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Rare + Beautiful Auction • Monday 16 November 2026

Specialists

Regional Representatives

Single-Owner Auctions Paul Sumner 0412 337 827 Sandy Bruce 0421 920 387

Western Australia Julie Smetana

0427 921 756

South Australia Judith Quigley

0417 841 355

Brisbane Dominic Katter

(07) 3003 1850

Chinese and Asian Arts Donald Lee 0455 888 080 Yang Yang 0466 112 688 Paul Sumner 0412 337 827 Indigenous Australian Art Shaun Dennison 0410 501 857

Canberra Rodney Thompson 0407 210 247

Arts of the Middle East Dr Susan Scollay 0418 175 694

New Zealand James Parkinson Melissa Parkinson

design + decoration & Interior Decorator Auctions Amanda Swanson 0414 592 234

james@artvisory.com.au melissa@artvisory.com.au

For all email enquiries please email mail@artvisory.com.au

Australian and International Art Paul Sumner 0412 337 827 Michael O’Meara 0418 505 519

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SOUTH YARRA

CHAPEL ST

PUNT RD

WILLIAMS RD

RIVER ST

james@artvisory.com.au melissa@artvisory.com.au

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South Yarra Station

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Ethnographic Arts James Parkinson Melissa Parkinson

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Rare + Beautiful LIVE AUCTION

Monday 16 November 2026, 6.00pm

VIEWING

Friday 13 November

11am–5pm

Saturday 14 November

12noon–5pm

Sunday 15 November

12noon–5pm

Monday 16 November

11am–3pm

Tuesday 17 November

10am–5pm

Wednesday 18 November

10am–5pm

Thursday 19 November

10am–5pm

Friday 20 November

10am–5pm

COLLECTIONS

ADDRESS

Artvisory Galleries 310 Toorak Road, South Yarra, Melbourne

ONLINE

View catalogue online at www.artvisory.com.au

SPECIALIST ENQUIRIES

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

ADMINISTRATION ENQUIRIES

Accounts & auction administration: Amanda Swanson 0414 592 234 amanda@artvisory.com.au

Collections & Shipping: Jennifer Hirst 0410 777 996 jennifer@artvisory.com.au

How to bid at our Auctions Catalogues and Viewing

Symbols

Online and Timed Online Bidding

Auction catalogues can be viewed on the Artvisory website www.artvisory.com. au approximately three weeks prior to the published date of an Auction.

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.

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:

Printed catalogues will be available complimentary at the auction viewing and can be express posted (within Australia) prior to the viewing for $35AUD.

Buyers Premium

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.

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.

Lot Descriptions

Bidding

The Lot/Catalogue descriptions provide the overall information of an item including size, date or age, medium, attribution, quantity and if known, provenance.

Artvisory offers four options for bidding at our Auctions:

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.

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.

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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 of business, payments must be made in full by three (3) days after the Auction has been completed. We accept Direct Deposit into the Company Trust Account, Eftpos (up to your daily limit) or credit card (Visa/ Mastercard/ Amex) in person. 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 a secure BPOINT link will be emailed to you. Cash payments must be deposited direct to the Company Trust account via any Commonwealth Bank Branch. Goods will be released subject to the deposit showing as cleared funds in the Company Trust Account.

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.

HIGHLIGHTS OF THE ARTVISORY YEAR 2026 MARCH

The Contents of Iona, Darlinghurst, Sydney Iona is a magnificent Victorian Italianate mansion once owned by Australian cinema and theatre luminaries Baz Luhrmann and Catherine Martin and it is one of Sydney's Eastern Suburbs most iconic historic properties. The two-part sale of close to 450 lots of high quality and rare antiques, fine Australian and International art, garden statuary and home furnishings took place in Sydney on 8/9 March and marked another Sydney success for Artvisory with Single-Owner auctions in the harbour city.

In the lead up to the auction, Artvisory presented a series of curated viewings, both private and public in-situ at Iona and secured an impressive amount of national press coverage for the auction. The live auction was held at the Intercontinental Hotel, Double Bay and commenced with the Australian and International art collection, which was a virtual sell-out. Rupert Bunny’s beautiful jewel-like oil painting of the Luxembourg Gardens, Paris circa 1909 attracted multiple bidders and was ultimately chased up to AUD$138,600.00 inc bp. Top furniture and decorative arts results saw $62,880.00 inc bp paid for an 18th century George III period mahogany Carlton House desk sold to a London buyer and a rare 18th century painted leather screen hammered down at AUD$50,400.00 inc bp to a Parisian collector. The auction total exceeded AUD$1.2 million and was 95% sold by lot and well over its pre-auction estimate total. Whilst Artvisory was on location at Iona for this auction, the company created and filmed a corporate video designed to visually showcase how a Single Owner Auction is created and executed - how we tell the story of the collector and the collection in a respectful and knowledgeable way throughout the cataloguing process- ultimately resulting in the informative and stylish printed catalogue, the beautifully displayed viewing and then the auction. We invite you to view this now on our website home page — www.artvisory.com.au and to read the many valued accompanying vendor testimonials we have received from our past Single-Owner auction sale vendors.

FAR LEFT

Rupert Charles Wulsten Bunny (Australian, 1864-1947) Luxembourg Gardens, circa 1909 oil on canvas Estimate: AUD$80,000-$120,000 SOLD AUD$138,600.00 inc bp

ABOVE

im Storrier (Australian, 1949–), Night Blaze (the plains) T synthetic polymer paint on canvas, 76 x 152cm Estimate: AUD$70,000-$100,000 | SOLD AUD$88,200.00 inc bp

BELOW

ir Hans Heysen (Australian, 1877-1968), Morning Mist S oil on canvas, 80 x 104cm Estimate: AUD $120,000-180,000 | SOLD AUD$151,200 inc bp

MARCH

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. 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 fetched $88,200 inc bp. Artvisory conducts two multi-vendor Fine Australian and International Art each year — March and October. Entries are Now Invited for our next Australian and International Art Auction for March 2027. Enquiries: Paul Sumner | 0412 337 827 | paul@artvisory.com.au Michael O’Meara | 0418 505 519 | michael@artvisory.com.au

Paul Sumner, Mike Smith, Dame Darcey Bussell, Natalie Smith, Amanda Swanson

INTERNATIONAL LAUNCH — MELBOURNE, APRIL 29 2026

The 1802 Collection by Henry de Freycinet 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 that make up the 1802 collection are named the Louis, the Henry and the Rose.

Henry de Freycinet the designer and 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

A stunning Cartier Art-Deco diamond brooch, circa 1930 Estimate: AUD $25,000-35,000 SOLD AUD $47,800.00 inc bp

A superb Cartier emerald and baguette cut diamond ring, circa 1950 Estimate: AUD$30,000-50,000 SOLD AUD $124,450.00 inc bp

JUNE

Rare + Beautiful, Melbourne The inaugural auction entitled Rare + Beautiful in June offered a curated selection of high quality decorative arts, furniture and objects d’art for auction from Australian and International Private Collections. Highlights included a collection of exquisite Cartier jewellery, consigned from the Estate of Dauvergne Morgan of Melbourne, whose father Robert Walker was a famous International grand-prix driver in his day, who drove with Stirling Moss to many notable victories in the 1950’s and 1960’s. Robert bought numerous pieces of fine jewellery from Cartier in London as gifts for his glamorous wife Elizabeth, which constituted this superb collection, including an exceptional diamond engagement ring – Lot 11 – an emerald cut diamond ring estimated at AUD$30,000-50,000 which fetched $120,412.28 inc BP.

Importantly, we timed this auction to coincide with the Melbourne Winter Masterpieces Cartier Exhibition at the National Gallery of Victoria, to create a heightened excitement in the market for all things Cartier, and we were honoured to have had Ms Pascal Lepeu, Director and Curator of the Cartier Collection in Geneva, Switzerland attend a special private viewing of the Morgan Cartier collection at Artvisory prior to the auction. The success of Rare + Beautiful June will see a second Rare + Beautiful November auction held this year and it will now be a twice yearly fixture going forward in the Artvisory action calendar.

8 LEFT

A Superb Rare Valik Malagan Mask New Ireland, Tabar Island, early 20th century 90cm high, 160cm wide Provenance: Dr A. A. Schiessel Collection (1906–1986), Vienna Field collected in New Ireland, 1949–1950 Estimate: NZ$25,000–35,000 SOLD NZ$49,600.00 inc bp

JULY

The Tabar Island Rainmakers The Dr A Shiessel Collection, Auckland New Zealand and Launch of Artvisory-New Zealand

James Parkinson, Artvisory NZ and Australian head of Ethnographic Art and Melissa Parkinson, Artvisory NZ and Australian Senior specialist Ethnographic art, secured an incredibly rare and important collection of oceanic art for sale in Australasia earlier this year in Auckland New Zealand – The Dr A.A Schiessel Collection. The collection was remarkable for two reasons – firstly, the rarity and cultural significance of the works themselves, which included a collection of incredibly rare Tabar Island rain-heads- with only fifteen other examples ever recorded prior in public and private collections worldwideand secondly, the depth of the history and provenance, preserved through Dr Schiessel’s scholarly journals, maps, drawings and field notes – all created at the actual time of collection in the field. The collection had stayed with the family, and was unseen by the public for almost 80 years. The sale of this collection marked a rare moment when a fully archived field collection, moved from private stewardship into the public domain

and because of this received unprecedented media attention in New Zealand and in Oceanic Art collector circles around the world. The auction took place in Auckland, New Zealand on July 27 and was a tremendous success with the successful private and institutional buyers hailing from every corner of the globe. We were honoured to have been entrusted with this rare collection and thrilled to see Dr A.A Shiessels collecting legacy live on for further generations. Artvisory was delighted to announce the formation of Artvisory New Zealand at this time and this inaugural success bodes well for future auctions for the company in NZ.

SEPTEMBER

Private Sale Peter Schipperheyn We are pleased to announce the most significant sale in our twenty-year gallery history: Peter Schipperheyn’s monumental bronze Zarathustra, which stands over four metres tall and is edition two of three. Originally commissioned by Dame Elisabeth Murdoch AC OBE for the McClelland Sculpture Park, Langwarrin, where edition one remains in the collection, this celebrated sculpture was cast at the Fonderia Massimo Del Chiaro in Pietrasanta, Italy. The foundry, renowned for its work for Fernando Botero and innumerable other sculptors of international standing, produced this second edition, which Artvisory Gallery has sold to an important private collection in Australia. Enquiries: Paul Sumner 0412 337 827 | paul@artvisory.com.au

“The art and vision [of Peter Schipperheyn] is wholly inspired by the great figurative traditions in Western art: his delicate drawings reflect an extraordinary sensitivity for the human figure, whilst his majestic sculptures are expressions of the grandeur and vision that aspire to the greatest European traditions. He is currently unique in Australia; no other living Australian artist has so totally dedicated himself to seeking a truly contemporary expression of Western arts most inspired tradition.” Edmond Capon AM OBE (1940–2019) This written in 1989. Director of the Art Gallery of New South Wales 1978–2011

Rare + Beautiful Auction 16 November 2026

An extraordinary fully-fitted mahogany dressing and work table English table and glass/ceramics-Chinese mother-of-pearl fitments, circa 1830 table 107cm wide, 57cm deep, 73cm high PROVENANCE

Private Collection, Tasmania $2,000–4,000

The vendor has provided this family history for this table: The table was most likely constructed early in the 1830s and was sold to Harriett Esq by Dorothy Calvert, of 189 Fleet Street – as per bill of sale (undated). This sale to Harriet Esq must have occurred before Dorothy’s death in 1840. According to an article in a magazine produced by The Worshipful Company of Turners of London (and written by Kristina Guiguet PhD), the Calverts were famous for making carved and turned ivory chess sets. John was a member of the Worshipful Company of Turners of London and they were operating from their shop at 189 Fleet Street in London (opposite Somerset House). John died in 1822 and Dorothy kept the business going until her death. (She was reportedly friends with Sophia, the daughter of King George 3rd and handled the sale of the King’s turning equipment from her Fleet Street shop in 1833). The vendor’s family have been told that the table was owned by the wife or daughter of a ship’s captain (both mentioned at different times in family notes). The family story also maintains that the table was made to be taken on board ships and originally had removable legs with the current centre leg being added later. Elizabeth Ann Read (nee Doyle, b 3/2/1865) ran a boarding house in Stockwell Road, Brixton after her husband (John William Read) left her with 9 children to care for; this was some time between her youngest child being born in 1905 and before her death in 1940. Currently the address of this house is not known. The vendor’s family notes include 2 slightly varying stories about the Harriett link with the table. One is that Elizabeth was given the table by a lodger who was the wife of the Harriett Esq mentioned on the original bill of sale, but this is not substantiated and it was perhaps more likely not to have been the wife but rather someone in the next generation of the Harriett Family, given the time frame. ie. the sale of the table was prior to 1840 (Dorothys death) and was probably not given to Elizabeth Read until at least 65 years later. The second version may be closer to the real story – that Elizabeth Read cared for the daughter of a ship’s captain. The Miss Harriett had perhaps used Elizabeth’s home as a base and was reportedly living there at the time of her death.

The table was left to Elizabeth’s eldest surviving daughter, Hilda North who then gave it to her nephew, Anthony Read, (the eldest son of the eldest surviving child born to Elizabeth and John). On Anthony’s death it was passed on to his brother, Peter Read, who had 4 children. Peter’s wife decided to sell the table as, at his death, Peter had not made a decision about which of his children would inherit it. For at least 100 years the table has remained in the Read family. It was transported to Tasmania when Anthony Read migrated there in 1963. Clues regarding the ownership of the table prior to the Reads: Bookmark embroidered ACH Engraving on each of the glass bottles in the table AH Name on the flyleaf in one book is Henry Harriett A note in another book says “To AH Harriett from Aunt Eliza 28/7/49" Items most likely belonging to the table originally include: 4 x glass bottles with engraved glass stoppers (AH) 5 x glass trays (2 long, 2 short), engraved AH Engraved (AH) glass bottle with metal screw on lid The following nine lots were also housed in this table, but are being sold separately, as they do not directly relate to the manufacture of this table.

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A fine and antique Indian ivory silver wire and coloured wool necklace mid 19th century comprising eighty-one oval polished ivory beads approximately 110cm long, with silver wire and wool pommel 25cm long, the beads range from 2cm to .5cm PROVENANCE

Private Collection, Tasmania $200–400

William Cowper, Poems of, T. Noble London 1847 and Robert Southey, The Poet's Pilgrimage to Waterloo G.Nodes 334 The Strand gilt edged, and red canvas boards with gilt tooling Robert Southey, The Poet's Pilgrimage to Waterloo, Longman, Hurst, Rees, Orme and Brown 1816, marbled boards and gilt tooled leather 1. 12.5 x 8cm 2. 16 x 10.4cm PROVENANCE

Private Collection, Tasmania $40–60

AUGUST BREITHAUPT

A rare collection of twenty Calcutta school paintings of nobility and workers, on mica sheets Indian, first half of the 19th century

UNKNOWN ORIGIN, 19TH CENTURY

European mountain valley scene, Ruined Abbey and Street scene with buildings Two fine pencil drawings and a pencil and watercolour two signed and the one of the abbey unsigned 1. oval 15 x 12cm 2. 19 x 28.5cm 3. 9.5 x 13.5cm PROVENANCE

Private Collection, Tasmania $200–400

each tipped into the two original paper folios, each titled with their roles in ink script each mica sheet approximately 12.2 x 9cm, folios 19.5 x 14.7cm PROVENANCE

Private Collection, Tasmania $1,500–2,500

A collection of four fine Chinese carved ivory, gilt-metal and tortoiseshell hand mirrors Qing Dynasty, mid 19th century three matching and one with polychrome painting to the ivory finely carved with noblewomen on terraces with woven silk attachments approx. 9 x 6.5cm PROVENANCE

Private Collection, Tasmania $800–1,200

A pair of fine Chinese carved sandalwood, gilt metal and tortoiseshell hand-mirrors Qing Dynasty, mid 19th century finely carved with noblewomen on terraces, one with a deer, with woven silk attachments oval 9 x 7cm

PROVENANCE

Private Collection, Tasmania $500–800

6 (Detail)

A very unusual and fine Chinese carved ivory and painted and inscribed paper fan Qing Dynasty, mid 19th century, with English decoration the decoration formed of rectangles outlined in various bright colours and offset to what is a very jazzy design for it's period. Each then filled with zany or ironic sayings about life and the universe. initialled E.B canes 25cm long, approximate width when open 45cm

PROVENANCE

Private Collection, Tasmania $300–500

Three Chinese fans, two feather and one painted paper Qing Dynasty, 19th century Two feather fans with 25 and 26cm canes, The painted one with 20cm canes PROVENANCE

Private Collection, Tasmania $100–200 8

A very good antique amber necklace Possibly Anglo-Indian and first half of the 19th century comprising thirty-five graduated oval beads with bright orange translucence, with a glass like quality 47cm long, beads range from 2.2cm down to .8cm PROVENANCE

Private Collection, Tasmania $300–500

Toussaint Antoine de Chazal de Chamarel (1770–1822) Portrait of Captain Matthew Flinders, RN, (1774-1814) Image courtesy of Art Gallery South Australia, Gift of Mr David Roche.

An important and extensive collection of material relating to Captain Matthew Flinders RA (1774-1814) The collection: 1.

Portrait of a man with likeness of Captain Matthew Flinders Artist Unknown, early 19th century, oil on canvas, 64 x 50cm Reputed to be the last portrait of Flinders before his untimely death aged 40, when his wife (soon to be his widow) Ann Flinders noted that he had aged as though he was aged 70.

2. Gold mounted keepsake circa 1800 with a portrait reputedly of Matthew Flinders to one side and reputedly Matthew Flinders Senior to the other. 5cm high, 3cm wide secondary straw collage attachment titled: Innocence.

3. Gold framed miniature painting on ivory of a gentleman in gold frame, circa 1800/1810, woven-hair back initialled W.E.A 8cm high, 6.5cm wide 4. Gold mounted ivory snuff box with inked engraved scenes, circa 1780-1800 believed to have been owned by Matthew Flinders Senior. 6.5cm wide, 5cm deep, 1.9cm high. 5. Gold mounted garnet and pearl set expanding hair bracelet circa 1800 said to be the hair of Matthew Flinders. approx. 5cm wide 6. Whale-bone snuff box circa 1800 with alloy hinges said to belong to Matthew Flinders. 9cm long, 4cm wide, 2cm high 7.

Desk seal in hardwood (possibly Lignum vitae) the seal with a motto and winged stirrup arms. 10cm high, 3.2cm diameter

7a. Mother-of-pearl and alloy circular pocket compass, circa 1800. 3cm diameter. 0.6cm thick

8/8a. A hardwood (Possibly Padouk/teak) decanter box circa 1800 with four glass bottle decanters, Bramah lock and brass carry handles. 29cm wide, 29cm high, 23cm deep. Reputedly Captain Matthew Flinders personal decanter box onboard H.M.S. Investigator

11. Daguerreotype photograph of a young man circa 1850 in foil jewelled gilt frame. Possibly a later family member. 6 x 5cm, frame 21 x 19.5cm

9. Treen mortar or bottle holder circa 1800 reputedly turned by the carpenter onboard H.M.S. Investigator. 24cm high, 19cm diameter.

12. A Concise history of the New Testament, London Printed for W. Harris No 70 St Paul's Churchyard 1771 leather bound with woodcut illustrations 5 x 3 x 2.3cm thick. By repute given to Matthew Flinders aboard The Investigator.

10. Portrait of a lady, circa 1829. Possibly a later family member Black lacquer papier-mache frame. 8 x 7cm frame, 15 x 13cm. The reverse of the portrait has the date 1829 in gold lettering and the sitters hair. The frame with illegible paper label inscribed lady H...

13. Two handwritten books: Anatom Lectures Book 1 and Book 3 Dated Jan and March 1770. Book 1 inscribed: Matthew Flinders in gothic script in the handwriting of Matthew Flinders Senior (Surgeon) 18.5 x 12.5cm and 20 x 17cm 14/B1. A Chinese brass and glass Chinese oil lamp 17.5cm high Reputedly the personal log-lamp of Matthew Flinders onboard H.M.S. Investigator 15/B2. A brass mounted ebony and ivory octant by S W Silver and Co Cornhill London. 31cm long, 25cm wide 16/B3. A brass telescope engraved Bate London English, circa 1800 4cm diameter approx.57cm long extended and 12cm closed Leather cased. Engraved Bate London By repute given to Matthew Flinders by Governor Gidley King 17. A brass lee-way ships lantern 24cm high, 9.2cm wide. Reputedly taken from the H.M.S. Investigator

18/B7. A brass pocket compass in leather case, 5.2cm diameter, 8cm high 19. Model of the H.M.S Investigator in glass and wood case by R.T Sexton 1970's. 38cm high, 67cm wide, 25cm deep 20. Brass and leather telescope, engraved George Dixey London Imperial Telescope diameter 7.5cm, 92cm extended. In original mahogany case, 64cm long, 10cm high and 10cm wide, with an extra high power lens By repute a telescope used by Matthew Flinders when he circumnavigated Terra Australis. 21. page 13/No2 Engraving of Sir Joseph Banks N Shiavonetti. After the painting by Thomas Phillips RA visible paper size 52 x 39cm 22. page 13/C1 Engraving of Sir Joseph Banks George Dance del. June 27 1805, William Daniell Fecit 23. page 14/5 Baxter Print of Cape Wilberforce discovered by Matthew Flinders in 1802 visible paper size 13.7 x 16cm 24. page 14/8 Coloured engraving of Governor Philip Gidley King visible paper size 14.5 x 10.5cm 25. page 14/C10 Watercolour of the Flinders Monument Stamford Hill Lincoln National Park SA by W K Gold 1979 unframed 35 x 27cm 26. page 16/1 Pencil drawing H.M.S Investigator circa 1970's by R.T Sexton 33 x 47cm 27. page 16/3 A 12.5cm cannonball and a collection of five copperbronze rivets nail and a handle taken from the wreck of the Porpoise and Cato retrieved by Mr Ben Cropp when diving there in 1965 28. page 17/4 Large carved figure of Napoleon Bonaparte with carved name Bellerophon. 79cm high, 24cm wide, 17cm deep. Possibly done by a sailor on board the H.M.S Bellerophon, Flinders served as junior mid-shipman on this vessel. Napoleon was later responsible for the release of Matthew Flinders from Mauritius. 29. Page 18 Perouse's Voyage, by J.F.G De La Perouse 22 April 1792 Published London 1798 3 vols calf and gilt tooled spines. 22 x 14cm 30. Drawings by William Westall Landscape artist aboard The Investigator published by the Royal Commonwealth London Society 1962 calf spine, canvas boards 48 x 34cm 31. Quarterly Review October 1814-January 1815 vol XII C Roworth London for John Murray London covering the Flinders Voyage to Terra Australia Calf spine marble boards, 22 x 14cm bookplate for John Forster 32. The Voyage of Governor Phillip to Botany Bay by Captain Hunter et al. Dublin 1790 in Roman numerals Inscribed in mauve script: A Mrs Philip sic. Calf bound 20.5 x 13cm 33. An Account of Voyage to New South Wales by George Barrington. Printed for M Jones, London 1803. Inscribed twice in ink W Cartwright. marble boards and calf spine, 21.5 x 14.5cm 34. Steel's Lift of the Royal Navy Printed in London circa 1801-5 various editions including those listing Matthew Flinders. 14 x 13cm, unbound

35. A List of the Flag Officers of His Majesty's Fleet, London 1 January 1802 Printed by M and S Brooke London with attached letter from Richard Bullen to Captain William Kennedy, dated May 7 1857 stating that Lord Nelson gave this book via Vice Admiral Sir Thomas Hardy (Flag Captain to Lord Nelson) to his relative Admiral Sir Charles Bullen (of Battle of Trafalgar fame) and then came down to him by descent It is further inscribed then in ink by William Kennedy 10 May 1857 and on the next page re-stating its Provenance to Lord Nelson. Calf bound and gilt tooled 19 x 8.5cm 37. Voyage to Terra Australia by Matthew Flinders Commander of The Investigator 2 Vols plus charts. 1814 reprinted Adelaide Libraries Board of South Australia 1966 edition number 37, 35 x 28cm cloth bound 38. A Woman and Child of Van Diemen's Land and A Man of Van Diemen's Land Engraved for Bankes' New System of Geography (From Cooks Voyages) visible paper size 36.5 x 22.5cm 39. Loss of the Porpoise and Cato and Loss of the Doddington, Printed for Thomas Tegg London circa 1808 Green card boats and cloth spine 18.5 x 10.6cm

40. Matthew Flinders Vol 1 Navigator ad Chart-maker by Geoffrey C Ingleton and Vol 2 Private Journal 1803-1814 Numbered 237/550, cloth boards and calf spine 32 x 24cm and dust case 41. The Life of Captain Matthew Flinders by Ernest Scott Angus and Robertson Sydney 1914. Gilt tooled blue boards 22 x 15 x 6cm 42. Matthew Flinders Personal Letter from an extraordinary life edited by Paul Brunton, Hordern House in association with the State Library of New South Wales 2002 43. French Exploration in South Australia (1802-1803) by H.M. Cooper numbered 144/200 printed by Macdougalls, Adelaide

44. Captain Matthew Flinders R.N. by Jospeh Bryant Epworth Press London First Edition 1928, 9 x 13cm 45. Journal of Nicolas Baudin Translated form French by Christine Cornell Libraries Board of South Australia,Griffin Press, Adelaide, 1974, Green cloth boards, 30 x 23cm 46. Artist Unknown, Portrait of Gentleman and Lady, believed to be a relative of the Flinders family, oil on board, 28.5 x 37cm 47. China Trade School, first half of the 19th century Panoramic view of the Macau Peninsula from Penha Hill and of Whampoa Anchorage Pearl River near Canton (Guangzhou) A pair of oil paintings on canvas, under glass, 18 x 25cm gilt framed

48. An early 19th century turned wood seal with letter L 49. 19th century portrait miniature of an unidentified young lady wearing a blue jacket with red collar A visual inventory is available at this link which cross references to this list with the same ordering system: https://drive.google.com/file/ d/1w7VXRwryrBMWqiOEmzu2UGfr-RFYn2OD/view?usp=share_link PROVENANCE

Following the death of Matthew Flinders on July 19, 1814 at his London home and due to the difficult financial circumstances of his widow Ann (Chappelle) Flinders, this collection is reputed to have come into the possession of a Lieutenant Cartwright, A Lieutenant Cartwright is recorded in Flinders' journal page 55/56. Ref: Mitchell Library, State Library of New South Wales, Matthew Flinders Private Journal, 17 December 1803 to 8 July 1814 Page 55/56: "Tuesday 13. A Lieutenant Cartwright of a Bengal Seapoy Corps, going to England on furlough, was taken in the Hope and brought into this house today" A book bearing the hand-written surname Cartwright is No 33 in this collection. It is believed that Cartwright family settled in Victoria and their last known descendants in Victoria sold this collection (Circa 1950) to Miss Francis May Berry, a very well-regarded antiques dealer of Chapel Street Melbourne. Francis Berry was a close friend of Sir Arthur Streeton, Dame Nellie Melba, Tom Roberts and many others and she mixed in high society of the day. She had a passionate interest in the early pioneer history of the Colony. Alan Myren a noted collector in Adelaide, was a close friend of Francis Berry, and he acquired this collection from her, prior to her passing in 1973.

In March 1978 Ann Flinders Petrie, great grand daughter of Matthew Flinders reviewed the collection with Alan Myren and noted the likeness of the family portraits in particular. Items from this collection have been loaned in the past by Alan Myren to the Art Gallery of South Australia: Matthew Flinders Bicentenary Exhibition 1774-1974, The Flinders University of South Australia: 1974 Celebrations, The Bicentennial Exhibition of Matthew Flinders held at David Jones Gallery Sydney and multiple regional museums in Victoria and South Australia. $40,000–60,000

A fine and very rare Regency painted tole-ware oval tray with 'The Landing at Erramanga, one of the New Hebrides' depicting 'The Death of Captain James Cook' after George Carter English, circa 1800 76cm wide, 59cm deep, rim 4cm high PROVENANCE

Private Collection Sydney $40,000–60,000

The subject is taken from the print issued in 1784 and 1794 after Carter’s large paintings of ‘The Death of Captain James Cook’ (National Library of Australia (1781), and Bishop Museum, Honolulu (1783)). Carter’s image appears to have been pirated from various sources, including Hodges’s ‘The Landing at Erramanga, One of the New Hebrides’ (engraved in the official account of Cook’s second voyage published in 1777). https://www.rmg.co.uk/collecEons/objects/rmgc-object-154026.

The image of Cook wielding a gun is also seen in John Cleveley’s original watercolour for the Hawaiian plate in his four Views in the South Seas (1787-8), although the image is edited in Jukes’s subsequent aquatint, which shows Cook rather ‘calling out to the boats to stop firing, and to pull in’ as per the official narrative, and as followed in John Webber’s depictions of the event (c.1781-3). Carter’s image was proliferated on a number of pieces of decorative japanned metal (toleware) and papier-mache. For oval variants on metal of similar size, probably from the same manufactory, see: Christie’s (London), 27 Sept. 1996, lot 88 (also on a tray, 60.9 x 76.2cm) https://www.christies.com/lot/lot-1035899 Deutscher and Hackett (Melbourne), 29 August 2018, lot 27 (not fashioned as a tray, 56.5 x 74.5cm.) (sold AUD$122,000 - estimate AUD$40,000-60,000). https://www.deutscherandhackett.com/aucEon/ lot/death-captain-james-cook-c1781-%E2%80%93-84 Also refer: American Museum and Gardens, Bath https://artuk.org/discover/artworks/the-death-of-captain-cook-rn-onhawaii-40968

12 (Detail)

For a variant on japanned papier-mache´, see the tea tray in the Australian Maritime Museum produced by Henry Clay’s Birmingham manufactory, the subject copied by Edward Bird when apprenticed to Clay between 1785 and 1794: https://www.sea.museum/2019/04/15/anyone-for-tea Links to referenced images: CARTER OIL (NLA, CANBERRA) heps://nla.gov.au/nla.obj-134286967/view CARTER PRINT 1784 heps://www.briEshmuseum.org/collection/object/E_ Oc2006-Prt-140 CARTER PRINT 1794 heps://wellcomecollection.org/works/pc95e5zx/ items CARTER’S DEATH OF COOK ‘Coinciding with the publication of A Voyage to the Pacific Ocean and the subsequent resurgence of interest in images of the death of Cook [...], the 1784 exhibition [at Somerset House] was offered no fewer than three paintings of the scene, by Ramberg, Grignion Jr., and Carter. “Poor Cook,” sighed one contemporary critic, “what an unhappy fate, doomed to be murdered all over the world.” The Academy perhaps thought that three was too many, as Carter’s was rejected and “lay in the lumber room at Somerset House, for upwards of a month.” Carter responded defiantly, by including the picture the following year in a private exhibition at the Royal Academy’s former premises on Pall Mall. ... ‘... Carter’s painting, one of several copies he had painted since 1781, had more assertive pretensions. In size and composition, the picture was designed as a pendant to West’s 1771 Death of Wolfe, and depicts a more robust Cook standing over the bleeding body of a Hawaiian, wielding his gun as a club. The native figures are heavily racialised caricatures of black ‘savages’ with the cursory addition of some loosely copied feather garments – a cloak, a helmet – to distinguish them as Hawaiian. They are contrasted with Cook and his ordered, stalwart British tars. A more reassuring vision of British superiority over the Other, Carter’s image was nevertheless no more acceptable as high art than Ramberg’s, prompting scathing comment in the Public Advertiser: ‘His tawny Captain Cook in a white Waistcoat, defending himself against a Savage, was perhaps a Mistake in the Inscription under the Plate; and we ought rather to read – the Captain’s Cook knocking down a Scullion; for the chief Figure bears a stronger Resemblance to the Hero of a Porridgepot, than to our great Navigator round the World.’ ‘With these mock-heroic references to washerwomen, cooks and scullions, criticism of Ramberg and Carter suggests that attempts to attach the status of history painting to the mass topical celebrity of Cook could be perceived as dangerously close to burlesque. Carter’s own working-class origins – like Cook, he had reportedly worked as a

shop-assistant – did not help to conceal the potentially incongruous, self- made, and weatherbeaten commodity which still threatened to emerge from behind the vague notion of a shared national figure: “our great Navigator round the World.” Carter struggled to sell his original paintings of Cook’s death and seems to have made further losses from his private exhibition, leaving for India shortly afterwards. Some of his costs, though, were presumably recouped through the sales of a self- published print issued immediately before the publication of A Voyage to the Pacific Ocean. ‘This print was ambitious. In collaboration with the major London firm of Sayer and Bennett, Carter employed John Hall, who also worked on the prints of West’s history paintings, for the portrait of Cook, and two other respectable engravers to complete the figures and the landscape. It was large and, at a guinea for a standard print, expensive. Print, then, as Webber’s success would demonstrate, offered a less controversial form for the representation of Cook’s death, with the potential for the artist of some prestige and relatively high financial security. Fine art prints like Carter’s and Webber’s were followed by more ephemeral commodities. A repeating toile de jouy-style calico produced in Salford, for example, showed scenes from Cook’s voyages, including his death. ...’ Ruth Scobie, ‘The Many Deaths of Captain Cook A Study in Metropolitan Mass Culture, 1780-1810’, PhD Thesis, University of York, English Department, April, 2013. https://etheses.whiterose.ac.uk/id/eprint/4305/5/The_Many_Deaths_of_ Captain_Cook_corrected.pdf When it was published in 1783, A Journal of Captain Cook’s Last Voyage to the Pacific Ocean was the first book to receive copyright protection in the newly formed United States of America. It was authored by John Ledyard, a Connecticut native who served as a Royal Marine aboard HMS Resolution. He was part of the landing party at Hawaii and a first-hand witness to the death of Cook; his account of the event of that fateful day was published a year before A Voyage to the Pacific Ocean was issued. (In 2023 a copy of Ledyard’s boon was offered at Bonhams Skinner in the USA. Remarkably, it had been held by the same New England family since 1792, and was sold complete with a rare map contemporary to the book for US$128,000). Antiques to Vintage, Autumn 2023, issue 90, p.80 We are most grateful to Nicholas Lambourn, former Senior Director at Christie’s, London and Ailice M Ilich, Sydney, for their generous assistance with the research for this catalogue entry.

JOHN HEAVISIDE CLARK BRITAIN/AUSTRALIA, 1771-1812

Views of New South Wales A set of four rare hand coloured aquatints Believed to be by John Heaviside draughtsman (1770-1863) and John Eyre (1771-1813) sculpt. View of Sydney from the West Side of The Cove No 1 and 2 View of Sydney from the East Side of The Cove No 1 and 2 Published London 1810 by John Booth, Birds eye maple frames plates 41 x 55cm, visible paper size 48 x 54cm, frames size 56 x 72cm PROVENANCE

Private Collection Sydney $5,000–10,000

These rare views of Sydney from the East and West sides of the Cove are engraved by Clark, thought to be by John Heaviside Clark. The original paintings for these views are in the Dixson Gallery, Sydney. The engravings form a complete panorama of Sydney, the first to be published.

A Russian silver ninety-piece dining service by Orest Fedorovich Kurlyukov (1845–1916), Moscow Imperial Russian, 1899-1908 The following seventeen lots were passed down by Lilija Brante to the vendor when they visited her in 1976 in Baden Baden. Lilija Brante (1897-1983) was a prominent Latvian publicist, writer and women’s rights advocate. She is most highly regarded for her pioneering contributions to Latvian feminist literature during the interwar period. Her famous work is the 1931 book “Latviesu Sieviete“ (The Latvian Woman). This landmark text meticulously compiled historical details and achievements of Latvian women across education, literature, visual arts and theatre establishing a vital record of their cultural footprint.

ten table forks nine dessert forks and knives with filled handles fourteen table spoons eleven teaspoons seven dessert spoons fourteen dessert forks two carving forks with filled handles 2.75 + 1.85kg plus the following that were not included in this weight: 10 steel bladed silver handled table knives 13 steel bladed silver handle dessert knives PROVENANCE

Private Collection, Perth, Western Australia $8,000–10,000

Far Left: (left to right): Krisjanis Parups (The vendor's great grandfather, Milda’s father) Vija (affectionately called Tuti) Sumanis, (daughter of Milda Kornelija Sumanis) Milda Kornelija Sumanis (The vendor's great aunt) and Elizabeth Parups (The vendor's great grand mother, Milda’s mother) Photo taken in 1935. Tuti born 1922 passed away tragically in 1945. Left: Lilija Brante (nee Parups, the vendor's great Aunt.)

He was a merchant of the 2nd guild, a supplier to the Russian Imperial Court, and earned a Grand Gold Medal and the right to use the Imperial double-headed eagle in his branding. His pieces were also retailed internationally, including through houses like Tiffany & Co. in New York

Lilija Brante lived with the Sumanis' in Switzerland from 1920. The vendor inherited the flatware and dinnerware from Lilija during a visit to her home in Baden Baden in August 1975.

Items from his firm typically bear the Cyrillic maker’s mark O.K.for Orest Kurlyukov, alongside standard Imperial Russian silver hallmarks, such as 84 or 88 zolotnik standards.

The Sumanis' came back to Latvia annually until the Russian occupation in 1940 on holidays and stayed in the respective families holiday homes in the countryside around Bauska – near Lithuanian border. The Parups' and the Sumanis' were wealthy and had multiple holiday homes in the Bauska area and homes in the Riga area. All were lost when the Russians invaded and occupied till 1991. Most of the homes were permanently lost. The wars and long separation due to the Russian occupation has resulted in family photos and documents being lost. REFERENCE

Orest Kurlukov was born in 1845 and passed away in 1916; his workshop/ firm operated in Moscow from 1884 to 1917 (ceasing operations after the Russian Revolution).

Five matching silver spoons, by Henrik Wigstrom, chief work-master to Faberge Russian, 1908-1917

An embossed silver spoon, maker possibly Seibel, Mettmann German, circa 1860-80

weight 0.10 kg, monogrammed LP and dated 27 XII 1902 14.6cm

weight 0.04kg 13cm long, bowl 4.2cm wide

A Russian silver table spoon and fork, a silver handled table knife with steel blade, a silver plated spoon and a silver plated fork

PROVENANCE

Private Collection, Perth, Western Australia

$120–180

$50–100

A silver baluster shaped cream jug, makers mark of Olof Fredrik Wennerström (active 1830–1854). Russian, St Petersburg, 1852

A silver open pedestal salt, with scroll and leaf border Russian circa 1860-80

Private Collection, Perth, Western Australia

knife 26cm long

$500–1,000

A silver-plated and parcel-gilt strainer spoon Buch Brothers (Gebrüder Buch) Warsaw, Poland under Russian administration, circa 1875 PROVENANCE

engraved with initials LR beneath a crown weight 0.30kg 12cm high, 14cm wide over the handle, 11cm diameter

Private Collection, Perth, Western Australia

PROVENANCE

116cm long, bowl 7cm wide

$50–100

Private Collection, Perth, Western Australia $200–400

weight 0.05kg 10.5cm long, 5cm wide, 3.3cm high PROVENANCE

Private Collection, Perth, Western Australia $100–200

24 25

Four matching silver tea-spoons makers mark R Vendt St. Petersburg Russian, 1854

A two-handled silver sugar basin, makers mark of Olof Frederick Wennerström (1796–1854) Russian, St Petersburg, 1852

A Neo-Classical silver rectangular cream jug, makers mark of Nikolay Lukich Lifanov Moscow, 1882

initialled LR beneath a crown, weight 0.55kg 13.5cm high at the handle, diameter 16cm, 22.5cm wide over the handles

weight 0.20kg including ebony handle 13cm high at the handle and 13.7cm wide over the handle

weight 0.10kg 14.5cm PROVENANCE

Private Collection, Perth, Western Australia $250–350

A fine quality silver letter opener, with the coats of arms of the Kingdom of Portugal, makers mark A L de Souza, Lisbon Portuguese, circa 1900

PROVENANCE

Private Collection, Perth, Western Australia

$500–1,000

$200–400

A small Russian silver cake server, mark mark RP Soviet era, circa 1930

A Russian silver serving spoon, makers mark of Johann Gotthardt Mullack and Ferdinand Emanuel Mullack, Riga dated 1853

weight 0.10kg 18.5cm long, 5cm wide

weight 0.05kg and .875 standard 18.5cm long, 4cm wide

PROVENANCE

Private Collection, Perth, Western Australia

PROVENANCE

$300–500

$120–180

Private Collection, Perth, Western Australia

0.20kg 35cm

$300–500

A large embossed silver tureen and cover Central European, circa 1850-70

A silver-gilt cake basket with swing handle, with scroll and leaf border, makers mark FG Russian, circa 1860-80

weight 1.05kg engraved Ystavilta Suomessa 1927/10. 38 29cm wide over the handles, diameter 22cm

weight 0.50kg 27cm long, 23cm wide

PROVENANCE

Private Collection, Perth, Western Australia

$1,000–2,000

$600–800

A fine silver eighty-five piece .800 silver table service by Broggi Italian, circa 1880-1900

A pair of striking silver-gilt garnet and pearl set memorium bracelets European, circa 1857-1865

22 fish knives 24 fish forks six butter forks and four knives all with filled silver handles four dessert forks six table forks five dessert spoons four teaspoons fish server knife and fork large soup ladle weight 4.75kg plus 5 each gold coloured metal dessert knives and forks and 3 steel bladed silver handled table knives not included in this weight PROVENANCE

Private Collection, Perth, Western Australia $3,000–5,000

All of the flatware is monogrammed MS – for Milda Sumanis. Vilis Sumanis married Milda Kornelija Parups, the vendor's great aunt. Vilis Sumanis was a prominent Latvian diplomat/envoy to the League of Nations and Ambassador to a number of European countries. Lilija Brante lived with the Sumanis' in Switzerland from 1920. The vendor inherited the flatware and dinnerware from Lilija during a visit to her home in Baden Baden in August 1975. The Sumanis' came back to Latvia annually until the Russian occupation in 1940 on holidays and stayed in the respective families holiday homes in the countryside around Bauska – near Lithuanian border. The Parups' and the Sumanis' were wealthy and had multiple holiday homes in the Bauska area and homes in the Riga area. All were lost when the Russians invaded and occupied till 1991. Most of the homes were permanently lost. The wars and long separation due to the Russian occupation has resulted in family photos and documents being lost.

each featuring woven hair and terminating with a large gilt serpent clasp. Having garnet, pearl and engraved detail with the tail acting as the clasp, engraved with R.Brieger.1857 and..... ?? E.G 24 Dec1865. Smaller bracelet 6.5cm diameter, larger bracelet 7cm diameter PROVENANCE

Private Collection, Perth, Western Australia $400–600

In Latvia (Livland) there was a Baltic-German mourning custom that when a family member died, their hair was worked into jewellery by a specialist hairworker, and a clasp was engraved with the name/year. It was then worn by the widow / mother / sister. Brieger was the name of a wealthy family in Riga around the middle of the 19th century in Latvia and so it is likely that they knew the Soumanis family.

31 32

ARTIST UNKNOWN BRITISH, CIRCA 1800

Portrait of a Georgian gentleman with powdered hair rendered in oils and 9 carat gold locket frame initialled IS- which is often for the famous British miniaturist John Smart frame 5.3 x 4.2cm, oval miniature 4 x 3.2cm 34

PROVENANCE

Private Collection, Far North Queensland $1,500–2,000

ATTRIBUTED TO HENRY LAMBERT

ARTIST UNKNOWN

BRITISH, CIRCA 1800-1820

FRENCH SCHOOL, CIRCA 1790

BRITISH SCHOOL, CIRCA 1850

Portrait of a lady attributed to being of Frances Barnett

Portrait of a lady

A fine miniature portrait of a lady, wearing a checked brown dress and lace bonnet with blue ribbons

rendered in oils and gold locket brooch Paper attached stating the sitter is Frances Barnett and the artist H.Lambert 10 Fountain Bog Bath frame 9cm high x 5.7cm wide, oval miniature 6.2 x 5cm

rendered in oils, on mother-of pearl, in multi-coloured gold Louis XVI frame the frame surmounted by twin doves label to verso: J Fuesli 1709-1793 frame 7.2cm high, 5cm wide, oval miniature 5.5cm high, 4.6cm wide PROVENANCE

ARTIST UNKNOWN

oils and heavy 18 carat gold locket frame and with a lock of the sitters hair with seed pearls to verso frame 7.5cm high x 4.5cm wide, oval miniature 4.8 x 4.1cm

PROVENANCE

Private Collection, Far North Queensland

PROVENANCE

$2,500–3,500

Private Collection, Far North Queensland

$1,500–2,000

$2,000–3,000

ARTIST UNKNOWN

FRENCH, 17TH CENTURY

Portrait of a gentleman with blue satin shawl and wide lace collar rendered in oils, and silver frame frame 10 x 6.5cm, oval miniature 8.4 x 6.2cm PROVENANCE

Private Collection, Far North Queensland $1,500–2,000

ARTIST UNKNOWN ENGLISH SCHOOL, CIRCA 1850

A fine portrait miniature of Lord Cardigan

Portrait of an English officer

finely rendered in oils housed within the original 18 carat gold frame, one link stamped oval portrait 5.2 x 4cm, frame 6.4 x 5cm

rendered in oils and gold locket frame with locks of the sitters hair to the reverse

Private Collection, Far North Queensland

ATTRIBUTED TO WILLIAM NAISH BRITISH SCHOOL, CIRCA 1790

PROVENANCE

Private Collection, Far North Queensland REFERENCE

William Naish was born in Axbridge, Somerset, and practised with success in London. He exhibited at the Royal Academy almost continuously from 1783 until his death in 1800. $1,500–2,000

PROVENANCE

REFERENCE

Lord Cardigan was Lieutenant-General James Thomas Brudenell, 7th Earl of Cardigan (1797–1868), a British Army officer best remembered for leading the Charge of the Light Brigade during the Battle of Balaclava in the Crimean War.

On October 25, 1854, he led roughly 600 cavalrymen of the Light Brigade into a suicidal frontal assault against heavily defended Russian artillery. The event was immortalised by Alfred, Lord Tennyson in his poem "The Charge of the Light Brigade" Known as a wealthy, arrogant, and badtempered aristocrat, he frequently bought his military promotions, engaged in bitter officer quarrels, and survived court-martials and duels before returning to England a celebrated hero The Cardigan Sweater: The knit garment is named directly after him; he and his officers reportedly wore knitted wool waistcoats/ cardigans to stay warm during the harsh conditions of the Crimean War. He died on March 28, 1868, following injuries from a riding accident at his estate, Deene Park Northamptonshire. $10,000–15,000

ATTRIBUTED TO LOUIS THEODORE HERMAN

ARTIST UNKNOWN

BRITISH, 1800

BRITISH, CIRCA 1810

A fine portrait miniature of a gentleman wearing a black jacket and white cravat

A fine portrait of a young girl wearing a coral necklace and a white dress

rendered in oils and gold locket frame with woven locks of the sitters hair to verso and Bristol glass surround Frame 8.5cm high, 6cm wide, oval miniature 6.7 x 5.4cm

rendered in oils and gold locket frame with woven locks of the sitters hair to the reverse initialled GL frame 8.2cm high, 6cm wide PROVENANCE

PROVENANCE

Private Collection, Far North Queensland

$4,000–6,000

$1,500–2,000

Private Collection, Far North Queensland $4,000–6,000

BELGIAN, 1803-1895

Portrait of a lady wearing a black dress and a lace bonnet rendered in oils and gold locket-brooch signed Herman circa 1840 5cm

ARTIST UNKNOWN BRITISH, CIRCA 1815 AND 1835

A pair of portraits of Christian Frederick Stahlsschmidt and his wife Ann rendered in oils, in gold locket frames with their family history written in ink and enclosed to the verso frame 9.2cm high, 6.6cm wide, oval miniature 7.2 x 5.8cm PROVENANCE

Private Collection, Far North Queensland $3,000–4,000

HORACE HONE BRITISH, 1754-1825

Portrait of a young lady with brown hair, blue dress and white shawl rendered in oils, engraved oval gold frame and interwoven hair of the sitter to verso Initialled and dated HH 1789 and with full signature of Horace Hone inside 7 x 5.7cm PROVENANCE

Private Collection, Far North Queensland

ARTIST UNKNOWN

$4,000–6,000

BRITISH SCHOOL, CIRCA 1840

Horace Hone was born in 1754 in Frith Street, London. His parents were Nathaniel and Mary Hone (née Earle) of York, England. His father was a miniaturist who gave Hone his initial training. He was their eldest son of 10 children, 5 of whom survived to adulthood. Hone's brother, John Camillus, was also an artist. Hone entered the Royal Academy school on 9 October 1770, when his age was given as "17 Feb 11th next". He first exhibited with the Royal Academy in 1772, and in 1779 was elected an associate.

Portrait of a young lady wearing a blue tunic with lace collar rendered in oils, rectangular metal frame inscription in ink on paper to verso, but not easily legible 6 x 4.5cm PROVENANCE

Private Collection, Far North Queensland $600–800

From 1782 to 1804, Hone lived and worked in Dublin. He spent some of this time in London, working and exhibiting with an address in Piccadilly. He was invited to Ireland by the Countess Temple, where her husband was viceroy. Hone painted portraits of many of the prominent people in Ireland including Lord Albemarle, the 1st earl of Charlemont, Lord Edward Fitzgerald, James Gandon, J. P. Kemble, the countess of Lanesborough, the 2nd duke of Leinster, Lady Elizabeth O'Neill, Lord Powerscourt, and the 4th duke of Rutland. He painted a portrait of the actress Mrs Siddons in 1784. Hone primarily worked in watercolour, but occasionally enamel, as well as producing some engravings. Hone's time in Dublin is recorded in the book Life of James Gandon by Mulvany and Gandon. He was appointed miniature painter to the prince of Wales in 1795 In 1804, Hone left Dublin and moved to Bath in the UK. Later he established a studio in Dover Street, London. He continued to work and exhibit with the Royal Academy until 1822.

A Breitling Crosswind chronograph watch, circa 2000 Reference no B13055-Numbered 9204 two-tone steel with 18ct gold, Royal Blue dial together with an auto-winder machine dial 4.4cm diameter PROVENANCE

Private Collection, Hobart, Tasmania. $1,500–2,500

A Bell & Ross BR 03-94 Black Matte Ceramic Automatic Chronograph wristwatch Ref. no BR0394-BL-CE, No. 03666 Matte black ceramic automatic chronograph wristwatch with date. Matte black dial signed Bell & Ross and BR03-94, with luminous Arabic numerals at 12 and 6, luminous baton indices and hands, 30-minute counter at 9, subsidiary seconds at 3, and date aperture between 4 and 5. White centre chronograph seconds hand, tachymeter scale to the flange. 42mm square case with four bezel screws, sapphire crystal, ceramic crown and pushers. Screw-fixed caseback engraved BR03-94-CBL-03666, Aviation Type / Military Spec., Ceramic [ZrO2/Y2O3], Automatic Movement, Water Resistant 100M/325FT, Swiss Made. Calibre BR-CAL.301, 37 jewels. On the original black rubber strap moulded with the BR monogram, with black pin buckle signed BR. Accompanied by: original Bell & Ross presentation box and purchase receipt. case width 42mm PROVENANCE

Private Collection, New Zealand $3,500–5,000

A Good vintage Seiko Speed-Timer 'Bullhead' Automatic Chronograph wristwatch

An Omega 18 carat gold ladies wristwatch

Japanese domestic market, 1977 Ref. no 6138-0040, Stainless steel automatic chronograph wristwatch with day and date. Brown dial signed Seiko Speed-Timer, with applied luminous baton indices and twin champagne cushion-shaped registers: 12-hour counter at 9, 30-minute counter at 3. Kanji day and date apertures at 6, orange centre chronograph seconds hand. Burgundy tachymeter bezel. Tonneau case with crown and pushers set to the top of the case in the 'bullhead' configuration, and a screw-down caseback stamped Seiko, Water Resistant, Stainless Steel, 6138-0040, Japan J, serial no. 7N1218. Calibre 6138B, 21 jewels, column wheel and vertical clutch. On an unsigned stainless steel bracelet of original pattern with folding clasp. 4.2cm diameter PROVENANCE

Purchased from Five Forty Five (545 Watches), Cuba Street, Wellington. Private Collection, New Zealand $1,500–2,000

manual wind, cream circular dial, 18ct gold case and integral woven bands, signed, total weight 41.0gms, stamped 18ct, with vintage case total length 180mm PROVENANCE

Private Collection, Gold Coast, Queensland $3,000–4,000

A gentleman's 18 carat gold and diamond set Piaget watch Swiss circa 1970's reference 9731 D2, manual wind, onyx cushion shaped dial with four diamond markers, 18ct gold case and integral woven bands, signed, total weight 109.3gms, all at boxed and with Piaget certificate 31mm diameter PROVENANCE

The Collection of Leon and Marlene Krasenstein, Perth $12,000–15,000

An 18 carat gold and diamond set pendant cocktail watch by Bucherer manual wind, rectangular cream dial, 18ct rose gold case with convex glass suspended from an 18ct gold fluted flower brooch with three old cut diamonds set to the centre, signed, total weight 14.1gms 6.2cm long, 2.5cm wide (at flower widest part), 1cm deep PROVENANCE

Private Collection, Gold Coast, Queensland $1,500–2,500 49

An 18 carat gold and diamond set cocktail watch, maker Marvin manual wind, rectangular cream dial, 18ct rose gold case with convex glass and with synthetic ruby and old cut diamond surmount, suspended from a stylised 18ct rose gold bow with single cut diamond detail, total weight 20.0gms 5.5cm long, 4.5cm wide, 1cm deep PROVENANCE

Private Collection, Gold Coast, Queensland $1,500–2,500

A good and heavy 9 carat gold charm bracelet featuring a 9ct rose gold curb link bracelet with engraved heart padlock suspended with eighteen assorted charms, including a full gold sovereign coin, a half gold sovereign coin, a 10 franc gold coin, total weight 72.9gms 9ct ram, 14ct oval drop, 9ct engraved charm, 14ct rabbit (acid tested), 14ct tram, 9ct scotsman, 18ct llama (acid tested), 9ct pineapple (acid tested), 9ct hawaii (acid tested), 14ct lidded pill box (acid tested), 9ct figa (acid tested), 18ct parthanenon (acid tested), 18ct chili, 9ct sambrero total length 180mm 51

PROVENANCE

Private Collection, Gold Coast, Queensland $4,000–6,000

An 18 carat gold, ruby and diamond set cluster ring

A very decorative 18 carat gold bracelet set throughout with semi-precious oval cut gemstones

oval cut synthetic ruby weighing approximately 1.50cts, surrounded by a row of round brilliant cut diamonds above an outer row of baguette cut diamonds, totalling 1.60cts, 18ct gold, 7.4gms, ring size K. PROVENANCE

Private Collection, Gold Coast, Queensland

including garnet, aquamarine, amethyst, citrine, tourmaline, 18ct gold, total weight 18.9gms, stamped 18k total length 190mm PROVENANCE

Private Collection, Gold Coast, Queensland $1,600–2,200

$1,600–2,000

52 53

An exceptional strand of South Sea pearls by Kaillis thirty five well matched and near round pearls of white and silver tones measuring 15.2-17.7mm, finished with a large polished 18ct gold spherical clasp total length 590mm PROVENANCE

The Collection of Leon and Marlene Krasenstein, Perth $20,000–30,000

A stunning and significant 6.47 carat emerald cut solitaire diamond ring the emerald cut diamond of 6.47cts, raised in a pierced frame set with thirty four small brilliant cut diamonds and having split shoulders set with thirty six diamonds and forty four to the sides, 18ct white gold total weight 7.8gms ring size N PROVENANCE

The Collection of Leon and Marlene Krasenstein, Perth $60,000–80,000

An antique Australian 15 carat gold and diamond set brooch circa 1910

An 18 carat gold and star sapphire and diamond ring

An 18 carat white gold rock crystal, diamond, ruby and pearl brooch

oval pale blue star sapphire cut en cabochon, measuring 12.7 x 10.7mm offset by a small round brilliant cut diamond to each shoulder, 18ct gold, 6.8gms, ring size O."stamped 18ct, 12.7 x 10.7 x 6.5mm

the carved rock crystal vine leaf overlaid with cabochon rubies modelled as grapes, offset with a cultured pearl and having single cut diamonds set to the branch of 18ct white gold , total weight 16.6gms. 5.5cm long, 4.5cm wide, 1.5cm deep

interwoven knife edge bars of 15ct gold centrally overlaid with three old European cut diamonds and a further old European cut diamond terminal to each end, total diamond weight 0.85cts, hallmarked Larard Bros, 3.9gms. stamped 15ct 4.6cm wide, 1cm deep $600–800

PROVENANCE

Private Collection, Gold Coast, Queensland $700–900

PROVENANCE

Private Collection, Gold Coast, Queensland $700–900

An extraordinary Topaz specimen of a beautiful ice-green or pale mint-green tone, some 2772 carats superbly facet-cut all over in baroque cushion cut form in personalised black leather case with gilt tooled lettering to: Harry H Wolf JR Previous Topaz 2772 carats approx 8cm long, 7cm wide, 5.5cm deep PROVENANCE

Harry H Wolf Collection, USA $5,000–7,000

A 22ct 1902 gold full Sovereign, King Edward VII "S" Vintage Sydney

An 18 carat gold and gem set pendant and chain

2.3cm diameter

circular form with an applied basket set with semi-precious stones and enamel, suspended from a box link chain all in 18ct gold, total weight 17.9gms total chain length 65cm, pendant 3.2cm diameter

PROVENANCE

Private Collection, Gold Coast, Queensland $1,200–1,600

PROVENANCE

Private Collection, Gold Coast, Queensland $2,000–3,000

An antique 9 carat gold and diamond bangle, circa 1900

An 18 carat white gold, ruby and diamond set cocktail bracelet, circa 1950

oval hinged form, centrally set with nine old cut diamonds in a flower cluster panel totalling 0.80cts, 9ct gold, total weight 11.1gms. acid tested 9ct 6.8cm wide, 6.5cm deep (including diamond cluster) PROVENANCE

featuring alternating scroll panels set with twenty eight graduated round brilliant cut diamonds or rubies, 18ct white gold, total weight 32.4gms,total diamond weight 5.10cts, total ruby weight 5.70cts. total length 200mm

Private Collection, Gold Coast, Queensland

PROVENANCE

$700–900

Private Collection, Gold Coast, Queensland $5,000–7,000

ASTOLFO PETRAZZI ITALIAN, 1579-1665

Allegory of Summer oil on canvas 96.5 x 153cm PROVENANCE

Acquired by the vendors in Europe Private Collection, Southern Highlands, New South Wales REFERENCE

The work by Petrazzi in the Collection Banco de Espana, Madrid (Spain's Central Bank) which is also titled Allegory of Summer $40,000–60,000

The Sienese artist Astolfo Petrazzi was a student of Ventura Salimbeni, and his early paintings, such as the Martyrdom of Saint Crispin of 1608 in the church of San Crispino in Siena, display the influence of this local Baroque master. According to the biographer Filippo Baldinucci, Petrazzi also studied with two other Sienese painters, Francesco Vanni and Pietro Sorri. After a period of about ten years in Rome, where he painted an altarpiece for the church of San Giovanni dei Fiorentini, Petrazzi returned to Siena in 1631, inspired by the Bolognese classicism of the Carracci and their followers. Among his important paintings of this period are The Last Communion of Saint Jerome of 1631, in the Sienese church of Sant’Agostino, which is his first known dated work, and The Mysteries of the Rosary, painted the following year for the church of Santo Spirito. He also painted a number of historical subjects as mural paintings for the interior of the Palazzo Pubblico in Siena. Petrazzi operated a busy workshop in Siena, and is also known to have established a drawing academy in his studio. Later projects included frescoes for the Oratory of Saints Gherardo and Ludovico, completed in 1635, and the decoration of the vault of the Oratory of San Rocco, which is signed and dated 1648. Petrazzi was also a gifted painter of still life subjects, executed with the influence of a Caravaggio and a Northern manner, and genre scenes. Works by Petrazzi are held in the Louvre, the British Museum, Christ Church in Oxford, the Metropolitan Museum of Art in New York, and elsewhere.

ARTIST UNKNOWN EUROPEAN SCHOOL, 18TH/19TH CENTURY

Still life with full blown flowers and peaches on a ledge and Still Life with flowers, a butterfly, a snail, and a fly on a ledge pair of oils on canvas one with stencil XT329 and Christie's South Kensington bar code 86 x 56cm PROVENANCE

The Estate of Dauvergne Morgan, Melbourne. Thence by descent to the present vendor $2,000–3,000

intimate portraiture, and the sweeping, exotic vistas of Orientalism.

PAUL EMIL JACOBS GERMAN, 1802-1866

Penitent Magdalene oil on tin 61 x 50cm, frame 92 x 82cm PROVENANCE

Private Collection, Sydney $8,000–10,000

Paul Emil Jacobs (20 August 1802 – 6 January 1866) was a prominent 19th-century German Romantic and Orientalist painter celebrated for his technical mastery of the human form, vivid historical scenes, and empathetic depictions of Eastern subjects. Born into a highly intellectual family in Gotha, Germany, Jacobs balanced classical tradition with the shifting artistic currents of his time. Over his decadeslong career, his canvas moved seamlessly between biblical imagery, classical mythology,

In 1818, at the age of sixteen, Jacobs enrolled at the prestigious Munich Academy of Fine Arts under the direction of Johann Peter von Langer. He quickly distinguished himself as an exceptionally talented draftsperson. His first major breakthrough came with his rendering of Mercury and Argus, a piece inspired by Ovid’s Metamorphoses that showcased his early command of anatomical precision and dramatic narrative structures. Following his formal studies in Munich, Jacobs partook in the essential rite of passage for 19th-century European artists: a prolonged stay in Italy. Arriving in Rome in 1824, he immersed himself in the study of Renaissance masters and antiquity. His auction records show the highest price at Sotheby's 17 April 2008 at 117,875.00 euro for a large work entitles the Pasha's Favourite and may of his highest priced works have been of 'Orientalist' subject matter but there are many examples that have been sold in Europe of his religious works, mostly of female subject matter such as this finely executed work.

ARTIST UNKNOWN ITALIAN SCHOOL, CIRCA 1820

Portrait of a man, possibly Vincenzo Bellini oil on canvas 59 x 50cm, frame 80 x 70cm PROVENANCE

The Estate of Dauvergne Morgan, Melbourne. Thence by descent to the present vendor $2,000–4,000

While it features slightly darker hair and distinct facial styling, the high dark collar, crossed arms, and general facial structure strongly mimic the iconic Portrait of Vincenzo Bellini originally painted by Jean-François Millet, which is housed at the Museo Teatrale alla Scala in Milan. Other images of Bellini who these same distinctive side-burns, wild unruly hairstyle and one or two images show him with varying facial hair.

Vincenzo Salvatore Carmelo Francesco Bellini (1801-1835) was an Italian opera composer of the early Romantic era famed for his long, graceful melodies and evocative musical settings. A central figure of the bel canto era, he was admired not only by the public but also by many composers who were influenced by his work.

ARTIST UNKNOWN ENGLISH SCHOOL, CIRCA 1820

Maritime scene oil on canvas signed JM *****? lower left 34 x 48cm PROVENANCE

The Estate of Dauvergne Morgan, Melbourne. Thence by descent to the present vendor $800–1,200

MILTON FOSTER ENGLISH, CIRCA 1950

Portrait of Lady Mary Lacey oil on canvas signed upper left 104 x 79cm PROVENANCE

The Estate of Dauvergne Morgan, Melbourne. Thence by descent to the present vendor $1,000–2,000 69

ARTIST UNKNOWN ITALIAN, RENAISSANCE PERIOD 14TH/15TH CENTURY

painted and gilt gesso on wood probably once attached once to a larger frieze panel 29cm wide, 13.3cm high, approximately 1.4cm thick PROVENANCE

With Frost and Reed, London and Bristol, circa 1945 Private Collection, Australia Sold at Auction Tasmania $2,000–4,000

SALVADOR DALI SPANISH, 1904-1989

Alchimie Des Philosophes ten drypoints and etchings with lithography, collage and screen print in colours with semi-precious stones on parchment dated 1976, with title-page, justification, text in English and French with six screenprints, each signed and numbered in black felt-tip pen, additional signed in the justification page, copy 191/225 (there were also thirty artist's proofs in Roman numerals and fifty sets with text in Italian and French), published by Art et Valeur, Paris, now framed, within the original leather cover designed by the artist with applied a wheel containing mercury and two compartments with glass partition and a paper pulp work by Marius Peraudeau. 77.2 x 57.4cm each sheet PROVENANCE

Private Collection, Perth, Western Australia LITERATURE

Michler & Löpsinger 835-844; Field 75-12 $12,000–18,000 71

Salvador Dalí (1904-1989) was perhaps the most publicised artist of the twentieth century. He is remembered for his surrealist art and outrageous personality. Dalí's paintings are his most celebrated works, but he was a versatile artist who also worked with film, jewellery, sculpture, literature, and graphic arts. Towards the end of his life, Dalí produced an enormous oeuvre of prints-many of which were equal in brilliance and quality to his earlier works. One of Dalí's most incredible series of graphic works is this artist's book entitled Alchimie des Philosophes, or Alchemy of the Philosophers. Created in 1976, with ten prints encased in a large portfolio box with ancient alchemical texts from the 3rd-17th centuries reproduced in facsimile. The prints were created with a combination of intaglio, lithography, and serigraphy. There were 275 copies of Alchimie des Philosophes, some in French and English, and some in French and Italian. Each of the prints represents a particular alchemical theme and relates to the ancient texts. The iconography combines Dalí's personal motifs with the symbolism of thousands of years of alchemy.

A finely engraved brass repeating carriage clock with circular white enamel dial, Henri Jacot, Paris French, circa 1880

A fine quality engraved brass repeating carriage clock, L'Epee Co French/Swiss, circa 1880

with key, striking on a gong, with makers stamp to backplate and with engraved silvered dial plate 14.5cm high, 10cm wide, 8.5cm deep

striking on a gong, with key, stamped with initials LP 16.5cm high, 10cm wide, 8.5cm deep

PROVENANCE

The Estate of Jeffrey Swift, Adelaide.

The estate of Jeffrey Swift, Adelaide.

PROVENANCE

$1,000–1,500

$500–1,000

Henri Jacot established the business in Paris in 1853, initially working out of Rue de Limoges. He was succeeded by his nephew, Alfred Jacot, in 1872. While the firm maintained its main shop and assembly rooms in Paris, the rough movements (blancs roulants) were crafted in their workshops in SaintNicolas-d'Aliermont, a renowned horological town near Dieppe. The Jacot firm won numerous gold medals at Paris Expositions (including 1878, 1889, and 1900) and remains celebrated today as one of the premier makers of high-quality French carriage clocks

This platform and escapement mark of L.P is that of L'Épée (L'Epee Co.), a highly prestigious French and Swiss horological manufacturer. The distinctive "L.P" oval stamp is the specific maker's mark used by L'Épée on their escapements and platform lever balances. Established in 1839 by Auguste L'Epée and Pierre-Henri Paur in SainteSuzanne, France, originally producing music boxes and precision watch components. The firm won multiple gold medals, patented platform escapements and music box mechanisms, supplied wall clocks for Concorde supersonic flights (1976), and created royal wedding gifts (1981). They made classic officer and travel clocks featuring fine hand-finishing and in-house mechanical movements.

A very fine and rare large brass carriage clock, Dent, London English with French works, circa 1900

A fine and rare oval carriage clock with repeating mechanism, by Henri Marc of Paris French, circa 1860-80

with repeating mechanism striking on a gong in a very rare multi-columnar case of the finest quality, with key and original leather carriage case. Dial marked Exam'd by Dent 4 Royal Exchange Cornhill London 15cm high, 11cm wide, 8.5cm deep

striking on a gong, with finely floral engraved brass borders and handle, with key and oval gilt-wood stand 15cm high, 13cm wide, 10.7cm deep, oval base 17cm wide, 6cm high, 14cm deep

PROVENANCE

Private Collection, Perth, Western Australia

$3,000–5,000

$4,000–6,000

Henri Marc (frequently abbreviated as Hy. Marc or Hry. Marc), was a prominent 19th-century French horologist based in Paris. Active from around 1800 through the late 1800s, the firm was celebrated for creating high-quality, beautifully designed mantel, skeleton, and carriage clocks. Horological records indicate that while Henri Marc manufactured custom cases and assembled complete timepieces, the workshop frequently collaborated with other premier movement makers of the era—such as Henri Jacot and Japy Frères—to supply the internal gear trains for their clocks. A similar oval example by the same maker sold by P.A Oxley clocks in the UK for 4950 pounds

accidentally shaking out of sequence when the clock is carried or transported.

A finely engraved brass repeating carriage clock with white enamel dial French circa 1880 with key and leather carriage case, subsidiary alarm dial 13.5cm high, 10cm wide, 8.2cm deep PROVENANCE

Private Collection, Perth, Western Australia $600–800

A brass and steel faced carriage clock, Gay, Lamaille and Co French, circa 1885 with key stamped GL and Patent Surety Roller to backplate, with copper tinted side columns 12.5cm high, 9.2cm wide, 7.8cm deep PROVENANCE

Private Collection, Perth, Western Australia REFERENCE

The stamp on the backplate Patent Surety Roller: The stamp inside the oval text below it refers to a specialised mechanical device patented in 1879 by Moritz Immisch. It acts as a safety "jumper" or lever mechanism that prevents the internal strike star wheel from 79

The Paris- and London-based horologists Gay, Lamaille & Co. secured the rights to this exact patent in 1880. They regularly stamped this trademark oval onto their premium French carriage clock movements, many of which they supplied directly to other prestigious high-end retailers $300–500

A brass carriage clock with circular rose garland enamelled dial, by Richard et Cie French, circa 1880 with key, backplate stamped R and Co 14.5cm, 10cm wide, 8cm deep PROVENANCE

Private Collection, Perth, Western Australia REFERENCE

Richard et Cie was founded in Paris in 1848 (originally under another name before becoming Richard et Cie). They opened a branch in London at 24 Cannon Street in 1867, operating until 1881 $500–800

A brass carriage clock by W.Littlejohn and Sons New Zealand retailed French manufacture, circa 1900

A fine oval brass carriage clock, William Bruford and Sons, Eastbourne and Exeter Retailed in England, French (Paris) manufacture, circa 1880-1900

with key and green leather carriage case 13cm high, 9cm wide, 7.5cm deep

with key and leather carriage case 12.4cm high, 9.1cm wide, 7cm deep

PROVENANCE

Private Collection, Perth, Western Australia

REFERENCE

While Littlejohn & Son retailed and serviced fine timepieces, carriage clocks bearing their name or retailer signature were typically imported from high-grade European makers (such as English or French workshops) and branded or sold through their Wellington storefront

William Bruford and Sons began back in 1886, when founder William Bruford relocated with his family to Eastbourne from South London, where they ran a successful jewellers, pawnbrokers, and optical store. The purchase of an existing business "William Page" was completed on 17th July 1886, and the new store located at No. 100 Terminus Road, was opened and run by the Bruford family shortly thereafter.

$500–700

A brass carriage clock, retailed by Walter Wyatt, Bournemouth, England English retailed and French manufacture, circa 1900 12cm high, 8cm wide, 7cm deep PROVENANCE

Private Collection, Perth, Western Australia $300–500

William ran the business for the next 30 years, until his death in 1914, when his son Albert took over. Under Albert's direction, and due to both a prospering business and the town of Eastbourne becoming a very fashionable resort, business flourished. Both attracted wealthy clients and patrons from London, and in 1924 the store was expanded to almost twice its original size.

This company still exists as Bruford's in Eastbourne UK surviving after some 140 years. $600–1,000

A brass carriage clock with white enamel dial French circa, 1880-1900 with key and leather carriage case 12cm high, 8cm wide, 7.2cm deep PROVENANCE

Private Collection, Perth, Western Australia $400–600

A late Empire/Restauration period mahogany and ormolu portico clock French, circa 1830 eight day bell strike, with elaborate Berthoud pendulum, stamped Butte to back plate 56cm high, 28cm wide, 17cm deep PROVENANCE

Private Collection, Hobart, Tasmania. $1,500–2,500

During the late 18th century and the French Restoration period (early 19th century), Butte was a name associated with premium Parisian gilt-bronze (ormolu) mantel clocks. These ornate pieces often featured fine mechanical movements housed inside highly sculpted bronze cases celebrating classical or musical themes.

A fine bronze and gilt-bronze and serpentine marble clock, depicting Pan playing the flute French, 19th century 75cm high, 48cm wide, 22cm deep $6,000–8,000

A fine quality Chinoiserie lacquer bergere suite, comprising a pair of chairs and matching settee English, circa 1920 covered in a high quality pink tapestry fabric 153cm wide, 64cm deep, 87cm high PROVENANCE

Private Collection Melbourne. $3,000–5,000

An extraordinary Agarwood carving of a mountain with temples, figures, a boat and multiple species of trees, Chinese, 20th century 106cm high, 103cm wide, 45cm deep, base 121cm wide, 69cm deep, 12cm high $20,000–40,000

Agarwood is highly revered in Hinduism, Buddhism, and Chinese folk religion. Starting in 1580 after Nguyn Hoàng took control over the central provinces of modern Vietnam, he encouraged trade with other countries, specifically China and Japan. Agarwood was exported in three varieties: Calambac (ky-nam in Vietnamese), tram huong (very similar but slightly harder and slightly more abundant), and agarwood proper. A pound of

Calambac bought in Hoi-an for 15 taels could be sold in Nagasaki for 600 taels. The Nguyen Lords soon established a Royal Monopoly over the sale of Calambac. This monopoly helped fund the Nguyen state finances during the early years of the Nguyen rule. Accounts of international trade in agarwood date back as early as the thirteenth century, with India being one of the earliest sources of agarwood for foreign markets. Xuanzang's travelogues and the Harshacharita, written in seventh century AD in Northern India, mentions use of agarwood products such as 'Xasipat' (writing-material) and 'aloe-oil' in ancient Assam (Kamarupa). The tradition of making writing materials from its bark still exists in Assam. It is still used in traditional Chinese herbal medicine where it goes by the name of Chén Xiang - Literally meaning 'sinking fragrance'. Its earliest recorded mention is from the Miscellaneous Records of Famous Physicians, Ming Yi Bie Lu, ascribed to the author Táo Hong-Jing c.420-589.

A Famille-Rose Porcelain Plaque “Five Elders Admiring Tai Chi" Qianlong period, Qing Dynasty, 18th century exquisite famille-rose porcelain plaque from the Qianlong period of the Qing Dynasty presents the refined artistry of Chinese porcelain painting at it's height. The scene depicts five venerable elders gathered in a tranquil mountainous landscape, observing a young man practising Tai Chi. The composition conveys themes of longevity, harmony, and the cultivation of body and mind. Rendered in delicate and harmonious pastel tones, the figures are vividly expressive, with meticulously detailed robes and a finely painted natural backdrop of rocks and pine trees. The smooth glaze and excellent preservation highlight the superior craftsmanship characteristic of the Qianlong era,in hardwood frame and carved hanger. approx. 43cm high, 31cm wide $3,000–5,000 87

88 89

A fine Chinese Canton enamelled famille-rose ‘Floral and Antiquities’ lobed dish Yongzheng Period, Qing Dynasty, 18th century

A fine Chinese gilt-decorated en-grisaille dish with figures Yongzheng–Qianlong period, Qing Dynasty

The dish is finely potted with an elegant lobed rim and shallow rounded sides, elaborately decorated in the characteristic Canton enamel palette. The central medallion is painted with a luxuriant arrangement of flowering peony and other blossoms accompanied by auspicious antiquities, symbolising prosperity, refinement and good fortune. The central composition is enclosed by successive decorative borders of intricate geometric and diaper patterns in yellow and blue enamels. The broad cavetto is richly enamelled with a pink ground filled with a delicate repeating diaper design and reserved with shaped panels containing sprays of peony, chrysanthemum and other flowering plants. The decoration is executed in a vibrant palette of rose-pink, green, yellow, blue and iron-red enamels. The lobed rim is further embellished with a turquoise-green patterned border, providing a striking contrast to the pink ground of the cavetto. The elaborate combination of floral reserves, densely patterned grounds and brilliant enamels exemplifies the highly decorative character associated with Canton enamelled export porcelain of the Yongzheng period, reflecting the sophisticated interaction between Chinese decorative traditions and contemporary export taste. diameter 15cm PROVENANCE

The collection of David Thompson, Melbourne. $1,000–2,000

Finely potted with shallow rounded sides rising to an everted rim, the dish is elaborately decorated in en grisaille, iron-red and gilt with a detailed figural scene. The figures are depicted within an elegant domestic setting, surrounded by tables, vessels, screens and various furnishings, delicately outlined in black and selectively heightened in gilt. The broad rim is richly decorated with peony blossoms, scrolling foliage and dense floral ornament, rendered in grisaille and warm enamels with extensive gilding. Multiple decorative borders frame the central figural composition, creating a richly layered and highly refined overall design. diameter 23cm PROVENANCE

The David Thompson collection, Melbourne. REFERENCE

The delicate draughtsmanship, elaborate figural composition and extensive use of gilding are characteristic of finely decorated Chinese export porcelain produced during the Yongzheng to early Qianlong period in the first half of the 18th century. For a closely related example, see Jin Liyan and Cao Ping (eds.), Yongzheng Canton Enamels, p. 95. $3,000–5,000

A fine Burmese-alabaster or white marble figure of buddha Burma (Myanmar) Ava period, 17th century seated in the Bhumisparsha mudra (the "earth witness" posture), featuring historic traces of original lacquer detail across its surface 54cm high, 60cm high with stand, 28cm wide, 16cm PROVENANCE

Queensland Collection acquired in the US $6,000–8,000

A large pink stone torso of Kubera (Deity of wealth and prosperity and a protector of the world) Madhya Pradesh, circa 12th century CE 79cm high, 42cm wide, 25cm deep PROVENANCE

Private Collection, South Australia $4,000–6,000

During the 12th century CE, the region of Madhya Pradesh was a thriving centre for medieval Indian art and temple architecture under prominent regional ruling powers like the Chandela Dynasty, the Paramara Dynasty of Malwa, and the Kalachuri Dynasty. Sculptures from this region and era are highly celebrated for being carved from distinctive local pink, buff, and red sandstones. These materials allowed ancient artisans to capture remarkably fluid, sensuous human forms and intricate ornamental details

A fine quality gilt bronze and jewelled figure of a seated Bodhisattva Sino-Tibetan, 17th/18th century with turquoise, lapis and coral inlay,seated in lalitasana (posture of royal ease) on an elevated double-lotus pedestal (padmasana). Her right-hand rests over her knee extended outward in varada mudra (the gesture of granting wishes, charity, and open generosity). Her left hand is raised to chest level in vitarka mudra (the gesture of discussion or intellectual teaching) while holding the stem of a sacred lotus. She wears an ornate five-lobed crown (bodhisattva tiara) representing the five transcendental Buddhas 18cm high, 14cm wide, 10cm deep PROVENANCE

Ned Roberts Moghul Antiques, Adelaide circa 1970's Private Collection Adelaide, who are the current vendors $5,000–10,000

A rare Khmer carved stone head of Buddha Cambodian, 13-15th century 40cm high, 22cm wide, 53cm high on its stand PROVENANCE

David Jones Art Gallery Sydney, 1967 The Collection of Ken Bernard-Smith Sydney Private Collection Queensland $2,500–3,500

A Tibetan bronze figure of seated Green Tara Western Tibet, 15th/16th century seated in lalitasana, varada mudra (the gesture of granting wishes, charity, and boon-bestowing). Her left hand raised to the chest in kartari or prithvi mudra engraved copper prayer cover to base 16cm high, 10.5cm wide, 10cm deep PROVENANCE

Ned Roberts Moghul Antiques, Adelaide circa 1970's Private Collection Adelaide, who are the current vendors

$1,000–1,500

A lacquered bronze figure of Buddha seated Chinese, Ming Dynasty, 16th/17th century seated in dhyanasana, the right hand is extended downward across the knee in the bhumisparsha mudra (earth-witness gesture), while the left hand rests openly in the lap in a gesture of meditation. 28cm high, 16cm wide, 16cm deep PROVENANCE

Ned Roberts Moghul Antiques, Adelaide circa 1970's Private Collection Adelaide, who are the current vendors $1,500–2,500

A rare and impressive bronze figure of standing Buddha Thai, Ayutthaya period, 17th/18th century highly stylised face and serene with downcast, inlaid shell eyes, delicate arched eyebrows, an aquiline nose, and a soft, enigmatic smile. Both hands raised in Abhayamudra (the gesture of fearlessness, reassurance, and protection), distinctively elongated earlobes that represent his Royal past and his capacity to hear the suffering of the world, shell-like curls rising to a prominent ushnisha (wisdom bump), topped by a tall, decorative, flame-like finial (rasmi) symbolising spiritual enlightenment, draped symmetrically in fine monastic robes (sanghati) standing in samabhanga (straight, upright posture) atop a tiered, multi-layered lotus base. 102cm high, 27cm wide, base diameter approximately 23cm $6,000–8,000

A fine ivory and sandalwood complete chess-set and board Vizagapatam, Indian circa 1840 10cm high, 46cm wide, 23cm deep when board closed as a box PROVENANCE

John Dunn Antiques, Melbourne, Artvisory 2022 Private collection, Melbourne $3,000–5,000

The port city of Vizagapatam on the Coromandel coast, with its large natural harbour, became one of the most important East India Company trading posts and as such its craftsmen had their pick of an array of prized materials such as teak, ebony, rosewood, padouk, ivory and sandalwood. From the late 17th century Vizagapatam was renowned for its craftsmen’s skill in creating all manner of luxurious items, often based on Western models, decorated with richly engraved ivory veneers and inlays.

A Chinese translucent apple-green jade archers ring 3.7cm high, 4cm diameter $500–1,000

A pair of fine Kutani ceramic and parcel-gilt Komainu (Lion dogs) Japanese, Meiji period (1868-1912) 28.5cm high, 15cm wide, 10.7cm deep $1,500–2,000

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A finely painted Chinese ribbed porcelain ovoid vase painted with figures Tongzhi mark and period, bronze mounts are French and later painted with noble figures on a garden terrace with gilt lines around the base and neck overall height 43cm vase is approx. 23cm high and 23cm diameter PROVENANCE

J. Schonburg, Antwerp collection label to base Ray Manhattans collection US label to base $2,500–3,500

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A rare and large inlaid Goryeo-celadon Maebyeong (Plum) vase Korean, Goryeo Dynasty (918–1392 CE) with cranes in flight and roundels of peony flowers 31cm high, 18cm diameter at its widest PROVENANCE

David Jones Art Gallery Sydney circa 1960's The Collection of Ken Bernard-Smith Sydney Private Collection Queensland $4,000–6,000

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A fine and impressive pair of silver, coral and jadeite trumpets Tibetan, circa 1900 engraved and embossed with floral meander and animals and richly jewelled with flowerheads and bands and then covered with attached translucent pale celadon rings and other carved attachments 88cm high, 18cm diameter at base $3,000–5,000

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A rare Charles II oak rectangular refectory table English, circa 1660 rich patination from age and use, with later incised date 1713 to the top 75cm high, 205cm high, 80cm deep $2,500–3,500

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A fine William IV specimen-wood circular occasional table English, circa 1835 73cm high, top 61cm diameter PROVENANCE

The Bruce Kerr and Janet Matthews Collection, Artvisory Auctions 29/10/2023, Sydney, since restored. Private Collection, Melbourne. $2,500–3,500

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A good pair of brass inlaid scarlet tortoiseshell (Boulle) display-cabinets French, circa 1860-80

A fine quality brass inlaid dark tortoiseshell (Boulle) desk (bureau-plat) French, circa 1860-80

150cm tall together. The top sections alone being 35cm deep and about 60cm wide and about 85cm high and the bottom sections being about 48cm deep and 70cm wide and 65cm high

with two frieze drawers 100cm long, 60cm deep, 75cm high PROVENANCE

Private Collection, Perth, Western Australia $5,000–8,000

PROVENANCE

Private Collection, Perth, Western Australia $6,000–9,000

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A rosewood and marquetry cased cylinder musical box Swiss, circa 1865-85 playing ten tunes case 57cm wide, 21cm deep, 23cm high, Brass cylinder 35.5cm long $1,200–1,800

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A brass inlaid scarlet tortoiseshell (Boulle) display side-cabinet French or English, circa 1880 100cm high, 70cm wide, 40cm deep PROVENANCE

Private Collection, Perth, Western Australia $2,000–3,000

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A rare and very original Casimir Bru bisque headed doll French, circa 1873 bisque swivel head and shoulder plate,fixed brown paperweight glass eyes, original paper Bebe Bru label to the kid leather body, bisque lower arms and wood lower legs, closed mouth with parted lips, original clothes and parasol, and hat, blond mohair wig 22 inch PROVENANCE

Hannahs Antiques, Waban, Massachusetts, USA. US$25,000 The Diane Kinnaird Collection, Adelaide $5,000–8,000

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A rare musical automaton "Marquise with Lorgnette" doll by Leopold Lambert for Maison Jumeau French, circa 1870-90 bisque rotating head, bisque shoulder plate and arms, fixed blue glass eyes, original clothes, fan and lorgnette and head-dress, velvet base with key overall height 47cm, case 54cm high, 33cm wide, 25cm deep PROVENANCE

The Diane Kinnaird Collection, Adelaide $4,000–6,000

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A Jumeau Bebe Dolly Face bisque headed doll French, circa 1885-1890

A rare mechanical bisque porcelain headed doll by John Peacock London English with German porcelain, circa 1860-1880

Dolly face bisque head, deep blue glass eyes, open mouth, 6 teeth, old mohair wig, composition body and wooden limbs, pull string crier 18 inch

fixed moulded head and shoulder with painted features Body with retailers/ makers stamp for J Peacock 28cm high

PROVENANCE

The Diane Kinnaird Collection, Adelaide

$500–1,000

$400–700

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A Motschmann-type pumpkin head wax and composition doll German, 1860-1880

A rare Jumeau portrait French Fashion porcelain headed doll French, circa 1860-1880

wax over composition head, black pupil glass eyes, moulded tiny mouth, cloth torso body with squeak-box wooden limbs original clothes 9 inch

bisque socket head with pierced ears on bisque shoulder plate, fixed blue glass eyes, closed mouth, bisque arms and hands, original blonde long ringlet hair, original clothing: brown two piece fashion outfit with petticoats, stockings and brown leather boots 20 inches

PROVENANCE

The Diane Kinnaird Collection, Adelaide $150–250

PROVENANCE

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A Bébé de bon Marché (Bébé Jumeau) bisque headed doll French, circa 1890

The Diane Kinnaird Collection, Adelaide $2,000–4,000

bisque cutaway head, pierced ears with red earrings, brown glass sleeping eyes, open mouth with four teeth, original mohair wig, composition jointed body, marked 1907 over 5 16 inch PROVENANCE

The Diane Kinnaird Collection, Adelaide $800–1,200

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An Armand Marseille bisque headed Googly doll German, circa 1910-1920 bisque socket head, blue glass flirt to the left eyes, closed mouth, dark wig, composition arms and legs clothes probably original 10 inch PROVENANCE

The Diane Kinnaird Collection, Adelaide $300–500

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A pair of rare Vienna porcelain Monteith-form wine-glass coolers Austrian, 18th century 12.5cm high, 34cm wide, 20cm deep PROVENANCE

Private Collection, Melbourne $800–1,200

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A fine Carrara marble figure of The Crouching Venus (Crouching Aphrodite) Italian, circa 1900 87cm high, 46cm long, 35cm wide $3,000–5,000

The original composition is historically attributed to the ancient Greek sculptor Doidalses of Bithynia from the 3rd century BC Because the original bronze statue is lost, the design is known today through numerous Roman-era marble copies (such as the Lely Venus in the British Museum or the Vatican Venus) and Grand Tour or Neoclassical marble reproductions made during the 18th and 19th centuries by prominent workshop masters like Pietro Bazzanti and Antoine Coysevox.

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A rare and beautiful Venetian soft-blue, green and polychrome painted serpentine shaped commode Italian, 18th century painted with panels of Classical figures within baroque architectural framing and with six cabriole legs and animal hoof feet, traces of gilding 124cm wide, 61cm deep, 90cm high $10,000–15,000

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A superb and extraordinary silver table fountain by Eugenio & Angelo Orefice Italian, circa 1960's stamped 800 for Italian standard silver purity, Milanese silver assay mark, 509 MI and Lavaorazione Mano and marked for Eugenio & Angelo Orefice. 75cm long, 56cm wide, 42cm high weight 12.85kg $20,000–30,000

The Fountain of Neptune This magnificent and monumental table fountain was designed, made and hallmarked in Milan, Italy during the mid 20th Century by the highly regarded workshop 'Eugenio e Angelo Orefice’ and is crafted from 800 pure silver (Italian standard)

Eugenio e Angelo Orefice operated their workshop between 1955 and 1971 and were highly regarded for their exceptional imagination, craftsmanship and designs. The central section of the fountain depicts a seated figure of Neptune brandishing a trident and towering above additional Neptunes, seashells, reeds, seahorses, crabs and octopuses all whimsically moulded onto shells, waves and other creatures to create a show stopping piece of mythical maritime magnificence. Eugenio & Angelo Orefice created other similarly large and ornate silver table fountains around this period, as well as however this appears to be a unique model -potentially commissioned for its original owner as the piece de resistance at a grand formal dinner celebration.

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A pair of fine quality carved Zitan marriage cupboards Chinese, late Qing Dynasty superbly carved with fretwork and blind panels with dragons chasing the flaming pearl and massed flower-heads, made in two sections with the cabinets sitting on stands 174cm high, 82cm wide, 45cm high PROVENANCE

Sold Sotheby's Melbourne, 27 October 2015, lot 96 Queensland Collection $10,000–15,000

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A fine and rare William and Mary oyster-laburnum and burr-walnut veneered chest of drawers English, circa 1700 the string inlaid top with flowerhead and foliage designs, brass drop handles and key escutcheons, the sides also with oyster laburnum 87cm high, 96cm wide, 57cm deep PROVENANCE

John Dunn Antiques, Melbourne Private Sydney Collection $8,000–12,000

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A fine quality Neo-Classical silver caviar dish and cover by Braganti Antonio, Florence, with retail mark of Fabergé, post 1965 base stamped Fabergé and base and cover stamped 925 standard Star, 410, FI No 35 of a limited edition of 100 27cm high, 18cm diameter $3,000–5,000

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A fabulous silver and parcel-gilt bowl embossed with shells, by Whiting Manufacturing Company, New York American, circa 1880-1900 weight 542 grams 21cm diameter, 10cm high REFERENCE

The Whiting Manufacturing Company was founded by Albert C. Tifft and William Dean Whiting in 1866 in North Attleboro but a devastating factory fire in1875 forced the company to relocate its operations and offices to New York City (at 692-694 Broadway at Fourth Street)

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The firm became a very prominent 19th- and early 20th-century American silversmith known for high-quality sterling-silver. After moving to New York, Whiting designers embraced EastAsian aesthetics, especially Japanese-inspired (Japonisme) crafting hammered sterling pitchers, lotus-blossom salts, and marine/floral motifs featuring fish, cherry blossoms, and bamboo textures under the direction of chief artisan designer Charles Osborne. $3,000–5,000

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A fine and very appealing pair of sterling-silver, silver-gilt and turquoise inset duck-form tureens and covers of very heavy gauge, maker Tane Mexican, circa 1950 with turquoise eyes, stamped marks: Tane, Mexico, A ,71, Sterling weight 3kg 24cm long, 22.5cm high, 17cm wide $10,000–15,000

TANE México 1942 is a premier luxury silversmith and jewelry brand founded in Mexico City in 1942 by Sergio and Natalia Leites, French art collectors who fled Paris during World War II. The name "TANE" is derived from the French word tannerie (tannery). The founders initially opened a shop in Mexico City's Zona Rosa selling fine leather goods. To enhance their handbag and belt hardware, the Leites family began collaborating with local Mexican metal smiths. Impressed by the country's deep heritage of metallurgy and silver craftsmanship, they pivoted the business entirely to sterling silver, gold, and art objects. In 1953, José and Rosa Vilner joined the company, introducing distinct pre-conquest and pre-Hispanic design influences. In 1974, leadership passed to the founders' son, Pedro Leites. Over the decades, Tane pieces were collected by prominent figures, including Jackie Kennedy, Elizabeth Taylor, and Iris Apfel.

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A very good and classic Art-Nouveau (Jugendstil) silverplated wall plaque, of a woman surrounded by water-lilies, Württembergische Metallwarenfabrik (WMF) German, circa 1905 32cm diameter REFERENCE

See: Art Nouveau Domestic Metalwork from Württembergische Metallwarenfabrik 1906, Graham Dry, Woodbridge 1988, Illustrated page 312, No 231. See attached online image $800–1,000

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of the 19th century, he combined European cabinetmaking with exotic motifs, intricate carving, lacquered panels and mother-of-pearl inlay. His furniture is associated with the 19th-century decorative arts movement known as Japonisme, although his work drew on a broader range of Asian influences, particularly Chinese art. Viardot was born in Paris, France. He began his professional career as a woodcarver in 1849, initially producing furniture and decorative objects with naturalistic and animal motifs. He operated a furniture workshop and shop with his brother under the name Viardot Frères et Cie, before establishing his own business as G. Viardot in 1860. The growing European fascination with East Asian art helped shape his distinctive direction. At the 1867 Paris World's Fair, he received four medals.

A fine gilt-bronze mounted carved and mother-of-pearl inlaid Japonisme two-tier table (Etagere)

He won a silver medal at the 1878 Paris World's Fair and gold medals at major international exhibitions in 1884, 1889 and 1900. His workshop reportedly employed around 100 workers by the mid-1880s.

signed by Gabriel Viardot stamped GV &2 to the reverse of one of the gilt-bronze dragons 81cm wide, 52cm deep, 87cm high

Viardot died in Paris in 1906, leaving behind a substantial body of work associated with one of the most distinctive decorative styles of the late 19th century.

$4,000–6,000

Viardot's distinctive designs and style was so popular and successful in his day that many imitators popped up in Paris and so today while many pieces are attributed to him, only relatively few autograph works appear on the market and few are signed like this fine example.

Gabriel Viardot was a celebrated French cabinetmaker (ébéniste) who became known for elaborate furniture inspired by Chinese, Japanese and other East Asian decorative arts. Working in Paris during the second half

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TAKEICHI KAWAI

SHOJI HAMADA

JAPANESE, 1908–1989

JAPANESE, 1894-1978

Press-moulded bottle vase, circa 1960s

Press-moulded bottle vase, circa 1964–65

glazed stoneware The two principal faces painted in underglaze cobalt blue, copper red and iron brown on a pale crackled glaze: one with paired red blossoms on a leafy stem, the other with a crossed floral spray over olivegreen leaf forms. The narrow sides in mottled cobalt blue, the neck in iron glaze. Recessed base with iron wash within an unglazed foot. Unsigned, as is usual for the potter. 15cm high

glazed stoneware The body in a dry iron (kaki) glaze, with ladle-poured looped trails in black tenmoku glaze to one face and cream nuka (rice-husk ash) glaze to the other. The recessed base glazed in tenmoku within an unglazed foot. Unsigned, as is usual for the potter Original Pan Pacific Art festival exhibition label to the base numbered '23', with a further paper label, now illegible. 20cm high

PROVENANCE

Private Collection, New Zealand

$800–1,400

Kawai was the nephew and pupil of Kawai Kanjiro, with whom he trained from 1927 and worked for nearly forty years. He inherited his uncle's mingei palette of cobalt blue, copper red and iron glazes, seen together here. In 1964 he travelled to Australia and New Zealand, holding exhibitions and classes in Sydney, Melbourne and Wellington, where his work was shown at the Centre Gallery alongside that of his pupil John Chappell.

EXHIBITED

An Exhibition of Recent Works, Canterbury Museum, Christchurch, Pan Pacific Arts Festival, February–March 1965, cat. no. 23. $3,000–5,000

Hamada, designated a Living National Treasure in 1955 and a founder of the mingei movement, travelled to Christchurch for the 1965 Pan Pacific Arts Festival, which ran from 22 February to 6 March. He demonstrated pottery making, firing and glazing, and his exhibition of recent works opened at the Canterbury Museum on 23 February. During the visit he travelled the country and met many local potters, including a workshop at Janet and Wilf Wright's Reikorangi pottery near Waikanae. The visit was a formative moment for New Zealand studio pottery, and works bought from the exhibition by local potters and collectors remain the principal source of Hamada's work in New Zealand.

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ATTRIBUTED TO OSVALDO BORSANI A mid-century rosewood and marble circular table with glass top Italian, 1950's 79cm high, 107cm diameter PROVENANCE

Geoffrey Hatty Applied Arts, Melbourne Private Sydney Collection $3,000–5,000

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A rare hard-paste porcelain Empire period centrepiece, by P.L Dagoty of Paris French, circa 1815 50cm high, 34cm wide, 22.5cm $3,000–5,000

P.L. Dagoty was a premier hard-paste porcelain manufacturer in Paris, founded by Pierre-Louis Dagoty (1771–1840) The enterprise began around 1798 when the Dagoty brothers (PierreLouis and Étienne-Jean-Baptiste) took over a workshop on rue de Chevreuse in Paris. Following Étienne’s death in 1800, Pierre-Louis Dagoty took sole control of the factory by 1804. The manufacturer received high-profile patronage from Empress Josephine, granting it the title Manufacture de S.M. l'Impératrice (Manufacturer to Her Majesty the Empress). Later, during the Restoration period (1815– 1820), it operated under the protection of the Duchess of Angoulême. From 1816 to 1820, Dagoty partnered with Edouard Honoré (Dagoty et Honoré) before the partnership was dissolved and subsequently taken over. Dagoty porcelain was at its peak during the French Empire and Consulate periods, heavily influenced by Egyptomania, classical mythology, and fine architectural motifs.

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A rare ceramic figure of a Putto, emblematic of autumn by Michael Powolny for Gmundner Keramische Werkstatte Austrian, circa 1911 marked:impressed Wiener Keramik seal and with an applied paper seal of Gmundner Keramische Werkstatte 37.5cm high, base diameter 16.6cm $10,000–15,000

Austrian sculptor and ceramic designer Michael Powolny (1871–1954) co-founded the influential Wiener Keramik studio in 1906 alongside Bertold Löffler. In 1913, Wiener Keramik merged with Gmundner Keramik to form the Vereinigte Wiener und Gmundner Keramik, blending Viennese Art Nouveau (Jugendstil) aesthetics with traditional regional earthenware manufacturing. Powolny created iconic three-dimensional models—including his signature putti figures, animal sculptures (such as parrots and snails), and tabletop items—which were produced and distributed through the Wiener Werkstätte and Gmundner Keramik. The "Four Seasons" putti figures are among the most famous examples of Austrian Jugendstil (Art Nouveau) ceramics. Originally designed around 1906–1907 by Michael Powolny, these allegorical cherub figures represent an iconic collaboration between avant-garde Viennese design and serial art manufacturing. The National Gallery of Victoria (NGV) holds some 37 works by the artist in its permanent collection including an identical example of this figure, which was purchased with the assistance of Joan Clemenger in 2007.

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A pair of Louis XV period carved walnut bergères French, 18th century covered in ivory linen 73cm wide, 96cm high PROVENANCE

The Graham Geddes Collection Auction, Aingers, 1995 Private Sydney Collection $3,500–5,500

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A fine Louis XV period carved walnut commode French, 18th century with good original bronze handles and key escutcheons 84cm high, 133cm wide, 63cm deep PROVENANCE

John Dunn Antiques, Private Sydney Collection $7,000–10,000

END OF SALE

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We are so grateful to Paul and the Artvisory team for so expertly and thoughtfully managing the sale of our mother's collection. Of course everyone going through this is immensely sad and also somewhat overwhelmed, and Paul managed with such calm and care to lead us through the whole process. In our mother's case it was also complicated by much of her Estate being managed legally from the UK, and half the family being based overseas, so juggling time zones and different sets of lawyers added to the chaos. Paul at all times worked immensely hard, always on hand for advice and encouragement. His knowledge of the market was second to none—honest about the best parts of the collection, and also those pieces less popular these days, and suggested the appropriate approach for both. The catalogue made us all very emotional; Paul, Amanda and their team did a fabulous job honouring the family history of the collection and showed off our grandparent's and mother's pieces to perfection. We were thrilled with the final results, and as importantly, felt Artvisory had really done our family proud. Thank you all. Mrs Georgie Stewart, London, July 2026 The Estate of the Late Dauvergne Morgan (Part of Rare + Beautiful, June 2026)

We are proud of our previous Single Owner Collection Vendor Testimonials and encourage you to read them on our website www.artvisory. com.au where you can also access our corporate video that will help you visualise the process of a Single Owner Auction.

SINGLE OWNER AUCTION SPECIALISTS —

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Artvisory is the specialist auction house for Single Owner Collection Auctions and Historic House contents auctions in Australia offering market-leading expertise and experience in this niche area.

linked. We understand the emotions involved in planning the possible sale of a collection and we provide a gracious, respectful and financially responsible strategy to vendors and families contemplating a sale.

Selling a collection is about telling the story of the collector and their family and the pieces that have been collected and cherished over time, with the house itself often intrinsically

If you are looking to sell a collection then please contact us in confidence for a complimentary and no obligation consultation, where we will explain the Single Owner auction concept in

detail and why vendors will always benefit from selling a house-collection or lifetime collection as a stand-alone auction with Artvisory. 310 Toorak Rd South Yarra 3141 VIC 03 9826 4039 | www.artvisory.com.au

KK Partners Group Proud Trust Accountants to Artvisory Since 2018. 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.

KK Partners Group Principal Greg Avdoulos 03 8534 5500 greg@kkpartners.com.au

Historic House Contents Auctions Single Owner auction specialists Paul Sumner 0412 337 827 paul@artvisory.com.au

Amanda Swanson 0414 592 234 amanda@artvisory.com.au

www.artvisory.com.au

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Telephone Bid Form 310 Toorak Road South Yarra VIC 3141 +61 3 9826 4039 www.artvisory.com.au

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A$ A$ A$ A$ A$ A$ A$ A$ A$ A$ A$ 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.

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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.

The property is otherwise sold “AS IS” and a condition report can be requested at any time prior to the sale. b)

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

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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.

2. Artvisory Auctions as Agent The contract for the sale of the property is therefore made between the Seller and the Buyer.

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.

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.

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.

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.

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.

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.

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

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.

G) Online and Timed Online Bidding Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer

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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.

5. After the Sale a)

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)

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

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. 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.

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)

Payment can be made by direct transfer or Eftpos/ credit card in person.

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. 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.

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.

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

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.

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. 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 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.

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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)

ii)

iii)

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. 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. 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

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.

SINGLE OWNER AUCTION SPECIALISTS

310 Toorak Road South Yarra Victoria 3141 +61 3 9826 4039 | www.artvisory.com.au