Australian & International Art

gibsonsauctions

Australian &

International Art

Melbourne, Sunday 25 October 2020


Jennifer Gibson

CEO & Head of Valuations

Jennifer.Gibson@gibsonsauctions.com.au

Elliott Hughes

Auctions Manager & Specialist

Elliott.Hughes@gibsonsauctions.com.au

Deanna Baxter

Business Manager

Deanna.Baxter@gibsonsauctions.com.au

Simon Gibson

CFO

Simon.Gibson@gibsonsauctions.com.au

Marilla O’Sullivan

Auction Assistant

Marilla.Osullivan@gibsonsauctions.com.au

Juliet Hughes

Account Administrator

Juliet.Hughes@gibsonsauctions.com.au

Ann Roberts

Consultant Specialist

Asian Art

Jon Dwyer

Consultant Specialist

Australian & International Art

Phil Gore

Consultant Specialist

Clocks, Watches & Barometers

ORRONG RD

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OSMENT ST

03 9500 2607

gibsonsauctions.com.au

Auction, Viewing and

Payment & Collections

Level 1, 885-889 High St

Armadale, Victoria 3143

HIGH ST

SUTHERLAND RD

KOOYONG RD

LE ST

HAMPDEN RD ASHLEIGH RD

MT PLEASANT GROVE

NEW ST

AUBURN GROVE

DENBIGH RD

NORTHCOTE RD

CHEEL ST


FRONT COVER:

Lot 11 (Detail)

BACK COVER:

Lot 97

Australian &

International

Art

Auction

Sunday 25 October 2020, 12 Noon

Level 1, 885-889 High Street

Armadale, Victoria 3143

Viewing – Strictly by appointment only:

www.gibsonsauctions.com.au/bookings or 03 9500 2607

Wednesday 21 October

Thursday 22 October

Friday 23 October

Saturday 24 October

10.00am – 5.00pm

10.00am – 5.00pm

10.00am – 5.00pm

10.00am – 5.00pm

Auction Code: GA019

GST

† Lots with this symbol are subject

to GST on the hammer price and the

buyer’s premium.

Buyer’s Premium

Buyer’s Premium is charged at 22%

of the hammer price plus GST. GST is

applicable to the buyer’s premium only,

unless otherwise indicated by the †

symbol.

Registration

To register to bid at Gibson's

Auctioneers & Valuers an accredited

form of photo identification is required.

This applies to bidding in person at

the auction, Telephone, Absentee and

Online bidding.

Resale Royalty Scheme

Lots subject to payment of the Artist's

Resale Royalty Scheme will be denoted

by the symbol §. The Australian Resale

Royalty is a flat rate of 5% on the

hammer price (including GST) and is

payable by the seller.

Restricted or Organic Material

♦ Lots with this symbol have been

identified at the time of cataloguing

as containing organic material which

may be subject to export or import

restrictions. The absence of this

symbol is not a guarantee that export

or import restrictions will not apply. See

www.cites.org for further information.

Payments & Collections

Strictly by appointment only:

gibsonsauctions.com.au/bookings

or 03 9500 2607

Payments & Collections can be made

from: Level 1, 885-889 High Street,

Armadale, Vic 3143

Monday 26 October

Tuesday 27 October

Wednesday 28 October

10am–5pm

10am–5pm

10am–5pm

All goods must be collected and paid in

full by 5pm on Wednesday 28 October

(unless by prior arrangement) to avoid

removal and storage charges.

All payments are to be made in

Australian Dollars (AU$).

Please refer to the methods of payment

in the HOW TO BUY section on the

following pages.

Credit card surcharges apply – 1.2%

(incl GST) for Visa and Mastercard and

2% (incl GST) for American Express.


2

How to Buy

All you need to know about the bidding process at auction

Viewing

Catalogues

Online catalogues can be viewed at

www.gibsonsauctions.com.au approximately three weeks

prior to the auction date.

Complimentary printed catalogues are available at Gibson’s

Auctioneers & Valuers.

Symbols

Occasionally, a symbol is printed next to a lot number,

indicating a special clause associated with the sale of the

item/s. Further information on symbols within our catalogues

can be found on Page 1.

Viewing

Auction viewings are open to the public and usually take place

three or four days prior to the auction date, at the location/s

listed in the auction catalogue and on the website.

Lot Descriptions

Lot Descriptions provide basic catalogue information such

as dimensions, date or age, medium, attribution, provenance

and quantity.

All lots are guaranteed for fourteen (14) days from the

auction date.

Estimates

Estimates are printed in the catalogue beside every lot and

take into account rarity, condition, quality and provenance.

The reserve is the amount at which the item is available for

purchase. The reserve is an undisclosed confidential amount

which is set at, or below the low estimate.

The reserve will never exceed the low estimate at Gibson’s

Auctioneers & Valuers. Many lots are sold without reserve.

Talk to our Specialists

Gibson’s Auctioneers & Valuers are an experienced team of

specialists who are available to discuss items in further detail,

and to offer advice and assistance.

Contact details for relevant specialists can be found on the

inside front cover our auction catalogues and on our website.

Condition Reports

Condition Reports are available on request. Condition Reports

supplement the lot description and provide information on the

condition of an item.

We strongly advise obtaining a condition report if you are

unable to view an item in person prior to the auction.

To request a condition report please email

condition.reports@gibsonsauctions.com.au with the auction

title and lot number/s.

Bidding

Gibson’s Auctioneers & Valuers offer four bidding options:

1. Auction Room Bidding

To bid in person we suggest you arrive early so that you

have sufficient time to register for a bidding number prior

to the auction. If this is your first time bidding with Gibson’s

Auctioneers & Valuers please bring photo identification, such

as a driver’s licence or passport with you.

2. Telephone Bidding

Gibson’s Auctioneers & Valuers offer telephone bidding on all

lots, at all auctions.

Telephone Bidding is a convenient solution if you are unable to

attend an auction in person. A Gibson’s Auctioneers & Valuers

staff member will call you approximately 5 lots in advance and

with your instruction, bid on your behalf at the auction.

Please note: Telephone Bids must be organised at least 24

hours prior to the auction and that occasionally, the number

of telephone bidders available may be restricted when the

auction is offsite.

To organise a Telephone Bid please follow the link

to the Telephone Bidding form on our website:

www.gibsonsauctions.com.au.

Please fill in & return via email to mail@gibsonsauctions.com.au

If this is your first time bidding with Gibson’s Auctioneers &

Valuers, an email address is to be supplied when you submit

your Telephone Bid, along with clear Photo ID verifying

your address.


3

3. Absentee Bids

Absentee Bidding is another convenient solution if you

are unable to attend an auction in person, to speak on the

telephone or if you simply have a strict budget.

An Absentee Bid should be set at the maximum amount

you wish to bid on the lot/s you are interested in purchasing.

Should the lot/s be knocked down at an amount lower than

the bid recorded on your form, the lot will be sold to you for

the lesser hammer price.

Please note Absentee Bids must be received at least 24 hours

prior to the auction to allow time for processing.

To organise an Absentee Bid please follow the link to

the Absentee Bidding form available on our website:

www.gibsonsauctions.com.au.

Please fill in & return via email to mail@gibsonsauctions.com.au

If this is your first time bidding with Gibson’s Auctioneers

& Valuers, an email address is to be supplied when you

submit your Absentee Bid, along with clear Photo ID verifying

your address.

4. Online Bidding

Online bidding allows you to bid via the internet in real

time with a live broadcast of the auction. To bid online visit

our website and follow the ‘Live Bidding’ link under the

‘Auctions’ tab.

Please register for this service at least 24 hours prior to the

auction to ensure you do not miss your lot.

Please note online bidding is powered by Invaluable.com and

so will incur a 5% fee on successful lots.

If you have not bid with Gibson’s Auctioneers & Valuers

previously, a photo ID verifying your address will be

required before you can be approved to bid. Please email to

mail@gibsonsauctions.com.au as soon as practical.

International Bidding

If you are bidding from overseas for the first time, you will be

asked to provide a clear Photo ID verifying your address and

a deposit (set at Gibson’s Auctioneers & Valuers’ discretion)

prior to the auction. The deposit is refundable within 48

hours should you not be successful. If you are successful

the deposit will be deducted from your invoice total. The

remaining balance must be paid preferably by direct deposit.

Bank details are provided in the Payment & Collection section

of this guide.

Payment & Collection

Payments

If you are successful an invoice (AU$) will be emailed or

posted to you immediately after the auction.

You will pay the hammer price, plus the buyer’s premium

(22% plus GST) on each Lot, together with any additional

applicable charges such as GST on hammer.

Payments must be made in full by the final day of Collections

as printed in the catalogue.

Bank Transfer/Direct Deposit is our preferred method

of payment:

Account Name: Gibsons Auctions

Bank:

Bank of Melbourne (A division of St George)

BSB: 193879

Account No: 441701443

Swift Code: SGBLAU2S

Routing Code: 021000021

Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144

• Personal, Company and Bank Cheques are not accepted

without prior approval.

• Eftpos (no charge).

• Credit cards: Visa and Mastercard (1.2% inc GST merchant

fee) and American Express (2% inc GST merchant fee).

• Please note that credit card transactions over $5,000

will not be accepted over the telephone unless by prior

arrangement.

• Cash payments up to AU$10,000 can be accepted. For any

amount over this, cash is to be deposited directly into our

account at a Bank of Melbourne/St George branch.

Collections

Gibson’s Auctioneers & Valuers are happy to assist and

provide you with recommended transport companies whether

it be a local, interstate or international delivery.

Storage

All items must be paid for and collected within the collection

times advertised for each individual auction. If items are not

collected within this time-frame, Gibson’s Auctioneers &

Valuers reserve the right to charge removal and storage fees.


4

1

1

EDWARD CAIRNS OFFICER (1871-1921)

Scene Near River Darling

oil on canvas

signed lower left: E Officer

signed and titled on label verso: E Officer Scene Near River Darling

48.5 x 59cm

$1,200–1,800


5

2

2

WILLIAM DUN KNOX (1880-1945)

Toward the Dandenongs

oil on canvas on board

signed lower left: W D KNOX

44 x 54cm

PROVENANCE

The Estate of David Ross, Sydney

$4,000–6,000


6

4


7

3

3

FRENCH SCHOOL

On the Terrace

gouache and watercolour

32.5 x 140cm

$800–1,200

4

ANDY WARHOL

(AMERICAN 1928-1987)

Marilyn

colour screenprint

90 x 90cm

$1,000–1,500

5

CHERRY HOOD (BORN 1960)

Dieter 2003

watercolour

signed, dated and titled verso:

CHERRY HOOD 2003 DIETER

200 x 168cm

PROVENANCE

Gould Galleries, Melbourne

$3,000–5,000

5


8

6


9

7

6

DAVID DAVIES (1864-1939)

Dieppe

watercolour

signed lower right: D DAVIES

27 x 21.5cm

$2,500–3,500

7

ROBERT JOHNSON (1890-1964)

The Corner Cottage Ryde NSW 1927

oil on canvas on board

signed and dated lower right: Robert Johnson 1927

$1,200–1,500


10

8

JULIAN SCHNABEL

(AMERICAN BORN 1951)

Portrait

etching

signed and editioned lower right and

left: Julian Schnabel 17/50

75 x 59cm

$1,000–2,000

8

9

9

WEAVER HAWKINS (1893-1977)

Early Rain 1943

watercolour

signed and dated lower left: Raokin 43

27.5 x 40cm

$500–700


11

10

10

ETHEL SPOWERS (1890-1947)

The Kite Flyers 1927

watercolour

signed and dated lower right: E L SPOWERS 1927

26 x 29.5cm

$6,000–8,000


12

11

11

RAYMOND WALLIS (1900-1963)

On the Pier

oil on board

54 x 38.5cm

$2,000–3,000

12

JOHN ANTHONY (TONY) TUCKSON (1921-1973)

Untitled

four pencil on paper drawings

10 x 14cm, 10 x 17cm, 10 x 14cm, 10 x 15cm

PROVENANCE

Watters Gallery Melbourne

The Michele Asprey Collection of Australian Contemporary

Art, Mossgreen Auctions, Melbourne, 10 November 2013,

Lot 32, Lot 33, Lot 34, Lot 35

$3,000–5,000


13

13

13

LLOYD REES (1895-1988)

Lane Cove River II 1965

watercolour and pencil

signed and dated lower right: L REES 1965

titled verso: Lane Cover River II

25 x 40cm

PROVENANCE

Delmar Gallery of the Trinity Grammar School Society

of the Arts

$5,000–7,000

14

SIDNEY NOLAN (1917-1992)

Acteon 1966

ripolin on paper

signed and dated lower right: Nolan 5 Oct 1966

signed, dated and titled verso: Nolan 5 Oct 1966 Acteon

63.5 x 52cm

$1,500–2,000

15

SIDNEY NOLAN (1917-1992)

Drought Series

a suite of five etchings

25 x 30cm (each)

$600–1,000

16

SIDNEY NOLAN (1917-1992)

Figure Study 1968

ripolin on paper

signed and dated verso: Nolan 68

30 x 25cm

$1,500–2,000

17

ROBERT YOUNG (1926-2018)

Before the Race Meeting

watercolour

signed lower left: R Young

25 x 37cm

$150–250


14

18

18

JAMES R JACKSON (1882-1975)

Bellingen Valley NSW

oil on board

signed lower right: JAMES R JACKSON

34.5 x 45cm

PROVENANCE

Gordon Galleries Sydney

$1,500–2,000

19

IAN ARMSTRONG (1923-2005)

Landscape Wedderburn 1971

oil on canvas

signed and dated lower right: Ian Armstrong 71

titled verso: Landscape Wedderburn

24 x 49.5cm

$300–500


15

20

20

RUBERY BENNETT (1893-1987)

Burragorang Valley

oil on board

signed lower right: RUBERY BENNETT

37 x 44.5cm

PROVENANCE

Gordon Galleries Sydney

$2,000–4,000

21

WILLIAM WYATT (1838-1972)

Somewhere in the (Adelaide) Hills 1862

ink

signed dated and titled lower right and centre:

Wm Wyatt 1862 Somewhere in the Hills

8.5 x 16cm

$700–900


16

22

HERBERT JAMES WOODHOUSE (1855-1920)

Melbourne Cup 1900

watercolour

signed lower right: Herbert Woodhouse signed dated and

titled verso: Herbert Woodhouse Melbourne Cup 1900

Won by Clear Sweep Leaving the straight at the river turn

34 x 53cm

$10,000–15,000

The watercolour titled ‘The Melbourne Cup 1900 won by

Clean Sweep’ inscribed on a Woodhouse label and signed

Herbert Woodhouse is notable both for artistic and historical

reasons. It was the first Melbourne Cup of the new century

with a record attendance of 95,000. It was also the first of four

cups won by the great trainer James Scobie.

The Woodhouse Family of Artists

The Woodhouse name was synonymous with Australian

equine art in the colonial period, and the family was the

most prolific of all equine artists in that time and place. Their

contribution has been well chronicled by Dr Colin Laverty in

his 1980 book Australian Colonial Sporting Painters: Frederick

Woodhouse and Sons, in his illustrated 1983 catalogue to the

exhibition Pastures and Pastimes and in entries by him and by

Professor Joan Kerr in the Dictionary of Australian Art and its

successor website www.daao.org.au

Frederick Woodhouse (1820-1909), Herbert’s father, was

renowned for painting contemporary equine portraits of all of

the winners of the Melbourne Cup since its inception in 1861

through to 1888 {‘the Melbourne Cup always meant £100

to me’ he later recalled), and for many larger racing paintings

in oils, the best known being his “The Start for the 1862

Melbourne Cup” (Victoria Racing Club Collection).

Herbert James Woodhouse 1854 – 1937

Herbert Woodhouse was born in Essex, England, emigrating

to Australia at the age of three with his parents Frederick and

Mary (nee Bysouth) and three brothers (Frederick WH, Claude

and Clarence); two more brothers (Edwin 1858-1922, Arthur

1861-1918) were born in Australia.

Two newspaper articles during Herbert’s lifetime give

anecdotal accounts of his life and career. The South

Australian Advertiser (1 January 1886) devotes an extensive

article to “Artists and Studios of Adelaide”. It reports that

Herbert ‘received his earliest instruction from his father, and

has followed none other than artistic work for a livelihood,

contributing drawings on wood to the Australian Sketcher,

Australian News, Sydney Town and Country Journal and other

illustrated periodicals....’

In 1881 Herbert began exhibiting his own paintings and at

the time was painting a commission for Samuel Barnard of

his horse Totalizator, winner of the 1881 Adelaide Cup. The

local Advertiser praised the depiction of the horse, jockey and

owner but complained that ‘the likeness of Totalizator’s trainer

is not so good.’ (20 August 1881)

Herbert painted other South Australian equine portraits in this

period, and his portrait of the greyhound who won the local

‘Waterloo Cup’ coursing race was part of the prize for the

winning owner.

His studio was in Barnard Chambers, Currie Street, Adelaide

where he had ‘miscellaneous sketches in oil and water colour,

principally sporting subjects.

Herbert returned to Melbourne in 1886 and Table Talk notes

that his paintings were exhibited at the Victorian Academy of

Arts and the New South Wales Art Society. From a studio in

Collins Street, he periodically conducted sales of art, including

his own works.

At an 1890 water colour and black-and-white exhibition by the

Victorian Artists’ Society he exhibited in company with such

illustrious names as Julian Ashton, John Mather, Tom Roberts

and Ellis Rowan.

The 1890s, a decade of economic depression, were difficult

years for artists in Melbourne. Initiatives by the Woodhouse

family must be seen in this light, particularly their efforts to sell

pictures and publications centred around the Melbourne Cup.

In 1892 Herbert and his father Frederick senior held a joint

pre-Christmas exhibition at Scott’s Hotel, Collins Street – the

favourite hostelry for pastoralists and the racing fraternity

visiting Melbourne. Fred Woodhouse had 16 works on display

(‘nearly all bearing upon the best phases of true sport’) while

Herbert had nine oils and one water colour.

Similarly reflecting his commercial instinct, Herbert undertook

in 1893-94 a limited edition (200 copies) large lithograph

(85.5 x 142.5cm – said at the time to be the largest lithograph

plate every produced) with key, “A Meet of the Melbourne Hunt

Club”. In this work Woodhouse incorporated recognisable

leading gentleman and ladies of Melbourne on horseback,

including the Governor and Lady Hopetoun, the Chirnsides,

Watsons, Manifolds and Armytages, all of whom sat for their

portraits and were more than likely to purchase one of the

limited edition copies.

Herbert followed this with watercolour portraits of Lord

Hopetoun on his grey mare Tasma, with Lady Hopetoun on

her favourite mare Snowball.

In November 1894 Herbert exhibited a water colour ‘The Stone

Wall’, ‘representing a steeplechase incident at Flemington’.

Seven ‘well-known cross- country owners’ were represented by

the colours worn by the riders. Again we can see a commercial

instinct at play, as winning owners are always susceptible to

buying a good painting of their horse in action.

Many of his paintings in this era are described, not reproduced.

For example (Table Talk 26 February 1897) speaks of ‘a

perfect gem by the versatile artist Mr Herbert Woodhouse’

displayed for sale in Collins Street ‘near the Stock Exchange’.

It represented ‘the first six horse in the Melbourne Cup last

November with a view of the grand stand and lawn behind. All

the colours and lovely details are admirably finished.’

Similarly (Table Talk 3 September 1897), ‘Herbert Woodhouse,

the versatile painter of sporting pictures, has just finished

a water-colour gem entitled “The Pick of Caulfield” in which

the colours of Mrs J. King, Messrs J.T. Carslake, Carmody,

J. Redfearm, Samuels and J. Leek are represented with a

background of the grand stand.’


17

22

In August of that year, Herbert travelled to Perth expressly to

paint a portrait of a horse named Le Var who had just won the

Coolgardie Cup. There was money at that time on the Western

Australian goldfields. In November 1897 Melbourne Punch

commissioned him to produce a coloured picture of Amberite,

winner of the recent Caulfield Cup.

In relation to the painting under discussion (“The Melbourne

Cup 1900), the following paragraph from Table Talk, 15

September 1899 is of special interest. It describes an

exhibition at the Melbourne Art Club at that time.

I note that the colours of the jockeys’ silks in the ‘1900’

painting are consistent with colours worn in the 1900 race.

The eventual winner Clean Sweep was raced by ‘Mr F.T.

Forrest’ (the nom-de-course of Frank Cummings) whose

colours were white, blue sleeves and cap. The horse

prominently depicted near the lead at this point is wearing

such colours.

The jockey colours for the runner up Maltster (note correct

spelling) (black, red cap) can also be seen in the painting. I’m

not sure that all the colours in the 1900 race are represented

in the painting.

A further significant point is the viewpoint of the painting. This

to my knowledge is the first time an artist has depicted the

Melbourne Cup or races at Flemington from this viewpoint –

a point of originality by the artist. The open-deck ‘Tattersall’s

Stand’ at the turn was opened in 1889 and was in place until

1913.

Interestingly the newspapers in the 1890s increasingly

were publishing photographs of the races, the horses

and the racecourse. The year 1898 was the first time, to

my knowledge, that photographs appeared showing this

viewpoint.

An important detail in the art work is the distinctive figure of

the man in the (left) foreground of the painting. This is certainly

intended to be Frank Cumming, or “Mr F.T. Forrest”, the owner

of Clean Sweep. The artist has copied the photographic

portrait of Cumming that appeared in the weekly Australasian

on 3 November 1900 (p.29). There is a straight comparison

with the bowler hat, moustache, strap holding the binoculars,

the race book and pencil in hand.

This certainly implies that Frank Cumming either

commissioned the work or was the obvious intended

purchaser for the painting. Cumming had recently been

elected to the committee of the Victoria Amateur Turf Club

(Caulfield), was a wealthy broker from a wealthy pastoralist

family, and owned paintings. He died in 1906 at the age of 44.

I have found no press description of the 1900 painting,

suggesting that it was sold rather than exhibited.

(Dr) Andrew Lemon. AM FRHSV Historian

Author: The History of Australian Thoroughbred Racing

(with Harold Freedman et al, artists), Hardie Grant Books 2008,

3 volumes.


18

23

23

CHARLES CONDER (1868-1909)

A Summer Glade Circa 1893

oil on board

21 x 33.5cm

PROVENANCE

Carfax Gallery, London

Thirty Victoria Street, Sydney (label verso)

Australian New Zealand British and European Historical

& Contemporary Paintings, Leonard Joel, Melbourne,

02 November 1977, Lot 73

$4,000–6,000

24

JOHN S LOXTON (1903-1969)

The Timber Gatherers

oil on canvas on board

signed lower right: John S Loxton

62.5 x 75cm

$1,500–2,500

25

ATTRIBUTED TO WILLIAM MORRIS

(ENGLISH, 1834-1896)

Self Portrait

watercolour

signed lower left: William Morris

32.5 x 23cm

PROVENANCE

Christie’s, London, circa 2002

$1,000–2,000

26

RUBERY BENNETT (1893-1987)

Shower and Shine

oil on canvas on board

signed lower right: RUBERY BENNETT

24 x 29.5cm

$1,000–1,500


19

27

27

ROBERT RUSSELL (1808-1900)

Lake Scene 1841

oil on board

signed and dated lower left: R Russell

19.5 x 31.5cm

$2,000–3,000

28

JANET CUMBRAE-STEWART (1883-1960)

The Canal

pastel

29.5 x 21.5cm

$600-800

29

JANET CUMBRAE-STEWART (1883-1960)

Morning Street Scene

pastel

21.5 x 29.5cm

$600-800

30

JANET CUMBRAE-STEWART (1883-1960)

Figures near the Bridge

pastel

27.5 x 33.5cm

$600-800


20

31

31

GEORGE FEATHER LAWRENCE (1901-1981)

Bend in the Road Sydney

oil on board

signed lower right: G F LAWRENCE

42.5 x 55cm

PROVENANCE

Von Bertouch Galleries, Newcastle

The Estate of Judith Hoyle, Newcastle

EXHIBITED

George Feather Lawrence, Von Bertouch Galleries,

Newcastle, 14–30 March 1930

$1,500–2,500

32

JOSEPH ZBUKVIC (BORN 1952)

Morning Conversation

watercolour

signed lower right: J Zbukvic

35.5 x 16cm

$400–600

33

JOSEPH ZBUKVIC (BORN 1952)

Early Morning Light

watercolour

signed lower right: J Zbukvic

37 x 17cm

$400–600


21

35

34

JOSEPH ZBUKVIC (BORN 1952)

Venice 1998

watercolour

signed and dated lower right: J Zbukvic 98

24.5 x 34.5cm

$300–500

35

JAMES R JACKSON (1882-1975)

Figures Outside the Homestead

oil on board

signed lower right: JAMES R JACKSON

29.5 x 39cm

$1,500–1,800

36

SARAH RITSON (BORN 1964)

Stripes Series Untitled 2001 and Building VI 2003

gouache and watercolour

signed, dated and titled verso: Sarah Ritson 2001 Stripes

Series Untitled and Sarah Ritson 2003 Building VI 2003

20 x 27.5cm and 27 x 18cm

$200–400

37

STYLE OF MONDRIAN

Untitled

oil on board

58 x 41cm

$300–500


22

38

JOHN (JACK) COURIER (1915-2007)

Lerderderg River 1963

oil on board

signed and dated lower right: J.Courier 63

titled verso: LERDERDERG RIVER

60 x 91cm

$1,000–1,500

39

JOHN (JACK) COURIER (1915-2007)

Red Cliff

oil on board

signed and titled verso: RED CLIFF JOHN COURIER

91.5 x 76cm

$900–1,500

40

JOHN (JACK) COURIER (1915-2007)

Untitled (Standing Figures)

oil on board

92 x 76cm

$600–800

41

JOHN (JACK) COURIER (1915-2007)

Lerderderg River

stone colour lithograph

titled lower left: Lerderderg River

signed and editioned lower right: J Courier 15/20

33 x 47.5cm

$500–800

42

JOHN (JACK) COURIER (1915-2007)

Standing Figure (Monique) circa 1960

stone lithograph

titled lower left: Standing Figure

signed and editioned lower right: J.Courier 3/18

29 x 20.5cm

$300–500

43

JOHN (JACK) COURIER (1915-2007)

Still Life

stone lithograph

titled lower left: Still Life

signed and editioned lower right: J Courier 3/22

32 x 42cm

$300–500

44

JOHN (JACK) COURIER (1915-2007)

Litho Press

stone colour lithograph

titled lower left: Litho Press

signed and editioned lower right: J Courier 5/20

42 x 55.5cm

$500–800

45

MARY (MCLEISH) COURIER (1912-1970)

Display 1969

oil on board

signed and dated lower right: Mary E Courier 69

titled verso: DISPLAY

122.5 x 91cm

$1,000–1,500

46

MARY (MCLEISH) COURIER (1912-1970)

Portrait of Sam Fullbrook

oil on foil on board

signed lower right: ME. Courier

titled verso: Sam Fullbrook

91 x 60.5cm

PROVENANCE

The Jack & Mary Courier Collection

RANZCOG Women’s Health Foundation

$1,500–2,500

47

MARY (MCLEISH) COURIER (1912-1970)

Adoration

oil on board

signed lower right: MARY E. COURIER

signed and titled verso: MARY E. COURIER ADORATION

97 x 84cm

$1,000–1,200


23

48

48

GEORGE COLLINGRIDGE (1847-1931)

On the Pier

oil on gumleaf

signed with initials lower centre: G C

8 x 17.5cm

$2,000–3,000

George Alphonse Collingridge de Tourcey (1847-1931), artist

and historian, was born on 29 October 1847 at Goddington

Manor, near Bicester, Oxfordshire, England, son of William

Collingridge, and his wife Louisa, née Maguire. He rarely

used ‘de Tourcey’. His parents moved to France in 1853 and

he was educated at the Jesuit College, Vaugirard, and the

Académie des Beaux-Arts, Paris, studying architecture under

Viollet-le-Duc, wood-engraving and painting. Corot informally

accepted him as a pupil, a very rare favour.

On the advice of his brother Arthur (1853-1907), also an

artist, who was already in Australia, Collingridge migrated

in 1879 to join the Illustrated Sydney News, in which he

published the first picture of Jenolan Caves (1881), from

Arthur’s drawing; he also worked for the Australian Town and

Country Journal and the Sydney Mail. He very quickly made

his mark, gaining the first prize for xylography at the Sydney

International Exhibition in 1879; his view of Bathurst in 1880

was thought to be the largest wood-engraving yet produced.

Dissatisfaction with lay control of the existing New South

Wales Academy of Art led the brothers to found the (Royal) Art

Society of New South Wales in July 1880, and in 1888 they

launched the short-lived Australian Art, the first such journal

in the continent.

The fashion for utopian communities given over to the artistic

life was taken up in Australia in the late 1880s and early

1890s, at the Heidelberg School out from Melbourne and at

Curlew Camp in Little Sirius Cove in Sydney.

Established in the late 19th century, the Curlew artists’

camp, was first set up on the eastern shore of Little Sirius

Cove on Sydney Harbour as a weekend retreat, by clothing

manufacturer Reuben Brasch and his brothers. Fascinated

by the natural beauty of the surroundings, several highly

respected Australian artists including Arthur Streeton and

Tom Roberts drew inspiration from here to create some of

their most famous paintings.


24

49

50


25

49

CHRIS LANGLOIS (BORN 1969)

Greensmoke 1991

oil on canvas

signed with initials and dated lower

centre: C L 91

signed and titled verso:

Chris Langlois Greensmoke

40 x 50.5cm

$300–500

50

CHRIS LANGLOIS (BORN 1969)

The Beautiful Cloud II 1991

oil on canvas

signed with initials and dated: C L 91

signed and titled verso:

Chris Langlois The Beautiful Cloud II

40.5 x 50.5cm

$300–500

51

ANDY WARHOL

(AMERICAN, 1928-1987)

MARILYN

colour screenprint

90 x 90cm

$800–1,200

51

52

ANDY WARHOL

(AMERICAN, 1928-1987)

Marilyn

colour screenprint

90 x 90cm

$1,000–1,500

53

ANDY WARHOL

(AMERICAN, 1928-1987)

Marilyn

colour screenprint

91 x 91cm

$1,000–1,500

52


26

55

54

ANDY WARHOL

(AMERICAN, 1928-1987)

Marilyn

colour screenprint

90.5 x 90.5cm

$1,000–1,500

55

ALISON BURTON (BORN 1951)

Doppelganger 2002

acrylic on canvas

signed, titled and dated verso:

Alison Burton “DOPPELGANGER” 2002

175.5 x 136cm

$1,000–1,500

56

HAZEL DOONEY (BORN 1978)

Competitive Nature In Crowd

Pleasing Colours 1998

enamel on canvas

signed and dated upper left: HAZED 98

148 x 105cm

$2,500–4,500


27

56


28

57

57

DEIDRE BUT-HUSAIM (BORN 1959)

Guinevere 2010

oil on linen

signed dated and titled verso:

Deidre But-Husaim 2010 “Guinevere”

152 x 111.5cm

$2,000–4,000

58

DEIDRE BUT-HUSAIM (BORN 1959)

I Held His Hand But I Don’t Hold It Now 2007

oil on linen

signed, dated and titled verso: Deidre But-Husaim 2007

‘I held his hand but I don’t hold it now’

167.5 x 112cm

$3,000–5,000


29

58 59

59

DENIS ROPAR (BORN 1971)

Quelle Surprise

acrylic on canvas

signed lower right: Ropar

90 x 60cm

$500–800

60

MIKE CHAVEZ

Ocean Front Walk

acrylic on canvas

signed with initials and titled verso:

MIGS ‘OCEAN FRONT WALK

152.5 x 122cm

$800–1,500

60


30

61

KUNTJIL COOPER

(CIRCA 1920-2010)

Minyma Tjuta 2007

acrylic on belgian linen

signed dated and titled verso:

KUNTJIL COOPER 2007 MINYMA

TJUTA (SEVEN SISTERS)

catalogue number: IRRKC071104

113.5 x 141.5cm

PROVENANCE

Irrunytju Arts, Western Australia

$2,500–3,500

61

62

KUNTJIL COOPER

(CIRCA 1920-2010)

Wati Kutjara 2006

acrylic on belgian linen

signed and titled verso:

KUNTJIL COPPER WATI KUTJARA

catalogue number verso:

AGKC1106060007

144.5 x 165cm

$3,000–5,000

62

63

KUNTJIL COOPER

(CIRCA 1920-2010)

Irrunytju Rock Hole 2007

acrylic on belgian linen

signed, dated and inscribed verso:

KUNTJIL COOPER 2007 ‘IRRUNYTJU’

IRRUNYTJU ARTS

catalogue number: IRRKC071216

116 x 122cm

PROVENANCE

Irrunytju Arts Western Australia

$1,800–2,500


31

64

64

ANGAMPA MARTIN

(BORN CIRCA 1940)

Untitled - Ceremonial Totems

2008

acrylic on canvas

signed, dated and inscribed verso:

ANGAMPA MARTIN 2008 IRRUNYTJU

ARTS

catalogue number: AGAM0109080010

118 x 199cm

PROVENANCE

Irrunytju Arts, Western Australia

$2,000–3,000

65

WINGU TINGIMA

(CIRCA 1920-2010)

Pukara Wati Kutjara 2007

acrylic on belgian linen

signed, dated and titled verso: WINGU

TINGIMA 07 ‘Pukara Wati Kutjara’

catalogue number: IRRWT071115

92 x 120.5cm

65

PROVENANCE

Irrunytju Arts, Western Australia

$2,000–3,000


32

66

JOHNNY YOUNG (WORKING 2005)

recycled materials and found objects

catalogue no. TIT05JY1642S

Museum & Art Gallery of the Northern Territory

27cm high, 140cm wide, 90cm deep

PROVENANCE

Titjikala Art Centre

$2,000–3,000

67

TOMMY WATSON (CIRCA 1935-2017)

Wali

colour screenprint

signed with initial, titled and editioned on margin:

T WALI 37/60

65 x 90cm

$400–600

68

TOMMY WATSON (CIRCA 1935-2017)

Kulpitjarra

colour screenprint

signed with initial, titled and editioned on margin:

T KULPITJARRA 23/60

68 x 86cm

$400–600

69

TOMMY WATSON (CIRCA 1935-2017)

Waltitjata

colour screenprint

signed with initial, titled and editioned on margin:

T WALTITJATA 19/60

66 x 117cm

$400–600

70

KATHLEEN KNAGLE (BORN 1930)

Bush Plum

acrylic on linen

inscribed and titled verso: KATHLEEN KNAGLE ‘BUSH PLUM’

and stamped Artlore Alice Springs cat no.15-307

90 x 60cm

$1,000–1,500

71

MARY KURINJI (KANNGI) (BORN 1925)

Bush Flowers

acrylic on canvas

inscribed verso: MARY KURINJA

cat no: HA17064

99.5 x 79cm

$700–1,000

72

KUNTJIL COOPER (CIRCA 1920-2010)

Minyma Tjuta 2008

acrylic on belgian linen

signed, dated titled and inscribed verso: KUNTJIL COOPER 08

‘MINYMA TJUTA IRRUNYTJU ARTS

catalogue number: IRR081243

67.5 x 81cm

PROVENANCE

Irrunytju Arts Western Australia

$1,000–2,000

73

KUNTJIL COOPER (CIRCA 1920-2010)

Untitled

acrylic on belgian linen

signed verso: KUNTJIL COOPER

catalogue number: IRRKC04736

54.5 x 101cm

PROVENANCE

Irrunytju Arts Western Australia

$1,000–2,000

74

NANCY NAKAMARRA

Her Father’s Dreaming 1989

acrylic on canvas

signed and dated verso: NANCY NAKAMARRA 1989

100 x 75.5cm

PROVENANCE

Warlayirti Art (Balgo) Western Australia

$1,000–1,500


33

75

75

ALBERT NAMATJIRA (1902-1959)

Central Australia

watercolour

signed lower right: ALBERT NAMATJIRA

26.5 x 36cm

PROVENANCE

Estate of Leonard Long

Fireworks Gallery, Brisbane

$18,000–22,000

76

ROSELLA NAMOK (BORN 1979)

Cousin Sister 2001

acrylic on canvas

signed, dated and titled lower right:

Rosella Namok Lockhart River 2001

inscribed verso: Cousin Sister cat no. RN140801

67 x 59.5cm

$900–1,200

77

GLORIA NGARLA (CIRCA 1948-2002)

Bush Berry 2000

acrylic on linen

inscribed, dated and titled verso:

Glory Ngarla Bush Berry 2000

cat no. HA17051

122.5 x 91.5cm

$1,500–2,500

78

BENNY TJAPALTJARRI (CIRCA 1935-2006)

Spear

acrylic on canvas

signed and titled verso: BENNY TJAPALTJARRI SPEAR

cat. no: HOA0379

60.5 x 91cm

$600–800


34

79

ENGLISH SCHOOL

(MID 19TH CENTURY)

Portrait of a Lady

oil on canvas

77 x 64cm (oval)

$2,000–3,000

79

80

LEON CHARLES HUBER

(FRENCH, 1858-1928)

Mischievous Kittens

oil on canvas

signed lower left: L Huber

45 x 36cm

$1,000–1,500

80


35

81

81

THOMAS MILES RICHARDSON

(ENGLISH, 1784-1848)

Classical Landscape with Figures

Northumberland Castle 1834

oil on canvas

signed and dated lower right: T. M. Richardson 1834

97.5 x 125.5cm

$3,000–5,000

82

EUROPEAN SCHOOL

The Chalet

oil on canvas on board

41.5 x 36.5cm

$400–600

83

EDGAR R JONES (1890-1948)

Critics

oil on paper

signed lower left: E R Jones

signed and titled verso: E R Jones Critics

28.5 x 33cm

$400–600

84

ATTRIBUTED TO HENRY GRITTEN

The River

oil on canvas

22.5 x 32.5cm

$800–1,200


36

90

JOHN ROWELL (1894-1973)

Quiet Evening

oil on canvas

signed lower right: John Rowell

titled verso: QUIET EVENING

21.5 x 28cm

$200–400

85

85

FRANCISCO GOYA

(SPANISH, 1746-1828)

Las Mugeres Dan Valor

etching

titled with printed text lower centre on

margin: Las mugeres dan valor

first published 1863

13.5 x 18.5cm

PROVENANCE

Rex Irwin Gallery, Sydney

EXHIBITED

Newcastle Art Gallery, Newcastle, 2003

$500-800

86

CONCHITA CARAMBANO

(BORN 1961)

Lines of Judgement

mixed media

signed and titled lower right and left:

Conchita Carambano Lines of

Judgement

34 x 32cm

$300–500

87

HANS HEYSEN (1877-1968)

Venice 1902

watercolour

signed, dated and titled lower left and

right: HANS HEYSEN 1902 VENIS (sic)

21 x 25.5cm

$3,000–4,000

88

JOHN CYRIL HARRISON

(BRITISH 1898-1985)

Flight of the Birds

watercolour

signed lower right: J C Harrison

32.5 x 47cm

$400–600

89

H MOLTEUS

On the Thames

oil on canvas

inscribed and titled verso:

H MOLTEUS On the Thames

29.5 x 55cm

$300–500

91

FRANK WASLEY

(BRITISH 1848/54-1934)

Street Scene

watercolour

signed lower left: Frank Wasley

54.5 x 38cm

$500–800

92

EUROPEAN SCHOOL

The Fisherwomen

oil on board

signed but illegible lower right

34.5 x 24cm

$400–600

93

DARYL LINDSAY (1890-1976)

Dutch Landscape

watercolour

signed lower right: DARYL LINDSAY

23 x 35cm

$300–500

94

BRIAN DUNLOP (1938 - 2009)

Sunlit Room

lithograph

signed and editioned on margin:

Dunlop 5/20

71 x 100.5cm

$800–1,200


37

87

88


38

95

95

LLOYD REES (1895-1988)

The Creek at Gerringong 1972

oil on canvas on board

signed with initials and dated lower left:

LR 72 titled verso: THE CREEK AT GERRINGONG

24 x 34cm

PROVENANCE

Delmar Gallery of the Trinity Grammar School Society

of the Arts

$8,000–12,000


39

96

96

TOM ROBERTS (1856-1931)

A Landscape in Dorset circa 1921

oil on canvas on board

signed lower left: Tom Roberts

signed and titled verso:

Tom Robert Landscape in Dorset England

PROVENANCE

William Grant Buckle, Sydney

Thence by descent

Private Collection, Perth

Sotheby’s, Melbourne, 21 November 2006, lot 20

Private Collection, Melbourne

Deutscher-Menzies, Sydney, 25 March 2009, lot 62

Private Collection, USA

Private Collection, Melbourne

EXHIBITED

Tom Roberts Retrospective Exhibition, National Art Gallery of

New South Wales, Sydney, November 1947-January 1948

National Gallery of Victoria, Melbourne, February-March 1948,

cat. 75 (lent by Mrs W.G. Buckle)

John Brackenreg at Wales House Gallery, Sydney,

June 1962 cat. 36.

REFERENCE

Topliss H, Tom Roberts 1856-1931: A Catalogue Raisonne,

Oxford University Press, Melbourne, 1985, cat. 525,

vol. I p. 199; vol. II pl. 213 (illus.).

30.5 x 44.5cm

$20,000–30,000


40

97

DAVID MACKAY HARRISON (BORN 1941)

Ballerina

bronze

signed with initials and editioned: DMH 5/100

49cm high, 52cm wide, 39cm deep

$2,000–3,000

98

BRYAN WESTWOOD (1930-2000)

Escarpment

oil on canvas on board

signed lower left: WESTWOOD

69.5 x 54cm

$1,500–2,500

97


41

99

99

CRAIG RUDDY (BORN 1968)

Felicia Reclining 2004

mixed media

signed and dated lower right: Ruddy 04 titled verso: Felicia

Reclining

39.5 x 92cm

$1,500–2,500

100

TSUGUHARA FOUJITA (JAPANESE 1886-1968)

Figure Studies

watercolour and ink

signed lower right: Foujita

31 x 22.5cm (each)

$1,500–2,500

101

AFTER KADAR BELA

Woman with Guitar

oil on composition board

signed lower right: KADAR BELA

85 x 58.5cm

$800–1,500

102

WEAVER HAWKINS (1893-1977)

Rhythmic Activity 1971

watercolour

signed with initial and dated lower right: R 71

55 x 37cm

$800–1,200

103

DENIS COMIELE (FRENCH)

Towards the Villa

oil on canvas

signed lower right: Denis Comiele

53 x 64cm

$400–600

104

WILLIAM FRATER (1890-1974)

High Country

oil on board

signed lower right: William Frater

47.5 x 50cm

$500–800


42

105

IAN BOW (1914-1990)

The Listeners and Drawing for Sculpture

mixed media

pair framed as one

signed and titled lower right and left:

BOW THE LISTENERS DRAWING FOR SCULPTURE

22 x 17.5cm (each)

PROVENANCE

The Burdon Craddock Collection

$300–500

106

IAN BOW (1914-1990)

The Whirlpool

metal relief

signed lower right: BOW

24.5 x 29cm

PROVENANCE

The Burdon Craddock Collection

$300–500

107

IAN BOW (1914-1990)

Death of a Shearer

mixed media

signed and titled lower right: BOW DEATH OF A SHEARER

37 x 27cm

PROVENANCE

The Burdon Craddock Collection

$300–500

108

IAN BOW (1914-1990)

Life Drawing

watercolour and ink

signed and titled lower left: IAN BOW Life Drawing

21.5 x 22.5cm

PROVENANCE

The Burdon Craddock Collection

$200–300

105


43

109

109

DONALD FRIEND (1915-1989)

Forest Cattle Bali

mixed media

signed and titled lower right:

Donald Friend Forrest Cattle Bali

69.5 x 99.5cm

$6,000–8,000

110

SURABAYA RUSTAMADJI

(INDONESIAN 1921-2001)

Balinese Dancer 1981

oil on canvas

signed and dated lower left: Rustamadji 1981

53.5 x 68.5cm

$1,200–1,800

111

AUSTRALIAN SCHOOL

Figures

mixed media on paper

53.5 x 37.5cm

$500–800

112

FRENCH SCHOOL

Nude 1929

oil on canvas

signed but illegible and dated lower left: 1929

59 x 48.5cm

PROVENANCE

Melbourne Fine Art Gallery, Melbourne

$500–800


44

113


45

114

113

BANKSY (BORN 1974)

Grim Reaper Wrong War 2003

black and yellow aerosol stencil on cardboard

86 x 57.5cm

PROVENANCE

The stencil was created by Banksy for the London portion

of the international anti-war protest which took place on

February 15 2003 and is believed to be the largest anti-war

rally in human history. This work is attached with a letter of

provenance.

$10,000–20,000

114

BANKSY (BORN 1974)

The Helicopter Wrong War 2003

black and pink aerosol stencil on cardboard

66.5 x 63cm

PROVENANCE

The stencil was created by Banksy for the London portion

of the international anti-war protest which took place on

February 15 2003 and is believed to be the largest anti-war

rally in human history. This work is attached with a letter of

provenance.

$10,000–20,000


46

115

115

DAVID BROMLEY (BORN 1960)

Everything You Can Imagine is Real

acrylic on canvas with varnish wash

signed centre right: BROMLEY

122 x 90.5cm

$2,200–3,000

116

DAVID BROMLEY (BORN 1960)

Dragonfly Girl

acrylic on canvas

signed centre left: BROMLEY

153 x 121cm

$3,000–5,000


47

116


48

117

DAVID BROMLEY (BORN 1960)

Belinda

acrylic on canvas

signed lower right: BROMLEY

signed verso: David BROMLEY

153 x 122cm

$3,000–5,000

118

DAVID BROMLEY (BORN 1960)

Charlotte

acrylic on canvas

signed centre right: BROMLEY

titled verso: Charlotte

122.5 x 91cm

$2,500–3,500

119

DAVID BROMLEY (BORN 1960)

Kay

acrylic on canvas

signed centre right: BROMLEY

123 x 91cm

$2,500–3,500

120

DAVID BROMLEY (BORN 1960)

Dreams

acrylic on canvas

signed lower left: BROMLEY

121 x 150cm

$2,800–3,500

121

DAVID BROMLEY (BORN 1960)

The Circus

oil on canvas

signed lower right: BROMLEY

35.5 x 45.5cm

$600–900

122

CHARLES BLACKMAN (1928-2018)

Alice Through the Looking Glass

etching

signed with initials and editioned on margin: CB T/P

24cm diameter

$300–500

123

CHARLES BLACKMAN (1928-2018)

Dollies in the Window

charcoal on paper

signed lower right: BLACKMAN

23 x 14cm

$200–300

124

CHARLES BLACKMAN (1928-2018)

Charles Blackman’s Gardens

suite of six colour silkscreen prints

i) Ikebana

ii) Red Garden

iii) White Cat’s Garden

iv) Midsummer Night’s Dream

v) Butterfly’s Path

vi) Fifty Flowers

each signed, titled and editioned on margin:

BLACKMAN (or) Charles Blackman 26/80

56.5 x 85.5cm

$4,000–6,000

125

ARTHUR MERRIC BLOOMFIELD BOYD (1920-1999)

Tomorrow’s Ghosts

twelve original etchings with poems by Peter Stark

Circle Press Publications, London, 1971, Limited Edition of

100 copies with 15 Artist Proofs Frontispiece

signed and dated by Arthur Boyd and Peter Stark, 1971

57 x 39cm (folio)

$1,500–2,500

126

LEIF NILSSON (BORN 1937)

Turbulent Waters 1979

oil on canvas

signed and dated lower left: Leif 1969

94 x 132cm

$500–800

127

LEIF NILSSON (BORN 1937)

Abstract Landscape 1974

mixed media

signed and dated lower right: Leif 74

54 x 74.5cm

$200–300


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117


50

128

128

DENIS ROPAR (BORN 1971)

Bombshell in a Fast Car

acrylic on canvas

signed lower right: Ropar

167.5 x 106cm

$800–1,500

129

DENIS ROPAR (BORN 1971)

The Gas Mask

acrylic on canvas

signed lower right: Ropar

170 x 300cm

$1,000–2,000

130

DENIS ROPAR (BORN 1971)

Surprise

acrylic on canvas

signed lower right: Ropar

122 x 121.5cm

$800–1,200


51

131

131

DENIS ROPAR (BORN 1971)

Puppy Love 2007

acrylic on canvas

signed lower right: Ropar signed and

dated verso: Denis Ropar 2007

167.5 x 107cm

$800–1,500

132

DENIS ROPAR (BORN 1971)

The Pink Swimsuit

acrylic on canvas

signed lower right: Ropar

168 x 106.5cm

$1,500–2,000

133

DENIS ROPAR (BORN 1971)

After the Shower

acrylic on canvas

signed lower right: Ropar

167.5 x 107cm

$1,500–2,000


52

134

134

HAO LI (CHINESE BORN 1975)

Who Disturbed my Mind 2003

oil on canvas

signed and dated lower left: Hao Li 2003

signed dated and titled verso:

Hao Li 2005 who disturbed my mind

82 x 83cm

$1,200–1,800

135

GEORGE RAFTOPOULOS (BORN 1972)

Esperanza 4 2000

mixed media

signed dated and titled verso:

George Raftopoulos 2000 ESPERANZA 4

95 x 95cm

$1,500–2,500


53

136

136

HAO LI (CHINESE BORN 1975)

Girl with doll 2004

oil on canvas

signed and dated lower right: Hao Li 2004

98.5 x 79cm

$1,500–2,500

137

GEORGE RAFTOPOULOS (BORN 1972)

Esperanza 5 2000

mixed media

signed dated and titled verso:

George Raftopoulos 2000 ESPERANZA 5

95 x 95cm

$1,500–2,500


54

138

138

JAN HENDRIK SCHELTEMA (1861-1941)

Farm in the Otway Ranges

oil on canvas on board

signed lower right: JH Scheltema

29.5 x 44cm

$3,000–5,000

139

CARLYLE JACKSON (1891-1940)

Outside the Farm Cottages

watercolour

signed lower left: Carlyle Jackson

25 x 44cm

$200–300

140

RUPERT C. FIDLER (BORN 1910)

Low Tide 1913

watercolour

signed and dated lower left: RUPERT C FIDLER 13

25 x 54cm

$200–300

141

ELSA MARY RUSSELL (1909-1997)

Tree Lined Street

oil on board

signed lower left: ELSA RUSSELL

26 x 33cm

$300–500


55

142

142

SCHOOL OF LUDWIG BECKER

View of Melbourne

watercolour

signed lower right: L Becker

11 x 17cm

$1,000–3,000

143

MILTON MOON (1926-2019)

Bowl

multi-coloured glazed earthenware

signed on base: Milton Moon

8.5cm high, 27.5cm diameter

$200–300

144

MILTON MOON (1926-2019)

Lage Platter

glazed multi-coloured glazed earthenware

signed on base: Milton Moon

8cm high 43.5cm diameter

$200–400

145

MILTON MOON (1926-2019)

Large Bowl

glazed earthenware

stamped on base: M

9cm high, 36cm diameter

$200–400


56

Sir Ivor Hele enjoyed a long, distinguished career as a

painter. In 1926 he became the youngest member of the

SA Society of the Arts. The following year, at just fifteen

and his growing desire to rub palettes with the best in the

world, led him to Europe. From the Académie Colarossi to

La Grande Chaumière and the Académie Julian – the three

great independent French art schools of the time – Hele

jumped from one atelier to another. He was finally introduced

to Louis-François Biloul, a painter of the Ingresian nude,

who provided him with the structure and tuition he desired.

After six months, he progressed to Munich where he refined

his figurative and genre studies under the painter Moritz

Heymann.

Although Biloul and Heymann reinforced the strong classical

bias already evident in Hele’s early practice, the young

student returned to Australia sympathetic of international

Modernist trends. He valued ‘artists that painted their inward

emotions as opposed to older masters who merely painted

what they perceived on the surface’ and predicted that

‘Australia will come to appreciate modern art as soon as

enough of it appears in the salerooms.’ His work, however, in

both style and subject, remained truer to academic principles

of an earlier generation than those radical, vanguard ideas.

Portraiture, mythological scenes, figurative imagery, still-life

and flower studies were his principal themes. At 19, some

critics already anticipated that he was ‘going to be the finest

figure draughtsman that Australia has produced.

Commissioned as an official WWII artist, not even Hele could

have ever imagined the extent to which this appointment

would define his career and make him one of the most

collected and longest serving war artists of Australia. Never

had an Australian artist captured the multi-faceted aspects

of the grit of man at war with such brutal sincerity. National

recognition led to a huge demand and private commissions of

portraits, and between 1951 and 1957, he was awarded the

Archibald Prize five times. He then retreated to an eremitic life

at Aldinga – his long-time home and studio.

The Farrier, 1974, was probably painted in the idyllic

surrounds of Aldinga and the Fleurieu Peninsula. It is a unique

picture that summons, in a single composition, the artist’s

most cherished subjects: an action figure in a moment of

physical labour, a striking horse, the female body and the

sun-blazed Australian landscape. It is a synthesis of the

principal imagery that, already by 1970, had made Hele, in the

words of Lou Klepac, ‘probably the greatest academic painter

in Australia’.

The notable anatomical realism is the product of close

observation and a first-hand understanding of his subjects.

His pictures, noted Clive Turnbull, are ‘as forthright as the men

portrayed in them’. Shoeing is an artform that Hele would have

witnessed on countless occasions. Few artists painted the

animal with such curvaceous accuracy.

The horse is flanked by a holder, whose principal task it is to

keep the animal from become skittish. Her presence is one

of equal and conversely exaggerated sensualised femininity.

It is a deliberate contrast to the burly and knobbly farrier and

represents a classic dichotomy of gender performativity

common in traditional, academic pictures. Her womanly body:

slender, scantily clad and sun-scorched, is emphasised with

a slight cock of the hip in contrapposto. Her face is obscured,

creating a mystery of her identity.

An inquisitive cat and a few vigilant chickens further enliven

the busy, sun-drenched landscape. Everything is in its place

and in perfect resounding harmony: the farrier’s elbow is

doubled in the horses raised hind leg; his arched torso is

replicated in the horse’s curved back and rippled again in

the rolling hills; and the bend in the girl’s waist is mirrored

in the horse’s lean towards her. Painted using a balanced

combination of smooth, vigorous and expressive brushwork,

Hele has chosen a light, high-key palette of bright yellows,

toasty browns, white-washed pinks and faded blues: a colour

scheme that perfectly captures the bright glare of the South

Australian light.

If it were not for the military footlocker, there would be nothing

to suggest that this was a scene from the 20th century. After

decades of painting the modern fighting man in the age of the

machine, The Farrier, 1974, sums up Hele’s alternative vision

of a more bucolic version of humanity, living in perfect balance

with its environment. A world which – in Aldinga at least – was

still very much preserved and real.

Petrit Abazi

1. Hele largely circumvented commercial galleries and relied almost

entirely on winning judged prizes, private commissions to sell of his

pictures. See Gavin Fry Ivor Hele: the soldiers’ artist, Australian War

Memorial, Canberra, 1984, p. 11.

2. ‘Epstein or Rodin?’, in News, Adelaide, 6 May 1931, p. 9.

3. So this is Adelaide, Adelaide, December 1931, p.5 cited in Gavin Fry

Ivor Hele: the soldiers’ artist, Australian War Memorial, Canberra,

1984, p. 11.

4. The Australian War Memorial in Canberra alone has 492 works by

Hele in its collection.

5. Lou Klepac, cited in Gavin Fry Ivor Hele: the soldiers’ artist, Australian

War Memorial, Canberra, 1984, p. 30.


57

146

146

SIR IVOR HELE (1912-1993)

The Farrier 1974

oil on board

signed and dated lower right: Ivor Hele / 74

44.5 x 59.5cm

PROVENANCE

Collection of the artist, South Australia

Private collection, Adelaide (since 1975)

OTHER NOTES

Accompanied by sale receipt, signed by the artist,

dated 3 February 1975

$20,000–30,000


58

147

147

WILLIAM JAMES FORSTER (1840-1891)

The SS Keilawarra and the SS Helen Nicol 1886

watercolour and gouache

signed and dated lower left: W FORSTER 1886

titled lower centre: The S.S KEILAWARRA & S.S. HELEN

NICOL; after the collision off the Solitaries, Dec 8th 1886,

43 Lives Lost

40 x 65cm

$2,500–3,500

148

CYRIL MANN (ENGLISH 1911-1980)

Still Life Irises 1972

oil on canvas on board

signed and dated lower right: C Mann 72

52 x 36cm

$400–600

149

ALBERT HANSON (1866-1914)

The Headland

oil on board

signed lower left: Albert J Hanson

19.5 x 28.5cm

$1,000–1,500

150

JOHN ROWELL (1894-1973)

The Old Cart

oil on canvas

signed lower right: John Rowell

29.5 x 39cm

$400–600


59

151

151

SAMUEL THOMAS GILL (1818-1880)

Jester Circa 1860

watercolour

25 x 19cm

PROVENANCE

Thirty Victoria Street Sydney

Fine Australian Paintings, Sotheby’s, Melbourne,

19 April 1994 Lot No. 53

$3,000–5,000

152

SAMUEL THOMAS GILL (1818-1880)

The Prospector

watercolour

22 x 13.5cm

$2,000–3,000


60

153

HARALD HANSEN VIKE

(1906-1987)

Trees in the Wind 1964

oil on board

signed and dated lower left: Vike 64

59.5 x 44cm

$700–900

153

154

ADELAIDE PERRY (1891-1973)

White Cactus 1939

oil on board

signed and dated lower right:

A E Perry 1939

signed and titled verso:

A E Perry White Cactus

34 x 44cm

$800–1,200

154


61

155

155

ELAINE HAXTON (1909-1999)

Country Town

oil on board

signed lower left: HAXTON

46 x 63cm

PROVENANCE

Edgar Kaufmann, USA

$12,000–16,000

156

RICHARD BOGUSZ (BORN 1947)

Figure in the Bush

oil on board

signed lower right: RICHARD BOGUSZ

59.5 x 67cm

$300–500


62

157

158

157

FRANCIS GIBBES (1815-1904)

Farmhouse in a Landscape 1877

watercolour

signed and dated lower left:

F B Gibbes 1877

37.5 x 55.5cm

$2,500–3,000

158

ALFRED W WALSH (1859-1916)

Cottage in the Kaikouras

watercolour

signed lower right: Alfred W Walsh

44 x 63.5cm

$2,500–3,500

159

ARTIST UNKNOWN

Portrait of an Officer

oil on board

22 x 17cm

$200–400


63

160

ROBERT JOHNSON (1890-1964)

The Red Farm Emu Plains NSW

oil on board

signed lower left: Robert Johnson

36.5 x 44.5cm

PROVENANCE

Gordon Galleries Sydney

$1,200–1,800

161

RAY CROOKE (1922-2015)

North West Landscape. 1969

oil on canvas on board

signed and dated lower left:

R Crooke 69

48.5 x 74cm

PROVENANCE

Sir Val Duncan, Rio Tinto Zinc, St

James Square, London SW1 (Duncan

Chairman & Chief Executive of Rio

Tinto-Zinc was knighted in 1968.

He served in WW II on the staffs of

Generals Montgomery Eisenhower

and Alexander)

Skinner Galleries, Perth,

Western Australia

$800–1,200

160

162

RAY CROOKE (1922-2015)

Stockman with Cattle North West

Landscape

watercolour

signed lower right: Ray Crooke

13.5 x 20.5cm

PROVENANCE

Sir Val Duncan, Rio Tinto Zinc, St

James Square, London SW1 (Duncan

Chairman & Chief Executive of Rio

Tinto-Zinc was knighted in 1968.

He served in WW II on the staffs of

Generals Montgomery Eisenhower

and Alexander)

Skinner Galleries, Perth,

Western Australia

$300–600

161


64

163

163

SCHOOL OF RUPERT BUNNY

Bather and Swan circa 1908

oil on canvas

signed with monogram lower left: R. B.

89 x 88cm

$3,000–5,000

164

IN THE STYLE OF PAUL GAUGUIN

Tahitian Maidens and Boy

oil on board

77 x 97cm

$600–1,000


65

165

165

JUN CHEN (BORN 1960)

Studio Model 2007

oil on canvas

signed and dated lower right: Jun Chen 2007

180 x 164cm

$2,000–4,000

166

EUROPEAN SCHOOL

Sleeping Nude

oil on canvas

signed but illegible lower right

76.5 x 96.5cm

$1,500–2,500


66

167

167

VEE SPEERS (BORN 1962)

Bordello #7 2006

photograph

signed, dated, titled and

editioned on margin:

Vee Speers 2006 BORDELLO #7 2/20

35.5 x 54cm

$500–800

168

VEE SPEERS (BORN 1962)

Bordello #5 2006

photograph

signed, dated, titled and

editioned on margin:

Vee Speers 2006 BORDELLO #5 12/20

54 x 36cm

$500–800

168

169

VEE SPEERS (BORN 1962)

Bordello #10 2006

photograph

signed, dated, titled and

editioned on margin:

Vee Speers 2006 BORDELLO #10 1/20

53.5 x 36cm

$500–800


67

170

VEE SPEERS (BORN 1962)

Bordello #68 2006

photograph

signed, dated, titled and

editioned on margin:

Vee Speers 2006 BORDELLO #68 3/20

54 x 36cm

$500–800

171

FRANK HURLEY (1885-1962)

Ice flows, Cape Denison

silver gelatin photograph

24 x 37cm

Taken during the first Australasian

Antarctic Expedition led by Douglas

Mawson, 1911–1914

$500–800

171

172

FRANK HURLEY (1885-1962)

Aurora

silver gelatin photograph

24.5 x 37cm

Taken during the first Australasian

Antarctic Expedition led by Douglas

Mawson, 1911–1914

$500–800

173

MATTHEW SLEETH (BORN 1972)

Hakone 2006

C type print

signed, dated, titled

and editioned verso:

Matthew Sleeth / 2006 / [HAKONE] / 6/7

120 x 145.5cm (image size)

$2,000–3,000

172

174

MATTHEW SLEETH (BORN 1972)

Illumination Circus Taskashimaya

Shinjuku 2005

C type print

signed, dated, titled and editioned

verso: Matthew Sleeth / 2005 /

ILLUMINATION CIRCUS [TAKASHIMAYA

CIRCUS} 6/7

120 x 145cm (image size)

$2,000–3,000

175

MATTHEW SLEETH (BORN 1972)

Southern Lights Shinjuku Southern

Promenade 2006

C type print

signed, dated, titled and editioned

verso: Matthew Sleeth / 2006 /

SOUTHERN LIGHTS [SHINJUKU

SOUTHERN PROMENADE]

120 x 145.5cm (image size)

$2,000–3,000

176

FRATELLI ALINARI

(ITALIAN FROM 1852)

Collection of 124 albumen prints

albumen prints

including scenes of Venice Milan

Florence Pisa Genova Rome

20 x 25.5cm (average each)

backing sheet size: 30.5 x 38cm

$3,000–5,000


68

177

JAMES CLAYDEN (BORN 1947)

Untitled 1989

pastel

signed, dated and titled lower right:

J CLAYDEN AUGUST 1989 UNTITLED

105 x 75cm

$400–600

178

ANDREW WELLMAN

(BORN 1966)

The Sunday Session 2002

oil on canvas

signed, dated and titled verso: Drew

Wellman 2002 The Sunday Session

198 x 198cm

$1,000–2,000

177

179

ANDREW WELLMAN

(BORN 1966)

Don’t Look Back...Forward is the

Way to Go 2008

oil on canvas

inscribed lower left: don’t look back

signed dated and titled verso:

Drew Wellman 2008 don’t Look Back

(forward is the way to go)

104 x 299cm

$800–1,500

180

TROY INNOCENT

New Life with Icons 2002

perspex mounted digiprint

edition 1/5

116 x 117cm

PROVENANCE

Tolarno Galleries, Melbourne

$300–500

181

TOMEK SIKORA (BORN 1948)

Reflection 2003

photograph

signed and dated lower right:

T Sikora 2003

43.5 x 65cm

$400–600

178


69

182

MICHAEL CUSACK (BORN 1960)

Study in Black and White 2001

oil on canvas

signed and dated verso:

M CUSACK JUNE 2001

107 x 122cm

$800–1,200

183

EDWIN TANNER (1920-1980)

Canary Loop 1967

pastel

signed, dated and titled lower left:

Edwin Tanner 1967 Canary Loop

39.5 x 35cm

$800–1,200

184

MICHAEL CUSACK (BORN 1960)

Tablet Leaving 2000

mixed media

signed lower right: Cusack

signed, dated and titled:

CUSACK TABLET LEAVING 00

17 x 26.5cm

$400–600

182

185

MICHAEL CUSACK (BORN 1960)

Glass Half Full

oil on canvas

signed lower right: CUSACK

22 x 20.5cm

$400–600

186

AMANDA MARBURG

(BORN 1976)

Untitled 2000

oil on board

signed and dated verso:

Amanda Marburg 2000 (each)

9.5 x 14cm (each)

$200–400

183


70

187

187

JOHN PERCEVAL (1923-2000)

Asian Girl and Friend

oil on paper

signed and titled upper left and right:

Perceval Asian Girl + Friend

55.5 x 75cm

PROVENANCE

Acquired by the present owner directly from the artist

$2,500–3,500

188

JOHN PERCEVAL (1923-2000)

Mother and Child

ink and charcoal on paper

signed lower left: Perceval

53 x 74cm

189

CELIA PERCEVAL (BORN 1949)

The Blue Pool

oil on board

signed lower right: Celia Perceval

73 x 54cm

$900–1,200

190

AMANDA MARBURG (BORN 1976)

Joggers 1999 and Untitled 2001

oil on board

signed, inscribed and dated verso:

Amanda Marburg 1999 and 2001

9.5 x 14cm (each)

$200–400

PROVENANCE

Works from the Studio of John Perceval AO, Mossgreen

Auctions, Melbourne, 19 March 2013, Lot 313

$600–800


71

191

SULIYAT BUAMAR (INDONESIAN BORN 1973)

Oh You Stick Your Middle Finger Up in Pictures

2015

oil on canvas

signed, dated and titled upper and centre right:

S BUAMAR 2015 OH YOU STICK YOUR MIDLE (sic)

FINGER UP IN PICTURES

139 x 100cm

$600–800

192

SULIYAT BUAMAR (INDONESIAN BORN 1973)

Dream Date 2015

oil on canvas

signed, dated and titled centre left:

S BUAMAR 2015 DREAM DATE

120 x 89.5cm

$400–600

193

GREG IRVINE (BORN 1947)

Tropical Terrace

oil on canvas

signed with initials lower left: G I

122 x 152cm

$2,000–3,000 191

193


72

194

LEWIS MILLER (BORN 1959)

Yellow Nude 4 2008

oil on linen

signed and dated lower right:

LEWIS MILLER 08

signed dated and titled verso:

LEWIS MILLER 08 YELLOW NUDE 4

84 x 66cn

$1,500–2,000

195

SALLY ROSS (BORN 1969)

Respite 1998

oil on canvas

signed, dated and titled verso:

Sally Ross 1998 Respite

41 x 33cm

$600–1,000

194

196

LEWIS MILLER (BORN 1959)

Tattooed Man 2000

etching

signed, dated, titled and editioned on

margin: LEWIS MILLER 00 TATTOOED

MAN 2/10

17 x 12cm

$150–250

197

HADYN WILSON (BORN 1955)

Lesson No 19 Boy with Triangular

Pyramid 2004

oil on canvas

signed, dated and titled verso:

Hadyn Wilson 2004 ‘Lesson No 19 Boy

with triangular pyramid’

30.5 x 25.5cm

$600-800

198

HADYN WILSON (BORN 1955)

Lesson No 12 Far Horizons 2004

oil on canvas

signed, dated and titled

verso: Hadyn Wilson 2004

‘Lesson No 12 Far horizons’

25 x 30.5cm

$600-800

195


73

199

HADYN WILSON (BORN 1955)

She marked her desire through

distance at an indice of two

oil on board

105.5 x 90cm

EXHIBITED

Hadyn Wilson, Sentient Matters,

UTS Gallery, University of Technology,

Sydney, June 2000, cat. no.14

$1,000–2,000

200

LEWIS MILLER (BORN 1959)

Seated Nude on Black Chair 1994

oil on canvas

signed with initials and dated lower

right: LM 94

71 x 66cm

PROVENANCE

Ray Hughes Gallery, Sydney

$1,500–2,500

201

MELINDA HARPER (BORN 1965)

No. 5 1995

oil on canvas

signed dated and titled verso:

Melinda Harper NO 5 1995

30 x 25.5cm

199

PROVENANCE

Tim Olsen Gallery, Sydney

$400–600

202

PETER WALSH (1958-2008)

The Drinker 1988

oil on canvas

signed, dated and titled verso:

Peter Walsh 1988 The Drinker

152 x 121cm

$1,500–2,500

200


74

203

203

MARK SCHALLER (BORN 1962)

The Car

acrylic on linen

signed and titled verso: Mark Schaller The Car

91 x 142cm

$2,200–3,000

204

MARK SCHALLER (BORN 1962)

Pot Belly Stove 1999

oil on canvas

signed and dated lower right: Mark Schaller 99

signed, dated and titled verso:

Mark Schaller 2000 POT BELLY STOVE

182.5 x 135cm

$2,500–3,500

205

JOHN PERCEVAL (1923-2000)

Expulsion I

pencil on paper

signed lower centre: Perceval

36.5 x 46cm

PROVENANCE

Australian Galleries Melbourne (label verso)

The John Buckley Collection of Modern & Contemporary

Australian Art, Mossgreen Auctions, 13 May 2014, Lot 4

EXHIBITED

John Perceval Drawings, Australian Galleries, Melbourne,

2–24 March 1987, cat. no. 27

$1,000–1,500


75

204


76

206

206

DANILA VASSILIEFF (1897-1958)

Nude

watercolour

37 x 30cm

$400–600

207

AFTER TAMARA DE LEMPICKA

Nude

oil on canvas

90 x 59.5cm

$600–800

208

WILLIAM (BILL) COLEMAN (1922-1993)

Seated Nude Model

oil on board

60 x 45cm

$1,200–1,500

209

WILLIAM (BILL) COLEMAN (1922-1993)

Reclining Figure

monotype on paper

signed lower right: Bill Coleman

23 x 34cm

$200–300

210

JACQUI STOCKDALE (BORN 1968)

Lady McDeath 2007

mixed media

77 x 91.5cm

$1,000–1,500

211

AFTER TAMARA DE LEMPICKA

Nude and Buildings

oil on canvas

59.5 x 49.5cm

$400–600


77

212

212

MIMMO PALADINO (ITALIAN BORN 1948)

Sogno Umido (from the Ulysses Suite) 1984

woodcut

signed, dated and editioned lower right and left:

M Paladino 1984 5/65

80 x 120.5cm

$800–1,200

213

MIMMO PALADINO (ITALIAN BORN 1948)

Senza Titolo (from the Ulysses Suite) 1984

woodcut

signed, dated and editioned lower right and left:

M Paladino 1984 5/65

81 x 120.5cm

$800–1,200

214

PASQUALE GIARDINO (BORN 1961)

Two Figures in a Car

mixed media

signed lower right: Pasquale

51 x 36cm

$700–900

215

PASQUALE GIARDINO (BORN 1961)

Head 2003

acrylic on canvas

signed, dated and titled verso: Pasquale Giardino 2003 Head

120 x 80cm

PROVENANCE

Metro 5 Gallery Melbourne

$2,500–3,500


78

216

MARION BORGELT (BORN 1954)

Liquid Light 29 Degrees 2004

pigment acrylic canvas pins wood

signed, dated and titled verso:

Marion Borgelt LIQUID LIGHT; 29 DEGREES 2004

120 x 90cm

$2,000–4,000

217

GUO JIAN (CHINESE BORN 1962)

Liberation Fighters. 1999

acrylic on canvas

signed and dated verso: Guo Jian 1999

120 x 137cm

$2,000–4,000

218

AFTER ROY LICHTENSTEIN

The Kiss

acrylic on canvas

101 x 110cm

$500–800

219

FRANK MALERBA (BORN 1950)

Fuck You

acrylic and charcoal on canvas

signed lower right: F Malerba

122 x 91cm

$800–1,200

220

JULIAN SCHNABEL (AMERICAN BORN 1951)

Tod Cage Without Bars V

etching

signed with initials lower centre in plate: JCS

76 x 59cm

$1,000–2,000

222

GEORGE GITTOES (BORN 1949)

Heavy Industry 1991

A suite of etchings by George Gittoes

editioned, titled, signed and dated on margin:

3/60 TATTOO George Gittoes 91

5/60 HOUSE OF THE RISING SUN George Gittoes 91

12/60 DRAGON IN THE FURNACE George Gittoes 91

3/60 GASS TESTER George Gittoes 91

AP OXY CART George Gittoes 91

12/60 CLEARING THE TRACKS George Gittoes 91

AP HOSE FITTER George Gittoes 91

12/60 OUR CHAIR George Gittoes 91

5/60 THE BREATHER George Gittoes 91

16/60 NIGHT SHIFT TRAJEDY George Gittoes 91

AP A MANS WORLD George Gittoes 91

12/60 COMBUSTION George Gittoes 91

12/60 THE DOORS George Gittoes 91

12/60 OUTR HOUSE George Gittoes 91

12/60 THE STAIRS George Gittoes 91

12/60 FRONT END CRIB George Gittoes 91

12/60 GRINDING MILL George Gittoes 91

12/60 TREADWELLS George Gittoes 91

31.5 x 24.5cm (each)

$1,500–2,500

223

SIDNEY NOLAN (1917-1992)

Agamemnon Troy 1966

pencil and pastel on paper

signed, dated and titled verso:

Nolan 3rd March 66 Lowell Agamemnon Troy

60.5 x 47.5cm

$2,000–3,000

End of Sale

221

PETER THOMSON

Portrait 2001

mixed media

signed and dated verso: Peter Thomson 2001

30 x 30.5cm

$300–500


79

Artist Index

Artist Unknown 159

Alinari, Fratelli 176

Armstrong, Ian 19

Australian School 111

Banksy 113-114

Becker, Ludwig (School of) 142

Bela, After Kadar 101

Bennett, Rubery 20, 26

Blackman, Charles 123-124

Bogusz, Richard 156

Borgelt, Marion 216

Bow, Ian 105-108

Boyd, Arthur Merric Bloomfield 125

Bromley, David 115–121

Buamar, Suliyat 191–192

Bunny, Rupert (School of) 163

Burton, Alison 55

But-Husaim, Deidre 57–58

Carambano, Conchita 86

Chavez, Mike 60

Chen, Jun 165

Clayden, James 177

Coleman, William (Bill) 208, 209

Collingridge, George 48

Comiele, Denis 103

Conder, Charles 23

Cooper, Kuntjil 61–63, 72–73

Courier, John (Jack) 38–44

Courier, Mary (McLeish) 45–47

Crooke, Ray 161–162

Cumbrae-Stewart, Janet 28–30

Cusack, Michael 182–185

Davies, David 6

De Lempicka, Tamara (After) 207, 211

Dooney, Hazel 56

Dunlop, Brian 94

English School 79

European School 82, 92, 166

Fidler, Rupert C. 140

Forster, William James 147

Foujita, Tsuguhara 100

Frater, William 104

French School 3, 112

Friend, Donald 109

Gauguin, Paul (In the style of) 164

Giardino, Pasquale 214–215

Gibbes, Francis 157

Gill, Samuel Thomas 151–152

Gittoes, George 222

Goya, Francisco 85

Gritten, Henry (Attributed to) 84

Hanson, Albert 149

Harper, Melinda 201

Harrison, David Mackay 97

Harrison, John Cyril 88

Hawkins, Weaver 9, 102

Haxton, Elaine 155

Hele, Sir Ivor 146

Heysen, Hans 87

Hood, Cherry 5

Huber, Leon Charles 80

Hurley, Frank 171–172

Innocent, Troy 180

Irvine, Greg 193

Jackson, Carlyle 139

Jackson, James R 18, 35

Jian, Guo 217

Johnson, Robert 7, 160

Jones, Edgar R 83

Knagle, Kathleen 70

Knox, William Dun 2

Kurinji (Kanngi), Mary 71

Langlois, Chris 49–50

Lawrence, George Feather 31

Lichtenstein, Roy (After) 218

Li, Hao 134, 136

Lindsay, Daryl 93

Loxton, John S 24

Malerba, Frank 219

Mann, Cyril 148

Marburg, Amanda 186, 190

Martin, Angampa 64

Miller, Lewis 194, 196, 200

Molteus, H 89

Mondrian (Style of) 37

Moon, Milton 143–145

Morris, William (Attributed to) 25

Nakamarra, Nancy 74

Namatjira, Albert 75

Namok, Rosella 76

Ngarla, Gloria 77

Nilsson, Leif 126–127

Nolan, Sidney 14–16, 223

Officer, Edward Cairns 1

Paladino, Mimmo 212–213

Perceval, Celia 189

Perceval, John 187–188, 205

Perry, Adelaide 154

Raftopoulos, George 135, 137

Rees, Lloyd 13, 95

Richardson, Thomas Miles 81

Ritson, Sarah 36

Roberts, Tom 96

Ropar, Denis 59, 128–133

Ross, Sally 195

Rowell, John 90, 150

Ruddy, Craig 99

Russell, Elsa Mary 141

Russell, Robert 27

Rustamadji, Surabaya 110

Schaller, Mark 203–204

Scheltema, Jan Hendrik 138

Schnabel, Julian 8, 220

Sikora, Tomek 181

Sleeth, Matthew 173–175

Spears, Vee 167–170

Spowers, Ethel 10

Stockdale, Jacqui 210

Tanner, Edwin 183

Thomson, Peter 221

Tingima, Wingu 65

Tjapaltjarri, Benny 78

Tuckson, John Anthony (Tony) 12

Vassilieff, Danila 206

Vike, Harald Hansen 153

Wallis, Raymond 11

Walsh, Alfred W 158

Walsh, Peter 202

Warhol, Andy 4, 51–54

Wasley, Frank 91

Watson, Tommy 67–69

Wellman, Andrew 178–179

Westwood, Bryan 98

Wilson, Hadyn 197–199

Woodhouse, Herbert James 22

Wyatt, William 21

Young, Johnny 66

Young, Robert 17

Zbukvic, Joseph 32–34


80

Terms & Conditions of Sale

The terms and conditions of sale listed here contain

the policies of Gibson’s Auctioneers & Valuers

Pty Ltd. They are the terms on which Gibson’s

Auctioneers & Valuers Pty Ltd and the Seller contract

with the Buyer. They may be amended by printed

Saleroom Notices or oral announcements made

before and during the sale. By bidding at auction you

agree to be bound by these terms.

1. Background to the Terms used in

these Conditions

The conditions that are listed below contain terms

that are used regularly and may need explanation.

They are as follows:

“the Buyer” means the person with the highest bid

accepted by the Auctioneer

“the Lot” means any item depicted within the sale for

auction and in particular the item or items described

against any lot number in the catalogue.

“the Hammer price” means the amount of the highest

bid accepted by the auctioneer in relation to a lot

“the Buyers Premium” means the charge payable by

the Buyer to the auction house as a percentage of

the hammer price.

“the Reserve” means the lowest amount at which

Gibson’s Auctioneers & Valuers has agreed with the

Seller that the lot can be sold.

“Forgery” means an item constituting an imitation

originally conceived and executed as a whole, with

a fraudulent intention to deceive as to authorship,

origin, age, period, culture or source, where the

correct description as to such matters is not

reflected by the description in the catalogue.

Accordingly no lot shall be capable of being a forgery

by reason of any damage or restoration work of any

kind (Including re-painting).

“the insured value” means the amount that Gibson’s

Auctioneers & Valuers in its absolute discretion

from time to time shall consider the value for which

a lot should be covered for insurance (whether or

not insurance is arranged by Gibson’s Auctioneers

& Valuers.)

All values expressed in Gibson’s Auctioneers &

Valuers Pty Ltd catalogues (in any format) are in

Australian Dollars (AU$). All bids, “hammer price”,

“reserves”, “Buyers Premium” and other expressions

of value are understood by all parties to be in

Australian Dollars (AU$) unless otherwise specified.

2. Gibson’s Auctioneers & Valuers

Auctions as Agent

Except as otherwise stated Gibson’s Auctioneers &

Valuers Pty Ltd acts as agent for the Seller.

The contract for the sale of the property is therefore

made between the Seller and the Buyer.

3. Before the Sale

A) EXAMINATION OF PROPERTY

Prospective Buyers are strongly advised to examine

in person any property in which they are interested

before the Auction takes place. Neither Gibson’s

Auctioneers & Valuers nor the Seller provides any

guarantee in relation to the nature of the property

apart from the Limited warranty in the paragraph

below.

The property is otherwise sold “AS IS”

B) CATALOGUE AND OTHER DESCRIPTIONS

All statements by Gibson’s Auctioneers & Valuers

in the catalogue entry for the property or in the

condition report, or made orally or in writing

elsewhere, are statements of opinion and are not

to be relied upon as statements of fact. Such

statements do not constitute a representation,

warranty or assumption of liability by Gibson’s

Auctioneers & Valuers of any kind. References in the

catalogue entry to the condition report to damage

or restoration are for guidance only and should be

evaluated by personal inspection by the bidder or

a knowledgeable representative. The absence of

such a reference does not imply that an item is free

from defects or restoration, nor does a reference to

particular defects imply the absence of any others.

Estimates of the selling price should not be relied

on as a statement that this is the price at which

the item will sell or it’s value for any other purpose.

Neither Gibson’s Auctioneers & Valuers nor The

Seller is responsible for any errors or omissions in the

catalogue or any supplemental material.

Images are measured height by width (sight size).

Illustrations are provided only as a guide and should

not be relied upon as a true representation of colour

or condition. Images are not shown at a standard

scale. Mention is rarely made of frames (which may be

provided as supplementary images on the website)

which do not form part of the lot as described in the

printed catalogue.

Foreign buyers should note that all transactions

are in Australian dollars (AU$)so there may be a

small exchange rate risk. The costs associated

with acquiring a good certificate will be carried by

the purchaser. If the item turns out to be forged or

otherwise incorrectly described, all reasonable costs

will be borne by the vendor.

C) BUYERS RESPONSIBILITY

All property is sold “as is” without representation

or warranty of any kind by Gibson’s Auctioneers

& Valuers or the Seller. Buyers are responsible for

satisfying themselves concerning the condition

of the property and the matters referred to in the

catalogue by requesting a condition report

4. At the Sale

A) REFUSAL OF ADMISSION

Gibson’s Auctioneers & Valuers reserves the right at

our complete discretion to refuse admission to the

auction premises or participation in any auction and

to reject any bid.

B) REGISTRATION BEFORE BIDDING

Any prospective new buyer must complete and sign

a registration form and provide photo-identification

before bidding. Gibson’s Auctioneers & Valuers may

request bank, trade or other financial references to

substantiate this registration.

C) BIDDING AS A PRINCIPAL

When making a bid, a bidder is accepting personal

liability to pay the purchase price including the

buyers premium and all applicable taxes, plus all

other applicable charges, unless it has been explicitly

agreed in writing with Gibson’s Auctioneers & Valuers

before the commencement of the sale that the

bidder is acting as agent on behalf of an identified

third party acceptable to Gibson’s Auctioneers &

Valuers and that Gibson’s Auctioneers & Valuers will

only look to the principal for payment.

D) INTERNATIONAL REGISTRATIONS

All International clients not known to Gibson’s

Auctioneers & Valuers will be required to scan or fax

through an accredited form of photo identification

and pay a deposit at our discretion in cleared funds

into Gibson’s Auctioneers & Valuers’ account at least

48 hours before the commencement of the auction.

Bids will not be accepted without this deposit.

Gibson’s Auctioneers & Valuers also reserves the

right to request any additional forms of identification

prior to registering an overseas bid.

This deposit can be made using a credit card,

however the balance of any purchase price in excess

of $5,000 can not be charged to this card without

prior arrangement. This deposit is redeemable

against any auction purchase.

E) ABSENTEE BIDS

Gibson’s Auctioneers & Valuers will use reasonable

efforts to execute written bids delivered to us AT

LEAST 24 Hours before the sale for the convenience

of those clients who are unable to attend the auction

in person. If we receive identical written bids on a

particular lot, and at the auction these are the highest

bids on that lot, then the lot will be sold to the person

whose written bid was received and accepted first.

Execution of written bids is a free service undertaken

subject to other commitments at the time of the sale

and we do not accept liability for failing to execute

a written bid or for errors or omissions which may

arise. It is the bidder’s responsibility to check with

Gibson’s Auctioneers & Valuers after the auction if

they were successful. Unlimited or “Buy” bids will not

be accepted. Please refer to our indicative bidding

increments below for appropriate absentee bid

amounts (Section K).

F) TELEPHONE BIDS

Priority will be given to overseas and interstate

bidders. Arrangements for this service must be

confirmed AT LEAST 24 HOURS PRIOR to the auction

commencing. Gibson’s Auctioneers & Valuers

accepts no responsibility whatsoever for any errors

or failure to execute bids. In telephone bidding the

buyer agrees to be bound by all terms and conditions

listed here and accepts that Gibson’s Auctioneers

& Valuers cannot be held responsible for any

mis-communications in the process. The success

of telephone bidding cannot be guaranteed due to

circumstances that are unforeseen. Buyers should

be aware of the risk and accept the consequences

should contact be unsuccessful at the time of

Auction. You must advise Gibson’s Auctioneers &

Valuers of the lots in question and recommend a

‘Cover Bid’ amount should there be any issues with

technology or communication via the telephone

number provided. Gibson’s Auctioneers & Valuers

will advise Telephone Bidders who have registered

at least 24 hours before the auction of any relevant

changes to descriptions, withdrawals or any other

sale room notices.

G) ONLINE BIDDING

Gibson’s Auctioneers & Valuers accepts no

responsibility for any errors, failure to execute bids or

any other miscommunications regarding this process.

It is the online bidder’s responsibility to ensure the

accuracy of the relevant information regarding bids,

lot numbers and contact details.

H) RESERVES

Unless otherwise indicated, all lots are offered subject

to a reserve, which is the confidential minimum price

below which the Lot will not be sold. The reserve will

not exceed the low estimate printed in the catalogue.

The auctioneer may open the bidding on any Lot

below the reserve by placing a bid on behalf of the

Seller. The auctioneer may continue to bid on behalf

of seller up to the amount of the reserve, either

by placing consecutive bids or by placing bids in

response to other bidders.

I) AUCTIONEERS DISCRETION

The Auctioneer has the right at his absolute and sole

discretion to refuse any bid, to advance the bidding

in such a manner as he may decide, to withdraw or

divide any lot, to combine any two or more lots and,

in the case or error or dispute and whether during or


81

after the sale, to determine the successful bidder, to

continue the bidding, to cancel the sale or to reoffer

and resell the item in dispute. If any dispute arises

after the sale, then Gibson’s Auctioneers & Valuers’s

sale record is conclusive.

J) SUCCESSFUL BID AND PASSING OF RISK

Subject to the auctioneer’s discretion, the highest

bidder accepted by the auctioneer will be the buyer

and the striking of his hammer marks the acceptance

of the highest bid and the conclusion of a contract

for sale between the Seller and the Buyer. Risk and

responsibility for the lot (including frames or glass

where relevant) passes immediately to the Buyer.

K) INDICATIVE BIDDING STEPS, ETC.

Gibson’s Auctioneers & Valuers reserves the right to

refuse any bid, withdraw any lot from sale, to place

a reserve on any lot and to advance the bidding

according to the following:

Increment Amount

Dollar Range

$20 $0–$500

$50 $500–$1,000

$100 $1,000–$2,000

$200 $2,000–$5,000

$500 $5,000–$10,000

$1,000 $10,000–$20,000

$2,000 $20,000–$50,000

$5,000 $50,000–$100,000

$10,000 $100,000–$200,000

$20,000 $200,000–$500,000

$50,000 $500,000–$1,000,000

Absentee bids must follow these increments and any

bids that don’t follow the steps will be rounded up to

the nearest acceptable bid.

5. After the Sale

A) BUYERS PREMIUM

In addition to the hammer price, the buyer agrees to

pay to Gibson’s Auctioneers & Valuers the buyers

premium. The buyer’s premium is 22% of the

hammer price plus GST. (Goods and Services Tax)

where applicable.

B) PAYMENT AND PASSING OF TITLE

The buyer must pay the full amount due (comprising

the hammer price, buyers premium and any

applicable taxes and GST) not later than three (3)

days after the auction date.

The buyer will not acquire title for the lot until

Gibson’s Auctioneers & Valuers receives full

payment in cleared funds, and no goods under any

circumstances will be released without confirmation

of cleared funds received. This applies even if the

buyer wishes to send items interstate or overseas.

Payment can be made by the following means:

• Bank Transfer/Direct Deposit is our preferred

method of payment

Account Name: Gibsons Auctions

Bank:

Bank of Melbourne

(A division of St George)

BSB: 193879

Account No: 441701443

Swift Code: SGBLAU2S

Routing Code: 021000021

Bank Address: 197-201 Glenferrie Road,

Malvern, Vic, 3144

The buyer is responsible for any bank fees and

charges applicable for the transfer of funds into

Gibson’s Auctioneers & Valuers’s account

• Personal, Company and Bank Cheques are not

accepted without prior approval.

• Eftpos (no charge)

• Credit cards: Visa and Mastercard (1.2% incl GST

merchant fee) and American Express (2% incl

GST merchant fee)

Please note that credit card transactions over

$5,000 will not be accepted over the telephone

unless by prior arrangement.

• Cash up to AU$10,000 can accepted in

cash. For any amount over this, cash is to be

deposited directly into our account at a Bank of

Melbourne/St George branch

C) COLLECTION OF PURCHASES & INSURANCE

Gibson’s Auctioneers & Valuers is entitled to retain

items sold until all amounts due to us have been

received in full in good cleared funds. Subject to this,

the Buyer shall collect purchased lots within three

(3) days from the date of the sale unless otherwise

agreed in writing between Gibson’s Auctioneers &

Valuers and the Buyer.

At the fall of the hammer, insurance is the

responsibility of the purchaser.

D) PACKING, HANDLING AND SHIPPING

At the request of the buyer, Gibson’s Auctioneers &

Valuers may assist with packing of goods but takes

no responsibility for loss, damage or breakage that

may occur.

Gibson’s Auctioneers & Valuers at the request of the

buyer may arrange for a carrier, packer or shipper to

have the property packed, insured and shipped at

the buyer’s expense. All packing, shipping, insurance,

postage & associated charges will be borne by the

purchaser.

Gibson’s Auctioneers & Valuers can assist with

removal companies that the buyer can use but takes

no responsibility whatsoever for the actions of any

recommended third party.

E) CULTURAL HERITAGE EXPORT LICENCES

Unless otherwise agreed by us in writing, the fact

that the buyer wishes to apply for an export licence

does not affect his or her obligation to make full

payment immediately, nor our right to charge

interest or storage charges on late payment. It

is the Buyer’s responsibility to check Australia’s

Protection of Moveable Cultural Heritage Act 1986

before purchase. If the Buyer requests Gibson’s

Auctioneers & Valuers to apply for an export licence

then we shall be entitled to charge a fee for this

service. We shall not be obliged to rescind a sale nor

to refund any interest or other expenses incurred

by the Buyer where payment is made by the Buyer

in circumstances where an export licence is not

granted.

F) REMEDIES FOR NON-PAYMENT

If the Buyer fails to make full payment immediately,

Gibson’s Auctioneers & Valuers is entitled to exercise

one or more of the following rights or remedies (in

addition to asserting any other rights or remedies

available under the law)

i) to charge interest at the ANZ visa credit card

rate as published weekly in the Australian

Financial Review

ii)

iii)

iv)

to hold the defaulting Buyer liable for the

total amount due and to commence legal

proceedings for it’s recovery along with interest,

legal fees and costs to the fullest extent

permitted under applicable law

to cancel the sale

to resell the property publicly or privately on

such terms as we see fit

v) to pay the Seller an amount up to the net

proceeds payable in respect of the amount bid

by the defaulting Buyer. In these circumstances

the defaulting Buyer can have no claim upon

Gibson’s Auctioneers & Valuers in the event that

the item(s) are sold for an amount greater than

the original invoiced amount.

vi)

vii)

to set off against any amounts which Gibson’s

Auctioneers & Valuers may owe the Buyer in

any other transactions, the outstanding amount

remaining unpaid by the Buyer.

where several amounts are owed by the Buyer to

us, in respect of different transactions, to apply

any amount paid to discharge any amount owed

in respect of any particular transaction, whether

or not the Buyer so directs.

viii) to reject at any future auction any bids made by

or on behalf of the Buyer or to obtain a deposit

from the Buyer prior to accepting any bids.

ix)

to exercise all the rights and remedies of a

person holding security over any property in

our possession owned by the Buyer whether by

way of pledge, security interest or in any other

way, to the fullest extent permitted by the law of

the place where such property is located. The

Buyer will be deemed to have been granted such

security to us and we may retain such property

as collateral security for such Buyer’s obligations

to us.

x) to take such other action as Gibson’s

Auctioneers & Valuers deem necessary or

appropriate

If we do sell the property under paragraph

(iv), then the defaulting Buyer shall be liable

for payment of any deficiency between the

total amount originally due to us and the

price obtained upon reselling as well as for

all costs, expenses, damages, legal fees and

commissions and premiums of whatever kinds

associated with both sales or otherwise arising

from the default.

If we pay any amount to the Seller under

paragraph (v) the Buyer acknowledges that

Gibson’s Auctioneers & Valuers shall have all

of the rights of the Seller, however arising, to

pursue the Buyer for such amount.

G) FAILURE TO COLLECT PURCHASES

Where purchases are not collected within three (3)

days from the sale date, whether or not payment

has been made, we shall be permitted to remove the

property to a warehouse at the buyer’s expense, and

only release the items after payment in full has been

made of removal, storage handling, insurance and

any other costs incurred, together with payment of all

other amounts due to us.

6. Extent of Gibson’s Auctioneers &

Valuers Liability

Gibson’s Auctioneers & Valuers agrees to refund

the purchase price in the circumstances of the

Limited Warranty set out in paragraph 7 below.

Apart from that, neither the Seller nor we, nor any

of our employees or agents are responsible for

the correctness of any statement of whatever kind

concerning any lot, whether written or oral, nor

for any other errors or omissions in description

or for any faults or defects in any lots. Except as

stated in paragraph 7 below, neither the Seller

ourselves, our officers, agents or employees give any

representation warranty or guarantee or assume any

liability of any kind in respect of any lot with regard

to merchantability, fitness for a particular purpose,

description, size, quality, condition, attribution,

authenticity, rarity, importance, medium, provenance,

exhibition history, literature or historical relevance.

Except as required by local law any warranty of any

kind is excluded by this paragraph.

7. Limited Warranty

Subject to the terms and conditions of this

paragraph, the Seller warrants for the period of

fourteen (14) days from the date of the sale that

any property described in this catalogue (noting

such description may be amended by any saleroom

notice or announcement) which is stated without

qualification to be the work of a named author or


82

authorship is authentic and not a forgery. The term

“Author” or “authorship” refers to the creator of the

property or to the period, culture, source, or origin

as the case may be, with which the creation of such

property is identified in the catalogue.

The warranty is subject to the following:

i) it does not apply where a) the catalogue

description or saleroom notice corresponded

to the generally accepted opinion of scholars

and experts at the date of the sale or fairly

indicated that there was a conflict of opinions,

or b) correct identification of a lot can be

demonstrated only by means of a scientific

process not generally accepted for use until

after publication of the catalogue or a process

which at the date of the publication of the

catalogue was unreasonably expensive or

impractical or likely to have caused damage to

the property.

ii)

iii)

iv)

the benefits of the warranty are not assignable

and shall apply only to the original buyer of the

lot as shown on the invoice originally issued by

Gibson’s Auctioneers & Valuers when the lot was

sold at Auction.

the Original Buyer must have remained the

owner of the lot without disposing of any interest

in it to any third party

The Buyer’s sole and exclusive remedy against

the Seller in place of any other remedy which

might be available, is the cancellation of the sale

and the refund of the original purchase price

paid for the lot less the buyers premium which is

non refundable. Neither the Seller nor Gibson’s

Auctioneers & Valuers will be liable for any

special, incidental nor consequential damages

including, without limitation, loss of profits not for

interest.

v) The Buyer must give written notice of claim

to us within fourteen (14) days of the date of

the Auction. The Seller shall have the right,

to require the Buyer to obtain two written

opinions by recognised experts in the field,

mutually acceptable to the Buyer and Gibson’s

Auctioneers & Valuers to decide whether or not

to cancel the sale under warranty.

vi)

the Buyer must return the lot to Seller in the

same condition that it was purchased.

8. Severability

If any part of these Conditions of Sale is found by any

court to be invalid, illegal or unenforceable, that part

shall be discounted and the rest of the Conditions

shall continue to be valid to the fullest extent

permitted by law.

9. Copyright

The copyright of all images, illustrations and written

material produced by Gibson’s Auctioneers &

Valuers relating to a lot including the contents of this

catalogue, is and shall remain the property at all times

of Gibson’s Auctioneers & Valuers and shall not be

used by the Buyer, nor by anyone else without our

prior written consent. Gibson’s Auctioneers & Valuers

and the Seller make no representation or warranty

that the Buyer of a property will acquire any copyright

or other reproduction rights in it.

10. Law and Jurisdiction

These terms and conditions and any matters

concerned with the foregoing fall within the exclusive

jurisdiction of the courts of the state in which the

auction is held.

11. Pre-Sale Estimates

Gibson’s Auctioneers & Valuers publishes with each

catalogue our opinion as to the estimated price range

for each lot. These estimates are approximate prices

only and are not intended to be definitive. They are

prepared well in advance of the sale and may be

subject to revision. Interested parties should contact

Gibson’s Auctioneers & Valuers prior to auction for

updated pre-sale estimates and starting prices.

12. Sale results

Gibson’s Auctioneers & Valuers will provide auction

results, which will be available as soon as possible

after the sale. Results will include buyer’s premium

(22% plus GST). These results will be posted at

www.gibsonsauctions.com.au.

13. Goods and Service Tax

In accordance with A New Tax System (Goods

and Services Tax) Act 1999 Gibson’s Auctioneers

& Valuers Auctions will collect on behalf of the

Australian tax office (ATO) a Goods and Service Tax

(GST) of 10% on all applicable transactions.

ABN: 26 440 767 899

GST is applicable on the hammer price in the case

where the seller is selling property that is owned by

an entity registered for GST. GST is also applicable

on the hammer price in the case where the seller is

not an Australian resident. These lots are denoted by

a dagger symbol † placed next to the estimate.

GST is also applicable on the buyer’s premium.

Overseas buyers and buyers non-resident in Australia

will not be charged GST on both hammer price and

premiums under the following conditions:

1. The items are exported through a Gibson’s

Auctioneers & Valuers approved freight

company including Australia Post

2. The items are exported within 60 days of the

date of the sale

The invoice supplied by Gibson’s Auctioneers &

Valuers for purchases will be regarded as a Tax

invoice for GST purposes.

14. Resale Royalty Scheme

Under the legal obligations of the Resale Royalty

Scheme for Visual Artists Act 2009, sellers must

provide the following information to comply with

the act:

• was the artwork acquired after 8 June 2010?

• is the sale/reserve price (including GST) $1,000

or more?

• is the artist from Australia or a country listed in

the Regulations to the Act?

• is the artist alive, or deceased less than 70

years?

The seller:

i) acknowledges that he or she understands his or

her legal obligations under the Resale Royalty for

Visual Artists Act 2009 (the Act);

ii)

iii)

iv)

undertakes to comply with all requirements of

the Act, including by providing its agent, the

company, with accurate information sufficient for

compliance with sections 28 and 29 of the Act;

undertakes to indemnify the company for any

loss incurred by the company as a result of

the vendor’s failure to comply with any of the

vendor’s legal obligations under the Act; and

acknowledges that if he or she fails to comply

with any of his or her legal obligations under

the Act, the company may provide the vendor’s

name and contact details to Copyright Agency

Limited (CAL).

Lots subject to payment of the Resale Royalty

Scheme will be denoted by the §. The Australian

Resale Royalty is a flat rate of 5% on the hammer

price (including GST). The Australian Resale Royalty

is payable by the seller in addition to the buyers

premium plus any applicable GST.

15. Jewels & Watches

GEMSTONES

Gemstones have historically been subjected to a

variety of treatments to enhance their appearance.

Sapphire and rubies are routinely heat treated to

improve their colour and clarity, similarly emeralds

are frequently treated with oils or resin for the same

purpose. Other treatments such as staining or dyeing,

irradiation, filling or coating may have been used

on other precious and semi-precious gemstones

and organic material. These treatments may be

permanent, whilst others may need special care to

preserve their appearance. Buyers should assume

that each lot has been subject to some form of

treatment and that the estimates reflect this.

A number of laboratories issue certificates that

give detailed descriptions of gemstones, and in

the event that Gibson’s Auctioneers & Valuers has

been supplied with or obtained certificates for any

lot, this shall be noted in the catalogue. However,

as there may not be consensus between different

laboratories on the degree, or types of treatment

of the gemstones, Gibson’s Auctioneers & Valuers

supplies these without warranty.

Buyers should assume that all gemstones sold by

Gibson’s Auctioneers & Valuers may have been

subjected to such treatments, and that the catalogue

estimates reflect this.

PEARLS

Pearls, like gemstones, are also subject to various

treatments. Buyers should assume that any pearls

sold by Gibson’s Auctioneers & Valuers may have

been subjected to such treatments, and that the

catalogue estimates reflect this.

WATCHES

Please note: All watches sold by Gibson’s

Auctioneers & Valuers are sold on an “as is”

basis. Gibson’s Auctioneers & Valuers makes no

representation or warranty that any watch is in

working order. Many watches have been repaired

over their lifetime and may contain non-original parts.

The absence of any reference to the condition of a

watch does not imply that the lot is in good condition

and without defects, repairs or restorations. Buyers

should be aware that a general service, change of

battery or further repair work, for which the Buyer is

solely responsible for, may be necessary.

ESTIMATED WEIGHTS

If a stone has a known weight, it has been weighed

out of the mount. If a stone has an estimated weight,

it is an approximate weight only and has been

measured by us in the mount and is a statement of

opinion only. The information is given as a guide only

and Buyers should satisfy themselves with regard to

this information as to its accuracy.


Lot 35 (Detail)

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