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European and Australian Decorative Arts and Fine Furniture — Leonard Joel Pty. Ltd.

Articles on this Sale

Auction House:Leonard Joel Pty. Ltd.Number of lots recorded:480
Sale Title:European and Australian Decorative Arts and Fine FurnitureLots with images:460
Auction Location:MelbournePrices available:299
Date:5-Jun-2011
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A Val Saint Lambert glass bowl, circa 1960s, the rectangular bowl in translucent royal blue rising from a clear blocked base, incised Val St. Lambert to base, 40 cm long.
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A Goldscheider Art Deco porcelain figure, 'Suzanne', signed J. (Josef) Lorenzl, early 20th century, the standing, semi-draped woman modelled with a plum patterned cloak mounted upon a black painted dome, stamped Lorenzl Goldscheider, made in Austria, with paper label and further impressed numbers to base, 33.5 cm high.
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A Georg Jensen sterling silver jug designed by Sigvard Bernadotte (1907-2002), circa 1945, of ovoid ribbed form surmounted by a plain collared spout and looped handle, signed Sigvard and stamped Georg Jensen Denmark sterling, 856, a to base, 4421 grs. Total silver weight, 16.5 cm high.
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A group of English and Australian sterling silver items, comprising a finial cast as an Aboriginal male with a boomerang held aloft, Drummond (William), Melbourne, 1890; a bull shaped cruet, Adie & Lovekin Ltd, Birmingham, 1908; a hoof shaped crumb brush, Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, Chester, 1899; and an anamalier baby rattle in the form of a bear, Birmingham, 1912, the Aboriginal figure 10 cm high.
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An Edwardian framed miniature on ivory, signed an and dated 1910, the portrait of a pretty young lady set within a gilt metal surround and further incised to verso Peggy Woolrabe July 1907, 10.5 cm high.
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A pair of continental porcelain figures Late 19th century Modelled as a gentleman and his lady companion, each in brightly coloured and pattern attire, raised on a naturalistically modelled base, underglaze blue factory mark, the tallest 51 cm high
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A pair of sterling silver candlesticks, makers mark Hawksworth, Eyre & Co Ltd, Sheffield, circa 1911, each fashioned as an octagonal columnar form waisted and with a flattened pan above raised on a tapered foot incised with dedication 'Captain E.E. White, from his brother, officers, 9 July 1912', ( weighted bases ), 27 cm high.
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A sterling silver two handled cup, makers Mark Walker & Hall, Sheffield 1925, the wide rimmed bowl flanked to each side by high looped handles and extending towards a circular footed base, stamped to side, 720grs. Total silver weight, 24 cm high.
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A group of three Victorian card cases 19th century, the first rectangular and cushion cut inlaid with tortoiseshell veneer and mother of pearl borders with a concertina insert internally, the second a rectangular flip top inlaid with tortoiseshell veneer and thirdly a small rectangular flip top inlaid with mother of pearl and abalone shell, the largest 11 cm long.
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An Edwardian sterling silver commemorative cup, makers mark Charles Westwood & Sons, Birmingham 1907, the deep sided cup with gadrooned exterior and incised dedication 'Wanganui Guard's, Company Cup', raised on a footed base, stamped to side, 416 grs. Total silver weight, 18 cm diameter.
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A Victorian sterling silver and glass dressing table set, maker's mark Thomas Whitehouse, London, circa 1853 housed within a low set coromandel lidded box with pop out mirror and jewellery card, the six piece set comprising a pair of small tubular lidded jars, two narrow rectangular lidded boxes of varying lengths, a short rectangular lidded box and a lidded perfume bottle, the silver lids decorated with engraved floral vignettes, stamped to the underside, the box 24.5 cm long
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A fine pair of porcelain figural candelabra Possibly Sitzendorf, each with a stem moulded at the base with a figure of a woman and child, beneath a three arms terminating in sconces, a further sconce to the centre, raised on a shaped square base with applied floral bocage, underglaze blue mark, 47 cm high.
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A set of four 19th century mahogany dining chairs, each with a feather carved crest rail, above a pierced horizontal splat and a drop in seat, raised on reeded legs.
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A pair of sterling silver encased glass vanity jars, makers mark Henry Matthews, Birmingham, circa 1919, each of a tall rectangular and facetted form fully encased within a pierced silver surround with shaped cartouche voids and with high domed repousse decorated lids, stamped to the inner collar,15.5 cm high.
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A Victorian dressing box, circa 1860, the rectangular coromandel box opening to reveal a hidden document sleeve to lid and a fitted interior with lift out tray all containing a collection of various glass jars and dishes, below a secret pop out jewellery drawer all lined with purple satin and velvet, the box 35 cm wide.
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An Edwardian sterling silver vanity set, maker's mark Jay, Richard Attenborough Co Ltd, Chester, circa 1905, the six piece set featuring an ocean scene of a Viking ship at sea surrounded by rolling waves and seashell motifs, including two clothes brushes, two hair brushes, one mirror, and one comb all housed in an accompanying box of the period, the box 43.5 cm wide
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A Royal Doulton porcelain vase, circa 1910, signed, a Brown, of ovoid form, with a flared rim decorated with a bloom of pink roses on a mottled green ground, green factory mark to base, 21 cm high.
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A plaster relief plaque depicting Peter Paul Rubens (1577-1640) 20th century 60 cm diameter.
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Remued Victoria, circa 1934-1940, a group of three earthenware vessels, comprising a small vase with dimpled body and flared rim incised 277,a small high lipped jug with applied gum nut and leaf with branched handle incised 119/ M and a small low waisted double bulged vase incised 23, each also incised Remued, the tallest 16 cm.
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European School Lady in a Dressing Room oil on board signed lower left 39 x 31 cm
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Ernest Bordes (1852-1914) Interior Scene oil on canvas signed lower left 31.5 x 39.5 cm
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Ernest Bordes (1852-1914), the Procession oil on board signed lower left 25 x 39.5 cm
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Arthur John Fleischmann (1896-1990), 'The Nun', terracotta with applied underglaze signature incised 'A. Fleischmann' to lower left back, 42 cm high
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Remued Victoria, circa 1935 Baluster, earthenware vase with applied gum nuts and leaves, green and yellow drip glaze, incised Remued 42/Lm, 20 cm high.
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Remued Victoria, circa 1934 an earthenware jug, of tapered cylindrical form with a pinched spout and applied gum nut and leaf decoration extending into a branched handle, drip glazed in plum, turquoise and cobalt, incised to base possibly 189M (indistinct) Remued, hand made, 1934, 19 cm high.
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Arthur Merric Boyd (1920-1999), Neil Douglas (1911-2003) & John Perceval (1923-2000) Victoria, circa 1950 Circular earthenware dish, brightly painted with Australian flora and fauna, in tones of blue, green and yellow, incised, Douglas, Perceval & A.M.B, 25.5 cm diameter.
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William Ricketts (1898 -1993) Victoria, circa 1937, a cylindrical earthenware jug with a bark like surface displays a kookaburra in low relief perched in the bough of the single branched handle all glazed khaki green, (chipped rim with some saved fragments) incised Potters Sanctuary, Mt.Dandenong, 1937, W.R, to base, 17.5 cm high.
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John Castle Harris (1893 -1967), circa 1940, a low sided rectangular earthenware trough with a pinched rim displaying a diagonal lily pad branched handle upon which a frog in high relief rests, incised Castle Harris to base, 30 cm long.
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Arthur Merric Bloomfield Boyd (1920-1999), circa 1950, the flattened earthenware dish displays a vivid Australian landscape scene of native flora and fauna, incised Amb to verso, 22 cm diameter.
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William Ricketts (1898 -1993) Victoria, circa 1936, a cylindrical earthenware jug, modelled as a gum tree trunk features an Aboriginal elders portrait in low relief below the spout and behind a single branch shaped handle, incised Wm. Ricketts, Potters Sanctuary, Mt. Dandenong, 1936 to base, 11 cm high.
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Remued Victoria, circa 1938 An earthenware branch handled vase with an applied modelled koala, drip glazed in green and ochre, incised to base Remued, 314 / 5B and with original label to neck, 13 cm height.
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Grace Seccombe (1880 -1956) New South Wales, circa 1930 An earthenware napkin ring formed as a flat base with single curled branch above and with a single koala nestled to one side, incised Grace Seccombe, NSW to base, 8.5 cm long.
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Remued Victoria, circa 1937, a rare pair of earthenware bookends each naturalistically modelled as a koala nestled on a stump all glazed in beige and green, incised Remued to base and with partial original label to stump, 15 cm height.
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Grace Seccombe (1880 -1956) New South Wales, circa 1930 An earthenware napkin ring modelled as a flat base with single curled branch above and with a single kookaburra perched to one side, incised Grace Seccombe, NSW, and with original paper label from the Primrose Pottery Shop in Melbourne to base, 9 cm long.
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Remued Victoria, circa 1934-1940, a large earthenware jug, cylindrical, with a flared rim, applied with gum nuts and leaves extending into a split branch handle all glazed in jade green and ochre, incised to base Remued, 54 Lm (hairline crack to handle), 25 cm high.
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Grace Seccombe (1880 -1956), circa 1935 an earthenware figure of a galah, realistically modelled perched upon a stump, unsigned, 19 cm. Height.
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William Ricketts (1898-1993) Victoria, circa 1940 An earthenware coolamon, modelled with a linear incised surface, a single branch like handle and further relief decoration of an applied frilled neck lizard and young Aboriginal youth aboard its head, incised Wm. Ricketts, Potters Sanctuary, Mt Dandenong to base, 39.5 cm long.
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John Perceval (1923-2000) and Arthur Merric Bloomfield Boyd (1920-1999) Victoria, signed and dated 1952, a circular earthenware dish painted with a figurative scene of farmer and horse, painted John Perceval 1952 to front, incised Perceval of AMB verso, 36 cm diameter
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William Ricketts (1898 -1993) Victoria, circa 1936, a cylindrical earthenware jug, with a jagged rim fashioned as a tree trunk with a bark like surface and glazed accordingly displays a koala in low relief nestled amongst a series of snarled branches, incised Wm. Ricketts, Potters Sanctuary, Mt. Dandenong, 1936 to base, 19.5 cm high.
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J. Mabel Lesslie, (act. circa 1910-1943) Sydney, circa 1930, a baluster earthenware vase, painted with a continuous pattern of the Australian Sturt's desert pea, green and yellow drip glaze, incised J.M.L, 14 cm high.
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Australian school, a carved ash music cabinet, possibly Tasmanian, the hinged rectangular top above an arrangement three panelled doors, each relief carved with eucalypt trees, leaves and gum nuts, raised on square legs with porcelain castors, 48.5 x 107 x 41 cm
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Robert Prenzel (1866-1941), a rare and important carved Eucalypt faunal panel, unsigned, circa 1926 Rectangular, carved in high relief with a possum climbing downwards on a Eucalyptus branch amongst gum leaves and gum nuts, within a rough hewn frame, 53.5 x 35.5; the frame 77 x 58 cm. Provenance: Private collection, Melbourne, purchased Sotheby's, Melbourne, 12 November 2002, lot 464. Originally held in the collection of Sir James and Lady Connolly History: the present work and the following two panels…
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Robert Prenzel (1866-1941), a rare and important carved Eucalypt faunal panel, signed and dated 1926 Rectangular, carved in high relief with four Kookaburras perched on a Eucalyptus branch amongst gum leaves and gum nuts, inscribed signature Robert Prenzel / South Yarra / 1926 lower right, within a rough hewn frame, the panel 46 x 92 cm; the frame 62 x 109 cm. Provenance: Private collection, Melbourne, purchased Sotheby's, Melbourne, 12 November 2002, lot 462. Originally held in the collection of Sir James…
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Robert Prenzel (1866-1941), a rare and important carved Eucalypt faunal panel, signed and dated 1926 Rectangular, carved in high relief with Koala perched in a Eucalyptus tree amongst gum leaves and gum nuts, inscribed signature Robert Prenzel / South Yarra / 1926 lower right, within a rough hewn frame, the panel 52.5 x 34.5 cm; the frame 67 x 49 cm. Provenance: Private collection, Melbourne, purchased Sotheby's, Melbourne, 12 November 2002, lot 463. Originally held in the collection of Sir James and Lady…
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John Kendrick Blogg (1851-1936), a carved Eucalypt floral panel, titled Eucalyptus Ficifolia Alba, signed and dated 1932 Rectangular, carved in high relief with an elongated Eucalyptus banch, with gum nuts and leaves, within a Blackwood surround, incised signature and date lower right, titled verso, the panel 27 x 14 cm; the surround 42.5 x 29.5 cm.
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John Kendrick Blogg (1851-1936), a carved eucalypt floral panel, signed and dated 1921 rectangular, carved in high relief with an elongated spray of golden Wattle on a leafy branch, within a blackwood surround, incised signature and date lower right, the panel 29 x 20 cm; the surround 44 x 34 cm. Provenance: Private Collection, Melbourne Estate of the late T.S Harrison. Note: Listed in M. Morgan, Legacy in Sculptured Wood, Marjorie Morgan Publications, 1993, p. 54, catalogue No. 78. T.S Harrison was a…
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John Kendrick Blogg (1851-1936), a carved eucalypt floral panel, signed and dated 1927 rectangular, carved in high relief with an elongated spray of golden wattle on a leafy branch, within a solid surround with carved linear decoration, incised signature and date lower right, the panel 55 x 19.5 cm; the surround 70 x 31 cm.
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Robert Prenzel (1866-1941), a rare and important Blackwood long case clock, stamped R. Prenzel, circa 1920, the stepped rectangular hood surmounted by an arched pediment, enclosing a German weight driven movement with a circular Arabic numeral dial, the body inset with a Eucalypt panel carved in high relief with a Eucalyptus branch, gum nuts and leaves on a stippled ground, above a glazed and solid panelled casement door, stamped to the inside upper right hand corner of the casement door, raised on a…
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An Australian blackwood three panel screen by Robert Prenzel and Johann Treede, circa 1890, circa 1905, unsigned, the three fold screen carved as individual panels of alternating heights, each displaying foliate flourishes in high relief to the top and with further flourishes below, each frame containing a hand embroidered in wool on linen panel depicting a floral garden scene with a Kingfisher and other birds,159 x 161.5 cm. note: a Prenzel and Treede fire screen with carved rococo revival decoration and…
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John Kendrick Blogg (1851-1936), signed and dated 1911, a carved cedar frame, centred by a recessed aperture for a photograph within a finely carved surround depicting a branch of gum leaves above and a spray of wattle below, bordered by a stepped rim, incised signature and date lower right, (small loss to tips of two gum leaves and a repair to wattle branch), 43.5 x 35 cm. Note: accompanied by an original black and white photograph of a similar carved panel by the artist, also signed and dated 1912, and…
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Robert Prenzel (1866-1941), a fine quality carved Eucalypt foliate panel, stamped, circa 1920 Rectangular, finely carved in high relief with a Eucalyptus branch, gum nuts and leaves, stamped Robert Prenzel, 41 x 29.5 cm.
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Robert Prenzel (1866-1941), a fine quality carved Blackwood faunal wall cabinet, unsigned, circa 1920 Rectangular, with a solid arched back, carved in high relief with a scene extending across two doors depicting a Kookaburra perched on a leafy Eucalyptus branch with gum nuts, 66.5 x 97 x 26 cm.
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A late Victorian mahogany cased regulator long case clock with Melbourne relevance, circa 1880, the fine arched case with carved detail, centred by a silvered Arabic numeral dial with subsidiary seconds and blued steel hands, the movement with maintaining power, dual palletes and a mercury compensating pendulum, 180.5 cm high. Provenance: F.W Forster Jeweller, Collingwood, Melbourne, thence by descent private collection, Melbourne. Note: Forster (The Jeweller) was a family owned jewellery business operated…
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A beaten and pressed copper sign for the F.W Forster jewellery shop 152.5 cm long.
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A Victorian cedar and mahogany chiffonier, circa 1880 Rectangular, with a carved foliate scrolled back supporting a narrow shelf raised on turned columns and below a single full width drawer above twin doors flanked to each side by barley twist columns, raised on a stepped base on bun feet, 104 x 145 x 46 cm.
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A Victorian mahogany and fiddleback blackwood sideboard, attributed to Robert J. Roberts, Melbourne circa 1875, the rounded rectangular mirror back with a central foliate carved crest, above a reverse breakfront top with a central frieze drawer, the lower section with four arch panelled doors interspersed with foliate carved corbels, plinth base, 204 x 180 x 64.5 cm. Provenance: Descendants of Robert J. Roberts, Melbourne. note: for a further example of furniture by Robert J. Roberts, see Fahy et al, 19th…
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A Victorian cedar chiffonier, circa 1890, the rectangular carcass with shaped backing board above a single full width drawer with a pair of moulded doors below, each flanked by carved corbels to the side all on a moulded plinth base, 107 x 138 x 51 cm.
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An Australian fiddleback blackwood settee carved with the Advance Australia arms, circa 1900, the rounded rectangular buttoned back with scrolled end and carved lion mask head, rising to a crest carved with the Advance Australia arms medallion, raised on carved legs with brass mounts and castors, 218 x 89 x 80 cm. Provenance: in accordance with information provided by the vendor, this settee was made for a Queensland railways locomotive used to transport the Duke and Duchess of York on their Australian…
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An Australian cedar chest of drawers, circa 1850, the rectangular top above a diagonal reeded frieze and a central deep drawer, flanked by a further four drawers, raised on stylised foliate carved feet, 138 x 103 x 57 cm.
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An Australian silver presentation mug, circa 1878, with reference to Toorak Melbourne, the tapered tubular form with rectangular handle incised to front ' To Alex Laurence Macintosh, from H.P.E, in recognition of many kind services rendered at Athelstane. Toorak, Melbourne, Australia, September 1st 1878', 298grs. total silver weight, 11.5 cm high.
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An Australian silver presentation mug, makers mark B.D, circa 1882, the tapered cylindrical body with an angled handle, inscribed 'Vectis Billiard Tournament, G.O Ross (and further indistinct), March 1882', stamped Sterling Silver, B.D to base, 176grs. total silver weight, 9.5 cm high.
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An Australian silver coffee pot, makers mark Henry Steiner, Adelaide, circa 1880, the bulbous footed pot with upswept spout and a single scrolled and ivory inlaid handle, the hinged lid bombe and with a floral finial, engraved throughout in a series of blank cartouches bordered by floral and foliate flourishes on a stippled reserve, hallmarked to collar a crown, Queen Victoria monarchs head, lion passant, H.Steiner, Adelaide and further marks base, 942 grs. total weight of silver, 29.5 cm high.
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Warren Langley (born 1950), circa 1998 Shield Kiln formed glass with patinated metal surface. 133 x 25 cm
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A Grant Featherston R160 contour dining chair, circa 1951-55, the body of moulded ply upholstered in a contemporary red textured velour and raised on outswept hardwood legs
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Schulim Krimper (1893-1971), a teak desk circa 1955, the rectangular top above three drawers each with turned handles, flanked by an angular support, unsigned, 91.5 x 76 x 50 cm.
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A Douglas Snelling armchair, circa 1957, manufactured by Functional Products,Sydney, the shaped hardwood frame lashed with a later interwoven black nylon webbing to back and seat, supported by open bent wood arms.
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A pair of Grant Featherston R152 contour chairs, circa 1951, each with a body of moulded ply with later grey velvet upholstery raised on out swept hardwood legs, stamped factory mark to base
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A Grant Featherston R160 contour armchair, circa 1951-1955, the body of moulded ply with out swept arms upholstered in buttoned grey corduroy, factory mark to base (indistinct), raised on hardwood out swept supports.
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A Grant Featherston A310H Space dining chair, circa 1953, with Featherstone trade mark metal plate, the body of moulded ply with an open back, upholstered in brown vinyl raised on out swept hardwood legs.
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A Grant Featherston B230 armchair, circa 1950s-1960s, factory stamp to base, the body of moulded ply upholstered in a red and black textured cloth, raised on out swept hardwood legs
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A Grant Featherston R152 contour chair, circa 1951-1955, factory stamp to base, the body of moulded ply with original purple vinyl upholstery, raised on out swept hardwood legs
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A Grant Featherston R160 contour dining chair, circa 1951-55, factory stamp to base, the body of moulded ply with original yellow vinyl upholstery, raised on out swept hardwood legs
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Klytie Pate O.A.M ( 1912 - 2010 ) Victoria, circa 1970, a pair of glazed earthenware circular plaques, one carved in low relief depicting a fishes the other also carved in low relief depicting a wolf, individually framed and with incised signature to edges, 18 cm / 17 cm diameter.
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Klytie Pate O.A.M (1912 - 2010) Victoria, circa 1940 An earthenware vase of baluster form, with a recessed short tubular neck carved with a repeat brumby motif to the mid section, overglazed in plum and chartreuse, incised Klytie Pate to base, 29.5 cm high. Provenance: May Butler George then by family descent.
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Klytie Pate O.A.M (1912-2010) Victoria, circa 1950, a pierced earthenware lamp base, with foliate decoration, pale mottled green ground, incised Klytie Pate to base, 24.5 cm high (excludes fitting).
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A Royal Worcester Australian wildflowers series teapot, circa 1924, the spherical form with foliate moulded handle and low domed cover each displaying a sprig of 'Golden Wattle' on a white ground with gilt highlights, hand painted golden Wattle and with puce factory mark to base and underside of lid, 20 cm wide.
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A Royal Worcester Australian wildflowers series plate, circa 1930, signed, a (Albert) Shuck circular, displaying a sprig of Australian wildflowers to the well, signed to front and stamped Flavelle Roberts and Sankey Ltd, Brisbane, and with further puce factory marks to verso, 23 cm diameter.
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Sali Herman (1898-1993) Australian Frontier 1946 oil on board signed and dated ' S.Herman 46 ' lower left 28 x 25 cm
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A Moorcroft Waving Corn pattern vase, circa 1940, the ovoid form with wide neck displays a repeated corn motif in a cream reserve on an ombre blue green ground, impressed made in England, W.Moorcroft, Potter to H.M. The Queen and painted signature to base, 16 cm high.
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A Moorcroft Pansy pattern vase, circa 1947-1953 Mallet shaped with tapering neck, decorated with a repeating border of pansies on a cobalt blue ground, impressed mark and slate blue hand painted signature to base, 18 cm high.
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A large Moorcroft Fresia pattern vase, circa 1945, the ovoid form with flared rim fresias on a mottled russet red and blue ground, impressed made in England, W. Moorcroft, Potter to H.M the Queen and painted signature to base, 38 cm high.
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A Moorcroft Claremont pattern vase, circa 1930, the baluster body painted with toadstools on a mottled green blue ground, impressed made in England, Moorcroft and painted signature to base, 20.5 cm high.
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A Moorcroft Pomegranate pattern vase, circa 1915, the bombe base rising to a tall tubular neck with flared rim, painted with pomegranates on a mottled blue ground, impressed Moorcroft Burslem England, M 17, and painted signature to base, 32 cm high.
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A Moorcroft salad bowl, circa 1910, the squat bombe form with silver plated rim displays a gilt band to the exterior with a repeated floral motif in cobalt blue on pale pink ground, painted W.M. des., M2519 to base, 23.5 cm diameter.
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A Moorcroft pansy pattern vase, circa 1947-1953 Baluster, with a short rim decorated in the pansy pattern on a cobalt blue ground, impressed mark and blue hand painted signature to base, (hairline to base) 16.5 cm high.
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A large Moorcroft Wisteria vase, circa 1936, the baluster body painted with wisteria on a dark cobalt ground, impressed Made in England, W.Moorcroft, Potter to H.M the Queen and painted signature and dated 1936 to base, 33 cm high.
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A monumental Moorcroft Wisteria pattern exhibition vase, circa 1927 Baluster, above a flared foot and painted with Wisteria on a dark cobalt ground, impressed Moorcroft, Made in England and 65, hand painted signature and dated 1927, W. Moorcroft paper label numbered 65 to base, 48 cm high.
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A Lalique Bacchantes pattern glass vase late 20th century conical, moulded in frosted glass with repeating design of dancing maidens, incised Lalique France, 25 cm high.
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A Rene Lalique Druide glass vase, model introduced 1924, also known as Gui De Chene - Mistletoe spherical, with a narrow neck moulded with an overall dense overlapping network of etched bluish stems and studded throughout with clusters of berries in low relief, incised R.Lalique, France, No. 937 to base, 17.5 cm high
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A Rene Lalique 'Falcon' pattern glass car mascot, model introduced 1925 moulded as a stylised bird in clear glass and mounted upon a partial chromed radiator cap, incised to base Lalique, France, (minute chip to beak), 15 cm high.
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A Rene Lalique 'Lys' pattern opalescent glass bowl, circa 1928 shallow ovoid, moulded with lilies, extending into short legs, moulded and incised to base R.Lalique France, 24 cm diameter.
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A Rene Lalique 'Victoire' pattern glass car mascot, model introduced circa 1928, the decorative radiator cap fashioned as a stylised warriors head with streamlined hair swept behind, (base reduced), moulded R.Lalique to base, 25.5 cm long. Note: includes the original ebonised timber base and a later customised steel and timber base.
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A green patinated Rene Lalique Druide pattern glass vase, model introduced circa 1928, also known as Gui De Chene - Mistletoe, the spherical body with a narrow neck mould pressed and with a green stain to the reserve, displays an overall dense overlapping network of etched stems and studded throughout with clusters of berries in low relief, moulded R.Lalique to base, 18 cm high
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A Rene Lalique 'Domremy' pattern glass vase, model introduced circa 1926, also known as 'Thistles', of ovoid form and short wide neck, cast in white glass with an exterior of repeated thistle heads in a domed formation, interspersed by low relief thistle leaves latticed in the round, (small chip to base) incised R.Lalique France to base, 21 cm high.
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A Rene Lalique 'Inseparables' pattern opalescent glass clock, model introduced 1932, the square body moulded in low relief with two pairs of budgerigars perched on prunus blossom, surrounding the circular clock with a hand painted face and an eight day movement, moulded R.Lalique, 11 cm square.
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A Rene Lalique 'Poissons' pattern glass vase, model introduced 1921, the spherical form with short tubular neck displays a repeated opalescent fish motif with blue stain to the reserve, incised Lalique France to base, 23.5 cm high.
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A Rene Lalique 'Thais' pattern glass statuette, model introduced 1925, also known as 'Suzanne second Model', the press moulded form, opalescent and with a smoky haze, fashioned as a rectangular plaque on stand set with a relief classical maiden, her arms out stretched arms and supporting a swathed drapery behind her, (small chip to front, scratch to one arm), incised R.Lalique France to base, 21.5 cm high.
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A Rene Lalique Espalion pattern blue glass vase, model introduced 1927, also known as Fougeres'- Ferns, the ovoid vase with a tapered neck moulded with a repeated and scaled fern frond motif to the exterior, incised R.Lalique France No. 996 to base, 18 cm high.
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A Rene Lalique 'Aras' pattern glass vase, model introduced 1924, the compressed ovoid body with a tapering neck, opalescent with a green stain to the reserve, displays a repeated parrot motif amongst an entwined network of thorned vines, moulded R.Lalique and incised France to base, 23.5 cm high.
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A glass sculpture 'Homage to Botero' manufactured by Oball Murano, Italy, circa 2005, the figurative sculpture depicts an interpretation Fernando Botero, cast in translucent lilac glass and mounted upon a square black base, engraved signature (indistinct), Oball Murano to base, 46.5 cm high
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