GA043 | Australian & International Art
Gibson’s Australian & International Art Department offers paintings, sculptures and works on paper across the traditional, modern, contemporary art movements in the Australian, Indigenous, Oceanic and International realms. Department staff have gained extensive knowledge and understanding of the art market through decades of combined experience in the art auction and commercial gallery sectors. The Department maintains a shared focus on transparency, honesty and is dedicated to ensuring a positive client experience for both buyers and vendors. We host two dedicated live Australian & International Art auctions a year, in April and October, supported by seasonal online art auctions. Gibson’s also maintains strong relationships with galleries and institutions and may be able to facilitate Private Sales. Our specialists are always available for complimentary and confidential valuations of single works or entire collections, so please reach out one of our department members below.
Gibson’s Australian & International Art Department offers paintings, sculptures and works on paper across the traditional, modern, contemporary art movements in the Australian, Indigenous, Oceanic and International realms. Department staff have gained extensive knowledge and understanding of the art market through decades of combined experience in the art auction and commercial gallery sectors. The Department maintains a shared focus on transparency, honesty and is dedicated to ensuring a positive client experience for both buyers and vendors.
We host two dedicated live Australian & International Art auctions a year, in April and October, supported by seasonal online art auctions. Gibson’s also maintains strong relationships with galleries and institutions and may be able to facilitate Private Sales. Our specialists are always available for complimentary and confidential valuations of single works or entire collections, so please reach out one of our department members below.
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<strong>Australian</strong> &<br />
<strong>International</strong><br />
<strong>Art</strong><br />
Melbourne, Sunday 16 April 2023
Specialists & Management for this sale<br />
Jennifer Gibson<br />
CEO & Head of<br />
Valuations<br />
Deanna Baxter<br />
Business<br />
Manager<br />
Samuel Fricker<br />
Operations<br />
& Marketing<br />
Manager<br />
Jon Dwyer<br />
Consultant<br />
Specialist<br />
<strong>Australian</strong> &<br />
<strong>International</strong> <strong>Art</strong><br />
Sarah Garrecht<br />
<strong>Art</strong><br />
Administration<br />
Jennifer Gibson<br />
jennifer.gibson@gibsonsauctions.com.au<br />
Deanna Baxter<br />
deanna.baxter@gibsonsauctions.com.au<br />
Samuel Fricker<br />
samuel.fricker@gibsonsauctions.com.au<br />
Dennice Collett<br />
dennice.collett@gibsonsauctions.com.au<br />
Ann Roberts<br />
ann.roberts@gibsonsauctions.com.au<br />
Jon Dwyer<br />
jon.dwyer@gibsonsauctions.com.au<br />
Sarah Garrecht<br />
artadmin@gibsonsauctions.com.au<br />
Jewellery Department<br />
jewellery@gibsonsauctions.com.au<br />
Marilla O’Sullivan<br />
marilla.osullivan@gibsonsauctions.com.au<br />
Ella Gibson<br />
decartsadmin@gibsonsauctions.com.au<br />
AUCTION ENQUIRIES<br />
ABSENTEE & TELEPHONE BIDS<br />
Deanna Baxter<br />
bids@gibsonsauctions.com.au<br />
+61 3 9500 2607<br />
CONDITION REPORTS<br />
condition.reports@gibsonsauctions.com.au<br />
+61 3 9500 2607<br />
SHIPPING<br />
gibsonsauctions.com.au/buy/collections-shipping/<br />
ACCOUNTS<br />
Megan Mac Sweeney<br />
accounts@gibsonsauctions.com.au<br />
+61 3 9500 2607<br />
GENERAL ENQUIRIES<br />
mail@gibsonsauctions.com.au<br />
+61 3 9500 2607<br />
www.gibsonsauctions.com.au<br />
ORRONG RD<br />
ASHLEIGH RD<br />
ARMADALE<br />
NEW ST<br />
HIGH ST<br />
OSMENT ST<br />
NORTHCOTE RD<br />
KOOYONG RD<br />
Auction, Viewing and<br />
Payment & Collections<br />
Level 1, 885-889 High St<br />
Armadale, Victoria 3143<br />
AUBURN GROVE<br />
SUTHERLAND RD<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
ST<br />
DENBIGH RD<br />
CHEEL ST
FRONT COVER:<br />
Lot 47 (Detail)<br />
BACK COVER:<br />
Lot 115<br />
<strong>Australian</strong> &<br />
<strong>International</strong><br />
<strong>Art</strong><br />
Auction<br />
Sunday 16 April 2023, 12.00 Noon<br />
Level 1, 885-889 High Street,<br />
Armadale, Victoria 3143<br />
Viewing<br />
Thursday 13 April<br />
Friday 14 April<br />
Saturday 15 April<br />
10.00am – 5.00pm<br />
10.00am – 5.00pm<br />
10.00am – 5.00pm<br />
Auction Code: <strong>GA043</strong><br />
GST<br />
† Lots with this symbol are subject<br />
to GST on the hammer price and the<br />
buyer’s premium.<br />
Buyer’s Premium<br />
Buyer’s Premium is charged at<br />
22% of the hammer price plus GST.<br />
GST is applicable to the buyer’s<br />
premium only, unless otherwise<br />
indicated by the † symbol.<br />
Registration<br />
To register to bid at Gibson's<br />
Auctioneers & Valuers an accredited<br />
form of photo identification is<br />
required. This applies to bidding in<br />
person at the auction, Telephone,<br />
Absentee and Online bidding.<br />
Resale Royalty Scheme<br />
Lots subject to payment of the<br />
<strong>Art</strong>ist's Resale Royalty Scheme will<br />
be denoted by the symbol §. The<br />
<strong>Australian</strong> Resale Royalty is a flat rate<br />
of 5% on the hammer price (including<br />
GST) and is payable by the seller.<br />
Restricted or Organic Material<br />
♦ Lots with this symbol have been<br />
identified at the time of cataloguing<br />
as containing organic material<br />
which may be subject to export or<br />
import restrictions. The absence of<br />
this symbol is not a guarantee that<br />
export or import restrictions will not<br />
apply. See www.cites.org for further<br />
information.<br />
Payments & Collections<br />
(By Appointment)<br />
gibsonsauctions.com.au/bookings<br />
or phone 03 9500 2607<br />
Payments & Collections can be made<br />
from: Level 1, 885-889 High Street,<br />
Armadale, Vic 3143<br />
Monday 17 April<br />
Tuesday 18 April<br />
Wednesday 19 April<br />
10am–5pm<br />
10am–5pm<br />
10am–5pm<br />
All goods must be collected and paid<br />
in full strictly by 5pm on Wednesday 19<br />
April (unless by prior arrangement) to<br />
avoid removal and storage charges.<br />
All payments are to be made in<br />
<strong>Australian</strong> Dollars (AU$). Please refer<br />
to the methods of payment in the ‘How<br />
to Buy’ section on the following pages.
2<br />
How to Buy<br />
All you need to know about the bidding process at auction<br />
Viewing<br />
Catalogues<br />
Online catalogues can be viewed at<br />
www.gibsonsauctions.com.au approximately three weeks<br />
prior to the auction date.<br />
Complimentary printed catalogues are available<br />
at Gibson’s Auctioneers & Valuers.<br />
Symbols<br />
Occasionally, a symbol is printed next to a lot number,<br />
indicating a special clause associated with the sale of<br />
the item/s. Further information on symbols within our<br />
catalogues can be found on Page 1.<br />
Viewing<br />
Auction viewings are open to the public and usually take<br />
place three or four days prior to the auction date, at the<br />
location/s listed in the auction catalogue and on the website.<br />
Lot Descriptions<br />
Lot Descriptions provide basic catalogue information<br />
such as dimensions, date or age, medium, attribution,<br />
provenance and quantity.<br />
All lots are guaranteed for fourteen (14) days from the<br />
auction date.<br />
Estimates<br />
Estimates are printed in the catalogue beside every lot and<br />
take into account rarity, condition, quality and provenance.<br />
The reserve is the amount at which the item is available<br />
for purchase. The reserve is an undisclosed confidential<br />
amount which is set at, or below the low estimate.<br />
The reserve will never exceed the low estimate at Gibson’s<br />
Auctioneers & Valuers. Many lots are sold without reserve.<br />
Talk to our Specialists<br />
Gibson’s Auctioneers & Valuers are an experienced team<br />
of specialists who are available to discuss items in further<br />
detail, and to offer advice and assistance.<br />
Contact details for relevant specialists can be found on the<br />
inside front cover our auction catalogues and on our website.<br />
Condition Reports<br />
Condition Reports are available on request. Condition<br />
Reports supplement the lot description and provide<br />
information on the condition of an item.<br />
We strongly advise obtaining a condition report if you are<br />
unable to view an item in person prior to the auction.<br />
To request a condition report please email<br />
condition.reports@gibsonsauctions.com.au with the<br />
auction title and lot number/s.<br />
Bidding<br />
Gibson’s Auctioneers & Valuers offer four bidding options:<br />
1. Auction Room Bidding<br />
To bid in person we suggest you arrive early so that you<br />
have sufficient time to register for a bidding number prior<br />
to the auction. If this is your first time bidding with Gibson’s<br />
Auctioneers & Valuers please bring photo identification,<br />
such as a driver’s licence or passport with you.<br />
2. Telephone Bidding<br />
Gibson’s Auctioneers & Valuers offer telephone bidding on<br />
all lots, at all auctions.<br />
Telephone Bidding is a convenient solution if you are unable<br />
to attend an auction in person. A Gibson’s Auctioneers<br />
& Valuers staff member will call you approximately 5 lots<br />
in advance and with your instruction, bid on your behalf<br />
at the auction.<br />
Please note: Telephone Bids must be organised at least<br />
24 hours prior to the auction and that occasionally, the<br />
number of telephone bidders available may be restricted<br />
when the auction is offsite.<br />
To organise a Telephone Bid please follow the link<br />
to the Telephone Bidding form on our website:<br />
www.gibsonsauctions.com.au. Please fill in & return<br />
via email to mail@gibsonsauctions.com.au<br />
If this is your first time bidding with Gibson’s Auctioneers &<br />
Valuers, an email address is to be supplied when you submit<br />
your Telephone Bid, along with clear Photo ID verifying<br />
your address.
3<br />
3. Absentee Bids<br />
Absentee Bidding is another convenient solution if you<br />
are unable to attend an auction in person, to speak on the<br />
telephone or if you simply have a strict budget.<br />
An Absentee Bid should be set at the maximum amount<br />
you wish to bid on the lot/s you are interested in purchasing.<br />
Should the lot/s be knocked down at an amount lower than<br />
the bid recorded on your form, the lot will be sold to you for<br />
the lesser hammer price.<br />
Please note Absentee Bids must be received at least<br />
24 hours prior to the auction to allow time for processing.<br />
To organise an Absentee Bid please follow the link to<br />
the Absentee Bidding form available on our website:<br />
www.gibsonsauctions.com.au. Please fill in & return via email<br />
to mail@gibsonsauctions.com.au<br />
If this is your first time bidding with Gibson’s Auctioneers &<br />
Valuers, an email address is to be supplied when you submit<br />
your Absentee Bid, along with clear Photo ID verifying<br />
your address.<br />
4. Online Bidding<br />
Online bidding allows you to bid via the internet in real<br />
time with a live broadcast of the auction. To bid online visit<br />
our website and follow the ‘Live Bidding’ link under the<br />
‘Auctions’ tab.<br />
Please register for this service at least 24 hours prior to the<br />
auction to ensure you do not miss your lot.<br />
Please note online bidding is powered by Invaluable.com<br />
and so will incur a 5% fee on successful lots.<br />
If you have not bid with Gibson’s Auctioneers & Valuers<br />
previously, a photo ID verifying your address will be<br />
required before you can be approved to bid. Please email to<br />
mail@gibsonsauctions.com.au as soon as practical.<br />
<strong>International</strong> Bidding<br />
If you are bidding from overseas for the first time, you will<br />
be asked to provide a clear Photo ID verifying your address<br />
and a deposit (set at Gibson’s Auctioneers & Valuers’<br />
discretion) prior to the auction. The deposit is refundable<br />
within 48 hours should you not be successful. If you are<br />
successful the deposit will be deducted from your invoice<br />
total. The remaining balance must be paid preferably by<br />
direct deposit.<br />
Bank details are provided in the Payment & Collection<br />
section of this guide.<br />
Payment & Collection<br />
Payments<br />
If you are successful an invoice (AU$) will be emailed or<br />
posted to you immediately after the auction.<br />
You will pay the hammer price, plus the buyer’s premium<br />
(22% plus GST) on each Lot, together with any additional<br />
applicable charges such as GST on hammer.<br />
Payments must be made in full by the final day of<br />
Collections as printed in the catalogue.<br />
Bank Transfer/Direct Deposit is our preferred method<br />
of payment:<br />
Account Name: Gibsons Auctions<br />
Bank:<br />
Bank of Melbourne (A division of St George)<br />
BSB: 193879<br />
Account No: 441701443<br />
Swift Code: SGBLAU2S<br />
Routing Code: 021000021<br />
Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144<br />
• Personal, Company and Bank Cheques are not accepted<br />
without prior approval.<br />
• Eftpos (no charge).<br />
• Credit cards: Visa, Mastercard and American<br />
Express payments can be made securely online at<br />
www.gibsonsauctions.com.au/buy/payments/<br />
• Cash payments up to AU$10,000 can be accepted. For<br />
any amount over this, cash is to be deposited directly into<br />
our account at a Bank of Melbourne/St George branch.<br />
Collections<br />
Gibson’s Auctioneers & Valuers are happy to assist and<br />
provide you with recommended transport companies<br />
whether it be a local, interstate or international delivery.<br />
Storage<br />
All items must be paid for and collected within the<br />
collection times advertised for each individual auction. If<br />
items are not collected within this time-frame, Gibson’s<br />
Auctioneers & Valuers reserve the right to charge removal<br />
and storage fees.
4<br />
1<br />
1<br />
DAVID BOYD (1924-2011)<br />
A Day at the Beach<br />
oil on board<br />
signed lower right: David Boyd<br />
titled verso: a day at the beach<br />
19.5 x 29cm<br />
$2,000–3,000<br />
2<br />
ROBERT DICKERSON (1924-2015)<br />
The Blue Dress<br />
pastel on paper<br />
signed lower right: Dickerson<br />
56.5 x 38cm<br />
PROVENANCE<br />
Anvil Gallery, Wodonga (label verso)<br />
$4,000–6,000
5<br />
2
6<br />
3<br />
3<br />
SIDNEY NOLAN (1917-1992)<br />
Figure in Bush<br />
oil on paper<br />
signed lower right: Nolan<br />
signed verso: Nolan<br />
30 x 25cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$2,000–3,000<br />
4<br />
SIDNEY NOLAN (1917-1992)<br />
Shakespeare's Sonnet 1969<br />
oil on paper<br />
signed and dated verso: Nolan 6th July 69<br />
30 x 25cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$1,500–2,000
7<br />
5<br />
5<br />
HUGH SAWREY (1919-1999)<br />
Lassiter’s Last Ride<br />
oil on canvas<br />
signed lower right: SAWREY<br />
signed and titled verso:<br />
HUGH SAWREY / LASSITERS LAST RIDE<br />
48.5 x 58.5cm<br />
$8,000–12,000
8<br />
6<br />
6<br />
ROBERT DICKERSON (1924-2015)<br />
Boy Thinking<br />
pastel on paper<br />
signed lower right: Dickerson<br />
40 x 32.5cm<br />
PROVENANCE<br />
The Abercrombie Galleries, Melbourne<br />
$4,000–6,000
9<br />
7<br />
7<br />
DAVID BOYD (1924-2011)<br />
The Bishop 1964<br />
oil on paper<br />
Church and State series<br />
signed and dated lower right: David Boyd 64<br />
75.5 x 55cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist<br />
Collection of Oliver Haskard Esq., Hurst Mill,<br />
Petersfield, Hampshire, UK<br />
New Grafton Gallery, London (label verso)<br />
Christie's, London, Modern and Contemporary<br />
<strong>Australian</strong> <strong>Art</strong>, 12 December 2007, Lot 55<br />
EXHIBITED<br />
Zwemmer Gallery, London, Church and State series, 1965<br />
New Grafton Gallery, London, Christmas Show, 1969<br />
$5,000–8,000
10<br />
8<br />
8<br />
SIDNEY NOLAN (1917-1992)<br />
Kelly and Horse<br />
oil on paper<br />
50 x 61cm<br />
PROVENANCE<br />
A gift from the artist to the present owner's father<br />
Thence by descent<br />
Private Collection, London<br />
$5,000–7,000<br />
9<br />
SIDNEY NOLAN (1917-1992)<br />
Girl + Horse 1941<br />
oil on hessian on board<br />
signed, dated and titled verso:<br />
NOLAN / GIRL + HORSE / August 41<br />
58 x 43cm<br />
PROVENANCE<br />
A gift from the artist to the present owner's father<br />
Thence by descent<br />
Private Collection, London<br />
$12,000–16,000
11<br />
9
12<br />
10<br />
10<br />
JAMIE BOYD (BORN 1949)<br />
Birds on the Shoalhaven 1986<br />
oil on canvas<br />
signed and dated lower right: Jamie Boyd 1986<br />
121 x 91cm<br />
PROVENANCE<br />
Savill Galleries, Sydney (label verso)<br />
The Ken Badenoch Estate, Melbourne<br />
$2,000–3,000<br />
11<br />
SIDNEY NOLAN (1917-1992)<br />
Two Figures 1968<br />
oil on paper<br />
signed and dated verso: Nolan 8 Feb 68<br />
30 x 25cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$1,200–1,800
13<br />
12<br />
12<br />
DAVID BOYD (1924-2011)<br />
A Moment of Inspiration 1998<br />
mixed media and oil<br />
signed and dated lower left: David Boyd 1998<br />
80 x 63cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist<br />
Tom Mathiesen Fine <strong>Art</strong>, Sydney (label verso)<br />
NOTE<br />
This work was reproduced as a screenprint<br />
in an edition of 66 plus AP<br />
$10,000–15,000
14<br />
13<br />
13<br />
CATHERINE HICKSON (BORN 1959)<br />
Magnolia 2007<br />
oil on canvas<br />
signed with initials and dated lower right: C H 07<br />
122 x 183cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,200–1,800<br />
14<br />
ROBERT RICHMOND CAMPBELL (1902-1972)<br />
Early Summer Gums in the Morning Light 1926<br />
oil on canvas on board<br />
signed and dated lower left: R R CAMPBELL 26<br />
24 x 29.5cm<br />
$800–1,000<br />
15<br />
ROBERT HANNAFORD (BORN 1944)<br />
Elkhorn<br />
oil on canvas on board<br />
signed lower right: R HANNAFORD<br />
121.5 x 91.5cm<br />
$8,000–12,000<br />
16<br />
ROLAND CLARK<br />
(ACTIVE LATE 19TH CENTURY)<br />
View of the Sorrento Township from the Pier 1904<br />
watercolour<br />
signed and dated lower left: R CLARK 04<br />
18.5 x 66.5cm<br />
$2,000–3,000
15<br />
15
16<br />
17<br />
17<br />
ELIZABETH DURACK (1915-2000)<br />
New Broom 1947<br />
watercolour on paper<br />
signed and dated lower right: Elizabeth Durack '47<br />
55.5 x 38.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio (accompanied by a certificate of<br />
authenticity from the <strong>Art</strong>ist's Estate verso)<br />
EXHIBITED<br />
Prelude: early works by Elizabeth Durack, 1947-1950 :<br />
(travelling exhibition), Western Australia, circa 2002<br />
LITERATURE<br />
Durack, Elizabeth, 2002, Prelude: early works by Elizabeth<br />
Durack, 1947-1950 : (travelling exhibition), Forty 7ED<br />
in conjunction with <strong>Art</strong> on the Move Nedlands, W.A,<br />
(illustrated)<br />
$1,200–1,800
17<br />
18<br />
18<br />
ELIZABETH DURACK (1915-2000)<br />
War and Peace 1947<br />
oil on canvas<br />
signed and dated lower right: Elizabeth Durack '47<br />
166 x 230cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio (accompanied by a certificate of<br />
authenticity from the <strong>Art</strong>ist's Estate verso)<br />
EXHIBITED<br />
Derivations and Directions, <strong>Art</strong> Gallery of Western<br />
Australia, 1995<br />
OTHER NOTES<br />
War and Peace was an entry in the 1948 Sulman Prize.<br />
Painted at the Ord River Crossing on Ivanhoe Station (near<br />
Kununurra), the scene depicts people Elizabeth had known<br />
most of her life: the Mirriuwong Gajerrong women and<br />
children of the Ord River.<br />
$12,000–18,000<br />
19<br />
ELIZABETH DURACK (1915-2000)<br />
Rising Dust 1970s<br />
The Rim Series – the rim of our brittle and disintegrating<br />
world ... a continuum c.1973 – 1993<br />
mixed media on linen on board<br />
signed with initial lower right: E<br />
52 x 75.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio (accompanied by a certificate of<br />
authenticity from the <strong>Art</strong>ist's Estate verso)<br />
$1,000–1,500<br />
20<br />
ELIZABETH DURACK (1915-2000)<br />
The Wave 1970<br />
watercolour on paper<br />
signed and dated lower right: Elizabeth Durack 70<br />
75 x 55.5cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio (accompanied by a certificate of<br />
authenticity from the <strong>Art</strong>ist's Estate verso)<br />
$800–1,200
18<br />
21<br />
WALTER WITHERS (1854-1914)<br />
Beach Scene<br />
watercolour<br />
signed lower left: Walter Withers<br />
17 x 48.5cm<br />
PROVENANCE<br />
Thirty Victoria Street Galleries, Sydney (label attached verso)<br />
Christie's, Melbourne, 28 April 1976, Lot 446<br />
Private Collection, Melbourne<br />
Leonard Joel, Melbourne<br />
Private Collection, Melbourne<br />
EXHIBITED<br />
Walter Withers: A Survey, Geelong <strong>Art</strong> Gallery, Geelong, 10<br />
October – 21 November 1975, cat. no. 52 (label attached verso).<br />
LITERATURE<br />
Walter Withers: A Survey, Geelong <strong>Art</strong> Gallery, Geelong, 1975,<br />
unpaginated (illus.)<br />
OTHER NOTES<br />
Walter Withers' contribution to <strong>Australian</strong> <strong>Art</strong> was as a leading<br />
figure in the 'Heidelberg School'. His paintings, however,<br />
conjure the Neo Romantic lyrical moods of nature. It is the<br />
Impressionism of Monet. In a sense they were decadents, for<br />
they persisted in rendering nature suffused with soft romantic<br />
haze. Such painting has often been described as an endeavour<br />
to capture the 'spirit' of the landscape, 'the meaning within<br />
the meaning', not to record its anatomy but to portray its soul.<br />
Bernard Smith (on gallery label affixed verso)<br />
$5,000–8,000<br />
22
19<br />
21<br />
22<br />
WILLIAM BECKWITH MCINNES (1889-1939)<br />
Fishing<br />
oil on canvas on board<br />
signed lower right: W B McINNES<br />
29 x 39cm<br />
$2,000–4,000<br />
23<br />
FRANK HODGKINSON (1919-2001)<br />
Ponte Vecchio Market 1996<br />
ink on paper<br />
signed and dated lower left: Frank Hodgkinson '96<br />
30.5 x 22.5cm (plate size)<br />
PROVENANCE<br />
Greythorn Galleries, Melbourne (label verso)<br />
Property from the Collection of Andrée Harkness,<br />
Melbourne<br />
EXHIBITED<br />
Greythorn Galleries, Melbourne, Frank Hodgkinson<br />
AM 1919-2001, Florence: A Half Century,<br />
7 - 24 October 2004, cat. no. 10<br />
$800–1,200<br />
23
20<br />
24<br />
24<br />
ARTHUR MERRIC BOYD (1862-1940)<br />
Moored Fishing Boats 1893<br />
watercolour<br />
signed and dated lower right: <strong>Art</strong>hur Boyd 1893<br />
28 x 49cm<br />
$1,200–1,800<br />
25<br />
CHARLES WHEELER (1880-1977)<br />
Looking Towards to the Pier<br />
on a Summer's Day 1909<br />
oil on board<br />
signed and dated lower right: C Wheeler 09<br />
16.5 x 24.5cm<br />
$600–1,000<br />
26<br />
R NORMAN ANDERSON<br />
(CIRCA LATE 19TH/EARLY 20TH CENTURY)<br />
Sailor in the Marble Bar, George Adams'<br />
Tattersall's Hotel 1906<br />
oil on canvas<br />
signed and dated lower right:<br />
R NORMAN ANDERSON 1906<br />
116.5 x 74.5cm<br />
$8,000–12,000<br />
This charmingly candid painting by artist R Norman<br />
Anderson depicts a pair of sailors on a leave of absence<br />
from HMAS, indulging in a sweepstake or ‘ticket in Tatts’<br />
at the famous Tattersall’s Hotel Marble Bar. Their jovial and<br />
glassy-eyed expressions give an impression of a stroke of<br />
luck and several steins of lager enjoyed. The young lads<br />
buoyantly dazzle their company with tales of the sea.<br />
Built in 1893, Marble Bar was said to rival any Grand hotel<br />
bar that graced Paris or London. Reportedly costing<br />
30,000 pounds, the bar rooms are adorned with marble<br />
panels, a stained glass ceiling, mosaic tiling, decadently<br />
hand-carved mahogany cabinetry, and several large<br />
panels painted by Julian Ashton.<br />
Tattersall’s Hotel was demolished in the 1970s replaced by<br />
the current Hilton Hotel; the Marble Bar, however, remains<br />
intact as it was painstakingly dismantled and restored.<br />
Anderson has captured the essence of the place, and it's<br />
grandiosity. Though darkly lit, every detail of the bar is<br />
captured with accuracy, the atmosphere of cheeky bar<br />
antics shines through the smoky mise-en-scène.
21<br />
26
22<br />
27<br />
27<br />
JAMES HAMILTON<br />
(SCOTTISH, 1853-1894)<br />
The Conversation<br />
oil on canvas<br />
signed lower left: J Hamilton<br />
29.5 x 37cm<br />
$3,000–5,000<br />
28<br />
R W STURGESS (1892-1932)<br />
The Old Cottage<br />
watercolour<br />
signed lower left: R W Sturgess<br />
28 x 43cm<br />
$1,000–1,500
23<br />
29<br />
29<br />
GEORGE BAXTER (ATTRIBUTED)<br />
AFTER H.S. MELVILLE<br />
News From Home<br />
oil on canvas<br />
inscribed verso: G. Baxter 1852<br />
62.5 x 80.5cm<br />
PROVENANCE<br />
Letter of provenance verso by Brett Harrild,<br />
descendant of Mary Harrild, George Baxter's wife<br />
$10,000–15,000<br />
30<br />
FRED HERRING II (1815-1907)<br />
Horses, Duck and Roosters in the Farmyard<br />
oil on board<br />
signed lower left: Herring<br />
19.5 x 29.5cm<br />
$2,000–3,000
24<br />
31<br />
31<br />
JAMES WALTHAM CURTIS (CIRCA 1839-1901)<br />
Potato Farm, Burke Road, 1888<br />
oil on canvas<br />
signed and dated lower left: J W. Curtis 88<br />
signed and dated lower right J W CURTIS 88<br />
inscribed on stretcher bar verso:<br />
Farm, Bourke [sic] Road The Potato Harvest<br />
30.5 x 46cm<br />
PROVENANCE<br />
Leonard Joel, Melbourne (as 'The Potato Harvest, Farm<br />
Bourke [sic] Road'), <strong>Australian</strong>, New Zealand, British and<br />
European Historical & Contemporary Paintings etc.,<br />
Melbourne, 3 November 1976 Lot 410H<br />
Private Collection, Melbourne<br />
Deutscher and Hackett, Melbourne, Important <strong>Australian</strong><br />
+ <strong>International</strong> Fine <strong>Art</strong>, 27 November 2019, Lot 113<br />
Property from the Collection of Andrée Harkness, Melbourne<br />
$3,000–5,000<br />
32<br />
32<br />
CHARLES ROLANDO (1844-1893)<br />
Beside the Campfire<br />
oil on board<br />
signed lower left: C Rolando<br />
75.5 x 50cm<br />
$3,000–5,000
25<br />
33<br />
33<br />
FRANÇOIS VUAGNAT (SWITZERLAND, 1826-1910)<br />
Bellerive (Lac de Genéve) circa 1880<br />
oil on canvas<br />
signed lower left: VUAGNAT<br />
70.5 x 108.5cm<br />
PROVENANCE<br />
Mr John Twycross<br />
Thence by descent<br />
EXHIBITED<br />
Sydney <strong>International</strong> Exhibition, French Court, Sydney, 1879<br />
Melbourne <strong>International</strong> Exhibition, French Court,<br />
Melbourne, 1880<br />
LITERATURE<br />
<strong>International</strong> Exhibition. 1879, Sydney <strong>International</strong><br />
Exhibition, 1879 : official catalogue of the <strong>Art</strong> Gallery :<br />
New South Wales, Great Britain, Austria, France, Germany,<br />
Belgium, T. Richards, Govt. Printer, Sydney, cat. no. 178,<br />
p. 67 as At Bellerive. (Lake of Geneva)<br />
Melbourne <strong>International</strong> Exhibition, 1880, The official<br />
catalogue of the exhibits : with introductory notices of<br />
the countries exhibiting. 2nd ed. of 1st issue. Melbourne:<br />
Mason, Firth & M’Cutcheon, cat. no. 169 as At Bellerive.<br />
(Lake of Geneva)<br />
Charlotte Smith, Visions of Colonial Grandeur: John<br />
Twycross at Melbourne's <strong>International</strong> Exhibitions,<br />
Museum Victoria, Melbourne, 2014, p. 75 (illustrated)<br />
(this catalogue is included with this lot)<br />
$2,000–3,000<br />
John Tywcross was a prosperous businessman and<br />
avid art collector who lived and worked in the bustling<br />
‘Marvelous Melbourne’ of the mid-1800s. The city<br />
was booming. The air and expectations of those<br />
living during that time would have been electric with<br />
possibilities, priming the city for its most monumental<br />
exhibition of the century.<br />
In 1880, the Melbourne <strong>International</strong> Exhibition graced<br />
the city with curiosities, industrial artifacts and artworks<br />
spanning the world abroad. Tywcross, along with<br />
countless others, soaked up the offerings of Europe with<br />
great enthusiasm. Visiting numerous times, Tywcross<br />
eagerly acquired over 200 paintings and objéts d’art<br />
for his collection, including this work by Vaugnat from<br />
the exhibition’s French Court, (lot 33) Bellerive (Lac<br />
de Genéve). Thoroughly documented, this work is an<br />
endearing testament to Melbourne’s love affair with art<br />
and the city's ties to its illustrious colonial past.
26<br />
34<br />
34<br />
ARTHUR MERRIC BOYD (1862-1940)<br />
Tasmanian Landscape<br />
watercolour<br />
signed lower right: <strong>Art</strong>hur Boyd<br />
34 x 49cm<br />
PROVENANCE<br />
Leonard Joel, Melbourne, Sunday Fine <strong>Art</strong> Auction,<br />
23 September 2012, Lot 195<br />
$1,500–2,500<br />
35<br />
ARTHUR MERRIC BLOOMFIELD BOYD<br />
(1920-1999)<br />
Lamentation Over the Dead Christ 1945<br />
ink and wash on paper<br />
36 x 49.5cm<br />
PROVENANCE<br />
Lauraine Diggins Fine <strong>Art</strong>, Melbourne<br />
The Ken Badenoch Estate, Melbourne<br />
$800–1,200<br />
36<br />
LOUIS BUVELOT (1814-1888)<br />
Dromana 1875<br />
pencil on paper<br />
inscribed and dated lower centre: Dromana 1875<br />
26.5 x 35.5cm<br />
$800–1,200<br />
37<br />
MILES EVERGOOD (1871-1939)<br />
The <strong>Art</strong>ist Painting<br />
oil on board<br />
29 x 39cm<br />
$1,500–2,500
27<br />
38<br />
38<br />
RUBERY BENNETT (1893-1987)<br />
Kangaroo Valley<br />
oil on canvas<br />
signed lower right: RUBERY BENNETT<br />
inscribed with title verso: KANGAROO VALLEY<br />
58.5 x 73.5cm<br />
PROVENANCE<br />
Private Collection, Cairns<br />
$5,000–7,000<br />
40<br />
LEON HANSON (1918-2011)<br />
Sydney Harbour<br />
oil on canvas on board<br />
signed lower left: Leon Hanson<br />
49 x 74.5cm<br />
PROVENANCE<br />
<strong>Australian</strong> Academy of Technological Sciences<br />
& Engineering Collection, Canberra<br />
$700–1,000<br />
39<br />
THOMAS (TOM) GARRETT (1879-1952)<br />
Bird Sanctuary<br />
monotype<br />
signed and titled on margin lower right and left:<br />
Tom Garrett Bird Sanctuary<br />
23 x 28cm<br />
PROVENANCE<br />
<strong>Art</strong> Galleries Schubert, Gold Coast<br />
$600–1,000
28<br />
41<br />
41<br />
ARNOLD MARC GORTER (DUTCH, 1866-1933)<br />
Early Spring Landscape in the The Netherlands<br />
oil on canvas<br />
signed lower right: A M GORTER<br />
62 x 77cm<br />
$2,000–4,000<br />
42<br />
WILL ASHTON (1881-1963)<br />
London Street Scene<br />
oil on canvas<br />
signed lower right: WILL ASHTON<br />
25.5 x 33.5cm<br />
PROVENANCE<br />
Christie's, Melbourne, <strong>Australian</strong> and European Paintings,<br />
Prints & Photographs, 6 December 1994, Lot 451<br />
(label verso)<br />
$600–900
29<br />
43<br />
43<br />
CHARLES JONES (BRITISH, 1836-1892)<br />
Ponies at Llanbedr, N. Wales<br />
oil on canvas<br />
signed with monogram lower right: CJ<br />
inscribed on label verso Charles Jones<br />
at Llanbedr Fair, North Wales<br />
52 x 105.5cm<br />
$7,000–10,000<br />
44<br />
HARRY J WESTON (1874-1938)<br />
On the Canal, Holland 1911<br />
oil on canvas<br />
signed and dated lower right: HARRY J WESTON 1911<br />
33.5 x 103cm<br />
$800–1,200<br />
45<br />
DORA MEESON (1869-1955)<br />
Early Twilight 1890<br />
oil on board<br />
signed and dated lower left: D Meeson 1890<br />
29 x 45cm<br />
PROVENANCE<br />
Leonard Joel, Melbourne 3 November 1988, Lot 745<br />
$800–1,200<br />
46<br />
JOHN LOXTON (1903-1969)<br />
Murrumbidgee River<br />
oil on canvas<br />
signed lower left: John S Loxton<br />
68.5 x 76.5cm<br />
PROVENANCE<br />
<strong>Australian</strong> Academy of Technological<br />
Sciences & Engineering Collection, Canberra<br />
$600–900
30<br />
47<br />
FABIO FABBI (ITALIAN, 1861-1946)<br />
Tunisian Street Scene<br />
oil on canvas<br />
signed lower right: F. Fabbi<br />
99.5 x 169.5cm<br />
PROVENANCE<br />
Acquired at a Sydney auction in the 1950s<br />
Thence by descent, Private Collection, Brisbane<br />
$30,000–50,000<br />
Fabio Fabbi (1861-1946) was an Italian Neoclassical<br />
painter whose extensive and prolific oeuvre dubbed him<br />
the Last of the Orientalists. Recently discovered archives<br />
have contextualised his contribution to the genre. Fabbi<br />
was born in Bologna in 1861, a stone's throw away from<br />
Florence, the heart of Italy’s liberal arts and artistic<br />
production. He displayed creative potential at a young<br />
age, receiving commendations for his studies in classical<br />
sculpture at age 16. Shortly after, he was granted a place<br />
at the Academy of Fine <strong>Art</strong>, Florence, where he studied<br />
diligently under the tutelage of master Augusto Rivalta,<br />
excelling as a classical sculptor and painter.<br />
Journeying to Egypt in 1886, Fabio joined his brother<br />
Alberto Fabbi in Alexandria. This trip was a formative<br />
pilgrimage for the young artist who revelled in the foreign<br />
and exotic scenery, tastes, colours and scents. His<br />
journal from this period capture exquisitely rendered<br />
visual elements surrounding Alexandria and the streets<br />
of Cairo. 1 These enchanting sketches influenced the<br />
artists’ later paintings. He also took photographs on the<br />
journey, hungrily documenting everything he could with<br />
all his senses. The recent discovery of the artist's journals<br />
has been transformative in understanding his muse,<br />
illuminating the profound effect and subsequent love for<br />
the exotic oriental scenes he became so famous for.<br />
Tunisian Street Scene is a rich tapestry of the artist’s<br />
imagination—it evokes a wanderlust and yearning for<br />
otherness; the women are resplendent with jewellery,<br />
expensive silk chiffon and embroidery. Freshly cut flowers<br />
cascade freely, starkly contrasting the men who watch<br />
the festive scene in austere contemplation. The throng of<br />
the crowded street behind carries on with the humdrum<br />
of daily life, unabashed and unheeding the parade as it<br />
sweeps through in full regalia. A splendid and intoxicating<br />
example of the Italian artist’s characteristic theme,<br />
Tunisian Street Scene, presents an exciting opportunity to<br />
acquire a work by a master of Italian Orientalism, whose<br />
recently unearthed archives can offer a glimpse of the<br />
past newly discovered.<br />
1. Francesca Sinigaglia, The Fabio Fabbi Historical Archive,<br />
Bologna, Italy
31<br />
47<br />
47
32<br />
48<br />
48<br />
ALLAN BERNALDO (1900-1988)<br />
Still Life - Rhododendron<br />
watercolour<br />
signed lower right: Allan T Bernaldo<br />
84.5 x 68.5cm<br />
$1,500–2,500<br />
49<br />
EDGAR REGINALD JONES (1890-1948)<br />
Ballet Les Sylphides<br />
oil on board<br />
signed lower left: E R JONES<br />
inscribed and titled verso: E R Jones / Ballet Les Sylphides,<br />
Backdrop Corot's 'Springtime'<br />
40.5 x 46cm<br />
$800–1,200
33<br />
50<br />
50<br />
ETHEL CARRICK FOX (1872-1952)<br />
Spring Flowers<br />
oil on canvas on board<br />
25 x 33cm<br />
PROVENANCE<br />
The Estate of Carrick Fox, 1952<br />
$3,000–5,000<br />
51<br />
JOHN WILLIAM ASHTON (1881-1963)<br />
<strong>Australian</strong> Summer<br />
oil on canvas on board<br />
certificate of authenticity signed verso<br />
by Lesley Ashton, Sydney<br />
26 x 38.5cm<br />
PROVENANCE<br />
Adrian Ashton, Son of the <strong>Art</strong>ist<br />
$800–1,200
34<br />
52<br />
52<br />
ETHEL CARRICK FOX (1872-1952)<br />
French Market<br />
lithograph<br />
signed and editioned on margin: Carrick Fox 16/25<br />
32.5 x 46cm<br />
$1,000–2,000<br />
53<br />
JESSIE TRAIL (1881-1967)<br />
Oiling Ship at Curacao 1937<br />
charcoal and pencil on paper<br />
signed and dated lower right: J C A Traill 1937<br />
inscribed on margin: OILING SHIP at CURACAO 2gns<br />
26 x 38.5cm<br />
$800–1,200
35<br />
54<br />
54<br />
ETHEL CARRICK FOX (1872-1952)<br />
Paris Flower Market<br />
colour lithograph<br />
signed and editioned on margin: Carrick Fox 7/25<br />
34 x 26cm<br />
$3,000–5,000<br />
56<br />
ALEXANDER DOUGLAS COLQUHOUN<br />
(1862-1941)<br />
Still Life with Roses<br />
oil on canvas on board<br />
23.5 x 34cm<br />
$600–800<br />
55<br />
WILLIAM BECKWITH MCINNES (1889-1939)<br />
Gathering Clouds in a Spring Landscape<br />
oil on canvas on board<br />
30.5 x 39.5cm<br />
$1,200–1,800
36<br />
57<br />
MAX DUPAIN (1911-1992)<br />
Nude on Beach<br />
silver gelatin photograph<br />
signed and dated lower right in image:<br />
Dupain '30<br />
42.5 x 40cm<br />
PROVENANCE<br />
Estate of the <strong>Art</strong>ist<br />
Private Collection, Sydney<br />
Menzies, Melbourne, Important <strong>Australian</strong><br />
and <strong>International</strong> Fine <strong>Art</strong> and Sculpture,<br />
24 September 2015, Lot 97 (label verso)<br />
Property from the Collection<br />
of Andrée Harkness, Melbourne<br />
OTHER NOTES<br />
Another example of this print is held in<br />
the collection of the <strong>Art</strong> Gallery of New<br />
South Wales, Sydney<br />
$2,000–3,000<br />
57<br />
58<br />
MAX DUPAIN (1911-1992)<br />
Tamara Tchinarova, Ballet Russes<br />
silver gelatin photograph<br />
signed lower right in image: Max Dupain<br />
48 x 37.5cm<br />
PROVENANCE<br />
Adam Galleries, Melbourne (label verso)<br />
Property from the Collection<br />
of Andrée Harkness, Melbourne<br />
$1,500–2,500<br />
58
37<br />
59<br />
59<br />
OLIVE COTTON (1911-2003)<br />
Glasses circa 1937<br />
silver gelatin photograph (later printing)<br />
signed lower right: Olive Cotton<br />
25.5 x 18.5cm<br />
PROVENANCE<br />
Sotheby's, Melbourne, Fine <strong>Australian</strong> and European<br />
Paintings, Melbourne, 26 April 1999, Lot 297<br />
Private Collection, Melbourne<br />
Menzies, Melbourne, Important <strong>Australian</strong> and<br />
<strong>International</strong> Fine <strong>Art</strong> and Sculpture, 24 September 2015,<br />
Lot 95 (label verso)<br />
Property from the Collection of Andrée Harkness,<br />
Melbourne<br />
$7,000–9,000
38<br />
60<br />
ROBERT DICKERSON (1924-2015)<br />
Head of a Young Girl<br />
charcoal<br />
signed lower right: Dickerson<br />
28 x 19cm<br />
PROVENANCE<br />
Anvil Gallery, Wodonga<br />
$1,200–1,800<br />
61<br />
JOHN BRACK (1920-1999)<br />
Seated Nude and Rug 1982<br />
lithograph<br />
signed, dated and editioned on margin:<br />
John Brack 82 50/50<br />
45 x 64.5cm<br />
$2,500–3,500<br />
60<br />
62<br />
JOHN BRACK (1920-1999)<br />
Seated Nude on Persian Cushions 1982<br />
lithograph<br />
signed, dated and editioned on margin:<br />
John Brack 82 45/50<br />
46 x 32cm<br />
$2,000–3,000<br />
61
39<br />
63<br />
63<br />
MIRKA MORA (1928-2018)<br />
Girls, Birds and Toys 1966<br />
charcoal on paper<br />
signed, dated and inscribed lower right:<br />
Mirka 66 / TO DICK Austin WITH LOVE FOR A LONG TIME<br />
26.5 x 36.5cm<br />
$1,200–1,800<br />
64<br />
LAWRENCE DAWS (BORN 1927)<br />
New Moon Landscape<br />
oil on composition board<br />
signed lower right: DAWS<br />
75 x 75cm<br />
PROVENANCE<br />
The Ken Badenoch Estate, Melbourne<br />
$800–1,200<br />
65<br />
LAWRENCE DAWS (BORN 1927)<br />
Figures and Shadows 2001<br />
oil on canvas<br />
signed lower right: DAWS<br />
74 x 90cm<br />
PROVENANCE<br />
Lauraine Diggins Fine <strong>Art</strong>, Melbourne<br />
The Ken Badenoch Estate, Melbourne<br />
$2,000–4,000
40<br />
66<br />
CLIFTON PUGH (1924-1990)<br />
Helen 1988<br />
oil on canvas<br />
signed, dated and titled lower right:<br />
Clifton / 9.11.88 HELEN<br />
110 x 90cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
$5,000–8,000<br />
66<br />
Helen Nixon was Clifton Pugh’s accountant and<br />
friend for a significant period of his life and career.<br />
As is often the way with artists, they are rich with<br />
imagination and concepts but not always flush in<br />
tangible world assets. As such, Helen accrued an<br />
extensive collection of artworks (and a Jaguar at one<br />
point) as payment for her trusted services. Helen<br />
recalls Clif as enigmatic, kind-hearted and childlike<br />
eccentric. A particular curiosity at Dunmoochin was<br />
the slide he had built, starting from his bedroom<br />
window and leading directly into the pool! The<br />
cheerful portrait of Helen (Lot 66) was painted<br />
informally midway through a tax consultation in<br />
Pugh’s studio.<br />
The collection contains several delightful paintings<br />
from the twilight years of Pugh’s life in contrast to<br />
his main body of works— characteristically dark and<br />
pessimistic. Landscape Reflections with Wattle 1985<br />
(Lot 67) is a testament to Clifton Pugh’s passion and<br />
love of the natural world, reflecting a moment of pure<br />
joy in the artist's heart. Helen recalls how delighted<br />
he was with the outcome of this work, visible in the<br />
lightness of the brushstrokes. This private collection<br />
reveals another side to the artist we rarely see, one<br />
that is unguarded, serene and at peace with the<br />
simple beauty of light, manifested beautifully in Glory<br />
be to God for Dappled Things 1988 (Lot 70). Helen’s<br />
collection bares witness to the breadth of Pugh’s<br />
talent, offering a unique glimpse into the artist’s<br />
character and complexity.
41<br />
67<br />
67<br />
CLIFTON PUGH (1924-1990)<br />
Landscape Reflections with Wattle 1985<br />
oil on canvas<br />
signed and dated lower right: Clifton 31-7-85<br />
90.5 x 111cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
$10,000–15,000<br />
68<br />
CLIFTON PUGH (1924-1990)<br />
Male Nude Studies<br />
charcoal and pencil on paper<br />
signed lower right: Clifton<br />
69 x 51cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
$400–600
42<br />
69<br />
69<br />
CLIFTON PUGH (1924-1990)<br />
Isle of Man 1974<br />
oil and gouache on paper<br />
signed, dated and titled lower right:<br />
Clifton 26 - 12 - 74 Isle of Man<br />
57 x 77cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
$1,000–1,500<br />
70<br />
CLIFTON PUGH (1924-1990)<br />
Glory be to God for Dappled Things 1988<br />
oil on canvas<br />
signed, dated and titled lower right and left:<br />
Clifton FEB 1988 'GLORY BE TO GOD<br />
FOR DAPPLED THINGS'<br />
111.5 x 90cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
$9,000–12,000
43<br />
70
44<br />
71<br />
72
45<br />
73<br />
71<br />
FRANK HODGKINSON (1919-2001)<br />
Full Moon Through Mosquito Net<br />
(Winter Solstice) 1980<br />
gouache on paper<br />
signed and dated lower right: FRANK HODGKINSON 80<br />
56 x 76cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
EXHIBITED<br />
La Trobe University <strong>Art</strong> Museum and Collections,<br />
Melbourne (label verso)<br />
$600–900<br />
72<br />
DOUGLAS WRIGHT (BORN 1944)<br />
Tuscany Sunset Over Vineyards 1990<br />
pastel on paper<br />
signed and dated lower right: WRIGHT 90<br />
56.5 x 76cm<br />
PROVENANCE<br />
David Ellis Fine <strong>Art</strong>, Melbourne<br />
Helen Nixon Collection, Melbourne<br />
EXHIBITED<br />
David Ellis Fine <strong>Art</strong>, Doug Wright, 3-29 October 1988<br />
La Trobe University <strong>Art</strong> Museum and Collections,<br />
Melbourne<br />
$600–800<br />
73<br />
CLIFTON PUGH (1924-1990)<br />
Adriane 1985<br />
charcoal and pencil on paper<br />
signed and dated lower right: Clifton 31 - 7 - 85<br />
58.5 x 82cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist<br />
Helen Nixon Collection, Melbourne<br />
EXHIBITED<br />
Dempster's Gallery, Canterbury, Victoria,<br />
Clifton Pugh: The Nude in <strong>Art</strong> 1988<br />
$400–600
46<br />
75<br />
74<br />
74<br />
MELISSA COOTE (BORN 1966)<br />
Vagina I Kryptos I 2001<br />
pigment, gum and pastel on paper<br />
signed, dated and titled verso:<br />
M Coote 2001 VAGINA I KRYPTOS I<br />
235.5 x 114cm<br />
PROVENANCE<br />
Mori Gallery, Sydney<br />
$3,000–5,000<br />
75<br />
RICK AMOR (BORN 1948)<br />
Westgate 1987<br />
charcoal on paper<br />
signed and dated upper right: Rick Amor 3/11/87<br />
55 x 76cm<br />
PROVENANCE<br />
The Peter and Renate Nahum Collection, London<br />
$1,500–2,500
47<br />
76<br />
76<br />
ROBERT DOBLE (BORN 1961)<br />
Building Impulse 2003<br />
house paint and enamel on canvas<br />
signed, dated and titled verso:<br />
Doble 2003 LONDON BUILDING IMPULSE<br />
177.5 x 182.5cm<br />
PROVENANCE<br />
Nellie Castan Gallery, Melbourne (label verso)<br />
EXHIBITED<br />
Robert Doble - Pathology of Surface,<br />
Nellie Castan Gallery, Melbourne, 2003<br />
$3,000–5,000<br />
77<br />
DMITRY KUZNICHENKO (BORN 1962)<br />
Pre-Emptive Strike 2008-09<br />
oil on canvas<br />
signed, dated and titled verso: DMITRY KUZNICHENKO<br />
2008-2009 / "PRE-EMPTIVE STRIKE"<br />
152.5 x 183cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$800–1,200
48<br />
78<br />
78<br />
GRAEME DRENDEL (BORN 1953)<br />
Explorers 1993<br />
oil on canvas<br />
signed and dated lower right: DRENDEL 93<br />
signed, dated and titled verso:<br />
G DRENDEL "EXPLORERS" 93-94<br />
127 x 128.5cm<br />
PROVENANCE<br />
<strong>Australian</strong> Galleries, Melbourne (label verso)<br />
$4,000–6,000<br />
79<br />
BRIAN SEIDEL (1928-2019)<br />
Tropical Idyll 1995<br />
oil on canvas<br />
signed and dated lower left: Brian Seidel 95<br />
137.5 x 122.5cm<br />
$1,000–1,500
49<br />
80<br />
80<br />
DAVID BOYD (1924-2011)<br />
The Bishop 1964<br />
Church and State series<br />
oil on board<br />
signed lower right: David Boyd 64<br />
75.5 x 55.5cm<br />
PROVENANCE<br />
Private Collection, Sydney<br />
Lawsons Auctioneers, Sydney, 21 April 1998, Lot 607<br />
Private Collection, Sydney<br />
Lawson~Menzies, Sydney, Quarterly Fine <strong>Art</strong> Auction,<br />
19 May 2011, Lot 110<br />
$6,000–9,000
50<br />
81<br />
81<br />
JACQUELINE HICK (1919-2004)<br />
Winter Sun<br />
oil on board<br />
signed and titled verso: J HICK WINTER SUN<br />
59.5 x 90cm<br />
PROVENANCE<br />
South Yarra Gallery, Mebourne<br />
$3,000–5,000<br />
82<br />
WILLIAM BOISSEVAIN (BORN 1927)<br />
Summer Landscape, WA 1987<br />
oil on board<br />
signed and dated lower right: W. BOISSEVAIN 87<br />
88.5 x 120.5cm<br />
$4,000–6,000
51<br />
83<br />
83<br />
GEOFFREY DYER (1947-2020)<br />
The Changing Climate 2013<br />
oil on canvas<br />
signed lower right: DYER<br />
122 x 153cm<br />
PROVENANCE<br />
Acquired directly from the artist<br />
<strong>Art</strong> Index, Sydney<br />
$10,000–15,000
52<br />
84<br />
84<br />
ELIZABETH DURACK (1915-2000)<br />
Release 1964<br />
alternative title: Wet Season, River<br />
Magic, Baines River, Auvergne Station,<br />
NT 1938<br />
mixed media on paper<br />
signed with initials lower right: E D<br />
43 x 117cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio (accompanied by a<br />
certificate of authenticity from the <strong>Art</strong>ist's<br />
Estate verso)<br />
$4,000–6,000<br />
85<br />
85<br />
ELIZABETH DURACK (1915-2000)<br />
Après nous le deluge circa 1985<br />
acrylic on board<br />
132 x 100cm<br />
PROVENANCE<br />
The <strong>Art</strong>ist's Studio (accompanied by a<br />
certificate of authenticity from the <strong>Art</strong>ist's<br />
Estate verso)<br />
$2,500–3,500
53<br />
86<br />
86<br />
SIDNEY NOLAN (1917-1992)<br />
Harbour and Boat 1942<br />
oil on board<br />
signed with initial and dated lower left: N 26.8.42<br />
47 x 43cm<br />
PROVENANCE<br />
A gift from the artist to the present owner's father<br />
Thence by descent<br />
Private Collection, London<br />
$9,000–12,000
54<br />
87<br />
87<br />
JAMES GLEESON (1915-2008)<br />
The Eduction of Hercules<br />
oil on board<br />
signed lower right: Gleeson<br />
17.5 x 14cm<br />
$1,800–2,500<br />
88<br />
DONALD FRIEND (1915-1989)<br />
Go Thou and Help Thyself<br />
mixed media on paper<br />
signed and titled lower right, upper right and lower centre:<br />
Donald Friend / Go Thou and help Thyself! / Bold Dan<br />
Coogan on the Goldfields. " A Voice from the sky said 'Lo,<br />
Daniel, dost thou realise that at the bottom of every shaft a<br />
fool sitteth seeking a pot of gold?"<br />
34.5 x 42.5cm<br />
$1,000–1,500
55<br />
89<br />
89<br />
SIDNEY NOLAN (1917-1992)<br />
Portrait of Voss<br />
oil on paper<br />
30 x 25cm<br />
PROVENANCE<br />
Private Collection, London<br />
$2,000–3,000<br />
90<br />
SIDNEY NOLAN (1917-1992)<br />
Figure and Monkey 1967<br />
oil on paper<br />
signed and dated verso: Nolan 27 July 67<br />
30 x 25<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$2,000–3,000
56<br />
91<br />
91<br />
GRAEME DRENDEL (BORN 1953)<br />
The Conversation 2005<br />
oil on canvas<br />
signed and dated lower right: DRENDEL 05<br />
76 x 101cm<br />
$2,000–3,000<br />
92<br />
JOHN KELLY (BORN 1965)<br />
Homage to Sisyphus 1987<br />
oil on canvas<br />
signed and dated lower right: Kelly 87<br />
signed, dated and titled verso:<br />
JOHN KELLY / HOMAGE TO / SISYPHUS / Sept 87<br />
168 x 137cm<br />
PROVENANCE<br />
The Peter and Renate Nahum Collection, London<br />
EXHIBITED<br />
Moet and Chandon <strong>Art</strong> Prize (label verso)<br />
$5,000–8,000
57<br />
92
58<br />
93<br />
93<br />
JAMES ROBERTSON (BORN 1967)<br />
I Want It, 2005<br />
oil on canvas<br />
signed and dated lower right: James Robertson 05<br />
signed, dated and title verso:<br />
James Robertson 2005 / "I WANT IT"<br />
122 x 198cm<br />
$8,000–12,000<br />
94<br />
LANCE SOLOMON (1913-1989)<br />
Figures in the Clearing<br />
oil on canvas on board<br />
signed lower right: L Solomon<br />
59 x 49.5cm<br />
$700–900<br />
95<br />
HEIDI YARDLEY (BORN 1975)<br />
Study of Girl 2006<br />
oil on canvas<br />
signed, dated and titled verso:<br />
Heidi Yardley / 2006 / Study of girl<br />
100.5 x 84.5cm<br />
PROVENANCE<br />
Leonard Joel, Melbourne, The David Bromley Chapel<br />
Street Studio Collection, 18 November 2012, Lot 483<br />
$1,000–1,500
59<br />
96<br />
96<br />
SIDNEY NOLAN (1917-1992)<br />
Figures in Landscape circa 1945<br />
oil and enamel on board<br />
inscribed indistinctly verso<br />
64 x 76cm<br />
PROVENANCE<br />
A gift from the artist to the present owner's father<br />
Thence by descent<br />
Private Collection, London<br />
$8,000–12,000<br />
97<br />
SIDNEY NOLAN (1917-1992)<br />
Parrot<br />
oil on paper<br />
signed with initial lower right: N<br />
30 x 25cm<br />
PROVENANCE<br />
Private Collection, London<br />
$2,000–3,000
60<br />
98<br />
98<br />
DOROTHY BRAUND (1926-2013)<br />
Untitled (On the Line) 1980<br />
gouache and watercolour on paper<br />
signed and dated lower left: BRAUND '80<br />
39 x 49cm<br />
PROVENANCE<br />
Property from the Collection of Andrée Harkness,<br />
Melbourne<br />
$1,200–1,800<br />
99<br />
SIDNEY NOLAN (1917-1992)<br />
Birds and Figure<br />
oil and crayon on paper<br />
signed lower right: Nolan<br />
75 x 59cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$2,000–4,000<br />
100<br />
DOROTHY BRAUND (1926-2013)<br />
Bicycle Couple 1978<br />
watercolour and gouache on paper<br />
signed and dated lower right: Braund '78<br />
43 x 33cm<br />
PROVENANCE<br />
Property from the Collection of Andrée Harkness,<br />
Melbourne<br />
$1,200–1,800<br />
101<br />
DOROTHY BRAUND (1926-2013)<br />
The Bathers<br />
watercolour<br />
38 x 43cm<br />
$600–900
61<br />
102<br />
102<br />
ANNE HALL (BORN 1945)<br />
Portrait of John Perceval 1981<br />
mixed media<br />
signed and dated lower right: Anne Hall 81<br />
106 x 73cm<br />
$1,500–2,500
62<br />
103<br />
KEVIN (PRO) HART<br />
(1928-2006)<br />
Windlass<br />
oil on board<br />
signed lower centre: Pro Hart<br />
titled verso: WINDLASS<br />
21.5 x 21.5cm<br />
$2,500–3,500<br />
103<br />
104<br />
KEVIN (PRO) HART<br />
(1928-2006)<br />
Landscape with Birds<br />
oil on board<br />
signed lower right: Pro Hart<br />
titled verso:<br />
LANDSCAPE WITH BIRDS<br />
18.5 x 24cm<br />
PROVENANCE<br />
The Ken Badenoch Estate, Melbourne<br />
$1,000–2,000<br />
104
63<br />
105<br />
105<br />
DAVID BOYD (1924-2011)<br />
Watching the Yachts<br />
oil on canvas<br />
signed lower left: David Boyd<br />
inscribed and titled verso:<br />
David Boyd / Watching the Yachts<br />
44.5 x 49.5cm<br />
$8,000–12,000<br />
106<br />
HUGH SCHULZ (1921-2005)<br />
Broken Hill Scene<br />
oil on canvas on board<br />
signed lower right: Hugh Schulz<br />
inscribed and titled verso:<br />
HUGH SCHULZ / "BROKEN HILL SCENE"<br />
40 x 50cm<br />
PROVENANCE<br />
Anvil Gallery, Wodonga (label verso)<br />
$600–800
64<br />
107<br />
107<br />
GRAEME DRENDEL (BORN 1953)<br />
Nuptial 1999<br />
oil on canvas<br />
signed and dated lower right: DRENDEL 99<br />
signed, dated and titled verso: DRENDEL '99 'NUPTIAL'<br />
121.5 x 91cm<br />
PROVENANCE<br />
<strong>Australian</strong> Galleries, Melbourne (label verso)<br />
$3,000–5,000<br />
108<br />
SOPHIE DUNLOP (BORN 1971)<br />
Still Life<br />
oil on canvas on board<br />
signed lower left: Dunlop<br />
45.5 x 45.5cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,000–1,500
65<br />
109<br />
109<br />
SIDNEY NOLAN (1917-1992)<br />
Kellys' in Landscape<br />
oil and crayon on paper<br />
signed with initial lower right: n<br />
38 x 48cm<br />
PROVENANCE<br />
Evan Mackley Fine <strong>Art</strong>, Horsham<br />
Private Collection, Melbourne<br />
$12,000–18,000<br />
110<br />
SIDNEY NOLAN (1917-1992)<br />
Ling Landscape with Waterfall with Helicopter,<br />
as Skull with Stars and Stripes 1967<br />
oil on card<br />
signed, dated and titled lower centre:<br />
Nolan 4 May 67 / Ling Landscape with waterfall /<br />
with helicopter, as Skull with / Stars and Stripes<br />
30 x 25cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$1,500–2,000
66<br />
111<br />
GUNTHER KOPIETZ (BORN 1963)<br />
Seated Lady in Blue Dress 1993<br />
sculpted, painted and incised wood<br />
and repurposed furniture<br />
incised with signature and dated<br />
on foot of figure: G KOPIETZ<br />
133cm high, 111cm wide, 56.5cm deep<br />
PROVENANCE<br />
<strong>Australian</strong> Galleries, Melbourne<br />
$800–1,200<br />
111
67<br />
112<br />
112<br />
GARRY SHEAD (BORN 1942)<br />
The <strong>Art</strong>ist and His Muse<br />
mixed media on paper<br />
signed lower left: Garry Shead<br />
27 x 19.5cm<br />
$2,500–4,500
68<br />
113<br />
ROBERT HAGUE (BORN 1967)<br />
Abstract Form 2008<br />
patinated bronze<br />
signed, dated and editioned on base: HAGUE 08 1/6<br />
27.5cm high, 54cm wide, 27cm deep<br />
$800–1,200<br />
114<br />
Jamies Sabartés, Picasso : Toreros, With Four<br />
Original Lithographs, A Zwemmer Ltd, London<br />
and A Sauret, Monte Carlo 1961, 153pp<br />
four original Pablo Picasso lithographs especially executed<br />
for this book<br />
hard cover with dust jacket<br />
25.5cm high, 32.5cm wide, 2cm deep (overall book size)<br />
$800–1,000<br />
113
69<br />
115<br />
DEBORAH HALPERN (BORN 1957)<br />
Cheshire Cat 2015<br />
glass, fibreglass, steel and aluminium<br />
signed on side: Deborah Halpern<br />
128cm high, 84cm wide, 40.5cm deep<br />
PROVENANCE<br />
Mossgreen Gallery, Melbourne<br />
EXHIBITED<br />
Deborah Halpern – Through the Forest,<br />
Mossgreen Gallery, Melbourne, 2015<br />
$15,000–25,000<br />
116<br />
DEBORAH HALPERN (BORN 1957)<br />
Head on Pedestal 1994<br />
painted and glazed ceramic<br />
signed with initials and dated on base:<br />
D.D.H. '94<br />
48cm high, 26cm wide, 23cm deep<br />
$1,000–1,500<br />
115
70<br />
117<br />
EMILY KAME KNGWARREYE<br />
(CIRCA 1909-1996)<br />
My Country circa 1994<br />
synthetic polymer paint on canvas<br />
signed verso: Emily<br />
inscribed and cat no. verso:<br />
Emily Kngwarreye 94E022<br />
152.5 x 91cm<br />
PROVENANCE<br />
Delmore Gallery, NT<br />
<strong>Art</strong> Galleries Schubert, Gold Coast (label verso)<br />
$30,000–40,000<br />
118<br />
WILLIE TJUNGURRAYI (1932-2018)<br />
Wet Lands 2012<br />
synthetic polymer paint on canvas<br />
inscribed verso and cat no: WILLY TJUNGURRAYI WT1207<br />
noted on certificate cat no. WT3005<br />
124 x 175cm<br />
PROVENANCE<br />
Ebony Dreaming, Alice Springs<br />
(certificate of authenticity accompanies this lot)<br />
$2,000–4,000
71<br />
117
72<br />
119<br />
119<br />
GREENY PURVIS PETYARRE (1930-2010)<br />
Of My Country Aneltyeye 1999<br />
synthetic polymer paint on canvas<br />
inscribed and cat no verso:<br />
GREENIE PURVIS / GREENY / 99J035<br />
152.5 x 122cm<br />
PROVENANCE<br />
Delmore Gallery, NT<br />
Sotheby's, Sydney, Aboriginal and Oceanic <strong>Art</strong>,<br />
25 November 2007, Lot 72<br />
Corporate Collection, Sydney<br />
$1,500–2,500<br />
120<br />
LORNA FENCER NAPARRULA<br />
(CIRCA 1920-2006)<br />
Potato Dreaming<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso:<br />
LORNA FENCER / A3556<br />
126.5 x 176cm<br />
PROVENANCE<br />
Muk Muk Aboriginal <strong>Art</strong>, Alice Springs<br />
Corporate Collection, Sydney<br />
$1,000–2,000
73<br />
121<br />
121<br />
WARLIMPIRRNGA TJAPALTJARRI<br />
(BORN CIRCA 1950)<br />
Grandfather's Country 2017<br />
synthetic polymer paint on canvas<br />
inscribed verso: WARLT-319x208-IAG200<br />
208 x 312cm<br />
PROVENANCE<br />
Justin Turner, Sydney<br />
<strong>Art</strong> Index, Sydney<br />
Private Collection, Melbourne<br />
$20,000–30,000<br />
122<br />
EMILY KAME KNGWARREYE (CIRCA 1909-1996)<br />
Body Paint 1995<br />
synthetic polymer paint on canvas<br />
inscribed verso: DACOU EK464 FW145<br />
121 x 90cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Fireworks Gallery, Brisbane<br />
Private Collection, London<br />
The Peter and Renate Nahum Collection, London<br />
$4,000–6,000
74<br />
123<br />
123<br />
EMILY KAME KNGWARREYE (CIRCA 1909-1996)<br />
Body Paint 1995<br />
synthetic polymer paint on canvas<br />
inscribed verso: DACOU EK466 FW146<br />
121 x 90cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Fireworks Gallery, Brisbane<br />
Private Collection, London<br />
The Peter and Renate Nahum Collection, London<br />
$4,000–6,000<br />
124<br />
EMILY KAME KNGWARREYE (CIRCA 1909-1996)<br />
Body Paint 1995<br />
synthetic polymer paint on canvas<br />
inscribed verso: DACOU EK470 FW148<br />
121 x 90cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Fireworks Gallery, Brisbane<br />
Private Collection, London<br />
The Peter and Renate Nahum Collection, London<br />
$4,000–6,000
75<br />
125<br />
125<br />
EMILY KAME KNGWARREYE (CIRCA 1909-1996)<br />
Body Paint 1995<br />
synthetic polymer paint on canvas<br />
inscribed verso: DACOU EK469 FW147<br />
121 x 90cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Fireworks Gallery, Brisbane<br />
Private Collection, London<br />
The Peter and Renate Nahum Collection, London<br />
$4,000–6,000<br />
126<br />
EMILY KAME KNGWARREYE (CIRCA 1909-1996)<br />
Body Paint 1995<br />
synthetic polymer paint on canvas<br />
inscribed verso: DACOU EK467 FW419<br />
121 x 90cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Fireworks Gallery, Brisbane<br />
Private Collection, London<br />
The Peter and Renate Nahum Collection, London<br />
$4,000–6,000
76<br />
127<br />
127<br />
JUDY WATSON NAPANGARDI (CIRCA 1925-2016)<br />
Mina Mina Jukurrpa (Mina Mina Dreaming) 2005<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso: Judy Napangardi Watson /<br />
Warlukurlangu <strong>Art</strong>ists / 340/05 / AK11812<br />
122 x 152.5cm<br />
PROVENANCE<br />
Warlukurlangu <strong>Art</strong>ists, Northern Territory<br />
Alcaston Gallery, Melbourne<br />
Mossgreen Auctions, Melbourne, The Elizabeth<br />
Jones Collection of Contemporary Aboriginal <strong>Art</strong>,<br />
Melbourne, 14 August 2007, Lot 7<br />
Corporate Collection, Sydney<br />
$3,000–5,000<br />
128<br />
TOMMY WATSON (CIRCA 1935-2017)<br />
Untitled<br />
synthetic polymer paint on canvas<br />
152 x 94.5cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$10,000–15,000
77<br />
128
78<br />
129<br />
129<br />
JUDY WATSON NAPANGARDI<br />
(CIRCA 1925-2016)<br />
Women's Dreaming at Mina Mina<br />
synthetic polymer paint on linen<br />
inscribed verso: AAWJUDWA0024 / KOG-JNW002<br />
210 x 151cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$3,000–5,000<br />
130<br />
JUDY WATSON NAPANGARDI<br />
(CIRCA 1925-2016)<br />
Snake Vine Dreaming<br />
synthetic polymer paint on canvas<br />
inscribed verso: JWN-200X150-IAG145<br />
152.5 x 200cm<br />
PROVENANCE<br />
Justin Turner, Sydney<br />
<strong>Art</strong> Index, Sydney<br />
Private Collection, Melbourne<br />
$4,000–6,000
79<br />
131<br />
131<br />
JUDY WATSON NAPANGARDI<br />
(CIRCA 1925-2016)<br />
Snake Vine Dreaming<br />
synthetic polymer paint on canvas<br />
inscribed verso: JWN-200X150-IAG144<br />
152.5 x 200cm<br />
PROVENANCE<br />
Justin Turner, Sydney<br />
<strong>Art</strong> Index, Sydney<br />
Private Collection, Melbourne<br />
$4,000–6,000<br />
132<br />
CLIFFORD POSSUM TJAPALTJARRI<br />
(CIRCA 1933-2002)<br />
Lightning 1992<br />
synthetic polymer paint on linen<br />
inscribed verso: CLIFFORD POSSUM<br />
85 x 115cm<br />
PROVENANCE<br />
Tribal <strong>Art</strong> Gallery, Melbourne<br />
The Peter and Renate Nahum Collection, London<br />
$1,500–2,500
80<br />
133<br />
133<br />
MINNIE PWERLE (1922-2006)<br />
Awelye Atnwengerrp 2004<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso: MINNIE PWERLE /<br />
'AWELYE ATNWENGERRP' 2004 / DG 06093 / 161-828<br />
122 x 90cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Private Collection, Melbourne<br />
$4,000–6,000<br />
134<br />
MINNIE PWERLE (1922-2006)<br />
Bush Melon<br />
synthetic polymer paint on canvas<br />
inscribed verso: MP33<br />
89.5 x 30cm<br />
PROVENANCE<br />
Red Sand <strong>Art</strong> Gallery, Alice Springs<br />
(certificate of authenticity accompanies this lot)<br />
$2,000–3,000
81<br />
135<br />
135<br />
JOHNNY WARANGKULA TJUPURRULA<br />
(CIRCA 1925-2001)<br />
Untitled 1997<br />
synthetic polymer paint on canvas<br />
inscribed verso: JW-033<br />
115 x 194.5cm<br />
PROVENANCE<br />
Acquired from the <strong>Art</strong>ist in 1997 by Phillip Gray<br />
Private Collection, Melbourne<br />
$5,000–8,000
82<br />
136<br />
136<br />
JIMMY NJAMME (BORN CIRCA 1920)<br />
<strong>Art</strong>ist's Country at Pippar 1991<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso:<br />
JIMMY NJAMME / WARLAYIRTI ART / 588/91<br />
100 x 75cm<br />
PROVENANCE<br />
Warlayirti <strong>Art</strong>s, Balgo, WA<br />
Gallery Gabrielle Pizzi, Melbourne<br />
Private Collection, Melbourne<br />
$2,000–3,000<br />
137<br />
BETTY CLUB MBITJANA (BORN 1955)<br />
Awelye Bush Melon Seeds<br />
synthetic polymer paint on canvas<br />
inscribed verso: AAWBETMB0011<br />
149.5 x 61cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$700–1,000
83<br />
138<br />
138<br />
RONNIE TJAMPITJINPA (BORN 1942)<br />
Tingari 2004<br />
synthetic polymer paint on canvas<br />
inscribed verso: FG022050.RT<br />
182 x 152cm<br />
PROVENANCE<br />
Ngintaka <strong>Art</strong>s, SA<br />
Flinders Lane Gallery, Melbourne 2006 (label verso)<br />
$10,000–15,000<br />
139<br />
JACK BRITTEN (CIRCA 1921-2002)<br />
The Kawariny (Bungle Bungles) 1996<br />
natural earth pigments on canvas<br />
inscribed, dated and cat no. verso:<br />
7.8.96 / THE KAWARINY BUNGLE BUNGLES / N-1414-JB<br />
84 x 205cm<br />
PROVENANCE<br />
Narrangunny <strong>Art</strong> Traders, WA<br />
The Peter and Renate Nahum Collection, London<br />
$2,000–4,000
84<br />
The Robert Law Collection<br />
Robert Law (1870-1930) was Assayer (1890-1918),<br />
Chief Chemist and Refiner at the Royal Mint, Melbourne.<br />
Aside from his successful career Robert Law lived with<br />
great ambition to achieve more beyond his primary<br />
career. He was a steadfast athlete, scientifically inclined,<br />
and a brilliant amateur photographer for most of his<br />
life. Law documented his travels and collected other<br />
photographers' works along the way, amounting to<br />
over 1000 slides (all of which were donated to the Royal<br />
Historical Society of Victoria in the 1930s). He captured<br />
everyday life and street scenes of Melbourne that retain<br />
immense socio-historical significance in the city’s archive.<br />
Law had a keen eye for talent and amassed a very wellcurated<br />
collection of some of the best local artists from<br />
his generation, including Walter Withers, John Mather,<br />
<strong>Art</strong>hur Merric Boyd Senior and Blamire Young. We are<br />
fortunate to present Robert Law’s private art collection<br />
to the market for the first time, diligently preserved and<br />
handed down through three generations.<br />
140
85<br />
142<br />
140<br />
ARTHUR MERRIC BOYD (1862-1940)<br />
Boats at Low Tide 1892<br />
watercolour<br />
signed and dated lower left: <strong>Art</strong>hur Boyd 1892<br />
27.5 x 43cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$2,000–4,000<br />
141<br />
ALBERT ERNEST NEWBURY (1891-1941)<br />
Summer Landscape<br />
oil on canvas on board<br />
signed lower right: A E NEWBURY<br />
27.5 x 39cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,000–1,500<br />
142<br />
WALTER WITHERS (1854-1914)<br />
Coastal Farm<br />
oil on canvas<br />
signed lower right: Walter Withers<br />
14.5 x 41.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$15,000–25,000<br />
143<br />
GORDON COUTTES (1868-1937)<br />
Low Tide, Early Morning Light<br />
oil on canvas<br />
signed lower right: Gordon Couttes<br />
23.5 x 39.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,000–1,200
86<br />
144<br />
145
87<br />
146<br />
144<br />
ARTHUR MERRIC BOYD (1862-1940)<br />
Sailing off the Headland 1899<br />
watercolour<br />
signed and dated lower right: <strong>Art</strong>hur Boyd 99<br />
16.5 x 34.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,500–2,500<br />
145<br />
ARTHUR MERRIC BOYD (1862-1940)<br />
The Schooner Returning Home 1895<br />
watercolour<br />
signed and dated lower right: <strong>Art</strong>hur Boyd 1895<br />
31 x 44cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,500–2,500<br />
146<br />
JOHN MATHER (1848-1916)<br />
Mt Saint George, Lorne 1908<br />
oil on canvas<br />
signed and dated lower left: J Mather 08<br />
signed, dated and titled verso:<br />
J Mather 08 Mt Saint George, Lorne<br />
49.5 x 90cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$8,000–12,000<br />
147<br />
GORDON COUTTES (1868-1937)<br />
Figures on the Beach, Low Tide<br />
oil on canvas<br />
signed lower right: Gordon Couttes<br />
24 x 39.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,000–1,500
88<br />
148<br />
148<br />
EMMA MINNIE BOYD (1858-1936)<br />
The Conversation<br />
watercolour<br />
signed lower right: E M Boyd<br />
17 x 24.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,500–2,500<br />
149<br />
GORDON COUTTES (1868-1937)<br />
Portrait of a Gentleman<br />
oil on canvas<br />
signed lower left: Gordon Couttes<br />
60 x 45cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,200–2,000<br />
149
89<br />
150<br />
150<br />
ENGLISH SCHOOL<br />
After the Storm 1887<br />
oil on canvas<br />
signed but illegible and dated lower right: 87<br />
60 x 90cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$2,500–3,500<br />
151<br />
THEODORE BROOKE HANSEN<br />
(1870-1945)<br />
Portrait of a Young Girl<br />
oil on canvas on board<br />
signed and inscribed lower right:<br />
Theo Brooke-Hansen, Paris<br />
44.5 x 34cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$2,500–4,500<br />
151
90<br />
152<br />
153<br />
152<br />
BLAMIRE YOUNG (1862-1935)<br />
The Hay Collector<br />
watercolour<br />
signed lower left: Blamire Young<br />
22 x 30cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,500–2,500<br />
153<br />
ARTHUR MERRIC BOYD (1862-1940)<br />
Morning Light Along the Coast 1901<br />
watercolour<br />
signed and dated lower left: <strong>Art</strong>hur Boyd 1901<br />
29 x 44cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$2,000–3,000
91<br />
154<br />
154<br />
JOHN MATHER (1848-1916)<br />
The Quiet Inlet 1911<br />
watercolour<br />
signed and dated lower left: J Mather 1911<br />
44.5 x 77.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$3,000–5,000<br />
155<br />
ALEXANDER DOUGLAS COLQUHOUN<br />
(1862-1941)<br />
The Orchard<br />
oil on canvas<br />
signed lower right: A Colquhoun<br />
53 x 41.5cm<br />
PROVENANCE<br />
Collection of Robert Law, Melbourne<br />
Thence by descent<br />
$1,000–1,500<br />
155
92<br />
156<br />
156<br />
LOUIS PISANI (ITALIAN, 19TH CENTURY)<br />
The Madonna della Seggiola, After Raphael<br />
oil on canvas<br />
inscribed 'Madonna della Seggiola, by Raffaello<br />
/ a copy by Louis Pisani / Louis Pisani's / Picture<br />
Gallery / 38 Borgognissanti first floor / Florence'<br />
(label verso)<br />
71cm diameter<br />
PROVENANCE<br />
Christie's, London, Interiors - Masters and Makers,<br />
3 December 2013, Lot no. 425<br />
Private Collection, Melbourne<br />
$3,000–5,000<br />
157<br />
IN THE STYLE OF PARMIGIANINO<br />
Holy Family with Bird<br />
oil on canvas<br />
inscribed verso: Holy Family with Bird<br />
62.5 x 46cm<br />
$800–1,200<br />
157
93<br />
158<br />
158<br />
EUROPEAN SCHOOL<br />
The Ascension<br />
oil on canvas<br />
118.5 x 169cm<br />
signed lower left: Old Ramberg<br />
PROVENANCE<br />
Phillips, London, Sale No. 162, Lot 104<br />
(label verso)<br />
$2,000–4,000<br />
159<br />
ITALIAN SCHOOL<br />
(CIRCA 14TH CENTURY)<br />
The Entombment<br />
oil on panel<br />
inscribed verso: 'The Entombment'<br />
signed 'Le Pitura Sprino' Early Florentine<br />
22.5 x 48cm<br />
PROVENANCE<br />
Mr Vernon Wethered, United Kingdom<br />
Private Collection, Melbourne<br />
$1,500–2,500<br />
159
94<br />
Charles Gray Kennaway was born in the historic<br />
township of Perth, Scotland, the son of a wellknown<br />
baker in the town. His family abode was the<br />
long-standing Kennaways Tearooms on the corner<br />
of South Street and St John Street. Kennaway<br />
studied in London at the Royal College of <strong>Art</strong>, later<br />
becoming an <strong>Art</strong> Master at Sharps Institute of<br />
Perth, followed by a long-standing appointment as<br />
Principle of the Athenaeum School in Glasgow.<br />
Kennaway maintained his private art practice<br />
throughout his academic career, esteemed for a<br />
varying style of prosaic portraiture, landscapes<br />
and mythical imagery. Lots 160–167 comprise<br />
a series of portraits of the fabled heroines from<br />
Sir Walter Scott's novels. Very few of his works<br />
remain, making this literary-inspired series a<br />
significant component of the artist's legacy.<br />
This series once graced the hallway of the<br />
family-run tearooms, completed and installed by<br />
the artist before an untimely death. Most of the<br />
artist’s collection resides in the Perth <strong>Art</strong> Gallery,<br />
managed by Culture Perth & Kinross, UK.<br />
160<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Effie Deans – Heart of Midlothian 1924<br />
oil on canvas<br />
signed, dated and titled lower right and left:<br />
C G Kennaway 1924 / Effie Deans / Heart of Midlothian<br />
100.5 x 67.5cm<br />
$1,000–2,000<br />
161<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Sir Walter Scott<br />
oil on canvas<br />
titled lower centre:<br />
Sir Walter Scott / from the painting by / Sir Edwin<br />
Landseer RA / National Portrait Gallery London<br />
100.5 x 67.5cm<br />
$1,000–2,000<br />
162<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Catharine Glover, Fair Maid of Perth<br />
oil on canvas<br />
signed and titled lower right and left:<br />
C G Kennaway / CATHARINE GLOVER /<br />
FAIR MAID / OF / PERTH<br />
100.5 x 67.5cm<br />
$1,000–2,000<br />
160<br />
163<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Rachael Geddes – Redgauntlet<br />
oil on canvas<br />
signed with initials and titled lower right and left:<br />
C G K / RACHAEL HOUSE / REDGAUNTLET<br />
100.5 x 67.5cm<br />
$1,000–2,000<br />
164<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
The Glee-Maiden – Fair Maiden of Perth<br />
oil on canvas<br />
signed with initials and titled lower right and left:<br />
C G K / THE GLEE-MAIDEN / FAIR MAIDEN OF PERTH<br />
100.5 x 67.5cm<br />
$1,000–2,000
95<br />
165<br />
167<br />
165<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Jeanie Deans – Heart of Midlothian 1924<br />
oil on canvas<br />
signed, dated, and titled lower right and left:<br />
C G Kennaway / 1924 / JEANIE DEANS /<br />
HEART / OF / MIDLOTHIAN<br />
100.5 x 67.5cm<br />
$1,000–2,000<br />
167<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Rebecca Ivanhoe<br />
oil on canvas<br />
signed and titled lower right and left:<br />
C G Kennaway / REBECCA IVANHOE<br />
100.5 x 67.5cm<br />
$1,000–2,000<br />
166<br />
CHARLES GRAY KENNAWAY (1860-1925)<br />
Margaret Ramsay – Fortunes of Nigel<br />
oil on canvas<br />
signed and titled lower right and left:<br />
C G Kennaway / MARGARET RAMSAY /<br />
FORTUNES OF NIGEL<br />
100.5 x 67.5cm<br />
$1,000–2,000
96<br />
168<br />
168<br />
TOMMY CARROLL (BORN 1956)<br />
King River Country<br />
ochre on canvas<br />
inscribed and cat no verso: TOMMYCARROLL / 15329<br />
61 x 91.5cm<br />
PROVENANCE<br />
<strong>Art</strong>landish Aboriginal <strong>Art</strong> Gallery, WA<br />
(certificate of authenticity accompanies this lot)<br />
Private Collection, Melbourne<br />
$1,500–2,000<br />
169<br />
ELIZABETH MARKS NAKAMARRA (BORN 1955)<br />
Waterhole 2005<br />
synthetic polymer paint on canvas<br />
signed verso: Elizabeth Marks Nakamarra<br />
inscribed and cat no. verso: Native <strong>Art</strong> of Australia /<br />
Elizabeth Marks Nakamarra / 1010 – 08/2005<br />
121 x 182cm<br />
PROVENANCE<br />
Native <strong>Art</strong> of Australia (stamp verso)<br />
Vivien Anderson Gallery, Melbourne<br />
Private Collection, London<br />
The Peter and Renate Nahum Collection, London<br />
$800–1,200
97<br />
170<br />
170<br />
FREDDIE TIMMS (CIRCA 1944-2017)<br />
Old Greenvale 1997<br />
synthetic polymer paint and natural<br />
earth pigments on canvas<br />
signed and dated verso: F TIMMS 97<br />
100 x 99.5cm<br />
PROVENANCE<br />
Our Land Gallery, Kununurra, WA<br />
(certificate of authenticity accompanies this lot)<br />
$6,000–8,000<br />
171<br />
JOHNNY WARANGKULA TJUPURRULA<br />
(CIRCA 1925-2001)<br />
Kalipinpa Water Dreaming 1998<br />
synthetic polymer paint on canvas board<br />
inscribed verso: Johnny Warrangkula / Kalipinpa Water<br />
Dreaming / JW8698349 / AK14062<br />
50.5 x 61cm<br />
PROVENANCE<br />
Papunya Tjupi <strong>Art</strong>s / Warumpi <strong>Art</strong>s, Alice Springs<br />
Alcaston Gallery, Melbourne (label verso)<br />
Private Collection, Melbourne<br />
$2,000–4,000
98<br />
172<br />
173
99<br />
172<br />
NINGURA GIBSON NAPARRULA<br />
(CIRCA 1938-2013)<br />
Women's Ceremony 2013<br />
synthetic polymer paint on canvas<br />
inscribed verso: NINGURA NAPURRULA<br />
/ WOMEN'S CEREMONY/ 2013 /<br />
cat no. 155-12<br />
93 x 95.5cm<br />
PROVENANCE<br />
Mimi <strong>Art</strong> Gallery, Alice Springs (stamp verso)<br />
Private Collection, Melbourne<br />
$600–900<br />
173<br />
NANCY KUNOTH PETYARRE<br />
(BORN CIRCA 1938)<br />
Mountain Devil Dreaming 2001<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso:<br />
NANCY PETYARRE /<br />
Mountain Devil Dreaming / DG01598<br />
138 x 200.5cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Private Collection, Melbourne<br />
$600–900<br />
174<br />
NAATA NUNGURRAYI (BORN 1932)<br />
The Rockhole Site of Marrapinti 1999<br />
synthetic polymer paint on canvas<br />
inscribed verso: Naata Nungurrayi /<br />
Papunya Tula <strong>Art</strong>ists / NN990887<br />
121.5 x 60.5cm<br />
PROVENANCE<br />
Papunya Tula <strong>Art</strong>ists, Alice Springs 1999<br />
Christie's, Sydney, <strong>Australian</strong> Aboriginal <strong>Art</strong>,<br />
30 August 2005, Lot 9<br />
Sotheby's, Sydney,<br />
Aboriginal and Oceanic <strong>Art</strong>,<br />
25 November 2007, Lot 58<br />
Corporate Collection, Sydney<br />
$1,500–2,500<br />
174
100<br />
175<br />
175<br />
GREENY PURVIS PETYARRE (1930-2010)<br />
Untitled 1994<br />
synthetic polymer paint on canvas<br />
inscribed, dated and cat no. verso:<br />
GREENY PURVIS '94 / GP036<br />
122.5 x 78.5cm<br />
PROVENANCE<br />
Utopia <strong>Art</strong>, NT<br />
$1,500–2,500<br />
176<br />
PADDY CARLTON (1926-2006)<br />
Garrimarlang (Rainbow Snake) 2000<br />
synthetic polymer paint and ochre on canvas<br />
inscribed verso: Paddy Carlton CN4776 AK6907<br />
73.5 x 102.5cm<br />
PROVENANCE<br />
Warringarri <strong>Art</strong>s, WA<br />
Alcaston Gallery, Melbourne<br />
$800–1,200<br />
177<br />
TURKEY TOLSON TJUPURRULA (1938-2001)<br />
Two Women Travelling at Puja<br />
synthetic polymer paint on linen<br />
inscribed verso: TT860765<br />
182.5 x 182cm<br />
PROVENANCE<br />
Papunya Tula <strong>Art</strong>ists, Alice Springs<br />
Sotheby's, Melbourne, Fine Aboriginal and Contemporary<br />
<strong>Art</strong>, Melbourne, 17June 1996, Lot 29<br />
Corporate Collection, Melbourne<br />
Christie's, Melbourne, <strong>Australian</strong> Aboriginal <strong>Art</strong>,<br />
30 August 2005, Lot 19<br />
$15,000–25,000
101<br />
177
102<br />
178<br />
178<br />
BARBARA WEIR (1940-2023)<br />
My Mothers Country 1999<br />
synthetic polymer paint on canvas<br />
inscribed, dated and cat no. verso:<br />
Barbara Weir 1999 / DG02968<br />
218.5 x 193cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Private Collection, Melbourne<br />
$4,000–6,000<br />
179<br />
TJIMPAYI PRESLEY (BORN CIRCA 1940)<br />
Untitled<br />
synthetic polymer paint on canvas<br />
inscribed verso:<br />
Tjimpayi Presley # 191-10 TJALA ARTS, AMATA<br />
101 x 101cm<br />
PROVENANCE<br />
Tjala <strong>Art</strong>s, APY Lands, SA<br />
$600–800
103<br />
180<br />
180<br />
REGINA PILAWUK WILSON (BORN 1948)<br />
Message Sticks<br />
synthetic polymer paint on canvas<br />
inscribed verso: Agathon Gallery<br />
PILAWUK REGINA WILSON Cat No "42"<br />
101 x 203cm<br />
PROVENANCE<br />
Agathon Galleries, Melbourne<br />
$10,000–16,000<br />
181<br />
EMILY KAME KNGWARREYE (CIRCA 1909-1996)<br />
Alatuite Altyerre (Spinifex Dreaming) 1994<br />
synthetic polymer paint on canvas<br />
signed, dated, titled and cat. no. verso: Emlly / EMILLY<br />
KAME KNGWARREYE / ALATUITE ALTYERRE' 94 /<br />
(SPINIFEX DREAMING) / UTOPIA ART / EKK619 (A)<br />
75.5 x 59cm<br />
PROVENANCE<br />
Utopia <strong>Art</strong>, NT<br />
$3,000–5,000<br />
182<br />
MICK NAMARARI TJAPALTJARRI (1926-1998)<br />
Dingo Dreaming 1996<br />
synthetic polymer paint on canvas<br />
inscribed, dated, titled and cat no. verso:<br />
MICK / MICK NAMARARI TJAPALTJARI / 2/96 /<br />
'DINGO DREAMING' MN9918<br />
125 x 89cm<br />
PROVENANCE<br />
Utopia <strong>Art</strong>, NT<br />
$3,000–5,000<br />
183<br />
MICK NAMARARI TJAPALTJARRI (1926-1998)<br />
Dingo Dreaming 1995<br />
synthetic polymer paint on canvas<br />
inscribed, dated, titled and cat no. verso:<br />
MICK / MICK NAMERARI TJAPALTJARI / 1/95 / 'MNT009<br />
122.5 x 75cm<br />
PROVENANCE<br />
Utopia <strong>Art</strong>, NT<br />
$4,000–6,000
104<br />
184<br />
184<br />
CLIFFORD POSSUM TJAPALTJARRI<br />
(CIRCA 1933-2002)<br />
Love Story 6 1996<br />
synthetic polymer paint on linen<br />
inscribed verso: CLIFFORD POSSUM<br />
75.5cm diameter<br />
PROVENANCE<br />
Commissioned directly from the <strong>Art</strong>ist<br />
Private Collection, London<br />
Verified by Dr. Vivien Johnston<br />
The Peter and Renate Nahum Collection, London<br />
$600–1,000<br />
185<br />
FIONA OMEENYO (BORN 1981)<br />
Family Tie 2006<br />
synthetic polymer paint on canvas<br />
inscribed verso: Family Tie FO060417<br />
87.5 x 58.5cm<br />
PROVENANCE<br />
Lockhart River <strong>Art</strong> Centre, QLD<br />
Niagara Galleries, Melbourne (label verso)<br />
Private Collection, Melbourne<br />
$600–800
105<br />
186<br />
187<br />
186<br />
FIONA OMEENYO (BORN 1981)<br />
Stories of People 2006<br />
synthetic polymer paint on canvas<br />
titled and cat no. verso: Stories of people FO060429<br />
87.5 x 58.5cm<br />
PROVENANCE<br />
Lockhart River <strong>Art</strong> Centre, QLD<br />
Niagara Galleries, Melbourne (label verso)<br />
Private Collection, Melbourne<br />
$600–800<br />
187<br />
BILLY STOCKMAN TJAPALTJARRI (1927-2015)<br />
Kangaroo Dreaming 1974<br />
oil on composition board<br />
94 x 54.5cm<br />
PROVENANCE<br />
Aboriginal <strong>Art</strong> and Crafts Pty Ltd, Woden, ACT (label verso)<br />
Anvil Gallery, Wodonga<br />
$1,500–2,500
106<br />
188<br />
188<br />
GLORIA TAMERRE PETYARRE (1942-2021)<br />
Bush Medicine 2004<br />
synthetic polymer paint on canvas<br />
inscribed verso: GLORIA PETYARRE 'Bush Medicine' 2004<br />
cat no. DG 05602<br />
121 x 122cm<br />
PROVENANCE<br />
DACOU Gallery, Adelaide<br />
Private Collection, Melbourne<br />
$600–800<br />
189<br />
BETTY CLUB MBITJANA (BORN 1955)<br />
Awelye Bush Melon<br />
synthetic polymer paint on canvas<br />
cat no. AAWBETMA0016<br />
121 x 180.5cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,000–2,000
107<br />
190<br />
191<br />
190<br />
ABIE LOY KEMMARE (BORN 1974)<br />
Body Painting 2004<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso: ABIE LOY / GAAL04041261<br />
137 x 61cm<br />
PROVENANCE<br />
Gallerie Australis, Adelaide<br />
(certificate of authenticity accompanies this lot)<br />
Coo-ee Aboriginal <strong>Art</strong>, Sydney<br />
(certificate of authenticity accompanies this lot)<br />
Private Collection, Melbourne<br />
$1,200–1,800<br />
191<br />
TAKARIYA NAPALJARRI (BORN CIRCA 1960)<br />
Women’s Ceremony 2002<br />
synthetic polymer paint on canvas<br />
inscribed verso and cat no: Takariya Napaljarri /<br />
Papunya Tula <strong>Art</strong>ists Pty Ltd / TN0212080 / AKG-513<br />
122 x 91.5cm<br />
PROVENANCE<br />
Papunya Tula <strong>Art</strong>ists, Alice Springs<br />
$1,500–2,500
108<br />
192<br />
BARNEY ELLAGA<br />
(BORN CIRCA 1941-2015)<br />
Yalmirrirr<br />
synthetic polymer paint on canvas<br />
inscribed verso: Muk Muk Aboriginal <strong>Art</strong><br />
"Yalmirrirr"<br />
cat no. A4097<br />
183 x 90cm<br />
PROVENANCE<br />
Muk Muk Aboriginal <strong>Art</strong>, Alice Springs<br />
$1,000–1,500<br />
193<br />
BARNEY ELLAGA<br />
(BORN CIRCA 1941-2015)<br />
Wurdoo<br />
synthetic polymer paint on canvas<br />
inscribed verso: Muk Muk Aboriginal <strong>Art</strong><br />
"Wurdoo"<br />
cat no. A4061<br />
120 x 180.5cm<br />
PROVENANCE<br />
Muk Muk Aboriginal <strong>Art</strong>, Alice Springs<br />
$1,000–1,500<br />
194<br />
ROSELLA NAMOK (BORN 1979)<br />
Yippai Kungkay 2002<br />
synthetic polymer paint on canvas<br />
inscribed and cat no. verso:<br />
ROSELLA NAMOK / RN RN160701 /<br />
Yippai Kungkay<br />
173.5 x 340cm<br />
PROVENANCE<br />
Lockhart River <strong>Art</strong> Centre, QLD<br />
Niagara Galleries, Melbourne (label verso)<br />
The Peter and Renate Nahum Collection,<br />
London<br />
$1,000–2,000<br />
192<br />
195<br />
DON MORTON TJAPANGARDI<br />
(CIRCA 1938-1996)<br />
Yuelumu Dreaming, Mount Allan<br />
synthetic polymer paint on canvas<br />
inscribed on label verso: DON MORTON /<br />
MOUNT ALLAN / YUELUMU DREAMING<br />
/ CAT No. 0687154 DM<br />
91 x 122cm<br />
PROVENANCE<br />
Aboriginal <strong>Art</strong>ists Gallery, Melbourne<br />
$600–800
109<br />
196<br />
196<br />
ROSELLA NAMOK (BORN 1979)<br />
Para way…different from Mepla 2000<br />
synthetic polymer paint on canvas<br />
signed and inscribed with cat no. verso: Rosella Namok /<br />
Para way - different from Mepla / 15/08/00<br />
106.5 x 81cm<br />
PROVENANCE<br />
Gallery Gabrielle Pizzi, Melbourne (label verso)<br />
Private Collection, Melbourne<br />
EXHIBITED<br />
Rosella Namok 'Nother Way, Gallery Gabrielle Pizzi,<br />
Melbourne, 31 October - 19 November 2000, cat no. 21<br />
$1,800–2,500<br />
197<br />
ROSELLA NAMOK (BORN 1979)<br />
Coming Back from Old Site 1999<br />
synthetic polymer paint on canvas<br />
signed, dated and inscribed lower right:<br />
Rosella Namok 99 Lockhart River<br />
dated and inscribed verso:<br />
23/12/99 Coming Back from Old Site<br />
190 x 346.5cm<br />
PROVENANCE<br />
The Peter and Renate Nahum Collection, London<br />
$1,000–2,000
110<br />
198<br />
198<br />
SAMANTHA HOBSON (BORN 1981)<br />
Raging Summer Burn 2004<br />
synthetic polymer paint on canvas<br />
inscribed verso: Samantha Hobson 04<br />
Raging Summer Burn, Lockhart River<br />
172 x 315cm<br />
PROVENANCE<br />
Lockhart River <strong>Art</strong>s,QLD<br />
Vivien Anderson Gallery, Melbourne<br />
The Peter and Renate Nahum Collection, London<br />
EXHIBITED<br />
Our way, contemporary Aboriginal art from Lockhart<br />
River, University <strong>Art</strong> Museum, University of Queensland,<br />
5 May - 1 July 2007 (label verso)<br />
$2,000–4,000<br />
199<br />
SAMANTHA HOBSON (BORN 1981)<br />
Waves at Night 2005<br />
synthetic polymer paint on canvas<br />
signed, dated, titled and cat no. verso:<br />
Samantha Hobson 05 / Waves at Night / SMHC20051010<br />
179 x 336.5cm<br />
PROVENANCE<br />
Lockhart River <strong>Art</strong> Centre, QLD<br />
The Peter and Renate Nahum Collection, London<br />
$1,500–2,500<br />
200<br />
SAMANTHA HOBSON (BORN 1981)<br />
Modern Day Life 2006<br />
synthetic polymer paint on canvas<br />
inscribed with title and cat no. verso:<br />
SMHC 20661248 / Modern day life<br />
106.5 x 80cm<br />
PROVENANCE<br />
Lockhart River <strong>Art</strong> Centre, QLD<br />
Vivien Anderson Gallery, Melbourne<br />
$1,500–2,500<br />
201<br />
JUDY CASSAB (1920-2015)<br />
Morning in a Field 1986<br />
oil on board<br />
signed and dated lower right: Cassab 86<br />
26.5 x 35.5cm<br />
PROVENANCE<br />
World of <strong>Art</strong> Gallery, Melbourne<br />
$1,200–1,800
111<br />
202<br />
202<br />
JUDY CASSAB (1920-2015)<br />
Glen Helen Rock Wall Sziklafal 1993<br />
oil on canvas<br />
signed and dated lower right: Cassab 93<br />
titled verso: GLEN HELEN ROCK WALL SZIKLAFAL<br />
102 x 121.5cm<br />
PROVENANCE<br />
Greythorn Galleries, Melbourne<br />
$3,000–4,000<br />
203<br />
JUDY CASSAB (1920-2015)<br />
Bush Forms 1980<br />
acrylic and oil on canvas<br />
signed and dated lower right: Cassab 80<br />
inscribed and titled verso: JUDY CASSAB BUSH FORMS<br />
111 x 143.5cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
ILLUSTRATED<br />
Elwyn Lynn, Judy Cassab: Places, Faces and Fantasies,<br />
Macmillan Company of Australia Pty Ltd, Melbourne, 1984,<br />
p. 91, plate 4.10 (This book accompanies the lot)<br />
© Judy Cassab/Copyright Agency, 2022<br />
$3,000–5,000
112<br />
204<br />
204<br />
JOHN COBURN (1925-2006)<br />
The Sentinel<br />
gouache on paper<br />
signed lower right: Coburn<br />
51.5 x 71cm<br />
$800–1,200<br />
205<br />
ARTIST UNKNOWN<br />
Bangalow Looking South Toward Coopers Shoot<br />
2004<br />
oil on canvas<br />
signed with initials, dated and titled verso: SMS 11/04<br />
Banglalow, looking South Toward Coopers Shoot<br />
120.5 x 180cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,000–1,500<br />
206<br />
DAVID BROMLEY (BORN 1960)<br />
Hilary<br />
acrylic and silver leaf on board<br />
signed lower centre: BROMLEY<br />
75.5 x 54.5cm<br />
$900–1,200<br />
207<br />
MICHEL CANETTI (BORN 1955)<br />
Adeline<br />
acrylic on canvas<br />
signed lower right: Canetti<br />
122.5 x 91.5cm<br />
$1,500–2,500
113<br />
208<br />
208<br />
DAVID RANKIN (BORN 1946)<br />
Red Jacobs Ladder 2000<br />
acrylic on canvas<br />
dated and titled verso: 00 Red Jacobs Ladder<br />
168 x 260cm<br />
PROVENANCE<br />
Private Collection, Melbourne<br />
$1,500–2,500<br />
210<br />
DEBORAH KLEIN (BORN 1951)<br />
Mourning Jewel 1999<br />
oil and water soluble pastel on paper<br />
75.5 x 54.5cm<br />
PROVENANCE<br />
<strong>Australian</strong> Galleries, Melbourne, cat. no. 9 (label verso)<br />
$600–90<br />
209<br />
DAVID RANKIN (BORN 1946)<br />
Untitled (Black Moon over Port Hacking)<br />
circa 1968<br />
acrylic on hardboard<br />
signed lower right: Rankin<br />
61 x 91.5cm<br />
EXHIBITED<br />
Watters Gallery, Sydney, 1968<br />
$2,000–3,000
114<br />
211<br />
211<br />
COLIN PENNOCK (BORN 1964)<br />
The Space in Between 2013<br />
oil on linen<br />
signed, dated and titled verso:<br />
Colin Pennock 2013 THE SPACE IN BETWEEN<br />
61.5 x 61cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$2,000–3,000<br />
213<br />
LAITH MCGREGOR (BORN 1977)<br />
James Cagney 2006<br />
oil and mixed media on canvas<br />
signed, dated and titled verso:<br />
LAITH McGREGOR 2006 'JAMES CAGNEY'<br />
121 x 111.5cm<br />
$800–1,200<br />
212<br />
COLIN PENNOCK (BORN 1964)<br />
Different Path 2013<br />
oil on linen<br />
signed, dated and titled verso:<br />
Colin Pennock 2013 DIFFERENT PATH<br />
61 x 60.5cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$2,000–3,000
115<br />
214<br />
214<br />
JAMES DAVIS (1940-2019)<br />
Edinburgh Gardens, Bocci Players 2002<br />
oil on canvas<br />
signed with initials lower left: JD<br />
signed with initials, titled and dated verso:<br />
2002 EDINBURG GARDENS, BOCCI PLAYERS<br />
(EDINBURG GARDENS SUITE)<br />
91 x 122cm<br />
$2,000–4,000<br />
216<br />
SONG LING (CHINESE, BORN 1961)<br />
Kaleidoscope Childhood 3 2008<br />
acrylic and watercolour on canvas<br />
signed and dated verso: Song Ling 12/2008<br />
71 x 56cm<br />
PROVENANCE<br />
Eva Breuer <strong>Art</strong> Dealer, Sydney (label verso)<br />
$1,800–2,500<br />
215<br />
HUI XIN (CHINESE, BORN 1977)<br />
We Love the Islands 2012<br />
acrylic on canvas<br />
signed, dated and titled verso<br />
174 x 203cm<br />
PROVENANCE<br />
Connoisseur Contemporary, Hong Kong<br />
A certificate of authenticity accompanies this lot<br />
$3,000–5,000
116<br />
217<br />
217<br />
AARON KINNANE (BORN 1977)<br />
Elephant 2007<br />
oil on canvas<br />
signed and dated lower left: AARON KINNANE 07<br />
180.5 x 170.5cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,200–1,800<br />
218<br />
AARON KINNANE (BORN 1977)<br />
Large Turtle 2006<br />
oil on canvas<br />
signed and dated lower left: KINNANE 06<br />
170 x 155cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,200–1,800
117<br />
219<br />
219<br />
WAYNE EAGER (BORN 1957)<br />
Spectacle 2007<br />
oil on linen<br />
signed, dated and titled verso: Wayne Eager 2007<br />
SPECTACLE<br />
200 x 175cm<br />
$2,500–3,500<br />
220<br />
WAYNE EAGER (BORN 1957)<br />
Alphabetica 2007<br />
oil on linen<br />
signed, dated and titled verso: Wayne Eager 07<br />
ALPHABETICA<br />
199.5 x 182.5cm<br />
PROVENANCE<br />
Nellie Castan Gallery, Melbourne<br />
$2,500–3,500
118<br />
221<br />
221<br />
DAVID BOYD (1924-2011)<br />
Swimmer and Children<br />
oil on board<br />
signed lower left: David Boyd<br />
19.5 x 17cm<br />
PROVENANCE<br />
The Ken Badenoch Estate, Melbourne<br />
$2,000–3,000<br />
222<br />
DAVID BOYD (1924-2011)<br />
Face II 1968<br />
sfumato on board<br />
signed and dated lower left: David Boyd 1968<br />
39 x 29cm<br />
PROVENANCE<br />
The Ken Badenoch Estate, Melbourne<br />
$800–1,200<br />
223<br />
CLIFTON PUGH (1924-1990)<br />
Ladies and Gents (Male and Female Nude Studies)<br />
two oil on board (doors)<br />
each signed lower right: Clifton<br />
199.5 x 71.5cm (each)<br />
PROVENANCE<br />
Commissioned for the opening of Lovegrove Winery,<br />
Cottles-Bridge, 1989<br />
$5,000–8,000<br />
Clifton Pugh was the neighbourhood friend of Professor<br />
Malcolm Lovegrove of Lovegrove Vineyard and Winery.<br />
These door panels were commissioned by the winery<br />
and were unveiled by Pugh in 1989. Each panel features a<br />
wedgetail eagle seen heralding both figures, echoing the<br />
winery's insignia.
119<br />
223
120<br />
224<br />
224<br />
BILL COLEMAN (1922-1992)<br />
Street Conversation 1974<br />
oil on canvas on board<br />
signed and dated lower right:<br />
Bill Coleman 74<br />
49.5 x 70cm<br />
$1,200–1,800<br />
225<br />
BILL COLEMAN (1922-1992)<br />
Seated Nude and Interior<br />
oil on canvas on board<br />
signed lower right: Bill Coleman<br />
59 x 44cm<br />
$1,500–2,500<br />
225
121<br />
226<br />
PERCY TREZISE (1923-2005)<br />
Rainforest 1978<br />
oil on board<br />
signed and dated lower right:<br />
Trezise 78<br />
signed, dated and titled verso:<br />
Trezise 78 / Rainforest<br />
60 x 90cm<br />
$1,000–2,000<br />
226<br />
227<br />
CELIA PERCEVAL (BORN 1949)<br />
Boats at Fisheries Beach<br />
oil on canvas<br />
signed lower right: Celia Perceval<br />
inscribed verso:<br />
Boats at Fisheries Beach<br />
46 x 61cm<br />
PROVENANCE<br />
Bridget McDonnell Gallery,<br />
Melbourne<br />
The Ken Badenoch Estate, Melbourne<br />
EXHIBITED<br />
Bridget McDonnell Gallery,<br />
Christmas Exhibition Hampton,<br />
3 - 23 December 2007 (label verso)<br />
$800–1,200<br />
227
122<br />
228<br />
228<br />
GAV BARBEY (BORN 1966)<br />
Two White Swans (as They Mate for Life) 2010<br />
oil on canvas<br />
triptych<br />
signed lower right: GAV<br />
signed, dated and titled verso:<br />
GAV BARBEY 2010 TWO WHITE SWANS (AS THEY MATE<br />
FOR LIFE)<br />
122 x 91cm (each)<br />
122 x 273cm (overall)<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$2,000–3,000<br />
229<br />
GAV BARBEY (BORN 1966)<br />
Green Tree Frog Climbing on Reed 2007<br />
oil on canvas<br />
signed, dated and titled verso:<br />
GAV BARBEY 07 / GREEN TREE FROG CLIMBING ON<br />
REED / GAV BARBEY 2007<br />
167 x 152cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$1,500–2,500<br />
230<br />
GAV BARBEY (BORN 1966)<br />
Frog and Pond 2005<br />
oil on canvas<br />
signed and dated lower right: GAV 05<br />
signed and dated verso: GAV 2005<br />
137 x 122cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$800–1,200
123<br />
229
124<br />
231<br />
231<br />
JON CATTAPAN (BORN 1956)<br />
Three Continents, The Peace Pipe 1986<br />
oil on canvas<br />
signed and dated upper right: Cattapan 86<br />
signed, dated and titled verso: Jon Cattapan 86<br />
'THREE CONTINENTS (THE PEACE PIPE)'<br />
152 x 183cm<br />
PROVENANCE<br />
Realities Gallery, Melbourne<br />
Mr Ben Frenkel, Melbourne<br />
Mossgreen Auctions, Fine <strong>Art</strong>, Melbourne,<br />
27 November 2017, Lot 98<br />
Private Collection, Melbourne<br />
LITERATURE<br />
McAuliffe, Chris, Jon Cattapan: Possible Histories,<br />
Miegunyah Press, Melbourne, 2008, pp.62 (illus)<br />
$1,500–2,500<br />
232<br />
ROBERT ROONEY (1937-2017)<br />
The Mamlock Lock Tombs, or Coming Nemi in<br />
Cairo 1991 and Nott Rose Opthalmic of Rue Victor<br />
Cousin Hotel De Cluney 1991<br />
collage and acrylic on hardboard<br />
each signed, dated and titled verso:<br />
THE MAMLOCK TOMBS, OR COMING NEMI IN CAIRO<br />
1991 AND NOTT ROSE OPTHALMIC OF RUE VICTOR<br />
COUSIN HOTEL DE CLUNEY 1991<br />
31 x 23.5cm (each)<br />
EXHIBITED<br />
Collage Collectibles, Pinacotheca,<br />
Melbourne, Australia, 1991<br />
$600–900
125<br />
233<br />
233<br />
TOM FOLWELL (NEW ZEALAND)<br />
Jeep Flowers<br />
acrylic on board<br />
signed lower right: Tom Folwell<br />
titled verso: JEEP FLOWERS<br />
28 x 108cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$600–800<br />
234<br />
ELWYN LYNN (1917-1997)<br />
Black Descent<br />
mixed media on canvas<br />
inscribed with title verso: Black Descent<br />
51 x 51cm<br />
$1,000–1,500<br />
235<br />
DENISE CAMPBELL (BORN 1952)<br />
Lazy River 2007<br />
oil on canvas<br />
signed and dated on right edge: Denise Campbell 07<br />
signed, dated and titled verso:<br />
Denise Campbell 07 LAZY RIVER<br />
120 x 100cm<br />
PROVENANCE<br />
Corporate Collection, Sydney<br />
$600–1,000<br />
End of Sale
126<br />
<strong>Art</strong>ist Index<br />
Amor, Rick 75<br />
Anderson, R Norman 26<br />
Ashton, John William 51<br />
Ashton, Will 42<br />
Barbey, Gav 228–230<br />
Baxter (Attributed), George 29<br />
Bennett, Rubery 38<br />
Bernaldo, Allan 48<br />
Boissevain, William 82<br />
Boyd, <strong>Art</strong>hur Merric 24, 34, 140, 144, 145<br />
Boyd, <strong>Art</strong>hur Merric Bloomfield 35<br />
Boyd, David 1, 7, 12, 80, 105, 221, 222<br />
Boyd, Emma Minnie 148<br />
Boyd, Jamie 10<br />
Brack, John 61, 62<br />
Braund, Dorothy 98, 100, 101<br />
Britten, Jack 139<br />
Bromley, David 206<br />
Buvelot, Louis 36<br />
Campbell, Denise 235<br />
Campbell, Robert Richmond 14<br />
Canetti, Michel 207<br />
Carlton, Paddy 176<br />
Carroll, Tommy 168<br />
Cassab, Judy 201–203<br />
Cattapan, Jon 231<br />
Clark, Roland 16<br />
Coburn, John 204<br />
Coleman, Bill 224, 225<br />
Colquhoun, Alexander Douglas 56, 155<br />
Coote, Melissa 74<br />
Cotton, Olive 59<br />
Couttes, Gordon 143, 147, 149<br />
Curtis, James Waltham 31<br />
Davis, James 214<br />
Daws, Lawrence 64, 65<br />
Dickerson, Robert 2, 6, 60<br />
Doble, Robert 76<br />
Drendel, Graeme 78, 91, 107<br />
Dunlop, Sophie 108<br />
Dupain, Max 57, 58<br />
Durack, Elizabeth 17–20, 84–85<br />
Dyer, Geoffrey 83<br />
Eager, Wayne 219–220<br />
Ellaga, Barney 192–193<br />
English School 150<br />
European School 158<br />
Evergood, Miles 37<br />
Fabbi, Fabio 47<br />
Folwell, Tom 233<br />
Fox, Ethel Carrick 50, 52, 54<br />
Friend, Donald 88<br />
Garrett, Thomas (Tom) 39<br />
Gleeson, James 87<br />
Gorter, Arnold Marc 41<br />
Hague, Robert 113<br />
Hall, Anne 102<br />
Halpern, Deborah 115, 116<br />
Hamilton, James 27<br />
Hannaford, Robert 15<br />
Hansen, Theodore Brooke 151<br />
Hanson, Leon 40<br />
Hart, Kevin (Pro) 103, 104<br />
Hick, Jacqueline 81<br />
Hickson, Catherine 13<br />
Hobson, Samantha 198–200<br />
Hodgkinson, Frank 23, 71<br />
Herring II, Fred 30<br />
Italian School 159<br />
Jones, Charles 43<br />
Jones, Edgar Reginald 49<br />
Kelly, John 92<br />
Kemmare, Abie Loy 190<br />
Kennaway, Charles Gray 160–167
127<br />
Kinnane, Aaron 217–218<br />
Klein, Deborah 210<br />
Kngwarreye, Emily Kame 117, 122–126, 181<br />
Kopietz, Gunther 111<br />
Kuznichenko, Dmitry 77<br />
Ling, Song 216<br />
Loxton, John 46<br />
Lynn, Elwyn 234<br />
Mather, John 146, 154<br />
Mbitjana, Betty Club 137, 189<br />
McGregor, Laith 213<br />
McInnes, William Beckwith 22, 55<br />
Meeson, Dora 45<br />
Mora, Mirka 63<br />
Nakamarra, Elizabeth Marks 169<br />
Namok, Rosella 194, 196, 197<br />
Napaljarri, Takariya 191<br />
Napangardi, Judy Watson 127, 129–131<br />
Naparrula, Lorna Fencer 120<br />
Naparrula, Ningura Gibson 172<br />
Newbury, Albert Ernest 141<br />
Njamme, Jimmy 136<br />
Nolan, Sidney 3, 4, 8, 9, 11, 86, 89, 90, 96, 97, 99,<br />
109, 110<br />
Nungurrayi, Naata 174<br />
Omeenyo, Fiona 185–186<br />
Parmigianino, In the style of 157<br />
Pennock, Colin 211–212<br />
Perceval, Celia 227<br />
Petyarre, Gloria Tamerre 188<br />
Petyarre, Greeny Purvis 119, 175<br />
Petyarre, Nancy Kunoth 173<br />
Pisani, Louis 156<br />
Presley, Tjimpayi 179<br />
Pugh, Clifton 66–70, 73, 223<br />
Pwerle, Minnie 133–134<br />
Rankin, David 208–209<br />
Robertson, James 93<br />
Rolando, Charles 32<br />
Rooney, Robert 232<br />
Sawrey, Hugh 5<br />
Schulz, Hugh 106<br />
Seidel, Brian 79<br />
Shead, Garry 112<br />
Solomon, Lance 94<br />
Sturgess, R W 28<br />
Timms, Freddie 170<br />
Tjampitjinpa, Ronnie 138<br />
Tjapaltjarri, Billy Stockman 187<br />
Tjapaltjarri, Clifford Possum 132, 184<br />
Tjapaltjarri, Mick Namarari 182–183<br />
Tjapaltjarri, Warlimpirrnga 121<br />
Tjapangardi, Don Morton 195<br />
Tjungurrayi, Willie 118<br />
Tjupurrula, Johnny Warangkula 135, 171<br />
Tjupurrula, Turkey Tolson 177<br />
Trail, Jessie 53<br />
Trezise, Percy 226<br />
Vuagnat, François 33<br />
Watson, Tommy 128<br />
Weir, Barbara 178<br />
Weston, Harry J 44<br />
Wheeler, Charles 25<br />
Wilson, Regina Pilawuk 180<br />
Withers, Walter 21, 142<br />
Wright, Douglas 72<br />
Xin, Hui 215<br />
Yardley, Heidi 95<br />
Young, Blamire 152
128<br />
Copyright<br />
1 © David Boyd/Copyright Agency, 2023<br />
2 © Robert Dickerson/Copyright Agency, 2023<br />
3 © The Sidney Nolan Trust. All rights reserved.<br />
DACS/Copyright Agency, 2025<br />
4 © The Sidney Nolan Trust. All rights reserved.<br />
DACS/Copyright Agency, 2034<br />
5 © Hugh Sawrey/Copyright Agency, 2023<br />
6 © Robert Dickerson/Copyright Agency, 2023<br />
7 © David Boyd/Copyright Agency, 2023<br />
8 © The Sidney Nolan Trust. All rights reserved.<br />
DACS/Copyright Agency, 2029<br />
9 © The Sidney Nolan Trust. All rights reserved.<br />
DACS/Copyright Agency, 2027<br />
11 © The Sidney Nolan Trust. All rights reserved.<br />
DACS/Copyright Agency, 2035<br />
12 © David Boyd/Copyright Agency, 2023<br />
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105 © David Boyd/Copyright Agency, 2023<br />
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117 © Emily Kame Kngwarreye/<br />
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118 © Willie Tjungurrayi/Copyright Agency, 2023<br />
119 © Greeny Purvis Petyarre/<br />
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120 © Lorna Fencer Naparrula/<br />
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121 © Warlimpirrnga Tjapaltjarri/<br />
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122 © Emily Kame Kngwarreye/<br />
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123 © Emily Kame Kngwarreye/<br />
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129<br />
124 © Emily Kame Kngwarreye/<br />
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125 © Emily Kame Kngwarreye/<br />
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126 © Emily Kame Kngwarreye/<br />
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Now Consigning<br />
<strong>Australian</strong>, Maritime & Exploration<br />
July 2023<br />
ENQUIRIES<br />
03 9500 2607<br />
mail@gibsonsauctions.com.au<br />
GRACE SECCOMBE (1880-1956)<br />
A glazed earthenware kookaburra bough dish<br />
6cm high, 14cm diameter<br />
Estimate: $1,000–1,500. Sold: $13,420
AUCTION ANNOUNCEMENT<br />
The Alison Kelly<br />
Collection of<br />
Indigenous <strong>Art</strong><br />
Auction | Monday 8 May 2023, 6.30pm<br />
EMILY KAME KNGWARREYE<br />
(CIRCA 1909-1996)<br />
My Country 1995<br />
synthetic polymer paint on canvas<br />
120 x 90cm<br />
Estimate: $25,000–35,000<br />
ENQUIRIES<br />
Deanna Baxter 03 9500 2607<br />
deanna.baxter@gibsonsauctions.com.au
132<br />
Terms & Conditions of Sale<br />
The Terms and Conditions of Sale listed here contain<br />
the policies of Gibson's Auctioneers & Valuers Pty<br />
Ltd (herein after referred to as "Gibson's"). They are<br />
the Terms on which Gibson's and the Seller contract<br />
with the Buyer. They may be amended by printed<br />
Saleroom Notices or oral announcements made<br />
before and during the Sale. By Bidding at Auction,<br />
you agree to be bound by these terms.<br />
1. Definitions<br />
The following conditions that are listed contain<br />
terms that are used regularly and have the following<br />
meanings:<br />
"Auction" means the event at which any Lot is<br />
offered for Sale by Gibson's.<br />
"Auctioneer" means the representative of Gibson's<br />
conducting the Auction.<br />
"Bid" / "Bidder" means the action of notifying the<br />
Auctioneer of the intention to purchase the Lot by<br />
the Prospective Buyer. The Bidder is any person or<br />
entity that makes this makes this action. Bidding is<br />
understood by both the Bidder and Gibson's to be<br />
contractually obliging.<br />
“Buyer” means the person with the highest Bid<br />
accepted by the Auctioneer.<br />
“Buyer's Premium” means the charge payable by<br />
the Buyer to the Auction house as a percentage of<br />
the Hammer Price.<br />
“Company” means Gibson’s Auctions Pty Ltd,<br />
trading as Gibson’s Auctions.<br />
“Forgery” means an item constituting an imitation<br />
originally conceived and executed with fraudulent<br />
intention to deceive as to authorship, origin, age,<br />
period, culture, provenance or source where the<br />
correct description as to such matters is not<br />
reflected by the description in the catalogue.<br />
Accordingly, no Lot shall be capable of being a<br />
forgery by reason of any damage or restoration work<br />
of any kind (including re-painting).<br />
“Hammer Price” means the amount of the highest<br />
Bid accepted by the Auctioneer in relation to a Lot.<br />
“Insured Value” means the amount that Gibson's<br />
in its absolute discretion from time to time shall<br />
consider the value for which a Lot should be covered<br />
for insurance (whether or not insurance is arranged<br />
by Gibson's).<br />
“Lot” means any item within the Sale for Auction<br />
and in particular the item or items described against<br />
any Lot number in the catalogue.<br />
"Prospective Buyer" means any person or entity<br />
with the intention of purchasing any Lot in the<br />
Auction.<br />
“Reserve” means the confidential lowest amount<br />
at which Gibson's has contractually agreed with the<br />
Seller that the Lot can be sold.<br />
"Sale" means any private treaty or Auction Sale at<br />
which a Lot is offered for Sale.<br />
“Seller” means (as appropriate) the owner, their<br />
agent, executors or personal representatives, or<br />
the person in possession of the property consigned<br />
for Auction. Multiple owners, agents or persons in<br />
possession shall jointly and severally assume all<br />
obligations, liabilities, representations, warranties<br />
and indemnities in relation to the Sale of the Lot.<br />
"Dollars" or "$" means <strong>Australian</strong> currency. All Bids,<br />
Hammer Price, Reserves, Buyer's Premium and<br />
other expressions of value are understood to be in<br />
<strong>Australian</strong> Dollars unless otherwise specified.<br />
2. Gibson’s Auctioneers<br />
& Valuers as Agent<br />
Except as otherwise stated Gibson's acts as agent<br />
for the Seller.<br />
The contract for the Sale of the property is therefore<br />
made between the Seller and the Buyer.<br />
3. Before the Sale<br />
A) EXAMINATION OF PROPERTY<br />
Prospective Buyers are strongly advised to examine<br />
in person any property in which they are interested<br />
before the Auction takes place. Neither Gibson's<br />
nor the Seller provides any guarantee in relation to<br />
the nature of the property apart from the Limited<br />
Warranty in the paragraph below. The property is<br />
otherwise sold “as is”.<br />
B) CATALOGUE AND OTHER DESCRIPTIONS<br />
All statements by Gibson's in the catalogue entry<br />
for the property or in the condition report, or made<br />
orally or in writing elsewhere, are statements of<br />
opinion and are not to be relied upon as statements<br />
of fact. Such statements do not constitute a<br />
representation, warranty or assumption of liability<br />
by Gibson's of any kind. References in the catalogue<br />
entry to the condition report, including damage<br />
or restoration are for guidance only and should be<br />
evaluated by personal inspection by the Bidder or<br />
a knowledgeable representative. The absence of<br />
such a reference does not imply that an item is free<br />
from defects or restoration, nor does a reference to<br />
particular defects imply the absence of any others.<br />
Estimates of the selling price should not be relied<br />
on as a statement that this is the price at which<br />
the item will sell or its value for any other purpose.<br />
Neither Gibson's nor the Seller is responsible for<br />
any errors or omissions in the catalogue or any<br />
supplemental material.<br />
Images are measured height by width. Illustrations<br />
are provided only as a guide and should not be relied<br />
upon as a true representation of colour or condition.<br />
Images are not shown at a standard scale. Mention<br />
is rarely made of frames (which may be provided as<br />
supplementary images on the website) which do<br />
not form part of the Lot as described in the printed<br />
catalogue.<br />
All transactions are in <strong>Australian</strong> Dollars so there<br />
may be a small exchange rate risk, for international<br />
Buyers. The costs associated with acquiring a goods<br />
certificate will be borne by the Buyer. If the item<br />
turns out to be a Forgery or otherwise incorrectly<br />
described, all reasonable costs will be borne by<br />
the Seller.<br />
C) BUYER'S RESPONSIBILITY<br />
All property is sold “as is” without representation<br />
or warranty of any kind by Gibson's or the Seller.<br />
Buyers are responsible for satisfying themselves<br />
concerning the condition of the property and the<br />
matters referred to in the catalogue by requesting a<br />
condition report.<br />
4. At the Sale<br />
A) REFUSAL OF ADMISSION<br />
Gibson's reserves the right at our complete<br />
discretion to refuse admission to the Auction<br />
premises or participation in any Auction and to<br />
reject any Bid.<br />
B) REGISTRATION BEFORE BIDDING<br />
Any new Prospective Buyer must complete and<br />
sign a registration form and provide photographic<br />
identification before Bidding. Gibson's may<br />
request bank, trade or other financial references to<br />
substantiate this registration.<br />
C) BIDDING AS A PRINCIPAL<br />
When making a Bid, a Bidder is accepting personal<br />
liability to pay the purchase price including the<br />
Buyer's Premium and all applicable taxes, plus<br />
all other applicable charges, unless it has been<br />
explicitly agreed in writing with Gibson's before<br />
the commencement of the Sale that the Bidder is<br />
acting as agent on behalf of an identified third party<br />
acceptable to Gibson's and that Gibson's will only<br />
look to the principal for payment.<br />
D) INTERNATIONAL REGISTRATIONS<br />
All international clients not known to Gibson's will<br />
be required to scan or fax through an accredited<br />
form of photo identification and pay a deposit at our<br />
discretion in cleared funds into Gibson's account<br />
at least 48 hours before the commencement of<br />
the Auction. Bids will not be accepted without<br />
this deposit. Gibson's also reserves the right to<br />
request any additional forms of identification prior<br />
to registering an overseas Bid. This deposit can be<br />
made using a credit card, however the balance of<br />
any purchase price in excess of $5,000 cannot be<br />
charged to this card without prior arrangement. This<br />
deposit is redeemable against any Auction purchase.<br />
E) ABSENTEE BIDS<br />
Gibson's will use reasonable efforts to execute<br />
written Bids delivered to us at least 24 hours prior<br />
to the Sale for the convenience of those clients<br />
who are unable to attend the Auction in person.<br />
If Gibson's receives identical written Bids on a<br />
particular Lot, and at the Auction these are the<br />
highest Bids on that Lot, then the Lot will be sold<br />
to the person whose written Bid was received and<br />
accepted first. Execution of written Bids is a free<br />
service undertaken subject to other commitments<br />
at the time of the Sale and we do not accept liability<br />
for failing to execute a written Bid or for errors<br />
or omissions which may arise. It is the Bidder’s<br />
responsibility to check with Gibson's after the<br />
Auction if they were successful. Unlimited or<br />
“Buy” Bids will not be accepted. Please refer to our<br />
indicative Bidding increments below for appropriate<br />
absentee Bid amounts (Section K).<br />
F) TELEPHONE BIDS<br />
Priority will be given to overseas and interstate<br />
Bidders. Arrangements for this service must be<br />
confirmed at least 24 hours prior to the Auction<br />
commencing. Gibson's accepts no responsibility<br />
whatsoever for any errors or failure to execute Bids.<br />
In telephone Bidding the Buyer agrees to be bound<br />
by all terms and conditions listed here and accepts<br />
that Gibson's cannot be held responsible for any<br />
miscommunications in the process. The success<br />
of telephone Bidding cannot be guaranteed due to<br />
circumstances that are unforeseen. Buyers should<br />
be aware of the risk and accept the consequences<br />
should contact be unsuccessful at the time of<br />
Auction. You must advise Gibson's of the Lots in<br />
question and recommend a ‘Cover Bid’ amount<br />
should there be any issues with technology or<br />
communication via the telephone number provided.<br />
Gibson's will advise Telephone Bidders who have<br />
registered at least 24 hours before the Auction of<br />
any relevant changes to descriptions, withdrawals or<br />
any other Sale room notices.<br />
G) ONLINE BIDDING<br />
Gibson's accepts no responsibility for any<br />
errors, failure to execute Bids or any other<br />
miscommunications regarding this process. It is the<br />
online Bidder’s responsibility to ensure the accuracy<br />
of the relevant information regarding Bids, Lot<br />
numbers and contact details.
133<br />
H) RESERVES<br />
Unless otherwise indicated, all Lots are offered<br />
subject to a Reserve, which is the confidential<br />
minimum price below which the Lot will not be<br />
sold. The Reserve will not exceed the low estimate<br />
printed in the catalogue. The Auctioneer may open<br />
the Bidding on any Lot below the Reserve by placing<br />
a Bid on behalf of the Seller. The Auctioneer may<br />
continue to Bid on behalf of Seller up to the amount<br />
of the Reserve, either by placing consecutive Bids or<br />
by placing Bids in response to other Bidders.<br />
I) AUCTIONEER'S DISCRETION<br />
The Auctioneer has the right at his absolute and<br />
sole discretion to refuse any Bid, to advance the<br />
Bidding in such a manner as he may decide, to<br />
withdraw or divide any Lot, to combine any two or<br />
more Lots and, in the case or error or dispute and<br />
whether during or after the Sale, to determine the<br />
successful Bidder, to continue the Bidding, to cancel<br />
the Sale or to re-offer and resell the item in dispute.<br />
In the event of a dispute, or the Auctioneer or the<br />
Company is of the opinion that there has been a<br />
misunderstanding or mistake regarding a Sale or a<br />
Lot the subject of a Sale, the Auctioneer may rescind<br />
the Sale and put any Lot up for a Second Auction. If<br />
a Sale is rescinded, the Company may put the Lot up<br />
at a second Auction, offer the Lot for sale by private<br />
treaty or withdraw the Lot from sale entirely.<br />
J) SUCCESSFUL BID AND PASSING OF RISK<br />
Subject to the Auctioneer’s discretion, on the<br />
acceptance of a Bid by the fall of the Auctioneer's<br />
hammer, a contract of sale is made between the<br />
Seller and the Buyer. Risk and responsibility for the<br />
Lot (including frames or glass where relevant) passes<br />
immediately to the Buyer. Gibson's shall not be liable<br />
for any breach of contract by either the Seller or<br />
the Buyer.<br />
K) INDICATIVE BIDDING STEPS, ETC.<br />
Gibson's reserves the right to refuse any Bid,<br />
withdraw any Lot from Sale, to place a Reserve on<br />
any Lot and to advance the Bidding according to<br />
the following:<br />
Increment Amount<br />
Dollar Range<br />
$20 $0–$500<br />
$50 $500–$1,000<br />
$100 $1,000–$2,000<br />
$200 $2,000–$5,000<br />
$500 $5,000–$10,000<br />
$1,000 $10,000–$20,000<br />
$2,000 $20,000–$50,000<br />
$5,000 $50,000–$100,000<br />
$10,000 $100,000–$200,000<br />
$20,000 $200,000–$500,000<br />
$50,000 $500,000–$1,000,000<br />
Absentee Bids must follow these increments and<br />
any Bids that don’t follow the steps will be rounded<br />
up to the nearest acceptable Bid.<br />
5. After the Sale<br />
A) BUYER'S PREMIUM<br />
In addition to the Hammer Price, the Buyer agrees<br />
to pay to Gibson's the Buyer's Premium. The Buyer's<br />
Premium is 22% of the Hammer Price plus GST.<br />
(Goods and Services Tax) where applicable.<br />
B) ONLINE SURCHARGE<br />
In the case where the Buyer purchases via online<br />
Bidding platforms, the Buyer agrees to pay the online<br />
Bidding surcharge of 2% (Gibsons.com.au) or 5%<br />
(Invaluable.com) plus GST, where applicable.<br />
C) PAYMENT AND PASSING OF TITLE<br />
The Buyer must pay the full amount due (comprising<br />
the Hammer Price, Buyer's Premium and any<br />
applicable taxes and GST) not later than three (3)<br />
days after the Auction date.<br />
The Buyer will not acquire title for the Lot until<br />
Gibson's receives full payment in cleared funds, and<br />
no goods under any circumstances will be released<br />
without confirmation of cleared funds received.<br />
This applies even if the Buyer wishes to send items<br />
interstate or overseas.<br />
Payment can be made by the following means:<br />
• Bank Transfer/Direct Deposit is our preferred<br />
method of payment<br />
Account Name: Gibson's Auctions<br />
Bank:<br />
Bank of Melbourne<br />
(A division of St George)<br />
BSB: 193879<br />
Account No: 441701443<br />
Swift Code: SGBLAU2S<br />
Routing Code: 021000021<br />
Bank Address: 197-201 Glenferrie Road,<br />
Malvern, Vic, 3144<br />
The Buyer is responsible for any bank fees and<br />
charges applicable for the transfer of funds into<br />
Gibson's account<br />
• Personal, Company and Bank Cheques are not<br />
accepted without prior approval.<br />
• EFTPOS (no charge)<br />
• Credit cards: Visa and Mastercard (1% incl GST<br />
merchant fee) and American Express (1.5% incl<br />
GST merchant fee)<br />
Please note that credit card transactions over<br />
$5,000 will not be accepted over the telephone<br />
unless by prior arrangement.<br />
• Cash up to AU$10,000 can accepted in<br />
cash. For any amount over this, cash is to be<br />
deposited directly into our account at a Bank of<br />
Melbourne/St George branch<br />
D) COLLECTION OF PURCHASES & INSURANCE<br />
Gibson's is entitled to retain items sold until all<br />
amounts due to us have been received in full in good<br />
cleared funds. Subject to this, the Buyer shall collect<br />
purchased Lots within three (3) days from the date of<br />
the Sale unless otherwise agreed in writing between<br />
Gibson's and the Buyer.<br />
At the fall of the hammer, insurance is the<br />
responsibility of the purchaser.<br />
E) PACKING, HANDLING AND SHIPPING<br />
At the request of the Buyer, Gibson's may assist with<br />
packing of goods but takes no responsibility for loss,<br />
damage or breakage that may occur. Gibson's at<br />
the request of the Buyer may arrange for a carrier,<br />
packer or shipper to have the property packed,<br />
insured and shipped at the Buyer’s expense. All<br />
packing, shipping, insurance, postage & associated<br />
charges will be borne by the purchaser. Gibson's can<br />
assist with removal companies that the Buyer can<br />
use but takes no responsibility whatsoever for the<br />
actions of any recommended third party.<br />
F) CULTURAL HERITAGE EXPORT LICENCES<br />
Unless otherwise agreed by Gibson's in writing, the<br />
fact that the Buyer wishes to apply for an export<br />
licence does not affect their obligation to make full<br />
payment immediately, nor Gibson's right to charge<br />
interest or storage charges on late payment. It is<br />
the responsibility of the Buyer to check Australia’s<br />
Protection of Moveable Cultural Heritage Act<br />
1986 prior to purchase. Export/import licences<br />
applications are the responsibility of the Buyer and/<br />
or the Buyer's nominated shipper. Gibson's shall<br />
not be obliged to rescind a Sale nor to refund any<br />
expenses incurred by the Buyer in circumstances<br />
where an export licence is not granted.<br />
G) REMEDIES FOR NON-PAYMENT<br />
If the Buyer fails to make full payment immediately,<br />
Gibson's is entitled to exercise one or more of the<br />
following rights or remedies (in addition to asserting<br />
any other rights or remedies available under the law)<br />
i) to charge interest at the ANZ visa credit card<br />
rate as published weekly in the <strong>Australian</strong><br />
Financial Review;<br />
ii)<br />
iii)<br />
iv)<br />
to hold the defaulting Buyer liable for the<br />
total amount due and to commence legal<br />
proceedings for its recovery along with interest,<br />
legal fees and costs to the fullest extent<br />
permitted under applicable law;<br />
to cancel the Sale;<br />
to resell the property publicly or privately on<br />
such terms as the Company sees fit;<br />
v) to pay the Seller an amount up to the net<br />
proceeds payable in respect of the amount Bid<br />
by the defaulting Buyer. In these circumstances<br />
the defaulting Buyer can have no claim upon<br />
Gibson's in the event that the Lot(s) are sold for<br />
an amount greater than the original invoiced<br />
amount;<br />
vi)<br />
to offset against any amounts which<br />
Gibson's may owe the Buyer across any other<br />
transactions;<br />
viii) to reject at any future Auction any Bids made by<br />
or on behalf of the Buyer or to obtain a deposit<br />
from the Buyer prior to accepting any Bids;<br />
ix)<br />
to exercise all the rights and remedies of a<br />
person holding security over any property in<br />
our possession owned by the Buyer whether by<br />
way of pledge, security interest or in any other<br />
way, to the fullest extent permitted by the law<br />
of the place where such property is located.<br />
The Buyer will be deemed to have been granted<br />
such security to us and we may retain such<br />
property as collateral security for such Buyer’s<br />
obligations to the Company;<br />
x) to take such other action as the Company<br />
deems necessary or appropriate.<br />
H) FAILURE TO COLLECT PURCHASES<br />
Where purchases are not collected within three (3)<br />
days from the Sale date, whether or not payment has<br />
been made, the Company shall be permitted to:<br />
i) remove, store and further insure the Lot at the<br />
expense of the Buyer, releasing only after full<br />
payment has been received from the Buyer for<br />
incurred costs;<br />
ii)<br />
iii)<br />
re-sell the Lot without Reserve by Auction,<br />
private treaty or any other means whereby the<br />
Buyer agrees not to challenge the resale price<br />
achieved.<br />
rescind the Sale of that Lot or any other Lot sold<br />
by the Seller to the Buyer at the same or any<br />
other Auction.<br />
If Gibson's do re-sell the property under clauses H<br />
and G, the defaulting Buyer agrees to be liable for<br />
all payments of any deficiency between the total<br />
amount originally due and the price obtained, as well<br />
as the legal as all costs, expenses, damages, legal<br />
fees, commissions and premiums of whatever kinds<br />
associated with both Sales or otherwise arising from<br />
the default.<br />
6. Extent of Gibson's Liability<br />
Gibson's agrees to refund the purchase price in the<br />
circumstances of the Limited Warranty set out in<br />
paragraph 7. Apart from that, neither the Seller nor<br />
the Company, nor any of the Company’s employees<br />
or agents are responsible for the correctness of any<br />
statement of whatever kind concerning any Lot,<br />
whether written or oral, nor for any other errors or<br />
omissions in description or for any faults or defects<br />
in any Lots. Except as stated in paragraph 7 below,<br />
neither the Seller, the Company, its officers, agents<br />
or employees give any representation warranty<br />
or guarantee or assume any liability of any kind in
134<br />
respect of any Lot with regard to merchantability,<br />
fitness for a particular purpose, description, size,<br />
quality, condition, attribution, authenticity, rarity,<br />
importance, medium, provenance, exhibition history,<br />
literature or historical relevance. Except as required<br />
by local law any warranty of any kind is excluded by<br />
this paragraph.<br />
7. Limited Warranty<br />
Subject to the terms and conditions of this<br />
paragraph, the warrants for the period of fourteen<br />
(14) days from the date of the Sale that any property<br />
described in this catalogue (noting such description<br />
may be amended by any Saleroom notice or<br />
announcement) which is stated without qualification<br />
to be the work of a named author or authorship is<br />
authentic and not a forgery. The term “Author” or<br />
“Authorship” refers to the creator of the property or<br />
to the period, culture, source, or origin as the case<br />
may be, with which the creation of such property is<br />
identified in the catalogue.<br />
The warranty is subject to the following:<br />
i) it does not apply where a) the catalogue<br />
description or Saleroom notice corresponded<br />
to the generally accepted opinion of scholars<br />
and experts at the date of the Sale or fairly<br />
indicated that there was a conflict of opinions,<br />
or b) correct identification of a Lot can be<br />
demonstrated only by means of a scientific<br />
process not generally accepted for use until<br />
after publication of the catalogue or a process<br />
which at the date of the publication of the<br />
catalogue was unreasonably expensive or<br />
impractical or likely to have caused damage to<br />
the property.<br />
ii)<br />
iii)<br />
iv)<br />
the benefits of the warranty are not assignable<br />
and shall apply only to the original Buyer of the<br />
Lot as shown on the invoice originally issued by<br />
Gibson's when the Lot was sold at Auction.<br />
the original Buyer must have remained the<br />
owner of the Lot without disposing of any<br />
interest in it to any third party<br />
The Buyer’s sole and exclusive remedy against<br />
the Seller in place of any other remedy which<br />
might be available, is the cancellation of the<br />
Sale and the refund of the original purchase<br />
price paid for the Lot less the Buyer's Premium<br />
which is non-refundable. Neither the Seller nor<br />
Gibson's will be liable for any special, incidental<br />
nor consequential damages including, without<br />
limitation, loss of profits not for interest.<br />
v) The Buyer must give written notice of claim<br />
to us within fourteen (14) days of the date of<br />
the Auction. The Seller shall have the right, to<br />
require the Buyer to obtain two written opinions<br />
by recognised experts in the field, mutually<br />
acceptable to the Buyer and Gibson's to decide<br />
whether to cancel the Sale under warranty.<br />
vi)<br />
the Buyer must return the Lot to Seller in the<br />
same condition that it was purchased.<br />
8. Severability<br />
If any part of these Conditions of Sale is found by any<br />
court to be invalid, illegal or unenforceable, that part<br />
shall be discounted and the rest of the Conditions<br />
shall continue to be valid to the fullest extent<br />
permitted by law.<br />
9. Copyright<br />
The copyright of all images, illustrations and written<br />
material produced by Gibson's relating to a Lot<br />
including the contents of this catalogue, is and shall<br />
remain the property at all times of Gibson's and shall<br />
not be used by the Buyer, nor by anyone else without<br />
our prior written consent. Gibson's and the Seller<br />
make no representation or warranty that the Buyer<br />
of a property will acquire any copyright or other<br />
reproduction rights in it.<br />
10. Law and Jurisdiction<br />
These terms and conditions and any matters<br />
concerned with the foregoing fall within the exclusive<br />
jurisdiction of the courts of the state in which the<br />
Auction is held.<br />
11. Pre-Sale Estimates<br />
Gibson's publishes with each catalogue our opinion<br />
as to the estimated price range for each Lot. These<br />
estimates are approximate prices only and are not<br />
intended to be definitive. They are prepared well in<br />
advance of the Sale and may be subject to revision.<br />
Interested parties should contact Gibson's prior to<br />
Auction for updated pre-Sale estimates and starting<br />
prices.<br />
12. Sale results<br />
After the Sale, Gibson's may publish (both verbally<br />
and in writing) the results of Sale at our discretion,<br />
including the prices achieved for specific Lots.<br />
Unless otherwise discussed with the Buyer, details of<br />
individual Buyers will remain confidential.<br />
13. Goods and Service Tax<br />
In accordance with A New Tax System (Goods<br />
and Services Tax) Act 1999, Gibson's Auctions will<br />
collect on behalf of the <strong>Australian</strong> Tax Office (ATO) a<br />
Goods and Service Tax (GST) of 10% on all applicable<br />
transactions.<br />
GST is applicable on the Hammer Price in the case<br />
where the Seller is selling property that is owned by<br />
an entity registered for GST. GST is also applicable<br />
on the Hammer Price in the case where the Seller is<br />
not an <strong>Australian</strong> resident. These Lots are denoted<br />
by a dagger symbol (†) placed next to the estimate.<br />
GST is also applicable on the Buyer's Premium.<br />
Overseas Buyers and non-resident Buyers in<br />
Australia will not be charged GST on both Hammer<br />
Price and Premiums under the following conditions:<br />
1. The items are exported through a Gibson's<br />
approved freight company including Australia<br />
Post<br />
2. The items are exported within 60 days of the<br />
date of the Sale<br />
The invoice supplied by Gibson's for purchases will<br />
be regarded as a Tax invoice for GST purposes.<br />
14. Resale Royalty Scheme<br />
Under the legal obligations of the Resale Royalty<br />
Scheme for Visual <strong>Art</strong>ists Act 2009, Sellers must<br />
provide the following information to comply with<br />
the act:<br />
• was the artwork acquired after 8 June 2010?<br />
• is the Sale/Reserve price (including GST)<br />
$1,000 or more?<br />
• is the artist from Australia or a country listed in<br />
the Regulations to the Act?<br />
• is the artist alive, or deceased less than 70 years?<br />
The Seller:<br />
i) acknowledges that he or she understands his or<br />
her legal obligations under the Resale Royalty<br />
for Visual <strong>Art</strong>ists Act 2009 (the Act);<br />
ii)<br />
iii)<br />
iv)<br />
undertakes to comply with all requirements of<br />
the Act, including by providing its agent, the<br />
company, with accurate information sufficient<br />
for compliance with sections 28 and 29 of the<br />
Act;<br />
undertakes to indemnify the Company for any<br />
loss incurred by the Company as a result of<br />
the Vendor’s failure to comply with any of the<br />
Vendor’s legal obligations under the Act; and<br />
acknowledges that if he or she fails to comply<br />
with any of his or her legal obligations under<br />
the Act, the company may provide the vendor’s<br />
name and contact details to Copyright Agency<br />
Limited (CAL).<br />
Lots subject to payment of the Resale Royalty<br />
Scheme will be denoted by the symbol §. The<br />
<strong>Australian</strong> Resale Royalty is a flat rate of 5% on<br />
the Hammer Price (including GST). The <strong>Australian</strong><br />
Resale Royalty is payable by the Seller in addition to<br />
the Buyer's Premium plus any applicable GST.<br />
15. Jewels & Watches<br />
GEMSTONES<br />
Gemstones have historically been subjected to a<br />
variety of treatments to enhance their appearance.<br />
Sapphire and rubies are routinely heat treated to<br />
improve their colour and clarity, similarly emeralds<br />
are frequently treated with oils or resin for the<br />
same purpose. Other treatments such as staining<br />
or dyeing, irradiation, filling or coating may have<br />
been used on other precious and semi-precious<br />
gemstones and organic material. These treatments<br />
may be permanent, whilst others may need special<br />
care to reserve their appearance. Buyers should<br />
assume that each Lot has been subject to some<br />
form of treatment and that the estimates reflect this.<br />
A number of laboratories issue certificates that give<br />
detailed descriptions of gemstones, and in the event<br />
that Gibson's has been supplied with or obtained<br />
certificates for any Lot, this shall be noted in the<br />
catalogue. However, as there may not be consensus<br />
between different laboratories on the degree, or<br />
types of treatment of the gemstones, Gibson's<br />
supplies these without warranty.<br />
Buyers should assume that all gemstones sold<br />
by Gibson's may have been subjected to such<br />
treatments, and that the catalogue estimates<br />
reflect this.<br />
PEARLS<br />
Pearls, like gemstones, are also subject to various<br />
treatments. Buyers should assume that any pearls<br />
sold by Gibson's may have been subjected to such<br />
treatments, and that the catalogue estimates<br />
reflect this.<br />
WATCHES<br />
Please note: All watches sold by Gibson's are sold on<br />
an “as is” basis. Gibson's makes no representation<br />
or warranty that any watch is in working order. Many<br />
watches have been repaired over their lifetime and<br />
may contain non-original parts. The absence of any<br />
reference to the condition of a watch does not imply<br />
that the Lot is in good condition and without defects,<br />
repairs or restorations. Buyers should be aware that<br />
a general service, change of battery or further repair<br />
work, for which the Buyer is solely responsible for,<br />
may be necessary.<br />
ESTIMATED WEIGHTS<br />
If a stone has a known weight, it has been weighed<br />
out of the mount. If a stone has an estimated weight,<br />
it is an approximate weight only and has been<br />
measured by us in the mount and is a statement of<br />
opinion only. The information is given as a guide only<br />
and Buyers should satisfy themselves with regard to<br />
this information as to its accuracy.
Lot 136