Page 1



Front Cover & Opposite 51 AUGUSTE RODIN (1840-1917) Head of Eustache de Saint-Pierre Bronze. Eustache de Saint-Pierre, Type A Head (Eustache de Saint Pierre, tête Type A). Height of bronze 33 x 21.7 x 25cm Total height (including stand) 49cm $80,000-120,000


97 25 part 2


VIEWING Sydney The Bond, 36-40 Queen Street, Woollahra NSW 2025 Friday 22 - Monday 25 March, 10am-4pm Tuesday 26 March, 10am-2pm


Hamish Clark

Jane Messenger

Head of Sydney Office (02) 9362 9045 | 0403 142 106

Art Specialist 02 9362 9045 3



Presenting The Collector's Auction The Collector’s Auction brings together a diverse group of works – in school,

The international contacts Haines had made while working at the State

medium and artistic legacy. You will discover a sculpture by Auguste Rodin, the

institutions enabled him access early French and British modern works to offer

most celebrated sculptor of the modern era, next to examples by contemporary

through David Jones. He was responsible for introducing many Australian

artists working in the animalia tradition; an impressive mid nineteenth-century

collectors to the international art market, including James Fairfax AC and

regulator clock by Reid & Sons, Newcastle-upon-Tyne with a Dollond of London

William Bowmore AO OBE.

library telescope c. 1790; Bruno Zach’s iconic The Umbrella Girl; and the British still life painter Olywn Bowrey RA next to the Australian expressionist painter

Amongst Haines’s regular suppliers was the Musée Rodin (authorised under

Euan Macleod. In so doing, you will also discover a passion and impulse shared

the terms of the artist’s donation to the French State to create limited editions

by all collectors.

in bronze). The legacy of this relationship is found in the Rodin sculptures that highlight the international collections of the Art Gallery of South Australia and

The auction is lead by Rodin’s Head of Eustache de Saint-Pierre which was

the National Gallery of Australia, including the full-scale figure Nude study of

acquired by the current owner from Robert Haines at David Jones Fine Art

Eustache de Saint Pierre.

Gallery in 1974. Prior to establishing himself as a dealer, Haines was Assistant Director at the National Gallery of Victoria and then Director at the Queensland

Hamish Clark

Art Gallery, where he oversaw the notable acquisition of Pablo Picasso’s La Belle

Head of Sydney Office





1 CHARLES II OAK CHEST OF DRAWERS The rectangular top with bobbin turned edge above four geometrically carved drawers, paneled sides, on bun feet. Brass handles and escutcheons. English circa 1680. 95 x 95 x 56.5cm

2 CHARLES II YORKSHIRE, DERBYSHIRE OAK CHAIR The scalloped dome topped back bars enriched with chip carving, pendant finials between scroll ended uprights, ring-turned roundal supports. English circa 1680.

PROVENANCE: Joan and Charles Mortimer, ‘The Sugar House’, Great Chesterford, Saffron-Walden, Essex, UK, 1978 Formerly the property of Dame Edith Evans $800-1,200

PROVENANCE: Joan and Charles Mortimer, ‘The Sugar House’, Great Chesterford, Saffron-Walden, Essex, UK, 1978 $400-600


3 CHARLES II OAK GATELEG TABLE Oval plank top, turned legs, stretcher base. English circa 1670. 72 x 135 x 17cm PROVENANCE: Joan and Charles Mortimer, ‘The Sugar House’, Great Chesterford, Saffron-Walden, Essex, UK, 1978 $400-600

4 A REID & SONS REGULATOR LONGCASE CLOCK Mahogany case. The eight day dead beat escapement movement with maintaining power pendulum suspended from the back of movement, full brass dust covers, mercury glass jar pendulum (not filled), six spoke pulley with brass weight. The circular silvered regulator dial signed ‘Reid & Sons Newcastle-upon-tyne’. English circa 1840. 195 x 45 x 27cm PROVENANCE: Private collection, Sydney $4,000-6,000

Regulator clocks were first popularised in the early 18th Century by English watchmaker and fellow of the Royal Society, George Graham (1673-1751). They typically featured the latest and best methods for keeping time over a long period. This English Reid & Sons regulator relies on two technologies adopted and proposed by Graham. The first is his dead beat escapement of 1715, which was widely utilised in clocks made with his influential business partner, clockmaker Thomas Tompion, from an earlier 17th Century design. The dead beat was a modification of the earlier anchor escapement with a number of improvements that allowed the pallets to lock and slide, which eliminated recoil on the timekeeping escape wheel. Accuracy could be further improved by adjustment of the ‘lock’ of the pallet in the escape wheel, a precision adjustment feature that began with Graham’s invention. Outside of the escapement, the movement of the Reid & Sons regulator is relatively uncomplex – a trait of many regulators is utilitarian precision over complications – with features such as chiming or calendars being typically absent. This invention was never patented by Graham, who believed that it was important for all clockmakers to adopt. Graham is also well known for his invention of the mercury compensated pendulum, released to the Royal Society in 1727 as ‘A contrivance to avoid the irregularities in a clocks motion, occasion’d by the action of heat and cold upon the rod of the pendulum’. Having observed that the clock in his house slowed down in the summer sun, Graham realized that thermal expansion and contraction of the pendulum rod from changes in temperature was the main source of the error. As metal gets warm it expands down, but by using mercury sealed in a glass vial as the weight, it has nowhere to expand but up. This was supposed to keep the regularity of the oscillation for the pendulum constant. While this regulator was retailed by Reid & Sons of Newcastle, England, it would have almost certainly have been built by a clockmaker specialising in regulators, who in this case, as typical, has not signed the movement. Reid & Sons were well known for supplying high performance chronometers to the Admiralty for use in navigation, among other uses. It is possible that the piece was intended for similar scientific use, or that it was intended as a ‘jewellers clock’ to accurately set other less accurate watches. Matthew Richard Jump 4


5 A FRENCH EMPIRE ORMOLU MANTEL CLOCK The gilt metal case decorated with a winged woman holding a shell and surmounting a globe wrapped in a flowing cloth with sunburst back drop. The dial with black enamelled Roman numerals. 49 x 33.5 x 12cm PROVENANCE: Private collection, Sydney $800-1,200 6 YEATES & SON, DUBLIN, A LARGE EARLY 19TH CENTURY TWO DRAW TABLETOP TELESCOPE Mounted on a Queen Anne style brass stand. Signed at the end of the tube ‘Yeats & Son Dublin’. Includes a box containing four lenses and three eyepieces. Box tabel reads ‘The Transit of Venus Made Easy to Understand By the Means of Models, by Rev E. L Berthon M.A F.R.A.S’. Lens screwed on telescope tube inscribed ‘For foggy weather’. Irish circa 1840. Height 102cmTube length 109cm Total extended length 180cm Objective lens diameter 10cm Eyepiece diameter 5cm $1,500-2,500 6

7 DOLLOND OF LONDON, LARGE 18TH CENTURY BRASS LIBRARY TELESCOPE Brass tube on a tripod base. Engraved ‘Dollond London’, ‘Judge Cator, Athenaeum Club S.W’, and ‘N.S.L Y3229’. English circa 1790. Height 58cmTube length 109cm Total length 138cm Objective lens diameter 8cm Eyepiece diameter 4cm $1,500-2,500



9 8 AN ENGLISH 18TH CENTURY OAK GATE LEG TABLE Oval dropside top, barley twist legs and stretcher. English circa 1700. 72 x 100 x 133.5cm (extended) $400-600

9 GUY MAESTRI (born 1974) Moon Ocean 2007 Oil on canvas. Signed and dated, verso upper left: Guy Maestri 2007 168 x 122cm PROVENANCE: Tim Olsen Gallery, Sydney (label verso) Private collection, Sydney $4,000-6,000

10 PETER HICKEY (born 1943) Cows Oil on canvas. Signed lower right: Hickey 122 x 396cm PROVENANCE: Private collection, Sydney $2,000-4,000



11 CRAIG RUDDY (born 1968) In the Distrant Blue She Cries Oil on board. Signed and dated lower right: Ruddy 04 Inscribed verso: in the distant blue/ she cries/ in the blue depths she 120 x 120cm PROVENANCE: Private collection, Sydney Lawson-Menzies (now trading as Menzies), Sydney, 06 December 2007, lot 345 Private collection, Sydney $2,000-4,000


12 AN ANDY WARHOL ‘DOUBLE ELVIS’ POSTER 170 x 106cm PROVENANCE: Private collection, Sydney $400-600 13 ANONYMOUS Moon Phase 1, 2, 3 Print on paper. 61 x 54.5cm each PROVENANCE: Private collection, Sydney $150-250

14 JAMES MCGRATH (born 1969) Man 1990 Oil on canvas. Signed and dated lower centre: James MXM 236 x 167cm PROVENANCE: Private collection, Sydney $800-1,200


15 ROBERT KLIPPEL (1920-2001) Untitled 1984 Watercolour, pastel on paper. Signed lower right: Robert Klippel Signed and dated verso: Robert Klippel 1984 75 x 100cm PROVENANCE: Private collection, Sydney $2,000-4,000

16 TEI-HUCK CHU (active 21st century) Untitled Painted wire. 51 x 50 x 36cm

17 DAVID TEER (born 1970) Untitled 1998 Steel. 17 x 20 x 140cm (irreg)

PROVENANCE: Sir Herman Black Gallery, Sydney Private collection, Sydney $600-800

PROVENANCE: Defiance Gallery, Sydney Private collection, Sydney LITERATURE: Gallery $1,500-2,500



18 HAUGHTON FORREST (1826-1925) Mount Pelion Tasmania Oil on board. Signed lower left. 45.5 x 61cm

19 WILLIAM LISTER LISTER (1859-1943) Untitled Watercolour. Signed lower left. 29 x 63cm

20 WILLIAM LISTER LISTER (1859-1943) Untitled Watercolour. Signed lower left. 31 x 46cm

PROVENANCE: Private collection, Perth $6,000-8,000

PROVENANCE: Private collection, Perth $1,500-2,000

PROVENANCE: Private collection, Perth $1,500-2,000



21 A GEORGIAN STYLE MAHOGANY GENTLEMAN’S ROBE With fitted drawer slides, two short and two long drawers, hanging cupboards either side. With Chubb patent locks. English 20th century. 221 x 248 x 62cm $600-800

22 ROBERT PRENZEL (1866-1941), A PAIR OF BLACKWOOD CARVED HALL CHAIRS In Gothic Renaissance style, the back panels depicting winged demons each holding a shield. The solid wood seats carved with Art Nouveau flowers set upon a base carved with dolphins. Stamped to underside of seat ‘ Robt Prenzel, wood carved, Sturt Street, South Melbourne, European Labour Only’. Height 111cm $4,000-6,000



23 WILLIAM RUBERY BENNETT (1893-1987) Road to Mount Lindesay Oil on canvas. Signed lower left. 36 x 45cm PROVENANCE: Private collection, Perth $3,000-5,000




PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $200-400

PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $200-400

26 A COLLECTION OF 19TH CENTURY JAPANESE WOODBLOCK PRINTS (3) One 35 x 23cm (average)Two 13 x 25cm Three 13 x 25cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $200-400 27 ARTIST UNKNOWN (Italian School) Still Life with Flowers Oil on Canvas. Signed lower right (illegible), dated 1836. With a pair of canvas and frame seals verso ‘Lotteria di Toscana Direz Gen di Firenze’. 45.5 x 34cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $2,000-3,000 28 follower of SIR HENRY RAEBURN (18th century) Portrait of a Gentleman Oil on canvas. 74.5 x 61cm


PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $1,000-2,000 29 ARTIST UNKNOWN (Flemish, Circa 1700) Figures Fishing in a Landscape Oil on canvas. 77 x 55cm $1,000-1,500 30 FREDERICK WILLIAM LEIST (1878-1945) Still Life with Flowers 62.5 x 66cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $800-1,000

28 15

31 H. WIRTH A Coastal Scene of France Oil on canvas. 61.5 x 45cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $200-400 32 UNKNOWN ARTIST (Italian School, 18th Century) Portrait of a Child Oil on board. PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $400-600 33 ADAM BARLAND (1843-1875) ‘Surrey Lane’ and ‘Sheperd Girl, Boy and Flock’ Oil on boards, both signed and dated 1867. 19 x 24.5cm each $400-600 34 EDMUND JOHN NIEMANN (1813-1876) Waterfall Oil on canvas, signed. 35 x 45cm $400-600 35 J. FRASER R.B.A (1858-1927) On the Cornish Coast Watercolour and pastel, dated 1895. 19 x 31cm $100-200 36 A FRENCH BRONZE STATUE “LE VAINQUEUR” BY EUGENE MARIOTON (1857-1933) Depicting an archer with raised arm in triumph, signed on the side of the base “E.Marioton”, numbered 7154, stamped “Fondeur Siot-Decauville, Fondeur Paris”. French circa 1900. Height 96cm $1,000-1,500 37 A GILT BRONZE SCULPTURE OF A PRAYING BOY (AFTER LYSIPPOS OF SICYON) Based on a Greek model circa 300BC. Original statue in the collection of the State Museums of Berlin. Inscribed to base ‘Musee de Berlin’, 20th Century. Height 56.5cm $2,000-3,000

37 16


38 AN EARLY 19TH CENTURY GRAND TOUR BRONZE FIGURE OF ‘PRAYING BOY’ After the antique Praying Boy of Rhodes, dating from 300BC. Stamped to base ‘Rohn’. Height 29cm $300-500

39 A LARGE 19TH CENTURY LEAD BUST OF MENELAUS On a circular base. Height 88cm OTHER NOTES: The legendary King of Sparta and husband of Helen of Troy, Menelaus was a popular subject for bronze and lead busts, which were modelled on the classical marble original now in the collection of the Vatican. $2,000-4,000



40 A 19TH CENTURY VERDI MARBLE SCULPTURE ON COLUMN PEDESTAL Depicting Heracles wrestling the Ceryneian Hind. Height 191cm $1,000-2,000 41 A 19TH CENTURY TERRACOTTA FIGURE OF BRITANNIA WITH LION 99 x 47 x 50cm $800-1,200



42 A 19TH CENTURY SPELTER FIGURE, THE LAST OF THE MOHICANS 83 x 35.5 x 44.5cm $800-1,200 43 A PAIR OF LARGE SATSUMA VASES Highly decorated with figures and elephants set in a landscape Height 47cm $2,000-3,000

44 LOUISE TUCKWELL (born 1963) Textile IV 1996-2009 Tapestry. Signed,dated and titled verso: Textile IV/ 1996-2009/ Louise Tuckwell 20 x 17cm PROVENANCE: The Artist Private collection, Sydney $400-600 45 EMMA McDERMOTT (Ireland born 20th century) A charging wild boar 2000 Bronze, ed. 5/9. Signed and dated to base: E MCD 2000 $4,000-6,000


46 studio of GENRYUSAI SEIYA (19th-20th century) Elephant Bronze and ivory. Signed with artist’s cartouche. 26 x 34 x 15cm (irreg) $1,200-1,800 47 PHILLIP PIPERIDES (born 1956) Seated Woman Bronze, ed. 1/25. Signed to base: PERIDES 30 x 12.5 x 12cm (irreg) PROVENANCE: Private Collection, Sydney $2,000-4,000




48 studio of OMORI MITSUMOTO (Japan 1868-1912) Tiger, Meiji period Bronze. Signed with artist’s cartouche. 14 x 30cm $800-1,000 49 A LARGE JAPANESE MEIJI PERIOD (1868-1912) BRONZE MODEL OF EAGLE ON ROCKY OUTCROP 105.5 x 114cm $3,000-5,000

50 LLEWELLYN DAVIES (1950) Elephant Bronze, 2/10. Signed to base: Llewellyn 73 x 104 x 68cm (irreg) PROVENANCE: Private collection. Sydney $8,000-12,000



51 BRUNO ZACH (1891-1945)* The Umbrella Girl c.1920s Bronze model with carved ivory head, shoulders and arms. Depicting a young lady wearing long length gloves and high heel boots, with a monkey face handled umbrella under her arm. Signed script to base 'Bruno Zach'. NOTE: This item has received CITES approval. Height 63cm $12,000-14,000

Women - depicted tall, powerful and confident were sole focus of all of Bruno Zach’s best-known pieces. A student of the Vienna Academy, he studied under the monument sculptor Josef Müllner, later taking a radical departure from the conservative neoclassical style of his teacher in the post-war German Weimar Republic of the 1920s. Zach was witness to a cultural explosion in the nightclubs, restaurants, theatres and cinemas of Berlin. Due to severe hyperinflation following Germany’s defeat in the First World War, Berliners spent their income and savings freely and lavishly in the fear that their money would become worthless the next day. To Zach, the exotic laissez-faire lifestyle of the decade served as the stimulus for his most wellknown works. Influence from America led to shorter hair, shorter skirts and sleeves: fashions which are proudly shown off by The Umbrella Girl. The piece depicts a windswept young lady, Zach capturing her in a snapshot moment, head turned, with an arm raised to hold her hat. It is naturally posed yet suggestive. Here the erotic side of Zach’s work is alluded to in the piece, the flowing, loose dress is revealing to a point – suggesting her physique through the stretches and creases of Zach’s perceptive modelling. The elements of polished white carved ivory highlight the areas where bare skin shows, bringing to attention the dress slipping at her left shoulder. In the cultural renaissance of the 1920s, Bruno Zach stands as a testament to the social liberties of the period, his predilection for the erotic notion of dominating, sexually charged scenes illustrates perhaps the beginning of the social, political and sexual freedom that women were enfranchised with during the decade. Matthew Richard Jump



52 AUGUSTE RODIN (1840-1917) Head of Eustache de Saint-Pierre Bronze Eustache de Saint-Pierre, Type A Head (Eustache de Saint Pierre, tête Type A).

‘An expression of weariness… flows over his face into the beard’, was the impression of Rodin’s striking rendition of Eustache de Saint-Pierre to his friend and poet Rainer Maria Rilke. Certainly, the surface of the face of Eustache, running from the furrowed brown down accented temples, though the high cheekbones to the crevices of the lips conveys via texture and the arrangement of concave and convex forms, the heavy burden carried by the leader of The Burghers of Calais.

Conceived in 1885-86. Posthumous cast authorized by Musée Rodin, 1968 in 10 casts by Georges Rudier, nos. 3 -12, from 1968-1976. This example marked ‘copyright Musée Rodin 1973’. Signed ‘A. Rodin’. Bearing stamp of ‘Georges Rudier / Fondeur Paris’. Documentation confirms it as cast No. 9, with registration number 2902.

Eustache was the first to volunteer surrendering themselves unconditionally to Edward III, King of England, who had besieged the city of Calais in 1347. Edward had promised mercy to the garrison and people of the city if six citizens gave themselves to the will of the English King. The six, representing the bourgeois and mercantile wealth of Calais, dressed in simple shirts, bearing nooses around their necks, brought the keys of the city to the knees of Edward. It was their selfsacrifice, dignity and honour in defeat that moved the Queen of England and courtiers to beg the King release the men from their certain death.

Set on tiered wooden stand.

The moment Rodin chose to capture in his monumental sculpture group, The Burghers of Calais, is the point of the six men leaving the safety of the castle-city to the certainly of their death. At this turning point in the lives of these men Rodin imagines the torment of uncertainty and resignation churning against the resolution of what was being undertaken in each of the figures.

Item comes with a certificate from the Musée Rodin, 16th May 1974. Height of bronze 33 x 21.7 x 25cmTotal height (including stand) 49cm PROVENANCE: ‘Auguste Rodin 1840-1917, The Burghers of Calais’, David Jones’ Art Gallery, Elizabeth Street, Sydney, March 5-30 1974 Private Collection, Sydney EXHIBITIONS: ‘Auguste Rodin 1840-1917, The Burghers of Calais’, David Jones’ Art Gallery, Elizabeth Street, Sydney, March 5-30 1974, catalogue No. 17 LITERATURE: Georges Grappe, Catalogue du Musée Rodin, Paris, 1938, No. 150, p. 61. Illustration is of another cast John L. Tancock, The Sculpture of Rodin, Philadelphia, 1976, p. 401 Joan Vita Miller and Gary Marotta, Rodin: The B. Gerald Cantor Collection - The Metropolitan Museum of Art, New York, 1986, p. 97-98 Antoinette Le Normand-Romain et al, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, S.390, p. 230. Ilustration is of another cast $80,000-120,000


The head of Eustache stands out as holding the greatest sense of single meaning out of the six figures. Eustache alone is unassisted by bodily gestures of anguish or fear – all sense of emotion and feeling is focused by Rodin in the downward face. Of all the figures it is an easy argument to make that Rodin gave his most attention to Euastache. The head itself may have been modelled on his friend and painter Jean-Charles Cazin, who wrote to Rodin ‘I am ready to pose for the figure of your Eustache de Saint-Pierre, rope around the neck, feet and arms naked. This excellent man… would himself approve of your choice because I profoundly admire the simple grandeur of his action’. With the faces and figures of Eustache and his fellow burghers, Rodin was making a concerted effort to refer both to the form and style of the past as well as the fluid and dynamic direct sculpture was taking. The dignity and intensity of emotion of Eustache recalls Claus Sluter’s ‘Well of Moses’, sculpted figures of 1395-1404, which share a similar historical period to the siege of Calais of 1347. Rodin’s willingness to display fragments of a whole, and direct attention to use texture as a means to convey emotion opened his works to deeper interpretation. The face of Eustache is a direct result of him playing with these unprecedented themes that Brâncusi, , Henry Moore and Matisse would later embody and expand. The Burghers do not interact or inform each other, and each piece of the group functions materially and conceptually – carrying meaning without the support of the whole. Matthew Richard Jump




53 AN EMPIRE STYLE MAHOGANY BREAKFRONT BOOKCASE With four glazed doors above the carved cupboard doors, with ebonised figural decoration, on carved lion paw feet. 247 x 348 x 59cm PROVENANCE: Private collection, Sydney $2,000-4,000 54 A GEORGIAN MAHOGANY CHEST ON CHEST Two short, six long drawers, original brass handles and locks. Label to one drawer: “Particulars of ‘Layette’ as made by Mrs Char Stone 1883. English circa 1790. 178.5 x 117.5 x 57cm PROVENANCE: Colin Lennox Antiques, Double Bay, Sydney Private Collection, Sydney $1,500-2,500 54



55 A LOUIS XVI FRUITWOOD BUREAU PLAT With brass mounts and escutcheons, tooled leather top. 77 x 150 x 80cm PROVENANCE: Private collection, Sydney $2,000-4,000 56 A REGENCY MAHOGANY REVOLVING DRUM TABLE Tooled leather top, two long and two short drawers, four dummy drawers, on four paw caster feet. English circa 1810. Height 78cm Diameter 106cm PROVENANCE: Private collection, Sydney $2,000-4,000




57 ROBERT (BOB) MARCHANT (born 1938) Duck Shooters at Buloke Swamp in the Wimmera 1988 Oil on canvas. Signed lower left: Bob Marchant Dated and inscribed verso stretcher: Buloke/ 1988 137 x 182.5cm PROVENANCE: Private company collection, Sydney Lawson-Menzies (now trading as Menzies) 06 Dec 2007, lot 396 (label verso) Private collection, Sydney $4,000-6,000


58 SUSIE DUREAU (born 1974) Gate of Ivory from Horn 2011 Oil on linen. Signed, dated and titled verso upper centre: Susie Dureau/ “Gate of Ivory from Horn” 2001 121 x 136.5cm PROVENANCE: Private collection, Sydney $1,000-2,000


59 A LOUIS VUITTON BISTEN SUITCASE Monogram canvas, leather handle, interior support straps, lock with key and trunk latches, with leather trim and brass details, M21326. 60 x 42 x 18cm $2,000-4,000 60 A LOUIS VUITTON ALZER SUITCASE Monogram canvas, leather handle, interior support straps, one removable tray, lock with key and trunk latches, with leather trim and brass details, M21226. 70 x 47 x 22cm $2,000-4,000 59



61 A HERMES “BALCON DU GUADALQUIVIR” DINNER SERVICE FOR EIGHT Comprising eight bowls, eight entree dishes and eight main dishes, all boxed. $1,200-1,500

63 A PAIR OF LALIQUE “ANEMONE” FLOWER PAPERWEIGHTS In frosted crystal, both signed “Lalique France”. Length 11cm each $300-500

62 A LALIQUE BAGATELLE VASE Carved with birds in foliage, signed “Lalique France”. Height 16.5cm $300-500

64 A GEORGIAN STERLING SILVER THREE PIECE TEASET In classical form, engraved foliate decoration with ball feet. Hallmarked London 1814, 1808 and 1807. Makers: Teapot - Thomas Wallis (II) and Jonathan Hayne; Jug - possibly Hyam Hyams; Sugar - rubbed. $800-1,200



65 A VICTORIAN STERLING SILVER THREE PIECE TEASET Half fluted decoration, ebony handle and finial. Hallmarked London 1883. Maker: Edward Hutton (William Hutton & Sons) $800-1,200


66 A GEORG JENSEN STERLING SILVER ACORN PATTERN CANTEEN Consisting of: 11 table knives 11 table forks 11 dessert knives 11 dessert forks 11 butter knives 11 soup spoons 8 table spoons 8 dessert spoons 8 teaspoons 3 large serving spoons 8 fish knives 8 fish forks Total 109 pieces. Designed in 1917 by Johan Rohde for Georg Jensen. All stamped Georg Jensen Sterling Denmark. $10,000-15,000


67 A VICTORIAN STERLING SILVER ARMADA JUG London, 1890 by Sibray, Hall & Co (Frederick Sibray and Job Frank Hall). Classical baluster shape with traditional ornate chased and applied designs of floral and foliate patterns. Height 31.5cm $3,000-5,000 68 AN EDWARDIAN STERLING SILVER THREE PIECES BACHELORS TEA SET By George Nathan and Ridley Hayes. Teapot, milk jug and two handled sugar basin, foliate decoration, ebony handle and finial. Chester 1897. $200-400 69 A CONTINENTAL SILVER CASKET Hinged lid, decorated with grapes and vine leaves. Stamped to base “V 750”. 14 x 17.5 x 13cm $300-500 70 A GEORGIAN STERLING SILVER CASTER London, 1798, makers mark rubbed. Classical design with engraved lattice decoration to top. Height 14cm $200-400 71 A GEORGIAN STERLING SILVER MARROW SCOOP London, circa 1720. Length 22cm $200-400 72 A PAIR OF GEORGIAN STERLING SILVER CIRCULAR SALTS London, 1788, makers marks rubbed, with blue glass liners. Together with a sterling silver salt with blue glass liner, London, 1918 by Pairpoint Brothers. $400-600 73 A FRENCH EMPIRE STERLING SILVER COFFEE POT Decorated with a horse head spout, wooden handle, on three paw feet. Paris, 1809-1819, maker mark rubbed. Height 26cm $800-1,200



74 NORMAN LINDSAY (1879-1969) Study for Conversation 1 c.1952 pencil on paper Signed lower right: N. L 22 x 17cm $1,000-2,000 75 A GEORGIAN STERLING SILVER BRANDY WARMER London, 1764 by Charles Chesterman II. Plain design with turned wooden handle. Height 7.5cm $1,000-1,500 76 A GEORGIAN STERLING SILVER CREAMER Classical design on four ball feet. London, 1830, makers marks rubbed. Height 9.5cm $300-500


77 A QUEEN ANNE STYLE STERLING SILVER SALVER Sheffield, 1939 by James Dixon & Sons. Classical border on four scroll feet. Diameter 25.5cm $500-800 78 A BIDRI BOX With inlaid geometric silver decoration. 6 x 19 x 14cm $400-600 79 A 19TH CHINESE CHIPPENDALE STYLE DISPLAY CABINET 68 x 34 x 34cm $500-700 80 A 19TH CENTURY FRENCH VITRINE CABINET Curved sized glass in front with gilt metal mounts. 98 x 53 x 44cm $1,000-1,500 80 81 A VICTORIAN MAHOGANY FOLD-OVER TEA TABLE Column support, the base with four lion paw feet. 74 x 92 x 46cm $600-800


85 82 A 17TH CENTURY WALNUT CASSETTONE BOLOGNA, CIRCA 1670 Carved column supports with the typical Renaissance method of pegging throughout, three drawers, original hardware and key, shaped bracket feet. 94 x 99 x 40cm $4,000-6,000 83 A DUTCH BRASS THREE-LIGHT CHANDELIER SECOND HALF OF 17TH CENTURY Three scrolling branches with circular drip-pans with sphere below. Height 60cm $500-700 84 AN ESTONIAN VIOLIN BY MEEME MALGI Signed ‘Meeme Malgi, Estonia, AD 1941-2. Complete with bow, inlaid with mother of pearl and hard case. $2,000-4,000 84

85 follower of PETER VAN DE VELDE Seascape with three ships returning fire at Gibralta, 18th Century Oil on canvas. 70 x 98cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $2,000-3,000


86 ARTIST UNKNOWN (18th century) Seascape Watercolour on paper. Together with a portrait print of Elizabeth Pierrepont, Dutchess of Kingston, ‘Iphigenia, A celebrated Dutchess in that Character as she appeards at a Masqued Ball June the 3rd 1749’. Printed 1787. 18 x 24.5cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $200-300 87 LOUIS FORTUNEY (1876-1950) Le Rendez-Vous Oil on canvas. 31.5 x 24.5cm PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $300-500 88 LOUIS FORTUNEY (1876-1950) Boats on a Beach Oil on canvas. 48 x 63cm


PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $400-600 89 JACQUES TRUPHEMUS (French 1922-2017) Untitled Oil on canvas. Signed lower right, dated 1965. 73 x 60cm $4,000-6,000 90 OLWYN BOWEY (British, born 1936) Liliput Astas 1968 Oil on canvas. Signed upper right: Olwyn Bowey PROVENANCE: Phillips, Sydney, 23 May 2000, lot 141 Private collection, Sydney $2,500-4,500





91 EUAN MACLEOD (born 1956) KKK 1987 Oil on canvas. Signed and titled verso: EUAN MACLEOD/ KKK 142 x 176cm PROVENANCE: Watters Gallery, Sydney Private collection, Sydney $15,000-20,000

KKK is a seminal painting by Euan Macleod, harnessing the dark and expressive technique for which the artist is celebrated. Rough and raw brushstrokes are applied in sweeping gestures that portray the energy driving the artist’s hand. The darkened palette and texture of impasto paint instil a characteristic intensity within the painting. Macleod empowers the four Black Panthers who stride forward with confidence, backlit by the drama unfolding behind them. Euan Macleod is collected by leading public institutions, including the National Gallery of Australia, the Te Papa Museum New Zealand and the Metropolitan Museum New York.


92 TOMISLOV NIKOLIC (born 1970) Veneered Purity 2000-01 Acrylic on canvas. Signed, dated and titled verso: Tomislov Nikolic/ Veneered Purity/ (2000-01) 76 x 76cm PROVENANCE: Stephen McGlauglin, Melbourne Private collection, Sydney $3,500-5,500 93 CRAIG EASTON (born 1961) California 2002 Enamel and acrylic on canvas. 122 x 122cm


PROVENANCE: Boutwell Draper, Sydney Private collection, Sydney $1,000-2,000 94 RHETT BREWER (born 1952) Holder and Held 1989 Oil on canvas. Signed and dated verso: Rhett Brewer/ 89 51 x 40cm PROVENANCE: D. C. Gallery, Sydney Private collection, Sydney $600-800 95 ยง DYLAN COOPER (born 1980) Shoal Bay 2013 Acrylic, charcoal, aerosol on canvas. Signed lower right: DC Signed, dated, titled verso: DYLAN COOPER SHOAL BAY (2013) 110 x 68cm PROVENANCE: Incinerator Art Space, Sydney Private collection, Sydney $700-900



99 96 INES ULLMANN (German/Australian, born 1966) Singing with Lime Birds 1999 Oil on canvas. Signed, dated and titled verso: Inec ULLMANN/ 1999 “Singing with Lime Birds” 130 x 113cm

98 JUDY WARBURTON (active 21st century) Friday Mosque, Natanz, Iran 2010 Digital print. Signed and dated verso: October 2010/ Judy Watson 39 x 26cm

PROVENANCE: Sir Hermann Black Gallery, Sydney Private collection, Sydney $800-1,200

PROVENANCE: Incinerator Art Gallery, Sydney Private collection, Sydney $400-600

97 CHRISTOPH MUELLER (active 21st century) Into the Unknown Epson premium lustre digital print. Signed verso lower right: Christopher Mueller 59 x 39cm

99 § JOHN BARDELL (active 21st century) The Tower 2012 Digital print. 39 x 35cm

PROVENANCE: Incinerator Art Space, Sydney Private collection, Sydney $400-600

PROVENANCE: Incinerator Art Space, Sydney Private collection, Sydney $400-600


100 BORIS HLAVICA (born 20th century) Still Life 2009 Digital print, 1/30. Signed in margin lower right: [illeg] 24.5 x 39cm PROVENANCE: Private collection, Sydney $400-600 101 CAMPBELL ROBERTSON-SWANN (born 1949) Teahouse 1998 Steel. Signed and dated base: C-R S/ 98 23 x 29 x 10cm (irreg) PROVENANCE: Private collection, Sydney $800-1,200 102 CHARLES TAYLOR (American, active late 20th century) Solitude 1996 Aluminium. Signed and numbered to base: Charles Taylor/ 384 47 x 34 x 13cm PROVENANCE: Holdsworth Galleries, Sydney Private collection, Sydney $800-1,200


103 CAMPBELL ROBERTSON-SWANN (born 1949) The Mill 1993 Steel. 29 x 30 x 33cm (irreg) PROVENANCE: Private collection, Sydney $800-1,200 104 RUSSSELL MCQUILTY (born 1951) Untitled 2000 Painted steel. Signed and dated to base: RMc/ 2000 30 x 57 x 18cm (irreg) PROVENANCE: Private collection, Sydney $700-900




105 COLIN LANCELEY (born 1938) The Billiard Table 1990 Oil on carved wood and canvas. Signed with initial ‘L’ lower right. Signed and dated ‘Lanceley 1990’ on reverse, with title. 166 x 222cm PROVENANCE: Frumkin/Adams Gallery (now George Adams Gallery), New York, 1991 Private Collection, Sydney EXHIBITIONS: Frumkin / Adams Gallery, New York, Colin Lanceley New Constructed Paintings, 1-30 March 1991 $8,000-12,000

The playfulness enveloped within The Billiard Table is characteristic of Colin Lanceley’s practice. The constructed painting exclaims a passion for life and colour. Lanceley has made into form the movement of billiard game in progress, using both paint and three-dimensional objects on the picture plane to create the joyful illusion. Lanceley was one of Australia’s leading exponents of modernism, looking to the example of Henri Matisse and Joan Mirò in particular. From Matisse he adopted the expressive language of colour and from Mirò he learnt to instil the surrealist sense of whimsy into his work. Lanceley’s constructed paintings from the 1990s, and his commitment to the pictorial, existed as a powerful contrast to the work of the politicised avant-garde which dominated Australian art at the time. The artist’s delight of colour and sophistication of structure was observed by Robert Hughes in the monograph Colin Lanceley, stating of this paintings: “Their immense strength is in their colour, so wide-ranging, structurally integrated and sure in its effects: with a few exceptions… there are no artists in Lanceley’s generation to whom the diction of colour seems to come so naturally… If Lanceley’s optimism about the modernist inheritance seems not up to the minute, then so much the works for the minute”1.


Hughes, R. and Wright, W., Colin Lanceley, Craftsman House, Sydney, 1993 (revised edition), p. 17



106 ยง GEOFFREY DYER (born 1947) Derwent Bridge Watercolour and mixed media on paper. Signed lower right: GDyer 101 x 151cm PROVENANCE: Leonard Joel, Melbourne, 23 June 2015, lot 124 Private collection, Melbourne $2,500-3,500


107 KEN JOHNSON (born 1950) Monolith Acrylic and gouache on paper on board. Signed lower right: Ken Johnson 96 x 147cm $3,000-5,000 108 J. STUART Fishing Oil on canvas. 60 x 50cm $400-600

109 NORMAN LINDSAY (1879-1969) Poised, c.1938 pencil on paper Signed lower left: N.L 29 x 19cm $1,000-2,000


110 JEREMY THOMAS (America, born 1973) Smart Yellow Cold rolled steel, powder coat and urethane. 143 x 214 x 131cm (irreg) PROVENANCE: Bentley Gallery, Phoenix, Arizona, 2013 Private collection, Sydney $2,000-4,000

Jeremy Thomas’s inflated steel sculptures are playful objects that invoke curiosity. They incorporate a dialogue about process, volume and the accidental. Beginning with flat sheets of steel, Thomas cuts out circular shapes and bends them so they can be welded together to create hollow forms. He then heats each piece in a large forge and as the steel becomes malleable, he injects air into the forms. This introduces an element of spontaneity, with each sculpture unique in its own swells and folds. As Thomas has stated: “I know a certain form is going to create a certain wrinkle but I don’t know exactly where that wrinkle’s going to occur along that line”. Smart Yellow as much about the space it shapes within, as the dynamic of an object located in space. It has no top or bottom, no one side that is more dominant than the other. Nor is created with the specific intention of being located inside or outside. It is responsive to begin seen from different angles and in different environments.


111 A GIANT CLAM SHELL 23 x 74 x 47cm $600-800

121 A PERSIAN GHOCHAN 302 x 165cm $1,000-1,300

112 A STANLEY FULLER’S SLIDE RULE CALCULATOR No. 7009. With printed sliding drum scales, central inscribed brass bar, mahogany caps and handle, in fitted mahogany case with holding bracket, retailed by E. Esdaile & Sons, also bearing the Stanley label, accompanied by the Instructions Manual. Length 46cm $500-700

122 A SHAHREZA QUM RUG 156 x 110cm $600-800

113 A FRENCH “L’EPEE” BRASS CARRIAGE CLOCK With white Roman numeral dial. Height 15cm $400-600

124 AN AFGHAN TURKMEN RUNNER 277 x 83cm $500-600

114 LAWSON Jockey Oil on canvas Signed lower right. 50 x 60cm $600-800 115 A LATE 19TH CENTURY WESTERN PERSIAN FERAGHAN RUG 146 x 108cm $800-1,200 116 A PRAYER SILK RUG 130 x 86cm $2,000-3,000 117 A TEKKE TURKOMAN ENGSI RUG 175 x 127cm $600-800 118 A SILVER PLATED METAL FRAMED MIRROR INLAID WITH BONE AND WOOD DECORATION 100 x 48cm $500-800 119 A NOAHAS INDIAN FLATWEAVE RUG 365 x 275cm $300-500 120 A PERSIAN HAMEDAN RUNNER 320 x 110cm $400-500


123 A PERSIAN MALAYER RUG CIRCA 1950 175 x 116cm $300-500

125 A PERSIAN HAMEDAN RUG 165 x 125cm $200-300 126 A PERSIAN KASHAN RUG 390 x 245cm $1,000-2,000 127 AN 18TH CENTURY OAK AND MAHOGANY LONGCASE CLOCK Brass dial, maker Benjamin Shuckforth of Diss (C.1688-1760). 204 x 46 x 22cm $800-1,200 128 A 19TH CENTURY MAHOGANY DRESSING TABLE MIRROR With two drawers and ebony stringing. 60 x 58.5 x 24.4cm $200-300 129 A FRENCH MAHOGANY TWO TIER OCCASIONAL TABLE Height 68cm, Diameter 53cm $200-300 130 A VENETIAN GLASS MIRROR With applied shaped decoration in clear and navy glass, cushion design with rope twist border. 110 x 90cm PROVENANCE: Private collection, Sydney $1,200-1,800

131 A VENETIAN GLASS MIRROR With applied shaped decoration in clear and navy glass, cushion design with rope twist border. 110 x 90cm PROVENANCE: Private collection, Sydney $1,200-1,800 132 A MARBLE AND BRONZE INKSTAND WITH BUFFALO 16 x 50 x 23cm PROVENANCE: Private Collection, Sydney $400-600 133 A SEPIK RIVER TOTEM A carved figure of a woman standing on a mound decorated with a mask and swirls. Mounted by a mythical lizard. On metal stand. Height 197cm PROVENANCE: Private Collection, Sydney $400-600 134 A SEPIK RIVER TOTEM A carved mythical tribal figure on metal stand. Height 197cm PROVENANCE: Private Collection, Sydney $400-600 135 A PAIR OF CARVED AND LACQUERED CAMBODIAN STANDING BUDDHAS ON STANDS 182 x 69.5cm PROVENANCE: Private Collection, Sydney $600-800 136 J.W. BENSON 33 & 34 LUDGATE HILL, LONDON (1854-1937), A LARGE GILT BRONZE ROCOCO STYLE MANTEL CLOCK Decorated with three putti scrolls with foliate surround. The white enamel dial with Roman and Arabic numerals, gilt pierced foliate hands. English circa 1870. 72 x 73cm $3,000-5,000




137 ROMAN DUNAUX (active late twentieth/early twenty first century) Matchbox Cardboard, wood, painted clay, sandpaper, metal. 98 x 76 x 6cm

139 XAVIER RAPHANEL (1876-1957) A Bronze Bust of King of Belgium, Albert I Black marble base, signed to base. Height 20cm $300-500

PROVENANCE: Private collection, Sydney $400-600

140 AN EDWARDIAN BRONZE FIGURE OF A MAIDEN ON SHELL Black marble base. Height 41cm $800-1,200

138 JAMES MCGRATH (born 1969) Untitled #3 from the series Blue Dreams 2001 (printed 2002) Digital print, triptych. Signed, dated and titled: [James McGrath]/ Blue Dreams series/ “untitled #3”/ 2001/ printed 2002 183 x 370cm (overall) PROVENANCE: Private collection, Sydney $2,000-4,000


141 EDITH HEAD (American 1897-1981) Three Fashion Designs Drawing-watercolour, mixed media drawing, circa 1950. Signed lower centre, the paper empressed with Strathmore stamp. 37 x 57cm $1,000-1,200

142 A FOUR PERSON CONVERSATION SEAT Profusely inlaid with mother of pearl, with white buttoned leather backs and seat, on eight legs, with an acorn finial. Height 150cm Diameter 180cm

144 A PAIR OF 19TH CENTURY OLD SHEFFIELD PLATE CANDLESTICKS With foliate decoration, together with a pair of 19th century old Sheffield plate wine coasters, turned wooden base. $200-400

PROVENANCE: Private Collection, Sydney $2,000-4,000

145 A CHINESE CLOISONNE ENAMEL BOWL AND COVER Decorated with flowers and scrolls. Height 10cm $100-200

143 A NAKANAI CEREMONIAL SHIELD WITH A SPEAR AND CARVED OBJECT Shield signed and dated: 11.7.64 District Officer Shield height 141cm Spear height 234.5cm Object height 34.3cm

146 A CHINESE SILVER HAND MIRROR WITH A PAIR OF CHINESE SILVER NAPKIN RINGS Maker Yok Sang, Shanghai, circa 1880-1920. Decorated in relief with a mythical dragon. Length 26cm $200-400

PROVENANCE: ‘Wybalena’, Hunters Hill, Sydney $300-500

142 45


147 A COLLECTION OF CHINESE SILVER PIECES Including a cigarette case engraved with a dragon and initialled “F.B” A pair of fish knives and forks decorated with prunus blossom, by Yok Sang, Shanghai, circa 1880-1920. A pair of pickle servers by Tuck Chang, Shanghai, circa 1870-1920. An ornate silver spoon. $300-500 148 A CHINESE CLOISONNE LIDDED VASE ON STAND The pale blue ground decorated with chrysanthemum, prunus blossom and butterflies, the borders decorated in blue, green, pale pink and red enamel. Height 30cm $400-600



149 A CHINESE CLOISONNE LIDDED VASE ON STAND The dark blue ground decorated with trees of flowering blossom and birds, the ornately decorated borders in green, red, white and pink enamel. Height 29cm $300-500

151 AN EARLY 20TH CENTURY CHINESE HARDWOOD NEST OF FOUR TABLES Rectangular top, borded with heavily carved grape and vine leaf decoration, pierced frets to all sides and shaped carved stretchers. 51 x 36 x 71cm $600-800

150 A COLLECTION OF FOUR PIECES OF CHINESE CLOISONNE Comprising a pair of vases and dish, black ground decorated with trees of flowering blossom. A circular lidded box, the white ground decorated with blossom, butterflies and bird. Height of tallest 19cm $200-400

152 AN EARLY 20TH CENTURY CHINESE HARDWOOD TABLE LAMP carved in the form of a dragon. Height 51cm $200-400

153 A CHINESE CAMPHOR WOOD CHEST Carved with tradition decoration of people, trees and ships. 61 x 104 x 52cm $200-400 154 THREE BLACK AND WHITE MOROCCAN VESSELS Height 34cm $200-300 155 IAN SWIFT (born 1950) Dog, early 2000 Mixed media. Signed to base: Swift 80 x 55 x 16cm (irreg) PROVENANCE: The Artist's Studio, Katoomba (label to base) Private collection, Sydney $200-400 156 TWO GILDED CERAMIC PORCELAIN FRUIT COMPORTS Height 29cm $300-500 157 A SET OF BRASS FIRE TOOLS $80-120 158 THREE FRENCH ARCHITECTURAL CARVINGS Height of tallest 32.5cm $200-400 159 A 19TH CENTURY IRON LANTERN With scroll design. Full height 117cm $400-600 160 A QUEEN ANNE STYLE VENETIAN GLASS MIRROR With a border of beveled blue glass with aged bevel plate. 179 x 81cm PROVENANCE: Private collection, Sydney $2,000-3,000 161 A FRENCH EMPIRE STYLE AMBOYNA OVERMANTLE MIRROR 140 x 112cm $700-900 160



TIM STORRIER (born 1949) Untitled 2003 (detail) oil on board, 40 x 50cm. $25,000-35,000

Olivia Fuller, Associate Head of Art | 03 8825 5624 48


A rare collection of Royal Doulton ‘Chinese Jade’ by Charles Noke and Harry Nixon.

Hamish Clark, Head of Sydney Office | 02 9362 9045 49


CONDITIONS OF BUSINESS - SUMMARY To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction. Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement. GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged. For further information contact: Marie McCarthy Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/ or reserves. Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis. Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them. Buyer’s Premium There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 24% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas. Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST. Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Title Leonard Joel guarantees good title to all lots. Warranties and Condition Reports. Condition reports will be available for any lot upon request, subject to conditions. Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. Payment All purchases must be paid for no later than 4.00pm, two business days after the auction. Attention is specifically drawn to condition 21 of the Buyers’ Conditions of Sale. Payment may be made by credit card, EFTPOS, telegraphic transfer, bank or personal cheque. Payments made by personal cheque are subject to a 5 day clearance period before purchases can be collected. Please note: Fees apply for Visa, Mastercard and American Express. Please see our website or speak to a member of staff for more details. Diners Club Card is not accepted. Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Commonwealth Bank 367 Collins Street Melbourne, VIC 3000 Australia BSB: 063-000 Account no: 13173415 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars. Removal and Storage ‘Any lot not collected by 4.30pm Wednesday 6 March 2019, will be removed to third party storage in Melbourne at the buyer’s expense.’ Removal Charges Each lot


Storage Charges Each lot

$33 per day

Protection of Movable Cultural Heritage Act 1986 (PMCH Act). Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water, Heritage and the Arts’ website: Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, phone 02 6274 1810 or email CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Leonard Joel proudly supports IFAW All lots within this catalogue containing ivory: (i) comply with our voluntary policy position that can be read and downloaded from our website and (ii) meet our obligations under CITES; relevant documentation pertaining to these lots will be available on our website and upon request. Recommended carrier for this auction Daniel Hochberg PACK & SEND Kings Cross Shop 3, 200 William St, Woolloomooloo, NSW, 2011, Australia T: (0)2 9331 2700 | F: (0)2 9331 3700 E: Peter Orinuela GRACE FINE ART T: 1300 766 233 | E: Collection and Storage: All lots must be collected by 4pm on Friday 29 March 2019. All uncollected items will be removed to third party storage at the purchaser’s expense.


Sale Rooms SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 email:

LUXURY Bethany McGougan, F.G.A.A., BA Hons, MSc, Manager MODERN DESIGN Anna Grassham, BA Contemporary Arts, Head of Modern Design

The Thursday Auction FURNITURE Toby Lennox-Hilton, Manager David Price, Assistant Jacob Clarke, Assistant OBJECTS & COLLECTABLES Moira Rogers, Manager William Broadhurst, Assistant MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA

VALUATIONS Caroline Tickner, BA Hons, F.G.A.A., Head of Valuations

Leonard Joel Specialists ART Olivia Fuller BArtTh, Associate Head of Art Sophie Ullin BA Hons, Specialist Consultant Jane Messenger, Specialist, Sydney Lucy Foster EMA, Specialist Ella Perrottet BFA, Assistant Summer Masters, Administrator ABORIGINAL ART Sophie Ullin BA Hons, Specialist Consultant DECORATIVE ARTS Chiara Curcio BA, Head of Decorative Arts Hamish Clark, Head of Sydney Office Dominic Kavanagh MFA, Specialist Trevor Fleming, BA, Specialist, Japanese Art Carl Wantrup, Specialist, Asian Art JEWELLERY Julie Foster F.G.A.A., Dip. Dt., Head of Jewellery John D’Agata F.G.A.A., Associate Head of Jewellery Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury Maria Fayyaz-Toussi, Specialist, Sydney Kerry Dobson BCA, MA, Assistant Hannah Grace-McIntyre BFA, Administrator Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant COLLECTABLES Nora Merralls, Manager & Administrator Dominic Kavanagh MFA, Specialist


ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant FRONT OFFICE Kim Clarke, Front of House Manager Amelia Lewis, Receptionist OPERATIONS & LOGISTICS Anthony Riepsamen, Manager MARKETING & COMMUNICATIONS Nicole Kenning, Head of Department Claire Mazzone, Manager Keryn Gilchrist, Database Administrator PHOTOGRAPHY & VIDEOGRAPHY Adam Obradovic Joseph Hammond GRAPHIC DESIGN Maria Rossi e-mail all lower case

22 ROBERT PRENZEL (1866-1941) A PAIR OF BLACKWOOD CARVED HALL CHAIRS In Gothic Renaissance style, the back panels depicting winged demons each holding a shield. The solid wood seats carved with Art Nouveau flowers set upon a base carved with dolphins. Stamped to underside of seat ‘ Robt Prenzel, wood carved, Sturt Street, South Melbourne, European Labour Only’. Height 111cm $4,000-6,000


Profile for Leonard Joel

The Collector's Auction  

The Collector's Auction