GA069-cat-flipbook-v1

Interiors

ART & ORIGINS

Melbourne, Monday 15 September 2025

Specialists & Management for this sale

Jennifer Gibson

CEO & Head of

Valuations

Deanna Baxter

Business

Manager

Samuel Fricker

Operations

& Marketing

Manager

Dennice Collett

Head Decorative

Arts

Ann Roberts

Consultant

Specialist

Asian Art

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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Jewellery Department

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Max Sumner

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ORRONG RD

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ASHLEIGH RD

ARMADALE

NEW ST

HIGH ST

OSMENT ST

NORTHCOTE RD

KOOYONG RD

Auction, Viewing and

Payment & Collections

885-889 High St

Armadale, Victoria 3143

AUBURN GROVE

SUTHERLAND RD

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ST

DENBIGH RD

CHEEL ST

FRONT COVER:

Lot 5 (Detail)

BACK COVER:

Lot 354

Interiors

ART & ORIGINS

Live Auction

Monday 15 September 2025, 11am

885-889 High Street, Armadale, Victoria 3143

Viewing

Thursday 11 September

Friday 12 September

Saturday 13 September

11.00am – 7.00pm

11.00am – 5.00pm

11.00am – 5.00pm

Auction Code: GA069

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

Tuesday 16 September 10am–5pm

Wednesday 17 September 10am–5pm

Thursday 18 September 10am–5pm

All goods must be collected and paid

in full strictly by 5pm on 18 September

(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

PROPERTIES FROM

1 Works from the Bryan Collie Collection

(Lots 1–293)

2 The Hugh Jenkinson Collection of

Oceanic, African, Asian & Aboriginal Art

(Lots 294–446)

RIGHT:

Lot 64 (Detail)

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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.

5

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

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

any amount over this, cash is to be deposited directly

into our account at a Bank of Melbourne/St George

branch.

Collections

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.

6

Bryan Collie:

A Collector’s Journey

Tucked in the back streets of Brunswick in a

converted warehouse space is Bryan Collie’s home

and gallery. When you ascend the stairs to the

warmly lit rooms, Collie’s eclectic collection fills

the space in an overwhelming cacophony of visual

delight. Thoughtfully acquired, this collection

represents a lifetime of travel, from Melbourne

to Paris, Ho Chi Min to Yogyakarta. Traditional

and Contemporary paintings line the walls and

rest casually against the backs of chairs, coupled

with African & Oceanic masks, alongside pensive

Indonesian carved figures. Tucked in one corner,

an Alex Steinbach beech baby grand piano

alongside a collection of beautifully crafted guitars.

William Dobell’s artist’s smock rests on a vintage

mannequin, while a gaggle of iconic Rubbery

Figures perch nearby on a high shelf. For Bryan,

collecting art has always been driven by more than

just business; it is a conversation, a memory, and a

story. His dedication to the artists is a celebration

of creativity in all its forms, and this collection

reflects that enduring love for the arts.

A maverick and contrarian at heart, Collie left home

at the age of 14 with ambitions of starting a rock

band – like many youthful dreams, his path took an

unexpected turn. In 1967, at just 17 years old, Collie

had a chance encounter that changed the course

of his life forever. He met Danuta Rogowski, a

much-loved and respected figure in the Australian

antique and art world. Danuta recognised in him

the same curiosity, passion, and intuitive eye for

craftsmanship that she herself possessed. With

her encouragement, he began to explore the

world of art, starting with key literature such as

‘Australian Artists’ by Alan McCulloch. From the

warrens of weekly auction houses to important

private collections in Melbourne and around the

world, Bryan Collie gained his knowledge of art

intrinsically through observation, discourse and

learning to perceive nuances by looking with depth

at the brushstrokes more than the signature. Collie

honours these early encounters as pivotal in his

development, aware that the influence of people

like Danuta Rogowtski, Neville Healy and many

others inspired an extraordinary career built on

vision, persistence, and a deep love for art.

By 1975, Bryan took his first bold step into the

industry, opening Australian Artists Associates

in Melbourne's Bourke Street. Four years later,

he purchased the Melbourne Art Exchange and,

within three years, transformed it into one of the

top five galleries in Australia. His vision and drive

saw him expand further, establishing the Southern

Cross Gallery, acquiring Eastgate Gallery and

Jarmans Framing, and launching the Melbourne

Fine Art Gallery in Carlton and the CBD. Later, he

opened MiFA Gallery in Collins Street, introducing

audiences to Asian Pacific Contemporary Art and

broadening the cultural scope of the Australian

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market. Collaborating with learned colleagues and

specialists to promote artists, he co-published

countless gallery catalogues, books and pamphlets

in association with MiFa. In recent years, Collie

expanded his research to embrace science as

a means to further broaden his understanding.

He has explored tools such as synchrotron,

mass spectrometry, X-ray fluorescence,

dendrochronology, and pigment analysis, using

them to unlock new layers of insight into the

artworks he collects. 1 This commitment to merging

art and science reflects the same relentless

curiosity that has defined his life's work; to

attribute works that display potential for inclusion

in some of the country's most prized museum

collections and, first and foremost, continually ask

questions and seek life’s profound truths.

Gibson’s is thrilled to offer this highly personal

collection; each piece selected not just for its value,

but for the conversation it provokes and the stories

it tells. A self-proclaimed auction addict, it is no

surprise that Collie’s collection is rhapsodical in

nature, totally unconventional and full of curiosities.

Inquisitive collectors will enjoy the lively discussion

that will surely ensue over many of the unsigned

works, as Collie has dedicated countless hours of

research to them, harnessing his unique expertise.

What began as a spark of curiosity at 17 evolved

over 50 years into a passion that often bordered on

obsession. Never content to simply view a painting

or meet an artist, Collie has always aspired to delve

deeper, to understand the world of the artist and

uncover what drives their creativity—many late

nights spent poring over books, catalogues, and

research, trying to grasp an artist's motivation

or the story behind a piece. He builds genuine

connections with artists, often turning professional

relationships into lifelong friendships. This

dedication to truly knowing art and the people

behind it is what has always set him apart and

makes his legacy so remarkable.

Sarah Garrecht

1. With thanks to Bryan and Nicola Collie for time and

contributions in writing this piece.

Part lot 15

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1

1

LUDOVIC VALLEE (FRENCH, 1864-1939)

Moulin Rouge

oil on card

signed lower right: L. Vallee

Parisian Nightscene verso

29 x 45cm

$4,000–6,000

2

AMI ZIMMERDAHL KARINA

(DANISH, 1898-1979)

The Witch, a Lesson 1923

watercolour, brush, ink, ink wash on board

signed and dated lower right: Ami Zimmerdahl 1923

23cm diameter

$600–800

3


(DANISH, 1898-1979)

Fight of the Witches 1924

watercolour, brush, ink and wash on board

signed and dated lower right: Ami Zimmerdahl 1924

29.5cm diameter

$600–800

4


(DANISH, 1898-1979)

A Good Yarn 1923

watercolour, brush, ink and wash on board

signed and dated lower right: Ami Z 1923

27.5cm diameter

$600–800

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5

(ATTRIBUTED) HILDA RIX NICHOLAS

Late Afternoon

oil on canvas on board

74 x 70cm

$8,000–12,000

6

WILKIE

The Lone Rider

watercolour on paper

signed lower left: Wilkie

37 x 24cm

$400–600

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7

MILLICENT HAMBRIDGE (1872-1938)

Portrait of a Young Lady, 1906

pastel on paper

signed and dated lower left: Millicent / Hambridge / 1906

12.5cm diameter

$2,000–3,000

8

(ATTRIBUTED) ROBERT RUSSELL

St Kilda Pier, Melbourne


18.5 x 28.5cm

PROVENANCE

The Fred and Elinor Wrobel Collection, Sydney

Estate Late Elinor Wrobel

$1,000–2,000

9

AFTER CONRAD MARTENS

Early Sydney Scene


11.5 x 18cm

PROVENANCE

Collection of John Young (Founder of Macquarie Galleries,

Sydney)

Clarice Thomas, by descent

The Fred and Elinor Wrobel Collection, Sydney (purchased

from the above in the 1970s)

Estate Late Elinor Wrobel

$800–1,200

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10

(ATTRIBUTED) ARTHUR

STREETON

French Roses

oil on panel

60 x 24.5cm

$18,000–25,000

11

AFTER MICHIEL SWEERTS

Youths Around a Fire

oil on canvas

46 x 37cm

$800–1,200

12

CHRISTOPHER PYETT

(BORN 1943)

Saturday Afternooners 1975

signed and dated lower left: Pyett 75

signed and titled verso: Christopher

Pyett / SATURDAY AFTERNOONERS

152 x 152cm

$1,000–2,000

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This pair of esteemed portraits is thought to depict the

three known daughters of Captain John Craig Dumas

and Dorothea Dumas (née Paton), who travelled from

England to Tasmania with their young family in 1829. The

Attribution of these works has been placed to engraver

and portrait artist Thomas Bock (1790-1855). There exist

portraits of the Dumas girls by the revered convict artist

and peer to Bock, Thomas Wainwright. A comparison

of Wainwright's portraits of the Dumas ladies reveals a

strikingly similar likeness to these unsigned portraits.

Stylistically, however, the works are more reminiscent

of Thomas Bock's style. ‘Wainewright applied light blue

shading around his subjects and doll-like bow lips. With

Bock, the scratched hatching on the forehead and nose

is applied less consistently on all his sitters, bearing a

soft, relaxed and warming pose.’ 1 Based on the birth

date of the three sisters, the date for these portraits is

estimated to be around the 1830s-40s, during which

time Bock's portraits were of a larger scale and no

longer miniature. 2 Bryan conducted extensive research,

producing compelling evidence that supports the

identification of the sitters as the Dumas sisters, both

stylistically and in historical context.

The frames that house these two large and expertly

executed colonial portraits are made from a rare

Tasmanian tigerwood myrtle veneer with gilt edging and

slip. This detail not only enhances the aesthetic appeal

of the portraits but also provides additional historical

context. The age, style, wood, and craftsmanship of the

frames would have been a costly addition produced

by a highly skilled craftsman (maker unknown). The

raw wood backing bears the inscription ‘Holloway’; one

interpretation of this inscription could refer to previous

ownership of the portraits being in possession of Professor

Holloway, a successful snake oil salesman in Tasmania in

the mid-1800s.

Captain John Craig Dumas, born 1778 in Killarney, Ireland,

travelled in 1829 on the "York" ship on 29 August with his

wife and young family. Captain Dumas led a distinguished

military career in the 63rd and 75th Regiments, serving in

India, Italy, France and Gibraltar with marked distinction.

He sustained several injuries during his tenure, the last

of which was during the siege of Bhatpore in India, which

was quite severe. In 1828, after spending some time on

half-pay, he joined the 63rd Regiment, where he oversaw

the transportation of convicts to Australia, marking a new

frontier for him and his family. It is fitting that once settled

into the new society, the prominent Captain and his wife

would have commissioned portraits of his budding young

daughters to adorn their new abode.

Of their seven children, the three daughters all made

eligible matches in Hobart. The eldest daughter, Dorothea

Jessy (Born 1810), made the most prominent match

to Scottish-born lawyer Robert Pitcairn on Thursday,

30th September 1830 at St David’s Church in Newtown.

The newlyweds built the impressive Regency marine

villa around 1836-1840. Now known as Runnymede, the

historic abode represents the golden age of colonialism

in Tasmania. Anne Frances Dumas, who was born in

Greece in 1819, married Edward Martin in 1846 in Newtown,

Tasmania and the youngest Margaret Ord (Dumas)

Swanston (Born 1824) — married date unknown.

The complete story behind these portraits remains

partially obscured to us. However, based on Bryan’s

extensive research, there is firm evidence supporting the

identification of the sitters as the Dumas sisters. With

patience, further research and time would undoubtedly

uncover further facts pertaining to these handsome and

engaging young ladies. They appear to be finished and

highly accomplished, likely in possession of good dowries

and prominent standing within society - all these elements

certainly warrant several portraits of their likenesses.

One thing is certain: these accomplished drawings of the

colonial era, with frames that place them in Tasmania

around the mid-1800s. These portraits offer us a partially

concealed glimpse into the past, with the hope that the

whole story of their lives will one day be unveiled.

1. Bryan Collie research notes and observations

2. Exhibition catalogue, Thomas Bock : convict engraver, society

portraitist : exhibition and catalogue / coordinated by Diane

Dunbar Queen Victoria Museum & Art Galley ; Australian National

Gallery Launceston : Canberra 1991, pp. 23-24

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13

(ATTRIBUTED) THOMAS BOCK

The Dumas Sisters (Dorothea Jessy Dumas,

Margaret Dumas and Anne Frances Dumas)

two pencil and charcoal on paper

60 x 49cm (oval)

PROVENANCE

Andrew Simpson, Sydney

Private collection, Melbourne

OTHER NOTES

Likely the children of Captain John Craig Dumas

Born approximately 9 Apr 1778 in Killarney, Kerry, Ireland

$50,000–80,000

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(ATTRIBUTED) DANIEL MEYER ALTSON

Leisure Time, circa 1902

oil on canvas

115.5 x 147cm

EXHIBITED

Traveling Scholarship Award, National Gallery School,

Melbourne, circa 1902

LITERATURE

In Society's Moods, Critic (Adelaide, SA : 1897-1924),

January 3 1903, p. 25 (cited from http://nla.gov.au/nla.

news-article212153841)

Art Gallery Prizes, The Argus, Melbourne,

19 December 1902, p. 8 (cited from http://nla.gov.au/nla.

news-article9083239)

$30,000–50,000

G.F. Folingsby initiated the National Gallery of Victoria

Travelling Scholarship Award in 1886, with the first

recipient being John Longstaff in 1887, followed by Aby

Alston, James Quinn, George Coates, Max Meldrum, and

Daniel Mayer Alston with In Lesuire Hours in 1902. The

terms of the award stipulated that, over the three-year

scholarship period, at least one original canvas and two

Old Master copies from each recipient be added to the

Melbourne collection. The scholarship had a significant

impact on the Melbourne art scene, as it encouraged

young artists to strive for excellence and provided them

with the opportunity to study and create art in Europe. The

anecdotal figure study was the fashion of the time and was

prescribed in the rules of the scholarship, outlining certain

key elements that must be included; ‘It was accepted, but

not stated in the rules that the picture would contain at

least two figures situated indoors and in daylight, and be

painted on a canvas 48 x 38 inches.’ 1 After winning the

award in 1902, Meyer Alston travelled to Paris, painting

Circe and a copy after van Dyck, both of which are now in

the collection of the NGV as part of the fulfilment of the

conditions of the scholarship.

Much talk and excitement surrounded the tri-annual

competition each year. As is evident with this painting by

Meyer Alston, In Leisure Hours was mentioned in detail in

many of the society columns and by art critics of the time

– ‘There was keen excitement in Melbourne Art circles

about the results of the art students' competition for

the three-year travelling scholarship. Two students were

considered of almost equal merit— Messrs. Meyer Alston

(whose brother won it some years ago), and Hennessy. The

luck fell to Mr. Alston, whose subject was Leisure Hours. A

nude female model is resting on a divan, looking at a map

outspread on her knees, her feet curled round each other,

the lower part of her body slightly covered. Some students,

well grouped, stand or sit about, one of the best figures

being that of a man in the foreground, wearing a creamy,

woollen blouse, and with his back to the spectator. His

drawing is excellent, and the treatment broad, vigorous,

and simple.’ 2

As the work contained a semi nude figure the image was

not reproduced in any of the papers, instead descriptive

language was required to convey the image to a broader

audience. ‘The canvas that, representing five years’ of

work in the classes, awarded the much-coveted palm

owns for a subject, In Leisure Hours. Mr Alston has

grouped in five figures, all showing a certain naturalness

of pose and individuality… The work is rich in promise,

and seemed, after comparison with the neighbouring

examples of students' skill, to he well worth the first and

great award of the judges. 3

By comparison, Constance Jenkins' scholarship-winning

painting in 1908, titled ‘Friendly Critics’, draws on similar

components to Meyer Alston’s image. Both depict people

observing and discussing the artwork of the artists in the

room with great enthusiasm in a well-lit interior scene and

are of impressive size, a testament to the ambitious efforts

of the young artists. This grand painting not only retains an

essential historical reference in Melbourne art history, but

it is also one of the few remaining paintings of this scale

by the artist.

Sarah Garrecht

1. Bernard Hall, letter to the Chief Librarian, 27 July 1893, State

Library of Victoria, Melbourne, quoted in Leonard B. Cox, The

National Gallery of Victoria 1861–1968: A Search for a Collection,

National Gallery of Victoria, Melbourne, 1970, p. 50

2. In Society’s Moods, Critic (Adelaide, SA : 1897-1924),

January 3 1903, p. 25 (cited from http://nla.gov.au/nla.

news-article212153841

3. 'The Gay Metropolis.' Critic, Adelaide, SA, 27 December,

1902, p. 28. , viewed 27 Aug 2025, http://nla.gov.au/nla.

news-article212153753

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15

WILLIAM DOBELL (1899-1970)

William Dobell's painting Smock accompanied

by the artist's Sketchbooks circa 1930s,

ephemera and photographs

i) cotton smock with hand painted illustrations from

cartoonists and peers, circa 1948

110cm long

ii) sketchbook with 100 illustrations throughout,

dated 1936

various mediums including watercolour, pencil and ink

signed, dated and inscribed in front page:

William Dobell / London / 25.5.36

20 x 16cm

iii) various other sketchbooks with scattered

drawings and notes throughout

various mediums including pencil and ink

35 x 28cm (largest)

iv) Portrait of William Dobell and Goddaughter, 1945

(Photographer unknown)

silver gelatin photograph

inscribed upper right: To "Godfather Bill" /

From David William / 28-4-45.

20 x 15cm

v) The Boy at the Basin by William Dobell,

Photographed by David Moore


David Moore studio stamp verso

stamped verso: AGNSW

24 x 19cm

vi) A collection of ephemera including newspaper

clippings relating to the artist

$40,000–60,000

The opening pages of Dobell’s 1936 sketchbook

commence with the following quote;

‘Things well done, and with a care, exempt themselves

from fear.’ – Shakespeare, King Henry VIII

This historic collection of ephemeral items associated with

William Dobell reveals a personal side of the artist that is

rarely exhibited. The foundational sketches included in

these sketchbooks connect us to a time and place that

inspired some of his most revered paintings. The artist’s

smock provides a glimpse into the world of his peers

and friends who loved and admired him. Dobell’s time in

London, a pivotal period in his artistic journey, opened up

a world of possibilities previously unimagined by the son

of a bricklayer, one of seven siblings, from Newcastle. It

is impossible to encapsulate Dobell as an artist in a few

words, but we can catch glimpses of the person he was to

his close friends, known for his satirical wit and his quiet

determination to challenge the status quo.

Dobell left home at the age of 14 to seek gainful

employment. He pursued an eclectic mix of jobs, including

dog walloper, architectural draftsman, and eventually

settled in Sydney pursuing a stint in advertising for

Wunderlich Ltd in Redfern. Throughout his diverse career

he succeeded in collecting a broad social network of

15 (Detail) 15 (Detail)

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artists, cartoonists, and laypeople along the way. By

the age of 25 around 1924, he had gathered the means

to attend the Julian Ashton School of Art, where he

excelled, winning several modest prizes for his paintings

and drawings. In the 1930 (at the age of 30) wishing to

further his studies, Dobell moved to London to study at the

Slade School of Fine Art. ‘London stirred his imagination.

It’s parks and streets, the river and its bridges, and, all

above, the Londoners themselves provided him with an

inexhaustible source of material.’ 1 He drifted from place

to place, living thriftily ‘on five pounds a week, staying in

seedy bedsits in Pimlico and Bayswater.’ 2 Roughhousing

and a scant income didn’t appear to faze the young,

burgeoning artist; his nourishment was the surroundings,

and he soaked it all up by drawing incessantly.

This collection of sketchbooks follows Dobell’s life in

London during the 1930s. One book containing 100

pages of sketches provides a detailed record of Dobell’s

surroundings from late Spring to early Summer of 1936.

Filled with illustrations of penguins, baboons, punters

at the zoo and candid profiles of Londoners going

about their business around the streets of Westbourne

Grove in Notting Hill. Scenes from Espom Oaks races

and carnivals, as well as interior scenes of friends and

companions lounging, drinking, eating, and sleeping.

‘The years between 1935 and 1938 were vintage years

for Dobell, the artist, because he was able to protect

himself with the swordplay of satire. Experience gave him

an added pungency.’ 3 Dobell observed the lives of many

Londoners, which mirrored his own experience growing up

in a working-class family. He refrained from romanticising,

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15

instead creating a unique visual language of social

commentary, relating to the streets of London with a kind

of admiration for the everyday struggle.

Many years later, these experiences remained relevant in

Dobell’s career and social sphere. A key element of this

offering is the historically important artist’s smock, gifted

to Dobell for his 50th Birthday on 24th September 1949,

adorned with comical illustrations from cartoonists and

peers. The illustrations scattered across the canvas smock

reveal a jovial banter of sorts—a roast—the inside jokes

relating to some of Dobell's more notorious and notable

moments in the public eye. For instance, references to

the Joshua Smith Archibald scandal abound, now jokingly

referred to, though only five years ago, it was a cause of

severe trauma for Dobell and contentious among the

arts community. Another illustration refers to Dobell’s

iconic painting The Dead Landlord, created in 1936. The

young artist witnessed this event while living in a house in

Bayswater, London. ‘One morning, he heard a commotion

below and rushed downstairs to find the landlord dead on

the floor, and proceeded to help the landlady lift the body

onto the bed. She then turned to the dressing table and,

in a bizarre act of trauma control, began to brush her hair,

announcing there was to be a ‘ham funeral’.. Overcoming

his shock, he felt a writer rise within himself, a Dickensian

to tell the tragic-comic story of this little life and death in

the city.’ 4 On the smock gifted to Dobell, his friend and

cartoonist Joe Jonnson reverses the gender roles and

presents a comically macabre rendition, depicting instead

a dead Landlady lying on her back, surrounded by bottles

and glasses of gin. At the same time, her husband stands

by helplessly, brushing his thinning hair in vacant placidity.

All these small jests offered to Dobell for his 50th year

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illustrate that, behind all the fame, hubbub, and success, a

man of humble and humorous nature remained.

This personal collection holds historical and artistic

value in the framework of Dobell’s personal journey and

artistic oeuvre. We have the formative years of Dobell as

a young fresh Australian travelling abroad for the first

time where he created unique sketchbook journaling his

experience. Comparatively, in his later years as a veteran

artist he remains stringent in his point of view, yet there

exists a tinge of cynicism as conveyed through the lens of

his friends and peers in the gifted smock. Through it all,

Dobell remains true to his nature, attempting to face the

world with a quiet integrity. The sketchbooks and smock,

with their personal and historical significance, deserve to

be kept together in perpetuity in a public collection, where

they can continue to connect us to the inner world of one

of Australia's greatest Modern artists.

Sarah Garrecht

1. James Gleeson, William Dobell, a biographical and critical study,

Angus & Robertson, London, 1981, p. 26

2. Judith White, William Dobell: Yours Sincerely, Art Collector issue

12, April-June 2000

3. James Gleeson, William Dobell, a biographical and critical study,

Angus & Robertson, London, 1981, p. 47

4. Barry Pearce, Barry, William Dobell, 1899-1970 : The Painter’s

Progress, Art Gallery of New South Wales, 1997, p. 11

22

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16


Greetings for Xmas From Wangi Wangi

watercolour and gouache on paper

signed lower right: Bill Dobell

16.5 x 10cm

$1,200–1,800

17


Two Abstract Sketches

two pastel on paper

signed lower left: Bill Dobell

18 x 11cm

$1,500–2,500

23

18

18

JAMIE BOYD (BORN 1949)

Shoalhaven

oil on board

signed lower right: Jamie Boyd

89.5 x 59.5cm

$6,000–8,000

19

RUSSELL DRYSDALE (1912-1981)

Bette Davis 1934

pencil on paper

signed and dated lower centre: Drysdale 34

22.5 x 16cm (oval)

$1,000–2,000

24

20

20

JULES CHÉRET (1836-1932)

Blanc et Noir, 4 Exposition,

Pavillon de la Ville de Paris, 1890

lithograph

printed by Chaix, Paris

122 x 87cm

$1,000–2,000

21

GEORGE BAXTER

Venice, Great Exhibition, Royal Fleet,

Kilkenny Bay and Crystal Palace

suite of four prints

one with printed text on margin

2.5 x 4.5cm (3) and 9.5 x 14cm (1)

$200–300

22

PAUL JOHN I

A Bedouin


signed lower right: P. John I

titled lower left: A Bedouin

24.5 x 49.5cm

$800–1,200

23

GARANTI

The Temptation of Saint Anthony

oil on canvas

signed lower left: Garanti

67 x 98.5cm

$1,500–1,800

25

24

24

(ATTRIBUTED) BARON ARPAD PASZTHORY

(HUNGARIAN, 1867-1946)

Portrait of Dame Nellie Melba

oil on canvas

accompanied by a photograph of Dame Nellie Melba

71 x 55.5cm (oval)

RELATED WORKS

Madame Melba, c.1902-4, oil on canvas (210.7 x 125.6cm),

Grainger Museum Collection, 00.5022

$6,000–9,000

25

ALOIS HEINRICH PRIECHENFRIED

(GERMAN, 1867-1953)

Jewish Scholar

oil on board

signed upper right: A Priechenfried

11 x 8.5cm

$300–500

26

26

PETER NICHOLSON (BORN 1946)

Rubbery Figures circa 1987-88

eight, including a young Bob Hawke,

Andrew Peacock, Robert Holmes à Court,

Bill Hayden, Joe Citizen, David Lange,

John Cain and one other

latex rubber and material on wood stand

the tallest 74cm high (variable dimensions)

$8,000–12,000

Rubbery Figures was a satirical and irreverent rubber

puppet skit that screened in Australia in various forms

from 1984 to 1990—initially commissioned for the ABC,

where it aired as a five-minute filler programme until it

was axed in 1988. The show was subsequently revived as

a segment on Steve Vizard’s comedy show Fast Forward

from April 1989, where it garnered national acclaim.

Peter Nicholson orchestrated the show, employing a

skeleton crew made up of a bunch of Swinburne filmschool

youngsters who were willing to work for almost

nothing from his homespun studio in Queensbury Street,

North Melbourne. The gifted Melbourne voice mimic, Paul

Jennings, did virtually all the voices for Rubbery Figures

in the studio’s tiny recording booth. It was a bootstrap

production that captured the imagination and laughter of

Australians in the 1980s and 1990s and has remained an

iconic part of Australian History.

26

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28

27

27

FANNIE HILLSMITH

(AMERICAN, 1911-2007)

Fauna and Flora, 1941

oil and tempera on board

signed and dated lower right:

Hillsmith '41

31 x 38cm

PROVENANCE

Private collection, Paris

$3,000–4,000

28

ALFRED CHOUBRAC

(FRENCH, 1853-1902)

Costume Designs

three watercolour and

gouache on paper

29 x 20cm (each)

$300–500

29

THEOPHILE ALEXANDRE

STEINLEN (1859-1923)

Women Fighting

pencil on paper

31 x 27cm (irregular)

PROVENANCE

Allan Weil

$400–600

30

CHARLES BUSH (1919-1989)

Portrait of Frank Gatliff

oil on board

signed upper right: Bush

100 x 74.5cm

NOTE

Frank Gatliff was an actor

$400–600

31

KEISAI EISEN

(JAPANESE, 1790-1848)

Nihonbashi, Snowy Morning

woodcut

inscribed upper left

20.5 x 31.5cm

$300–500

29

32

32

LHOTE SCHOOL

Musicians

oil on canvas

31 x 40.5cm

$3,000–5,000

33

ARTIST UNKNOWN

Portrait of a Young Boy


36.5 x 25cm

$800–1,200

34

LUIGI MAGGIORANI

(ITALIAN, 1887-1912)

Shepherds by the River


signed lower right: L. Maggiorani

24 x 40.5cm

$300–500

35

GEORGE BOYLE (BRITISH,

1826-1899)

Pastoral Landscape

oil on board

signed lower left

24 x 34.5 cm

$300–500

36

ARTIST UNKNOWN

Melbourne Cricket Ground on

Boxing Day, The All England

Eleven V Eighteen of Victoria,

circa 1880

colour engraving

with printed text on margins

34.5 x 50cm

$300–500

37

LAURENT GSELL

(FRENCH,1860-1944)

American Soldiers Advancing

oil on board

signed lower right: Laurent Gsell

32 x 40cm

$300–500

30

40

E T ROSE

Exhausted Donkey 1908



E T Rose / 08

27.5 x 20cm

$100–300

41

ARTIST UNKNOWN

Wave

carved wood

44cm high

$300–500

42

SHIRO KASAMATSU

(JAPANESE, 1898-1991)

Rainy Evening at

the Yasaka Pagoda

woodblock, later print

signed lower left on margin

stamped in image lower left

inscribed in image lower right

36 x 24cm

$200–400

38

43

ARTIST UNKNOWN

High Cloud Invading the Sky

Tomorrow, Hong Kong II 2010

oil on canvas

signed but illegible, dated and

titled verso: Hong Kong II / High

cloud invading the sky tomorrow,

Hong Kong 2010

58 x 45cm

$100–300

38

WEAVER (RAOKIN) HAWKINS

(1893-1977)

Abstract 1969


signed and dated lower left:

Raokin 69

inscribed verso: Weaver Hawkins /

Abstract .... / in oils

52.5 x 35.5cm

$500–800

39

ARTIST UNKNOWN

Girl Hesitating and Body

with Rose Belt 1993

two pastel on paper

each signed illegibly, dated and titled

on margin: '93 / Girl Hesitating / Body

with rose belt

14 x 13cm and 13 x 16cm

$200–400

44

LAURENT GSELL

(FRENCH,1860-1944)

American Scouts,

Héricourt, July 1917

oil on board

titled and dated lower left: …claireurs

americains / Hèricourt Juillet 1917

signed lower right: Laurent Gsell

45 x 32cm

$300–500

31

45

45

JOHN SHENTON ELAND

(1872-1933)

Lovers Embrace


signed lower left: J. S. ELAND

43 x 55.5cm

$4,000–6,000

46

(ATTRIBUTED) J S WATKINS

Portrait of Margery Withers


inscribed verso: Margery Withers

21 x 15.5cm

$100–300

47

ARTIST UNKNOWN

Rest Time and Camel

Procession 1920

two gouache on paper

each signed and dated lower left:

REX 1920

17.5 x 50cm (each)

$100–300

48

JAPANESE SCHOOL

Yoshitsune and Benkei Fighting

ink on paper

signed lower left

47 x 29cm

$200–400

49

UTAGAWA HIROSHIGE

(JAPANESE, 1797-1858)

Autumn Moon on Tama River

woodblock, later print

signed in image lower left

22 x 34.5cm

$150–250

50

LEON ADOLFE WILLETTE

(FRENCH, 1857-1926)

La Luxure

etching

signed and dated in image lower

centre: 1917

24.5 x 17.5cm (plate size)

$150–250

32

51

51

THEO FRIDS HUTABARAT

(INDONESIAN, BORN 1987)

Man of Question 2010

oil on canvas

signed, dated and titled verso:

Theo Frids Hutabarat / "Man of Question" / 2010

170 x 130cm

$4,500–5,500

52

NGUYEN HUNG

(VIETNAMESE, BORN 1965)

Lady in Pink Headscarf 2005

mixed media on paper

signed and dated upper left: HUNG / II.05

and stamped with artist seal

58 x 38cm

$200–300

33

53

53



The Sleeper 2012

oil on canvas


Theo Frids Hutabarat / "The Sleeper" / 2012

170 x 130cm

$4,500–5,500

54

NGUYEN HUNG


Lady with Pink Collar 2005


signed and dated upper left: HUNG / V.05


58 x 38cm

$200–300

34

55

VIETNAMESE SCHOOL

Seated Nude 1974

oil on velvet

signed and dated centre right:

T. L YOUNG / 25/11/74

94 x 63cm

$500–800

56

THANH CHUONG (BORN 1949)

Abstract 1987

oil on canvas


X. CHUONG 87

62.5 x 91.5cm

$400–600

57

BALINESE SCHOOL

Couple Embracing 1995

acrylic on paper

signed but illegible and

dated lower left: 95

97.5 x 77.5cm

$200–300

55

56

35

58

58



Dancing 2010

oil on canvas


Theo Frids Hutabarat / "Dancing" / 2010

170 x 130cm

$4,500–5,500

59

THAI

Summertime 1995


signed and dated upper right: THAI 95

52.5 x 63.5cm

$100–300

36

63

ANTONIO BLANCO

(INDONESIAN, 1912-1999)

A Balinese Boy with Turban

watercolour and pastel on paper

signed lower right: Antonio Blanco

39 x 59.5cm

$4,000–5,000

64

NYOMAN GUNARSA


Barong Dancers 1974

oil on canvas

signed and dated lower right: 74

97 x 132.5cm

$1,500–2,500

65

RISKI JANUAR (INDONESIAN)

Abstract 2016

monotype


Riski Januar 2016

51 x 67.5cm

$400–600

60

60

ALIX AYME (1894-1989)

Two Girls

ink and watercolour on silk

signed lower right: ALIX AYME

21 x 17cm

PROVENANCE

Private collection, Sydney

OTHER NOTES

This work has been submitted for

inclusion in the artist's catalogue

raisonné

$6,000–8,000

61

BALINESE SCHOOL

Depiction of Rangda

and Erotica Scene

mixed media on canvas on board

74 x 40cm (largest)

$100–200

62

BALINESE SCHOOL

Ramayana Scene,

Idols warding off Evil Spirits

watercolour on wood relief carving

inscribed verso: TONGKOK

34 x 58.5cm

$100–200

66


No Place for Space 2016

mixed media on canvas


Riski Januar / 2016

121 x 180cm

$300–500

67

VIETNAMESE SCHOOL

Children with Kite


signed lower right: D Thuong

58.5 x 77cm

$400–600

68

MALAYSIAN SCHOOL

Bustling Fruit Market

oil on board

signed but illegible lower right

38n x 59cm

$200–400

37

63

64

38

69

WES WALTERS (1928-2014)

Studio Nude 1980

charcoal on paper


Walker '80

120.5 x 120.5cm

$2,000–3,000

70

WES WALTERS (1928-2014)

Abstract 1962

oil and mixed media on canvas


Walters 62

122 x 152.5cm

$2,000–3,000

69

71

JOAN MARKS (1914-?)

Composition

oil on board

inscribed and titled verso

77 x 58cm

$200–400

72

LEWIS MORLEY (1925-2013)

Dali, London and Portrait

silver gelatin print together

with print on tile

studio stamp lower right

48.5 x 38.5cm

$200–400

73

JOHN WINCH

Interior


signed lower right: Winch

56 x 76cm

$100–300

74

ARTIST UNKNOWN

Fashion Model


21 x 15cm

$150–250

70

39

75

75

JAN SAUDEK (BORN 1935)

Model Print 1986

c-type photograph

signed lower right: JAN SAUDEK

#239 Model Print Finished

by M Nov.8,1886

23 x 28cm

$2,200–4,000

76

BERNARD

Dancer on Ladder

oil on canvas

signed lower right: Bernard

58.5 x 29cm

$400–600

77

GEORGE GITTOES

(BORN 1949)

Dividing the Self 1971

ink on paper

signed, dated and titled on

margin: George Gittoes 1971 /

Dividing the Self

46.5 x 62.5cm

$300–500

78

SANDRA WHITSON

Hosier Lane, Melbourne 2007

photographic print

41 x 61cm

$100–200

79

VARIOUS ARTISTS

Seven erotic images

various mediums including ink,

watercolour and lithographs

27 x 21cm (largest)

$300–500

80

IGNACIO JOSE MARMOL

(1934-1994)

Abstract

mixed media on board

signed verso:

IGNACIO JOSE MARMOL

59.5 x 49.5cm

$300–500

40

81

ADRIANA BOZZI

(ARGENTINIAN)

Male Nude


signed lower right: A Bozzi

116 x 81.5cm

$1,000–2,000

82

SEYMOUR FOGEL

(AMERICAN, 1911-1984)

New York No.1 1936

lithograph

signed, dated, titled and editioned

on margin: Fogel 36 / NEW YORK

No. 1 (1/12)

inscribed on upper margin: To Hike

- THE FIRST BUYER OF MY FIRST

PRINT OF MY FIRST STONE

23 x 33cm

NOTES

Another example of this is in the

National Gallery of Art, New York

$600–1,000

83

EUROPEAN SCHOOL

Monastic Ceremony

ink on paper

14 x 9cm

$100–200

81

84

AFTER TITIAN

Portrait of Girolamo Barbarigo

reproduction print

24 x 19cm (oval)

$80–120

85

WILLIAM RUSSELL FLINT

(1880-1969)

La Marie Manosque

reproduction print

signed on margin: W Russell Flint

44 x 61cm

$100–300

82

41

86

86

PETER BOOTH (BORN 1940)

Dancing Figures

gouache and wash on paper

16.5 x 21cm

$2,000–3,000

87

ARTIST UNKNOWN

Village Life 1951

ink and wash on paper

signed, dated and inscribed lower

right: FA

28.5 x 44cm

$200–400

88

ARTIST UNKNOWN

SF 3 1990


titled and dated on label verso

42 x 60cm

PROVENANCE

Irving Galleries, Sydney

$100–300

42

93

ERNEST E ABBOTT

(ENGLISH, 1888-1973)

The Pyramids


signed lower right: Ernest. E. Abbott

29.5 x 52cm

$400–600

94

ERNEST E ABBOTT

(ENGLISH, 1888-1973)

Desert Storm


signed lower right: Ernest. E. Abbott

29.5 x 52cm

$400–600

95

Fashion Illustrations from the

House of Jaques Heim

Fur coat cornelli ensemble

in nut brown


25.5 x 19.5cm

89

LITERATURE

French Fashion Design: Fashion

Illustrations from the House of

Jacques Heim, Melbourne Fine

Art Pty Ltd, in association with

Melbourne Spring Fashion Week,

presented by City of Melbourne,

Melbourne, 2012, (illus.)

$100–300

89

JEAN-LOUIS FORAIN

(FRENCH, 1852-1931)

Backstage

ink on paper

signed lower left: Forain

29 x 21cm

$1,200–1,800

90

AFTER NICOLAS VLEUGHELS

(FRENCH)

Erato et Euterpe

hand coloured engraving

with printed text on margin

23 x 16cm

$100–200

91

JEAN MCGILL

Cris Canning


signed, dated and titled on margin:

Jean McGill '90 / Cris

34 x 23cm

$100–300

92

JEAN MCGILL

Criss Canning


32.5 x 20.5cm

$200–300

96

HONORÉ DAUMIER

(1808-1879)

Actualités

lithograph

signed in plate with printed

text on margin

24 x 28cm

$100–300

97

OWEN PIGGOTT (BORN 1931)

Abstract 1974



PIGGOTT 74

82 x 100cm

$200–300

43

98

99

98

WALTER SICKERT

(GERMAN, 1860-1942)

Profile of a Lady

pencil on paper

signed upper left: Sickert

27 x 12cm

$2,000–3,000

99

JEAN-LOUIS FORAIN

(FRENCH, 1852-1931)

Lady with Parasol

ink on paper

signed with initials lower right: J F

18 x 7.5cm

$1,500–2,000

100

M EVANS

Bugle Boy


signed lower left: M. EVANS

65.5 x 48cm

$200–400

101

AFTER EDVARD MUNCH

The Sick Child

reproduction print

44 x 59cm

$100–300

102

ARTIST UNKNOWN

Portrait of a Lady

pastel on paper

19 x 14.5cm (oval)

$100–300

103

ARTIST UNKNOWN

Madonna and Child


inscribed lower right:

After / van der / Paele

36 x 26.5cm

$100–300

44

104

104

HENRY BURN (1807-1884)

Celebration on Sydney Cove


17.5 x 25.5cm

$1,000–2,000

105

MAXIMILLIAN LUCE

Study for Landscape

pencil on paper

signed lower right: Luce

16.5 x 22cm

$100–300

106

JACQUELINE MITELMAN

(BORN 1948)

Portrait of Charles Blackman

1988

silver gelatin print

40 x 32.5cm

$100–200

107

JACQUES VILLON

(FRENCH, 1875-1963)

Bust of a Lady

pencil and watercolour on paper

signed lower left: Jacques Villon

22.5 x 13cm

$100–200

108

NEW ZEALAND SCHOOL

oil on board

39 x 59cm

$100–200

109

AFTER GUSTAV KLIMT

The Embrace

two reproduction prints

62.5 x 34cm (each)

$100–200

45

110

110

JOHN GLOVER (1767-1849)

Tasmanian Landscape

ink and wash on paper

12.5 x 22.5cm

PROVENANCE

Private collection

$6,000–8,000

111

CHARLES CROMBIE

The Rules of Golf

six reproduction prints

each signed in plate

each titled and inscribed on margin

19 x 22cm (each)

$200–400

112

RUSSIAN SCHOOL

Harvest Time 1969

oil on board

signed with initials and dated upper

left: DEK / F / 69

inscribed verso: "GALICANKA"

44 x 39cm

$200–300

113

A suite of comical golf

illustrations, circa 1920

three colour prints

30 x 21cm (largest)

$100–200

114

A collection Hollywood Stills

featuring Apocalypse Now, My

Beautiful Laundrette, Michael

Wilding, Meryl Streep and

Jimmy Stewart

ten photographs

25 x 19.5cm (largest)

$100–200

46

115

116

115

ARTIST UNKNOWN

Walk on By

lightbox

94cm high, 49.5cm wide, 13cm deep

$600–900

116

ARTIST UNKNOWN

Heavy Metal

lightbox

89.5cm high, 79cm wide,

14.5cm deep

$700–1,000

117

PHÔ CÔ HAIN (VIETNAMESE)

Street Scene 1967


signed and dated lower left

38 x 28cm

$200–400

118

VIETNAMESE SCHOOL

Hanoi Old Quarter, 1994



right: PHO NGU XA HA HOI /

M Han 94

35 x 52cm

$200–400

119

JOKO MULLONO


Portrait of an Elderly Gentleman

1982

oil on canvas


left: Joko mullono 82 / UBUD-BALI

49.5 x 39cm

$200–300

120

A pair of Chinese Political

Posters

screenprint

50 x 74cm

$200–400

47

121

121

LI BAOHUA (CHINESE, BORN 1968)

Happy Life, 2008

oil on canvas

signed lower right indistinctly

signed, titled and dated verso

199 x 149cm

$3,000–5,000

122

VIETNAMESE SCHOOL

Fisherman


inscribed lower right

35.5 x 26.5cm

$100–300

48

123

123

FARHAN SIKI


Body and Shop, 2013

acrylic on canvas

signed and dated lower centre

FARHAN SIKI

144.5 x 169.5cm

$4,000–6,000

124

FARHAN SIKI


Brand II 2013

acrylic on canvas


FARHAN SIKI 2013

144.5 x 169.5cm

$4,000–6,000

125

FARHAN SIKI


Brand Warfare 2013

acrylic on canvas


FARHAN SIKI 2013

130.5 x 200cm

$4,000–6,000

49

124

125

50

126

HONORÉ DAUMIER (1808-1879)

Nouveau Moyen de Sécurité

(from En Chemin de Fer)

lithograph

signed in plate


27.5 x 22cm

$400–600

127

AMERICAN SCHOOL

Victorious Soldier and Threatening

Encounter with a Mohican

two ink on paper

one inscribed on margin

18.5 x 17cm (irregular) and 16 x 22cm

$400–600

128

William Gaunt, Modern Masters

of Etching: Frank Brangwyn R.A.

Herbert Reiach Ltd, London, 1924

hard cover book

25 x 30.5cm

$200–400

126

129

COPELAND

Comical Sketches

six ink on paper (in three frames)

19 x 19cm (each)

$100–200

127

51

130

(ATTRIBUTED) LILL TSCHUDI

VE Day

linocut

21 x 20cm

PROVENANCE

Leonard Joel, Sydney, The Estate of

Colin Lanceley, 16 November 2015,

Lot 196 (as Grosvenor School)

$2,000–4,000

131

WILLIAM RUSSELL FLINT

(1880-1969)

Flamenco Dancers

lithograph

signed in pencil lower right

45 x 61 cm

$300–500

132

Four pages from French Album

Image D'Epinal

Depicting Cadet Rousselle,

Fanfan La Tulipe and La

Sagesse des Nations

four prints

37 x 26.5cm

$100–300

130

133

ALPHONSE LEGROS

(1837-1911)

Edward Poynter

etching

signed in plate lower left: A. Legros

25.5 x 17cm

NOTES

Another example is in the

AGNSW collection

$100–200

134

LÉOPOLD DESBROSSES

Hille Bobbe

etching


27.5 x 21.5cm

$100–200

135

AFTER FERNANDO SELMA

Portrait of Miguel De Cervantes

engraving


36 x 25.5cm

$100–200

136

LEE CONKLIN (BORN 1961)

Moby Grape, Jeff Beck Group,

Mint Tattoo, Charles Lloyd

Quartet, Herd, and James

Cotton Blues Band 1968

lithograph

53 x 35cm

$100–200

137

CHAM

French Political Cartoon

lithograph

inscribed in printed text upper right:

Ce Phenomene Ne Se Nourrit / Que

Debourgeuis / Et O'Aristos

22.5 x 26cm

$200–400

138

AFTER ADRIAEN VAN OSTADE

Organ Grinder

etching

with printed text in image

11 x 9cm

$300–500

52

139

139

LESLIE THOMPSON

(AMERICAN, 1851-1929)

Boston Bay

oil on canvas

signed lower left: Leslie Thompson

14 x 50cm

$1,000–2,000

140

ENGLISH SCHOOL

Early View of Southport


inscribed verso: Picture /

Messrs R Jackson Snr /

Southport Jan 10th to 14th

5.5 x 8.5cm

$300–500

141

EUROPEAN SCHOOL

Tavern Interior

oil on board

10cm diameter

$400–600

142

ENGLISH SCHOOL

Portrait of a Lady

oil on canvas

51 x 40.5cm

$400–600

143

A. FIABIANI

(EUROPEAN SCHOOL)

Mother Sheltering Child

by the Sea

oil on canvas

signed lower right: A. Fiabiani

45.5 x 71.5cm

$500–800

144

FRENCH SCHOOL

The Artist's Seduction


17 x 22cm

$600–900

140

53

145

145

FELIX BUHOT

(FRENCH, 1847-1898)

Sailing on the Estuary 1879

oil on board


F Buhot 1879

26.5 x 35cm

$1,500–2,500

146

MYLES BIRKET FOSTER

(1825-1999)

Beach Gathering near

Beached Ship

pencil on paper

monogrammed lower right: F B

14.5 x 25cm

$300–500

147

EUGENE LAGERCHE

Still Life

two watercolours

each signed lower right:

Eugene Lagerche

86 x 63cm and 82 x 64.5cm

$200–400

148

DAWN SIME (1932-2001)

Abstract


signed lower left: DAWN SIME

49 x 30cm

$300–500

149

FRENCH SCHOOL

Two Parisienne Ladies

pencil on paper

32.5 x 23.5cm

$200–400

150

JEAN-LOUIS FORAIN

(FRENCH, 1852-1931)

The Exit Of The Audience

etching

signed plate lower right: Forain

editioned lower left: 1/10

16.5 x 13.5cm

$250–350

54

151 152

151

ROBERT GRIEVE (1924-2006)

Emerging Image 2

oil and mixed media on card

signed lower left: Grieve

signed lower right: R. GRIEVE

29 x 21cm

$400–600

152

JOHN BEARD (BORN 1943)

Flags

oil on canvas

199 x 122cm

$800–1,200

153

DARBOTZ

Metromini #2, 2013

acrylic on wood

52 x 79cm

$600–800

153

55

154

WILLIAM (BILL) LUKE

(BORN 1947)

Relentless Ocean with

Patination Repeatable 2015

acrylic on canvas

signed lower right: Luke


Luke / RELENTLESS OCEAN / 2015

50 x 39.5cm

$600–900

155

WILLIAM (BILL) LUKE

(BORN 1947)

Northerly

acrylic on board

signed lower left: Luke

41 x 33cm

$600–900

156

WILLIAM (BILL) LUKE

(BORN 1947)

Whiteley Painting 2016

acrylic on canvas

signed lower right: Luke

titled lower left: Whiteley PAINTING

signed and dated verso: Luke / 2016

20 x 20cm

$400–600

154

157

ROBERT GRIEVE (1924-2006)

Blue Abstract 1967

oil on board

signed and dated upper right:

R. GRIEVE / 67

25.5 x 33.5cm

$400–600

158

DARBOTZ

Metropolute #4, 2012

acrylic on canvas

each signed and dated verso:

Darbotz /2012

20cm diameter (each)

$300–400

155

56

159

VIETNAMESE SCHOOL

Busy Street Scene 1998

oil on canvas

signed with initials and dated lower

right: GBN 98

78.5 x 58cm

$1,000–1,500

160

VIETNAMESE SCHOOL

Village Scene


signed lower right: LOUIR

50 x 67cm

$200–400

161

I MADE SUNARYA (BALINESE,

MID 20TH CENTURY)

Warding off Evil Spirits

ink on paper

signed lower right: Md. SUNARYA

28.5 x 18cm

$400–600

159

162

I MADE SUNARYA (BALINESE,

MID 20TH CENTURY)

Rangda appearing in dreams

ink on paper

signed lower right: Md. SUNARYA

30.5 x 20cm

$400–600

163

PHAM CÙNG THANH

(VIETNAMESE, 1932-2022)

Mother with Child in Hammock

watercolour on silk

signed lower right: CùngThanh

46.5 x 76.5cm

$400–600

160

164

VIETNAMESE SCHOOL

New Shoots

oil on canvas

signed lower right: NTHU

119.5 x 79.5cm

$400–600

57

165

VIETNAMESE SCHOOL

Three Figures 1997

enamel and mixed media on board


T. LONG 97

68 x 86cm

$1,000–2,000

166

VIETNAMESE SCHOOL

Stasiun Yogyaknota and Street

Scene circa 1984

two oil on canvas

one titled and dated lower left:

STASIUN YOGYAKNOTA / heröè

pratöpo 84

58 x 77.5cm (each)

$400–600

167

WANA PADOBH TEGOL

Ubud Market Scene, Bali

gouache on cloth

signed and inscribed lower left:

Wana/ Pandora Tegol / Bali Ubud

88 x 63cm

$300–600

165

168

VIETNAMESE SCHOOL

Figure in Dark Landscape 1967



nghy / 67

47 x 76.5cm

$200–400

169

MARIA TJUI


Two Birds

oil on canvas

50 x 60cm

$200–400

166

58

170

171

170

YU LUN WU

The Bud 2011

oil on canvas

signed lower right

24.5 x 19.5cm

$800–1,200

171

YU LUN WU

Untitled 2009

oil on canvas

signed and dated lower right

45.5 x 38cm

$1,000–2,000

172

BALINESE SCHOOL

Bathing by the River


31 x 21.5cm

$100–300

173

MARIA TJUI


Dance Ceremony

oil on canvas

signed lower left

39 x 43cm

$200–300

174

GUSMEN HERIADI


Sarapan 2004

acrylic on paper


Gusmen Heriadi 110404


'SARAPAN' / 2004 / Gusmen Heriadi

29 x 19.5cm

$400–600

175

GUSMEN HERIADI


Self-Hypnosis 2004-2014

acrylic on card

signed lower right: GUSMEN HERIADI

28.5 x 19.5cm

EXHIBITED & LITERATURE

SHOUT! Indonesian Contemporary

Art, MIFA, 26 September - 9

November 2014, illus. p 55

$400–600

176

GUSMEN HERIADI


Lingkaran Hitam 2004

acrylic on paper

signed lower right: Gusmen Heriadi


LINGKARAN HITAM / 2004 /

Gusmen Heriadi

29 x 20cm

$400–600

59

176

177

177

GUSMEN HERIADI


Melihat Ke Belakang 2004

acrylic on paper

signed lower right: Gusmen Heriadi


'MELIHAT KE BELAKANG' / 2004 /

Gusmen Heriadi

29 x 20cm

$400–600

178

GUSMEN HERIADI


Filling Up 2004-2014

acrylic on card

signed lower right: GUSMEN

HERIADI

28.5 x 19.5cm

EXHIBITED & LITERATURE

SHOUT! Indonesian Contemporary

Art, MIFA, 26 September - 9

November 2014, illus. p 57

$400–600

178

60

183

VIETNAMESE SCHOOL

Abstract 1975

oil on canvas

signed with initials and dated lower

right: M L 75

118 x 85cm

$400–600

179

184

VIETNAMESE SCHOOL

Seated Lady

oil on canvas

signed but illegible upper right

78 x 57cm

$200–400

185


Deep in Thought 2016

monotype


Riski Januar 2016

64.5 x 87.5cm

$200–400

180

179


Figures Embracing 2016

monotype


Riski Januar 2016

71.5 x 108.5cm

$300–500

180


Tied Up

mixed media paper

36.5 x 51.5cm

$200–300

181

VIETNAMESE SCHOOL

Autumnal Village Scene

oil on canvas


49 x 69cm

$200–400

182

VIETNAMESE SCHOOL

Monsoon Season

oil on canvas


49 x 65cm

$200–400

186

INDONESIAN SCHOOL

A Pair of Batuan scenes

depicting Farmers tending

Padi Fields

two oil on canvas

one signed lower left:

KTSAMUR / BATUAN / BAZ.

51 x 36.5cm and 54 x 34.5cm

$100–300

187

BALINESE SCHOOL

Scenes of Daily Life

three watercolours on paper

48 x 34.5cm, 42 x 48.5cm, 32 x 23cm

$100–300

188

BALINESE SCHOOL

Artisan Sculptors

batik

47 x 78cm

$100–300

61

183

189

189

(ATTRIBUTED) LE THANH JOH

Suburban Street

oil on card

signed with initials lower right

45 x 28cm

$300–500

190

NGUYEN HUNG


Man in Red Hat 2005


signed and dated upper right:

HUNG / 24.05


57 x 38cm

$200–300

190

62

193

A vintage carved wooden

caricature candlestick modelled

as Billy Hughes

23cm high

$200–300

194

One patinated composition

shop mannequin bust

50cm high

$100–200

191

195

A Mintons painted and gilt

ornithological dessert service,

year cypher for 1876

on a cream ground, comprising two

comports and five plates

the tallest comport 16cm high,

26cm diameter

$400–600

192

191

PAL FRIED

(HUNGARIAN, 1893-1976)

African Women Laughing

pastel on paper

signed lower left: FRIED PAL

46 x 53cm

$1,000–2,000

192

WALTER J MORGAN

(1847-1924)

An Arab Cafe 1926


signed lower left: W. J. Morgan

titled lower right: Cafe. Arab /

Constantine

16.5 x 24.5cm

$500–800

63

196

AFTER REMINGTON

A large bronze figure,

Geronimo on Horseback

impressed signature:

'E Federic Remington'

62cm high, 57cm wide, 22cm deep

$1,000–2,000

197

RUDOLF LEHNERT

& ERNST LANDROCK

A portrait of a Bedouin woman

silver gelatin print

6.5 x 5cm

$100–200

198

A carved wooden figure of a

bearded gentleman, European

32cm high

$100–200

196

199

An Anglo Indian caned and carved

hardwood sofa, 19th century


$1,500–2,500

200

An antique sea trunk

40 cm high, 81 cm wide, 44 cm deep

$200–300

199

64

201

201

A collection of small

Pre-Columbian pottery masks,

16th–18th century

various dimensions

$800–1,200

202

A group of five pre-Columbian

ceramic and stone objects and

figures

the largest 21cm high

$500–800

203

A large oak framed panorama

photograph of a military tattoo,

dated 1926


13 x 85cm

$200–300

204

A Washburn Heritage acoustic

guitar

with soft case

$200–400

205

A vintage violin

with bow frame without bow

horsehair and a modern case

59cm long

$300-500

206

A Fernandes JS-100 Landy

Limited Edition V Electric Guitar

Maple Body Black

with hard case

$600–800

207

An Ovation 6868 Elite Standard

1995 Acoustic Electric Guitar

with hardcase

$800–1,200

208

An AKAI AA-1020 Stereo

Receiver

$200–300

209

A Yamaha C-40 six string guitar

$100–200

210

A Martinez MC-501 (T) guitar

with softcase

$100–200

211

A classical cello with ebonised

bridge and pegs

108cm high

$200–400

65

212

An Alex Steinbach baby

grand piano

103cm high closed, 151cm wide,

176cm deep

$2,000–3,000

213

A Vantage Avenger Electric

Guitar, circa 1990

axe with maple neck and fingerboard

$400–600

212

66

214

A carved and polychromed

gilt gesso figure of Mary,

Our Lady of Lourdes

129cm high

$1,200–1,800

215

215

A carved hardwood camel

saddle stool

with a fur lined cushion


$200–300

216

A Middle Eastern brass

mounted dual camel saddle

135cm long, 40cm wide, 40cm deep

$400–600

217

A pair of Empire style brass and

glass occasional tables

each of circular form on a tripartite

base with three out swept supports

and paw feet

60cm high, 65cm diameter

$1,000–1,500

218

A vintage patinated cast iron

bunny doorstop

23cm high

$200–300

214

67

219

An Australian cedar, blackwood

and huon pine games table,

Colonial

the checkerboard top flanked by two

cribbage boards above a stretcher

base, centred by a marker box


$800–1,200

220

Two vintage cast iron money

boxes

one cast with a red coat and

checkered pants, the figure in a blue

suit and hat, cast to the base John

Harper & Co., England, 1939

the tallest is 20cm high

$500–800

221

A Royal Doulton pink shagreen

coffee set

219

$200–400

222

A George III English oak

sideboard

with three drawers to the frieze above

a finely carved scrolling apron raised

cabriole legs


$1,500–2,500

223

A vintage Japanese anime

style mannequin, Daimaru,

circa 2000s

202cm high

$400–600

222

68

224

224

A pair of vintage mid-century

chrome and smoke glass side

tables

38cm high, 37cm square

$300–500

225

ARTIST UNKNOWN

A Modernist bronze figure

intaglio 'T' monogram to the base


$500–800

226

A Barcelona style chrome

and leather suite

comprising a sofa and two chairs

the sofa is 81cm high, 155cm wide,

86cm deep

$300–500

227

A pair of metal floor lamps,

probably Italian, circa 1980s

186cm high

$400–600

228

A mid century industrial

articulated metal desk lamp

70cm high

$400–600

229

A set of eight Eames style

aluminium group chairs

each with a cream mesh seat on a

five point pad foot base

$1,200–1,500

225

69

230

A mid century rosewood square

form table probably by Sven Ivar

for Dokka MŸBLER


$500–800

231

A rosewood coffee table by

Sven Ivar for Dokka MŸBLER


$800–1,200

232

A vintage mid century Wenge

gallery bench seat made by

Didier


$300–500

230

233

A glass waterfall coffee table,

20th century


$400–600

235

A vintage hot rod children's

toy car


$200–300

231

234

A vintage brass mounted

terrestrial desk globe,

circa 1960

48cm high

$200–400

236

A Vintage children's toy

15cm high

$100–200

70

237

238

237

SHAN BAIQIN (BORN 1936)

Trading Geese with Calligraphy

1980

ink and colour on paper

inscribed 'exchanging a goose for

transcribing sutras by Mr Shan of

Huizhou' with seal reading cultivate

one's temperament, hanging scroll

133 x 69cm

PROVENANCE

Dr Seah Pong Pin, renowned

Singaporean Dermatologist -

Private Collection, Singapore

Thence by descent

Bonhams, Hong Kong, Southeast

Asian Modern & Contemporary Art

Online, 12 October 2021

$500–800

238

ATTRIBUTED TO ZOU YIGUI

Flowers and Birds

ink and colour on paper,

hanging scroll

inscribed and with two seals,

Christie's Hong Kong label attached

94 x 46.5cm

$600–800

71

239

239

CHEN WEN HSI (1909-1991)

Carp


signature and seal of the artist lower

right

66 x 66cm

PROVENANCE

Private collection, Melbourne

$10,000–15,000

240

CHINESE SCHOOL

Geese


inscribed whispers, inspired by Wang

Xizhi's character for 'goose', written

by Zhu Wei in the Yang month of the

Bingyin year (1986)

with one seal, framed

63 x 63 cm

$150–200

241

CHINESE SCHOOL

Chickens


inscribed 'respectfully presented to

Mr. Wang Jian for safekeeping, an ink

play by Shaohua in the summer of the

Xinwei year, with compliments from

the Guangzhou Overseas Friendship

Association'

with three seals, framed

67 x 67cm

$150–250

72

242

A pair of yellow-ground famille

rose vases

20th century

each of the six sides reserved with

a blue ground floral panel, Qianlong

mark

21cm high

$500–600

243

A Chinese tiered canework

food basket

of cylindrical form with high strap

loop handle

40cm high to top of handle,

31cm wide

$200–400

242

244

A yellow-ground famille rose

bottle vase, tianqiuping

20th century

decorated with nine dragons writhing

among floral sprays all reserved on

the lemon yellow ground

55cm high

$500–700

245

A collection of ten Chinese

landscape paintings

hanging scrolls

various sizes

$400–600

244

246

CHINESE SCHOOL

Vegetables and Insects


inscribed and bearing the signature

and date, Shi Gu December 1996

with one seal, framed

43 x 32cm

$80–120

73

247

WANG HUAN

(CHINESE, BORN 1919)

The Drunken Poet

and The Wise Man

a pair of scrolls

136 x 34.5cm (each)

$600–800

248

CHINESE SCHOOL

Plum Blossom and

Longevity Rock


inscribed and bearing the

signature Liao Jun

with five seals, framed

64 x 64cm

$300–500

249

CHINESE SCHOOL

Bamboo

ink on paper

inscribed at Zhuxi and with three

seals, framed

83 x 39.5cm

$150–250

250

A collection of nine Chinese

calligraphy works

hanging scrolls

various sizes

$200–300

251

A Chinese calligraphy work

ink on paper

inscribed and with three seals,

framed

42.5 x 67.5cm (image size)

$80–120

252

A collection of ten Chinese

'flora and fauna' paintings

hanging scrolls

various sizes

$300–500

247

74

253

A large Korean wall mask

carved wood

90 x 58cm

$100–300

254

A Chinese bronze 'lion and

grapevine' mirror

cast with a central knop, encircled

by a band of six recumbent lions

amongst fruiting grape vines, the

reverse plain

$400–600

255

A Chinese two fold screen

20th century

decorated with figure scenes and

landscapes

182.5cm high, each panel 48cm wide

$600–800

256

A Chinese Camphor wood trunk


$300–500

257

A Chinese tiered canework

food basket

of rectangular form with high woven

strap handle

45cm high to top of handle,

35.5cm wide, 20cm deep

$200–400

258

A nest of four Chinese

hardwood tables

20th century

each carved with simulated bamboo

frames and legs joined by openwork

scrolling vine

the largest 72cm high, 51cm wide,

36.5cm deep

$250–350

259

A Chinese soapstone carving

20th century

of a luohan riding on the back of a

Buddhist lion, holding a scroll and

with a wide brimmed hat slung over

his back

15cm high

$150–250

260

CHINESE SCHOOL

Zu Chongzhi’s Chart

of Celestial Calculations

the four-character inscription reads

'a marvel of ingenuity and unmatched

precision'

and further inscriptions written by Li

Teng in the autumn of the Jiazi year

(1984), in River City

with four seals, framed

99 x 45cm

$500–800

253

75

261

BALINESE SCHOOL

(20TH CENTURY)

Scenes from Smaradahana

batik painting

155 x 150cm

$1,000–2,000

262

BALINESE SCHOOL

(20TH CENTURY)

A large narrative Palindon

painting, Kamasan region

batik painting

97 x 147.5cm

$1,000–2,000

263

BALINESE SCHOOL

Temple Painting

batik painting

182.5 x 78.5cm

$300–500

261

76

264

An unusual cast iron composite

shrine

the variously shaped niches above

a tiered plinth each containing a gilt

bronze figure of Buddha standing,

reclining or seated, and with two

smaller niches containing seated

Bodhisattva figures

50cm high overall

$1,200–1,800

265

An unusual hardwood cabinet

20th century

the upper section with a two door

cupboard above three small drawers,

on corner supports above the lower

section comprising two small two

door cupboards below a frieze of four

small drawers, fitted with shaped

metal hinges, mounts, lock plates

and swing handles


$300–600

266

A Japanese black and gold

lacquered shrine, Butsudan

late Meiji period

of rectangular form, the upper

section with two hinged bi-fold

panel doors opening to reveal two

inner bi-fold doors, the inner shrine

with a series of shelves and plinths,

all above three concealed small

drawers, the upper part with vertical

cylindrical pillars below intricately

carved decorative elements, the

lower section with a long drawer

above a small cupboard with sliding

doors,applied with gilt metal mounts,

hinges and lock plates, the outer

doors with bronzed hinges and lock

plates, the two outer sides with three

loose ring handles bound with rope

for carrying

150.5cm high, 58cm wide,

53.5cm deep

$1,000–2,000

264

266

77

78

267

A large Japanese puppet head

20th century

the jovial face with applied eyebrows,

whiskers and beard

67cm high

$200–300

268

A Japanese doll

the man wearing traditional dress

41cm high

$300–500

269

Two Japanese-style wood

stands

each with an openwork spindle

arrangement within the plain frame

12cm high, 77.5cm square

12cm high, 67.5cm square

$100–150

270

A Japanese basket

with bronze liner and high loop

handle


$200–300

272

Collection of five Japanese

baskets

the largest measuring 25cm high

$200–400

273

A Japanese obi

20th century

woven in orange, black and silver

with cranes and flowering plants,

displayed on a black hanging mount

290cm long overall

$400–600

271

A Japanese Geisha wig

with original case

41 x 31 x 36.5cm

$200–400

267

268

79

274

A Japanese two fold

wood screen

Meiji period

applied in ivory, mother of pearl and

wood with monkeys and an eagle on

gnarled tree trunks among flowering

iris, the reverse with birds and

magnolia

each panel 179 x 72cm

$600–800

275

Collection of Japanese baskets

and water carriers

tallest measuring 30cm high

$200–400

274

80

276

276

A near pair of Malaysian brass

mounted carved macassar Kris

50cm long

$600–800

277

An ornately beaded Indian Sari

in burgundy and gold

$400–600

278

INDIAN SCHOOL

Krishna Stealing Butter


30 x 40.5cm

$100–200

279

An Indian stone carving

of an amorous couple

20th century

both scantily clad wearing only

elaborate jewellery

22cm high

$100–200

280

An Alaskan Inuit carved

soapstone mask

$200–300

81

281

A group of four Indonesian

carved wood figures

each kneeling with their hands

resting on their knees, their features

well defined, comprising a pair of

women with hair decoration falling

over one shoulder, and a pair of men

wearing traditional tall hats, traces of

polychrome decoration

the male figures 69cm and 75cm,

the female figures 59cm and 60cm

$1,500–2,500

282

An Indonesian Congklak

game board

carved with seven sockets to either

side and terminating in a head

and feet at either end, traces of

polychrome decoration

76cm long

$300–400

281

82

283

NANCY NUNGURRAYI

(C1935-2010)

Untitled 1999

acrylic on canvas

inscribed verso: Nancy Nungurrayi /

PAPUNYA TULA ARTISTS PTY LTD /

NN9909210

91 x 46cm

$1,000–2,000

284

MUTPU ROI

Snake Song

natural earth pigments on eucalyptus

bark

79 x 34cm

$400–600

285

A large New Guinean mother

and child totem

carved and incised wood

215cm high, 46cm wide

PROVENANCE

Gabrielle Pizzi Gallery

$600–800

286

A large flying fox cult spirit

figure, possibly Iatmul, Middle

Sepik River, Papua New Guinea

with woven fibre, bead, cowrie shell

and feather adornments, figural

basket hook to base


$400–600

283

287

Papuan Gope Board

accompanied by Ancestral

Figure, Papua New Guinea

carved and incised wood,

natural earth pigments

the shield is 114cm high

the figure is 82cm high

$300–400

285 286

83

84

288

A two handled tribal drum on a

later wrought iron stand


$400–600

289

Ancestral Figure, Middle Sepik,

Papua New Guinea

carved and incised wood, natural

earth pigments

175cm high

$500–700

290

Large African Tribal Mask



$200–400

291

Balinese tribal carving modelled

as a bird surrounding a mask

carved wood

60cm high

$100–200

288

85

292

Fetish Figure, West Africa


67cm high

$300–500

293

Senufo seated female figure,

Ivory Coast, West Africa

carved wood

98cm high

$400–600

292

293

86

381 (Detail)

87

The Hugh Jenkinson Collection

of Oceanic, African, Asian and

Aboriginal Art

Hugh Jenkinson was an engineer in the oil

and mining industry by trade, and through

his work, was frequently posted to remote

locations for extended periods. In the early

1970s, while stationed in Papua New Guinea,

he took some time to explore the Sepik River

region. His personal discovery of the culture,

history, and creativity that lay within these

remote communities inspired a lifelong

passion for collecting. It was the beginning of

what was to become a lifelong obsession with

researching and collecting Tribal and Oceanic

artefacts. He spent the next 5 decades touring

across continents—from remote tribes of

Laos, the wild heart of Borneo, and into the

foothills of Nepal and Bhutan. He spent years

exploring Côte d'Ivoire, Zimbabwe, Kenya, and

Ethiopia. And delved into the rich and diverse

mythologies of Indonesia, touring the majestic

landscapes of New Zealand. Each piece in

Jenkinson's collection is not just a testament

to the artistry and spirit of the people he met

throughout his travels, but also a personal

connection to the communities and cultures

he encountered. Hugh gathered an impressive

collection of books and literature to the

point that he was able to open a bookstore

and gallery in 1991, Tribal World Books and

LukLuk Gallery, to support and share his

burgeoning collection.

From ceremonial masks and intricate carvings

to unique textiles and sculptural pieces, every

object in the Hugh Jenkinson Collection

has been personally and ethically collected.

These objects represent a living history that

directly connects to the traditions and stories

of remote communities throughout Africa,

Australasia and the greater Asian Pacific

Region. Gibson’s is thrilled to invite you to

explore this unique collection, which has been

carefully curated with a deep passion and

profound respect for the cultures that created

it. Now ready for new custodians who will

regard them with the same respect and desire

to honour their cultural significance.

Sarah Garrecht

88

294

Gogodala Lizard Effigy

(gi lopala), Western Province.

Papuan Gulf, Papua New Guinea

carved and incised wood in relief

194cm long, 10cm diameter

PROVENANCE

Collected by Hubert Umlauf

from the region 1985

Tribal Art Gallery, Melbourne, 1990

$500–800

295

Gogodola Mask (kosa:ya),

Western District, Papuan Gulf,

Papua New Guinea

carved and incised wood in relief,

natural earth pigments, rattan

binding, feathers


PROVENANCE

Collected by Hubert Umlauf from the

Longhouse at Kini, Western District,

1989


$200–400

296

Gogodala Plaque (ikewa),


Papua New Guinea


earth pigments


PROVENANCE



1989


$200–400

297

Ceremonial Bone Dagger,

Angoram District, East Sepik

Province, Papua New Guinea

heavy clay, natural ochres, cassowary

bone and feathers, cowrie shells

27cm long

PROVENANCE

Collected by Hubert Umlauf from

Father Lehner, circa 1968-70


$100–150

294 294 (Detail)

89

298

Gogodala Ritual and War Drum

(diwaka), Pedeaya Creek,

North of Fly River, Balimo,

Western Province, Papuan Gulf,

Papua New Guinea


natural earth pigments, wallaby skin


PROVENANCE


from Pedeaya, 1985


$1,200–1,500

299

Gogodala Drum (waluwa),

Pedaeya Creek, Western

Province, Papuan Gulf,

Papua New Guinea


earth pigments, lizard skin, resin,

cane and bees wax

100cm long, 20cm diameter

PROVENANCE


Konodubu, Western Province, 1989


$150–300

300

Ceremonial Dance Shield, Wario

River, East Sepik Province,

Papua New Guinea

carved wood in relief and natural

earth pigments


PROVENANCE

Hubert Umlauf, Tribal Art Gallery,

Melbourne, 1990

$200–400

302

Roof Finial (Kwangwuwabi),

Iatmul, East Sepik Province,

Papua New Guinea



PROVENANCE


Melbourne, 1990

$400–600

303

Garra Ancestral Mask, Hunstein

Mountains, Middle Sepik,

Papua New Guinea




PROVENANCE

Collected by Hubert Umlauf in 1975


$200–400

304

Rain Hood, Iatmul, Angoram

District, East Sepik Province,

Papua New Guinea and Canoe,

Asmat, West Papua New Guinea

woven reed grasses and


62 x 27cm (rain hood)



143cm long (canoe)

PROVENANCE

Collected by Hubert Umlauf in 1975

(rain hood)


$100–200

301

Canoe Shield Mask, Iatmul,

Middle Sepik Province,

Papua New Guinea

carved and incised wood with natural

earth pigments and grass

40cm high

PROVENANCE


Melbourne, 1990

$200–400

298

90

305

Ancestral Mask, Alamblak,

Blackwater River, East Sepik



earth pigments, cowrie shells


PROVENANCE


village of Taragal, circa 1975


$200–400

306

House Board, Alamblak,



carved and incised bark inrelief,



PROVENANCE


village of Mariama, circa 1975


$300–500

307

Telefolmin House Board,

Western Province, Highlands,

Papua New Guinea

carved and incised wood and


161 x 37cm

$400–600

308

Ceremonial Bilum with shell

attachments, Middle Sepik

Region, East Sepik Province,

Papua New Guinea and three

Sepik River Bilums

hand woven fibres, natural earth

pigments, shells, tusks

50cm high, 56cm wide (largest) -

18cm high, 40cm wide (smallest)

305

PROVENANCE

1. Collected by Hubert Umlauf from

village of Minas


2. Collected by Hubert Umlauf from

the village of Marawat, circa 1975


3. Tribal Art Gallery, Melbourne, 1991

4. Tribal Art Gallery, Melbourne, 1991

$200–400

91

309

Shield, Upper Ramu River,

Goam River, Papua New Guinea



119 x 45cm

$400–800

310

Ancestor Sculpture, Sawos,

Middle Sepik Area , East Sepik





PROVENANCE


Melbourne, 1992

$100–200

311

Three Ancestral Masks,

Sawos, East Sepik Province,

Papua New Guinea


earth pigments

1. 43cm high, 10cm wide



PROVENANCE

Collected by Father Vegvary,

late 1970s (1)


(1 & 2)

Yarrandoo Pacific Art Gallery,

Melbourne (3)

$200–400

312

Gope Board, Papuan Gulf,

Papua New Guinea



157.5 x 27.5cm

PROVENANCE

Private collection, Port Moresby

Hubert Umlauf acquired from the

above 1974


$300–500

309

92

313

Female Nowkwi Figure

(Saseriman), Kwoma People,

Washkuk Hills, East Sepik





PROVENANCE


village of Siakolom, 1974


$1,200–1,500

314

Nowkwi Figure (Siakolom),

Washkuk Hills, East Sepik


and Yam Cult Figure, Wosera

Region, East Sepik Province,

Papua New Guinea


earth pigments and seed decoration

55cm high and 86cm high

PROVENANCE


Father Kowalski, Catholic Mission at

Abunti, circa 1972-73


$200–400

313

314

93

315

A large double Male and Female

Figure with Fish Totem, North

Coast, Fischaven, Huon Gulf,

Papua New Guinea

carved and incised wood and natural

earth pigments

198cm high

$1,000–1,500

316

Ceremonial Dance Mask,

Iatmul, Middle Sepik, East Sepik


circa 1950

carved wood, natural fibres

32cm high

PROVENANCE

Collected from village of Palambai,

circa 1960

Yarrando Pacific Arts Gallery,

Melbourne

$300–500

317

Bark Figure, Alamblak,


Province, Papua New Guinea,

a Yena Figure, Kwoma People,

Washkuk Hills, Middle Sepik,

East Sepik Province, Papua

New Guinea and Yipwon

Figure, Alamblak, Blackwater


Papua New Guinea



44cm high, 70cm high, 49cm high

PROVENANCE


the village of Mariama, circa 1970

(bark figure)


the village of Tjimberaga, circa 1973

(yena figure)


Sevenbuk, circa 1968 (yipwon figure)


$200–400

315

94

318

House Post (Segment) Murik

Lake, East Sepik Province,

Papua New Guinea

wooden post with figures

carved in relief

decorations represent clan totems,

ancestors, clan parents, heroes,

mythology and history


(irregular)

PROVENANCE


Melbourne, 1990

$500–700

319

Shield Painting, Alamblak

People, Blackwater River,

East Sepik Province,

Papua New Guinea

carved and incised bark, natural

earth pigments, rattan


PROVENANCE

Purchased by Hubert Umlauf from

Alamblak people, circa 1970


$200–400

318

318 (Detail)

95

320

Yam Cult Figure (Wingei),

Prince Alexander Mountains,


Papua New Guinea




PROVENANCE


Father Heinemann, Catholic Mission

in Wewak, 1967-68


$500–800

321

Two Talipun Bride Price

Decorations, Yangoru

Boiken, East Sepik Province,

Papua New Guinea

woven rattan, shell and natural earth

pigments


woven rattan, beading, cassowary

feathers and natural earth pigments


PROVENANCE

Collected by Father Patrick Hallinan,

1972-73

Thence by descent, 1974


$300–500

322

Talipun Head Decoration,

Yangoru Boiken, East Sepik


woven rattan, cassowary feather and



PROVENANCE


1972-73

Thence by descent


$300–500

323

Cult Figure, Lower Ramu River,

Madang Province, Papua New

Guinea


65cm high

$100–200

324

Ancestral Figure (Aripa),

Alamblak, Blackwater River,

Middle Sepik, Papua New

Guinea


earth pigments

169cm high

PROVENANCE


the village of Mariama, mid 1970s


$300–500

325

Cult Figure, Lower Ramu River,

Madang Province, Papua

New Guinea and two Yipwon

Figures, Sevenbuk, Blackwater


Papua New Guinea

carved and incised wood (cult

figure)


earth pigments (Yipwon figures)

35cm high, 10cm diameter (cult

figure)

60cm high (Yipwon figure)

54cm high (Yipwon figure)

PROVENANCE


from Alamblak village, 1960s

(Yipwon figures)


$200–400

326

Gope Board, Wapo Creek

Area, Papuan Gulf District,

Papua New Guinea



138cm high, 31cm wide, 3.5cm deep

PROVENANCE

Private collection, Port Moresby

Hubert Umlauf acquired from the

above 1974


$300–500

320

96

327

Shield, Arawe, West New

Britain, Papua New Guinea


natural earth pigments and fibres

142 x 28cm

$500–800

328

Gope Board, Papuan Gulf,

Papua New Guinea




PROVENANCE


$300–500

329

Ancestral Mask, Bahinemo

People, Sepik Hills, East Sepik


Turtle Shell Mask, Middle Sepik,


New Guinea and Ancestral

Mask, Yamok Village, East Sepik



turtle shell, natural earth pigments,

woven rattan, cowrie shells

19cm high to 57cm high

PROVENANCE


Father Heinemann, Catholic Mission

in Wewak, 1967-68 (ancestral mask)


$200–400

330

Hook Figure (Yipwon), Taragai,

Korewori River Region, Middle

Sepik, Papua New Guinea

carved and incised wood, cowrie

shells

145cm high

PROVENANCE

Collected from the Korewori River

region, 1975


$300–500

331

Flute with stopper, Iatmul,

Kamanibit, Middle Sepik, East

Sepik Province and large flute

with frog stopper, Iatmul,

Timbunmeri, East Sepik



bamboo tube, rattan binding, natural

earth pigments, cowrie shell 120cm

and 283cm

PROVENANCE


the village of Kamanibit, 1979

(male stopper)


village of Timbunmeri, early 1970s

(frog stopper)


$200–400

332

Kundu Drum, Iatmul, East Sepik


Ceremonial Flute, Yessan

Hills, Ambunti, East Sepik


and a Papuan Gulf Drum,

Papua New Guinea


earth pigments, snake skin, rattan

binding

56cm high, 76cm high, 95cm high

PROVENANCE


the village of Yessan I or II, late 1960's

(flute)


$150–300

333

Ancestral Figure, Abelam,

Maprik District, East Sepik



earth pigments, animal tusk


PROVENANCE

Collected by a local patrol officer in

the 1960s


Melbourne

$150–250

327

97

334

Helmet Mask, Kombe, West

New Britain, Papua New Guinea


earth pigments

55cm high

PROVENANCE

Richard Aldridge, Perth

$700–1,000

335

Two Ancestral Masks, Iatmul,

Middle Sepik Province,

Papua New Guinea and a

Basket Hook, Sepik Province,

Papua New Guinea

incised and carved wood, natural

earth pigments, grass

62cm high, 22cm wide and

53cm high (masks)

15cm wide and 59cm high, 11cm wide

(hook)

PROVENANCE


Melbourne, 1990 (mask)

Yarrandoo Native Art, Melbourne,

1990 (basket hook)

$200–400

336

Female Ancestral Figure,

Washkuk, Middle Sepik,


Papua New Guinea



102cm high

PROVENANCE


$200–400

337

Shield, Upper Ramu River,

Goam River, Madang Province,

Papua New Guinea




$300–500

334

98

338

338

Gogodala Club (gabi lapila),

Western Province, Papuan Gulf,

Papua New Guinea

carved stone and wood

84cm long, 10cm diameter (club)

PROVENANCE

Collected in Western Province

thence by descent


$300–500

339

Gogodala Canoe Prow (gawa

lopa), Pisi, Western District,

Papuan Gulf, Papua New Guinea



100cm long

PROVENANCE


village of Pisi, October 1989


$200–400

340

Female Ancestral Figure, Keram

River, Sepik Region, Papua New

Guinea and Nowkwi Figure

(Bangwis), Kwoma, Middle

Sepik, East Sepik Province,

Papua New Guinea

carved and incised wood, cowrie

shells and natural earth pigments


PROVENANCE


Keram River Region, circa 1970

(ancestral figure)


Collected by Laurie Bragge

from Bangwis Village, circa 1980

(nowkwi figure)


$200–400

341

Two Baba Tagwa Masks,

Abelam, Middle Sepik, East

Sepik Province, Papua New

Guinea

rattan, woven cane and


approx 29cm high, 23cm wide and

approx 31cm high, 27cm wide

PROVENANCE

Collected by Mark Salas, Yarrandoo

Pacific Art Gallery circa 1960


$300–500

342

Figure, Kwoma, Washkuk

Hills, Middle Sepik, East Sepik



190cm high

$300–500

339

99

344

Gogodala Guardian Post

(Kuku/Timi), Kini Village,


Papua New Guinea, circa 1973



343

Flighting Club, Samoa and

a Supi Club, Malaita Island,

Solomon Islands



$400–600

PROVENANCE



1989


$600–800

343

244

100

345

Ancestral Yam House Figure,

Abelam, Maprik Hills, East Sepik





$300–500

346

Two Long Yam Masks,

Abelam, East Sepik Province,

Papua New Guinea

woven rattan, beading, natural earth

pigments


and 27cm high, 22cm wide, 12cm deep

PROVENANCE


1960s

Thence by descent, Melbourne, 1974


$200–400

347

Two Yam Masks, Abelam,


Papua New Guinea

woven rattan, beading,


81cm high, 20cm wide, 15cm deep and


PROVENANCE


1960s



$200–400

348

Three Yam Masks, Abelam,


Papua New Guinea

woven rattan, natural earth pigments




PROVENANCE


1960s



$300–500

345

101

349

349

Malangan Panel, New Ireland,

Papua New Guinea


earth pigments and shells


$300–500

350

Two Long Yam Decorations,

Abelam, East Sepik Province,

Papua New Guinea

woven rattan, natural earth pigments

45cm high, 50cm wide and


PROVENANCE


1972-73



$200–400

351

Female ancestral totem, Lower

Sepik, Papua New Guinea,

circa 1960

seated female wearing decorated

rain cape

carved and incised wood with shell

decoration

72cm high

$200–400

350

102

352

Male Food Hook Figure, Middle

Sepik, Papua New Guinea


earth pigments and cassowary

feathers

141cm high

$400–600

353

Canoe Paddle, Solomon Islands


154cm long

$200–400

352

352 (Detail)

103

354

Cult Hook (waken), Iatmul,

Middle Sepik, East Sepik



shells


PROVENANCE




$700–900

355

Female Aripa Figure (Mariamai),

Alamblak, Lake Govermas,

Blackwater River Area,


New Guinea and Kambot

Spirit Figure, Kream River

Area, East Sepik Province,

Papua New Guinea


earth pigments


PROVENANCE

Collected by John Benson from

Mariamai circa 1968-70 (aripa figure)

Les Simons, Angoram Pub & Artefact

Shop, 1972

Hubert Umlauf, 1979


$150–300

356

Flute bird stopper, Timbunmeri

Village, East Sepik Province and

a lime stopper, Middle Sepik,

Papua New Guinea


rattan binding, natural earth

pigments, cowrie shell


PROVENANCE



(bird stopper)


$150–250

354

104

357

Garamut Slit-Drum, Murik

Lakes, Lower Sepik, East Sepik




PROVENANCE

Collected in the 1940s for a Sydney

Art Gallery exhibition


$300–500

358

Nowkwi Figure, Washkuk,

Middle Sepik, East Sepik


and Gable Mask, Sawos, Middle


Papua New Guinea

carved and incised wood, woven

raffia, natural eath pigments and

cowrie shells


PROVENANCE


Ummban of Tjimberaga circa 1970

(nowkwi figure)


$200–400

359

Two Yam Decorations, Abelam,

East Sepik Province, bride

price decoration, Iatmul, Middle


Papua New Guinea and two

West Papuan male phallocrypts

(penis gourd)

woven rattan and natural earth

pigments (yam decorations), shell,

cassowary feathers, fibres and

natural earth pigments (bride price),

gourd (phallocrypts)

33cm long (yam decoration)

12cm long (yam decoration)

16cm high, 20cm wide (bride price)

56cm long (phallocrypt)

PROVENANCE

1 Yam Decoration


1973-74

Thence by descent


2 Yam Decoration

Collected by Hubert Umlauf,

circa 1970


3 Bride Price

Purchased by Hubert Umlauf from

Tambei at Palambei, 1979


$200–400

360

Four Fofana dance decorations,

Highlands, Papua New Guinea

woven fibres, cowrie shells and


20cm high to 39cm high

$300–500

361

Fofana dance decoration,

nassa headband, two body

adornments, Eastern Highlands,

Papua New Guinea and a Yale

marsupial tooth necklace,

Baliem Valley, West Papua,

Papua New Guinea

woven fibres, shell, seed pods,

marsupial teeth, natural earth

pigments

40cm high, 35cm wide (fofana)

$200–400

362

Four fish lures and three

shell currency necklaces,

Siassi Islands, Huon Gulf,

Papua New Guinea

turtle shell and shell with string

binding

11.5cm high (largest fish lure)

$200–400

363

A collection of Sepik pottery

including a Sago Pot, Aiborn Village,

two cooking pots, Middle Sepik and

smoking pot, Middle Sepik, Papua

New Guinea

fired clay pots with incised designs

and natural earth pigments

20cm high, 17cm diameter (sago pot)


(cooking pot)


(cooking pot)


(smoking pot)

$200–400

357

105

364

Male Ancestral Figure, Murik

Lakes, Lower Sepik Region,

Papua New Guinea


natural earth pigments, cowrie shells

120cm high

PROVENANCE


village of Im Bando, 1970s


$400–600

365

Ceremonial yam cult head,

Washkuk Hills, Middle Sepik,

Papua New Guinea, circa 1960

carved and incised hardwood

decorated with natural earth

pigments

42cm high

$150–250

366

Lumi shield, Torricelli

Mountains, West Sepik


carved and incised wood and cane

binding


PROVENANCE


$250–450

367

Ritual stone (Yimas), Karawari

River Region, East Sepik


and two other ritual stone

heads, origin unknown

carved and incised stone


PROVENANCE

Collected by managers of a Copra

and Cocoa plantation, 1960s

Thence by descent, 1971


$200–400

368

Small stool and black ebony

dance sword, Trobriand

Islands, Massim area, and a

lime container stopper and

a sago stirrer, Sepik River,

Papua New Guinea

carved and incised wood with shell

decoration (stopper)

20cm high, 14cm diameter (stool)

63cm long (sword)

38cm long (stopper)

63cm (stirrer)

$200–400

369

A collection of five Oceanic Art

reference books

i. Craig, Barry, Kernot, Bernie &

Anderson, Christopher (edit.),

Art and Performance in Oceania,

Crawford House Publishing,

Bathurst, 1999

ii. Bonnemaison, JoÎl, Huffman, Kirk,

Kaufmann, Christian & Tryon,

Darrell, Arts of Vanuatu, Crawford

House Publishing, Bathurst, 1996

iii. Hauser-Schaublin, Brigitta &

Kruger, Gundolf (edit.), James

Cook: Gifts and Treasures From

The South Seas, Prestel-Verlag,

Munich, 1998

iv. Mallon, Sean, Samoan Art &

Artists, Craig Potton Publishing,

Nelson, New Zealand, 2002

v. v. Ohnemus, Sylvia, An Ethnology

of the Admiralty Islanders: The

Alfred Bühler Collection, Museum

der Kulturen, Basel, Crawford

House Publishing, Bathurst, 1998

$200–300

364

106

370

A collection of eight Oceanic

and Tribal reference books

i. Herold, Erich, African Art, The

Hamlyn Publishing Group,

London, 1990

ii. Newton, Douglas & Waterfield,

Hermione, Tribal Sculpture:

Masterpieces from Africa, South

East Asia and the Pacific in the

Barbier-Mueller Museum, Thames

& Hudson, London, 1995

iii. Cornet, Joseph, A Survey

of Zairian Art: The Bronson

Collection, North Carolina

Museum of Art, North Carolina,

1978

iv. Hahner-Herzog, Iris, Kecskési

& Vajda, László, African Masks:

From the Barbier-Mueller

Collection, Geneva,

Prestel-Verlag, Munich, 1998

v. Mazrui, Ali A., The Africans: A

Triple Heritage, BBC Publications,

London, 1986

vi. Trowell, Margaret, Classical

African Sculpture, Faber and

Faber Limited, London, 1970

vii. Willett, Frank, African Art: An

Introduction, Thames and

Hudson, London, 1977

viii. Geoffroy-Schneiter, Bèrènice,

Primal Arts: Africa, Oceania and

the Southeast Asian Islands,

Thames and Hudson, London,

2000

$200–400

371

A collection of three Maori

reference books

i. McGuire, Edna, The Maoris of

New Zealand, The Macmillan

Company, New York, 1968

ii. Mead, Sidney Moko (edit.), Te

Maori: Maori Art from New

Zealand Collections (Revised),

Harry N. Abrams, Inc, New York,

in association with The American

Federation of Arts, 1985

iii. Buck, Sir Peter, The Coming

of the Maori: Te Rangi Hiroa,

Whitcoulls Ltd, Christchurch,

New Zealand, 1982

$60–100

372

Three Oceanic Art reference

books

i. Sillitoe, Paul, Made in Niugini:

Technology in the Highlands

of Papua New Guinea, British

Museum Publications, London,

for the Trustees of the British

Museum in association with The

University of Durham Publications

Board, 1988

ii. Nicolas, Alain, Art Papou:

Austronèsiens et Papous de

Nouvelle-Guinèe, Musèes de

Marseille, Rèunion des Musèes

Nationaux, Paris, 2000

iii. May, Patricia & Tuckson,

Margaret, The Traditional Pottery

of Papua New Guinea, Crawford

House Publishing, Adelaide, 2000

$100–200

373

A collection of six Oceanic

Art reference books

i. Cameron, Ian, Lost Paradise:

The Exploration of the Pacific,

Salam House Publishers,

Massachusetts, 1987

ii. Schmitz, Carl A., Oceanic Art:

Myth, Man and Image in the South

Seas, Harry N. Abrams, Inc., New

York, 1966

iii. Tischner, Herbert, Oceanic Art,

Pantheon Books, New York, 1954

iv. Schmid, Robert & Trupp, Fritz,

Tribal Asia: Ceremonies, Rituals

and Dress, Thames & Hudson,

London, 2001

v. Brake, Brian, McNeish, James

& Simmons, David, Art of the

Pacific, Oxford University Press,

Wellington, in association with

Queen Elizabeth II Arts Council of

New Zealand, 1979

vi. Bühler, Alfred, Barrow, Terry &

Mountford, Charles P., Oceania

and Australia: The Art of the

South Seas, VIII (A Series

of Regional Histories of the

Visual Arts), Holle & Co, Verlag,

Baden-Baden, Germany, 1962

$100–200

374

A collection of nine Aboriginal

and Pacific Arts reference

books

i. Seeto, Aaron (curator), News from

the Islands, Campbelltown Arts

Centre Staff, Sydney, 2007

ii. Sutton, Peter, Dreamings: The

Art of Aboriginal Australia, Viking

Penguin, Melbourne, 1989

iii. Kreczmanski, Janusz B. &

Birnberg, Margo, Aboriginal

Artists: Dictionary of Biographies:

Central Desert, Western Desert

& Kimberley Region, J. B.

Publishing, Adelaide, 2004

iv. Herle, Anita, Stanley, Nick,

Stevenson, Karen & Welsch,

Robert L., Pacific Art: Persistence,

Change and Meaning, Crawford

House Publishing, Adelaide, 2002

v. Kleinert, Sylvia & Neale, Margo,

The Oxford Companion to

Aboriginal Art and Culture,

Oxford University Press,

Melbourne, 2000

vi. Morphy, Howard, Aboriginal Art,

Phaidon Press Limited, London,

1998

vii. Myers, Fred. R, Painting Culture:

The Making of an Aboriginal High

Art, Duke University Press, USA,

2002

viii. Dark, Philip J. C., Rose, Roger G.,

Artistic Heritage in a Changing

Pacific, Crawford House Press Pty

Ltd, Bathurst, 1993

ix. Butler, Sally, Our Way:

Contemporary Aboriginal Art

From Lockhart River, UQP

(University of Queensland Press),

Brisbane, 2007

$100–200

375

Two Oceanic Art reference

books

i. Heerman, Ingrid (edit.), Form

Colour Inspiration: Oceanic Art

from New Britain, Arnoldsche,

Paris, 2001

ii. Gunn, Micahel & Peltier, Philippe

(edit.), New Ireland: Art of the

South Pacific, Saint Louis Art

Museum in association with

Musèe Du Quai Banly, Paris, and

the Ethnologisches Museum,

Berlin, 2006

$100–150

107

376

377

376

Force, Roland W & Force,

Maryanne, The Fuller Collection

of Pacific Artifacts, Praeger

Publishers, Inc., New York, 1971

$500–700

377

Gerbrands, Adrian A. (edit),

The Asmat of New Guinea:

The Journal of Michael Clark

Rockefeller, The Museum of

Primitive Art, New York, 1961

$500–700

378

Beran, Harry & Craig, Barry

(edit.), Shields of Melanesia

University of Hawaii Press, Honolulu

in association with Oceanic Art

Society, Sydney, Crawford House

Publishing Australia, 2005

$200–300

379

A collection of five Oceanic Art

reference books

i. Connolly, Bob & Anderson, Robin,

First Contact: New Guinea's

Highlanders Encounter the

Outside World, Viking Penguin

Inc, New York, 1987

ii. Meyer, Anthony JP & Wipperfürth,

Olaf, Oceanic Art: Ozeanische

Kunst. Art Ocèanien, Könemann,

Köln, 1995

iii. Sinclair, James, Middle Kingdom:

A Colonial History of the

Highlands of Papua New Guinea,


Adelaide, 2016

iv. Leahy, Michael J., Explorations

into Highland New Guinea: 1930-

1935, Crawford House Press,

Bathurst, 1994

v. Dixon Keller, Janet & Kuautonga,

Takaronga, Nokonofo Kitea: We

Keep on Living this Way: Myths

& Music of Futuna, Vanuatu,


Adelaide, 2007

$100–200

380

Art of the World: A Series of

Regional Histories of the Visual

Arts (5)

Volume I: Goetz, Hermann, India:

Five Thousand Years of Indian Art,

Methuen, London, 1960 (no slipcase)

Volume II: Wagner, Frits A., Indonesia:

The Art of an Island Group,

McGraw-Hill Book Company, Inc.,

1959 (slipcase)

Volume III: Leuzinger, Elsy, Africa: The

Art of the Negro Peoples, Methuen,

London, 1960 (slipcase)

Volume V: Bandi, Hans-Georg,

Breuil, Henri, Berger-Kirchner, Lilo,

Lhote, Henri, Holm, Erik & Lommel,

Andreas, The Art of the Stone Age:

Forty Thousand Years of Rock Art,

Methuen, London, 1961 (slipcase)

Volume VIII: Bühler, Alfred, Barrow,

Terry & Mountford, Charles P.,

Oceania and Australia: The Art of the

South Seas, Methuen, London, 1962

(slipcase)

$80–120

108

381

Dance Mask (DAN), Western

Cote d'Ivoire, West Africa


on custom stand


$200–400

382

Granary Door, Dogon, Mali,

Africa and Olbene bag,

Maasai People, East Africa

carved and incised wood (door)

leather hide, woven braiding and

trade beds (bag)


34 x 38cm

$200–400

383

Kongo Power figure

(Nkisi Nkondi), Congo, Africa

carved and incised wood and metal

blades

37cm high

$200–400

384

Unusual African figure


bound with leather hide and

cloth and steel arrow tips

46cm high

$150–250

381

109

385



carved wood, fabric and metalwork

26cm high

$500–800

386

Male Wuraba Figure, Nigeria,

Luba Kabwelulu Female Figure

with gourd, Congo, Two Dogon

Figures, Central Mali, segment

of Coco de Mer (sea coconut),

Seychelles, Africa and a small

tribal stone figure

carved and incised wood, gourd,

animal pelt, forged metal, coconut

shell and stone

30cm high (wuraba), 26cm high

(kabwwelulu), 16cm high (each,

dogon), 12cm high, 32cm wide,

19cm deep (coco de mer), 9cm high

(tribal figure)

$200–400

385

110

387

387

Two Rain Maker Dance Masks,

Zirak, Kenya Tanzania Border,

Africa

woven fibres, red paint, trade beads

and gourd

50cm high, 64cm high

PROVENANCE

Sidewalk Gallery, Hobart

$400–600

388

Shield (Kalimantan), Dayak,

Kalimanatn, Borneo and Ritual

Box, Ifugao, Mountain Province,

Luzon, Philippines

carved wood, cane binding

and metal decorations

77cm high, 16cm wide (shield),

16cm high, 37cm long, 12cm deep

(box)

$200–400

389

Female Fetish Figure, Nyanwezi,

Tanzania and a Seated Male

Figure, Africa

carved and incised wood, beads,

cloth and natural fibres


PROVENANCE


(fetish figure)

$200–400

111

390

Mumuye Figure, Benue River,

Nigeria, Africa



PROVENANCE

Collected circa 1960

$1,200–1,800

391

Nyamwezi Diviner's Medicine

Gourd, Tanzania, Africa and an

African Gourd

carved and incised wood, woven

fibres, animal hide


$200–400

392



carved and incised wood and resin

24cm high

$250–450

393

Male Dogan Figure, Mali,

Western Sudan, Africa



$200–400

395

Male Memorial Post, Bongo,

Sudan, Africa


135cm high

PROVENANCE


$200–400

396

African Post Figure


106cm high

$200–400

397

Dogon Equestrian Figure,

Central Mali, Africa

forged iron sculpture

19cm high

PROVENANCE

Sidewalk Gallery, Hobart, 1995

$200–400

398

Female Fetish Figure and Field

Post Finial, Africa

carved wood

46cm (figure) and 36cm (post)

$300–500

394

Bembe four-faced helmet mask,

Congo, Africa


33cm high

PROVENANCE


$300–500

390

112

399

Female Ancestor Figure, Dogon,

Mali, Western Sudan, Africa


35cm high

$400–600

400

Female Figure, Tanzania, Africa


fibre and metal

79cm high

$300–500

401

Female figure, Tanzania, Africa

carved wood, fibre and metal

80cm high

$300–500

402

Female Bound Fetish Figure,

Nyamwezi, Tanzania, Africa

carved wood decorated with hessian,

resin and coloured beads

91cm high

PROVENANCE


$300–500

403

Kota Reliquary Figure, Gabon,

Africa

carved wood and copper sheet


$200–400

399 400 401

113

404

Bambara Antelope Mask, Mali,

West Africa


77cm high

$300–500

405

Bambara Mask, Segou Region,

Southwest Mali, Africa and

Mossi Antelope Mask, Burkina

Faso, Africa

carved and incised wood and


52cm long and 64cm high

PROVENANCE

Collected by Ann Porteous in

the Segou Region, 1997


$200–400

406

Senufo Headdress Mask,

Northern Ivory Coast, Africa


earth pigments, cowrie shells,

canvas binding

91cm high, 30cm deep

PROVENANCE


$200–400

407

Makonde Lipiko Helmet Mask,

Mozambique, Africa


and natural fibres

23.5cm high, 18cm wide, 26cm deep

$200–400

404

114

408

A group of five Aboriginal

Tiwi dance ornaments,

Bathurst & Melville Islands

woven rattan, natural fibres, bark and


31.5 x 29cm (largest)

$500–800

409

Aboriginal Tiwi Club,

Bathurst & Melville Islands

carved and incised wood with fluted

design and natural earth pigments

66 x 8.5cm

$400–600

410

Three Aboriginal Tiwi dance

aprons, Bathurst & Melville

Islands

woven natural fibres and animal hair

19cm high,

20cm wide, 18cm high, 32cm wide

and 23cm high, 30cm wide

$200–400

411

Aboriginal Ceremonial Dance

Hat, Mornington Island,

Queensland

wood, feathers and woven fibres


$300–500

412

Three Indigenous Art reference

books

i. Vivien Johnson, Lives of the

Papunya Tula Artists, IAD Press,

Alice Springs, 2008

ii. Bardon, Geoffrey & Bardon,

James, Papunya: A Place Made

After the Story: The Beginnings

of the Western Desert Painting

Movement, The Miegunyah Press,

Melbourne, Numbered 58 in the

second numbered series of the

Miegunyah Volumes, 2005

iii. Perkins, Hetti, One Sun One

Moon: Aboriginal Art in Australia,

The Art Gallery of New South

Wales, 2007

$100–200

413

Three Indigenous Art reference

books

i. Perkins, Hetti, Crossing Country,

The Alchemy of Western Arnhem

Land Art, The Art Gallery of NSW,

Sydney, 2004

ii. Johnson, Vivien, Clifford Possum

Tjapaltjarri, Art Gallery of South

Australia, Adelaide, 2004

iii. Isaacs, Jennifer, Australian

Aboriginal Paintings, Landsdowne

Publishing, Sydney, 1997

$100–200

414

Wadeye (Port Keats) Aboriginal

bark painting


on eucalyptus bark

66cm high

$200–400

415

ARTIST UNKNOWN

(NAPALJARRI)

Bush Yam

synthetic polymer paint on canvas

62 x 53.5cm

$200–400

416

AFTER SAMUEL THOMAS GILL

Corroboree

colour lithograph

signed with initials in plate

and text to margin

published Hamel & Ferguson,

Melbourne

18 x 25.5cm

$200–400

408

115

417

417

PANSY NAPANGARDI (BORN

C1940)

Yakajirri Dreaming 1989

synthetic polymer on canvas

inscribed verso: Napangardi /

"Yakajirri Dreaming"

124 x 90.5cm

PROVENANCE

Tribal Art Gallery, Melbourne

(accompanied by a certificate of

authenticity)

$600–900

418

BOBBY BARRDJARAY

NGANJMIRA (1915-1992)

Story Keeper of Malwan

chalk on paper

73 x 53.5cm

PROVENANCE


$200–400

419

BOBBY BARRDJARAY

NGANJMIRA (1915-1992)

Mimih Spirits

chalk on paper

111 x 74cm

PROVENANCE


$200–400

116

420

Central Australian Aboriginal

Beanwood Shield


fluted on both sides


$400–600

421

A collection of Aboriginal items

including Central Australian digging

stick, Central Australian incised spear

thrower, three Northern Territory spear

tips, Arnhem Land carved bird, Kimberly

boab nut and Central Australian burnt

pokerwork coolamon (8)


earth pigments

103cm long (digging stick)

$200–400

422

Aboriginal Coolamon,

Central Australia

carved and incised wood with burnt

pokerwork design and spinifex resin

68cm long, 19cm wide

$200–300

423

A collection of five Aboriginal Art

reference books

i. Batty, Philip, Allen, Lindy & Morton,

John (edit.), The Photographs of

Baldwin Spencer, Miegunyah Press,

Melbourne, in association with

Museum Victoria, 2008

ii. Berndt, Ronald, Elkin, A. P.,

McCarthy, F. D., Mountford, C.P.,

Strehlow, G. H. & Tuckson, J. A.

(edit), Australian Aboriginal Art, Ure

Smith Pty Ltd, Sydney, 1964

iii. Godden, Elaine & Malnic, Jutta, Rock

Paintings of Aboriginal Australia,

Reed Books Pty Ltd, Sydney, 1988

iv. Edwards, Robert, Australian

Aboriginal Art: The Art of the

Alligator Rivers Region, Northern

Territory, Australian Institute of

Aboriginal Studies, Canberra, 1979

v. Reed, A. W., Myths & Legends of

Australia, A. H. & A. W. Reed, Sydney,

1965

$80–120

420

117

424

A collection of four Central

Australian Aboriginal hunting

boomerangs

56cm – 76cm (length range)

$300–500

424

425

A collection of Central

Australian Aboriginal objects

including a hardwood coolamon,

spear thrower with native repair,

nulla nulla and spear tip

carved and incised wood, and natural

earth pigments

80cm coolamon

67cm spear thrower

54cm spear tip

60cm nulla nulla

$400–600

118

426

Ancestor Couple, Atauro Island,

East Timor, Indonesia

carved hardwood decorated with


123cm and 128cm

$500–800

427

Five Dayak masks, Borneo

painted, carved and incised wood

26cm – 43cm high (range)

$300–500

428

Twin Manday, Dayak, Borneo

three knives housed in one scabbard

wooden and bone handles, carved

and highly decorated scabbard and

very fine fibre weaving

64cm long

$200–400

429

Three Balinese puppet dolls,

Indonesia

painted carved and incised wood,

embroidered cloth and beading

50-60cm high

$100–200

430

Kulung figure and Dance mask,

Dayak, Kalimantan, Borneo

carved and incised hardwood, natural

earth pigments

49cm high (figure)

PROVENANCE


$100–200

431

Two Female Ancestor Figures,

Atauro Island, Indonesia

carved and incised wood, cloth and

fibre binding

32cm and 29cm high

$300–500

426

119

432

A collection of five knives and

one pendant, Thailand and one

Tibetan Phurba

metal fillagree, antler horn and

animal tooth (possibly tiger) and


11–26cm (length range)

$400–600

433

Male house post figure, Dayak,

Kalimantan, Borneo

carved and incised hardwood and



$1,000–1,500

434

Four Indonesian tribal figures


25cm high - 38cm high

$150–250

435

Warrior hat, Konyak, Naga,

North East India

woven rattan, goat hair,

boar tusk and feathers

30cm high

$300–500

432

433

120

436

436

A collection of Tribal jewellery

(15)

Indian currency necklace, two Berber

fibulas, two Moroccan coin fibula

kilt pins, Moroccan evil eye amulet

talisman, two Berber women's

enamelled silvered hirz amulet

pendants, two Berber silvered

pendants, Moroccan asrou n swoul,

African Tuareg leather wallet, Mali,

Sahara and three other Berber items.

43.5cm long, 87cm (overall length)

(currency necklace)

$800–1,200

439

Nepalese Tibetan bronze figure

and Uyghurs Figure, Kashgar,

China


$200–400

440

Akha Hill Tribe headdress,

Thailand

cloth, glass beads, fibre

and metal decorations


$100–200

437

Iban Shaman Box (Lumpung

Manang), Borneo

carved and incised wood with motifs,

woven decoration and glass handle


$500–800

438

Two bronze pendants,

Nagaland, North East India

bronze strung with glass beads,

one with animal hair and resin

27cm pendant size (each)

$300–500

437

121

441

Two Granary doors, Toraja,

Sulawesi Island, Indonesia

carved and incised timber

84 x 47cm and 70 x 55cm

$500–700

442

Tibetan container and four

Tibetan pouches and one strap

leather with decorative metal

fastenings and beads


(container)

9–12cm (pouches, range)

$300–500

443

Indian window shutters

carved wood with brass fitted

designs

83cm high, 60cm wide (overall)

$200–400

444

Bark fibre belt and necklace and

sickle, Naga, Burma, India

carved and incised wood, rattan

binding, animal hair, pig tusks and

metal blade

70cm long (belt), 14cm high

(ornament), 47cm long (sickle)

$200–400

445

Shield, Naga, Burma, India

buffalo leather, natural earth

pigments, cane binding, plaited fibres


$300–500

446

Male Aitos Ancestor Figure,

Timor Island, Indonesia

carved wooden sculpture

142cm high

$400–600

End of Sale

441

122

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.

123

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

124

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.

Part lot 26

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