GA055-cat-flipbook-v1

Australian &

International Art

Melbourne, Sunday 21 April 2024

Specialists & Management for this sale

Jennifer Gibson

CEO & Head of

Valuations

Deanna Baxter

Business

Manager

Samuel Fricker

Operations

& Marketing

Manager

Jon Dwyer

Consultant

Specialist

Australian &

International Art

Sarah Garrecht

Associate

Specialist

Australian &

International Art

Jennifer Gibson

jennifer.gibson@gibsonsauctions.com.au

Deanna Baxter

deanna.baxter@gibsonsauctions.com.au

Samuel Fricker

samuel.fricker@gibsonsauctions.com.au

Dennice Collett

dennice.collett@gibsonsauctions.com.au

Ann Roberts

ann.roberts@gibsonsauctions.com.au

Jon Dwyer

jon.dwyer@gibsonsauctions.com.au

Sarah Garrecht

sarah.garrecht@gibsonsauctions.com.au

Ellin Geary

mail@gibsonsauctions.com.au

Andre Kimonides

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ORRONG RD

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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 5 (Detail)

BACK COVER:

Lot 60

Australian &

International

Art

Auction

Sunday 21 April 2024, 12 Noon

Level 1, 885-889 High Street,

Armadale, Victoria 3143

Viewing

Thursday 18 April

Friday 19 April

Saturday 20 April

11.00am – 7.00pm

11.00am – 5.00pm

11.00am – 5.00pm

Auction Code: GA055

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 22 April

Tuesday 23 April

Wednesday 24 April

10am–5pm

10am–5pm

10am–5pm

All goods must be collected and paid

in full strictly by 5pm on Wednesday

24 April (unless by prior arrangement)

to avoid removal and storage charges.

All payments are to be made in

Australian Dollars (AU$). Please refer

to the methods of payment in the ‘How

to Buy’ section on the following pages.

2

How to Buy

All you need to know about the bidding process at auction

Viewing

Catalogues

Online catalogues can be viewed at

www.gibsonsauctions.com.au approximately three weeks

prior to the auction date.

Complimentary printed catalogues are available

at Gibson’s Auctioneers & Valuers.

Symbols

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

indicating a special clause associated with the sale of

the item/s. Further information on symbols within our

catalogues can be found on Page 1.

Viewing

Auction viewings are open to the public and usually take

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

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

Lot Descriptions

Lot Descriptions provide basic catalogue information

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

provenance and quantity.

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

auction date.

Estimates

Estimates are printed in the catalogue beside every lot and

take into account rarity, condition, quality and provenance.

The reserve is the amount at which the item is available

for purchase. The reserve is an undisclosed confidential

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

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

Auctioneers & Valuers. Many lots are sold without reserve.

Talk to our Specialists

Gibson’s 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:

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Bank:

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• Personal, Company and Bank Cheques are not accepted

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• Eftpos (no charge).

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Express payments can be made securely online at

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

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

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

Collections

Gibson’s 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 Hugh & Jackie Wallace

The Jackie and Hugh Wallace Collection

represents a selection of works by Australian

artists, and, like their rest of their furniture and

decorative arts previously offered at Gibson’s in

our recent Interiors | Private Collections auction,

showcases a snippet of their larger and more

eclectic collecting style. Working together over

the course of their marriage, these works show

a couple who bought for the love of the artworks

themselves and not necessarily for a greater

curatorial ‘whole’.

Both Jackie and Hugh had a good eye for

collecting art and enjoyed collecting it from an

early age. Being a stockbroker, Hugh was used

to calculated risks and so would often buy an

artwork when he felt the artist showed potential.

Together they bought art by the likes of Jeffrey

Smart and Albert Namatjira, long before they

became well known artists, let alone collectable

works of art. They worked well as a team, with

interests and growing knowledge in differing

areas of the broader Artscape.

The works on offer in this particular auction

are a testament to Hugh and Jackie’s unique

style of eclecticism informed by educated

understanding. The works jump from the realist

approaches of everyday life, both at home and

abroad, seen in Mortimer Menpes’ The Artist’s

Child and The Street Vendor, to pre-war seaside

vistas of moored boats and beach scenes

(James R Jackson, Anne Montgomery, William

Rowell), to distinctly Melbourne views in Dora

Wilson’s The Green Façade and the recognisable

Captain Cook’s Cottage by Robert Taylor Ghee.

Next, we approach Modernism in the form of

printmaking and sculpture with examples of

masters in their respective medium, Margaret

Preston and Clifford Last, before leaping into the

abstract with John Coburn’s vibrant and distinct

Early Bird, 1968.

These works formed an important segment of

their greater collection, hung proudly in rooms

painted to compliment the artworks within

their brightly adorned Armadale home which

also included Aboriginal art, Naïve art, early

and modern Australian, English, and Asian

furniture and artefacts, colourful Murano glass,

Staffordshire and bronze works through to

Egyptian and Shona stone – all informed by their

extensive travel over the years. Interestingly,

by Hugh and Jackie not limiting their collection

to one aesthetic or curatorial approach, the

outcome seems all the more realised, and tells

the story of two lives well-lived and loved.

5

1

1

ROBERT TAYLOR GHEE (1869-1951)

Captain Cook's Cottage

oil on board

signed lower right: R E Taylor Ghee

30 x 39cm

$3,000–5,000

6

2

2

JAMES R JACKSON (1882-1975)

The Moored Schooner, Sydney Harbour

oil on board

signed lower right: JAMES R JACKSON

seated figure verso

29.5 x 40cm

$3,000–5,000

7

3

3

WILLIAM ROWELL (1898-1946)

Afternoon Heat 1930

oil on board

signed and dated lower left: William Rowell 30

21.5 x 30cm

$1,500–2,500

8

The two works by Mortimer Luddington Menpes

(1855-1938) The Street Vendor (lot 5) and The

Artist’s Child (Lot 4) represent enduring themes

in the artist’s output; the adventurous, intrepid

traveller with a fascination for the exotic; and the

domestic family man delighting in the ways of his

small offspring.

Born in Port Adelaide Menpes moved to

London with his family in his early 20s where he

studied at The School of Art. During an artist’s

trip to Brittany in 1880 he met the American

artist, James McNeill Whistler who became

his trusted teacher and friend. Menpes was

strongly influenced by Whistler’s techniques

and observational style, the pervasive sway

of Aestheticism within the arts at the time,

particularly the flourishing interest in Japonisme.

Japan had recently opened to the West and

the emporium, Liberty of London, previously

known as East India house, was instrumental in

exposing consumers, including Whistler and his

milieu, to the visual arts and aesthetics of that

mysterious country.

In the 1880s Menpes travelled to Japan and

over the ensuing years he travelled widely, to

south Asia, India, Burma, Kashmir, Cairo and

the Mediterranean – France, Spain, Italy, Venice,

and Morocco. His travels also took him as far

as Mexico. These adventures infused much

of his art practice and his resultant one-man

London exhibitions were critically acclaimed and

commercially successful. The love of the orient

extended to Mortimer’s life in London, where he

lived with his wife and children. Something of an

exotic creature himself, he frequently dressed in

kimono and entertained in his Japanese inspired

and decorated Cadogan Gardens town house.

Renowned for his versatility and command across

various mediums: drawing, painting, print making

– he was part of the late 19th century revival of

etching, due in part to the influence of Whistler,

and as an illustrator for coloured books.

The Artist’s Child exhibits Menpes’ facility and

gift for capturing the fleeting moment. Rendered

in spirited charcoal underdrawing with water

colour and gouache highlights, it is not posed

but, instead, a delightful study in immediacy.

His young subject has broken into a chuckle, her

hand seemingly in motion. Mortimer did many

studies of his children, mostly etchings and

drypoints, recording their antics and infantile

ways – a bawling child, a child taunting a cat, a

coy playful pose.

In contrast The Street Vendor, late 1880s to early

90s is a small, quiet, observational study of an

eastern market scene. Set almost at a respectful

distance seemingly to avoid observation by his

subjects, we watch as Menpes’ figures go about

the much practised and unhurried ritual of

preparing dishes on enormous trays. There is an

impressionistic quality to the paintwork, and an

overall earthiness to the palette enlivened by a

muted blue cloth and small but startling flashes

of red.

Significantly, the work is housed in the original

frame, one of the vertical fluted panel frames

ordered by Menpes from Japan. Menpes was

much taken by Japanese craft techniques

during his travels and ordered 200 frames be

made and sent to London where they were

gilded. The framing choice is an integral part

of the presentation of his subject. Indeed,

reviews of Menpes’ London exhibitions observe

the importance of his framing. This is well

articulated in The Street Vendor, where Eastern

subject matter set within a Japanese frame

forms a pleasing balanced whole.

Part of the Jackie and Hugh Wallace collection,

these works were acquired by the pair during

the 1970s. These fine studies by the remarkable,

spirited and versatile Mortimer Menpes are now

presented to the market for the first time in

nearly 50 years.

9

4

4

MORTIMER MENPES (1855-1938)

The Artist's Child

watercolour, pencil and crayon on paper

signed lower right: Mortimer Menpes

36.5 x 26cm

$10,000–15,000

10

5

MORTIMER MENPES (1855-1938)

The Street Vendor

oil on board

signed lower right: Mortimer Menpes

housed in original frame

19.5 x 16.5cm (image size)

53 x 32.5cm (frame size)

$30,000–40,000

5

11

5

12

6

DORA WILSON (1883-1946)

The Green Facade

oil on board

signed lower right: DORA L. WILSON

39 x 31.5cm

$3,000–5,000

6

7

7

ANNE MONTGOMERY

(1908-1991)

Boathouse and Jetty

oil on board

signed lower right: Anne Montgomery

39 x 49cm

$3,000–5,000

13

8

8

MARGARET PRESTON (1875-1963)

Hibiscus 1925

hand coloured woodblock

signed with initials in block: M P

signed, titled and editioned on margin:

Margaret Preston / Hibiscus / 11 Proof

24.5 x 25cm

LITERATURE

Butler, R., The Prints of Margaret Preston, Australian

National Gallery, Canberra and Oxford University Press,

Melbourne, 1987, cat. no. 97, pp. 114, 115 (illustrated,

another impression)

Butler, R., The Prints of Margaret Preston: A Catalogue

Raisonné, National Gallery of Australia, Canberra, 2005,

cat. no. 97, p.125 (illustrated, another impression)

Gray, A., Jordan, C., Hooper, J., Modern Australian Women

Artists: The Andree Harkness Collection, Museum Victoria

Publishing, Melbourne, 2020, pp. 8, 167 (illus., another

impression), 234.

RELATED WORKS

Other examples of this print are held in the collections

of the National Gallery of Australia, Canberra and The

National Gallery of Victoria, Melbourne.

$15,000–25,000

14

9

CLIFFORD LAST (1918-1991)

Untitled

bronze

incised with monogram on base: IV.VI

59cm high, 22cm wide, 13.5cm deep

$1,200–1,800

9

15

10

10

JOHN COBURN (1925-2006)

Early Bird 1968

acrylic on canvasboard

signed lower right: Coburn

dated and titled verso: 7/'68 / "EARLY BIRD"

60 x 75.5cm

$8,000–12,000

16

Other Properties

11

DAVID BOYD (1924-2011)

Summer Breeze

(Europa fanning a wombat

with her wings) 2000

oil on board

signed and dated lower left and right:

David Boyd 2000

inscribed verso: Summer Breeze

"Europa fanning a wombat

with her Wings"

59.5 x 49.5cm

PROVENANCE

Eva Breuer Art Dealer, Sydney

Private Collection, Melbourne

$10,000–12,000

11

12

17

13

12

SIDNEY NOLAN (1917-1992)

Figurative Studies

two glazed ceramic tiles

one signed with initial: N

27 x 25.5cm and 26.5 x 28cm

PROVENANCE

Private Collection, London

$1,500–2,500

13

RAY CROOKE (1922-2015)

Islanders in a Hut

oil on canvas

signed lower right: R Crooke

119 x 149.5cm

PROVENANCE

Holdsworth Galleries, Sydney

Private Collection, New South Wales,

acquired from the above on 6 March 1989

$40,000–60,000

18

14

15

14

DOROTHY BRAUND (1926-2013)

Too Hot 1986

watercolour and gouache

signed and dated lower left: BRAUND '06

titled verso: "TOO HOT ......"

37 x 50cm

PROVENANCE

Eastgate & Holst, Melbourne


$2,000–4,000

15


Three Women 1980

watercolour and gouache


30 x 40cm

PROVENANCE



$1,500–2,500

19

16

TIM STORRIER (BORN 1949)

An Equation on Isolation 1978

watercolour

signed, dated and titled lower right:

Storrier '78 / an equation on isolation

70 x 62cm

PROVENANCE

Australian Galleries, Melbourne

The Estate of Albert & Lorraine

Mantello

$5,000–7,000

17

DOROTHY BRAUND

(1926-2013)

Curves and Angles

oil on masonite

inscribed and titled verso: DOROTHY

BRAUND CURVES & ANGLES

59.5 x 90.5cm

PROVENANCE

The Estate of Dorothy Braund

$2,000–4,000

16

18

FRANK HINDER (1906-1992)

The Bather

pencil

signed with initials lower right: FCH

16.5 x 22.5cm

PROVENANCE


Thence by descent

$800–1,200

18

20

19

YVONNE AUDETTE (BORN 1930)

Stormy Night 1975

gouache and ink on paper

signed with initials and dated lower

right: Y A 75

23.5 x 29cm

PROVENANCE

Acquired directly from the artist


$5,000–7,000

19

20

20

YVONNE AUDETTE (BORN 1930)

Two Bathers 1997

gouache and ink on paper

signed with initials and dated lower

right: Y A 97

24.5 x 20cm

PROVENANCE

Acquired directly from the artist


$4,000–6,000

21

21

21

DAVID LARWILL (1956-2011)

Duel 1997

oil on canvas

signed with initials and dated lower right: D.L. '97

signed, dated and titled verso: David Larwill / 1997 / "duel"

80.5 x 60.5cm

PROVENANCE

Gould Galleries, Melbourne 1997


$10,000–15,000

22

22

WILLIAM BOISSEVAIN

(1927-2023)

Herons 1985

oil on board

signed lower right: W BOISSEVAIN

76 x 96.5 cm

PROVENANCE

Alexander Galleries, Perth circa 2002

(cat. no. AG539/523)


$3,000–5,000

22

23

MARK PAYNE (BORN 1955)

Shall We Dance While

the Day is Young 2022

oil on canvas

signed, dated and titled verso:

MARK PAYNE 2022 'SHALL WE

DANCE WHILE THE DAY IS YOUNG'

137.5 x 137.5cm

PROVENANCE


$2,000–3,000

23

23

24

24

GEOFFREY DYER (1947-2020)

The Lanterns 2005

oil on canvas

signed lower right: DYER

titled verso: THE LANTERNS

121.5 x 213.5cm

PROVENANCE

Axia Gallery, Melbourne


$10,000–15,000

25


Moby Dick

ink and wash on paper

titled verso: Moby Dick / Whale Impaled

inscribed on margin: "the half-foundered ship weltering ...."

17 x 22.5cm

PROVENANCE


OTHER NOTES

Accompanied by a silver gelatin

photograph with studio label verso

$500–800

24

26

GEORGE JOHNSON (1926-2021)

Black Triangle Construction

No. I 2003

acrylic on canvas

signed and dated verso: Johnson 16.7.03

122.5 x 77cm

PROVENANCE

Acquired from the Artist (accompanied

by a certificate of authenticity)


$4,000–6,000

27

CHARLES BLACKMAN (1928-2018)

School Girl Suite V

charcoal on paper

signed lower right: BLACKMAN

73.5 x 98cm

PROVENANCE


$4,000–6,000

26

28

LEONARD FRENCH (1928-2017)

Rain and Fire

mixed media on paper

signed lower right: Leonard French

64.5 x 48.5cm

PROVENANCE


$3,000–5,000

28

25

29

29

DAVID LARWILL (1956-2011)

Untitled 1985

oil on canvas


David Larwill / 1985 / untitled

158 x 129cm

PROVENANCE

The Estate of Albert & Lorraine Mantello

$20,000–30,000

30


Two Figurative Studies

two crayon on paper

each signed lower right: Nolan

32 x 24.5cm

PROVENANCE


$1,000–1,500

26

31

31

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)


$10,000–15,000

32

32

AUGUSTINAS SAVICKAS (1919-2012)

Portrait of Antanas Kubelius 1970

oil on canvas

signed and dated lower right: Savickas 70

42.5 x 30.5cm

PROVENANCE

John Buckley Gallery, Melbourne


$600–900

27

33

33


Tasmanian Wilderness

oil on canvas

signed lower right: DYER

152.5 x 183cm

PROVENANCE


$10,000–15,000

34

MARGARET WOODWARD

(BORN 1938)

The Daydreamer

ink (pyra) on paper

signed lower right: Woodward

titled verso: THE DAYDREAMER

36 x 30cm

PROVENANCE


$300–500

35

MARGARET WOODWARD

(BORN 1938)

Francesco's Morsel

mixed media on canvas


titled verso: "Francesco's Morsel"

71 x 71cm

PROVENANCE


$500–800

28

36

37

36

ANNE MARIE GRAHAM

(BORN 1925)

Perchance to Dream 1989

oil on canvas

signed and dated lower right: Anne

Graham '89

49 x 39cm

PROVENANCE

Acquired from the artist 30 October

1989


$1,200–1,800

37

DIANA CROOKE (BORN 1954)

Mother and Child

pastel

signed lower left: DIANA CROOKE

67.5 x 46.5cm

PROVENANCE


$800–1,200

38

TONY IRVING (1939)

Still Life With Lilies and

Reflected Self-Portrait 1996

oil on canvas

signed and dated lower right:

TONY IRVING 1996

122 x 91.5cm

PROVENANCE


$800–1,200

29

39

39

ANNE MARIE GRAHAM (BORN 1925)

At Cairns Botanic Gardens 2011

oil on canvas

signed and dated lower right: Anne M Graham 2011

134 x 104.5cm

PROVENANCE


LITERATURE

Anne Graham, Andrew Gaynor, and Jenny Zimmer, Anne

Marie Graham: worlds in a paintbrush, South Yarra, Vic;

Macmillan Art, 2012, p. 32-33 (illustrated)

$2,500–4,500

40

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, Melbourne (cat. no. 10145, label verso)

Leonard Joel, Melbourne, Australian and European

Paintings, 3 November 1993, Lot 336

The Lady Marsha and Sir Andrew Grimwade CBE

Collection, Victoria

$800–1,200

30

The David and Susi Caddy Collection

'If we are always arriving and departing, it is also true that

we are eternally anchored. One's destination is never a

place but rather a new way of looking at things.' 1

The resonating tone of the David and Susi Caddy

collection is an enduring spirit of wanderlust —

a characteristic shared by the familial owners and

the artists whose works are intertwined within

the collection. For over 20 years, David and Susi

Caddy have been making their yearly pilgrimage

from England to Australia for three months of the

year. They are now closing this chapter of their

lives as they move to live full-time in England;

parting with their beloved collection of Australian

art, which intersects the journey of many

generations roaming across Australia and abroad.

David and Susi's collection effortlessly navigates

a century of Australian art, while also reflecting

the narrative of their well-travelled paths.

Housing exemplary archetypes from the defiant

tonalist painters influenced by Max Meldrum’s

School (later coined Meldrumites) and George

Bell, the collection ambles from this period to the

later modernist and abstract attitudes of the mid

to late 19th-20th century. The artists spanning

these eras characterised the modern Australian

psyche, displaced European attitudes striving

to examine and interpret the new world they

found themselves in. Their gradual awareness is

apparent in the subject treatment and redefined

palette employed to represent the subtle tones

of the Australian landscape.

In 2001, David inherited a modest yet succinct

selection of artworks from his uncle and aunt, Kit

and Betty (née Caddy) Olsen. Betty Olsen was an

artist in her own right studying under George Bell

and Max Meldrum. She collected many works

from her peers and acquaintances during her

studies and throughout her life as a practising

artist. David and Susi cared deeply for Kit and

Betty and kept close contact until their passing.

They admired the collection in its essence and

resolved to conscientiously gather artworks that

would complement it.

The lives of the two couples bear striking

similarities — kindred spirits driven by an

inherent earnestness to explore the world. When

Kit Olsen retired from Melbourne Grammar

School, he had a spell working for UNESCO. Kit

and Betty lived abroad in Penang followed by

Afghanistan for many years. David recalls how

they recounted these experiences in detail,

marvelling at the beauty and diversity of the

places they visited.

In parallel, from infancy, David entered a lifetime

of globe-trotting. Born in 1944 in Quebec,

Canada, his father, an officer in the British Army,

was part of a team of scientists who worked with

the Americans in the development of guided

weapons. David’s father’s work continued to

establish the RAAF Woomera Rocket Range

Complex in the 1950s, steering the family

to settle in Adelaide. David was six months

old when his mother and siblings undertook

the intrepid journey by boat from Canada to

Australia via England. Later in life, David’s career

31

Betty Olsen (nee Caddy), 1940

David & Susi Caddy

as partner with PWC in London drew him to West

Africa and South America for extended periods.

Both couples admired the worldliness in the

lives of the painters that they collected. One

can travel the world through these pictures

– the majority painted through the eyes of a

decisive array of distinguished Australian artists;

impressions of London, Rome, Cairo and Paris

are represented. The collection includes an early

example by Nora Heysen titled Red and White

Roses, 1934 (Lot 56), painted the year the young

artist travelled to London in her mid-twenties;

Charles Blackman’s moody silhouette of the

Parisian Streets executed in the Antipodeans

archetypal style; Hayward Veal’s fragmented

details of the coast of Normandy and Paris

Market scenes; Charles Bush’s picturesque

watercolour renditions of Venice and Cairo; and

William Dargie’s grand tour of Roman ruins. The

collection also holds several classic examples by

Dorothy Braund, an emphatic traveller, who, along

with fellow artist Guelda Pyke, navigated a Kombi

van through Pakistan, Iran and Turkey in the 1950s

without maps, surviving by sheer bravado. 2

Complimenting the distinctly European flavour

of the collection is a delightful representation of

the Australian terrain; the enigmatic landscape

has a way of beckoning wayward travellers

home. Dorothy Braund’s quintessential fixation

on the beach is characterised in Hot Day

(Lot 64), an impressive panoramic figurative

painting and a striking example of her command

of composition. A classic watercolour in deep

earthy tones by Hans Heysen, In the Brachina,

1950 (Lot 54), purchased in London by its current

owners is testimony to the adage that distance

makes the heart grow fonder; Helen Ogilvie’s

galvanised-iron capped church epitomising

rudimentary rural aesthetics; and a rare

streetscape by Ernest Buckmaster depicting

Collins Street’s ‘Paris End’ illustrates the

blinding Australian sun silhouetting pedestrians

crossing the street one busy afternoon in 1926.

Each work reflects the disparate nature of the

country’s landscape, its contradictions, and its

unique splendours, all inherently bound by their

respective artists’ heritage.

For the last 20 years, David and Susi’s collection

has proudly adorned the walls of their Toorak

apartment; now bare, the images remain firmly

planted in their mind’s eye. After years of careful

curation and preservation, this esteemed

collection is now ready to journey once again

to the collections of new custodians who will

cherish and appreciate their intrinsic grace and

sincerity.

1

Henry Miller, Big Sur and the Oranges of Hieronymus Bosch,

United States, New Directions, published 1957, p. 25

2 Dorothy Braund Retrospective, Castlemaine Art

Gallery and Historical Museum, 2006, p. 11

32

41

41

PEGGY CROMBIE (1901-1984)

Flowers on a Dish

oil on board

signed lower left: P Crombie

titled verso: "Flowers on a Dish"

39.5 x 54.5cm

PROVENANCE

The Kit and Betty Olsen Collection, Melbourne

Thence by descent

$2,000–4,000

33

42

42

ERNEST BUCKMASTER (1897-1968)

Collins Street 1926

oil on canvas on board

signed and dated lower right: E Buckmaster 26

24.5 x 32cm

$8,000–12,000

34

43

43

HAYWARD VEAL (1913-1968)

Paris Market

oil on canvas

signed lower left: Veal

49 x 33.5cm

$3,000–5,000

35

44

44

HELEN OGILVIE (1902-1993)

Galvanised Iron Church with Figures 1970

oil on board

signed and dated lower right: H OGILVIE 70

titled verso: 'Galvanised Iron Church with Figures'

20 x 25.5cm

PROVENANCE


Thence by descent

$5,000–8,000

36

45

45

COLIN COLAHAN (1897-1987)

View from Village

oil on board

signed lower left: Colahan

31.5 x 39.5cm

$800–1,200

37

46

HAYWARD VEAL (1913-1968)

Drawbridge Dieppe

oil on canvas

signed lower right: Veal

49.5 x 24.5cm

PROVENANCE

Eastgate Gallery, Melbourne

EXHIBITED

A Collector's Exhibition, Eastgate

Gallery, Melbourne, 2 – 23 April 2003,

cat. no. 30

$2,000–3,000

46

38

47

47

GEORGE BELL (1878-1966)

Tintern Abbey 1929

oil on canvas

signed and dated lower left: George Bell / 1929

61.5 x 74cm

PROVENANCE


$2,000–4,000

48

CHARLES BUSH (1919-1989)

The Pyramids from the Sheraton Hotel, Cairo 1973

watercolour on paper

signed, dated, titled lower right: Bush / 1973 / Cairo

34 x 50.5cm

PROVENANCE


Thence by descent

$400–600

39

49

49

WILLIAM (BILL) DARGIE (1912-2003)

Round Temple at Forum Boarium, Rome

oil on canvas

signed lower right: Dargie

44.5 x 54.5cm

$3,000–5,000

50


Venice


signed lower right: Bush

24.5 x 34cm

PROVENANCE


Thence by descent

$300–500

40

51

51

ROGER KEMP (1908-1987)

Night Landscape 1940

enamel on board

signed lower right: Roger Kemp

26.5 x 26.5cm

PROVENANCE


$3,000–5,000

41

52

LES KOSSATZ (1943-2011)

The New Popes Shoes 2005

aluminium and enamel

signed and dated on base: Kossatz 05

29cm high, 26cm wide, 27cm deep

PROVENANCE


LITERATURE

Zara Stanhope, Les Kossatz: The Art of Existence, Macmillan Art

Publishing and Heidi Museum of Modern Art, 2008, p. 151 (illus.)

OTHER NOTE

A copy of this book accompanies this lot

$4,000–6,000

52

42

53

53

ARTHUR MERRIC BOYD (1862-1940)

Crabbing, Port Phillip Bay 1887

watercolour

signed and dated lower right: Arthur M Boyd 1887

18 x 35cm

PROVENANCE

Lauraine Diggins Fine Art, Melbourne

EXHIBITED

The Changing Face of Melbourne, 1841-1993,

Lauraine Diggins Fine Art, 1993, cat. no. 30

$800–1,200

43

54

54

HANS HEYSEN (1877-1968)

In the Brachina 1950


signed and dated lower left: HANS HEYSEN 1950

23.5 x 39cm

PROVENANCE

The Hans Heysen Collection, Leonard Joel,

18th June 1970, cat. no. 66

Sotheby's, London, Travel Sale, 15 November 2001,

Lot 0009

$6,000–8,000

44

55

55

ROLLO THOMSON (1905-1967)

A Chaise Longue in an Interior

oil on board

signed lower right: Rollo Thomson

49 x 38cm

PROVENANCE


Thence by descent

$400–600

45

56

56

NORA HEYSEN (1911-2003)

White and Red Roses 1934

oil on canvas

signed and dated lower right: NORA HEYSEN 1934

41.5 x 45.5cm

$20,000–30,000

46

57

SYBIL CRAIG (1901-1989)

Flowers in Blue Bowl

oil on board

signed lower left: SYBIL CRAIG

signed and titled verso: Sybil Craig /

"FLOWERS IN BLUE BOWL"

38.5 x 44cm

PROVENANCE

The Kit and Betty Olsen Collection,

Melbourne

Thence by descent

$2,000–3,000

57

58

58

SYBIL CRAIG (1901-1989)

Spring Flowers

oil on board

signed lower left: SYBIL CRAIG

titled verso: "Spring Flowers"

39 x 31cm

PROVENANCE


Melbourne

Thence by descent

$1,800–2,500

47

59

59


Still Life - Lilies and Hydrangeas 1953

oil on canvas

signed and dated lower left: George Bell 53

60 x 50cm

PROVENANCE


$3,000–5,000

48

60

60


Washing 1969

gouache and watercolour on paper


38 x 54.5cm

PROVENANCE


Thence by descent

$1,500–2,500

61

PHYLLIS WATERHOUSE (1917-1989)

Bedroom Nude

oil on board

signed lower right: Waterhouse

24 x 19cm

PROVENANCE


Thence by descent

$600–900

49

62

62


Nude Bather – Pour Franz ut Cadeau


signed and inscribed lower right and left:

BLACKMAN / POUR FRANZ UT CADEAU

39 x 55cm

PROVENANCE

Gift from the Artist

Private Collection, Denmark

Thence by descent

$8,000–12,000

50

63

63

JACQUELINE HICK

(1919-2004)

Opal Country

enamel on copper plate

inscribed verso: JACQUELINE HICK /

"OPAL COUNTRY"

29.5 x 37cm

PROVENANCE


Melbourne

Thence by descent

$700–1,000

51

64

64


Hot Day

oil on board

signed lower right: BRAUND

titled verso: "HOT DAY"

28 x 108cm

PROVENANCE


Melbourne

Thence by descent

$3,000–5,000

65

DONALD FRIEND (1915-1989)

The Artist's Home


signed indistinctly lower right:

Donald Friend

verso: Rooster and Figure (ink drawing)

24 x 26cm

$800–1,200

65

52

66

66


Schoolgirl 1953

pencil on paper

signed with initials and dated lower right: CB 53

22.5 x 19cm

PROVENANCE

Leonard Joel, Melbourne, The Sunday Art Sale,

28 February 2010, Lot 186

$1,500–2,500

53

67

67


Street Scene, Paris


signed lower right: BLACKMAN

49.5 x 72cm

PROVENANCE

Collection of Burdett Laycock esq., Melbourne

Thence by descent

Estate of H. A. Brockhoff, Victoria

Joel Fine Art, Melbourne, Important Australian and

International Art, 26 March 2007, Lot 54

$18,000–25,000

54

68

68


Blue Rhythm

acrylic on board

signed and inscribed on label verso:

Roger Kemp / Blue Rhythm

30 x 34cm

PROVENANCE


$5,000–6,000

69

ROBERT GRIEVE (1924-2006)

Rock Landscape – No No!!

Racing Colours


signed upper right: Robert Grieve

titled verso: Rock Landscape -

No No!! Racing Colours

56.5 x 77cm

PROVENANCE


$800–1,200

70


Untitled


Roger Kemp Studio certificate of

authenticity accompanies this work

120 x 87cm

PROVENANCE


EXHIBITED

Roger Kemp, Eastgate & Holst,

Melbourne, 18 March - 22 April 2006

$10,000–15,000

55

70

56

71

71

JAMES GLEESON (1915-2008)

In Jeopardy

oil on board

signed lower left: Gleeson

titled verso: "In Jeopardy"

24 x 18cm

PROVENANCE


Thence by descent

EXHIBITED

Macquarie Galleries, Melbourne Exhibition 1955

(label verso)

$2,000–3,000

72

PERCY WATSON (1919-1995)

Dispersed Forms 1952

oil on board

signed lower right: Percy Watson

inscribed verso:

Percy Watson / 1952 / 'DISPERSED FORMS'

39.5 x 33.5cm

PROVENANCE


EXHIBITED

A Collector's Exhibition, Eastgate Gallery, Melbourne,

20 March - 19 April 2002, cat. no. 68

$500–800

57

73

73

LEONARD FRENCH (1928-2017)

Still Life

oil on board

signed and titled verso: LEONARD FRENCH / STILL LIFE

46.5 x 63cm

PROVENANCE


$10,000–15,000

58

74

EVELINE W SYME (1888-1961)

Drawing of Dorothy Braund

pencil on paper

studio stamp lower left: E W SYME

30.5 x 23cm

PROVENANCE

Rod Eastgate, Melbourne

$800–1,200

74

75

75


John Brack was too busy

to do this part for me

pencil on paper

inscribed lower right: John Brack was too

busy to do this part for me

49.5 x 44cm

PROVENANCE


$1,500–2,500

59

76


Three Heated Figures 1991

oil on board


titled verso: THREE HEATED FIGURES

59 x 72cm

PROVENANCE


$4,000–6,000

76

77

BILL COLEMAN (1922-1993)

Seated Figure


40 x 30cm

PROVENANCE

The Late William (Bill) Coleman Estate

(accompanied by a certificate of

authenticity)

$800–1,200

77

60

78

78


Antoinette

oil on board

verso: portrait / sketch

a note of authenticity from the Artist's

daughter accompanies this lot

35 x 25.5cm

PROVENANCE


EXHIBITED

A Collector's Exhibition, Eastgate Gallery,

Melbourne, 2 – 23 April 2003, cat. no. 2

$800–1,200

79


Portrait of Antoinette Niven 1938

oil on board

signed and dated lower right: George Bell 38

48.5 x 37.5cm

$1,200–1,800

80

NORNIE GUDE (1915-2002)

Toward Yackandandah

watercolour

signed lower right: N Gude

titled verso: 'Toward Yackandandah'

34 x 54.5cm

$300–500

61

81

GEOFFREY MAINWARING (1912-2000)

Portrait of the Artist's Wife

(Melva Mildred Senith Dickson)

oil on board

44 x 38cm

$700–900

81

82

LAURENCE SCOTT PENDLEBURY

(1914-1986)

The Latin (Portrait of Nornie Gude)


signed lower left: Pendlebury

inscribed verso: Scott Pendlebury / "Nornie Gude"

125.5 x 92.5cm

$3,000–5,000

82

62

83

83

DAVID NEWBURY (1925-2003)

An Afternoon at the Whipstick at Eaglehawk 1989

oil on canvas

signed and dated lower right: D Newbury 89

titled verso: AN AFTERNOON AT THE WHIPSTICK AT

EAGLEHAWK

59 x 48.5cm

$600–1,000

84

ROBERT JOHNSON (1890-1964)

The Artist Painting

oil on board

signed lower right: Robert Johnson

22.5 x 26.5cm

PROVENANCE


$2,000–3,000

85


Summer Picnic at Aireys 1974

oil on board

signed lower right: Bush

signed, dated and titled verso: CHARLES BUSH /

"SUMMER PICNIC AT AIREYS" / 1974

75 x 99.5cm

PROVENANCE

Dick and Barbie Seddon Collection, Melbourne

$1,200–1,800

86

DERWENT LEES (1885-1931)

Portrait of the Artist's Wife

pencil on paper

23.5 x 19.5cm

$600–900

63

84

85

64

87

87

FRANCES DERHAM (1894-1987)

Seated Man 1950

oil on board

signed with initials and dated lower left: F D '50

38.5 x 40cm

PROVENANCE


EXHIBITED

A Collector's Exhibition, Eastgate Gallery, Melbourne,

20 March – 19 April 2002, cat. no. 17

$800–1,200

65

88

89

88

RUSSELL DRYSDALE (1912-1981)

Young Boy

pencil and wash on paper

signed lower right: Russell Drysdale

32 x 19cm

$1,800–2,500

89

ALICE M E BALE (1875-1955)

The Shed Hand


44.5 x 32cm

$2,000–3,000

66

90

90

RUTH SUTHERLAND (1884-1948)

On the Land

oil on canvas

signed lower left: R Sutherland

inscribed verso: Ruth Sutherland / "ON THE LAND"

45 x 50cm

$700–1,000

67

91

91

WILLIAM FRATER (1890-1974)

The Open Paddock 1974

oil on board

signed and dated lower right: William Frater 74

54.5 x 79.5cm

$800–1,200

68

92

92

MAX MELDRUM (1875-1955)

Eltham

oil on board

signed lower right: MELDRUM

signed and titled verso: Max Meldrum / ELTHAM

29 x 25cm

$1,500–2,500

69

93

93

AMALIE COLQUHOUN (1894-1974)

Picnic on Foreshore, Lorne


signed upper right: Amalie Colquhoun

36 x 28.5cm

$4,000–6,000

70

94

94

WILLIAM B MCINNES (1889-1939)

Farm Buildings, Heidelberg

oil on board

signed lower right: W. B. MCINNES

inscribed verso: Heidelberg

37 x 37cm

PROVENANCE

Lauraine Diggins Fine Art, Melbourne (label verso)

$2,500–3,500

71

95

95

JAN HENDRIK SCHELTEMA (1861-1941)

On the Banks of the Mitta Mitta River


signed lower right: J H Scheltema

titled verso: On the Banks of the Mitta Mitta River

38 x 35.5cm

PROVENANCE

Sotheby's, London, Travel Sale,

15 November 2001, Lot 0012

$3,000–5,000

96

JOHN BORRACK (BORN 1933)

Strath Creek 1974

watercolour

signed and dated lower left: John Borrack 74

26.5 x 36cm

PROVENANCE


Thence by descent

$400–600

72

97

98

97

SCHOOL OF GEORGE ROMNEY

Portrait of a Lady

watercolour

25 x 20cm

PROVENANCE


Thence by descent

$800–1,200

98

C SMITH (ENGLISH, 1795-1875)

Portrait of a Lady

oil on board

23.5 x 18.5cm

PROVENANCE


Thence by descent

$600–900

73

99

99

CARL HERPFER (GERMAN, 1836-1897)

The Marriage Contract

oil on canvas

signed and inscribed lower right: Carl Herpfer / München

76.5 x 91.5cm

PROVENANCE

Christie's Australia, Melbourne, Australian and

International Paintings, 27 & 28 November 2001, Lot 104

$8,000–12,000

100

BERNARD LAWSON (1909-1998)

Lady Kensington

oil on board

signed upper left: BERNARD LAWSON

60 x 46cm

PROVENANCE


Thence by descent

$600–900

74

101


Studio Nude

pencil and charcoal on paper

signed lower right: George Bell

54 x 30.5cm

PROVENANCE


$400–600

101

75

102 103

102

AUGUSTUS JOHN (1878-1961)

Figure Studies from the Studio

two conte drawings

37 x 17cm and 37.5 x 12cm (irregular)

PROVENANCE

From the Studio of Augustus John

$1,200–1,800

103


Figure Studies from the Studio

two conte drawings

33 x 11.5cm and 33.5 x 11cm (irregular)

PROVENANCE


$1,500–2,500

104


Two Female Figure Studies

two pencil on paper

30.5 x 13cm and 25 x 11cm (irregular)

PROVENANCE


$500–800

105


A Male and Female Figure Studies

pencil and conte on paper

30 x 12.5 and 28 x 12cm (irregular)

PROVENANCE


$500–800

76

106

106

GEOFFREY JONES (1909-1993)

Mediterranean Town

oil on canvas

signed lower right: GEOFF JONES

inscribed verso:

GEOFF JONES / MEDITERRANEAN TOWN

39.5 x 49.5cm

PROVENANCE


Thence by descent

$900–1,200

77

107


Circle of Friends 1950

oil on board


G Bell 50

58.5 x 50.5cm

$2,000–3,000

107

108


Resting Woman

oil on board

a note of authenticity from the Artist's

daughter accompanies this lot

45 x 60.5cm

PROVENANCE


$1,500–2,500

108

78

109

109

GEOFFREY JONES (1909-1993)

Green Nude 1979

oil on glass


GEOFF JONES 79

26.5 x 41.5cm

PROVENANCE


Melbourne

Thence by descent

$400–600

110

DENES DE HOLESCH

(1910-1983)

Three Horses

oil on canvas

signed lower left: Holesch

21.5 x 32cm

PROVENANCE


Melbourne

Thence by descent

$500–800

111

DENES DE HOLESCH

(1910-1983)

Two Horses

oil on board

signed lower left: Holesch

25.5 x 40cm

PROVENANCE


Melbourne

Thence by descent

$500–800

79

112

112

CHUAH SIEW TENG

(MALAYSIAN, BORN 1944)

Village Fisherman

batik painting

signed upper right: SIEW TENG

46 x 41cm

PROVENANCE


Melbourne

Thence by descent

$400–600

113

JAN NEIL

Urban Icon 3 1994

mixed media and collage on canvas

signed, dated and titled on margin:

Jan Neil '94 / Urban Icon 3

38.5 x 30cm

PROVENANCE


Melbourne

Thence by descent

$400–600

114

JAN NEIL

Connotation 2 1994

mixed media and collage on canvas

signed, dated and titled on margin:

Jan Neil '94 / 'Connotation 2'

38 x 30cm

PROVENANCE


Melbourne

Thence by descent

$400–600

80

Other Properties

115

116

115

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

Private Collection

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

(as 'University Fete')

Henry Krongold, Melbourne

The Estate of Paul Krongold, Melbourne

LITERATURE

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

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

$3,000–5,000

81

117

116

DORA CHAPMAN (1911-1995)

Still Life – Hippeastrum

(Portrait of a Gentleman verso)

oil on board

signed lower right: D CHAPMAN

37 x 28.5cm

PROVENANCE

Leonard Joel, 9 July 1998, Lot 39


$800–1,200

117

JOHN HENRY INSKIP (ENGLISH, 1864-1947)

Poppies

oil on panel

signed and titled verso: J Henry Inskip / "Poppies"

23.5 x 17cm

PROVENANCE

Leonard Joel, Autumn Auction, Melbourne,

10 May 2004, Lot 211


$1,200–1,500

82

118

118

EVAN MACKLEY (1940-2019)

The Pot of Flowers

oil on canvas

signed lower left: MACKLEY

inscribed with title verso: "The Pot of Flowers"

120 x 89cm

PROVENANCE


$3,000–5,000

119

KEVIN CHARLES (PRO) HART (1928-2006)

Orchids

oil on canvas

signed lower right: Pro Hart

37.5 x 16cm

PROVENANCE

Private Collection, Tasmania

OTHER NOTES

David Hart Certificate of Valuation accompanies this lot

$2,200–2,800

83

120


Native Flora

oil on paper

signed lower centre: Nolan

25 x 27cm

PROVENANCE


$1,000–1,500

120

121

STANISLAUS RAPOTEC (1913-1997)

Untitled 1971

oil on board

signed and dated lower right: Rapotec 71

121.5 x 90.5cm

PROVENANCE


$6,000–8,000

121

84

122

JOHN LOXTON (1903-1969)

Still Life in White


signed lower right: John S Loxton

67 x 69cm

PROVENANCE


$1,000–2,000

122

123

ALLAN BERNALDO (1900-1988)

Phlox

watercolour

signed lower left: Allan Thos Bernaldo

36.5 x 48.5cm

PROVENANCE


$1,000–1,500

123

85

124

PATRICIA MORAN (1944-2017)

Still Life

oil on canvas

signed lower right: P Moran

75 x 90.5cm

PROVENANCE


$2,000–3,000

124

125


Spring Bunch – Mixed Bowl

oil on canvas

signed lower left: E Buckmaster

inscribed verso: MIXED BOWL

82 x 59cm

PROVENANCE


$4,000–6,000

125

86

126

RUPERT BUNNY (1864-1947)

Percement du Boulevard Raspail,

vu de la rue Vavin (Demolition in

Boulevard Raspail and Rue Vavin,

6th Arrondissement)

oil on board

inscribed illegibly lower right

inscribed verso in pencil: Percement du

Boul. Raspail / vu de la rue Vavin

63.5 x 53cm

PROVENANCE

Joseph Brown, Melbourne 1973

(as "Demolition work in France")

The Collection of Harry and Masha

Flicker, Melbourne

$6,000–8,000

126

127

ANTHONY DEVAS A.R.A.

(BRITISH, 1911-1958)

Interior Scene, circa 1933

oil on canvas

signed lower left: Devas

54 x 44cm

PROVENANCE


$800–1,200

127

87

128

128

JAMES R JACKSON (1882-1975)

Venice

oil on canvas

signed lower left: JAMES R JACKSON

39 x 49.5cm

PROVENANCE

Acquired directly from the artist, circa 1930s


$4,000–6,000

129

MAY VALE (1862-1945)

Kittens circa 1885


signed upper left: May Vale

30.5 x 40.5cm

PROVENANCE

Daisy Stone (circa 1955)

Thence by descent


$1,800–2,500

88

130

CLIFTON PUGH (1924-1990)

Glory be to God for Dappled Things 1988

oil on canvas

signed, dated and titled lower right and left:

Clifton FEB 1988 'GLORY BE TO GOD

FOR DAPPLED THINGS'

111.5 x 90cm

PROVENANCE

Acquired directly from the Artist

Helen Nixon Collection, Melbourne

CATALOGUE NOTE

Helen Nixon was Clifton Pugh's accountant

and friend for a significant period of his life and

career. As is often the way with artists, they

are rich with imagination and concepts but

not always flush in tangible world assets. As

such, Helen accrued an extensive collection of

artworks (and a Jaguar at one point) as payment

for her trusted services.

Helen's collection bares witness to the breadth

of Pugh's talent, offering a unique glimpse into

the artist's character and complexity.

$6,000–8,000

130

131

131


Study for Unidentified Mythological

Subject 111 c.1916

oil on prepared paper

19 x 20.5cm

PROVENANCE

Art Lovers Gallery, Artarmon, NSW (label verso,

titled as "Oil Sketch for Large Composition")


LITERATURE

David Thomas, The Life and Art of Rupert Bunny,

A Catalogue Raisonné Vol.2, Thames & Hudson

2017, p. 58

$1,500–2,500

89

132

132

NORMAN LINDSAY (1879-1969)

Studio Model


signed lower right:

NORMAN LINDSAY

28.5 x 23.5cm

PROVENANCE


$6,000–8,000

133


Seated Female Nude Study

ink on paper

monogrammed lower right: R B

25.5 x 20.5cm

PROVENANCE


$1,500–2,000

134

CONSTANCE STOKES

(1906-1991)

Nude Study 1974

pen on paper

signed and dated lower left:

Constance Stokes 1974

38 x 27.5cm

PROVENANCE


$400–600

90

135

136

135

(ATTRIBUTED) TOM ROBERTS (1856-1931)

Stormy Landscape

oil on board

15 x 23cm

PROVENANCE


$4,000–6,000

136

ALBERT ERNEST NEWBURY (1891-1941)

Basket Willows and a Pool

oil on board

signed lower left: A E NEWBURY

signed and titled verso: A E Newbury, Eltham, "Basket

Willows & a Pool"

21.5 x 29.5 cm

PROVENANCE


$1,000–2,000

91

137

137

ELISABETH FRINK (1930-1993)

Pheasant

watercolour

signed lower right: Frink

60 x 45cm

PROVENANCE

The Estate of Daniel and Ioanna Ellerington, Melbourne

$6,000–8,000

92

138

138

LLOYD REES (1895-1988)

The Slopes of Mount Saddleback II 1972

wash and charcoal on paper

signed and dated lower right: L REES 1972

42 x 55.5cm

PROVENANCE

Private Collection Sydney, thence by descent


EXHIBITED

Lloyd Rees, New Grafton Galleries London September –

October 1973, cat. no. 22

$3,000–5,000

139

JOHN PASSMORE (1904-1984)

Study for Prawn Boats IV c.1954

ink and watercolour on paper

57.5 x 83cm

PROVENANCE

Lauraine Diggins Fine Art, Melbourne


$2,000–3,000

93

140

140


From the Bluff, Encounter Bay, Victor Harbour,

South Australia 1954


signed and dated lower right: HANS HEYSEN 1954

32 x 39.5cm

PROVENANCE


Thence by descent

$12,000–18,000

141

ROBERT JOHNSON (1890-1964)

North of Newport, 20 Miles North of Sydney


signed lower right: Robert Johnson

36.5 x 44.5cm

PROVENANCE


Thence by descent

$2,000–4,000

94

142

142


Horses in the Morning Light

oil on canvas


68.5 x 84cm

PROVENANCE


$4,000–6,000

95

143

143


White Gums in Autumn Light 1948


signed and dated lower left: HANS HEYSEN 1948

32.5 x 40.5cm

PROVENANCE


Thence by descent

$20,000–30,000

144

R W STURGESS (1892-1932)

The Hilltop

watercolour

signed lower left: R W STURGESS

27 x 40cm

PROVENANCE


$400–600

96

145

145


Misty Morning

oil on canvas


70 x 85cm

PROVENANCE


$5,000–8,000

97

146

146


Morning Light in the Valley


signed lower right: E Buckmaster

70 x 88cm

PROVENANCE


$6,000–9,000

147

CHARLES WHEELER (1880-1977)

Country Road After Rain

oil on board

signed lower left: C Wheeler

29.5 x 39cm

PROVENANCE


Thence by descent

$800–1,200

98

148

149

148

DONALD FRIEND (1914-1989)

Two Boys 1952

ink and crayon on paper

signed and dated lower right: Donald Friend 52

47 x 30.5cm

PROVENANCE


$2,500–4,500

149

MARGARET WOODWARD (BORN 1938)

Samburu Warriors African Spear Thrower 1991

watercolour and ink on paper

signed and dated lower right: Woodward '91

inscribed verso: Samburu Warriors African Spear Thrower

38 x 24.5cm

PROVENANCE


$300–500

99

150

150

NORMAN LINDSAY (1879-1969)

Aboriginal Tracker, Horse and Dogs

watercolour and wash on paper

signed lower left: NORMAN LINDSAY

24 x 18.5cm

PROVENANCE


$2,000–3,000

151

MARGARET WOODWARD (BORN 1938)

Native Girl

charcoal on paper


75 x 55cm

PROVENANCE


$300–500

100

152

CLIFTON PUGH (1924-1990)

Landscape Reflections with

Wattle 1985

oil on canvas


Clifton 31-7-85

90.5 x 111cm

PROVENANCE

Acquired directly from the Artist

Helen Nixon Collection, Melbourne

$8,000–10,000

152

153

OLA COHN (1892-1964)

Negress circa 1928

terracotta with bronze patina

incised on base: Ola

17.5 cm high, 12.5cm wide, 10.5cm deep

PROVENANCE

Sotheby's, Melbourne Fine Australian and

European Paintings, 29 April 1998, Lot 330


$600–800

154

OLA COHN (1892-1964)

Baby's Head circa 1928

terracotta and green patina

incised on base: Ola

16 cm high, 14cm wide, 11cm deep

PROVENANCE

Sotheby's, Melbourne, Fine Australian and

European Paintings, 29 April 1998, Lot 330


$600–800

153

101

155

KEVIN CHARLES (PRO) HART

(1928-2006)

The Snakebite River 1972

oil on board

signed, dated and titled lower centre:

Pro Hart 72 / "THE SNAKE RIVER"

59 x 69cm

PROVENANCE


$6,000–9,000

156

KEVIN CHARLES (PRO) HART

(1928-2006)

Street Cricket

oil on board

signed lower left: Pro Hart

28.5 x 38.5cm

PROVENANCE


$4,000–6,000 155

157


Black Boy at Lake Pedder 1988

watercolour and gouache on paper

signed lower right: G Dyer

56 x 75cm

PROVENANCE


$1,200–1,800

158

MATTHEW JOHNSON

(BORN 1963)

Flowers for the Groom 1989

oil on canvas

signed, dated and titled verso: M

JOHNSON '89 / FLOWERS FOR THE

GROOM

152 x 213cm

PROVENANCE

Christine Abrahams Gallery,

Melbourne (label verso)


$2,000–4,000

157

102

The Jan Courtin &

Marshall Harris Collection

Lots 159 – 163 showcase the eclectic taste of Jan

Courtin and Marshall Harris, who championed

emerging artists as both gallery owners and

patrons of the arts. Originally Melbournians,

Jan and Marshall lived in London and briefly in

Brisbane before relocating to Sydney to pursue

Jan's chief obsession – AFL football. Jan was

a devoted supporter of the Sydney Swans from

childhood and grew in dedication through the

years. Her regular contributions to the club

and commitment to the game earned her the

Female Fan of the Year award from the AFL Fans

Association in 2016. It is a fitting homage ‘for a

woman who had uprooted her life to Sydney to

be closer to her beloved Swans’. 1 Her rivalling

passions for the Swans and art were near-equal

contests, although she emphatically insisted,

‘It'd be the Swans before the art.’ 2

Jan and Marshall pursued their mutual passion

for Australian artists with an energetic spirit.

When the couple moved to Sydney (to be

closer to the Swans), they also set up a gallery

on Glenmore Road in Paddington, living in

the apartment above. Harris Courtin Gallery

operated from 1999 for just over a decade. In the

gallery's infancy, they exhibited works by Polly

Courtin, Jan's sister and gradually established a

reputation for championing fringe and emerging

local artists. 'They cared for and involved [their

artists], and above all, they were extremely

professional and generous as gallery directors.

Thus, the stable of artists trusted Jan and

Marshall completely.' 3 Together they amassed

an extensive personal collection, contributing

to the arts district in a way that reflected their

genuine support and enthusiasm for local

Australian artists.

In 2019, Jan and Marshall relocated to

Melbourne, settling into a light-filled,

contemporary home in Albert Park. Paintings

103

The Jan Courtin & Marshall Harris Collection adorning the walls of the collectors' stylish Albert Park abode.

and sculptures filled every square inch of the

house in a cacophony of colour. Amongst the

patchwork salon hung two dynamic works

by Ben Quilty painted in 2002 as the artist's

career was beginning to erupt; Lots 159 and 160

ennoble West Melbourne’s monolithic docklands

in blazing colours delightfully contained to

pocket-sized canvases. Also hanging amidst the

collection were two early abstract paintings by

Guy Maestri, who exhibited with Harris Courtin

Gallery in the early 2000s at the threshold of

an esteemed career. In their private collection,

as much as their gallery, Jan and Marshall

perpetually advocated for emerging artists.

Sadly, Jan passed away in August 2022, followed

by Marshall in October of the same year.

The family now offers the second instalment of

the couple's beloved collection to the market,

paying tribute to their legacy as unwavering

supporters of contemporary Australian art.

1

Vale Jan Courtin, Published Aug 10, 2022; https://www.

sydneyswans.com.au/news/1194386/vale-jan-courtin

2 Alice Bradley, The red & white home of Swan for life Jan

Courtin, 14 Aug 2017; https://www.realestate.com.au/

lifestyle/the-red-white-home-of-swan-for-life-jan-courtin/

3 Statement from Julie Cattlin, the sister of Jan Courtin.

104

159

159

BEN QUILTY (BORN 1973)

Docklands 2 2002

oil on board

signed and titled verso: Ben Quilty / Docklands 2

20 x 25cm

PROVENANCE

Maunsell Wickes at Barry Stern Galleries, Sydney

EXHIBITED

New Paintings, Barry Stern Galleries, Sydney, 2002

$10,000–15,000

105

160

160

BEN QUILTY (BORN 1973)

Docklands 3 2002

oil on board

signed and titled verso: Ben Quilty / Docklands 3

20 x 24.5cm

PROVENANCE

Maunsell Wickes at Barry Stern Galleries, Sydney

EXHIBITED

New Paintings, Barry Stern Galleries, Sydney, 2002

$10,000–15,000

106

161

161

RICHARD LARTER (1929-2014)

Night Action 1991

acrylic and metallic paint on canvas

signed with initials and dated lower right: R L 28.7.91


RICHARD LARTER / 28 July 1991 / "NIGHT ACTION"

182.5 x 120cm

PROVENANCE

Watters Gallery, Sydney

$5,000–8,000

162

GUY MAESTRI (BORN 1974)

Untitled 2002

oil on board

signed and dated verso: GUY MAESTRI 2002

122 x 91.5cm

PROVENANCE

Harris Courtin Gallery, Sydney

$8,000–12,000

107

163

163

GUY MAESTRI (BORN 1974)

Floating World 2 2003

oil on board

signed and dated lower right: MAESTRI 03

signed, dated and titled verso: GUY MAESTRI / 2003 / No. 2

160 x 122cm

PROVENANCE

Mary Place Gallery, Sydney

EXHIBITED

Mary Place Exhibition: Philip Wilson, Guy Maestri

and Mark Kingston, Mary Place Gallery, Sydney,

14 – 26 January 2003, cat. no. 8

$10,000–15,000

108

Other Properties

164

165

109

166

164


Kelly in Landscape

oil on paper

25.5 x 30.5cm

PROVENANCE


$4,000–6,000

165


Winter 1951

watercolour and gouache on paper

signed with initials and dated lower right: CB 51

24 x 32cm

PROVENANCE



$800–1,200

166

ELAINE HAXTON (1909-1999)

Country Wedding 1948

oil on board

signed and dated lower right: ELAINE HAXTON 1948

49 x 59cm

PROVENANCE


$8,000–12,000

167

KENNETH JACK (1924-2006)

Country Town 1980

watercolour

signed and dated lower left: KENNETH JACK

67 x 100cm

PROVENANCE


$1,000–2,000

110

168


Monkey

oil on paper

30 x 24.5cm

PROVENANCE


$800–1,200

169


Monkey

oil on paper

signed with initial lower left: N

61.5 x 51cm

PROVENANCE


$3,000–5,000

168

170

ROBERT GRIEVE (1910-1970)

Abstract Landscape


signed upper right: Robert Grieve

29.5 x 23cm

PROVENANCE


$500–700

170

171

GRAHAM KING (1915-2008)

Off the Edge 1993


signed and dated lower centre:

Graham King '93

53 x 35.5cm

PROVENANCE


$500–800

111

172

MIRKA MORA (1928-2018)

The Gift of the Apple 1980

watercolour and ink on paper

signed and dated lower right: Mirka 80

22 x 23.5cm

PROVENANCE


$2,000–3,000

172

173

MIRKA MORA (1928-2018)

Dreaming of the Angel 1966

charcoal on paper

signed and dated lower right: Mirka 66

44 x 56cm

PROVENANCE


$2,500–3,500

174

CHARLES BLACKMAN

(1928-2018)

Wandering Figure 1954

charcoal on paper

signed with initial and dated lower left:

CB 54

12.5 x 10cm

PROVENANCE



$600–800

173

112

175

175

LOUIS KAHAN (1905-2002)

The Competitors I 1977

oil on canvas

signed and dated lower right: Louis Kahan 1977

titled verso: THE COMPETITORS I

58.5 cm x 120cm

PROVENANCE

Australian Wool Corporation, Melbourne


Thence by descent

$1,000–2,000

176

GUELDA PYKE (1905-1994)

Figure with Birds

mixed media

signed lower right: Guelda Pyke

55 x 74cm

PROVENANCE


$500–800

113

177

177

ROBERT JUNIPER (1929-2012)

Figure in Landscape 1983


signed and dated lower left: Juniper 83

39 x 33.5cm

PROVENANCE

Private Collection, Melbourne, circa 1980s

Thence by descent

$5,000–7,000

178

JUDY CASSAB (1920-2015)

Glen Helen Rock Wall Sziklafal 1993

oil on canvas

signed and dated lower right: Cassab 93

titled verso: GLEN HELEN ROCK WALL SZIKLAFAL

102 x 121.5cm

PROVENANCE

Greythorn Galleries, Melbourne


$2,000–4,000

114

179

179


Town Cricket

oil on board

signed lower right: Pro Hart

44.5 x 59cm

PROVENANCE


$6,000–8,000

180

180

GARETH JONES-ROBERTS (1935-2013)

The Stockman and his Horse

oil on board

signed lower right: Gareth Jones-Roberts

100 x 75cm

PROVENANCE


$600–900

115

181

181


Country Race Meeting

oil on canvas board

signed and titled lower centre and left:

Pro Hart / "COUNTRY RACE MEETING"

49 x 75cm

PROVENANCE

Pro Hart Studios, Broken Hill (label verso)

Private Collection, Hobart

$8,000–12,000

182


Figure in Bushland

oil on board

signed lower right: Cassab

36 x 46cm

PROVENANCE


$300–500

116

183

JASON BENJAMIN (1971-2021)

Dear God 1996

oil on canvas


Benjamin / Sept '96 / dear god

30.5 x 30.5cm

PROVENANCE


$800–1,000

184

MARGARET WOODWARD

(BORN 1938)

The Listener

ink and crayon on paper


38 x 30cm

PROVENANCE


$300–500

183

185

GARRY GREENWOOD

(1943-2005)

Lute

wet-formed, carved and laminated

cowhide and metal string

25cm high, 37cm wide, 13.5cm deep

PROVENANCE


$1,000–1,500

185

117

186


Dreaming Figure

mixed media

57.5 x 38.5cm

PROVENANCE

Holdsworth Galleries, Sydney 1987


$1,000–1,500

187

WILLIAM FRATER (1890-1974)

In the Theatre, Melbourne 1970

oil on board

signed and dated right:

William Frater 70

89.5 x 121cm

PROVENANCE


$2,000–4,000

186

187

118

188

188

LUCY YUKENBARRI

NAPANANGKA

(CIRCA 1934-2003)

Tuwiltjarra Soak in the Great

Sandy Desert WA

synthetic polymer paint on canvas

inscribed with artist name and

cat. no. verso: LUCY YUKENBARRI /

655/98

120 x 80cm

Warlayirti Artists, Balgo Hills


authenticity)


$1,500–2,500

189

SUSIE BOOTJA BOOTJA

(CIRCA 1932-2003)

Kaningarra, near the Canning

Stock Route, WA. 1998


inscribed with artist name and

cat. no. verso: SUSIE BOOTJA

BOOTJA / 556/98

120 x 80 cm

PROVENANCE



authenticity)


$2,000–3,000

190

TOMMY WATSON

(CIRCA 1935-2017)

Wati Kutjara


inscribed verso: WATI KUTJARA /

Agathon Galleries 2013

198.5 x 117cm

PROVENANCE

Agathon Galleries, Melbourne

Art Yarramunua, Melbourne

(accompanied by a certificate

of authenticity)


$18,000–25,000

119

190

120

191

191

BAI BAI NAPANGARDI (BORN CIRCA 1936)

Tjawa Tjawa (Pt Moody) WA 1998


inscribed with artist name and cat. no. verso:

BAI-BAI / 577/98

120 x 80cm

PROVENANCE


(accompanied by a certificate of authenticity)


$3,000–5,000

192

STEVEN WILLIAMSON

Ngayuku Ngura – My Country 2014

acrylic on linen

inscribed verso: STEVEN PIPPI WILLIAMSON /

TJALA ARTS AMATA 015/14

12 x 151.5cm

PROVENANCE

Tjala Arts, APY Lands

McCulloch & McCulloch, Balnarring



$500–700

121

193

193

TOMMY WATSON (CIRCA 1935-2017)

Untitled


94.5 x 152cm

PROVENANCE


$8,000–12,000

194

LINDA NAPURRULA NGITJANKA (BORN 1934)

Tali and Lake at Alkipi 2001

synthetic polymer paint on linen

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


Gallery Gabrielle Pizzi, Melbourne, 2001

The Lady Marsha and Sir Andrew Grimwade CBE

Collection, Victoria

$1,000–2,000

122

195

195

LORNA FENCER NAPURRULA

(CIRCA 1920-2006)

Big Bush Potato

acrylic on linen

inscribed artist name, title and cat. no. verso: LORNA

FENCER NAPURRURLA / Big Bush Potato / P.1534

135 x 100cm

PROVENANCE

Katherine Art Gallery, Katherine NT



$1,000–1,500

123

196

196

EMILY KAME KNGWARREYE (1909-1996)

Body Paint 1995


inscribed verso: DACOU EK467 FW419

121 x 90cm

PROVENANCE

DACOU Gallery, Adelaide

Fireworks Gallery, Brisbane


The Peter and Renate Nahum Collection, London

Private Collection, Adelaide

$6,000–9,000

197

LORNA FENCER NAPURRULA

(CIRCA 1920-2006)

Yala - Bush Potato 2006


inscribed verso with cat. no.:

LORNA FENCER / TAALFN0584

161 x 124cm

PROVENANCE

Gallery One One 2, Melbourne



OTHER NOTES

Photographs of the artist and painting accompany this lot

$2,000–4,000

124

198

198

KATHLEEN PETYARRE (CIRCA 1935-2018)

My Country - Bush Seeds Hail Storm 2004

acrylic on linen

inscribed verso: COMMISSIONED BY G.K. / ACAAKP0419

119.5 x 80.5cm

PROVENANCE

Australian Contemporary Aboriginal Art, Melbourne



$3,000–5,000

125

199

199

EMILY KAME KNGWARREYE (1909-1996)

Wild Flower 1994

acrylic on linen

inscribed with cat. no. verso:

Emily Kngwarreye / 'Wild Flowers' / 1994 / DG02079

61 x 59.5cm

PROVENANCE

Dacou, Adelaide (accompanied by a certificate of authenticity)


$8,000–12,000

126

200

200

PANSY NAPANGARDI (BORN CIRCA 1940)

Hail Dreaming 2007

acrylic on linen

cat. no. verso: AMAG/PN617/07

120.5 x 199cm

PROVENANCE

Aboriginal Modern Art Gallery of Australia, Melbourne


$2,500–3,500

127

201

201

ROVER (JULAMA) THOMAS (1926-1998)

Wolf Crater 1993

natural earth pigments and synthetic polymer paint on

canvas

inscribed verso: ROVER / ROVER THOMAS /

1993 / WOLF CRATER / RT006

88 x 120cm

PROVENANCE

Private Collection, Warnum

Flinders Lane Gallery, Melbourne (label verso)


$18,000–25,000

128

202

CLIFFORD POSSUM

TJAPALTJARRI (1933-2002)

Spinifex Dreaming 1990


inscribed verso: PADDY

126.5 x 127cm

PROVENANCE

Corbally Stourton Contemporary Art,

London (label verso)


$3,000–5,000

202

203

203

MICHAEL NELSON TJAKAMARRA

(1945-2020)

Rainbow Serpent 1998


156.5 x 120cm

PROVENANCE

Corbally Stourton Contemporary Art,

London (label verso)


$1,500–2,500

129

204

204

CLIFFORD POSSUM TJAPALTJARRI (1933-2002)

Kangaroo Dreaming at Mount Denison


inscribed verso:

CLIFFoRD PoSSUM / CLIFFORD POSSUM TJAPALTJARRI

121 x 182cm

PROVENANCE

Flinders Lane Gallery, Melbourne (label verso)


$4,000–6,000

130

205

206

205

JOHNNY DAYNGANGGAN

(1892-1959)

Totemic Animals and

Plants circa late 1950

natural pigments on bark

81 x 25cm

PROVENANCE

Milingimbi, Central Arnhem Land


$1,000–1,500

206

DON WELUK (BORN 1967)

Dhuwu Mewul Honey Story

natural earth pigments on bark

inscribed with artist's name, title and

cat. no. verso:

cat. no. BP1344 / DON WELUK /

Dhuwu Mewul Honey Story

142 x 90 cm

PROVENANCE

Bula'Bula Arts, Northern Territory


$1,000–2,000

207

(POSSIBLY) DJAMBULULA

(CIRCA, 1908-1960)

(OENPELLI (NOW

GUNBALANYA))

Python circa 1960

natural pigments on bark

65 x 29.5cm

PROVENANCE


$400–600

131

208

208

GEORGE MILPURRURRU (1934-1998)

Crocodiles 1996

natural earth pigments and ochre on paper

Aboriginal Dreamtime Gallery cat. no. 01682

102 x 152cm

PROVENANCE

Aboriginal Dreamtime Gallery, Alice Springs, 1996



$2,000–3,000

209

DINNY NOLAN TJAMPITJINPA (BORN 1928)

Waterhole Dreaming


inscribed verso: DN1908

103.5 x 200cm

PROVENANCE

Doongal Aboriginal Art, Karunda, QLD


$2,000–4,000

132

210

210

BILLY THOMAS JOONGOORRA (1920-2012)

Wilpiri


inscribed with cat. no verso:

BILLY THOMAS / WARLAYIRTI ARTISTS / 395/00

60 x 45cm

PROVENANCE




$800–1,200

133

211

211

DOROTHY NAPANGARDI (CIRCA 1956-2013)

Salt on the Mina Mina 2003


inscribed with cat. no. verso: FG03407.DN

123 x 215cm

PROVENANCE

Commissioned by Flinders Lane Gallery, Melbourne

(label verso)


$10,000–15,000

134

212

212

WARLIMPIRRNGA TJAPALTJARRI

(BORN CIRCA 1950)

Water Dreaming at Marpurri, South of Lake

Mackay 1996


inscribed with cat. no. verso: Warlinpirrnga Tjapaltjarri /

Papunya Tula Artists / WY960264 / ABOP430

91 x 122cm

PROVENANCE

Papunya Tula Artists, Alice Springs

Gallery Gabrielle Pizzi, Melbourne

The Kelton Collection, USA


$6,000–9,000

135

213

213

RONNIE TJAMPITJINPA (BORN CIRCA 1943)

Echidna Dreaming 2000

inscribed verso: Ronnie Tjampitjinpa /

Papunya Tula Artists Pty Ltd / RT0011055

122 x 122cm

PROVENANCE

Papunya Tula, Alice Springs



$7,000–10,000

136

214

215

214

DINI CAMPBELL TJAMPITJINPA

(CIRCA 1940-2000)

Tingari 1996


inscribed verso: Dini Campbell Tjampitjinpa / Papunya

Tula Artists Pty Ltd / DC960769 / #6591 A.G.O.D

90 x 45cm

PROVENANCE


Aboriginal Gallery of Dreamings, Melbourne


$1,000–1,500

215

GEORGE YAPA TJANGALA (CIRCA 1925-1989)

Kuniya Dreaming 1999


inscribed with cat. no. verso: George Yapa Tjangala /

Papunya Tula Artists Pty Ltd / GY9907178

121 x 61cm

PROVENANCE

Papunya Tula, Alice Springs



$1,000–2,000

137

216

216

NINGURA GIBSON NAPARRULA (1938-2013)

Soakage Water of Ngaminya 2004

acrylic on linen


Ningura NAPARRULA / NNN0402

stamp verso: Arnhem Land Art NT Pty Ltd

152 x 121 cm

PROVENANCE

Mason Gallery, Darwin


$5,000–6,000

138

217

217

WILLIE TJUNGURRAYI (1932-2018)

Tingari Dreaming 2006

acrylic on Belgian linen

cat. no. AMAG/WJ0107/06

122 x 181.5cm

PROVENANCE

Aboriginal Modern Art Gallery of Australia, Melbourne



$4,000–6,000

218

RONNIE TJAMPITJINPA (BORN CIRCA 1943)

Tingari 2001


inscribed with cat. no. verso: RT 2000167

300 x 180cm

PROVENANCE

Yanda Aboriginal Art, Alice Springs (accompanied by a

certificate of authenticity)


$8,000–12,000

139

218

140

219

219

EILEEN NAPALTJARRI (BORN 1956)

Untitled 2008


inscribed with cat. no. verso: Eileen Napaltjarri

/ Papunya Tula Artists Pty Ltd / EN0810239

90.5 x 46cm

PROVENANCE



Private Collection, South Australia

EXHIBITED

(Possibly) Eileen Napaltjarri: feeling the heat,

Utopia Art Sydney, 27th March-24 April, 2010

$1,000–1,500

141

220

220

REGINA PILAWUK WILSON (BORN 1948)

Message Sticks


inscribed verso: Agathon Gallery

PILAWUK REGINA WILSON Cat No "42"

101 x 203cm

PROVENANCE

Agathon Galleries, Melbourne


$7,000–10,000

142

221

221

BILLY STOCKMAN TJAPALTJARRI (1927-2015)

Men's Ceremony 1988


inscribed verso: BILLYSTOCKMAN / A.G.O.D 12584 / BS121

96.5 x 137cm

PROVENANCE

Aboriginal Gallery of Dreamings, Melbourne


$1,500–2,500

222

LENA SKINNER NGAL (ACTIVE 1980s)

Bush Plum circa 2000

acrylic on linen

inscribed with artist name and cat. no. verso:

Lena Skinner Ngal / FLSNg 00 02 / Utopia

95 x 123cm

PROVENANCE

Desart, Alice Springs



$500–800

143

223

223

GLORIA TAMERRE PETYARRE (1942-2021)

Bush Medicine


inscribed verso: GLORIA / GP1434M / 198.150 / 13022

149 x 199cm

PROVENANCE

Doongal Aboriginal Art, Kuranda, QLD


$2,500–4,500

144

224

224

FREDDIE TIMMS (1944-2017)

Horse Creek 2006

natural earth pigments on canvas

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

60 x 90cm

PROVENANCE

Our Land Gallery, Kununurra W.A.



$4,000–6,000

225

JIMMY TCHOOGA (BORN 1951)

Fire Dreaming 1994

acrylic on canvas

inscribed verso:

Warlayirti Artists / JIMMY TCHOOGA / 203/94

120 x 80cm

PROVENANCE


Palya Art, NT, cat. no. PALYA-0451



$800–1,200

145

226

226

TIMMY PAYUNGKA TJAPANGATI (1935-2000)

Tingari Ancestors 1995

acrylic on linen


TIMMY PAYUNGKA / A5205 / YADA / 8910

91 x 122.5cm

PROVENANCE

Aboriginal Fine Arts Gallery, Darwin



$2,000–4,000

227

GEORGE WARD TJUNGURRAYI

(BORN CIRCA 1940)

Tingari

acrylic on canvas

inscribed verso: GEORGE WARD / GW870653

75.5 x 122cm

PROVENANCE



$2,000–3,000

146

228

228

THOMAS TJAPALTJARRI (BORN CIRCA 1964)

Tingari West of Lake McKay 2004

acrylic on linen

inscribed verso: Thomas TJAPALTJARRI / TTJ0403

153.5 x 121.5cm

PROVENANCE

Mason Gallery, Darwin (accompanied by a certificate of

authenticity)


$1,800–2,500

147

229

229

MICK NAMARARI TJAPALTJARRI (1926-1998)

Mouse Dreaming 1995


inscribed verso: Nick / MOUSE DREAMING / A1218

91.5 x 121cm

PROVENANCE




$2,500–4,500

148

230

230

MARK HANHAM (BORN 1978)

Big Guns

mixed media on canvas

signed lower right: Mark Hanham

titled verso: BIG GUNS

100 x 200cm

PROVENANCE


$1,800–2,500

231

231

ESTHER ERLICH (BORN 1955)

Pinstripe

acrylic on canvas

signed lower right: Esther

titled verso: "Pin Stripe"

167 x 101cm

PROVENANCE

Libby Edwards Gallery, Melbourne


$2,000–3,000

149

232

232

RHYS LEE (BORN 1975)

Baboon Banana 2011

oil on linen

signed and dated verso: Rhys Lee 2011

152.5 x 122cm

PROVENANCE

Tim Olsen Gallery, Sydney


$3,000–5,000

233


Aedipsos Greece 1957

and Nude Soldier with Hat 1958

two crayon on paper

one signed, dated and inscribed verso:

Nolan / 7th oct 1957 / Aedipsos Greece

one dated and inscribed verso:

26 December 58 / Nude soldier with hat

29.5 x 24cm (each)

PROVENANCE


$1,000–1,500

150

234

234

HENRYK SZYDLOWSKI (BORN 1950)

Birds Concert on the Moonlit Track 1994

oil on canvas

signed and dated lower right: H Szydlowski 1994

signed, dated and titled verso: HENRYK SZYDLOWSKI /

1994 / "BIRDS CONCERT ON THE MOOONLIT TRACK"

83.5 x 64cm

PROVENANCE


$3,500–5,500

235


Waiting By The Murray River 2015

oil on linen

signed an dated lower left: Anne M Graham 15

39 x 59.5cm

PROVENANCE


$500–700

151

236

236

HENRYK SZYDLOWSKI

(BORN 1950)

Moonlit Village from Summer

Lagoon 1994

oil on canvas

signed lower right: H Szydlowski


HENRYK SZYDLOWSKI / 1994 /

"MOONLIT VILLAGE FROM SUMMER

LAGOON"

64 x 83.5cm

PROVENANCE


$3,500–5,500

237

GREG IRVINE (BORN 1947)

The New Dress – Interior

oil on canvas

signed with initials lower right: G I

122 x 108.5cm

PROVENANCE


$1,500–2,500

238

BERNARD HESLING

(1905-1987)

Two Figures Dancing

vitreous enamel plate

signed lower centre: HESLING

28.5cm diameter

PROVENANCE


$300–500

152

239

239


Evening Under Palms Daintree River 1991

oil on canvas

signed and dated lower right: Anne Graham '91

39 x 49.5cm

PROVENANCE


$800–1,200

240


The Blue Lake

watercolour

signed lower right: G Dyer

64.5 x 98cm

PROVENANCE


$800–1,200

153

241

241

MICHAEL TAYLOR (BORN 1933)

Oyster Lease 2008

oil on canvas

signed and dated lower left: M Taylor 08

120 x 100cm

PROVENANCE


$2,000–4,000

242

MICHAEL TAYLOR (BORN 1933)

A Tidal Inlet 2007

oil on canvas

signed and dated lower right: M Taylor 07

titled verso: A Tidal Inlet

81.5 x 107cm

PROVENANCE


LITERATURE

Grishin, Sasha, Accounting For Taste, The Lowensteins

Arts Management Collection, MacMillan Art Publishing,

Melbourne, 2013, p. 200 (illustrated)

$2,000–4,000

154

243

243


Figures in Landscape circa 1945

oil and enamel on board

inscribed indistinctly verso

64 x 76cm

PROVENANCE

A gift from the artist to the present owners' father

Thence by descent


$4,000–6,000

244

JON CATAPAN (BORN 1956)

Untitled (Netherworld) 1988

pastel, charcoal and ink on paper

signed and dated lower left: Catapan '88

56.5 x 76cm

PROVENANCE

Realities Gallery, Melbourne


EXHIBITED

Dominique Segan Castlemaine

State Festival Drawing Prize 1988

$500–800

155

245

245

MATTHEW JOHNSON (BORN 1963)

Aqua Marine I 2021

oil on linen


Matthew Johnson 2021 / AQUA MARINE I

91 x 91.5cm

PROVENANCE


$3,000–5,000

246


Greece

oil on paper

signed with initial lower right: N

12.5 x 15.5cm

PROVENANCE


$1,000–1,500

156

247

247

JAN SENBERGS (1939-2024)

Untitled circa 1963

enamel on board

signed lower right: J Senbergs

137 x 122cm

PROVENANCE

Leonard Joel, 11 November 1998, Lot

250


$2,000–4,000

248

LAWRENCE DAWS

(BORN 1927)

Yellow Landscape

oil on board

signed lower right: DAWS

inscribed verso: "YELLOW

LANDSCAPE"

56.5 x 56.5cm

PROVENANCE

The Johnstone Gallery, Brisbane

(label verso)

Gift from the artist

Thence by descent

$1,500–2,000

249

BILL COLEMAN (1922-1993)

Street Figures

oil on board

signed lower right: Bill Coleman

32.5 x 45cm

PROVENANCE


$1,000–1,500

157

251

250

ARCH CUTHBERTSON (1924-2001)

Figure Composition 1992

oil on canvas

signed and dated lower right: Cuthbertson '92

83.5 x 101.5cm

PROVENANCE


Thence by descent

$800–1,200

251

RICK AMOR (BORN 1948)

The Philosophy Department 1994

gouache and watercolour on paper

signed and dated lower right: Rick Amor 14/3/94

56.5 x 37cm

PROVENANCE

Niagara Galleries, Melbourne (label verso)


EXHIBITED

Mornington Regional Gallery, 23 April – 16 June 2002

(label verso)

Geelong Gallery, 5 July – 1 September 2002 (label verso)

$4,000–6,000

158

252

252

AFTER ADRIAEN VAN DER WERFF

The Expulsion of Hagar

oil on canvas

88.5 x 70.5cm

PROVENANCE


$2,000–3,000

159

253

253

AFTER EDMUND BLAIR LEIGHTON

In Time of Peril

oil on canvas

99 x 134.5cm

PROVENANCE


$5,000–8,000

160

254

254

MAURICE GRIEFFENHAGEN

(BRITISH, 1862-1931)

The Doves

oil on board

88 x 87.5cm

PROVENANCE

The Arts Exhibitions Bureau, London (label verso)

The Estate of Daniel and Ioanna Ellerington, Melbourne

EXHIBITED

The Fine Art Society, London, March 1973, cat. no. 4939

(label verso)

$6,000–8,000

161

255

EUROPEAN SCHOOL

Portrait of Noblewoman

oil on canvas

72.5 x 59.5cm

PROVENANCE

Mossgreen Auctions, Melbourne, International

Decorative Arts, 19 April 2016, Lot 788


$2,000–3,000

255

256

JULES-ARSÉNE GARNIER

(FRENCH, 1847-1889)

Portrait of a Nobleman 1874

oil on canvas

signed and dated lower left: JvLES[sic] GARNIER 74

59.5 x 34.5cm

PROVENANCE


$1,800–2,500

256

162

257

258

163

259

257

ATTRIBUTED TO

JOHN GLOVER

Figures and Cattle in

Rocky Landscape 1795

watercolour

inscribed and dated lower left:

J GLOVER 1795

57 x 80.5cm

PROVENANCE


$1,500–2,500

258

HENRY GRITTEN

(CIRCA 1818-1873)

Country Homestead 1856

watercolour and wash on paper


H Gritten / 1856

17 x 25cm

PROVENANCE

Collection of Rothschilds Bank,

Melbourne


$1,200–1,800

259

PETER DEAKIN R.B.S.A

(1830-1899)

On the Brook – Vale Pengwern,

North Wales

oil on canvas

signed lower right: Peter Deakin

signed and titled verso:

Peter Daeakin / On the Brook /

Vale Pengwern / North Wales

76 x 62cm

PROVENANCE


$800–1,200

End of Sale

Entries Invited

Australian, Maritime

& Exploration

AUCTION Sunday 23 June 2024

ENQUIRIES Dennice Collett | 03 9500 2607

dennice.collett@gibsonsauctions.com.au

Learn more

A unique sterling silver and silver gilt eighteen light

candelabra by Stuart Devlin, London, 1975

Sold $31,720, November 2023, to the National Gallery of

Victoria, Gift of Krystyna Campbell-Pretty AM and Family

166

Artist Index

Amor, Rick 251

Audette, Yvonne 19, 20

Bale, Alice M E 89

Bastin, Henri 40

Bell, George 47, 59, 78, 79, 101, 107, 108

Benjamin, Jason 183

Bernaldo, Allan 123

Blackman, Charles 27, 62, 66, 67, 165, 174

Boissevain, William 22

Bootja Bootja, Susie 189

Borrack, John 96

Boyd, Arthur Merric 53

Boyd, David 11

Braund, Dorothy 14, 15, 17, 60, 64, 75, 76

Buckmaster, Ernest 42, 125, 142, 145, 146

Bunny, Rupert 126, 131, 133

Bush, Charles 48, 50, 85

Cassab, Judy 178, 182, 186

Catapan, Jon 244

Chapman, Dora 116

Coburn, John 10

Cohn, Ola 153, 154

Colahan, Colin 45

Coleman, Bill 77, 249

Colquhoun, Amalie 93

Craig, Sybil 57, 58

Crombie, Peggy 41

Crooke, Diana 37

Crooke, Ray 13

Cuthbertson, Arch 250

Dargie, William (Bill) 49

Daws, Lawrence 248

Daynganggan, Johnny 205

Deakin R.B.S.A, Peter 259

De Holesch, Denes 110, 111

Derham, Frances 87

Devas A.R.A., Anthony 127

Djambulula (Possibly) 207

Drysdale, Russell 88

Dyer, Geoffrey 24, 33, 157, 240

Erlich, Esther 231

European School 255

Frater, William 91, 187

French, Leonard 28, 73

Friend, Donald 65, 148

Frink, Elisabeth 137

Garnier, Jules-Arséne 256

Ghee, Robert Taylor 1

Gleeson, James 71

Glover, John (Attributed to) 257

Graham, Anne Marie 36, 39, 235, 239

Greenwood, Garry 185

Grieffenhagen, Maurice 254

Grieve, Robert 69, 170

Gritten, Henry 258

Gude, Nornie 80

Hanham, Mark 230

Hart, Kevin Charles (Pro) 119, 155, 156, 179, 181

Haxton, Elaine 166

Herpfer, Carl 99

Hesling, Bernard 238

Heysen, Hans 54, 140, 143

Heysen, Nora 56

Hick, Jacqueline 63

167

Hinder, Frank 18

Inskip, John Henry 117

Irvine, Greg 237

Irving, Tony 38

Jack, Kenneth 167

Jackson, James R. 2, 128

John, Augustus 102, 103, 104, 105

Johnson, George 26

Johnson, Matthew 158, 245

Johnson, Robert 84, 141

Jones, Geoffrey 106, 109

Jones-Roberts, Gareth 180

Joongoorra, Billy Thomas 210

Juniper, Robert 177

Kahan, Louis 175

Kemp, Roger 51, 68, 70

King, Graham 171

Kngwarreye, Emily Kame 196, 199

Kossatz, Les 52

Larter, Richard 161

Larwill, David 21, 29

Last, Clifford 9

Lawson, Bernard 100

Lee, Rhys 232

Lees, Derwent 86

Leighton, After Edmund Blair 253

Lindsay, Norman 132, 150

Loxton, John 122

Mackley, Evan 118

Maestri, Guy 162, 163

Mainwaring, Geoffrey 81

McInnes, William B 94

Meldrum, Max 92

Menpes, Mortimer 4, 5

Milpurrurru, George 208

Montgomery, Anne 7

Mora, Mirka 172, 173

Moran, Patricia 124

Napaltjarri, Eileen 219

Napanangka, Lucy Yukenbarri 188

Napangardi, Bai Bai 191

Napangardi, Dorothy 211

Napangardi, Pansy 200

Naparrula, Ningura Gibson 216

Napurrula, Lorna Fencer 195, 197

Neil, Jan 113, 114

Newbury, Albert Ernest 136

Newbury, David 83

Ngal, Lena Skinner 222

Ngitjanka, Linda Napurrula 194

Nolan, Sidney 12, 25, 30, 120, 164, 168, 169,

233, 243, 246

Ogilvie, Helen 44

Passmore, John 139

Payne, Mark 23

Pendlebury, Laurence Scott 82

Petyarre, Gloria Tamerre 223

Petyarre, Kathleen 198

Preston, Margaret 8

Pugh, Clifton 130, 152

Pyke, Guelda 176

Quilty, Ben 159, 160

Rapotec, Stanislaus 121

Rees, Lloyd 138

168

Artist Index (continued)

Roberts, Tom (Attributed) 135

Romney, School of George 97

Rowell, William 3

Savickas, Augustinas 32

Scheltema, Jan Hendrik 95

Senbergs, Jan 247

Smith, C 98

Stokes, Constance 134

Storrier, Tim 16

Sturgess, R W 144

Sutherland, Ruth 90

Syme, Eveline W 74

Szydlowski, Henryk 234, 236

Taylor, Michael 241, 242

Tchooga, Jimmy 225

Teng, Chuah Siew 112

Thomas, Rover (Julama) 201

Thomson, Rollo 55

Timms, Freddie 224

Tjakamarra, Michael Nelson 203

Tjampitjinpa, Dini Campbell 214

Tjampitjinpa, Dinny Nolan 209

Tjampitjinpa, Ronnie 213, 218

Tjangala, George Yapa 215

Tjapaltjarri, Billy Stockman 221

Tjapaltjarri, Clifford Possum 202, 204

Tjapaltjarri, Mick Namarari 229

Tjapaltjarri, Thomas 228

Tjapaltjarri, Warlimpirrnga 212

Tjapangati, Timmy Payungka 226

Tjungurrayi, George Ward 227

Tjungurrayi, Willie 217

Tucker, Albert 31

Vale, May 129

Van Der Werff, After Adriaen 252

Veal, Hayward 43, 46

Wakelin, Roland 115

Waterhouse, Phyllis 61

Watson, Percy 72

Watson, Tommy 190, 193

Weluk, Don 206

Wheeler, Charles 147

Williamson, Steven 192

Wilson, Dora 6

Wilson, Regina Pilawuk 220

Woodward, Margaret 34, 35, 149, 151, 184

169

Copyright

8 © Margaret Preston/

Copyright Agency, 2024

10 © John Coburn/


11 © David Boyd/


12 © The Sidney Nolan Trust.

All rights reserved. DACS/


13 © Ray Crooke/


16 © Tim Storrier/


18 © Frank Hinder/


19 © Yvonne Audette/


20 © Yvonne Audette/


21 © The Estate of David Larwill/


24 © Geoff Dyer/





27 © Charles Blackman/


28 © Leonard French/


29 © The Estate of David Larwill/





31 © Albert & Barbara Tucker

Foundation. Courtesy of Smith &

Singer Fine Art

32 © Augustinas Savickas/


33 © Geoff Dyer/


34 © Margaret Woodward/




36 © Anne Marie Graham/




49 © William Dargie/


51 © Courtesy of the Estate of Roger

Kemp

52 © Les Kossatz/


54 © Hans Heysen/




65 © Donald Friend/







Kemp


Kemp

73 © Leonard French/


96 © John Borrack/


116 © Dora Chapman/


170

Copyright (continued)




121 © Stanislaus Rapotec/


137 © Elisabeth Frink/


138 © Alan and Jancis Rees/


140 © Hans Heysen/


143 © Hans Heysen/


148 © Donald Friend/






157 © Geoffrey Dyer/


158 © Matthew Johnson/


159 © Courtesy of the artist

160 © Courtesy of the artist

161 © Richard Larter/







167 © Kenneth Jack/










175 © Louis Kahan/


177 © Robert Juniper/


178 © Judy Cassab/


182 © Judy Cassab/




185 © Garry Greenwood/


186 © Judy Cassab/


188 © Lucy Yukenbarri /


189 © Susie Bootja Bootja/


190 © Tommy Watson/


191 © Bai Bai Napangardi/


193 © Tommy Watson/


194 © Linda Napurrula Ngitjanka/


195 © Lorna Fencer Napurrula/


196 © Emily Kame Kngwarreye/


197 © Lorna Fencer Napurrula/


198 © Kathleen Petyarre/


171

199 © Emily Kame Kngwarreye/


200 © Pansy Napangardi/


201 © Rover Thomas/


202 © Clifford Possum Tjapaltjarri/


203 © Michael Nelson Tjakamarra/


204 © Clifford Possum Tjapaltjarri/


205 © Daynganggan/


206 © Don Weluk/


208 © George Milpurrurru/


209 © Dinny Nolan Tjampitjinpa/


210 © Billy Thomas Joongoora/


211 © Dorothy Napangardi/


212 © Warlimpirrnga Tjapaltjarri/


213 © Ronnie Tjampitjinpa/


214 © Dini Campbell Tjampitjinpa/


215 © George Yapa Tjangala/


216 © Ningura Napurrula /


217 © Willie Tjunggurrayi/


218 © Ronnie Tjampitjinpa/


219 © Eileen Napaltjarri/


220 © Regina Pilawuk Wilson/


221 © Billy Stockman Tjapaltjarri/


223 © Gloria Petyarre/


224 © Freddie Timms/


226 © Timmy Payungka Tjapangati/


227 © George Ward Tjungurrayi/


228 © Thomas Tjapaltjarri/


229 © Mick Namarari Tjapaltjarri/









240 © Geoffrey Dyer/





245 © Matthew Johnson/





247 © Jan Senbergs/


251 © Rick Amor/


172

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.

173

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

174

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 & Gold

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.

GOLD

Gold is sold in good faith that its purity is as

marked or hallmarked on the object. Should an

item have a gold content of 10% less than the

catalogued amount, Gibson’s will refund as per our

Terms and Conditions.

Lot 52

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