The Summer Art Collection

The Summer
Art Collection
Melbourne, Tuesday 4 December 2018

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Auction, Viewing and
Payment & Collections
Level 1, 885-889 High Street
Armadale, Victoria 3143
LE ST
NORTHCOTE RD
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FRONT COVER:
Lot 26 (Detail)
BACK COVER:
Lot 20
The Summer
Art Collection
Auction
Tuesday 4 December 2018 6.00pm
Level 1, 885-889 High Street
Armadale, Victoria 3143
Viewing
Friday 30 November 10.00–4.00pm
Saturday 1 December 10.00–4.00pm
Sunday 2 December 10.00–4.00pm
Monday 3 December 10.00–4.00pm
Tuesday 4 December 10.00–1.00pm
Auction Code: GA004
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Payments & Collections
Can be made from:
Level 1, 885-889 High Street,
Armadale, Vic 3143
Wed 5 December 10.00–4.00pm
Thu 6 December 10.00–4.00pm
Fri 7 December 10.00–4.00pm
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1

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Payment & Collection
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1
EILEEN ROSEMARY MAYO
(BRITAIN, NEW ZEALAND, 1906–1994)
Children with Umbrella
woodblock print
editioned and signed lower right:
A/P 4/10, Eileen Mayo
39.5 x 19.5cm
PROVENANCE
Dunbar Sloane, New Zealand &
International Fine Art, Part II, Wellington,
7 September, 2017, Lot 285
$2,500–3,500 §
1
Eileen Mayo, D.B.E., was educated at the Slade
School of Art and at the Central School of
Arts and Crafts. She established a career
as an illustrator, painter and printmaker in
London in the 1930s and was associated
with Claude Flight and the Colour Linocut
Movement. Her works were exhibited at the
Royal Academy and collected by the Victoria
and Albert and the British Museums.
Mayo emigrated to Australia in 1952,
becoming established as a leading printmaker
and stamp designer. She taught at the
National Art School in Sydney and was a
member of Sydney Printmakers. Her career
in Australia included working on murals
and designing tapestries and posters.
As part of the Australian Commonwealth
series of six postage stamps issued between
1959 and 1962 she designed the platypus for
the one-shilling stamp and was awarded the
Vizard-Wholohan Prize for prints in 1962. Other
stamps in the series feature the kangaroo,
banded anteater, tiger cat, rabbit bandicoot
and the Tasmanian tiger. This stamp series
is significant as it was one of the earliest
attempts at putting Australian flora and fauna
on stamps. In addition it was one of the first
times that a designer further commercialised
their designs by producing poster versions of
the stamp artwork and made them available
for sale. This series, the first to be designed by
a woman, were for the Postmaster-General's
Department now called Australia Post. Mayo
produced many stamp and poster designs
depicting the flora and fauna of Australia.
Mayo was an artist who undertook commercial
work in order to support herself. The full
range of her output across the diverse
media she employed includes illustrations,
books, prints, paintings, tapestries, murals,
bookplates, posters, tableware, dioramas,
stamps and coins and was produced against
a background of artistic practice within three
countries in which she lived and worked.
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PETER BOOTH (BRITAIN, BORN 1940)
Reclining Nude 1963/1964
oil on canvas
76 x 91cm
PROVENANCE
The artist. Private Collection, Melbourne
NOTE
Painted under tutelage of John Brack
National Gallery School , circa 1963
$3,000–5,000
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3
An unusual painted scrimshaw horn, circa 1860
inscribed: Lake Hindmarsh Tribe, Waddy Fight
32cm long
$4,000–6,000
4
HUGH SAWREY (1919–1999)
The Man Who Steadies The Lead
bronze
editioned to base 11/12
signed and dated on base: SAWREY / 89
foundry mark to base: AWB / MELB
41cm high
PROVENANCE
Deutscher and Hackett, 100 Important Australian
Paintings, Melbourne, 16 April 2008, Lot No. 118
The Estate of Pro Hart, Broken Hill, New South Wales
NOTE
Cast by Art Works in Bronze. Series of fifteen,
three proofs and twelve of the edition
$10,000–15,000
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HARRY ROYALL
How I Won the V.C. at Massines, Private John Carroll
oil on paper
signed lower left: Hy Royall
bears unique inscription written by Private John
Carroll: How I won the VC at Massines Pte J Carroll
VC, captured a machine gun & killing four Germans &
saving a mate from being killed by one of Germans
bears label verso: 24 Carroll V.C. How
I won the V.V. at Messines
76 x 54cm
PROVENANCE
Aust. Art Auctions, Australian & International
Paintings, Sydney, 1July 2002, Lot 103
NOTE
The painting is remarkably accurate. Charles Bean
wrote "the only point at which real resistance has been
felt was on the right where 33 Battalion had moved
forward on the extreme right flank". The painting depicts
Carroll in action with the last of the explosions shown
to the left of his position where the Germans offered
little resistance following the great explosions.
$10,000–20,000
Jack Carroll was born in Brisbane but grew up in
Western Australia and worked around Kalgoorlie
and nearby Karrawang. In 1916 he joined the AIF's
44th Battalion, but soon transferred to the 33rd.
Messines was the battalion's first big action.
Over the period of 7-10 June, during the battle at St Yves
(near Messines), Carroll was outstanding: he rushed an
enemy trench and killed four Germans; assisted a soldier in
distress and killed another German; attacked a machine-gun
team, killing three men and capturing the gun; then extracted
comrades buried in a shell hole while under heavy fire. His
citation declared: "his magnificent example of gallantry
and devotion to duty inspired all ranks in his battalion".
Carroll was a casual and happy-go-lucky man, known by his
mates as "the wild Irishman". He was wounded a month later
and again, severely this time, on 12 October 1917. Returned
to Australia, he resumed work as a labourer and railwayman.
In 1927 he had his foot amputated in a work accident.
John Carroll died on 4 October 1971, at the age of 80,
and was buried at Karrakatta Cemetery in Perth with
full military honours. His Victoria Cross is displayed
at the Australian War Memorial in Canberra.
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ANTHONY DATTILO
RUBBO (1870-1955)
A Summer Ride
oil on canvas
signed lower right: Rubbo
37 x 28.5cm
$1,500–2,500 §
7
CHARLES DAVID JONES
BRYANT (BRITAIN, 1883–1937)
Camouflaged Ship,
Le Havre, France
oil on canvas on board
signed lower left: CHARLES BRYANT
30.5 x 41cm
$1,500–2,500
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ALBERT HENRY FULLWOOD
(BRITAIN, 1863–1930)
Narrara Creek 1893
watercolour
signed, titled and dated lower right:
A. H. FULLWOOD, 93 NARRARA CREEK
34.8 x 51cm
$1,500–2,500
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AUGUSTUS BAKER PEIRCE (1840–1919)
Robert Chirnside and the Melbourne Hunt Club, 1882
oil on canvas
signed and dated lower right: Gus B. Pierce 1882
63 x 88cm
PROVENANCE
Private Collection, Melbourne
Sotheby's, Fine Australian & International
Paintings, Sydney, 26 August, 2003, Lot 484
By descent in the family of Robert
Chirnside. Reference: Joan Kerr
$15,000–25,000
The colonial pastoralists Thomas Chirnside (1815-1887)
and his brother Andrew Spencer Chirnside (1818-1890)
sailed from Liverpool in the Bardaster and arrived at Adelaide
in January 1839. The brothers saw the prospects of
speculating in the colonies and after some early ventures
they overlanded sheep and cattle to the Port Phillip
District. By April 1842 they had established a station at
Mount William in the Grampians. Later that year Thomas
acquired a station on the Wannon and was the first in
that district to employ Aboriginals as station hands.
In 1843 the brothers bought Mokanger station and during the
next few years acquired a chain of runs in the Western District
including Victoria Lagoon in the Grampians, Kenilworth South,
Wardy Yallock, Curnong and Carranballac. The Chirnsides
considered Port Phillip the Eden of all the colonies and
just before the gold rushes they began acquiring land at
Wyndham (Werribee). There Thomas settled, later building
the bluestone mansion now known as Werribee Park and
gaining a freehold of 80,000 acres while Andrew made
his base on 50,000 acres at Carranballac, near Skipton.
The Chirnsides were great sportsmen who regularly
rode to hounds with the Melbourne Hunt Club. Thomas
Chirnside imported foxes, hares, pheasants and
partridges, and his red deer from England formed the
nucleus of the herd of the Anakies and You Yangs.
Robert Chirnside (1853-1900) the eldest son of Andrew
Chirnside inherited his father’s vitality and love of the
outdoors. He was an agricultural innovator and upon taking
over the property at Caranballac he set about modernising
and improving all aspects of the running of it. Robert
succeeded in forming one of the best Merino flocks in the
Western District and was one of the first pastoralists to
look after the well-being of his men. The shearing sheds
were considered the most complete in the colonies with
the installation of steam powered Wolsely machines to
assist in the shearing, pressing, dumping, and loading of
the wool. Lord Hopetoun is said to have pronounced that
‘Carranballac carried off the palm of the Western District.’
Robert’s reputation as an amateur rider, and subsequently
as an owner of racehorses, was well known. He won the
Caulfield Grand National with ‘Dondi’ and was the first to take
an Australian horse (Sailor) to England. He was an original
member of the V.A.T.C., and in the early days of hunting he
and his brother kept the hounds in the Geelong district,
which afterwards formed the nucleus of the Ballarat pack.
The present image by Augustus Baker Peirce (1840-
1919) presents us with an image of Robert Chirnside as
a young man at the height of his powers. It was probably
commissioned and completed when Peirce settled in
the Geelong district in 1879 after nearly thirty years of
peripatetic adventuring in Australia. Having tired of his travels
he was, at various times during this period, a tobacconist,
hotelier, scene-painter, and horse portrait painter.
Chirnside is shown here sitting confidently astride a
large, glossy bay stallion surrounded by coursing hounds.
The horse is shown prancing slightly and the tails of the
hounds are up, the chase is imminent. Painted in 1882,
the work gives no indication of the illness that was to
cut short Robert Chirnside’s life at the age of 46. Neither
Peirce nor Robert would have imagined it at the time but
perhaps the gathering dark clouds to the upper right
of the picture were a portent of what was to come.
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JOHN COBURN (1925–2006)
Study for Painting 1981
acrylic on paper
signed lower right: Coburn and further signed,
inscribed with title and dated '1981' verso
27 x 32.7cm
PROVENANCE
Christie's, Australian and European Paintings,
Melbourne, 27 April 1999, Lot 261
$5,000–8,000
11
ANDREW BROWNE (1960)
Illuminated Nocturne 2005
oil on linen
signed, dated and inscribed ‘ANDREW BROWNE
2005 / ILLUMINATED NOCTURNE’ verso
198.5 x 157 cm
PROVENANCE
Gould Galleries, Melbourne
Private Collection, Melbourne
EXHIBITED
Director’s Choice 2005, Gould Galleries, Melbourne,
16 February - 13 March 2005, Gould Galleries, Sydney,
18 March - 24 April 2005, no. 25, illustrated
$10,000–15,000
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DAVID BROMLEY (BORN 1960)
(Butterflies)
acrylic and silver leaf on canvas
signed lower left
90 x 150cm
PROVENANCE
Private collection, Melbourne
$3,000–5,000
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ADAM CULLEN (1965–2012)
Hygienically Sealed for Your
Convenience + Hygiene, 1984
oil on canvas
signed, dated and titled verso: Adam Cullen 84 HYGIENICALLY
(sic) SEALED FOR YOUR CONVENIENCE + HYGIENE
152.5 x 213cm
PROVENANCE
Sotheby's, Important Australian Art, Sydney,
26 November 2007, Lot 84
Tolarno Gallery, Melbourne
$10,000–15,000
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14
JOHN BEARD (BORN 1943)
The Angels, 1985
synthetic polymer paint on linen
signed, titled and dated verso
'The Angels 1985/ Acrylic On Linen/ John Beard'
91 x 76cm
PROVENANCE
Deutscher and Hackett, Australian & International
Fine Art, Melbourne, 9 May 2007, Lot 182
Macquarie Galleries, Sydney. (label attached verso)
Private collection, Western Australia
Private collection, Melbourne
EXHIBITED
Artists Salute Lloyd Rees, Macquarie Galleries,
Sydney, 26 February - 16 Mar 1985
$5,000–8,000
15
ANDREW BROWNE (1960)
Periphery No.15, 2010
oil on linen
signed, dated and titled verso: Andrew
Browne 2010/ 'Periphery #15'
168 x 132 cm
PROVENANCE
Rex Irwin Art Dealer, Sydney (label attached verso)
Private collection, Sydney
EXHIBITED
Andrew Browne: From the Periphery, McClelland
Gallery and Sculpture Park, Victoria, 2010
$12,000-15,000 §
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16
JOHN COBURN (1925–2006)
Green Velvet
gouache on paper on board
signed lower right
77 x 60cm
PROVENANCE
Christie's, Australian and International Paintings,
Melbourne, 24 November 1999, Lot 398
Christie's, Australian and European Paintings,
Sydney, 17 August 1998, Lot 1302
$6,000–8,000
17
DAVID RANKIN (BORN 1946)
Untitled 1988
oil on canvas
signed and dated lower middle left: Rankin 87
248 x 136 cm
PROVENANCE
Shapiro Auctioneers, Australian & International
Art including Contemporary Art from The RBS
Collection, Sydney, 26 November 2012, Lot 27
Adrian Slinger Galleries, Noosa.
Private Collection, Queensland
$3,000–5,000 §
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JEFFREY MAKIN (BORN 1943)
Pulpit Rock, Cape Schank
oil on canvas
signed lower right: Makin
titled verso
146 x 226cm
LITERATURE
Heathcote, Christopher, Australia Felix: The Art of Jeffrey
Makin, Macmillan Art Publishing, Melbourne, 2002, page 140
$3,000–5,000
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LAWRENCE DAWS (BORN 1927)
Sugar Loaf Mountain
oil on board
signed lower right: DAWS
75 x 75.5cm
$4,000–6,000
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20
JOHN ANTHONY (TONY) TUCKSON
(BRITAIN, 1921–73)
Portrait of a Man, circa 1949-53
oil on canvas on board
47.5 x 27.5cm
PROVENANCE
Deutscher~Menzies, Australian & International
Paintings, Sculpture and Works on Paper,
Melbourne, 25 April 1999, Lot 80
$6,000–8,000
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21
DAVID RANKIN (BORN 1946)
River Flat and Mangroves, 1986
oil on canvas
signed and dated upper left: Rankin 86
titled verso: River Flat + Mangroves
106 x 213cm
PROVENANCE
Leonard Joel, Fine Art, Melbourne, 7 June, 2016, Lot 87
$3,000–5,000
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22
DAVID WADELTON
(BORN 1955)
Colossal Still Life, 1990
oil on canvas
signed, dated and titled verso: David
Wadelton 1990 COLOSSAL STILL LIFE
152 x 228cm
PROVENANCE
Lawson-Menzies, Sydney, Modern,
Contemporary Australian and Important
Aboriginal Art, 19 March 2008, Lot 297
EXHIBITED
Rex Irwin Art Dealer, Sydney, The
Artist's Eye, 1990, cat. no. 25
$3,000–5,000
23
ROBERT DOBLE (BORN 1961)
Beth Birei (The House of
My Creator) 1999
oil on linen canvas
signed, dated and titled verso:
DOBLE, 1999, BETH BIREI
(THE HOUSE OF MY CREATOR)
122 x 122cm
$1,500–2,500
24
ROBERT DOBLE (BORN 1961)
Two Cities 1998
oil on linen canvas
signed, dated and titled verso:
DOBLE 1998, (TWO CITIES)
122 x 247cm
$2,000–3,000
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PASQUALE GIARDINO
(BORN 1961)
Daydreaming, 1988
oil on canvas (diptych)
signed, titled and dated verso: Pasquale
Giardino / Daydreaming 1988
212.5 x 394cm (overall)
PROVENANCE
William Mora Galleries, Melbourne
Leonard Joel, Melbourne, Sunday Art
Auction, 5 December 2010, Lot 54
$2,500–3,500 §
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ROY CHURCHER
(BRITISH, BORN 1933)
Wamboin Spring - Apple
Blossom II, 1997
oil on canvas
signed and dated lower
left: Churcher 97
94 x 124cm
PROVENANCE
Christine Abrahams Gallery, Melbourne
Mossgreen Auctions, The Interior
Decorator (Works of Art), Sydney,
31 August 2010, Lot 136
$1,200–1,500 §
27
FU HONG (BORN 1946)
The Enchanted Forest
oil in canvas
signed lower left
61 x 80cm
PROVENANCE
Elder Fine Art, Australian &
International Art, Adelaide, 7th
December 2008, Lot No. 199
$1,000–1,500

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LOUDON SAINTHILL
(1910–1969)
The Egyptian Slave -
Attendant for Cleopatra
by Sir Robert Helpmann
signed lower right: Sainthill
titled lower left: The Egyptian
Slave (Attendant for Cleopatra)
57 x 38cm
EXHIBITED
Melbourne International Festival of the
Arts, Westpac Gallery, Victorian Arts
Centre, September 12 - 28, 1991
$1,200–1,500
29
HARLEY GRIFFITHS (1908–1981)
Pear and Grapes, 1962
oil on canvas board
signed lower right: H Griffiths 62
39 x 49cm
$1,200–1,500
30
SYDNEY LAWRENCE
BRACKETT (1852–1910)
Two Kittens and a Fly
oil on canvas
signed lower right: Sid Brackett
31 x 38cm
$1,500–2,500
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FRANCIS (FRANK) HENRY
CRITCHLEY HINDER (1906–1992)
Two Nudes 1936
charcoal on paper
signed and dated lower
right: F. C. Hinder - 36
69.5 x 44.5cm
PROVENANCE
Deutscher~Menzies, Australian &
International Paintings, Sculpture
and Works on Paper, Melbourne,
25 April 1999, Lot 28
$2,000–3,000
32
ARTHUR MERRIC BLOOMFIELD
BOYD (1920–1999)
Jonah Afraid of God
ink and wash on paper
titled lower middle: J afraid of God
and signed lower right: Arthur Boyd
38 x 28cm
$1,200–1,800
33
ARTHUR MERRIC BLOOMFIELD
BOYD (1920–1999)
Untitled Figures
pen and wash
signed lower right: Arthur Boyd
56 x 38cm
$800–1,200
34
ARTHUR MERRIC BLOOMFIELD
BOYD (1920–1999)
S. and W.
etching
inscribed and titled lower
left: Proof / S. and W.
signed lower right: Arthur Boyd
30 x 23.5cm
$500–800
35
ARTHUR MERRIC BLOOMFIELD
BOYD (BRITAIN, 1920–1999)
Man and Dog
etching
inscribed lower left: Proof
signed lower right: Arthur Boyd
59.5 x 47cm
$500–800
32

36
WILLIAM DOBELL (1899–1970)
Seated Woman
ink on paper
signed illegibly lower right
16 x 12cm
PROVENANCE
Deutscher~Menzies, Australian &
International Paintings, Sculpture
and Works on Paper, Melbourne,
25 April 1999, Lot 250
$1,500–2,500
37
FRANCIS (FRANK) HENRY
CRITCHLEY HINDER (1906–1992)
"Pensive Model" 1936
pencil on paper
signed and dated: F. C. Hinder
46 x 31.5cm
$1,200–1,500
38
WILLIAM (JOCK) FRATER
(1890–1974)
Female Nude Study 1974
oil on board
signed and dated lower right:
William Frater 1974
98.5 x 75cm
$1,000–1,500
36
39
JOHN PLAPP (1938–2006)
(Untitled, Pink, Blue and
Black Grid), 1985
oil pastel on paper
signed and dated lower right 'Plapp 85'
57 x 76cm
PROVENANCE
Shapiro Auctioneers, 20/21
Century Art & Design, Sydney,
10th April, 2013, Lot 449
The Estate of Jon Plapp
$500–800
37
33

40
GEOFFREY DUPREE (BORN 1947)
Caller 1989
oil on canvas
95 x 34cm
$1,000–1,500
41
MATTHEW JOHNSON (BORN 1963)
Cinnabar, 1999
oil and pigment on linen
signed, dated and titled verso:
Matthew Johnson 1999 / Cinnabar
152.5 x 122cm
PROVENANCE
Leonard Joel, The Sunday Art Auction,
Melbourne, 13 December 2009, Lot 197
$1,500–2,500
42
DORA LYNELL WILSON
(BRITAIN, 1883–1946)
An English gardener and his dog
oil on canvas on board
signed lower right
54 x 49cm
PROVENANCE
Elder Fine Art, Australian & International
Paintings, Adelaide, 11 April, 2007, Lot 179
$1,800–2,500
43
JOCK CLUTTERBUCK (BORN 1945)
Aeorus 1987
etching
signed and dated lower right: J Clutterbuck / 87
titled lower middle: Aeorus
editioned lower left: 4/20
79 x 99cm
$500–700
34
40

41
35

44
44
VICTOR MAJZNER (BORN 1945)
Vent Suit Spirit 2001
acrylic on canvas
signed and dated lower left: V Majzner 2001
titled, signed and dated: VENT SUIT SPIRIT / V. Majzner 2001
198 x 182.5cm
PROVENANCE
Sotheby's, Melbourne, Fine Australian & International
Paintings, 24 November 2003, Lot 161
Davidson Auctions, Sydney, Australian &
International Art, 26 November 2011, Lot 144
$2,000–3,000 §
45
BERNARD (AKA JOSEPH TIERNEY)
SMITH (BORN 1916)
Collection of Three Paintings I.
Study for the Boy in Black, 1984 II.
Study For Nuclear Disarmament
Procession In Bourke Street.
oil on canvas
signed and dated 'J. Tierney 84' lower left
39.5 x 50cm (each)
PROVENANCE
Leonard Joel, Spring Auction of Australian & International
Paintings, Melbourne, 12 November, 2007, Lot 165
From the collection of Professor Bernard Smith
$600–800
36

46
GUY MARTIN BOYD (1923–1988)
Dancer's Arms
bronze with silver patina and composite base
53cm high
PROVENANCE
Australian British, New Zealand & European
Historical Paintings, Leonard Joel, Melbourne,
8 April 1987, lot 289 (as Arm's).
Private collection, Melbourne
$1,800–2,500
46
37

47 48
47
VICTOR (VIC) O'CONNOR (1918–2010)
Low Tide, The Inner Harbour 1973
oil on canvas on composition board
signed and dated lower right: V. G O'Connor 73
titled verso: Low Tide / The Inner Harbour
43.5 x 33cm
PROVENANCE
Australian Galleries, Melbourne
$1,000–1,500
48
GEOFFREY MAINWARING (1912–2000)
After the War (Gibraltar) 1974
oil on board
signed and dated lower right: GR Mainwaring 1974
100 x 74cm
PROVENANCE
Leonard Joel, Melbourne, The Sunday Art
Auction, 13 December 2009, Lot 41
$2,000–3,000
38
49
JOHN SANTRY (1910–1990)
Carcoar NSW
oil on canvas on composition board
signed lower right Santry
54.5 x 91.5cm
PROVENANCE
Deutscher-Menzies, Australian & International
Paintings, Melbourne, 26 November, 2003, Lot 243
$1,000–1,500
50
AFTER WALTER JARDINE
(UNITED STATES, 1884–1970)
Stick to Akubra Hats
colour lithograph by Ray Sim
signed in image lower right: WALTER JARDINE
48 x 65cm
NOTE
In the early 1870s, a recent immigrant to Australia, Benjamin
Dunkerley founded a hat-making factory that would
eventually use the trade name of Akubra in 1912. The
company moved from Tasmania to Surry Hills,
Sydney in the 1880s, and to Kempsey in the 1970s. It is
a fifth generation Australian family owned company.
$1,000–2,000

49
50
39

51
51
BERT STERN (1929–2013)
Marilyn Monroe 'Arabian', from The
Last Sitting for Vogue 1962
Digital black and white photograph, printed 2012
signed and editioned on image
35 x 26cm
NOTE
Accompanied by a certificate of authenticity stating
that the work was purchased direct from the artist.
$3,500–4,500
52
BERT STERN (1929–2013)
Marilyn Monroe with pink scarf, from
The Last Sitting for Vogue 1962
digital colour photograph
signed and editioned on image: 10/32
42 x 31cm
$5,000–6,000
40

52
41

53
LISA TOMASETTI (1963)
The Heart that is theirs, 2009
Inkjet print on Hahnmuhle paper
Edition 4/15
Inscribed verso 'The heart
that is theirs, 4/15
Lisa Tomassetti, 2009
100 x 100cm
PROVENANCE
Gallerysmith label verso
$1,000–1,500
53
54
SAMANTHA EVERTON (1971)
Charades
C-type photograph on alubond
signed, titled and editioned 5/15 verso
74 x 68cm
$1,000–1,500
42
54

55
CAMILLE SEAMAN (BORN 1969)
Overturned Berg 2006
digital colour photograph
50 x 76cm
This work is accompanied by
a certificate of authenticity
signed by the artist.
$1,000–1,500
55
56
CAMILLE SEAMAN (BORN 1969)
At the end of the World II
Ellemore Island, Greenland
September 2009
digital colour photograph
50 x 76cm
This work is accompanied by
a certificate of authenticity
signed by the artist.
$1,000–1,500
56
57
CAMILLE SEAMAN (BORN 1969)
Overturned Berg 2006
digital colour photograph
50 x 76cm
This work is accompanied by
a certificate of authenticity
signed by the artist.
$1,000–1,500
57
43

58 59
44
60

61 62
58
MAX DUPAIN (1904–1992)
Solarized Portrait
bromoil silver gelatin photograph
signed Max Dupain and dated '30
in image lower right
39 x 30cm
PROVENANCE
Deutscher and Hackett, Fine Art,
Melbourne, 25 November, 2009, lot 74
$3,000–5,000
59
GEORGE E. HURRELL
(1904–1992)
Anna May Wong 1938
silver gelatin photograph
signed and editioned
72/110 below image
35.5 x 30.5cm
$1,000–1,500
60
MARCUS THOMSON
Untitled 1
Speedweek, Lake Gairdner,
South Australia
signed and titled verso
64 x 99cm
$1,200–1,500
61
MAX DUPAIN (1904–1992)
Dreaming
silver gelatin photograph
signed Max Dupain and dated '30
in image lower right
50.5 x 35.5cm
$3,000–5,000
62
ROBERT McFARLANE
(BORN 1942)
Nude 1978/2012
silver gelatin photograph
signed verso
19.5 x 13cm
PROVENANCE
Davidson Auctions, The Estate
of Lewis Morley, Sydney,
1 October, 2014, Lot 144
$2,000–3,000 §
45

63
63
TRACEY MOFFAT (BORN 1960)
Grace Slick, 2005 (From Under the
Sign of Scorpio Series)
archival pigment ink on acid-free rag paper
edition 5/21
titled lower right: Grace Slick
editioned lower left: Scorpio
43 x 58.5 cm
PROVENANCE
Roslyn Oxley9 Gallery, Sydney (label verso);
Private collection, Tasmania
EXHIBITED
Tracey Moffatt - Under the Sign of Scorpio, Roslyn
Oxley9 Gallery, Sydney, 4 - 27 August 2005; Under
the Sign of Scorpio, L.A. Galerie, Frankfurt, Germany,
March 2 - April 22 2006 (another example); Tracey
Moffatt, Under the Sign of Scorpio, Doomed, Stux
Gallery, New York, USA, 2007 (another example)
$4,000-6,000
46

64
64
TRACEY MOFFAT (BORN 1960)
Roseanne Barr, 2005 (From Under
the Sign of Scorpio Series)
archival pigment ink on acid-free rag paper
edition 5/21
titled lower left: Roseanne Barr
editioned lower right: Scorpio
43 x 58.5 cm
PROVENANCE
Roslyn Oxley9 Gallery, Sydney
Private collection, Melbourne
EXHIBITED
Tracey Moffatt - Under the Sign of Scorpio, Roslyn
Oxley9 Gallery, Sydney, 4 - 27 August 2005
Under the Sign of Scorpio, L.A. Galerie, Frankfurt,
Germany, March 2 - April 22 2006 (another example)
Tracey Moffatt, Under the Sign of Scorpio,
Doomed, Stux Gallery, New York, USA, 2007
$4,000-6,000
47

67
TJUNKAYA TAPAYA (BORN 1947)
Kutungu - Tjitjiku Tjukurpa 2006
synthetic polymer paint on Belgian linen
Enabella Arts Inc cat no. TT016-06
60 x 90cm
$500–800
65
68
FATIMA KANTILLA (1971–2000)
Jinani & Jilmara 1991
polymer paint on paper
signed and dated lower middle: FATIMA
KANTILLA JILANI & JILMARA 1991
25 x 46cm
$400–600
66
65
RICHARD MINOR TJANGALA
(ABORIGINAL, BORN 1950)
Snake Dreaming
acrylic on canvas
cat no. MA881022
91 x 151cm
$600–800
66
HENRY WAMBINI JAWALYI
(ABORIGINAL, C.1934–2003)
Mammanbidding Cave 1998
synthetic polymer on canvas
titled and signed verso:
MANMANBIDDING CAVE, HENRY
cat no. NAT0435
90 x 121cm
$1,000–1,500
69
ANNE ZEMLIC
Bush Landscape
oil on board
signed lower right: A ZEMLIC
62.5 x 89cm
$200–300
70
JAMES VANDELEUR
WIGLEY (1917–1999)
Outback
oil on board
signed lower right: James V Wigley
45 x 60cm
$200–400
71
HORACE ASCHER BRODZKY
(BRITAIN, 1885–1969)
Tree
etching
signed upper left: H. BRODZKY
and again lower left: H. Brodzky
15 x 10cm
$100–200
48

72
ROBERT DOBLE (BORN 1961)
Untitled 2003
work on paper
signed and dated lower right:
DOBLE 2003
110 x 79.5cm
PROVENANCE
Nellie Castan Gallery, Melbourne
$500–800
73
JAMES QUINN
A French Basque
oil on canvas
signed lower right: J. Quinn
62 x 42cm
$400–600
74
ROBERT JACKS (1943–2014)
Yellow Guitar 2003
silkscreen
signed and dated lower
right: Jacks 2003
titled and editioned lower
left: Yellow Guitar 2003
56 x 38.5cm
$400–600
75
CHARLES BLACKMAN
(1928–2018)
Model Airplane 1985
silkscreen
editioned lower left: A/P
titled lower middle: THE
MODEL AIRPLANE
signed lower right: CHARLES
BLACKMAN
47 x 38cm
$400–600
76
AFTER MARIE LAURENCIN
(1885–1956)
Portrait
oil on canvas
signed and dated top right:
Marie Laurencin 1940
48 x 38cm
77
ALUN LEACH-JONES
(BORN 1937)
Untitled
screenprint
signed lower right: Alun L Jones
editioned lower left: A/P III/X
50 x 70.5cm
72
$300–500
$300–500
49

78
78
TOM GLEGHORN (BORN 1927)
The Broken Fence
oil on canvas on board
signed upper left
49 x 59cm
PROVENANCE
Theodore Bruce, Art on Sunday,
Sydney, 2 December, 2012, Lot 163
$600–800
79
IMANTS TILLERS (BORN 1950)
The Year Two Thousand
woodcut and linocut 1998
editioned lower left: 83/99
74 x 55cm
$300–500
80
MARY MACQUEEN (1912–1994)
The Kitchen Table
lithograph
signed lower right: Mary McQueen
titled and editioned 8/10 lower
left: The Kitchen Table
42 x 53.5cm
$300–500
81
DAVID DRYDEN
Sketch for Mural 1958
gouache on paper
30 x 24cm
$200–300
82
PETER CARTWRIGHT
(BORN 1928)
"Collins Street"
oil on board
signed lower right
24 x 13cm
PROVENANCE
Private collection, Melbourne
$200–300
50

83
LAURENCE HOPE
(BORN 1928)
Girl with Candles,
Interior, circa 1960
watercolour on paper
signed lower right: L. Hope
19.4 x 16.6cm
PROVENANCE
Private Collection, Brisbane
Heiser Gallery, Fortitude Valley, Brisbane
$800–1,200
84
ROSEMARY VALADON
(BORN 1947)
Dream II, 1987
mixed media on paper
titled, initialled and dated lower
left and right: Dream II RV 87
63 x 53cm
PROVENANCE
Davidson Auctions, Estate &
Collector Auction, Sydney, 24,
August, 2013, Lot 245
$800–1,200
83
85
ARTIST UNKNOWN
Driftwood Trees
oil on board
signed and dated Vargoff '68 lower right
29 x 104cm
PROVENANCE
Private collection, Melbourne
$200–300
86
IAN BOW (1914–1990)
Still Life with Flowers
oil on canvas
signed lower left: BOW
74 x 62cm
$200–300
84
51

87 88
87
ARNOLD SHORE (1897–1963)
Bush 1944
oil on board
signed and dated lower right: Shore '44
38 x 28.5cm
$800–1,200
88
BARBARA BRASH (1925–1998)
Rain Forest - Rain 1982
silkscreen
signed and dated lower
right: Barbara Brash '82
titled and editioned lower left:
Rain Forest - rain 3/20
53 x 31.5cm
$400–600
89
COLIN LANCELEY (1938–2016)
Two in the Bush 1978
lithograph
signed and dated lower
right: Lanceley 78
titled and editioned lower
left: Two in the Bush A/P
66 x 92.5cm
$200–300
90
GREGORY R SMITH
Morning Light - Greendale 1996
oil on canvas on board
signed and dated lower
left: G R Smith '96
signed, dated and titled
verso: Gregory R Smith 1996
Morning Light - Greendale
49 x 59cm
$200–400
91
MAUREEN HANSEN (BORN 1969)
Still Life with Lobster 1993
oil on canvas
signed lower left
75 x 59cm
PROVENANCE
Davidson Auctions, Sydney,
23 May, 2015, lot 126
$100–200
92
RONALD CLAYTON
SKATE (1913–1991)
Afternoon Dip
oil on board
signed lower right: SKATE and
titled verso: AFTERNOON DIP
39.5 x 49.5cm
$100–200
52

93
JANET DAWSON (BORN 1935)
Japanese Pumpkin and
Duck Egg Shells
pastel on watercolour paper
28 x 32cm
$800–1,200
94
KEVIN CHARLES (PRO)
HART (1928–2006)
Two Stockmen
oil on board
signed lower right
14 x 16cm
PROVENANCE
Private collection, Melbourne
$600–800
95
LEWIS MILLER (BORN 1959)
Still Life 1987
pencil on paper
titled lower left: STILL LIFE and signed
and date lower right: LEWIS MILLER '87
49 x 66cm
$100–200
93
96
AUSTIN H. PLATT (1912–2003)
Melbourne Church of
England Girls Grammar
etching
editioned and signed lower
right: 93/125 Austin H Platt
17 x 33cm
$100–200
97
MORRIS E. COHEN (1866–1931)
Jungle Road Near Colombo
pastel
30.5 x 22.5cm
$100–200
94
53

98
98
MARIE LAURENCIN (1885–1956)
Trois Graces 1942
lithograph
signed lower left Marie Laurencin
25 x 30cm
$400–600
99
ANTON RIEBE (1905–1986)
Murray Backwater 1968
watercolour
signed lower right Anton Riebe
26 x 44cm
$300–500
100
WILLIAM T COOPER (1934–2015)
Street Scene
oil on board
signed lower left: William T. Cooper
29.5 x 35cm
$400–600
101
NOEL JACK COUNIHAN
(1913–1986)
Disappear, Indian Rope Trick
ink on paper
signed lower left: Counihan
30 x 32cm
$100–200
102
MYLYN NGUYEN (BORN 1982)
...one day a house 2008
ink on paper on brush on painted base
35 x 25 x 25cm
$100–200
103
AILSA GRIFFITHS
Watsons Bay, Sydney 1999
oil on canvas on board
signed and dated lower
left: Ailsa Griffiths '99
39 x 49.5cm
$100–200
104
BRIAN NASH
Landscape
oil on board
46 x 66cm
$100–200
105
D BANT
(Symbols)
mixed media
signed lower left: D Bant
75 x 32cm
$80–120
106
MARIANNE COLE
Bowl
earthenware
incised marks to base
13cm high, 51.5cm diameter
$80–120
107
BOB GRAHAM (BORN 1942)
Children's Book Illustration
watercolour
20 x 19cm
$50–100
108
HAROLD BROCKLEBANK
HERBERT (1892–1945)
The Plough, Devon
etching
editioned lower left: 38/50, titled
lower middle: The Plough - Devon and
signed lower right: Harold B Herbert
11 x 21cm
$50–100
54

109
109
PETER LINDSAY (BORN 1952)
Sur La Plage 2 1989
coloured pencil on paper
signed and dated lower
left: Peter Lindsay 89
13.5 x 63.5cm
$400–600
110
PETER LINDSAY (BORN 1952)
Piscina 1989
coloured pencil on paper
signed and dated lower
right: Peter Lindsay 89
16 x 62cm
$400–600
111
PETER LINDSAY (BORN 1952)
Post Warrior 1992
coloured pencil on paper
signed and dated lower
right: Peter Lindsay 92
25 x 25cm
$300–500
112
PETER LINDSAY (BORN 1952)
Politica
coloured pencil on paper
signed and dated lower
right: Peter Lindsay 92
21 x 25cm
$300–500
113
AILSA GRIFFITHS
Marvellous Melbourne
oil on canvas on board
signed lower right: Ailsa Griffiths
11.5 x 22cm
$40–60
114
DOMENICA PEPE
Superb Blue Wrens and Thornbills
two mixed media
signed lower right: Paper
Toled by D Pepe
16 x 24cm and 18 x 13.5cm
$40–80
115
ARTIST UNKNOWN
Two erotic etchings
signed illegibly in margin
15 x 11cm (each)
$40–80
116
VAL BARNETT
Honour Avenue, Macedon 1999
watercolour
signed and dated lower
centre: V Barnett '99
signed and titled verso: Val Barnett
Honour Avenue, Macedon
27 x 36cm
$40–80
End of Sale
55

Artist Index
AFTER MARIE LAURENCIN 76
AFTER WALTER JARDINE 50
ARTIST UNKNOWN 85, 115
BANT, D 105
BARNETT, VAL 116
BEARD, JOHN 14
BLACKMAN, CHARLES 75
BOOTH, PETER 2
BOW, IAN 86
BOYD, ARTHUR MERRIC BLOOMFIELD
32, 33, 34, 35
BOYD, GUY MARTIN 46
BRACKETT, SYDNEY LAWRENCE 30
BRASH, BARBARA 88
BRODZKY, HORACE ASCHER 71
BROMLEY, DAVID 12
BROWNE, ANDREW 11, 15
BRYANT, CHARLES DAVID JONES 7
CARTWRIGHT, PETER 82
CHURCHER, ROY 26
CLUTTERBUCK, JOCK 43
COBURN, JOHN 10, 16
COHEN, MORRIS E. 97
COLE, MARIANNE 106
COOPER, WILLIAM T. 100
COUNIHAN, NOEL JACK 101
CULLEN, ADAM 13
DAWS, LAWRENCE 19
DAWSON, JANET 93
DOBELL, WILLIAM 36
DOBLE, ROBERT 23, 24, 72
DRYDEN, DAVID 81
DUPAIN, MAXWELL SPENCER (MAX)
58, 61
DUPREE, GEOFFREY 40
EVERTON, SAMANTHA 54
FRATER, WILLIAM (JOCK) FRATER 38
FULLWOOD, ALBERT HENRY 8
GIARDINO, PASQUALE 25
GLEGHORN, TOM 78
GRAHAM, BOB 107
GRIFFITHS, AILSA 103, 113
GRIFFITHS, HARLEY 29
HANSEN, MAUREEN 91
HART, KEVIN CHARLES (PRO) 94
HERBERT, HAROLD BROCKLEBANK
108
HINDER, FRANCIS (FRANK) HENRY
CRITCHLEY 31, 37
HONG, FU 27
HOPE, LAURENCE 83
HURRELL, GEORGE E. 59
JACKS, ROBERT 74
JOHNSON, MATTHEW 41
KANTILLA, FATIMA 68
LANCELEY, COLIN 89
LAURENCIN, MARIE 98
LEACH-JONES, ALUN 77
LINDSAY, PETER 109, 110, 111, 112
MACQUEEN, MARY 80
MAINWARING, GEOFFREY 48
MAJZNER, VICTOR 44
MAKIN, JEFFREY 18
MAYO, EILEEN ROSEMARY 1
McFARLANE, ROBERT 62
MILLER, LEWIS 95
MOFFAT, TRACEY 63, 64
NASH, BRIAN 104
NGUYEN, MYLYN 102
O'CONNOR, VICTOR (VIC) 47
PEIRCE, AUGUSTUS BAKER 9
PEPE, DOMENICA 114
PLAPP, JOHN 39
PLATT, AUSTIN H. 96
QUINN, JAMES 73
RANKIN, DAVID 17, 21
RIEBE ANTON 99
ROYALL, HARRY 5
RUBBO, ANTHONY DATTILO 6
SAINTHILL, LOUDON 28
SANTRY, JOHN 49
SAWREY, HUGH DAVID 4
SEAMAN, CAMILLE 55, 56, 57
SHORE, ARNOLD 87
SKATE, RONALD CLAYTON 92
SMITH, BERNARD 45
SMITH, GREGORY R. 90
STERN, BERT 51, 52
TAPAYA, TJUNKAYA 67
THOMSON, MARCUS 60
TILLERS, IMANTS 79
TJANGALA, RICHARD MINOR 65
TOMASETTI, LISA 53
TUCKSON, JOHN ANTHONY (TONY)
20
VALADON, ROSEMARY 84
WADELTON, DAVID 22
WAMBINI JAWALYI, HENRY 66
WIGLEY, JAMES VANDELEUR 70
WILSON, DORA LYNELL 42
ZEMLIC, ANNE 69
56
OPPOSITE:
Lot 9 (Detail)

57

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the policies of Gibson’s Auctioneers & Valuers
Pty Ltd. They are the terms on which Gibson’s
Auctioneers & Valuers Pty Ltd and the Seller contract
with the Buyer. They may be amended by printed
Saleroom Notices or oral announcements made
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The conditions that are listed below contain terms
that are used regularly and may need explanation.
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accepted by the Auctioneer
“the Lot” means any item depicted within the sale for
auction and in particular the item or items described
against any lot number in the catalogue.
“the Hammer price” means the amount of the highest
bid accepted by the auctioneer in relation to a lot
“the Buyers Premium” means the charge payable by
the Buyer to the auction house as a percentage of
the hammer price.
“the Reserve” means the lowest amount at which
Gibson’s Auctioneers & Valuers has agreed with the
Seller that the lot can be sold.
“Forgery” means an item constituting an imitation
originally conceived and executed as a whole, with
a fraudulent intention to deceive as to authorship,
origin, age, period, culture or source, where the
correct description as to such matters is not
reflected by the description in the catalogue.
Accordingly no lot shall be capable of being a forgery
by reason of any damage or restoration work of any
kind (Including re-painting).
“the insured value” means the amount that Gibson’s
Auctioneers & Valuers in its absolute discretion
from time to time shall consider the value for which
a lot should be covered for insurance (whether or
not insurance is arranged by Gibson’s Auctioneers
& Valuers.)
All values expressed in Gibson’s Auctioneers &
Valuers Pty Ltd catalogues (in any format) are in
Australian Dollars (AU$). All bids, “hammer price”,
“reserves”, “Buyers Premium” and other expressions
of value are understood by all parties to be in
Australian Dollars (AU$) unless otherwise specified.
2. Gibson’s Auctioneers & Valuers
Auctions as Agent
Except as otherwise stated Gibson’s Auctioneers &
Valuers Pty Ltd acts as agent for the Seller.
The contract for the sale of the property is therefore
made between the Seller and the Buyer.
3. Before the Sale
A) EXAMINATION OF PROPERTY
Prospective Buyers are strongly advised to examine
in person any property in which they are interested
before the Auction takes place. Neither Gibson’s
Auctioneers & Valuers nor the Seller provides any
guarantee in relation to the nature of the property
apart from the Limited warranty in the paragraph
below.
The property is otherwise sold “AS IS”
B) CATALOGUE AND OTHER DESCRIPTIONS
All statements by Gibson’s Auctioneers & Valuers
in the catalogue entry for the property or in the
condition report, or made orally or in writing
elsewhere, are statements of opinion and are not
to be relied upon as statements of fact. Such
statements do not constitute a representation,
warranty or assumption of liability by Gibson’s
Auctioneers & Valuers of any kind. References in the
catalogue entry to the condition report to damage
or restoration are for guidance only and should be
evaluated by personal inspection by the bidder or
a knowledgeable representative. The absence of
such a reference does not imply that an item is free
from defects or restoration, nor does a reference to
particular defects imply the absence of any others.
Estimates of the selling price should not be relied
on as a statement that this is the price at which
the item will sell or it’s value for any other purpose.
Neither Gibson’s Auctioneers & Valuers nor The
Seller is responsible for any errors or omissions in the
catalogue or any supplemental material.
Images are measured height by width (sight size).
Illustrations are provided only as a guide and should
not be relied upon as a true representation of colour
or condition. Images are not shown at a standard
scale. Mention is rarely made of frames (which may be
provided as supplementary images on the website)
which do not form part of the lot as described in the
printed catalogue.
Foreign buyers should note that all transactions
are in Australian dollars (AU$)so there may be a
small exchange rate risk. The costs associated
with acquiring a good certificate will be carried by
the purchaser. If the item turns out to be forged or
otherwise incorrectly described, all reasonable costs
will be borne by the vendor.
C) BUYERS RESPONSIBILITY
All property is sold “as is” without representation
or warranty of any kind by Gibson’s Auctioneers
& Valuers or the Seller. Buyers are responsible for
satisfying themselves concerning the condition
of the property and the matters referred to in the
catalogue by requesting a condition report
4. At the Sale
A) REFUSAL OF ADMISSION
Gibson’s Auctioneers & Valuers reserves the right at
our complete discretion to refuse admission to the
auction premises or participation in any auction and
to reject any bid.
B) REGISTRATION BEFORE BIDDING
Any prospective new buyer must complete and sign
a registration form and provide photo-identification
before bidding. Gibson’s Auctioneers & Valuers may
request bank, trade or other financial references to
substantiate this registration.
C) BIDDING AS A PRINCIPAL
When making a bid, a bidder is accepting personal
liability to pay the purchase price including the
buyers premium and all applicable taxes, plus all
other applicable charges, unless it has been explicitly
agreed in writing with Gibson’s Auctioneers & Valuers
before the commencement of the sale that the
bidder is acting as agent on behalf of an identified
third party acceptable to Gibson’s Auctioneers &
Valuers and that Gibson’s Auctioneers & Valuers will
only look to the principal for payment.
D) INTERNATIONAL REGISTRATIONS
All International clients not known to Gibson’s
Auctioneers & Valuers will be required to scan or fax
through an accredited form of photo identification
and pay a deposit at our discretion in cleared funds
into Gibson’s Auctioneers & Valuers’ account at least
48 hours before the commencement of the auction.
Bids will not be accepted without this deposit.
Gibson’s Auctioneers & Valuers also reserves the
right to request any additional forms of identification
prior to registering an overseas bid.
This deposit can be made using a credit card,
however the balance of any purchase price in excess
of $5,000 can not be charged to this card without
prior arrangement. This deposit is redeemable
against any auction purchase.
E) ABSENTEE BIDS
Gibson’s Auctioneers & Valuers will use reasonable
efforts to execute written bids delivered to us AT
LEAST 24 Hours before the sale for the convenience
of those clients who are unable to attend the auction
in person. If we receive identical written bids on a
particular lot, and at the auction these are the highest
bids on that lot, then the lot will be sold to the person
whose written bid was received and accepted first.
Execution of written bids is a free service undertaken
subject to other commitments at the time of the sale
and we do not accept liability for failing to execute
a written bid or for errors or omissions which may
arise. It is the bidder’s responsibility to check with
Gibson’s Auctioneers & Valuers after the auction if
they were successful. Unlimited or “Buy” bids will not
be accepted. Please refer to our indicative bidding
increments below for appropriate absentee bid
amounts (Section K).
F) TELEPHONE BIDS
Priority will be given to overseas and interstate
bidders. Arrangements for this service must be
confirmed AT LEAST 24 HOURS PRIOR to the auction
commencing. Gibson’s Auctioneers & Valuers
accepts no responsibility whatsoever for any errors
or failure to execute bids. In telephone bidding the
buyer agrees to be bound by all terms and conditions
listed here and accepts that Gibson’s Auctioneers
& Valuers cannot be held responsible for any
mis-communications in the process. The success
of telephone bidding cannot be guaranteed due to
circumstances that are unforeseen. Buyers should
be aware of the risk and accept the consequences
should contact be unsuccessful at the time of
Auction. You must advise Gibson’s Auctioneers &
Valuers of the lots in question and recommend a
‘Cover Bid’ amount should there be any issues with
technology or communication via the telephone
number provided. Gibson’s Auctioneers & Valuers
will advise Telephone Bidders who have registered
at least 24 hours before the auction of any relevant
changes to descriptions, withdrawals or any other
sale room notices.
G) ONLINE BIDDING
Gibson’s Auctioneers & Valuers accepts no
responsibility for any errors, failure to execute bids or
any other miscommunications regarding this process.
It is the online bidder’s responsibility to ensure the
accuracy of the relevant information regarding bids,
lot numbers and contact details.
H) RESERVES
Unless otherwise indicated, all lots are offered subject
to a reserve, which is the confidential minimum price
below which the Lot will not be sold. The reserve will
not exceed the low estimate printed in the catalogue.
The auctioneer may open the bidding on any Lot
below the reserve by placing a bid on behalf of the
Seller. The auctioneer may continue to bid on behalf
of seller up to the amount of the reserve, either
by placing consecutive bids or by placing bids in
response to other bidders.
I) AUCTIONEERS DISCRETION
The Auctioneer has the right at his absolute and sole
discretion to refuse any bid, to advance the bidding
in such a manner as he may decide, to withdraw or
divide any lot, to combine any two or more lots and,
in the case or error or dispute and whether during or
58

after the sale, to determine the successful bidder, to
continue the bidding, to cancel the sale or to reoffer
and resell the item in dispute. If any dispute arises
after the sale, then Gibson’s Auctioneers & Valuers’s
sale record is conclusive.
J) SUCCESSFUL BID AND PASSING OF RISK
Subject to the auctioneer’s discretion, the highest
bidder accepted by the auctioneer will be the buyer
and the striking of his hammer marks the acceptance
of the highest bid and the conclusion of a contract
for sale between the Seller and the Buyer. Risk and
responsibility for the lot (including frames or glass
where relevant) passes immediately to the Buyer.
K) INDICATIVE BIDDING STEPS, ETC.
Gibson’s Auctioneers & Valuers reserves the right to
refuse any bid, withdraw any lot from sale, to place
a reserve on any lot and to advance the bidding
according to the following:
Increment Amount
Dollar Range
$20 $0–$500
$50 $500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$5,000 $50,000–$100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any
bids that don’t follow the steps will be rounded up to
the nearest acceptable bid.
5. After the Sale
A) BUYERS PREMIUM
In addition to the hammer price, the buyer agrees to
pay to Gibson’s Auctioneers & Valuers the buyers
premium. The buyer’s premium is 22% of the
hammer price plus GST. (Goods and Services Tax)
where applicable.
B) PAYMENT AND PASSING OF TITLE
The buyer must pay the full amount due (comprising
the hammer price, buyers premium and any
applicable taxes and GST) not later than three (3)
days after the auction date.
The buyer will not acquire title for the lot until
Gibson’s Auctioneers & Valuers receives full
payment in cleared funds, and no goods under any
circumstances will be released without confirmation
of cleared funds received. This applies even if the
buyer wishes to send items interstate or overseas.
Payment can be made by the following means:
• Bank Transfer/Direct Deposit is our preferred
method of payment
Account Name: Gibsons Auctions
Bank:
Bank of Melbourne
(A division of St George)
BSB: 193879
Account No: 441701443
Swift Code: SGBLAU2S
Routing Code: 021000021
Bank Address: 197-201 Glenferrie Road,
Malvern, Vic, 3144
The buyer is responsible for any bank fees and
charges applicable for the transfer of funds into
Gibson’s Auctioneers & Valuers’s account
• Personal, Company and Bank Cheques are not
accepted without prior approval.
• Eftpos (no charge)
• Credit cards: Visa and Mastercard (1.2% incl GST
merchant fee) and American Express (3% incl
GST merchant fee)
Please note that credit card transactions over
$5,000 will not be accepted over the telephone
unless by prior arrangement.
• Cash up to AU$10,000 can accepted in
cash. For any amount over this, cash is to be
deposited directly into our account at a Bank of
Melbourne/St George branch
C) COLLECTION OF PURCHASES & INSURANCE
Gibson’s Auctioneers & Valuers is entitled to retain
items sold until all amounts due to us have been
received in full in good cleared funds. Subject to this,
the Buyer shall collect purchased lots within three
(3) days from the date of the sale unless otherwise
agreed in writing between Gibson’s Auctioneers &
Valuers and the Buyer.
At the fall of the hammer, insurance is the
responsibility of the purchaser.
D) PACKING, HANDLING AND SHIPPING
At the request of the buyer, Gibson’s Auctioneers &
Valuers may assist with packing of goods but takes
no responsibility for loss, damage or breakage that
may occur.
Gibson’s Auctioneers & Valuers at the request of the
buyer may arrange for a carrier, packer or shipper to
have the property packed, insured and shipped at
the buyer’s expense. All packing, shipping, insurance,
postage & associated charges will be borne by the
purchaser.
Gibson’s Auctioneers & Valuers can assist with
removal companies that the buyer can use but takes
no responsibility whatsoever for the actions of any
recommended third party.
E) CULTURAL HERITAGE EXPORT LICENCES
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make full
payment immediately, nor our right to charge
interest or storage charges on late payment. It
is the Buyer’s responsibility to check Australia’s
Protection of Moveable Cultural Heritage Act 1986
before purchase. If the Buyer requests Gibson’s
Auctioneers & Valuers to apply for an export licence
then we shall be entitled to charge a fee for this
service. We shall not be obliged to rescind a sale nor
to refund any interest or other expenses incurred
by the Buyer where payment is made by the Buyer
in circumstances where an export licence is not
granted.
F) REMEDIES FOR NON-PAYMENT
If the Buyer fails to make full payment immediately,
Gibson’s Auctioneers & Valuers is entitled to exercise
one or more of the following rights or remedies (in
addition to asserting any other rights or remedies
available under the law)
i) to charge interest at the ANZ visa credit card
rate as published weekly in the Australian
Financial Review
ii)
iii)
iv)
to hold the defaulting Buyer liable for the
total amount due and to commence legal
proceedings for it’s recovery along with interest,
legal fees and costs to the fullest extent
permitted under applicable law
to cancel the sale
to resell the property publicly or privately on
such terms as we see fit
v) to pay the Seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting Buyer. In these circumstances
the defaulting Buyer can have no claim upon
Gibson’s Auctioneers & Valuers in the event that
the item(s) are sold for an amount greater than
the original invoiced amount.
vi)
vii)
to set off against any amounts which Gibson’s
Auctioneers & Valuers may owe the Buyer in
any other transactions, the outstanding amount
remaining unpaid by the Buyer.
where several amounts are owed by the Buyer to
us, in respect of different transactions, to apply
any amount paid to discharge any amount owed
in respect of any particular transaction, whether
or not the Buyer so directs.
viii) to reject at any future auction any bids made by
or on behalf of the Buyer or to obtain a deposit
from the Buyer prior to accepting any bids.
ix)
to exercise all the rights and remedies of a
person holding security over any property in
our possession owned by the Buyer whether by
way of pledge, security interest or in any other
way, to the fullest extent permitted by the law of
the place where such property is located. The
Buyer will be deemed to have been granted such
security to us and we may retain such property
as collateral security for such Buyer’s obligations
to us.
x) to take such other action as Gibson’s
Auctioneers & Valuers deem necessary or
appropriate
If we do sell the property under paragraph
(iv), then the defaulting Buyer shall be liable
for payment of any deficiency between the
total amount originally due to us and the
price obtained upon reselling as well as for
all costs, expenses, damages, legal fees and
commissions and premiums of whatever kinds
associated with both sales or otherwise arising
from the default.
If we pay any amount to the Seller under
paragraph (v) the Buyer acknowledges that
Gibson’s Auctioneers & Valuers shall have all
of the rights of the Seller, however arising, to
pursue the Buyer for such amount.
G) FAILURE TO COLLECT PURCHASES
Where purchases are not collected within three (3)
days from the sale date, whether or not payment
has been made, we shall be permitted to remove the
property to a warehouse at the buyer’s expense, and
only release the items after payment in full has been
made of removal, storage handling, insurance and
any other costs incurred, together with payment of all
other amounts due to us.
6. Extent of Gibson’s Auctioneers &
Valuers Liability
Gibson’s Auctioneers & Valuers agrees to refund
the purchase price in the circumstances of the
Limited Warranty set out in paragraph 7 below.
Apart from that, neither the Seller nor we, nor any
of our employees or agents are responsible for
the correctness of any statement of whatever kind
concerning any lot, whether written or oral, nor
for any other errors or omissions in description
or for any faults or defects in any lots. Except as
stated in paragraph 7 below, neither the Seller
ourselves, our officers, agents or employees give any
representation warranty or guarantee or assume any
liability of any kind in respect of any lot with regard
to merchantability, fitness for a particular purpose,
description, size, quality, condition, attribution,
authenticity, rarity, importance, medium, provenance,
exhibition history, literature or historical relevance.
Except as required by local law any warranty of any
kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this
paragraph, the Seller warrants for the period of
fourteen (14) days from the date of the sale that
any property described in this catalogue (noting
such description may be amended by any saleroom
notice or announcement) which is stated without
qualification to be the work of a named author or
59

authorship is authentic and not a forgery. The term
“Author” or “authorship” refers to the creator of the
property or to the period, culture, source, or origin
as the case may be, with which the creation of such
property is identified in the catalogue.
The warranty is subject to the following:
i) it does not apply where a) the catalogue
description or saleroom notice corresponded
to the generally accepted opinion of scholars
and experts at the date of the sale or fairly
indicated that there was a conflict of opinions,
or b) correct identification of a lot can be
demonstrated only by means of a scientific
process not generally accepted for use until
after publication of the catalogue or a process
which at the date of the publication of the
catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
ii)
iii)
iv)
the benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Gibson’s Auctioneers & Valuers when the lot was
sold at Auction.
the Original Buyer must have remained the
owner of the lot without disposing of any interest
in it to any third party
The Buyer’s sole and exclusive remedy against
the Seller in place of any other remedy which
might be available, is the cancellation of the sale
and the refund of the original purchase price
paid for the lot less the buyers premium which is
non refundable. Neither the Seller nor Gibson’s
Auctioneers & Valuers will be liable for any
special, incidental nor consequential damages
including, without limitation, loss of profits not for
interest.
v) The Buyer must give written notice of claim
to us within fourteen (14) days of the date of
the Auction. The Seller shall have the right,
to require the Buyer to obtain two written
opinions by recognised experts in the field,
mutually acceptable to the Buyer and Gibson’s
Auctioneers & Valuers to decide whether or not
to cancel the sale under warranty.
vi)
the Buyer must return the lot to Seller in the
same condition that it was purchased.
8. Severability
If any part of these Conditions of Sale is found by any
court to be invalid, illegal or unenforceable, that part
shall be discounted and the rest of the Conditions
shall continue to be valid to the fullest extent
permitted by law.
9. Copyright
The copyright of all images, illustrations and written
material produced by Gibson’s Auctioneers &
Valuers relating to a lot including the contents of this
catalogue, is and shall remain the property at all times
of Gibson’s Auctioneers & Valuers and shall not be
used by the Buyer, nor by anyone else without our
prior written consent. Gibson’s Auctioneers & Valuers
and the Seller make no representation or warranty
that the Buyer of a property will acquire any copyright
or other reproduction rights in it.
10. Law and Jurisdiction
These terms and conditions and any matters
concerned with the foregoing fall within the exclusive
jurisdiction of the courts of the state in which the
auction is held.
11. Pre-Sale Estimates
Gibson’s Auctioneers & Valuers publishes with each
catalogue our opinion as to the estimated price range
for each lot. These estimates are approximate prices
only and are not intended to be definitive. They are
60
prepared well in advance of the sale and may be
subject to revision. Interested parties should contact
Gibson’s Auctioneers & Valuers prior to auction for
updated pre-sale estimates and starting prices.
12. Sale results
Gibson’s Auctioneers & Valuers will provide auction
results, which will be available as soon as possible
after the sale. Results will include buyer’s premium
(22% plus GST). These results will be posted at
www.gibsonsauctions.com.au.
13. Goods and Service Tax
In accordance with A New Tax System (Goods
and Services Tax) Act 1999 Gibson’s Auctioneers
& Valuers Auctions will collect on behalf of the
Australian tax office (ATO) a Goods and Service Tax
(GST) of 10% on all applicable transactions.
ABN: 26 440 767 899
GST is applicable on the hammer price in the case
where the seller is selling property that is owned by
an entity registered for GST. GST is also applicable
on the hammer price in the case where the seller is
not an Australian resident. These lots are denoted by
a dagger symbol † placed next to the estimate.
GST is also applicable on the buyer’s premium.
Overseas buyers and buyers non-resident in Australia
will not be charged GST on both hammer price and
premiums under the following conditions:
1. The items are exported through a Gibson’s
Auctioneers & Valuers approved freight
company including Australia Post
2. The items are exported within 60 days of the
date of the sale
The invoice supplied by Gibson’s Auctioneers &
Valuers for purchases will be regarded as a Tax
invoice for GST purposes.
14. Resale Royalty Scheme
Under the legal obligations of the Resale Royalty
Scheme for Visual Artists Act 2009, sellers must
provide the following information to comply with
the act:
• was the artwork acquired after 8 June 2010?
• is the sale/reserve price (including GST) $1,000
or more?
• is the artist from Australia or a country listed in
the Regulations to the Act?
• is the artist alive, or deceased less than 70
years?
The seller:
i) acknowledges that he or she understands his or
her legal obligations under the Resale Royalty for
Visual Artists Act 2009 (the Act);
ii)
iii)
iv)
undertakes to comply with all requirements of
the Act, including by providing its agent, the
company, with accurate information sufficient for
compliance with sections 28 and 29 of the Act;
undertakes to indemnify the company for any
loss incurred by the company as a result of
the vendor’s failure to comply with any of the
vendor’s legal obligations under the Act; and
acknowledges that if he or she fails to comply
with any of his or her legal obligations under
the Act, the company may provide the vendor’s
name and contact details to Copyright Agency
Limited (CAL).
Lots subject to payment of the Resale Royalty
Scheme will be denoted by the §. The Australian
Resale Royalty is a flat rate of 5% on the hammer
price (including GST). The Australian Resale Royalty
is payable by the buyer in addition to the buyers
premium plus any applicable GST.
15. Jewels & Watches
GEMSTONES
Gemstones have historically been subjected to a
variety of treatments to enhance their appearance.
Sapphire and rubies are routinely heat treated to
improve their colour and clarity, similarly emeralds
are frequently treated with oils or resin for the same
purpose. Other treatments such as staining or dyeing,
irradiation, filling or coating may have been used
on other precious and semi-precious gemstones
and organic material. These treatments may be
permanent, whilst others may need special care to
preserve their appearance. Buyers should assume
that each lot has been subject to some form of
treatment and that the estimates reflect this.
A number of laboratories issue certificates that
give detailed descriptions of gemstones, and in
the event that Gibson’s Auctioneers & Valuers has
been supplied with or obtained certificates for any
lot, this shall be noted in the catalogue. However,
as there may not be consensus between different
laboratories on the degree, or types of treatment
of the gemstones, Gibson’s Auctioneers & Valuers
supplies these without warranty.
Buyers should assume that all gemstones sold by
Gibson’s Auctioneers & Valuers may have been
subjected to such treatments, and that the catalogue
estimates reflect this.
PEARLS
Pearls, like gemstones, are also subject to various
treatments. Buyers should assume that any pearls
sold by Gibson’s Auctioneers & Valuers may have
been subjected to such treatments, and that the
catalogue estimates reflect this.
WATCHES
Please note: All watches sold by Gibson’s
Auctioneers & Valuers are sold on an “as is”
basis. Gibson’s Auctioneers & Valuers makes no
representation or warranty that any watch is in
working order. Many watches have been repaired
over their lifetime and may contain non-original parts.
The absence of any reference to the condition of a
watch does not imply that the lot is in good condition
and without defects, repairs or restorations. Buyers
should be aware that a general service, change of
battery or further repair work, for which the Buyer is
solely responsible for, may be necessary.
ESTIMATED WEIGHTS
If a stone has a known weight, it has been weighed
out of the mount. If a stone has an estimated weight,
it is an approximate weight only and has been
measured by us in the mount and is a statement of
opinion only. The information is given as a guide only
and Buyers should satisfy themselves with regard to
this information as to its accuracy.
OPPOSITE:
Lot 14 (Detail)