The Phillip Adams Collection part 1 by artvisory4

The Collection of Phillip Adams Part I

Timed Online Auction • closing Wednesday 23 October 2024

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Paul Sumner 0412 337 827

Sandy Bruce 0421 920 387

Chinese and Asian Arts

Donald Lee 0455 888 080

Yang Yang 0466 112 688

Paul Sumner 0412 337 827

Indigenous Australian Art

Shaun Dennison 0410 501 857

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Dr Susan Scollay 0418 175 694

design + decoration & Interior Decorator Auctions

Amanda Swanson 0414 592 234

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Julie Smetana 0427 921 756

ACT

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Judith Quigley 0417 841 355

For all email enquiries please email mail@artvisory.com.au

TIMED ONLINE AUCTION

VIEWING

The Collection of Phillip Adams Part I

COLLECTIONS

Closing Wednesday 23 October 2024 from 5.58pm

Saturday 19 October 11am–5pm

Sunday 20 October 11am–5pm

Monday 21 October 11am–5pm

Thursday 24 October 11am–5pm

Friday 25 October 11am–5pm Monday 28 October 11am–5pm

COLLECTIONS ADDRESS

Artvisory 310 Toorak Road, South Yarra VIC 3141

ONLINE View catalogue and bid online at www.artvisory.com.au

ENQUIRIES Specialist Enquiries

Paul Sumner 0412 337 827 paul@artvisory.com.au

Auction administration enquiries: Amanda Swanson 0414 592 234 amanda@artvisory.com.au

How to bid at our Auctions

Catalogues and Viewing

Auction catalogues can be viewed on the Artvisory website www.artvisory.com.au approximately three weeks prior to the published date of an Auction.

Printed catalogues will be available complimentary at the auction viewing and can be express posted (within Australia) prior to the viewing for $20AUD.

The Auction viewing is open to the public and generally takes place during the three days prior to the Auction date, from 11am–5pm at the advertised location/s in the Auction catalogue.

Lot Descriptions

The Lot/Catalogue descriptions provide the overall information of an item including size, date or age, medium, attribution, quantity and if known, provenance.

Estimates

The estimate accompanies each lot in the printed and online catalogue. This estimate takes into consideration the quality, condition, rarity, condition and provenance of the item. Each estimate also has a reserve, and the reserve is the undisclosed and confidential amount set at or below the low estimate. Please note the reserve will never exceed the low estimate at Artvisory.

Condition Reports

Condition reports supplement the lot/catalogue description and focus on the condition of the item. We strongly advise obtaining a condition report if you are unable to view the lot in person. Condition reports and additional images are available to view as part of the auction item listing at Invaluable.com or can be requested from Artvisory directly.

Symbols

Occasionally a symbol is printed next to a lot number in the catalogue, this indicates a special clause that is associated with the sale of that item. Please refer to the Terms and Conditions for specific symbol meanings and information.

Buyers Premium

Artvisory charges a Buyers Premium of 26% plus GST on the hammer price of all Auction items unless otherwise stipulated.

Bidding

Artvisory offers four options for bidding at our Auctions:

Live Bidding

If this is your first-time bidding in person at an Artvisory auction you will be required to register with us, which requires you to fill out a buyer registration form in person at the viewing.

To facilitate this, please bring along your Government issued photo identification, such as a driver’s licence or passport as this is the only form of identification that will be accepted.

Please make sure you register in the name you want your final invoice to be made out to, as invoices once issued cannot be changed, and in certain cases a deposit may be required before you can bid.

Online Bidding

Online bidding via the Invaluable.com platform allows you to bid via the internet in real time, whilst also allowing you to view the live feed of the Auction. You have two options to register for this service:

• Register via the Artvisory website and an Invaluable.com online bidding fee of 2% of the hammer price is added

• Register direct with Invaluable.com and an online bidding fee of 5% of the hammer price is added

Please make sure you register for online bidding at least 24 hours prior to the Auction to ensure you do not miss your lot.

Please note if you have not bid with Artvisory previously, then Government issued photo identification verifying your name and address will be also be required before you can be approved to bid with Artvisory via the Invaluable.com site, and in certain cases a bidding deposit (20% of the low estimate of each Lot you wish to bid on) may be required before you can bid.

Artvisory cannot be held responsible for any errors that occur with internet connectivity during an auction or buyer bidding errors.

Bidding Deposits

Artvisory reserves the right to request a deposit for any buyer wanting to register for the auction, and this must be received in cleared funds 24 hours prior to the commencement of the auction. If the buyer is not successful, then it will be refunded in full by the third day after the auction.

Telephone Bidding

Complimentary telephone bidding is available at all of our live Auctions and involves an Artvisory representative calling you approximately 3–5 lots in advance of your nominated lot and you then instruct them to bid on your behalf.

Telephone Bids must be requested at least 24 hours prior to the commencement of the Auction and are provided on a first come, first served basis, as the number of phone lines available are limited.

See our website to download and complete a telephone bidding form and please note that if this is your first time bidding with Artvisory, we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid. A bidding deposit (20% of the low estimate of each Lot you wish to bid on) may be required before you can bid.

Absentee Bidding

Absentee bidding offers convenience if you are unable to attend an Auction in person, bid over the telephone, or if you wish to stick to your budget.

An absentee bid should be set at the maximum amount you wish to bid on the lot/s you are interested in purchasing. Should the lot/s be knocked down at an amount lower than the bid recorded on your form, the lot will be sold to you for the lesser hammer price plus Buyers Premium. If identical bids are received for the same lot, then the first bid received by Artvisory will take precedence.

Absentee bids must be received by Artvisory at least 24 hours prior to the Auction commencing and the Company cannot be held responsible for activating any late bids that are received.

See our website to download and complete an absentee bidding form and please note if this is your first time bidding with Artvisory, we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.

Payment and Collection

If you are successful with your bid/s, your invoice will be emailed to you immediately after the Auction finishes.

You will pay the hammer price, plus the Buyers Premium of 26% plus GST on each lot, together with any additional charges such as the Invaluable. com online bidding fee, GST on hammer, or the Artist Resale Royalty if applicable.

As per our terms and conditions, payments must be made in full by three (3) days after the Auction has been completed as printed in the catalogue.

We accept Direct Deposit into the Company Trust Account, Eftpos (up to your daily limit) or credit card in person with the following merchant fee applicable (1.43% inc GST for Visa, Mastercard and American Express)

If you wish to pay “over the telephone“ with a credit card you must request a secure payment link by emailing accounts@artvisory.com.au and the secure link will be emailed to you, note the Merchant name on your transaction is KK Partners Group- the Company Trust Account.

Cash payments must be deposited direct to the Company Trust account via any Commonwealth Bank Branch, and goods can be released upon supplying the deposit receipt.

Personal, Company and Bank cheques are not accepted. All payment options and Company Trust Account details are included on the invoice that is emailed to you after the Auction if you are a successful bidder.

All items must be paid for in full and collected within the collection times advertised for each individual Auction. If items are not collected within this time frame then Artvisory reserves the right to charge removal, storage and release fees.

Packing and Delivery

Artvisory has a list of recommended carriers specific to each auction that will be sent to you if you are a successful buyer.

“It is a human imperative to collect. So I do. Always have, always will. I have a collection OF collections.

Books, antiquities, ethnographic works, paintings, pottery, and glass from everywhere.

Random, impulsive purchases are based on three things. Are they beautiful? Are they unusual? Do I want them near me?

The trouble is, I’ve run out of both time and wall space. Need room to hang more recent arrivals and those too long in storage. So welcome to my world.”

Phillip Adams

The Life and Times of Phillip Adams AO, FAHA.

Phillip Adams announced his retirement from his longrunning radio program in February this year, saying, “I had always planned to die at my microphone. But I feel this would be unfair to the cleaners.

So, I’m leaving the studio, Late Night Live and the ABC under what’s left of my own steam – with decades of happy memories”.

When Adams began Late Night Live, he was already well-known as one of Australia’s leading writers, broadcasters, filmmakers and public intellectuals. Despite leaving school at 15, he has six honorary doctorates from leading Universities. His columns have appeared in scores of famous newspapers and journals, both local and international.

He’s been on numerous Government boards: president of the Victorian Council of the Arts, co-chair of the Australian Council for the Arts, chair of the National Australia Day Council and the Australian Film Commission, and foundation chair of the Commission for the Future. Not for profit board memberships have included Wikileaks and Greenpeace.

Adams has two Orders of Australia, has been the Humanist of the Year, was elected one of Australia’s 100 Living National Treasures in a poll conducted by the National Trust and has a ‘minor planet’ named after him. https://en.wikipedia.org/wiki/Phillip_Adams_(writer)

Adams presented Late Night Live for 33 years, during which time, the ABC said that he had interviewed thousands of the world’s most influential politicians, historians, archaeologists, novelists, theologians, economists, philosophers and compelling conversationalists.

When Adams announced his retirement, a flow of tributes followed, including from regular guest, Laura Tingle, who said it had been a “privilege to be part of the Little Wireless Program, and to talk to a bloke with the brain the size of a planet, for all this time”.

“What a kaleidoscope of issues and stories he has guided us through over more than three decades on this program. How on earth will we get by without him.”

“The works of Goya — particularly his ‘black paintings’ in the Prado — are amongst the most haunting socio-political images ever created. Perhaps the least flattering portraitists in history Goya’s etchings are the stuff of nightmares”

Phillip Adams

FRANCISCO GOYA (SPANISH, 1746-1828)

Que Se La Uevaron

etching

numbered 8 in the plate

21.5 x 15cm

$1,200–1,800

FRANCISCO GOYA (SPANISH, 1746-1828)

No Hay Quien Nos Desate

etching on sepia paper numbered 75 in the plate

21.5 x 15cm

$1,200–1,800

FRANCISCO GOYA (SPANISH, 1746-1828)

Chiton

etching on sepia paper numbered 28 in the plate

plate size 21.5 x 15cm

$1,200–1,800

FRANCISCO GOYA (SPANISH, 1746-1828)

Las Rinde al Sueno

etching on sepia paper numbered 34. in the plate

21.5 x 15cm

$1,200–1,800

FRANCISCO GOYA (SPANISH, 1746-1828)

Al Conde Palatino

etching numbered 33 in the plate

21.5 x 15cm

$1,000–1,500

FRANCISCO GOYA (SPANISH, 1746-1828)

Tal Para Qual

etching

numbered P.5 in the plate plate size 19.6 x 15cm

PROVENANCE

David Jones Art Gallery Sydney

$1,000–1,500

7 FRANCISCO GOYA (SPANISH, 1746-1828)

Nadie Se Conoce

etching

plate size 20.5 x 12cm

$1,000–1,500

FRANCISCO GOYA (SPANISH, 1746-1828)

Jue Viene et Coco

etching

numbered P. 3 in the plate

etching plate size 21.3 x 15.2cm

PROVENANCE

Thos Agnew and Sons Ltd London

no. 0789/78 (MHJA)

Realities Gallery Melbourne

David Jones Gallery Sydney

$1,500–2,500

FRANCISCO GOYA (SPANISH, 1746-1828)

Si Quebro Et Cantaro

etching

numbered 25 in the plate plate size 20.5 x 15cm

$1,200–1,800

FRANCISCO GOYA (SPANISH, 1746-1828)

Por que fue sensible

aquatint

valuation no 2159 paper size 17.7 x 12cm

$1,200–1,800

1885-1979)

Untitled, from La Mysticite Charnelle de Rene Crevel

etching with aquatint in colours signed and numbered in pencil to margin plate size 30.5 x 23cm

$1,000–1,500

SONIA DELAUNAY (FRENCH/UKRANIAN,

FRANCIS BACON (BRITISH, 1909-1992)

Portrait of Peter Beard etching and aquatint signed in pencil to margin and numbered 94/100 plate size 26 x 22.5cm

$7,000–10,000

FELICIEN ROPS (BELGIAN/FRENCH, 1833-1898)

Portrait of Jeanne ink on paper titled lower left: 'Album Jeanne' visible paper size 19.7 x 13.4cm

PROVENANCE

The Piccadilly Gallery 16a Cork Street, London

$1,500–2,500

AUGUSTE RODIN (FRENCH,

1840-1917)

charcoal inscribed with title upper left visible paper size 35 x 21.5cm

PROVENANCE

Piccadilly Gallery 16a Cork Street, London 19/02/1973

$4,000–6,000

Salome

Untitled

coloured etching

signed and numbered 94/100 in pencil to margin plate size 29 x 25.5cm

$500–800

ANDRE MASSON (FRENCH, 1896-1987)

MAX ERNST (GERMAN, 1891-1976)

Untitled

coloured etching

signed and numbered in pencil to margin 94/100

plate size 17.5 x 12.7cm

$500–800

JOHN HOWLEY (AUSTRALIAN, 1932)

Deep in bird thought oil on paper

signed and dated 81 lower right and titled to verso visible paper size 49 x 67cm

$600–800

JOHN HOWLEY (AUSTRALIAN, 1932)

Storm Boat, 1975 oil on board

signed and dated lower right and titled, dated and signed to verso 39 x 59.5cm

$1,500–2,000

JOHN HOWLEY (AUSTRALIAN)

Simulcast Sentinel, 1990

oil on canvas

signed lower right and signed and titled and dated to verso

121.5 x 151.2cm

$2,000–3,000

“John Howley’s paintings also hark back to the nightmares of Goya. Having cut the ribbon at one of his exhibitions, I became friends with this ‘Wild man of art’. The seascape might be for Dylan Thomas’ Under Milk Wood, but the others are spectral and surreal.”

Phillip Adams

Face on a wall

watercolour and ink on paper

signed and dated 78 lower right

26 x 35cm

PROVENANCE

Galleries, 98 River Street, South Yarra

$1,000–1,500

MIRKA MORA (AUSTRALIAN, 1928-2018)

Tolarno

SIR ARTHUR STREETON (AUSTRALIAN, 1876-1943)

Still Life, Glass bowl with nasturtiums and other flowers oil on canvas

initialled A.S lower right and inscribed in pen to the back of the canvas A Streeton

34 x 44cm

$8,000–12,000

STYLE OF PIETER WOUVERMAN (DUTCH, 1623-1682)

Battle Scene

oil on canvas

55 x 79cm

$3,000–5,000

ARTIST UNKNOWN (SPANISH SCHOOL, 17/18TH CENTURY)

Untitled – Peasant woman carrying a basket and with game laid out on a table oil on canvas laid down on board

121 x 188cm

$6,000–9,000

ANTONIO POZA Y MUÑOZ (SPANISH, (1783-1816)

Portrait of the 11th Marchioness of Espeja, Josefa Monica Fernandez de Alvarado circa 1805 oil on canvas

With inscription within the work Al Exce...Senor Principe de la Paz. Dedica. La Marquesa. Espes.

with Exhibition label to verso that reads: Exposition National de Retratos Expositor: Duque de Valencia. Inscripcion num. 1509

102 x 82cm

$7,000–10,000

Antonio Poza y Muñoz (1783-1816)

Antonio Poza y Muñoz does not appear in any biographical dictionary of artists; when his name appears occasionally in art history literature, it is no more than that, a name without even the dates of birth and death. However, on the basis of several documents recently recovered from various Spanish archives, it is now possible to offer a minimal reconstruction of his life and to present a small number of works by his hand. In fact, the artist was born on 19 May 1783 in Fuenterrebollo (Segovia) and was baptised in the parish church on the 25th of the same month. His mother, Antonia Muñoz, also a native of that town, and his father, Manuel Poza, from Aldeacorbo, another town in the region, lived in Fuenterrebollo. His grandparents also came from local villages, such as Fuenterrebollo, Aldeacorbo, Aldeguelas or Villaseca, although the surname Poza may have originated in the Castilian town of Poza de la Sal (Burgos).

At the age of 16, on September 13, 1799, Antonio Poza requested admission as a student at the Royal Academy of Fine Arts of San Fernando, stating that he had “...the most lively desire to advance in the noble Art of Design”.

He took part in three of the Academy’s annual summer exhibitions in 1802, 1804 and 1805, presenting both drawings and paintings, and won 2nd prize, 3rd class, for his drawings at the 1802 academic competition. On March 8, 1807, he was appointed “Painter to the Chamber without salary” and during the Peninsular War and the reign of Joseph Bonaparte, Poza remained in Madrid. Despite having remained in Madrid during this war, where many artists hadn’t, he managed to paint portraits of significant people related to the government of Joseph I and subsequently he was recognised by Ferdinand VII at the beginning of 1815 when Poza applied for the position of Secretary of the Academy of Fine Arts. From this time on he described himself as “Painter to the Chamber of His Majesty,” Later the same year he is recorded as painting two portraits of Queen Maria Luisa , which date from the summer of 1807, a few months after he was appointed Court Painter. One of these is in the Prado and the whereabouts of the other is unknown.

Only a year later, on 8 May 1816, the artist fell seriously ill and made a will. From this will we learn that he lived at 25 Barrio Nuevo Street,

near the Plaza Mayor, 27 a well- off neighbourhood of Madrid, which demonstrates his success as a portrait painter and that he did not suffer financial difficulties.

A month after signing his will and just three weeks after his 33rd birthday, Poza died on 10 June 1816, single and without direct descendants. His funeral was held in the church of Santa Cruz, and he was buried in the habit of St. Augustine in the parish cemetery outside the Puerta de Toledo.

This Portrait of Josefa Mónica Fernández de Alvarado y Lezo (y Pacheco y Solís; Zamora (1765-Madrid 1823) 11th Marchioness of Espeja.

In a research document presented to the Spanish Art Archive (Vol 85 No.337 2012) it is stated that a large amount of material has been located for this painting “S.a Marquesa de Espeja, although it states the whereabouts of the painting as being currently unknown, but it is now revealed here in Phillip Adams’ collection in a remarkable discovery.

About the Marchioness of Espeja:

Josefa Mónica Fernández de Alvarado y Lezo (y Pacheco y Solís; Zamora) became the 11th Marchioness of Espeja when, in 1782, she married the 11th Marquis of that title, Ramón del Águila Corvalán y Ulloa (Ciudad de la Sierra).

Her husband, the Marquis was appointed “Gentleman of the Chamber with key” in 1795, and Councilor and Vice-Protector of the Academy of San Fernando in 1803, a post he held until 1814. Thus, the 22-yearold Poza portrayed the wife of a personage esteemed in the Court of Charles IV, who had distinguished herself by translating two books, both present in the painting, which is dedicated to the Prince of Peace. The Marchioness was an intellectual, linguist, and translator of Zanotti, Condillac and Erasmus Darwin. A member of the Junta de Damas of the Royal Madrid Economic Society, which is still active to this day. https://www.juntadedamas.org 24

continued on next page

The Extraordinary history of this portrait:

Poza has created an unusual portrait of a lady translator, since while books often appear in male portraits of the period, they are uncommon in female portraits, although learned lady translators were not uncommon. The Marquise rests her left arm on the first book she translated – from Italian into Spanish in 1785 when she was 20 years old – Francisco Maria Zanotti’s Compendio de la Filosofía Moral. This early knowledge of Italian must have been motivated by the fact that her father lived in Italy for eleven years, so he or a member of his household would have taught her the language. Held in her right hand and partially resting on her lap is her second translation – from French into Spanish and done in 1805 when she was 40 years old – Etienne Bonnot de Condillac’s La Lengua de los Cálculos. The titles of both books can be read in the box on their spines. The second of these was dedicated to the Prince of Peace, a dedication repeated in the painting by means of an inscription placed prominently on a folio hanging from the table to the left of the sitter: “To His Excellency the Prince of Peace/Dedicated/The Marchioness of Espejo.” When the Marchioness decided to translate Condillac’s book, she may have done so with ulterior motives: she did not belong to the Order of Maria Luisa, and since the philosopher had been the future queen’s tutor in Parma, this could have been a way of ingratiating herself with the sovereign.

This Goyaesque portrait, now documented as the work of Antonio Poza y Muñoz, was not reproduced and was incorrectly attributed to Goya or Esteve until the mid-1960s. The painting was exhibited as a Goya at the National Portrait Exhibition of 1902 and at the 1908 exhibition commemorating the Centenary of the Second of May 1808. It was catalogued as a work by Goya in Calvert’s 1908 survey of the artist, in the anonymous booklet Portraits of Women by Goya of 1909, and in Beruete’s 1916 survey of Goya portraits. Mayer included the portrait in both the 1923 German and 1924 English editions of his work on Goya, and in the latter year it appeared as a work by the artist in two further Spanish publications. Sánchez Cantón, in the French edition of his work on Goya of 1930, and also in the English edition of 1964, which considered the painting to be the work of Aragonese. Nevertheless, doubts began to arise among specialists during the 1940s. In his first attempt in 1943 to separate Goya's works from Esteve's, Soria argued based on the placement of the figure and the lack of volume of the face that the painting was not by Goya, and included it in his “List of Portraits of Esteve”

In 1957, after Lafuente made comments about Soria’s article in 1947 to the effect that he was not convinced by the attribution to Esteve and that the possibility that it was by Goya should be reconsidered, Soria retracted his earlier decision and rejected Esteve’s authorship. However, he later contributed to the growing confusion by suggesting that it was “probably a work by Goya” but with “some collaboration between the master and his disciple [Esteve]”

While this debate continued among experts, another controversy began to develop among the descendants of the 11th Marchioness, who owned her portrait. Although bequeathed to Godoy, it is clear that the painting was never given to him and remained within the family. By the mid-19th century, her heirs valued it so highly that they commissioned an oil copy and also a large colour lithograph, at the bottom of which is written “Francisco de Goya y Lucientes/Marquise de Espeja”. When the 14th Marquis of Espeja and 3rd Duke of Valencia, José M.a Narváez y del Águila, died in 1915, the painting remained in the possession of his widow, M.a Luisa Pérez de Guzmán el Bueno, but when she died in 1934, the painting was jointly inherited by her two sons as “undivided property”. His solution was to try to sell it in 1935 to Archer Milton Huntington for $82,000 through an executor in his service, Ramón Abarca, but by that time the American millionaire was no longer collecting, and in any case had always maintained a policy of not exporting paintings from Spain. They may also have tried to sell the portrait to the Prado Museum, with the same negative result. During this period the canvas was stored at the Banco Español de Crédito in Madrid, where it was seized on 21 October 1936. During the Civil War it was kept, together with the copy, in the storage of the Prado Museum; both were returned to their owners on 1 August 1940.

When the eldest brother, José M.a Narváez y Pérez de Guzmán, 4th Duke of Valencia, died in 1941, his younger brother, Ramón, 15th Marquis of Espeja, tried to reach an agreement with the widow and daughters to “settle the joint ownership”, but there was no agreement. So after several years of litigation, the painting had to go up for judicial auction on 23 January 1941.

The painting had been valued by “an expert from the Prado Museum” at 700,000 pesetas, but the auction was declared void due to a lack of bidders. After that date, the history of the painting became considerably obscured; it is not clear whether it remained in the family or was sold by them inside or outside Spain. There is no known export certificate for the work, and yet when it reappeared in 1979 it was at an auction at Sotheby’s in London, catalogued as an unidentified “Portrait of a Lady” by “F. Goya” –rather than Francisco de Goya y Lucientes–, indicating that the auctioneers doubted that it was by the master. With an auction estimate of £1,500–2,000, it was acquired by a “dealer” for £2,800, but had not been seen in public since... until now. continuing

FOLLOWER OF REMBRANDT VAN RIJN (DUTCH, 1606-1669)

'Self-portrait' of the artist oil on oval board

59 x 49cm

$3,000–5,000

HENRI DE TOULOUSE-LAUTREC (FRENCH, 1864-1901)

Madame Abdala, from Le Cafè Concert lithograph initialled within the plate HTL image size 27 x 20cm

Le Cafè Concert was commissioned by Andrè Marty for the publication L'Estampe Originale. Lautrec had to share the commission with the then more popular caricaturist Henri Gabriel Ibels (1867-1936). The complete series of 22 lithographs depicts scenes from the Paris cafès concert that were extremely popular during the Belle Époque.

$800–1,200 27

PIERRE-AUGUSTE RENOIR (FRENCH, 1841-1919)

Le Chapeau Epingle etching signed in the plate plate size 12 x 8.5cm

$2,500–3,500

PABLO PICASSO (SPANISH, 1881-1973)

Peintre au travail avec modële barbu et une spectatrice assise en tailleur etching and aquatint HC in pencil and signed lower right plate size 23 x 33cm

$5,000–8,000

PABLO PICASSO (SPANISH, 1881-1973)

Client bedonnant chez la Cèlestine etching

numbered 32/50 and signed in pencil to margin 22 x 28.5cm

$7,000–10,000

“Picasso, the heavyweight champion of 20th century art. I’m proud to possess (and now present) two typical etchings by the master — created when he was about the age I am now. Vale Pablo.”

Phillip Adams

HANS HENNING VON VOIGHT CALLED ALASTAIR (GERMAN, 1887-1969)

Study of Yvette Guilbert

gouache

visible paper size 28 x 20cm

PROVENANCE

Galerie Bargera, Germany

Annely Juda Fine Art Tottenham Mews London

The Piccadilly Gallery 16a Cork Street, London.

$600–1,000 31

JOHN BRATBY (BRITISH, 1928-1992)

Untitled sunflowers

lithograph

signed within the plate lower right and numbered in pencil 60/75

visible paper size 76 x 51cm

$400–600

Mother and Child and Reclining figures etching

numbered 94/100 and signed in pencil to margin plate size 28 x 25.5cm

$1,000–1,500

HENRY MOORE OM CH (BRITISH, 1898-1986)

etching

no 2/50 and signed in pencil to margin

34.5 x 30cm

$1,500–2,500

MARC CHAGALL (FRENCH/RUSSIAN, 1887-1985)

Louis Aragon: Celui qui dit les choses sans rien dire

“George Grosz (1893/1959), like his German contemporaries Berthold Brecht and Kurt Weill, exiled himself in the US during the Nazi era. This image of German film-making – perhaps inspired by Marlene Dietrich –is a major museum-standard work by Grosz.

Whilst no fan of ‘celebrity chefs’ I couldn’t resist buying this big, bold and brilliant painting of a woman working in what looks like a commercial-size kitchen. Artist, subject and age?

Unknown. I discovered her in a gallery in the mid-sixties. But if her cooking was as fine as the painter’s brush-work she was a latter-day Nigella Lawson.”

Phillip Adams

GEORGE GROSZ (1893-1959)

Film star 1929

pencil on paper bears Nachlass stamp

59 x 45cm

PROVENANCE

Piccadilly Gallery, Cork Street, London.

$6,000–8,000

NORMAN LINDSAY (AUSTRALIAN, 1879-1969)

Which Mask etching signed and numbered in pencil to margin plate-size 15cm square

$300–500

WALTER WITHERS (AUSTRALIAN, 1854-1914)

Untitled – study of sheep pencil on paper initialled lower right

21.5 x 28cm

$500–1,000

CHARLES CONDER (AUSTRALIAN, 1868-1909)

Untitled – figure study

ink on paper signed in pencil within the image visible paper size 16.2 x 9.5cm

PROVENANCE

Tolarno Gallery, 42 Fitzroy Street, St KIlda, Melbourne

$500–800

CHARLES CONDER (AUSTRALIAN, 1868-1909)

Portrait

charcoal and wash signed lower right 18 x 14.5cm

PROVENANCE

Tolarno Galleries Melbourne, label to verso

$800–1,200

CHARLES CONDER (AUSTRALIAN, 1868-1909)

Portrait of a man

charcoal on paper signed lower right 18 x 10.5cm

$700–1,000

CHARLES CONDER (AUSTRALIAN, 1868-1909)

Untitled – Masquerade ball

lithograph

signed in pencil lower left and in the plate visible paper size 31 x 26cm

$200–400

“It was a similar pathway for me with the works of Charles Conder – another artist Barry Humphries eagerly collected.

Hence both Rops and Condor are well represented in my collection.”

Phillip Adams

“Known in London as ‘the inimitable Max’ this Beerbohm bloke was an artist and satirist who hung out with ‘the Sainted Oscar”. Yes, Wilde.”

SIR MAX BEERBOHM (BRITISH/BALTIC, 1872-1951)

Cartoon Portrait of Henry Arthur Jones

ink on paper with annotations in pencil initialled MB and dated 1931 lower right

31.5 x 20cm

PROVENANCE

The Piccadilly Gallery 16a Cork Street, London

$500–800

LEON BAKST (RUSSIAN, 1866-1924)

Le Secret de Honoeur

Lithograph

paper size 20 x 27cm

See Ballet Costumes and stage settings for 10 ballets by Leon Bakst

Published London 1913, Plate number 43.

$300–500

Fashion designs of the Art Deco period

gouache on paper

one signed lower right paper size, the lady 32 x 24.2cm and the man 32 x 25cm

$500–800

ARTIST UNKNOWN (FRENCH, CIRCA 1920)

HENRI DE TOULOUSE-LAUTREC (FRENCH, 1864-1901)

Figures in an interior charcoal and crayon on paper visible paper size 14.7 x 22.7cm

$1,000–1,500

ÁRPÁD SZENES

(HUNGARIAN/FRENCH, 1897-1984)

Untitled etching

signed and numbered 94/100 in pencil to margin plate size 27.5 x 12.8cm

$300–500

JORGE CAMACHO (CUBAN, 1934-2011)

Untitled

coloured etching

signed in pencil and numbered 94/100 to margin plate size 25 x 19cm

$300–500

CAMILLE BRYEN (FRENCH, 1907-1977)

Untitled

coloured etching

signed and numbered 94/100 in pencil to margin plate size 25.5 x 17cm

$300–500

ROBERT COUTURIER (FRENCH, 1905-2008)

Untitled etching signed and numbered 94/100 in pencil to margin plate size 25 x 19.5cm

$300–500

VLADIMIR VELICKOVIC (SERBIAN, 1935-2019)

Untitled etching

signed and numbered 94/100 and dated 1976 in pencil to margin plate size 25 x 19.5cm

$300–500 45

MICHAEL LEUNIG (AUSTRALIAN, BORN 1945)

Untitled cartoon ink on paper signed lower right paper size 12.5 x 20cm

$500–800

MICHAEL LEUNIG (AUSTRALIAN, BORN 1945)

Untitled ink on paper signed lower right visible paper size 13 x 26.5cm

$800–1,200

signed lower left and initialled and dated 78 lower right

visible paper size

$800–1,200

“I opened an exhibition for young painter Diana Millstead before she met (and married) my old friend and collaborator Barry Humphries. Decades later Di drew this deft profile of him by then a megastar husband. The picture was a gift from her.”

Phillip Adams

28.5 x 19cm

DIANA MILLSTEAD (AUSTRALIAN, DATED 1978)

Portrait of Barry Humphries charcoal on paper

ARTIST UNKNOWN (EUROPEAN SCHOOL, EARLY 19TH CENTURY)

landscape with figures in a wood oil on board

signed in red lower left Bufa?

21 x 26cm

$500–800

ARTIST UNKNOWN (EUROPEAN, 15TH/16TH CENTURY)

Untitled – Figures burnt at the stake

woodblock print

12 x 15.5cm

$200–300

MARIA HELENA VIEIRA 'DA' SILVA (PORTUGUESE/FRENCH, 1908-1992)

Untitled abstract

etching on paper

singed lower right in pencil to margin and numbered 94/100

23.5 x 15.7cm

$300–500

EUGENE DELACROIX (FRENCH, 1798-1863)

Untitled – Nudes-double-sided

ink on paper

22 x 15cm

$2,000–4,000

THEODORE GERICAULT (FRENCH, 1791-1824)

Study of two men

ink and watercolour on paper

approx. 8 x 13.5cm

$2,000–4,000

MAX MAYRSHOFER (GERMAN, 1875-1950)

Riders

charcoal on paper

signed lower left and titled to gallery label verso visible paper size 13.5 x 26.4cm

PROVENANCE

The Piccadilly Gallery London. (Label to verso)

$400–600

“The greatest ever book illustrations. Surely for Alice in Wonderland. Tenniel’s day job? A political cartoonist for England’s immensely influential journal Punch. Here are pencil sketches of some of the good and the great of the Victorian era – drawn before their transformation into engravings for publication.”

Phillip Adams

SIR JOHN TENNIEL (BRITISH, 1820-1914)

Punch cartoon pencil on paper initialled lower left visible paper size 20.5 x 15.5cm

$400–600

SIR JOHN TENNIEL (BRITISH, 1820-1914)

Figures with chair pencil on paper initialled lower left visible paper size 20 x 15cm

PROVENANCE

The Rowley Gallery, Kensington, Church Street, London

$500–800

SIR JOHN TENNIEL (BRITISH, 1820-1914)

Punch cartoon – Two gentlemen pencil on paper initialled lower right visible paper size 20 x 15.5cm

$300–500

SIR JOHN TENNIEL (BRITISH, 1820-1914)

Punch Cartoon pencil on paper initialled lower left and attributed and titled to verso 20 x 15.5cm

$500–800

MALCOLM DRUMMOND (BRITISH, 1880-1945)

Portrait of (Charles) Ginner charcoal and conte 25 x 34.5cm

PROVENANCE

Mrs Drummond gallery label to verso Realities Gallery Melbourne

$500–800

SIR GEORGE HAYTER (BRITISH, 1792-1871)

Portrait of a young woman ink on paper visible paper size 14 x 10cm

$600–1,000

Chapel by the Sea, Lindos oil and mixed media on board signed and dated 65 lower left 64 x 80cm

$400–600

“Carl Andrews, who recently died, was the son of a local artist. We went to Eltham High together and when Carl went to the Greek Islands to paint I’d send him money. In return? He’d send me the odd painting. Here is one of them. Later in life Carl became a gallery director and a muchadmired curator at the Powerhouse Museum“

Phillip Adams

CARL FRANCIS ANDREW (AUSTRALIAN, BORN 1939)

MAX MELDRUM (AUSTRALIAN, 1875-1955)

Landscape, Pace, circa 1908

oil on board

signed lower left

29.8 x 36.2cm

PROVENANCE

Carl Andrew Collection Melbourne

David Jones Art Gallery Sydney, Max Meldrum Exhibition, 1974, no. 6

Phillip Adams Sydney

$1,000–1,500

ARTIST UNKNOWN (ENGLISH SCHOOL, 18TH/19TH CENTURY)

Young man with dog and sheep on a track

oil on board

19.8 x 27.5cm

$300–500

ARTIST UNKNOWN

(ITALIAN SCHOOL, 15/16TH CENTURY)

Portrait of an elderly man

charcoal on paper

Bears collectors stamp NE beneath a crown for Prince Nicolaus Esterhazy, Vienna, (1765-1833)

approx. 27.5m x 20.5cm

See: Collectors Marks, Milton I.D Einstein and Max Goldstein, The Laryngoscope Press, Saint Louis, 1918, Cat. No. 387

REFERENCE

The Esterhazy Museum

Note some drawings and prints were sold

Philips May 26 1843

$3,000–5,000

ARTIST UNKNOWN (ITALIAN, 15/16TH CENTURY)

Figure study conte on paper

collectors stamp NE beneath a crown, for Prince Nicolaus Esterhazy, Vienna, (1765-1833)

paper size 22.2 x 18.5cm

See: Collectors Marks, Milton I.D Einstein and Max Goldstein, The Laryngoscope Press, Saint Louis, 1918- Cat. No. 387

REFERENCE

The Esterhazy Museum

Note some drawings and prints were sold Philips May 26 1843

$4,000–6,000

ARTIST UNKNOWN (ITALIAN, 15TH/16TH CENTURY)

Study of a man yelling charcoal on paper

Bears collectors stamp NE beneath a crown for Prince Nicolaus Esterhazy, Vienna, (1765-1833)

paper size 19.4 x 18.7cm

See: Collectors Marks, Milton I.D Einstein and Max Goldstein, The Laryngoscope Press, Saint Louis, 1918- Cat. No. 387

REFERENCE

The Esterhazy Museum

Note some drawings and prints were sold Philips May 26 1843

$4,000–6,000

ARTIST UNKNOWN (ITALIAN, 17TH CENTURY)

Untitled – figure on rearing horse ink on paper paper size 23 x 22cm

$2,000–3,000

ARTIST UNKNOWN (ITALIAN SCHOOL, 16TH/17TH CENTURY)

Untitled – Jesus and the Disciples ink on paper

Inscribed lower left and bears collectors stamp NE beneath a crown for Prince Nicolaus Esterhazy, Vienna, (1765-1833)

paper size 26 x 16.8cm

See: Collectors Marks, Milton I.D Einstein and Max Goldstein, The Laryngoscope Press, Saint Louis, 1918- Cat. No. 387

REFERENCE

The Esterhazy Museum

Note some drawings and prints were sold

Philips May 26 1843

$3,000–5,000

MORTIMER MEMPES (BRITISH, 1855-1939)

Cathedral and bridge with figures in the foreground etching

16.5 x 15cm

$500–800

HENRY GEORGE HOLIDAY (BRITISH, 1839-1927)

Portrait of the artist's daughter pencil on paper visible paper size 20 x 16.5cm

$500–800

JESSIE MACGREGOR (1879-1919)

Untitled – Procession of figures in a landscape pencil and watercolour signed twice lower left visible paper size 14.8 x 37.5cm

$500–800

ARTIST UNKNOWN (EUROPEAN SCHOOL, 17TH/18TH CENTURY)

Village scene with figures oil on walnut panel 18 x 21.5cm

$200–300

Illustrated online at artvisory.com.au

ARTIST UNKNOWN (CIRCA 1950)

The Dictator

charcoal on paper

visible paper size 35.5 x 54cm

$400–600

FÈLICIEN ROPS (BELGIAN/FRENCH, 1833-1898)

Portrait Frere Irlide

pen and ink on paper 16 x 13.7cm

PROVENANCE

Richard Feigen and Co New York (no 12686-c)

$800–1,200

FÈLICIEN ROPS (BELGIAN/FRENCH, 1833-1898)

Cherubs-double sided ink on paper initialled lower right paper size approximately 17 x 11.8cm

PROVENANCE

Richard Feigen Gallery Chicago

The Piccadilly Gallery 16a Cork Street, London

$600–1,000

FÈLICIEN VICTOR JOSEPH ROPS (BELGIAN, 1833-1898)

Head of a woman

charcoal and crayon on paper visible paper size 7 x 5.5cm

PROVENANCE

Palais Des Beaux-Arts De Bruxelles

Richard Feigen Gallery Chicago

The Piccadilly Gallery 16a Cork Street, London

$1,500–2,500

FÈLICIEN ROPS

(BELGIAN/FRENCH, 1833-1898)

Un Connoisseur. Dans L'Atelier ink on paper

initialled F and titled within the image visible paper size 15 x 19.5cm

PROVENANCE

Piccadilly Gallery 16a Cork Street, London December 1977

$1,000–1,500

END OF AUCTION

The Robert Burke Collection

The Collection of Bruce Kerr and Janet Matthews

The Collection of the late Judith and Bruce Terry

The entire Stock in trade of John Dunn Antiques

The Contents of Rosemont, Property of Lady Burrell

Single Owner Auction Specialists

310 Toorak Road

South Yarra 3141 Victoria www.artvisory.com.au

03 9826 4039

An extraordinarily rare and important astronomical verge pocket-watch by Robert Grinkin, English, circa 1635

Estimate: AUD$20,000–30,000

The Norman Dean Collection

of Important 17th & 18th century Pocket Watches

Auction • Tuesday 22 October 2024, 6.00pm

This extraordinary collection of over 100 examples, includes rare watches by luminaires in the development of horology, such as: Joseph Windmills, Daniel Quare, Abraham Fromanteel, Daniel Delander, John Ellicott, James McCabe, George Graham and others.

Enquiries

Paul Sumner 0412 337 827 paul@artvisory.com.au www.artvisory.com.au

Fine Australian Art Selling Exhibition

Artvisory Gallery is pleased to announce its inaugural private sale exhibition featuring important modern and contemporary Australian art. Already consigned are major works by John Olsen, Mike Parr, Albert Tucker, and Brett Whiteley.

If you are looking to sell a major Australian artwork with private sale your preferred option please contact gallery director Paul Sumner on 0412 337 827 or at paul@artvisory.com.au for a private consultation without obligation in your city.

www.artvisory.com.au

Fine Chinese & Asian Arts

Auction • November 2024

The July Artvisory Asian art sales that have just happened saw strong bidding from mainland China for rare and fine Chinese ceramics and works-of-art, especially those with provenance and when conservatively estimated.

The clearest example of this was the Henry Litton collection which had a total estimate of under $45,000 but realised a remarkable AUD$153,870.00.

Henry Litton chose Artvisory to handle the sale of his collection because of our long history of handling named collections of Chinese art in this country and we are delighted to deliver these fabulous results for him.

Enquiries

Donald Lee 0455 888 080 donald@artvisory.com.au

Yang Yang 0466 112 688 yang@artvisory.com.au

Paul Sumner 0412 337 827 paul@artvisory.com.au

www.artvisory.com.au

A DENSATIL GILT-BRONZE FIGURE OF VAJRAYOGINI, TIBET, 14TH/15TH CENTURY

Sold July 21 2024 for $AUD$63,000

Same quality collections. Only smaller.

We all know collections sell much better marketed on their own as single-owner auctions. But until now, there has been an economic reality, that has not allowed that to happen. Now using the latest technology and based out of our state-of-the-art business location in Melbourne, For-Auction allows for smaller quality collections (valued as low as $80,000100,000) to be sold as single-owner auctions, without having to mix in with other people’s property. This means a better marketed and faster sales process for you as the vendor.

To discuss your single-owner auction please contact us now: Enquiries

Paul Sumner 0412 337 827 paul@forauction.com.au

Ben Albrecht 0412 217 215 ben@forauction.com.au

www.forauction.com.au

KK Partners Group, Chartered accountants are based in Brighton Victoria and have set up and independently managed the vendor trust accounts for Artvisory vendors, since the day the company was established.

Buyer payments are collected in this trust account and reconciled to auction results when an auction is complete. Payments owed to vendors are processed by KK Partners Group, after which any monies owed to Artvisory as per the Auction Agent Agreements are paid.

Together KK Partners Group and Artvisory ensure auction clients funds are collected, reconciled and processed responsibly and with accountability.

Enter a

world of Art, Antiques, Interiors and Design that offers beautiful, stylish and unique pieces hand sourced globally.

Paradou specialises in high-quality works-of-art and design, French provincial and vintage furniture, unique lighting and exquisite pieces for your home and garden. Our beautiful South Yarra showrooms are testament to our passion for stylish and eclectic interiors that blend the old next to the new with style and flair, and we have over fifty years of combined experience working in the fields of Art, Design and Antiques in Australia and Internationally – providing expert knowledge, know-how and full guarantees for all our treasures.

Paradou is open online around the clock and the showroom by appointment, please call Amanda Swanson on 0414 592 234 or email amanda@paradou.com.au

1/310 Toorak Road, South Yarra VIC 3141 www.paradou.com.au

Terms and Conditions of Sale

The terms and conditions of sale listed here contain the policies of Artvisory Pty Ltd. They are the terms on which Artvisory Pty Ltd 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. Background to the Terms used in these Conditions

The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:

“the Buyer” means the person with the highest bid accepted by the Auctioneer

“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.

“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot

“the Buyers Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.

“the Reserve” means the lowest amount at which Artvisory has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture 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).

“the insured value” means the amount that Artvisory 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 Artvisory.)

All values expressed in Artvisory Pty Ltd catalogues (in any format) are in Australian Dollars (AU$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.

2. Artvisory Auctions as Agent

Except as otherwise stated Artvisory Pty Ltd 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 Artvisory 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 Artvisory 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 Artvisory of any kind. References in the catalogue entry to the condition report to 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 it’s value for any other purpose. Neither Artvisory nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material. Images are measured height by width (sight size). 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.

Foreign buyers should note that all transactions are in Australian dollars so there may be a small exchange rate risk. The costs associated with acquiring a good certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

c) Buyers Responsibility

All property is sold “as is” without representation or warranty of any kind by Artvisory 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

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

4. At the Sale

a) Refusal of Admission

Artvisory 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 prospective new buyer must complete and sign a registration form and provide photo-identification before bidding. Artvisory 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 buyers premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Artvisory before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Artvisory and that Artvisory will only look to the principal for payment.

d) International Registrations

All International clients not known to Artvisory will be required to scan through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Artvisory’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Artvisory also reserves the right to request any additional forms of identification prior to registering an overseas bid. This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 can not be charged to this card without prior arrangement.

This deposit is redeemable against any auction purchase.

e) Absentee bids

Artvisory will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive 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 Artvisory after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

f) Telephone bids

Priority will be given to overseas and interstate bidders. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Artvisory 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 Artvisory 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 Artvisory of the lots in question and you will be assumed to be a buyer at the minimum price of 75% of estimate (ie. reserve) for all such lots. Artvisory 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

Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Artvisory and agrees to pay any fees charged in regard to any purchases made via Invaluable.com.

Artvisory 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.

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) Auctioneers 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. If any dispute arises after the sale, then Artvisory’s sale record is conclusive.

J) Successful bid and passing of risk

Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

K) Indicative Bidding steps, etc.

Artvisory 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, at the auctioneers discretion:

Increment Amount Dollar Range

$20

$0–$500

$50 $500–$1,000

$100

$200

$500

5. After the Sale

a) Buyers Premium

In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 26% of the hammer price plus GST. (Goods and Services Tax) where applicable.

b) Payment and passing of title

The buyer must pay to the company trust account managed by KK Partners Pty Ltd Chartered Accountants the full amount due (comprising the hammer price, buyer's premium and any applicable taxes and GST) not later than 3 days after the auction date.

The buyer will not acquire title for the lot until Artvisory 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 direct transfer, cash (not exceeding $5,000AUD, if wishing to pay more than $5,000AUD then this must be deposited directly into the company trust account and bank receipt supplied) and Eftpos (please check your daily limit). Payments can also be made by credit card in person with a 1.43% (inc GST) merchant fee for Visa, Mastercard and American Express. Credit card payments where the card-holder is not present, can not be accepted unless a scanned image of the card and signature is supplied (that corresponds with the supplied signature on the bidding or registration forms). Personal cheques are only accepted with prior arrangement and funds must be cleared before goods will be released. Bank cheques are subject to three days clearance.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account.

c) Collection of Purchases & Insurance

Artvisory 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 3 days from the date of the sale unless otherwise agreed in writing between Artvisory and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

d) Packing, Handling and shipping

$1,000–$2,000

$2,000–$5,000

$5,000–$10,000

$1,000 $10,000–$20,000

$2,000 $20,000–$50,000

$5,000

$10,000

$20,000

$50,000

$50,000–$100,000

$100,000–$200,000

$200,000–$500,000

$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.

Artvisory will be able to suggest local, national and international carriers and takes no responsibility whatsoever for the actions of any recommended third party carrier. Artvisory can pack and handle goods purchased at the auction by agreement, however will take no responsibility for damage, a charge may be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

e) Cultural heritage Export Licences

Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make full payment immediately, nor our right to charge interest or storage charges on late payment. It is the Buyer’s responsibility to check Australia’s Protection of Moveable Cultural Heritage Act 1986 before purchase. If the Buyer requests Artvisory to apply

for an export licence then we shall be entitled to charge a fee for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is not granted.

f) Remedies for non-payment

If the Buyer fails to make full payment immediately, Artvisory 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 such a rate as we shall reasonably decide

ii) to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for it’s recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law

iii) to cancel the sale

iv) to resell the property publicly or privately on such terms as we see 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 Artvisory in the event that the item(s) are sold for an amount greater than the original invoiced amount.

vi) to set off against any amounts which Artvisory may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

vii) where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

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 us.

x) to take such other action as Artvisory deem necessary or appropriate

If we do sell the property under paragraph (iv), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (v) the Buyer acknowledges that Artvisory shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

g) Failure to collect purchases

Where purchases are not collected within 3 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6. Extent of Artvisory Liability

Artvisory agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our 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 ourselves, our officers, agents 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 Seller warrants for the period of thirty 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) 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 Artvisory when the lot was sold at Auction.

iii) the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party

iv) 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 buyers premium which is non refundable. Neither the Seller nor Artvisory 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 thirty 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 Artvisory to decide whether or not 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 Artvisory relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Artvisory and shall not be used by the Buyer, nor by anyone else without our prior written consent. Artvisory 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

Artvisory 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 Artvisory prior to auction for updated pre-sale estimates and starting prices.

12. Sale results

Artvisory will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.artvisory.com.au.

13. Goods and Service Tax

In accordance with A New Tax System (Goods and Services Tax) Act 1999 Artvisory 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 buyers non-resident in Australia will not be charged GST on both hammer price and premiums under the following conditions:

1. The items are exported through a Artvisory approved freight company including Australia Post

2. The items are exported within 60 days of the date of the sale

The invoice supplied by Artvisory 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) 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;

iii) 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

iv) 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 buyer in addition to the buyers premium plus any applicable GST.