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Collections: Important Asian, Australian & European Arts & Design — Sotheby's

Auction House:Sotheby'sNumber of lots recorded:98
Sale Title:Collections: Important Asian, Australian & European Arts & DesignLots with images:98
Auction Location:SydneyPrices available:38
Date:30-Oct-2019
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A 'Ding'-Style bowl Song Dynasty or later, the widely rounded sides with unglazed lipped rim, the interior delicately carved with a frieze of ducks and leafy plants encircling a central florette, all beneath the ivory coloured glaze falling unevenly over the underside and shallow foot, wood box, 22 cm diameter.
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A large 'Longquan' celadon dish Yuan/Ming Dynasty, carved on the interior with a central lotus spray medallion encircled with radiating flutes over the rounded sides with broad everted lipped rim, the exterior undecorated, covered overall with an attractive sea-green glaze apart from the shallow footrim, box, 35.5 cm diameter.
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A large blue and white bowl late Ming Dynasty, with deeply rounded sides painted on the exterior with a continuous lakeside scene of pagodas and pavilions beside willow and other trees on the rocky shores, all above a band of upright lappets and a scroll border around the base, the interior with a central landscape medallion encircled with a similar landscape frieze around the rim, 35 cm diameter. Provenance: The Peter Elliott collection, Mossgreen, Sydney, 1 September 2015, lot 577. Private collection,…
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A blue and white jar late Ming Dynasty, Wanli period, of ovoid form, freely painted on the exterior with a bird perched on rocks among flowering plants to either side, all below a ruyi -head border around the shoulders, 18.5 cm high.
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Three blue and white bowls Qing Dynasty, 18th century, comprising a bowl with rounded sides painted with a continuous scene of figures in a garden setting below a vignette and diaper border around the rim, ribboned precious object mark, and a pair of blue and white bowls the exterior of each with Buddhist lions among flowering peony sprays, the interior with a central peony medallion within a foliate meander around the rim, (3), 19.2 cm diameter, 22 cm diameter.
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A blue and white bottle vase Qing Dynasty, 18th century, the ovoid body rising to a slender cylindrical neck, decorated overall with horizontal bands of shou characters between bands of lotus petals at the base and ruyi -head and scroll borders on the mouth, 36.5 cm high. Provenance: fine Asian, Australian & European Arts & design, Sotheby's Australia, Sydney, 25 October 2016, lot 113. Private collection, Sydney.
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A blue and white vase Qing Dynasty, 18th century, of baluster form, painted on the exterior with phoenix in flight among scrolling peonies, the mouth encircled with a ruyi -head border, wood stand, (2), 35.5 cm high.
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A 'Dehua' archaistic censer Qing Dynasty, of bronze gui form, the rounded sides supported on tall tripod mask and paw legs and encircled with an incised border below the mouth set with two upright loop handles, wood cover, (2), 19.5 cm high.
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A flambe-glazed vase, 19th/20th century, the globular body surmounted by a tall trumpet neck, covered with a lavender-blue streaked crimson glaze, the base inscribed in underglaze blue with an apocryphal four-character mark of Qianlong, 35 cm high. Provenance: fine Asian, Australian & European Arts & design, Sotheby's Australia, Melbourne, 19 July 2016, lot 28. Private collection, Sydney.
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A pair of white-glazed parrots, 19th/20th century, each standing on pierced rockwork with head facing forward in alert attitude, the eyes picked out in black, the beak and feet cold painted in red, (2), 35 cm high.
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A large pair of blue and white vases, 20th century, of square section, each side painted with birds in flight and perched on branches of trees beside flowering plants below an inscription, each bearing the studio mark of Wang Bu inscribed to the base in underglaze blue reading yuanwen wuguo zhizhai (The Studio of Recognizing my Mistakes), (2), each 37 cm high.
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A pair of famille-rose 'figural' porcelain plaques Republic period, each of rectangular form, one depicting Lin Hejing Appreciating prunus, the old man accompanied by a young boy gazing at a blossoming prunus tree growing beside bamboo and other plants, the other depicting Wang Xizhi Appreciating geese, the sage with a young boy standing on the banks of a lake watching three geese swimming nearby, each with an iron-red seal bearing the signature Wang Qi, framed, (2), each 19.5 x 11 cm, overall 22.5 x 14 cm…
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A set of four painted porcelain plaques, 20th century, each of rectangular form, painted in famille-rose enamels with figures variously occupied in boats and on the shores of a lake, with pavilions set among rocks and trees in a landscape of craggy cliffs, waterfalls, and distant mountains, inscribed in black and bearing the signature Zhang Zhitang with red seal, wood frame, (4), each 55 x 31 cm, overall 59.5 x 35.5 cm.
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A pair of famille-rose wall vases, each of double gourd form painted with a landscape medallion below a smaller medallion of calligraphy, reserved on the overall turquoise ground decorated with bats and lotus scrolls, the base inscribed in iron-red with an apocryphal six-character seal mark of Qianlong, fitted box, 21 cm high. Provenance: fine Asian, Australian & European Arts & design, Sotheby's Australia, Sydney, 27 October 2015, lot 79. Private collection, Sydney.
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A group of three enamelled models of fruit and a vegetable, 20th century, comprising a peach, a pomegranate and a radish, all realistically modelled and painted in famille-rose enamels, wood stands, (6), 5.5 cm, 7 cm, 12.5 cm.
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Chen Hongshou, 1768-1822, calligraphy couplet in running script, ink on paper, pair of hanging scrolls, signed Chen Hongshou inscribed, and with three seals of the artist, (2), each 116 x 25 cm.
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After Dong Bangda, ink and colour on silk, hanging scroll, inscribed and with one seal, wood box, together with two fans after Wu Hufan, landscape (3), the scroll 91 x 36.5 cm, the fans 33.5 cm and 30 cm long.
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A gilt bronze figure of green Tara Qing Dynasty, 18th century, seated in lalitasana on a double lotus base, the right foot resting on a lotus flower rising from the base, the right hand lowered in varadamudra and the left raised in vitarkamudra, wearing a dhoti and trailing shawl and further adorned with jewellery, the face with lowered gaze and benevolent smile, and surmounted by a tiara enclosing a high chignon, 17 cm high. Provenance: arch angel Antiques, Hong Kong, 3 May 2000. Private collection,…
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A bronze censer Qing Dynasty, with squat rounded sides supported on a splayed foot and waisted below the flared mouth, set with double animal head handles, the base with a two-character mark Qin Lu in a recessed rectangular, wood cover and stand, (3), 13.5 cm wide.
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A silver-backed square bronze mirror Tang Dynasty, the reverse side of the mirror inset with a silver sheet repousse with the 'Lion and grapevine' decoration, the central crouching lion encircled with four others climbing among scrolling vine within a raised border, a frieze of birds among fruiting vine around the concave surround, some areas of green encrustation, box, 8.8 cm. Provenance: Property from the Estate of Eugene V. Thaw, Christie's, New York, 30 October 2018, lot 210. Private collection,…
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An archaistic celadon jade ewer and cover, of oval section, the shallow rounded sides carved in low relief with meandering scrolls issuing from a taotie mask below the broad spout and extending towards the dragon handle, the domed cover carved with a further taotie mask and surmounted by an animal knop, the rims incised with key-fret borders, the stone of pale green tone with some opaque inclusions, (2), 17 cm wide.
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An archaistic jade ewer, 20th century, of upright form, the sides carved with writhing chilong in high relief, set with a deer-form handle opposite an animal mask and pendent loose ring beneath the broad spout, the whitish stone with overall brown and russet suffusions, 12.2 cm high.
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An archaistic white jade pendant plaque, carved and pierced in the form of a bell flanked by phoenix, together with a soapstone carving of pebble form, carved in low relief with a landscape on either side and an inscription reading Shi Qing, wood stand, fitted box, (3), 7 cm, 7.7 cm high.
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A collection of five jade carvings, comprising an archaistic greyish brown jade pendant, huang, finely incised with stylised birds, a small square seal of creamish jade, an archaistic figure of a tiger, the celadon stone with a black inclusion, a beige and brown jade belt fitting carved and pierced with a deer among foliage and lingzhi fungus, and a celadon jade flower head medallion, fitted box with inscribed titles, (5), 12 cm, 2.4 cm, 9 cm, 6.7 cm, 4.8 cm.
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A pale celadon jade 'Peach and Bat' plaque Qing Dynasty, of shaped rectangular form, one side carved in low relief with a bat in flight and fruiting peach branch over wave splashed rocks, the reverse with a four-character seal, shushan fuhai (mountain of longevity, ocean of fortune), surmounted by ruyi -shaped clouds, the stone of even pale greenish-white tone, 6.2 cm long. Provenance: Lizzadro collection, Chicago, Illinois, acquired prior to 1960. Fine Chinese ceramics & works of Art, Christie's, New York…
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An archaistic jade plaque, the circular disc carved and pierced in low relief with pairs of phoenix and dragons alternating with archaic characters, and surmounted by a pair of confronted stylised dragon scrolls, the stone of pale green and lavender tones, 10.5 cm long.
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A group of three archaistic jade carvings, comprising a pierced dragon and phoenix plaque, a belt fitting with dragon's head and taotie mask, and a small dagger the hilt carved in low relief with stylised phoenix scrolls, (3), 7.5 cm, 9 cm, 14.5 cm.
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A white jade Buddhist lion seal, 20th century, the rectangular plinth carved in low relief with taotie and surmounted by a Buddhist lion crouched on all fours holding a brocade ball beneath one forepaw, the face carved with seal characters, the white stone with some areas of russet suffusions, wood stand, (2), 7.3 cm long.
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A white jade boulder carving, 20th century, the front face carved in high relief with two sages, one seated at a table, the other standing nearby on a rocky outcrop encircled with tall cliffs, a gnarled pine tree growing to one side, and a thatched hut among trees on a higher ledge, wood stand, (2), 19 cm high.
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A white jade carving of a mythical beast, 20th century, retaining the shape of the original pebble, the animal recumbent with head turned resting on its paws, the features well defined, the white stone with small areas of russet skin, a red seal on the reverse reading Feng Junling, beaded cord attachment, 8.5 cm long
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A celadon jade brushpot Qing Dynasty, 19th century, of oval section, the straight sides carved in high relief on either side with pairs of cranes in flight among scrolling clouds and perched on rocks beside gnarled pine trees, the pale green stone with some brownish suffusions, 17 cm wide.
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An archaistic celadon jade censer Qing Dynasty, 18th century, the rectangular body with projecting tubular corners terminating in short waisted feet, finely carved around the exterior with an upper frieze of taotie alternating with entwined dragons above a rope twist border, and lower band of phoenix scrolls and lappets enclosing shou characters, two sides set with animal's head loop handles suspending loose rings, the fitted knopped and domed wood cover intricately carved and pierced with floral scrolls…
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A white jade 'Butterfly' necklace, 19th/20th century, the butterfly form pendant carved in pierced relief, the antennae attached to a metal bar and chain interspersed with interlinked jade rings, the jade of even white tone, the metal stamped silver, pendant 8.5 cm wide, overall length 33 cm.
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A collection of seven Mandarin hat buttons Qing Dynasty, each mounted on a bronze support, comprising three in opaque glass, (pink, blue and white), three in clear glass, (red, blue and clear), and one in bronzed metal, (7), 5 cm to 6 cm.
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A gilt decorated 'Chenxiangmu' bangle, the exterior inset with spaced gilt shou character roundels between florette decorated gilt bands, the interior gilt lined, 7.3 cm diameter.
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Two jade bangles, each of plain rounded form carved from matching faintly mottled stones of very pale greenish tint, (2), 8.5 cm and 8.1 cm diameter.
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A 'Chenxiangmu' abstinence plaque, 19th/20th century, of rectangular form, carved on either side in pierced relief with trailing branches of gourd vine and lingzhi fungus, a bat resting on an upper corner, the large gourd carved in relief with the characters zhai jie, the reverse carved in Manchu, attached silk tassel, fitted wood box, 6 cm long.
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A group of four soapstone seals, 19th/20th century, comprising one of oval form surmounted by a recumbent Buddhist lion, the head with well defined features turned to the side, another of rectangular form surmounted by a Buddhist lion, an inscription to one side, an upright rectangular seal surmounted by a standing lion with an inscription to one side, and a small seal of square section and plain upright form with an inscription to one side, the face of each carved with seal characters, fitted boxes, one…
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Two soapstone seals, 19th/20th century, comprising one of upright rectangular form surmounted by an arched scroll finial above a finely carved rope twist border, one side with a two-character inscription, the face with seal characters, the other with rectangular base surmounted by a recumbent mythical beast, caramel coloured stone, (2), 6.5 cm, 5.6 cm high.
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A zitan brushpot, 19th/20th century, of barbed quatrefoil section, the slightly flared sides supported on shallow bracket feet, a raised band around the base and slightly concave mouth rim, 19.5 cm high.
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A large huanghuali brushpot, 19th/20th century, of plain cylindrical form slightly flared towards the mouth, the wood of rich tone with attractive grain, 27 cm high.
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A carved huanghuali 'scholars' brushpot, 19th/20th century, of cylindrical form, the slightly waisted sides carved in high relief on the exterior with sages variously occupied in a continuous rocky landscape, some seated in pavilions, others in a bamboo grove and others fishing in a stream among pine and willow trees, the wood of rich tones, 16.7 cm high.
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A carved bamboo 'scholars' brushpot, 19th/20th century, of cylindrical form, the exterior carved in high relief with a continuous scene of scholars and attendants variously occupied and enjoying food and wine among willow and pine trees with towering rocky cliffs above, a two-character mark reading Wang Qi to one side, patinated to a rich deep reddish-brown tone, 15.8 cm high.
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A bamboo brushpot, 19th/20th century, of cylindrical form, carved in low relief with a landscape of trees and thatched huts on rocky terrain beneath tall cliffs, wood mounted base with bracket feet and mouth rim, 15.5 cm high.
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A 'Chenxiangmu' 'Landscape' libation cup Qing Dynasty, in the form of a tree trunk section, the steep slightly flared sides carved in high relief with a continuous landscape of rocky cliffs and gnarled pine trees, a group of small figures beside a thatched hut and others walking nearby, 9.3 cm high.
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A carved bamboo figure of Liu Hai Qing Dynasty, seated wearing loosely draped robes, holding in his right hand a cash and the left clasping the end of a gnarled branch supporting his three-legged toad on top of his head, his face with well-defined features in laughing expression, incised on the reverse with a four-character mark Zhu Yun Shan Fang, 18 cm high
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A bamboo 'goat' water pot Qing Dynasty, carved in the form of a recumbent goat with legs tucked beneath its body and head turned over its back biting the stem of a lingzhi fungus, the hollow body with a small oval cover surmounted by a bat among cloud scrolls, (2), 10.6 cm long.
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An unusual bamboo carving Qing Dynasty, of slightly concave elongated form, carved in high and pierced relief on the interior with a figure of a sage holding a lotus flower standing gazing over the edge onto the reverse, a gnarled pine tree growing from fissures in the rocky Cliff above, 27.5 cm long.
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A large lacquer rebunko, Meiji period, of rounded rectangular form, the top and sides decorated in hiramaki-e and kirikane with differently shaped vignettes of gardens and landscape scenes reserved on the nashiji ground, the interior of the cover similarly decorated with flowers growing beside a fence near a meandering stream, fitted with a shallow tray on the interior, (3), 16 cm high, 43 cm long, 34 cm deep. Provenance: Dame Merlin Myer DBE, Melbourne. Martyn Cook Antiques, Sydney, 12 November 1993.…
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A carved ivory plaque, early 20th century, the two slightly concave sections intricately carved in high and pierced relief with figures and animals variously occupied in garden settings with birds and butterflies among flowers and rockwork, the reverse with trailing leafy branches in low relief, wood stand, (2), 39 cm long. Provenance: The Autumn Auction Series, Mossgreen, Melbourne, 16 June 2014, lot 67. Private collection, Sydney.
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A group of five painted enamel snuff bottles, each decorated in famille-rose enamels with figures, landscapes and birds and flowers, the base of each inscribed with an apocryphal four-character seal mark of Qianlong, stoppers, (5), 4.3 cm to 7 cm.
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A lapis lazuli 'magnolia' washer, 19th/20th century, in the form of an open bloom with overlapping petals beside a smaller open flower and several buds, growing from a gnarled branch in pierced relief forming the handle and extending over the base and shallow sides, the blue stone with paler inclusions, fitted wood stand, (2), 17.3 cm long.
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A 'duan' stone 'mandscape' table screen, 19th/20th century, of rectangular form, decorated in relief with a lakeside scene of pavilions beside pine and willow trees on the rocky shores, a lone figure crossing a bridge, the stone in shades of brown, wood stand, the screen 28 x 19.5 cm.
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A cloisonne enamel and gilt painted table screen, 19th/20th century, of rectangular form, the front decorated in relief and picked out in bright colours with a pair of cranes standing beside a gnarled fruiting peach tree and lingzhi fungus growing on a river bank, the reverse painted and gilt on a black lacquer ground with a water landscape of fishing boats, pavilions and rocky outcrops, framed and supported on a hardwood stand carved in high relief with bats among floral scrolls and angular dragon motifs,…
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A hardstone inlaid three-tiered picnic box and cover, Tihe, of rectangular form, the three beaded rimmed trays stacked above one another below the cover, the top inlaid in mother of pearl and various hardstones with a pair of cranes wading through a lotus pond with butterflies hovering above, all on a base frame set with uprights flanked by foliate scrolls surmounted by an arched handle secured by a long metal pin, together with an inlaid hardwood ruyi sceptre, the head decorated with a pair of ducks in a…
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A Qing-Style inlaid Huanguali 'boys' canted top cosmetic chest, of rectangular form, with hinged lid joined by a chain to one side, opening to reveal a shallow compartment above the pair of doors opening on to two pairs of short drawers above a long drawer, the doors, sides and top inlaid in mother of pearl and various hardstones with boys at play in garden settings, sprays of the three Abundances, and butterflies hovering above flowering roses, the top inset with a square plaque bearing an apocryphal…
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A carved hardwood mother of pearl and marble inlaid armchair, early 20th century, the curved crest rail of ruyi outline, the back and arms pierced and inlaid with flowering prunus and deer, and inset with a circular grey marble plaque painted with an inscribed landscape scene, within a band of inlaid shou characters, the wood seat supported on corner legs joined by pierced and inlaid aprons and humpback stretchers, 101.5 cm high, 67 cm wide, 53 cm deep.
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A pair of carved hardwood mother of pearl and marble inlaid armchairs, early 20th century, each with a crest rail of ruyi outline inlaid with bats and trailing gourd vine, the back and arms pierced and inlaid with flowering prunus, the back inset with a circular 'Rouge' marble plaque within a band of inlaid shou characters, the seat inset with a similar rectangular marble panel and supported on corner legs joined by a pierced and inlaid apron at the front and humpback stretchers, (2), each 94 cm high, 66…
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A hardwood recessed-leg painting table, Pingtouan, the rectangular floating panelled top within a mitred frame with moulded and beaded edge, supported on paired recessed legs of circular section joined by parallel cross-braces of oval section, the plain straight aprons with rounded spandrels, the wood of rich tones resembling huanghuali, 79.5 cm high, 109.5 cm wide, 42 cm deep.
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A pair of hardwood yokeback armchairs, Sichutou Guanmaoyi, and a side table, each chair with arched crestrail with upswept rounded terminals, set on cylindrical back posts continuing through the seat frame to form the back legs, the S-shaped splat carved with a ruyi -shaped dragon cartouche, the serpentine arms terminating in rounded outscrolled handgrips, supported on curved stiles and posts, the legs joined by a continuous shaped and beaded apron carved with foliate scrolls and stepped stretchers, the…
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A huanghuali two part 'spindle' cabinet, 20th century, the rounded protruding rectangular top and base joined by rounded corner posts, housing a pair of openwork doors within a moulded frame, opening to reveal a shelf over two rectangular drawers, the sides and doors formed of two tiers of circular section vertical spindles divided by horizontal panels of scroll motifs, the lower section with a further pair of drawers, supported on legs of circular section with squared inner corners and joined by…
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A hardwood writing table, late 19th/early 20th century, of hongmu and other woods, the rectangular floating panelled top within a mitred frame with rounded corners extending down to form the tapering square section legs with beaded edges terminating in hoof feet, the front with a central pair of drawers with slightly raised panels set with bail handles, above an openwork foliate scroll apron joined to two deep drawers set with bail handles on shaped metal plates, 82 cm high, 120 cm wide, 63 cm deep.
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A pair of huanghuali continuous arched back armchairs, Nanguan Maoyi, each with slightly curved crest rail extending down to form the back posts and continuing through the seat frame to the back legs, the S-shaped splat with an openwork ruyi -form cartouche above a rectangular panel within raised borders, the high serpentine arms supported on curved front posts, the legs joined by a continuous shaped and beaded apron extending to the stepped stretchers, (2), each 95 cm high, 60 cm wide, 56 cm deep
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A huanghuali and hardwood openwork round-corner two part cabinet, 20th century, of rectangular form, the rounded protruding top set on corner posts housing a pair of doors, the doors and sides formed of three tiers of vertical spindles separated by two horizontal bands of open rectangles, all within moulded frames, the interior with two shelves, the lower section with two drawers above a shelf supported on short legs with plain shaped spandrels, fitted with metal plates and pulls, 162.5 cm high, 92 cm wide…
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A waistless corner-leg painting table, Huazhuo, probably zitan, the rectangular top with standard mitred frame enclosing a flush floating panel, supported on legs joined by a high leg-encircling humpback stretcher and internal vertically curved braces at each corner, 75.5 cm high, 117.5 cm wide, 37 cm deep
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A pair of Hongmu spindle-back armchairs, Meiguiyi, Qing Dynasty, 18th/19th century, each with a humpback top rail supported on rounded posts extending down to the back legs and framing the slightly curved vertical spindles, a further set of spindles supporting the stepped rectangular arms, the rectangular mat seat set within a mitred frame above a plain apron with spandrels, supported on legs of circular section with squared inner corners joined by stepped stretchers and a footrest above a plain apron, (2)…
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A collection of early first drafts and associated notes for Colleen McCullough's first novel, Tim, (published 1974), each draft with the original title not the full Quid, comprising a document box containing one incomplete draft - pages 2-274 - and 74 pages of a further incomplete draft, with a dedication to Gilbert H. Glaser, M.D, Department of Neurology, Yale University school of medicine, together with a maroon document box inscribed 'Colleen McCullough' in gold embossed lettering, containing two pages…
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The earliest known surviving manuscript for The Thorn birds, (published 1977) and associated material, comprising two maroon document boxes inscribed 'Colleen McCullough' in gold embossed lettering and a plain white document box, the first containing an incomplete manuscript including Chapters one to four - pages 1-155, (chapter 5 missing) - and Chapters six to Nineteen - pages 175-659, (page 479 missing) - with annotations throughout, in pencil, together with a typed note from Colleen McCullough's…
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The original manuscript for an Indecent Obsession (published 1981), together with various screenplay drafts, comprising three maroon document boxes inscribed 'Colleen McCullough' in gold embossed lettering, the first containing the original complete manuscript, title page to page 331 (page 171 not used), including mainly editorial annotations and some author annotations, the second document box containing an annotated first draft screenplay (some page numbers duplicated and out of sequence), associated…
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A hardcopy first edition and annotated draft for Cooking with Colleen McCullough and Jean Easthope (published 1982), all works copyright Estate of Colleen McCullough
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The first draft for a creed for the third millennium (published 1985) and associated material, comprising a maroon document box inscribed 'Colleen McCullough' in gold embossed lettering containing the annotated first draft in 278 pages, with synopsis and outline, together with a further partial draft with annotations, duplicate and substitute pages and two facsimile outlines, all works copyright Estate of Colleen McCullough
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A collection of research notes, documents and imagery relating to Morgan's Run (published 2000), comprising land titles, shipping notes, convict passenger lists and records of land grants associated with background research for the historical novel, all works copyright Estate of Colleen McCullough
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The unpublished manuscript for Megalopolis (completed 2001) and associated material, comprising a document box containing a complete manuscript in 494 pages, together with a screenplay by Colleen McCullough and an annotated draft screenplay, titled Catiline, by Frank Pennino, all works copyright Estate of Colleen McCullough
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An early complete draft for angel Puss (published 2004) and associated material, comprising two document boxes containing a draft manuscript in 523 pages with annotations, together with a further 83 typed pages including individual annotated pages and an incomplete draft, all works copyright Estate of Colleen McCullough
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Colleen McCullough's original pencil portraits and hand-drawn and printed maps from the historical fiction series, The Masters of Rome (published between 1990-2007), comprising 85 pencil portraits depicting figures from Roman history, together with 86 hand-drawn and photographic contact-printed maps, all works copyright Estate of Colleen McCullough
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A collection of rare surviving drafts for Colleen McCullough's earliest known unpublished novel, Hullo Balloo (written circa 1968), comprising a maroon document box inscribed 'Colleen McCullough' in gold embossed lettering, containing multiple drafts in various stages of completion, many with annotations, all works copyright Estate of Colleen McCullough
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An extensive archive of surviving unpublished short stories and poetry by Colleen McCullough, comprising three document boxes containing approximately 424 poems and 16 short stories, including duplicates, drafts and revisions, the earliest work dated for 1958, together with three letters, all works copyright Estate of Colleen McCullough
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A collection of private correspondence between Colleen McCullough and various public office-holders on the matter of self-determination for the inhabitants of Norfolk Island, comprising six letters including a reply from the United States Department of State on behalf of former President of the United States of America, Bill Clinton, all works copyright Estate of Colleen McCullough
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The Corona typewriter Colleen McCullough used to write Tim (published 1974) and The Thorn Birds (published 1977), grey powder-coated and chromed metal, bearing a mailing label inscribed 'Brittain / 22 church Street / Fen Ditton / Cambridge C85 Bsu / England, 46 cm wide, 21 cm high, 45 cm deep, Literature, McCullough, Colleen, Colleen McCullough: life without the Boring Bits, Harper Collins, Sydney, 2011.
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Bligh, William, A Voyage to the South Sea... In his Majesty's ship the Bounty... Including an account of the mutiny on board the said ship, London, George Nicol, 1792, first edition, 4to, engraved portrait frontispiece, 5 engraved maps and plans (some double-page or folding) and one plate, marbled calf gilt, 294 x 232 mm
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Bligh, William, A Narrative Of The Mutiny, On Board His Majesty's Ship Bounty, George Nicol, London, 1790, first edition, 4to, with a frontispiece plan and three charts, uncut, in old half roan, yellow endpapers, half calf over marbled boards, 288 x 223 mm
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A set of four embroidered silk panels, 19th/20th century, each of rectangular form, the ivory silk ground embroidered in coloured silks with scenes of birds and plants, the many different species of birds shown in pairs, including phoenix, peacocks, roosters, cranes, pheasants, parrots, ducks and song birds, all in flight or perched among trees and flowering plants growing beside ornamental rockwork, including pine, maple, prunus, peony, rose, lotus and chrysanthemum, and with inscriptions naming Cai Yuan…
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Two 'plique-a-jour' bowls, each decorated in bright colours with a pair of yellow birds and flowering peonies below a band of lappets around the rims, (2), 7.5 cm diameter and 10 cm diameter
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Attributed to Wang Hui, landscapes, ink and colour on silk, set of three, framed, inscribed and with seals, (3), each 28.5 x 30.5 cm
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Demetre H. Chiparus, 1886-1947, Echo, circa 1925, bronze and ivory, marble base, inscribed on the marble base 'Chiparus' and with a foundry tag impressed 'Ln / Paris / Jl' for Les Neveux de Jules Lehman, Paris, to the underside of the base, 38.5 cm high. Provenance: Private Collection, New South Wales. Private collection, New South Wales, acquired from the above in 2019. Literature: Alberto Shayo, Chiparus, master of Art Deco, New York, Abbeville press, 1999, pl. 120, p. 189, illustrated (another example).
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Dale Chihuly, born 1941, vermillion stemmed form with two King's Blue Persians, 1988, blown glass, signed and dated to the underside of the largest form 'From the collection of Stephane Janssen, Carefree, Arizona, 24.8 x 66.0 x 44.5 cm. Provenance: Charles Cowles gallery, Inc., New York. Heritage Auctions, Dallas, April 16 2018, lot 67083. Private collection, Sydney, acquired from the above
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A sterling silver 'Acorn' pattern flatware service, designed by Johan Rhode for Georg Jensen in 1915, Danish, post-1945 production, comprising eighteen dinner forks, ten short-handled dinner knives, eight long-handled dinner knives, sixteen luncheon forks, ten short-handled luncheon knives, eight long-handled luncheon knives, two fish forks, eighteen soup spoons, eighteen dessert spoons, nine small teaspoons, seven coffee spoons, eight pastry forks, one cheese knife, one butter knife, one cake knife and…
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A sterling silver 'Acadia/Blok' pattern flatware service, designed by Ib Just Anderson for Georg Jensen in 1934, Danish, post-1945 production, comprising sixteen dinner forks, twelve dinner knives, sixteen salad forks, twelve table spoons, eight soup spoons, twelve tea spoons, twelve bouillon spoons, twelve cocktail forks, twelve fruit forks, eleven fruit knives, twelve butter spreaders, one cold meat fork and one berry spoon, 4,785 gms total weight of silver excluding knives with stainless steel blades,…
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A set of eight sterling silver goblets, model no. 532A and 532B, designed by Harald Nielsen for Georg Jensen in 1928, Danish, post-1945 production, each with a tapering ovoid bowl with a hammered finish, above a jewelled border, pierced tapering stem and a spreading circular foot, 1,190 gms total weight of silver, four goblets measuring 14 cm high and four goblets measuring 12.5 cm high
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T. H. Robsjohn-Gibbings, 1905-1976, armchair, designed circa 1950, birch, designed for Widdicomb Furniture Company, Michigan, 67 cm wide, 77 cm high, 70 cm deep. Provenance: Private Collection, Melbourne
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Schulim Krimper, 1893-1971, side table, circa 1955, black bean, the open frame with four tapering rectangular legs united by stretchers, supporting a rectangular glass top, 76 cm wide, 68 cm high, 39.5 cm deep. Provenance: Private Collection, Victoria.
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Schulim Krimper, 1893-1971, chest of drawers, circa 1955, black bean, the rectangular body with three full-length drawers with shaped solid carved handles, above fluted tapering rectangular legs united by cross stretchers, signed in script to the right side of the top drawer 'S Krimper, 74.5 cm wide, 88 cm high, 49.5 cm deep. Provenance: Private Collection, Victoria.
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Schulim Krimper, 1893-1971, standard lamp, circa 1955, teak, with a slender body carved with a central aperture, rising to a cylindrical brass ferrule and a later replacement shade, above a shaped rectangular base, signed in script to the underside of the base 'S Krimper, lamp 33 cm wide, 142.5 cm high, 35 cm deep. Provenance: Private Collection, Victoria.
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An impressive Victorian sterling silver lidded centrepiece, Robert Hennell, London, circa 1863, and Frederick Elkington, London, circa 1872, the shallow ovoid body above a slender stem with turned collars, raised on a spreading foot, the cover of later manufacture gently domed, rising to a finial cast in the form of a standing horse and foal, the whole decorated with embossed foliate roundels on a stippled ground, 2,950 gms total weight of silver, 42 cm high. Provenance: Antiques and collector's items with…
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A mercurial gilt Old Sheffield plate presentation table snuff box, of New South Wales interest, the rectangular cover finely cast and chased with a hunting scene, inscribed beneath the cover 'To / John Strange Chapman Esq. / XIth Regiment / from his friend / Stuart a. Donaldson / Memento 15 Decr 1849', the back and sides with engine-turned panels within foliate-cast borders, 9.5 cm wide, 3 cm high, 6.5 cm deep. Provenance: Lord and lady Sherwood, Newmarket. Private collection, United Kingdom, by descent…
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A Victorian sterling silver presentation candelabrum centrepiece of Australian Jewish community interest, Charles Boyton, London, circa 1869, the central standard modelled as entwined vines, emanating three vine and leaf cast branches with conforming candle sconces, together with a further three branches supporting pierced silver baskets, rising to a central pierced basket supporting a cut glass bowl, above a tri-form base mounted with three allegorical classical female figures, one representing Justice,…
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A late Victorian Aesthetic movement sterling silver and gilt tea and coffee service, Walter & John Barnard, London, circa 1892, comprising a teapot, a coffee pot, a creamer and a two-handled sugar vessel, each of canted rectangular form, decorated with bright cut parcel gilt scenes depicting cranes taking flight amongst bamboo, beneath gilt panels, bordered by patera and foliage, flanked by angular handles, rising to a domed cover with a bell finial, the teapot and coffee pot each with ivory fillets to the…
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A fine sterling silver and silver gilt figural punch bowl, Goldsmiths & Silversmiths Co., London, circa 1907, the waisted ovoid body richly embossed and chased with eleven mythical dragons, each individual in detail, the lower body with foliage, shells, anemones, kelp and jelly fish, above three dragon-form feet, the whole with gilt-wash highlights on a hammered ground, enclosing a gilt-wash interior, hallmarked and 'Goldsmiths & / Silversmiths. Company. Ld / 112 Regent. St, 18.5 cm high, 29.5 cm diameter.…
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