GA043 | Australian & International Art

Australian & 

International 

Art 

Melbourne, Sunday 16 April 2023

Specialists & Management for this sale 

Jennifer Gibson 

CEO & Head of 

Valuations 

Deanna Baxter 

Business 

Manager 

Samuel Fricker 

Operations 

& Marketing 

Manager 

Jon Dwyer 

Consultant 

Specialist 


International Art 

Sarah Garrecht 


Administration 

Jennifer Gibson 

jennifer.gibson@gibsonsauctions.com.au 

Deanna Baxter 

deanna.baxter@gibsonsauctions.com.au 

Samuel Fricker 

samuel.fricker@gibsonsauctions.com.au 

Dennice Collett 

dennice.collett@gibsonsauctions.com.au 

Ann Roberts 

ann.roberts@gibsonsauctions.com.au 

Jon Dwyer 

jon.dwyer@gibsonsauctions.com.au 

Sarah Garrecht 

artadmin@gibsonsauctions.com.au 

Jewellery Department 

jewellery@gibsonsauctions.com.au 

Marilla O’Sullivan 

marilla.osullivan@gibsonsauctions.com.au 

Ella Gibson 

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AUCTION ENQUIRIES 

ABSENTEE & TELEPHONE BIDS 

Deanna Baxter 

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+61 3 9500 2607 

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www.gibsonsauctions.com.au 

ORRONG RD 

ASHLEIGH RD 

ARMADALE 

NEW ST 

HIGH ST 

OSMENT ST 

NORTHCOTE RD 

KOOYONG RD 

Auction, Viewing and 

Payment & Collections 

Level 1, 885-889 High St 

Armadale, Victoria 3143 

AUBURN GROVE 

SUTHERLAND RD 

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 

ST 

DENBIGH RD 

CHEEL ST

FRONT COVER: 

Lot 47 (Detail) 

BACK COVER: 

Lot 115 


International 


Auction 

Sunday 16 April 2023, 12.00 Noon 

Level 1, 885-889 High Street, 

Armadale, Victoria 3143 

Viewing 

Thursday 13 April 

Friday 14 April 

Saturday 15 April 

10.00am – 5.00pm 

10.00am – 5.00pm 

10.00am – 5.00pm 

Auction Code: GA043 

GST 

† Lots with this symbol are subject 

to GST on the hammer price and the 

buyer’s premium. 

Buyer’s Premium 

Buyer’s Premium is charged at 

22% of the hammer price plus GST. 

GST is applicable to the buyer’s 

premium only, unless otherwise 

indicated by the † symbol. 

Registration 

To register to bid at Gibson's 

Auctioneers & Valuers an accredited 

form of photo identification is 

required. This applies to bidding in 

person at the auction, Telephone, 

Absentee and Online bidding. 

Resale Royalty Scheme 

Lots subject to payment of the 

Artist's Resale Royalty Scheme will 

be denoted by the symbol §. The 

Australian Resale Royalty is a flat rate 

of 5% on the hammer price (including 

GST) and is payable by the seller. 

Restricted or Organic Material 

♦ Lots with this symbol have been 

identified at the time of cataloguing 

as containing organic material 

which may be subject to export or 

import restrictions. The absence of 

this symbol is not a guarantee that 

export or import restrictions will not 

apply. See www.cites.org for further 

information. 

Payments & Collections 

(By Appointment) 

gibsonsauctions.com.au/bookings 

or phone 03 9500 2607 

Payments & Collections can be made 

from: Level 1, 885-889 High Street, 

Armadale, Vic 3143 

Monday 17 April 

Tuesday 18 April 

Wednesday 19 April 

10am–5pm 

10am–5pm 

10am–5pm 

All goods must be collected and paid 

in full strictly by 5pm on Wednesday 19 

April (unless by prior arrangement) to 

avoid removal and storage charges. 

All payments are to be made in 

Australian Dollars (AU$). Please refer 

to the methods of payment in the ‘How 

to Buy’ section on the following pages.

2 

How to Buy 

All you need to know about the bidding process at auction 

Viewing 

Catalogues 

Online catalogues can be viewed at 

www.gibsonsauctions.com.au approximately three weeks 

prior to the auction date. 

Complimentary printed catalogues are available 

at Gibson’s Auctioneers & Valuers. 

Symbols 

Occasionally, a symbol is printed next to a lot number, 

indicating a special clause associated with the sale of 

the item/s. Further information on symbols within our 

catalogues can be found on Page 1. 

Viewing 

Auction viewings are open to the public and usually take 

place three or four days prior to the auction date, at the 

location/s listed in the auction catalogue and on the website. 

Lot Descriptions 

Lot Descriptions provide basic catalogue information 

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

provenance and quantity. 

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

auction date. 

Estimates 

Estimates are printed in the catalogue beside every lot and 

take into account rarity, condition, quality and provenance. 

The reserve is the amount at which the item is available 

for purchase. The reserve is an undisclosed confidential 

amount which is set at, or below the low estimate. 

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

Auctioneers & Valuers. Many lots are sold without reserve. 

Talk to our Specialists 

Gibson’s Auctioneers & Valuers are an experienced team 

of specialists who are available to discuss items in further 

detail, and to offer advice and assistance. 

Contact details for relevant specialists can be found on the 

inside front cover our auction catalogues and on our website. 

Condition Reports 

Condition Reports are available on request. Condition 

Reports supplement the lot description and provide 

information on the condition of an item. 

We strongly advise obtaining a condition report if you are 

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

To request a condition report please email 

condition.reports@gibsonsauctions.com.au with the 

auction title and lot number/s. 

Bidding 

Gibson’s Auctioneers & Valuers offer four bidding options: 

1. Auction Room Bidding 

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

have sufficient time to register for a bidding number prior 

to the auction. If this is your first time bidding with Gibson’s 

Auctioneers & Valuers please bring photo identification, 

such as a driver’s licence or passport with you. 

2. Telephone Bidding 

Gibson’s Auctioneers & Valuers offer telephone bidding on 

all lots, at all auctions. 

Telephone Bidding is a convenient solution if you are unable 

to attend an auction in person. A Gibson’s Auctioneers 

& Valuers staff member will call you approximately 5 lots 

in advance and with your instruction, bid on your behalf 

at the auction. 

Please note: Telephone Bids must be organised at least 

24 hours prior to the auction and that occasionally, the 

number of telephone bidders available may be restricted 

when the auction is offsite. 

To organise a Telephone Bid please follow the link 

to the Telephone Bidding form on our website: 

www.gibsonsauctions.com.au. Please fill in & return 

via email to mail@gibsonsauctions.com.au 

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

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

your Telephone Bid, along with clear Photo ID verifying 

your address.

3 

3. Absentee Bids 

Absentee Bidding is another convenient solution if you 

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

telephone or if you simply have a strict budget. 

An Absentee Bid should be set at the maximum amount 

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

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

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

the lesser hammer price. 

Please note Absentee Bids must be received at least 

24 hours prior to the auction to allow time for processing. 

To organise an Absentee Bid please follow the link to 

the Absentee Bidding form available on our website: 

www.gibsonsauctions.com.au. Please fill in & return via email 

to mail@gibsonsauctions.com.au 

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

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

your Absentee Bid, along with clear Photo ID verifying 

your address. 

4. Online Bidding 

Online bidding allows you to bid via the internet in real 

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

our website and follow the ‘Live Bidding’ link under the 

‘Auctions’ tab. 

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

auction to ensure you do not miss your lot. 

Please note online bidding is powered by Invaluable.com 

and so will incur a 5% fee on successful lots. 

If you have not bid with Gibson’s Auctioneers & Valuers 

previously, a photo ID verifying your address will be 

required before you can be approved to bid. Please email to 

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

International Bidding 

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

be asked to provide a clear Photo ID verifying your address 

and a deposit (set at Gibson’s Auctioneers & Valuers’ 

discretion) prior to the auction. The deposit is refundable 

within 48 hours should you not be successful. If you are 

successful the deposit will be deducted from your invoice 

total. The remaining balance must be paid preferably by 

direct deposit. 

Bank details are provided in the Payment & Collection 

section of this guide. 

Payment & Collection 

Payments 

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

posted to you immediately after the auction. 

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

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

applicable charges such as GST on hammer. 

Payments must be made in full by the final day of 

Collections as printed in the catalogue. 

Bank Transfer/Direct Deposit is our preferred method 

of payment: 

Account Name: Gibsons Auctions 

Bank: 

Bank of Melbourne (A division of St George) 

BSB: 193879 

Account No: 441701443 

Swift Code: SGBLAU2S 

Routing Code: 021000021 

Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144 

• Personal, Company and Bank Cheques are not accepted 

without prior approval. 

• Eftpos (no charge). 

• Credit cards: Visa, Mastercard and American 

Express payments can be made securely online at 

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

any amount over this, cash is to be deposited directly into 

our account at a Bank of Melbourne/St George branch. 

Collections 

Gibson’s Auctioneers & Valuers are happy to assist and 

provide you with recommended transport companies 

whether it be a local, interstate or international delivery. 

Storage 

All items must be paid for and collected within the 

collection times advertised for each individual auction. If 

items are not collected within this time-frame, Gibson’s 

Auctioneers & Valuers reserve the right to charge removal 

and storage fees.

4 

1 

1 

DAVID BOYD (1924-2011) 

A Day at the Beach 

oil on board 

signed lower right: David Boyd 

titled verso: a day at the beach 

19.5 x 29cm 

$2,000–3,000 

2 

ROBERT DICKERSON (1924-2015) 

The Blue Dress 

pastel on paper 

signed lower right: Dickerson 

56.5 x 38cm 

PROVENANCE 

Anvil Gallery, Wodonga (label verso) 

$4,000–6,000

5 

2

6 

3 

3 

SIDNEY NOLAN (1917-1992) 

Figure in Bush 

oil on paper 

signed lower right: Nolan 

signed verso: Nolan 

30 x 25cm 

PROVENANCE 

Private Collection, Melbourne 

$2,000–3,000 

4 


Shakespeare's Sonnet 1969 

oil on paper 

signed and dated verso: Nolan 6th July 69 

30 x 25cm 

PROVENANCE 


$1,500–2,000

7 

5 

5 

HUGH SAWREY (1919-1999) 

Lassiter’s Last Ride 

oil on canvas 

signed lower right: SAWREY 

signed and titled verso: 

HUGH SAWREY / LASSITERS LAST RIDE 

48.5 x 58.5cm 

$8,000–12,000

8 

6 

6 


Boy Thinking 



40 x 32.5cm 

PROVENANCE 

The Abercrombie Galleries, Melbourne 

$4,000–6,000

9 

7 

7 

DAVID BOYD (1924-2011) 

The Bishop 1964 

oil on paper 

Church and State series 

signed and dated lower right: David Boyd 64 

75.5 x 55cm 

PROVENANCE 

The Artist 

Collection of Oliver Haskard Esq., Hurst Mill, 

Petersfield, Hampshire, UK 

New Grafton Gallery, London (label verso) 

Christie's, London, Modern and Contemporary 

Australian Art, 12 December 2007, Lot 55 

EXHIBITED 

Zwemmer Gallery, London, Church and State series, 1965 

New Grafton Gallery, London, Christmas Show, 1969 

$5,000–8,000

10 

8 

8 


Kelly and Horse 

oil on paper 

50 x 61cm 

PROVENANCE 

A gift from the artist to the present owner's father 

Thence by descent 

Private Collection, London 

$5,000–7,000 

9 


Girl + Horse 1941 

oil on hessian on board 

signed, dated and titled verso: 

NOLAN / GIRL + HORSE / August 41 

58 x 43cm 

PROVENANCE 




$12,000–16,000

11 

9

12 

10 

10 

JAMIE BOYD (BORN 1949) 

Birds on the Shoalhaven 1986 

oil on canvas 

signed and dated lower right: Jamie Boyd 1986 

121 x 91cm 

PROVENANCE 

Savill Galleries, Sydney (label verso) 

The Ken Badenoch Estate, Melbourne 

$2,000–3,000 

11 


Two Figures 1968 

oil on paper 

signed and dated verso: Nolan 8 Feb 68 

30 x 25cm 

PROVENANCE 


$1,200–1,800

13 

12 

12 

DAVID BOYD (1924-2011) 

A Moment of Inspiration 1998 

mixed media and oil 

signed and dated lower left: David Boyd 1998 

80 x 63cm 

PROVENANCE 

The Artist 

Tom Mathiesen Fine Art, Sydney (label verso) 

NOTE 

This work was reproduced as a screenprint 

in an edition of 66 plus AP 

$10,000–15,000

14 

13 

13 

CATHERINE HICKSON (BORN 1959) 

Magnolia 2007 

oil on canvas 

signed with initials and dated lower right: C H 07 

122 x 183cm 

PROVENANCE 

Corporate Collection, Sydney 

$1,200–1,800 

14 

ROBERT RICHMOND CAMPBELL (1902-1972) 

Early Summer Gums in the Morning Light 1926 

oil on canvas on board 

signed and dated lower left: R R CAMPBELL 26 

24 x 29.5cm 

$800–1,000 

15 

ROBERT HANNAFORD (BORN 1944) 

Elkhorn 


signed lower right: R HANNAFORD 

121.5 x 91.5cm 

$8,000–12,000 

16 

ROLAND CLARK 

(ACTIVE LATE 19TH CENTURY) 

View of the Sorrento Township from the Pier 1904 

watercolour 

signed and dated lower left: R CLARK 04 

18.5 x 66.5cm 

$2,000–3,000

15 

15

16 

17 

17 

ELIZABETH DURACK (1915-2000) 

New Broom 1947 

watercolour on paper 

signed and dated lower right: Elizabeth Durack '47 

55.5 x 38.5cm 

PROVENANCE 

The Artist's Studio (accompanied by a certificate of 

authenticity from the Artist's Estate verso) 

EXHIBITED 

Prelude: early works by Elizabeth Durack, 1947-1950 : 

(travelling exhibition), Western Australia, circa 2002 

LITERATURE 

Durack, Elizabeth, 2002, Prelude: early works by Elizabeth 

Durack, 1947-1950 : (travelling exhibition), Forty 7ED 

in conjunction with Art on the Move Nedlands, W.A, 

(illustrated) 

$1,200–1,800

17 

18 

18 


War and Peace 1947 

oil on canvas 

signed and dated lower right: Elizabeth Durack '47 

166 x 230cm 

PROVENANCE 



EXHIBITED 

Derivations and Directions, Art Gallery of Western 

Australia, 1995 

OTHER NOTES 

War and Peace was an entry in the 1948 Sulman Prize. 

Painted at the Ord River Crossing on Ivanhoe Station (near 

Kununurra), the scene depicts people Elizabeth had known 

most of her life: the Mirriuwong Gajerrong women and 

children of the Ord River. 

$12,000–18,000 

19 


Rising Dust 1970s 

The Rim Series – the rim of our brittle and disintegrating 

world ... a continuum c.1973 – 1993 

mixed media on linen on board 

signed with initial lower right: E 

52 x 75.5cm 

PROVENANCE 



$1,000–1,500 

20 


The Wave 1970 

watercolour on paper 

signed and dated lower right: Elizabeth Durack 70 

75 x 55.5cm 

PROVENANCE 



$800–1,200

18 

21 

WALTER WITHERS (1854-1914) 

Beach Scene 

watercolour 

signed lower left: Walter Withers 

17 x 48.5cm 

PROVENANCE 

Thirty Victoria Street Galleries, Sydney (label attached verso) 

Christie's, Melbourne, 28 April 1976, Lot 446 


Leonard Joel, Melbourne 


EXHIBITED 

Walter Withers: A Survey, Geelong Art Gallery, Geelong, 10 

October – 21 November 1975, cat. no. 52 (label attached verso). 

LITERATURE 

Walter Withers: A Survey, Geelong Art Gallery, Geelong, 1975, 

unpaginated (illus.) 

OTHER NOTES 

Walter Withers' contribution to Australian Art was as a leading 

figure in the 'Heidelberg School'. His paintings, however, 

conjure the Neo Romantic lyrical moods of nature. It is the 

Impressionism of Monet. In a sense they were decadents, for 

they persisted in rendering nature suffused with soft romantic 

haze. Such painting has often been described as an endeavour 

to capture the 'spirit' of the landscape, 'the meaning within 

the meaning', not to record its anatomy but to portray its soul. 

Bernard Smith (on gallery label affixed verso) 

$5,000–8,000 

22

19 

21 

22 

WILLIAM BECKWITH MCINNES (1889-1939) 

Fishing 


signed lower right: W B McINNES 

29 x 39cm 

$2,000–4,000 

23 

FRANK HODGKINSON (1919-2001) 

Ponte Vecchio Market 1996 

ink on paper 

signed and dated lower left: Frank Hodgkinson '96 

30.5 x 22.5cm (plate size) 

PROVENANCE 

Greythorn Galleries, Melbourne (label verso) 

Property from the Collection of Andrée Harkness, 

Melbourne 

EXHIBITED 

Greythorn Galleries, Melbourne, Frank Hodgkinson 

AM 1919-2001, Florence: A Half Century, 

7 - 24 October 2004, cat. no. 10 

$800–1,200 

23

20 

24 

24 

ARTHUR MERRIC BOYD (1862-1940) 

Moored Fishing Boats 1893 

watercolour 

signed and dated lower right: Arthur Boyd 1893 

28 x 49cm 

$1,200–1,800 

25 

CHARLES WHEELER (1880-1977) 

Looking Towards to the Pier 

on a Summer's Day 1909 

oil on board 

signed and dated lower right: C Wheeler 09 

16.5 x 24.5cm 

$600–1,000 

26 

R NORMAN ANDERSON 

(CIRCA LATE 19TH/EARLY 20TH CENTURY) 

Sailor in the Marble Bar, George Adams' 

Tattersall's Hotel 1906 

oil on canvas 

signed and dated lower right: 

R NORMAN ANDERSON 1906 

116.5 x 74.5cm 

$8,000–12,000 

This charmingly candid painting by artist R Norman 

Anderson depicts a pair of sailors on a leave of absence 

from HMAS, indulging in a sweepstake or ‘ticket in Tatts’ 

at the famous Tattersall’s Hotel Marble Bar. Their jovial and 

glassy-eyed expressions give an impression of a stroke of 

luck and several steins of lager enjoyed. The young lads 

buoyantly dazzle their company with tales of the sea. 

Built in 1893, Marble Bar was said to rival any Grand hotel 

bar that graced Paris or London. Reportedly costing 

30,000 pounds, the bar rooms are adorned with marble 

panels, a stained glass ceiling, mosaic tiling, decadently 

hand-carved mahogany cabinetry, and several large 

panels painted by Julian Ashton. 

Tattersall’s Hotel was demolished in the 1970s replaced by 

the current Hilton Hotel; the Marble Bar, however, remains 

intact as it was painstakingly dismantled and restored. 

Anderson has captured the essence of the place, and it's 

grandiosity. Though darkly lit, every detail of the bar is 

captured with accuracy, the atmosphere of cheeky bar 

antics shines through the smoky mise-en-scène.

21 

26

22 

27 

27 

JAMES HAMILTON 

(SCOTTISH, 1853-1894) 

The Conversation 

oil on canvas 

signed lower left: J Hamilton 

29.5 x 37cm 

$3,000–5,000 

28 

R W STURGESS (1892-1932) 

The Old Cottage 

watercolour 

signed lower left: R W Sturgess 

28 x 43cm 

$1,000–1,500

23 

29 

29 

GEORGE BAXTER (ATTRIBUTED) 

AFTER H.S. MELVILLE 

News From Home 

oil on canvas 

inscribed verso: G. Baxter 1852 

62.5 x 80.5cm 

PROVENANCE 

Letter of provenance verso by Brett Harrild, 

descendant of Mary Harrild, George Baxter's wife 

$10,000–15,000 

30 

FRED HERRING II (1815-1907) 

Horses, Duck and Roosters in the Farmyard 

oil on board 

signed lower left: Herring 

19.5 x 29.5cm 

$2,000–3,000

24 

31 

31 

JAMES WALTHAM CURTIS (CIRCA 1839-1901) 

Potato Farm, Burke Road, 1888 

oil on canvas 

signed and dated lower left: J W. Curtis 88 

signed and dated lower right J W CURTIS 88 

inscribed on stretcher bar verso: 

Farm, Bourke [sic] Road The Potato Harvest 

30.5 x 46cm 

PROVENANCE 

Leonard Joel, Melbourne (as 'The Potato Harvest, Farm 

Bourke [sic] Road'), Australian, New Zealand, British and 

European Historical & Contemporary Paintings etc., 

Melbourne, 3 November 1976 Lot 410H 


Deutscher and Hackett, Melbourne, Important Australian 

+ International Fine Art, 27 November 2019, Lot 113 

Property from the Collection of Andrée Harkness, Melbourne 

$3,000–5,000 

32 

32 

CHARLES ROLANDO (1844-1893) 

Beside the Campfire 

oil on board 

signed lower left: C Rolando 

75.5 x 50cm 

$3,000–5,000

25 

33 

33 

FRANÇOIS VUAGNAT (SWITZERLAND, 1826-1910) 

Bellerive (Lac de Genéve) circa 1880 

oil on canvas 

signed lower left: VUAGNAT 

70.5 x 108.5cm 

PROVENANCE 

Mr John Twycross 


EXHIBITED 

Sydney International Exhibition, French Court, Sydney, 1879 

Melbourne International Exhibition, French Court, 

Melbourne, 1880 

LITERATURE 

International Exhibition. 1879, Sydney International 

Exhibition, 1879 : official catalogue of the Art Gallery : 

New South Wales, Great Britain, Austria, France, Germany, 

Belgium, T. Richards, Govt. Printer, Sydney, cat. no. 178, 

p. 67 as At Bellerive. (Lake of Geneva) 

Melbourne International Exhibition, 1880, The official 

catalogue of the exhibits : with introductory notices of 

the countries exhibiting. 2nd ed. of 1st issue. Melbourne: 

Mason, Firth & M’Cutcheon, cat. no. 169 as At Bellerive. 

(Lake of Geneva) 

Charlotte Smith, Visions of Colonial Grandeur: John 

Twycross at Melbourne's International Exhibitions, 

Museum Victoria, Melbourne, 2014, p. 75 (illustrated) 

(this catalogue is included with this lot) 

$2,000–3,000 

John Tywcross was a prosperous businessman and 

avid art collector who lived and worked in the bustling 

‘Marvelous Melbourne’ of the mid-1800s. The city 

was booming. The air and expectations of those 

living during that time would have been electric with 

possibilities, priming the city for its most monumental 

exhibition of the century. 

In 1880, the Melbourne International Exhibition graced 

the city with curiosities, industrial artifacts and artworks 

spanning the world abroad. Tywcross, along with 

countless others, soaked up the offerings of Europe with 

great enthusiasm. Visiting numerous times, Tywcross 

eagerly acquired over 200 paintings and objéts d’art 

for his collection, including this work by Vaugnat from 

the exhibition’s French Court, (lot 33) Bellerive (Lac 

de Genéve). Thoroughly documented, this work is an 

endearing testament to Melbourne’s love affair with art 

and the city's ties to its illustrious colonial past.

26 

34 

34 


Tasmanian Landscape 

watercolour 

signed lower right: Arthur Boyd 

34 x 49cm 

PROVENANCE 

Leonard Joel, Melbourne, Sunday Fine Art Auction, 

23 September 2012, Lot 195 

$1,500–2,500 

35 

ARTHUR MERRIC BLOOMFIELD BOYD 

(1920-1999) 

Lamentation Over the Dead Christ 1945 

ink and wash on paper 

36 x 49.5cm 

PROVENANCE 

Lauraine Diggins Fine Art, Melbourne 


$800–1,200 

36 

LOUIS BUVELOT (1814-1888) 

Dromana 1875 

pencil on paper 

inscribed and dated lower centre: Dromana 1875 

26.5 x 35.5cm 

$800–1,200 

37 

MILES EVERGOOD (1871-1939) 

The Artist Painting 

oil on board 

29 x 39cm 

$1,500–2,500

27 

38 

38 

RUBERY BENNETT (1893-1987) 

Kangaroo Valley 

oil on canvas 

signed lower right: RUBERY BENNETT 

inscribed with title verso: KANGAROO VALLEY 

58.5 x 73.5cm 

PROVENANCE 

Private Collection, Cairns 

$5,000–7,000 

40 

LEON HANSON (1918-2011) 

Sydney Harbour 


signed lower left: Leon Hanson 

49 x 74.5cm 

PROVENANCE 

Australian Academy of Technological Sciences 

& Engineering Collection, Canberra 

$700–1,000 

39 

THOMAS (TOM) GARRETT (1879-1952) 

Bird Sanctuary 

monotype 

signed and titled on margin lower right and left: 

Tom Garrett Bird Sanctuary 

23 x 28cm 

PROVENANCE 

Art Galleries Schubert, Gold Coast 

$600–1,000

28 

41 

41 

ARNOLD MARC GORTER (DUTCH, 1866-1933) 

Early Spring Landscape in the The Netherlands 

oil on canvas 

signed lower right: A M GORTER 

62 x 77cm 

$2,000–4,000 

42 

WILL ASHTON (1881-1963) 

London Street Scene 

oil on canvas 

signed lower right: WILL ASHTON 

25.5 x 33.5cm 

PROVENANCE 

Christie's, Melbourne, Australian and European Paintings, 

Prints & Photographs, 6 December 1994, Lot 451 

(label verso) 

$600–900

29 

43 

43 

CHARLES JONES (BRITISH, 1836-1892) 

Ponies at Llanbedr, N. Wales 

oil on canvas 

signed with monogram lower right: CJ 

inscribed on label verso Charles Jones 

at Llanbedr Fair, North Wales 

52 x 105.5cm 

$7,000–10,000 

44 

HARRY J WESTON (1874-1938) 

On the Canal, Holland 1911 

oil on canvas 

signed and dated lower right: HARRY J WESTON 1911 

33.5 x 103cm 

$800–1,200 

45 

DORA MEESON (1869-1955) 

Early Twilight 1890 

oil on board 

signed and dated lower left: D Meeson 1890 

29 x 45cm 

PROVENANCE 

Leonard Joel, Melbourne 3 November 1988, Lot 745 

$800–1,200 

46 

JOHN LOXTON (1903-1969) 

Murrumbidgee River 

oil on canvas 

signed lower left: John S Loxton 

68.5 x 76.5cm 

PROVENANCE 

Australian Academy of Technological 

Sciences & Engineering Collection, Canberra 

$600–900

30 

47 

FABIO FABBI (ITALIAN, 1861-1946) 

Tunisian Street Scene 

oil on canvas 

signed lower right: F. Fabbi 

99.5 x 169.5cm 

PROVENANCE 

Acquired at a Sydney auction in the 1950s 

Thence by descent, Private Collection, Brisbane 

$30,000–50,000 

Fabio Fabbi (1861-1946) was an Italian Neoclassical 

painter whose extensive and prolific oeuvre dubbed him 

the Last of the Orientalists. Recently discovered archives 

have contextualised his contribution to the genre. Fabbi 

was born in Bologna in 1861, a stone's throw away from 

Florence, the heart of Italy’s liberal arts and artistic 

production. He displayed creative potential at a young 

age, receiving commendations for his studies in classical 

sculpture at age 16. Shortly after, he was granted a place 

at the Academy of Fine Art, Florence, where he studied 

diligently under the tutelage of master Augusto Rivalta, 

excelling as a classical sculptor and painter. 

Journeying to Egypt in 1886, Fabio joined his brother 

Alberto Fabbi in Alexandria. This trip was a formative 

pilgrimage for the young artist who revelled in the foreign 

and exotic scenery, tastes, colours and scents. His 

journal from this period capture exquisitely rendered 

visual elements surrounding Alexandria and the streets 

of Cairo. 1 These enchanting sketches influenced the 

artists’ later paintings. He also took photographs on the 

journey, hungrily documenting everything he could with 

all his senses. The recent discovery of the artist's journals 

has been transformative in understanding his muse, 

illuminating the profound effect and subsequent love for 

the exotic oriental scenes he became so famous for. 

Tunisian Street Scene is a rich tapestry of the artist’s 

imagination—it evokes a wanderlust and yearning for 

otherness; the women are resplendent with jewellery, 

expensive silk chiffon and embroidery. Freshly cut flowers 

cascade freely, starkly contrasting the men who watch 

the festive scene in austere contemplation. The throng of 

the crowded street behind carries on with the humdrum 

of daily life, unabashed and unheeding the parade as it 

sweeps through in full regalia. A splendid and intoxicating 

example of the Italian artist’s characteristic theme, 

Tunisian Street Scene, presents an exciting opportunity to 

acquire a work by a master of Italian Orientalism, whose 

recently unearthed archives can offer a glimpse of the 

past newly discovered. 

1. Francesca Sinigaglia, The Fabio Fabbi Historical Archive, 

Bologna, Italy

31 

47 

47

32 

48 

48 

ALLAN BERNALDO (1900-1988) 

Still Life - Rhododendron 

watercolour 

signed lower right: Allan T Bernaldo 

84.5 x 68.5cm 

$1,500–2,500 

49 

EDGAR REGINALD JONES (1890-1948) 

Ballet Les Sylphides 

oil on board 

signed lower left: E R JONES 

inscribed and titled verso: E R Jones / Ballet Les Sylphides, 

Backdrop Corot's 'Springtime' 

40.5 x 46cm 

$800–1,200

33 

50 

50 

ETHEL CARRICK FOX (1872-1952) 

Spring Flowers 


25 x 33cm 

PROVENANCE 

The Estate of Carrick Fox, 1952 

$3,000–5,000 

51 

JOHN WILLIAM ASHTON (1881-1963) 

Australian Summer 


certificate of authenticity signed verso 

by Lesley Ashton, Sydney 

26 x 38.5cm 

PROVENANCE 

Adrian Ashton, Son of the Artist 

$800–1,200

34 

52 

52 


French Market 

lithograph 

signed and editioned on margin: Carrick Fox 16/25 

32.5 x 46cm 

$1,000–2,000 

53 

JESSIE TRAIL (1881-1967) 

Oiling Ship at Curacao 1937 

charcoal and pencil on paper 

signed and dated lower right: J C A Traill 1937 

inscribed on margin: OILING SHIP at CURACAO 2gns 

26 x 38.5cm 

$800–1,200

35 

54 

54 


Paris Flower Market 

colour lithograph 

signed and editioned on margin: Carrick Fox 7/25 

34 x 26cm 

$3,000–5,000 

56 

ALEXANDER DOUGLAS COLQUHOUN 

(1862-1941) 

Still Life with Roses 


23.5 x 34cm 

$600–800 

55 

WILLIAM BECKWITH MCINNES (1889-1939) 

Gathering Clouds in a Spring Landscape 


30.5 x 39.5cm 

$1,200–1,800

36 

57 

MAX DUPAIN (1911-1992) 

Nude on Beach 

silver gelatin photograph 

signed and dated lower right in image: 

Dupain '30 

42.5 x 40cm 

PROVENANCE 

Estate of the Artist 

Private Collection, Sydney 

Menzies, Melbourne, Important Australian 

and International Fine Art and Sculpture, 

24 September 2015, Lot 97 (label verso) 

Property from the Collection 

of Andrée Harkness, Melbourne 

OTHER NOTES 

Another example of this print is held in 

the collection of the Art Gallery of New 

South Wales, Sydney 

$2,000–3,000 

57 

58 

MAX DUPAIN (1911-1992) 

Tamara Tchinarova, Ballet Russes 

silver gelatin photograph 

signed lower right in image: Max Dupain 

48 x 37.5cm 

PROVENANCE 

Adam Galleries, Melbourne (label verso) 

Property from the Collection 

of Andrée Harkness, Melbourne 

$1,500–2,500 

58

37 

59 

59 

OLIVE COTTON (1911-2003) 

Glasses circa 1937 

silver gelatin photograph (later printing) 

signed lower right: Olive Cotton 

25.5 x 18.5cm 

PROVENANCE 

Sotheby's, Melbourne, Fine Australian and European 

Paintings, Melbourne, 26 April 1999, Lot 297 


Menzies, Melbourne, Important Australian and 

International Fine Art and Sculpture, 24 September 2015, 

Lot 95 (label verso) 


Melbourne 

$7,000–9,000

38 

60 


Head of a Young Girl 

charcoal 


28 x 19cm 

PROVENANCE 

Anvil Gallery, Wodonga 

$1,200–1,800 

61 

JOHN BRACK (1920-1999) 

Seated Nude and Rug 1982 

lithograph 

signed, dated and editioned on margin: 

John Brack 82 50/50 

45 x 64.5cm 

$2,500–3,500 

60 

62 

JOHN BRACK (1920-1999) 

Seated Nude on Persian Cushions 1982 

lithograph 

signed, dated and editioned on margin: 

John Brack 82 45/50 

46 x 32cm 

$2,000–3,000 

61

39 

63 

63 

MIRKA MORA (1928-2018) 

Girls, Birds and Toys 1966 

charcoal on paper 

signed, dated and inscribed lower right: 

Mirka 66 / TO DICK Austin WITH LOVE FOR A LONG TIME 

26.5 x 36.5cm 

$1,200–1,800 

64 

LAWRENCE DAWS (BORN 1927) 

New Moon Landscape 

oil on composition board 

signed lower right: DAWS 

75 x 75cm 

PROVENANCE 


$800–1,200 

65 

LAWRENCE DAWS (BORN 1927) 

Figures and Shadows 2001 

oil on canvas 

signed lower right: DAWS 

74 x 90cm 

PROVENANCE 

Lauraine Diggins Fine Art, Melbourne 


$2,000–4,000

40 

66 

CLIFTON PUGH (1924-1990) 

Helen 1988 

oil on canvas 

signed, dated and titled lower right: 

Clifton / 9.11.88 HELEN 

110 x 90cm 

PROVENANCE 

Acquired from the Artist 

Helen Nixon Collection, Melbourne 

$5,000–8,000 

66 

Helen Nixon was Clifton Pugh’s accountant and 

friend for a significant period of his life and career. 

As is often the way with artists, they are rich with 

imagination and concepts but not always flush in 

tangible world assets. As such, Helen accrued an 

extensive collection of artworks (and a Jaguar at one 

point) as payment for her trusted services. Helen 

recalls Clif as enigmatic, kind-hearted and childlike 

eccentric. A particular curiosity at Dunmoochin was 

the slide he had built, starting from his bedroom 

window and leading directly into the pool! The 

cheerful portrait of Helen (Lot 66) was painted 

informally midway through a tax consultation in 

Pugh’s studio. 

The collection contains several delightful paintings 

from the twilight years of Pugh’s life in contrast to 

his main body of works— characteristically dark and 

pessimistic. Landscape Reflections with Wattle 1985 

(Lot 67) is a testament to Clifton Pugh’s passion and 

love of the natural world, reflecting a moment of pure 

joy in the artist's heart. Helen recalls how delighted 

he was with the outcome of this work, visible in the 

lightness of the brushstrokes. This private collection 

reveals another side to the artist we rarely see, one 

that is unguarded, serene and at peace with the 

simple beauty of light, manifested beautifully in Glory 

be to God for Dappled Things 1988 (Lot 70). Helen’s 

collection bares witness to the breadth of Pugh’s 

talent, offering a unique glimpse into the artist’s 

character and complexity.

41 

67 

67 


Landscape Reflections with Wattle 1985 

oil on canvas 

signed and dated lower right: Clifton 31-7-85 

90.5 x 111cm 

PROVENANCE 



$10,000–15,000 

68 


Male Nude Studies 


signed lower right: Clifton 

69 x 51cm 

PROVENANCE 



$400–600

42 

69 

69 


Isle of Man 1974 

oil and gouache on paper 

signed, dated and titled lower right: 

Clifton 26 - 12 - 74 Isle of Man 

57 x 77cm 

PROVENANCE 



$1,000–1,500 

70 


Glory be to God for Dappled Things 1988 

oil on canvas 

signed, dated and titled lower right and left: 

Clifton FEB 1988 'GLORY BE TO GOD 

FOR DAPPLED THINGS' 

111.5 x 90cm 

PROVENANCE 



$9,000–12,000

43 

70

44 

71 

72

45 

73 

71 

FRANK HODGKINSON (1919-2001) 

Full Moon Through Mosquito Net 

(Winter Solstice) 1980 

gouache on paper 

signed and dated lower right: FRANK HODGKINSON 80 

56 x 76cm 

PROVENANCE 



EXHIBITED 

La Trobe University Art Museum and Collections, 

Melbourne (label verso) 

$600–900 

72 

DOUGLAS WRIGHT (BORN 1944) 

Tuscany Sunset Over Vineyards 1990 


signed and dated lower right: WRIGHT 90 

56.5 x 76cm 

PROVENANCE 

David Ellis Fine Art, Melbourne 


EXHIBITED 

David Ellis Fine Art, Doug Wright, 3-29 October 1988 

La Trobe University Art Museum and Collections, 

Melbourne 

$600–800 

73 


Adriane 1985 


signed and dated lower right: Clifton 31 - 7 - 85 

58.5 x 82cm 

PROVENANCE 



EXHIBITED 

Dempster's Gallery, Canterbury, Victoria, 

Clifton Pugh: The Nude in Art 1988 

$400–600

46 

75 

74 

74 

MELISSA COOTE (BORN 1966) 

Vagina I Kryptos I 2001 

pigment, gum and pastel on paper 


M Coote 2001 VAGINA I KRYPTOS I 

235.5 x 114cm 

PROVENANCE 

Mori Gallery, Sydney 

$3,000–5,000 

75 

RICK AMOR (BORN 1948) 

Westgate 1987 

charcoal on paper 

signed and dated upper right: Rick Amor 3/11/87 

55 x 76cm 

PROVENANCE 

The Peter and Renate Nahum Collection, London 

$1,500–2,500

47 

76 

76 

ROBERT DOBLE (BORN 1961) 

Building Impulse 2003 

house paint and enamel on canvas 


Doble 2003 LONDON BUILDING IMPULSE 

177.5 x 182.5cm 

PROVENANCE 

Nellie Castan Gallery, Melbourne (label verso) 

EXHIBITED 

Robert Doble - Pathology of Surface, 

Nellie Castan Gallery, Melbourne, 2003 

$3,000–5,000 

77 

DMITRY KUZNICHENKO (BORN 1962) 

Pre-Emptive Strike 2008-09 

oil on canvas 

signed, dated and titled verso: DMITRY KUZNICHENKO 

2008-2009 / "PRE-EMPTIVE STRIKE" 

152.5 x 183cm 

PROVENANCE 


$800–1,200

48 

78 

78 

GRAEME DRENDEL (BORN 1953) 

Explorers 1993 

oil on canvas 

signed and dated lower right: DRENDEL 93 


G DRENDEL "EXPLORERS" 93-94 

127 x 128.5cm 

PROVENANCE 

Australian Galleries, Melbourne (label verso) 

$4,000–6,000 

79 

BRIAN SEIDEL (1928-2019) 

Tropical Idyll 1995 

oil on canvas 

signed and dated lower left: Brian Seidel 95 

137.5 x 122.5cm 

$1,000–1,500

49 

80 

80 

DAVID BOYD (1924-2011) 

The Bishop 1964 

Church and State series 

oil on board 

signed lower right: David Boyd 64 

75.5 x 55.5cm 

PROVENANCE 


Lawsons Auctioneers, Sydney, 21 April 1998, Lot 607 


Lawson~Menzies, Sydney, Quarterly Fine Art Auction, 

19 May 2011, Lot 110 

$6,000–9,000

50 

81 

81 

JACQUELINE HICK (1919-2004) 

Winter Sun 

oil on board 

signed and titled verso: J HICK WINTER SUN 

59.5 x 90cm 

PROVENANCE 

South Yarra Gallery, Mebourne 

$3,000–5,000 

82 

WILLIAM BOISSEVAIN (BORN 1927) 

Summer Landscape, WA 1987 

oil on board 

signed and dated lower right: W. BOISSEVAIN 87 

88.5 x 120.5cm 

$4,000–6,000

51 

83 

83 

GEOFFREY DYER (1947-2020) 

The Changing Climate 2013 

oil on canvas 

signed lower right: DYER 

122 x 153cm 

PROVENANCE 

Acquired directly from the artist 

Art Index, Sydney 

$10,000–15,000

52 

84 

84 


Release 1964 

alternative title: Wet Season, River 

Magic, Baines River, Auvergne Station, 

NT 1938 

mixed media on paper 

signed with initials lower right: E D 

43 x 117cm 

PROVENANCE 

The Artist's Studio (accompanied by a 

certificate of authenticity from the Artist's 

Estate verso) 

$4,000–6,000 

85 

85 


Après nous le deluge circa 1985 

acrylic on board 

132 x 100cm 

PROVENANCE 

The Artist's Studio (accompanied by a 

certificate of authenticity from the Artist's 

Estate verso) 

$2,500–3,500

53 

86 

86 


Harbour and Boat 1942 

oil on board 

signed with initial and dated lower left: N 26.8.42 

47 x 43cm 

PROVENANCE 




$9,000–12,000

54 

87 

87 

JAMES GLEESON (1915-2008) 

The Eduction of Hercules 

oil on board 

signed lower right: Gleeson 

17.5 x 14cm 

$1,800–2,500 

88 

DONALD FRIEND (1915-1989) 

Go Thou and Help Thyself 


signed and titled lower right, upper right and lower centre: 

Donald Friend / Go Thou and help Thyself! / Bold Dan 

Coogan on the Goldfields. " A Voice from the sky said 'Lo, 

Daniel, dost thou realise that at the bottom of every shaft a 

fool sitteth seeking a pot of gold?" 

34.5 x 42.5cm 

$1,000–1,500

55 

89 

89 


Portrait of Voss 

oil on paper 

30 x 25cm 

PROVENANCE 


$2,000–3,000 

90 


Figure and Monkey 1967 

oil on paper 

signed and dated verso: Nolan 27 July 67 

30 x 25 

PROVENANCE 


$2,000–3,000

56 

91 

91 


The Conversation 2005 

oil on canvas 


76 x 101cm 

$2,000–3,000 

92 

JOHN KELLY (BORN 1965) 

Homage to Sisyphus 1987 

oil on canvas 

signed and dated lower right: Kelly 87 


JOHN KELLY / HOMAGE TO / SISYPHUS / Sept 87 

168 x 137cm 

PROVENANCE 


EXHIBITED 

Moet and Chandon Art Prize (label verso) 

$5,000–8,000

57 

92

58 

93 

93 

JAMES ROBERTSON (BORN 1967) 

I Want It, 2005 

oil on canvas 

signed and dated lower right: James Robertson 05 

signed, dated and title verso: 

James Robertson 2005 / "I WANT IT" 

122 x 198cm 

$8,000–12,000 

94 

LANCE SOLOMON (1913-1989) 

Figures in the Clearing 


signed lower right: L Solomon 

59 x 49.5cm 

$700–900 

95 

HEIDI YARDLEY (BORN 1975) 

Study of Girl 2006 

oil on canvas 


Heidi Yardley / 2006 / Study of girl 

100.5 x 84.5cm 

PROVENANCE 

Leonard Joel, Melbourne, The David Bromley Chapel 

Street Studio Collection, 18 November 2012, Lot 483 

$1,000–1,500

59 

96 

96 


Figures in Landscape circa 1945 

oil and enamel on board 

inscribed indistinctly verso 

64 x 76cm 

PROVENANCE 




$8,000–12,000 

97 


Parrot 

oil on paper 

signed with initial lower right: N 

30 x 25cm 

PROVENANCE 


$2,000–3,000

60 

98 

98 

DOROTHY BRAUND (1926-2013) 

Untitled (On the Line) 1980 

gouache and watercolour on paper 

signed and dated lower left: BRAUND '80 

39 x 49cm 

PROVENANCE 


Melbourne 

$1,200–1,800 

99 


Birds and Figure 

oil and crayon on paper 

signed lower right: Nolan 

75 x 59cm 

PROVENANCE 


$2,000–4,000 

100 


Bicycle Couple 1978 

watercolour and gouache on paper 

signed and dated lower right: Braund '78 

43 x 33cm 

PROVENANCE 


Melbourne 

$1,200–1,800 

101 


The Bathers 

watercolour 

38 x 43cm 

$600–900

61 

102 

102 

ANNE HALL (BORN 1945) 

Portrait of John Perceval 1981 

mixed media 

signed and dated lower right: Anne Hall 81 

106 x 73cm 

$1,500–2,500

62 

103 

KEVIN (PRO) HART 

(1928-2006) 

Windlass 

oil on board 

signed lower centre: Pro Hart 

titled verso: WINDLASS 

21.5 x 21.5cm 

$2,500–3,500 

103 

104 

KEVIN (PRO) HART 

(1928-2006) 

Landscape with Birds 

oil on board 

signed lower right: Pro Hart 

titled verso: 

LANDSCAPE WITH BIRDS 

18.5 x 24cm 

PROVENANCE 


$1,000–2,000 

104

63 

105 

105 

DAVID BOYD (1924-2011) 

Watching the Yachts 

oil on canvas 

signed lower left: David Boyd 

inscribed and titled verso: 

David Boyd / Watching the Yachts 

44.5 x 49.5cm 

$8,000–12,000 

106 

HUGH SCHULZ (1921-2005) 

Broken Hill Scene 


signed lower right: Hugh Schulz 

inscribed and titled verso: 

HUGH SCHULZ / "BROKEN HILL SCENE" 

40 x 50cm 

PROVENANCE 

Anvil Gallery, Wodonga (label verso) 

$600–800

64 

107 

107 


Nuptial 1999 

oil on canvas 


signed, dated and titled verso: DRENDEL '99 'NUPTIAL' 

121.5 x 91cm 

PROVENANCE 

Australian Galleries, Melbourne (label verso) 

$3,000–5,000 

108 

SOPHIE DUNLOP (BORN 1971) 

Still Life 


signed lower left: Dunlop 

45.5 x 45.5cm 

PROVENANCE 


$1,000–1,500

65 

109 

109 


Kellys' in Landscape 

oil and crayon on paper 

signed with initial lower right: n 

38 x 48cm 

PROVENANCE 

Evan Mackley Fine Art, Horsham 


$12,000–18,000 

110 


Ling Landscape with Waterfall with Helicopter, 

as Skull with Stars and Stripes 1967 

oil on card 

signed, dated and titled lower centre: 

Nolan 4 May 67 / Ling Landscape with waterfall / 

with helicopter, as Skull with / Stars and Stripes 

30 x 25cm 

PROVENANCE 


$1,500–2,000

66 

111 

GUNTHER KOPIETZ (BORN 1963) 

Seated Lady in Blue Dress 1993 

sculpted, painted and incised wood 

and repurposed furniture 

incised with signature and dated 

on foot of figure: G KOPIETZ 

133cm high, 111cm wide, 56.5cm deep 

PROVENANCE 

Australian Galleries, Melbourne 

$800–1,200 

111

67 

112 

112 

GARRY SHEAD (BORN 1942) 

The Artist and His Muse 


signed lower left: Garry Shead 

27 x 19.5cm 

$2,500–4,500

68 

113 

ROBERT HAGUE (BORN 1967) 

Abstract Form 2008 

patinated bronze 

signed, dated and editioned on base: HAGUE 08 1/6 

27.5cm high, 54cm wide, 27cm deep 

$800–1,200 

114 

Jamies Sabartés, Picasso : Toreros, With Four 

Original Lithographs, A Zwemmer Ltd, London 

and A Sauret, Monte Carlo 1961, 153pp 

four original Pablo Picasso lithographs especially executed 

for this book 

hard cover with dust jacket 

25.5cm high, 32.5cm wide, 2cm deep (overall book size) 

$800–1,000 

113

69 

115 

DEBORAH HALPERN (BORN 1957) 

Cheshire Cat 2015 

glass, fibreglass, steel and aluminium 

signed on side: Deborah Halpern 

128cm high, 84cm wide, 40.5cm deep 

PROVENANCE 

Mossgreen Gallery, Melbourne 

EXHIBITED 

Deborah Halpern – Through the Forest, 

Mossgreen Gallery, Melbourne, 2015 

$15,000–25,000 

116 

DEBORAH HALPERN (BORN 1957) 

Head on Pedestal 1994 

painted and glazed ceramic 

signed with initials and dated on base: 

D.D.H. '94 

48cm high, 26cm wide, 23cm deep 

$1,000–1,500 

115

70 

117 

EMILY KAME KNGWARREYE 

(CIRCA 1909-1996) 

My Country circa 1994 

synthetic polymer paint on canvas 

signed verso: Emily 

inscribed and cat no. verso: 

Emily Kngwarreye 94E022 

152.5 x 91cm 

PROVENANCE 

Delmore Gallery, NT 

Art Galleries Schubert, Gold Coast (label verso) 

$30,000–40,000 

118 

WILLIE TJUNGURRAYI (1932-2018) 

Wet Lands 2012 


inscribed verso and cat no: WILLY TJUNGURRAYI WT1207 

noted on certificate cat no. WT3005 

124 x 175cm 

PROVENANCE 

Ebony Dreaming, Alice Springs 

(certificate of authenticity accompanies this lot) 

$2,000–4,000

71 

117

72 

119 

119 

GREENY PURVIS PETYARRE (1930-2010) 

Of My Country Aneltyeye 1999 


inscribed and cat no verso: 

GREENIE PURVIS / GREENY / 99J035 

152.5 x 122cm 

PROVENANCE 

Delmore Gallery, NT 

Sotheby's, Sydney, Aboriginal and Oceanic Art, 

25 November 2007, Lot 72 


$1,500–2,500 

120 

LORNA FENCER NAPARRULA 

(CIRCA 1920-2006) 

Potato Dreaming 



LORNA FENCER / A3556 

126.5 x 176cm 

PROVENANCE 

Muk Muk Aboriginal Art, Alice Springs 


$1,000–2,000

73 

121 

121 

WARLIMPIRRNGA TJAPALTJARRI 

(BORN CIRCA 1950) 

Grandfather's Country 2017 


inscribed verso: WARLT-319x208-IAG200 

208 x 312cm 

PROVENANCE 

Justin Turner, Sydney 



$20,000–30,000 

122 

EMILY KAME KNGWARREYE (CIRCA 1909-1996) 

Body Paint 1995 


inscribed verso: DACOU EK464 FW145 

121 x 90cm 

PROVENANCE 

DACOU Gallery, Adelaide 

Fireworks Gallery, Brisbane 



$4,000–6,000

74 

123 

123 





121 x 90cm 

PROVENANCE 





$4,000–6,000 

124 





121 x 90cm 

PROVENANCE 





$4,000–6,000

75 

125 

125 





121 x 90cm 

PROVENANCE 





$4,000–6,000 

126 





121 x 90cm 

PROVENANCE 





$4,000–6,000

76 

127 

127 

JUDY WATSON NAPANGARDI (CIRCA 1925-2016) 

Mina Mina Jukurrpa (Mina Mina Dreaming) 2005 


inscribed and cat no. verso: Judy Napangardi Watson / 

Warlukurlangu Artists / 340/05 / AK11812 

122 x 152.5cm 

PROVENANCE 

Warlukurlangu Artists, Northern Territory 

Alcaston Gallery, Melbourne 

Mossgreen Auctions, Melbourne, The Elizabeth 

Jones Collection of Contemporary Aboriginal Art, 

Melbourne, 14 August 2007, Lot 7 


$3,000–5,000 

128 

TOMMY WATSON (CIRCA 1935-2017) 

Untitled 


152 x 94.5cm 

PROVENANCE 


$10,000–15,000

77 

128

78 

129 

129 

JUDY WATSON NAPANGARDI 

(CIRCA 1925-2016) 

Women's Dreaming at Mina Mina 

synthetic polymer paint on linen 

inscribed verso: AAWJUDWA0024 / KOG-JNW002 

210 x 151cm 

PROVENANCE 


$3,000–5,000 

130 


(CIRCA 1925-2016) 

Snake Vine Dreaming 


inscribed verso: JWN-200X150-IAG145 

152.5 x 200cm 

PROVENANCE 




$4,000–6,000

79 

131 

131 


(CIRCA 1925-2016) 

Snake Vine Dreaming 


inscribed verso: JWN-200X150-IAG144 

152.5 x 200cm 

PROVENANCE 




$4,000–6,000 

132 

CLIFFORD POSSUM TJAPALTJARRI 

(CIRCA 1933-2002) 

Lightning 1992 


inscribed verso: CLIFFORD POSSUM 

85 x 115cm 

PROVENANCE 

Tribal Art Gallery, Melbourne 


$1,500–2,500

80 

133 

133 

MINNIE PWERLE (1922-2006) 

Awelye Atnwengerrp 2004 


inscribed and cat no. verso: MINNIE PWERLE / 

'AWELYE ATNWENGERRP' 2004 / DG 06093 / 161-828 

122 x 90cm 

PROVENANCE 



$4,000–6,000 

134 

MINNIE PWERLE (1922-2006) 

Bush Melon 


inscribed verso: MP33 

89.5 x 30cm 

PROVENANCE 

Red Sand Art Gallery, Alice Springs 


$2,000–3,000

81 

135 

135 

JOHNNY WARANGKULA TJUPURRULA 

(CIRCA 1925-2001) 

Untitled 1997 


inscribed verso: JW-033 

115 x 194.5cm 

PROVENANCE 

Acquired from the Artist in 1997 by Phillip Gray 


$5,000–8,000

82 

136 

136 

JIMMY NJAMME (BORN CIRCA 1920) 

Artist's Country at Pippar 1991 



JIMMY NJAMME / WARLAYIRTI ART / 588/91 

100 x 75cm 

PROVENANCE 

Warlayirti Arts, Balgo, WA 

Gallery Gabrielle Pizzi, Melbourne 


$2,000–3,000 

137 

BETTY CLUB MBITJANA (BORN 1955) 

Awelye Bush Melon Seeds 


inscribed verso: AAWBETMB0011 

149.5 x 61cm 

PROVENANCE 


$700–1,000

83 

138 

138 

RONNIE TJAMPITJINPA (BORN 1942) 

Tingari 2004 


inscribed verso: FG022050.RT 

182 x 152cm 

PROVENANCE 

Ngintaka Arts, SA 

Flinders Lane Gallery, Melbourne 2006 (label verso) 

$10,000–15,000 

139 

JACK BRITTEN (CIRCA 1921-2002) 

The Kawariny (Bungle Bungles) 1996 

natural earth pigments on canvas 

inscribed, dated and cat no. verso: 

7.8.96 / THE KAWARINY BUNGLE BUNGLES / N-1414-JB 

84 x 205cm 

PROVENANCE 

Narrangunny Art Traders, WA 


$2,000–4,000

84 

The Robert Law Collection 

Robert Law (1870-1930) was Assayer (1890-1918), 

Chief Chemist and Refiner at the Royal Mint, Melbourne. 

Aside from his successful career Robert Law lived with 

great ambition to achieve more beyond his primary 

career. He was a steadfast athlete, scientifically inclined, 

and a brilliant amateur photographer for most of his 

life. Law documented his travels and collected other 

photographers' works along the way, amounting to 

over 1000 slides (all of which were donated to the Royal 

Historical Society of Victoria in the 1930s). He captured 

everyday life and street scenes of Melbourne that retain 

immense socio-historical significance in the city’s archive. 

Law had a keen eye for talent and amassed a very wellcurated 

collection of some of the best local artists from 

his generation, including Walter Withers, John Mather, 

Arthur Merric Boyd Senior and Blamire Young. We are 

fortunate to present Robert Law’s private art collection 

to the market for the first time, diligently preserved and 

handed down through three generations. 

140

85 

142 

140 


Boats at Low Tide 1892 

watercolour 

signed and dated lower left: Arthur Boyd 1892 

27.5 x 43cm 

PROVENANCE 

Collection of Robert Law, Melbourne 


$2,000–4,000 

141 

ALBERT ERNEST NEWBURY (1891-1941) 

Summer Landscape 


signed lower right: A E NEWBURY 

27.5 x 39cm 

PROVENANCE 



$1,000–1,500 

142 

WALTER WITHERS (1854-1914) 

Coastal Farm 

oil on canvas 

signed lower right: Walter Withers 

14.5 x 41.5cm 

PROVENANCE 



$15,000–25,000 

143 

GORDON COUTTES (1868-1937) 

Low Tide, Early Morning Light 

oil on canvas 

signed lower right: Gordon Couttes 

23.5 x 39.5cm 

PROVENANCE 



$1,000–1,200

86 

144 

145

87 

146 

144 


Sailing off the Headland 1899 

watercolour 


16.5 x 34.5cm 

PROVENANCE 



$1,500–2,500 

145 


The Schooner Returning Home 1895 

watercolour 


31 x 44cm 

PROVENANCE 



$1,500–2,500 

146 

JOHN MATHER (1848-1916) 

Mt Saint George, Lorne 1908 

oil on canvas 

signed and dated lower left: J Mather 08 


J Mather 08 Mt Saint George, Lorne 

49.5 x 90cm 

PROVENANCE 



$8,000–12,000 

147 


Figures on the Beach, Low Tide 

oil on canvas 

signed lower right: Gordon Couttes 

24 x 39.5cm 

PROVENANCE 



$1,000–1,500

88 

148 

148 

EMMA MINNIE BOYD (1858-1936) 

The Conversation 

watercolour 

signed lower right: E M Boyd 

17 x 24.5cm 

PROVENANCE 



$1,500–2,500 

149 


Portrait of a Gentleman 

oil on canvas 

signed lower left: Gordon Couttes 

60 x 45cm 

PROVENANCE 



$1,200–2,000 

149

89 

150 

150 

ENGLISH SCHOOL 

After the Storm 1887 

oil on canvas 

signed but illegible and dated lower right: 87 

60 x 90cm 

PROVENANCE 



$2,500–3,500 

151 

THEODORE BROOKE HANSEN 

(1870-1945) 

Portrait of a Young Girl 


signed and inscribed lower right: 

Theo Brooke-Hansen, Paris 

44.5 x 34cm 

PROVENANCE 



$2,500–4,500 

151

90 

152 

153 

152 

BLAMIRE YOUNG (1862-1935) 

The Hay Collector 

watercolour 

signed lower left: Blamire Young 

22 x 30cm 

PROVENANCE 



$1,500–2,500 

153 


Morning Light Along the Coast 1901 

watercolour 

signed and dated lower left: Arthur Boyd 1901 

29 x 44cm 

PROVENANCE 



$2,000–3,000

91 

154 

154 

JOHN MATHER (1848-1916) 

The Quiet Inlet 1911 

watercolour 

signed and dated lower left: J Mather 1911 

44.5 x 77.5cm 

PROVENANCE 



$3,000–5,000 

155 

ALEXANDER DOUGLAS COLQUHOUN 

(1862-1941) 

The Orchard 

oil on canvas 

signed lower right: A Colquhoun 

53 x 41.5cm 

PROVENANCE 



$1,000–1,500 

155

92 

156 

156 

LOUIS PISANI (ITALIAN, 19TH CENTURY) 

The Madonna della Seggiola, After Raphael 

oil on canvas 

inscribed 'Madonna della Seggiola, by Raffaello 

/ a copy by Louis Pisani / Louis Pisani's / Picture 

Gallery / 38 Borgognissanti first floor / Florence' 

(label verso) 

71cm diameter 

PROVENANCE 

Christie's, London, Interiors - Masters and Makers, 

3 December 2013, Lot no. 425 


$3,000–5,000 

157 

IN THE STYLE OF PARMIGIANINO 

Holy Family with Bird 

oil on canvas 

inscribed verso: Holy Family with Bird 

62.5 x 46cm 

$800–1,200 

157

93 

158 

158 

EUROPEAN SCHOOL 

The Ascension 

oil on canvas 

118.5 x 169cm 

signed lower left: Old Ramberg 

PROVENANCE 

Phillips, London, Sale No. 162, Lot 104 

(label verso) 

$2,000–4,000 

159 

ITALIAN SCHOOL 

(CIRCA 14TH CENTURY) 

The Entombment 

oil on panel 

inscribed verso: 'The Entombment' 

signed 'Le Pitura Sprino' Early Florentine 

22.5 x 48cm 

PROVENANCE 

Mr Vernon Wethered, United Kingdom 


$1,500–2,500 

159

94 

Charles Gray Kennaway was born in the historic 

township of Perth, Scotland, the son of a wellknown 

baker in the town. His family abode was the 

long-standing Kennaways Tearooms on the corner 

of South Street and St John Street. Kennaway 

studied in London at the Royal College of Art, later 

becoming an Art Master at Sharps Institute of 

Perth, followed by a long-standing appointment as 

Principle of the Athenaeum School in Glasgow. 

Kennaway maintained his private art practice 

throughout his academic career, esteemed for a 

varying style of prosaic portraiture, landscapes 

and mythical imagery. Lots 160–167 comprise 

a series of portraits of the fabled heroines from 

Sir Walter Scott's novels. Very few of his works 

remain, making this literary-inspired series a 

significant component of the artist's legacy. 

This series once graced the hallway of the 

family-run tearooms, completed and installed by 

the artist before an untimely death. Most of the 

artist’s collection resides in the Perth Art Gallery, 

managed by Culture Perth & Kinross, UK. 

160 

CHARLES GRAY KENNAWAY (1860-1925) 

Effie Deans – Heart of Midlothian 1924 

oil on canvas 

signed, dated and titled lower right and left: 

C G Kennaway 1924 / Effie Deans / Heart of Midlothian 

100.5 x 67.5cm 

$1,000–2,000 

161 


Sir Walter Scott 

oil on canvas 

titled lower centre: 

Sir Walter Scott / from the painting by / Sir Edwin 

Landseer RA / National Portrait Gallery London 

100.5 x 67.5cm 

$1,000–2,000 

162 


Catharine Glover, Fair Maid of Perth 

oil on canvas 

signed and titled lower right and left: 

C G Kennaway / CATHARINE GLOVER / 

FAIR MAID / OF / PERTH 

100.5 x 67.5cm 

$1,000–2,000 

160 

163 


Rachael Geddes – Redgauntlet 

oil on canvas 

signed with initials and titled lower right and left: 

C G K / RACHAEL HOUSE / REDGAUNTLET 

100.5 x 67.5cm 

$1,000–2,000 

164 


The Glee-Maiden – Fair Maiden of Perth 

oil on canvas 

signed with initials and titled lower right and left: 

C G K / THE GLEE-MAIDEN / FAIR MAIDEN OF PERTH 

100.5 x 67.5cm 

$1,000–2,000

95 

165 

167 

165 


Jeanie Deans – Heart of Midlothian 1924 

oil on canvas 

signed, dated, and titled lower right and left: 

C G Kennaway / 1924 / JEANIE DEANS / 

HEART / OF / MIDLOTHIAN 

100.5 x 67.5cm 

$1,000–2,000 

167 


Rebecca Ivanhoe 

oil on canvas 


C G Kennaway / REBECCA IVANHOE 

100.5 x 67.5cm 

$1,000–2,000 

166 


Margaret Ramsay – Fortunes of Nigel 

oil on canvas 


C G Kennaway / MARGARET RAMSAY / 

FORTUNES OF NIGEL 

100.5 x 67.5cm 

$1,000–2,000

96 

168 

168 

TOMMY CARROLL (BORN 1956) 

King River Country 

ochre on canvas 

inscribed and cat no verso: TOMMYCARROLL / 15329 

61 x 91.5cm 

PROVENANCE 

Artlandish Aboriginal Art Gallery, WA 



$1,500–2,000 

169 

ELIZABETH MARKS NAKAMARRA (BORN 1955) 

Waterhole 2005 


signed verso: Elizabeth Marks Nakamarra 

inscribed and cat no. verso: Native Art of Australia / 

Elizabeth Marks Nakamarra / 1010 – 08/2005 

121 x 182cm 

PROVENANCE 

Native Art of Australia (stamp verso) 

Vivien Anderson Gallery, Melbourne 



$800–1,200

97 

170 

170 

FREDDIE TIMMS (CIRCA 1944-2017) 

Old Greenvale 1997 

synthetic polymer paint and natural 

earth pigments on canvas 

signed and dated verso: F TIMMS 97 

100 x 99.5cm 

PROVENANCE 

Our Land Gallery, Kununurra, WA 


$6,000–8,000 

171 

JOHNNY WARANGKULA TJUPURRULA 

(CIRCA 1925-2001) 

Kalipinpa Water Dreaming 1998 

synthetic polymer paint on canvas board 

inscribed verso: Johnny Warrangkula / Kalipinpa Water 

Dreaming / JW8698349 / AK14062 

50.5 x 61cm 

PROVENANCE 

Papunya Tjupi Arts / Warumpi Arts, Alice Springs 

Alcaston Gallery, Melbourne (label verso) 


$2,000–4,000

98 

172 

173

99 

172 

NINGURA GIBSON NAPARRULA 

(CIRCA 1938-2013) 

Women's Ceremony 2013 


inscribed verso: NINGURA NAPURRULA 

/ WOMEN'S CEREMONY/ 2013 / 

cat no. 155-12 

93 x 95.5cm 

PROVENANCE 

Mimi Art Gallery, Alice Springs (stamp verso) 


$600–900 

173 

NANCY KUNOTH PETYARRE 

(BORN CIRCA 1938) 

Mountain Devil Dreaming 2001 



NANCY PETYARRE / 

Mountain Devil Dreaming / DG01598 

138 x 200.5cm 

PROVENANCE 



$600–900 

174 

NAATA NUNGURRAYI (BORN 1932) 

The Rockhole Site of Marrapinti 1999 


inscribed verso: Naata Nungurrayi / 

Papunya Tula Artists / NN990887 

121.5 x 60.5cm 

PROVENANCE 

Papunya Tula Artists, Alice Springs 1999 

Christie's, Sydney, Australian Aboriginal Art, 

30 August 2005, Lot 9 

Sotheby's, Sydney, 

Aboriginal and Oceanic Art, 



$1,500–2,500 

174

100 

175 

175 

GREENY PURVIS PETYARRE (1930-2010) 

Untitled 1994 



GREENY PURVIS '94 / GP036 

122.5 x 78.5cm 

PROVENANCE 

Utopia Art, NT 

$1,500–2,500 

176 

PADDY CARLTON (1926-2006) 

Garrimarlang (Rainbow Snake) 2000 

synthetic polymer paint and ochre on canvas 

inscribed verso: Paddy Carlton CN4776 AK6907 

73.5 x 102.5cm 

PROVENANCE 

Warringarri Arts, WA 

Alcaston Gallery, Melbourne 

$800–1,200 

177 

TURKEY TOLSON TJUPURRULA (1938-2001) 

Two Women Travelling at Puja 


inscribed verso: TT860765 

182.5 x 182cm 

PROVENANCE 

Papunya Tula Artists, Alice Springs 

Sotheby's, Melbourne, Fine Aboriginal and Contemporary 

Art, Melbourne, 17June 1996, Lot 29 

Corporate Collection, Melbourne 

Christie's, Melbourne, Australian Aboriginal Art, 

30 August 2005, Lot 19 

$15,000–25,000

101 

177

102 

178 

178 

BARBARA WEIR (1940-2023) 

My Mothers Country 1999 



Barbara Weir 1999 / DG02968 

218.5 x 193cm 

PROVENANCE 



$4,000–6,000 

179 

TJIMPAYI PRESLEY (BORN CIRCA 1940) 

Untitled 


inscribed verso: 

Tjimpayi Presley # 191-10 TJALA ARTS, AMATA 

101 x 101cm 

PROVENANCE 

Tjala Arts, APY Lands, SA 

$600–800

103 

180 

180 

REGINA PILAWUK WILSON (BORN 1948) 

Message Sticks 


inscribed verso: Agathon Gallery 

PILAWUK REGINA WILSON Cat No "42" 

101 x 203cm 

PROVENANCE 

Agathon Galleries, Melbourne 

$10,000–16,000 

181 


Alatuite Altyerre (Spinifex Dreaming) 1994 


signed, dated, titled and cat. no. verso: Emlly / EMILLY 

KAME KNGWARREYE / ALATUITE ALTYERRE' 94 / 

(SPINIFEX DREAMING) / UTOPIA ART / EKK619 (A) 

75.5 x 59cm 

PROVENANCE 


$3,000–5,000 

182 

MICK NAMARARI TJAPALTJARRI (1926-1998) 

Dingo Dreaming 1996 


inscribed, dated, titled and cat no. verso: 

MICK / MICK NAMARARI TJAPALTJARI / 2/96 / 

'DINGO DREAMING' MN9918 

125 x 89cm 

PROVENANCE 


$3,000–5,000 

183 

MICK NAMARARI TJAPALTJARRI (1926-1998) 

Dingo Dreaming 1995 


inscribed, dated, titled and cat no. verso: 

MICK / MICK NAMERARI TJAPALTJARI / 1/95 / 'MNT009 

122.5 x 75cm 

PROVENANCE 


$4,000–6,000

104 

184 

184 

CLIFFORD POSSUM TJAPALTJARRI 

(CIRCA 1933-2002) 

Love Story 6 1996 


inscribed verso: CLIFFORD POSSUM 

75.5cm diameter 

PROVENANCE 

Commissioned directly from the Artist 


Verified by Dr. Vivien Johnston 


$600–1,000 

185 

FIONA OMEENYO (BORN 1981) 

Family Tie 2006 


inscribed verso: Family Tie FO060417 

87.5 x 58.5cm 

PROVENANCE 

Lockhart River Art Centre, QLD 

Niagara Galleries, Melbourne (label verso) 


$600–800

105 

186 

187 

186 

FIONA OMEENYO (BORN 1981) 

Stories of People 2006 


titled and cat no. verso: Stories of people FO060429 

87.5 x 58.5cm 

PROVENANCE 




$600–800 

187 

BILLY STOCKMAN TJAPALTJARRI (1927-2015) 

Kangaroo Dreaming 1974 

oil on composition board 

94 x 54.5cm 

PROVENANCE 

Aboriginal Art and Crafts Pty Ltd, Woden, ACT (label verso) 

Anvil Gallery, Wodonga 

$1,500–2,500

106 

188 

188 

GLORIA TAMERRE PETYARRE (1942-2021) 

Bush Medicine 2004 


inscribed verso: GLORIA PETYARRE 'Bush Medicine' 2004 

cat no. DG 05602 

121 x 122cm 

PROVENANCE 



$600–800 

189 

BETTY CLUB MBITJANA (BORN 1955) 

Awelye Bush Melon 


cat no. AAWBETMA0016 

121 x 180.5cm 

PROVENANCE 


$1,000–2,000

107 

190 

191 

190 

ABIE LOY KEMMARE (BORN 1974) 

Body Painting 2004 


inscribed and cat no. verso: ABIE LOY / GAAL04041261 

137 x 61cm 

PROVENANCE 

Gallerie Australis, Adelaide 


Coo-ee Aboriginal Art, Sydney 



$1,200–1,800 

191 

TAKARIYA NAPALJARRI (BORN CIRCA 1960) 

Women’s Ceremony 2002 


inscribed verso and cat no: Takariya Napaljarri / 

Papunya Tula Artists Pty Ltd / TN0212080 / AKG-513 

122 x 91.5cm 

PROVENANCE 

Papunya Tula Artists, Alice Springs 

$1,500–2,500

108 

192 

BARNEY ELLAGA 

(BORN CIRCA 1941-2015) 

Yalmirrirr 


inscribed verso: Muk Muk Aboriginal Art 

"Yalmirrirr" 

cat no. A4097 

183 x 90cm 

PROVENANCE 


$1,000–1,500 

193 

BARNEY ELLAGA 

(BORN CIRCA 1941-2015) 

Wurdoo 


inscribed verso: Muk Muk Aboriginal Art 

"Wurdoo" 

cat no. A4061 

120 x 180.5cm 

PROVENANCE 


$1,000–1,500 

194 

ROSELLA NAMOK (BORN 1979) 

Yippai Kungkay 2002 



ROSELLA NAMOK / RN RN160701 / 

Yippai Kungkay 

173.5 x 340cm 

PROVENANCE 



The Peter and Renate Nahum Collection, 

London 

$1,000–2,000 

192 

195 

DON MORTON TJAPANGARDI 

(CIRCA 1938-1996) 

Yuelumu Dreaming, Mount Allan 


inscribed on label verso: DON MORTON / 

MOUNT ALLAN / YUELUMU DREAMING 

/ CAT No. 0687154 DM 

91 x 122cm 

PROVENANCE 

Aboriginal Artists Gallery, Melbourne 

$600–800

109 

196 

196 


Para way…different from Mepla 2000 


signed and inscribed with cat no. verso: Rosella Namok / 

Para way - different from Mepla / 15/08/00 

106.5 x 81cm 

PROVENANCE 

Gallery Gabrielle Pizzi, Melbourne (label verso) 


EXHIBITED 

Rosella Namok 'Nother Way, Gallery Gabrielle Pizzi, 

Melbourne, 31 October - 19 November 2000, cat no. 21 

$1,800–2,500 

197 


Coming Back from Old Site 1999 


signed, dated and inscribed lower right: 

Rosella Namok 99 Lockhart River 

dated and inscribed verso: 

23/12/99 Coming Back from Old Site 

190 x 346.5cm 

PROVENANCE 


$1,000–2,000

110 

198 

198 

SAMANTHA HOBSON (BORN 1981) 

Raging Summer Burn 2004 


inscribed verso: Samantha Hobson 04 

Raging Summer Burn, Lockhart River 

172 x 315cm 

PROVENANCE 

Lockhart River Arts,QLD 



EXHIBITED 

Our way, contemporary Aboriginal art from Lockhart 

River, University Art Museum, University of Queensland, 

5 May - 1 July 2007 (label verso) 

$2,000–4,000 

199 


Waves at Night 2005 


signed, dated, titled and cat no. verso: 

Samantha Hobson 05 / Waves at Night / SMHC20051010 

179 x 336.5cm 

PROVENANCE 



$1,500–2,500 

200 


Modern Day Life 2006 


inscribed with title and cat no. verso: 

SMHC 20661248 / Modern day life 

106.5 x 80cm 

PROVENANCE 



$1,500–2,500 

201 

JUDY CASSAB (1920-2015) 

Morning in a Field 1986 

oil on board 

signed and dated lower right: Cassab 86 

26.5 x 35.5cm 

PROVENANCE 

World of Art Gallery, Melbourne 

$1,200–1,800

111 

202 

202 


Glen Helen Rock Wall Sziklafal 1993 

oil on canvas 


titled verso: GLEN HELEN ROCK WALL SZIKLAFAL 

102 x 121.5cm 

PROVENANCE 

Greythorn Galleries, Melbourne 

$3,000–4,000 

203 


Bush Forms 1980 

acrylic and oil on canvas 


inscribed and titled verso: JUDY CASSAB BUSH FORMS 

111 x 143.5cm 

PROVENANCE 


ILLUSTRATED 

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

Macmillan Company of Australia Pty Ltd, Melbourne, 1984, 

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

© Judy Cassab/Copyright Agency, 2022 

$3,000–5,000

112 

204 

204 

JOHN COBURN (1925-2006) 

The Sentinel 

gouache on paper 

signed lower right: Coburn 

51.5 x 71cm 

$800–1,200 

205 

ARTIST UNKNOWN 

Bangalow Looking South Toward Coopers Shoot 

2004 

oil on canvas 

signed with initials, dated and titled verso: SMS 11/04 

Banglalow, looking South Toward Coopers Shoot 

120.5 x 180cm 

PROVENANCE 


$1,000–1,500 

206 

DAVID BROMLEY (BORN 1960) 

Hilary 

acrylic and silver leaf on board 

signed lower centre: BROMLEY 

75.5 x 54.5cm 

$900–1,200 

207 

MICHEL CANETTI (BORN 1955) 

Adeline 

acrylic on canvas 

signed lower right: Canetti 

122.5 x 91.5cm 

$1,500–2,500

113 

208 

208 

DAVID RANKIN (BORN 1946) 

Red Jacobs Ladder 2000 


dated and titled verso: 00 Red Jacobs Ladder 

168 x 260cm 

PROVENANCE 


$1,500–2,500 

210 

DEBORAH KLEIN (BORN 1951) 

Mourning Jewel 1999 

oil and water soluble pastel on paper 

75.5 x 54.5cm 

PROVENANCE 

Australian Galleries, Melbourne, cat. no. 9 (label verso) 

$600–90 

209 

DAVID RANKIN (BORN 1946) 

Untitled (Black Moon over Port Hacking) 

circa 1968 

acrylic on hardboard 

signed lower right: Rankin 

61 x 91.5cm 

EXHIBITED 

Watters Gallery, Sydney, 1968 

$2,000–3,000

114 

211 

211 

COLIN PENNOCK (BORN 1964) 

The Space in Between 2013 

oil on linen 


Colin Pennock 2013 THE SPACE IN BETWEEN 

61.5 x 61cm 

PROVENANCE 


$2,000–3,000 

213 

LAITH MCGREGOR (BORN 1977) 

James Cagney 2006 

oil and mixed media on canvas 


LAITH McGREGOR 2006 'JAMES CAGNEY' 

121 x 111.5cm 

$800–1,200 

212 

COLIN PENNOCK (BORN 1964) 

Different Path 2013 

oil on linen 


Colin Pennock 2013 DIFFERENT PATH 

61 x 60.5cm 

PROVENANCE 


$2,000–3,000

115 

214 

214 

JAMES DAVIS (1940-2019) 

Edinburgh Gardens, Bocci Players 2002 

oil on canvas 

signed with initials lower left: JD 

signed with initials, titled and dated verso: 

2002 EDINBURG GARDENS, BOCCI PLAYERS 

(EDINBURG GARDENS SUITE) 

91 x 122cm 

$2,000–4,000 

216 

SONG LING (CHINESE, BORN 1961) 

Kaleidoscope Childhood 3 2008 

acrylic and watercolour on canvas 

signed and dated verso: Song Ling 12/2008 

71 x 56cm 

PROVENANCE 

Eva Breuer Art Dealer, Sydney (label verso) 

$1,800–2,500 

215 

HUI XIN (CHINESE, BORN 1977) 

We Love the Islands 2012 


signed, dated and titled verso 

174 x 203cm 

PROVENANCE 

Connoisseur Contemporary, Hong Kong 

A certificate of authenticity accompanies this lot 

$3,000–5,000

116 

217 

217 

AARON KINNANE (BORN 1977) 

Elephant 2007 

oil on canvas 

signed and dated lower left: AARON KINNANE 07 

180.5 x 170.5cm 

PROVENANCE 


$1,200–1,800 

218 

AARON KINNANE (BORN 1977) 

Large Turtle 2006 

oil on canvas 

signed and dated lower left: KINNANE 06 

170 x 155cm 

PROVENANCE 


$1,200–1,800

117 

219 

219 

WAYNE EAGER (BORN 1957) 

Spectacle 2007 

oil on linen 

signed, dated and titled verso: Wayne Eager 2007 

SPECTACLE 

200 x 175cm 

$2,500–3,500 

220 

WAYNE EAGER (BORN 1957) 

Alphabetica 2007 

oil on linen 

signed, dated and titled verso: Wayne Eager 07 

ALPHABETICA 

199.5 x 182.5cm 

PROVENANCE 

Nellie Castan Gallery, Melbourne 

$2,500–3,500

118 

221 

221 

DAVID BOYD (1924-2011) 

Swimmer and Children 

oil on board 

signed lower left: David Boyd 

19.5 x 17cm 

PROVENANCE 


$2,000–3,000 

222 

DAVID BOYD (1924-2011) 

Face II 1968 

sfumato on board 

signed and dated lower left: David Boyd 1968 

39 x 29cm 

PROVENANCE 


$800–1,200 

223 


Ladies and Gents (Male and Female Nude Studies) 

two oil on board (doors) 

each signed lower right: Clifton 

199.5 x 71.5cm (each) 

PROVENANCE 

Commissioned for the opening of Lovegrove Winery, 

Cottles-Bridge, 1989 

$5,000–8,000 

Clifton Pugh was the neighbourhood friend of Professor 

Malcolm Lovegrove of Lovegrove Vineyard and Winery. 

These door panels were commissioned by the winery 

and were unveiled by Pugh in 1989. Each panel features a 

wedgetail eagle seen heralding both figures, echoing the 

winery's insignia.

119 

223

120 

224 

224 

BILL COLEMAN (1922-1992) 

Street Conversation 1974 



Bill Coleman 74 

49.5 x 70cm 

$1,200–1,800 

225 

BILL COLEMAN (1922-1992) 

Seated Nude and Interior 


signed lower right: Bill Coleman 

59 x 44cm 

$1,500–2,500 

225

121 

226 

PERCY TREZISE (1923-2005) 

Rainforest 1978 

oil on board 


Trezise 78 


Trezise 78 / Rainforest 

60 x 90cm 

$1,000–2,000 

226 

227 

CELIA PERCEVAL (BORN 1949) 

Boats at Fisheries Beach 

oil on canvas 

signed lower right: Celia Perceval 

inscribed verso: 

Boats at Fisheries Beach 

46 x 61cm 

PROVENANCE 

Bridget McDonnell Gallery, 

Melbourne 


EXHIBITED 

Bridget McDonnell Gallery, 

Christmas Exhibition Hampton, 

3 - 23 December 2007 (label verso) 

$800–1,200 

227

122 

228 

228 

GAV BARBEY (BORN 1966) 

Two White Swans (as They Mate for Life) 2010 

oil on canvas 

triptych 

signed lower right: GAV 


GAV BARBEY 2010 TWO WHITE SWANS (AS THEY MATE 

FOR LIFE) 

122 x 91cm (each) 

122 x 273cm (overall) 

PROVENANCE 


$2,000–3,000 

229 


Green Tree Frog Climbing on Reed 2007 

oil on canvas 


GAV BARBEY 07 / GREEN TREE FROG CLIMBING ON 

REED / GAV BARBEY 2007 

167 x 152cm 

PROVENANCE 


$1,500–2,500 

230 


Frog and Pond 2005 

oil on canvas 

signed and dated lower right: GAV 05 

signed and dated verso: GAV 2005 

137 x 122cm 

PROVENANCE 


$800–1,200

123 

229

124 

231 

231 

JON CATTAPAN (BORN 1956) 

Three Continents, The Peace Pipe 1986 

oil on canvas 

signed and dated upper right: Cattapan 86 

signed, dated and titled verso: Jon Cattapan 86 

'THREE CONTINENTS (THE PEACE PIPE)' 

152 x 183cm 

PROVENANCE 

Realities Gallery, Melbourne 

Mr Ben Frenkel, Melbourne 

Mossgreen Auctions, Fine Art, Melbourne, 



LITERATURE 

McAuliffe, Chris, Jon Cattapan: Possible Histories, 

Miegunyah Press, Melbourne, 2008, pp.62 (illus) 

$1,500–2,500 

232 

ROBERT ROONEY (1937-2017) 

The Mamlock Lock Tombs, or Coming Nemi in 

Cairo 1991 and Nott Rose Opthalmic of Rue Victor 

Cousin Hotel De Cluney 1991 

collage and acrylic on hardboard 

each signed, dated and titled verso: 

THE MAMLOCK TOMBS, OR COMING NEMI IN CAIRO 

1991 AND NOTT ROSE OPTHALMIC OF RUE VICTOR 

COUSIN HOTEL DE CLUNEY 1991 

31 x 23.5cm (each) 

EXHIBITED 

Collage Collectibles, Pinacotheca, 

Melbourne, Australia, 1991 

$600–900

125 

233 

233 

TOM FOLWELL (NEW ZEALAND) 

Jeep Flowers 

acrylic on board 

signed lower right: Tom Folwell 

titled verso: JEEP FLOWERS 

28 x 108cm 

PROVENANCE 


$600–800 

234 

ELWYN LYNN (1917-1997) 

Black Descent 

mixed media on canvas 

inscribed with title verso: Black Descent 

51 x 51cm 

$1,000–1,500 

235 

DENISE CAMPBELL (BORN 1952) 

Lazy River 2007 

oil on canvas 

signed and dated on right edge: Denise Campbell 07 


Denise Campbell 07 LAZY RIVER 

120 x 100cm 

PROVENANCE 


$600–1,000 

End of Sale

126 

Artist Index 

Amor, Rick 75 

Anderson, R Norman 26 

Ashton, John William 51 

Ashton, Will 42 

Barbey, Gav 228–230 

Baxter (Attributed), George 29 

Bennett, Rubery 38 

Bernaldo, Allan 48 

Boissevain, William 82 

Boyd, Arthur Merric 24, 34, 140, 144, 145 

Boyd, Arthur Merric Bloomfield 35 

Boyd, David 1, 7, 12, 80, 105, 221, 222 

Boyd, Emma Minnie 148 

Boyd, Jamie 10 

Brack, John 61, 62 

Braund, Dorothy 98, 100, 101 

Britten, Jack 139 

Bromley, David 206 

Buvelot, Louis 36 

Campbell, Denise 235 

Campbell, Robert Richmond 14 

Canetti, Michel 207 

Carlton, Paddy 176 

Carroll, Tommy 168 

Cassab, Judy 201–203 

Cattapan, Jon 231 

Clark, Roland 16 

Coburn, John 204 

Coleman, Bill 224, 225 

Colquhoun, Alexander Douglas 56, 155 

Coote, Melissa 74 

Cotton, Olive 59 

Couttes, Gordon 143, 147, 149 

Curtis, James Waltham 31 

Davis, James 214 

Daws, Lawrence 64, 65 

Dickerson, Robert 2, 6, 60 

Doble, Robert 76 

Drendel, Graeme 78, 91, 107 

Dunlop, Sophie 108 

Dupain, Max 57, 58 

Durack, Elizabeth 17–20, 84–85 

Dyer, Geoffrey 83 

Eager, Wayne 219–220 

Ellaga, Barney 192–193 

English School 150 

European School 158 

Evergood, Miles 37 

Fabbi, Fabio 47 

Folwell, Tom 233 

Fox, Ethel Carrick 50, 52, 54 

Friend, Donald 88 

Garrett, Thomas (Tom) 39 

Gleeson, James 87 

Gorter, Arnold Marc 41 

Hague, Robert 113 

Hall, Anne 102 

Halpern, Deborah 115, 116 

Hamilton, James 27 

Hannaford, Robert 15 

Hansen, Theodore Brooke 151 

Hanson, Leon 40 

Hart, Kevin (Pro) 103, 104 

Hick, Jacqueline 81 

Hickson, Catherine 13 

Hobson, Samantha 198–200 

Hodgkinson, Frank 23, 71 

Herring II, Fred 30 

Italian School 159 

Jones, Charles 43 

Jones, Edgar Reginald 49 

Kelly, John 92 

Kemmare, Abie Loy 190 

Kennaway, Charles Gray 160–167

127 

Kinnane, Aaron 217–218 

Klein, Deborah 210 

Kngwarreye, Emily Kame 117, 122–126, 181 

Kopietz, Gunther 111 

Kuznichenko, Dmitry 77 

Ling, Song 216 

Loxton, John 46 

Lynn, Elwyn 234 

Mather, John 146, 154 

Mbitjana, Betty Club 137, 189 

McGregor, Laith 213 

McInnes, William Beckwith 22, 55 

Meeson, Dora 45 

Mora, Mirka 63 

Nakamarra, Elizabeth Marks 169 

Namok, Rosella 194, 196, 197 

Napaljarri, Takariya 191 

Napangardi, Judy Watson 127, 129–131 

Naparrula, Lorna Fencer 120 

Naparrula, Ningura Gibson 172 

Newbury, Albert Ernest 141 

Njamme, Jimmy 136 

Nolan, Sidney 3, 4, 8, 9, 11, 86, 89, 90, 96, 97, 99, 

109, 110 

Nungurrayi, Naata 174 

Omeenyo, Fiona 185–186 

Parmigianino, In the style of 157 

Pennock, Colin 211–212 

Perceval, Celia 227 

Petyarre, Gloria Tamerre 188 

Petyarre, Greeny Purvis 119, 175 

Petyarre, Nancy Kunoth 173 

Pisani, Louis 156 

Presley, Tjimpayi 179 

Pugh, Clifton 66–70, 73, 223 

Pwerle, Minnie 133–134 

Rankin, David 208–209 

Robertson, James 93 

Rolando, Charles 32 

Rooney, Robert 232 

Sawrey, Hugh 5 

Schulz, Hugh 106 

Seidel, Brian 79 

Shead, Garry 112 

Solomon, Lance 94 

Sturgess, R W 28 

Timms, Freddie 170 

Tjampitjinpa, Ronnie 138 

Tjapaltjarri, Billy Stockman 187 

Tjapaltjarri, Clifford Possum 132, 184 

Tjapaltjarri, Mick Namarari 182–183 

Tjapaltjarri, Warlimpirrnga 121 

Tjapangardi, Don Morton 195 

Tjungurrayi, Willie 118 

Tjupurrula, Johnny Warangkula 135, 171 

Tjupurrula, Turkey Tolson 177 

Trail, Jessie 53 

Trezise, Percy 226 

Vuagnat, François 33 

Watson, Tommy 128 

Weir, Barbara 178 

Weston, Harry J 44 

Wheeler, Charles 25 

Wilson, Regina Pilawuk 180 

Withers, Walter 21, 142 

Wright, Douglas 72 

Xin, Hui 215 

Yardley, Heidi 95 

Young, Blamire 152

128 

Copyright 

1 © David Boyd/Copyright Agency, 2023 

2 © Robert Dickerson/Copyright Agency, 2023 

3 © The Sidney Nolan Trust. All rights reserved. 

DACS/Copyright Agency, 2025 



5 © Hugh Sawrey/Copyright Agency, 2023 










15 © Robert Hannaford/Copyright Agency, 2023 

17 © Elizabeth Durack/Copyright Agency, 2023 




23 © Frank Hodgkinson/Copyright Agency, 2023 

35 © Arthur Boyd/Copyright Agency, 2023 

53 © Jessie Trail/Copyright Agency, 2023 

57 © Max Dupain/Copyright Agency, 2023 

58 © Max Dupain/Copyright Agency, 2023 


71 © Frank Hodgkinson/Copyright Agency, 2023 

75 © Rick Amor/Copyright Agency, 2023 

78 © Graeme Drendel/Copyright Agency, 2023 

79 © Brian Seidel/Copyright Agency, 2023 


83 © Geoffrey Dyer/Copyright Agency, 2023 





88 © Donald Friend/Copyright Agency, 2023 






92 © John Kelly/Copyright Agency, 2023 

93 © James Robertson/Copyright Agency, 2023 













111 © Gunther Kopietz/Copyright Agency, 2023 

112 © Garry Shead/Copyright Agency, 2023 

113 © Robert Hague/Copyright Agency, 2023 

117 © Emily Kame Kngwarreye/ 

Copyright Agency, 2023 

118 © Willie Tjungurrayi/Copyright Agency, 2023 

119 © Greeny Purvis Petyarre/ 


120 © Lorna Fencer Naparrula/ 


121 © Warlimpirrnga Tjapaltjarri/ 





Copyright Agency, 2023

129 







127 © Judy Watson Napangardi/ 


128 © Tommy Watson/Copyright Agency, 2023 







132 © Clifford Possum Tjapaltjarri/ 


133 © Minnie Pwerle/Copyright Agency, 2023 

134 © Minnie Pwerle/Copyright Agency, 2023 

135 © Johnny Warangkula/ 


136 © Jimmy Njamme/Copyright Agency, 2023 

137 © Betty Club Mbitjana/ 


138 © Ronnie Tjampitjinpa/ 


168 © Tommy Carroll/Copyright Agency, 2023 

169 © Elizabeth Marks Nakamarra/ 


170 © Freddie Timms/Copyright Agency, 2023 

171 © Johnny Warangkula Tjupurrula/ 


172 © Ningura Napurrula/Copyright Agency, 2023 

173 © Nancy Kunoth Petyarre/ 


174 © Naata Nungurrayi/Copyright Agency, 2023 

175 © Greeny Purvis Petyarre/ 


176 © Paddy Carlton/Copyright Agency, 2023 

177 © Turkey Tolson Tjupurrula/ 


178 © Barbara Weir/Copyright Agency, 2023 

179 © Tjimpayi Presley/Copyright Agency, 2023 

180 © Regina Pilawuk Wilson/ 




182 © Mick Namarari Tjapaltjarri/ 


184 © Clifford Possum Tjapaltjarri/ 


185 © Mick Namarari Tjapaltjarri/ 


187 © Billy Stockman Tjapaltjarri/ 


188 © Gloria Tamerre Petyarre/ 


189 © Betty Club Mbitjana/ 


190 © Abie Loy Kemarre/Copyright Agency, 2023 

191 © Takariya Napaljarri/Copyright Agency, 2023 

192 © Barney Ellaga/Copyright Agency, 2023 

193 © Barney Ellaga/Copyright Agency, 2023 

201 © Judy Cassab/Copyright Agency, 2023 



204 © John Coburn/Copyright Agency, 2023 

207 © Michel Canetti/Copyright Agency, 2023 

213 © Laith Mcgregor/Copyright Agency, 2023 

217 © Aaron Kinnane/Copyright Agency, 2023 

218 © Aaron Kinnane/Copyright Agency, 2023 



227 © Celia Perceval/Copyright Agency, 2023 

234 © Elwyn Lynn/Copyright Agency, 2023

Now Consigning 

Australian, Maritime & Exploration 

July 2023 

ENQUIRIES 

03 9500 2607 

mail@gibsonsauctions.com.au 

GRACE SECCOMBE (1880-1956) 

A glazed earthenware kookaburra bough dish 

6cm high, 14cm diameter 

Estimate: $1,000–1,500. Sold: $13,420

AUCTION ANNOUNCEMENT 

The Alison Kelly 

Collection of 

Indigenous Art 

Auction | Monday 8 May 2023, 6.30pm 

EMILY KAME KNGWARREYE 

(CIRCA 1909-1996) 

My Country 1995 


120 x 90cm 

Estimate: $25,000–35,000 

ENQUIRIES 

Deanna Baxter 03 9500 2607 

deanna.baxter@gibsonsauctions.com.au

132 

Terms & Conditions of Sale 

The Terms and Conditions of Sale listed here contain 

the policies of Gibson's Auctioneers & Valuers Pty 

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

the Terms on which Gibson's and the Seller contract 

with the Buyer. They may be amended by printed 

Saleroom Notices or oral announcements made 

before and during the Sale. By Bidding at Auction, 

you agree to be bound by these terms. 

1. Definitions 

The following conditions that are listed contain 

terms that are used regularly and have the following 

meanings: 

"Auction" means the event at which any Lot is 

offered for Sale by Gibson's. 

"Auctioneer" means the representative of Gibson's 

conducting the Auction. 

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

Auctioneer of the intention to purchase the Lot by 

the Prospective Buyer. The Bidder is any person or 

entity that makes this makes this action. Bidding is 

understood by both the Bidder and Gibson's to be 

contractually obliging. 

“Buyer” means the person with the highest Bid 

accepted by the Auctioneer. 

“Buyer's Premium” means the charge payable by 

the Buyer to the Auction house as a percentage of 

the Hammer Price. 

“Company” means Gibson’s Auctions Pty Ltd, 

trading as Gibson’s Auctions. 

“Forgery” means an item constituting an imitation 

originally conceived and executed with fraudulent 

intention to deceive as to authorship, origin, age, 

period, culture, provenance or source where the 

correct description as to such matters is not 

reflected by the description in the catalogue. 

Accordingly, no Lot shall be capable of being a 

forgery by reason of any damage or restoration work 

of any kind (including re-painting). 

“Hammer Price” means the amount of the highest 

Bid accepted by the Auctioneer in relation to a Lot. 

“Insured Value” means the amount that Gibson's 

in its absolute discretion from time to time shall 

consider the value for which a Lot should be covered 

for insurance (whether or not insurance is arranged 

by Gibson's). 

“Lot” means any item within the Sale for Auction 

and in particular the item or items described against 

any Lot number in the catalogue. 

"Prospective Buyer" means any person or entity 

with the intention of purchasing any Lot in the 

Auction. 

“Reserve” means the confidential lowest amount 

at which Gibson's has contractually agreed with the 

Seller that the Lot can be sold. 

"Sale" means any private treaty or Auction Sale at 

which a Lot is offered for Sale. 

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

agent, executors or personal representatives, or 

the person in possession of the property consigned 

for Auction. Multiple owners, agents or persons in 

possession shall jointly and severally assume all 

obligations, liabilities, representations, warranties 

and indemnities in relation to the Sale of the Lot. 

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

Hammer Price, Reserves, Buyer's Premium and 

other expressions of value are understood to be in 

Australian Dollars unless otherwise specified. 

2. Gibson’s Auctioneers 

& Valuers as Agent 

Except as otherwise stated Gibson's acts as agent 

for the Seller. 

The contract for the Sale of the property is therefore 

made between the Seller and the Buyer. 

3. Before the Sale 

A) EXAMINATION OF PROPERTY 

Prospective Buyers are strongly advised to examine 

in person any property in which they are interested 

before the Auction takes place. Neither Gibson's 

nor the Seller provides any guarantee in relation to 

the nature of the property apart from the Limited 

Warranty in the paragraph below. The property is 

otherwise sold “as is”. 

B) CATALOGUE AND OTHER DESCRIPTIONS 

All statements by Gibson's in the catalogue entry 

for the property or in the condition report, or made 

orally or in writing elsewhere, are statements of 

opinion and are not to be relied upon as statements 

of fact. Such statements do not constitute a 

representation, warranty or assumption of liability 

by Gibson's of any kind. References in the catalogue 

entry to the condition report, including damage 

or restoration are for guidance only and should be 

evaluated by personal inspection by the Bidder or 

a knowledgeable representative. The absence of 

such a reference does not imply that an item is free 

from defects or restoration, nor does a reference to 

particular defects imply the absence of any others. 

Estimates of the selling price should not be relied 

on as a statement that this is the price at which 

the item will sell or its value for any other purpose. 

Neither Gibson's nor the Seller is responsible for 

any errors or omissions in the catalogue or any 

supplemental material. 

Images are measured height by width. Illustrations 

are provided only as a guide and should not be relied 

upon as a true representation of colour or condition. 

Images are not shown at a standard scale. Mention 

is rarely made of frames (which may be provided as 

supplementary images on the website) which do 

not form part of the Lot as described in the printed 

catalogue. 

All transactions are in Australian Dollars so there 

may be a small exchange rate risk, for international 

Buyers. The costs associated with acquiring a goods 

certificate will be borne by the Buyer. If the item 

turns out to be a Forgery or otherwise incorrectly 

described, all reasonable costs will be borne by 

the Seller. 

C) BUYER'S RESPONSIBILITY 

All property is sold “as is” without representation 

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

Buyers are responsible for satisfying themselves 

concerning the condition of the property and the 

matters referred to in the catalogue by requesting a 

condition report. 

4. At the Sale 

A) REFUSAL OF ADMISSION 

Gibson's reserves the right at our complete 

discretion to refuse admission to the Auction 

premises or participation in any Auction and to 

reject any Bid. 

B) REGISTRATION BEFORE BIDDING 

Any new Prospective Buyer must complete and 

sign a registration form and provide photographic 

identification before Bidding. Gibson's may 

request bank, trade or other financial references to 

substantiate this registration. 

C) BIDDING AS A PRINCIPAL 

When making a Bid, a Bidder is accepting personal 

liability to pay the purchase price including the 

Buyer's Premium and all applicable taxes, plus 

all other applicable charges, unless it has been 

explicitly agreed in writing with Gibson's before 

the commencement of the Sale that the Bidder is 

acting as agent on behalf of an identified third party 

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

look to the principal for payment. 

D) INTERNATIONAL REGISTRATIONS 

All international clients not known to Gibson's will 

be required to scan or fax through an accredited 

form of photo identification and pay a deposit at our 

discretion in cleared funds into Gibson's account 

at least 48 hours before the commencement of 

the Auction. Bids will not be accepted without 

this deposit. Gibson's also reserves the right to 

request any additional forms of identification prior 

to registering an overseas Bid. This deposit can be 

made using a credit card, however the balance of 

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

charged to this card without prior arrangement. This 

deposit is redeemable against any Auction purchase. 

E) ABSENTEE BIDS 

Gibson's will use reasonable efforts to execute 

written Bids delivered to us at least 24 hours prior 

to the Sale for the convenience of those clients 

who are unable to attend the Auction in person. 

If Gibson's receives identical written Bids on a 

particular Lot, and at the Auction these are the 

highest Bids on that Lot, then the Lot will be sold 

to the person whose written Bid was received and 

accepted first. Execution of written Bids is a free 

service undertaken subject to other commitments 

at the time of the Sale and we do not accept liability 

for failing to execute a written Bid or for errors 

or omissions which may arise. It is the Bidder’s 

responsibility to check with Gibson's after the 

Auction if they were successful. Unlimited or 

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

indicative Bidding increments below for appropriate 

absentee Bid amounts (Section K). 

F) TELEPHONE BIDS 

Priority will be given to overseas and interstate 

Bidders. Arrangements for this service must be 

confirmed at least 24 hours prior to the Auction 

commencing. Gibson's accepts no responsibility 

whatsoever for any errors or failure to execute Bids. 

In telephone Bidding the Buyer agrees to be bound 

by all terms and conditions listed here and accepts 

that Gibson's cannot be held responsible for any 

miscommunications in the process. The success 

of telephone Bidding cannot be guaranteed due to 

circumstances that are unforeseen. Buyers should 

be aware of the risk and accept the consequences 

should contact be unsuccessful at the time of 

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

question and recommend a ‘Cover Bid’ amount 

should there be any issues with technology or 

communication via the telephone number provided. 

Gibson's will advise Telephone Bidders who have 

registered at least 24 hours before the Auction of 

any relevant changes to descriptions, withdrawals or 

any other Sale room notices. 

G) ONLINE BIDDING 

Gibson's accepts no responsibility for any 

errors, failure to execute Bids or any other 

miscommunications regarding this process. It is the 

online Bidder’s responsibility to ensure the accuracy 

of the relevant information regarding Bids, Lot 

numbers and contact details.

133 

H) RESERVES 

Unless otherwise indicated, all Lots are offered 

subject to a Reserve, which is the confidential 

minimum price below which the Lot will not be 

sold. The Reserve will not exceed the low estimate 

printed in the catalogue. The Auctioneer may open 

the Bidding on any Lot below the Reserve by placing 

a Bid on behalf of the Seller. The Auctioneer may 

continue to Bid on behalf of Seller up to the amount 

of the Reserve, either by placing consecutive Bids or 

by placing Bids in response to other Bidders. 

I) AUCTIONEER'S DISCRETION 

The Auctioneer has the right at his absolute and 

sole discretion to refuse any Bid, to advance the 

Bidding in such a manner as he may decide, to 

withdraw or divide any Lot, to combine any two or 

more Lots and, in the case or error or dispute and 

whether during or after the Sale, to determine the 

successful Bidder, to continue the Bidding, to cancel 

the Sale or to re-offer and resell the item in dispute. 

In the event of a dispute, or the Auctioneer or the 

Company is of the opinion that there has been a 

misunderstanding or mistake regarding a Sale or a 

Lot the subject of a Sale, the Auctioneer may rescind 

the Sale and put any Lot up for a Second Auction. If 

a Sale is rescinded, the Company may put the Lot up 

at a second Auction, offer the Lot for sale by private 

treaty or withdraw the Lot from sale entirely. 

J) SUCCESSFUL BID AND PASSING OF RISK 

Subject to the Auctioneer’s discretion, on the 

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

hammer, a contract of sale is made between the 

Seller and the Buyer. Risk and responsibility for the 

Lot (including frames or glass where relevant) passes 

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

for any breach of contract by either the Seller or 

the Buyer. 

K) INDICATIVE BIDDING STEPS, ETC. 

Gibson's reserves the right to refuse any Bid, 

withdraw any Lot from Sale, to place a Reserve on 

any Lot and to advance the Bidding according to 

the following: 

Increment Amount 

Dollar Range 

$20 $0–$500 

$50 $500–$1,000 

$100 $1,000–$2,000 

$200 $2,000–$5,000 

$500 $5,000–$10,000 

$1,000 $10,000–$20,000 

$2,000 $20,000–$50,000 

$5,000 $50,000–$100,000 

$10,000 $100,000–$200,000 

$20,000 $200,000–$500,000 

$50,000 $500,000–$1,000,000 

Absentee Bids must follow these increments and 

any Bids that don’t follow the steps will be rounded 

up to the nearest acceptable Bid. 

5. After the Sale 

A) BUYER'S PREMIUM 

In addition to the Hammer Price, the Buyer agrees 

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

Premium is 22% of the Hammer Price plus GST. 

(Goods and Services Tax) where applicable. 

B) ONLINE SURCHARGE 

In the case where the Buyer purchases via online 

Bidding platforms, the Buyer agrees to pay the online 

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

(Invaluable.com) plus GST, where applicable. 

C) PAYMENT AND PASSING OF TITLE 

The Buyer must pay the full amount due (comprising 

the Hammer Price, Buyer's Premium and any 

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

days after the Auction date. 

The Buyer will not acquire title for the Lot until 

Gibson's receives full payment in cleared funds, and 

no goods under any circumstances will be released 

without confirmation of cleared funds received. 

This applies even if the Buyer wishes to send items 

interstate or overseas. 

Payment can be made by the following means: 

• Bank Transfer/Direct Deposit is our preferred 

method of payment 

Account Name: Gibson's Auctions 

Bank: 

Bank of Melbourne 

(A division of St George) 

BSB: 193879 

Account No: 441701443 

Swift Code: SGBLAU2S 

Routing Code: 021000021 

Bank Address: 197-201 Glenferrie Road, 

Malvern, Vic, 3144 

The Buyer is responsible for any bank fees and 

charges applicable for the transfer of funds into 

Gibson's account 

• Personal, Company and Bank Cheques are not 

accepted without prior approval. 

• EFTPOS (no charge) 

• Credit cards: Visa and Mastercard (1% incl GST 

merchant fee) and American Express (1.5% incl 

GST merchant fee) 

Please note that credit card transactions over 

$5,000 will not be accepted over the telephone 

unless by prior arrangement. 

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

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

deposited directly into our account at a Bank of 

Melbourne/St George branch 

D) COLLECTION OF PURCHASES & INSURANCE 

Gibson's is entitled to retain items sold until all 

amounts due to us have been received in full in good 

cleared funds. Subject to this, the Buyer shall collect 

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

the Sale unless otherwise agreed in writing between 

Gibson's and the Buyer. 

At the fall of the hammer, insurance is the 

responsibility of the purchaser. 

E) PACKING, HANDLING AND SHIPPING 

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

packing of goods but takes no responsibility for loss, 

damage or breakage that may occur. Gibson's at 

the request of the Buyer may arrange for a carrier, 

packer or shipper to have the property packed, 

insured and shipped at the Buyer’s expense. All 

packing, shipping, insurance, postage & associated 

charges will be borne by the purchaser. Gibson's can 

assist with removal companies that the Buyer can 

use but takes no responsibility whatsoever for the 

actions of any recommended third party. 

F) CULTURAL HERITAGE EXPORT LICENCES 

Unless otherwise agreed by Gibson's in writing, the 

fact that the Buyer wishes to apply for an export 

licence does not affect their obligation to make full 

payment immediately, nor Gibson's right to charge 

interest or storage charges on late payment. It is 

the responsibility of the Buyer to check Australia’s 

Protection of Moveable Cultural Heritage Act 

1986 prior to purchase. Export/import licences 

applications are the responsibility of the Buyer and/ 

or the Buyer's nominated shipper. Gibson's shall 

not be obliged to rescind a Sale nor to refund any 

expenses incurred by the Buyer in circumstances 

where an export licence is not granted. 

G) REMEDIES FOR NON-PAYMENT 

If the Buyer fails to make full payment immediately, 

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

following rights or remedies (in addition to asserting 

any other rights or remedies available under the law) 

i) to charge interest at the ANZ visa credit card 

rate as published weekly in the Australian 

Financial Review; 

ii) 

iii) 

iv) 

to hold the defaulting Buyer liable for the 

total amount due and to commence legal 

proceedings for its recovery along with interest, 

legal fees and costs to the fullest extent 

permitted under applicable law; 

to cancel the Sale; 

to resell the property publicly or privately on 

such terms as the Company sees fit; 

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

proceeds payable in respect of the amount Bid 

by the defaulting Buyer. In these circumstances 

the defaulting Buyer can have no claim upon 

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

an amount greater than the original invoiced 

amount; 

vi) 

to offset against any amounts which 

Gibson's may owe the Buyer across any other 

transactions; 

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

or on behalf of the Buyer or to obtain a deposit 

from the Buyer prior to accepting any Bids; 

ix) 

to exercise all the rights and remedies of a 

person holding security over any property in 

our possession owned by the Buyer whether by 

way of pledge, security interest or in any other 

way, to the fullest extent permitted by the law 

of the place where such property is located. 

The Buyer will be deemed to have been granted 

such security to us and we may retain such 

property as collateral security for such Buyer’s 

obligations to the Company; 

x) to take such other action as the Company 

deems necessary or appropriate. 

H) FAILURE TO COLLECT PURCHASES 

Where purchases are not collected within three (3) 

days from the Sale date, whether or not payment has 

been made, the Company shall be permitted to: 

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

expense of the Buyer, releasing only after full 

payment has been received from the Buyer for 

incurred costs; 

ii) 

iii) 

re-sell the Lot without Reserve by Auction, 

private treaty or any other means whereby the 

Buyer agrees not to challenge the resale price 

achieved. 

rescind the Sale of that Lot or any other Lot sold 

by the Seller to the Buyer at the same or any 

other Auction. 

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

and G, the defaulting Buyer agrees to be liable for 

all payments of any deficiency between the total 

amount originally due and the price obtained, as well 

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

fees, commissions and premiums of whatever kinds 

associated with both Sales or otherwise arising from 

the default. 

6. Extent of Gibson's Liability 

Gibson's agrees to refund the purchase price in the 

circumstances of the Limited Warranty set out in 

paragraph 7. Apart from that, neither the Seller nor 

the Company, nor any of the Company’s employees 

or agents are responsible for the correctness of any 

statement of whatever kind concerning any Lot, 

whether written or oral, nor for any other errors or 

omissions in description or for any faults or defects 

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

neither the Seller, the Company, its officers, agents 

or employees give any representation warranty 

or guarantee or assume any liability of any kind in

134 

respect of any Lot with regard to merchantability, 

fitness for a particular purpose, description, size, 

quality, condition, attribution, authenticity, rarity, 

importance, medium, provenance, exhibition history, 

literature or historical relevance. Except as required 

by local law any warranty of any kind is excluded by 

this paragraph. 

7. Limited Warranty 

Subject to the terms and conditions of this 

paragraph, the warrants for the period of fourteen 

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

described in this catalogue (noting such description 

may be amended by any Saleroom notice or 

announcement) which is stated without qualification 

to be the work of a named author or authorship is 

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

“Authorship” refers to the creator of the property or 

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

may be, with which the creation of such property is 

identified in the catalogue. 

The warranty is subject to the following: 

i) it does not apply where a) the catalogue 

description or Saleroom notice corresponded 

to the generally accepted opinion of scholars 

and experts at the date of the Sale or fairly 

indicated that there was a conflict of opinions, 

or b) correct identification of a Lot can be 

demonstrated only by means of a scientific 

process not generally accepted for use until 

after publication of the catalogue or a process 

which at the date of the publication of the 

catalogue was unreasonably expensive or 

impractical or likely to have caused damage to 

the property. 

ii) 

iii) 

iv) 

the benefits of the warranty are not assignable 

and shall apply only to the original Buyer of the 

Lot as shown on the invoice originally issued by 

Gibson's when the Lot was sold at Auction. 

the original Buyer must have remained the 

owner of the Lot without disposing of any 

interest in it to any third party 

The Buyer’s sole and exclusive remedy against 

the Seller in place of any other remedy which 

might be available, is the cancellation of the 

Sale and the refund of the original purchase 

price paid for the Lot less the Buyer's Premium 

which is non-refundable. Neither the Seller nor 

Gibson's will be liable for any special, incidental 

nor consequential damages including, without 

limitation, loss of profits not for interest. 

v) The Buyer must give written notice of claim 

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

the Auction. The Seller shall have the right, to 

require the Buyer to obtain two written opinions 

by recognised experts in the field, mutually 

acceptable to the Buyer and Gibson's to decide 

whether to cancel the Sale under warranty. 

vi) 

the Buyer must return the Lot to Seller in the 

same condition that it was purchased. 

8. Severability 

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

court to be invalid, illegal or unenforceable, that part 

shall be discounted and the rest of the Conditions 

shall continue to be valid to the fullest extent 

permitted by law. 

9. Copyright 

The copyright of all images, illustrations and written 

material produced by Gibson's relating to a Lot 

including the contents of this catalogue, is and shall 

remain the property at all times of Gibson's and shall 

not be used by the Buyer, nor by anyone else without 

our prior written consent. Gibson's and the Seller 

make no representation or warranty that the Buyer 

of a property will acquire any copyright or other 

reproduction rights in it. 

10. Law and Jurisdiction 

These terms and conditions and any matters 

concerned with the foregoing fall within the exclusive 

jurisdiction of the courts of the state in which the 

Auction is held. 

11. Pre-Sale Estimates 

Gibson's publishes with each catalogue our opinion 

as to the estimated price range for each Lot. These 

estimates are approximate prices only and are not 

intended to be definitive. They are prepared well in 

advance of the Sale and may be subject to revision. 

Interested parties should contact Gibson's prior to 

Auction for updated pre-Sale estimates and starting 

prices. 

12. Sale results 

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

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

including the prices achieved for specific Lots. 

Unless otherwise discussed with the Buyer, details of 

individual Buyers will remain confidential. 

13. Goods and Service Tax 

In accordance with A New Tax System (Goods 

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

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

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

transactions. 

GST is applicable on the Hammer Price in the case 

where the Seller is selling property that is owned by 

an entity registered for GST. GST is also applicable 

on the Hammer Price in the case where the Seller is 

not an Australian resident. These Lots are denoted 

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

GST is also applicable on the Buyer's Premium. 

Overseas Buyers and non-resident Buyers in 

Australia will not be charged GST on both Hammer 

Price and Premiums under the following conditions: 

1. The items are exported through a Gibson's 

approved freight company including Australia 

Post 

2. The items are exported within 60 days of the 

date of the Sale 

The invoice supplied by Gibson's for purchases will 

be regarded as a Tax invoice for GST purposes. 

14. Resale Royalty Scheme 

Under the legal obligations of the Resale Royalty 

Scheme for Visual Artists Act 2009, Sellers must 

provide the following information to comply with 

the act: 

• was the artwork acquired after 8 June 2010? 

• is the Sale/Reserve price (including GST) 

$1,000 or more? 

• is the artist from Australia or a country listed in 

the Regulations to the Act? 

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

The Seller: 

i) acknowledges that he or she understands his or 

her legal obligations under the Resale Royalty 

for Visual Artists Act 2009 (the Act); 

ii) 

iii) 

iv) 

undertakes to comply with all requirements of 

the Act, including by providing its agent, the 

company, with accurate information sufficient 

for compliance with sections 28 and 29 of the 

Act; 

undertakes to indemnify the Company for any 

loss incurred by the Company as a result of 

the Vendor’s failure to comply with any of the 

Vendor’s legal obligations under the Act; and 

acknowledges that if he or she fails to comply 

with any of his or her legal obligations under 

the Act, the company may provide the vendor’s 

name and contact details to Copyright Agency 

Limited (CAL). 

Lots subject to payment of the Resale Royalty 

Scheme will be denoted by the symbol §. The 

Australian Resale Royalty is a flat rate of 5% on 

the Hammer Price (including GST). The Australian 

Resale Royalty is payable by the Seller in addition to 

the Buyer's Premium plus any applicable GST. 

15. Jewels & Watches 

GEMSTONES 

Gemstones have historically been subjected to a 

variety of treatments to enhance their appearance. 

Sapphire and rubies are routinely heat treated to 

improve their colour and clarity, similarly emeralds 

are frequently treated with oils or resin for the 

same purpose. Other treatments such as staining 

or dyeing, irradiation, filling or coating may have 

been used on other precious and semi-precious 

gemstones and organic material. These treatments 

may be permanent, whilst others may need special 

care to reserve their appearance. Buyers should 

assume that each Lot has been subject to some 

form of treatment and that the estimates reflect this. 

A number of laboratories issue certificates that give 

detailed descriptions of gemstones, and in the event 

that Gibson's has been supplied with or obtained 

certificates for any Lot, this shall be noted in the 

catalogue. However, as there may not be consensus 

between different laboratories on the degree, or 

types of treatment of the gemstones, Gibson's 

supplies these without warranty. 

Buyers should assume that all gemstones sold 

by Gibson's may have been subjected to such 

treatments, and that the catalogue estimates 

reflect this. 

PEARLS 

Pearls, like gemstones, are also subject to various 

treatments. Buyers should assume that any pearls 

sold by Gibson's may have been subjected to such 

treatments, and that the catalogue estimates 

reflect this. 

WATCHES 

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

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

or warranty that any watch is in working order. Many 

watches have been repaired over their lifetime and 

may contain non-original parts. The absence of any 

reference to the condition of a watch does not imply 

that the Lot is in good condition and without defects, 

repairs or restorations. Buyers should be aware that 

a general service, change of battery or further repair 

work, for which the Buyer is solely responsible for, 

may be necessary. 

ESTIMATED WEIGHTS 

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

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

it is an approximate weight only and has been 

measured by us in the mount and is a statement of 

opinion only. The information is given as a guide only 

and Buyers should satisfy themselves with regard to 

this information as to its accuracy.

Lot 136

GA043 | Australian & International Art

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