GA023 - Australian and International Art

Australian &
International Art
Melbourne, Sunday 18 April 2021

Jennifer Gibson
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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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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
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Monday 19 April
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Payment & Collection
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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

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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

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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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15
15
STANISLAUS RAPOTEC (1913-1997)
Mine Shaft
oil on board
signed lower right: Rapotec
73.5 x 58cm
$2,000–4,000

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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
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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JAMES DAVIS (1940-2019)
The Clowns 2003
gouache
signed with monogram lower left
80 x 120cm
$1,500-2,500
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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
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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

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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)

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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

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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

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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

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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

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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)