GA029 - Australian and International Art

Australian &
International Art
Melbourne, Sunday 24 October 2021

Specialists & Management for this sale
Jennifer Gibson
CEO & Head of
Valuations
Deanna Baxter
Business
Manager
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Operations
& Marketing
Manager
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Consultant Specialist
Australian &
International Art
Jennifer Gibson
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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
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Elizabeth Stannard Consultant Specialist Jewellery
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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
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Lots subject to payment of the Artist's
Resale Royalty Scheme will be denoted
by the symbol §. The Australian Resale
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Restricted or Organic Material
♦ Lots with this symbol have been
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Monday 25 October
Tuesday 26 October
Wednesday 27 October
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10am–5pm
10am–5pm
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Buy’ section on the following pages.
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2% (incl GST) for American Express.

2
How to Buy
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Viewing
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Condition Reports
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Bidding
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your address.

3
3. Absentee Bids
Absentee Bidding is another convenient solution if you
are unable to attend an auction in person, to speak on the
telephone or if you simply have a strict budget.
An Absentee Bid should be set at the maximum amount
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International Bidding
If you are bidding from overseas for the first time, you will be
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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
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You will pay the hammer price, plus the buyer’s premium
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applicable charges such as GST on hammer.
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as printed in the catalogue.
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Collections
Gibson’s Auctioneers & Valuers are happy to assist and
provide you with recommended transport companies whether
it be a local, interstate or international delivery.
Storage
All items must be paid for and collected within the collection
times advertised for each individual auction. If items are not
collected within this time-frame, Gibson’s Auctioneers &
Valuers reserve the right to charge removal and storage fees.

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

9
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

10
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

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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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26

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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27

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