GA061-Australian & International Art

Australian & 

International Art 

Melbourne, 27 October 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 



Sarah Garrecht 

Associate 

Specialist 



Jennifer Gibson 

jennifer.gibson@gibsonsauctions.com.au 

Deanna Baxter 

deanna.baxter@gibsonsauctions.com.au 

Samuel Fricker 

samuel.fricker@gibsonsauctions.com.au 

Dennice Collett 

dennice.collett@gibsonsauctions.com.au 

Ann Roberts 

ann.roberts@gibsonsauctions.com.au 

Jon Dwyer 

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sarah.garrecht@gibsonsauctions.com.au 

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mail@gibsonsauctions.com.au 

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collections@gibsonsauctions.com.au 

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Max Sumner 

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ORRONG RD 

AUCTION ENQUIRIES 

ABSENTEE & TELEPHONE BIDS 

Deanna Baxter 

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+61 3 9500 2607 

CONDITION REPORTS 

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Please refer to our website for a list of recommended shippers 

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ASHLEIGH RD 

ARMADALE 

NEW ST 

HIGH ST 

OSMENT ST 

NORTHCOTE RD 

KOOYONG RD 

Auction, Viewing and 

Payment & Collections 

885-889 High St 

Armadale, Victoria 3143 

SUTHERLAND RD 

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ST 

AUBURN GROVE 

DENBIGH RD 

CHEEL ST

FRONT COVER: 

Lot 60 (Detail) 

BACK COVER: 

Lot 15 


International 

Art 

Auction 

Sunday 27 October 2024, 12 Noon 

885-889 High Street, Armadale, Victoria 3143 

Viewing 

Thursday 24 October 

Friday 25 October 

Saturday 26 October 

11.00am – 7.00pm 

11.00am – 5.00pm 

11.00am – 5.00pm 

Auction Code: GA061 

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 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: 885-889 High Street, 

Armadale, Vic 3143 

Monday 28 October 

Tuesday 29 October 

Wednesday 30 October 

10am–5pm 

10am–5pm 

10am–5pm 

All goods must be collected and paid 

in full strictly by 5pm on 30 October 

(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 via our website 

approximately two weeks prior to the auction date. 

Complimentary printed catalogues are available on site at 

Gibson’s rooms. 

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. 

Some lots may be 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. 

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. 

Bidding 

Gibson’s offers four bidding options, listed below. 

Telephone, absentee and first time online registrations 

should be organised at least 24 hours prior to the auction 

to allow for processing and to avoid disappointment. 

Telephone and absentee registration forms can be found at 

gibsonsauctions.com.au/buy/how-to-bid/ 

Live Bidding 

Enjoy the excitement and theatre of a live auction by 

bidding in the room. Arrive in advance with time to register 

for a bidding number. Auctions are open to the public, with 

no obligation for the attendees to bid. First time bidders will 

be required to show photographic identification, such as a 

driver’s licence or passport. 

Telephone Bidding 

An experienced staff member will call you in advance of 

your lot and, with your instruction, bid on your behalf at the 

auction. Telephone Bidding is a complimentary service. 

Telephone Bids must be organised at least 24 hours prior to 

the auction. 

Absentee Bidding 

Simply leave the highest amount you are willing to bid, and 

Gibson’s will bid up incrementally up to this amount on your 

behalf, only if there are competing bids, so that you will win at 

the lowest possible hammer price. If the winning bid is tied, 

the earliest bid is given precedence. Absentee Bidding is a 

complimentary service. Absentee Bids must be organised at 

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

3 

Online Bidding 

Online bidding allows you to bid in realtime or leave online 

Absentee Bids online with a live broadcast of the auction 

on your laptop or smart device. On Auction Day head to 

the catalogue at gibsonsauctions.com.au and follow the 

‘Enter Live Auction’ prompts. 

Register via the online catalogue at least 24 hours prior to 

the auction to avoid disappointment. 

Online bidding through the Gibson's website incurs a 

2% surcharge on successful lots. To avoid this fee, you 

can register for live, telephone or absentee bidding. For 

first-time online bidders, a photo ID verifying your address 

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

email to bids@gibsonsauctions.com.au as soon as practical 

or when prompted. 

Timed Online Auctions 

On occasion Gibson's will host certain parts of sales via 

a Timed Online Auction. These are automated sales that 

runs for a specified window of time. During that time, users 

may leave bids on a lot. Unlike live auctions, timed online 

auctions occur without an auctioneer. 

All bids are placed via the online catalogue on the Gibson’s 

website and are executed immediately against the lot’s 

reserve, or the current highest bid. In the case of multiple 

bids occurring within the last five minutes of the close of lot, 

the closing time is extended for a further five minutes. For 

more information, refer to the Timed Online Auctions page 

on our website, or contact our office for more information." 

International Bidding 

First time international bidders will be asked to provide a 

clear photo ID verifying your address and a deposit (set 

at Gibson’s 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 

Successful bidders will be emailed an invoice shortly after 

the auction. 

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

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

charges, such as online fees. 

Payments must be made in full by the final day of 

Collections as printed in the catalogue. 

Bank Transfer/Direct Deposit is our preferred method 

of payment: 

Account Name: Gibsons Auctions 

Bank: 

Bank of Melbourne (A division of St George) 

BSB: 193879 

Account No: 441701443 

Swift Code: SGBLAU2S 

• Personal, Company and Bank Cheques are not accepted 

without prior approval. 

• EFTPOS (no charge). 

• Credit cards: Visa, Mastercard and American 

Express payments can be made securely online at 

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

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

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

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

Collections 

Collections must occur within three days of the auction 

unless otherwise stated. 

An updated list of recommend carriers can be found at our 

website: gibsonsauctions.com.au/sell/shipping/ 

Storage 

All Lots must be paid for and collected within the timeframe 

advertised for each individual auction. Lots not collected 

within this timeframe are subject removal and storage fees.

4 

1 

ALICE MARIAN ELLEN BALE 

(1875-1955) 

Autumnal Still Life 

oil on canvas 

signed lower right: A.M.E. BALE 

55 x 44.5cm 

PROVENANCE 

The R.W. Hall Collection, Melbourne 

$3,000–5,000 

1 

2 

2 

MARIE TUCK (1866-1947) 

Rosa Rugosa Alba (White) 

oil on board 

signed lower left: M. TUCK 

inscribed indistinctly verso 

16 x 11.5cm 

PROVENANCE 

Private Collection, Melbourne 

$800–1,200

5 

3 

3 

IDA RENTOUL OUTHWAITE (1888-1960) 

Painting the Butterflies' Wings 

watercolour on paper 

initialled lower left: IRO 

32 x 26cm 

PROVENANCE 

Private Collection, Adelaide 

$20,000–30,000

6 

4 

4 

WALTER WITHERS (1854-1914) 

Ploughing by the Apple Orchard 1911 

watercolour 

signed and dated lower left: Walter Withers / 11 

21 x 31cm 

PROVENANCE 

Elder Fine Art, Adelaide, Australian & 

European Paintings, 7 August 2005, Lot 201 


$1,800–2,500

7 

5 

5 

HANS HEYSEN (1877-1968) 

Misty Morning 

watercolour 

signed and dated lower left: HANS HEYSEN. 1912 

38 x 31.5cm 

PROVENANCE 

Acquired in the 1950s/1960s 


Thence by decent 

$7,000–9,000

8 

6 

6 

HAYWARD VEAL (1913-1968) 

The Sitting Room 1948 

oil on composition board 

signed and dated lower left: Veal '48 

44 x 37cm 

PROVENANCE 

Alan & Lesly Martin 

Thence by descent 

$1,000–2,000

9 

7 

7 

PRUDENCE FLINT (BORN 1962) 

The Company You Keep #11 2001 

oil on canvas 

signed, dated and titled verso: 

Prudence Flint / 2001 / 'The Company You / Keep' #11 

81 x 112cm 

PROVENANCE 


$4,000–6,000

10 

8 

MICHAEL MCWILLIAMS (BORN 1956) 

Galloway's Gathering 1999 

acrylic on kauri pine panel 

signed and dated lower right: M. McWILLIAMS 1999 

39 x 166cm 

PROVENANCE 

Lauraine Diggins Fine Art, Melbourne (label attached verso) 

Private Collection, Sydney 

Deutscher~Menzies, 19th & 20th Century Fine Australian 

and International Art, Melbourne, 28 November 2001, Lot 219 


$12,000–18,000

11 

8

12 

9 

TIM STORRIER (BORN 1949) 

Capricorn Setting 2000 

acrylic on canvas 

signed lower right: Storrier 

signed and titled verso: Storrier / 'Capricorn Setting' 

61 x 183.5cm 

PROVENANCE 

Deutscher~Menzies, Sydney, Australian & 

International Fine Art, Sydney, 15 June 2005, Lot 60 

Private Collection, Queensland 

LITERATURE 

Catharine Lumby, Tim Storrier: The Art of the Outsider, 

Craftsman House, Sydney, 2000, p. 10 (detail), 196-7 (plate 151) 

Edmund Capon (foreword), Tim Storrier - Moments: in 

response to memories and ideas of mortality, Macmillan Art 

Publishing, Melbourne, 2009, pp. 130-1 (illustrated) 

$40,000–60,000

13 

9

14 

10 

10 

TODD HUNTER (BORN 1972) 

For Every Trouble You Found 2013 

oil on canvas 


Hunter / 2013 / 'FOR Every Trouble you found' 

128 x 122cm 

PROVENANCE 

Scott Livesey Galleries, Melbourne (stamp verso) 

Private Collection, NSW 

$5,000–8,000

15 

11 

11 

TIM MAGUIRE (BORN 1958) 

Untitled 20090606 2009 

oil on canvas 

titled verso: UNTITLED 20090606 

168 x 179cm 

PROVENANCE 


$50,000–70,000 

© Tim Maguire is represented by Martin Browne Contemporary, Sydney and Tolarno Galleries, Melbourne

16 

12 

12 

JOHN ANDERSON (BORN 1947) 

Cornucopia 2005 

oil on canvas 

signed lower right: John Anderson 


J P Anderson / 05 / 'CORNUCOPIA' 

122 x 152 cm 

PROVENANCE 

William Mora Galleries, Melbourne (stamp verso) 

Julian Burnside & Kate Durham Collection, Melbourne 

$2,000–4,000

17 

13 

13 

ROBERT HIRSCHMANN (BORN 1968) 

Blue Trane 2000 

oil and pigment on linen 


Robert Hirschmann 2000 'Blue Trane' 

signed with initials, dated and titled verso: 

R. H. / 2000 / Blue Trane 

213.5 x 183cm 

PROVENANCE 


LITERATURE 

Roger Taylor, 'In Search of the Finished Painting', Asian Art 

News, Volume 10, Number 6, November/December 2000, 

pp. 70-73 (illustrated) 

$2,000–4,000

18 

14 

14 

RONE (BORN 1980) COLLABORATION 

WITH MATT BALL AND THE TOOTH 

Untitled, (Jane Doe), circa 2006 

mixed media 

inscribed verso: RONE / V / THE TOOTH / 

VS / MATT BALL / 'RIP' / #608 

71 x 51cm 

PROVENANCE 

Acquired directly from the artist 


$5,000–8,000

19 

15 

15 

JUAN FORD (BORN 1973) 

The Reorientalist 2013 

oil on linen 


Juan Ford / 2013 / 'The Reorientalist' 

121.5 x 183cm 

PROVENANCE 

dianne tanzer gallery + projects, Melbourne 

Grace Fine Art Collection, Melbourne 

EXHIBITED 

dianne tanzer gallery + projects, Melbourne, 

Art Basel Hong Kong Art Fair, 2013 

$25,000–35,000 

16 

HOWARD ARKLEY (1951-1999) 

Untitled Head (#6) 1998 

synthetic polymer paint on paper 

signed and dated lower right: Howard Arkley 98 

76 x 56cm 

PROVENANCE 

Barry Sherman Galleries, Sydney 


Leonard Joel, Melbourne, Fine Art Auction, 

3 December 2013, Lot 82 


EXHIBITED 

(possibly) Howard Arkley: Exhibition and Sale of 40 

Paintings, Metro 5 Gallery, Melbourne, 6 - 24 February 2002 

REFERENCE 

Howard Arkley Online Catalogue Raisonne: 

[https://www.arkleyworks.com/blog/2021/10/09/ 

untitled-head-6-1998-w-p/] (accessed 30/09/24) 

$12,000–16,000

20 

17 

17 

JOHN ANDERSON (BORN 1947) 

3am 1994 

oil on linen 

signed and dated verso: J P Anderson '93 

145 x 185cm 

PROVENANCE 

William Mora Galleries, Melbourne 


$3,000–5,000

21 

18 

18 

BILL HENSON (BORN 1955) 

Untitled, (Image no. 53) 1985/86 

c-type photograph 

signed, dated, titled and editioned on margin: 

IMAGE NUMBER 53 PRINT 12/20/ 

'UNTITLED' 1985/86/ B. Henson 

87 x 106cm 

PROVENANCE 


$15,000–20,000

22 

19 

19 

RICHARD (DICK) WATKINS (BORN 1937) 

Quine's Point 1995 

oil on canvas 

signed, dated and titled on stretcher verso: 

R Watkins 16 - 1 - 95 / QUINE'S POINT 

137 x 183cm 

PROVENANCE 

Tolarno Galleries, Melbourne 


$5,000–8,000

23 

20 

20 


Untitled Head (#5) 1998 

synthetic polymer paint on paper 

signed and dated lower right: Howard Arkley 98 

76 x 56cm 

PROVENANCE 

Barry Sherman Galleries, Sydney 


Leonard Joel, Melbourne, Fine Art Auction, 



EXHIBITED 

(possibly) Howard Arkley: Exhibition and Sale 

of 40 Paintings, Metro 5 Gallery, Melbourne, 

6 - 24 February 2002 

REFERENCE 



untitled-head-5-1998-w-p/] (accessed 30/09/24) 

$12,000–16,000 

21 

LISA ROET (BORN 1967) 

Bongo 

ink on paper 

163 x 115cm 

PROVENANCE 

Acquired directly from the artist's studio, circa 1996 


$1,500–2,500

24 

22 


Untitled 20060209 2006 

oil on canvas, diptych 

signed, dated and titled verso: Maguire '06 / Untitled 

181.5 x 404cm (overall) 

181.5 x 201.5cm (each) 

PROVENANCE 

Tolarno Galleries, Melbourne 


$100,000–150,000 


25 

22

26 

23 

SIDNEY NOLAN (1917-1992) 

Ned Kelly 

oil on paper 

62 x 45.5cm 

PROVENANCE 

Private Collection, London 

Mossgreen Auctions, Important 

Australian & International Art, 

Melbourne, 24 June 2014, Lot 93 


$6,000–9,000 

23 

24 

ALLAN MITTLEMAN (BORN 1946) 

Untitled 

oil on board 

45 x 61cm 

PROVENANCE 

Charles Nodrum Gallery, Melbourne 

(label verso) 


Deutscher Menzies, Sydney, 

13 March 2007, Lot 138 

John Barnes Melbourne, 

acquired from the above 

The Estate of John Barnes, Melbourne 

$1,500–2,500 

25 

25 


Flower, Paradise Garden c.1970 

oil on paper 

30 x 25cm 

PROVENANCE 

Sir Sidney Nolan 

By inheritance to his widow, Lady Nolan 

The Estate of Lady Nolan, UK 

Leonard Joel, Melbourne, Fine Art, 

22 September 2020, Lot 82 


$3,000–5,000

27 

26 

26 


Untitled (White Painting), circa 1988 

synthetic polymer paint and ink on paper (two sheets) 

169.5 x 120cm 

PROVENANCE 

Deutscher~Menzies, Melbourne, Australian 

and International Art, 4 June 2003, Lot 168 

(as 'Abstract, circa 1974') 


EXHIBITED 

Howard Arkley – Casual Works: Working Drawings, 

Source Material, Doodles 1974-1987, 200 Gertrude Street, 

Fitzroy, 5 - 28 May 1988; and Institute of Modern Art, 

Brisbane, 6 - 29 October 1988 

REFERENCES 



untitled-‘white-painting’-and-source-material-1988- 

and-earlier-wp/] (accessed 30/09/24) 

$15,000–25,000

28 

27 

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 



$3,000–5,000 

27 

28 

28 

MICHAEL TAYLOR (BORN 1933) 

Dream and Cloud 1976 

oil on canvas 

signed, dated and inscribed verso: 

Taylor / '76 / 'DREAM AND CLOUD' 

182.5 x 152cm 

PROVENANCE 

Sotheby's, Melbourne, Contemporary Art, 

24 October 1993, Lot 137 

John Barnes Melbourne, 

acquired from the above 


$2,000–4,000

29 

29 

ROBERT JUNIPER (1929-2012) 

Young Garden 

oil on canvas 

signed lower right: R. Juniper 

titled verso: YOUNG GARDEN 

89 x 93cm 

PROVENANCE 


(acquired circa 1990s) 

$7,000–10,000 

29 

30 

PERCY WATSON (1919-1999) 

Remote Habitat 1949 

oil on canvas on board 

signed lower right: Percy Watson 

27 x 30cm 

PROVENANCE 

Eastgate & Holst, Melbourne 


$600–800 

30

30 

31 

31 

LEONARD FRENCH (1928-2017) 

The Street 1969 

mixed media on paper 

inscribed verso' THE STREET' / 1969 / LEONARD FRENCH 

136 x 121cm 

PROVENANCE 


$4,000–6,000

31 

32 

32 

JOHN FIRTH SMITH (BORN 1943) 

Starting is Finishing 1983 

oil on linen 

signed, dated and inscribed verso: 

Firth Smith 83 / 'STARTING IS FINISHING' 

151.5 x 182cm 

PROVENANCE 

Powell Street Gallery, Melbourne 

WMC Collection; purchased from the above. 

Transferred to BHP Billiton in June 2005 

Sotheby's, Melbourne, Important Australian Art, 

24 November 2008, Lot 35 

John Barnes Melbourne, acquired from the above 


$10,000–15,000

32 

33 

33 


Kellys' in Landscape 

oil and crayon on paper 

signed with initial lower right: n 

38 x 48cm 

PROVENANCE 

Evan Mackley Fine Art, Horsham 


$8,000–12,000

33 

34 

34 

ALBERT TUCKER (1914-1999) 

Ibis Flying 1965 

synthetic polymer paint on composition board 

signed and dated lower right: Tucker/ 65 

inscribed verso: Ibis Flying 

30 x 40cm 

PROVENANCE 

Australian Galleries, Melbourne 


Acquired from the above, Corporate Collection 

Sotheby's, Sydney, Important Australian Art, 



Menzies, Melbourne, Australian & International 

Fine Art & Sculpture, 30 June 2021, Lot 108 


$12,000-16,000

34 

35 

REX BATTARBEE (1893-1973) 

Sandhill Rhythm 1962 

watercolour on paper on board 

signed and dated lower right: 

REX BATTARBEE 1962 

inscribed verso: SANDHILL RHYTHM 

/ PAINTED ON ALLAMBI STATION / 

60 MILES S. E. OF ALICE SPRINGS 

/ ON THE EDGE OF SIMPSON 

DESERT / C. A. 

37 x 51cm 

PROVENANCE 

Private Collection, Perth 

$3,000–5,000 

35 

36 

36 

PATRICK HOCKEY (1948-1992) 

Country Races 1974 

oil on board 


HOCKEY '74 

inscribed verso: COUNTRY RACES / 

PATRICK HOCKEY 

59.5 x 75cm 

PROVENANCE 

Private Collection, Brisbane 

Joel Fine Art, Melbourne, Important 

Australian & International Art, 

21 April 2008, Lot 47 

Private Collection, Victoria 

$2,500–4,500

35 

37 

37 

DAVID BOYD (1924-2011) 

Children Gathering Wild 

Flowers 1972 

oil on board 

signed and dated lower left and right: 

David Boyd / 1972 

49.5 x 59.5cm 

PROVENANCE 

South Yarra Gallery, Melbourne 

(label verso) 

$8,000–12,000 

38 

MATTHEW PERCEVAL 

(BORN 1945) 

Windy Day 


signed lower left: Matthew Perceval 

44 x 53cm 

PROVENANCE 


$1,000–2,000 

39 

PRO HART (1928-2006) 

Flowerscape 

oil on board 

signed lower left: Pro / Hart 

26 x 13cm 

PROVENANCE 


$2,000–4,000

36 

40 

40 

ANN THOMSON (BORN 1933) 

Journey Through Yellow 2003 

oil on canvas 

signed lower right Thomson '03 

signed, dated and titled verso: Ann Thomson 2003 

Journey Through Yellow 

150 x 213.5cm 

PROVENANCE 


Shapiro Auctioneers, Sydney, 2 May 2007, Lot 39 



$8,000–12,000

37 

41 

41 

JOHN PERCEVAL (1923-2000) 

Old Yellow Tug Boat 1995 

oil on canvas 

signed lower left: Perceval 

signed and titled verso: Perceval / Old Yellow / Tug Boat 

80 x 100cm 

PROVENANCE 

Gould Galleries, Melbourne 


$50,000–70,000

38 

42 

42 

RAY CROOKE (1922-2015) 

Islanders 

oil on canvas 

signed lower right: R Crooke 

inscribed verso: ISLANDERS 

50 x 60cm 

PROVENANCE 

Raheen Auctions, circa 1995 


$10,000–15,000

39 

43 

43 


Untitled 98U90 1998 

oil on canvas 

signed, dated and titled verso: Maguire '98 / Untitled 98U90 

148 x 148cm 

PROVENANCE 


$40,000–60,000 


40 

44 

ANDREW ROGERS (BORN 1947) 

Observe 

bronze 

signed and numbered on leg: Andrew Rogers 2/12 

62.5cm high, 38cm wide, 18cm deep (including base) 

PROVENANCE 

Lauraine Diggins Fine Art, Melbourne 

Private Collection, Melbourne, 

acquired from the above in June 1998 

Deutscher and Hackett, Melbourne, 24 April 2013, Lot 74 

John Barnes, Melbourne, acquired from the above 


$3,000–5,000 

45 

GEOFFREY BARTLETT (BORN 1952) 

Untitled 1990 

bronze, metal, welded steel, rivets 

incised on base: G. R. Bartlett 90 

66cm high, 78.5cm wide, 39cm deep 

PROVENANCE 


$1,500–2,500 

44

41 

46 

JACOB EPSTEIN (1880-1959) 

Portrait of Ludwig Loewy 

bronze 

incised verso: Epstein 

64.5cm high, 71cm wide, 35cm deep 

PROVENANCE 

Deutscher~Menzies, Major Fine Art Auction, 

Melbourne, 28 August 2002, Lot 294 


LITERATURE 

Buckle, R., Jacob Epstein Sculptor, World 

Publishing Company, New York, 1963, p.360, no.562 

(sitter incorrectly identified as Dr Elias Lowe) 

Silber, E., The Sculpture of Epstein, Lewisburg, 1986, 

p.220, no.485 (illus.) 

OTHER NOTES 

Another example of this work is in collection 

of the National Galleries of Scotland 

$6,000–10,000 

46

42 

The George Brugler and 

Jasmine Cowen Collection 

In October 1956, the Hungarian Revolution erupted, 

with thousands of student protesters taking to the 

streets of Budapest demanding a more democratic 

political system. The revolution was met with swift 

and violent force from the Soviet occupying army, 

leading to a mass exodus of nearly a quartermillion 

Hungarian nationals. Among them were 

Elmer and Anna Brugler, with their 10-year-old son 

George. The family fled their home in Budapest 

to a neighbouring country seeking asylum, where 

they were granted refugee status and relocated 

to Australia in 1957. This formative experience for 

George left a lasting impression of sentimentality 

for Europe, followed by a life-time appreciation of 

Australian art and culture. The resulting collection 

is a blend of both cultures, honouring his family’s 

journey and his dual cultural identity. 

The Brugler family settled in Northern Tasmania 

where George's father, Elmer, an experienced 

engineer, gained a long-standing position working 

on Tasmania's prosperous hydroelectric scheme. 

Despite the initial language barrier, George's 

academic excellence shone through, earning 

him a place to study medicine at the University 

of Tasmania. He undertook residencies in Sydney 

and Melbourne, specialising in pathology. His 

dedication and hard work were evident in his 

early career, and he soon established himself as 

a leading pathologist in Hobart’s public health 

system, spending his hours detecting cancer 

through his microscope each day. Additionally, 

he taught at the University of Tasmania and 

published academic research that contributed to 

advancements in the field. 

Jasmine Cowen came into George's life in 

1994. Originally from Queensland, Jasmine 

trained as a lawyer and later studied a Master 

of Education at the University of Melbourne, her 

thesis explored how global managers engage in 

learning outside of formal channels. She travelled 

broadly before settling in Hobart, where she 

worked as a counsellor and naturopath. Jasmine's 

lifelong interest in philosophy, especially Eastern 

philosophy, complemented George's love for art. 

The couple married in 1996, their partnership was 

one of love and happiness - founded a mutual 

passion for art, music, literature, and travel. 

Jasmine encouraged George to revisit Europe and 

heal the trauma of his early childhood memories. 

Through her nurturing and compassionate 

guidance George was able to reconcile the past 

and revisit Budapest later in life. Some of their 

happiest times were spent abroad on the ski 

fields of North America and Europe, though 

they were equally content at home together and 

with their family and their cherished miniature 

schnauzers Larry and Lou Lou. In 2001, they 

decided to relocate from their beachside home 

in Sandy Bay, Tasmania to leafy Melbourne 

suburb of Kew, only houses away from artist Alma 

Figuerola’s historic home. 

Aside from an illustrious professional career, 

George had an insatiable curiosity for art which 

offered a stark contrast to his important albeit 

monotonous work as a pathologist. He had an 

intuitive eye for quality and so began acquiring 

colonial works in his early 20s, deftly navigating 

the various sectors of the Australian art market

43 

from dealers, galleries and auction houses. He 

took pleasure in meticulously restoring many of 

the frames in his collection in a dedicated framing 

workshop in the backroom of his Sandy Bay 

home. George made regular trips to Melbourne 

and Sydney to visit auctions and galleries and 

developed one of the best private art collections in 

Tasmania. 1 His move towards more impressionistic 

works began with the purchase of a light infused 

rural scene by James Muir Auld (Lot 90). He sent 

the painting off to be professional cleaned and 

was amazed with the results. It encouraged him 

to speculate what vivid colours may be hiding 

behind the veil of dirt and dust, just waiting to be 

uncovered. His focus shifted to acquiring more 

post-impressionist and tonal style paintings, 

moving away from the colonial pieces of his earlier 

collecting days. An emerging love of Australian 

tonal artists developed, and his collection 

features many women artists such as Esther 

Patterson, Mabel Hockey and Alma Figuerola 

who were slow to receive the attention their work 

so readily deserves. 

George was a passionate writer and published 

a regular column titled 'Art Line', which was 

periodically featured in Tasmanian newspaper The 

Mercury. His articles offered candid reporting on 

the nuances of the art world. He rarely dabbled in 

contemporary art, although he wrote a heartfelt 

obituary mourning the passing of Howard Arkley. 

His commentary was playful, tempered with sage 

advice for would-be collectors, encouraging a 

considered and well-read approach to collecting. 

This scholarly approach is exemplified in George's 

collection; Through diligent research he acquired 

a wealth of knowledge and expertise in Australian 

art, offering fine art valuations and opening a small 

public gallery in his Sandy Bay home where he 

could share his collection with other enthusiasts. 

This collection, treasured by both George and 

Jasmine, is a cultivation of a lifetime. Representing 

years spent contemplating auction and gallery 

catalogues, researching, writing and discussing 

art. Each piece has been selected with care and 

consideration. The collection personifies a genuine 

appreciation for harmonious composition, a 

balanced palette and the eternal search for the 

genius in a single brushstroke. 

1. In conversation with John Perry, who was a close 

friend and acquaintance of George Brugler and 

later Jasmine Cowen.

44 

47 

47 

GEORGES MAIGRET (FRENCH, 1846-1929) 

Enfants au Parc 

oil on board 

signed lower right: Georges MAIGRET 

30.5 x 45cm 

$1,500–2,500

45 

48 

48 

LOUIS ABEL-TRUCHET (FRENCH, 1857-1918) 

L'Omnibus an Carrefour Rue de Buci-Boulevard 

Saint Germain 

oil on canvas 

signed lower left: Abel Truchet 

54 x 44cm 

PROVENANCE 

Galerie Thomire, Paris 

$6,000–9,000

46 

49 

50 

49 

EINAR BERGSTEN (SWEDISH, 1886-1970) 

Le Petit Journal - Paris Street Scene 1915 

oil on canvas 

signed and dated lower left: Einar Bergsten 1915 

63 x 52cm 

PROVENANCE 

Christie's, London, Impressionist and Modern 

Watercolours and Drawings - Modern Paintings - 

Drawings and Sculpture, 5 December 1986, Lot 626 

$1,500–2,500 

50 

ROBERT R CAMPBELL (1902-1972) 

Collins Street, Melbourne 

oil on board 

22 x 14.5cm 

PROVENANCE 

Seddon Galleries, Melbourne (label verso) 

$800–1,200

47 

51 

51 

ESTHER PATERSON (1892-1971) 

Summer, Melbourne Street Scene 

oil canvas on board 

signed lower left: ESTHER / PATERSON 

49 x 39cm 

$3,000–5,000

48 

52 

52 


Honfleur 

oil on canvas 

signed lower right: Veal 

50 x 34.5cm 

PROVENANCE 

The Piccadilly Gallery, London 

Christie's, Melbourne, Australian and European Paintings, 

Photographs, Drawings and Prints, Part II, 21 August 1996, Lot 369 

$2,000–4,000

49 

53 

53 

JUSTUS JORGENSEN (1893-1975) 

Cassis Harbour 1927 


signed lower left: J Jorgensen 

signed and dated verso: J Jorgenson / 1927 

36 x 46.5cm 

PROVENANCE 

Capricorn Galleries, Melbourne 

$1,500–2,500

50 

54 

54 

WILLIAM B MCINNES (1889-1939) 

Boating on the Yarra 


signed lower left: MCINNES 

29 x 40cm 

PROVENANCE 

Christie's, Melbourne, Australian Pictures, 

25 August 1992, Lot 139 

$2,000–3,000

51 

55 

55 

ARTHUR MERRIC BOYD 

(SENIOR) (1862-1940) 

Lengthening Shadows 1901 

oil on canvas 


Arthur Boyd 1901 

39 x 59cm 

$4,000–6,000 

56 

(ATTRIBUTED) ALBERT 

CHARLES COOK 

The Heads of Port Phillip Bay 

from Arthurs's Seat circa 1890 


30 x 41cm 

$1,200–1,800 

56

52 

57 

58 

57 

JOHN LLEWELLYN-JONES (1870-1927) 

Figures on the Beach, Manly 


signed lower right: J LLEWELLYN JONES 

23 x 33.5cm 

$3,000–5,000 

58 


Playing on the Beach, Moana 1958 


verification by Jean Campbell verso 

15.5 x 21.5cm 

$700–1,000

53 

59 

59 

MAXWELL RAGLESS (1901-1981) 

Constitution Dock, Hobart 

oil on canvas 

signed lower left: MAX RAGLESS 

54.5 x 90.5cm 

PROVENANCE 

Leonard Joel, Melbourne, Australian British, New Zealand 

& European Historical and Contemporary Paintings etc., 

16 April 1991, Lot 215 

$1,000–1,500

54 

60 

ETHEL CARRICK FOX (1872-1952) 

Balmoral Beach, Sydney Harbour 


signed lower left: Carrick Fox 

42 x 57.5cm 

PROVENANCE 

Christie's, Melbourne, Australian Paintings, 

9 April 1991, Lot 274 

RELATED WORKS 

On Balmoral Beach, Sydney, 1913, 

oil on canvas on board, 26 x 34cm; 

Mosman Art Gallery, Sydney, 

donated by Neil Balnaves AO 

$80,000–120,000 

Photographer unkown, Balmoral Beach, early 20th Century

55 

60

56 

61 

LASZLO SZTRÁKOS (HUNGARIAN, BORN 1954) 

Moses 

bronze on green stone base 

incised with signature and editioned on base: 

SZTRAKOS / 1/1 

29.5cm high 

$500–800 

62 

VINCE VOZZO (BORN 1954) 

Female Figure 

marble 

incised on base: VOZZO 

46.5cm high, 32cm wide, 18cm deep 

PROVENANCE 


$2,000–4,000 

61 

62

57 

63 

SAM ATYEO (1911-1990) 

Portrait 1932 

oil on canvas 

signed and dated lower left: S Atyeo 32 

50 x 44.5cm 

PROVENANCE 

Savill Galleries, Sydney (label verso) 

$4,000–6,000 

63 

64 

DOROTHY STONER (1904-1992) 

Studio Nude, Paris 1949 

oil on canvas 

signed, dated and inscribed lower left: 

DOROTHY Stoner / Paris 1949 

59 x 49cm 

$2,000–4,000 

65 

VERNON HODGMAN (1909-1984) 

Cubist Still Life 


signed lower right: VERNON HODGMAN 

67 x 51cm 

$500–800 

64

58 

66 

66 


Woman Bathing circa 1949 

oil on canvas 

signed lower right: D K Stoner 

34 x 29cm 

$1,500–2,500 

67 

ANTHEA BODEN (BORN 1950) 

Children Coming Home 

oil on canvas 

signed lower left: A C Boden 

signed and titled verso: 

ANTHEA BODEN / 'CHILDREN COMING HOME' 

109 x 129cm 

$1,800–2,500

59 

68 

68 

SERGE FÉRAT (RUSSIAN, 1881-1958) 

Nature Morte Cubiste 

oil on canvas 

signed lower right: S FERAT 

55 x 46cm 

PROVENANCE 

Galerie Des Modernes, Paris 

$8,000–12,000

60 

69 

69 

CONSTANCE JENKINS (1885?-1961) 

French Street Scene with Market Stalls 1911 

oil on panel 

signed and dated lower right: C L Jenkins 1911 

23 x 31.5cm 

PROVENANCE 

Christie's, Melbourne, Australian Pictures, 

28 April 1992, Lot 234 

$2,000–4,000

61 

70 

70 

HILDA RIX NICHOLAS (1884-1961) 

Women at Market in Picardy 

pastel and charcoal on paper 

signed lower left: E H Rix 

37 x 26.5cm 

RELATED WORKS 

Fruit Market, Étaples, circa 1910, in the Collection of Art 

Gallery of New South Wales (purchased 1919) 

The Canny Fish Wife, circa 1910, previously Property 

of The of Dame Nellie Melba GBE, Private Collection 

$8,000–12,000

62 

71 

71 

BLANCHE MURPHY (1864-1944) 

Haystacks 1923 

oil on canvas 

signed and dated lower right: B Murphy / 23 

48 x 29.5cm 

$1,200–1,800

63 

72 

72 


Landscape in Provence 

oil on canvas 

signed lower left: Veal 

75.5 x 49.5cm 

$3,000–5,000

64 

73 

73 

HERMANN BRUCK (GERMAN, 1875-1949) 

European Spring Landscape 1923 

oil on canvas 

signed and dated lower right: H Bruck / 23 

42 x 56cm 

PROVENANCE 

Christie's, Melbourne, Australian and European Paintings, 

Drawings and Prints, Part I, 26 November 1996, Lot 159 

$600–900 

74 

JULES-ALFRED HERVÉ-MATHÉ 

(FRENCH, 1868-1953) 

Marche de Legumes a Cancarneau 

oil on canvas 

signed lower right: A Herve Mathe 

artist's stamp verso 

37 x 45cm 

$2,000–4,000

65 

75 

75 

JACQUES-ÉMILE BLANCHE 

(FRENCH, 1861-1942) 

Neuville 1898 

oil on panel 

signed, dated and titled lower right: 

J E Blanche / Neuville 1898 

59 x 44cm 

PROVENANCE 

Lawsons, Sydney, Australian and European Paintings, 

22 July 1997, Lot 286 

$2,500–4,500 

76 


Amsterdam 1956 

oil on board 

Jean Campbell verification verso 

16.5 x 23.5cm 

$500–800

66 

77 

MARCEL JEAN LOUIS COSSON 

(FRENCH, 1878-1956) 

Ballerina 

oil on panel 

signed lower left: COSSON 

26 x 18cm 

$800–1,200 

77 

78 

78 

FLORENT VINCENT EMILE LUCIEN 

DECHAINEUX (1869-1957) 

Portrait of Grace Hill 1920 

oil on canvas 

signed and dated lower right: F Dechaineux / 1920 

38 x 32.5cm 

$600–900

67 

79 

JEAN-LÉON HENRI GOUWELOOS 

(BELGIAN, 1868-1943) 

Young Woman 

oil on canvas 

signed lower left: Jean Gouweloos 

62 x 43cm 

$6,000–8,000 

79 

80 

ALMA FIGUEROLA (1895-1969) 

Woman Reading 


signed lower left: Alma Figuerola 

25 x 30cm 

$1,500–2,500 

80

68 

81 

81 

LOUISA SWAN (1860-1955) 

Old Lime Kiln 

oil on board 

29 x 44cm 

$800–1,200 

82 

82 

DAISY STONE 

The Pathway 1916 


signed and dated lower left: D Stone / 1916 

39 x 27cm 

$700–1,000

69 

83 

83 

HERBERT ROSE (1890-1937) 

Landscape in Tuscany 

oil on canvas 

signed lower centre: HERBERT ROSE 

50 x 60cm 

$3,000–5,000

70 

84 

85 

84 

DE FRANCHESIA 

The Confession 

oil on panel 

signed lower right: De Franchesia 

signed and inscribed verso: 

De Franchesia / Chiesa del Popolo / Roma 

43 x 31.5cm 

$700–1,000 

85 

MARY MORTON ALLPORT (1806-1895) 

Portrait of a Seated Lady 

watercolour on ivory 

9 x 6.5cm 

$1,500–2,000

71 

86 

86 

(ATTRIBUTED) EDWARD PRITCHETT 

Grand Canal, Venice 


44 x 71cm 

$2,000–4,000 

87 

JOSEPH MILNE (SCOTTISH, 1857-1911) 

Seaside Village 1898 

oil on board 

signed and dated lower right: J Milne 

13 x 21cm 

$600–800

72 

88 

89 

88 

JAN HENDRIK SCHELTEMA (1861-1941) 

Resting the Bullock Team 

oil on canvas 

signed lower left: J H Scheltema 

35 x 59.5cm 

$5,000–8,000 

89 

HAROLD SEPTIMUS POWER (1878-1951) 

Mare and Foal 

oil on canvas 

signed lower right: H S POWER 

31.5 x 47cm 

$2,000–4,000

73 

90 

90 

JAMES MUIR AULD (1879-1942) 

Cattle Resting 

oil on canvas 

signed lower left: J MUIR AULD 

90 x 74.5cm 

PROVENANCE 

Leonard Joel, Melbourne, Australian and European 

Paintings, 11 August 1992, Lot 81 

$1,500–2,500 

91 

DANIEL VIERGE (SPANISH, 1851-1904) 

The Farm 

oil on panel 

signed lower left: VIERGE 

19 x 19cm 

PROVENANCE 

Purchased from the artist George Collingridge, 1924 

Sotheby's, Melbourne, Fine Australian 

and European Paintings, 19 August 1996, Lot 48 

$500–800

74 

92 

92 

CONSTANCE TEMPE MANNING (1896-1960) 

Tree in Blossom 1951 


signed and dated lower left: Tempe Manning '51 

24 x 29.5cm 

$700–1,000 

93 


Woman Sitting on Park Bench 


signed upper right: Figuerola 

18.5 x 23cm 

$500–800

75 

94 

MABEL HOOKEY (1871-1953) 

Shelling Peas 

oil canvas on board 

signed lower left: M Hookey 


M Hookey / Shelling Peas 

30 x 33cm 

$1,500–2,500 

94 

95 


The Red Roof 



19.5 x 22cm 

$600–900 

95

76 

96 

96 

JOHN PETER RUSSELL (1858-1930) 

French Landscape 


24 x 29.5cm 

$2,500–4,500

77 

97 

97 

JOHN PETER RUSSELL (1858-1930) 

French Landscape 


23.5 x 29.5cm 

$2,500–4,500

78 

98 

98 

AUGUSTIN FERNANDEZ (1928-2006) 

Workers 1949 

oil on canvas 

signed and dated upper right: Fernandez '49 

68.5 x 89.5cm 

PROVENANCE 

Hollywood Road Gallery, London (label verso) 

Deutscher~Menzies, Melbourne, 19th and 20th Century 

Australian & International Paintings, Sculpture 

and Works on Paper, 10 August 1998, Lot 34 

$1,000–1,500 

99 


The Corner House 


30 x 35cm 

PROVENANCE 

Artist's Studio 

$500–800

79 

100 

100 


Male Studio Nude 1949 

oil on canvas 

signed and dated lower left: D K Stoner 49 

45.5 x 35cm 

$1,500–2,500 

101 

NINO CAFFE (ITALIAN, 1909-1975) 

Temporale Vicino 

oil on board 

signed lower centre: N Caffe 

23.5 x 46cm 

PROVENANCE 

Leonard Joel, Melbourne, Australian and 

European Paintings, 30 July 1997, Lot 67 

$1,200–1,800

80 

102 

102 

WILLIAM FRATER (1890-1974) 

Still Life with Fruit 

oil on board 

signed lower right: William Frater 

figure study verso also signed William Frater 

37.5 x 47.5cm 

$1,500–2,500 

103 

ROBERT JOHNSON (1890-1964) 

The Artist's Garden, Lindfield 

oil on board 

signed lower right: Robert Johnson 

36.5 x 43.5cm 

PROVENANCE 

Sotheby's, Sydney, Fine Australian Paintings, 


$1,500–2,500

81 

104 

105 

104 

ALBERT E NEWBURY (1891-1941) 

Marigolds 


signed lower right: A E NEWBURY 

signed and titled verso: A E Newbury / 'Marigolds' 

44.5 x 34.5cm 

$1,200–1,800 

105 


Still Life with Flowers 

oil on board 

signed lower right: ALMA FIGUEROLA 

30.5 x 21cm 

$1,000–1,500

82 

106 

107 

106 

WILLIAM MALHERBE (FRENCH, 1884-1952) 

Anemones 1928 

oil on panel 

signed and dated upper right: WILLIAM MALHERBE 28 


WILLIAM MALHERBE 1928 / 'ANEMONES' 

54 x 45cm 

$800–1,200 

107 

ALICE MARIAN ELLEN BALE (1875-1955) 

Still Life 

oil on canvas 

45 x 28cm 

PROVENANCE 

The Artist's Studio 

Capricorn Galleries, Melbourne 

(certificate of authenticity verso) 

$2,000–4,000

83 

108 

109 

108 


Carnations 

oil on board 

John Perry certificate of authenticity verso 

30 x 20cm 

$1,000–1,500 

109 

MAX MELDRUM (1875-1955) 

Still Life - Vase and Flowers 

oil on board 

signed lower left: Meldrum 

34 x 26cm 

$2,000–4,000

84 

110 


Still Life with Brushes 

and Statue 

oil on canvas 


60 x 50cm 

$1,000–1,500 

110 

111 

111 

JACK CARRINGTON SMITH 

(1908-1972) 

Kitchen Table 1960 

oil on canvas 

signed and dated lower left: 

Carrington Smith 60 

57.5 x 75.5cm 

$1,000–1,500

85 

112 

112 


Studio Interior 1947 

oil on board 

signed and dated lower right: Veal '47 

49 x 38.5cm 

PROVENANCE 

Leonard Joel, Melbourne, Australian and 

European Paintings, 22 November 1995, Lot 138 

$2,000–3,000

86 

Other Properties 

113 

PERCY WATSON (1919-1999) 

The Red Roof circa 1946 


signed lower right: Percy Watson 

27 x 36.5cm 

PROVENANCE 

Private Collection, Castlemaine 

$800–1,000 

113 

114 

114 

IVOR FRANCIS (1906-1993) 

Adelaide Hills 1950 

oil on canvas 


Francis I / 50 

49.5 x 59.5cm 

PROVENANCE 



$1,200–1,800

87 

115 

ALISON REHFISCH 

(1900-1975) 

Reynella 

oil on board 

signed lower right: Rehfisch 

29.5 x 34.5cm 

PROVENANCE 

Sotheby's, Sydney, 

Fine Australian Paintings and Books, 



$3,500–5,500 

115 

116 

NORAH GURDON (1881-1974) 

Botanical Gardens 

oil on canvasboard 

signed lower right: N Gurdon 

24.5 x 35cm 

PROVENANCE 


$2,000–3,000 

117 

ROBERT JOHNSON 

(1890-1964) 

The Artist Painting 

oil on board 

signed lower right: Robert Johnson 

22.5 x 26.5cm 

PROVENANCE 


The David and Susi Caddy Collection 

$1,000–2,000 

116

88 

Ernest Buckmaster was born in 1897 in Auburn, 

Victoria, the firstborn of six boys and six girls. Due 

to ill health, he was sent away at a young age to 

live with his grandparents in Doncaster Road, Box 

Hill, Victoria where he developed a preference for 

going into the bush and drawing landscapes on 

a Sunday morning rather than attending church. 

On returning to the family home, this habit made 

him somewhat of an outcast to his strictly Baptist 

family and earned him the nickname ‘mad artist’ 

from his siblings. Unperturbed, he pursued his 

drive to master drawing. ‘I’ve lived practically a 

world apart, a world of my own, wrapped up in 

my obsession for drawing with a brush.’ 1 He left 

school at age 11, working in a chemist and then 

as an apprentice signwriter, followed by selffunded 

study at The National Gallery of Victoria 

under the tutelage of William B. McInnes and 

Bernard Hall. He admired the Heidelberg school 

painters and sought to follow in their footsteps, 

firmly rejecting the emerging trend of his 

peers towards modernism. 

In 1932 he won the Archibald Prize for his portrait 

of Chief Justice of the Supreme Court of Victoria 

William Irvine (1858–1943). The prize accelerated 

his career and generated a steady flow of 

commissions and critical acclaim. ‘Buckmaster's 

idealism is reflected in the nobleness of character 

so apparent in each [portrait], with unerring 

judgement, he sounds the innermost details of 

his sitters for those fundamental qualities of 

goodness and straightforwardness.’ 2 His final 

self-portrait (Lot 119) was painted in 1966 two 

years before his death and was selected as a 

finalist in the Archibald. He diligently executed 

the painting with the use of several mirrors in 

his home studio in Warrandyte. The veteran 

artist emanates a dignified calmness, gazing 

studiously off to the side his demeanour reflects 

the artist's honest intentions to be observed 

without pretence. 

While Buckmaster’s bread and butter was 

portraiture, his love for landscape painting held 

significant importance in the artist's oeuvre. 

Buckmaster painted landscapes in the traditional 

en plein air method, as he felt this was the only 

way to capture nature ‘alive’. Up until his final 

years he was painting with the same exacting 

standards of perfection. This determination is 

exemplified in his accurate impressions of the 

haze over Eildon, a favourite location he returned 

to regularly throughout his career. He managed 

to paint the climate of the region with deceptive 

ease. ‘It is a significant feature of Buckmaster's 

landscape work that a great many of his paintings 

depict still water under various influences. In this 

he reveals a remarkable ability to capture the very 

nature of the atmosphere.’ 3 

Over the years, ‘Buck’, as he was affectionately 

known, had formed a close acquaintance and 

friendship with many older painters from the 

Heidelberg school era, particularly Arthur 

Streeton, often exchanging letters. Streeton 

wrote to him from his deathbed in August 1942, 

wishing him well for his upcoming exhibition at 

the Athenaeum Gallery in Melbourne, lamenting 

that he could not visit. Such modest praise 

and attention from Streeton could not have 

been bestowed upon a more earnest recipient. 

Buckmaster never faltered in his devotion to 

nature and traditional art. His prolific writing 

encapsulates his artist's doctrine, which in 

essence expresses his genuine reverence for the 

act of painting. ‘Over my lifetime as an artist my 

experiences have caused me often to realise the 

truth of the old saying, “art is long and time is 

fleeting”. Words fail in any attempt to explain how 

I have loved and revelled in every painting day, 

never long enough for all that might be done…but 

aware of keen anticipation for what is waiting to 

be painted tomorrow.’ 4 


1. Ellem, B. & Buckmaster, N., Art by Ernest Buckmaster, 

Evelyn Fine Arts, Melbourne, 1993, pp. 20 

2. The Art of Ernest Buckmaster, 

The Daily News, Perth, WA, 12 June 1936 

 

3. Ibid. 

4. Ibid (footnote 1), p.19-20

89 

118 

118 

ERNEST BUCKMASTER (1897-1968) 

Morning Haze, Eildon circa 1966 

oil on canvas 

signed lower left: Buckmaster 

79.5 x 105cm 

PROVENANCE 

The Artist, thence by descent 

LITERATURE 

Ellem, Barry & Buckmaster, Norman, Art by Ernest 

Buckmaster, Evelyn Fine Arts Box Hill, Victoria, 1993, 

cat. no. 59, p. 136 (illus.) 

OTHER NOTES 

Painted from the vicinity of Skyline Road, 

Fraser National Park, Eildon, Victoria 

$8,000–10,000

90 

Ernest Buckmaster standing in front of 'Grantully', Mt. Evelyn, Victoria 

Photographer Unknown

91 

119 

119 

ERNEST BUCKMASTER (1897-1968) 

Self Portrait 1966 

oil on canvas 

signed lower left: E Buckmaster 

signed, dated and titled verso: E Buckmaster, Dec 1966 

SELF PORTRAIT USING TWO MIRRORS 

110.5 x 85.5cm 

PROVENANCE 

The Artist, thence by descent 

EXHIBITED 

Archibald Prize 1966, National Art Gallery of New 

South Wales, Sydney, 21 January to 19 February 1967 

(touring exhibition) 

$6,000–9,000

92 

120 

120 

SAMUEL THOMAS GILL (1818-1880) 

Diggers of High Degree 

watercolour 

signed with initials and titled right: 

STG / Diggers of high degree 

27 x 20.5cm 

PROVENANCE 

Malvern Fine Art Gallery, Melbourne 



EXHIBITED 

Louis Buvelot / S. T Gill, Malvern Fine Art Gallery, 

Melbourne, 30 July 1965, cat. no. 6 

ILLUSTRATED (SIMILAR EXAMPLE) 

Michael Cannon, The Victorian Gold Field 1852-3: 

An Original Album by S. T. Gill, John Currey, O'Neil 

Publishers Pty Ltd on Behalf of The Library Council of 

Victoria, 1982, pg 50, plate 18 

$12,000–18,000

93 

121 

121 

SAMUEL THOMAS GILL (1818-1880) 

Diggers of Low Degree 

watercolour 

signed with initials and titled lower left and right: 

STG / Diggers of low degree 

27 x 20.5cm 

PROVENANCE 

Malvern Fine Art Gallery, Melbourne 



EXHIBITED 

Louis Buvelot / S. T Gill, Malvern Fine Art Gallery, 

Melbourne, 30 July 1965, cat. no. 7 

ILLUSTRATED (SIMILAR EXAMPLE) 

Michael Cannon, The Victorian Gold Field 1852-3: 

An Original Album by S. T. Gill, John Currey, O'Neil 

Publishers Pty Ltd on Behalf of The Library Council 

of Victoria, 1982, pg 52, plate 19 

$12,000–18,000

94 

122 

122 

JUSTIN O'BRIEN (1917-1996) 

Fragments circa 1968 

oil on composition board 

signed lower right: O'BRIEN 

35 x 50.5cm 

PROVENANCE 

Macquarie Galleries, Sydney (label verso) 

Private Collection, Melbourne, acquired from the above in 1968 

Private Collection, Melbourne, acquired from the above in 1993 

Deutscher and Hackett, Twenty Classics of Australian Art 

+ Important Australian & International Fine Art, Melbourne, 



EXHIBITED 

Recent Paintings and Drawings by Justin O'Brien, 

Macquarie Galleries, Sydney, 16-28 October 1968, cat. 25 

$8,000–12,000

95 

123 

124 

123 

ROBERT DICKERSON (1924-2015) 

Portrait of a Girl 

charcoal on paper 

signed lower right: DICKERSON 

56 x 38cm 

PROVENANCE 

Wagner Art Gallery, Sydney (label verso) 

Private Collection, Canberra 

$5,000–7,000 

124 

ANNE HALL (BORN 1945) 

My Mother 1967 

charcoal on paper 

signed and dated lower left: Anne Hall '67 

signed, dated and titled verso: Anne Hall / '67 'My Mother' 

101 x 68cm 

$500–800

96 

125 

GEOFFREY HOUGHTON BROWN 

(BRITISH, 1903-1993) 

The Domino Players 

oil on board 

signed with initials lower left: GHB 

121.5 x 65.5 cm 

PROVENANCE 

Christie's, London, Modern British & 

Irish Pictures, 15 October 1993, Lot 159 

Sotheby's, Melbourne, Fine 

Asian, Australian & European 

Art, Decorative Arts & Furniture, 

30 October 2012, Lot 93 

$1,000–2,000 

126 

YVONNE ATKINSON (1918-1999) 

Captain Melville Captured 

in Geelong Brothel 

oil on canvas 

signed and titled lower right and left: 

Yvonne Atkinson / Captain Melville 

captured in Geelong Brothel 

75 x 90.5cm 

PROVENANCE 

Avant Galleries, Melbourne 1976 


$1,500–2,500 

127 

GEORGE BELL (1878-1966) 

Circle of Friends 1950 

oil on board 

signed and dated lower right: G Bell 50 

58.5 x 50.5cm 

PROVENANCE 


$1,000–2,000 

125

97 

128 

128 

FRED WILLIAMS (1927-1982) 

The Thames, London 1953 

gouache on paper on board 

signed lower right: Fred Williams 

54 x 69.5cm 

PROVENANCE 

Sotheby's, Sydney, Fine Australian Paintings, 


Mr Raymond Kidd and Mrs Diana Kidd, Sydney 

Sotheby's, Sydney, The David Newby Collection 

of Australian Art; Important Australian Art, 

Sydney, 3 May 2017, Lot 62 


$15,000–25,000 

129 

CHARLES BLACKMAN (1928-2018) 

Street Scene, Paris 


signed lower right: BLACKMAN 

49.5 x 72cm 

PROVENANCE 

Collection of Burdett Laycock esq., Melbourne 


Estate of H. A. Brockhoff, Victoria 

Joel Fine Art, Melbourne, Important Australian 

and International Art, 26 March 2007, Lot 54 


$12,000–18,000

98 

130 

JAN BILLYCAN (1930-2016) 

Martagoolu 2004 

synthetic polymer paint on canvas 

inscribed verso: JAN BILLYCAN / 

BIDYADANGA / #2763 / SHORT ST. 

GALLERY / BROOME 2004 

61 x 60.5cm 

PROVENANCE 

Short Street Gallery, Broome (certificate of 

authenticity accompanies this lot) 


$2,000–4,000 

130 

131 

131 

NORA WOMPI (BORN 1935) 

Kunawarritji 


inscribed verso: NORA WOMPI / 

WARLAYIRTI ARTISTS / 510/04 / AM1911/04 

90 x 60cm 

PROVENANCE 

Warlayirti Artists, Balgo Hills (certificate of 



$1,000–1,500

99 

132 

132 

JAN BILLYCAN (1930-2016) 

Kirriwirri 2007 

acrylic on linen 

inscribed verso: JAN BILLYCAN / 2007 / 

SHORT ST GALLERY / BROOME, WA / #11553 

55 x 76cm 

PROVENANCE 

Short Street Gallery, Broome 

(certificate of authenticity accompanies this lot) 


$4,000–6,000

100 

133 

133 

LORNER FENCER (CIRCA 1920-2006) 

Kangaroo Tucker 


inscribed verso: 101-689 / Kangaroo Tucker / 

Lorna Fencer Napurrurla / Lajamanu N.T. 

69.5 x 50cm 

PROVENANCE 

Katherine Regional Art Gallery, NT (cat. no. 101-689) 

Coo-ee Aboriginal Art Gallery, NSW 


Spinifex & Sand Collection, Tasmania 


EXHIBITED 

Directors Selection 2012, 

Coo-ee Aboriginal Art Gallery, NSW 

$600–900 

134 

LORNER FENCER (CIRCA 1920-2006) 

Bush Yam (Yarla) 2006 

acrylic on Belgian linen 

inscribed verso: LORNA FENCER / 331 

99 x 148cm 

PROVENANCE 

Mandal Aboriginal Art Gallery, Melbourne 



$1,200–1,800

101 

135 

135 

MINNIE PWERLE (1922-2006) 

Awelye-Atnwengerrp 


cat. no. ACAAMP23842 

122.5 x 98.5cm 

PROVENANCE 

Australian Contemporary Aboriginal Art, 2004 


$6,000–9,000

102 

136 

136 

DOROTHY ROBINSON NAPANGARDI 

(CIRCA 1956-2013) 

Watering Holes 


signed and cat. no. verso: *Dorothy / DN 1967 

122 x 122cm 

PROVENANCE 

Commission by ARTica Global, Melbourne 

$4,000–6,000 

137 

137 


Bush Melon Seed 2001 


inscribed verso: AGOD # 9213 

122 x 90.5cm 

PROVENANCE 

Aboriginal Gallery of Dreamings, Melbourne 


$2,000–3,000

103 

138 

138 

EMILY KAME KNGWARREYE (1909-1996) 

My Country 1995 


inscribed verso: #5496 / A.G.O.D. 

91.5 x 122cm 

PROVENANCE 



$30,000–40,000

104 

139 

140 

139 

EMILY PWERLE (BORN 1925) 

Awelye Atnwengerrp 2006 


inscribed verso: Emily Pwerle 

/ 'Awelye Atnwengerrp' 2006 / 

DG 06769 / AKG 1066 / 022 

181.5 x 122cm 

PROVENANCE 

DACOU Gallery, Adelaide (certificate 

of authenticity accompanies this lot) 

$5,000–8,000 

140 

BARBARA WEIR (1940-2023) 

Grass Seed Dreaming 2005 


inscribed verso: 

Barbara Weir / Feb '05 / MB025929 

131 x 199cm 

PROVENANCE 

Mbantua Gallery, Alice Springs 

(certificate of authenticity 

accompanies this lot) 

$2,000–4,000 

141 

MINNIE PWERLE (1922 -2006) 

Awelye-Atnwengerrp c.2004 


inscribed with Australian 

Contemporary Aboriginal Art 

cat. no.23879 verso 

208 x 119cm 

PROVENANCE: 

Australian Contemporary Aboriginal 

Art, Melbourne, 2004 (certificate of 



$8,000–12,000

105 

141

106 

142 

143 

142 

NYURAPAYIA NAMPITJINPA (MRS. BENNETT) 

(1935-2013) 

Untitled 1999 


inscribed verso: Nyurapaiya Nampijinpa / 

Papunya Tula Artists Pty Ltd / NN9907214 

45 x 91cm 

PROVENANCE 

Papunya Tula Artists, Alice Springs 


$1,000–1,500 

143 

WALANGKURA NAPANANGKA 

(CIRCA 1922-2010) 

Tjurkurla Tali 


inscribed verso: Walangkura Napanangka / 

Papunya Tula Artists Pty Ltd / WN0510011 

60.5 x 151cm 

PROVENANCE 




$2,000–3,000

107 

144 

144 

NINGURA GIBSON NAPURRULA (1938-2013) 

Tingari 2005 


inscribed verso: #9073 

Yanda cat. no. NN200516 

122 x 91.5cm 

PROVENANCE 

Yanda Aboriginal Art, Melbourne 



$1,000–2,000

108 

145 

146 

145 

ARTIST UNKNOWN 

Tiwi Bark Painting circa 1989 

natural earth pigments on eucalyptus bark 

123 x 34cm 

PROVENANCE 

Aboriginal Arts Australia Ltd, Sydney, 1989 

Richard Kelton Collection, Santa Monica, USA, 1991 


EXHIBITED 

The Evolving Dreamtime: Contemporary Art by 

Indigenous Australian Artists, Pacific Asia Museum, 

Pasadena, California, USA, 1995 

$1,000–2,000 

146 

LILY KARADADA (BORN CIRCA 1937) 

Wandjina 1998 


inscribed verso: 7089 

122 x 92cm 

PROVENANCE 




$2,000–3,000

109 

147 

147 

JACK BRITTEN (CIRCA 1921-2002) 

Bungle Bungles (Texas Side) 1998 

acrylic and natural earth pigments on canvas 

signed, dated, titled and cat. no. verso: JACK / 8.10.98 / 

'BUNGLE BUNGLES' / (TEXAS SIDE) / N-1133-JB 

89.5 x 120cm 

PROVENANCE 


$4,000–6,000 

148 


Tiwi Tunga 


76cm high, 45.5cm wide, 44cm deep 

$1,500–2,500 

148

110 

149 

149 

NYURAPAYIA NAMPITJINPA (MRS BENNETT) 

(1938-2013) 

Tjalili 2005 


inscribed verso: NYURAPAYIA NAMPITJINPA 

(MRS BENNETT) #9072 

Yanda cat. no. MRSB200538 

122.5 x 102cm 

PROVENANCE 




$1,200–1,800 

150 

JACK BRITTEN (CIRCA 1921-2002) 

Dabanbine River 1998 

acrylic and natural earth pigments on canvas 

signed, dated, titled and cat. no. verso: 

JACK / 15.7.98 / 'DABANBINE RIVER' / NAT0489 

91 x 120.5cm 

PROVENANCE 


$4,000–6,000

111 

150 

151 

KITTY KANTILLA 

(CIRCA 1928-2003) 

Untitled 1998 

ochre and pigment on paper 

55 x 74cm 

PROVENANCE 

King Street Gallery, Sydney 

$3,000–5,000 

151

112 

153 

152 

PATRICK OLOODOODI TJUNGURRAYI 

(CIRCA 1935-2017) 

Mumpanga Rockhole 


inscribed verso: Patrick Tjungurrayi / 

Papunya Tula Artists Pty Ltd / PT9905158 

168 x 45cm 

PROVENANCE 




$3,000–5,000 

152 

153 

WARLIMPIRRNGA TJAPALTJARRI (BORN 1950) 

Marrawa 2004 


inscribed verso: WARLIMPIRRINGA TJAPALTJARRI 

#WAT200402 

84 x 84cm 

PROVENANCE 




$1,500–2,500

113 

154 

154 

GEORGE HAIRBRUSH TJUNGURRAYI 

(BORN CIRCA 1947) 

Untitled 


85.5 x 202cm 

PROVENANCE 



OTHER NOTES 

Ineke Tremellen worked as a nurse and midwife with 

remote communities in Balgo WA, Imanpa, Kintore and 

Ampilatwatja in the NT, and with RFDS & the Women's 

Health Clinic in Alice Springs between 1989 - 2008. 

Ineke met and established acquaintances with many 

local Indigenous artists, acquiring works directly through 

the artists she had formed connections with. This work 

is accompanied by photographs of Ineke and George 

Hairbrush Tjungarrayi together at Kintore in 2003-04. 

$4,000–6,000 

155 


Ceremonial Canoe 


with textile and reeds 

25cm high, 121cm wide, 33cm deep 

PROVENANCE 

(Possibly) Sotheby's circa early 2000s 


$2,000–4,000 

155

114 

156 

MAKINTI NAPANANGKA (1922-2011) 

Lungkata 2004 


inscribed verso: MAKINTI NAPANANGKA 

#MAK200405 

stamped verso: Yanda Aboriginal Art 

84 x 84cm 

PROVENANCE 

Yanda Aboriginal Art, Melbourne (certificate 

of authenticity accompanies this lot) 


$2,000–4,000 

156 

157 

157 

NANYUMA NAPANGARDI 

(BORN 1944) 

Women at Wirulunga 2004 


inscribed verso: Nanyuma Napangati / 

Papunya Tula Artists Pty Ltd / NN0411091 / 

ABOP 717 

61 x 120cm 

PROVENANCE 

Papunya Tula, Alice Springs (certificate of 



$600–900

115 

158 

158 

LILY KARADADA (BORN 1937) 

Wandjina (Rain Spirit) 2002 

natural earth ochres and acrylic on linen 

inscribed verso: WANDJINA / 

(Rain Spirit) / 8.3.02 / N-2051-LK 

51.5 x 91.5cm 

PROVENANCE 

Niagara Galleries, Melbourne 



$1,500–2,500 

159 

WILLIE TJUNGURRAYI (1932-2018) 

Untitled 2004 


inscribed verso: WILLY TJUNGURRAYI 

# WT200407 

102 x 112cm 

PROVENANCE 


(progress photographs of the artist 

executing the painting accompany this lot) 


$1,500–2,500 

159

116 

160 

JUDY NAPANGARDI WATSON 

(CIRCA 1925-2016) 

Untitled 2000 

inscribed verso: Judy Napangardi Watson 254 / 00 

122 x 76.5cm 

PROVENANCE 

Warlukurlangu Artists, Yuendumu, via Alice Springs 

$2,000–3,000 

160 

161 

161 

PADDY LEWIS TJAPANANGKA 

(CIRCA 1943-2011) 

Mina Mina Jukurrpa (Mina Mina Dreaming) 


inscribed verso: Paddy Japangardi Lewis / 

Warlukurlangu Artists / 310/07ny 

91.5 x 91.5cm 

PROVENANCE 

Warlukurlangu Artists, Yuendumu, via Alice Springs 



$500–800

117 

162 

162 


Bush Melon Body Paint 2004 


inscribed verso with Aboriginal Galleries of Australia 

cat. no. AGA 8211 

124 x 166cm 

PROVENANCE 

Commissioned by Michael Hollow, 

Aboriginal Desert Art Gallery, Alice Springs 

Aboriginal Galleries of Australia, Melbourne 



$6,000–8,000 

163 

ANGELINA WOODS TJARUWA (BORN 1954) 

Yampili 2008 


inscribed verso: Tjaduwa [sic] (Angelina) 

Woods / 'Yanpili' / Nov. '08 

109 x 91cm 

PROVENANCE 

Spinifex Arts Project, Western Australia 


$700–1,000

118 

164 


Women's Ceremony 1999 


inscribed verso: # MMCP 91 / Minnie Pwerle / 

Atnwengerrp-Awelye / 1999 

122 x 91.5cm 

PROVENANCE 




$2,000–3,000 

164 

165 

165 

GLORIA TAMERRE PETYARRE 

(1942-2021) 

Medicine Leaves 2007 


inscribed verso: GLORIA PETYARRE 

Muk Muk cat. no. A13202 

88.5 x 117.5cm 

PROVENANCE 

Muk Muk, Alice Springs 


$1,200–1,800

119 

166 

DOROTHY ROBINSON NAPANGARDI 

(CIRCA 1956-2013) 

Watering Holes 


inscribed and cat. no. verso: *Dorothy / DN 69 

122 x 122cm 

PROVENANCE 

Commission by ARTica Global, Melbourne 

$4,000–6,000 

166 

167 

JOSIE PETRICK KEMERRE (BORN 1955) 

Bush Flower 2006 


signed and cat. no. verso: Josie Petrick / B2168 

222 x 126cm 

PROVENANCE 

Bundarra Gallery, Port Douglas 



$1,200–1,800 

167

120 

168 

169

121 

170 

168 

ROSELLA NAMOK (BORN 1979) 

Lagoon where Chili Beach 2019 


inscribed verso: Rosella Namok / 

LAGOON ... WER Chilli BEACH / 

Lockhart River Arts / 19-194 

85.5 x 110cm 

PROVENANCE 

Lockhart River Arts, Lockhart River, 

QLD (certificate of authenticity 

accompanies this lot) 

$1,000–1,500 

169 

ADAM HILL (AKA BLAK 

DOUGLAS) (BORN 1970) 

Forecast Calls for Pain 2005 


signed with initials lower right: A H 

signed, dated and titled verso: Adam 

Hill / 230905 / 'Forecast calls for pain' 

70 x 90cm 

PROVENANCE 

Arc One Gallery, Melbourne 

(label verso) 

Julian Burnside & Kate Durham 

Collection, Melbourne 

$1,000–1,500 

170 

JULIE DOWLING (BORN 1969) 

Tunnerminnerwait 2006 

acrylic, red ochre 

and plastic on canvas 


Julie Dowling / May 2006 / 

'Tunnerminnerwait' 

99 x 71cm 

PROVENANCE 

Julian Burnside & Kate Durham 

Collection, Melbourne 

$4,000–6,000

122 

171 

ARCH CUTHBERTSON (BORN 1924) 

Chance Composition - Dice Painting 1970 


signed, dated and titled verso: Cutherbertson '70 

/ 'Chance Composition' / (DICE PAINTING) 

106.5 x 106.5cm 

PROVENANCE 

The Artist's Estate 

thence by descent 

$1,500–2,500 

171 

172 

JOHN CULLINANE (BORN 1957) 

Hades 2005 

oil on canvas 

signed and dated lower right: John Cullinane 2005 


John Cullinane / 2005 / 'Hades' 

122 x 167.5cm 

PROVENANCE 

Brigitte Braun Art Dealer, Melbourne 

Julian Burnside & Kate Durham Collection, 

Melbourne 

EXHIBITED 

John Cullinane: New Paintings, Brigitte Braun 

Art Dealer, Fortyfivedownstairs, Melbourne, 

1 - 12 August 2006, cat. no. 3 (illus.) 

$1,500–2,500 

172

123 

173 

173 

JOHN KRZYWOKULSKI (BORN 1947) 

Yellow Painting for Trisha 1972 

acrylic and auto lacquer on board 

signed, dated and titled verso: John 

Krzywokulski / JUNE 1972 / - JULY (7th) / 

'YELLOW PAINTING FOR TRISHA' (NOV 4th) 

Lots of Love, John 

91 x 137cm 

PROVENANCE 

Julian Burnside & Kate Durham Collection, 

Melbourne 

$1,200–1,800 

174 

JASPER KNIGHT (BORN 1978) 

1991 Custom Built 2012 

enamel on card 

signed, dated and titled lower right and centre: 

Jasper Knight 2012 / '1991 CUSTOM BUILT' 

101 x 75cm 

PROVENANCE 

Art Invest 


$3,000–5,000 

174

124 

175 

176 

175 

ARCH CUTHBERTSON (1924-2001) 

Cape Otway III 1987 

gouache on paper 

signed and dated lower right: Cuthbertson 87 

inscribed verso: Cuthbertson / Cape Otway III 1987 

56 x 76cm 

PROVENANCE 

The Artist's Estate 

thence by descent 

$500–800 

176 

GEOFFREY DYER (1947-2020) 

South East Coast, Tasmania III 

gouache on paper 

signed lower right: Dyer 

titled verso: SOUTH EAST COAST TASMANIA III 

75 x 105cm 

PROVENANCE 

Axia Modern Gallery, Melbourne 

$1,500–2,500

125 

177 

177 

ANN THOMSON (BORN 1933) 

Zone 2000-2001 

oil on canvas 


Ann Thomson 2000/01 'ZONE' 

122 x 92cm 

PROVENANCE 

Charles Nodrum Gallery, Melbourne 

The Julian Burnside and Kate Durham Collection, 

Melbourne 

EXHIBITED 

Ann Thomson: Paintings & Sculpture, Charles Nodrum 

Gallery, Melbourne, 1 - 24 March 2001, cat. no. 6 

$3,000–5,000 

178 

JOE FURLONGER (BORN 1952) 

Iron Stone Country NQ 1998 

oil on canvas 

signed with initials and dated lower right: J F 98 

120.5 x 94cm 

PROVENANCE 

Ray Hughes Gallery, Sydney 

Jan Courtin and Marshall Harris Collection, Melbourne 

$2,000–3,000

126 

179 

179 

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 


$3,000–5,000 

180 

BRETT MCMAHON (BORN 1966) 

Base 2001 

oil on canvas 

signed, dated and titled verso: B. McMahon 01 'BASE' 

190 x 142cm 

PROVENANCE 

Ray Hughes Gallery, Sydney 


$1,500–2,500

127 

181 

181 

PAUL PARTOS (1943-2002) 

Calendar Day 1984 

oil on canvas 


Paul Partos 84 / 'calendar day' 

198 x 213cm 

PROVENANCE 

Private Collection of the Late Garry Anderson 

Sotheby's, Melbourne, Fine Australian Paintings, 

26 April 1992, Lot 459 

Private Collection 

Sotheby's, Melbourne, Fine Australian and 

European Paintings, 28 April 1998, Lot 192 

John Barnes, Melbourne, acquired from the above 


$8,000–12,000 

182 

BRUNO LETI (BORN 1941) 

Making the Slow Line Dip and Sway 

in its Motion 2000 

oil monotype on canvas 

signed, dated and titled verso: Bruno Leti 2000 

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

157 x 111.5cm 

PROVENANCE 


$1,200–1,800

128 

183 

183 

DESIDERIUS ORBAN (1884-1986) 

Kabuki Backdrop 1962 

oil on canvas 

signed lower left: Orban 

45 x 65.5cm 

PROVENANCE 

Mason Gray, Sydney, 7 March 1988, Lot 164 

Private Collection, 

Sotheby's, Melbourne, 07 May 1990, Lot. 248 



EXHIBITED 

Rudi Komon Gallery, Sydney, Desideirus Orban 

Retrospective, 26 April - 21 May 1988, cat. no.27 

LITERATURE 

Docking, Gil, Desiderius Orban, His Life and Art, 

Methuen Australia, Victoria, 1983, plate 16 (illus.) 

$800–1,200 

184 

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 


$4,000–6,000 

185 

LEONARD FRENCH (1928-2017) 

Rain and Fire 

mixed media on paper 

signed lower right: Leonard French 

64.5 x 48.5cm 

PROVENANCE 


$2,000–4,000

129 

186 


Flower Study 

oil on paper 

29 x 23.5cm 

PROVENANCE 

Marlborough Fine Art, London 

$2,000–4,000 

186 

187 

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 

$4,000–6,000 

187

130 

188 

WILHELM NOWAK 

(AUSTRIAN, 1868-1945) 

Still Life - Clock and Mandolin 

oil on panel 

signed upper left: WILM. NOWAK 

ink stamp verso: Zentralstelle 

für Denkmalschutz im 

Bundesministerium für Unterricht. 

(refers to Austria's Federal 

Monuments Office (1934 -1939)) 

29 x 35cm 

PROVENANCE 

Mossgreen, Melbourne, Quarterly 

Collectors Auction Series, 



$1,000–1,500 

188 

189 

189 

GEORGE WHINNEN 

(1891-1950) 

The Black Fan 

oil on canvas 

signed lower left: GEORGE WHINNEN 

titled verso: 'The Black Fan' 

52 x 42cm 

PROVENANCE 



$1,500–2,500

131 

190 

190 

ITALIAN SCHOOL (LATE 18TH CENTURY) 

Classical Italianate Landscapes with Figures 

two oil on canvas 

49.5 x 64.5cm (each) 

PROVENANCE 


$4,000–6,000

132 

191 

191 

CHARLES CONDER (1868-1909) 

Harlequin - Commedia Dell'Arte 

watercolour, gouache and pencil on paper 

signed indistinctly lower right 

34.5 x 24.5cm 

PROVENANCE 

Estate of Pro Hart 


$2,000–4,000

133 

192 

192 

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) 

PROVENANCE 

The Collection of Hugh & Jackie Wallace, Melbourne 

$24,000–28,000

134 

193 

193 

MORTIMER MENPES (1855-1938) 

The Artist's Child 

watercolour, pencil and crayon on paper 

signed lower right: Mortimer Menpes 

36.5 x 26cm 

PROVENANCE 

The Collection of Hugh & Jackie Wallace, Melbourne 

$7,000–9,000

135 

194 

194 

JAMES R JACKSON (1882-1975) 

Reclining Woman 

oil on panel 

signed lower left: JAMES R JACKSON 

43 x 64cm 

PROVENANCE 


$5,000–8,000 

195 

EUROPEAN SCHOOL 

Studio Nude 

oil on canvas 

signed but illegible lower right 

76.5 x 97cm 

$1,500–2,500

136 

196 

TOM HUMPHREY (1858-1922) 

Portrait of a Gentleman c.1897 

oil on canvas 

signed lower left: Tom Humphrey 

portrait sketch verso 

44 x 33cm 

$1,200–1,500 

197 

SYBIL CRAIG (1901-1989) 

Portrait Study circa 1935 

oil on cardboard 

36.5 x 29cm 

PROVENANCE 

Estate of Sybil Craig 

Castlemaine Art Museum 


$800–1,200 

196 

198 

198 

CIRCLE OF JOSEPH HIGHMORE 

Portrait of a Lady in a Blue Dress, 

circa 1740 

oil on canvas 

76.5 x 63.5cm 

PROVENANCE 

Titan Fine Art, UK 


$3,000–5,000

137 

199 

PIERRE ERNOU (FRENCH,1665-1750) 

Portrait of Claude Moet, Lieutenant 

of the King's ships, with the order of 

Saint Louis, early 18th Century 

oil on canvas 


Claude Moet De Louverany / P Ernou 

90.5 x 73.5cm 

PROVENANCE 

Galerie Laury-Bailly, Paris 


$2,000–4,000 

199 

200 

FRENCH SCHOOL (18TH CENTURY) 

Portrait of a Woman and Parrot 

oil on canvas 

79 x 63cm 

PROVENANCE 

Laurence Helmer et Maison James, 

Saint-Ouen, France 


$2,000–3,000 

200

138 

201 

201 

JAN HENDRIK SCHELTEMA (1861-1941) 

Returning Home 


signed lower right: J H Scheltema 

28 x 42cm 

PROVENANCE 


$2,500–3,500 

202 

202 

ESTELLE (JO) SWEATMAN (1872-1956) 

View Through the Trees 


signed lower left: Jo Sweatman 

44.5 x 27cm 

PROVENANCE 


$800–1,200

139 

203 

JAMES R JACKSON 

(1882-1975) 

Cloud Shadows, 

Burragarong Valley 1950 

oil on canvas 

signed lower right: 

JAMES R JACKSON 

54.5 x 70cm 

PROVENANCE 



$3,000–5,000 

203 

204 

ALBERT E NEWBURY 

(1891-1941) 

Landscape 

oil on panel 

signed lower right: A E NEWBURY 

21.5 x 28.5cm 

$1,000–2,000 

205 

JOHN R. ELDERSHAW 

(1892-1973) 

Dromedary (Gulaga) Mountain, 

Tilba Tilba 

watercolour 

signed lower left: ELDERSHAW 

34.5 x 49.5cm 

PROVENANCE 

A. Buxton Pty Ltd, Double Bay, 

Sydney 

$800–1,200 

204

140 

206 

207

141 

208 

206 

JAN HENDRIK SCHELTEMA 

(1861-1941) 

Cattle Grazing Near the Coast 

oil on canvas 

signed lower left: J. H. Scheltema 

29.5 x 47cm 

PROVENANCE 


$2,000–4,000 

207 

WALTER WITHERS (1854-1914) 

Grazing Sheep 

oil on board 

signed lower right: Walter Withers 

24.5 x 34.5cm 

PROVENANCE 


$5,000–8,000 

208 

JAMES A TURNER (1850-1908) 

Drover and Cattle Returning in 

the Late Afternoon 1899 



J A Turner / 1899 

33.5 x 23.5cm 

PROVENANCE 


$5,000–8,000

142 

209 

209 

HAROLD SEPTIMUS POWER (1878-1951) 

The Sand Cart, Brittany circa 1906 

oil on canvas 

signed lower right: H. S. POWER 

31 x 40cm 

PROVENANCE 


$4,000–6,000 

210 

C DOUGLAS RICHARDSON (1853-1932) 

Sunday Afternoon, Healesville 1900 


signed and dated lower right: C Douglas Richardson 1900 

27 x 20.5cm 

PROVENANCE 

University Gallery, The University of Melbourne, 

Melbourne (exhibition label verso) 


$800–1,200

143 

211 

LOUIS MCCUBBIN (1890-1952) 

The Farmyard 

oil on canvas 

signed lower left: Louis McCubbin 

71 x 77.5cm 

PROVENANCE 



$2,000–3,000 

211 

212 

WILLIAM B MCINNES 

(1889-1939) 

The Farmyard 


signed lower right: W B McINNES 

24 x 34cm 

PROVENANCE 



$3,000–4,000 

212

144 

213 

213 

JAN ERNST ABRAHAM 

VOLSCHENK (SOUTH 

AFRICAN, 1853-1936) 

The Kaaimans River George 1897 

oil on canvas 


J. Volschenk / 1897. 


'The Kaaimans River' - George / 

painted J. E. A. Volschenk / 1897 

57 x 82cm 

PROVENANCE 


$2,000–3,000 

214 

ROBERTO A K MARSHALL 

(BRITISH, 1849-1926) 

The Valley Near Ashburnham, 

Sussex after Heavy Rain 

watercolour 

signed lower left: R A K Marshall 

44 x 69cm 

$800–1,200 

215 

NITA SPILHAUS (PORTUGAL 

/ SOUTH AFRICA, 1878-1967) 

Near Stellenbosch, 

Capetown 1952 

oil on board 

monogrammed lower left: N 

inscribed inscribed: NITA SPILHAUS 

/ 1952 / NEAR STELLENBOSCH / 

CAPE TOWN 

55 x 75cm 

PROVENANCE 


$1,000–2,000

145 

216 

DONALD TEAGUE 

(AMERICAN, 1897-1991) 

Windmill, Little Venice, Mykonos 

watercolour 

signed lower right: 

DONALD TEAGUE N.A. 

23.5 x 32cm 

PROVENANCE 

Estate of Alex Raydon 

(Raydon Gallery), New York 2006 


$2,500–4,500 

217 

PETER BROOK 

(ENGLISH, 1927-2009) 

April in England 

oil on canvas 

signed and titled lower right 

and centre: PETER BROOK / 

APRIL IN ENGLAND 

49 x 59cm 

PROVENANCE 

David Dridan OAM Collection, 

Adelaide 

$2,500–4,500 

216 

218 

CONRAD MARTENS (1801-1878) 

Near Exmouth, circa 1832 

watercolour 

inscribed lower centre: Near Exmouth 

10 x 15.5cm 

PROVENANCE 

Sotheby's, Melbourne 

Ebes Douwma Pty Ltd Antique 

Prints and Maps 

Purchased from: Hank Ebes 

29/10/1989. Catalogue Item No. 48 


$1,000–1,500 

219 

EBENEZER WAKE COOK 

(1844-1926) 

Western Victoria 

Landscape 1870 



E Wake Cook 1870 

46.5 x 65.5cm 

$1,000–1,500 

217

146 

220 

220 

RUBERY BENNETT (1893-1987) 

The Cascades 

oil on canvas 

signed lower left: RUBERY BENNETT 

35.5 x 43cm 

$2,500–4,500 

221 

221 

JAMES HOWE CARSE (1819-1900) 

Waterfall 1886 

oil and gouache on paper 


J. H. Carse / Sydney 1886 

59.5 x 49.5cm 

PROVENANCE 


$1,200–1,800

147 

222 

223 

222 

JOHN LLEWELLYN-JONES (1866-1927) 

Milson's Point 1922 

oil on board 

signed lower left: J LLEWELLYN JONES 

inscribed on frame verso: Milson's Point, 1922 

14.5 x 22.5cm 

PROVENANCE 


$1,200–1,500 

223 

JOHN ALLCOT (1888-1973) 

Bathers Cove 

oil on board 

signed lower left: J. Allcot 

20 x 28.5cm 

PROVENANCE 


$1,200–1,800

148 

224 

224 

ALLEN HICKS (BORN 1944) 

The Purple Noons Transparent Plight 2021 


signed with initials lower right: A H 

signed, dated and titled verso: A Hicks / '21 / 'THE PURPLE 

MOON TRANSPARENT PLIGHT' (AFTER STREETON) 

101.5 x 153cm 

EXHIBITED 

Allen Hicks: Wet & Dry, Gibson's Gallery, 22 April 2021, 

cat. no. 26 

$1,800–2,500

149 

225 

225 

JASON BENJAMIN (1971-2021) 

Everything was different but 

nothing had changed 2019 

oil on canvas 

cat no verso: JB-0871 

66 x 66.5cm 

PROVENANCE 

Art Index, Sydney 


$3,000–5,000

150 

226 

227

151 

226 

CHRIS KANDIS (BORN 1966) 

Portsea to Sorrento, Victoria 2022 

oil on canvas 

signed lower right: CHRIS KANDIS 

signed, dated and titled verso: Chris Kandis 

/ 2022 / PORTSEA To Sorrento VICTORIA 

61 x 122cm 

$1,200–1,800 

227 

LEONARD LONG (1911-2013) 

A Bush Home, Jingellic, NSW 1980 


signed and dated lower left: LEONARD LONG 1980 

titled verso: A Bush Home / 'JINGELLIC' NSW 

70 x 90.5cm 

PROVENANCE 

Greythorn Galleries, Melbourne, 1980 (label verso) 


EXHIBITED 

Leonard Long, Greythorn Galleries, 

Melbourne, cat. no. 18 

$2,000–3,000 

228 

HERMAN PEKEL (BORN 1956) 

St Kilda Evening 

oil on board 

signed lower right: PEKEL 


Herman Pekel / St Kilda / Evening 

75 x 55.5cm 

PROVENANCE 

The Twenty Melbourne Painters Society Inc, 

Melbourne 


$2,000–3,000 

228 

229 

HERMAN PEKEL (BORN 1956) 

Richmond 2018 

oil on board 

signed lower left: PEKEL 


HERMAN PEKEL / Richmond / 2018 

69 x 68.5cm 

PROVENANCE 


$2,000–3,000 

End of Sale 

229

152 

Artist Index 

Abel-Truchet, Louis 48 

Allcot, John 223 

Allport, Mary Morton 85 

Anderson, John 12, 17 

Arkley, Howard 16, 20, 26 

Atkinson, Yvonne 126 

Atyeo, Sam 63 

Audette, Yvonne 27 

Auld, James Muir 90 

Bale, Alice Marian Ellen 1, 107 

Bartlett, Geoffrey 45 

Battarbee, Rex 35 

Bell, George 127 

Benjamin, Jason 225 

Bennett, Rubery 220 

Bergsten, Einar 49 

Billycan, Jan 130, 132 

Blackman, Charles 129 

Blanche, Jacques-Émile 75 

Boden, Anthea 67 

Boyd, David 37 

Boyd (Senior), Arthur Merric 55 

Britten, Jack 147, 150 

Brook, Peter 217 

Bruck, Hermann 125 

Buckmaster, Ernest 125 

Caffe, Nino 101 

Campbell, Robert R 50, 58, 76 

Carrick Fox, Ethel 60 

Carse, James Howe 221 

Conder, Charles 191 

Cook, (Attributed) Albert Charles 56 

Cook, Ebenezer Wake 219 

Cosson, Marcel Jean Louis 77 

Craig, Sybil 197 

Crooke, Ray 42 

Cullinane, John 172 

Cuthbertson, Arch 171, 173 

Dechaineux, Florent Vincent Emile Lucien 78 

Dickerson, Robert 123 

Dowling, Julie 170 

Dyer, Geoffrey 176 

Eldershaw, John R. 205 

Epstein, Jacob 46 

Ernou, Pierre 199 

European School 195 

Fencer, Lorner 133, 134 

Férat, Serge 68 

Fernandez, Augustin 98 

Figuerola, Alma 80, 93, 95, 99, 105, 108, 110 

Firth Smith, John 32 

Flint, Prudence 7 

Ford, Juan 15 

De Franchesia 84 

Francis, Ivor 114 

Frater, William 102 

French, Leonard 31, 185 

French School 200 

Furlonger, Joe 178 

Gill, Samuel Thomas 120, 121

153 

Gouweloos, Jean-Léon Henri 79 

Gurdon, Norah 116 

Hall, Anne 124 

Hart, Pro 39 

Henson, Bill 18 

Hervé-Mathé, Jules-Alfred 74 

Heysen, Hans 5 

Hicks, Allen 224 

Highmore, Circle of Joseph 198 

Hill (Aka Blak Douglas), Adam 169 

Hirschmann, Robert 13 

Hockey, Patrick 36 

Hodgman, Vernon 65 

Hookey, Mabel 94 

Houghton Brown, Geoffrey 125 

Humphrey, Tom 196 

Hunter, Todd 10 

Italian School 190 

Jackson, James R 194, 203 

Jenkins, Constance 69 

Johnson, Robert 103, 117 

Jorgensen, Justus 53 

Juniper, Robert 29, 184 

Kandis, Chris 226 

Kantilla, Kitty 151 

Karadada, Lily 146, 158 

Kemerre, Josie Petrick 167 

Kngwarreye, Emily Kame 138 

Knight, Jasper 174 

Krzywokulski, John 173 

Leti, Bruno 182 

Llewellyn-Jones, John 57, 222 

Long, Leonard 227 

Maestri, Guy 179 

Maguire, Tim 11, 22, 43 

Maigret, Georges 47 

Malherbe, William 106 

Manning, Constance Tempe 92 

Marshall, Roberto A K 214 

Martens, Conrad 218 

McCubbin, Louis 211 

McInnes, William B 54, 212 

McMahon, Brett 180 

McWilliams, Michael 8 

Meldrum, Max 109 

Menpes, Mortimer 192, 193 

Milne, Joseph 87 

Mittleman, Allan 24 

Murphy, Blanche 71 

Namok, Rosella 168 

Nampitjinpa (Mrs Bennett), Nyurapayia 142, 

149 

Napanangka, Makinti 156 

Napanangka, Walangkura 143 

Napangardi, Dorothy Robinson 136, 166 

Napangardi, Nanyuma 157 

Napurrula, Ningura Gibson 144 

Newbury, Albert E 104, 204 

Nicholas, Hilda Rix 70 

Nolan, Sidney 23, 25, 33, 186

154 

Artist Index (continued) 

Nowak, Wilhelm 188 

O’Brien, Justin 122 

Orban, Desiderius 183 

Outhwaite, Ida Rentoul 3 

Partos, Paul 181 

Paterson, Esther 51 

Pekel, Herman 228, 229 

Perceval, John 41 

Perceval, Matthew 38 

Petyarre, Gloria Tamerre 165 

Power, Harold Septimus 89, 209 

Pritchett, (Attributed) Edward 86 

Pwerle, Emily 139 

Pwerle, Minnie 135, 137, 141, 162, 164 

Ragless, Maxwell 59 

Rehfisch, Alison 115 

Richardson, C Douglas 210 

Roet, Lisa 21 

Rogers, Andrew 44 

Rone 14 

Rose, Herbert 83 

Russell, John Peter 96, 97 

Scheltema, Jan Hendrik 88, 201, 206 

Smith, Jack Carrington 111 

Spilhaus, Nita 215 

Stone, Daisy 82 

Stoner, Dorothy 64, 66, 100 

Storrier, Tim 9, 187 

Swan, Louisa 81 

Sweatman, Estelle (Jo) 202 

Sztrákos, Laszlo 61 

Taylor, Michael 28 

Teague, Donald 216 

Thomson, Ann 40, 177 

Tjapaltjarri, Warlimpirrnga 153 

Tjapanangka, Paddy Lewis 161 

Tjaruwa, Angelina Woods 163 

Tjungurrayi, George Hairbrush 154 

Tjungurrayi, Patrick Oloodoodi 152 

Tjungurrayi, Willie 159 

Tucker, Albert 34 

Tuck, Marie 2 

Turner, James A 208 

Veal, Hayward 6, 52, 72, 112 

Vierge, Daniel 91 

Volschenk, Jan Ernst Abraham 213 

Vozzo, Vince 62 

Watkins, Richard (Dick) 19 

Watson, Judy Napangardi 160 

Watson, Percy 30, 113 

Weir, Barbara 140 

Whinnen, George 189 

Williams, Fred 128 

Withers, Walter 4, 207 

Wompi, Nora 131

155 

Copyright 

5 © Hans Heysen/ 

Copyright Agency, 2024 

9 © Tim Storrier/Copyright Agency, 2024 

11 © Tim Maguire is represented by 

Martin Browne Contemporary, 

Sydney and Tolarno Galleries, 

Melbourne 

16 © The Estate of Howard Arkley, 

Licenced by Kalli Rolfe 

Contemporary Art 

18 © Courtesy of the artist and Roslyn 

Oxley9 Gallery, Sydney. 

19 © Richard Watkins/ 





21 © Lisa Roet/Copyright Agency, 2024 




Melbourne 

23 © The Sidney Nolan Trust. 

All rights reserved. DACS/ 








27 © Yvonne Audette/ 


31 © Leonard French/ 





34 © Albert & Barbara Tucker Foundation. 

Courtesy of Smith & Singer Fine Art. 

37 © David Boyd/Copyright Agency, 2024 

38 © Matthew Perceval/ 


40 © Ann Thomson/ 


42 © Ray Crooke/Copyright Agency, 2024 




Melbourne 

46 © Estate of Jacob Epstein/Tate 

67 © Anthea Boden/ 


68 © Serge Ferat/Copyright Agency, 2024 

114 © Ivor Francis/Copyright Agency, 2024 

123 © Robert Dickerson/ 


128 © Fred Williams/ 


129 © Charles Blackman/ 


130 © Jan Billycan/ 


131 © Nora Wompi/ 


132 © Jan Billycan/ 


133 © Lorna Fencer/ 


134 © Lorna Fencer/ 


135 © Minnie Pwerle/ 

Copyright Agency, 2024

156 

Copyright (continued) 

136 © Dorothy Robinson Napangardi/ 




138 © Emily Kame Kngwarreye/ 


139 © Emily Pwerle/ 


140 © Barbara Weir/ 




142 © Nyurapayia Nampitjinpa/ 


143 © Walangkura Napanangka/ 


144 © Ningura Napurrula/ 


146 © Lily Karadada/ 


149 © Nyurapayia Nampitjinpa/ 


151 © Kitty Kantilla/ 


152 © Patrick Tjungurrayi/ 


153 © Warlimpirrnga Tjapaltjarri/ 


156 © Makinti Napanangka/ 


157 © Nanyuma Napangardi/ 


158 © Lily Karadada/ 


159 © Willie Tjungurrayi/ 


160 © Judy Napangardi Watson/ 


161 © Paddy Lewis Tjapanangka/ 




163 © Angelina Woods Tjaruwa/ 




165 © Gloria Tameer Petyarre/ 


169 © Blak Douglas/ 


170 © Julie Dowling/ 


176 © Geoffrey Dyer/ 


177 © Ann Thomson/ 


181 © Paul Partos/Copyright Agency, 2024 

182 © Bruno Leti/Copyright Agency, 2024 

184 © Robert Juniper/ 


185 © Leonard French/ 





187 © Tim Storrier/Copyright Agency, 2024 

217 © Peter Brook/Copyright Agency, 2024

The Spring 

Auction Series 

AUCTION Sunday 24 November 2024 

ENQUIRIES 

Dennice Collett 03 9500 2607 

dennice.collett@gibsonsauctions.com.au 

Above: 

A rare and important George III Battersea 

enamel cricket medallion, 18th century 

of oval form surrounded by a frame of paste 

diamonds and depicting a pair of crossed 

bats, ball, trailing ribbon of beads and 

wickets, inscribed verso: 

'Wednesdays Cricket Society 

Revived and Established 1780 

Edward Medley, Treasurer' 

7.5cm high, 8cm wide 

Estimate: $10,000–15,000

158 

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. 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.

159 

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, Mastercard & AMEX 

• Cash up to AU$10,000. 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, including 

charging the payment via the registered credit 

card and retaining any deposits. 

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

160 

or employees give any representation warranty 

or guarantee or assume any liability of any kind in 

respect of any Lot with regard to merchantability, 

fitness for a particular purpose, description, size, 

quality, condition, attribution, authenticity, rarity, 

importance, medium, provenance, exhibition history, 

literature or historical relevance. Except as required 

by local law any warranty of any kind is excluded by 

this paragraph. 

7. Limited Warranty 

Subject to the terms and conditions of this 

paragraph, the warrants for the period of fourteen 

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

described in this catalogue (noting such description 

may be amended by any Saleroom notice or 

announcement) which is stated without qualification 

to be the work of a named author or authorship is 

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

“Authorship” refers to the creator of the property or 

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

may be, with which the creation of such property is 

identified in the catalogue. 

The warranty is subject to the following: 

i) it does not apply where a) the catalogue 

description or Saleroom notice corresponded 

to the generally accepted opinion of scholars 

and experts at the date of the Sale or fairly 

indicated that there was a conflict of opinions, 

or b) correct identification of a Lot can be 

demonstrated only by means of a scientific 

process not generally accepted for use until 

after publication of the catalogue or a process 

which at the date of the publication of the 

catalogue was unreasonably expensive or 

impractical or likely to have caused damage to 

the property. 

ii) 

iii) 

iv) 

the benefits of the warranty are not assignable 

and shall apply only to the original Buyer of the 

Lot as shown on the invoice originally issued by 

Gibson's when the Lot was sold at Auction. 

the original Buyer must have remained the 

owner of the Lot without disposing of any 

interest in it to any third party 

The Buyer’s sole and exclusive remedy against 

the Seller in place of any other remedy which 

might be available, is the cancellation of the 

Sale and the refund of the original purchase 

price paid for the Lot less the Buyer's Premium 

which is non-refundable. Neither the Seller nor 

Gibson's will be liable for any special, incidental 

nor consequential damages including, without 

limitation, loss of profits not for interest. 

v) The Buyer must give written notice of claim 

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

the Auction. The Seller shall have the right, to 

require the Buyer to obtain two written opinions 

by recognised experts in the field, mutually 

acceptable to the Buyer and Gibson's to decide 

whether to cancel the Sale under warranty. 

vi) 

the Buyer must return the Lot to Seller in the 

same condition that it was purchased. 

8. Severability 

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

court to be invalid, illegal or unenforceable, that part 

shall be discounted and the rest of the Conditions 

shall continue to be valid to the fullest extent 

permitted by law. 

9. Copyright 

The copyright of all images, illustrations and written 

material produced by Gibson's relating to a Lot 

including the contents of this catalogue, is and shall 

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

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

our prior written consent. Gibson's and the Seller 

make no representation or warranty that the Buyer 

of a property will acquire any copyright or other 

reproduction rights in it. 

10. Law and Jurisdiction 

These terms and conditions and any matters 

concerned with the foregoing fall within the exclusive 

jurisdiction of the courts of the state in which the 

Auction is held. 

11. Pre-Sale Estimates 

Gibson's publishes with each catalogue our opinion 

as to the estimated price range for each Lot. These 

estimates are approximate prices only and are not 

intended to be definitive. They are prepared well in 

advance of the Sale and may be subject to revision. 

Interested parties should contact Gibson's prior to 

Auction for updated pre-Sale estimates and starting 

prices. 

12. Sale results 

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

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

including the prices achieved for specific Lots. 

Unless otherwise discussed with the Buyer, details of 

individual Buyers will remain confidential. 

13. Goods and Service Tax 

In accordance with A New Tax System (Goods 

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

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

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

transactions. 

GST is applicable on the Hammer Price in the case 

where the Seller is selling property that is owned by 

an entity registered for GST. GST is also applicable 

on the Hammer Price in the case where the Seller is 

not an Australian resident. These Lots are denoted 

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

GST is also applicable on the Buyer's Premium. 

Overseas Buyers and non-resident Buyers in 

Australia will not be charged GST on both Hammer 

Price and Premiums under the following conditions: 

1. The items are exported through a Gibson's 

approved freight company including Australia 

Post 

2. The items are exported within 60 days of the 

date of the Sale 

The invoice supplied by Gibson's for purchases will 

be regarded as a Tax invoice for GST purposes. 

14. Resale Royalty Scheme 

Under the legal obligations of the Resale Royalty 

Scheme for Visual Artists Act 2009, Sellers must 

provide the following information to comply with 

the act: 

• was the artwork acquired after 8 June 2010? 

• is the Sale/Reserve price (including GST) 

$1,000 or more? 

• is the artist from Australia or a country listed in 

the Regulations to the Act? 

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

The Seller: 

i) acknowledges that he or she understands his or 

her legal obligations under the Resale Royalty 

for Visual Artists Act 2009 (the Act); 

ii) 

iii) 

iv) 

undertakes to comply with all requirements of 

the Act, including by providing its agent, the 

company, with accurate information sufficient 

for compliance with sections 28 and 29 of the 

Act; 

undertakes to indemnify the Company for any 

loss incurred by the Company as a result of 

the Vendor’s failure to comply with any of the 

Vendor’s legal obligations under the Act; and 

acknowledges that if he or she fails to comply 

with any of his or her legal obligations under 

the Act, the company may provide the vendor’s 

name and contact details to Copyright Agency 

Limited (CAL). 

Lots subject to payment of the Resale Royalty 

Scheme will be denoted by the §. 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 112 (Detail)

GA061-Australian & International Art

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