GA023 - Australian and International Art

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GA023 - Australian and International Art

Australian &

International Art

Melbourne, Sunday 18 April 2021


Jennifer Gibson

CEO & Head of Valuations

Jennifer.Gibson@gibsonsauctions.com.au

Deanna Baxter

Business Manager

Deanna.Baxter@gibsonsauctions.com.au

Samuel Fricker

Operations & Marketing Manager

Samuel.Fricker@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

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FRONT COVER:

Lot 5 (Detail)

BACK COVER:

Lot 28

Australian &

International

Art

Auction

Sunday 18 April 2021, 12noon

Level 1, 885-889 High Street

Armadale, Victoria 3143

Viewing

Thursday 15 April

Friday 16 April

Saturday 17 April

10.00am – 5.00pm

10.00am – 5.00pm

10.00am – 5.00pm

Auction Code: GA023

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

By appointment: 03 9500 2607 or

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Payments & Collections can be made

from: Level 1, 885-889 High Street,

Armadale, Vic 3143

Monday 19 April

Tuesday 20 April

Wednesday 21 April

10am–5pm

10am–5pm

10am–5pm

All goods must be collected and paid

in full by 5pm on Wednesday 21 April

(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.


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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

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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.


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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

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• 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.


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1

1

PIERS BATEMAN (1947-2015)

The Inlet with Boats and Seagulls 1968

oil on board

signed and dated lower right: PIERS BATEMAN 68

92.5 x 121cm

$1,500–2,500

2

WILLIAM KNOX (1862-1925)

Boats on the Venetian Lagoon

watercolour

signed lower right: W Knox

28.5 x 46.5cm

$600–800

3

SAMUEL PROUT (BRITISH, 1783-1852)

Venice, circa 1830s

watercolour

signed lower left: S. Prout

24 x 17cm

PROVENANCE

Christopher Davis Antiques, dated 1968 (receipt verso)

$300–500

4

SYDNEY BALL (1933-2017)

Iblea Garden 1973

colour screenprint

signed, dated, titled and editioned lower right and left:

SYDNEY BALL 73 IBLEA GARDEN 2/8

57 x 76 cm

$800–1,200


5

5

5

ESTHER PATERSON (1892-1971)

Mid Summer Middle Park Beach

oil on canvas on board

signed lower left: ESTHER PATERSON

inscribed verso: MID SUMMER Middle Park Beach

24 x 29.5cm

$3,000–5,000

6

DAVID VOIGT (BORN 1944)

Water Journey through Siena Stone 1989

acrylic on canvas

signed lower right: VOIGT

signed and dated verso: Voigt 1989

149 x 99cm

$800–1,200

7

CHARLES BLACKMAN (1928-2008)

Balancing the Boat 1967

lithograph

signed, dated, titled and editioned on margin:

Charles Blackman 1967 Balancing the Boat 34/100

58 x 77cm

$700–1,000

8

CHARLES BLACKMAN (1928-2008)

Evening Light 1968

lithograph

signed, dated, titled and editioned on margin:

Charles Blackman 1968 Evening Light 47/100

77 x 58cm

$800–1,200


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9

9

FREDERICK LEIST (1878-1945)

The Bathers

watercolour

signed lower right: LEIST

37.5 x 54.5cm

$1,500–2,500

11

PETER WALSH (1958-2009)

Untitled 1998

oil on canvas

signed and dated verso: Peter Walsh 1998

152 x 137cm

$400–600

10

PETER WALSH (1958-2009)

Departure 1992

oil on canvas

signed, dated and titled verso: Peter Walsh 1992 Departure

183 x 122cm

$500–800


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12

12

JOSEPH TOMANEK (1889-1974)

The Offering

oil on canvas

signed lower right: J Tomanek

90 x 116cm

PROVENANCE

Max Moar Collection, Melbourne

$5,000–8,000

13

DAVID CHEN (BORN 1961)

Building Sandcastles

oil on canvas on board

signed lower right: D Chen

59.5 x 90cm

$500–800


8

14

FREDERICK WILLIAMS (1927-1982)

(Desert Landscape) 1968

gouache on paper

signed and dated lower right: Fred Williams 68

inscribed verso: 162

45 x 75 cm

PROVENANCE

The Australia Club Collection, Melbourne (cat no ACA 151)

Deaccessioned and purchased from the above, circa 2006

Private collection, Melbourne

$30,000–50,000

The National Gallery of Australia’s 2011 aptly titled exhibition,

Fred Williams: Infinite Horizons, brought new and overdue

emphasis to the artist’s extraordinary perspectives in

gouache. The concept of ‘infinite horizons’ served a double

interpretation. Firstly, there was the visual concept of the

boundless that is imagined to lie beyond the land; a realm that

dives into the never-ending space of the heavens. Secondly,

looking at Williams’ oeuvre, we discover that the artist was

able to conjure up what seems like an infinite inquiry into the

nature of horizons: stretching, twisting and pulling them in

every conceivable direction and angle, sometimes to the point

of complete elimination.

In 1967, Fred Williams and Clifton Pugh drove to Tibooburra

in South Australia, about 300km north of Broken Hill. Williams

found the area ‘washed out – but very alive.’ 1 Although many of

Williams’ landscapes are ambiguous in location (titles aside),

in Tibooburra, Williams was intent on capturing the essential

nature of the flat Australian outback. In the present picture,

Williams takes a leaf out of John Constable’s sketchbook of

cloud studies. The sky is painted with a soft medley of greys

and patches of pastel blues here and there, celebrating the

atmospheric values of an overcast day. He reduces the red

ochre landscape to a slender slip that recedes indefinitely into

the horizon. With his signature dashes and dabs of the brush,

he punctuates the red earth with desert flowers, scrub and

all the greenery that he saw. A wind-beaten tree, that casts

no shadow, is anchored defiantly against the elements in the

centre of the image. While many might see the Australian

outback as an empty and arid desert, Williams’ eye was drawn

to the life it supported. The present painting, probably inspired

by his trip in Tibooburra, is a celebration of how he saw life in

the Australian desert.

Other works from Fred Williams’ trip to Tibooburra are held in

the collections of the National Gallery of Victoria, Melbourne

and the Museum of Modern Art, New York (inter alia).

We are grateful to Lyn Williams AM for her assistance in

authenticating this work.

Petrit Abazi

1 Fred Williams, cited in Deborah Hart, Fred Williams: Infinite Horizons,

National Gallery of Australia, Canberra, 2011, p. 96


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10

15

15

STANISLAUS RAPOTEC (1913-1997)

Mine Shaft

oil on board

signed lower right: Rapotec

73.5 x 58cm

$2,000–4,000


11

16

CLIFFORD LAST (1918-1991)

Untitled (The Family)

sculptured timber

incised with monogram on base

66cm high, 37.5cm wide, 19cm deep

$4,000–6,000

17

SALVADOR TERAN

(MEXICAN, 1920-1974)

Head Study 1964

mosaic

signed, dated and inscribed lower right:

Salvador 64 MEXICO

39 x 29.5cm

$300–500

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18

CHARLES CONDER (1868-1909)

Scene on the Epte circa 1894

oil on canvas

signed lower right: CONDER

43.5 x 53.5 cm

PROVENANCE

Mrs Cecil Lawson, England

Bradford Bradley & Co, Exhibition agents, Charlotte Street,

Fitzroy Square, London (label verso)

J.H.R Carver (label verso)

Savill Galleries, Sydney (label verso)

Private collection, New South Wales (?)

EXHIBITED

Exhibition of 20th Century British Paintings, National Gallery,

London, 1940, as Scene on the Ept (label verso)

Charles Conder, Sheffield City Art Galleries, September 1967,

as On the Ept (label verso)

J.S. Mass & Co. Ltd. New Bond Street, London, cat. 444,

as Scene on the Ept (label verso)

$30,000–40,000

Charles Conder’s Australian sojourn (1884-1890) left an

enduring contribution to the development of Australian

art. His success as an artist continued in both England and

France, and by at least 1896, the Paris Salon was already

hanging Conder’s pictures ‘on the line’. 1

Since the 1870s, the Seine river and its tributary, the Epte,

had been favourite painting spots among the Impressionists

in Normandy. Monet set up his studio in Giverny just a few

kilometres from the banks of the Epte, and in the early-

1890s he further stamped its significance into the collective

imagination when he produced the iconic Poplar series of

paintings. ‘Monet’, notes Ann Galbally, ‘was the most important

influence on Conder’s landscapes from 1892 to 1894.’ 2

Dozens of artists from all over the world, including Americans

Frederick Frieseke and Richard Miller, turned the sleepy

hamlet into a thriving artists’ colony. The area also managed to

hold Conder’s regular attention, and in March-April 1894, he is

registered to have stayed at Giverny.

In the present picture, Conder also borrows one of the

favourite leitmotifs used by Corot and the Barbizon School:

the silhouette of a lone anonymous figure, toiling by a river,

under moody crepuscular light. What first appears to be a

dark foreboding setting, emerges as a careful arrangement

of striking colours and masterly paintwork. Daybreak is

heralded by a blazing crack of sunshine in tints of pearlescent

yellow and peachy hues that shine through the coulisse of

soft violets, forest greens and earthy browns – the whole lot

reflected on the river’s flat surface. Conder is also showing

off the bravura of his paintbrush to suit the tone and energy

of the composition. He represents the calm waters with

long tinted veneers, the middle ground of rustling foliage

is made up of quick mosaic-like dabs, and the glare of the

sunrise bursts through the centre of the picture with thick and

weighty impasto.

Scene on the Epte carries an exceptional provenance and

exhibition history. It was first recorded to have been in the

collection of Mrs Cecil Lawson, Charles Conder’s sister-in-law,

a notable patron of the artist. It was exhibited in 1940 at the

National Gallery in London, and in 1967 it was included in a

show at the Sheffield City Art Galleries. This painting would

hang comfortably in any serious private or museum collection.

Petrit Abazi

1 Frank Mahony, ‘Australian Art: some representative artists’,

The Australian Star, Sydney, 26 December 1896, p. 7

2 Ann Galbally, Charles Conder: the last bohemian, The Miegunyah

Press, Melbourne University Press, Melbourne, 2002, p. 99


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19

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21

19

SOPHIE SPERLICH (GERMAN,1863-1906)

Kittens and Spilled Ink

oil on panel

signed lower left: S Sperlich

15.5 x 20.5cm

$1,500–2,500

20

ENRIQUE SEGURA (SPANISH, 1906-1994)

Still Life 1959

oil on canvas

signed lower right: ENRIQUE SEGURA

87.5 x 115cm

$1,500–2,500

21

AUSTRALIAN SCHOOL (CIRCA 1900)

The Artist’s Studio

oil on canvas

116 x 16.5cm

$15,000–25,000

22

ANTOINE SERNEELS (BELGIAN, BORN 1909)

Guitariste

oil on canvas

signed lower right: Antoine Serneels

54.5 x 45.5cm

PROVENANCE

Salon Quatriennal de Belgique (label verso)

$1,000–1,500


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23

RUPERT BUNNY (1864-1947)

St Veronica circa 1899

oil on canvas

signed lower right: Rupert C W Bunny

inscribed verso: St Veronica

86 x 111 cm

PROVENANCE

Paul Renard, New Drouot, Paris, 24 June 1988,

as Le Voile de Véronique

Private collection

Thence by descent

Private collection, Perth

Fine Art, McKenzies Auctioneers, Perth,

19 November 2013, lot 40

Private collection, Melbourne

EXHIBITED

Royal Society of British Artists, London, 1902, cat. 305,

as St. Veronica

Exhibition of Paintings by Rupert C. W. Bunny,

Fine Art Society’s Gallery, Melbourne,

15-27 November 1922, cat. 8, as St. Veronica

An Exhibition of Oil Paintings and Drawings by Rupert

C. W. Bunny, Anthony Hordern & Sons Limited, Sydney,

2-31 May 1923, cat. 8, 150 gns

LITERATURE

Forum, Sydney, 23 May 1923

Rupert Bunny Papers, La Trobe Collection,

State Library of Victoria, MS7970/35

David Thomas, Rupert Bunny 1864-1947,

Lansdowne Press, Melbourne, 1970, p. 40, cat. O78

Terry Ingram, ‘As the Gavel Falls’, Financial Review,

Sydney, 4 August 1988, p. 35 (illustrated)

Sydney Morning Herald, 19 November 1988, p. 13

David Thomas, Important Australian Art, Bonhams, May 2012

David Thomas, The Life and Art of Rupert Bunny:

A Catalogue Raisonné, Thames & Hudson, Melbourne, 2017,

vol.1, p.98, vol. 2, cat. no. O115, p. 25

RELATED WORKS

Composition Studies for St. Veronica, Dance of the Hours,

Frieze The Hours, and Perseus, pen and ink on paper, The

University of Melbourne Art Collection, 1948.0246

Leaf from a Sketchbook, c.1900, pen and ink on paper,

one of the composition study is inscribed ‘St. Veronica’,

National Gallery of Victoria

Three Composition Studies for St. Veronica, conté on paper,

in Sketchbook, c.1900, The University of Melbourne Art

Collection, 1948.40: 17A

Sketch for ‘St Veronica’, oil on card, formerly Mrs J. S. Reid,

Melbourne, thence by descent

$20,000–30,000

St Veronica stands out as one of Rupert Bunny’s most

significant religious paintings. Exhibited at the Royal Society

of British Artists in London in 1902, it was produced when

the artist was receiving considerable recognition for his

Christian imagery: in 1901, he was awarded the gold medal

at the Victorian Gold Jubilee Exhibition for his painting of the

Conversion of Valerian. 1902 also marked the year Bunny

made a more permanent move from Paris to London. This

period coincided with a subtle shift in Bunny’s style – one

clearly identifiable in the present picture. He was shedding

the lure of French Symbolism and British Aestheticism, which

had influenced much of his solemn religious and classic

mythological paintings, and was now trying on his reflections

on the French Romantics and Venetian Renaissance masters

for pictorial inspiration. Set against a dreamy yet turbulent

landscape, St Veronica has all the theatrical muscle of Eugène

Delacroix’s La Liberté guidant le peuple, charged with Paulo

Veronese’s rich colour schemes and decorative corral of

smooth skin, wrinkled rags, heavy wood and hard metal.

Despite these obvious academic quotations, the traditional

subject matter and the inclusion of the main iconographical

elements commonly represented in the episode, a closer

look reveals that this picture is also a work that departs from

convention. The story goes that Veronica witnessed Jesus

carry the cross and offered him her veil as a towel. His face

was then miraculously transferred onto the cloth. In other

paintings of this scene, this mystical process and the resulting

divine relic were made overt and explicit: Veronica (or some

chubby cherubs) are usually shown holding up the veil with

both hands, often in the direction of Christ’s head – the

process or product of transference was almost always literally

in your face. Bunny, however, in an act of subtle realism,

chooses to depict the moments immediately after Veronica’s

gesture of charity: her veil is back on her head and it is all that

stands between her skull and the soldier’s imminent blow.

By relegating the cloth to its original utilitarian function and

marginalising its iconic significance, both symbolically and

compositionally (the imprint is only half visible), Bunny adds

a natural and realistic twist to the standard iconographical

approach. As David Thomas has noted, the artist ‘had a

creative approach which allowed his work to remain fresh and

alive throughout his life’. This painting is an excellent example

of how Rupert Bunny gracefully danced between traditional

imagery and modern sensibilities.

Petrit Abazi

1 Until recently, the painting was thought to have been produced

circa 1902. See David Thomas, The Life and Art of Rupert Bunny:

A Catalogue Raisonné, Thames & Hudson, Melbourne, 2017, vol.1,

p.98, vol. 2, cat. no. O115, p. 25

2 The Hungarian-born writer Zsigmond Justh, had already by 1888

noted the influence of Bellini and Titian (among others) in the early

art of Bunny. See Deborah Edwards, ‘Rupert Bunny: enigma and

success’, in Rupert Bunny: artist in Paris, Art Gallery of New South

Wales, Sydney, 2009, p. 17

3 David Thomas, Rupert Bunny, Lansdowne, Melbourne, 1970, p. 20


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24

SIDNEY NOLAN (1917-1992)

Gallipoli Soldier circa 1977

oil on board

signed verso: Nolan

120.5 x 90cm

PROVENANCE

Bonhams, Melbourne, Important Later Works from

the Estate of Sir Sidney Nolan, 13 October 2014, Lot 24

$15,000–25,000

25

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

NOTE

In 1966-67, Nolan produced a series of large-scale drawings

to illustrate his friend, renowned American poet Robert

Lowell’s masterly translations of Aeschylus’ Oresteia trilogy.

The present work relates to his first play in the trilogy,

Agamemnon, which deals with the victorious homecoming of

Agamemnon. King of Mycenae, from the Trojan War, and his

murder by his wife, Queen Clytemnestra, as revenge for the

sacrifice of her daughter Iphigenia.

$1,500–2,500


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24


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26

JAMES DAVIS (1940-2019)

The Clowns 2003

gouache

signed with monogram lower left

80 x 120cm

$1,500-2,500

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27

JAMES DAVIS (1940-2019)

Christ Over Surry Hills (Sydney Study),

1992

oil on canvas

signed with monogram lower right

titled, dated and monogramed verso:

Christ Over Surry Hills (Sydney Study) 92

122 x 107cm

$2,500-3,500

28

CAMERON HAYES

They Opened a Plastic Surgery Next to

the Mental Home (Calcutta) 2000

oil on canvas (polyptych)

signed and titled verso: Cameron Kingsley

Hayes They opened a plastic surgery next

to the mental home - the incomplete list of

Indian stupidity

280 x 223cm

PROVENANCE

Australian Galleries, Melbourne

EXHIBITED

Cameron Hayes, Paintings

1994 - 2000, Australian Galleries,

Melbourne, December 2000

Cameron Hayes, Ronald Feldman Fine Arts,

New York, 2004

ILLUSTRATED

Cameron Hayes, published to accompany

Cameron Hayes’ solo exhibition of paintings

February-March 2004 at Ronald Feldman

Fine Arts, New York, pg 47

$10,000–15,000

27


21

28


22

29

29

ROBERT CAMPBELL (1902-1972)

Construction Collaroy 1939

oil on board

signed and dated lower left: Robert Campbell 39

38.5 x 48.5cm

EXHIBITED

Robert Campbell Retrospective, 1974,

The Art Gallery of South Australia. cat no. 38

Robert Campbell Retrospective, McClelland Gallery,

Victoria, 24 February - 18 April 1985, cat no. 73

Robert Campbell and Australian Impressionist, Queen Victoria

Museum & Art Gallery, Tasmania, 1986, cat no. 26

$3,000–5,000

30

NOEL BLAUBAUM (1911-1977)

Landscape Grove

oil on board

29 x 34cm

PROVENANCE

David Ellis Fine Art, Melbourne

EXHIBITED

Noel Blaubaum, David Ellis Fine Art, Melbourne,

August 16 - September 10, 1986, catalogue no.41

$150–250


23

31

31

HUGH SAWREY (1919-1999)

Yarding the Horses, Alexandria Downs NT

oil on canvas

signed lower right: SAWREY

signed and titled verso: HUGH SAWREY YARDING

THE HORSES ALEXANDRIA DOWNS NT

50 x 60cm

PROVENANCE

Lawson Menzies, Sydney Quarterly Fine Art Auction,

23 February 2012, Lot 39

$6,000–8,000

32

NOEL BLAUBAUM (1911-1977)

Road in Sunlight

oil on composition board

29.5 x 34.5cm

PROVENANCE

David Ellis Fine Art, Melbourne

ILLUSTRATED

Noel Blaubaum, David Ellis Fine Art, Melbourne,

August 16 - September 10, 1986, catalogue no.43

$150–250


24

33

DONALD LAYCOCK (BORN 1931)

Lady Galaxy 1971

oil on canvas

signed with initials and dated lower right:

D L 71

inscribed with title verso: LADY GALAXY

182 x 152cm

$1,800–2,500

33

34

DONALD LAYCOCK (BORN 1931)

The Dog Fight in New York 1968

oil on canvas

signed with initials and dated lower left:

DL 68

131.5 x 119cm

$1,500–2,000

34


25

35

JOHN MILDER (BORN 1951)

Jazz 2007

bronze

incised, dated and editioned on base:

JM 07 1/7

78cm high

$4,000–6,000

35


26

36

36

VICTOR O’CONNOR (1918-2010)

Concert at the Rocks

oil on board

signed lower left: V. G. O’Connor

60.5 x 75.5cm

PROVENANCE

Shapiro Auctioneers, Sydney,

Australian and International Art, 30 April 2015, Lot 17

$3,000–5,000

37

ALICE BALE (1875-1955)

Interior

oil on board

signed lower left: A M E BALE

30 x 22.5cm

$500–800

38

FRENCH SCHOOL

The Dance

mixed media and gouache on paper

65 x 50.5cm

$1,200–1,500

39

HAROLD SEPTIMUS POWER (1878-1951)

A Dull Day, Bridge

oil on canvas

signed lower right: H S POWER

28 x 33cm

PROVENANCE

The artist’s studio

Leonard Joel, Melbourne, November 1993, lot no 239

$600–900


27

40

40

ATTRIBUTED TO FRANZ EMIL KRAUS

Circus Life 1883

oil on canvas

signed and dated lower left: E Kraus 1883

71 x 97cm

$5,000–8,000

41

DIANA M ARMFIELD (BORN 1920)

Stormy Sky Near Vicenza

watercolour

initialled lower left: DMA

titled verso: STORMY SKY NEAR VICENZA

12.5 x 17cm

$800–1,200

42

DEZSO MEILINGER (HUNGARIAN, 1892-1960)

Figures, Horses and Cart

oil on paper on board

signed lower right: Meilinger

28.5 x 38.5cm

$500–800

43

JAMES WEBB (BRITISH, 1825-1895)

After the Ship Wreck

watercolour

signed lower right: J Webb

37.5 x 55.5cm

$800–1,200


28

44

44

HAROLD SEPTIMUS POWER (1878-1951)

The Market Place

oil on canvas on board

signed lower right: H S Power

21.5 x 36.5cm

PROVENANCE

Leonard Joel, Melbourne, 4 November 1981, Lot 788

$1,500–2,500

45

CONSTANCE REA (1891-1935)

Fête Champêtre

oil on canvas

90.5 x 70cm

PROVENANCE

Bonhams Chelsea, 27 April 1999, Lot 133

$4,000–6,000

46

LOUIS BUVELOT (1814-1888)

Swiss Village

pencil

signed lower right: L Buvolet

18 x 23cm

$300–500

47

TREVOR NICKOLLS (1949-2012)

Gum Tree (Woman Gum) 1985

acrylic on canvas

90.5 x 75.5 cm

EXHIBITED

Deutscher Gertrude Street Gallery, Melbourne,

Nickolls Exhibition 1973-1989, 5-20 October 1989

Niagara Galleries, Melbourne, Blue Chip XVII,

The Collectors Exhibition, 2015

LITERATURE

Ulli Beier, Time – Machine Time The Art of Trevor Nicholls,

plate 26 (called Gum Tree) Sydney 1985

$1,200–1,800


29

45


30

48

48

RONALD NEAL (BORN 1969)

Ascension/Descension 2002/03

oil on canvas

triptych

signed and titled verso: RONNIE NEAL ASCENSION,

DESCENSION

140 x 360cm (overall)

PROVENANCE

Windows on Church Galleries, Melbourne

EXHIBITED

Headspace, Windows on Church Galleries, Melbourne,

11 - 30 April 2002, (illustrated)

$1,500–2,500

49

RONALD NEAL (BORN 1969)

Clare Poses 2002/03

oil on canvas

signed lower right: Ronald

167 x 152cm

PROVENANCE

Windows on Church Galleries, Melbourne

EXHIBITED

Headspace, Windows on Church Galleries, Melbourne,

11 - 30 April 2002, (illustrated)

$800–1,200

50

RONALD NEAL (BORN 1969)

The Birdcage 2002/03

oil on canvas

167 x 152cm

PROVENANCE

Windows on Church Galleries, Melbourne

EXHIBITED

Headspace, Windows on Church Galleries, Melbourne,

11 - 30 April 2002, (illustrated)

$800–1,200

51

ROBERT L CURTIS (BORN 1929)

Crucifixion

oil on board

signed with initials lower right: LC

inscribed verso: R L Curtis

114.5 x 68.5cm

$500–800

52

JOHN LENNON (1940-1980)

The Hug

lithograph

editioned centre left:1695/3000E

studio stamped in image lower right

49.5 x 38.5cm

$500–800


31

53

53

GEORGE W NEVILLE (1889-1954)

Colombine – The Venetian Terrace

1926

watercolour on silk

signed and dated lower left:

G W NEVILLE 1926

18 x 50.5cm (fan)

$1,800–2,500

54

IDA RENTOUL SHERBOURNE

OUTHWAITE (1888-1960)

Girl with Fairy

watercolour

signed lower right: I S Rentoul

18 x 23cm

$3,000–4,000

54


32

55

55

ARCH CUTHBERTSON (BORN 1924)

Lake Debri 1962

oil on board

signed and dated lower right: Cuthbertson 62

signed, dated and titled verso: Cuthbertson 62 LAKE DEBRI

90 x 120.5cm

$1,200–1,600

56

WILLIAM FRATER (1890-1974)

The Bathing Pool 1973

oil on canvas

signed and dated lower right: William Frater 1973

121 x 90.5cm

PROVENANCE

Mossgreen Auctions, Melbourne, Important Australian

& International Art, 28 October 2014, Lot 175

$4,000–6,000

57

THOMAS (TOM) GARRETT (1879-1952)

The Red Farm

monotype

signed and titled lower right and left on margin:

Tom Garrett The Red Farm

30 x 34cm

PROVENANCE

Kozminsky Gallery, Melbourne (label verso)

$800–1,200

58

LLOYD REES (1895-1988)

From the University Library, Hobart, Tasmania 1982

lithograph

signed, dated and editioned on margin lower right and left:

Lloyd Rees 82 28/75

43 x 61cm

$600–800


33

56


34

59

60

59

ALEX KIMONIDES

Forest 2018

oil on canvas

signed and dated lower right: Alex Kimonides 2018

91 x 152.5cm

$3,000–5,000

60

ALEX KIMONIDES

Sea Scape

oil on canvas

signed lower right: Alex Kimonides

91 x 152cm

$1,000–1,500


35

61

61

RICK AMOR (BORN 1948)

Study for House by the Sea 1997

charcoal and pencil on paper

signed and dated lower right: Rick Amor 27/3/97

57.5 x 77cm

PROVENANCE

Niagara Galleries, Melbourne

$4,000–6,000

62

C B NORTON (1887-1968)

SS Themistocles 1920

watercolour

signed, dated and titled lower right and centre:

CB Norton 1920 SS THEMISTOCLES

25.5 x 36.5cm

$600–800

63

S. T. GILL (1818-1880)

The Prospector

watercolour

22 x 13.5cm

$1,000–1,500

64

DAO HAI PHONG (VIETNAMESE, BORN 1965)

New Tree Growth

oil on canvas

signed lower right: HAI PHONG

90.5 x 91cm

$800–1,200


36

65

TURKEY TOLSEN TJUPRRULA (1938-2001)

Spear Dreaming 1996

synthetic polymer paint on canvas

signed, dated, titled and inscribed verso:

TURKEY TOLSON ‘96 SPEAR DREAMING / 97929662

140 x 220 cm

PROVENANCE

Acquired directly from artist

Arthur Papadimitriou, Melbourne

acquired from the above (receipt included)

Private Collection, Melbourne

NOTES:

‘During mythological times a group of men camped at the

site of Illyingaugau near the secret cave site of Mitukatjirri

south-east of the Kintore community. The rows of dots through

this work represent spears which men are straightening. This is

done by slightly warming the spear over a fire and straightening

while it is warm. These men were preparing their spears as they

heard of a possible confrontation with a group of men from the

Tjikari area further north.’

$20,000–30,000

Turkey Tolson Tjupurrula was one of the forefathers of the

modern Western Desert art movement which began in the

early 1970s. Many years later, he went on to develop a new

formula that would bring Aboriginal art closer to Op-art

abstraction than it had ever been before. Anyone who has

stood in front of one of these paintings will remark on their

hypnotic trance and hallucinatory qualities. Gaze long enough

and you will be mesmerised by the spears as they dance

over the coal, fire and Country. In his survey book, Aboriginal

Art, Howard Murphy singled out Tolson’s unique stylistic

departure, noting that ‘many Papunya pictures are clearly built

up on an underlying geometric framework that represents

ancestral journeys and landscape features, but this is not

true of all. Straightening the Spears at Illyingaugau by Turkey

Tolson Tjupurrula, for example, consists of sequences of

parallel lines.’ 1 It was a simple yet radical artistic leap that

would inspire countless artists to break from tradition.

The synthesis of iconographical elements through the

repetitive and meditative application of line and dot work

didn’t take anything away from the power of story-telling.

The spears are represented jam-packed next to one another

over hot coals in the straightening process. By focusing on

just one aspect of the Dreamtime story, on the particular,

Tolson also came close to some of principles of Minimalism:

that less is more. He realised that contemporary artists didn’t

have to depict every detail of a Dreaming for the picture to be

complete.

This painting was originally in Arthur Papadimitriou’s collection

of Central Desert paintings – a collection that Katrina

Strickland observed, is ‘taken very seriously by those in the

know.’ 2 Papadimitriou, a school teacher in Mt. Liebig in the

mid-1990s, was awarded a Chevalier De Ordre des Arts et

des Lettres after he donated a similar work by Turkey Tolsen

Tjupurrulla to the Musée du Quai Branly, Paris. The present

work is a striking example from the series.

Petrit Abazi

1 Howard Murphy, Aboriginal Art, Phaidon, London, 1998, p. 299.

2 Katrina Strickland, ‘Spirit of Giving’, Australian Financial Review,

Sydney, 11 May 2006 (cited online: https://www.afr.com/

life-and-luxury/arts-and-culture/spirit-of-giving-20060511-jeju6)


37

65


38

66

JOSEPH JURRA TJAPALTJARRI

(BORN CIRCA 1952)

Dingo Dreaming at the Site of Nakarranya,

west of Kiwirrkura 1987

acrylic on canvas

Papunya Tula Artists catalogue no: JJ871246

103 x 49.5cm

This work is accompanied by a certificate

of authenticity from Papunya Tula Artists

PROVENANCE

Gallery Gabrielle Pizzi, Melbourne

EXHIBITED

Joseph Jurra Tjapaltjarri, Gallery Gabrille Pizzi, Melbourne,

1988

$1,200–1,800

67

MARIE ROSE TIPUNGWUTI

Untitled

natural earth pigments on eucalyptus bark

inscribed verso: MARIE ROSE TIPUNGWUTI

102 x 41.5cm

PROVENANCE

Aboriginal Arts Australia Gallery, Opera House, Sydney

$500–800

68

MARIKA MAWALAN (1908-1967)

Untitled – Fish 1966

natural earth pigments on eucalyptus bark

inscribed verso: Mawalan 1966

48 x 27cm

PROVENANCE

Jim Davidson Aboriginal & Pacific Art, Melbourne

$500–800

69

JACK DJIWUL WUNUWUN (CIRCA 1930-1990)

Untitled - Geese

ochre pigments on stringybark

inscribed verso: WUN 33

77 x 41.5 cm

PROVENANCE

Garry Anderson Gallery, Sydney

$700–1,200

70

JIMMY MODUK (BORN 1942)

Honey Story

natural earth pigments on eucalyptus bark

inscribed verso: Jimmy Moduk of the Wurrki Genydurr

People Honey Story

catalogue number: I4552896

134 x 40cm

EXHIBITED

Friends of the Earth Gallery, Two Major Art Communities

of Yuendumu and Ramingining, Oct-Nov 1989

$400–600

71

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

This work is accompanied by a certificate of authenticity

PROVENANCE

Irrunytju Arts, Western Australia

$1,800–2,500

72

NANCY NAKAMARRA

Her Father’s Dreaming 1989

acrylic on canvas

signed and dated verso: NANCY NAKAMARRA 1989

100 x 75.5cm

This work is accompanied by a certificate of authenticity

PROVENANCE

Warlayirti Art (Balgo), Western Australia

$600–800

73

DOROTHY GALALEDRA

Untitled

natural earth pigments on eucalyptus bark

inscribed verso: GALA 10

161 x 63.5cm

PROVENANCE

Maningrida Arts and Crafts, NT

EXHIBITED

Tandanya Aboriginal Cultural Institute, Adelaide,

Three Manigrida Artists, 1990

$500–800


39

74

74

MICK NAMARARI TJAPALTJARRI (1926-1998)

Mouse Dreaming 1996

synthetic polymer pain on canvas

signed and titled verso: MICK Mouse Dreaming

catalogue number verso: MN961173

173 x 122cm

PROVENANCE

Arthur Papadimitriou, Melbourne, acquired directly from artist

Private Collection, Melbourne

EXHIBITED

Benalla Art Gallery, Victoria 2004

$18,000–25,000


40

75

CAROLINE PETRICK

KNGWARREYE

(BORN CIRCA 1966)

Irrerlirre - My Country

acrylic on linen

inscribed verso:

CAROLINE PETRICK NGWARREYE

catalogue no. AS2131261 i

91 x 121.5cm

This work is accompanied by a

certificate of authenticity

PROVENANCE

McCulloch & McCulloch, Balnarring

$1,500–2,500

76

TOMMY WATSON

(CIRCA 1935-2017)

Kulpitjarra

colour screenprint

signed with initial, titled and editioned

on margin: T KULPITJARRA 23/60

68 x 86cm

PROVENANCE

Agathon Gallery, Melbourne

$300–500

75

77

RAY MUNYAL (1922-1996)

Bjarka - Goanna on the Plain

at Gadji

natural earth pigments

on eucalyptus bark

inscribed verso: RAY MUNYAL BJARKA

- GOANNA ON THE PLAIN AT GADJI

catalogue number: S/183/W011/1

78.5 x 33.5cm

PROVENANCE

Aboriginal Arts Australia Ltd,

$600–1,000

78

PAULA MUNGATOPI

Figure – Bathurst Island

carved, incised and painted iron wood

48cm high

PROVENANCE

Alcaston Gallery, Melbourne

$200–400


41

79

LORNA FENCER NAPARRULA

(CIRCA 1920-2006)

Bush Potato 1999

synthetic polymer paint on canvas

inscribed verso: Lorna Naparrula Fencer

Bush Potato

catalogue no: Warnayaka Art Centre

L/99-398

119 x 85cm

$4,000–6,000

80

WILLIE GUDIPI (1916-1996)

& MOIMA GUDIPI

Untitled 1990

acrylic on canvas

inscribed verso: W + M GUDIPI

catalogue number: AK452

122 x 94.5 cm

PROVENANCE

Alcaston Gallery, Melbourne

$1,000–1,500

81

LES MIDIKURIA (BORN 1932)

Gungarnin

natural earth pigments on eucalyptus

bark

164.5 x 75cm

PROVENANCE

Tandanya Aboriginal Cultural Institute,

Adelaide

EXHIBITED

Tandanya Aboriginal Cultural Institute,

Adelaide, Maningrida Artists, Three

Manigrida Artists, 1990

$800–1,200

79

82

CHARLES BOYUN

(CIRCA 1930 - CIRCA 1980)

Untitled 1968

natural earth pigments on eucalyptus

bark

inscribed verso: BOYUN 1968

114 x 45.5 cm

PROVENANCE

Jim Davidson Aboriginal & Pacific Art,

Melbourne

$400–600


42

83

GLORIA PETYARRE (BORN 1942)

Untitled 1990

synthetic polymer on canvas

inscribed verso: GLORIA PETYARRE PROPERTY OF CAAMA

catalogue number: AK497

129.5 x 128.5cm

PROVENANCE

Flinders Lane Gallery, Melbourne

EXHIBITED

Flinders Lane Gallery, Melbourne, Utopia Artists,

5-18 June 1990

National Gallery of Victoria, Women’s Body Paint,

16 March - 8 June 1997

$6,000–9,000

84

DHUWARRWARR MARIKA (BORN CIRCA 1946)

Daymirri – Species of Whale 1989

ochre and white clay on masonite

stamped and inscribed verso: JYM047

66.5 x 56.5cm

PROVENANCE

Lyttleton Gallery, Melbourne

EXHIBITED

Lyttleton Gallery, Melbourne, Important Works

from North East Arnhem Land including Eleven Works

from the Marika Family, July-August 1989, cat no. 25

$1,000–2,000

85

GEORGE WARD TJUNGURRAYI

(BORN CIRCA 1947)

Tingari 2004

oil on canvas

inscribed verso: GEORGE WARD TJUNGARRAYI / SMGWT715

cat no. SMGWT715

120 x 60cm

$1,200-1,500

86

ADA BIRD PETYARRE (CIRCA 1930-2004)

Women’s Dreaming 1990

synthetic polymer paint on linen

inscribed verso: ADA BIRD

catalogue number: 1-690

140.5 x 110cm

PROVENANCE

Utopia Art, Sydney

$1,200–1,800

87

NARPUTTA NANGALA JUGADAI (1933-2010)

Karrkurrutinytja

synthetic polymer paint on canvas

inscribed verso: Narputta Nangala Ikuntji Women’s Centre

catalogue number: IK96NJ508

84 x 37cm

$300–500

88

NARPUTTA NANGALA JUGADAI (1933-2010)

Untitled

synthetic polymer paint on canvas

inscribed verso: NAPUTTA NANGALA IKUNTJI

WOMEN’S CENTRE

97.5 x 73.5cm

$400–600

89

JANIS (JANICE) KNGWARREYE (BORN CIRCA 1958)

Untitled 1990

synthetic polymer paint on canvas

inscribed verso: JANIS KNGWARREYE PROPERTY OF CAAMA

catalogue number: 65/490

91 x 60.5cm

PROVENANCE

Alcaston Gallery, Melbourne

$800–1,200

90

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

This work is accompanied by a certificate of authenticity

PROVENANCE

Irrunytju Arts, Western Australia

$1,800–2,500

91

LEO MELPI (BORN 1940)

Totemic Water Holes and Power Centres 1988

natural earth pigments on eucalyptus bark

inscribed verso: LEO MELPI, PORT KEATS

88 x 37.5 cm

$800–1,200


43

83


44

92

92

MARIAN ELLIS ROWAN (1848-1922)

Spring Landscape

watercolour

signed lower left: Ellis Rowan

24 x 16.5cm

$1,000–1,500

93

CLIFTON PUGH (1924-1990)

An Old Fence 1989

oil on board

dated and signed lower right: 22.5.89 / Clifton

117 x 90cm

PROVENANCE

Australian Galleries, Melbourne

Private Collection, Melbourne

Deutscher-Menzies, Australian Modern Masters and 19th &

20th Century Fine Australian and International Art, Melbourne,

3 May 2000, Lot 125

Private Collection, Queensland

$8,000–12,000


45

93


46

94

94

PETR VASSILIEVITCH PAVLOV

(RUSSIAN, 1937-2010)

Three Graces

oil on canvas

signed lower right: P Pavlov

60.5 x 78.5cm

$3,000–5,000

95

DANILA VASSILIEFF (1897-1958)

Laughing One circa 1944-1945

watercolour and gouache

34 x 24.5cm

$800–1,200

96

DANILA VASSILIEFF (1897-1958)

Pulling a Face circa 1946

watercolour and gouache

27 x 25cm

$600–800


47

97

97

AFTER J W WATERHOUSE

Hylas and the Nymphs

oil on canvas

inscribed verso: After J W WATERHOUSE

90 x 121cm

$5,000–8,000

98

DANILA VASSILIEFF (1897-1958)

Self Conscious Boy 1946

watercolour and gouache

31 x 23.5cm

$800–1,200

99

DANILA VASSILIEFF (1897-1958)

The Process Worker circa 1946

gouache and watercolour

27 x 25cm

$600–800


48

100

101


49

102

100

PERCY LINDSAY (1870-1952)

Hillside 1928

oil on canvas

signed lower left: Percy Lindsay

36 x 44cm

PROVENANCE

Christie’s, Melbourne, November 1993, lot no. 243

$1,800–2,500

101

GEORGE BELL (1878-1966)

Harbour Scene

oil on panel

17.5 x 23cm

$1,200–1,800

102

CONRAD MARTENS (1801-1878)

Figure in an Australian Landscape 1849

watercolour

signed and dated lower right: C Martens 1849

18 x 26cm

$5,000–8,000

103

NORMAN LINDSAY (ATTRIBUTED)

Nude

pencil

signed with initials lower right: N. L.

51.5 x 35cm

$2,000–3,000


50

104

104

DAVID DAVIES (1864-1939)

Dieppe

watercolour

signed lower right: D DAVIES

27 x 21.5cm

$2,000–3,000

105

BILL BEAVAN (1944-2005)

Waiting For Dad, Central Hotel 1969

oil on board

signed and dated lower right: BILL BEAVAN 69

74.5 x 90cm

$600–1,000


51

106

106

ERIC THAKE (1904-1982)

Back Stage Theatre 1943

gouache and watercolour

signed and dated lower right: Eric Thake Nov 43

33 x 35.5cm

$5,000–8,000

107

BILL BEAVAN (1944-2005)

Bush Fishermen 1969

oil on board

signed and dated lower right: BILL BEAVAN 69

29 x 34cm

$100–150


52

108

108

HAYDYN WILSON (BORN 1955)

Pensive

oil on board

89.5 x 107.5cm

$1,500–2,500

109

YVETTE COPPERSMITH (BORN 1980)

Dead Wood II 2003

oil on canvas

signed, dated and titled verso:

Yvette Coppersmith Summer 2003 ‘Dead Wood II’

24.5 x 20cm

$500–800

110

YVETTE COPPERSMITH (BORN 1980)

Dead Wood III 2003

oil on canvas

signed, dated and titled verso:

Yvette Coppersmith Summer 2003 Dead Wood III

24.5 x 20cm

$500–800

111

YVETTE COPPERSMITH (BORN 1980)

Pink Ladies III 2003/2004

oil on canvas

signed, dated and titled verso:

Yvette Coppersmith 2003/4 ‘Pink Ladies’

17.5 x 12.5cm

$400–600


53

112

HU MING (CHINESE, BORN 1955)

Big Ant #2 2007

oil on canvas

signed and dated lower right: Hu Ming 07

signed and titled verso:

HU MING “BIG ANT #2”

78.5 x 81.5cm

$2,000–3,000

112

113

HU MING (CHINESE, BORN 1955)

Shower Day

oil on canvas

signed lower right: Hu Ming

inscribed and titled verso:

HU MING “SHOWER DAY”

99 x 100cm

$1,800–2,500

113


54

114

ELWYN LYNN (1917-1997)

Positano 1970

oil, timber and collage on canvas

signed, dated and titled verso:

Elwyn Lynn 1970 Positano

76.5 x 76cm

$2,000–4,000

115

LESLEY DUMBRELL (BORN 1941)

Study for Khasim 1973

synthetic polymer paint on paper

signed, dated and titled lower right and left:

L. Dumbrell ‘73 Study for Khasim

38 x 60.5 cm

PROVENANCE

Ray Hughes Collection

$2,000–3,000

114

116

JOHN NEESON (BORN 1948)

Wandering – Draw Conclusions

on the Wall 2012

intaglio, silkscreen, woodcut and stencil

on paper

signed, dated, titled and editioned on

margin: JOHN NEESON 2012

WANDERING - DRAW CONCLUSIONS

ON THE WALL 5/12

100 x 100cm

$1,000–1,500

117

JULIA RITSON (BORN 1961)

Untitled 1997

diptych

oil on canvas

signed, dated and titled verso:

Julia Ritson 1997 Untitled (each)

25.5 x 20.5cm (each)

PROVENANCE

Kozminsky Galleries, Melbourne

$300–400

115


55

118

IAN BENT (BORN 1945)

On the Fence 1967

oil on canvas

signed and dated verso: Ian Bent 1967

58 x 68.5cm

$1,500–2,500

119

IAN BENT (BORN 1945)

Through the Fence

oil on canvas

29 x 29cm

$1,000–1,500

120

IAN BENT (BORN 1945)

Man Reading Newspaper

oil on canvas

33 x 29cm

$1,000–1,500

118

119

120


56

121

121

KIM HYUN SIK (KOREAN, BORN 1965)

Reverse Portrait 2008

mixed media

signed with initials and dated upper right: K H S 08

90 x 59cm

$4,000–6,000


57

122

122

KIM HYUN SIK (KOREAN, BORN 1965)

Reverse Portrait 2008

mixed media

signed with initials and dated upper right: K H S 08

90 x 59cm

$4,000–6,000


58

123

123

ROBERT DICKERSON (1924-2015)

Girl with Flowers

pastel

signed lower right: Dickerson

38 x 27.5cm

$3,500–4,500

124

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

$1,500–2,500


59

125

125

DAVID BOYD (1924-2011)

Etude for Herself with Her Cello

mixed media

signed and titled lower left:

Par Boyd David etude for Herself with Her Cello

63 x 48cm

$6,500–7,500

126

JOHN OLSEN (BORN 1928)

Hopping Mouse 1978

etching

signed, dated, titled and editioned on margin: John Olsen 78

Hopping Mouse 49/60

50.5 x 40cm

$1,800–2,500


60

127

127

ERNEST BUCKMASTER (1897-1968)

A View of the Valley

oil on canvas

signed lower right: E Buckmaster

59 x 85cm

$3,000–5,000

128

KENNETH JACK (1924-2006)

Hawker, SA Disused Railway Station 1973

pastel

signed, dated and titled lower right and left:

KENNETH JACK 1973 HAWKER, SA

DISUSED RAILWAY STATION

35 x 52.5cm

$800–1,200


61

129

129

ROBERT TAYLOR-GHEE (1869-1951)

Herding the Sheep

oil on canvas

signed lower left: R E Taylor Ghee

55 x 93cm

PROVENANCE

Sotheby’s, Melbourne, Fine Australian Paintings and Books,

27 March 1988, Lot 300

Christie’s, Melbourne, Australian & International Paintings,

19 April 2005, Lot 354

Menzies, Melbourne, Australian & International Fine Art,

23 September 2010, Lot 79

$6,000–8,000


62

130

130

JOHN MATHER (1848-1916)

Honeysuckle Creek, Cape Schanck 1897

oil on canvas

signed and dated lower left: J Mather 1.97

inscribed verso: Honeysuckle Creek Cape Schanck

32 x 75cm

PROVENANCE

Joseph Brown Gallery, Melbourne, March 1974

Christie’s, Brisbane, The Collection of Sir Leon

and Lady Trout, 6 June 1989, Lot 226

Sotheby’s, Melbourne, Fine Australian Paintings,

26 November 1990, Lot 99

The Collection of John and Shirley Sleigh, Victoria

$4,000–6,000

131

ARTHUR MURCH (1902-1989)

The Gorge

oil on board

signed lower right: MURCH

signed and titled verso: Arthur Murch The Gorge

34 x 43cm

132

DAVID BROMLEY (BORN 1960)

Dragonfly Girl

acrylic on canvas

signed centre left: BROMLEY

153 x 121cm

This work is accompanied by a certificate of authenticity

$2,500–3,500

133

DAVID BROMLEY (BORN 1960)

Belinda

acrylic on canvas

signed lower right: BROMLEY

signed verso: David BROMLEY

153 x 122cm

This work is accompanied by a certificate of authenticity

$2,500–3,500

PROVENANCE

Leonard Joel, Melbourne, July 1987

$800–1,200


63

134

134

CHARLES WHEELER (1880-1977)

Summer Mentone

oil on canvas

signed lower left: C Wheeler

49.5 x 75cm

PROVENANCE

Leonard Joel, Melbourne, Sunday Fine Art Auction,

9 December 2012, Lot 43

$5,000–7,000


64

135

135

WEAVER HAWKINS (1893-1977)

On the Hillside 1972

oil on board

signed lower right: Raokin 72

inscribed verso: ON THE HILLSIDE

49.5 x 70cm

PROVENANCE

Macquarie Galleries, Sydney

James R. Lawson Auctioneers, Sydney, Australian and

European Paintings, Prints & Drawings, 1 December 1987,

Lot 109

Sotheby’s, Melbourne, Fine Australian Paintings,14 August

1989, Lot 341

Bonhams, Sydney, Important Australian and International

Art including Private Collections Curated By John Cruthers,

Sydney, 16 June 2015, Lot 99

136

JACQUI STOCKDALE (BORN 1968)

The Thinkers 2006

oil on canvas

initialled, dated and titled verso: JS 2006 The Thinkers

45.5 x 55.5cm

$400–600

137

JACQUI STOCKDALE (BORN 1968)

Lady McDeath 2007

mixed media

77 x 91.5cm

$800–1,200

EXHIBITED

Wynne Prize, Art Gallery of New South Wales, Sydney, 1972,

cat. 65.

Weaver Hawkins, Macquarie Galleries, Sydney, 1972, cat no. 65

$3,000–5,000


65

138

138

HAO LI (CHINESE, BORN 1975)

Children’s Games 2006

oil on canvas

signed and dated lower right: HAO LI 2006

159 x 200.5cm

$4,000–6,000

139

ERNEST FOOKS (1906-1995)

African Village 1978

mixed media

signed and dated lower right: ERNEST FOOKS 78

35 x 59.5cm

$500–800

140

TOMEK SIKORA (POLISH, BORN 1948)

Reflection 2003

photograph

signed and dated lower right: T Sikora 2003

43.5 x 65cm

$300–400

141

KATE SMITH (ENGLISH, BORN 1947)

Red Peppers 2000

pastel collage

signed lower right: Kate Smith

75 x 64cm

$300–500


66

142

142

JOZEF VAN HOOSTE (BELGIAN, 1884-1940)

Winter Landscape

oil on canvas

signed lower left: J Van Hooste

98.5 x 118.5cm

$1,500–2,500

143

ISAAC WALTER JENNER (BRITISH 1837-1902)

Fishermen Waiting for Clear Weather

watercolour

signed lower right: W Jenner

62 x 87cm

$2,000–3,000

144

Anti-Cancer Council of Victoria Print Folio, 1991

in association with the Australian Print Workshop

a set of six limited edition lithographs folio edition: 10/85

comprising

i) Davida Allen, Mum on the Beach

ii) Leonard French, Fisherman

iii) Paul Partos, Untitled

iv) William Robinson, Sunset with Diver and Bathers

v) Jan Senbergs, Hudson Industrial

vi) John Wolseley, The Honey of the Kakea Tree

PROVENANCE

Corporate Collection, Melbourne

$1,000–1,500


67

145

145

WALTER KOENIGER (AMERICAN, 1881-1943)

Winter Afternoon

oil on canvas

signed lower right: W Koeniger

80 x 80cm

$1,000–2,000

146

WILLIAM FORD (BRITISH, 1823-1884)

Ruins on the Foreshore 1875

oil on board

signed and dated lower right:

W Ford 1875

12.5 x 17.5cm

$1,500–2,500


68

147

147

ALFRED W WALSH (1859-1916)

Cottage in the Kaikouras

watercolour

signed lower right: Alfred W Walsh

44 x 63.5cm

$2,000–3,000

148

TESSA PERCEVAL (BORN 1947)

Olive Trees Above Port de la Selva 1972

oil on canvas

signed and dated lower right: Tessa Perceval 72

inscribed with title verso: Olive Trees above Port De La Selva

75.5 x 91cm

PROVENANCE

Australian Galleries, Melbourne

EXHIBITED

Australian Galleries, Melbourne, Tessa Perceval Exhibition,

August 1973, cat. no. 21

$1,500–2,000

149

CELIA PERCEVAL (BORN 1949)

Periwinkles in an Overgrown Garden

oil on canvas

signed lower right: Celia Perceval

inscribed with title verso: Periwinkles in an Overgrown Garden

60 x 81.5cm

PROVENANCE

Bridget McDonnell Gallery, Melbourne

EXHIBITED

Bridget McDonnell Gallery, Melbourne,

9–28 February 2007, cat. no. 20

$2,000–3,000

150

MATTHEW PERCEVAL (BORN 1945)

Wild Flowers

oil on canvas

signed lower right: Matthew Perceval

inscribed with titled verso: WILDFLOWERS

59.5 x 65cm

PROVENANCE

South Yarra Gallery, Melbourne

EXHIBITED

South Yarra Gallery, Melbourne, September 1974, cat no. 20

$1,000–1,500


69

148

149


70

151

151

JEAN DUPAS

(FRENCH, 1882-1964)

Bassins à Poissons 1925

oil on board

signed and dated lower right: Jean Dupas 1925

43.5 x 53.5cm

PROVENANCE

Christie’s, London

$3,000–5,000

152

RICHARD LARTER (1929-2014)

Raga #1 1986

acrylic on canvas

signed with initials and dated lower right R.L.1986

signed, dated and titled verso:

Richard Larter 1986 RAGA #1

178 x 103.5cm

PROVENANCE

Watters Gallery, Melbourne

The Estate of Mollie Gowing

Shapiro Auctioneers, Emporium

(Art only), Sydney, 8 June 2011, lot 471

$3,500–4,500


71

152


72

153

PETER TANKEY

Red Centre 2006

oil on canvas

signed, dated and titled verso:

PETER TANKEY 2006 RED CENTRE

152 x 152cm

$2,500–3,500

154

PETER TANKEY

Story of a Can 2012

oil on canvas

signed with initials and dated lower

right: P T 12

30.5 x 30.5cm

$400–600

153

155

VERA DE GERNIER (CANADIAN)

Marilyn Monroe 2017

mixed media collage

signed and dated lower left:

V de Gernier 2017

signed and dated verso:

V de Gernier 2017

100 x 100cm

$2,000–3,000

156

JOSH HONEYMAN (BORN 1976)

Modern Romance 2004

oil and resin on linen

signed, dated and titled verso:

JOSH HONEYMAN 2004 Modern

Romance

182 x 122cm

PROVENANCE

Ray Hughes Gallery, Sydney

$2,500–3,500

157

HAZEL DOONEY (BORN 1978)

Study for Stacked Hottie

2001-2011

gouache on paper

signed, dated and titled lower right and

left: Hazel Dooney 2001-2011

Study for Stacked Hottie

39.5 x 60cm

$1,800–2,500

155


73

156


74

158

158

EUROPEAN SCHOOL

Reclining Nude

oil on canvas

signed but illegible lower right

48.5 x 78.5cm

$1,500–2,500

159

GARRETT KINGSLEY (1915-1982)

Captive

oil on canvas

signed lower right: GARRETT KINGSLEY

titled verso: CAPTIVE

89 x 69cm

$2,000–3,000

160

EUROPEAN SCHOOL

Young Girl with Dolls 1930

oil on canvas

signed but illegible and dated lower left

60 x 48.5cm

$600–900

159


75

161

161

GARRETT KINGSLEY (1915-1982)

Studio Model 1970

oil on canvas on board

signed and dated lower right: GARRETT KINGSLEY 1970

42 x 92cm

$2,500–3,500

162

HEIDE YARDLEY (BORN 1975)

Dreams Made Flesh 2009

oil on board

signed, dated and titled verso: HEIDI YARDLEY 2009

“DREAMS MADE FLESH”

18 x 15cm

$300–500

163

HENRI MATISSE (1869-1954)

Etude de Femme 1941

screenprint

signed and dated with printed text on image lower left:

Henri Matisse ‘41 E8

64 x 47 cm

$400–600

164

IAN ARMSTRONG (1923-2005)

Studio Nude 1966

gouache and watercolour

signed and dated lower left: Ian Armstrong 66

18.5 x 25.5cm

$300–500

165

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

$800–1,000

166

TSUGUHARA FOUJITA (JAPANESE 1886-1968)

Figure Studies

two colour lithographs

signed on printed image lower right: Foujita

31 x 22.5cm (each)

$1,200–2,000


76

167

GEORGE THOMAS

End of the Day 2006

oil on canvas

signed with initials lower left: GT

signed, dated and titled verso:

George Thomas 06 End of the Day

106 x 80.5cm

$1,200–1,500

168

DAVID BARKER

(NEW ZEALAND, BORN 1941)

Summer Thunder 1968

oil on board

signed and dated lower right:

D BARKER 68

inscribed with title verso:

SUMMER THUNDER

60.5 x 91cm

$800–1,200

169

DAVID BARKER

(NEW ZEALAND, BORN 1941)

The Boatshed 1968

oil on board

signed and dated lower right:

D BARKER 68

60.5 x 91cm

$800–1,200

167

170

MIRKA MORA (1928-2018)

a pair of decorated paperweights

one decorated with children

4cm high, 6.5cm diameter (each)

PROVENANCE

A gift from the artist to the current

owner

$300-500

171

MIRKA MORA (1928-2018)

Elephant Doll

hand painted and hand made doll

44cm high, 66cm wide, 7.5cm

PROVENANCE

Made for the current owner by the artist

$2,000–4,000


77

172

JKB FLETCHER

(BRITISH BORN, 1982)

Lips 2014

oil on canvas

signed with initials, dated and titled verso:

JKBF 2014 #LIPS

90 x 90cm

$2,000–3,000

172

173

JKB FLETCHER

(BRITISH BORN, 1982)

Legs 2014

oil on canvas

signed with initials, dated and titled verso:

JKBF 14 #LEGS

90 x 90cm

$1,500–2,500

173


78

174

175


79

177

174

ALEX KIMONIDES

Faces

oil on board

signed lower right: Alex Kimonides

88 x 120.5cm

$2,500–4,500

175

ALEX KIMONIDES

Abstract

oil on canvas

signed lower right: Alex Kimonides

90 x 120cm

$1,500–2,500

176

ALEX KIMONIDES

Spring Colours

oil on board

singed lower right: Alex Kimonides

79 x 69cm

$800–1,500

177

DONALD FRIEND (1915-1989)

Forest Cattle, Bali

mixed media

signed and titled lower right:

Donald Friend Forrest Cattle Bali

69.5 x 99.5cm

$5,000–7,000


80

178

VITTORIO TESSARI

(1860-C.1940)

Portrait of a Signorina

oil on panel

signed lower right: V Tessari

26.5 x 20.5cm

$1,200–1,500

179

VIGH BERTALAN

(HUNGARIAN, 1890-1946)

The Spanish Beauty

oil on canvas on board

signed lower left: Vigh Bertalan

59 x 47.5cm

$1,000–1,500

178

180

WEAVER HAWKINS (1893-1977)

Mother and Child

colour linocut

signed with initials and editioned on

margin: H w H Y/YA

18.5 x 16.5cm

PROVENANCE

Ray Hughes Gallery, Sydney

$600–900

181

JAMES WALTHAM CURTIS

(1839-1901)

Returning the Cattle 1885

watercolour

signed and dated lower left:

J W CURTIS 85

47 x 65cm

$600–800

179


81

182

182

ERNEST BUCKMASTER (1897-1968)

Still Life - Silver and Grapes 1934

oil on canvas

signed and dated lower right: E Buckmaster Feb 1934

58.5 x 84cm

$4,000–6,000

183

BRIAN DUNLOP (1938 - 2009)

Sunlit Room

lithograph

signed and editioned on margin: Dunlop 5/20

71 x 100.5cm

$600–800


82

184

184

SEBASTIAN PETHER (BRITISH, 1790-1844)

Nocturnal Landscape

oil on canvas

70 x 90.5cm

$2,000–4,000

185

ENGLISH SCHOOL

Highland Cattle Near a Stream

oil on canvas

59 x 89.8cm

$1,500–2,500

186

G ROBERTS

Highland Cattle 1914

oil on canvas

signed and dated lower left: G Roberts 1914

60.5 x 90cm

$1,500–2,500


83

187

187

AUSTRALIAN SCHOOL

Crossing the Blue Mountains

oil on canvas

85.5 x 113cm

$3,000–5,000

188

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

$1,000–1,500

189

ROBERT JOHNSON (1890-1964)

The Corner Cottage, Ryde NSW 1927

oil on canvas on board

signed and dated lower right: Robert Johnson 1927

35.5 x 43cm

$1,000–1,500

190

DEZSO MEILINGER (HUNGARIAN, 1892-1960)

Winter

pastel

29.5 x 39cm

$400–600


84

191

JOHN LOXTON (1903-1968)

A Summer Valley from the Bridge

oil on canvas

signed lower right: John S Loxton

66.5 x 74cm

$1,500–1,800

191

192

MATTHEW JAMES MACNALLY

(1874-1943)

A Sydney Harbour Memory 1912

watercolour on silk

signed and dated lower left:

M. J. MacNally

38.5 x 51.5cm

$1,000–1,500

192


85

193

FRATELLI ALINARI (ITALIAN, FROM 1852)

Collection of 124 albumen prints albumen prints

including scenes of Venice, Milan, Florence, Pisa,

Genoa, Rome

20 x 25.5cm (average each)

30.5 x 38cm (backing sheet)

$2,000–3,000

193


86

194

195

194

NEVILLE PILVEN (BORN 1949)

Man with Dog

oil on board

signed lower right: N Pilven

90.5 x 59.5cm

$800–1,200

195

NEVILLE PILVEN (BORN 1949)

Man in Outback

oil on board

signed lower left: N Pilven

90.5 x 59.5cm

$700–1,000

196

NEVILLE PILVEN (BORN 1949)

Man on Horseback

oil on board

signed lower right: N Pilven

121.5 x 121cm

$800–1,200

197

NEVILLE PILVEN (BORN 1949)

Two Figures in a Landscape 1969

oil on board

signed and dated lower right: N Pilven 68

90 x 121cm

$800–1,200


87

198

199

198

PAREE ROMANIDES

(NEW ZEALAND, CIRCA 1934-2015)

In the Beginning No. 17. 1969

oil on board

signed lower right: PAREE ROMANIDES

signed, dated and titled verso: PAREE ROMANIDES

In The Beginning No 17 1969

90.5 x 48.5cm

$1,200–2,000

199

ARCH CUTHBERTSON (BORN 1924)

Cellular

oil on board

signed lower right: Cuthbertson

106.5 x 76cm

$1,500–1,800

200

NEVILLE PILVEN (BORN 1949)

Woman, Twilight Outback

oil on board

signed lower right: N Pilven

91 x 90cm

$900–1,200


88

201

202

201

BERNARD HALL (1859-1935)

The Old Soup Kitchen, Oberammergau Monastery

circa 1890

oil on board

signed lower left: B Hall

32 x 22.5cm

PROVENANCE

Christie’s, London, Australian Art, 24 September 2015,

Lot 7

LITERATURE

Lionel Lindsay, The Lone Hand, Sydney, 1 April 1908,

pp. 615-617 (illustrated)

$2,000–3,000

202

JAMES HOWE CARSE (1819-1900)

River Scene 1872

oil on canvas

inscribed and dated verso: J H Carse 1872 Melbourne

73.5 x 61.5cm

$2,000–4,000

203

ATTRIBUTED TO JAMES WALTHAM CURTIS

Colonial Homestead

oil on canvas

34 x 44cm

$800–1,200

204

EUROPEAN SCHOOL

The Shepherd and his Flock

oil on board

signed lower left but illegible

45 x 59cm

$500–800

205

ART AND AUSTRALIA

A collection of periodicals

Vol 1 1963 - Vol 51, 2014 (incomplete)

$300–500

End of Sale


89

Artist Index

Alinari, Fratelli 193

Amor, Rick 61

Armfield, Diana M 41

Armstrong, Ian 164

Australian School 21, 187

Bale, Alice 37

Ball, Sydney 4

Barker, David 168, 169

Bateman, Piers 1

Beavan, Bill 105, 107

Bell, George 101

Bent, Ian 118, 119, 120

Bertalan, Vigh 179

Blackman, Charles 7, 8

Blaubaum, Noel 30, 32

Boyd, David 125

Boyun, Charles 82

Bromley, David 132, 133

Buckmaster, Ernest 127, 182

Bunny, Rupert 23

Buvelot, Louis 46

Campbell, Robert 29

Carse, James Howe 202

Chen, David 13

Conder, Charles 18

Coppersmith, Yvette 109, 110, 111

Courier, Mary (McLeish) 165

Curtis, Attributed to James Waltham 203

Curtis, James Waltham 181

Curtis, Robert L 51

Cuthbertson, Arch 55, 199

Davies, David 104

Davis, James 26, 27

Dickerson, Robert 123

Dooney, Hazel 157

Dumbrell, Lesley 115

Dunlop, Brian 183

Dupas, Jean 151

English School 185

European School 158, 160, 204

Fletcher, JKB 172, 173

Fooks, Ernest 139

Ford, William 146

Foujita, Tsuguhara 166

Frater, William 56

French School 38

Friend, Donald 177

Galaledra, Dorothy 73

Garrett, Thomas (Tom) 57

Gernier, Vera De 155

Gill, S. T. 63

Gudipi, Moima 80

Gudipi, Willie 80

Hall, Bernard 201

Hawkins, Weaver 135, 180

Hayes, Cameron 28

Honeyman, Josh 156

Hooste, Jozef Van 142

Jack, Kenneth 128

Jenner, Isaac Walter 143

Johnson, Robert 188, 189

Jugadai, Narputta Nangala 87, 88

Kimonides, Alex 59, 60, 174, 175, 176

Kingsley, Garrett 159, 161

Kngwarreye, Caroline Petrick 75

Kngwarreye, Janis (Janice) 89

Knox, William 2

Koeniger, Walter 145

Kraus, Attributed to Franz Emil 40

Larter, Richard 152

Last, Clifford 16

Laycock, Donald 33, 34

Leist, Frederick 9

Lennon, John 52

Li, Hao 138

Lindsay (Attributed), Norman 103

Lindsay, Percy 100

Loxton, John 191

Lynn, Elwyn 114

MacNally, Matthew James 192

Marika, Dhuwarrwarr 84

Martens, Conrad 102

Martin, Angampa 71

Mather, John 130

Matisse, Henri 163

Mawalan, Marika 68

Meilinger, Dezso 42, 190

Melpi, Leo 91

Midikuria, Les 81

Milder, John 35

Ming, Hu 112, 113

Moduk, Jimmy 70

Mora, Mirka 170, 171

Mungatopi, Paula 78

Munyal, Ray 77

Murch, Arthur 131

Nakamarra, Nancy 72

Naparrula, Lorna Fencer 79

Neal, Ronald 48, 49, 50

Neeson, John 116

Neville, George W 53

Nickolls, Trevor 47

Nolan, Sidney 24, 25

Norton, C B 62

O’Connor, Victor 36

Olsen, John 126

Outhwaite, Ida Rentoul Sherbourne 54

Paterson, Esther 5

Pavlov, Petr Vassilievitch 94

Perceval, Celia 149

Perceval, John 124

Perceval, Matthew 150

Perceval, Tessa 148

Pether, Sebastian 184

Petyarre, Ada Bird 86

Petyarre, Gloria 83

Phong, Dao Hai 64

Pilven, Neville 194, 195, 196, 197, 200

Power, Harold Septimus 39, 44

Prout, Samuel 3

Pugh, Clifton 93

Rapotec, Stanislaus 15

Rea, Constance 45

Rees, Lloyd 58

Ritson, Julia 117

Roberts, G 186

Romanides, Paree 198

Rowan, Marian Ellis 92

Sawrey, Hugh 31

Segura, Enrique 20

Serneels, Antoine 22

Sik, Kim Hyun 122, 122

Sikora, Tomek 140

Smith, Kate 141

Sperlich, Sophie 19

Stockdale, Jacqui 136, 137

Tankey, Peter 153, 154

Taylor-Ghee, Robert 129

Teran, Salvador 17

Tessari, Vittorio 178

Thake, Eric 106

Thomas, George 167

Tingima, Wingu 90

Tipungwuti, Marie Rose 67

Tjapaltjarri, Joseph Jurra 66

Tjapaltjarri, Mick Namarari 74

Tjungurrayi, George Ward 85

Tjuprrula, Turkey Tolsen 65

Tomanek, Joseph 12

Vassilieff, Danila 95, 96, 98, 99

Voigt, David 6

Walsh, Alfred W 147

Walsh, Peter 10, 11

Waterhouse, After J W 97

Watson, Tommy 76

Webb, James 43

Wheeler, Charles 134

Williams, Frederick 14

Wilson, Haydyn 108

Wunuwun, Jack Djiwul 69

Yardley, Heide 162


90

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


91

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


92

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 135 (Detail)

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