GA019 | Australian & International Art

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
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Auction, Viewing and
Payment & Collections
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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.
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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
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Payments & Collections
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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
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Please refer to the methods of payment
in the HOW TO BUY section on the
following pages.
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(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
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can be found on Page 1.
Viewing
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and quantity.
All lots are guaranteed for fourteen (14) days from the
auction date.
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take into account rarity, condition, quality and provenance.
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Condition Reports
Condition Reports are available on request. Condition Reports
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condition of an item.
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Bidding
Gibson’s Auctioneers & Valuers offer four bidding options:
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Telephone Bidding is a convenient solution if you are unable to
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Please note: Telephone Bids must be organised at least 24
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of telephone bidders available may be restricted when the
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If this is your first time bidding with Gibson’s Auctioneers &
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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
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the lesser hammer price.
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prior to the auction to allow time for processing.
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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
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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.
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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.

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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

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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

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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

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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)