A rare and important colonial Australian gold and opal brooch by Evan Jones of Sydney
the 15ct gold oval frame applied and sculpted with palm trees, emu, kangaroo and balga grass plant, framing the large oval polished quality opal panel of colours representing the water and sunset sky. Signed by the maker Evan Jones (1846-1917) a Sydney jeweller who later became an Alderman on the city council. L.47mm. Note: Jones, born in London 1846 arrived in Sydney about 1855 and was later apprenticed to a goldsmith in Hunter Street. Establishing his own business c.1873. He is noted as being the most prominent silversmith in Sydney during the second half of the 19thC winning many awards and at exhibitions in Sydney, Melbourne, Adelaide and Brisbane. He and his workshop are credited with making an inkstand for pope Pius IX, a salver made of Australian gold presented to (Saint) John Henry Newman and a gold crown for King George of Tonga. His works are held by the National Gallery of Australia. CONDITION REPORT: Tested as ~14ct so our assumption is 15ct colonial assay. Two colour gold, bright yellow mainly but rose coloured tree trunks. balga bush flower head and to the edge of the oval frame. 47 x 29mm. Frame depth 5.1mm. The balga bush stands about 1.8mm higher than the frame. The five decorative elements are individually applied to the framing bezel, each is crisply engraved or hand detailed. The opal displays some fire but more obviously has been chosen to display as a horizon land/sea scape. There is one minute surface abrasion (apparently from the original polishing of the stone) and light loupe visible crazing (as typically seen in opal). Verso: hinged pin, (no damage/ not bent), conforming oval glazed display cavity (for photo) currently has black material inset. Press fitted to the verso bezel. when removed the uniform flat opal potch back is revealed. The rear bezel has scratch engraved marks alpha numerical that may be pawn brokers (pricing?) (Xa /-/ E/-/-). The associated box has London jeweller's details inside lid.
An exceptional 18ct. white gold and diamond bracelet
seven marquise form panels each set with a marquise shaped diamond totaling 4.40ct., (Colour H/K, Clarity SI2-I1), each surrounded by 16 round brilliant cut diamonds, with six diamond set bars between, diamond set push clasp and safety catch, (Colour F/H, Clarity SI-I1), TDW 7.48ct. Valuation available.
A Bvlgari 18ct white gold and diamond necklace
the 'Lucea' articulated necklace comprised of alternating diamond set and cone-shaped links, push clasp, etched Bvlgari mark to clasp.
A 19thC French Empire style mahogany sofa
the architectural shaped back, sleigh frame and apron embellished with ormolu palmettes, rosettes, acanthus scrolls and figures, upholstered in a green Empire stripe fabric. Some veneer losses. 2250 x 720 x 1100mm.
A 14ct yellow gold diamond tennis bracelet
thirty nine round brilliant cut diamonds (J-L colour, VS2-SI2 clarity), claw set, TDW 9.99ct, push clasp with safety catch, L.165mm.
An early 20thC 'The Motty Marksman' refurbished large brass telescope by J.H. Steward of London
on oak tripod, small sighting lens to top, various adjusting wheels and arm, counter weight to base. L.1280mm.
An impressive 19thC French ebonised and pietra dura pier cabinet
with marble top, the single door set with an oval hardstone inlaid panel of bird and flowering boughs within an ormolu laurel leaf wreath suspended from a ribbon bow, beneath a frieze of conforming laurel; flanked by chamfered corners embellished with ormolu female caryatids and acanthus leaves and raised on a plinth base with serpentine apron with further ormolu mounts. 840 x 450 x 1110mm. CONDITION REPORT: There are no structural faults or repairs, however there is considerable borer, particularly to the plinth base and the upper frieze areas although it does appear elsewhere as well. The marble top is dull through lack of cleaning/polishing and would benefit from a marble wax. There is a chip to the marble front of the right hand 45 degree canted/chamfered corner. The marble background of the door panel is like the top, dull and may be improved by waxing. Interior carcase is oak, single shelf, bolted together construction to side panels. Additional photos including close ups
A pair of 19thC Malby's table top globes
both 12 inch diameter, the terrestrial globe dated 1858 and the celestial globe dated 1860, both labeled and surmounted by brass polar hour circle, and within calibrated full brass meridian, the horizon band with engraved paper calendar and zodiac. Raised on turned mahogany tripod stands, slight variations, with reeded legs united by stretchers. Note: Malby & Son was one of the most prominent British globe makers of the mid 19th century. The cartography on the globes was based on the work of the map publisher ‘The Society of the Diffusion of Useful Knowledge’. The Malby firm is perhaps best known for producing in 1849 a 92cm (about 3 foot) diameter terrestrial globe for public exhibition. H.460mm. CONDITION REPORT: Terrestrial: The three legs are "turned and fluted" combined with "turned" stretchers but appear to be original to the manufacture. French polish has considerable oxidisation and chipping/rubbing to the surfaces. Appears to be walnut. The horizon band is made of two pieces with biscuit joint, the upper surface with applied paper calendar and zodiac. The paper of this band, and the paper of the globe is varnished and the varnish has considerably toned (browned), somewhat obscuring the text but imparting an ;antique' patina. Both the band and the globe have scattered knocks/dings and scratches that mar the surface, notably where some material has rubbed under the brass meridian as the globe has turned. Additionally there are scattered scratches and flaking to the varnish. There is an impact dent that has damaged the surface structure (area of Nigeria), a varnish chip nearby (area of Sierra Leone) shows the paper underneath, this paper in this area is lightly toned, in ohter area with more recent chips to the varnish the various original colour shows through. The manufacturer's cartouche has the agents name added to it 'Edward Stanfrord, Charing Cross', the date Jan.y 1858 is below the cartouche. The brass meridian is grooved to the opposite side of the scale and a fixing trunnion runs in hte groove to allow the globe to rotate on that meridian. The trunnion is meant to be secured to the centrepiece axis of the three stretchers of the base, the two small screws are missing ( an easy fix) Celestial: Very slightly lighter in weight, dimensions very similar, legs are turned rather than fluted, matching stretchers, (one stretcher is loos at the centre joint). Meridian is correctly screwed to base. Horizon ring has been damaged, split and reglued at some stage, the paper calendar/zodiac torn at that stage and repaired. There are a couple of small losses ot the paper. The varnish is comparatively lighter than the terrestrial, there are scratches to the paper gores varnish, sometimes affecting the paper surface as well. The manufacturer's cartouche is smaller than on the terrestrial, and has a couple of tables left and right of it. The date 1860 is in the text of the cartouche. Colours are terrestrial - a lightish burnt caramel, celestial - tan with yellow/green tones
An impressive double multi-strand pearl necklace
the pair of necklaces joining to make one larger with 38 modern round brilliant diamonds set to the 18ct yellow gold barrel form clasps, TDW 1.50cts. Each necklace of fourteen 385mm length strands of freshwater cultured pearls. Can be worn separately as together. Valuation available.
'Mamma Sirena Su Piatto' - a ceramic group by Helen König Scavini for Ars Lenci
c.1936, modeled as a mermaid and her mer-baby riding on a turtle, signed Lenci, Made in Italy, Turino, XI-XIII, X. H.320mm, small chip on fin. Sitting on a circular base, signed Lenci, Made in Italy Torino 11-XIII-☆ and with paper label inscribed 495/A. Dia.455mm. Ref: https://www.christies.com/lot/lot-mamma-sirena-su-piatto-a-lenci-ceramic-5434196/? CONDITION REPORT: Small flake chip on the fin of the mermaids' left calf (coloured in with some pencil/felt tip ?). Minute frit on the tip of the mer-baby's right foot/fin. Considerable accretion of surface dirt in crevices and hard to clean areas (hands and fingers, between legs [would clean easily with soak]) Signed on both the figure group and the platter with slightly different codes. Incised signature 'gael' ? to the back edge of the tortoise shell. Dropbox video available: https://www.dropbox.com/sh/7y4e2an7s9eh6ye/AACqewbVQbBeU8ntbI5CRkmCa?dl=0
Petrus van der Velden (1837-1913)
fishing boat in stormy sea, oil on canvas, signed, 370 x 455mm.
Sydney Lough Thompson (1877-1973)
Tunisian Street Archway, oil on canvas board, signed, 530 x 440mm. CONDITION REPORT: The work is oils on coarse weave canvas laid on hardboard. It’s typical of Thompson’s work incorporating areas of impasto technique in the application of the oil paint, notably in the area of light falling on the ground through the arch and the blue/pink citadel wall to the background, and in other areas the paint is applied thinly, such as lower left foreground and left edge. There are scattered flyspots to the surface but it’s generally clean. There are pinholes around the outside edge where it was evidently pinned to a wall prior to framing, some of these are hidden by the 9mm rebate of the frame but three are just visible top left and top edge of image in the frame. The work was previously offered at Webb’s auctions in 1996, corresponding to two labels to the reverse (Webb’s consignment label and lot sticker (894). With its initial offering offering in September 1996, it failed to sell (estimated at $15,000-$20,000), it was subsequently offered in December 1996 (Estimated at $8,000 - $12,000) where is sold for $8800 including buyer’s premium. Two similar Tunisian archway subjects appear in database records (there are also French archway subjects recorded). The frame is paint finished, a chip to the paint left hand side and a 105mm sliver chip to the bottom right-hand edge. Additional photos
A 14ct white gold and diamond solitaire ring
a 2.19ct round brilliant cut diamond (J-K colour, SI1-SI2 clarity), claw set, with six small round brilliant cut set to each shoulder (0.25ct TDW, J-K colour, SI1-SI2 clarity), ring size M.
John Hovell (1937-2014)
'Horoea Waterfall Series I', acrylic on board, signed, entitled and detailed verso, 665 x 665mm. Hovell (Ngati Porou/Ngapuhi), was a Maori modernist who is noted for transforming the traditional art of kowhaiwhai.
A Chinese carved table screen
with carved jade panel of sinuous vines with bird in carved wood frame and stand. 210 x 90 x 210mm.
An Iranian Meshed hand knotted carpet
decorated with a floral medallion on a field of foliate tendrils framed by a broad meander border. 3500 x 2450mm.
A 19thC French red tortoiseshell and cut brass Boulle marquetry bonheur du jour
the upper domed cabinet with two doors above two drawers; on a base with tooled leather writing surface above a baize lined slide and single frieze drawer; raised cabriole legs with ormolu mounts and sabot feet. 830 x 580 x 1500mm. CONDITION REPORT: Evidence of considerable borer, small patches of tortoiseshell missing, lifting of some of the cut brass and in some areas completely missing, one ormolu foot is absent. One brass keyhole escutcheon requires refixing and some of the cut brass pieces are in the drawer. Requires some attention.
A pair of Bvlgari 18ct white gold and diamond earrings
'B. Zero1' barrel shaped huggie earrings, posts and safety clip for pierced ears, Bvlgari mark to outer frames, TDW 0.80ct (Colour F/G, Clarity VS1). Valuation available.
Early 19thC artist unknown
interior farmhouse scene with figures, oil on canvas, apparently unsigned, 680 x 575mm. Provenance: Private collection Wellington, purchased Dunbar Sloane's c.1990s.
A quality early Victorian mahogany cased ship's chronometer by Robert Roskell of Liverpool
numbered 193/32826, brass cased in gimble mount, the brass dial named, with Roman numerals and subsidiary seconds dial, the polished mahogany case with recessed brass handles. The dial diameter 123mm, small flake chip to glass. Apparently working. c.1825-40. Note: Roskell began in business in Liverpool in 1805, making chronometers and other horological instruments. In the fractional serial number, the first number is that of the chronometer, while the second is that of all Roskell instruments.