An Auction in the 'Forrest'
Blog by Moog
On occasion, the Barn is lucky enough to be invited to sell the contents of a home, and oversee the dispersal of a lifetime of collecting. Artworks go to grace new walls, antique porcelain and vintage cutlery now laid out on modern dining tables, and a happy owner brings home an old (new) bedroom lamp.
Some estates are special, however, because of the quality and style of the pieces inside and the home itself part of the story of the pieces on sale. One of these places is the Forrest Estate, a beautiful family home situated in the leafy and well established suburb of Forrest in very close proximity to Manuka, Kingston, and the City. Inside is a wonderful array of high quality 19th century furniture, crystal, silver, fine art, antique porcelain and ceramics, and it’s all for sale! The Auction Barn is proud to present the Forrest Estate, open for viewing this weekend here in the heart of Canberra.
You’re invited to peruse the sale in person on two occasions, a daytime viewing on Saturday, the 26th of March, and an exclusive Night Viewing on Thursday Night, the 31st of March, with wine and cheese provided. For the address, please see our auction page for updates.
[To Right: The Forrest Estate, a lovely family home nestled in leafy Forrest, built in the 1940s with elements from the 1970s.]
As part of our sale, we’d like to present to you a few choice highlights from the collection, picked out by our staff. Simply click through the text in red to see the piece in all its glory!
Lot 21, a c.1840 English Card Table, crafted in Honduras Flame Mahogany, with a tapered central column and acanthus leaf scroll feet, which folds open to a circular green felted tabletop. The condition of this piece is exceptional, with its fine craftsmanship evident from the use of Honduran Mahogany, a popular timber throughout the 19th century for its durability and the fineness of the grain.
Lots 25 to 30, six pieces by Jorg Schmeisser (German/Australian, b.1942 - d.2012) from the ‘Zustande II’ folio series, each aquatint and drypoint, each with matched frames, each edition numbered 11 of 40. Schmeisser was, and remains, a highly influential figure in printmaking, his practice influenced by his residences in Germany, Israel, Japan, Antarctica, and Australia. The richness and glow of the pieces ‘Waves’ and ‘Flammen’ are contrasted by the depth of tone in ‘Torso’ and ‘Looking Back’, compared to the relatively restrained ‘Momijigari’, and all combined in ‘Y’. All, however, feature his enigmatic treatment of texture and form, and presented together they make an intriguing study of the late Schmeisser’s spectacular ability.
[Below: Multiple lots: Lot 25, 'Looking Back'; Lot 26, 'Torso'; Lot 27, 'Waves; Lot 28, 'Flammen'; Lot 29, 'Momijigari'; and Lot 30, 'Y'. Viewed together, opposing and matched elements in the composition are clear, such as the elemental 'water' and 'fire' themes when comparing Lots 27 and 28.]
Lot 89, a Mid-Century Blanc de Chine Guanyin Table Lamp, with a large textured teal shade, with a Chinese White Porcelain figure of the Goddess ‘Guanyin’ mounted loosely on base. This piece is a meeting of two aesthetics - a figure of the Chinese Goddess of Compassion and Mercy, Guanyin, possibly from the late 19th or early 20th century, paired with a decidedly modern shade. In the 20th century it was common to mount Chinese or Japanese porcelains with light fittings - for jars, drilling through the base, or with figures, running a wire through the statue or next to it. The timeless nature of blanc de chine porcelain - a beautiful brilliant white or tinted white porcelain with a glossy finish and elegant, ethereal poses. This Guanyin is depicted above and with lotus blooms, representing purity, echoing the simplicity of the all-white porcelain. Blanc de Chine of this quality is rarely found in stores, and is far more refined than modern examples - with infinite possibilities for styling a lamp like this, any home would be graced by it.
Robert Juniper is best known for his poetic vision of the Australian landscape, depicted in large abstract canvases, often using an aerial perspective. He won the Wynne Prize for landscape in 1976 and 1980 and his paintings are held in many private and institutional collections. This pair, in muted lavender and blue tones amongst brown tones dripping down to create a calm, swaying landscape reminiscent of natural formations, such as a cliffside or steep mountain valley. Situated in pride position above the fireplace, this large but not imposing diptych is a highly sought after as two-in-one, and a larger work at that.
The doors will be open to visitors and inspections on Saturday, the 26th of March, from 9AM ‘till 12PM, and again on Thursday the 31st of March, 6PM ‘till 8PM, for a nighttime viewing. We look forward to seeing you there amongst these fine objects!