The Graham Joel Collection

The Graham Joel
Collection
Melbourne, Sunday 19 July 2020

Jennifer Gibson
CEO & Head of Valuations
Jennifer.Gibson@gibsonsauctions.com.au
Elliott Hughes
Auctions Manager & Specialist
Elliott.Hughes@gibsonsauctions.com.au
Deanna Baxter
Business Manager
Deanna.Baxter@gibsonsauctions.com.au
Simon Gibson
CFO
Simon.Gibson@gibsonsauctions.com.au
Marilla O’Sullivan
Auction Assistant
Marilla.Osullivan@gibsonsauctions.com.au
Juliet Hughes
Account Administrator
Juliet.Hughes@gibsonsauctions.com.au
Ann Roberts
Consultant Specialist
Asian Art
Jon Dwyer
Consultant Specialist
Australian & International Art
Phil Gore
Consultant Specialist
Clocks, Watches & Barometers
ORRONG RD
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OSMENT ST
03 9500 2607
gibsonsauctions.com.au
Auction, Viewing and
Payment & Collections
Level 1, 885-889 High St
Armadale, Victoria 3143
HIGH ST
SUTHERLAND RD
KOOYONG RD
LE ST
HAMPDEN RD ASHLEIGH RD
MT PLEASANT GROVE
NEW ST
AUBURN GROVE
DENBIGH RD
NORTHCOTE RD
CHEEL ST

FRONT COVER:
Lot 35 (Detail)
BACK COVER:
Lot 110
The Graham
Joel Collection
Auction
Sunday 19 July 2020, 12noon
Level 1, 885-889 High Street
Armadale, Victoria 3143
Viewing – Strictly by appointment only:
www.gibsonsauctions.com.au/bookings
or 03 9500 2607
Wednesday 15 July
Thursday 16 July
Friday 17 July
Saturday 18 July
10.00am – 5.00pm
10.00am – 5.00pm
10.00am – 5.00pm
10.00am – 5.00pm
Auction Code: GA017
GST
† Lots with this symbol are subject
to GST on the hammer price and the
buyer’s premium.
Buyer’s Premium
Buyer’s Premium is charged at 22%
of the hammer price plus GST. GST is
applicable to the buyer’s premium only,
unless otherwise indicated by the †
symbol.
Registration
To register to bid at Gibson's
Auctioneers & Valuers an accredited
form of photo identification is required.
This applies to bidding in person at
the auction, Telephone, Absentee and
Online bidding.
Resale Royalty Scheme
Lots subject to payment of the Artist's
Resale Royalty Scheme will be denoted
by the symbol §. The Australian Resale
Royalty is a flat rate of 5% on the
hammer price (including GST) and is
payable by the seller.
Restricted or Organic Material
♦ Lots with this symbol have been
identified at the time of cataloguing
as containing organic material which
may be subject to export or import
restrictions. The absence of this
symbol is not a guarantee that export
or import restrictions will not apply. See
www.cites.org for further information.
Payments & Collections
Strictly by appointment only
www.gibsonsauctions.com.au/
bookings or 03 9500 2607
Payments & Collections can be made
from: Level 1, 885-889 High Street,
Armadale, Vic 3143
Monday 20 July
Tuesday 21 July
Wednesday 22 July
10am–5pm
10am–5pm
10am–5pm
All goods must be collected and paid in
full by 5pm on Thursday 22 July (unless
by prior arrangement) to avoid removal
and storage charges.
All payments are to be made in
Australian Dollars (AU$).
Please refer to the methods of payment
in the HOW TO BUY section on the
following pages.
Credit card surcharges apply – 1.2%
(incl GST) for Visa and Mastercard and
3% (incl GST) for American Express.

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How to Buy
All you need to know about the bidding process at auction
Viewing
Catalogues
Online catalogues can be viewed at
www.gibsonsauctions.com.au approximately three weeks
prior to the auction date.
Complimentary printed catalogues are available at Gibson’s
Auctioneers & Valuers.
Symbols
Occasionally, a symbol is printed next to a lot number,
indicating a special clause associated with the sale of the
item/s. Further information on symbols within our catalogues
can be found on Page 1.
Viewing
Auction viewings are open to the public and usually take place
three or four days prior to the auction date, at the location/s
listed in the auction catalogue and on the website.
Lot Descriptions
Lot Descriptions provide basic catalogue information such
as dimensions, date or age, medium, attribution, provenance
and quantity.
All lots are guaranteed for fourteen (14) days from the
auction date.
Estimates
Estimates are printed in the catalogue beside every lot and
take into account rarity, condition, quality and provenance.
The reserve is the amount at which the item is available for
purchase. The reserve is an undisclosed confidential amount
which is set at, or below the low estimate.
The reserve will never exceed the low estimate at Gibson’s
Auctioneers & Valuers. Many lots are sold without reserve.
Talk to our Specialists
Gibson’s Auctioneers & Valuers are an experienced team of
specialists who are available to discuss items in further detail,
and to offer advice and assistance.
Contact details for relevant specialists can be found on the
inside front cover our auction catalogues and on our website.
Condition Reports
Condition Reports are available on request. Condition Reports
supplement the lot description and provide information on the
condition of an item.
We strongly advise obtaining a condition report if you are
unable to view an item in person prior to the auction.
To request a condition report please email
condition.reports@gibsonsauctions.com.au with the auction
title and lot number/s.
Bidding
Gibson’s Auctioneers & Valuers offer four bidding options:
1. Auction Room Bidding
To bid in person we suggest you arrive early so that you
have sufficient time to register for a bidding number prior
to the auction. If this is your first time bidding with Gibson’s
Auctioneers & Valuers please bring photo identification, such
as a driver’s licence or passport with you.
2. Telephone Bidding
Gibson’s Auctioneers & Valuers offer telephone bidding on all
lots, at all auctions.
Telephone Bidding is a convenient solution if you are unable to
attend an auction in person. A Gibson’s Auctioneers & Valuers
staff member will call you approximately 5 lots in advance and
with your instruction, bid on your behalf at the auction.
Please note: Telephone Bids must be organised at least 24
hours prior to the auction and that occasionally, the number
of telephone bidders available may be restricted when the
auction is offsite.
To organise a Telephone Bid please follow the link
to the Telephone Bidding form on our website:
www.gibsonsauctions.com.au.
Please fill in & return via email to mail@gibsonsauctions.com.au
If this is your first time bidding with Gibson’s Auctioneers &
Valuers, an email address is to be supplied when you submit
your Telephone Bid, along with clear Photo ID verifying
your address.

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3. Absentee Bids
Absentee Bidding is another convenient solution if you
are unable to attend an auction in person, to speak on the
telephone or if you simply have a strict budget.
An Absentee Bid should be set at the maximum amount
you wish to bid on the lot/s you are interested in purchasing.
Should the lot/s be knocked down at an amount lower than
the bid recorded on your form, the lot will be sold to you for
the lesser hammer price.
Please note Absentee Bids must be received at least 24 hours
prior to the auction to allow time for processing.
To organise an Absentee Bid please follow the link to
the Absentee Bidding form available on our website:
www.gibsonsauctions.com.au.
Please fill in & return via email to mail@gibsonsauctions.com.au
If this is your first time bidding with Gibson’s Auctioneers
& Valuers, an email address is to be supplied when you
submit your Absentee Bid, along with clear Photo ID verifying
your address.
4. Online Bidding
Online bidding allows you to bid via the internet in real
time with a live broadcast of the auction. To bid online visit
our website and follow the ‘Live Bidding’ link under the
‘Auctions’ tab.
Please register for this service at least 24 hours prior to the
auction to ensure you do not miss your lot.
Please note online bidding is powered by Invaluable.com and
so will incur a 5% fee on successful lots.
If you have not bid with Gibson’s Auctioneers & Valuers
previously, a photo ID verifying your address will be
required before you can be approved to bid. Please email to
mail@gibsonsauctions.com.au as soon as practical.
International Bidding
If you are bidding from overseas for the first time, you will be
asked to provide a clear Photo ID verifying your address and
a deposit (set at Gibson’s Auctioneers & Valuers’ discretion)
prior to the auction. The deposit is refundable within 48
hours should you not be successful. If you are successful
the deposit will be deducted from your invoice total. The
remaining balance must be paid preferably by direct deposit.
Bank details are provided in the Payment & Collection section
of this guide.
Payment & Collection
Payments
If you are successful an invoice (AU$) will be emailed or
posted to you immediately after the auction.
You will pay the hammer price, plus the buyer’s premium
(22% plus GST) on each Lot, together with any additional
applicable charges such as GST on hammer.
Payments must be made in full by the final day of Collections
as printed in the catalogue.
Bank Transfer/Direct Deposit is our preferred method
of payment:
Account Name: Gibsons Auctions
Bank:
Bank of Melbourne (A division of St George)
BSB: 193879
Account No: 441701443
Swift Code: SGBLAU2S
Routing Code: 021000021
Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144
• Personal, Company and Bank Cheques are not accepted
without prior approval.
• Eftpos (no charge).
• Credit cards: Visa and Mastercard (1.2% inc GST merchant
fee) and American Express (3% inc GST merchant fee).
• Please note that credit card transactions over $5,000
will not be accepted over the telephone unless by prior
arrangement.
• Cash payments up to AU$10,000 can be accepted. For any
amount over this, cash is to be deposited directly into our
account at a Bank of Melbourne/St George branch.
Collections
Gibson’s Auctioneers & Valuers are happy to assist and
provide you with recommended transport companies whether
it be a local, interstate or international delivery.
Storage
All items must be paid for and collected within the collection
times advertised for each individual auction. If items are not
collected within this time-frame, Gibson’s Auctioneers &
Valuers reserve the right to charge removal and storage fees.

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5
The Graham Joel Collection
—
Graham Joel was a doyen of the Australian Art and Antique auction industry and is
widely credited with being the driving force behind the boom in the Australian art
market through the 1970’s and 80’s. He learnt his trade from the ground up having
joined the family business in 1944 at the age of 16. As head of the Joel auction
empire for over 40 years Graham amassed a wealth of knowledge across all
facets of the market. He rose to become the senior valuer of the firm with a unique
ability to value everything from an 18th century cup and saucer to an Australian
Impressionist masterpiece by Sir Arthur Streeton.
An intelligent mind, a quick wit and a dry sense of humour were the trade mark
qualities that made him accessible to all who worked with him. His skill as an
auctioneer was considerably enhanced by his selective use of these attributes and
sales conducted by him were rarely boring and often amusing. Widely respected
by colleagues and clients alike Graham worked hard and expected the same from
all who worked for him.
One of Graham’s favourite pieces of advice to new collectors was to ‘buy what you
like’ and the present collection of over 200 pieces is a reflection of that philosophy.
Graham was in the habit of buying a piece he liked from every significant sale that
he conducted. He had a good eye for beautiful pieces and was fortunate enough to
work in an industry that allowed him the opportunity to acquire them.
I consider it a privilege that I was given the opportunity to work with him for over 12
years learning the fundamentals of auctioning and valuing. Graham may be gone
but his legacy lives on and his words and wise advice echo in my mind almost every
day. It is with great pride that we offer The Graham Joel Collection to the market
and I would like to thank the Joel family for entrusting Gibson’s with the sale.
Jennifer Gibson
Left: Convent sells up, and packs them in, The Age, August 1973

6
1
A George III Scottish sterling
silver tea service, George
Fenwick, Edinburgh, 1811
comprising a teapot, creamer and
sugar basin with associated tongs
each with grape and leaf chased
work and gadrooned rim
the teapot 16cm high, total
weight of silver 1160gms
PROVENANCE
The Leonard Joel Collection,
Melbourne
$1,000–1,500
2
A pair of George III silver sauce
boats with covers, in the Adam
style, London, 1819
of classical form with loop handles
and beaded decoration throughout
the cover and base with an
incised armorial cresting
16.5cm high, 24cm across the handles,
total weight of silver 1610gms
$3,000–5,000
3
A set of four George IV silver salts,
John Edward Terrey & Co, London 1823
each of of squat baluster form with an
inverted gadrooned rim, embossed
with panels of figures and foliage
6cm high, 9.5cm diameter, total
weight of silver 530gm
$1,000–1,500
4
A George III sterling silver dinner
plate, Robert Sharp, London 1799
of lobed circular form with
a gadrooned edge
30cm diameter, 1105gms
$400–600
5
A George II sterling silver salver,
London 1734
with a pie crust edge raised
on three scroll feet
21cm diameter, 405gms
$400–600
2

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1
2

8
6
A George II sterling silver tankard,
London, 1753
the tankard inscribed ‘Presented by
Lord Lyttelton To Mr. Thomas Green
as the prize for best root crop on
the Hayley Estate, October 1861’
12cm high, 340gms
$200–300
7
A cased set of six Art Nouveau silver
teaspoons and a set of tongs,
John Thomas Heath & John Hartshorne
Middleton, Birmingham, circa 1900
total weight of silver 126gm
$150–250
8
A large collection of Continental
silver and silver plate cutlery,
19th century and later
including numerous knives with
various shaped handles
$200–300
9
An Edward VII pierced sterling
silver tazza, Mappin & Webb,
Birmingham, 1911
together with a silver sweetmeat
dish and a silver sugar caster
the sugar caster 17cm high,
total weight of silver 395gms
$200–300
10
A George IV sterling silver salver,
William Brown, London, 1828
of rectangular form with a
gadroon border, raised on four
acanthus leaf moulded feet
3cm high, 25cm wide,
20cm deep, 565gms
$500–700
11
A collection of five English sterling
silver caddy spoons, 1785 and later
together with a silver plate thimble
the largest spoon 8cm long,
total weight of silver 55gms
$300–400
12
Three small silver mounted
cut glass whiskey jugs, William
Suckling Ltd, Birmingham, 1962
10cm high
$150–250
13
A large set of associated English
Kings pattern sterling silver
cutlery, 19th century and later
comprising eighteen tablespoons,
sixteen forks, twelve dessert
forks, twenty six dessert spoons,
six teaspoons, ten entree
spoons and two ladles
the largest piece 25cm long
total weight of silver 6070gms
$1,500–2,000
14
A collection of English sterling silver
condiments, 18th century and later
comprising three various size
mustard pots, a salt cellar, eight
various pepper castors, and three
small condiment spoons
the largest mustard pot 7cm high,
total weight of silver 620gm
$300–500
6

9
15
A George III sterling silver coffee pot,
Edward Fernell, London, 1784
of typical baluster form the later
decorated body with serpentine
spout and wooden loop handle,
conforming hinged cover
27cm high, total weight 860gms
$1,500–2,500
15
16
A George III sterling silver ewer,
London circa 1790
decorated in the Adams style with
husk flower swags and beaded
decoration, the hinged lid with a vase
finial, carved wooden loop handle
34cm high, total weight
of silver 795gms
PROVENANCE
Mrs E B Myer Collection
$1,500–2,000
16

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17
18

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17
A George II sterling silver tray,
Robert Abercromby, London, 1742
with a central armorial cresting, later
19th century decoration with a shell
and scroll edge and raised on hoof feet
16.5cm diameter, 220gms
$300–500
18
A George III sterling silver salver,
Mark Richard Rugg I, London, 1770
with serpentine gadroon
border, raised on hoof feet
36cm diameter, 1110gms
$1,000–1,500
19
A George III sterling silver salver,
Richard Palmer I, London, 1760
the centre chased with armorial
cresting within a shell and scroll
edge, raised on hoof feet
32cm diameter, 925gms
$500–800
20
An Edward VII sterling silver two
handled butlers tray, John & William
F Deakin, Sheffield, 1909
of octagonal form with pierced
handles, the foliate etched central
plate within a gadroon border,
raised on four scrolling feet
62cm long, 2100gms
$800–1,200
21
A pair of George III sterling silver pepper
pots, rubbed London circa 1890
of baluster form with a pierced top
the largest pot 8.5cm high, total
weight of silver 105gms
$200–300
22
A collection of Georgian sterling
silver sterling, 1827 and later
comprising a coin set toddy ladle,
a dessert fork, William Chawner II,
London 1827 and a silver tablespoon,
Jonathon Hayne, London, 1834
the ladle 36.5cm long, total
weight of silver 110gms
$100–200
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12
23
23
Three English silver vinaigrettes and
a snuff box, circa 1830 and later
each vinaigrette with a pierced foliate
decorated gilt wash interior grill
the largest 4cm long, total weight 20gm
$400–600
24
Two rose gold and seed pearl mounted
mourning brooches, dated 1787
each with a hair inset back, one
inscribed verso ‘Love ans Harmony’,
the other ‘J.C obt. 8 March 1787’
the largest 4cm high
$500–700
25
A group of loose opals
and gold-in-quartz
comprising a quantity of polished
loose black opals and two
quartz-in-gold specimens
$200–400
26
A Georgian style sterling silver sauce
boat, Atkin Brothers, Sheffield, 1905
with delicate hoof feet and
a scrolling loop handle
10cm high, 16cm wide, 8cm deep,
200gms
$100–200
27
A silver plate candelabra, 19th century
together with a silver plate tureen
the candelabra 37cm high
$500–800
28
A set of four George III sterling silver
bottle coasters, Robert Hennell I,
London, 1787
each with pierced gallery
edge and armorial cresting,
turned wooden bosses
12cm diameter
$1,200–1,800
24

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29
29
A Rene Lalique opalescent glass
‘Bulbes No.2’ plate, introduced 1935
stencilled mark R. LALIQUE, FRANCE,
Marcilhac catalogue ref. 10-3037
28cm diameter
$300–500
30
An Art Nouveau opalescent
stemmed goblet
the bowl decorated with red poppies
and gilded leaves, raised on a green
glass stem and circular foot
23cm high
$300–500

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15
31
A rare and important Gallé
‘Noisette’ table lamp, circa 1910
overlaid and acid-etched in autumnal
tones with hazelnut flowers and
leaves on a translucent blue
ground, signed in cameo Gallé
60cm high
$30,000–40,000
31 (Detail)
31

16
32
32
A rare pair of Thomas Webb & Sons ivory
cameo glass candlesticks, circa 1885
designed by George Woodall and painted by Jules Barbe,
pattern I 499
each finely decorated throughout with classical foliate and
floriate motifs, the cameo work heightened in brown enamel
each base impressed THOMAS WEBB & SONS
within a ribbon band
39cm high
PROVENANCE
Billila Historic House, Halifax Street, Brighton, Victoria
ILLUSTRATED
Perry, Christopher Woodall, ‘The Cameo Glass
of Thomas and George Woodall’, Richard
Dennis, Somerset, England, 2000, pg 86
$3,000–5,000
33
A pair of rare Thomas Webb & Sons ivory
cameo glass candelabra, circa 1885
designed by George Woodall and painted by Jules Barbe,
pattern I 499
each finely decorated throughout with classical foliate and
floriate motifs, the cameo work heightened in brown enamel
48cm high, 32cm wide
PROVENANCE
Billila Historic House, Halifax Street, Brighton, Victoria
ILLUSTRATED
Perry, Christopher Woodall, ‘The Cameo Glass
of Thomas and George Woodall’, Richard
Dennis, Somerset, England, 2000, pg 86
$6,000–8,000

33
17

18

19
35
A Webb cameo glass vase, circa 1890
the translucent serpentine form ruby
glass body overlaid with opaque
white carved with spring flowers,
leafy stems and butterflies
34.5cm high
$3,000–5,000
34
34
A Thomas Webb & Sons cameo
glass vase circa 1890 - 1900
the translucent shoulder form ruby glass
body overlaid with opaque white carved
with stylised flowers, leafy stems and
butterflies, factory book number W1444
the base etched with a circular mark
THOMAS WEBB & SONS CAMEO
22.5cm high
ILLUSTRATED
Perry, Christopher Woodall, The
Cameo Glass of Thomas and
George Woodall, Richard Dennis,
Somerset, England, 2000, pg 57
$4,000–6,000
Left: Do it for love not money, The Age, Monday, August 24, 1970
35

20
36
A Webb cameo glass vase, circa 1890
of squat baluster form the frosted
ruby glass wall carved and overlaid in
opaque white flowers and leafage
9.5cm high
$200–400
36
37
A Webb cameo glass vase,
English, circa 1885
finely carved throughout with an
overlay of flowers and leafage in
white on a ruby red ground
13cm high
$800–1,200
37

21
38
A Thomas Webb & Sons cameo
glass vase, circa 1890 - 1900
Webb pattern number W1444,
marked Gem Cameo
of shoulder form in ruby red glass
overlaid in opaque white and carved
with honeysuckle, leafy stems and
butterflies, acid etched circular mark
Thomas Webb & Sons Cameo
25cm high
ILLUSTRATED
Perry, Christopher Woodall,
‘The Cameo Glass of Thomas and
George Woodall’, Richard Dennis,
Somerset, England, 2000, pg 49
$2,000–3,000
38

22
39
A De Vez cameo glass landscape
vase, French, circa 1910
the yellow glass body overlaid
with deep purple and amber cut
with a landscape of trees and
a lake with mountains beyond,
signed De Vez in cameo
19.5cm high
$500–700
39
40
A Thomas Webb & Sons ivory
cameo glass vase, circa 1885
of baluster form with a pale caramel
coloured ground, carved in shallow
relief with a continuous frieze of
foliate scroll work, heightened
in brown enamel, impressed
mark THOS WEBB & SONS
15.5cm high
$600–1,000
40

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41
A rare silver mounted cameo
glass claret jug attributed to
Thomas Webb & Sons
maker’s mark Joseph Cook &
Son, Birmingham, 1880
the tapering yellow ground body
overlaid in opaque white, finely
carved with foxgloves and leafage,
with a Bacchus mask spout and
loop handle raised on a circular
acanthus decorated foot
31cm high
$5,000–8,000
42
A large green glass jug, English,
19th century
of baluster form with an inverted
rim and a substantial loop handle
42cm high
$100–200
41
41

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43 44
43
ÉMILE GALLÉ (1846-1904)
A cameo glass vase, circa 1900
overlaid and acid-etched with fuchsia
flowers and leaves on a translucent
yellow ground, signed in cameo Gallé
15cm high
$1,500–2,500
44
ÉMILE GALLÉ (1846-1904)
A cameo glass vase, circa 1900
overlaid and acid-etched with
pendant flowers and leaves,
signed in cameo Gallé
12cm high
$1,000–2,000
45
A Webb cameo glass vase, circa 1900
the translucent ovoid yellow
glass body overlaid with opaque
white and pink, carved with spring
flowers, leafy stems and berries
12.5cm high
$1,000–2,000
45

25
46
A Thomas Webb & Sons cameo
glass vase, circa 1890 - 1900
the translucent ovoid yellow glass body
overlaid with opaque white and pink,
carved with spring flowers, leafy stems
and butterflies, acid etched circular
mark, Thomas Webb & Sons cameo
15cm high
$2,000–3,000
47
A Thomas Webb & Sons cameo
glass vase, circa 1890 - 1900
the translucent bottle form yellow glass
body overlaid with opaque white and
pink, carved with primroses, leafy stems
and butterflies, acid etched circular
mark, Thomas Webb & Sons cameo
19cm high
$2,000–3,000
46 47

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48
An overlaid cameo glass
vase, French, circa 1910
the tall serpentine body carved
and decorated with a leafy vine
on a blue and white ground
19cm high
$300–500
49
A Victorian gilt metal mounted
glass scent bottle
the horn shaped faceted blue glass
body with a hinged lid and ring chain
9cm long
$50–100
48
50
A Webb cameo glass vase, circa 1890
of squat baluster form the frosted
blue glass wall carved and overlaid in
opaque white flowers and leafage
9.5cm high
$200–400
50

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51
A silver mounted Stourbridge cameo
glass scent bottle attributed to
Thomas Webb and Sons, 1898
of slender teardrop form in aquamarine
blue overlaid in white, carved both sides
with foliate motifs and insects, the
silver hinged top makers mark possibly
Charles May & Sons, Birmingham, 1898
17.5cm high
$1,000–2,000
52
A Rene Lalique glass hors
d’oeuvres platter, circa 1940
of rectangular form with stylised
stepped handles, stencilled mark
R. LALIQUE, FRANCE
44cm long, 15cm deep
$200–300
53
A pair of Victorian pale
orange glass bowls
8cm high, 11.5cm, diameter
$100–200
54
A Victorian ruby glass jug
of baluster form with a tri-form
spout, the body with applied clear
glass swaging, conforming handle
29cm high
$100–200
55
A pair of Webb glass plates and a
comport, English, circa 1900
each with an opaque ivory ground
ornately etched and gilded with
scrolling floriate and foliate design
the comport 7cm high, 22cm diameter,
the plates 22cm diameter
PROVENANCE
Billila Historic House, Halifax Street,
Brighton, Victoria
$300–500
51

28
56
56
Two Webb cameo miniature glass
vases, English, circa 1885
each of globular form delicately
carved in pink, white and yellow
with leafy blossom and prunus
5.5cm high
$600–800
57
A silver mounted green flashed
and silvered glass pounce
pot, English, circa 1860
the faceted tapering body surmounted
by a pierced sterling silver caster cap,
the base with a lozenge stamped
Varnish & Co. patent, London
11cm high
$100–200
58
A pair of ruby glass scent
bottles, French, 19th century
each of faceted shoulder form with a
gilded collar and hinged top inset with a
painted scene of a palace and a temple
12cm high
$300–500

29
59
A silver mounted Daum Nancy glass
spirit bottle, French, circa 1900
the cylindrical ombre green body
etched with delicately gilded
branches and leaves, screw cap
and removable cup base
16cm long
$800–1,200
60
A set of twelve Bristol green
glass washers, 19th century
9.5cm high, 14cm diameter
$600–800
61
A small Webb cameo glass scent
bottle, English, 19th century
the cylindrical blue overlaid bottle
cut with a design of fruit and
leaves, silver gilt hinged top
7cm high, 1cm diameter
$150–250
62
An Art Deco gold lustre glass
vase, Probably German or
Belgium, circa 1930
19cm high
$150–250
63
An etched glass beaker,
probably 18th century
one side with a scene of
St George the dragon
11.5cm high
$200–300
64
A collection of fourteen Bristol
green glasses, 19th century
all with a short stem, raised on a
circular foot, varying shaped bowls
the largest 13cm high
$300–500
65
A Webb cameo glass vase, circa 1890
of squat baluster form the frosted
amber glass wall carved and overlaid
in opaque white flowers and leafage
8cm high
$300–500
66
A pair of Victorian ruby glass
liqueur glasses
painted with a grapewine decoration
9cm high
$50–100
59
60

30

31

32
67
A Royal Worcester vase by
John Powell, dated 1912
painted with herons in an oasis
below a clear blue sky, dual gilded
loop handles, signed W. Powell,
puce printed factory marks
25cm high
PROVENANCE
The Leonard Joel Collection,
Melbourne
$1,000–1,500
68
A Royal Worcester cup and saucer,
circa 1840
the double walled cup finely
jewelled and gilt with beehive
piercing and decorated with birds
and butterflies, gilt borders, printed
puce and green factory marks
6.5cm high
PROVENANCE
The Howard Collection
The Leonard Joel Collection,
Melbourne
$400–600
69
A Dr Wall Worcester dish, circa 1770
the central shaped panel decorated
with flowers and swags, within a
gilded blue border and serpentine
rim; underglaze blue crescent mark
19cm diameter
PROVENANCE
The Harrow Collection
$200–300
70
A set of three Worcester Flight Barr
& Barr plates, English, circa 1825
with floral sprays and gilt highlights
on a yellow ground border;
puce printed factory marks
26cm diameter
$200–300
67

33
71
A pair of Sevres style bronze mounted
porcelain vases, French, 19th century
of baluster form decorated with a
gilt-bronze foot and caryatid handles,
the pale yellow and blue ground
with raised gilt scrollwork, centred
by a cartouche depicting cupids
frolicking in a garden landscape,
the obverse with a cartouche of
doves and birds in a landscape,
signed Collot, one urn with a cover
60cm high, 50 cm high
PROVENANCE
The Leonard Joel Collection,
Melbourne
The Margolin Collection, Sydney
$4,000–6,000
71

34
72
72
A Dr Wall Worcester polychrome
and blue scale basket and
cover on stand, circa 1770
of shaped form profusely decorated
with applied flowers and leafage
on a blue scale ground, applied
branch handles, underglaze blue
fretted square mark to the plate,
the platter 25.5cm long,
the basket 13cm high
$2,000–3,000
73
A miniature porcelain figure
group, German, 19th century
modelled as companions in
period costume, seated on a
Louis style canape, underglaze
blue printed factory mark
5.5cm high
$100–200
74
A Flight Barr & Barr gilded plate and
a dish with Oriental decoration,
probably Worcester, 19th century
the dish 19cm diameter
$150–250
75
An early Bow porcelain
sauce boat, circa 1760
with fluted body decorated with birds
and flowers, B.A.D.A. seal mark to base
6cm high
together with an early Derby
sauce boat, circa 1760
of lobed form decorated
with sprays of flowers
6cm high
$400–600
76
Two Dr Wall Worcester porcelain
bowls, English, circa 1770
the larger bowl with panels of
Oriental flowers interspersed
with orange and gilt borders;
the other with a stylised swirling
continuous frieze in Imari colours
the largest 7.5cm high, 10cm diameter
$150–250
77
A Rockingham covered urn, circa 1840
of baluster form painted and gilded
with a continuous frieze of spring
flowers, gilded loop handles
13cm high
PROVENANCE
The Leonard Joel Collection,
Melbourne
$150–250

35
78
A Dr Wall Worcester polychrome
and blue scale basket and
cover on stand, circa 1770
of lobed form profusely decorated with
applied flowers and leafage on a blue
scale ground, applied branch handles,
fretted square mark, gold B.A.D.A. seal
16cm high, 25cm wide across the stand
PROVENANCE
The Treacy collection,
Joshua McClelland, 24th May 1949.
$1,800–2,500
79
A Dr Wall Worcester covered
cream jug, circa 1870
of fluted baluster form with a
sparrow beak spout and conforming
cover, with a gilded handle
14cm high
$200–300
80
A Worcester Barr Flight & Barr
cup and saucer, circa 1810
transfer decorated with classical figure
scenes on a pink ground within gilded
borders, impressed crowned BFB mark
the cup 7cm high, the
saucer 14cm diameter
$50–100
81
A Worcester Barr Flight & Barr vase,
circa 1790
painted with a landscape scene of Valle
Crucis Abbey, the cylindrical body with
beaded decoration and gilt highlights
impressed crowned BFB mark and
inscribed Valle Crucis Abbey
9cm high
$150–250
78

36
82
A pair of fine Spode vases, circa 1820
each of baluster form flanked by lion
mask loop handles, finely painted
in gilt with classical floral motifs on
a gilded scale ground, beaded foot
and rim, puce mark Spode 1166
26cm high
PROVENANCE
The D Clifford Collection, 1986
$1,500–2,500
83
A Copenhagen porcelain figure,
Danish, 20th century
the figure of a milkmaid, a cow and a cat
printed factory marks to base
18cm high
$100–200
84
A Mintons cabinet plate, circa 1830
the central panel painted with a spray
of colourful spring flowers within an
ornately decorated raised gilt border,
with reserved panels of birds, signed H.
A. Steele, gold printed factory marks
24cm diameter
$200–300
85
A Dr Wall Worcester plate, circa 1775
decorated with sprays of flowers
within a red painted scalloped border
21cm diameter
PROVENANCE
The Joshua N McClelland Collection
$400–600
86
A Royal Crown Derby dish painted
by Albert Gregory, circa 1900
of square form painted with a central
cartouche of spring flowers reserved
on a gilded ground within a pierced
raised edge; signed by A Gregory
15cm wide, 15cm deep
$200–300
87
A rare Chamberlain’s Worcester
biscuit porcelain figure, circa 1830
finely modelled as a putto in a basket
surrounded by grapes and grape
leaves, incised mark to base
7cm high
$100–200
82

37
88
88
A Worcester Barr Flight &
Barr inkwell, circa 1810
of shaped form with entwined snake
handle, ornately painted and gilt with
a panel of seashells probably by
Thomas Baxter, puce printed factory
mark referring to the Coventry Street
address and royal patronage
11cm high, 15cm wide, 8cm deep
$300–500
89
A large painted porcelain ewer,
probably Worcester, 19th century
of tall baluster form painted with
a panel of spring flowers below
surmounted by an applied leafy vine,
with a gilded spout and dragon handle
33cm high
$1,000–1,500
90
A Moore Brothers figural
centrepiece bowl, 19th century
the scalloped edge central bowl
flanked by two children holding
grapes raised on a gilded oval base
19cm high
PROVENANCE
The Leonard Joel Collection
$300–500
89

38
91
A Royal Worcester porcelain plate
by George Owen, circa 1902
of circular form, ornately decorated
with stylised beehive piercing, signed
G Owen, printed black factory marks
20cm diameter
PROVENANCE
The Whitehouse Collection
$1,000–1,500
92
A rare Plymouth blue and white tri-form
shell dish, English, circa 1778
each shell form bowl supported
on a bed of delicately moulded
sea shells and coral
14cm high, 20cm diameter
$400–600
91
93
A Royal Worcester cup and
saucer, circa 1840
the double walled cup finely jewelled
and gilt with beehive piercing, on
a pink and green ground, the later
saucer with similar decoration and
gilded landscape panels, printed
puce and green factory marks
the cup 6cm high, the saucer
10.5cm diameter
$100–200
92

39
94
A Dr Wall Worcester plate, circa 1775
painted and gilt with floral panels
on a scale blue ground within lobed
and gilded borders, underglaze
blue fretted square mark
22cm diameter
$300–500
95
A Dr Wall Worcester covered
tureen and ladle, circa 1775
each painted in gilt with panels of
flowers on a deep blue ground,
underglaze blue crescent mark,
together with a similar Dr Wall
Worcester scale blue circular plate,
underglaze blue fretted square mark
the tureen 15cm high, 16cm wide,
the plate 19cm diameter
$500–800
94
95

40
96
A Dr Wall Worcester plate,
English, circa 1770
decorated throughout with sprigs
of spring flowers within a brown
painted serpentine border
22cm diameter
$300–500
97
A gilded Coalport tea set
comprising twelve tea cups and
saucers, a creamer and a sugar basin
$100–200
98
A pair of Staffordshire porcelain
dalmatians, 19th century
13cm high
$100–200
96
99
A Chelsea plate, circa 1760
with a pie crust edge decorated
with butterflies, insects and
exotic birds, red anchor mark,
remnants of a gold B.A.D.A. seal
20.5cm diameter
PROVENANCE
The Payne Collection, 1956,
Leonard Joel and Joshua McClelland
$400–600
100
A Limoges painted porcelain
dinner service, late 19th century
a setting for 10 with extra pieces
painted in gilt with leafy
flowers and vines
the largest platter 52cm wide
PROVENANCE
The Leonard Joel Collection,
Melbourne
$300–500
99

41
101
A fine Minton pink ground
pate-sure-pate dessert plate by
Desiree Leroy, circa 1875
finely decorated with birds, butterflies
and flowers, on a pink ground within
a pierced and gilded border
24.5cm diameter
$400–600
101
102
A Flight Barr & Barr Worcester vase,
circa 1815
of baluster form with scrolling gilded
handles and inverted rim, the turquoise
body with a cartouche of brightly
painted flowers, puce painted and
impressed crowned FBB mark
22cm high
$500–800
103
A collection of three Beswick porcelain
swallows, English, 20th century
factory mark BESWICK ENGLAND
the largest 15.5cm long
$300–500
102

42
104
104
A pair of Worcester Barr Flight
& Barr plates, circa 1810
each finely painted and gilt with
a central panel of spring flowers
within a gilded foliate border,
impressed crowned BFB, puce
printed factory mark referring to the
Coventry Street address and royal
patronage, B.A.D.A seal mark
22cm diameter
$400–600
105
105
A Worcester Flight Barr & Barr
pot pourri vase, circa 1810
the squat baluster body painted with a
scene of Goodrich Castle on the river
Wye, on a gilded seaweed ground,
within beaded borders, raised on a
tripartite base supported by three
gilded dolphins, inscribed to base
Goodrich Castle On The River Wye,
puce inscribed factory mark Flight
Barr & Barr, Royal Porcelain Works.
Worcester, London House, Coventry
Street, remnant gilt B.A.D.A seal
14.5cm high
$1,000–2,000

43
106
A Derby porcelain bough pot
and cover, circa 1790
of lobed demi-lune form with a gilded
cartouche to the front and reverse
decorated with spring flowers,
pierced cover and four scroll feet
12.5cm high, 22cm wide
$200–300
106
107
A Wedgwood black jasper urn
and cover, 19th century
of two handled campana form,
decorated with a continuous frieze
of poetic figures within classical
acanthus borders, conforming cover,
impressed factory marks to base
34cm high
$400–600
108
A Copenhagen porcelain figure of a
boy with a pipe, Danish, 20th century
17cm high
$50–100
109
A Royal Worcester cup and
saucer, circa 1904
profusely painted in gilt with spring
flowers on a blush ivory ground
$50–100
107

44
In 1952 Leonard Joel auctioned a
number of works from the Estate
of Ethel Carrick Fox. Part of that
auction was a large tin trunk that
contained a number of unframed
works by both E. C. and E. P. Fox.
The paintings listed from Lot 110–142
formed part of the contents of that trunk.
A certificate of authenticity
accompanies each of these works.
(Please Note: the trunk is on loan from
the Joel Family and is not for sale)
110
110
ETHEL CARRICK FOX
(1872-1952)
Venice
oil on panel
stamped verso: EMILIO AICKELIN
/ Via Marco N. 2853 / VENEZIA
27 x 35cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$5,000–8,000
111
ETHEL CARRICK FOX
(1872-1952)
Marche Ause Pouisson a Venice
oil on board
inscribed and titled on label
verso: E Carrick / 65 Bd Arago /
Marche Ause Pouisson a Venice
26 x 35cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$5,000–8,000
112
ETHEL CARRICK FOX
(1872-1952)
Evening Venice
oil on panel
27 x 35cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$3,000–5,000

45
111
112

46
113
114

47
115
113
ETHEL CARRICK FOX
(1872-1952)
The Seine, Paris
oil on panel
23 x 33cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$4,000–6,000
114
ETHEL CARRICK FOX
(1872-1952)
Under the Bridge 1907
oil on board
signed and dated lower left: Carrick 07
26.5 x 34.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$4,000–6,000
115
ETHEL CARRICK FOX
(1872-1952)
Champs Elysee
oil on panel
stamped verso: E Paris American
Art Co Bull d du Montparnasse
& Rue Bonaparts Paris
23.5 x 32.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$5,000–8,000

48
116
116
ETHEL CARRICK FOX
(1872-1952)
Hydrangeas in Spring
oil on canvas on cardboard
signed twice lower left: Carrick Fox
24 x 31.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$4,000–6,000
117
ETHEL CARRICK FOX
(1872-1952)
The Blue Dress
oil on panel
34.5 x 27cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$3,000–5,000
118
ETHEL CARRICK FOX
(1872-1952)
On the River
oil on canvas
26.5 x 36.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$800–1,500

49
117

50
119
119
EMANUEL PHILLIPS
FOX (1865-1915)
Springtime
oil on panel
15.5 x 22cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$800–1,200
120
ETHEL CARRICK FOX
(1872-1952)
Still Life with Poppies
oil on board
stamped verso: PAPIERE RONTANI 5,
RUE ALEXANDRA MARI, 5 NICE
26 x 34.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,500–2,500
120

51
121
121
ETHEL CARRICK FOX
(1872-1952)
The Garden Terrace
oil on canvas board
26.5 x 34.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$3,000–5,000
122
ETHEL CARRICK FOX
(1872-1952)
Autumn
oil on canvas
27 x 37cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$800–1,500 122

52
123
ETHEL CARRICK FOX
(1872-1952)
Landscape
oil on panel
23.5 x 32.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$2,000–4,000
123
124
ETHEL CARRICK FOX
(1872-1952)
Southern France
oil on panel
sketch verso: Landscape
26.5 x 35.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$2,000–4,000
125
ETHEL CARRICK FOX
(1872-1952)
The Blossom Tree
oil on panel
sketch verso: Haystooks
26.5 x 35.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$5,000–8,000
126
ETHEL CARRICK FOX
(1872-1952)
Corner of the Garden
gouache and watercolour on paper
35.5 x 25.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$500–800
124

53
125

54
127
ETHEL CARRICK FOX
(1872-1952)
Landscape
oil on panel
27 x 34.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,000–2,000
127
128
ETHEL CARRICK FOX
(1872-1952)
Summer Hillside
oil on canvas
25 x 35.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,500–2,500
129
ETHEL CARRICK FOX
(1872-1952)
Early Morning Light
oil on canvas
26.5 x 37cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,000–2,000
128
130
ETHEL CARRICK FOX
(1872-1952)
The Inlet
gouache on paper
26 x 36.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$700–1,200
129

55
131
131
ETHEL CARRICK FOX
(1872-1952)
Roses
oil on canvas on board
34 x 25.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,500–2,500

56
132
EMANUEL PHILLIPS FOX
(1865-1915)
The Clearing
oil on panel
sketch verso
13.5 x 21.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$700–1,000
133
EMANUEL PHILLIPS FOX
(1865-1915)
Headland
oil on panel
23.5 x 30.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,500–2,500
134
EMANUEL PHILLIPS FOX
(1865-1915)
Low Tide
oil on panel
24.5 x 40.5cm
132
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$2,000–3,000
135
EMANUEL PHILLIPS FOX
(1865-1915)
The Bridge
oil on panel
inscribed lower left
29.5 x 45.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$2,500–3,500
133

57
134
135

58
136
136
EMANUEL PHILLIPS FOX
(1865-1915)
Nocturnal Paddock
oil on panel
sketch verso
20.5 x 30.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$1,500–2,500
137
EMANUEL PHILLIPS FOX
(1865-1915)
The Farm Shed
oil on panel
sketch verso
14 x 22cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$400–600
138
EMANUEL PHILLIPS FOX
(1865-1915)
Riverbend
oil on panel
sketch verso
15.5 x 22cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$700–1,000

59
139
EMANUEL PHILLIPS FOX
(1865-1915)
Farmland
oil on panel
sketch verso
13.5 x 21.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$700–1,000
140
EMANUEL PHILLIPS FOX
(1865-1915)
Summer Field
oil on panel
13.5 x 21.5cm
139
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$700–1,000
141
EMANUEL PHILLIPS FOX
(1865-1915)
Twilight Landscape
oil on panel
12.5 x 21.5cm
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$400–600
142
EMANUEL PHILLIPS FOX
(1865-1915)
The Vegetable Garden
oil on panel
inscribed verso: Phillips Fox
13.5 x 21.5cm
140
PROVENANCE
The Ethel Carrick Fox Estate, 1952
$600–1,000
141

60
143
143
WALTER WITHERS (1854-1914)
Homeward Bound
oil on board
signed lower left: Walter Withers
20.5 x 34cm
$4,000–6,000
144
WALTER WITHERS (1854-1914)
Through the Trees, 1903
oil on canvas
signed and dated lower left:
Walter Withers 03
49.5 x 34cm
$5,000–8,000

61
144

62
145
BERNARD HALL (1859-1935)
Camellias and Porcelain
oil on canvas
signed lower left: B Hall
58.5 x 44.5cm
$2,000–3,000
146
Three portrait miniatures,
19th century and later
each painted with a portrait of
a lady in period costume with
elaborate hair ribbons and bows
the largest 12cm high (oval)
$600–1,200
147
ARTHUR JOSE DE SOUZA
LOUREIRO
(PORTUGUESE, 1853-1932)
The Grandmother, 1889
oil on canvas
signed and dated lower left:
ARTHUR LOUREIRO 1889
67.5 x 47cm
PROVENANCE
Australian & Overseas Paintings,
Leonard Joel, Melbourne,
11 April 1984, Lot 400
$4,000–6,000
145
146

63
147

64
148
LOUIS BUVELOT (1814-1888)
Bacchus Marsh, 1876
pencil
inscribed and dated lower centre:
Bacchus Marsh 6 de 1876
26.5 x 34cm
$200–500
149
LOUIS BUVELOT (1814-1888)
The Farm, 1880
pencil
inscribed and dated lower left:
Evertenle 22 Avril 1888
25.5 x 36.5cm
$200–500
148
150
THOMAS BALFOUR
GARRETT (1879-1952)
Headland
monotype
signed and titled lower right and
left: Tom Garrett Headland
25 x 21.5cm
$700–900
151
MAX MELDRUM (1875-1955)
Eltham, 1923
oil on board
signed upper left: Meldrum
signed, titled and dated verso:
Max Meldrum / Eltham 1923
33 x 31cm
$400–600
149
152
ARTIST UNKNOWN
Brighton
watercolour
inscribed lower left: BRIGHTON
8 x 13.5cm
$200–400

65
153
153
FREDERICK McCUBBIN
(1855-1917)
The Pool, 1905
watercolour
signed and dated lower left:
F McCubbin 1905
24 x 34cm
PROVENANCE
The Hartley Estate, Melbourne
$4,000–6,000
154
JOHN MATHER (1848-1916)
Farm House, 1912
watercolour
signed and dated lower left:
J Mather 1912
29 x 44cm
$1,000–1,200

66
155
155
WALTER WITHERS (1854-1914)
Figures on the Beach, 1904
watercolour
signed and dated lower right:
Walter Withers 04
15 x 46cm
$2,500–3,500
156
WALTER WITHERS (1854-1914)
Girl Outside a Slab Hut, 1900
watercolour
signed and dated lower right:
Walter Withers 1900
35.5 x 24.5cm
$3,000–5,000
157
AUSTRALIAN SCHOOL,
19TH CENTURY
Pioneer Family
oil on canvas
70 x 90.5cm
$800–1,500
156

67
158
158
CARL HAMPEL (1887-1942)
A Farm Near the Yarra, Morning
oil on board
signed lower right: Hampel
19 x 56.5cm
$1,000–1,500
159
FREDERICK LEIST (1878-1945)
The Floral Hat 1903
pastel
signed and dated lower right:
F LEIST 03
76 x 55cm
PROVENANCE
The Rogowski Collection, Leonard Joel,
Melbourne, 23 February 1998, Lot 119
$2,000–4,000
160
AMBROSE McCARTHY
PATTERSON (1877-1967)
The Farmhouse
oil on board
signed lower left: A. Patterson
26.5 x 35.5cm
$600–800
159

68
161
EUROPEAN SCHOOL,
19TH CENTURY
Classical Still Life
oil on canvas
87.5 x 140.5cm
PROVENANCE
Leonard Joel, Melbourne,
10 September 1989, Lot 188
$2,000–3,000
161
162
BEREND HENDRICK
THIER (1751-1814)
Herdsman with Cattle
and Sheep, 1776
oil on panel
signed and dated lower right:
B. H. Thier 1776
25 x 29.5cm
PROVENANCE
The George Lansell Collection, Bendigo
The Leonard Joel Collection,
Melbourne
$500–800
163
WILLIAM SHORT (1868-1947)
Winding Track, 1891
oil on canvas
signed and dated lower
left: W Short 1891
21.5 x 31.5cm
$300–500
162
164
WILLIAM H WILLIAMS
(1817-1886)
Off the Dutch Coast, 1879
oil on canvas
singed and dated lower left:
W H Williams 1879
75.5 x 126cm
PROVENANCE
Leonard Joel, Melbourne,
10 September 1989, Lot 188
$2,000–3,000

69
163
164

70
165
165
DAVID DAVIES (1864-1939)
French Port
watercolour
signed lower left: D DAVIES
21.5 x 31cm
PROVENANCE
Leonard Joel, Melbourne,
October 1964, Lot 199
EXHIBITED
David Davies Retrospective,
Art Gallery of NSW, Sydney,
1 February - 10 March 1985 cat no. 49
$2,000–3,000
166
ROBERT RICHMOND
CAMPBELL (1902-1972)
Trafalgar Square
oil on canvas on board
signed lower right: Robert Campbell
inscribed verso: Trafalgar Square
37.5 x 48.5cm
PROVENANCE
Seddon Galleries, Melbourne
$1,500–2,500
167
FRENCH SCHOOL,
LATE 19TH CENTURY
Figures on the Beach
oil on canvas on board
17 x 23.5cm
$300–500
168
JAMES WALTHAM
CURTIS (1839-1901)
Swaggie with Dog
oil on board
21cm diameter
$200–400

71
166
167

72
169
170

73
169
HENRY GRITTEN (1818-1873)
View Near Windermere,
North of England
oil on board
signed and titled verso: Henry Gritten,
View near Windermere north of England
20.5 x 30cm
PROVENANCE
The John Danks Collection
$1,000–1,500
170
SAMUEL THOMAS
GILL (1818-1880)
Figures in Landscape
watercolour
signed with initials lower left: S.T.G
13 x 20cm
PROVENANCE
The George Page Cooper Collection,
Melbourne
$1,000–1,500
171
PERCY LINDSAY (1870-1952)
Little Collins Street
oil on board
signed lower left: Percy Lindsay
25 x 11cm
$1,800–2,500
172
PERCY LINDSAY (1870-1952)
Figure by a River
oil on canvas on board
signed lower right: Percy Lindsay
17 x 22.5cm
$700–900
173
ARTIST UNKNOWN
St Kilda, 1897
watercolour
inscribed and dated verso:
ST KILDA 3RD APRIL 1897
14.5 x 23.5cm
$300–500
171

74
174
A carved jadeite group
of two maidens, one seated holding
a ‘lingzhi’ fungus spray, the other
standing next to her holding up a
fruiting peach branch, wood stand
21cm high
PROVENANCE
Sir George Latham Collection
$250–350
175
A collection of small carvings
comprising seven ivory netsuke,
a hornbill snuff bottle, a tobacco
pouch, pipe and netsuke, a small horn
container and a wood mask netsuke
the pipe 21cm long
$200–300
176
A group of three carvings
comprising an agate gourd form box
and cover, a rose quartz figure of a
standing maiden, and another figure
of a dignitary and child, wood stands
the rose quartz figure 14.5cm high
$300–400
174
177
A bronze group of five doves, Japanese
each depicted in a different
posture perched on the arched
base, three character mark
55.5cm long
$100–200
175

75
178
178
A Japanese Shibayama
inlaid plate, Meiji Period
the central gilded metal panel finely
inlaid and relief moulded with a scene
of birds and flowers under a prunus tree
within an ornate filigree silver border
25cm diameter
$600–800
179
A tortoiseshell box and cover
Qing dynasty, 19th century
of shallow circular form, the cover and
base carved with landscape scenes
within florette borders, 9.5cm diameter
$200–300
179

76
180
A finely carved coral and ivory
lace parasol, 19th century
the coral handle ornately decorated
with a fox chasing a bird on a grape and
leaf entwined stem, carved coral finial
the coral handle 21cm long
PROVENANCE
The Sir Robert Knox Collection
$100–200
181
A coral mounted silver gilt
rattle, English, 19th century
the bell set rattle with a
whistle and coral teether
14cm long
$300–400
180
182
A collection of five lacquer
boxes, German, 19th century
comprising a a large Stobwasser
Fabrik lacquer box painted with
an image of Sir Walter Scott, Bart.
seated holding a walking stick with a
wolfhound by his side, together with
four other lacquer boxes painted
with unknown male portraits
the largest 4cm high, 14cm diameter
$200–300
181

77
183
A two train English musical
bracket clock by Thomas
Satcher, London, circa 1790
a silvered chapter ring with Roman
numerals, break arch dial with two
tune selector on gilt dial, AIR and
MINUET, fully engraved back plate
36cm high, 23cm wide, 15cm deep
PROVENANCE
E.E Wagstaff Collection
$6,000–8,000
184
A French carriage clock, circa 1910
gilt brass case, eight day lever platform
movement with strike and alarm on bell
13cm high, 8cm wide, 7cm deep
PROVENANCE
The Leonard Joel Collection
$200–400
185
A pair of spelter and marble table lamps
of baluster form with rams mask
handles, decorated with classical
motifs on stepped square marble
bases, with gold silk shades
the base 44cm high
$100–200
186
A Loetz stemmed vase, circa 1900
the iridescent baluster form
body raised on a circular foot
15cm high
$200–300
187
A collection of natural crystals
illustrating the six systems of
crystallization prepared by A.E. Foote,
1317 Arch Street, Philadelphia, Pa, U.S.A
together with a collection
of scientific slides
3cm high, 13cm wide, 13cm deep
$100–200
188
A leather jewellery casket
6cm high, 18cm wide, 14cm deep
$50–100
183

78
189
A Flight Barr & Barr Worcester
two-handled vase, circa 1810
of baluster form with ornately scrolling
gilt handles, the body profusely
decorated with a continuous frieze
of flowers on a pale blue ground,
puce inscribed factory mark
Flight Barr & Barr, Royal Porcelain
Works. Worcester, London House,
Coventry Street, gilt B.A.D.A seal
30cm high
PROVENANCE
The Nicholas Collection, Leonard Joel
$2,000–3,000
190
Two Art Deco gold lustre glass vases,
probably German or Belgian, circa 1930
the largest 16cm high
$500–800
191
A Victorian mother of pearl
mounted sewing box
of rectangular form with a hinge top
opening to a velvet lined interior fitted
with various silver sewing implements
3cm high, 15cm wide
$200–300
192
A small collection of loose
shells and shell necklaces
$100–200
193
A group of three ceramic ducks,
Australian, circa 1950
of graduated size, each marked
MCP Sydney, No. 172
the largest 23cm high, 29cm wide
$100–200
194
Four tapestry woven cushions
the largest 42cm high, 50cm wide
$40–60
189

79
195
195
A Russian silver gilt and
enamel covered urn, marked
Khlebnikov with the Imperial
warrant, Moscow, circa 1885
the panelled ovoid body, loop handles
and cover enamelled throughout
with vari-colour stylised scrolling
foliage, one side with a convex panel
of the Dormition Cathedral, the
obverse of the Cathedral of Christ
the Saviour, gilt wash interior
20cm high
$2,000–3,000
196
Two Continental enamel
boxes, 19th century
each of circular form with a gilt metal
mounted hinged cover, decorated
with figures and landscape scenes
4.5cm high, 10cm diameter
PROVENANCE
The Buller-Murphy Collection
$400–600
197
A collection six various snuff boxes
and snuff mulls, 18th century and later
comprising two horn snuff mulls, a
hinged oval wooden box inscribed
‘Eliz Sillitoe, 1782’, a circular
copper embossed box, a pewter
mounted circular box and jasper
chamfered rectangular box
the largest box 4cm high, 8cm diameter
$200–300

80
198
198
A Battersea enamel box,
English, 19th century
of oval form, hinged cover, finely
painted with a fisherman in a landscape
scene reserved on deep blue ground
3cm high, 8cm wide, 5cm deep
$1,000–1,200
199
A French enamel snuff box,
probably Limoges, 19th century
the rectangular cover decorated
with a scene of courtesans and
companions in a classical interior
2.5cm high, 8.5cm wide, 5cm deep
$200–400
200
Two tortoiseshell pique
snuff boxes, circa 1820
together a small sterling lined
and mounted shagreen cosmetic
box of a similar period
the largest box 7cm high
$600–800
201
A pair of rare colonial carved
coquilla nut figural snuff boxes,
Dutch, 18th century
one carved as a cleric wearing a
long robe; the other as a European
gentleman wearing a long coat
with mother of pearl buttons
the largest 8cm high, 3cm wide
PROVENANCE
The Leonard Joel Collection,
Melbourne
NOTE
The coquilla nut emanates from
swampy areas on the eastern side
of South America, from a palm
known as the “attalea funiefera”.
Brazilians call it “Piassabe”. The
nuts were introduced into Western
Europe in the mid-16th century,
and used for small carved objects
until the end of the 19th century.
$300–500
202
A Worcester reticulated porcelain
scent bottle, attributed to
Graingers, circa 1890
of compressed circular form with a
narrow neck flanked by lug handles, the
double walled body finely decorated
with roundels of stylised piercing,
surmounted by a chased gilded
minaret stopper and matching chain
8.5cm long
$600–300
203
A gilt bronze and silver gilt porcelain
mounted scent flask, French,
19th century
painted with circular panels of
flowers on a bleu-celeste ground,
with serpentine scroll decoration
to the body and cover
the flask 6cm high
PROVENANCE
The Leonard Joel Collection,
Melbourne
$400–600

81
204
A pair of gilded enamel vases,
French, 19th century
each of baluster form on a rich
red ground, decorated with the
figure of a lady and a gentleman
in a garden landscape
17cm high
$1,000–1,500
205
A pair of Rudolstadt porcelain figures,
German, late 19th century
modelled as a standing blue
boy and a female companion,
impressed marks EBS 463
20cm high
$50–100
206
A faceted amber bead and leaf
decorated gilt bronze picture frame
18cm high
PROVENANCE
The Dame Nellie Melba Collection
$100–200
207
A Victorian Gothic Revival brass
bound walnut sewing box
16cm high, 30cm wide, 23cm deep
$300–500
208
A portrait miniature of a gentleman,
19th century
the sitter painted wearing a red coat
with a black waistcoat and white jabot,
within a ropework oval brass frame
8cm high
$300–500
209
A portrait miniature of a chevalier,
probably French, 18th century
oval, painted on copper depicting
a gentleman in a long powdered
wig wearing armour and a silk
cravat, within a gilt brass frame
9cm high
$300–500
204

82
210
A Viennese enamel figure on
stand, Austrian, 19th century
in the Renaissance taste, the figure
modelled as a court jester with a
blister pearl belly raised on a bell
form stand, relief decorated with
masks and classical cartouches
13cm high
$1,000–1,500
211
A large carved cameo shell,
19th century
carved with a classical draped
mother and child holding a book
12cm high, 11.5cm wide
$200–300
212
A French enamel miniature
portrait brooch, circa 1900
4.5cm high
213
Two ivory snuff boxes, late 18th century
the circular box with an inset miniature
of a naval officer in regalia and medals,
tortoiseshell interior; the rectangular
box, probably French stained pink and
intricately etched with cherubs to the
exterior and a river scene on the interior
the larger box 1.5cm high,
8.5cm wide, 6cm deep
$300–500
214
A Chelsea plate, circa 1755
decorated in coloured enamels
with exotic birds and insects in
a landscape scene within a gilt
border, red anchor mark
21.5cm diameter
PROVENANCE
The Payne Collection, 1956,
Leonard Joel and Joshua McClelland
$500–800
PROVENANCE
Pennybryn
$100–200
210
215
A Viennese enamel and gilt metal
sweetmeat dish, late 19th century
in the Renaissance taste
decorated throughout with classical
figural and landscape scenes, raised on
a central standard in the form of a stork
8cm high, 14cm wide, 6cm deep
$600–1,000
215

83
216
216
A collection of nine Battersea
boxes, English, 19th century
the largest 2cm high, 6cm wide
$900–1,200
217
Two enamel taper stick boxes,
English, 18th/19th century
the largest 3cm high, 7cm diameter
$200–400
218
A Dr Wall Worcester tea bowl,
late 18th century
decorated with floral sprays
4cm high, 7.5cm diameter
$50–100
219
A polychrome enamel vase,
French, 19th century
of slender baluster form, decorated
with a gentleman in a powdered wig
and dressed in the Louis XV style,
signed M. Baelay
14cm high
$400–600
220
Four Battersea enamel boxes,
English, 19th century
the largest 3cm high,
7cm wide, 5.5cm deep
$400–600
221
An unusual Bohemia lustre vase,
circa 1930
14.5cm high
$200–300

84
222
A marquetry inlaid elm desk,
Dutch, 18th century
with a serpentine top finely inlaid
with classical and foliate motifs
above a conforming frieze with
two drawers, raised on delicate
cabriole legs with hoof feet
76cm high, 77cm wide, 52cm deep
PROVENANCE
Dr M Pearl Collection
$1,000–2,000
223
An English mahogany pedestal desk
with five drawers to the frieze, each
pedestal with a single cupboard
door, short bracket feet
74cm high, 118cm wide, 59cm deep
$600–800
224
A Louis XV style beech salon suite
comprising a two seat canape,
a pair of fauteuil, a pair of salon
chairs and a small footstool
$1,000–1,500
225
An Edwardian marquetry inlaid
satinwood display cabinet
the bevelled arch panelled doors
above a pair of frieze drawers with a
stretcher base uniting four square legs,
ornate foliate marquetry throughout
185cm high, 132cm wide, 45cm deep
$2,000–3,000
226
A fruitwood child’s highchair,
19th century
90cm high
$100–200
227
A George IV cross banded
and ebonised fruitwood and
rosewood worktable
the bi-fold hinge top opening to
baize lined surface above a fitted
drawer and a demi-lune work slide
74cm high, 46cm wide,
42cm deep (closed)
$600–800
228
A Victorian flame mahogany sideboard
142cm high, 182cm wide, 65cm deep
$500–800
229
An Indian teak coffee table
51cm high, 174cm wide, 75cm deep
$400–600
230
A Victorian style burl walnut coffee table
51cm high, 180cm wide, 99cm deep
$200–300
222

225
85

86
231
231
A set of ten associated
Hepplewhite style dining chairs,
English, 19th century
each with a serpentine crest rail
above a pierced vase form splat and
drop-in velvet upholstered seat
$1,000–1,500
232
A George III mahogany pedestal
extension dining table
the rounded rectangular top raised on
a central concave stretcher with four
turned supports and fluted outswept,
brass capped legs, three leaves
71cm high, 274cm wide, 126cm deep
$1,800–2,500
233
A provincial oak dining table,
English, late 18th century
then slab top raised on turned
legs and stretchers
74cm high, 173cm wide, 73cm deep
$600–800
234
A Regency rosewood work table
with a single frieze drawer and satin
brocade lined work slide, raised on
delicate lyre form supports, with
out swept scroll carved legs
76cm high, 45.5cm wide, 35cm deep
PROVENANCE
The W Johnson Collection
$600–800
End of Sale

232
87

(Detail):
FREDERICK WOODHOUSE SENIOR (1820-1909)
Mr Thomas Chirnside’s ‘General’ 1863
Australian & International Art auction, 15 June 2020
Estimate: $20,000-30,000, SOLD $56,120
Entries Invited
Australian & International Art
Auction | 19 October 2020
ENQUIRIES 03 9500 2607 | mail@gibsonsauctions.com.au

90
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in the case or error or dispute and whether during or

91
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$20 $0–$500
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where applicable.
B) PAYMENT AND PASSING OF TITLE
The buyer must pay the full amount due (comprising
the hammer price, buyers premium and any
applicable taxes and GST) not later than three (3)
days after the auction date.
The buyer will not acquire title for the lot until
Gibson’s Auctioneers & Valuers 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 the following means:
• Bank Transfer/Direct Deposit is our preferred
method of payment
Account Name: Gibsons Auctions
Bank:
Bank of Melbourne
(A division of St George)
BSB: 193879
Account No: 441701443
Swift Code: SGBLAU2S
Routing Code: 021000021
Bank Address: 197-201 Glenferrie Road,
Malvern, Vic, 3144
The buyer is responsible for any bank fees and
charges applicable for the transfer of funds into
Gibson’s Auctioneers & Valuers’s account
• Personal, Company and Bank Cheques are not
accepted without prior approval.
• Eftpos (no charge)
• Credit cards: Visa and Mastercard (1.2% incl GST
merchant fee) and American Express (3% incl
GST merchant fee)
Please note that credit card transactions over
$5,000 will not be accepted over the telephone
unless by prior arrangement.
• Cash up to AU$10,000 can accepted in
cash. For any amount over this, cash is to be
deposited directly into our account at a Bank of
Melbourne/St George branch
C) COLLECTION OF PURCHASES & INSURANCE
Gibson’s Auctioneers & Valuers 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 three
(3) days from the date of the sale unless otherwise
agreed in writing between Gibson’s Auctioneers &
Valuers and the Buyer.
At the fall of the hammer, insurance is the
responsibility of the purchaser.
D) PACKING, HANDLING AND SHIPPING
At the request of the buyer, Gibson’s Auctioneers &
Valuers may assist with packing of goods but takes
no responsibility for loss, damage or breakage that
may occur.
Gibson’s Auctioneers & Valuers at the request of the
buyer may arrange for a carrier, packer or shipper to
have the property packed, insured and shipped at
the buyer’s expense. All packing, shipping, insurance,
postage & associated charges will be borne by the
purchaser.
Gibson’s Auctioneers & Valuers can assist with
removal companies that the buyer can use but takes
no responsibility whatsoever for the actions of any
recommended third party.
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 Gibson’s
Auctioneers & Valuers 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,
Gibson’s Auctioneers & Valuers 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 the ANZ visa credit card
rate as published weekly in the Australian
Financial Review
ii)
iii)
iv)
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
to cancel the sale
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
Gibson’s Auctioneers & Valuers in the event that
the item(s) are sold for an amount greater than
the original invoiced amount.
vi)
vii)
to set off against any amounts which Gibson’s
Auctioneers & Valuers may owe the Buyer in
any other transactions, the outstanding amount
remaining unpaid by the Buyer.
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 Gibson’s
Auctioneers & Valuers 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
Gibson’s Auctioneers & Valuers 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 three (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 Gibson’s Auctioneers &
Valuers Liability
Gibson’s Auctioneers & Valuers 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
fourteen (14) 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

92
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)
iii)
iv)
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
Gibson’s Auctioneers & Valuers when the lot was
sold at Auction.
the Original Buyer must have remained the
owner of the lot without disposing of any interest
in it to any third party
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 Gibson’s
Auctioneers & Valuers 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 fourteen (14) 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 Gibson’s
Auctioneers & Valuers 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 Gibson’s Auctioneers &
Valuers relating to a lot including the contents of this
catalogue, is and shall remain the property at all times
of Gibson’s Auctioneers & Valuers and shall not be
used by the Buyer, nor by anyone else without our
prior written consent. Gibson’s Auctioneers & Valuers
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
Gibson’s Auctioneers & Valuers 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
Gibson’s Auctioneers & Valuers prior to auction for
updated pre-sale estimates and starting prices.
12. Sale results
Gibson’s Auctioneers & Valuers will provide auction
results, which will be available as soon as possible
after the sale. Results will include buyer’s premium
(22% plus GST). These results will be posted at
www.gibsonsauctions.com.au.
13. Goods and Service Tax
In accordance with A New Tax System (Goods
and Services Tax) Act 1999 Gibson’s Auctioneers
& Valuers Auctions will collect on behalf of the
Australian tax office (ATO) a Goods and Service Tax
(GST) of 10% on all applicable transactions.
ABN: 26 440 767 899
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 Gibson’s
Auctioneers & Valuers approved freight
company including Australia Post
2. The items are exported within 60 days of the
date of the sale
The invoice supplied by Gibson’s Auctioneers &
Valuers 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)
iii)
iv)
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;
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
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 seller in addition to the buyers
premium plus any applicable GST.
15. Jewels & Watches
GEMSTONES
Gemstones have historically been subjected to a
variety of treatments to enhance their appearance.
Sapphire and rubies are routinely heat treated to
improve their colour and clarity, similarly emeralds
are frequently treated with oils or resin for the same
purpose. Other treatments such as staining or dyeing,
irradiation, filling or coating may have been used
on other precious and semi-precious gemstones
and organic material. These treatments may be
permanent, whilst others may need special care to
preserve their appearance. Buyers should assume
that each lot has been subject to some form of
treatment and that the estimates reflect this.
A number of laboratories issue certificates that
give detailed descriptions of gemstones, and in
the event that Gibson’s Auctioneers & Valuers has
been supplied with or obtained certificates for any
lot, this shall be noted in the catalogue. However,
as there may not be consensus between different
laboratories on the degree, or types of treatment
of the gemstones, Gibson’s Auctioneers & Valuers
supplies these without warranty.
Buyers should assume that all gemstones sold by
Gibson’s Auctioneers & Valuers may have been
subjected to such treatments, and that the catalogue
estimates reflect this.
PEARLS
Pearls, like gemstones, are also subject to various
treatments. Buyers should assume that any pearls
sold by Gibson’s Auctioneers & Valuers may have
been subjected to such treatments, and that the
catalogue estimates reflect this.
WATCHES
Please note: All watches sold by Gibson’s
Auctioneers & Valuers are sold on an “as is”
basis. Gibson’s Auctioneers & Valuers makes no
representation or warranty that any watch is in
working order. Many watches have been repaired
over their lifetime and may contain non-original parts.
The absence of any reference to the condition of a
watch does not imply that the lot is in good condition
and without defects, repairs or restorations. Buyers
should be aware that a general service, change of
battery or further repair work, for which the Buyer is
solely responsible for, may be necessary.
ESTIMATED WEIGHTS
If a stone has a known weight, it has been weighed
out of the mount. If a stone has an estimated weight,
it is an approximate weight only and has been
measured by us in the mount and is a statement of
opinion only. The information is given as a guide only
and Buyers should satisfy themselves with regard to
this information as to its accuracy.