GA029 - Australian and International Art

gibsonsauctions

Australian &

International Art

Melbourne, Sunday 24 October 2021


Specialists & Management for this sale

Jennifer Gibson

CEO & Head of

Valuations

Deanna Baxter

Business

Manager

Samuel Fricker

Operations

& Marketing

Manager

Jon Dwyer

Consultant Specialist

Australian &

International Art

Jennifer Gibson

jennifer.gibson@gibsonsauctions.com.au

Deanna Baxter

deanna.baxter@gibsonsauctions.com.au

Samuel Fricker

samuel.fricker@gibsonsauctions.com.au

Ann Roberts Consultant Specialist Asian Art

ann.roberts@gibsonsauctions.com.au

Jon Dwyer

jon.dwyer@gibsonsauctions.com.au

Elizabeth Stannard Consultant Specialist Jewellery

elizabeth.stannard@gibsonsauctions.com.au

AUCTION ADMINISTRATION

Jemima Livesey

Office Administrator

Megan Mac Sweeney

Accounts Administrator

Max Sumner

Operations & Logistics

Marilla O’Sullivan

Auction Administrator

Ella Gibson

Auction Administrator

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ABSENTEE & TELEPHONE BIDS

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GENERAL ENQUIRIES

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ORRONG RD

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Auction, Viewing and

Payment & Collections

Level 1, 885-889 High St

Armadale, Victoria 3143

AUBURN GROVE

DENBIGH RD

SUTHERLAND RD

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CHEEL ST


FRONT COVER:

Lot 32 (Detail)

BACK COVER:

Lot 56

Australian &

International

Art

Auction

Sunday 24 October 2021, 12noon

Level 1, 885-889 High Street

Armadale, Victoria 3143

Viewing (If permitted under Government restrictions)

Thursday 21 October 10.00am – 5.00pm

Friday 22 October 10.00am – 5.00pm

Saturday 23 October 10.00am – 5.00pm

Auction Code: GA029

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

gibsonsauctions.com.au/bookings

Payments & Collections can be made

from: Level 1, 885-889 High Street,

Armadale, Vic 3143

Monday 25 October

Tuesday 26 October

Wednesday 27 October

10am–5pm

10am–5pm

10am–5pm

All goods must be collected and paid in

full by 5pm on Wednesday 27 October

(unless by prior arrangement) to avoid

removal and storage charges.

All payments are to be made in

Australian Dollars (AU$). Please refer to

the methods of payment in the ‘How to

Buy’ section on the following pages.

Credit card surcharges apply – 1.2%

(incl GST) for Visa and Mastercard and

2% (incl GST) for American Express.


2

How to Buy

All you need to know about the bidding process at auction

Viewing

Catalogues

Online catalogues can be viewed at

www.gibsonsauctions.com.au approximately three weeks

prior to the auction date.

Complimentary printed catalogues are available at Gibson’s

Auctioneers & Valuers.

Symbols

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

indicating a special clause associated with the sale of the

item/s. Further information on symbols within our catalogues

can be found on Page 1.

Viewing

Auction viewings are open to the public and usually take place

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

listed in the auction catalogue and on the website.

Lot Descriptions

Lot Descriptions provide basic catalogue information such

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

and quantity.

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

auction date.

Estimates

Estimates are printed in the catalogue beside every lot and

take into account rarity, condition, quality and provenance.

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

purchase. The reserve is an undisclosed confidential amount

which is set at, or below the low estimate.

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

Auctioneers & Valuers. Many lots are sold without reserve.

Talk to our Specialists

Gibson’s Auctioneers & Valuers are an experienced team of

specialists who are available to discuss items in further detail,

and to offer advice and assistance.

Contact details for relevant specialists can be found on the

inside front cover our auction catalogues and on our website.

Condition Reports

Condition Reports are available on request. Condition Reports

supplement the lot description and provide information on the

condition of an item.

We strongly advise obtaining a condition report if you are

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

To request a condition report please email

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

title and lot number/s.

Bidding

Gibson’s Auctioneers & Valuers offer four bidding options:

1. Auction Room Bidding

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

have sufficient time to register for a bidding number prior

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

Auctioneers & Valuers please bring photo identification, such

as a driver’s licence or passport with you.

2. Telephone Bidding

Gibson’s Auctioneers & Valuers offer telephone bidding on all

lots, at all auctions.

Telephone Bidding is a convenient solution if you are unable to

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

staff member will call you approximately 5 lots in advance and

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

Please note: Telephone Bids must be organised at least 24

hours prior to the auction and that occasionally, the number

of telephone bidders available may be restricted when the

auction is offsite.

To organise a Telephone Bid please follow the link

to the Telephone Bidding form on our website:

www.gibsonsauctions.com.au.

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

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

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

your Telephone Bid, along with clear Photo ID verifying

your address.


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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

Bank:

Bank of Melbourne (A division of St George)

BSB: 193879

Account No: 441701443

Swift Code: SGBLAU2S

Routing Code: 021000021

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

• Personal, Company and Bank Cheques are not accepted

without prior approval.

• Eftpos (no charge).

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

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

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

will not be accepted over the telephone unless by prior

arrangement.

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

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

account at a Bank of Melbourne/St George branch.

Collections

Gibson’s Auctioneers & Valuers are happy to assist and

provide you with recommended transport companies whether

it be a local, interstate or international delivery.

Storage

All items must be paid for and collected within the collection

times advertised for each individual auction. If items are not

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

Valuers reserve the right to charge removal and storage fees.


4

1

CRISS CANNING (BORN 1947)

Freesias on a Japanese Tray 1997

oil on canvas

signed lower right: Criss Canning

40 x 34.5cm

$15,000–25,000


5

1


6

2

© the Artist's Estate. All Rights Reserved / Bridgeman Images

2

SIDNEY NOLAN (1917-1992)

The Sentinel 1961

oil on paper on board

signed twice and dated lower right: Nolan 1961

50.5 x 62cm

$6,000–9,000

3

SIDNEY NOLAN (1917-1992)

Drought Series

a suite of five etchings

25 x 30cm (each)

$400–600

4

BRIAN NUNAN (BORN 1932)

Hotel Augusta 1976

oil on canvas1

signed and dated lower right: B V Nunan '76

75 x100.5cm

$800–1,200

5

BRIAN NUNAN (BORN 1932)

Queenscliff Hotel 1975

oil on canvas

signed and dated lower right: B V Nunan 75

75 x 121cm

$1,000–1,500


7

3

6

ARTHUR MERRIC BLOOMFIELD BOYD (1920-1999)

Berwick Landscape from Harkaway Hills

watercolour

signed lower right: Arthur Boyd

38 x 49.5cm

$10,000–12,000

7

ARTHUR MERRIC BLOOMFIELD BOYD (1920-1999)

Lovers in an Orchard

collograph

signed, titled and editioned on margin:

Arthur Boyd, Lovers in an Orchard 3/25

32 x 41cm

$800–1,200

8

ARTHUR MERRIC BLOOMFIELD BOYD (1920-1999)

Lovers

collograph

signed, titled and editioned on margin:

Arthur Boyd Lovers 24/25

32 x 41cm

$800–1,200

9

JOHN BAIRD (BORN 1954)

The Authentic Consequence 1990

oil on board

signed, dated and titled verso: John. K. Baird / March 90 /

THE AUTHENTIC CONSEQUENCE

48.5 x 63.5cm

$800–1,200


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10

10

ELAINE HAXTON (1909-1999)

Country Town

oil on board

signed lower left: HAXTON

46 x 63cm

PROVENANCE

Edgar Kaufmann, USA

$10,000–12,000

11

DUDLEY PARKER (1914-1989)

Landscape at Richmond, NSW

oil on canvas on board

signed lower right: DUDLEY PARKER

inscribed with title verso: Landscape at Richmond NSW

44.5 x 54.5cm

PROVENANCE

Seddon Galleries, Melbourne

$500–800


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12

12

MARGARET PRESTON (1875-1963)

Protea 1925

colour woodblock

signed, titled and editioned on margin:

Margaret Preston 15th proof. SA Protea

25 x 24.5cm

together with

Art in Australia, A Quarterly Magazine, Margaret Preston

Number, Third Series, December 1927, Number Twenty-Two,

reproduced colour plate 33

$10,000–15,000

13

JANET DAWSON (BORN 1935)

Japanese Pumpkin and Duck Egg Shells

pastel and watercolour

28 x 32cm

$400–600


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14

14

PERCEVAL (PERCY) LINDSAY (1870-1952)

Early Morning, Neutral Bay

oil on board

signed lower left: Percy Lindsay

signed and titled verso:

Percy Lindsay Early Morning, Neutral Bay

16.5 x 23cm

$1,500–2,500


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15

15

PERCEVAL (PERCY) LINDSAY (1870-1952)

Road to the Country Homestead

oil on canvas on board

signed lower left: Percy Lindsay

26.5 x 35cm

$3,000–5,000

16

KENNETH (KEN) KNIGHT (BORN 1956)

Jindabyne Reflections

oil on board

signed lower left: Ken Knight

84.5 x 99cm

$2,000–3,000


12

17

17

HUGH SAWREY (1919-1999)

Proposing the Toast

oil on canvas

signed lower right: SAWREY

signed and titled verso:

HUGH SAWREY PROPOSING THE TOAST

74 x 99cm

$12,000–16,000


13

18

18

HUGH SAWREY (1919-1999)

The Flimsy Evidence

oil on canvas

signed lower right: SAWREY

signed and titled verso:

HUGH SAWREY THE FLIMSY EVIDENCE

75 x 100cm

$12,000–16,000

19

VAUGHAN (MURRAY) GRIFFIN (1903-1992)

The Owl

colour linocut

signed, titled and editioned on margin:

Murray Griffin The Owl 11/31

45.5 x 35cm

$1,000–1,500


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20

20

MARK PAYNE (BORN 1955)

New Found Lands I 2021

oil on linen

signed lower right: Payne

signed, dated and titled verso:

Payne 2021 New Found Lands I

137 x 167cm

$2,000–4,000

21

JOHN CERLIENCO (BORN 1946)

Noon on the Finke River

oil on canvas on board

signed lower left: CERLIENCO

signed and titled verso:

JOHN CERLIENCO ‘NOON ON THE FINKE RIVER’

38.5 x 69cm

$400–600


15

22

22

GUNTER CHRISTMANN (1936-2013)

Up Square 1971

acrylic on cotton duck

signed, dated and titled verso:

G Christmann '71 UP SQUARE

97 x 88.5cm

$8,000–12,000

23

JILL LEWIS

Blue Abstract, 2001

acrylic on canvas

titled, signed and dated verso:

‘Blue Abstract’ / J Lewis / 2001

121.5 x 121.5cm

PROVENANCE

Libby Edwards Galleries, Melbourne

$500–800


16

Selected works from

The Sam Newman Collection

Many members of the general public are

familiar with Sam Newman’s prolific onscreen

personality, both on and off the field. Many may

not know, however, the football great’s support

and dedication to the Australian art scene. Who

can forget Newman's iconic St Kilda ‘Pamela

House’? Complete with a 9 x 8 metre glass

patterned façade mural of Baywatch siren

Pamela Anderson, the architecturally designed

home caused quite the stir when it was built in

the early 2000s. Noted at the time by influential

members in Australian art including Dr Gerard

Vaughan (former director of the National Gallery

of Victoria and the National Gallery of Australia),

Juliana Engberg, Norman Day, Dimity Reed

and Bruce Filley; the façade was regarded as

everything from pop art to public art installation

to public nuisance. 1 The mural did what

many regard as quintessential in art: causing

controversy and creating conversation.

Newman has been a collector of important

Australian artist Jeffery Smart’s work, at

one stage owning four pieces, including The

Guiding Spheres for which he paid a record

price at auction in 1998.

Bass Strait by Graeme Roche bears notable

similarities to the work of Smart, emulated

in the crisp lines and surrealist subject

matter. Roche noting, 'I draw inspiration from

everyday situations often portrayed slightly

out of context...reality juxtaposed. I share this

fascination with Smart, Delvaux and Magritte:

"inanimate objects live". The classical simplicity

of my work does not always expose the quest

for balance. People like the clean image. It

pleases me the struggle does not show'. 2

Newman himself has praised the 'neatness and

clinical style' of Roche’s work, which drew him

originally to the painting. 3

Indigenous artwork is of particular importance

to Newman, noting the history and narratives

within the works. Although Tommy Watson

often keeps the sacred meanings of his

paintings private, their spiritual stories

transcend explanation. Kapi Piti is an excellent

example of his work, exemplifying his signature

style using ‘layers of vibrant colours to

symbolically represent the country of his

parents and grandparents. Oranges, burgundy,

reds, ivory and pinks are used to create

sumptuous layers of coloured dots which

ripple and surge across the canvas suggesting

contours in the landscape, dry creek beds,

plains of spinifex and tali (sand dunes).’ 4

Newman is selling the works, only for purely

logistical reasons as he downsizes from his

larger property and hopes to transfer the

custodianship into new hands. 'I’ve decided

to divest myself of what I think are appealing

pieces, including a couple of terrific indigenous

pieces by Tommy Watson. I would rather

the pieces move on to someone who could

hang them rather than have them stored in a

warehouse where they collect dust.' 5

1. St Kilda Historical Society, 'A Place of Sensuous

Resort', Buildings of St Kilda and Their People,

2005, [http://skhs.org.au/SKHSbuildings/22.html],

accessed September 2021

2. G. Roche, As I See it: by Graeme Roche, n.d.

3. S. Newman, 2021, Interview by Gibson’s

4. M. Knights, Irrunytju Arts: 2001-2006, N.T.,

Irruntytju Arts, 2006, p.72

5. F. Byrne, 'Why Sam Newman is selling

artwork, including thatof a celebrated artist',

The Herald Sun, September 5, 2021,


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24

PETER MOLLER (BORN 1948)

My Boyfriend...The Only Man I’ve Ever Loved!

Well, He’s Left Me In This Picture For Another!

acrylic on canvas

signed lower left: PETER MOLLER

120 x 105.5cm

PROVENANCE

The Sam Newman Collection, Melbourne

$600–800

25

PETER MOLLER (BORN 1948)

“The Bride of Uluru” Those Didgeridoo’s –

They Never Stop! Where Am I?

What A Fool I Was to Come Here - Alone - -

acrylic on canvas

signed lower left: MOLLER

121 x 105.5cm

PROVENANCE

The Sam Newman Collection, Melbourne

$600–1,000


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26

TOMMY WATSON (CIRCA 1935-2017)

Kapi Piti 2006

synthetic polymer paint on canvas

inscribed, dated and titled verso: YANNIMA

TOMMY WATSON 2006 ‘KAPI PITI’

cat no. AGTW111200602

118 x 199cm

PROVENANCE

Agathon Galleries, Melbourne

Art Yarramunua, Melbourne

The Sam Newman Collection, Melbourne

NOTES

Accompanied by a certificate of authenticity

from Art Yarramunua, Melbourne

$15,000–25,000


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20

27

TOMMY WATSON (CIRCA 1935-2017)

Artilanja 2012

synthetic polymer paint on canvas

inscribed and titled verso: TOMMY WATSON

‘ARTILANJA’ MY COUNTRY

100.5 x 159cm

PROVENANCE

Art Yarramunua, Melbourne

The Sam Newman Collection, Melbourne

NOTES

Accompanied by a certificate of authenticity

from Art Yarramunua, Melbourne

$8,000–12,000


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22

28


23

28

GRAEME ROCHE (1944-1995)

Bass Strait

oil on canvas

signed lower left: ROCHE

101 x 151cm

PROVENANCE

The Sam Newman Collection, Melbourne

$8,000–12,000

29

BRUNO DUTOT (BORN 1962)

La Guitare, 1983

mixed media

signed lower right: Dutot

signed, dated and titled verso:

Dutot 29 7-83 LE GUITARE

74 x 100.5cm

PROVENANCE

The Sam Newman Collection, Melbourne

$500–800


24

A Glimpse of Bohemian Melbourne

In the current auction we have a series of

compelling archival materials and artworks

that intertwine with the history of Heide; the

iconic and influential home of John & Sunday

Reed. Through their philanthropy mentorship,

they created a community of like-minded

individuals who also embodied the bohemian

lifestyle. This artist’s refuge nurtured and

encouraged Melbourne’s modern art and

literature movements to push boundaries and

fight against mediocrity. The growth of this

community brought in a number of interesting

artists and figures that are still prominent

today, the connection that brings these

people together is evident through a series

of letters amongst poems, photographs and

ephemera which are included in lots, 34, 35

and 31 from the estate of poet and vagabond

Shelton Lea (1946-2005). This collection of

correspondence spans the poet’s entire life,

including inscribed books, postcards and

letters from notable Australian artist Mirka

Mora, literary man Barrett Reid and Indigenous

bantamweight boxer Lionel Rose (Lot 35).

From her arrival to Melbourne in 1951 Mirka

Mora’s rebellious spirit and liberal attitudes

to life and love made her a beacon for other

bohemian types. Mirka and her husband

Georges Mora soon integrated themselves

with the Heide gang of spirited individuals.

Bird Dreaming, 1967 (Lot 32) captures the

influences and lyricism of the time. The painting

exemplifies hallmark characteristics of Mirka

Mora’s beloved imagery of her whimsical

anthropomorphic creatures.

Another medium that emerged from this time

was Mirka’s iconic soft sculpture dolls which

epitomised her nostalgia for childhood. Mirka

possessed an unwavering childlike innocence

and playful energy that was simply infectious

to be around. In a 1999 interview, she said 'I

love being a child. I still haven’t grown up.' 1 Boy

(Lot 37) and Mermaid (Lot 33) are two excellent

examples of her much-loved dolls. After two

exhibitions of the dolls in the early 70s Mirka

decided to predominantly keep the dolls in her

studio as part companion, muse and comfort.

They continue to be received with great

enthusiasm and heart amongst collectors and

museums today.

Shelton Lea returned to Melbourne in 1966

after a quick exit from NSW due to one too

many run-ins with the local law enforcement.

He crashed at friend, and sculptor Joel

Elenberg’s place in Gore Street, Fitzroy. 2

Elenberg quickly introduced him to the inner

circle of Heide as a brilliant young poet. The

Reeds and Barrett Reid offered an intellectual

support network as Shelton had never

experienced. Barrett Reid, who was living

at Heide at the time, took a keen interest in

Shelton’s work, becoming a mentor as well as

a lifelong friend. The letters in Lot 34 to Shelton

from Barrett Reid illustrate the deep connection

they both had as intellectuals and friends.

Barrett confessed later in life the deep love he

had for his friend and protégé. 3

Lot 36 is a drawing by Mirka Mora titled The

Flying Hobyahs 1966 accompanied by two

intimate and playful letters from Mirka to

Shelton. She writes of dreaming and sleep

in her typically mischievous fashion and

expressive handwriting. Both Mirka and Shelton

were creative souls who had to carve their own

path in life and art. They are people who have

been present and active in their community

and hence championed for their creative and

intellectual generosity and lust for life. This

series of wonderfully intimate letters and

writings permits us a unique glimpse into the

lives of some beloved and prominent figures in

Melbourne’s creative landscape.

Sarah Garrecht

1. David Langham, 'Mirka Mora’s 50 years of art',

The Australian Jewish News, Melbourne,

1 Oct. 1999, p. 35

2. Taylor Coventry & Robert Price, Documentary, The

extraordinary life of Shelton Lea, 2009, 29:50 mins

3. Phyllis Papps, 'Barrett Reid: a charismatic

chameleon', The Latrobe Journal, No 87

May 2011, p. 136


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30

30

MIRKA MORA (1928-2018)

For Sunday and John 1967

ink on paper

inscribed and dated lower right: for sunday and john 1967

12.5 x 10cm

PROVENANCE

The Shelton Lea Collection

$400–600

31

MIRKA MORA (1928-2018)

At the Kitchen Table 1993

ink on paper

signed and dated lower right: MIRKA 93

13 x 23.5cm

PROVENANCE

The Shelton Lea Collection

$400–600


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32

MIRKA MORA (1928-2018)

Bird Dreaming 1967

oil on board

signed and dated lower centre: MIRKA 67

90 x 60cm

PROVENANCE

Acquired from Georges Mora by the current owners

Private Collection, Melbourne

EXHIBITED

Mirka Mora: Where Angels Fear to Tread:

50 years of Art 1948-1998, Heide Museum of Modern Art,

Melbourne, 9 October - 28 November 1999

LITERATURE

Mirka Mora; Max Delany; Murray White; Exhibition Catalogue

Mirka Mora: Where Angels Fear to Tread: 50 years of Art

1948-1998, Heide Museum of Modern Art, Melbourne,

9 October - 28 November 1999, p. 63 (cat.); (illustrated)

$15,000–20,000


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32


28

33

MIRKA MORA (1928-2018)

Mermaid

hand painted doll

19cm high, 56.5cm wide, 6cm deep

$1,500–2,000

34

An extensive collection of ephemera from the Estate of

Shelton Lea comprising typed and handwritten poem

manuscripts by Shelton Lea, photos of the poet and friends,

drawings and collage, letters and poems including Barrett

Reid & Ruth Cowen; a large collection of zines, flyers,

publications and clippings from various Australian poets

circa 1970s.

PROVENANCE

The Shelton Lea Collection

$400–600

35

A collection of ephemera

comprising Chrysalis, 1970, ed of 100, poems by

Shelton Lea, Illustrations by Joel Elenberg, along with two

handwritten poems and illustrations by the poet and artist;

a signed and inscribed copy of Lionel Rose: Australian,

The Life Story of a Champion by Lionel Rose

PROVENANCE

The Shelton Lea Collection

$200–500

36

MIRKA MORA (1928-2018)

The Flying Hobyahs 1966

ink on paper

signed, dated and titled lower centre: mirka at Tolarno

on the river darling 3.6.66 the flying hobyahs for Barrie

14 x 19cm

together with a card and two letters from the artist; a

signed copy of Mirka Mora: Wicked But Virtuous My Life;

a Heide exhibition brochure and an exhibition catalogue,

Mirka Mora: Works 1957-1987, William Mora Galleries,

signed and inscribed by the artist

PROVENANCE

The Shelton Lea Collection

$400–600

33


29

37

MIRKA MORA (1928-2018)

Boy

hand painted doll

14cm high, 10.5cm wide, 2cm deep

$1,200–2,000

38

LUCY OSBORNE MORA

Mirka 1996

conte

signed and dated lower right: Lucy Mora 1996

75.5 x 50.5cm

PROVENANCE

The Shelton Lea Collection

$300–500

39

MIRKA MORA (1928-2018)

The Playground

mixed media

7.5cm diameter

$400–600

37


30

Selected works from the Collection of

the Late Dr George and Mrs Ann Geroe

Ann Geroe (1934-2015) was born in Wales

and migrated to Melbourne with her mother

after World War II. In the early 1970s, while

doing a double major in philosophy at

Melbourne University as a mature age student,

she attended pottery classes run by Barry

Singleton. Already interested in Chinese

ceramics, particularly the pots of the Southern

Song Dynasty, the Kang Hsi reign of the

Ching Dynasty and the Ching monochrome

reproductions of the 19th century, she set

out to recreate their celadon, copper red and

imperial yellow glazes on simple monochrome

forms. She started practicing professionally as

a potter in 1979, working from a home studio

in Castlemaine. Some of her work is carved

or pierced and she also made stoneware

tableware for a time. In 1987, she travelled

overseas, holding a one-person show at the

Matsuzakaya Department Store, Yokohama, and

going on to visit ceramic collections in Beijing,

Taipei, Shanghai, London and Oxford. She

continued to work into the 2000s but gave up

potting in around 2004 after a fall in her studio.

In 2014, a survey exhibition of her work was

held at the Castlemaine Art Gallery to coincide

with her 80th birthday. Her work is held in the

collection of the National Gallery of Victoria.

40

ERIC WESTBROOK (1915-2005)

Bush 1988

watercolour and ink on paper

monogramed lower right

47 x 65cm

$300-500

41

SIBYL CRAIG (1901-1989)

Boatsheds 1937

watercolour

signed and dated lower left: Sybil Craig 1937

41.5 x 32.5cm

$600-900

42

MIKLÓS FARKASHÁZY

(HUNGARIAN, 1895-1964)

Timber Workers, Paris

watercolour and crayon on paper

signed and inscribed lower right:

Farkashazy PARIS

44.5 x 60cm

$800-1,200

43

MIKLÓS FARKASHÁZY

(HUNGARIAN, 1895-1964)

Landscape with Figures

pastel on paper

signed upper left: FARKASHAZY

23.5 x 34cm

$400–600

44

MIKLÓS FARKASHÁZY

(HUNGARIAN, 1895-1964)

Under the Bridge

pastel on paper

signed upper right: FARKASHAZY

57.5 x 47cm

$600-900

45

MIKLÓS FARKASHÁZY

(HUNGARIAN, 1895-1964)

Figures in the Street

pastel on paper

signed centre left: FARKASHAZY

48 x 65cm

$700-1,000


31

46

ELIZABETH DURACK

(1915-2000)

Encounter at Fork Creek (from

The Rim series)

mixed media on linen

signed with initials upper right: ed

122.5 x 157.5cm

PROVENANCE

Greenhill Galleries, Perth

EXHIBITED

Paintings, Greenhill Galleries, Perth,

December 1982

$1,800-2,500

47

GEOFFREY (GEOFF) LOWE

(BORN 1952)

View of the Port 1978

oil on canvas

signed and dated lower right: gwpl

1978

183 x 243cm

46

PROVENANCE

Acquired from the artist 1978

EXHIBITED

The angelic space: A celebration

of Piero della Francesca, Monash

University Museum of Art, Melbourne,

15 October - 28 November 1992 (label

attached verso)

LITERATURE

Harriet Edquist and Juliana Engberg,

The angelic space: a celebration of

Piero della Francesca, Melbourne,

Monash University Museum of Art,

1992

$800–1,200

47

48

HANS HEYSEN (1877-1968)

Botanic Park 1906

pencil

signed lower right: HANS HEYSEN

26.5 x 33.5cm

$1,200-1,800

48


32

49

© the Artist's Estate. All Rights Reserved / Bridgeman Images

49

SIDNEY NOLAN (1917-1992)

Kelly 1965

oil on paper

signed with initial lower left: N

30 x 24.5cm

PROVENANCE

Private Collection, Melbourne

$8,000–12,000


33

© the Artist's Estate. All Rights Reserved / Bridgeman Images 50

50

SIDNEY NOLAN (1917-1992)

Kelly and Gun 1965

oil on paper

signed with initial verso: N

30 x 24.5cm

PROVENANCE

Private Collection, Melbourne

$10,000–15,000

51

ANSEL ADAMS

Winter Sunrise, California 1944

photograph

produced and distributed by:

Museum Graphics Stockton, California

23.5 x 31cm

$600–800


34

52

52

SALI HERMAN (1898-1993)

The Corner House 1946

oil on canvas

signed and dated lower left: S Herman 46

37.5 x 49.5cm

PROVENANCE

Joseph Brown Gallery, Melbourne

$7,000–10,000


35

53

53

SALI HERMAN (1898-1993)

Outback Houses 1967

oil on canvas

signed and dated lower right: S Herman 67

62.5 x 75cm

PROVENANCE

Eva Bruer Fine Art, Sydney

$8,000–12,000

54

ENGLISH SCHOOL (EARLY 19TH CENTURY)

A Beggar Performing with his Dog

oil on canvas

59 x 48.5cm

$400–600

55

NANCY GRANT (CIRCA 1911-1998)

Walking the Dog

pencil on paper

signed lower right: Nancy Grant

25 x 38cm

$800–1,000


36

56

ELLIOTH GRUNER (1882-1939)

Summer Droving

oil on board

signed lower right: E GRUNER

37 x 27cm

PROVENANCE

A Gift from the artist to a relative, circa 1930

The Collection of Alfred James Cox MBE (1883-1971),

Gisborne, New Zealand, thence by descent

Private collection, Sydney

Private collection, Melbourne

$20,000–30,000


37

56


38

57

57

GIROLAMO NERLI (1860-1926)

Rowing on the Serpentine, Hyde Park, London

oil on board

signed lower right: E Nerli

22 x 29.5cm

$6,000–8,000


39

58

58

GIROLAMO NERLI (1860-1926)

Boat House, Hyde Park, London

oil on board

signed lower right: G Nerli

22 x 29.5cm

$6,000–8,000

59

GEORGE FEATHER LAWRENCE (1901-1981)

On the Seine 1976

oil on board

signed and dated lower right: G F LAWRENCE 76

29 x 36.5cm

$600–900


40

60

FREDERICK McCUBBIN (1855-1917)

Untitled (Bush Study, Mount Macedon) 1907

oil on board

signed and dated lower right: F McCubbin 1907

35.5 x 25.5cm

PROVENANCE

Leonard Joel, 1960s

Dr John Tange, Hawthorn, Melbourne

Private Collection, Melbourne

NOTE

Certificate of Authenticity from John R Perry, Fine Art

$12,000–15,000


41

60


42

61

61

JOHN HOWLEY (1931-2020)

You Know 1976

oil on canvas

signed and dated lower right: Howley 76

signed and titled verso: Howley You know ...

136.5 x 151.5cm

$2,000–3,000

62

DALE FRANK (BORN 1959)

Untitled

synthetic polymer paint on canvas

signed and dated lower right: Frank 89

230 x 180cm

PROVENANCE

Sotheby's, Melbourne, The Collection of Sir David Davies,

Fine Australian & International Paintings, 5 May 2003,

Lot 249

$8,000–12,000


43

62


44

63

CLIFTON PUGH (1924-1990)

Aftermath of Fire 1965

oil on board

triptych

signed lower right: Clifton

121 x 90cm (each)

PROVENANCE

Acquired from the artist by Bortignon’s

Kalamunda Gallery of Man, Perth

Rudy Komon, Sydney (label verso)

Lauraine Diggins Fine Art, Melbourne (label verso)

Charles Nodrum Gallery, Melbourne

EXHIBITED

The Winter Collection, Bortignon’s Kalamunda

Gallery of Man, Western Australia, 1982

The Art Gallery of Western Australia, March 1982

(loan label verso)

$30,000–50,000


45

63

Clifton Pugh was both an artist and an environmental activist,

his concern for the Australian bush was the foundation of

his life and work. Clifton Pugh painted his environment with

a frankness that was unlike his predecessors, observing

‘Australia isn’t soft, like Europe. It’s hard, dry, yet with a

wonderfully delicate balance.’ 1 To be closer to the bush,

Pugh acquired a tract of land in 1951 near Cottles Bridge,

northeast of Melbourne. He built a modest mud-brick house

and studio where much of his work would be created. The

property, known as Dunmoochin, was the perfect union of

artist commune and nature sanctuary.

The triptych Aftermath of Fire, 1965, is a provocative and

important work by the artist. Pugh’s painterly expertise

abstracts the essence of the Australian bush at its most

volatile state, revealing its destructive and formidable power.

The earth smoulders with the heat of the fire, darkness and

desolation consume the charred and blackened figures with

attenuated limbs. As an environmentalist, fire is a fundamental

subject of Pugh’s practice. Painting bushfires has been

an Australian tradition, undeniably an inherent part of the

landscape and national identity. As Judith Pugh wrote of his

paintings on this subject, they represent an inevitable ‘death

and domination of species over species and, by implication,

over the delicate Australian bush. Violence was implied even

when the paintings were not dealing with a moral issue.’ 2

Clifton Pugh was voracious and unwavering in his pursuit as

an artist and conservationist. He donated land to the Trust

for Nature in 1989 a year before his death. His ethos is as

relevant today as it was over 50 years ago. Pugh’s artwork

is held in state and national museum collections across the

country as well as prominent private collections in Australia

and internationally. With its illustrious provenance and

exhibition history this triptych is a quintessential example of

the artist's work.

1. John Hetherington, Australian painters forty profiles,

F.W. Cheshire, Melbourne, 1963, p.233

2. Pugh, Judith. Unstill Life: Art, Politics and Living with Clifton Pugh,

Allen & Unwin, 2008, p. 155.


46

64

DUBUFFET, Jean, La Botte à nique, Albert Skira, Paris,

20 February 1973, first edition, numbered 148 of 165

copies on vélin d’Arches paper

loose leaves with custom slipcase, manuscript signature

of Jean Dubuffet below the justification, this copy with its

screen print in a separate chemise.

$1,500–2,500

65

JOHN KRZYWOKULSKI (BORN 1947)

Breakaway, 1969

acrylic and auto lacquer on board

signed, dated and titled verso:

J KRZYWOKULSKI 69 BREAKAWAY

148.5 x 122cm (irregular)

$500–800

66

RICHARD LARTER (1929-2014)

Standing Nude 1964

synthetic polymer paint on board

signed with initials, dated and titled lower left:

R L 64 Standing Nude

90 x 60cm

PROVENANCE

Watters Gallery, Sydney

$6,000–9,000

67

GORDON VORSTER (SOUTH AFRICAN 1924-1988)

Wildebeest

watercolour

signed lower right: Gordon Vorster

67 x 97cm

$300–500

64


47

66


48

68

68

DAVID BARKER (NEW ZEALAND, BORN 1941)

Two Moorings 1968

acrylic on board

signed and dated lower right: D BARKER 68

66 x 91.5cm

$700–900

69

RICHARD EURICH (BRITISH,1903-1992)

Green Sea 1975

watercolour

signed and lower left: R Eurich 75

16.5 x 24.5cm

$300–500


49

70

70

CRISS CANNING (BORN 1947)

Still Life 1985

oil on board

signed lower right: Criss Canning

inscribed verso: The painting by Chrissie Canning

(commissioned) / Presented to JOAN HARRIS on the

occasion of her 15th year as Director of the National Theatre

Drama School. / by the Staff and Students & Management /

Dec 1985

34 x 44.5cm

PROVENANCE

The Estate of Joan Harris AM and Frederick Parslow AM

$8,000–10,000


50

71

71

DOROTHY BRAUND (1926-2013)

Fatigue 1987

oil on board

signed and dated lower right: BRAUND 87

titled and dated verso: FATIGUE JUNE 87

61 x 91cm

PROVENANCE

The Estate of Dorothy Braund

$3,500–4,500

72

DOROTHY BRAUND (1926-2013)

Dirty Dishes 1975

oil on composition board

signed and dated lower right: BRAUND 75

titled verso: DIRTY DISHES

60 x 90.5cm

PROVENANCE

The Estate of Dorothy Braund

$4,000–6,000

73

DOROTHY BRAUND (1926-2013)

Collapse 1987

oil on composition board

signed and dated lower right: BRAUND 87

titled verso: COLLAPSE

61.5 x 91.5cm

PROVENANCE

The Estate of Dorothy Braund

$4,500–5,500

74

SARAH TOMASETTI (BORN 1968)

Temporality I and Temporality II 2002-2003

fresco and glaze on muslin

diptych

signed verso: Tomasetti

14.5 x 29cm (each)

$800–1,200


51

72

73


52

75

75

DANIEL O’TOOLE (BORN 1984) AKA EARS

Self Portrait 2012

oil on canvas

signed and dated verso: EARS! 2012

124.5cm x 124.5cm

$1,500–2,500

76

DAVID LAITY (BORN 1958)

Regina’s Torso 1997

oil on canvas on board

signed, dated and titled verso:

David Laity Oct 97 Regina’s Torso

119.5 x 69.5cm

$3,000–5,000


53

76


54

77

77

DAVID BROMLEY (BORN 1960)

Belinda

oil and silver paint on canvas

signed lower right: BROMLEY

122 x 91cm

A certificate of authenticity from

the artist accompanies this lot.

$1,800–2,500


55

78

78

DAVID BROMLEY (BORN 1960)

Eliza

oil on canvas

signed lower right: BROMLEY

152.5 x 122cm

A certificate of authenticity from

the artist accompanies this lot.

$3,000–5,000

79

JOSEPH STEFANELLI (AMERICAN, 1921-2017)

Studio Nude 1972

watercolour

signed and dated lower left: 1972

33 x 42cm

$600–800


56

80

80

DAVID BROMLEY (BORN 1960)

Belinda

oil and silver paint on canvas

signed lower right: BROMLEY

152 x 122cm

$3,000–5,000

81

ASHER BILU (BORN 1936)

Untitled 1974-1975

oil on board

signed and dated lower right: Asher Bilu 74-75

signed verso: Bilu

244 x 183cm

$3,000-5,000


57

81


58

82

82

JACK DALE MENGENEN (1922-2013)

Dreaming Place, Iminji Country 2009

synthetic polymer paint and ochre pigments on canvas

inscribed and numbered verso: IMINJI COUNTRY

75 x 93.5cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$3,000–5,000


59

83

83

JACK DALE MENGENEN (1922-2013)

Djalala - Marking Stones 2007

synthetic polymer paint and ochre pigments on canvas

inscribed and numbered verso: NM 1941

92 x 130cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$4,000–6,000


60

84

84

JACK DALE MENGENEN (1922-2013)

Wandjina & Argula 2003

synthetic polymer paint and ochre pigments on canvas

inscribed and numbered verso: JACK DALE NM 1413

88.5 x 118.5cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$3,500–5,500

85

DOROTHY GALALEDBA (BORN 1967)

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


61

86

86

JACK BRITTEN (CIRCA 1921-2002)

Bungle Bungles circa 1983-1985

synthetic polymer paint and ochre on board

inscribed and dated verso:

JACK BRITTEN, JACK, HANNS SPRING CIRCA 1983-5

47.5 x 67.5cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$5,000–6,000

87

WALALA TJAPALTJARRI (BORN 1970)

Tingari Cycle

synthetic polymer paint on canvas

cat no. IW2052

124 x 106cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Ironwood Arts, Alice Springs

$1,000–2,000


62

88

ROVER (JULAMA) THOMAS (CIRCA 1926-1998)

Seed Carrying Vessel Circa 1995

natural earth ochres on wood

61.5cm high, 10.5cm wide, 8.5cm deep

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$6,000–9,000

88


63

89

ROVER (JULAMA) THOMAS (CIRCA 1926-1998)

Seed Carrying Vessel Circa 1995

natural earth ochres on wood

56.5cm high, 17.5cm wide, 8cm deep

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$6,000–9,000

89


64

90

ROVER (JULAMA) THOMAS (CIRCA 1926-1998)

Old Bedford Station, circa 1985

natural earth pigments on board

inscribed, titled and dated verso: ROVER CIRCA 1985 OLD

BEDFORD STATION CAVES WHERE BLACKFELLOWS HID

FROM THE POLICE

110cm x 206cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Neil McLeod Fine Arts Studio

$55,000–75,000


65

90


66

91

91

TURKEY TOLSON TJUPURRULA (1938-2001)

Spear Dreaming, 1996

synthetic polymer paint on canvas

signed, dated, titled and inscribed verso: TURKEY TOLSON

‘96 SPEAR DREAMING / 97929662

catalogue no. 97929662

140 x 220cm

PROVENANCE

Acquired directly from artist

Arthur Papadimitriou, Melbourne

Acquired from the above (receipt included)

Private Collection, Melbourne

$12,000–15,000

92

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

Acquired directly from artist

Arthur Papadimitriou, Melbourne

Private Collection, Melbourne

EXHIBITED

Benalla Art Gallery, Victoria 2004

$9,000–12,000


67

92


68

93

93

MAKINTI NAPANANGKA (CIRCA 1922-2011)

Lupulgna Dreaming

synthetic polymer paint on canvas

stamped verso: TANAMI DESERT ART

cat no verso: AD0177-56107MN

91.5cm x 151cm

A certificate of authenticity from Tanami Desrt Art and a

photograph of the artist with the work accompanies this lot.

Reference written on reverse AD0177/56107MN

PROVENANCE

Tanami Desert Art, Melbourne

$2,000–4,000

94

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

$800–1,200

95

GEORGE WARD TJUNGURRAYI

(BORN CIRCA 1943)

Tingari

synthetic polymer paint on canvas

cat no. SMGWT712

60 x 120cm

A certificate of authenticity accompanies this lot.

PROVENANCE

Aboriginal Australia Art and Culture, Alice Springs

$800–1,200

96

MARY KURINJI (KANNGI) (BORN 1925)

Bush Flowers

acrylic on canvas

inscribed verso: MARY KURINJA

cat no: HA17064

99.5 x 79cm

PROVENANCE

Merrepen Arts Centre, NT

High on Art, Melbourne

Private Collection, Melbourne

$600–800


69

97

97

MINNIE PWERLE (1922-2006)

Bush Melon 2002

acrylic on linen

cat no. MP25

71 x 120cm

PROVENANCE

Gallery New Quay, Melbourne

$5,000–8,000

98

LINDA SYDDICK NAPALJARRI (BORN 1941)

Rainmaking at Walukurritje 2004

acrylic on linen

inscribed, dated and titled verso:

Linda 15/02/04 RAINMAKING AT WALUKURRITJE

77.5 x 124.5cm

$1,000–2,000

99

GLORIA TAMERRE PETYARRE (1942-2021)

Untitled 1990

synthetic polymer on canvas

inscribed verso: GLORIA PETYARRE PROPERTY OF CAAMA

catalogue number: AK497

129.5 x 128.5

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

$2,000–3,000

100

TWO BOB TJUNGURRAYI (CIRCA 1938-2000)

Tingari Circle

synthetic polymer paint on canvas

signed and inscribed verso:

TWO BOB Property Papunya Tula Artists PTA

180 x 89.5cm

$1,500–2,500


70

101

101

ANNA PITJARA (BORN CIRCA 1965)

My Mother Country

synthetic polymer paint on canvas

inscribed verso: ANNA PITJARA

88.5 x 149cm

This painting is accompanied by a certificate of authenticity

from Sundown Art

102

JOHN LANDARA (BORN 1953)

Hermannsburg Landscape

watercolour on paper

23.5 x 48cm

$300–500

PROVENANCE

Sundown Art, Alice Springs

$2,000–3,000


71

103

103

GLORIA TAMERRE PETYARRE (1942-2021)

Little Lizard

synthetic polymer paint on canvas

inscribed and titled verso: GLORIA Little Lizard

91.5 x 152cm

PROVENANCE

Raintree Aboriginal Art Gallery certificate of authenticity

$2,000–4,000

104

JOHN LANDARA (BORN 1953)

Hermannsburg Landscape

watercolour on paper

23.5 x 48cm

$300–500


72

105

105

KENNY WILLIAMS TJAMPITJINPA (BORN 1950)

Untitled 2002

synthetic polymer paint on canvas

inscribed verso:

Kenny Williams Tjampitjinpa Papunya Tula Artists Pty Ltd

cat no. KW0205242

91.5 x 61.5cm

$1,000–2,000


73

106

106

KUMANTJE JAGAMARA

(MICHAEL NELSON TJAKAMARRA) (1945-2020)

Old Man Dreaming 1998

synthetic polymer paint on canvas

inscribed, dated and titled verso:

MICHAEL NELSON JAGAMARA MNJ

New Expressions Series OLD MAN 1998 FW3004

124 x 100cm

PROVENANCE

Fire Works Gallery, Brisbane

$3,000–5,000


74

107

HAYLEY COULTHARD (BORN 1967)

Red Tailed Cockatoo at Palm Valley 2012

handbuilt terracotta and underglaze

41cm high, 35cm wide (variable)

A certificate of authenticity from Hermannsburg Potters

Aboriginal Corporation accompanies this lot

PROVENANCE

Alcaston Gallery, Melbourne

EXHIBITED

Alcaston Gallery, Hermannsburg Potters: All Things Clay,

2-26 October 2012, cat no. AK18114

$600–900

108

WALALA TJAPALTJARRI (BORN 1960s)

My Country, 1999

synthetic polymer paint on canvas

signed verso: Walala

inscribed and dated verso: Walala Tjapaltjarri 1999

91.5 x 91.5cm

$800–1,200

109

BENNY TJAPALTJARRI (CIRCA 1935-2006)

Spear

acrylic on canvas

signed and titled verso: BENNY TJAPALTJARRI SPEAR

cat no: HOA0379

60.5 x 91cm

$500–800

107


75

110

RONNIE TJAMPITJINPA

(BORN CIRCA 1943)

Untitled 2002

synthetic polymer paint on canvas

inscribed verso: Ronnie Tjampitjinpa

Papunya Tula Artists Pty Ltd

cat no. RT0205017

121 x 61cm

$3,000–5,000

111

GEORGE YAPA TJANGALA

(CIRCA 1925-1989)

Untitled

synthetic polymer paint on canvas

inscribed verso: George Yapa Tjangala

Papunya Tula Artists Pty Ltd

cat no: GY9907178

121 x 61cm

$1,500–2,500

112

ADA BIRD PETYARRE

(CIRCA 1930-2004)

AND JUNE BIRD NGALE

Bush Myths 1992

synthetic polymer paint on canvas

signed and inscribed verso: Ada

Bird and June Bird, MULGOA BORE

NORTHERN TERRITORY, TRADITIONAL

CORROBOREE BODY PAINT

inscribed verso: AAC 2137 TOOAC

1004

76.5 x 124cm

$500–800

113

KATHLEEN PETYARRE

(CIRCA 1935–2018)

Women’s Camp Sites and

Collecting Yams circa 2003

synthetic polymer paint on canvas

signed and inscribed verso: Kathleen

Petyarre, NO48

88.5 x 59cm

$750–1,000

110


76

114

114

CLIFTON PUGH (1924-1990)

Waterfall, Arnhem Land 1985

oil on canvas

signed and dated lower right: Clifton 85

90 x 110cm

PROVENANCE

Eva Breuer Gallery, Sydney

$5,000–7,000

115

JOHNNY YOUNG (WORKING 2005)

Cattle Muster 2005

recycled materials and found objects

catalogue no. TIT05JY1642S Museum & Art Gallery

of the Northern Territory

27cm high, 140cm wide, 90cm deep

PROVENANCE

Titjikala Art Centre

$2,000–3,000


77

116

116

KORDELYA ZHAN SUI CHI (CHINESE, BORN 1962)

Portrait of Rover Thomas

oil on canvas

signed lower right: Kordelya

121.5 x 152cm

NOTE

Intended as an Archibald Prize entry in 1998. Rover Thomas

passed away in March prior to the work being submitted.

$18,000–28,000


78

117

117

FREDERICK WOODHOUSE SENIOR (1820-1909)

On the Riverbank

oil on board

signed lower left: Fred Woodhouse Sen

30 x 45.5cm

$1,500–2,500

118

H E BADHAM

Dirty Weather 1913

watercolour

signed, dated and titled lower right and left:

H E BADHAM 8.2.13 DIRTY WEATHER

19 x 31cm

$800–1,200

119

EUROPEAN SCHOOL

Roadside Break

oil on canvas

30.5 x 39cm

$500–800

120

JAMES ASHTON (1859-1935)

Sailing at Twilight

watercolour

signed lower right: J ASHTON

27 x 37cm

$200–400


79

121

121

JAN HENDRIK SCHELTEMA (1861-1941)

Cattle in the Early Morning Mist

oil on canvas

signed lower right: J H SCELTEMA

49.5 x 74.5cm

$3,000–5,000

122

CHARLES WHEELER (1880-1977)

Landscape

oil on board

signed lower left: Wheeler

29.5 x 39.5cm

$200–300

123

PATRICK RUSSELL (ACTIVE 1980s)

Landscape 1963

oil on paper

signed and dated lower right: Russell 63

25.5 x 32cm

PROVENANCE

South Yarra Gallery, Melbourne (label verso)

$200–400

124

PIETER CORNELIS DOMMERSEN (1833-1908)

House on a River with Figure and Bridge 1881

oil on canvas board

signed and dated lower left: P C DOMMERSEN 1881

28 x 43.5cm

$1,200–1,800


80

125

125

ERNEST BUCKMASTER (1897-1968)

Portrait of K F McCrae 1942

oil on canvas

signed and dated lower left: E Buckmaster 1942

inscribed verso: E Buckmaster ARCHIBALD COMP 1942

PORTRAIT OF K. F. McCRAE

93 x 75.5cm

PROVENANCE

Aingers Auctions, circa 1980

Private Collection, Melbourne

Possibly EXHIBITED

1942 Archibald Prize, Touring Exhibition,

23 January to 28 February 1943

$3,000–5,000


81

126

126

ERNEST BUCKMASTER (1897-1968)

Still Life with Urn and Grapes

oil on canvas on board

signed lower right: E Buckmaster

54.5 x 69cm

$3,000–5,000

127

ENGLISH SCHOOL (LATE 19TH CENTURY)

Portrait of a Seated Gentleman and his Hound

oil on canvas

60 x 49.5cm

$1,500–2,500

128

EBENEZER WAKE COOK (1844-1926)

Picking Flowers

watercolour

signed lower left: E Wake Cook

37 x 26.5cm

$500–800

129

EUROPEAN SCHOOL (19TH CENTURY)

The Fruit Seller

oil on panel

inscribed but illegible verso

24 x 18.5cm

$300–500


82

130

131

130

ANTHONY A PROUT (BORN 1946)

Doges Palace, Venice

watercolour

signed and titled lower right and left:

AA PROUT THE DOGES PALACE-VENICE

40 x 61.5cm

$500–800

131

LEON HANSON (1918-2011)

Mount Zion at Jerusalem

oil on board

signed and titled lower right and left:

Leon Hanson MOUNT ZION AT JERUSALEM

49.5 x 60cm

$400–600


83

132

132

SCHOOL OF WILLIAM PIGUENIT

Ben Lomond and the Valley

of the South Esk 1879

oil on canvas

94 x 123cm

NOTE

Possibly by Annie Stewart,

student of W C Piguenit

$3,000–5,000

133

HAROLD SEPTIMUS POWER

(1878-1951)

A Quiet Corner of Old England

oil on canvas on board

signed lower right: H S POWER

19.5 x 26.5cm

$500–800

133


84

134

134

ADELAIDE PERRY (1891-1973)

Reading 1927

oil on canvas

signed and dated upper right: A E Perry 1927

45.5 x 35cm

PROVENANCE

The Estate of the Late Sir Reginald Marcus Clark K.B.E

Lawsons, 15 -16 June 1954, Lot 80

Eva Bruer Fine Art, Sydney (label verso)

$4,000–6,000

135

FRENCH SCHOOL

(LATE 18TH CENTURY)

Portrait of Girl with Flowers in her Hair

pastel on paper on canvas

60 x 49cm

$800–1,200


85

136

136

ALICE BALE (1875-1955)

Spring Flowers - Still Life

oil on canvas

signed lower right: A M E BALE

44 x 39.5cm

$3,000–5,000

137

ALICE BALE (1875-1955)

Still Life - The Glass Vase 1921

oil on canvas on board

signed and dated lower left: A M E BALE

59.5 x 49.5cm

$2,500–4,500


86

138

139


87

140

138

COLIN PALETHORPE (BORN 1947)

Table Top 2005

oil on canvas with mixed media and collage

(wire cotton, timber and stone)

signed lower right: COLIN PALETHORPE

inscribed verso with intials: C P

91 x 121.5cm (canvas)

14.5 x 123.5cm (collage)

$500–800

139

WILLIAM (WILL) ASHTON (1810-1963)

Hay Stacks

oil on canvas on board

signed lower right: WILL ASHTON

20.5 x 30.5cm

$1,000–1,500

140

VAUGHAN (MURRAY) GRIFFIN (1903-1992)

Landscape

oil on board

signed lower right: MURRAY GRIFFIN

39.5 x 49.5cm

$2,000–4,000

141

REGINALD STURGESS (1892-1932)

At the Dock

watercolour

signed lower right: R. W. STURGESS

18.5 x 19.5cm

$200–400


88

142

HENRY JAMES JOHNSTONE

(1835-1907)

Gathering Water, Early Morning

1879

oil on board

signed and dated lower right:

H J Johnstone 1879

29.5 x 19.5cm

PROVENANCE

Joseph Brown Gallery, Melbourne

EXHIBITED

Royal Academy of Arts 1884, London,

1884

Joseph Brown Gallery, Melbourne,

Winter Exhibition, 28 July – 12 August

1975, cat no 16

$3,000–5,000

143

HENRY JAMES JOHNSTONE

(1835-1907)

On the River

oil on board

signed lower right: H J Johnstone

29.5 x 19.5cm

$2,000–4,000

144

ROUHI PECK (BRITISH)

St Ives

oil on canvas on board

signed lower right: Rouhi

40 x 40cm

$300–500

142

145

ROUHI PECK (BRITISH)

Bournemouth

oil on canvas on board

signed lower left: Rouhi

24 x 30cm

$300–500

146

JOHN MATHER (1848-1916)

Possibly Cape Schanck

oil on canvas

24.5 x 34.5cm

$1,200–2,000


89

147

147

FREDERICK LEIST (1878-1945)

Portrait of Althea Glassby

oil on canvas

90.5 x 70.5cm

PROVENANCE

The Glasby Family

Sotheby’s, Melbourne, Fine Australian Paintings,

18 & 19 November 1996, Lot 34

Sotheby’s, Melbourne, Fine Asian, Australian & European Art,

Decorative Arts & Furniture, 30 October 2012, Lot 91

$4,000–6,000

148

NEIL TAYLOR (BORN 1953)

Crossing the Line 1978

acrylic and oil on canvas

initialled and titled lower left: NT Crossing the Line

signed, dated and titled verso:

Neil Taylor 1978 / Crossing the Line

69.5 x 106.5cm

$600–800


90

149

149

PAUL PARTOS (1943-2002)

Untitled 1980

mixed media on paper

signed and dated lower right: P Partos 80

76 x 56.5cm

$1,500–2,500

150

CHARLES BLACKMAN (1928-2018)

The Striped Hat 1957

mixed media

signed and dated lower right: Blackman 57

59.5 x 39cm

$6,000–9,000


91

150


92

151

151

VALERIE STRONG (1933-2011)

Winter Shadows 1963

oil on board

signed with initials and dated lower left: VS 63

titled verso: Winter Shadows

80.5 x 121cm

$500–800

152

ANTHONY LISTER (BORN 1979)

Mona Lister You are the Vandal, not me!

oil on plywood

signed and titled verso:

Lister Mona Lister You Are The Vandal, not me!

45.5cm x 30.5cm

$500–800

152

153

ALAN BAKER (1914-1987)

Suburban Road

oil on board

signed lower left: ALAN D BAKER

14.5 x 19.5cm

$400–600


93

154

154

DONALD FRIEND (1914-1989)

The God Forsakes Antony

mixed media

signed and titled lower right:

Donald Friend The God forsakes Antony

76.5 x 55cm

$1,800–2,500

155

DIANNE EMERY

Fritillaria Meleagris 2002

watercolour

signed and dated lower right: DIANNE EMERY 02

45 x 33cm

$400–600


94

156

156

DAVID BROMLEY (BORN 1960)

Sea Play

oil on canvas

signed lower left: BROMLEY

121.5 x 152.5cm

PROVENANCE

Scott Livesey Art Dealer, Melbourne

Gavin Graham Gallery, London

EXHIBITED

David Bromley, Recent Works 2004,

Scott Livesey Art Dealer, Melbourne, April 2004

$3,000–5,000


95

157

157

DAVID BROMLEY (BORN 1960)

Boys Adventure

oil and silver paint on canvas

signed lower right: BROMLEY

152.5 x 198cm

PROVENANCE

Scott Livesey Art Dealer, Melbourne

Gavin Graham Gallery, London

EXHIBITED

David Bromley, Recent Works 2004,

Scott Livesey Art Dealer, Melbourne, April 2004, cat no. 34

$5,000–8,000

158

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

$2,500–3,500


96

159

159

DREW GREGORY (BORN 1947)

Final Float of a Good ol Boat 2007

oil on canvas

signed and dated lower right: Drew Gregory 07

signed, dated and titled verso: DREW GREGORY FINAL

FLOAT OF A GOOD ‘OL BOAT’ 21-08-07

101.5 x 152cm

$2,000–4,000

160

DREW GREGORY (BORN 1947)

The Woolclasser’s Hut, Ned’s Corner 2010

oil on linen

signed and dated lower right: Drew Gregory 2010

36 x 51cm

$500–800

161

DREW GREGORY (BORN 1947)

Out on the Rocks 2015

acrylic polymer paint on rag paper

signed and dated lower right: Drew Gregory 2015

24.5 x 42cm

$300–500

162

DREW GREGORY (BORN 1947)

Silver Gull, Bay of Islands, Peterborough 2000

oil on canvas

signed lower right: Drew Gregory

titled and dated verso: ‘SILVERGULL, BAY OF ISLANDS,

PETERBOROUGH, VICTORIA’ 14/10/00

61.5 x 153cm

$600–1,000


97

163

163

EOLO PAUL BOTTARO (BORN 1974)

Theatre of Anthropology, 2008

oil and egg tempera on linen

183 x 235cm

PROVENANCE

James Makin Gallery, Melbourne (label verso)

Entry to the Sulman Prize 2009

$2,500–5,000

164

DREW GREGORY (BORN 1947)

Palm Trunk 2006

acrylic polymer paint on rag paper

signed and dated lower right: Drew Gregory 06

37.5 x 26.5cm

$200–400

165

DREW GREGORY (BORN 1947)

Palm Fronds 2006

acrylic polymer paint on rag paper

signed and dated lower right: Drew Gregory 06

29 x 19.5cm

$200–400

166

ROBERT (BOB) JEYNS

Rooster in Cage

metal and wood sculpture

38cm high, 51cm wide, 28cm deep

$400–600


98

167 169

167

JEFFREY MAKIN (BORN 1943)

Study for, Towards Corio Bay from the You Yangs

2008

oil on canvas

signed lower right: Makin

titled and dated verso:

Study for, Towards Corio Bay from the You Yangs 2008

41 x 31cm

PROVENANCE

James Makin Gallery, Melbourne (label verso)

$1,000–1,500

168

NICK MOURTZAKIS (BORN 1951)

Mycenean Figure, Pireaus 2004

conte and pencil

signed with initials and dated lower right: N M 04

37 x 31cm

169

JEFFREY MAKIN (BORN 1943)

Hawkesbury River Study No. 4

oil on linen

signed lower right: Makin

titled verso: Hawkesbury River Study No. 4

41 x 31cm

PROVENANCE

James Makin Gallery, Melbourne (label verso)

$1,000–1,500

170

AUGUSTO CARELLI

A New Morning 1883

watercolour

signed, inscribed and dated: A CARELLI ROMA 1883

74 x 53.5cm

$800–1,200

PROVENANCE

John Buckley Gallery, Melbourne

$600–1,000


99

171

171

JEFFREY MAKIN (BORN 1943)

Forest Pond, Autumn

oil on canvas

signed lower right: Makin

titled and dated verso: FOREST POND AUTUMN

122.5 x 92cm

PROVENANCE

James Makin Gallery, Melbourne (label verso)

$4,000–6,000

172

JOHN SKINNER PROUT (1805-1876)

European Village Courtyard

watercolour

signed lower left: SKINNER PROUT

19 x 24cm

$800–1,200


100

173

ENGLISH SCHOOL

The Quarrel

oil on canvas

83 x 300cm

$2,000–4,000

174

ENGLISH SCHOOL

The Bowling Match

oil on canvas

81 x 238cm

$1,500–2,500

175

M. SAMUEL

Roosters and Chickens

oil on canvas

38.5 x 49cm

$500–800


101

173

174


102

176

176

DAVID DAVIES (1864-1939)

Old Farm In Dieppe

watercolour

signed lower right: D DAVIES

31 x 37cm

PROVENANCE

Anthony A Cowden, Sydney

EXHIBITED

Plymouth City Art Gallery, 1932, cat no. 33

Malvern Fine Art Gallery, The Expatriate Period,

November 1978, cat no. 9

$3,000–5,000

177

HAO LI (CHINESE, BORN 1975)

Who Disturbed my Mind 2003

oil on canvas

signed and dated lower left: Hao Li 2003

signed, dated and titled verso:

Hao Li 2003 who disturbed my mind?

82 x 83cm

ILLUSTRATED

Oil Painting, 20 Artists of Chinese Oil Painting, Series 1,

Hao Li, Beijing Fine Arts Photography Publishing House,

June 2005, 1st Edition, 1 of 20 volumes, back cover

$1,200–1,800


103

179

178

HAO LI (CHINESE, BORN 1975)

Chinese Girl in Red ‘Dudou’ 2004

oil on canvas

signed and dated lower right: Hao Li 2004

98.5 x 79cm

ILLUSTRATED

Oil Painting, 20 Artists of Chinese Oil Painting, Series 1,

Hao Li, Beijing Fine Arts Photography Publishing House,

June 2005, 1st Edition, 1 of 20 volumes, page 21

$1,500–2,500

179

JEAN APPLETON (1911-2003)

The Barn Interior 1990

oil on canvas

signed and dated lower right: Jean Appleton 90

signed and titled verso: Jean Appleton THE BARN INTERIOR

90.5 x 121.5cm

$4,000–6,000


104

180

180

JOHN OLSEN (BORN 192)

Swimming Frog 1986

colour lithograph

signed, dated, titled and editioned in image:

John Olsen 86 Swimming Frog 47/75

56 x 76.5cm

$1,500–2,500

181

JOHN OLSEN (BORN 1928)

Papageno and the Birds 1992

lithograph

signed, dated, titled and editioned on image:

John Olsen 92 Papageno & the Birds 140/150

35 x 29.5cm

$800–1,500

182

PATRICIA PICCININI (BORN 1965)

Social Studies 2000, SO2 series

digital C-type photograph

signed, dated and editioned lower right and left:

Patricia Piccinini 2000 26/60

80 x 80cm

$1,000–1,500

183

PATRICIA PICCININI (BORN 1965)

Social Studies 2000, SO2 series

colour c-print, series of three images

signed, dated lower right and left:

Patricia Piccinini 2000 21/60

80 x 80cm

$1,000–1,500


105

184

184

MICHAEL SHANNON (1927-1993)

Landscape 1990

oil on canvas

signed lower right

29.5 x 39.5cm

$2,000–3,000

185

PATRICIA PICCININI (BORN 1965)

36 Degrees on the 14th, 2000, S02 series

digital C-type photograph

signed, dated and editioned lower right and left:

Patricia Piccinini 2000 25/60

80 x 80cm

$1,000–1,500

186

PATRICIA PICCININI (BORN 1965)

Restless 2000, S02 series

digital C-type photograph

signed and dated lower right: Patricia Piccinini 2000

editioned lower left: 25/60

80 x 80cm

$1,000–1,500

187

PATRICIA PICCININI (BORN 1965)

Last Day of the Holidays 2000, S02 series

digital C-type photograph

signed, dated and editioned lower right and left:

Patricia Piccinini 2000 25/60

80 x 80cm

$1,000–1,500


106

188

188

DAVID BROMLEY (BORN 1960)

Mercedes Benz 300SE 1990

oil and silver paint on canvas

signed and titled lower right, left and upper centre:

BROMLEY MERCEDES BENZ 300SE1990

titled verso: Mercedes-Benz 300SE1990

122 x 152cm

A certificate of authenticity from the artist

accompanies this lot.

$2,000–4,000

189

DAVID BROMLEY (BORN 1960)

Study of a Woman

oil on canvas

signed lower right: BROMLEY

100.5 x 80cm

A certificate of authenticity from the artist

accompanies this lot.

$800–1,200

190

ELEAZAR KRUM (ACTIVE 1980-1990)

Divertimento 1982

oil on canvas

signed, dated and titled verso:

Eleazar Krum 1982 divertimento

61 x 45.5cm

$400–600

191

RITA PARKINSON

Agave Americana var. stricta

gouache and watercolour

signed lower right: R Parkinson

62 x 80cm

$800–1,200


107

192

192

REGAN (HA HA) TAMANUI (BORN 1972)

Barry Humphries

hand cut stencil

signed, dated, titled and editioned lower left,

centre and right: HA-HA 2006 BARRY 1/10

40 x 30cm

PROVENANCE

City Lights Gallery, Melbourne

$400–600

193

GREG MALLYON (BORN 1954)

Adventures in Paradise - Still Life in Honolulu, 1989

acrylic on canvas

signed and dated lower right: MALLYON 89

inscribed verso: STILL LIFE HONOLULU

92 x 91cm

$300–500


108

194

194

GEORGE BALDESSIN (1939-1978)

Emblems, 1972

colour etching

signed, dated, titled and editioned on margin:

George Baldessin 72 Emblems Edition 25

46 x 41cm

$2,000–3,000

195

NEVILLE PILVEN (BORN 1939)

Landscape

oil on board

signed lower right: N PILVEN

90 x 90cm

$500–800

196

WILLIAM VERNON (1820-1909)

Country Lane 1882

watercolour

signed lower left: W Vernon

51 x 72cm

$800–1,200

197

RON WILLIS (ACTIVE 1970s)

The Farmer and His Dog in the Outback

oil on board

signed lower left: WILLIS

35.5 x 44cm

$400–600


109

198

198

HORACE BRODZKY (1885-1969)

The Disputation 1939

oil on board

signed and dated lower right: H BRODZKY 39

24.5 x 29.5cm

$2,000–3,000

199

FRANK WASLEY (BRITISH, 1848/54-1934)

Street Scene

watercolour

signed lower left: Frank Wasley

54.5 x 38cm

$400–600

200

DESMOND NORMAN (1930-2015)

Daisy Bates with Young Aboriginals 1967

oil on canvas

signed and dated lower right: D NORMAN 67

74.5 x 100cm

$500–800

201

JOHN ROGERS (1928-1997)

Studio Nude 1948

ink

signed and dated upper left: Rogers 48

24 x 20cm

$300–500


110

202

LUDMILLA MEILERTS

(1908-1998)

Still Life Interior, 1948

oil on board

signed lower right: L Meilerts 48

43.5 x 39cm

$1,000–1,500

203

CHARLES WHEELER

(1880-1977)

Promenade Through the Gardens

1913

oil on board

signed and dated lower right:

C Wheeler

21 x 27.5cm

$1,500–2,500

202

204

CLIFFORD DUDLEY WOOD

(1905-1980)

Farm Houses in the Valley 1945

watercolour

signed and dated lower right:

C DUDLEY WOOD 45

35.5 x 47cm

$200–400

205

DOUGLAS BADCOCK

Orchard in Blossom,

Central Otago 1962

oil on board

signed and dated lower right:

Douglas Badcock 62

34.4 x 45cm

PROVENANCE

The Royal Australian and New

Zealand College of Obstetricians and

Gynaecologists (RANZCOG)

$600–1,000

203


111

206

206

FRANCIS GIBBES (1815-1904)

Farmhouse in a Landscape 1877

watercolour

signed and dated lower left:

F B Gibbes 1877

37.5 x 55.5cm

$2,000–3,000

207

ALFRED J DAPLYN (1844-1926)

Figure on a Country Track

oil on canvas

signed lower right: A J DAPLYN

35.5 x 25cm

$2,000–4,000

208

JOHN NOBLE BARLOW (1861-1917)

Shire Surrey

oil on canvas

signed lower left: J Noble Barlow

signed and titled verso:

J Noble Barlow ‘Shire Surrey’

30 x 46cm

$800–1,200

207


112

209

210

209

ALICE HOGARTH NICHOLSON

(BRITISH, 1865-1950)

On the Beach

oil on canvas

signed lower right: A. H. Nicholson

26 x 34.5cm

$800–1,500

210

PHYLLIS WATERHOUSE (1917-1989)

The Studio

oil on masonite

signed lower right: Waterhouse

inscribed and titled verso: Phyll Waterhouse The Studio

55.5 x 76cm

PROVENANCE

The Estate of Joan Harris AM and Frederick Parslow AM

$800–1,200


113

211

211

LLOYD REES (1895-1988)

Lane Cove River II 1965

watercolour and pencil

signed and dated lower right:

L REES 1965

titled verso: Lane Cover River II

25 x 40cm

PROVENANCE

Delmar Gallery of the Trinity Grammar

School Society of the Arts

$3,500–5,500

212

WILLIAM STRUTT (1825-1915)

Portrait of a Lady, 1849

pencil and wash on paper

signed and dated lower right:

W Strutt, del 1849

29 x 22.5cm

PROVENANCE

R E Sommerfield, England

Bridget McDonnell Gallery, Melbourne

Private Collection, Melbourne

$2,000–3,000

212


114

Artist Index

ADAMS, ANSEL 51

APPLETON, JEAN 179

ASHTON, JAMES 120

ASHTON, WILLIAM (WILL) 139

BADCOCK, DOUGLAS 205

BADHAM, H E 118

BAIRD, JOHN 9

BAKER, ALAN 153

BALDESSIN, GEORGE 194

BALE, ALICE 136, 137

BARKER, DAVID 68

BARLOW, JOHN NOBLE 208

BILU, ASHER 81

BLACKMAN, CHARLES 150

BOTTARO, EOLO PAUL 163

BOYD, ARTHUR MERRIC BLOOMFIELD 6, 7, 8

BRAUND, DOROTHY 71, 72, 73

BRITTEN, JACK 86

BRODZKY, HORACE 198

BROMLEY, DAVID 77, 78, 80, 156, 157, 188, 189

BUCKMASTER, ERNEST 125, 126

CAMPBELL, ROBERT 158

CANNING, CRISS 1, 70

CARELLI, AUGUSTO 170

CERLIENCO, JOHN 21

CHI, KORDELYA ZHAN SUI 116

CHRISTMANN, GUNTER 22

COOK, EBENEZER WAKE 128

COULTHARD, HAYLEY 107

CRAIG, SIBYL 41

DAPLYN, ALFRED J 207

DAVIES, DAVID 176

DAWSON, JANET 13

DOMMERSEN, PIETER CORNELIS 124

DURACK, ELIZABETH 46

DUTOT, BRUNO 29

ENGLISH SCHOOL 54, 127, 173, 174

EMERY, DIANNE 155

EURICH, RICHARD 69

EUROPEAN SCHOOL 119, 129

FARKASHÁZY, MIKLÓS 42, 43, 44, 45

FRANK, DALE 62

FRENCH SCHOOL 135

FRIEND, DONALD 154

GALALEDBA, DOROTHY 85

GIBBES, FRANCIS 206

GRANT, NANCY 55

GREGORY, DREW 159, 160, 161, 162, 164, 165

GRIFFEN, VAUGHAN (MURRAY) 19, 140

GRUNER, ELLIOTH 56

HANSON, LEON 131

HAXTON, ELAINE 10

HERMAN, SALI 52, 53

HEYSEN, HANS 48

HOWLEY, JOHN 61

JAGAMARA, KUMANTJE 106

JEYNS, ROBERT (BOB) 166

JOHNSTONE, HENRY JAMES 142, 143

KNIGHT, KENNETH (KEN) 16

KRUM, ELEAZAR 190

KRZYWOKULSKI, JOHN 65

KURINJI (KANNGI), MARY 96

LAITY, DAVID 76

LANDARA, JOHN 102, 104

LARTER, RICHARD 66

LAWRENCE, GEORGE FEATHER 59

LEIST, FREDERICK 147

LEWIS, JILL 23

LI, HAO 177, 178

LINDSAY, PERCEVAL (PERCY) 14, 15

LISTER, ANTHONY 152

LOWE, GEOFFREY (GEOFF) 47

MAKIN, JEFFREY 168, 169, 171

MALLYON, GREG 193


115

MATHER, JOHN 146

McCUBBIN, FREDERICK 60

MEILERTS, LUDMILLA 202

MENGENEN, JACK DALE 82, 83, 84

MOLLER, PETER 24, 25

MORA, LUCY OSBORNE 38

MORA, MIRKA 30, 31, 32, 33, 36, 37, 39

MOURTZAKIS, NICK 168

NAPALJARRI, LINDA SYDDICK 98

NAPANANGKA, MAKINTI 93

NERLI, GIROLAMO 57, 58

NGALE, JUNE BIRD 112

NICHOLSON, ALICE HOGARTH 209

NOLAN, SIDNEY 2, 3, 49, 50

NORMAN, DESMOND 200

NUNAN, BRIAN 4, 5

OLSEN, JOHN 180, 181

O’TOOLE, DANIEL 75

PALETHORPE, COLIN 138

PARKER, DUDLEY 11

PARKINSON, RITA 191

PARTOS, PAUL 149

PAYNE, MARK 20

PECK, ROUHI 144, 145

PERRY, ADELAIDE 134

PETYARRE, ADA BIRD 94, 112

PETYARRE, GLORIA TAMERRE 99, 103

PETYARRE, KATHLEEN 113

PICCININI, PATRICIA 182, 183, 185, 186, 187

PIGUENIT, SCHOOL OF WILLIAM 132

PILVEN, NEVILLE 195

PITJARA, ANNA 101

POWER, HAROLD SEPTIMUS 133

PRESTON, MARGARET 12

PROUT, ANTHONY A 130

PROUT, JOHN SKINNER 172

PUGH, CLIFTON 63, 114

PWERLE, MINNIE 97

REES, LLOYD 211

ROCHE, GRAEME 28

ROGERS, JOHN 201

RUSSELL, PATRICK 123

SAMUEL, M. 175

SAWREY, HUGH 17, 18

SCHELTEMA, JAN HENDRIK 121

SHANNON, MICHAEL 184

STEFANELLI, JOSEPH 79

STRONG, VALERIE 151

STRUTT, WILLIAM 212

STURGESS, REGINALD 141

TAMANUI, REGAN (HA HA) 192

TAYLOR, NEIL 148

THOMAS, ROVER (JULAMA) 88, 89, 90

TJAMPITJINPA, KENNY WILLIAMS 105

TJAMPITJINPA, RONNIE 110

TJANGALA, GEORGE YAPA 111

TJAPALTJARRI, BENNY 109

TJAPALTJARRI, MICK NAMARARI 92

TJAPALTJARRI, WALALA 87, 108

TJUNGURRAYI, GEORGE WARD 95

TJUNGURRAYI, TWO BOB 100

TJUPURRULA, TURKEY TOLSON 91

TOMASETTI, SARAH 74

VERNON, WILLIAM 196

VORSTER, GORDON 67

WASLEY, FRANK 199

WATERHOUSE, PHYLLIS 210

WATSON, TOMMY 26, 27

WESTBROOK, ERIC 40

WHEELER, CHARLES 122, 203

WILLIS, RON 197

WOOD, CLIFFORD DUDLEY 204

WOODHOUSE SENIOR, FREDERICK 117

YOUNG, JOHNNY 115


116

Terms & Conditions of Sale

The Terms and Conditions of Sale listed here contain

the policies of Gibson's Auctioneer's & Valuers Pty

Ltd (herein after referred to as "Gibson's"). They are

the Terms on which Gibson's 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. Definitions

The following conditions that are listed contain

terms that are used regularly and have the following

meanings:

"Auction" means the event at which any Lot is

offered for Sale by Gibson's.

"Auctioneer" means the representative of Gibson's

conducting the Auction.

"Bid" / "Bidder" means the action of notifying the

Auctioneer of the intention to purchase the Lot by

the Prospective Buyer. The Bidder is any person or

entity that makes this makes this action. Bidding is

understood by both the Bidder and Gibson's to be

contractually obliging.

“Buyer” means the person with the highest Bid

accepted by the Auctioneer.

“Buyer's Premium” means the charge payable by

the Buyer to the Auction house as a percentage of

the Hammer Price.

“Forgery” means an item constituting an imitation

originally conceived and executed with fraudulent

intention to deceive as to authorship, origin, age,

period, culture, provenance 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).

“Hammer Price” means the amount of the highest

Bid accepted by the Auctioneer in relation to a Lot.

“Insured Value” means the amount that Gibson's

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).

“Lot” means any item within the Sale for Auction and

in particular the item or items described against any

Lot number in the catalogue.

"Prospective Buyer" means any person or entity

with the intention of purchasing any Lot in the

Auction.

“Reserve” means the confidential lowest amount

at which Gibson's has contractually agreed with the

Seller that the Lot can be sold.

"Sale" means any private treaty or Auction Sale at

which a Lot is offered for Sale.

“Seller” means (as appropriate) the owner, their

agent, executors or personal representatives, or the

person in possession of the property consigned

for Auction. Multiple owners, agents or persons in

possession shall jointly and severally assume all

obligations, liabilities, representations, warranties and

indemnities in relation to the Sale of the Lot.

"Dollars" or "$" means Australian currency. All Bids,

Hammer Price, Reserves, Buyer's Premium and

other expressions of value are understood to be in

Australian Dollars unless otherwise specified.

2. Gibson’s Auctioneers & Valuers

as Agent

Except as otherwise stated Gibson's 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

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 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 of

any kind. References in the catalogue entry to the

condition report, including 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 nor the

Seller is responsible for any errors or omissions in the

catalogue or any supplemental material.

Images are measured height by width. 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.

All transactions are in Australian Dollars so there

may be a small exchange rate risk, for international

Buyers. The costs associated with acquiring a goods

certificate will be borne by the Buyer. If the item

turns out to be a Forgery or otherwise incorrectly

described, all reasonable costs will be borne by the

Seller.

C) BUYER'S RESPONSIBILITY

All property is sold “as is” without representation or

warranty of any kind by Gibson's 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 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 new Prospective Buyer must complete and

sign a registration form and provide photographic

identification before Bidding. Gibson's 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

Buyer's Premium and all applicable taxes, plus

all other applicable charges, unless it has been

explicitly agreed in writing with Gibson's before

the commencement of the Sale that the Bidder is

acting as agent on behalf of an identified third party

acceptable to Gibson's and that Gibson's will only

look to the principal for payment.

D) INTERNATIONAL REGISTRATIONS

All international clients not known to Gibson's 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 account

at least 48 hours before the commencement of

the Auction. Bids will not be accepted without

this deposit. Gibson's 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 will use reasonable efforts to execute written

Bids delivered to us at least 24 hours prior to the

Sale for the convenience of those clients who are

unable to attend the Auction in person. If Gibson's

receives 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

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 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 cannot be held responsible for any

miscommunications 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 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 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 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.


117

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

after the Sale, to determine the successful Bidder,

to continue the Bidding, to cancel the Sale or to

re-offer and resell the item in dispute. If any dispute

arises after the Sale, then Gibson's Sale record is

conclusive.

J) SUCCESSFUL BID AND PASSING OF RISK

Subject to the Auctioneer’s discretion, on the

acceptance of a Bid by the fall of the Auctioneer's

hammer, a contract of sale is made between the

Seller and the Buyer. Risk and responsibility for the

Lot (including frames or glass where relevant) passes

immediately to the Buyer. Gibson's shall not be liable

for any breach of contract by either the Seller or

the Buyer.

K) INDICATIVE BIDDING STEPS, ETC.

Gibson's 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) BUYER'S PREMIUM

In addition to the Hammer Price, the Buyer agrees

to pay to Gibson's the Buyer's Premium. The Buyer's

Premium is 22% of the Hammer Price plus GST.

(Goods and Services Tax) where applicable.

B) ONLINE SURCHARGE

In the case where the Buyer purchases via online

Bidding platforms, the Buyer agrees to pay the online

Bidding surcharge of 2% (Gibsons.com.au) or 5%

(Invaluable.com) plus GST, where applicable.

C) PAYMENT AND PASSING OF TITLE

The Buyer must pay the full amount due (comprising

the Hammer Price, Buyer's 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 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: Gibson's 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 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

D) COLLECTION OF PURCHASES & INSURANCE

Gibson's 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 and the Buyer.

At the fall of the hammer, insurance is the

responsibility of the purchaser.

E) PACKING, HANDLING AND SHIPPING

At the request of the Buyer, Gibson's may assist with

packing of goods but takes no responsibility for loss,

damage or breakage that may occur.

Gibson's 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 can assist with removal companies that the

Buyer can use but takes no responsibility whatsoever

for the actions of any recommended third party.

F) CULTURAL HERITAGE EXPORT LICENCES

Unless otherwise agreed by Gibson's in writing, the

fact that the Buyer wishes to apply for an export

licence does not affect their obligation to make full

payment immediately, nor Gibson's right to charge

interest or storage charges on late payment. It is

the responsibility of the Buyer to check Australia’s

Protection of Moveable Cultural Heritage Act 1986

prior to purchase. Export/import licences applications

are the responsibility of the Buyer and/or the Buyer's

nominated shipper. Gibson's shall not be obliged to

rescind a Sale nor to refund any expenses incurred by

the Buyer in circumstances where an export licence

is not granted.

G) REMEDIES FOR NON-PAYMENT

If the Buyer fails to make full payment immediately,

Gibson's 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 in the event that the Lot(s) are sold for

an amount greater than the original invoiced

amount;

vi)

to offset against any amounts which Gibson's

may owe the Buyer across any other

transactions;

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 deem

necessary or appropriate.

H) FAILURE TO COLLECT PURCHASES

Where purchases are not collected within three (3)

days from the Sale date, whether or not payment has

been made, Gibson's shall be permitted to:

i) remove, store and further insure the Lot at the

expense of the Buyer, releasing only after full

payment has been received from the Buyer for

incurred costs;

ii)

iii)

re-sell the Lot without Reserve by Auction,

private treaty or any other means whereby the

Buyer agrees not to challenge the resale price

achieved

rescind the Sale of that Lot or any other Lot sold

by the Seller to the Buyer at the same or any

other Auction

If Gibson's do re-sell the property under clauses H

and G, the defaulting Buyer agrees to be liable for

all payments of any deficiency between the total

amount originally due and the price obtained, as well

as the legal as all costs, expenses, damages, legal

fees, commissions and premiums of whatever kinds

associated with both Sales or otherwise arising from

the default.

6. Extent of Gibson's Liability

Gibson's agrees to refund the purchase price in

the circumstances of the Limited Warranty set out

in paragraph 7. 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.


118

7. Limited Warranty

Subject to the terms and conditions of this

paragraph, the 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 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 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 Buyer's Premium

which is non refundable. Neither the Seller nor

Gibson's 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 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 relating to a Lot

including the contents of this catalogue, is and shall

remain the property at all times of Gibson's and

shall not be used by the Buyer, nor by anyone else

without our prior written consent. Gibson's 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 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 prior to

Auction for updated pre-Sale estimates and starting

prices.

12. Sale results

After the Sale, Gibson's may publish (both verbally

and in writing) the results of Sale at our discretion,

including the prices achieved for specific Lots.

Unless otherwise discussed with the Buyer, details of

individual Buyers will remain confidential.

13. Goods and Service Tax

In accordance with A New Tax System (Goods and

Services Tax) Act 1999, Gibson's Auctions will collect

on behalf of the Australian Tax Office (ATO) a Goods

and Service Tax (GST) of 10% on all applicable

transactions.

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 non-resident Buyers 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

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 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 symbol §. 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

Buyer's 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

reserve 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 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

supplies these without warranty.

Buyers should assume that all gemstones sold

by Gibson's 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 may have been subjected to such

treatments, and that the catalogue estimates reflect

this.

WATCHES

Please note: All watches sold by Gibson's are sold on

an “as is” basis. Gibson's 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 52

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