The 198 lots range from jewellery and small work to larger items of hollow ware, tableware and presentation pieces.
Mounted emu eggs features strongly, ranging from the mundane to the impressive – such as the casket (Lot 180 ), a second slightly more modest example (Lot 68 ) and the “grotto” scene ink well (Lot 61 ).
There is the very rare presence of an Alexander Dick part flatware service (Lot 40 ), and tea service (Lot 41 ) by this Sydney maker.
Items of great quality, if not complexity, are featured, such as the trowel (Lot 133 ) which carries a solid estimate of $60,000 to $80,000 as if to underline this point.
Of great academic interest is the large (nearly 2 kg in weight and 40.5 cm tall) William Edward of Melbourne, claret jug (Lot 25 ) given to the wife of the Mayor of that city in 1859.
Not only of strong topographical interest, and by one of Australia’s most prominent silversmiths, its design links it to 16th century European Mannerism and the “Schatzkammer” style reflected in Australian silver, generally circa 1860 to 1900 (see Australiana, May 2004, vol 26 no.2, The Schatzkammer and the Antipodes). It is a notably early example of this influence which is rarely reflected outside the mounted emu egg. It is a particularly important piece of Australian silver for many reasons and this is reflected in an estimate of $80,000 – $120,000. Most of the more usual other jug or ewer forms are well represented in the sale.
The catalogue is usefully indexed and most of the better known silversmiths and manufacturers are easily found. Not only the previously mentioned Dick and Edwards, but also Wendt and Steiner (particularly see the Gold Cup lot 100), both of Adelaide, and from Geelong, Edward Fischer (see lot 85 for an important claret jug).
Also to be found are, amongst others, Drummond, Dawson, Brunkhorst, Qwist and W.H.Stevenson
Also included are a number of less frequently encountered names such as Alfred Lorking and the elusive Schafer - but apparently no work from Hogarth and Erichsen, or the early N.S.W. hammer men Felix Lyn, Robert Broad, and James Robertson, or the Tasmanian, Barclay. However the geographical coverage is augmented by F.J.Mole of Queensland and a tea caddy by the New Zealander maker, Frank Grady.
Another feature of the catalogue is that it includes a number of useful short essays. John Hawkins writes about “Edwards embossed wares 1858 – 1863” and “The egg and the silversmith” and other matters. This helps not only to flesh out the catalogue but promotes the catalogue as a useful reference work.
The introduction includes “A statement from the Foundation” by Professor Andrew Vizard. This explains the collection, including details of where it has been exhibited. If there were a “wish lit” for the catalogue it might be the inclusion of a few more dates (of objects), illustration of some of the more interesting marks and a slightly less satanic black background for the photography.
Many of the items will be attractive only to the better shod purchaser – witness the trowel and claret jug noted above. The estimate on the gold Hunt Club cup (Lot 100 ) is $150,000 to $250,000 – to which of course one must add the buyers premium, which the catalogues states is 25%, marginally reducing to 22% on amounts over $100,000.
This lifts the final buying price of, for example, the splendid Walsh Bros Melbourne University presentation trowel (lot 164, estimate $80,000 to $120,000) to $100,000 if bought at low estimate. This may appear daunting and there are indeed a significant number of items for which buyers will need to pay in excess of $50,000 all up, if they are to be sold.
Is the market sufficiently deep? Are there enough players? On the one hand there is, after all, a good offering of items in the “drive away” price range of $10,000 to $15,000, and not everything has a beefy estimate or “four figures” after the dollars sign.
How about a pair of Drummond, kangaroo paper weights (Lot 47 ) at $200 to $300, or a vesta case by Steiner (Lot 67 ) at $400 to $600?. And what If somebody wanted to buy the whole sale - all 198 lots? At low estimate it would come in at slightly over $1.5 million (slightly under $2 million with buyer’s premium). Hardly a shattering sum in art market terms! That’s how many Brett Whiteley’s??
This is an event, not just a sale. Lawson-Menzies has pulled together an extraordinary offering. There’s something for almost everyone. But even if you are not a buyer you should know about it. That is if you have any interest in precious metalwork or Australiana - or if, indeed, you are just a little curios. Whatever happens, it will be a landmark auction.