GA070-cat-flipbook-v1

Australian &

International Art

Melbourne, Sunday 19 October 2025

Specialists & Management for this sale

Jennifer Gibson

CEO & Head of

Valuations

Deanna Baxter

Business

Manager

Samuel Fricker

Operations

& Marketing

Manager

Jon Dwyer

Consultant

Specialist

Australian &

International Art

Sarah Garrecht

Associate

Specialist

Australian &

International Art

Jennifer Gibson

jennifer.gibson@gibsonsauctions.com.au

Deanna Baxter

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Samuel Fricker

samuel.fricker@gibsonsauctions.com.au

Dennice Collett

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Ann Roberts

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mail@gibsonsauctions.com.au

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ORRONG RD

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Deanna Baxter

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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

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

ST

DENBIGH RD

CHEEL ST

FRONT COVER:

Lot 90 (Detail)

BACK COVER:

Lot 109

Australian &

International

Art

Auction

Sunday 19 October 2025, 2pm

885-889 High Street, Armadale, Victoria 3143

Viewing

Thursday 16 October

Friday 17 October

Saturday 18 October

11.00am – 5.00pm

11.00am – 5.00pm

11.00am – 5.00pm

Auction Code: GA070

GST

† Lots with this symbol are subject

to GST on the hammer price and the

buyer’s premium.

Buyer’s Premium

Buyer’s Premium is charged at

22% of the hammer price plus GST.

GST is applicable to the buyer’s

premium only, unless otherwise

indicated by the † symbol.

Registration

To register to bid at Gibson's an

accredited form of photo identification

is required. This applies to bidding

in person at the auction, Telephone,

Absentee and Online bidding.

Resale Royalty Scheme

Lots subject to payment of the

Artist's Resale Royalty Scheme

will be denoted by the symbol §.

The Australian Resale Royalty is

a flat rate of 5% on the hammer

price (including GST) and is

payable by the seller.

Restricted or Organic Material

♦ Lots with this symbol have been

identified at the time of cataloguing

as containing organic material

which may be subject to export or

import restrictions. The absence

of this symbol is not a guarantee

that export or import restrictions

will not apply. See www.cites.org

for further information.

Payments & Collections

(By Appointment)

gibsonsauctions.com.au/bookings

or phone 03 9500 2607

Payments & Collections can be made

from: 885-889 High Street,

Armadale, Vic 3143

Monday 20 October

Tuesday 21 October

Wednesday 22 October

10am–5pm

10am–5pm

10am–5pm

All goods must be collected and paid

in full strictly by 5pm on 22 October

(unless by prior arrangement) to avoid

removal and storage charges.

All payments are to be made in

Australian Dollars (AU$). Please refer

to the methods of payment in the ‘How

to Buy’ section on the following pages.

2

How to Buy

All you need to know about the bidding process at auction

Viewing

Catalogues

Online catalogues can be viewed via our website

approximately two weeks prior to the auction date.

Complimentary printed catalogues are available on site at

Gibson’s rooms.

Lot Descriptions

Lot Descriptions provide basic catalogue information

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

provenance and quantity.

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

auction date.

Estimates

Estimates are printed in the catalogue beside every lot and

take into account rarity, condition, quality and provenance.

The reserve is the amount at which the item is available

for purchase. The reserve is an undisclosed confidential

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

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

Some lots may be sold without reserve.

Talk to our Specialists

Gibson’s is an experienced team of specialists who are

available to discuss items in further detail, and to offer

advice and assistance.

Contact details for relevant specialists can be found on

the inside front cover our auction catalogues and on our

website.

Condition Reports

Condition Reports are available on request. Condition

Reports supplement the lot description and provide

information on the condition of an item.

We strongly advise obtaining a condition report if you are

unable to view an item in person prior to the auction.

To request a condition report please email

condition.reports@gibsonsauctions.com.au with the

auction title and lot number/s.

Symbols

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

indicating a special clause associated with the sale of

the item/s. Further information on symbols within our

catalogues can be found on Page 1.

Viewing

Auction viewings are open to the public and usually take

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

location/s listed in the auction catalogue and on the

website.

Bidding

Gibson’s offers four bidding options, listed below.

Telephone, absentee and first time online registrations

should be organised at least 24 hours prior to the auction

to allow for processing and to avoid disappointment.

Telephone and absentee registration forms can be found

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

Live Bidding

Enjoy the excitement and theatre of a live auction by

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

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

no obligation for the attendees to bid. First time bidders

will be required to show photographic identification, such

as a driver’s licence or passport.

Telephone Bidding

An experienced staff member will call you in advance of

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

auction. Telephone Bidding is a complimentary service.

Telephone Bids must be organised at least 24 hours prior

to the auction.

Absentee Bidding

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

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

your behalf, only if there are competing bids, so that you

will win at the lowest possible hammer price. If the winning

bid is tied, the earliest bid is given precedence. Absentee

Bidding is a complimentary service. Absentee Bids must

be organised at least 24 hours prior to the auction to allow

for processing.

3

Online Bidding

Online bidding allows you to bid in realtime or leave online

Absentee Bids online with a live broadcast of the auction

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

the catalogue at gibsonsauctions.com.au and follow the

‘Enter Live Auction’ prompts.

Register via the online catalogue at least 24 hours prior to

the auction to avoid disappointment.

Online bidding through the Gibson's website incurs a

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

can register for live, telephone or absentee bidding. For

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

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

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

practical or when prompted.

Timed Online Auctions

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

a Timed Online Auction. These are automated sales that

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

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

auctions occur without an auctioneer.

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

website and are executed immediately against the lot’s

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

bids occurring within the last five minutes of the close of

lot, the closing time is extended for a further five minutes.

For more information, refer to the Timed Online Auctions

page on our website, or contact our office for more

information."

International Bidding

First time international bidders will be asked to provide a

clear photo ID verifying your address and a deposit (set

at Gibson’s discretion) prior to the auction. The deposit is

refundable within 48 hours should you not be successful.

If you are successful the deposit will be deducted from

your invoice total. The remaining balance must be paid

preferably by direct deposit.

Bank details are provided in the Payment & Collection

section of this guide.

Payment & Collection

Payments

Successful bidders will be emailed an invoice shortly after

the auction.

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

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

charges, such as online fees.

Payments must be made in full by the final day of

Collections as printed in the catalogue.

Bank Transfer/Direct Deposit is our preferred method

of payment:

Account Name: Gibsons Auctions

Bank:

Bank of Melbourne

(A division of St George)

BSB: 193879

Account No: 441701443

Swift Code: SGBLAU2S

• Personal, Company and Bank Cheques are not

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• EFTPOS (no charge).

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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.

4

1

JANET AGNES CUMBRAE

STEWART (1883-1960)

Town Square, Prague

pastel on paper

signed lower right:

Cumbrae Stewart

44 x 36.5cm

PROVENANCE

Deutscher~Menzies, Melbourne,

Australian & International Fine Art,

21 September 2005, Lot 307

Private collection, Melbourne

$1,200–1,600

1

2

2

DORA WILSON (1883-1946)

Corner of Collins Street

and Exhibition Street

oil on board

signed lower right: DORA L WILSON

32.5 x 34cm

PROVENANCE


$3,000–5,000

5

3

3

DAVID DAVIES (1864-1939)

A Cornish Village

oil on canvas

signed lower left: D DAVIES

inscribed verso: David Davies / A Cornish Village

19 x 23.5cm

PROVENANCE


$5,000–8,000

6

4

RATA LOVELL-SMITH

(1894-1969)

Haumuri Bluffs, New Zealand

oil on canvas on board

signed lower right:

RATA LOVELL-SMITH

35.5 x 45cm

PROVENANCE

Private collection, Victoria

$4,000–6,000

4

5

5

ALMA FIGUEROLA

(1902-1970)

Storm Swept Bay (Western

Port from Phillip Island)


signed lower right: Alma Figuerola

inscribed verso: STORM SWEPT

BAY / (WESTERNPORT FROM

PHILLIP IS.)

36 x 42.5cm

PROVENANCE


$1,000–2,000

7

6

6

JAMES RANALPH JACKSON (1882-1975)

The Spit, Sydney Harbour

oil on canvas

signed lower right: JAMES R JACKSON

signed and titled on label verso:

James R Jackson / The Spit / Sydney Harbour

58.5 x 74cm

PROVENANCE

Seddon Galleries, Melbourne (label verso)


$8,000–12,000

8

7

7

JAMES WALTHAM CURTIS

(1839-1901)

Drover and Horses by a Creek

1887

oil on canvas

signed and dated lower left:

J W CURTIS 87

47.5 x 32.5cm

PROVENANCE

Lawson~Menzies, Sydney, The LM Sale

- Paintings, 26 March 2006, Lot 191


$2,500–3,500

8

HENRY BURN (1807-1884)

The Homestead

watercolour on paper

signed lower right: H. Burn

16 x 25.5cm

PROVENANCE


$2,000–4,000

9

GEORGE PEACOCK

(CIRCA 1827-1909)

Our Colonial Life (possibly

Fisherman's Shack, Port Phillip

Bay, Victoria) c.1875

oil on canvas

signed lower left: G Peacock

45 x 75cm

PROVENANCE

Leonard Joel, Melbourne, Spring

Auction of Australian & International

Paintings, 10 October 2005


$9,000–12,000

9

9

10

ENOCH HENRY WALKLATE

(1858-1939)

Pinnacle of Gog, Lobster

Rivulet, Tasmania c.1885

oil on board

signed lower right: E H WALKLATE

titled verso: Pinnacle of Gog /

Lobster Rivulet / Tasmania

23 x 29.5cm

PROVENANCE


$1,000–2,000

10

10

11

11

JAMES WALTHAM CURTIS (1839-1901)

The Wagon Team in the Forest 1888

oil on board

signed and dated lower left: J W CURTIS 88

29.5 x 46cm

PROVENANCE

Mossgreen Auctions, Melbourne, Mossgreen Gallery

Collection, Melbourne, 12 September 2006, Lot 43


$2,500–3,500

11

12

12

WILLIAM HOWES WACKENBARTH SHORT, SENIOR

(1833-1917)

The River Crossing 1879

oil on canvas

signed and dated lower right: W Short 1879

50 x 75.5cm

PROVENANCE


$2,500–4,500

12

13

13

EMANUEL PHILLIPS FOX

(1865-1915)

The Seine

oil on panel

sketch of portrait verso

15.5 x 22cm

PROVENANCE

The Ethel Carrick Fox Estate, 1952

The Graham Joel Collection,

Gibson's, Melbourne, 19 July

2020, Lot 141 (as Riverbend)

(accompanied by a certificate of

authenticity from the Estate of

Graham Edward Leonard Joel)


LITERATURE

(possibly) Ruth Zubans, E. Phillips

Fox: His Life and Art, Miegunyah

Press, Melbourne, 1995, cat. no. 219

(as 'Study for Twilight on the Seine')

RELATED WORKS

Twilight on the Seine (circa 1906),

Art Gallery of New South Wales,

Sydney (Permanent collection,

Acc. no. 643)

$2,000–4,000

14

14

EMANUEL PHILLIPS FOX

(1865-1915)

Twilight Landscape

oil on panel

12.5 x 21.5cm

PROVENANCE


The Graham Joel Collection,

Gibson's, Melbourne, 19 July

2020, Lot 141 (accompanied by a

certificate of authenticity from the

Estate of Graham Edward Leonard

Joel)


LITERATURE

(possibly) Ruth Zubans,

E. Phillips Fox: His Life and Art,

Miegunyah Press, Melbourne,

1995, cat. no. 153 (as 'Study

related to Moonrise: cornfields

near Chartres' 12.5 x 21.5cm)

$1,500–2,500

13

15

15

MAX MELDRUM (1875-1955)

Sunlight, Eltham 1925

oil on board

signed lower right: Meldrum

signed, dated and titled verso: Max Meldrum / ELTHAM 1925

/ Sunlight

33 x 36cm

PROVENANCE

Graeme Bell collection, Melbourne (Australian Jazzman)

Thence by descent

OTHER NOTES

In his autobiography, Graeme Bell dedicates a few

paragraphs to Max Meldrum, whom he described as a

‘cantankerous little man’ with a redeeming good humour. He

and Peter Glass studied at the Meldrum School under both

Hayward Veal and Meldrum in the late 1930s, before Bell’s

jazz career commandeered most of his time.

1. Graeme Bell, Australian Jazzman: his autobiography, Child &

Associates, Frenchs Forest, N.S.W., 1988, p. 36-37

$3,000–5,000

14

16

16

AMALIE COLQUHOUN (1894-1974)

Portrait of John S Davie Esq. 1932

oil on canvas

signed upper left: Amalie Colquhoun

original Thallon corner frame

97 x 86.5cm

PROVENANCE

Leonard Joel, Melbourne, Australian and European

Paintings, 8/9 August 2000, Lot 441

EXHIBITED

Archibald Prize Art Gallery of New South Wales 1933

Paintings by Amalie Colquhoun and A D

Colquhoun, Athenaeum Gallery, Melbourne,

3 - 14 July 1934 cat. no. 4 NFS

Victorian Centenary Exhibition of Australian Art,

Commonwealth Bank Chambers Melbourne, 8 October -

December 1 934, cat. no. 239 (100 Guineas)

Centenary Celebration Exhibition of the Melbourne Society

of Women Painters & Sculptors, Castlemaine Art Gallery

and Historical Museum 1 September - 13 October 2002

Archie & Amalie Colquhoun, Castlemaine Art Gallery and

Historical Museum 11 April - 16 May 2010, cat. no. 5

LITERATURE

The Star, 3 July 1934, Melbourne Artists Exhibit at

Athenaeum Australia Tonalism, The John and Peter Perry

Collection, 2023 p.84 (colour illustration)

OTHER NOTES

John Davie was a colleague of Colquhoun, teaching

sculpture at the Working Men's College, Melbourne

$2,000–4,000

15

17


Bures, France

oil on board


signed and titled verso:

Max Meldrum / Bures / France

22 x 16cm

PROVENANCE

Graeme Bell collection, Melbourne

(Australian Jazzman)

Thence by descent

$4,000–6,000

17

18


St Germain 1926



signed, dated and titled verso:

Max Meldrum / ST GERMAIN 1926

15 x 21.5cm

PROVENANCE

Graeme Bell collection, Melbourne

(Australian Jazzman)

Thence by descent

$4,000–6,000

18

16

19

19

DONALD FRIEND (1915-1989)

Winter Royal Avenue Chelsea 1952

mixed media on paper

signed, dated and titled lower right: Winter: Royal Avenue.

Chelsea / Donald Friend '52

30 x 47cm

PROVENANCE


$3,000–5,000

17

20

20

EMANUEL PHILLIPS FOX (1865-1915)

The Bridge

oil on panel

inscribed lower left indistinctly

29.5 x 45.5cm

PROVENANCE


The Graham Joel Collection, Melbourne, Gibson's,

19 July 2020, Lot no. 135 (accompanied by

a certificate of authenticity from the Estate

of Graham Edward Leonard Joel)


LITERATURE

(possibly) Ruth Zubans,

E. Phillips Fox: His Life and Art, Miegunyah

Press, Melbourne, 1995, cat. no. 136 (as 'Sketch

with bridge in fog' 29.5 x 45.5cm)

$8,000–12,000

18

21

ALBERT NEWBURY

(1891-1941)

A Bush Study

oil on board

signed lower left: A E NEWBURY

titled verso: a Bush Study

28 x 43cm

PROVENANCE


$800–1,200

21

22

22

WILLIAM DUNN KNOX

(1880-1945)

Grazing Cows in Summer


signed lower left: W.D.KNOX

32.5 x 43cm

PROVENANCE

Leighton Gallery of Art, Melbourne

(label verso)


$2,000–3,000

19

23

WILLIAM JOCK FRATER

(1890-1974)

Landscape with Trees 1974

oil on board

signed and dated lower right:

William Frater / 74

39.5 x 54.5cm

PROVENANCE

Acquired from the Artist

Thence by descent

LITERATURE

Wittman, Dick, William Frater:

a life with colour, Miegunyah Press

at Melbourne University Press,

Melbourne, 2000, numbered

29 in 2nd numbered series

(book accompanies the lot)

$1,500–2,500

23

24

WILLIAM JOCK FRATER

(1890-1974)

Haystacks 1974

oil on board


William Frater / 74

50 x 60cm

PROVENANCE


Thence by descent

LITERATURE

Paramanathan, Nathan (edit.),

The Melbourne Modernists: Frater,

Plante, Shore, Tweddle, Victorian

Artists' Society, Melbourne, 1990

(book accompanies the lot)

OTHER NOTES

Jock Frater lived at 56 Lucerne

Crescent, Alphington, from 1919

until his death in November 1974.

He painted regularly around

the Darebin Creek area. These

paintings, acquired directly from

the artist by a local family in the

neighbourhood, have passed by

descent to the current owner.

$1,000–2,000

24

20

25

25

JAMES GLEESON (1915-2008)

Figure with Angels 1938


signed lower left: Gleeson

inscribed verso: "Figure with Angels" / 1938 / James Gleeson

37 x 46cm

PROVENANCE

The John Henry Collection, Melbourne

$2,000–3,000

21

26

26

NORMAN LINDSAY (1879-1969)

The Party


signed lower right: NORMAN LINDSAY

56.5 x 53.5cm

PROVENANCE

Private collection, USA, c.1941

Henry Berkelouw collection, NSW

Private collection, Sydney, acquired from the above in 1984

Deutscher and Hackett, Melbourne, Important Australian +

International Art, 30 November 2011, Lot 46


$12,000–18,000

22

27

27

DONALD FRIEND (1915-1989)

The Muletier 1953


signed, dated and titled upper right:

Donald Friend '53 / The Muletier

76 x 55cm

PROVENANCE

Australian Galleries, Melbourne (label verso)


$4,000–6,000

23

28

28

HUGH SAWREY (1919-1999)

The Pint-Pot Drover, QLD

oil on canvas

signed lower right: SAWREY

signed and titled verso: "THE PINT-POT DROVER" QLD /

HUGH SAWREY

74 x 98.5cm

PROVENANCE


$8,000–12,000

24

29

HERBERT RABERABA

(1921-1980)

Near Hermannsburg


signed lower right:

Herbert Raberaba

49 x 69.5cm

PROVENANCE


$2,000–4,000

29

30

30

CLIFTON PUGH (1924-1990)

Swamp Birds

oil on board

35 x 45.5cm

PROVENANCE

Brummel's Gallery, Toorak Road


$1,500–2,500

25

31

31


Mooraberrie Cattlemen Camped

in the Channel Country W QLD

oil on board


signed and titled verso: "MOORABERRIE / CATTLEMEN"

/ CAMPED IN THE / CHANNEL COUNTRY / W. QLD. /

HUGH SAWREY

49 x 58.5cm

PROVENANCE

Mossgreen Auctions, Melbourne,

Quarterly Collectors Auction, 8 December 2015, Lot 626


$8,000–12,000

26

32 33

32

ROBIN GUNINGBAL (BORN 1943)

The Crocodile man (Big Dreaming) c.1970

natural earth pigments on eucalyptus bark

inscribed on label verso “ARTIST ROBIN GUNINGBAL /

27 yrs./ TRIBE: BURADA / FROM BLYTHE RIVER AREA. /

THE CROCODILE MAN (BIG DREAMING) / CAME from THE

SUN RISE AND / TRAVELLED ACROSS ARNHAM [sic] /

LAND AND CAME TO GAMURRA -- / EUYORRO WHERE

HIS CHILDREN / NOW LIVE AND SLIDE DOWN / THROUGH

MANGROVES (SHOW [?]/ INTO THE TIDAL CREEK

99.5 x 56.5cm

PROVENANCE


$800–1,200

33

MITHINARI GURRUWIWI (1929-1976)

Untitled (Rainbow Serpent and Birds)

natural earth pigments on bark

inscribed verso: BENNETT / 60

96.5 x 49cm

PROVENANCE


OTHER NOTE

Bennett inscription verso would refer to Dorothy

Bennett who played a significant role in the promotion of

Aboriginal art.

"In the 1970s, in her position as Field officer for Aboriginal

Arts and Craft, she put together many touring exhibitions of

bark paintings and other works from Oenpelli and Yirrkala"

(https://daao.library.unsw.edu.au/bio/version_history/

dorothy-bennett/biography/?p=1&revision_no=6)

$2,000–3,000

27

34

NARRITJIN MAYMURU

(1916-1981)

Gulwarrk (Night Bird)

carved wood and natural earth

pigments

51cm high, 12.5cm diameter (base)

PROVENANCE


$900–1,200

35

LENA YARINKURA (BORN 1948)

Yawkyawk 2008

natural earth pigments on pandanus

fibre, paperbark and feathers

Maningrida Arts & Culture

cat. no. 930-08

177cm high, 52cm wide, 25cm deep

(variable)

PROVENANCE

Maningrida Arts and Culture, NT


authenticity)

Gallery Gabrielle Pizzi, Melbourne


EXHIBITED

unDisclosed: 2nd National Indigenous

Art Triennial, National Gallery of

Australia, Canberra, 11 May-22 Jul

2012, (illustrated pg 133) (loaned

by present owner to the NGA -

accompanied by loan documentation

and exhibition catalogue)

LITERATURE

Nicole Bittar, Art, for art's sake: The

true value of art lies in its individual

appeal, The Age, A2, 12 July 2008,

(illustrated)

$3,500–4,500

34 35

28

36

36

MARLEE NAPARRULA (BORN 1938)

Gathering Bush Fruit 1994

acrylic on canvas

inscribed verso: MALLEE / (NAPARRULA) /

UWALKE - north PAPUNYA / UPARLI / Bush Banana/

Women gathering fruits of the Plant / AGOD / #3465

122 x 152.5cm

PROVENANCE

Australian Gallery of Dreamings

(accompanied by a certificate of authenticity)


$2,500–3,500

29

37

MINNIE PWERLE (1922-2006)

Awelye-Atnwengerrp 2005

acrylic on canvas

cat no: ACAAMP7162

118 x 90cm

PROVENANCE

Aranda Aboriginal Art, Melbourne


authenticity)


$3,000–5,000

37

38

JUDY WATSON

NAPANGARDI

(CIRCA 1925-2016)

Mina Mina 2003

synthetic polymer paint on linen

inscribed verso: Judy Napangardi

Watson / Warlukurlangu Artists /

297/03 / AKG516

cat no. 297/03

91 x 56cm

PROVENANCE

Warlukurlangu Artists Aboriginal

Association, Yuendumu via Alice

Springs, NT (accompanied by a

certificate of authenticity)

Alison Kelly Gallery, Melbourne


authenticity)

$2,000–4,000

38

30

39

39



synthetic polymer paint on canvas

inscribed with cat. no. verso:

ASAAMP1560

120 x 89cm

PROVENANCE



authenticity)


$3,000–5,000

40

MITJILI NAPARRULA

(BORN CIRCA 1946)

Watiya Tjuta 2003

acrylic on canvas

inscribed verso: GUN403135

GUNDOOEE ART MITJILI

NAPARRULA PAPUNYA

138 x 211cm

PROVENANCE

Gundooee Aboriginal Art, NSW


authenticity)


$2,000–4,000

41


Awelyn Atnwengerrp 2004

acrylic on canvas

inscribed verso:

DG05387 / C054 / 05387

91 x 120cm

PROVENANCE

Waterhole Aboriginal Art, Sydney


authenticity)


$3,000–5,000

31

40

41

32

The David Dridan Collection

South Australian landscape painter David Dridan

has amassed a beautiful collection of stories

and artworks from a lifelong friendship with the

late Australian comedian Barry Humphries. The

collection was recently memorialised at a 2024

exhibition at the Adelaide Festival Centre, titled

‘By Barry Humphries: From the David Dridan

Family Collection’. I interviewed Dridan about

the collection, where he reminisced fondly of his

painting trips to Wilpena Pound, the Clare Valley,

the Flinders Ranges, and Sand Hill – often spent

in the company of Barry Humphries. Dridan’s

paintings are held in significant public and private

collections worldwide. His careers in the arts spans

teaching, serving as Curator for The Art Gallery

of South Australia, co-founding the Fleurieu Art

Prize, and running a private gallery, workshop

and a winery. Aside from his busy working life,

Dridan painted extensively, capturing the diverse

landscape throughout South Australia. This

selection of paintings, ephemera, and artworks

represents the mutual respect between the

two artists, Dridan and Humphries, distilled in

brushstrokes and bolstered by a strong friendship

that endured despite the tyranny of distance.

The collection includes ephemeral material such

as Humphries' own easel, paints, and a painting hat

(Lot 47). Humphries was known for stripping down

to his Speedos, putting on the aforementioned

painting hat, and away he’d go! He acquired

great accolades for his stage personalities and

iconic alter egos, Dame Edna Everage and Les

Patterson. However, despite his success as a

vaudevillian and writer, Dridan reflected, ‘Barry

always said he wished he were a painter and

not a comedian.’ The collection includes a rare

example of Humphries' early Dadaist artworks

titled ‘Tucker Box’ (Lot 46). The sculptural piece

involves a painted Arnott's carton box laden with

Humphries unique sense of humour in references

to the famed Melbourne artist, Albert Tucker.

The eccentric piece was a gift from Humphries

in 1977, intended for Dridan to carry his letters

and paperwork on trips to Canberra each month

for his meetings with the Commonwealth Art

Advisory Board.

In London in 1960, Dridan and Humphries

connected through a letter introduction from a

mutual friend. As a young artist, Dridan had won

a coveted grant from the British Council to study

painting conservation and gallery administration at

the Victoria and Albert Museum in 1960-61. Barry

was in London performing his one-man show –

with a promising career on stage unfolding before

him. Young, rambunctious, and sharp-witted, the

pair became fast friends. A contradiction of sorts,

equal parts larrikin and refined connoisseurs

of the arts and culture London had to offer. In

between stage shows and studying at the V & A,

the young Humphries and Dridan would meet at

Hyde Park to look at art on Sundays, countered by

hours of drinking at The Bunch of Grapes pub in

Knightsbridge – where Barry’s high jinks often led

to other punters paying for their drinks.’ 1 A couple

of evocative portraits included in the collection

show their bonding epitomised in a pair of portraits

painted later in 1966. One shows a sensitive profile

of Dridan (Lot 51), coupled with an effervescent

self-portrait of Barry, the composition dominated

by a slather of pink paint (Lot 66).

Like Humphries, Dridan possesses an undeniable

magnetism and charm that draws people to him.

For many years, he ran a popular painting class out

33

of his studio, enjoying the company as much as

teaching. Some of the regular painters were quite

serious and eventually became full-time artists with

successful commercial careers, whereas others

were there for the company, wine appreciation, and

the conversation. ‘Initially, they were all ‘medicos’

that came up Sunday night, bringing a bottle of

red with them. John Dutton (Lot 43) came every

Sunday with his paints, and he’d put them on the

bar, but he never did any painting!’ 2 David recalls

with glee and a hint of mischief. ‘Barry was a great

advantage to that class!’ Many of the portraits in

this collection by Humphries are of the Sunday

night group. Portraiture played a significant role

in Humphries's artistic development, and he had a

knack for capturing a person's essence.

Whenever Humphries had time, he would visit

Dridan in Strathalbyn, a picturesque township

south of Adelaide surrounded by rolling hills and

farmland. ‘One of the highlights and the things

Barry Humphries painting en plein air in the Flinders Rangers, South Australia. Image courtesy of the Dridan collection.

34

Lot 71

that Barry loved when he got to Australia was

going down and painting with David Dridan, Tim

Storrier and John Olsen in the Adelaide Hills.’ 3

His appearance occasionally caused a stir in the

local newspaper, but generally, he was there to rest

and relax amongst the company of other artists.

‘Once a year in the later years, Barry always came,

with John Olsen and Tim Storrier occasionally - a

group of about eight people, including Geoff Wilson

and Silvio Apponyi, we’d go out for a week in some

area of the country, Coorong or Flinders Ranges.’

David recalls these trips with fondness, ‘They were

a good bunch. Barry was more of an expressionist;

he was quite active in his activities, he’d finished

one painting while I’d still be getting mine out.’ 4

It was always an entertaining outing, Storrier

recalled, ‘We’d just stay in an old house, and every

day you’d go out to the estuary and paint among

the dunes and long grasses. In reality, nobody really

did very much at all. There was a lot of talk, the

conversations were very funny, but you never knew

where it was going to go with Barry.’ 5

This closely cherished personal collection

celebrates the passage of Dridan and Humphries'

friendship, a collection of paintings created in

good company and with a purity of expression

that comes from simply enjoying the moment.

David Dridan, at the young age of 92, has lost

none of his spirited raconteur, still painting and

causing mischief. His boisterous voice booms

down the phone line: ‘I’m a firm believer of having

art in your life.’ Now in an aged care facility, his

collection is on loan for people to enjoy, and his

room is filled to the brim with recent paintings. 6

Dridan enjoys educating those around him about

the importance of colour, art, and music. This is a

unique opportunity to acquire artworks that have

been cherished within the David Dridan family

collection for decades, maintaining their intimate

provenance. The collection is a celebration of

the shared passion for painting between Dridan

and Humphries, reflecting the unique Australian

landscapes and the people who inspired them.

It encapsulates the joy that art brings to everyday

life, highlighting the deep connection between

these two remarkable artists and their creative

journeys together.

Sarah Garrecht

1. Belinda Willis, A lifetime’s friendship, memorised in paint,

SA Life, February 2024, pp.96-100

2. In conversation with David Dridan, September 2025

3. Rowan Dean, The Many Lives of Barry Humphries: A treasury of

reminiscences, Wilkinson Publishing, Melbourne, 2023, p.176

4. Dridan (n 2)

5. Dean (n 3) pp. 144-145

6. Dridan (n 2)

35

42

42

BARRY HUMPHRIES (1934-2023)

Murray River 1993

oil on canvas

signed and dated lower right: Barry Humphries '93

43 x 59cm

OTHER NOTES

Accompanied by a framed photograph of Barry

executing the painting

EXHIBITED

By Barry Humphries: From the David Dridan Family

Collection, Adelaide Festival Centre, Adelaide,

17 November - 13 April 2024

$12,000–18,000

42

36

43

BARRY HUMPHRIES

(1934-2023)

Landed Gentry, Mr John

Dutton (Sunday night student),

1979

oil on board


Barry Humphries 79

49.5 x 39.5cm

EXHIBITED

By Barry Humphries: From the

David Dridan Family Collection,

Adelaide Festival Centre, Adelaide,


$2,000–4,000

43

44

44

BARRY HUMPHRIES

(1934-2023)

Bob Hogg (Sunday Night

Student) 1979

oil on board

signed and dated lower right: Barry

Humphries 79

75 x 59.5cm

EXHIBITED





$2,500–3,500

37

45

45


The Painting Class, John Dutton and Dr Bonnen 1978

oil on board

signed and dated lower left: Barry Humphries 78

50 x 40.5cm

$12,000–18,000

38

46


Tucker Box 1972

oil on Arnott's carton box

signed, titled and dated on top:

TUCKER - BOX / 31/12/72 Barry

Humphries


PROVENANCE

Gift from the artist

The David Dridan collection,

South Australia

EXHIBITED

By Barry Humphries: From the David

Dridan Family Collection, Adelaide

Festival Centre, Adelaide, 17 November

- 13 April 2024

OTHER NOTES

Barry Humphries made this

for David Dridan to take his

various letters to Canberra each

month for his meeting with the

Commonwealth Art Advisory Board.

$1,000–2,000

46

47

Barry Humphries Easel

and Painting Accessories

easel box, paints, hat for the

sun, brushes and oval palette

(signed and dated)


(variable)

EXHIBITED





EXTRA NOTE

Barry would leave this with David

for his return painting trips to

South Australia

$1,500–2,500

47

39

48

BARRY HUMPHRIES

(1934-2023)

Self Portrait 1979

oil on board

signed and dated lower left: Barry

Humphries / AUG 79

50 x 39.5cm

EXHIBITED





$4,000–6,000

48

49

BARRY HUMPHRIES

(1934-2023)

David Enjoying a Red 1977

oil on board


Barry / Humphries / 1977

74 x 68.5cm

EXHIBITED



Adelaide Festival Centre, Adelaide, 17

November - 13 April 2024

RELATED WORKS

Barry later designed the label for

David Dridan's Tinshack Shiraz, 2004

$3,000–5,000

49

40

50 51

50


Pink Gin 1966

oil on board

signed, dated and titled lower right:

Pink Gin / Barry Humphries / 1963

71 x 51cm

EXHIBITED




$3,000–5,000

51


Portrait of David 1966

oil sketch on board

signed, dated and inscribed lower left:


58.5 x 41cm

EXHIBITED




$2,000–3,000

41

52

BARRY HUMPHRIES

(1934-2023)

69 (Self-Portrait) 1970

oil on board

inscribed verso:

69 / Barry Humphries / 70

73.5 x 59.5cm

EXHIBITED





$5,000–7,000

52

53

BARRY HUMPHRIES

(1934-2023)

Portrait of Rosalind 1966




60 x 45cm

EXHIBITED





$2,000–4,000

53

42

54

DAVID DRIDAN (BORN 1932)

Emus in a Summer Landscape


29.5 x 39.5cm

$1,200–1,500

54

55

55


Poultoloc Station, Sand Hill

Near Lake Alexandrina, SA

2015

oil on board


Dridan / 8.15

dated and titled verso:

POULTOLOC / SAND HILL NEAR /

LAKE ALEXANDRINA / 2015

37 x 42cm

$600–900

43

56

56


Emu's on a Hill

oil on canvas

signed lower right: D Dridan

inscribed verso: #DD0396 "Emu's on a hill"

44 x 60cm

$1,000–2,000

44

57

BERNARD DUNSTAN

(BRITISH, 1920-2017)

Venice

pastel on paper

signed with initials lower left: B D

verso: Two Life Drawing Studies

19.5 x 14.5cm

$800–1,200

57

58

58

HAROLD SWANWICK

(1866-1929)

Morning on South Downs


signed lower left: HAROLD

SWANWICK

60 x 101cm

$600–1,000

45

59

59

DERWENT LEES (1885-1931)

Lyndra & Charlie, 1915

oil on board

signed lower right: Lees / 15

31.5 x 40cm

PROVENANCE

Redfern Gallery, London, 1930 (label verso)

Lord Ivor Spencer Churchill, London (label verso)

Mrs. D. A. Bannerman

The Fine Art Society, London, 1976 (label verso)

EXHIBITED

Redfern Gallery, London, April 1930, cat. no. 19

Redfern Gallery, London, December 1930, cat. no. 21

Redfern Gallery, London, April - May 1934, cat. no. 9

Empire Art Loan Collections Society: Exhibition of Twentieth

Century British Art, National Gallery, Adelaide, July 1939,

cat. no. 67

The Slade Tradition: 1871-1921 a centenary contribution,

The Fine Art Society, London, 11 October - 5 November 1971,

cat. no. 43

The Fine Art Society (in conjunction with Adelaide Festival),

Adelaide, March 1976, cat. no. 12

Derwent Lees: The Forgotten Australia, A Sane Australia

touring exhibition; Carrick Hill, Adelaide, 20 March - 27

April; McClelland Gallery, Melbourne, 11 May - 22 June; Sir

Hermann Black Gallery, Sydney, 8 July - 26 July; and The

Customs House Gallery, Brisbane, 22 August - 12 August

1997, cat. no. 25

LITERATURE

Empire Art Loan Collections Society: Exhibition of Twentieth

Century British Art [Catalogue], National Gallery, Adelaide,

1939, p.16 (cat. no. 67)

Derwent Lees: The Forgotten Australian, Exhibition

catalogue, Carrick Hill Adelaide and Sane Australia, 1997,

p. 3

Lynn Davies, Derwent Lees: art and life, Lund Humphries,

London, 2025, pp.234-235 (illustrated)

$15,000–25,000

46

60

60


Nude in Summer Grasses c.1985

oil on board

inscribed verso: Nude in Summer grasses / Late 1980's /

#DD0182

24.5 x 29.5cm

$600–800

61

HARRY SHERWIN (BORN 1954)

McLaren Vale

oil on canvas

signed lower right with monogram: HS

44 x 73cm

$400–600

47

62

62


Skillogalee, Watervale, Clare Valley, South Australia

2005-2006


signed and dated lower right: Barry Humphries / 05/06

44 x 60.5cm

EXHIBITED




$12,000–20,000

48

63


Southern Quorn, Flinders

Ranges SA 2000


signed lower and dated lower left:

Dridan /†00

54 x 66.5cm

$700–900

63

64

64


The Hawker Ruins 2014

gouache and watercolour on paper


Dridan 14

27 x 39cm

NOTE

Painted on a trip with Barry to the

Flinders Ranges 2014

$600–900

49

65

65


The Range (Mount Wilson) 2001


signed and dated lower left: Dridan / 2001

inscribed verso: THE RANGE D DRIDAN 2001 - Mount Wilson

67.5 x 53.5cm

$1,500–2,000

50

66

BARRY HUMPHRIES

(1934-2023)

Self Portrait 1973

oil on card

signed, dated and

inscribed lower right:

B.H. / By / Barry Humphries / 1973

24.5 x 19cm

EXHIBITED





$6,000–8,000

66

67

67

BARRY HUMPHRIES

& DAVID DRIDAN

Portrait of David


initialled lower left and right:

B.H.and D.D.

37 x 26cm

$2,000–4,000

51

68

68


Road to Mundale circa 2000

oil on canvas

signed lower right: Dridan

titled and dated verso: Road to Mundale 2000

92 x 91.5cm

$1,200–1,800

52

69

70

53

71

69

SCOTT HICKS

David & Barry at Yacca Paddock

Vineyards 2004

digital print, printed 2025

signed, dated, titled and editioned on

margin: Scott Hicks / 2025 / DAVID

& BARRY AT YACCA PADDOCK

VINEYARDS 2004 / 1/20

20 x 30cm

$1,200–1,800

70

SCOTT HICKS

David & Barry Through the

Tree Holllow, Yacca Paddock

Vineyards 2004


signed, dated, titled and editioned

verso: Scott Hicks / 2025 / DAVID

& BARRY THROUGH THE TREE

HOLLOW / YACCA PADDOCK

VINEYARDS 2004 / 1/20

6 x 5cm (each, oval)

$600–800

71

SCOTT HICKS

David & Barry at Yacca Paddock

2004


signed, dated, titled and editioned on

margin: Scott Hicks / 2025 / DAVID &

BARRY AT YACCA PADDOCK 2004

/ 1/20

12 x 17.5cm

$800–1,200

54

Other Properties

72

KEVIN (PRO) HART

(1928-2006)

Birds and Trees

oil on board

signed lower centre: Pro / Hart

inscribed with title verso:

"Birds + Trees"

20 x 19.5cm

PROVENANCE


$2,000–4,000

72

73

73

GEOFFREY DYER (1947-2020)

Across Low Lying Plains

watercolour and gouache on paper

signed lower right: G Dyer

73.5 x 103.5cm

PROVENANCE

Eddie Glastra Gallery, Sydney, 1986


$2,000–4,000

55

74

74

RAY CROOKE (1922-2015)

Escarpment W. A.

oil on canvas

signed lower left: R.Crooke

44.5 x 59.5cm

PROVENANCE

Gregsons, Spring Auction, Perth, 15 October 1991, Lot 103

(label verso)


$3,000–5,000

56

75

75

ERICA MCGILCHRIST (1926-2014)

Soldier on Leave 1962

oil and collage on board

signed and dated lower right: ERICA McGILCHRIST 1962

signed and titled verso: Soldier on leave / ERICA McGILCHRIST

90.5 x 130.5cm

PROVENANCE


$2,000–4,000

57

76

76

JOHN PERCEVAL (1923-2000)

Boy Angel with friend, 1961

oil on paper

signed and dated lower left: Perceval / 1961

42.5 x 68cm

PROVENANCE

Private collection, Melbourne (acquired 1961)

EXHIBITED

John Perceval, The Bonython Art Gallery,

Adelaide, 16 - 28 October 1961

LITERATURE

Ken McGregor & Andrew Sayers, Fifty Years of

Perceval drawings, Bay Books, Sydney, 1989,

cat. no. 37, p. 56 (illustrated), p.251

$3,000–5,000

77

DEBORAH HALPERN (BORN 1957)

Girl with Yellow Hair

fused blown glass

38cm high, 20cm diameter

PROVENANCE


$2,000–3,000

77

58

78 79

78

ROBERT DICKERSON (1924-2015)

Geisha

pastel on paper

signed lower right: DICKERSON

56 x 36cm

PROVENANCE


$3,000–5,000

79


Girl with Cat

pastel on paper

signed lower right: DICKERSON

55.5 x 37cm

PROVENANCE


$3,000–5,000

59

80

80

CHARLES BLACKMAN (1928-2018)

Mother and Child, 1962

charcoal on paper

signed and dated lower right: Blackman 1962

101 x 74cm

PROVENANCE

Gould Galleries, Melbourne (label verso)


$8,000–12,000

60

81

ERNEST SMITH (BORN 1928)

Bathers

oil on board

signed with initials lower right: E S

39.5 x 29.5cm

PROVENANCE


$1,200–1,800

81

82

61

83

82


Day at the Beach

watercolour and ink on textile, quadratych

signed lower right: BLACKMAN

57 x 158cm (overall)

PROVENANCE

Private collection, Sydney

Menzies, Australian & International Art, Sydney, 24 July

2010, Lot 57


$3,000–5,000

83

GEOFFREY TODD (BORN 1950)

Rudana's Pool No.5 1991

acrylic, charcoal and pastel on paper, two sheets


Rudana's Pool No 5 / todd '91

106 x 150.5cm (overall)

PROVENANCE


LITERATURE

Looking North: The Art of Geoff Todd, Zebu Press,

Melbourne, 2004, pp.18-19 (illustrated), p.20

$3,000–5,000

62

84

ARTHUR MERRIC

BLOOMFIELD BOYD

(1920-1999)

Bowl circa 1952

glazed earthenware

incised with signature centre right:

Arthur Boyd

incised to base: A M Boyd

37cm diameter

PROVENANCE

Marvin Hurnall, Melbourne


$1,500–2,500

84

85

85

JOHN PERCEVAL

(1923-2000)

Insect's Attacking 1969

oil on paper


Perceval / '69 / 'Insects Attacking'

54.5 x 75cm

PROVENANCE


$2,500–3,500

63

86

86

MIRKA MORA (1928-2018)

Angels, Birds and Flowers 1968

charcoal on paper

signed and dated lower right: MIRKA -68-

33 x 63.5cm

PROVENANCE

Tolarno Gallery, Melbourne, 1968

Kurt Albrecht, Kozminsky, Melbourne

Thence by descent

$6,000–8,000

64

87

87

JOHN COBURN (1925-2006)

Study for Cyprus 1966


signed, titled and dated on margin:

Coburn '66 / "Study for Cyprus"

25.5 x 30cm

PROVENANCE

Hugo Galleries, Canberra (label verso)

Private collection, Canberra

$1,200–1,800

88

88

VASAN SITTHIKET

(THAI, BORN 1957)

Seated Nude 1991

oil on canvas

signed, dated and titled (in Thai)

lower left and upper centre

87 x 76.5cm

PROVENANCE


$2,000–4,000

65

89

89

LAWRENCE DAWS (BORN 1927)

Preliminary Painting for 'The Waterfall' –

(Brett Whiteley at Owl Creek Suite) (Kondalilla) 1976

gouache, acrylic and collage on paper

signed, dated and titled lower left and right: LAWRENCE

DAWS. 30.V.76 / Preliminary Painting for 'The Waterfall' –

(Brett Whiteley at Owl Creek Suite)

92 x 70cm

PROVENANCE

Sandra Mercer, Brisbane

Thence by descent

EXHIBITED

Lawrence Daws: Asylum in Eden: Thirty Years in Queensland,

Brisbane City Gallery, 16 November 2000 - 14 January 2001,

cat. no. 23 (illustrated) (major exhibition book accompanies

this lot)

LITERATURE

Weston, Neville, Lawrence Daws, A H & A W Reed Pty Ltd,

Sydney, 1982, pg. 129 (illustrated), frontispiece signed and

dated by the Artist (book accompanies this lot)

Bruce, Candice, Lawrence Daws: Asylum in Eden. Thirty

Years in Queensland, The University of Queensland Art

Museum, Brisbane, 2000, plate 23, pg. 56 (illustrated)

$3,000–5,000

66

90

JOHN OLSEN (1928-2023)

Wet Season 2009

watercolour, crayon and pastel on paper

signed and titled lower left and right:

John / Olsen / Wet / Season / John Olsen

79 x 85cm

PROVENANCE

Metro Gallery, Armadale


EXHIBITED

John Olsen: Paintings & Drawings 2009,

Metro Gallery, Melbourne, 11–29 November 2009

LITERATURE

John Olsen: Paintings & Drawings 2009

[Exhibition Catalogue], Metro Gallery, Melbourne, 2009,

pp.56-57 (illustrated)

$50,000–70,000

67

90

68

91

ROBERT KLIPPEL

(1920-2001)

Untitled 1983

pastel on paper

signed and dated lower

right: Robert Klippel 1983

36 x 49.5cm

PROVENANCE

The Collection of Richard (Dick)

and Joan Crebbin, Sydney


$3,500–5,500

91

92

92

DAVID RANKIN (BORN 1946)

Wamberal Sands 1980

oil on canvas

signed and dated lower centre:

Rankin 80

174.5 x 129.5cm

PROVENANCE

Tolarno Galleries, Melbourne

(label verso)


$2,500–4,500

69

93

93

ELISABETH CUMMINGS (BORN 1934)

Still life with Teapot, 2006

monotype

signed and dated lower right: Cummings / '06

76.5 x 56.5cm

PROVENANCE

King Street Gallery, Sydney

EXHIBITED

Elisabeth Cummings: Monotypes, King Street Gallery,

Sydney, 2006

LITERATURE

Elisabeth Cummings: Monotypes, King Street Gallery,

Exhibition Catalogue, p. 23 (illus.)

$3,000–5,000

70

94

94

RICHARD DUNLOP (BORN 1960)

Lapis Blue 2009

oil on Belgian linen

signed, dated and titled verso: 'Lapis Blue' / Richard Dunlop

2009

152.5 x 152.5cm

PROVENANCE


$4,000–6,000

71

95

95

GEOFFREY DYER (1947-2020)

Road to Ocean 2016

oil on canvas

signed lower right: DYER

121.5 x 214.5cm

PROVENANCE

Art Index, Sydney



$5,000–7,000

72

96

ELISABETH CUMMINGS

(BORN 1934)

Looking Through to Rain,

2004

oil on board

signed lower right: Cummings

signed, titled and dated verso:

Elizabeth Cummings / 'Looking

through to / Rain' / 2000

45 x 45cm

PROVENANCE

King Street Gallery, Sydney

Private Collection, Melbourne

EXHIBITED

Elisabeth Cummings, Journeys,

King Street Gallery, Sydney, 2004

$5,000–8,000

96

97

97

DOROTHY BRAUND

(1926-2013)

Skipping Girl, circa 1960s

oil on board

signed and indistinctly dated upper

left: BRAUND

32 x 44.5cm

PROVENANCE

Sotheby's, Melbourne, The Autumn

Auction Series of Australian

Paintings, 16 May 2006, Lot 101


$2,000–4,000

73

98

98

THORNTON WALKER (BORN 1953)

Green Doors 2009

oil on canvas

signed with initials and dated lower right: TW 09

180 x 150cm

PROVENANCE

Heiser Gallery, Brisbane


EXHIBITED

Thornton Walker: Recent Works, Heiser Gallery, Brisbane,

15 September - 10 October 2009, cat. no. 1

LITERATURE

Thornton Walker: Recent Works, Heiser Gallery

[exhibition pamplet], Brisbane, 2009, cat. no. 1 (illustrated)

$5,000–7,000

74

99

DAVID KEELING (BORN 1951)

Friendly Beaches Table, 2008

oil on canvas


D.Keeling / 08 / 'Friendly Beaches'

/ Table'

61 x 46cm

PROVENANCE


$3,000–5,000

99

100

100

THORNTON WALKER

(BORN 1953)

The Territory of Benevolence

Pervades the Whole Universe

Then Just as it is 1988

oil on canvas

signed, dated and titled lower right

and centre: Thornton '88 / The

territory of benevolence / pervades

the whole universe / being just as it

is /it is bound to purity

86 x 112cm

PROVENANCE


$1,800–2,500

75

101

101

SALI HERMAN (1898-1993)

Paddington Street Scene

oil on canvas

signed lower right: S HERMAN

58 x 89.5cm

PROVENANCE

Sotheby’s, Melbourne, Fine Australian Paintings and Books,

23 August 1992, Lot 195 (as 'Terraces')


Deutscher + Hackett, Melbourne, D+H ONLINE Modern

+ Contemporary Art, 15 February 2023, Lot 13

Private collection, Adelaide

$16,000–18,000

76

102

102


The Territory of Benevolence 1988

oil on canvas

signed, dated and titled lower right and upper centre:

Thornton Walker '88 / The territory of benevolence

92 x 83.5cm

PROVENANCE


$1,500–2,500

77

103

103

DEAN HOME (BORN 1961)

Dusk and Tao Gu Presents A Poem, 2010

oil on board

signed and dated lower right: DEAN HOME 2010


'DUSK AND TOA GU PRESENT A POEM' / DEAN HOME 2010

115 x 185cm

PROVENANCE

Art House Gallery, Sydney


$9,000–12,000

78

104

104

GARRY GREENWOOD

(1972-2005)

Untitled

sculptured leather and timber


PROVENANCE


$2,000–3,000

79

105

105

JAMES GLEESON (1915-2008)

Parnassus Interchange 1996

oil on canvas

signed and dated lower left: Gleeson '96

signed and titled (on stretcher) verso: James Gleeson /

"PARNASSUS INTERCHANGE"

131.5 x 177cm

PROVENANCE

Deutscher~Menzies, Melbourne, Australian &

International Paintings, Sculpture and Works on Paper,

22 November 1998, Lot 267

Sullivan and Strumpf, Sydney (label verso)


Deutscher + Hackett, Melbourne, Important Australian

& International Art, 29 August 2012, Lot 37


RELATED WORKS

Study for 'Parnassus Interchange' 1995 is in the collection of

the Art Gallery of New South Wales (accession no. 224.2001)

$25,000–35,000

80

106

TERRY STRINGER (ENGLISH, BORN 1948)

Looking into Pablo Picasso's Mind

bronze

incised to side: TERRY STRINGER 2007 1/3

25cm high, 8cm wide, 15cm deep (excluding base)

PROVENANCE


$3,000–5,000

107

VINCE VOZZO (BORN 1954)

Nude

marble

incised on base: VOZZO

18cm high, 72.5cm wide, 10cm deep

PROVENANCE

Acquired from the Artist by Lucio Galletto

(Lucio's Restaurant), Sydney

Davidsons Auctions, Sydney, Australian

& International Fine Art, incl Lucio's Part II,

16 May 2021, Lot 1130

$2,000–4,000

106

107

81

108

EMILIO GRECO (ITALIAN, 1913-1995)

Primavera, circa 1961

bronze

incised to base: GRECO

foundry stamped to base


PROVENANCE

Mr. Robert Haines Collection, Australia

(acquired directly from the artist)

Sir Warwick & Lady Fairfax Collection, Sydney

(acquired from the above in 1962)

Thence by descent to the present owners

Bryan Collie collection, Melbourne

OTHER NOTES

The authenticity of this work has kindly been

confirmed by the Archivi Emilio Greco

LITERATURE

A. Greco, Emilio Greco, le sculpture, Rome, 2016, no. 86

(illustrated, another example)

RELATED WORKS

Another edition of this bronze is in the collection

of The Johnson Foundation at Wingspread

(designed by Frank Lloyd Wright), Wisconsin, USA

$6,000–9,000

108

82

109

BERTRAM MACKENNAL (1863-1931)

Atalanta circa 1925, cast circa 1985

bronze

incised on base: Mackennal

Morris Singer foundry stamp to base

66cm high, 70cm wide, 17.5cm deep

PROVENANCE

Acquired by the present owner, circa 1996

EXHIBITED

Royal Academy, London, 1925, cat. no. 1414

(another example)

Exhibition of Bronzes by Sir Bertram Mackennal, K.C.V.O.,

R.A., Macquarie Galleries, Sydney, 7-20 Oct 1926, cat. no. 3

(as Atlanta [sic], another example)

Memorial Exhibition of Statuettes by the Late Sir Bertram

Mackennal, K.C.V.O., R.A., Fine Art Society, London, May

1932, cat. no. 29 (another example)

Commemorative Exhibition of Works by Late Members,

Winter Exhibition, Royal Academy, London, 1933, cat. no. 262

(another example)

Aspects of Australian Art 1900-1940: A Touring Exhibition

from the Collection of the Australian National Gallery,

Rockhampton Art Gallery, Queensland, 21 June - 21

July 1978; James Cook University of North Queensland,

Queensland, 4-25 August 1978; Museums and Art Galleries

of the Northern Territory, Darwin, 11 September - 4 October

1978; Broken Hill Art Gallery, New South Wales, 19 October

- 1 November 1978; Art Gallery of Western Australia,

Perth, 6 December 1978 - 7 January 1979; McClelland Art

Gallery, Victoria, 17 January - 17 February 1979; Mornington

Peninsula Arts Centre, Victoria, 28 February - 24 March

1979; La Trobe Valley Arts Centre, Victoria, 10 April - 11 May

1979; Sale Regional Arts Centre, Victoria, 17 May - 15 June

1979; Monash University, Melbourne, 26 June - 21 July 1979,

cat. no. 12 (another example)

Reflections: Important Australian Artists 1830-1940,

Tom Silver Fine Art, Melbourne, 20-31 March 1983

(illus. exhibition catalogue, another example)

The New Sculpture in Australia, McClelland Sculpture

Park + Gallery, Victoria, 5 May - 5 June 1987, cat.30

(as Atlanta [sic], another example)

Winter Collection, James Makin Gallery, Melbourne,

17 July – 9 August, 2008

LITERATURE

Royal Academy Illustrated, Royal Academy, London, 1925,

p. 129 (illus., another example)

The Times, London, 4 May 1925, p. 18

(illus., another example)

The Sydney Morning Herald, Sydney, 7 October 1926, p. 14

Moore, W., The Story of Australian Art, Angus & Robertson,

Sydney, 1934, vol.II, pp. 81-82

Gleeson, J., Aspects of Australian Art 1900-40,

Australian National Gallery, Canberra, 1978, p. 20

(illus., another example)

Edwards, D., Stampede of the Lower Gods: Classical

Mythology in Australian Art, Art Gallery of New South Wales,

Sydney, 1989, pp. 223-234 (illus. p. 65, another example)

Edwards, D., 'Some Ideas on Classicism and Australian

Sculpture', The Australian Antique Collector, no.41, January

- June 1991, p. 80 (illus., another example)

Edwards, D., Bertram Mackennal: The Fifth Balnaves

Foundation Sculpture Project, Art Gallery of

New South Wales, Sydney, 2007, pp. 79-80, 172

(illus. p. 81, another example)

Edwards, D. & Mimmocchi, D., Bertram Mackennal:

Catalogue Raisonné [CD-ROM], Art Gallery of New South

Wales, Sydney, 2007 (illus., another example)

$30,000–50,000

Atalanta represents a compelling feminine figure in

Homeric mythology, a tenacious hunteress revered for

her athleticism. Her fable has inspired a plethora of

artists throughout history. Bertram Mackennal’s Atalanta

radiates timeless elegance and has received abundant

praise from critics and collectors. Conceived in 1925,

the past century has not diminished the fluidity of her

movement or sense of lightness in her step, which deftly

contests the weighty bronze from which she is made.

Her poise and grace epitomise the naturalism associated

with the ‘New Sculpture’ movement to which Mackennal

adhered and which emerged from London in the 1890s.

From the first exhibition of this work in 1926, a stream of

exhibitions has highlighted the significance of this bronze

to European and Australian audiences throughout the

20th and 21st centuries.

Born in Fitzroy, Melbourne, in 1864, Mackennal spent a

significant portion of his adult life and artistic career in Paris

and London. Despite his physical distance, his success

was always felt in Australia as a source of national pride,

and his return trips to Australia were regularly noted in

the local newspapers. The artist’s 1926 solo exhibition at

the Macquarie Galleries in Sydney garnered extensive

media coverage and was met with resounding acclaim.

Matthew MacNally expressed his deep admiration for the

master sculptor, ‘Here is Atalanta in full stride, with grace

personified. She races, arm outstretched, her rounded

limbs throbbing with muscular effort. It is a priceless effort

in depicting movement.’ He praised the entire offering

emphatically, ‘..the eye is entranced and the mind amazed at

the genius, the virility, of this famous man.’ 1 After completing

commissions in Melbourne and Adelaide, Mackennal

returned to his home in England. He passed away not long

109

83

84

109 (Detail)

85

after, in 1931. In recapping his life’s achievements, The

Sydney Morning Herald noted the significance of the 1926

exhibition. ‘When he visited his native country, in 1926, the

Sydney public had an opportunity of studying his masterful

art in the collection of bronzes and plasters in his exhibition

at the Macquarie Galleries. Four full-length figures, clad in

heavy mourning robes, standing in attitudes of grief, were

part of the design he prepared for the tomb of King Edward

VII in the Chapel Royal. “Atalanta” was remarkably vigorous

in the full sweep of movement. “Diana Wounded” was

superb in the poise of the head, and there was the head of

Sara Bernhardt, in relief. These may be chosen as typical of

his animation, perfect modelling, and grace of line.’ 2

Atalanta balances at the meridian of Mackennal’s career.

1926 was a prosperous year for the masterful craftsman,

with designs for numerous public statues and murals

underway or in development. It is unsurprising, then, that

only two castings of Atalanta were made during the artist's

lifetime, out of an anticipated twelve. One is in the collection

of the National Gallery of Australia, with a provenance that

dates only from 1977, in the possession of M. N. Campey,

who sold it to the gallery in September that year. The NGA

edition toured nationally in the 1979 exhibition Aspects of

Australia. Another cast was held in the artist’s estate, loaned

by Lady Mackennal in 1932-33 for a memorial exhibition

at the Royal Academy of Arts in London. After her passing

in 1946, the work was retained in private ownership by the

artist’s daughter. In addition to the two original castings,

several recastings of Atalanta were issued by Morris Singer

Foundry, London, from 1979 onwards with the express

permission of the artist’s estate. The rarity of this esteemed

work enhances the sculpture's allure, making this bronze

hunteress a pièce de résistance for the discerning collector.

Sarah Garrecht

1 Matthew J Macnally, Inspired Sculpture: Sir Betram

Mackennal’s Work {A great Australian}, The Daily

Telegraph, Wednesday, October 6, 1926, p. 8

2 The Art of Mackennal, Sydney Morning Herald 17 October

1931, figure in Greek mythology, has inspired numerous p. 12

86

110

110

CHRISTOPHER WOOD (ENGLISH, 1901-1930)

Ballet Dancers (Romeo & Juliet) 1926

pencil on paper

21.5 x 19.5cm

PROVENANCE

Redfern Gallery, London (label verso)

E.R. Trenchard Esq.



OTHER NOTES

A retrospective exhibition of the artist's work is due to be

held in 2026 at Kettle's Yard, Cambridge University

$8,000–12,000

111

ERIC WILSON (1911-1946)

Two Nudes circa 1938

oil on canvas

painting verso: Burning Off, Wantabadgery Landscape,

circa 1943

73.5 x 60cm

PROVENANCE

Joseph Brown Gallery, Melbourne

Private collection

Leonard Joel, Sydney, 23 November 2014, lot 318


Bryan Collie Collection, Melbourne

EXHIBITED

Autumn Exhibition 1973: Recent Acquisitions, Joseph Brown

Gallery, Melbourne, 26 March - 11 April 1973, cat. no. 30

(as 'Burning off, Wantabadgery Landscape')

$20,000–30,000

87

111

88

112

RUPERT BUNNY (1864-1947)

Clair de Lune circa 1900

oil on canvas

signed with initials lower left: CRWB

48.5 x 71.5cm

PROVENANCE

Artist’s estate

Macquarie Galleries, Sydney, 1948 (label verso)

Mr and Mrs Alexis Albert, Sydney

Lauraine Diggins Fine Art, Melbourne (label verso)

Sotheby's, Melbourne, Fine Australian and European

Paintings, 28 April 1998, Lot 48


EXHIBITED

Exposition Rupert Bunny, Henry Graves and Co Ltd, Paris,

3 - 18 March 1905, cat. no. 10

Rupert Bunny: Earlier Paintings, Macquarie Galleries,

Sydney, 1 - 8 October 1945, cat. no. 10

Earlier Paintings by Rupert Bunny, Macquarie Galleries,

Sydney, 14 January - 2 February 1948, cat. no. 1

LITERATURE

Clive Turnbull & Tristan Buesst, The Art of Rupert Bunny,

Ure Smith Pty Limited, Sydney 1948, p. 70

David Thomas, Rupert Bunny, Lansdowne Press Pty Ltd,

Melbourne, 1970, p. 114, cat. no. 042

Desmond MacAulay and Bettina MacAulay, Singing in the

Heart: music and the art of Rupert Bunny, Rockhampton Art

Gallery, 2007, p. 43

David Thomas, The Life and Art of Rupert Bunny: A

Catalogue Raisonné, Thames and Hudson, Melbourne, 2017,

vol. 2, pp. 27, 165, 178, 179, cat. no. O137

$50,000–80,000

‘French artists of the 18th century, notably Antoine Watteau,

developed the fête galante (‘courtship party’), a variant on

the fête champêtre. Manet subverted the tradition; Renoir,

who admired Watteau, painted happier versions of it.

Bunny’s work from the turn of the century, ‘Clair de lune

c.1900-1905, has an oblique connection with the Fête

tradition. Bunny, who knew Debussy personally, and the

poems of Paul Verlaine, may have based this painting on

the third movement of Debussy’s four-movement piano

Suite Bergamasque which, according to the musicologist,

music analyst, theorist and concert pianist Dr Siglind Bruhn,

‘was apparently inspired by Paul Verlaine’s poem (by the

same title) after Antoine Watteau’s painting Fêtes galantes’.

Verlaine’s poem Clair de lune, which appears in his Fêtes

galantes (1869);’

‘Your soul’s a countryside extraordinary,

Where masks and bergomasks enchanting roam,

Playing the lute and dancing, melancholy’

An ekphrastic poem is a ‘verbal representation of a visual

representation’. Serious ekphrastic poems are not, though,

simply descriptive of a painting, but develop lines of

thought it suggests to achieve an independent (and often

apparently unrelated) poem. Debussy frequently worked

through a type of ‘musical ekphrasis’... Bunny’s eclectic

and assimilative artistic character was also sympathetic

to this approach. His Clair de lune c.1900-1905, in which a

woman walks quietly behind a screen of four trees of sapling

circumference sectioning the painting’s breadth, echoes

Debussy’s musical structure, and may be read as poetically

analogous to Debussy’s mood.’ 1

1. Desmond MacAulay and Bettina MacAulay, Singing in the Heart:

music and the art of Rupert Bunny, Rockhampton Art Gallery,

2007, p. 43

89

112

90

113

113

THOMAS WATT CAFE (ENGLISH, 1856-1925)

La Femmes du Harem

oil on canvas

signed lower left: T Watt Cafe

signed and titled on label verso:

La Femmes / du Harem / T. Watt Cafe

44.5 x 59.5cm

PROVENANCE


$4,000–6,000

91

114

114

CIRCLE OF MICHAEL DAHL

Portrait of a Young Girl holding a Flower

oil on canvas

120 x 93cm

PROVENANCE

Isherwood Antiques, Sydney


$6,000–8,000

92

115

115

EUROPEAN SCHOOL

The Garden Terrace

oil on canvas

90 x 59.5cm

PROVENANCE


$2,500–4,500

93

116

116

JOHN VARLEY II (1850-1933)

Tetouan, Morocco

oil on canvas

signed lower left: John Varley

signed and inscribed verso: The Bab El-Gief / Tetouan

Morocco / John Varley

44 x 59cm

PROVENANCE


$3,000–5,000

94

117

JAN HENDRIK SCHELTEMA

(1861-1941)

Cattle Resting, Heidelberg

oil on canvas

signed lower right: J. H. Scheltema

30 x 45cm

PROVENANCE

Deutscher~Menzies, Sydney,

Australian and International Fine

Art, 6 December 2006, Lot 254


$3,000–5,000

117

118

118

JAN HENDRIK SCHELTEMA

(1861-1941)

Returning Home

oil on canvas

signed lower right: J H Scheltema

inscribed verso: ACOOY Holland

45 x 65cm

PROVENANCE


$2,000–4,000

95

119

119

FREDERICK WOODHOUSE SNR (1820-1909)

Sheet-Anchor and Jockey Mick O'Brian, Winner of

the 1885 Melbourne Cup

oil on canvas

signed and dated lower right: Fred Woodhouse / 1885

44 x 59.5cm

PROVENANCE


$5,000–8,000

96

121

AFTER GASPARD POUSSIN

Classical Landscape with

Figures, Horse, Dog and Cattle

oil on canvas

80 x 113cm

PROVENANCE

Gary Kay Antiques, Melbourne,

circa 1960

$2,000–4,000

121

120

120

EUROPEAN SCHOOL

Landscape with Cattle 1854

oil on canvas

signed and dated indistinctly lower

left: Vojeue 1854

label verso: Landscape with Cattle

/ by Voj

57.5 x 72.5cm

PROVENANCE


$1,800–2,500

97

122

122

PHILIPS WOUWERMAN (DUTCH, 1619-1668)

Hunting Party

oil on board

signed with monogram lower right: VV

39.5 x 49cm

PROVENANCE



$10,000–20,000

98

123

123

ERNEST BUCKMASTER (1897-1968)

Summer Landscape, Victoria

oil on canvas

signed lower right: E Buckmaster

63 x 88cm

PROVENANCE


$5,000–8,000

99

124

124

HANS HEYSEN (1877-1968)

The Bridge Over Second Creek, Stepney c.1903


accompanied by a statement of authenticity signed by the

artist's son, David Heysen (attached verso, cat.O-122-DHH)

25.5 x 34.5cm

PROVENANCE

The Estate of Sir Hans Heysen, South Australia


Scotch College Fine Art Exhibition and Auction, Melbourne,



Menzies, Melbourne, Important Australian & International

Art, 29 June 2022, Lot 51


$7,000–10,000

100

125

125

HANS HEYSEN (1877-1968)

Farm Houses at Laran, Holland c.1901


accompanied by a statement of authenticity signed by the

artist's son, David Heysen (attached verso, cat.O-121-DHH)

23.5 x 33cm

PROVENANCE

The Estate of Sir Hans Heysen, South Australia


Scotch College Fine Art Exhibition and Auction, Melbourne,



Menzies, Melbourne, Important Australian & International

Art, Melbourne, 29 June 2022, Lot 50


$6,000–8,000

101

126

126

ERNEST BUCKMASTER (1897-1968)

Summer, The Goulburn River

oil on canvas


73 x 90.5cm

PROVENANCE


$5,000–8,000

102

127

127

JAN HENDRIK SCHELTEMA (1861-1941)

Cattle Grazing on the Coast

oil on canvas

signed lower right: J H Scheltema

71 x 101.5cm

PROVENANCE


$5,000–8,000

103

128

129

128

CHARLES ROLANDO (1844-1893)

Figures by the Fire

oil on canvas

signed lower left: C Rolando

59.5 x 90cm

PROVENANCE

Elder Fine Art, Adelaide, Australian & International

Paintings, 1 April 2007, Lot 249


$4,000–6,000

129

JAMES WALTHAM CURTIS (1839-1901)

On the Track to the Dandenong Ranges

oil on canvas

titled verso: On the ... to the Dandenong Ranges

43 x 75cm

PROVENANCE

Private collection, Queensland

Deutscher and Hackett, Melbourne, Australian +

International Art, 26 August 2009, Lot 118


$4,000–6,000

104

130

COLIN COLAHAN (1897-1987)

Still Life

oil on canvas

46 x 55cm

PROVENANCE


OTHER NOTES

This work is accompanied by a

certificate of authenticity from

Peter Perry

$1,000–2,000

130

131

131

ERNEST BUCKMASTER

(1897-1968)

Grapes, Silver and Lemons

oil on canvas


55 x 80cm

PROVENANCE


$2,000–4,000

105

132

DENNIS RAMSAY

(1925-2009)

Still Life with Fruit and Wine

oil tempera on board


DENNIS RAMSAY / MIXM

59.5 x 75cm

PROVENANCE

Leonard Joel, Melbourne, Australian

British, New Zealand & European

Historical and Contemporary

Paintings, 26 November 1991,

Lot 269


$2,000–4,000

132

133

DENNIS RAMSAY

(1925-2009)

Daffodils and Cherry Blossoms

1986

oil tempera on board


DENNIS RAMSAY / MCMLXXXVI

49.5 x 39.5cm

PROVENANCE


$1,000–2,000

133

106

134

134


Still Life 1989

oil on canvas

signed and dated lower right: Thornton Walker '89

61 x 55.5cm

PROVENANCE


$1,200–1,800

135

MARION ABRAHAM

We Talked the Plants From the Land and the Clouds

From the Sky 2021

oil on canvas

signed and dated verso: ABRAHAM / 2021

cat. no. on label verso: MAB-30

152.5 x 101.5cm

PROVENANCE

Studio Gallery, Melbourne


$1,200–1,800

107

136

136

BRIAN DUNLOP (BORN 1938)

The Pearl

oil on canvas

signed lower left: Dunlop

inscribed with title verso: THE PEARL

76 x 105cm

PROVENANCE


Deutscher and Hackett, Australian + International Art,

Melbourne, 26 August 2009, Lot 75


$3,000–5,000

108

137 138

137


Two Blue Ladies 2003

watercolour and ink on paper

signed and dated lower left and centre:

BLACKMAN / 2003

52 x 38cm

PROVENANCE


$1,500–2,500

138


Nude with a Violin 2002


signed, dated and titled lower centre, right and left:

BLACKMAN 2002 NUDE WITH A VIOLIN

73 x 54cm

PROVENANCE


$1,500–2,500

109

139

139

GEOFFREY TODD (BORN 1950)

Dictionary 1983 - 1984

nine oil on canvas

each panel signed and dated verso: todd '83/'84

45.5 x 35cm (each)


PROVENANCE


EXHIBITED

Dictionary, Christine Abrahams Gallery, Melbourne, 1984

(21 acquired by the National Gallery of Victoria (Michell

Endowment), 1984)

Paintings, Sculptures and Collages, 1978-1984,

Victoria House, London, 1986

Paintings From the 'Dictionary' Series', The Northern

Territory Museum of Arts and Sciences, Fannie Bay,

Northern Territory, 1991

RELATED WORK

Geoff Todd, A Dictionary of the English Language,

Melbourne (self published), 1983

$2,500–3,500

110

140

140

DOUG WRIGHT (BORN 1944)

Green Tent 1974

encaustic on linen

signed and dated lower right: WRIGHT 74

signed, dated and titled verso: GREEN TENT 1974 / DOUG

WRIGHT

166.5 x 111.5cm

PROVENANCE


EXHIBITED

Stuart Gerstman Galleries, Melbourne, 1974

$1,000–2,000

111

141

141


Red Garden 1978

acrylic on cotton duck

signed and dated lower right: WRIGHT '78

signed, dated and titled verso: 'RED GARDEN' 1978 / DOUG

WRIGHT

161 x 195cm

PROVENANCE


EXHIBITED

Stuart Gerstman Galleries, Melbourne, 1993

Doug Wright: Survey 1973-1993 Touring Exhibition, Ballarat

Fine Art Gallery, City of Hamilton Gallery; Lyall Burton

Gallery, Melbourne; Mildura Arts Centre; McClelland Gallery,

Langwarrin, Victoria; 1993, cat. no. 11

$1,200–1,800

112

142

142

JOHN PERCEVAL (1923-2000)

Children and the Marsh Moon 1988

oil on canvas

signed and dated lower right: Perceval / 88

signed, titled and dated verso: CHILDREN AND / THE MARSH

MOON / Perceval / '88

49.5 x 59.5cm

PROVENANCE

Mossgreen Auctions, Melbourne, Works from the Studio of

John Perceval AO, 19 March 2013, Lot 307

$10,000–15,000

113

143

143

KEVIN (PRO) HART (1928-2006)

Toys

oil on canvas

signed lower right: Pro / Hart

101 x 77cm

PROVENANCE

Greythorn Galleries, Melbourne


$8,000–12,000

114

144

144

KENNETH JACK (1924-2006)

The Farm House, 1978

oil on board

signed and dated lower left: KENNETH JACK / 1978

67 x 100cm

PROVENANCE


$2,000–3,000

115

145

145


The Crib Game in the Bar of the Kogan Creek Hotel

QLD

oil on board


signed and titled verso: "THE CRIB GAME" / IN THE BAR OF /

THE KOGAN CREEK / HOTEL / QLD / HUGH SAWREY

73.5 x 98.5cm

PROVENANCE


Menzies, Melbourne, Australian & International Fine Art

& Sculpture, 21 September 2016, Lot 110


$10,000–15,000

116

146

147

117

148

146


Shearer 1970

oil on board


Pro / Hart / 70

33 x 53.5cm

PROVENANCE

Barry's Art Gallery, Surfers Paradise

(label verso)


$4,000–6,000

147


Goldmining

oil on board

signed lower left: PRO HART

signed and titled verso:

PRO HART "GOLDMINING"

38.5 x 59cm

PROVENANCE


$4,000–6,000

148

DAVID BOYD (1924-2011)

Children Playing

in the Apple Orchard

oil on canvas

signed lower left: David Boyd

59 x 49cm

PROVENANCE


$10,000–15,000

118

149

149


Black Forest 2004

oil on linen

signed and dated lower right: DOUG

WRIGHT '04

signed, dated and titled verso: 'BLACK

FORREST' / 2004 / DOUG WRIGHT

101.5 x 198cm

PROVENANCE


$1,200–1,800

150

150

CATHERINE VAN DER MEER

Facade 7 2007

acrylic on canvas

signed with initials lower left: CVDM

signed and dated verso:

Catherine van der Meer 07

122 x 92cm

PROVENANCE

Eastgate & Holst, Melbourne

EXHIBITED

Catherine van der Meer, Eastgate &

Holst, Melbourne, August 2008 (illus.)


$900–1,200

119

151

CATHERINE VAN DER MEER

Accoutrements of Empire and

the Lion's Share 2007

acrylic on canvas

signed with initials lower left: CVDM


Catherine van der Meer 08

122 x 122cm

PROVENANCE

Eastgate & Holst, Melbourne

EXHIBITED

Catherine van der Meer, Eastgate &

Holst, Melbourne, August 2008 (illus.)


$1,000–1,500

152

JAMES SMEATON (BORN 1964)

Yarra 1990

acrylic on canvas


J SMEATON 1990

signed, dated and titled verso

(on stretcher): JAMES SMEATON /

YARRA, 1990

121.5 x 213cm

PROVENANCE

William Mora Galleries, Melbourne


$2,000–4,000

151

152

120

153

153

STEWART MACFARLANE (BORN 1953)

Late Trade, 2010

oil in canvas

signed and dated lower right: STEWART MACFARLANE

2010

signed, titled and dated verso: STEWART MACFARLANE /

LATE TRADE / 2010 (EDIT 2024)

112.5 x 122cm

PROVENANCE


$2,000–4,000

121

154

154

PETER BOOTH (BORN 1940)

Untitled 2006

oil on linen

signed and dated verso: BOOTH 2006

56 x 51cm

PROVENANCE

Anna Schwartz Gallery, Melbourne (label verso)


EXHIBITED

Peter Booth, Anna Schwartz Gallery, 6 - 29 July 2006,

cat. no.3

$18,000–25,000

122

155

155


Untitled 2006

oil on linen


51 x 56cm

PROVENANCE

Anna Schwartz Gallery, Melbourne


EXHIBITED


cat. no.7

$18,000–25,000

123

156

156


Untitled 2006

oil on linen


51 x 56cm

PROVENANCE

Anna Schwartz Gallery, Melbourne (label verso)


EXHIBITED


cat. no.8

$18,000–25,000

124

157

157

JOY HESTER (1920-1960)

I Fled in Terror of the Night circa 1945

ink and wash on paper

signed and titled upper left and right:

Joy Hester / "I fled in Terror / of the / night"

19 x 23cm

PROVENANCE

Tolarno Galleries, Melbourne circa 1983

The Estate of the late Tane Anderson, Melbourne

Charles Nodrum Gallery, Melbourne (label verso)


EXHIBITED

(Possibly) Joy Hester - Watercolours & Drawings

of THE FORTIES, Tolarno Galleries, 30 May - 24 April 1986

Works on Paper, Charles Nodrum Gallery,

9 December 2012 - 7 March 2015, cat. no. 12

Joy Hester: Remember Me, Heide Museum of Modern

Art, Melbourne, 28 November 2020 – 21 February 2021,

cat. no. 45 (illus.)

$5,000–7,000

158

125

159 160

158

JOY HESTER (1920-1960)

Untitled (Face) circa 1946

ink and wash on paper

signed centre right: Joy Hester

29 x 23.5cm

PROVENANCE

Tolarno Galleries, Melbourne

The Estate of the late Tane Anderson, Melbourne



EXHIBITED

(Possibly) Joy Hester - Watercolours & Drawings

of THE FORTIES, Tolarno Galleries, 30 May - 24 April 1986

Works on Paper, Charles Nodrum Gallery, 9 December 2012

- 7 March 2015, cat. no. 13

Joy Hester: Remember Me, Heide Museum of Modern

Art, Melbourne, 28 November 2020 – 21 February 2021,

cat. no. 63 (illus.)

$6,000–8,000

159


Vivaldi

charcoal on paper

signed lower right: BLACKMAN

82.5 x 57.5cm

PROVENANCE


$5,000–7,000

160


Female Nude

charcoal on paper

signed lower right: Dickerson

75 x 55cm

PROVENANCE

Dickerson Gallery, Sydney

Private collection, New South Wales


$4,000–6,000

126

161

161

ANDREW BAINES (BORN 1962)

Crimson High Diver 2023

oil on canvas

signed lower right: BAINES


ANDREW BAINES / 2023 / CRIMSON HIGH DIVE

90 x 150cm

PROVENANCE


$5,000–7,000

127

162

DEL KATHRYN BARTON

(BORN 1972)

I'm Finding Myself I Am Giving

to the Earth 2008


signed, dated and titled lower right

and left: del kathryn barton 08 /

i am finding myself I am giving to

the earth

77 x 57cm

PROVENANCE

Kaliman Gallery, Sydney


Bonhams Goodman, Melbourne,

25 August 2009, Lot 89

$3,000–5,000

162

163

DEL KATHRYN BARTON

(BORN 1972)

Yes We Can. Lets Do It.

Lets Do It Now 2008

ink and watercolour on paper

signed with initials, dated and titled

upper right and left: d. k. b 2008 /

yes we can ...... lets do it ..... lets do

it now

77 x 57cm

PROVENANCE

Kaliman Galleries, Sydney


$3,000–5,000

163

128

164

164

ANDREW BROWNE (1960)

Light Effect 2003

oil on paper laid on aluminium

signed and dated verso: ANDREW BROWN 2003

99 x 99cm

PROVENANCE

Gould Galleries, Melbourne

Private Collection, Melbourne

$5,000–7,000

129

165

165

DEL KATHRYN BARTON (BORN 1972)

Abandoned Bride 2002

crayon, watercolour, graphite and colour pencil on

hand-embroidered paper

signed, dated and titled upper centre:

abandoned bride / del kathryn barton / 2002

152 x 112cm

PROVENANCE

Ray Hughes Gallery, Sydney

Private collection, New South Wales

Deutscher-Menzies, Sydney, 16 December 2009, Lot 59


EXHIBITED

Drawing and Objects, Ray Hughes Gallery, Sydney, 2002

$15,000–25,000

130

166

166

JILL DEL MACE (BORN 1947)

The Tattoo Queen IV

oil on canvas

signed lower right: J Del Mace

120 x 181.5cm

PROVENANCE

Jackman Gallery, Melbourne


$6,000–8,000

131

167

167

RONE (BORN 1980)

Shadow Play 2013

mixed media on brick and wood

signed and dated verso: RONE / 2013

111 x 122cm

PROVENANCE


$8,000–12,000

132

168

168


Moving Mountains, 1994

oil on canvas

signed and dated lower right: WRIGHT '94


'Moving Mountains' '94 DOUG WRIGHT

151 x 213cm

PROVENANCE


$1,000–2,000

169

ILDIKO KOVACS (BORN 1962)

Two Hills, 2008

oil on board


ILDIKO KOVACS / TWO HILLS / 2008

34 x 34cm

PROVENANCE


$1,000–2,000

133

171

170

ILDIKO KOVACS (BORN 1962)

Untitled, 1995

oil on board


Ildiko KOVACS / Untitled / 1995

40 x 30cm

PROVENANCE


$1,000–2,000

171

KERRY ARMSTRONG

Flight (First Time) 2022

oil on linen

signed lower right: K Armstrong

signed, dated and titled verso: K Armstrong / 'Flight' /

(First Time) / Kerry Armstrong / 2022

174 x 164cm

PROVENANCE



$6,000–9,000

134

172

KATE ROHDE (BORN 1980)

Garden Vase II 2024

resin and fibreglass


(variable)

PROVENANCE



$1,000–2,000

173

KATE ROHDE (BORN 1980)

Garden Vase I 2024

resin and fibreglass


(variable)

PROVENANCE



$1,000–2,000

174

KATE SHAW (BORN 1969)

The Epiphany – 1996 Maguk, 2018

acrylic and resin on board

signed and dated verso: Kate Shaw '18

60 x 180cm

PROVENANCE

Martin Browne Contemporary

(label attached verso)

Private Collection, Sydney

Shapiro Auctioneers, Sydney,

Australian and International Art,

23 May 2023, Lot 88


EXHIBITED

Continuum - 2018: Kate Shaw, Martin

Browne Contemporary, Sydney, 2 – 27

May 2018

LITERATURE

Continuum - 2018: Kate Shaw, Martin

Browne Contemporary, Sydney, 2018

(illustrated)

$4,000–6,000

172 173

135

174

175

GABRIELLE JONES

A Beat of Absence 2021

collage, oil and acrylic on polyester

signed with initials lower right: GFJ

signed, and titled verso: Gabrielle

Jones / "A Beat of Absence"

cat. no. on label verso: GJO-77

160 x 134cm

PROVENANCE



$2,000–4,000

175

136

176

176

JEAN PAUL MANGIN

Metal Mou #34, 2022

PMMA Sculpture


PROVENANCE



$1,500–2,500

137

177

177

GABRIELLE JONES

Sarayu 2019

oil and acrylic on canvas, triptych

signed with initials lower right (on right panel): GFJ

each signed and titled verso: Gabrielle Jones / "Sarayu"

cat. no. on label verso: GJO-30


PROVENANCE

Studio Gallery, Melbourne (label verso)


$3,000–5,000

138

178

178


Marker 1980

pastel on cotton

signed and dated lower right: WRIGHT 80

signed, dated and titled verso: DOUG WRIGHT / 'MARKER'

1980

147 x 243cm

PROVENANCE


$1,500–2,500

139

179

LANI MITCHELL (BORN 1990)

Alem (Helm Series), 2015

acrylic and enamel on canvas

signed, dated and titled verso: ALEM /

LANI MITCHELL / L Mitchell 2015

220 x 170cm

PROVENANCE


$1,000–2,000

179

180

LANI MITCHELL (BORN 1990)

Kin (Helm Series) 2015

acrylic and enamel on canvas


KIN / LANI MITCHELL / L Mitchell 2015

220 x 170cm

PROVENANCE


$1,000–2,000

180

140

181

181

JOHN VICKERY (1906-1983)

Vortex 3

acrylic on board

signed verso: John Vickery

inscribed verso: "VORTEX. 3"

120 x 120cm

PROVENANCE



$2,000–3,000

141

182

MATTHEW JOHNSON

(BORN 1963)

Untitled 2003

oil on canvas


Matthew Johnson 2003

151 x 170cm

PROVENANCE


$4,000–6,000

182

183

ANDY HARWOOD

Adjusted Light (Blue/Green),

2021

oil on canvas


Andy Harwood / 'Adjusted Light /

'(Green/Blue)' / 2021

122 x 101.5cm

PROVENANCE



$1,500–2,500

183

142

184

184

JOSEPH STANISLAUS (OSTOJA)

OSTOJA-KOTKOWSKI (1922-1994)

Tri-Axeled Wheel 2 1982

acrylic and metal sheet

signed and dated lower right: OSTOJA 1982

titled verso: TRI-AXELED WHEEL 2

108 x 108cm

PROVENANCE


$2,000–4,000

143

185 186

185

JASPER KNIGHT (BORN 1978)

Red & Blue Tug Boat 2013

acrylic and enamel on paper

signed, dated and titled lower right and centre:

J Knight 2013 / "RED & BLUE TUG BOAT"

152.5 x 102cm

PROVENANCE


$2,000–3,000

186

JASPER KNIGHT (BORN 1978)

Two Tone Grey Vespa 2013

acrylic and enamel on paper

signed, dated and titled lower right and centre:

J Knight 2013 / "TWO TONE GREY VESPA"

152.5 x 101cm

PROVENANCE


$2,000–3,000

144

187

DANIEL NGARRAGOONDA BOYD (BORN 1982)

Untitled (AIAMTHMFS), 2020

oil, acrylic, charcoal and archival glue on canvas


DANIEL / BOYD / 2020 / (AIAMTHMFS)

198 x 142cm

PROVENANCE

Roslyn Oxley9 Gallery, Sydney (label verso)


EXHIBITED

Daniel Boyd; AND THE HORIZON SWALLOWED

THE TORTOISE, Roslyn Oxley9 Gallery, Sydney,

15 July – 15 August 2020

$80,000–120,000

Daniel Boyd was born in North Queensland in 1982.

A Kudjala, Gangalu, Kuku Yalanji, Waka Waka, Gubbi Gubbi,

Wangerriburra, and Bandjalung man, his Aboriginal and

Pacific Islander heritage informs the lens through which he

navigates his practice. In 2020, Boyd showcased a series of

works in an exhibition entitled "And the Horizon Swallowed

the Tortoise" at Roslyn Oxley Gallery in Sydney. It opened

with a painting now synonymous with the artist’s work—a

series of seemingly disconnected peace signs floating in

black space. When viewed with intention, corners connect

to form a cube in the mind's eye. The interplay of space and

perception is at the core of Daniel Boyd's work, reminding us

that ‘Objects are never static. I am adding to a conversation

around what they mean and represent.’ 1 (AIAMTHMFS),

2020 is part of a continuing series of works that aim

to recontextualise historical imagery from disparate

Eurocentric and personal archives. At its heart, his work

seeks to represent and centre Indigenous and First Nations

voices in the retelling of history. ‘The way we transferred

knowledge was through song and dance and mark making.

It’s more poetic and cannot be contained in an empirical

way. It’s important to challenge those ways of understanding

and representation. Dismantling the scientific lens, using

points in time and space to dismantle things through lived

experience. Then there’s no opportunity for stereotypes to

be formed about who we are as people.’ 2

(AIAMTHMFS), 2020 remains intentionally obscure. The

painting is layered with paint and charcoal, and overlaid with

Boyd’s unique visual technique of archival glue applied over

paint, providing a ‘lens’ amidst a wash of black paint. This

purposeful incongruence requires the observer to delve

deeper and engage with the critical theory underlying Boyd’s

practice. ‘If riddles within art can be seen as a technique

used historically to challenge the ultimate obscurity of

things, then the ambiguity these riddles present in modern

art historical study comes from their innate resistance

to disclose their secrets to us, rather than our inability to

understand them. The agency and autonomy of Boyd’s

practice exemplify Aboriginal and Torres Strait Islander art

that becomes conversational, transcending the boundaries

of time and space, where it poses riddles and hides secrets

from viewers in the present. The study of Boyd’s work is, by

extension, unavoidably hermeneutic, as we cannot fully or

truly understand the agenda or the riddles he employs with

his pointillist lens technique or the abstraction of his artwork

titles; we can only interpret and hypothesise their meanings

and uses. 3

The Art Gallery of New South Wales presented Daniel Boyd’s

first significant solo exhibition, Treasure Island, in 2022,

providing the opportunity to unpack nearly two decades of

work. The exhibition highlighted the multifaceted nature

of his art practice in the context of history and perception.

‘Each work leads into the other; it’s a continuum. A way of

activating that framework.’ 4 The exhibition demonstrated

the perpetually unfolding nature of his work, inviting

discourse and exploration of the impalpable nature of

objects. ‘Boyd makes us look at the ‘dark matter’ - the

invisible substance thought to hold all of space and time

and its contents together, but which defies investigations -

around ourselves and objects. He does not show us where

these objects, which he embeds in his work, are; rather, he

shows us where they were and where they have travelled to.’ 5

Following this cornerstone exhibition at the Art Gallery

of New South Wales, Boyd has exhibited large-scale

installations at Art Basel Hong Kong in 2024 and Sharjah

Biennial 16 in 2025. Daniel Boyd is a vital voice and visual

instigator in the Australian and international art world.

His practice serves as both a criterion for navigating the

changing landscape of perception, with each painting

contributing to the larger dialogue of re-framing the

perception of Indigenous narratives throughout history.

Sarah Garrecht

1. Daniel Boyd present Treasure Island, walking through with Rudi

Bremmer, ABC Awaye! Radio National, 2022 accesses 1/10/25

https://www.abc.net.au/listen/programs/awaye/daniel-bintentio

naloyd-presents-treasure-island/13921896

2. Ibid

3. Erin Vink, The Recontextualization of Things, Daniel Boyd:

treasure island, Gadigal Country, Sydney, Art Gallery of New

South Wales, 2022, p. 23

4. Daniel Boyd (n 1)

5. Erin Vink (3)

187

145

146

188 189

188

LORNA NAPARRULA FENCER

(CIRCA 1920-2006)

Bush Potato 1997


inscribed, titled and dated verso:

LORNA NAPARRULA FENCER / BUSH POTATO /

SEPTEMBER '97 / AAI160 / 7958

178 x 119cm

PROVENANCE

Aboriginal Gallery of Dreamings, Melbourne



$2,000–4,000

189



acrylic on canvas

cat. no. ACAAMP7069

130 x 45.5cm

PROVENANCE

Australian Contemporary Aboriginal Art, Melbourne



$1,000–1,500

147

190

190

RONNIE TJAMPITJINPA (CIRCA 1943-2023)

Tingari Cycle 2007

acrylic on canvas

inscribed verso: RONNIE A12738

140.5 x 229cm

PROVENANCE

Muk Muk Aboriginal Art, Alice Springs

Art Index, Sydney


$5,000–8,000

148

191

191

KUDDITJI KNGWARREYE (CIRCA 1928-2017)

My Country

acrylic on linen

inscribed verso: Kudditji / Muk Muk Aboriginal Art / A3600

152 x 127cm

PROVENANCE

Muk Muk Aboriginal Art, Alice Springs


$3,000–5,000

149

192

192

YARITJI YOUNG (BORN CIRCA 1956)

Tjlala Tjukurpa (Honey Ant Dreaming)


signed, dated and titled verso: YARITJI YOUNG 2020 / "Tjlala

Tjukurpa" / (Honey Ant Dreaming) / GBG0220779

151.5 x 198cm

PROVENANCE

Tjara Arts, NT (accompanied by a certificate of authenticity)

Cooee Art, Sydney (accompanied by a certificate of authenticity)


$12,000–18,000

150

193

RONNIE TJAMPITJINPA

(CIRCA 1943-2023)

Tingari 2005

acrylic on linen

inscribed verso:

RONNIE TJAMPITJINPA

144 x 188cm

PROVENANCE

Aboriginal Art Link Australia


authenticity)


$7,000–9,000

193

194

194

MAXIE TJAMPITJINPA

(1947-1997)

Flying Ant Dreaming 1988


cat no: DT 12855

91 x 122.5cm

PROVENANCE

The Original Dreamtime Art Gallery,

Alice Springs (accompanied by a



$1,500–2,500

151

195

195

RONNIE TJAMPITJINPA (CIRCA 1943-2023)

Tingari Cycle 1999

acrylic on canvas

124 x 185.5cm

PROVENANCE

Marita Hayes-Brown Australian Art, London

$7,000–10,000

196

PANSY NAPANGARDI (BORN CIRCA 1940)

Kunga Kutjeza (8000 Women) 1989


gallery stamped verso: Aboriginal Gallery of Dreaming #1457

132 x 175.5cm

PROVENANCE

Aboriginal Gallery of Dreamings, Melbourne (accompanied

by a certificate of authenticity)


$3,000–5,000

152

197

197

DOROTHY NAPANGARDI (CIRCA 1956-2013)

Mina Mina 2007

acrylic on canvas

120 x 90cm

PROVENANCE

Muk Muk Fine Art, Alice Springs. cat. no. 11287

(accompanied by photographs of the Artist with the

painting)


$3,500–4,500

153

198

198

ANGELINA NGALE PWERLE (BORN 1946)

Bush Plum Dreaming circa 2005


inscribed with cat. no. verso: C294

122.5 x 90.5cm

PROVENANCE

Waterhole Arts, NSW, cat. no. W200

Private collection, NSW

Private collection, VIC

Art Leven (formerly Cooee Art), Sydney (accompanied by a



$6,000–8,000

154

199

199

GLORIA TAMERRE PETYARRE (1942-2021)

Atnangkere Growth1998

acrylic on linen

Dacou cat no. 01748

122 x 279.5cm

PROVENANCE

Dacou Gallery, Adelaide (accompanied

by a certificate of authenticity)


$7,000–10,000

155

200

200

EMILY KAME KNGWARREYE (1909-1996)

Arlatuite Dreaming 1996

acrylic on canvas

inscribed verso: UTOPIA ART / EMILY KAME KNGWARREYE /

ARLATUITE DREAMING / OCHRES SERIES / 96 / EKK9849

122.5 x 79.5cm

PROVENANCE


$25,000–35,000

156

201

201

CLIFFORD TJAPALTJARRI POSSUM

(CIRCA 1933-2002)

Narripi (Worm Dreaming) 1998


inscribed verso: CLIFFoRD PoSSUM /

Narripi Worm Dreaming / Jan 1998

stock number on label verso: CP127

136 x 123.5cm

PROVENANCE

Corbally Stourton Contemporary Art, London (label verso)


$3,000–5,000

157

202

202

WARLIMPIRRNGA TJAPALTJARRI

(BORN CIRCA 1950)

Tingari


inscribed verso: GUNDOOEE / GUN90408 /

WARLIMPIRRNGA TJAPALTJARRI

182 x 152cm

PROVENANCE

Gundooee Aboriginal Art, NSW



$7,000–9,000

158

203

ROVER JULAMA THOMAS (CIRCA 1926-1998)

Baragu Country, 1985

natural earth pigments and acrylic on board

inscribed verso:

ROVER THOMAS / 1985 / MP-749 / C2 / N 112

122 x 61cm

PROVENANCE

Field collected in Turkey Creek, circa 1986

Aboriginal Gallery of Dreamings, Melbourne

Hank Ebes collection, Victoria

Art Leven, Sydney, Indigenous Fine Art, 20 October 2020,

Lot 15 (accompanied by a certificate of authenticity from

Cooee Art Market Place, Sydney)


EXHIBITED

Nangara: The Australian Aboriginal Art Exhibition from the

Ebes Collection, Stichting Sint-jan, Brugge, Belgium, 1996,

cat. no. 112

The Australian Aboriginal Art Exhibition, Hokkaido

Asahikawa Museum of Art, Asahikawa, Japan; Tochigi

Prefectural Museum of Fine Arts, Utsunomiya, Japan;

Iwaki City Art Museum, Iwaki, Japan, 2001; Shimonoseki

Prefectural Art Museum, Japan, 2001, cat no. 45

Dreamtime - Aboriginal Art from the Ebes Collection,

Arken Museum of Modern Art, Ishoj, Copenhagen, Denmark,

2006 (10th Anniversary Exhibition)

LITERATURE

Hank Ebes, Nangara: The Australian Aboriginal Art

Exhibition from the Ebes Collection [Volume 2],

The Aboriginal Gallery of Dreamings, Melbourne, 1995,

cat. no. 112 (illustrated)

Hank Ebes, The Australian Aboriginal Art Exhibition, Japan:

The Yomiuri Shimbun, 2001, cat. no. 45, p. 51 (illustrated),

p. 113

$70,000–100,000

203

159

160

204

204

FREDDIE TIMMS (1944-2017)

Blackfella Creek – Lissadell 2006

ochre pigments and acrylic on canvas

inscribed verso: F TIMMS

cat. no. FT252

60.5 x 60.5cm

PROVENANCE

Our Land Gallery, Kununurra, WA (accompanied by a



$2,000–4,000

161

205

205


Awelye-Antwengerrp (Body Paint - Bush Melon) 1999


inscribed verso: Minnie Pwerle / Bush Melon / Awelye / 1999 /

MMCP88 / #9819

122 x 91cm

PROVENANCE

Australian Gallery of Dreamings (accompanied by a certificate

of authenticity)


$3,000–5,000

162

206

BILLY TJAPALTJARRI

STOCKMAN (1927-2015)

Untitled


inscribed verso: BILLY sTocKMAN /

CSCA 8

204.5 x 135.5cm

PROVENANCE

Corbally Stourton Contemporary Art,

London (label verso)


$3,000–6,000

207

LILY KELLY NAPANGARDI

(BORN 1948)

Tali (Sandhills)


inscribed verso: LIlYK

149.5 x 200cm

PROVENANCE

Red Centre Art, Alice Springs


authenticity)


$1,500–2,500

206

207

163

208

208

GLORIA TAMERRE PETYARRE

(1942-2021)

Bush Medicine 2006


inscribed verso: GLORIA / ASAAGP1842

98.5 x 186.5cm

PROVENANCE



authenticity)


$2,000–4,000

209

JOHNNY WARANGKULA

TJUPURRULA

(CIRCA 1925-2001)

Secret Man Dreaming 1988


inscribed verso: JABRULE / 118

inscribed on stretched edge: Johnny. W

inscribed on label verso: Secret Man

Dreaming 1988 / CSCA 380

127 x 143cm

PROVENANCE


London (label verso)


$2,000–4,000

209

164

210

TIGER MOORE

(BORN CIRCA 1938)

Dunham Gorge 2004

ochre and synthetic polymer paint

on canvas

signed and titled upper left:

DUNHAM GORGE / BY TIGER

MOORE

numbered verso on stretcher:

6535/TM/04

76 x 101cm

PROVENANCE

Our Land Gallery, Kununurra, WA


authenticity)


$2,000–3,000

210

211

211

ESTELLE MUNKANOME

(CIRCA 1960-2025)

Untitled 2005-2006

natural earth pigments and acrylic

on paper

cat no AKG 988

Ngaruwanajirri Art Centre

cat. no. EM 395-26

39 x 58cm

PROVENANCE

Ngaruwanajirri Art Centre, NT

Alison Kelly Gallery, Melbourne


authenticity)

$800–1,200

165

212

212

TIMMY PAYUNGKA

TJAPANGATI

(CIRCA 1935-2000)

Tingari Cycle 1999


inscribed verso: #TP1999-100-1 /

AGOD / 7648

120 x 298.5cm

PROVENANCE

Australian Gallery of Dreamings


authenticity)


$5,000–7,000

213

BILLY TJAPALTJARRI

STOCKMAN (1927-2015)

Untitled

acrylic on canvas

inscribed verso: BILLY SToCKMAN /

20 / CSCA / 4

122 x 183.5cm

PROVENANCE


London


$2,000–3,000

213

166

214

214

DAVID ARMFIELD (1923-2010)

May Day Workers of the World Unite

oil on canvas

signed lower right: D. Armfield

59.5 x 75cm

PROVENANCE

Australasian Meat Industry Employees Union

$900–1,200

216

MARY HAMMOND (BORN 1928)

Market Shopping 1987

oil on canvas

signed and dated lower left: Mary Hammond 87

71 x 86cm

PROVENANCE


$1,500–2,500

215

MARY HAMMOND (BORN 1928)

Shopping Uphill 1987

oil on canvas

signed and dated lower left: Mary Hammond 87

86 x 71cm

PROVENANCE


$1,500–2,500

167

217

217

MAURICE CARTER (1920-1968)

May Day March, circa 1940

oil on board

signed lower left: M Carter

54 x 41.5cm

PROVENANCE


$4,000–6,000

168

218

RICK AMOR (BORN 1948)

Slaughterman 1977

oil on board


RICK AMOR '77


SLAUGHTERMAN / RICK AMOR '77

30 x 38.5cm

PROVENANCE

Australasian Meat Industry

Employees Union

$1,800–2,500

218

219

219


Slaughterman 1977

oil on board


RICK AMOR '77



34 x 30cm

PROVENANCE

Australasian Meat Industry

Employees Union

$1,800–2,500

169

220

220


Meatworker 1977

oil on canvas

signed lower right: RICK AMOR '77


MEATWORKER / RICK AMOR '77

91 x 76cm

PROVENANCE


$3,000–5,000

170

221

221


Slaughterman 1977

oil on canvas

signed and dated lower right: RICK AMOR '77



45.5 x 38cm

PROVENANCE


$2,000–3,000

222


Smiling Slaughterman 1978

oil on canvas

signed and dated lower right: RICK AMOR '78


SMILING SLAUGHTERMAN / RICK AMOR '78

38 x 25.5cm

PROVENANCE


$2,000–4,000

171

223

223


Gutting 1977

oil on board

signed and dated lower left: RICK AMOR '77

signed, dated and titled verso: GUTTING / RICK AMOR '77

46 x 30cm

PROVENANCE


$2,000–3,000

172

224

224


Trappers

oil on board

signed lower right: PRO / HART

titled verso: "TRAPPERS"

23.5 x 27.5cm

PROVENANCE


$2,500–3,500

173

225

225


Child on the Riverbank with Angel

oil on canvas


53.5 x 63.5cm

PROVENANCE


$8,000–12,000

174

226

226


Children Playing by the River 1980

oil on canvas

signed and dated lower left and right: David Boyd / 1980

59.5 x 70cm

PROVENANCE


$8,000–12,000

227


The Picnic

oil on board


44 x 60cm

PROVENANCE


$8,000–12,000

175

227

228


The Trappers at Rest

oil on board

signed lower right: PRO / HART

24.5 x 28cm

PROVENANCE


$2,000–3,000

228

176

229


Playing in the River

oil on board


34.5 x 40.5cm

PROVENANCE


$3,000–5,000

229

230

230

JOHN ANDERSON

(BORN 1947)

Driveway at Dusk 2005

oil on linen


John Anderson / 05


J Anderson / 05 / DRIVEWAY

AT DUSK

122 x 152cm

PROVENANCE

William Mora Galleries, Melbourne

The Estate for Emeritus Professor

John Rickard, Melbourne

EXHIBITED

John Anderson: Recent Paintings,

William Mora Galleries, Melbourne,

9 November - 3 December 2005,

cat. no. 2 (exhibition documents

accompany this lot)

$3,000–5,000

177

231

231

CHRIS KANDIS (BORN 1966)

Portsea 2024

oil on canvas

signed lower left: CHRIS KANDIS


"PORTSEA" VIC / 2024 / VICTORIA / Chris Kandis

61 x 122cm

PROVENANCE


$1,500–2,500

178

232

232

GIL JAMIESEN (1934-1992)

Up Hurdle Gully 1971

oil on canvas

signed and dated lower right: GIL JAMIESEN 71

titled verso: UP HURDLE GULLY

101 x102cm

PROVENANCE


$1,200–1,800

179

233

233

CHRIS KANDIS (BORN 1966)

Winter Morning Mist, Blue Mountains NSW, 2017

oil on board

signed lower left: CHRIS KANDIS

signed and titled verso: Chris Kandis / WINTER MORNING

MIST / BLUE MOUNTAINS / NSW

75 x 101cm

PROVENANCE


$1,500–2,500 End of Sale

180

Artist Index

A

Abraham, Marion 135

Amor, Rick 218–223

Anderson, John 230

Armfield, David 214

Armstrong, Kerry 171

B

Baines, Andrew 161

Barton, Del Kathryn 162, 163, 165

Blackman, Charles 80, 82, 137, 138, 159

Booth, Peter 154, 155, 156

Boyd, Arthur Merric Bloomfield 84

Boyd, Daniel Ngarragoonda 187

Boyd, David 148, 226, 227, 229

Braund, Dorothy 97

Browne, Andrew 164

Buckmaster, Ernest 123, 126, 131

Bunny, Rupert 112

Burn, Henry 8

C

Cafe, Thomas Watt 113

Carter, Maurice 217

Coburn, John 87

Colahan, Colin 130

Colquhoun, Amalie 16

Crooke, Ray 74

Cummings, Elisabeth 93, 96

Curtis, James Waltham 7, 11, 129

D

Dahl, Circle of Michael 114

Davies, David 3

Daws, Lawrence 89

Del Mace, Jill 166

Dickerson, Robert 78, 79, 160

Dridan, David 54, 55, 56, 60, 63, 64, 65, 67,

68

Dunlop, Brian 136

Dunlop, Richard 94

Dunstan, Bernard 57

Dyer, Geoffrey 72, 95

E

European School 115, 120

F

Fencer, Lorna Naparrula 188

Figuerola, Alma 5

Fox, Emanuel Phillips 13, 14, 20

Frater, William Jock 23, 24

Friend, Donald 19, 27

G

Gleeson, James 25, 105

Greco, Emilio 108

Greenwood, Garry 104

Guningbal, Robin 32

Gurruwiwi, Mithinari 33

H

Halpern, Deborah 77

Hammond, Mary 215, 216

181

Hart, Kevin (Pro) 72, 143, 146, 147, 224, 225,

228

Harwood, Andy 183

Herman, Sali 101

Hester, Joy 157, 158

Heysen, Hans 124, 125

Hicks, Scott 69, 70, 71

Home, Dean 103

Humphries, Barry 42, 43, 44, 45, 46, 48, 49,

50, 51, 52, 53, 62, 66, 67

J

Jack, Kenneth 144

Jackson, James Ranalph 6

Jamiesen, Gil 232

Johnson, Matthew 182

Jones, Gabrielle 175, 177

K

Kandis, Chris 231, 233

Keeling, David 99

Klippel, Robert 91

Kngwarreye, Emily Kame 200

Kngwarreye, Kudditji 191

Knight, Jasper 185, 186

Knox, William Dunn 22

Kovacs, Ildiko 169, 170

L

Lees, Derwent 59

Lindsay, Norman 26

Lovell-Smith, Rata 4

M

MacFarlane, Stewart 153

Mackennal, Bertram 109

Mangin, Jean Paul 176

Maymuru, Narritjin 34

Mcgilchrist, Erica 75

Meldrum, Max 15, 17, 18

Mitchell, Lani 179, 180

Moore, Tiger 210

Mora, Mirka 86

Munkanome, Estelle 211

N

Napangardi, Dorothy 197

Napangardi, Judy Watson 38

Napangardi, Lily Kelly 207

Napangardi, Pansy 196

Naparrula, Marlee 36

Naparrula, Mitjili 40

Newbury, Albert 21

O

Olsen, John 90

Ostoja-Kotkowski, Joseph Stanislaus

(Ostoja) 184

P

Peacock, George 9

Perceval, John 76, 85, 142

Petyarre, Gloria Tamerre 199, 208

Possum, Clifford Tjapaltjarri 201

Poussin, After Gaspard 121

182

Artist Index (continued)

Pugh, Clifton 30

Pwerle, Angelina Ngale 198

Pwerle, Minnie 37, 39, 41, 189, 205

Tjapangati, Timmy Payungka 212

Tjupurrula, Johnny Warangkula 209

Todd, Geoffrey 83, 139

R

Raberaba, Herbert 29

Ramsay, Dennis 132, 133

Rankin, David 92

Rohde, Kate 172, 173

Rolando, Charles 128

Rone 167

S

Sawrey, Hugh 28, 31, 145

Scheltema, Jan Hendrik 117, 118, 127

Shaw, Kate 174

Sherwin, Harry 61

Short (Senior), William Howes Wackenbarth 12

Sitthiket, Vasan 88

Smeaton, James 152

Smith, Ernest 81

Stewart, Janet Agnes Cumbrae 1

Stockman, Billy Tjapaltjarri 206, 213

Stringer, Terry 106

Swanwick, Harold 58

V

Van Der Meer, Catherine 150, 151

Varley II, John 116

Vickery, John 181

Vozzo, Vince 107

W

Walker, Thornton 98, 100, 102, 134

Walklate, Enoch Henry 10

Wilson, Dora 2

Wilson, Eric 111

Wood, Christopher 110

Woodhouse Snr, Frederick 119

Wouwerman, Philips 122

Wright, Doug 140, 141, 149, 168, 168

Y

Yarinkura, Lena 35

Young, Yaritji 192

T

Thomas, Rover Julama 203

Timms, Freddie 204

Tjampitjinpa, Maxie 194

Tjampitjinpa, Ronnie 190, 193, 195

Tjapaltjarri, Warlimpirrnga 202

183

Copyright

19 © Donald Friend/Copyright Agency, 2025

26 © H., C. & A Glad

27 © Donald Friend/Copyright Agency, 2025

28 © Hugh Sawrey/Copyright Agency, 2025

29 © Herbert Raberaba/

Copyright Agency, 2025


33 © Mithinari Gurruwiwi/


35 © Lena Yarinkura/


36 © Marlee Naparrula/


37 © Minnie Pwerle/Copyright Agency, 2025

38 © Judy Watson Napangardi/



40 © Mitjili Naparrula/



54 © David Dridan

55 © David Dridan

56 © David Dridan

60 © David Dridan

63 © David Dridan

64 © David Dridan

65 © David Dridan

68 © David Dridan

73 © Geoff Dyer/Copyright Agency, 2025

74 © Ray Crooke/Copyright Agency, 2025

76 © John Perceval/Copyright Agency, 2025

78 © Robert Dickerson/




80 © Charles Blackman/


81 © Ernest Smith/Copyright Agency, 2025



84 © Arthur Merric Bllomfield Boyd/



86 © Mirka Mora. Courtesy of William Mora

Galleries, Melbourne

87 © John Coburn/Copyright Agency, 2025

90 © John Olsen/Copyright Agency, 2025

91 © Robert Klippel/Copyright Agency, 2025

93 © Elisabeth Cummings/


95 © Geoff Dyer/Copyright Agency, 2025

96 © Elisabeth Cummings/


101 © Sali Herman/Copyright Agency, 2025

104 © Garry Greenwood/


124 © Hans Heysen/Copyright Agency, 2025

125 © Hans Heysen/Copyright Agency, 2025

136 © Brian Dunlop/Copyright Agency, 2025






144 © Kenneth Jack/Copyright Agency, 2025


148 © David Boyd/Copyright Agency, 2025

154 © Peter Booth/Copyright Agency, 2025



157 © Joy Hester/Copyright Agency, 2025

158 © Joy Hester/Copyright Agency, 2025



184

Copyright (continued)



162 © Courtesy of the artist and Roslyn Oxley

9 Gallery, Sydney


9 Gallery, Sydney


9 Gallery, Sydney

174 © Kate Shaw/Copyright Agency, 2025

182 © Maxie Tjampitjinpa/


185 © Jasper Knight/Copyright Agency, 2025

186 © Jasper Knight/Copyright Agency, 2025

187 © Courtesy of the artist and Roslyn

Oxley9 Gallery, Sydney

188 © Lorna Fencer/Copyright Agency, 2025


189 © Ronnie Tjampitjinpa/




191 © Kudditji Kngwarreye/


192 © Yaritji Young/Copyright Agency, 2025




196 © Pansy Napangardi/


197 © Dorothy Napangardi/


198 © Angelina Ngale Pwerle/


199 © Gloria Tamerre Petyarre/


200 © Emily Kame Kngwarreye/


201 © Clifford Possum/


202 © Warlimpirrnga Tjapaltjarri/


203 © Rover Julama Thomas/


204 © Freddie Timms/



206 © Billy Tjapaltjarri Stockman/


207 © Lily Kelly Napangardi/


208 © Gloria Tamerre Petyarre/


209 © Johnny Warangkula Tjupurrula/


211 © Estelle Munkanone/


212 © Timmy Payungka Tjapangati/


213 © Billy Tjapaltjarri Stockman/


218 © Rick Amor/Copyright Agency, 2025










231 © Chris Kandis

232 © Gil Jamieson/Copyright Agency, 2025

233 © Chris Kandis

Entries Invited

Luxury Online

ENQUIRIES 03 9500 2607

marilla.watson@gibsonsauctions.com.au

186

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.

187

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

188

or employees give any representation warranty

or guarantee or assume any liability of any kind in

respect of any Lot with regard to merchantability,

fitness for a particular purpose, description, size,

quality, condition, attribution, authenticity, rarity,

importance, medium, provenance, exhibition history,

literature or historical relevance. Except as required

by local law any warranty of any kind is excluded by

this paragraph.

7. Limited Warranty

Subject to the terms and conditions of this

paragraph, the warrants for the period of fourteen

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

described in this catalogue (noting such description

may be amended by any Saleroom notice or

announcement) which is stated without qualification

to be the work of a named author or authorship is

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

“Authorship” refers to the creator of the property or

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

may be, with which the creation of such property is

identified in the catalogue.

The warranty is subject to the following:

i) it does not apply where a) the catalogue

description or Saleroom notice corresponded

to the generally accepted opinion of scholars

and experts at the date of the Sale or fairly

indicated that there was a conflict of opinions,

or b) correct identification of a Lot can be

demonstrated only by means of a scientific

process not generally accepted for use until

after publication of the catalogue or a process

which at the date of the publication of the

catalogue was unreasonably expensive or

impractical or likely to have caused damage to

the property.

ii)

iii)

iv)

the benefits of the warranty are not assignable

and shall apply only to the original Buyer of the

Lot as shown on the invoice originally issued by

Gibson's when the Lot was sold at Auction.

the original Buyer must have remained the

owner of the Lot without disposing of any

interest in it to any third party

The Buyer’s sole and exclusive remedy against

the Seller in place of any other remedy which

might be available, is the cancellation of the

Sale and the refund of the original purchase

price paid for the Lot less the Buyer's Premium

which is non-refundable. Neither the Seller nor

Gibson's will be liable for any special, incidental

nor consequential damages including, without

limitation, loss of profits not for interest.

v) The Buyer must give written notice of claim

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

the Auction. The Seller shall have the right, to

require the Buyer to obtain two written opinions

by recognised experts in the field, mutually

acceptable to the Buyer and Gibson's to decide

whether to cancel the Sale under warranty.

vi)

the Buyer must return the Lot to Seller in the

same condition that it was purchased.

8. Severability

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

court to be invalid, illegal or unenforceable, that part

shall be discounted and the rest of the Conditions

shall continue to be valid to the fullest extent

permitted by law.

9. Copyright

The copyright of all images, illustrations and written

material produced by Gibson's relating to a Lot

including the contents of this catalogue, is and shall

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

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

our prior written consent. Gibson's and the Seller

make no representation or warranty that the Buyer

of a property will acquire any copyright or other

reproduction rights in it.

10. Law and Jurisdiction

These terms and conditions and any matters

concerned with the foregoing fall within the exclusive

jurisdiction of the courts of the state in which the

Auction is held.

11. Pre-Sale Estimates

Gibson's publishes with each catalogue our opinion

as to the estimated price range for each Lot. These

estimates are approximate prices only and are not

intended to be definitive. They are prepared well in

advance of the Sale and may be subject to revision.

Interested parties should contact Gibson's prior to

Auction for updated pre-Sale estimates and starting

prices.

12. Sale results

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

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

including the prices achieved for specific Lots.

Unless otherwise discussed with the Buyer, details of

individual Buyers will remain confidential.

13. Goods and Service Tax

In accordance with A New Tax System (Goods

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

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

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

transactions.

GST is applicable on the Hammer Price in the case

where the Seller is selling property that is owned by

an entity registered for GST. GST is also applicable

on the Hammer Price in the case where the Seller is

not an Australian resident. These Lots are denoted

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

GST is also applicable on the Buyer's Premium.

Overseas Buyers and non-resident Buyers in

Australia will not be charged GST on both Hammer

Price and Premiums under the following conditions:

1. The items are exported through a Gibson's

approved freight company including Australia

Post

2. The items are exported within 60 days of the

date of the Sale

The invoice supplied by Gibson's for purchases will

be regarded as a Tax invoice for GST purposes.

14. Resale Royalty Scheme

Under the legal obligations of the Resale Royalty

Scheme for Visual Artists Act 2009, Sellers must

provide the following information to comply with

the act:

• was the artwork acquired after 8 June 2010?

• is the Sale/Reserve price (including GST)

$1,000 or more?

• is the artist from Australia or a country listed in

the Regulations to the Act?

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

The Seller:

i) acknowledges that he or she understands his or

her legal obligations under the Resale Royalty

for Visual Artists Act 2009 (the Act);

ii)

iii)

iv)

undertakes to comply with all requirements of

the Act, including by providing its agent, the

company, with accurate information sufficient

for compliance with sections 28 and 29 of the

Act;

undertakes to indemnify the Company for any

loss incurred by the Company as a result of

the Vendor’s failure to comply with any of the

Vendor’s legal obligations under the Act; and

acknowledges that if he or she fails to comply

with any of his or her legal obligations under

the Act, the company may provide the vendor’s

name and contact details to Copyright Agency

Limited (CAL).

Lots subject to payment of the Resale Royalty

Scheme will be denoted by the §. The Australian

Resale Royalty is a flat rate of 5% on the hammer

price (including GST). The Australian Resale

Royalty is payable by the Seller in addition to

Vendor Commission plus any applicable GST and

government charges.

15. Jewels, Watches & Gold

GEMSTONES

Gemstones have historically been subjected to a

variety of treatments to enhance their appearance.

Sapphire and rubies are routinely heat treated to

improve their colour and clarity, similarly emeralds

are frequently treated with oils or resin for the

same purpose. Other treatments such as staining

or dyeing, irradiation, filling or coating may have

been used on other precious and semi-precious

gemstones and organic material. These treatments

may be permanent, whilst others may need special

care to reserve their appearance. Buyers should

assume that each Lot has been subject to some

form of treatment and that the estimates reflect this.

A number of laboratories issue certificates that give

detailed descriptions of gemstones, and in the event

that Gibson's has been supplied with or obtained

certificates for any Lot, this shall be noted in the

catalogue. However, as there may not be consensus

between different laboratories on the degree, or

types of treatment of the gemstones, Gibson's

supplies these without warranty.

Buyers should assume that all gemstones sold

by Gibson's may have been subjected to such

treatments, and that the catalogue estimates

reflect this.

PEARLS

Pearls, like gemstones, are also subject to various

treatments. Buyers should assume that any pearls

sold by Gibson's may have been subjected to such

treatments, and that the catalogue estimates

reflect this.

WATCHES

Please note: All watches sold by Gibson's are sold on

an “as is” basis. Gibson's makes no representation

or warranty that any watch is in working order. Many

watches have been repaired over their lifetime and

may contain non-original parts. The absence of any

reference to the condition of a watch does not imply

that the Lot is in good condition and without defects,

repairs or restorations. Buyers should be aware that

a general service, change of battery or further repair

work, for which the Buyer is solely responsible for,

may be necessary.

ESTIMATED WEIGHTS

If a stone has a known weight, it has been weighed

out of the mount. If a stone has an estimated weight,

it is an approximate weight only and has been

measured by us in the mount and is a statement of

opinion only. The information is given as a guide only

and Buyers should satisfy themselves with regard to

this information as to its accuracy.

GOLD

Gold is sold in good faith that its purity is as

marked or hallmarked on the object. Should an

item have a gold content of 10% less than the

catalogued amount, Gibson’s will refund as per our

Terms and Conditions.

Lot 103

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