DOUGLAS STEWART FINE BOOKS (VIC)The first book on Australia; the first European images of Australia; a legendary rarity.
PELSAERT, Francois (c.1595-1630)
Ongeluckige voyagie, van’t schip Batavia, nae de Oost-Indien.
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 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, toget

Henri Matisse (French, 1869-1954) Jeune Femme Assise (Young Woman Seated), 1942. Pen and ink,
signed and dated “12/42” lower left,, 51.8 x 39.8cm. Framed.
Accompanied by a certificate of authenticity from the Matisse Archives, dated January 24 2005 with registration No. H132.
Provenance: Matisse’s estate to Pierre Matisse Gallery in New York; then acquired by a private collector in Connecticut in 1959;
thereafter held in a private collection in Melbourne.Acquired by the present owner in Sydney in 2008.
Pierre Matisse Gallery photocopy of the original label is also companying the paper work.
Label includes handwritten artist’s name, date, title and stock No. ST2069 in red ink.
Wanda de Guebriant, who is a recognised expert on the work of Matisse and archivist for the artist’s estate, states that this drawing relates to a painting by Matisse, entitled Monique. It is more than possible that the sitter of this drawing was a student nurse by the name of Monique Bourgeois, who met Matisse in 1942, when he advertised for a nurse to assist him with his recovery from cancer. During this time, she sat for several of Matisse’s drawings and paintings. In 1943 she entered the Dominican order and became known as Sister Jacques-Marie.
Matisse’s abiding friendship with her lead to his beautiful work on the Rosary Chapel in Vence, France.

Large 18 ct Jacket buttons by
Henry Steiner. Adelaide. c.1880
3 cms diameter $3,000


This remarkable  and most beautiful Maori New Zealand waka huia is amongst the finest of its kind.
With its soft stone  tool carving and superb patination and colour it can be dated to the 18th century and could well predate European contact by Captain Cook.
It appears to be the same example illustrated when sold at Sothebys in New York on 2/7/1976, Lot 20 for US$3800 and again in London also at Sothebys on 3/7/78, Lot 213 for US$3885. These were at the time near record prices for a Maori Treasure Box.
The boxes were used for keeping safe  the much treasured black and white feather of the now extinct, since 1904, Huia. The feather was worn in the hair of both men and women as a mark of rank.
The ends of the best boxes were carved with outward facing tiki figures the necks of which served as lugs to suspend the box from the ceiling, the base of the box then becomes the most visible and important aspect for pride of ownership. The internal home fire provides the smoke  that with time will colour and patinate a red ochre box.
A similar oval example, collected by Captain Cook is in the British Museum. This rare provenanced box has lost its lid but the base has similar carved geometric decoration but of poor quality. The most interesting feature of the Cook box other than the provenance is the red ochre colouring, this is the same base colour of the Hawkins box where it shows through the accumulated patina built up through a century of smoke in a Maori house on the rubbed high points.
In the Oldman Collection a gift of the New Zealand Government is a very similar treasure box described as:
“The surface area of this waka huia (treasure box) is covered with a series of double spirals connected to each other horizontally and resembling a wave pattern. The lid and underside of the box are divided by a centre-line which neatly delineates the surface decoration. The spirals are configured with double haehae (parallel groove


Superb Exhibition Quality 19th Century English Coromandel Two Door Cabinet, Maker: James Lamb – MANCHESTER UK c.1870.

A pair of 12th century Rajistan red sandstone figures of celestial musicians
5170 A very finely carved pair of 12th century Rajistan red sandstone figures depicting two celestial musicians. One holding a stringed instrument with head turned to the right and the other playing a drum, head turned to the left. Each figure positioned to create a rhythmic sense of movement through their bodies, and carved with very fine details including carefully manicured hair and facial hair, extensive jewellery and beautifully crisp eyelids. Mounted on modern steel bases.
Private collection Rome, acquired 1980’s.
Christies New York, September 21 2007, Indian and Southeast Asian Art, lot 70

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
22cm diameter

“A fine Victorian silver parcel-gilt claret jug, the glass body with etched fruiting vine, the silver mounts with floral and foliate decoration. By John Samuel Hunt of Hunt & Roskell, hallmarked for London, 1861.
Note: The firm of Hunt & Roskell were silversmiths and jewellers to Queen Victoria, with retail premises at 156 New Bond Street, London. Their work is of the finest quality.”

A Louis XV commode, by Criaerd
A fine Louis XV period tulipwood and kingwood marquetry and ormolu mounted commode by Antoine Criaerd. Paris circa 1750.
A fine Louis XV period tulipwood and kingwood marquetry and ormolu mounted commode by Antoine Criaerd, brother of the better known ébéniste Mathieu Criaerd. Having the original hand cut moulded edged and serpentine shaped Breche D’Alep marble top supported by a serpentine and bombe shaped pine carcass. Each end quarter veneered in kingwood (Bois de violette) and each walnut-lined drawer bordered with a cross grain moulding and then quarter veneered with a parquetry of kingwood and tulipwood. Mounted with good quality ormolu mounts, escutcheons and handles. Stamped indistinctly “AERD” for CRIAERD.
This is a lovely example of a very elegantly proportioned Louis XV period commode now with a mellow faded colour and the bonus of retaining its original and rather wonderful marble top. Another commode by this maker can be found in the Musée Jacquemart André Chaalis. For other examples of similar commodes from this period by Criaerd, see page 212 of “Le Mobilier Français du XVIII Siècle”, Pierre Kjellberg, 1989.

Presenting Pugs and many more statues, jewellery and decorative art pieces.

A perfectly plain George III decanter displaying the ultimate simplicity of the Classical Period of 1800.

Mughal carpet detail (fragmentary)
probably Lahore, northern India.
Size: 333 x 180 cm
c. 1700
The Mughal presence in India was established by Babur a descendant of both Timur and Genghis Khan. His successor Humayun was not such an effective warrior and after successive defeats sought refuge in the Persian court of Shah Tahmasp where he enlisted help to return to power. His son Akbar became the greatest Mughal emperor. Although carpet weaving probably began earlier in India, under the Mughals it certainly flourished in the 17th and 18th centuries. Carpets were a significant part of court ceremonies during Akbar’s reign. Important centres of production were Lahore and Kashmir in the north and the Deccan further south. Trade, originally by the Portuguese, brought many of these Mughal carpets to Europe.
Provenance: Private family collection, Alexandria, Egypt

Needlework detail, wool, silk and silver thread
Size: 40 x 50 cm
A finely worked biblical scene, probably Abraham’s sacrificial lamb on linen or hemp foundation with silk wool and metal thread needlepoint. It displays a beautiful range of early natural dyes.

Mughal embroidery detail, silk chain stitch
Gujarat, western India.
Size: 260 x 136 cm
c. 1700
Fine chain stitch of this type was made by professional male embroiderers of the Mochi community in Gujarat in western India. It was worked with a hook, ari, and a needle. Ari-work attracted the attention of western travellers to Gujarat. The East India Company exported these embroideries from the port of Cambay, and they were known as ‘Cambay embroideries’. Designed in the European taste, there is a wide palette of beautiful natural dyes including indigo and lac, an insect dye similar to cochineal. This extraordinarily fine chain-stitch is typical of the work done in Gujarat where the finest quality embroideries were produced for both the Mughal court and the Western market. The ground weave is a cotton fustian or twill.

Surahani rug detail
The eastern Caucasus
Size: 312 x 102 cm
Caucasian rugs generally are characterised by contrasting primary colour and boldly geometric design. This is particularly true of rugs of the southern Caucasus which are long piled and relatively coarse in the knotting although, in this case, the knotting is quite fine with lustrous wool. This splendid old runner dates from the third quarter of the 19th century and exemplifies the lightness and breadth of palette typical of early examples. The type, known by design as Surahani, features large rectangular medallions with an array of charming stylized horned animals in the corners. An almost identical example is featured in Ulrich Schurman’s book.
cf. Schurmann, Ulrich. Caucasian Rugs, plate 89.

Khotan rug Xinjiang Province western China, circa 1850. Size: 266 x 133cm.

Mughal Indian carpet, Lahore c.1700
A large carpet from Mughal India (fragmentary)
Possibly Deccan or Lahore
Size: 333 x 180 cm
Although carpet weaving probably began earlier in India, under the
Mughals it certainly flourished in the 17th and 18th centuries. Carpets
were a significant part of court ceremonies during Akbar’s reign.
Important centres of production were Lahore and Kashmir in the north
and the Deccan further south. Trade, originally by the Portuguese,
brought many of these Mughal carpets to Europe.
Private collection, Alexandria, Egypt

Bokhara Suzani detail
Size: 248 x 272 cm
c. 1850
Suzani, a term which is derived from the Persian word for needle, describes a type embroidered panel made in Central Asia. Suzani were traditionally embroidered (usually silk on cotton) by the women of the bride’s family. The bride herself would over several years have completed a ‘suite’ of embroideries. As well as for household usage this magnificent textile also served a ceremonial role in marriage.Here the field features large and small flower discs alternating with quatrefoil palmettes arranged within a lattice of sprouting stems and leaves.
Provenance: A Portuguese estate, Lisbon.

An important set of four George III cast silver candlesticks, in the neoclassical style with swags and fluted decoration. Of exceptional quality. Maker’s mark of John Redburn, hallmarked for London, 1768.
Height of each 30cm. Combined silver weight 3,850 grams. Provenance: Ex Tata family collection (Tata Motors, owner of Jaguar Land Rover).

Artist: Frans Floris the Elder (1517-1570 Flemish) Attributed
Medium: Oil on wooden panel
Date: Circa 1550
Provenance: Private Collection London
Attribution: By Jan Leman and Rohan McCulloch, London
Attributed to Frans Floris the Elder (1517-1570) Frans Floris the Elder also known as Frans Floris de Vriendt was Flemish painter born in Antwerp and was known mainly for his religious themed paintings. Floris played an important role in the movement of Northern Renaissance painting referred to as Romanism. The Romanists traveled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo and Raphael. These Italian influences were then absorbed into the Northern painting tradition.
This painting by Floris is possibly a head study of Christ for a larger work by Floris ‘Allegory of the Trinity’ which is in the Louvre Museum, Paris.

An exceptional museum quality circa 1890 Chinese export silver bowl by Wo Shing of Shanghai.
Dimensions: H: 14cm x Diameter: 26.5cm

A fine mid 19th century Colonial cedar glazed bookcase with
good colour and original patina. The base featuring full turned columns,
cushion shaped drawer and cross-banded top. Tasmanian made c.1840’s.

George III double series opaque and red colour twist glasses. English circa 1775.

Pair of early 18th century Italian Snaphance gentleman’s pistols c1720. provenance Jeffery Farnol.
Walnut stock with steel lock decorated with scrolls & a woman’s face. Flash pan has a sliding cover decorated as a fish. The butt cap has a raised bust of a woman in silver. The furniture is brass with silver overlay. Original ramrods with horn tips & one has a barrel cleaning attachment. one has been repaired on the handle grip. Provenance from the collection of Jeffery Farnol (1878-1952) a well known english writer with 40 printed novels. These were purchased from his Daughter Charmian Jane Farnol.

A rare 15th century Italian fresco from Ferrara, detached using the Ftrappo technique. c. 1450’s.
Note the castle in the background & banners featuring a twin headed eagle with a snake & one rider has a distinct suit of armour. Removing fresco’s is no longer done. In the 1960 & 1970’s fresco’s in danger from floods & crumbling walls were removed & made portable for museums, galleries & private collectors. This fresco was done in 1973 (dated on rear of frame), imported & owned by Graham Cornell (well known australian antiques dealer)

Three Australian goldfields’ brooch.

Four Retro gold bracelets c 1950.

A pair of fan shaped Shakudo ear pendants.

18ct two colour gold and pearl “bunch of grapes “ brooch and bracelet attributed to Alfred Lorking, George St. Sydney, c.1855

18ct two colour gold and pearl “bunch of grapes “ brooch and bracelet attributed to Alfred Lorking, George St. Sydney, c.1855

Punting on the Parramatta River c1927-30
Oil on canvas
35.5 x 30.5 cm
Signed Lower right D Hawthorne
Brendorah ‘Dore’ Hawthorne was a Sydney modernist painter who worked and studied with the likes of Roland Wakelin, Grace Crowley, Anne Dangar. She took a position at the Lithgow small arms factory during WW2 assembling the Bren Machine Gun. Her works from this period are signed with ‘Brendorah’ and amalgamation of her name and her job.

James R Jackson
La Perouse (Frenchmans Beach)
35 cm x 42.5 cm
Oil on composite board
A rare early Jackson, painted during the during his early years in Sydney, (1901-1904) Jacquline Jackson on page 12 of ‘James R Jackson, Art Was His Life’ states that his work during this period had ‘Minimal detail in the foreground, the sky is not emphasised by cloud patterns and shows little smog haze. Interest is in the middle distance….”
Housed in what is believed to be the original turn of the twentieth century frame, our painting seems to have been painted on the spot during this period, probably on a family outing to the La Perouse Beach, now known as Frenchmans Beach.
The building sitting alone in the distance is now the La Perouse Museum. Prior to this, it was the old telegraph cable station.

Portrait of a Pink Eared Duck 2017
ink pen and watercolour on paper
21 x 15 cm

Red Wattlebird 2018
hand-coloured etching
edition 6
56 x 76 cm

Portrait of a Sulphur Crested Cockatoo 2017
ink pen and watercolour on paper
21 x 15 cm

Australian cockatoos 2017
ink pen and watercolour on paper
145 x 96 cm

Trobriand Island girl #3  2018
oil on linen on panel 
60 x 45 cm

Mexican terracotta angel  2018
oil on linen on panel 
30 x 30 cm

Japanese painted doll  2018
oil on linen on panel 
30 x 30 cm

Garden Budha  2018
oil on linen on panel 
45 x 60 cm

A Rare Jamaican made Games Table, attributed to Ralph Turnbull (act.1820-40). It has a chess board top displaying 64 squares of local Jamaican and imported timbers including palm wood & rosewood. The chess board top is hinged, opening to reveal a compartment containing a backgammon board, while the underside is baize-lined. The skirt is veneered and has squares of palm wood at each corner. The lower edge of the skirt is decorated with a finely turned quarter moulding. The veneered tapering octagonal column rests on a quadraform base supported on four carved lotus and stylised animal paw feet with concealed castors. Original 19th century patina c.1830.

Henry Moore (Brit., 1898-1986).
Mother And Child V
1983. Etching, aquatint and roulette, signed in plate lower left, annotated “Pl. V”, editioned 35/65 and signed in pencil in lower margin, 27.5 x 21.1cm. Minor foxing to image. Framed. 
Ref: Henry Moore: Mother and Child Etchings, 1988, p28.

Man Ray (Amer., 1890-1976).
Portrait Of Rrose Sélavy [Marcel Duchamp]
1971. Aquatint with rotogravure, editioned 52/125 and signed in pencil in lower margin, 25.5 x 25.3cm. Minor foxing to margins. Framed. 
Published and printed by Georges Visat, Paris. Ref: Anselmino #20.
Rrose or Rose Sélavy was a pseudonym of Marcel Duchamp, who first became associated with the name when he appeared in a 1921 photograph by Man Ray, dressed as a woman. The name is a pun of the French phrase “Eros, c’est la vie.” Ref: Wiki.

Giorgio de Chiroco (Italian, 1888-1978).
Castore Ed Il Suo Cavallo (Castor And His Horse)
1970. Colour lithograph, editioned 2/60, titled and signed in pencil with artist’s blind stamp in lower margin, 34.7 x 41.6cm. Framed. 

Castor, a figure in Greek mythology, was the twin brother of Polydeuces (Pollux), and is one of the twin stars that form the constellation Gemini. He was the son of Zeus and Leda of Sparta, a mortal. Castor and his brother were born from eggs after Zeus visited Leda as a swan. Castor, a great soldier and horse tamer, competed and won in many Olympic Games, and was worshipped as a god by other athletes. Both brothers were Argonauts on Jason’s quest for the golden fleece. Ref: Brandani, page131; Encyclopaedia Mythica website.

Paul Cézanne (French, 1839-1906)
Self Portrait At The Easel, 1896-1897/1900.
Lithograph, printed in grey ink, 32.4 x 27.7cm.
Minor foxing to right margin. Framed. JLG3680
One of only four lithographs created by Cézanne. His dealer, Ambroise Vollard,
had it printed in about 1900 but it was not issued until 1914.
This impression is from the second printing of approximately 200 in grey ink (the first printing of about 300 was in black ink). Ref: Leymarie #7.

Marc Chagall (French, 1887- 1985).
Le Manteau De Noé (The Coat Of Noah)
1931/1952. Hand-coloured etching, editioned 56/100 and initialled in pencil in lower margin, 30 x 23cm. Framed. 

From the Bible series. Ref: Sorlier, Marc Chagall et Ambroise Vollard, 1981, p128, plate 203.
Item #CL175-31

William Blake (British, 1757-1827)
And Smote Job With Sore Boils From The Sole Of His Foot To The Crown Of His Head,
1825/later printing. Engraving, plate number “6”, captioned, signed and publishing line with date in plate upper right to lower centre,
21.5 x 17cm. Minor foxing to lower corners of image and to margins.
Caption commences “Naked came I out of my Mother’s womb & naked shall I return thither.
The Lord gave & the Lord hath taken away. Blessedbe the name of the Lord.” Publishing line reads “London, as Act directs.
Published March 8, 1825, by William Blake, No. 3, Fountain Court, Strand.”
This engraving from Blake’s Illustrations of the Book of Job, is considered to be one of the book’s best images.

Edouard Vuillard (French, 1868-1940).
1899. Colour lithograph, signed and annotated “serie 2/no. 1” in pencil in lower margin, 31 x 40.9cm. Framed. 

This is a colour variant proof of the second (final) state, before the edition of 100. Printed by Atelier Auguste Clot and published by Ambroise Vollard, Paris. Provenance: Stadia Graphics, Sydney, 1985.
Vuillard experimented on the use of colour, producing several proofs before arriving at the final choice for the edition. Few of these colour proofs were signed by Vuillard and the edition of 100 was not systematically signed. Ref: Roger-Marx #33 ii/ii, Johnson #155/2.

Edgar Degas (1834-1917)
Modiste garnissant un chapeau
charcoal on paper
44.5 x 55.6 cm
Galerie Georges Petit, 3ème Vente Atelier Edgar Degas, Paris, 5th April 1919,
Lot 400
Christie’s, New York, 14th November 1996, Lot 130
Private collection
Sotheby’s Impressionist and Modern Day Sale, London, 24 June 2014, Lot 395
Saint Louis Art Museum, St Louis USA and Fine Arts Museum of San Francisco
Legion of Honor, USA, ‘Degas, Impressionism & the Paris Millinery Trade’, 14th May – 24 September 2017
Modiste garnissant un chapeau was a preparatory drawing for the 1891-95
pastel of the same title. The latter was acquired from the artist’s studio sale by
Ambroise Vollard, the most important French art dealer of the early twentiethcentury.
Modiste garnissant un chapeau exemplifies Degas’ talent for capturing the
elegance of a gesture and the beauty in a fleeting pose. His drawings, pastels
and oils were regularly exhibited together at the Impressionist exhibitions. This
work captures the graceful movements of a milliner leaning over her client,
trimming a broad-brimmed hat.
Degas’ series of images of millinery shops appeared in the 1880s. He would
frequently accompany friends to their appointments, entranced by the delicate
work of the milliner’s hands as they trimmed hats with colourful feathers and
sumptuous materials.
This magnificent work was recently exhibited in a groundbreaking touring
exhibition at the Saint Louis Art Museum and the Fine Arts Museums of San
Francisco at the Legion of Honor that examined, for the first time, Edgar Degas’
fascination with the subject of millinery. The theme of hat-making represents a
crucial area of Degas’ exploration of Parisian modern life, and a focus for his
formal experimentation for more than thirty years.

Charming platinum and 18ct gold, diamond set bow brooch, c.1930.

Victorian 18ct yellow gold, vitreous enamel and natural pearl pendant/brooch with an amethyst in the centre weighing approx. 27ct in original fitted box by Mrs Newman of Saville Row, c.1884-1890.

Original Early Victorian serpent pendant in fitted box with the flexible chain and serpents head in 10ct gold with two foil backed aquamarines and cabochon ruby eyes, c.1840.

Lewis Morley (British/Aust., 1925–2013).|
Christine Keeler, 1963/1999. Platinum palladium
print, titled, editioned 23/25 and signed in pencil in
lower margin, printing date on frame label verso,
45.3 x 34.8cm. Framed.
This image was one of a series of publicity shots for a film on the Profumo scandal, which was not released in the UK.
Held in AGNSW with the comment “One of the sixties’ most significant chroniclers, Lewis Morley is most known for his personages of the celebrities and rising stars from this restless and radical period, such as his iconic image of Christine Keeler seated naked on a fake Arne Jacobsen chair. In a photographic career spanning some 50 years Morley’s work has made important contributions to the genres of portraiture, theatre, reportage and fashion photography.”

David Moore (Aust., 1927–2003). Sisters Of Charity,
Washington DC, 1956/later printing. Silver gelatin photograph,
signed, titled and dated in pencil verso, 33.3 x 21.7cm.
This iconic image was taken at Dulles International Airport while Moore was on assignment for |The Observer.| While in Washington, DC, Moore photographed a number of influential government men including John Foster Dulles, Secretary of State. Ref: |David Moore: Australian photographer, vol. I, 1988, p69. Held in AGNSW, NGA.
At first glance, it looks to be somewhat reminiscent of flowers or origami, until the more familiar forms of hands come into perspective. In the work, Moore has captured, from above, a group of nuns wearing traditional wimples. The tiled floor is juxtaposed with the purity, and confused order and direction, of the wimples. Moore captured the bold composition in the moment, as he did day-to-day in his profession as a photojournalist.

Max Dupain (Aust.,1911–1992).Sunbaker,
1937/1980s.| Silver gelatin photograph,
titled, dated and signed by photographer’s
son Rex Dupain in pencil in authentication stamp verso, 35 x
43cm. Framed. 
From 1975 when he first started exhibiting |Sunbaker,| Dupain cropped the image using
two different landscape formats. He mostly favoured a wider presentation, as shown with this photograph, a particularly strong and vibrant print. During the last three or four years the price for this iconic image has fluctuated from $20,000 to over $100,000, depending on the size, format, and condition.
Ref CL195-69

Wedgwood Jasper and cut steel buckle circa 1790.

Samuel Alcock Classical Decorated Ewer circa 1860.

Early 19th Century Stone Ware Inkstand.

Wedgwood Basalt and Encaustic covered vase circa 1780.

Australian Pottery signed and Handpainted Vase by Artist Eliza Josephson dated 1914.

Collection of 18th Century Dutch and English Delft Pottery.

A gold Mourning ring with belt and buckle design the shank inlaid with plaited hair. English, c 1840.

A gold Mourning ring with book design opening to reveal plaited hair. English, c 1840.

Art Deco carved jadeite ear pendants, 18 ct white gold mounts.

Pair of 1940’s 14ct rose gold scallop shell dress clips.

Art Deco ear pendants – carved amber suspended from diamond set black and white enamel links. Original fitted case labelled ‘Frank Pochelon Lausanne’.

BARBIER, George (1882-1932); [MAISON WORTH]
$7,500.00 AUD
Original design for the Parisian couturier Maison Worth. Watercolour and gouache on paper, 220 x 170 mm, signed and dated 1921 lower right; fine condition; archivally matted.
George Barbier is regarded as one of the greatest French illustrators of the early twentieth century, and a master of Art Déco design. His rich, flamboyant style was perfectly suited to theatre and ballet costume design as well as to haute couture fashion illustration. In addition to collaborating with the Ballets Russes he worked alongside Erté in designing sets and costumes for the Folies Bergère. He also designed jewellery for Cartier. A major retrospective of Barbier’s work was staged at the Palazzo Fortuny in Venice in 2008-09. (The English language edition of the exhibition catalogue, George Barbier: The Birth of Art Déco, was published in 2009 by Rizzoli, New York).
This stunning original design for Maison Worth was reproduced as plate 68 in the Gazette du Bon Ton, no. 9, 1921, where it was titled Psyché. It depicts the mortal woman of Greek mythology before her transformation into a divine figure, as she holds aloft her lamp to illuminate her (hitherto unseen) future lover and husband, Eros.
# 22514

[COOK]. Newton & Berry’s new terrestrial globe 1831
$8,500.00 AUD
[London] : Newton & Berry, 1831. Terrestrial pocket globe, 1.5 inches (3.9 cm) in diameter, engraved gores with original hand colour over papier-mâché and plaster sphere, the surface in fine order with a recent shellac applied for protection, two metal pins resting the globe in the original turned mahogany case with fitted lid. A very fine example of a rare pocket globe, sitting cleanly within its case.
John Newton (1759-1844) was the founder of a firm of globe makers in London, established in the 1780s and continuing on, with the involvement of Newton’s sons, throughout the nineteenth century. Miles Berry (c. 1803 – 1843) also joined the firm and globes manufactured between 1831 and 1841 bear the imprint Newton & Berry or Newton, Son and Berry. This small terrestrial globe shows the track of Cook’s third voyage of 1776-80, with its return to England under the commands of Clerke and Gore. New Holland is shown separated from Van Diemen’s Land, Port Jackson and Botany Bay are marked.
An attractive miniature pocket globe, the smallest manufactured by the firm and one of the rarest, showing Cook’s third voyage.
Unrecorded in Australian libraries
Held: Bibliothèque nationale de France; The British Library; Yale University Library
Reference: Sumira, Sylvia. The art and history of globes (London : The British Library, 2014), pp. 188 – 89, illustrated.
# 22215

Double sided cheat’s handkerchief
$7,800.00 AUD
[China, circa 1850]. Manuscript calligraphy in Chinese characters in black and red ink on silk, 410 x 425mm (irregular); arranged in vertical columns, surrounded by a narrow border; a well preserved example, with minor restoration in places.
The so-called “cheat’s handkerchief” was used as an aid by students undertaking civil service examinations under the keju system in imperial China. These examinations, conducted from as early as the seventh century until 1905, were designed to select candidates for admittance into the state bureaucracy. In an effort to promote cultural unity under the empire, the examinations entailed a rigorous assessment of candidates’ knowledge of literary and juridical topics such as the Confucian classics, in particular a history known as the Four Books and Five Classics, as well as poetry and policy. By the time of the Ming Dynasty (1368 – 1644), the highest level of attainment (‘jinshi’, or ‘advanced scholar’) had become a prerequisite for a high-ranking position in the imperial government. This system was thus, in theory, a meritocracy. However, as the running of the examinations became progressively more bureaucratic and pedantic, candidates increasingly sought alternative methods of success.
Given the rigour of these examinations, the surfaces of these aids were covered with as much minute content as possible. Discretion was absolutely paramount, since discovery would have entailed harsh penalties. Examinees would fold or roll up this contraband to be hidden in various places, including pockets, lining of clothing, shoes, writing implements, or even in bread. Invisible ink was occasionally employed and, in a further display of ingenuity, some students would arrange for a collaborator to tie the material around rocks to be thrown over the walls of the examination grounds, or even to have the text delivered by carrier pigeon.
A similarly fine

Moss agate, 18ct gold bracelet and associated brooch by T.T. Jones & Son. Sydney c.1870.

Social Media