AV030-cat-issuu-v2 by artvisory4

The Contents of Gringegalgona

Western District, Victoria Auction • Tuesday 6 May 2025

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LIVE AUCTION

VIEWING

The Contents of Gringegalgona

Western District, Victoria

Tuesday 6 May 2025, 6.00pm

Friday 2 May 11am–5pm

Saturday 3 May 11am–5pm

Sunday 4 May 11am–5pm

Monday 5 May 11am–5pm

COLLECTIONS

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Wednesday 7 May 11am–5pm Thursday 8 May 11am–5pm Friday 9 May 11am–5pm

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The Contents of Gringegalgona

Welcome to the catalogue of The Contents of Gringegalgona, which we are entrusted to sell on behalf of the Gaussen family. A family and a collection steeped in history.

The Gaussen forebears — Huguenot’s who escaped religious persecution in France, became a significant presence in 18th century England. Jean Pierre Gaussen (1723-1781) who settled in London, became the Governor of the Bank of England, and in 1760 he bought Brookmans Park, a grand English Country House in Hertfordshire, where many pieces of furniture, artworks and antiques in this catalogue resided.

Some 130 years later in 1891, a tragic and devastating fire at Brookman’s Park in Hertfordshire, reduced the family seat to ashes and with it, much family and English history went up in flames. Several pictures in this catalogue bear the scars of this fire, evidenced by charcoaled corners to frames and contracted paintwork.

Family history would take the 20th century Gaussen descendants to Australia, leaving Europe for a better life here, as the dark clouds of war and the threat of Hitler’s evil ambitions descended over Europe in the late 1930’s.

Charles Gaussen and his family acquired the grand Western District property — Gringegalgona in 1938.

In the process of cataloguing this collection, it was extremely exciting to discover an album of topographical watercolours that depict The Peninsula War in Spain 1811-1814 that have turned out to have a very important Australian connection. It is also a remarkable coincidence that an item of such historical interest to Australia would turn up in a family that itself chose Australia for a new life, albeit some 100-120 years disconnected.

Henry Dumaresq (1792-18) served under the command of The Duke of Wellington and saw service at The Peninsula War in Spain and

then at Waterloo. Henry was severely wounded at Waterloo and was awarded the rank of Colonel at this time by The Duke of Wellington.

Henry was also a very talented amateur artist and his extraordinary folio of topographical watercolours, recording the Peninsula War of 1811-1814, is an incredible and exciting discovery in itself.

However, it is Henry Dumaresq’s subsequent life in Australia, that is a fascinating and brilliant coincidence.

In 1824 Henry Dumaresq was posted to the then distant colony of Australia and New South Wales, where he would become instrumental in the early development of the colony as private secretary to Governor Ralph Darling, whom he had served under in The Peninsula War, and who also happened to be his brother-in-law. Ralph Darling having married his sister Eliza.

It has been an honour to handle this collection on behalf of the Gaussen family and to discover and now reveal this fascinating family story and with it this collection, which is illustrative of an incredible family history.

This story won’t end with this auction for us, as we are on a journey with a painting, a rare Renaissance period discovery and one whose authorship is surrounded in mystery. We have record of this painting having been purchased at Bologna in 1837 by the then 24-year-old Robert William Gaussen, as a work by Titian.

This highly impressive oil painting is rendered on a massive walnut panel and depicts an architect of note, whose own identity has been the subject of considerable speculation over decades, if not centuries.

We expect this may be a long and winding road to discovery, if in fact this eventuates. But for now, we can all view this striking painting at the Melbourne exhibition, contemplate and speculate on its silent history, and then follow its path.

Gringegalgona Homestead was built in 1873-4 for notable Western District pastoralist Duncan Robertson to replace the original 1840’s homestead on the property, which at the time consisted of woodland pastures and sustained an impressive 25,000 head of merino sheep.

The architecturally significant and now heritage listed homestead is often referred to as the “jewel in the crown” of the impressive collection of Nineteenth Century mansions built in the Western District for similarly large pastoral runs, and is uniquely constructed from pink sandstone quarried locally from the Dundas Ranges, carted to the site by bullock dray.

South Australian architect William Thomas Gore (who also designed the magnificent Struan House in SA) has been attributed with the

design of this grand two-storey and classically symmetrical Italianate villa that sits imposingly atop an axial garden design and landscape park planted with mature pines, cedars, fruit trees and a hackberry.

This expansive park is bounded by a circular fence that rather intriguingly contains not one but three turning circles and garden beds, and stables and stone barn to the rear.

The interior decoration of the villa is both impressive and beautiful and was inspired by Robertson’s Scottish heritage. Featuring classical European decorative styles and techniques – notably the oversized architraves, corbels and walls – all have been painted with intricate faux marbling that showcase the traditional classical artistry and skills of the Victorian interior decorators of the day.

An impressive Chinoiserie blacklacquered oak cabinet-on-stand, English, early 18th century

171cm high, 105cm wide, 57cm deep at hip of legs

$4,000–6,000

STEWART ACTON (BRITISH, 19TH CENTURY)

Falls on the Wye River Wales and The Valley of the Wye River in Wales pair of watercolours

signed lower left and titled to verso 44 x 35cm

$200–400

Illustrated online at

A good quality and finely figured George IV rosewood and gilt-bronze mounted breakfast or supper table, English, circa 1820

135cm long, 102cm wide, 67cm high

$500–700

Illustrated online at artvisory.com.au

A George III style carved mahogany dining chair, English, circa 1900-1920

96cm high at back, 58cm wide at front legs and seat 46cm high

$100–200

Illustrated online at artvisory.com.au

PROVENANCE

An extremely rare and historically significant and unique collection of thirty-three topographical watercolours, by Colonel Dumaresque, (Dumaresq) of the Duke of Wellington Army, Recording from The Peninsular War, Spain, Dated 1811-1814.

Folio 51 x 37cm

Of great historical importance, not only to the countries depicted in these fine watercolours and to the country of Dumaresq's birth – England, but also to Australia, due to the fact that Henry Dumaresq became an important figure in the early Colonial period of New-South-Wales, as Private Secretary to the Governor, Sir Ralph Darling, who was by then his brother-in-law.

Please refer to the online catalogue for individual measurements and captions which are written on the backs, in contemporaneous ink script, relating to the location of these images.

Inscribed on one image (The Passage of Ebro) Sketched in Spain by Colonel Dumaresque, who was in Spain and with my father in the Duke of Wellington's Army.

These sketches were gifted by Colonel Dumaresq to my father Sir Willoughby Gordon and are now the property of J E Gordon.

Colonel Sir James Willoughby Gordon, Quarter Master to the forces at Chelsea Barracks.

Bequeathed to his daughter Miss Julia Emily Gordon on the passing of her mother Lady Gordon in 1867.

Bequeathed to her distant cousins the Ladies Margaret and Charlotte Florentia Amherst in 1896 through the Percy family.

Bequeathed to their nephew Humphrey Amherst in 1939.

Bequeathed to his sister, Lady Mary Gaussen in 1974.

Bequeathed to Hugh Gaussen in 1993.

$10,000–20,000

Henry Dumaresq (1792-1838) was a military officer of the era of the Napoleonic Wars, colonial government official, and early colonial settler of New South Wales. He was associated with the Upper Hunter Valley and Port Stephens, and was one of the first to take up land around Armidale. Dumaresq was the son of John Dumaresq, a Shropshire colonel, and Anne Jones. He attended the Royal Military College, Great Marlow, and became a military officer. Henry joined the 9th Regiment. He served in the Peninsula War 'he was wounded at Villa Muriel' and at New Orleans in the War of 1812, and then at the Battle of Waterloo, during which 'while a Captain on the staff of Lieutenant General John Byng as aide-de-camp' he was severely wounded by a musket ball that lodged in his lungs at Hougoumont, during the Battle of Waterloo. Although wounded and not revealing that wound, he rode across the battlefield to deliver a vital message, on the morale and ammunition supply of the Hougoumont garrison, to the Duke of Wellington. He then collapsed, fell from his horse, and was placed in the care of the Duke's personal surgeon. He was promoted to Brevet Major for his actions at Waterloo and, two years later, was made a Colonel. Unusually for the time, Dumaresq earned

his promotions, through zeal and courage, without need of purchasing his commissions. The musket ball remained lodged in his lungs for the rest of his life.

He was the brother-in-law of Ralph Darling. When Darling was appointed Governor of New South Wales, in 1824, Dumaresq was already serving as Darling's Military Secretary in Mauritius.

Henry Dumaresq was appointed Governor Darling's Private Secretary, and arrived in New South Wales, five months before Darling, to prepare for Darling's arrival.

He was subsequently appointed clerk of the Executive Council. His brothers, William and Edward, also followed Darling and their sister, Eliza, to Australia. William went to New South Wales, but Edward went to Tasmania 'then called Van Diemen's Land' where he became acting Surveyor-General, in 1825.

Dumaresq had arrived in the colony as a single man. His sister, the Governor's wife, Eliza Darling, tried unsuccessfully to arrange a match between Dumaresq and her friend, Fanny Macleay, daughter of Alexander Macleay. Later in 1827, he went to England, where he married Elizabeth Sophia Butler-Danvers, half-sister to the 5th Earl of Lanesborough. He and his new wife returned to New South Wales, in 1829, bringing with them a royal charter for an expanded Legislative Council. The couple had four daughters and three sons.

By the time that Darling's term as governor had ended in 1831, Henry and his brother William had been granted substantial landholdings in New South Wales. Henry had a property near modern-day Muswellbrook, that he named St Heliers. He also operated a large sheep run in the New England region, Saumarez, from 1835; this vast tract of land of 40,000 hectares was beyond the Nineteen Counties declared by Governor Darling in 1829, beyond which no-one was meant to graze their herds and stock.

After Darling left the colony, Henry Dumaresq continued to serve as Private Secretary for Acting Governor Patrick Lindesay, but retired from public office once the new governor, liberal-minded Richard Bourke, arrived. After retiring from his public duties, Dumaresq still had the benefit of his large landholdings, which were praised as models of well managed estates by visiting colonists.

Francis Forbes view that Henry and William Dumaresq were 'obviously expectants of what may first fall' was justified; both men prospered greatly from colonial appointments and by land grants made under the Darling administration. Both would be wealthy men for the rest of their lives. Upon the retirement of Edward Parry, Dumaresq was

appointed the Chief Commissioner of the Australian Agricultural Company. In 1834, he was still in that position, when he died after a very short illness, at Tahlee House, near Port Stephens, on 5 March 1838.

The family name Dumaresq appears in the naming of features in the north of New South Wales and the south of Queensland, including Dumaresq (a locality) and its former railway station, Dumaresq Creek and on it Dumaresq Dam, Dumaresq River, Mount Dumaresq, and the former Dumaresq Shire.

His property St Heliers, near Muswellbrook, which in Dumaresq's time was worked using convict labour, is now a prison farm, St Heliers Correctional Centre. Dumaresq's original St Heliers homestead, was demolished in the 1850’s. The current homestead at Saumarez was built after Dumaresq's time and, of his buildings there, only an old stables remains.

Dumaresq is still remembered for his heroic contribution to the defence of Hougoumont and the ultimate victory at Waterloo. But not so much is known is about his life as a gifted artist.

However, when Henry Dumaresq was back in London in 1827/1829, he assisted the celebrated entrepreneur Robert Burford to produce a panorama of Sydney (from eight watercolours painted by Augustus Earle), which is recorded as having been ‘shown at Burford’s in 1829’. Dumaresq was indeed a very talented amateur artist as this previously unrecorded folio of watercolours proves.

The Sydney Gazette of 30 July 1829 reported that Dumaresq sketched 'with great beauty in black lead and Indian ink’, while the diarist G.T.W.B. Boyes wrote in 1825: 'He is a first-rate artist and paints from nature in a style that I have never seen equalled. Positively he is far superior to John Varley the London artist and draws figures with as much facility and truth as any Dutchman of old. If I stay here (in Sydney) we are to make some excursions together – in search of the Picturesque’. Although highly complementary, the comparison with Varley, as Chapman points out, seems extravagant.

The library of UNSW records: ‘Few drawings on which to pass judgement are known, however. His only art works in a public collection, are those letters in his private correspondence illustrated with sketches, including views of country-house life in New South Wales. Other sketches apparently remain in family possession’.

Maybe we can presume that these sketches referred to here, are in fact the present lot, albeit they make their appearance from the Gaussen side of the family and not from that of the Dumaresq side.

Lt. Col.Spencer- Canada Feb 1845

A watercolour study of Indigenous Canadians, inscribed in pencil bottom right: Lt. Col.Spencer- Canada Feb 1845 signed to verso: General Sir Willoughby Gordon GWS... and various script that is hard to decipher -See photos 16.7 x 24.2cm

PROVENANCE

Colonel Sir James Willoughby Gordon, Quarter Master to the forces at Chelsea Barracks, Bequeathed to his daughter Miss Julia Emily Gordon on the passing of her mother Lady Gordon in 1867.

Bequeathed to her distant cousins the Ladies Margaret and Charlotte Amherst in 1896 through the Percy family.

Bequeathed to their nephew Humphrey Amherst in 1939.

Bequeathed to his sister, Lady Mary Gaussen in 1974.

Bequeathed to Hugh Gaussen in 1993.

$800–1,200

A finely embroidered Gentleman's ivory ground waistcoat, English, circa 1800-1820

finely woven with scattered leaves and borders of trailing flowers and leafy branches

approx. 54cm high, 44cm wide

$500–1,000 7

Peninsular War Militaria

A Rare Officers framed gilt coloured thread and leather sabretache, together with a Peninsular War, Military Service War Medal with bars for Corunna, January 1809 and Vimiera August 1808. the medal inscribed T. Donovan. 6th. Foot approx 100cm high, 30cm wide glazed walnut case 109cm high, 47cm wide, 17cm deep

$1,500–2,500

8 (Detail)

An exhaustive Victorian scrap book: Book of Ciphers, with cut out printed examples in colours of many of the English aristocratic families crests, English, 19th century

hand-written in ink pen with attribution for all the ciphers and who they belong to 22 x 18cm

$300–500

A pair of sepia engravings after J.M.W Turner, Macon and Pastoral, engraved by Frank Short, English, 19th century inscribed in pencil stating that the plates were later destroyed and one signed in pencil by the engraver 20 x 27cm

$80–120

A superb pair of Neo-Classical Ormolu and Carrara marble figural candelabra, French, late 18th or early 19th century

96cm high, 17cm square at the base

$10,000–15,000

A pair of unusual heavy cast brass candlesticks, English, circa 1850-70

25cm high, bases 14.5cm wide

$200–400

Illustrated online at artvisory.com.au

A pair of very tall Chinese brass candlesticks, circa 1880-1900

47cm high, 12.5cm wide at base

$100–200

Illustrated online at artvisory.com.au

A pair of appealing brass owl candlesticks with glass eyes, English, circa 1880

18.5cm high, bases 11cm wide

$120–180

Illustrated online at artvisory.com.au

An early Victorian carved rosewood armchair, English, circa 1840

58cm wide, 52cm deep, 83cm high

$200–300

Illustrated online at artvisory.com.au

A pair of Important Neo-Classical demi-lune satinwood and marquetry commodes, in the manner of William Ince and John Mayhew, English, late 18th century

128cm wide, 58cm deep, 89cm high

PROVENANCE

Samuel Robert Gaussen (1759-1812).

Owner from 1796 of Brookmans Park, Hertfordshire, England.

$30,000–50,000

NOTE

Ince and Mayhew were a partnership of furniture designers, upholsterers and cabinetmakers, founded and run by William Ince (1737–1804) and John Mayhew (1736–1811) in London, from 1759 to 1803; Mayhew continued alone in business until 1809. Their premises were located in Marshall Street but were listed in London directories in Broad Street, Soho, 1763–83, and in Marshall Street, Carnaby Market, 1783–1809. The partnership's volume of engraved designs, The Universal System of Household Furniture, dedicated to the Duke of Marlborough (published in parts, 1759–63), was issued in imitative rivalry with Thomas Chippendale; Ince, who was a subscriber to the first edition of Chippendale's Director, was chiefly responsible for the designs, while Mayhew contributed the greater part of the partnership's capital, kept the accounts, and was in closer contact with the firm's clientele among the nobility and gentry.

The name of the firm originally appears to have been 'Mayhew and Ince', but on the title page of The Universal System the names are reversed, suggesting that Ince was the more extensive contributor.

John Mayhew served as apprentice to William Smith Bradshaw, a prominent upholsterer, and William Ince served his time with John West, King Street, Covent Garden, according to the advertisement the partners took out in the Public Advertiser 27 January 1759, as they set up in the former premises of Charles Smith. The following year Ince and Mayhew contributed some furniture designs to the joint production Household Furniture in Genteel Taste for the year 1760. By a Society of Upholsterers. Their designs helped to build the bridge between the massive and often florid style of Chippendale and the more slender and balanced forms of George Hepplewhite.

Brookmans Park, Hertfordshire, England

The notices to the designs of their Universal System are given in English and French, and the firm advertised 'French furniture consigned from Paris':Mayhew's name appears repeatedly in Christie's archives as purchaser of French furniture and gilt-bronze at auction.

An early neoclassical suite of six armchairs and a settee, to be covered in Gobelins tapestry, were provided to George Coventry, 6th Earl of Coventry for the Tapestry Room at Croome Court, Worcestershire (now at the Metropolitan Museum of Art) The 'Antique Elbow Chairs' were the first neoclassical chairs in Europe with oval backs. Ince and Mayhew were also among the first London furniture-makers to exploit marquetry decoration when it became fashionable once again in the 1760s: in 1765 they provided for Croome Court a pair of uncompromisingly rectangular commodes with richly engraved neoclassical marquetry of satinwood and holly.

Ince and Mayhew provided furniture for a number of Robert Adam's other patrons: Sir John Whitwell at Audley End (1767), the Duchess of

Northumberland (from 1771) the Earl of Kerry (from 1771). In 1775 they constructed, to Adam's numerous and detailed designs, the celebrated Kimbolton Cabinet inlaid with Florentine pietra dura plaques for the Duchess of Manchester (now at the Victoria and Albert Museum); Boulton and Fothergill supplied the gilt-bronze mounts. For Lady Derby's Dressing Room at Derby House, London, they executed a demi-lune commode to Adam's design of October 1774, delivered in November 1775; it combined strongly contrasting richly engraved satinwood and harewood marquetry in an 'Etruscan' taste with painted panels and gilt-bronze mounts; discovery of the commode enabled Hugh Roberts tentatively to identify a series of comparable demilune and serpentine-fronted marquetry commodes to the firm. Furnishings were also provided for the Duchess of Devonshire's private apartment at Chatsworth.

A pair of George III Neo-Classical mahogany and marquetry demi-lune card tables, English, 18th century with matching feather marquetry segments to the pair of commodes Lot 16 in this auction 102cm wide, 50.5cm deep, 73.5cm high

PROVENANCE

Samuel Robert Gaussen (1759-1812). Owner from 1796 of Brookmans Park, Hertfordshire, England.

$3,000–5,000

17 (Detail)

An oak refectory table, French 17th/18th century

195cm long, 72cm deep, 79cm high

$1,000–2,000

Illustrated online at artvisory.com.au

A small cabriole legged serpentine fronted mahogany tea table with frieze drawer, English, circa 1920-1950

77cm wide, 40cm deep, 76cm high

$80–120

Illustrated online at artvisory.com.au

17 (Detail)

A William IV carved mahogany ships chair, English, circa 1830

77cm high, 67cm wide, 50cm deep, seat 46cm from the ground

$300–500

Illustrated online at artvisory.com.au

The original ships logbook for HMS Zephyr recording travels in 1873-1875 to Bilbao, Barbados, Bermuda, Halifax, Charlottetown, Picton, Nassau, Port au Prince, Port Royal, Santa Marta, Santa Domingo, St Johns, recorded by Lieutenant commander Charles R. Cole Hamilton marble boards 33 x 21cm

$150–250

Illustrated online at artvisory.com.au

22 AFTER PETER PAUL RUBENS (EUROPEAN SCHOOL, 19TH CENTURY)

Supper at Emmaus oil on canvas

55 x 72cm

$200–300

Illustrated online at artvisory.com.au

A four-piece silver-plated egg cruet, a condiment cruet by Mappin and Webb and a twin cut glass jar cruet by Walker and Hall, English, late 19th century

22cm high, 24cm high and 28cm high

$100–200

Illustrated online at artvisory.com.au

A camphor-wood officers travelling trunk, English, 19th century

84cm long, 51cm wide, 47cm high

$100–200

Illustrated online at artvisory.com.au

A green fabric covered workbox with gilt-bronze mounts, circa 1830-50 with glazed miniature landscape picture inset to the lid

31cm wide, 24cm deep, 11cm high

$50–100

Illustrated online at artvisory.com.au

(Detail)

A fine inlaid satinwood chess, backgammon and draughts compendium table, complete with two colour ivory chess set of the highest quality, English, 19th century

with very fine quality red stained and natural ivory chess set, turned wood draughts pieces and tooled leather backgammon surface, sliding top to covert to a writing table when not in use. With five ivory billiard balls table 101cm wide, 61cm deep, 74cm high chess pieces: king 10cm high, pawns 5cm high

$2,000–4,000

A boxed sets of poker chips by Thornhill London, a set of multi-coloured bakelite gaming chips in wood case and a triangular parquetry cribbage board with a set of instructions, English, circa 1900 cases 18 x 11 x 5cm and 20 x 15 x 8cm and the triangular cribbage board 25cm wide

$50–100

Illustrated online at artvisory.com.au

28 BENJAMIN WEST (AMERICAN, 1738-1820)

A pair of monochrome engravings of the Death of Horatio Nelson and of General Woolfe, engraved by William Woollcott, and another of The Duke of York in battle with the French at Famars monochrome engravings

48 x 60cm and frames 67 x 79cm and 42 x 55cm

$80–150

Illustrated online at artvisory.com.au

A large blanc-de-chine figure of Guanyin, Chinese, 18th century

47.5cm high

$400–600

Two matching blanc-de-chine figures of Guanyin, Chinese, early 18th century

23cm high

$200–300

A large blanc-de-chine figure of Guanyin, Chinese, 18th century

41cm high

$200–400

Illustrated online at artvisory.com.au

A large blanc-de-chine figure of Guanyin with pieces, Chinese, 18th century

47cm high

$200–300

Illustrated online at artvisory.com.au

A small blanc-de-chine figure of Guanyin, Chinese, 18th century

13cm high, base 7cm wide

$200–400

Illustrated online at artvisory.com.au

A pair of Chinese blue and white bird and flower decorated baluster vases with simulated bark bands, Qing dynasty, 19th century

36cm high

$300–500

Illustrated online at artvisory.com.au

A very rare and finely painted pair of large blue and white dragon vases, Chinese, Qianlong mark and period, 18th century with carved cloud background

46cm high approx., 26cm diameter

$2,000–4,000

A large circular porcelain bowl decorated with black landscape panels and koi carp, Chinese, Qianlong period (1722-1798)

12cm high, 28.3cm diameter

$500–800 37

A Chinese blue and white circular box and cover, Qianlong period, 18th century

12.5cm diameter, 7cm high

$120–180

Two matching finely painted Chinese export porcelain underglaze blue and overglaze enamel graduated mugs, Qianlong period, 18th century painted with two Chinese figures hunting with hounds in the pseudo English manner 13cm and 12cm high, 10cm diameter and 9cm diameter

$300–500

A pair of porcelain famille-rose and gilt plates, Chinese, Export 18th century 22.8cm diameter

$50–100

Illustrated online at artvisory.com.au

A four-piece Chinese engraved pewter tea-set, marked Kut Ching, circa 1920 tray diameter 33cm teapot, 12cm high

$50–100

Illustrated online at artvisory.com.au

A large Chinese blue and white jardinière, painted with a continuous battle scene with warriors on horseback and a landscape, Chinese, Daoguang period (1782-1850)

61cm diameter, 46cm high

$3,000–5,000

A large Cantonese famille-rose enamelled vase and cover, Chinese, Qing dynasty, 19th century

40cm high, 23cm diameter

$150–200

Illustrated online at artvisory.com.au

A Cantonese famille-rose enamelled cylindrical teapot and cover and a teabowl, Chinese, Qing dynasty, 19th century

13.5cm high, 11cm diameter, tea-bowl 5.5cm high, 7cm diameter

$120–180

Illustrated online at artvisory.com.au

A Chinese export ware famille-rose tankard, Qing dynasty, Qianlong period, 18th century

12cm high, 9cm diameter

$150–250

Illustrated online at artvisory.com.au

A large Cantonese famille-rose circular covered bowl with handle, Qing dynasty, 19th century

26cm diameter, 17cm high

$150–200

Illustrated online at artvisory.com.au

A Chinese export black and gilt lacquer case, Qing dynasty, 19th century with divided interior

43 x 30 x 30cm

$50–100

Illustrated online at artvisory.com.au

Two Chinese pictures, one on silk with figures watching fireworks and the other on paper and the depicting children playing, Qing dynasty, 19th century both signed children playing 23 x 27cm and 17 x 20cm

$100–200

A gilt butterfly decorated porcelain dish, Chinese, Qing Dynasty, circa 1900

23cm diameter

$120–180

Illustrated online at artvisory.com.au

A Japanese Imari and gilt circular dish, 18th century

36cm diameter

$120–180

Illustrated online at artvisory.com.au

A Japanese brass circular jardinière, with panels of birds and flowers, 19th century

34cm diameter, 19cm high

$120–180

Illustrated online at artvisory.com.au

A Cantonese famille rose and gilded vase, Chinese, 19th century

25cm high

$50–100

Illustrated online at artvisory.com.au

A Chinese famille-rose porcelain guglet vase, painted with fish and seaweeds, Qing dynasty, 18th century 28cm high, 16cm diameter

$500–800

A Chinese porcelain yen-yen vase, painted with figures in a landscape with cloud scrolls, Yongzheng period, 18th century 43cm high, 22.5cm diameter at neck

$800–1,200

Two Chinese blue and white exportware tureen bases, Qing dynasty, Qianlong period, 18th century 18.5cm wide, 6cm high

$120–180

Illustrated online at artvisory.com.au

A Chinese blue and white and cafe-au-lait glazed tea-bowl and saucer and a Chinese blue and white ginger-jar and cover. Tea bowl and cover, Qianlong 18th century, tea-bowl and cover 19th century tea bowl saucer 14cm diameter, tea bowl 9cm diameter, ginger jar 12.5cm high

$40–60

Illustrated online at artvisory.com.au

A blue enamel bowl, stand and cover, Tongzhi mark and period, Chinese, Qing dynasty, 19th century bowl diameter 12.5cm, overall height on stand 10cm

$400–600

Illustrated online at artvisory.com.au

AFTER ANNIBALE CARRACCI, AFTER CORREGGIO (ITALIAN SCHOOL, 18TH/19TH CENTURY)

Madonna and Child with Saints Jerome and Magdalene known as 'Madonna di San Gerolamo' or 'The day' oil on canvas

202 x 139cm

PROVENANCE

Acquired by Robert William Gaussen in 1837/38 travelled to Bologna 14/11/1837 until 16/11/1837 as part of the British Legation, he had been working at the Swedish Court. He was 24 years old and the owner of Brookmans Park Hertfordshire England.

Listed in the insurance valuation of the Estate of Mrs Selina Gaussen by Hampton and Sons, Auctioneers and Valuers of Pall Mall, London in 1915. As ' The Dawn, The Holy Family,and St Jerome and St Katherine after Corregio by Annabel Caracci Valued then at 250 pounds (approximately 32,000 pounds in today's money)

EXHIBITED

'Emerging from the Darkness' Hamilton Art Gallery 2023-2024

This altarpiece, called Il Giorno, by analogy with The Dresden Night, was conceived by Correggio in 1523 for Donna Briseide Colla, married to Bergonzi, who in 1528 assigned it to her own chapel in the church of Sant'Antonio in Parma. In 1764 the Duke Don Filippo bought it for the court, but in 1796 during the Napoleonic government it was brought to Paris. Returning to Parma in 1816, she was placed by Paolo Toschi, director of the Academy, in the rooms of the Rocchetta of the Gallery with a design project that gave worthy space to Correggio's masterpieces. Allegri conceives this Sacred Conversation by renewing the traditional icon of the Virgin enthroned, eliminating architectures to place the figures in a naturalistic scenario, where the Madonna is seated on a humble grassy boulder and a red curtain, diagonally, acts as a canopy. It is a domestic, intimate scene, integrally inserted in a landscape, where the characters communicate by intertwining gestures and looks and the Child is its fulcrum. On the left St. Jerome with the attributes that characterize him in his double robe, on one side the old hermit with a gaunt and neglected body, with an unkempt beard and long nails, accompanied by the legendary lion from which he removed a thorn from his paw, from the another is the father of the church with the scroll and the volume, which allude to the Vulgate, the Bible that he had commented by translating the original Hebrew texts into Latin. On the left, Mary Magdalene, the sinner, kneels before Jesus, turning her gaze towards him, an allusion to the tears with which she washed his feet in Simon's house, while she lets herself be caressed in her long, loose hair, a clear reference to her being a prostitute. Behind her, the mischievous figure of the child holding the jar of perfumed oils in his hands is San Giovannino, precursor of the coming of Christ. The landscape is reminiscent of Lombard and Leonardesque views, with the gentle decline of the horizon on blue-grey tones, a natural space where, albeit at a distance, the laborious work of the fields is depicted among temples with a classical flavor, while in the distance you can glimpse a mountain, perhaps the Pietra di Bismantova. Allegri in this painting reveals his maturity and his brilliant autonomy, which also reveals Leonardo's and Raphael's knowledge of painting.

The original hangs at the National Gallery Piazzale della Pilotta, 15, Parma $7,000–10,000

ITALIAN SCHOOL, 17TH CENTURY

The Angels appearing to Mary Magdalene oil on canvas 135 x 116cm

PROVENANCE

Acquired by Robert William Gaussen, who in 1837/38 travelled to Bologna 14/11/1837 until 16/11/1837 as part of the British Legation, he had been working at the Swedish Court. He was 24 years old and the owner of Brookmans Park Hertfordshire England.

Robert George Gaussen (1843-1906).

BG to verso, being the son of Robert William Gaussen. Bookplate to verso for Samuel Robert Gaussen 1759-1812).

Owner from 1796 of Brookmans Park, Hertfordshire, England. Listed in the insurance valuation of the Estate of Mrs Selina Gaussen by Hampton and Sons, Auctioneers and Valuers of Pall Mall, London in 1915. As The Magdalen at the tomb of Christ with angels in the background after Domenichino, crossed out and written: Original, I have the bill.

NOTES

This work has been variously attributed to Carlo Dolci (1616-1686), Carlo Maratta (1625-1713) Domenichino (1581-1641) and others by Professor Tomory, Gerald Norman, Christies, David Jaffe, and others. Gilt frame with remains of title and attribution to Carlo Maratta, with label to verso B.G.Gaussen July 1891 and coat of arms of the Gaussen family for Samuel Robert Gaussen I (1759-1812)

$5,000–8,000

JOHAN GEORGE SCHUZ (GERMAN, 1755-1813)

Landscape with buildings and figures

oil on oak panel

signed lower centre, indistinctly inscribed to the back of the panel 25 x 31.5cm

$500–800

60 AFTER RAFFAELLO SANZO CALLED RAPHAEL (ITALIAN, 1483-1520)

Madonna della Seggiola

oil on old wood panel

72cm diameter, frame 98 x 98cm

PROVENANCE

Acquired by Robert William Gaussen, who in 1837/38 travelled to Bologna 14/11/1837 until 16/11/1837 as part of the British Legation, he had been

working at the Swedish Court. He was 24 years old and the owner of Brookmans Park Hertfordshire England.

Listed in the insurance valuation of the Estate of Mrs Selina Gaussen by Hampton and Sons, Auctioneers and Valuers of Pall Mall, London in 1915.

NOTE

The Madonna della Seggiola or The Madonna della Sedia (28' in diameter (71cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.

It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

$1,500–2,500

A Nuremberg embossed brass embossed alms dish, German, mid 16th century

For a similar example sold in these rooms see: John Dunn Antiques Collection, Artvisory, August 20/08/2022, Lot 15 37cm diameter

$500–1,000

62 GEORGE CATTERMOLE

The Portfolio of Cattermole Gems containing twenty-four engravings by George Cattermole

engraved by Brandard, Stocks. Cousen, Bentley, Rolls, Engleheart, Goodyear and c.

London David Thomas White 1846 Folio. paper size 44 x 29.5cm, plate sizes approximately 22 x 14cm and folio itself 46 x 32cm

$400–600

Illustrated online at artvisory.com.au

STYLE OF JOHN RUSSELL (BRITISH, 1745-1806)

Sisters: Mary Hannah Anderdon nee Casamaijor, Elizabeth Grace Vernon and Caroline Lydia Casamaijor oil on canvas

171 x 120cm

PROVENANCE

Brookmans Park, Hertfordshire, England.

Listed in schedule of heirlooms of Selina Gaussen circa 1915

Thence by descent

See photos of attached labels to verso:

Ex Libris S.R Gaussen Crest and signed by R.G.Gaussen 1891

Written Members of the Casamaijor Family Mrs Anderdon Mrs Vernon,E Casamaijor Painted in Brussels. Property of Selina Gaussen. Member of the Potterell Casamaijor. Painted by a pupil of Sir T Lawrence The Gyspy girl is Mrs Anderdon. The other to are Emma and Caroline.

$3,000–5,000

ATTRIBUTED TO GEORGE PARKER (BRITISH, 1820-1868)

St Michael's Mount

watercolour

31 x 48cm

St Michael's Mount (Cornish: Karrek Loos yn Koos, meaning 'hoar rock in woodland')is a tidal island in Mount's Bay near Penzance, Cornwall, England (United Kingdom). The island is a civil parish and is linked to the town of Marazion by a causeway of granite setts, passable (as is the beach) between mid-tide and low water. It is managed by the National Trust, and the castle and chapel have been the home of the St Aubyn family since around 1650.

Historically, St Michael's Mount was an English counterpart of Mont-Saint-Michel in Normandy, France, which is also a tidal island, and has a similar conical shape, though Mont-SaintMichel is much taller.

St Michael's Mount is one of 43 unbridged tidal islands accessible by foot from mainland Britain. Part of the island was designated as a Site of Special Scientific Interest in 1995 for its geology. Sea height can vary by up to around 5 metres (16 ft) between low and high tide.

$200–400

Illustrated online at artvisory.com.au

ATTRIBUTED TO GEORGE CHINNERY (ENGLISH, 1774-1852)

Portrait full length of a lady Mary Christian Patterson married to James Archibald Casamaijor oil on canvas label to verso Mary Casamagon nee Patterson ... 75 x 52cm

$1,500–2,500

Illustrated online at artvisory.com.au

66 ARTIST UNKNOWN (ENGLISH, EARLY 19TH CENTURY)

Portrait of Maria Gaussen oil on canvas 71 x 60cm

$800–1,200

Illustrated online at artvisory.com.au

AFTER GEORGE MORELAND (BRITISH, 1763-1804)

Group Portrait of William and Jane Franks (Nee Gaussen) and their children

watercolour heightened with body-colour on paper

48 x 60cm

PROVENANCE

Edward Hodgson married the daughter of Jane Franks nee Gaussen married to William Franks II, and whose sister was Cecilia Franks, married to Samuel Robert II (1783-1818) This picture has come down through the Gaussen line. Bears label to verso with family history signed Jane Franks 13 June 1898

NOTE

One of the many pictures bought in 1837 by Robert William Gaussen, was given to Edward Hodgson – it is written of within the ‘shopping list’.

Referenced in the Brookmans Park insurance valuation of July 1915.

This is a copy of the picture by Moreland which is at Woodhill, Hatfield, Hertfordshire.

William Franks was born 1755 and married Jane Gaussen in 1780. He died at Bristol July 30 1798.

$800–1,200

Illustrated online at artvisory.com.au

ARTIST UNKNOWN (ENGLISH, LATE 19TH CENTURY)

Portrait of Sarah Gore Wife of Arthur Loftus Tottenham MP died 1895 oil on canvas

60 x 47.5cm, frame 74 x 63cm

$300–500

Illustrated online at artvisory.com.au

A small Edwardian walnut Sutherland table, English, circa 1910

69cm long, 19cm deep folded down, 69cm high

$80–150

Illustrated online at artvisory.com.au

A George III mahogany fitted washstand, English, circa 1780-1800

with internal rising shaving mirror

43cm wide, 40cm deep, 87cm high

$150–250

Illustrated online at artvisory.com.au

A copper coal scuttle and two brass fire-tools, English, 19th century

38cm high, 27cm diameter

$50–100

Illustrated online at artvisory.com.au

A George III mahogany tambour fronted commode, English, circa 1800

56cm wide, 48cm deep, 81cm high

$200–300

Illustrated online at artvisory.com.au

An unusual bronze and glass figure group of two bearded men holding an enormous glass crystal, circa 1880

9cm high, 16cm wide

$80–120

Illustrated online at artvisory.com.au

A large collection of antique iron house keys, English, mostly 18th century

approximate sizes ranging from 7.5cm to 13cm

$100–200

Illustrated online at artvisory.com.au

A Victorian rosewood framed slipper chair, English, circa 1860

86cm high, 53cm wide, seat 37cm from the ground

$120–180

Illustrated online at artvisory.com.au

A shagreen and ivory rectangular sandalwood lined box, English, circa 1930

11 x 9.5 x 5cm

$50–100

Illustrated online at artvisory.com.au

PROVENANCE

GERARD HOET THE ELDER (DUTCH, 1648-1733)

Nymphs bathing in an extensive landscape oil on wood panel signed lower register

42.5 x 51cm

Listed in the insurance valuation of the Estate of Mrs Selina Gaussen by Hampton and Sons, Auctioneers and Valuers of Pall Mall, London in 1915. Thence by descent.

$2,000–3,000

ARTIST UNKNOWN

(ENGLISH, FIRST HALF OF THE 19TH CENTURY)

Portrait of Robert William Gaussen (1814-1880)

oil on canvas

98 x 73.5cm, frame 122 x 98cm

Robert William Gaussen (1814-1880) inherited Brookmans Park, when he was 24. He was a great art collector and is recorded as acquiring many of the works in this collection including the magnificent oil painting of an Architect, that is currently being researched in Europe, which he acquired in Bologna in 1837.

$2,000–4,000

CURRENTLY BEING RESEARCHED FOR POTENTIAL SALE IN LONDON

ITALIAN SCHOOL, 16TH CENTURY

Portrait of an Architect

See illustrated below the original passport belonging to Robert William Gaussen, which shows the stamped entry for when he visited Bologna in 1837 and acquired the painting illustrated right, among many that are included in the catalogue.

oil on walnut panel

panel 98 x 68cm, frame 123 x 92cm

NOT FOR SALE

Robert William Gaussen's origin Passport, showing the stamped entry, for when he visited Bologna in 1837, and acquired the painting illustrated right

SOLOMON GESSNER (SWISS, 1730-1780

A collection of Twelve monochrome etchings of landscapes various

$1,500–2,500

JULIA ISABELLA LEVINA (LADY) GORDON (BRITISH, 1772-1867)

An extensive folio of watercolours and drawings of scenes in Britain and Europe, many titled and dated and an oak framed triptych, English, 19th century various, triptych 62cm high, 46cm wide PROVENANCE

Lady Gordon was the daughter of Richard Henry Alexander Bennet and Emilia Burrell and she married Sir James Willoughby Gordon 1st Baronet. She was an accomplished artist remembered as one of J.M.W Turner's few known pupils. She studied under David Cox and took lessons from Thomas Girtin. Her watercolours include a painting of her home on the Isle of Wight, 'Northcourt'. Tate London and the National Trust collections have examples of her work within their collections.

$3,000–5,000

A blue ground and famille enamelled porcelain bowl, Sampson, France, 19th century

copy of a Chinese, Kangxi Period (1662-1722) prototype 11.5cm high, 28cm diameter

$300–500

A gilt Royal blue-ground porcelain bowl, decorated with flowering shrubs, Sampson, France 19th century copy of a Chinese, Kangxi Period (1662-1722) prototype 25cm diameter, 10.8cm high

$300–500

AFTER JOSEPH MALLORD WILLIAM TURNER (ENGLISH, 1775-1851)

Scarborough and Rochester watercolour a pair of watercolours, titled and ascribed to the Artist Miss J. Franks to verso 16cm high, 13cm wide

$200–400

Illustrated online at artvisory.com.au

La Caqueteuse Lisabelle, Le Gobe Mouches Oranor de le Imprimerie de Langlois. Two hand coloured engravings of birds, French, 18th century 32 x 24.3cm

$80–120

Illustrated online at artvisory.com.au

A collection of seven unframed monochrome engravings of General Amherst, Earl Amherst (William Pitt Amherst) and of Montreal, The Seat of Lord Amherst in 'Sevenoke' (Sevenoaks) Kent, English, 18th century

various

$80–120

Illustrated online at artvisory.com.au

A fine George III ivory and tortoiseshell tea-caddy, English, circa 1770

13cm high, 12cm wide, 7.2cm deep

$2,000–3,000

Two Indian paintings on mica and five hand coloured engravings, Indian, early 19th century

Mica pictures 10.8 x 16.8cm and four engravings 19.2 x 13cm and one 21.5 x 17cm

$150–250

Illustrated online at artvisory.com.au

An antique copper bed warmer, English, 19th century

98cm long, 27cm diameter

$40–60

Illustrated online at artvisory.com.au

Three English copper kettles, 19th century

35cm, 21cm, 12cm high

$40–60

Illustrated online at artvisory.com.au

Three copper measuring jugs, English, 19th century

13cm, 13.5cm, and 19cm high

$40–60

Illustrated online at artvisory.com.au

An Art Deco micro-mosaic glass and gilt-metal circular clock, decorated with daisies, French, circa 1880-1900

14.5cm diameter, 15cm high

$120–180

Illustrated online at artvisory.com.au

A carved camphor-wood box carved with figures in a landscape, circa 1920

15cm high, 32cm wide, 20.5cm deep

$50–80

Illustrated online at artvisory.com.au

A blue-green glass witches buoy, English, 19th century

30cm diameter

$80–120

Illustrated online at artvisory.com.au

A rare and impressive mahogany drop-leaf partners desk, English, circa 1820

187cm long closed (drop-leaves add another 90cm when open), 9cm wide, 80cm high

$4,000–6,000

An unusual George III mahogany single-dropside side table, English, circa 1770-1790

98cm wide, 50cm deep, 74cm high

$150–250

Illustrated online at artvisory.com.au

A collection of 17th and 18th century monochrome engravings and etchings in cloth covered folio

labelled John Frost print-seller, Clifton, Bristol various

$500–800

Illustrated online at artvisory.com.au

ATTRIBUTED TO JOHN HOPNER (ENGLISH, 1758-1810)

Portrait of James Archibald Casamaijor oil on canvas 92 x 71.5cm

PROVENANCE

James Archibald Casamaijor, father to Elizabeth Christian, who married Robert William Gaussen (1814-1880)

NOTE

James Archibald Casamaijor, Born 1787 Fort St. George, Chennai, Tamil Nadu, British India, Husband of Mary Christian Casamaijor, Father of Jane Cole, Countess of Enniskillen. Died London 1866 .

$2,000–4,000

A Grand-tour carved stone and marble sculpture of a hound, Italian, first half of the 19th century

14.5cm wide, 8.5cm deep, 7.6cm high

$300–500

100

A George IV or William IV walnut ladder back nursing, or needlework chair, English circa 1825-35

Stamped: Lady Desert. 29405

90cm high, 50cm wide, seat 30cm from the ground

While this is purely conjecture, might it be that this stamp relates to Lady Hester Stanhope, known as 'Queen of the desert' who was related to the Pitt family who are connected to the Amherst family, into who's family the Gaussen forbears married.

This brave woman was a trailblazer in more ways than one. As a British aristocrat and socialite, she was destined to live a life of privilege and comfort – a life she left behind for adventure and travel. Defying expectations and restrictions, and embracing independence, are just some of the characteristics of Lady Stanhope,

With a life that some say is ripe for making a Netflix movie, she was born in 1776 into a family made rich by the discovery of a giant diamond in India. She was also the niece of British Prime Minister William Pitt. In her 30s, she left the comfort of England and embarked on Shakespeareanstyle escapades that included shipwrecks, cross-dressing, and 'sharp tongued' conversation and wit.

She originally set off on a 'treasure hunt' based on the discovery of a medieval Italian manuscript, which led her to excavate a previous mosque site on the Mediterranean coast. On her way there, she travelled through Greece (where she met the poet Lord Byron) and into Constantinople

(now Istanbul), which was the capital of the Ottoman Empire. Her real claim to fame came from her meticulous recording of her archaeological work in Palestine, considered the first modern excavation of the Holy Land. It is believed that her expedition laid the foundation for future archaeological work and even tourism to the area.

After her exploration of the region, she didn't return to England, but instead settled in what is now known as Lebanon. She moved around the area, living in abandoned monasteries with only a couple of companions. Her 'medical attendant' Dr Charles Meryon, who left her company in 1831, ultimately wrote a biography about her life. After his departure, she became involved heavily in the turbulent surrounding areas, giving sanctuary to refugees and earning a reputation as not only as an authority figure for the region but also as a 'witch' with powers of divination.

Before her death in 1839, she became increasingly isolated and some believe she may have suffered from early-onset dementia or severe depression. Even as her health declined, she refused to return to the comfort of England and 'knit or sew like an Englishwoman.' She died in her sleep after a life that none of her country women of the time (or even for decades after her) would ever experience. Lady Stanhope threw off the constrictions of the time to live life on her own terms, making important discoveries along the way.

$120–180

Illustrated online at artvisory.com.au

101

A monochrome etching after Sir Joshua Reynolds, The Infant Academy, the engraving by S W Reynolds, English, 18th century

18 x 20.2cm

$100–200

Illustrated online at artvisory.com.au

102

A top hat, bowler hat and two pairs of spats in a leather travelling case, top hat labelled Robert Heath Knightsbridge, the case labelled C.C.L.Gaussen, English, 19th century

hats internal size 20 x 16cm, leather case

35.5cm, wide 31cm high

$300–500

103

A George III yew-wood inlaid mahogany single chair, English, circa 1810

79cm high, 54cm wide, seat 43cm high from the ground

$150–250

Illustrated online at artvisory.com.au

104

A George III mahogany carver chair, English, circa 1800

83cm high, 53cm wide at seat, seat 42cm from the ground

$150–250

Illustrated online at artvisory.com.au

105

A Edwardian two tier oval occasional table, English, circa 1900

75cm long, 53cm wide, 76cm high

$100–200

Illustrated online at artvisory.com.au

106

An oak rectangular coffer, English, circa 1900-1920

137cm wide, 55cm deep, 46cm high

$150–250

Illustrated online at artvisory.com.au

107

A George III mahogany single chair, English, circa 1790

50cm wide, 96cm high, seat 46cm from the ground

$150–250

Illustrated online at artvisory.com.au

108

A small rosewood and marquetry mantel clock with enamel dial and two train movement, French, 19th century with pendulum

29cm high, 16cm wide

$300–500

109

A pair of Cantonese famillerose enamel vases, Chinese, Qing dynasty, 19th century

26cm high, 9cm diameter

$150–250

110

A pair of fine porcelain beakers, painted with harebells and finely gilded, English, circa 1800-1820

10cm high, 9cm diameter

$100–150

Illustrated online at artvisory.com.au

111

A set of four transfer-printed Ridgway's Fantasia pattern vases, English, circa 1880-1900

10cm high, 11cm diameter

$50–100

Illustrated online at artvisory.com.au

112

A large Crown-Derby porcelain twinhandled serving dish, English, circa 1820

33cm wide, 12.5cm high, 23cm wide

$80–120

Illustrated online at artvisory.com.au

113

A rare painted wood puppet of an Indian Juggler, English, mid 19th century with silk clothes

43cm high

$500–1,000

Illustrated online at artvisory.com.au

114

Two coloured engravings depicting Montreal, The Seat of Lord Amherst, after Paul Sandby original paintings, English, 18th century

plate sizes 16 x 21cm and 26 x 37cm

$100–200

115

DU CABINET DE MONSENIOR LE DUC DE PRESLIN, AFTER TENIER, BY J.P LE BAS 1771, FRENCH, 18TH CENTURY

monochrome engraving

plate 28 x 24cm

$150–250

Illustrated online at artvisory.com.au

116

A view of the Royal Palace of Windsor, Published Laurie and Whittle Fleet street London 1794

and another A View of the Tower with the bridge and part of the City of London from the river, Published according to an Act of Parliament 1761

Two hand coloured engravings. Both with French translations in the titles

visible image size 26 x 40cm

$150–250

Illustrated online at artvisory.com.au

117

A monochrome steel engraving: Du Cabinet de Mr le Duc de Choiseul, after J.Stein, French, 18th century

plate size 17 x 13.5cm

$80–120

Illustrated online at artvisory.com.au

118

Views in Rome and its Environs by Edward Lear, Published by T.McLean, 26 Haymarket, Printed by G.Hullmandel 1841. Folio

27 leaves, 25 plates + frontispiece and index leaves 54 x 37cmn

$200–400

Illustrated online at artvisory.com.au

119

Three Regency cut glass urn shaped compotes, English, circa 1810-20

two 14cm high and one 14.5cm high

$150–250

120

A blue and white Willow pattern gravy boat and an Island Pavilion pattern blue and white printed spoon tray, English, 18th and 19th century

gravy boat 8cm high, 16cm wide, spoon tray 15.5cm long, 8.5cm wide

$50–80

Illustrated online at artvisory.com.au

121

An opalescent glass bowl with shell and seaweed motifs, apparently unmarked, French, circa 1930

26cm diameter

$80–120

Illustrated online at artvisory.com.au

122

A frosted and clear glass circular glass dish, moulded with pansies, circa 1930

30.4cm diameter

$50–80

Illustrated online at artvisory.com.au

123

A pair of George III cut glass mallet shaped decanters, English, circa 1820

20cm high, 10.5cm diameter

$100–150

Illustrated online at artvisory.com.au

124

A cut glass square decanter and stopper, 19th century

26cm high, 9cm square

$100–150

Illustrated online at artvisory.com.au

125

A large Rosenthal clear glass fruit bowl, circa 1960

37cm diameter, 9cm high

$50–80

Illustrated online at artvisory.com.au

126

A good quality cut glass decanter, early 20th century

23cm high, 13cm diameter

$40–60

Illustrated online at artvisory.com.au

127

Three Georgian cut glass decanters with stoppers and another without a stopper, English, early 19th century

24cm, 25cm and 26cm high

$80–120

Illustrated online at artvisory.com.au

128

A part set of Meissen style blue and white porcelain, comprising 15 lattice edged plates and three oval basket shaped dishes, German, circa 1900

plate diameters 23cm, dishes 24–29cm wide

$150–250

Illustrated online at artvisory.com.au

A Meissen porcelain finely floraldecorated porcelain matched tea-service for 14 place settings, plus extras, German, 19th century and of different dates

comprising 16 cups, two milk jugs and two bowls 15 circular saucers, 28 plates and a circular teapot stand plates 21cm diameter, tea-cups 10.5cm diameter, saucers diameter 17cm teapot stand 14.5cm diameter

$500–800

130

A blue and white twin handled cup, with relief moulded white butterflies, Chinese, Qianlong Period, 18th century

10cm high, 11cm wide over the handles

$300–500

Illustrated online at artvisory.com.au

131

Three blue and white tureens with matched covers, and a dish, Chinese, Qianlong Period, 18th century

tureens approx. 33cm, 35cm wide and the dish 37.5 x 28cm

$400–600

Illustrated online at artvisory.com.au

132

A fine Honiton lace wedding dress train English 18th/19th century

PROVENANCE

Worn by Lady Mary Gaussen, Hugh’s Mother, inherited from her Mother Countess Eleanor Clementine Amherst nee St Aubyn of St Michael’s Mount.

$400–600

Illustrated online at artvisory.com.au

133

A collection of various pieces of antique English lace

$150–250

Illustrated online at artvisory.com.au

134

A large quantity of Antique English lace edging and various pieces

$150–250

Illustrated online at artvisory.com.au

135

A collection of various textiles including lace bonnets etc

$100–200

Illustrated online at artvisory.com.au

136

A Jas and Watson and Co. Ltd Distillers Centenary souvenir ceramic decanter and stopper, depicting the Duke of Wellington, Lord Kitchener, English, circa 1915

29.5cm high, 13cm diameter

$150–250

Illustrated online at artvisory.com.au

Four Japanese woodblock prints, Meiji/Taisho period, circa 1900-1920

34 x 23cm

$200–400

138

A Japanese woodblock print by Hasimoto Chikanobu (1838-1912)

34 x 70.5cm

$300–500

139

A Victorian carved walnut ladies chair, English, circa 1806-80

96cm high, 59cm wide, seat 39cm from ground

$50–100

Illustrated online at artvisory.com.au

140

A Victorian tunbridge-ware work box, English, 19th century

20cm wide, 12.5cm high

$20–40

Illustrated online at artvisory.com.au

141

A Victorian 'Indestructible Scrapbook' filled with cut out lithographs, engravings, cards and other decorative devices, English, circa 1880

28.5 x 24cm

$100–200

Illustrated online at artvisory.com.au

142

A Spode blue and white part dinner service supplied to Mortlock's Oxford Street, London, English, circa 1880 comprising 22 plates

5 matched side plates and 4 dessert plates

24–26cm diameter

$200–300

Illustrated online at artvisory.com.au

143

Two glazed 19th century prints and a reverse painting on glass in bronze frame, English, 19th century

15.5 and 16cm wide and 16 x 8.5cm

$120–180

Illustrated online at artvisory.com.au

144

A leather and canvas folio of printed charts of the waters surrounding England, Ireland, Wales and Scotland including the Islands and Seas that surround the region compiled from the surveys of Commander T.Smith Messers Jeffrey and Cramer 1866, Published under license by the Office of the Admiralty, sold by J.D Potter London, comprising 46 different monochrome charts, variously dated from 1855-1890 some charts double leaf and 98 x 69cm some multiple fold-outs and larger and some single leaf at 70 x 51cm

$400–600

145

A folding Map of Australia, published by James Wylde, Charing Cross London, 19th century

inscribed: Alan Macdonald Browne

58 x 87cm In case 20.5 x 12cm

$120–180

146

An East Indies Mercator Projection Paper fold-out map, complied and published by H.E.C.Robinson George Street, Sydney

76 x 100cm

$80–120

147

A very early example of an antique brass-mounted wood and cane salmon fishing rod, English, 19th century

330cm long

$300–500

Illustrated online at artvisory.com.au

148

A fine unframed cut-out silhouette of an officer, two watercolours of building in landscapes and a collection of fourteen hand coloured engravings, 19th century

various

$150–250

Illustrated online at artvisory.com.au

149

AFTER FRANCIS WHEATLEY R.A

A set of 14 'Cries of London' prints of engravings by L.Schiavonetti, English, 19th century

35 x 27cm

$200–400

Illustrated online at artvisory.com.au

150

An Australian cedar pedestal cupboard, circa 1860-80

95cm high, 57cm wide, 64cm deep

$200–300

Illustrated online at artvisory.com.au

KK Partners Group, Chartered accountants are based in Brighton Victoria and have set up and independently managed the vendor trust accounts for Artvisory vendors, since the day the company was established.

Buyer payments are collected in this trust account and reconciled to auction results when an auction is complete. Payments owed to vendors are processed by KK Partners Group, after which any monies owed to Artvisory as per the Auction Agent Agreements are paid.

Together KK Partners Group and Artvisory ensure auction clients funds are collected, reconciled and processed responsibly and with accountability.

Same quality collections. Only smaller.

We all know collections sell much better marketed on their own as single-owner auctions. But until now, there has been an economic reality, that has not allowed that to happen. Now using the latest technology and based out of our state-of-the-art business location in Melbourne, For-Auction allows for smaller quality collections (valued as low as $50,000100,000) to be sold as single-owner auctions, without having to mix in with other people’s property. This means a better marketed and faster sales process for you as the vendor.

To discuss your single-owner auction please contact us now: Enquiries

Paul Sumner 0412 337 827 paul@forauction.com.au

www.forauction.com.au

The Robert Burke Collection

The Collection of Bruce Kerr and Janet Matthews

The Collection of the late Judith and Bruce Terry

The entire Stock in trade of John Dunn Antiques

The Contents of Rosemont, Property of Lady Burrell

Terms and Conditions of Sale

The terms and conditions of sale listed here contain the policies of Artvisory Pty Ltd. They are the terms on which Artvisory Pty Ltd and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.

1. Background to the Terms used in these Conditions

The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:

“the Buyer” means the person with the highest bid accepted by the Auctioneer

“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.

“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot

“the Buyers Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.

“the Reserve” means the lowest amount at which Artvisory has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).

“the insured value” means the amount that Artvisory in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Artvisory.)

All values expressed in Artvisory Pty Ltd catalogues (in any format) are in Australian Dollars (AU$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.

2. Artvisory Auctions as Agent

Except as otherwise stated Artvisory Pty Ltd acts as agent for the Seller.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

3. Before the Sale

a) Examination of Property

Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Artvisory nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below. The property is otherwise sold “AS IS”

b) Catalogue and other Descriptions

All statements by Artvisory in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Artvisory of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Artvisory nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material. Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

Foreign buyers should note that all transactions are in Australian dollars so there may be a small exchange rate risk. The costs associated with acquiring a good certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

c) Buyers Responsibility

All property is sold “as is” without representation or warranty of any kind by Artvisory or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

4. At the Sale

a) Refusal of Admission

Artvisory reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

b) Registration before Bidding

Any prospective new buyer must complete and sign a registration form and provide photo-identification before bidding. Artvisory may request bank, trade or other financial references to substantiate this registration.

c) Bidding as a Principal

When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyers premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Artvisory before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Artvisory and that Artvisory will only look to the principal for payment.

d) International Registrations

All International clients not known to Artvisory will be required to scan through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Artvisory’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Artvisory also reserves the right to request any additional forms of identification prior to registering an overseas bid. This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 can not be charged to this card without prior arrangement.

This deposit is redeemable against any auction purchase.

e) Absentee bids

Artvisory will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Artvisory after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

f) Telephone bids

Priority will be given to overseas and interstate bidders. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Artvisory accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Artvisory cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Artvisory of the lots in question and you will be assumed to be a buyer at the minimum price of 75% of estimate (ie. reserve) for all such lots. Artvisory will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals or any other sale room notices.

G) Online Bidding

Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Artvisory and agrees to pay any fees charged in regard to any purchases made via Invaluable.com.

Artvisory accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details.

H) Reserves

Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

I) Auctioneers Discretion

The Auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to re-offer and resell the item in dispute. If any dispute arises after the sale, then Artvisory’s sale record is conclusive.

J) Successful bid and passing of risk

Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

K) Indicative Bidding steps, etc.

Artvisory reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following, at the auctioneers discretion:

Increment Amount Dollar Range

$20

$0–$500

$50 $500–$1,000

$100

$200

$500

5. After the Sale

a) Buyers Premium

In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 26% of the hammer price plus GST. (Goods and Services Tax) where applicable.

b) Payment and passing of title

The buyer must pay to the company trust account managed by KK Partners Pty Ltd Chartered Accountants the full amount due (comprising the hammer price, buyer's premium and any applicable taxes and GST) not later than 3 days after the auction date.

The buyer will not acquire title for the lot until Artvisory receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items interstate or overseas.

Payment can be made by direct transfer, cash (not exceeding $5,000AUD, if wishing to pay more than $5,000AUD then this must be deposited directly into the company trust account and bank receipt supplied) and Eftpos (please check your daily limit). Payments can also be made by credit card in person with a 1.43% (inc GST) merchant fee for Visa, Mastercard and American Express. Credit card payments where the card-holder is not present, can not be accepted unless a scanned image of the card and signature is supplied (that corresponds with the supplied signature on the bidding or registration forms). Personal cheques are only accepted with prior arrangement and funds must be cleared before goods will be released. Bank cheques are subject to three days clearance.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account.

c) Collection of Purchases & Insurance

Artvisory is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 3 days from the date of the sale unless otherwise agreed in writing between Artvisory and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

d) Packing, Handling and shipping

$1,000–$2,000

$2,000–$5,000

$5,000–$10,000

$1,000 $10,000–$20,000

$2,000 $20,000–$50,000

$5,000

$10,000

$20,000

$50,000

$50,000–$100,000

$100,000–$200,000

$200,000–$500,000

$500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

Artvisory will be able to suggest local, national and international carriers and takes no responsibility whatsoever for the actions of any recommended third party carrier. Artvisory can pack and handle goods purchased at the auction by agreement, however will take no responsibility for damage, a charge may be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

e) Cultural heritage Export Licences

Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make full payment immediately, nor our right to charge interest or storage charges on late payment. It is the Buyer’s responsibility to check Australia’s Protection of Moveable Cultural Heritage Act 1986 before purchase. If the Buyer requests Artvisory to apply

for an export licence then we shall be entitled to charge a fee for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is not granted.

f) Remedies for non-payment

If the Buyer fails to make full payment immediately, Artvisory is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)

i) to charge interest at such a rate as we shall reasonably decide

ii) to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for it’s recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law

iii) to cancel the sale

iv) to resell the property publicly or privately on such terms as we see fit

v) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Artvisory in the event that the item(s) are sold for an amount greater than the original invoiced amount.

vi) to set off against any amounts which Artvisory may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

vii) where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

viii) to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.

ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for such Buyer’s obligations to us.

x) to take such other action as Artvisory deem necessary or appropriate

If we do sell the property under paragraph (iv), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (v) the Buyer acknowledges that Artvisory shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

g) Failure to collect purchases

Where purchases are not collected within 3 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6. Extent of Artvisory Liability

Artvisory agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7. Limited Warranty

Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following:

i) it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

ii) the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Artvisory when the lot was sold at Auction.

iii) the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party

iv) The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyers premium which is non refundable. Neither the Seller nor Artvisory will be liable for

any special, incidental nor consequential damages including, without limitation, loss of profits not for interest.

v) The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Artvisory to decide whether or not to cancel the sale under warranty.

vi) the Buyer must return the lot to Seller in the same condition that it was purchased.

8. Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9. Copyright

The copyright of all images, illustrations and written material produced by Artvisory relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Artvisory and shall not be used by the Buyer, nor by anyone else without our prior written consent. Artvisory and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10. Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of the state in which the auction is held.

11. Pre-Sale Estimates

Artvisory publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Artvisory prior to auction for updated pre-sale estimates and starting prices.

12. Sale results

Artvisory will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.artvisory.com.au.

13. Goods and Service Tax

In accordance with A New Tax System (Goods and Services Tax) Act 1999 Artvisory Auctions will collect on behalf of the Australian tax office (ATO) a Goods and Service Tax (GST) of 10% on all applicable transactions. GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not an Australian resident. These lots are denoted by a dagger symbol † placed next to the estimate.

GST is also applicable on the buyer’s premium.

Overseas buyers and buyers non-resident in Australia will not be charged GST on both hammer price and premiums under the following conditions:

1. The items are exported through a Artvisory approved freight company including Australia Post

2. The items are exported within 60 days of the date of the sale

The invoice supplied by Artvisory for purchases will be regarded as a Tax invoice for GST purposes.

14. Resale Royalty Scheme

Under the legal obligations of the Resale Royalty Scheme for Visual Artists Act 2009, sellers must provide the following information to comply with the act:

• was the artwork acquired after 8 June 2010?

• is the sale/reserve price (including GST) $1,000 or more?

• is the artist from Australia or a country listed in the Regulations to the Act?

• is the artist alive, or deceased less than 70 years?

The seller:

i) acknowledges that he or she understands his or her legal obligations under the Resale Royalty for Visual Artists Act 2009 (the Act);

ii) undertakes to comply with all requirements of the Act, including by providing its agent, the company, with accurate information sufficient for compliance with sections 28 and 29 of the Act;

iii) undertakes to indemnify the company for any loss incurred by the company as a result of the vendor’s failure to comply with any of the vendor’s legal obligations under the Act; and

iv) acknowledges that if he or she fails to comply with any of his or her legal obligations under the Act, the company may provide the vendor’s name and contact details to Copyright Agency Limited (CAL).

Lots subject to payment of the Resale Royalty Scheme will be denoted by the §. The Australian Resale Royalty is a flat rate of 5% on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyers premium plus any applicable GST.