BRANS ANTIQUES & ART (WA)

Mid 18th century Roman console table
4417 A mid-18th century Roman carved giltwood console table with a shaped serpentine Sienna marble veneered top with a shaped serpentine front and sides, standing on four legs joined by a stretcher base incorporating a carved shell. Good original condition including retaining the fabulous original marble-top and with original gilding to the base, circa 1750. 157cm wide, 78cm deep, 90cm high. $28,500.


BRANS ANTIQUES & ART (WA)

Pair of cloisonné vases
5548 A beautiful pair of Japanese Meiji period cloisonné enamel vases with silver wires and silver mounts. The silver foot rim of one vase hallmarked, and both of the bases with the silver wire seal of Ando Jubei. Wonderfully decorated with stands of bamboo in a most unusual grey/mauve ground. Very minor damage to one (neck), as shown in images. Cracking approximately 4-5mm in length. Circa 1910. $9,800 the pair.


BRANS ANTIQUES & ART (WA)

Medici type bronze lion
5544 An early 19th century Italian bronze lion, after the marble version carved circa 1594 by Flaminio Vacca for the Medici Villa in Rome, itself a companion to the Ancient Roman version in the Medici collection from the 1st or 2nd century AD. This particular example very well modelled and with a beautiful patina including traces of the original lacquer and a lovely strong presence. On a modern ebonised wooden plinth. Circa 1820. 33cm long (34cm with plinth)


BRANS ANTIQUES & ART (WA)

Koransha vase
5552 A superb quality tall slender Koransha porcelain vase decorated in underglaze blue with two extraordinarily finely painted five-clawed dragons. Japan, Meiji period. Signed beneath and in perfect condition.
Circa 1900 $14,000
In 1856 Ezaiemon Fukagawa became head of his family’s porcelain business and in 1875 founded Koransha, the Company of the Scented Orchid in Arita, Japan, to produce porcelain for export. Koransha won many awards at international exhibitions, including gold medals at a number of Paris Expositions, Grand prize in the Liege exposition, and gold medal in a Barcelona Exposition. In 1896 they were also appointed to supply pottery by the Imperial Household Ministry. 44cm high.


DOUGLAS STEWART FINE BOOKS (VIC)

BARDIN, William (c.1740-1798)
A new, accurate and compleat terrestrial globe,
$24,000.00 AUD

accompanying the Geographical Magazine. Originally laid down by Mr. James Ferguson, F. R. S. Improv’d by G. Wright, and made by W. Bardin, Fleet Street, London. Published as the act directs by Harrison & Co., No. 18 Paternoster Row, Augt. 1st, 1783 (cartouche). Published by G. Wright & W. Bardin Jan’y 1st 1782 (inscription at South Pole).

Terrestrial globe, 9 inches in diameter, engraved gores and two polar calottes with original hand colouring over papier mache base, graduated equator, ecliptic and Greenwich meridian, the oceans with an analemma, ocean currents, monsoons and showing the tracks of numerous explorers; hand-engraved calibrated brass meridian ring, engraved calendrical paper horizon ring with zodiac laid on wood, supported on the original stand of four turned wooden legs united with cross-stretchers. A very fine example with no obvious signs of restoration, a rich and warm patina, recent lacquer expertly applied for conservation.

A fine eighteenth-century globe which shows the tracks of Cook’s three voyages, the place of his death in Hawaii only four years prior noted with detail. The voyages of Clipperton and Anson are also marked. The island of Tasmania is joined to the mainland of New Holland, and the Antarctic region is described as being ‘insurmountable fields & vast mountains of ice’.

Bardin’s 9 inch terrestrial globe was originally available for purchase by subscribers to the Geographical Magazine. Upon a second payment a celestial globe was also available.

“The Bardin family was among the greatest globe makers in London from the late eighteenth through the early nineteenth century. The patriarch of the family, William Bardin (d.1798), began globe production in the 1780s.

The decorative labels on the globes claim that the globes are improved, and in a book published in 1783 Wright explains the improvements. His innovation was to print hour circles into the globes around the poles, to print the hours around the equator, and to place small brass pointers between the globe surface and the meridian ring. This allowed the globes, without hindrance of a brass hour circle attached to the meridian ring, to be inserted within their stands so that ‘the new discoveries, tracks &c. may be clearly traced by the eye over all parts of the globe in a manner more conspicuous than maps will admit of’. Wright updated the cartography and added the routes of Captain James Cook’s voyages of exploration between 1769 and 1779, along with the location where Cook was killed in Hawaii.

The Globes were produced by William Bardin as a promotional gift for William Frederick Martyn’s The Geographical Magazine, or a New, Copious, Compleat and Universal System of Geography, which Harrison published in parts beginning January 1, 1782. Subscribers were offered a pair of globes free. The price of the magazine was 2 shillings 6 pence per month. After buying the first 20 editions readers could acquire a terrestrial globe, and after the 40th edition they could claim its partner, the celestial globe.” – State Library of New South Wales website (http://www.sl.nsw.gov.au/blogs/pair-desktop-globes-1783).

Eighteenth-century globes in such fine condition are rare in the market. # 17306


ANTIQUARIAN (VIC)

Sainthill Loudon c. 1936 Australian pottery vase, Melbourne made, glazed earthenware, wheel thrown and incised modernist Motifs. 28cm tall.
Similar examples in NGA
Loudon Sainthill was a renowned Australian artist and stage and costume designer. He worked predominantly in the United Kingdom. Born: 9 January 1918 Died: 9 June 1969. Awards: Tony Award for Best Costume Design


ANTIQUARIAN (VIC)

Ratzersforfer, Hermann circa 1860-70
Silver Plaque containing 24 European coins from c.1600
40cm Dm
Marked HR
Austro-Hungarian Empire Standard head Mark additionally marked with A for Austria
As one of the most prominant silversmiths working in Austria in the second half of the 19th century, Ratzersdorfer’s objets de vertu exude with unmistakable identity the prevailing “Ringstrasse” taste of the growing bourgeoisie of European society. He was the leading producer, along with Hermann Böhm, of carved hardstones – rock crystal, agate, lapiz lazuli – mounted in silver and silver-gilt with champlevé and painted enamel decoration, all in the neo­ renaissance revival style. He sought inspiration in the 16th and 17th century vessels made for the princely families of Europe, many of which were then becoming increasingly available to the public in newly founded museums. Ratzersdorfer himself had first hand knowledge of the earlier pieces and their construction after examining them in the Imperial collections. It has been suggested that the renewed interest during this period in creating such luxury objects – by either making replicas of existing objects or simply making new forms in earlier mannerist and baroque styles – was partly due to the unification of Germany in 1871, when Hungarian mines had become more widely available for excavation thus making the materials more available to the trade.
Ratzersdorfer entered his hallmark in 1843, and continued in business at different addresses until at least 1900. He participated in several important international exhibitions, including London (1851), Paris (1855), Vienna (1873) and Paris (1878 & 1889).
Medals were awarded to him in 1851 for a silver toilet glass and in 1855 for a jewelled silver & enamel box. At the 1873 Vienna Exhibition Ratzersdorfer made an impressive display, winning the admiration of at least one French critic who commented.


ORIENTAL STATUARY – AN ANTIQUE DISPLAY

A collection of antique statuary, predominantly depicting Buddha, from across the ancient Asian cultures of modern day China, Burma (Myanmar), Cambodia and Thailand.

This marvelous figure shows a ‘Lanna’ type Buddha in a touching pose, finely cast in bronze with traces of original gilt decoration and beautiful patination to all surfaces. Phra Nakhon Si Ayutthaya, Northern Thailand, early 19th century. (395mm X 285mm).


An Australian case of taxidermy Trout with a painted background. C. 1880.


THE FIND GUEST EXHIBITOR (QLD)


THE FIND GUEST EXHIBITOR (QLD)


THE FIND GUEST EXHIBITOR (QLD)

Anglo Indian Padouk Tilt Top Table C.1850.


Anglo Indian Padouk Tilt Top Table C.1850.


Impressive 19th C. Cast Zinc Warwick Vase.


Agra Shrub Carpet, India, 19th Century.


This Indian dhurrie was made (pre 1880) for the 56th West Essex Regiment of Foot, nicknamed the Pompadours because of the purple facings on their uniform, claimed by some soldiers to be the colour of Madam de Pompadour’s underwear. The Pompadours were active between 1755 to 1881 and saw service in the Seven Years’ War, the American Revolutionary War, the French Revolutionary Wars, the Crimean War and the Napoleonic Wars.


An Exceptional Rosewood sideboard with Four sliding doors. the interior is fitted with dovetail joined drawers. The handles are hand carved and recessed into the doors. Model 49. Designed by ROSENGREN HANSEN in 1950 Produced by BRANDE MOBELINDUSTRI DENMARK, C. 1950.


Magnificent Karelian Birch Art Deco dining table with two extensions to three meters. With eight matching solid curved back chairs which have been reupholstered in a macro suede fabric. The table has a ‘C” curved support which rests on a shaped base, C. 1930.

Swedish Flame birch sewing table with a classical Lyre pedestal with string inlaid decoration and ebonised plinth, C. 1930.


Swedish Flame birch sewing table with a classical Lyre pedestal with string inlaid decoration and ebonised plinth, C. 1930.


VIRTANEN ANTIQUES (VIC)

An Exceptional early Art Deco signed Argenta dish with sterling silver inlay depicting an intricate decoration of a mermaid on both sides. Designer Wilhelm Kage for Gustavberg Sweden, C. 1930. This is a rare piece due to its large size. There is a similar piece in the National Museum in Stockholm.


An exceptional quality French boulle bureau plat c1840, the inlaid brass work finely engraved with ‘Berainesque’ designs’. Provenance: The Lord Beaumont, Carlton Towers, Yorkshire. The Barony of Beaumont was ‘in abeyance’ (i.e. not held by someone) from around 1507, until 1840, when descendant, Miles Thomas Stapleton, claimed it and became 8th Baron Beaumont. The current holder of the Beaumont Barony is the Duke of Norfolk. (Detail shown).


Art Nouveau parcel gilt bronze and marble ‘Femme a la Robe’ figurine. C. 1920. Signed by Affortunato Gory ( 1895-1925 ), Italian. 62cm high.


Art Deco green patinated bronze Heron on a black marble base, signed Rochard. C. 1930 ( Irenee Rochard, France 1906-1984 ). 70cm long (base) 79cm overall x 44cm high x 20cm deep.


Set of four 18th Century Derby Gold Anchor ‘Four Seasons’ (two shown) figurines,C. 1760. 17cm high.


Fine pair of Royal Worcester floral painted ‘Water Bearer’ figurines, dated 1904. 40cm high.


ANTIQUE PRINT & MAP ROOM(NSW)

En Australie. c. 1885

Emile Gustave Ulm (1860?-1939)

Rare and unrecorded French etching by the little known French born Sydney artist Emile Gustave Emil of an aboriginal amongst tree ferns looking at two bathing women. Signed lower left within the plate and printed by the Paris publisher René Pincebourde. 191mm x 133mm $ 1,750

Emile Gustave Ulm (1860?-1939)

Emile Gustavus Ulm, artist, was possibly born in Paris about 1860. He married Ada Greenland in Melbourne, Australia, November 2, 1888. His parents were Emile Victor Frederic Ulm, artist, and Desiree Redon. His father witnessed the marriage.

He is known to have resided at: ‘Leona’, 27 Keston Avenue, Mosman and at 35 Prince Street,Terrigal. He was one of the artists working at the Sydney Mail in 1888.

His son Charles was the famous aviator.


ANTIQUE PRINT & MAP ROOM(NSW)

Bondi The Playground of the Pacific c. 1933.

Early and very rare 1933 tourist booklet of Bondi Beach. Stunning art deco pictorial colour front cover. Oblong octavo, 15pp, illustrations and small map. Sydney, Henry & Cantwell.

Waverley (N.S.W. : Municipality). Council

The Playground of the Pacific [cover title]. Oblong octavo, illustrations, striking original pictorial coloured art deco wrappers. Sydney, Henry & Cantwell, 1933. 144mm x 247mm


ANTIQUE PRINT & MAP ROOM(NSW)

$2,850

Index Map of New South Wales Shewing Pastoral Holdings. c. 1891

New South Wales Surveyor General

Early edition of this large scale 60 sheet folding pastoral map of New South Wales. Cased in black leather binding with gold lettering, pasted advert on inside front cover: New South Wales General Map Co., Authorised Government Agents.

Although the date 1884 is printed on the map, the advertisement on the inside front cover, of available maps for sale, states that the ‘Maps Now Ready’ are dated 1891 on the three of the maps. Rare.

Shows territory divisions, counties, numbered pastoral holding, leasehold, roads, railways, existing and under construction, rivers and ranges. An extensive index of pastoral holdings is at lower right. 1180mm x 1485mm


ANTIQUE PRINT & MAP ROOM(NSW)

$ 3,500

Rare albumen print photograph of an unnamed Clarence district aboriginal man with boomerangs and a shield at his feet. c. 1879

John William Lindt (1845-1926)

Lindt was aphotographer, born at Frankfurt on Main, Germany, son of Peter Joseph Lindt, excise officer, and his wife Justine, née Rambach. At 17 he ran away to sea and joined a Dutch sailing ship. He deserted at Brisbane; by 1863 he was at Grafton as a piano-tuner and then worked in a photographic studio. He visited Germany in 1867 and on his return bought the business. Using the wet-plate process he photographed the Clarence River district and its Aboriginals, producing albums in 1875 and 1876.  204mm x 155mm. FOTO LINDT 013 (C004)


ANTIQUARIAN (VIC)

$9,500

Italian Alabaster and Marble Sculpture of a woman and doves. c. 1900. Pugi, Guglielmo (Italian c. 1865-1950). 51cm high.


Sainthill Loudon c. 1936 Australian pottery vase, Melbourne made, glazed earthenware, wheel thrown and incised modernist Motifs. 28cm tall.
Similar examples in NGA.
Loudon Sainthill was a renowned Australian artist and stage and costume designer. He worked predominantly in the United Kingdom. Born: 9 January 1918 Died: 9 June 1969. Awards: Tony Award for Best Costume Design


 

JOSEF LEBOVIC GALLERY (NSW)

Featuring  photographic panoramas of Sydney and around Australia. Iincluding one major collection of photos of Sydney Harbour from the north shore and from the city side all around from 1875 to 1879 taken by Charles Bayliss.


JOSEF LEBOVIC GALLERY (NSW)

Featuring  photographic panoramas of Sydney and around Australia. Iincluding one major collection of photos of Sydney Harbour from the north shore and from the city side all around from 1875 to 1879 taken by Charles Bayliss.


JOSEF LEBOVIC GALLERY (NSW)

Featuring  photographic panoramas of Sydney and around Australia. Iincluding one major collection of photos of Sydney Harbour from the north shore and from the city side all around from 1875 to 1879 taken by Charles Bayliss.


JOSEF LEBOVIC GALLERY (NSW)

Featuring  photographic panoramas of Sydney and around Australia. Iincluding one major collection of photos of Sydney Harbour from the north shore and from the city side all around from 1875 to 1879 taken by Charles Bayliss.


SIMPSON’S ANTIQUES (NSW)

An imposing early colonial Australian cedar Gentleman’sLibrary Chair, inspired by a design by William Smee & Sons, NSW origin, c.1840.


ALAN LANDIS ANTIQUES (NSW)

Rare Continental Silver Violin box, circa 1880.


ALAN LANDIS ANTIQUES (NSW)

Wedgwood Keith Murray Design vases, circa 1930.


ALAN LANDIS ANTIQUES (NSW)

Wedgwood Garden Pattern designed by Eric Ravilious, circa 1930.


ALAN LANDIS ANTIQUES (NSW)

Kraak Hand painted large dish, circa 1680.


ALAN LANDIS ANTIQUES (NSW)

Chinese Export Canton Enamel Shell Shaped Dish, circa 1820.


ALAN LANDIS ANTIQUES (NSW)

Unique Wedgwood Creamware, hand painted Jug circa 1780.


ALAN LANDIS ANTIQUES (NSW)

Satsuma Miniature vases, circa 1880.


ALAN LANDIS ANTIQUES (NSW)

Meissen figures, circa 1880.


ALAN LANDIS ANTIQUES (NSW)

Rare Wedgwood Jasper relief Plaque, circa 1880.


GRAFTON GALLERIES (NSW)

$1,500

A rare George II beer jug, with strap handle, circa 1740. Height: 18cm


GRAFTON GALLERIES (NSW)

$500

Paper knife with handle made from the fossilized tooth of a Woolly Mammoth.


GRAFTON GALLERIES (NSW)

$1,200

A rare pair of Bilston Battersea enamel salts, circa 1780.


GRAFTON GALLERIES (NSW)

$2,250

A pair of 18th Century Chinese Export armorial plates, c1740. Ex collection Kurt Albrecht. Hairline crack to both plates.


GRAFTON GALLERIES (NSW)

$1,350

A superb William IV Old Sheffield Plate “dog bowl”, crested, c1830. Overall width: 27 cm.


GRAFTON GALLERIES (NSW)

$1,600

Neolithic axe head, found at the Great Western Railway Cutting, Langley, Buckinghamshire. Height: 14 cm


GRAFTON GALLERIES (NSW)

$1,20019th century American carved Sperm Whale teeth.

19th century American carved Sperm Whale teeth.


GRAFTON GALLERIES (NSW)

$585

19th century tankard by Samson of Paris, showing Bothwell Castle, with Derby marks, circa 1890.


GRAFTON GALLERIES (NSW)

$1,600 pair

A pair of African ivory, ebony and bronze candlesticks, circa 1900. Height: 25cm.


GRAFTON GALLERIES (NSW)

$1,400

A late 19th century Anglo-Indian tortoise/box, the interior inlaid with various timbers, c1890. Length: 24cm.


GRAFTON GALLERIES (NSW)

$1,650 pair

A pair of Regency period Anglo- Indian brass mounted hoof inkwells, circa 1825.


GRAFTON GALLERIES (NSW)

$1,800Fijian club, with unusual incised decoration, 19th century. Length: 40 cm

Fijian club, with unusual incised decoration, 19th century. Length: 40 cm.


GRAFTON GALLERIES (NSW)

$1,850

A fine Baule mask, Ivory Coast, West Africa, 20th century. 38 cm high.


GRAFTON GALLERIES (NSW)

$1,800

An unusually large jug in the style of 18th Century blue scale Worcester. Samson of Paris, c1880. Ex Collection: Dr Margaret Giles. Height: 30 cm.


ANTIQUARIAN (VIC)

$7,500

Oil on canvas by Yvonne Thivet, market scene Tunisia, signed bottom right. French artist 1888 -1972. 60cm x 81cm.


ANTIQUARIAN (VIC)

$2,200

Coloured Lithograph by Jacques Cartier  Black Panther circa 1945, signed bottom right. French artist 1907 -2001. 57cm x 98 cm.


LAFITE FINE SILVER (VIC)

A George III Regency silver jug on stand of exceptional quality. With contemporary armorial. Maker: Paul Storr, who supplied silver to both George III and George IV. Hallmarked for London, 1810.


RUTHERFORD (VIC)

$14,800.00

An 18ct white gold ring with an emerald cut emerald weighing 2.52ct GIA certified as Zambian in four yellow gold claws to the centre surrounded by a border of micro grain set brilliant cut diamonds to upswept diamond set shoulders and a polished shank. Total Emerald Weight: 2.52ct Total Diamond Weight: 0.51ct Colour H-I Clarity VS-SI Weight: 5.4grams
Stock Number D71110


RUTHERFORD (VIC)

$26,500.00

Platinum Art Deco ring set in four corner claws to the centre with a GIA certified 1.38ct rectangular step cut diamond graded as colour G clarity VS1 flanked to either side with a baguette cut diamond and grain set to the top and bottom ends with two single cut diamonds above a floral pierced and engraved gallery to upswept shoulders each set with a baguette cut diamond and small round diamond with mill grain edge and engraving to three sides of the band. Total Estimated Diamond Weight: 2.06ct Weight: 4.4grams
Stock Number D71708


RUTHERFORD (VIC)

$11,500.00

18ct white gold earrings each with a round brilliant cut diamond set in four claws from which drops an articulated elongated pear shaped aquamarine in a claw setting above a railed gallery to post and butterfly fittings. Total Aquamarine Weight: 10.51ct Total Diamond Weight: 0.38ct Colour G-H Clarity SI Weight: 6.9grams
Stock Number D80296


RUTHERFORD (VIC)

$22,000.00

Platinum ring set in four corner claws with an estimated 12.45ct step cut aquamarine in a double railed box mount and to either side a baguete cut diamond in the sloping shoulders and a plain polished band. Total Estimated Aquamarine Weight: 12.45ct Total Estimated Diamond Weight: 0.28ct Colour G-H Clarity VS Weight: 9.28grams
Stock Number D71816


RUTHERFORD (VIC)

$25,500.00

A handmade 18ct white gold ring featuring a 2.94ct octagonal cut emerald accompanied by a CDC Gemstone Report stating origin as Colombian set within four wide claws between a pair of trapezoid cut diamonds in bezel settings diamonds of total weight 0.31ct and graded colour G clarity VS2 all to a knife edge polished band. CDC Report Number: 1605506 Total Emerald Weight: 2.94ct Total Diamond Weight: 0.31ct Weight: 4.4gm Band Width: 2.6mm
Stock Number D71187


RUTHERFORD (VIC)

$19,800.00

18ct white gold clip on stud earrings each with an emerald cut aquamarine to the centre secured by four diamond set claws in a picture frame style setting which is pave set with diamonds above a railed gallery and fastening with a hinged clip clasp. Total Estimated Aquamarine Weight: 21.90ct Total Estimated Diamond Weight: 1.96ct Colour H-I Clarity VS-SI Weight: 18.4grams
Stock Number D71818


DOUGLAS STEWART FINE BOOKS (VIC)

Maker unknown.

Aboriginal King’s Brass Plate (1820). “King Taptalla II.” King of the Terrara Tribe, Shoalhaven River, New South Wales.

$30,000.00 AUD

[Title from mid nineteenth-century manuscript note]. Brass breastplate or gorget, crescentic, maximum diameter 140 mm, anterior with engraved lettering KING TAPTALLA II, foliage motif repeated at each of the upper corners, emu and kangaroo dos-à-dos at the centre (design only partially completed); diagonal cut mark running from lower left to upper right edge; the surface has been superficially cleaned at some point, leaving the 200-year build up of verdigris patina in the recessed areas of the engraved design; the reverse with deep brown patina; original bronze chain still attached at one corner; [accompanied by] a fragile manuscript note describing the breastplate, 55 x 160 mm, written in ink on thin paper ruled by hand in graphite, the handwriting dating to around 1850.

An unrecorded Aboriginal breastplate from the Macquarie era, dating to the earliest period of white settlement on the Shoalhaven River on the south coast of New South Wales.

‘The oldest known gorget, dated 1815, belonged to King Bungaree … Both he and his wife Queen Gooseberry had gorgets made for them by Governor Lachlan Macquarie. Bungaree’s may have been the first Aboriginal gorget and the idea, therefore, attributable to Governor Macquarie.’ (National Museum of Australia)

The manuscript note that accompanies this extremely early and important breastplate contains information specific enough to suggest that it records a statement from an oral informant who had first-hand knowledge of the object’s history. The indigenous word Terrara was used by the De Mestre family in naming the 1000 acre Terrara Estate, near the mouth of the Shoalhaven, which they established in 1845. Based on this precise geographical location, Taptalla, the owner of this breastplate, was most likely a speaker of Dharumba or southern Dharawal, according to the language boundaries postulated by Besold (Language recovery of the New South Wales South Coast Aboriginal languages. ANU, PhD thesis, 2012). There is a strong possibility that the indigenous word Taptalla is also found in the variant transliterated forms Tappatalee andTappatallee, the name given by early white settlers to a creek on the north shore of the Shoalhaven. Tappatalee Creek was mentioned in the Illawarra Mercury, 25 August 1856, under a ‘List of Crown Lands open to selection in the Police District of Shoalhaven’; the place-name later appeared, with a slightly different spelling, in a real estate notice in the Sydney Empire, 8 February 1862: ‘”Good Dog”, Shoalhaven. Farm of 51 acres, Gunn’s Grant, on Tappatallee Creek, near the Ferry at Pig Island….’ The modern name given to this area has yet another spelling, Tapitallee. Both Tapitallee and the present-day suburb of Terara share the same postcode (2540).

The first European to visit the Shoalhaven River was George Bass, who named it Shoals Haven in 1798. James Meehan surveyed the lower portion of it in 1805. However, it was not until 1818 that a land route to the mouth of the Shoalhaven from Sutton Forest was established by the surgeon and grazier Charles Throsby (1777-1828), one of the first white settlers in the Illawarra and in the Moss Vale district. On March 24 1818 Throsby wrote in his diary: ‘[We entered] a large plain of flat forest called by the natives Tallawa, from whence we saw the deep ravines running to Shoals Haven’. Throsby was accompanied by an Aboriginal guide named Broughton (indigenous name Toodwick, Toodood or Toodwit, c.1798-c.1850), who was born at the Shoalhaven’s mouth and was therefore likely to have been one of the ‘Terrara Tribe’. A sketch of Broughton (Broton) made in 1819 by Jacques Arago, the artist with Freycinet’s French scientific expedition, has survived. In 1819 John Oxley and Meehan surveyed Jervis Bay (a little to the south of the Shoalhaven), Currambene Creek and the future site of Nowra, on the banks of the Shoalhaven estuary. In 1822 Alexander Berry and Edward Wollstonecraft established Coolangatta Estate on their land grant on the north shore of the Shoalhaven. In a letter to Berry carried from his farm at Glenfield by Broughton, dated 8 April 1822, Charles Throsby wrote: ‘Dear Berry, The bearer (Broughton) a native was born at the spot (Boon-ga-ree) where you purpose to take your farm. He is well acquainted with every inch of that part of the country, speaks good English, and I think may be usefull to you. I have therefore told him if he will accompany you and explain to the natives there, that they are not to touch any thing you have &c., &c., &c., that you will give him some tobacco, a pair of trousers, and he adds, he must have an old shirt….’ (ML MSS 315/46).

We know from Berry’s Diary of an Expedition to Shoalhaven River, 1822 (ML MSS 315/53) that shortly after his arrival in the district he issued breastplates to a number of Shoalhaven Aborigines. The ones recorded are those for Broughton / Native Constable / Shoalhaven; Wagin / Chief of Shoalhaven; and Yager / Chief of Jervis Bay [Shoalhaven]. Frustratingly, there is no mention of a Taptalla (or Tappatallee) in Berry’s diary and, as the manuscript note implies that Taptalla’s breastplate predates Berry’s arrival in 1822, it is probable that it is associated with Charles Throsby. The name Taptalla (in its various transliterated forms) is, presumably, a Dharawal or Dharumba word – could it have belonged to one of the elders in Broughton’s clan?

There are some striking similarities between the decoration on the Taptalla breastplate and several other early examples issued in the Macquarie and Brisbane eras. The State Library of New South Wales holds a group of nine Charles Rodius portraits of Aborigines of the Shoalhaven area done in 1834. One shows the plate worn by Jacko / Chief of Mooloomong [Molomong] (DL Pd 40), which has the same foliage motifs as Taptalla’s and also as those on the extant breastplates of Kitten / Chief of the Sydney Tribe (AM E54316) and Jerro / Chief of Waverly (AM E54310); another shows the plate of Sangrado / Pilot of Shoalhaven (DL Pd 45), which has a similar design of emu and kangaroo dos-à-dos.
# 18666


DOUGLAS STEWART FINE BOOKS (VIC)

ELEFTHERIADES, Efstratios (TÉRIADE)

Verve : revue artistique et littéraire, 1937-1960

$30,000.00 AUD

Paris : Éditions de la revue Verve, 1937-1960. Complete set of French first editions, 38 numbers bound in 26 volumes, folio, as issued, original pictorial boards (some rubbing and bumping to the corners) or stiff wrappers (occasional light creasing and wear to spine ends; no. 4 in slipcase, rubbed and split at joints), with cover designs by Matisse, Rouault, Picasso, Braque, Léger, Miró, Chagall and others, most issues containing original lithographs by artists including Kandinsky, Masson, Chagall, Miró, Klee, Derain, Braque, Bonnard, and Picasso, reproductions of the work of photographers such as Man Ray, Brassai, Cartier-Bresson, reproductions of mediaeval books of hours, and texts by some of the most influential writers and thinkers of the twentieth century, including James Joyce, Jean-Paul Sartre, Albert Camus, Ernest Hemingway and John Dos Passos.

Verve was founded by art critic Efstratios Eleftheriades, using the nom de plume Tériade. The first issue, with a cover by Matisse, appeared in December 1937, and the last, a double issue with cover by Chagall, in the summer of 1960. The monthly review’s lavish design, luxurious presentation and extraordinary artistic content led to its being recognised as the most beautiful magazine in the world.

‘In every decade there is a review of literature and art that could have come out at no other time, so neatly is it buttoned into the spirit of the age. This was true before 1900 of The Yellow Book in London and of La Revue Blanche in Paris. It was true of the Blue Rider Almanac in Munich in 1911 and of Blast in London in 1914-15…  Fifty years ago in Paris, the magazine to look for was Verve, which first came out in December 1937 and kept going in one form or another till 1960. That first cover (by Henri Matisse) sang out from the other side of the street in a way that made us run across the road to look at it more closely. And when we turned its pages, Verve had a bosomy, full-fleshed, slightly slithery quality that this former subscriber would know in his sleep.’ John Russell, in a New York Times review of Verve : the ultimate review of art and literature (1937-1960) by Michael Anthonioz (New York : Harry N. Abrams, 1988).
# 17593


DOUGLAS STEWART FINE BOOKS (VIC)

Book of Hours (Use of Rouen)

$165,000.00 AUD

Northern France (Rouen), c. 1490-1510. In Latin, illuminated manuscript on parchment; with 4 large miniatures with architectural borders, 10 large arch-topped miniatures, 8 small miniatures, and 24 calendar miniatures by a follower of the Master of the Échevinage of Rouen and the Playfair Hours Master, with borders by Jean Serpin.

ii (paper) + i (parchment) + 96 + i (parchment) + ii (paper) folios on parchment, modern foliation in pencil top outer corner recto, first and last paper flyleaves are marbled, complete (collation i12 ii-vi8 vii6 viii-xi8 xii6), vertical catchwords in most quires, no signatures, ruled lightly in reddish crayon, (justification 93 x 64-62 mm.).

Written in a formal cursive gothic script in twenty long lines, majuscules touched in pale yellow, one-line brushed gold initials on alternate grounds of red or blue, red, blue, or gold line fillers with brushed gold decoration, a few in the shape of logs, 2- to 4-line modelled white-grey initials infilled with small red and/or blue flowers on gold grounds, KL-monograms in the same style, panel borders running the length of the text on every page with white-grey acanthus, realistic flowers, leaves, and fruit, often with animals (birds, reptiles), and fantastic beasts, illustrated calendar with the labours of the months and the signs of the zodiac, eight smaller miniatures accompanying large miniatures, ten large miniatures with full borders of realistic flowers, fruit, animals, birds, and fantastic creatures on liquid gold, four large miniatures with elaborate architectural borders.

A few leaves damaged (f. 1, outer margin, a small hole, f. 13, very bottom edge damaged), ff. 2 and 70, lower outer corner repaired, f. 45v, top outer margin, small paper repair, opening folios stained in the lower margin, some folios darkened, ink has powdered on a few text pages (e.g., f. 30), gold backgrounds in a few miniatures and borders show some damage, cockled.

Bound in nineteenth-century dark brown gold-tooled morocco, front and back covers with gold frames and small filigree tools at the corners, rounded spine, elaborately tooled with five raised bands, gold-tooled leather doublures, gilt edges, in excellent condition apart from minor wear along joints.

Dimensions 163 x 112 mm.

The artists of this lavishly illuminated Book of Hours created a successful program of decoration that unites stylistic elements and iconography from earlier workshops active in Rouen c. 1460-1480, including the Master of the Échevinage of Rouen, with those active in Rouen and Paris in the last decades of the century.
# 17833


DOUGLAS STEWART FINE BOOKS (VIC)

POLO, Marco (1254-1324); SANTAELLA, Rodrigo Fernández de (1444-1509)

Libro del famoso Marco Polo Veneciano de las cosas maravillosas que vido en las partes orientales: conviene saber en las Indias, Armenia, Arabia, Persia, y Tartaria. E del poderio del gran Can y otros reyes. Con otro tratado de micer Pogio Florentino y trata delas mesmas tierras y islas. 

$220,000.00 AUD

Logroño, Miguel de Eguia, 3rd June 1529. Folio, ff. [4]; 32, woodcut initials, the title leaf expertly remargined along the lower and fore-edges (prior to 1927), with a very small area of penwork to the edge of the decoration, brown staining to about half the folios, a couple of other very small marginal repairs, contemporary marginalia, contemporary paneled calf over wooden boards, blind tooled with heraldic emblems, bookplate from the famed library of Juan M. Sanchez to front pastedown.

The third Spanish edition of Marco Polo’s Travels.

Translated from the Italian by Rodrigo Fernández de Santaella and first published in Seville in 1503, this edition, like the first and second, includes Santaella’s Cosmographia, which serves as an explanatory introduction. It is a survey of the known parts of the world that contains many early references to the Americas. Crucially, Santaella was confident in positing the distinction between the West and East Indies by enumerating differences in the natural resources and environments of both regions. He concludes that ‘Asia and Tarshish and Ophir and Cethim are in the East, and Antilla and Hispaniola are in the West, in very different localities and conditions’, and also suggests that the name ‘Antilla’ is a popular corruption of ‘Antindia’, having the meaning of ‘opposite to India’ on the terrestrial globe. Santaella’s hypothesis was at the very least contemporary with, and possibly even anticipated, that propounded by Vespucci.

As Maggs Bros. commented when they catalogued this very copy of his travels in 1927 (Australia and the South Seas, Catalogue 491, 1927, no. 6), there is a strong connection between Marco Polo and Australia. “Many people believed that Marco Polo had knowledge of Australia, because “being driven by a tempest, a great way beyond the island of Java, he discovered the kingdom of Maletur, the Province of Beach, the Isle of Petau, and another Isle, which he named the Lesser Java.” The influence of his work was very great, and its effect on the cartography of the Australasian regions lasted for nearly three hundred years. The name Beach, or its corruption Locach, was given to portions of the northern coast of Australia in some later maps.”

The account of Marco Polo is followed by that of Nicolo Conti, who traveled to the East from 1419-1444. Conti’s route took him through Damascus, Persia, and India to his final destination, the East Indies. On his return to Europe, Conti dictated his narrative to Giovanni Poggio Bracciolini, then a papal secretary. It is Poggio’s redaction that has been translated for this work by Santaella.

Rodrigo Fernández de Santaella was one of the most renowned Spanish ecclesiastical scholars of his day. He founded a college at the University of Seville after his return from Rome, where he served at the papal court for much of his life. At the time of his death he was bishop-elect of Saragossa.

Santaella’s translation is the first into Spanish of Marco Polo’s account of his famous voyage. It was published first in 1503 and again in 1518, but these editions are unprocurable today.

Alden-Landis 529/14; Harrisse, Additions, 89; Medina, BHA, 79; Palau 151208; Cordier 1976; Vindel 1608

Provenance:

Juan Manuel Sanchez (Aragon, 1874 – ?), important Spanish bibliographer and bibliophile;

Maggs Bros. (London), Australia and the South Seas, Catalogue 491, 1927, number 6, illustrated plate 3;

H.P. Kraus (New York), Americana Vetustissima, Catalogue 185, 1990, number 34;

Private collection, Australia
# 14347


DOUGLAS STEWART FINE BOOKS (VIC)

PELSAERT, Francois (c.1595-1630)

Ongeluckige voyagie, van’t schip Batavia, nae de Oost-Indien.

$400,000.00 AUD

Amsterdam : Jan Jansz, 1647. First edition. Small quarto, papered boards, pp. [ii – title leaf], 118, lacking final blank (as in most copies); six folding copperplates (plate V provided in expert facsimile), some very pale marginal water stains, tiny worm hole to margin of first few leaves, a clean and well preserved copy housed in a gilt lettered calf clamshell box.

The first book on Australia; the first European images of Australia; a legendary rarity.

The story of the shipwreck of the Batavia remains one of the most gripping in all maritime history. In 1629, the VOC ship Batavia under the command of François Pelsaert was wrecked on Morning Reef on the Houtman Abrolhos off the West Australian coast, during her maiden voyage from the Netherlands to Batavia, Java. There were over 300 passengers aboard, mainly settlers, merchants and their families, of whom 40 drowned while attempting to reach shore. The survivors were grouped on two small desolate islands, while Pelsaert and his crew searched the shore on the mainland for a fresh water supply, to no avail. Faced with disaster, Pelsaert and a few companions sailed by longboat along the West Australian coastline and north across the Indian Ocean to the settlement at Batavia, a remarkable feat of navigation which took 33 days and was achieved without fresh supplies.

The Batavian Governor-General gave Pelsaert command of a rescue vessel, the Saardam, and he sailed back to the site of the wreck, arriving two months after his original departure. Pelsaert made the horrific discovery that a brutal and sustained massacre had taken place under the authority of Jeronimus Cornelisz, the apothecary he had left in charge in his absence. During the Batavia’s voyage Cornelisz had already entertained thoughts of mutiny, and these manifested themselves during Pelsaert’s absence. Cornelisz, together with a band of mutineers loyal to him, imposed a reign of terror over the other survivors. More than 110 men, women and children were murdered; the women were subjugated to sexual slavery by Cornelisz and his followers, and Cornelisz eliminated any perceived threats to his personal authority.

As part of his strategy to seize control, Cornelisz had sent a party of soldiers to a nearby island in search of water, only to abandon them there to perish. In an ironic twist, this island did hold good supplies of fresh water, and at the time of Pelsaert’s return, the abandoned soldiers were engaged in combat with the mutineers; the soldiers had managed to capture Cornelisz, and now held him hostage. As Pelsaert’s ship approached, both the mutineers and soldiers raced towards it; the soldier Wiebbe Hayes arrived first and was able to recount the grisly tale of Cornelisz’s brutality. The island despot and his main supporters were tried, tortured and executed, and the other mutineers were taken to Batavia for punishment. Before his hanging, Cornelisz’s arms were amputated by hammer and chisel, a scene depicted in one of the copperplates. Two offenders, Wouter Loos and a cabin boy, Jan Pelgrom de By, were left abandoned on the Australian mainland and never heard of again.

The infamous story of the wreck of the Batavia was first published in Amsterdam in 1647; the first edition is of the utmost rarity. Five editions followed in the seventeenth century, including two pirated versions, and all of these are considered rare.

The first edition of Pelsaert is one of the rarest of Dutch voyages and a foundation book for Australia.

Landwehr, VOC, 406; Tiele, Bibliography, 235; Tiele, Mémoire, 850.
# 16533


DOUGLAS STEWART FINE BOOKS (VIC)

[Warringah Printmakers Studio]; ANSON, Jennifer

Natural Collection

$3,000.00 AUD

Sydney : Warringah Printmakers Studio, 2017. Elephant folio with printed wrappers, housed in buckram clamshell case with matching printed lining, in printed calico bag. A publication of twenty-nine prints of varying method, showing flora and fauna of Northern Sydney, accompanied by artists’ statements and scientific descriptions. Limited to an edition of 10 copies, with signatures of all twenty-nine contributing artists on colophon.

This publication is an impressive collaboration between some of Australia’s foremost printmakers, showcasing the diverse influences and methods of contemporary Australian printing. Published to celebrate the twentieth anniversary of the Warringah Printmakers Studio, with support of the North Head Sanctuary and the Australian Wildlife Conservancy.

‘To celebrate its 20th anniversary, the Warringah Printmakers Studio has produced “Natural Collection”, a stunning artist book of original prints. Situated on the Northern Beaches of Sydney the Warringah Printmakers Studio is committed to connecting with its community so chose the focus of this artist book of prints to be endangered species in the area. The project was supported by local environmental groups, the North Head Sanctuary and the Australian Wildlife Conservancy giving the book a veracity and quality of engagement that intensifies its pertinence.

With a foreword by Dr. Jennifer Anson from the Australian Wildlife Conservancy, the work features 29 prints by 29 members. Each print is augmented by the artist’s statement and supporting scientific information about the chosen species. The book is unbound allowing the artists freedom to work on a type of archival paper and in the printmaking method of their choice. It is housed in a clamshell box and measures 51 x 36 x 5.5 cm.’

A poignant reminder of the impact Sydney’s development has on its natural environment

The artworks were exhibited at the Manly Art Gallery & Museum, July 16 – September 3, 2017.
# 16514


DOUGLAS STEWART FINE BOOKS (VIC)

GUIGNES, Chrétien Louis Joseph de (1759-1845)

Dictionnaire Chinois, Français et Latin. Publié d’après l’ordre de sa majesté L’Empereur et Roi Napoléon le Grand.

$16,500.00 AUD

Paris : l’Imprimerie Impériale, 1813. First edition. Thick folio (435 mm x 279 mm), contemporary cat’s paw calf, boards with gilt fillet borders, spine with raised bands and red morocco label lettered in gilt; all edges stained red, marbled endpapers, first blank with armorial bookplate of the Duc de Luynes, Chateau de Dampierre; pp [6], lvi, 1112, [2 errata]; printed on heavy laid paper, with most of the text in two columns, the Chinese characters printed from eighteenth-century woodcuts; hinges starting, occasional insignificant foxing, but a clean, crisp copy in a handsome contemporary binding.

Landmark Chinese dictionary commissioned by Napoleon Bonaparte.

Production of this monumental work was commenced on the orders of Napoleon in 1809. Its compiler, the sinologist Joseph de Guignes (1759-1845), had lived in China for 17 years and served as translator for the Dutch Ambassador at the Qianlong Emperor’s court in 1794-1795. Although Guignes suffered criticism after the dictionary’s publication owing to the fact that he had not acknowledged his use of the Dictionarium Sino-Latinum manuscript of the Italian Franciscan Basilio Brollo de Glemona (1648-1704), the dictionary has come to be regarded as not only a production of considerable aesthetic value but also the first large-scale philological work on Chinese in a modern European language.

Cordier, 1589. Brunet, II, 568
# 18722


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