Collectorium on Newcastle

Australian 1868-1961. Oil on canvas laid on board. 23 x 18cm

Modernist, Danish, Silver Taper holders by Hans Jensen, marked with Denmark and a whale with tail raised; the pair 125g.

With green & yellow drip glaze.

1960s, blue / green, freeform, Art Glass Sculpture, possibly Italian.

Printed soon after WWI and still in the original hardboard cover and cardboard packaging as originally issued – not framed

With slider made in England by Tiptaft, Birmingham

Late C20th

C19th, pigeon holes with two drawers to the rear of the drop front; three graduated drawers (the brass handles sympathetic replacements) and a concealed drawer to the base all framed by shaped mouldings. The whole on bracket feet. Original condition revived by waxing.

Australian, born 1937. Oil on board.

1930’s, Art Deco, “Empire State” The Fisk Radiolette made by AWA in Australia to the design of Ernest Fisk;the case, including the back, is made of black Bakelite;original dial, plexi, chrome bezel, knobs & badge. The grill cloth may have been replaced.

Only radio authorised by the Nazi Government for household use during WWII – it was declared illegal for Germans to listen to NON approved radio propaganda

Beswick, England. Design #596 by Mr Watkin and produced between 1938 to 1971. These four are sizes 1, 2, 3 & 4 and have the gloss finish.

England, cameos of pink & purple flowers with heavily gilded decoration; RA 2113 indicates a date of 1896.

England, cameos of pink & purple flowers with heavily gilded decoration; RA 2113 indicates a date of 1896.

Bernard Hesling 1905-1987, Australia; Plate of vitreous enamel on metal, signed; 28cm ø

Circa 1860/70, English, solid, well figured Mahogany, square ended extension dining table of generous proportions to comfortably seat ten or twelve. Substantial, deeply sculpted “S” forms terminating in scrolls to the sides of cabriole legs with original brass castors. Dimensions 156cm at its shortest and many possibilities for variation with the 4 drop in leaves of which 2 are 37cm wide, one 53cm and one 59cm thus affording a maximum fully extended length of 342cm or nearly 12 feet via three parallel winding rods with crank. Click here to read full details.

Spelter and marble book ends of Abraham Lincoln [1809-1865] 16th President of the United States of America assassinated while in office.
Made by the K & O Metal Novelties Companies, Krohnheim & Oldenbush of Brooklyn N.Y., in existence from 1895 to 1939. One of a series of historical personalities represented in this way. A very good detailed cast with gilding.

An extensive collection of Royal Albert’s perennial favourite “Old Country Roses”. Six piece settings for 8 people and many more extras all in “as new” condition, probably never used, BUT definitely 30 to 40 years old so Made in England as marked for sure.

An early to mid 1800s English, meat platter about as large as they come at 53cm or 21 inches. Blue and white, transfer printed with a comprehensive rendering of the willow pattern decoration in good strong colours. Click here to read more.

Born Hobart 22-08-1892, died Hobart 28-06-1974; Oil on board in period frame; signed lower left, dated 1967; label in artist’s own hand to reverse; Webb studied at Hobart Technical college with Mildred Lovett; he was a member of the Art Society of Tasmania from 1918. He exhibited at the Wembley Exhibition, London, 1936. 

French, Napoleon III, Prie Dieu; ebonised, bobbin & vase turned uprights holding a Triform that is enclosing a stylised Palm leaf below a cross and corpus (Crucifix) form the back splat; the curved elbow rest and the kneeling cushion are upholstered with the original, somewhat worn, hand sewn tapestry showing  a cross of passion / suffering over an open book and flowers all enclosed by flowers, grapes and leaves.

French, Napoleon III, Prie Dieu; ebonised, bobbin & vase turned uprights holding a Triform that is enclosing a stylised Palm leaf below a cross and corpus (Crucifix) form the back splat; the curved elbow rest and the kneeling cushion are upholstered with the original, somewhat worn, hand sewn tapestry showing  a cross of passion / suffering over an open book and flowers all enclosed by flowers, grapes and leaves.

French Cabinet circa 1860s / Napoleon III, of Ebonised Oak with ornate gilt details in the classical manner; height circa 180 cm.

French Cabinet circa 1860s / Napoleon III, of Ebonised Oak with ornate gilt details in the classical manner; height circa 180 cm.

Beard Watson, Sydney, circa 1920s, Fumed Oak Extension Dining Table which extends via two drop-in leaves. “Egg & Dart” moulding to the Serpentine edge. “Barley Twist” legs which terminate in shaped blocks and balls. Original cast Six matching chairs with original leatherette, drop-in seats and padded leatherette to back splat. The top rails with central stylised crown flanked by open carved acanthus scrolls. Every piece bearing the early Beard Watson metal discs.

Beard Watson, Sydney, circa 1920s, Fumed Oak Extension Dining Table which extends via two drop-in leaves. “Egg & Dart” moulding to the Serpentine edge. “Barley Twist” legs which terminate in shaped blocks and balls. Original cast Six matching chairs with original leatherette, drop-in seats and padded leatherette to back splat. The top rails with central stylised crown flanked by open carved acanthus scrolls. Every piece bearing the early Beard Watson metal discs.

Beard Watson, Sydney, circa 1920s, Fumed Oak Extension Dining Table which extends via two drop-in leaves. “Egg & Dart” moulding to the Serpentine edge. “Barley Twist” legs which terminate in shaped blocks and balls. Original cast Six matching chairs with original leatherette, drop-in seats and padded leatherette to back splat. The top rails with central stylised crown flanked by open carved acanthus scrolls. Every piece bearing the early Beard Watson metal discs.

Herman Umgelter, born 1891 died 1962, Stuttgart – Botnang. German artist who studied under Professor Hötzer; a member of the Stuttgart Artists Group after WWI who painted predominantly landscapes. Oil on canvas in period frame, signed lower right.

Early C20th, Murano, Venice, Italy, elaborately shaped wall mirror with etched & applied decoration to the upper surface; the border of Aventurine glass forming ribbons to the top and bottom and rope twists to each side; large and small applied flowers around the border. Sockets for the two matching candle sconces fitted behind the largest flower centre bottom. Pre-existing scratches to mirror.

A pair of well executed, cast bronze bookends in the form of a jumping Hare within a Crescent Moon. No indication of makers name or origin. Circa 1920/30s indicated by stylistic features. Base 14 cm long; the whole 13.5 cm high.
The combination of Hare and Moon is not coincidental. The symbol of the moon-gazing hare represents fertility and is almost universal dating back to ancient times. Pagans believed that seeing a moon gazing hare would bring growth, re-birth, abundance, new beginnings and good fortune. The hare is always an attribute of lunar deities. In ancient Egyptian belief, hares were intrinsically linked to the moon’s cyclical movement – being at once masculine when waxing and feminine when waning. The Egyptian hieroglyph for the verb “to be” or “being” is a hare crouched over a squiggly line of water. Many Buddhist and Hindu texts describe the hare as a creature of fire, but not just any fire – the same consuming sacrificial fire of the phoenix, then to rise again out of the ashes. The Saxon goddess Eoster or Ostara’s name is thought to mean “dawn” and she is the namesake of the festival of Easter. Thus the celebration of Easter is of the dawning of life. Eoster’s attendant animal is the hare. The ancient Greeks made their wedding rings with hares on them and the bowl to sup their wedding wine was often glass etched with hares. Aphrodite is always accompanied by a hare, not just cupids and satyrs.

Early C20th, Australian, Mountain Ash, Kitchen Dresser with Art Deco leadlight to doors over upper cupboard; tin lined bread box beside 2 drawers to middle; further doors over lower cupboard.

Early C20th, Australian, Mountain Ash, Kitchen Dresser with Art Deco leadlight to doors over upper cupboard; tin lined bread box beside 2 drawers to middle; further doors over lower cupboard.

Two train [8 day], 5 glass Carriage Clock, circa 1890 / 1900; full and half hours are struck on a gong; the white enamel dial with Roman numerals; the brass case gently cleaned leaving the original patina; marked for F BASSE Adelaide as retailer. F Basse was a German born and trained manufacturing jeweller and retailer of quality merchandise who arrived in Adelaide circa 1880 and exhibited a case of cut diamonds and jewellery at the Adelaide exhibition in 1881. Dimensions are 130 mm high [170 mm handle up] x 90 mm wide x 80 mm deep

Two train [8 day], 5 glass Carriage Clock, circa 1890 / 1900; full and half hours are struck on a gong; the white enamel dial with Roman numerals; the brass case gently cleaned leaving the original patina; marked for F BASSE Adelaide as retailer. F Basse was a German born and trained manufacturing jeweller and retailer of quality merchandise who arrived in Adelaide circa 1880 and exhibited a case of cut diamonds and jewellery at the Adelaide exhibition in 1881. Dimensions are 130 mm high [170 mm handle up] x 90 mm wide x 80 mm deep

A Georgian, [late 1700s / early 1800s], Mahogany, cross banded at the top, Chest of Drawers comprising 3 graduated long drawers below two short drawers all with cock beading; typically restrained reeding above the splayed, shaped bracket feet.

A Georgian, [late 1700s / early 1800s], Mahogany, cross banded at the top, Chest of Drawers comprising 3 graduated long drawers below two short drawers all with cock beading; typically restrained reeding above the splayed, shaped bracket feet.

Martin Gonzalez Perez [signed], late C20th Mexican sculptor, “Woman carrying Jug”, cold painted bronze.

1988 Mixed media 70cm x 85cm.

Australian Art Deco Sideboard probably by Beard Watson of Sydney, furniture retailers and manufacturers during the first half of C20th; Petite proportions with rather stunning book matched Burr Walnut veneer to top and front. Stylised carved decoration to the stepped backboard and doors. Original Bakelite and metal handles.

American 1970s Studio Glass made in New York State in 1979 by Art Reed, born 1953; height 9cm.

C20th, Chinese, black lacquer, four panel, folding Coromandel Screen decorated in high relief carved Mother of Pearl flowering tree, chrysanthemum and birds to the upper; the lower with representations of precious objects; the reverse polychrome painted with flowering tree, birds & butterflies; the whole on brass sabot block feet; each panel 183.5 cm high by 46 cm wide.

C20th, Chinese, black lacquer, four panel, folding Coromandel Screen decorated in high relief carved Mother of Pearl flowering tree, chrysanthemum and birds to the upper; the lower with representations of precious objects; the reverse polychrome painted with flowering tree, birds & butterflies; the whole on brass sabot block feet; each panel 183.5 cm high by 46 cm wide.

C20th, Chinese, black lacquer, four panel, folding Coromandel Screen decorated in high relief carved Mother of Pearl flowering tree, chrysanthemum and birds to the upper; the lower with representations of precious objects; the reverse polychrome painted with flowering tree, birds & butterflies; the whole on brass sabot block feet; each panel 183.5 cm high by 46 cm wide.

Set in chrome frame, glass marked Czechoslovakia.

A lavish Jewelcraft semi parue of claw set, round & drop shaped Aurora Borealis paste with articulated, faceted crystal clusters below each of the seven rosettes, central rosette is 5cm long. Matching ear clips. Click here for more details.

Teak with brass “RAYS”; circa 1950/60; all tidied up after decades in the kitchen and now fitted with a quality, American Quartz [high torque] movement requiring C cell batteries; 62 cm high with 17cm diameter dial.

Vogue “Vanities” face powder compact made in England and retailed by Saks at 34 Street, Broadway, New York. Engraved inside R J and 21.3.49. Complete and in original “as new” condition with original retailers box.

Vogue “Vanities” face powder compact made in England and retailed by Saks at 34 Street, Broadway, New York. Engraved inside R J and 21.3.49. Complete and in original “as new” condition with original retailers box.

Vogue “Vanities” face powder compact made in England and retailed by Saks at 34 Street, Broadway, New York. Engraved inside R J and 21.3.49. Complete and in original “as new” condition with original retailers box.

A very early 1900s, Jugendstiel (Art Nouveau) Brass Table Lamp of elegantly restrained, sinuous form.

Chinese. Born 1956. 78 x 53cm.

Early 1900s, [Hamburg American Clock Company] Germany, 8 day, single train “time only” movement, open dial, stained Beech case, broad circular bezel.

1995 26cm x 30cm.

Hugh Grant: News Ltd, Paper on board 44cm x 62cm.

Edison ‘Gem’ Phonograph, Model B introduced in 1905 with a model C reproducer, i.e. it plays 2 minute duration cylinders; original case with Edison decal, 10 original cylinders, light weight metal reproduction horn, fully overhauled and working well.

Edison ‘Gem’ Phonograph, Model B introduced in 1905 with a model C reproducer, i.e. it plays 2 minute duration cylinders; original case with Edison decal, 10 original cylinders, light weight metal reproduction horn, fully overhauled and working well.

Dunhill Giant Table Lighter incorporating the unique lift arm mechanism patented by Greenwood and Wise in 1919 then improved by Alfred Dunhill. The first lighter using the unique lift arm was introduced in 1924.
The 1930s Giant model is a whopping 4 inches or 10 cm tall. The base is marked Made in England, signed Dunhill, patent number 390107, REG’D Design No 737418 and the lift arm is signed Dunhill. The case is EPNS (electroplated nickel silver.)
It comes in the original box with the Coat of Arms and Royal Appointment to the King printed inside the lid. In 1927, Dunhill received a Royal Warrant from Edward, Prince of Wales (later to become King Edward VIII). It was renewed in 1938 by King George VI. Thus the sale of this lighter dates to 1936 or after. Excellent, original condition.

Dunhill Giant Table Lighter incorporating the unique lift arm mechanism patented by Greenwood and Wise in 1919 then improved by Alfred Dunhill. The first lighter using the unique lift arm was introduced in 1924.
The 1930s Giant model is a whopping 4 inches or 10 cm tall. The base is marked Made in England, signed Dunhill, patent number 390107, REG’D Design No 737418 and the lift arm is signed Dunhill. The case is EPNS (electroplated nickel silver.)
It comes in the original box with the Coat of Arms and Royal Appointment to the King printed inside the lid. In 1927, Dunhill received a Royal Warrant from Edward, Prince of Wales (later to become King Edward VIII). It was renewed in 1938 by King George VI. Thus the sale of this lighter dates to 1936 or after. Excellent, original condition.

patented by Greenwood and Wise in 1919 then improved by Alfred Dunhill. The first lighter using the unique lift arm was introduced in 1924.
The 1930s Giant model is a whopping 4 inches or 10 cm tall. The base is marked Made in England, signed Dunhill, patent number 390107, REG’D Design No 737418 and the lift arm is signed Dunhill. The case is EPNS (electroplated nickel silver.)
It comes in the original box with the Coat of Arms and Royal Appointment to the King printed inside the lid. In 1927, Dunhill received a Royal Warrant from Edward, Prince of Wales (later to become King Edward VIII). It was renewed in 1938 by King George VI. Thus the sale of this lighter dates to 1936 or after. Excellent, original condition.

Clarice Cliff (1899-1972) was the designer of some of the most dazzling ceramics that England produced in the Art Deco period of the 1920s and 1930s.
One of the colours she used consistently for her exuberant and bold designs was orange.
A selection from our stock of Clarice Cliff ceramics. The Café au Lait “Leaf Tree” ashtray is a design from 1931-33.

Mid C20th Teak Framed Rocket Lamp with authentic for the period “BURNT ORANGE” shade. No makers identification but probably made in Australia. Rewired, tested & tagged.

Early-mid C19th, Qing Dynasty, Table Screen. The Famille Rose, porcelain plaque shows a finely executed, well composed landscape of mountains and water, houses, pavilions and people pursuing a leisurely contemporary life all of which is imbued with symbolism. The plaque stands in an open carved Rosewood stand with pierced panels, spandrels and a lower gallery including revolving balls to the front. Purchased by the previous owners parents in Hong Kong in the 1920/30s. Plaque 39 x 26cm; screen total 54 x 26 x 17cm

One of two shown. Height 60cm. Weight 53kg each.

Circa 1880, French, 8 day, time only, single train movement with platform escapement; porcelain chapter ring over a rosette in brass, easel backed, pierced frame with hourglasses to the corners & the head of the Greek God Pan to the top. Dimensions 25 cm high x 20 cm wide.

On navette shaped stand; yellow over white glass inserts for Salt, Pepper and Mustard.

An interesting English, circa 1890s, Arts & Crafts “Japonisme” inspired display cabinet bearing an Ivorine trade label for Story & Triggs, London, 152-154-156 Queen Victoria Street.
Tapering shape with stepped pagoda roof top (removable) on four out swept legs terminating in triangular, stylised Pad feet. A single large drawer below the glass inset door with bottle green, ripple glass panels above.
Two glass shelves in a panelled interior. Of lovely, warm honey brown Oak colour with nice flowing grain. Organic, early Art nouveau, stylised flower plates with drop handles to drawer and door lock repeated on the door hinge plates. 205 cm high x 95 cm wide x 58 cm high.

An interesting English, circa 1890s, Arts & Crafts “Japonisme” inspired display cabinet bearing an Ivorine trade label for Story & Triggs, London, 152-154-156 Queen Victoria Street.
Tapering shape with stepped pagoda roof top (removable) on four out swept legs terminating in triangular, stylised Pad feet. A single large drawer below the glass inset door with bottle green, ripple glass panels above.
Two glass shelves in a panelled interior. Of lovely, warm honey brown Oak colour with nice flowing grain. Organic, early Art nouveau, stylised flower plates with drop handles to drawer and door lock repeated on the door hinge plates. 205 cm high x 95 cm wide x 58 cm high.

An interesting English, circa 1890s, Arts & Crafts “Japonisme” inspired display cabinet bearing an Ivorine trade label for Story & Triggs, London, 152-154-156 Queen Victoria Street.
Tapering shape with stepped pagoda roof top (removable) on four out swept legs terminating in triangular, stylised Pad feet. A single large drawer below the glass inset door with bottle green, ripple glass panels above.
Two glass shelves in a panelled interior. Of lovely, warm honey brown Oak colour with nice flowing grain. Organic, early Art nouveau, stylised flower plates with drop handles to drawer and door lock repeated on the door hinge plates. 205 cm high x 95 cm wide x 58 cm high.

An interesting English, circa 1890s, Arts & Crafts “Japonisme” inspired display cabinet bearing an Ivorine trade label for Story & Triggs, London, 152-154-156 Queen Victoria Street.
Tapering shape with stepped pagoda roof top (removable) on four out swept legs terminating in triangular, stylised Pad feet. A single large drawer below the glass inset door with bottle green, ripple glass panels above.
Two glass shelves in a panelled interior. Of lovely, warm honey brown Oak colour with nice flowing grain. Organic, early Art nouveau, stylised flower plates with drop handles to drawer and door lock repeated on the door hinge plates. 205 cm high x 95 cm wide x 58 cm high.

Loch Long titled to the reverse in the hand of the artist – possibly more, hidden under the paper pasted to the reverse. Oil on academy board, the image 26x 45 cm, 46 x 66 cm over the original, of the period, lavish, gilt frame. Not signed but, by provenance, from a distinguished ‘old’ Tasmanian family where the patriarch held a sizeable collection of Haughton Forrest paintings and from thence, by descent, through that family. Competently executed scene of Loch Long with the Arrochar Alps to the background of a small island in the loch and sailing boats.

England, script signature backstamp indicating 1930s.

A selection of four Edwardian necklaces some of which have Australian makers marks while others are unmarked.In England during the last decade of the nineteenth century,  jewellery fashions became ethereal and delicate. In the second decade of the twentieth century, the lower necklines of women’s dresses put an increasing emphasis on necklaces thus simple chains suspending a delicate pendant or gemstone became popular. At about the same time a distinct Oriental influence became the vogue with the Ballets Russes 1910 Paris performance of Schéhérazade and a wide selection of coloured gems were to be seen everywhere. In all of this Australian jewellers and ladies followed the latest tends from England as quickly as they could.  

First half C20th, pink & grey marbled white glass, 3 pieces, originally fitted for electricity.

“Winter’s Mantle  Mt Selwyn”  is located in the Kosciuszko National Park in the northern part of Australia’s Snowy Mountains. Oil on board; signed lower left by the artist Ramon Ward Thompson, born New Zealand 1941; fellow of the Royal Art Society of NSW. This painting captures the mood of the early morning soft and misty light which, interestingly, changes as the light of day illuminates the painting. The image 45 x 34 cm. 

A late C20th, bronze sculpture of a Mother and Child in the manner of Charlotte Boyd but not by her; 18.5 cm long, 19.5cm high; unsigned.

A late C20th, bronze sculpture of a Mother and Child in the manner of Charlotte Boyd but not by her; 18.5 cm long, 19.5cm high; unsigned.

C19th English, wheel back Windsor Chair with saddle seat, on turned legs. The Elm wood showing lovely grain and patina.

1920s, Art Deco, ceramic tea pot by Bauscher Weiden Germany in a felt insulated, nickel plated cover with round Bakelite feet & knob and a hinged & securing latch. The cover marked D R P. indicating a patent is in place on this design with the Deutsches Reichs Patent.

1920s, Art Deco, ceramic tea pot by Bauscher Weiden Germany in a felt insulated, nickel plated cover with round Bakelite feet & knob and a hinged & securing latch. The cover marked D R P. indicating a patent is in place on this design with the Deutsches Reichs Patent.

1920s, Art Deco, ceramic tea pot by Bauscher Weiden Germany in a felt insulated, nickel plated cover with round Bakelite feet & knob and a hinged & securing latch. The cover marked D R P. indicating a patent is in place on this design with the Deutsches Reichs Patent.

A pair of late 18th or early 19th C, Rosewood, probably English, Fauteuils or Armchairs. The arms, frames, skirts and cabriole legs finely and competently carved with shell, Acanthus and scrolls supporting wide, generous seats. In the previous decade reupholstered with “linen like” woven tapestry showing hunting imagery based on The Book of Kings “The Shahnameh”. This is an epic poem written by the Persian poet Ferdowsi between 977 and 1010 CE. Consisting of some 50,000 “distichs” or couplets, it is the longest epic poem written by a single poet. It tells of the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Islamic conquest of Persia in the 7th century.

A pair of late 18th or early 19th C, Rosewood, probably English, Fauteuils or Armchairs. The arms, frames, skirts and cabriole legs finely and competently carved with shell, Acanthus and scrolls supporting wide, generous seats. In the previous decade reupholstered with “linen like” woven tapestry showing hunting imagery based on The Book of Kings “The Shahnameh”. This is an epic poem written by the Persian poet Ferdowsi between 977 and 1010 CE. Consisting of some 50,000 “distichs” or couplets, it is the longest epic poem written by a single poet. It tells of the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Islamic conquest of Persia in the 7th century.

A pair of late 18th or early 19th C, Rosewood, probably English, Fauteuils or Armchairs. The arms, frames, skirts and cabriole legs finely and competently carved with shell, Acanthus and scrolls supporting wide, generous seats. In the previous decade reupholstered with “linen like” woven tapestry showing hunting imagery based on The Book of Kings “The Shahnameh”. This is an epic poem written by the Persian poet Ferdowsi between 977 and 1010 CE. Consisting of some 50,000 “distichs” or couplets, it is the longest epic poem written by a single poet. It tells of the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Islamic conquest of Persia in the 7th century.

A pair of late 18th or early 19th C, Rosewood, probably English, Fauteuils or Armchairs. The arms, frames, skirts and cabriole legs finely and competently carved with shell, Acanthus and scrolls supporting wide, generous seats. In the previous decade reupholstered with “linen like” woven tapestry showing hunting imagery based on The Book of Kings “The Shahnameh”. This is an epic poem written by the Persian poet Ferdowsi between 977 and 1010 CE. Consisting of some 50,000 “distichs” or couplets, it is the longest epic poem written by a single poet. It tells of the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Islamic conquest of Persia in the 7th century.

A pair of late 18th or early 19th C, Rosewood, probably English, Fauteuils or Armchairs. The arms, frames, skirts and cabriole legs finely and competently carved with shell, Acanthus and scrolls supporting wide, generous seats. In the previous decade reupholstered with “linen like” woven tapestry showing hunting imagery based on The Book of Kings “The Shahnameh”. This is an epic poem written by the Persian poet Ferdowsi between 977 and 1010 CE. Consisting of some 50,000 “distichs” or couplets, it is the longest epic poem written by a single poet. It tells of the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Islamic conquest of Persia in the 7th century.

A pair of late 18th or early 19th C, Rosewood, probably English, Fauteuils or Armchairs. The arms, frames, skirts and cabriole legs finely and competently carved with shell, Acanthus and scrolls supporting wide, generous seats. In the previous decade reupholstered with “linen like” woven tapestry showing hunting imagery based on The Book of Kings “The Shahnameh”. This is an epic poem written by the Persian poet Ferdowsi between 977 and 1010 CE. Consisting of some 50,000 “distichs” or couplets, it is the longest epic poem written by a single poet. It tells of the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Islamic conquest of Persia in the 7th century.

1999, pastel on paper 90cm x 70cm.

Green Glass, with ground pontil mark, and Silver overlay Specimen Vase in the Art Nouveau manner; 165 mm tall.

Very stylish and unusual. No makers marks. These could be 1930s Art Deco or 1950s Modernist. The term “Flying Saucer” appeared in the 1930s and they were reportedly seen often throughout the world. In the 1950s their description was changed to UFOs. 

C19th, Bohemian, 14ct, old yellow gold filigree cross set with faceted Bohemian Garnets (one cracked) on similar 14ct Gold articulated, filigree “S” shaped links.

Four leaf clover shaped links bezel set with 7 x square cut, faceted, natural Tourmalines; interspersed, small, oval links set with Seed Pearls. With a self-locking push clasp & safety bar; 16 grams total weight, 20 cm length.

We think that, based on the utilized colours, this bracelet, of pre 1930 make, is a direct, though somewhat veiled, expression of Irish patriotism. The Green Tourmalines signifying the Gaelic and Anglo Norman origin of the peoples of Ireland. The Orange of the 15 ct old/red Gold signifying the Protestant origin & supporters of William of Orange. The White of the Seed Pearls signifying the lasting truce between the Orange and the Green.

Four leaf clover shaped links bezel set with 7 x square cut, faceted, natural Tourmalines; interspersed, small, oval links set with Seed Pearls. With a self-locking push clasp & safety bar; 16 grams total weight, 20 cm length.

We think that, based on the utilized colours, this bracelet, of pre 1930 make, is a direct, though somewhat veiled, expression of Irish patriotism. The Green Tourmalines signifying the Gaelic and Anglo Norman origin of the peoples of Ireland. The Orange of the 15 ct old/red Gold signifying the Protestant origin & supporters of William of Orange. The White of the Seed Pearls signifying the lasting truce between the Orange and the Green.

Café au Lait, Lisbon pattern.

Circa 1960s, varying shapes of multi-coloured green glass beads.

Paris, 1990s, 40mm from ear tip to nose.

A 19th C, Continental, possibly Limoges, religious image showing the Virgin Mary with Jesus and John (the Baptist)as young children; polychrome painted on an arched copper plate; in gilt frame; c19 x 14cm.

White Carrara Marble Sculpture of a female nude ’emerging’ from the rock.
Signed V Gottwald and dated 1987. Sold via Solander Gallery in the early 1990s following Gottwald’s move to Canberra to take up a position on the design team of the Royal Australian Mint where he created several designs for commemorative and circulation coins. Sculpture 420 mm wide x 180mm high; 370 mm high on plinth.

White Carrara Marble Sculpture of a female nude ’emerging’ from the rock.
Signed V Gottwald and dated 1987. Sold via Solander Gallery in the early 1990s following Gottwald’s move to Canberra to take up a position on the design team of the Royal Australian Mint where he created several designs for commemorative and circulation coins. Sculpture 420 mm wide x 180mm high; 370 mm high on plinth.

Royal Doulton Coffee set in Kingfisher pattern hand painted and profusely gilded in the Robert Allen Studio in late 1923 or early 1924 by Reginald Johnson who had joined Royal Doulton in 1923 at the age of 14. Reginald worked at Doulton for 7 years and studied with Charles Noke. Robert Allen marked wares were never produced in large quantities and many were never repeated.
The set comprises of a lidded coffee pot, cream jug, sugar basin and 6 demitasse cups and saucers.

Royal Doulton Coffee set in Kingfisher pattern hand painted and profusely gilded in the Robert Allen Studio in late 1923 or early 1924 by Reginald Johnson who had joined Royal Doulton in 1923 at the age of 14. Reginald worked at Doulton for 7 years and studied with Charles Noke. Robert Allen marked wares were never produced in large quantities and many were never repeated.
The set comprises of a lidded coffee pot, cream jug, sugar basin and 6 demitasse cups and saucers.

Royal Doulton Coffee set in Kingfisher pattern hand painted and profusely gilded in the Robert Allen Studio in late 1923 or early 1924 by Reginald Johnson who had joined Royal Doulton in 1923 at the age of 14. Reginald worked at Doulton for 7 years and studied with Charles Noke. Robert Allen marked wares were never produced in large quantities and many were never repeated.
The set comprises of a lidded coffee pot, cream jug, sugar basin and 6 demitasse cups and saucers.

Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements. 

James Gleeson, 1915 -2008,  NSW  Australia. Surrealist Psychoscapes probably dating to the 1950s or 60s. At this time Gleeson increasingly fashioned small psychedelic compositions made using surrealist technique in the background to suggest a landscape and finished by adding a fastidiously painted male nude in the foreground.  
One signed lower right; 11.5 x 9 cm.

1930s, Australian drinks trolley with green glass top and removable lower tray, tubular chrome plated structure and handles, chrome trim and wheels of clear Lucite.
This trolley was given to its previous owner as an engagement present in the late 1930s.

Made in Australia circa 1900. The base with two drawers having original handles over two carved doors concealing shelving. The elevation with a bevelled edge mirror at the rear. The upper with two doors having original glass over three adjustable shelves on ladder supports. Topped by a “broken arch” pediment. Total height 8 foot 4 inches or 251 cm. 

Made in Australia circa 1900. The base with two drawers having original handles over two carved doors concealing shelving. The elevation with a bevelled edge mirror at the rear. The upper with two doors having original glass over three adjustable shelves on ladder supports. Topped by a “broken arch” pediment. Total height 8 foot 4 inches or 251 cm. 

Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.

Book matched Mahogany veneer sideboard made in America early in the early 1900s.

A mid C20th / post WWII, German made in the style of an early C17th Dutch original “Zaan” wall clock utilising a Hermle 8 day, 2 train movement; striking hours & halves on a bell located on the platform above the dial and below the figure of Atlas carrying the world on his shoulders to symbolise Amsterdam as a city of trade. In front of the bell is a crown with figures symbolising the Mennonite theological virtues of Faith, Charity and Hope and inscribed with the motto “Nu Elck Syn Sin” “To Each His Own”. To each side of the upper platform are Lions and a Coat of Arms which represent Amsterdam or Holland. Brass cherubs, hands, turned columns and a silvered dial are mounted on a black velvet surface. The pendulum Horseman represents service to the King. The movement is driven by pear shaped, solid brass weights on chains.

Mid C20th Table Lamp with West German “Lava glaze ” ceramic and teak base and authentic for the period “BURNT ORANGE” shade. Rewired, tested & tagged.

Circa 1920s, George Day, salt glazed, stoneware Planter or Jardinière.
Decorated with seaweed and fish – Black Bream, Red Rock Cod and Butter Fish.
In excellent, original condition. This is a non-production item and was made in very limited numbers, perhaps 10 but certainly less than 20, by George Day while working at Mashman Pottery, Sydney. These were probably given as gifts on special occasions to prominent persons or family friends.
Circa 35 x 42 cm.

Circa 1920s, George Day, salt glazed, stoneware Planter or Jardinière.
Decorated with seaweed and fish – Black Bream, Red Rock Cod and Butter Fish.
In excellent, original condition. This is a non-production item and was made in very limited numbers, perhaps 10 but certainly less than 20, by George Day while working at Mashman Pottery, Sydney. These were probably given as gifts on special occasions to prominent persons or family friends.
Circa 35 x 42 cm.

The circular display section with centrally hinged glass doors; the lower half of each with striped, frosted glass. The display is cradled by a rectangular surround. The unit as a whole provides a deceptively large volume of storage.   

Carlton Ware tobacco humidor in the 1930 “Floral Comets” design by Violet Elmer.

Carlton Ware tobacco humidor in the 1930 “Floral Comets” design by Violet Elmer.

Scarce blue; minor nibbles. 

Scarce blue; minor nibbles. 

Chinese, deeply waisted, bulbous shape Double Gourd with slightly flared month bearing apocryphal Qianlong seal mark to base but probably Republic Period. Coral red ground with hand painted gold roundels depicting flowers, landscapes and auspicious symbols. Hand painted gold continuous boarders of leaf below mouth, meander around waist and ladder to foot. Inside the gourd itself and inside the foot rim in duck egg blue. Accompanied by a matching, pierced, carved with Rúyi and scroll, Rosewood stand.

Chinese, deeply waisted, bulbous shape Double Gourd with slightly flared month bearing apocryphal Qianlong seal mark to base but probably Republic Period. Coral red ground with hand painted gold roundels depicting flowers, landscapes and auspicious symbols. Hand painted gold continuous boarders of leaf below mouth, meander around waist and ladder to foot. Inside the gourd itself and inside the foot rim in duck egg blue. Accompanied by a matching, pierced, carved with Rúyi and scroll, Rosewood stand.

1970s OMEGA, Swiss, 9ct Gold, Automatic, men’s wrist watch. Movement a 24 jewel, cal. 565, 19,800 BPH, bidirectional rotor, swan neck regulator, sweep seconds. Case in heavy 9 ct Gold, screw back with engraving.
Band with gold plated links and Omega fold over clasp. Dial in silver tone, baton indices, date at 3, centre sweep seconds hand, marked for Dunlop; slight toning.  
“Triple signed” Omega on movement, case and dial.
The Omega 565 is generally acknowledged to be the best movement Omega ever made.  It has a cult following among watch aficionados and knowledgeable collectors. Naturally there are some who do not concur but, for reliability, accuracy, ease of servicing and if required availability of parts, the 565 has been proved over time.Its aficionados also doubt that any of the modern, all machine made and assembled movements will ever last as long or be as reliable over time. This watch was a “Golden Handshake” in 1972 but not worn for long. It has spent the last 40 years in a drawer which explains its near perfect condition inside and out. It has recently had a full service, oil change and seals replaced. 

Rotor wind, 1970s

Circa 1963, mechanical, hand wound,  Girard Perregaux watch with “in house” movement beating at 21,600 beats per hour. Silver dial with applied, wide, gold, hobnail cut indices to the points of the compass interspersed with slim Baton indices. Gold “Dauphine” (dagger) hands and slim, centre, running seconds hand. Super slim, 18ct Yellow Gold case of Girard Perregaux make and so marked; textured, concave bezel; bubble back affording comfort to the wearer; semi concealed “lozenge” lugs;  black leather strap. 34 mm over the case.
Girard Perregaux was founded in La Chaux de Fonds Switzerland in 1791. Queen Victoria and Ian Fleming both admired these watches. Girard Perregaux recently introduced a look alike to the 1966 version of this watch which sells in the UK for £9,600.

Circa 1963, mechanical, hand wound,  Girard Perregaux watch with “in house” movement beating at 21,600 beats per hour. Silver dial with applied, wide, gold, hobnail cut indices to the points of the compass interspersed with slim Baton indices. Gold “Dauphine” (dagger) hands and slim, centre, running seconds hand. Super slim, 18ct Yellow Gold case of Girard Perregaux make and so marked; textured, concave bezel; bubble back affording comfort to the wearer; semi concealed “lozenge” lugs;  black leather strap. 34 mm over the case.
Girard Perregaux was founded in La Chaux de Fonds Switzerland in 1791. Queen Victoria and Ian Fleming both admired these watches. Girard Perregaux recently introduced a look alike to the 1966 version of this watch which sells in the UK for £9,600.

Circa 1900, WMF Germany, planished Copper planter vase engraved with dragonflies. Three open, Art Nouveau, strappy, brass frame legs on spreading feet. Also bearing the mark for K & Co, Albert Köhler & Cie Vienna, which was acquired in 1900 by WMF. Height 155 mm.

I was born in the 1880s in the USA as an Ansonia 2 train 8 day clock in a beautiful black painted, cast iron case with gold coloured classical decorations. Unfortunately I fell by the wayside for some decades and when rescued by Collectorium  on Newcastle I was in a sad and sorry state – a shadow of my former glorious self.
Now in the C21st, I have been reborn in Canberra as a “The White Clock” with a new German Hermle 3 train 8 day movement. My case had been bead blasted and powder coated an elegant Mother of Pearl and my original decorations rebirthed in Gold Pearl. A new dial chosen by my future owners has been made up to suit me and an old copper rod gong fitted to give me a beautiful tone for my chime and strike.
I have now arrived in a new home and look forward to giving pleasure to this family for many years to come.

I was born in the 1880s in the USA as an Ansonia 2 train 8 day clock in a beautiful black painted, cast iron case with gold coloured classical decorations. Unfortunately I fell by the wayside for some decades and when rescued by Collectorium  on Newcastle I was in a sad and sorry state – a shadow of my former glorious self.
Now in the C21st, I have been reborn in Canberra as a “The White Clock” with a new German Hermle 3 train 8 day movement. My case had been bead blasted and powder coated an elegant Mother of Pearl and my original decorations rebirthed in Gold Pearl. A new dial chosen by my future owners has been made up to suit me and an old copper rod gong fitted to give me a beautiful tone for my chime and strike.
I have now arrived in a new home and look forward to giving pleasure to this family for many years to come.

A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.

A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.

Gold spider brooch with amber head and body made in Russia in C20th.

Marc Chagall “Les Amandiers” (The Almond Trees); oil on canvas, circa 1955/56. Marc Chagall (1887-1985) original artworks reproduced via Grano Lithography on Rives-Bütten paper.
This complex and expensive technique was developed in the 1970s. As a raster–free (grid) transfer / reproduction technique it is ideal for high quality art prints. It is not easily recognised as offset printing and so often misrepresented as original lithography.
The three Chagall’s here are certified by Madame Valentina Brodsky Chagall, the second wife of Marc Chagall (m 1952). There is one certificate covering the three items.
This edition was printed in1985/6, the years immediately following the artist’s death, in an edition of 7,500 pieces by Daco-Verlag Stuttgart, Matthieu AG Zurich. Copyright by A.D.A.G.P. Paris & Cosmopress Geneva.
All in period frame behind Perspex as purchased in the 1980s in Switzerland.

Early C20th, Chinese Soapstone carving of a rocky outcrop and a Prunus Tree; raised on a craggy rock, open carved base.

Early C20th, Chinese Soapstone carving of a rocky outcrop and a Prunus Tree; raised on a craggy rock, open carved base.

Royal Doulton Flambé Lion Seated HN223, model 59, produced circa 1912 when Noke, Slater, Bailey and Moore had recently perfected for Royal Doulton Burslem the lost Chinese art of achieving beautiful red flambé glazes.
The figure is described as “Very Rare” in the Charlton Standard Catalogue of Royal Doulton Animals and is shown only as a line drawing; 6 ½ inches or 16.5 cm high.

Royal Doulton Flambé Lion Seated HN223, model 59, produced circa 1912 when Noke, Slater, Bailey and Moore had recently perfected for Royal Doulton Burslem the lost Chinese art of achieving beautiful red flambé glazes.
The figure is described as “Very Rare” in the Charlton Standard Catalogue of Royal Doulton Animals and is shown only as a line drawing; 6 ½ inches or 16.5 cm high.