GA052 | Australian & International Art

Australian & 

International Art 

Melbourne, Sunday 29 October 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 

Associate 

Specialist 

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 


artadmin@gibsonsauctions.com.au 

Ellin Geary 

mail@gibsonsauctions.com.au 

Andre Kimonides 

collection@gibsonsauctions.com.au 

Jewellery Department 

jewellery@gibsonsauctions.com.au 

Marilla O’Sullivan 

marilla.osullivan@gibsonsauctions.com.au 

Ella Gibson 

decartsadmin@gibsonsauctions.com.au 

Max Sumner 

operations@gibsonsauctions.com.au 

ORRONG RD 

AUCTION ENQUIRIES 

ABSENTEE & TELEPHONE BIDS 

Deanna Baxter 

bids@gibsonsauctions.com.au 

+61 3 9500 2607 

CONDITION REPORTS 

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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 

SUTHERLAND RD 

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ST 

AUBURN GROVE 

DENBIGH RD 

CHEEL ST

FRONT COVER: 

Lot 75 (Detail) 

BACK COVER: 

Lot 40 


International 

Art 

Auction 

Sunday 29 October 2023, 12 Noon 

Level 1, 885-889 High Street, 

Armadale, Victoria 3143 

Viewing 

Thursday 26 October 

Friday 27 October 

Saturday 28 October 

11.00am – 5.00pm 

11.00am – 5.00pm 

11.00am – 5.00pm 

Auction Code: GA052 

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 30 October 

Tuesday 31 October 

Wednesday 1 November 

10am–5pm 

10am–5pm 

10am–5pm 

All goods must be collected 

and paid in full strictly by 5pm 

on Wednesday 1 November 

(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 is 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 

www.gibsonsauctions.com.au/buy/payments/ 

• 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 is 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 

The Collection of Lady Marsha 

and Sir Andrew Grimwade CBE 

The Collection of Lady Marsha and the late 

Sir Andrew Grimwade CBE offers a curated 

selection of works portraying an unwavering 

passion and commitment to supporting the 

arts. In the 1990s, Marsha and Andrew met 

through a family friend; Sir Andrew, who 

had recently lost his spouse, described their 

meeting as a coup de foudre. Their admiration 

for each other rapidly flourished, and after six 

months of letters and postcards back and forth, 

they eloped in Switzerland. 

Their accomplishments over the next three 

decades demonstrated a collaborative approach 

founded on mutual respect and admiration. 

While Sir Andrew had the remarkable family 

heritage and influence of the Grimwade name 

behind him, he reflected in his 80th year how 

much he valued Lady Marsha’s expertise and 

wisdom in Indigenous art. By means of their 

collective experiences and enduring partnership, 

together, they have made an indelible mark in 

the realm of arts and philanthropy. 

The Grimwade family legacy is enmeshed 

with Victorian history, encompassing science, 

business, agriculture and the arts. Throughout 

his lifetime, Sir Andrew upheld this family 

tradition, never ceasing to be a humble yet 

energetic contributor to the cultural fabric. 

During his appointment as president of Trustees 

of the NGV circa 1976, he wholeheartedly 

embraced the Felton Bequest ethos of creating 

catalytic change with forceful philanthropic 

outcomes. 1 Notable milestones under Sir 

Andrew's custodianship involved the acquisition 

of Tim Leura and Clifford Possum’s masterpiece 

Napperby Death Spirit Dreaming in 1988; 

Felton’s Far Western Desert collection, 2011 

and the Barak Project, 2013. As patron of the 

Miegunyah Press, Sir Andrew enthusiastically 

assisted Geoff and James Bardon’s instrumental 

book Papunya, A Place Made After the Story: 

The Beginnings of the Western Desert Painting 

Movement, 2004. 

Born in Tasmania, Lady Marsha spent much of 

her childhood in Queensland. As a child, she 

was tanned and barefoot most of the time; she 

recalls how she was proud of being mistaken 

for an Aboriginal child. Lady Marsha remained 

in spirit strongly tied to Australia, although 

her love of travel grounded her in London for a 

time. Her son Toby Evans recalls, ‘as children, 

[Marsha] would bring us back to Australia to 

visit relatives but would always arrange trips 

for us to see the more remote parts of the 

country. I remember her particularly loving the 

landscapes around Kata Tjuta (The Olgas).’ 2 

Lady Marsha’s affinity and affection for 

Indigenous art was contagious; she believed 

wholly in the artworks ‘intrinsic beauty, partly 

because they represent landscapes that she 

also loves and because they now give a voice 

and agency to people who have struggled 

to be heard.’ 3

5 

Sir Andrew deeply regarded Lady Marsha’s 

counsel on matters of Indigenous art. In 2007, 

Lady Marsha and Sir Andrew embarked on a 

remote journey ‘...my wife Marsha persuaded me 

to travel with her camping down the 2,000km 

of the Canning Stock Route. It opened my eyes 

to the Indigenous art of the Far Western Desert. 

So much credit behind the scenes is due to 

[Marsha] providing me with the passion to drive 

the acquisition process of the Far Western 

Desert Art. We felt a special relationship with 

Kunawarritji, Well 33, and its community, 

which has been the fountainhead of much far 

Western Desert art.’ 4 

It is incredible how adventure can foster lifelong 

friendships. Author and explorer Andrew 

Dwyer guided Lady Marsha and Sir Andrew 

on their Canning Stock Route journey in 2007 

and remained firm friends. During a second 

expedition with Lady Marsha, who travelled 

solo this time down the mouth of the Cooper, 

Dwyer recalls visiting Walaryirti Artists at Balgo, 

where Marsha spoke with Eubena Nampitjin, 

Boxer Milner, Sunfly Tjampitjin and Helicopter 

Tjungurrayi. ‘She told me then that she already 

owned one of Helicopter’s works and was 

pleased to meet him in the flesh.’ 5 When visiting 

Willuna, Lady Marsha talked Dwyer into buying 

one of Clifford Brook’s paintings. ‘It remains one 

of my most cherished paintings. I remember 

Marsha saying to me that you don’t choose the 

paintings – the paintings choose you!’ 6 

The Collection of Lady Marsha and Sir Andrew 

Grimwade CBE represents a rich tapestry of 

cultural and visual languages within Indigenous 

art, a practice that has been, and remains, at the 

forefront of contemporary art. Lady Marsha and 

Sir Andrew Grimwade respected a culture that 

has remained resilient and strong. The plethora 

of works in this collection traverses the country 

in a way that reflects their genuine desire to 

engage with Indigenous communities in a 

meaningful way. The authenticity of this passion 

presents itself in each piece they have collected, 

and undoubtedly, their legacy will be one of 

generosity and a deep appreciation for art. 


1 Andrew Grimwade, Storied Windows: Reflections on 

Indigenous Art, Miegunyah Press, Victoria, 2012, p. 110 

2 In conversation with Toby Evans, Marsha 

Grimwade’s son, email correspondence 2023 

3 Ibid. 

4 Andrew Grimwade, Storied Windows: Reflections on 

Indigenous Art, Miegunyah Press, Victoria, 2012, p. 119 

5 In conversation with Andrew Dwyer, email correspondence 2023 

6 Ibid.

6 

1 

1 

NORA WOMPI NUNGURRAYI (BORN 1935) 

Kunawarritji 2006 

synthetic polymer paint on canvas 

inscribed and cat. no. verso: 

NORA WOMPU / WARLAYIRTI ARTISTS / 241/06 

74.5 x 50cm 

PROVENANCE 

Warlayirti Artists, Balgo, WA 

(accompanied by a certificate of authenticity) 

$1,500–2,500 

2 

BOXER MILNER TJAMPITJIN (1935-2009) 

Purkitji 2002 

synthetic polymer paint on linen 


BOXER MILNER / WARLAYIRTI ARTISTS / 760/02 

119.5 x 80cm 

PROVENANCE 



Gallery Gabrielle Pizzi, Melbourne, 2002 

$6,000–8,000

7 

2

8 

3 

3 

DANIEL WALBIDI (BORN 1983) 

Kirriwirri 2010 

acrylic on canvas 

inscribed and cat. no. verso: DANIEL WALBIDI 2010 / 

SHORT ST GALLERY BROOME WA / # 26916 

90 x 59cm 

PROVENANCE 

Short Street Gallery, Broome 

$6,000–8,000 

4 

ROY WIGGAN (BORN 1930) 

Shark 

wool and acrylic on plywood 

Short St. Gallery cat. no.: Roy20 

62 x 47cm (irregular) 

PROVENANCE 

Short St. Gallery, Broome, WA 


$1,000–2,000

9 

5 

5 

BOBBY WEST TJUPURRULA (BORN 1958) 

The Rockhole Site of Palipalintja 2003 


inscribed with cat. no. verso: Bobby Wst Tjupurrula / 

Papunya Tula Artists Pty Ltd / BW0307154 

152.5 x 122cm 

PROVENANCE 

Papunya Tula Artists, NT 


Gallery Gabrielle Pizzi, Melbourne 2006 

EXHIBITED 

Rising Stars 2006, Gallery Gabrielle Pizzi in 

Association with Papunya Tula Artists, Melbourne, 

26 September – 21 October 2006 

$8,000–10,000

10 

6 

6 

EUBENA NAMPITJIN (1924-2013) 

Kinyu 2009 



EUBENA / WARLAYIRTI ARTISTS / 349/09 / AK15415 

40 x 30cm 

PROVENANCE 



Alcaston Gallery, Melbourne 

EXHIBITED 

From Kinyum Part II, Alcaston Gallery, Melbourne, 

2 – 20 March 2010 

$1,500–2,500 

7 

BARBARA WEIR (BORN 1945) 

Grass Seed 


inscribed verso: Barbara Weir 

90 x 57.5cm 

PROVENANCE 

Short St Gallery, Broome, WA, 2001 


$1,200–1,800

11 

8 

9 

8 

NANCY NUNGURRAYI (1935-2010) 

Tali (Sandhills) 2007 


inscribed and cat. no. verso: Nancy Nungurrayi / Papunya 

Tula Artists Pty Ltd / NN0705187 

90 x 61cm 

PROVENANCE 

Papunya Tula Artists, Alice Springs 


$1,000–1,500 

9 

MONICA NAPALTJARRI (BORN 1960) 

Sandhills at the Site of Marrapinti 2006 


inscribed verso and cat. no.: Monica Napaltjarri /Papunya 

Tula Artists Pty Ltd / MN0612075 

91 x 61cm 

PROVENANCE 



Gallery Gabrielle Pizzi, Melbourne (label verso) 

$800–1,000

12 

10 

10 

PATRICK MUNG MUNG (BORN 1944) 

Jarlarloo Country 2006 

natural earth pigments on canvas 

inscribed and cat. no. verso: PATRICK MUNG MUNG / 

Warmun Art Centre/ WAC 334/06 

50 x 120.5cm 

PROVENANCE 

Warmun Art, Turkey Creek, WA 



EXHIBITED 

Patrick Mung Mung and Mabel Juli, Gallery Gabrielle Pizzi 

in Association with Warmun Arts Centre, Melbourne, 

4 – 29 July 2006 

$3,000–5,000 

11 

ARTIST UNKNOWN 

Spirit Warrior 

natural earth pigments on eucalyptus bark 

48.5 x 20cm 

PROVENANCE 

Sotheby's, Melbourne, Aboriginal and Oceanic Art, 

24 November 2009, Lot 174 

$500–700 

12 

DONNA BURAK (BORN 1972) 

Minga Dots 2005 

synthetic polymer paint and 


inscribed and cat. no verso: 

DONNA BURAK / MINGA (DOTS) / 302-05 PAINT 

119 x 39cm 

PROVENANCE 

Gallery Gabrielle Pizzi, Melbourne, 2005 (label verso) 

$600–800 

13 

PAUL NABULUMO NAMARINJMAK (BORN 1971) 

Dirdbim – Moon Dreaming 2008 

natural earth pigments on stringybark 

Maningrida Arts & Culture cat. no. 2734-08 

104.5 x 45cm 

PROVENANCE 

Maningrida Arts & Culture, NT (label verso) 


$1,000–2,000

13 

12 

13

14 

14 

LUCY YUKENBARRI 

NPANANGKA (1934-2003) 

Irkalitja 2001 


inscribed verso: LUCY YUKENBARRI 

/ WARLAYIRTI ARTISTS 1010-01 

59.5 x 44.5cm 

PROVENANCE 


(accompanied by a certificate of 

authenticity) 

Short Street Gallery, Broome, WA, 

2001 

$1,200–1,800 

14 

15 

15 

NORA WOMPI NUNGURRAYI 

(BORN 1935) 

Kunawarritji 2007 


inscribed verso: NORA WOMPI / 

WARLAYIRTI ARITISTS / 512/07 

45 x 60cm 

$800–1,200

15 

16 

16 

HELICOPTER TJUNGURRAYI (BORN 1947) 

Wangkardu 2001 


inscribed verso and cat. no. verso: 

HELICOPTER / WARLAYIRTI ARTISTS / 969/01 

39.5 x 30cm 

PROVENANCE 



Short Street Gallery, Broome, WA 

$1,500–2,500 

17 

NYARRAPYI GILES (BORN 1941) 

Mangarri Tingari 2007 



Nyarrapyi Giles / TJARLIRLI ART / 07/091 

111 x 80.5cm 

PROVENANCE 

Tjarlirli Art, Alice Springs 


Gallery Gondwana, Alice Springs 2007 (label verso) 

$1,500–2,500

16 

18 

18 

NGUPULYA PUMANI (BORN 1948) 

Maku Dreaming 2010 


inscribed with cat. no. verso: NGUPULYA PUMANI 2010/ 

MIMILI MAKU ARTS / MIM049-10 

135.5 x 110cm 

PROVENANCE 

Mimili Maku Arts & Crafts, NT 



$2,500–3,500 

19 

EUNICE NAPANANGKA (BORN 1940) 

Tali and Creek near Tjukurla 2001 


inscribed and cat. no. verso: Eunice Napanangka / 

Ikuntji Womens Art Centre 7/01 / IKOIEJ111 

122 x 71cm 

PROVENANCE 

Ikuntji Womens + Art Centre, NT 


Gallery Gabrielle Pizzi, Melb (label verso) 

EXHIBITED 

Alice Nampitjinpa and Eunice Napanangka, Gallery 

Gabrielle Pizzi in Association with Ikuntji Fine Art, 

Melbourne, 8 April – 3 May 2008 

$2,500–3,500

17 

20 

20 

EMILY KAME KNGWARREYE (CIRCA 1910-1996) 

My Country 1995 

synthetic polymer on canvas 

inscribed and cat. no. verso: Emily / AGOD#4336 

81 x 51cm 

PROVENANCE 

Aboriginal Gallery of Dreamings, Melbourne 


$8,000–10,000 

21 

NYARRAPAYI GILES (BORN 1941) 

Warmurunngu 2008 



Nyarrapyi Giles / TJARLIRLI ART / 08-415 

138 x 85cm 

PROVENANCE 

Tjarlirli Art, Alice Springs 


Gallery Gondwana, Alice Springs 2008 

$1,500–2,500

18 

22 

23

19 

22 

NANCY CARNEGIE (BORN 1952) 

Untitled 2006 


89 x 104.5cm 

PROVENANCE 

Tjukurba Art Gallery, WA, 2007 

(accompanied by a certificate 

of authenticity) 

$1,800–2,500 

23 

KANYA TJAPANGATI 

(BORN 1950) 

Tingari Body Paint Designs for 

Kirritjina, North of Jupiter Well 

2001 


inscribed verso: Kanya Tjapangati / 

Papunya Tula Artists Pty Ltd 

Papunya Tula Artists 

cat. no. KT0103238 

91 x 119.5cm 

PROVENANCE 

Papunya Tula Artists Pty. Ltd, 

Alice Springs (accompanied by 

a certificate of authenticity) 


$2,500–4,500 

24 

ROSELLA NAMOK (BORN 1979) 

Church Hall 2005 


signed lower right: Rosella Namok 

180.5 x 124cm 

PROVENANCE 

Niagara Galleries, Melbourne, 2006 

(accompanied by a certificate 

of authenticity) 

EXHIBITED 

Rosella Namok: Up North, 

Niagara Galleries, Melbourne, 

10 – 28 January 2006 

$1,000–1,500 

24

20 

25 

25 

IMELDA YUKENBARRI GUGAMAN (BORN 1954) 

Winpurpurla 2007 



WARLAYIRTI ARTISTS / Imelda Gugaman / 599/07 

59.5 x 46cm 

PROVENANCE 



$1,200–1,800 

26 

LINDA NAPURRULA NGITJANKA (BORN 1934) 

Tali and Lake at Alkipi 2001 


inscribed and cat. no. verso: Linda Napurrula / 09/01 

Ikuntji Women's & Art Centre / KT0103238 / IKOILN179 

137 x 71.5cm 

PROVENANCE 

Ikuntji Women's & Art Centre, NT 



$1,200–1,800

21 

27 

DANIEL WALBIDI (BORN 1983) 

Kirriwirri 2010 

acrylic on linen 

inscribed and 

cat. no. verso: Daniel Walbidi / 

SHORT ST GALLERY BROOME WA 

/ # 26915 

91.5 x 46cm 

PROVENANCE 

Short Street Gallery, Broome 

$6,000–8,000 

27

22 

28 

NAPUWARRI MARAWILI (BORN 1969) 

Baraltja 2008 

natural earth pigments on bark 

inscribed with cat. no. verso: NAPUWARRI / 3202T 

164 x 69cm 

PROVENANCE 

Buku-Larrngay Mulka, NT, (accompanied by statement) 

Suzanne O'Connell Gallery, Brisbane, 2008 

EXHIBITED 

Napuwarri Marawili – Fire & Lightning, Suzanne 

O'Connell Gallery in Association with Buku-Larnggay 

Mulka, Brisbane, 12 November–13 December 2008, 

p. 10 (illus.) 

$1,500–2,500 

29 

BILLY THOMAS JOONGOORRA (1920-2012) 

Waterholes and Sandhills in the Great Sandy 

Desert 2001 



RED ROCK ART. / 08/01 / Billy Thomas / KP1345 

80 x 100cm 

PROVENANCE 

Red Rock Art, Kununurra, WA 


$1,000–2,000 

28 

30 

JUDI SINGLETON (BORN 1963) 

Dog 1992 

painted and glazed ceramic 

incised with initials: JS 

29cm high, 29.5cm wide, 14cm deep 

PROVENANCE 

William Mora Galleries, Melbourne 

EXHIBITED 

Judi Singleton – Ceramics and Works on 

Paper, William Mora Galleries, 12 November 

– 3 December 1992, ceramics cat. no. 10 

$400–600 

30

23 

29 

31 

IGNATIA JANGARRA (BORN 1930) 

Wandjina and Bradshaw Figures 1992 



inscribed and cat. no. verso: WARINGRRI ABORIGINAL 

ARTS / IGNATIA JANGARRA / AP3585 

50 x 40cm 

PROVENANCE 

Waringarri Aboriginal Arts, Kununurra, WA 

Gallery Gabrielle Pizzi, Melbourne 

EXHIBITED 

An Exhibition of Paintings by Lilly Karedada, Rosie 

Karedada & Ignatia Jangarra, Gallery Gabrielle Pizzi, 

Melbourne, 20 October – 7 November 1992, cat. no. 12 

$400–600 

32 

CLIFFORD BROOKS (BORN 1949) 

Lake Perceval 2007 


40.5 x 51cm 

PROVENANCE 

Birriliburu Artists, Tjukurba Gallery, WA 

$600–900 

31

24 

33 

JIMMY NGALAKUN (BORN 1946) 

Lorrkon 

natural earth pigments on wood 

210.5cm high, 18cm diameter 

$1,800–2,500 

34 

KAY LINDJUWANGA (BORN 1945) 

Mimih Spirit 2003 

natural earth pigments on carved wood 

Maningrida Art & Culture cat. no. 3521-03 

175cm height 

PROVENANCE 

Maningrida Arts & Culture, NT 


William Mora Galleries, Melbourne, 2005 

$1,500–2,500 

35 

JAMES IYUNA (1959-2016) 

Mimih Spirit 2006 

natural earth pigments and pvc fixative on 

carved beach hibiscus wood 

Alcaston Gallery cat. no.: AK13431 

144cm high 

PROVENANCE 

Alcaston Gallery, Melbourne, 2007 


EXHIBITED 

James Iyuna & Melba Gunjarrwanga, Alcaston 

Gallery, Melbourne, 30 March – 24 April 2007 

$800–1,200 

36 

GORDON PAPUNGUMIRRI 

Bird 2001 

natural earth pigments on carved ironwood 

cat. no. 828-01 

92.5cm high 

PROVENANCE 

Tiwi Design, NT 



$800–1,200 

33 34 35

25 

37 

JACK LARANGGAI 

Ancestral Spirit Figure 1992 

natural earth pigments on wood and feathers 

cat. no. JL0432 

208cm high, 18cm wide, 19cm deep 

PROVENANCE 


$800–1,200 

38 

BUSHMAN PUAUTJIMI (TIWI ISLANDS) 

Bird 

natural earth pigments on carved wood 

55.5cm high 

$500–800 

39 

SAMUEL POANTIMULUI (BORN 1939) 

Tokwampini (Bird) Pole 2003 

natural earth pigments on ironwood 

109cm high, 13cm diameter 

PROVENANCE 


$1,000–1,500 

40 

CRAIG KOOMEETA (BORN 1977) 

Dingo Pup 2007 

acrylic and natural earth pigments on milkwood 

29cm high, 49cm wide, 10.5cm deep 

PROVENANCE 


$1,200–1,800 

40

26 

41 

41 

DONALD MOKO (BORN 1928) 

Camel Creek 2004 


inscribed with cat. no. verso: 

DONALD MOKO / SHORT ST GALLERY, BROOME / #2506 

106 x 166.5cm 

PROVENANCE 

Short St Gallery, Broome 


Arthouse Gallery, Sydney 

EXHIBITED 

Bidyadanga, Arthouse Gallery together with Short Street 

Gallery, Sydney, 8 March – 1 April 2006 

$2,500–3,500

27 

42 

42 

DAISY ANDREWS (1934-2014) 

Lumpu Lumpu 2001 


inscribed and cat. no. verso: DAISY ANDREWS / 

LUMP LUMPU / MANGKAJAR ARTS PC 031-01 

40.5 x 45.5cm 

PROVENANCE 

Mangkaja Arts Resource Agency, Fitzroy Crossing, WA 

Short St. Gallery, Broome, WA 

$800–1,200 

43 

BILLY BENN PERRURLE (1943-2012) 

Artetyerre 2008 



Benn Penn / Mwerre Anthurre Artists Bindi Inc. / BB080816 

15 x 29.5cm 

PROVENANCE 

Bindi Inc., Mwerre Anthurre Artists, Alice Springs 



EXHIBITED 

Bindi Artists 2008, Gallery Gabrielle Pizzi in association 

with Bindi Inc., Melbourne, 21 October – 15 November 2008 

$1,500–2,500

28 

44 

44 

DAISY ANDREWS (1934-2014) 

Lumpu Lumpu 

acrylic on paper 

56.5 x 74.5cm 

PROVENANCE 

Mangkaja Arts Resource Agency, Fitzroy Crossing, WA 

$600–800

29 

45 

45 

MARIE SHILLING 

Landscape 2005 


inscribed verso and cat. no. verso: 

Marie Shilling / TIT05MS1264C / AM2502/05 

60 x 91cm 

PROVENANCE: 

Titjikala Art Centre, Alice Springs, NT 


Art Mob, Hobart 

$800–1,200 

46 

LANCE JAMES (BORN 1965) 

Purple Horse 


inscribed and cat. no. verso: Lance James / 

Mwerre Anthurre Artists Bindi Inc. / LJ100202 

19.5 x 37cm 

PROVENANCE 

Bindi Inc., Mwerre Anthurre Artists, Alice Springs 

$250–450

30 

47 

47 

JAMES SMEATON (BORN 1964) 

Epoch I 2008 


signed, dated and titled verso: 

James Smeaton 2008 / EPOCH I 

120 x 90cm 

PROVENANCE 

Scott Livesey Galleries, Melbourne 2009 

EXHIBITED 

The Red Sea / Devilbend, Scott Livesey Galleries, 

Melbourne, 29 April – 24 May 2009 (illus.) 

$1,500–2,500

31 

48 

48 

JAN SENBERGS (BORN 1939) 

Bushland at Stringybark Creek I 2019 

acrylic on paper 

signed, dated and titled lower right and left: 

J Senbergs '19 / Bushland – at Stringy bark Creek I 

70 x 99.5cm 

PROVENANCE 


EXHIBITED 

Jan Senbergs: Not quite the last picture show, Niagara 

Galleries, Melbourne, 3 – 28 March 2020, cat. no. 20 

$1,000–1,500 

50 

MARK SCHALLER (BORN 1962) 

Girl I 1992 

mixed media and collage on board 

signed and dated lower right: Schaller 92 

40 x 30cm 

PROVENANCE 

Australian Galleries, Melbourne, 1992 

EXHIBITED 

Mark Schaller: Recent Paintings and 

Sculptures, Australian Galleries, Melbourne, 

14 September – 10 October 1992, cat. no. 16 

$300–500 

49 


Fertility Goddess 1989 

oil on board 

signed and dated upper right: Schaller '89 

45.5 x 32.5cm 

$300–500

32 

51 

52

33 

53 

51 

JOHN OLSEN (1928-2023) 

Papageno and the Birds 1992 

lithograph 

signed, dated, titled and editioned on margin: 

John Olsen 1992 / Papageno & the Birds / 21/50 

50.5 x 46cm 

$800–1,000 

52 

PASQUALE GIARDINO (BORN 1961) 

Creek 1992 

oil on canvas 

signed lower left: Pasquale 


Pasquale Giardino 1992 / Creek 

82 x 68.5cm 

$600–900 

53 


Premonition 2003 

oil on canvas 

signed lower centre: Pasquale 


Giardino Pasquale / 2003 / Premonition 

76 x 198.5cm 

PROVENANCE 

Metro 5 Gallery, Melbourne, 2003 

EXHIBITED 

Pasquale Giardino, Metro 5 Gallery, Melbourne, 29 

October – 16 November 2003, cat. no. 23 

$1,500–2,500 

54 


Black Lily 

oil on canvas 

signed lower right: Pasquale 

122.5 x 91.5cm 

$1,000–1,500

34 

55 

RAY HAYDON (BORN 1950) 

Flux 2260 2011 

copper 


PROVENANCE 

Scott Livesey Galleries, Melbourne 

EXHIBITED 

Ross Laurie, Ray Haydon + Adam Lester, Scott Livesey 

Galleries, Melbourne, 13 July – 6 August 2011, cat. no. 18 

$3,000–5,000 

56 


Untitled (Abstract Figures) 1992 

acrylic and oil on card 

signed and dated lower centre: Pasquale Giardino 92 

55 x 37.5cm 

$400–600 

55

35 

57 

JULIA CICCARONE 

(BORN 1967) 

Listen 2011 

oil on linen 

signed and dated lower right: 

Julia Ciccarone 2011 

32 x 33cm 

PROVENANCE 


(label verso) 

$1,200–1,800 

57 

58 

JULIA CICCARONE 

(BORN 1967) 

Untitled (Interior) 2014 

oil on linen 


Julia Ciccarone 

33 x 33cm 

PROVENANCE 


$1,200–1,800 

58

36 

59 

60

37 

61 

59 

EUAN MACLEOD (BORN 1956) 

Study for Dinghy and Rocks 2015 

oil on canvas 


EUAN MACLEOD 2015 / STUDY - DINGHY + ROCKS 

36.5 x 51cm 

PROVENANCE 


$1,000–2,000 

60 

JAMES SMEATON (BORN 1964) 

The Seafarer II 2010 


titled, inscribed, signed and dated verso: 

The Seafarer II / James Smeaton / 2010 

62 x 120.5cm 

PROVENANCE 

Scott Livesey Galleries, Melbourne, 2011 

EXHIBITED 

James Smeaton: Voyage, Scott Livesey Galleries, 

Melbourne 6 – 30 April 2011, cat. no. 7 

$800–1,200 

61 

EUAN MACLEOD (BORN 1956) 

Lying with Penguins 2011 

oil on canvas 


EUAN MACLEOD 2011 / LYING WITH PENGUINS 

38 x 51cm 

PROVENANCE 


$1,500–2,500 

62 

EUAN HENG (BORN 1945) 

Untitled (Pitch) 2012 

pencil, watercolour and mirror on paper 

31 x 27.5cm 

PROVENANCE 


$800–1,200

38 

63 

63 


Reclining Nude 1996 

oil on board 

signed and dated lower left: Schaller / 96 

61 x 27.5cm 

PROVENANCE 

Australian Galleries, Melbourne 

$400–600 

64 

64 

MARK OSTELL 

Lucy in Hat 1992 

oil on canvas 

signed and dated lower left: Ostell / 92 

70 x 56cm 

PROVENANCE 


$600–1,000

39 

65 

65 


Dinner Party 1992 

oil on canvas 

signed and dated upper right: Pasquale 92 

122.5 x 91.5cm 

$1,000–1,500 

66 


Picnic Races Hanging Rock 1993 

mixed media on paper 

signed and dated lower right: Pasquale Giardino 1993 

55 x 37.5cm 

$300–500

40 

67 

68 

67 

GILLIAN LODGE (BORN 1954) 

No Smoking, 1996 

oil on wood 

signed and dated on right border: GILLIAN LODGE '96 

23.5 x 36cm 

PROVENANCE 

Libby Edwards Gallery, Melbourne (label verso) 

$200–400 

68 

HENRI BASTIN (1896-1979) 

Stanthorpe Granite Bell, Queensland 1975 

oil on board 

signed and dated lower right: HENRI BASTIN 1975 

16.5 x 28cm 

PROVENANCE 

Australian Galleries, cat. no. 10145 (label verso) 

Leonard Joel, Melbourne, Australian and European 

Paintings, 3 November 1993, Lot 336 

$1,000–1,500

41 

69 

69 

HENRI BASTIN (1896-1979) 

Untitled (Landscape) 1967 

oil on board 

signed and dated lower right: HENRI BASTIN 1967 

59.5 x 90cm 

$4,000–6,000 

70 


William Buckland and Bride 2005 

oil on canvas 

signed and dated lower right: GILLIAN LODGE / FEB 2005 

45.5 x 61cm 

$400–600 

71 

KATHERINE YATES 

Changing the Guard 

watercolour on paper 

signed lower right: K. Yates 

11.5 x 12.5cm 

$200–400 

72 

KATHERINE YATES 

School Outing 1994 

oil on board 

signed and dated lower left: K YATES '94 

6.5 x 16.5cm 

EXHIBITED 

The Chelsea Art Society London (label verso) 

$400–600

42 

73 

Other Collections 

73 

MARIAN ELLIS ROWAN (1848-1922) 

Flowering Cordylines 

watercolour and gouache on paper 

signed lower centre: Ellis Rowan 

75 x 53.5cm 

PROVENANCE 

Arthur and Barbara Menzies, California, Thence by descent 

Private Collection, California 

Bonhams, Sydney, Important Australian Art, 


Private Collection, Melbourne 

$9,000–12,000 

74 

VIOLET TEAGUE (1872-1951) 

Night Fall in the Ti-Tree 

colour woodcut 

24.5 x 17cm 

PROVENANCE 

Douglas Stewart Fine Art, Melbourne 

Private Collection, Canberra 

$2,500–3,500

43 

75 

75 

IDA RENTOUL OUTHWAITE (1888-1960) 

We Filled the Shells with a Beautiful Oil, 

Brought from Across the Sea circa 1924 

watercolour 

initialled lower right: I.R.O 

37 x 30.5cm 

PROVENANCE 

Commissioned by The British Imperial Oil Co. Ltd. 


Thence by descent 

LITERATURE 

The Sentry and the Shell Fairy, 

George Martin & Ida Rentoul Outhwaite & British 

Imperial Oil Co. 1924, Gowan Anderson Pty. Ltd., 

Melbourne, 1924 p. 9 (illustrated) 

The Shell Fairy Calendar 1924 – 1925, 

British Imperial Oil Co. Ltd, Melbourne, 1924 

(colour illustration, unpaginated) (titled as 

'Fairies filling Shells with Shell Lubricating Oil.') 

$22,000–25,000

44 

76 

76 


Australian Landscape 


signed lower left: Ellis Rowan 

19.5 x 39cm 

PROVENANCE 


$3,000–5,000 

77 

77 


Hill Side 



24.5 x 17cm 

PROVENANCE 


$3,000–5,000

45 

78 

78 

EMILY HILDA RIX NICHOLAS (1884-1961) 

Moroccan Street Scene 

crayon and pastel on paper 

signed lower left: E H Rix 

37 x 27.5cm 

PROVENANCE 

Leonard Joel, Autumn Auction, Melbourne, 10 May 2004, Lot 226 

Private Collection, Victoria 

$8,000–12,000

46 

79 

ARTHUR STREETON 

(1867-1943) 

Amiens 1918 


signed, dated and titled lower right 

and left: A STREETON 1918 / AMIENS 

39.5 x 49.5cm 

PROVENANCE 

Sotheby's Australia, Melbourne, 


Private Collection, Brisbane 

Leonard Joel, Fine Art, Melbourne, 

2 June 2020, Lot 25 


LITERATURE 

The Arthur Streeton Catalogue, 

Arthur Streeton, Melbourne, 1935, 

cat. no. 586 

$6,000–9,000 

79 

80 

80 

CONRAD MARTENS 

(1801-1978) 

Exmouth Harbour 1831 


signed and dated verso: 

Conrad Martens Aug 1831 

29 x 40.5cm 

PROVENANCE 

Shapiro Auctioneers, Sydney, English 

and Continental Furniture, Silver, 

Paintings and Decorative Arts, 

23 February 2020, Lot 103 


$1,500–2,500

47 

81 

81 

ARTHUR COLLINGRIDGE (1853-1907) 

Children on the Hawkesbury River, 1891 

oil on canvas 

signed and dated lower right: A. Collingridge / 91 

100 x 75cm 

PROVENANCE 

Royal Art Society of NSW, Sydney, circa 1972 

(label attached verso) 

Private Collection, Sydney, Thence by descent 

Private Collection, Sydney 

Deutscher and Hackett, Important Australian + International 

Fine Art Auction, Melbourne, 30 April 2014, Lot 80 


$8,000–12,000

48 

82 

82 

FREDERICK MCCUBBIN (1855-1917) 

Summer Haze 1916 

oil on canvas 

signed and dated lower right: F McCubbin / 1916 

bears inscription on gallery label verso: 

Late Fred McCubbin / 'Summer Haze' 

46.0 x 58.5cm 

PROVENANCE 

The Sedon Galleries, Melbourne (label attached verso) 

Joseph Brown Gallery, Melbourne 

Henry Krongold, Melbourne, 

acquired from the above in June 1989 

The Estate of Paul Krongold, Melbourne 

$50,000–80,000 

83 

HANS HEYSEN (1877-1968) 

A Promise of a Fine Autumn Day, 1953 


signed and dated lower right: Hans Heysen 53 

32 x 39cm 

PROVENANCE 

Acquired from the artist 


$15,000–25,000 

84 

JAMES WALTHAM CURTIS (1839-1901) 

Droving Home 1889 

oil on board 

signed and dated lower left: J W CURTIS 89 

28.5 x 48.5cm 

PROVENANCE 


$1,500–2,500

49 

83 

84

50 

85 

86

51 

87 

85 

WILLIAM COLLINS (BRITISH, 1788-1847) 

Figures on the Beach 1847 

oil on canvas 

signed and dated right: W Collins 1847 

24.5 x 30cm 

PROVENANCE 


$800–1,200 

86 

WILLIAM LISTER LISTER (1859-1943) 

Incoming Tide 

oil on canvas 

signed lower left: W LISTER LISTER 

87.5 x 132.5cm 

PROVENANCE 

Lawson~Menzies, Sydney, Paintings, 31 July 2006, Lot 313 


$2,000–4,000 

87 

THOMAS WRIGHT (1830-1881) 

Ellen's Head, Phillip Island, 1874 

oil on canvas 

signed and dated lower left: Thos Wright 1874 

61 x 91.5cm 

PROVENANCE 

Private Collection 

Australian & International Art, Davidson Auctions, Sydney, 

15 August 2009, Lot 50 (as 'Fishing Boats on a Rugged 

Australasian Coast') 


EXHIBITED 

The Fourth Exhibition of the Victorian Academy of Arts, 

Melbourne, 30 July – 10 October 1874, cat. no. 17 

LITERATURE 

'The Victorian Academy of Arts: Third Notice', 

The Argus, Melbourne, 15 August 1874, p.5 

OTHER NOTES 

Original Frame, Isaac Whitehead, Melbourne. 

$25,000–35,000

52 

88 

88 

THOMAS ROSE MILES (ENGLISH, 1844-1916) 

Galway Bay 1880 

oil on canvas 

signed lower left: T R Miles 

inscribed and titled verso: 

'Waiting for the Boats' Morning, Galway Bay 

74.5 x 124cm 

PROVENANCE 

Evan Mackley Antiques, Melbourne 


$3,000–5,000 

89 

JOHN F SALMON 

Loch Striven 

oil on board 

24.5 x 29.5cm 

PROVENANCE 


$1,500–2,500

53 

90 

90 

HENRY HAINSSELIN (1815-1886) 

Waiting for the Boat, (Departing for Australia), c.1855 

oil on canvas 

signed lower left: Hainsselin 

36.5 x 26cm 

PROVENANCE 

Christie's, London, 23 May 2002, Lot 300 


$20,000–30,000

54 

91 

91 

WILLIAM B. MCINNES (1889-1939) 

Pioneers, circa 1934 

oil on board 

signed with initials lower left McI 

inscribed verso: T[he] Animal [illeg.] 

bears inscription verso: 

Painted by / McInnes / for / Mr D Weaver 

60 x 51cm 

PROVENANCE 

Commissioned as the annual cover picture for 'Table Talk' 

magazine 1934 published in Melbourne by The Herald 


Shapiro Auctioneers, Sydney, 22 March 2015 


LITERATURE 

Magazine, Table Talk; 'Centenary Review' issue, 

printed by Edgar H. Baillie, Melbourne, 1 August 1934 

(illustrated, front cover) 

$3,000–5,000

55 

92 

92 

JAN HENDRICK SCHELTEMA (1861-1941) 

The Swagman and The New Chum 

oil on canvas 

signed lower right: J.H Scheltema 

49.5 x 74.5cm 

PROVENANCE 

Raffan Kelaher & Thomas, Sydney, 

Fine & Decorative Arts, 21 July 2021, Lot 10 


$8,000–12,000 

During the late 19th century, Australia experienced 

economic struggles that saw many banks close, wool 

production rapidly decline, and mass livestock fatality 

due to drought. The following decade-long economic 

depression resulted in a widespread food crisis affecting 

families from all socioeconomic backgrounds. Despite 

these desperate and challenging times, there was an 

unprecedented influx of young migrant men seeking 

new prospects. Referred to as ‘New Chums’ by the more 

seasoned squatters and pastoralists- this term was 

delivered with colloquial larrikinism, describing a quixotic 

newcomer yet to discover the hardship and reality of 

Australian colonial life. 

The Swagman and The New Chum, is an atypical painting 

by Dutch-born artist J H Scheltema, offering us a rare 

glimpse of daily life in the late 1800s. As a recent migrant 

himself, his painting provides valuable context to the 

socio-economic atmosphere from this period. 

Unlike many of his peers, Scheltema was fortunate 

not to be affected by this economic shift. Early on in 

his Australian career, he was recruited by artist and 

teacher Charles Rolando (1844-1893) as an assistant 

and collaborator. Between 1889-1893 Rolando funded 

several joint painting trips throughout rural Victoria, 

passing through Gippsland and other local regions. 

Under the elder's pedagogy Scheltema was introduced 

to an elite circle of Melbourne art collectors and peers, 

grounding him in the Australian market. Scheltema 

quickly rose to fame locally and abroad for his landscape 

paintings showcasing cattle and agricultural scenes. 

The Swagman and The New Chum is a unique 

composition for the artist, depicting a dialogue between 

two subsets of colonial society. The camaraderie in 

this encounter shows a transition from young to old, 

the prevailing battler, somewhat beaten and worn, 

instructing the naive and optimistic ‘new chum’ on local 

topography. The relaying of knowledge by word of mouth 

was crucial to survival in the unfamiliar landscape that 

was formidable to European sentimentalities. This work 

is a masterful legacy of an artist who has retained a 

commanding pictorial presence in Australian art history.

56 

93 

93 

SCHOOL OF JOHN GLOVER 

Landscape 

oil on canvas 

inscribed verso by Vernon Hodgman, former curator of the 

Tasmanian Museum and Art Gallery, Hobart, 1971 

45.5 x 60cm 

PROVENANCE 

Private Collection, Tasmania 

Acquired from the above, Private Collection, Melbourne 

Menzies, Melbourne, Menzies, Australian & International 

Fine Art & Sculpture, 27 February 2020, Lot 82 


$8,000–12,000 

94 

ARNESBY BROWN (BRITISH, 1866-1955) 

The End of the Shower, circa 1893 

oil on canvas 

signed lower right: ARNESBY BROWN 

90 x 121cm 

PROVENANCE 


EXHIBITED 

The Royal Academy, London, 1893 

$3,000–5,000 

95 

HENRY LEONARDUS VAN DEN HOUTEN 

(DUTCH/AUSTRALIAN, 1801-1879) 

Pioneers Cottage, Bridge and Stream, 1861 

oil on canvas 

signed and dated lower left: H L v.d. Houten / 1861 

51 x 69cm 

PROVENANCE 

Mossgreen Auctions, Armadale, 30 May 2017, Lot 545 


Leonard Joel, The Collectors Auction, Sydney, 

22 July 2021, Lot 158 


$3,000–5,000 

96 

ARNOLD MARC GORTER (DUTCH, 1866-1933) 

Spring Landscape 

oil on canvas 

signed lower right: A.M. Gorter 

59.5 x 90.5cm 

PROVENANCE: 


$4,000–6,000

57 

95 

96

58 

97 

GEORGE SMITH 

(BRITISH, 1829-1901) 

The Knitting Lesson 1884 

oil on canvas 


George Smith 1884 

inscribed verso: 

George Smith / The Knitting Lesson 

75.5 x 62.5cm 

PROVENANCE 


$2,000–3,000 

97 

98 

98 

LUDWIG VOLLMAR 

(GERMAN, 1842-1884) 

Family Gathering 

oil on canvas 

signed and inscribed lower right: 

Ludwig Vollmar. München. 

63 x 80.5cm 

PROVENANCE 


$3,000–5,000

59 

99 

99 

JANOS LASZLO ALDOR 

(HUNGARIAN, 1895-1944) 

Hungarian Girl 1933 

oil on canvas on board 

signed and dated lower right: ALDOR JL 33 

82.5 x 73cm 

PROVENANCE 


$1,500–2,500 

100 

JOHAN MARI HENRI TEN KATE 

(DUTCH, 1831-1910) 

Winter Marketplace 

oil on canvas 

signed lower right: J M ten Kate 

56.5 x 106cm 

PROVENANCE 



$2,000–4,000

60 

101 

ANNA CLAYPOOLE PEALE 

(AMERICAN, 1791-1878) 

Lady in a Turban (circa 1817) 

oil on canvas 

74.5 x 62cm 

PROVENANCE 



$3,000–5,000 

102 

EUROPEAN SCHOOL 

Figures Outside the Village and 

Ladies Working by the River 

pair of oil on panel 

39.5 x 51cm (each) 

PROVENANCE 


$1,600–2,400 

101 

102 

103

61 

104 

103 

JEAN PILLEMENT 

(1728-1808) 

Classical Landscapes 

with Figures 

pair of oil on canvas 

33 x 44.5cm (each) 

PROVENANCE 


$2,500–3,500 

104 

TUDOR ST GEORGE TUCKER 

(1862-1906) 

Day Dreams circa 1892 

oil on canvas 

signed lower left: T. S. G. Tucker 

45 x 54.5cm 

PROVENANCE 


Sotheby's, Melbourne, 17 April 1989, 

Lot 374 (as 'Sleeping Nymph') 

Henry Krongold, Melbourne 

The Estate of Paul Krongold, 

Melbourne 

EXHIBITED 

Victorian Artists' Society Exhibition 

of paintings, sculpture & drawings, 

Victorian Artists' Society, Melbourne, 

April 1893, cat. no. 40 

Victorian Artists' Society Exhibition 

of Australian Art past and present, 

National Gallery of Victoria, 

Melbourne, August 1893, cat. no. 118 

LITERATURE 

Art and artists: Mr. Tudor 

St. G. Tucker, Table Talk, Melbourne, 

26 August 1892, p. 6 

Victorian Artist's Society, The Argus, 

Melbourne, 20 April 1893, p. 7 

$20,000–30,000

62 

105 

106 

105 

EDWARD HENRY CORBOULD 

(BRITISH, 1815-1905) 

The Fairy Wedding 

oil on canvas 

signed lower right: EDW H CORBOULD 

29.5 x 97.5cm 

PROVENANCE 

Bonhams, London, Fine Art & Antiques, 

10 September 2014, Lot 151 


$1,500–2,500 

106 

EUROPEAN SCHOOL (AFTER WATTEAU) 

Music Lesson and Classical Figures 

pair of oil on panel 

23 x 30cm (each) 

PROVENANCE 


$1,500–2,500

63 

107 

107 

AFTER GIUSEPPE BARTOLOMEO CHIARI 

The Rest on the Flight into Egypt 

oil on canvas 

120 x 96cm 

PROVENANCE 



$20,000–30,000 

108 

AFTER PETER PAUL RUBENS 

The Newborn Child 

oil on metal 

22 x 16.5cm 

PROVENANCE 


$1,500–2,500

64 

The Estate of 

Daniel and Ioanna 

Ellerington, 

Melbourne 

109 

WILLIAM E FROST 

(BRITISH, 1810-1877) 

Young Girl with Deer 

watercolour 

33 x 21cm 

$1,000–2,000 

109 

110 

110 

MAURICE GRIEFFENHAGEN 

(BRITISH, 1862-1931) 

The Doves 

oil on board 

titled on label verso: The Doves 

88 x 87.5cm 

PROVENANCE 

The Arts Exhibitions Bureau, London (label verso) 

EXHIBITED 

The Fine Art Society, London, March 1973, 

cat. no. 4939 (label verso) 

$8,000–12,000

65 

111 

111 

STEFAN LUCHIAN (ROMANIAN, 1868-1916) 

Head of a Young Woman with Flowers 

oil on panel 

signed lower left: Luchian 

26 x 40cm 

$25,000–35,000

66 

112 113 

112 

HERBERT TURRELL 

First Fruits 1910 

watercolour 

signed and dated lower right: HERBERT TURRELL 1910 

20 x 11cm 

$1,000–2,000 

113 

RONALD OSSORY DUNLOP (IRISH, 1894-1973) 

The Bathers 


signed lower right: Dunlop 

43.5 x 32.5cm 

$800–1,200

67 

114 

114 

ELISABETH FRINK (1930-1993) 

Pheasant 

watercolour 

signed lower right: Frink 

60 x 45cm 

$8,000–12,000

68 

115 


115 

AMBROSE MCCARTHY PATTERSON 

(1877-1967) 

The Farm Cottage 

oil on board 

signed lower left: A. Patterson 

26.5 x 35.5cm 

PROVENANCE 

The Graham Joel Collection, 

Gibson's Auctions, 18 July 2020, Lot 160 


$4,000–6,000 

116 

ROBERT JOHNSON (1890-1964) 

The Road Home 

oil on board 

signed lower left: Robert Johnson 

37 x 44.5cm 

PROVENANCE 


$1,200–1,800

69 

117 

117 

LLOYD REES (1895-1988) 

Homestead, 1933 

pencil on paper 

signed and dated lower left: L. REES / 1933 

13 x 18cm 

PROVENANCE 



$12,000–18,000 

118 

HAROLD HERBERT (1892-1945) 

Blue Hills 


inscribed, signed and dated lower right: 

To my friend John Shirlow / from Harold Herbert /1928 

35 x 49cm 

PROVENANCE 


$1,000–1,500

70 

119 

ALICE M E BALE (1875-1955) 

The Studio Window 

oil on canvas 

signed lower right: A M E BALE 

titled verso: THE STUDIO WINDOW 

39.5 x 35cm 

PROVENANCE 

High Street Gallery, Melbourne 


$2,000–4,000 

120 

MARIAN ELLIS ROWAN 

(1848-1922) 

Thistles 

watercolour 


27 x 19cm 

PROVENANCE 


$800–1,200 

119 

121 

121 

ROLAND WAKELIN (1887-1971) 

Country Hall circa 1935 

oil on board 

44 x 54cm 

PROVENANCE 

Bequeathed by the Artist to 

The Royal Blind Society, Sydney 

Geoff K Gray Auctioneers & Valuers, 

Sydney, 18 April 1983, Lot 13 


$1,200–1,800

71 

122 

122 

DONALD FRIEND (1915-1989) 

Malay Town, Cairns 1942 

oil on board 

signed and dated lower right: DONALD 42 

44 x 63.5cm 

PROVENANCE 

Deutscher and Hackett, Works from the Donald Friend 

Collection including Bali and Southeast Asia, Sydney, 

27 October 2013, Lot 15 


EXHIBITED 

Exhibition of Paintings by Donald Friend, 

Macquarie Galleries, Sydney, 20 May-1 June 1942, 

cat. no. 7 (as 'Malaytown, Cairns') 

$30,000–40,000

72 

123 

123 

RAY CROOKE (1922-2015) 

Thursday Island Natives 

oil on canvas 

signed lower left: R Crooke 

60 x 75cm 

PROVENANCE 

Barry's Fine Art Gallery, Surfers Paradise 


$10,000–15,000 

124 

LAWRENCE DAWS (BORN 1927) 

Mandala 

oil on board 

signed lower right: DAWS 

59.5 x 75cm 

PROVENANCE 

Bonhams & Goodman, Australian and International Art, 



$2,000–4,000

73 

125 

125 


The Black's Hut 1965 

oil on canvas 

signed and dated lower right: DONALD FRIEND 65 

24.5 x 29cm 

PROVENANCE 

The Johnstone Gallery, Brisbane 

Private collection, Queensland, circa 1970 


Menzies, Melbourne, Australian & International Fine Art, 

10 August 2017, Lot 2 


$8,000–10,000

74 

126 

SIDNEY NOLAN (1917-1992) 

Kelly Head and Carcase in Tree 

(Dust Series) 

sepia etching and crayon 

signed with initial lower right: n 

63 x 48cm 

PROVENANCE 


$3,000–5,000 

127 

SIDNEY NOLAN (1917-1992) 

Kelly Head and Camel Cart 

(Dust Series) 

sepia etching and crayon 

signed with initial lower right: n 

64.5 x 48.5cm 

PROVENANCE 


$3,000–5,000 

126 

128 

128 

ROBERT DICKERSON (1924-2015) 

Girl's Face 

pastel 

signed lower right: Dickerson 

38.5 x 28cm 

PROVENANCE 


$3,000–5,000

75 

129 

129 

JUSTIN O'BRIEN (1917-1996) 

Fragments circa 1968 

oil on composition board 

signed lower right: O'BRIEN 

35 x 50.5cm 

PROVENANCE 

Macquarie Galleries, Sydney (label verso) 

Private Collection, Melbourne, acquired from the above in 1968 

Private Collection, Melbourne, acquired from the above in 1993 

Deutscher and Hackett, Twenty Classics of Australian 

Art + Important Australian & International Fine Art, 

Melbourne, 11 November 2020, Lot 57 


EXHIBITED 

Recent Paintings and Drawings by Justin O'Brien, 

Macquarie Galleries, Sydney, 16–28 October 1968, cat. no. 25 

$12,000–18,000

76 

130 

130 

ALBERT TUCKER (1914-1999) 

Bush 1963 

oil on board 

signed and dated lower right: Tucker 63 

inscribed on label verso: Albert Tucker / Bush 

60 x 80cm 

PROVENANCE 

Australian Galleries, Melbourne (label verso) 


$15,000–25,000

77 

131 

131 

JOHN PERCEVAL (1923-2000) 

Landscape with Sheep 1958 

oil on composition board 

signed and dated lower left: Perceval '58 

60.0 x 75.5cm 

PROVENANCE 

Artlovers Gallery, Sydney (label attached verso) 


Sotheby's, Sydney, 17 November 1988, Lot 426 



EXHIBITED 

John Perceval: A Retrospective Exhibition, National 

Gallery of Victoria, Melbourne, 30 April – 12 July 

1992; Art Gallery of New South Wales, Sydney, 

6 August – 20 September 1992 (label attached verso) 

LITERATURE 

Allen, T., John Perceval, Melbourne University Press, 

Melbourne, 1992, p. 159 

$60,000–80,000

78 

132 

PAUL BOSTON (BORN 1952) 

Head 2006 

acrylic and plaster on board 

92 x 64.5cm 

PROVENANCE 

Niagara Galleries, Melbourne 


EXHIBITED 

Inverted Relief Paintings, 

Niagara Galleries, Melbourne, 

29 August–30 September 2006, cat. no. 6 

LITERATURE 

Inverted Relief Paintings, exhibition 

catalogue, Niagara Publishing, 

Melbourne, 2006 (illustrated) 

$4,000–6,000 

132 

133 

133 

JOHN MILLER (BORN 1951) 

The Strand 2003 

oil on board 

signed, dated and titled verso: J Miller 

2003 / 'THE STRAND' MELBOURNE 

61 x 76cm 

PROVENANCE 


(label verso) 


EXHIBITED 

Australian Galleries, Melbourne, 

John Miller – Between Towns, 

9 – 28 March 2004 (illus.) (exhibition 

catalogue accompanies this lot) 

$600–900

79 

134 

134 

JOHN KELLY (BORN 1965) 

Bird Rock 1991 

oil on canvas 

signed and dated lower right: Kelly 91 

90.5 x 120.5cm 

PROVENANCE 

Corporate Collection, Melbourne 

Christie's, Melbourne, 22 August 2005, Lot 170 


Lawson~Menzies, Sydney, 

Quarterly Fine Art Auction, 11 August 2011, Lot 87 


$5,000–8,000 

135 

TIM MAGUIRE (BORN 1958) 

Untitled 97U13 1997 

oil on canvas 


Maguire '97 / Untitled 97U13 

81 x 80cm 

PROVENANCE 

Andreas Binder Gallery, Munich 

Private Collection, Miami, USA 

Bruce Kodner Galleries, Florida, USA 


EXHIBITED 

Last Days of the Comet, Galerie Andreas Binder, Munich, 

Germany, 1997 

$7,000–10,000

80 

136 

MARK DOUGLASS (BORN 1964) 

Thinking like a Surrealist 2001 

oil on canvas 

signed, dated and titled verso: Mark Douglass 

01 'THINKING LIKE A SURREALIST' 

150 x 190cm 

PROVENANCE 


$2,000–4,000 

137 

JOHN OLSEN (1928-2023) 

Domestic, 1976 

ink on paper 

signed and dated lower left: John / Olsen / 76 

98 x 65cm 

PROVENANCE 

Irving Laffner, Melbourne 


$8,000–10,000 

137 

138 

138 

JULES SHER (BORN 1934) 

Riverbank Fire and Star Reflection 2001 


signed and dated lower right: Julius Sher 2001 


Julius Sher / Dec 2001 / 

'RIVERBANK FIRE & STAR REFLECTION' 

115 x 110cm 

PROVENANCE 


$2,000–4,000

81 

139 

139 

BRENT HARRIS (BORN 1956) 

Untitled, 1981 

oil on canvas 

signed and dated verso: BRENT HARRIS / 81 

122 x 154cm 

PROVENANCE 

Acquired directly from the artist 


$2,000–3,000 

140 

DEBORAH HALPERN (BORN 1957) 

Head 1991 

painted and glazed ceramic 

signed and dated to base: Deborah D Halpern 91 

79cm high, 19.5cm wide, 16.5cm deep 

PROVENANCE 


$4,000–6,000

82 

141 

142

83 

143 

141 

BRUNO LETI (BORN 1941) 

Ornamental Lake No. 2. 1985 

oil on canvas 

signed lower right: Bruno Leti 


Bruno Leti 1985 / 'ORNAMENTAL LAKE No. 2' 

136.5 x 172cm 

PROVENANCE 


EXHIBITED 

(Possibly) Recent Paintings, Gerstman Abdullah Fine Arts 

International, Melbourne, 1986 

$1,500–2,500 

143 

SUSAN NORRIE (BORN 1953) 

Every Morning (Bali Series) 2009 


Susan Norrie / 2009 / BALI Series. / EVERY MORNING 

170 x 240cm 

PROVENANCE 

Mori Gallery, Sydney 


Bay East Auctions, The Art & Book Sale, Sydney, 

07 October 2012, Lot 103 


$10,000–15,000 

142 

GRAEME DRENDEL (BORN 1953) 

Untitled (Standing Men) 2011 

oil on canvas 

signed and dated lower right: DRENDEL 2011 

53.5 x 68.5cm 

PROVENANCE 


$2,000–4,000

84 

144 

144 

PETER TYNDALL (BORN 1951) 

Ehh 1973 


inscribed verso: COMPLETED ON 27/1/'73 FOSTERBILLE 

INSTITUTE OF / APPLIED & PROGRESSIVE CULTURAL 

EXPERIENCE / FOSTERBILLE BY PETER TYNDALL 

Ehh. is a sound, NOT A Word 

258 x 366cm 

PROVENANCE 

Powell Street Gallery, Melbourne, 1973 

Colin Laverty Collection 

EXHIBITED 

Peter Tyndall, Powell Street Gallery, Melbourne, 

19 – 30 March 1973, cat. no. 1 

Peter Tyndall, Retrospective, Buxton Contemporary, 

9 December 2022 – 16 April 2023 

LITERATURE 

1973, Art: Patrick McCaughey, The Age, 21 March, p. 2 

Tyndall Peter et al. Peter Tyndall. 

Buxton Contemporary 2023 

$12,000–18,000

85 

145 

145 

BRUNO LETI (BORN 1941) 

Making the Slow Line Dip 

and Sway in its Motion 2000 

oil monotype on canvas 

signed, dated and titled verso: Bruno Leti 2000 

'Making the Slow line dip and Sway in its motion' 

157 x 111.5cm 

PROVENANCE 


$2,000–3,000

86 

146 

146 

QUEENIE MCKENZIE (1930-1998) 

The Archbishop from Broome 

at Frog Hollow Near Warmun, 1996 

natural earth pigments and ochre on canvas 

bears artist's name and title verso 

64 x 80.5cm 

PROVENANCE 


$10,000–15,000

87 

147 

147 


Yam Dreaming, 1995 


bears cat. no. and inscription verso: SS119734 / 

Emily Kame Kngwarreye / Yam Dreaming / 1995 / HS484 

91 x 61cm 

PROVENANCE 

Dacou Aboriginal Art (cat. no. SS119734) 

Private Collection, NSW 

Cooee Aboriginal Art, Sydney (cat. no. 19632) 


$28,000–35,000 

148 

MAKINTI NAPANANGKA (1922-2011) 

Hairstring Skirt 


inscribed and cat. no. verso: #01944 / MAKINTI 

NAPANANGKA / 'Hairstring Skirt' / Kintore 

122.5 x 91.5cm 

PROVENANCE 

Saltbush Gallery, Alice Springs 



$1,500–2,500

88 

149 

EMILY KAME KNGWARREYE 

(CIRCA 1909-1996) 

Bush Yam Dreaming 1994 


inscribed verso: Emily 

138 x 65cm 

PROVENANCE 

Saltbush Gallery, Alice Springs NT 

(accompanied by a certificate of 

authenticity) 

Private Collection, South Australia 

$7,000–10,000 

150 

TOMMY WATSON 

(CIRCA 1935-2017) 

Untitled 2015 

synthetic polymer on canvas 

inscribed verso with Yanda Art 

cat. no. YA201546 

181 x 123cm 

PROVENANCE 

Yanda Art, Alice Springs 

Art Index, Sydney 

$15,000–25,000 

151 

RONNIE TJAMPITJINPA 

(BORN 1943) 

Tingari Cycle 2001 



RONNIE / DB436 

201 x 273cm 

PROVENANCE 

The Peter and Renate Nahum 

Collection, London 

$3,000–5,000 

149

89 

150

90 

152

91 

153 

152 

PAULINE SUNFLY NANGALA (BORN 1957) 

Kutjupa 2005 


inscribed and cat. no. verso: Pauline Sunfly / 157/05 

100.5 x 50cm 

PROVENANCE 




$1,000–1,200 

153 

FREDDIE TIMMS (1944-2017) 

Horse Creek 2006 


inscribed and cat. no. verso: F TIMMS / FT259 

60 x 90cm 

PROVENANCE 

Our Land Gallery, Kununurra W.A. 



$5,000–7,000 

154 

GEORGE TJUNGURRAYI (BORN 1943) 

Tingari 2019 


201 x 179.5cm 

PROVENANCE 

Desert Masters, Justin Turner, Sydney 


$3,000–5,000

92 

155 

155 

EILEEN NAPALTJARRI (BORN 1956) 

Rockhole and Soakage Water Site of Tjiturrulpa 

circa 2006 


inscribed and cat. no. verso: EN0603122 / Eileen Napaltjarri 

122 x 122cm 

PROVENANCE 

Papunya Tula Artists Pty. Ltd, Alice Springs 



LITERATURE 

(related work) Hamiltons Gallery, Pintupi: 20 

Contemporary Paintings from Pintupi Homelands, 

exhibition catalogue, London, United Kingdom, 2006 

$3,500–4,500

93 

156 

156 


Woman's Dreaming 1993 


inscribed verso (wrapped around stretcher): 

Emily / MB1217 

104 x 177cm 

PROVENANCE 

Mbantua Gallery, Alice Springs 



EXHIBITED 

Lauraine Diggins Fine Art, Melbourne (label verso) 

$35,000–50,000 

157 

BEN BROWN TJANGALA 

Puyunkura 2000 



Papunya Tula Artists Pty Ltd / BB0011210 

56 x 61cm 

PROVENANCE 



William Mora Galleries, Melbourne (stamp verso) 


$500–800

94 

158 

158 

PAUL NABULUMO NAMARINJMAK (BORN 1971) 

Bandicoot 

natural earth pigments and ochre on eucalyptus bark 

inscribed with cat. no. verso: 451-11 

bears Maningrida gallery label verso 

45 x 96.5cm 

PROVENANCE 

Maningrida Arts & Culture, NT, circa 2014 



$1,000–1,500 

159 

WARLIMPIRRNGA TJAPALTJARRI 

(BORN CIRCA 1950) 

Grandfather's Country 2017 


inscribed verso: WARLT-319x208-IAG200 

312 x 208cm 

PROVENANCE 

Justin Turner, Sydney 



$12,000–18,000 

160 


Country near Lissadel Station Going Towards 

Texas Behind, 1996 


bears artists name and title verso 

65.5 x 128cm 

PROVENANCE 


$15,000–18,000 

161 


Rainbow Snake Wulunguwari Country, 1996 


bears artist's name and title verso 

64 x 78.5cm 

PROVENANCE 


$10,000–15,000

95 

160 

161

96 

162 

162 

RONNIE TJAMPITJINPA (BORN CIRCA 1943) 

Tingari Cycle 


inscribed verso: FG022055.RT / PVG8102 

215.5 x 152cm 

PROVENANCE 

Flinders Lane Gallery, Melbourne 


$8,000–10,000 

163 

KUDDTJI TJUNGURRAYI (BORN 1938) 

My Country 


inscribed and cat. no. verso: KUDDTJI / A3476 

128.5 x 80.5cm 

PROVENANCE 

Muk Muk Aboriginal Art, Alice Springs 

(photos of artist painting accompany this lot) 


$1,000–1,500

97 

164 

164 


Women's Dreaming 


inscribed and cat. no. verso: EMILY KAME KNGAWARREYE 

'WOMEN'S DREAMING' CAAMA 57789 

76 x 46cm 

PROVENANCE 

CAAMA, Alice Springs 

Anvil Gallery, Wodonga 


$6,000–8,000 

165 

WALANGKURA NAPANANGKA II 

(CIRCA 1946-2014) 

Women's Ceremony 


bears cat. no. AP929 and Art Index stamp verso 

130 x 95cm 

PROVENANCE 

SaltBush Gallery, NT 



$3,000–5,000

98 

166 

166 

JOSEPH JURRA TJAPALTJARRI (BORN 1953) 

TIngari Ancestors 2002 



JOSEPH JUKKA - 233 - NGINTAKA / JJAO601 / A.4028 

148.5 x 91.5cm 

PROVENANCE 

Aboriginal Fine Arts Gallery, Darwin 



$5,000–8,000

99 

167 

167 

TOMMY WATSON (CIRCA 1935-2017) 

Untitled 2015 


bears cat. no. TW201540 and inscription verso: 

YANNIMA PILKARLI TOMMY WATSON 

100 x 110cm 

PROVENANCE 



$8,000–12,000 

168 

BARNEY ELLAGA (1941-2015) 

Alawa Country 


inscribed with cat. no. verso: A1824 

122 x 79cm 

PROVENANCE 

Muk Muk Aboriginal Art, Alice Springs 

(photos of artist painting accompany this lot) 


$1,000–1,500

100 

169 

169 

DAVID BOYD (1924-2011) 

After the Fire 2002 

oil on board 

signed lower left: David Boyd 

dated lower right: 2002 

titled and inscribed, signed and dated verso: 

'AFTER THE FIRE' / EUROPA AND THE COCKATOO 

SERIES / DAVID BOYD 2002. 

60 x 75cm 

PROVENANCE 

Estate of David Boyd (Lucinda Boyd) 


$9,000–12,000 

170 

PATRICK HOCKEY (1948-1992) 

Waterbirds 

oil on board 

signed lower right: HOCKEY 

118.5 x 88cm 

PROVENANCE 

Bonhams & Goodman, Australian and International Art, 



$2,000–4,000

101 

171 

171 

ARTHUR MERRIC BLOOMFIELD BOYD 

(1920-1999) 

Shoalhaven Twilight 

oil on board 

signed lower right: Arthur Boyd 

37 x 30cm 

PROVENANCE 

Greythorn Galleries, Melbourne (label attached verso) 


$25,000–35,000

102 

172 

FIONA HISCOCK (BORN 1965) 

Gum Blossom and Fig 2003 

two painted and glazed earthenware vessels 

signed and dated to base: Hiscock 2003 

37.5cm high, 24.5cm diameter and 37.5cm high, 

27.5cm diameter 

PROVENANCE 


$1,000–1,500 

172

103 

173 

DEBORAH HALPERN (BORN 1957) 

Head 

enamel on aluminium 

signed to base: Deborah D Halpern 

82.5cm high, 66cm wide, 40cm deep 

PROVENANCE 


$4,000–6,000 

173

104 

174 

174 

KEVIN (PRO) HART (1928-2006) 

Repairing the Track, 1976 

oil on board 

titled, signed and dated lower center: 

'REPAIRING THE TRACK' PRO HART 76 

43 x 65.5cm 

PROVENANCE: 


$6,000–9,000 

175 

KEVIN (PRO) HART (1928-2006) 

The Woolshed, 1976 

oil on board 

signed and dated lower right: PRO / HART 76 

titled verso: THE WOOLSHED 

66.5 x 81cm 

PROVENANCE 


$6,000–9,000

105 

176 

176 

DAVID BOYD (1924-2011) 

The Rescue 1973 

oil on canvas 

signed and dated lower right: David Boyd / 1973 

62.5 x 91cm 

PROVENANCE 


$10,000–15,000 

177 

GEOFFREY DYER (1947-2020) 

Lake Pedder 

watercolour 

signed lower right: G Dyer 

55 x 74.5cm 

PROVENANCE 


$1,000–2,000

106 

178 

179

107 

180 

178 


The Coogan Residence in its Hey-Day 

gouache and watercolour on paper 

titled verso: The Coogan Residence in its Hey-Day 

28 x 34cm 

PROVENANCE 

Barry's Art Gallery, Surfers Paradise, 1983 


Shapiro Auctioneers, Australian & International Art, 

Sydney, 22 August 2012, Lot 6 


$800–1,000 

180 


Native Village, circa 1950 

oil on card on board 

17.5 x 20.5cm 

PROVENANCE 

Collection of Tom and Elsie Gleghorn, Adelaide 

Small & Whitfield Auctions, Adelaide, 11 April 2016, Lot 56 


Menzies, Sydney, Australian & International Fine Art 

& Sculpture, 19 November 2020, Lot 134 


$2,000–4,000 

179 

KENNETH JACK (1924-2006) 

Country Town 1980 

watercolour 

signed and dated lower left: KENNETH JACK 

67 x 100cm 

PROVENANCE 


$2,000–4,000

108 

181 

ROY DALGARNO (1910-2001) 

Miners, 1945 

oil on canvas 

signed and dated lower left: 

Roy Dalgarno 45 

62.5 x 83cm 

PROVENANCE 


$1,000–2,000 

181 

182 

182 

NAPIER MERVYN WALLER 

(1894-1972) 

Fuzzy Wuzzy Angels (attending 

wounded Australian Soldiers, 

New Guinea, WWII) circa 1944 


signed lower right: Napier Waller 

45.5 x 37cm 

PROVENANCE 


$2,000–3,000

109 

183 

183 

ROLAND WAKELIN (1887-1971) 

At the Market circa 1957 

oil on canvas on composition board 

signed lower left: R Wakelin 

bears inscription verso: UNIVERSITY FETE (SETTLEMENT) 

49.5 x 61cm 

PROVENANCE 


Sotheby's, Sydney, 17 November 1988, Lot 373 

(as 'University Fete') 



LITERATURE 

Walton, L., The Art of Roland Wakelin, Craftsman House, 

Sydney, 1987, pl. 100, p. 108 (illus.) 

$6,000–8,000

110 

184 

The Collection of Harry and 

Masha Flicker, Melbourne 

184 

VIC O'CONNOR (1918-2010) 

At the Market 

oil on canvas 

signed lower left: V G O'Connor 

59.5 x 44.5cm 

$1,000–1,500 

185 

BORIS DUBROV 

(BORN 1979) 

The Lesson 2007 

oil on canvas 

signed and dated lower right: BORIS DUBROV 07 

151.5 x 101cm 

$1,500–2,500

111 

186 

186 

RUPERT BUNNY (1864-1947) 

Percement du Boul. 

Raspail vu de la rue Vavin (Paris) 

oil on board 

inscribed illegibly lower right 

inscribed verso in pencil: 

Percement de Boul. Raspail / vu de la rue Vavin 

63.5 x 53cm 

$8,000–12,000 

187 

SAMUEL BAK (BORN 1933) 

Behind the Dark Curtain 

oil on canvas 

signed lower right: BAK 

bears title verso: BEHIND THE DARK CURTAIN 

61 x 49.5cm 

$5,000–8,000

112 

188 

189

113 

190 

188 

YOSL BERGNER (1920-2017) 

Still Life, Utensils 1973 

oil on canvas 

signed and dated lower left: Yosl Bergner 73 

signed verso: Yosl Bergner 

35.5 x 26.5cm 

PROVENANCE 

Bineth Gallery, Tel-Aviv (label verso) 

$2,000–4,000 

189 

RAY CROOKE (1922-2015) 

Thursday Island Natives 


signed lower right: R Crooke 

12.5 x 21.5cm 

PROVENANCE 

Australian Galleries, Melbourne (label verso) 

$1,800–2,500 

190 

YOSL BERGNER (1920-2017) 

Toys in the Desert 

oil on canvas 

signed lower left: Yosl Bergner 

signed and titled verso: 

Yosl Bergner / 'TOYS IN THE DESERT' 

60 x 73cm 

$9,000–12,000 

191 

LOUIS KAHAN (1905-2002) 

Models and Venice 1971 

oil on canvas 

signed and dated lower right: Louis V. Kahan 71 

60 x 90cm 

$2,000–3,000

114 

192 

192 

JAMES A TURNER (1850-1908) 

The Drought 1886 

oil on canvas 

signed and dated lower left: J A Turner 1886 

29 x 49cm 

PROVENANCE 

Sotheby's, Fine Australian Paintings and Drawings, 

Melbourne, 21 April 1986, Lot 50 (As 'Summer Drought') 

$6,000–9,000 

193 

MAX MIDDLETON 

(1922-2013) 

The Morning Mist in the Dandenongs 

oil on canvas 

signed lower right: Max Middleton 

59.5 x 74.5cm 

$1,000–1,500 

194 

ERNEST TREMBATH (BORN 1943) 

Bush Scene Near Moorooduc 


signed lower left: A E Trembath 

64.5 x 111cm 

PROVENANCE 

Gippsland Galleries, Victoria (label verso) 

$800–1,200

115 

195 


195 

ERNEST BUCKMASTER (1897-1968) 

Summer, Goulburn River 

oil on canvas 

signed lower left: E Buckmaster 

67 x 84.5cm 

PROVENANCE 


$4,000–6,000 

196 

GEORGE BUCKLE (1894-1947) 

Cattle in the Flooded River 

oil on canvas 

signed lower right: G Buckle 

49.5 x 75cm 

PROVENANCE 


$2,500–4,500

116 

197 

198

117 

199 

197 

ALLAN BERNALDO (1900-1988) 

The Resting Drover 

watercolour 

signed lower left: Allan T Bernaldo 

53 x 64.5cm 

PROVENANCE 


$1,000–1,500 

198 

B. E. MINNS (1864-1937) 

Ploughing 1935 

watercolour 

signed and dated lower right: B E MINNS 1935 

28 x 38cm 

PROVENANCE 


$600–800 

199 


Houses by the Yarra River, Richmond 1926 


signed and dated lower left: E Buckmaster 26 

incised with signature lower centre and lower right: 

E Buckmaster 

44.5 x 63cm 

PROVENANCE 


$2,000–3,000 

200 

JOHN ROWELL (1894-1973) 

Port Phillip Bay Vista 


signed lower left: John Rowell 

38 x 48.5cm 

PROVENANCE 


$500–700

118 

201 

201 

PERCY LEASON (1889-1959) 

Under the Trees 


16.5 x 24cm 

PROVENANCE 

Property of John Young (inscribed verso) 


$800–1,000 

202 

ISAAC WALTER JENNER (1836-1902) 

Bush Landscape 


signed indistinctly lower left 

29.5 x 19cm 

PROVENANCE 


$400–600

119 

203 

ERNEST BUCKMASTER 

(1897-1968) 

Cattle in a Misty Morning 

oil on canvas 

signed lower left: E Buckmaster 

62 x 80cm 

PROVENANCE 


$3,000–5,000 

203 

204 

ALICE M E BALE (1875-1955) 

A Little Bit of Castlemaine 

oil on board 


A M E BALE 1928 

30 x 24.5cm 

$1,500–2,500 

205 

CHARLES WHEELER 

(1880-1977) 

Autumn Scene, 1917 

gouache on paper 


C. Wheeler 17 

20.5 x 28cm 

PROVENANCE 


$400–600 

204

120 

206 

206 

NICHOLAS CHEVALIER 

(ATTRIBUTED) 

Lake Scene 

oil on canvas 


N. Chevalier 1867 

62.2 x 95cm 

PROVENANCE 


$3,000–5,000 

207 

207 

FREDRICK WOODHOUSE 

(1820-1909) 

Andrew Chirnside on Horseback 

oil on board 

signed lower left: Fred. Woodhouse Sen. 

35 x 27cm 

PROVENANCE 


$1,800–2,500

121 

208 

209 

208 

ROBERT EAGER TAYLOR GHEE (1869-1951) 

Bush Homestead at Dusk, circa 1895 

oil on canvas 

signed and dated indistinctly lower right 

59 x 92cm 

PROVENANCE 


$2,500–4,500 

209 

WILLIAM B. MCINNES (1889-1939) 

Landscape 

oil on linen on board 

signed lower left: W. B. McINNES 

39 x 46cm 

PROVENANCE 

Estate of Violet McInnes 


$1,500–2,500

122 

210 

210 

LEONARD LONG (1911-2013) 

The Wauchope Team, Logging, North Coast, NSW 1982 


signed and dated lower left: LEONARD LONG 1982 

69.5 x 90cm 

PROVENANCE 

Greythorn Galleries, Melbourne 


$2,000–3,000

123 

211 

211 

LEONARD LONG (1911-2013) 

Summer Haze, Wee Jasper, NSW 1989 

oil on canvas board 

signed and dated lower right: LEONARD LONG 

titled verso: Summer Haze, Wee Jasper, NSW 

111 x 151.5cm 

PROVENANCE 

Private Collection, New South Wales 

Menzies, Melbourne, Australian & International Fine Art 

& Sculpture, 23 March 2016, Lot 155 


$5,000–8,000 

212 

ROBERT JOHNSON (1890-1964) 

Burragorang 

oil on board 

signed lower left: Robert Johnson 

titled verso: Burragorang 

14 x 22.5cm 

PROVENANCE 


$500–800

124 

213 

WILLIAM B. MCINNES 

(1889-1939) 

Zinnias with Lemons 

oil on linen on board 

signed lower right: W B McINNES 

39 x 47cm 

PROVENANCE 

Estate of Violet McInnes 


$2,000–3,000 

213 

214 

214 

ENID A PHILIP (1898-1984) 

Still Life – Hydrangeas 

watercolour 

signed lower right: Enid A. Philip. 

63.5 x 70.5cm 

PROVENANCE 


$500–800

125 

215 


Still Life – White Rhododendron 

oil on canvas 

signed lower right: E Buckmaster 

75 x 58cm 

PROVENANCE 


$4,000–6,000 

215 

216 

HARLEY GRIFFITHS (1908-1981) 

Still Life, Yellow Roses 1967 


signed and dated lower left: H Griffiths 67 

44 x 34cm 

PROVENANCE 

Alison Kelly Collection, Melbourne 

$1,000–1,500 

217 

ALLAN BERNALDO (1900-1988) 

Still Life – Rhododendron 

watercolour 

signed lower right: Allan T Bernaldo 

84.5 x 68.5cm 

PROVENANCE 


$1,000–2,000 

216

126 

218 


Parliament Place 1988 

oil on canvas on five panel screen 

signed and dated lower right on far right panel 

67.5 x 40.5cm (each panel) 

67.5 x 202.5cm (overall) 

PROVENANCE 


$500–800 

219 

KATE BERGIN (BORN 1968) 

Casanova Contemplates Joining the Circus 2002 

oil on canvas 

signed, dated and titled verso: Kate Bergin / 2002 / 

'Casanova Contemplates Joining the Circus' 

38 x 38cm 

PROVENANCE 

Gift from the Artist 

Lyn Faulkner Collection, Melbourne 

$2,500–4,500 

218

127 

220 

KATE BERGIN (BORN 1968) 

Butterfly Spotting I 2007 

oil on canvas 

signed lower left: Kate Bergin 


Kate Bergin / 2007 / 

'BUTTERFLY SPOTTING I' 

35.5 x 35.5cm 

PROVENANCE 

Gift from the Artist 


$3,000–5,000 

220 

221 

MARK PAYNE (BORN 1955) 

You Make Me Feel So Free, 2022 

oil on canvas 

signed lower left: Payne 

titled, signed and dated verso: 

'you make me feel free' Payne 2022 

130 x 130cm 

PROVENANCE 


OTHER NOTES 

Mark Payne was the winner of the 

Glover Prize in 2022 

$2,000–3,000 

221

128 

222 

GREG IRVINE (BORN 1947) 

Untitled 

gouache on card 

initialled lower right: GI 

75.5 x 101.5cm 

PROVENANCE 


$1,000–2,000 

222 

223 

223 

BRYAN WESTWOOD 

(1930-2000) 

Katsura 

oil on canvas 

signed with initial lower right: W 

61 x 61cm 

PROVENANCE 

Bonython Meadmore Gallery, Sydney 

(label verso) 


$1,000–1,500

129 

224 

DAVID BOYD (1924-2011) 

Children Playing on the 

Foreshore 

oil on canvas 


34 x 39.5cm 

PROVENANCE 

Barry's Fine Art Gallery, 

Surfers Paradise 


$5,000–8,000 

225 

ROMA HIGGINS (1909-1979) 

At the Saleyards 

oil on board 

signed lower left: Roma 

inscribed verso: 

'AT THE SALE-YARDS' 

60 x 90cm 

PROVENANCE 


$2,000–4,000 

224 

225

130 

226 

PERCY TREZISE (1923-2005) 

Dawn Over the Outback 

oil on board 

signed lower right: Trezise 

60 x 44.5cm 

PROVENANCE 

Anvil Gallery, Albury Wodonga 


$800–1,200 

227 

YVONNE ATKINSON 

(1918-1989) 

Captain Starlight Eluding the 

Troopers, 1868 1978 

oil on canvas 


Yvonne Atkinson 1978 

titled verso: CAPTAIN 'STARLIGHT' 

ELUDING THE TROOPERS 1868 

49.5 x 59.5cm 

PROVENANCE 


$1,500–2,500 

226 

228 

228 

ELIZABETH DURACK 

(1915-2000) 

Dreaming up the Victoria 

(Study) 1994 

pastel, chalk and pencil on paper 

signed lower right: Elizabeth Durack 

73.5 x 107.5cm 

PROVENANCE 

The Artist's Studio (accompanied by 

a certificate of authenticity from the 

Artist's Estate verso) 

$800–1,200

131 

230 

229 

ELIZABETH DURACK 

(1915-2000) 

The Way We Were 1990 

pastel on board 

signed lower left: Elizabeth Durack 

with Landscape sketch verso 

75.5 x 111cm 

PROVENANCE 

The Artist's Studio (accompanied by 

a certificate of authenticity from the 

Artist's Estate verso) 

$1,000–1,500 

230 

DAVID BOYD (1924-2011) 

Children and Cockatoo 

oil on board 


18 x 19cm 

PROVENANCE 


$3,000–5,000 

231 


The Blue Lake 

watercolour 


64.5 x 98cm 

PROVENANCE 


$1,500–2,500

132 

232 

232 

DAVID BOYD (1924-2011) 

Naked Angel with Undulating Horn 

mixed media on paper 

signed lower centre: Boyd David 

titled verso: 'NAKED ANGEL WITH UNDULATING HORN' 

80.5 x 51cm 

PROVENANCE 

Private Collection of Thomas Boyd 


$5,000–7,000 

233 

JOHN BORRACK (BORN 1933) 

Landscape 1987 


signed and dated lower right: John Borrack 87 

94 x 139cm 

PROVENANCE 


$2,000–4,000

133 

234 

234 

WILLIAM BOISSEVAIN 

(BORN 1927) 

Late Summer Rain 1980 

oil on board 


W BOISSEVAIN 

90 x 120.5cm 

PROVENANCE 


$4,000–6,000 

235 


Towards Macquarie Harbour 

watercolour 


71 x 98.5cm 

PROVENANCE 


$1,500–2,500 

235

134 

236 

236 


After Turner II 

oil on linen 

signed lower right: DYER 

122 x 153cm 

PROVENANCE 



$4,000–6,000 

237 


Early Morning River 



101 x 151.5cm 

PROVENANCE 


$2,000–4,000 

238 

ELIZABETH DURACK (1915-2000) 

Drift 1964 

enamel on masonite 

signed lower left: Elizabeth Durack 

68.5 x 91.5cm 

PROVENANCE 

The Artist's Studio (accompanied by a certificate of 

authenticity from the Artist's Estate verso) 

$800–1,200 

239 


Moon Bath 1964 


68.5 x 91.5cm 

PROVENANCE 



$800–1,200

135 

238 

239

136 

240 

240 


Confluence 1965 


signed lower right: Elizabeth Durack 

68.5 x 91.5cm 

PROVENANCE 



$700–900 

241 

BILL COLEMAN (1922-1992) 

Model Dressing 


signed lower right: Bill Coleman 

45 x 34.5cm 

PROVENANCE 


$1,200–1,800 

242 


Whirlwind near Yuendumu (The Rim Series – 

the rim of our brittle and disintegrating world ... 

a continuum circa 1973 – 1993) circa 1970s 

mixed media on linen on board 

signed lower left: Elizabeth D 

52 x 77.5cm 

PROVENANCE 



$1,000–1,500

137 

243 

243 


Reflections 

watercolour and gouache on paper 

67.5 x 97.5cm 

PROVENANCE 


$2,000–4,000 

244 

KENNETH JACK (1924-2006) 

The Outback 1987 


signed and dated lower right: KENNETH JACK 1987 

99.5 x 150.5cm 

PROVENANCE 


$3,000–5,000

138 

245 

246

139 

247 

245 

GRAEME DRENDEL 

(BORN 1953) 

The Long Room II, 2001 

gouache on paper 


DRENDEL '01 

30 x 64cm 

PROVENANCE 


(label verso) AG28022 


$500–700 

246 

PETER HENNESSEY 

(BORN 1968) 

My Lunar Rover 

(You had to be there) 2005 

craftwood and cloth 

signed, dated and editioned on base: 

Peter H / 2006 / Ed.1/5 


PROVENANCE 


$1,000–1,500 

247 

LEON ROUBOS (1959-1998) 

Pedestrian Crossing 

oil on canvas 

signed lower right: Leon Roubos 

59.5 x 75cm 

PROVENANCE 


$2,000–4,000

140 

248 

CHEN WENLING (CHINESE, BORN 1969) 

Heaven of Peace and Happiness No. 2 

enamelled cast metal on bronze base 

signed and editioned on base: chen wenling 2/8 


PROVENANCE 

Contemporary by Angela Li, Hong Kong 


$4,000–5,000 

248

141 

249 

249 

DAVID BROMLEY (BORN 1960) 

Untitled (Boy Playing with Toys) 2018 


signed lower right: BROMLEY 

183 x 183cm 

PROVENANCE 


$3,000–5,000 

250 

DOROTHY BRAUND (1926-2013) 

On the Beach – Three Figures 1997 

oil on masonite 

signed and dated upper left: BRAUND 97 

60 x 90cm 

PROVENANCE 

The Estate of Dorothy Braund 

$3,000–5,000

142 

251 

251 

DICK (GOOBALATHADIN) ROUGHSEY 

(1924-1985) 

Gathering Food 1980 

oil on board 

signed and dated lower right and left: 

Goobalathadin / 80 

45 x 60cm 

PROVENANCE 

Anvil Gallery, Albury Wodonga 


$1,500–2,500 

252 

JUDY WATSON NAPANGARDI 

(CIRCA 1925-2016) 

Mina Mina Dreaming 2009 


inscribed verso: MDL/JW001 / 21/04/2009 

cat. no. 09/172 

90 x 90cm 

PROVENANCE 

Mandel Aboriginal Art Gallery, Melbourne 



$700–900

143 

253 

EVELYN PULTARA (BORN 1940) 

Bush Yam 2006 


bears cat. no. verso: EP0486T8 

203 x 61cm 

PROVENANCE 

Grass Tree Gallery, Albany 

Artlandish, Kununurra 


$900–1,200 

254 

GLORIA TAMERRE PETYARRE (1942-2021) 

Thorny Devil Lizard 2010 


bears cat. no. CAA 16128 and artist's name verso: GLORIA 

78 x 124cm 

PROVENANCE 

Central Aboriginal Artists, Alice Springs 



$1,200–1,800 

255 

MICHELLE POSSUM NUNGURRAYI 

Grandmother's Country 2013 


bears cat. no. MP130901-2, artist's name and inscription 

verso: Michelle Possum Grantmother [sic] 

147 x 96cm 

PROVENANCE 

Australian Aboriginal Art & Photography 



$1,000–1,500 

256 

FIONA OMEENYO (BORN 1981) 

Gathering Bush Food 


Lockhart River Art Centre cat. no. T-FO20070325 

120.5 x 86cm 

PROVENANCE 

Lockhart River Art Centre 



$800–1,200 

253

144 

257 

257 


(CIRCA 1925-2016) 

Mina Mina, 2015 


200.5 x 150.5cm 

PROVENANCE 


$3,000–5,000 

258 

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

145 

259 

259 

RONNIE TJAMPITJINPA 

(BORN CIRCA 1943) 

Tingari 


bears cat. no. A4709 and RT-AFAG4709 

and artist's name verso 

122 x 182.5cm 

PROVENANCE 

Aboriginal Fine Art Gallery, Darwin 



$3,500–5,500 

260 


(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 

Corporate Collection, Sydney 

$2,000–4,000

146 

261 

261 

CLIFFORD POSSUM TJAPALTJARRI 

(1933-2002) 

Bush Tucker, Sand Hill Country 


signed and titled verso: 

CLiFFoRD PoSSUM / BUSHG TUCKER / 

– SAND HILL COUNTRY) 

101 x 75cm 

PROVENANCE 

David Dridan Fine Art, Adelaide 

Bank of South Australia, SA 

Private Collection, NSW 

Davidson Auctions, Sydney, 

Estate & Collector, 11 July 2021, Lot 299 


$3,000–5,000 

262

147 

263 

262 

ARTIST UNKNOWN 

Tiwi Bark Painting circa 1989 

natural earth pigments on eucalyptus bark 

123 x 34cm 

PROVENANCE 

Aboriginal Arts Australia Ltd, Sydney, 1989 

Richard Kelton Collection, Santa Monica, USA, 1991 


EXHIBITED 

The Evolving Dreamtime: Contemporary Art by Indigenous 

Australian Artists, Pacific Asia Museum, Pasadena, 

California, USA, 1995 

$1,500–2,500 

263 

MINNIE PWERLE (1922-2006) 

Awelye 


bears artist's name and cat. no. UAI010049 

and cat. no. MP_AA10049 verso 

92 x 149cm 

PROVENANCE 

Aboriginal Art, Perth 


$2,000–3,000 

264 

WILLIE TJUNGURRAYI (1932-2018) 

Tingari Dreaming 2012 


bears cat. no. WT3009 verso 

152 x 90cm 

PROVENANCE 

Ebony Dreaming, Alice Springs 



$2,000–4,000

148 

265 

265 

FREDDIE TIMMS (CIRCA 1944-2017) 

Old Greenvale 1997 



signed and dated verso: F TIMMS 97 

100 x 99.5cm 

PROVENANCE 

Our Land Gallery, Kununurra, WA 


$4,000–6,000 

266 

NINGURA GIBSON NAPARRULA (1938-2013) 

Woman's Dreaming 2009 


90 x 72cm 

PROVENANCE 

Brenton Cowley 



$1,500–2,500

149 

267 

267 

SAMANTHA HOBSON (BORN 1981) 

Windy Night...Big Wave 2007 


triptych 

each panel signed and dated lower right: 

Samantha Hobson 07 

dated, titled and cat. no. verso: 2007 SMHC 

Windy night ... big wave / 1289/1, 1289/2, 1289/3 

108 x 43.5cm (each) 

108 x 130.5cm (overall) 

PROVENANCE 

Vivien Anderson Gallery, Melbourne 


$1,200–1,500 

268 

MICK NAMARARI TJAPALTJARRI (1926-1998) 

Dingo Dreaming 1996 


inscribed verso: M. Hollow / 2315-MN-996 8 

124.5 x 107.5cm 

PROVENANCE 

Aboriginal Desert Art Gallery, Melbourne 



$1,500–2,500 

End of Sale

150 

Artist Index 

Aldor, Janos Laszlo 99 

Andrews, Daisy 42, 44 

Atkinson, Yvonne 227 

Bak, Samuel 187 

Bale, Alice M E 119, 204 

Bastin, Henri 68, 69 

Bergin, Kate 219, 220 

Bergner, Yosl 188, 190 

Bernaldo, Allan 197, 217 

Boissevain, William 234 

Borrack, John 233 

Boston, Paul 132 

Boyd, Arthur Merric Bloomfield 171 

Boyd, David 169, 176, 224, 230, 232 

Braund, Dorothy 250 

Bromley, David 249 

Brooks, Clifford 32 

Brown, Arnesby 94 

Buckle, George 196 

Buckmaster, Ernest 195, 199, 203, 215 

Bunny, Rupert 186 

Burak, Donna 12 

Carnegie, Nancy 22 

Chevalier, (Attributed) Nicholas 206 

Chiari, After Giuseppe Bartolomeo 107 

Ciccarone, Julia 57, 58 

Coleman, Bill 241 

Collingridge, Arthur 81 

Collins, William 85 

Corbould, Edward Henry 105 

Crooke, Ray 123, 189 

Curtis, James Waltham 84 

Dalgarno, Roy 181 

Daws, Lawrence 124 

Dickerson, Robert 128 

Douglass, Mark 136 

Drendel, Graeme 142, 245 

Dubrov, Boris 185 

Dunlop, Ronald Ossory 113 

Durack, Elizabeth 228, 229, 238, 239, 240, 

242 

Dyer, Geoffrey 177, 231, 235, 236, 237, 243 

Ellaga, Barney 168 

Friend, Donald 122, 125, 178, 180 

Frink, Elisabeth 114 

Frost, William E 109 

Ghee, Robert Eager Taylor 208 

Giardino, Pasquale 52, 53, 54, 56, 65, 66 

Giles, Nyarrapyi 17, 21 

Glover, (School of) John 93 

Gorter, Arnold Marc 96 

Grieffenhagen, Maurice 110 

Griffiths, Harley 216 

Gugaman, Imelda Yukenbarri 25 

Hainsselin, Henry 90 

Halpern, Deborah 140, 173 

Harris, Brent 139 

Hart, Kevin (Pro) 174, 175 

Haydon, Ray 55 

Heng, Euan 62 

Hennessey, Peter 246 

Herbert, Harold 118 

Heysen, Hans 83 

Higgins, Roma 225 

Hiscock, Fiona 172 

Hobson, Samantha 267

151 

Hockey, Patrick 170 

Irvine, Greg 222 

Iyuna, James 35 

Jack, Kenneth 179, 244 

James, Lance 46 

Jangarra, Ignatia 31 

Jenner, Isaac Walter 202 

Johnson, Robert 116, 212 

Joongoorra, Billy Thomas 29 

Kahan, Louis 191 

Kelly, John 134 

Kngwarreye, Emily Kame 20, 147, 149, 156, 164 

Koomeeta, Craig 40 

Laranggai, Jack 37 

Leason, Percy 201 

Leti, Bruno 141, 145 

Lindjuwanga, Kay 34 

Lister Lister, William 86 

Lodge, Gillian 67, 70, 218 

Long, Leonard 210, 211 

Luchian, Stefan 111 

Macleod, Euan 59, 61 

Maguire, Tim 135 

Marawili, Napuwarri 28 

Martens, Conrad 80 

McCubbin, Frederick 82 

McInnes, William B. 91, 209, 213 

McKenzie, Queenie 146 ,160, 161 

Middleton, Max 193 

Miles, Thomas Rose 88 

Miller, John 133 

Minns, B. E. 198 

Moko, Donald 41 

Mung Mung, Patrick 10 

Namarinjmak, Paul Nabulumo 13, 158 

Namok, Rosella 24 

Nampitjin, Eubena 6 

Nangala, Pauline Sunfly 152 

Napaltjarri, Eileen 155 

Napaltjarri, Monica 9 

Napanangka, Eunice 19 

Napanangka, Makinti 148 

Napanangka II, Walangkura 165 

Napangardi, Judy Watson 252, 257, 260 

Naparrula, Ningura Gibson 266 

Ngalakun, Jimmy 33 

Ngitjanka, Linda Napurrula 26 

Nicholas, Emily Hilda Rix 78 

Nolan, Sidney 126, 127 

Norrie, Susan 143 

Npanangka, Lucy Yukenbarri 14 

Nungurrayi, Michelle Possum 255 

Nungurrayi, Nancy 8 

Nungurrayi, Nora Wompi 1, 15 

O’Brien, Justin 129 

O’Connor, Vic 184 

Olsen, John 51, 137 

Omeenyo, Fiona 256 

Ostell, Mark 64 

Outhwaite, Ida Rentoul 75 

Papungumirri, Gordon 36 

Patterson, Ambrose McCarthy 115 

Payne, Mark 221 

Peale, Anna Claypoole 101 

Perceval, John 131 

Perrurle, Billy Benn 43

152 

Artist Index (continued) 

Petyarre, Gloria Tamerre 254 

Philip, Enid A 214 

Pillement, Jean 103 

Poantimului, Samuel 39 

Puautjimi, Bushman 38 

Pultara, Evelyn 253 

Pumani, Ngupulya 18 

Pwerle, Minnie 263 

Rees, Lloyd 117 

Roubos, Leon 247 

Roughsey, Dick (Goobalathadin) 251 

Rowan, Marian Ellis 73, 76, 77, 120 

Rowell, John 200 

Rubens, After Peter Paul 108 

Salmon, John F 89 

Schaller, Mark 49, 50, 63 

Scheltema, Jan Hendrick 92 

Senbergs, Jan 48 

Sher, Jules 138 

Shilling, Marie 45 

Singleton, Judi 30 

Smeaton, James 47, 60 

Smith, George 97 

Streeton, Arthur 79 

Teague, Violet 74 

ten Kate, Johan Mari Henri 100 

Timms, Freddie 153, 265 

Tjampitjin, Boxer Milner 2 

Tjampitjinpa, Ronnie 151, 162, 259 

Tjangala, Ben Brown 157 

Tjapaltjarri, Clifford Possum 261 

Tjapaltjarri, Joseph Jurra 166 

Tjapaltjarri, Mick Namarari 268 

Tjapaltjarri, Warlimpirrnga 159 

Tjapangati, Kanya 23 

Tjungurrayi, George 154 

Tjungurrayi, Helicopter 16 

Tjungurrayi, Kuddtji 163 

Tjungurrayi, Willie 264 

Tjupurrula, Bobby West 5 

Tjupurrula, Johnny Warangkula 258 

Trembath, Ernest 194 

Trezise, Percy 226 

Tucker, Albert 130 

Tucker, Tudor St George 104 

Turner, James A 192 

Turrell, Herbert 112 

Tyndall, Peter 144 

Van Den Houten, Henry Leonardus 95 

Vollmar, Ludwig 98 

Wakelin, Roland 121, 183 

Walbidi, Daniel 3, 27 

Waller, Napier Mervyn 182 

Watson, Tommy 150, 167 

Weir, Barbara 7 

Wenling, Chen 248 

Westwood, Bryan 223 

Wheeler, Charles 205 

Wiggan, Roy 4 

Woodhouse, Fredrick 207 

Wright, Thomas 87 

Yates, Katherine 71, 72

153 

Copyright 

1 © Nora Wompi Nungurrayi/ 

Copyright Agency, 2023 

2 © Boxer Milner Tjampitjin/ 


3 © Daniel Walbidi/ 


4 © Roy Wiggan/Copyright Agency, 2023 

5 © Bobby West Tjupurrula/ 


6 © Eubena Nampitjin/ 


7 © Barbara Weir/Copyright Agency, 2023 

8 © Nancy Nungurrayi/ 


9 © Monica Napaltjarri/ 


10 © Patrick Mung Mung/ 


12 © Donna Burak/Copyright Agency, 2023 

13 © Paul Nabulumo/ 


14 © Lucy Yukenbarri Npanangka/ 


15 © Nora Wompi Nungurrayi/ 


16 © Helicopter Tjungurrayi/ 


17 © Nyarapayi Giles/ 


18 © Ngupulya Pumani/ 


19 © Eunice Napanangka/ 


20 © Emily Kame Kngwarreye/ 


21 © Nyarapayi Giles/ 


22 © Nancy Carnegie/ 


23 © Kanya Tjapangati/ 


25 © Imelda Yukenbarri Gugaman/ 


26 © Linda Napurrula Ngitjanka/ 


27 © Daniel Walbidi/ 


31 © Ignatia Jangarra/ 


32 © Clifford Brooks/ 


34 © Kay Lindjuwanga/ 


35 © James Iyuna/Copyright Agency, 2023 

39 © Samuel Poantimului/ 


41 © Donald Moko/Copyright Agency, 2023 

42 © Daisy Andrews/ 


43 © Billy Benn Perrurle/ 


44 © Daisy Andrews/ 


45 © Marie Shilling/ 


46 © Lance James/ 


48 © Jan Senbergs/ 


51 © John Olsen/Copyright Agency, 2023 

59 © Euan Macleod/ 


61 © Euan Macleod/ 


83 © Hans Heysen/Copyright Agency, 2023

154 

Copyright (continued) 

113 © Ronald Ossory Dunlop/ 


114 © Elisabeth Frink/ 


117 © Lloyd Rees/Copyright Agency, 2023 

122 © Donald Friend/ 


123 © Ray Crooke/Copyright Agency, 2023 



126 © The Sidney Nolan Trust. 

All rights reserved. DACS/ 


127 © The Sidney Nolan Trust. 

All rights reserved. DACS/ 


128 © Robert Dickerson/ 


130 © Albert & Barbara Tucker Foundation. 

Courtesy of Smith & Singer Fine Art 

131 © John Perceval/ 


134 © John Kelly/Copyright Agency, 2023 

137 © John Olsen/Copyright Agency, 2023 

141 © Bruno Leti/Copyright Agency, 2023 

142 © Graeme Drendel/ 


145 © Bruno Leti/Copyright Agency, 2023 

146 © Queenie McKenzie/ 




148 © Makinti Napanangka/ 




150 © Tommy Watson/ 


151 © Ronnie Tjampitjinpa/ 


152 © Pauline Sunfly Nangala/ 


153 © Freddie Timms/ 


154 © George Tjungurrayi/ 


155 © Eileen Napaltjarri/ 




157 © Ben Brown Tjangala/ 


158 © Paul Nabulumo/ 


159 © Warlimpirrnga Tjapaltjarri/ 










165 © Walangkura Napanangka II/ 


166 © Joseph Jurra Tjapaltjarri/ 


167 © Tommy Watson/ 


168 © Barney Ellaga/ 


169 © David Boyd/Copyright Agency, 2023 

171 © Arthur Boyd/Copyright Agency, 2023 

176 © David Boyd/Copyright Agency, 2023

155 

177 © Geoffrey Dyer/ 




179 © Kenneth Jack/ 




185 © Boris Dubrov/Copyright Agency, 2023 

189 © Ray Crooke/Copyright Agency, 2023 

191 © Louis Kahan/Copyright Agency, 2023 

223 © Bryan Westwood/ 



228 © Elizabeth Durack/ 








233 © John Borrack/ 


















244 © Kenneth Jack/ 


245 © Graeme Drendel/ 


251 © Dick Roughsey Goobalathaldin/ 


252 © Judy Watson Napangardi/ 


253 © Evelyn Pultara/ 


254 © Gloria Tamerre Petyarre/ 




258 © Johnny Warangkula/ 






261 © Clifford Possum/ 


263 © Minnie Pwerle/ 


264 © Willie Tjunggurrayi/ 


265 © Freddie Timms/ 


268 © Mick Namarari/ 

Copyright Agency, 2023

156 

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.

157 

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

158 

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 §. 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 

Vendor Commission plus any applicable GST and 

government charges. 

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 58 (Detail)

GA052 | Australian & International Art

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