While the Fair may be over if there’s something that has caught your eye you can contact the Dealers directly by clicking on their business names – taking you to their contact details. Or contact us at firstname.lastname@example.org or 0498 059 661.
Exceptional Limoges enamelled vase, signed by Camille Fauré, c1925.
The decoration of this vase fuses elements of late 19th Century ‘Japonisme’ (the fish) with more modernist, Cubist style (the seaweed), creating a tour de force of the enamellist’s art. 24cms high.
Camille Fauré was a French enamel artist, known for his design work for the Limoges porcelain factory. In 1919 he joined Alexandre Marty in creating new enamel production methods involving flamed and frosted enamels, designing and exhibiting pieces under the name ‘Fauré et Marty’, until 1925 when the partnership finished. The International Exhibition of Modern Decorative and Industrial Arts of 1925 was Fauré’s breakthrough. He became Limoges most famous enamel artist, opening his own business there, signing work produced ‘C. Fauré Limoges’.
Summer Bunch’ Woodcut in colours by John Hall Thorpe c. 1930.
Exceptional silvered & cold painted bronze and ivory figure c1930 signed by Professor Otto Poertzel.
Professor Otto Poertzel was born in Scheibe in 1876, dying in 1963. He was one of the most prominent sculptors in Germany. He worked in Coburg and Berlin, sharing a studio with Ferdinand Preiss. He was commissioned to produce many monuments for the Duke of Saxe-Coburg-Gotha. Poertzel participated in numerous international exhibitions, including the 1904 World’s Fair in St. Louis and at the Brussels International Art Exhibition in 1910.
His work is illustrated in Brian Catley’s book ‘Art Deco & Other Figures’
Late 18th/early 19th Century yew and elm Windsor armchair with pegged joints c. 1790-1800.
‘Roman Views’ Late 17th/early 18th Century oils on canvas, in their original gilt wood frames.
George IInd period walnut & string inlaid lowboy c. 1750.
73cms high; 80cms wide; 51cms deep.
Turkish turned poplar treen bowl, 19th Century, of unusually large size
22cms high; 96cms/91.5cms wide.
ART DECO RUBY & DIAMOND RING
Utterly fabulous. One of the best of the Art Deco items we have recently acquired. Comprised of high quality Rubies surrounding an Old European Cut Diamond – colour F, and set in solid 18ct Rosy/Yellow Gold. Unusually a large finger size as well. Origins are French – shown by the hallmark of French Assay Marks indicating what is a very fine example of truly beautiful authentic Antique Jewellery. A wonderful addition to a special Jewels collection.
YELLOW GOLD FRENCH DIAMOND CUFF
This magnificent 18CT Yellow Gold French Cuff dates back to the late Napoleon II / early Napoleon III Era, c.1850. It is extremely well preserved with quite exquisite detailing and in extraordinary condition for the age of the Bangle. The centre panel is comprised of high quality Old Cut Diamonds nestled into intricate scrollwork and the yellow gold band has an attractive ribbon look. The bangle is for a quite large wrist which is an added bonus given the period of manufacture. Just exquisite!
JOHN GLOVER 1767 – 1849
A View of Cader Idris, Snowdonia, Wales
oil on canvas
65 x 87 cm
John Glover’s landscapes tend towards the romantic and classical and it is his close observation of nature, based on his wide travels, which elevates his work beyond the picturesque.
Glover moved to Lichfield in 1794, working as a drawing teacher and making sketching trips of picturesque and atmospheric views around Cumberland, Derbyshire, Leicestershire, Wales and Scotland in the manner of artists whose work he admired, including Thomas Gainsborough, Richard Wilson, Gaspard Poussin, Salvatore Rosa and especially Claude Lorrain. Indeed, Glover was known as the “English Claude”.
Emigrating to Australia in 1830, Glover arguably became the most important landscape artist outside Europe, maintaining his reputation in England and forging a new following and great success in Australia. Glover’s influence continues to this day, with the John Glover Art Prize one of Australia’s most significant awards for landscape painting.
JESSIE SCARVELL 1862 – 1950
Glenalvon, Murrurundi 1895
oil on canvas
50 x 89 cm
signed lower right: J.E. Scarvell 95
Scarvell was a student of William Lister Lister and exhibited regularly with the Art Society of New South Wales in the 1890s. She was an exponent of Australian Impressionism and painted en plein air and her work is represented in the S.H. Ervin collection and the Art Gallery of NSW. Scarvell was selected to be included in the Exhibition of Australian Art in London organised by the Trustees of the Art Gallery of New South Wales and held at Grafton Galleries in September 1898. She was represented by five paintings including (Liverpool Range, Murrurundi, NSW). The exhibition featured 114 artists, including the well-known leaders of the Australian Impressionist movement, Streeton; Roberts; Conder; McCubbin; as well as a number of women artists, whose names have not become as celebrated today.
The subject of Glenalvon, Murrurundi seems to be one Scarvell painted on several occasions, the rural landscape around the mountains of the Liverpool Ranges in the Upper Hunter region of NSW. The pastoral town of Murrurundi is surrounded by mountains, located on the banks of the Pages River, a tributary of the Hunter River and was the terminus of the northern train line from 1872. There is a harmonious use of colour, with the muted soft purples, grey and green of the background contrasted against the brighter green, blue and touches of pink in the foreground. The painterly marks, particularly evident in the depiction of the stream and grassy bank, and the focus point of yellow flowered pasture weed are reminiscent of archetypical Australian Impressionist paintings such as Charles Conder’s Herrick’s Blossom c.1888 and Arthur Streeton’s Golden Summer, Eaglemont 1889.
GENEVIEVE KEMARR LOY 1982 –
Bush Turkey Tracks 2022 (detail shown)
synthetic polymer on linen
122.5 x 121.5 cm
Genevieve Kemarr Loy’s Bush Turkey Dreaming paintings combine traditional meticulous dots and elegant wisps, creating vibrant, pulsating, and richly textured surfaces. Drawing on the tradition of celebrated painters from Utopia, Genevieve has developed her own unique and independently inspired works, often depicting the tracks of the bush turkey (arwengerrp), as it searches for seeds and other tucker, making its way between its nesting place and various waterholes. On a more complex cultural level, Genevieve’s artwork is about ceremonies of the Anmatyerr people and is a significant depiction of the relationship between Genevieve and her land at Iylenty (Mosquito Bore), Utopia, Central Australia.
English, 18th Century, 18kt Gold & Petrified Wood Agate Snuff Box
This rare and exceedingly beautiful snuff-box dates to the second half of the 18th Century and was likely made in England. The oval box is crafted from 18 karat yellow and rose gold and has been set with two pieces of petrified wood agate.
A rare pair of French Bronze Dore champagne cork wire nippers, c. 1890.
AN IMPORTANT GOLD RING by CHARLES JONES of HOBART
A gold ring described as Tasmania’s earliest piece of jewellery is being offered at the Australian Antique and Art Dealer’s Fair in Melbourne this weekend.
Crafted from Tasmanian gold, it was made in Hobart by the convict silversmith, Charles Jones
Jones was a jeweller and silversmith from Birmingham who was transported to Tasmania as a result of an altercation in his workshop. He arrived on the ‘Georgiana’ in 1833 and was assigned to David Barclay.
Previously recorded work by Jones includes the ‘Mezger’ silver snuff box c. 1848, the ‘Williamson’ silver snuff box c. 1850 and the ‘Allison’ silver presentation cup c. 1850.
This ring, crafted from Tasmanian alluvial gold features natural gold nuggets and an engraved cartouche bearing the initials “W T” for William Tancred (1818-64) who was a member of the cloth. Initially appointed Associated Priest at St Davids, Hobart he went on to Macquarie Plains and then Launceston before returning to England.
This ring, dated between 1852 -55, was featured in ‘BLING 19th Century Goldfields Jewellery’ Ballaarat 2016.
It was initially discovered during a building excavation in the Midlands, bought by an investor in Western Australia and now finally put on display in Melbourne at Australia’s leading antique fair.
It is probably the earliest datable piece of Tasmanian jewellery crafted from Tasmanian gold and one of the earliest pieces of Australian jewellery crafted from Australian gold.
Art Deco Colombian Emerald Ring
Platinum Art Deco ring with an AGL certified 2.55ct Colombian emerald cut emerald four claw set with baguette cut diamonds on the shoulders surrounded by grain set single cut diamonds on a plain polished band.
Total Emerald Weight: 2.55ct.
AGL Certificate 1114345
Total Estimated Diamond Weight: 0.84ct
Colour F-G Clarity VS-SI
Art Deco Diamond and Ruby Brooch
Platinum Art Deco brooch circular in design set to the centre with an old cut diamond of estimated weight 4.86ct graded as colour N-O clarity VS1 depicting a sunflower with mariquse cut diamond petals and grain set diamonds to the raised leaves and stem two circular borders are each grain set with diamonds and feature baguette cut diamonds to the base left and right sides and rubies to the left right and top.
Total Estimated Diamond Weight: 17.55ct
Diameter at widest point: 60 mm approx
Retro Ring with Diamonds
14ct yellow and white gold Retro ring with a central round brilliant cut diamond of estimated weight 0.25ct in a square setting and surrounding diamonds in a cross formation on a scrolled undergallery to ribbed upswept shoulders and a polished band.
Total Estimated Diamond Weight: 0.74ct
Colour F-M Clarity VS-P3
Art Deco Diamond and Emerald Bracelet
Art Deco platinum bracelet the central panels set with diamonds and emeralds to a mesh bracelet which is bordered with diamonds and set at intervals with rows of diamonds and emeralds fastening with a concealed clasp with diamond button.
Total Estimated Diamond Weight: 4.00ct
Colour H-I Clarity VS-SI
L 16.5 cm
ERNEST MARCUSE 1900-85
WESTGATE BRIDGE 1966-‘67
(under construction) 1966-67
Mixed media on masonite board
H 122 cm x W 81cm
Prov: Art collection National Australia Bank
Art collection Robert (Bob) Metselaar
William Ricketts 1899 -1993
William Ricketts was born in Richmond and studied to play the violin. He played the violin in cinema’s until about 1935, when talking movies made his violin obsolete.
He mixed with, and befriended many artist e.g. Margaret Mahood, Ola Cohn, and learned the potting and skills to sculpture with clay from Gustav Pillig and worked in his studio.
An intelligent man, Ricketts became more and more intrigued with the aboriginal cause and conservation, through reading books on anthropology by Baldwin Spencer and TGH Strelow. Ricketts pottery changed direction from typically Australian fauna and flora to aboriginality and he remained unique, many decades ahead of his time.
The whole clay base has become a living part, which suggests the earth giving birth to a totemic aboriginal personage.
Everything pulses with life from time immemorial.
A very rare Queen Anne Irish matt finish pedestal goblet. Dublin, 1708.
H 19 cm, Weight: 312 grams approx. Maker: David Rummieu.
19th Century Qing Dendritic Agate Snuff Bottle and Rose Quartz Stopper
Art Deco Diamond Bracelet
This magnificent 18 carat White Gold large wrist size – 19.5 cm, finely wrought bracelet, comes from the very popular Art Deco Period. Beautifully styled by a Master Craftsman in the United Kingdom and is in top condition. Items as this are extremely hard to source and we are very proud to be able to offer such high class items such as this beautiful piece of Jewellery in our Collection.
Ebony Sewing, Writing & Jewellery Cabinet
The Ebony Sewing, Writing & Jewellery Table Cabinet has mother-of-pearl inlays and pewter stringing. There is a large turned ebony ring holder on each side, and the cabinet stands on four ebony-turned feet. Lifting the cabinet’s lid reveals various mother-of-pearl sewing tools; the front doors open, revealing four drawers with mother-ofpearl handles. This table cabinet comes with a fully working lock and tasselled key.
H 40 cm x 30.5 cm x 42 cm
LINDSAY, Norman (1879-1969)
Oil study for Amazons
Oil on canvas laid on board
H 90 x W 60 cm
Signed in full upper right; some rippling of the canvas; housed in a period gilt frame.
A large format portrait of Pearl Schweig (later Copalov, and then Goldman) fancifully portrayed as a warrior from Classical Greek mythology, wearing a plumed helmet and tunic of chain mail and mounted bareback on a large horse. The image is a detailed study for Lindsay’s oil painting Amazons (1939), a larger scale work which now forms part of the collection of the Norman Lindsay Gallery and Museum, Springwood.
An Earl’s Coronet, in silvergilt with velvet and ermine trimmings, by Hunt & Roskell, the firm formerly known as Storr & Mortimer, a direct line to Paul Storr – perhaps the finest of all the English silversmiths.
Coronets were required at the opening of the House of Lords and some other state functions, but most notably at The Coronation. This example is a smallish size by modern standards but seems to be normal for the time.
A Presentation Token of Tasmanian signifificance in form of a French Slate Clock on its original support corner stand.
This clock was presented to John Stormant the manager of Mt Morriston in Ross Tasmania. Presented to him by George Scott the brother of James and Thomas two of VDL earliest surveyors. Slate and Wood.
Provenance: Scott family descendant
H 150 cm x W 75 cm x D 45 cm
A very fifine and rare miniature James Ferguson Cole and Thomas Cole Carriage clock in its original travelling case with key, c. 1835.
Japanese Satsuma ware Shi Shi temple guardian lion dogs c. 1862 Rare, finely crafted ceramic model of Shi Shi shown in animated play,with golden manes and a chrysanthemum pattern on a dark navy blue ground, with original paulownia wood box, Purchased in Japan.
H 39cm x W 26cm x D 17cm
Regency period painted and parcel gilt cabinet
A rare parcel gilt and painted mahogany incurving cabinet with original marble top.
H 87.5 cm x W 106 cm x D 52 cm
FREDERICK RONALD WILLIAMS 1927-1982
Brick Chimney, Howqua
gouache on paper
57.5 x 76.5 cm
(image: 45.5 x 76.5 cm)
signed lower centre: Fred Williams
Brick Chimney, Howqua, 1969 demonstrates Williams’ mastery of the gouache medium and his sensitive response to a particular place. The Howqua River, 20 kms east of Mansfield towards Mt Buller, inspired Williams to create a series of works on paper over April 1969. This was Williams’ first sustained river series and there is a strong sense that he was exploring how moving water reacts visually and chromatically against the static quality and earthy colours of the surrounding banks. Now a popular camping spot, the Howqua area is littered with remnants of the goldmining that took place in the Howqua hills. Williams described in his diary a “curious old brick chimney left standing on the opposite bank [noting] it looks very strange amongst the trees.” This observation forms the basis of this gouache and a related oil painting of the same title. Over a pre-painted tan base colour, Williams introduces a strip format that emphasizes the horizontality of the landscape and contrasts the flowing river against a more solid bank. On top of this base, vertical elements, including the chimney, were laid down; devices that both anchor and divide the landscape.
Art Deco c. 1930 diamond and amethyst bracelet.
Group of tortoiseshell pique treasures
Sterling silver & tortoiseshell pique tray London, 1915. $275
Tortoiseshell etui with sewing utensils English c. 1880. $700
Tortoiseshell pique patch box English, c. 1800. $450
Tortoiseshell pique pendant for two photographs English, c. 1900. $1,200
A 14ct yellow gold Art Deco box presented as a gift by the King of Spain Alfonso XIII with linear pattern top and bottom black onyx ends red and black enamel geometric design to both sides of the top with rose cut diamonds a matching onyx push clasp opening to reveal a polished interior engraved inside the lid ‘Alfonso R. 20 VIII. 1932’ the case hallmarked 585 Austria and with the maker’s mark JR for Johann Robesch.
Total Estimated Diamond Weight: 0.40ct
Colour I-J Clarity SI
Weight: 108 grams
Victorian 18 Carat Gold Aquamarine Brooch and Detachable Earrings
A fine Victorian 18 Carat Gold Brooch set with foiled back Aquamarines and having foiled back Aquamarine detachable drop earrings. It comes with an independent registered valuation for replacement of $21,500. W 55 mm x L 60 mm drop overall.
One of a set of Four Early Colonial Australian Cedar Dining Chairs featuring a carved top rail, mid bar, and legs, with-drop seats covered in haircloth fabric, 19th century patina, NSW origin, c. 1840.
18kt Yellow Gold Rubellite Tourmaline Ring Attributed to Louis Comfort Tiffany by Tiffany & Co.
18kt Gold, Rubellite Tourmaline
This beautiful and rare antique ring was crafted by Tiffany & Company, circa 1910-1915 and was most likely designed by Louis Comfort Tiffany. The handmade 18-karat yellow gold ring centers on a large rub-over set cushion cut ‘rubellite tourmaline’ weighing 5.88 carats.
Large impressive Welsh Oak Two Height Oak Dresser
Attractive Georgian Oak Dresser with open plate rack top above base fitted with five drawers and two cupboards doors and supported on bracket feet, good mellow patination.
H 218 cm x W 188 cm x D 47 cm
Bronze cupid fifigured mantle clock
Introducing this French mantle clock featuring a bronze cupid figure atop a rouge marble base. Crafted by J. Mart circa 1880, it boasts an enchanting aesthetic, with its vibrant rouge marble base that is beautifully complemented by the intricate bronze figure of Cupid. The enamelled dial of the clock is another testament to the exquisite craftsmanship of the clockmaker.
H 49cm x W 29cm x D 22cm
ROBERT PRENZEL 1866-1941
Gumnuts, Blossoms And Leaves, Carved Blackwood, 1912-1925
H 41 x W 30 cm
Most likely a panel removed from a piece of furniture
Impressed Stamp Lower Right “Robert Prenzel” (probably or possibly added later)
Japanese lacquer document box – mid 20th century
A fine quality Urushi (lacquer) box in an unusual caramel cream colour lacquer, decorated with a lyrical display of a peony flower, leaf and stem, fashioned from mother of pearl shell. The box has silver rims and the interior is black lacquer with speckled gold, nashiji technique.
As is the tradition, the original paulownia storage box has the artist’s name, Ishin Honda and the title is ‘ Early Morning Light’.
H 13 cm x W 24 cm X 32 cm H
A rare 18ct gold full hunter fob watch by Timothy Tillotson Jones 1819-1897.
Jones was a goldsmith, jeweller, watchmaker and optician born in Islington, London, where his father was also a jeweller. He emigrated to New South Wales in the mid 1850’s.
The inner cover is engraved “Henry Ainge/ March 6th 1887″. The engine turned case, has initials inscribed to the centre of the front cover. The gold case Birmingham 1887. The ‘Sydney Mail’ of 1892 reported that Henry Ainge had acquired 116 acres of land at Glen Innes.
Portrait of a young Chevalier wearing the Collar of the Order of Saint Michael, his hand resting on his sword hilt.
French School, late 16th century. Oil on panel, 655 x 470 mm (octagonal); originally part of a larger work; a vertical split running the length of the panel has an old expert repair on the reverse; housed in a recent frame.
A beguiling sixteenth-century French portrait of a member of the Order of Saint Michael.
The Order of Saint Michael (Ordre de Saint-Michel) was founded by Louis XI of France in 1469 as a response to the Burgundian Order of the Golden Fleece. It was the highest chivalric Order in France for over a century until the introduction of the Ordre de Saint Esprit in 1578. Its members included the French monarchy and the upper echelons of the French nobility, as well as many important figures of the period such as Cesare Borgia, James V of Scotland, Edward VI of England, Henry Stuart, Lord Darnley, and Robert Dudley, Earl of Leicester, on whom the Order was bestowed by the French monarch of the time.
The Order was dedicated to the Archangel Michael, whose image was engraved on the gold medallion presented to every member. However, the Order’s collar, or chain, which features twelve enamelled gold scallop shells – symbols of holy pilgrimage – remained its most prestigious insignia right up until 1830, when the Order was dissolved. Only three authenticated examples of the Collar of the Order of Saint Michael have survived: two in Dutch collections (Rijksmuseum and Paleis Het Loo) and one in France (Musée de la Légion d’honneur).
[COOK (Capt. James).] SMITH (Rear-Admiral Isaac)
Mourning ring for Rear-Admiral Isaac Smith, the first member of the Endeavour’s crew to set foot on land at Kamay (Botany Bay) in April, 1770.
[London : maker unknown, ca. 1831]. Diamond, pearl and enamel set into a gold ring with the following inscription engraved on the inside of the band: ‘Rear-Adml Isaac Smith Ob 2 July 1831 Ob 78′. Housed in a crimson morocco box with brass clasp.
An extraordinary survival: a mourning ring for the memory of Rear-Admiral Isaac Smith (1752-1831). Smith is distinguished for being the first Englishman to set foot on the east coast of the Australian continent.
BARDIN, William (c.1740-1798)
The new twelve inch British terrestrial globe, representing the accurate positions of the principal known places of the earth, from the discoveries of Captain Cook and subsequent circumnavigations to the present period 1802.
Manufactured by T. M. Bardin, 16 Salisbury Square, London. With additions to 1807.
GLEESON, James (1915 – 2008)
Figure in psychoscape
Oil on board, 200 x 150 mm, signed lower right. Painted circa 1980s.
A fine example of Gleeson’s distinctive miniature scenes of a nude male figure in a psychoscape, an exploration of body and mind.
PRESTON, Margaret (1875 – 1963)
Sturt’s Desert Pea, 1925
Woodcut, printed in black ink from one block, coloured by hand, measuring 184 x 248 mm (image), signed in the image lower left M. P., signed in pencil lower right Margaret Preston, titled lower left 15 Proof Sturt’s Desert Pea etc., framed in black timber. Printed in an edition of 50 copies.
WARHOL, Andy (1928-1987); FRANKFURT, Suzie; WARHOLA, Júlia
Wild Raspberries. (Presentation copy inscribed by the artist)
New York : the artist, 1959. Folio (445 mm tall), original fuchsia papered boards (faded and paper lost at spine, as usual), title sheet, pp , comprised of 18 single illustrated leaves (one enhanced with original watercolour), one double-page illustration and one sheet with text, interleaved with eight sheets of fuchsia tissue paper, as issued; the complete folio printed in offset lithography by Seymour Berlin, hand bound; a presentation copy, inscribed in pencil on the front pastedown endpaper ‘To Bobby and Susumu / andy Warhol’.
18th Century glass, porcelain and lead glass. A very good wood carving by Robert Prenzel, and a number of high quality items.
19th Century Sterling Silver and Gilt Ewer
A Superb 19th Century Sterling Silver and Gilt Ewer, this piece is made with exquisite hand cut crystal by Charles Edwards London, c.1883. This world class piece features a child and a lamb on top of the lid, and fine silver detailing throughout the handle and spout.
H 48 cm x W 36cm x D 12cm
19th-Century French Ebonised Boulle Centre Table
Superb 19th-century French Boulle centre table with drawer, stamped with maker: ‘Tostain’, Galerie de la Madeleine, c. 1870. Featuring exquisite bronze mounts, this stunning piece would make for a show-stopping entrance table in the finest of homes.
H 77 cm x W 146 cm x D 94.5 cm
Blue Enamel and Diamond buckle ring
Early 20th century
This stunning blue enamel and diamond buckle ring is a show-stopping early 20th century statement piece. Often worn to signify the loss of a loved one, the buckle ring is a classic design.
Joseph Frost, born in 1954
Czechoslovakian born, now residing in Sydney, Australia.
‘Morning Haze – Yarramalong Valley’
Late 20th century
Oil on Canvas
76 x 102 cm
This lovely landscape from renowned artist Joseph Frost, depicts the morning haze in Yarramalong Valley, NSW.
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