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

Auction House:Leonard Joel Pty. Ltd.Number of lots recorded:280
Sale Title:Decorative Arts & Asian Works of ArtLots with images:280
Auction Location:MelbournePrices available:184
Date:7-Mar-2022
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A Victorian walnut supper table, mid 19th century, the tilting serpentine oval top quarter-veneered in burr walnut, raised on a bulbous pedestal and carved and moulded outswept legs on castors, bearing an Andrew Lenehan printed paper label to the underside of the top, 77.5 cm high x 113.5 cm wide, 151 cm long.
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A Victorian three piece sterling silver tea and coffee service, by James & Nathaniel Creswick, Sheffield, dated 1855, comprising coffee pot, teapot and creamer, each faceted in form with shaped detail to spout, handles and feet, the tea and coffee pot each adorned with a twin flower bud finial, the coffee pot 27 cm high
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A George III sterling silver gravy argyle, by Rebecca Emes and Edward Barnard, London, dated 1810, vasiform, with a removable lid featuring a spherical finial above a reeded border and a shaped wooden handle, raised on a circular foot, 21 cm high, 20 cm wide. Other Notes: 'The argyle (or argyll) is believed to be invented by Duke of Argyll (1682-1761) who promoted the new piece of tableware designed to maintain the warmth of the gravy in its vessel, hence the origin of the name.
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A fine mahogany rosewood marine stick barometer, signed Jones & Graham, Bath St., Liverpool, mid 19th century, the concealed tube with angled ivory plates signed 'Jones & Graham, Bath St., Liverpool', with seven weather predictions and a scale from 27 to 31 inches with rack and pinion manually adjusted vernier, over a long trunk with applied mercury thermometer over an acanthus carved base and turned brass cistern cover, mounted with a brass collar set in a wall-mounted gimbal, approximately 100 cm long
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A Scottish George III mahogany long case clock, by David Norrie, Leith, circa 1790, the polished steel Roman numeral dial within a glazed hood, with a swan neck pediment, centred on an eagle and orb finial, above a case of typical form, the trunk flanked with fluted quarter columns. The hood and case inlaid within boxwood stringing. The eight-day movement, striking on bell, with anchor escapement, 228 cm high, 45 cm wide, 23 cm deep
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A Victorian mahogany open bookcase, 19th century, the moulded cornice above a pair of carved corbels and adjustable open shelves, on a plinth base, 214 cm high, 139 cm wide, 39 cm deep.
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A William IV rosewood library table, early 1830s, the rectangular top with rounded ends above a plain frieze with bead-and-reel lower edge, raised on end standards of paired columns, joined by a turned stretcher, on flattened bun feet with castors, 74 cm high, 149.5 cm wide, 71 cm deep.
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A Victorian mahogany sampler-top wine table, mid 19th century, the glazed rectangular top enclosing a sampler by Ellen White, signed and dated 1842, raised on a Georgian style tripod support, 62 cm high, 46 cm wide, 36 cm deep. Provenance: Private Collection, Adelaide, the Owston Collection, Sydney, 25 June 2010, lot 132.
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A Charles II style oak and split-cane daybed, 19th century, the carved rectangular frame with split-cane inserts and upholstered cushions, with Barley twist rails, legs and stretchers, featuring a carved peripheral rail running along one side below the seat, 90 cm high, 171 cm long, 54.5 cm wide. Provenance: Private Collection, Melbourne, Francis Egerton Grosvenor, 8th Earl of Wilton.
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A Charles II oak side table, circa 1670, the rectangular top, above a frieze drawer raised on bobbin turned supports with conforming peripheral stretchers, original carved decoration to the edges of the top and the front, 77.5 cm high, 72.5 cm wide, 56.5 cm deep. Provenance: Grace Antiques, 1988
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A mid Victorian oak Egyptian themed partner's desk, circa 1860, the leather-lined rectangular top of inverted breakfront outline on the long sides, the receding concave frieze with a central drawer on the principal sides flanked by winged sun motifs carved in relief above the pedestals, the pedestals with drawers on the long sides and false drawer fronts on the return sides, 78 cm high, 214 cm wide, 154 cm deep
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An unusual Royal Doulton pottery ewer, by Florence E. Barlow, first quarter 20th century, of large proportions, the outline decorated with a band of various Art Nouveau scrolls to the neck and foot, the central band decorated with pate sur pate hens in grasslands on a matted ground, incised to underside of base 'Feb' and numbered 878, 41.5 cm high, 23 cm wide including handle
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An Art Nouveau three piece sterling silver tea set, by Walker & Hall, Sheffield, dated 1904, comprising teapot, sugar and creamer, each with stylized acanthus leaf design to rim, raised on a stepped circular foot, approximately 1198 gms total weight including wooden handle, the teapot 17.5 cm high
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A sterling silver pot pourri, by S. Blanckensee & Son Ltd, Birmingham, dated 1919, the boat-shaped body with a pierced floriate cover, one side hinged with a faceted ball finial, flanked with two cast lambs-head handles, and all sitting on a spreading and shaped pedestal foot, approximately 186 gms silver, 8.5 cm high, 19 cm wide, 6 cm deep
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A George IV mahogany extending dining table, late 1820S, the finely figured rectangular top with two spare leaves, extending on a concertina action, on turned and reeded supports, with brass caps and castors, Remnants of BADA sticker to corner of table top, 71 cm high, 237 cm long (extended), 122 cm wide.
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A Morris & Co. walnut framed embroidery inset fire screen, late 19th century, the embroidered inset of floral design, composed from coloured silk, housed behind glass within a walnut frame, standing on two supports united by a turned stretcher. The underside of the apron bearing a stamped commission number 'Morris & Co/ 49 Oxford St Siw/ 1311', 88 cm high, 47 cm wide. Other Notes: for a related screen, please see Exhibit M.28, Victoria and Albert Museum, Centenary exhibition 'William Morris 1834-1896'…
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A George I style walnut and upholstered sofa, late 19th/Early 20th century, the straight back above outswept arms, raised on cabriole supports with ball and claw feet, upholstered in a cream floral decorated silk, 98 cm high, 143 cm wide, 85 cm deep
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A pair of English porcelain lidded urns, first half 19th century, each of campana form, painted with floral reserves on a cobalt blue ground with gilt highlights, surmounted by a pierced lid with flamiform finial, 33.5 cm high
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A Royal Worcester hand painted and gilded vase, attributed to Robert Perling, circa 1871, of tapering form, the central reserve depicting the 1848 painting of 'Alexander & Diogenes' after Sir Edwin Landseer RA, attributed to Robert F Perling, set against a rich teal ground with gilded and beaded decoration, the whole flanked by two handles, each adorned with beaded garlands, all raised on a circular quadripartite foot, Royal Worcester factory mark to base, above the number 71 (crown faded from mark), 45.5…
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A sterling silver topped crystal claret jug, by William and George Sissons, Sheffield, dated 1863, of baluster form, the lower body in crystal, engraved with a repeating star design below a sterling silver upper body, embossed with flowers, shaped borders and two blank oval cartouches to either side, 25 cm high, 15 cm wide
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A sterling silver mounted crystal claret jug, by William and George Sissons, Sheffield, dated 1871, of tapering form, the central crystal body nicely engraved with various fern specimens, the upper and lower body in sterling silver decorated with a beaded trim and garlands motifs. The hinged lid bearing a hound' crest, 27.5 cm high, 15 cm wide
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A good quality sterling silver gilt topped crystal claret jug by Charles Edwards, London, dated 1876, the heavy crystal body intricately cut with faceted designs, with a decoratively cast silver gilt mount and handle, featuring a separately hinged lid and spout, 28.3 cm high, 15.5 cm wide
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A George II style walnut settee, 19th century, the shaped back support and seat upholstered in modern black velvet, raised on six cabriole legs, 102 cm high, 188 cm wide, 56 cm deep
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A Royal Worcester 'Highland Cattle' pot pourri, painted by Harry Stinton, circa 1940S, of compressed ovoid form, the body painted with highland cattle scene to one side and mountainous landscape to the other, signed 'H Stinton'. Black factory mark to base, model no. 2048, 23.5 cm high
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A pair of Royal Worcester 'Highland Cattle' vases and covers, painted by John Stinton, dated 1911, each of ovoid form, the body painted with highland cattle scene to one side and mountainous landscape to the other, signed 'John Stinton'. Impressed signature 'Hadley' to the top corner of each vase. Puce factory mark to base, model no. 1399, 40 cm high
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Two rare Worcester (Barr, Flight and Barr) porcelain armorial monogrammed plates from 'The George III Service', circa 1807-1813, the centre finely painted with the Royal Coats of Arms, the shield encircled by the order of the Garter ribbon, the broad cobalt blue border enriched with crowned 'GR' monogram with gilded oak leaves and acorns between sprays of laurels, 20.5 cm diameter. Provenance: Private Collection, Melbourne.. Other Notes: King George III originally commissioned this service in 1805 and…
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A Roman marble sarcophagus panel, circa 2nd-4th century A.D, a section of a sarcophagus panel, depicting two figures both wearing short tunics, the drapery of which is naturalistically carved to emphasize their movement, particularly in the case of the figure on the right who appears to be lunging to his left, both figures with short, drilled hair, the gestures and position of the figures suggest that this is possibly a scene portraying a mythological battle, often a trope of sarcophagus decoration.…
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A Roman-Egyptian Cartonnage panel, circa 1st century B.C, the first register depicting the Ba bird hovering above the mummy with goddess Isi and goddess Nephthys. The lower register depicting four Sons of Horus and other deities with lotus flowers. Set on custom made stand. Accompanied with certificate of authenticity from BC Galleries, approximately 74 cm high, 44 cm wide. Provenance: BC Galleries, Melbourne.
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An Egyptian bronze mirror, middle Kingdom (2050-1786 B.C.), the circular bronze mirror mounted on a later wooden handle, accompanied with certificate of authenticity from BC Galleries, 41 cm total height, the mirror 19 cm diameter. Provenance: BC Galleries, Melbourne.
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A Persian glass bottle, circa 10-13th century A.D, of bulbous form, moulded with geometric motifs, accompanied with certificate of authenticity from BC Galleries, 7.5 cm high, 6 cm diameter. Provenance: BC Galleries, Melbourne.
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An Egyptian limestone votive canopic jar, circa late period (600-300 B.C.), of typical form, modelled as the god Imsety, god of the liver, represented with a human head, 29.5 cm high. Provenance: Ex. F. Ayub collection, London.
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A green glass shallow bowl, Levant, circa 4th to 7th century A.D, seated on a round circular foot with raised trail motif on the bottom outer rim. Together with a custom display stand, the plate 18.5 cm diameter. The stand 26 cm high
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A Greek silver Ar Larissa Thessaly Drachm, circa 400 - 360 B.C, Obverse: youth running facing left, naked but for chlamys billowing out behind him, restraining prancing bull, reverse: Greek legend above and below a galloping horse facing right, including the original storage sleeve with the previous collector's catalogue notes.. Provenance: Ex. A Maurici collection, Sydney.
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A group of three Sassanian stone stamp seals, circa 4TH-6th century A.D, comprising a banded agate stamp seal depicting a stylized bird, a chalcedony stamp seal, the surface engraved with an image of a nobleman in profile and a rock crystal stamp seal engraved with an image of a zebu bull. All set onto custom stands with chalk impressions of each seal, each stand 7 cm high
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A South Arabian alabaster incense burner, circa 1st century B.C. To 1st century A.D, of circular form with a ribbed exterior, resting on three legs, 7 cm high, 8.5 cm diameter. Provenance: Ex Colonel H.F. Jacob collected in situ, Ex Charles Ede, London
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An ancient Grecian Didracham silver coin, Corinth, Greek Empire, late 5th to 4th century B.C, Obverse: Athena Pallas, reverse: Pegasus, weight: 8.5 gms, including the original storage sleeve with the previous collector's catalogue notes.. Provenance: Ex. A Maurici collection, Sydney, Literature: For a similar coin please see Ravel, plate 353, page 144.
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A finely moulded Tanagra female figure, circa 300 B.C, finely moulded, the figure modelled as a female carrying a vessel on her head. Presented on a custom display stand, accompanied with certificate of authenticity from BC Galleries, 33 cm total height. Provenance: BC Galleries, Melbourne.
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A Roman bronze ring with a garnet bezel, Levant, circa 1ST to 4th century A.D, the bezel engraved depicting a rampant lion.. Provenance: Ex S. Kovar collection, East Australian trading, sale no: aa201508, August 10th 2015, lot 63
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M L Poum Malakoul (Thai-French, 1910-1973), village scene 1966, oil on canvas, village huts nestle beside a forest, with hills behind. Housed in a simple hardwood and giltwood frame, 57 cm high, 68 cm wide. With frame 68 cm high, 79 cm wide. Provenance: purchased in Thailand, 1963-1968, Allan Henry Loomes OBE (1917-1990), and thence by descent. Allan Loomes was Australian Consul-General to Thailand (1949-1952) and Australian Ambassador to Burma (1958-1961), Thailand (1963-1968), south Korea (1968-1971),…
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M L Poum Malakoul (Thai-French, 1910-1973), temple Complex 1968, oil on canvas, Impressionistically painted with a large tree in the foreground, and a Thai temple scene with stupas and mountains behind. Housed in a simple hardwood and giltwood frame, 62 cm high, 78 cm wide. With frame 77 cm high, 92 cm wide. Provenance: purchased in Thailand, 1963-1968, Allan Henry Loomes OBE (1917-1990), and thence by descent. Allan Loomes was Australian Consul-General to Thailand (1949-1952) and Australian Ambassador to…
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A pair of Burmese mirror-inlaid Buddhist guardian lions, Mandalay period (1857-1948), carved as standing lions with gilded finish and inlaid with coloured mirrors, each approximately 40 cm high, 21 cm wide.
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A Burmese red lacquer temple offering tray, Shan States (1555-1885), 19th century, the red lacquer pedestal-footed tray of simple cylindrical form, accompanied by a Japanese furoshiki carrying cloth, 24 cm high, 40 cm diameter.
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A Khmer bronze elephant bell, Angkor period (802-1351), 12th/13th century, decorated to the sides with stylised foliage, and covered in a beautiful verdigris patina. Together with a wood and brass stand, the bell 17 cm high, 11.5 cm diameter. With stand 23.5 cm high.
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A large Philippine Islands wooden ceremonial spoon, Ifugao people, 19th/early 20th century, carved with a standing human figure finial, with a fine old patina. Together with a black metal stand, the spoon 24 cm high, 8.5 cm wide. With stand 24.5 cm high. Provenance: Gordon Menzie, Portland Oregon, Seattle after 1970.
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A Philippine Islands ceremonial spoon, Ifugao people, 20th century, carved with a double standing figure finial, with a fine old patina. Together with a black metal stand, the spoon 20 cm high, 7 cm wide. With stand 20.5 cm high. Provenance: Gordon Menzie, Portland Oregon, Seattle after 1970.
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A pair of Philippine Islands wooden guardian figures 'Bulul', Kababuyan Ifugao people, early 20th century, carved in narre wood as two standing figures on integral rectangular plinth bases, one male and one female, each approximately 48 cm high, 15 cm wide.
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An Indian carved wooden pedestal, circa 1910, with a hexagonal top, intricately carved and pierced with foliate decoration, the three feet carved in the form of elephants, 137 cm high, 53 cm diameter.
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A South Indian bronze figure of Balagopala Krishna, 19th century, Krishna depicted as Balagopala lunging forward on one knee, holding a butter-ball in one hand, the other resting on a vessel of milk, 15.5 cm high, 12 cm wide.
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A Gandharan carved bone fertility figure, ancient Region of Gandhara, circa 2ND-3rd century, very finely carved as a seated female holding grapes up with the right hand, with a baby resting in her lap. Together with a fitted perspex stand, the carving 9 cm high, 3.25 cm wide. With stand 10.75 cm high
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A Gandharan carved bone cup fragment, ancient Region of Gandhara, circa 2ND/3rd century, depicting a male and female figure surrounded by a flame nimbus. Together with a fitted perspex and brass stand, the cup 7.5 cm diameter.
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A large Japanese Hokuriku Ware storage jar, Heian (794-1185) or Kamakura period (1192-1333), Generously potted in globular form with four ears to the shoulder, and a gently flaring mouth, 44 cm high, 36 cm diameter.
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A Japanese Bizen Tsubo, Edo period (1603-1868), dated 1621, with three ears to the shoulder, and goma glaze to the mouth rim, dated 1621 to the side with inscribed Kanji, 33 cm high, 23 cm diameter.
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A Japanese Kakiemon style 'Shishi and Peony' dish, Edo period (1603-1868), 1670-1690, with lobed, foliate rim, decorated with a shishi on one side and a peony on the other in Kakiemon enamels, 2.75 cm high, 18.5 cm diameter.
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A Japanese blue and white vase, by Kanzan Denshichi (1821-1890), Meiji period (1868-1912), in Chinese style as a covered vase with decoration of chrysanthemum, plum blossom and bamboo leaves against a cracked ice ground in underglaze blue, 18 cm high, 11.5 cm diameter.
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A Japanese blue and white bowl, by Kawamoto Hansuke IV, Edo period (1603-1868) or Meiji period (1868-1912), circa 1850s, decorated with medallions of diaper patterns overlapping to the sides, six character mark to the base, 11 cm high, 23.5 cm diameter.
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A Japanese blue and white censer, by Takahashi Dohachi IV (1845-1897), Meiji period (1868-1912), the rectangular censer resting on four cabriole legs, decorated with landscape scenes to the front and rear, with shishi handles and finial to the lid. Marked 'Dohachi' to the base, 13 cm high, 12.5 cm wide.
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A Japanese Hirado okimono of a puppy, Edo period (1603-1868) or Meiji period (1868-1912), 19th century, modelled as a seated Akita pup, the eyes unglazed. Exhibition label to the base, 8.5 cm high, 9 cm wide, Exhibitions: 'The Japanese Aesthetic', ceramics and glass circle of Australia, 2006/2007, Literature: the Japanese Aesthetic: three centuries of Japanese porcelain design and Western Interpretation, Patricia Begg, 2006
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A Japanese studio blue and white dragon vase, by Koransha, Meiji period (1868-1912), very finely decorated in underglaze blue with a writhing dragon amidst clouds. Koransha orchid mark to the base, 24 cm high, 21 cm diameter.
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A Japanese studio morning glory vase, by Fukagawa, Meiji period (1868-1912), circa 1890s, of waisted trumpet form, decorated in underglaze blue, enamels and gilding with scrolling morning glory flowers and foliage. Mount Fuji mark and 'Fukagawa zo' in underglaze blue to the base, 31 cm high, 15 cm diameter.
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A pair of Imperial Japanese blue and white tea bowls, Meiji period (1868-1912), the finely potted porcelain teabowls of graduated size, decorated with the sixteen petal Imperial 'Kikumon' interspersed with butterflies and bamboo leaves. Manufactured by the Tsuji Hitachi kiln by order to the Japanese Imperial household, the larger bowl 5.25 cm high, 10.25 cm diameter.
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A large Japanese Satsuma bowl, Meiji period (1868-1912), scenes of Chinese sages with sprays of gold and continuous lappets to the outer rim, unsigned, 13.25 cm high, 31 cm diameter.
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A large Japanese Satsuma jardiniere, Meiji period (1868-1912), charming and highly decorated scenes of the court with accompanying sprays of moriage style gilt flowers and other stylised polychrome designs, unsigned, 27.5 cm high, 31 cm diameter.
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A Japanese Kutani vase with Aesthetic movement bronze mounts, Meiji period (1868-1912), the vase with two decorative registers on a gold and iron red 'Kinrande' ground, the upper register a flight of cranes, the lower register a castle scene en grisaille. With contemporary European bronze mounts in Aesthetic movement style, 43 cm high, 19 cm wide
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A Japanese Kyoyaki okimono of a crane, by Rokubei V (1875-1959), Taisho period (1912-1926) or Showa period (1926-1989), modelled as a recumbent crane in enamelled earthenware. Together with a signed tomobako, 7.5 cm high, 19 cm wide.
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A large Japanese Keyaki 'Ebisu Style' Jizai Kagi (kettle hook), Edo period (1603-1868), 18th/19th century, the J-shaped hanger carved from Zelkova and constructed with chamfered edges, pegs for suspension from the ceiling or roof beams, and wood patinated to a warm reddish brown colour, 46 cm high, 52 cm wide.
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A Japanese split-weave bamboo and root wood ikebana basket, Meiji period (1868-1912), the tall basket featuring red and yellow split bamboos, with a gnarled wisteria handle, 53 cm high, 23 cm diameter. Provenance: Private Collection, Melbourne, Francis Egerton Grosvenor, 8th Earl of Wilton
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A Japanese quilted Mulberry kimono cabinet, Taisho period (1912-1926), unusual three tiered cabinet with highly grained drawer and cupboard fronts. Handles and pulls redolent of the early 20th century, 174 cm high, 118 cm wide, 44 cm diameter
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A Japanese Chadana tea cabinet, Meiji period, 19th/ 20th century, elegant two tiered cabinet with forged iron handles and fittings. The top section with glass insert sliding doors, 173 cm high, 96 cm wide, 38.5 cm deep
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A small Japanese Tansu, Edo period (1603-1868), possibly a ship's tansu, the six drawer unit in Keyaki wood decorated in iron fittings with a warm patina, 40 cm high, 47 cm wide, 36 cm deep.
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A pair of Japanese lacquer round Hokkai picnic boxes, Meiji period, Roiro-nuri (black) lacquer and gold maki-e floral designs of of Kamon (family crests), bamboo leaves to top and original gold silk braided ropes and tassels. Each of the legs mounted on the sides with engraved copper Kanagu (fittings). Unsigned, approximately 43 cm high
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Two Japanese carved lacquer boxes, Taisho period 1913-1927, two carved cinnabar lacquer boxes, one of square form and finely decorated with peonies, the other a Kogo (incense container) for the tea ceremony carved with a stylised chrysanthemum theme, unsigned, 5.5 cm x 15 cm x 15 cm & 2.5 cm x 8 cm
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A Japanese carved lacquer Goldfish lidded box, Meiji / Taisho period, finely carved cinnabar container in the shape of a stylised goldfish with finely carved brocade design and black roiro lacquer to the interior, 6 cm high, 15.5 cm wide, 12 cm deep
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Two Japanese Shibuichi metal Hikite door pulls, Meiji / Taisho period, early 20th century, superbly worked metal door pulls in Shibuichi (silver / copper alloy), 16 cm diameter
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A set of four Japanese copper and alloy Hikite door pulls, Meiji period (1868-1912), each 11.5 cm x 10 cm
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A Japanese Staghorn okimono, Meiji period (1868-1912), ornately carved in the form of a Karashishi (Chinese lion), the mythological creature standing proud with its mouth open and uttering the 'Aum' or 'seed of the universe' sound. It's hair and tail in flowing locks, 8.5 cm high, 5.5 cm wide, 3.5 cm deep
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Two wood Japanese netsuke, Meiji period (1868-1912), the first a Tanba school style model of a tiger in wood, its tail curled around the body and eyes inlaid in horn and the legs joined forming the himotoshi, unsigned. The second a well carved boxwood Shishi (Chinese lion) group sitting in a protective stance, eyes movable, unsigned, 3.5 cm high & 3 cm high
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A Japanese Buddhist priest head, Muromachi period (1336-1573), 15TH-16th century, with black and green polychrome decoration of a priest carved from a single block, traces of gesso and mounted on a modern stand, 22.5 cm high
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A Japanese bronze elephant Sculpture*, by Tsunemitsu, Meiji period (1868-1912), modelled as a trumpeting elephant being attacked by two tigers, with one tiger underfoot at the front whilst the other attacks from behind clambering over its back, the elephant's skin naturalistically textured and tigers' patinated, signed under the front right foot, Tsunemitsu, the bronze 41.5 cm high
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A Japanese Murashi-Do bronze vase, Meiji period (1868-1912), of classic baluster shape featuring a beautiful red patina with green highlights, 31 cm high, 25 cm diameter.
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Paul Jacoulet (1896-1960), circa 1950, Joaquina et SA mere au Sermon du Pere Pons, woodblock print, 42.5 cm x 33 cm
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Paul Jacoulet (1896-1960), circa 1950, Le Chemin a L'eglise. 'Chamorros de Guam', woodblock print, 41.5 cm x 33 cm
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Toshi Yoshida (Japanese, 1911-1995), from the Ryogoku bridge, 1939, colour woodblock, from the Tokyo night series, signed with the artist's name and seal within the block and inscribed in Japanese with the date (1939) in the margin, titled and signed in pencil in the lower margin. Mounted in a fine, custom made oriental style frame, 19 cm x 26 cm
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Toyohara Kunichika (1835-1900), Tsuchigumo (the earth spider), 1866, Oban triptych woodblock, signed, 36 cm x 71 cm
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A pair of Japanese six panel screens, Meiji period (1868-1912) / Taisho period (1912-1926), polychrome ink and sumi and gold leaf, the right hand screen featuring a riverside residence amongst mountains, pines and blossom with figures enjoying music making and taking a boat trip, the left screen with travellers returning to a hillside retreat, figures practising elegant pursuits and circling manchurian crane, each panel 174.5 cm x 62.5 cm x 2 cm
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A Japanese six panel folding screen, Meiji period (1868-1912), Expansive design of hills and pines overlooked by the mystical shape of mount Fuji. The design worked in ink over patinated silver leaf and with signature of Akemi, each panel 172 cm x 63.5 cm x 2 cm
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A Japanese Rinpa school scroll painting, Edo/Meiji period, classic Rinpa theme of the mythological mountain in the fortunate islands of paradise. Colours on silk depicting crashing waves, lush green mountains and a lone crane awaiting the arrival of two others whilst the sun disappears. Mounted on traditional brocade and signature and seal of Sakai Hoitsu (1761-1828), 186 cm high, 52 cm wide. Other Notes: Sakai Hoitsu was born in Edo. He was the second Son of the Lord of Himeji castle in Harima Province.…
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A Japanese scroll painting, Edo period (1868-1912), 19th century, depicting the descent to earth of the Amida Nyorai Buddha, standing on a lotus blossom and surrounded by rays of light. Mounted on period silk brocade with both the Imperial chrysanthemum and Toyotomi Kamon (family symbols), 62.5 cm high, 21.5 cm wide
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F. De La Poer (probably Frances de la Poer, Irish, 1851-1925), near Ikao, Japan, 1898, after the great storm, Atami, Japan, 1898, watercolour on paper, 'Near Ikao' features a grand scene of a rice farmer in the foreground beholding a Shinto shrine across rice paddies with mountains behind, signed F. De la Poer, dated 1898, 'After the great Storm' depicts people salvaging wreckage from the beach with the town of Atami in the background, signed F. De la Poer, dated 1898, each approximately 17 cm high, 35 cm…
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A Tibeto-Chinese gilt-bronze figure of Amitayus, Qing Dynasty (1644-1912), 18th century, the well cast figure seated on a double lotus throne with hands clasped in dhyanamudra, richly gilded and with fine incised decoration, 16.75 cm high, 12 cm wide. Provenance: The Josef Neumann collection, Lawson's, Sydney Australia, 27th & 28th April, 1999.
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A Tibeto-Chinese gilt-bronze figure of Buddha, Qing Dynasty (1644-1912), 18th century, the gilt-bronze figure rests on a double lotus base, with very finely modelled hands and facial features, and very fine incised details in the robe, 11 cm high, 8 cm wide. Provenance: Raymond & Victoria Tregaskis, 1997.
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A Tibetan iron and copper alloy Phurba, 14th-17th century, decorated to the top with the three crowned heads of the deity Vajrakila, the triple-edged blade emanating from a makara's mouth. Together with a black metal stand, the phurba 26 cm high, 4 cm wide. Provenance: Evellyne Vendioux, Paris.
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A Tibetan or Nepalese wooden 'Phurba', 19th century, the finial carved with the three heads of the deity Vajrakila, the three-edged blade emanating from the open mouth of a makara. Together with a black metal stand, 29.5 cm high, 4.5 cm wide. With stand 30 cm high.
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A Chinese Fuzhou Bodiless lacquer figure of Shou Lao, Qing Dynasty (1644-1912) or Republic period (1912-1949), modelled as Shou Lao walking with a fruiting peach bough over one shoulder, holding a peach in his left hand, 23 cm high, 11 cm wide.
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A Chinese white and black jade figure of Liu Haichan, Qing Dynasty (1644-1912), 19th century, modelled as a youthful Liu Haichan reclining, holding a coin in one hand and with the three-legged toad Jin Chan in black jade climbing up his sleeve, 4.5 cm high, 5.75 cm wide.
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A Chinese pale celadon jade dragon plaque, Qing Dynasty (1644-1912), carved as a recoiling dragon, 4.5 cm high, 6.25 cm wide.
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A Chinese jade plaque and jade and carnelian bead necklace, Qing Dynasty (1644-1912) and later, the plaque of pale grey jade carved as a bamboo segment, together with a necklace of old jade and carnelian beads, the plaque 4.75 cm long.
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A Chinese turquoise and carnelian bead necklace, Qing Dynasty (1644-1912) and later, comprising alternating antique carved turquoise bat-form beads and modern carnelian beads, 30 cm long.
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A pair of Chinese Beijing glass Imitation Realgar vases, Qing Dynasty (1644-1912), circa 19th century, the carved baluster-form vases fashioned from brown and red marbled glass, in imitation of the mineral realgar, 21.75 cm high, 10 cm diameter.
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A Chinese silk brocade Surcoat, Qing Dynasty (1644-1912), 19th century, the cream silk with patterns of crane roundels and gourds, with blue embroidered sleeve endings and a border of purple, green and black, pale blue silk lining.. Provenance: Judith Rutherford antique Chinese textiles, Sydney, acquired from the above 2013.
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A Chinese silk embroidered mother-of-pearl inlaid Hongmu screen, Qing Dynasty (1644-1912), 19th century, the hardwood screen finely inlaid with scrolling foliate designs in mother-of-pearl, with Buddhist guardian lion feet, inset with a very fine silk pictorial embroidery depicting birds under a pine tree including peacock, eagle, pheasant, cranes and paradise flycatchers, 106 cm high, 64.5 cm wide, 28 cm deep.
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