GA064 - Australian & International Art

Australian &

International Art

Melbourne, Sunday 25 May 2025

Specialists & Management for this sale

Jennifer Gibson

CEO & Head of

Valuations

Deanna Baxter

Business

Manager

Samuel Fricker

Operations

& Marketing

Manager

Jon Dwyer

Consultant

Specialist

Australian &

International Art

Sarah Garrecht

Associate

Specialist

Australian &

International Art

Jennifer Gibson

jennifer.gibson@gibsonsauctions.com.au

Deanna Baxter

deanna.baxter@gibsonsauctions.com.au

Samuel Fricker

samuel.fricker@gibsonsauctions.com.au

Dennice Collett

dennice.collett@gibsonsauctions.com.au

Ann Roberts

ann.roberts@gibsonsauctions.com.au

Jon Dwyer

jon.dwyer@gibsonsauctions.com.au

Sarah Garrecht

sarah.garrecht@gibsonsauctions.com.au

Ellin Geary

mail@gibsonsauctions.com.au

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collections@gibsonsauctions.com.au

Jewellery Department

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Alex Kynaston

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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

ACCOUNTS

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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 57 (Detail)

BACK COVER:

Lot 36

Australian &

International

Art

Auction

Sunday 25 May 2025, 12 Noon

885-889 High Street, Armadale, Victoria 3143

Viewing

Thursday 22 May

Friday 23 May

Saturday 24 May

11.00am – 5.00pm

11.00am – 5.00pm

11.00am – 5.00pm

Auction Code: GA064

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 26 May

Tuesday 27 May

Wednesday 28 May

10am–5pm

10am–5pm

10am–5pm

All goods must be collected and

paid in full strictly by 5pm on 28 May

(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.

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1

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1

SAM BYRNE (1883-1978)

Turks Die Fighting White Rocks

oil on board

signed and titled lower right and left:

Sam Byrne / TURKS DIE FIGHING (sic) WHITE ROCKS 1915

45 x 70.5cm

PROVENANCE

The Estate of the Late Dame Zara Bate DBE

$1,500–2,500

2

SAM BYRNE (1883-1978)

Lost in the Rocky Desert

oil on board


Sam Byrne / Lost in the Rocky desert

52 x 72.5cm

PROVENANCE


$3,000–5,000

5

3

4

3

SAM BYRNE (1883-1978)

Rabbit Plague 1896

oil on board

signed and titled lower right and left: Sam Byrne / Rabbit

Plague 1896 / To be; or not to be Rabbits, or Sheep

50 x 75cm

PROVENANCE


$3,000–5,000

4

HUGH SAWREY (1919-1999)

Home from the Muster, Queensland 1967

oil on canvas

signed and dated lower right: SAWREY 67

signed, titled and inscribed verso:

HUGH SAWREY / 'HOME FROM / THE MUSTER' / QLD /

Presented to / H E HOLT PM / 1967

28.5 x 39cm

PROVENANCE


$2,500–4,500

6

5

5

BARRY HUMPHRIES (1934-2023)

Winter in Central Park, New York 2005

watercolour, crayon and ink on paper

signed, dated and titled lower left and right:

Barry Humphries Central Park / New York / 2005

37 x 49.5cm

PROVENANCE

Savill Galleries, Melbourne

Private collection, Melbourne

EXHIBITED

Barry Humphries: Wish You Were Here! – Travels With A

Brush, Savill Galleries, Melbourne, 14 - 28 February 2007

$1,500–2,500

7

6

6

DAVID BOYD (1924-2011)

The Peach Blossom Tree

oil on canvas

signed lower left: David Boyd

titled verso: 'The peach / Blossom Tree'

75.5 x 90.5cm

PROVENANCE

Lawson~Menzies, Sydney, Fine Art Auction,

30 August 2010, Lot 69


$20,000–30,000

8

7

7

JOHN OLSEN (1928-2023)

Pelicans, Lake Eyre 1976

pastel, crayon and watercolour on paper

signed dated and titled lower right: John Olsen 76 / L. Eyre

inscribed with title verso: Lake Eyre

75 x 54.5cm

PROVENANCE

The Estate of the Late Tony and Christina Nicholas,

Melbourne

$8,000–10,000

8

PRUDENCE FLINT (BORN 1962)

The Letter 1997

oil on canvas

signed, dated and titled verso:

Prudence Flint 'The Letter' 1997

76 x 101.5cm

PROVENANCE

Temple Studio, Melbourne


EXHIBITED

Pleasure Beyond Price, Temple Studio,

Melbourne, 1997, cat. no. 5

$5,000–8,000

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9

9

CRISS CANNING (BORN 1947)

Tulips in Yellow Vase

oil on board

signed lower right: Criss / Canning

24 x 16cm

PROVENANCE

Melbourne Fine Art Gallery, Melbourne


EXHIBITED

1991 Melbourne Fine Art Gallery,

21 November - 1 December 1991, cat. no. 22

$8,000–12,000

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10

ESTELLE (JO) SWEATMAN

(1872-1956)

Summer Blue Gums

oil on canvas

signed lower left: Jo Sweatman

45.5 x 30.5cm

PROVENANCE


Thence by descent

$1,000–1,500

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11

11

BERTHA MERFIELD

(1869-1921)

Melbourne Skyline

(Richmond to Carlton)

oil on canvas on board

signed lower left: B. E. Merfield

25.5 x 30.5cm

PROVENANCE


$2,000–4,000

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12

AMALIE COLQUHOUN

(1894-1974)

Figures on the Beach,

Through the Trees, Lorne


signed lower right: Amalie Colquhoun

44.5 x 39cm

PROVENANCE


$4,000–6,000

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13

ESTELLE (JO) SWEATMAN

(1872-1956)

The Willows


signed with initials lower left: J S

inscribed on label verso:

Jo Sweatman / The Willows

29.5 x 39.5cm

PROVENANCE


$2,000–4,000

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12

14

14

GEOFFREY DYER (1947-2020)

After Turner I

oil on canvas

signed lower right: DYER

122 x 152.5cm

PROVENANCE


$8,000–12,000

13

15

15

FRED WILLIAMS (1927-1982)

Cottlesbridge Acacias I 1979

gouache on paper

signed lower right below image: Fred Williams

26.5cm diameter (image size)

64 x 62.5cm (frame size)

PROVENANCE

New Directions Charity Auction,

Deutscher + Hackett, 21 February 2021


$20,000–30,000

14

16

16

DAVID DRIDAN (BORN 1932)

Onkaparinga 1981

oil on board

titled and dated verso: ONKAPARINGA 14/1/81

44 x 59.5cm

PROVENANCE

The Artist's Studio

(accompanied by a certificate of authenticity)


$1,000–2,000

15

17

17


Angel Falling Out of Olive Tree 1973

oil on canvas

signed and dated lower left and right: David Boyd 1973

inscribed verso: angel falling out of olive tree

44.5 x 60cm

PROVENANCE

Adam Galleries, Melbourne (label verso)


$10,000–15,000

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18

19

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18

DAVID KEELING (BORN 1951)

Summer Night, West Head,

2008

oil on canvas

signed and dated lower right:

D.Keeling '08


D.Keeling 08 / 'Summer night,

West Head'

55.5 x 76cm

PROVENANCE


$4,000–6,000

19

DALE COX (BORN 1969)

Tract 21, 2012

acrylic on canvas


Dale Cox 2012

82.5 x 110cm

PROVENANCE

Australian Galleries, Melbourne,

cat. no. AG107200 (label verso)


$3,000–5,000

20

DAVID KEELING (BORN 1951)

Friendly Beaches Table, 2008

oil on canvas


D.Keeling / 08 / 'Friendly Beaches'

/ Table'

61 x 46cm

PROVENANCE


$4,000–6,000

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21

ANGELA BRENNAN

(BORN 1960)

Untitled, 2000

oil on canvas

signed and dated lower left:

Angela Brennan 2000

signed and dated verso:

Angela Brennan / 2000

168 x 137.5cm

PROVENANCE


$4,000–6,000

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22

BRAD ROBSON (BORN 1976)

Joker

oil on board

signed lower right: Robson

inscribed verso: painted for

/ mag cover / inside Elba,

ITALY / 2022 / robson

90 x 91cm

PROVENANCE

Darryn Lyons Collection, Geelong

$3,000–5,000

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23

DEL KATHRYN BARTON (BORN 1972)

I Was a Little Surprised to Observe

the Mid-Wife Drive Up in a Hot-rod 2002

pencil, pastel and crayon on paper

signed, dated and titled lower centre and upper left:

del kathryn barton 2002 / I WAS A LITTLE SURPRISED TO

OBSERVE / THE MID-WIFE DRIVE UP IN A HOT-ROD

153 x 112 cm

PROVENANCE

Ray Hughes Gallery, Sydney


Deutscher and Hackett, Sydney, 29 November 2007, Lot 1


Deutscher~Menzies, Sydney, Australian & International

Fine Art, 24 June 2009, Lot 71

EXHIBITED

Octopus 4: More Real Than Life, Gertrude Contemporary

Art Spaces, Melbourne, 11 July - 23 August 2003

$12,000–18,000

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24

24

MIRKA MORA (1928-2018)

Two Angels and Birds 2005

charcoal on paper

signed, dated and inscribed lower right and centre:

MIRKA / 3.5.05 / 11.AM / FOR "Diane" de Melbourne

33 x 24.5cm

PROVENANCE


$2,000–3,000

21

25

25


Lovers in Flowers 1976

oil on canvas

signed and dated lower left: MIRKA 76

75 x 59.5cm

PROVENANCE


$10,000–15,000

22

26

26


Children Playing on the Foreshore

oil on board


49 x 43.5cm

PROVENANCE

Art Galleries Schubert, Gold Coast (label verso)


$8,000–12,000

27


Young Girl Playing Under the Wattle Tree

oil on board

signed lower right: David Boyd

22.5 x 28.5 cm

PROVENANCE

Davidson Auctions, Sydney,

Australian & International Art, 14 June 2008, Lot 67


$6,000–8,000

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28

BEN QUILTY (BORN 1973)

Sunbird 2004

oil on canvas

signed, dated and titled verso: Ben Quilty / 2004 /

'Sunbird' / Beauty Rich and Rare / No. 13

45.5 x 40cm

PROVENANCE

Scott Livesey Art Dealer, Melbourne

The Estate of the Late Paul Walsh, Melbourne

EXHIBITED

Beauty, Rich and Rare, Scott Livesey Art Dealer,

Melbourne, 6th October - 3rd November 2004

$40,000–60,000

24

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29

VIOLET TEAGUE (1872-1951)

Aireys Inlet - Eagle Rock

oil on board

signed lower left: Violet Teague

inscribed verso: Aireys Inlet - Eagle Rock

24 x 32cm

PROVENANCE


$1,500–2,500

25

30

30


Burke and Wills Bed Down for the Night

oil on canvas


79.5 x 89.5cm

PROVENANCE

Wagner Art Gallery, Sydney

Private collection, New South Wales

purchased from the above

Sotheby's, Melbourne, Important Australian Art,

27 August 2007, Lot 329


EXHIBITED

David Boyd Retrospective 1957-82, Wagner Art Gallery,

Sydney, 7 January - 31 March 1983

$15,000–20,000

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31

SERGE FÉRAT (RUSSIAN, 1881-1958)

Nature Morte Cubiste

oil on canvas

signed lower right: S FERAT

55 x 46cm

PROVENANCE

Galerie Des Modernes, Paris

The George Brugler & Jasmine Cowen Collection,

Melbourne

$7,000–9,000

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32

DANILA VASSILIEFF (1897-1958)

Chinese Still Life 1935

oil on board

inscribed with title verso

34.5 x 43cm

PROVENANCE

The Estate of Elizabeth Vassilieff, New South Wales


EXHIBITED

Oil Paintings by Danila Vassilieff, The Macquarie Galleries,

Sydney (possibly)

LITERATURE

Art in Australia, A Quarterly Journal, February edition

1936, p. 74 (illus.)

St. John Moore, F., Vassilieff and His Art, Oxford University

Press, London, 1982, p. 141, cat. no. P24 (as Still Life)

St. John Moore, F., Vassilieff and His Art, [2nd edition],

Oxford University Press, Melbourne, 2012, p. 197 ,

cat. no. 40 (as Still Life: the Green Cock 1935)

$7,000–10,000

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33

LOUDON SAINTHILL (1919-1969)

The Mountebank Family 1948

watercolour and ink on paper

signed, dated and titled lower right:

The Mountebank Family / Loudon Sainthill 1948

76 x 54cm

PROVENANCE

Gift from the Artist

Private collection, Hong Kong

$2,500–4,500

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34

JOY HESTER (1920-1960)

I Fled in Terror of the Night

circa 1945

ink and wash on paper

signed and titled upper left and right:

Joy Hester / 'I fled in Terror / of the /

night'

19 x 23cm

PROVENANCE

Tolarno Galleries, Melbourne, circa 1983

The Estate of the late Tane Anderson,

Melbourne

Charles Nodrum Gallery, Melbourne

(label verso)


EXHIBITED

Works on Paper, Charles Nodrum

Gallery, 9 December 2012 - 7 March

2015, cat. no. 12

Joy Hester: Remember Me, Heide

Museum of Modern Art, Melbourne,

28 November 2020 – 21 February 2021,

cat. no. 45 (illus.)

$7,000–10,000

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35

JOY HESTER (1920-1960)

Untitled (Face) circa 1946

ink and wash on paper

signed centre right: Joy Hester

29 x 23.5cm

PROVENANCE

Tolarno Galleries, Melbourne

The Estate of the late Tane Anderson,

Melbourne

Charles Nodrum Gallery, Melbourne

(label verso)


EXHIBITED

Works on Paper, Charles Nodrum

Gallery, 9 December 2012 - 7 March

2015, cat. no. 13

Joy Hester: Remember Me, Heide

Museum of Modern Art, Melbourne,

28 November 2020 – 21 February 2021,

cat. no. 63 (illus.)

$8,000–12,000

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Works from the collection of Marie Wright

and the estate of Allan H Jordan

Allan Jordan (1898–1982) contributed significantly

to the study and practice of printmaking in

Melbourne during the mid-20th Century. He

studied at Swinburne Technical College, graduating

in 1919, and continued at the college in an academic

capacity as teacher and art lecturer. In his senior

years between 1957 and 59, Jordan was appointed

Head of Swinburne Art. He remained dedicated

to his art practice during his tenure at the college.

His students and fellow artists remembered him

as generous and inclusive, ‘Jordan was a genial

character in a quiet, ingrained, good-natured

way.’ 1 Through his teaching, Jordan guided many

emerging and established Melbourne artists

in printmaking techniques. He encouraged his

students ‘to view printmaking and book production

as art forms and to experiment across media.

His etching classes were open to all students;

Robert Rooney remembers Erica McGilchrist and

Norma Redpath experimenting in the early 1950s.’ 2

John Brack enrolled in the block making and

etchings courses at Swinburne in 1954, studying

under the tutelage of Allan Jordan. He chose to

delve into the medium in response to collectors

who admired his work yet were priced out of

the market. ‘Whenever I had exhibitions - in the

early fifties, that is - people would say, ‘I would

love to have one of those paintings but I can’t

afford it.’ That was the reason why I learnt etching.’ 3

His initial explorations with the medium included

etching and drypoint on seven plates printed at

the college facilities. Brack's first ‘tentative effort’

in this series was the haunting profile titled Head

of a woman. ‘In the 1955 exhibition, six of these

prints were shown, the finest of which are the four

drypoints of his daughters… Printed in editions

between eleven and fifteen, the drypoints retained

their soft velvety texture, giving crispness and stark

contrast to the line.’ 4

Brack's early etchings from this period tell the

tale of a lively and rambunctious household. ‘The

house was theirs, not ours,’ noted Helen, referring

to her four daughters, in a 2018 interview. 5

Swinburne Technical College, circa 1940s

These intimate etchings bring into focus seemingly

insignificant everyday moments of family life.

We glimpse one daughter peering over the sink

while brushing her teeth; While in the hallway, an

angry and defiant girl faces us with clenched fists;

followed by an infant with arms and legs akimbo,

staring back with an arresting gaze of unguarded

curiosity. The strength of these compositions,

coupled with the tenderness of the subject matter,

makes these images irresistibly endearing.

‘While the purpose in making these early drypoints

may have resulted from his desire to produce work

that would be more easily affordable, the resulting

prints have a quality of tone and line quite different

from that of his drawings.’ These prints are rare

examples of the artist’s earliest explorations in

printmaking. They carry the provenance of the

artist's former teacher, Allan Jordan, and have

been preserved in the collection of Marie Wright,

Jordan’s only daughter, and are being offered on

the market for the first time.

Sarah Garrecht

1 Robert Littlewood, The New Australian Bookplate

Society, Newsletter ed. 35, 2014, p. 5

2 Roger Butler, Printed images by Australian

artists: 1942-2020, 2021, p. 138

3 James Gleeson interview with John Brack,

5 October & 29 November 1978

4 Sasha Grishin, The Art of John Brack, Oxford

University Press, Melbourne, 1990, p. 47

5 https://www.portrait.gov.au/content/alsodomesticitys-creative-maelstrom

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JOHN BRACK (1920-1999)

Second Daughter 1954

etching

signed, dated and editioned on margin:

John Brack 54 / 6/12

24.5 x 17cm

PROVENANCE

The Collection of Marie Wright

and Allan H Jordan Estate, Melbourne

EXHIBITED

John Brack, Peter Bray Gallery, Melbourne,

8 - 17 March 1955 (another example)

LITERATURE

Grishin, S. , The art of John Brack, Oxford University Press,

Melbourne, 1990, pp. 75, 252 (illus., another example)

Butler, R., The prints of John Brack, 1990 (another example)

Sayers, A. et al. (2007) Portraits by John Brack, National

Portrait Gallery, Canberra, pp. 31 (illus., another example), 60

OTHER NOTES

Another example of this print is held in the collection of

the National Gallery of Australia, Canberra

$10,000–20,000

32

37

37


Third Daughter

etching

signed and editioned on margin: John Brack 2/11

17.5 x 12cm

PROVENANCE



EXHIBITED



LITERATURE

Grishin, Sasha & Brack, John 1990, The art of John

Brack, Oxford University Press, Melbourne, p. 75, p. 252

(illus., another example)

Butler, R., The prints of John Brack, 1990

(another example)

Butler, R. & Mitzevich, N., Printed images by Australian

Artists, 1942-2020, National Gallery of Australia, Parkes,

A.C.T, 2021, p. 202 (illus., another example)

OTHER NOTES

Other examples of this print are held in the collections

of the National Gallery of Australia, Canberra and the

Newcastle Regional Gallery

$7,000–10,000

33

38

38


Fourth Daughter 1954

etching

signed, dated and editioned on margin:

John Brack 54 / 4/14

17.5 x 12.5cm

PROVENANCE



EXHIBITED



LITERATURE

Grishin, S. & Brack, J., The art of John Brack,

Oxford University Press, Melbourne, 1990, pp. 75, 252


Butler, R., The prints of John Brack, 1990

(another example)

OTHER NOTES


The Art Gallery of Western Australia, Perth

$7,000–10,000

34

39

39


Head of a Woman

etching

signed and editioned on margin: John Brack / 2/50

12 x 10cm

PROVENANCE



EXHIBITED

John Brack: A Retrospective Exhibition, National

Gallery of Victoria, Melbourne, 10 December 1987

- 31 January 1988 (another example)


8 - 17 March 1955, cat.24 (another example)

LITERATURE




Lindsay, R., John Brack: A Retrospective Exhibition,

National Gallery of Victoria, Melbourne, 1987, p.117

OTHER NOTES


the National Gallery of Australia, Canberra

$8,000–12,000

40


Head and Arms

etching

signed and editioned on margin: John Brack 9/10

12.5 x 17cm

PROVENANCE



LITERATURE




Brack, John & Butler, Roger, 1948- 1990,

The prints of John Brack (another example)

Butler, Roger & Mitzevich, Nick & National Gallery of

Australia 2021, Printed images by Australian Artists,

1942-2020, National Gallery of Australia, Parkes, A.C.T


OTHER NOTES


the National Gallery of Victoria, Melbourne

RELATED WORKS

Head and Arms (Barbara Blackman), conte on paper,

Art Gallery of New South Wales, Permanent Collection,

acc. no. 413.1996

$10,000–15,000

35

40

41

ARNOLD SHORE (1897-1963)

Still Life 1950

oil on canvas

signed and dated lower right: Shore 50

57.5 x 47cm

PROVENANCE

Stanley Coe Gallery, Melbourne (label verso)



$2,000–4,000

41

36

Other Properties

42

42

ALEXANDER COLQUHOUN (1862-1941)

The Reader, circa 1939

oil on canvas

signed lower left: A. Colquhoun

59.5 x 50cm

PROVENANCE

Private collection, Victoria

EXHIBITED

Australian Academy of Art, Second Exhibition,

National Gallery of Victoria, 5 April - 3 May 1939, cat. no. 4

OTHER NOTES

Depicting the painter's wife,

Beatrix Colquhoun (nee Hoile) (1862-1959)

$2,000–4,000

37

43

ALMA FIGUEROLA (1902-1970)

Self Portrait dressed in Spanish

National Costume, circa 1945

oil on canvas

signed lower left: Alma Figuerola

60.5 x 50cm

PROVENANCE


EXHIBITED

Alma Figuerola, Athenaeum Gallery,

Melbourne, 13 - 24 February 1945,

cat. no. 15

$1,500–2,500

43

44


Self Portrait


signed and titled verso:

Self Portrait / by / Alma Figuerola

39 x 28.5cm

PROVENANCE


$1,500–2,500

44

38

45

HARLEY GRIFFITHS

(1908-1981)

Still Life with Peaches and

Walnuts 1981



H. Griffiths 81

43.5 x 58.5cm

PROVENANCE

Leonard Joel, Australian Paintings,

Melbourne, 2 November 1983,

Lot No. 209


Thence by descent

$2,000–4,000

45

46

46

GEORGE BELL (1878-1966)

Still Life – The Kitchen Table

oil on board

signed lower left: George Bell

44.5 x 59.5cm

PROVENANCE

The Estate of the Late Tony and

Christina Nicholas, Melbourne

$2,000–3,000

39

47


Interior 1953

oil on masonite

signed lower right: Alma Figuerola

60 x 50cm

PROVENANCE

Kozminsky Gallery, Melbourne 2003

EXHIBITED

Dunlop Prize, Melbourne, 1953

(label verso)

$5,000–8,000

47

48


Still Life – Dahlias


accompanied by a letter of authenticity

from John Perry, Executor of the Alma

Figuerola Estate

44.5 x 37.5cm

PROVENANCE


$2,000–4,000

48

40

49

49

MAY VALE (1862-1945)

From an Old Garden

oil on canvas

signed lower right: May Vale

inscribed verso:

From an Old Garden / By May Vale

23.5 x 38.5cm

PROVENANCE


Thence by descent

$2,000–4,000

50

50


Still Life

oil on canvas

signed lower right: Alma Figuerola

50.5 x 45cm

PROVENANCE


$1,200–1,800

41

51

51

ADA PLANTE (1875-1950)

Study of 899 Heidelberg Place, Ivanhoe circa 1945


signed lower right: A. M. Plante

inscribed center left: Ian Fairweather

inscribed on label verso: Study / A M Plante

inscribed on board: George's Gallery

55 x 47.5cm

PROVENANCE

The Artist's Estate

George's Gallery, Melbourne

RELATED WORKS

Landscape, Fairy Hills, 1945, National Gallery of Victoria

permanent collection, acc. no. A16-1977

OTHER NOTES

Ada May Plant and Ian Fairweather crossed paths when

they both resided at Darebin Bridge House between

1945-47. Lina Bryans bought the old hotel and invited

Ian Fairweather to live there for a time, establishing a

haphazard artists commune in the area. Ada Plant had

been living there for many years, continuing the spirit of

late 19th-century tradition of en plein air painting. The

gentle hills and semi-rural surround of the Darebin creek

area provided ample inspiration and space to roam.

This painting bears a faintly etched inscription of

Fairweather lower left suggesting a collaborative effort in

the finishing touches of this topographically significant

Ivanhoe landscape.

$6,000–9,000

42

52

As a young woman, Melbourne born Dora Meeson

migrated with her family to the South Island of New

Zealand where her father practiced law, based in

Christchurch. It was here that Dora studied at the

Canterbury College School of Art from 1889-1895 and

became an enthusiastic member of a group called ‘The

Palette Club’, a group committed to painting directly

from nature. Dora, supported by her family, continued her

art studies, later attending the National Gallery School

in Melbourne, then the Slade School in London, and

Academie Julian in Paris.

In 1903 she married fellow artist, George Coates, and

they lived in what was then, bohemian Chelsea, renting

an apartment in Glebe Place from Augustus John. Both

artists devoted their lives to the pursuit of painting. They

were also ardent and active contributors to the Suffrage

movement, with Dora in particular, maintaining a lifetime

commitment to various social justice causes.

A male relative of the Coates family (and by descent, the

current vendor) resided with Dora and George during

the Great War, their Chelsea home offering calm refuge

while he recuperated from the chaos and carnage he

experienced as an infantryman on the battlefields of

France. Decades later the vendor's parents were resident

in London, and around 1952, both pictures, Cottage at

Bembridge, Isle of Wight and Columbo, were gifted by

Dora to the family.

Both paintings demonstrate Dora’s painterly verve and

her enduring interest and love of painting ‘en plein-air’.

Her artistic vocabulary, a rich colour palette and bold

paint strokes is evident in both. The Isle of Wight cottage,

strong in its use of blue and grey, and Columbo, an exotic

stopover on the long sea voyage from London to Australia

and back, vibrant with flashes of red, spontaneously

capturing the activity and colour of the bustling port.

43

53

52

DORA MEESON (1869-1955)

Colombo 1920


signed and dated lower right: Dora Meeson / 1920

signed and titled verso: COLOMBO / Dora Meeson

21.5 x 35.5cm

PROVENANCE

Gifted by the Artist circa 1952

Private collection London and Melbourne,

thence by descent

EXHIBITED

Catalogue of paintings by George J. Coates and Dora

Meeson (Mrs Geo. J. Coates), Athenaeum Hall, Collins

Street, 1 - 12 March 1921, cat. no. 15

Exhibition of oil paintings, watercolours and etchings by

Dora Meeson, Fine Art Society’s Gallery, 100 Exhibition

Street Melbourne, 16 - 28 July 1934, cat. no. 76

$1,200–1,800

53

DORA MEESON (1869-1955)

Cottage at Bembridge, Isle of Wight 1952

oil on board

signed lower left: Dora Meeson

inscribed on label verso: ... at Bembridge / Isle of Wight /

by / Dora Meeson / Glebe Place / 1952 Chelsea

21.5 x 29.5cm

PROVENANCE

Gifted by the Artist circa 1952

Private collection London and Melbourne,

thence by descent

$1,200–1,800

44

54

ROLAND WAKELIN (1887-1971)

Mt Wellington, Hobart 1936



R Wakelin 1936

inscribed verso: Rolly Wakelin / from

collection of his brother Norman /

(cousin of G E ... )

24.5 x 33cm

PROVENANCE

From the collection of the

Artist's brother, Norman Wakelin


$4,000–6,000

54

55

55

IVOR FRANCIS (1906-1993)

Crafers Landscape,

Adelaide Hills 1950

oil on canvas


Francis 50

titled on labels verso

59.5 x 89.5cm

PROVENANCE


$1,000–1,500

45

56

56

ELIOTH GRUNER (1882-1939)

The Broken Fence, 1913


signed and dated indistinctly lower right: E Gruner 1913

inscribed verso: NEAR GOSFORD ELIOTH GRUNER 1913

33 x 38cm

PROVENANCE

W. Robinson, Esq. (circa 1920)

Leonard Joel, Melbourne, Australian, New Zealand, British

and European Historical & Contemporary Paintings,

2 November 1977, Lot 660 (as 'At Gosford')


Thence by descent

LITERATURE

Smith, Sydney Ure & Gellert, Leon, The Art of Elioth

Gruner, Art and Australian, Sydney, 1920, plate XL. (illus.)

$15,000–25,000

46

Important works of art from the

collection of the late Andrée Harkness

Andrée Harkness was a collector of great

integrity and vision who assembled an impressive

collection of Australian art with pragmatic singlemindedness.

She had a scientific background

and studied to become a pharmacist, pausing her

career to raise a family. She possessed creative

talents as an amateur photographer, winning local

prizes for her photographs. In her 20s, she visited

the garden of Vita Sackville-West, and spent

much of her lifetime cultivating an encyclopedic

knowledge of horticulture and garden design. Her

success in designing an impressive garden of her

own earned her several commissioned projects in

the field. Initially, Andrée acquired postcards and

prints of the masters she saw in exhibitions on

her travels abroad. She seriously began collecting

art in the late 1970s when she saw the works of

Clarice Beckett. From there, her collection evolved

into a curated selection of significant artworks

by predominantly Australian women artists.

Andrée generously donated over 70 artworks

by women artists to the National Gallery of

Victoria. In her final years, the gallery celebrated

her extensive collection with a standalone

exhibition at the Ian Potter Centre, titled Modern

Australian Women Artists, Works from a Private

Collection. The following select artworks have

remained in the family and are amongst some of

Andrée’s most cherished acquisitions from over

40 years of collecting.

Andrée first encountered Clarice Beckett's

paintings in 1979 – a retrospective at Realities

Gallery, Melbourne, curated by Rosalind Hollinrake,

who revived the artist from the brink of extinction.

Andrée was immediately drawn to At the End of

the Garden, circa 1929 – the locale and subject

matter struck a chord of familiarity; minute details

captured in fleeting expressive brushstrokes,

such as the poise and attitude of a black chook.

Beckett’s transcendental scenes of daily life

around Beaumaris and greater Melbourne are

now highly prized and respected. She did not

receive significant recognition for her work during

her lifetime. Her journey, filled with hardship

and suffering, resembled a harrowing tale by

one of the Brontë sisters. Despite this, Beckett

persisted with grit and determination, producing

an oeuvre of misty tonal paintings that captured

the atmosphere and many moods of developing

Melbourne. The story and talent of Beckett inspired

Andrée to investigate further, unearthing other

women artists who had fallen into obscurity.

Inspired by their art as much as their personal

histories, it was ‘the independence, courage and

confidence of many of these artists [that] have

drawn me to them.’ 1

Andrées' collection honours the progressive

influence of Australian printmakers from the early

19th century. The interwar period was an essential

time in the development of Australian Modernist

art, enhanced by the advent of speedier travel

and communication between Australia and the

world at large. The prints of Ethel Spowers, Eveline

Symes, and Dorrit Black embody the modernist

spirit. Spowers & Symes were close friends from

Melbourne. They were well educated and raised

in privileged families, and their fathers were

rival newspaper tycoons. The Melbourne friends

encouraged each other, travelling to London to

study at The Grosvenor School of Modern Art

under Ian McNab and Claude Flight, two years

after Dorrit Black. They had arrived at a pivotal

time. Futurism was an explosive force in London,

and many artists produced works during this

47

Photo by Alexander Harkness

period that ennobled the machine age, featuring

daily scenes of life played out in fractured cubist

compositions. 'One favourite is Ethel Spowers' Wet

Afternoon, 1930, cleverly designed to show a crowd

of people and the angular rhythm of umbrellas,

with the diagonal lines of rain giving tension and

movement.' 2 There was an exciting sense of

optimism in the medium's modern accessibility,

speed and freedom from older printing traditions.

'Dorrit Black's composition of four string players,

The Quarette, c. 1935, similarly captures the vitality

and fleeting intensity of a group coalescing..

Black manipulates fractured cubist space and

repetitive rhythmic cuts radiating out from the

figures to create a scene of pulsing light, heat and

energy.' 3 Flight featured all three artists in London

exhibitions in the 1930s, and he championed the

medium and his followers with a zealous intensity.

Spowers, Symes and Black each gained relative

success for women of their era, although their

influence was still limited during their lifetime.

Now very much celebrated, their artworks would be

any collection's highlight.

Ultimately, Andrée’s collection had the practical

purpose of making her home a beautiful place to

live, preferring works that had a liveable quality

to them in size and subject. Each room was a

balanced and harmonious combination, and

congruity between frames, furniture, periods, and

mediums was all considered in the arrangement.

Most of Andrée’s artworks were acquired

from auctions, she thoroughly researched and

understood the value of each piece. She was a

fierce bidder in the room and rarely relinquished

once committed. Her collection boasts an

impressive and highly sought-after wattle painting

by Penleigh Boyd, the three girls gathering wattle in

the centre of the composition, recalling childhood

memories as one of three sisters. Her horticultural

expertise and passion resonate in the glorious

blooms of Arthur Streeton’s Rhododendron still

life. ‘What I look for in flower paintings is the choice

48

Photo by Alexander Harkness

49

of flowers, the selection of vase and particularly

their arrangement in order to obtain a balance of

composition and colour. To my eyes these features

are often underrated.’ 4 Streeton maintained great

esteem for the skill required to paint flowers well

and was also an avid gardener. ‘His love of flowers

inveigles him into a manner with paint which makes

them fragile, beautiful things.’ 5

Andrée’s collection was innately personal to

her. When asked what inspired her preference

for mainly collecting women artists, she

reflected that it was simply ‘the quality of their

art.’ 6 She endearingly referred to them as ‘her

women’, and would call them by their first name

as if they were long-lost friends. ‘I must go and

dust Dora’, she would say to her partner Richard,

which would elicit responses such as ‘Which

Dora?’. Through years of discipline and refinement,

Andrée’s collection formed a cohesive narrative

of Australian artists from the 1890s to the 1960s.

With quiet determination, Andrée demonstrated

the collaborative role private collectors can play in

enhancing museum collections. These remaining

works from the collection showcase her intuitive

eye for composition and beauty, grounded in a

deep understanding of context, history, and her

own personal journey.

Sarah Garrecht

1 Andree Harkness, Introduction, Modern Australian

women artists, the Andrée Harkness collection,

Amaled Pty Ltd, Melbourne, 2020, p. 9

2 Ibid., p. 7

3 Caroline Jordan, Printmakers, Modern Australian



4 Andree Harkness, Introduction, Modern Australian



5 Harold Herbert, The Art of Arthur Streeton,

The Argus, 17 March 1931, p. 8

6 Isobel Crombie in conversation with collection donor Andrée

Harkness for ‘Modern Australian Women Artists’, 2019

50

57

CLARICE BECKETT (1887-1935)

End of the Garden, circa 1929

oil on board

signed lower left: C Beckett

33.5 x 41cm

PROVENANCE

Realities Gallery, Melbourne, 1979

EXHIBITED

Clarice Beckett: Retrospective Exhibition

1921-1935, Realities Gallery, Melbourne,

11 October - 1 November 1979, cat. no. 12

Clarice Beckett: Politically Incorrect,

Ian Potter Museum of Art, University of Melbourne,

Melbourne, 30 April - 13 June 1999

Modern Australian Women: Works from a Private

Collection, The Ian Potter Centre: National Gallery of

Victoria, Melbourne, October 2018 - March 2019

LITERATURE

Hollinrake, Rosalind & Beckett, Clarice, 1887-1935,

Clarice Beckett, the artist and her circle,

Macmillan Company of Australia, Melbourne, 1979, p.47

(plate 13, illus.)

Andrée Harkness, Modern Australian Women Artists:

The Andrée Harkness Collection, Amaled Pty Ltd,

Melbourne, 2020, p. 6 (illus.), p. 7, p.28

$80,000–120,000

51

57

52

58

PENLEIGH BOYD (1890-1923)

The Wattle Gatherers 1918

oil on canvas

signed and dated lower right: Penleigh Boyd / 18.

76 x 91cm

PROVENANCE

Fine Art Society, Melbourne

William Bertrand Carr, Melbourne,

acquired from the above in 1918

Thence by descent

W.H. Carr, Melbourne, by 1965

Thence by descent

Private collection, Queensland

Deutscher and Hackett, Melbourne,

Important Australian + International Fine Art,

27 November 2019, Lot 51

EXHIBITED

Exhibition of Paintings by Penleigh Boyd,

Fine Art Society's Galleries, Melbourne,

27 November – 11 December 1918, cat. 7.

LITERATURE

Exhibition of Pictures, The Age, Melbourne,

27 November 1918, p. 8

'Mr. Boyd's Exhibition', The Argus, Melbourne,

27 November 1918, p. 7

Colquhoun, A., 'Australian Landscapes',

The Herald, Melbourne, 26 November 1918, p. 11

Boyd, Penleigh & MacDonald, James S. 1920,

The Landscapes of Penleigh Boyd, A. McCubbin,

Melbourne, 1920, plate VI, (illus.)

Smith, Colin G., Sunlight and Storm: The Life and Art

of Penleigh Boyd, Colin G. Smith, Murrumbeena, 2021,

pp. 96 (illus.), 281 (illus.)

RELATED WORKS

The Breath of Spring, 1919, National

Gallery of Victoria (Felton Bequest, 1919)

Spring Fantasy, 1919, Art Gallery of Castlemaine

(Gift of the artist, 1921)

$80,000–100,000

53

58

54

59

ARTHUR STREETON (1867-1943)

Rhododendrons


signed lower left: A STREETON

50.5 x 59.5cm

PROVENANCE

(possibly) Colonel Riggall. Brigadier R.W.P. Dodd, MC (CMF),

Queensland

Thence by descent

Estate of Molly Dodd, Queensland

Deutscher and Hackett, Sydney, Important Australian +

International Fine Art Auction, 27 August 2014, Lot 77

EXHIBITED

(Possibly) An Exhibition of Arthur Streeton's Paintings,

The Athenaeum Gallery, Melbourne, 4-16 June 1934, no. 33

LITERATURE

(Possibly) Streeton, A., The Arthur Streeton Catalogue,

Melbourne, 1935, cat. 905 (in possession of Colonel Riggall)

(Possibly) Harold Herbert, The Art of Arthur Streeton,

The Argus, Melbourne, Victoria, 5 June 1934, p.5, No. 33

Rhododendrons: viewed at 22 Apr 2025 <http://nla.gov.au/

nla.news-article10943688>.

$50,000–70,000

55

59

56

60

DORRIT BLACK (1891-1951)

The Quartette 1936

colour linocut

signed, titled and editioned on margin:

Dorrit Black. / The Quartette. 4/50

15 x 24cm

PROVENANCE

Estate of Edith Lawrence, London

Thence by descent

Private collection, United Kingdom

Tennants Auctioneers, United Kingdom

Private collection, Sydney

Deutscher and Hackett, Melbourne,


Melbourne, 27 November 2019, Lot 2

EXHIBITED

Lino-Cuts 1936 (Seventh Exhibition of British Lino-Cuts),

Ward Gallery, London, 10 June – 8 July 1936, cat. 19

(another example)

An Exhibition of Oils, Watercolours and Lino Cuts by

Dorrit Black, Royal South Australian Society of Arts,

Adelaide, 7 – 23 July 1938, cat. 40 (another example)

Drawing, Print and Watercolour, Contemporary Arts

Society, Adelaide, 1952, cat. 23 (another example)

Dorrit Black: Unseen Forces, Art Gallery of South

Australia, Adelaide, 13 June – 7 September 2014

(another example, as 'The String Quartette')




LITERATURE

North, I., The Art of Dorrit Black, Art Gallery of South

Australia, Adelaide, 1979, cat. L30, pl. 19, pp. 73 (illus.,

another example, as 'The String Quartette, 1936'), 132

Coppel, S., Linocuts of the Machine Age: Claude

Flight and the Grosvenor School, Scolar Press,

Aldershot, England, in association with the National

Gallery of Australia, Canberra, 1995, cat. DB30, p. 160

(illus., another example, dated as 1936)

Lock-Weir, T., Dorrit Black: Unseen Forces,

Art Gallery of South Australia, Adelaide, 2014, pp. 102

(illus.) 204 (illus., another example)



Melbourne, 2020, pp. 152, 159 (illus.)

$35,000–55,000

57

60

58

61

ETHEL SPOWERS (1890-1947)

Wet Afternoon 1930

colour linocut

signed, dated, titled and editioned on margin:

E L Spowers 30 / Wet Afternoon 16/50

24 x 21cm

PROVENANCE

Private collection, c. 1930's

Thence by descent

EXHIBITED

British Linocuts, The Redfern Gallery, London, 23 July

– 23 August 1930, cat. 5 (another example) Exhibition

of Linocuts, Everyman's Lending Library, Melbourne,

9 – 24 December 1930, cat. 24 (another example)

Society of Artists Annual Exhibition, Education

Department's Gallery, Sydney, 2 – 30 September 1932,

cat. 53 (another example)




LITERATURE

Coppel, S., Linocuts of the Machine Age: Claude Flight and

the Grosvenor School, Scolar Press, Aldershot, England,

in assoc. National Gallery of Australia, 1995, pl. 37, p. [44]

and pp. 170–171, cat. ES14 (illus., another example)



Melbourne, 2020, pp. 146 (detail), 152, 153 (illus.), 235

OTHER NOTES

Other examples of this print are held in the collections

the British Museum, London, Victoria and Albert Museum,

London, National Gallery of Australia, Canberra, the

National Gallery of Victoria, and the Art Gallery of New

South Wales

$35,000–45,000

59

61

60

62

ETHEL SPOWERS (1890-1947)

Melbourne From the River, circa 1924

colour woodcut, edition 6/50

signed and titled on margin:

E L Spowers / Melbourne from the river – 6

19 x 23cm

PROVENANCE

(possibly) Joshua McClelland Print Room, Melbourne

Ken and Joan Plomley Collection of Modernist Art,

Melbourne

Deutscher and Hackett, Sydney, Important Australian +

International Fine Art; The Ken & Joan Plomley Collection

of Modernist Art, 28 August 2019, Lot 20

EXHIBITED

Victorian Artists Society, Melbourne, Spring 1924, no. 235

(as 'Town from the River')

Exhibition of Works by Ethel Spowers, The New Gallery,

Melbourne, 4 – 15 August 1925, cat. 36 (another example)




LITERATURE

Art Notes. Watercolours by Miss Ethel Spowers,

The Age, Melbourne, 4 August 1925, p. 9

The Studio. Miss Spowers' Watercolours,

The Australasian, Melbourne, 8 August 1925, p. 44

Coppel, S., Linocuts of the Machine Age: Claude Flight

and the Grosvenor School, Scolar Press, Aldershot,

England, in association with the National Gallery of

Australia, Canberra, 1995, cat. ES A/7, p. 189



Melbourne, 2020, pp. 154, 156 (illus.)

$25,000–35,000

61

62

62

63

EVELINE SYME (1888-1961)

Sydney Tram Line

colour linocut

signed, titled and editioned on margin:

E. W. Syme / Sydney Tram Line 1/25

24 x 17.5cm

PROVENANCE

Josef Lebovic Gallery, Sydney


Leonard Joel, Sydney, The Estate of Colin Lanceley,



EXHIBITED

Exhibition of Pictures by the Contemporary Group of

Artists, David Jones' Galleries, Sydney, July 1937, no. 93

(another example)

A Survey of Australian Relief Prints 1900/1950,

Deutscher Galleries, Melbourne, 13 April – 5 May 1978,

cat. no. 180 (another example)

Melbourne Woodcuts and Linocuts of the 1920's and

1930's, Ballarat Fine Art Gallery, Victoria, 1981, and

travelling (another example)

Out of the Book and On to the Wall: The Relief Print,

Australian National Gallery, Canberra, 20 February –

October 1984 (another example)

Claude Flight and His Followers: The Linocut Movement

between the Wars, Australian National Gallery, Canberra,

18 April – 12 July 1992, and touring, cat. no. 100

(another example)

Modern Australian Women: Paintings and Prints

1925 – 1945, Art Gallery of South Australia, Adelaide,

24 November 2000-25 February 2001, and touring

(another example)

Sydney Moderns: Art for a New World, Art Gallery of

New South Wales, Sydney, 6 July – 7 October 2013,

(another example)

LITERATURE

Butler, R., and Deutscher, C., A Survey of Australian Relief

Prints 1900/1950, Deutscher Galleries, Melbourne, 1978,

cat. 180, pp. 91, 118 (illus., another example)

Butler, R., Melbourne Woodcuts and Linocuts of the

1920's and 1930's, Ballarat Fine Art Gallery, Victoria, 1981,

unpaginated (illus., another example)

Coppel, S., Linocuts of the Machine Age: Claude Flight and

the Grosvenor School, Scolar Press, Aldershot, England,

in association with the National Gallery of Australia,

Canberra, 1995, pl. 43, cat. ESy20, pp. 184 – 185 (illus.,

another example)

Topliss, H., Modernism and feminism : Australian

women artists 1900-1940, Craftsman House, Roseville,

New South Wales, 1996, p. 149 (illus., another example)

Hylton, J., Modern Australian Women: Paintings and Prints

1925 – 1945, Art Gallery of South Australia, Adelaide,

2000, pp. 57, 81 (illus., another example), 126

Edwards, D., and Mimmocchi, D. (eds.), Sydney

Moderns: Art for a New World, exhibition catalogue,

Art Gallery of New South Wales, Sydney, 2013, pp. 71

(illus., another example), 316

RELATED WORKS

Other examples of this print are held in the collections of

the National Gallery of Australia, Canberra; the Art Gallery

of New South Wales, Sydney; and the Ballarat Fine Art

Gallery, Victoria

$30,000–40,000

63

63

64

64


Collins Street, Melbourne circa 1928

woodcut

signed, titled and editioned on

margin: E. W. Syme / Collins Street,

Melbourne / 9/50

14 x 10cm

EXHIBITED

Water Colours and Woodcuts by E. W.

Syme, Atheneum Gallery, Melbourne, 6-17

March 1928, cat. no. 49 (another example)

Modern Australian Women: Works from

a Private Collection, The Ian Potter

Centre: National Gallery of Victoria,

Melbourne, October 2018 - March 2019

LITERATURE

R. Butler & C. Deutscher, A Survey of

Australian Relief Prints 1900-1950,

Deutscher Galleries, Melbourne 1978,

cat. 172 (another example)

Coppel, S., Linocuts of the Machine Age:

Claude Flight and the Grosvenor School,

Scolar Press, Aldershot, England, in assoc.

National Gallery of Australia, 1995, p. 183,

cat. ESyA/3 (illus., another example)

Andrée Harkness, Modern Australian

Women Artists: The Andrée Harkness

Collection, Amaled Pty Ltd, Melbourne,

2020, p. 183 (illus.)

$1,500–2,500

64

65

65


The Fortress,

Villeneuve-Sur-Rhùne 1931

woodcut

signed, dated, titled and editioned on

margin: E W Syme / 1931 / The Fortress, /

Villeneuve-Sur-Rhùne / 26/30

7 x 7.5cm

EXHIBITED

Exhibition of Prints, Modern Art Centre,

Sydney, August 1933, cat. no. 23

(another example)

LITERATURE

Coppel, S., Linocuts of the Machine Age,

Scolar Press, Aldershot, England, in assoc.

National Gallery of Australia, Canberra, 1995,

cat. ESyA/6, p. 189

Tatlock Miller, H., Manuscripts, No. 9,

May 1934, p. 40 (illus., another example)

$1,800–2,500

65

66

66

EVELINE SYME (1888-1961),

Mixed Flowers 1933

colour linocut

signed, dated, titled and editioned on margin:

E W Syme 1933 / Mixed Flowers 1/25

15.5 x 16cm

PROVENANCE

Davidson Auctions, Australian & International Art,

Sydney, 16 July 2007, Lot 272

Works from the late Andrée Harkness Collection, Melbourne

EXHIBITED

Contemporary Group, Blaxland Galleries, Sydney

24 October 1933 – 4 November 1933, cat. no. 86

(another example)

Lino-Cuts 1935 (Exhibition arranged by Claude Flight),

Ward Gallery, London, 1 - 25 May 1935, cat. no. 88

(another example)

Linocuts and Wood Engravings by E. W. Syme (in Aid of

the Appeal for Funds to Establish a University Women's

College), Arts and Crafts Society Gallery, Melbourne

5 - 16 May 1936, cat. no. 3 (another example)




LITERATURE

Coppel, S., Linocuts of the Machine Age, Scolar Press,

Aldershot, England, in assoc. National Gallery of Australia,

Canberra, 1995, cat. ESy15, p. 183 (another example)

Andrée Harkness, Modern Australian Women Artists: The

Andrée Harkness Collection, Amaled Pty Ltd, Melbourne,

2020, p. 154, p. 170 (illus.)

OTHER NOTES

Another version of this print is in the collection of the

National Gallery of Australia

$5,000–8,000

66

67

LISETTE KOHLHAGEN

(1890-1969)

The Ginger Jar

colour linocut

signed and titled on margin:

Lisette Kohlhagen / The Ginger Jar

initialled in block lower left: L A K

28.5 x 34.5cm

$800–1,200

67

68

68

HARRY ROSENGRAVE

(1899-1986)

Belgrave Rail 1952

colour linocut

signed, dated, titled and editioned

on margin: H Rosengrave 1952 /

Belgrave Rail 26/30

22 x 23.5cm

$300–500

67

69

MARGUERITE MAHOOD

(1901-1989)

Action 1969

linocut

signed, dated and titled on margin:

Marguerite Mahood / 'Action' / 1969

29 x 38cm

$1,500–2,500

69

70

FRANK HODGKINSON

(1919-2001)

Green Tree Frog 1957

ink and gouache on paper

signed, dated and titled lower right

and left: Frank Hodgkinson '57 /

Green Tree Frog

27 x 24.5cm

$300–500

70

68

71

71

JOHN H TAYLOR (1921-2012)

Portuguese Fisherman 1984

woodblock

signed, dated, titled and editioned on margin: Taylor 84 /

Portuguese Fishermen AP

12.5 x 18cm

$200–400

72

JOHN P POLLARD

Two Eucalypt Leaves 2002

gum bichromate print

signed lower left: JPP

inscribed on label verso: John P Pollard / 15. 'Two

Eucalyptus Leaves' / Fallen Leaves Series / 2002

37 x 20cm

$200–400

74

GEORGE BALDESSIN (1939-1978)

Family Friends & One Another 1965

etching

signed and dated lower right on margin: G Baldessin 65

30.5 x 45.5cm

$2,000–4,000

75

EDOUARD PIGNON (1905-1993)

Figure with Cart 1957

gouache and oil on paper

signed with initials and dated lower right: EP '57

43 x 54.5cm

PROVENANCE


$1,000–2,000

73

KARL KOENIG (AMERICAN, 1938-2012)

From Goldman 2004

gumoil print

signed, dated and titled lower right and left: Karl Konig

2004 / From Goldman

35 x 26cm

$400–600

69

74

75

70

Jan Grant:

A Legacy of Philanthropy and Connection

Jan Grant's life was defined by philanthropy—

driven by compassion, connection, and a

deep commitment to fostering community

engagement. As the longtime owner of the famed

Malmsbury Bakery, she was a vocal advocate for

local issues, often sparking meaningful debate

within the township.

A passionate music lover and dedicated supporter

of young talent, Jan made a lasting impact on

the music world through her involvement with the

Australian National Academy of Music (ANAM).

In 2011, she approached ANAM with the idea of

building a network of donors to contribute to the

living allowances that support musicians. The

concept was inspired by a childhood memory

of her father’s syndicate-funded thoroughbred

horses—where collective contributions made great

achievements possible.

Jan hosted recitals at Cygnet, her Neoclassical

residence in Lauriston, rural Victoria. Inspired by

the grandeur of English stately homes, Cygnet

housed dedicated recital rooms of elegant

proportion. Intimacy was central to Jan’s vision—

she carefully curated paintings and furniture to

create a space that celebrated beauty and comfort.

This collection highlights two large paintings by

Roger Kemp, whose visionary abstract paintings

aimed to illuminate that which was not visible. His

rich and lyrical fractal compositions, featuring

shades of deep violet, lilac, and purple, resonate

with rhythmic harmony. Kemp's evocative paintings

provided an opportunity for deep reflection in the

beautifully curated space that Jan created for

the emerging musicians who performed there.

Another work of note includes an early painting

by Fred Williams bearing the provenance of

Katherine Hattam, wife of artist Hal Hattam. The

couple is credited as the first private collectors

to embrace the art of Fred Williams from 1958

onwards. The lounging figure, hovering between

reading and dozing, exudes a sense of comfort

and leisure, relaxing in the garden. At the same

time, a dog sits poised in the foreground, regaled

by the lush garden surroundings. The palette

is characteristic of the artist's earlier work, the

generous brushstrokes layering complementary

aubergines and autumnal colours emitting a sense

of warmth and tranquillity. These artworks were

selected with great care and attention, as it was

important to Jan that the young performers felt

welcomed and uplifted in her sanctuary devoted to

musical excellence.

What began as a financial assistance program

soon evolved into a genuine community, fostering

deep connections between musicians and

benefactors. Known for her mischievous spirit and

straight-talking nature, Jan had an innate ability

to bring people together, breaking down social

barriers and forging lasting friendships beyond the

ANAM program. She once reflected: “We formed

friendships with musicians and other donors, which

have added so much to all our lives. I am a very

proud donor to this program. As a senior person,

I realise the value of these young people who are

dedicated to creating something beautiful and to

being as excellent as they can. Watching musicians

grow personally and professionally at ANAM is

joyous. I follow their careers with pride. They will

always have a place at my table.” 1

Jan’s reverence for music and beauty lives

on—not only in the objects she collected but,

more importantly, in the enduring connections

she fostered. In recognition of her extraordinary

generosity, the Board of ANAM has named the

new musicians’ lounge in the renovated South

Melbourne Town Hall the Jan Grant Musicians’

Lounge—a space that will continue to support and

inspire generations of musicians to come, ensuring

that her legacy remains vibrant and influential.

Sarah Garrecht

1 Jan Grant, ANAM Impact of Philanthropy Report 2023, p.16

71

76

76

FRED WILLIAMS (1927-1982)

Persimmon Tree 1958

oil on canvas

signed lower right: Fred Williams

59.5 x 89.5cm

PROVENANCE

Mrs Katherine Hattam, Melbourne, acquired

directly from the artist (letter from Frances

Hattam accompanies this work)


Thence by descent

Private collection, Victoria, acquired from the above

Collection of the Late Jan Grant, Lauriston

$70,000–100,000

72

77

77

ROGER KEMP (1908-1987)

Sequence 1973/75

acrylic on paper on canvas

signed lower right: Roger Kemp

146 x 167cm

PROVENANCE


$10,000–15,000

73

78

78

ROGER KEMP (1908-1987)

Untitled

enamel on masonite

90 x 121.5cm

PROVENANCE


$10,000–15,000

74

Other Properties

79

CHARLES BLACKMAN

(1928-2018)

Schoolgirl with Dog

charcoal on paper

signed with initials lower left: C.B

30 x 23.5cm

Venetian study verso

watercolour

signed and dated verso:

Charles / BLACKMAN / 1951

PROVENANCE

Acquired from John Perceval (in

lieu of payment for legal services)

Thence by descent

$5,000–8,000

79

80

HOWARD ARKLEY (1951-1999)

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,

3 December 2013, Lot 81


EXHIBITED

(possibly) Howard Arkley: Exhibition and Sale

of 40 Paintings, Metro 5 Gallery, Melbourne,

6 - 24 February 2002

REFERENCES

Howard Arkley Online Catalogue Raisonné:

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

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

$6,000–9,000

81

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, Melbourne


Leonard Joel, Melbourne, Fine Art Auction,



EXHIBITED

(possibly) Howard Arkley: Exhibition and Sale

of 40 Paintings, Metro 5 Gallery, Melbourne,

6 - 24 February 2002

REFERENCES

Howard Arkley Online Catalogue Raisonné:

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

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

$6,000–9,000

75

82

82

SIDNEY NOLAN (1997-1992)

Foreign Devil Silk Route 1986

acrylic and oil on canvas

titled and inscribed verso:

NOLAN / FOREIGN DEVIL / Silk Route

153.5 x 123cm

PROVENANCE

Sotheby's, Melbourne, The Estate of Sir Sidney Nolan,

16 September 2001, Lot 30

Mossgreen Auctions, Melbourne, The Australian

Art Collection of Sandra Powell & Andrew King,

19 March 2014, Lot 13


$15,000–20,000

76

83

83

DONALD FRIEND (1915-1989)

Net Fishers and Prahu Beaching

mixed media on paper

signed and inscribed upper right:

Donald Friend / Bali / Net Fishers and Prahu beaching

76 x 44.5cm

PROVENANCE

Australian Galleries, Melbourne

Barry Stern Galleries, Sydney (valuation and receipt of

purchase accompany this work, 4 March 1975)


EXHIBITED

Exhibition of Works by Donald Friend, Australian Galleries,

Melbourne, February 1975, cat. no. 21 (label verso)

$1,800–2,500

77

84

84

DANILA VASSILIEFF (1897-1958)

Persian Princess in Azerbaijan 1950-51

oil on canvas

49.5 x 39cm

PROVENANCE

The Estate of the Late Elizabeth Vassilieff, NSW


LITERATURE

St. John Moore, F., Vassilieff and His Art, Oxford

University Press, London, 1982, p. 158, cat. no. P288

(as Persia princess 1950)

St John Moore, F., Vassilieff and His Art, [2nd edition]

Oxford University Press, Melbourne, 2012, p. 209,

cat. no. 367 (as Persian Princess 1950)

$6,000–9,000

85


Studies of Busal, Bali

watercolour, gouache and ink on paper

signed and titled lower right:

Donald Friend / Bali / Studies of Busal

60.5 x 45cm

PROVENANCE


$1,500–2,500

78

86


A Mysterious Drawing

for Alberta 1977

ink on paper

signed, dated inscribed lower right:

a mysterious / drawing for Alberta

/ who gave me the / lovely paper.

Mirka / 3.35.P.M 19.12.77

18.5 x 24.5cm

PROVENANCE

Gifted by the Artist


$1,500–2,500

86

87

NOEL COUNIHAN (1913-1986)

Odd Couple 1969

charcoal on paper


Counihan 69 / April 20

74 x 105.5cm

PROVENANCE

Acquired circa 1970s,

thence by descent


$1,500–2,500

87

79

88

CHARLES BLACKMAN

(1928-2018)

Girl in Garden, circa 1951

pencil and wash on paper

signed lower right: BLACKMAN

47 x 43cm

PROVENANCE

Walter Granek, Melbourne

(certificate of authenticity verso)


$5,000–8,000

89


Portrait of a Boy

and Figure Study

watercolour, gouache and pencil

on paper

figure study verso

signed verso: Donald Friend

24.5 x 53.5cm

PROVENANCE


$1,000–1,500

88

90


Leda and Swan

oil on paper

25.5 x 30cm

PROVENANCE

Cynthia Nolan

Christie's, Melbourne, Australian,

International And Contemporary

Painting, 25 November 2002, Lot 445


$2,000–3,000

89

80

91

91

KEVIN (PRO) HART (1928-2006)

Three Faces 2001

oil on board

signed lower right: PRO / HART

36.5 x 45.5cm

PROVENANCE

Hart Gallery, Mooloolaba


$3,500–5,500

92


Europa Falling in a Gully,

watched by a Black Cockatoo 1995

oil on board

signed and dated lower left: David Boyd 1995

inscribed verso: Europa falling in / a Gully watched /

by a Black / Cockatoo

24 x 28cm

PROVENANCE

Tom Mathieson Gallery, Sydney (label verso)

Bay East Auctions, Sydney, Bay East Art, 22 November

2009, Lot 14


$4,000–6,000

81

93

93


The Artist

oil on canvas

signed lower left: PRO / HART

inscribed verso: 'The / Artist'

76 x 50.5cm

PROVENANCE


$7,000–10,000

82

94

94

RICHARD CRICHTON (BORN 1935)

Pastorale 1972

oil on canvas

signed and dated lower right: CRICHTON 72

titled verso: 'PASTORALE'

137.5 x 122cm

PROVENANCE


$1,500–2,500

95

DOUG WRIGHT (BORN 1944)

Out of Darkness 2018

oil on linen


DOUG WRIGHT / OUT OF DARKNESS 2018

112 x 76cm

PROVENANCE


$1,000–1,200

83

96

96

DAVID BROMLEY (BORN 1960)

Children Rowing

oil on canvas

152.5 x 152.5cm

PROVENANCE

Scott Livesey Galleries, Melbourne (stamp verso)


$3,000–5,000

97

GORDON RICHARDS (BORN 1953)

Windy Day with Cappuccino

acrylic on canvas

signed verso: G. RICHARDS

101 x 122cm

PROVENANCE

Libby Edwards Galleries, Melbourne (label verso)


$700–900

84

98

98

JOHN ANDERSON

(BORN 1947)

Driveway at Dusk 2005

oil on linen


John Anderson / 05


J Anderson / 05 /

DRIVEWAY AT DUSK

122 x 152cm

PROVENANCE

William Mora Galleries, Melbourne

The Estate for Emeritus Professor

John Rickard, Melbourne

EXHIBITED

John Anderson: Recent Paintings,

William Mora Galleries, Melbourne,

9 November - 3 December 2005,

cat. no. 2 (exhibition documents

accompany this lot)

$4,000–6,000

99

99

TIM JOHNSON (BORN 1947)

Lamas at Mrs Macquarie's

Chair, 1995

acrylic on canvas

signed, titled and dated verso:

Lamai at Mrs Macquaries

Chair / Tim Johnson 95

61 x 91cm

PROVENANCE


$1,000–2,000

85

100

100


Children's Picnicking on the Foreshore

oil on canvas

signed lower right: David Boyd

50 x 59.5cm

PROVENANCE


$10,000–15,000

86

102

101

GIACINTO BOSCO (ITALIAN, BORN 1956)

Colgo La Luna 2011

bronze

incised to base: G Bosco 7/9

402cm high, 72cm wide, 62cm deep (overall)

PROVENANCE


$10,000–15,000

101

102

ROBERT HAGUE (BORN 1967)

Mine – Yours (after Dance) 2020

porcelain, decal, glaze and gold lustre

incised verso: HAGUE TP / 9/2020

edition of 5

44.5cm diameter, 5cm deep

PROVENANCE

Stockroom, Kyneton (label verso)


$800–1,200

87

103

103

GREGORY WOOD (BORN 1976)

Abriacahn 2007

oil on linen

signed and dated verso: Gregory Wood 07

167.5 x 168cm

PROVENANCE

Australian Galleries, Melbourne (label verso)


$5,000–8,000

88

104

LOUIS JAMES (1920-1996)

Landscape with Buildings

oil on canvas

signed lower left: Louis James

78.5 x 97 cm

PROVENANCE


$3,000–5,000

104

105

THOMAS (TOM) GLEGHORN

(BORN 1925)

Between Two Seasons 1960

oil on board


Thos Gleghorn VIII.60


BETWEEN TWO SHOWERS /

THOMAS GLEGHORN

91 x 60cm

PROVENANCE


$2,000–3,000

106

JOHN OLSEN (1928-2023)

Lake Eyre

gouache and watercolour on paper

signed lower right: John Olsen

60.5 x 85cm

PROVENANCE

Private Collection, Perth

Sotheby's, Australian and

International Art, Melbourne,


Savill Galleries, Sydney (label verso)

Private Collection, QLD

Shapiro Auctioneers, Australian

and International Art incl. Chinese

Contemporary Art from the Estate

of Ray Hughes, Session I, Sydney,

25 May 2021, Lot 17

EXHIBITED

Modern Australian Paintings,

Savill Galleries, Sydney,

20 May - 21 June 2008 cat. no. 17

Modern & Contemporary Paintings,

Savill Galleries, Melbourne, 5 - 17 July,

Sydney 30 July - 16 August 2008,

cat. no. 19

$9,000–12,000

105

89

106

107

LEONARD HESSING

(1931-2004)

Supra Vision

oil, mixed media and collage

on canvas

signed and titled (but illegible)

verso: Hessing / Sydney

62.5 x 85.5cm

PROVENANCE

Charles Nodrum Gallery,

Melbourne (label verso)

Private collection, NSW

Shapiro Auctioneers, Sydney,

Australian and International Art,

25 August 2014, Lot 114


$1,500–2,500

107

90

108

108

MORTEN LASSEN (BORN 1968)

Surrounded Q (Surrounded Series) 2014

oil and spray on canvas

signed dated and titled verso:

MORTEN LASSEN / 2014 / 'Surrounded Q'

150 x 150.5cm

PROVENANCE

Nanda/Hobbs Contemporary, 2015


$2,000–3,000

91

109

ROBERT DEYBER (AMERICAN, 1955-2021)

Bird Call IV, 2009

acrylic on canvas

signed lower left: DEYBER

cat. no. verso: OR-DEY-0733-09

118 x 67cm

PROVENANCE

Martin Lawrence Gallery, USA (label verso)


$4,000–6,000

109

92

110

PETER D COLE (BORN 1947)

Man on Bicycle Going Home 2000

pastel on paper, diptych

signed and dated lower right: P Cole 2000

80 x 240cm

PROVENANCE

Australian Galleries, Melbourne (label verso)


$4,000–6,000

111

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

Julian Burnside & Kate Durham Collection,

Melbourne

$3,000–5,000

112

93

110

112

JOHN FIRTH-SMITH (BORN 1943)

Salmon (Red Lead) 1988

oil on linen

signed, dated and titled verso: JOHN FIRTH

SMITH / 'SALMON' / (RED LEAD) / 1988

91 x 244cm

PROVENANCE

Corporate Collection, Sydney

Deutscher + Hackett, Melbourne,



$12,000–18,000

113


Spring 1998

oil on linen

signed and dated lower right: WRIGHT '98


DOUG WRIGHT / 'SPRING' / 1998

152 x 212.5cm

PROVENANCE


$1,200–1,800

94

114

114

MINNIE PWERLE (1922-2006)

Awelye-Atnwengerrp

synthetic polymer paint on canvas

cat. no. 24183 ASS

104.5 x 123cm

PROVENANCE

Australian Contemporary Aboriginal

Art, Melbourne (accompanied by

certificate of authenticity)


$3,000–5,000

115

115

JOSIE PETRICK KEMARRE

(BORN 1955)

Bush Plum Dreaming 1996

acrylic on canvas

inscribed verso:

JOSIE PETRICK KEMARRE /.

Bush Plum Dreaming / 1996 / JP 29

124.5 x 99.5cm

PROVENANCE

Creative Native, Perth (accompanied

by a certificate of authenticity)


$1,500–2,500

95

116

116

EMILY KAME KNGWARREYE (1909-1996)

Arlatuite Dreaming 1996

acrylic on canvas

inscribed verso: UTOPIA ART / EMILY

KAMEKNGWARREYE / ARLATUITE DREAMING /

OCHRES SERIES / 96 / EKK9849

122.5 x 79.5cm

PROVENANCE

Utopia Art, Sydney


$30,000–50,000

96

117

117


Awelye-Atnwengerrp 2005


91 x 122cm

PROVENANCE

Fine Australian Aboriginal Art,

Alice Springs, cat. no. FAAA160983



$3,000–5,000

97

118

118

TOMMY WATSON (CIRCA 1935-2017)

Pukara 2012

acrylic on linen

inscribed verso: TOMMY WATSON / 'PUKARA' 2012

55.5 x 75cm

PROVENANCE

Acquired directly from the Artist (photograph

of the Artist with the painting accompanies this lot)


$3,000–5,000

98

119

119

LAWRENCE PENNINGTON (1940-2024)

Ilutjara 2015

acrylic on linen

inscribed verso: Lawrence Pennington Spinifex Arts

Project 2015 SAPLP15-64

83 x 109cm

PROVENANCE

Spinifex Arts Project, via Kalgoorlie


$1,000–2,000

120

JOHNNY SCOBIE TJAPANANGKA (BORN 1935)

Wati Dreaming

acrylic on canvas

inscribed verso: JOHNNY SCOBIE TJAPANANGKA /

CREATIVE NATIVE / PERTH / JS940586

61 x 91cm

$1,000–2,000

99

121

122

121

RAELENE KERINAUIA (BORN 1962)

Kayimwagakimi Jilamara 2003


inscribed verso: Raelene Kerinauia / 994-03

stamped verso: Jilamara

114 x 60cm

PROVENANCE

Gallery Samtuh, Seoul


EXHIBITED

Our Country, Our Art: Welcome to the Art of

Contemporary Australian Aboriginal Artists, POSCO

Art Museum, Seoul and The Australian Embassy in

Korea, 30 January - 20 February 2004, cat. no. 2, p. 53

(illustrated) (exhibition catalogue accompanies this lot)

$1,500–2,500

122

WILLIE TJUNGURRAYI (1932-2018)

Tingari at Kaakuratintja 2002

acrylic on Belgian linen

inscribed verso: WILLY TJUNGURRAYI / WT0302

149 x 90cm

PROVENANCE

Arnhemland Art N.T., Darwin

Private Collection, Melbourne

$2,000–4,000

100

123 124

123

BETTY CLUB MBITJANA (BORN 1955)

Awelye and Bush Melon 2008

acrylic on linen

inscribed verso: Betty Mbitjana

208 x 119cm

PROVENANCE


$800–1,200

124

GABRIELLA POSSUM NUNGURRAYI

(BORN 1967)

Seven Sisters Dreaming

acrylic on canvas

inscribed verso: Gabriella Possum Nungurrayi

200 x 100cm

PROVENANCE


$2,000–4,000

101

125


Awelye – Atnwengerr 2005


cat. no.: FAAA160982

91.5 x 122cm

PROVENANCE

Fine Australian Aboriginal Art,

Alice Springs (accompanied by a



$3,000–5,000

125

126


Untitled 2004


inscribed verso: IW1850 / Nov 04

99.5 x 124.5cm

PROVENANCE


$3,000–5,000

126

102

127

127

BEERBEE MUNGNARI (BORN CIRCA 1935)

Mt Burns – Rosewood Station 2003

natural ochre pigments on canvas

inscribed verso: BEERBEE

99 x 118cm

PROVENANCE

Our Land Gallery, Kununarra, Western Australia

(accompanied by certificate of authenticity)


$1,000–1,500

128

IAN WALDRON (BORN 1950)

Morr Morr Good News Story 2003

synthetic polymer paint on board tiles

each signed, dated and titled verso: MORR MORR GOOD

NEWS STORY / IAN WALDRON / 2003 / #19733

120 x 60 cm (each)

120 x 240cm (overall)

PROVENANCE


EXHIBITED

Finalist, National Aboriginal and Torres Strait Island Art

Awards, MAGNT, 2003

NOTES

Before pursuing a degree in Visual Arts at Northern

Territory University in the mid-1990s, Ian worked

across several different industries. His artistic practice

consistently honours the heritage and stories of the

Kurtjar people from his native Gulf of Carpentaria. Based

in his Far North Queensland studio for many years, Ian has

produced numerous series of artworks, primarily focusing

on painting and installation. His pieces often explore

recurring themes such as personal characters, significant

locations, and memories; particularly symbols like the

Bloodwood totem and the black cockatoo. In 2010, Ian

won the prestigious Glover Prize in Tasmania and has been

named a finalist in The Wynne Prize at the Art Gallery of

New South Wales on three occasions.

$2,000–4,000

103

129

PATSY ANGUBURRA

LULPUNDA (1898-2000)

Birds 2000


75 x 67cm

PROVENANCE

Aboriginal Gallery of Dreamings,

Melbourne

The Estate of the Late Paul Walsh,

Melbourne

$2,000–4,000

129

130

IRENE MBITJANA ENTATA

(1946-2014)

Red Shirt Smoking Cowboy 2010

painted terracotta pot

signed with initials and numbered

on base: IE 532.10 / AK17819

26 x 16cm

PROVENANCE

Hermannsburg Potter Aboriginal

Corporation, Hermannsburg, NT

(accompanied by a certificate of

authenticity)

Alcaston Gallery, Melbourne

(cat no. on base)


$1,500–2,500

130

104

131

132

131

ANNE MARIE GRAHAM (BORN 1925)

Camel Rides 2002

oil on linen

signed and dated lower right: Anne Marie Graham 02

45.5 x 89.5cm

PROVENANCE


$1,500–2,500

132

GEOFFREY DYER (1947-2020)

Still Morning, Lake Scene

mixed media and watercolour on paper on board

signed lower right: Dyer

54.5 x 84cm

PROVENANCE


$1,000–2,000

105

133

133


Dance under the Southern Cross 1996

oil on board

signed and dated lower left: David Boyd 1996

inscribed verso: 'Dance under the / Southern Cross' /

From the Legend of Europa and the Cockatoos series I

48 x 49.5cm

PROVENANCE

Tom Mathieson Gallery, Sydney (label verso)

Sotheby's, Melbourne, Fine Australian

& International Paintings, 29 November 2004, Lot 94


$7,000–10,000

134


Figures Playing in the Apple Orchard



30 x 40.5cm

PROVENANCE

Artistry Galleries, Melbourne (label verso)


$5,000–8,000

106

135


Footballers 1977

watercolour on paper

signed, titled and dated upper right:

Donald Friend / '77 / footballers

49.5 x 35.5cm

PROVENANCE


$1,500–2,500

135

136

136

KEVIN (PRO) HART

(1928-2006)

Dragonfly

oil on board


34 x 46cm

PROVENANCE

Artistry Fine Arts, Melbourne


$2,500–4,500

107

137

137


Old Factory

synthetic polymer paint and enamel spray on board

signed lower right: Nolan

signed and titled verso: Nolan / Old Factory

120.5 x 90cm

PROVENANCE

Private collection

Sotheby's, Melbourne, Fine Australian, Aboriginal and

International Paintings, 22 November 1999, Lot 226

Adrian Slinger Galleries, Queensland


Bonhams & Goodman, Melbourne, Australian and

International Fine Art, 24 November 2009, Lot 45


$15,000–20,000

108

138

VIC O'CONNOR (1918-2010)

Early Morning, Polperro 1974



V.G. O'Connor '74

42 x 57.5cm

PROVENANCE

Australian Galleries, Melbourne

(label verso)

Private collection Melbourne

The Temple Gallery Fine Art, Sorrento


EXHIBITED

Exhibition of Works by Vic O'Connor,

Australian Galleries, Melbourne,

April 1974

$1,000–1,500

138

139

139

LOUIS KAHAN (1905-2002)

The Shearers 1977

oil on canvas


Louis Kahan 77

64.5 x 90cm

PROVENANCE


Thence by descent

EXHIBITED

Sheep and Shearers, Hamilton Art

Gallery, Victoria, 2006 (possibly)

$1,000–1,500

109

140

140

ELAINE HAXTON (1909-1999)

Country Wedding 1948

oil on board

signed and dated lower right: ELAINE HAXTON 1948

49 x 59cm

PROVENANCE


$4,000–6,000

141

RUSSELL DRYSDALE (1912-1981)

Ringer 1972


signed lower right: Russell Drysdale

19.5 x 19.5cm

PROVENANCE

Realities Gallery, Melbourne (label verso)

The Estate of the Late Tony and Christina Nicholas,

Melbourne

$1,200–1,800

110

142

TIMMY PAYUNGKA

TJAPANGATI

(CIRCA 1935-2000)

Untitled 2000

synthetic polymer paint with natural

earth pigments on canvas

inscribed verso:

TIMMY PAYUNGKA 2000 / payungka

76.5 x 101cm

PROVENANCE


$2,000–3,000

142

143

143

PINCHER TALUNGA

(CIRCA 1937-2012)

Traditional Designs 2002

acrylic on canvas

inscribed verso:

Pincher Talunga / P0366 / KB1121 /

KAREN BROWN GALLERY

54.5 x 79.5cm

PROVENANCE

Karen Brown Gallery, Darwin

The Estate for Emeritus Professor

John Rickard, Melbourne

EXHIBITED

Pincher Talunga, Karen

Brown Gallery, Darwin,

27 August - 6 September 2002

Group Exhibition: Melbourne Art Fair,

Karen Brown Gallery, 2 - 6 October

2002 (exhibition and purchase

documents accompany this lot)

$1,500–2,000

111

144

144

JARRED JANGALA ROBERTSON (BORN 1979)

Ngapa 2011

acrylic on canvas

inscribed verso: JARRED JANGALA ROBERTSON 2011 /

ERNABELLA ARTS #497-11

74 x 75cm

PROVENANCE

Ernabella Arts, Pukatja, SA


McCulloch & McCulloch, VIC



$1,000–2,000

145

EMILY PWERLE (BORN 1925)

Awelye Atnwengerrp 2006

acrylic on linen

inscribed verso: Emily Pwerle / 'Awelye Atnwengerrp' 2006

/ DG 06769 / AKG 1066 / 022

181.5 x 122cm

PROVENANCE

DACOU Gallery, Adelaide


$4,000–6,000

112

146

DINI CAMPBELL

TJAMPITJINPA (1940-2000)

Tingari 1993


inscribed verso (under frame):

DINI CAMPBELL / PAPUNYA TULA

ARTISTS / DC930512

46 x 38.5cm

PROVENANCE

Papunya Tula Artists Pty Ltd,


certificate of

authenticity)


Melbourne

$1,000–1,200

146

147

147

DINI CAMPBELL

TJAMPITJINPA (1940-2000)

Tingari 1992


inscribed verso: Property of Papunya

Tula Artists P/L / DC920231

91 x 91.5cm

PROVENANCE





Melbourne

$1,000–1,200

113

148

NINGURA NAPURRULA

GIBSON (1938-2013)

Untitled 1999


inscribed verso: Ningura Napurrula

/ Papunya Tula Artists Pty Ltd /

NN9912165 / #8105

61.5 x 56.5cm

PROVENANCE


Alice Springs


Melbourne

$1,800–2,000

148

149

JOHNNY YUNGUT

TJUPURRULA

(CIRCA 1930-2006)

Tjangimanta 2002


inscribed verso: Johnny Yungut

Tjupurrula / Papunya Tula Artists Pty

Ltd / JY0212116

121 x 121 cm


authenticity)

PROVENANCE

Papunya Tula Artists, Alice Springs


$1,000–2,000

149

114

150

150

MANTUA NANGALA (BORN CIRCA 1959)

Yunala 2002

acrylic on canvas

inscribed verso: MANTUA NANGALA / 200224

183 x 303cm

PROVENANCE

Yanda Aboriginal Art, Alice Springs



$2,000–4,000

115

151

GEORGE WARD TJUNGURRAYI

(BORN CIRCA 1945)

Untitled 2006


inscribed verso: George Ward

Tjungurrayi / Papunya Tula Artists

Pty Ltd / GW0607186

60.5 x 55.5cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice

Springs (accompanied by a certificate

of authenticity)


Melbourne

$2,000–2,500

151

152

WALIMPIRRINGA

TJAPALTJARRI

(BORN CIRCA 1950)

Untitled

acrylic on canvas

inscribed verso: Walimpirringa

Tjapaltjarri / Papunya Tula Artists Pty

Ltd / WT200001162

121.5 x 107cm

PROVENANCE



$2,000–4,000

152

116

153 154

153

KANYA TJAPANGATI (BORN 1950)

Kirritjinya 1989


inscribed verso: KANYA TJAPANGATI /

Property of Papunya Tula Artists P/L / KT890751

94 x 41.5cm

PROVENANCE

Papunya Tula Artists Pty Ltd, Alice Springs



$1,200–1,800

154

PINTA PINTA TJAPANANGKA (1937-1999)

Kalya 1995


inscribed verso: Pinta Pinta Tjapanangka / PROPERTY OF

PAPUNYA TULA ARTISTS PTY LTD / PP950597

61 x 31cm

PROVENANCE




$1,200–1,800

117

155

155

MICK NAMARARI TJAPALTJARRI (1926-1998)

Untitled 2004


inscribed verso: MICK NAMARARI TJAPALTJARRI /

PROPERTY OF / ABORIGINAL GALLERY /

OF DREAMINGS / 2004 95MN

92 x 122cm

PROVENANCE

Aboriginal Gallery of Dreamings, Melbourne


$1,500–2,500

156

TIMMY PAYUNGKA TJAPANGATI

(CIRCA 1935-2000)

Untitled, circa 1987

synthetic polymer paint on canvasboard

inscribed verso: Timmy PAYUNGKA TJAPANGATI /

DEPICTS CEREMONIAL HEAD-DRESS ASSOCIATED

/ WITH CEREMONIES AT PARAYILPIL NEAR LAKE

MACKAY / TP870398

45.5 x 38cm

PROVENANCE


$1,000–1,500

118

157 158

157

CHARLIE WALLABI TJUNGURRAYI

(BORN CIRCA 1945)

Pilkati 2007


inscribed verso: Charlie Wallabi Tjungurrayi /

Property of Papunya Tula Artists Pty Ltd / CW0709189

105 x 28cm

PROVENANCE




$1,000–2,000

158

WALANGKURA NAPANANGKA (1922-2010)

Mantati 1997


inscribed verso: Walangkura Napanangka / Papunya Tula

Artists Pty Ltd / WN970778 / AGOD / 6888

91 x 45cm

PROVENANCE



Aboriginal Gallery of Dreamings, Melbourne (cat. no. verso)


$1,800–2,200

119

159

PATRICK OLOODOODI TJUNGURRAYI

(CIRCA 1935-2017)

Mumpanga Rockhole

acrylic on linen

inscribed verso: Patrick Tjungurrayi /

Papunya Tula Artists Pty Ltd / PT9905158

168 x 45cm

PROVENANCE



Private Collection, Adelaide

$2,000–4,000

160

TIMMY PAYUNGKA TJAPANGATI

(CIRCA 1935-2000)

Untitled


inscribed verso: TIMMY PAYUNGKA TJAPANGATI /

PROPERTY OF PAPUNYA TULA ARTISTS P/L / TP950230

61 x 54cm

PROVENANCE




$1,500–2,500

159

120

161

NYILYARI TJAPANGATI (BORN CIRCA 1965)

The Lake Site of Wilkinkarra 2006


inscribed verso: Nyilyari Tjapangati /

Property of Papunya Tula Artists Pty Ltd / NT0612163

105 x 26.5cm

PROVENANCE



Gallery Gabrielle Pizzi (label verso and purchase receipt

accompany this lot)


$2,500–3,000

162

YALA YALA GIBBS TJUNGURRAYI (1924-1998)

Untitled


inscribed verso: YALA YALA GIBBS

34.5 x 64cm

PROVENANCE


$800–1,200

161

121

163

164

163

DJAMBAWA MARAWILI (BORN 1952)

Burraltja #2, 1997

natural earth pigments on eucalyptus bark

inscribed verso: 269BAN / 1308-W /

DJAMBAWA MARAWILI / MADARRPA CLAN

140 x 60.5cm

PROVENANCE

Buku-Larrngay Mulka Art Centre, Yirrkala, Northern

Territory (accompanied by certificate of authenticity)


$4,000–6,000

164

DJAMBAWA MARAWILI (BORN 1952)

Garrinyirri, 1997

natural earth pigments on eucalyptus bark

inscribed verso: MAYAWULUK / 1409 - C /

DHUDI - DTAPU, 4/97

136.5 x 51cm

PROVENANCE

Buku-Larrngay Mulka Art Centre, Yirrkala, Northern

Territory (accompanied by certificate of authenticity)


$4,000–6,000

122

165

JOHN ALLCOT (1888-1973)

East Asiatic Building,

Pitt Street, Sydney 1960

oil on board


John Allcot 1960

49.5 x 39.5cm

PROVENANCE

Matt Henry Art Broker, Bangalow


authenticity)


$2,000–3,000

165

166

166

LLOYD REES (1895-1988)

Princes Bridge, Melbourne 1917

pencil and ink on paper


L REES 1917

9 x 10.5cm

PROVENANCE


$2,000–4,000

123

167

167

WILLIAM BUSTARD (1894-1973)

Soldiers at Work 1942


signed and dated lower right: W BUSTARD AUG 1942

33.5 x 45.5cm

OTHER NOTES

This watercolour was painted from sketches Bustard

made while on active service as camouflage officer with

the R.A.A.F. The image illustrates a project located at

Gayndah, Queensland involving the camouflaging of three

storage tanks by turning them into a dummy farm. Bustard

was called on to cover home front activities in 1942

after applying but not being accepted to be an official

war artist. Despite never becoming an official war artist

Bustard was approached by archivist John Treloar in 1949

to see if he had any war-themed artworks that might be

acquired for the collection.

The artist made the following detailed notations on the

technical aspects of the project. 'The depot was situated

at Gayndah Queensland on the Monto line and comprised

of three large storage tanks of High Octane Aviation spirit.

The tanks were bricked all around, the bricks were toned

down, to eliminate colour, with paint. Around the base of

the tanks were banks of earth to form a saucer like shape

in case a blast cracked the structure to keep the petrol

in a local position. The little piggery (Dummy) was placed

to cover up lots of the pixing pikes, The delivery shed was

camouflaged to look like an ordinary cottage. One of the

large tanks was made to appear like some country flour

mill and the others were made to appear like large clumps

of trees that were common to the district. The earth works

were a big problem on account of the enormous area they

covered. The mixing room, guard room and automatic fire

shed for pumping foam were all treated in a manner to fit

in with the surrounding landscape. From the air at no time

was it possible to see a shadow of the straight edges of

the tanks as observations were made at all times of the

day. The R.A.A.F took many photographs at varying stages

of the work.’

$3,000–5,000

124

168

HILDA RIX NICHOLAS

(1884-1961)

Resting Breton Woman

crayon and pastel on paper

signed lower and upper right:

EH Rix / E H Rix Nicholas

32 x 25.5cm

PROVENANCE


Thence by descent

$4,000–6,000

168

169

169

HILDA RIX NICHOLAS

(1884-1961)

Seated Man

pastel on paper

signed lower left: E H Rix

31 x 22 cm

PROVENANCE


$2,500–3,500

125

170

170

ERNEST BUCKMASTER (1897-1968)

The Jade Necklace, Portrait of a Young Lady


signed lower right: E Buckmaster

85 x 59.5cm

PROVENANCE


Thence by descent

$2,500–3,500

126

171

171


Rhododendrons

oil on canvas


83.5 x 67.5cm

PROVENANCE


Thence by descent

$4,000–6,000

127

172

172


Purple and White Hydrangeas

oil on canvas

signed lower left: E Buckmaster

71 x 94cm

PROVENANCE


Thence by descent

$4,000–6,000

128

173

RUBERY BENNETT (1893-1987)

Burragorang Valley

oil on board

signed lower left: RUBERY BENNETT

14 x 19cm

PROVENANCE


$800–1,200

173

174


Figures in a Bush Clearing

oil on board

signed lower right:

RUBERY BENNETT

14 x 19cm

PROVENANCE


$1,000–1,500

174

175


Fishing in the

Burragorang Valley

oil on board

14 x 19cm

PROVENANCE


$1,000–1,500

129

176

ERNEST BUCKMASTER

(1897-1968)

Morning Light

oil on canvas

signed lower right: E. Buckmaster

65 x 82.5cm

PROVENANCE


$4,000–6,000

176

177

ERNEST BUCKMASTER

(1897-1968)

Quiet Morning, Thornton



64.5 x 85cm

PROVENANCE


$4,000–6,000

177

130

178

179

178

ALBERT C COOKE (1836-1902)

Brighton Beach, circa 1865

watercolour

13.5 x 24cm

PROVENANCE


$2,000–3,000

179

HENRY SILKSTONE HOPWOOD (1860-1914)

Balmoral

watercolour

signed and dated: Hopwood / 1888 / Balmoral

20 x 32.5cm

PROVENANCE


$1,500–2,500

131

180

180

THOMAS WRIGHT (1830-1881)

Ellen's Head, Phillip Island, 1874

oil on canvas

signed and dated lower left: Thos Wright 1874

61 x 91.5cm

PROVENANCE

Private collection

Davidson Auctions, Sydney, Australian & International Art,

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

Australasian Coast')


EXHIBITED

The Fourth Exhibition of the Victorian Academy of Arts,

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

LITERATURE

'The Victorian Academy of Arts: Third Notice',

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

OTHER NOTES

Original, Isaac Whitehead, Melbourne

$10,000–15,000

132

181

181

FREDERICK STRANGE (1807-1873)

Devil's Punchbowl, Close to Launceston

pencil and watercolour on paper

titled on margin: Devil's Punchbowl, Close to Launceston

20.5 x 28.5cm

PROVENANCE

Gift to G. B. Harrison from his children, Launceston,

Christmas 1856; thence by descent in the Miller family.

Sotheby's, London, 15 February 1990

Private collection, Tasmania.

Sotheby's, Melbourne, Fine Australian

and European Paintings, 28 April 1998, Lot 159


REFERENCE

Craig, C. and Mead, I., 'Frederick Strange, artist,

c. 1807-1873', Papers and Proceedings of the Royal Society

of Tasmania, vol. 97, 1963 Stillwell, G. T. and Kerr, J., in

the Dictionary of Australian Artists, Painters, Sketchers,

Photographers and Engravers to 1870, Oxford University

Press, Melbourne, 1992, pp. 765f

$8,000–10,000

133

182

182

FRANK BRANGWYN (1867-1956)

Spanish Shepherd 1895


signed, dated and inscribed lower left:

F Brangwyn To His Friend / J. Longstaff, 1895

inscribed verso: 'In Spain' / Frank Brangwyn RA /

Lent by Sir John Longstaff

48 x 74.5cm

PROVENANCE

The Estate of the Late Sir John Longstaff by John

Livingston III on the 25th October, 1943 cat. no. 188

Megaw & Hogg Auctions, Adelaide, The Livingstone Family

Estate 1843-1991, 22 March 1992, Lot 74


EXHIBITED

Exhibition of Paintings by the Late Sir John Longstaff,

Athenaeum Gallery, Melbourne, 25 May - 6 June 1942,

cat. no. 81

$2,000–3,000

134

183

184

183

NELLIE HADDEN

Self Portrait of the Artist with a View

of Bombay City from Cumballa Hill 1909


signed with initials and dated: N H 1909

inscribed with label verso

25 x 47.5cm

PROVENANCE


$1,000–1,500

184

CHARLES CONDER (1868-1909)

Ladies on the Terrace

gouache, watercolour and pencil on paper

22.5 x 29cm

PROVENANCE

Joseph Brown Gallery, Melbourne, Spring Exhibition 1974

(label verso)


$2,500–4,500

135

185

185

JOHN GLOVER (1767-1849)

Durham Cathedral, Misty Morning


label verso: Thomas Agnew & Sons, London / stock no.9210

75 x 110cm

PROVENANCE

Thomas Agnew & Sons, London

Private collection, Western Australia

Leonard Joel, Melbourne, Fine Art, 16 September 2014, Lot 148


$8,000–12,000

136

186

186

KARL MARKO II (HUNGARY, 1822-1891)

Casa Luca in Cortina 1877

oil on canvas

signed and dated lower left: C Marko 1877

inscribed with title verso: Casa Luca In Cortina

34 x 40.5cm

PROVENANCE


$2,000–4,000

137

187

187

LUIGI BISI (ITALIAN, 1814-1886)

Interno del Duomo di Milano

(Interior of Milan Cathedral)

oil on canvas

signed indistinctly lower right: Luigi ...

138 x 103.5cm

PROVENANCE


$8,000–12,000

138

188

188

CIRCLE OF JOHAN VANDERBANCK

Portrait of Cecilia Dering Scott, circa 1728

oil on canvas

inscribed upper left: Cecilia 2nd. Wife of George Scott / of

Scott's Hall Kent & Daughter / of Sir Edward Dering Bart of

/ Surrey den Dering Kent Obit 1764

124.5 x 100cm

PROVENANCE

Cecilia Dering Scott, Scott's Hall, Kent

Thence by descent through marriage to Thomas Fairfax

Best (1786-1849), Chilston Park and Wierton, Kent

Thence by descent through the family to Hugh Scott

(1885-1960)

Phillips, London Dec 14, 1993

Private collection, France

Titan Fine Art, London


$4,000–6,000

189

WILLIAM COLLINS, R.A. (BRITISH 1788-1847)

Boy by a Stream, circa 1810

oil on canvas

44.5 x 59.5cm

PROVENANCE


$800–1,200

139

190

190

CIRCLE OF MICHAEL DAHL

Portrait of a Young Girl holding a Flower

oil on canvas

120 x 93cm

PROVENANCE

Isherwood Antiques, Sydney


$8,000–12,000

191

DUTCH SCHOOL

Cherub in the Wine Cellar 1749

oil on panel

signed with initials but illegible and dated: 1749

21.5 x 30cm

PROVENANCE


$800–1,200

140

192

CIRCLE OF PETER LELY

Portrait of a Lady in

Neo-Classical Attire

oil on canvas


School of Lely / 1675

72.5 x 60cm

PROVENANCE

Estate of Dorothy Spry

Shapiro Auctioneers, Sydney,

Three Centuries of Art & Design,



$2,000–3,000

192

193

HORACE F ALLKINS

(ACTIVE 1890s)

The Fortune Teller 1893

oil on canvas

signed, dated and inscribed lower

left: H F Allkins '93 / after Phillip

109.5 x 146.5cm

PROVENANCE


$1,000–2,000

193

141

194

194

CIRCLE OF SIR PETER LELY

Henrietta Hyde, Countess of Rochester

oil on canvas

stamped verso: 423MN 766 LJ

inscribed to label verso:

supposed to be Aunt to the late Mr Montague / £ 1-74

inscribed to label verso: Dining Room / No.

(partially legible)

housed within original Sunderland frame

118 x 94cm

PROVENANCE

Mossgreen Auctions, Melbourne, International

Decorative Arts, Melbourne, 29 August 2017, Lot 804


NOTE

The Sunderland frame is an English adaptation of an

auricular style frame, and take their name from Robert

Spencer, 2nd Earl of Sunderland, who used these to frame

artworks at Althorp.

$10,000–15,000

142

195

COLIN COLAHAN (1897-1987)

Winter Scene

oil on canvas

signed lower right: Colahan

56.5 x 66.5cm

PROVENANCE


$1,500–2,500

195

196

196

LOUIS BUVELOT (1814-1888)

Swiss Landscape with House

1869



L Buvelot / 1869

18.5 x 24cm

PROVENANCE


$1,000–1,500

143

197

JAN WEISSENBRUCH

(DUTCH, 1824-1880)

Dutch Village with Figures

oil on panel

signed lower right:

JAN WEISSENBRUCH

26 x 23cm

PROVENANCE


$4,000–6,000

198

JOOST CORNELISZ

DROOCHSLOOT

(DUTCH, 1586-1666)

Classical Landscape with

Figures and Buildings

oil on panel

monogrammed lower left: JD 1647

24.5 x 71cm

PROVENANCE


$3,000–5,000

197

198

144

199

199

THOMAS (TOM) ROBERTSON (1850-1947)

Breton Rocks, circa 1892

oil on board

signed lower right: T Robertson

inscribed on label verso: Breton Rocks

24 x 34cm

PROVENANCE

Private collection, Castlemaine

$600–800

200

ROBERT JOHNSON (1890-1964)

New South Wales Landscape


signed lower left: Robert Johnson

34.5 x 43cm

PROVENANCE


Thence by descent

$800–1,200

145

201

HANS HEYSEN (1877-1968)

Sunny Landscape in Autumn,

circa 1902


certificate of authenticity verso,

signed by from David Heysen

24.5 x 32.5cm

PROVENANCE


$2,000–3,000

201

202

MILES EVERGOOD (1871-1939)

Landscape with Figures

and Motor Car

oil on board

certificate of authenticity verso,

signed Gael Hammer

29 x 39cm

PROVENANCE

The Studio of Miles Evergood (Gael

Hammer is the artist's great-niece)


$1,200–1,800

202

146

203

203

ELIZABETH DURACK (1915-2000)

Morning, Aboriginal Mothers with Children

watercolour and dyeline on paper

signed centre right: Elizabeth / Durack

43 x 58cm

PROVENANCE

Acquired directly from the artist, circa 1957

Private collection, London

Thence by descent

$1,800–2,500

204

ELIZABETH DURACK (1915-2000)

Portrait of a Young Girl with Blue Scarf

pastel on paper

signed lower right: E Durack

inscribed indistinctly lower left

52.5 x 37cm

PROVENANCE

Acquired directly from the artist, circa 1957

Private collection, London

Thence by descent

$800–1,200

205

RUSSELL DRYSDALE (1912-1981)

Portrait of a Young Girl


signed and inscribed lower right and left:

Russell Drysdale / Happy Birthday Dahl

17.5 x 14.5cm

PROVENANCE

Christie's, Melbourne,

Australian and European Paintings,

27 April 1998, Lot 288


$1,500-2,500

206


Monkey

oil on paper

signed with initial lower left: N

61.5 x 51cm

PROVENANCE

Private Collection, London

$2,000–4,000

147

207

207

ROY DALGARNO (1910-2001)

The Mines, Northern

Queensland 1945

oil on canvas


Roy Dalagarno 45

61 x 81cm

PROVENANCE


$3,000–5,000

208

RAY CROOKE (1922-2015)

Figures in Northern Queensland


signed lower left: R Crooke

29.5 x 37.5cm

PROVENANCE

Private collection, New York


$1,000–2,000

208

148

209

KEVIN (PRO) HART

(1928-2006)

Preparing for the Feast

oil on board


Pro Hart / PREPARING FOR THE

FEAST

inscribed verso: (STUDY) 'ABOS

WITH CHINESE' / FROM PALMER

RIVER / SERIES

59.5 x 59.5cm

PROVENANCE


$4,000–6,000

209

210

210

MAX MANNIX (BORN 1939)

Thoughts


signed and titled lower left:

MAX / MANNIX THOUGHTS

39 x 49.5cm

PROVENANCE


$1,500–2,500

149

211

211

GEOFFREY WILSON

(BORN 1927)

Farm Sheds on a Rising Hill,

McLaren Vale 2002

oil on canvas


GEOFF WILSON 2002


GEOFF WILSON / 2002 / 'FARM

SHEDS ON A RISING HILL'

(MCLAREN VALE)

69.5 x 100cm

PROVENANCE


$3,000–5,000

212


Gathering on the River Bank

oil on board


31 x 47.5cm

PROVENANCE


$3,000–5,000

212

150

213

214

213

ROSS WILSMORE (BORN 1953)

Landscape

oil on board

signed lower right: R Wilsmore

97.5 x 198.5cm

PROVENANCE


$1,500–2,500

214

PHILIP POMROY (BORN 1947))

Nourlangie Rock, Kakadu

oil on canvas

signed and dated lower right: P. R. POMROY / 10-7-2003

titled verso: 'NOURLANGIE ROCK' / AND ANBANGBANG

BILLABONG / KAKADU / NORTHERN TERRITORY

72 x 148cm

PROVENANCE


$1,500–2,500

151

215

215

LEIGH HEWSON-BOWER

(BORN 1947)

Cape Freycinet 2003

oil on canvas


L Hewson-Bower

96 x 133cm

PROVENANCE


$6,000–9,000

216

KEVIN (PRO) HART

(1928-2006)

Sunday Afternoon

oil on board

signed lower right: PRO HART

titled verso: SUNDAY AFTERNOON

14 x 14.5cm

PROVENANCE


$1,000–1,500

216

152

217

217


An Assembly of Table Statuettes

with Viewing Window 1983

oil on linen

signed lower right: Wright '83


DOUGLAS WRIGHT / ''AN ASSEMBLY OF TABLE /

STATUETTES WITH VIEWING / WINDOW' 1983

122 x 155cm

PROVENANCE


$800–1,200

153

218

218

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

154

219

219


Three Boys

watercolour, wash and ink on paper

signed lower right: Donald Friend

76.5 x 56.5cm

PROVENANCE

Private collection, Melbourne, circa 1995

$2,000–4,000

155

220

220

NICK KOSCUIK (AMERICAN, BORN 1964)

We Love Her When She Wakes

oil on board

signed lower right: NICK KOSCUIK

75 x 100.5cm

PROVENANCE


$2,000–3,000

End of Sale

156

Artist Index

A

Allcot, John 165

Allkins, Horace F 193

Anderson, John 98, 218

Arkley, Howard 80, 81

B

Baldessin, George 74

Barton, Del Kathryn 23

Beckett, Clarice 57

Bell, George 46

Bennett, Rubery 173, 174, 175

Bisi, Luigi 187

Black, Dorrit 60

Blackman, Charles 79, 88

Bosco, Giacinto 101

Boyd, David 6, 17, 26, 27, 30, 92, 100, 133,

134

Boyd, Penleigh 58

Brack, John 36, 37, 38, 39, 40

Brangwyn, Frank 183

Brennan, Angela 21

Bromley, David 96

Buckmaster, Ernest 170, 171, 172, 176, 177

Bustard, William 167

Buvelot, Louis 196

Byrne, Sam 1, 2, 3

C

Canning, Criss 9

Colahan, Colin 195

Cole, Peter D 110

Collins R.A., William 189

Colquhoun, Alexander 42

Colquhoun, Amalie 12

Conder, Charles 184

Cooke, Albert C 178

Counihan, Noel 87

Cox, Dale 19

Crichton, Richard 94

Crooke, Ray 208

D

Dahl, Circle Of Michael 190

Dalgarno, Roy 207

Deyber, Robert 109

Dridan, David 16

Droochsloot, Joost Cornelisz 198

Drysdale, Russell 141, 205

Durack, Elizabeth 203, 204

Dutch School 191

Dyer, Geoffrey 14, 132

E

Entata, Irene Mbitjana 130

Evergood, Miles 202

F

Férat, Serge 31

Figuerola, Alma 43, 44, 47, 48, 48, 50

Firth-Smith, John 112

Flint, Prudence 8

Francis, Ivor 55

Friend, Donald 83, 89, 135, 219, 220

G

Gibson, Ningura Napurrula 148

Gleghorn, Thomas (Tom) 105

157

Glover, John 185

Graham, Anne Marie 131

Griffiths, Harley 45

Gruner, Elioth 56

H

Hadden, Nellie 184

Hague, Robert 102

Hart, Kevin (Pro) 91, 93, 136, 209, 212, 216

Haxton, Elaine 140

Hessing, Leonard 107

Hester, Joy 34, 35

Hewson-Bower, Leigh 215

Heysen, Hans 201

Hodgkinson, Frank 70

Hopwood, Henry Silkstone 179

Humphries, Barry 5

J

James, Louis 104

Johnson, Robert 200

Johnson, Tim 99

K

Kahan, Louis 139

Keeling, David 18, 20

Kemarre, Josie Petrick 115

Kemp, Roger 77, 78

Kerinauia, Raelene 121

Kngwarreye, Emily Kame 116

Koenig, Karl 73

Kohlhagen, Lisette 67

Koscuik, Nick 220

L

Lassen, Morten 108

Lely, Circle of Peter 192

Lely, Circle of Sir Peter 194

Lulpunda, Patsy Anguburra 129

M

Mahood, Marguerite 69

Mannix, Max 210

Marawili, Djambawa 162, 163

Marko II, Karl 186

Mbitjana, Betty Club 123

Meeson, Dora 52, 53

Merfield, Bertha 11

Mora, Mirka 24, 25, 86

Mungnari, Beerbee 127

N

Nangala, Mantua 150

Napanangka, Walangkura 158

Nicholas, Hilda Rix 168, 169

Nolan, Sidney 82, 90, 137, 206

Nungurrayi, Gabriella Possum 124

O

O’Connor, Vic 138

Olsen, John 7, 85, 106

P

Pennington, Lawrence 119

Pignon, Edouard 75

Plante, Ada 51

Pollard, John P 72

Pomroy, Philip 214

158

Artist Index (continued)

Pwerle, Emily 145

Pwerle, Minnie 114, 117, 125, 126

Q

Quilty, Ben 28

R

Rees, Lloyd 166

Richards, Gordon 97

Robertson, Jarred Jangala 144

Robertson, Thomas (Tom) 200

Robson, Brad 22

Rosengrave, Harry 68

S

Sainthill, Loudon 33

Sawrey, Hugh 4

Shore, Arnold 41

Spowers, Ethel 61, 62

Strange, Frederick 182

Streeton, Arthur 59

Sweatman, Estelle (Jo) 10, 13

Syme, Eveline 63, 64, 65, 66

T

Talunga, Pincher 143

Taylor, John H 71

Teague, Violet 29

Tjampitjinpa, Dini Campbell 146, 147

Tjapaltjarri, Mick Namarari 155

Tjapaltjarri, Walimpirringa 152

Tjapanangka, Johnny Scobie 120

Tjapanangka, Pinta Pinta 154

Tjapangati, Kanya 153

Tjapangati, Nyilyari 161

Tjapangati, Timmy Payungka 142, 156, 160

Tjungurrayi, Charlie Wallabi 157

Tjungurrayi, George Ward 151

Tjungurrayi, Patrick Oloodoodi 159

Tjungurrayi, Willie 122

Tjungurrayi, Yala Yala Gibbs 162

Tjupurrula, Johnny Yungut 149

V

Vale, May 49

Vanderbanck, Circle of Johan 188

Vassilieff, Danila 32, 84

W

Wakelin, Roland 54

Waldron, Ian 128

Watkins, Richard (Dick) 111

Watson, Tommy 118

Weissenbruch, Jan 197

Williams, Fred 15, 76

Wilsmore, Ross 213

Wilson, Geoffrey 211

Wood, Gregory 103

Wright, Doug 95, 113, 217

Wright, Thomas 180

159

Copyright

4 © Hugh Sawrey/

Copyright Agency, 2025

6 © David Boyd/


7 © John Olsen/


9 © Criss Canning/


14 © Geoffrey Dyer/


15 © Fred Williams/


17 © David Boyd/


21 © Angela Brennan/


23 © Courtesy of the artist and Roslyn

Oxley 9 Gallery, Sydney

24 © Mirka Mora. Courtesy of William

Mora Galleries, Melbourne



26 © David Boyd/


27 © David Boyd/


28 © Courtesy of the artist, Tolarno

Galleries, Melbourne and Jan

Murphy Gallery, Brisbane

30 © David Boyd/


31 © Serge Ferat/


34 © Joy Hester/


35 © Joy Hester/


36 © Helen Brack

37 © Helen Brack

38 © Helen Brack

39 © Helen Brack

40 © Helen Brack

55 © Ivor Francis/


63 © Estate of Eveline Syme




70 © Frank Hodgkinson/


72 © John Pollard/


74 © George Baldessin/


76 © Fred Williams/


77 © Courtesy of the Estate of Roger

Kemp

78 © Courtesy of the Estate of Roger

Kemp

79 © Charles Blackman/


82 © The Sidney Nolan Trust.

All rights reserved. DACS/


83 © Donald Friend/


160

Copyright (continued)



87 © Noel Counihan/


88 © Charles Blackman/







92 © David Boyd/


100 © David Boyd/


102 © Robert Hague/


104 © Louis James/


105 © Thomas Gleghorn/


106 © John Olsen/


111 © Richard Watkins/


112 © John Firth-Smith

114 © Minnie Pwerle/


115 © Josie Petrick Kemarre/


116 © Emily Kame Kngwarreye/




118 © Tommy Watson/


119 © Lawrence Pennington/


121 © Raelene Kerinauia/


122 © Willie Tjungarrayi/


124 © Gabriella Possum Nungurrayi/






127 © Beerbee Mungnari/


130 © Irene Mbitjana Entata/


131 © Anne Marie Graham/


132 © Geoffrey Dyer/


133 © David Boyd/


134 © David Boyd/







139 © Louis Kahan/


142 © Timmy Payungka Tjapangati/


161

Copyright (continued)

145 © Emily Pwerle/


146 © Dini Campbell Tjampitjinpa/


147 © Dini Campbell Tjampitjinpa/


148 © Ningura Napurrula/


149 © Johnny Yungut Tjupurrula/


150 © Mantua Nangala/


151 © George Ward Tjungurrayi/


152 © Walimpirringa Tjapaltjarri/


153 © Kanya Tjapangati/


154 © Pinta Pinta Tjapanangka/


155 © Mick Namarari Tjapaltjarri/




158 © Walangkura Napanangka/


159 © Patrick Tjungurrayi/




161 © Nyilyari Tjapangati/


166 © Lloyd Rees/


201 © Hans Heysen/


203 © Elizabeth Durack/


204 © Elizabeth Durack/





208 © Ray Crooke/






CHEN WEN HSI (CHINESE 1906-1991), Gibbons

Sold $26,840 incl. BP

Entries Invited

Chinese & Asian Art

AUCTION August 2025

ENQUIRIES 03 9500 2607

ann.roberts@gibsonsauctions.com.au

Bulgari Serpenti Tubogas Wrist Watch.

Sold $8,694 incl. BP

Entries Invited

Fine Jewellery & Watches

AUCTION August 2025

ENQUIRIES 03 9500 2607

jewellery@gibsonsauctions.com.au

164

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.

165

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

166

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 61 (Detail)

GA064 - Australian & International Art

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