GA039 | Australian & International Art
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<strong>Australian</strong> &<br />
<strong>International</strong><br />
<strong>Art</strong><br />
Melbourne, Sunday 16 October 2022
Specialists & Management for this sale<br />
Jennifer Gibson<br />
CEO & Head of<br />
Valuations<br />
Deanna Baxter<br />
Business<br />
Manager<br />
Samuel Fricker<br />
Operations<br />
& Marketing<br />
Manager<br />
Jon Dwyer<br />
Consultant Specialist<br />
<strong>Australian</strong> &<br />
<strong>International</strong> <strong>Art</strong><br />
Jennifer Gibson<br />
jennifer.gibson@gibsonsauctions.com.au<br />
Deanna Baxter<br />
deanna.baxter@gibsonsauctions.com.au<br />
Samuel Fricker<br />
samuel.fricker@gibsonsauctions.com.au<br />
Jon Dwyer Consultant Specialist <strong>Australian</strong> & <strong>International</strong> <strong>Art</strong><br />
jon.dwyer@gibsonsauctions.com.au<br />
Ann Roberts Consultant Specialist Asian <strong>Art</strong><br />
ann.roberts@gibsonsauctions.com.au<br />
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ORRONG RD<br />
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OSMENT ST<br />
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Armadale, Victoria 3143<br />
AUBURN GROVE<br />
DENBIGH RD<br />
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IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
CHEEL ST
FRONT COVER:<br />
Lot 21 (Detail)<br />
BACK COVER:<br />
Lot 166<br />
<strong>Australian</strong> &<br />
<strong>International</strong><br />
<strong>Art</strong><br />
Auction<br />
Sunday 16 October 2022, 12.00 Noon<br />
Level 1, 885-889 High Street<br />
Armadale, Victoria 3143<br />
Viewing<br />
Thursday 13 October<br />
Friday 14 October<br />
Saturday 15 October<br />
10.00am – 5.00pm<br />
10.00am – 5.00pm<br />
10.00am – 5.00pm<br />
Auction Code: <strong>GA039</strong><br />
GST<br />
† Lots with this symbol are subject<br />
to GST on the hammer price and the<br />
buyer’s premium.<br />
Buyer’s Premium<br />
Buyer’s Premium is charged at<br />
22% of the hammer price plus GST.<br />
GST is applicable to the buyer’s<br />
premium only, unless otherwise<br />
indicated by the † symbol.<br />
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To register to bid at Gibson's<br />
Auctioneers & Valuers an accredited<br />
form of photo identification is required.<br />
This applies to bidding in person at<br />
the auction, Telephone, Absentee and<br />
Online bidding.<br />
Resale Royalty Scheme<br />
Lots subject to payment of the <strong>Art</strong>ist's<br />
Resale Royalty Scheme will be denoted<br />
by the symbol §. The <strong>Australian</strong> Resale<br />
Royalty is a flat rate of 5% on the<br />
hammer price (including GST) and is<br />
payable by the seller.<br />
Restricted or Organic Material<br />
♦ Lots with this symbol have been<br />
identified at the time of cataloguing<br />
as containing organic material which<br />
may be subject to export or import<br />
restrictions. The absence of this<br />
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or import restrictions will not apply. See<br />
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Payments & Collections<br />
(By Appointment)<br />
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or phone 03 9500 2607<br />
Payments & Collections can be made<br />
from: Level 1, 885-889 High Street,<br />
Armadale, Vic 3143<br />
Monday 17 October<br />
Tuesday 18 October<br />
Wednesday 19 October<br />
10am–5pm<br />
10am–5pm<br />
10am–5pm<br />
All goods must be collected and paid<br />
in full strictly by 5pm on Wednesday 19<br />
October (unless by prior arrangement)<br />
to avoid removal and storage charges.<br />
All payments are to be made in<br />
<strong>Australian</strong> Dollars (AU$). Please refer to<br />
the methods of payment in the ‘How to<br />
Buy’ section on the following pages.<br />
Credit card surcharges apply – 1.2%<br />
(excl GST) for Visa and Mastercard and<br />
2% (excl GST) for American Express.
2<br />
How to Buy<br />
All you need to know about the bidding process at auction<br />
Viewing<br />
Catalogues<br />
Online catalogues can be viewed at<br />
www.gibsonsauctions.com.au approximately three weeks<br />
prior to the auction date.<br />
Complimentary printed catalogues are available at Gibson’s<br />
Auctioneers & Valuers.<br />
Symbols<br />
Occasionally, a symbol is printed next to a lot number,<br />
indicating a special clause associated with the sale of the<br />
item/s. Further information on symbols within our catalogues<br />
can be found on Page 1.<br />
Viewing<br />
Auction viewings are open to the public and usually take place<br />
three or four days prior to the auction date, at the location/s<br />
listed in the auction catalogue and on the website.<br />
Lot Descriptions<br />
Lot Descriptions provide basic catalogue information such<br />
as dimensions, date or age, medium, attribution, provenance<br />
and quantity.<br />
All lots are guaranteed for fourteen (14) days from the<br />
auction date.<br />
Estimates<br />
Estimates are printed in the catalogue beside every lot and<br />
take into account rarity, condition, quality and provenance.<br />
The reserve is the amount at which the item is available for<br />
purchase. The reserve is an undisclosed confidential amount<br />
which is set at, or below the low estimate.<br />
The reserve will never exceed the low estimate at Gibson’s<br />
Auctioneers & Valuers. Many lots are sold without reserve.<br />
Talk to our Specialists<br />
Gibson’s Auctioneers & Valuers are an experienced team of<br />
specialists who are available to discuss items in further detail,<br />
and to offer advice and assistance.<br />
Contact details for relevant specialists can be found on the<br />
inside front cover our auction catalogues and on our website.<br />
Condition Reports<br />
Condition Reports are available on request. Condition Reports<br />
supplement the lot description and provide information on the<br />
condition of an item.<br />
We strongly advise obtaining a condition report if you are<br />
unable to view an item in person prior to the auction.<br />
To request a condition report please email<br />
condition.reports@gibsonsauctions.com.au with the auction<br />
title and lot number/s.<br />
Bidding<br />
Gibson’s Auctioneers & Valuers offer four bidding options:<br />
1. Auction Room Bidding<br />
To bid in person we suggest you arrive early so that you<br />
have sufficient time to register for a bidding number prior<br />
to the auction. If this is your first time bidding with Gibson’s<br />
Auctioneers & Valuers please bring photo identification, such<br />
as a driver’s licence or passport with you.<br />
2. Telephone Bidding<br />
Gibson’s Auctioneers & Valuers offer telephone bidding on all<br />
lots, at all auctions.<br />
Telephone Bidding is a convenient solution if you are unable to<br />
attend an auction in person. A Gibson’s Auctioneers & Valuers<br />
staff member will call you approximately 5 lots in advance and<br />
with your instruction, bid on your behalf at the auction.<br />
Please note: Telephone Bids must be organised at least 24<br />
hours prior to the auction and that occasionally, the number<br />
of telephone bidders available may be restricted when the<br />
auction is offsite.<br />
To organise a Telephone Bid please follow the link<br />
to the Telephone Bidding form on our website:<br />
www.gibsonsauctions.com.au.<br />
Please fill in & return via email to mail@gibsonsauctions.com.au<br />
If this is your first time bidding with Gibson’s Auctioneers &<br />
Valuers, an email address is to be supplied when you submit<br />
your Telephone Bid, along with clear Photo ID verifying<br />
your address.
3<br />
3. Absentee Bids<br />
Absentee Bidding is another convenient solution if you<br />
are unable to attend an auction in person, to speak on the<br />
telephone or if you simply have a strict budget.<br />
An Absentee Bid should be set at the maximum amount<br />
you wish to bid on the lot/s you are interested in purchasing.<br />
Should the lot/s be knocked down at an amount lower than<br />
the bid recorded on your form, the lot will be sold to you for<br />
the lesser hammer price.<br />
Please note Absentee Bids must be received at least 24 hours<br />
prior to the auction to allow time for processing.<br />
To organise an Absentee Bid please follow the link to<br />
the Absentee Bidding form available on our website:<br />
www.gibsonsauctions.com.au.<br />
Please fill in & return via email to mail@gibsonsauctions.com.au<br />
If this is your first time bidding with Gibson’s Auctioneers<br />
& Valuers, an email address is to be supplied when you<br />
submit your Absentee Bid, along with clear Photo ID verifying<br />
your address.<br />
4. Online Bidding<br />
Online bidding allows you to bid via the internet in real<br />
time with a live broadcast of the auction. To bid online visit<br />
our website and follow the ‘Live Bidding’ link under the<br />
‘Auctions’ tab.<br />
Please register for this service at least 24 hours prior to the<br />
auction to ensure you do not miss your lot.<br />
Please note online bidding is powered by Invaluable.com and<br />
so will incur a 5% fee on successful lots.<br />
If you have not bid with Gibson’s Auctioneers & Valuers<br />
previously, a photo ID verifying your address will be<br />
required before you can be approved to bid. Please email to<br />
mail@gibsonsauctions.com.au as soon as practical.<br />
<strong>International</strong> Bidding<br />
If you are bidding from overseas for the first time, you will be<br />
asked to provide a clear Photo ID verifying your address and<br />
a deposit (set at Gibson’s Auctioneers & Valuers’ discretion)<br />
prior to the auction. The deposit is refundable within 48<br />
hours should you not be successful. If you are successful<br />
the deposit will be deducted from your invoice total. The<br />
remaining balance must be paid preferably by direct deposit.<br />
Bank details are provided in the Payment & Collection section<br />
of this guide.<br />
Payment & Collection<br />
Payments<br />
If you are successful an invoice (AU$) will be emailed or<br />
posted to you immediately after the auction.<br />
You will pay the hammer price, plus the buyer’s premium<br />
(22% plus GST) on each Lot, together with any additional<br />
applicable charges such as GST on hammer.<br />
Payments must be made in full by the final day of Collections<br />
as printed in the catalogue.<br />
Bank Transfer/Direct Deposit is our preferred method<br />
of payment:<br />
Account Name: Gibsons Auctions<br />
Bank:<br />
Bank of Melbourne (A division of St George)<br />
BSB: 193879<br />
Account No: 441701443<br />
Swift Code: SGBLAU2S<br />
Routing Code: 021000021<br />
Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144<br />
• Personal, Company and Bank Cheques are not accepted<br />
without prior approval.<br />
• Eftpos (no charge).<br />
• Credit cards: Visa and Mastercard (1.2% excl GST merchant<br />
fee) and American Express (2% excl GST merchant fee).<br />
• Please note that credit card transactions over $5,000<br />
will not be accepted over the telephone unless by prior<br />
arrangement.<br />
• Cash payments up to AU$10,000 can be accepted. For any<br />
amount over this, cash is to be deposited directly into our<br />
account at a Bank of Melbourne/St George branch.<br />
Collections<br />
Gibson’s Auctioneers & Valuers are happy to assist and<br />
provide you with recommended transport companies whether<br />
it be a local, interstate or international delivery.<br />
Storage<br />
All items must be paid for and collected within the collection<br />
times advertised for each individual auction. If items are not<br />
collected within this time-frame, Gibson’s Auctioneers &<br />
Valuers reserve the right to charge removal and storage fees.
4<br />
1<br />
MIRKA MORA (1928-2018)<br />
The Sisters 1963<br />
watercolour and charcoal on paper<br />
signed and dated lower right: Mirka 63<br />
75 x 53cm<br />
$5,000–8,000
5<br />
1
6<br />
2<br />
GUNTER CHRISTMANN (1936-2013)<br />
Smoke Green 1971<br />
acrylic on canvas<br />
signed, dated and titled verso:<br />
G S Christmann Jan 71 SMOKE GREEN<br />
168 x 152cm<br />
EXHIBITED<br />
38 Hargrave Street, Paddington, April 1971, cat. no. 9<br />
$15,000–20,000<br />
Gunter Christmann arrived in Melbourne from Berlin in<br />
1959. He and partner Jenny Christmann soon moved<br />
to Sydney and set up a small live-in studio opposite the<br />
National <strong>Art</strong> School. They quickly became local fixtures of<br />
the Darlinghurst streetscape. Christmann’s self-directed<br />
attitude led him to reject traditional forms of arts training,<br />
preferring to draw from music, art, literature and locality to<br />
inform his practice. Christmann divided his focus across<br />
various mediums including sound work, abstract painting<br />
and drawing. The iconic ‘sprinkle’ paintings such as Smoke<br />
Green, 1971 are amongst some of the most prominent<br />
works within the artist’s oeuvre.<br />
Following his inclusion in NGV’s exhibition The Field in 1968,<br />
Christmann staged a solo show at Central Street Gallery,<br />
Sydney in 1969 selling works to state galleries, the National<br />
Gallery of Australia and writer Patrick White 1 This cemented<br />
Christmann as an integral figure of Sydney’s abstract<br />
expressionist movement and in 1971 he was chosen to<br />
represent Australia at the XI Biennale Sao Paulo alongside<br />
David Aspden.<br />
That same year the philanthropist John Kaldor invited the<br />
renowned Swiss curator Harald Szeemann to Australia with<br />
the intention to curate a show drawn from the avant garde<br />
artists he encountered. In a 14 day whirlwind tour Szeemann<br />
managed astoundingly to meet more than 70 artists.<br />
The curator selected three of the ten works Christmann<br />
exhibited at the Paddington gallery 33 Hargraves Street<br />
(which included Smoke Green, 1971) for the critically<br />
acclaimed group show ‘I want to leave a nice well done child’<br />
held at Bonython Galleries, Sydney and later at the National<br />
Gallery of Victoria, Melbourne.<br />
The paintings from around this period strongly resonated<br />
with art critics including Elwyn Lynn who wrote an essay on<br />
the powerful presence of Christmann’s lyrical abstractions:<br />
‘The feelings embodied in his work are of the ‘not-quite’<br />
or ‘kinship’ order: they are not quite about joyousness,<br />
melancholy, release, hesitancy or shyness; they are akin to<br />
expansive ease or cautious confrontation. They embody<br />
notions of a veiled life of oblique and subtle suggestions<br />
and of a tremulous untroubled uncertainty. 2 Smoke Green,<br />
1971 requires time and contemplation, the unfocused<br />
nature of the sprinkled paint encourages the eyes to dance<br />
around the canvas - the ephemeral effect is hypnotic and<br />
mesmerizing. This work is an enduring legacy of an artist’s<br />
lifetime meditation on painting.<br />
Sarah Garrecht<br />
1. Gunter Christmann obituary | Simon Barney, 'Gunter Christmann<br />
1936-2013', <strong>Art</strong> Monthly, Issue 267, March 2014, p. 62<br />
2. Elwyn Lynn, 'Gunter Christmann', in <strong>Art</strong> and Australia, vol. 10, no. 3,<br />
January 1973, p. 250
7<br />
2
8<br />
3<br />
3<br />
JAMES GLEESON (1915-2008)<br />
Nude in Psychoscape<br />
oil on board<br />
signed lower right: Gleeson<br />
20 x 14.5cm<br />
$4,000–6,000<br />
4<br />
JAMES GLEESON (1915-2008)<br />
Dionysia 1959<br />
oil on board<br />
signed lower right: Gleeson<br />
inscribed verso:<br />
DIONYSIA James Gleeson Raymond Burr Exhibition<br />
120.5 x 90.5cm<br />
PROVENANCE<br />
South Yarra Galleries, Melbourne<br />
Deutscher~Menzies, <strong>Australian</strong> & <strong>International</strong><br />
Paintings, Sculpture and Works on Paper, Melbourne,<br />
24 November 1999, Lot 100A<br />
$4,000–6,000
9<br />
4
10<br />
5<br />
5<br />
DAVID BOYD (1924-2011)<br />
Learning to Swim<br />
oil on canvas<br />
signed lower left: David Boyd<br />
30 x 35cm<br />
PROVENANCE<br />
Andrew Ivanyi Gallery, Melbourne (label verso)<br />
Private collection, Melbourne<br />
$6,000–8,000<br />
6<br />
JOHN OLSEN (BORN 1921)<br />
Pelicans Lake Eyre 1981<br />
watercolour and crayon<br />
signed and dated lower right: John Olsen 81<br />
78 x 56cm<br />
PROVENANCE<br />
Purchased from the artist's wife circa 2000<br />
Private collection, Bendigo<br />
$5,000–8,000
11<br />
6
12<br />
7<br />
7<br />
DEAN BOWEN (BORN 1957)<br />
Giant Crow<br />
oil on canvas<br />
signed lower right: Dean Bowen<br />
signed and titled verso: Dean Bowen Giant Crow<br />
122 x 153cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$5,000–7,000
13<br />
8<br />
8<br />
DOROTHY BRAUND (1926-2013)<br />
On the Beach – Three Figures 1997<br />
oil on masonite<br />
signed and dated upper left: BRAUND 97<br />
60 x 90cm<br />
PROVENANCE<br />
The Estate of Dorothy Braund<br />
$4,000–6,000
14<br />
9<br />
9<br />
KEVIN (PRO) HART (1928-2006)<br />
The Bar<br />
oil on canvas on board<br />
signed lower centre: Pro Hart<br />
34.5 x 44.5cm<br />
PROVENANCE<br />
Tom Silver Fine <strong>Art</strong>, Melbourne<br />
Private collection, Melbourne<br />
$4,000–6,000
15<br />
10<br />
10<br />
KEVIN (PRO) HART (1928-2006)<br />
Sheepyard at Night<br />
oil on board<br />
signed lower centre: Pro Hart<br />
titled verso: SHEEPYARD AT NIGHT<br />
45 x 60.5cm<br />
$5,000–8,000
16<br />
Elizabeth Durack (1915–2000) spent her formative years in<br />
the Kimberley region of Western Australia living on a remote<br />
cattle station with her family where indigenous men, women<br />
and children also lived, worked and at times practiced<br />
ancient traditions. Such relatively rare early experiences<br />
with Aboriginal people, and familiarity with their culture,<br />
left an indelible mark upon Elizabeth Durack’s outlook and<br />
subsequent long creative life.<br />
“Rim” paintings of the 1980s and ‘90s are among Durack’s<br />
late works; those of “… an artist who never stood still to<br />
watch the world pass …” 1 They featured, as part of the<br />
cerebral component, in an exhibition: Out of Sight — Out<br />
of Mind presented by the Alexander Library, Perth Cultural<br />
Centre, Western Australia, in 1991.<br />
Powerful and confronting, The Rims … emerged after<br />
extensive travels through Australia’s desert communities<br />
where Durack had been deeply affected by the breakdown<br />
of land and culture that had occurred following misguided, if<br />
well-intentioned, government policies. And – as if portents for<br />
our own times – Rim paintings reflect “a world in chaos ... ” 2<br />
It’s worth noting that Rims … are forerunners for Durack’s last<br />
series: The <strong>Art</strong> of Eddie Burrup, paintings produced under<br />
the nom de plume, alter ego, “Eddie Burrup” – a move that<br />
became controversial and heavily criticised in some quarters<br />
– yet was recognised as homage – and defended as such –<br />
by others: “Aboriginal attachment to places inherited from<br />
many generations of ancestors … does not preclude settlers<br />
from engaging with the land and people they love …” 3<br />
1. Janda Gooding, Catalogue notes: Derivations and Directions.<br />
The Works of Elizabeth Durack<br />
1930s to 1950s, <strong>Art</strong> Gallery of Western Australia,<br />
March 9 – April 30 1995<br />
2. Jan Mayman “Looking at the world in chaos”<br />
The National Times, Sydney, January 9–15 1983, p.20<br />
3. Marcia Langton, “Whitefella Jump Up” Correspondence,<br />
Quarterly Essay, Melbourne, January 2003, p.81<br />
Also: Patrick Æ Hutchings, The <strong>Art</strong> of Elizabeth Durack<br />
(A&R, Sydney, 1982)<br />
and www.elizabethdurack.com
17<br />
11<br />
ELIZABETH DURACK (1915-2000)<br />
All That Human Endeavour 1988<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
acrylic on linen on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
122 x 92cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
11<br />
12<br />
ELIZABETH DURACK (1915-2000)<br />
Terra Incognita 1988<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
acrylic on linen on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
122 x 91.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
12
18<br />
13<br />
ELIZABETH DURACK (1915-2000)<br />
To Snap the Tether ... 1990<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
mixed media on paper on board<br />
accompanied by a certificate of<br />
authenticity the <strong>Art</strong>ist's Estate verso<br />
120.5 x 90.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
13<br />
14<br />
ELIZABETH DURACK (1915-2000)<br />
The sky-born and the subterranean ...1989<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
mixed media on paper on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
122 x 91.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
14
19<br />
15<br />
ELIZABETH DURACK (1915-2000)<br />
Some See it as Spectator Sport 1990<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
mixed media on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
121.5 x 90cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
15<br />
16<br />
ELIZABETH DURACK (1915-2000)<br />
The Brink of Disaster 1990<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
mixed media on paper on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
122 x 92cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
16
20<br />
17<br />
ELIZABETH DURACK (1915-2000)<br />
Au Revoir 1990<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
mixed media on paper on board<br />
certificate of authenticity from the <strong>Art</strong>ist's Estate verso<br />
122 x 92cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
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18<br />
ELIZABETH DURACK (1915-2000)<br />
The Whole in Extremis 1989<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
mixed media on paper on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
122 x 91.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
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ELIZABETH DURACK (1915-2000)<br />
Rescue 1 1986<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
acrylic on linen on board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
122 x 92cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
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20<br />
ELIZABETH DURACK (1915-2000)<br />
It is all too much for him 1988<br />
The Rim Series – the rim of our brittle and<br />
disintegrating world ... a continuum c.1973 – 1993<br />
acrylic on linen on art board<br />
accompanied by a certificate of authenticity<br />
from the <strong>Art</strong>ist's Estate verso<br />
123 x 92cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio<br />
$2,000–4,000<br />
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21<br />
ISOBEL (ISO) RAE (1860-1940)<br />
Breton Family<br />
oil on canvas<br />
signed lower right: ISO RAE<br />
95 x 77cm<br />
PROVENANCE<br />
Private Collection, Sweden<br />
Bonhams & Goodman, Sydney,<br />
<strong>Australian</strong> and <strong>International</strong> <strong>Art</strong>, 26 April 2005, Lot 46<br />
Corporate collection, Melbourne<br />
$50,000–80,000<br />
Iso Rae was born in Melbourne and studied at the National<br />
Gallery School from 1877-87. A diligent student, she<br />
received many accolades and engaged energetically<br />
with the program. Her peers included Tom Roberts, Fred<br />
McCubbin and Rupert Bunny. Iso moved to France with her<br />
mother and sister in 1887 where she continued her studies<br />
in Paris at Académie Colarossi until the family moved to<br />
Etaples in 1893. Etaples was then a quaint fishing village<br />
and home to a colony of artists. Surrounded by vast open<br />
fields tended by Breton in traditional garb, it was a source of<br />
wholesome subject matter for many artists.<br />
In Breton Family, Iso has captured a sweet restful moment<br />
of a Breton mother with her children taking a break from<br />
tending the field. It is a delightful representation of everyday<br />
life of Brittany in the peaceful time before the first World<br />
War. ‘Many <strong>Australian</strong> impressionists painted en plein air<br />
(like the French impressionists), and is evocative of not just<br />
landscapes but the social energies of the time.’ 1 The pastoral<br />
scenes from Rae's collected works have a light ethereal<br />
lustre that focuses on the people just as much as the<br />
surrounding landscape.<br />
Scant information is available to historians on the life and<br />
times of Iso Rae, although recently published letters from<br />
the artist and her sister, Alison, provided an insight into their<br />
steadfast connection to Australia (despite never returning).<br />
Iso was a dynamic presence amongst the community of<br />
expatriates in Etaples before and during the war, exhibiting<br />
in local annual art exhibitions as well as in London, Paris<br />
and Australia.<br />
Rae’s Young Girl, Etaples c.1892 was recently acquired by<br />
the NGV in 2020 and achieved a record for the artist. This<br />
move by a major institution of raising Rae’s representation<br />
within their collection is a confirmation of her importance<br />
to our national identity; highlighting the significant<br />
contributions, narratives and histories of <strong>Australian</strong> artists<br />
living and working overseas.<br />
Sarah Garrecht<br />
1. Tiarney Miekus, An unfinished landscape: She-Oak show sheds<br />
new light on classics, The Age, 11 April 2021
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22<br />
HANS HEYSEN (1877-1968)<br />
The Farmyard Gum, Balhannah 1922<br />
charcoal and chalk<br />
signed and dated lower left: HANS HEYSEN 1922<br />
30 x 37.5cm<br />
PROVENANCE<br />
The Sedon Galleries, Melbourne (label verso)<br />
Deutscher~Menzies, Melbourne, 21 September 2005, Lot<br />
121 (label verso)<br />
$4,000–5,000<br />
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DREW GREGORY (BORN 1947)<br />
Shearer's Quarters, Shearing Shed<br />
and Stockyards, Yurdyilla Station 1991<br />
watercolour<br />
signed, dated and titled lower right and left:<br />
Drew Gregory 91 Shearer's Quarters, Shearing<br />
Shed and Stockyards, Yurdyilla Station<br />
34 x 68cm<br />
$500–800
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24<br />
24<br />
HAROLD SEPTIMUS POWER (1878-1951)<br />
Cattle Crossing the River<br />
oil on canvas on board<br />
signed lower right: H S POWER<br />
54.5 x 49.5cm<br />
$4,000–6,000
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25<br />
25<br />
ERNEST BUCKMASTER (1897-1968)<br />
Early Morning Light<br />
oil on canvas on board<br />
signed lower right: E Buckmaster<br />
61 x 73cm<br />
$4,000–6,000<br />
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JOHN FIRTH SMITH (BORN 1943)<br />
Landscape Study 1969<br />
oil on canvas<br />
initialled, dated and titled verso:<br />
J F-S LANDSCAPE STUDY '69<br />
89.5 x 92.5cm<br />
$3,000–5,000
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27<br />
27<br />
ERNEST BUCKMASTER (1897-1968)<br />
Summer, Goulburn River<br />
oil on canvas<br />
signed lower left: E Buckmaster<br />
67 x 84.5cm<br />
$6,000–10,000
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28<br />
JOSEPH FOWLES (1810-1878)<br />
Sir Hercules<br />
oil on canvas<br />
signed and inscribed lower right: J Fowles, Sydney<br />
35.5 x 45.5cm<br />
$10,000–15,000<br />
THE HORSE: SIR HERCULES (AUST 1843)<br />
Douglas Barrie in his classic 1956 book The <strong>Australian</strong> Blood<br />
Horse gives Sir Hercules prominence (pp.117–18) in his<br />
listing of Colonial-bred Stallions of the 1840s. Stating that<br />
the breeder in NSW was Charles Smith and detailing the<br />
pedigree, he notes that Sir Hercules “was one of the greatest<br />
of early <strong>Australian</strong>-bred sires. He was purchased in 1845 by<br />
Mr Thomas Icely of Coombing, where he stood. “Sent to New<br />
Zealand in 1852, and returned to New South Wales in 1857<br />
to Mr C.G. Tindal’s Ramornie Stud where he remained until<br />
1861; died at Bylong in the stud of Mr John Lee in January<br />
1866 … “He established a male line that survived until the<br />
twentieth century through Abercorn [<strong>Australian</strong> Racing<br />
Hall of Fame] who was exported to England in 1898”. Barrie<br />
also reminds us that Sir Hercules’s son Yagendon sired two<br />
champion winners of the Melbourne Cup who became noted<br />
sires in their turn: Chester and the unbeaten Grand Flaneur.<br />
THE ARTIST: JOSEPH FOWLES<br />
(b. UK, arr. NSW 1838, d.1878)<br />
Born UK, date unknown. To NSW August 1838 with his wife.<br />
Died NSW 1878 Brief article by Jocelyn Gray in <strong>Australian</strong><br />
Dictionary of Biography, vol.1 (1966)<br />
“He was noticed in the Sydney Morning Herald on 26 July<br />
1847 for his contributions to the first exhibition of the<br />
Society for the Promotion of Fine <strong>Art</strong>s in Australia. Of the<br />
seven paintings by his hand five were of ships and shipping,<br />
and it was as a marine painter that Fowles first made his<br />
reputation in Sydney. Marine paintings also made up the<br />
main part of his contribution to the exhibition of 1848.<br />
“In July 1848 Fowles published the first part of his series<br />
Sydney in 1848; his forty illustrations of the 'elegant' streets<br />
and buildings were made with painstaking accuracy 'to<br />
remove the erroneous and discreditable notions current in<br />
England concerning this city'.<br />
By 1858 Fowles had won a new reputation when Bell's<br />
Life in Sydney and Sporting Chronicle designated him<br />
'Our Colonial Herring' as a result of a series of portraits of<br />
'celebrated <strong>Australian</strong> cracks', racehorses and riding horses.<br />
The first notice of Fowles's work in this field appeared in the<br />
Illustrated Sydney News, 13 January 1855, the subjects<br />
being two much admired portraits of favourite mounts which<br />
the governor had commissioned from him. Three paintings<br />
of horses were contributed by Fowles to the <strong>Art</strong> Exhibition<br />
of 1857, together with views of English and <strong>Australian</strong><br />
ships and shipping. As well as marine and equine subjects<br />
he painted landscapes of Sydney and its environs, and<br />
recollections of English scenes.<br />
“By 1855 Fowles was training and examining young art<br />
teachers in drawing for the National Board of Education. In<br />
1867 when it was succeeded by the Council of Education<br />
he continued as teacher and examiner under the new<br />
organization, his application for reemployment claiming<br />
that he had devised a 'system of teaching elementary<br />
drawing adapted for large classes', and a series of eight<br />
graded 'Elementary Free-Hand Drawing Books' which he had<br />
composed during the 1850s, and which were sold in Sydney<br />
at 1s. a copy. On the cover of these booklets he was styled<br />
'<strong>Art</strong>ist by Appointment to His Royal Highness the Duke of<br />
Edinburgh, Drawing Master to the Training School and Public<br />
Schools of New South Wales, the Sydney Grammar School,<br />
The King's School, the Lyndhurst College, the New School<br />
… Glebe Point Collegiate, etc'. In an obituary notice he was<br />
described as the 'Father of drawing in the city'.<br />
“Fowles died, after a third paralytic stroke, on 25 June 1878,<br />
and left a widow and two married sons, the eldest of whom<br />
was also an artist, and who inherited his father's practice.”<br />
In my opinion, Joseph Fowles was superior as an equine<br />
artist to any other artist painting in Australia in the nineteenth<br />
century before Mark Gawen, and the contemporary<br />
comparison as ‘our colonial Herring’ (referring to British artist<br />
John Frederick Herring (1795–1865) seems apt.<br />
Dr Andrew Lemon AM FRHSV<br />
Historian
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29<br />
CHARLES BLACKMAN (1928-2018)<br />
The Unicorn 1994<br />
oil on canvas<br />
triptych<br />
each panel signed lower right: Blackman<br />
260 x 200cm (each)<br />
260 x 600cm (overall)<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$50,000–70,000
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30<br />
MIRKA MORA (1928-2018)<br />
Crucifixion 1976<br />
oil on canvas<br />
signed and dated lower right: MIRKA 76<br />
signed and inscribed verso: MIRKA MORA ANGLISS, ROYAL<br />
AGRICULTURAL SOCIETY OF VICTORIA, ART PRIZE ROYAL<br />
SHOWGROUNDS EPSOM ROAD ASCOT VALE 3039,<br />
MIRKA 8 RANKINS MELB. 3000, DAVID JONES 1979<br />
90.5 x 183cm<br />
PROVENANCE<br />
Private collection, Melbourne<br />
EXHIBITED<br />
William Angliss Memorial <strong>Art</strong> Prize, 1976<br />
David Jones Gallery, Sydney, 1979<br />
Mirka Mora, St. Kilda, Melbourne 1978<br />
© Rennie Ellis Photographic Archive<br />
$25,000–35,000
33<br />
30<br />
Mirka Mora’s joyousness in the face of personal trauma<br />
endeared her forever in the hearts of Melbournians. Her<br />
childhood was a dichotomy of events, from early memories<br />
of wistful summers in the south of France to living and<br />
surviving the Holocaust.<br />
Her family was living on Rue de Crimée in Paris in the<br />
1930s and the depression was taking its toll on the young<br />
Jewish family with three girls. From the age of four, Mirka<br />
would spend weekends and holidays under the charitable<br />
governance of their neighbour Paulette. When Paulette<br />
had to work, her stepmother Nouzette would watch over<br />
Mirka in her charming country home in the south of France.<br />
Nouzette, who was a devout Christian, would secretly teach<br />
young Mirka prayers and take her to Church on the weekend<br />
despite her parents’ Jewish heritage. ‘At night I slept in<br />
Nouzette’s big wooden bed, a large print of the Virgin Mary<br />
and the one of Christ with the crown of thorns over his<br />
forehead.’ 1 These formative years in the French countryside<br />
made a lasting impression on Mirka; listening to Jules<br />
Massenet arias, singing, dancing, the smell of lavender in<br />
every room, collecting hazelnuts along the roadside, reading<br />
books in the large library with beautiful Épinal prints in classic
34<br />
vibrant red, blue and yellow. A sense of romanticism was<br />
awakened and Mirka’s imagination blossomed in those early<br />
childhood encounters.<br />
This blissful, albeit hand-to-mouth, existence was soon<br />
interrupted by the looming war. For a large family, it was<br />
difficult to escape unnoticed. Even with the underground<br />
intelligence Mirka’s parents had from their involvement in the<br />
Jewish Resistance, rumours were rife. Mirka, her mother and<br />
her sisters narrowly avoided Auschwitz. Through a series<br />
of chance events her father was able to locate them and<br />
intervene just in time. After many more terrifying moments<br />
eluding capture, Mirka and her family fled Paris. Nouzette<br />
took care of her for a while, at great personal risk, until the<br />
whole family was able to find a suitable hideaway. Mirka<br />
‘spent her girlhood years hidden in the forest, emerging a<br />
mistress of invention untainted by formal education.’ 2<br />
Mirka discovered a way of handling her traumas through<br />
art, producing beautiful imagery to heal the sadness and<br />
simultaneously invoke her joie de vivre. Her work often defies<br />
definition in terms of any singular ethos, however a strong<br />
thread of spirituality is always present in the vast expanse of<br />
Mirka’s painted universe. ‘I tend to be a maker of images, my<br />
eternal images. Eternal because they are so simple - children<br />
together, often holding or surrounded by birds or dogs, a sky,<br />
a tree, a fence, the faint suggestion of a faraway landscape.’ 3<br />
Mirka’s subjects share one vital element whether a rock, tree,<br />
animal or human; they are ablaze with her enduring lightness<br />
of being and playful spontaneity.<br />
Sarah Garrecht<br />
1. Mirka Mora, My Life: Wicked but Virtuous, Penguin Random House,<br />
Australia, 2000, p. 6<br />
2. Barbara Blackman, Glass after Glass: Autobiographical reflections,<br />
Viking Publishing, Melbourne, 1987, p. 170<br />
3. Mirka Mora, My Life: Wicked but Virtuous, Op cit, p.113<br />
Mirka Mora, St. Kilda, Melbourne 1978. © Rennie Ellis Photographic Archive
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MIRKA MORA (1928-2018)<br />
Friends<br />
hand painted soft sculpture doll<br />
signed lower left leg and centre body: MIRKA<br />
35cm high, 22cm wide, 4cm deep<br />
$1,500–2,000<br />
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MIRKA MORA (1928-2018)<br />
Lovers Entwined 1971<br />
unglazed earthenware goblet<br />
thrown by Michael J Dillon<br />
incised to base: MIRKA 71 MICHAEL J . Dillon<br />
24cm high, 11cm diameter<br />
$600–800<br />
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CLIFTON PUGH (1924-1990)<br />
Collecting Dead Wool 1957<br />
oil and cement on composition board<br />
signed and dated lower left: Clifton Pugh APR 57<br />
124.5 x 73cm<br />
PROVENANCE<br />
Bonython <strong>Art</strong> Gallery, Adelaide<br />
Elder Smith Goldsbrough Mort Limited, 1 October 1968;<br />
transferred to Elders IXL in 1985 Portrait of Australia<br />
Collection, Foster's Group Limited (label verso)<br />
Sotheby's, Melbourne, The Foster's Collection of <strong>Australian</strong><br />
<strong>Art</strong>, 23 May 2005, Lot 35<br />
Corporate collection, Melbourne<br />
EXHIBITED<br />
Clifton Pugh, Macquarie Galleries, Sydney,<br />
November 1957, cat. 11<br />
Clifton Pugh, Bonython <strong>Art</strong> Gallery, Adelaide<br />
Elders IXL Collection: Masterworks of <strong>Australian</strong> Painting<br />
and French Barbizon School, Colonial, Contemporary,<br />
Continental, <strong>Art</strong> Gallery of South Australia, Adelaide,<br />
2 March - 1 April 1984, cat. 55, illus.<br />
Portrait of Australia 1830-1930: The Elders IXL Collection,<br />
Riddoch <strong>Art</strong> Gallery, Mount Gambier, SA, 25 April - 1 June<br />
1986; Mildura <strong>Art</strong>s Centre, Mildura, Vic., illus. and further<br />
venues in later years, cat. 45, illus.<br />
The Sheep Show: Colonial to Contemporary interpretations<br />
of the Sheep in <strong>Art</strong>, Ararat Gallery, Ararat, Vic.,<br />
26 October - 2 December 1990.<br />
LITERATURE<br />
Noel Macainsh, Clifton Pugh, Georgian House,<br />
Melbourne, 1962, illus. pl. 11<br />
Kym Bonython, Modern <strong>Australian</strong> Painting 1950 - 1975,<br />
Rigby, Adelaide, rev. edn 1980, illus., p. 24<br />
Traudi Allen, Clifton Pugh, Patterns of a Lifetime,<br />
Nelson, Melbourne, 1981, p. 46<br />
Ron Radford, Elders IXL Collection: Masterworks of<br />
<strong>Australian</strong> Painting and French Barbizon School, Colonial,<br />
Contemporary, Continental, <strong>Art</strong> Gallery of South Australia,<br />
Adelaide, 1984, p. 53, cat. 55, illus.<br />
Ron Radford, Pamela Luhrs et al., Portrait of Australia,<br />
Elders IXL Collection, Elders IXL, Melbourne, 1986,<br />
pp. 68-69, illus. pl. 45<br />
$20,000–30,000<br />
Clifton Pugh was an avid environmentalist known for his<br />
hard-edged gaze on rural Australia; his paintings were both<br />
commentary and a call to action. Pugh grew up in the city<br />
and after a brief service in the military, he purchased a plot<br />
of land in Cottles Bridge, Victoria. In tandem with his art<br />
practice, Pugh dedicated most of his years to developing<br />
the surrounding area of his Cottles Bridge home, restoring<br />
the natural ecosystem derailed by agriculture and invasive<br />
flora and fauna. Located on the rural fringe of developing<br />
Melbourne, it was close enough to entice city-dwelling<br />
artists to immerse themselves in the rugged bush<br />
landscape. Pugh’s property soon became a mainstay for the<br />
likes of John Olsen, Fred Williams and John Perceval.<br />
Dead Wool, 1957 was considered by the artist to be a<br />
cornerstone piece in his body of work. He casts a thoughtful<br />
counterpoint to Tom Roberts’ iconic painting Shearing the<br />
Rams, 1890, in which the shearers are championed in the<br />
<strong>Australian</strong> psyche as hard-working, boisterous larrikins.<br />
Pugh’s iconoclastic painting reveals an unsentimental<br />
facsimile of masculine labour. His focus was much more<br />
on geographical actuality as opposed to the nationalist<br />
view of his predecessors. It held a mirror to the depression<br />
and desperation facing rural livelihood - men and youths<br />
would scavenge wool from rotting sheep carcases for<br />
cash. It was grim and cheerless resourcefulness for those<br />
rugged countrymen down on their luck. The figure stoically<br />
contends with the crows who've claimed the flesh for<br />
themselves. ‘Much of Pugh’s work is the outcome of a<br />
deeply held belief in the interdependence of life — plant,<br />
animal and human. He has been inspired throughout by<br />
a spiritual affinity with the <strong>Australian</strong> desert landscape;<br />
at times he has used the battle for survival there in<br />
metaphorical ways…’ 1 Dead Wool is a testament to the<br />
harsh duality of existence for man and beast in 1950s rural<br />
Australia.<br />
Well documented and widely exhibited, this work is an iconic<br />
example of Clifton Pugh’s ability to draw on the depth and<br />
complexity of the <strong>Australian</strong> bush where ‘the landscape is<br />
moulding into sharp patterns from a chaos of grass, rocks,<br />
trees, and his stylised animals and birds provide a dramatic<br />
counterpart.’ 2 In composition, texture and colour palette this<br />
work is punchy and provocative, his intuitive ability to witness<br />
and contexualise our coexistence with nature is what makes<br />
Clifton Pugh’s work so exceptional.<br />
Sarah Garrecht<br />
1. Rosemary Crumlin, Images of Religion in <strong>Australian</strong> <strong>Art</strong>, Kensington,<br />
NSW, Bay Books, 1988, p.92<br />
2. The <strong>Australian</strong> Painters 1964-1966: Contemporary <strong>Australian</strong><br />
Painting from the Mertz Collection, 1967, p. 19
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CHARLES BLACKMAN (1928-2018)<br />
Queen of Hearts<br />
ink, gouache and watercolour<br />
signed and titled lower right and centre:<br />
Charles Blackman 'Queen of Hearts'<br />
a photo of the artist painting the<br />
artwork accompanies this lot<br />
39 x 59.5cm<br />
$7,000–10,000<br />
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CHARLES BLACKMAN (1928-2018)<br />
Figure at Window 2008<br />
bronze on black marble base<br />
signed and editioned to base: BLACKMAN 4/9<br />
25.5cm high, 19cm wide, 16.5cm deep<br />
PROVENANCE<br />
Mossgreen Gallery, Melbourne,<br />
Charles Blackman's 80th Birthday Exhibition, 2008<br />
$2,000–4,000<br />
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CHARLES BLACKMAN (1928-2018)<br />
Woman (Mauve) 2008<br />
oil and mixed media on canvas<br />
signed and dated upper right: CHARLES BLACKMAN 2008<br />
inscribed verso with Charles Blackman Foundation cat. no.<br />
CB P.23 2008<br />
59.5 x 44 cm<br />
PROVENANCE<br />
The Charles Blackman Foundation<br />
The Rothschild Collection, Melbourne<br />
$6,000–8,000<br />
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CHARLES BLACKMAN (1928-2018)<br />
Terramoto A Trieste<br />
ink on paper<br />
signed with initials and titled lower right and left:<br />
CB Terramoto A Trieste<br />
74 x 49cm<br />
$500–800
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40<br />
38<br />
ROBERT JOHNSON (1890-1964)<br />
Milking Time circa 1955<br />
oil on on canvas on board<br />
signed lower centre: Robert Johnson<br />
37 x 44.5cm<br />
PROVENANCE<br />
Moreton Galleries, Brisbane, 1955<br />
Queensland <strong>Art</strong> Gallery, Brisbane 1955-2004;<br />
deaccessioned 2004 (label verso)<br />
Deutscher~Menzies, Brisbane, Major Fine <strong>Art</strong> Auction,<br />
22 February 2006, Lot 68<br />
EXHIBITED<br />
Possibly; Robert Johnson, Grosvenor Galleries,<br />
Sydney, 30 August–15 September 1928, cat. 3.<br />
Veterinary Science, Queensland University, Brisbane,<br />
8 February 1965–17 April 1975<br />
Supreme Court, Brisbane,<br />
4 September 1975–16 February 1978<br />
Agent-General for Queensland, London, 1979<br />
$1,500–2,500<br />
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ROBERT JOHNSON (1890-1964)<br />
In the West, NSW<br />
oil on canvas board<br />
signed lower right: Robert Johnson<br />
37 x 44cm<br />
$1,000–1,500<br />
40<br />
LEROY (ROY) DE MAISTRE (1894-1968)<br />
La Rhune Peak, South West France 1925<br />
oil on board<br />
signed verso: R de Maistre<br />
31.5 x 40cm<br />
PROVENANCE<br />
Sotheby's, Melbourne, Fine <strong>Australian</strong> Paintings,<br />
Books and Ceramics, Melbourne, 26 July 1987, Lot 398<br />
$10,000–15,000
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41<br />
ANDREI GAVRILOVICH LYSENKO<br />
(RUSSIAN, 1916-2000)<br />
The Student<br />
oil on canvas<br />
signed lower centre: A. A<br />
signed and titled verso in Cyrillic:<br />
A Lysenko Student<br />
70.5 x 66.5cm<br />
$1,000–1,500<br />
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JOHANNES J PALING<br />
(DUTCH, 1844-1892)<br />
The Newborn<br />
oil on panel<br />
signed lower right: Joh. J. Paling<br />
44.5 x 33cm<br />
$1,000–1,500<br />
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43<br />
UGO CATANI (1859-1944)<br />
La Fiorentina 1880<br />
oil on canvas<br />
signed and dated lower right:<br />
U. Nicolai Catani 1880<br />
49 x 33cm<br />
$5,000–8,000<br />
NOTE<br />
Florentine born Ugo Catani trained at the<br />
Academy of <strong>Art</strong> in that city and in 1885 travelled<br />
with fellow Academy student, Girolamo Nerli, to<br />
Melbourne where he was to work for the next<br />
ten years, sharing studios with Nerli, Walter<br />
Withers, and <strong>Art</strong>hur Loureiro. Concerned by<br />
the conservative tendencies espoused by the<br />
Victorian Academy, Catani, along with fellow<br />
young artists including Tom Roberts agitated<br />
to form the <strong>Australian</strong> <strong>Art</strong>ists Association,<br />
with whom he exhibited and held office as a<br />
committee member.<br />
From 1895 Catani resided and worked in<br />
England before returning to his native Florence<br />
in the 1920s where he remained for the rest of<br />
his life.<br />
Catani earned his living principally as a portrait<br />
painter, and this work, La Fiorentina, is a work<br />
by the youthful Catani during his formative<br />
Florentine years. Here, an elegant young woman,<br />
with a glass in hand poses in an unmistakably<br />
Italian garden complete with antique statuary.<br />
42
43<br />
43
44<br />
44<br />
44<br />
ROBERT YOUNG (1926-2018)<br />
Saturday Night at the Country Local<br />
1978<br />
oil on board<br />
signed and dated lower right: R YOUNG VIII<br />
60 x 122.5cm<br />
$2,000–4,000<br />
45<br />
JOHN PERCEVAL (1923-2000)<br />
Moustached Gentleman Adjusting<br />
His Tie circa 1940<br />
oil on canvas on board<br />
signed lower right: Perceval<br />
inscribed with title verso:<br />
Moustached Gentleman adjusting his Tie<br />
64.5 x 54.5cm<br />
45<br />
PROVENANCE<br />
Hota Gallery, Gold Coast<br />
Private collection, Melbourne<br />
$4,000–6,000
45<br />
46<br />
46<br />
DOROTHEA FRANCIS (1903-1975)<br />
Daphne and Henrietta c. 1942<br />
oil on board<br />
signed lower left: Dorothea Francis<br />
51.5 x 41.5cm<br />
PROVENANCE<br />
Jim Alexander Gallery, Melbourne<br />
Private collection, Melbourne<br />
EXHIBITED<br />
Jim Alexander Gallery, Dorothea and Margaret<br />
Francis, 14 - 22 March 1987, cat. no. 12<br />
$1,200–1,500<br />
47<br />
HAROLD SEPTIMUS POWER<br />
(1877-1951)<br />
My Best Friend<br />
oil on canvas on board<br />
signed lower left: H. S. POWER<br />
33.5 x 26.5cm<br />
$1,000–1,500<br />
47
46<br />
48<br />
48<br />
RAY CROOKE (1922-2015)<br />
Islanders<br />
watercolour and gouache on paper<br />
signed lower left: R Crooke<br />
34.5 x 25cm<br />
$4,000–6,000<br />
49<br />
RAY CROOKE (1922-2015)<br />
The Islander<br />
oil on canvas on board<br />
signed lower left: R Crooke<br />
21 x 19.5cm<br />
PROVENANCE<br />
Lawsons, Sydney, Fine & Decorative <strong>Art</strong>s, Jewellery<br />
& Antique Furniture, 30 November 2012, Lot 2266<br />
$4,000–5,000
47<br />
50<br />
50<br />
RAY CROOKE (1922-2015)<br />
Islander Mother and Baby<br />
watercolour and gouache on paper<br />
signed lower right: R Crooke<br />
32.5 x 23cm<br />
$4,000–6,000
48<br />
51<br />
51<br />
JOHN POINTON (BORN 1936)<br />
Terrace Houses 1976<br />
oil on board<br />
signed and dated lower right: Pointon 76<br />
39 x 57cm<br />
$500–800<br />
52<br />
HUGH SAWREY (1919-1999)<br />
The Brand New Jillaroo<br />
oil on board<br />
signed lower right: SAWREY<br />
signed and titled verso:<br />
HUGH SAWREY THE BRAND NEW JILLAROO N.S. WALES<br />
34 x 29.5cm<br />
PROVENANCE<br />
Private Collection, NSW<br />
$6,500–9,000
49<br />
52
50<br />
53<br />
53<br />
LOUIS KAHAN (1905-2002)<br />
Nude on Red Background 1994<br />
oil on canvas on board<br />
signed and dated lower right:<br />
Louis Kahan 94<br />
59.5 x 38.5cm<br />
PROVENANCE<br />
Wagner <strong>Art</strong> Gallery, Sydney<br />
Private collection, Melbourne<br />
$2,000–3,000<br />
54<br />
PETER SORRELL (BORN 1948)<br />
Sunlight in an Empty Room<br />
oil on canvas<br />
signed lower right: SORRELL<br />
38 x 54.5cm<br />
PROVENANCE<br />
Libby Edwards Galleries, Melbourne<br />
Private collection, Melbourne<br />
$1,500–2,500<br />
55<br />
PETER SORRELL (BORN 1948)<br />
I'll toss you for it<br />
oil on canvas<br />
signed lower right: SORRELL<br />
38 x 58cm<br />
PROVENANCE<br />
Libby Edwards Galleries, Melbourne<br />
(label verso)<br />
Private collection, Melbourne<br />
$1,500–2,500
51<br />
54<br />
55
52<br />
56<br />
PHILLIP PIPERIDES (BORN 1956)<br />
Standing Nude<br />
bronze<br />
signed and numbered on base: P. Piperides AP2<br />
on marble base<br />
67cm high, 70.1cm high (including base)<br />
$1,500–2,500<br />
57<br />
JOHN BRACK (1920-1999)<br />
Nude in Profile 1978<br />
lithograph<br />
signed, dated, titled and editioned on margin:<br />
John Brack 78 Nude in Profile 108/300<br />
64.5 x 47.5cm<br />
PROVENANCE<br />
The Borough Gallery, Melbourne<br />
Private collection, Bendigo<br />
$2,000–4,000<br />
58<br />
CLAIRE DEMARTINÉCOURT<br />
(FRENCH, 20TH CENTURY)<br />
Jardins prés de la route d'Is-sur-Tille.<br />
Au fond l'église<br />
oil on canvas<br />
signed lower right: C. Demartinecourt<br />
titled verso: Jardins prés de la route d'Is-sur-Tille.<br />
Au fond l'église<br />
47 x 55 cm<br />
PROVENANCE<br />
Private collection, Melbourne<br />
$600–900<br />
56
53<br />
57
54<br />
59<br />
59<br />
DOROTHY BRAUND (1926-2013)<br />
Street Sleepers, Karachi<br />
oil on board<br />
signed lower right: BRAUND<br />
inscribed verso: "STREET SLEEPERS, KARACHI"<br />
65.5 x 114.5cm<br />
PROVENANCE<br />
Property from the Collection of Andrée Harkness<br />
EXHIBITED<br />
Freedom from Hunger, H C Memorial Prize,<br />
Queensland <strong>Art</strong> Gallery, 1963, cat. no. 116 (label verso)<br />
$2,000–3,000
55<br />
60<br />
60<br />
DOROTHY BRAUND (1926-2013)<br />
Model Study<br />
oil on masonite<br />
56 x 91.5cm<br />
PROVENANCE<br />
The Estate of Dorothy Braund<br />
$3,000–5,000<br />
61<br />
DOROTHY BRAUND (1926-2013)<br />
Curves and Angles<br />
oil on masonite<br />
inscribed and titled verso:<br />
DOROTHY BRAUND CURVES & ANGLES<br />
59.5 x 90.5cm<br />
PROVENANCE<br />
The Estate of Dorothy Braund<br />
$2,500–3,500<br />
61
56<br />
62<br />
62<br />
SALI HERMAN (1898-1993)<br />
Breaking Light, Outback Australia 1956<br />
oil on canvas<br />
signed and dated lower right: S Herman 56<br />
65 x 91.5cm<br />
© Sali Herman/Copyright Agency, 2022<br />
PROVENANCE<br />
Retirement gift to the General Manager, Dalgety's, Sydney<br />
circa 1960, thence by descent<br />
$2,000–4,000<br />
63<br />
DAVID WELCH<br />
Twilight<br />
oil on canvas<br />
signed and titled verso: David Welch 'Twilight'<br />
100.5 x 137cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$1,200–1,800<br />
64<br />
JESSIE TRAILL (1881-1967)<br />
Spring Blossoms 1909<br />
watercolour<br />
signed and dated lower left: J. C. A . Traill 1909<br />
28 x 36cm<br />
$1,200–1,800<br />
65<br />
JESSIE TRAILL (1881-1967)<br />
The Royal Procession<br />
watercolour<br />
signed lower right: JCA Traill<br />
27 x 31.5cm<br />
$500–800
57<br />
63<br />
64
58<br />
66<br />
67
59<br />
68<br />
66<br />
KERRIE WARREN (BORN 1968)<br />
Chasing Shadows 2011<br />
acrylic on canvas<br />
signed, dated and titled verso:<br />
KERRIE WARREN 2011 Chasing Shadows<br />
140 x 240.5cm<br />
$1,500–2,500<br />
67<br />
ROBERT DICKERSON (BORN 1924)<br />
Geisha and Nobleman<br />
pastel on paper<br />
signed lower right: Dickerson<br />
38.5 x 54.5cm<br />
$5,000–6,000<br />
68<br />
EUAN MACLEOD (BORN 1956)<br />
Geoff Sleeping 1998<br />
oil on canvas<br />
signed, dated and titled verso:<br />
EUAN MACLEOD GEOFF SLEEPING 4/98<br />
49.5 x 90cm<br />
PROVENANCE<br />
Victor Mace Fine <strong>Art</strong> Gallery, Brisbane<br />
$2,500–3,500<br />
69<br />
IAN GARDINER (1943-2008)<br />
Red Rock, Flinders 2006<br />
oil on canvas<br />
inscribed, dated and titled verso:<br />
IAN GARDINER 2006 RED ROCK FLINDERS<br />
122 x 122cm<br />
$1,500–2,500
60<br />
70<br />
SIDNEY NOLAN (1917-1992)<br />
Mother and Child 1968<br />
oil on paper<br />
signed and dated verso: Nolan 10 Feb 68<br />
30 x 25cm<br />
$1,000–2,000<br />
71<br />
SIDNEY NOLAN (1917-1992)<br />
Seated Mother and Child 1968<br />
oil on paper<br />
signed and dated verso: Nolan 10 Feb 68<br />
30 x 25cm<br />
$1,000–2,000<br />
72<br />
SIDNEY NOLAN (1917-1992)<br />
Little Boy Lost (Blake Series)<br />
oil on paper<br />
25.5 x 20.5cm<br />
$800–1,200<br />
70<br />
71<br />
73<br />
SIDNEY NOLAN (1917-1992)<br />
Dust 1971<br />
suite of twenty five (25) etchings<br />
1. Jinker<br />
2. Township<br />
3. Mission station<br />
4. Carcase in tree<br />
5. Ned Kelly<br />
6. Deserted<br />
homestead<br />
7. Kelly<br />
8. Camel cart<br />
9. Kelly<br />
10. Kelly<br />
11. Kelly<br />
12. Carcase<br />
from an edition of 60<br />
25 x 30cm (average plate size)<br />
$8,000–12,000<br />
13. Carcase<br />
14. Horse<br />
15. Jumper<br />
16. Horse<br />
17. Carcase<br />
18. Abandoned truck<br />
19. Carcase<br />
20. Carcase<br />
21. Carcase<br />
22. Carcase<br />
23. Carcase<br />
24. Carcase<br />
25. Mulka<br />
74<br />
SIDNEY NOLAN (1917-1992)<br />
Two Figures, Horse and Figure and Lovers<br />
three works, crayon on paper<br />
each signed lower right: Nolan<br />
32 x 24cm (each)<br />
$800–1,200
61<br />
76<br />
75<br />
SIDNEY NOLAN (1917-1992)<br />
Hummingbird and Vine<br />
colour lithograph<br />
signed and editioned lower right and left: Nolan 90/100<br />
63 x 52.5cm<br />
PROVENANCE<br />
The Borough Gallery, Melbourne<br />
Private collection, Bendigo<br />
$700–900<br />
76<br />
JAMES GLEESON (1915-2008)<br />
Nudes in Psychoscape<br />
oil on board<br />
19.5 x 14.5cm<br />
$4,000–6,000
62<br />
77<br />
77<br />
THEA PROCTOR (1879-1966)<br />
Nude Study 1959<br />
watercolour and pencil<br />
signed and dated lower right: Thea Proctor 59<br />
29.5 x 40cm<br />
$800–1,200<br />
78<br />
78<br />
RUPERT BUNNY (1864-1947)<br />
Nude Study 1927<br />
ink on paper<br />
signed with monogram, dated and inscribed lower<br />
right: RCWB To Binky from Rupert W Bunny 12.3.27<br />
30.5 x 21cm<br />
$800–1,200
63<br />
79<br />
79<br />
RUSSELL DRYSDALE (1912-1981)<br />
The Drover<br />
ink on paper<br />
signed lower left: Russell Drysdale<br />
25 x 19cm<br />
$4,000–6,000<br />
80<br />
LAWRENCE DAWS (BORN 1927)<br />
Adelaide Hills 1964<br />
oil on paper<br />
signed and dated lower right: DAWS 64<br />
60 x 60cm<br />
$500–800
64<br />
81<br />
82
65<br />
83<br />
81<br />
HAROLD B HERBERT (1892-1945)<br />
<strong>Australian</strong> Pastoral 1929<br />
watercolour<br />
signed and dated lower right: HAROLD B HERBERT 29<br />
34 x 47.5cm<br />
$600–1,000<br />
82<br />
ROBERT JOHNSON (1890-1964)<br />
Homestead in the Valley<br />
oil on canvas on board<br />
signed lower right: Robert Johnson<br />
29 x 36.5cm<br />
$1,000–1,500<br />
83<br />
ROBERT JOHNSON (1890-1964)<br />
Pioneer Cottage in the Capertee Valley<br />
oil on canvas<br />
signed lower right: Robert Johnson<br />
53.5 x 63.5cm<br />
$2,000–4,000<br />
84<br />
JOHN LOXTON (1903-1969)<br />
Passing Gleam, Katoomba, NSW<br />
oil on canvas<br />
signed lower right: John S Loxton<br />
44.5 x 58.5cm<br />
$400–600
66<br />
85<br />
86
67<br />
87<br />
85<br />
ERIK LANGKER (1898-1982)<br />
Sparkling Sea<br />
oil on canvas on board<br />
signed lower right: E LANGKER<br />
59 x 75cm<br />
$1,200–1,800<br />
86<br />
LIONEL TOWNSEND CRAWSHAW (1864-1949)<br />
Pulling Up the Cables<br />
oil on canvas on board<br />
signed lower right: L Crawshaw<br />
43 x 67.5cm<br />
$1,200–1,500<br />
87<br />
JAMES R JACKSON (1882-1975)<br />
Reflection, Morning Light, Merricks Beach,<br />
Western Port Bay VIC<br />
oil on canvas on board<br />
signed lower left: James R Jackson<br />
inscribed verso: REFLECTION MORNING LIGHT<br />
MERRICKS BEACH WEST. PORT BAY VIC<br />
44.5 x 54.5cm<br />
$8,000–12,000
68<br />
88<br />
88<br />
ALEXANDER COLQUHOUN (1862-1941)<br />
Figures in the Park<br />
oil on canvas on board<br />
signed lower right: A Colquhoun<br />
46 x 40cm<br />
$1,000–1,500<br />
89<br />
ALEXANDER COLQUHOUN (1862-1941)<br />
Near Ricketts Point<br />
oil on board<br />
signed lower left: A. Colquhoun<br />
24 x 33.5cm<br />
$700–900<br />
90<br />
BEN SHEARER (BORN 1941)<br />
Aerial Outback 1984<br />
watercolour<br />
signed and dated lower right: BEN SHEARER 84<br />
52 x 71cm<br />
$800–1,200<br />
91<br />
BEN SHEARER (BORN 1941)<br />
Morning Crossroads 1984<br />
watercolour<br />
signed and dated lower right: BEN SHEARER 84<br />
25 x 60cm<br />
$400–600
69<br />
92<br />
92<br />
ALICE M E BALE (1875-1955)<br />
Near Castlemaine 1928<br />
oil on canvas<br />
signed lower left: A M E BALE<br />
inscribed verso: 28 Feb '28<br />
24 x 29.5cm<br />
$1,500–2,500<br />
93<br />
ALICE M E BALE (1875-1955)<br />
A Little Bit of Castlemaine 1928<br />
oil on board<br />
signed and dated lower left: A M E BALE 1928<br />
30 x 24.5cm<br />
$2,000–3,000<br />
93
70<br />
94<br />
94<br />
ARTIST UNKNOWN<br />
Landscape<br />
oil on canvas<br />
diptych<br />
213 x 198cm (each)<br />
213 x 396cm (overall)<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$800–1,200<br />
95<br />
95<br />
KEVIN (PRO) HART (1928-2006)<br />
Flowers<br />
oil on board<br />
signed lower right: Pro Hart<br />
11.5 x 9.5cm<br />
$1,800–2,500
71<br />
96<br />
96<br />
LISA ADAMS (BORN 1969)<br />
Heaven and Hell 1993<br />
oil on canvas<br />
signed and dated lower right: LISA ADAMS 93<br />
87 x 87cm<br />
$5,000–6,000<br />
97<br />
GWENDOLINE KRUMINS<br />
The Lily Pond 2012<br />
oil on canvas<br />
signed and dated lower right: Gwendoline Krumins 2012<br />
83.5 x 122cm<br />
$800–1,500
72<br />
98<br />
GRAHAM FRANSELLA (BORN 1950)<br />
River 2001<br />
oil on canvas<br />
triptych<br />
each panel signed verso: Fransella<br />
one panel signed, dated and titled verso:<br />
Fransella 2001 RIVER<br />
150.5 x 200cm (each panel)<br />
150.5 x 600cm (overall)<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$6,000–9,000
73<br />
98
74<br />
99<br />
ADAM CULLEN (1965-2012)<br />
Kelly 2009<br />
screenprint<br />
signed, dated, titled and editioned on<br />
margin: A Cullen 09 "Kelly" 1/30<br />
84 x 69.5cm (image size)<br />
118 x 100cm (frame size)<br />
$2,200–2,800<br />
99<br />
100<br />
ADAM CULLEN (1965-2012)<br />
Kelly-Hunter 2009<br />
screenprint<br />
signed, dated, titled and editioned on<br />
margin: A Cullen 09 "KELLY HUNTER" 1/30<br />
70 x 70cm (image size)<br />
103 x 99.5cm (frame size)<br />
$2,200–2,800<br />
100
75<br />
101<br />
101<br />
JASPER KNIGHT (BORN 1978)<br />
Black & Yellow Jetty 2006<br />
mixed media on board<br />
signed, dated and titled verso:<br />
JASPER KNIGHT 2006 "BLACK & YELLOW JETTY"<br />
152 x 152cm<br />
PROVENANCE<br />
Metro 5 Gallery, Melbourne<br />
Private Collection, Melbourne, 2006<br />
$6,500–8,500<br />
102<br />
BERNARD HESLING (1905-1987)<br />
The King and The Queen 1968<br />
vitreous enamel<br />
signed and dated lower left: HESLING 68<br />
81.5 x 42.5cm<br />
$800–1,200
76<br />
103<br />
103<br />
MIKE WORRALL (BORN 1942)<br />
Geometry of Costume 2001<br />
oil on canvas<br />
signed and dated lower left:<br />
Mike Worrall 2001-7<br />
inscribed, dated and titled verso: Mike<br />
Worrall 2001 'GEOMETRY OF COSTUME"<br />
123 x 182cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$1,000–2,000<br />
104<br />
104<br />
PAUL MARGOCSY (BORN 1945)<br />
South American Pale Flamingo<br />
acrylic and gouache on canvas<br />
signed and titled lower right: Paul<br />
Margocsy FLAMINGOES<br />
77.5 x 77.5cm<br />
$1,200–1,800
77<br />
105<br />
105<br />
DAVID BROMLEY (BORN 1960)<br />
Belinda<br />
acrylic on paper board<br />
signed lower left: BROMLEY<br />
152.5 x 101cm<br />
$2,500–4,500<br />
106<br />
ROSEMARY TODMAN-PARRANT<br />
Unadorned Beauty<br />
pastel<br />
signed lower right: TODMAN<br />
72 x 100cm<br />
$800–1,200
78<br />
107<br />
107<br />
COLIN PENNOCK (BORN 1964)<br />
Storm Surge 2013<br />
oil on linen<br />
signed, dated and titled verso:<br />
Colin Pennock 2013 'STORM SURGE'<br />
61 x 61cm<br />
PROVENANCE<br />
<strong>Art</strong>house Gallery, Sydney<br />
Corporate collection, Melbourne<br />
$3,000–5,000<br />
108<br />
STEVEN HARVEY (BORN 1965)<br />
Winged Apostle –<br />
Two Blocks of Paint on Magenta Pallet 2003<br />
oil on canvas<br />
signed, dated and titled verso: Steven Harvey 2003 WINGED<br />
APOSTLE - TWO BLOCKS OF PAINT ON MAGENTA PALLET<br />
184.5 x 146cm<br />
PROVENANCE<br />
Private collection, Melbourne<br />
EXHIBITED<br />
Steven Harvey: Apostle, Niagara Galleries, Melbourne,<br />
3 - 28 June 2003, cat. 3<br />
$6,000–9,000
79<br />
108
80<br />
109<br />
109<br />
BRUCE EARLES (BORN 1953)<br />
Birdman Can't Fly 1999-2000<br />
oil on canvas<br />
signed and dated lower centre: Bruce Earles 2000<br />
signed, dated and titled verso:<br />
BRUCE EARLES 99 BIRDMAN CAN'T FLY<br />
91 x 101.5cm<br />
PROVENANCE<br />
The National Australia Bank Collection<br />
$2,500–3,500<br />
110<br />
BRONWYN BANCROFT (BORN 1958)<br />
Respect 1993<br />
gouache on paper<br />
signed and dated lower right: B M BANCROFT 1993<br />
75.5 x 55.5cm<br />
PROVENANCE<br />
The Kelton Foundation, Santa Monica,<br />
California, USA (label verso)<br />
$700–1,000
81<br />
111<br />
111<br />
McLEAN EDWARDS (BORN 1972)<br />
The Cherry Orchard 2007<br />
oil on canvas<br />
signed, dated and titled verso:<br />
McLean Sydney 07 'THE CHERRY ORCHARD'<br />
152.5 x 153.5cm<br />
PROVENANCE<br />
Martin Browne Fine <strong>Art</strong>, Sydney (label verso)<br />
Mossgreen Auctions, Melbourne, The <strong>Australian</strong><br />
<strong>Art</strong> Collection of Sandra Powell and Andrew King,<br />
19 March 2014, Lot 61<br />
Private collection, Sydney<br />
EXHIBITED<br />
Martin Browne Fine <strong>Art</strong>, McLean Edwards, 18th July - 12th<br />
August 2007, catalogue no. 11, front cover (illus.)<br />
$8,000–10,000
82<br />
112<br />
112<br />
JOHN HOWLEY (1931-2020)<br />
You Know 1976<br />
oil on canvas<br />
signed and dated lower right: Howley 76<br />
signed and titled verso: Howley You know ...<br />
136.5 x 151.5cm<br />
$2,000–3,000<br />
113<br />
113<br />
DEBORAH HALPERN (BORN 1957)<br />
Head on Pedestal 1994<br />
painted and glazed ceramic<br />
signed with initials and dated on base: D.D.H. '94<br />
48cm high, 26cm wide, 23cm deep<br />
$1,500–2,500
83<br />
114<br />
114<br />
ALAN SUMNER (1911-1994)<br />
The Dilemma of Peter 1979<br />
stained glass<br />
signed lower centre: ALAN SUMNER<br />
96 x 74cm (irregular)<br />
PROVENANCE<br />
The Estate of Alan Sumner, 1995<br />
EXHIBITED<br />
Alan Sumner Retrospective,<br />
National Gallery of Victoria, 1993<br />
$1,000–1,500<br />
115<br />
AUGUSTINE DALL'AVA (BORN 1950)<br />
Untitled 1998<br />
wood sculpture<br />
signed and dated to base: A Dall'ava 1998<br />
dated on base: 1998<br />
87cm high<br />
$3,000–5,000
84<br />
116<br />
116<br />
FRED CRESS (1938-2009)<br />
Plaza 1970<br />
acrylic on canvas<br />
signed, dated and titled verso: FRED CRESS 1970 "PLAZA"<br />
151.5 x 151.5cm<br />
ILLUSTRATED<br />
Krell, Alan, Fred Cress: Stages, Wild & Woolley,<br />
Sydney, 1989, p. 126, plate 8 (illus)<br />
$3,000–5,000<br />
117<br />
MICHAEL VINCENT MURPHY (BORN 1943)<br />
The Cradle and The Crucible 2004<br />
oil and acrylic on canvas<br />
signed and dated lower right: Michael Vincent Murphy 2004<br />
122 x 153cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$800–1,200
85<br />
118<br />
118<br />
JOHN BAIRD (BORN 1954)<br />
Wicker Chair 2003<br />
acrylic, wallpaper, fabric and shellac on board<br />
signed and dated verso: JOHN BAIRD OCT 03<br />
150 x 120cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$2,000–4,000<br />
119<br />
PRISCILLA BRACKS (BORN 1973)<br />
The Dream 2007<br />
lenticular image<br />
signed, dated and titled verso:<br />
Priscilla Bracks 2007 'The Dream' from the Epilogue<br />
to the series Making the Empire Cross<br />
74.5 x 50cm<br />
$700–900
86<br />
120<br />
121
87<br />
122<br />
120<br />
JOHN PERCEVAL (1923-2000)<br />
Fisherman on the Jetty with Boats<br />
charcoal<br />
signed lower left: Perceval<br />
48.5 x 67cm<br />
$2,000–3,000<br />
121<br />
JEAN BELLETTE (1908-1991)<br />
The Procession<br />
oil on canvas<br />
signed with initials lower right: J B<br />
96.5 x 161.5cm<br />
$3,000–5,000<br />
122<br />
JOHN OLSEN (BORN 1921)<br />
Pelican Dance 1972<br />
watercolour<br />
signed and dated lower right: John Olsen 72<br />
36.5 x 54.5cm<br />
PROVENANCE<br />
Lidums Gallery, Adelaide 1972<br />
Private collection, Western Australia<br />
Leonard Joel, Melbourne, Fine <strong>Art</strong>, 4 June 2019, Lot 83<br />
Private collection, Melbourne<br />
$10,000–12,000
88<br />
123<br />
123<br />
DAVID BROMLEY (BORN 1960)<br />
Arm in Arm, Springtime<br />
acrylic on canvas<br />
signed lower left: BROMLEY<br />
accompanied by a certificate of<br />
authenticity from the artist<br />
152.5 x 122cm<br />
$2,000–4,000<br />
124<br />
DAVID BROMLEY (BORN 1960)<br />
Butterflies<br />
acrylic and silver paint on canvas<br />
signed lower centre: BROMLEY<br />
accompanied by a certificate of<br />
authenticity from the artist<br />
152.5 x 183cm<br />
$2,000–4,000<br />
125<br />
DAVID BROMLEY (BORN 1960)<br />
Butterflies<br />
acrylic on canvas<br />
signed lower right: BROMLEY<br />
accompanied by a certificate of<br />
authenticity from the artist<br />
101.5 x 152.5cm<br />
$1,500–2,500
89<br />
124<br />
125
90<br />
126<br />
126<br />
DOROTHY BRAUND (1926-2013)<br />
Cake 1974<br />
oil on masonite<br />
signed and dated lower left: BRAUND 74<br />
inscribed with title verso: CAKE<br />
60.5 x 91cm<br />
PROVENANCE<br />
The Estate of Dorothy Braund<br />
$3,000–5,000<br />
127<br />
JULES SHER (BORN 1934)<br />
Wave & Rock – Indian Ocean 2000<br />
acrylic on canvas<br />
signed, dated and titled verso:<br />
Jules Sher 2000 WAVE & ROCK - INDIAN OCEAN<br />
100 x 95cm<br />
$800–1,200<br />
128<br />
JAMIE BOYD (BORN 1949)<br />
Shoalhaven<br />
oil on board<br />
signed lower right: Jamie Boyd<br />
89.5 x 59.5cm<br />
$3,000–5,000<br />
129<br />
JAMES WIGLEY (1917-1999)<br />
Young Aboriginal Girl with Doll 1986<br />
oil and gouache on board<br />
signed and dated lower left: James Wigley 1986<br />
45 x 35cm<br />
$400–600
91<br />
128
92<br />
130<br />
130<br />
ARTIST UNKNOWN (20TH CENTURY)<br />
Catfish circa 1940<br />
natural earth pigments on bark<br />
43 x 80cm<br />
PROVENANCE<br />
Judy Hilberg Collection, UK circa 1970<br />
Taylor A. Dale, Santa Fe, New Mexico<br />
The Kelton Foundation, Santa Monica, USA, 2002<br />
$1,200–1,800<br />
131<br />
JOHNNY BULUN BULUN (1946-2010)<br />
Turtles circa 1967<br />
natural earth pigments on eucalyptus bark<br />
inscribed verso:<br />
BULAN BULAN COLLECTED 1969<br />
105.5 x 57cm<br />
PROVENANCE<br />
Avant Galleries, South Yarra<br />
The Richard Kelton Collection, Santa Monica,<br />
USA, 1991<br />
$1,500–2,500<br />
131
93<br />
132<br />
132<br />
DJAWIDA NADJONGORLE (CIRCA 1943-2008)<br />
Nawarra, Stone Country Dreaming Ancestor<br />
and His Wives circa 1990<br />
natural earth pigments and synthetic paint on paper<br />
152 x 101cm<br />
PROVENANCE<br />
Hogarth Galleries, Sydney<br />
Lawsons, Aboriginal <strong>Art</strong>, Sydney,<br />
September 1994, Lot No. 209<br />
The Kelton Foundation, Santa Monica, USA, 1994<br />
$1,000–2,000<br />
133<br />
BOB DINGLE TJAPANANGKA (20TH CENTURY)<br />
Goanna Men from Wati Kutjara (Two Men)<br />
Dreaming 1996<br />
synthetic polymer paint on linen<br />
inscribed verso:<br />
BOB DINGLE WARLAYIRTI ARTISTS cat. no. 230/96<br />
119 x 80cm<br />
PROVENANCE<br />
Warlayirti Aboriginal <strong>Art</strong>ists Corporation, Balgo<br />
The Richard Kelton Collection, Santa Monica, USA, 1997<br />
$800–1,200
94<br />
135<br />
134<br />
134<br />
GEORGE LIWUKANG (BORN 1927)<br />
The Transition Squid to Flying Fox 1993<br />
synthetic polymer paint on canvas<br />
181.5 x 89cm<br />
PROVENANCE<br />
Peter Madden, Galerie Boomerrang, Amsterdam<br />
The Kelton Foundation, Santa Monica, USA, 1996<br />
$800–1,200<br />
135<br />
CHARLIE MANJUWUY (BORN 1934)<br />
Baru 1990<br />
synthetic polymer paint on canvas<br />
105 x 84cm<br />
PROVENANCE<br />
Peter Madden, Galerie Boomerrang, Amsterdam<br />
The Kelton Foundation, Santa Monica, USA, 1996<br />
$800–1,000
95<br />
136<br />
NARRITJIN MAYMURU (1916-1981)<br />
Opossum Tree<br />
natural earth ochres on bark<br />
116 x 50.5cm<br />
PROVENANCE<br />
The James Davidson Collection<br />
$1,500–2,000<br />
136
96<br />
137<br />
JIMMY PASCOE MATJIRRI (BORN 1957)<br />
Catfish<br />
ochres on carved milkweed<br />
15cm high, 55cm wide<br />
PROVENANCE<br />
Aboriginal <strong>Art</strong>s and Crafts Pty. Ltd., Sydney<br />
The Richard Kelton Collection, Santa Monica, USA, 1979<br />
$800–1,200<br />
138<br />
ARTIST UNKNOWN<br />
Mokuy Carved Spirit Figure 1960<br />
natural earth pigments on wood<br />
55cm high<br />
PROVENANCE<br />
Taylor A. Dale, Santa Fe, New Mexico<br />
The Richard Kelton Collection, Santa Monica, USA, 1993<br />
$800–1,200<br />
139<br />
LARRTJANGA GANAMBARR (1932-2000)<br />
Magic Figure circa 1965<br />
ochres, bush string, lorikeet feather, human hair on softwood<br />
67cm high<br />
PROVENANCE:<br />
Sotheby's, Melbourne, Important Aboriginal <strong>Art</strong>,<br />
Selected Works from the Louis A. Allen Collection,<br />
Melbourne, June 1998, Lot 79<br />
The Richard Kelton Collection, Santa Monica, USA, 1998<br />
EXHIBITED<br />
<strong>Australian</strong> Aboriginal <strong>Art</strong>, Field Museum of Natural History,<br />
Chicago, March 3 - September 19, 1972<br />
<strong>Australian</strong> Aboriginal <strong>Art</strong> from the Louis A. Allen<br />
Collection, M.H. De Young Memorial Museum, California<br />
Palace of the Legion of Honour, San Francisco.<br />
September 14, 1973 - March 24 1974<br />
LITERATURE<br />
Allen, L., Aboriginal <strong>Art</strong>: Arnhem Land,<br />
Field Museum of History, USA, 1971, p. 32 (illus)<br />
$1,000–2,000<br />
137
97<br />
138<br />
139
98<br />
140<br />
140<br />
LINDSAY BIRD PETYARRE (BORN CIRCA 1935)<br />
Mulga Seed Dreaming 2007<br />
acrylic on Belgian linen<br />
signed, dated and cat. no. verso: LINDSAY Sept 07 IW4411<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
180 x 120cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>s, Alice Springs<br />
Private collection, Sydney<br />
$2,000–3,000<br />
141<br />
CLIFFORD POSSUM TJAPALTJARRI (1933-2002)<br />
Napperby Dreaming 1994<br />
synthetic polymer paint on canvas<br />
inscribed verso: CLIFFORD POSSUM (twice) 94.05.18<br />
A.G.O.D. cat. no. 3723<br />
accompanied by a certificate of authenticity<br />
from Aboriginal Gallery of Dreamings<br />
182.5 x 128cm<br />
PROVENANCE<br />
Aboriginal Gallery of Dreamings, Melbourne<br />
Private collection, Melbourne<br />
$15,000–20,000
99<br />
141
100<br />
142<br />
DONNY WOOLAGOODJA (BORN 1947)<br />
IN COLLABORATION WITH GUDU MUNGULU,<br />
GABRIELLA DOLBY, LEAH UMBAGAI,<br />
MILDRED MUNGULU AND MARGARET MUNGULU<br />
Wandjina Ungud Spirits 2007<br />
synthetic polymer paint on canvas<br />
185 x 480cm<br />
PROVENANCE<br />
Painted at Mowanjum <strong>Art</strong>s, 2007<br />
Sotheby's, Aboriginal and Oceanic <strong>Art</strong>, Sydney,<br />
November 2007, Lot No. 127<br />
The Kelton Foundation, Santa Monica, USA, 2007<br />
$10,000–20,000
101<br />
142
102<br />
143<br />
143<br />
ELIZABETH MARKS (BORN 1959)<br />
Women's Tingari at Talipinba<br />
synthetic polymer paint on linen<br />
inscribed verso: ELIZABETH MARKS<br />
cat. no. 2404/8<br />
92 x 151cm<br />
PROVENANCE<br />
Elder Fine <strong>Art</strong>, Aboriginal <strong>Art</strong>, Adelaide, 6 August 2006, Lot 62<br />
Private collection, Adelaide<br />
$1,000–1,500<br />
144<br />
EUNICE NAPANGARDI (CIRCA 1950-2005)<br />
Uparli Dreaming 1993<br />
synthetic polymer paint on canvas<br />
inscribed verso: IN23 A.G.O.D.1513<br />
accompanied by a certificate of authenticity<br />
from Aboriginal Gallery of Dreamings<br />
106.5 x 127.5cm<br />
PROVENANCE<br />
Aboriginal Gallery of Dreamings, Melbourne<br />
Private collection, Melbourne<br />
$700–900
103<br />
145<br />
146<br />
145<br />
NINGURA NAPURRULA (1938-2013)<br />
Wirrulnga 2008<br />
acrylic on Belgian linen<br />
cat. no. IW5251<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
123 x 61cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>s, Alice Springs<br />
Private collection, Sydney<br />
$1,500–2,000<br />
146<br />
NINGURA NAPURRULA (1938-2013)<br />
Wirrulnga 2008<br />
acrylic on Belgian linen<br />
inscribed with cat no. and dated verso: IW5448 9th 08<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
120 x 60cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>s, Alice Springs<br />
Private collection, Sydney<br />
$1,500–2,500
104<br />
147<br />
BARBARA WEIR (BORN CIRCA 1945)<br />
Grass Seed 2000<br />
synthetic polymer paint on canvas<br />
inscribed verso: Barbara Weir 2000 Grass Seed<br />
and Dacou Gallery cat. no. DG4019<br />
122.5 x 91cm<br />
PROVENANCE<br />
Dacou Aboriginal Gallery, Adelaide<br />
Private collection, Adelaide<br />
$1,500–2,500<br />
147<br />
148<br />
ELIZABETH KNGWARREYE<br />
(BORN CIRCA 1955)<br />
Women's Business 1992<br />
synthetic polymer paint on canvas<br />
inscribed verso: Elizabeth EOO4<br />
accompanied by a certificate of authenticity<br />
from Aboriginal Gallery of Dreamings<br />
119 x 146cm<br />
PROVENANCE<br />
Aboriginal Gallery of Dreamings, Melbourne<br />
Private collection, Melbourne<br />
$800–1,200<br />
148
105<br />
149<br />
150<br />
149<br />
WALANGKURA NAPANANGKA<br />
(CIRCA 1946-2014)<br />
Tjintjintjin 2008<br />
acrylic on Belgian linen<br />
cat. no. IW5145<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
126.5 x 63cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>s, Alice Springs<br />
Private collection, Sydney<br />
$2,000–3,000<br />
150<br />
KANYA TJAPANGATI (BORN CIRCA 1951)<br />
A Tingari Story 1994<br />
synthetic polymer paint on linen<br />
inscribed verso: KANYA TJAPANGATI PROPERTY OF<br />
PAPUNYA TULA ARTISTS P/L KT941132<br />
151.5 x 60cm<br />
PROVENANCE<br />
Papunya Tula <strong>Art</strong>ists Pty. Ltd., Alice Springs,<br />
cat. no. KT941132<br />
The Richard Kelton Collection, Santa Monica, USA, 1997<br />
EXHIBITED<br />
<strong>Australian</strong> Consulate, Los Angeles, California,<br />
22 August 2003 to 31 August 2006<br />
$1,800–2,500
106<br />
151<br />
151<br />
BELINDA GOLDER KNGWARREYE (BORN 1986)<br />
Anwekety 2021<br />
acrylic on Belgian linen<br />
inscribed, dated and cat no. verso:<br />
Belinda Golder KNGWARREYE Oct 2021 IW8664<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
125 x 95cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>s, Alice Springs<br />
Private collection, Sydney<br />
$800–1,200<br />
152<br />
EUNICE NAPANGARDI (CIRCA 1950-2005)<br />
Uparli - Bush Banana 1994<br />
synthetic polymer paint on canvas<br />
inscribed verso: AGOD # 4007<br />
accompanied by a certificate of authenticity<br />
from Aboriginal Gallery of Dreamings<br />
130.5 x 57cm<br />
PROVENANCE<br />
Aboriginal Gallery of Dreamings, Melbourne<br />
Private collection, Melbourne<br />
$800–1,200
107<br />
153<br />
154<br />
153<br />
GAYLA PWERLE (BORN CIRCA 1930)<br />
Anemangkerr - Bush Melon 2014<br />
acrylic on canvas<br />
dated and cat no. verso: March 2014 IW7203<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
180 x 120cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>, Alice Springs<br />
Private collection, Sydney<br />
$1,000–1,500<br />
154<br />
BELINDA GOLDER KNGWARREYE (BORN 1986)<br />
Anwekety 2021<br />
acrylic on Belgian linen<br />
inscribed, dated and cat. no. verso:<br />
Belinda Golder KNGWARREYE Oct 2021 IW8667<br />
accompanied by a certificate of<br />
authenticity from Ironwood <strong>Art</strong>s<br />
200 x 90cm<br />
PROVENANCE<br />
Ironwood <strong>Art</strong>s, Alice Springs<br />
Private collection, Sydney<br />
$1,000–1,500
108<br />
155 156<br />
155<br />
BARNEY ELLAGA (CIRCA 1941-2015)<br />
Sugar Bay<br />
synthetic polymer paint on canvas<br />
inscribed verso: BARNEY ELLAGA "Sugar Bay"<br />
120 x 50cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$1,200–1,800<br />
156<br />
LORNA FENCER NAPARRULA<br />
(CIRCA 1920-2006)<br />
Bush Potato<br />
synthetic polymer paint on canvas<br />
inscribed verso: Lorner Fencer Napurrula Bush Potato<br />
cat. no. LF-495 and LCAALFN7256<br />
147.5 x 100.5cm<br />
PROVENANCE<br />
Private collection, Adelaide<br />
$1,200–1,800
109<br />
157<br />
157<br />
LORNA FENCER NAPARRULA<br />
(CIRCA 1920-2006)<br />
Bush Potato 1999<br />
synthetic polymer paint on canvas<br />
inscribed verso: Lorna Naparrula Fencer Bush Potato<br />
catalogue no: Warnayaka <strong>Art</strong> Centre L/99-398<br />
119 x 85cm<br />
$3,000–5,000<br />
158<br />
COLLEEN NGWARRAYE MORTON (BORN 1957)<br />
Bush Medicine<br />
synthetic polymer paint on canvas<br />
inscribed verso: Colleen Ngwarraye Morton<br />
ARTISTS OF AMPILATWATJA cat. no. 556-18<br />
90 x 74cm<br />
PROVENANCE<br />
Private collection, Melbourne<br />
$600–800
110<br />
159<br />
159<br />
WINGU TINGIMA (CIRCA 1920-2010)<br />
Pukara Wati Kutjara 2007<br />
acrylic on Belgian linen<br />
inscribed, dated and titled verso:<br />
WINGU TINGIMA 07 'Pukara Wati Kutjara' IRRUNYTJU ARTS<br />
IRRWT071115 Agathon Galleries AGWT 0810070037<br />
accompanied by a certificate of authenticity<br />
from Irrunytju <strong>Art</strong>s Centre<br />
92.5 x 120.5cm<br />
PROVENANCE<br />
Irrunytju <strong>Art</strong>s Centre, Alice Springs<br />
Agathon Galleries, Melbourne<br />
$1,500–2,000<br />
160<br />
PETER NABARLAMBARL (CIRCA 1930-2001)<br />
Rainbow Serpent of the Dreaming circa 1990<br />
natural earth pigments and synthetic polymer paint on paper<br />
51.5 x 152cm<br />
PROVENANCE<br />
David Cossey, Gallerie Australis, Adelaide<br />
Neva Jakich for Museum <strong>Art</strong> <strong>International</strong>, Los Angeles, CA<br />
The Richard Kelton Collection, Santa Monica, USA, 1992<br />
EXHIBITED<br />
Awake to the Dreamtime: <strong>Australian</strong> Aboriginal <strong>Art</strong>,<br />
San Diego Museum of Man, San Diego, California,<br />
19 February – 24 May 1993<br />
The Evolving Dreamtime: Contemporary <strong>Art</strong> by Indigenous<br />
<strong>Australian</strong>s – Part II, Pacific Asia Museum, Pasadena,<br />
California, 15 March – 21 May 1995<br />
LITERATURE<br />
Isaacs, J., <strong>Australian</strong> Aboriginal Paintings,<br />
New Holland Publishers, Sydney, 2002, p. 142– 43<br />
$800–1,200
111<br />
161<br />
MINNIE PWERLE (1922-2006)<br />
Untitled 2004<br />
synthetic polymer paint on canvas<br />
inscribed and dated verso:<br />
Mbantua Gallery cat no. MB21722 1-6-04<br />
178.5 x 60cm<br />
PROVENANCE<br />
Mbantua Gallery, Alice Springs<br />
Corporate collection, Melbourne<br />
$4,000–6,000<br />
162<br />
LAUREL NANGALA<br />
Bush Banana - Uparli 1994<br />
synthetic polymer paint on canvas<br />
inscribed verso: AGOD # 4060<br />
accompanied by a certificate of authenticity from<br />
Aboriginal Gallery of Dreamings<br />
129.5 x 59cm<br />
PROVENANCE<br />
Aboriginal Gallery of Dreamings, Melbourne<br />
Private collection, Melbourne<br />
$500–800<br />
163<br />
CECILY WINTIRAGU YATES (BORN 1962)<br />
Place of Abundance –<br />
Two Snakes Guarding Their Eggs<br />
synthetic polymer paint on canvas<br />
inscribed verso: Story Two Snakes Guarding Their<br />
Eggs (snakes lay eggs) Their (sic) is plenty of food<br />
for the snakes as their (sic) are Plenty of Witchety<br />
Grubs. But in the left hand corner of the painting<br />
is a white person also look into For grubs. <strong>Art</strong>ist.<br />
Cecily Yates<br />
126.5 x 71cm<br />
PROVENANCE<br />
Private collection, Melbourne<br />
$500–800<br />
161
112<br />
165<br />
164<br />
KANYA TJAPANGATI (BORN CIRCA 1951)<br />
Tingari 1990<br />
synthetic polymer paint on canvas<br />
inscribed verso: KANYA TJAPANGATI AGOD #3285<br />
PROPERTY OF PAPUNYA TULA ARTISTS<br />
Papunya Tula cat. no. KT 900201<br />
accompanied by certificates of authenticity from Papunya Tula<br />
<strong>Art</strong>ists and Aboriginal Gallery of Dreamings<br />
164.5 x 47.5cm<br />
PROVENANCE<br />
Papunya Tula <strong>Art</strong>ists Pty Ltd, Alice Springs<br />
Aboriginal Gallery of Dreamings, Melbourne<br />
Private collection, Melbourne<br />
$2,000–3,000<br />
164
113<br />
166<br />
165<br />
BRUCE HOGAN & MEGAN BATES (20TH<br />
CENTURY)<br />
Kuylal Minyma Tjuta (Seven Sisters Dreaming)<br />
2000<br />
synthetic polymer paint on canvas<br />
inscribed verso and Spinifex <strong>Art</strong>s Project cat. no.:<br />
Bruce Hogan & Megan Bates C66<br />
127.5 x 115cm<br />
PROVENANCE<br />
Spinifex <strong>Art</strong>s Project, Tjuntjuntjara, cat. no. C66<br />
Coo-ee Aboriginal <strong>Art</strong>, Sydney, cat. no. #8044<br />
The Richard Kelton Collection, Santa Monica, USA, 2001<br />
EXHIBITED<br />
Pila Nguru – <strong>Art</strong> and Song of the Spinifex People,<br />
Perth Museum, Perth, Western Australia 2000<br />
(toured nationally, 2001)<br />
$1,000–2,000<br />
166<br />
NANCY CARNEGIE (BORN CIRCA 1952)<br />
Wati Kinara (Moon Man Dreaming) 2006<br />
synthetic polymer paint on linen<br />
inscribed verso:<br />
Nancy (Carnegie) Ward Kayili <strong>Art</strong>ists cat. no 06-107<br />
152.5 x 214 cm<br />
PROVENANCE<br />
Kayili <strong>Art</strong>ists, WA<br />
Deutscher and Hackett, Melbourne, The Collection of<br />
William and Lucy Mora, Fine Aboriginal <strong>Art</strong>, 21 July 2010,<br />
Lot 47 (label verso)<br />
Corporate collection, Melbourne<br />
$5,000–8,000
114<br />
167<br />
ATTRIBUTED TO PAUL KROPINYERI<br />
(20TH CENTURY)<br />
Karuna Shield 1994<br />
natural ochres on wood and kangaroo skin<br />
62 x 25cm<br />
PROVENANCE<br />
Karuna <strong>Art</strong>, South Australia<br />
The Richard Kelton Collection,<br />
Santa Monica, USA, 1994<br />
$1,000–2,000<br />
168<br />
KATHLEEN PETYARRE<br />
(CIRCA 1935-2018)<br />
Thorny Devil Lizard Dreaming<br />
(Watercourses & Rockholes)<br />
synthetic polymer paint on canvas<br />
inscribed with cat no. verso: GAKP1100271<br />
121.5 x 96.5cm<br />
PROVENANCE<br />
Gallerie Australis, Adelaide<br />
$4,000–6,000<br />
169<br />
HERBERT RABERABA (BORN 1920)<br />
Central Australia<br />
watercolour<br />
signed lower right: Herbert Raberaba<br />
34.5 x 54cm<br />
$600–900<br />
170<br />
PETER TAYLOR TJUTJAJA (1940-2014)<br />
Central <strong>Australian</strong> Landscape<br />
watercolour<br />
signed lower right: PETER TAYLOR TJUTJAJA<br />
49 x 74.5cm<br />
$700–900<br />
167
115<br />
168
116<br />
171<br />
173
117<br />
174<br />
171<br />
JOHN C ALLCOT (1888-1973)<br />
Monkbarns 1949<br />
oil on canvas<br />
signed, dated and titled lower left and right:<br />
JOHN ALLCOT 49 MONKBARNS<br />
49.5 x 60cm<br />
$2,000–3,000<br />
172<br />
JOHN C ALLCOT (1888-1973)<br />
Towards Old Parliament House, Canberra<br />
oil on canvasboard<br />
signed lower right: JOHN C ALLCOT<br />
38 x 53cm<br />
$1,500–2,500<br />
173<br />
JAMES R JACKSON (1882-1975)<br />
In the Days of Sail<br />
oil on board<br />
signed lower left: James R Jackson<br />
24.5 x 27cm<br />
PROVENANCE<br />
Acquired directly from the <strong>Art</strong>ist, thence by descent<br />
$3,000–5,000<br />
174<br />
JAMES R JACKSON (1882-1975)<br />
Drying the Sails, Sydney Harbour<br />
oil on canvas on board<br />
signed lower left: James R Jackson<br />
44.5 x 54.5cm<br />
PROVENANCE<br />
Acquired directly from the <strong>Art</strong>ist, thence by descent<br />
$5,000–8,000
118<br />
175<br />
176
119<br />
177<br />
175<br />
ERNEST BUCKMASTER (1897-1968)<br />
Landscape<br />
oil on board<br />
signed lower left: Ernest Buckmaster<br />
42.5 x 53cm<br />
$1,500–2,500<br />
176<br />
ERNEST BUCKMASTER (1897-1968)<br />
Valley View<br />
oil on canvas<br />
signed lower right: E Buckmaster<br />
24 x 36.5cm<br />
$1,000–1,500<br />
177<br />
JAN HENDRIK SCHELTEMA (1861-1941)<br />
Cattle Grazing Near the Coast<br />
oil on canvas<br />
signed lower left: J H Scheltema<br />
30 x 46cm<br />
$2,500–3,500<br />
178<br />
EDWARD DAVIES (1852-1927)<br />
Pioneer Cottage and Gardiner 1898<br />
oil on canvas<br />
signed and dated lower left: E DAVIES 1898<br />
28.5 x 42cm<br />
$800–1,200
120<br />
179<br />
179<br />
AFTER JOHN F HERRING<br />
Horses, Pigs and Roosters in the Farmyard<br />
oil on canvas<br />
signed but illegible lower left<br />
34.5 x 56.5cm<br />
$1,500–2,500<br />
180<br />
ETHEL BARRINGER (1884-1925)<br />
The Orchard<br />
oil on canvas on board<br />
signed lower right: E BARRINGER<br />
45 x 59.5cm<br />
PROVENANCE<br />
The Borough Gallery, Melbourne<br />
Private collection, Bendigo<br />
$800–1,200<br />
181<br />
JAN HENDRIK SCHELTEMA (1861-1941)<br />
Round Up the Horses<br />
oil on canvas<br />
signed lower right: J H Scheltema<br />
65 x 44.5cm<br />
PROVENANCE<br />
Tom Silver Gallery, Melbourne<br />
$5,000–7,000<br />
182<br />
MICHAEL DAVIS<br />
Eucalyptus Airscape 2011<br />
oil on canvas<br />
signed, dated and titled on label verso:<br />
Michael Davis 2011 Eucalyptus Airscape<br />
110 x 110cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$800–1,200
121<br />
181
122<br />
183<br />
183<br />
SIDNEY NOLAN (1917-1992)<br />
Country Homestead<br />
ink on paper<br />
signed with initial lower left: N<br />
titled and inscribed verso: Country Homestead<br />
And the spinster apart at ease lays bare, the<br />
daughter she surveys from her verandah chair<br />
25 x 30cm<br />
$1,000–2,000<br />
184<br />
184<br />
SIDNEY NOLAN (1917-1992)<br />
Political Prisoner 1955<br />
oil and ink on paper<br />
signed with initial, dated and titled verso:<br />
N 10th Sept 55 Political Prisoner Series<br />
30 x 25cm<br />
$1,000–2,000
123<br />
185<br />
185<br />
JUDY CASSAB (1920-2015)<br />
Bush Forms 1980<br />
acrylic and oil on canvas<br />
signed and dated lower right: Cassab 80<br />
inscribed and titled verso: JUDY CASSAB BUSH FORMS<br />
111 x 143.5cm<br />
PROVENANCE<br />
Private collection, Melbourne<br />
ILLUSTRATED<br />
Elwyn Lynn, Judy Cassab: Places, Faces and Fantasies,<br />
Macmillan Company of Australia Pty Ltd, Melbourne, 1984,<br />
p. 91, plate 4.10 (This book accompanies the lot)<br />
$5,000–8,000<br />
186<br />
JUDY CASSAB (1920-2015)<br />
Reclining Nude<br />
oil on card<br />
19.5 x 22.5cm<br />
PROVENANCE<br />
Shapiro Auctioneers, Sydney, The Estate of Judy Cassab,<br />
10 July 2020 (label verso)<br />
$800–1,200
124<br />
187<br />
187<br />
DONALD FRIEND (1915-1989)<br />
Two Boys 1957<br />
mixed media<br />
signed, dated and inscribed lower right:<br />
Donald Friend 57 Salon<br />
29.5 x 47.5cm<br />
PROVENANCE<br />
South Yarra Gallery, Melbourne (label verso)<br />
$1,800–2,500<br />
188<br />
DONALD FRIEND (1915-1989)<br />
Boy with Blue Flower<br />
gouache, watercolour and ink<br />
signed and inscribed upper right: Donald Friend Bali<br />
49.5 x 36cm<br />
188<br />
PROVENANCE<br />
Southern Cross Galleries, Melbourne<br />
Private collection, Melbourne<br />
$1,800–2,500
125<br />
189<br />
189<br />
DONALD FRIEND (1915-1989)<br />
Women of Zanzibar<br />
mixed media<br />
signed and titled upper right:<br />
Donald Friend Women of Zanzibar<br />
49.5 x 69.5cm<br />
$2,000–4,000<br />
190<br />
JOHN KRZYWOKULSKI (BORN 1947)<br />
Tripartite Inclination Observer 1969<br />
acrylic and auto lacquer on board<br />
signed and dated verso: John Krzywokulski 1969<br />
153 x 123cm (irregular)<br />
PROVENANCE<br />
Strines Gallery, Melbourne<br />
$500–800<br />
191<br />
JEAN BELLETTE (1908-1991)<br />
Portrait of a Young Woman<br />
charcoal and pastel on paper<br />
signed lower right: J Bellette<br />
57 x 33cm<br />
$400–600<br />
192<br />
LES KOSSATZ (1943-2011)<br />
The Medal 1965<br />
oil on board<br />
signed and dated lower right: Kossatz 65<br />
90.5 x 100.5cm<br />
$800–1,200
126<br />
193<br />
193<br />
DAVID BOYD (1924-2011)<br />
Study 10 in Red 1996<br />
oil on board<br />
signed and dated lower right and left: David Boyd 1996<br />
accompanied by a certificate of authenticity<br />
37 x 29.5cm<br />
PROVENANCE<br />
The Estate of David Boyd<br />
$3,500–5,000<br />
194<br />
NICHOLAS CHEVALIER (1828-1902)<br />
Breeze 1861<br />
pencil and pastel on paper<br />
signed with initials, dated and titled and lower left and centre:<br />
CN 6/6/61 - Breeze -<br />
22.5 x 21.5cm<br />
PROVENANCE<br />
Rushton Fine <strong>Art</strong>s, <strong>Australian</strong> & European Prints & Paintings,<br />
Sydney, 20 November 1989, Lot 108<br />
Property from the Collection of George Gyori, Melbourne<br />
$800–1,200
127<br />
195<br />
195<br />
DAVID BOYD (1924-2011)<br />
Escaping Judge circa 1962<br />
oil on paper<br />
signed lower right: David Boyd<br />
signed, dated and inscribed verso:<br />
David Boyd Trial series - London 1962-64 Escaping Judge<br />
54 x 74cm<br />
PROVENANCE<br />
Christie's, Melbourne, <strong>Australian</strong> Pictures,<br />
Sculpture and Pottery, 30 July 1990, Lot 175<br />
Private collection, Perth<br />
Deutscher and Hackett, Melbourne,<br />
<strong>Australian</strong> & <strong>International</strong> <strong>Art</strong>, 26 November 2008, Lot 141<br />
EXHIBITED<br />
(Possibly) David Boyd: The Trial Series, Gallery One,<br />
London, United Kingdom, 1962<br />
$7,500–8,500
128<br />
196<br />
196<br />
MICHAEL KMIT (1910-1981)<br />
Nobleman 1969<br />
oil on canvas<br />
signed and dated upper right: Kmit 69<br />
67 x 54cm<br />
$3,000–5,000<br />
197<br />
CHARLES MOODIE (BORN 1947)<br />
Moonrise Over Paris<br />
oil on canvas<br />
signed lower left: MOODIE<br />
101 x 101.5cm<br />
$600–900
129<br />
198<br />
198<br />
KEVIN (PRO) HART (1928-2006)<br />
Peter and the Draught of Fishes<br />
oil on board<br />
signed lower right: Pro Hart<br />
59.5 x 74cm<br />
$5,000–6,000<br />
199<br />
KEVIN (PRO) HART (1928-2006)<br />
Miner's Hat<br />
acrylic on fibreglass decorated with dragonfly<br />
signed to brim: Pro Hart<br />
16cm high, 29.5cm wide, 26cm deep<br />
$600–800<br />
200<br />
KEVIN (PRO) HART (1928-2006)<br />
Flowers<br />
acrylic on TW Sherrin Football<br />
signed: Pro Hart<br />
accompanied by a certificate of authenticity<br />
from David Hart Galleries<br />
18 x 30cm<br />
PROVENANCE<br />
David Hart Galleries, QLD<br />
Private collection, Melbourne<br />
NOTE<br />
This AFL football was painted for a SIDS charity auction<br />
$500–800
130<br />
201<br />
201<br />
DAVID BROMLEY (BORN 1960)<br />
Charlotte<br />
acrylic and silver paint on canvas<br />
signed lower left: BROMLEY<br />
accompanied by a certificate of authenticity<br />
91.5 x 61cm<br />
$2,000–3,000
131<br />
202<br />
202<br />
DAVID BROMLEY (BORN 1960)<br />
Boys and Girls<br />
acrylic on canvas<br />
signed lower centre: BROMLEY<br />
accompanied by a certificate of authenticity from the artist<br />
182.5 x 152cm<br />
$2,000–4,000
132<br />
203<br />
203<br />
CHARLES WHEELER (1880-1977)<br />
Rocky Coastline<br />
oil on board<br />
signed lower right: C. Wheeler<br />
28.5 x 38.5cm<br />
$1,200–1,800<br />
204<br />
LOUIS-HENRI FOREAU (FRENCH, 1866-1938)<br />
Winter Time, Paris<br />
oil on canvas on board<br />
signed lower left: FOREAU<br />
40 x 50cm<br />
$500–800<br />
205<br />
JOHN C ALLCOT (1888-1973)<br />
Bathers Cove<br />
oil on board<br />
signed lower left: J Allcot<br />
20.5 x 28.5cm<br />
$1,500–2,500<br />
206<br />
PERCEVAL (PERCY) LINDSAY (1870-1952)<br />
Sydney Harbour<br />
oil on board<br />
signed lower left: Percy Lindsay<br />
14 x 30.5cm<br />
$2,000–4,000
133<br />
205<br />
206
134<br />
207<br />
207<br />
ADRIAAN BOSHOFF<br />
(SOUTH AFRICAN, 1935-2007)<br />
Still Life<br />
oil canvas on board<br />
signed lower left: Adriaan Boshoff<br />
40 x 29.5cm<br />
$1,500–2,500<br />
208<br />
WILLIAM DREW (1928-1983)<br />
Boys and Terrace Houses 1968<br />
oil on board<br />
signed and dated lower right: WILLIAM DREW 1968<br />
44 x 60cm<br />
$500–800
135<br />
209<br />
209<br />
RAMON WARD-THOMPSON (BORN 1941)<br />
The Flower Seller – Rue de Bucci, Paris<br />
oil on canvas<br />
signed lower left: R Ward Thompson<br />
50 x 75.5cm<br />
$1,800–2,500<br />
210<br />
RAMON WARD-THOMPSON (BORN 1941)<br />
Brooklyn Trawler, Hawkesbury River, NSW<br />
oil on canvas on board<br />
signed lower left: R. Ward-Thompson<br />
inscribed and titled verso: R WARD-THOMPSON<br />
BROOKLYN TRAWLER, HAWKESBURY RIVER NSW<br />
44 x 59.5cm<br />
$400–600<br />
211<br />
GREG ALLEN (BORN 1958)<br />
Venice 1998<br />
watercolour<br />
signed and dated lower left: Greg Allen 98<br />
98 x 63.5cm<br />
$800–1,200<br />
211
136<br />
212<br />
212<br />
WILLIAM FRATER (1890-1974)<br />
King Street<br />
oil on board<br />
signed lower right: William Frater<br />
Cityscape verso<br />
40 x 50 cm<br />
PROVENANCE<br />
Christie's, Melbourne, <strong>Australian</strong> and European Pictures,<br />
18 April 1994, Lot 121<br />
Private collection, Melbourne<br />
$2,000–4,000<br />
213<br />
RICHARD CHAMERSKI (BORN 1951)<br />
Summer Calm, Mt. Martha<br />
oil on canvas<br />
signed and titled lower right:<br />
CHAMERSKI "SUMMER CALM - MT. MARTHA"<br />
74 x 99cm<br />
PROVENANCE<br />
Leonard Joel, <strong>Australian</strong> and European Paintings,<br />
Melbourne, 23 August 1995, Lot 141<br />
$1,500–2,500<br />
214<br />
ARCHIBALD COLQUHOUN (1862-1941)<br />
Lorne<br />
oil on composition board<br />
signed lower left: A. D. Colquhoun<br />
20 x 30.5cm<br />
PROVENANCE<br />
Deutscher~Menzies, Melbourne, Major Fine <strong>Art</strong> Auction,<br />
13 September 2006, Lot 332<br />
Property from the Collection of Andrée Harkness<br />
$1,000–1,200
137<br />
213<br />
214
138<br />
215<br />
215<br />
JOHN LONGSTAFF (ATTRIBUTED)<br />
Still Life<br />
oil on canvas<br />
50 x 39.5cm<br />
PROVENANCE<br />
Athenaeum Gallery, Melbourne 25th May 1942,<br />
cat. no. 58 (label verso)<br />
Private collection, Melbourne<br />
$2,000–4,000<br />
216<br />
AILEEN DENT (1890-1979)<br />
Still Life with Roses<br />
oil on canvas<br />
signed upper left: Aileen Dent<br />
49.5 x 54.5cm<br />
$700–1,000
139<br />
217<br />
217<br />
ALICE M E BALE (1875-1955)<br />
The New Discovery<br />
oil on canvas<br />
inscribed label verso: A M E BALE PORTRAIT<br />
Still life study verso<br />
72.5 x 59.5cm<br />
PROVENANCE<br />
Leonard Joel, Melbourne, <strong>Australian</strong> and European Paintings,<br />
22 November 1995, Lot 586<br />
$3,000–5,000<br />
218<br />
ENGLISH SCHOOL<br />
Portrait of a Man Holding a Red Book<br />
oil on canvas on board<br />
75.5 x 61cm<br />
PROVENANCE<br />
Beryl Olsen Gallery, Bundaberg<br />
Private collection, QLD<br />
$1,000–1,500
140<br />
219<br />
220<br />
219<br />
WILLIAM DOBELL (1899-1970)<br />
Study for Mural 1946<br />
oil on board<br />
signed and dated lower left: W DOBELL 46<br />
14 x 50cm<br />
$8,000–10,000<br />
220<br />
FRED WILLIAMS (1927-1982)<br />
You Yangs<br />
etching<br />
signed and editioned on margin: Fred Williams 8-25<br />
29.5 x 45.5cm<br />
PROVENANCE<br />
Private collection, Bendigo<br />
$3,000–4,000
141<br />
221<br />
JAMES DAVIS (1940-2019)<br />
St Kilda Magician 1987<br />
oil on canvas<br />
signed with monogram and dated<br />
lower right: 87<br />
inscribed with title verso:<br />
ST KILDA MAGICIAN<br />
197 x 167cm<br />
$2,000–3,000<br />
221<br />
222<br />
JILL DEL MACE (BORN 1947)<br />
Harlequin<br />
acrylic on canvas<br />
signed lower right: Del-Mace<br />
76 x 101.5cm<br />
PROVENANCE<br />
Commissioned directly<br />
from the artist<br />
Private collection, Melbourne<br />
$2,000–4,000<br />
222
142<br />
223<br />
223<br />
KEVIN (PRO) HART (1928-2006)<br />
Broken Hill Mine<br />
oil on board<br />
signed lower right: Pro Hart<br />
21 x 24cm<br />
$2,000–2,500<br />
224<br />
224<br />
KEVIN (PRO) HART (1928-2006)<br />
Insects in Reeds<br />
oil on board<br />
signed lower right: Pro Hart<br />
29 x 23 cm<br />
$2,000–3,000
143<br />
225<br />
225<br />
JEFFREY MAKIN (BORN 1943)<br />
Forest Pond, Autumn<br />
oil on canvas<br />
signed lower right: Makin<br />
titled and dated verso: FOREST POND AUTUMN<br />
122.5 x 92 cm<br />
PROVENANCE<br />
James Makin Gallery, Melbourne (label verso)<br />
$3,000–5,000<br />
226<br />
MICHAEL JOHNSON (BORN 1938)<br />
Abstract 1969<br />
mixed media on paper<br />
signed and dated lower left: Johnson '69<br />
51.5 x 53cm<br />
$600–800
144<br />
227<br />
TOM FOLWELL (NEW ZEALAND)<br />
Earth Mother<br />
oil on board<br />
signed lower left: Folwell<br />
titled verso: Earth Mother<br />
77 x 39.5 cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$800–1,200<br />
228<br />
TOM FOLWELL (NEW ZEALAND)<br />
Boat Shed<br />
oil on board<br />
signed lower right: Tom Folwell<br />
titled verso: Boat Shed, Matakana<br />
107 x 58cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$800–1,200<br />
229<br />
TOM FOLWELL (NEW ZEALAND)<br />
Boats, Port Hacking<br />
oil on board<br />
signed lower left: Tom Folwell<br />
titled verso: Boats, Port Hacking<br />
73 x 58cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$600–800<br />
227
145<br />
230<br />
230<br />
DAVID BROMLEY (BORN 1960)<br />
Zippora<br />
acrylic and gold paint on canvas<br />
signed lower left: BROMLEY<br />
accompanied by a certificate of authenticity from the artist<br />
153.5 x 122cm<br />
$2,000–4,000<br />
231<br />
DAVID BROMLEY (BORN 1960)<br />
Romy<br />
acrylic and silver paint on canvas<br />
signed lower left: BROMLEY<br />
121.5 x 101.5cm<br />
$2,500–4,500
146<br />
232<br />
232<br />
SHEN HUA (CHINESE, BORN 1972)<br />
Young Men in Town Series No. 1 2006<br />
oil on canvas<br />
diptych<br />
signed and dated lower left of left: shen 0612<br />
accompanied by a certificate of<br />
authenticity from Schoeni Gallery<br />
180 x 70cm (each)<br />
180 x 140cm (overall)<br />
PROVENANCE<br />
Schoeni Gallery, Hong Kong<br />
ILLUSTRATED<br />
Shen Hua: From the Country Side to the City II,<br />
Schoeni <strong>Art</strong> Gallery Ltd, no. 46, Hong Kong, 2007, p. 87<br />
$6,000–8,000<br />
233<br />
MATTHIEU PALEY (FRENCH, BORN 1973)<br />
Shemzhid 2005<br />
archival print<br />
signed, dated, titled and editioned on margin:<br />
M Paley 2005 Shemzhid 7/18<br />
64.5 x 85.5cm<br />
PROVENANCE<br />
Otomys Gallery, Melbourne<br />
$900–1,200
147<br />
234<br />
SOPHIE GRALTON (BORN 1966)<br />
A Boy Most Likely 2011<br />
mixed media on board<br />
signed, dated and titled verso:<br />
Sophie Gralton 2011 A Boy Most Likely<br />
84 x 71cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$800–1,200<br />
234<br />
235<br />
MICHAEL KMIT (1910-1981)<br />
The Girl with the Green Gloves 1974<br />
oil on board<br />
signed and dated twice upper<br />
right and lower left: Kmit 74<br />
signed and titled verso:<br />
Michael Kmit The Girl with the Green GLOVES<br />
40 x 34.5cm<br />
$600–800<br />
235
148<br />
236<br />
236<br />
BILL COLEMAN (1922-1993)<br />
The Street Corner<br />
oil on board<br />
signed lower right: Bill Coleman<br />
39 x 49.5cm<br />
$1,000–1,500<br />
237<br />
MARY (McLEISH) COURIER (1912-1970)<br />
Portrait of Sam Fullbrook<br />
oil on foil on board<br />
signed lower right: ME. Courier<br />
titled verso: Sam Fullbrook<br />
91 x 60.5cm<br />
PROVENANCE<br />
The Jack and Mary Courier Collection<br />
The Royal <strong>Australian</strong> and New Zealand College of<br />
Obstetricians and Gynaecologists (RANZCOG)<br />
$800–1,200<br />
237<br />
238<br />
BILL COLEMAN (1922-1993)<br />
A Woman in Hat<br />
oil on board<br />
signed lower left: Bill Coleman<br />
37.5 x 17.5cm<br />
$500–800
149<br />
239<br />
239<br />
LAXMAN PAI (INDIAN, 1926-2021)<br />
Sunset Waves 1977<br />
oil on canvas<br />
signed lower left: Laxman Pai 77<br />
inscribed, dated and titled verso:<br />
LAXMAN PAI 1977 "SUNSET WAVES"<br />
accompanied by a certificate of authenticity from the artist<br />
86 x 75.5cm<br />
PROVENANCE<br />
Acquired from the artist, Goa, 1977<br />
$3,000–4,000<br />
240<br />
MARY (McLEISH) COURIER (1912-1970)<br />
Untitled<br />
oil on board<br />
initialled lower right: MC<br />
122 x 91.5cm<br />
PROVENANCE<br />
The Jack and Mary Courier Collection<br />
The Royal <strong>Australian</strong> and New Zealand College of<br />
Obstetricians and Gynaecologists (RANZCOG)<br />
$600–800
150<br />
241<br />
241<br />
BARRY WESTON (BORN 1949)<br />
Exchanging Vulnerabilities 1993<br />
oil on canvas<br />
signed and dated lower left: B WESTON 93<br />
159.5 x 189.5cm<br />
PROVENANCE<br />
Purchased directly from the artist circa 1994<br />
Private collection, Bendigo<br />
$1,000–1,500<br />
242<br />
WOLFGANG SIEVERS (1913-2007)<br />
The Hamersley Ranges 1975<br />
colour photograph<br />
signed, dated and titled verso:<br />
Wolfgang Sievers THE HAMERSLEY RANGES 1975<br />
48.5 x 39cm<br />
EXHIBITED<br />
Wolfgang Sievers - A Selection of Signed and Framed<br />
Works, 1933-2001, FortyFive Downstairs, Melbourne, 25<br />
March - 5 April 2014, cat no. 37<br />
(All proceeds from this exhibition to go towards supporting<br />
the human rights endeavours of Liberty Victoria, Asylum<br />
Seekers Resource Centre, Human Rights <strong>Art</strong>s & Film Festival<br />
and other civil rights organisations)<br />
$600–1,000
151<br />
243<br />
MICHAEL SCHLIEPER (BORN 1947)<br />
A Root with a View 2006<br />
oil on canvas<br />
initialled and dated lower right: M S 6<br />
signed and titled verso:<br />
Michael Schlieper '06 "A Root with a View ...'<br />
107 x 84.5cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$1,000–1,500<br />
243<br />
244<br />
MICHAEL SCHLIEPER (BORN 1947)<br />
Open Wide<br />
oil on canvas<br />
signed and titled verso:<br />
Michael Schlieper Open Wide<br />
101.5 x 71cm<br />
PROVENANCE<br />
Charles Hewitt Gallery, Sydney<br />
Corporate collection, Melbourne<br />
$1,000–1,500<br />
244
152<br />
245<br />
245<br />
GAV BARBEY (BORN 1966)<br />
Peace Dove 2004<br />
oil on canvas<br />
triptych<br />
each panel signed and dated verso: GAV BARBEY 2004<br />
121.5 x 91cm (each)<br />
121.5 x 273cm (overall)<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$1,500–2,500<br />
246<br />
GAV BARBEY (BORN 1966)<br />
Green Tree Frog ... Kyogle 2003<br />
acrylic on canvas<br />
signed lower right: GAV 03<br />
signed, dated and titled verso:<br />
GAV BARBEY 2003 GREEN TREE FROG ... KYOGLE 2003<br />
152 x 101cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$500–800
153<br />
247<br />
ARTIST UNKNOWN<br />
Horse Head<br />
fibreglass<br />
155cm high, 58cm wide, 52cm deep<br />
PROVENANCE<br />
David Hart Galleries, QLD<br />
Private collection, Melbourne<br />
$900–1,100<br />
247
154<br />
248<br />
248<br />
MICHAEL (MIKE) CHALLIS BROWN<br />
(1938-1997)<br />
Mods 1964<br />
oil on board<br />
signed and dated lower right: Mike Brown Nov. 64<br />
120.5 x 182cm<br />
$1,500–2,500<br />
249<br />
ROBERT JACKS (1943-2014)<br />
Untitled Composition 1968<br />
mixed media on paper<br />
signed and dated lower right: Robert Jacks 68<br />
70 x 45.5cm<br />
$600–800<br />
250<br />
ANNE HALL (BORN 1945)<br />
AND ROBERT JACKS (1943-2014)<br />
Plant Life 1966<br />
watercolour<br />
signed, dated and titled lower left, lower right and upper left:<br />
Anne Hall 66 Robert Jacks Plant Life<br />
76 x 56cm<br />
$400–600<br />
251<br />
ANNE HALL (BORN 1945)<br />
Portrait of John Perceval 1975<br />
watercolour<br />
signed and dated lower centre: Anne Hall 75<br />
70.5 x 47.5cm<br />
$500–800
155<br />
252<br />
DEAN BOWEN (BORN 1957)<br />
Blue Wren with Ladybird<br />
oil on canvas<br />
signed lower right: Dean Bowen<br />
signed and titled verso:<br />
Dean Bowen Blue Wren with ladybird<br />
45.5 x 53cm<br />
PROVENANCE<br />
<strong>Art</strong>house Gallery, Sydney<br />
Corporate collection, Melbourne<br />
$1,500–2,500<br />
252<br />
253<br />
DAVID BROMLEY (BORN 1960)<br />
Elephant Joy<br />
acrylic on canvas<br />
signed lower left: BROMLEY<br />
accompanied by a certificate of<br />
authenticity from the artist<br />
152 x 121.5cm<br />
$1,500–2,500<br />
253
156<br />
254<br />
254<br />
KEVIN (PRO) HART (1928-2006)<br />
Car 1978<br />
oil on board<br />
signed and dated lower right and left: Pro Hart 78<br />
signed and inscribed verso:<br />
Pro Hart to tammy from Pro Hart<br />
13.5 x 20.5cm<br />
$2,000–3,000<br />
255<br />
KEVIN (PRO) HART (1928-2006)<br />
Flowers<br />
oil on cardboard (bible cover)<br />
signed lower left: Pro Hart<br />
12.5 x 8cm<br />
$600–800<br />
256<br />
PATRICK KILVINGTON (1922-1990)<br />
Coming out from the Alice 1978<br />
oil on canvas<br />
signed lower right: Kilvington<br />
inscribed, dated and titled verso: SIR PATRICK KILVINGTON<br />
78 COMING OUT FROM THE ALICE<br />
60 x 75cm<br />
$1,800–2,500<br />
257<br />
MAX MANNIX (BORN 1959)<br />
With the Greatest of Ease<br />
oil on canvas on board<br />
signed and titled lower left:<br />
MAX MANNIX WITH THE GREATEST OF EASE<br />
45 x 60cm<br />
$1,000–1,500
157<br />
256<br />
257
158<br />
258<br />
258<br />
JUAN DAVILA (BORN 1946)<br />
Wotan 2013<br />
mixed media<br />
signed, dated and inscribed lower left:<br />
Juan Davila 2013 Fig. 145<br />
45 x 65cm<br />
$2,000–4,000<br />
259<br />
PETER BOOTH (BORN 1940)<br />
Figure Study<br />
charcoal on paper<br />
41.5 x 29.5cm<br />
$800–1,200<br />
259
159<br />
260<br />
260<br />
DOUGLAS STUBBS (1927-2008)<br />
Migrant Child 1964<br />
oil on board<br />
signed and dated lower left: STUBBS 64<br />
titled verso: MIGRANT CHILD<br />
90 x 125cm<br />
$1,000–1,500<br />
261<br />
AARON KINNANE (BORN 1977)<br />
Wild Dog 2005<br />
oil on canvas<br />
signed and dated lower left: KINNANE 05<br />
180 x 160cm<br />
PROVENANCE<br />
Corporate collection, Melbourne<br />
$1,500–2,500<br />
End of Sale<br />
261
160<br />
<strong>Art</strong>ist Index<br />
Adams, Lisa 96<br />
Allcot, John C 171, 172, 205<br />
Allen, Greg 211<br />
Baird, John 118<br />
Bale, Alice M E 92, 93, 217<br />
Bancroft, Bronwyn 110<br />
Barbey, Gav 245, 246<br />
Barringer, Ethel 180<br />
Bates, Megan 165<br />
Bellette, Jean 121, 191<br />
Blackman, Charles 29, 34, 35, 36, 37<br />
Booth, Peter 259<br />
Boshoff, Adriaan 207<br />
Bowen, Dean 7, 252<br />
Boyd, David 5, 193, 195<br />
Boyd, Jamie 128<br />
Brack, John 57<br />
Bracks, Priscilla 119<br />
Braund, Dorothy 8, 59, 60, 61, 126<br />
Bromley, David 105, 123, 124, 125, 201, 202, 230,<br />
231, 253<br />
Brown, Michael (Mike) Challis 248<br />
Buckmaster, Ernest 25, 27, 175, 176<br />
Bulun Bulun, Johnny 131<br />
Bunny, Rupert 78<br />
Carnegie, Nancy 166<br />
Cassab, Judy 185, 186<br />
Catani, Ugo 43<br />
Chamerski, Richard 213<br />
Chevalier, Nicholas 194<br />
Christmann, Gunter 2<br />
Coleman, Bill 236, 238<br />
Colquhoun, Alexander 88, 89<br />
Colquhoun, Archibald 214<br />
Courier, Mary (Mcleish) 237, 240<br />
Crawshaw, Lionel Townsend 86<br />
Cress, Fred 116<br />
Crooke, Ray 48, 49, 50<br />
Cullen, Adam 99, 100<br />
Dall’ava, Augustine 115<br />
Davies, Edward 178<br />
Davila, Juan 258<br />
Davis, James 221<br />
Davis, Michael 182<br />
Daws, Lawrence 80<br />
Demartinécourt, Claire 58<br />
Del Mace, Jill 222<br />
De Maistre, Leroy (Roy) 40<br />
Dent, Aileen 216<br />
Dickerson, Robert 67<br />
Dobell, William 219<br />
Dolby, Gabriella 142<br />
Drew, William 208<br />
Drysdale, Russell 79<br />
Durack, Elizabeth 11–20<br />
Earles, Bruce 109<br />
Edwards, McLean 111<br />
Ellaga, Barney 155<br />
English School 218<br />
Firth Smith, John 26<br />
Folwell, Tom 227, 228, 229<br />
Foreau, Louis-Henri 204<br />
Fowles, Sir Joseph 28<br />
Francis, Dorothea 46<br />
Fransella, Graham 98<br />
Frater, William 212<br />
Friend, Donald 187, 188, 189<br />
Ganambarr, Larrtjanga 139<br />
Gardiner, Ian 69<br />
Gleeson, James 3, 4, 76<br />
Gralton, Sophie 234<br />
Gregory, Drew 23<br />
Hall, Anne 250, 251<br />
Halpern, Deborah 113<br />
Hart, Kevin (Pro) 9, 10, 95, 198, 199, 200, 223, 224,<br />
254, 255<br />
Harvey, Steven 108<br />
Herbert, Harold B 81<br />
Herman, Sali 62<br />
Herring, After John F 179<br />
Hesling, Bernard 102<br />
Heysen, Hans 22<br />
Hogan, Bruce 165<br />
Howley, John 112<br />
Hua, Shen 232<br />
Jackson, James R 87, 173, 174<br />
Jacks, Robert 249, 250<br />
Johnson, Michael 226
161<br />
Johnson, Robert 38, 39, 82, 83<br />
Kahan, Louis 53<br />
Kilvington, Patrick 256<br />
Kinnane, Aaron 261<br />
Kmit, Michael 196, 235<br />
Kngwarreye, Belinda Golder 151, 154<br />
Kngwarreye, Elizabeth 148<br />
Knight, Jasper 101<br />
Kossatz, Les 192<br />
Kropinyeri (Attributed), Paul 167<br />
Krumins, Gwendoline 97<br />
Krzywokulski, John 190<br />
Langker, Erik 85<br />
Lindsay, Perceval (Percy) 206<br />
Liwukang, George 134<br />
Longstaff (Attributed), John 215<br />
Loxton, John 84<br />
Lysenko, Andrei Gavrilovich 41<br />
Macleod, Euan 68<br />
Makin, Jeffrey 225<br />
Manjuwuy, Charlie 135<br />
Mannix, Max 257<br />
Margocsy, Paul 104<br />
Marks, Elizabeth 143<br />
Matjirri, Jimmy Pascoe 137<br />
Maymuru, Narritjin 136<br />
Moodie, Charles 197<br />
Mora, Mirka 1, 30, 31, 32<br />
Morton, Colleen Ngwarraye 158<br />
Mungulu, Gudu 142<br />
Mungulu, Margaret 142<br />
Mungulu, Mildred 142<br />
Murphy, Michael Vincent 117<br />
Nabarlambarl, Peter 160<br />
Nadjongorle, Djawida 132<br />
Nangala, Laurel 162<br />
Napanangka, Walangkura 149<br />
Napangardi, Eunice 144, 152<br />
Naparrula, Lorna Fencer 156, 157<br />
Napurrula, Ningura 145, 146<br />
Nolan, Sidney 70–75, 183, 184<br />
Olsen, John 6, 122<br />
Pai, Laxman 239<br />
Paley, Matthieu 233<br />
Paling, Johannes J 42<br />
Pennock, Colin 107<br />
Perceval, John 45, 120<br />
Petyarre, Kathleen 168<br />
Petyarre, Lindsay Bird 140<br />
Piperides, Phillip 56<br />
Pointon, John 51<br />
Power, Harold Septimus 24<br />
Proctor, Thea 77<br />
Pugh, Clifton 33<br />
Pwerle, Gayla 153<br />
Pwerle, Minnie 161<br />
Raberaba, Herbert 169<br />
Rae, Isobel (Iso) 21<br />
Sawrey, Hugh 52<br />
Scheltema, Jan Hendrik 177, 181<br />
Schlieper, Michael 243, 244<br />
Shearer, Ben 90, 91<br />
Sher, Jules 127<br />
Sievers, Wolfgang 242<br />
Sorrell, Peter 54, 55<br />
Stubbs, Douglas 260<br />
Sumner, Alan 114<br />
Tingima, Wingu 159<br />
Tjapaltjarri, Clifford Possum 141<br />
Tjapanangka, Bob Dingle 133<br />
Tjapangati, Kanya 150, 164<br />
Tjutjaja, Peter Taylor 170<br />
Todman-Parrant, Rosemary 106<br />
Traill, Jessie 64, 65<br />
Umbagai, Leah 142<br />
Ward-Thompson, Ramon 209, 210<br />
Warren, Kerrie 66<br />
Weir, Barbara 147<br />
Welch, David 63<br />
Weston, Barry 241<br />
Wheeler, Charles 203<br />
Wigley, James 129<br />
Williams, Fred 220<br />
Woolagoodja, Donny 142<br />
Worrall, Mike 103<br />
Yates, Cecily Wintiragu 163<br />
Young, Robert 44
162<br />
Copyright<br />
5 © David Boyd/Copyright Agency, 2022<br />
6 © John Olsen/Copyright Agency, 2022<br />
7 © Dean Bowen/Copyright Agency, 2022<br />
11 © Elizabeth Durack/Copyright Agency, 2022<br />
12 © Elizabeth Durack/Copyright Agency, 2022<br />
13 © Elizabeth Durack/Copyright Agency, 2022<br />
14 © Elizabeth Durack/Copyright Agency, 2022<br />
15 © Elizabeth Durack/Copyright Agency, 2022<br />
15 © GaylaPwerle/Copyright Agency, 2022<br />
16 © Elizabeth Durack/Copyright Agency, 2022<br />
17 © Elizabeth Durack/Copyright Agency, 2022<br />
18 © Elizabeth Durack/Copyright Agency, 2022<br />
19 © Elizabeth Durack/Copyright Agency, 2022<br />
20 © Elizabeth Durack/Copyright Agency, 2022<br />
22 © Hans Heysen/Copyright Agency, 2022<br />
29 © Charles Blackman/Copyright Agency, 2022<br />
34 © Charles Blackman/Copyright Agency, 2022<br />
35 © Charles Blackman/Copyright Agency, 2022<br />
36 © Charles Blackman/Copyright Agency, 2022<br />
37 © Charles Blackman/Copyright Agency, 2022<br />
45 © John Perceval/Copyright Agency, 2022<br />
48 © Ray Crooke/Copyright Agency, 2022<br />
49 © Ray Crooke/Copyright Agency, 2022<br />
50 © Ray Crooke/Copyright Agency, 2022<br />
52 © Hugh Sawrey/Copyright Agency, 2022<br />
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62 © Sali Herman/Copyright Agency, 2022<br />
64 © Jessie Traill/Copyright Agency, 2022<br />
65 © Jessie Traill/Copyright Agency, 2022<br />
66 © Kerrie Warren/Copyright Agency, 2022<br />
67 © Robert Dickerson/Copyright Agency, 2022<br />
68 © Euan MacLeod/Copyright Agency, 2022<br />
70 © Sidney Nolan Trust. DACS/<br />
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Copyright Agency, 2022<br />
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74 © Sidney Nolan Trust. DACS/<br />
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99 © Adam Cullen/Copyright Agency, 2022<br />
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101 © Jasper Knight/Copyright Agency, 2022<br />
110 © Bronwyn Bancroft/Copyright Agency, 2022<br />
111 © McLean Edwards/Copyright Agency, 2022<br />
112 © John Howley/Copyright Agency, 2022<br />
115 © Augustine Dall'Ava/Copyright Agency, 2022<br />
120 © John Perceval/Copyright Agency, 2022<br />
121 © Jean Bellette/Copyright Agency, 2022<br />
122 © John Olsen/Copyright Agency, 2022<br />
131 © Johnny Bulun Bulun/Copyright Agency, 2022<br />
132 © Djawida Nadjongorle/Copyright Agency, 2022<br />
133 © Bob Dingle/Copyright Agency, 2022<br />
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163<br />
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164<br />
Terms & Conditions of Sale<br />
The Terms and Conditions of Sale listed here contain<br />
the policies of Gibson's Auctioneers & Valuers Pty<br />
Ltd (herein after referred to as "Gibson's"). They are<br />
the Terms on which Gibson's and the Seller contract<br />
with the Buyer. They may be amended by printed<br />
Saleroom Notices or oral announcements made<br />
before and during the Sale. By Bidding at Auction, you<br />
agree to be bound by these terms.<br />
1. Definitions<br />
The following conditions that are listed contain<br />
terms that are used regularly and have the following<br />
meanings:<br />
"Auction" means the event at which any Lot is<br />
offered for Sale by Gibson's.<br />
"Auctioneer" means the representative of Gibson's<br />
conducting the Auction.<br />
"Bid" / "Bidder" means the action of notifying the<br />
Auctioneer of the intention to purchase the Lot by<br />
the Prospective Buyer. The Bidder is any person or<br />
entity that makes this makes this action. Bidding is<br />
understood by both the Bidder and Gibson's to be<br />
contractually obliging.<br />
“Buyer” means the person with the highest Bid<br />
accepted by the Auctioneer.<br />
“Buyer's Premium” means the charge payable by<br />
the Buyer to the Auction house as a percentage of<br />
the Hammer Price.<br />
“Company” means Gibson’s Auctions Pty Ltd,<br />
trading as Gibson’s Auctions.<br />
“Forgery” means an item constituting an imitation<br />
originally conceived and executed with fraudulent<br />
intention to deceive as to authorship, origin, age,<br />
period, culture, provenance or source where the<br />
correct description as to such matters is not reflected<br />
by the description in the catalogue. Accordingly, no<br />
Lot shall be capable of being a forgery by reason of<br />
any damage or restoration work of any kind (including<br />
re-painting).<br />
“Hammer Price” means the amount of the highest<br />
Bid accepted by the Auctioneer in relation to a Lot.<br />
“Insured Value” means the amount that Gibson's<br />
in its absolute discretion from time to time shall<br />
consider the value for which a Lot should be covered<br />
for insurance (whether or not insurance is arranged<br />
by Gibson's).<br />
“Lot” means any item within the Sale for Auction and<br />
in particular the item or items described against any<br />
Lot number in the catalogue.<br />
"Prospective Buyer" means any person or entity<br />
with the intention of purchasing any Lot in the<br />
Auction.<br />
“Reserve” means the confidential lowest amount<br />
at which Gibson's has contractually agreed with the<br />
Seller that the Lot can be sold.<br />
"Sale" means any private treaty or Auction Sale at<br />
which a Lot is offered for Sale.<br />
“Seller” means (as appropriate) the owner, their<br />
agent, executors or personal representatives, or the<br />
person in possession of the property consigned<br />
for Auction. Multiple owners, agents or persons in<br />
possession shall jointly and severally assume all<br />
obligations, liabilities, representations, warranties and<br />
indemnities in relation to the Sale of the Lot.<br />
"Dollars" or "$" means <strong>Australian</strong> currency. All Bids,<br />
Hammer Price, Reserves, Buyer's Premium and<br />
other expressions of value are understood to be in<br />
<strong>Australian</strong> Dollars unless otherwise specified.<br />
2. Gibson’s Auctioneers & Valuers<br />
as Agent<br />
Except as otherwise stated Gibson's acts as agent<br />
for the Seller.<br />
The contract for the Sale of the property is therefore<br />
made between the Seller and the Buyer.<br />
3. Before the Sale<br />
A) EXAMINATION OF PROPERTY<br />
Prospective Buyers are strongly advised to examine<br />
in person any property in which they are interested<br />
before the Auction takes place. Neither Gibson's<br />
nor the Seller provides any guarantee in relation to<br />
the nature of the property apart from the Limited<br />
Warranty in the paragraph below. The property is<br />
otherwise sold “as is”.<br />
B) CATALOGUE AND OTHER DESCRIPTIONS<br />
All statements by Gibson's in the catalogue entry for<br />
the property or in the condition report, or made orally<br />
or in writing elsewhere, are statements of opinion<br />
and are not to be relied upon as statements of fact.<br />
Such statements do not constitute a representation,<br />
warranty or assumption of liability by Gibson's of<br />
any kind. References in the catalogue entry to the<br />
condition report, including damage or restoration<br />
are for guidance only and should be evaluated by<br />
personal inspection by the Bidder or a knowledgeable<br />
representative. The absence of such a reference<br />
does not imply that an item is free from defects or<br />
restoration, nor does a reference to particular defects<br />
imply the absence of any others. Estimates of the<br />
selling price should not be relied on as a statement<br />
that this is the price at which the item will sell or its<br />
value for any other purpose. Neither Gibson's nor the<br />
Seller is responsible for any errors or omissions in the<br />
catalogue or any supplemental material.<br />
Images are measured height by width. Illustrations<br />
are provided only as a guide and should not be relied<br />
upon as a true representation of colour or condition.<br />
Images are not shown at a standard scale. Mention<br />
is rarely made of frames (which may be provided as<br />
supplementary images on the website) which do<br />
not form part of the Lot as described in the printed<br />
catalogue.<br />
All transactions are in <strong>Australian</strong> Dollars so there<br />
may be a small exchange rate risk, for international<br />
Buyers. The costs associated with acquiring a goods<br />
certificate will be borne by the Buyer. If the item<br />
turns out to be a Forgery or otherwise incorrectly<br />
described, all reasonable costs will be borne by the<br />
Seller.<br />
C) BUYER'S RESPONSIBILITY<br />
All property is sold “as is” without representation or<br />
warranty of any kind by Gibson's or the Seller. Buyers<br />
are responsible for satisfying themselves concerning<br />
the condition of the property and the matters referred<br />
to in the catalogue by requesting a condition report.<br />
4. At the Sale<br />
A) REFUSAL OF ADMISSION<br />
Gibson's reserves the right at our complete discretion<br />
to refuse admission to the Auction premises or<br />
participation in any Auction and to reject any Bid.<br />
B) REGISTRATION BEFORE BIDDING<br />
Any new Prospective Buyer must complete and<br />
sign a registration form and provide photographic<br />
identification before Bidding. Gibson's may<br />
request bank, trade or other financial references to<br />
substantiate this registration.<br />
C) BIDDING AS A PRINCIPAL<br />
When making a Bid, a Bidder is accepting personal<br />
liability to pay the purchase price including the<br />
Buyer's Premium and all applicable taxes, plus<br />
all other applicable charges, unless it has been<br />
explicitly agreed in writing with Gibson's before<br />
the commencement of the Sale that the Bidder is<br />
acting as agent on behalf of an identified third party<br />
acceptable to Gibson's and that Gibson's will only<br />
look to the principal for payment.<br />
D) INTERNATIONAL REGISTRATIONS<br />
All international clients not known to Gibson's will<br />
be required to scan or fax through an accredited<br />
form of photo identification and pay a deposit at our<br />
discretion in cleared funds into Gibson's account<br />
at least 48 hours before the commencement of<br />
the Auction. Bids will not be accepted without<br />
this deposit. Gibson's also reserves the right to<br />
request any additional forms of identification prior<br />
to registering an overseas Bid. This deposit can be<br />
made using a credit card, however the balance of<br />
any purchase price in excess of $5,000 cannot be<br />
charged to this card without prior arrangement. This<br />
deposit is redeemable against any Auction purchase.<br />
E) ABSENTEE BIDS<br />
Gibson's will use reasonable efforts to execute written<br />
Bids delivered to us at least 24 hours prior to the<br />
Sale for the convenience of those clients who are<br />
unable to attend the Auction in person. If Gibson's<br />
receives identical written Bids on a particular Lot, and<br />
at the Auction these are the highest Bids on that Lot,<br />
then the Lot will be sold to the person whose written<br />
Bid was received and accepted first. Execution of<br />
written Bids is a free service undertaken subject to<br />
other commitments at the time of the Sale and we<br />
do not accept liability for failing to execute a written<br />
Bid or for errors or omissions which may arise. It is<br />
the Bidder’s responsibility to check with Gibson's<br />
after the Auction if they were successful. Unlimited<br />
or “Buy” Bids will not be accepted. Please refer to our<br />
indicative Bidding increments below for appropriate<br />
absentee Bid amounts (Section K).<br />
F) TELEPHONE BIDS<br />
Priority will be given to overseas and interstate<br />
Bidders. Arrangements for this service must be<br />
confirmed at least 24 hours prior to the Auction<br />
commencing. Gibson's accepts no responsibility<br />
whatsoever for any errors or failure to execute Bids.<br />
In telephone Bidding the Buyer agrees to be bound<br />
by all terms and conditions listed here and accepts<br />
that Gibson's cannot be held responsible for any<br />
miscommunications in the process. The success<br />
of telephone Bidding cannot be guaranteed due to<br />
circumstances that are unforeseen. Buyers should<br />
be aware of the risk and accept the consequences<br />
should contact be unsuccessful at the time of<br />
Auction. You must advise Gibson's of the Lots in<br />
question and recommend a ‘Cover Bid’ amount<br />
should there be any issues with technology or<br />
communication via the telephone number provided.<br />
Gibson's will advise Telephone Bidders who have<br />
registered at least 24 hours before the Auction of any<br />
relevant changes to descriptions, withdrawals or any<br />
other Sale room notices.<br />
G) ONLINE BIDDING<br />
Gibson's accepts no responsibility for any<br />
errors, failure to execute Bids or any other<br />
miscommunications regarding this process. It is the<br />
online Bidder’s responsibility to ensure the accuracy<br />
of the relevant information regarding Bids, Lot<br />
numbers and contact details.
165<br />
H) RESERVES<br />
Unless otherwise indicated, all Lots are offered<br />
subject to a Reserve, which is the confidential<br />
minimum price below which the Lot will not be sold.<br />
The Reserve will not exceed the low estimate printed<br />
in the catalogue. The Auctioneer may open the<br />
Bidding on any Lot below the Reserve by placing<br />
a Bid on behalf of the Seller. The Auctioneer may<br />
continue to Bid on behalf of Seller up to the amount<br />
of the Reserve, either by placing consecutive Bids or<br />
by placing Bids in response to other Bidders.<br />
I) AUCTIONEER'S DISCRETION<br />
The Auctioneer has the right at his absolute and sole<br />
discretion to refuse any Bid, to advance the Bidding<br />
in such a manner as he may decide, to withdraw or<br />
divide any Lot, to combine any two or more Lots and,<br />
in the case or error or dispute and whether during or<br />
after the Sale, to determine the successful Bidder, to<br />
continue the Bidding, to cancel the Sale or to re-offer<br />
and resell the item in dispute. In the event of a dispute,<br />
or the Auctioneer or the Company is of the opinion<br />
that there has been a misunderstanding or mistake<br />
regarding a Sale or a Lot the subject of a Sale, the<br />
Auctioneer may rescind the Sale and put any Lot<br />
up for a Second Auction. If a Sale is rescinded, the<br />
Company may put the Lot up at a second Auction,<br />
offer the Lot for sale by private treaty or withdraw the<br />
Lot from sale entirely.<br />
J) SUCCESSFUL BID AND PASSING OF RISK<br />
Subject to the Auctioneer’s discretion, on the<br />
acceptance of a Bid by the fall of the Auctioneer's<br />
hammer, a contract of sale is made between the<br />
Seller and the Buyer. Risk and responsibility for the<br />
Lot (including frames or glass where relevant) passes<br />
immediately to the Buyer. Gibson's shall not be liable<br />
for any breach of contract by either the Seller or<br />
the Buyer.<br />
K) INDICATIVE BIDDING STEPS, ETC.<br />
Gibson's reserves the right to refuse any Bid,<br />
withdraw any Lot from Sale, to place a Reserve on<br />
any Lot and to advance the Bidding according to<br />
the following:<br />
Increment Amount<br />
Dollar Range<br />
$20 $0–$500<br />
$50 $500–$1,000<br />
$100 $1,000–$2,000<br />
$200 $2,000–$5,000<br />
$500 $5,000–$10,000<br />
$1,000 $10,000–$20,000<br />
$2,000 $20,000–$50,000<br />
$5,000 $50,000–$100,000<br />
$10,000 $100,000–$200,000<br />
$20,000 $200,000–$500,000<br />
$50,000 $500,000–$1,000,000<br />
Absentee Bids must follow these increments and any<br />
Bids that don’t follow the steps will be rounded up to<br />
the nearest acceptable Bid.<br />
5. After the Sale<br />
A) BUYER'S PREMIUM<br />
In addition to the Hammer Price, the Buyer agrees<br />
to pay to Gibson's the Buyer's Premium. The Buyer's<br />
Premium is 22% of the Hammer Price plus GST.<br />
(Goods and Services Tax) where applicable.<br />
B) ONLINE SURCHARGE<br />
In the case where the Buyer purchases via online<br />
Bidding platforms, the Buyer agrees to pay the online<br />
Bidding surcharge of 2% (Gibsons.com.au) or 5%<br />
(Invaluable.com) plus GST, where applicable.<br />
C) PAYMENT AND PASSING OF TITLE<br />
The Buyer must pay the full amount due (comprising<br />
the Hammer Price, Buyer's Premium and any<br />
applicable taxes and GST) not later than three (3)<br />
days after the Auction date.<br />
The Buyer will not acquire title for the Lot until<br />
Gibson's receives full payment in cleared funds, and<br />
no goods under any circumstances will be released<br />
without confirmation of cleared funds received.<br />
This applies even if the Buyer wishes to send items<br />
interstate or overseas.<br />
Payment can be made by the following means:<br />
• Bank Transfer/Direct Deposit is our preferred<br />
method of payment<br />
Account Name: Gibson's Auctions<br />
Bank:<br />
Bank of Melbourne<br />
(A division of St George)<br />
BSB: 193879<br />
Account No: 441701443<br />
Swift Code: SGBLAU2S<br />
Routing Code: 021000021<br />
Bank Address: 197-201 Glenferrie Road,<br />
Malvern, Vic, 3144<br />
The Buyer is responsible for any bank fees and<br />
charges applicable for the transfer of funds into<br />
Gibson's account<br />
• Personal, Company and Bank Cheques are not<br />
accepted without prior approval.<br />
• EFTPOS (no charge)<br />
• Credit cards: Visa and Mastercard (1.2% inc. GST<br />
merchant fee) and American Express (2% inc.<br />
GST merchant fee)<br />
Please note that credit card transactions over<br />
$5,000 will not be accepted over the telephone<br />
unless by prior arrangement.<br />
• Cash up to AU$10,000 can accepted in<br />
cash. For any amount over this, cash is to be<br />
deposited directly into our account at a Bank of<br />
Melbourne/St George branch<br />
D) COLLECTION OF PURCHASES & INSURANCE<br />
Gibson's is entitled to retain items sold until all<br />
amounts due to us have been received in full in good<br />
cleared funds. Subject to this, the Buyer shall collect<br />
purchased Lots within three (3) days from the date of<br />
the Sale unless otherwise agreed in writing between<br />
Gibson's and the Buyer.<br />
At the fall of the hammer, insurance is the<br />
responsibility of the purchaser.<br />
E) PACKING, HANDLING AND SHIPPING<br />
At the request of the Buyer, Gibson's may assist with<br />
packing of goods but takes no responsibility for loss,<br />
damage or breakage that may occur. Gibson's at the<br />
request of the Buyer may arrange for a carrier, packer<br />
or shipper to have the property packed, insured and<br />
shipped at the Buyer’s expense. All packing, shipping,<br />
insurance, postage & associated charges will be<br />
borne by the purchaser. Gibson's can assist with<br />
removal companies that the Buyer can use but takes<br />
no responsibility whatsoever for the actions of any<br />
recommended third party.<br />
F) CULTURAL HERITAGE EXPORT LICENCES<br />
Unless otherwise agreed by Gibson's in writing, the<br />
fact that the Buyer wishes to apply for an export<br />
licence does not affect their obligation to make full<br />
payment immediately, nor Gibson's right to charge<br />
interest or storage charges on late payment. It is<br />
the responsibility of the Buyer to check Australia’s<br />
Protection of Moveable Cultural Heritage Act 1986<br />
prior to purchase. Export/import licences applications<br />
are the responsibility of the Buyer and/or the Buyer's<br />
nominated shipper. Gibson's shall not be obliged to<br />
rescind a Sale nor to refund any expenses incurred by<br />
the Buyer in circumstances where an export licence<br />
is not granted.<br />
G) REMEDIES FOR NON-PAYMENT<br />
If the Buyer fails to make full payment immediately,<br />
Gibson's is entitled to exercise one or more of the<br />
following rights or remedies (in addition to asserting<br />
any other rights or remedies available under the law)<br />
i) to charge interest at the ANZ visa credit card<br />
rate as published weekly in the <strong>Australian</strong><br />
Financial Review;<br />
ii)<br />
iii)<br />
iv)<br />
to hold the defaulting Buyer liable for the<br />
total amount due and to commence legal<br />
proceedings for its recovery along with interest,<br />
legal fees and costs to the fullest extent<br />
permitted under applicable law;<br />
to cancel the Sale;<br />
to resell the property publicly or privately on<br />
such terms as the Company sees fit;<br />
v) to pay the Seller an amount up to the net<br />
proceeds payable in respect of the amount Bid<br />
by the defaulting Buyer. In these circumstances<br />
the defaulting Buyer can have no claim upon<br />
Gibson's in the event that the Lot(s) are sold for<br />
an amount greater than the original invoiced<br />
amount;<br />
vi)<br />
to offset against any amounts which Gibson's<br />
may owe the Buyer across any other<br />
transactions;<br />
viii) to reject at any future Auction any Bids made by<br />
or on behalf of the Buyer or to obtain a deposit<br />
from the Buyer prior to accepting any Bids;<br />
ix)<br />
to exercise all the rights and remedies of a<br />
person holding security over any property in<br />
our possession owned by the Buyer whether by<br />
way of pledge, security interest or in any other<br />
way, to the fullest extent permitted by the law of<br />
the place where such property is located. The<br />
Buyer will be deemed to have been granted such<br />
security to us and we may retain such property<br />
as collateral security for such Buyer’s obligations<br />
to the Company;<br />
x) to take such other action as the Company<br />
deems necessary or appropriate.<br />
H) FAILURE TO COLLECT PURCHASES<br />
Where purchases are not collected within three (3)<br />
days from the Sale date, whether or not payment has<br />
been made, the Company shall be permitted to:<br />
i) remove, store and further insure the Lot at the<br />
expense of the Buyer, releasing only after full<br />
payment has been received from the Buyer for<br />
incurred costs;<br />
ii)<br />
iii)<br />
re-sell the Lot without Reserve by Auction,<br />
private treaty or any other means whereby the<br />
Buyer agrees not to challenge the resale price<br />
achieved.<br />
rescind the Sale of that Lot or any other Lot sold<br />
by the Seller to the Buyer at the same or any<br />
other Auction.<br />
If Gibson's do re-sell the property under clauses H<br />
and G, the defaulting Buyer agrees to be liable for<br />
all payments of any deficiency between the total<br />
amount originally due and the price obtained, as well<br />
as the legal as all costs, expenses, damages, legal<br />
fees, commissions and premiums of whatever kinds<br />
associated with both Sales or otherwise arising from<br />
the default.<br />
6. Extent of Gibson's Liability<br />
Gibson's agrees to refund the purchase price in the<br />
circumstances of the Limited Warranty set out in<br />
paragraph 7. Apart from that, neither the Seller nor<br />
the Company, nor any of the Company’s employees<br />
or agents are responsible for the correctness of<br />
any statement of whatever kind concerning any Lot,<br />
whether written or oral, nor for any other errors or<br />
omissions in description or for any faults or defects<br />
in any Lots. Except as stated in paragraph 7 below,<br />
neither the Seller, the Company, its officers, agents<br />
or employees give any representation warranty
166<br />
or guarantee or assume any liability of any kind in<br />
respect of any Lot with regard to merchantability,<br />
fitness for a particular purpose, description, size,<br />
quality, condition, attribution, authenticity, rarity,<br />
importance, medium, provenance, exhibition history,<br />
literature or historical relevance. Except as required<br />
by local law any warranty of any kind is excluded by<br />
this paragraph.<br />
7. Limited Warranty<br />
Subject to the terms and conditions of this<br />
paragraph, the warrants for the period of fourteen<br />
(14) days from the date of the Sale that any property<br />
described in this catalogue (noting such description<br />
may be amended by any Saleroom notice or<br />
announcement) which is stated without qualification<br />
to be the work of a named author or authorship is<br />
authentic and not a forgery. The term “Author” or<br />
“Authorship” refers to the creator of the property or<br />
to the period, culture, source, or origin as the case<br />
may be, with which the creation of such property is<br />
identified in the catalogue.<br />
The warranty is subject to the following:<br />
i) it does not apply where a) the catalogue<br />
description or Saleroom notice corresponded<br />
to the generally accepted opinion of scholars<br />
and experts at the date of the Sale or fairly<br />
indicated that there was a conflict of opinions,<br />
or b) correct identification of a Lot can be<br />
demonstrated only by means of a scientific<br />
process not generally accepted for use until<br />
after publication of the catalogue or a process<br />
which at the date of the publication of the<br />
catalogue was unreasonably expensive or<br />
impractical or likely to have caused damage to<br />
the property.<br />
ii)<br />
iii)<br />
iv)<br />
the benefits of the warranty are not assignable<br />
and shall apply only to the original Buyer of the<br />
Lot as shown on the invoice originally issued by<br />
Gibson's when the Lot was sold at Auction.<br />
the original Buyer must have remained the owner<br />
of the Lot without disposing of any interest in it<br />
to any third party<br />
The Buyer’s sole and exclusive remedy against<br />
the Seller in place of any other remedy which<br />
might be available, is the cancellation of the<br />
Sale and the refund of the original purchase<br />
price paid for the Lot less the Buyer's Premium<br />
which is non-refundable. Neither the Seller nor<br />
Gibson's will be liable for any special, incidental<br />
nor consequential damages including, without<br />
limitation, loss of profits not for interest.<br />
v) The Buyer must give written notice of claim<br />
to us within fourteen (14) days of the date of<br />
the Auction. The Seller shall have the right, to<br />
require the Buyer to obtain two written opinions<br />
by recognised experts in the field, mutually<br />
acceptable to the Buyer and Gibson's to decide<br />
whether to cancel the Sale under warranty.<br />
vi)<br />
the Buyer must return the Lot to Seller in the<br />
same condition that it was purchased.<br />
8. Severability<br />
If any part of these Conditions of Sale is found by any<br />
court to be invalid, illegal or unenforceable, that part<br />
shall be discounted and the rest of the Conditions<br />
shall continue to be valid to the fullest extent<br />
permitted by law.<br />
9. Copyright<br />
The copyright of all images, illustrations and written<br />
material produced by Gibson's relating to a Lot<br />
including the contents of this catalogue, is and shall<br />
remain the property at all times of Gibson's and<br />
shall not be used by the Buyer, nor by anyone else<br />
without our prior written consent. Gibson's and the<br />
Seller make no representation or warranty that the<br />
Buyer of a property will acquire any copyright or other<br />
reproduction rights in it.<br />
10. Law and Jurisdiction<br />
These terms and conditions and any matters<br />
concerned with the foregoing fall within the exclusive<br />
jurisdiction of the courts of the state in which the<br />
Auction is held.<br />
11. Pre-Sale Estimates<br />
Gibson's publishes with each catalogue our opinion<br />
as to the estimated price range for each Lot. These<br />
estimates are approximate prices only and are not<br />
intended to be definitive. They are prepared well in<br />
advance of the Sale and may be subject to revision.<br />
Interested parties should contact Gibson's prior to<br />
Auction for updated pre-Sale estimates and starting<br />
prices.<br />
12. Sale results<br />
After the Sale, Gibson's may publish (both verbally<br />
and in writing) the results of Sale at our discretion,<br />
including the prices achieved for specific Lots.<br />
Unless otherwise discussed with the Buyer, details of<br />
individual Buyers will remain confidential.<br />
13. Goods and Service Tax<br />
In accordance with A New Tax System (Goods and<br />
Services Tax) Act 1999, Gibson's Auctions will collect<br />
on behalf of the <strong>Australian</strong> Tax Office (ATO) a Goods<br />
and Service Tax (GST) of 10% on all applicable<br />
transactions.<br />
GST is applicable on the Hammer Price in the case<br />
where the Seller is selling property that is owned by<br />
an entity registered for GST. GST is also applicable<br />
on the Hammer Price in the case where the Seller is<br />
not an <strong>Australian</strong> resident. These Lots are denoted by<br />
a dagger symbol (†) placed next to the estimate.<br />
GST is also applicable on the Buyer's Premium.<br />
Overseas Buyers and non-resident Buyers in Australia<br />
will not be charged GST on both Hammer Price and<br />
Premiums under the following conditions:<br />
1. The items are exported through a Gibson's<br />
approved freight company including Australia<br />
Post<br />
2. The items are exported within 60 days of the<br />
date of the Sale<br />
The invoice supplied by Gibson's for purchases will be<br />
regarded as a Tax invoice for GST purposes.<br />
14. Resale Royalty Scheme<br />
Under the legal obligations of the Resale Royalty<br />
Scheme for Visual <strong>Art</strong>ists Act 2009, Sellers must<br />
provide the following information to comply with<br />
the act:<br />
• was the artwork acquired after 8 June 2010?<br />
• is the Sale/Reserve price (including GST) $1,000<br />
or more?<br />
• is the artist from Australia or a country listed in<br />
the Regulations to the Act?<br />
• is the artist alive, or deceased less than 70 years?<br />
The Seller:<br />
i) acknowledges that he or she understands his or<br />
her legal obligations under the Resale Royalty for<br />
Visual <strong>Art</strong>ists Act 2009 (the Act);<br />
ii)<br />
iii)<br />
iv)<br />
undertakes to comply with all requirements of<br />
the Act, including by providing its agent, the<br />
company, with accurate information sufficient for<br />
compliance with sections 28 and 29 of the Act;<br />
undertakes to indemnify the Company for any<br />
loss incurred by the Company as a result of<br />
the Vendor’s failure to comply with any of the<br />
Vendor’s legal obligations under the Act; and<br />
acknowledges that if he or she fails to comply<br />
with any of his or her legal obligations under<br />
the Act, the company may provide the vendor’s<br />
name and contact details to Copyright Agency<br />
Limited (CAL).<br />
Lots subject to payment of the Resale Royalty<br />
Scheme will be denoted by the symbol §. The<br />
<strong>Australian</strong> Resale Royalty is a flat rate of 5% on the<br />
Hammer Price (including GST). The <strong>Australian</strong> Resale<br />
Royalty is payable by the Seller in addition to the<br />
Buyer's Premium plus any applicable GST.<br />
15. Jewels & Watches<br />
GEMSTONES<br />
Gemstones have historically been subjected to a<br />
variety of treatments to enhance their appearance.<br />
Sapphire and rubies are routinely heat treated to<br />
improve their colour and clarity, similarly emeralds<br />
are frequently treated with oils or resin for the same<br />
purpose. Other treatments such as staining or dyeing,<br />
irradiation, filling or coating may have been used<br />
on other precious and semi-precious gemstones<br />
and organic material. These treatments may be<br />
permanent, whilst others may need special care to<br />
reserve their appearance. Buyers should assume that<br />
each Lot has been subject to some form of treatment<br />
and that the estimates reflect this.<br />
A number of laboratories issue certificates that give<br />
detailed descriptions of gemstones, and in the event<br />
that Gibson's has been supplied with or obtained<br />
certificates for any Lot, this shall be noted in the<br />
catalogue. However, as there may not be consensus<br />
between different laboratories on the degree, or<br />
types of treatment of the gemstones, Gibson's<br />
supplies these without warranty.<br />
Buyers should assume that all gemstones sold<br />
by Gibson's may have been subjected to such<br />
treatments, and that the catalogue estimates reflect<br />
this.<br />
PEARLS<br />
Pearls, like gemstones, are also subject to various<br />
treatments. Buyers should assume that any pearls<br />
sold by Gibson's may have been subjected to such<br />
treatments, and that the catalogue estimates reflect<br />
this.<br />
WATCHES<br />
Please note: All watches sold by Gibson's are sold on<br />
an “as is” basis. Gibson's makes no representation<br />
or warranty that any watch is in working order. Many<br />
watches have been repaired over their lifetime and<br />
may contain non-original parts. The absence of any<br />
reference to the condition of a watch does not imply<br />
that the Lot is in good condition and without defects,<br />
repairs or restorations. Buyers should be aware that<br />
a general service, change of battery or further repair<br />
work, for which the Buyer is solely responsible for,<br />
may be necessary.<br />
ESTIMATED WEIGHTS<br />
If a stone has a known weight, it has been weighed<br />
out of the mount. If a stone has an estimated weight,<br />
it is an approximate weight only and has been<br />
measured by us in the mount and is a statement of<br />
opinion only. The information is given as a guide only<br />
and Buyers should satisfy themselves with regard to<br />
this information as to its accuracy.
Lot 111