Iona, Circa 1888 Sydney
Iona, Circa 1888 is located at 2 Darley Street, Darlinghurst and is one of Sydney’s finest historic homes. It sits majestically atop a naturally elevated position where windmills once stood, on the largest private land holding left in Darlinghurst today.
The house began life humbly in 1866 as “Iona Cottage” and was gradually extended and remodelled over time into a “five bedroom gentleman’s residence” by 1884.
In 1888 the wealthy pastoralist and merchant Edward Chisholm purchased the property and constructed a new “Iona” in the highly aesthetic Late Victorian Italianate architectural style that was in vogue at the time—thereby creating the magnificent house that is still standing today.
The house had a name change to “Wootton” in 1908 when purchased by Mrs Adela Taylor, wife of Sir Allen Taylor (once Lord Mayor of Sydney) and for whom Taylor Square was named.
Wootton was again sold in 1912 when it ceased existing as a residence and became a private psychiatric hospital—extensively renovated in 1935 to accommodate twenty-seven patient bedrooms and the construction of a seven bedroom nurses residence in the grounds. Further additions were completed in 1969 including an operating theatre block and unsympathetic modifications such as the enclosure of the expansive verandahs.
The 1970’s saw many of Darlinghurst’s elegant mansions demolished at a rate of knots by developers eager to replace grand single dwelling houses with flats and terraces—however as “Iona/ Wootton” was being used as a hospital, this had in fact saved it to date from demolition—until 1973 when the house/hospital was purchased by developers seeking approval for three sixty-storey tower blocks to be built on the site which would have been a catastrophic outcome for the house if granted. Fortuitously and simultaneously the National Trust of Australia was campaigning fiercely against the demolition of notable historic buildings in the vicinity and Iona was finally classified by the National Trust in 1976 as part of the Darley Street group, with other surrounding important historic buildings in the area thereby finally saving it from destruction, however in 1977 a lesser development consent was granted—with Iona to be retained and split into thirteen strata units.
Luckily for Iona, this “lesser” planned conversion into thirteen units did not eventuate, as the South Sydney council opposed this development and would only approve the building/ property to be developed if restored as a single dwelling.
Funds from the Sydney Heritage Council were subsequently made available to the then current owners John and Geo Rutherford to commence immediate restoration—and at this time the house was completely re-wired, re-guttered and re-plumbed, as well as having the unsympathetically enclosed verandahs removed and the nurses residence in the grounds demolished.
After this extensive renovation and restoration, the property was sold in 1994 to the Gowrie-Smith family after an arduous three-year marketing/ sales campaign, which almost saw Iona lose it’s identity as a grand residence once again and to be developed into a boutique hotel.
Iona’s next chapter then firmly cemented the houses’ identity as once of Sydney’s most significant private residences not only in Australia, but across the globe—as in 1997 it became the principal dwelling and headquarters of Bazmark—the Film Production Company created and operated by Australian Film Director Baz Luhrmann and Oscarwinning Designer Catherine Martin.
In 2006 the dynamic and creative duo embarked upon Iona’s most epic restoration and decoration adventure adorning the walls with Martins’ eclectic and uniquely Australian wallpaper designs, restoring the magnificent tessellated tile entrance and highly decorative and
architecturally significant plaster-work as well as landscaping the extensive and lush gardens.
The current custodians of Iona purchased it in 2016 from Luhrmann and Martin when they re-located their lives and Company to New York, and they have indeed left their own stylish stamp on this remarkable property—updating its colour palate and interiors to suit their own style and taste and filling it with Australian and International art and wonderful European antiques and decorative treasures sourced from travels around the globe.
We are extremely proud to have been entrusted with the content’s sale of this magnificent home and we look forward to presenting this auction in March, 2026.
Amanda Swanson Director
SYDNEY LONG AUSTRALIAN, 1871-1955
Evening, 1912
oil on canvas
102 x 86 cm. (40.15 x 33.85 in.),
Frame: 130 x 14 x 110 cm. (51.17 x 5.50 x 43.31 in.)
PROVENANCE
Private collection, Melbourne; purchased from Gallery 554, Melbourne, September 1988.
Sotheby's, 24 August 2004 (Hammer AUD$43,500)
FOOTNOTE
Possibly the work 'Evening' that Sydney Long exhibited at the Royal Art Society, Sydney, in 1912 (cat. 31). That painting was purchased by the Art Gallery of New South Wales but returned to the artist in 1926 as part payment for two later works.
REFERENCE
Mendelssohn, J. The Life and Work of Sydney Long, Copperfield Publishing, Sydney, 1979, p. 240
$50,000–70,000
RUPERT CHARLES WULSTEN BUNNY AUSTRALIAN, 1864-1947
Luxembourg Gardens, circa 1909 oil on canvas
44 x 37 cm. (17.32 x 14.57 in.),
Frame: 57.5 x 6 x 64 cm. (22.64 x 2.35 x 25.19 in.)
PROVENANCE
Whitford and Hughes, London. Private collection, Sydney Christie's, Melbourne, Australian and European Paintings, 27 April 1998. (AUD$50,000) Bonhams and Goodman, Sydney, Australian International and Aboriginal Art, 29/03/2006, lot 1270
The Jardins de Luxembourg were pleasure gardens where young artists congregated, aware that they would find plenty of attractive welldressed women and children to act as unpaid models for more informal paintings. On occasions Bunny painted in the Luxembourg Gardens with Carrick Fox, wife of his old friend, Emanuel Phillips Fox or with the young American artist Maurice Prendergast, a Post Impressionist, who spent each summer in Europe. Bunny seemed to enjoy escaping from the busy streets of the Latin Quarter to the tranquil beauty of these public gardens, established centuries earlier on the orders of wealthy Catherine de Medici who missed the open spaces of Florence's Boboli Gardens. Bunny's paintings reveal broad avenues fringed by marble statues and an ornamental pond, around which children played. He enjoyed painting elegantly dressed ladies in flounced skirts and children too absorbed in their games with hoops and toys to care that they were being painted. The oils that Rupert Bunny made in the Jardins de Luxembourg are fresh and happy ones, their brushstrokes broad and impressionistic unlike his more formal studio or verandah paintings. Here Bunny uses broad brushstrokes to capture the essence of long hot summers in Paris. His skilful handling of light imparts a sense of freshness and vivacity to his canvas. (c) Susanna de Vries
$80,000–120,000
THOMAS (TOM) WILLIAM ROBERTS
AUSTRALIAN, 1856-1931
Pool of London
oil on board
signed with initials lower right 16 x 24 cm. (6.29 x 9.44 in.), Frame: 54 x 63 cm. (21.26 x 24.80 in.)
PROVENANCE
Joshua McClelland Print Room, Melbourne c.1960. Private collection, Melbourne. Private collection, Sydney Sotheby's, Fine Australian Art, Sydney, 28/06/2005, lot no. 344 (AUD$37,750 inc BP)
$40,000–60,000
LLOYD FREDERIC REES
AUSTRALIAN, 1895-1988
The Anchorage, circa 1925 oil on canvas on board signed lower left and titled to verso 19.5 x 32cm
PROVENANCE
Inscribed to verso: From Lady Langker 22.3 82 and Robert Langker 26 Duxford Street Paddington 2021 Christie's, Paintings From The Dr Joseph Brown Collection, Melbourne, 17/05/2005, lot no. 140 (AUD42,000 hammer $50,190 inc BP)
$60,000–90,000
JANET AGNES CUMBRAE STEWART
AUSTRALIAN, 1883-1960
Nude with shawl
pastel on paper
signed and dated '27 lower left 53.8 x 45 cm. (21.17 x 17.71 in.),
Frame: 67 x 4.5 x 58 cm. (26.37 x 1.77 x 22.82 in.)
PROVENANCE
Fine Australian Paintings, Books and Ceramics, Sotheby's, Melbourne, 26 July 1987, lot 527. Private collection, Sydney; purchased from the above. Sotheby's, Important Australian Art, Melbourne, 27/08/2007, lot no. 62 (AUD$45,000 hammer)
$50,000–80,000
The pastels of Janet Cumbrae-Stewart hold a special place in Australian art, Nude with Shawl being a particularly attractive example. Although it was her favoured medium, and she is best known for her captivating studies of the female nude, her oeuvre included landscapes, portraits and flower studies. The figure is always the focus in these portraits of femininity, distracting touches or narrative cast aside. The shawl, for example, which hangs down loosely, is introduced to provide a contrast of texture and colour against the subtle softness of the skin. Again, to the left, the darkness of the model's braided hair brings out the luminosity of flesh tones to perfection. The pose of the figure viewed from the back, often with slightly bowed head, is a feature of many of CumbraeStewart's best nude studies. Significant examples are The Model Disrobing, 1917 (Art Gallery of New South Wales) and the stately Retiring 1919 (private collection).1 The latter pastel, like many others, shows the artist's particular interest in the form and fold of the figure's shoulders, covered and revealed. Regarded as one of Melbourne's most significant artists, Cumbrae- Stewart belonged to a remarkable generation of women who studied at the National Gallery School in Melbourne during the early twentieth century. Her contemporaries included Dora Wilson, Jessie Traill, Hilda Rix Nicholas and Vida Lahey. In 1922 Cumbrae-Stewart went to Europe, where she exhibited at London's Royal Academy and the Salon de la Société des Artistes Français in Paris, receiving an honourable mention from the Old Salon of 1923. She remained in Europe for the next seventeen years, travelled throughout the continent and on to Canada, before returning to Australia in 1939. Nude with Shawl dates from her time in Europe, most probably when she was in Paris. 1. Both are reproduced in colour in the catalogue, Janet Cumbrae-Stewart: The Perfect Touch, Mornington Peninsula Regional Gallery, 2002
CHARLES CONDER
AUSTRALIAN, 1868-1909
Figure Composition, circa 1905 oil on canvas
signed lower right
61.5 x 82.7 cm. (24.21 x 32.56 in.),
Frame: 88 x 10.5 x 106 cm. (34.64 x 4.12 x 41.72 in.)
PROVENANCE
Beaux Arts Gallery, London Christie's, 17 May 2005, The Joseph Brown Collection, lot 62 (AUD$35,000)
REFERENCE
The Joseph Brown Collection, Melbourne, 1980, cat. no. 51 (unpaginated)
B. Pearce, Australian Paintings from the Joseph Brown Collection, Sydney, 1989, cat. no. 22 (unpaginated)
D Thomas, Outlines of Australian Art - The Joseph Brown Collection, Melbourne, 1989, 3rd edition, ref. 88, p.61, illus. pl.88 (unpaginated)
EXHIBITED
Melbourne, National Gallery of Victoria, The Joseph Brown Collection, 31 October–7 December 1980, cat. no. 51
Sydney, Art Gallery of New South Wales, Australian Paintings from the Joseph Brown Collection, 4 May - 18 June 1989, cat. no. 22
Charles Conder arrived in Sydney from London on the S.S. Windsor Castle in June 1884. His move was encouraged by his father who, in a vain attempt to discourage his son from pursuing an artistic career, had arranged for him to be apprenticed to his brother, Conder's uncle, who worked as a Surveyor in the Lands Department for the New South Wales Government.
For almost three years, Conder attempted to fulfil his father's ambitions, working first under his uncle and subsequently at surveying camps around the country. Despite his father's protests, the young Conder was irresistibly drawn to artistic pursuits, which in 1887 resulted in promotion to the rank of illustrator in an architect's firm. Towards the end of 1887, drawings regularly appeared in the Illustrated Sydney News signed 'C.E.C.': a legacy of his position as a freelance graphic artist.
During 1887-1888 Conder studied painting under A.J. Daplyn at Sydney's Royal Society, and after moving to Melbourne in October 1888 continued his studies at the National Gallery Art School, tutored by Frederick McCubbin. During his eighteen-month sojourn in Melbourne, Conder shared a studio with Tom Roberts, and through this came also to associate with Arthur Streeton and Frederick McCubbin, with whom he travelled to Box Hill and Mentone.
From these early days, characteristics of his art to be found at the end of his career can be found. In A Holiday at Mentone (1888, AGSA) Conder's tendency towards focussing on choreographic rather than structural elements in his paintings can be perceived: "characters frozen at the parting of a curtain, waiting for the music to fade, presaging an improbable interaction The composition is divided into clear rectangular components, conveying the ambience of flatness, not entirely modernist like a painted backdrop for a vaudeville theatre." (A. Galbally & B. Pearce, Charles Conder, Sydney, 2003, p.23).
Conder's Figure Composition, painted almost 20 years later, recalls these early proclivities towards the vaudevillian. The female protagonists of the scene, draped seductively in rose pink, blue and gold, are positioned as though in tableau, waited on by a shadowy figure emerging stage left, and by an umbrella-carrying servant, perhaps recalling a visit the artist made to Algiers in 1891, while recuperating from a debilitating outbreak of syphilis.
In this work, a shift can be perceived in the artist's style, from the principally important influence of his Heidelberg School colleagues, particularly Girolamo Nerli and the impressionist style of painting. Instead, perhaps absorbing the milieu in which he found himself during the final years of the eighteenth century, here the artist's style is more reminiscent of the work of French Rococo artist Jean-Antoine Watteau, whose Fêtes galantes had experienced a resurgence in popularity during the mid- to-late 1800s.
In this work the artist's style also bears the hallmarks of what became his later preference for painting on silk. This provided Conder with a suitably opulent medium upon which to paint his scenes of "amorous liaisons, and the dream of an elegant pastoral life, of an artificial existence, far from the commonplaces of the everyday and removed to a timeless past."
(U. Hoff, Charles Conder, Melbourne, 1972, p.64)
$40,000–60,000
JOHN GLOVER
BRITISH/AUSTRALIAN, 1767-1849
West Water, The Lake District
oil on canvas
51 x 65 cm. (20.07 x 25.58 in.),
Frame: 74 x 12 x 90 cm. (29.12 x 4.71 x 35.42 in.)
PROVENANCE
Anonymous sale, Sotheby's, Melbourne, 5 May 2003, lot 309.
Private Collection
Christie's, Australian, International & Contemporary Art, Melbourne, 22/08/2005, lot no. 26
Current owner
$20,000–30,000
WILLIAM DUNN KNOX
AUSTRALIAN, 1880-1945
Evening landscape
oil on canvas
signed lower left
81 x 81 cm. (31.89 x 31.89 in.),
Frame: 100 x 8 x 100 cm. (39.36 x 3.14 x 39.36 in.)
PROVENANCE
Sotheby's, April 1987 (or 23.4.88).
Tom Silver Fine Art, Melbourne, circa 1987/1998
Sotheby's, Fine Australian Art, Sydney, 24/08/2004, lot no. 85 (AUD$33,710)
$40,000–60,000
WILLIAM CHARLES PIGUENIT
AUSTRALIAN, 1836-1914
Darling Harbour from Echo Bay oil on board
signed and dated 1885 and with title to label on verso 30.5 x 52 cm. (12.00 x 20.46 in.),
Frame: 49 x 6 x 71 cm. (19.28 x 2.35 x 27.94 in.)
PROVENANCE
Sotheby's, Fine Australian & International Paintings and Decorative Arts, Melbourne, 26/11/2001, lot no. 55 ($20,000 h )
$20,000–30,000
ADRIEN MOREAU
FRENCH, 1843-1906
Les Noces D'Argent, 1879
oil on canvas
signed and dated. lower left 94 x 132 cm. (35.82 x 50.39 in.),
Frame: 111 x 5.5 x 146 cm. (43.70 x 2.16 x 57.47 in.)
PROVENANCE
M.Bulla (Famous palaeontologist by 1879)
Christie's, London, 12 July 1968 Lot 46 Christie's, London, 21 November 1996 Lot 185 MacConnal-Mason, London label to verso
Private Collection
Sotheby's, New York, January 2015
John Schaeffer, Sydney
Important Art from The John Schaeffer Collection, Sotheby's, Australia, Sydney, 29 April 2018 Lot 38
EXHIBITED
The Salon, Paris 1879 No.2178
LITERATURE
Dictionnaire General des Artistes de L"Ecole de Francoise, Emile Bellier de la Chavgnerie and Louis Auvry, Vol.II, Paris, 1885, p.120.
$30,000–50,000
11
JAMES PEELE
AUSTRALIAN/NEW ZEALAND, 1847-1905
Otira Gorge, West Coast oil on canvas
signed and dated 1898 Lower right 60 x 90 cm. (23.62 x 35.42 in.),
Frame: 80 x 7.5 x 110 cm. (31 1/2 x 2.95 x 43.31 in.)
PROVENANCE
International Art Centre, Auckland, Important Fine Art Auction, Auckland, 27/03/2003, lot no. 122 ( NZ$4,000)
$2,500–4,000
CAPTAIN JAMES HAUGHTON FORREST
AUSTRALIAN, 1826-1925
Ships off a steep coast, 1877 oil on canvas
signed and dated lower left and titled to verso 45 x 75 cm. (17.71 x 29.53 in.),
Frame: 65 x 5 x 95 cm. (25.58 x 1.97 x 37.39 in.)
PROVENANCE
Christie's, Melbourne, 17/05/2005 lot 31, Paintings from the Joseph Brown Collection
EXHIBITED
Art Gallery of NSW Sydney, Australian Art in the 1870s, 25 June-August 1976, Cat. No. 102
$8,000–12,000
CAPTAIN JAMES HAUGHTON FORREST AUSTRALIAN, 1826-1925
Shipwreck in a storm with a castle in the background (possibly Bamburgh Castle, Northumberland Coast) oil on canvas
signed lower left
67 x 121 cm. (26.37 x 47.64 in.),
Frame: 92 x 7 x 145 cm. (36.21 x 2.75 x 57.09 in.)
PROVENANCE
Shapiro, Sydney, 10/11 December 2001 lot 125
$15,000–25,000
WILLIAM JOHN HUGGINS
BRITISH/AUSTRALIAN, 1781-1845
The Brig 'Ullswater' off Sydney Harbour oil on canvas bears artist's name and title on frame plaque 51.5 x 74.5 cm. (20.28 x 29.32 in.), Frame: 66 x 5.5 x 88 cm. (25.98 x 2.16 x 34.64 in.)
PROVENANCE
Bonhams, Maritime Paintings and Works of Art, 11 August 1994 (7100 pounds sterling)
The Estate of the late Caroline Simpson from the Clyde Bank Collection
Sotheby's, Fine Australian Art, Sydney, 28/06/2005, lot no. 351 (AUD$18,000 hammer)
Sotheby's, Paintings, Watercolours and Drawings, London, 24/10/ 1990 Lot 98
The 'Ullswater' was on the London to Sydney run from 1840-1845. The present composition is typical of Huggins' work, depicting a ship broadside on, sailing in a fresh breeze, with a coastline in the distance. An engraving after Huggins of the East India ship 'Mellish' entering Sydney harbour in the collection of the National Maritime Museum by Edward Duncan, the artist's son in law, shows the same view with natives, a botanical specimen and a gum tree
$20,000–30,000
CONRAD MARTENS
ENGLISH/AUSTRALIAN, 1801-1878
Wiseman's from the MacDonald River
watercolour heightened with body-colour indistinct signature lower right with the letters MA clear 44 x 64cm
PROVENANCE
Commissioned by Henry Dangar
Thence by descent till sold: Christie's, Melbourne, Australian and International Paintings, 22 August 2005 lot 13
Present vendor
The Macdonald River at Wiseman's Ferry has been a subject which fascinated Martens for more than 30 years. The earlier impressions of this area include The Valley of the MacDonald from the road beyond Wiseman’s Pass now in the National Gallery of Victoria collection, and the impressive oil: The Macdonald River, Wiseman's Road painted in 1840, later presented to the Dixson Library Sydney, by Sir William Dixson.
This large watercolour was commissioned by Henry Dangar, the then Assistant Surveyor of Lands. Dangar, after whom Dangar Island in the Hawkesbury River is named, was credited for the layout of streets in the city of Newcastle NSW.
This watercolour had remained in the same family since it was executed on 9 November 1869 until offered at Christie's in 2005 where is was acquired by our present vendors
$25,000–35,000
BRITISH, WORKING 1840-1870
Battle of Camperdown 11 October 1797
oil on canvas
signed and dated 1845
59 x 90 cm. (23.23 x 35.42 in.), Frame: 80 x 108 cm. (31 1/2 x 42.52 in.)
PROVENANCE
Shapiro, Sydney, 10/11 December 2001, lot 132
$4,000–6,000
RICHARD B. SPENCER
FLEMISH, ANTWERP 1684-1749
Christ and the Centurion in a ruined temple oil on canvas
110 x 89.5 cm. (43.31 x 35.24 in.),
Frame: 121 x 6 x 102 cm. (47.64 x 2.35 x 40.15 in.)
PROVENANCE
Old Master Pictures Sale 5014, Christie's, London, 5 July 2006, lot 70
$10,000–15,000
PETER CASTEELS III
18
CHARLES EDWARD CONDER
AUSTRALIAN, 1868-1909
The Meeting
watercolour on silk
Oval 25 x 35 cm. (9.83 x 13.77 in.),
Frame: 49 x 3 x 64 cm. (19.28 x 1.17 x 25.19 in.)
PROVENANCE
Spring Exhibition 1974 - Recent Acquisitions, Melbourne, 1974, cat. no. 29
The Joseph Brown Collection, Melbourne, 1980, cat. no. 50
D Thomas, Outlines of Australian Art –The Joseph Brown Collection Melbourne, 1989, 3rd edition, ref. 87, p. 61, illus. pl.87
Christie's, Melbourne, Paintings from The Joseph Brown Collection, 17 May 2005 lot 92
EXHIBITED
London, National Gallery, Twentieth Century British Paintings, 1940, cat. no. 188
Melbourne, Joseph Brown Gallery, Spring exhibition 1974 - Recent Acquisitions, 7 October - 23 October 1974, cat. no. 29
Melbourne, National Gallery of Victoria, The Joseph Brown Collection, 31 October7 December 1980, cat. no. 50
$3,000–5,000
19
SIR JOHN WILLIAM (WILL) ASHTON
AUSTRALIAN, 1881-1963
Sydney Harbour
oil on board
signed lower left
31.5 x 42 cm. (12.40 x 16.53 in.),
Frame: 50 x 5 x 60 cm. (19.67 x 1.97 x 23.62 in.)
PROVENANCE
Sotheby's, Melbourne, Australian and International Art, 27/06/2005 lot 487
$2,000–3,000
20
FREDERICK B SCHELL
AUSTRALIA/USA, 1838-1905
Circular Quay Campbells Wharf, Sydney Harbour 1886
watercolour and body colour
signed lower left
26.5 x 43 cm. (10.42 x 16.92 in.),
Frame: 64 x 3 x 75.5 cm. (25.19 x 1.17 x 29.71 in.)
PROVENANCE
Trevor Bussell label to verso
Sotheby's, Sydney, The Collection of Rene Rivkin, 03/06/2001 lot 51 ($3800)
Leonard Joel, Australian & European Paintings, Melbourne, 14/04/2008, lot no. 57 (AUD$1,250)
ILLUSTRATED
Picturesque Atlas of Australia Vol.I Page 74
$800–1,200
21
CONRAD MARTENS
ENGLISH/AUSTRALIAN, 1801-1878
Coastal scene near Exmouth, 1829
watercolour
45.5cm high x 68.2 cm wide. (17.91 x 26.85 in.),
Frame: 65 x 87 cm. (25.58 x 34 1/4 in.)
PROVENANCE
D Thomas, Outlines of Australian Art –
The Joseph Brown Collection, Melbourne, 1989, 3rd edition, ref. 16, p. 58, illus. pl. 16
London, Oscar and Peter Johnson Limited, Technique of Watercolour and Art in England, November 1972, cat. no. 39
Christie's, Melbourne, Paintings from The Joseph Brown Collection, 17 May 2005 lot 85
$7,000–10,000
22
LLOYD REES
AUSTRALIAN, 1895-1988
Afternoon shadows
pencil on paper
signed lower left and dated 1932
13.2 x 19.7 cm. (5.20 x 7.75 in.),
Frame: 34.5 x 2.4 x 36 cm. (13.58 x 0.94 x 14.16 in.)
PROVENANCE
Sotheby's, Melbourne, 27/06/2005, lot 506
$3,000–5,000
23
JOSEPH MCGLENNON
AUSTRALIAN, 1957-
Eclectus Australis – Brown Goshawk, 2018 (no. 9?)
Giclée digital print on Archival Hahnemuhle
Fine Art Paper signed, dated 2018 edition 2/8
107 x 69.5 cm. (42.13 x 27.35 in.),
Frame: 124 x 5 x 84 cm. (48.82 x 1.97 x 33.07 in.)
$5,000–7,000
24
JOSEPH MCGLENNON
AUSTRALIAN, 1957-
Eclectus Australis – Black Cockatoo, 2018 (no. 7)
Giclée digital print on Archival Hahnemuhle
Fine Art Paper signed and dated 2018 lower right edition 2/8
107 x 69 cm. (42.13 x 27.17 in.),
Frame: 124 x 5 x 84 cm. (48.82 x 1.97 x 33.07 in.)
$5,000–7,000
25
JOSEPH MCGLENNON
AUSTRALIAN, 1957-
Eclectus Australis – Australian Barn Owl, 2018
Giclée digital print on Archival Hahnemuhle
Fine Art Paper
signed, dated 2018
edition 2/8
107cm x 69cm (42.13 x 27.17 in.)
Frame: 124 x 5 x 84 cm. (48.82 x 1.97 x 33.07 in.)
$5,000–7,000
26
JOSEPH MCGLENNON
AUSTRALIAN, 1957-
Eclectus Australis – African Grey Parrot, 2018. (no. 3)
Giclée digital print on Archival Hahnemuhle
Fine Art Paper signed and dated 2013 lower right edition ?/8
107.5 x 69 cm. (42.32 x 27.17 in.),
Frame: 124 x 5 x 84 cm. (48.82 x 1.97 x 33.07 in.)
$5,000–7,000
27
JOSEPH MCGLENNON
AUSTRALIAN, 1957-
Eclectus Australis – Salmon Crested Cockatoos, 2018
Giclée digital print on Archival Hahnemuhle
Fine Art Paper
signed and dated 2018 lower right edition 4/8
107cm x 69cm (42.13 x 27.17 in.)
Frame: 124 x 5 x 84 cm. (48.82 x 1.97 x 33.07 in.)
$5,000–7,000
28
CIRCLE OF CHARLES BREAUBRUN
FRENCH SCHOOL, 1604-1692
Portrait of a lady
oil on canvas
Oval 67 x 54 cm. (26.37 x 21.26 in.),
Frame: 85 x 7 x 72 cm. (33.46 x 2.75 x 28.35 in.)
PROVENANCE
Christie's, Paris, 22 June 2005, Lot 10
$4,000–6,000
29
STUDIO OF NOEL COYPEL
PARIS, 1628-1707
St James the Greater oil on canvas
79.5 x 63.8 cm. (31.30 x 25.12 in.),
Frame: 106 x 10 x 88 cm. (41.72 x 3.94 x 34.64 in.)
PROVENANCE
Christie's London, Old Master Paintings, April 2005 lot 123
The present lot is an unfinished reduction of the large-scale painting now in the Louvre, Paris. The Louvre picture formed part of the May commissions of 1661. These important commissions began after the end of the Hundred Years' War, when the two masters of the brotherhood of Saints Anne and Marcel, and the Goldsmiths' Guild of Paris, presented the chapter of Notre-Dame in Paris with an annual gift on May Day, the month of Mary, at midnight. From 1630, this gift came in the form of a large painting, which was placed in the choir of the Cathedral of Notre-Dame. A pen and ink drawing relating to the Louvre picture and to the present lot is in the Musée des Beaux Arts, Rennes (Inv. 94-2-8).
$4,000–6,000
CIRCLE OF CHARLES-ANDRÉ VAN LOO
FRENCH SCHOOL, 18TH CENTURY
Children around a piano oil on canvas en grisaille
89 x 80 cm. (35.03 x 31 1/2 in.),
Frame: 121 x 8 x 102 cm. (47.64 x 3.14 x 40.15 in.)
PROVENANCE
The Age of Madame de Pompadour, Featuring the Private Collection of Andre and Cecil Fink, Mossgreen, Sydney, 12 May 2009 lot 37 Bonhams, Sydney, The Andre & Cecil Fink Liquidation Sale, 31 October 2010 lot 174
$3,000–5,000
ARTIST UNKNOWN
ITALIAN SCHOOL, 17TH/18TH CENTURY
St Mary Magdalene oil on onyx panel
39 x 48.5 cm. (15.34 x 19.08 in.),
Frame: 68 x 12 x 78 cm. (26.76 x 4.71 x 30.71 in.)
$4,000–6,000 32
ARTIST UNKNOWN FRENCH, 18TH CENTURY
A goat herder and her suitor in a landscape oil on canvas
Irregular rounded top
105 x 90 cm. (41.34 x 35.42 in.),
Frame: 113 x 4.5 x 97 cm. (44.49 x 1.77 x 38.18 in.)
PROVENANCE
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009 lot 154
$3,000–5,000
An ebony, specimen marble and inlaid table-cabinet late 17th-century Northern Italian or Flemish featuring multiple drawers and tablets of marble and limestone supported on bun feet. 65cm high, 86cm wide, 38cm deep
$3,000–5,000
An impressive and richly patinated walnut and marquetry Cathedra (Bishops chair)
Italian, 17th/18th century lift up seat
254cm high, 100cm wide, 87cm deep
$4,000–6,000
A walnut rectangular single drawer writing table
French or Italian, 17th century
100cm wide, 70cm deep, 77cm high
$2,000–3,000
A rare Louis XV gilt-wood and cream-painted trumeau-mirror French, 18th century the painted canvas depicting a young lady holding a bird 123cm wide, 211cm high
PROVENANCE
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009 lot 119 Bonhams, Sydney, The Andre & Cecil Fink Liquidation Sale, 31 October 2010 lot 135
$5,000–7,000
37
A pair of Louis XV style black chinoiserie console tables 19th century
118cm wide, 43.5cm deep, 79cm high
$1,500–2,500
A George II Japanned cabinet-on-stand mid 18th century
gilt brass hinges and lock plates
167cm high, 102cm wide, 53cm deep
PROVENANCE
Webbs, Auckland, Florence Court & The Lalla Seabrook Collection, 27 July 1991, lot 502
Christie's, Sydney, The Daphne Baker Collection, 21 June 2005 lot 183
$6,000–10,000
39
A large and fine Louis XVI style gilt-wood and gesso over-mantle mirror with an ornate crest and foliate carving French, 19th century
275cm high, 154cm wide approximately, 15cm deep
$2,500–3,500
40
A Fine Italian walnut and parcel-gilt elevated bookcase 18th century
245cm high, 262.5cm wide, 49.5cm deep
PROVENANCE
The Country Trader Antiques, Sydney
$20,000–30,000
A large and impressive gilt-wood and gesso over-mantel mirror English or French, 19th century the decorative cartouche featuring a man's head with ornate scrolling and foliate motifs
214cm high, 203cm wide approximately, 3.5cm deep
PROVENANCE
The Collection of Baz Luhrmann and Catherine Martin
$2,000–4,000
An Italian walnut and marquetry straight-front commode in the style of Giuseppe Maggiolini (1738–1814)
Milanese, 18th century
89cm high, 128cm wide, 90.5cm deep
$5,000–8,000
A Régence carved walnut and gros-point wool tapestry upholstered armchair
French, circa 1760
110cm high, 64cm wide, 59cm deep
$2,000–4,000
A fine French Louis XVI gilt-wood canapé French, 18th century
upholstered in fine blue and white silk damask
145cm wide, 80cm deep, 109cm high
$2,500–4,000
A George II Chinoiserie long-case clock, by John Vale, Coleshill circa 1710-1760
eight day movement with bell strike
John Vale worked in the Georgian market town of Coleshill, Warwickshire 1710-1760
248cm high, 46cm wide, 24cm deep
PROVENANCE
Sotheby's, Melbourne, 27/11/2001, lot 480
$3,000–5,000
A fine mahogany and scagliola marble topped centre table, the base French Restauration period, circa 1830 and the top probably Italian of the same or slightly earlier period
74cm high, 91cm diameter
$5,000–8,000
A fine George IV parcel-gilt and amboyna circular piano stool
English circa 1825
47cm high, 43cm diameter
$1,500–2,500
A George IV faux-rosewood and parcel gilt circular library table with leather top English, circa 1830-40
75.5cm high, 128cm diameter
$3,000–5,000
A set of ten Regency mahogany dining chairs
English, early 19th century
Two carvers and eight singles with carved top rail, reeded mid-rails, sabre legs and drop in upholstered seats
Chair: 83cm high, 48cm wide, 49.5cm deep, seat height 44cm
Carver: 83cm high, 56cm wide, 56cm deep, seat height 44cm
$4,000–6,000
A pair of 18th century Northern European ormolu three light table candelabra
Possibly Scandinavian, circa 1790 on square white marble bases 66cm high
PROVENANCE
Christie's, Sydney, The John Williams Collection, 21 September 2005 lot 116
$2,500–3,500
A pair of Louis XVI painted and carved wood fauteuils French, 18th century
93cm high, 60cm wide, 48cm deep
94cm high, 54cm wide, 59cm deep, seats 40cm high from the ground
$3,000–5,000
52
A skeletal display of Barn Owl (Tito Alba) holding a mouse on stand under glass dome
Skeleton 24cm high, Dome 32cm high, 23.5cm diameter
PROVENANCE
Bonhams, Sydney, The Owston Collection, 26 June 2010 lot 1263 (part)
$1,000–2,000
53
A skeletal display of a Hornbill on stand under glass dome
Skeleton 38cm high, dome 44.5cm high, 35.5cm wide, 17cm deep
PROVENANCE
Bonhams, Sydney, The Owston Collection, 26 June 2010 lot 1263 (part)
$1,000–1,500
54
A mounted skeleton of a brown hare (Lepus Europaeus) in an F. E. Becker & Co oak case with a nameplate for F.E. Becker & Co., which was a scientific and laboratory equipment supplier. The company was later acquired by W. & J. George (London) Ltd. Hatton Wall London.
Skeleton 33cm high, Case 37.5cm high, 44.5cm wide, 28.5cm deep
PROVENANCE
Bonhams, Sydney, The Owston Collection, 26 June 2010 lot 1263 (part)
$1,500–2,500
55
A skeletal display of a tree-kangaroo or wallaby on stand 82cm high
PROVENANCE
Bonhams, Sydney, The Owston Collection, 26 June 2010 lot 1263 (part)
$1,000–2,000
56
An imposing skeletal display of a large coiled python on metal stand with black wooden base 80cm high, base 46cm wide, 50cm deep
PROVENANCE
Bonhams, Sydney, The Owston Collection, 26 June 2010, lot 1263 (part)
$5,000–8,000
A large Indian stone figure of Ganesha 100cm high, 82cm wide, 72cm deep
PROVENANCE
From the collection of Baz Luhrmann and Catherine Martin
$1,500–2,500
A pair of very decorative and large Chinoiserie painted canvas panels, attributed to Jean-Baptiste Pillement (1728–1808)
French, 18th century
312cm high x 206cm wide (122.82 x 81.09 in.)
PROVENANCE
Shapiro Auctioneers, Sydney, The Stock In Trade of Howell & Howell Antiques, 13 August 2011 lots 51 & 52
$3,000–5,000
A Louis XVI flame-mahogany buffet with black marble top French, 18th/19th century with original locks and two keys
99.5cm high, 197.5cm wide, 65cm deep
$2,500–4,000
60
A framed coach panel
English, circa 1810
oil on board a coat of arms with a Latin motto "DUM SPIRO SPERO (While I breathe, I hope). image 32cm high, 37cm wide, frame size 49.5cm high x 55cm wide, 4cm deep
PROVENANCE
Mossgreen, Sydney, A collection from Thomas Hamel interiors and Martyn Cook Antiques, 20 May 2012 lot 89
$500–800
61
A framed Regency coach panel
English, circa 1820
The coat of arms with the latin motto "Nequaquam Ficte" (by no means false) image size 29cm high x 35.5cm wide, framed size 39cm high x 45cm wide x 3cm deep
PROVENANCE
Mossgreen, Sydney, A collection from Thomas Hamel interiors and Martyn Cook Antiques, 20 May 2012 lot 90
$500–800
62
A large and very fine Regency Gothic revival wardrobe, attributed to Gillow's of Lancaster English, circa 1825
226.5cm high, 256cm wide, 63cm deep
$5,000–10,000
63
An impressive and good quality Empire style gilt-bronze and bronze ceiling light
French, 19th century
87cm wide, approx. 85cm high
PROVENANCE
From the collection of Baz Luhrmann and Catherine Martin
$3,000–5,000
64
A very decorative Gothic revival metal-mounted oak breakfront bookcase
French, 19th century
275cm high, 310cm wide, 50cm deep
PROVENANCE
Mallett London
Christie's, The Library at Gaiters Green, March 6 2003 lot 343
Lord McAlpine of West Green
Phillip's Australia, Bishop's House Perth Collection, 10-12 August 1999
Mossgreen, Sydney, A Collection from Thomas Hamel Interiors and Martyn Cook Antiques, 20 May 2012 lot 29
$10,000–20,000
A pair of oak gothic revival hexagonal sculpture pedestals
English, circa 1850
90.5cm high, 46cm wide 39cm deep
$1,500–2,500
A set of six George IV oak gothic revival dining chairs In the manner of George Smith Early 19th century
upholstered in dark gold velvet
87cm high, 47cm wide, 41.5cm deep (seat height 47cm high)
PROVENANCE
Phillips, Australia, The Collection of Lord McAlpine of West Green, Bishop's House, Perth, 10-12th August 1999, SH Ervin Gallery Sydney, lot 273
Christie's, Australia, The Collection of John Schaeffer at Rona, 15-16 May, 2004, lot 529
Leonard Joel, Sydney, The collection of the late John Schaeffer AO, 25 August 2010 lot 477
$3,000–5,000
A 19th century walnut gothic style umbrella or stick-stand, attributed to E. W. Pugin and C & R Light. circa 1880
original metal drip tray
73cm wide, 25cm deep, 74cm high
REFERENCE
Pictorial Dictionary of British 19th century FURNITURE DESIGN introduction by Edward Joy. Page 359 C & R Light. Shoreditch, London.
Makers and suppliers, timber merchants and exporters of furniture (1855-1925) In 1880 the firm produced a catalogue of 435 pages, 1908 pieces of furniture. This catalogue reached a world with market including Australia. The Sydney morning herald, 10 November 1880, announced the sale of art furniture to be sold on the instruction of C & R Light by Bradley, Newton & Lamb of O'Connell street, Sydney.
C & R Light also published registered design books of furniture in 1881 & 1882. they were among the makers of furniture designed by the architect Edward Welby Pugin (1834-1875) they made furniture for the Granville Hotel, Ramsgate. (designed and owned by Pugin)
$600–1,000
68
A smart gothic-revival polished steel fender
Irish, first half of the 19th century 29cm high, 128cm wide, 37cm deep
PROVENANCE
Mallets Bourdon House London Mossgreen, Sydney, International Decorative Arts from three private collections, 30 October 2016
The property of Leo Schofield AM, lot 8
$1,000–1,500
69
A George II Mahogany bookcase circa 1730
reconstructed from a larger bookcase in the late 18th early/19th century 280.5cm high, 208cm wide, 48cm deep
PROVENANCE
Christie's, London, 22 Arlington Street, A William Kent House, 11 May 2005, lot 26 (9600 pounds)
$4,000–6,000
An early George III mahogany serving table supplied by Francis Elkins circa 1760
The later rectangular top above a blind fretwork frieze and pierced brackets, on eight square legs. with Christie's printed auction catalogue entry dated December 18, 1930 93cm high, 270cm wide, 77cm deep PROVENANCE
Anonymous sale (Mrs. H. Minette Cramp, Newbury, Berkshire); Christie's, London, 18 December 1930, lot 130 (to 'Clifford' for 89gns 5 s) Christie's, New York, Important furniture including property from the Kersey Coats Reed House, 27 October 2006 lot 332
REFERENCE
A. O. Patterson, 'On the High Bluffs of Lake Forest near Chicago', Town and Country, 15 January 1934, pp. 24.
S. M. Salny, 'Historic Interiors: Frances Elkins. A Surviving Example of the Noted Designers Work', Architectural Digest, July 1980, p. 89.
S. M. Salny, 'Frances Elkins: A Forward-Looking Icon of European Chic and American Style', Architectural Digest (Interior Design Legends), January 2000, p. 167.
S. M. Salny, The Country Houses of David Adler, 2001, p. 140.
S. E. Cohen and S. S. Benjamin, North Shore Chicago: Houses of the Lakefront Suburb 1890-1940, New York, 2004, p. 281.
S. M. Salny, Frances Elkins: Interior Design, 2005, p. 69.
$5,000–10,000
A George IV period mahogany caned library bergere armchair
English circa 1825
green leather arm caps and squab cushion
100cm high, 62cm wide, 74cm deep
PROVENANCE
Sotheby's, Australia, Decorative Arts and Jewellery, 2nd May 2005, lot 339
$1,500–2,500
A Newtons New and Improved mahogany-framed terrestrial globe
English, dated 1848
110cm high, approx. 38-40cm diameter
$4,000–6,000
A rare Louis XIV bois-violette, palisander and kingwood vitrine/bookcase
French, circa 1700
189cm high, 108cm wide, 40cm deep
PROVENANCE
Mossgreen, Sydney, The Age of Madame de Pompadour featuring the private collection in trade of Andre & Cecil Fink, 12 May 2009, lot 74
$5,000–8,000
A pair of velvet covered, buttoned and fringed Victorian armchairs
English, circa 1880
97cm high, 84cm deep, 84cm wide
PROVENANCE
Howell and Howell, Queen Street, Sydney
$2,000–3,000
A pair of George III style green-leather side chairs
English, 18th/19th century
97cm high, 60cm wide, 70cm deep
PROVENANCE
Shapiro, Sydney, Decorative Arts, 26/06/2005, lot 142
$1,500–2,500
76
A full size snooker table by Burroughs & Watts Ltd, Soho Square, London
Patented 'Euruka' groved cushions by Royal letters and by Special Appointment.
84cm high, 385cm wide, 206cm deep
Burroughes & Watts is one of the oldest, most prestigious and best known names in snooker and pool. Originally founded in London in 1836.
$3,000–5,000
77
A Burroughes & Watts, London, billiard scoreboard
English, circa 1920
97cm wide, 57cm high
$200–400
78
An impressive Spanish carved walnut Cardinal's chair 17th/18th century
embroidered with metallic gold and silver thread with a central coat-of-arms, 131.5cm high, 88cm wide, 65cm deep
PROVENANCE
PROVENANCE
Mossgreen, Sydney, 8 November 2005, The Modern Decorator Featuring the Stock in Trade of Graham Cornall, lot 120
$1,500–2,500
An exceptional five panel painted leather screen representing the continents of Asia, America and Africa French, first half of the 18th century
222cm high x 325cm wide (5 x panels 65cm wide each), 2cm deep
PROVENANCE
The Age of Madame Pompadour featuring the private collection and stock in trade of Andre and Cecile Fink, Mossgreen Sydney, 12 May 2009, lot 41
Bonhams, Sydney, The Andre & Cecil Fink Liquidation Sale, 31 October 2010, lot 149
$10,000–15,000
A rare late George III mahogany revolving drum-table bookcase English, circa 1800 with four open tiers between leather book-spine dividers, the drum-table with four cedar-lined drawers and four false drawers, 190cm high, 79cm diameter
PROVENANCE
Christie's, New York, Important English Furniture, 19 October 2000, lot 280 Christie's, New York, Important English Furniture, 18 October 2002, lot 436 Another example with tripod base is illustrated in F.L. Hinckley, The More Significant Regency Furniture 1800-1830, New York, 1991, p.32, fig.33. Another of this form was sold anonymously, Christie's, London, 7 July 1988, lot 91 (£23,100).
$15,000–25,000
A rare and significant George III gilt-metal mounted mahogany and ebony-strung Carlton House desk
English, circa 1780-1800
the leather lined writing surface with a hinged reading panel
107cm high, 160cm wide, 83cm deep
PROVENANCE
Possibly commissioned by Charles Howard, 11th Duke of Norfolk and by descent.
Bernard Marmaduke, 16th Duke of Norfolk, Norfolk House, St. James's Square, Christie's, London, 7 February 1938, lot 162 (£273 to H.M. Lee).
The Hon. H.A. Vivian Smith, sold Christie's, London, 22 October 1953, lot 87 (£462 to Rubin [?]).
The Hon. Mrs. E.A. Wallace, sold Christie's, London, 15 November 1990, lot 126.
Christie's, New York, Partridge, 17 May 2006, lot 39
$20,000–40,000
A pair of French Louis XV ormolu chenets circa 1740
28cm high, 29cm wide, 53cm deep
PROVENANCE
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009 lot 168 Bonhams, Sydney, The Andre & Cecil Fink Liquidation Sale, 31 October 2010, lot 199
$2,000–4,000
An Aubusson type tapestry, woven with a Biblical scene and a wide fruit and floral border
French, circa 1700
310cm high x 225cm wide
$5,000–8,000
A good Louis XV gilt-wood and green painted trumeau-mirror
French, 18th century
121cm wide, 186cm high
PROVENANCE
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009 lot 43
Bonhams, Sydney, The Andre & Cecile Fink Liquidation Sale, 31 October 2010, lot 76
$4,000–6,000
A pair of Spanish pink stone urns on stands engraved Palmilla 1888 and planted with succulents
Urn: 64cm high, 42cm diameter
Stand: 83cm high, 46.5cm wide, 46.5cm deep
PROVENANCE
Bonhams and Goodman, Sydney, 5 October 2005, lot 314
$3,000–5,000
A good quality Empire gilt-bronze and bronze ceiling light
French, first half of the 19th century cast masks to the branches approx 60cm diameter
PROVENANCE
From the collection of Baz Luhrmann and Catherine Martin
$2,000–3,000
A kingwood and Carrara marble tambour fronted side-cabinet French, late 18th, early 19th century
106cm high, 154cm wide, 40.5cm deep
$1,500–2,500
An antique carved alabaster panel of The Eagle of Saint John the Evangelist Italian, 18th/19th century
wooden frame with faux malachite and faux marble surround
78.5cm high (frame), 78.5cm wide, 129cm deep, 40cm high (alabaster panel), 40cm wide
$2,000–4,000
A pair of impressive polychrome painted and caned seat sofas Continental, early 19th century
89.5cm high, 220cm (approx.) wide, 82cm deep
PROVENANCE
Mossgreen, Sydney, 8 November 2005, The Modern Decorator Featuring the Stock in Trade of Graham Cornall, lot 120
$5,000–8,000
A good polychrome wood dolls-house English, 19th century
80cm high, 90cm wide, 51.5cm deep
PROVENANCE
Sotheby's, Australia, Decorative Arts and Jewellery, 2nd May 2005, lot 382
$1,500–2,500
An upholstered day-bed (Duchesse-brisee) with Japanese inspired patterned red upholstery
French, circa 1920
85cm high, 104cm wide, 160cm deep
PROVENANCE
From the collection of Baz Luhrmann and Catherine Martin
$600–1,000
A pair of William and Mary oak high backed chairs English, circa 1690
each with shell and scroll carved cresting rail 128cm high, 45cm wide 46cm deep
PROVENANCE
Sotheby's, Australia, Decorative Arts and Jewellery, 2nd May 2005, lot 309
$1,000–2,000
93
A pair of Venetian female blackamoor polychrome wall-lights Italian, late 19th/early 20th century each with three faux candle lights
54cm high, 33cm wide, 18cm deep
PROVENANCE
Sotheby's, Melbourne, Decorative Arts, 30/11/2004, lot 733
$1,500–2,500
A gilt-bronze mounted walnut petite-commode possibly Austrian/German, 18th century
86cm high, 59cm wide, 49cm deep
$1,000–1,500
A good gilt-bronze ceiling light with clear and green glass beaded chains and swan-form branches
French, circa 1880
125cm high, 82cm diameter (approx), approx drop 87cm
$4,000–6,000
A Regency brass inlaid mahogany sofa table
English, circa 1825
76cm high, 96cm wide, 55.5cm deep
$1,500–2,500
A fine George III mahogany and brass adjustable armchair on wheels, in the style of Morgan and Saunders, London
84cm high, 62.5cm wide, 62cm deep
$1,500–2,500
A large carved sand-stone sculpture of Hercules
Italian, early 20th century
Sculpture 206cm high, 92cm wide, 78cm deep
Base: 58cm high, 92cm wide, 92cm deep (approx)
$5,000–10,000
99
An impressive carved sand-stone sculpture of David, signed Milani, Vicenza, Italy
Italian, circa signed
Sculpture 168cm high, 79.5cm wide, 88cm deep
Base: 59cm high, 82cm wide, 82cm deep (approx)
$7,000–10,000
100
A very impressive large carved sand-stone sculpture The Rape of Persephone, signed Milani Vicenza, Italy Italian, circa
signed
207cm high, 75cm wide, 71cm deep
Base: 50cm, 82cm wide, 82cm deep (approx as buried in earth)
$7,000–10,000
A Napoleon III period gilt-wood faux bamboo cushion mirror
French, circa 1880
the side mirror panels with etched decoration
177cm high, 109.5cm wide, approx. 12cm deep
$1,000–1,500
102
A Regency gilt and carved wood overmantel mirror English, 19th century
152cm high, 93cm wide, 17.5cm deep
$1,500–2,000
A fine George II mahogany hanging corner-cabinet English mid 18th century
original lock and key 119cm high, 72cm wide, 45cm deep
$1,500–2,500
A fine cantilever-action George IV mahogany drop-side dining table, in the manner of Gillows of Lancaster English, circa 1820
with multiple extra leaves
122cm wide, 71cm high closed, depth 42cm, 268cm long fully extended with the three leaves in and the drop leaves up
$3,000–5,000
106
A good George IV mahogany dropside table
English, circa 1820
Open: 73cm high, 78cm wide, 52.5cm deep
Closed: 73cm high, 34cm wide, 52.5cm deep
$1,500–2,000
107
An impressive George III mahogany standing corner-cabinet
English, circa 1810
267cm high, 118cm wide, 50cm deep (approx)
$3,000–5,000
An Anglo-Indian mahogany tea-poy 19th century
80cm high, 50cm wide, 36cm deep
PROVENANCE
Shapiro, Sydney, 27/11/2005, lot 122
$1,500–2,500
A cedar fold-over card table, by Andrew Lenehan
NSW origin, Australian circa 1835
Makers label for Andrew Lenehan
74cm high, 92cm wide, 45cm deep
PROVENANCE
Sotheby's, Australian, Decorative Arts and Jewellery, 2nd May 2005, lot 292
Clyde Bank Collection, Sydney, inventory label
$3,000–5,000
A Louis XV carved walnut bergère
French 18th century
91cm high, 63cm wide, 49cm deep, seat 44cm from the ground
PROVENANCE
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009, lot 91
$1,500–2,000
A Régence carved walnut child's bergère French, 18th century
92cm high, 53cm wide, 49cm deep
$800–1,200
112
CIRCLE OF JEAN-BAPTISTE OUDRY
(PARIS 1686-1755 BEAUVAIS)
FRENCH, 18TH CENTURY
Portrait of a gentleman half length, wearing a grey coat and with his dog beside him, a landscape beyond oil on canvas
72cm wide, 91cm high, image 94cm wide, 114cm high, 7cm deep frame
PROVENANCE
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009 lot 25 Bonhams, Sydney, The Andre & Cecile Fink Liquidation Sale, 31 October 2010, lot
$3,000–5,000
113
An unusual Louis XVI gilt-wood and gesso quatrefoil shaped stool French, 18th century with needlework upholstery
The frame stamped 2366 49cm wide, 39cm deep, 47cm high
PROVENANCE
Sotheby's, Australia, Decorative Arts and Jewellery, 2nd May 2005, lot 324 (Incorrectly catalogued)
$1,000–1,500
A George III mahogany leather-top drum-table English, circa 1810
74.5cm high, 124cm diameter
$3,000–5,000
A pair of George III cut-glass twin-branch table candelabra, in the manner of Parker and Perry English, late 18th/early 19th century wired for electricity approximately 54cm high, 25cm wide REFERENCE
For comparison, see the four pairs supplied to the Duke of Devonshire in 1782 one of which is illustrated in Martin Mortimer, The English Glass Chandelier, England, 2000, p.99, pl. 45. $2,000–3,000
A set of four Louis XV cream painted fauteuils, by Antoine Nicolas Delaporte Paris, Master in 1762 French, 18th century one stamped to the frame Delaporte back height 97cm, seat width 68cm, seat height 44cm, seat depth from seat cushion back to front edge 49cm
PROVENANCE
Chateau De Saint Leu
The Age of Madame de Pompadour, Featuring the private collection of Andre and Cecil Fink, Mossgreen, Sydney 12 May 2009 lot 13
Bonhams, Sydney, The Andre & Cecile Fink Liquidation Sale, 31 October 2010 lot 206
$15,000–25,000
END OF PART 1
Terms and Conditions of Sale
The terms and conditions of sale listed here contain the policies of Artvisory Pty Ltd. They are the terms on which Artvisory Pty Ltd and the Seller contract with the Buyer. They may be amended by a printed Saleroom Notice or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms and conditions.
1. Background to the Terms used in these Conditions
The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:
“the Buyer” means the person with the highest bid accepted by the Auctioneer
“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot
“the Buyers Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.
“the Reserve” means the lowest amount at which Artvisory has agreed with the Seller that the lot can be sold.
“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).
“the insured value” means the amount that Artvisory in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Artvisory.)
All values expressed in Artvisory Pty Ltd catalogues (in any format) are in Australian Dollars (AU$) unless otherwise specified. All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.
2. Artvisory Auctions as Agent
Except as otherwise stated Artvisory Pty Ltd acts as agent for the Seller.
The contract for the sale of the property is therefore made between the Seller and the Buyer.
3. Before the Sale
a) Examination of Property
Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Artvisory nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.
The property is otherwise sold “AS IS” and a condition report can be requested at any time prior to the sale.
b) Catalogue and other Descriptions
All statements by Artvisory in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Artvisory of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Artvisory nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material. Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue. Foreign buyers should note that all transactions are in Australian dollars so there may be a small exchange rate risk. The costs associated with acquiring a good certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.
c) Buyers Responsibility
All property is sold “as is” without representation or warranty of any kind by Artvisory or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.
4. At the Sale
a) Refusal of Admission
Artvisory reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.
b) Registration before Bidding
Any prospective new buyer must complete and sign a registration form and provide photo-identification before bidding. Artvisory may request bank, trade or other financial references to substantiate this registration.
c) Bidding as a Principal
When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyers premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Artvisory before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Artvisory and that Artvisory will only look to the principal for payment.
d) International Registrations
All International clients not known to Artvisory will be required to scan through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Artvisory’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Artvisory also reserves the right to request any additional forms of identification prior to registering an overseas bid. This deposit can be made using a credit card via a secure BPOINT link, however the balance of any purchase price in excess of $5,000 can not be charged to this card without prior arrangement. This deposit is redeemable against any auction purchase.
e) Absentee bids
Artvisory will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Artvisory after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.
f) Telephone bids
Priority will be given to overseas and interstate bidders. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Artvisory accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Artvisory cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. Artvisory will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals or any other sale room notices.
G) Online and Timed Online Bidding
Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer
agrees to be bound by all terms and conditions listed here by Artvisory and agrees to pay any fees charged in regard to any purchases made via Invaluable.com. Artvisory accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details and to make sure the Internet Browser used for bidding is either Chrome or Firefox not Safari as this browser does not support the Invaluable.com platform. We recommend registering or logging at least 24 hours in advance prior to bidding in the sale to make sure there are no issues with customer log in.
H) Reserves
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
I) Auctioneers Discretion
The Auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to re-offer and resell the item in dispute. If any dispute arises after the sale, then Artvisory’s sale record is conclusive.
J) Successful bid and passing of risk
Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.
K) Indicative Bidding steps, etc.
Artvisory reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following, at the auctioneers discretion:
Increment Amount Dollar Range
$20 $0–$500
$50 $500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$5,000 $50,000–$100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. After the Sale
a) Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 26% of the hammer price plus 10% GST. (Goods and Services Tax) where applicable.
b) Payment and passing of title
The buyer must pay to the company trust account managed by KK Partners Pty Ltd Chartered Accountants the full amount due (comprising the hammer price, buyer's premium and any applicable taxes and GST) not later than 3 days after the auction date.
The buyer will not acquire title for the lot until Artvisory receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items interstate or overseas.
Payment can be made by direct transfer or Eftpos/ credit card in person with a 1.43% (inc GST) merchant fee charged for Visa, Mastercard and American Express.
Credit card payments where the card-holder is not present can be made by requesting a secure BPOINT link to be emailed by Artvisory Accounts.
Cash in person is not accepted, however this may be deposited directly into the company trust account and bank receipt supplied) Personal, Company and Bank cheques are not accepted.
The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account.
c) Collection of Purchases & Insurance
Artvisory is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 3 days from the date of the sale unless otherwise agreed in writing between Artvisory and the Buyer.
At the fall of the hammer, insurance is the responsibility of the purchaser.
d) Packing, Handling and shipping
Artvisory will be able to suggest local, national and international carriers and takes no responsibility whatsoever for the actions of any recommended third party carrier. Artvisory can pack and handle goods purchased at the auction by agreement, however will take no responsibility for damage, and a charge may be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.
e) Cultural heritage Export Licences
Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make full payment immediately, nor our right to charge interest or storage charges on late payment. It is the Buyer’s responsibility to check Australia’s Protection of Moveable Cultural Heritage Act 1986 before purchase. If the Buyer requests Artvisory to apply
for an export licence then we shall be entitled to charge a fee for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is not granted.
f) Remedies for non-payment
If the Buyer fails to make full payment immediately, Artvisory is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)
i) to charge interest at such a rate as we shall reasonably decide
ii) to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for it’s recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law
iii) to cancel the sale
iv) to resell the property publicly or privately on such terms as we see fit
v) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Artvisory in the event that the item(s) are sold for an amount greater than the original invoiced amount.
vi) to set off against any amounts which Artvisory may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
vii) where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
viii) to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for such Buyer’s obligations to us.
x) to take such other action as Artvisory deem necessary or appropriate
If we do sell the property under paragraph (iv), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (v) the Buyer acknowledges that Artvisory shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
g) Failure to collect purchases
Where purchases are not collected within 3 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Artvisory Liability
Artvisory agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.
The warranty is subject to the following:
i) it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
ii) the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Artvisory when the lot was sold at Auction.
iii) the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party
iv) The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyers premium which is non refundable. Neither the Seller nor Artvisory will be liable for
any special, incidental nor consequential damages including, without limitation, loss of profits not for interest.
v) The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Artvisory to decide whether or not to cancel the sale under warranty.
vi) the Buyer must return the lot to Seller in the same condition that it was purchased.
8. Severability
If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.
9. Copyright
The copyright of all images, illustrations and written material produced by Artvisory relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Artvisory and shall not be used by the Buyer, nor by anyone else without our prior written consent. Artvisory and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.
10. Law and Jurisdiction
These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of the state in which the auction is held.
11. Pre-Sale Estimates
Artvisory publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Artvisory prior to auction for updated pre-sale estimates and starting prices.
12. Sale results
Artvisory will provide auction results as published on the website www.artvisory.com.au via Invaluable.com after the sale.
13. Goods and Service Tax
In accordance with A New Tax System (Goods and Services Tax) Act 1999 Artvisory Auctions will collect on behalf of the Australian tax office (ATO) a Goods and Service Tax (GST) of 10% on all applicable transactions. GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not an Australian resident. These lots are denoted by a dagger symbol † placed next to the estimate.
GST is also applicable on the buyer’s premium. Overseas buyers and buyers non-resident in Australia
will not be charged GST on both hammer price and premiums under the following conditions:
1. The items are exported through a Artvisory approved freight company including Australia Post
2. The items are exported within 60 days of the date of the sale
The invoice supplied by Artvisory for purchases will be regarded as a Tax invoice for GST purposes.
14. Resale Royalty Scheme
Under the legal obligations of the Resale Royalty Scheme for Visual Artists Act 2009, sellers must provide the following information to comply with the act:
• was the artwork acquired after 8 June 2010?
• is the sale/reserve price (including GST) $1,000 or more?
• is the artist from Australia or a country listed in the Regulations to the Act?
• is the artist alive, or deceased less than 70 years?
The seller:
i) acknowledges that he or she understands his or her legal obligations under the Resale Royalty for Visual Artists Act 2009 (the Act);
ii) undertakes to comply with all requirements of the Act, including by providing its agent, the company, with accurate information sufficient for compliance with sections 28 and 29 of the Act;
iii) undertakes to indemnify the company for any loss incurred by the company as a result of the vendor’s failure to comply with any of the vendor’s legal obligations under the Act; and
iv) acknowledges that if he or she fails to comply with any of his or her legal obligations under the Act, the company may provide the vendor’s name and contact details to Copyright Agency Limited (CAL).
Lots subject to payment of the Resale Royalty Scheme will be denoted by the §. The Australian Resale Royalty is a flat rate of 5% on the hammer price (including GST).
The Australian Resale Royalty is payable by the buyer in addition to the buyers premium plus any applicable GST.
