Collections & Shipping: Jennifer Hirst 0410 777 996 jennifer@artvisory.com.au
How to bid at our Auctions
Catalogues and Viewing
Auction catalogues can be viewed on the Artvisory website www.artvisory.com. au approximately three weeks prior to the published date of an Auction.
Printed catalogues will be available complimentary at the auction viewing and can be express posted (within Australia) prior to the viewing for $35AUD
The Auction viewing is open to the public and generally takes place during the three days prior to the Auction date at the advertised location/s in the Auction catalogue, 11am-5pm daily.
Lot Descriptions
The Lot/Catalogue descriptions provide the overall information of an item including size, date or age, medium, attribution, quantity and if known, provenance.
Estimates
The estimate accompanies each lot in the printed and online catalogue. This estimate takes into consideration the quality, condition, rarity, condition and provenance of the item. Each estimate also has a reserve, and the reserve is the undisclosed and confidential amount set at or below the low estimate. Please note the reserve will never exceed the low estimate at Artvisory.
Condition Reports
Condition reports supplement the lot/catalogue description and focus on the condition of the item. We strongly advise obtaining a condition report if you are unable to view the lot in person. Condition reports and additional images are available to view as part of the auction item listing at Invaluable.com or can be requested from Artvisory directly.
Symbols
Occasionally a symbol is printed next to a lot number in the catalogue, this indicates a special clause that is associated with the sale of that item. Please refer to the Terms and Conditions for specific symbol meanings and information.
Buyers Premium
Artvisory Auctions in Australia are conducted in AUD and charges a Buyers Premium of 26% on the hammer price of all Auction items unless otherwise stipulated with GST of 10% applicable to the Buyers Premium.
Bidding
Artvisory offers four options for bidding at our Auctions:
Live Bidding
If this is your first-time bidding in person at an Artvisory auction you will be required to register with us, which requires you to fill out a buyer registration form in person at the viewing.
To facilitate this, please bring along your Government issued photo identification, such as a driver’s licence or passport as this is the only form of identification that will be accepted.
Please make sure you register in the name you want your final invoice to be made out to, as invoices once issued cannot be changed, and in certain cases a deposit may be required before you can bid.
Online and Timed Online Bidding
Online bidding via the International Auction platform Invaluable.com allows you to bid via the internet in real time, whilst also allowing you to view the live stream of the Auction. You have two options to register for this service:
• Register via the Artvisory website and an Invaluable.com online bidding fee of 2% of the hammer price is added
• Register direct with Invaluable.com and an online bidding fee of 5% of the hammer price is added
Please make sure you register for online bidding at least 24 hours prior to the Auction to ensure you do not miss your lot and note that you must use Chrome or Firefox as your Internet Browser as Safari is not supported.
Please note if you have not bid with Artvisory previously, then Government issued photo identification verifying your name and address will be also be required before you can be approved to bid with Artvisory via the Invaluable.com site, and in certain cases a bidding deposit (20% of the low estimate of each Lot you wish to bid on) may be required before you can bid.
Artvisory cannot be held responsible for any errors that occur with internet connectivity during an auction or buyer bidding errors.
Bidding Deposits
Artvisory reserves the right to request a deposit for any buyer wanting to register for the auction, and this must be received in cleared funds 24 hours prior to the commencement of the auction. If the buyer is not successful, then it will be refunded in full by the third day after the auction.
Telephone Bidding
Complimentary telephone bidding is available at all of our live Auctions and involves an Artvisory representative calling you approximately 3–5 lots in advance of your nominated lot and you then instruct them to bid on your behalf.
Telephone Bids must be requested at least 24 hours prior to the commencement of the Auction and are provided on a first come, first served basis, as the number of phone lines available are limited.
See our website to download and complete a telephone bidding form and please note that if this is your first time bidding with Artvisory, we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.
Artvisory reserves the right to request a deposit for any buyer wanting to register for the auction, and this must be received in cleared funds 24 hours prior to the commencement of the auction. If the buyer is not successful, then it will be refunded in full by the third day after the auction.
Absentee Bidding
Absentee bidding offers convenience if you are unable to attend an Auction in person, bid over the telephone, or if you wish to stick to your budget.
An absentee bid should be set at the maximum amount you wish to bid on the lot/s you are interested in purchasing. Should the lot/s be knocked down at an amount lower than the bid recorded on your form, the lot will be sold to you for the lesser hammer price plus Buyers Premium. If identical bids are received for the same lot, then the first bid received by Artvisory will take precedence.
Absentee bids must be received by Artvisory at least 24 hours prior to the Auction commencing and the Company cannot be held responsible for activating any late bids that are received.
See our website to download and complete an absentee bidding form and please note if this is your first time bidding with Artvisory, we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.
Payment and Collection
If you are successful with your bid/s, your invoice will be emailed to you immediately after the Auction finishes.
You will pay the hammer price, plus the Buyers Premium of 26% plus GST on each lot, together with any additional charges such as the Invaluable.com online bidding fee, GST on hammer, or the Artist Resale Royalty if applicable.
As per our terms and conditions, payments must be made in full by three (3) days after the Auction has been completed as printed in the catalogue.
We accept Direct Deposit into the Company Trust Account, Eftpos (up to your daily limit) or credit card in person with the following merchant fee applicable (1.43% inc GST for Visa, Mastercard and American Express)
If you wish to pay “over the telephone“ with a credit card you must request a secure payment link by emailing accounts@artvisory.com.au and the secure BPOINT link will be emailed to you.
Cash payments must be deposited direct to the Company Trust account via any Commonwealth Bank Branch, and goods can be released upon supplying the deposit receipt.
Personal, Company and Bank cheques are not accepted. All payment options and Company Trust Account details are included on the invoice that is emailed to you after the Auction if you are a successful bidder.
All items must be paid for in full and collected within the collection times advertised for each individual Auction. If items are not collected within this time frame then Artvisory reserves the right to charge removal, storage and release fees.
Packing and Delivery
Artvisory has a list of recommended carriers specific to each auction that will be sent with your invoice if you are the successful buyer and is happy to help you with this process.
An Omega 18ct gold and diamond cocktail watch
Swiss, circa 1960
manual wind, circular cream dial, 18ct gold case, concealed behind a hinged floral and diamond set panel in tri coloured brushed 18ct gold with matching bands and diamond detail, signed, total weight 64.6gms, total diamond weight 0.30cts. stamped 18ct total length 165mm circular dial approx. diameter 1.2cm
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$6,500–8,500
2
A heavy rope twist 22ct gold bangle oval form expandable design finished with reeded terminals, crafted in 22ct gold, total weight 45.0gms indistinct marks on the interior of the bangle, acid tested 6.5cm diameter
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$6,000–8,000
Illustrated online at artvisory.com.au
3
A ruby, diamond and 18ct gold necklace featuring seven sections of two pear shaped panels grain set with diamonds joined by a carre cut ruby panel, interspaced with gate link chain, 18ct gold, total weight 36.5gms, stamped 9ct on clasp but acid tests as 18ct on chain
total length 400mm.
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$3,600–4,600
4
An 18ct gold and diamond necklace featuring three old cut diamonds totalling 1.30cts, interspaced in flat double curb link 18ct gold chain, total weight 12.2gms stamped 18ct, diamond weights approximate colour J-L, clarity P1 total length 390mm
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$1,400–1,800
5
A French 18ct gold bracelet fancy link design comprising oval and ""S"" shaped links crafted in 18ct gold, French marks, total weight 65.5gms, total length 200mm.
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$7,500–9,500
A Patek Philippe 18ct gold and diamond ladies wristwatch
manual wind, gold textured dial and bezel set with round brilliant cut diamonds, totalling 1.10cts, integral brush finish and textured bands, 18ct gold, signed, total weight 57.3gms, total length 175mm, boxed, stamped 18ct, signed dial, case, bands, crown, stamped marks numbered – see attached online photos ovals dial 1.8 x 2.2cm
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$5,000–7,000
7
A fine Montegrappa Extra 1930 Fountain Pen
solid yellow gold stamped 750 standard and turtle-brown celluloid with medium nib, in original box and with inkwell 13.7cm long
$1,500–2,000
8
A Patek Philippe 18 carat gold Calatrava wristwatch Swiss, 2005
white porcelain dial, hobnail bezel, black crocodile strap with original certificate dated 7 November 2005
Reference no: 3802/200J-001 Movement number 3249773/4205065 case diameter 33mm
$6,000–9,000
9
An 18ct white and yellow gold necklace
fancy link chain comprising reeded double infinity links interspaced with jump rings, suspended with seven pear shaped polished drops in white and yellow gold with engraved detail to the reverse, 18ct gold, total weight 81.9gms, total all stamped 18ct except for one drop, acid tested length 800mm
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$9,000–12,000
A stunning emerald and diamond and 18kt gold set necklace composed of twenty-five oval and pear-shaped emeralds, surrounded by a multitude of round brilliant-cut diamonds estimated total emerald weight 122.65 carats, estimated total diamond weight 8.60 carats, stamped 18K 750, weight 84.0g, necklace 45.5cm long, vertical pendant length 6cm
Accompanied by GSL report AA62576, dated 29 July 2019, stating that the 25 emeralds' inclusions show features consistent with East African, specifically Zambian origin, with indications of additive present ranging from insignificant through moderate to significant.
$50,000–70,000
(Detail)
The Estate of Dauvergne Campbell Morgan
Dauvergne Campbell Walker was born in 1942 at Wards, a beautiful Elizabethan house in Kent England. Her father Rob Walker, 4th generation of the Johnnie Walker Whisky family, went on to become the last private ‘Gentleman’ entrant to Formula One Motor Racing, achieving great success with his driver Stirling Moss in the 50’s and 60’s. Rob was the first private entrant to ever win the Monaco, GB, US, German and Argentine Grand Prix (some several times).
Dauvergne was lucky enough to grow up surrounded by beautiful things. Her grandmother Lady Mary Lacey and grandfather Sir Francis Lacey, Secretary of the MCC, passed down many treasures to her from their large estate, Sutton Veny, in Wiltshire, which Dauvergne took with her throughout her life, as well as antiques from her parent’s house Nunney Court in Somerset.
Following family, and her uncle, Sir Val Duncan (Chairman of RTZ) , to Australia, Dauvergne settled in Melbourne, but still travelled extensively throughout Europe and Asia. She maintained a love of history throughout her life,
lecturing at the State Library and The National Gallery of Victoria, and from an early age historical paintings and objects were always important to her, and always treasured. The collection represents places and passions in her vast range of interests through a very well lived life. The tale of the engagement ring:
Dauvergne’s father Rob Walker married his love Elizabeth Dauvergne Duncan (Betty) in 1940, some months after the start of the second world war. As it was wartime, and as Rob had not yet come into his (at that time, considerable) inheritance, he could only afford a plain gold wedding band for his beautiful bride. As soon as he was able, Rob wanted to buy Betty something much more fitting to show the strength of his adoration, and thus began the correspondence with Cartier to purchase the best diamond ring he could possibly muster. The result is the amazing ring we see today, which Betty wore all her life, and which was then worn by Dauvergne to remember the amazing love her parents had for each other.
A superb Cartier emerald and baguette cut diamond ring circa 1950
principal emerald cut diamond weighing 3.05cts, having baguette cut diamonds set to the surround and stepped shoulders totalling 1.30cts, platinum, signed Cartier London, 6.4gms, ring size L." independent valuation, Original Cartier paperwork stating independent valuation available stating principal diamond colour G-H, clarity SI1, baguette cut diamonds colour G-H, clarity VS PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne. $30,000–50,000
A Cartier heavy 18ct gold oval link and coin bracelet
interspaced with yellow gold demi-lune panels crafted in 9ct gold, suspended with three gold coins comprising a gold sovereign 1879 in 18ct gold frame, George III Spade of Guinea gold coin in 22ct gold, French gold coin in an 18ct gold frame, together with three gold tokens comprising an 18ct gold engraved token and two 9ct gold engraved tokens, total weight 124.3gms, total length 195mm, Bracelet acid tested as 9ct Token with engraved initial acid tested, frames of gold coins acid tested. Independent valuation available signed Cartier London.
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$9,000–12,000
13
A Cartier 18ct gold rope-twist bar brooch with scroll terminals, 18ct gold, signed Cartier London, steel pin total weight 2.6gms, total length 30mm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$500–1,000
A stunning Cartier Art-Deco diamond brooch circa 1930
geometric openwork design set with a principal old European cut diamond of 3.10cts, offset by two further diamonds totalling 2.80cts, further diamond detail throughout of mixed old, single and early round brilliant cuts totalling 5.65cts, platinum, signed Cartier London, total weight 13.7gms.
get head set 8.7 x 8.7 x 6.2mm = 3.14cts, 7 x 7 x 5.5=1.80cts, 6.7 x 6.7 x 5= 1.50ct, acid tested platinum. Original Cartier paperwork brooch pin fitting with small hinged jump ring for pendant fitting. Independent valuation available. Principal diamond colour K-L clarity VS2, side diamonds colour H-I, clarity VS, other diamonds colour I-J, clarity Si-P
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne. $25,000–35,000
A Cartier diamond set double-clip brooch circa 1950
geometric pierced frame set with forty nine round brilliant, six square and two baguette cut diamonds totalling 2.55cts, all finely set in platinum, signed Cartier London, weight 8.2gms
stamped 950, 46 RBC= .47, .63, .60, .15, 6 asscher=.6, 2 bags = .27, colour G, clarity VS, original Cartier receipt stating a square cut diamond had been replaced clip fitting to reverse, independent valuation available stating colour G-H, clarity VS-SI
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne. $4,000–6,000 15
A fabulous Cartier aquamarine set 18ct gold ring circa 1960
rectangular step cut aquamarine weighing 24.8cts, four claw set in 18ct white gold, signed Cartier London, 11gms,
19.7 x 15.5 x 13.8mm
original Cartier receipt dated 1959 stating setting of stone Independent valuation available ring size L
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$8,000–12,000
(Detail)
A stunning Georgian 18ct gold guard chain English, circa 1800 belcher link chain with stippled and star decoration, finished with a hand clasp set with a garnet, 18ct gold, weight 59.2gms, total length 1220mm.
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$6,500–8,500
A stunning heavy gauge 18ct gold and turquoise glass bead cocktail bracelet rope twist design interwoven with small blue glass beads, stamped 18ct, weight 56.3gms all at total length 220mm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$6,000–8,000
A 14ct gold and diamond pansy pendant/brooch centrally set with an old European cut diamond of 0.55cts, set amongst polished 14ct gold petals, weight 12.8gms. acid tested 14ct, mentioned on old Cartier insurance valuation pendant loop and pin fitting, diamond colour G-H, clarity VS, independent valuation available
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$1,500–2,000
20
An 18ct gold anchor link design bracelet finished with an oversized t-bar and jump ring, weight 101.2gms, total length 220mm.
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$11,000–14,000
ARTIST UNKNOWN
DUTCH SCHOOL, 18TH CENTURY
Still life with a peacock, rabbits and flowers in a capriccio oil on canvas
91 x 112cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$5,000–8,000
23
ARTIST UNKNOWN
EUROPEAN SCHOOL, 19TH CENTURY
Misty landscape with exotic birds
oil on canvas
100.5 x 73cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$2,000–3,000
ATTRIBUTED TO EDWARD WILLIAMS
BRITISH, 1782-1855
Riverside view with figures and boats oil on canvas
While bearing an applied gilded plaque attributing this work to Edward Charles Williams (1807-1881) who predominantly painted rural cottage landscapes in the Norwich region, stylistically and from a subject matter perspective, this work is closer to Edward Williams (1782-1855) who often painted Thames river subject matter and more figurative work.
49 x 104cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$3,000–5,000
HRH MARIA ISABELLA OF SPAIN SPAIN, 1789-1848
Possibly a portrait of herself as a young girl aquatint
signed Maria Isabella pinxt 1808
27.5 x 21.5cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
EXHIBITED
This work lent to the Regency Festival Exhibition lent by Mr Spier J Matthews-Hughes July 1946
Also exhibited Royal and Historic Treasures at 145 Piccadilly London opened in the presence of Princess Alice Countess of Athlone, June 28 1939.
(Labels to verso)
REFERENCE
HRH Maria Isabella of Spain (1789–1848), Queen of the Two Sicilies, is most widely known in printmaking through lithographic aquatints and stipple engravings created in the 19th century. These works primarily capture her formal portraiture and public life after her marriage to Francis I.
$1,500–2,000
HRH PRINCESS LOUISE DUCHESS OF ARGYLL
ENGLISH, CIRCA 1860
Self Portrait
pencil drawing
inscribed "The girl I left behind me" and with LL monogram paper size 29 x 23.7cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
REFERENCE
Princess Louise, Duchess of Argyll (Louisa Caroline Alberta; 18 March 1848 – 3 December 1939), was the sixth child and fourth daughter of Queen Victoria and Prince Albert.
In her public life, she was a strong proponent of the arts and higher education and of the feminist cause. She was an influential supporter of the Edinburgh College of Domestic Science, the forerunner to Queen Margaret University, becoming the institution's first Patron in 1891 until 1939. Her early life was spent moving among the various royal residences in the company of her family. When her father died in December 1861, the court went into a long period of mourning, to which with time Louise became unsympathetic. She was an able sculptor and artist, and several of her sculptures remain today. She was also a supporter of the feminist movement, corresponding with Josephine Butler, and visiting Elizabeth Garrett.
Before her marriage, Louise served as an unofficial secretary to the Queen from 1866 to 1871. The question of Louise's marriage was discussed in the late 1860s. Suitors from the royal houses of Prussia and Denmark were suggested, but Victoria did not want her to marry a foreign prince, and therefore suggested a high-ranking member of the British aristocracy. Despite opposition from members of the royal family, Louise fell in love with John Campbell, Marquess of Lorne, the heir of the Duke of Argyll. Victoria consented to the marriage, which took place on 21 March 1871. After a happy beginning, the couple drifted apart, possibly because of their childlessness and the Queen's constraints on their activities.
In 1878, Lorne was appointed Governor General of Canada, a post he held from 1878–1884. Louise was viceregal consort, starting a lasting interest in Canada. Her names were used to name many features in Canada, including the Louise Bridge in Winnipeg, Lake Louise and the province of Alberta. Following her mother's death in 1901, she entered the social circle established by her elder brother, the new king, Edward VII. Louise's marriage with Lorne survived thanks to long periods of separation; they reconciled in 1911, and Louise was devastated by Lorne's death in 1914. After the First World War, she began to retire from public life, undertaking few public duties outside Kensington Palace, where she died at the age of 91.
PROVENANCE
Inscribed to verso: Gifted by HRH Princess Louise to Lady Helen Lacey (nee Carnegie, her father was the Earl of North Esk) Lady Helen was ladyin-waiting to HRH Princess Beatrix, the youngest daughter of HM Queen Victoria. Lady Helen was the first wife of Sir Francis Eden Lacey...
$500–800
AFTER ANTHONY VAN DYCK
FLEMISH, 1599-1641
Portrait of Queen Henrietta oil on canvas
57.5cm high, 43cm wide
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
REFERENCE
Henrietta Maria sat to van Dyck on numerous occasions. Her likeness was first captured by the Flemish master in the ‘Greate Peece’, the group portrait of Charles and his wife with their two eldest children, Prince Charles, later King Charles II, and Princess Mary (Royal Collection, Windsor Castle). Executed in 1632, shortly after van Dyck’s appointment as Court Painter, this shows the Queen in an almost identical golden dress to that in the present painting, gazing lovingly at her husband. The following year, van Dyck was paid for nine portraits of the King and his consort and his Account Books of 1638-39 list thirteen portraits of Henrietta Maria, often with a note of their intended recipient.
Despite the number of individual portraits executed, these were not all the result of new sittings; the Queen’s time being too precious for unlimited access to her person. As with Queen Elizabeth before her, different portraits of Henrietta Maria were executed based on a small number of specific head types established by van Dyck. Thus the majority of her portraits can be grouped according to five prototypes, most dating to the early period of van Dyck’s time in London: the three-quarterlength portrait in an ethereal silver dress from 1632 (Royal Collection, Buckingham Palace); the three-quarter-length in a black dress, dated 1632 (Collection of the Earl of Radnor, Longford Castle); the lost three-quarterlength in a blue dress, now only known through studio replicas; the full-length in ermine-lined state robes, dated 1637, which was gifted to the Prince of Orange (Oranienburg, Schlossmuseum, no. 919); and, perhaps the most famous of all, the 1633 full-length in a blue hunting costume with her dwarf, Sir Geoffrey Hudson (Washington, National Gallery of Art).
$2,500–3,500
A William and Mary oak straight-front chest-of-drawers English, circa 1690-1700
88.5cm high, 92cm wide, 56cm deep
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$1,000–2,000
A Queen Anne walnut bureau-bookcase English, circa 1710
215cm high, 91cm wide, 56cm deep
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$3,000–5,000
A George III gilt-wood overmantle mirror English, late 18th century 81cm high, 138cm wide
The Collection of the late Dauvergne Morgan, Melbourne.
$1,500–2,500
A fine quality George III mahogany chest-on-chest English, circa 1770
181.5cm high, 107cm wide, 58cm deep
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$1,200–1,800
31
A very rare illuminated manuscript illustration on parchment
French or Low countries, late 15th century
8cm high, 16.5cm wide
PROVENANCE
Manning Gallery (Bond street, London) label to verso, Flemish, 15th century from a pslater
The Collection of the late Dauvergne Morgan, Melbourne.
$800–1,200
32
An antique Tekke Turkoman Ersari rug circa 1900
270 x 180cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$600–1,000
A Chinese woven silk rank badge Qing dynasty, 19th century
43 x 38.5cm
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$400–700
34
A rare Charles II oak joynt stool English, circa 1680
53cm high, 45cm wide, 27cm deep
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$1,000–2,000
35
A large Charles II/James II oak drop leaf dining table English, circa 1680-1700
73cm high, 141cm long, 43cm wide closed, 158cm wide open
PROVENANCE
The Collection of the late Dauvergne Morgan, Melbourne.
$800–1,200
The Following 8 Lots:
A Private Collection of Russian Jewelled Gold and Enamel Works of Art From a Private South Australian Collection.
Formerly Acquired in New York.
A fine quality large diamond set 14k vary-coloured gold and pink guilloché enamel and green nephrite carousel clock Russian work-masters, 20th century stamped marks and Fabergé 28.4cm high, base 15cm diameter
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$190,000.00 in 2012
$10,000–15,000
A fine quality diamond set 14k vary-coloured gold and red and pearl coloured guilloché enamel circular dressing-table clock
Russian work-masters, 20th century
stamped marks and Fabergé 13.5cm diameter
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$50,000.00 in 2012
$3,000–5,000
A fine quality diamond set 14k two-coloured gold and red guilloché enamel egg Russian work-masters, 20th century stamped marks and Fabergé 15.7cm high base 6cm square
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$60,000.00 in 2012
$10,000–15,000
A fine quality 14k two-coloured gold and pink guilloché enamel and green nephrite photograph frame Russian work-masters, 20th century stamped marks and Fabergé 15cm high, 12cm wide
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$37,500.00 in 2012
$2,000–4,000
A fine quality diamond set 14k two-coloured gold and pink guilloché enamel Easter egg Russian work-masters, 20th century stamped marks and Fabergé 12.5cm high, base 5.5cm diameter
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$60,000.00 in 2012
$8,000–12,000
A fine quality large diamond set 14k two-coloured gold and green guilloché enamel egg Russian work-masters, 20th century stamped marks and Fabergé 22.7cm high, base 6cm square
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$110,000.00 in 2012
$12,000–18,000
A fine quality diamond set 14k gold and red and pearl coloured guilloché enamel oval dressing table box Russian work-masters, 20th century stamped marks and Fabergé 3.8cm high, 11.4cm wide, 9cm deep
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$100,000.00 in 2012
$10,000–15,000
A fine quality diamond set 14k two-coloured gold and blue guilloché enamel presentation box Russian work-masters, 20th century stamped marks and Fabergé 3.7cm high, 10.5cm wide, 8.2cm deep
PROVENANCE
Acquired by the current vendors from Elliot Stevens, at The Waldorf Astoria, 301 Park Avenue, New York for US$80,000.00 in 2012
$6,000–9,000
44
A George III sterling-silver dinner plate, makers mark for Paul Storr
London, 1826
weight: 0.55kg
24.5cm diameter
PROVENANCE
Private Collection, South Australia
$2,500–3,500
45
A sterling-silver circular seal-box with the Royal coat-of-arms, makers mark AWN for Alfred Newbold London, 1908
weight: 838 gms
17.5cm diameter, 4cm high
PROVENANCE
William Bruford and Sons, Eastbourne, England
$2,000–3,000
A fine and heavy gauge George III sterling-silver milk jug, makers mark for William Grundy London, 1764
weight: 0.30 Kg
15cm high, 12cm wide, diameter approx. 10cm
$500–800
47
An exceptional George III sterling-silver naturalistic coffee-pot, and warming stand with burner, makers mark IP EW for John Parker and Edward Wakelin English, circa 1760-1770
scratch weight to burner 11-7
weighable silver 1.05kg 35cm high, 15cm diameter
PROVENANCE
Private Collection, South Australia
$3,000–5,000
A George III sterling-silver sauce-boat, makers mark DS and RS for Daniel Smith and Robert Sharp London, 1770
crested weight: 0.45kg
21.5cm long, 13.5cm high at the handle, 10.5cm wide
PROVENANCE
Private Collection, Melbourne
$800–1,200
49
A fine and unusual Chinoiserie-style sterling-silver inkstand, makers mark GF probably for George Fox London, 1907
1.15kg weight all at with its two glass inkwell liners 12cm high, 30cm wide, 18.5cm deep
$1,000–1,500
A very impressive ruby-glass and cast-silver caged pilgrim flask Probably German, circa 1880, the glass Bohemian marked 13 standard 42cm high, 22cm wide
PROVENANCE
By descent to a Private Collection, Adelaide
$2,500–3,500
A fine George II sterling-silver waiter with crest of the Cockburn family, England, makers mark WI probably for William Justis London, 1754 crested
scratch initials H*A*L
weight: 0.25kg
18cm diameter, 3cm high
$1,500–2,000
52
A fine Regency sterling-silver snake-handled christening mug, makers mark for William Barrett II, London, 1819
weight: 0.174 Kg 8.3cm high
$300–500
A fine engine-turned rectangular silver-gilt snuff box, makers mark for Joseph Ash
London, 1810
weight: 0.090 kg
7cm long, 3.8cm wide, 2cm high
$300–500
54
An extraordinary sterling-silver caddy-spoon in the form of an eagle London, 1980, makers mark CJ Vander
weight: 0.017 Kg
7cm long, 3.5cm wide
$200–300
55
A gilt-metal and hard-stone intaglio seal wheel
English, first half of the 19th century
8.5cm long, diameter of wheel 3cm
PROVENANCE
Private Collection, Tasmania.
$300–500
A Private Melbourne Collection
56
A very fine George IV sterling silver-gilt cream jug, makers mark RE EB for Rebecca Emes and Edward Barnard London, 1827
Retailed by Lambert Coventry Street, London crested weight: 0.35kg 13cm high over the handle 19cm long 11.5cm diameter
PROVENANCE
Private Collection, Melbourne.
$1,000–1,500
An outstanding George IV sterling silver-gilt teapot, makers mark IB for London, 1820
retailed by Lambert Coventry Street, London crested weight: 0.95kg
25.5cm wide, 18cm high
PROVENANCE
Purchased direct from F & B Art and Antiques, Worcester, Massachusetts, 28 August 2017
Private Collection Melbourne
$2,500–4,000
58
An early George III sterling-silver circular salver, makers mark for Thomas Heming, Principal Goldsmith to the King from 1760 to 1782 London, 1771
The makers mark shows Thomas Heming's initials with a crown above, illustrating his designation by King George weight: 0.60kg 26cm diameter, 3cm high
PROVENANCE
F & B Art & Antiques, Worcester, Massachusetts, June 2017.
Private Collection, Melbourne.
$1,000–1,500
59
A rare George II cast sterling-silver taper-stick, makers mark of John Priest, London, 1748
crested weight: 0.15kg
12.6cm high, base 7cm square
PROVENANCE
Tessiers Ltd London with label to base Antique Silver Company, October, 2014
Private Collection, Melbourne.
$800–1,200
60
A George III sterling-silver two-handled cup, makers mark for Peter and Ann Bateman
London, 1792
weight: 0.55kg 17cm high, 21cm wide over the handles
PROVENANCE
Private Collection, Melbourne.
$800–1,200
61
A rare early George III sterling-silver beer Jug, unknown makers mark *M London 1768
The Antique Silver Company, April 2013. Private Collection, Melbourne.
$700–1,000
A fine George III silver Chinoiserie bombe shaped tea-caddy, makers mark of Peter Gillois
London, 1771
weight: 0.25kg
15cm high 10.2cm wide 9cm deep
PROVENANCE
Bought from Robert Baressi on 12 July 2017. It formed part of his and Rosemary Fournier’s private collection.
They acquired it at Bonham’s sale 15928 Fine Silver and Objects of Vertu, New Bond Street, London, 19 Nov 2008, lot 206. Private Collection, Melbourne.
REFERENCE
The name appears in the records of Dublin goldsmiths in 1753-4, but no details of a working career are recorded. His first hallmark is entered in London as a 'large-worker' on 20th November 1754.
Address: Wardour Street, St Anne, Soho, where he appears as a plate-worker in the Parliament Report list 1773. Second mark entered on 15th June 1782. Address: 25 Queen Street, Seven Dials. Gillois' work appears from surviving examples to have been to confined almost entirely to tea caddy and sugar box sets of a delicate rococo style. (Koopman Rare Art)
$1,500–2,000
A George II sterling-silver oval tea caddy, makers mark for Samuel Taylor London, 1747
weight: 0.30kg
13cm high 9cm wide 6cm deep
PROVENANCE
Purchased from F & B Art & Antiques, Worcester, Massachusetts, September 2014. Private Collection, Melbourne.
$1,500–2,000
A pair of George III sterling silver shaped rectangular tea-caddies, makers mark for John Newton London, circa 1726-28
weight: 0.50kg combined 14cm high, 9cm wide, 5.7cm deep
PROVENANCE
Private Collection, Melbourne.
$1,000–1,500
65
A George II sterling-silver pedestal-footed ovoid tea-caddy, maker's mark for Samuel Taylor London, 1750
with coat-of arms to one side and crested to the other weight: 0.25kg 15.5cm high, 9.2cm diameter
PROVENANCE
Private Collection, Melbourne.
$800–1,200
66
A pair of George II sterlingsilver tea caddies, makers mark for Thomas Heming London, 1756
weight: 0.50kg 12.5cm high 9cm wide 7cm deep
PROVENANCE
Purchased from F & B Art & Antiques, Worcester, Massachusetts, November 2014. Private Collection, Melbourne.
$2,000–3,000
A George II sterling-silver salver by James Morison London, 1754
scratch initial ITP
weight: 0.35kg
22cm diameter, 3.5cm high
PROVENANCE
Purchased February 2012 from Allmat Enterprises, Montague Square, London. Private Collection, Melbourne.
$500–700
68
An early George II sterling-silver brandy pan, makers mark for John Gamon London, 1730
weight: 0.10kg
14cm wide across the handle, 7cm diameter
PROVENANCE
Purchased directly from Sunbeau, Gary Bottomley, October 2012. Private Collection, Melbourne.
$500–700
An embossed sterling-silver two handled porringer, makers mark for Benjamin Bickerton London, 1764
weight: 0.20kg 10cm high, 17cm wide
PROVENANCE
Private Collection, Melbourne.
$600–800
70
A Queen Anne Britannia standard two-handled cup, makers mark probably for Eli Bilton Newcastle, circa 1700
Contemporary inscription – Exdono Johanni Rogers Ar ad Maria Bland June the 25th 1709. weight: 0.50kg 14cm diameter, 22cm wide over the handles, 14cm high
PROVENANCE
The Collection of Rodney Davidson AO OBE LLB, Mossgreen, 21 March 2017, lot 46. Private Collection, Melbourne.
$2,000–3,000
71
A Regency period boat shaped semi-reeded sterling-silver teapot, makers mark for Solomon Hougham
London, 1814
weight: 0.65kg
29cm wide, 13cm high
PROVENANCE
Private Collection, Melbourne.
$800–1,200
72
A George III sterling-silver coffee pot, makers mark of John Emes London, 1798
engraved with the Sandeman family crest of a rock with the Latin motto Stat Veritas, (‘Truth Stands’)
weight: 0.65kg with handle 24cm high, 20cm wide
PROVENANCE
Bubbleking, USA. April 2011.
Partly a present from RMIT School of Property, Construction and Project Management to Mark James’ retirement at the beginning of 2011.
Private Collection, Melbourne.
$800–1,000
74
A George III sterling-silver fruit or cake basket, maker unknown London, 1810
with engraved coat-of-arms
weight: 1.40kg
35cm long, 27.5cm deep, approx 9cm high excluding the handle
PROVENANCE
Northeast Auctions Annual Summer Americana Auction – Day 2, 5 August 2012, lot 1176. F & B Art and Antiques, Worcester, Massachusetts, August 2012.
Private Collection, Melbourne.
$1,000–1,500
73
A Regency sterling-silver salver by John Robertson II and John Walton Newcastle, 1812
with engraved thistle wreath
weight: 1.35kg
36.5cm diameter, 3.8cm high
PROVENANCE
Purchased from F & B Art and Antiques, Worcester, Massachusetts, July 2014. Private Collection, Melbourne.
$1,000–1,500
76
An early George III sterling-silver circular salver, makers mark of Richard Rugg, London, 1768
engraved coat-of-arms
weight: 1.00kg 33cm diameter, 4cm high
PROVENANCE
F & B Art & Antiques, Worcester, Massachusetts, October 2013.
Private Collection, Melbourne.
$1,000–1,500
A George II sterling-silver chocolate or coffee pot, makers mark for Ayme Videau London, 1756
weight: 0.40kg all at including wooden handle 17.5cm high, 16.5cm wide over the handle
PROVENANCE
Private Collection, Melbourne.
$800–1,200
77
A George III sterling-silver two-handled cup, makers mark for Peter and Ann Bateman London, 1792
crested weight: 0.35kg 13cm high, 17cm wide across the handles, 10cm diameter
PROVENANCE
Bought from antic und muenz handlung kh gmbh, Bad Camberg, Germany, November 2011.
Private Collection, Melbourne.
$500–800 78
A very large George II sterling-silver caster by Richard Gurney and Thomas Cooke II London, 1744
Engraved family crest of a reclining dragon supporting shield weight: 0.35kg 22cm high diameter 10cm
PROVENANCE
F & B Art & Antiques, Worcester, Massachusetts, January 2015.
Private Collection, Melbourne.
$800–1,200
A George III neo-classical sterling-silver coffee jug, mark of John Wakelin and William Taylor London, 1779
with engraved vacant armorial cartouche weight all at including wooden handle: 0.90kg
33cm high, 14cm diameter, square base 9.3cm wide
PROVENANCE
Purchased from F & B Art and Antiques, Worcester, Massachusetts, February 2016. Formerly lot 123, Christie’s New York, 14-15 December 2015 (Sale 3797) Private Collection, Melbourne.
$1,500–2,000
80
An elegant George III sterling-silver lidded entrée dish, makers mark of Sebastian and James Crespel, London, 1765
the cover with engraved arms – a shell and foliate framed shield, crescent moon, atop a smaller shield, with deer atop a star weight: 0.90kg
34cm wide, 24cm deep, 8.5cm high
PROVENANCE
Purchased from F & B Art & Antiques, Worcester, Massachusetts, April 2014.
Private Collection, Melbourne.
$1,000–1,500
81
A pair of George III sterling-silver tureen's and covers, makers mark for Henry Chawner London 1787
A rare and heavy gauge neo-classical sterling-silver cheese warmer, makers mark of John Emes, London, 1807
weight: 1.00kg all at including the wooden handle
24.5cm long, 32cm wide over the handle 17cm wide just the dish
PROVENANCE
F & B Art & Antiques, Worcester, Massachusetts, October 2013.
Private Collection, Melbourne.
$1,000–1,500
83
A foliate embossed sterling-silver bombe shaped tea-caddy, maker unknown Chester, 1895, makers mark RH
In Flavelle Brothers and Roberts, Sydney and Melbourne, leather and velvet-lined case weight: 0.30kg 14.5cm high, 11cm wide
PROVENANCE
Private Collection, Melbourne.
$600–900
A William IV sterling-silver melon pattern teapot, makers mark for John James Keith London, circa 1837
weight: 0.70kg 27cm wide, 12.5cm high
PROVENANCE
The Rogowski Collection, Leonard Joel Auctioneers, Tuesday 24th February 1998, lot 228
Private Collection, Melbourne.
$700–1,000
An Arts-and-Crafts hammered sterling-silver sugar bowl, makers mark for Omar Ramsden London, dated 1939
inscribed to base 'OMAR RAMSDEN ME FECIT'
weight: 0.20kg
13cm wide over the handles, 9.7cm high, 6cm deep
PROVENANCE
Private Collection, Melbourne.
$1,000–1,500 86
A silver-gilt apostle spoon, makers mark for Thomas Chawner London, 1771
weight: 0.10kg 20.5cm long, 5.5cm wide
PROVENANCE
Private Collection, Melbourne.
$400–600
87
A Japanese silver dragon bowl, marked for Kuhn and Komor Meiji period (1868-1912)
weight: 0.80kg 22cm diameter, 13.5cm high
PROVENANCE
Purchased from F & B Art & Antiques, Worcester, Massachusetts, December 2013
Kuhn & Komor, also known colloquially as K&K, was a Hungarian multinational luxury jeweller and specialty retailer headquartered in Shanghai, China.
Kuhn and Komor produced jewellery, sterling silver, china, crystal, stationery, and personal accessories and were renowned in East Asia for its luxury goods, also being called the "Asprey of Asia"
Moritz Montague Kuhn (d. 1901) founded Kuhn & Co in Yokohama in 1869, a shop filled with Curios, curiosities from the Far East (or souvenir shop). Siegfried Komor (1863-1935), the nephew of Kuhn, came to Japan in 1887 to work for his uncle, followed by the son of Kuhn, Arthur, who arrived in Japan in 1890. In 1894, Siegfried Komor and Arthur Kuhn founded Kuhn & Komor in Yokohama.
The company opened a shop in the Shanghai Palace Hotel in Shanghai. They later opened a shop on No. 37 Water Street in Yokohama. The company existed until 1913 when Siegfried Komor retired to Budapest and renamed Komor and Komor and continued until 1936 and failed to survive under Siegfried’s sons control with the outbreak of World War II brought it to an end.
$1,500–2,000
88
A silver dragon bowl by Sanju Saku, Yokohama
Meiji Period (1868-1912)
weight: 0.40kg 15cm diameter, 8cm high
PROVENANCE
Private Collection, Melbourne.
$600–800
89
A pair of Japanese silver dragon bowls Meiji period (1868-1912)
stamped makers marks weight: 0.50kg combined 12cm diameter, 7cm high
PROVENANCE
Mossgreen International Decorative Arts (#109MG) 31 July 2016, lot 307. Vendor reputed to have acquired the bowls from Schoeni Fine Oriental Art, Hong Kong, 30/9/95; Yesteryear, Hong Kong
Private Collection, Melbourne.
$600–1,000
90
A fine and heavy gauge sterling-silver and silver-gilt beaker, makers mark for Stuart Devlin London, 1976
weight: 0.35kg
11.5cm high, 8.9cm diameter
PROVENANCE
Private Collection, Melbourne.
$800–1,200
91
A fine quality and very heavy gauge sterling-silver lobed circular strawberry dish, marked for Garrard and Co London London, 1968
weight: 0.60kg 18cm diameter, 7cm high
PROVENANCE
Purchased from F & B Art & Antiques, Worcester, Massachusetts, May 2015 Private Collection, Melbourne.
$600–1,000
92
A large sterling-silver gilt scallop-shell shaped serving dish, makers mark for Robert Garrard I London, 1811
weight: 0.60kg
26.5cm wide, 21cm deep, 15.5cm high
PROVENANCE
Private Collection, Melbourne.
$1,000–1,500
93
A fine French silver chocolate pot, marks of Boin Taburet, Paris, circa 1900
weight: 0.40kg including wooden handle
21.5cm wide over handle, 19cm high
PROVENANCE
Private Collection, Melbourne.
REFERENCE
Boin-Taburet was established in 1873 by the antique dealer George Boin and the jeweller Emile Taburet.
The firm was credited for the revival of interest in Louis XV style silver-work in Paris in the late 1880's, and awarded a gold medal at the Paris 1889 Exposition Universelle.
As well as producing exceptional silver and metal work the company retailed small items of furniture and decorative objects of the very highest order.
Emile Taburet and Georges Boin worked together until 1900 when Georges Boin is associated with the goldsmith Henry, under the name "Boin and Henry Goldsmiths". In 1906, at the International Exhibition of Milan, the house appears under the name "Henry Brothers and Co.", 3 rue Pasquier in Paris.
In 1936, the house became "Henry and Son".
$700–1,000
A George III sterling-silver circular muffin dish, makers mark for Henry Chawner and John Emes
London, 1797
weight: 0.40kg 19cm diameter, 12cm high
PROVENANCE
F & B Art and Antiques, Worcester, Massachusetts, August 2012. Private Collection, Melbourne.
$500–800
95
A George III sterling-silver twohandled rectangular cake basket, makers marks for John Emes, London, 1806 with engraved coat-of-arms weight: 0.85 kg 36cm wide, 22.5cm deep, 9.3cm high
PROVENANCE
Purchased from F & B Art and Antiques, Worcester, Massachusetts, April 2014. Previously Christie's, Rockefeller Plaza, New York as lot 493 in Sale 3446, 4-5 March 2014. The sale was of silver from two “distinguished American Collections: the Estate of the Hon. Noreen Drexel, Newport, R.I., and the Estate of Van Cliburn, Fort Worth, TX.
Private Collection, Melbourne.
$1,500–2,000
A rare Charles II sterling-silver cordial pot, makers mark FS over S London, circa 1680
incised with an armorial weight all at including the wooden handle: 0.20kg
11.2cm high, 17.5cm wide over the handle
PROVENANCE
Purchased from F & B Art & Antiques, Worcester, Massachusetts August 2016. Formerly in the Metropolitan Museum of Art, New York City collection, a gift from famed silver author, scholar and collector Irwin Untermyer. Sold to F & B via Christie’s, New York, December 14- 15, 2015, Sale 3797, lot 116. Private Collection, Melbourne.
LITERATURE
Y. Hackenbroch, English and Other Silver: The Collection of Irwin Untermyer, 1969, p. 44, no. 81
$3,000–4,000
97
2A Regency sterling-silver salver by John Robertson II and John Walton Newcastle, 1812
weight: 0.15kg including wooden handle scratched initials MB
19.5cm wide, 9cm diameter, pan height 6.2cm
PROVENANCE
Mossgreen, 16 November 2015, lot 297
Private Collection, Melbourne.
$600–1,000
98
A pair of fine neo-classical George III sterling-silver two-handled sauce tureens and covers, makers mark of William Holmes London, 1781
weight: 1.15kg combined 16cm high, 24cm wide, 11cm deep
PROVENANCE
Bought from F & B Art & Antiques, Worcester, Massachusetts, June 2015 Private Collection, Melbourne.
$1,000–1,500
99
A James II/Charles II sterling-silver two-handled cup, with maker's mark WG London, 1685
weight: 0.30kg
10cm high, 18cm wide over the handles, 11.8cm diameter
PROVENANCE
Private Collection, Melbourne.
$1,000–1,500
A matched set of Georgian and Victorian sterling-silver fiddle-pattern cutlery, various markers
various London 19th century hallmarks
weighable silver which excludes the knives 4.5 kg
12 table forks
12 dessert forks
6 fiddle and thread pattern table forks and 12 old-english pattern table forks
12 table spoons
12 dessert spoons
12 teaspoons various dates and makers
12 20th century hollow silver handled tables knives with steel blades
12 20th century hollow silver handled dessert knives with steel blades
PROVENANCE
Private Collection, Toorak, Melbourne
$5,000–7,000
101
An unusual George III sterling-silver oval reversible plate-stand and burner, makers mark for John Wakelin and William Taylor London, 1786.
oval double burner engraved with two contemporary crests, one with a Marquise's coronet, the other an heraldic crown.
weight: 0.70kg
29cm wide, 10.5cm high
PROVENANCE
International Decorative Arts, Mossgreen, 06/11/2016, lot 181
A Notable Private Collection, Melbourne
$600–1,000
102
A George II sterling-silver dish cross, makers mark for William Plummer London, 1757
weight: 0.55kg
30.5cm corner to corner, 10cm high
PROVENANCE
Purchased from F & B Art and Antiques, Worcester, Massachusetts, February 2013.
Private Collection, Melbourne.
$1,200–1,800
ATTRIBUTED TO JOHN SMART
ENGLISH, 1741-1811
Miniature portrait of Thomas Cockburn (1761-1850), dated 1803
watercolour and body-colour on ivory oval bronze and glass frame approx 6.4cm high, 4.7cm wide
REFERENCE
A portrait of the same sitter, signed by John Smart was sold at Sotheby's (although we don't know when) but see attached research paper from the family.
The style of the painting in this miniature of John Cockburn, as an older gentleman is extremely similar to the one sold at Sotheby’s and it is known that the family commissioned more than one family portrait from John Smart, so it is most likely that this work is by his hand.
$3,000–5,000
104
A Regency red leather officers travelling chest
English, circa 1800-1820
48cm high, 105cm long, 53.5cm deep
$2,000–3,000
105
A fine early George III ebony cased bracket clock, maker John Monkhouse, London English, circa 1765
the dial inscribed Jn Monkhouse London. with two subsidiary dials for regulation and strike/silent the dial with steel chapter ring, fine matt centre, blued steel hands, false pendulum, calendar aperture and central alarm disk with 5 pillar, double fusee movement and pivoted verge escapement, with finely foliate engraved backplate also signed “Jn Monkhouse, London” case 49cm high 29.5cm wide, dial 17cm wide 24cm high
PROVENANCE
Private Collection, sold Mossgreen, Melbourne, 2 March 2009, lot
A highly significant private Sydney collection
REFERENCE
John Monkhouse is recorded as a London clockmaker working from 1756 to 1770 see Britten's Old Clocks and Watches and their makers.
Surprisingly for such an accomplished clock-maker, not a lot is recorded about John Monkhouse, but we do know that he was in demand, especially in the 1760's in London making fine quality works for long-case, bracket, regulator and table clocks. He was also known for his fine musical long-case and automata clocks.
$5,000–7,000
106
An impressive pair of gilt-gesso and polychrome painted carved wood heraldic candle-sconces, Spanish, circa 1730
Carved with eagles, a coronet, birds and a circlet with clasped hands 70cm high, 65cm wide, 28cm deep
PROVENANCE
John Dunn Antiques, Melbourne Private Collection, Melbourne
$6,000–8,000
A fabulous and grand scale Art-Deco deep-lacquer wall-panel of Adam and Eve in the Garden of Eden French, circa 1925-1930
93.5 x 169cm
$5,000–7,000
This stunning lacquer panel was no doubt created by a leading exponent of lacquer techniques in Paris, which was so popular in the Art-Deco era in France.
In 1930's Paris, Art Deco lacquer reached its zenith, transitioning from traditional Eastern urushi techniques to sleek, modern Western aesthetics. Master artisans operated prominent, bustling workshops across the city, creating luxury furniture, screens, and accessories for high society and legendary ocean liners. The most famous of these exponents was Jean Dunand, who operated a massive atelier at 72 Rue Halle in Paris and no doubt the use of these bold stylised animals in this panel derives influence from his work, but many others operated in this style at this time and so it is not possible to attribute this incredible panel to any one artist unfortunately without direct design references to back this up.
A large and most impressive Chinese finely carved lavender or lilac jadeite and hardwood screen and stand carved with continuous mountainous landscapes and with calligraphy to the reverse
181cm high, 267cm wide, 41cm deep
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$10,000–20,000
An extraordinary and profusely carved ancient mammoth tusk and stand
The tusk likely to be 10,000-20,000 years old, and the carving executed by Chinese craftsmen in the later part of the 20th century signed Tian Ji
140cm wide, 210cm high, 280cm long following the natural curvature, stand 132cm high, 84cm long
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$20,000–30,000
A fine and very decorative baby-grand piano by Gabriel Gaveau French, circa 1920
The company was established by Joseph Gabriel Gaveau in 1847 in Paris and was one of the three largest piano makers in France (after Érard and Pleyel). Gabriel Gaveau was established in 1911. Joseph Gabriel Gaveau founded the company bearing his name in 1847. Originally located in a small shop in the narrow Rue des Vinaigriers, Paris, the company subsequently moved a couple of miles away to the Rue Servan. Here business thrived, and the company needed larger premises. So in 1896 Gaveau built a new facility at Fontenay-sous-Bois in the eastern suburbs.
In 1907 La Salle Gaveau (Gaveau Hall) opened in the Rue la Boëtie. It quickly became the most prestigious music hall in Paris. With a capacity of just over 1000, and fully refurbished, the venue continues to function as a concert hall to this day. In 1910 Gaveau produced 1600 pianos. 98cm high, 139cm wide, 148cm long
PROVENANCE
Private Collection, Melbourne.
$3,000–5,000
A very fine and impressive carved white Carrara marble roundel (tondo) by August Wittig German, dated 1860
94cm diameter, 14cm thick
REFERENCE
Wittig became a student of Ernst Rietschel at the Dresden Academy of Fine Arts in 1843. During a stay in Munich, he created sketches and preliminary works for the sculpture group Siegfried's Farewell to Kriemhild, which he then completed in Dresden. King Frederick Augustus II of Saxony was so impressed that he granted the young sculptor a generous scholarship. This enabled Wittig to embark on a study trip to Italy in the spring of 1849, which took him from Florence to Rome. He lived and worked in Rome from October 1849 until the end of March 1864. Between 1852 and 1856, and again in 1858, he participated in the Cervaro Festivals of the German Artists' Association.
In 1862, the Düsseldorf Art Academy appointed him Professor of Sculpture. He took up his teaching post in Düsseldorf in April 1864. In Düsseldorf, Wittig played a key role in establishing a dedicated school of sculpture.
In 1865, he accepted the commission to execute his group Hagar and Ishmael (see image), designed in Rome, in marble for the National Gallery in Berlin . He completed this work in 1871 and was subsequently made an honorary member of the Academy in Carrara. Wittig last lived in the house of Sophie Hasenclever at Goltsteinstraße 25. He died at the age of almost 70 and was laid to rest in the North Cemetery in Düsseldorf .
KNOWN WORKS
1846: Round relief Hylas and the Nymphs , Dresden Sculpture Collection
circa 1846: Bronze sculpture Siegfried's Farewell to Kriemhild, Dresden Sculpture Collection
1849/50: Marble group Caritas, Museum Meissen
1854–1874: Marble sculpture Hagar and Ishmael , completed as a plaster model in 1854, executed in marble in 1874, Alte Nationalgalerie Berlin
1860: Round relief of the Lorelei, Museum Meissen
circa 1866: Marble bas-relief of the Entombment of Christ for the altar of the castle church in Dönhoffstädt, Rastenburg district in East Prussia (lost after the war)
1869: Schadow Monument, bust of Wilhelm von Schadow for Schadowplatz in Düsseldorf (with Ernst Giese)
1870–1880: Sculpture Farewell of the Countryman in the Ensemble War, a group of four sandstone figures in the Großer Tiergarten, southwest of the House of World Cultures
1870–1880: Sculpture The Vistula (Timber Rafting, Gleaner) in the ensemble Four German Rivers , a group of four sandstone figures in the Großer Tiergarten at Großfürstenplatz / John-Foster-Dulles-Allee, opposite the House of World Cultures
1875: Bust of Peter von Cornelius, Alte Nationalgalerie Berlin
1892: Bronze sculpture Lamentation of Christ on Wittig's grave in the North Cemetery Düsseldorf, section 72
$3,000–5,000
ATTRIBUTED TO IPOLITTO CAFFI
ITALY, 1809-1866
Heidelberg and another view pair of oils on canvas one inscribed Ippolito Caffi 1838 in pencil to stretcher
40 x 66cm
$2,000–4,000
A fine Meissen and grand-scale porcelain figure of Count Bruhl's Tailor, German, circa 1900 blue crossed swords mark 44cm high, 43cm long
PROVENANCE
Private Collection Melbourne
Private Collection Gold Coast Queensland
REFERENCE
By tradition the Count Heinrich von Brühl's ambitious tailor requested an invitation to dine at court. In response the Count requested Kändler to make a figure of the tailor so that he could place him at the dining table. The fame of the group extended into the 19th century. An example was exhibited at the Great Exhibition, in 1851 and described by John Tallis, History and description of the Crystal palace, and the Exhibition of the world's industry, (Band 1), 1851, p.153:
'The grotesque figures and groups of Dresden porcelain have always been admired for their execution, if not for their style. The costumes are especially admirable, and the representation of fine work, such as lace, truly wonderful. Some specimens of this were seen in the Exhibition. One of the grotesque pieces which obtained most celebrity, and was familiar to all amateurs, was the famous tailor of the Count de Bruhl, a figure which was remarkable for the difficulty of its execution, owing to the numerous accessories it included. The figure of the tailor was represented riding on a goat surrounded with all the implements and appendages of his trade, and was about 20 inches in height'.
$8,000–12,000
114
An impressive bronze and etched glass ceiling light with four candelabra branches
French, mid 19th century
approx. 136cm high, approx. diameter 95cm
PROVENANCE
Private Melbourne Collection, Melbourne purchased from Lee Harper Antiques on the advice of Stuart Rattle Circa 1990
$3,000–5,000
115
A fine gilt-metal singing bird musical box
Swiss or French, 20th century
stamped marks and dore, with winding key and working 5cm high, 11cm wide, 7.2cm deep
$600–1,000
A very fine example of a large German porcelain 'Schneeballen' vase 19th century
the colours and condition remarkable for its type
80cm high, 36cm diameter approx.
PROVENANCE
Private Collection, Toorak, Melbourne
$6,000–8,000
A large blue-celeste glazed and gilt porcelain vase
English, circa 1860
46cm high, 22cm diameter approx.
PROVENANCE
Private Collection, Toorak, Melbourne
$500–700
An ironstone part dinner-service English, circa 1850-60 comprising:
large meat plate dinner plates side plates tureens
meat plate 54cm wide x 45.5cm, circular tureen 23cm high approx. 30cm diameter
PROVENANCE
Private Collection, Toorak, Melbourne
$1,000–1,500
A fine bronze figure by Professor Victor Seifert (Austrian, 1870–1953)
signed, marble base
bronze 24cm high and 30cm with marble base, 32cm long and 34cm with marble base
PROVENANCE
Private Collection, Toorak, Melbourne
REFERENCE
Professor Victor Seifert was born on May 19, 1870 in Döbling, Austria, Seifert received his formal training at the Kunstgewerbemuseum in Munich and under Ernst Herter at the Berlin Kunstakademie. A member of the Artists Cooperative and the Association of Sculptors, the artist died in 1953 in Berlin, Germany.
$1,500–2,500
A fine and very impressive gilded and hand-painted urn porcelain vase with bicephalous handles
Danish, 19th century
with panels featuring the palace and cherubs holding garlands. Written "Den 13 April 1813" and "Den 13 April 1863" to the sides.
Bearing "D&R" mark
45cm high, 21cm wide across the handles
$2,500–4,000
An Empire period gilt-bronze mounted secretaire-abbatant
French, circa 1820-1830
139.5cm high, 97cm wide, 41.5cm deep
$2,000–3,000
An extraordinary deeply carved and gilt-wood mirror French Baroque style, first half of the 18th century with initials MA to a shield, held aloft by angel heralds 178cm high, 115cm wide, 14cm deep
PROVENANCE
Private Collection, Adelaide.
$10,000–15,000
A matched pair of fine gilt-bronze and crystal chandeliers French, circa 1940
fully restored and re-wired to Australian Standards approx height. 91cm, approx diameter 50cm
$2,500–3,500 124
An extraordinary enamelled silver-gilt and jewelled Russian/Austro-Hungarian chess-set set with garnets and pearls
55cm wide, 17cm high, queens and kings 9.6cm high
PROVENANCE
Private Collection, Melbourne
Private Collection, Gold Coast, Queensland
$4,000–6,000
125
A rare pale blue painted marriage casket Swedish, 18th century with decorative metal strapping and gilt metal escutcheon
26cm high, 59cm wide, 41.5cm deep
$800–1,200
126
An outstanding pair of crystal and bronzed metal twelve branch flowerhead and foliate design chandeliers, attributed to the house of Bagues, Paris, circa 1950
approximately 100cm wide and 95cm high
$7,000–10,000
Founded in Auvergne, France, in 1840 by Nicolas Baguès, the company originally specialized in the creation of liturgical bronzes. Thanks to Baguès' expansion into bronze lighting and the popularization of electricity, the business quickly found success. At the turn of the century, their chandeliers captured international interest, and soon Baguès began exporting to London, New York, Rome, Brussels, and Cairo. Along with a major expansion in
1920, the company introduced to the world their now signature collections of finely crafted iron, gilt and crystal chandeliers and wall sconces with parrots and foliage. These spectacular chandeliers are based on a cascading mass-flowerhead design, topped with decorative coronets of crystal flowers. The bronze frames are decorated with gently curved and slender leaves, and the faceted crystal balls of each are of the highest quality, and to find a pair is extremely rare.
127
A finely painted break-front rouge marble top commode
Italian or French, 19th century
85cm high, 122.5cm wide, 60cm deep
$4,000–6,000
A fine matched pair of Chelsea porcelain bottle-coolers, finely painted one with birds and shrubs the other with flowers and with naturalistic stem handles
English, circa 1755
red anchor mark
13.2cm high, 14.2cm diameter, 17.5cm wide across the handles
PROVENANCE
Mellor Cobham Collection number 10
Albert Amor Ltd, London, 22/09/2019 (2400 pounds)
The example with birds:
English private collection
Albert Amor Ltd London 18/01/2020 (3000 pounds)
The Robert Burke collection, Artvisory Melbourne, 19 February 2024, lots 22 and 23
$2,000–4,000
A very fine pair of Worcester porcelain floral-painted Royal-blue ground and gilt bordered twin handled champagne coolers, English, circa 1770
19cm high, 26cm wide over the handles
PROVENANCE
Albert Amor, London, Autumn Exhibition, 22/09/2019 (9000 pounds)
The Robert Burke collection, Artvisory, Melbourne, February 2024, lot 67
FOOTNOTE
Worcester wine coolers of this impressive form, which are based on Serves originals, are extremely rare. Another pair from the Zorensky Collection, were sold Bonham's London, 23 February 2005, lot 173.
$5,000–8,000
The Hepenstal famille-rose dinner-service.
A very rare and large collection of Chinese famille-rose dinner-ware, Qianlong period (1736-1795)
plus three later English 19th century china tureens made to match 28cm long 14cm high
PROVENANCE
George and Hesther Hepenstal, Country Wicklow, Ireland, who married on 7 April 1787.
Thence by direct family descent to the current vendors in Western Australia.
Various family documents available on request showing the descent of this china to the present vendors.
$15,000–20,000
LYCETT JOSEPH (1774-1827)
Views in Australia, or New South Wales and Van Diemen's Land Delineated
in fifty views, with descriptive Letter Press. Dedicated be permission to The Rt Hon Earl Bathurst by J Lycett Artist to Major General Macquarie, late Governor of these colonies. London.J Souter 1824
Oblong 4to.pp. hand coloured lithographed title (verso blank), iiv (dedication and advertisement) With 48 hand-coloured aquatints, 2 folding maps. With order of the plates (New South Wales and Van Diemen's Land) and 48 leaves of descriptive text. Bound in full green levant Morocco, title in gilt on spine and upper cover
27.8 x 37.8cm
PROVENANCE
The Rolf Walter Renker Collection (1927–2025) Düsseldorf
The Renker family New Zealand by descent
$12,000–18,000
Two 17th century Bessler type hand-coloured engravings
Lacchrymalobi and Keucolum flore
plate size 38 x 49cm 48 x 39cm
PROVENANCE
Private Collection, Toorak, Melbourne
$800–1,200
A fine Queen Anne feather-banded walnut chest-on-stand (Tallboy)
A fine George III mahogany and coromandel-wood tilt-top supper table
English, circa 1800
96cm wide, 148cm long, 73cm high
PROVENANCE
Private Collection, South Australia
$1,500–2,500
A fine and very impressive George III inlaid mahogany elevated corner-cupboard
Scottish, circa 1770
108cm wide, 231cm high, 58cm deep
PROVENANCE
Moxhams Antiques, Bradford-on-Avon, England
Private Collection, Melbourne
$5,000–8,000
A Regence period carved and gilt-wood mirror
French, 18th century
151cm high, 79cm wide
PROVENANCE
Private Collection, Toorak, Melbourne
$3,000–4,000
A fine pair of gilt-wood armchairs
Italian, 18th century
122cm high, 78cm wide, 63cm seat depth, seat height from the ground 46cm
PROVENANCE
Private Collection, Toorak, Melbourne
$6,000–8,000
An impressive and heavy Classical lead urn and cover 90cm high, approx. diameter 43cm
PROVENANCE
Private Collection, Toorak, Melbourne
$1,500–2,500
A fine Louis XV/XVI transitional gilt and painted demi-lune console table French, 18th century with scalloped Saint-Anne marble top 89cm high, 58cm wide, 31cm deep
$2,500–3,500
140
A superb brass-mounted leather covered velvet-lined chest on gilt-wood stand, French, circa 1730
112cm wide, 80cm deep, 100cm high
PROVENANCE
Private Collection, Melbourne.
$4,000–6,000
A very impressive and very large pair of silvered and gilt-wood wall torcheres
Italian, 18th century
170cm high, 92cm wide, 50cm deep
$4,000–6,000
A Louis XV provincial carved walnut armoire
French, 18th century
with central carved detailing of flower basket and leaves, lockable drawer inside and with original keys approx. 210cm high, 130cm wide, 60cm deep
$2,000–3,000
143 (Detail)
143 (Detail)
143 (Detail)
An exceptional Japanese carved hardwood silver-inlaid and gilt shodana Meiji Period (1868-1912)
224cm high, 134cm wide, 56cm deep
$7,000–10,000
A silver pair-cased pocket watch, maker Tarts English, circa 1778
5.6cm high, 4.2cm diameter, 5.2cm case diameter
PROVENANCE
The Norman Dean collection
$800–1,200
A rare silver pair-cased pocket watch, maker Henry Massy English, circa 1705
4.8cm diameter, 5.4cm high, 6cm case diameter
PROVENANCE
The Norman Dean collection
$2,000–3,000
146
A set of four ivory bas-relief miniatures within an ebonized frame
Dieppe, France, circa 1800
According to writing to verso: Louis XV, Cromwell, Selkirk (but possibly Frederick II) and Moliere (but possibly Charles X Gustav).
12.5 x 10.5cm (with frame); 7 x 5.5cm (ivory)
PROVENANCE
Private Collection, South Australia
$500–1,000
147
AFTER ANTOINE CARON FRENCH, 1521-1599
Depart de la Cour du chateau d’Anet oil on canvas
256 x 352cm
PROVENANCE
The collection of Mr Olgierd Pawel Piotr Zagorowski (Polish, Krakow 19302000 Melbourne), thence by direct family descent. Mr Zagorowski was a graduate of Jagiellonian University in Krakow. He was an art historian, author and university lecturer.
REFERENCE
This large oil painting represents the design (‘cartoon’) for one of eight large tapestries called the Valois Tapestries depicting festivities or “magnificences” held by Catherine de’ Medici’s Royal Courts during the reign of King Charles IX of France (1560-1574).
The series of eight tapestries was commissioned around 1575 by Catherine de’ Medici from weavers in the Spanish Netherlands, probably in Brussels, based on cartoons by Flemish painter Lucas de Heere (15341584) from drawings by French court painter Antoine Caron (1521-1599).
On the death of King Charles IX in 1574 his brother Henry III succeeded him as King of France until 1589. King Henry III was also King of Poland and Grand Duke of Lithuania from 1573 to 1575.
This design, titled Depart de la Cour du chateau d’Anet, also known as Journey, depicts the royal court departing the Chateau d’Anet representing the departure of King Henry III for Poland in 1573. Many of the figures are not yet identified, though it is commonly accepted that Catherine de’ Medici (the mother of King Charles IX and
King Henry III) is depicted riding in the ‘litter’ (palanquin), while King Charles IX rides a horse at the head of the retinue.
The eight Valois Tapestries are presently in the collection of the Uffizi Museum in Florence, Italy.
A rare square slab-built stoneware tokuri vase, attributed to Shoji Hamada Japanese, (1894-1978)
25.5cm high, 10cm square
PROVENANCE
Private Collection Melbourne
REFERENCE
Related examples sold in recent times internationally:
1. Auctionet (Sweden) – Modern & Contemporary Autumn 2023
• Result: Approx. $6,000 AUD (3,653 EUR hammer)
• Details: A slab-built bottle vase with a similar iron-rich Kaki glaze, featuring calligraphic wax-resist Sato-kibi and Hana brushwork motifs over the Kaki background, specifically noted for its Provenance from the 1960s Nordiska Kompaniet (NK) Stockholm exhibition.
2. Bukowskis (Stockholm) – Modern Autumn Sale, Stockholm Autumn 2012
• Result: Approx. $3,300 AUD (22,000 SEK hammer)
• Details: An attributed Shoji Hamada slab-built vase, with a similar iron-rich Kaki glaze, its Provenance notes it was also reportedly bought at NK Stockholm in the 1960s.
Collections & Shipping: Jennifer Hirst 0410 777 996 jennifer@artvisory.com.au
A carved and polychrome and gilt decorated ivory figure of a Maharajah standing Indian, probably Delhi, 19th century plus glass dome
21cm high, base 7.2cm wide, under 19th century glass dome with ebonised base 54cm high, 45cm wide
$600–800
150
An extraordinary carved polychrome and gilt bone chess set Indian, circa 1920
in the form of Indian nobility and exotic zoomorphic figures
22cm high (tallest)
$1,500–2,500
A set of four Chinese green and yellow glazed pottery small musician figures, Ming Dynasty
A set of small glazed pottery figures of four musicians, Ming Dynasty, circa 1500 A.D.
Each figure standing on a square base, wearing a long robe and tall hat, holding a musical instrument, glazed in green and amber coloured pigments, faces with prominent features.
Circa date: 1500 A.D.
Country of Origin: Shangtung, China
With Certificate of authenticity from Art Treasures Gallery (Hong Kong. Macau. China).
Height: 21cm
$1,500–2,500
A Chinese green-glazed group of a sedan chair and four robed attendants, Ming Dynasty
A rare set of four blue and turquoise glazed figures with a sedan chair, early Ming Dynasty, circa 1400 A.D.
Each carrier clad in long robes with a waist belt and hat, standing with one hand at his shoulder, faces with very prominent feature.
Circa date: 1400 A.D.
Country of Origin: Shangtung, China
With certificate of authenticity from Lynette Cunnington Chinese Art from the "Ming Miniatures exhibition" (Sydney 1999)
Height: 24cm
$2,500–3,500
153
A Chinese green glazed pottery gourd shaped teapot, Ming dynasty
with an amber glazed handle, lid and spout,the segmented body covered in a contrasting green glaze. The base is unglazed. 8cm high, 13cm long
PROVENANCE
Lynette Cunnington Chinese Art Sydney
$300–500
154
A pair of Chinese green glazed pottery models of yoke-back armchairs, Ming Dynasty
With a plain central back-splat. The seats scored to replicate caning 14cm high, 8cm wide
PROVENANCE
Lynette Cunnington Chinese Art, Sydney
$250–350
155
A Chinese green-glazed pottery figure of a lady musician, Sui Dynasty
A rare glazed pottery figure of a lady musician, circa 600 A.D.
Wearing a long robe, standing and playing a Chinese zither, with good facial features, finely glazed in green pigment.
Circa date: 600 A.D.
Country of Origin: Xian, China
With Certificate of authenticity from Art Treasures Gallery (Hong Kong. Macau. China).
Height: 17cm
$1,000–1,500
Two Chinese glazed pottery equestrian figures, Ming Dynasty
A rare and attractive glazed pottery equestrian archer, early Ming Dynasty, circa 1500 A.D. The horse standing foursquare on a base, the rider wearing a long robe carrying a sword, bow and arrow, glazed in green, yellow, brown and white coloured pigments.
Circa date: 1500 A.D.
Country of Origin: Shantung, China
With Certificate of authenticity from Art Treasures Gallery (Hong Kong. Macau. China).
The other, also a rare glazed and painted pottery figure of an equestrian, early Ming Dynasty, circa 1400 A.D. The horse standing foursquare on a base, with long saddle-cloth, the rider wearing a long robe and a high hat of office, face with prominent feature.
Circa date: 1400 A.D.
Country of Origin: Xian, China
Height: 44cm and Height: 42cm
$1,500–2,000
157
A Chinese green and yellow glazed pottery figure of an equestrian musician, Ming Dynasty
An attractive glazed pottery figure of an equestrian musician, Ming Dynasty, circa 1500 A.D. The horse standing foursquare on a base, the rider wearing a long robe and tall hat, holding a drum.
Circa date: 1500 A.D.
Country of Origin: Shangtung, China
With Certificate of authenticity from Art Treasures Gallery (Hong Kong. Macau. China).
Height: 31cm
$800–1,000
A pair of large Chinese pottery figures, Han Dynasty
A pair of large pottery figures, the armless figures standing upright each gazing into the distance. Han Dynasty B.C. 202 – 208 A.D.
Circa date: 202 B.C. – 208 A.D.
Country of Origin Unknown
Height: 60cm
$800–1,200
159
A Chinese pottery figure of a court lady, Han Dynasty (202 BC – 9 AD, 25–220 AD)
42cm high
$1,200–1,800
160
A Chinese painted pottery figure of a fat court lady, Tang Dynasty
A good painted pottery figure of a fat court lady, Tang Dynasty, circa 800 A.D.
Wearing a long robe with hands held in front, her face with strong expressive features, her hair in form of a double chignon, painted in red and white coloured pigments.
Circa date: 800 A.D.
Country of Origin: Xian, China. With COA by 'Art Treasures Gallery' (Hong Kong. Macau. China).
Height: 29cm
$1,000–1,500
161
A group of five Chinese earthenware heads, Han Dynasty
Five earthenware heads with traces of pigment, part of a clay army from a tomb similar to that of Jing Di, a Han emperor. The facial features are particularly expressive, and would have been incised into the moulds, and clay pressed into them. The heads may have been modelled after people as they show various ages and physiognomy. Han Dynasty, B.C. 202 – 208 A.D.
Circa date: 202 B.C. – 208 A.D.
Country of Origin: Unknown
With certificate of authenticity from Lynette Cunnington Chinese Art, Sydney.
Height: 10cm
$1,000–1,500
162
A pair of Chinese pottery equestrian figures, Tang Dynasty
A pair of attractive painted pottery figures of equestrians, Tang Dynasty, circa 800 A.D. The horses standing foursquare on base, each rider wearing robe and hat, both faces with prominent features, traces of red, white and black coloured pigment, restored.
With Certificate of authenticity from Art Treasures Gallery (Hong Kong. Macau. China).
Height: 38cm
$1,500–2,500
163
A carved ivory erotic box, coconut-shell cover and with shagreen striker
French, sailors art, 19th century
7.5cm high, 6.3cm wide
$500–700
164
A rare ivory erotica figure of a lady balancing by way of holding two large counter-weights
French, sailors art, 19th century
25cm high, 23.5cm wide
$600–1,000
A pair of highly decorative carved-teak doors and architrave, partially gilded Indian, 19th century door frame 232cm high, 135cm wide
PROVENANCE
Private Collection, South Australia
$1,000–2,000
A very impressive set of five carved teak columns, with stone bases
India, 18th/19th century
separate capitals and carved-stone bases, 262cm high bases, 40cm square
PROVENANCE
Private Collection, South Australia
$5,000–10,000
167
A rare Mughal celadon jade-hilted Khanjar (dagger) with horse-head finial, set with ruby-garnet eyes
North-Indian, mid 19th century
36cm long, blade 23cm long
$1,000–2,000
168
A rare rock-crystal handled Kard knife and sheath
North-India, 18th century with gold damascened iron bolster 33.5cm long in sheath, blade 19.4cm long
$1,000–1,500
169
A large pink stone torso of Kubera (Deity of wealth and prosperity)
Madhya Pradesh, circa 12th century CE
79cm high, 42cm wide, 25cm deep
PROVENANCE
Private Collection, South Australia
$6,000–9,000
170
A fine and strikingly decorative Ottoman Turkish embroidered hanging or cover, metal thread embroidery on an ivory silk-satin ground
Istanbul or Bursa, mid 19th century
raised metal-covered thread embroidery on silk-satin, mounted on a stretch frame, Traditional gold-coloured, metal thread is laid-and-couched in a raised technique on delicate, ivory silk-satin to form a blossoming tree, whose long roots, interlace of branches and sumptuous blooms, are reminiscent of the illustrations of Persian and Ottoman poetry books of the time.
Refined embroideries such as this with high quality, dense embroidery were hung or used as bedcovers in wealthy households in Ottoman Istanbul or Bursa, at a time when the elite were adopting a more European manner of dress and household décor.
198 x 182cm
PROVENANCE
Private Collection, Melbourne since the early 1980s; purchased in Turkey.
$6,000–8,000
A tall pink sand-stone standing figure of Buddha, North-India, post Gupta
84cm high, 33cm wide, 18cm deep
PROVENANCE
Private Collection, South Australia
$3,000–5,000
A finely carved and serene pink-stone torso of Buddha India, post-Gupta, 6-7th century CE
85cm high, 45cm wide, 17cm deep
PROVENANCE
Private Collection, South Australia
$6,000–9,000
173
A large and finely carved black schist figure of Avalokitesvara padmapani
North-East India, circa 12th century CE
81cm high, 27cm wide, 20cm deep
PROVENANCE
Private Collection, South Australia
$4,000–6,000
174
A rare grey-schist stele of Tara India, Pala period 9-10th century CE
48.5cm high, 27cm wide, 10cm deep
PROVENANCE
Private Collection, South Australia
$2,500–3,500
An Indian seated carved stone figure of Buddha Sarnath, circa 7-8th century seated in padmasana, hand in bhumispara mudra, 59cm high, 38cm wide, 15cm deep
PROVENANCE
Private Collection, South Australia
$4,000–6,000
An Indian large carved grey-stone Kanya-Apsara and playful monkey
India, Orissa, 9-10th century
70cm high, 24cm wide, 14cm deep
PROVENANCE
Private Collection, South Australia
$4,000–6,000
A carved sand-stone female torso of Uma with ornate jewellery Indian, Uttar Pradesh circa 14-15th century
63cm high, 33cm wide, 23cm deep
PROVENANCE
Private Collection, South Australia
$5,000–8,000
178
A large pink sandstone figure of Vishnu with nimbus and club, India, 10-11th century CE
59.5cm high, 2cm wide, 11cm deep
PROVENANCE
Private Collection, South Australia
$3,000–4,000
179
An Indian red sandstone figure of Bodhisattva Maitreya, Mathura Kushan, circa 2-3rd CE
62cm high, 27cm wide, 12cm deep
PROVENANCE
Private Collection, South Australia
$3,000–5,000
A large carved red-stone torso of Bodhisattva Northern India, Kushan period, 2nd century CE
73cm high, 33cm wide, 14cm deep
PROVENANCE
Private Collection, South Australia
$5,000–7,000
181
A tall carved grey-schist figure of Sri Devi
South India, Vijayananga period, 15th/16th century
on a later carved wood base
90cm high (total), 28cm wide, 20cm deep
PROVENANCE
Private Collection, South Australia
$2,000–4,000
182
An Indian carved pink sandstone Makara base for the goddess Ganga Madyha Pradesh, circa 8-9th century
37cm high, 65cm wide
PROVENANCE
Private Collection, South Australia
$2,000–4,000
An Indian carved red sandstone figure of Apsara under a mango tree
Madhya Pradesh, circa 10th century
57cm high, 26cm wide, 17cm deep
PROVENANCE
Private Collection, South Australia
$2,500–4,000
A rare large carved and polychrome painted and gilt-wood bust Italian, 17th century
62cm high, 55cm wide, 10cm thick
$1,500–2,500
185
A rare and striking embroidered silk on linen bed valance Rhodes, Greece, eighteenth-century professionally mounted and stretched on a frame 65 x 228cm
PROVENANCE
Private Collection, Melbourne since the early 1980's; purchased in Europe.
REFERENCE
This rare Greek Island embroidered panel, in excellent condition, is hand stitched with loosely spun silk on linen. Worked in traditional colours of deep red and vibrant green, the valance once formed part of an elaborate, tented embroidered ensemble for a marriage bed. Traditional motifs of stylised floral forms, often called ‘flowerpots,’ are set within a border of stylised leaves. The raised cross-stitch technique is characteristic of Rhodian textile work.
Ref.: Metropolitan Museum of Art, comparable example, 25898/14.103.3 Comparable examples also at the Benaki Museum, Athens, ref.7650, 22374, and 6602.
$8,000–12,000
186
A finely carved ivory figure of Lakshmi, goddess of wealth, fortune and prosperity
Indian, 19th century
21cm high, 6cm wide
$500–700
187
A finely carved and aged ivory figure of Lakshmi, goddess of wealth, fortune and prosperity
South-India, 18th century
18.5cm high, 5.7cm wide
$500–1,000
188
A flat-woven Soumak cover, all wool warp and weft Southern Caucasus, mid-nineteenth century
251 x 192cm
PROVENANCE
Private collection, Melbourne; purchased in Scandinavia in the late-twentieth century.
REFERENCE
This outstanding weaving belongs to a group often referred to by collectors as ‘dragon soumaks’ or ‘dragon verneh.’ They display sequences of ‘S’ or ‘Z’ shaped stylised dragons, complete with antlers and the appearance of scales on their bodies. Mythical reptiles feature widely in Turkic folk traditions in the Caucasus and appear often on a variety of art forms, including a number of classical Caucasian carpets that are the likely inspiration for the type of rendition seen here.
The present example is in very good condition, although slightly reduced in size. Refined in technique, the powerful design motifs are worked in a range of vibrant, well-saturated colour. The use of white cotton juxtaposed with areas of dark blue and vibrant yellow set against the madder red field creates the characteristic contrast and graphic impact of the best of Caucasian weavings.
REFERENCE
HALI 227, Spring 2026, Auction Price Guide, p.151 for a related example
$8,000–12,000
A very rare and important carved limestone figure of a bishop-saint, France, 13th-15th century with stern expression and half closed eyelids, wearing traditional vestments and tall mitre that is carved to imitate silk adorned with jewels approx. 200cm high (in three sections)
The large mitre and its elaborate decoration indicate the high status of this bishop saint, which would have once probably stood in a niche on the interior or exterior of a church. Stylistically, the sculpture is typical of late 15th century Burgundian figures of bishops, such as the figure of Saint Denis from Mountiers Saint-Jean. (The Metropolitan Museum, accession no. 47.101.18)
The sunken cheeks, physiognomy and elaborate mitre bear a striking resemblance to this saintly bishop. The shape and decoration of the mitre can also be compared to two further figures of Burgundian saintly bishops – from Eguilly and Auxerre. For more information, see Pierre Quarre, Burgundian Sculpture of the Late Middle Ages, Fribourg, 1978.
The head and hands of the figure were dislodged during its removal from display which also further damaged the robes and details already weather worn. During the late 18th century revolution in France, when the monarchy and the church were removed from power, religious images, such as of bishops and saints, were toppled from lofty display on parapets of churches and cathedrals by fervent mobs and citizens loyal to the overthrow of the church. It is possible that this happened to this figure, but it is fortunate that the head, although dislodged, remained with the torso and its base, although the hands were lost.
The head has an expressionless face, typical of this period and the garments are similarly stylised.
The marked proportional distortion of the head and torso was a deliberate device, ensuring the figure appeared in correct proportions when viewed by a spectator on the ground far below. This distortion shows it was most likely a parapet or other, lofty installation, not a portal sculpture and would have been toppled from its position much easier than removed from a lower position.
The sculpture was located in a yard of salvaged, early, carved-limestone architectural elements outside of Paris in the late 1960's. It was purchased from there, shipped to Australia and has been in the one collection since.
Reference: An example that closely resembles the head of this figure, albeit that example was missing its torso, was sold Sotheby’s Hong Kong 1 April 2019 lot 3003 for HK$212,500 approx. AUD$38,000 (See online image of this head for comparison)
$25,000–35,000
A Significant Private Melbourne Glass Collection
190
An heraldic air-twist wine glass England, circa 1760
the generous bowl finely engraved with the Clifton family crest underneath a foliate border, set upon a composite air-twist stem on a clear inverted baluster knop.
181mm high, 76mm diameter of bowl, 82mm diameter of foot
The motto: MORTEM AUT TRIUMPHUMDeath or Victory.
A particularly striking glass of impressive size.
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
191
A plain-stem Jacobite wine glass England, circa 1740
the rounded-funnel bowl engraved with a seven-petalled flower and a single closed bud, on a plain stem and folded foot.
173mm high, 66mm diameter of bowl, 76mm diameter of foot
A nice early example, on which the number of buds would seem to conform with the princes hypothesis.
Engraver B.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
192
A deceptive balustroid glass England, circa 1710
the trumpet-shaped bowl set on three blades then a dumbbell stem with elongated air bubble; which rests on a folded foot.
168mm high, 59mm diameter of bowl, 75mm diameter of foot
A very striking glass.
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
193
A Jacobite finger-bowl, and a balustershape dram of Jacobite significance England, circa 1745 and circa 1760
the baluster shaped bowl engraved with the rose, closed bud and opening bud of the Jacobite cause; a thistle too for Scotland.
85mm high, 96mm diameter of bowl the dram with baluster shape bowl, very finely engraved with a seven-petalled flower and a moth.
Probably a disguised Jacobite design, the sunflower(?) standing in for the Stuart rose, and the moth for Scotland.
78mm high, 65mm diameter of bowl, 43mm diameter of foot
78mm high, 65mm diameter of bowl, 43mm diameter of foot both rare forms for Jacobite glassware.
PROVENANCE
A Notable Private Collection, Melbourne
Acquired together with the story that the dram glass was for the toast to Bonnie Prince Charlie which happens over the bowl of water. They are being sold together now as the vendor wishes.
$1,800–2,400
194
An opaque-twist engraved trumpet wine England, circa 1770
the trumpet-shaped bowl atop a blade and opaque-twist stem.
150mm high, 66mm diameter of bowl, 62mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–600
Illustrated online at artvisory.com.au
195
An opaque twist stem engraved ale flute England, circa 1780
the bowl with the usual engraving; set on an opaque twist stem.
198mm high, 57mm diameter of bowl, 80mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
196
A pan-topped opaque-twist stem glass England, circa 1770
the pan-topped bowl on a stem with a threaded spiral encircling a double-helix.
171mm high, 74mm diameter of bowl, 76mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
197
An opaque-twist stem ale flute England, circa 1765
the bowl decorated with the usual hops and barley; on a double-helix multiple thread stem. 189mm high, 60mm diameter of bowl, 74mm diameter of foot
Nice to find an opaque twist on an ale glass.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
198
An opaque-twist stem wine glass England, circa 1770
the rounded funnel bowl with hammered decoration to the lower part, on an opaque twist stem.
161mm high, 62mm diameter of bowl, 77mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
199
A double-knopped air-twist Jacobite glass
England, circa 1750
the rounded funnel engraved with the rose and two buds, one opening, and a kissing star; all on a rare double-knopped air-twist stem.
152mm high, 57mm diameter of bowl, 68mm diameter of foot
Engraver B.
PROVENANCE
A Notable Private Collection, Melbourne
$1,000–1,400
200
An opaque-twist stem Jacobite wine glass
England, circa 1765
the bell-shaped bowl engraved with the rose and two buds, as well as a moth; set on an opaque-twist stem.
172mm high, 71mm diameter of bowl, 168mm diameter of foot
Engraver F.
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
201
A multiple-knopped plain-stem trumpet wine glass
England, circa 1730
the trumpet bowl set over a triple-annulated knop, plain stem, and a further knop fixing it to the folded foot.
164mm high, 68mm diameter of bowl, 74mm diameter of foot
PROVENANCE
Don Barnfather collection
A Notable Private Collection, Melbourne
$800–1,200
202
A Jacobite engraved glass England, circa 1745
the ogee bowl engraved with a rose just opening, and a bird in flight to the reverse.
138mm high, 50mm diameter of bowl, 68mm diameter of foot
Most unusual to find just the bud believed to symbolise the Bonnie Prince. It would suggest the glass was engraved around 1766, on the death of the Old Pretender. It's certainly the usual Jacobite bud and bird, but without the rose.
PROVENANCE
Don Barnfather coll Label for Churchill Glass
A Notable Private Collection, Melbourne
$600–800
203
An opaque-twist stem flute England, circa 1765
the elongated funnel bowl with tooled decoration to lower third, on a double opaque-twist stem.
182mm high, 47mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
204
A plain-stem trumpet wine glass England, circa 1785
the long drawn trumpet on an elegant narrow stem.
192mm high, 62mm diameter of bowl, 69mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
205
A slender drawn-trumpet wine glass England, circa 1780
the long drawn trumpet on an elegant narrow stem.
193mm high, 62mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
206
An opaque-twist trumpet wine England, circa 1760
the drawn trumpet bowl on an opaque-twist stem of multiple helixes around a gauze core. 184mm high, 67mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
207
A pan-topped opaque-twist stem glass England, circa 1770
the pan-topped bowl supported on a four-ply opaque twist, surrounded by a flat double-helix. 147mm high, 52mm diameter of bowl, 61mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
208
An opaque-twist stem ratafia glass England, circa 1770
the elegant drawn trumpet on a multiple opaque twist stem.
158mm high, 52mm diameter of bowl, 71mm diameter of foot
RJ Knight coll
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
209
A Beilby enamelled wine glass England, circa 1765
the funnel-shaped bowl enamelled with swags in the manner of Mary Beilby, on a plain stem and a folded foot.
136mm high, 51mm diameter of bowl, 73mm diameter of foot
A really lovely glass, as well as being an exceptionally rare example, on account of the plain stem instead of the more usual opaque twist. The enamelling is also rare, being swags instead of the usual fruiting vine.
Mary Beilby was an 18th-century English glass enameller, part of the renowned Beilby family, known for their exceptional craftsmanship in enamel decoration on glass. Working in Newcastle upon Tyne, she collaborated with her brother William Beilby to create intricately decorated glassware, often featuring delicate floral designs, heraldic symbols, and picturesque scenes. Their work became highly sought after for its precision and beauty, and Mary's contributions were essential in establishing the Beilby family's legacy in the decorative arts.
PROVENANCE
A Notable Private Collection, Melbourne
$4,000–6,000
210
An engraved wine glass of Royal and Heraldic interest
England, circa 1740
the rounded funnel bowl set on a composite stem, very finely engraved with the coat of arms of William IV of Orange-Nassau. 192mm high, 84mm diameter of bowl, 75mm diameter of foot The complex stem makes a change from the usual light balusters.
PROVENANCE
A Notable Private Collection, Melbourne
$1,500–2,000
211
An engraved Newcastle Baluster wine glass
English, circa 1780, the engraving Dutch the rounded funnel bowl engraved in Dutch with a poem and other decoration marking the 100th birthday of Mr Bagh in 1780, on a thrice-knopped stem.
188mm high, 82mm diameter of bowl, 85mm diameter of foot
An extraordinary survival, this rare glass commemorates a rare event - someone's 100th birthday. Both the glass and the engraving are superb; English glass with Dutch engraving is a match made in heaven.
The Dutch:
Dit glas, Broos als't. Leven is, Toont, daar het rond gaat aan den Disch, Dat gy, Heer Bagh een Levens-Zegen Van honderd Iaaren hebt verkregenden 21ste December 1780.
In English:
This glass, fragile as life itself, shows, as it is passed around the table, that you, Mr Bagh, have received the blessing of a life of one hundred years, on the 21st of December 1780.
PROVENANCE
A Notable Private Collection, Melbourne
$1,500–2,000
212
A two-handled jelly glass
England, circa 1750
the thistle bowl standing on a conical foot, with B handles to it.
108mm high, 68mm diameter of bowl, 48mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$600–900
213
An opaque-twist stem wine glass
England, circa 1780
the tulip-shape bowl with hammered decoration, supported by a multiple opaque-twist stem.
149mm high, 52mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
214
An opaque-twist stem wine glass England, circa 1770
the rounded funnel bowl with tooled panels to the lower third, supported on an opaque-twist stem.
159mm high, 62mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
215
An opaque-twist stem wine glass England, circa 1780
the bell-shaped bowl set on a collar knop and a helix and gauze opaque-twist stem. 172mm high, 69mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
216
A hollow-stem balustroid wine glass England, circa 1735
the rounded funnel set on a hollow balustroid stem, on a folded foot. 154mm high, 53mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
Illustrated online at artvisory.com.au
217
A hollow-stem inverted baluster wine glass
Dutch, circa 1740
the large ogee bowl finely engraved with symbols of friendship, including the motto Goode welkomst; set on a hollow inverted baluster stem on a folded foot.
188mm high, 67mm diameter of bowl, 76mm diameter of foot
Goode welkomst - A hearty welcome.
PROVENANCE
A Notable Private Collection, Melbourne
$500–800
218
An engraved light baluster England, circa 1730
the flared trumpet bowl engraved below the rim with a formal border of stylised flowerheads, dotted trails, leafy scrolls and cross-hatched panels, above a solid lower bowl on a mushroom knop, plain stem, and a further round knop; on a domed foot.
160mm high, 72mm diameter of bowl, 77mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$2,000–3,000
219
An engraved composite-stem goblet Netherlands circa 1690
the funnel-shaped bowl engraved with a castle & leaf bands, on a prunted collar; the elaborate stem of round flattened basal knops, on a substantial folded foot.
182mm high, 80mm diameter of bowl, 95mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
220
A Newcastle light baluster wine glass England, circa 1750
the bell bowl engraved with a frieze of branches, with a solid section resting on an air teared cushion, an inverted baluster with air tear, on a conical foot.
176mm high, 71mm diameter of bowl, 80mm diameter of foot
The engraving possibly Dutch.
PROVENANCE
A Notable Private Collection, Melbourne
$1,500–2,500
221
An opaque-twist stem custard cup England, circa 1760
the ovoid bowl supported on an opaque-twist stem; an elegant handle attached to the side.
120mm high, 60mm diameter of bowl, 70mm diameter of foot
Probably used for egg-nog or similar. They seem to be relatively scarce.
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
Illustrated online at artvisory.com.au
222
A panel-moulded sweetmeat England, circa 1760
the double-ogee bowl panel-moulded and a dentated rim on a knopped opaque-twist stem and moulded foot. 85mm high, 108mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
223
An opaque-twist stem flute England, circa 1770
the long rounded funnel bowl on a stem with a twisted tape surrounded by a double helix of the same.
182mm high, 50mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
224
A plain-stem engraved wine glass England, circa 1745
the rounded funnel bowl engraved with grape vines, on a plain stem and a folded foot. 138mm high, 52mm diameter of bowl, 74mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
225
An elaborate plain-stem flute England, circa 1740
the bowl engraved and with tooled decoration around the lower part, on a plain stem with basal knop on a folded foot.
170mm high, 53mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–150
Illustrated online at artvisory.com.au
226
A plain-stem bucket wine glass England, circa 1750
the plain bowl resting on a plain stem on a plain foot.
157mm high, 60mm diameter of bowl, 80mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
227
An engraved pan-top mercury-twist glass
England, circa 1750
the pan-topped bowl on a double mercury-twist stem.
151mm high, 56mm diameter of bowl, 64mm diameter of foot
Engraved pan-tops are always a delight. The mercury-twist stem only adds to this glass's appeal.
PROVENANCE
A Notable Private Collection, Melbourne
$500–700
228
An engraved pedestal-stem wine glass England, circa 1740
the conical bowl engraved in the rococo manner, on a solid section, on a four-sided Silesian stem.
146mm high, 66mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
229
A mercury-twist wine glass England, circa 1750
the ogee bowl plain, on a mercury double-helix twist.
160mm high, 62mm diameter of bowl, 67mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$500–800
230
A triple-knopped airtwist wine glass England, circa 1745
the rounded funnel bowl on a multiple air-twist stem with three knops.
171mm high, 67mm diameter of bowl, 75mm diameter of foot
A particularly successful combination.
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
231
An engraved opaque-twist stem glass of possible Jacobite interest England, circa 1770
the rounded funnel bowl engraved with a seven-petalled flower, possibly a clematis or an inaccurate daffodil; atop an opaque-twist stem. 159mm high, 62mm diameter of bowl, 78mm diameter of foot
The flower has also been identified as a daffodil, and given Jacobite significance; the use of seven petals is suggestive of this.
An unusual and most attractive bit of engraving in any case.
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
Illustrated online at artvisory.com.au
232
An balustroid engraved wine glass England, circa 1745
the ogee bowl with engraved decoration of a sunflower (perhaps) and lily of the valley to the other side; supported by a plain stem with swelling knop on a folded foot.
149mm high, 52mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
233
An opaque-twist stem funnel wine England, circa 1770
the plain bowl set on an opaque-twist stem of an opaque-thread helix around a double 159mm high, 60mm diameter of bowl, 75mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
234
A balustroid wine glass England, circa 1740
the rounded-funnel bowl set on flattened knop collar, plain stem, and a folded foot. 168mm high, 65mm diameter of bowl, 74mm diameter of foot
PROVENANCE
Una Fraser collection.
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
235
An engraved facet-stem wine England, circa 1775
the rounded-funnel bowl engraved with branches, flowers and a bird; set on a facet-cut stem with swelling knop. 158mm high, 55mm diameter of bowl, 74mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
236
A Giles-decorated facet-stem glass England, circa 1770
the rounded funnel bowl gilded in the Giles workshop, atop a facetted stem.
154mm high, 60mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
Illustrated online at artvisory.com.au
237
A hollow-pedestal wine glass England, circa 1740
the funnel-shaped bowl atop a six-sided hollow pedestal stem on a folded foot.
162mm high, 76mm diameter of bowl, 92mm diameter of foot
A very light glass; but tests as lead glass.
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
238
An engraved and gilt flute England, circa 1770
the tall funnel bowl profusely engraved with flowers on a diamond-facet stem; the foot also engraved.
162mm high, 55mm diameter of bowl, 62mm diameter of foot
A particularly beautiful glass.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
239
A heavy baluster deceptive dram England, circa 1715
the deceptive trumpet bowl on an air-teared mushroom knop, on a folded foot.
100mm high, 48mm diameter of bowl, 67mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$1,200–1,800
240
A facon de Venise wine glass England, circa 1720
the flared trumpet bowl set on a hollow inverted baluster stem on a conical foot. 145mm high, 68mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$500–1,000
241
An opaque-twist stem wine glass England, circa 1770
the generous cup-shaped bowl set on a double opaque-twist stem.
152mm high, 63mm diameter of bowl, 75mm diameter of foot
The cup bowl and DSOT stem make a rare combination.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
242
A ratafia glass, engraved for The Battle of Kinsale England, circa 1740
the tall drawn trumpet-shaped bowl engraved 1602, on a plain stem and folded foot.
216mm high, 53mm diameter of bowl, 75mm diameter of foot
The year 1602 marked the end of The Battle of Kinsale, an important battle by which England finally conquered Ireland.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
243
An engraved light baluster wine glass England, circa 1750
the trumpet bowl engraved with fruiting vine, the stem with beaded knop, annular knop and conical foot.
178mm high, 68mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
244
A large drawn-trumpet plain stem wine glass
England, circa 1740
the drawn-trumpet bowl on a plain stem and a folded foot.
190mm high, 75mm diameter of bowl, 94mm diameter of foot
A very graceful glass.
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
245
A composite-stem engraved wine glass England 1770
the trumpet bowl engraved grapes & vine, on an air bead cushion, baluster and a plain section with an air tear.
160mm high, 67mm diameter of bowl, 74mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$500–700
Illustrated online at artvisory.com.au
246
A facet-stem Giles engraved wine glass England, circa 1770
the rounded funnel bowl engraved with bucrania and swags, on a facetted stem and a folded foot.
112mm high, 57mm diameter of bowl, 66mm diameter of foot
The folded foot suggests Norfolk; or perhaps engraved a couple of decades after the glass was made. The engraving is attributed to the Giles workshop on the basis of the design.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
247
A cruciform decanter England, circa 1725 of typical form; three rings to neck. 152mm high, 70mm wide
One of the earliest decanter shapes.
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
248
A cut-glass taper stick England, circa 1795
finely cut with scalloped edges and elaborate facetting. 140mm high, base 95mm
Unusual to see these in good condition.
PROVENANCE
A Notable Private Collection, Melbourne
$500–800
249
A facet-stemmed ale glass England, circa 1770
the elegant rounded funnel bowl with gilt rim, on a facetted stem with petals into the bowl. 172mm high, 61mm diameter of bowl, 78mm diameter of foot
PROVENANCE
Rex Ebbott collection
A Notable Private Collection, Melbourne
$600–800
250
A slender bell-bowl glass England, circa 1735
the bell-shaped bowl on an annular shoulder-knop, over an inverted baluster and basal knop on a folded foot.
111/45/53 111mm high, 45mm diameter of bowl, 53mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
251
A two-handled jelly glass England, circa 1730
the bell-shaped bowl plain, with ear-shaped handles, resting on a domed foot.
105mm high, 74mm diameter of bowl, 65mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
Illustrated online at artvisory.com.au
252
An unusually large bucket wine glass England, circa 1760
the bucket-shaped bowl plain, on a plain stem on a heavy foot.
191mm high, 90mm diameter of bowl, 94mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
253
A plain-stem firing glass England, circa 1750
the ogee shaped bowl on a plain stem and a heavy, firing foot.
134mm high, 44mm diameter of bowl, 60mm diameter of foot
The long stem is unusual for a firing glass.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
254
An engraved wine glass England, circa 1800
the bowl engraved with fruiting vine, resting on a slender stem with two blade knops; and a spreading basal knop.
139mm high, 47mm diameter of bowl, 61mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
255
A pan-topped air-twist stem glass England, circa 1750
the pan-topped bowl sitting on a multiple air-twist stem with a swelling knop. 143mm high, 52mm diameter of bowl, 63mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
256
A plain-stem bucket wine England, circa 1740
the bucket bowl slightly tapering down to a plain stem with basal knop to a folded foot. 151mm high, 48mm diameter of bowl, 67mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
257
A bell-shaped air-twist wine glass England, circa 1760
the bell-shaped bowl on a blade knop on a multiple air-twist cushion knop and stem. 167mm high, 61mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
258
A hollow-pedestal stem wine glass Germany, circa 1740
the conical bowl on a solid section resting on a 6-panelled stem on a folded foot. 150mm high, 60mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
259
A cut-glass compote, or tazza England, circa 1820
the broad bowl with everted rim and bands of cut decoration, on a facetted baluster stem and domed foot with conforming decoration.
230mm diam, 163mm high
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
260
A Sunderland Rummer England, circa 1820
the bucket-shaped bowl finely engraved with ships passing under the Sunderland bridge, flowers, and a monogram; bladed knop to stem.
137mm high, 84mm diameter of bowl, 75mm diameter of foot
Monogram JAJ.
A particularly fine example.
PROVENANCE
A Notable Private Collection, Melbourne
$500–800
261
An amethyst bell-shaped flute England, circa 1820
the elongated bell bowl on a plain stem and folded foot.
202mm high, 59mm diameter of bowl, 71mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$500–800
262
An ovoid cut-glass dish and cover Ireland, circa 1840
the bowl cut with swags, the lid with diamonds. 25cm handle to handle
A large and impressive piece.
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
263
A hammered, air-twist stem wine glass England, circa 1750
the ogee bowl with hammered decoration to the base, on a multiple air-twist knop and stem. 154mm high, 63mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–450
Illustrated online at artvisory.com.au
264
A pedstal-stem wine glass Dutch, circa 1740
the funnel-shaped bowl engraved with swags, on a solid section resting on a rudimentary four-sided pedestal stem. 152mm high, 62mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
265
A colour-twist stem wine glass England, circa 1810
the tulip-shaped bowl set on an opaque-twist stem with a ruby border to it.
155mm high, 60mm diameter of bowl, 77mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–600
Illustrated online at artvisory.com.au
266
A colour-twist engraved wine glass Dutch, circa 1780
the rounded funnel bowl engraved with grape vines, on a red and white multi-twist around a white gauze.
149mm high, 56mm diameter of bowl, 69mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
267
An engraved balustroid wine glass
Saxony, circa 1750
the rounded-funnel bowl engraved with JGMB beneath a coronet on a hollow stem with annulated knop on a folded foot.
150mm high, 67mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
268
A squirrel-engraved pedestal-stem glass
Saxony, circa 1760
the conical bowl engraved with a cute little squirrel between two sunflowers; on a facet-cut hollow inverted baluster stem on a folded foot. 140mm high, 62mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
269
A double-knopped air-twist stem wine glass England, circa 1760
the rounded funnel atop a twice-knopped multiple air-twist stem.
152mm high, 55mm diameter of bowl, 75mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
270
A cruciform decanter England, circa 1740
of typical form and triple annulated collar. 250mm high
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
271
A glass tazza and cover England, circa 1740
the tazza of typical form, on a ribbed stem and domed foot; the dome fine and large with a star to the knob.
The tazza 163mm diameter
For a similar example, see the Pilkington Collection: https://www.flickr.com/photos/ dudley-council/9574018201/
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
272
A Kit Kat glass England, circa 1740
the drawn trumpet bowl on a long stem with basal knop and folded foot.
166mm high, 71mm diameter of bowl, 75mm diameter of foot
So called on account of the painting by Hogarth, in which men are thought to be drinking from glasses of this shape.
PROVENANCE
A Notable Private Collection, Melbourne
$400–800
273
A sweetmeat dish England, circa 1730
the lipped rounded funnel bowl with gadrooning on a bladed and annular knop, plain stem and folded foot.
113mm high, 78mm diameter of bowl, 76mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
274
A plain-stem wine glass Europe, circa 1750
the bell-shaped bowl on a plain stem with air bubble.
159mm high, 64mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
275
A pedestal-stem wine glass Europe, circa 1740
the rounded funnel bowl on a solid section, knop, then a six-sided pedestal stem. 166mm high, 72mm diameter of bowl, 80mm diameter of foot
Not lead; testing suggests manganese has been added to the metal.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
276
A deceptive dram England, circa 1815
the bell shaped bowl with facet-cuts on a bladed stem.
105mm high, 63mm diameter of bowl, 63mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
277
A lens-cut wine glass Europe, circa 1750
the funnel-shaped bowl wheel cut in facets on a cut six-sided knopped stem with air tear, on a domed folded foot.
148mm high, 56mm diameter of bowl, 67mm diameter of foot
A light glass; no lead.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
278
A knipt wine glass France, circa 1720
the tapering bucket bowl with knipt decoration, on a shoulder-knopped spiral stem, on a folded foot.
56mm diameter of bowl, 58mm diameter of foot
Probably Liege or Orleans.
PROVENANCE
A Notable Private Collection, Melbourne
$250–450
Illustrated online at artvisory.com.au
279
An engraved and facet-cut rummer England, circa 1780
the double ogee bowl with simple engraving, on a faceted stem
110mm high, 80mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
280
A wine glass England, circa 1740
the ogee bowl plain, on a plain stem with central knop, on a folded foot
136mm high, 49mm diameter of bowl, 71mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
281
A Jacobite trumpet dram England, circa 1750
the drawn trumpet bowl engraved with the badge of James III; on a short plain stem with bubble, cushion and a spreading foot.
98mm high, 62mm diameter of bowl, 60mm diameter of foot
Jacobite dram glasses are known, but very rare.
See pages 100-101 in "The Jacobites and their Drinking Glasses" for some other examples.
PROVENANCE
A Notable Private Collection, Melbourne
$2,000–3,000
282
An engraved facet-stem wine glass England, circa 1780
the funnel shape bowl with everted rim and some fine engraving of honeysuckle, on a facetted stem.
151mm high, 59mm diameter of bowl, 71mm diameter of foot
An unusual subject for the engraving.
PROVENANCE
A Notable Private Collection, Melbourne
$500–700
283
A Kit Kat wine glass England, circa 1745
the drawn trumpet bowl on a plain stem with teared drop knop, on a domed foot.
175mm high, 77mm diameter of bowl, 80mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
284
A Battle of the Boyne glass England, circa 1740
the engraving (probably later) "The Glorious Memory of King William III Boyne 1690", over King William on his horse, and flowers to the reverse.
145mm high, 52mm diameter of bowl, 74mm diameter of foot
The engraving, perhaps the work of Tieze, looks to be late 19th century. He was a fine engraver and his work is starting to attract attention in its own right.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
285
An air-twist stem wine glass England, circa 1760
the rounded funnel bowl on a short solid piece, leading to a shoulder knopped multiple air-twist stem.
160mm high, 54mm diameter of bowl, 67mm diameter of foot
RJ Knight Coll
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
286
A large engraved and gilt firing glass Lauenstein, circa 1815
the drawn trumpet bowl with gilt rim and engraved R on a plain stem with air bubble. 113mm high, 68mm diameter of bowl, 70mm diameter of foot
Signed on the pontil scar.
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
287
A Hogarth glass England, circa 1800
the drawn trumpet bowl on a cushioned stem. 100mm high, 60mm diameter of bowl, 72mm diameter of foot
So called as it's the type of glass seen in Hogarth's paintings.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
288
A small drawn-trumpet glass England, circa 1750
the drawn trumpet bowl on a plain stem with rudimentary basal knop. 110mm high, 57mm diameter of bowl, 61mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
289
A trumpet gin glass England, circa 1740
the drawn trumpet bowl on a hollow stem and a folded foot
142mm high, 62mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
290
A rare trumpet ale glass England, circa 1730
the drawn trumpet bowl with solid base, on a stem consisting entirely of four knops on a domed folded foot.
187mm high, 53mm diameter of bowl, 64mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
291
A trumpet-shaped acorn baluster wine glass England, circa 1720
the bell bowl with solid base and air tear above a teared acorn knop, basal knop and folded conical foot
170mm high, 82mm diameter of bowl, 80mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$2,000–3,000
292
A heavy baluster wine glass England, circa 1720
the rounded funnel bowl with solid section at the base; a ball-knop stem with a tear, upon a smaller, teared knop; all on a folded foot.
192mm high, 89mm diameter of bowl, 95mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$1,400–2,000
293
A large and early goblet England, circa 1710
pointed round funnel bowl on a plain stem over inverted baluster with large air tear
200mm high, 96mm diameter of bowl, 100mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$1,600–1,800
294
A panel-cut flute England, circa 1830
the drawn-trumpet bowl cut with panels, on a twice-blade knopped stem.
174mm high, 58mm diameter of bowl, 66mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
295
A trumpet firing glass England, circa 1750
the drawn trumpet bowl on a flanged firing foot.
91mm high, 52mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
296
Four dwarf ale glasses England, circa 1740-60
A. The conical bowl with partial wrythen decoration, on a twice-knopped stem and folded foot.
B. The wrythen conical bowl on a shoulder-knopped stem.
C. The tall drawn trumpet bowl with pronounced spiral wrythen moulding, set on a short ribbed knop and spiral stem, raised on a folded conical foot.
D. The drawn trumpet bowl on a folded foot.
A. 124mm high, 59mm diameter of bowl, 70mm diameter of foot
B. 123mm high, 56mm diameter of bowl, 66mm diameter of foot
C. 126mm high, 53mm diameter of bowl, 70mm diameter of foot
D. 145mm high, 60mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–600
Illustrated online at artvisory.com.au
297
Three ale flutes England, circa 1750-60
A. The conical bowl panel-cut on a plain double-knopped stem
B. Utterly plain, the noble proportions being sufficient.
C. Engraved with hops and barley.
A. 170mm high, 56mm diameter of bowl, 61mm diameter of foot
B. 144mm high, 65mm diameter of bowl, 68mm diameter of foot
C. 156mm high, 58mm diameter of bowl, 71mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
298
A small conical glass England, circa 1745
the bowl engraved with grapes and a Jacobite-type bird in flight, on a folded foot. 104mm high, 52mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
299
Three small glasses England, various dates
A. The bowl on a faceted section, ball collar knop, short stem over baluster knop and basal cushion, circa 1870.
B. A penny-lick circa 1860.
C. The drawn trumpet bowl set on a plain stem on a folded foot circa 1740.
A. 103mm high, 55mm diameter of bowl, 58mm diameter of foot
B. 88mm high, 55mm diameter of bowl, 55mm diameter of foot
C. 109mm high, 52mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–300
Illustrated online at artvisory.com.au
300
An opaque-twist wine glass England, circa 1780
the rounded funnel bowl plain, on a stem with an opaque double-helix tape around a gauze core.
166mm high, 65mm diameter of bowl, 75mm diameter of foot
PROVENANCE
Una Fraser collection
A Notable Private Collection, Melbourne
$600–800
301
A thistle-shape wine glass England, circa 1730?
the thistle-shaped bowl with air tear on a plain stem and folded foot.
164mm high, 73mm diameter of bowl, 74mm diameter of foot
PROVENANCE
Una Stubbs collection
A Notable Private Collection, Melbourne
$400–600
302
A Newcastle light baluster England, circa 1750
the rounded funnel bowl on a slender elaborately knopped stem.
165mm high, 62mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
303
A conical facon de Venise wine glass France, circa 1700
the broad, conical bowl set on a bladed merise and a four-sided hollow pedestal stem and a folded foot.
140mm high, 82mm diameter of bowl, 75mm diameter of foot
Light as a feather; a joy to hold.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
304
A nipt diamond jelly glass England, circa 1720
the bowl with knipt decoration and everted rim.
105mm high, 67mm diameter of bowl, 50mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
305
A small bell wine glass England, circa 1745
the bell-shaped bowl with vine engraving, inverted baluster stem, basal knop, and a folded foot.
110mm high, 56mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
306
A ribbed dram England, circa 1760
the ogee bowl with tooled panel decoration, plain stem and a moulded foot.
110mm high, 52mm diameter of bowl, 62mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
307
A small engraved ale flute England, circa 1745
of typical decoration, on a folded foot
125mm high, 60mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
308
A plain stem cordial glass England, circa 1740
the ogee bowl set on a plain stem on a folded foot.
152mm high, 53mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
309
A small trumpet wine glass England, circa 1740
the drawn trumpet bowl on a plain stem and a folded foot.
106mm high, 59mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
310
A small engraved bell-shaped wine glass England, circa 1800
the bell-shaped bowl engraved with vines, on a stem with blade knop.
98mm high, 47mm diameter of bowl, 52mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
311
A panel-cut deceptive dram England, circa 1760
the mildly deceptive bowl cut with panels, on a plain knopped stem.
98mm high, 50mm diameter of bowl, 54mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
312
A 'Fiat' Jacobite wine glass England, circa 1750
engraved with the full rose, opening bud and closed bud; as well as a kissing star and the toast 'Fiat'; on an air-twist stem. 158mm high, 62mm diameter of bowl, 68mm diameter of foot
Engraver A
An unusual shape for a Fiat glass; a nice change from the usual drawn trumpet.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
313
A balustroid wine glass England, circa 1740
the funnel-shaped bowl plain, on a flattened ball shoulder knop, plain stem with basal knop; on a folded foot.
148mm high, 58mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
314
A wrythen ale flute Dutch, circa 1670
the spiral conical ribbed bowl on a hollow knop with applied decoration on a hollow domed foot.
170mm high, 63mm diameter of bowl, 63mm diameter of foot
Soda metal
PROVENANCE
A Notable Private Collection, Melbourne
$1,000–1,400
315
A double-knopped air-twist wine glass England, circa 1760
the plain bucket bowl on a short plain stem, then a double-knopped multiple air-twist stem. 194mm high, 75mm diameter of bowl, 82mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
316
A bell-shaped wine glass England, circa 1740
the bell bowl plan, with solid base incorporating a small air tear; on a plain stem and folded foot.
153mm high, 72mm diameter of bowl, 75mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
317
A panel-cut ale flute England, circa 1760
the rounded funnel bowl with panels of varying height, on a short knopped stem. 136mm high, 57mm diameter of bowl, 62mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
318
A large plain-stem wine glass England, circa 1750
the void bowl plain, on a plain stem, on a large and heavy foot.
154mm high, 80mm diameter of bowl, 85mm diameter of foot
A heavy glass, but of graceful proportions.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
319
A tiny wine glass England, circa 1750
the conical bowl cut in facets, on a stem consisting entirely of knops.
90mm high, 46mm diameter of bowl, 51mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
320
A flame decorated ale flute England, circa 1740
the conical bowl wrapped in flammiform decoration.
116mm high, 50mm diameter of bowl, 58mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$250–350
Illustrated online at artvisory.com.au
321
A plain-stem dram England, circa 1740
the low cup-shaped bowl on a plain stem and folded foot. 96mm high, 55mm diameter of bowl, 62mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
322
An engraved firing glass England, circa 1750
the ogee-shaped bowl engraved with English rose, lily of the valley and festoons, on a terraced foot.
102mm high, 53mm diameter of bowl, 62mm diameter of foot
PROVENANCE
Don Barnfather collection
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
323
A Nelson Trafalgar rummer England, circa 1905
the ovoid bowl finely and heavily engraved with Nelson and his Attributes.
135mm high, 95mm diameter of bowl, 78mm diameter of foot
For another example in the collection of The Royal Museums Greenwich: https:// www.rmg.co.uk/collections/objects/rmgcobject-19218
A truly splendid piece and an antique in its own right.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
324
A panel-moulded sweetmeat England, circa 1745
panel-moulded with an everted rim, bladed shoulder knop and pedestal stem, on a domed moulded foot.
145mm high, 226mm diameter of bowl, 85mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
325
A wrythen champagne glass England, circa 1740
the bowl wrythen-moulded and pantopped, on an eight-sided pedestal stem and a domed conforming foot. 168mm high, 78mm diameter of bowl, 77mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
326
A pedestal sweetmeat England, circa 1760
the ogee bowl with everted rim on a hollow, eight-sided pedestal stem on a domed and folded foot.
154mm high, 97mm diameter of bowl, 97mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
327
A toddy lifter England, circa 1830 with flat cut panels to body and cut rings to stem. 180mm high
PROVENANCE
A Notable Private Collection, Melbourne
$120–180
Illustrated online at artvisory.com.au
328
A knopped plain stem glass English, circa 1760
the rib moulded ovoid bowl upon a plain knopped stem, the foot oversewn with a snapped pontil. 100mm high, 45mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–160
Illustrated online at artvisory.com.au
329
A double deceptive dram England, circa 1740
the two round funnel bowls joined by a plain stem.
125mm high, 56mm diameter of bowl, 50mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
330
Two jelly glasses England, circa 1810, the pan top circa 1790
the bell-bowl on a lobed section; the pantopped bowl rib moulded, on a cushion knop.
A 104mm high, 60mm diameter of bowl, 56mm diameter of foot
B 105mm high, 65mm diameter of bowl, 55mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
331
A boot stirrup glass England, circa 1800 in the form of a boot 115mm high
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
332
Three jelly glasses English, circa 1750-60
A. The rib-moulded bowl set on a short knop and plain foot.
B. The rib-moulded bell bowl atop a spiral knop and domed foot.
C. The hexagonal tapered bowl on a domed foot.
A. 123mm high
B. 104mm high
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
333
A glass mug England, circa 1810
the waisted bowl gadrooned to lower section, on a raised foot; and an applied handle. 147mm high
PROVENANCE
A Notable Private Collection, Melbourne
$400–600
334
An heraldic engraved punch bowl England, circa 1790
in the form of an oversized goblet, the shieldshaped bowl bearing the coat of arms of the Earle family of Allerton Tower in Liverpool, under simple classical ornament.
235mm high, 150mm diameter of bowl, 112mm diameter of foot
Servare Modum – Keep the Measure.
The family motto is most fitting for this massive glass, which was likely intended as a punch bowl, or perhaps a loving cup.
Perhaps made for Ralph Earle (Ne Willis), who assumed that surname and arms in 1788.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
335
A Sunderland Bridge punch bowl England, circa 1820
the rounded bowl engraved with a scene of ships passing under the Sunderland Bridge, a border of Roses and Thistles for England and Scotland, and the initials MI in a circle; set on a bladed stem and solid foot.
193mm high, 141mm diameter of bowl, 113mm diameter of foot
We see Sunderland Bridge rummers with some frequency; but a punch bowl is something else entirely. Both the glass itself and the engraving are both of the best quality.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,200
336
A gadrooned glass tankard England, circa 1800
the cylindrical tapered body with applied trails and gadrooning, standing on a domed foot; and an applied handle.
152mm high
PROVENANCE
A Notable Private Collection, Melbourne
$500–800
337
A cut-glass jelly England, circa 1810
the bowl with scalloped rim and very fine engraving.
102mm high, 60mm diameter of bowl, 48mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
338
A small panel-cut glass England, circa 1815
the bowl with sliced facets, on a knopped plain stem.
118mm high, 60mm diameter of bowl, 62mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
339
A trumpet-shaped jelly glass England, circa 1730
the conical bowl with folded rim, on a gadrooned knop.
107mm high, 62mm diameter of bowl, 55mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
340
A boot stirrup glass England, circa 18th century in the form of a boot.
94mm high
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
341
A large stirrup cup England, circa 1820 in the form of a boot. 154mm high, the bowl 78mm diameter
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
342
A glass footed jug England, circa 1820 of baluster form with ringed and wrythen decoration. 120mm high
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
343
A large glass tazza England, circa 1730 the circular rimmed top on a hollow pedestal stem on a domed folded foot.
159mm high, 254mm diameter of bowl, 126mm diameter of foot
A very fine, early example.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
An engraved glass loving-cup England, circa 1820
of slightly waisted shape, trailed glass to rim, engraved with initials WJS, and hops and barely; two applied handles.
183mm high, 104mm diameter of bowl, 96mm diameter of foot
Loving (or Grace) cups in glass are quite rare. The two handles were to make it easy to pass the cup from hand to hand around the table.
PROVENANCE
A Notable Private Collection, Melbourne
$500–700
345
An engraved sweetmeat England, circa 1740
the bowl panel-moulded and engraved with a sequence of flowers, on a six-sided pedestal stem and a conforming domed foot.
134mm high, 88mm diameter of bowl, 70mm diameter of foot
The flowers very finely engraved and perhaps carry a hidden message.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
346
A hunting-themed engraved punch bowl England, circa 1810
the cup-shaped bowl engraved with a hunting scene including a lodge, a hunter with a fox, and numerous hounds.
214mm high, 140mm diameter of bowl, 120mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
347
A large engraved tumbler for VOC England, circa 1741
the tapered cylindrical bowl engraved with the cypher AOC and the date Ao (Anno, or year) 1741.
145/11586
The VOC cypher is for The Dutch East India Company, or Verenigde Ostindische Compagnie. This company was the first of the multi-nationals, and was very powerful; it even had the power to wage war in the interest of trade.
In 1741, VOC suffered a crushing defeat in the Travancore-Dutch war; so it difficult to see why this year should appear. It could be the year a ship was commissioned, and for which this was made; or perhaps a presentation piece.
PROVENANCE
A Notable Private Collection, Melbourne
$800–1,000
348
A Latticino glass tazza England, circa 1830
in the Venetian style, with a broad bowl supported on a hollow stem with two knops and a blade, on a spreading foot.
106mm high, 183mm diameter of bowl, 100mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
349
An engraved bell-shape wine glass England, circa 1750
the bell-shaped bowl with naive engraving of scrolls and such, with air tear to solid base; on a plain stem.
184mm high, 77mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
350
A gilt-decorated mead cup England, circa 1770
the cup shaped bowl with gilded decoration, on an annular knopped stem. 84mm high, 42mm diameter of bowl, 48mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
351
A cut-glass cruet England, circa 1820 of baluster form with wheel-cut decoration. 210mm high
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
352
A covered glass preserves dish on a tray England, circa 1800
the circular bowl with gallery rim, the high domed lid also plain; and a conforming tray. 158mm high
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
353
An engraved opaque twist stem glass England, circa 1760
the rounded funnel bowl engraved with running ornament and tooled decoration to lower third, on an opaque-twist stem with a double-helix wrapping a gauze core. 158mm high, 52mm diameter of bowl, 66mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
354
A massive ceremonial beaker, or punch bowl
Netherlands, circa 1745
the simple beaker shape with extensive engraving associated with the Dutch East India Company, dated 1745.
225mm high, 161mm diameter
The Dutch East India Company, or Vereenigde Oost-Indische Compagnie — VOC — was founded in 1602, when the States General of the Netherlands granted it a 21-year monopoly over Dutch colonial and trading activity in Asia. One side is engraved “HET WELVAREN VAN DE A VOC 1745”, translating approximately as “The Welfare of the Dutch East India Company, 1745.” The reverse is engraved with a large flower, with further floral and foliate ornament extending down the sides. The engraving is all very fine. Smaller beakers are known in the literature, usually associated with ships; and there an example of the smaller size in this auction. This large and noble example was more likely kept at head office, to mix punch at special occasions, such as voting themselves another dividend.
PROVENANCE
A Notable Private Collection, Melbourne
$1,000–2,000
355
A massive drawn-trumpet glass
England, circa 1740
a classic drawn-trumpet wine glass on folded foot, except for the size.
225mm high, 114mm diameter of bowl, 117mm diameter of foot
Note the dimensions: this is enormous. A marvellous glass.
PROVENANCE
Una Fraser Collection.
A Notable Private Collection, Melbourne
$800–1,200
356
An air-twist wine glass England, circa 1750
the bell-shaped bowl on a multiple air-twist stem with two knops, on a folded foot.
169mm high, 60mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
357
A bell-shaped air-twist wine glass England, circa 1770
the bell-shaped bowl with a solid base, on a multiple air-twist stem on an air-beaded knop, then a short solid section.
168mm high, 68mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$700–1,000
358
Another cut-glass cruet England, circa 1820
with stopper and wheel-cut decoration.
230mm high
A pair to 359.
$100–200
Illustrated online at artvisory.com.au
359
A cut-glass cruet and stopper England, circa 1820
with stopper and cut decoration. 213mm high Pair to 358.
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
360
A covered cut-glass bowl and spoon England, circa 1820
the bowl and lid elaborately cut; a slot to both for a spoon. 180mm tall Spoon sterling silver, 75g.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
361
A baluster-shape decanter England, circa 1830
the body with much wheel-cut diamond decoration. 24cm high
An attractive and usable example.
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
362
A green glass onion-shaped bottle England, circa 1725
the tapering neck with applied string rim and marver lines rests upon a bulbous body with a high kick base.
193mm high
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
363
A cordial glass England, circa 1770
the cup-shaped bowl plain and on an opaque twist stem.
143mm high, 46mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
364
Two sealed bottles England
each of cylindrical form with slightly tapering neck.
A. 235mm high
B. 257mm tall
Seal: AS CR - All Souls' Common Room.
Seal: OAKHILL Glass shows dark green under strong light
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
365
A flared trumpet opaque twist wine glass England, circa 1770
the trumpet bowl with everted rim on a triple bladed knop and opaque twist stem of a double helix around a gauze core.
150mm high, 60mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
366
An opaque-twist wine glass England, circa 1770
the ogee bowl with tooled decoration to base, on an opaque twist stem.
156mm high, 60mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
367
A glass coaching cup England, circa 1740
with plain bowl and folded rim.
130mm high, 80mm diameter of bowl
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
368
An engraved facet-stem wine glass England, circa 1780
the ogee bowl engraved with flowering plants, on a facetted stem.
132mm high, 48mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
369
An engraved firing dram England, circa 1750
the ogee bowl engraved with grapes and a bird in flight of the Jacobite type; plain stem on a terraced foot.
95mm high, 46mm diameter of bowl, 95mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
370
An opaque twist firing glass England, circa 1770
the ogee bowl plain, on an opaque twist stem on a thick foot.
115mm high, 48mm diameter of bowl, 66mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
371
A flared-bucket wine glass England, circa 1770
the bowl plain, on a double-helix opaque twist stem.
153mm high, 61mm diameter of bowl, 65mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
372
An opaque twist Lynn glass England, circa 1770
the rounded funnel bowl with tooled decoration, on an opaque twist stem. 142mm high, 52mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
373
A small pan-topped glass England, circa 1770
the bowl plain, on a short opaque-twist stem. 125mm high, 52mm diameter of bowl, 62mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
374
An opaque-twist wine glass England, circa 1770
the ogee bowl plain, on an opaque twist stem. 150mm high, 55mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
375
A trumpet-shaped gin glass England, circa 1740
the classic drawn-trumpet with air tear plain stem on a folded foot.
134mm high, 57mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
376
A hollow-stemmed drawn trumpet glass England, circa 1740
the drawn-trumpet bowl on a hollow stem and folded foot.
148mm high, 64mm diameter of bowl, 70mm diameter of foot
The type known as an 'excise glass', owing to the theory that hollow stems were made to avoid the glass tax, which was based on weight.
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
377
An INNY CAVALRY glass England, circa 1780
the rounded funnel bowl engraved INNY CAVALRY, on a plain stem.
124mm high, 56mm diameter of bowl, 65mm diameter of foot
The River Inny forms the southern border of County Longford in Ireland. In the 18th century it was an important trading route and crossing ford at Ballymahon which was protected by Barnacor Castle and Lot’s castle on opposite banks of the crossing. According to historical documents Longford county had a military force of some 15 officers, 391 men and 202 horses which was used to protect the local area and were known as the ‘Inny Cavalry’.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
378
A small bell-shaped glass England, circa 1730
the bell-shaped bowl set on a plain stem with knops to top and bottom; on a folded foot. 126mm high, 45mm diameter of bowl, 60mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
379
An engraved plain-stem glass England, circa 1740
the rounded funnel bowl with naive engraving of swags on a plain stem and folded foot. 145mm high, 54mm diameter of bowl, 67mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
380
A tall wine glass with engraved and moulded decoration
England, circa 1745
the ogee bowl with naive engraved decoration, tooled decoration to the lower half; on a plain stem and folded foot. 153mm high, 51mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
381
A Battle of the Boyne glass England/Ireland, circa 1895
the conical bowl engraved with William III on horseback, In Memory of King William, Boyne 1 July 1690.
157mm high, 62mm diameter of bowl, 75mm diameter of foot
Probably engraved by Franz Tieze, a Dutch engraver who went to Ireland and was responsible for a great deal of very good engraved glass; much of it pretending to be Georgian.
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
382
An engraved and tooled opaque-twist glass
England, circa 1770
the rounded funnel bowl with engraving and tooled decoration, on an opaque twist stem. 150mm high, 60mm diameter of bowl, 67mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
383
A bell-shaped wine glass England, circa 1750
the drawn trumpet on a plain stem with air bubble.
170mm high, 75mm diameter of bowl, 82mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
384
A drawn trumpet wine glass England, circa 1740
the drawn trumpet bowl plain, the air-tear stem on a folded foot.
177mm high, 76mm diameter of bowl, 81mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
385
A drawn trumpet wine England, circa 1750
being a classic drawn trumpet glass with air tear.
170mm high, 70mm diameter of bowl, 79mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
386
A plain cordial glass England, circa 1750
the rounded funnel bowl with solid base on a plain stem.
154mm high, 48mm diameter of bowl, 72mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
387
A trumpet-drawn gin glass Europe, circa 1750
the drawn trumpet bowl on a hollow stem. 179mm high, 67mm diameter of bowl, 75mm diameter of foot
An "excise glass".
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
388
An plain wine glass England, circa 1740
the pointed funnel bowl on a plain stem with central swelling knop, on a folded foot.
150mm high, 50mm diameter of bowl, 71mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$150–250
Illustrated online at artvisory.com.au
389
A plain-stem flute England, circa 1760
the conical bowl plain, on a plain stem. 165mm high, 62mm diameter of bowl, 76mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
390
A trumpet wine glass England, circa 1760
the long drawn trumpet bowl on a slender stem with central swelling knop.
176mm high, 52mm diameter of bowl, 68mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
391
A trumpet-shape cordial glass England, circa 1740
the trumpet-shaped bowl with a large solid section at the base, on a plain stem and a folded foot.
170mm high, 62mm diameter of bowl, 71mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
392
A bell-shaped air-twist wine glass England, circa 1745
the bell-shaped bowl on a multiple air-twist stem.
155mm high, 68mm diameter of bowl, 75mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
393
An air-twist stem wine glass England, circa 1770
the bell-shaped bowl with solid base leading into the air-twist stem with vermicular collar knop.
160mm high, 64mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
394
A drawn trumpet air-twist wine glass England, circa 1760
the drawn trumpet bowl leading into a multiple air-twist stem with an unusual swelling knop. 170mm high, 60mm diameter of bowl, 73mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
395
An air-twist drawn-trumpet wine glass England, circa 1780
the drawn trumpet bowl leading into a multiple air-twist stem.
174mm high, 72mm diameter of bowl, 81mm diameter of foot
A large and well-proportioned glass.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
396
A plain-stem wine glass England, circa 1745
the rounded funnel bowl with tooled decoration to base, on a plain stem and folded foot.
150mm high, 55mm diameter of bowl, 75mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
397
An air-twist ratafia glass England, circa 1780
the conical bowl leading into a multiple air-twist stem.
211mm high, 62mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
398
A treble-knopped small glass England, circa 1740
the ogee shaped bowl plain, on a stem incorporating three knops, the central one with an air bubble; on a folded foot. 128/50/70 128mm high, 50mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
399
A bell-shaped wine glass on a knopped air-twist stem
England, circa 1745
the bell-shaped bowl with air-beaded base, on a multiple air-twist stem with swelling knop to upper, on a folded foot. 173mm high, 71mm diameter of bowl, 78mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
400
A documentary engraved rummer England, circa 1804
the ovoid bowl engraved with the initials AMW; on the obverse, Br Sep 3 1804; on a short knopped stem and a domed foot. 134mm high, 96mm diameter of bowl, 81mm diameter of foot
A coin is in the base.
The coin dates from around 1690 and shows King William III. The date given would seem to be of personal significance.
PROVENANCE
Don Barnfather collection.
A Notable Private Collection, Melbourne
$300–400
Illustrated online at artvisory.com.au
401
A double-knopped air-twist wine glass England, circa 1770
the bell-shaped bowl plain, on a plain stem section supported by a multiple air-twist stem with a flattened ball knop, and an angular. 172mm high, 69mm diameter of bowl, 77mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
402
An engraved cup-footed glass Dutch, circa 1890
the bell-shaped bowl engraved with a ship and a castle, on a hollow stem with three knops and a domed, hollow foot. 186mm high, 80mm diameter of bowl, 75mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
403
A double-knopped air-twist ale flute England, circa 1780
the conical bowl engraved with the usual hops and barley, on an unusual doubleknopped multiple air-twist stem.
205mm high, 65mm diameter of bowl, 86mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
404
A glass condiment dish and cover England, circa 1820
heavily cut and very nicely too. 120mm Diameter
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
405
A pair of Dutch-engraved Newcastle light balusters
England, circa 1890
the conical bowls Dutch engraved with heraldic devices and floral decoration, on hollow knopped stems and folded feet.
A. 221mm high, 95mm diameter of bowl, 102mm diameter of foot
B. 229mm high, 96mm diameter of bowl, 97mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$600–800
Illustrated online at artvisory.com.au
406
An air-twist wine glass Europe, circa 1755
the bell-shaped bowl leading into a multiple air-twist inverted baluster stem. 183mm high, 75mm diameter of bowl, 81mm diameter of foot
Not lead glass; tests for manganese.
PROVENANCE
A Notable Private Collection, Melbourne
$200–400
Illustrated online at artvisory.com.au
407
An engraved rummer England, circa 1820
the cup-shaped bowl engraved with neoclassical swags and the initials AC, on a blade-knopped stem and lemon squeezer base. 126mm high, 91mm diameter of bowl, 58mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
408
A cut-glass rummer England, circa 1820
the ovoid bowl finely engraved with classical motifs, set on a blade and spreading facetted stem on a square foot.
119mm high, 90mm diameter of bowl, 58mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
409
An unusual deceptive dram England, circa 1750
the deceptive baluster-shaped bowl with heavy base on a plain stem. 96mm high, 40mm diameter of bowl, 50mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
410
A blade-knopped rummer and two sugar crushers England, circa 1820
the pointed funnel-shaped bowl on a bladed shoulder knop and plain stem. 122mm high, 82mm diameter of bowl, 78mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
411
A glass lace-maker's lamp French, circa 1860
the usual form, standing on a folded foot. 273mm high
PROVENANCE
A Notable Private Collection, Melbourne
$150–350
Illustrated online at artvisory.com.au
412
An engraved rummer England, circa 1820
the pointed funnel shaped bowl simple engraved with GB and MB in laurel wreaths, on a lemon squeezer base. 135mm high, 60mm diameter of bowl, 55mm diameter of foot
Probably to commemorate a marriage.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
413
A firing glass England, circa 1760
the bucket bowl engraved with feather and swags, on a plain stem.
90mm high, 45mm diameter of bowl, 58mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
414
A Lynn glass finger bowl England, circa 1790
the ogee shaped bowl with tooled rings (Lynn decoration).
85mm high, 116mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
415
A pair of decanters England, circa 1820
of rectangular form, with much cutting. 180mm tall
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
416
An engraved glass marriage bowl England, circa 1800
the circular bowl with everted rim engraved with Joseph & Mary Hall, with roses and thistles. 120mm high, 92mm diameter of bowl, 66mm diameter of foot
No doubt to commemorate a marriage. Though it is tempting to find Jacobite symbolism here, it more likely represents England and Scotland, the native countries of the husband and wife.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
417
A nautical rummer England, circa 1800
the cup shaped bowl engraved with initials that might be IHCC, and an anchor and chain to the reverse; on a rudimentary lemon-squeezer base.
134mm high, 92mm diameter of bowl, 55mm diameter of foot
The anchor can also represent hope; but the chain suggests a nautical connection.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
418
A thistle-engraved rummer England, circa 1820
the bucket bowl engraved with initials and thistles, slice cuts and a bladed knop to the short stem.
160mm high, 94mm diameter of bowl, 85mm diameter of foot
A heavy glass of good quality.
Your guess is as good as mine when it comes to making out the initials.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
419
An engraved footed tumbler Europe, circa 1730
the bowl heavily engraved with baroque ornament, standing on a hollow foot.
120mm high, 90mm diameter of bowl, 62mm diameter of foot
The unusual colour of the metal is a result of adding manganese oxide to clarify it; which over time becomes sodium permanganate, giving this pale amethyst colour.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
420
A footed rummer England, circa 1800
the cup-shaped bowl on an everted cupshaped foot.
150mm high, 90mm diameter of bowl, 85mm diameter of foot
A surprisingly modern look; it actually harks back to very early Dutch rummers.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
421
A deceptive firing glass England, circa 1750
the deceptive bowl on a plain stem and heavy foot.
102mm high, 56mm diameter of bowl, 67mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
422
A set of six glass rinsers and trays England, circa 1810
the six bowls simply decorated with rings of glass; the associated trays bearing classical engraved decoration. trays 155mm diameter; bowls 120mm diameter, 83mm high
The rinsers are probably earlier than the trays; but they make a good combination.
PROVENANCE
A Notable Private Collection, Melbourne
$300–500
Illustrated online at artvisory.com.au
423
A plain-stem wine glass England, circa 1740
the rounded funnel bowl on a plain stem with basal knop, on a folded foot.
155mm high, 52mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$100–200
Illustrated online at artvisory.com.au
424
A pair of decanters England, circa 1820 the necks prism-cut, the bodies strawberry diamonds. 240mm high
The stoppers appear to be correct.
PROVENANCE
A Notable Private Collection, Melbourne
$200–300
Illustrated online at artvisory.com.au
425
A Jacobite finger-bowl England, circa 1745
the baluster shaped bowl engraved with the rose, closed bud and opening bud of the Jacobite cause; a thistle too for Scotland. 85mm high, 96mm diameter of bowl
A rare form for Jacobite glassware.
PROVENANCE
A Notable Private Collection, Melbourne
$1,200–1,800
Illustrated online at artvisory.com.au
426
A facet-stem engraved ale glass England, circa 1780
the rounded funnel bowl engraved with swags, on a facetted stem.
156mm high, 62mm diameter of bowl, 70mm diameter of foot
PROVENANCE
A Notable Private Collection, Melbourne
$120–240
Illustrated online at artvisory.com.au
In closing, we wish to thank all of our many private vendors from around Australia, who have supported our auction concept for Rare + Beautiful.
END OF SALE
The 1802 Collection by Henry de Freycinet
INTERNATIONAL LAUNCH — MELBOURNE, APRIL 29 2026
In late April this year, Artvisory was delighted to host the Melbourne launch of luxury French craftsman Henry de Freycinet's inaugural range of handmade leather travel trunks at an intimate evening soiree at our beautiful South Yarra Galleries.
The 1802 range comprises a timeless and stylish collection of luxury travel trunks that carry beauty and elegance across the continents — inspired by Henry’s rich family history and the legacy of French Artisanal craftsmanship that marries beauty together with utility.
Henry's Ancestors, Louis and Henri de Freycinet were the intrepid maritime explorers who charted the Australian coast in 1802 aboard Nicholas Baudin’s famous scientific voyage. The 1811 Freycinet map of Australia, published in Paris, is deemed to be the first full map of the continent. On a subsequent voyage of 1817, Louis’ wife Rose stole onboard disguised as a man and became the first woman to record her experience of circumnavigating the globe in a detailed diary — now treasured by the Mitchell Library in Sydney. The three
trunks of the 1802 collection are named the Louis, the Henry and the Rose. Henry de Freycinet the artisan himself was in Australia for this launch along with business associate Angus Forbes and his wife Dame Darcey Bussell, who delighted us with her surprise attendance — it’s not everyday you have one of the century’s most iconic and famous ballet dancers in the room. The French consul general in Melbourne Paule Ignatio was also in attendance, along with friends and special guests of Artvisory to launch the de Freycinet brand and 1802 Collection into the luxury market with true Melbourne style.
For further enquiries regarding the 1802 Collection by Henry de Freycinet please visit www.henrydefreycinet.com or contact Amanda Swanson at Artvisory amanda@artvisory.com.au
2
3
4
1 Henry de Freycinet and Paule Ignatio, French Consul General in Melbourne
Arthur and Mimi Galan
Paul Sumner, Mike Smith, Dame Darcey Bussell, Natalie Smith, Amanda Swanson
Nicole Gleeson, Kevin Neave, Fiona Mellor Photography: Marcel Aucar Photography
SIR HANS HEYSEN (AUSTRALIAN, 1877-1968)
Morning Mist
Estimate: $120,000–180,000. Sold for $151,200.00 inc bp.
TIM STORRIER (AUSTRALIAN, 1949-)
Night Blaze (the plains)
Estimate: $70,000–100,000. Sold for $88,200.00 inc bp.
ELLIS ROWAN (AUSTRALIAN, 1848-1922)
Eucalyptus Ficifolia, F.v.M. WA (Western Australian Flowering Gum)
Estimate: $12,000–18,000. Sold for $20,160.00 inc bp.
SYDNEY LONG (AUSTRALIAN, 1871-1955)
The Spit, Middle Harbour Sydney, 1930
Estimate: $6,000–10,000. Sold for $12,600.00 inc bp.
ARTIST UNKNOWN (AUSTRALIAN SCHOOL, 19TH CENTURY)
Broken Hill, circa 1886
Estimate: $6,000–8,000. Sold for $12,600.00 inc bp.
Fine Australian & International Art
Artvisory’s multi-vendor Australian art auction in Melbourne on March 24 this year posted some very good results from the curated auction of 63 works.
Several works sold for private vendors went to Australian institutions, including Ellis Rowan's beautiful study of Eucalyptus Ficifolia, Sydney Long's view of the Spit Sydney and a naive school landscape in oils of Broken Hill, all of which entered Australian public collections.
The highest price went, as expected, to Hans Heysen's moody oil painting of his home at Hahndorf South Australia "Morning Mist" that fetched $151,200.00 inc bp and this was followed by Tim Storrier's expertly executed oil painting 'Night blaze' which was of usually small scale for this subject matter by the artist. It fetched $88,200. inc bp.
With after-sales the auction was a healthy 74% sold by lot and posted close to $700,000.00 in sales.
Entries Now Invited for our next Australian and International Art Auction
Enquiries: Paul Sumner | 0412 337 827 | paul@artvisory.com.au
Michael O’Meara | 0418 505 519 | michael@artvisory.com.au
YAYOI KUSAMA (JAPANESE, 1929-)
Pumpkin 2000 (Green) (Kusama 300)
Estimate: $30,000–40,000. Sold for $39,300.00 inc bp.
JOHN COBURN (AUSTRALIAN, 1925-2006)
Desert Bird III
Estimate: $50,000–70,000. Sold for $50,400.00 inc bp.
An imposing skeletal display of a large coiled python
Estimate: $5,000–8,000. Sold for $16,380.00 inc bp.
An exceptional five panel painted leather screen representing the continents of Asia, America and Africa, French, first half of the 18th century. Estimate: $10,000–15,000. Sold for $50,400.00 inc bp.
A fine Italian walnut and parcel-gilt elevated bookcase, 18th century
Estimate: $20,000–30,000. Sold for $40,320.00 inc bp.
RUPERT CHARLES WULSTEN BUNNY (AUSTRALIAN, 1864-1947) Luxembourg Gardens, circa 1909
Estimate: $80,000–120,000. Sold for $138,600.00 inc bp.
Right: A rare and significant George III gilt-metal mounted mahogany and ebony-strung Carlton House desk, English, circa 1780-1800
Estimate: $20,000–40,000. Sold for $62,880.00 inc bp.
The Contents of Iona, Sydney
The sale of the contents of Iona in Sydney on 8/9 March marked another Sydney success for Artvisory with single-vendor auctions in our harbour city. Artvisory has been instructed to sell a number of high-profile singleowner auctions in Sydney, but this was perhaps the biggest, and certainly the most complex of them.
The auction presented a number of challenges, typical of large single-owner auctions, not least of which was the fact that the owners had a large number of items that had been in long-term storage, which they needed to include. The vendors also had to decide on which items to keep for their new home, in a relatively tight time-frame, after their prestigious property Iona had sold. The process of what to keep and what to sell is never an easy process for any vendors and this proved to be the case here, but ultimately close to 450 items were included in the two-part auction.
A considerable level of re-styling was required when everything was brought together and a fair degree of restoration and cleaning was also needed for those items brought out from storage to present the collection to its best advantage.
Leading up to the auction, Artvisory presented a series of viewings, both private and public, onsite at Iona and the results were strong for many areas. Especially in the field of antique furniture, which as
we all know has been up and down in recent times, but single-owner auctions often defy market trends, and so it was the case with this auction, where many of the top lots went overseas, or to buyers outside of Sydney.
The highest price for the furniture collection was paid for an 18th century George III period mahogany Carlton House desk, which must have set a record price paid at auction in this country for a desk of its type, when it sold for $62,880.00 selling to a London buyer on the telephone. The second highest price was for a rare painted leather room screen dating to 18th century France, that the auctioneer Paul Sumner had sold to the vendors decades prior, and this was keenly contested by multiple international bidders, ultimately falling to a Parisian buyer at a multiple estimate AUD$50,400 inc bp.
The live auction at the Intercontinental Double Bay, commenced with the Australian and International art collection, which was a virtual sell- out and where a new auction record was set for the work of Janet Cumbrae Stewart. The art collection results were led by Rupert Bunny’s beautiful small oil painting of the Luxembourg Gardens in Paris circa 1909, which attracted multiple bidders, chasing it up to AUD$138,600.00 inc bp. It sold ultimately to a Sydney private collector who attended the auction in person and who was visibly excited to win the auction of this work.
The auction total exceeded 1.2 million and was about 95% sold by lot and well over its pre-auction total of estimates.
ANNOUNCING THE LAUNCH OF
Artvisory – New Zealand
Targeting Single-Owner collections
Following the success of our recent and inaugural auction in Auckland, we are delighted to announce the launch of Artvisory-New Zealand, in association with James and Melissa Parkinson.
This move reflects our commitment to a market that is both unique in nature and also one that can only benefit from broader exposure.
Artvisory is the market leader for single-owner auctions in Australia and the company now takes this experience to New Zealand, creating a trans-Tasman marketing hub, that offers vendors with collections in New Zealand an opportunity to sell to a much broader market than before.
By linking up with well-known and trusted specialists in James and Melissa Parkinson, Artvisory can provide the local NZ relationships required for a new business to gain traction and we are thrilled that we can launch with one of the most incredible discovery stories of recent times- the important Tabar Island rain heads that James and Melissa have discovered in Auckland.
The new business is focused on single-owner collections in all of the fields in which we have expertise, from Asian art to Maori and Oceanic art and from European to Australasian art, jewellery and antiques.
We look forward to being of service to our New Zealand clients.
In our December 2025 Auckland auction, provenance proved the decisive measure of value among works of genuine quality, the element that builds confidence, drives competition, and ultimately defines the market for ethnographic art. Collectors responded not only to age and artistry, but to documented lineage, cultural continuity, and the integrity of long term custodianship.
Equally important was the role of careful cataloguing: rigorous research, transparent provenance histories, and detailed cultural context allowing buyers to engage with each piece with clarity and trust. The result, $670,000 realised at a 75% sell through rate, reflects a market that rewards ethnographic art where quality, scholarship, and provenance meet.
The sale was led by two outstanding collections: the Patrick O’Connor Collection, distinguished by the sale of a record-breaking taonga, and the Robert Lerner Collection, a substantial offering of exceptional depth.
From the O’Connor Collection an exceptional Kumete Whakairo (Lot 61) by the Ngāti Pikiao master carver Patoromu Tamatea, achieved a record-breaking $270,000, setting a new national benchmark for taonga and surpassing the previous record by more than $90,000. Its provenance, gifted by Te Arawa chiefs to Robert Graham M.P. in 1878, held through the Graham family collection descent and then passing into O’Connor’s careful stewardship, exemplifies why documented history now sits at the centre of value.
Also from the collection, a rare signalling taiaha realised $23,000 and has since been placed on long-term loan to Christ’s College, where it continues its role in cultural education and public engagement.
The Robert Lerner Collection, built upon the foundation of the Kalimantan Collection, delivered one of the most significant offerings of hei-tiki to reach the market. Across twenty-one examples, collectors responded strongly to rarity, age, and Lerner’s respected custodianship. An 18th-century hei-tiki (Lot 38) achieved $24,000, another lot 40 made $26,000 and a superb 18th-century example (Lot 46) reached $29,000, while a series of 19th-century hei-tiki secured strong mid-market results, sustained evidence of demand for well catalogued and well-provenanced pieces.
Every taonga was offered in strict accordance with the Protected Objects Act, reinforcing the transparency, cultural responsibility, and trust that underpin a modern and ethical auction environment.
These results affirm a market that rewards scholarly cataloguing, quality, and documented history in equal measure. It is with that same ethic that we now turn to our next auction: the superbly provenanced Dr A. A. Schiessel Collection of New Ireland and Oceanic Art, among the most significant offerings of ethnographic art to come to market in Australasia.
An historically important Kumete Whakairo (carved lidded presentation bowl)
Māori, Aotearoa, New Zealand, 19th century
Estimate: NZ$260,000–300,000
Sold for AUD$223,700.00/NZ$270,000
An Impressive Pre-European Hei Tiki Māori, Aotearoa, New Zealand, 18th century or earlier
Estimate: NZ$10,000–15,000
Sold for AUD$20,000/NZ$24,000
LEFT
A Superb Large Pre-European Hei Tiki Māori, Aotearoa, New Zealand, 18th century or earlier Estimate: NZ$15,000–20,000
Sold for AUD$24,000/NZ$29,000
LOWER LEFT
A Pre-European Hei Tiki Carved in Dark Kawakawa Pounamu Māori, Aotearoa, New Zealand, 18th century or earlier Estimate: NZ$12,000–18,000
Sold for AUD$22,000/NZ$26,000
RIGHT
Patoromu Tamatea, New Zealand
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.
Absentee Bid Form
In order to register to bid with Artvisory, please complete this form, scan and email to accounts@artvisory.com.au
Invoice address (PO Box not accepted): City State Post Code Country
Please tick here if you do not want to receive special invitations and online auction catalogues by email. We value your privacy and will not disclose your details to any third party. You may request that your details are removed from our database at any time. If you have not previously purchased with Artvisory, please scan your photo ID (either a drivers licence or passport) and email to accounts@artvisory.com.au
Lot Number (in order)
Catalogue Description (please print clearly)
Cover Bid Not including buyer’s premium or GST (where applicable)
I authorise Artvisory to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Artvisory responsible for any errors that occur. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 26% plus GST of the final hammer price plus any GST payable on the hammer price, as indicated in the catalogue. GST will be charged on the buyer’s premium. If the lot is denoted by the † symbol, GST will be charged the whole amount (hammer price + GST). If the Resale Royalty Scheme is applicable 5% will be charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue. Your invoice will be emailed to the supplied email address immediately after the auction has finished and will contain all details pertaining to payment and collection.
I have read and accepted Artvisory’s terms and conditions as printed in the catalogue and online at www.artvisory.com.au. Bids will not be processed unless this form is signed.
Signature Date
Bidder Number (Office Use Only)
Telephone Bid Form
In order to register to bid with Artvisory, please complete this form, scan and email to accounts@artvisory.com.au
Please tick here if you do not want to receive special invitations and online auction catalogues by email. We value your privacy and will not disclose your details to any third party. You may request that your details are removed from our database at any time.
If you have not previously purchased with Artvisory, please scan your photo ID (either a drivers licence or passport) and email to accounts@artvisory.com.au
Lot Number (in order)
Catalogue Description (please print clearly)
Bid Not including buyer’s premium or GST (where applicable)
Telephone bids must be received by Artvisory no later than 24 hours prior to the commencement of the Auction. Once received, your bid will be confirmed by email.
I authorise Artvisory to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Artvisory responsible for any errors that occur. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 26% plus GST of the final hammer price plus any GST payable on the hammer price, as indicated in the catalogue. GST will be charged on the buyer’s premium. If the lot is denoted by the † symbol, GST will be charged the whole amount (hammer price + GST). If the Resale Royalty Scheme is applicable 5% will be charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue. Your invoice will be emailed to the supplied email address immediately after the auction has finished and will contain all details pertaining to payment and collection.
I have read and accepted Artvisory’s terms and conditions as printed in the catalogue and online at www.artvisory.com.au. Bids will not be processed unless this form is signed.
Signature Date
Bidder Number (Office Use Only)
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 a printed Saleroom Notice or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms and conditions.
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$) unless otherwise specified. 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” and a condition report can be requested at any time prior to the sale.
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 via a secure BPOINT link, 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. 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 and Timed 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 and to make sure the Internet Browser used for bidding is either Chrome or Firefox not Safari as this browser does not support the Invaluable.com platform. We recommend registering or logging at least 24 hours in advance prior to bidding in the sale to make sure there are no issues with customer log in.
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 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$5,000 $50,000–$100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $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.
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 10% 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 or Eftpos/ credit card in person with a 1.43% (inc GST) merchant fee charged for Visa, Mastercard and American Express.
Credit card payments where the card-holder is not present can be made by requesting a secure BPOINT link to be emailed by Artvisory Accounts.
Cash in person is not accepted, however this may be deposited directly into the company trust account and bank receipt supplied) Personal, Company and Bank cheques are not accepted.
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
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, and 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 as published on the website www.artvisory.com.au via Invaluable.com after the sale.
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.
