Archived
Pair of Shefield Plate Bottle Coasters
Early C19th, pair of Sheffield Plate Bottle Coasters with beaded rims.
The bottom insert of turned Boxwood with a central, domed “boss”.No makers marks.Probably pre 1840 because once Elkington developed “modern” electroplating it became popular very quickly as it is a much easier manufacturing process. Minor age consistent wear but generally in excellent condition. Going by the thickness of black tarnish that took a lot of elbow grease to shift, these had probably not been cleaned in at least one hundred years. Dimensions 6 inches diameter by 2 inches high.
Opal Brooch
Storage Solutions: Large Japanese Tansu
Japanese Tansu, the traditional mobile storage cabinet, this one made of solid wood probably in the early 1900s.
Storage Solutions: Small Japanese Tansu
Japanese Tansu, the traditional mobile storage cabinet, this one made of solid wood probably in the early 1900s.
Wedgewood Black Basalt Bowl
Decorated in white slip with the bas-relief known as “Dancing Hours” – a frieze of dancing ladies which are skillfully moulded and applied by hand. The design is attributed to John Flaxman (1755–1826). However, the original inspiration is a chimney piece of white marble against a blue lapis ground formerly in the Palazzo Borghese in Rome. The “Dancing Hours” depicts the classical “Horae”, the personifications of the seasons or hours of the day. The bowl is also decorated with borders of acanthus leaves and laurel. Impressed old script Wedgewood to base suggests pre 1890 production. The Sterling Silver foot and twin handled rim hallmarked for London, 1896, George Betjemann & Sons are perhaps a later edition intended to enhance the original bowl. Impressed 6 indicating 6 inch diameter.
Tea and Coffee Set by Gebrüder Deyhle
Five piece sterling silver & rosewood tea and coffee set designed by Helmut Warneke in 1958 and made by Gebrüder Deyhle, Schwäbisch Gmünd, Germany who have established since circa 1820.
Tea and Coffee Set by Gebrüder Deyhle
Five piece sterling silver & rosewood tea and coffee set designed by Helmut Warneke in 1958 and made by Gebrüder Deyhle, Schwäbisch Gmünd, Germany who have established since circa 1820.
Japanese Stick Umbrella Stand
Early C20th, Japanese earthenware stick or umbrella stand decorated in the round with blue Clematis; the pair of characters on the base mean “Premium: (Gokujoo); the single character in the circle reads Tatsu which could be a personal name or a brand name; the character itself means the Zodiac sign of Dragon in Japanese; height circa 64 cm, diameter at widest point circa 35 cm.
Japanese Stick Umbrella Stand: markings
Early C20th, Japanese earthenware stick or umbrella stand decorated in the round with blue Clematis; the pair of characters on the base mean “Premium: (Gokujoo); the single character in the circle reads Tatsu which could be a personal name or a brand name; the character itself means the Zodiac sign of Dragon in Japanese; height circa 64 cm, diameter at widest point circa 35 cm.
Portrait of Reta Morton by Normand Henry Baker
Normand Henry Baker born 09/07/1908; died 24/05/1955. Active in Sydney circa 1930–1955 as a painter and sketcher. Baker exhibited in and won the 1937 Archibald Prize with a self-portrait now in the Art Gallery of New South Wales.
Portrait of the artist’s sister Reta Morton.
Conté (Crayon) on paper, a drawing medium composed of compressed powdered graphite or charcoal mixed with a wax or clay base and most commonly found in black, white, and sanguine tones, as well as bistre, shades of grey and other colors. Period frame behind glass. Provenance - from the estate of Reta Morton.
Portrait of Reta Morton by Normand Henry Baker: frame
Normand Henry Baker born 09/07/1908; died 24/05/1955. Active in Sydney circa 1930–1955 as a painter and sketcher. Baker exhibited in and won the 1937 Archibald Prize with a self-portrait now in the Art Gallery of New South Wales.
Portrait of the artist’s sister Reta Morton.
Conté (Crayon) on paper, a drawing medium composed of compressed powdered graphite or charcoal mixed with a wax or clay base and most commonly found in black, white, and sanguine tones, as well as bistre, shades of grey and other colors. Period frame behind glass. Provenance - from the estate of Reta Morton.
EPNS Candle Holders by Ernst Fries
Set of four EPNS candle holders made in Australia in the 1960s by Ernst Fries. Fries was born in Germany in 1934, trained as a silversmith in Switzerland in the 1950s then immigrated to Australia in 1959; 10.5 cm tall.
EPNS Candle Holders by Ernst Fries: mark
Set of four EPNS candle holders made in Australia in the 1960s by Ernst Fries. Fries was born in Germany in 1934, trained as a silversmith in Switzerland in the 1950s then immigrated to Australia in 1959; 10.5 cm tall.
WMF Electroplated Silver Vase: marking
WMF electroplated Silver Vase the whole of sinuous Jugendstiel (Art Nouveau) shapes and lines with elongated handles and a frame of rosebuds & leaves holding the clear, cut glass sleeve insert. Pattern 191A cast into the base; WMF stamp and I/O indicating the quality of the plate to be of normal thickness i.e. 1g of deposited Silver spread over 1 square cm; circa 12” / 30 cm tall.
Wurttembergische Metallwarenfabrik was founded in Geislingen, Germany in the 1850s and is still in business today. Gently cleaned otherwise “as found” with to be expected minor age related wear.
WMF Electroplated Silver Vase
WMF electroplated Silver Vase the whole of sinuous Jugendstiel (Art Nouveau) shapes and lines with elongated handles and a frame of rosebuds & leaves holding the clear, cut glass sleeve insert. Pattern 191A cast into the base; WMF stamp and I/O indicating the quality of the plate to be of normal thickness i.e. 1g of deposited Silver spread over 1 square cm; circa 12” / 30 cm tall.
Wurttembergische Metallwarenfabrik was founded in Geislingen, Germany in the 1850s and is still in business today. Gently cleaned otherwise “as found” with to be expected minor age related wear.
WMF Electroplated Silver Vase: base
WMF electroplated Silver Vase the whole of sinuous Jugendstiel (Art Nouveau) shapes and lines with elongated handles and a frame of rosebuds & leaves holding the clear, cut glass sleeve insert. Pattern 191A cast into the base; WMF stamp and I/O indicating the quality of the plate to be of normal thickness i.e. 1g of deposited Silver spread over 1 square cm; circa 12” / 30 cm tall.
Wurttembergische Metallwarenfabrik was founded in Geislingen, Germany in the 1850s and is still in business today. Gently cleaned otherwise “as found” with to be expected minor age related wear.
Colonial Australian Hall Chair
Satsuma Vase: mid panel
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Immortals
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Arhats
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: base markings
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: neck detail
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: pattern detail
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Arhats
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Immortals
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Tapio Wirkkala: signature
Finland, 1915 – 1986; diamond wheel engraved glass VASE from the Chanterelle / Kantarelli series designed in 1946. Engraved to base Tapio Wirkkala 3283. 12 cm. The Kantarelli vase takes its name and shape from the chanterelle mushroom. It is one of the great pieces of Scandinavian design and won the prestigious Grand Prix at the Milan Triennale exhibition in 1951. Tapio Wirkkala is one of the most famous Finnish designers of the 20th century. A sculptor and woodcarver, Wirkkala's designs for glass, ceramics and metal all reflect his passion for the natural forms of the harsh landscape of his native Finland. Three vases in other sizes from this series are currently on display at the National Gallery of Australia in Canberra.
Tapio Wirkkala
Finland, 1915 – 1986; diamond wheel engraved glass VASE from the Chanterelle / Kantarelli series designed in 1946. Engraved to base Tapio Wirkkala 3283. 12 cm. The Kantarelli vase takes its name and shape from the chanterelle mushroom. It is one of the great pieces of Scandinavian design and won the prestigious Grand Prix at the Milan Triennale exhibition in 1951. Tapio Wirkkala is one of the most famous Finnish designers of the 20th century. A sculptor and woodcarver, Wirkkala's designs for glass, ceramics and metal all reflect his passion for the natural forms of the harsh landscape of his native Finland. Three vases in other sizes from this series are currently on display at the National Gallery of Australia in Canberra.
Tapio Wirkkala
Finland, 1915 – 1986; diamond wheel engraved glass VASE from the Chanterelle / Kantarelli series designed in 1946. Engraved to base Tapio Wirkkala 3283. 12 cm. The Kantarelli vase takes its name and shape from the chanterelle mushroom. It is one of the great pieces of Scandinavian design and won the prestigious Grand Prix at the Milan Triennale exhibition in 1951. Tapio Wirkkala is one of the most famous Finnish designers of the 20th century. A sculptor and woodcarver, Wirkkala's designs for glass, ceramics and metal all reflect his passion for the natural forms of the harsh landscape of his native Finland. Three vases in other sizes from this series are currently on display at the National Gallery of Australia in Canberra.
Tapio Wirkkala
Finland, 1915 – 1986; diamond wheel engraved glass VASE from the Chanterelle / Kantarelli series designed in 1946. Engraved to base Tapio Wirkkala 3283. 12 cm. The Kantarelli vase takes its name and shape from the chanterelle mushroom. It is one of the great pieces of Scandinavian design and won the prestigious Grand Prix at the Milan Triennale exhibition in 1951. Tapio Wirkkala is one of the most famous Finnish designers of the 20th century. A sculptor and woodcarver, Wirkkala's designs for glass, ceramics and metal all reflect his passion for the natural forms of the harsh landscape of his native Finland. Three vases in other sizes from this series are currently on display at the National Gallery of Australia in Canberra.
Mantle Clock in Burr Walnut Veneer Case: label
Circa 1860s, dome top, Mantle Clock in Burr Walnut veneer case. Stepped base over scrolled bracket feet, flat reeded columns to side. Cast brass bezel with bevelled glass over 5 inch white enamelled dial. Black Roman numerals indicating time with blued steel Breguet hands. Round French movement, Brocot slow / fast adjust to top of the silk suspension for steel rod and brass bob pendulum by F Page, Paris. Inside the case is a nice old paper label for the retailer and repairer J L Blackmore Watch and Clock Maker, Jewellers &c. of 90 Shaftesbury Terrace, Pimlico SW indicating the types / makes of clock sold / repaired, serviced and wound. 23 cm tall.
Mantle Clock in Burr Walnut Veneer Case
Circa 1860s, dome top, Mantle Clock in Burr Walnut veneer case. Stepped base over scrolled bracket feet, flat reeded columns to side. Cast brass bezel with bevelled glass over 5 inch white enamelled dial. Black Roman numerals indicating time with blued steel Breguet hands. Round French movement, Brocot slow / fast adjust to top of the silk suspension for steel rod and brass bob pendulum by F Page, Paris. Inside the case is a nice old paper label for the retailer and repairer J L Blackmore Watch and Clock Maker, Jewellers &c. of 90 Shaftesbury Terrace, Pimlico SW indicating the types / makes of clock sold / repaired, serviced and wound. 23 cm tall.
Composite Stone Figural Lamp
Circa 1920/30s composite stone Figural Lamp in the form of a young girl holding her arms aloft to support a shaped glass, red and white marbled, light shade. Painted white “as found” but professionally rewired in 2018 plus test and tag. Figure 80 cm tall, the whole circa 1 m tall.
Composite Stone Figural Lamp
Circa 1920/30s composite stone Figural Lamp in the form of a young girl holding her arms aloft to support a shaped glass, red and white marbled, light shade. Painted white “as found” but professionally rewired in 2018 plus test and tag. Figure 80 cm tall, the whole circa 1 m tall.
Composite Stone Figural Lamp
Circa 1920/30s composite stone Figural Lamp in the form of a young girl holding her arms aloft to support a shaped glass, red and white marbled, light shade. Painted white “as found” but professionally rewired in 2018 plus test and tag. Figure 80 cm tall, the whole circa 1 m tall.
Composite Stone Figural Lamp
Circa 1920/30s composite stone Figural Lamp in the form of a young girl holding her arms aloft to support a shaped glass, red and white marbled, light shade. Painted white “as found” but professionally rewired in 2018 plus test and tag. Figure 80 cm tall, the whole circa 1 m tall.
Moorcroft Vase – Windswept
Moorcroft Vase in William’s 1930s Waving Corn design Windswept. Impressed signature, Made in England, Potter to HM the Queen and painted signature to the base indicate this vase was produced between 1928 to 1936. Reflecting the international financial situation and a change in attitude at home, in the 1930s William augmented the brightly coloured decorative pottery of the 1920s with more sombre tones and plainer handcrafted styles. 16 cm tall.
Moorcroft Vase – Windswept: base markings
Moorcroft Vase in William’s 1930s Waving Corn design Windswept. Impressed signature, Made in England, Potter to HM the Queen and painted signature to the base indicate this vase was produced between 1928 to 1936. Reflecting the international financial situation and a change in attitude at home, in the 1930s William augmented the brightly coloured decorative pottery of the 1920s with more sombre tones and plainer handcrafted styles. 16 cm tall.
Aerial Fairchild K-17-C Camera: shutter speed plate
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: pivotting optical view finder
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: power connections
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: lens cone plate
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: lens cone plate
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: motor plate
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: camera plate
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: Bausch and Lomb Lens
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
Aerial Fairchild K-17-C Camera: back cover over film spools
Aerial Fairchild K-17-C camera used in B29 bombers by the US Air Force during WWII for high altitude “mapping” and “observation”. After WWII this camera was used in Australia in a civilian application for cartography. The K-17-C has a manual trigger and is also driven by an electric motor or pneumatically. It holds a film of 9 x 9 inches with a capacity of 250 exposures. In the configuration shown it weighs 23 Kg and is approximately 40 x 35 x 35 cm.
This image shows pivotting optical view finder, manual setting for film advance, pivot point, crank for manual film advance with counter.
French Art Deco Dining Suite: canted table corner
French, Oak, circa 1930’s, Art Deco dining suite comprising sideboard, extension via a single, wide, drop-in leaf table and six chairs all showing panels of stylised flower and leaf carving.The lower part of the sideboard on stepped, winged, scroll bracket feet. Long, single doors with asymmetrical stylised flower and leaf carving to either side of the large central door with matching carving to the upper third, recessed via stepped and shaped moulding.
The small drawers above with large, metal, superbly repoussé, stylised flower and leaf decorated plate behind a substantial square knob handle. The top edge of the lower of continuous serpentine undulation below a flat, stepped, chamfer leading to the substantial, green, white and rouge marble slab. The whole contained to the outer corners with flat topped, broad reeding wrapped around. The upper section raised to the front on reeded square columns on reverse stepped square bases with a recessed, open, mirror backed centre. Single, long doors matching the lower doors to the sides flanking the elevated centre section with sliding glass doors over a single glass shelf. The whole framed by alike carved border in a “hounds’ tooth” edging. The shaped, slab end supported table correspondingly carved to the lower of the supports and the canted corners of the table top. The six chairs with stepped moulding to the front legs, triple stepped back splats, the centre panel carved to match the doors. The top rail matching the moulding and undulating serpentine of the lower part of the side board. Sideboard circa 200 cm high.
French Art Deco Dining Suite: table end detail
French, Oak, circa 1930’s, Art Deco dining suite comprising sideboard, extension via a single, wide, drop-in leaf table and six chairs all showing panels of stylised flower and leaf carving.The lower part of the sideboard on stepped, winged, scroll bracket feet. Long, single doors with asymmetrical stylised flower and leaf carving to either side of the large central door with matching carving to the upper third, recessed via stepped and shaped moulding.
The small drawers above with large, metal, superbly repoussé, stylised flower and leaf decorated plate behind a substantial square knob handle. The top edge of the lower of continuous serpentine undulation below a flat, stepped, chamfer leading to the substantial, green, white and rouge marble slab. The whole contained to the outer corners with flat topped, broad reeding wrapped around. The upper section raised to the front on reeded square columns on reverse stepped square bases with a recessed, open, mirror backed centre. Single, long doors matching the lower doors to the sides flanking the elevated centre section with sliding glass doors over a single glass shelf. The whole framed by alike carved border in a “hounds’ tooth” edging. The shaped, slab end supported table correspondingly carved to the lower of the supports and the canted corners of the table top. The six chairs with stepped moulding to the front legs, triple stepped back splats, the centre panel carved to match the doors. The top rail matching the moulding and undulating serpentine of the lower part of the side board. Sideboard circa 200 cm high.
French Art Deco Dining Suite: drawer handle
French, Oak, circa 1930’s, Art Deco dining suite comprising sideboard, extension via a single, wide, drop-in leaf table and six chairs all showing panels of stylised flower and leaf carving.The lower part of the sideboard on stepped, winged, scroll bracket feet. Long, single doors with asymmetrical stylised flower and leaf carving to either side of the large central door with matching carving to the upper third, recessed via stepped and shaped moulding.
The small drawers above with large, metal, superbly repoussé, stylised flower and leaf decorated plate behind a substantial square knob handle. The top edge of the lower of continuous serpentine undulation below a flat, stepped, chamfer leading to the substantial, green, white and rouge marble slab. The whole contained to the outer corners with flat topped, broad reeding wrapped around. The upper section raised to the front on reeded square columns on reverse stepped square bases with a recessed, open, mirror backed centre. Single, long doors matching the lower doors to the sides flanking the elevated centre section with sliding glass doors over a single glass shelf. The whole framed by alike carved border in a “hounds’ tooth” edging. The shaped, slab end supported table correspondingly carved to the lower of the supports and the canted corners of the table top. The six chairs with stepped moulding to the front legs, triple stepped back splats, the centre panel carved to match the doors. The top rail matching the moulding and undulating serpentine of the lower part of the side board. Sideboard circa 200 cm high.
French Art Deco Dining Suite: upper cupboard door detail
French, Oak, circa 1930’s, Art Deco dining suite comprising sideboard, extension via a single, wide, drop-in leaf table and six chairs all showing panels of stylised flower and leaf carving.The lower part of the sideboard on stepped, winged, scroll bracket feet. Long, single doors with asymmetrical stylised flower and leaf carving to either side of the large central door with matching carving to the upper third, recessed via stepped and shaped moulding.
The small drawers above with large, metal, superbly repoussé, stylised flower and leaf decorated plate behind a substantial square knob handle. The top edge of the lower of continuous serpentine undulation below a flat, stepped, chamfer leading to the substantial, green, white and rouge marble slab. The whole contained to the outer corners with flat topped, broad reeding wrapped around. The upper section raised to the front on reeded square columns on reverse stepped square bases with a recessed, open, mirror backed centre. Single, long doors matching the lower doors to the sides flanking the elevated centre section with sliding glass doors over a single glass shelf. The whole framed by alike carved border in a “hounds’ tooth” edging. The shaped, slab end supported table correspondingly carved to the lower of the supports and the canted corners of the table top. The six chairs with stepped moulding to the front legs, triple stepped back splats, the centre panel carved to match the doors. The top rail matching the moulding and undulating serpentine of the lower part of the side board. Sideboard circa 200 cm high.
French Art Deco Dining Suite: lower cupboard door detail
French, Oak, circa 1930’s, Art Deco dining suite comprising sideboard, extension via a single, wide, drop-in leaf table and six chairs all showing panels of stylised flower and leaf carving.The lower part of the sideboard on stepped, winged, scroll bracket feet. Long, single doors with asymmetrical stylised flower and leaf carving to either side of the large central door with matching carving to the upper third, recessed via stepped and shaped moulding.
The small drawers above with large, metal, superbly repoussé, stylised flower and leaf decorated plate behind a substantial square knob handle. The top edge of the lower of continuous serpentine undulation below a flat, stepped, chamfer leading to the substantial, green, white and rouge marble slab. The whole contained to the outer corners with flat topped, broad reeding wrapped around. The upper section raised to the front on reeded square columns on reverse stepped square bases with a recessed, open, mirror backed centre. Single, long doors matching the lower doors to the sides flanking the elevated centre section with sliding glass doors over a single glass shelf. The whole framed by alike carved border in a “hounds’ tooth” edging. The shaped, slab end supported table correspondingly carved to the lower of the supports and the canted corners of the table top. The six chairs with stepped moulding to the front legs, triple stepped back splats, the centre panel carved to match the doors. The top rail matching the moulding and undulating serpentine of the lower part of the side board. Sideboard circa 200 cm high.
French Art Deco Dining Suite
French, Oak, circa 1930’s, Art Deco dining suite comprising sideboard, extension via a single, wide, drop-in leaf table and six chairs all showing panels of stylised flower and leaf carving.The lower part of the sideboard on stepped, winged, scroll bracket feet. Long, single doors with asymmetrical stylised flower and leaf carving to either side of the large central door with matching carving to the upper third, recessed via stepped and shaped moulding.
The small drawers above with large, metal, superbly repoussé, stylised flower and leaf decorated plate behind a substantial square knob handle. The top edge of the lower of continuous serpentine undulation below a flat, stepped, chamfer leading to the substantial, green, white and rouge marble slab. The whole contained to the outer corners with flat topped, broad reeding wrapped around. The upper section raised to the front on reeded square columns on reverse stepped square bases with a recessed, open, mirror backed centre. Single, long doors matching the lower doors to the sides flanking the elevated centre section with sliding glass doors over a single glass shelf. The whole framed by alike carved border in a “hounds’ tooth” edging. The shaped, slab end supported table correspondingly carved to the lower of the supports and the canted corners of the table top. The six chairs with stepped moulding to the front legs, triple stepped back splats, the centre panel carved to match the doors. The top rail matching the moulding and undulating serpentine of the lower part of the side board. Sideboard circa 200 cm high.
Chinese Lacquer Ware Tea Set
1930s, Chinese Lacquer Ware Tea Set by Ling Dia Mi Ware of Foochow. Many layers of lacquer are applied over textile (gauze) shapes then hand painted. Here the decoration is of Dragons chasing the flaming Pearl and Koi. This set consists of a lidded tea pot, lidded sugar bowl with tongs, milk jug, 6 x cups, saucers & tea spoons and associated wooden tray. Such sets were made specifically for export to the West.
Chinese Lacquer Ware Tea Set
1930s, Chinese Lacquer Ware Tea Set by Ling Dia Mi Ware of Foochow. Many layers of lacquer are applied over textile (gauze) shapes then hand painted. Here the decoration is of Dragons chasing the flaming Pearl and Koi. This set consists of a lidded tea pot, lidded sugar bowl with tongs, milk jug, 6 x cups, saucers & tea spoons and associated wooden tray. Such sets were made specifically for export to the West.
Chinese Lacquer Ware Tea Set: Tea Pot
1930s, Chinese Lacquer Ware Tea Set by Ling Dia Mi Ware of Foochow. Many layers of lacquer are applied over textile (gauze) shapes then hand painted. Here the decoration is of Dragons chasing the flaming Pearl and Koi. This set consists of a lidded tea pot, lidded sugar bowl with tongs, milk jug, 6 x cups, saucers & tea spoons and associated wooden tray. Such sets were made specifically for export to the West.
Leonard Hugh Long, Lake George Pastoral 79
Leonard Hugh Long, OAM, born 25 April 1911, Summer Hill NSW. Long was raised in the Southern Highlands then moved to Nowra as a young man. In 1955 he gave up working as a watchmaker and began landscape painting full time. In 1980 Long moved to Melbourne and lived there until his death on 3 November 2013. During his career Long held many successful solo exhibitions throughout Australia and travelled extensively both within Australia and overseas. His works may be found in many private collections and he is represented in many public galleries around the world.
Lake George Pastoral 79, oil on canvas on board, image circa 60 x 50 cm, signed and dated lower right, in period frame.
Mid C20th, Teak Sideboard
Mid C20th, Teak Sideboard with Tambour doors covering the upper shelves and drawers. A late 1950s / early 1960s Danish design by Johannes Andersen (1903-1991) as model 18 for Uldum Møbelfabrik. Manufactured in Australia under licence probably by Berryman of Sydney although it lacks their paper label. Originally purchased as being made by T H Brown of Adelaide but research has not found them to have made anything even similar. 127 cm high x 204 cm long x 48 cm.
1970s art glass pieces by Charles Lotton USA displayed on top.
Mid C20th, Teak Sideboard: doors open
Mid C20th, Teak Sideboard with Tambour doors covering the upper shelves and drawers. A late 1950s / early 1960s Danish design by Johannes Andersen (1903-1991) as model 18 for Uldum Møbelfabrik. Manufactured in Australia under licence probably by Berryman of Sydney although it lacks their paper label. Originally purchased as being made by T H Brown of Adelaide but research has not found them to have made anything even similar. 127 cm high x 204 cm long x 48 cm.
1970s art glass pieces by Charles Lotton USA displayed on top.
Inspirations from Nature: Marcasite Camel
Silver and Marcasite camel beneath a palm tree brooch made in early C20th.
Studio Anna Pottery Gum Blossom Dish: mark 1965-1986
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Studio Anna Pottery Gum Blossom Dish
Studio Anna Pottery Sydney was established in 1954 by Czechoslovakian migrant Karl Jungvirt and his wife Toni initially in Neutral Bay then moved to Marrickville. The Jungvirts exhibited at, among others venues, the Ceramic Art and Fine Ware Association exhibitions held at Anthony Horderns’ Department Store to generate interest in and orders for their pottery. The increase in international tourism to Australia post WWII created an interest in ceramics decorated with Australian local scenes, flora, fauna and Aboriginal motifs.
References: Geoff Ford, Encyclopaedia of Australian Potter’s Marks, 1st Edition; Museum of Applied Arts & Sciences website.
Mutoscope: No Stares
Mutoscope cards commonly feature drawings of “Cheesecake” or “Pin Up” Girls.
They were published on stiff card stock in America during the 1930s and 40s.
They were available from vending machines and became very popular with the troops during WWII.Size : 5.25″ × 3.25″.
These are a selection from our stock of over 100 Mutoscope cards.
A “MOONWALKER” signed and dedicated original NASA photograph: plaque
A “MOONWALKER” signed and dedicated original NASA photograph and letter.
During the Apollo program of 1969 to 1972, NASA landed six missions and 12 astronauts on the moon.
The photograph is of Harrison Hagan “Jack” Schmitt in his Apollo 17 space suit, signed and dedicated on the occasion of Jack’s visit to Australia to participate in commemorations of the Battle of the Coral Sea in May 1973.
This was shortly after NASA’s last Apollo mission in Dec 1972 where Jack was the first and only scientist astronaut to fly in space, land and walk on the moon.
Framed with an attached commemorative brass plaque.
Also a Harrison Hagan “Jack” Schmitt signed letter, on NASA letter head and dated August 1973, thanking his Australian host for his support during Coral Sea week.
A “MOONWALKER” signed and dedicated original NASA photograph: inset
A “MOONWALKER” signed and dedicated original NASA photograph and letter.
During the Apollo program of 1969 to 1972, NASA landed six missions and 12 astronauts on the moon.
The photograph is of Harrison Hagan “Jack” Schmitt in his Apollo 17 space suit, signed and dedicated on the occasion of Jack’s visit to Australia to participate in commemorations of the Battle of the Coral Sea in May 1973.
This was shortly after NASA’s last Apollo mission in Dec 1972 where Jack was the first and only scientist astronaut to fly in space, land and walk on the moon.
Framed with an attached commemorative brass plaque.
Also a Harrison Hagan “Jack” Schmitt signed letter, on NASA letter head and dated August 1973, thanking his Australian host for his support during Coral Sea week.
A “MOONWALKER” signed and dedicated original NASA photograph
A “MOONWALKER” signed and dedicated original NASA photograph and letter.
During the Apollo program of 1969 to 1972, NASA landed six missions and 12 astronauts on the moon.
The photograph is of Harrison Hagan “Jack” Schmitt in his Apollo 17 space suit, signed and dedicated on the occasion of Jack’s visit to Australia to participate in commemorations of the Battle of the Coral Sea in May 1973.
This was shortly after NASA’s last Apollo mission in Dec 1972 where Jack was the first and only scientist astronaut to fly in space, land and walk on the moon.
Framed with an attached commemorative brass plaque.
Also a Harrison Hagan “Jack” Schmitt signed letter, on NASA letter head and dated August 1973, thanking his Australian host for his support during Coral Sea week.
A “MOONWALKER” signed and dedicated original NASA photograph: letter
A “MOONWALKER” signed and dedicated original NASA photograph and letter.
During the Apollo program of 1969 to 1972, NASA landed six missions and 12 astronauts on the moon.
The photograph is of Harrison Hagan “Jack” Schmitt in his Apollo 17 space suit, signed and dedicated on the occasion of Jack’s visit to Australia to participate in commemorations of the Battle of the Coral Sea in May 1973.
This was shortly after NASA’s last Apollo mission in Dec 1972 where Jack was the first and only scientist astronaut to fly in space, land and walk on the moon.
Framed with an attached commemorative brass plaque.
Also a Harrison Hagan “Jack” Schmitt signed letter, on NASA letter head and dated August 1973, thanking his Australian host for his support during Coral Sea week.
La Barque by Marc Chagall
Marc Chagall “La Barque” (The Boat); oil on canvas, circa 1946, (in private hands).
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.
La Barque by Marc Chagall: reverse side
Marc Chagall “La Barque” (The Boat); oil on canvas, circa 1946, (in private hands).
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.
Wassily Chairs by Marcel Breuer
A pair of the chairs designed by Bauhaus architect Marcel Breuer in 1925-26. Originally called Model B3, after the artist Wassily Kandinsky became an admirer and acquired one for himself they become more commonly known as Wassily chairs. These were made in Italy in 1984 by Fasem – a name synonymous for nearly 40 years with excellence in the manufacture of furniture which primarily uses leather and steel. For the last few decades this pair have been cherished and used by a talented, Canberra based, amateur painter.
Wassily Chairs by Marcel Breuer: label
A pair of the chairs designed by Bauhaus architect Marcel Breuer in 1925-26. Originally called Model B3, after the artist Wassily Kandinsky became an admirer and acquired one for himself they become more commonly known as Wassily chairs. These were made in Italy in 1984 by Fasem – a name synonymous for nearly 40 years with excellence in the manufacture of furniture which primarily uses leather and steel. For the last few decades this pair have been cherished and used by a talented, Canberra based, amateur painter.
Japanese Meiji Period Jar Warrior 6
Japanese Meiji period (1868-1912) Baluster form jar. Wide open mouth with slight outward tapering; straight neck below a rolled over rim. Recessed foot ring; the base with the glaze neatly kept in a straight line off the foot. Polychrome and gilt in Satsuma pallet; probably from Kyoto; typical, age conforming light “crackle”. Bands of polychrome brocade and traditional ornamentation enclosing in the round a scene from the second Noh play Shura Mono (fighting play) of Samurai with various weaponry. While this jar is not signed it is of high quality execution indicating a very competent artisan and it is from the collection of an eclectic connoisseur who only had good things! Minor rubbing & an old repair to a firing mark to the base. circa 25 cm tall x 17 cm wide
Japanese Meiji Period Jar Warrior 5
Japanese Meiji period (1868-1912) Baluster form jar. Wide open mouth with slight outward tapering; straight neck below a rolled over rim. Recessed foot ring; the base with the glaze neatly kept in a straight line off the foot. Polychrome and gilt in Satsuma pallet; probably from Kyoto; typical, age conforming light “crackle”. Bands of polychrome brocade and traditional ornamentation enclosing in the round a scene from the second Noh play Shura Mono (fighting play) of Samurai with various weaponry. While this jar is not signed it is of high quality execution indicating a very competent artisan and it is from the collection of an eclectic connoisseur who only had good things! Minor rubbing & an old repair to a firing mark to the base. circa 25 cm tall x 17 cm wide
Japanese Meiji Period Jar Warrior 4
Japanese Meiji period (1868-1912) Baluster form jar. Wide open mouth with slight outward tapering; straight neck below a rolled over rim. Recessed foot ring; the base with the glaze neatly kept in a straight line off the foot. Polychrome and gilt in Satsuma pallet; probably from Kyoto; typical, age conforming light “crackle”. Bands of polychrome brocade and traditional ornamentation enclosing in the round a scene from the second Noh play Shura Mono (fighting play) of Samurai with various weaponry. While this jar is not signed it is of high quality execution indicating a very competent artisan and it is from the collection of an eclectic connoisseur who only had good things! Minor rubbing & an old repair to a firing mark to the base. circa 25 cm tall x 17 cm wide
Japanese Meiji Period Jar Warrior 3
Japanese Meiji period (1868-1912) Baluster form jar. Wide open mouth with slight outward tapering; straight neck below a rolled over rim. Recessed foot ring; the base with the glaze neatly kept in a straight line off the foot. Polychrome and gilt in Satsuma pallet; probably from Kyoto; typical, age conforming light “crackle”. Bands of polychrome brocade and traditional ornamentation enclosing in the round a scene from the second Noh play Shura Mono (fighting play) of Samurai with various weaponry. While this jar is not signed it is of high quality execution indicating a very competent artisan and it is from the collection of an eclectic connoisseur who only had good things! Minor rubbing & an old repair to a firing mark to the base. circa 25 cm tall x 17 cm wide
Japanese-Meiji-Period-Jar-Warrior-2-sJapanese Meiji Period Jar Warrior 2
Japanese Meiji period (1868-1912) Baluster form jar. Wide open mouth with slight outward tapering; straight neck below a rolled over rim. Recessed foot ring; the base with the glaze neatly kept in a straight line off the foot. Polychrome and gilt in Satsuma pallet; probably from Kyoto; typical, age conforming light “crackle”. Bands of polychrome brocade and traditional ornamentation enclosing in the round a scene from the second Noh play Shura Mono (fighting play) of Samurai with various weaponry. While this jar is not signed it is of high quality execution indicating a very competent artisan and it is from the collection of an eclectic connoisseur who only had good things! Minor rubbing & an old repair to a firing mark to the base. circa 25 cm tall x 17 cm wide
Japanese Meiji Period Jar Warrior 1
Japanese Meiji period (1868-1912) Baluster form jar. Wide open mouth with slight outward tapering; straight neck below a rolled over rim. Recessed foot ring; the base with the glaze neatly kept in a straight line off the foot. Polychrome and gilt in Satsuma pallet; probably from Kyoto; typical, age conforming light “crackle”. Bands of polychrome brocade and traditional ornamentation enclosing in the round a scene from the second Noh play Shura Mono (fighting play) of Samurai with various weaponry. While this jar is not signed it is of high quality execution indicating a very competent artisan and it is from the collection of an eclectic connoisseur who only had good things! Minor rubbing & an old repair to a firing mark to the base. circa 25 cm tall x 17 cm wide
Mid 20th Century Kitchen Wall Clock 9
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
Vitreous enamel on metal plate painted by Bernard Hesling
Bernard Hesling, born Britain 1905, migrated to Australia in 1928, died Adelaide 1987. Hesling was a journalist and artist who first worked in vitreous enamels in 1957 as the exterior murals he was being asked to create did not lend themselves to oil paint. David Jones Sydney store launched his enamels in 1957.In 1958, 1959 and 1961 he held in their Gallery what were probably the world’s first exhibitions of large brush-painted enameled panels. Overall he produced over 4000 pieces – ashtrays, trays, tables, wall panels etc. and exhibited his work in Sydney, Melbourne, Canberra, Adelaide and Europe. This 28 cm diameter plate featuring abstract birds is probably a later example of his work with vitreous enamel on metal.
Art Deco Costume Jewellery 1
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 2
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 12
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 16
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Mid 20th Century Kitchen Wall Clock 6
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
C20th, Russian Egg by Faberge: top
Green glass hand engraved in St Petersburg with the Romanov double headed Eagle crowned and holding an Orb and Sceptre. To the opposing side a monogram surrounded by a garland of Laurel leaves surmounted by a crown. A wide central band of double line diamonds, dot-dash and further laurel. The whole of the decoration inlaid with gold. The original paper labels to the base. One with Faberge in Cyrillic and the other the original price of 150,000 Roubles. Circa 9 cm high.
C20th, Russian Egg by Faberge: Romanov Double Headed Eagle
Green glass hand engraved in St Petersburg with the Romanov double headed Eagle crowned and holding an Orb and Sceptre. To the opposing side a monogram surrounded by a garland of Laurel leaves surmounted by a crown. A wide central band of double line diamonds, dot-dash and further laurel. The whole of the decoration inlaid with gold. The original paper labels to the base. One with Faberge in Cyrillic and the other the original price of 150,000 Roubles. Circa 9 cm high.
C20th, Russian Egg by Faberge: price tag
Green glass hand engraved in St Petersburg with the Romanov double headed Eagle crowned and holding an Orb and Sceptre. To the opposing side a monogram surrounded by a garland of Laurel leaves surmounted by a crown. A wide central band of double line diamonds, dot-dash and further laurel. The whole of the decoration inlaid with gold. The original paper labels to the base. One with Faberge in Cyrillic and the other the original price of 150,000 Roubles. Circa 9 cm high.
C20th, Russian Egg by Faberge: monogram to reverse
Green glass hand engraved in St Petersburg with the Romanov double headed Eagle crowned and holding an Orb and Sceptre. To the opposing side a monogram surrounded by a garland of Laurel leaves surmounted by a crown. A wide central band of double line diamonds, dot-dash and further laurel. The whole of the decoration inlaid with gold. The original paper labels to the base. One with Faberge in Cyrillic and the other the original price of 150,000 Roubles. Circa 9 cm high.
Russian-egg-by-faberge-C20th, Russian Egg by Faberge: double line diamonds-line-diamonds-sold
Green glass hand engraved in St Petersburg with the Romanov double headed Eagle crowned and holding an Orb and Sceptre. To the opposing side a monogram surrounded by a garland of Laurel leaves surmounted by a crown. A wide central band of double line diamonds, dot-dash and further laurel. The whole of the decoration inlaid with gold. The original paper labels to the base. One with Faberge in Cyrillic and the other the original price of 150,000 Roubles. Circa 9 cm high.
Tesmic Art Pottery Dogs
Tesmic Art Pottery was set up in Elizabeth Street Sydney in 1947 by Grace Taylor, (1902-1988), but was only in production until 1952. Among other pieces, Grace produced a range of slip cast animals such as this pair of dogs. An inscribed mark was used as an identifier or a black on silver paper label. One dog has his silver sticker intact, the other only bares the remains of the sticky backing. Length 7 cm.
Reference : Encyclopaedia of Australian Pottery Marks 1st Edition by Geoff Ford.
Tesmic Art Pottery Dogs
Tesmic Art Pottery was set up in Elizabeth Street Sydney in 1947 by Grace Taylor, (1902-1988), but was only in production until 1952. Among other pieces, Grace produced a range of slip cast animals such as this pair of dogs. An inscribed mark was used as an identifier or a black on silver paper label. One dog has his silver sticker intact, the other only bares the remains of the sticky backing. Length 7 cm.
Reference : Encyclopaedia of Australian Pottery Marks 1st Edition by Geoff Ford.
Tesmic Art Pottery Dogs
Tesmic Art Pottery was set up in Elizabeth Street Sydney in 1947 by Grace Taylor, (1902-1988), but was only in production until 1952. Among other pieces, Grace produced a range of slip cast animals such as this pair of dogs. An inscribed mark was used as an identifier or a black on silver paper label. One dog has his silver sticker intact, the other only bares the remains of the sticky backing. Length 7 cm.
Reference : Encyclopaedia of Australian Pottery Marks 1st Edition by Geoff Ford.
Tesmic Art Pottery Dogs
Tesmic Art Pottery was set up in Elizabeth Street Sydney in 1947 by Grace Taylor, (1902-1988), but was only in production until 1952. Among other pieces, Grace produced a range of slip cast animals such as this pair of dogs. An inscribed mark was used as an identifier or a black on silver paper label. One dog has his silver sticker intact, the other only bares the remains of the sticky backing. Length 7 cm.
Reference : Encyclopaedia of Australian Pottery Marks 1st Edition by Geoff Ford.
Bronze Ballerina Sculpture
Meet Amelie. A contemporary, life sized, bronze sculpture of a young ballerina.
Rose-Noble-Big-and-Small-Cream-Jugs-sold
The smaller of these two Rose Noble Jugs is the familiar Souvenir jug and this 60 mm example is decorated with an applied Wild Duck in flight. The much larger at 130 mm tall, less common jug has the familiar Blue Bird in flight applied to it. The maker’s marks for these two jugs are shown.
Rose Noble Large Cream Jug Maker’s Mark
The smaller of these two Rose Noble Jugs is the familiar Souvenir jug and this 60 mm example is decorated with an applied Wild Duck in flight. The much larger at 130 mm tall, less common jug has the familiar Blue Bird in flight applied to it. The maker’s marks for these two jugs are shown.
Rose Noble Small Jug Maker's Mark
The smaller of these two Rose Noble Jugs is the familiar Souvenir jug and this 60 mm example is decorated with an applied Wild Duck in flight. The much larger at 130 mm tall, less common jug has the familiar Blue Bird in flight applied to it. The maker’s marks for these two jugs are shown.
Mutoscope: Not So Dusty
Mutoscope cards commonly feature drawings of “Cheesecake” or “Pin Up” Girls.
They were published on stiff card stock in America during the 1930s and 40s.
They were available from vending machines and became very popular with the troops during WWII.Size : 5.25″ × 3.25″.
Porcelain Pin Dish: back
Porcelain pin dish decorated with a hand painted kookaburra by South Australian Antoinette Miller in 1961. She was active in the Australia wide revival of china painting in the 1960s. Painted on an Arzberg of Germany white blank. Dimensions 8.5 cm / 3.25 inches diameter.
Porcelain Pin Dish
Porcelain pin dish decorated with a hand painted kookaburra by South Australian Antoinette Miller in 1961. She was active in the Australia wide revival of china painting in the 1960s. Painted on an Arzberg of Germany white blank. Dimensions 8.5 cm / 3.25 inches diameter.
Athena Figural Mantle Clock 2
Late C19th, French, polychrome painted Spelter and variegated marble truncated column with garland of flowers, lyre, aulos and ewer to one side, a maiden, possibly the Ancient Greek Goddess Athena, playing the aulos (double flute) to the other. Myth tells how Athena invented the aulos to recreate the mourning cries of the sisters of Medusa but threw it away when she realised playing it puffed out her cheeks making her look silly. French, 8 day, 2 train movement, striking hours & halves on a “silver” bell. Matching white & black variegated marble dial with gilt inlaid Roman numerals, blued steel hands.
Athena Figural Mantle Clock 1
Late C19th, French, polychrome painted Spelter and variegated marble truncated column with garland of flowers, lyre, aulos and ewer to one side, a maiden, possibly the Ancient Greek Goddess Athena, playing the aulos (double flute) to the other. Myth tells how Athena invented the aulos to recreate the mourning cries of the sisters of Medusa but threw it away when she realised playing it puffed out her cheeks making her look silly. French, 8 day, 2 train movement, striking hours & halves on a “silver” bell. Matching white & black variegated marble dial with gilt inlaid Roman numerals, blued steel hands.
Mid 20th Century Kitchen Wall Clock 1
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
Doulton Luscian Ware Vase backstamp
England, cameos of pink & purple flowers with heavily gilded decoration; RA 2113 indicates a date of 1896.
Doulton Luscian Ware Vase 2
England, cameos of pink & purple flowers with heavily gilded decoration; RA 2113 indicates a date of 1896.
Flying Mallard Duck Wall Plaque
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.
6 Piece Old Country Rose Setting for 8 People
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.
Murano Wall Mirror detail
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.
Junghans “Starburst” Clock: detail
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.
Green Glass Top Drinks Trolley: Tray
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.
LonginesWatch-sold
1970s Rotor wind Longines Watch
Royal Doulton Flambé Lion: marking
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: back
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: side
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.
Les Amandiers by Marc Chagall: reverse
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.
Chinese Soapstone Prunus Tree Carving 2
Early C20th, Chinese Soapstone carving of a rocky outcrop and a Prunus Tree; raised on a craggy rock, open carved base.
"The White Clock” restoration
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.
"The White Clock”
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.
Marutomo Ware Koala Jug side
A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.
Marutomo Ware Koala Jug handle
A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.
Marutomo Ware Koala Jug Marking
A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.
Chinese Double Gourd: marking on base
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 Double Gourd 1
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.
Arthur Wood Cube Teapot 2
Scarce blue; minor nibbles.
Arthur Wood Cube Teapot Backstamp
Scarce blue; minor nibbles.
George Day Stoneware 2
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.
George Day Stoneware 1
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.
Zaan Wall Clock: detail
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.
Wall Clock 4
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
Mid 20th Century Kitchen wall Clock 5
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
Mid 20th Century Kitchen wall Clock 2
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
Kauri Pine Elevated Bookcase: Base
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.
Kauri Pine Elevated Bookcase: top
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.
Surrealist Psychoscapes by James Gleeson: 2
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.
Clarice Cliff Bizarre Cauldron: Backstamp
Café au Lait, Lisbon pattern.
Royal Doulton Coffee Set
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: signature
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: markings
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.
White Carrara Marble Sculpture: signature
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.
Flying Saucer Shaped EPNS Tea Set 2
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.
Rosewood Armchairs: Cameo back
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.
Rosewood Armchairs: upholstery on seat
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.
Rosewood Armchairs: upholstery on back
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.
Rosewood Armchairs: top rail
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.
Rosewood Armchairs: top rail crest
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.
Rosewood Armchairs: side
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.
Rosewood Armchairs: skirt
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.
Art Deco Tea Pot: cover marking
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.
Art Deco Tea Pot
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.
Art Deco Tea Pot: marking
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.
Art Deco Tea Pot: felt liner
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.
Bronze Mother and Child Sculpture 3
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.
Bronze Mother and Child Sculpture 2
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.
Edwardian Necklace: Sapphire and Peridot
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.
Edwardian Necklace: Amethyst
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.
Wedgwood Keith Murray Vase Backstamp
England, script signature backstamp indicating 1930s.
Arts & Crafts Display Cabinet: cupboard handle
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.
Arts & Crafts Display Cabinet: drawer handle
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.
Arts & Crafts Display Cabinet: hinge
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.
Arts & Crafts Display Cabinet: Story & Triggs: makers label
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.
Arts & Crafts Display Cabinet: pagoda roof
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.
Dunhill Giant Table Lighter: back
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: top
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: warrant
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.
Edison ‘Gem’ Phonograph: case
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: label
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.
Vogue "Vanities" Compact Protective Cover
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" Compact markings
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" Compact Packaging
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.
Qing Dynasty Table Screen: detail
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
Chinese Coromandel Screen Bird Detail
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.
Chinese Coromandel Screen Chrysanthemum Detail
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.
Chinese Coromandel Screen Detail
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.
Studio Glass by Art Reed 1
American 1970s Studio Glass made in New York State in 1979 by Art Reed, born 1953; height 9cm.
Australian Art Deco Sideboard Detail: Door Handle
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.
Georgian Chest of Drawers: Detail
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.
Carriage Clock: Side
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
Carriage Clock: Top
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
Beard Watson Fumed Oak Extension Dining Table Chair Detail
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 Fumed Oak Extension Dining Table Metal Disc
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 Fumed Oak Extension Dining Table Detail
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.
French Cabinet made from Ebonised Oak: Door detail: Top detail
French Cabinet circa 1860s / Napoleon III, of Ebonised Oak with ornate gilt details in the classical manner; height circa 180 cm.
French Cabinet made from Ebonised Oak: Door detail: Side detail
French Cabinet circa 1860s / Napoleon III, of Ebonised Oak with ornate gilt details in the classical manner; height circa 180 cm.
Girard-Perregaux-Watch-movement-sold
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.
Girard Perregaux Watch: marking back of case
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.
Napoleon III Prie Dieu Cushion
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.
Napoleon III Prie Dieu Crucifix
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.
Bedouin Silver Breast Ornament: detail 3
A stunning Bedouin silver breast ornament with 1848 French 5 franc silver coin; of quality make; age about mid / late C19th and good weight at 310g. This is the real thing and not a cheap tourist trinket.
Bedouin Silver Breast Ornament: detail 2
A stunning Bedouin silver breast ornament with 1848 French 5 franc silver coin; of quality make; age about mid / late C19th and good weight at 310g. This is the real thing and not a cheap tourist trinket.
Bedouin Silver Breast Ornament: detail 1
A stunning Bedouin silver breast ornament with 1848 French 5 franc silver coin; of quality make; age about mid / late C19th and good weight at 310g. This is the real thing and not a cheap tourist trinket.
Sterling Silver Argyll (Argyle): crest
Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. It is understood to have been conceived in the mid C18th by the 5th Duke of Argyll to maintain the warmth of the gravy in his Inverary Castle dining room during cold Scottish winters. The low opening position of the spout was designed to allow pure gravy to be poured from the bottom and the fat to remain at the top.
This Argyll is of slight, straight taper cylindrical form on spread, reeded foot which, reversed, is repeated below the pull off lid with gadrooned rim and spire finial. It pours from a long, straight taper spout set directly opposite the lovely patinated Pear wood (or possibly Box wood), “C” form handle with scroll thumbpiece. The body with Gryphon head crest repeated on the lid. The neat hot water filler via the top of the handle socket with a discreet lift up / fold down ribbed flap on a well-made hinge. A well-made hinge is always an indication of quality work.
This is a reasonable early piece of English Sterling Silver with scattered marks to the base of the inner liner and inside the lid.
Circa 11 cm or 4 ½ inches high; 315 g or 10.12 oz Troy.
Sterling Silver Argyll (Argyle): hallmarks to base
Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. It is understood to have been conceived in the mid C18th by the 5th Duke of Argyll to maintain the warmth of the gravy in his Inverary Castle dining room during cold Scottish winters. The low opening position of the spout was designed to allow pure gravy to be poured from the bottom and the fat to remain at the top.
This Argyll is of slight, straight taper cylindrical form on spread, reeded foot which, reversed, is repeated below the pull off lid with gadrooned rim and spire finial. It pours from a long, straight taper spout set directly opposite the lovely patinated Pear wood (or possibly Box wood), “C” form handle with scroll thumbpiece. The body with Gryphon head crest repeated on the lid. The neat hot water filler via the top of the handle socket with a discreet lift up / fold down ribbed flap on a well-made hinge. A well-made hinge is always an indication of quality work.
This is a reasonable early piece of English Sterling Silver with scattered marks to the base of the inner liner and inside the lid.
Circa 11 cm or 4 ½ inches high; 315 g or 10.12 oz Troy.
Sterling Silver Argyll (Argyle): open hinged cover
Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. It is understood to have been conceived in the mid C18th by the 5th Duke of Argyll to maintain the warmth of the gravy in his Inverary Castle dining room during cold Scottish winters. The low opening position of the spout was designed to allow pure gravy to be poured from the bottom and the fat to remain at the top.
This Argyll is of slight, straight taper cylindrical form on spread, reeded foot which, reversed, is repeated below the pull off lid with gadrooned rim and spire finial. It pours from a long, straight taper spout set directly opposite the lovely patinated Pear wood (or possibly Box wood), “C” form handle with scroll thumbpiece. The body with Gryphon head crest repeated on the lid. The neat hot water filler via the top of the handle socket with a discreet lift up / fold down ribbed flap on a well-made hinge. A well-made hinge is always an indication of quality work.
This is a reasonable early piece of English Sterling Silver with scattered marks to the base of the inner liner and inside the lid.
Circa 11 cm or 4 ½ inches high; 315 g or 10.12 oz Troy.
Sterling Silver Argyll (Argyle): closed hinged cover
Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. It is understood to have been conceived in the mid C18th by the 5th Duke of Argyll to maintain the warmth of the gravy in his Inverary Castle dining room during cold Scottish winters. The low opening position of the spout was designed to allow pure gravy to be poured from the bottom and the fat to remain at the top.
This Argyll is of slight, straight taper cylindrical form on spread, reeded foot which, reversed, is repeated below the pull off lid with gadrooned rim and spire finial. It pours from a long, straight taper spout set directly opposite the lovely patinated Pear wood (or possibly Box wood), “C” form handle with scroll thumbpiece. The body with Gryphon head crest repeated on the lid. The neat hot water filler via the top of the handle socket with a discreet lift up / fold down ribbed flap on a well-made hinge. A well-made hinge is always an indication of quality work.
This is a reasonable early piece of English Sterling Silver with scattered marks to the base of the inner liner and inside the lid.
Circa 11 cm or 4 ½ inches high; 315 g or 10.12 oz Troy.
Sterling Silver Argyll (Argyle): lid and finial detail
Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. It is understood to have been conceived in the mid C18th by the 5th Duke of Argyll to maintain the warmth of the gravy in his Inverary Castle dining room during cold Scottish winters. The low opening position of the spout was designed to allow pure gravy to be poured from the bottom and the fat to remain at the top.
This Argyll is of slight, straight taper cylindrical form on spread, reeded foot which, reversed, is repeated below the pull off lid with gadrooned rim and spire finial. It pours from a long, straight taper spout set directly opposite the lovely patinated Pear wood (or possibly Box wood), “C” form handle with scroll thumbpiece. The body with Gryphon head crest repeated on the lid. The neat hot water filler via the top of the handle socket with a discreet lift up / fold down ribbed flap on a well-made hinge. A well-made hinge is always an indication of quality work.
This is a reasonable early piece of English Sterling Silver with scattered marks to the base of the inner liner and inside the lid.
Circa 11 cm or 4 ½ inches high; 315 g or 10.12 oz Troy.
George III Knife Box: detail
George III, (reigned 1760 – 1820), serpentine fronted Knife Box with shell marquetry inlay to the slanted lid and Boxwood stringing to the edge of the figured Mahogany. Now a vintage conversion to a stationary box.
Standard Floor Lamp: legs
Early 1900s, brass framed in the aesthetic movement style; tripod base with paw feet; boudoir style shade.
Standard Floor Lamp
Early 1900s, brass framed in the aesthetic movement style; tripod base with paw feet; boudoir style shade.
Miniature Victorian Portrait of The Grecian Bride
Victorian Portrait miniature hand painted on porcelain in an ebonised frame with Oak leaf suspension of The Grecian Bride after a painting by Friedrich von Kaulbach, a German portraitist and historical painter.
George III Knife Box
George III, (reigned 1760 – 1820), serpentine fronted Knife Box with shell marquetry inlay to the slanted lid and Boxwood stringing to the edge of the figured Mahogany. Now a vintage conversion to a stationary box.
Sterling Silver Argyll (Argyle)
Sterling Silver Argyll (Argyle) hallmarked for London makers William & Aaron Lestourgeon who registered their mark in 1767/68; date letter rubbed but appears to be 1774.
An Argyll is a “hot gravy pot” and this example has an outer sleeve for hot water and an inner vessel for gravy. It is understood to have been conceived in the mid C18th by the 5th Duke of Argyll to maintain the warmth of the gravy in his Inverary Castle dining room during cold Scottish winters. The low opening position of the spout was designed to allow pure gravy to be poured from the bottom and the fat to remain at the top.
This Argyll is of slight, straight taper cylindrical form on spread, reeded foot which, reversed, is repeated below the pull off lid with gadrooned rim and spire finial. It pours from a long, straight taper spout set directly opposite the lovely patinated Pear wood (or possibly Box wood), “C” form handle with scroll thumbpiece. The body with Gryphon head crest repeated on the lid. The neat hot water filler via the top of the handle socket with a discreet lift up / fold down ribbed flap on a well-made hinge. A well-made hinge is always an indication of quality work.
This is a reasonable early piece of English Sterling Silver with scattered marks to the base of the inner liner and inside the lid.
Circa 11 cm or 4 ½ inches high; 315 g or 10.12 oz Troy.
Bedouin Silver Breast Ornament
A stunning Bedouin silver breast ornament with 1848 French 5 franc silver coin; of quality make; age about mid / late C19th and good weight at 310g. This is the real thing and not a cheap tourist trinket.
Napoleon III Prie Dieu
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.
Art Deco Kitchen Dresser: leadlight detail
Rosewood Armchairs: front leg detail
White Carrara Marble Sculpture: back
Girard Perregaux Watch
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.
1970s OMEGA, Swiss 9ct Gold Watch
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.
Omega Bumper Watch
Omega Bumper, Seamaster, 1950s
Oak and Poplars Max Meldrum
Max Meldrum born Scotland 1875, arrived Australia 1889, died Australia 1955.
Oil on canvas, circa 1910, signed lower left, image 32 x 31cm. This work is from his expatriate period in France during 1900 until 1912 and depicts Picherit’s Farm, Pacé, France. A larger painting from a different perspective of this location is held in the National Gallery of Australia titled “La Flume” or “The Mill Race”.
Royal Doulton Flambé Lion: front
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.
Les Amandiers by Marc Chagall
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.
Chinese Soapstone Prunus Tree Carving 1
Early C20th, Chinese Soapstone carving of a rocky outcrop and a Prunus Tree; raised on a craggy rock, open carved base.
Inspirations from Nature: Amber Spider
Gold spider brooch with amber head and body made in Russia in C20th.
A Pair of Marutomo Ware Koala Jugs
A pair of Marutomo Ware Koala jugs made near Noritake Japan after 1952 when the post WWII occupation ended.
"The White Clock” side
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.
Copper Planter Vase
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.
Chinese Double Gourd 2
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.
Retro Drinks Set
Arthur Wood Cube Teapot 1
Scarce blue; minor nibbles.
Darbyshire Pottery Figure
Circa 1950, Darbyshire Pottery, Western Australia, figure of an Aboriginal man, 16 cm.
Carlton Ware by Violet Elmer
Carlton Ware tobacco humidor in the 1930 “Floral Comets” design by Violet Elmer.
Circa 1950s, Australian Art Deco Display Cabinet
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.
Royal Worcester Sea Shell with Coral
A circa 1884, Royal Worcester sea shell raised over a part gilt coral branch on a rocky outcrop.
George Day Stoneware 3
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.
Zaan Wall Clock
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
Mid C20th Table Lamp with West German “Lava glaze ” ceramic and teak base and authentic for the period “BURNT ORANGE” shade. Rewired, tested & tagged.
Storage Solutions: Mahogany Veneer Sideboard
Book matched Mahogany veneer sideboard made in America early in the early 1900s.
Wall Clock 3
Mid 20th century kitchen wall clocks being successfully rebirthed using 21st century Quartz movements.
Kauri Pine Elevated Bookcase
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.
Green Glass Top Drinks Trolley
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.
Sea of Rude by Gavin Ryan
Surrealist Psychoscapes by James Gleeson: 1
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.
Royal Doulton Coffee Set: pot and jug
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.
White Carrara Marble Sculpture: front
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.
Religious Scene
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.
Lea Stein Fox Head Ear Clips
Paris, 1990s, 40mm from ear tip to nose.
Glass Bead Necklace
Circa 1960s, varying shapes of multi-coloured green glass beads.
Clarice Cliff Bizarre Cauldron
Café au Lait, Lisbon pattern.
15ct “Old” Red Gold Bracelet
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.
15ct “Old” Red Gold Bracelet: unclasped
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.
15ct “Old” Red Gold Bracelet: Detail
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.
Bohemian Gold Filigree Cross with Garnets
C19th, Bohemian, 14ct, old yellow gold filigree cross set with faceted Bohemian Garnets (one cracked) on similar 14ct Gold articulated, filigree “S” shaped links.
Flying Saucer Shaped EPNS Tea Set 1
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.
Green Glass with Silver Overlay Specimen Vase
Green Glass, with ground pontil mark, and Silver overlay Specimen Vase in the Art Nouveau manner; 165 mm tall.
Untitled by Paul Talarico
1999, pastel on paper 90cm x 70cm.
Rosewood Armchairs
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.
Windsor Chair
C19th English, wheel back Windsor Chair with saddle seat, on turned legs. The Elm wood showing lovely grain and patina.
Art Deco Tea Pot: whole
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.
Strand of Included Baltic Amber Shapes
31 graduated and polished including Baltic amber shapes. Largest piece of Baltic amber is 32mm long.
Bronze Mother and Child Sculpture 1
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.
Winter’s Mantle Mt Selwyn by Ramon Ward Thompson
“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.
Edwardian Necklace: Aquamarine 2
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.
Wedgwood Keith Murray Vase
England, script signature backstamp indicating 1930s.
Haughton Forrest (1826-1925): Loch Long
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.
EPNS Cruet Set
On navette shaped stand; yellow over white glass inserts for Salt, Pepper and Mustard.
Russian Icon
Russian, circa 1850-1880, Travelling Feodorovskaya Icon of the Mother of God which is the patron icon of the Romanov family and one of the most venerated icons in the Upper Volga region. Her feast days are March 27 and August 29.
The hand painted egg tempera on gessoed wood image under a gilded revetment cover in a glass fronted, wood KIOT (shadow box) with a gesso gilt mask to the OKLAD (front); timber base with purple cloth cover to reverse.
Arts & Crafts Display Cabinet: tapering sides
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.
Greek God Pan Clock
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.
French Marble & Ormolu Cassoulet
One of two shown. Height 60cm. Weight 53kg each.
Qing Dynasty Table Screen
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
Mid C20th Teak Framed Rocket Lamp
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.
Lovers and Fighters by Robin Wallace Crabbe
1982, Charcoal on paper, 57cm x 67cm.
Clarice Cliff “Leaf Tree” Ashtray
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.
Dunhill Giant Table Lighter: front
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.
Edison ‘Gem’ Phonograph
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.
William Moorcroft Vase
Vase in “Big Poppy”, designed by William Moorcroft, the base with green initials & impressed “Moorcroft”, “Burslem” “M2” for 1914-16.Moorcroft 10cm/4inch.
Black Lady Lamp
HAC Wall Clock
Early 1900s, [Hamburg American Clock Company] Germany, 8 day, single train “time only” movement, open dial, stained Beech case, broad circular bezel.
I felt like a man again
Hugh Grant: News Ltd, Paper on board 44cm x 62cm.
Water Colour by Pan Xiao Ling
Chinese. Born 1956. 78 x 53cm.
Pony Girl by Erik Lobekke
1995 26cm x 30cm.
Jugendstiel Brass Table Lamp
A very early 1900s, Jugendstiel (Art Nouveau) Brass Table Lamp of elegantly restrained, sinuous form.
Vogue "Vanities" Compact Case
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.
C20th Figural Table Lamp
C20th Figural Table Lamp on three scrolled feet with mythological beast faces interspersed by cherub masks. The bell shaped base encrusted with flowering Acanthus scroll and three vacant shields forms supporting to the centre a bare breasted maiden flirting with Cupid. To the rear a single scroll supporting the gallery base of the spherical, cream glass shade. Rewired and tested & tagged.
Junghans “Starburst” Clock
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.
Jewelcraft Necklace and Ear Clips
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.
Art Deco Vase 3 by Beswick Ceramics
Art Deco vases by Beswick Ceramics, England. Genuine vases of the period showing some of the amazing variety of designs created during this period and made into ceramics by this company.
Retro Cruet
Set in chrome frame, glass marked Czechoslovakia.
Chinese Coromandel Screen
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.
Studio Glass by Art Reed 2
American 1970s Studio Glass made in New York State in 1979 by Art Reed, born 1953; height 9cm.
Australian Deco Sideboard Detail: Top
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.
Bust by Edward Dregg
1988 Mixed media 70cm x 85cm.
Bronze Jug by Martin Gonzalez Perez
Martin Gonzalez Perez [signed], late C20th Mexican sculptor, “Woman carrying Jug”, cold painted bronze.
Kevin Charles ‘Pro’ Hart
Kevin Charles “Pro” Hart, MBE; born May 30 1928, Broken Hill; died March 28 2006, Broken Hill; is considered the father of the Australian Outback painting movement.
His works are widely admired for capturing the true spirit of the outback.
Untitled; oil on board, signed lower right; circa 24 x 17 cm; in period frame.
Georgian Chest of Drawers
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.
Carriage Clock: Back
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
Carriage Clock: Face
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
Art Deco Kitchen Dresser
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.
Paisley Lovers by Ilia Chidzey
Airbrush on illustration board. 80cm x 70cm.
Jumping Hare Bronze Bookends
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.
Murano Wall Mirror
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.
Windswept Trees on a Rocky Shore by Herman Umgelter
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.
Beard Watson Fumed Oak Extension Dining Table
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.
Brass Devil
‘Merlin’ (Paris)2008.
French Cabinet made from Ebonised Oak
French Cabinet circa 1860s / Napoleon III, of Ebonised Oak with ornate gilt details in the classical manner; height circa 180 cm.
“Outward Bound Sydney Harbour” Oil on Board
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.
1800s English Meat Platter
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.
Lea Stein Fox Head Brooch
Paris, circa 1968-1980, 7cm.
Retro Drinks Set
6 Piece Old Country Roses Setting Detail
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.
Abraham Lincoln Book Ends
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.
Mahogany Extension Dining Table
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.
Chinese, Qing Dynasty, Hualimu [Rosewood] Southern Official’s Hat Armchair “Guanmaoyi”
[One only] A crest shaped like a pillow adds beauty and functionality, arched back splat in three sections, the top carved with swirling cloud, the middle with a simple concave border to a sunken centre [to show the wood], the lower terminating in a shaped, raised beaded border apron, sweeping curves to the arm rests, the seat inset with a woven cane mat, lightly out swept round section legs with stepped stretchers, the front as a foot rest, arched and shaped apron; “as found”.
Wittmayer Harpsichord
Bernard Hesling Plate
Bernard Hesling 1905-1987, Australia; Plate of vitreous enamel on metal, signed; 28cm ø
Flying Mallard Duck Wall Plaque mounted
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.
Doulton Luscian Ware Vase 1
England, cameos of pink & purple flowers with heavily gilded decoration; RA 2113 indicates a date of 1896.
Volksempfänger Radio
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
Marseille by Bessie Gibson
Australian 1868-1961. Oil on canvas laid on board. 23 x 18cm
Taper Holders
Modernist, Danish, Silver Taper holders by Hans Jensen, marked with Denmark and a whale with tail raised; the pair 125g.
Contemporary Glass Sculpture
1960s, blue / green, freeform, Art Glass Sculpture, possibly Italian.
Mr Nob Head
Victorian cast iron doorstop 24cm x 8cm dia, 15kg.
Shelley Covered Cheese Plate
Shelley Covered Cheese Plate
Aneroid Barometer
Early 1900s, English, Oak cased.
Australian Infantry Forces Colour Patch Chart
Printed soon after WWI and still in the original hardboard cover and cardboard packaging as originally issued – not framed
WWI Rising Sun Hat Badge
With slider made in England by Tiptaft, Birmingham
Trench Art "Officers cap"
Made from the base of an 18 pound cannon shell. Dated 1917
Special Forces Issue Grappling Hook
Late C20th.
Burr Walnut over Oak Drop Front Secretaire
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.
Retro-Ceramic-Bitossi-Sold
Lea-Stein-Cicada-Brooch-Sold
Fisk Radiolette
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.
Smiths Deluxe Watch
9 ct gold case, 1940/50
Clothes Peg by Julian Murphy
Light Horse Rifle Bucket