GA039 | Australian & International Art

Australian & 

International 

Art 

Melbourne, Sunday 16 October 2022

Specialists & Management for this sale 

Jennifer Gibson 

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Valuations 

Deanna Baxter 

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Manager 

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International Art 

Jennifer Gibson 

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Deanna Baxter 

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Samuel Fricker 

samuel.fricker@gibsonsauctions.com.au 

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jon.dwyer@gibsonsauctions.com.au 

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IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 

CHEEL ST

FRONT COVER: 

Lot 21 (Detail) 

BACK COVER: 

Lot 166 


International 

Art 

Auction 

Sunday 16 October 2022, 12.00 Noon 

Level 1, 885-889 High Street 

Armadale, Victoria 3143 

Viewing 

Thursday 13 October 

Friday 14 October 

Saturday 15 October 

10.00am – 5.00pm 

10.00am – 5.00pm 

10.00am – 5.00pm 

Auction Code: GA039 

GST 

† Lots with this symbol are subject 

to GST on the hammer price and the 

buyer’s premium. 

Buyer’s Premium 

Buyer’s Premium is charged at 

22% of the hammer price plus GST. 

GST is applicable to the buyer’s 

premium only, unless otherwise 

indicated by the † symbol. 

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This applies to bidding in person at 

the auction, Telephone, Absentee and 

Online bidding. 

Resale Royalty Scheme 

Lots subject to payment of the Artist's 

Resale Royalty Scheme will be denoted 

by the symbol §. The Australian Resale 

Royalty is a flat rate of 5% on the 

hammer price (including GST) and is 

payable by the seller. 

Restricted or Organic Material 

♦ Lots with this symbol have been 

identified at the time of cataloguing 

as containing organic material which 

may be subject to export or import 

restrictions. The absence of this 

symbol is not a guarantee that export 

or import restrictions will not apply. See 

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Payments & Collections can be made 

from: Level 1, 885-889 High Street, 

Armadale, Vic 3143 

Monday 17 October 

Tuesday 18 October 

Wednesday 19 October 

10am–5pm 

10am–5pm 

10am–5pm 

All goods must be collected and paid 

in full strictly by 5pm on Wednesday 19 

October (unless by prior arrangement) 

to avoid removal and storage charges. 

All payments are to be made in 

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the methods of payment in the ‘How to 

Buy’ section on the following pages. 

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(excl GST) for Visa and Mastercard and 

2% (excl GST) for American Express.

2 

How to Buy 

All you need to know about the bidding process at auction 

Viewing 

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prior to the auction date. 

Complimentary printed catalogues are available at Gibson’s 

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indicating a special clause associated with the sale of the 

item/s. Further information on symbols within our catalogues 

can be found on Page 1. 

Viewing 

Auction viewings are open to the public and usually take place 

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

listed in the auction catalogue and on the website. 

Lot Descriptions 

Lot Descriptions provide basic catalogue information such 

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

and quantity. 

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

auction date. 

Estimates 

Estimates are printed in the catalogue beside every lot and 

take into account rarity, condition, quality and provenance. 

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

purchase. The reserve is an undisclosed confidential amount 

which is set at, or below the low estimate. 

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

Auctioneers & Valuers. Many lots are sold without reserve. 

Talk to our Specialists 

Gibson’s Auctioneers & Valuers are an experienced team of 

specialists who are available to discuss items in further detail, 

and to offer advice and assistance. 

Contact details for relevant specialists can be found on the 

inside front cover our auction catalogues and on our website. 

Condition Reports 

Condition Reports are available on request. Condition Reports 

supplement the lot description and provide information on the 

condition of an item. 

We strongly advise obtaining a condition report if you are 

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

To request a condition report please email 

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

title and lot number/s. 

Bidding 

Gibson’s Auctioneers & Valuers offer four bidding options: 

1. Auction Room Bidding 

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

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2. Telephone Bidding 

Gibson’s Auctioneers & Valuers offer telephone bidding on all 

lots, at all auctions. 

Telephone Bidding is a convenient solution if you are unable to 

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

staff member will call you approximately 5 lots in advance and 

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

Please note: Telephone Bids must be organised at least 24 

hours prior to the auction and that occasionally, the number 

of telephone bidders available may be restricted when the 

auction is offsite. 

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

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your address.

3 

3. Absentee Bids 

Absentee Bidding is another convenient solution if you 

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

telephone or if you simply have a strict budget. 

An Absentee Bid should be set at the maximum amount 

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

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

the bid recorded on your form, the lot will be sold to you for 

the lesser hammer price. 

Please note Absentee Bids must be received at least 24 hours 

prior to the auction to allow time for processing. 

To organise an Absentee Bid please follow the link to 

the Absentee Bidding form available on our website: 

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

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

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

submit your Absentee Bid, along with clear Photo ID verifying 

your address. 

4. Online Bidding 

Online bidding allows you to bid via the internet in real 

time with a live broadcast of the auction. To bid online visit 

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Please register for this service at least 24 hours prior to the 

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Please note online bidding is powered by Invaluable.com and 

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mail@gibsonsauctions.com.au as soon as practical. 

International Bidding 

If you are bidding from overseas for the first time, you will be 

asked to provide a clear Photo ID verifying your address and 

a deposit (set at Gibson’s Auctioneers & Valuers’ discretion) 

prior to the auction. The deposit is refundable within 48 

hours should you not be successful. If you are successful 

the deposit will be deducted from your invoice total. The 

remaining balance must be paid preferably by direct deposit. 

Bank details are provided in the Payment & Collection section 

of this guide. 

Payment & Collection 

Payments 

If you are successful an invoice (AU$) will be emailed or 

posted to you immediately after the auction. 

You will pay the hammer price, plus the buyer’s premium 

(22% plus GST) on each Lot, together with any additional 

applicable charges such as GST on hammer. 

Payments must be made in full by the final day of Collections 

as printed in the catalogue. 

Bank Transfer/Direct Deposit is our preferred method 

of payment: 

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• Personal, Company and Bank Cheques are not accepted 

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

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Collections 

Gibson’s Auctioneers & Valuers are happy to assist and 

provide you with recommended transport companies whether 

it be a local, interstate or international delivery. 

Storage 

All items must be paid for and collected within the collection 

times advertised for each individual auction. If items are not 

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

Valuers reserve the right to charge removal and storage fees.

4 

1 

MIRKA MORA (1928-2018) 

The Sisters 1963 

watercolour and charcoal on paper 

signed and dated lower right: Mirka 63 

75 x 53cm 

$5,000–8,000

5 

1

6 

2 

GUNTER CHRISTMANN (1936-2013) 

Smoke Green 1971 

acrylic on canvas 

signed, dated and titled verso: 

G S Christmann Jan 71 SMOKE GREEN 

168 x 152cm 

EXHIBITED 

38 Hargrave Street, Paddington, April 1971, cat. no. 9 

$15,000–20,000 

Gunter Christmann arrived in Melbourne from Berlin in 

1959. He and partner Jenny Christmann soon moved 

to Sydney and set up a small live-in studio opposite the 

National Art School. They quickly became local fixtures of 

the Darlinghurst streetscape. Christmann’s self-directed 

attitude led him to reject traditional forms of arts training, 

preferring to draw from music, art, literature and locality to 

inform his practice. Christmann divided his focus across 

various mediums including sound work, abstract painting 

and drawing. The iconic ‘sprinkle’ paintings such as Smoke 

Green, 1971 are amongst some of the most prominent 

works within the artist’s oeuvre. 

Following his inclusion in NGV’s exhibition The Field in 1968, 

Christmann staged a solo show at Central Street Gallery, 

Sydney in 1969 selling works to state galleries, the National 

Gallery of Australia and writer Patrick White 1 This cemented 

Christmann as an integral figure of Sydney’s abstract 

expressionist movement and in 1971 he was chosen to 

represent Australia at the XI Biennale Sao Paulo alongside 

David Aspden. 

That same year the philanthropist John Kaldor invited the 

renowned Swiss curator Harald Szeemann to Australia with 

the intention to curate a show drawn from the avant garde 

artists he encountered. In a 14 day whirlwind tour Szeemann 

managed astoundingly to meet more than 70 artists. 

The curator selected three of the ten works Christmann 

exhibited at the Paddington gallery 33 Hargraves Street 

(which included Smoke Green, 1971) for the critically 

acclaimed group show ‘I want to leave a nice well done child’ 

held at Bonython Galleries, Sydney and later at the National 

Gallery of Victoria, Melbourne. 

The paintings from around this period strongly resonated 

with art critics including Elwyn Lynn who wrote an essay on 

the powerful presence of Christmann’s lyrical abstractions: 

‘The feelings embodied in his work are of the ‘not-quite’ 

or ‘kinship’ order: they are not quite about joyousness, 

melancholy, release, hesitancy or shyness; they are akin to 

expansive ease or cautious confrontation. They embody 

notions of a veiled life of oblique and subtle suggestions 

and of a tremulous untroubled uncertainty. 2 Smoke Green, 

1971 requires time and contemplation, the unfocused 

nature of the sprinkled paint encourages the eyes to dance 

around the canvas - the ephemeral effect is hypnotic and 

mesmerizing. This work is an enduring legacy of an artist’s 

lifetime meditation on painting. 

Sarah Garrecht 

1. Gunter Christmann obituary | Simon Barney, 'Gunter Christmann 

1936-2013', Art Monthly, Issue 267, March 2014, p. 62 

2. Elwyn Lynn, 'Gunter Christmann', in Art and Australia, vol. 10, no. 3, 

January 1973, p. 250

7 

2

8 

3 

3 

JAMES GLEESON (1915-2008) 

Nude in Psychoscape 

oil on board 

signed lower right: Gleeson 

20 x 14.5cm 

$4,000–6,000 

4 


Dionysia 1959 

oil on board 

signed lower right: Gleeson 

inscribed verso: 

DIONYSIA James Gleeson Raymond Burr Exhibition 

120.5 x 90.5cm 

PROVENANCE 

South Yarra Galleries, Melbourne 

Deutscher~Menzies, Australian & International 

Paintings, Sculpture and Works on Paper, Melbourne, 

24 November 1999, Lot 100A 

$4,000–6,000

9 

4

10 

5 

5 

DAVID BOYD (1924-2011) 

Learning to Swim 

oil on canvas 

signed lower left: David Boyd 

30 x 35cm 

PROVENANCE 

Andrew Ivanyi Gallery, Melbourne (label verso) 

Private collection, Melbourne 

$6,000–8,000 

6 

JOHN OLSEN (BORN 1921) 

Pelicans Lake Eyre 1981 

watercolour and crayon 

signed and dated lower right: John Olsen 81 

78 x 56cm 

PROVENANCE 

Purchased from the artist's wife circa 2000 

Private collection, Bendigo 

$5,000–8,000

11 

6

12 

7 

7 

DEAN BOWEN (BORN 1957) 

Giant Crow 

oil on canvas 

signed lower right: Dean Bowen 

signed and titled verso: Dean Bowen Giant Crow 

122 x 153cm 

PROVENANCE 

Corporate collection, Melbourne 

$5,000–7,000

13 

8 

8 

DOROTHY BRAUND (1926-2013) 

On the Beach – Three Figures 1997 

oil on masonite 

signed and dated upper left: BRAUND 97 

60 x 90cm 

PROVENANCE 

The Estate of Dorothy Braund 

$4,000–6,000

14 

9 

9 

KEVIN (PRO) HART (1928-2006) 

The Bar 

oil on canvas on board 

signed lower centre: Pro Hart 

34.5 x 44.5cm 

PROVENANCE 

Tom Silver Fine Art, Melbourne 


$4,000–6,000

15 

10 

10 


Sheepyard at Night 

oil on board 

signed lower centre: Pro Hart 

titled verso: SHEEPYARD AT NIGHT 

45 x 60.5cm 

$5,000–8,000

16 

Elizabeth Durack (1915–2000) spent her formative years in 

the Kimberley region of Western Australia living on a remote 

cattle station with her family where indigenous men, women 

and children also lived, worked and at times practiced 

ancient traditions. Such relatively rare early experiences 

with Aboriginal people, and familiarity with their culture, 

left an indelible mark upon Elizabeth Durack’s outlook and 

subsequent long creative life. 

“Rim” paintings of the 1980s and ‘90s are among Durack’s 

late works; those of “… an artist who never stood still to 

watch the world pass …” 1 They featured, as part of the 

cerebral component, in an exhibition: Out of Sight — Out 

of Mind presented by the Alexander Library, Perth Cultural 

Centre, Western Australia, in 1991. 

Powerful and confronting, The Rims … emerged after 

extensive travels through Australia’s desert communities 

where Durack had been deeply affected by the breakdown 

of land and culture that had occurred following misguided, if 

well-intentioned, government policies. And – as if portents for 

our own times – Rim paintings reflect “a world in chaos ... ” 2 

It’s worth noting that Rims … are forerunners for Durack’s last 

series: The Art of Eddie Burrup, paintings produced under 

the nom de plume, alter ego, “Eddie Burrup” – a move that 

became controversial and heavily criticised in some quarters 

– yet was recognised as homage – and defended as such – 

by others: “Aboriginal attachment to places inherited from 

many generations of ancestors … does not preclude settlers 

from engaging with the land and people they love …” 3 

1. Janda Gooding, Catalogue notes: Derivations and Directions. 

The Works of Elizabeth Durack 

1930s to 1950s, Art Gallery of Western Australia, 

March 9 – April 30 1995 

2. Jan Mayman “Looking at the world in chaos” 

The National Times, Sydney, January 9–15 1983, p.20 

3. Marcia Langton, “Whitefella Jump Up” Correspondence, 

Quarterly Essay, Melbourne, January 2003, p.81 

Also: Patrick Æ Hutchings, The Art of Elizabeth Durack 

(A&R, Sydney, 1982) 

and www.elizabethdurack.com

17 

11 

ELIZABETH DURACK (1915-2000) 

All That Human Endeavour 1988 

The Rim Series – the rim of our brittle and 

disintegrating world ... a continuum c.1973 – 1993 

acrylic on linen on board 

accompanied by a certificate of authenticity 

from the Artist's Estate verso 

122 x 92cm 

PROVENANCE 

The Artist's Studio 

$2,000–4,000 

11 

12 


Terra Incognita 1988 






122 x 91.5cm 

PROVENANCE 


$2,000–4,000 

12

18 

13 


To Snap the Tether ... 1990 



mixed media on paper on board 

accompanied by a certificate of 

authenticity the Artist's Estate verso 

120.5 x 90.5cm 

PROVENANCE 


$2,000–4,000 

13 

14 


The sky-born and the subterranean ...1989 






122 x 91.5cm 

PROVENANCE 


$2,000–4,000 

14

19 

15 


Some See it as Spectator Sport 1990 



mixed media on board 



121.5 x 90cm 

PROVENANCE 


$2,000–4,000 

15 

16 


The Brink of Disaster 1990 






122 x 92cm 

PROVENANCE 


$2,000–4,000 

16

20 

17 


Au Revoir 1990 




certificate of authenticity from the Artist's Estate verso 

122 x 92cm 

PROVENANCE 


$2,000–4,000 

17 

18 


The Whole in Extremis 1989 






122 x 91.5cm 

PROVENANCE 


$2,000–4,000 

18

21 

19 


Rescue 1 1986 






122 x 92cm 

PROVENANCE 


$2,000–4,000 

19 

20 


It is all too much for him 1988 



acrylic on linen on art board 



123 x 92cm 

PROVENANCE 


$2,000–4,000 

20

22 

21 

ISOBEL (ISO) RAE (1860-1940) 

Breton Family 

oil on canvas 

signed lower right: ISO RAE 

95 x 77cm 

PROVENANCE 

Private Collection, Sweden 

Bonhams & Goodman, Sydney, 

Australian and International Art, 26 April 2005, Lot 46 


$50,000–80,000 

Iso Rae was born in Melbourne and studied at the National 

Gallery School from 1877-87. A diligent student, she 

received many accolades and engaged energetically 

with the program. Her peers included Tom Roberts, Fred 

McCubbin and Rupert Bunny. Iso moved to France with her 

mother and sister in 1887 where she continued her studies 

in Paris at Académie Colarossi until the family moved to 

Etaples in 1893. Etaples was then a quaint fishing village 

and home to a colony of artists. Surrounded by vast open 

fields tended by Breton in traditional garb, it was a source of 

wholesome subject matter for many artists. 

In Breton Family, Iso has captured a sweet restful moment 

of a Breton mother with her children taking a break from 

tending the field. It is a delightful representation of everyday 

life of Brittany in the peaceful time before the first World 

War. ‘Many Australian impressionists painted en plein air 

(like the French impressionists), and is evocative of not just 

landscapes but the social energies of the time.’ 1 The pastoral 

scenes from Rae's collected works have a light ethereal 

lustre that focuses on the people just as much as the 

surrounding landscape. 

Scant information is available to historians on the life and 

times of Iso Rae, although recently published letters from 

the artist and her sister, Alison, provided an insight into their 

steadfast connection to Australia (despite never returning). 

Iso was a dynamic presence amongst the community of 

expatriates in Etaples before and during the war, exhibiting 

in local annual art exhibitions as well as in London, Paris 

and Australia. 

Rae’s Young Girl, Etaples c.1892 was recently acquired by 

the NGV in 2020 and achieved a record for the artist. This 

move by a major institution of raising Rae’s representation 

within their collection is a confirmation of her importance 

to our national identity; highlighting the significant 

contributions, narratives and histories of Australian artists 

living and working overseas. 


1. Tiarney Miekus, An unfinished landscape: She-Oak show sheds 

new light on classics, The Age, 11 April 2021

23 

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24 

22 

22 

HANS HEYSEN (1877-1968) 

The Farmyard Gum, Balhannah 1922 

charcoal and chalk 

signed and dated lower left: HANS HEYSEN 1922 

30 x 37.5cm 

PROVENANCE 

The Sedon Galleries, Melbourne (label verso) 

Deutscher~Menzies, Melbourne, 21 September 2005, Lot 

121 (label verso) 

$4,000–5,000 

23 

DREW GREGORY (BORN 1947) 

Shearer's Quarters, Shearing Shed 

and Stockyards, Yurdyilla Station 1991 

watercolour 

signed, dated and titled lower right and left: 

Drew Gregory 91 Shearer's Quarters, Shearing 

Shed and Stockyards, Yurdyilla Station 

34 x 68cm 

$500–800

25 

24 

24 

HAROLD SEPTIMUS POWER (1878-1951) 

Cattle Crossing the River 


signed lower right: H S POWER 

54.5 x 49.5cm 

$4,000–6,000

26 

25 

25 

ERNEST BUCKMASTER (1897-1968) 

Early Morning Light 


signed lower right: E Buckmaster 

61 x 73cm 

$4,000–6,000 

26 

JOHN FIRTH SMITH (BORN 1943) 

Landscape Study 1969 

oil on canvas 

initialled, dated and titled verso: 

J F-S LANDSCAPE STUDY '69 

89.5 x 92.5cm 

$3,000–5,000

27 

27 

27 


Summer, Goulburn River 

oil on canvas 

signed lower left: E Buckmaster 

67 x 84.5cm 

$6,000–10,000

28 

28 

JOSEPH FOWLES (1810-1878) 

Sir Hercules 

oil on canvas 

signed and inscribed lower right: J Fowles, Sydney 

35.5 x 45.5cm 

$10,000–15,000 

THE HORSE: SIR HERCULES (AUST 1843) 

Douglas Barrie in his classic 1956 book The Australian Blood 

Horse gives Sir Hercules prominence (pp.117–18) in his 

listing of Colonial-bred Stallions of the 1840s. Stating that 

the breeder in NSW was Charles Smith and detailing the 

pedigree, he notes that Sir Hercules “was one of the greatest 

of early Australian-bred sires. He was purchased in 1845 by 

Mr Thomas Icely of Coombing, where he stood. “Sent to New 

Zealand in 1852, and returned to New South Wales in 1857 

to Mr C.G. Tindal’s Ramornie Stud where he remained until 

1861; died at Bylong in the stud of Mr John Lee in January 

1866 … “He established a male line that survived until the 

twentieth century through Abercorn [Australian Racing 

Hall of Fame] who was exported to England in 1898”. Barrie 

also reminds us that Sir Hercules’s son Yagendon sired two 

champion winners of the Melbourne Cup who became noted 

sires in their turn: Chester and the unbeaten Grand Flaneur. 

THE ARTIST: JOSEPH FOWLES 

(b. UK, arr. NSW 1838, d.1878) 

Born UK, date unknown. To NSW August 1838 with his wife. 

Died NSW 1878 Brief article by Jocelyn Gray in Australian 

Dictionary of Biography, vol.1 (1966) 

“He was noticed in the Sydney Morning Herald on 26 July 

1847 for his contributions to the first exhibition of the 

Society for the Promotion of Fine Arts in Australia. Of the 

seven paintings by his hand five were of ships and shipping, 

and it was as a marine painter that Fowles first made his 

reputation in Sydney. Marine paintings also made up the 

main part of his contribution to the exhibition of 1848. 

“In July 1848 Fowles published the first part of his series 

Sydney in 1848; his forty illustrations of the 'elegant' streets 

and buildings were made with painstaking accuracy 'to 

remove the erroneous and discreditable notions current in 

England concerning this city'. 

By 1858 Fowles had won a new reputation when Bell's 

Life in Sydney and Sporting Chronicle designated him 

'Our Colonial Herring' as a result of a series of portraits of 

'celebrated Australian cracks', racehorses and riding horses. 

The first notice of Fowles's work in this field appeared in the 

Illustrated Sydney News, 13 January 1855, the subjects 

being two much admired portraits of favourite mounts which 

the governor had commissioned from him. Three paintings 

of horses were contributed by Fowles to the Art Exhibition 

of 1857, together with views of English and Australian 

ships and shipping. As well as marine and equine subjects 

he painted landscapes of Sydney and its environs, and 

recollections of English scenes. 

“By 1855 Fowles was training and examining young art 

teachers in drawing for the National Board of Education. In 

1867 when it was succeeded by the Council of Education 

he continued as teacher and examiner under the new 

organization, his application for reemployment claiming 

that he had devised a 'system of teaching elementary 

drawing adapted for large classes', and a series of eight 

graded 'Elementary Free-Hand Drawing Books' which he had 

composed during the 1850s, and which were sold in Sydney 

at 1s. a copy. On the cover of these booklets he was styled 

'Artist by Appointment to His Royal Highness the Duke of 

Edinburgh, Drawing Master to the Training School and Public 

Schools of New South Wales, the Sydney Grammar School, 

The King's School, the Lyndhurst College, the New School 

… Glebe Point Collegiate, etc'. In an obituary notice he was 

described as the 'Father of drawing in the city'. 

“Fowles died, after a third paralytic stroke, on 25 June 1878, 

and left a widow and two married sons, the eldest of whom 

was also an artist, and who inherited his father's practice.” 

In my opinion, Joseph Fowles was superior as an equine 

artist to any other artist painting in Australia in the nineteenth 

century before Mark Gawen, and the contemporary 

comparison as ‘our colonial Herring’ (referring to British artist 

John Frederick Herring (1795–1865) seems apt. 

Dr Andrew Lemon AM FRHSV 

Historian

29 

28

30 

29 

CHARLES BLACKMAN (1928-2018) 

The Unicorn 1994 

oil on canvas 

triptych 

each panel signed lower right: Blackman 

260 x 200cm (each) 

260 x 600cm (overall) 

PROVENANCE 


$50,000–70,000

31 

29

32 

30 

MIRKA MORA (1928-2018) 

Crucifixion 1976 

oil on canvas 

signed and dated lower right: MIRKA 76 

signed and inscribed verso: MIRKA MORA ANGLISS, ROYAL 

AGRICULTURAL SOCIETY OF VICTORIA, ART PRIZE ROYAL 

SHOWGROUNDS EPSOM ROAD ASCOT VALE 3039, 

MIRKA 8 RANKINS MELB. 3000, DAVID JONES 1979 

90.5 x 183cm 

PROVENANCE 


EXHIBITED 

William Angliss Memorial Art Prize, 1976 

David Jones Gallery, Sydney, 1979 

Mirka Mora, St. Kilda, Melbourne 1978 

© Rennie Ellis Photographic Archive 

$25,000–35,000

33 

30 

Mirka Mora’s joyousness in the face of personal trauma 

endeared her forever in the hearts of Melbournians. Her 

childhood was a dichotomy of events, from early memories 

of wistful summers in the south of France to living and 

surviving the Holocaust. 

Her family was living on Rue de Crimée in Paris in the 

1930s and the depression was taking its toll on the young 

Jewish family with three girls. From the age of four, Mirka 

would spend weekends and holidays under the charitable 

governance of their neighbour Paulette. When Paulette 

had to work, her stepmother Nouzette would watch over 

Mirka in her charming country home in the south of France. 

Nouzette, who was a devout Christian, would secretly teach 

young Mirka prayers and take her to Church on the weekend 

despite her parents’ Jewish heritage. ‘At night I slept in 

Nouzette’s big wooden bed, a large print of the Virgin Mary 

and the one of Christ with the crown of thorns over his 

forehead.’ 1 These formative years in the French countryside 

made a lasting impression on Mirka; listening to Jules 

Massenet arias, singing, dancing, the smell of lavender in 

every room, collecting hazelnuts along the roadside, reading 

books in the large library with beautiful Épinal prints in classic

34 

vibrant red, blue and yellow. A sense of romanticism was 

awakened and Mirka’s imagination blossomed in those early 

childhood encounters. 

This blissful, albeit hand-to-mouth, existence was soon 

interrupted by the looming war. For a large family, it was 

difficult to escape unnoticed. Even with the underground 

intelligence Mirka’s parents had from their involvement in the 

Jewish Resistance, rumours were rife. Mirka, her mother and 

her sisters narrowly avoided Auschwitz. Through a series 

of chance events her father was able to locate them and 

intervene just in time. After many more terrifying moments 

eluding capture, Mirka and her family fled Paris. Nouzette 

took care of her for a while, at great personal risk, until the 

whole family was able to find a suitable hideaway. Mirka 

‘spent her girlhood years hidden in the forest, emerging a 

mistress of invention untainted by formal education.’ 2 

Mirka discovered a way of handling her traumas through 

art, producing beautiful imagery to heal the sadness and 

simultaneously invoke her joie de vivre. Her work often defies 

definition in terms of any singular ethos, however a strong 

thread of spirituality is always present in the vast expanse of 

Mirka’s painted universe. ‘I tend to be a maker of images, my 

eternal images. Eternal because they are so simple - children 

together, often holding or surrounded by birds or dogs, a sky, 

a tree, a fence, the faint suggestion of a faraway landscape.’ 3 

Mirka’s subjects share one vital element whether a rock, tree, 

animal or human; they are ablaze with her enduring lightness 

of being and playful spontaneity. 


1. Mirka Mora, My Life: Wicked but Virtuous, Penguin Random House, 

Australia, 2000, p. 6 

2. Barbara Blackman, Glass after Glass: Autobiographical reflections, 

Viking Publishing, Melbourne, 1987, p. 170 

3. Mirka Mora, My Life: Wicked but Virtuous, Op cit, p.113 

Mirka Mora, St. Kilda, Melbourne 1978. © Rennie Ellis Photographic Archive

35 

31 

MIRKA MORA (1928-2018) 

Friends 

hand painted soft sculpture doll 

signed lower left leg and centre body: MIRKA 

35cm high, 22cm wide, 4cm deep 

$1,500–2,000 

32 

MIRKA MORA (1928-2018) 

Lovers Entwined 1971 

unglazed earthenware goblet 

thrown by Michael J Dillon 

incised to base: MIRKA 71 MICHAEL J . Dillon 

24cm high, 11cm diameter 

$600–800 

31

36 

33 

CLIFTON PUGH (1924-1990) 

Collecting Dead Wool 1957 

oil and cement on composition board 

signed and dated lower left: Clifton Pugh APR 57 

124.5 x 73cm 

PROVENANCE 

Bonython Art Gallery, Adelaide 

Elder Smith Goldsbrough Mort Limited, 1 October 1968; 

transferred to Elders IXL in 1985 Portrait of Australia 

Collection, Foster's Group Limited (label verso) 

Sotheby's, Melbourne, The Foster's Collection of Australian 

Art, 23 May 2005, Lot 35 


EXHIBITED 

Clifton Pugh, Macquarie Galleries, Sydney, 

November 1957, cat. 11 

Clifton Pugh, Bonython Art Gallery, Adelaide 

Elders IXL Collection: Masterworks of Australian Painting 

and French Barbizon School, Colonial, Contemporary, 

Continental, Art Gallery of South Australia, Adelaide, 

2 March - 1 April 1984, cat. 55, illus. 

Portrait of Australia 1830-1930: The Elders IXL Collection, 

Riddoch Art Gallery, Mount Gambier, SA, 25 April - 1 June 

1986; Mildura Arts Centre, Mildura, Vic., illus. and further 

venues in later years, cat. 45, illus. 

The Sheep Show: Colonial to Contemporary interpretations 

of the Sheep in Art, Ararat Gallery, Ararat, Vic., 

26 October - 2 December 1990. 

LITERATURE 

Noel Macainsh, Clifton Pugh, Georgian House, 

Melbourne, 1962, illus. pl. 11 

Kym Bonython, Modern Australian Painting 1950 - 1975, 

Rigby, Adelaide, rev. edn 1980, illus., p. 24 

Traudi Allen, Clifton Pugh, Patterns of a Lifetime, 

Nelson, Melbourne, 1981, p. 46 

Ron Radford, Elders IXL Collection: Masterworks of 

Australian Painting and French Barbizon School, Colonial, 

Contemporary, Continental, Art Gallery of South Australia, 

Adelaide, 1984, p. 53, cat. 55, illus. 

Ron Radford, Pamela Luhrs et al., Portrait of Australia, 

Elders IXL Collection, Elders IXL, Melbourne, 1986, 

pp. 68-69, illus. pl. 45 

$20,000–30,000 

Clifton Pugh was an avid environmentalist known for his 

hard-edged gaze on rural Australia; his paintings were both 

commentary and a call to action. Pugh grew up in the city 

and after a brief service in the military, he purchased a plot 

of land in Cottles Bridge, Victoria. In tandem with his art 

practice, Pugh dedicated most of his years to developing 

the surrounding area of his Cottles Bridge home, restoring 

the natural ecosystem derailed by agriculture and invasive 

flora and fauna. Located on the rural fringe of developing 

Melbourne, it was close enough to entice city-dwelling 

artists to immerse themselves in the rugged bush 

landscape. Pugh’s property soon became a mainstay for the 

likes of John Olsen, Fred Williams and John Perceval. 

Dead Wool, 1957 was considered by the artist to be a 

cornerstone piece in his body of work. He casts a thoughtful 

counterpoint to Tom Roberts’ iconic painting Shearing the 

Rams, 1890, in which the shearers are championed in the 

Australian psyche as hard-working, boisterous larrikins. 

Pugh’s iconoclastic painting reveals an unsentimental 

facsimile of masculine labour. His focus was much more 

on geographical actuality as opposed to the nationalist 

view of his predecessors. It held a mirror to the depression 

and desperation facing rural livelihood - men and youths 

would scavenge wool from rotting sheep carcases for 

cash. It was grim and cheerless resourcefulness for those 

rugged countrymen down on their luck. The figure stoically 

contends with the crows who've claimed the flesh for 

themselves. ‘Much of Pugh’s work is the outcome of a 

deeply held belief in the interdependence of life — plant, 

animal and human. He has been inspired throughout by 

a spiritual affinity with the Australian desert landscape; 

at times he has used the battle for survival there in 

metaphorical ways…’ 1 Dead Wool is a testament to the 

harsh duality of existence for man and beast in 1950s rural 

Australia. 

Well documented and widely exhibited, this work is an iconic 

example of Clifton Pugh’s ability to draw on the depth and 

complexity of the Australian bush where ‘the landscape is 

moulding into sharp patterns from a chaos of grass, rocks, 

trees, and his stylised animals and birds provide a dramatic 

counterpart.’ 2 In composition, texture and colour palette this 

work is punchy and provocative, his intuitive ability to witness 

and contexualise our coexistence with nature is what makes 

Clifton Pugh’s work so exceptional. 


1. Rosemary Crumlin, Images of Religion in Australian Art, Kensington, 

NSW, Bay Books, 1988, p.92 

2. The Australian Painters 1964-1966: Contemporary Australian 

Painting from the Mertz Collection, 1967, p. 19

37 

33

38 

34 

34 


Queen of Hearts 

ink, gouache and watercolour 

signed and titled lower right and centre: 

Charles Blackman 'Queen of Hearts' 

a photo of the artist painting the 

artwork accompanies this lot 

39 x 59.5cm 

$7,000–10,000 

35 


Figure at Window 2008 

bronze on black marble base 

signed and editioned to base: BLACKMAN 4/9 

25.5cm high, 19cm wide, 16.5cm deep 

PROVENANCE 

Mossgreen Gallery, Melbourne, 

Charles Blackman's 80th Birthday Exhibition, 2008 

$2,000–4,000 

36 


Woman (Mauve) 2008 

oil and mixed media on canvas 

signed and dated upper right: CHARLES BLACKMAN 2008 

inscribed verso with Charles Blackman Foundation cat. no. 

CB P.23 2008 

59.5 x 44 cm 

PROVENANCE 

The Charles Blackman Foundation 

The Rothschild Collection, Melbourne 

$6,000–8,000 

37 


Terramoto A Trieste 

ink on paper 

signed with initials and titled lower right and left: 

CB Terramoto A Trieste 

74 x 49cm 

$500–800

39 

36

40 

38 

39

41 

40 

38 

ROBERT JOHNSON (1890-1964) 

Milking Time circa 1955 

oil on on canvas on board 

signed lower centre: Robert Johnson 

37 x 44.5cm 

PROVENANCE 

Moreton Galleries, Brisbane, 1955 

Queensland Art Gallery, Brisbane 1955-2004; 

deaccessioned 2004 (label verso) 

Deutscher~Menzies, Brisbane, Major Fine Art Auction, 

22 February 2006, Lot 68 

EXHIBITED 

Possibly; Robert Johnson, Grosvenor Galleries, 

Sydney, 30 August–15 September 1928, cat. 3. 

Veterinary Science, Queensland University, Brisbane, 

8 February 1965–17 April 1975 

Supreme Court, Brisbane, 

4 September 1975–16 February 1978 

Agent-General for Queensland, London, 1979 

$1,500–2,500 

39 


In the West, NSW 

oil on canvas board 

signed lower right: Robert Johnson 

37 x 44cm 

$1,000–1,500 

40 

LEROY (ROY) DE MAISTRE (1894-1968) 

La Rhune Peak, South West France 1925 

oil on board 

signed verso: R de Maistre 

31.5 x 40cm 

PROVENANCE 

Sotheby's, Melbourne, Fine Australian Paintings, 

Books and Ceramics, Melbourne, 26 July 1987, Lot 398 

$10,000–15,000

42 

41 

ANDREI GAVRILOVICH LYSENKO 

(RUSSIAN, 1916-2000) 

The Student 

oil on canvas 

signed lower centre: A. A 

signed and titled verso in Cyrillic: 

A Lysenko Student 

70.5 x 66.5cm 

$1,000–1,500 

42 

JOHANNES J PALING 

(DUTCH, 1844-1892) 

The Newborn 

oil on panel 

signed lower right: Joh. J. Paling 

44.5 x 33cm 

$1,000–1,500 

41 

43 

UGO CATANI (1859-1944) 

La Fiorentina 1880 

oil on canvas 

signed and dated lower right: 

U. Nicolai Catani 1880 

49 x 33cm 

$5,000–8,000 

NOTE 

Florentine born Ugo Catani trained at the 

Academy of Art in that city and in 1885 travelled 

with fellow Academy student, Girolamo Nerli, to 

Melbourne where he was to work for the next 

ten years, sharing studios with Nerli, Walter 

Withers, and Arthur Loureiro. Concerned by 

the conservative tendencies espoused by the 

Victorian Academy, Catani, along with fellow 

young artists including Tom Roberts agitated 

to form the Australian Artists Association, 

with whom he exhibited and held office as a 

committee member. 

From 1895 Catani resided and worked in 

England before returning to his native Florence 

in the 1920s where he remained for the rest of 

his life. 

Catani earned his living principally as a portrait 

painter, and this work, La Fiorentina, is a work 

by the youthful Catani during his formative 

Florentine years. Here, an elegant young woman, 

with a glass in hand poses in an unmistakably 

Italian garden complete with antique statuary. 

42

43 

43

44 

44 

44 

ROBERT YOUNG (1926-2018) 

Saturday Night at the Country Local 

1978 

oil on board 

signed and dated lower right: R YOUNG VIII 

60 x 122.5cm 

$2,000–4,000 

45 

JOHN PERCEVAL (1923-2000) 

Moustached Gentleman Adjusting 

His Tie circa 1940 


signed lower right: Perceval 

inscribed with title verso: 

Moustached Gentleman adjusting his Tie 

64.5 x 54.5cm 

45 

PROVENANCE 

Hota Gallery, Gold Coast 


$4,000–6,000

45 

46 

46 

DOROTHEA FRANCIS (1903-1975) 

Daphne and Henrietta c. 1942 

oil on board 

signed lower left: Dorothea Francis 

51.5 x 41.5cm 

PROVENANCE 

Jim Alexander Gallery, Melbourne 


EXHIBITED 

Jim Alexander Gallery, Dorothea and Margaret 

Francis, 14 - 22 March 1987, cat. no. 12 

$1,200–1,500 

47 

HAROLD SEPTIMUS POWER 

(1877-1951) 

My Best Friend 


signed lower left: H. S. POWER 

33.5 x 26.5cm 

$1,000–1,500 

47

46 

48 

48 

RAY CROOKE (1922-2015) 

Islanders 

watercolour and gouache on paper 

signed lower left: R Crooke 

34.5 x 25cm 

$4,000–6,000 

49 

RAY CROOKE (1922-2015) 

The Islander 


signed lower left: R Crooke 

21 x 19.5cm 

PROVENANCE 

Lawsons, Sydney, Fine & Decorative Arts, Jewellery 

& Antique Furniture, 30 November 2012, Lot 2266 

$4,000–5,000

47 

50 

50 

RAY CROOKE (1922-2015) 

Islander Mother and Baby 

watercolour and gouache on paper 

signed lower right: R Crooke 

32.5 x 23cm 

$4,000–6,000

48 

51 

51 

JOHN POINTON (BORN 1936) 

Terrace Houses 1976 

oil on board 

signed and dated lower right: Pointon 76 

39 x 57cm 

$500–800 

52 

HUGH SAWREY (1919-1999) 

The Brand New Jillaroo 

oil on board 

signed lower right: SAWREY 

signed and titled verso: 

HUGH SAWREY THE BRAND NEW JILLAROO N.S. WALES 

34 x 29.5cm 

PROVENANCE 

Private Collection, NSW 

$6,500–9,000

49 

52

50 

53 

53 

LOUIS KAHAN (1905-2002) 

Nude on Red Background 1994 


signed and dated lower right: 

Louis Kahan 94 

59.5 x 38.5cm 

PROVENANCE 

Wagner Art Gallery, Sydney 


$2,000–3,000 

54 

PETER SORRELL (BORN 1948) 

Sunlight in an Empty Room 

oil on canvas 

signed lower right: SORRELL 

38 x 54.5cm 

PROVENANCE 

Libby Edwards Galleries, Melbourne 


$1,500–2,500 

55 

PETER SORRELL (BORN 1948) 

I'll toss you for it 

oil on canvas 

signed lower right: SORRELL 

38 x 58cm 

PROVENANCE 

Libby Edwards Galleries, Melbourne 

(label verso) 


$1,500–2,500

51 

54 

55

52 

56 

PHILLIP PIPERIDES (BORN 1956) 

Standing Nude 

bronze 

signed and numbered on base: P. Piperides AP2 

on marble base 

67cm high, 70.1cm high (including base) 

$1,500–2,500 

57 

JOHN BRACK (1920-1999) 

Nude in Profile 1978 

lithograph 

signed, dated, titled and editioned on margin: 

John Brack 78 Nude in Profile 108/300 

64.5 x 47.5cm 

PROVENANCE 

The Borough Gallery, Melbourne 


$2,000–4,000 

58 

CLAIRE DEMARTINÉCOURT 

(FRENCH, 20TH CENTURY) 

Jardins prés de la route d'Is-sur-Tille. 

Au fond l'église 

oil on canvas 

signed lower right: C. Demartinecourt 

titled verso: Jardins prés de la route d'Is-sur-Tille. 

Au fond l'église 

47 x 55 cm 

PROVENANCE 


$600–900 

56

53 

57

54 

59 

59 


Street Sleepers, Karachi 

oil on board 

signed lower right: BRAUND 

inscribed verso: "STREET SLEEPERS, KARACHI" 

65.5 x 114.5cm 

PROVENANCE 

Property from the Collection of Andrée Harkness 

EXHIBITED 

Freedom from Hunger, H C Memorial Prize, 

Queensland Art Gallery, 1963, cat. no. 116 (label verso) 

$2,000–3,000

55 

60 

60 


Model Study 


56 x 91.5cm 

PROVENANCE 


$3,000–5,000 

61 


Curves and Angles 


inscribed and titled verso: 

DOROTHY BRAUND CURVES & ANGLES 

59.5 x 90.5cm 

PROVENANCE 


$2,500–3,500 

61

56 

62 

62 

SALI HERMAN (1898-1993) 

Breaking Light, Outback Australia 1956 

oil on canvas 

signed and dated lower right: S Herman 56 

65 x 91.5cm 

© Sali Herman/Copyright Agency, 2022 

PROVENANCE 

Retirement gift to the General Manager, Dalgety's, Sydney 

circa 1960, thence by descent 

$2,000–4,000 

63 

DAVID WELCH 

Twilight 

oil on canvas 

signed and titled verso: David Welch 'Twilight' 

100.5 x 137cm 

PROVENANCE 


$1,200–1,800 

64 

JESSIE TRAILL (1881-1967) 

Spring Blossoms 1909 

watercolour 

signed and dated lower left: J. C. A . Traill 1909 

28 x 36cm 

$1,200–1,800 

65 

JESSIE TRAILL (1881-1967) 

The Royal Procession 

watercolour 

signed lower right: JCA Traill 

27 x 31.5cm 

$500–800

57 

63 

64

58 

66 

67

59 

68 

66 

KERRIE WARREN (BORN 1968) 

Chasing Shadows 2011 



KERRIE WARREN 2011 Chasing Shadows 

140 x 240.5cm 

$1,500–2,500 

67 

ROBERT DICKERSON (BORN 1924) 

Geisha and Nobleman 

pastel on paper 

signed lower right: Dickerson 

38.5 x 54.5cm 

$5,000–6,000 

68 

EUAN MACLEOD (BORN 1956) 

Geoff Sleeping 1998 

oil on canvas 


EUAN MACLEOD GEOFF SLEEPING 4/98 

49.5 x 90cm 

PROVENANCE 

Victor Mace Fine Art Gallery, Brisbane 

$2,500–3,500 

69 

IAN GARDINER (1943-2008) 

Red Rock, Flinders 2006 

oil on canvas 

inscribed, dated and titled verso: 

IAN GARDINER 2006 RED ROCK FLINDERS 

122 x 122cm 

$1,500–2,500

60 

70 

SIDNEY NOLAN (1917-1992) 

Mother and Child 1968 

oil on paper 

signed and dated verso: Nolan 10 Feb 68 

30 x 25cm 

$1,000–2,000 

71 


Seated Mother and Child 1968 

oil on paper 

signed and dated verso: Nolan 10 Feb 68 

30 x 25cm 

$1,000–2,000 

72 


Little Boy Lost (Blake Series) 

oil on paper 

25.5 x 20.5cm 

$800–1,200 

70 

71 

73 


Dust 1971 

suite of twenty five (25) etchings 

1. Jinker 

2. Township 

3. Mission station 

4. Carcase in tree 

5. Ned Kelly 

6. Deserted 

homestead 

7. Kelly 

8. Camel cart 

9. Kelly 

10. Kelly 

11. Kelly 

12. Carcase 

from an edition of 60 

25 x 30cm (average plate size) 

$8,000–12,000 

13. Carcase 

14. Horse 

15. Jumper 

16. Horse 

17. Carcase 

18. Abandoned truck 

19. Carcase 

20. Carcase 

21. Carcase 

22. Carcase 

23. Carcase 

24. Carcase 

25. Mulka 

74 


Two Figures, Horse and Figure and Lovers 

three works, crayon on paper 

each signed lower right: Nolan 

32 x 24cm (each) 

$800–1,200

61 

76 

75 


Hummingbird and Vine 

colour lithograph 

signed and editioned lower right and left: Nolan 90/100 

63 x 52.5cm 

PROVENANCE 



$700–900 

76 


Nudes in Psychoscape 

oil on board 

19.5 x 14.5cm 

$4,000–6,000

62 

77 

77 

THEA PROCTOR (1879-1966) 

Nude Study 1959 

watercolour and pencil 

signed and dated lower right: Thea Proctor 59 

29.5 x 40cm 

$800–1,200 

78 

78 

RUPERT BUNNY (1864-1947) 

Nude Study 1927 

ink on paper 

signed with monogram, dated and inscribed lower 

right: RCWB To Binky from Rupert W Bunny 12.3.27 

30.5 x 21cm 

$800–1,200

63 

79 

79 

RUSSELL DRYSDALE (1912-1981) 

The Drover 

ink on paper 

signed lower left: Russell Drysdale 

25 x 19cm 

$4,000–6,000 

80 

LAWRENCE DAWS (BORN 1927) 

Adelaide Hills 1964 

oil on paper 

signed and dated lower right: DAWS 64 

60 x 60cm 

$500–800

64 

81 

82

65 

83 

81 

HAROLD B HERBERT (1892-1945) 

Australian Pastoral 1929 

watercolour 

signed and dated lower right: HAROLD B HERBERT 29 

34 x 47.5cm 

$600–1,000 

82 


Homestead in the Valley 



29 x 36.5cm 

$1,000–1,500 

83 


Pioneer Cottage in the Capertee Valley 

oil on canvas 


53.5 x 63.5cm 

$2,000–4,000 

84 

JOHN LOXTON (1903-1969) 

Passing Gleam, Katoomba, NSW 

oil on canvas 

signed lower right: John S Loxton 

44.5 x 58.5cm 

$400–600

66 

85 

86

67 

87 

85 

ERIK LANGKER (1898-1982) 

Sparkling Sea 


signed lower right: E LANGKER 

59 x 75cm 

$1,200–1,800 

86 

LIONEL TOWNSEND CRAWSHAW (1864-1949) 

Pulling Up the Cables 


signed lower right: L Crawshaw 

43 x 67.5cm 

$1,200–1,500 

87 

JAMES R JACKSON (1882-1975) 

Reflection, Morning Light, Merricks Beach, 

Western Port Bay VIC 


signed lower left: James R Jackson 

inscribed verso: REFLECTION MORNING LIGHT 

MERRICKS BEACH WEST. PORT BAY VIC 

44.5 x 54.5cm 

$8,000–12,000

68 

88 

88 

ALEXANDER COLQUHOUN (1862-1941) 

Figures in the Park 


signed lower right: A Colquhoun 

46 x 40cm 

$1,000–1,500 

89 

ALEXANDER COLQUHOUN (1862-1941) 

Near Ricketts Point 

oil on board 

signed lower left: A. Colquhoun 

24 x 33.5cm 

$700–900 

90 

BEN SHEARER (BORN 1941) 

Aerial Outback 1984 

watercolour 

signed and dated lower right: BEN SHEARER 84 

52 x 71cm 

$800–1,200 

91 

BEN SHEARER (BORN 1941) 

Morning Crossroads 1984 

watercolour 

signed and dated lower right: BEN SHEARER 84 

25 x 60cm 

$400–600

69 

92 

92 

ALICE M E BALE (1875-1955) 

Near Castlemaine 1928 

oil on canvas 

signed lower left: A M E BALE 

inscribed verso: 28 Feb '28 

24 x 29.5cm 

$1,500–2,500 

93 


A Little Bit of Castlemaine 1928 

oil on board 

signed and dated lower left: A M E BALE 1928 

30 x 24.5cm 

$2,000–3,000 

93

70 

94 

94 

ARTIST UNKNOWN 

Landscape 

oil on canvas 

diptych 

213 x 198cm (each) 


PROVENANCE 


$800–1,200 

95 

95 


Flowers 

oil on board 

signed lower right: Pro Hart 

11.5 x 9.5cm 

$1,800–2,500

71 

96 

96 

LISA ADAMS (BORN 1969) 

Heaven and Hell 1993 

oil on canvas 

signed and dated lower right: LISA ADAMS 93 

87 x 87cm 

$5,000–6,000 

97 

GWENDOLINE KRUMINS 

The Lily Pond 2012 

oil on canvas 

signed and dated lower right: Gwendoline Krumins 2012 

83.5 x 122cm 

$800–1,500

72 

98 

GRAHAM FRANSELLA (BORN 1950) 

River 2001 

oil on canvas 

triptych 

each panel signed verso: Fransella 

one panel signed, dated and titled verso: 

Fransella 2001 RIVER 

150.5 x 200cm (each panel) 

150.5 x 600cm (overall) 

PROVENANCE 


$6,000–9,000

73 

98

74 

99 

ADAM CULLEN (1965-2012) 

Kelly 2009 

screenprint 

signed, dated, titled and editioned on 

margin: A Cullen 09 "Kelly" 1/30 

84 x 69.5cm (image size) 

118 x 100cm (frame size) 

$2,200–2,800 

99 

100 

ADAM CULLEN (1965-2012) 

Kelly-Hunter 2009 

screenprint 

signed, dated, titled and editioned on 

margin: A Cullen 09 "KELLY HUNTER" 1/30 

70 x 70cm (image size) 

103 x 99.5cm (frame size) 

$2,200–2,800 

100

75 

101 

101 

JASPER KNIGHT (BORN 1978) 

Black & Yellow Jetty 2006 



JASPER KNIGHT 2006 "BLACK & YELLOW JETTY" 

152 x 152cm 

PROVENANCE 

Metro 5 Gallery, Melbourne 

Private Collection, Melbourne, 2006 

$6,500–8,500 

102 

BERNARD HESLING (1905-1987) 

The King and The Queen 1968 

vitreous enamel 

signed and dated lower left: HESLING 68 

81.5 x 42.5cm 

$800–1,200

76 

103 

103 

MIKE WORRALL (BORN 1942) 

Geometry of Costume 2001 

oil on canvas 

signed and dated lower left: 

Mike Worrall 2001-7 

inscribed, dated and titled verso: Mike 

Worrall 2001 'GEOMETRY OF COSTUME" 

123 x 182cm 

PROVENANCE 


$1,000–2,000 

104 

104 

PAUL MARGOCSY (BORN 1945) 

South American Pale Flamingo 

acrylic and gouache on canvas 

signed and titled lower right: Paul 

Margocsy FLAMINGOES 

77.5 x 77.5cm 

$1,200–1,800

77 

105 

105 

DAVID BROMLEY (BORN 1960) 

Belinda 

acrylic on paper board 

signed lower left: BROMLEY 

152.5 x 101cm 

$2,500–4,500 

106 

ROSEMARY TODMAN-PARRANT 

Unadorned Beauty 

pastel 

signed lower right: TODMAN 

72 x 100cm 

$800–1,200

78 

107 

107 

COLIN PENNOCK (BORN 1964) 

Storm Surge 2013 

oil on linen 


Colin Pennock 2013 'STORM SURGE' 

61 x 61cm 

PROVENANCE 

Arthouse Gallery, Sydney 


$3,000–5,000 

108 

STEVEN HARVEY (BORN 1965) 

Winged Apostle – 

Two Blocks of Paint on Magenta Pallet 2003 

oil on canvas 

signed, dated and titled verso: Steven Harvey 2003 WINGED 

APOSTLE - TWO BLOCKS OF PAINT ON MAGENTA PALLET 

184.5 x 146cm 

PROVENANCE 


EXHIBITED 

Steven Harvey: Apostle, Niagara Galleries, Melbourne, 

3 - 28 June 2003, cat. 3 

$6,000–9,000

79 

108

80 

109 

109 

BRUCE EARLES (BORN 1953) 

Birdman Can't Fly 1999-2000 

oil on canvas 

signed and dated lower centre: Bruce Earles 2000 


BRUCE EARLES 99 BIRDMAN CAN'T FLY 

91 x 101.5cm 

PROVENANCE 

The National Australia Bank Collection 

$2,500–3,500 

110 

BRONWYN BANCROFT (BORN 1958) 

Respect 1993 

gouache on paper 

signed and dated lower right: B M BANCROFT 1993 

75.5 x 55.5cm 

PROVENANCE 

The Kelton Foundation, Santa Monica, 

California, USA (label verso) 

$700–1,000

81 

111 

111 

McLEAN EDWARDS (BORN 1972) 

The Cherry Orchard 2007 

oil on canvas 


McLean Sydney 07 'THE CHERRY ORCHARD' 

152.5 x 153.5cm 

PROVENANCE 

Martin Browne Fine Art, Sydney (label verso) 

Mossgreen Auctions, Melbourne, The Australian 

Art Collection of Sandra Powell and Andrew King, 

19 March 2014, Lot 61 

Private collection, Sydney 

EXHIBITED 

Martin Browne Fine Art, McLean Edwards, 18th July - 12th 

August 2007, catalogue no. 11, front cover (illus.) 

$8,000–10,000

82 

112 

112 

JOHN HOWLEY (1931-2020) 

You Know 1976 

oil on canvas 

signed and dated lower right: Howley 76 

signed and titled verso: Howley You know ... 

136.5 x 151.5cm 

$2,000–3,000 

113 

113 

DEBORAH HALPERN (BORN 1957) 

Head on Pedestal 1994 

painted and glazed ceramic 

signed with initials and dated on base: D.D.H. '94 


$1,500–2,500

83 

114 

114 

ALAN SUMNER (1911-1994) 

The Dilemma of Peter 1979 

stained glass 

signed lower centre: ALAN SUMNER 

96 x 74cm (irregular) 

PROVENANCE 

The Estate of Alan Sumner, 1995 

EXHIBITED 

Alan Sumner Retrospective, 

National Gallery of Victoria, 1993 

$1,000–1,500 

115 

AUGUSTINE DALL'AVA (BORN 1950) 

Untitled 1998 

wood sculpture 

signed and dated to base: A Dall'ava 1998 

dated on base: 1998 

87cm high 

$3,000–5,000

84 

116 

116 

FRED CRESS (1938-2009) 

Plaza 1970 


signed, dated and titled verso: FRED CRESS 1970 "PLAZA" 

151.5 x 151.5cm 

ILLUSTRATED 

Krell, Alan, Fred Cress: Stages, Wild & Woolley, 

Sydney, 1989, p. 126, plate 8 (illus) 

$3,000–5,000 

117 

MICHAEL VINCENT MURPHY (BORN 1943) 

The Cradle and The Crucible 2004 

oil and acrylic on canvas 

signed and dated lower right: Michael Vincent Murphy 2004 

122 x 153cm 

PROVENANCE 


$800–1,200

85 

118 

118 

JOHN BAIRD (BORN 1954) 

Wicker Chair 2003 

acrylic, wallpaper, fabric and shellac on board 

signed and dated verso: JOHN BAIRD OCT 03 

150 x 120cm 

PROVENANCE 


$2,000–4,000 

119 

PRISCILLA BRACKS (BORN 1973) 

The Dream 2007 

lenticular image 


Priscilla Bracks 2007 'The Dream' from the Epilogue 

to the series Making the Empire Cross 

74.5 x 50cm 

$700–900

86 

120 

121

87 

122 

120 

JOHN PERCEVAL (1923-2000) 

Fisherman on the Jetty with Boats 

charcoal 

signed lower left: Perceval 

48.5 x 67cm 

$2,000–3,000 

121 

JEAN BELLETTE (1908-1991) 

The Procession 

oil on canvas 

signed with initials lower right: J B 

96.5 x 161.5cm 

$3,000–5,000 

122 

JOHN OLSEN (BORN 1921) 

Pelican Dance 1972 

watercolour 

signed and dated lower right: John Olsen 72 

36.5 x 54.5cm 

PROVENANCE 

Lidums Gallery, Adelaide 1972 

Private collection, Western Australia 

Leonard Joel, Melbourne, Fine Art, 4 June 2019, Lot 83 


$10,000–12,000

88 

123 

123 


Arm in Arm, Springtime 




authenticity from the artist 

152.5 x 122cm 

$2,000–4,000 

124 


Butterflies 

acrylic and silver paint on canvas 

signed lower centre: BROMLEY 



152.5 x 183cm 

$2,000–4,000 

125 


Butterflies 


signed lower right: BROMLEY 



101.5 x 152.5cm 

$1,500–2,500

89 

124 

125

90 

126 

126 


Cake 1974 


signed and dated lower left: BRAUND 74 

inscribed with title verso: CAKE 

60.5 x 91cm 

PROVENANCE 


$3,000–5,000 

127 

JULES SHER (BORN 1934) 

Wave & Rock – Indian Ocean 2000 



Jules Sher 2000 WAVE & ROCK - INDIAN OCEAN 

100 x 95cm 

$800–1,200 

128 

JAMIE BOYD (BORN 1949) 

Shoalhaven 

oil on board 

signed lower right: Jamie Boyd 

89.5 x 59.5cm 

$3,000–5,000 

129 

JAMES WIGLEY (1917-1999) 

Young Aboriginal Girl with Doll 1986 

oil and gouache on board 

signed and dated lower left: James Wigley 1986 

45 x 35cm 

$400–600

91 

128

92 

130 

130 

ARTIST UNKNOWN (20TH CENTURY) 

Catfish circa 1940 

natural earth pigments on bark 

43 x 80cm 

PROVENANCE 

Judy Hilberg Collection, UK circa 1970 

Taylor A. Dale, Santa Fe, New Mexico 

The Kelton Foundation, Santa Monica, USA, 2002 

$1,200–1,800 

131 

JOHNNY BULUN BULUN (1946-2010) 

Turtles circa 1967 

natural earth pigments on eucalyptus bark 


BULAN BULAN COLLECTED 1969 

105.5 x 57cm 

PROVENANCE 

Avant Galleries, South Yarra 

The Richard Kelton Collection, Santa Monica, 

USA, 1991 

$1,500–2,500 

131

93 

132 

132 

DJAWIDA NADJONGORLE (CIRCA 1943-2008) 

Nawarra, Stone Country Dreaming Ancestor 

and His Wives circa 1990 

natural earth pigments and synthetic paint on paper 

152 x 101cm 

PROVENANCE 

Hogarth Galleries, Sydney 

Lawsons, Aboriginal Art, Sydney, 

September 1994, Lot No. 209 


$1,000–2,000 

133 

BOB DINGLE TJAPANANGKA (20TH CENTURY) 

Goanna Men from Wati Kutjara (Two Men) 

Dreaming 1996 

synthetic polymer paint on linen 


BOB DINGLE WARLAYIRTI ARTISTS cat. no. 230/96 

119 x 80cm 

PROVENANCE 

Warlayirti Aboriginal Artists Corporation, Balgo 

The Richard Kelton Collection, Santa Monica, USA, 1997 

$800–1,200

94 

135 

134 

134 

GEORGE LIWUKANG (BORN 1927) 

The Transition Squid to Flying Fox 1993 

synthetic polymer paint on canvas 

181.5 x 89cm 

PROVENANCE 

Peter Madden, Galerie Boomerrang, Amsterdam 


$800–1,200 

135 

CHARLIE MANJUWUY (BORN 1934) 

Baru 1990 


105 x 84cm 

PROVENANCE 

Peter Madden, Galerie Boomerrang, Amsterdam 


$800–1,000

95 

136 

NARRITJIN MAYMURU (1916-1981) 

Opossum Tree 

natural earth ochres on bark 

116 x 50.5cm 

PROVENANCE 

The James Davidson Collection 

$1,500–2,000 

136

96 

137 

JIMMY PASCOE MATJIRRI (BORN 1957) 

Catfish 

ochres on carved milkweed 

15cm high, 55cm wide 

PROVENANCE 

Aboriginal Arts and Crafts Pty. Ltd., Sydney 


$800–1,200 

138 


Mokuy Carved Spirit Figure 1960 

natural earth pigments on wood 

55cm high 

PROVENANCE 

Taylor A. Dale, Santa Fe, New Mexico 


$800–1,200 

139 

LARRTJANGA GANAMBARR (1932-2000) 

Magic Figure circa 1965 

ochres, bush string, lorikeet feather, human hair on softwood 

67cm high 

PROVENANCE: 

Sotheby's, Melbourne, Important Aboriginal Art, 

Selected Works from the Louis A. Allen Collection, 

Melbourne, June 1998, Lot 79 


EXHIBITED 

Australian Aboriginal Art, Field Museum of Natural History, 

Chicago, March 3 - September 19, 1972 

Australian Aboriginal Art from the Louis A. Allen 

Collection, M.H. De Young Memorial Museum, California 

Palace of the Legion of Honour, San Francisco. 

September 14, 1973 - March 24 1974 

LITERATURE 

Allen, L., Aboriginal Art: Arnhem Land, 

Field Museum of History, USA, 1971, p. 32 (illus) 

$1,000–2,000 

137

97 

138 

139

98 

140 

140 

LINDSAY BIRD PETYARRE (BORN CIRCA 1935) 

Mulga Seed Dreaming 2007 

acrylic on Belgian linen 

signed, dated and cat. no. verso: LINDSAY Sept 07 IW4411 


authenticity from Ironwood Arts 

180 x 120cm 

PROVENANCE 

Ironwood Arts, Alice Springs 


$2,000–3,000 

141 

CLIFFORD POSSUM TJAPALTJARRI (1933-2002) 

Napperby Dreaming 1994 


inscribed verso: CLIFFORD POSSUM (twice) 94.05.18 

A.G.O.D. cat. no. 3723 


from Aboriginal Gallery of Dreamings 

182.5 x 128cm 

PROVENANCE 

Aboriginal Gallery of Dreamings, Melbourne 


$15,000–20,000

99 

141

100 

142 

DONNY WOOLAGOODJA (BORN 1947) 

IN COLLABORATION WITH GUDU MUNGULU, 

GABRIELLA DOLBY, LEAH UMBAGAI, 

MILDRED MUNGULU AND MARGARET MUNGULU 

Wandjina Ungud Spirits 2007 


185 x 480cm 

PROVENANCE 

Painted at Mowanjum Arts, 2007 

Sotheby's, Aboriginal and Oceanic Art, Sydney, 

November 2007, Lot No. 127 


$10,000–20,000

101 

142

102 

143 

143 

ELIZABETH MARKS (BORN 1959) 

Women's Tingari at Talipinba 


inscribed verso: ELIZABETH MARKS 

cat. no. 2404/8 

92 x 151cm 

PROVENANCE 

Elder Fine Art, Aboriginal Art, Adelaide, 6 August 2006, Lot 62 

Private collection, Adelaide 

$1,000–1,500 

144 

EUNICE NAPANGARDI (CIRCA 1950-2005) 

Uparli Dreaming 1993 


inscribed verso: IN23 A.G.O.D.1513 



106.5 x 127.5cm 

PROVENANCE 



$700–900

103 

145 

146 

145 

NINGURA NAPURRULA (1938-2013) 

Wirrulnga 2008 


cat. no. IW5251 



123 x 61cm 

PROVENANCE 



$1,500–2,000 

146 

NINGURA NAPURRULA (1938-2013) 

Wirrulnga 2008 


inscribed with cat no. and dated verso: IW5448 9th 08 



120 x 60cm 

PROVENANCE 



$1,500–2,500

104 

147 

BARBARA WEIR (BORN CIRCA 1945) 

Grass Seed 2000 


inscribed verso: Barbara Weir 2000 Grass Seed 

and Dacou Gallery cat. no. DG4019 

122.5 x 91cm 

PROVENANCE 

Dacou Aboriginal Gallery, Adelaide 


$1,500–2,500 

147 

148 

ELIZABETH KNGWARREYE 

(BORN CIRCA 1955) 

Women's Business 1992 


inscribed verso: Elizabeth EOO4 



119 x 146cm 

PROVENANCE 



$800–1,200 

148

105 

149 

150 

149 

WALANGKURA NAPANANGKA 

(CIRCA 1946-2014) 

Tjintjintjin 2008 


cat. no. IW5145 



126.5 x 63cm 

PROVENANCE 



$2,000–3,000 

150 

KANYA TJAPANGATI (BORN CIRCA 1951) 

A Tingari Story 1994 


inscribed verso: KANYA TJAPANGATI PROPERTY OF 

PAPUNYA TULA ARTISTS P/L KT941132 

151.5 x 60cm 

PROVENANCE 

Papunya Tula Artists Pty. Ltd., Alice Springs, 

cat. no. KT941132 


EXHIBITED 

Australian Consulate, Los Angeles, California, 

22 August 2003 to 31 August 2006 

$1,800–2,500

106 

151 

151 

BELINDA GOLDER KNGWARREYE (BORN 1986) 

Anwekety 2021 


inscribed, dated and cat no. verso: 

Belinda Golder KNGWARREYE Oct 2021 IW8664 



125 x 95cm 

PROVENANCE 



$800–1,200 

152 

EUNICE NAPANGARDI (CIRCA 1950-2005) 

Uparli - Bush Banana 1994 


inscribed verso: AGOD # 4007 



130.5 x 57cm 

PROVENANCE 



$800–1,200

107 

153 

154 

153 

GAYLA PWERLE (BORN CIRCA 1930) 

Anemangkerr - Bush Melon 2014 


dated and cat no. verso: March 2014 IW7203 



180 x 120cm 

PROVENANCE 

Ironwood Art, Alice Springs 


$1,000–1,500 

154 

BELINDA GOLDER KNGWARREYE (BORN 1986) 

Anwekety 2021 


inscribed, dated and cat. no. verso: 

Belinda Golder KNGWARREYE Oct 2021 IW8667 



200 x 90cm 

PROVENANCE 



$1,000–1,500

108 

155 156 

155 

BARNEY ELLAGA (CIRCA 1941-2015) 

Sugar Bay 


inscribed verso: BARNEY ELLAGA "Sugar Bay" 

120 x 50cm 

PROVENANCE 


$1,200–1,800 

156 

LORNA FENCER NAPARRULA 

(CIRCA 1920-2006) 

Bush Potato 


inscribed verso: Lorner Fencer Napurrula Bush Potato 

cat. no. LF-495 and LCAALFN7256 

147.5 x 100.5cm 

PROVENANCE 


$1,200–1,800

109 

157 

157 

LORNA FENCER NAPARRULA 

(CIRCA 1920-2006) 

Bush Potato 1999 


inscribed verso: Lorna Naparrula Fencer Bush Potato 

catalogue no: Warnayaka Art Centre L/99-398 

119 x 85cm 

$3,000–5,000 

158 

COLLEEN NGWARRAYE MORTON (BORN 1957) 

Bush Medicine 


inscribed verso: Colleen Ngwarraye Morton 

ARTISTS OF AMPILATWATJA cat. no. 556-18 

90 x 74cm 

PROVENANCE 


$600–800

110 

159 

159 

WINGU TINGIMA (CIRCA 1920-2010) 

Pukara Wati Kutjara 2007 



WINGU TINGIMA 07 'Pukara Wati Kutjara' IRRUNYTJU ARTS 

IRRWT071115 Agathon Galleries AGWT 0810070037 


from Irrunytju Arts Centre 

92.5 x 120.5cm 

PROVENANCE 

Irrunytju Arts Centre, Alice Springs 

Agathon Galleries, Melbourne 

$1,500–2,000 

160 

PETER NABARLAMBARL (CIRCA 1930-2001) 

Rainbow Serpent of the Dreaming circa 1990 

natural earth pigments and synthetic polymer paint on paper 

51.5 x 152cm 

PROVENANCE 

David Cossey, Gallerie Australis, Adelaide 

Neva Jakich for Museum Art International, Los Angeles, CA 


EXHIBITED 

Awake to the Dreamtime: Australian Aboriginal Art, 

San Diego Museum of Man, San Diego, California, 

19 February – 24 May 1993 

The Evolving Dreamtime: Contemporary Art by Indigenous 

Australians – Part II, Pacific Asia Museum, Pasadena, 

California, 15 March – 21 May 1995 

LITERATURE 

Isaacs, J., Australian Aboriginal Paintings, 

New Holland Publishers, Sydney, 2002, p. 142– 43 

$800–1,200

111 

161 

MINNIE PWERLE (1922-2006) 

Untitled 2004 


inscribed and dated verso: 

Mbantua Gallery cat no. MB21722 1-6-04 

178.5 x 60cm 

PROVENANCE 

Mbantua Gallery, Alice Springs 


$4,000–6,000 

162 

LAUREL NANGALA 

Bush Banana - Uparli 1994 


inscribed verso: AGOD # 4060 

accompanied by a certificate of authenticity from 

Aboriginal Gallery of Dreamings 

129.5 x 59cm 

PROVENANCE 



$500–800 

163 

CECILY WINTIRAGU YATES (BORN 1962) 

Place of Abundance – 

Two Snakes Guarding Their Eggs 


inscribed verso: Story Two Snakes Guarding Their 

Eggs (snakes lay eggs) Their (sic) is plenty of food 

for the snakes as their (sic) are Plenty of Witchety 

Grubs. But in the left hand corner of the painting 

is a white person also look into For grubs. Artist. 

Cecily Yates 

126.5 x 71cm 

PROVENANCE 


$500–800 

161

112 

165 

164 

KANYA TJAPANGATI (BORN CIRCA 1951) 

Tingari 1990 


inscribed verso: KANYA TJAPANGATI AGOD #3285 

PROPERTY OF PAPUNYA TULA ARTISTS 

Papunya Tula cat. no. KT 900201 

accompanied by certificates of authenticity from Papunya Tula 

Artists and Aboriginal Gallery of Dreamings 

164.5 x 47.5cm 

PROVENANCE 

Papunya Tula Artists Pty Ltd, Alice Springs 



$2,000–3,000 

164

113 

166 

165 

BRUCE HOGAN & MEGAN BATES (20TH 

CENTURY) 

Kuylal Minyma Tjuta (Seven Sisters Dreaming) 

2000 


inscribed verso and Spinifex Arts Project cat. no.: 

Bruce Hogan & Megan Bates C66 

127.5 x 115cm 

PROVENANCE 

Spinifex Arts Project, Tjuntjuntjara, cat. no. C66 

Coo-ee Aboriginal Art, Sydney, cat. no. #8044 


EXHIBITED 

Pila Nguru – Art and Song of the Spinifex People, 

Perth Museum, Perth, Western Australia 2000 

(toured nationally, 2001) 

$1,000–2,000 

166 

NANCY CARNEGIE (BORN CIRCA 1952) 

Wati Kinara (Moon Man Dreaming) 2006 



Nancy (Carnegie) Ward Kayili Artists cat. no 06-107 

152.5 x 214 cm 

PROVENANCE 

Kayili Artists, WA 

Deutscher and Hackett, Melbourne, The Collection of 

William and Lucy Mora, Fine Aboriginal Art, 21 July 2010, 

Lot 47 (label verso) 


$5,000–8,000

114 

167 

ATTRIBUTED TO PAUL KROPINYERI 

(20TH CENTURY) 

Karuna Shield 1994 

natural ochres on wood and kangaroo skin 

62 x 25cm 

PROVENANCE 

Karuna Art, South Australia 

The Richard Kelton Collection, 

Santa Monica, USA, 1994 

$1,000–2,000 

168 

KATHLEEN PETYARRE 

(CIRCA 1935-2018) 

Thorny Devil Lizard Dreaming 

(Watercourses & Rockholes) 


inscribed with cat no. verso: GAKP1100271 

121.5 x 96.5cm 

PROVENANCE 

Gallerie Australis, Adelaide 

$4,000–6,000 

169 

HERBERT RABERABA (BORN 1920) 

Central Australia 

watercolour 

signed lower right: Herbert Raberaba 

34.5 x 54cm 

$600–900 

170 

PETER TAYLOR TJUTJAJA (1940-2014) 

Central Australian Landscape 

watercolour 

signed lower right: PETER TAYLOR TJUTJAJA 

49 x 74.5cm 

$700–900 

167

115 

168

116 

171 

173

117 

174 

171 

JOHN C ALLCOT (1888-1973) 

Monkbarns 1949 

oil on canvas 

signed, dated and titled lower left and right: 

JOHN ALLCOT 49 MONKBARNS 

49.5 x 60cm 

$2,000–3,000 

172 


Towards Old Parliament House, Canberra 

oil on canvasboard 

signed lower right: JOHN C ALLCOT 

38 x 53cm 

$1,500–2,500 

173 


In the Days of Sail 

oil on board 


24.5 x 27cm 

PROVENANCE 

Acquired directly from the Artist, thence by descent 

$3,000–5,000 

174 


Drying the Sails, Sydney Harbour 



44.5 x 54.5cm 

PROVENANCE 

Acquired directly from the Artist, thence by descent 

$5,000–8,000

118 

175 

176

119 

177 

175 


Landscape 

oil on board 

signed lower left: Ernest Buckmaster 

42.5 x 53cm 

$1,500–2,500 

176 


Valley View 

oil on canvas 

signed lower right: E Buckmaster 

24 x 36.5cm 

$1,000–1,500 

177 

JAN HENDRIK SCHELTEMA (1861-1941) 

Cattle Grazing Near the Coast 

oil on canvas 

signed lower left: J H Scheltema 

30 x 46cm 

$2,500–3,500 

178 

EDWARD DAVIES (1852-1927) 

Pioneer Cottage and Gardiner 1898 

oil on canvas 

signed and dated lower left: E DAVIES 1898 

28.5 x 42cm 

$800–1,200

120 

179 

179 

AFTER JOHN F HERRING 

Horses, Pigs and Roosters in the Farmyard 

oil on canvas 

signed but illegible lower left 

34.5 x 56.5cm 

$1,500–2,500 

180 

ETHEL BARRINGER (1884-1925) 

The Orchard 


signed lower right: E BARRINGER 

45 x 59.5cm 

PROVENANCE 



$800–1,200 

181 

JAN HENDRIK SCHELTEMA (1861-1941) 

Round Up the Horses 

oil on canvas 

signed lower right: J H Scheltema 

65 x 44.5cm 

PROVENANCE 

Tom Silver Gallery, Melbourne 

$5,000–7,000 

182 

MICHAEL DAVIS 

Eucalyptus Airscape 2011 

oil on canvas 

signed, dated and titled on label verso: 

Michael Davis 2011 Eucalyptus Airscape 

110 x 110cm 

PROVENANCE 


$800–1,200

121 

181

122 

183 

183 


Country Homestead 

ink on paper 

signed with initial lower left: N 

titled and inscribed verso: Country Homestead 

And the spinster apart at ease lays bare, the 

daughter she surveys from her verandah chair 

25 x 30cm 

$1,000–2,000 

184 

184 


Political Prisoner 1955 

oil and ink on paper 

signed with initial, dated and titled verso: 

N 10th Sept 55 Political Prisoner Series 

30 x 25cm 

$1,000–2,000

123 

185 

185 

JUDY CASSAB (1920-2015) 

Bush Forms 1980 

acrylic and oil on canvas 

signed and dated lower right: Cassab 80 

inscribed and titled verso: JUDY CASSAB BUSH FORMS 

111 x 143.5cm 

PROVENANCE 


ILLUSTRATED 

Elwyn Lynn, Judy Cassab: Places, Faces and Fantasies, 

Macmillan Company of Australia Pty Ltd, Melbourne, 1984, 

p. 91, plate 4.10 (This book accompanies the lot) 

$5,000–8,000 

186 

JUDY CASSAB (1920-2015) 

Reclining Nude 

oil on card 

19.5 x 22.5cm 

PROVENANCE 

Shapiro Auctioneers, Sydney, The Estate of Judy Cassab, 

10 July 2020 (label verso) 

$800–1,200

124 

187 

187 

DONALD FRIEND (1915-1989) 

Two Boys 1957 

mixed media 

signed, dated and inscribed lower right: 

Donald Friend 57 Salon 

29.5 x 47.5cm 

PROVENANCE 

South Yarra Gallery, Melbourne (label verso) 

$1,800–2,500 

188 


Boy with Blue Flower 

gouache, watercolour and ink 

signed and inscribed upper right: Donald Friend Bali 

49.5 x 36cm 

188 

PROVENANCE 

Southern Cross Galleries, Melbourne 


$1,800–2,500

125 

189 

189 


Women of Zanzibar 

mixed media 

signed and titled upper right: 

Donald Friend Women of Zanzibar 

49.5 x 69.5cm 

$2,000–4,000 

190 

JOHN KRZYWOKULSKI (BORN 1947) 

Tripartite Inclination Observer 1969 

acrylic and auto lacquer on board 

signed and dated verso: John Krzywokulski 1969 

153 x 123cm (irregular) 

PROVENANCE 

Strines Gallery, Melbourne 

$500–800 

191 

JEAN BELLETTE (1908-1991) 

Portrait of a Young Woman 

charcoal and pastel on paper 

signed lower right: J Bellette 

57 x 33cm 

$400–600 

192 

LES KOSSATZ (1943-2011) 

The Medal 1965 

oil on board 

signed and dated lower right: Kossatz 65 

90.5 x 100.5cm 

$800–1,200

126 

193 

193 

DAVID BOYD (1924-2011) 

Study 10 in Red 1996 

oil on board 

signed and dated lower right and left: David Boyd 1996 


37 x 29.5cm 

PROVENANCE 

The Estate of David Boyd 

$3,500–5,000 

194 

NICHOLAS CHEVALIER (1828-1902) 

Breeze 1861 

pencil and pastel on paper 

signed with initials, dated and titled and lower left and centre: 

CN 6/6/61 - Breeze - 

22.5 x 21.5cm 

PROVENANCE 

Rushton Fine Arts, Australian & European Prints & Paintings, 

Sydney, 20 November 1989, Lot 108 

Property from the Collection of George Gyori, Melbourne 

$800–1,200

127 

195 

195 

DAVID BOYD (1924-2011) 

Escaping Judge circa 1962 

oil on paper 

signed lower right: David Boyd 

signed, dated and inscribed verso: 

David Boyd Trial series - London 1962-64 Escaping Judge 

54 x 74cm 

PROVENANCE 

Christie's, Melbourne, Australian Pictures, 

Sculpture and Pottery, 30 July 1990, Lot 175 

Private collection, Perth 

Deutscher and Hackett, Melbourne, 

Australian & International Art, 26 November 2008, Lot 141 

EXHIBITED 

(Possibly) David Boyd: The Trial Series, Gallery One, 

London, United Kingdom, 1962 

$7,500–8,500

128 

196 

196 

MICHAEL KMIT (1910-1981) 

Nobleman 1969 

oil on canvas 

signed and dated upper right: Kmit 69 

67 x 54cm 

$3,000–5,000 

197 

CHARLES MOODIE (BORN 1947) 

Moonrise Over Paris 

oil on canvas 

signed lower left: MOODIE 

101 x 101.5cm 

$600–900

129 

198 

198 


Peter and the Draught of Fishes 

oil on board 


59.5 x 74cm 

$5,000–6,000 

199 


Miner's Hat 

acrylic on fibreglass decorated with dragonfly 

signed to brim: Pro Hart 

16cm high, 29.5cm wide, 26cm deep 

$600–800 

200 


Flowers 

acrylic on TW Sherrin Football 

signed: Pro Hart 


from David Hart Galleries 

18 x 30cm 

PROVENANCE 

David Hart Galleries, QLD 


NOTE 

This AFL football was painted for a SIDS charity auction 

$500–800

130 

201 

201 


Charlotte 




91.5 x 61cm 

$2,000–3,000

131 

202 

202 


Boys and Girls 


signed lower centre: BROMLEY 

accompanied by a certificate of authenticity from the artist 

182.5 x 152cm 

$2,000–4,000

132 

203 

203 

CHARLES WHEELER (1880-1977) 

Rocky Coastline 

oil on board 

signed lower right: C. Wheeler 

28.5 x 38.5cm 

$1,200–1,800 

204 

LOUIS-HENRI FOREAU (FRENCH, 1866-1938) 

Winter Time, Paris 


signed lower left: FOREAU 

40 x 50cm 

$500–800 

205 


Bathers Cove 

oil on board 

signed lower left: J Allcot 

20.5 x 28.5cm 

$1,500–2,500 

206 

PERCEVAL (PERCY) LINDSAY (1870-1952) 

Sydney Harbour 

oil on board 

signed lower left: Percy Lindsay 

14 x 30.5cm 

$2,000–4,000

133 

205 

206

134 

207 

207 

ADRIAAN BOSHOFF 

(SOUTH AFRICAN, 1935-2007) 

Still Life 

oil canvas on board 

signed lower left: Adriaan Boshoff 

40 x 29.5cm 

$1,500–2,500 

208 

WILLIAM DREW (1928-1983) 

Boys and Terrace Houses 1968 

oil on board 

signed and dated lower right: WILLIAM DREW 1968 

44 x 60cm 

$500–800

135 

209 

209 

RAMON WARD-THOMPSON (BORN 1941) 

The Flower Seller – Rue de Bucci, Paris 

oil on canvas 

signed lower left: R Ward Thompson 

50 x 75.5cm 

$1,800–2,500 

210 

RAMON WARD-THOMPSON (BORN 1941) 

Brooklyn Trawler, Hawkesbury River, NSW 


signed lower left: R. Ward-Thompson 

inscribed and titled verso: R WARD-THOMPSON 

BROOKLYN TRAWLER, HAWKESBURY RIVER NSW 

44 x 59.5cm 

$400–600 

211 

GREG ALLEN (BORN 1958) 

Venice 1998 

watercolour 

signed and dated lower left: Greg Allen 98 

98 x 63.5cm 

$800–1,200 

211

136 

212 

212 

WILLIAM FRATER (1890-1974) 

King Street 

oil on board 

signed lower right: William Frater 

Cityscape verso 

40 x 50 cm 

PROVENANCE 

Christie's, Melbourne, Australian and European Pictures, 

18 April 1994, Lot 121 


$2,000–4,000 

213 

RICHARD CHAMERSKI (BORN 1951) 

Summer Calm, Mt. Martha 

oil on canvas 

signed and titled lower right: 

CHAMERSKI "SUMMER CALM - MT. MARTHA" 

74 x 99cm 

PROVENANCE 

Leonard Joel, Australian and European Paintings, 

Melbourne, 23 August 1995, Lot 141 

$1,500–2,500 

214 

ARCHIBALD COLQUHOUN (1862-1941) 

Lorne 

oil on composition board 

signed lower left: A. D. Colquhoun 

20 x 30.5cm 

PROVENANCE 

Deutscher~Menzies, Melbourne, Major Fine Art Auction, 

13 September 2006, Lot 332 

Property from the Collection of Andrée Harkness 

$1,000–1,200

137 

213 

214

138 

215 

215 

JOHN LONGSTAFF (ATTRIBUTED) 

Still Life 

oil on canvas 

50 x 39.5cm 

PROVENANCE 

Athenaeum Gallery, Melbourne 25th May 1942, 

cat. no. 58 (label verso) 


$2,000–4,000 

216 

AILEEN DENT (1890-1979) 

Still Life with Roses 

oil on canvas 

signed upper left: Aileen Dent 

49.5 x 54.5cm 

$700–1,000

139 

217 

217 


The New Discovery 

oil on canvas 

inscribed label verso: A M E BALE PORTRAIT 

Still life study verso 

72.5 x 59.5cm 

PROVENANCE 

Leonard Joel, Melbourne, Australian and European Paintings, 

22 November 1995, Lot 586 

$3,000–5,000 

218 

ENGLISH SCHOOL 

Portrait of a Man Holding a Red Book 


75.5 x 61cm 

PROVENANCE 

Beryl Olsen Gallery, Bundaberg 

Private collection, QLD 

$1,000–1,500

140 

219 

220 

219 

WILLIAM DOBELL (1899-1970) 

Study for Mural 1946 

oil on board 

signed and dated lower left: W DOBELL 46 

14 x 50cm 

$8,000–10,000 

220 

FRED WILLIAMS (1927-1982) 

You Yangs 

etching 

signed and editioned on margin: Fred Williams 8-25 

29.5 x 45.5cm 

PROVENANCE 


$3,000–4,000

141 

221 

JAMES DAVIS (1940-2019) 

St Kilda Magician 1987 

oil on canvas 

signed with monogram and dated 

lower right: 87 

inscribed with title verso: 

ST KILDA MAGICIAN 

197 x 167cm 

$2,000–3,000 

221 

222 

JILL DEL MACE (BORN 1947) 

Harlequin 


signed lower right: Del-Mace 

76 x 101.5cm 

PROVENANCE 

Commissioned directly 

from the artist 


$2,000–4,000 

222

142 

223 

223 


Broken Hill Mine 

oil on board 


21 x 24cm 

$2,000–2,500 

224 

224 


Insects in Reeds 

oil on board 


29 x 23 cm 

$2,000–3,000

143 

225 

225 

JEFFREY MAKIN (BORN 1943) 

Forest Pond, Autumn 

oil on canvas 

signed lower right: Makin 

titled and dated verso: FOREST POND AUTUMN 

122.5 x 92 cm 

PROVENANCE 

James Makin Gallery, Melbourne (label verso) 

$3,000–5,000 

226 

MICHAEL JOHNSON (BORN 1938) 

Abstract 1969 

mixed media on paper 

signed and dated lower left: Johnson '69 

51.5 x 53cm 

$600–800

144 

227 

TOM FOLWELL (NEW ZEALAND) 

Earth Mother 

oil on board 

signed lower left: Folwell 

titled verso: Earth Mother 

77 x 39.5 cm 

PROVENANCE 


$800–1,200 

228 


Boat Shed 

oil on board 

signed lower right: Tom Folwell 

titled verso: Boat Shed, Matakana 

107 x 58cm 

PROVENANCE 


$800–1,200 

229 


Boats, Port Hacking 

oil on board 

signed lower left: Tom Folwell 

titled verso: Boats, Port Hacking 

73 x 58cm 

PROVENANCE 


$600–800 

227

145 

230 

230 


Zippora 

acrylic and gold paint on canvas 



153.5 x 122cm 

$2,000–4,000 

231 


Romy 



121.5 x 101.5cm 

$2,500–4,500

146 

232 

232 

SHEN HUA (CHINESE, BORN 1972) 

Young Men in Town Series No. 1 2006 

oil on canvas 

diptych 

signed and dated lower left of left: shen 0612 


authenticity from Schoeni Gallery 

180 x 70cm (each) 


PROVENANCE 

Schoeni Gallery, Hong Kong 

ILLUSTRATED 

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

Schoeni Art Gallery Ltd, no. 46, Hong Kong, 2007, p. 87 

$6,000–8,000 

233 

MATTHIEU PALEY (FRENCH, BORN 1973) 

Shemzhid 2005 

archival print 

signed, dated, titled and editioned on margin: 

M Paley 2005 Shemzhid 7/18 

64.5 x 85.5cm 

PROVENANCE 

Otomys Gallery, Melbourne 

$900–1,200

147 

234 

SOPHIE GRALTON (BORN 1966) 

A Boy Most Likely 2011 



Sophie Gralton 2011 A Boy Most Likely 

84 x 71cm 

PROVENANCE 


$800–1,200 

234 

235 

MICHAEL KMIT (1910-1981) 

The Girl with the Green Gloves 1974 

oil on board 

signed and dated twice upper 

right and lower left: Kmit 74 


Michael Kmit The Girl with the Green GLOVES 

40 x 34.5cm 

$600–800 

235

148 

236 

236 

BILL COLEMAN (1922-1993) 

The Street Corner 

oil on board 

signed lower right: Bill Coleman 

39 x 49.5cm 

$1,000–1,500 

237 

MARY (McLEISH) COURIER (1912-1970) 

Portrait of Sam Fullbrook 

oil on foil on board 

signed lower right: ME. Courier 

titled verso: Sam Fullbrook 

91 x 60.5cm 

PROVENANCE 

The Jack and Mary Courier Collection 

The Royal Australian and New Zealand College of 

Obstetricians and Gynaecologists (RANZCOG) 

$800–1,200 

237 

238 

BILL COLEMAN (1922-1993) 

A Woman in Hat 

oil on board 

signed lower left: Bill Coleman 

37.5 x 17.5cm 

$500–800

149 

239 

239 

LAXMAN PAI (INDIAN, 1926-2021) 

Sunset Waves 1977 

oil on canvas 

signed lower left: Laxman Pai 77 


LAXMAN PAI 1977 "SUNSET WAVES" 


86 x 75.5cm 

PROVENANCE 

Acquired from the artist, Goa, 1977 

$3,000–4,000 

240 

MARY (McLEISH) COURIER (1912-1970) 

Untitled 

oil on board 

initialled lower right: MC 

122 x 91.5cm 

PROVENANCE 

The Jack and Mary Courier Collection 

The Royal Australian and New Zealand College of 

Obstetricians and Gynaecologists (RANZCOG) 

$600–800

150 

241 

241 

BARRY WESTON (BORN 1949) 

Exchanging Vulnerabilities 1993 

oil on canvas 

signed and dated lower left: B WESTON 93 

159.5 x 189.5cm 

PROVENANCE 

Purchased directly from the artist circa 1994 


$1,000–1,500 

242 

WOLFGANG SIEVERS (1913-2007) 

The Hamersley Ranges 1975 

colour photograph 


Wolfgang Sievers THE HAMERSLEY RANGES 1975 

48.5 x 39cm 

EXHIBITED 

Wolfgang Sievers - A Selection of Signed and Framed 

Works, 1933-2001, FortyFive Downstairs, Melbourne, 25 

March - 5 April 2014, cat no. 37 

(All proceeds from this exhibition to go towards supporting 

the human rights endeavours of Liberty Victoria, Asylum 

Seekers Resource Centre, Human Rights Arts & Film Festival 

and other civil rights organisations) 

$600–1,000

151 

243 

MICHAEL SCHLIEPER (BORN 1947) 

A Root with a View 2006 

oil on canvas 

initialled and dated lower right: M S 6 


Michael Schlieper '06 "A Root with a View ...' 

107 x 84.5cm 

PROVENANCE 


$1,000–1,500 

243 

244 

MICHAEL SCHLIEPER (BORN 1947) 

Open Wide 

oil on canvas 


Michael Schlieper Open Wide 

101.5 x 71cm 

PROVENANCE 

Charles Hewitt Gallery, Sydney 


$1,000–1,500 

244

152 

245 

245 

GAV BARBEY (BORN 1966) 

Peace Dove 2004 

oil on canvas 

triptych 

each panel signed and dated verso: GAV BARBEY 2004 

121.5 x 91cm (each) 

121.5 x 273cm (overall) 

PROVENANCE 


$1,500–2,500 

246 

GAV BARBEY (BORN 1966) 

Green Tree Frog ... Kyogle 2003 


signed lower right: GAV 03 


GAV BARBEY 2003 GREEN TREE FROG ... KYOGLE 2003 

152 x 101cm 

PROVENANCE 


$500–800

153 

247 


Horse Head 

fibreglass 


PROVENANCE 

David Hart Galleries, QLD 


$900–1,100 

247

154 

248 

248 

MICHAEL (MIKE) CHALLIS BROWN 

(1938-1997) 

Mods 1964 

oil on board 

signed and dated lower right: Mike Brown Nov. 64 

120.5 x 182cm 

$1,500–2,500 

249 

ROBERT JACKS (1943-2014) 

Untitled Composition 1968 

mixed media on paper 

signed and dated lower right: Robert Jacks 68 

70 x 45.5cm 

$600–800 

250 

ANNE HALL (BORN 1945) 

AND ROBERT JACKS (1943-2014) 

Plant Life 1966 

watercolour 

signed, dated and titled lower left, lower right and upper left: 

Anne Hall 66 Robert Jacks Plant Life 

76 x 56cm 

$400–600 

251 

ANNE HALL (BORN 1945) 

Portrait of John Perceval 1975 

watercolour 

signed and dated lower centre: Anne Hall 75 

70.5 x 47.5cm 

$500–800

155 

252 

DEAN BOWEN (BORN 1957) 

Blue Wren with Ladybird 

oil on canvas 

signed lower right: Dean Bowen 


Dean Bowen Blue Wren with ladybird 

45.5 x 53cm 

PROVENANCE 

Arthouse Gallery, Sydney 


$1,500–2,500 

252 

253 


Elephant Joy 





152 x 121.5cm 

$1,500–2,500 

253

156 

254 

254 


Car 1978 

oil on board 

signed and dated lower right and left: Pro Hart 78 

signed and inscribed verso: 

Pro Hart to tammy from Pro Hart 

13.5 x 20.5cm 

$2,000–3,000 

255 


Flowers 

oil on cardboard (bible cover) 

signed lower left: Pro Hart 

12.5 x 8cm 

$600–800 

256 

PATRICK KILVINGTON (1922-1990) 

Coming out from the Alice 1978 

oil on canvas 

signed lower right: Kilvington 

inscribed, dated and titled verso: SIR PATRICK KILVINGTON 

78 COMING OUT FROM THE ALICE 

60 x 75cm 

$1,800–2,500 

257 

MAX MANNIX (BORN 1959) 

With the Greatest of Ease 


signed and titled lower left: 

MAX MANNIX WITH THE GREATEST OF EASE 

45 x 60cm 

$1,000–1,500

157 

256 

257

158 

258 

258 

JUAN DAVILA (BORN 1946) 

Wotan 2013 

mixed media 

signed, dated and inscribed lower left: 

Juan Davila 2013 Fig. 145 

45 x 65cm 

$2,000–4,000 

259 

PETER BOOTH (BORN 1940) 

Figure Study 

charcoal on paper 

41.5 x 29.5cm 

$800–1,200 

259

159 

260 

260 

DOUGLAS STUBBS (1927-2008) 

Migrant Child 1964 

oil on board 

signed and dated lower left: STUBBS 64 

titled verso: MIGRANT CHILD 

90 x 125cm 

$1,000–1,500 

261 

AARON KINNANE (BORN 1977) 

Wild Dog 2005 

oil on canvas 

signed and dated lower left: KINNANE 05 

180 x 160cm 

PROVENANCE 


$1,500–2,500 

End of Sale 

261

160 

Artist Index 

Adams, Lisa 96 

Allcot, John C 171, 172, 205 

Allen, Greg 211 

Baird, John 118 

Bale, Alice M E 92, 93, 217 

Bancroft, Bronwyn 110 

Barbey, Gav 245, 246 

Barringer, Ethel 180 

Bates, Megan 165 

Bellette, Jean 121, 191 

Blackman, Charles 29, 34, 35, 36, 37 

Booth, Peter 259 

Boshoff, Adriaan 207 

Bowen, Dean 7, 252 

Boyd, David 5, 193, 195 

Boyd, Jamie 128 

Brack, John 57 

Bracks, Priscilla 119 

Braund, Dorothy 8, 59, 60, 61, 126 

Bromley, David 105, 123, 124, 125, 201, 202, 230, 

231, 253 

Brown, Michael (Mike) Challis 248 

Buckmaster, Ernest 25, 27, 175, 176 

Bulun Bulun, Johnny 131 

Bunny, Rupert 78 

Carnegie, Nancy 166 

Cassab, Judy 185, 186 

Catani, Ugo 43 

Chamerski, Richard 213 

Chevalier, Nicholas 194 

Christmann, Gunter 2 

Coleman, Bill 236, 238 

Colquhoun, Alexander 88, 89 

Colquhoun, Archibald 214 

Courier, Mary (Mcleish) 237, 240 

Crawshaw, Lionel Townsend 86 

Cress, Fred 116 

Crooke, Ray 48, 49, 50 

Cullen, Adam 99, 100 

Dall’ava, Augustine 115 

Davies, Edward 178 

Davila, Juan 258 

Davis, James 221 

Davis, Michael 182 

Daws, Lawrence 80 

Demartinécourt, Claire 58 

Del Mace, Jill 222 

De Maistre, Leroy (Roy) 40 

Dent, Aileen 216 

Dickerson, Robert 67 

Dobell, William 219 

Dolby, Gabriella 142 

Drew, William 208 

Drysdale, Russell 79 

Durack, Elizabeth 11–20 

Earles, Bruce 109 

Edwards, McLean 111 

Ellaga, Barney 155 

English School 218 

Firth Smith, John 26 

Folwell, Tom 227, 228, 229 

Foreau, Louis-Henri 204 

Fowles, Sir Joseph 28 

Francis, Dorothea 46 

Fransella, Graham 98 

Frater, William 212 

Friend, Donald 187, 188, 189 

Ganambarr, Larrtjanga 139 

Gardiner, Ian 69 

Gleeson, James 3, 4, 76 

Gralton, Sophie 234 

Gregory, Drew 23 

Hall, Anne 250, 251 

Halpern, Deborah 113 

Hart, Kevin (Pro) 9, 10, 95, 198, 199, 200, 223, 224, 

254, 255 

Harvey, Steven 108 

Herbert, Harold B 81 

Herman, Sali 62 

Herring, After John F 179 

Hesling, Bernard 102 

Heysen, Hans 22 

Hogan, Bruce 165 

Howley, John 112 

Hua, Shen 232 

Jackson, James R 87, 173, 174 

Jacks, Robert 249, 250 

Johnson, Michael 226

161 

Johnson, Robert 38, 39, 82, 83 

Kahan, Louis 53 

Kilvington, Patrick 256 

Kinnane, Aaron 261 

Kmit, Michael 196, 235 

Kngwarreye, Belinda Golder 151, 154 

Kngwarreye, Elizabeth 148 

Knight, Jasper 101 

Kossatz, Les 192 

Kropinyeri (Attributed), Paul 167 

Krumins, Gwendoline 97 

Krzywokulski, John 190 

Langker, Erik 85 

Lindsay, Perceval (Percy) 206 

Liwukang, George 134 

Longstaff (Attributed), John 215 

Loxton, John 84 

Lysenko, Andrei Gavrilovich 41 

Macleod, Euan 68 

Makin, Jeffrey 225 

Manjuwuy, Charlie 135 

Mannix, Max 257 

Margocsy, Paul 104 

Marks, Elizabeth 143 

Matjirri, Jimmy Pascoe 137 

Maymuru, Narritjin 136 

Moodie, Charles 197 

Mora, Mirka 1, 30, 31, 32 

Morton, Colleen Ngwarraye 158 

Mungulu, Gudu 142 

Mungulu, Margaret 142 

Mungulu, Mildred 142 

Murphy, Michael Vincent 117 

Nabarlambarl, Peter 160 

Nadjongorle, Djawida 132 

Nangala, Laurel 162 

Napanangka, Walangkura 149 

Napangardi, Eunice 144, 152 

Naparrula, Lorna Fencer 156, 157 

Napurrula, Ningura 145, 146 

Nolan, Sidney 70–75, 183, 184 

Olsen, John 6, 122 

Pai, Laxman 239 

Paley, Matthieu 233 

Paling, Johannes J 42 

Pennock, Colin 107 

Perceval, John 45, 120 

Petyarre, Kathleen 168 

Petyarre, Lindsay Bird 140 

Piperides, Phillip 56 

Pointon, John 51 

Power, Harold Septimus 24 

Proctor, Thea 77 

Pugh, Clifton 33 

Pwerle, Gayla 153 

Pwerle, Minnie 161 

Raberaba, Herbert 169 

Rae, Isobel (Iso) 21 

Sawrey, Hugh 52 

Scheltema, Jan Hendrik 177, 181 

Schlieper, Michael 243, 244 

Shearer, Ben 90, 91 

Sher, Jules 127 

Sievers, Wolfgang 242 

Sorrell, Peter 54, 55 

Stubbs, Douglas 260 

Sumner, Alan 114 

Tingima, Wingu 159 

Tjapaltjarri, Clifford Possum 141 

Tjapanangka, Bob Dingle 133 

Tjapangati, Kanya 150, 164 

Tjutjaja, Peter Taylor 170 

Todman-Parrant, Rosemary 106 

Traill, Jessie 64, 65 

Umbagai, Leah 142 

Ward-Thompson, Ramon 209, 210 

Warren, Kerrie 66 

Weir, Barbara 147 

Welch, David 63 

Weston, Barry 241 

Wheeler, Charles 203 

Wigley, James 129 

Williams, Fred 220 

Woolagoodja, Donny 142 

Worrall, Mike 103 

Yates, Cecily Wintiragu 163 

Young, Robert 44

162 

Copyright 

5 © David Boyd/Copyright Agency, 2022 

6 © John Olsen/Copyright Agency, 2022 

7 © Dean Bowen/Copyright Agency, 2022 

11 © Elizabeth Durack/Copyright Agency, 2022 





15 © GaylaPwerle/Copyright Agency, 2022 






22 © Hans Heysen/Copyright Agency, 2022 

29 © Charles Blackman/Copyright Agency, 2022 





45 © John Perceval/Copyright Agency, 2022 

48 © Ray Crooke/Copyright Agency, 2022 



52 © Hugh Sawrey/Copyright Agency, 2022 

53 © Louis Khan/Copyright Agency, 2022 

62 © Sali Herman/Copyright Agency, 2022 

64 © Jessie Traill/Copyright Agency, 2022 

65 © Jessie Traill/Copyright Agency, 2022 

66 © Kerrie Warren/Copyright Agency, 2022 

67 © Robert Dickerson/Copyright Agency, 2022 

68 © Euan MacLeod/Copyright Agency, 2022 

70 © Sidney Nolan Trust. DACS/ 

Copyright Agency, 2022 











99 © Adam Cullen/Copyright Agency, 2022 

100 © Adam Cullen/Copyright Agency, 2022 

101 © Jasper Knight/Copyright Agency, 2022 

110 © Bronwyn Bancroft/Copyright Agency, 2022 

111 © McLean Edwards/Copyright Agency, 2022 

112 © John Howley/Copyright Agency, 2022 

115 © Augustine Dall'Ava/Copyright Agency, 2022 

120 © John Perceval/Copyright Agency, 2022 

121 © Jean Bellette/Copyright Agency, 2022 

122 © John Olsen/Copyright Agency, 2022 

131 © Johnny Bulun Bulun/Copyright Agency, 2022 

132 © Djawida Nadjongorle/Copyright Agency, 2022 

133 © Bob Dingle/Copyright Agency, 2022 

134 © George Liwukang/Copyright Agency, 2022 

135 © Charlie Manjuwuy/Copyright Agency, 2022 

136 © Narritjin Naparrula/Copyright Agency, 2022 

139 © Larrtjanga Ganambarr/ 


140 © Lindsay Bird Petyarre/Copyright Agency, 2022 

141 © Clifford Possum Tjapaltjarri/ 


142 © Donny Woolagoodja/Copyright Agency, 2022 

143 © Elizabeth Marks/Copyright Agency, 2022 

144 © Eunice Napangardi/Copyright Agency, 2022 

145 © Ningura Naparrula/Copyright Agency, 2022 

146 © Ningura Naparrula/Copyright Agency, 2022 

147 © Barbara Weir/Copyright Agency, 2022

163 

148 © Elizabeth Bonney Kngwarreye/ 


149 © Walangkura Napanangka/ 


150 © Kanya Tjapangati/Copyright Agency, 2022 

152 © Eunice Napangardi/Copyright Agency, 2022 

155 © Barney Ellaga/Copyright Agency, 2022 

156 © Lorna Fencer Naparrula/ 


157 © Lorna Fencer Naparrula/ 


158 © Colleen Ngwarraye Morton/ 


159 © Wingu Tingima/Copyright Agency, 2022 

160 © Peter Nabarlambarl/Copyright Agency, 2022 

161 © Minnie Pwerle/Copyright Agency, 2022 

163 © Cecily Wintiragu Yates/ 


164 © Kanya Tjapangati/Copyright Agency, 2022 

165 © Bruce Hogan and Megan Bates/ 


166 © Nancy Carnegie/Copyright Agency, 2022 

168 © Kathleen Petyarre/Copyright Agency, 2022 

169 © Herbert Raberaba/Copyright Agency, 2022 

170 © Peter Taylor Tjutjaja/Copyright Agency, 2022 





185 © Judy Cassab/Copyright Agency, 2022 

186 © Judy Cassab/Copyright Agency, 2022 

187 © Donald Friend/Copyright Agency, 2022 



191 © Jean Bellette/Copyright Agency, 2022 

192 © Les Kossatz/Copyright Agency, 2022 



196 © Michael Kmit/Copyright Agency, 2022 

219 © William Dobell/Copyright Agency, 2022 

220 © Fred Williams/ Copyright Agency, 2022 

226 © Michael Johnson/Copyright Agency, 2022 

235 © Michael Kmit/Copyright Agency, 2022 

249 © Robert Jacks/Copyright Agency, 2022 

252 © Dean Bowen/Copyright Agency, 2022 

258 © Juan Domingo Davila/Copyright Agency, 2022 

259 © Peter Booth/Copyright Agency, 2022 

261 © Aaron Kinnane/Copyright Agency, 2022

164 

Terms & Conditions of Sale 

The Terms and Conditions of Sale listed here contain 

the policies of Gibson's Auctioneers & Valuers Pty 

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

the Terms on which Gibson's and the Seller contract 

with the Buyer. They may be amended by printed 

Saleroom Notices or oral announcements made 

before and during the Sale. By Bidding at Auction, you 

agree to be bound by these terms. 

1. Definitions 

The following conditions that are listed contain 

terms that are used regularly and have the following 

meanings: 

"Auction" means the event at which any Lot is 

offered for Sale by Gibson's. 

"Auctioneer" means the representative of Gibson's 

conducting the Auction. 

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

Auctioneer of the intention to purchase the Lot by 

the Prospective Buyer. The Bidder is any person or 

entity that makes this makes this action. Bidding is 

understood by both the Bidder and Gibson's to be 

contractually obliging. 

“Buyer” means the person with the highest Bid 

accepted by the Auctioneer. 

“Buyer's Premium” means the charge payable by 

the Buyer to the Auction house as a percentage of 

the Hammer Price. 

“Company” means Gibson’s Auctions Pty Ltd, 

trading as Gibson’s Auctions. 

“Forgery” means an item constituting an imitation 

originally conceived and executed with fraudulent 

intention to deceive as to authorship, origin, age, 

period, culture, provenance or source where the 

correct description as to such matters is not reflected 

by the description in the catalogue. Accordingly, no 

Lot shall be capable of being a forgery by reason of 

any damage or restoration work of any kind (including 

re-painting). 

“Hammer Price” means the amount of the highest 

Bid accepted by the Auctioneer in relation to a Lot. 

“Insured Value” means the amount that Gibson's 

in its absolute discretion from time to time shall 

consider the value for which a Lot should be covered 

for insurance (whether or not insurance is arranged 

by Gibson's). 

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

in particular the item or items described against any 

Lot number in the catalogue. 

"Prospective Buyer" means any person or entity 

with the intention of purchasing any Lot in the 

Auction. 

“Reserve” means the confidential lowest amount 

at which Gibson's has contractually agreed with the 

Seller that the Lot can be sold. 

"Sale" means any private treaty or Auction Sale at 

which a Lot is offered for Sale. 

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

agent, executors or personal representatives, or the 

person in possession of the property consigned 

for Auction. Multiple owners, agents or persons in 

possession shall jointly and severally assume all 

obligations, liabilities, representations, warranties and 

indemnities in relation to the Sale of the Lot. 

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

Hammer Price, Reserves, Buyer's Premium and 

other expressions of value are understood to be in 

Australian Dollars unless otherwise specified. 

2. Gibson’s Auctioneers & Valuers 

as Agent 

Except as otherwise stated Gibson's acts as agent 

for the Seller. 

The contract for the Sale of the property is therefore 

made between the Seller and the Buyer. 

3. Before the Sale 

A) EXAMINATION OF PROPERTY 

Prospective Buyers are strongly advised to examine 

in person any property in which they are interested 

before the Auction takes place. Neither Gibson's 

nor the Seller provides any guarantee in relation to 

the nature of the property apart from the Limited 

Warranty in the paragraph below. The property is 

otherwise sold “as is”. 

B) CATALOGUE AND OTHER DESCRIPTIONS 

All statements by Gibson's in the catalogue entry for 

the property or in the condition report, or made orally 

or in writing elsewhere, are statements of opinion 

and are not to be relied upon as statements of fact. 

Such statements do not constitute a representation, 

warranty or assumption of liability by Gibson's of 

any kind. References in the catalogue entry to the 

condition report, including damage or restoration 

are for guidance only and should be evaluated by 

personal inspection by the Bidder or a knowledgeable 

representative. The absence of such a reference 

does not imply that an item is free from defects or 

restoration, nor does a reference to particular defects 

imply the absence of any others. Estimates of the 

selling price should not be relied on as a statement 

that this is the price at which the item will sell or its 

value for any other purpose. Neither Gibson's nor the 

Seller is responsible for any errors or omissions in the 

catalogue or any supplemental material. 

Images are measured height by width. Illustrations 

are provided only as a guide and should not be relied 

upon as a true representation of colour or condition. 

Images are not shown at a standard scale. Mention 

is rarely made of frames (which may be provided as 

supplementary images on the website) which do 

not form part of the Lot as described in the printed 

catalogue. 

All transactions are in Australian Dollars so there 

may be a small exchange rate risk, for international 

Buyers. The costs associated with acquiring a goods 

certificate will be borne by the Buyer. If the item 

turns out to be a Forgery or otherwise incorrectly 

described, all reasonable costs will be borne by the 

Seller. 

C) BUYER'S RESPONSIBILITY 

All property is sold “as is” without representation or 

warranty of any kind by Gibson's or the Seller. Buyers 

are responsible for satisfying themselves concerning 

the condition of the property and the matters referred 

to in the catalogue by requesting a condition report. 

4. At the Sale 

A) REFUSAL OF ADMISSION 

Gibson's reserves the right at our complete discretion 

to refuse admission to the Auction premises or 

participation in any Auction and to reject any Bid. 

B) REGISTRATION BEFORE BIDDING 

Any new Prospective Buyer must complete and 

sign a registration form and provide photographic 

identification before Bidding. Gibson's may 

request bank, trade or other financial references to 

substantiate this registration. 

C) BIDDING AS A PRINCIPAL 

When making a Bid, a Bidder is accepting personal 

liability to pay the purchase price including the 

Buyer's Premium and all applicable taxes, plus 

all other applicable charges, unless it has been 

explicitly agreed in writing with Gibson's before 

the commencement of the Sale that the Bidder is 

acting as agent on behalf of an identified third party 

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

look to the principal for payment. 

D) INTERNATIONAL REGISTRATIONS 

All international clients not known to Gibson's will 

be required to scan or fax through an accredited 

form of photo identification and pay a deposit at our 

discretion in cleared funds into Gibson's account 

at least 48 hours before the commencement of 

the Auction. Bids will not be accepted without 

this deposit. Gibson's also reserves the right to 

request any additional forms of identification prior 

to registering an overseas Bid. This deposit can be 

made using a credit card, however the balance of 

any purchase price in excess of $5,000 cannot be 

charged to this card without prior arrangement. This 

deposit is redeemable against any Auction purchase. 

E) ABSENTEE BIDS 

Gibson's will use reasonable efforts to execute written 

Bids delivered to us at least 24 hours prior to the 

Sale for the convenience of those clients who are 

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

receives identical written Bids on a particular Lot, and 

at the Auction these are the highest Bids on that Lot, 

then the Lot will be sold to the person whose written 

Bid was received and accepted first. Execution of 

written Bids is a free service undertaken subject to 

other commitments at the time of the Sale and we 

do not accept liability for failing to execute a written 

Bid or for errors or omissions which may arise. It is 

the Bidder’s responsibility to check with Gibson's 

after the Auction if they were successful. Unlimited 

or “Buy” Bids will not be accepted. Please refer to our 

indicative Bidding increments below for appropriate 

absentee Bid amounts (Section K). 

F) TELEPHONE BIDS 

Priority will be given to overseas and interstate 

Bidders. Arrangements for this service must be 

confirmed at least 24 hours prior to the Auction 

commencing. Gibson's accepts no responsibility 

whatsoever for any errors or failure to execute Bids. 

In telephone Bidding the Buyer agrees to be bound 

by all terms and conditions listed here and accepts 

that Gibson's cannot be held responsible for any 

miscommunications in the process. The success 

of telephone Bidding cannot be guaranteed due to 

circumstances that are unforeseen. Buyers should 

be aware of the risk and accept the consequences 

should contact be unsuccessful at the time of 

Auction. You must advise Gibson's of the Lots in 

question and recommend a ‘Cover Bid’ amount 

should there be any issues with technology or 

communication via the telephone number provided. 

Gibson's will advise Telephone Bidders who have 

registered at least 24 hours before the Auction of any 

relevant changes to descriptions, withdrawals or any 

other Sale room notices. 

G) ONLINE BIDDING 

Gibson's accepts no responsibility for any 

errors, failure to execute Bids or any other 

miscommunications regarding this process. It is the 

online Bidder’s responsibility to ensure the accuracy 

of the relevant information regarding Bids, Lot 

numbers and contact details.

165 

H) RESERVES 

Unless otherwise indicated, all Lots are offered 

subject to a Reserve, which is the confidential 

minimum price below which the Lot will not be sold. 

The Reserve will not exceed the low estimate printed 

in the catalogue. The Auctioneer may open the 

Bidding on any Lot below the Reserve by placing 

a Bid on behalf of the Seller. The Auctioneer may 

continue to Bid on behalf of Seller up to the amount 

of the Reserve, either by placing consecutive Bids or 

by placing Bids in response to other Bidders. 

I) AUCTIONEER'S DISCRETION 

The Auctioneer has the right at his absolute and sole 

discretion to refuse any Bid, to advance the Bidding 

in such a manner as he may decide, to withdraw or 

divide any Lot, to combine any two or more Lots and, 

in the case or error or dispute and whether during or 

after the Sale, to determine the successful Bidder, to 

continue the Bidding, to cancel the Sale or to re-offer 

and resell the item in dispute. In the event of a dispute, 

or the Auctioneer or the Company is of the opinion 

that there has been a misunderstanding or mistake 

regarding a Sale or a Lot the subject of a Sale, the 

Auctioneer may rescind the Sale and put any Lot 

up for a Second Auction. If a Sale is rescinded, the 

Company may put the Lot up at a second Auction, 

offer the Lot for sale by private treaty or withdraw the 

Lot from sale entirely. 

J) SUCCESSFUL BID AND PASSING OF RISK 

Subject to the Auctioneer’s discretion, on the 

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

hammer, a contract of sale is made between the 

Seller and the Buyer. Risk and responsibility for the 

Lot (including frames or glass where relevant) passes 

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

for any breach of contract by either the Seller or 

the Buyer. 

K) INDICATIVE BIDDING STEPS, ETC. 

Gibson's reserves the right to refuse any Bid, 

withdraw any Lot from Sale, to place a Reserve on 

any Lot and to advance the Bidding according to 

the following: 

Increment Amount 

Dollar Range 

$20 $0–$500 

$50 $500–$1,000 

$100 $1,000–$2,000 

$200 $2,000–$5,000 

$500 $5,000–$10,000 

$1,000 $10,000–$20,000 

$2,000 $20,000–$50,000 

$5,000 $50,000–$100,000 

$10,000 $100,000–$200,000 

$20,000 $200,000–$500,000 

$50,000 $500,000–$1,000,000 

Absentee Bids must follow these increments and any 

Bids that don’t follow the steps will be rounded up to 

the nearest acceptable Bid. 

5. After the Sale 

A) BUYER'S PREMIUM 

In addition to the Hammer Price, the Buyer agrees 

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

Premium is 22% of the Hammer Price plus GST. 

(Goods and Services Tax) where applicable. 

B) ONLINE SURCHARGE 

In the case where the Buyer purchases via online 

Bidding platforms, the Buyer agrees to pay the online 

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

(Invaluable.com) plus GST, where applicable. 

C) PAYMENT AND PASSING OF TITLE 

The Buyer must pay the full amount due (comprising 

the Hammer Price, Buyer's Premium and any 

applicable taxes and GST) not later than three (3) 

days after the Auction date. 

The Buyer will not acquire title for the Lot until 

Gibson's receives full payment in cleared funds, and 

no goods under any circumstances will be released 

without confirmation of cleared funds received. 

This applies even if the Buyer wishes to send items 

interstate or overseas. 

Payment can be made by the following means: 

• Bank Transfer/Direct Deposit is our preferred 

method of payment 

Account Name: Gibson's Auctions 

Bank: 

Bank of Melbourne 

(A division of St George) 

BSB: 193879 

Account No: 441701443 

Swift Code: SGBLAU2S 

Routing Code: 021000021 

Bank Address: 197-201 Glenferrie Road, 

Malvern, Vic, 3144 

The Buyer is responsible for any bank fees and 

charges applicable for the transfer of funds into 

Gibson's account 

• Personal, Company and Bank Cheques are not 

accepted without prior approval. 

• EFTPOS (no charge) 

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

merchant fee) and American Express (2% inc. 

GST merchant fee) 

Please note that credit card transactions over 

$5,000 will not be accepted over the telephone 

unless by prior arrangement. 

• Cash up to AU$10,000 can accepted in 

cash. For any amount over this, cash is to be 

deposited directly into our account at a Bank of 

Melbourne/St George branch 

D) COLLECTION OF PURCHASES & INSURANCE 

Gibson's is entitled to retain items sold until all 

amounts due to us have been received in full in good 

cleared funds. Subject to this, the Buyer shall collect 

purchased Lots within three (3) days from the date of 

the Sale unless otherwise agreed in writing between 

Gibson's and the Buyer. 

At the fall of the hammer, insurance is the 

responsibility of the purchaser. 

E) PACKING, HANDLING AND SHIPPING 

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

packing of goods but takes no responsibility for loss, 

damage or breakage that may occur. Gibson's at the 

request of the Buyer may arrange for a carrier, packer 

or shipper to have the property packed, insured and 

shipped at the Buyer’s expense. All packing, shipping, 

insurance, postage & associated charges will be 

borne by the purchaser. Gibson's can assist with 

removal companies that the Buyer can use but takes 

no responsibility whatsoever for the actions of any 

recommended third party. 

F) CULTURAL HERITAGE EXPORT LICENCES 

Unless otherwise agreed by Gibson's in writing, the 

fact that the Buyer wishes to apply for an export 

licence does not affect their obligation to make full 

payment immediately, nor Gibson's right to charge 

interest or storage charges on late payment. It is 

the responsibility of the Buyer to check Australia’s 

Protection of Moveable Cultural Heritage Act 1986 

prior to purchase. Export/import licences applications 

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

nominated shipper. Gibson's shall not be obliged to 

rescind a Sale nor to refund any expenses incurred by 

the Buyer in circumstances where an export licence 

is not granted. 

G) REMEDIES FOR NON-PAYMENT 

If the Buyer fails to make full payment immediately, 

Gibson's is entitled to exercise one or more of the 

following rights or remedies (in addition to asserting 

any other rights or remedies available under the law) 

i) to charge interest at the ANZ visa credit card 

rate as published weekly in the Australian 

Financial Review; 

ii) 

iii) 

iv) 

to hold the defaulting Buyer liable for the 

total amount due and to commence legal 

proceedings for its recovery along with interest, 

legal fees and costs to the fullest extent 

permitted under applicable law; 

to cancel the Sale; 

to resell the property publicly or privately on 

such terms as the Company sees fit; 

v) to pay the Seller an amount up to the net 

proceeds payable in respect of the amount Bid 

by the defaulting Buyer. In these circumstances 

the defaulting Buyer can have no claim upon 

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

an amount greater than the original invoiced 

amount; 

vi) 

to offset against any amounts which Gibson's 

may owe the Buyer across any other 

transactions; 

viii) to reject at any future Auction any Bids made by 

or on behalf of the Buyer or to obtain a deposit 

from the Buyer prior to accepting any Bids; 

ix) 

to exercise all the rights and remedies of a 

person holding security over any property in 

our possession owned by the Buyer whether by 

way of pledge, security interest or in any other 

way, to the fullest extent permitted by the law of 

the place where such property is located. The 

Buyer will be deemed to have been granted such 

security to us and we may retain such property 

as collateral security for such Buyer’s obligations 

to the Company; 

x) to take such other action as the Company 

deems necessary or appropriate. 

H) FAILURE TO COLLECT PURCHASES 

Where purchases are not collected within three (3) 

days from the Sale date, whether or not payment has 

been made, the Company shall be permitted to: 

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

expense of the Buyer, releasing only after full 

payment has been received from the Buyer for 

incurred costs; 

ii) 

iii) 

re-sell the Lot without Reserve by Auction, 

private treaty or any other means whereby the 

Buyer agrees not to challenge the resale price 

achieved. 

rescind the Sale of that Lot or any other Lot sold 

by the Seller to the Buyer at the same or any 

other Auction. 

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

and G, the defaulting Buyer agrees to be liable for 

all payments of any deficiency between the total 

amount originally due and the price obtained, as well 

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

fees, commissions and premiums of whatever kinds 

associated with both Sales or otherwise arising from 

the default. 

6. Extent of Gibson's Liability 

Gibson's agrees to refund the purchase price in the 

circumstances of the Limited Warranty set out in 

paragraph 7. Apart from that, neither the Seller nor 

the Company, nor any of the Company’s employees 

or agents are responsible for the correctness of 

any statement of whatever kind concerning any Lot, 

whether written or oral, nor for any other errors or 

omissions in description or for any faults or defects 

in any Lots. Except as stated in paragraph 7 below, 

neither the Seller, the Company, its officers, agents 

or employees give any representation warranty

166 

or guarantee or assume any liability of any kind in 

respect of any Lot with regard to merchantability, 

fitness for a particular purpose, description, size, 

quality, condition, attribution, authenticity, rarity, 

importance, medium, provenance, exhibition history, 

literature or historical relevance. Except as required 

by local law any warranty of any kind is excluded by 

this paragraph. 

7. Limited Warranty 

Subject to the terms and conditions of this 

paragraph, the warrants for the period of fourteen 

(14) days from the date of the Sale that any property 

described in this catalogue (noting such description 

may be amended by any Saleroom notice or 

announcement) which is stated without qualification 

to be the work of a named author or authorship is 

authentic and not a forgery. The term “Author” or 

“Authorship” refers to the creator of the property or 

to the period, culture, source, or origin as the case 

may be, with which the creation of such property is 

identified in the catalogue. 

The warranty is subject to the following: 

i) it does not apply where a) the catalogue 

description or Saleroom notice corresponded 

to the generally accepted opinion of scholars 

and experts at the date of the Sale or fairly 

indicated that there was a conflict of opinions, 

or b) correct identification of a Lot can be 

demonstrated only by means of a scientific 

process not generally accepted for use until 

after publication of the catalogue or a process 

which at the date of the publication of the 

catalogue was unreasonably expensive or 

impractical or likely to have caused damage to 

the property. 

ii) 

iii) 

iv) 

the benefits of the warranty are not assignable 

and shall apply only to the original Buyer of the 

Lot as shown on the invoice originally issued by 

Gibson's when the Lot was sold at Auction. 

the original Buyer must have remained the owner 

of the Lot without disposing of any interest in it 

to any third party 

The Buyer’s sole and exclusive remedy against 

the Seller in place of any other remedy which 

might be available, is the cancellation of the 

Sale and the refund of the original purchase 

price paid for the Lot less the Buyer's Premium 

which is non-refundable. Neither the Seller nor 

Gibson's will be liable for any special, incidental 

nor consequential damages including, without 

limitation, loss of profits not for interest. 

v) The Buyer must give written notice of claim 

to us within fourteen (14) days of the date of 

the Auction. The Seller shall have the right, to 

require the Buyer to obtain two written opinions 

by recognised experts in the field, mutually 

acceptable to the Buyer and Gibson's to decide 

whether to cancel the Sale under warranty. 

vi) 

the Buyer must return the Lot to Seller in the 

same condition that it was purchased. 

8. Severability 

If any part of these Conditions of Sale is found by any 

court to be invalid, illegal or unenforceable, that part 

shall be discounted and the rest of the Conditions 

shall continue to be valid to the fullest extent 

permitted by law. 

9. Copyright 

The copyright of all images, illustrations and written 

material produced by Gibson's relating to a Lot 

including the contents of this catalogue, is and shall 

remain the property at all times of Gibson's and 

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

without our prior written consent. Gibson's and the 

Seller make no representation or warranty that the 

Buyer of a property will acquire any copyright or other 

reproduction rights in it. 

10. Law and Jurisdiction 

These terms and conditions and any matters 

concerned with the foregoing fall within the exclusive 

jurisdiction of the courts of the state in which the 

Auction is held. 

11. Pre-Sale Estimates 

Gibson's publishes with each catalogue our opinion 

as to the estimated price range for each Lot. These 

estimates are approximate prices only and are not 

intended to be definitive. They are prepared well in 

advance of the Sale and may be subject to revision. 

Interested parties should contact Gibson's prior to 

Auction for updated pre-Sale estimates and starting 

prices. 

12. Sale results 

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

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

including the prices achieved for specific Lots. 

Unless otherwise discussed with the Buyer, details of 

individual Buyers will remain confidential. 

13. Goods and Service Tax 

In accordance with A New Tax System (Goods and 

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

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

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

transactions. 

GST is applicable on the Hammer Price in the case 

where the Seller is selling property that is owned by 

an entity registered for GST. GST is also applicable 

on the Hammer Price in the case where the Seller is 

not an Australian resident. These Lots are denoted by 

a dagger symbol (†) placed next to the estimate. 

GST is also applicable on the Buyer's Premium. 

Overseas Buyers and non-resident Buyers in Australia 

will not be charged GST on both Hammer Price and 

Premiums under the following conditions: 

1. The items are exported through a Gibson's 

approved freight company including Australia 

Post 

2. The items are exported within 60 days of the 

date of the Sale 

The invoice supplied by Gibson's for purchases will be 

regarded as a Tax invoice for GST purposes. 

14. Resale Royalty Scheme 

Under the legal obligations of the Resale Royalty 

Scheme for Visual Artists Act 2009, Sellers must 

provide the following information to comply with 

the act: 

• was the artwork acquired after 8 June 2010? 

• is the Sale/Reserve price (including GST) $1,000 

or more? 

• is the artist from Australia or a country listed in 

the Regulations to the Act? 

• is the artist alive, or deceased less than 70 years? 

The Seller: 

i) acknowledges that he or she understands his or 

her legal obligations under the Resale Royalty for 

Visual Artists Act 2009 (the Act); 

ii) 

iii) 

iv) 

undertakes to comply with all requirements of 

the Act, including by providing its agent, the 

company, with accurate information sufficient for 

compliance with sections 28 and 29 of the Act; 

undertakes to indemnify the Company for any 

loss incurred by the Company as a result of 

the Vendor’s failure to comply with any of the 

Vendor’s legal obligations under the Act; and 

acknowledges that if he or she fails to comply 

with any of his or her legal obligations under 

the Act, the company may provide the vendor’s 

name and contact details to Copyright Agency 

Limited (CAL). 

Lots subject to payment of the Resale Royalty 

Scheme will be denoted by the symbol §. The 

Australian Resale Royalty is a flat rate of 5% on the 

Hammer Price (including GST). The Australian Resale 

Royalty is payable by the Seller in addition to the 

Buyer's Premium plus any applicable GST. 

15. Jewels & Watches 

GEMSTONES 

Gemstones have historically been subjected to a 

variety of treatments to enhance their appearance. 

Sapphire and rubies are routinely heat treated to 

improve their colour and clarity, similarly emeralds 

are frequently treated with oils or resin for the same 

purpose. Other treatments such as staining or dyeing, 

irradiation, filling or coating may have been used 

on other precious and semi-precious gemstones 

and organic material. These treatments may be 

permanent, whilst others may need special care to 

reserve their appearance. Buyers should assume that 

each Lot has been subject to some form of treatment 

and that the estimates reflect this. 

A number of laboratories issue certificates that give 

detailed descriptions of gemstones, and in the event 

that Gibson's has been supplied with or obtained 

certificates for any Lot, this shall be noted in the 

catalogue. However, as there may not be consensus 

between different laboratories on the degree, or 

types of treatment of the gemstones, Gibson's 

supplies these without warranty. 

Buyers should assume that all gemstones sold 

by Gibson's may have been subjected to such 

treatments, and that the catalogue estimates reflect 

this. 

PEARLS 

Pearls, like gemstones, are also subject to various 

treatments. Buyers should assume that any pearls 

sold by Gibson's may have been subjected to such 

treatments, and that the catalogue estimates reflect 

this. 

WATCHES 

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

an “as is” basis. Gibson's makes no representation 

or warranty that any watch is in working order. Many 

watches have been repaired over their lifetime and 

may contain non-original parts. The absence of any 

reference to the condition of a watch does not imply 

that the Lot is in good condition and without defects, 

repairs or restorations. Buyers should be aware that 

a general service, change of battery or further repair 

work, for which the Buyer is solely responsible for, 

may be necessary. 

ESTIMATED WEIGHTS 

If a stone has a known weight, it has been weighed 

out of the mount. If a stone has an estimated weight, 

it is an approximate weight only and has been 

measured by us in the mount and is a statement of 

opinion only. The information is given as a guide only 

and Buyers should satisfy themselves with regard to 

this information as to its accuracy.

Lot 111

GA039 | Australian & International Art

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