LEVEN ANTIQUES (TAS)
George III double series opaque and red colour twist glasses. English circa 1775.


HUNTERS AND COLLECTORS (NSW)
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.


HUNTERS AND COLLECTORS (NSW)
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)


ANNE SCHOFIELD ANTIQUES (NSW)
Three Australian goldfields’ brooch.


ANNE SCHOFIELD ANTIQUES (NSW)
Four Retro gold bracelets c 1950.


ANNE SCHOFIELD ANTIQUES (NSW)
A pair of fan shaped Shakudo ear pendants.


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


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


DAY GALLERY (NSW)
Punting on the Parramatta River c1927-30
Oil on canvas
35.5 x 30.5 cm
Signed Lower right D Hawthorne
$12,500
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.


DAY GALLERY (NSW)
James R Jackson
La Perouse (Frenchmans Beach)
c1901
35 cm x 42.5 cm
Oil on composite board
$6,600
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.


AUSTRALIAN GALLERIES (NSW)
ANGUS FISHER 
Portrait of a Pink Eared Duck 2017
ink pen and watercolour on paper
21 x 15 cm


AUSTRALIAN GALLERIES (NSW)
ANGUS FISHER 
Red Wattlebird 2018
hand-coloured etching
edition 6
56 x 76 cm


AUSTRALIAN GALLERIES (NSW)
ANGUS FISHER 
Portrait of a Sulphur Crested Cockatoo 2017
ink pen and watercolour on paper
21 x 15 cm


AUSTRALIAN GALLERIES (NSW)
ANGUS FISHER 
Australian cockatoos 2017
ink pen and watercolour on paper
145 x 96 cm


AUSTRALIAN GALLERIES (NSW)
PAM TIPPETT 
Trobriand Island girl #3  2018
oil on linen on panel 
60 x 45 cm


AUSTRALIAN GALLERIES (NSW)
PAM TIPPETT 
Mexican terracotta angel  2018
oil on linen on panel 
30 x 30 cm


AUSTRALIAN GALLERIES (NSW)
PAM TIPPETT 
Japanese painted doll  2018
oil on linen on panel 
30 x 30 cm


AUSTRALIAN GALLERIES (NSW)
PAM TIPPETT 
Garden Budha  2018
oil on linen on panel 
45 x 60 cm


SIMPSON’S ANTIQUES (NSW)
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.


JOSEF LEBOVIC GALLERY (NSW)
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.
$3,300
#CL184-126


JOSEF LEBOVIC GALLERY (NSW)
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.
$2,650
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.
#CL184-113


JOSEF LEBOVIC GALLERY (NSW)
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. 
$2,800

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.
#CL175-44


JOSEF LEBOVIC GALLERY (NSW)
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
$4,600
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.
CL132/10


JOSEF LEBOVIC GALLERY (NSW)
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. 
$9,900

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


JOSEF LEBOVIC GALLERY (NSW)
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.
$7,700
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.
CL146/22


JOSEF LEBOVIC GALLERY (NSW)
Edouard Vuillard (French, 1868-1940).
L’Avenue
1899. Colour lithograph, signed and annotated “serie 2/no. 1” in pencil in lower margin, 31 x 40.9cm. Framed. 
$8,800

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.
#CL175-155


JUSTIN MILLER ART (NSW)
Edgar Degas (1834-1917)
Modiste garnissant un chapeau
charcoal on paper
44.5 x 55.6 cm
Provenance:
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
Exhibited:
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.


GREENE & GREENE ANTIQUES (NSW)
Charming platinum and 18ct gold, diamond set bow brooch, c.1930.


GREENE & GREENE ANTIQUES (NSW)
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.


GREENE & GREENE ANTIQUES (NSW)
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.


JOSEF LEBOVIC GALLERY (NSW)
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.
$38,500
 
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.”
CL195-129


JOSEF LEBOVIC GALLERY (NSW)
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.
Framed.
$13,500
 
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.
CL195-121.


JOSEF LEBOVIC GALLERY (NSW)
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. 
$27,500
 
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


ALAN LANDIS ANTIQUES (NSW)
Wedgwood Jasper and cut steel buckle circa 1790.


ALAN LANDIS ANTIQUES (NSW)
Samuel Alcock Classical Decorated Ewer circa 1860.


ALAN LANDIS ANTIQUES (NSW)
Early 19th Century Stone Ware Inkstand.


ALAN LANDIS ANTIQUES (NSW)
Wedgwood Basalt and Encaustic covered vase circa 1780.


ALAN LANDIS ANTIQUES (NSW)
Australian Pottery signed and Handpainted Vase by Artist Eliza Josephson dated 1914.


ALAN LANDIS ANTIQUES (NSW)
Collection of 18th Century Dutch and English Delft Pottery.


ANNE SCHOFIELD ANTIQUES (NSW)
A gold Mourning ring with belt and buckle design the shank inlaid with plaited hair. English, c 1840.


ANNE SCHOFIELD ANTIQUES (NSW)
A gold Mourning ring with book design opening to reveal plaited hair. English, c 1840.


ANNE SCHOFIELD ANTIQUES (NSW)
Art Deco carved jadeite ear pendants, 18 ct white gold mounts.


ANNE SCHOFIELD ANTIQUES (NSW)
Pair of 1940’s 14ct rose gold scallop shell dress clips.


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


DOUGLAS STEWART FINE BOOKS (VIC)
BARBIER, George (1882-1932); [MAISON WORTH]
Psyché
$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


DOUGLAS STEWART FINE BOOKS (VIC)
NEWTON FAMILY
[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


DOUGLAS STEWART FINE BOOKS (VIC)
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


TRINITY ANTIQUES (WA)
Moss agate, 18ct gold bracelet and associated brooch by T.T. Jones & Son. Sydney c.1870.

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