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GA032 | Interiors

The Bloomfield Taylor Collection The Naïve Art Collection of the Late Claude Ullin AM Private Collections, Melbourne Gibson's is excited to announce the catalogue is now online for our first live auction of 2022, Interiors, Sunday 6 March. Interiors features fine collections of notable identities, including The Naïve Art Collection of the Late Claude Ullin AM, founder of Gallery Art Naïve and former multiple time Mayor of Stonnington. For collectors of unique furniture and decorative arts, Interiors also offers the Bloomfield Taylor Collection, collated over many years by lifestyle guru and former 'Real Housewife' Sally Bloomfield and her interior designer parents Julia and Peter Bloomfield as well as elegant European wares from a Melbourne-based private collection. A Private Collection of Persian Rugs, Toorak includes a substantial number of beautiful antique Iranian and Middle Eastern rugs.

The Bloomfield Taylor Collection
The Naïve Art Collection of the Late Claude Ullin AM
Private Collections, Melbourne

Gibson's is excited to announce the catalogue is now online for our first live auction of 2022, Interiors, Sunday 6 March.

Interiors features fine collections of notable identities, including The Naïve Art Collection of the Late Claude Ullin AM, founder of Gallery Art Naïve and former multiple time Mayor of Stonnington. For collectors of unique furniture and decorative arts, Interiors also offers the Bloomfield Taylor Collection, collated over many years by lifestyle guru and former 'Real Housewife' Sally Bloomfield and her interior designer parents Julia and Peter Bloomfield as well as elegant European wares from a Melbourne-based private collection. A Private Collection of Persian Rugs, Toorak includes a substantial number of beautiful antique Iranian and Middle Eastern rugs.

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<strong>Interiors</strong><br />

PRIVATE COLLECTIONS<br />

Melbourne, Sunday 6 March 2022


Specialists & Management for this sale<br />

Jennifer Gibson<br />

CEO & Head of<br />

Valuations<br />

Deanna Baxter<br />

Business<br />

Manager<br />

Samuel Fricker<br />

Operations<br />

& Marketing<br />

Manager<br />

Ann Roberts<br />

Consultant<br />

Specialist<br />

Asian Art<br />

Jon Dwyer<br />

Consultant<br />

Specialist<br />

Australian &<br />

International Art<br />

Elizabeth<br />

Stannard<br />

Consultant<br />

Specialist<br />

Jewellery<br />

Marilla<br />

O’Sullivan<br />

Consultant<br />

Specialist<br />

Luxury & Designer<br />

Jennifer Gibson<br />

jennifer.gibson@gibsonsauctions.com.au<br />

Deanna Baxter<br />

deanna.baxter@gibsonsauctions.com.au<br />

Samuel Fricker<br />

samuel.fricker@gibsonsauctions.com.au<br />

Ann Roberts<br />

ann.roberts@gibsonsauctions.com.au<br />

Jon Dwyer<br />

jon.dwyer@gibsonsauctions.com.au<br />

Elizabeth Stannard<br />

elizabeth.stannard@gibsonsauctions.com.au<br />

AUCTION ADMINISTRATION<br />

Kristine Cseke<br />

Office Administrator<br />

Megan Mac Sweeney<br />

Accounts Administrator<br />

Max Sumner<br />

Operations & Logistics<br />

Marilla O’Sullivan<br />

Auction Administrator<br />

Ella Gibson<br />

Auction Administrator<br />

AUCTION ENQUIRIES<br />

ABSENTEE & TELEPHONE BIDS<br />

Deanna Baxter<br />

bids@gibsonsauctions.com.au<br />

+61 9500 2607<br />

CONDITION REPORTS<br />

condition.reports@gibsonsauctions.com.au<br />

+61 9500 2607<br />

SHIPPING<br />

www.gibsonsauctions.com.au/shipping<br />

ACCOUNTS<br />

Megan Mac Sweeney<br />

accounts@gibsonsauctions.com.au<br />

+61 9500 2607<br />

Simon Gibson<br />

CFO<br />

simon.gibson@gibsonsauctions.com.au<br />

GENERAL ENQUIRIES<br />

mail@gibsonsauctions.com.au<br />

+61 9500 2607<br />

www.gibsonsauctions.com.au<br />

03 9500 2607<br />

gibsonsauctions.com.au<br />

ORRONG RD<br />

ASHLEIGH RD<br />

NEW ST<br />

HIGH ST<br />

ARMADALE<br />

OSMENT ST<br />

NORTHCOTE RD<br />

KOOYONG RD<br />

Auction, Viewing and<br />

Payment & Collections<br />

Level 1, 885-889 High St<br />

Armadale, Victoria 3143<br />

AUBURN GROVE<br />

DENBIGH RD<br />

SUTHERLAND RD<br />

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />

CHEEL ST


FRONT & BACK COVER:<br />

Lot 328 (Detail)<br />

<strong>Interiors</strong><br />

PRIVATE COLLECTIONS<br />

Auction<br />

Sunday 6 March 2022, 11.00am<br />

Level 1, 885-889 High Street<br />

Armadale, Victoria 3143<br />

Viewing (in line with COVIDSafe government regulations)<br />

Thursday 3 March<br />

Friday 4 March<br />

Saturday 5 March<br />

10.00am – 5.00pm<br />

10.00am – 5.00pm<br />

10.00am – 5.00pm<br />

Auction Code: <strong>GA032</strong><br />

GST<br />

† Lots with this symbol are subject<br />

to GST on the hammer price and the<br />

buyer’s premium.<br />

Buyer’s Premium<br />

Buyer’s Premium is charged at<br />

22% of the hammer price plus GST.<br />

GST is applicable to the buyer’s<br />

premium only, unless otherwise<br />

indicated by the † symbol.<br />

Registration<br />

To register to bid at Gibson's<br />

Auctioneers & Valuers an accredited<br />

form of photo identification is required.<br />

This applies to bidding in person at<br />

the auction, Telephone, Absentee and<br />

Online bidding.<br />

Resale Royalty Scheme<br />

Lots subject to payment of the Artist's<br />

Resale Royalty Scheme will be denoted<br />

by the symbol §. The Australian Resale<br />

Royalty is a flat rate of 5% on the<br />

hammer price (including GST) and is<br />

payable by the seller.<br />

Restricted or Organic Material<br />

♦ Lots with this symbol have been<br />

identified at the time of cataloguing<br />

as containing organic material which<br />

may be subject to export or import<br />

restrictions. The absence of this<br />

symbol is not a guarantee that export<br />

or import restrictions will not apply. See<br />

www.cites.org for further information.<br />

Payments & Collections<br />

(By Appointment)<br />

gibsonsauctions.com.au/bookings<br />

or phone 03 9500 2607<br />

Payments & Collections can be made<br />

from: Level 1, 885-889 High Street,<br />

Armadale, Vic 3143<br />

Monday 7 March<br />

Tuesday 8 March<br />

Wednesday 9 March<br />

10am–5pm<br />

10am–5pm<br />

10am–5pm<br />

All goods must be collected and paid<br />

in full by 5pm on Wednesday 9 March<br />

(unless by prior arrangement) to avoid<br />

removal and storage charges.<br />

All payments are to be made in<br />

Australian Dollars (AU$). Please refer to<br />

the methods of payment in the ‘How to<br />

Buy’ section on the following pages.<br />

Credit card surcharges apply – 1.2%<br />

(incl GST) for Visa and Mastercard and<br />

2% (incl GST) for American Express.


PROPERTIES FROM<br />

1 The Bloomfield/Taylor<br />

Family Collection<br />

(Lots 1–199)<br />

2 A Private Collection<br />

of Persian Rugs, Toorak<br />

(Lots 200–238)<br />

3 The Naïve Art Collection<br />

of the Late Claude Ullin AM<br />

(Lots 239–314)<br />

4 Property from a Private Collection,<br />

Melbourne<br />

(Lots 315–457)<br />

RIGHT:<br />

Lot 264 (Detail)


4<br />

How to Buy<br />

All you need to know about the bidding process at auction<br />

Viewing<br />

Catalogues<br />

Online catalogues can be viewed at<br />

www.gibsonsauctions.com.au approximately three weeks<br />

prior to the auction date.<br />

Complimentary printed catalogues are available at Gibson’s<br />

Auctioneers & Valuers.<br />

Symbols<br />

Occasionally, a symbol is printed next to a lot number,<br />

indicating a special clause associated with the sale of the<br />

item/s. Further information on symbols within our catalogues<br />

can be found on Page 1.<br />

Viewing<br />

Auction viewings are open to the public and usually take place<br />

three or four days prior to the auction date, at the location/s<br />

listed in the auction catalogue and on the website.<br />

Lot Descriptions<br />

Lot Descriptions provide basic catalogue information such<br />

as dimensions, date or age, medium, attribution, provenance<br />

and quantity.<br />

All lots are guaranteed for fourteen (14) days from the<br />

auction date.<br />

Estimates<br />

Estimates are printed in the catalogue beside every lot and<br />

take into account rarity, condition, quality and provenance.<br />

The reserve is the amount at which the item is available for<br />

purchase. The reserve is an undisclosed confidential amount<br />

which is set at, or below the low estimate.<br />

The reserve will never exceed the low estimate at Gibson’s<br />

Auctioneers & Valuers. Many lots are sold without reserve.<br />

Talk to our Specialists<br />

Gibson’s Auctioneers & Valuers are an experienced team of<br />

specialists who are available to discuss items in further detail,<br />

and to offer advice and assistance.<br />

Contact details for relevant specialists can be found on the<br />

inside front cover our auction catalogues and on our website.<br />

Condition Reports<br />

Condition Reports are available on request. Condition Reports<br />

supplement the lot description and provide information on the<br />

condition of an item.<br />

We strongly advise obtaining a condition report if you are<br />

unable to view an item in person prior to the auction.<br />

To request a condition report please email<br />

condition.reports@gibsonsauctions.com.au with the auction<br />

title and lot number/s.<br />

Bidding<br />

Gibson’s Auctioneers & Valuers offer four bidding options:<br />

1. Auction Room Bidding<br />

To bid in person we suggest you arrive early so that you<br />

have sufficient time to register for a bidding number prior<br />

to the auction. If this is your first time bidding with Gibson’s<br />

Auctioneers & Valuers please bring photo identification, such<br />

as a driver’s licence or passport with you.<br />

2. Telephone Bidding<br />

Gibson’s Auctioneers & Valuers offer telephone bidding on all<br />

lots, at all auctions.<br />

Telephone Bidding is a convenient solution if you are unable to<br />

attend an auction in person. A Gibson’s Auctioneers & Valuers<br />

staff member will call you approximately 5 lots in advance and<br />

with your instruction, bid on your behalf at the auction.<br />

Please note: Telephone Bids must be organised at least 24<br />

hours prior to the auction and that occasionally, the number<br />

of telephone bidders available may be restricted when the<br />

auction is offsite.<br />

To organise a Telephone Bid please follow the link<br />

to the Telephone Bidding form on our website:<br />

www.gibsonsauctions.com.au.<br />

Please fill in & return via email to mail@gibsonsauctions.com.au<br />

If this is your first time bidding with Gibson’s Auctioneers &<br />

Valuers, an email address is to be supplied when you submit<br />

your Telephone Bid, along with clear Photo ID verifying<br />

your address.


5<br />

3. Absentee Bids<br />

Absentee Bidding is another convenient solution if you<br />

are unable to attend an auction in person, to speak on the<br />

telephone or if you simply have a strict budget.<br />

An Absentee Bid should be set at the maximum amount<br />

you wish to bid on the lot/s you are interested in purchasing.<br />

Should the lot/s be knocked down at an amount lower than<br />

the bid recorded on your form, the lot will be sold to you for<br />

the lesser hammer price.<br />

Please note Absentee Bids must be received at least 24 hours<br />

prior to the auction to allow time for processing.<br />

To organise an Absentee Bid please follow the link to<br />

the Absentee Bidding form available on our website:<br />

www.gibsonsauctions.com.au.<br />

Please fill in & return via email to mail@gibsonsauctions.com.au<br />

If this is your first time bidding with Gibson’s Auctioneers<br />

& Valuers, an email address is to be supplied when you<br />

submit your Absentee Bid, along with clear Photo ID verifying<br />

your address.<br />

4. Online Bidding<br />

Online bidding allows you to bid via the internet in real<br />

time with a live broadcast of the auction. To bid online visit<br />

our website and follow the ‘Live Bidding’ link under the<br />

‘Auctions’ tab.<br />

Please register for this service at least 24 hours prior to the<br />

auction to ensure you do not miss your lot.<br />

Please note online bidding is powered by Invaluable.com and<br />

so will incur a 5% fee on successful lots.<br />

If you have not bid with Gibson’s Auctioneers & Valuers<br />

previously, a photo ID verifying your address will be<br />

required before you can be approved to bid. Please email to<br />

mail@gibsonsauctions.com.au as soon as practical.<br />

International Bidding<br />

If you are bidding from overseas for the first time, you will be<br />

asked to provide a clear Photo ID verifying your address and<br />

a deposit (set at Gibson’s Auctioneers & Valuers’ discretion)<br />

prior to the auction. The deposit is refundable within 48<br />

hours should you not be successful. If you are successful<br />

the deposit will be deducted from your invoice total. The<br />

remaining balance must be paid preferably by direct deposit.<br />

Bank details are provided in the Payment & Collection section<br />

of this guide.<br />

Payment & Collection<br />

Payments<br />

If you are successful an invoice (AU$) will be emailed or<br />

posted to you immediately after the auction.<br />

You will pay the hammer price, plus the buyer’s premium<br />

(22% plus GST) on each Lot, together with any additional<br />

applicable charges such as GST on hammer.<br />

Payments must be made in full by the final day of Collections<br />

as printed in the catalogue.<br />

Bank Transfer/Direct Deposit is our preferred method<br />

of payment:<br />

Account Name: Gibsons Auctions<br />

Bank:<br />

Bank of Melbourne (A division of St George)<br />

BSB: 193879<br />

Account No: 441701443<br />

Swift Code: SGBLAU2S<br />

Routing Code: 021000021<br />

Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144<br />

• Personal, Company and Bank Cheques are not accepted<br />

without prior approval.<br />

• Eftpos (no charge).<br />

• Credit cards: Visa and Mastercard (1.2% inc GST merchant<br />

fee) and American Express (2% inc GST merchant fee).<br />

• Please note that credit card transactions over $5,000<br />

will not be accepted over the telephone unless by prior<br />

arrangement.<br />

• Cash payments up to AU$10,000 can be accepted. For any<br />

amount over this, cash is to be deposited directly into our<br />

account at a Bank of Melbourne/St George branch.<br />

Collections<br />

Gibson’s Auctioneers & Valuers are happy to assist and<br />

provide you with recommended transport companies whether<br />

it be a local, interstate or international delivery.<br />

Storage<br />

All items must be paid for and collected within the collection<br />

times advertised for each individual auction. If items are not<br />

collected within this time-frame, Gibson’s Auctioneers &<br />

Valuers reserve the right to charge removal and storage fees.


6<br />

The Bloomfield/Taylor Family Collection<br />

A wonderful family collection spanning three<br />

centuries from Arthur Bloomfield, William<br />

Taylor, Sir John and Lady Bloomfield (nee<br />

Taylor), Peter and Julia Bloomfield and their<br />

daughter Sally Bloomfield.<br />

Peter Bloomfield, a well-known Melbourne<br />

Interior Designer spent his childhood between<br />

family properties Fersfield, Overnewton<br />

and 252 Domain Road – owned by father<br />

Arthur Stoughton Clarke Bloomfield, a rubber<br />

plantation owner and wealthy pastoralist<br />

William Henry Taylor. On his 21st birthday he<br />

moved to Sydney and rented an apartment<br />

with artists Jeffrey Smart and Justin O’Brien,<br />

among others. Soon after he decided to<br />

travel and moved to London where he worked<br />

at Peter Jones, before moving to New York,<br />

Canada and then the Bahamas, he settled<br />

back to life in London and started working with<br />

Terence and Shirley Conran. It was there where<br />

he met Julia Baker, who had been working with<br />

Terence for several years.<br />

They married in London, had their first child<br />

Nicholas and moved to Australia, where their<br />

daughter Sally was born. Peter’s first job back<br />

in Australia was managing Featherstone<br />

<strong>Interiors</strong> (Grant Featherstone) in Lonsdale<br />

Street. His next venture was with his friend Bill<br />

Snell, whom he worked with at Featherstone’s.<br />

They opened Concept Office <strong>Interiors</strong> in<br />

Clarendon Street, South Melbourne. It was<br />

the one of the first stylish office interior stores<br />

in Australia, with Bill and Peter working with<br />

important designers including Sue Carr (Carr<br />

Design). Eventually Peter went on to establish<br />

his own Interior Design business working<br />

mainly in residential property.<br />

Julia Bloomfield continued to be involved<br />

in the interior business and opened in<br />

Piaff in Mount Eliza, where the family now<br />

lived. It was a beautiful home and lifestyle<br />

store and one of the first homeware stores,<br />

as we know them today.


7<br />

Following the family tradition, Sally Bloomfield<br />

started her career in interior design, working<br />

with Sue Carr at Inarc Design. After a few<br />

years and itchy feet Sally travelled to Europe<br />

and eventually moved to London to work with<br />

Tricia Guild at Designers Guild on Kings Road.<br />

Upon her return to Australia she moved into<br />

the Fashion world, working at Esprit, King<br />

Enterprises, Witchery and eventually Style<br />

Council, a fashion advertising and PR company<br />

where she remained for many years. From there<br />

Sally landed her dream job at Harper’s Bazaar<br />

where she was the Melbourne Editor for three<br />

and a half years.<br />

During this time she met her soon-to-be<br />

husband Ian Robertson, who was the founder<br />

of Q Bar Nightclubs in Melbourne, Sydney and<br />

Adelaide. Together they bought the Albany Hotel<br />

in South Yarra and spent many years renovating<br />

and running the 85 room hotel. All the midcentury<br />

pieces in this auction were at one time<br />

at The Albany. During this time Ian and Sally took<br />

on an enormous project on level 2 at the GPO in<br />

Melbourne, with 3 dining areas and a nightclub.<br />

In 2012 the Albany hotel was sold and the<br />

family moved to Bali. Their dream was to build<br />

a hotel on the island and they set about finding<br />

the right property. Sadly in 2016, halfway<br />

through the build, Ian passed away and after<br />

much deliberation Sally decided to finish their<br />

dream. The gorgeous boutique hotel that had<br />

been their home, opened in November 2017<br />

– it was a bittersweet moment. During this<br />

time, Sally was asked to be a part of Season<br />

4 of The Real Housewives of Melbourne,<br />

which aired in 2017/2018, which was a great<br />

distraction at a difficult time and something she<br />

thoroughly enjoyed.<br />

Sally is now raising her two boys on the<br />

Mornington Peninsula.


8<br />

1<br />

1<br />

RENNIE ELLIS (1940-2003)<br />

English Models,<br />

Melbourne Cup 1967<br />

photograph<br />

77 x 118.5cm<br />

$800–1,200<br />

2<br />

Christmas in Australia<br />

colour engraving<br />

engraved by Fred Grosse<br />

printed by Blundell & Ford<br />

31 x 43.5cm<br />

$200–400<br />

3<br />

NICHOLAS ARNOLD<br />

Nude Study 1995<br />

pastel<br />

signed and dated lower right:<br />

Nicholas 95<br />

57 x 83.5cm<br />

$300–500<br />

4<br />

NICHOLAS ARNOLD<br />

Nude 1995<br />

crayon on paper<br />

sighed and dated lower left:<br />

Nicholas 95<br />

29 x 21cm<br />

$100–300<br />

5<br />

SIR JOHN BLOOMFIELD<br />

The Little Dock 1969<br />

watercolour<br />

signed, dated and titled lower right<br />

and left: John Bloomfield April 69<br />

The Little Dock<br />

29.5 x 34cm<br />

$200–400


9<br />

6<br />

GRANT FEATHERSTON<br />

(1922-1995)<br />

An R160 chair, designed 1951<br />

with grey wool upholstery<br />

$3,000–5,000<br />

6


10<br />

7<br />

A Napoleon III marble top ebonised<br />

bronze and tortoiseshell mounted<br />

cabinet in the manner of A.C. Boulle,<br />

French, 19th century<br />

105cm high, 81cm wide, 38cm deep<br />

$1,500–2,500<br />

8<br />

A pair of late Victorian embossed<br />

leather and oak verandah chairs<br />

$600–800<br />

9<br />

A pair of chromed steel<br />

butterfly chairs and covers<br />

$300–500<br />

10<br />

A mid-century stone top teak<br />

and steel coffee table<br />

36cm high, 135cm wide, 54cm deep<br />

$400–600<br />

11<br />

An Australian colonial pine meat safe,<br />

19th century<br />

105cm high, 70cm wide, 36.5cm deep<br />

$300–500<br />

12<br />

A Victorian marble and cast iron<br />

conservatory table<br />

72cm high, 110cm wide, 47cm deep<br />

$300–500<br />

7


11<br />

13<br />

13<br />

KEVIN (PRO) HART (1928-2006)<br />

Miner and His Dog<br />

oil on board<br />

signed lower right: Pro Hart<br />

18.5 x 18.5cm<br />

$2,000–4,000<br />

14<br />

KEVIN (PRO) HART (1928-2006)<br />

Flowers<br />

oil on canvas on board<br />

signed lower right: Pro Hart<br />

11.5 x 9cm<br />

$500–800<br />

15<br />

MATTHEW JAMES McNALLY<br />

(1874-1943)<br />

Figures on a Country Road 1913<br />

watercolour<br />

signed and dated lower<br />

right: M J McNally 1913<br />

14.5 x 21.5cm<br />

$300–400


12<br />

16<br />

A Huon pine Colonial scullery table<br />

with a single central drawer to one side<br />

76cm high, 189cm wide, 150cm deep<br />

$1,200–1,500<br />

17<br />

A Chinese blue and white ginger<br />

jar, late 19th/early 20th century<br />

28cm high<br />

$200–300<br />

18<br />

A celadon-ground famille rose beaker<br />

vase, Chinese, late 19th century<br />

33cm high<br />

$500–800<br />

19<br />

A set of bronze cast duck<br />

garden ornaments<br />

comprising four pieces<br />

of graduating size<br />

the largest 34cm high<br />

$100–200<br />

20<br />

A brass miner's safety lamp<br />

by Ackroyd & Best, Leeds,<br />

early 20th century<br />

with polished brass fittings<br />

and glass shade<br />

editioned '674' to makers plaque<br />

28cm high<br />

$100–200<br />

21<br />

A late Georgian inlaid beech tea caddy<br />

the lid inlaid with an oval fan, the<br />

bone escutcheon above a central<br />

decoration of snow drops to the front<br />

13cm high, 15cm wide, 10cm deep<br />

$150–250<br />

22<br />

A taxidermied bird diorama,<br />

19th century<br />

composed of waterbirds and<br />

sparrows in a stylised landscape<br />

35cm high, 40cm wide, 10cm deep<br />

$400–600<br />

23<br />

A cast iron automaton money box,<br />

American, early 20th century<br />

with a retracting tongue and moving<br />

eyes, impressed title to back<br />

16cm high<br />

$100–200<br />

24<br />

A small goat form bronze censer,<br />

possibly Tibetan<br />

12cm high<br />

$200–300<br />

25<br />

ARTHUR A LYONS<br />

(ACTIVE 1940s)<br />

Gums in the Mist<br />

watercolour<br />

signed lower right: ARTHUR A LYONS<br />

27 x 34cm<br />

$200–400<br />

16


13<br />

26<br />

26<br />

EDWARD OFFICER (1871-1921)<br />

Early Autumn<br />

oil on canvas<br />

signed lower left: E Officer<br />

37 x 45cm<br />

$500–800<br />

27<br />

RAY TAYLOR (BORN 1944)<br />

A large raku glazed earthenware vase<br />

signed in red glaze 'R Taylor' to base<br />

51cm high<br />

$200–300<br />

28<br />

AFTER SIMONE MARTINI and<br />

AFTER STEFANO DI GIOVANNI<br />

two colour reproductions<br />

21.5 x 23.5cm (each)<br />

$100–200<br />

29<br />

A pair of painted ceramic<br />

parrots, 20th century<br />

27cm high<br />

$300–500<br />

30<br />

AFTER W HAMILTON<br />

Sylvia & Her Fawn<br />

engraving on silk<br />

printed text on margin<br />

15.5 x 19.5cm (oval)<br />

$200–400<br />

31<br />

A terrazzo marble top coffee<br />

table, 20th century<br />

38cm high, 50cm wide, 50cm deep<br />

$300–500


14<br />

32<br />

A custom white leather Edra<br />

'Rose' chair, designed by Masanori<br />

Umeda, 20th century<br />

designed in 1989, the back left<br />

leg bearing applied Space label<br />

and original retail information<br />

$2,000–3,000<br />

33<br />

A centre table designed by Charles &<br />

Ray Eames, produced by Herman Miller<br />

with a black laminated top<br />

standing on an aluminium base<br />

73.5cm high, 150cm diameter<br />

$600–800<br />

34<br />

A 'Quack Termos' insulated carafe by<br />

Maria Bernsten for Georg Jensen<br />

with a dark brown insulated body<br />

and conforming metallic handle<br />

17cm high<br />

$50–100<br />

32


15<br />

35<br />

35<br />

A chrome sputnik chandelier,<br />

circa 1970s<br />

108cm high<br />

$800–1,200<br />

36<br />

A large designer sunburst<br />

mirror, French, 20th century<br />

140cm high<br />

$600–800<br />

37<br />

IAN SPRAGUE (1920–1994)<br />

An earthenware bud vase<br />

impressed potters marks and<br />

Mungeribar Pottery marks<br />

20cm high<br />

$300–500


16<br />

38<br />

An American rosewood<br />

mantel clock, circa 1900<br />

the enamel Roman numeral dial<br />

flanked by twin finials, gilded glass<br />

panel set to the lower half of the door<br />

38.5cm high, 19.5cm wide, 9cm deep<br />

$100–200<br />

39<br />

A large ebonised mid-century<br />

style mirror<br />

150 x 120cm<br />

$600–800<br />

40<br />

An opalescent art glass bowl<br />

with a textured raw edge<br />

titled and signed 'Breathing<br />

Space, 1986' to base<br />

6cm high<br />

$50–100<br />

46<br />

Two abstract composite stone<br />

ornaments, Italian<br />

the largest 24.5cm high<br />

$100–200<br />

47<br />

An aluminium group table<br />

designed by Charles & Ray<br />

Eames, for Herman Miller<br />

with later Wenge hardwood top<br />

70cm high, 220cm wide, 90cm deep<br />

$1,200–1,500<br />

48<br />

A knopped brass candlestick<br />

table lamp<br />

together with a brass candlestick<br />

the lamp 43cm high<br />

$100–200<br />

49<br />

A chrome and brass spaceship<br />

style desk lamp, circa 1960<br />

38cm high<br />

$120–150<br />

50<br />

An 'LC4' tubular chaise lounge, after<br />

the original design by Le Corbusier<br />

with black leather upholstery<br />

$400–600<br />

51<br />

Two woven cane seat chairs<br />

comprising a Thonet style bentwood<br />

dining chair and a carved folding chair<br />

$100–200<br />

41<br />

A pair of contemporary<br />

oval back armchairs<br />

upholstered in a geometric<br />

pattern brocade<br />

$200–300<br />

42<br />

A collection of 1960s<br />

coloured glassware<br />

comprising four novelty wine glasses<br />

the largest 22cm high<br />

$60–80<br />

43<br />

A retro floor lamp, Italian, circa 1950s<br />

with three black pierced shades<br />

129cm high<br />

$150–250<br />

44<br />

A pair of grey upholstered lounge<br />

chairs with a matching ottoman<br />

the ottoman 31cm high,<br />

92.5cm wide, 92.5cm deep<br />

$400–600<br />

45<br />

Two perspex modernist candlesticks<br />

the largest 19.5cm high<br />

$20–40


17<br />

52<br />

A set of eight white 'DSW' dining chairs<br />

designed by Ray & Charles Eames,<br />

produced by Vitra, Germany 2004<br />

$1,200–1,500<br />

53<br />

A 'Carimate' dining chair<br />

designed by Vico Magistretti for<br />

Cassina, Italian, (1920-2006)<br />

with a woven rush seat,<br />

originally commissioned for the<br />

Carimate golf club in 1963<br />

$400–600<br />

54<br />

A pair of modernist style<br />

upholstered lounge chairs<br />

with chrome bases<br />

$200–300<br />

55<br />

A column floor lamp, 1980s<br />

with a white linen shade<br />

158cm high<br />

$200–300<br />

56<br />

A modern design copper and<br />

metal floor lamp, 20th century<br />

with two pleated shades<br />

155cm high<br />

$300–500<br />

57<br />

A small collection of green<br />

glass and porcelain vessels<br />

comprising a porcelain dish,<br />

blown glass vases, two pieces of<br />

Depression glass and a comport<br />

the largest vase 15cm high<br />

$100–200<br />

58<br />

A millefiori art glass vase,<br />

possibly Murano<br />

30.5cm high<br />

$300–400<br />

59<br />

An 'Alu Group 686S' office chair<br />

designed by Ray & Charles Eames,<br />

produced by Herman Miller<br />

with a red upholstered seat<br />

and aluminium frame<br />

$300–400<br />

52


18


19


20<br />

60<br />

A pair of George II sterling silver<br />

candle sticks by Ebenezer<br />

Coker, London, 1759 & 1768<br />

standing on lobed circular bases with<br />

shell motif fonts, monogrammed 'CM'<br />

25cm high, 1115gms<br />

$3,500–4,500<br />

61<br />

A bone handled silver plate fish<br />

cutlery set by Walker and Hall,<br />

Sheffield, 1930s and later<br />

together with a collection of bakelite<br />

handled silver plate, comprising<br />

approximately thirty pieces<br />

the largest piece 24cm long<br />

$300–400<br />

60


21<br />

62<br />

62<br />

A pair of George II sterling<br />

silver candlesticks by Ebenezer<br />

Coker, London, 1762<br />

with engraved armorial of a<br />

crane and a shield, standing on<br />

floriate square form bases<br />

25cm high, 1050gms<br />

$3,000–5,000<br />

63<br />

A George IV sterling silver<br />

sugar caster by Walker & Hall,<br />

Sheffield, late 19th century<br />

22cm high, 230gms<br />

$300–500


22<br />

64<br />

A set of silver plate bright-cut<br />

engraved Celtic knot salvers<br />

from the collection of Arthur<br />

Stoughton Clarke Bloomfield, each<br />

with a beaded edge standing on three<br />

claw ball feet, monogrammed 'ASCB'<br />

the largest 41cm diameter<br />

$200–300<br />

65<br />

A continental silver St. Andrew<br />

the Apostle spoon, 18th century<br />

19cm, 55gms<br />

$300–400<br />

66<br />

A collection of silver plate serving<br />

ware, late 19th century<br />

approximately fifteen pieces<br />

the largest fish knife 30cm long<br />

$100–200<br />

67<br />

A pair of sterling silver repoussé<br />

sweetmeat dishes by Henry Matthews,<br />

Birmingham, 1899 & 1901<br />

7cm high, 135gms<br />

$200–300<br />

68<br />

A George III sterling silver<br />

sugar caster by Jabez Daniell &<br />

James Mince, London, 1771<br />

engraved with the Bloomfield<br />

armorial crest<br />

114.5cm high, 105gms<br />

$200–300<br />

69<br />

A sterling silver mustard pot,<br />

George Burrows I, London, 1823<br />

lined with blue glass,<br />

includes a salt spoon<br />

7cm high, 120gms<br />

$200–300<br />

70<br />

A small sterling silver rose bowl by<br />

Charles Stuart Harris, London, 1900<br />

with repoussé decoration to the<br />

body, raised on a circular foot<br />

12cm high, 330gms<br />

$300–500<br />

71<br />

A pair of sterling silver salts,<br />

London, 1886 and 1869<br />

standing on three hoof feet with<br />

gilt washed interiors, together<br />

with salt spoons by Adie Brothers<br />

Ltd, Birmingham, 1852 & 1853<br />

the salts 4cm high,150gms<br />

total weight of silver<br />

$150–250<br />

72<br />

A collection of silver plate,<br />

19th century and later<br />

comprising a Hecworth water jug,<br />

a tray and three wine coasters<br />

the tray 40cm wide<br />

$200–300<br />

73<br />

A small collection of sterling<br />

silver spoons, English,<br />

19th century and later<br />

the largest spoon 20cm long,<br />

220gms total weight of silver<br />

$200–300<br />

74<br />

Two sterling silver dressing<br />

table brushes, late 1930s<br />

the largest 21cm<br />

$100–200<br />

75<br />

A collection of silver plate table and<br />

teaware, English, late 20th century<br />

approximately six pieces<br />

the teapot 26cm high<br />

$200–300<br />

76<br />

A collection of faceted crystal<br />

scent flasks and apothecary jars<br />

comprising four pieces<br />

the largest 14cm high<br />

$100–200<br />

77<br />

A collection of rustic style<br />

copper vessels<br />

comprising five pieces including<br />

a miniature metal iron<br />

the largest pot 18cm high<br />

$100–200


23<br />

78<br />

78<br />

A George IV sterling silver associated<br />

flatware suite, 1820 and later<br />

comprising approximately seventy<br />

five pieces with mixed makers and<br />

date marks, Old English pattern<br />

with the Bloomfield armorial<br />

crest engraved to the heel<br />

the fish serving knife 30cm long,<br />

3455gms total weight of silver<br />

$3,000–5,000<br />

78 (Detail)


24<br />

79<br />

A substantial cast iron garden<br />

bench, 19th century<br />

with scrolling arms, standing<br />

on four sinuous legs<br />

length of back 177cm<br />

$1,500–2,500<br />

80<br />

SUE MACARTNEY-SNAPE<br />

(BORN 1957)<br />

No Dogs<br />

colour screenprint<br />

signed, titled and editioned<br />

on margin: Sue MacArtney<br />

Snape No Dogs 19/600<br />

49.5 x 38cm<br />

$200–400<br />

81<br />

The Mortar Battery at<br />

Woolwich, 1847<br />

colour engraving<br />

34 x 49cm<br />

$100–120<br />

82<br />

A pair of George III elm<br />

ladder back carvers<br />

with woven rush seats<br />

$600–800<br />

83<br />

ATTRIBUTED TO<br />

JOHN COTMAN<br />

Interior with Figure<br />

watercolour<br />

signed with initials lower left: JSC<br />

17 x 21.5cm<br />

$400–600<br />

84<br />

A George III pine writing<br />

table, circa 1810<br />

with two drawers,<br />

standing on tapering legs<br />

77.5cm high, 90cm wide, 44.5cm deep<br />

$500–800<br />

85<br />

A floral encrusted porcelain stag<br />

head inkwell, possibly Rockingham<br />

with applied pansies, roses<br />

and carnations, gilded<br />

BADA sticker to base<br />

12cm high<br />

$300–500<br />

86<br />

A white porcelain pear tree<br />

centrepiece, Spanish<br />

38cm high<br />

$300–500<br />

87<br />

A pair of wrythen moulded glass<br />

oil lamps, 19th century<br />

46cm high<br />

$200–400<br />

88<br />

A small Arts and Crafts oak hanging<br />

shelf<br />

55cm high, 47cm wide, 18cm deep<br />

$100–200<br />

79


25<br />

89<br />

89<br />

SIR JOHN BLOOMFIELD<br />

Caulfield Race Course 1967<br />

watercolour<br />

signed and dated lower right:<br />

John Bloomfield 67<br />

14 x 26.5cm<br />

$300–500<br />

90<br />

A bottle of vintage champagne<br />

from the house of Renaudin<br />

Bollinger, France, 1941<br />

$100–200<br />

91<br />

ARTIST UNKNOWN<br />

Girl with Parasol<br />

oil on canvas on board<br />

signed but illegible lower left<br />

29.5 x 34.5cm<br />

$120–180<br />

92<br />

FRENCH SCHOOL<br />

Cherub<br />

lithograph<br />

signed but illegible lower left<br />

14.5 x 19.5cm<br />

$120–180<br />

93<br />

A Chinoiserie black and<br />

gold lacquered mirror<br />

40 x 40cm<br />

$120–150<br />

94<br />

HELMUT NEWTON<br />

Domestic Nude IV, In<br />

my living room, Chateau<br />

Marmont, Hollywood 1992<br />

photolithograph<br />

with printed text on margin<br />

30.5 x 46cm<br />

$200–400


26<br />

95<br />

An unusual bronze owl humidor,<br />

probably French, late 19th century<br />

with interior painted glass inset eyes<br />

26cm high<br />

$800–1,200<br />

96<br />

An intricately embroidered<br />

stump work panel, Chinese<br />

115.5 x 73cm<br />

$60–100<br />

97<br />

A large Middle Eastern covered<br />

beaten copper cook pot<br />

40cm high<br />

$200–300<br />

98<br />

A vintage thumbnail cut carafe<br />

and a silver plate mounted<br />

cut glass claret jug<br />

together with a cut crystal decanter<br />

the carafe 21.5cm high<br />

$100–200<br />

99<br />

A Robur silver plated teapot<br />

30cm high<br />

$100–200<br />

100<br />

A tribal flat weave carpet, 20th century<br />

the repeating geometric pattern in<br />

tones of brown, orange and red<br />

250 x 150cm<br />

$400–600<br />

101<br />

A mirror panelled console table<br />

63cm high, 55cm wide, 30cm deep<br />

$200–300<br />

102<br />

A pair of wrought iron<br />

bouqet table lamps<br />

with double parchment shades<br />

80cm high<br />

$200–300<br />

103<br />

A Japanese pierced<br />

hexagonal brushpot<br />

together with a pair of Chinese<br />

temple dog hardstone seals<br />

the brush pot 13cm high<br />

$100–200<br />

104<br />

A late Georgian style giltwood mirror<br />

190 x 82cm<br />

$300–500<br />

105<br />

A glass top octagonal bamboo<br />

side table, 20th century<br />

60cm high, 58cm wide, 58cm deep<br />

$300–500<br />

106<br />

ENGLISH SCHOOL<br />

Norton Manor, Circa 1860<br />

oil on panel<br />

23 x 29.5cm<br />

$300–500<br />

107<br />

A collection of shells and fossils<br />

comprising approximately<br />

twelve pieces<br />

the largest shell 9cm high<br />

$100–200<br />

108<br />

Sadler's Wells - Wheel of Fortune<br />

colour reproduction poster<br />

48.5 x 22cm<br />

$80–100<br />

95


27<br />

109<br />

109<br />

SIR JOHN BLOOMFIELD<br />

Mordialloc 1976<br />

watercolour<br />

signed with initials, dated and titled<br />

lower right and left: JB 76 Mordialloc<br />

17 x 22.5cm<br />

$300–500<br />

111<br />

JENNIFER PINDER<br />

Pucci 2001<br />

oil on canvas<br />

signed lower right: PINDER<br />

titled and dated verso: Pucci 2001<br />

120 x 99.5cm<br />

$200–400<br />

113<br />

NICHOLAS ARNOLD<br />

Australian Sky 1997<br />

oil on canvas<br />

signed with initials and dated<br />

lower right: NA 97<br />

70.5 x 70.5cm<br />

$200–400<br />

110<br />

A large collection of mirrored<br />

decorative objects<br />

including boxes, an etched folding<br />

mirror, coasters and stands<br />

the largest box 25cm high,<br />

30cm wide, 9cm deep<br />

$150–250<br />

112<br />

JENNIFER PINDER<br />

Red<br />

oil on canvas<br />

signed lower right: PINDER<br />

145 x 53.5cm<br />

$200–400<br />

114<br />

NICHOLAS ARNOLD<br />

The Illumination of Angels 1998<br />

oil on canvas<br />

signed with initials and dated<br />

lower right: NA 98<br />

91.5 x 91.5cm<br />

$200–400


28<br />

115<br />

A set of eight Brno chairs,<br />

designed by Ludwig Mies van der<br />

Rohe, German, (1886-1969)<br />

with white leather upholstery<br />

$1,200–1,500<br />

116<br />

P SANDS<br />

Tuscan Landscape 1995<br />

watercolour<br />

signed lower right: P Sands 95<br />

14.5 x 18.5cm<br />

$120–180<br />

117<br />

A metal bound pine sea<br />

chest, 19th century<br />

with later painted lettering 'W.H.T.'<br />

50cm high, 75cm wide, 52cm deep<br />

$150–250<br />

118<br />

A collection of vintage baskets<br />

comprising three pieces<br />

the largest 33cm high<br />

$40–60<br />

119<br />

A Georgian mahogany bow front chest<br />

the three graduated drawers with<br />

circular brass swing handles<br />

74.5cm high, 83cm wide, 48.5cm deep<br />

$500–800<br />

120<br />

A two-tier pine occasional table<br />

68cm high, 66cm wide, 46cm deep<br />

$50–100<br />

121<br />

A pair of marble top designer side<br />

tables from Angelucci, 20th century<br />

with wrought iron bases<br />

78cm high, 54.5cm wide, 35cm deep<br />

$600–800<br />

122<br />

A pair of studio glass bowls by<br />

Kosta Boda, 20th century<br />

22cm diameter<br />

$100–200<br />

123<br />

A pale green blown glass<br />

bowl by Kosta Boda<br />

6cm high, 30cm diameter<br />

$150–250<br />

124<br />

A terrestrial globe lamp, circa 1970<br />

37cm high<br />

$200–300<br />

125<br />

A white art glass vase,<br />

possibly Krosno, 20th century<br />

20cm high<br />

$200–300<br />

126<br />

A pair of Continental patinated<br />

bronze pheasants<br />

the largest 23cm high<br />

$300–500<br />

115


29<br />

127<br />

A modernist chrome and glass<br />

side table, after the original<br />

E1027 by Eileen Gray<br />

63cm high, 52cm diameter<br />

$200–400<br />

128<br />

A mid-century upholstered Osvaldo<br />

Borsani style arm chair, circa 1970<br />

$200–300<br />

129<br />

A Japonisme style mirror<br />

tray top occasional table<br />

59.5cm high, 41cm wide, 45cm deep<br />

$100–200<br />

130<br />

VICTOR GREENAWAY<br />

(BORN 1947)<br />

A large ovoid form earthenware vase<br />

signed 'V Greenaway' to base<br />

34cm high<br />

$400–600<br />

131<br />

A large collection of etched, cut<br />

crystal and moulded drinking<br />

glass, 19th century and later<br />

comprising approximately thirty<br />

pieces, including champagne<br />

flutes, dessert cups, plates,<br />

sherry glasses and bowls<br />

the largest 17cm high<br />

$100–200<br />

132<br />

GRAHAM SMITH<br />

Streetscape, Cairo 1994<br />

colour photograph<br />

signed, dated and titled on<br />

mount: GRAHAM SMITH 94<br />

STREETSCAPE CAIRO<br />

17 x 25cm<br />

$120–180<br />

133<br />

A pair of Arts and Crafts rush seat<br />

dining chairs<br />

with pierced backsplats<br />

$300–500<br />

134<br />

JUDY HAWKING BURNETT<br />

Sky Dreaming<br />

acrylic on canvas<br />

signed lower left: Judy Hawking<br />

70 x 70cm<br />

$200–400<br />

135<br />

SYLVIANE SELIG<br />

Still Life 1958<br />

watercolour and gouache<br />

signed and dated lower left:<br />

S Selig 1958<br />

52 x 34cm<br />

$100–200<br />

136<br />

Two scale model pond yachts,<br />

American 20th century<br />

includes the 'Shamrock' and<br />

a Royal Yacht Squadron New<br />

York Yacht Club model<br />

the largest 174cm high<br />

$500–800


30<br />

137<br />

137<br />

A black modular sofa by B&B Italia<br />

with chrome legs<br />

$1,500–2,500<br />

138<br />

GIUSEPPE GATTUSO LO MONTE<br />

(ITALIAN, 1937-1985)<br />

Senza Titolo<br />

etching<br />

signed and inscribed on<br />

margin: Giuseppe Gattuso<br />

41.5 x 50cm<br />

$200–400<br />

139<br />

A collection of antique<br />

gentlemen's travel accessories<br />

comprising an almanac, a wallet,<br />

a cigar case and a bible<br />

the wallet 10.5 x 16cm<br />

$100–200<br />

140<br />

A collection of vintage glass<br />

carafes and decanters<br />

comprising approximately<br />

twelve pieces<br />

the largest 37.5cm high<br />

$100–200<br />

141<br />

An orange lacquer serving set,<br />

20th century<br />

comprising a bowl, servers and a tray<br />

the tray 45 x 30cm<br />

$50–100<br />

142<br />

A pleated 'Farfalle' wall lamp<br />

65cm wide<br />

$200–300<br />

143<br />

A large conch shell<br />

16cm high<br />

$150–250


31<br />

144<br />

An aluminium '64100 series'<br />

segmented table base designed<br />

by Ray & Charles Eames,<br />

produced by Herman Miller<br />

with a later black laminate top<br />

70cm high, 140cm wide, 70cm deep<br />

$800–1,200<br />

145<br />

A Temple of Spirit:<br />

Frank Lloyd Wright's Designs for<br />

The Guggenheim Museum 1994<br />

exhibition poster<br />

78.5 x 65.5cm<br />

$100–300<br />

144


32<br />

146<br />

A late Georgian pine chiffonier<br />

bookcase, English<br />

with astragal glazed doors<br />

200cm high, 146cm wide, 46cm deep<br />

$800–1,200<br />

147<br />

A late Victorian walnut library table,<br />

circa 1890<br />

standing on four lion feet, the<br />

pierced acanthus motif frieze<br />

meeting at scallop shell finials<br />

77cm high, 140cm wide, 55cm deep<br />

$600–800<br />

148<br />

A French Provincial style side table<br />

75cm high, 110cm wide, 45cm deep<br />

$200–300<br />

149<br />

A wrought iron arched outdoor mirror<br />

110 x 65cm<br />

$200–300<br />

150<br />

A pair of Louis XV style velvet<br />

upholstered fauteuil<br />

painted grey with matching<br />

striped upholstery<br />

$400–600<br />

151<br />

ARTIST UNKNOWN<br />

Costume Design 1994<br />

collage<br />

signed with initials and dated<br />

lower right: JE 1994<br />

48 x 32cm<br />

$200–400<br />

152<br />

AFTER GHIDARL<br />

Specie Varie Di Pelargoni<br />

colour engraving<br />

32 x 27cm<br />

$100–200<br />

153<br />

NICHOLAS ARNOLD<br />

The Nude 4 1998<br />

charcoal on paper<br />

signed, dated and titled lower<br />

right: Nicholas 98 'The Nude 4'<br />

57.5 x 41cm<br />

$150–250<br />

154<br />

NICHOLAS ARNOLD<br />

Desiree 1995<br />

charcoal on paper<br />

signed, dated and titled lower right:<br />

Nicholas 95 Desiree<br />

54 x 83cm<br />

$200–400<br />

155<br />

NICHOLAS ARNOLD<br />

Sally Ode to Love 1998<br />

charcoal on paper<br />

signed, dated and titled lower<br />

right, centre and left: Nicholas<br />

98 'Sally' 'Ode to Love'<br />

98.5 x 67cm<br />

$200–400<br />

156<br />

ARTIST UNKNOWN<br />

Unstable Ground 2008<br />

oil on canvas<br />

signed but illegible, dated and titled<br />

verso: 2008 'Unstable Ground'<br />

112 x 112cm<br />

$400–600<br />

157<br />

A lime-washed oak gateleg table<br />

74cm high, 122cm wide<br />

(unfolded), 94cm deep<br />

$200–300<br />

158<br />

MICHELE ARNOLD<br />

Still Life 1998<br />

oil on canvas<br />

signed with initials and dated: MA 98<br />

44 x 33.5cm<br />

$100–300<br />

159<br />

ARTIST UNKNOWN<br />

metal openwork vase<br />

45cm high, 51cm wide, 13.5cm<br />

$200–300<br />

160<br />

Early French Voyages to Australia<br />

Banque Nationale Paris 100<br />

Years in Australia 1881-1981<br />

seventeen reproduction lithographic<br />

plates with frontispiece text<br />

45.5 x 62.5cm<br />

$100–200<br />

161<br />

A collection of Pilivuyt white<br />

porcelain dinnerware<br />

together with extra white porcelain<br />

dinner ware, including goblets,<br />

tureens, platters and a coffee set<br />

comprising approximately 45 pieces<br />

the coffee pot 25.5cm high<br />

$100–200<br />

162<br />

A collection of cut glass obelisk<br />

paperweights<br />

comprising three pieces<br />

the largest 25cm high<br />

$100–200<br />

163<br />

A pale flambé glazed vase and sphere<br />

box by Christopher Saunders, Australia<br />

impressed potters mark<br />

'CS' to each base<br />

the vase 18.5cm high<br />

$300–400<br />

164<br />

A collection of 'Savoy' vases, after the<br />

original by Alvar Aalto for Littala glass<br />

comprising four pieces<br />

the largest 25cm high<br />

$300–400<br />

165<br />

Two 'Ovalis' vases, by Tapio Wirrkala<br />

for Littala<br />

frosted makers mark to the base<br />

the largest 16cm high<br />

$150–250


146<br />

33


34<br />

170<br />

A handpainted decoy of a Branta<br />

Canadensis (Canada Goose), 1978<br />

signed and dated 'F.A.F 1978' to base<br />

18cm high<br />

$150–250<br />

171<br />

An art glass vase by Robert Wynne,<br />

Australia, 1981<br />

with an opaque pale blue interior and<br />

asymmetrical mouth, etched signature<br />

and date 'Robert Wynne 81' to base<br />

18.5cm high<br />

$150–250<br />

172<br />

A collection of French Provincial<br />

style wicker baskets<br />

comprising three pieces<br />

the wine bottle basket 26cm high,<br />

56cm wide, 47cm deep<br />

$200–300<br />

173<br />

MICHELE ARNOLD<br />

After the Sun 1997<br />

oil on canvas<br />

signed with initials and dated<br />

lower right: MA 97<br />

29 x 24.5cm<br />

$100–300<br />

166<br />

166<br />

A large giltwood salon mirror<br />

the edges intricately festooned<br />

with climbing flowers and vines<br />

230 x 160cm<br />

$2,000–3,000<br />

167<br />

A set of porcelain tea cups<br />

by George Jones & Sons<br />

comprising seven cups and saucers,<br />

factory and makers marks to base<br />

the cups 5cm high<br />

$40–60<br />

168<br />

Two brass mounted faceted glass<br />

scent flasks, late 19th century<br />

the largest 10cm long<br />

$100–200<br />

169<br />

SHIGEO SHIGA (1928-2011)<br />

A textured earthenware vase<br />

impressed signature and<br />

Asuka Pottery mark<br />

17cm high<br />

$400–600<br />

174<br />

INGRID WILSON<br />

Flowers in Your Hair<br />

mixed media<br />

signed lower right: Ingrid Wilson<br />

35 x 25.5cm<br />

$100–300<br />

175<br />

PAUL KELLY<br />

If I Could Start Today Again<br />

lithograph<br />

signed and editioned lower right:<br />

Paul Kelly 2/100<br />

40 x 28cm<br />

$120–180


35<br />

176<br />

A George III oak mule chest<br />

92cm high, 143cm wide, 54cm deep<br />

$1,000–1,500<br />

177<br />

A collection of matchbox cars<br />

including Chitty Chitty Bang<br />

Bang, 1967 and later<br />

comprising six pieces<br />

the London double-decker bus<br />

6cm high, 11cm wide, 3cm deep<br />

$50–100<br />

178<br />

A collection of duck and<br />

animal ornaments<br />

comprising five ducks, an archaic<br />

style horse carving and a hedgehog<br />

composite stone doorstop<br />

the largest piece 24.5cm high<br />

$50–100<br />

179<br />

A gilt framed wall mirror in<br />

the Louis XV style<br />

99 x 77cm<br />

$200–300<br />

180<br />

A metallic framed wall mirror<br />

79 x 66cm<br />

$50–100<br />

181<br />

A small collection of porcelain<br />

comprising a lustre tankard, a blue<br />

and white vase and an Imari bowl<br />

the tankard 18cm high<br />

$20–40<br />

182<br />

A set of handmade 'Glenrowan'<br />

skittles by the Ruggeris<br />

each 28cm high<br />

$50–100<br />

183<br />

A sterling silver rolling desk blotter<br />

monogrammed 'AB' to the handle<br />

9cm high<br />

$100–200<br />

184<br />

A GOLD MONOCLE<br />

Ribbed detail to eye rim, on a<br />

black material cord, burgundy<br />

leather pouch; testing as 9ct gold.<br />

Weight 7.6g. Diameter 3.7cms.<br />

$180–240<br />

185<br />

A OCELOT PRINT FOX FUR<br />

THROW RUG<br />

with a brown felt backing and border<br />

160 x 135cm<br />

$400–600<br />

176


36<br />

186<br />

186<br />

SIR JOHN BLOOMFIELD<br />

Show, North Croydon 1954<br />

oil on canvas on board<br />

signed and dated lower left:<br />

John Bloomfield 54<br />

32.5 x 49.5cm<br />

$400–600<br />

187<br />

A BLACK LACE EVENING DRESS<br />

BY AUSTRALIAN DESIGNER<br />

COLLETTE DINNIGAN<br />

A sleek, timeless black sheer<br />

lace evening dress with red silk<br />

embroidery and spaghetti straps<br />

button fastening at the back<br />

size S<br />

$200–300<br />

188<br />

A NAVY BLUE VELVET BLAZER<br />

BY DOLCE AND GABBANA<br />

a soft luxurious panne velvet<br />

single breasted jacket with patch<br />

pockets and a notch lapel<br />

size 42<br />

$200–300<br />

189<br />

A SEQUIN COCKTAIL DRESS BY<br />

SCANLAN AND THEODORE<br />

with a soft cream and pink floral<br />

pattern, spaghetti straps with a<br />

hook-and-eye closure at the back<br />

size 10<br />

$300–500<br />

190<br />

A PSYCHEDELIC SWIRL VELVET<br />

COAT BY GUCCI, 1980<br />

a Chesterfield style coat with<br />

bellow pockets, concealed placket<br />

buttons in rich deep colours<br />

of reds, pinks and blues<br />

size 42<br />

$600–800<br />

191<br />

A VINTAGE SILK DRESS BY<br />

JOT TOORAK, CIRCA 1970<br />

a camel colour lightweight<br />

chiffon silk with silk satin edging<br />

dress was designed by Jot, an<br />

exclusive Toorak fashion label and<br />

boutique established in 1969<br />

size 8/10<br />

$100–200


37<br />

192<br />

AN ANTIQUE DIAMOND AND<br />

SEED PEARL BANGLE<br />

Set throughout with graduated old<br />

cut diamonds and seed pearls,<br />

diamonds totalling approximately<br />

1.00ct, engraved detail to outer edge<br />

of the bangle, hinged with tongue and<br />

groove clasp, safety chain; makers<br />

mark, testing as 15ct gold. Weight<br />

15.6g. Inner diameter 5.5cms.<br />

$2,500–3,500<br />

193<br />

A VINTAGE GOLD BRACELET<br />

Designed as a double belcher<br />

link bracelet, closing to a lobster<br />

claw clasp; 9ct gold. Weight<br />

10.7g. Length 20cms.<br />

$240–340<br />

194<br />

A DIAMOND AND COLOURED<br />

STONE CLUSTER RING<br />

Styled as a traditional cluster<br />

featuring a central oval shaped<br />

garnet-and-glass doublet, surrounded<br />

by a border of vari-cut round diamonds<br />

totalling approximately 0.45cts; testing<br />

as 15ct gold. Weight 3.7g. Ring size J.<br />

$400–600<br />

197<br />

A RUFFLED PINK SILK ORGANZA<br />

FRILL TOP BY AUSTRALIAN<br />

DESIGNER MACGRAW<br />

with a black velvet bow<br />

and zip up at the back<br />

size 10<br />

$200–300<br />

198<br />

A COLLECTION OF VINTAGE<br />

FOX FUR AND MINK STOLES<br />

comprising two fur stoles, a pair of<br />

cuffs and a possible sable taxidermy<br />

$200–300<br />

199<br />

TWO FINELY BEADED AND<br />

EMBROIDERED FLAPPER<br />

DRESSES, CIRCA 1930<br />

includes a slimline silk chiffon dress,<br />

with hand stitched silk and velvet<br />

gold embroidery, black sequins and<br />

beading, the other dress is black<br />

silk chiffon with fine beading<br />

size 10/12<br />

$200–300<br />

195<br />

A PAIR OF EMBELLISHED<br />

COSTUME EARRINGS BY LANVIN<br />

with clip on fastenings and original box<br />

15cm long<br />

$100–200<br />

196<br />

A COUTURE WEDDING DRESS BY<br />

JULIE GOODMAN, MELBOURNE, 2006<br />

a chiffon, satin and silk black<br />

and white empire line dress with<br />

sweetheart neckline, together<br />

with a elbow length veil<br />

size 8<br />

$160–240<br />

192


38<br />

A Private Collection of Persian Rugs, Toorak<br />

200<br />

A Nain carpet, Iran, 20th century<br />

silk and wool knotted pile; blue<br />

and cream colour palette<br />

277 x 179cm<br />

$1,500–2,500<br />

201<br />

An Isfahan rug, Iran, 20th century<br />

wool and silk knotted pile; cream,<br />

blue and dusty pink colour palette<br />

239 x 150cm<br />

$800–1,200<br />

202<br />

An Isfahan rug, Iran, 20th century<br />

wool and silk knotted pile; cream,<br />

blue and dusty pink colour palette<br />

235 x 150cm<br />

$800–1,200<br />

203<br />

An Isfahan rug, Iran, 20th century<br />

wool and silk knotted pile; blue<br />

and cream colour palette<br />

224 x 156cm<br />

$800–1,200<br />

204<br />

An Isfahan rug, Iran, 20th century<br />

wool knotted pile; ivory, blue<br />

and terracotta colour palette<br />

231 x 144cm<br />

$1,000–1,500<br />

205<br />

An Isfahan rug, Iran, 20th century<br />

wool knotted pile; ivory, blue<br />

and rust colour palette<br />

231 x 141cm<br />

$1,000–1,500<br />

206<br />

A Tabriz rug, Iran, 20th century<br />

wool knotted pile; ivory, red<br />

and green colour palette<br />

216 x 138cm<br />

$800–1,200<br />

207<br />

A Kashan prayer rug, Iran, 20th century<br />

wool knotted pile; cream, deep blue<br />

and turquoise colour palette<br />

218 x 135cm<br />

$1,200–1,500<br />

208<br />

A Tabriz rug, Iran, 20th century<br />

wool knotted pile; ivory, deep<br />

blue and red colour palette<br />

210 x 140cm<br />

$1,200–1,500<br />

209<br />

A Tekke Turkoman rug, Iran,<br />

20th century<br />

wool knotted pile;<br />

dark red colour palette<br />

187 x 155cm<br />

$500–800<br />

210<br />

A Kashan rug, Iran, circa 1950<br />

wool knotted pile; ivory, dark<br />

blue and red colour palette<br />

207 x 130cm<br />

$1,000–1,500<br />

211<br />

A Nain rug, Iran, 20th century<br />

silk and wool knotted pile; ivory<br />

and blue colour palette<br />

186 x 119cm<br />

$600–800


39<br />

212<br />

A Kashan rug, Iran, circa 1920<br />

wool knotted pile; cream, dark<br />

blue and rose red colour palette<br />

203 x 138cm<br />

$1,200–1,500<br />

212


40<br />

213<br />

A Tabriz carpet, Iran, circa 1960<br />

wool knotted pile; cream and<br />

dusty pink colour palette<br />

323 x 210cm<br />

$2,500–3,500<br />

213


41<br />

214<br />

A Nain carpet, Iran, 20th century<br />

silk and wool knotted pile; blue<br />

and cream colour palette<br />

335 x 215cm<br />

$2,000–3,000<br />

214


42<br />

215<br />

A pair of Tabriz rugs,<br />

Iran, 20th century<br />

wool and silk knotted pile; ivory,<br />

deep red and tan colour palette<br />

199 x 152cm, 196 x 153cm<br />

$5,000–8,000<br />

215


43<br />

216<br />

A pair of Kashan rugs,<br />

Iran, early 20th century<br />

wool knotted pile; ivory, blue<br />

and red colour palette<br />

198 x 129cm, 199 x 127cm<br />

$3,000–5,000<br />

216


44<br />

217<br />

An Isfahan rug, Iran, 20th century<br />

silk knotted pile; ivory, blue<br />

and light gold colour palette<br />

257 x 161cm<br />

$2,000–3,000<br />

217


45<br />

218<br />

An Isfahan rug, Iran, 20th century<br />

wool and silk knotted pile; cream<br />

ground and dusty pink border<br />

230 x 151cm<br />

$1,500–2,500<br />

218


46<br />

219<br />

A Qum rug, Iran, 20th century<br />

silk knotted pile; ivory, beige<br />

and dark green colour palette<br />

210 x 135cm<br />

$1,200–1,500<br />

219


47<br />

220<br />

A Qum prayer rug, Iran, 20th century<br />

silk knotted pile; ivory, turquoise<br />

and tan colour palette<br />

210 x 134cm<br />

$1,800–2,500<br />

220


48<br />

221<br />

A Kashan rug, Iran, 20th century<br />

wool knotted pile; cream, light<br />

green and pink colour palette<br />

204 x 140cm<br />

$1,000–1,500<br />

221


49<br />

222<br />

An Ardebil carpet, Iran, 20th century<br />

silk knotted pile; rectilinear<br />

design on a cream field<br />

275 x 177cm<br />

$1,500–2,500<br />

222


50<br />

223<br />

An Isfahan rug, Iran, 20th century<br />

wool and silk knotted pile; blue<br />

and beige colour palette<br />

173 x 112cm<br />

$800–1,200<br />

224<br />

An Isfahan rug, Iran, 20th century<br />

wool knotted pile; ivory, red<br />

and blue colour palette<br />

172 x 112cm<br />

$600–800<br />

225<br />

A pair of Isfahan rugs, Iran,<br />

20th century<br />

wool and silk knotted pile;<br />

ivory and blue colour palette<br />

172 x 112cm, 161 x 106cm<br />

$2,000–3,000<br />

226<br />

A Beluch rug, Iran, 19th century<br />

wool knotted pile; dark<br />

red colour palette<br />

182 x 97cm<br />

$400–600<br />

227<br />

An Isfahan rug<br />

with a silk base, of tesselate design on<br />

a cream ground within blue borders<br />

157 x 110cm<br />

$800–1,200<br />

228<br />

A Beluch rug<br />

of Afghan tribal weave design<br />

on a red and beige ground<br />

with geometric borders<br />

182 x 94cm<br />

$500–800<br />

229<br />

An Isfahan rug<br />

with a silk base, wool and silk pile,<br />

the floral field on a blue ground with<br />

light blue and cream borders<br />

160 x 105cm<br />

$800–1,200<br />

230<br />

A Isfahan rug<br />

the wool and silk pile on a silk<br />

base, with a cream ground<br />

and navy blue border<br />

152 x 109cm<br />

$800–1,200<br />

231<br />

A Tabriz rug<br />

finely woven with a Herati pattern, on<br />

a dark blue ground within red borders<br />

153 x 104cm<br />

$600–800<br />

232<br />

A Feraghan rug, early 20th century<br />

with a central foliate medallion<br />

on a blue ground with cream<br />

and red detailed border<br />

145 x 107cm<br />

$800–1,200<br />

233<br />

An Isfahan rug<br />

the silk base with a wool and silk<br />

pile, on cream ground with blue<br />

detail and dusty pink border<br />

147 x 103cm<br />

$1,000–1,500<br />

234<br />

A Turcoman rug,<br />

Yamout clan, bedding bag,<br />

in tones of red<br />

127 x 90cm<br />

$200–300<br />

235<br />

An Afghan bag face<br />

in tones of red and brown<br />

197 x 122cm<br />

$300–500<br />

236<br />

A Tabriz pattern rug<br />

with a central diamond medallion on<br />

rich red ground within blue borders<br />

240 x 131cm<br />

$600–800<br />

237<br />

A small Tabriz rug<br />

with cream central diamond medallion<br />

on a ground of red and blue<br />

134 x 120cm<br />

$300–500


51<br />

238<br />

A Nain carpet, Iran, 20th century<br />

silk and wool knotted pile; blue<br />

and cream colour palette<br />

272 x 170cm<br />

$1,500–2,500<br />

238


52<br />

The Naïve Art Collection<br />

of the Late Claude Ullin AM<br />

Founder of Gallery Art Naïve<br />

Defined as an ‘indefatigable supporter’ of<br />

the arts community, Claude Ullin AM was<br />

a tireless pioneer and promoter of the<br />

Australian arts scene.<br />

Art was in Claude’s blood – born in 1937<br />

in Milan, Italy, he was the descendent of<br />

distinguished German Jewish art collectors.<br />

Over several decades, the family acquired<br />

significant paintings and sculptures to form a<br />

substantial art collection that was either stolen,<br />

abandoned or dissolved through involuntary<br />

sale when the family sought refuge in Australia<br />

during World War II.<br />

Having been surrounded by art in his youth,<br />

Claude launched successful creative<br />

advertising agency Higgins Ullin Advertising<br />

(later Ullin & Partners) through the 1970s.<br />

Finally, his passion for art took over, purchasing<br />

a large Spanish Revival home at 430 Punt Road,<br />

South Yarra and repurposing the building to<br />

become Gallery Art Naïve in 1978 – the first<br />

very first totally dedicated gallery to showcase<br />

Naïve Art. At that time, Australian Galleries was<br />

the only gallery that would occasionally show<br />

works of that genre.<br />

Focussing on underrepresented artists, the<br />

gallery launched a number of careers such as<br />

Roma Higgins, Narelle Wildman, Dick Roughsey,<br />

Percy Tresize and Jimmy Archer, showing<br />

up to 80 artists during the gallery’s tenure.<br />

Gallery Art Naïve was extremely important<br />

in the proliferation of Australian Naïve Art to<br />

a far wider audience, including Billy Joel and<br />

Christie Brinkley who came to the gallery and<br />

commissioned a work by Joanne Netting<br />

in the 1980s.


53<br />

The gallery was a labour of love, manned by a<br />

director through the week and by Claude on his<br />

only free day, Sunday. Whilst his children played<br />

in the front yard, Claude would be entertaining<br />

and exhibiting, showing collectors, artists,<br />

musicians and influential people the talents of<br />

his artistic stable. He would pursue artists he<br />

wanted to show to any length, regularly driving<br />

hundreds of kilometres away with his wife in<br />

the passenger seat and children piled in the<br />

back. One such artist was Lorna Chick, whose<br />

works are represented in this catalogue. His<br />

dedication to onboarding artists was equal to<br />

his dedication to them as a devoted supporter,<br />

forming many lifelong friendships with artists,<br />

clients, and patrons alike.<br />

A true contributor to the broader Australian arts<br />

scene, Claude would later open High on Art<br />

gallery in Armadale, specialising in Indigenous<br />

art, and also founded and generously funded<br />

the Lyric Opera Company of Melbourne.<br />

Besides his artist endeavours, Claude was<br />

also a councillor of the Stonnington City<br />

Council and multiple-time mayor for the City.<br />

Claude was appointed a Member (AM) of<br />

the Order of Australia in 2017, celebrating<br />

his lifelong commitment to promoting the<br />

arts, multiculturalism and his work in local<br />

government.


54<br />

239<br />

ANNE GRAHAM (BORN 1925)<br />

Diamond Bay, Sorrento 1977<br />

oil on board<br />

signed and dated lower<br />

right: Anne Graham 77<br />

76.5 x 121cm (irregular)<br />

$4,000–6,000<br />

240<br />

MARGERY DENNIS (1922-1996)<br />

Rainforest<br />

signed lower centre:<br />

MARGERY DENNIS<br />

60 x 44.5cm<br />

$400–600<br />

241<br />

SANDRA MARTIN<br />

Old Sydney Town<br />

oil on composition board<br />

signed lower right: S.MARTIN<br />

39 x 49.5cm<br />

EXHIBITED<br />

Sandra Martin, Gallery<br />

Art Naive, Melbourne,<br />

June 1983, cat.20<br />

$300–500<br />

239


55<br />

242<br />

242<br />

DAVID FIELDING (BORN 1944)<br />

Summer Serenity 1982<br />

oil on board<br />

signed and dated lower right:<br />

DAVID FIELDING 1982<br />

24.5 x 34.5cm<br />

LITERATURE<br />

For related work: McCullough,<br />

Bianca, Australian Naive Painters,<br />

Hill of Content Publishing Company,<br />

Melbourne, 1977, p. 43<br />

$700–1,000<br />

243<br />

ROSS MOORE (BORN 1954)<br />

Aerial View 1989<br />

watercolour<br />

signed and dated lower<br />

right: R Moore 89<br />

101 x 123cm<br />

$400–600<br />

244<br />

MIRIAM NAUGHTON<br />

(BORN 1925)<br />

Sunday at Grandma's 1985<br />

oil on canvas<br />

signed and dated lower right:<br />

MIRIAM NAUGHTON 1985<br />

titled verso: Sunday at Grandma's<br />

89.5 x 89.5cm<br />

EXHIBITED<br />

Miriam Naughton, Gallery Art Naive,<br />

Melbourne, 6 - 27 July 1986<br />

$300–500


56<br />

245<br />

ELFRUN LACH<br />

(GERMAN, BORN 1955)<br />

At the Olgas 1984<br />

acrylic on canvas board<br />

signed and dated lower left: LACH 84<br />

49.5 x 39.5cm<br />

$500–800<br />

246<br />

ELFRUN LACH<br />

(GERMAN, BORN 1955)<br />

Willie's Hurdy Gurdy 1982<br />

acrylic on canvas on board<br />

signed and dated lower right: LACH 82<br />

50 x 40cm<br />

$300–500<br />

247<br />

ELFRUN LACH<br />

(GERMAN, BORN 1955)<br />

Twins 1987<br />

oil on board<br />

signed and dated lower right: LACH 87<br />

19.5 x 14.5cm<br />

$300–500<br />

245<br />

248


57<br />

250<br />

248<br />

DAMIEN NAUGHTON<br />

(ACTIVE 1980s)<br />

One Tree Hotel 1988<br />

oil on canvas<br />

signed and dated lower<br />

right: D NAUGHTON 88<br />

73.5 x 119cm<br />

$300–500<br />

249<br />

MATILDA LISTER (1889-1965)<br />

Sermon on the Mount<br />

oil on board<br />

signed lower right: M Lister<br />

verso: Blake Prize Entry Form (undated)<br />

120 x 90cm<br />

EXHIBITED<br />

Matilda Lister, Gallery Art Naive,<br />

Melbourne, March 1984, cat 12<br />

$400–600<br />

250<br />

MATILDA LISTER (1889-1965)<br />

Baptism of Christ<br />

oil on board<br />

signed and titled verso:<br />

Matilda Lister BAPTISM OF CHRIST<br />

64 x 90cm<br />

$1,000–1,500<br />

251<br />

MATILDA LISTER (1889-1965)<br />

St Paul Preaching to<br />

the Corinthians<br />

oil on board<br />

signed lower right: M Lister<br />

90.5 x 121cm<br />

EXHIBITED<br />

Matilda Lister, Gallery Art Naive,<br />

Melbourne, March 1984 (cat<br />

1 and cat 2 respectively)<br />

$400–600<br />

252<br />

MATILDA LISTER (1889-1965)<br />

Christ at the Pool of the Bethesda<br />

oil on board<br />

signed lower right: Matilda<br />

verso: Darcy Morris Memorial<br />

Prize Form (undated)<br />

90 x 120cm<br />

EXHIBITED<br />

Matilda Lister, Gallery Art Naive,<br />

Melbourne, March 1984, cat 11<br />

$400–600<br />

253<br />

DAVID FIELDING (BORN 1944)<br />

The Memorial<br />

gouache and oil on board<br />

24 x 17cm<br />

$300–500


58<br />

254<br />

254<br />

DOROTHY SISTER GRAY<br />

(BORN 1920)<br />

Sea View from the<br />

Tropical Garden<br />

oil on canvas<br />

signed lower right: DOROTHY GRAY<br />

76.5 x 168cm<br />

ILLUSTRATED<br />

McCullough, Bianca, Australian Naive<br />

Painters, Hill of Content Publishing<br />

Company, Melbourne, 1977, p. 39<br />

$2,000–4,000<br />

255<br />

JOHANNA HILDEBRANDT<br />

(ACTIVE 1990s)<br />

Fruit Bats<br />

oil on board<br />

signed lower left: Johanna Hildebrandt<br />

21.5 x 18cm<br />

$200–400<br />

256<br />

RAFAEL SALDALA<br />

(SPANISH,1930-2000)<br />

On the Banks of the<br />

Limpopo River<br />

oil on board<br />

signed lower right: SALDANA<br />

31 x 39cm<br />

$200–400<br />

257<br />

MILAN TODD (1922-2018)<br />

Cockatoos<br />

gouache on paper<br />

signed lower left: Milan<br />

54.5 x 74cm<br />

$500–800


59<br />

258<br />

258<br />

DOROTHY SISTER GRAY<br />

(BORN 1920)<br />

Botanical Gardens,<br />

Coconut no.3, 1977<br />

oil on canvas<br />

signed lower left: DOROTHY G<br />

92 x 106.5cm<br />

PROVENANCE<br />

Australian Galleries,<br />

Melbourne (label verso)<br />

$2,000–4,000<br />

259<br />

BARBARA DROGEMULLER<br />

Granny's Tales<br />

oil on board<br />

signed lower left: B Drogemuller<br />

57.5 x 43.5cm<br />

$200–400<br />

260<br />

LEE-ANNE SHEARER<br />

Flying Home 1992<br />

signed, dated and titled verso:<br />

LEE 92 FLYING HOME<br />

oil on board<br />

121 x 58.5cm (irregular)<br />

$100–300


60<br />

261<br />

261<br />

RAE MARKS (BORN 1945)<br />

Gaggle of Geese<br />

oil on board<br />

signed lower right: R Marks<br />

91 x 110cm<br />

EXHIBITED<br />

Gallery Art Naive,<br />

19 Sept - 1 Oct 1983, cat 2<br />

$1,500–2,500<br />

262<br />

ANNIE IRISH<br />

Manly Life Savers 1985<br />

acrylic on canvas board<br />

signed and dated lower<br />

right: ANNIE IRISH 85<br />

37 x 44cm<br />

EXHIBITED<br />

Annie Irish, Gallery Art Naive,<br />

Melbourne, 17 Nov - 4 Dec 1985, cat.5<br />

$600–800<br />

263<br />

KEVIN LANE<br />

One Sock Off 1990<br />

oil on board<br />

signed and dated lower<br />

right: KEVIN LANE '90<br />

25cm diameter<br />

EXHIBITED<br />

Kevin Lane, Gallery Art Naive,<br />

Melbourne, 2 - 30 September 1990<br />

$300–500


61<br />

264<br />

264<br />

HENRI BASTIN (1896-1979)<br />

Northern District WS<br />

Australia 1978<br />

oil on board<br />

signed and dated lower right:<br />

HENRI BASTIN 1978<br />

49 x 59cm<br />

$4,000–6,000<br />

265<br />

GWEN MASON (BORN 1922)<br />

Spring Growth<br />

oil on board<br />

signed lower right: G.Mason<br />

40 x 55cm<br />

$400–600<br />

266<br />

GWEN MASON (BORN 1922)<br />

The Pine Forest 1983<br />

oil on canvas board<br />

signed lower left: G.Mason<br />

40 x 55.5cm<br />

PROVENANCE<br />

Australian Galleries, Melbourne,<br />

March 1983. cat no.24 (label verso)<br />

$500–700


62<br />

267<br />

267<br />

BERNARD HESLING (1905-1987)<br />

Arrival of Cpt Phillip 1772 with<br />

500 Women and 1000 Men 1980<br />

oil on canvas on board<br />

signed, dated and titled lower left<br />

and right: HESLING 80 ARRIVAL<br />

OF Cpt PHILLIP, 1772, WITH 500<br />

WOMEN AND 1000 MEN<br />

60 x 90cm<br />

$3,000–5,000<br />

268


63<br />

269<br />

268<br />

A A BAUM<br />

Hammer and Tap (Broken Hill)<br />

oil on board<br />

signed lower right: a. Baum<br />

inscribed and titled verso:<br />

A A Baum HAMMER & TAP<br />

23.5 x 28.5cm<br />

PROVENANCE<br />

Leonard Joel, Melbourne,<br />

Naive Art, 19 March 2015, Lot 8<br />

$600–900<br />

269<br />

SAMUEL (SAM) BYRNE<br />

(1883-1978)<br />

Paddy Dumaoo's Beer<br />

A Grade Makers The Minder's<br />

Parade, Thackaringa 1886<br />

oil, sand and minerals on board<br />

signed and titled lower right and left:<br />

Sam Byrne Paddy Dumaoo's Beer A<br />

Grade Makes the Miners Band Parade,<br />

Thackaringa<br />

49 x 59cm<br />

$4,000–6,000<br />

270<br />

MURIEL LUDERS (1906-1984)<br />

Moogerah Dam<br />

oil on composition board<br />

signed lower right: M.Luders<br />

43.5 x 54.5cm<br />

EXHIBITED<br />

Bernard Hesling and Muriel Luders,<br />

Gallery Art Naive, Melbourne, 14<br />

September - 8 October 1980<br />

$400–600


64<br />

271<br />

271<br />

HOWARD STEER (BORN 1947)<br />

Cursing the Effigy Grave, 1904<br />

oil and minerals on board<br />

signed, dated and titled lower right<br />

and left: Howard William Steer<br />

Cursing the Effigy Grave 1904<br />

44 x 59cm<br />

EXHIBITED<br />

Howard Steer, Gallery Art Naive,<br />

Melbourne, 13 October - 6 November<br />

1991<br />

$500–800<br />

272<br />

GREG IRIVINE (BORN 1947)<br />

Seated Couple<br />

green, red and brown glazed ceramic<br />

signed on base: IRVINE<br />

41cm high, 29.5cm wide, 16cm deep<br />

$700–900<br />

272


65<br />

273<br />

273<br />

GREG IRIVINE (BORN 1947)<br />

Railway Men<br />

oil on canvas<br />

signed with initials lower right: G I<br />

113.5 x 110cm<br />

EXHIBITED<br />

Greg Irvine; Oils, Gallery Art Naive,<br />

Melbourne, 9 Oct - 6 Nov 1983<br />

$3,500–5,500<br />

274<br />

ANGELA IRELAND<br />

Heavenly Nudes 1992<br />

painted and glazed ceramic platter<br />

with two cups and saucers<br />

signed and dated on base:<br />

angela ireland 92<br />

33 x 39.5cm<br />

$200–400<br />

275<br />

FRANCISCO MUNOZ<br />

The Boating Party 1990<br />

acrylic on canvas board<br />

signed and dated lower right:<br />

Francisco Munoz 90<br />

63.5 x 78.5cm<br />

$500–700


66<br />

276<br />

276<br />

LORNA CHICK (1922-2007)<br />

Mount Emu 1972<br />

oil on board<br />

signed lower left: LORNA CHICK<br />

inscribed, dated and titled verso:<br />

Lorna Chick 1972 Mount Emu<br />

50.5 x 74cm<br />

PROVENANCE<br />

Leonard Joel, Australian and<br />

European Paintings, Melbourne,<br />

18 November 1997, Lot 228A<br />

$2,500–3,500<br />

277<br />

ROBERT ALLCROFT<br />

Carnival<br />

oil on canvas<br />

signed lower right: R ALLCROFT<br />

35 x 55cm<br />

$100–300<br />

278<br />

CHARLES (HOPPY) HOPGOOD<br />

(1917-1992)<br />

City Dump<br />

oil on board<br />

signed lower right: Hoppy Hopgood<br />

44 x 59.5cm<br />

$400–600<br />

279<br />

SUSAN MARTIN<br />

Prizzi<br />

acrylic on board<br />

signed lower left: S MARTIN<br />

30 x 24cm<br />

$300–500<br />

280<br />

MARIE JONSSON-HARRISON<br />

(ACTIVE 1990s)<br />

In a Jam 1991<br />

acrylic on canvas board<br />

signed and dated lower right;<br />

Marie Jonsson-Harrison 1991<br />

22 x 30cm<br />

$300–500


67<br />

281<br />

281<br />

LORNA CHICK (1922-2007)<br />

Mount Buffalo<br />

oil on canvas<br />

signed lower left: LORNA CHICK<br />

inscribed with title verso:<br />

MOUNT BUFFALO<br />

76 x 105.5cm<br />

PROVENANCE<br />

Leonard Joel, Australian and<br />

European Paintings, Melbourne,<br />

29 March 1994, Lot 249<br />

LITERATURE<br />

For related work: McCullough,<br />

Bianca, Australian Naive Painters,<br />

Hill of Content Publishing Company,<br />

Melbourne, 1977, p. 35<br />

$4,500–6,500<br />

282<br />

KAY WATTS<br />

Demonstrable View 1982<br />

tempera on canvas board<br />

signed and dated lower left:<br />

K.Watts X 82<br />

46 x 55.5cm<br />

EXHIBITED<br />

Kay Watts, Gallery Art Naive,<br />

Melbourne, 15 May–5 June,<br />

1983, cat.2<br />

$400–600


68<br />

283<br />

284


69<br />

285<br />

283<br />

HUGH SCHULTZ (1921-2005)<br />

The Legend of the Sturt Pea<br />

oil on board<br />

signed lower right: Hugh Schultz<br />

titled verso:<br />

The Legend of the Sturt Pea<br />

50 x 74cm<br />

$1,000–1,500<br />

284<br />

IAN ABDULLA (1947-2011)<br />

Wild Life in the Creeks<br />

Along the River Murray<br />

oil on canvas board<br />

signed and titled lower right and<br />

upper left: Ian. W. Abulla Wild life in<br />

the Creek's along the River Murray<br />

49.5 x 59.5cm<br />

$1,000–2,000<br />

285<br />

VERA FENNELL (BORN 1939)<br />

Botanical Gardens,<br />

Melbourne 1985<br />

oil on composition board<br />

signed and dated lower left: Fennell 85<br />

34 x 98cm<br />

$700–1,000<br />

286<br />

R J CRICKMORE<br />

Spring Time 1987<br />

oil on board<br />

signed and dated lower right:<br />

R J CRICKMORE 87<br />

51 x 0.5cm<br />

$200–400<br />

287<br />

MURIEL LUDERS (1906-1984)<br />

Landscape<br />

oil on board<br />

signed lower right: M Luders<br />

49.5 x 70cm<br />

$300–500<br />

288<br />

VERA FENNELL (BORN 1939)<br />

The First Government House<br />

(Sydney 1792) 1979<br />

oil on canvas board<br />

signed and dated lower left:<br />

V Fennell 79<br />

titled verso: The first Government<br />

House (Sydney 1792)<br />

49 x 75cm<br />

$400–600<br />

289<br />

JOHANNA HILDEBRANDT<br />

(ACTIVE 1990s)<br />

Goldpanning, Springtime 1984<br />

oil on glass<br />

initialled and dated lower right: JH 84<br />

29 x 38.5cm<br />

EXHIBITED<br />

Johanna Hildebrandt, Gallery Art<br />

Naive, Melbourne, 6 - 27 July 1986<br />

$400–600<br />

290<br />

MARGERY DENNIS (1922-1996)<br />

Tropical Paradise<br />

oil on board<br />

signed lower left: MARGERY DENNIS<br />

90.5 x 59.5cm<br />

LITERATURE<br />

Bihalji-Merin, O., World Encyclopedia<br />

of Naive Art; A Hundred Years of<br />

Naive Art, Frederick Muller, London,<br />

1984, pp.201 and 202 (illus.)<br />

$600–800


70<br />

291<br />

292


71<br />

293<br />

291<br />

ROMA HIGGINS (1909-1979)<br />

A Bedtime Story<br />

oil on board<br />

signed lower right: Roma<br />

29 x 39cm<br />

$800–1,200<br />

292<br />

ROMA HIGGINS (1909-1979)<br />

Sunday Dinner in the<br />

Farmhouse Kitchen<br />

oil on composition board<br />

signed lower right: Roma<br />

44.5 x 59.5cm<br />

$2,000–3,000<br />

293<br />

ROMA HIGGINS (1909-1979)<br />

The Saw Mill (Murwillumbah<br />

Railway Line, Bangalow)<br />

oil on board<br />

signed lower centre: Roma<br />

58 x 89cm<br />

$3,000–5,000<br />

294<br />

PAT GREIG<br />

Billabongs and Wetlands,<br />

Murray River 1981<br />

gouache and watercolour<br />

signed lower right: Part Greig<br />

29.5 x 39.5cm<br />

$200–400<br />

295<br />

A collection of reference books<br />

on naive art, 1970s and later<br />

comprising seven volumes including:<br />

Beryl Cook, The Works,<br />

published London, 1978<br />

Beryl Cook, On Man Show,<br />

published London, 1981<br />

World Encyclopedia of Naive Art,<br />

published Yugoslavia, 1984<br />

Tomasevic Tisnikar, Painter<br />

of Death, published Italy<br />

Susan Grimm, Authentische Naive,<br />

published Germany, 1991<br />

Naive Art, Paintings from<br />

Yugoslavia, published 1977<br />

Drago Zdunic, Primitive Painting,<br />

published New York, 1981<br />

$300–500


72<br />

296<br />

296<br />

RAFAEL SALDALA<br />

(SPANISH,1930-2000)<br />

Landscape with Butterflies<br />

and Other Things 1978<br />

oil on board<br />

signed and dated lower right:<br />

SALDANA 78<br />

signed, dated and titled verso:<br />

R SALDANA 1978 LANDSCAPE<br />

with Butterflies AND other Things<br />

55 x 91cm<br />

$700–1,000<br />

297<br />

SUZANNE MACMICHAEL<br />

Jenny's Courtyard Garden 1983<br />

embroidery<br />

signed lower right: S MacMichael<br />

29.5 x 49cm<br />

$100–300<br />

298<br />

PERCY TREZISE (1923-2005)<br />

Ibis at the Billiabong<br />

oil on board<br />

signed lower right: Trezise<br />

50 x 60cm<br />

$400–600<br />

299<br />

PERCY TREZISE (1923-2005)<br />

The Hunting Party 1975<br />

oil on board<br />

signed and dated lower<br />

right: Junkimburri 75<br />

40 x 60cm<br />

$400–600<br />

300<br />

PERCY TREZISE (1923-2005)<br />

Dugong Hunters at Dusk<br />

oil on board<br />

signed lower right: Trezise<br />

60 x 75cm<br />

$500–800<br />

301<br />

ANGELKA VUKADINOVICH<br />

Summer Farms 1980<br />

oil on glass<br />

signed lower left: ANGELKA<br />

VUKADINOVICH<br />

39 x 49cm<br />

EXHIBITED<br />

Angelaka Vukadinovich,<br />

Gallery Art Naive, Melbourne,<br />

17 April - 8 May 1988<br />

$400–600


73<br />

300<br />

302<br />

IVAN VECENAJ<br />

(CROATIAN, 1920-2013)<br />

Turkey Talk 1985<br />

oil on glass<br />

signed and dated lower<br />

centre: Vecenaj - T 1985<br />

41 x 35.5cm<br />

EXHIBITED<br />

Yugoslavian Naive Artist,<br />

Gallery Art Naive, Melbourne,<br />

16-30 November 1986, cat. 7<br />

$400–600<br />

302


74<br />

303<br />

303<br />

LIDIA GROBLICKA (1933-2012)<br />

Afternoon 1971<br />

watercolour, gouache<br />

and pencil on paper<br />

signed with initials and dated<br />

lower right: L D G 71<br />

titled verso: Composition (afternoon)<br />

27 x 55.5cm<br />

$300–500<br />

304<br />

ARTIST UNKNOWN<br />

Intimate Interior<br />

oil on board<br />

initialled lower right: EH<br />

40 x 29.5cm<br />

$100–300<br />

305<br />

PRISCILLA FRIEND<br />

(ACTIVE 1980s)<br />

The Little Red Fox<br />

oil on canvas board<br />

signed lower right: P FRIEND<br />

34 x 24cm<br />

$200–400<br />

306<br />

BARBARA CAMERON<br />

(BORN CIRCA 1900)<br />

Band Rotunda<br />

oil on board<br />

signed lower left: BARBARA CAMERON<br />

34.5 x 44.5cm<br />

$200–400<br />

307<br />

BARBARA CAMERON<br />

(BORN CIRCA 1900)<br />

Oh Those Hats! 1980<br />

oil on board<br />

signed lower left:<br />

BARBARA CAMERON 1980<br />

37 x 44cm<br />

$200–400<br />

308<br />

VERA FENNELL (BORN 1939)<br />

Timo's Dream<br />

oil on canvas board<br />

signed lower left: Fennell<br />

24 x 34cm<br />

$200–400


75<br />

309<br />

309<br />

BERYL ROJAHN (BORN 1914)<br />

Bondi Beach<br />

oil on canvas on board<br />

signed lower right: B Rojahn<br />

55 x 75.5cm<br />

EXHIBITED<br />

Beryl Rojahn, Gallery Art Naive,<br />

Melbourne, April 1980<br />

$400–600<br />

310<br />

BERYL ROJAHN (BORN 1914)<br />

Weekend Parade<br />

oil on canvas on board<br />

signed lower right: B Rojahn<br />

41 x 55cm<br />

EXHIBITED<br />

Beryl Rojahn, Gallery Art Naive,<br />

Melbourne, April 1980<br />

$400–600<br />

311<br />

ADAM ZEGADIO<br />

Biblical Treehouse<br />

carved and painted wood<br />

incised verso: ADAM ZEGADIO<br />

63cm high, 29cm wide, 15cm deep<br />

$200–400<br />

312<br />

ANGELKA VUKADINOVICH<br />

(ACTIVE 1970s-1980s)<br />

Harvest Time<br />

oil on glass<br />

signed lower left:<br />

VUKADONIVICH ANGELKA<br />

39.5 x 49cm<br />

$300–500<br />

313<br />

MIRKO HORVAT<br />

Washer Woman 1987<br />

oil on glass<br />

signed and dated lower left:<br />

Mirko Horvat 1987<br />

39 x 48cm<br />

$300–500<br />

314<br />

TUTEK<br />

Snow Village 1986<br />

oil on glass<br />

signed and dated lower right: Tutek 86<br />

39 x 34cm<br />

$200–400


76<br />

Property from a Private Collection, Melbourne<br />

315<br />

A pair of large Murano glass vases by<br />

Sergio Costantini, Italian, 20th century<br />

each with an abstract applied<br />

twisting and dripping texture to the<br />

substantial clear glass body, signed<br />

to bases 'Costantini Murano'<br />

38cm high<br />

$2,000–3,000<br />

315<br />

316<br />

A Louis XV style fruitwood bergere<br />

upholstered in a grey feather<br />

and ribbon motif satin<br />

$800–1,200<br />

316


77<br />

317<br />

A Louis XV style carved<br />

mirror and console<br />

pierced acanthus scrollwork to each<br />

the console 85cm high,<br />

105cm wide, 46cm deep<br />

$1,000–1,500<br />

317


78<br />

318<br />

318<br />

FRENCH SCHOOL<br />

Women in a Garden circa 1925<br />

oil on canvas<br />

29 x 61cm<br />

$1,500–2,000<br />

319<br />

A small brass dachschund figure by<br />

Pierre Chenet, France, 20th century<br />

impressed crown mark to belly<br />

6cm high<br />

$400–600<br />

320<br />

A gilt bronze figure of a reclining cat<br />

4.5cm high<br />

$400–600<br />

321<br />

An iron red glazed baluster<br />

vase lamp, Chinese<br />

39cm high<br />

$300–500<br />

322<br />

A pair of ebonised ladder<br />

back side chairs, in the style<br />

of Paola Buffa, 1950s<br />

with warm grey velvet<br />

upholstery and tapered legs<br />

$600–800<br />

323<br />

A large blown glass champagne<br />

bucket by Daum Nancy, France<br />

twin handled, the opaque glass<br />

with an internal bubble technique<br />

23cm high<br />

$600–800<br />

324<br />

A pressed glass chrysanthemum<br />

relief decorated box and cover<br />

by Verlys, French circa 1930<br />

raised factory mark to base<br />

17cm diameter<br />

$300–500<br />

325<br />

A Jaeger-LeCoultre skeleton<br />

clock, circa 1950<br />

with a glass dial, standing<br />

on a gilt metal base<br />

19.5 cm high, 14 cm wide, 4cm deep<br />

$600–800


79<br />

326<br />

FERDINAND PREISS<br />

(GERMAN, 1882-1943)<br />

The Torch Dancer c.1925<br />

a cold painted bronze mounted<br />

ivory figure of a dancer suspended<br />

on one leg, raised on a substantial<br />

green onyx base, signed 'F.Preiss'<br />

to the rear of the base<br />

29.5cm high<br />

$6,000–8,000<br />

326<br />

326 (Detail)


80<br />

327<br />

A Provincial style fruitwood<br />

vitrine, French, 19th century<br />

191cm high, 90cm wide, 36cm deep<br />

$800–1,200<br />

328<br />

FRENCH SCHOOL<br />

Classical Landscape with<br />

Dancing Figures 1925<br />

oil on canvas<br />

31 x 62.5cm<br />

$1,500–2,000<br />

329<br />

A gilt bronze mounted marble top<br />

bombé commode, French, circa 1900<br />

marquetry inlaid flowers to<br />

each curved side continuing<br />

across the two drawers<br />

86cm high, 120cm wide, 56cm deep<br />

$1,200–1,800<br />

330<br />

A pair of George I style silver plate<br />

candlesticks, Sheffield, 19th century<br />

$200–300<br />

331<br />

A pair of cantilevered tubular<br />

chrome and black leather chairs,<br />

after the original design by<br />

Marcel Breuer, Italian, 1970s<br />

$200–400<br />

332<br />

A terrestrial glass globe lamp,<br />

French, circa 1940<br />

on a stepped aluminium base<br />

30cm high<br />

$400–600<br />

327


81<br />

328<br />

329


82<br />

333<br />

A pair of green velvet butterfly wing<br />

back armchairs, French, late 1920s<br />

$1,200–1,800<br />

334<br />

A sterling silver tastevin by Towle<br />

Sterling, American, mid 19th century<br />

together with a sterling silver<br />

brandy label by J & J Maxfield<br />

Ltd, Birmingham, 1907 and a<br />

silver plate whiskey label<br />

the tastevin 15cm diameter,<br />

90gms total weight of sterling<br />

$100–200<br />

335<br />

A handpainted Chinese export<br />

mug by Samson, 19th century<br />

decorated with an armorial crest<br />

translating to 'by fidelity and fortitude'<br />

10.5cm high<br />

$50–100<br />

336<br />

A pair of Empire style gilt bronze<br />

and patinated green wall lights,<br />

French, early 20th century<br />

41cm high<br />

$400–600<br />

333


83<br />

337<br />

337<br />

NINO GIUFFRIDA<br />

(ITALIAN, BORN 1924)<br />

Plage 1968<br />

oil on canvas<br />

signed lower right: Nino Giuffrida<br />

signed, dated and titled verso:<br />

Nino Giuffrida 1968 Plage<br />

26 x 39.5cm<br />

$500–800<br />

338<br />

A terrestrial globe by Philips<br />

Challenge Globes, London<br />

part of the 'Cartes Tarides' series<br />

originally made for the French market,<br />

on a marble base with a chromed arm<br />

40cm high<br />

$800–1,200<br />

338


84<br />

339<br />

A French Art Deco wrought iron<br />

marble top table<br />

of oval form with a green marble top,<br />

the ornate foliate pierced standard<br />

raised on a conforming square foot<br />

75cm high, 73cm wide, 54cm deep<br />

$2,500–3,500<br />

339<br />

340<br />

A French Art Deco circular<br />

wrought iron marble top table<br />

66cm high, 57cm diameter<br />

$2,000–3,000<br />

340


85<br />

341<br />

A Spanish Provincial style fruitwood<br />

and wrought iron dining table<br />

75cm high, 167cm wide, 68cm deep<br />

$800–1,200<br />

341<br />

342<br />

A Thonet polished walnut bentwood<br />

side table, Viennese, late 19th century<br />

77cm high, 110m wide, 70cm deep<br />

$1,000–1,500<br />

342


86<br />

343<br />

343<br />

A red leather and gold embossed<br />

book, from the library of Edward VIII,<br />

Duke of Windsor.<br />

The first or Grenadier Guard's Club,<br />

1937, published by Gale & Polden,<br />

93 pages gilt on edges, in period red<br />

morocco binding, struck in the centre<br />

of the first cover with the monogram<br />

G. R. in gold letters surmounted by<br />

the Royal Crown of England and<br />

surrounded by the motto of the<br />

Order of the Garter 'HONNI SOIT<br />

QUI MAL Y PENSE' with a fleur de lys<br />

at each corner.<br />

PROVENANCE<br />

Former collection of King Edward<br />

VIII, then Duke of Windsor<br />

Public auction, Paris<br />

Private Collection, Melbourne<br />

$1,000–2,000<br />

344<br />

A vintage Philips 'Politisk<br />

Globus' globe, circa 1900<br />

on a later ebonised stand<br />

50cm high<br />

$1,000–1,500<br />

345<br />

A Satsuma porcelain vase<br />

table lamp, Japanese,<br />

early 20th century<br />

the cylindrical body<br />

decorated with a court scene,<br />

interspersed with panels of<br />

peonies and chrysanthemums<br />

60cm high<br />

$400–600<br />

344


87<br />

346<br />

A Louis XVI marble top painted<br />

demi-lune console, French<br />

the St. Anne marble top above a<br />

classical pierced and carved frieze,<br />

raised on tapering fluted supports<br />

81cm high, 90cm wide, 48cm deep<br />

$3,000–5,000<br />

347<br />

A white painted circular centre<br />

table, French, 19th century<br />

69cm high, 128cm diameter<br />

$400–600<br />

348<br />

A panelled walnut mirror back<br />

hall stand, French, circa 1920<br />

220cm high, 70cm wide, 24cm deep<br />

$500–800<br />

349<br />

A rosewood handled silver plate<br />

coffee pot by Tetard Brothers,<br />

France, 19th century<br />

24cm high<br />

$400–600<br />

346


88<br />

350<br />

350<br />

PIERRE LEPAGE<br />

(FRENCH, 1906-1983)<br />

Still Life - Bouquet of<br />

Orange Flowers<br />

oil on canvas<br />

signed lower left: P Lepage<br />

44.5 x 59.5cm<br />

$1,000–1,500<br />

351<br />

A giltwood trumeau pier mirror,<br />

French, 19th century<br />

130 x 24cm<br />

$400–600<br />

352<br />

An Art Deco style stencil decorated<br />

earthenware vase by Keller et<br />

Guerin Lunéville, France,1930s<br />

impressed edition marks and black<br />

factory 'K&G Lunéville' stamp to base<br />

32cm high<br />

$500–700<br />

353<br />

A brass mounted cut crystal<br />

lamp base, French, 1950s<br />

25cm high<br />

$300–500<br />

354<br />

A Dutch style tin glazed<br />

vase, late 19th century<br />

of lobed form with blue, white<br />

and red decoration, blue<br />

underglaze 'R' mark to base<br />

25cm high<br />

$200–300<br />

355<br />

A bone handled engraved silver plate<br />

wine cooler, French, early 20th century<br />

with an undulating beaded mouth<br />

23cm high<br />

$300–500


89<br />

356<br />

A pair of Louis XIV floral tapestry<br />

upholstered high back fauteuil,<br />

French, 19th century<br />

$1,000–1,500<br />

357<br />

A polished brass fire set,<br />

French, 19th century<br />

comprising four pieces on stand<br />

68cm high<br />

$400–600<br />

358<br />

A pair of painted wood and metal<br />

juggling ball coat hooks, Italian, 1950s<br />

painted red, yellow and green<br />

60cm long<br />

$400–600<br />

359<br />

A pair of Louis XVI gilt bronze<br />

candlesticks, French, 18th century<br />

18cm high<br />

$400–600<br />

360<br />

A pierced gallery edge silver plate<br />

tea tray, French, 19th century<br />

63cm wide<br />

$400–600<br />

361<br />

An engine turned decorated gilt metal<br />

box, French, early 19th century<br />

2.5cm high, 7cm diameter<br />

$300–500<br />

356


90<br />

362<br />

362<br />

PAUL CHARAVEL<br />

(FRENCH, 1877-1961)<br />

Moonlit Landscape 1941<br />

oil on canvas<br />

signed and dated lower right:<br />

Paul Charavel 1941<br />

49 x 91cm<br />

$2,500–3,500<br />

363<br />

A smoky pressed glass<br />

chrysanthemum relief powder box<br />

by Verlys, France, circa 1930<br />

raised factory mark to base<br />

13cm diameter<br />

$300–500<br />

364<br />

A pink pressed glass moth<br />

relief powder box by Verlys,<br />

France, circa 1930<br />

raised factory mark to base<br />

17cm diameter<br />

$400–600<br />

365<br />

A grey pressed glass daisy box<br />

by Verlys, France, circa 1930<br />

raised factory mark to base<br />

17cm diameter<br />

$300–500<br />

366<br />

An opalescent pressed glass<br />

daisy powder box by Verlys,<br />

France, circa 1930<br />

raised factory mark to base<br />

17cm diameter<br />

$300–500<br />

367<br />

A pair of red toleware Bouilotte<br />

lamps, French, circa 1920<br />

with a pierced gallery edge<br />

32.5cm high<br />

$300–500


91<br />

368<br />

A marquetry inlaid tray table by<br />

Émile Gallé, French, circa 1905<br />

finely inlaid with Art Nouveau flower<br />

motifs and inlaid cursive signature<br />

'Émile Gallé' to lower right, standing<br />

on a gilt bronze bamboo form frame<br />

52cm high, 69cm wide, 41cm deep<br />

$2,500–3,500<br />

369<br />

No lot<br />

370<br />

A carved walnut revolving piano<br />

stool, French, circa 1900<br />

with blue leather upholstery<br />

$300–500<br />

371<br />

A collection of shagreen desk<br />

accessories, English<br />

comprising four pieces, the<br />

canister with a 'C' to the lid<br />

lined with rosewood veneer<br />

the largest box 12cm high,<br />

30cm wide, 20cm deep<br />

$400–600<br />

368


92<br />

372<br />

A pair of tapestry upholstered<br />

beech fauteuil, French, circa 1940<br />

$800–1,200<br />

373<br />

A pair of silver plate pierced<br />

bon bon dishes<br />

14cm diameter<br />

$80–120<br />

374<br />

A set of pale pink porcelain oyster<br />

plates by Sarreguemines, France<br />

comprising twelve plates and<br />

one platter, green underglazed<br />

factory mark to base<br />

the platter 36cm diameter<br />

$300–500<br />

375<br />

A pair of Imari porcelain lidded<br />

vases, Japanese, circa 1900<br />

the lobed bodies painted with<br />

cherry blossoms in iron red<br />

and dark blue, medallion motifs<br />

to the drop shaped finials<br />

35cm high<br />

$400–600<br />

376<br />

A pair of Art Deco chrome and<br />

marble elephant bookends, French<br />

12cm high<br />

$300–500<br />

377<br />

A handpainted faience peacock<br />

platter by Marjatta Taburet for<br />

Henriot Quimper, France, 1970's<br />

black underglazed signature and<br />

factory mark 'Marjatta Taburet<br />

Henriot Quimper' to base<br />

57cm long<br />

$300–500<br />

378<br />

A handpainted faience cockerel<br />

plate by Marjatta Taburet for<br />

Henriot Quimper, France, 1960s<br />

black underglazed signature and<br />

factory mark 'Marjatta Taburet<br />

Henriot Quimper' to base<br />

24 x 24cm<br />

$200–300<br />

372


93<br />

379<br />

379<br />

CLAIRE COLINET (1880-1950)<br />

The Juggler with Three Balls<br />

gilt bronze on red onyx plinth<br />

signed to the base<br />

19cm high<br />

$1,500–2,500<br />

380<br />

A nest of three gilded metal<br />

glass top side tables<br />

43cm high, 53cm wide, 36cm deep<br />

$150–250<br />

381<br />

A gilded porcelain fish service by<br />

Longchamp, France circa 1950s<br />

comprising a serving dish and<br />

twelve plates, each with a central<br />

transfer decoration of a trout,<br />

black factory stamp to base<br />

the serving dish 43cm long<br />

$300–500<br />

382<br />

A simulated bamboo easel,<br />

Japanese, Meiji period<br />

70cm high<br />

$400–600


94<br />

383<br />

383<br />

An Anglo Indian ebonised dowry<br />

chest on stand , 19th century<br />

finely carved with a repeating motif of<br />

flowering vines, flanked by brass drop<br />

ring handles, raised on barley twist<br />

supports and conforming stretchers<br />

90cm high, 108cm wide, 49cm deep<br />

$1,800–2,500<br />

384<br />

An Anglo-Indian ebonised<br />

collectors cabinet, 19th century<br />

carved with flowering vine borders<br />

to each edge and side, the twin<br />

doors carved with mandalas,<br />

raised on squat bun feet<br />

99cm high, 113cm wide, 52cm deep<br />

$3,000–5,000<br />

384


95<br />

385<br />

An Anglo-Colonial Padouk centre<br />

table, first half 19th century<br />

with an ornately carved foliate frieze,<br />

raised on a conforming pedestal and<br />

three scrolling leaf capped feet<br />

76cm high, 140cm diameter<br />

$8,000–12,000<br />

386<br />

A pair of Anglo-Indian ebony<br />

side chairs, 19th century<br />

each with a pierced and carved<br />

crest rail above a drop-in seat<br />

upholstered in grey silk brocade<br />

$1,200–1,500<br />

385


96<br />

387<br />

387<br />

An Empire style gilt and bronze arrow<br />

branch ceiling light, French, 1940s<br />

each of the six branches piercing<br />

a bronze sphere, meeting at a<br />

central pendant with a flame finial<br />

30cm high<br />

$1,000–1,500<br />

388<br />

A pair of Empire style bronze<br />

and polished brass arrow wall<br />

sconces, French, 1940s<br />

in the form of twin arrows<br />

piercing a bronze ball at the<br />

palmette framed centre<br />

20.5cm high<br />

$400–600<br />

389<br />

An Empire style repoussé brass wall<br />

mirror, Continental, 19th century<br />

surmounted by two Ophis Pteros<br />

38cm high, 26cm wide<br />

$300–500<br />

390<br />

A set of Empire style gilt bronze 'quiver'<br />

twin branch wall sconces, 1940s<br />

each 30cm high<br />

$500–800


97<br />

391<br />

A silver plate and Chinese lacquer<br />

handled champagne bucket by<br />

Christofle, early 20th century<br />

impressed 'Christofle France<br />

lacque de Chine' to base<br />

17cm high<br />

$800–1,200<br />

392<br />

A black marble top marquetry inlaid<br />

breakfront commode, French,<br />

19th century<br />

with gilt bronze escutcheons,<br />

standing on four tapered feet<br />

85cm high, 114cm wide, 48cm deep<br />

$2,500–3,500<br />

391<br />

392


98<br />

393<br />

393<br />

A Gothic Revival wrought iron<br />

eight branch ceiling light,<br />

French, 19th century<br />

28cm high, 103cm wide, 54cm deep<br />

$2,500–3,500<br />

394<br />

A Regency style mahogany<br />

book canterbury<br />

with a single drawer, standing<br />

on four brass casters<br />

52cm high, 47cm wide, 32cm deep<br />

$800–1,200<br />

394


99<br />

395<br />

A blue and white glazed vase in the<br />

style of Boch Frères Keramis, French<br />

the ovoid body painted with a<br />

continuous frieze of leaping<br />

antelope within meandros borders<br />

34cm high<br />

$1,000–1,500<br />

396<br />

An unusual George I style walnut and<br />

Iznik tile top table, English, circa 1910<br />

standing on four cabriole legs,<br />

signed lower right corner<br />

51cm high, 67cm wide, 47cm deep<br />

$800–1,200<br />

395<br />

396


100<br />

397<br />

A five-branch chrome arc<br />

lamp, French, circa 1970<br />

206cm high<br />

$800–1,200<br />

398<br />

A silver plated drinks tray on<br />

stand, French, 1940s<br />

with a gadroon border<br />

43cm high, 66cm wide<br />

$600–800<br />

399<br />

No lot<br />

400<br />

No lot<br />

401<br />

A set of circular perspex and chrome<br />

bar stools, Italian, circa 1970<br />

$200–400<br />

402<br />

A Continental cut crystal and silvered<br />

bronze 'Medici' vase, 1940s<br />

32.5cm high<br />

$400–600<br />

403<br />

A Dutch style three branch brass<br />

chandelier, 20th century<br />

60cm long<br />

$300–500<br />

397


101<br />

404<br />

A chrome coffee table by Liwans<br />

Rome, Italian, circa 1970<br />

40cm high, 140cm wide, 90cm deep<br />

$1,500–2,000<br />

405<br />

A chrome and brass modernist<br />

dining table in the style of<br />

Romeo Rega, Italian, 1960s<br />

73cm high, 180cm wide, 100cm deep<br />

$1,500–2,500<br />

404<br />

405


102<br />

406<br />

A pair of brass and chromed<br />

rectangular occasional tables, Italian,<br />

circa 1960<br />

two-tiered with smoked glass, angular<br />

brass insets to the interior of each leg<br />

46cm high, 61cm wide, 38cm deep<br />

$800–1,200<br />

407<br />

A cast iron door applique of a lion,<br />

French, 19th century<br />

35cm long<br />

$200–300<br />

408<br />

A Louis XVI style white<br />

linen upholstered stool,<br />

French, 19th century<br />

40cm high, 70cm wide, 60cm deep<br />

$400–600<br />

409<br />

A simulated walnut wall mirror<br />

in the Flemish style<br />

118 x 71cm<br />

$200–400<br />

410<br />

An Art Deco verde marble top<br />

patinated wrought iron coffee table<br />

the green marble supported<br />

by a lattice frieze<br />

46cm high, 76cm wide, 45cm deep<br />

$500–700<br />

411<br />

A nest of Regency style<br />

brass mounted and glazed<br />

mahogany side tables<br />

the largest 74cm high,<br />

52cm wide, 37cm deep<br />

$400–600<br />

412<br />

An onyx top gilt metal occasional<br />

table, French, 1940s<br />

standing on three stylised<br />

doric column legs<br />

44cm high, 50cm diameter<br />

$400–600<br />

406


103<br />

413<br />

A polished brass and chrome glass<br />

top console table, Italian, circa 1960<br />

75cm high, 160cm wide, 50cm deep<br />

$800–1,200<br />

414<br />

A pair of glass top chrome and gilt<br />

brass side tables by Romeo Rega,<br />

Italian, (1904-1968)<br />

54cm high, 75cm wide, 45cm deep<br />

$800–1,200<br />

413<br />

414


104<br />

415<br />

415<br />

A set of Neoclassical ebonised<br />

chairs after the original by Giuseppe<br />

Gaetona-Descalzi, Italian, 1940s<br />

with grey velvet button upholstered<br />

seats and intricate reeded back splats<br />

$800–1,200<br />

416<br />

An Empire Revival red painted and<br />

lacquered extension table in the style<br />

of Maurice Hirsch, French, post 1940<br />

including two leaves and six chairs,<br />

each of the chairs signed to the<br />

underside with later upholstery<br />

77cm high, 157cm wide, 88cm deep<br />

$2,500–4,000<br />

417<br />

A Meiji period blue and white<br />

charger, Japanese, circa 1900<br />

the central flower decoration<br />

surrounded with panels of peacocks,<br />

cranes and swans, blue and white<br />

wave marks to the underside<br />

46cm diameter<br />

$300–500<br />

416


105<br />

418<br />

A Chinoiserie lacquer and<br />

gilt metal étagère by Maison<br />

Jansen, French, circa 1920<br />

57cm high, 78 cm wide, 36cm deep<br />

$600–800<br />

419<br />

A Louis XVI style cane top carved<br />

beech stool, French, 19th century<br />

stadium shaped with carved<br />

bay leaf swags to the frieze<br />

47cm high,100cm wide,<br />

40cm deep<br />

$350–550<br />

420<br />

A pair of black slip glazed<br />

ceramic vases with silk tassels<br />

with pink, green and cream<br />

silk tassels tied around the<br />

neck of the petal rims<br />

each 24cm high<br />

$250–350<br />

418


106<br />

421<br />

422<br />

421<br />

A collection of bubble pattern<br />

glass vases by Daum Nancy,<br />

France, 20th century<br />

comprising five pieces, engraved<br />

'Daum & Nancy France' to each side<br />

11cm high<br />

$1,000–1,500<br />

422<br />

A collection of faceted glass bowls by<br />

Daum Nancy, France, 20th century<br />

comprising four pieces<br />

engraved signature 'Daum &<br />

Nancy France' to each side<br />

10cm high<br />

$800–1,200<br />

423<br />

An Art Deco palm leaf pattern<br />

earthenware vase, French<br />

the oval body glazed a matte<br />

warm grey under a glossy white<br />

stylised stencil overlay<br />

marked to base 'Ages I Lauraine<br />

France'<br />

29cm high<br />

$800–1,200<br />

424<br />

A pair of George I style silver plate<br />

coffee pots, English, 20th century<br />

with ebonised handles<br />

21cm high<br />

$150–250<br />

425<br />

A George I style silver plate sugar<br />

caster, English, 20th century<br />

16cm high<br />

$100–150<br />

426<br />

A set of Art Deco silver<br />

plate condiment bowls by<br />

Fairfax & Roberts, Sydney<br />

comprising six pieces<br />

4.5cm high<br />

$100–150<br />

423


107<br />

427 (Detail)<br />

427<br />

A French wrought iron painted tile<br />

top occasional table, circa 1940<br />

By Paul Fouillen, signed lower left:<br />

'P Fouillen'<br />

44cm high, 77cm wide, 46cm deep<br />

$1,000–1,500<br />

427


108<br />

428<br />

A French walnut library table,<br />

signed Mazaroz, 19th century<br />

with finely carved scrolling<br />

supports, inscribed 'P.Mazaroz'<br />

80cm high, 140cm wide, 74cm deep<br />

NOTE<br />

Paul Mazaroz was an unusual<br />

character. Born in Lons-le-Saunier,<br />

friend of Gustave Courbet, Mazaroz<br />

was a patron of the arts and a sculptor,<br />

who also wrote sociological and<br />

economic essays.<br />

He worked in Riballeurís workshop<br />

in Paris and became his partner<br />

after marrying the man's daughter<br />

in 1853. This partnership shifted the<br />

Ribailleur-Mazaroz company's focus<br />

towards modernity. Indeed, after<br />

the World's Fair of 1851, Mazaroz<br />

discovered how the English used<br />

machines for cabinet making and was<br />

the first to use them in France. Hence,<br />

he liked to call himself an 'industrial<br />

artist'. This desire to be grounded in<br />

the age and progress of his times was<br />

shown in the book of photography<br />

he produced to present his creations<br />

instead of a simple catalogue of<br />

engravings. Supplier of Napoleon III,<br />

his company was one of the most<br />

prosperous in France during the<br />

Second Empire and the 3rd Republic.<br />

$2,000–3,000<br />

428


109<br />

429<br />

A large French carved oak<br />

bookcase, 19th century<br />

finely carved in high relief<br />

throughout the upper and<br />

lower sections with caryatids<br />

and classical foliate motifs<br />

237cm high, 137cm wide,<br />

59cm deep<br />

$2,000–3,000<br />

429


110<br />

430<br />

430<br />

A carved gilt wood frame wall mirror,<br />

Italian, late 18th century<br />

ornately decorated with<br />

acorns and flowers<br />

98 x 63cm<br />

$800–1,200<br />

431<br />

A gilt bronze mounted Kangxi style<br />

ginger jar table lamp, French<br />

the jar decorated with plum blossoms,<br />

a gilt bronze flame finial to the rod<br />

77cm high<br />

$2,000–4,000<br />

431


111<br />

432<br />

A pair of Imari vases decorated<br />

with rocks and flowering cherry<br />

trees, Meiji period, 19th century<br />

36cm high<br />

$800–1,200<br />

433<br />

A marble top painted and<br />

carved demi-lune console,<br />

French, 19th century<br />

standing on two reeded legs,<br />

the russet marble sitting atop<br />

a pierced medallion frieze<br />

87cm high, 121cm wide, 47cm deep<br />

$1,500–2,500<br />

432<br />

433


112<br />

434<br />

435


113<br />

434<br />

A pair of French leather<br />

upholstered walnut bergères<br />

88cm height of back<br />

$1,500–2,500<br />

435<br />

A rosewood and ebonised<br />

bentwood salon table<br />

62cm high, 122cm wide, 86cm deep<br />

$800–1,200<br />

436<br />

A silver plate epergne with cut<br />

crystal bowl, 19th century<br />

45cm high<br />

$800–1,200<br />

437<br />

A pair of Spanish walnut<br />

demi-lune console tables<br />

78cm high, 127cm wide, 64cm deep<br />

$1,500–2,500<br />

438<br />

A giltwood lampadaire in<br />

the style of Hollywood<br />

183cm high<br />

$600–800<br />

439<br />

A cast iron umbrella stand<br />

95cm high, 65cm wide and 35cm deep<br />

$400–600<br />

440<br />

SCOTTISH SCHOOL<br />

The Young Soldier<br />

colour engraving<br />

57.5 x 47cm<br />

$200–400<br />

441<br />

A Spanish walnut coffee table<br />

52cm high, 102cm wide, 44cm deep<br />

$400–600<br />

436<br />

437


114<br />

443<br />

442<br />

A green serpentine marble sculpture<br />

pedestal, French, 19th century<br />

110cm high<br />

$800–1,200<br />

443<br />

A Napoleon III gilt bronze<br />

mounted Carrara marble portico<br />

clock, French, 19th century<br />

on a pedestal base, the enamel<br />

dial surmounted by a gilt<br />

bronze figure in a bicorne<br />

31cm high, 24cm wide, 8.5cm deep<br />

$1,000–1,500<br />

442


115<br />

444<br />

An Empire style mahogany marble<br />

top console, French, 19th century<br />

the supporting columns mounted with<br />

nymph busts, lion head handles to the<br />

single drawer, resting on lion ball feet<br />

94cm high, 93cm wide, 47cm deep<br />

$1,500–2,000<br />

445<br />

A carved giltwood salon mirror,<br />

French, 20th century<br />

$600–800<br />

446<br />

A brass mounted faceted<br />

crystal table lamp<br />

63cm high<br />

$300–500<br />

447<br />

An Art Nouveau style gilt metal<br />

waterlily motif lamp base<br />

62.5cm high<br />

$300–500<br />

444


116<br />

448<br />

A French carved walnut Regence<br />

style armchair<br />

with red and cream herringbone<br />

upholstery<br />

$1,200–1,500<br />

449<br />

A Spanish Provincial style dining table<br />

with a wrought iron stretcher<br />

78cm high, 160cm wide, 8cm deep<br />

$1,200–1,500<br />

448


117<br />

450<br />

An opaque yellow etched glass vase<br />

by Daum, France, early 20th century<br />

signed Daum, France<br />

26cm high<br />

$2,000–3,000<br />

451<br />

An 18th century Spanish<br />

walnut side table<br />

77cm high, 168cm wide, 75cm deep<br />

$2,000–3,000<br />

450<br />

451


118<br />

452<br />

453


119<br />

452<br />

PAUL JACOB HIANS<br />

(FRENCH, 1884-1967)<br />

Still Life with Oysters and Lemons<br />

oil on canvas<br />

signed lower right: Paul Jacob Hians<br />

31.5 x 39.5 cm<br />

$400–600<br />

453<br />

A gilt metal and verre églomisé top<br />

coffee table, French, circa 1940<br />

with a twisted gallery edge,<br />

standing on four undulating legs<br />

47cm high, 97cm wide, 44cm deep<br />

$800–1,200<br />

454<br />

A pair of Louis XV style gilt bronze and<br />

rosewood marble top bedsides, French<br />

75cm high, 45cm wide, 32cm deep<br />

$1,000–1,500<br />

455<br />

A collection of pressed glass powder<br />

boxes by Verlys, France, circa 1930<br />

comprising three boxes in quartz<br />

coloured glass with holly, mistletoe<br />

and spray patterns to the lids<br />

moulded mark 'Verlys' to bases<br />

the largest 13cm diameter<br />

$600–800<br />

456<br />

A pair of French Longwy faience<br />

jardinières, circa 1900<br />

with central panels of nightingales<br />

amongst bamboo on a grey ground<br />

each 17.5cm high<br />

$1,000–1,500<br />

457<br />

A verre églomisé mirror top gilt<br />

metal coffee table, French<br />

standing on four scrolling legs<br />

44cm high, 60cm diameter<br />

$800–1,200<br />

End of Sale<br />

454


120<br />

Terms & Conditions of Sale<br />

The Terms and Conditions of Sale listed here contain<br />

the policies of Gibson's Auctioneer's & Valuers Pty<br />

Ltd (herein after referred to as "Gibson's"). They are<br />

the Terms on which Gibson's and the Seller contract<br />

with the Buyer. They may be amended by printed<br />

Saleroom Notices or oral announcements made<br />

before and during the Sale. By Bidding at Auction you<br />

agree to be bound by these terms.<br />

1. Definitions<br />

The following conditions that are listed contain<br />

terms that are used regularly and have the following<br />

meanings:<br />

"Auction" means the event at which any Lot is<br />

offered for Sale by Gibson's.<br />

"Auctioneer" means the representative of Gibson's<br />

conducting the Auction.<br />

"Bid" / "Bidder" means the action of notifying the<br />

Auctioneer of the intention to purchase the Lot by<br />

the Prospective Buyer. The Bidder is any person or<br />

entity that makes this makes this action. Bidding is<br />

understood by both the Bidder and Gibson's to be<br />

contractually obliging.<br />

“Buyer” means the person with the highest Bid<br />

accepted by the Auctioneer.<br />

“Buyer's Premium” means the charge payable by<br />

the Buyer to the Auction house as a percentage of<br />

the Hammer Price.<br />

“Forgery” means an item constituting an imitation<br />

originally conceived and executed with fraudulent<br />

intention to deceive as to authorship, origin, age,<br />

period, culture, provenance or source where the<br />

correct description as to such matters is not reflected<br />

by the description in the catalogue. Accordingly no<br />

Lot shall be capable of being a forgery by reason of<br />

any damage or restoration work of any kind (including<br />

re-painting).<br />

“Hammer Price” means the amount of the highest<br />

Bid accepted by the Auctioneer in relation to a Lot.<br />

“Insured Value” means the amount that Gibson's<br />

in its absolute discretion from time to time shall<br />

consider the value for which a Lot should be covered<br />

for insurance (whether or not insurance is arranged<br />

by Gibson's).<br />

“Lot” means any item within the Sale for Auction and<br />

in particular the item or items described against any<br />

Lot number in the catalogue.<br />

"Prospective Buyer" means any person or entity<br />

with the intention of purchasing any Lot in the<br />

Auction.<br />

“Reserve” means the confidential lowest amount<br />

at which Gibson's has contractually agreed with the<br />

Seller that the Lot can be sold.<br />

"Sale" means any private treaty or Auction Sale at<br />

which a Lot is offered for Sale.<br />

“Seller” means (as appropriate) the owner, their<br />

agent, executors or personal representatives, or the<br />

person in possession of the property consigned<br />

for Auction. Multiple owners, agents or persons in<br />

possession shall jointly and severally assume all<br />

obligations, liabilities, representations, warranties and<br />

indemnities in relation to the Sale of the Lot.<br />

"Dollars" or "$" means Australian currency. All Bids,<br />

Hammer Price, Reserves, Buyer's Premium and<br />

other expressions of value are understood to be in<br />

Australian Dollars unless otherwise specified.<br />

2. Gibson’s Auctioneers & Valuers<br />

as Agent<br />

Except as otherwise stated Gibson's acts as agent<br />

for the Seller.<br />

The contract for the Sale of the property is therefore<br />

made between the Seller and the Buyer.<br />

3. Before the Sale<br />

A) EXAMINATION OF PROPERTY<br />

Prospective Buyers are strongly advised to examine<br />

in person any property in which they are interested<br />

before the Auction takes place. Neither Gibson's<br />

nor the Seller provides any guarantee in relation to<br />

the nature of the property apart from the Limited<br />

Warranty in the paragraph below.<br />

The property is otherwise sold “as is”.<br />

B) CATALOGUE AND OTHER DESCRIPTIONS<br />

All statements by Gibson's in the catalogue entry for<br />

the property or in the condition report, or made orally<br />

or in writing elsewhere, are statements of opinion<br />

and are not to be relied upon as statements of fact.<br />

Such statements do not constitute a representation,<br />

warranty or assumption of liability by Gibson's of<br />

any kind. References in the catalogue entry to the<br />

condition report, including damage or restoration<br />

are for guidance only and should be evaluated by<br />

personal inspection by the Bidder or a knowledgeable<br />

representative. The absence of such a reference<br />

does not imply that an item is free from defects or<br />

restoration, nor does a reference to particular defects<br />

imply the absence of any others. Estimates of the<br />

selling price should not be relied on as a statement<br />

that this is the price at which the item will sell or it’s<br />

value for any other purpose. Neither Gibson's nor the<br />

Seller is responsible for any errors or omissions in the<br />

catalogue or any supplemental material.<br />

Images are measured height by width. Illustrations<br />

are provided only as a guide and should not be relied<br />

upon as a true representation of colour or condition.<br />

Images are not shown at a standard scale. Mention<br />

is rarely made of frames (which may be provided as<br />

supplementary images on the website) which do<br />

not form part of the Lot as described in the printed<br />

catalogue.<br />

All transactions are in Australian Dollars so there<br />

may be a small exchange rate risk, for international<br />

Buyers. The costs associated with acquiring a goods<br />

certificate will be borne by the Buyer. If the item<br />

turns out to be a Forgery or otherwise incorrectly<br />

described, all reasonable costs will be borne by the<br />

Seller.<br />

C) BUYER'S RESPONSIBILITY<br />

All property is sold “as is” without representation or<br />

warranty of any kind by Gibson's or the Seller. Buyers<br />

are responsible for satisfying themselves concerning<br />

the condition of the property and the matters referred<br />

to in the catalogue by requesting a condition report<br />

4. At the Sale<br />

A) REFUSAL OF ADMISSION<br />

Gibson's reserves the right at our complete discretion<br />

to refuse admission to the Auction premises or<br />

participation in any Auction and to reject any Bid.<br />

B) REGISTRATION BEFORE BIDDING<br />

Any new Prospective Buyer must complete and<br />

sign a registration form and provide photographic<br />

identification before Bidding. Gibson's may<br />

request bank, trade or other financial references to<br />

substantiate this registration.<br />

C) BIDDING AS A PRINCIPAL<br />

When making a Bid, a Bidder is accepting personal<br />

liability to pay the purchase price including the<br />

Buyer's Premium and all applicable taxes, plus<br />

all other applicable charges, unless it has been<br />

explicitly agreed in writing with Gibson's before<br />

the commencement of the Sale that the Bidder is<br />

acting as agent on behalf of an identified third party<br />

acceptable to Gibson's and that Gibson's will only<br />

look to the principal for payment.<br />

D) INTERNATIONAL REGISTRATIONS<br />

All international clients not known to Gibson's will<br />

be required to scan or fax through an accredited<br />

form of photo identification and pay a deposit at our<br />

discretion in cleared funds into Gibson's account<br />

at least 48 hours before the commencement of<br />

the Auction. Bids will not be accepted without<br />

this deposit. Gibson's also reserves the right to<br />

request any additional forms of identification prior to<br />

registering an overseas Bid.<br />

This deposit can be made using a credit card,<br />

however the balance of any purchase price in excess<br />

of $5,000 can not be charged to this card without<br />

prior arrangement. This deposit is redeemable<br />

against any Auction purchase.<br />

E) ABSENTEE BIDS<br />

Gibson's will use reasonable efforts to execute written<br />

Bids delivered to us at least 24 hours prior to the<br />

Sale for the convenience of those clients who are<br />

unable to attend the Auction in person. If Gibson's<br />

receives identical written Bids on a particular Lot, and<br />

at the Auction these are the highest Bids on that Lot,<br />

then the Lot will be sold to the person whose written<br />

Bid was received and accepted first. Execution of<br />

written Bids is a free service undertaken subject to<br />

other commitments at the time of the Sale and we<br />

do not accept liability for failing to execute a written<br />

Bid or for errors or omissions which may arise. It is<br />

the Bidder’s responsibility to check with Gibson's<br />

after the Auction if they were successful. Unlimited<br />

or “Buy” Bids will not be accepted. Please refer to our<br />

indicative Bidding increments below for appropriate<br />

absentee Bid amounts (Section K).<br />

F) TELEPHONE BIDS<br />

Priority will be given to overseas and interstate<br />

Bidders. Arrangements for this service must be<br />

confirmed at least 24 hours prior to the Auction<br />

commencing. Gibson's accepts no responsibility<br />

whatsoever for any errors or failure to execute Bids.<br />

In telephone Bidding the Buyer agrees to be bound<br />

by all terms and conditions listed here and accepts<br />

that Gibson's cannot be held responsible for any<br />

miscommunications in the process. The success<br />

of telephone Bidding cannot be guaranteed due to<br />

circumstances that are unforeseen. Buyers should<br />

be aware of the risk and accept the consequences<br />

should contact be unsuccessful at the time of<br />

Auction. You must advise Gibson's of the Lots in<br />

question and recommend a ‘Cover Bid’ amount<br />

should there be any issues with technology or<br />

communication via the telephone number provided.<br />

Gibson's will advise Telephone Bidders who have<br />

registered at least 24 hours before the Auction of any<br />

relevant changes to descriptions, withdrawals or any<br />

other Sale room notices.<br />

G) ONLINE BIDDING<br />

Gibson's accepts no responsibility for any<br />

errors, failure to execute Bids or any other<br />

miscommunications regarding this process. It is the<br />

online Bidder’s responsibility to ensure the accuracy<br />

of the relevant information regarding Bids, Lot<br />

numbers and contact details.


121<br />

H) RESERVES<br />

Unless otherwise indicated, all Lots are offered<br />

subject to a Reserve, which is the confidential<br />

minimum price below which the Lot will not be sold.<br />

The Reserve will not exceed the low estimate printed<br />

in the catalogue. The Auctioneer may open the<br />

Bidding on any Lot below the Reserve by placing<br />

a Bid on behalf of the Seller. The Auctioneer may<br />

continue to Bid on behalf of Seller up to the amount<br />

of the Reserve, either by placing consecutive Bids or<br />

by placing Bids in response to other Bidders.<br />

I) AUCTIONEERS DISCRETION<br />

The Auctioneer has the right at his absolute and sole<br />

discretion to refuse any Bid, to advance the Bidding<br />

in such a manner as he may decide, to withdraw or<br />

divide any Lot, to combine any two or more Lots and,<br />

in the case or error or dispute and whether during or<br />

after the Sale, to determine the successful Bidder,<br />

to continue the Bidding, to cancel the Sale or to<br />

re-offer and resell the item in dispute. If any dispute<br />

arises after the Sale, then Gibson's Sale record is<br />

conclusive.<br />

J) SUCCESSFUL BID AND PASSING OF RISK<br />

Subject to the Auctioneer’s discretion, on the<br />

acceptance of a Bid by the fall of the Auctioneer's<br />

hammer, a contract of sale is made between the<br />

Seller and the Buyer. Risk and responsibility for the<br />

Lot (including frames or glass where relevant) passes<br />

immediately to the Buyer. Gibson's shall not be liable<br />

for any breach of contract by either the Seller or<br />

the Buyer.<br />

K) INDICATIVE BIDDING STEPS, ETC.<br />

Gibson's reserves the right to refuse any Bid,<br />

withdraw any Lot from Sale, to place a Reserve on<br />

any Lot and to advance the Bidding according to<br />

the following:<br />

Increment Amount<br />

Dollar Range<br />

$20 $0–$500<br />

$50 $500–$1,000<br />

$100 $1,000–$2,000<br />

$200 $2,000–$5,000<br />

$500 $5,000–$10,000<br />

$1,000 $10,000–$20,000<br />

$2,000 $20,000–$50,000<br />

$5,000 $50,000–$100,000<br />

$10,000 $100,000–$200,000<br />

$20,000 $200,000–$500,000<br />

$50,000 $500,000–$1,000,000<br />

Absentee Bids must follow these increments and any<br />

Bids that don’t follow the steps will be rounded up to<br />

the nearest acceptable Bid.<br />

5. After the Sale<br />

A) BUYER'S PREMIUM<br />

In addition to the Hammer Price, the Buyer agrees<br />

to pay to Gibson's the Buyer's Premium. The Buyer's<br />

Premium is 22% of the Hammer Price plus GST.<br />

(Goods and Services Tax) where applicable.<br />

B) ONLINE SURCHARGE<br />

In the case where the Buyer purchases via online<br />

Bidding platforms, the Buyer agrees to pay the online<br />

Bidding surcharge of 2% (Gibsons.com.au) or 5%<br />

(Invaluable.com) plus GST, where applicable.<br />

C) PAYMENT AND PASSING OF TITLE<br />

The Buyer must pay the full amount due (comprising<br />

the Hammer Price, Buyer's Premium and any<br />

applicable taxes and GST) not later than three (3)<br />

days after the Auction date.<br />

The Buyer will not acquire title for the Lot until<br />

Gibson's receives full payment in cleared funds, and<br />

no goods under any circumstances will be released<br />

without confirmation of cleared funds received.<br />

This applies even if the Buyer wishes to send items<br />

interstate or overseas.<br />

Payment can be made by the following means:<br />

• Bank Transfer/Direct Deposit is our preferred<br />

method of payment<br />

Account Name: Gibson's Auctions<br />

Bank:<br />

Bank of Melbourne<br />

(A division of St George)<br />

BSB: 193879<br />

Account No: 441701443<br />

Swift Code: SGBLAU2S<br />

Routing Code: 021000021<br />

Bank Address: 197-201 Glenferrie Road,<br />

Malvern, Vic, 3144<br />

The Buyer is responsible for any bank fees and<br />

charges applicable for the transfer of funds into<br />

Gibson's account<br />

• Personal, Company and Bank Cheques are not<br />

accepted without prior approval.<br />

• EFTPOS (no charge)<br />

• Credit cards: Visa and Mastercard (1.2% incl GST<br />

merchant fee) and American Express (2% incl<br />

GST merchant fee)<br />

Please note that credit card transactions over<br />

$5,000 will not be accepted over the telephone<br />

unless by prior arrangement.<br />

• Cash up to AU$10,000 can accepted in<br />

cash. For any amount over this, cash is to be<br />

deposited directly into our account at a Bank of<br />

Melbourne/St George branch<br />

D) COLLECTION OF PURCHASES & INSURANCE<br />

Gibson's is entitled to retain items sold until all<br />

amounts due to us have been received in full in good<br />

cleared funds. Subject to this, the Buyer shall collect<br />

purchased Lots within three (3) days from the date of<br />

the Sale unless otherwise agreed in writing between<br />

Gibson's and the Buyer.<br />

At the fall of the hammer, insurance is the<br />

responsibility of the purchaser.<br />

E) PACKING, HANDLING AND SHIPPING<br />

At the request of the Buyer, Gibson's may assist with<br />

packing of goods but takes no responsibility for loss,<br />

damage or breakage that may occur.<br />

Gibson's at the request of the Buyer may arrange<br />

for a carrier, packer or shipper to have the property<br />

packed, insured and shipped at the Buyer’s<br />

expense. All packing, shipping, insurance, postage &<br />

associated charges will be borne by the purchaser.<br />

Gibson's can assist with removal companies that the<br />

Buyer can use but takes no responsibility whatsoever<br />

for the actions of any recommended third party.<br />

F) CULTURAL HERITAGE EXPORT LICENCES<br />

Unless otherwise agreed by Gibson's in writing, the<br />

fact that the Buyer wishes to apply for an export<br />

licence does not affect their obligation to make full<br />

payment immediately, nor Gibson's right to charge<br />

interest or storage charges on late payment. It is<br />

the responsibility of the Buyer to check Australia’s<br />

Protection of Moveable Cultural Heritage Act 1986<br />

prior to purchase. Export/import licences applications<br />

are the responsibility of the Buyer and/or the Buyer's<br />

nominated shipper. Gibson's shall not be obliged to<br />

rescind a Sale nor to refund any expenses incurred by<br />

the Buyer in circumstances where an export licence<br />

is not granted.<br />

G) REMEDIES FOR NON-PAYMENT<br />

If the Buyer fails to make full payment immediately,<br />

Gibson's is entitled to exercise one or more of the<br />

following rights or remedies (in addition to asserting<br />

any other rights or remedies available under the law)<br />

i) to charge interest at the ANZ visa credit card<br />

rate as published weekly in the Australian<br />

Financial Review;<br />

ii)<br />

iii)<br />

iv)<br />

to hold the defaulting Buyer liable for the<br />

total amount due and to commence legal<br />

proceedings for it’s recovery along with interest,<br />

legal fees and costs to the fullest extent<br />

permitted under applicable law;<br />

to cancel the Sale;<br />

to resell the property publicly or privately on<br />

such terms as we see fit;<br />

v) to pay the Seller an amount up to the net<br />

proceeds payable in respect of the amount Bid<br />

by the defaulting Buyer. In these circumstances<br />

the defaulting Buyer can have no claim upon<br />

Gibson's in the event that the Lot(s) are sold for<br />

an amount greater than the original invoiced<br />

amount;<br />

vi)<br />

to offset against any amounts which Gibson's<br />

may owe the Buyer across any other<br />

transactions;<br />

viii) to reject at any future Auction any Bids made by<br />

or on behalf of the Buyer or to obtain a deposit<br />

from the Buyer prior to accepting any Bids;<br />

ix)<br />

to exercise all the rights and remedies of a<br />

person holding security over any property in<br />

our possession owned by the Buyer whether by<br />

way of pledge, security interest or in any other<br />

way, to the fullest extent permitted by the law of<br />

the place where such property is located. The<br />

Buyer will be deemed to have been granted such<br />

security to us and we may retain such property<br />

as collateral security for such Buyer’s obligations<br />

to us;<br />

x) to take such other action as Gibson's deem<br />

necessary or appropriate.<br />

H) FAILURE TO COLLECT PURCHASES<br />

Where purchases are not collected within three (3)<br />

days from the Sale date, whether or not payment has<br />

been made, Gibson's shall be permitted to:<br />

i) remove, store and further insure the Lot at the<br />

expense of the Buyer, releasing only after full<br />

payment has been received from the Buyer for<br />

incurred costs;<br />

ii)<br />

iii)<br />

re-sell the Lot without Reserve by Auction,<br />

private treaty or any other means whereby the<br />

Buyer agrees not to challenge the resale price<br />

achieved<br />

rescind the Sale of that Lot or any other Lot sold<br />

by the Seller to the Buyer at the same or any<br />

other Auction<br />

If Gibson's do re-sell the property under clauses H<br />

and G, the defaulting Buyer agrees to be liable for<br />

all payments of any deficiency between the total<br />

amount originally due and the price obtained, as well<br />

as the legal as all costs, expenses, damages, legal<br />

fees, commissions and premiums of whatever kinds<br />

associated with both Sales or otherwise arising from<br />

the default.<br />

6. Extent of Gibson's Liability<br />

Gibson's agrees to refund the purchase price in<br />

the circumstances of the Limited Warranty set out<br />

in paragraph 7. Apart from that, neither the Seller<br />

nor we, nor any of our employees or agents are<br />

responsible for the correctness of any statement of<br />

whatever kind concerning any Lot, whether written<br />

or oral, nor for any other errors or omissions in<br />

description or for any faults or defects in any Lots.<br />

Except as stated in paragraph 7 below, neither the<br />

Seller ourselves, our officers, agents or employees<br />

give any representation warranty or guarantee or<br />

assume any liability of any kind in respect of any<br />

Lot with regard to merchantability, fitness for a<br />

particular purpose, description, size, quality, condition,<br />

attribution, authenticity, rarity, importance, medium,<br />

provenance, exhibition history, literature or historical<br />

relevance. Except as required by local law any<br />

warranty of any kind is excluded by this paragraph.


122<br />

7. Limited Warranty<br />

Subject to the terms and conditions of this<br />

paragraph, the warrants for the period of fourteen<br />

(14) days from the date of the Sale that any property<br />

described in this catalogue (noting such description<br />

may be amended by any Saleroom notice or<br />

announcement) which is stated without qualification<br />

to be the work of a named author or authorship is<br />

authentic and not a forgery. The term “Author” or<br />

“authorship” refers to the creator of the property or<br />

to the period, culture, source, or origin as the case<br />

may be, with which the creation of such property is<br />

identified in the catalogue.<br />

The warranty is subject to the following:<br />

i) it does not apply where a) the catalogue<br />

description or Saleroom notice corresponded<br />

to the generally accepted opinion of scholars<br />

and experts at the date of the Sale or fairly<br />

indicated that there was a conflict of opinions,<br />

or b) correct identification of a Lot can be<br />

demonstrated only by means of a scientific<br />

process not generally accepted for use until<br />

after publication of the catalogue or a process<br />

which at the date of the publication of the<br />

catalogue was unreasonably expensive or<br />

impractical or likely to have caused damage to<br />

the property.<br />

ii)<br />

iii)<br />

iv)<br />

the benefits of the warranty are not assignable<br />

and shall apply only to the original Buyer of the<br />

Lot as shown on the invoice originally issued by<br />

Gibson's when the Lot was sold at Auction.<br />

the original Buyer must have remained the owner<br />

of the Lot without disposing of any interest in it<br />

to any third party<br />

The Buyer’s sole and exclusive remedy against<br />

the Seller in place of any other remedy which<br />

might be available, is the cancellation of the<br />

Sale and the refund of the original purchase<br />

price paid for the Lot less the Buyer's Premium<br />

which is non refundable. Neither the Seller nor<br />

Gibson's will be liable for any special, incidental<br />

nor consequential damages including, without<br />

limitation, loss of profits not for interest.<br />

v) The Buyer must give written notice of claim<br />

to us within fourteen (14) days of the date of<br />

the Auction. The Seller shall have the right, to<br />

require the Buyer to obtain two written opinions<br />

by recognised experts in the field, mutually<br />

acceptable to the Buyer and Gibson's to<br />

decide whether or not to cancel the Sale under<br />

warranty.<br />

vi)<br />

the Buyer must return the Lot to Seller in the<br />

same condition that it was purchased.<br />

8. Severability<br />

If any part of these Conditions of Sale is found by any<br />

court to be invalid, illegal or unenforceable, that part<br />

shall be discounted and the rest of the Conditions<br />

shall continue to be valid to the fullest extent<br />

permitted by law.<br />

9. Copyright<br />

The copyright of all images, illustrations and written<br />

material produced by Gibson's relating to a Lot<br />

including the contents of this catalogue, is and shall<br />

remain the property at all times of Gibson's and<br />

shall not be used by the Buyer, nor by anyone else<br />

without our prior written consent. Gibson's and the<br />

Seller make no representation or warranty that the<br />

Buyer of a property will acquire any copyright or other<br />

reproduction rights in it.<br />

10. Law and Jurisdiction<br />

These terms and conditions and any matters<br />

concerned with the foregoing fall within the exclusive<br />

jurisdiction of the courts of the state in which the<br />

Auction is held.<br />

11. Pre-Sale Estimates<br />

Gibson's publishes with each catalogue our opinion<br />

as to the estimated price range for each Lot. These<br />

estimates are approximate prices only and are not<br />

intended to be definitive. They are prepared well in<br />

advance of the Sale and may be subject to revision.<br />

Interested parties should contact Gibson's prior to<br />

Auction for updated pre-Sale estimates and starting<br />

prices.<br />

12. Sale results<br />

After the Sale, Gibson's may publish (both verbally<br />

and in writing) the results of Sale at our discretion,<br />

including the prices achieved for specific Lots.<br />

Unless otherwise discussed with the Buyer, details of<br />

individual Buyers will remain confidential.<br />

13. Goods and Service Tax<br />

In accordance with A New Tax System (Goods and<br />

Services Tax) Act 1999, Gibson's Auctions will collect<br />

on behalf of the Australian Tax Office (ATO) a Goods<br />

and Service Tax (GST) of 10% on all applicable<br />

transactions.<br />

GST is applicable on the Hammer Price in the case<br />

where the Seller is selling property that is owned by<br />

an entity registered for GST. GST is also applicable<br />

on the Hammer Price in the case where the Seller is<br />

not an Australian resident. These Lots are denoted<br />

by a dagger symbol † placed next to the estimate.<br />

GST is also applicable on the Buyer's Premium.<br />

Overseas Buyers and non-resident Buyers in Australia<br />

will not be charged GST on both Hammer Price and<br />

Premiums under the following conditions:<br />

1. The items are exported through a Gibson's<br />

approved freight company including Australia<br />

Post<br />

2. The items are exported within 60 days of the<br />

date of the Sale<br />

The invoice supplied by Gibson's for purchases will be<br />

regarded as a Tax invoice for GST purposes.<br />

14. Resale Royalty Scheme<br />

Under the legal obligations of the Resale Royalty<br />

Scheme for Visual Artists Act 2009, Sellers must<br />

provide the following information to comply with<br />

the act:<br />

• was the artwork acquired after 8 June 2010?<br />

• is the Sale/Reserve price (including GST) $1,000<br />

or more?<br />

• is the artist from Australia or a country listed in<br />

the Regulations to the Act?<br />

• is the artist alive, or deceased less than 70<br />

years?<br />

The Seller:<br />

i) acknowledges that he or she understands his or<br />

her legal obligations under the Resale Royalty for<br />

Visual Artists Act 2009 (the Act);<br />

ii)<br />

iii)<br />

iv)<br />

undertakes to comply with all requirements of<br />

the Act, including by providing its agent, the<br />

company, with accurate information sufficient for<br />

compliance with sections 28 and 29 of the Act;<br />

undertakes to indemnify the company for any<br />

loss incurred by the company as a result of<br />

the vendor’s failure to comply with any of the<br />

vendor’s legal obligations under the Act; and<br />

acknowledges that if he or she fails to comply<br />

with any of his or her legal obligations under<br />

the Act, the company may provide the vendor’s<br />

name and contact details to Copyright Agency<br />

Limited (CAL).<br />

Lots subject to payment of the Resale Royalty<br />

Scheme will be denoted by the symbol §. The<br />

Australian Resale Royalty is a flat rate of 5% on the<br />

Hammer Price (including GST). The Australian Resale<br />

Royalty is payable by the Seller in addition to the<br />

Buyer's Premium plus any applicable GST.<br />

15. Jewels & Watches<br />

GEMSTONES<br />

Gemstones have historically been subjected to a<br />

variety of treatments to enhance their appearance.<br />

Sapphire and rubies are routinely heat treated to<br />

improve their colour and clarity, similarly emeralds<br />

are frequently treated with oils or resin for the same<br />

purpose. Other treatments such as staining or dyeing,<br />

irradiation, filling or coating may have been used<br />

on other precious and semi-precious gemstones<br />

and organic material. These treatments may be<br />

permanent, whilst others may need special care to<br />

reserve their appearance. Buyers should assume that<br />

each Lot has been subject to some form of treatment<br />

and that the estimates reflect this.<br />

A number of laboratories issue certificates that give<br />

detailed descriptions of gemstones, and in the event<br />

that Gibson's has been supplied with or obtained<br />

certificates for any Lot, this shall be noted in the<br />

catalogue. However, as there may not be consensus<br />

between different laboratories on the degree, or<br />

types of treatment of the gemstones, Gibson's<br />

supplies these without warranty.<br />

Buyers should assume that all gemstones sold<br />

by Gibson's may have been subjected to such<br />

treatments, and that the catalogue estimates reflect<br />

this.<br />

PEARLS<br />

Pearls, like gemstones, are also subject to various<br />

treatments. Buyers should assume that any pearls<br />

sold by Gibson's may have been subjected to such<br />

treatments, and that the catalogue estimates reflect<br />

this.<br />

WATCHES<br />

Please note: All watches sold by Gibson's are sold on<br />

an “as is” basis. Gibson's makes no representation<br />

or warranty that any watch is in working order. Many<br />

watches have been repaired over their lifetime and<br />

may contain non-original parts. The absence of any<br />

reference to the condition of a watch does not imply<br />

that the Lot is in good condition and without defects,<br />

repairs or restorations. Buyers should be aware that<br />

a general service, change of battery or further repair<br />

work, for which the Buyer is solely responsible for,<br />

may be necessary.<br />

ESTIMATED WEIGHTS<br />

If a stone has a known weight, it has been weighed<br />

out of the mount. If a stone has an estimated weight,<br />

it is an approximate weight only and has been<br />

measured by us in the mount and is a statement of<br />

opinion only. The information is given as a guide only<br />

and Buyers should satisfy themselves with regard to<br />

this information as to its accuracy.


Lot 281 (Detail)

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