A very rare Australian Colonial cedar Revolving Dumb Waiter with two tiers rotating around a vase and ring turned column, supported on three scroll carved legs with brass castors. Attributed to William Hamilton of Hobart, see his trade label illustrated  in Nineteenth Century Australian Furniture (Fig.140) Original 19th century patina, c.1850. (94cm H. x 68cm Diam.).


Islay, Tilco a Macaw and two Lovebirds A late 19th century gilt-framed oil on canvas, After Sir Edwin Landseer signed l.r. “J. Collins” (42 x 35).   


An Early Colonial cedar fold-over Card Table the skirt features a central medallion  of  Huon pine, Tasmanian origin, 19th century patina, c.1845 (76 x 92 x 45).


An early colonial Australian cedar Sideboard or Side Table of compact size, featuring Huon pine stringing, the drawers with ebonised knobs. Attributed to James Penman, a convict cabinetmaker who worked in Northern Tasmania, and provenanced to Streanshalh, original 19th century patina, c.1840 (77 x 111 x 60).


An Early Colonial Australian Cedar Easy Chair, 19th century finish, Tasmania origin c.1845.


A cased Taxidermy display of Australian fish in a naturalistic setting, c.1900 (46 x 88 x 26).


After Jean-Antoine Watteau (French 1684-1721) L’Indifferent Early 19th Century (Image Size: H 28cm x W 20cm) Oil on wooden panel. Jean-Antoine Watteau was known to create variations of paintings along with the existence of accepted copies of works by artists of significance within his circle, including Philippe Mercier, Bonaventure de Bar and Nicolas Lancret to name but a few. This version of L’Indifferent appears to be signed upper left and has several indecipherable inscriptions on the panel verso, the brushwork is also closely reminiscent of the technique of Watteau. There are several very small areas of paint loss but overall the condition is good. Provenance: The Estate of David Fyfe-Jamieson, former director of Sotherby’s England.



T Leslie (British Active 1890s) River Teign, Devon Circa 1890. (Image Size: H 10cm x W 25.5cm) Watercolour on board. Signed T. Leslie. Leslie was a British landscape artist. This finely painted watercolour shows the river Teign which rises in Dartmoor and flows through the county of Devon until it reaches the English Channel at Teignmouth. Leslie later settled in Australia and painted rural Victoria. The painting is in a good condition, recently framed with an acid-free mat and anti-reflective, UV-resistant museum glass.



Spanish Santos figure of The Archangel Gabriel, 17th Century. (H 34cm x W 14cm x D 7cm) Wood, polychrome paint and gilding. Wear is commiserated with age, and loss of paint. The left hand is missing, with more expensive Santos figures the hands were interchangeable and often made with a wax resin. The wing has been repaired on the rear of the figure. Provenance: Private Collection Sydney Australia




A Collection relating to the artist Rosaleen Norton (Aust., 1917–1979).

Nicknamed the “Witch of Kings Cross”, sexually liberated occultist Rosaleen Norton was “born in NZ during a thunderstorm.” Her family moved to Sydney in 1924 and later she became an artist, a life model, and a journalist. During her lifetime her controversial exhibitions were frequently raided by the police. Ref: Wiki.

Rosaleen Norton (Aust., 1917–1979).

C. 1940s. Pencil drawing, titled and signed lower centre and right, 54 x 36.8cm. Slight scuffing, pinholes to image upper left.

A pencil drawing of three figures, a dragon and a castle appears verso. The face of one of the figures resembles Rosaleen Norton.

Uncommon large drawing by Norton of her devilish creatures. 

Item #CL199-141



Rosaleen Norton (Aust., 1917–1979).

C. 1950s. Pen and ink, signed lower right, 24.5 x 22cm. Minor creases, uneven edges.

Shows Baphomet, a deity associated with the Knights Templar and later a symbol of the Church of Satan.

A five-pointed pentagram is usually depicted on the forehead rather than this six-pointed star.

Item #CL199-143



Robin Smith (NZ/Aust., b.1927).
Rosaleen Norton, Kings Cross [Holding Cat]

1963/2014. Colour digital print from negative-based image, annotated “RVFS 3949”, titled, dated and signed in ink verso, 30.7 x 46.2cm.

Image shows occultist and artist Rosaleen Norton (1917-1979), aka “The Witch of Kings Cross”, in a café with an exhibition of her paintings

Item #CL178-155



James Northfield (Aust., 1887–1973).
Travel By Trans-Australian Railway Across Australia

C. 1938. Colour lithograph, signed in image lower left, 101.6 x 64cm. Repaired minor tears. Linen-backed.

Text continues “In comfort, save days. Northfield Studios & J.E. Hackett.” Held in NLA, SLV.

Shows a train with a C class locomotive captioned “To Perth”, travelling across the Australian desert. The background map highlights Sydney, Darwin, and Geraldton.

From 1938 the C class locomotive was used on the Trans-Australian Railway, reducing the journey time by 10 hours. Ref: Wiki.

Item #CL197-36



Percy Trompf (Aust., 1902–1964).
Tropical North Queensland, Australia

C. 1935. Colour lithograph, signed in image lower right, 100.8 x 63.5cm. Repaired tears, missing portions and creases to lower portion. Linen-backed.

Text continues “April to Sept. Particulars at shipping and travel agencies. Australian National Travel Association: Flinders St, Railway Bldg, Melbourne,

Australia. Grand Buildings, Trafalgar Square, London. 114 Sansome Street, San Francisco. USA, Moore-Young Litho. Co. Melb. Aust.” Held in NGA.

Item #CL197-30



Australia Calls You

C. 1924. Colour lithograph with travel guide, 98.9 x 61.4cm. Repaired minor perforations to image lower right. Linen-backed.

Text continues “To a scenic wonderland of mild winter and glorious summer. An infinite variety of enchanting scenery, from tropical luxuriance to snow-clad alps. Ask for illustrated booklet at railway stations, tourist offices & Australian agencies.

Poster no. 1. Issued by the Australian Railways Commissioners. Waite & Bull Printers, Sydney.”

This image was also used as the cover illustration for a travel guide (64pp), which accompanies this poster and is depicted lower left.

The guide’s cover includes the artist’s name “Allan M. Lewis” and date “1924.”

Item #CL189-16



The Sydney Harbour Bridge Map

1932. Colour lithograph, artist names in image lower centre, 74.4 x 98cm. Foxing, repaired tears and slight perforations to margins and image edges, old folds. Linen-backed.

Text includes “Commemorate the opening [Sydney Harbour Bridge], 19th day of March…1932. Breathes there a man with soul so dead who never to himself-hath-said ‘This is my own, my native land?’ If such there be, go mark him well! This map was designed and drawn by Russell Sydney Lloyd of Bondi, Sydney; figures were drawn by Miss Vic Cowdroy. Copyright Russell Lloyd. Printed by John Sands, Druitt St, Sydney…Published by R.S. Lloyd. Ph: FW 3214. Price: three shillings and sixpence.”

Held in NLA with comment “A humorous illustrated map of Sydney viewed from Rushcutter’s Bay [and] across the harbour…[Image includes] a flying biplane with an exhaust cloud containing the names of Kingsford Smith [and other aviators].”

Item #CL189-44




For centuries humans have treasured the companionship of dogs.

Dogs have given love and friendship, guarded possessions, provided warmth, saved lives and found lost children.

Doting owners have had statues, paintings and jewellery made to immortalize their dearest companions.

A popular jewellery form is ‘Essex Crystals’. These consist of domed natural clear crystal rock with a multi-dimensional carving of the subject from behind. The subject is then painted giving a lifelike image viewed from all angles.

These pieces of jewellery were very popular during the Victorian period and later. Still popular today but their creation has ended leading to significant prices being realized.

Trinity Antiques is offering an outstanding Essex Crystal stock pin crafted in 15 carat gold in England c. 1890. It features a Jack Russell skillfully painted and backed by mother of pearl. Surrounding the portrait is a ring of alternating panels of diamonds and rubies. This highly desirable Jack Russell lover or Essex Crystal collector piece is housed in its original case.



Continuing with the canine theme and highlighting the importance of pedigree, a terrier born out of the joining of two of London’s most prestigious jewellery houses, both with Royal Warrants, is also presented. This adorable little chap, crafted by Asprey and Garrards during their brief but unsuccessful marriage, is in 18 carat gold with a pave set diamond body, natural emeralds for eyes and sapphires for a collar. The total diamond weight is 1.50 carats. He hasn’t been ’micro-chipped’ but carries a full set of hallmarks and was ‘whelped’ in 1990.




For over a century, Western women have worn and admired one style icon more than any other: Black and White.

From the heady, liberating days of the Art-Deco period to Coco Chanel and the fashion parades at a glamorous David Jones city store, Black and White continues to turn heads due to its simplicity and boldness.

The fabulous Dior ‘Little Black Number’ never dates and indeed improves with age just as a bottle of ‘Chateau Lafite Rothschild’. This essential style masterpiece is never complete without a noticeable string of natural pearls or a brooch styled and crafted in a jeweller’s workshop, bathed in the fragrance of coffee and the ‘The Little Sparrow’ singing ‘La Vie en Rose’.

One of the more popular brooches to adorn the stylish lady’s ‘Little Black Number’ is the Jabot or Surete Pin. Originally devised in the mid seventeenth century to secure the ruffled or lace adornment worn by gentlemen in the front of their shirts, they became the ultimate fashion accessory in the Art-Deco period.

Trinity Antiques offers this stylish French Art- Deco pin c. 1920, in the form of a feathered tail arrow. It is crafted in platinum with finely cut graduated onyx squares highlighted by single cut diamonds. Bearing French hallmarks, it is housed in its original purveyor’s case of The Goldsmiths & Silversmiths Company Ltd of London.




There is a growing world-wide demand for sizable coloured stones and a quickly diminishing supply coming from small time gem miners, usually in the world’s most dangerous regions.

 Hence, increasingly heat treated stones are being offered. Unfortunately, most clients are unaware of the consequences of heat treatment and/or not informed of the gem’s status.

Heat treatment is used to enhance colour and increase clarity and more commonly found with poorer quality stones.

The value difference can be as much as 50% to over a 100% between ‘Natural’ and ‘Heat Treated’ stones.

As a general rule, coloured stones set in antique jewellery most likely will not have been heat treated but in any case, when purchasing a special piece of jewellery, a registered gemologist’s report stating the heat treatment statis is comforting.

Trinity Antiques will offer a range of jewellery with Natural or untreated coloured stones, including a French Art-Deco  dress clip c. 1920. Set in Platinum, the clip features a natural 4.00 carat sapphire en cabochon surrounded by 52 Old Cut diamonds.



For those who prefer the mystery of emeralds, a platinum and gold ring crafted in England c. 1900, carries a Natural Columbian emerald of 1.00 carat, supported to either side by two Old European cut diamonds of approx. 0.70 carats each.


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