GA034 - Australian and International Art

Australian & 

International Art 

Melbourne, Sunday 10 April 2022

Specialists & Management for this sale 

Jennifer Gibson 

CEO & Head of 

Valuations 

Deanna Baxter 

Business 

Manager 

Samuel Fricker 

Operations 

& Marketing 

Manager 

Jon Dwyer 

Consultant Specialist 


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 Consultant Specialist Australian & International Art 

jon.dwyer@gibsonsauctions.com.au 

Elizabeth Stannard Consultant Specialist Jewellery 

elizabeth.stannard@gibsonsauctions.com.au 

Marilla O’Sullivan Consultant Specialist Luxury & Designer 

marilla.osullivan@gibsonsauctions.com.au 

AUCTION ADMINISTRATION 

Kristine Cseke 

Office Administrator 

Megan Mac Sweeney 

Accounts Administrator 

Max Sumner 

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Marilla O’Sullivan 

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Ella Gibson 

Auction Administrator 

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+61 3 9500 2607 

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CFO 

simon.gibson@gibsonsauctions.com.au 

GENERAL ENQUIRIES 

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gibsonsauctions.com.au 

ORRONG RD 

ASHLEIGH RD 

NEW ST 

HIGH ST 

ARMADALE 

OSMENT ST 

NORTHCOTE RD 

KOOYONG RD 

Auction, Viewing and 

Payment & Collections 

Level 1, 885-889 High St 

Armadale, Victoria 3143 

AUBURN GROVE 

DENBIGH RD 

SUTHERLAND RD 

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 

CHEEL ST

FRONT COVER: 

Lot 13 (Detail) 

BACK COVER: 

Lot 19 


International 

Art 

Auction 

Sunday 10 April 2022, 12noon 

Level 1, 885-889 High Street 

Armadale, Victoria 3143 

Viewing (in line with COVIDSafe government regulations) 

Thursday 7 April 

Friday 8 April 

Saturday 9 April 

10.00am – 5.00pm 

10.00am – 5.00pm 

10.00am – 5.00pm 

Auction Code: GA034 

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) 

gibsonsauctions.com.au/bookings 

or phone 03 9500 2607 

Payments & Collections can be made 

from: Level 1, 885-889 High Street, 

Armadale, Vic 3143 

Monday 11 April 

Tuesday 12 April 

Wednesday 13 April 

10am–5pm 

10am–5pm 

10am–5pm 

All goods must be collected and paid 

in full strictly by 5pm on Wednesday 

13 April (unless by prior arrangement) 

to avoid removal and storage charges. 

All payments are to be made in 

Australian Dollars (AU$). Please refer to 

the methods of payment in the ‘How to 

Buy’ section on the following pages. 

Credit card surcharges apply – 1.2% 

(incl GST) for Visa and Mastercard and 

2% (incl GST) for American Express.

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.

3 

3. Absentee Bids 

Absentee Bidding is another convenient solution if you 

are unable to attend an auction in person, to speak on the 

telephone or if you simply have a strict budget. 

An Absentee Bid should be set at the maximum amount 

you wish to bid on the lot/s you are interested in purchasing. 

Should the lot/s be knocked down at an amount lower than 

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 

1 

PERCEVAL (PERCY) LINDSAY (1870-1952) 

The Inlet 1941 

oil on board 

signed and dated lower right: Percy Lindsay 1941 

27 x 21.5cm 

$2,000–3,000 

2 

DARYL LINDSAY (1890-1976) 

Barn at Pontville 

watercolour 

signed lower right: DARYL LINDSAY 

inscribed with title verso: 

Barn at Pontville on The Fine Art Society (label verso) 

24.5 x 36cm 

$500–800

5 

3 

3 

ARTHUR STREETON (1867-1943) 

The Stone Bridge, circa 1930 

oil on board 

signed with initials lower right: AS 

34.5 x 45.5cm 

$25,000–35,000 

4 

GERALD FITZGERALD (1873-1935) 

Crookhaven Heads 

watercolour 

signed and titled lower left: 

Gerald Fitzgerald Crookhaven Heads 

42 x 63cm (image size) 

73 x 93cm (frame size) 

$500–700

6 

5 

5 

EUROPEAN SCHOOL 

Figure Resting in a Classical Landscape 

oil on canvas 

75 x 62cm 

$3,000–5,000 

6 

ATTRIBUTED TO JOSEPH BACKLER 

Mother and Child circa 1840 

oil on canvas 

88.5 x 68.5cm 

together with its original fine gilt-wood frame 

PROVENANCE 

Dysart House, Kempton, Tasmania 

$8,000–12,000

7 

6

8 

7 

7 

CHARLES CONDER (1868-1909) 

Scene on the Epte, circa 1894 

oil on canvas 

signed lower right: CONDER 

43.5 x 53.5cm 

PROVENANCE 

Mrs Cecil Lawson, England 

Bradford Bradley & Co, Exhibition agents, 

Charlotte Street, Fitzroy Square, London (label verso) 

J.H.R Carver (label verso) 

Savill Galleries, Sydney (label verso) 

Private collection, New South Wales 

EXHIBITED 

Exhibition of 20th Century British Paintings, National Gallery, 

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

Charles Conder, Sheffield City Art Galleries, 

September 1967, as On the Ept (label verso) 

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

as Scene on the Ept (label verso) 

$28,000–35,000

9 

8 

8 

THOMAS (TOM) ROBERTS (1856-1931) 

Drovers Resting, Early Morning 

oil on board 

signed with initials lower right: TR 

29 x 21cm 

EXHIBITED 

Christopher Day Gallery, Sydney, Early Australian Paintings 1984 

Private Collection, Melbourne 

$20,000–30,000

10 

9 

© The Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2022 

9 

SIDNEY NOLAN (1917-1992) 

Central Australia 1968 

oil on paper 

signed lower right: Nolan 

signed, dated and titled verso: Nolan 25 Jan 1968 Central Australia 

51.5 x 75cm 

PROVENANCE 

Private Collection, NSW 

$7,000–10,000

11 

© The Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2022 10 

10 


Kangaroo at Ayers Rock circa 1966 

mixed media on paper 

signed lower right: Nolan 

52 x 76cm 

PROVENANCE 

Collection of the Artist until 1992, United Kingdom 

Lady Mary Nolan, United Kingdom 

Bonhams, Sydney, Important Works of Art from 

the Estate of Lady Nolan, 19 November 2017, Lot 179 

$12,000–15,000

12 

11 

11 

UGO CATANI (1859-1944) 

La Fiorentina 1880 

oil on canvas 

signed and dated lower right: U. Nicolai Catani 1880 

49 x 33cm 

$6,000–9,000

13 

12 

12 

MARIAN ELLIS ROWAN (1848-1922) 

Roses 

oil on canvas 

signed lower left: Ellis Rowan 

67.5 x 49.5cm 

$8,000–12,000

14

15 

13 

13 

MIRIAM MOXHAM (1885-1971) 

Sport of Kings – The Preliminary, Randwick 

Racecourse, Sydney 1945 

oil on masonite 

signed and dated lower right: Miriam Moxham 45 

inscribed and titled verso: 

MIRIAM MOXHAM SPORT OF KINGS – THE PRELIMINARY 

56 x 114.5cm 

PROVENANCE 

Christie's, Sydney, Australian & International Art, 

17 August 1999, Lot 105 

Private Collection, NSW 

EXHIBITED 

Sulman Prize 1945, cat no. 8 

$20,000–30,000

16 

14 

14 

JOHN BAIRD (BORN 1954) 

Unlikely Floral 2010 

oil and collage on board 

signed, dated and titled verso: 

JOHN BAIRD JUNE 2010 UNLIKELY FLORAL 

122 x 92cm 

$800–1,200 

15 

MARGARET PRESTON (1875-1963) 

The Snail 1949 

colour stencil on black card 

signed with initials lower right: MP 

30.5 x 23cm 

PROVENANCE 

Sydney Ure Smith, Sydney 

Ure Smith Collection, Sydney 

EXHIBITED 

Gouache Stencils by Margaret Preston, 

Grosvenor Galleries, Sydney, September 1949 

Margaret Preston Survey (Nine Paintings and Thirteen 

Prints by Margaret Preston), Art Gallery of New South Wales, 

Sydney, 4 June-16 September 1959 

Australian Print Survey, National Gallery of South Australia, 

Adelaide, October 1963-November 1963, and touring in 

1984 to: Art Gallery of New South Wales; Newcastle Region 

Art Gallery; Queensland Art Gallery; Tasmanian Museum and 

Art Gallery; National Gallery of Victoria 

Margaret Preston: The Art of Constant Rearrangement, 

Art Gallery of New South Wales, Sydney 

27 December 1985-9 February 1986 

LITERATURE 

Butel, E., Margaret Preston: The Art of Constant 

Rearrangement, Ringwood, 1985, pp. 70, 92, cat. P.60 

(illus. another example) 

Butler, R., The Prints of Margaret Preston: A Catalogue 

Raisonné, National Gallery of Australia, Canberra, 1987, 

p. 278, cat. 360 (illus., another example). 

$10,000–15,000

© Margaret Preston/Copyright Agency, 2022 15 

17

18 

16 

16 

J LE MAYEUR 

Gathering Flowers 

oil on canvas 

signed lower right: J Le Mayeur 

40 x 49cm 

$4,000–6,000 

17 

DONALD FRIEND (1915-1989) 

The Puppets 1965 

gouache 

signed and titled lower left: Donald Friend The puppets 

77 x 66.5cm 

PROVENANCE 

Darlinghurst Galleries, Sydney 

Harold E Mertz Collection, Texas 

Gifted from the above to The Archer M Huntington Art 

Gallery, The University of Texas at Austin 1972 

Christie's, Melbourne, The Harold E. Mertz Collection, 

28 June 2000, Lot 18 

EXHIBITED 

National Gallery of South Australia, The Mertz Collection of 

Contemporary Australian Painting, Adelaide Festival of Arts, 

Adelaide, 1966, cat no. 37 

Corcoran Gallery of Art, Contemporary Australian Painting 

from the Mertz Collection, Washington 

LITERATURE 

J Gleeson, Masters of Australian Painting, Melbourne, 1969, 

pg. 161, pl. 65 

$12,000–15,000

© Donald Friend/Copyright Agency, 2022 17 

19

20 

18 

© Donald Friend/Copyright Agency, 2022

21 

19 

18 

DONALD FRIEND (1915-1989) 

Greek Village 

ink and gouache on paper 

signed and titled upper right: Donald Friend Greek Village 

48.5 x 36cm 

$7,000–10,000 

19 

DORA WILSON (1883-1946) 

Chugg's Bookshop, Collins Street, Melbourne 

oil on canvas on board 

signed lower left: DORA L WILSON 

33.5 x 34.5cm 

$5,000–8,000

22 

Contemporary Asian Art 

This collection of contemporary Chinese works 

provides a unique opportunity for Australian collectors 

to acquire works by China’s inaugural artists of the 

Political Pop and Cynical Realism movement which 

emerged in China around the late 20th–early 21st 

century. Chen Wenling (Born 1969), is celebrated 

for his sleek, luminous sculptures which comment 

on the materialistic excess of contemporary 

society. Wenling's medium of automatic lacquer 

in his sculpture, conveys a sense of high art while 

also referencing popular culture. His oft lurid and 

rambunctious recurring characters in red purvey a 

sense of lost innocence in the face of more material 

ambitions. Also of note is the work by Ling Jian 

(Born 1963) whose hyperreal and seductive portraits 

reflect the rising culture of excess and shifting beauty 

standards. Hero No. 8 (Lot 21) is part of a pivotal 

series in Ling Jian’s career, showcased in a critically 

acclaimed solo exhibition titled ‘Moon in Glass’ 

exhibited at Today Art Museum and UCCA in 2010/11. 

In contrast, the work by neo-expressionist painter 

Shen Hua (Born 1972) is devoted to ennobling his 

fellow countrymen as he sees them in situ. The 

banality of the subjects' garb is juxtaposed by 

their unfettered and exaggerated proportions and 

the artists' expressive impasto brush strokes. The 

mechanical sculptures by Korean artist Wang Zi-Won 

(Born 1980) are a contemporary allegory about 

the increasing presence of technology in our lives. 

As embodied in Lot 29, Buddha_Z in Steel Lotus 

2010, Zi-Won envisions the integration of science 

and new technology with traditional practices of 

spirituality and mindfulness. 

These contemporary artists present a wonderful 

intersection of diverging cultures, emerging from 

an abundance of inherited traditions fused with 

adaptability to social change and upheaval. The result 

is an impressive grouping of deeply profound and 

conceptualised works of art, all of which would be at 

home in any well-rounded contemporary art collection. 

20

23 

21 

20 

CHEN WENLING (CHINESE, BORN 1969) 

Heaven of Peace and Happiness No. 2 

enamelled cast metal on bronze base 

signed and editioned on base: chen wenling 2/8 

48cm high, 73cm wide, 57cm deep 

PROVENANCE 

Contemporary by Angela Li, Hong Kong 

$6,000–9,000 

21 

LING JIAN (CHINESE, BORN 1963) 

Hero No. 8 2009 

oil on canvas 

signed and dated verso: LING 2009 

190cm diameter 

a certificate of authenticity accompanies this lot 

PROVENANCE 

Madhouse Contemporary Art Gallery, Hong Kong 

$20,000–40,000

24 

22 

22 

THANH BINH NGUYEN 

(VIETNAMESE, BORN 1954) 

Going to School 

oil on canvas 

signed upper right: BINH 

73.5 x 93cm 

a certificate of authenticity accompanies this work 

PROVENANCE 

Green Palm Gallery, Hanoi, Vietnam 

$300–500 

23 

NGUYEN DIEU THUY 

(VIETNAMESE, BORN 1962) 

Two Friends Fishing 2004 

oil on canvas 

signed upper right: Thuy 

130 x 130cm 


PROVENANCE 

Zee Stone Gallery, Hong Kong 

$400–600 

24 

DAO HAI PHONG (VIETNAMESE, BORN 1965) 

By the River Sides 2002 

oil on canvas 

signed and dated lower right: PHONG 2002 

79 x 99cm 


PROVENANCE 

Thanh Mai Gallery, Hanoi, Vietnam 

$400–600 

25 

SHEN HUA (CHINESE, BORN 1972) 

Young Men in Town Series No. 1 2006 

oil on canvas 

diptych 

signed and dated lower left of left: shen 0612 

180 x 70cm (each) 

180 x 140cm (overall) 


PROVENANCE 

Schoeni Gallery, Hong Kong 

ILLUSTRATED 

Shen Hua: From the Country Side to the City II, 

Schoeni Art Gallery Ltd, No. 46, Hong Kong, 2007, pg 87 

$8,000–12,000

25 

25

26 

26 

26 

HUI XIN (CHINESE, BORN 1977) 

We Love the Islands of China 2012 

acrylic on canvas 

signed, dated and titled verso 

174 x 203cm 


27 

KATSUHIKO HIBINO (JAPANESE, BORN 1958) 

The Flower 

Square form porcelain vase for H-table 

scripted signature and printed marks to base 

30cm high 

$500–700 

PROVENANCE 

Connoisseur Contemporary, Hong Kong 

$5,000–8,000

27 

28 

28 

WANG LI XIAN (CHINESE, BORN 1954) 

Hebei Country Girl 1993 

oil on canvas 

signed and dated lower right: Wang Lixian 93.5 

52.5 x 64cm 

$10,000–15,000 

29 

WANG ZI-WON (SOUTH KOREAN, BORN 1980) 

Buddha_Z in the Steel Lotus 2010 

urethane, metallic material, machinery, electronic device 

(CPU board, motor) 



PROVENANCE 

Asia Top Gallery Hotel Art Fair, Seoul 

EXHIBITED 

Wang Ziwon Solo Exhibition, Mechanical Nirvana, 

Keumsan Gallery, Tokyo, 6–25 November 2010 (illustrated) 

$800–1,200

28 

30

29 

31 

30 

ANG YIAN SAN (SINGAPOREAN, BORN 1964) 

I Pray Therefore I Believe 

oil on canvas 

221 x 127cm 

$1,200–1,800 

31 

JIA JUAN LI (CHINESE, BORN 1960) 

Music of Autumn 2007 

oil on canvas 

signed and dated lower right: JIA JUAN LI 2007 

45.5 x 37cm 


PROVENANCE 

Connoisseur Art Gallery, Hong Kong 

$1,500–3,000

30 

32 

32 

SHEILA McCUBBIN (1898-1976) 

Autumn Still Life 1950 

oil and gouache on board 

signed lower left: SHEILA MCCUBBIN 

48 x 38cm 

$800–1,200 

33 

ARTHUR MURCH (1902-1989) 

Two Pioneer Women 


159.5 x 98.5cm 

PROVENANCE 

Christie's, Melbourne, Australian and European Paintings, 

Prints & Photographs, 6 December 1994, Lot 277 

EXHIBITED 

Arthur Murch: A Painting Retrospective, Campbelltown City 

Art Gallery, Sydney, September - October 1992 

NOTE 

This painting has been previously catalogued as 

'Study for Project Mural of the Macarthur family' 

$8,000–12,000

© Arthur Murch/Copyright Agency, 2022 33 

31

32 

34 

34 

WILLIAM (JOCK) FRATER (1890–1974) 

Going Home 

oil on board 

signed lower left: William Frater 

49 x 59cm 

$1,200–1,400 

35 

WILLIAM (JOCK) FRATER (1890-1974) 

The Kitchen Table 

oil on board 

signed lower right: William Frater 

49.5 x 59.5cm 

$800–1,200 

36 

ELIZABETH PARSONS (1831-1897) 

Bush Hut, circa 1880 

watercolour 

signed with initials lower right: E P 

9.5 x 13cm 

PROVENANCE 

Kozminsky Gallery, Melbourne 

$700–1,000 

37 

PAUL CAVELL (BORN 1946) 

View from the Verandah 1988 

oil on canvas 

signed and dated lower right: Cavell 23.7.88 

122 x 152.5cm 

$400–600

33 

38 

38 

WILLIAM B McINNES (1889-1939) 

Gathering Clouds, Summer 

oil on canvas 

42.5 x 59.5cm 

PROVENANCE 

Private Collection, QLD 

$1,000–1,500 

39 

JESSIE TRAILL (1881-1967) 

Ailsa Craig 1950 

watercolour 

signed, dated and titled lower right and left: 

JCA Traill 1950 Ailsa Craig 

20.5 x 27.5cm 

$1,200–1,800 

40 

WHITLEY 

Rural Scenes 1872-1873 

five watercolours 

together with the Artist's sketch book consisting of ten 

leaves of watercolour sketches; some double sided 

inscribed inside front cover: Whitley, Ipswich, Albury 

13 x 21.5cm (four) and 7.5 x 12cm (one), 

sketchbook leaves 13.5 x 22cm 

$800–1,200 

41 

WILLIAM B McINNES (1889-1939) 

The Chinamans Garden, Doncaster circa 1917 

oil on board 

14 x 17.5cm 

$500–800

34 

42 

43

35 

44 

42 

MELDRUM SCHOOL 

The Old Farmhouse 

oil on canvas board 

29.5 x 34.5cm 

$400–600 

43 

LEONARD LONG (1911-2013) 

Murray River, Jingellic, NSW 1980 


signed and dated lower left: Leonard Long 1980 

100.5 x 151.5cm 

PROVENANCE 

Greythorn Galleries, Melbourne 

$1,200–1,800 

44 

FREDERICK WOODHOUSE SENIOR (1820–1909) 

Racehorse 1871 

oil on board 

signed lower right: Fred Woodhouse 

27.5 x 37.5cm 

$2,000–3,000 

45 

WILLIAM D KNOX 

Hawkesbury River 

oil on board 

signed lower left: W D KNOX 

38.5 x 48.5cm 

$1,200–1,500

36 

46 

46 

ALICE MARIAN ELLEN BALE (1875-1955) 

Children Picnicking, Castlemaine 

oil on canvas 

signed lower right: A. M. E. BALE 

40.5 x 44.5cm 

$5,000–7,000 

47 

SCHOOL OF WILLIAM DOBELL 

Lady and Hound 1922 

watercolour 

signed and dated lower left 

44 x 33.5cm (oval) 

$1,500–2,000 

48 

SYDNEY LONG (1871-1955) 

Moonrise Through the Trees 

oil on canvas 

signed lower left: SYDNEY LONG 

50 x 39.5cm 

$8,000–12,000 

49 

NICHOLAS DAUNT (BORN 1937) 

Paradise Bay 1989 

oil on canvas 

signed lower right: Daunt 


Nicholas Daunt 89 'Paradise Bay' 

120.5 x 160cm 

$1,000–1,500

37 

48

38 

50 

JOEL ELENBERG (1948-1980) 

Untitled 1969 

oil on canvas 

signed and dated lower right: 

Joel Elenberg 1969 

114.5 x 89.5cm 

PROVENANCE 

Gift from the artist to Wendy Lea, 

thence by descent 

$700–1,000 

51 


Rubicon River 1973 

watercolour 



100.5 x 75.5cm 

EXHIBITED 

Australian Galleries, Melbourne, 1973, 

cat. no. 30 

$500–800 

50 

© Joel Elenberg. Courtesy of the Joel Elenberg Estate 

Joel Elenberg (1948-1980) 

Joel Elenberg was a self-taught artist whose work is 

shrouded within a miasma of morbidity, influenced by his 

lived experiences and generational trauma. His fascination 

with the macabre burgeoned from an early age. He grew 

up in Carlton North where the family neighbour was an 

undertaker. He recalled peeking over the fence as a child 

to watch people being embalmed. He had an inquisitive 

mind and was well read, particularly about the Holocaust, 

in which family members had been killed. As a teenager he 

was rebellious and clever. Leaving home at 14 he drifted for 

a time, hitch-hiking and living hand-to-mouth. He had no 

formal academic education, however Elenberg, a tenacious 

student on his own terms, could talk his way into anything. 

He worked as an industrial chemist in Sydney for a time 

in order to learn about pigments and evaluating colour. 

‘Elenberg taught himself to paint and used to grind his own 

pigments. He lasted only two days at art school after getting 

in a fight with the director on the front lawn.’ 

From Elenberg's perspective the world was a rich melange of 

fear, isolation and violence. He was in Israel in 1967 working 

at a kibbutz when he witnessed the lead up to the 6 day war, 

saying “It was really an incredible thing to wander round the 

streets at that time, observing the whole brutal transience 

of life.” This personal observation of man's inhumanity 

influenced his work upon returning to Australia. His first 

exhibition in 1969 at Australian Galleries drew considerable 

attention as a talented new young artist with agency. His 

drawings and paintings lay bare mans primordial darkness, 

unflinching and direct. Lots 50, 52, 53, 54 & 55 hark from 

this time in the artists oeuvre where Elenberg showcases his 

superior natural draftsmanship bolstered by a unique visual 

language which was raw and unrestrained. 

Joel Elenberg carved his own path within the lens that he 

saw the world, constantly experimenting and refining his 

work to reflect his inner experience. In his 32 years upon 

this earth, he produced an esteemed body of work that 

remains powerful to behold. Sadly his early departure left the 

Australian art world deprived of his refreshingly honest and 

direct perspective of human mortality. 

1. Wilson, Ashleigh, & Whiteley, Brett & Text Publishing. 2016, 

Brett Whiteley; Art, Life and the Oher Thing, The Test Publishing 

Company, Melbourne, 2016 

2. Harry Marks, ‘Breaking Through’ The Saturday Review, The Age, 

Melbourne, 9th October, 1971

39 

© Joel Elenberg. Courtesy of the Joel Elenberg Estate 52 

© Joel Elenberg. Courtesy of the Joel Elenberg Estate 53 

52 


Untitled 1968 

mixed media and methylated spirits on 

paper laid down on board 



78 x 62.5cm 

PROVENANCE 



$400–600 

53 


Untitled 1968 

mixed media on paper on board 

signed and dated lower centre: 


90 x 58.5cm 

PROVENANCE 



$500–800 

54 


Untitled 1968 




58.5 x 36.5cm 

PROVENANCE 



$400–600 

55 


Untitled 1968 




58.5 x 40cm 

PROVENANCE 



$400–600 

56 


Untitled 1972 

etching 

signed, dated and editioned on margin: 

Joel Elenberg 72 6/7 

25.5 x 29.5cm 

PROVENANCE 



EXHIBITED 

Joel Elenberg, Ewing Gallery, 

Melbourne, March, 1973 

$200–400

40 

57 

SUSAN BLEAKLEY (BORN 1946) 

Pandora 

marble chips and cement (terrazzo like) 

60cm high, 22.5cm wide, 22cm deep 

EXHIBITED 

Gold Coast Sculpture Awards, circa 1994 

$500–800 

58 

SUSAN BLEAKLEY (BORN 1946) 

Huddled Figure 

marble chips and cement (terrazzo like) 

33.5cm high, 25cm wide, 33cm deep 

$400–600 

57

41 

© Philip Wolfhagen/Copyright Agency, 2022 59 

59 

PHILIP WOLFHAGEN (BORN 1963) 

A Calligraphy of Limbs No. 4 2012 

oil and beeswax on linen 

signed with initial, dated and titled lower right and centre: 

W SEPT 2012 a calligraphy of limbs no. 4 

inscribed and dated verso: PHILIP WOLFHAGEN 

- 'a calligraphy of limbs no. 4' -2012 

46.5 x 49.5cm 

$4,000–6,000 

60 

KEN JOHNSON (BORN 1950) 

Peaks and Valleys 


signed lower right: Ken Johnson 

61 x 91.5cm (image size) 

63.5 x 94cm (frame size) 

$400–600

42 

61 

61 

WILLIAM (BILL) COLEMAN (1922-1993) 

Nude in Stiletto 

oil on board 

certificate of authenticity verso by Susan Coleman Maddison 

49.5 x 69.5cm 

PROVENANCE 

The Artist's Estate 

$600–800 

62 

JAMES HABY 

Past 2007 

triptych 


each signed with initials and dated: JH 07 

40.5 x 30cm (each) 

PROVENANCE 

Nellie Castan Gallery, Melbourne 

$600–900 

63 

JAMES GLEESON (1915-2008) 

The Judgement of Paris 

collection of six colour lithographs with folio cover 

signed, titled and editioned on image 

The Judgement of Paris I 26/40 (framed) 

The Judgement of Paris II 24/40 

The Judgement of Paris III 25/40 

The Judgement of Paris IV 25/40 

The Judgement of Paris V 24/40 

The Judgement of Paris VI 24/40 

48 x 68.5cm (each) 

$1,500–2,500 

64 

FELICITY McCREADIE 

Untitled 2016 

acrylic and gold paint on canvas 

signed and dated lower right: F McCreadie 2016 

121.5 x 182.5cm 

$500–800

43 

65 

65 

PRUDENCE FLINT (BORN 1962) 

Doll (Study) 2013 


stamped verso: Prudence Flint 

inscribed and dated verso: Doll (Study) 2013 

30 x 30cm 

$2,000–4,000 

66 

MIKE PARR (BORN 1945) 

Self Portrait 1992 

etching 

signed, dated and editioned on margin: Mike Parr 92 45/60 

79 x 59.5cm 

$1,500–2,500

44 

67 

© John Coburn/Copyright Agency, 2022 

67 

JOHN COBURN (1925-2006) 

Summer 1975 

screenprint 

signed, dated, titled and editioned on margin: 

Coburn 75 Summer Artists Proof 

60 x 94cm 

$2,000–3,000 

68 

DEBORAH HALPERN (BORN 1957) 

Ruby Lips 2012 

ceramic tile sculpture 

signed on back leg: Deborah D Halpern 

81cm high, 31.5cm wide, 67.5cm deep 

$8,000–12,000

68 

45

46 

69 

© Arthur Boyd/Copyright Agency, 2022 

69 

ARTHUR BOYD (1920-1999) 

The Lovers 

oil and ink on paper on board 

signed lower right: Arthur Boyd 

49.5 x 62.5cm 

$3,000–4,000 

70 

BRIAN NUNAN (BORN 1932) 

Queenscliff Hotel 1975 

oil on canvas 

signed and dated lower right: B V Nunan 75 

75 x 121cm 

$800–1,200 

71 

CHARLES BLACKMAN (1928-2018) 

Mermaid 

oil on board 

signed upper left: BLACKMAN 

28.5 x 15.5cm 

$4,000–6,000 

72 

CHARLES BLACKMAN (1928-2018) 

Paradise Garden 1976 

lithograph 

signed, dated, titled and editioned on margin: 

CHARLES BLACKMAN 1976 PARADISE GARDEN 6/75 

63.5 x 99.5cm 

$900–1,200

© Charles Blackman/Copyright Agency, 2022 71 

47

48 

73 

© Dean Bowen/Copyright Agency, 2022

49 

73 

DEAN BOWEN (BORN 1957) 

Cat 2017 

timber, wood, wire, metal, paint assemblage 

signed, dated and titled verso: Dean Bowen 2017 CAT 

89cm high, 111cm wide, 10.5cm deep 

PROVENANCE 

Salt Contemporary Art, Queenscliff, Victoria 

$8,000–12,000 

74 

CLIFFORD LAST (1918-1991) 

Triangology Two 1969 

bronze 

typed on label on base: 

Clifford Last. 1969 "Triangology Two" bronze 4/4 

22cm high 

together with book 

Dimmack, Max, Clifford Last, The Hawthorn Press, 

Melbourne, 1972 

$5,000–6,000 

74

50 

75 

75 

AL SKAW (BORN 1951) 

Nude with Quarter Moon 1994 

oil on linen 

signed and dated lower right: skaw 94 

136 x 82.5cm 

PROVENANCE 

Gallery Savah, Sydney 

$800–1,200 

76 

PETER CHURCHER (BORN 1964) 

Nude on a Stool in Studio 1992 

charcoal on paper 

signed and dated lower centre: P Churcher 25.9.92 

49 x 35cm 

PROVENANCE 

Lauraine Diggins Fine Art, Melbourne 

$500–800

51 

© Sali Herman/Copyright Agency, 2022 77 

77 

SALI HERMAN (1898-1993) 

Breaking Light, Outback Australia 1956 

oil on canvas 

signed and dated lower right: S Herman 56 

65 x 91.5cm 

$3,000–5,000 

78 

JIM THALASSOUDIS (BORN 1962) 

Untitled (Landscape) 1989 

oil and wood 


J Thalassoudis 89 UNTITLED (LANDSCAPE) 


PROVENANCE 

John Buckley Fine Art, Melbourne 

$400–600 

79 

CAMILLE HANNAH (BORN 1977) 

Untitled 

oil and synthetic polymer paint on plexiglass 

38 x 47cm 

PROVENANCE 


$1,000–2,000 

80 

CAMILLE HANNAH (BORN 1977) 

Untitled 

oil and synthetic polymer paint on plexiglass 

20 x 21cm 

PROVENANCE 


$400–600

52 

81 

MARTIN RUSSELL 

Archangelo 

cold cast bronze on marble base 


$5,000–7,000 

82 

LUCA PIGNATELLI 

(ITALIAN, BORN 1962) 

Musa 2012 

mixed media and collage on waxed canvas 


Luca Pignatelli 2012 

213.5 x 164.5cm 

$30,000–50,000 

81

53 

82

54 

83 

83 

DOROTHY BRAUND (1926-2013) 

Fall 1987 

oil on masonite 

signed and dated upper right: BRAUND 87 

titled verso: THE FALL 

61 x 91.5cm 

PROVENANCE 

The Estate of Dorothy Braund 

$3,500–4,500

55 

84 

84 

DOROTHY BRAUND (1926-2013) 

Distress 1997 

oil on composition board 

signed and dated lower right: BRAUND 97 

titled verso: DISTRESS 

61 x 90cm 

PROVENANCE 

The Estate of Dorothy Braund 

$4,000–6,000 

85 

KEVIN LINCOLN (BORN 1941) 

Untitled 2001 

oil on timber box with painted cover lid 

and painted internal floor 

signed and dated on base: K Lincoln 2001 

impressed with initials to base: KL 

13cm high, 35cm wide, 25.5cm deep 

PROVENANCE 

Peter Mac Film Night & Silent Auction, 

29 November 2001, cat no. 17 

$800–1,200

56 

87 

86 

PIERS BATEMAN (1947-2015) 

Bush 

oil on canvas 

signed lower right: BATEMAN 

49.5 x 39.5cm 

$500–800 

87 

GEOFFREY PROUD (BORN 1946) 

Even Song 

pastel 

signed lower right: Proud 

59.5 x 74cm 

PROVENANCE 

Art Galleries Schubert, QLD 

$500–800

57 

88 

88 

JAMES CLAYDEN (BORN 1947) 

Untitled 1986 

enamel on canvas 

signed and dated verso: JAMES CLAYDEN 1986 

111 x 198.5cm 

$2,000–3,000 

89 

DEBRA GURNEY (BORN 1959) 

Face Value 2003 

acrylic 


PROVENANCE 

Perth Galleries, Perth 

$1,000–1,500 

90 

VYTAS SERELIS (BORN 1946) 

Studio Study 1965 

mixed media 

signed and dated verso: SERELIS 65 

72.5 x 48cm 

$800–1,200 

91 

SALVATORE ZOFREA (BORN 1946) 

The Saxophone 1978 


signed lower left: S ZOFREA 

36.5 x 28.5cm 

PROVENANCE 

South Yarra Gallery, Melbourne 

$600–900

58 

92 

92 

WILLIAM (WILL) ASHTON (1881-1963) 

Evening Light Paris 

oil on board 

signed lower left: W ASHTON 

inscribed and titled verso: 

WILL ASHTON Evening Light PARIS 

33 x 26cm 

$3,000–5,000

59 

93 

93 

HUGH RAMSAY (1877-1906) 

(Nude Study – Young Girl Reclining) 

oil on canvas 

signed lower left: Hugh Ramsay 

59 x 89cm 

PROVENANCE 

The Norman Carter Collection, Adelaide 

Edward and John Barkes 

Christopher Day Gallery, Sydney 

EXHIBITED 

Early Australian Painters, Christopher Day Gallery, 

Sydney, April 1984, cat. no. 24 

LITERATURE 

Fullerton, Patricia, Hugh Ramsay, His Life and Work, 

Hudson Publishing, Melbourne, 1988, pg 191, (illus, cat. 17) 

$20,000–30,000

60 

94 

94 

WILLIAM D KNOX (1880-1945) 

Near the Dandenongs 


signed lower left: W D KNOX 

28.5 x 42.5cm 

$2,000–4,000 

95 

VAUGHAN (MURRAY) GRIFFEN 

(1903-1992) 

Ducks 

linocut 

45 x 33.5cm 

$1,200–1,800 

95

61 

96 

96 

GIROLAMO NERLI (1860-1926) 

Rotten Row, Hyde Park, London 

oil on board 

signed lower left: G Nerli 

22 x 29.5cm 

$7,000–9,000 

97 

GORDON ESLING (1897-1973) 

Morning Shadows 


signed lower right: GORDON ESLING 

44 x 55cm 

$500–800 

98 

GEORGE AUGUSTUS HOLMES 

(ENGLISH, 1822-1911) 

Rest by the Sea 

oil on canvas 

inscribed verso on stretcher: 

Rest by the Sea George Holmes 

30 x 35cm 

$1,500–2,500 

99 

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 

$700–900

62 

100 

101

63 

102 

100 

KENNETH (KEN) KNIGHT (BORN 1956) 

Winter Afternoon, The Spit, Sydney Harbour 1988 

oil on board 

signed lower right: Ken Knight 

70 x 120.5cm 

$2,000–4,000 

101 

ARTHUR BURGESS (1879-1957) 

The Arrival of a Sailing Ship 

watercolour 

signed lower right: ARTHUR J BURGESS 

65 x 90.5cm 

$1,500–2,500 

102 

WILLIAM (WILL) ASHTON (1881-1963) 

Sydney Harbour 


signed lower left: WILL ASHTON 

33.5 x 43.5cm 

$4,000–6,000 

103 

SYBIL CRAIG (1901-1989) 

Port Phillip Bay Foreshore 

pastel on paper 

signed lower left: Sybil Craig 

35 x 44.5cm 

$400–600

64 

104 

104 

EMILY BEATRICE BLAND 

(ENGLISH, 1864-1951) 

Still Life in Basket 

oil on canvas 

signed lower left: E B Bland 

46 x 61cm 

PROVENANCE 

Ernst Brown & Phillips, Leicester 

Galleries, London (label verso) 

$800–1,200 

105 


(ENGLISH, 1864-1951) 

Spring Flowers 

oil on canvas 

59.5 x 49cm 

PROVENANCE 



$500–800 

106 


(ENGLISH, 1864-1951) 

Still Life - Interior 

oil on canvas 

signed lower right: E B Bland 

43 x 56cm 

PROVENANCE 



$600–900 

107 

BENJAMIN E MINNS 

(1864-1937) 

On the Beach 

watercolour 

signed with initials lower right: B E M 

25.5 x 36cm 

$1,800–2,500 

108 

JOHN D BANKS (1883-1945) 

Summer Beach Scene, 1912 

watercolour 


JOHN BANKS 12 

29 x 37cm 

$2,000–3,000

65 

107 

108

66 

109 

109 

HELEN OGILVIE (1902-1993) 

General Store 1965 

oil on board 

signed and dated lower right: H OGILVIE 65 

15 x 20cm 

PROVENANCE 

Fischer Fine Art Ltd, London 

together with 

Helen Ogilvie, Wood Engravings, Introduction by Helen 

Maxwell, Brinderbella Press, ACT, 1995, edition of 200 

copies and numbered 183, printed by Alec Bolton 

$2,800–3,200 

110 

ALFRED COFFEY (1869-1950) 

Balinese Village Girls 

oil on board 

signed lower left 

26 x 31cm 

$400–600 

111 

JAMES WIGLEY (1917-1999) 

Aboriginal Drovers and Wife 

mixed media 

signed lower right: James V Wigley 

41.5 x 53cm 

$600–900

67 

112 

112 

HUGH SAWREY (1919-1999) 

The Publican's Pride 


signed lower right: SAWREY 

48 x 58cm 

$8,000–12,000 

113 

DREW GREGORY (BORN 1947) 

Yurdyilla Station, NSW 1991 

watercolour 

signed, dated and titled lower right and left: 

Drew Gregory '91 Yurdyilla Station, N.S.W 

49.5 x 49.5cm 

PROVENANCE 

J Rosenthal Fine Arts, Ltd, Chicago, USA (label verso) 

$700–1,000 

114 

DREW GREGORY (BORN 1947) 

Ayres Rock, Central Australia 1991 

watercolour 

29 x 63cm 

PROVENANCE 

J Rosenthal Fine Arts, Ltd, Chicago, USA (label verso) 

$700–1,000 

115 

TOM McAULAY (BORN 1946) 

Banka Banka Group 1972 


signed and dated lower right: MCAULAY 72 

62.5 x 75cm 

$500–800

68 

116 

© Fred Williams/Copyright Agency, 2022

69 

© Ray Crooke/Copyright Agency, 2022 117 

116 

FREDERICK (FRED) WILLIAMS (1927-1982) 

Louis James 1955 

conte and charcoal on paper 

signed, dated and titled lower right: 

F Williams 1955 Louis James 

29 x 20.5cm 

PROVENANCE 

Deutscher Menzies, Classics of Australian Art and 

19th & 20th Century Fine Australian and International Art, 

Melbourne, 21 August 2000, Lot 77 

EXHIBITED 

Heide Park and Art Gallery, 

Figures and Faces Drawn From Life, October 1983 

ILLUSTRATED 

Heide Park and Art Gallery, Figures and Faces 

Drawn From Life, October 1983, page 53, cat no. 85 

$1,500–2,500 

117 

RAY CROOKE (1922-2015) 

Village – Islanders in Shade 


signed lower left: R Crooke 

22 x 29.5cm 

$1,200–1,800 

118 

VINCENT BROWN (1901-2001) 

The Feast 


signed lower left: VINCENT BROWN 

75 x 100.5cm 

$1,500–2,500

70 

119 


119 


Helicopter Pilot Being Born 1967 

oil on paper 


Nolan 6th May 67 Helicopter pilot being born 

25.5 x 30cm 

PROVENANCE 


$1,000–1,500 

120 


Right of Spring 

oil on paper 

signed and titled verso: Nolan Right of Spring 

50.5 x 62cm 

PROVENANCE 


$1,800–2,500 

121 


Drought 1961 

oil on paper 

signed and dated centre left: Nolan 21 oct 61 

51 x 62cm 

PROVENANCE 


$2,500–4,500

71 


120 

© The Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2022 121

72 

122 

122 

KEVIN CHARLES (PRO) HART (1928-2006) 

Pioneer's Hut 1969 

oil on board 

signed and dated lower right: Pro Hart 69 

68 x 96cm 

PROVENANCE 

Acquired from the Artist, thence by descent 

$6,000–9,000 

123 


Flowers 

oil on card 

signed lower centre: Pro Hart 

12 x 8cm 

124 

MAXINE RITCHIE (BORN 1949) 

Tree Study #4 

acrylic on board 

signed lower right: Max Ritchie 

61 x 89cm 

$900–1,200 

125 

LEONARD LONG (1911-2013) 

The Mitta Mitta, Near Tallangatta, Victoria 1993 


signed and dated lower right: LEONARD LONG 1993 

49.5 x 75cm 

$800–1,200 

PROVENANCE 

Gift from the artist to Muriel Craddock, thence by descent 

$800–1,200

73 

126 

126 


The Fencers 

oil on board 

signed and titled lower right and left: Pro Hart The Fencer 

59.5 x 90cm 

$8,000–12,000 

127 

JOHN SCURRY (BORN 1947) 

The Red Kite 1991 


signed lower right: Scurry 

20.5 x 17.5cm 

PROVENANCE 

Powell Street Gallery, Melbourne 

Australian Galleries, Melbourne 

$300–500 

128 

PHILLIP MEATCHEM (BORN 1958) 

The Sign Painter, T.J. Guzzardi 2016 


signed and dated lower left: MEATCHEM 16 

181 x 120cm 

a certificate of authenticity from the Artist accompanies 

this lot 

EXHIBITED 

Doug Moran National Portrait Prize, 2016 (semi-finalist), 

Moran Art Foundation, Sydney 

$800–1,200 

129 

ARTIST UNKNOWN 

The Piano 

oil on canvas 

signed but illegible lower right 

120 x 120cm 

$800–1,200

74 

130 

© Manupa Butler/Copyright Agency, 2022 

130 

MANUPA BUTLER (CIRCA 1935-2018) 

Wunmankuntja 

synthetic polymer paint on canvas 

inscribed verso: Manupa Butler Kayili Artists Gibson Desert 

Kayili Artists cat no. 06-265 

100 x 148cm 


PROVENANCE 

Kayili Artists Gibson Desert, Alice Springs 

$2,000–4,000 

131 

BETTY CLUB MBITJANA (BORN 1955) 

Awelye Women's Ceremony 


inscribed verso: BETTY MBITJANA 

cat no. UIAABM201347 

30.5 x 60cm 


PROVENANCE 

Jila Arts - Aboriginal Fine Art Gallery, Alice Springs 

$400–600

75 

132 

132 

HUGH SCHULZ (1921-2005) 

Springtime in the Barrier Ranges 


signed lower right: Hugh Schulz 

inscribed verso: HUGH SCHULZ 

'SPRINGTIME IN THE BARRIER RANGES' 

50 x 75.5cm 

$2,000–4,000 

133 

LUKE NGANJMIRRA 

Gumundili People Looking for Lizards to Eat. 1991 

ochre on paper 

certificate of authenticity verso 

74 x 51cm 

$500–700 

134 

BILLY STOCKMAN TJAPALTJARRI (1927-2015) 

Kaapajmaa 

synthetic polymer paint on canvas on board 

signed and titled verso: BILLY STOCKMAN KAAPAJMAA 

55.5 x 71cm 

$800–1,200 

135 

ARTIST UNKNOWN 

Fish and Snakes 

natural earth pigments on eucalyptus bark 

77 x 36cm 

PROVENANCE 

Sotheby's, July 2010 AU0742 (label verso) 

$600–900 

136 

HECTOR JANDANY (CIRCA 1929-2007) 

Naraguhn (Hectors Dreaming) 

natural earth pigments and 


signed verso: HECTOR 

75.5 x 61cm 

PROVENANCE 

Scott Rainbow Antiques 

The Collection of Dr Duncan Steed, WA 

$800–1,200

76 

137 

© Kathleen Petyarre/Copyright Agency, 2022 

137 

KATHLEEN PETYARRE (1940-2018) 

Mountain Devil Lizard 2008 

acrylic on linen 

inscribed verso: KATHLEEN PETYARRE 

94 x 94cm 


PROVENANCE 

Palya Proper Fine Art, Alice Springs 

$3,000–5,000 

138 

NANCY KUNOTH PETYARRE (BORN CIRCA 1938) 

Mountain Devil Lizard 


inscribed verso: NANCU 

120 x 80cm 


PROVENANCE 

Fine Australian Aboriginal Art, Alice Springs 

$800–1,200

77 

139 

139 

GINGER RILEY MUNDUWALAWALA 

(CIRCA 1939-2002) 

Birds (ngak ngak), Waterholes, Trees on Yumunkuni 

Island at mouth of Limmen Bight River 


82 x 97cm 

PROVENANCE 

A gift from the Artist to Annette Robb in 1991, 

teacher at Ngkurr School in the 1980s, thence by descent 

$15,000–25,000 

140 

JOHN TJAPALTJARRI (BORN CIRCA 1941) 

Water Snake Dreaming 1987 


inscribed verso: John Tjapaltjarri 

catalogue no. JT871134 

121 x 76cm 

Papunya Tula Artists certificate of authenticity 

accompanies this work 

PROVENANCE 

Gallery Gabrielle Pizzi, Melbourne 

$2,500–3,500

78 

141 

GEORGE MERWULUNULU 

DJAYKURRNGA (1930-1987) 

Crocodile 

natural earth pigments on bark 

176 x 61.5cm 

$800–1,000 

141

79 

142 

JOY GARLBIN (BORN 1968) 

Djomi 2018 

synthetic polymer paint on carved wood 

cat no.17485 

147cm high, 3.5cm wide, 3.5cm deep 

a certificate of authenticity from Cooee Art 

Gallery accompanies this lot 

PROVENANCE 

Maningrida Arts & Culture, NT 

Cooee Art Gallery, Sydney 

$700–1,000 

143 


Djomi 2018 

natural earth pigments on carved wood 

cat no. 17815 




PROVENANCE 



$700–1,000 

144 


Djomi 2018 

synthetic polymer paint on carved wood 

cat no. 17489 

166.5cm high, 5.5cm wide, 4.5cm deep 



PROVENANCE 



$700–1,000 

© Joy Garlbin/Copyright Agency, 2022 142 

143

80 

145 

© Minnie Pwerle/Copyright Agency, 2022 

145 

MINNIE PWERLE (1922-2006) 

Awelye Atnwengerrp 


inscribed verso: MINNIE PWERLE AWELYE ATNWENGERRP 

50.5 x 29cm 


PROVENANCE 

Aboriginal Desert Art Gallery, Woodend, VIC 

$900–1,500 

146 

EMILY PWERLE (BORN 1925) 

Awelye Atnwengerrp 2008 


inscribed verso: 

EMILY PWERLE 2008 AWELYE ATNWENGERRP 

cat no. 150.15 

75 x 100cm 


PROVENANCE 

Mimi Art Gallery, Alice Springs 

$800–1,200

© Emily Pwerle/Copyright Agency, 2022 146 

81

82 

147 

© Walala Tjapaltjarri/Copyright Agency, 2022 

147 

WALALA TJAPALTJARRI (BORN 1970) 

Tingari Cycle 


signed: WALALA 

cat no. SP1056 

100 x 149.5cm 

PROVENANCE 

Katherine Art Gallery, Katherine 

$1,200–1,800 

148 

CHARMAINE TORRES PWERLE (BORN 1975) 

Women's Ceremony 2014 


signed verso: Charmaine Pwerle 

cat no. 827143000 

115 x 195.5cm 


PROVENANCE 

Kungka Dreamtime Art Gallery, Adelaide 

$2,000–4,000

© Charmaine Torres Pwerle/Copyright Agency, 2022 148 

83

84 

149 


149 


Untitled Landscape 1942 

oil on board 

33.5 x 52.5cm 

PROVENANCE 

Private Collection, Victoria 

$2,500–4,000 

150 

JAMES DAVIS (1940-2019) 

The Shooting Alley, Carlton 

Carnivale Study 1990 

oil on canvas 

signed and dated lower left: 90 

signed with monogram, dated and 

titled verso: 90 THE SHOOTING ALLEY, 

CARLTON CARNIVALE STUDY 

91 x 71cm 

$1,000–1,500 

150

85 

151 

151 

JEREMY KIBEL (BORN 1972) 

Ice Field 2004 

oil and synthetic polymer paint on canvas 

signed, dated and titled verso: Jeremy Kibel 04 ICE FIELD 

120 x 240cm 

$3,000–4,000 

152 

KENNETH (KEN) ROWELL (1920-1999) 

Dancer 1950 

mixed media 

signed and dated lower left: Kenneth Rowell 1950 

44.5 x 35cm 

$400–600 

153 

ANNE HALL (BORN 1945) 

Portrait 1978 

mixed media 

signed and dated lower right: A Hall 78 

60 x 49cm 

$500–800 

154 

LEONARD FRENCH (1928-2017) 

People in the City 

mixed media 

signed lower right: French 

signed verso: Leonard French 

36.5 x 31.5cm 

$800–1,200 

155 

AFTER MARC CHAGALL 

Place de la Concorde 

colour lithograph 

edition of 2000 

35.5 x 26.5cm 

a certificate of authenticity from Chase Gallery 

accompanies this work 

$1,000–2,000 

156 

JOHN PASTORIZA-PINOL (BORN 1975) 

Sobriquet 2 Torso 2019 

watercolour on paper 

20 x 15.5cm 

PROVENANCE 

Scott Livesey Gallery, Melbourne 

$800–1,200

86 

157 

157 

DAVID BROMLEY (BORN 1960) 

Boy and Lighthouse 

oil on board 

signed lower left: BROMLEY 

60.5 x 91cm 

$1,500–2,000 

158 

JILLIAN ORR (BORN 1952) 

Mother's Chair 1989 

oil on canvas 


Jillian Orr 89 Mother's Chair 

213 x 166.5cm 

PROVENANCE 

312 Lennox Street Gallery, Melbourne 

$2,000–4,000 

158

87 

© Juan Davila/Copyright Agency, 2022 159 

159 

JUAN DAVILA (BORN 1946) 

Wotan 2013 

mixed media 

signed, dated and inscribed lower left: 

Juan Davila 2013 Fig. 145 

45 x 65cm 

$4,000–6,000 

160 


Eliza 

oil on canvas 

signed lower right: BROMLEY 

152.5 x 122cm 

$2,500–3,500 

161 


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 

$2,500–3,500 

End of Sale

88 

Artist Index 

Ashton, William (Will) 92, 102 

Backler, Attributed to Joseph 6 

Baird, John 14 

Bale, Alice Marian Ellen 46 

Banks, John D 108 

Barlow, John Noble 99 

Bateman, Piers 86 

Blackman, Charles 71, 72 

Bland, Emily Beatrice 104, 105, 106 

Bleakley, Susan 57, 58 

Bowen, Dean 73 

Boyd, Arthur 69 

Braund, Dorothy 83 ,84 

Bromley, David 157, 160, 161 

Brown, Vincent 118 

Burgess, Arthur 101 

Butler, Manupa 130 

Catani, Ugo 11 

Cavell, Paul 37 

Chagall, After Marc 155 

Churcher, Peter 76 

Clayden, James 88 

Coburn, John 67 

Coffey, Alfred 110 

Coleman, William (Bill) 61 

Conder, Charles 7 

Craig, Sybil 103 

Crooke, Ray 117 

Daunt, Nicholas 49 

Davila, Juan 159 

Davis, James 150 

Djaykurrnga, George Merwulunulu 141 

Dobell, School of William 47 

Elenberg, Joel 50, 51, 52, 53, 54, 55, 56 

Esling, Gordon 97 

European School 5 

Fitzgerald, Gerald 4 

Flint, Prudence 65 

Frater, William (Jock) 34, 35 

French, Leonard 154 

Friend, Donald 17, 18 

Garlbin, Joy 142, 143, 144 

Gleeson, James 63 

Gregory, Drew 113, 114 

Griffen, Vaughan (Murray) 95 

Gurney, Debra 89 

Haby, James 62 

Hall, Anne 153 

Halpern, Deborah 68 

Hannah, Camille 79, 80 

Hart, Kevin Charles (Pro) 122, 123 ,126 

Herman, Sali 77 

Hibino, Katsuhiko 27 

Holmes, George Augustus 98 

Hua, Shen 25 

Jandany, Hector 136 

Jian, Ling 21 

Johnson, Ken 60 

Kibel, Jeremy 15 

Knight, Kenneth (Ken) 100 

Knox, William D 45, 94 

Last, Clifford 74 

Li, Jia Juan 31 

Lincoln, Kevin 85 

Lindsay, Daryl 2 

Lindsay, Perceval (Percy) 1 

Long, Leonard 43, 125 

Long, Sydney 48 

Mayeur, J Le 16 

Mbitjana, Betty Club 131 

McAulay, Tom 115 

McCreadie, Felicity 64

89 

McCubbin, Sheila 32 

McInnes, William B 38, 41 

Meatchem, Phillip 128 

Meldrum School 42 

Minns, Benjamin E 107 

Moxham, Miriam 13 

Munduwalawala, Ginger Riley 139 

Murch, Arthur 33 

Nerli, Girolamo 96 

Nganjmirra, Luke 133 

Nguyen, Thanh Binh 22 

Nolan, Sidney 9, 10, 119 ,120, 121, 149 

Nunan, Brian 70 

Ogilvie, Helen 109 

Orr, Jillian 158 

Parr, Mike 66 

Parsons, Elizabeth 36 

Pastoriza-Pinol, John 156 

Petyarre, Kathleen 137 

Petyarre, Nancy Kunoth 138 

Phong, Dao Hai 24 

Pignatelli, Luca 82 

Preston, Margaret 15 

Proud, Geoffrey 87 

Pwerle, Charmaine Torres 148 

Pwerle, Emily 146 

Pwerle, Minnie 145 

Ramsay, Hugh 93 

Ritchie, Maxine 124 

Roberts, Thomas (Tom) 8 

Rowan, Marian Ellis 12 

Rowell, Kenneth (Ken) 152 

Russell, Martin 81 

San, Ang Yian 30 

Sawrey, Hugh 112 

Schulz, Hugh 132 

Scurry, John 127 

Serelis, Vytas 90 

Skaw, Al 75 

Streeton, Arthur 3 

Thalassoudis, Jim 78 

Thuy, Nguyen Dieu 23 

Tjapaltjarri, Billy Stockman 134 

Tjapaltjarri, John 140 

Tjapaltjarri, Walala 147 

Traill, Jessie 39 

Wenling, Chen 20 

Whitley 40 

Wigley, James 111 

Williams, Frederick (Fred) 116 

Wilson, Dora 19 

Wolfhagen, Philip 59 

Woodhouse Senior, Frederick 44 

Xian, Wang Li 28 

Xin, Hui 26 

Zi-Won, Wang 29 

Zofrea, Salvatore 91

90

92 

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.

93 

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.

94 

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 92 (Detail)

GA034 - Australian and International Art

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