893 poem “The Last Rhyme of True Thomas” “For I will give you a horse o’ pride, Wi’ blazon and spur and page and squire; Wi’ Keep and tail and seizin and law, And land to hold at your desire.” $30,000-40,000

401 ALFRED DRURY RA (British, 1856-1944) Mother and Child (Education) 1904-6 Bronze with greenish grey patina, on original stone base, this cast circa 1907-9 signed, inscribed to base: A DRURY 34. x 14 x 14cm PROVENANCE: Agnew’s Gallery, London Purchased from the above 9 July 2015 OTHER NOTES: A study for the bronze group “Education” on Vauxhall Bridge, London which was opened in 1906. Richard Norman Shaw advised the LCC to embellish the piers of the bridge with monumental bronze statues, and ultimately Drury was commissioned to provide works for the four downstream piers; Science, Fine Arts, Local Government and Education and Frederick Pomeroy was commissioned for the upstream piers; Agriculture, Architecture, Engineering and Pottery. $8,000-12,000 402 WILLIAM REID DICK (British, 1879-1961) Portrait Bust of a Young Girl 1919 bronze on stone base signed and dated, inscribed in bronze: Reid Dick/ 1919 Height 50cm $4,000-6,000

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403 FREDERICK WILLIAM POMEROY (British, 1856-1924) Dionysus, ?1890-1, cast 1903 bronze signed and dated, inscribed to base: F W POMEROY 1903 titled in Greek to base 40 x 16 x 23cm PROVENANCE: Private Collection.

Bowman Sculpture, London.

Acquired from the above $12,000-18,000

Dionysus, the ancient Greek god of wine, is depicted as a vibrant youth, standing on a Renaissance inspired triangular base and toasting the viewer with his upheld rhyton, or drinking horn. He is exuberant, with his slender body swaying slightly under the influence of wine. Pomeroy combines classical subject matter and the influence of Italian 15th and 16th century bronzes with an expressive dynamism. These characteristics, combined with an interest in naturalism, distinguished the work of the New Sculpture artists.

Pomeroy first exhibited Dionysus in plaster at the Royal Academy in 1890. The work was cast in bronze in two sizes, with the smaller Schaeffer version created to appeal to a developing collectors’ market. The work was delicately modelled, portraying the skills Pomeroy learned under the mentorship of Jules Dalou (1838-1902) while studying at the South London Technical Art School.

Jane Messenger

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404 SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) Comedy and Tragedy: Sic Vita c. 1890-2 (cast later) bronze, rich mid and dark brown patination, on marble base signed, stamped to bronze base with artists monogram Height 39cm PROVENANCE: Private Collection Bowman Sculpture, London Acquired from the above $55,000-75,000

The complexity of form and symbolism distinguishes Comedy & Tradedy: Sic Vita as one of the masterworks of the New Sculpture movement. Gilbert’s technical virtuosity is apparent in the contrapposto arrangement of the figure pivoting on one foot. Movements oppose as the naked boy thrusts a comic mask in one direction, while twisting his upper body the other to observe a bee stinging his left calf.

Gilbert guides the viewer’s eye around the sculpture to reveal a complex narrative contained within. The spectator appreciates the work from multiple viewpoints. The young boy is shown from one angle holding a comic mask and from another, grimacing in pain from a bee sting.

The symbolism informing the contrasting emotions and tension within the sculpture was a reflection of the turmoil Gilbert was experiencing in his professional and personal life. Though outwardly successful, considered the pre-emanate sculptor of his day with Royal patronage and significant private commissions, Gilbert was trapped in a spiral of debt and disputes over uncompleted commissions. His production costs were high and in striving for perfection, projects ran late to the irritation of patrons. Gilbert’s wife was also gravely ill, which heightened his anxiety.

Comedy & Tradedy: Sic Vita symbolised the appearance of pleasure and success, while revealing an inner torment. As Gilbert explained the work: …represents a boy carrying a comic mask. He is stung by a bee – the symbol of love. He turns, and his face becomes tragic. The symbol is in reality fact. I was strung […] by my love for my art, a consciousness of its incompleteness. […] I was living a kind of double life at that time, enjoying the society of Irving and Toole and other famous and pleasant members of the Garrick Club going to the theatre at night, and with Tragedy in my private life, living my Comedy publicly, if not enjoying it[1].

The Latin subtitle to the work means ‘Thus is life’. Gilbert’s ability to combine contrasting expressions within the one figure is testament to his brilliance. Comedy & Tradedy: Sic Vita belongs to a group of sculptures referred to as the Great Bronzes within Gilbert’s oeuvre. The Schaeffer bronze is a reduced version of the original - a plaster of which was exhibited at the Royal Academy in 1892 - produced by Gilbert for his expanding collectors’ market.

Jane Messenger

[1] Gilbert quoted in Richard Dorment, Alfred Gilbert: Sculptor and Goldsmith, Royal Academy of Arts, London 1986, p116

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405 SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) Offering to Hymen bronze, on later octagonal wood base Height 29cm PROVENANCE: Robert Bowman, London LITERATURE: R. Dorment, Alfred Gilbert: Sculptor and Goldsmith, exh. cat. Royal Academy of Arts, London, 1986, pp.

51, 114, no. 19 OTHER NOTES: A version of this statuette can be found in the Victoria & Albert Museum, London. $8,000-12,000

406 SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) Study (Head of the Capri Fisherman), first cast 1884 bronze on ebony painted wood base Height 48cm PROVENANCE: Bowman Sculpture, London (label to wood base) Acquired from the above 1 July 2014 $25,000-35,000

The first cast of Study (Head of the Capri Fisherman) was exhibited with Gilbert’s now celebrated Icarus at the Royal Academy in 1884. After praising Icarus, the critic for The Illustrated London News wrote: “But still more extraordinary is the “Study of a Head”, with its thousand wrinkles and markings of age. It is difficult to believe this is not from life; nothing closer to nature have we seen – nothing so wonderful in its way. If Mr. Gilbert’s rare faculty of imitation admits of full artistic development, there will be no greater sculptor of our time.”[1] Study (Head of the Capri Fisherman) captured the passage of time on the weathered face of the protagonist, whom Gilbert identified as a fisherman when he exhibited the work in Manchester in 1887 (for part of the year 1883, the Gilberts were living in Capri, having moved to Italy in 1878). Gilbert reimagined ancient Greek and Roman sculptural traditions by infusing the bust with an unforgiving realism. The face of the fisherman is rugged but also introspective, expressing a psychological thought. Gilbert’s brilliance, as typified by Study (Head of the Capri Fisherman), was his ability to achieve monumentality without sacrificing intimacy.

Alfred Gilbert was the leading exponent of the New Sculpture movement in British art, which was coined by critic Edmund Gosse in an 1876 article in Art Journal. Gilbert looked to the athletic beauty of ancient Greek and Roman figurative sculpture and infused it with a physical and psychological expression. He was responsible for creating one of London’s grandest public sculptures, Eros Fountain in Piccadilly Circus (designed as a memorial to Lord Shaftsbury).

Jane Messenger

[1] The Illustrated London News 10 May 1884 quoted in Richard Dorment, Alfred Gilbert: Sculptor and Goldsmith, Royal Academy of Arts, London 1986, p108-109

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407 SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) St Catherine (The Miraculous Wedding) c.1900 bronze Height 50.5cm PROVENANCE: Sotheby’s London, 19th and 20th Century Sculpture, 20 November 1997, lot 131 LITERATURE: Masterpieces of Victorian Art from the John and Julie Schaeffer Collection and the Art Gallery of New South Wales Collections, exhibit. cat., Sydney: Art Gallery of New South Wales, Sydney, pp 110-11 $30,000-50,000

EXHIBITION HISTORY: The Edwardians: Secrets and Desires, National Gallery of Australia, Canberra, 12 May - 14. June 2004; Art Gallery of South Australia, Adelaide, 9 July – 12 Sept 2004 The John H Schaeffer Collection of Victorian and European Art, Springville Museum of Art, Springville, Utah, 26 Aug 2009 – 28 Feb 2010 Victorian Visions: Nineteenth-century Art from the John Schaeffer Collection, Art Gallery of New South Wales, Sydney, 20 May – 29 Aug 2010 The exotic veiled figure holding a young boy is St Catherine of Alexandria. According to her legend she was a girl of notable birth who converted to Christianity and refused marriage with the Emperor on the grounds that she was the ‘bride of Christ’. She was persecuted for her Christianity and tortured on a wheel… The iconography of the mystic marriage, normally represented by the infant Christ placing a ring on the saint’s finger, was also applied to St Catherine of Alexandria. In Gilbert’s figure Christ has already placed a ring on the saint’s finger and now kisses her hand.

The figure is connected with Gilbert’s plans for the immense project of the tomb of the Duke of Clarence, son of the future Edward VII and heir to the throne, who died of pneumonia in 1892 at the age of 28.

Gilbert’s ‘neo-Gothic extravaganza in bronze, aluminium and marble’ in the Albert memorial chapel at Windsor was begun in 1892 and finished for the most part by 1899, although not definitely until 1928.

The tomb is surrounded by a grill, on which stand 12 figures of saints. Gilbert’s intentions for these were described in a Times article of 4 August 1898 written when only one of the saints was as yet in place. There were then no plans for a figure of St Catherine. On the finished tomb there were figures of both St Catherine of Alexandria and St Catherine of Sienna, but these figures were not added until the 1890s. The Miraculous Wedding represents an earlier idea for the figure of St Catherine of Alexandria modelled between 1898 and 1901. extract from Richard Beresford, Victorian Visions: Nineteenth-century Art from the John Schaeffer Collection, Sydney: Art Gallery of New South Wales, 2010, p 110 Jane Messenger

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408 cast after a model by SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) Study of a Head (Head of a Girl) bronze on stone plinth Height 48cm PROVENANCE: The Maas Gallery, London Purchased from the above in 2013 OTHER NOTES: This sculpture is an unauthorised cast after Alfred Gilbert’s “Study of a Head” 1882, which he exhibited at the Royal Academy the following year. There it ‘brought about a new outlook in sculpture’ according to sculptor William Goscombe John (1860-1952).

Study of a Head was the first bronze Gilbert exhibited at the Royal Academy and followed his return to London from Italy. The model was Francis Gilbert’s wetnurse in Rome, Michaelena.

Gilbert captured the monumentality of ancient and renaiassance traditions, while simultaneously infusing the sculpture with a sensual and introspective expression. This complex duality would distinguish his career and define the New Sculpture movement generally. $7,000-10,000

409 ALFRED DRURY RA after AIME-JULES DALOU (British, 1856-1944) Head of La Boulonnaise c. 1879 marble, onyx base PROVENANCE: Alfred Drury By decent to his grandson W. Agnew & Co. Ltd, London Purchased from the above on 9 July 2015 OTHER NOTES: Carved by Drury on Dalou’s instruction. $100,000-150,000

Drury developed Head of La Boulannaise after Dalou’s superb life-sized terracotta, Boulonnaise Allaitant san Enfant (A Young Mother from Boulogne Feeding her Child), which was first exhibited in 1877 at the Royal Academy. Dalou, one of the leading French sculptors of the nineteenth century, established himself as a major artist in London while exiled (1871-79) during the aftermath of the Franco-Prussian War. Dalou was a source of inspiration for an emerging generation of British sculptors, contributing to the foundations of the New Sculpture movement. Drury studied under Dalou at the National Art Training School.

When the master returned to Paris, Drury followed him and became his principal assistant.

Drury’s exquisite copy of the head of Boulonnaise Allaitant san Enfant captures the tender expression of the original. The mother’s head is downturned in a spirit of Virginal devotion, referencing the iconography of the Madonna of Humility. The sculpture reflects the idealism of Renaissance traditions but infuses it with a sense of introspection.

Jane Messenger

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410 PIERRE FÉLIX MASSEAU (French, 1869-1937) L’Emprise c.1897 bronze, dark brown patina Signed to base: Fix MASSEAU Stamped to base with foundry: SIOT PARIS Height 80cm PROVENANCE: Sotheby’s London, European Sculpture and Works of Art 900-1900, 11 July 2001, lot 256 EXHIBITIONS: Victorian Visions: Nineteenth-century Art from the John Schaeffer Collection, Art Gallery of New South Wales, Sydney, 20 May - 29 Aug 2010 LITERATURE: Masterpieces of Victorian Art from the John and Julie Schaeffer Collection and the Art Gallery of New South Wales Collections, exhibit. cat., Sydney: Art Gallery of New South Wales, Sydney, pp146-47 $40,000-60,000

Fix-Masseau is best known as an Art Nouveau sculptor, contributing to the stylistic development with an innovative and unconventional approach to materials and techniques. He studied at the École des BeauxArts in Paris and went on to become the director of the École des Arts Decoratifs in Limoges.

L’Emprise belongs to an early body of work, created while Fix-Masseau was still living in Paris. A photograph of the artist in his studio in 1897 shows the plaster of L’Emprise in the foreground.1 The title can loosely be understood in English as conveying a sense of being dominated by or ‘in the grip’ of a person or idea. It explains the abstract meaning informing the sculpture.

A nude female, seated with her legs crossed and turning inward, conceals her face from the viewer. She tries to shield herself from a wave of grotesque faces, pushing away the demons of her mind that seek to overpower her. L’Emprise expresses an emotional state of agony through physical representation, revealing Fix-Misseau’s debt to Auguste Rodin.

Jane Messenger

1 Richard Beresford Victorian Visions: Nineteenth-Century Art from the John Schaeffer Collection, exhib. cat. 20 May - 29 August 2010, Art Gallery of New South Wales: Sydney, 2010, p. 146

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411 EUGÈNE ANTOINE AIZELIN (French, 1821-1902) Marguerite c.1884 bronze, brown patina signed, inscribed to base: EUGNE AIZELIN stamped to base with foundry: RÉDUCTION MECANIQUE. A. COLLAS BREVETE titled, inscribed to base Height 70cm PROVENANCE: Garrat Antiques Acquired from the above on 15 June 2014 OTHER NOTES: Aizelin began his study at the Ecole des Beaux in 1844 and debuted at the Salon eight years later, where he continued to exhibit regularly until 1897.

His models were often cast in various sizes, as in the example of “Marguerite”. $10,000-15,000 412 A YELLOW ALABASTER COLUMN PEDESTAL Of doric form with a rectangular, rusticated platform top. $1,000-1,500 413 A VICTORIAN MAHOGANY EASEL The adjustable picture rest on strut supports with turned finials and stretcher.

Height 187cm; Width 71cm $2,000-4,000

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414 FREDERICK HOLLYER (British, 1837-1933) After SIR EDWARD COLEY BURNE-JONES (British, 1833-1898) An Angel Playing a Flageolet pastel over a photographic base Stamped on reverse of the backing in red ink: copywrite / BY FREDK HOLLYER / 8 PEMBROKE SQUARE / KENSINGTON W 11 72.5 x 60cm PROVENANCE: Private Collection, UK Nevill Keating Pictures, London EXHIBITIONS: Pre-Raphaelites and the Olympians: selected works of Victorian Art from the John and Julie Schaeffer and the Art Gallery of New South Wales Collections Sydney, Art Gallery of New South Wales, 19 April - 9 September 2001 LITERATURE: Malcolm Bell, Sir Edward Burne-Jones: A Record and Review, Second Edition, London, 1893, p.103 & ill., entitled "ANGEL".

Richard Beresford, Pre-Raphaelites and the Olympians: selected works of Victorian Art from the John and Julie Schaeffer and the Art Gallery of New South Wales Collections, exhib. cat., Art Gallery of New South Wales, Sydney, 2001, p.23 (ill.).

OTHER NOTES: A related study for this painting can be found in Sudley House, Liverpool. $25,000-35,000

This work is derived directly from a work by Burne-Jones, most likely his watercolour of An Angel Playing a Flageolet (1878, now National Museums and Galleries on Merseyside, Liverpool).1 It is based primarily on a photograph by Frederick Hollyer, who specialised in reproducing artists’ paintings and drawings. The same photograph was selected, presumably with Burne-Jones’ approval, for illustration in the 1893 edition of Malcolm Bell’s biography of the artist, where it appears with similar embellishments, executed in pastel or chalk. Burne-Jones’ watercolour of 1878 was purchased from the artist in 1888 by Agnew’s, and later entered the Holt Collection at Sudley House.

Hollyer’s reproductions of the works of Burne-Jones were immensely popular, especially with Oxford aesthetes in whose homes they would have been displayed alongside Morris wallpaper, peacock feathers and blue and white ceramics. His photographs of The Golden Stairs contributed greatly to its fame and success.

Hollyer also made several portrait photographs of Burne-Jones, including one alongside Morris’s family taken at The Grange in Fulham in 1874.

Burne-Jones habitually developed his idea by taking an image in one medium and re-inventing it in another. The earliest known rendition of the present figure appears in a stained glass window for the Regimental Chapel in Christ Church Cathedral, Oxford, designed in 1877. For the top tracery lights he designed three musical angels: at the top, an angel looking left playing a flageolet; lower left, an angel looking right playing a flageolet; and lower right, an angel with cymbals facing front.

In his retrospective list of work, Burne-Jones recorded under the year 1881 “Three small panels in oil of angels” together with “Same figures in water-colour on bigger scale.” The watercolour of An Angel Playing a Flageolet now at Liverpool may well be one of the latter set in the 1881 inventory. Another of these may have been the Angel with Cymbals formerly in the collection of Mrs Mackail and exhibited at the Hayward Gallery in 1975 (no. 142). Meanwhile, a small oil panel

by Burne-Jones dated 1881 that depicts an angel with a flageolet facing right, now in Glasgow Art Gallery and Museum, may be one of the first set listed in 1881.

Two of the small oil panels were exhibited at the Grosvenor Gallery in 1881 (no. 292) and in 1883 (no. 14). One of these, “The Angel of the Trumpet” came from the Makins Collection. These two groups of paintings elaborated the stained glass designs of 1877-78, introducing, for example, the fictive marble frame.

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415 NIGEL THOMSON (Australian, 1945-1999) Proserpine 1988 oil on canvas signed and dated verso lower-right: NIGEL THOMSON/ 88 142 x 81cm OTHER NOTES: after Dante Gabriel Rossetti’s Proserpine 1871 $5,000-7,000 416 PERCIVAL (PERCY) ALEXANDER LEASON (Australian/American, 1889-1959) Still life with chrysanthemums and Oriental figure oil on board signed ‘Leason’ lower right 39.7 x 29.5cm PROVENANCE: Dame Nellie Melba GBE Sotheby’s Australia, Fine Asian, Australian & European Arts & Design Including Property From The Collection Of Dame Nellie Melba (Art lots), Melbourne, 31st March 2015, lot 52 Purchased from the above $2,000-4,000 415

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417 ELIZABETH DICKSON (BESSIE) GIBSON (Australian, 1868-1961) Luxembourg Gardens (double sided) oil on panel 18.2 x 23cm

418 reproduction of HENRY WALLACE (British, 1830-1916) The Death of Chatterton 1856 canvas reproduction in ornate frame 85.5 x 117cm $8,000-12,000

PROVENANCE: Sotheby’s Australia, Fine Asian, Australian & European Arts & Design, Melbourne, 01 April 2015, lot 322 Purchased from the above $4,000-6,000

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419 NATHANIEL GEORGE PHILIPS (British, 1795-1831) Self-Portrait oil on panel original elaborate gilt plaster frame 91 x 65cm PROVENANCE: The artist, thence by descent Christie’s 10 July 1933, lot 6 Bt J.K.Philips By descent Purchased from the above in 2011 $10,000-15,000 420 after FRANS HALS (Dutch, c.1580-1666) Portrait of a Bearded Gentleman, Half Length oil on panel 69 x 60cm PROVENANCE: Bonhams London, Old Master Paintings, 7 July 2010, lot 34, as School of Haarlem $15,000-25,000

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421 FRANK HOLL (British, 1845-1888) Portrait of Sir R. N. Fowler Bart M.P 1885 oil on canvas 126 x 100cm PROVENANCE: J.B. Hawkins Antiques, Moss Vale, NSW Private Collection, NSW Shapiro Auctioneers, Traditional Paintings, Furniture and Decorative Art, Sydney, 7 December 2009, lot 63 $8,000-12,000 422 ERNEST BUCKMASTER (Australian, 1897-1968) Portrait of Rupert Bunny 1937 oil on canvas 98 x 75cm PROVENANCE: Leonard Joel, Australian British, New Zealand & European Historical Paintings, 23 July 1986, lot 46 $10,000-15,000 423 JAMES R. JACKSON (Australian, 1882-1975) Hawkesbury River oil on canvas signed lower right: JAMES R JACKSON 65 x 80cm

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PROVENANCE: Private Collection L.J. Cook and Company, Melbourne Mr David Clarke AO, Sydney, acquired from the above on 18 March 2000 Sotheby’s Australia, The David Clarke AO Collection of Australian Art; Important Australian Art, Sydney, 28 April 2015, lot 24 $8,000-12,000

424 ELIZABETH DICKSON (BESSIE) GIBSON (Australian, 1868-1961) On the Bay oil on panel signed lower right: Bessie Gibson signed and titled verso 35.8 x. 44.7cm PROVENANCE: Savill Galleries Sydney/Melbourne (label verso) Sotheby’s Australia, Fine Asian, Australian & European Arts & Design, Melbourne, 01 April 2015, lot 320 Purchased from the above $2,000-4,000 425 CONTINENTAL SCHOOL (19th century) Interior of a Great Hall watercolour, pencil on paper 33 x 41cm $700-1,000 426 ARTIST UNKNOWN (British, 19th century) Church Interior watercolour, pencil on paper 72 x 57cm PROVENANCE: Haslam & Whiteway, London Acquired from the above 12 April 2001 $1,500-2,500

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427 UNKNOWN ARTIST (Australian, 20th century) The Fisherman oil on board signed lower left 16 x 18cm $300-500 428 ALFRED E CHALON (British, 1780-1860) A pair of Portraits: Leopold George Christian Frederick Duke of Saxony and Princess Charlotte of Wales stipple engraving, hand coloured 21.5 x 13cm $400-600

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429 H.R.H QUEEN VICTORIA (British, 1819-1901) A Fairy Visiting the Nursery 1835 pencil, watercolour on paper signed and dated, below image, lower right: Victoria 1835 18.5 x 16cm PROVENANCE: Christie’s London, Victorian, Pre-Raphaelite & British Impressionist Art, 19 June 2014, lot 72 (label verso) OTHER NOTES: Frame: Arnold Wiggins & Sons, St James’s, London (label verso) $5,000-7,000 429

430

430 H.R.H QUEEN VICTORIA (British, 1819-1901) Hagar & Ishmael in the Desert 1833 pencil on paper signed and dated lower right: Victoria March 13th 1833 22 x 17.5cm PROVENANCE: Christie’s London, Victorian, Pre-Raphaelite & British Impressionist Art, 19 June 2014, lot 73 (label verso) OTHER NOTES: Frame: Arnold Wiggins & Sons, St James’s, London (label verso) $4,000-6,000 431 H.R.H QUEEN VICTORIA (British, 1819-1901) Still Life of Roses 1849 watercolour, bodycolour with gum arabic, pencil on buff paper signed and dated lower right: Victoria 1849 23 x 18.5cm PROVENANCE: Christie’s London, Victorian, Pre-Raphaelite & British Impressionist Art, 19 June 2014, lot 73 (label verso) OTHER NOTES: Frame: Arnold Wiggins & Sons, St James’s, London (label verso) $6,000-8,000

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432 ITALIAN SCHOOL (19th century) A Sibyl oil on canvas in a 19th century Florentine carved and giltwood frame 71 x 60cm PROVENANCE: The Carbisdale Castle Collection Sotheby’s London, 19th and 20th-Century Sculpture, lot 17 Acquired from the above $3,000-5,000 433 after RODOLFO PAOLETTI (Italian, 1866-1934) Sleeping Cupid oil on canvas 63 x 43cm PROVENANCE: The Carbisdale Castle Collection Sotheby’s London, 19th and 20th-Century Sculpture, lot 36 Acquired from the above $2,000-4,000 434 MAXWELL ASHBY ARMFIELD (British, 1881-1972) An Epitaph for England Tempera on gesso ground Signed with artists monogram lower left (on book) 37.5 x 62cm

432

PROVENANCE: R.W.S Galleries, Conduit Street, London The Fine Art Society, London Nicolas Bagshaw, London Purchased from the above 24 August 2010 EXHIBITIONS: Wilton 1958; Leicester Galleries 1958; Hurstbourne 1959; Fine Art Society 1978; Southampton Art Gallery, Southampton “Maxwell Armfield” June 1978 (label verso) $9,000-15,000

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435 EMILY STANNARD (British, 1803-1885) The Game Larder oil on panel signed lower right: E. Stannard 50.5 x 40.5cm PROVENANCE: L. R Nightingale, Paston Hill, Elm Hill Norwich Professor Sir Albert Richardson Christie’s London, 19 September 2013, lot 483 Acquired from the above $15,000-25,000

Stannard studied painting under her father, amateur artist Daniel Coppin (c.1770-1822) – a friend of John Crome (1768-1821) and a founding member of the Norwich Society of Artists. The pair visited the Netherlands in 1820 where she was inspired by the seventeenth-century Dutch still-life tradition. Although she was principally known for her flower compositions, her paintings of game also attracted acclaim.

The Game Larder was a superb example of Stannard’s practice and demonstrated her masterful interpretation of the seventeenth-century Dutch traditions. As with the masters she admired, Stannard executed the painting on panel using a tonal palette with nuanced colour shifts. The detail of the fresh kill emerged from a darkened background. Her brushwork was fastidious, painstakingly applied to capture the varied textural characteristics of feather, fur, metal, timber and wicker.

Jane Messenger

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436 copy of SANDOR LIEZEN-MAYER (Hungary/Germany, 1839-1898) Queen Elizabeth I Signing the Death Warrant Condemning Mary Stuart to Death oil on canvas signed lower left: [illeg] 68 x 54cm $800-1,200 437 MAURICE LANGASKENS (Belgian, 1884-1946) Les Vainqueurs a Symbolist wall panel Signed “Maurice Langaskens 1907� lower right 280 x 540cm OTHER NOTES: A Belgian Post Impressionist and Symbolist artist, his works are well represented in European collections and also in the Collection of the Metropolitan Museum of Art New York. $10,000-20,000 438 FREDERICK HOLLYER (British, 1837-1933) John Ruskin 1894 platinum print signed with blind stamp, lower right: Fred. Hollyer.

Copyright London 27 x 33cm

436

PROVENANCE: The Maas Gallery, London (label verso) Purchased from the above 2 August 1994 OTHER NOTES: Frederick Hollyer was the photographer of choice for the artistic set of the late 19th century. He was also known for his photographic reproductions of works by the Pre-Raphaelite Brotherhood.

John Ruskin (1819-1900), writer, draughtsman, painter and collector, was the eminent art critc of the 19th century. He was best known for championing the career of J. M. W. Turner and the Pre-Raphaelite movement and condemning that of James McNeill Whistler. $1,000-1,500

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439 HENRY HOLIDAY (British, 1839-1926) Joan of Arc 1889 Cleopatra c.1889 black chalk, pencil on paper in Whistler-style frames Joan of Arc signed and dated lower left: Henry Holiday/ 1889 Titled bottom centre Cleopatra signed lower left: Henry Holiday Titled bottom centre Each: 107 x 47cm $8,000-12,000

440 FREDERICK HOLLYER after EDWARD BURNEJONES (British, 1837-1933) Mary Gladstone platinum print on paper 25.5 x 21cm PROVENANCE: The Maas Gallery, London (label verso).

Acquired from the above 27 January 1996 Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 430 Purchased from the above $500-700

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441 DANTE GABRIEL ROSSETTI (British, 1828-1882) The Lover - Study for ‘The Blessed Damozel’ 1878 chalk, pencil, red chalk on grey wash on paper 34 x 82cm PROVENANCE: Artist’s studio sale, Christie’s, 12 May 1883, lot 21 Thos. Agnew & Sons Christie’s 17 June 1969, lot 99 Earl of Gowrie Sotheby’s Belgravia, 19 March 1979, lot 5 Roy Miles Gallery Nicholas Bagshawe Christie’s, 24 November 1998, lot 161 Nevil Keating Pictures, London Acquired from the above EXHIBITIONS: Dante Gabriel Rossetti, painter and poet, Royal Academy of Arts, London, 13 Jan - 11 Mar 1973; City Museum and Art Gallery, Birmingham, 29 Mar - 6 May 1973 The Age of Rossetti, Burne-Jones and Watts, Tate Gallery, London, 16 Oct 1997-4 Jan 1998; Haus der Kunst, Munich, 30 Jan - 26 Apr 1998; Van Gough Museum Amsterdam, 15 May - 30 Aug 1998 Masterworks of Victorian Art from the Collection of John H Schaeffer, Brigham Young, University Museum of Art, Provo, Utah, 15 Feb - 16 Aug 2008 The John H Schaeffer Collection of Victorian and European Art, Springville Museum of Art, Springville, Utah, 26 Aug 2009 - 28 Feb 2010 LITERATURE: Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882): A catalogue raisonne, Clarendon Press, Oxford, 1971, p. 234, no 10 Masterpieces of Victorian Art from the John and Julie Schaeffer Collection and the Art Gallery of New South Wales Collections, exhibit. cat., Sydney: Art Gallery of New South Wales, Sydney, pp78-79 $50,000-70,000

The Lover is a resolved study drawing for the lover in Dante Gabriel Rossetti’s celebrated secular altarpiece The Blessed Damozel. The figure dominates the horizontal composition, with the drawing format informed by its placement in the predella (painted section along the frame at the bottom of an altarpiece). There is an expressive tenderness to Rossetti’s rendering. His relatively loose hand distinguishing The Lover from the finely controlled detail of his early-period drawings. The black chalk, which Rossetti began using in the 1860s, allows him to work with more nuanced texture, as evidenced in the deep folds of the lover’s cassock.

A founding member of the Pre-Raphaelite Brotherhood in 1848, Rossetti expressed the ideals of the movement through painting and poetry. He often paired the two art forms together, as in the example of The Blessed Damozel, which he first published in the Pre-Raphaelite journal The Germ in 1850. It became one of Rossetti’s best-known poems, which he continued to revise until just before his death.

Rossetti was finally persuaded to paint the legend by William Graham, one of his most faithful patrons, with a commission in 1871 (though the painting was not begun until 1875 and finished in 1878). After the original scheme was completed, Graham suggested the addition of the predella, further linking the painting to early Renaissance traditions. The resultant masterpiece is now in the Fog Museum, Harvard. Rossetti also worked concurrently on a second version, now in the Lady Lever Art Gallery, Port Sunlight.

The Blessed Damozel tragically recounts the damozel dying in the fullness of youth and before her lover.

She waits in the heavenly garden, yearning, ever searching, for his coming. She looks longingly downward from the celestial realm, surrounded by the embrace of souls reuniting with their loved ones, anticipating his arrival: “‘I wish that he were come to me, For he will come,’ she said.

‘Have I not prayed in Heaven?—on earth, Lord, Lord, has he not pray’d?

Are not two prayers a perfect strength?

And shall I feel afraid?’1 In the predella, as with the drawing, we see her bereft lover, perhaps a poet. He reclines beside a river with his arms clasped behind his head, framed by a wooded landscape. His gaze and mind are equally steadfast.

He looks to the transcendental realm represented in the main picture, longing for his vision to be true, as he hears the damozel’s voice through the songs of the birds.

The Blessed Damozel was a meditation on themes that preoccupied Rossetti throughout his career. Both the painting and poem explored Rossetti’s hope for eternal love and immortality, while pondering the mystery and ideal beauty of women. Rossetti represented these themes with greater poignancy and repetition following the premature death of his wife Elizabeth (Lizzy) Siddal in 1862. The pictorial representations of The Blessed Damozel thus have a strong autobiographical element, reflecting the artist’s painful experiences in love. The grieving lover can be seen as the poet Rossetti, looking to the fulfilment of earthly desire in Heaven.

Jane Messenger

1 The last of the 4 stanzas from The Blessed Damozel inscribed along the bottom of the predella. Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882): A catalogue raisonne, Oxford: Clarendon Press, 1971, p. 141.

Also ed. Tauchnitz 1873 in F G Stephens, Dante Gabriel Rossetti 1894, London: Seely and Co., p 84.

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442 REGINALD BARBER (British, 1851-1928) Portrait of a Woman 1888 watercolour, pencil, scratching-out on paper signed with artists monogram and dated lower left: 18 RBB 88 55 x 44cm PROVENANCE: Michael John Decorative Arts Ltd, London Acquired from the above on 12 June 1984 $10,000-16,000

The handsome and finely worked drawing Portrait of a Woman reflects the strong influence of the second wave Pre-Raphaelite movement, which dominated artistic thought in London from the 1860s through to 1890s. The model, reputed to be Dorothy Dene, represents an ideal of beauty parallel to that espoused by Edward Burne-Jones and Dante Gabriel Rossetti.

Little is known of Barber’s career, though he is regarded as a portrait and genre painter. He studied at the Royal Academy Schools in London, where he was awarded a silver medal at the age of 19, before moving to Manchester. He became vice-president of the Manchester Academy of Fine Arts and between 1898 and 1930 gave private art lessons to L S Lowry.

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443 GEORGE FREDERIC WATTS OM RA (British, 1817-1904) The Spirit of Christianity: A Symbolic Design 1873-1875 oil on canvas signed and dated lower left: G F Watts 1875 68 x 37cm PROVENANCE: Painted for Charles H. Richards (1812-86) of Seymour Grove, Old Trafford, Mancester His estate sale, Christie’s, 2 April 1887, lot39 Purchased from the above for £126 by Dr Thomas Bond By descent Dreweatt Neate, Newbury, 11 February 1998, lot 210 Purchased from the above through Nevill Keating Pictures, London EXHIBITIONS: Masterpieces of Victorian Art from the John and Julie Schaeffer Collection and the Art Gallery of New South Wales Collections, Art Gallery of New South Wales, Sydney, 19 Apr – 9 Sep 2001 Masterworks of Victorian Art from the Collection of John H Schaeffer, Brigham Young, University Museum of Art, Provo, Utah, 15 Feb – 16 Aug 20008 The John H Schaeffer Collection of Victorian and European Art, Springville Museum of Art, Springville, Utah, 26 Aug 2009 – 28 Feb 2010 Victorian Visions: Nineteenth-century Art from the John Schaeffer Collection, Art Gallery of New South Wales, Sydney, 20 May – 29 Aug 2010

The Spirit of Christianity was painted by Watts for his patron Charles H. Rickards, as a reduced version of the canvas Watts exhibited with the title Dedicated to All the Churches at the Royal Academy in 1875 (now in the Tate Gallery collection, with the title changed by Watts to The Spirit of Christianity).

Watts wrote to Rickards when developing the work (then entitled The Sacred Heart), promising him a reduced copy and explaining that he did not consider it “a religious picture, certainly not a doctrinally religious picture” but a “symbol of compassionate tenderness”.[1] Watts, although deeply spiritual, was mistrustful of formalised religion. His ambition with paintings such as The Spirit of Christianity was to remake Christian iconography into a universal symbolism[2].

He wished to embrace a universal faith, as he explained to the critic William Stillman: I see a very noble expression of Art in the visionary, very monumental & even splendid, not religion in the ordinary sense having nothing to do with any sort of dogman, but touching the highest & I think the truest religious sensibilities, suggesting touching philosophic imagination.[3] The originality of Watts’s thought and evolving visual language was reflected in the confusion Dedicated to All the Churches created when exhibited at the Royal Academy (with the title change also reflecting the evolving significance of the painting to the artist). The painting lacked clear iconography to link it with a particular dogma, although the composition was developed from devotional images of the Madonna (notably, the Immaculate Conception and the Madonna of the Misericordia) and Michelangelo’s Last Judgement.

In both the Tate and Schaeffer paintings[4], a cloaked figure of love and sorrow floats in the clouds, perhaps in judgment of the earthly realm below. Putti seem to physically support the figure, who in turn offers the struggling putti protection. The power of the painting lies in the simplicity of the centralised composition, which is built from a restricted palette. The imagery is deliberately ambiguous, broadly symbolising themes associated with death, judgment, divinity and faith. Watts prompts the viewer to consider a universal acceptance of spirituality.

The Spirit of Christianity was an important work in Watts’s development of a mythic and spiritual art, with the aim of speaking ideas and truths greater than literal representation. Thus, inspiring and awakening the highest sensibility within humanity. The Spirit of Christianity became a model from which other symbolist paintings were developed.

Jane Messenger

LITERATURE: Richard Beresford, Victorian Visions: Nineteenthcentury Art from the John Schaeffer Collection, Art Gallery of New South Wales, Sydney, 2010 OTHER NOTES: Frame by Frost & Reed, Bristol and London (label verso) Canvas prepared by Winsor & Newton, London (stamp verso) $30,000-40,000

[1] Watts quoted in Mark Bills and Barbara Bryant, G F Watts Victorian Visionary: Highlights from the Watts Gallery Collection, London: Yale University Press in Association with Watts Gallery, c. 2008, p. 212 [2] ed. Colin Trodd and Stephanie Brown, “Representations of G.F.Watts: Art making in Victorian Culture”, Hants, England: Ashgate PTY LTD, 2004 [3] Letter to W. J Stillman, 14 January 1885 quoted in ed. Veronica Franklin Gould, The Vision of G. F. Watts OM RA (1817-1904), Compton, England: Watts Gallery, 2004, p. 15 [4] Throughout his career, Watts’s reworked concepts and compositions, either on the same canvas or reimagined on multiple canvases. Thus reforming and expanding his own canon.

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444 FREDERIC, LORD LEIGHTON P.R.A (British, 1830-96) A Doorway, Algiers c. 1857 oil on canvas 42.2 x 27.5cm PROVENANCE: Lord Leighton of Stretton, London His studio sale, Christie’s, London, 11 July 1896, lot 17 Private Collection, acquired from the above (partial Collector’s label verso) Sir Richard Brinsley Ford, Britain 1908-1999

By Descent / Private Collection Christie’s London, Victorian, Pre-Raphaelite & British Impressionist Art, 17 June 2014, lot 75 (label verso) Accquired from the above EXHIBITIONS: Frederick, Lord Leighton, Royal Academy London 15 February - 21 April 1996 (label verso) OTHER NOTES: Arnold Wiggins & Sons, St James’s, London frame (label verso) $20,000-30,000

The raw naturalism of A Doorway, Algiers is a compelling discovery within the oeuvre of an artist who is celebrated for his idealised essays in beauty. Leighton is regarded as the leading artist in the Victorian classical revival, devoted to the classicism of ancient Greek, Roman and Renaissance traditions. His is known for his sumptuous colour palette and refined finish of his brushwork, for his languid protagonists and expressiveness of drapery.

A Doorway, Algiers, in contrast, emerges from the (then) progressive traditions of French realism. While living and studying in Paris between 1855-1859, Leighton looked to the Barbizon School artists such as Jean-François Millet, Jean-Baptiste-Camille Corot and François Daubigny. A Doorway, Algiers reflects their development of a painterly “truth” to nature in its naturalistic palette and fascination with light. An awareness of Gustave Courbet is also apparent in the textured brushwork which Leighton applied to evoke the tactile finish of the rough-cut stone.

A Doorway, Algiers was likely painted when Leighton travelled to Algeria in 1857, spending one week in Algiers. The trip influenced him in various ways, most notably in the construction of the extraordinary Arab Hall in his own home several decades later. Historians Leonee and Richard Ormond noted that his first impressions: …were so overwhelmed that he found it impossible to put them into words. Scenes and colours crowded in on him, the steep torturous streets, the overhanging houses, the dazzling whiteness of the walls, and the gorgeous colours of oriental costumes. The East had aroused his imagination and he responded to it with a rare intensity of feeling and perception.[1] Leighton’s landscapes were primarily painted when he was on holiday. He looked to nature as the ancient and Renaissance artists had before him and applied his studies to an evolving classicism. A Doorway, Algiers was a masterful study of light. Leighton used light to guide the viewer’s eye through the composition to the opening beyond the covered walkway. He demonstrated how light refracted from jagged surfaces. It is an intimate yet commanding painting, providing a glimpse into the hidden alleyways of the ‘exotic’ world in which Leighton found himself.

Jane Messenger

[1] Leonee and Richard Ormond, Lord Leighton, New Haven and London: Yale University Press 1975, p. 41

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445 EDWARD JOHN POYNTER (British, 1836-1919) Study of a Seated Male Nude chalk, white chalk on buff paper Signed with monogram lower right: EJP 32.5 x 27cm $4,000-6,000 446 EDWARD JOHN POYNTER (British, 1836-1919) Christ in Judgement - A sketch for the decoration of Dome of St Paul’s 1882 oil on canvas 47.5 x 46.5cm PROVENANCE: Artist’s Studio Sale, Christie’s, 19 January 1920 P & D Colnaghi & Co, London (gallery label verso) Christie’s London, Victorian, Pre-Raphaelite. & British Impressionist Art, 17 June 2014, lot 56 Acquired from the above $30,000-50,000

Between 1877 – 1885, Poynter and Frederick Lord Leighton collaborated on an ambitious decorative scheme for the dome of St Paul’s, London. Their concept was inspired by High Renaissance traditions, with Christ in Judgement revealing Poynter’s debt to Michelangelo.

The elaborate figure composition failed to win acceptance of either the Cathedral Officials or the wider public, hence was not realised.

When Christopher Wren designed the dome for St Paul’s, he intended the interior to be decorated with mosaic. When James Thornhill was awarded the prestigious commission in 1715, he adhered to the revised ruling that the dome be painted in monochrome, simulating sculptural relief. He worked on the cupola and other areas of the dome, but the project remained largely unfinished.

In 1864, Wren’s original idea of mosaics was again considered for the eight spandrels under the dome.

Several artists were involved in the commission and execution of new designs, including Alfred Stevens and George Frederic Watts. The motion to replace Thornhill’s painted dome with mosaic passed in the 1870s but the proposal remained controversial, explaining the fate of Poynter and Leighton’s complex design.

Christ in Judgement formed part of an overall design structure. The fluid, spontaneous brush strokes relate to the paintings function as a sketch for the evolving concept. The chromatic palette, with the image interpreted through bold shifts in colour, was applied in consideration of the final work being executed in mosaic and seen from considerable distance.

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447 JAN PORTIELJE (Belgian, 1829-1908) Wilt Gil Ze? (Do You Want It) oil on canvas signed lower left: JPortielje 111 x 78cm PROVENANCE: Kunstgaleru De Vuyst, Art Ancien et Moderne, Belguim, 07 March. 1998, lot 443 (label verso) Campo & Campo Grotesteenweg, Antwerp 2002 (label and seal verso) Bonhams, 19th-Century European, Victorian and British Impressionist Art, 20 January 2014, lot 26 $40,000-60,000

The elegant and fashionably dressed young lady in Wilt Gil Ze? (Do you want it) smiles and playfully offers the viewer a rose, freshly picked from the surrounding estate. The highly finished material quality of her silk dress trimmed with lace, and her plumed hat reflect her wealth while also displaying Portielje’s technical virtuosity.

Portielje was born in Amsterdam, where he studied at the School of Arts before training in Antwerp and then spending two years in Paris. He was best known for his paintings of sophisticated women in fashionable interiors and was a highly successful portrait painter. The Victorian style of Wilt Gil Ze? (Do You Want It?) reflected Portielje’s popularity with English and American patrons.

Jane Messenger

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448 RICHARD REDGRAVE RA (British, 1804-1888) Quentin Matsys the Blacksmith of Antwerp 1839 oil on canvas signed and dated lower left: Rich Redgrave 1839 101.5 x 127cm EXHIBITIONS: Royal Academy, London, 1839 LITERATURE: ed. Susan P. Casteras and Roland Parkinson, Richard Redgrave 1804-1888, New Haven: Yale University Press, 1988 $20,000-30,000

Richard Redgrave established himself as a narrative painter during the Victorian era. He treated historical subjects as everyday themes and paintings inspired by literature became a consistent part of his oeuvre.

Quentin Matsys, the Blacksmith of Antwerp, painted the year before Redgrave was elected as an Associate to the Royal Academy, was a historic fiction. Redgrave re-imagined the moment when the great Flemish master, Quentin Matsys (c.1465/66-1503) revealed The Misers (The Tax Collectors) to the father of his beloved, in order to win her hand in marriage.

Tradition alleged that Matsys trained as a blacksmith before abandoning this trade to become an artist, in the hope of securing his wife. When Redgrave first exhibited the painting at the Royal Academy in 1839, the catalogue entry was accompanied by the following note, explaining the painted narrative: “Quentin Matsys fell in love with the daughter of a painter, but her father refused to give her to any but an artist. Quentin set himself to learn the art; he painted the well-known picture of the ‘Misers’, and won the maiden (Vide Lives of the Painters).”[1] In Quentin Matsys, the Blacksmith of Antwerp, Matsys reveals The Misers, earnestly anticipating the reaction of the seated gentleman, who is so compelled by the masterpiece that he reaches forward in wonder. The happy fate of the young lovers is thus confirmed.

Although the location of the Matsys (also spelled Massys or Metsys) original was not then known, a variant was developed by Marinus van Reymerswaele (1490-1546). It was possible Redgrave, an avid art historian, knew of the studio copy in the National Gallery, London, collection or in the Royal Collections. There was also a version by van Reymerswaele in the Louvre.

A compositional study drawing (watercolour, chalk, pen & ink) for Quentin Matsys, the Blacksmith of Antwerp is housed in the Royal Academy collection. The compositional arrangement is similar to the Schaeffer painting, though Redgrave changes the palette of the young lady’s dress and positions her directly behind her seated father with a display of greater humility.

Redgrave’s productivity as a painter decreased from the 1850s as he assumed new and influential roles of author and arts administrator. He compiled the dictionary of the English School of artists with the assistance of his brother, identifying a desire to define and reform the national art tradition. Redgrave (with Henry Cole) supervised the new South Kensington Museum, now the Victoria and Albert Museum.

Jane Messenger

[1] The Exhibition of the Royal Academy MDCCCXXXIX. The Seventy First, London, The Royal Academy, 1839, p.20

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449 WILLIAM THOMAS STRUTT (Australian/British/New Zealander, 1825-1915) Spring Cleaning 1892 oil on canvas signed lower left: William Strutt 66.5 x 102.5cm PROVENANCE: Alfred William Strutt, London, purchased 1892.

Private collection, France.

27th Garden Party Auction, Rouillac, Château d’Artigny, Montbazon, France, 7 June 2015, lot 149.

Private collection, Melbourne.

Deutscher and Hackett, Important Australian & International Fine Art, Sydney, 13 September 2016, lot 46.

Purchased from the above EXHIBITIONS: Japanese Gallery, Bond Street, London 1893.

11th Spring Exhibition, Corporation Art Gallery, Derby, 1894, cat. 27.

Summer Exhibition, Corporation Art Gallery, York, 1895, cat. 559.

449

LITERATURE: Chester, A., ‘The Art of Mr. William Strutt’, The Windsor Magazine, London, vol. 36, no. 215, November 1912, p. 623 (illus.). Curnow, H., The Life and Art of William Strutt 1825 - 1913, Alister Taylor, Martinborough, New Zealand, 1980, cat. 144, pp. 66, 221 (illus.). $65,000-85,000 450 attributed to FRANCIS J WYBURD (British, b. 1826, fl. 1846-1893) Woodland Tryst oil on card 21.8 x 32.5cm 450 PROVENANCE: The Maas Gallery, London (label verso) $6,000-8,000 451 LOUIS FARASYN after PETER PAUL RUBENS (1822-1899) The Descent from the Cross oil on canvas signed and dated 1854 lower right 143 x 106cm PROVENANCE: Sotheby’s London, Property from the Carbisdale Castle Collection, 20 May 2015, lot 28 OTHER NOTES: After the 1614 original in the Cathedral of Our Lady, Antwerp. $6,000-9,000

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452 W. HUBERT PATON (British, fl. 1887-1932) A Girl Reading in an Interior 1885 oil on canvas Signed and dated verso, lower left: Hubert Paton/ 1885 34 x 24cm PROVENANCE: Christie’s, June 07 1973, lot 29 (label verso) Christie’s, Victorian, Pre-Raphaelite & British Impressionist Art, 17 June 2014, lot 27 aquired from the above OTHER NOTES: Arnold Wiggins & Sons, St James’s, London frame $8,000-12,000 453 FREDERICK RICHARD PICKERSGILL (British, 1820-1900) Chivalric Love 1849 oil on panel signed and dated lower right: F R Pickersgill 1849 24 x 19.5cm (oval)

451

PROVENANCE: H. Martyn Kennard Esq, Lowndes Square, London (partial collector’s label verso) Christie’s, Victorian, Pre-Raphaelite & British Impressionist Art, London, 19 June 2014, lot 62 acquired from the above OTHER NOTES: Previously titled ‘A Nymph Crowning a Warrior’. $5,000-7,000 454 AUGUSTUS LEOPOLD EGG (British, 1816-63) Head of a Girl, Half-Length, Wearing a White Chemise oil on panel 19.5 x 14.5cm (oval) 452 PROVENANCE: Christie’s, The Collection of Professor Sir Albert Richardson, London, 19 September 2013, lot 389 acquired from the above $6,000-8,000 455 after Tiziano Vecellio, called TITIAN (1490-1576) Venus of Urbino, 19th century oil on canvas, in a 19th century Florentine carved and giltwood frame 114 x 163.5cm; 160 x 210 cm (frame) $10,000-20,000

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459 456 A GEORGE III MAHOGANY BREAKFRONT BOOKCASE Having a moulded and dentil cornice above three astragal glazed doors enclosing adjustable shelves, the base with three coupboards with re-entrant moulded panels, on a plinth base.

Height 218cm; Width 185cm; Depth 51cm PROVENANCE: Bonham’s Sydney, the Owston Collection, lot 621, 25-26 June 2010 $8,000-10,000 457 A LARGE VICTORIAN GILT COMPOSITION PIER MIRROR AND TABLE The mirror with shaped top surmounted with a cymbal playing putto, the beaded frame with applied fluted elements richly swagged with flowers, flanked by scrolls above a table. The table having a white marble D shaped top on a fluted rosette frieze centred with a cartouche, foliate scrolls and flower swags, on tapering fluted supports united by a shaped undertier with a central putto with dove.

Mirror: 215 x 185cm; Table: Height 92.5cm; Width 185cm; Depth 55cm PROVENANCE: Bonnington, Victoria Road, Bellevue Hill $7,000-9,000

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458 A PAIR OF ART DECO STYLE PEDESTALS Each painted black with lozenge mouldings to the panelled sides.

Height 96cm; Width 25cm; Depth 25cm $800-1,200 459 SIX FRENCH STAINED BEECH JAPONISME SIDE CHAIRS BY GABRIEL VIARDOT, PARIS, LATE 19TH CENTURY Comprising three pairs, each with a dragon cresting above a pierced splat with various geometric motifs, above a padded square seat, the pierced apron decorated with fretwork, on square sectioned legs and claw feet, each stamped to the inside leg ‘G. Viardot’.

Each: Height 91.5cm; Width 43.5cm; Depth 45cm PROVENANCE: Christie's London, The Opulent Eye, 10 September 2013, lot 118 $10,000-15,000 460 A VICTORIAN MAHOGANY FOUR TIER WHATNOT Having a rising top with reading stand, each tier with double baluster turned supports the lowest with a drawer, on short turned legs with castors.

Height 121cm; Width 41cm; Depth 35cm PROVENANCE: Bonham's Sydney, The Owston Collection, 25-26 June 2010, lot 335 $2,000-4,000

462

460A A GILTWOOD ARMCHAIR OF FRENCH LOUIS XVI STYLE, CIRCA 1880 With lappet and foliate carved frame and fluted tapering legs.

PROVENANCE: Sotheby’s Sydney, The Norman Wheeler Collection, 14 August 1994, lot 294 $800-1,200 461 A GEORGE III CREAM-PAINTED WINDOW SEAT CIRCA 1770 With padded out-scrolled arms and seat, on fluted tapering legs, previously gilt.

Height 68.5cm; Width 115cm; Depth 40.5cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A.18 & 19 September 2013, lot 3 $4,000-6,000 462 A PAIR OF REGENCY REVIVAL GILTWOOD TWOLIGHT WALL-LIGHTS, LATE 19TH/EARLY 20TH CENTURY Each with eagle on rocaille mount issuing a pair of candle branches, the backboard formed as tied ribbon.

Height 67.5cm (2) PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A.18 & 19 September 2013, lot 426 $3,000-5,000

463

463 A LATE 17TH CENTURY DUTCH GILTWOOD AURICULAR PICTURE FRAME MIRROR The central rectangular plate between two ovals in a pierced and carved foliate and strapwork frame, the reverse with label inscribed by ‘..... JPS Macreedy’.

61 x 46 cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson PRA, 18 & 19 September 2013, lot 468 $3,000-5,000

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466 464 AN IRISH GEORGE IV CONVEX MIRROR

By Kearney of Dublin, the deeply moulded frame with a design of scrolling tendrils and hops, the mottled plate in an ebonised slip, the reverse with trade label of “KEARNEY, CARVER, GILDER & LOOKING GLASS MAKER/ to His Majesty/ & His Excellency the Lord Lieutenant/ No 49 Henry Street, DUBLIN”.

Diameter 89cm

465 AN ART NOUVEAU OAK OVERMANTEL MIRROR The rectangular plate in a slightly arched frame, gilt and incised to the uprights with stylised lilies.

128 x 94.5cm $2,000-4,000

PROVENANCE: Martyn Cook Antiques $6,000-8,000

PROVENANCE: Christie’s Australia, March 24 1997, lot 493 $7,000-10,000

467 A LATE VICTORIAN SATINWOOD, MAHOGANY AND INLAID FIRESURROUND Having a moulded shelf supported by partially fluted and leaf carved jambs with inlaid patera headers and centred by and inlaid tablet, flanked by carved scrolls.

Height 137cm; Width 201cm; Depth 25cm PROVENANCE: JB Hawkins Antiques, NSW $10,000-15,000 110

466 A REGENCY GILTWOOD CONVEX MIRROR The reeded ebonised slip in a moulded frame with applied rope twist and acanthus decoration.

Diameter 77cm

468 468 A PAIR OF AESTHETIC MOVEMENT CAST IRON AND BRASS FIREDOGS Each with a pierced boss of a woman’s profile in relief on a baluster, sphere, cube and pyramidal support, with applied brass foliate ornament, on leaf scroll feet (2).

Height 57.5cm $1,000-1,500 469 A SWEDISH MAHOGANY PIER MIRROR AND CONSOLE TABLE, EARLY 19TH CENTURY The arched mirror with flanking gilt wood scrolls and columns with gilt foliate capitals, centred with an ormolu mount of Pheobus in his chariot, the rectangular table with confirming gilt wood scrolls, on a shaped platform base.

Height 266cm (overall); Width 94cm; Depth 45cm OTHER NOTES: The design of this group is attributed to J.H. Dumraths. $7,000-9,000 470 A FRENCH BURR ELM AND KINGWOOD INLAID CHEVAL MIRROR, EARLY 19TH CENTURY The arched swivel plate within ormolu mounted turned uprights, the panelled stretcher base with scrolled feet and castors.

Height 180cm; Width 85cm; Depth 47cm PROVENANCE: The Roger Collection, Sotheby’s London, January 1998, lot 65 Purchased from the above $4,000-6,000 470

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472A A WILLIAM IV MAHOGANY BOOKCASE The bead and reel cornice above a frieze, the three shelves flanked by pilasters with foliate capitals and bases, opening to reveal concealed shelves, on a plinth base.

Height 143cm; Width 175cm; Depth 35cm $3,000-5,000 473 A LOUIS XVI STYLE KINGWOOD, AMARANTH, ROSEWOOD AND GILTMETAL MOUNTED BIBLIOTHEQUE, BY MAISON LEGER In the goût Grec the cornice with two concealed drawers above two panelled cupboards flanking central glazed cupboards, all with geometric marquetry, adjustable shelves, on a plinth base, engraved to door “Mson Léger, 28 Place des Vosges Paris”.

Height 170cm; Width 226cm; Depth 47cm $6,000-9,000

472 471 A BIEDERMEIER BRASS AND SATINWOOD MUSIC STAND, EARLY 19TH CENTURY, VIENNA The shield shaped rest with gilt line decoration, on an arrow support and triform iron base grained to represent satinwood.

Height adjustable; Width 48cm $3,000-5,000

472 A REGENCY ROSEWOOD AND BRASS INLAID CENTRE TABLE The circular tilt top crossbanded and inlaid in the manner of Louis le Gaigneur with foliate designs, on a turned pedestal and four swept brass inlaid legs with castors.

Diameter 126cm; Height 70cm PROVENANCE: Sotheby’s Australia, The Norman Wheeler Collection, 14 August 1994, lot 340 $4,000-6,000

474 AN ANGLO-MOORISH OAK, PEARWOOD AND EBONY SIDEBOARD AND CHAIR BY ROBERT DAVEY, CIRCA 1875 The raised back with a shelf supported by two columns, the base with a central frieze drawer above paired columns and an undertier, richly inlaid throughout with bands and panels of relief carved stylised Islamic ornament in pear wood with ebony borders. The matching single chair with upholstered back and seat.

Sideboard: Height 150cm; Width 151cm; Depth 64cm PROVENANCE: The Fine Art Society, New Bond Street, London OTHER NOTES: This impressive sideboard and chair correspond to an exhibit at The Paris Universal Exhibition of 1878

by William Walker & Sons, Cabinet manufacturers of 119 Bunhill Row, London; “Sideboard… and two chairs, in the Anglo-Moorish style, made of English Brown Oak, relieved with Pear and Ebony designed

by R. Davey.” The sideboard is lined to the back in mahogany which would indicate a level of quality expected in an exhibition piece. $30,000-50,000

472 (detail) 112

475 AN AMERICAN ROSEWOOD, EBONISED AND TORTOISESHELL INLAID HALL CHAIR BY COTTIER & CO, CIRCA 1900 Of ancient Roman design the panelled back inlaid with an anthemion and scrolling tendrils, the seat flanked by scrolls and above a confirming inlaid apron, the side panels inlaid with mother of pearl and walnut lappets, on stylised hairy paw feet.

Height 81cm; Width 71cm; Depth 56cm PROVENANCE: H. Blairman & Sons, London OTHER NOTES: There are five chairs of this design at Clayton, Pittsburgh, a former Frick family residence, now an historic house. It is thought that these chairs were originally at Eagle Rock, the family’s summer residence at Pride’s Crossing, Massachusetts. Other chairs of this model have appeared on the New York art market, including a pair formerly with Garrick Stephenson.

Glasgow-born Daniel Cottier (1838-1891) was an important arts and crafts designer interested in glass, furniture, ceramic manufacture, and interior design. His art furnishing business opened branches in Edinburgh, Glasgow and London between 1864 and 1869, and then in 1873 he opened more branches in New York, Sydney and Melbourne and is credited for bringing the aesthetic movement to the USA and Australia. His firm continued in New York after his death until 1915, although latterly principally as art dealers. $10,000-20,000 476 A FRENCH GOTHIC ROSEWOOD DRESSING TABLE, FRIST QUARTER 19TH CENTURY In “le Style Troubadour” the swivel mirror of ogee arch outline, on a superstructure with three concealed frieze drawers, the base with a green marble top above a concealed frieze drawer, on projecting cluster column front supports with shaped undertier, bone inlaid throughout with delicate gothic tracery.

Height 150cm; Width 84cm; Depth 53cm PROVENANCE: Martyn Cook Antiques $3,000-5,000

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477 477 A SET OF SIX GEORGE IV OAK GOTHIC REVIVAL DINING CHAIRS In the manner of George Smith, each with crocketted finials to the top rail above trefoil and ogee arch caved splat, the stuff over upholstered seat, on leaf carved cluster column front legs.

Height 87cm; Width 46cm; Depth 43cm

PROVENANCE: H. Blairman & Sons. London

PROVENANCE: Phillips Australia, The Collection of Lord McAlpine of West Green, Bishop’s House, Perth, 10-12th August 1999, SH Ervin Gallery Sydney Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 529 $5,000-7,000

479 A MID 19TH CENTURY FRENCH OAK GOTHIC REVIVAL ARMCHAIR, THE DESIGN ATTRIBUTED TO JEANSELME FRÈRES The rectangular padded back with a central ogival trefoil arch flanked by carved and pierced trefoils, the moulded arms with arched supports, on architectural legs joined by a pierced gothic apron.

Height 130cm; Width 66cm; Depth 63cm

478 A GERMAN WALNUT JUGENDSTIL SIDE CHAIR,

BY LUDWIG LOEFFLER 1896 Stamped to the seat rail “ENTWORFEN VON L LOEFFLER IN LONDON ANGEFERTIGT IN KARLSRUHE BADEN 1896” The gothic arched cresting centrex with a carved stylised pineapple amidst scrolling tendrils, flanked by similar scrolled finials, the padded back and seat with original gilt foliate studs, the square tapering legs with scrolled tendril headers.

Height 120cm; Width 50cm; Depth 46cm

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OTHER NOTES: Ludwig Loeffler was a director of the London branch of Siemens in the late 19th century and patronised the modernist designer Henri van de Velde. $4,000-6,000

PROVENANCE: H. Blairman & Sons, London OTHER NOTES: This chair nearly identical to a walnut version in the collection of the Metropolitan Museum of Art, New York (see The Metropolitan Museum of Art Bulletin, Fall 1996, p. 41). The Metropolitan Museum’s chair is stamped ‘JEANSELME’, a mark used between 1840 and 1853. $8,000-12,000

478 480 A PAIR OF VICTORIAN GOTHIC OAK PEDESTALS Each with a moulded octagonal top having pierced gothic and tracery supports on a chamfered column and supported by four ogee arched legs.

Height 101cm; Width 45cm PROVENANCE: Christie’s Australia, The Collection of John Schaeffer at Rona, 15 - 16 May, 2004, lot $6,000-8,000 481 A PAIR OF SCOTTISH ARTS AND CRAFTS OAK JARDINIERES BY JOHN CRAWFORD & CO OF GLASGOW Each octagonal planter with later liner, carved with a frieze of stylised flowerheads, on a cluster column pedestal and four shaped feet, maker’s label.

Diameter 35cm; Height 78cm OTHER NOTES: John Crawford (c.1849-1919) was a woodcarver who worked on many churches, for ship builders and on architectural projects in Glasgow in the late 19th and early 20th century. He also taught woodcarving at the Glasgow School of Art and exhibited in several International Exhibitions. On his death the firm of John Crawford and Co. continued until 1939. $4,000-6,000

482 A VICTORIAN OAK GLASTONBURY CHAIR, THE DESIGN ATTRIBUTED TO A.W.N. PUGIN Of typical pegged construction, the panel back incised with the date 1877 within a star, flanked by relief carved shaped arms, above the panel seat, on X-frame side supports.

Height 90cm; Width 65cm; Depth 48cm OTHER NOTES: The Glastonbury chair form was very popular in the nineteenth century, owing to the belief that it was based on a medieval prototype. The numerous versions made were based on a chair found at the Bishops Palace, Wells. However, the exact history and age of the Wells chair are uncertain.

Pugin visited Wells in 1835 or 1836 and the chair he subsequently designed follows the shape of the Wells example exactly, but omits the carved decoration of the arms and back. $1,000-1,500 483 A VICTORIAN GOTHIC OAK HALL CHAIR In the manner of A.W.N. Pugin, having pegged top rail carved with the initials IP above a similar back rail centred with a rose, the panel seat on X frame side supports with conforming stretchers.

Height 90cm; Depth 50cm; Width 45cm

483

479

OTHER NOTES: In 1859, Pugin designed a set of chairs of a similar design for the dining room of the Speaker’s House of the Palace of Westminster, one of which is now in the Metropolitan Museum of Art, New York. $1,500-2,500

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484 A FRENCH GOTHIC REVIVAL PAINTED AND GILT OVERMANTEL MIRROR, LATE 19TH CENTURY Having a rectangular bevelled plate, the overhanging cresting of elaborate gothic tracery comprising pinnacles, quatrefoils and ogee arches, flanked by architectural uprights.

155 x 89cm $4,000-6,000 485 A GOTHIC GILT FRAMED WALL MIRROR, 19TH CENTURY The bevelled plate of ogee outline the frame with quatrefoil moulding supported by a pair of spiral columns with foliate capitals.

153 x 84cm $5,000-7,000

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486 A LARGE VICTORIAN GOTHIC OAK PEDESTAL DESK, BY HOWARD & SONS In the manner of Charles Eastlake, the superstructure with a central section having six trefoil arched pigeonholes above a pair of drawers and a pen recess, flanked by hinged hutches with stationery compartments, the leather lined top on pedestals with five graduated drawers and strut panelled cupboards to the sides, with enamel label to drawer, “HOWARD & SONS MANUFACTURERS 25, 26, 27 BERNERS ST, LONDON, W”.

Height 150cm; Width 185cm; Depth 93cm PROVENANCE: Christie’s Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 299 Purchased from the above $7,000-9,000

487 A VICTORIAN GOTHIC REVIVAL OAK SWIVEL DESK CHAIR IN THE MANNER CHARLES BEVAN With a crenellated top rail and triangular leather padded backrest in chamfered strut supports, the padded arms with square chamfered supports flanking the buttoned leather seat, on four triangular strut legs with later castors.

Height 96cm; Width 63cm; Depth 65cm $2,000-3,000 488 AN IMPORTANT INLAID ASH ARTS & CRAFTS BEDROOM SUITE DESIGNED

BY CHARLES BEVAN Comprising wardrobe, dressing table, double bed frame, bedside cupboard and pair of chairs, all inlaid with amboyna, alder and purpleheart in geometric and stylised foliate designs. $20,000-30,000

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489 A VICTORIAN GOTHIC OAK CABINET

BY CHARLES L. EASTLAKE Of architectural form the sloped top with two lidded compartments, above an arcade with roundels and human masks, the lower section with a pair of panelled doors with elaborate brass hinges above two drawers and two hutches, on bracket feet with incised decoration.

Height 193cm; Width 119.5cm; Depth 40.5cm PROVENANCE: Fine Art Society, London Purchased from the above in 2014 OTHER NOTES: In 1868 Eastlake published his “Hints on Household Taste Upholstery, and Other Details”, which was one of the most influential decorating manuals of the Victorian Era. $20,000-30,000 490 AN EARLY VICTORIAN OAK GOTHICK CENTRE TABLE The octagonal tit top with egg and dart carved edge on a pedestal of three addorsed dolphins and a tricorn base with carved entrelac and dog tooth ornament.

Diameter 122cm; Height 73cm $4,000-6,000 491 AN AESTHETIC MOVEMENT EBONISED HANGING CORNER CABINET The scalloped cresting above a pair of doors painted with gilt ground roundels with personifications of “Historie” and “Poesie”above a spindle decorated shelf.

Height 82cm; Width 56cm; Depth 39cm $2,000-3,000

489

490 118

492 A LATE VICTORIAN AESTHETIC MOVEMENT PIER MIRROR The oval bevelled plate in an ebonised panelled frame with turned finials, painted in colours on a gold ground to the frieze and spandrels with swans and cranes, having incised and spindle turned detail.

112 x 63cm $2,000-3,000

493 AN AESTHETIC MOVEMENT EBONISED HANGING CABINET THE DESIGN ATTRIBUTED TO H.W. BATLEY (1846-1932) The arched cresting above a shelf, the cupboard doors painted with Japonaiserie birds on a gilt ground flanked by spindle turned detail, above further shelves, decorated all over with painted flowers and foliage.

Height 99cm; Width 61cm; Depth 28cm $2,000-3,000 494 A VICTORIAN AESTHETIC MOVEMENT EBONISED SIDEBOARD In the manner of Charles Eastlake, the pedimented top with ball finials, above a spindle gallery and a pair of glazed doors flanked by open mirrored shelves, the base with a pair of doors having blind fretwork and incised with sunflowers in pots, flanked by angled shelves.

Height 185cm; Width 122cm; Depth 36cm $8,000-10,000 495 AN EBONISED AND GILT AESTHETIC MOVEMENT STANDING CORNER CABINET ATTRIBUTED TO BRUCE J. TALBERT, 1873, MADE BY GILLOW & CO. Having a spindle cornice and knob finials above a pair of panelled doors painted in gilt with personifications of Plenty and Peace and flowers, a mirrored hutch below with spindle turned side brackets, the base with a drawer stamped “GILLOW & CO 341” and a curved undertier on turned legs.

Height 185cm; Width 97cm; Depth 55cm OTHER NOTES: Bruce James Talbert (1838-1881) was a Scottish architect, interior designer and author, best known for his furniture designs. He was apprenticed to various architects in Glasgow and Manchester moving to London in 1866 to design furniture for Holland & Sons. The following year his Reformed Gothic furniture won a silver medal at the 1867 Paris Exhibition. In 1868 he became a designer for Gillows of Lancaster and London. He also designed metalwork, tiles, stained glass, textiles, and wallpaper. Talbert’s first book, Gothic Forms Applied to Furniture, Metal Work and Decoration for Domestic Purposes, proved to be influential on the commercial production of furniture both in England and the USA. His work with Gillows was displayed at numerous international exhibitions, including the International Exhibition of 1873, and his designs in the Medieval and Jacobean styles were imitated by many cabinet making firms.

There is an almost identical corner cabinet in the furniture collection of the National Gallery of Victoria. $5,000-8,000

495

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496 AN AESTHETIC MOVEMENT MIRRORED WALL SHELF The central rectangular bevelled plate in a gilt stencilled surround with small semicircular shelf above a larger shelf in ebonised frame.

60 x 34 cm $1,500-2,500 497 AN VICTORIAN AESTHETIC MOVEMENT EBONISED PEDESTAL AND CIRCULAR WALL MIRROR The pedestal of square section having roundels with incised panels of birds on gilt ground, on turned supports and having an undertier with spindle gallery; the mirror with frame having gilt incised line decoration throughout, the shaped cresting and shelf with spindle detail.

Pedestal: Height 91cm; Width 31cm; Depth 31cm; Mirror: Height 66cm; Width 42cm $4,000-6,000 498 AN AESTHETIC MOVEMENT MAHOGANY AND PAINTED HANGING CORNER CLOCK, SECOND HALF 19TH CENTURY Retailed by Howell James & Co, Regent Street London, the circular ceramic dial painted in underglaze blue with arabic numerals, the French movement in an architectural case with gable top above a niche, the dial above a spindle balustrade and further mirrored openings, painted all over with sunflowers and quatrefoils.

Height 120cm; Width 34cm $12,000-18,000

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499 A LATE VICTORIAN EBONISED BEECH SUSSEX THREE SEATER SETTEE, PROBABLY MORRIS & CO With turned uprights, triple top rail and spindle detail with central cross, rush seat, double front stretchers.

Height 85cm; Width 125cm; Depth 43cm OTHER NOTES: Designed by the artist Ford Madox Brown in the 1860s, and one of the most enduringly popular designs produced by Morris and Co. the Sussex chair and settee symbolised the Arts and Crafts movement’s desire to return to rustic simplicity and honesty in interior decoration. $4,000-6,000 500 TWO SIMILAR LATE VICTORIAN EBONISED BEECH SUSSEX ARMCHAIRS, PROBABLY MORRIS & CO. Each with turned uprights, spindle back detail, rush seat, and turned stretchers (2).

Largest: Height 84cm; Width 49cm; Depth 44cm $2,500-3,500

501 A LATE VICTORIAN EBONISED BEECH SUSSEX CORNER CHAIR PROBABLY MORRIS & CO With turned uprights triple top rail and spindle detail with central cross, rush seat, triple stretchers.

Height 76cm; Depth 64cm $1,400-1,800

504 A LATE VICTORIAN EBONISED BEECH SUSSEX SINGLE CHAIR PROBABLY MORRIS & CO. With turned uprights, spindle back and rush seat, double front stretcher.

Height 83cm; Width 42cm; Depth 36cm $1,400-1,800

502 A VICTORIAN EBONISED BEECH SUSSEX CORNER CHAIR PROBABLY MORRIS & CO. With turned uprights and spindle details, rush reeded seat.

Height 69cm; Depth 54cm $1,400-1,800

505 A LATE VICTORIAN EBONISED BEECH SUSSEX SINGLE CHAIR PROBABLY MORRIS & CO. With turned uprights triple top rail and spindle detail with central cross, oval rush seat, triple front stretcher.

Height 81cm; Width 15cm; Depth 41cm $1,400-1,800

503 A LATE VICTORIAN EBONISED BEECH SUSSEX ARM CHAIR PROBABLY MORRIS & CO. With arched top rail above a wheat sheaf spindle, the oval rush seat on turned legs with spindle turned front stretcher.

Height 89cm; Width 52cm; Depth 46cm $1,400-1,800

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506

507

506 A SERAPI, NORTH WESTERN PERSIA CIRCA 1890 Border in pale blue and salmon pink designs.

295 x 426cm $5,000-7,000

508

507 A TABRIZ, NORTH WESTERN PERSIA A large persian woollen carpet, with border of flowers in pale pinks.

348 x 273cm $800-1,200

508 A HARIZ A large wool pile carpet, reds, blues and other colours.

364 x 287cm PROVENANCE: I & B Perryman, Queen Street Woollahra, Sydney $4,000-6,000

123 506 detail

509 A BIDJAR, NORTH WEST PERSIA The ivory medallion on a navy blue field and pale blue spandrels, scattered all over with flowerhead and Shah Abbas flowers, within ivory and red triple border with meandering tendrils.

225 x 162cm PROVENANCE: I & B Perryman, Queen Street Woollahra $1,000-1,500 510 A PAIR OF HEBIZ, NORTH WEST PERSIA CIRCA 1900 Each with a navy medallion on red ground within mustard spandrels and nave borders, with an all over design of scrolls and flowerheads (2).

192 x 145cm; 193 x 144cm PROVENANCE: I & B Perryman, Queen Street Woollahra $5,000-7,000

509

511 A FEREGHAN CARPET, WEST PERSIA CIRCA 1890 401cm x 317cm PROVENANCE: Christie’s London, Oriental Rugs and Carpets,18 October 2016, lot 45 $4,000-5,000 512 A KARAJA, NORTH WEST PERSIA CIRCA 1900 With all over repeated boteh on a red field, within multiple geometric borders.

445 x 83cm PROVENANCE: I & B Perryman, Queen Street Woollahra $1,500-2,000 510

512 124

513 A LONG NORTH WEST PERSIAN RUNNER CIRCA 1880 705cm x 100cm PROVENANCE: Christie’s London, The Collection of Professor Sir Albert Richardson, P.R.A. 18 & 19 September 2013, lot 571 By repute Sir Herbert Brent Grotrian, 1st Bt. (d. 1951) Probably J. Lucking, The Manor House, Heath and Reach, Leighton Buzzard, Bedfordshire, circa 1954. $2,500-3,500 514 A QASHQA’I, SOUTHERN PERSIA LATE 19TH CENTURY Persian Carpet with three central diamond shaped medallions 251 x 141cm $1,000-1,500 515 A HAMADAM, NORTH WEST PERSIA CIRCA 1910 237 x 96cm $800-1,200 516 A TURKIMAN PERSIAN CARPET In traditional design including reds and browns.

209 x 130cm $400-600 517 A KELIM RUG With hooked lozenge medallions on a red ground.

290 x 171cm $400-600

511

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/ Auctions / Important Jewels Wednesday 26 August 2020, 6pm — ENQUIRIES (02) 9362 9045 hamish.sharma@leonardjoel.com.au

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LEFT: 18CT FANCY GRAY-BLUE AND PINK

ABOVE: PLATINUM AND DIAMOND ART

DIAMOND AND DIAMOND RING $450,000-550,000

DECO BRACELET $150,000-200,000

CONDITIONS OF BUSINESS - SUMMARY To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

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.

GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact: Marie McCarthy accounts@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.

Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed.

Lots will be bought as cheaply as allowed by other bids and/ or reserves.

Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.

Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.

Buyer’s Premium There will be a buyer’s premium added to all purchases.

The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST. Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Title Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports.

Condition reports will be available for any lot upon request, subject to conditions.

Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates.

Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.

Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.

Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected.

Credit card fees may apply.

Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation

150 Collins Street

Melbourne, VIC

3000 Australia BSB: 033-364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale.

Charges are outlined below and are quoted in Australian dollars.

Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense.

Removal Charges Each lot

$55

Storage Charges Each lot

$33 per day

Protection of Movable Cultural Heritage Act 1986 (PMCH Act).

Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: http://www.environment.gov.au/heritage/movable/index.html 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: http://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, phone 02 6274 1810 or email 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 Recommended carrier for this auction 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

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Sale Rooms

The Thursday Auction

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

Anthony Riepsamen, Manager

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

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 OBJECTS & COLLECTABLES Rebecca Stormont , Assistant

MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA Leonard Joel Specialists FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Summer Masters BDes Hons, Administrator 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 LUXURY John D’Agata F.G.A.A., Head of Department PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

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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 Adam Obradovic Henry Murphy GRAPHIC DESIGN Maria Rossi

CATALOGUE PHOTOGRAPHY Andrew Burns

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