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Decorative Arts and Asian Works of Art — Leonard Joel Pty. Ltd.

Auction House:Leonard Joel Pty. Ltd.Number of lots recorded:272
Sale Title:Decorative Arts and Asian Works of ArtLots with images:272
Auction Location:MelbournePrices available:183
Date:5-Dec-2022
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A William IV mahogany-cased wall clock, signed Purvis, North Audley Street, Mayfair, London, mid 1830s, the black and white enamelled Roman numeral dial within a glazed brass bezel, the mahogany case inlaid in brass with stylised floral decoration, 55 cm high, 40 cm wide, 17 cm deep
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A George III oak and mahogany-banded long-case clock, the dial indistinctly signed, last quarter 18th century, the decoratively enamelled dial within the glazed hood with swan-neck pediment and brass finials, the trunk with reeded quarter columns, 225 cm high
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A Louis XIV style bracket clock in the Martinot manner, second half 19th century, the enamelled and brass Roman numeral dial signed 'Martinot a Paris' in a glazed case of typical form, inlaid throughout with cut brass on the simulated tortoiseshell ground and with various brass mounts including a figure of a winged putto holding a scythe to the top and an allegorical female figure to the front, the bracket conforming, the clock 90 cm high, 40 cm wide, 15 cm deep, the bracket: 32 cm high, 44 cm wide, 25 cm…
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A mahogany-cased wall clock, third quarter 19th century, bell striking, with barrel pendulum, 92 cm high, 38 cm wide, 14 cm deep
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A French petite sonnerie carriage clock, last quarter 19th century, the eight day full plate two-train movement with lever platform escapement, striking hours and quarters on two gongs, the enamelled Roman numeral dial in a polished brass and part-silvered gorge case of architectural style with bail handle and bevelled glazing, with the original diced Burgundy leather carrying case, 21 cm high (with handle raised), 13 cm wide, 11 cm deep
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A late Georgian stained sycamore-cased bracket clock, James Murray, Royal exchange, London, the double fusee bell striking movement and enamelled Roman numeral dial with glazed brass bezel within a case of architectural form with a pinapple finial above the brass-strung ebonised front and brass ring handles and fretwork grilles to the sides, on brass ball feet, the dial and movement both signed 'James Murray, Royal exchange, London', 47 cm high, 30.5 cm wide, 17 cm deep
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A Victorian walnut-cased Admiral Fitzroy's barometer, last quarter 19th century, the mercury barometer against a printed backing with Admiral Fitzroy's remarks above a storm glass and thermometer, the case with a carved crest, 128 cm high, 27 cm wide
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A Scottish late Georgian mahogany-cased barometer, circa 1820, of typical form with silvered gauges, the lowest signed 'Battistessa & Co., 8 & 9 Calton St., Edinburgh, 108 cm high, 32 cm wide
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Isidore Jules Bonheur (1827 - 1901), tussling horses, bronze, in a mottled brown patina, cast early 20th century, cast with incised signature to the base: I. Bonheur, 68 cm high, 95 cm wide, 35 cm deep
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After Pierre-Jules Mene (1810 - 1879), a mounted Arab falconer, bronze, in a mottled silver and brown patina, cast second half 20th century, cast with incised signature to the base: P. J. Mene, 76 cm high, 69 cm wide, 32 cm deep
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After Giambologna, the abduction of a Sabine woman, bronze, in a dark brown patina with highlights, cast first half 20th century, cast with incised signature to the base: Jean Boulogne, with small indistinct foundry mark to the foot of the base: Premiere [...?], with a later green marble plinth, 74 cm high (excluding the separate marble plinth) 32 cm wide, 23 cm deep
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A life-size antique-style bronzed metal sculpture of the young Bacchus, 20th century, possibly bronze, the figure modelled standing holding a chalice in one hand and a horn in the other, on a classical plinth with figures of cherubs and dolphins, the chalice formerly fitted as a lamp, 217 cm high
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After Pierre-Jules Mene (1810 - 1879), 'L'accolade', bronze, in a dark brown patina, cast mid 20th century, cast with incised signature to the base: P. J. Mene, incised number 23528 to the underside, 36 cm high, 56 cm wide, 26 cm deep
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After Jean-Pierre Cortot (1787 - 1843), 'Le soldat de Marathon annoncant la victoire', bronze, in a brown patina, cast by Ferdinand Barbedienne, Paris, late 19th century, cast with incised signature to the base, lower left: Cortot, with the Collas reduction stamp and the founder's incised signature and number to the rear of the base: F. Barbedienne, Fondeur 317, 51 cm high, 55 cm wide, 28 cm deep
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Jean-Joseph Perraud (1819 - 1876), 'Pan et enfant de Bacchus', bronze, in a red-brown patina, cast by Thiebaut Freres, Paris, circa 1860, cast with the sculptor's name, date, and founder's signature incised around the base: Perraud. 1859 Thiebaut Fres 32 Avenue de L'Opera Paris / Oeuvre Originale, 79 cm high, 27 cm wide, 30 cm deep
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After Agasias of Ephesus, the 'Borghese gladiator', bronze, in a greenish brown patina, cast by Ferdinand Barbedienne, Paris, late 19th or early 20th century, cast with a reproduction of Agasias's Greek signature on the marble original, with the founder's incised signature to the rear edge of the base: F. Barbedienne, Fondeur. Paris, 49 cm high, 34 cm wide, 44 cm deep
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Thomas Francois Cartier (1879 - 1943), fighting stags, bronze, in a green patina, cast first half 20th century, cast with incised signature to the base: T. Cartier, 30.5 cm high, 58 cm wide, 21 cm deep
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After Marius Jean Antonin Mercie (1845 - 1916), David, bronze, in a brown patina, cast by Ferdinand Barbedienne, Paris, late 19th century, cast with incised signature to the base: a. Mercie, with the Collas reduction stamp and the founder's number and incised signature to the rear of the base: 499 F. Barbedienne Fondeur, Paris., 94 cm high, 43 cm wide, 28 cm deep
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After Glykon, the 'Farnese Hercules', bronze, in a brown patina, on a low marble foot, cast by Vincenzo Salomone, Naples, latter half 20th century, cast with the founder's incised signature to the rear of the support: V. Salomone, 78 cm high, 35 cm wide, 32 cm deep
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Auguste Nicolas Cain (1821 - 1894), 'Lion et lionne se disputant un sanglier', bronze, in a mottled gilt and brown patina, cast last quarter 19th century, cast with incised signature to the front of the base, lower right: a. Cain, 38 cm high, 63 cm wide, 35 cm deep
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Alphonse Emmanuel de Moncel de Perrin (1866 - 1930), 'Les amoreux', bronze, with a brown patina, cast by Ferdinand Barbedienne, Paris, early 20th century, cast with incised signature to the left side of the seat: Adolphe Moncel, with the founder's incised signature to the right of the base: F. Barbedienne, Fondeur, 49 cm high, 45 cm wide, 30 cm deep. Provenance: Camille Picard, president of the Chambre Syndicale Commercants Magasiniers, nice, to whom presented by the Chambre in April 1913 (as commemorated…
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Demetre Chiparus (1886 - 1947), 'Vedette', cold painted bronze on a brown onyx base, circa 1925, the skin and hair of the figure gilt, her costume and jewellery in various textures, colours, and tones, mounted on the original stepped onyx base, the underside of the left shoe stamped 'Made in France' within a circle and '48', with incised signature to the rear edge of the top of the base: Chiparus, the figure only, 65 cm high, overall, 80.5 cm
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Pierre-Etienne-Daniel Campagne (1851 - 1910), 'Phryne devant ses juges', bronze, in a dark brown patina, on a stepped base with a later additional base below, cast early 20th century, cast with incised signature to the right side of the base: Campagne, the front of the base with an applied plate engraved with the title and the sculptor's name, 89 cm high (including original base, the later base adding a further 9.5 cm), 44 cm wide, 29 cm deep
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Charles-Arthur Bourgeois (1838 - 1886), 'Le charmeur de serpents', bronze, in a red-brown patina, the loincloth with the remains of gilding, cast late 19th century, cast with incised signature to the base: Arthur Bourgeois. Sculp, 57 cm high, 27 cm wide, 17 cm deep
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Richard MacDonald (b. 1946), 'The trumpeter', cold painted bronze, on a stepped circular marble base, cast with incised signature and edition number to the base: R. MacDonald 8/90, 102.5 cm high, 42 cm wide, 95 cm deep
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English school circa 1800, ships of the Royal Navy in a swell near cliffs, oil on canvas (relined), 41 x 63 cm
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English school mid 19th century, a central European city viewed from its river front, watercolour and gouache, signed lower left (partly obscured by the frame slip), 49 x 71 cm
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Pilford Fletcher-Watson (1842-1907), 'Tombs of Don y Donna Alvaro de Luna, Cathedral, Toledo', watercolour over pencil, inscribed as title and signed lower left: P. Fletcher-Watson, 58 x 92 cm. Exhibitions: Centennial international exhibition, Royal exhibition building, Melbourne, 1 August, 1888 - 31 January, 1889 (original label retained to the back)
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Frances Rayner (active third quarter 19th century), the Howard family tomb, Arundel church, Sussex, watercolour and gouache, apparently unsigned but with a 19th century label identifying the artist retained to the back, 47 x 65 cm
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Dutch school first half 19th century, a portrait of a woman wearing a cloth cap and a lace-trimmed cloak, within an inscribed arch, oil on elm panel, 30.5 x 24.5 cm
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Eric de Luca (contemporary), two works: 'Nature morte a la grenade' and 'Sucrie en argent et verre de Venise', oil on canvas, both signed lower right: Eric de Luca, both inscribed as title by the artist to the reverse, dated (2015 and 2012, respectively), and further signed, 91 x 64 cm and 45 x 37 cm
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Attributed to Edward Williams (1781 - 1855), a pair: 'A view near Richmond on the Thames' and 'A view near Battersea on the Thames', oil on canvas, each finely inscribed as title to the reverse in an earlier 19th century hand, both inscriptions ending 'By Williams', 42 x 55 cm and 41 x 55 cm
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English school early 18th century, a portrait of a finely-robed lady, half-length, within an oval opening, oil on canvas, laid down on composition board, 72.5 x 60.5 cm
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Neapolitan school early 20th century, figures on a Naples quay with steamships beyond and Mt Vesuvius in the distance, oil on canvas, indistinctly signed lower left 'Ciapp... Giovanni' and with an early 20th century inscription to the reverse 'Art shop in 26 via Constantinopoli 26 in the street opposite the Museum Naples', 24.5 x 37.5 cm
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English or European school early 19th century, two classical figure studies, pencil on laid paper, the larger, 24.5 x 16.5 cm
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A group of seven English portrait engravings, all 18th century, all of clerical figures, by and after various engravers and painters including Hogarth and Lely, uniformly framed, the largest, 64 x 51 cm (overall frame size). Provenance: The Estate of the late Christopher Seton
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Thomas Rose Miles (1844 - 1916), 'Outward bound from Ramsgate', oil on canvas, signed lower left: T.R. Miles, inscribed as title to the reverse, 49.5 x 75 cm
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James Webb (1825 - 1895), Avranches, Normandy, oil on canvas, signed and dated lower right: James Webb 76, 59.5 x 89 cm
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Attributed to Cornelis de Bruin (1870 - 1940), two men loading barrels on a quay, oil on canvas, signed lower left: 'Corns de Bruin', 38 x 58 cm
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European school 20th century, a pair: a portrait of a man and a portrait of a lady, oil on canvas, both signed indistinctly lower left, each 29 x 23 cm
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A well-framed set of eight antique French fashion plates, the plates circa 1870, hand coloured engravings, each with printed titles and other inscriptions in the lower margin and each with pencil inscriptions in French to the mount, in uniform moulded mahogany frames, 33 x 22.5 (sheet, visible), 75 x 59 cm (frames overall)
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John Glover (1767-1849), a stone bridge across a river, a house on a hillside beyond, Red-brown ink and wash over pencil, on wove paper, 20 x 31.5 cm
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G.B.H. Austin (active last quarter 19th century), Daylesford, Victoria, an aerial view looking south, watercolour, signed, dated 1880, and inscribed lower right, 19 x 29 cm
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S.T. Gill (1819-1890), an extensive landscape with a river and hills beyond, pen and brown ink and wash over pencil, heightened with white and gum Arabic, signed with initials lower left, 12 x 18 cm (sheet)
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George French Angas (1822-1886), a pair: 'Eagle-Hawk Gully, Bendigo' and 'Forest creek, mount Alexander, from Adelaide Hill', hand coloured lithographs, each inscribed as title and signed within the stone and with further title below, each 25.5 x 35.5 cm (visible within mounts)
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Two antique art works Illustrative of gold mining in Victoria, late 19th century. A view of an early Mt Alexander goldfields camp, signed and dated 'J.T. Macartney 1890' lower left and with various inscriptions to the stretcher bars including 'Golden point, forest creek, mount Alexander ...', oil on canvas, together with two views of the golden Stream gold mining Company's operation at Scarsdale, watercolour over pencil, two sheets mounted as one, with an illegible (faded) ink inscription immediately below…
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Ellis Silas (1885-1972), 'The Patriot', oil on canvas, signed and dated lower left: Ellis Silas / 1914, Indistinctly inscribed to the reverse of the canvas, 94 x 72 cm. Provenance: Galerie d'Art (Barry Garside), Perth, WA, 1979 (with the present title), sold to Hylton Grimmer, Sold from the Estate of Hylton Grimmer, Leonard Joel, Decorative Arts, 8 August 2022, lot 210
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Ackermann, Rudolph, a history of the University of Cambridge (1815), Rudolph Ackermann [publisher], a history of the University of Cambridge, its Colleges, Halls, and public Buildings (R. Ackermann, London, 1815), large quarto, two volumes, in contemporary gilt panelled green morocco, the spines labelled history of Cambridge, all edges gilt, a set without the apparently optional plates of the Founders but with all other plates as called for, i.e. The uncoloured engraved portrait of the Duke of Gloucester,…
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Charles Darwin, on the origin of Species (1860), second edition, second impression ('Fifth Thousand'), Charles Darwin, on the origin of Species by Means of natural selection, or the Preservation of Favoured Races in the Struggle for life (John Murray, London, 1860), Octavo, in the publisher's original blocked green cloth with gilt lettered and decorated spine [Freeman's variant a], the publisher's catalogue at the end dated January, 1860
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Charles Darwin, the expression of the Emotions ... (1872) and three others, 19th century editions including one first edition, a group of four works by Charles Darwin, the expression of the Emotions in man and animals (John Murray, London, 1872) [1st edition, 2nd impression], on the origin of Species by Means of natural selection, or the Preservation of Favoured Races in the Struggle for life, 6th edition (John Murray, London, 1882) ['Twenty-fourth thousand'], the variation of animals and plants under…
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Baldwin Spencer et al, a group of first edition works on Australian Ethnography and Ethnology, a group of three works -, Baldwin Spencer and F.J. Gillen, the native Tribes of Central Australia (MacMillan & Co., London, 1899), Baldwin Spencer and F.J. Gillen, the Northern Tribes of Central Australia (MacMillan & Co., London, 1904), Walter E. Roth, Ethnological studies among the North-West-Central Queensland Aborigines (Edmund Gregory, Government Printer, Brisbane, 1897) [including the 'Ethno-Pornographical'…
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A Finely-Carved European boxwood Corpus Christi, 17th or 18th century, naturalistically sculpted, pinned throught the hands and feet to a mirror within an antique carved and gilt frame, a separate piece of wood with the 'Inri' inscription pinned to the mirror above the figure, 43 x 31 cm (frame overall)
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Three similar European carved and painted figures of Saints or other religious figures, 18th century, each modelled standing on a low stand, the tallest 38.5 cm high
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Two antique carved wood religious figures, 18th and 19th century, a Portugese painted figure and a stained walnut figure of a woman in robes standing and praying, with incised signature the back Bw, the tallest 58 cm high
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A Russian painted and gilt wood icon, late 18th / early 19th century, depicting St Nicholas holding the bible, his right hand raised in benediction, flanked by small roundels depicting Christ and the Virgin, 35.5 x 28.5 cm
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A group of three small antique Icons, variously late 18th and 19th century, the largest depicting the Virgin and child seated in a chalice standing in a pool surrounded by saints and subidiary scenes, another of St Peter with inscriptions in Thuluth script, the largest 21 x 17 cm
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A large Russian painted and silvered fruitwood icon, late 18th / early 19th century, the central scenes of the Resurrection surrounded by twelves scenes from the life of Christ, the borders with inscriptions between floral panels and depictions of saints to the corners, an early inscription to the reverse, the reverse mounted with recent hanging brackets, 44 x 37 cm
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A Russian painted wood icon, early 19th century, depicting the Virgin holding the child Christ, 39.5 x 30 cm
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A European carved and painted wood figure of a man, 18th century, probably a Christian figure, modelled standing in robes looking upwards with his hand on his heart, 99 cm high
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An Antique-style carved marble bust of a young woman, 20th century, modelled as a classical maiden wearing a band of grapes and leaves in her hair, 61 cm high
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An Antique-style carved marble bust of a lady, 20th century, the subject modelled in fine clothing and wearing a hat, 63 cm high
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A George III Rushnip and a steel Lark-Spit of similar period, second half 18th century, the wrought iron rushnip with a candle socket to one arm mounted on a turned wood base, the lark-spit with a bell-shaped pronged frame above a pot ring, both of adjustable height, on a tripod base, the rushnip 26 cm high, the spit 74 cm high
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A pair of Victorian painted cast iron figures of a lion, second half 19th century, identical in modelling, the beast seated on its haunches with tail outstretched on a moulded plinth, in apparently original dark green paint, 37 cm high
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A pocket sundial by Robert Butterfield, in Its painted leather case, early 18th century, the dial signed 'Butterfield a Paris', the engraved brass dial of typical octagonal form with compass and hinged gnomon, fitted in its original leather case decorated to its top and underside with classical landscapes, the case 2 cm high, 8 cm wide, 7.5 cm deep
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A pair of French gilt bronze mantel urns, second half 19th century, of classical design, each with a removable cover with a flamiform finial, 19 cm high
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A set of four European carved marble portraits, 19th century, each of a man in profile, in relief, mounted to velvet backing within a gilt frame, the portraits all 11 x 7 cm. Provenance: The Estate of the late Christopher Seton
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An English glazed earthenware figure of a standing bulldog, first half 20th century, 50 cm high, 71 cm long
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A group of eight late Georgian and early Victorian face screens, second quarter 19th century, two matched pairs and others similar, variously papier mache and wood, all similarly lacquered or painted with Chinoiserie scenes of figures in gardens and landscapes, the largest 38 x 25 cm
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A group of seven painted portrait miniatures, 19th century, various sitters and styles by various artists, the largest 14.5 cm x 12.5 cm (overall)
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A French jewelled gilt bronze inkwell, mid 19th century, the pot of chamfered casket form with monopod figures at its corners raised on a broad base with foliate feet, the pot with a coral cabochon to its cover and malachite cabochons to its front and back, engraved decoration to the cover and base, 6 cm high, 9 cm wide, 7.5 cm deep
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An Italian Micromosaic paperweight depicting the Pantheon, Rome, mid 19th century, the oval mosaic set within a border of red and blue stones in a rectangular black marble plaque with bevelled and fluted sides, 0.9 cm high, 15.5 cm wide, 10.5 cm deep
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Two Egyptian faience Ushabti figures, late period (XXVI-XXX dynasty), circa 600-300 B.C., both turquoise glazed, the well preserved larger figure with hieroglyphs to its front, each with a stand, 12.5 cm and 9.7 cm high respectively (excluding stands)
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