Important Australian and International Fine Art by Deutscher and Hackett

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LOTS 1 – 132 WEDNESDAY 10 MAY 2017 7:00pm cell block theatre, national art school, sydney forbes street darlinghurst, new south wales telephone: 02 9287 0600 THURSDAY 27 – SUNDAY 30 APRIL 2017 105 commercial road south yarra, victoria, 3141 telephone: 03 9865 6333 11:00am – 6:00pm THURSDAY 4 – TUESDAY 9 MAY 2017 55 oxford street cnr pelican street surry hills, new south wales, 2010 telephone: 02 9287 0600 11:00am – 6:00pm fax bids to 02 9287 0611 email: info@deutscherandhackett.com telephone: 02 9287 0600 telephone bid form – p. 169 absentee bid form – p. 170 www.deutscherandhackett.com/bidlive

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specialists CHRIS DEUTSCHER executive director — melbourne Chris is a graduate of Melbourne University and has over 35 years art dealing, auction and valuation experience as Director of Deutscher Fine Art and more recently, as co–founder and Executive Director of Deutscher~Menzies. He has extensively advised private, corporate and museum art collections and been responsible for numerous Australian art publications and landmark exhibitions. He is also an approved valuer under the Cultural Gifts Program.

DAMIAN HACKETT executive director — sydney Damian has over 25 years experience in public and commercial galleries, and the fine art auction market. He completed a BA (Visual Arts) at the University of New England, was Assistant Director of the Gold Coast City Art Gallery, and in 1993 joined Rex Irwin Art Dealer, a leading commercial gallery in Sydney. In 2001 Damian moved into the fine art auction market as Head of Australian and International art for Phillips de Pury and Luxembourg, and from 2002–2006 was National Director of Deutscher~Menzies.

HENRY MULHOLLAND senior art specialist Henry Mulholland is a graduate of the National Art School in Sydney, and has had a successful career as an exhibiting artist. Since 2000, Henry has also been a regular art critic on ABC Radio 702. He was artistic advisor to the Sydney Cricket Ground Trust Basil Sellers Sculpture Project, and since 2007 a regular feature of Sculpture by the Sea, leading tours for corporate stakeholders and conducting artist talks in Sydney, Tasmania and New Zealand. Prior to joining Deutscher & Hackett, Henry’s fine art consultancy provided a range of services, with a particular focus on collection management and acquiring artworks for clients on the secondary market.

CRISPIN GUTTERIDGE head of aboriginal art and senior art specialist Crispin holds a Bachelor of Arts (Visual Arts and History) from Monash University. In 1995, he began working for Sotheby’s Australia, where he became the representative for Aboriginal art in Melbourne. In 2006 Crispin joined Joel Fine Art as head of Aboriginal and Contemporary Art and later was appointed head of the Sydney office. He possesses extensive knowledge of Aboriginal art and has over 15 years experience in the Australian fine art auction market.

MARA SISON registrar Mara has a Bachelor of Arts (Humanities) from the University of Asia and the Pacific, Philippines and a Master of Cultural Heritage and Museum Studies from Deakin University. She gained her experience in the private and not-for-profit sectors as a Gallery Manager and Exhibitions Coordinator for MiFA Asian Contemporary Art and Melbourne Fine Art Galleries and as an Administration Officer for Australia China Art Foundation.

ROGER McILROY head auctioneer Roger was the Chairman, Managing Director and auctioneer for Christie’s Australia and Asia from 1989 to 2006, having joined the firm in London in 1977. He presided over many significant auctions, including Alan Bond’s Dallhold Collection (1992) and The Harold E. Mertz Collection of Australian Art (2000). Since 2006, Roger has built a highly distinguished art consultancy in Australian and International works of art. Roger will continue to independently operate his privately-owned art dealing and consultancy business alongside his role at Deutscher and Hackett.

SCOTT LIVESEY auctioneer Scott Livesey began his career in fine art with Leonard Joel Auctions from 1988 to 1994 before moving to Sotheby’s Australia in 1994, as auctioneer and specialist in Australian Art. Scott founded his eponymous gallery in 2000, which represents both emerging and established contemporary Australian artists, and includes a regular exhibition program of indigenous Art. Along with running his contemporary art gallery, Scott has been an auctioneer for Deutscher and Hackett since 2010.

ALEX CRESWICK head of finance With a Bachelor of Business Accounting at RMIT, Alex has almost 15 years experience within financial management roles. He has spent much of his early years within the corporate sector with companies such as IBM, Macquarie Bank and ANZ. With a strong passion for the arts more recently he was the Financial Controller for Ross Mollison Group, a leading provider of marketing services to the performing arts. Alex is currently completing his CPA.

LUCIE REEVES-SMITH gallery manager – sydney Lucie completed her studies in Belgium, obtaining Masters of Arts in Art History (Modern and Contemporary Art), together with a Bachelors of Art History, Archaeology and Musicology from the Université Catholique de Louvain. Since returning to Australia in 2014, she has gained sound experience in cataloguing, research and arts writing through various roles with the Museum of Contemporary Art Australia, S.H. Ervin Gallery, Casula Powerhouse Arts Centre and with private art advisory firms Tutela Capital and LoveArt International.

MELISSA HELLARD head of marketing and client services Melissa has a Bachelor of Communication (Media) from RMIT University, and a Master of Art Curatorship from The University of Melbourne. Melissa gained experience in the corporate sector assisting companies such as NAB, AFL and Fiat Chrysler Group in a variety of fields including marketing, events and sponsorship. With an enduring passion for the visual arts, Melissa was more recently the Finance and Administration Assistant for Deutscher and Hackett.

specialists for this auction

ART SPECIALISTS Chris Deutscher 0411 350 150 Damian Hackett 0422 811 034 Henry Mulholland 0424 487 738 Crispin Gutteridge 0411 883 052 AUCTIONEERS Roger McIlroy Scott Livesey ADMINISTRATION AND ACCOUNTS Alex Creswick (Melbourne) 03 9865 6333 Lucie Reeves-Smith (Sydney) 02 9287 0600 ABSENTEE AND TELEPHONE BIDS Lucie Reeves-Smith 02 9287 0600 please complete the absentee bid form (p. 170) or telephone bid form (p. 169) SHIPPING Mara Sison 03 9865 6333 CATALOGUE SUBSCRIPTIONS Louise Choi 03 9865 6333 catalogue $40 at the gallery $45 by mail $55 international (including G.S.T. and postage)

contents lots 1 â&#x20AC;&#x201D; 132

page 12

prospective buyers and sellers guide

page 162

conditions of auction and sale

page 164

catalogue subscription form

page 167

buyer pre-registration form

page 167

electronic funds transfer/direct deposit form

page 168

telephone bid form

page 169

absentee bid form

page 170

index

page 187

IMPORTANT NOTICE

CULTURAL HERITAGE PERMITS

Some imagery on bark and early western desert paintings in this catalogue may be deemed unsuitable for viewing by women, children or uninitiated men. We sug gest ar t co - ordinators at Aboriginal communities show this catalogue to community elders for approval before distributing the catalogue for general viewing. Co-ordinators may wish to mask or remove certain images prior to circulation. The English spelling of aboriginal names has evolved over the years. In this catalogue every effort has been made to use the current linguistic form. However original information from certificates has been transcribed as written with the result that there are different spellings of the same name, title, language group and story.

Under the provisions of the Protection of Movable Cultural Heritage Act, 1986, buyers may be required to obtain an export permit for certain categories of items in this sale from the Cultural Property Section: Department of Communications and the Arts GPO Box 2154 Canberra ACT 2601 Email: movable.heritage@arts.gov.au Phone: 1800 819 461 Under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), permits are required for the movement of wildlife, wildlife specimens and products made or derived from wildlife. This includes species on the endangered species list. Buyers may be required to obtain an export permit for certain categories of items offered at auction. Permits must be obtained from: Wildlife Trade Regulation Section Environment Australia GPO Box 787 Canberra ACT 2601 Email: wildlifetrade@environment.gov.au Phone: (02) 6274 1900 Under the provisions of the Wildlife and Protection (Regulation of Exports and Imports) Act, 1982, buyers may be required to obtain an export permit for certain categories of items offered at auction (including plant or animal products derived from an Australian native species such as: ivory, tortoise shell, feathers, etc). Permits must be obtained from the Wildlife Protection Section, Environment Australia-Biodiversity Group at the address above, prior to items being export from Australia.

IMPORTANT AUSTRALIAN AND INTERNATIONAL WORKS OF ART LOTS 1 â&#x20AC;&#x201C; 132 FEATURING The Gene and Brian Sherman Capsule Collection III

JEFFREY SMART 1 (1921 – 2013) KAPUNDA CHURCH, 1946 watercolour on paper 38.0 x 48.0 cm signed lower left: JEFF SMART estimate :

$20,000 – 30,000

PROVENANCE Judith Anne Ingoldby, Adelaide, a gift from the artist Private collection London, acquired from the above 1980 EXHIBITED Jeff Smart / Jacqueline Hick, David Jones Art Gallery, Sydney, 4 – 16 November 1946, cat. 27 LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. 109, p. 101 Deutscher and Hackett gratefully acknowledges the assistance of Stephen Rogers, Archivist for the Estate of Jeffrey Smart, in cataloguing this work.

Jeffrey Smart’s eye-catching watercolour, Kapunda Church, 1946, is no mere documentation of a particular place set in time. It is rather the creation of a mood or feeling, its strong theatrical appeal engaging the viewer in an enquiry as to what is happening. Realistically exact – the rather grand looking Baptist Church was built in 1866 and its neighbour, the Kapunda Institute also became the Soldier’s Memorial Hall when another floor and new façade were added in 1929.1 Yet, exactness gives way to an exploration of expectation, which was to characterize Smart’s major works of the future. The everyday scene is transformed into a theatre set, the line of fence posts acting as the edge of the stage. The empty stretch of field provides the stage itself, awaiting actors. An atmosphere of expectation is heightened by the darkening sky. And buildings take on the dual role of stage props and performers, the elegant elongation of the Romanesque-styled church adding a gothic feeling in keeping with the mood of the darkening sky. Stillness is shaded with overtones of isolation and dramatic tension. There is also a mastery of detachment, Smart once saying: ‘I don’t want to paint my personal screams – I prefer to stay detached …’. 2 Church Kapunda is classic Smart at a brilliant formative stage – fresh and fascinating – its feeling of expectancy growing to become central to his art.

When exhibited in Sydney in 1946 in a joint exhibition with fellow South Australian, Jacqueline Hick, Louis McCubbin, (son of Frederick McCubbin), and then director of the National Gallery of South Australia, wrote the foreword to the catalogue. McCubbin observed: ‘… Jeff Smart is attracted by strong and sometimes stark and dramatic effects of form and colour, which he manages with considerable force and power.’ 3 Tatlock Miller, art critic for the Sydney Sun commented on their ‘theatricality’, of buildings being ‘overwhelmed by tormented skies usually associated with storms over Toledo’.4 Kapunda Church was one of six watercolours in an exhibition of thirty works, mainly of oils, which included such striking paintings as The Wasteland II, 1945, purchased by the Art Gallery of New South Wales. The acquisition then and later of many of these paintings of the midto-late forties for public collections indicates just how good they are. Starting in 1944 with the Art Gallery of South Australia’s acquisition of the oil painting, Water Towers, 1944, through the Elder Bequest Fund, the list is impressive. Three years later the National Gallery of Victoria, Melbourne purchased Kapunda Mines, 1946, followed by the National Gallery, Canberra; University of Sydney; and the New England Regional Art Museum, Armidale over the years following. 5 1. The church is now the Kapunda Historical Society Museum. 2. Smart, J., quoted in Hawley, J., ‘Privately religious’, Airways, March/April, 1993, quoted by Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005, p. 42, endnote 23 3. McCubbin, L., ‘Foreword’, Jeff Smart, Jacqueline Hick, David Jones’ Art Gallery, Sydney, 1946 4. Miller, T., ‘Two S. A. Artists Show Work’, Sun, Sydney, 4 November 1946, p. 9. Toledo storms refers to El Greco’s dramatic painting, View of Toledo, 1596–1600, in the collection of the Metropolitan Museum of Art, New York 5. Wallaroo, 1951, acquired by the National Gallery of Australia, Canberra, in 1959; Robe, 1947, by the Art Gallery of South Australia through the A. M. and A. R. Ragless Bequest Funds, 1975; Cape Dombey 1947, University of Sydney Collection, Alan R. Renshaw Bequest, 1976; Vacant Allotment, Woolloomooloo, 1947, New England Regional Art Museum, Armidale, Gift of Chandler Coventry, 1979; and Keswick Siding 1945 gifted to the Art Gallery of New South Wales in 1982 by Charles B. Moses.

DAVID THOMAS

JEFFREY SMART 2 (1921 – 2013) ZINNIAS, 1940 oil on board 48.0 x 36.0 cm signed and dated lower right: JEFF SMART 40 inscribed on frame verso: Smart / Smart / won! estimate :

PROVENANCE Barbara Woodward, Adelaide, acquired directly from the artist Thence by descent Private collection, London LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. 166, p. 102 (dated as 1948) Deutscher and Hackett gratefully acknowledges the assistance of Stephen Rogers, Archivist for the Estate of Jeffrey Smart, in cataloguing this work.

$25,000 – 35,000

It is often the case that the back story to a painting is as colourful as the picture itself. Zinnias, 1940, is one Jeffrey Smart’s earliest known oil paintings and was created as a result of a challenge laid down by his close friend, the present owner’s late great aunt, Barbara Woodward. Barbara was complaining to Smart that he never painted flowers; ‘Why don’t you ever paint flowers Jeffrey, I’d bet you couldn’t paint me a nice picture of flowers’. The nineteen year old Jeffrey Smart responded saying that he wouldn’t do it, even if she paid him. As the story is told, sometime later Jeffrey Smart returned to Barbara with this painting declaring ‘stop whinging, here, you can have these thirteen zinnias for thirteen “guinnias”’. Adelaide folk lore has since adapted the story to be ten zinnias for ten ‘guinnias’, however there are thirteen zinnias in the composition, therefore the former account prevails. A delightful footnote to this anecdote is the inscription verso which simply says ‘Smart Won!’ The painting demonstrates the artist’s early preference for bright secondary colour. The play of light and refraction seen on the glass vase hints at Smart’s early interest in seventeenth century Dutch still life painting, but it was the local South Australian artist Horace Trenerry who had a profound effect on Smart’s early development. Living in a grand mansion, albeit it in relative poverty at the time, Horace Trenerry was a major figure on the Adelaide art scene in the thirties and forties. Smart greatly admired ‘Tren’s’ paintings, which he had seen in the houses of friends around Adelaide and finally met the artist in 1947. Trenerry’s measured application of paint and gentle modernist arrangements combine to create compositions within compositions and this is something that Smart recognised and developed through his career. But perhaps it was Trenerry’s manner of juxtaposing architectural features and organic forms which spoke most to the young Jeffrey Smart and instilled his lasting interest in the geometry of painting. It is fascinating when reflecting on Jeffrey Smart’s enormous contribution to Australian art to consider this modest early example and the circumstances in which it came into being and to marvel at what was to follow. HENRY MULHOLLAND

CLARICE BECKETT 3 (1887 – 1935) MARIGOLDS, c.1929 oil on board 30.0 x 39.5 cm inscribed verso: Miss Clarice Beckett / 25 / Marigolds inscribed on partial label verso: 25. / Marigolds / Miss Clarice Beckett / St. Enoch’s, Dalgety Rd / Beaumaris estimate :

$20,000 – 30,000

PROVENANCE Private collection, Melbourne Deutscher~Menzies, Sydney, 7 December 2005, lot 160 Private collection, Adelaide EXHIBITED Clarice Beckett: Memorial Exhibition, Athenaeum, Melbourne, 4 – 16 May 1936, cat. 25 (label fragment verso) RELATED WORK Marigolds (Still Life), 1925, oil on board, 30.5 x 40.8 cm, in the collection of the Castlemaine Art Gallery and Historical Museum, Victoria, acquired by Maud Rowe Bequest, 1937

MARGARET PRESTON 4 (1875 – 1963) AUSTRALIAN NATIVE FLOWERS, 1943 colour masonite cut 42.0 x 37.0 cm signed with initials and dated in image lower left: MP. 43 inscribed with title lower left: australian native flowers – … signed lower right: … Margaret Preston estimate :

$20,000 – 30,000

PROVENANCE Private collection, United Kingdom Private collection, Melbourne EXHIBITED Contemporary Art Society, Education Department Art Gallery, Sydney, 29 June – 19 July 1943, cat. 215 (another example, as ‘Native Flowers’) LITERATURE Butler, R., The Prints of Margaret Preston, A Catalogue Raisonné, Australian National Gallery, Canberra, 1987, cat. 233, p. 200 (illus., another example, as ‘Native Flowers’)

IAN FAIRWEATHER 5 (1891 – 1974) NATIVE GROUP, DAVAO, PHILIPPINES, 1934 oil and pencil on cardboard 45.5 x 41.0 cm estimate :

$180,000 – 240,000

PROVENANCE Redfern Gallery, London (label attached verso) W.J. Freshfield Esq., London, acquired from the above February 1935 Private collection, Sydney Private collection, Melbourne EXHIBITED Ian Fairweather, Redfern Gallery, London, 9 January – 1 February 1936, cat. 43, as Native Group LITERATURE Bail, M., Ian Fairweather, Bay Books, Sydney and London, 1981, pl. 10, p. 37 (illus.), p. 39 Bail, M., Fairweather, Murdoch Books, Sydney and London, 2009, cat. 19, pl. 14, p. 34 (illus.), p. 35, p. 246

From Colombo to Melbourne, then on to Davao in the Philippines via Sydney and Brisbane, 1934 saw Ian Fairweather continuing his ever-peripatetic ways. His stay in Melbourne included friendships with Lina Bryans, William Frater and George Bell, a solo exhibition at Cynthia Reed’s in Little Collins Street, of some twenty unframed oils on paper or cardboard, and a mural commission for the Menzies Hotel. In London, the Contemporary Art Society acquired his Bathing Scene, Bali 1933 for presentation to the Tate Gallery. In Melbourne he left behind such masterly works as Chinese Mountain, c.1933, with William Frater, through Lina Bryans to the Art Gallery of New South Wales; and Head of a Woman, c.1933, from Dr and Mrs Clive Stephen to the National Gallery of Victoria. The next wave of paintings, to which Native Group, Davao, Philippines, 1934, belongs, include Voyage to the Philippines, c.1934, (private collection, London), and Mãra 1934 in the Art Gallery of South Australia – rarities – in aesthetic appeal and number. During his few months at Davao (he had left for Shanghai by mid-December) Fairweather lived in a house on stilts, described in a letter of about late September to Frater in Melbourne: ‘…amongst the coconut trees – on the very edge of the beach – there is a kind of village stretching along the shore – underneath my house there are boats, babies, sand, pigs – chickens.’1 His art embraced the life about him. Even in his more figurative works as Native Group, Davao, Philippines, 1934, one cannot but admire the formal sense of structure, colour and painterly appeal. Reviewing his London Redfern Gallery show in which this painting was exhibited, the art critic for The Times commented that Fairweather was ‘a subtle colourist with a preference for the “earth” range, though, … he does not avoid brighter notes when they serve his purpose.’ 2 Restricted as his palette may be, the colours almost sing in harmony. The application of paint and the support showing through give the work a vivacity related not only to its subject, but also to the overall abstract freedom, carefully considered and aided by the effective use of diagonals. The ongoing influence of Cézanne translates from technique into celebration especially in the play between painted and unpainted surfaces. The wonderful calligraphy of his later works can be sensed in the flow of line harmonizing with the patchwork play of light. Surfaces almost flicker, seen again in Mãra and the continuation of that interplay between volume and animated picture plane. Murray Bail identified the scene as a cluster of ‘twelve village youths in singlets and shorts around a cock-fight or spider fight, without overcrowding: a fine impression of forms, of concentrated idleness’. 3 While people populate such paintings, it is not their individualities that Fairweather seeks to capture, rather people as part of the great cavalcade of life. 1. Bail, M., Fairweather, Murdoch Books, Sydney, 2009, p. 35 2. ‘Mr. Ian Fairweather’, The Times, London, 11 January 1936, p. 10 3. Bail, M., op. cit., p. 35

DAVID THOMAS

IAN FAIRWEATHER 6 (1891 – 1974) SIN GING VILLAGE, 1936 oil and pencil on plywood 49.0 x 59.5 cm bears inscription verso: 69 / AH / 1610 / Sin Ging Village estimate :

$200,000 – 300,000

PROVENANCE Redfern Gallery, London (label attached verso) A. Kynvett Lee Esq., London, acquired from the above March 1946 Murray Bail, Sydney Private collection, Melbourne EXHIBITED Recent Paintings by Ian Fairweather, Redfern Gallery, London, 7 – 30 January 1937, cat. 19 Contemporary Art Society, collection arranged by the Art Exhibitions Bureau, London (label attached verso)

When Sin Ging Village, 1936 was shown in Ian Fairweather’s exhibition at the Redfern Gallery, London in January 1937, the critic for the London Apollo rightly predicted: ’Fairweather if he continues as he has begun will develop into a star of the first magnitude’.1 Two brilliant works, Tombs in Peking, 1936 and Temple Yard, Peking, 1936 (sold by Deutscher and Hackett on 17 November 2010, lot 8, and 24 April 2013, lot 11 respectively) were among the twenty-seven recent paintings. Drawn mainly from Peking and Hangchow subjects, many are now secured in private collections, Tethered Horses Outside Gate, Peking, 1936 having reached the University of Western Australia as part of the Skinner Collection. Although the 1937 exhibition catalogue lists our painting as ‘Sin Ging Village’, it has been identified as the Lin Ying Temple, Hangchow. It belongs to that 1936 Hangchow group, which includes Mulberries, Hangchow (formerly in the collection of the late Mervyn Horton); and Temple, West, Lake, Hangchow (the late James Fairfax), outstanding for their vivacity and spontaneity of handling. The beauty of the pink city of Hangchow had a special appeal. Tim Fisher, in his study of Fairweather, observed: Fairweather’s travels within China are crucial to his later drawings. He visited the beautiful cities of China’s lake country – Suzhou, Huzhou and Hangszhou, amongst others – which left an indelible impression on him. High-spanned stone bridges and memorial arches, crowded markets and temple courtyards, light reflected off the curve of a canal: all seeped into his consciousness. 2 From River Hangchow, 1933 in the collection of the Art Gallery of New South Wales, through Near Hangchow, 1938 in the collection of the National Gallery of Australia, Canberra, to River at Hangchow, 1945 – 47 (Deutscher and Hackett, 17 November 2010, lot 1), Fairweather returned to the subject of Hangchow many times. With sketches or conjured up from visually rich memories, they were painted in such diverse places as Buleleng at Bali, Manila and Melbourne. In Sin Ging Village, 1936 Oriental serenity gives way to dancing strokes of the paint-laden brush, pinks captivating the eye, especially when contrasted with deep blues and blue-greens. With the unpainted ground growing in importance as part of the finished painting, description is abandoned for suggestion, lyricism blending with bustle. Sin Ging Village embraces life and meditation in the moment, its crumbly, chalky surfaces and freedom of drawing denying any hint of lack of substance. Form grows out of calligraphy in that unique blend of East and West that characterizes Fairweather’s art at this time. In his review of Fairweather’s 1937 exhibition, The Times critic observed that he: ‘… is not an artist who “leaps to the eye,” but he is very well worth meeting in his reserves.’ 3 If impressionistic in imagery and momentary of vision, Fairweather’s art is serenely abiding. 1. Quoted in Lindsay, F., et al, The Joseph Brown Collection at NGV Australia, Melbourne, p. 120 2. Fisher, T., The Drawings of Ian Fairweather, National Gallery of Australia, Canberra, 1997, p. 8. Hangzhou was previously romanized as Hangchow 3. ‘Paintings of China. Exhibition in London’, The Times, London, 22 January 1937, p. 17

DAVID THOMAS

BRETT WHITELEY 7 (1939 – 1992) THE PINK DOVE I, 1983 gouache and collage on cardboard 76.0 x 51.0 cm artist’s frame: 195.0 x 65.0 cm stamped with monogram lower right: BW signed on the stretcher bar verso: Brett Whiteley estimate :

$80,000 – 120,000

PROVENANCE Australian Galleries, Melbourne Private collection, United Kingdom Christies, London, 8 December 2016, lot 9 Private collection, Sydney EXHIBITED Life and Death: A Visual Experience in Opposites – 1983 – Brett Whiteley, Australian Galleries, Melbourne, 1983, cat. 13 (illus. in exhibition catalogue) Deutscher and Hackett gratefully acknowledges the assistance of Kathie Sutherland in cataloguing this work.

‘People ask me ‘why paint birds?’ and I look at them dumbfounded! I’ve got no answer, except that they are the most beautiful creatures…’ 1 Throughout his rich and varied oeuvre, birds have always held special appeal for Whiteley – both in the aesthetics of their formal appearance and metaphorically, as symbols of peace, freedom and salvation. Significantly, Whiteley’s bird paintings are also acclaimed among the finest of his prodigious career – perhaps as art critic Alan McCulloch observes, ‘because in these relatively uncontaminated domains he is motivated more by love than despair.’ 2 Barry Pearce has similarly hailed Whiteley ‘Australia’s most sublime painter of birds’, noting that ‘…they have appeared, often larger than life, in many of his most important paintings’ 3, while poet Robert Gray perceptively reflected around the time of the present work’s execution, ‘…Whiteley’s bird paintings are to me his best work. I like in the bird-shapes that clarity; that classical haptic shapeliness; that calm – those clear perfect lines of a Chinese vase. The breasts of his birds swell with the most attractive emotion in his work: it is bold, vulnerable and tender’.4 Interestingly, when Pink Dove I, 1983 was first unveiled in ‘Life and Death: A Visual Experience’ at Australian Galleries in 1983, such lyrical depictions of the bird kingdom were juxtaposed alongside Whiteley’s more tortured explorations of the Vincent Van Gogh theme. Diametrically opposed to his darker musings in their absence of angst, such depictions of birds – whether as individual studies or components of a larger composition – offered rather the promise of tranquility and happiness, ‘…an art based on the idea of extraordinary escapism, a world external from the quagmire…’5 As Sandra McGrath elucidates, Whiteley’s enduring spiritual connection with the natural world may be considered an integral part of the complex Rimbaudian duality punctuating his practice; ‘…in truth he was living out one of his constant themes – good and evil, optimism and pessimism, New York and Fiji, Christie and the London Zoo series… all meshed into one overall psychological and pictorial design, one lifelong attempt to reconcile extremes, one eternal battle to identify the truth that E.M. Forster recognised as being accessible only by experiencing opposites.’ 6 Celebrating nature at its most luxuriant and fecund, indeed Pink Dove I is imbued with an unmistakable sense of freedom that is the very essence of Whiteley’s art. 1. Whiteley, B., cited in Brett Whiteley: Animals and Birds, exhibition catalogue, The Brett Whiteley Studio, Sydney, 2002 2. McCulloch, A., ‘Letter from Australia’, Art International, Lugano, October 1970, pp. 69 – 70 3. Pearce, B., Australian Artists, Australian Birds, Harper Collins, Sydney, 1989, p. 144 4. Gray, R., ‘A few takes on Brett Whiteley’, Art and Australia, Sydney, vol. 24, no. 2, 1986, p. 222 5. McGrath, S., Brett Whiteley, Bay Books, Sydney, 1979, p. 94 6. ibid.

VERONICA ANGELATOS

Image of the painting including the artist’s frame

FRED WILLIAMS 8 (1927 – 1982) ACACIAS, YOU YANGS III, 1971 gouache on paper on composition board 27.0 x 76.0 cm signed lower left: Fred Williams estimate :

$30,000 – 40,000

PROVENANCE Gifted to Gordon Darling on his retirement as Chairman, Rheem Australia, 1982 Private collection, Melbourne Deutscher and Hackett gratefully acknowledges the assistance of Lyn Williams in cataloguing this work.

The You Yangs, like Hanging Rock near Mt Macedon in Victoria, have a singular fascination. Rising from the Werribee Plain south-west of Melbourne, they dominate the landscape, their name coming from the Aboriginal ‘Wurdi Youang’ – big mountain in the middle of a plain. Fred Williams’ first You Yangs landscapes celebrate the flatness of the plain, seen from above in fields of minimalist splendour, as in You Yangs II, 1963, in the collection of the National Gallery of Australia, Canberra. While the absence of sky and horizon continued in You Yangs Pond, 1963, in the collection of Art Gallery of South Australia, trees are now more defined, profiled within the overall flatness. A similar approach is found in the gouaches of this period, as in Knoll in the You Yangs I, 1964, in the collection of the National Gallery of Australia.1 The second You Yangs series of that same year saw the reappearance of the horizon line. As Patrick McCaughey observed: ‘The horizon no longer divided the painting spatially into sky and earth: it divided the surface’. 2 Soon Williams was involved in the celebrated Upwey paintings. Upwey Landscape II, 1965, in the collection of the National Gallery of Australia, won the Georges Invitation Art Prize in February 1966; and Upwey Landscape V, 1965 – 66, in the collection of Art Gallery of Ballarat, was awarded the Wynne Prize in January 1967. His solo exhibition at Rudy Komon’s Sydney gallery was a sellout. Gordon Darling was among those lucky enough to secure an Upwey landscape oil painting. Hailed in Sydney as possibly ‘Australia’s greatest landscape artist’; for his following Melbourne show, McCaughey declared that Williams ‘…has established himself as the most exciting landscape painter in Australia…’. 3 In Acacias, You Yangs III of 1971 Williams returned to the more traditional landscape format of land, horizon and sky, the detritus of the bush and trees profiled, the illusion of depth balanced by the painterly emphasis on the picture plane. It achieves the best of both worlds of representation and abstraction. The sparkle of golden wattle contrasting against the cool greys and blues of winter fascinated Williams, a fascination he returned to in later paintings.4 The previous summer of 1970 – 71 had seen Williams painting a series of strip gouaches at Victorian seaside resorts. Classic examples are found in the collection of the National Gallery of Australia – Beachscape with Tidal Eddies, Sorrento, 1971, and Beachscape with Bathers, Queenscliff, numbers I to IV, 1971. In March he was again sketching around the You Yangs, Acacias, You Yangs III, with its elegant panorama and lively brushwork, having been painted en plein air in May. Gouaches, like his etchings, have always been an important and integral part of Williams’ oeuvre. His first solo exhibition of gouaches was held later in 1971 at the Newcastle Art Gallery, followed by a national tour, their originality of vision drawing numerous admirers. 5 1. McCaughey, P., Fred Williams, Bay Books, Sydney, 1980, p. 162 2. ibid., p. 167 3. Thornton, W., ‘Is this our greatest landscape painter?’, Sydney Morning Herald, 12 October 1966, p. 22; McCaughey, P., ‘A Painter Apart’, Age, 27 September 1967, p. 6 4. See Acacia Saplings, c.1974, Deutscher and Hackett, Sydney, 13 September 2016, lot 16 5. Fred Williams Watercolours, Newcastle City Art Gallery, 1 July – 2 August 1971, a large body of unexhibited works from the artist’s collection, ranging from Mittagong subjects of the late fifties, through Sherbrooke, the You Yangs and Mornington Beach to Upwey and Queenscliffe of 1971

DAVID THOMAS

BRONWYN OLIVER 9 (1959 – 2006) BLAZE, 2003 copper 100.0 cm diameter estimate :

$150,000 – 200,000

PROVENANCE Christine Abrahams Gallery, Melbourne Private collection, Sydney (commissioned from the above)

Blaze, 2003 is as its creator was: an awe-inspiring, radiating comet of energy, both delicate and fleeting. Hypnotic and extraordinarily intricate, Blaze is constructed of a matrix of welded copper threads in Bronwyn Oliver’s signature mature style. Oliver was a unique sculptor in the Australian art world, having more stylistic and technical affinity with members of the New British Sculpture movement under whom she had studied at the Chelsea School of Art between 1982 – 84, such as Richard Deacon and Martin Puryear. Her art is completely confident in style and execution, lyrical in its sensibility and loyal to its inner logic. A famously fastidious artist, Oliver was renowned for her work ethic, working tirelessly to breathe life-force into her industrial materials, endowing them with a surprisingly organic appearance. Oliver’s choice of materials is not to be overlooked. She was remarkable in having chosen physically demanding and long-lasting metals at a time when many of her peers were toying with ephemeral materials and forms. Having moved away from the cane and paper works that had won her early critical acclaim, Oliver devoted her work almost entirely to the medium of copper, creating filigree nets of repeating teardrop forms. The finesse of these closely knit patterns invites quiet contemplation and appreciation. Oliver’s forms are governed by a series of apparent physical contradictions which reveal themselves to an attentive viewer – between fragility and strength, simplicity and intricacy, uniqueness and universality. Blaze is no exception to this complex game of physical contradictions. Its forms are majestic and theatrical. Bordered by a series of overlapping spikes radiating from its centre, Blaze inspires outward awe and appreciation from a distance, much like the radiating warmth of our sun. The finely wrought net that comprises the central ring of this artwork seems to absorb the gaze into the void within its centre. This centrifugal force, drawing light, depth and attention within the centre of the work is counteracted by the elaborate centripetal force created by Blaze’s radiating spikes. Oliver revelled in the structural formation of her works. Her unique formal vocabulary appeared to be inspired by the archetypal shapes of the natural world: pods, spirals, tendrils and vessels. Throughout her career these forms seem to evolve with the internal development that would have delighted 20th century Swiss art historian Heinrich Wöfflin. However, Oliver’s ideas did not stem from the observation of natural forms, instead her practice took for its subject the act of creation itself – a sincere investigation of her materials and the way she chose to manipulate them. In reality, these organic, universal forms that seem to encapsulate metaphorical potential of life were born of Oliver’s painstaking process of welding and forging. The result is self-assured, sincere and bears lasting power. LUCIE REEVES-SMITH

LIN ONUS 10 (1948 â&#x20AC;&#x201C; 1996) RIDDLE OF THE KOI, 1994

LIN ONUS 10 (1948 – 1996) RIDDLE OF THE KOI, 1994 synthetic polymer paint on canvas diptych 200.0 x 400.0 cm (overall) signed lower left: Lin Onus estimate :

$450,000 – 650,000 (2)

PROVENANCE Estate of the artist, Melbourne Mossgreen, Melbourne Private collection, Sydney EXHIBITED Yinya Wala, Mossgreen, touring exhibition London: 28 June – 3 July, Melbourne: 4 – 28 August, Brisbane: 9 – 24 September, Sydney: 8 – 30 October 2016 (illus. in exhibition catalogue)

‘I hope that history might see me as some sort of bridge between cultures...’1 Described as ‘a self-confessed cultural mechanic’ 2, Lin Onus remains acclaimed today for his dedication to reconciling cultures through his roles as artist, educator, activist and administrator. Of Yorta Yorta and Scottish descent, he began painting during the 1970s, coinciding with both the acknowledgment of Aboriginal art in Australia and the emergence of the political debate on issues of native title and equal opportunity. Straddling such dualistic perspectives – one Western and representational, the other Aboriginal and spiritual – Onus was thus able to explore fresh ideas from a diverse range of influences, subverting Western perceptions of indigenous art with subtlety and sophistication. Indeed, occupying what anthropologist Levi Strauss defines as that ‘inbetween’ space between multiple worlds, Onus was afforded the rare opportunity ‘to glimpse through many slightly ajar doors’ – paradoxically belonging everywhere, and nowhere. As Margo Neale elaborates in the catalogue accompanying the artist’s retrospective at Queensland Art Gallery in 2000, ‘…his works are like the tales of a roving storyteller or mythmaker.’ 3

to ceremony and Dreaming stories.’ 5 Arguably most influential upon his stylistic evolution, however, was the relationship he fostered in Arnhem Land with the highly esteemed Aboriginal painter who became his adoptive father and mentor, Jack Wunuwun. Admiring the older artist’s bark painting techniques such as rarrk (cross-hatched designs), Onus subsequently embarked upon his highly acclaimed series of watery landscapes which, rich in reflections and ambiguities, substitute the traditional European panoramic view for one described by his mentor Wunuwun as ‘seeing below the surface.’ With his signature motifs of lilypads and fish alluding to the beauty and fragility of the land and our relationship to it, Riddle of the Koi was no doubt partly inspired by the artist’s experience of Japanese society gleaned from his residency in Yokohama in 1989. Particularly intrigued by the anomaly between the refined aesthetic of Japanese style that extended to carefully conceived and manicured gardens, and the highly industrialised nature of the large cities, indeed Onus reflects, ‘…these paradoxes were interesting, particularly in relation to their environment which was full of smog, chromium and glass and yet people were really into gardens… A garden isn’t complete without a pond and much less complete without fish.’6 Both mesmerisingly beautiful and multifaceted in its meaning, thus Riddle of the Koi illustrates well Onus’s desire to create an art that could be appreciated on numerous levels by everyone, not just an elite few. As Neale suggests, considering the deeper significance of such works, ‘…they are deceptively picturesque, for things are not always what they seem. Laden with crosscultural references, visual deceits, totemic relationships and a sense of displacement, they, amongst other things, challenge one’s viewing position: Are you looking up through water towards the sky, down into a waterhole from above, across the surface only or all three positions simultaneously?’ 7 1. Lin Onus, artist statement, 1990

Of particular relevance to his celebrated ‘water and reflection’ paintings such as the vast and impressive diptych Riddle of the Koi, 1994 featured here, were Onus’s regular spiritual pilgrimages to Arnhem Land which, he later mused, gave him ‘back all the stuff that colonialism had taken away.’4 As Neale observes, ‘…now, in addition to his own ancestral site at Barmah forest he was permitted to access new sites of significance such as Arafura Swamp, or his adoptive community at the outstation Garmedi; to kinship systems in which he and his family were assigned skin names; to language that he used for many of the titles of his works;

2. Neale, M., Lin Onus, exhibition catalogue, Savill Galleries, Melbourne, 2003, p. 1  3. Neale, M., Urban Dingo: The Art of Lin Onus 1948–1996, Queensland Art Gallery, Brisbane, 2000, p. 18  4. Onus, L., cited ibid. p. 15  5. ibid. pp. 15–16  6. Onus, L., cited in ‘Australia’s great crossover indigenous artist comes to London for a one-man show at Messum’s’, 29 June 2016 at <http://artdaily.com/news/88448/Australias-great-crossover-indigenous-artist-comes-to-London-for-a-one-man-show-at-Messum-s#. WOlVpFOGPR0> 7. Neale, op.cit., 2003, p. 1

VERONICA ANGELATOS

HOWARD TAYLOR 11 (1918 – 2001) PLANET, 1996 synthetic polymer paint and oil on marine ply 120.0 x 240.0 cm inscribed verso: “PLANET” / H TAYLOR / NORTHCLIFFE. WA 6262 estimate :

$150,000 – 200,000

PROVENANCE Gallery Dusseldorf, Perth (label attached verso) Private collection, Perth EXHIBITED Howard Taylor: Tracing the Sublime. Major Paintings – Constructions – Drawings – Maquettes, Gallery Dusseldorf, Perth, 26 March – 23 April 2006 (illus., front cover of exhibition catalogue) Howard Taylor, Galerie Düsseldorf at the Fifth Australian Contemporary Art Fair, Melbourne, 2 – 6 October 1996, cat. 11

One of Australia’s most admired contemporary artists, Howard Taylor’s achievements span six decades. A lifelong interest in light, colour and the observation of natural phenomena enabled him to hone an unparalleled vision. His art is rigorous, ingenious, subtle, and underscored by artistic precision. The recipient of the inaugural Australia Council Emeritus Award, his work is represented in the collections of the National Gallery of Australia and all State Galleries. A solo exhibition at the Fifth Australian Contemporary Art Fair, Melbourne in 1996 was the culmination of a year of outstanding achievement for Howard Taylor. Taylor had begun to look anew at the motifs which have structured his art and guided his vision since the 1950s; objects on the ground, objects on the wall and objects in space. Planets, suns and moons were considered by Taylor as excellent objects in space for study and he turned to them repeatedly as subjects of singular and sustaining interest. Planet, 1996 completed in May, was the first in a series of eight sun, moon and planet paintings. This important series includes Day time moon in the collection of the Art Gallery of Western Australia and Bush fire sun, in the Wesfarmers Collection, Perth. All eight paintings are enigmatic objects in space. Taylor was drawn to the ambiguous visual characteristics of the effects of light on objects and sought out objects he felt remained essentially constant. Pictorially this offered lengthy periods for contemplation and as such the opportunity to capture constantly changing effects of light and atmosphere. Taylor recorded what he saw in exacting detail in handmade sketchbooks. His notes, sometimes spanning years, served as a constant resource to sustain his ambition to know reality and transform visual discoveries into paintings.

Howard Taylor often revisited subjects and motifs with an attentive vision of objects in the world. For him this was essential and ultimately provided a means to understand vision and perception. The dominant motif throughout his life was objects in space. Always a distillation from nature, his paintings are abstract configurations; his intention throughout to create equivalences for an experience seen in the landscape. The object in space motif, as seen here in Planet, was a pathway to simplification, a way to reduce the wonder in each observation to just the fundamentals of complex natural phenomenon. Taylor constantly refined an interest in vision-seeking to understand how we see and how in paintings the interaction of support, colour, surface texture, brush strokes and technique serve to unbind nature from romanticism. The success of his technique, as seen in Planet fractures the unity of representation from its subject and slows down the habits of recognition. This rupture in reality creates a temporal rift, a slight pause delaying recognition releasing the subject to be seen as a wholly new visual phenomena, something vital experienced in the present. Planet gives viewers access to celestial events, creating an image that would otherwise always remain out of reach, invisible, unknowable, a glimpse of something ethereal. In paintings such as this one the unknowable is made a little more real, its scale and active surface reach out. Taylor set himself complex problems and in their resolution sought to bring viewers with him beyond what he described as simply recognition and touch the sublime if only fleetingly, and share with him the wonder that can be found at the core of all human experience. Taylor endeavored to create analogies for what exists, what can be seen if you take the time to look. His works demonstrate that the more one looks the more enlightening and replenishing visual experience and the world becomes. GARY DUFOUR

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III LOTS 12 – 24

The Sherman Capsule Collection sale now enters its third iteration. Started in 2015 and gently gathering momentum in the following year, this 2017 thoughtfully curated body of work will hopefully find new homes in nationwide collections. The Sherman family goals and de-accessioning procedures remain intact. Judicious editing, which includes gifts to museums and galleries, continuously allows much loved works to circulate. Funds realized from these Capsule Collection auctions continue to create opportunities for the acquisition of new work by younger and upcoming artists from Australia, the Asia Pacific and the Middle East. Gene and Brian continue to commit a percentage of these sales to further art education. An international flavour marks this 2017 Capsule Collection – with works by celebrated American artists Tony Oursler and Paul McCarthy included in the selection. These had been acquired in the USA during the board meeting weeks of Brian’s former Funds Management company and represent a break from the couple’s acquisition strategy. The Shermans, usually firm in their self-established mission to confine the collection to set regional parameters, periodically broke from their self-imposed mould – collecting selective art work in the USA or the UK whilst celebrating their wedding anniversaries.

Shaun Gladwell’s work makes an appearance in this Capsule Collection sale at an important moment. A significant, yet-to-be-announced museum exhibition is on the cards. In addition, Shaun is in preparation for a major commissioned work conceptually based on the Horse – in the Charge of the Australian 4th Light Horse Brigade (October 31st 1917) – which will debut at the Tel Aviv Museum of Art , continue onto Australia and potentially tour thereafter. Tim Storrier’s seminal work, Evening (Flowers for Nancy), 1993, the late William Delafield Cook’s Kimono, 1991–98 which hung in the couples Paddington home for some 16 years – and Philip Wolfhagen’s luminous landscapes trigger deeply felt shared memories. Time is progressive or cyclical depending on personal beliefs. Clearly though, we are all custodians of the art we collect – and the continued circulation of significant art must and does enrich us all. GENE SHERMAN MARCH 2017 GENE & BRIAN SHERMAN

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

BRETT WHITELEY 12 (1939 – 1992) STUDY FOR POND AT BUNDANON, 1975 ink on paper 73.5 x 100.0 cm signed, dated and inscribed with title lower right: study for ‘pond’ / brett whiteley 75 / NSW, Bundanon. estimate :

$25,000 – 35,000

PROVENANCE Christie’s, Melbourne, 11 November 1997, lot 16 Gene and Brian Sherman collection, Sydney EXHIBITED Brett Whiteley, Thirty six looks at four sights on three themes, recent paintings, drawings and carvings, Bonython Gallery, Sydney, 24 October – 15 November 1975, cat. 25

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

BRETT WHITELEY 13 (1939 – 1992) PORTRAIT OF (VERLAINE AS) RIMBAUD, 1970 oil, collage and screenprint on board 100.0 x 84.5 cm signed, dated and inscribed with title lower right: (Verlaine as) / Portrait of Rimbaud. Brett Whiteley 70 3 estimate :

$30,000 – 40,000

PROVENANCE Sotheby’s, Melbourne, 26 July 1987, lot 424 Private collection Sotheby’s, Melbourne, 14 August 1989, lot 463 Gene and Brian Sherman collection, Sydney

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

WILLIAM DELAFIELD COOK 14 (1936 – 2015) KIMONO, 1991 – 1998 synthetic polymer paint on canvas 122.0 x 92.0 cm signed and dated lower right: W Delafield Cook 91-98 estimate :

$40,000 – 60,000

PROVENANCE Gene and Brian Sherman collection, Sydney LITERATURE Hart, D., William Delafield Cook, Craftsman House, Sydney, 1998, pl. 108, p. 209 (illus.)

‘By giving what is commonplace an exalted meaning, what is ordinary a mysterious aspect, what is familiar the impressiveness of the unfamiliar, to the finite the appearance of infinity...’ 1 Hailed the quiet hero of Australian art, William Delafield Cook is one of those rare few artists whose works have entered public and private collections almost as soon as the final brushstroke has dried. Whether immortalising a carefully constructed pyramid of haystacks, the subtle nuances of the intractable Australian bush, or ancient relics in one of Europe’s hallowed art museums, undoubtedly fundamental to the widespread appeal of Cook’s art has been his unique ability to produce tantalisingly real images of meticulous, near photographic exactitude. Imbued with a haunting air of stillness, his immaculate images reveal not only a fascination with the illusory possibilities of paint and mankind’s attempt to civilise nature however. More importantly perhaps, they explore the artist’s deeply felt awareness of our own mortality – a sense of time as immeasurable against the acute poignancy of our short lives. As he astutely mused, ‘I’ve long seen the world as a series of theatre stages. We players move in and out but the world endures long beyond us.’ 2 The antithesis of the Impressionist who seeks to capture the transient, fleeting effects of light, and utterly unlike the Expressionist who filters observations through his or her own – usually tortured – subjectivity, Cook aspires rather to an art that is timeless, objective and monumental. Paying homage to the past – from classical painting and architecture through to Romantics such as Friedrich and Surrealists including de Chirico and Magritte – his works speak at once of quietude and magnitude, amplifying small, barely detectable sensations to the level of grand history painting. Thus transcending the descriptive to offer something more metaphysical and speculative, Cook’s compositions capture not so much instances of time, but time immemorial, exploring eternal problems and experiences that pervade all humanity.

Belonging to the important series of works undertaken by Cook during the late 80s and 90s around notions of transience and impermanence, Kimono, 1991 – 1998 is an exquisite example of this quest for an underlying universal truth. Inspired by natural phenomena and objects discovered in museum collections across Japan, Paris, London and Australia, the series skilfully interweaves not only art and life, but past and present – the depicted objects resonating with history, simultaneous with contemporary life. Although visiting Japan several times en route to and from Australia, significantly it was the displays of kimonos at the Victoria and Albert Museum, London which provided the visual source for his treatment of the subject here. Featuring the vibrant garment with its intricate decorative pattern of arabesque and dragon-like motifs juxtaposed against a dense black surround, the work exudes an unmistakable sense of the theatricality, stillness and detachment so characteristic of the museum environment and as such, encapsulates superbly Cook’s abiding preoccupation with the idea of a work of art as the subject for a work of art – ‘I wanted to celebrate something that is celebrated already. It’s in a museum, spot lit, a source of wonder and delight. I wanted to add a dimension to that…’. 3 More universally perhaps, Kimono also suggests another level of consciousness, highlighting the subjective nature of perception and inviting the viewer to observe not so much the object depicted but the ‘essence’ of the object; as Cook himself elucidates, ‘You stare at this thing with a sense of awe. It might not be the actual thing, but there is a label beside it that tells you it is. Our intensity of response is dependent on the fact that we are prepared for it to mean something. We project meaning onto it, investing it with significance by how we respond to it…’4 1. Quote from Novalis, Poeticism (1798) inscribed in one of Cook’s notebooks; see Hart, D., William Delafield Cook, Craftsman House, Sydney, 1998, p. 220 2. Cook, W.D., cited in Field, F., ‘William Delafield Cook: Artist hailed as one of Australia’s finest whose monumental canvases depicted the rugged landscape of his native land’, The Independent, London, 13 May 2015 3. Cook, W.D., cited in Hart, op.cit., pp. 206–207 4. Cook, W.D., cited ibid., p. 213

VERONICA ANGELATOS

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

JOHN OLSEN 15 born 1928 KITCHEN STORY, 1993 oil on canvas 121.0 x 151.0 cm signed and dated lower right: John Olsen / 93 signed, dated and inscribed with title verso on stretcher bar: John Olsen / - 93 / KITCHEN STORY / KITCHEN STORY estimate :

$120,000 – 160,000

PROVENANCE Sherman Galleries, Sydney (label attached verso) Gene and Brian Sherman collection, Sydney EXHIBITED John Olsen: Recent Work, Sherman Galleries, Sydney, 28 October – 20 November 1993 Cuisine & Country: a gastronomic venture in Australian art, Orange Regional Gallery, NSW, 13 April – 20 May 2007, and touring regional galleries in New South Wales and Queensland from June 2007 – October 2008

In many ways, Olsen’s life and his art are inseparable. His oeuvre represents the cumulative response of an artist intoxicated with the landscape, its people and their attitudes towards food, life and art. The artist’s dedication to the good life is legendary, and this along with his love of poetry has inspired much of the artist’s work. In fact, over many years the artist has been known to create entire exhibitions on the theme of food and cooking. In her monograph on the artist in 1991, Deborah Hart revealed that it was necessity that introduced Olsen to the world of fine food: ‘In Ibiza and Deya, Olsen worked for brief periods as an apprentice chef. Before he left Australia he was hard pressed to boil an egg; by the time he returned he had developed a great admiration for Mediterranean attitudes to food and wine – the joy of preparing and sharing meals with feeling – which, even when enjoying the simplest ingredients, had the potential to add to the richness and celebration of life. This sensibility would remain with him always, and the subject of food, and paella in particular, would recur in his later paintings and drawings’.1 Olsen infuses his paintings with a life beyond the literal. They do not simply present an event as a static image, but as a rollicking yarn which unravels across the painting’s surface in great detail. Olsen’s Kitchen Story, 1993, is a cacophony of activity, in which the artist’s characteristic repertoire of marks are present in this celebratory painting. The lower right quarter of the painting for example clearly depicts the main ingredients; the luscious red fish provides a burst of high colour and scale which activates the entire composition. The fish, prawns and frying pan allow Olsen to flex his ability as a draughtsman as his wristy calligraphic brush marks find a delicate balance between illustration and expression. As with most Olsen paintings, the line is central to the artist’s language as it forms the arteries that pulse colour around the canvas and bring life to the painting. The entire scene is up-turned and conventional perspective is abandoned. In its place is a field of action comprised of broad areas of colour which support the myriad marks that dart or meander across the surface. Where necessary, lines mass into forms which become focal points for the eye to settle upon just long enough to grasp the narrative, before moving on to the next pocket of activity. The parallels between cooking and painting are many – the studio and the kitchen, the table and the canvas, the ingredients and the paint. Even the line between kitchen utensils and the artist’s tools has blurred in recent decades. Olsen’s adaption of a cooking methodology to studio life has blended the two inseparably in his work. Perhaps it is this merged celebration of life which has kept his paintings feeling so vibrant and vital over decades of artistic practice. 1. Hart. D., John Olsen, Craftsman House, Sydney, 1991, p. 42

HENRY MULHOLLAND

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

TIM STORRIER 16 born 1949 EVENING (FLOWERS FOR NANCY), 1993 synthetic polymer paint on canvas 244.0 x 305.0 cm signed lower right: Storrier / 1993 estimate :

$200,000 – 300,000

PROVENANCE Gene and Brian Sherman collection, Sydney EXHIBITED Tim Storrier, Sherman Galleries, Sydney, 11 February – 12 March 1994 (illus., on cover of exhibition catalogue) Elemental Reckoning: The art of Tim Storrier, S.H. Ervin Gallery, Sydney, 11 November – 18 December 2011 LITERATURE Lumby, C., T Storrier: The Art of the Outsider, Craftsman House, Sydney, 2000, p. 134, pl. 101 (illus. and detail p. 135)

Since the auspicious start to his career as the youngest artist ever, at age 19, to win the prestigious Sulman Prize in 1968, Storrier has continued over the ensuing decades to attract widespread acclaim for his sublime, awe-inspiring evocations of the archetypal Australian landscape which, with blazing horizons and vast celestial skies, push figuration beyond naturalism into the realm of the hyper-real. Significantly, in 1994 he was awarded an Order of Australia for his contribution to the visual arts, and in 2012, he won both the Wynn Prize for The Dalliance 2012 and the Archibald Prize with his controversial faceless self-portrait The Histrionic Wayfarer (After Bosch), 2012 featuring himself as an explorer carrying artist’s tools across a scorched wasteland. Yet all too often Storrier’s legacy has been critically misrepresented – simplistically categorised as ‘landscape painting’ within the Australian tradition of plein-air painters.1 Betraying a fundamental concern with the tension between the decorative and representational function of art, and the centuries-old dilemma of creating a pleasing image from repugnant subject matter – as he has famously mused, ‘How many crucifixions have been painted that look absolutely beautiful…’ 2 – his achievements would seem, rather, more aligned to European Romantic and Neoclassical predecessors such as David, Ingres, Casper Friedrich and Delacroix. Indeed, as powerfully attested by the present Evening (Flowers for Nancy), 1993, Storrier is a master of meticulously composed, psychologically allusive images which, though clearly derived from the natural world, nevertheless resonate with symbolic meaning and the artist’s own deeply personal vision. Highlighting an enduring interest in the dichotomy between classical and romantic in his practice, between

the disciplined order of a painting’s surface and the submerged, darker implications of his subject, thus the still life here is removed from any immediate domestic connotations and placed within a more dramatic ‘stage set’ where the metaphoric narrative may unfold. As objects in their own right, the myriad of fragrant coloured blooms are palpable, sensuous and exquisitely beautiful to paint. Yet more poignantly, they also bear potent allegorical qualities – alluding to evolution, the passing of time and the grandeur of decay in the same vein as a traditional vanitas still life. Considering the present work one of Storrier’s ‘most surprising yet accomplished compositions’, author Catherine Lumby observes, ‘…an enormous dark brown canvas strewn with roses, the work is suffused with the scent of impending decay. Full-blown roses are juxtaposed with nubile blooms in a painstakingly balanced composition – the careful decorative mask of the surface is undercut by gathering gloom. The work hovers between the charming and the funereal. Like a bowl of flowers past their prime, it is at once a voluptuous and yet oppressive painting. The very subject matter of the work itself, of course, is poised on the same fault line…’ 3 Discussing the inspiration for Evening (Flowers for Nancy), Storrier notes with characteristic irreverence ‘…I can’t remember why I started painting them [flowers] except that it didn’t seem to be allowable. [He slips into his favourite pompous voice] ‘Oh no – you mustn’t paint flowers’…’4 And certainly, perhaps more explicitly than anywhere else in his oeuvre, Storrier would here seem to be confronting the critics who have repeatedly overlooked the tension between decoration and compositional complexity in his art. Disquietingly beautiful, the work encapsulates superbly the real power of Storrier’s unique vision; as Paul McGillick astutely elucidates, ‘…Tim Storrier’s art is about ambiguity and irony. It is never what it seems. Storrier’s critics have invariably been taken in by the surface charm of the work. What they have not appreciated…is the contradiction between Storrier’s pretty palette and the ugly, decaying and often violent imagery of the pictures.’ 5 1. Wright, W., Tim Storrier: Boys Own, exhibition catalogue, Sherman Galleries, Sydney, 22 September – 14 October 2006, unpaginated 2. Storrier, T., cited in Hawley, J., ‘Tim Storrier’ in Encounters with Australian Artists, University of Queensland Press, Brisbane, 1993, p. 154 3. Lumby, C., The Art of the Outsider, Craftsman House, Sydney, 2000, p. 142 4. Storrier, T., cited ibid., p. 142 5. McGillick, P., ‘Culture shock for Paddo?’, Australian Financial Review, Sydney, 28 July 1989 VERONICA ANGELATOS

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

SHANE COTTON 17 born 1964, New Zealand GALLERY FOREST, 2005 synthetic polymer paint on linen 180.0 x 160.0 cm signed with initials, dated and inscribed with title lower right: GALLERY FOREST SC ‘05 estimate :

$40,000 – 60,000

PROVENANCE Sherman Galleries, Sydney (stamped verso) Gene and Brian Sherman collection, Sydney EXHIBITED 2006 Contemporary Commonwealth, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 24 February – 25 June 2006 (label attached verso)

Floating over deep ultramarine primordial waters, the bust of a Mãori chief, resplendent with a full-faced moko (sacred Mãori facial tattoos) occupies a central position in Shane Cotton’s allegorical painting, Gallery Forest, 2005. Surging forth from these opaque waters are also mountain ranges, slumbering volcanoes and ethereal wispy groups of cloud forms – the long white clouds of the artist’s native land, Aotearoa. Widely regarded as Colin McCahon’s successor, Shane Cotton is a leading figure within the field of contemporary art in New Zealand and further afield. Strongly informed by contemporary post-colonial discourse and his own subjective experience, Cotton draws on mixed cultural heritage to create an artistic language that resonates with contemporary New Zealander audiences. By including traditional Mãori iconography in his paintings, Cotton visually records the increasing resurgence of toi moko (sacred tattooing) amongst his contemporaries, signalling a reconnection with indigenous heritage and its hierarchical systems. The chief in this painting is not an anonymous icon. He is the controversial chief and war leader of the Ngāpui people, Hongi Hika (c.1772 – 1820), from whom the artist is descended.1 Cotton has inserted this portrait in his artwork, appropriated from a sketch from 1820 by Major General G. Robely, copied from a painted portrait created during the chief’s trip to Sydney and London between 1819 and 1821. Known primarily for his strength of character and the appreciation he had for European

settlers and their missionaries, Hongi Hika was and is a controversial figure in the history of New Zealand, instrumental in shaping the cultural landscape of the nation. Cotton’s sparse allegorical composition attempts to deconstruct the complex cultural legacies Hika left for himself and his compatriots, offering not answers but more avenues for questions. Gallery Forest was shown at Sherman Galleries in 2005, in an exhibition titled Pararaiha (meaning paradise), comprising of many large-scale canvases displaying the artist’s idiosyncratic aesthetic, slickly rendered with airbrushes rather than paintbrushes. Amongst the landscape paintings and op-art inspired target paintings, were four paintings featuring portraits of Hongi Hika. One of these paintings was based on his carved portrait held in the permanent collections of the University of Sydney Museums, 2 and later acquired by Auckland Art Gallery Toi o Tāmaki. Adorning Gallery Forest ’s portrait of Hika are striking renditions of native and exotic birds, as well as individual letters of the alphabet, creating an overall effect that is enigmatic and diagrammatic. Painted in striking iridescent blue paint, Cotton’s images seem disparate, drawn from Christian iconography as well as ancient Mãori scripture. The predominance of blue in the works of the Pararaiha exhibition reflect the Mãori word for blue, kikorangi, which was used in indigenous translations of the Bible to refer to the heavens, etymologically constructed from the words flesh and sky. 3 Creating syncretic syntax to serve as a symbol of hope for future generations, Cotton provides stimuli for future investigations of national identity, promoting the wealth of Mãori heritage, as the title of his exhibition in 2005 proudly suggested. 1. Mason, N., Pararaiha, exhibition text, Sherman Galleries, Sydney, 2005 2. ‘AOTEAROA – NEW ZEALAND COLLECTION’, Sydney University Museums, viewed 11 April 2017 <http://sydney.edu.au/museums/collections/aotearoa.shtml> 3. Murray-Cree, L., ‘Shane Cotton. Identity and Transformation’, Art World, Issue 4, August – September 2008, p. 131

LUCIE REEVES-SMITH

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

PAUL PARTOS 18 (1943 – 2002) SCRIPT, 1991 oil on linen 224.0 x 198.0 cm signed, dated and inscribed with title verso: Paul Partos / ‘script’ 1991 estimate :

$16,000 – 20,000

PROVENANCE Sherman Galleries, Sydney (label attached verso) Gene and Brian Sherman collection, Sydney

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

IMANTS TILLERS 19 born 1950 SANCTUARY II, 2003 synthetic polymer paint and gouache on 54 canvas boards 229.0 x 214.0 cm (overall) each panel numbered sequentially with stencil verso: 73605 – 73658 estimate :

$18,000 – 24,000 (54)

PROVENANCE Sherman Galleries, Sydney Gene and Brian Sherman collection, Sydney EXHIBITED Imants Tillers, Sherman Galleries, Sydney, 24 April – 17 May 2003

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

PHILIP WOLFHAGEN 20 born 1963 UNTITLED (STUDY FOR NOCTURNE), 1995 oil and beeswax on canvas 36.0 x 152.0 cm signed with initial and dated lower right: W. 1995. artist’s stamp verso signed, dated and inscribed with title verso: PHILIP WOLFHAGEN / STUDY FOR “NOCTURNE” 1995 / OIL + WAX ON COTTON / … estimate :

$15,000 – 20,000

PROVENANCE Gene and Brian Sherman collection, Sydney

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

PHILIP WOLFHAGEN 21 born 1963 LANDSCAPE SEMAPHORE NO. 7, 2004 oil and beeswax on linen diptych 96.5 x 101.5 cm (each) each signed with monogram, dated and inscribed with title lower right: W / MAY / 2004 / Landscape / Semaphore No 7 / diptych / … each inscribed with title verso on stretcher bar: Landscape Semaphore No. 7 diptych … estimate :

$15,000 – 20,000 (2)

PROVENANCE Gene and Brian Sherman collection, Sydney EXHIBITED Illumination – The Art of Philip Wolfhagen: Newscastle Region Art Gallery, NSW, 22 June – 11 August 2013 and touring Regional galleries in Tasmania, Canberra, Queensland, New South Wales and Victoria from September 2013 – April 2015 LITERATURE Winton, T., Illumination: The Art of Philip Wolfhagen, Newcastle Region Art Gallery publication, Newcastle, 2013, p. 67 (illus.)

THE GENE AND BRIAN SHERMAN CAPSULE COLLECTION III, LOTS 12 – 24

PAUL McCARTHY 23 born 1945, American PROPO (BENT DOLL), 2002 type C photograph 118.0 x 170.0 cm from the edition of 3 PROVENANCE Luhring Augustine Gallery, New York Sherman Galleries, Sydney Gene and Brian Sherman collection, Sydney estimate :

$15,000 – 25,000

SHAUN GLADWELL 24 born 1972 BARRIER HIGHWAY (MULTITUDES STATE), 2007 type C photograph with coloured acrylic 109.0 x 109.0 cm edition: 3/3 signed, dated, numbered and inscribed with title on label verso: Barrier Highway / Multitudes State / 2007 3/3 / Shaun Gladwell PROVENANCE Sherman Galleries, Sydney EXHIBITED MADDESTMAXIMVS, Sherman Galleries, Sydney, 30 November – 22 December 2007, cat. 14 estimate :

$5,000 – 8,000

PROPERTY OF VARIOUS VENDORS

CHUCK CLOSE 25 born 1940, American SELF PORTRAIT WOODCUT, 2009 47 colour woodcut 71.0 x 58.5 cm (image) 90.5 x 72.5 cm (sheet) edition: 20/70 signed, dated and numbered below image: 20/70 Chuck Close 2009 published by Pace Editions, Inc., New York estimate :

$25,000 – 35,000

PROVENANCE Pace Gallery, New York Utopia Art, Sydney (label attached verso) Private collection, Sydney purchased from the above in 2010 EXHIBITED Utopia Art Sydney, at the Melbourne Art Fair, Melbourne, 4 – 7 August 2010 Chuck Close Prints, Utopia Art Sydney, Sydney, 28 August – 2 October, 2010 RELATED WORK Another example from this edition is in the collection of the Museum of Modern Art, New York

No other artist could claim the title of postmodern portraitist with more conviction than the American painter Chuck Close. Close’s unwavering commitment to painting and to the genre of portraiture showed great resolve and remained surprisingly analogue against many successive waves of technological change. This being said, Close did address these technological changes and filtering them into his practice in innovative ways. One could be forgiven for thinking that Close’s practice was to do with painting people, in fact, it has more to do with portrait photography and how this intersects with the ancient practice of painted portraiture. Chuck Close’s hyperrealist portraits, exhaustive in their many modes of execution (from mezzotint to tapestry to computer-generated watercolour collages), all feature an extreme reduction of form, a disassembly of the structural, tonal and linear components of a portrait, only to be reassembled on a grand scale.

Close is a conceptual artist whose subject of inquiry is his own process. His artworks are not photographs, they are, rather, painted versions of photographic portraits, executed in manual techniques. Self Portrait, 2009 is a woodblock print in the Japanese style of ukiyo-e, the oldest form of relief painting, formed by cumulative excision of successive woodblocks, inking and printing the elevated sections on the same leaf of paper. This woodcut exemplifies Close’s extraordinary technique, created in 47 colours, using 26 woodblocks following the skewed grid format that Close first used in painted portraits in the early 1990s. Here, even the most minute of tonal differences in the artist’s skin are exaggerated into their own small colour field, in a similar way to how pixels make up a computer display. The differences here are almost atomic and use highly saturated colours beyond the subtractive CYMK model (cyan, yellow, magenta, key/black) used in digital projection; Close has devised a sort of contemporary Pointillism. Guided by rigourous rationalism, Close’s portraits occupy the space between representation and abstraction. Close has dismantled visual perception into its essential components, constructing his images of these cellular building blocks of colour, line and shape. As a result it leaves its process in apparent view, revealing unashamedly the tricks of the eye to the viewer. Through a precise calculation of ratio, the viewer is able to shift their focus, seeing either a recognisable portrait or a kaleidoscopic field of riotous colour at any one time. When not looking at the sitter, we observe the means with which his image is reproduced. By filling each lozenge with concentric fields of colour, some of which burst over to adjacent cells, the overall effect of the work is hypnotic. By presenting a close-up view of the artist’s face, in a larger-than-life scale and with a relatively shallow depth of field, Close heightens the unflinching interlocution of the viewer that his gaze provides. As a selfportrait, Close’s work is exceedingly self-reflexive. Not only does it take for subject the artist’s own face, as he has done many times throughout his long and productive career, but it also translates his prosopagnosia (inability to recognise faces) from a social hindrance to an artistic gift, allowing him to enjoy the minutiae that make up the first interface we present to the outside world. LUCIE REEVES-SMITH

LUCIAN FREUD 26 (1922 – 2011, British) GIRL HOLDING HER FOOT, 1985 etching on Somerset Satin paper 69.0 x 54.0 cm edition: 21/50 published in 1986 by James Kirkman, London, and Brooke Alexander, New York estimate :

$30,000 – 40,000

PROVENANCE James Kirkman, London Rex Irwin Art Dealer, Sydney (label attached verso) Graham Glenwright, Sydney Rex Irwin Art Dealer, Sydney (label attached verso) Mr & Mrs David Stevenson, Melbourne Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Sydney EXHIBITED Lucian Freud: Works on Paper, South Bank Centre, London, 1988 and touring England, Scotland and USA, cat.88 (another example) Lucian Freud, Tate Gallery Liverpool (British Council exhibition), 4 February – 22 March 1992, then touring to: Art Gallery of New South Wales, Sydney, 31 October – 10 January 1992; Art Gallery of Western Australia, Perth, 1 February – 14 March 1993, cat. 59 (another example) Lucian Freud ‘Etchings 1946 – 2004’, Scottish National Gallery, Edinburgh, 2 April –13 June 2004, then touring to: Abbot Hall Art Gallery, Kendal; The Fitzwilliam Museum, Cambridge; Waterhall Gallery, Birmingham Museum and Art Gallery, Birmingham (another example) Lucian Freud, The Painter’s Etchings, Museum of Modern Art, New York, 16 December 2007 – 10 March 2008, cat. 34 (another example) LITERATURE Bevan, R., ‘Freud’s Latest Etchings’, Print Quarterly, vol. 3, December 1986, pp. 334 – 343 (illus. p. 340) Lucian Freud, The British Council, London and Art Gallery of New South Wales, Sydney, 1992, cat. 59, p. 78 (illus., another example) Hartley, C., The Etchings of Lucian Freud: A Catalogue Raisonné, 1946 – 1995, Marlborough Graphics and Ceribelli, London, 1995, cat. 25 (illus., another example) Bernard, B. and Birdsall, D. (eds.), Lucian Freud, Jonathan Cape, Random House, London, 1996, p. 356, cat. 200 (illus., another example) Figura, S., Lucian Freud, The Painter’s Etchings, Museum of Modern Art, New York, 2008, pp. 65, 135, 142 (illus. pl. 34, another example)

Girl Holding Her Foot, 1985 is one of six etchings from Lucian Freud’s celebrated suite of large-scale intaglio works, four of which were executed on imposing copper plates measuring almost seventy by fiftyfive centimeters each. A quintessential example of one of Freud’s famous ‘naked portraits’, Girl Holding Her Foot offers a refreshingly raw approach to the venerable genre of the classical Nude. Freud, particularly in his etched works, depicted his sitters with a palpable weight and physicality. The negation of spatial context, props and background in many of the artist’s printed works of the 1980s, particularly Girl Holding her Foot, Blond Girl and Woman Sleeping, create a strange, almost surreal effect in which the sitter appears to float in a void, hovering in a way that directly contradicts the strong, weightbearing contours of their bodies. The anonymous sitter of Girl Holding Her Foot also appears in a painting of the same name, in which the setting of this scene is more clearly defined. The girl was seated in the corner of Freud’s first floor studio in Notting Hill, naked on the quilted couch that appeared in many portraits of the same time, notably Night Portrait, 1980 – 1985 which would form the basis of the 1985 etching Blond Girl. Freud was first and foremost a portrait painter and with a remarkably post-modern mentality, he approached this genre in an almost performative way. Operating under strict confidentiality, Freud would only select his sitters from a closelyknit circle of friends and acquaintances. He invited them to sit under his scrutinizing gaze in his studio for hours on end, over many months, rewarding them afterwards with extravagant roast dinners. The extended period of time needed to create these portraits, both painted and etched, allowed the artist to conjure a deep rapport with the sitter. Through this process, his portraits are suffused with hard-won candor, unconstrained by setting, naturalistic or otherwise. Using this privileged interaction with his sitters as a foundation for his portraits, Freud was able to manipulate conventional codes of decorum – creating extraordinarily powerful and visually disarming works. LUCIE REEVES-SMITH

LYNN CHADWICK 27 (1914 – 2003, British) CLOAKED FIGURE VI, 1977 bronze 24.0 x 22.5 x 9.0 cm edition: 2/8 numbered and inscribed with artist’s monogram and number at base : C / 77/753 / 2/8 bears inscription on base: 753 estimate :

PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 2008 EXHIBITED 2007 Sculpture and the figure, Rex Irwin Art Dealer, at the Melbourne Art Fair, Melbourne, 2008, cat. 5 LITERATURE Farr, D., and Chadwick, E., Lynn Chadwick, Sculptor: With a Complete Illustrated Catalogue 1947 – 2005, Lund Humphries, United Kingdom, 2000, cat. 753, p. 319 (illus., another example)

$25,000 – 35,000

…By the 1970s the female head has become either a pyramidal or diamond shape, the male more aggressively rectangular. Yet always Chadwick looks for geometry and tension… The word ‘attitude’ often recurs in his conversation: ‘I would call it attitude, you know, the way that you can make something almost talk by the way the neck is bent, or the attitude of the head…’ One can see a shift in his work away from the dancing figures of the 1950s, towards the brooding stillness of his standing and seated figures from the 1960s onwards…Just as some of his figures become winged, a theme he takes up again in the early 1970s, so in 1976 he evolves striding figures clad in cloaks…1. 1. Farr, D., and Chadwick, E., Lynn Chadwick: Sculptor, Lypiatt Studio, Gloucestershire, 1997, pp. 11 – 12

NORMAN LINDSAY 28 (1879 – 1969) THE LUTE PLAYER, c.1924 oil on canvas 91.5 x 100.0 cm signed lower left: Norman Lindsay estimate :

$150,000 – 200,000

PROVENANCE Estate of the artist, Faulconbridge, New South Wales Thence by descent Private collection, Sydney EXHIBITED On long term loan to the Norman Lindsay Gallery – Springwood, Faulconbridge, New South Wales LITERATURE Bloomfield, L., Norman Lindsay Oil Paintings 1889 – 1969, Odana Editions, New South Wales, 2006, pp. 54 – 55 (illus.) RELATED WORK The Lute Player – Preliminary sketch for the oil painting, c.1924, pencil on paper, 18.0 x 21.5 cm, in the collection of the National Gallery of Australia, Canberra

The Lute Player, c.1924 is among the finest of Norman Lindsay’s oil paintings. A masterpiece of sensual beauty, it evokes the grandeur of a Titian nude. The pose recalls in part the Venetian master’s Venus with Cupid and a Lute Player of about 1562 in the collection of the Metropolitan Museum of Art, New York.1 And other Renaissance references abound in and through the presence of the lute, that long necked and full bodied instrument so favoured for secular music in those earlier times. Even Shakespeare was given to admiration when he gave Richard III the words of capering ‘…nimbly in a lady’s chamber to the lascivious pleasing of a lute’. 2 Through the gifted hands of Lindsay, boldness is transformed into elegance, as the play of light on abundant flesh captures the eye, arousing the tactile senses and delighting in the amorous curves and gentle angles of the body. Grand in composition and painterly appeal, the indolence of gesture is effectively contrasted against the glistening fabrics.

Scholars debate a Neoplatonic interpretation of Titian’s several paintings of Venus accompanied by a musical instrument and its player, of the contest between the senses of sight and hearing as better suited to the appreciation of love. In his painting The Lute Player, Lindsay declares the victory of sight through the lute laid aside for the veneration of visual beauty, the player in supplicant position and admiration. Lindsay’s model is Rose, his wife and his Venus, posing for the central figure as well as the two ladies on either side. Three photographs are known of Rose posing, and the National Gallery of Australia, Canberra, has the composition drawing. 3 Dark-haired Rose (1885 – 1978), was Lindsay’s second wife, a beauty of face and figure. As his most popular model, she appeared in his art for over twenty-five years. ‘Distinguished by her fine, pale skin, deep-set almond eyes, rosebud lips and luscious dark hair, Rose was an artist’s model par excellence.’4 Before Lindsay, she had modeled for many of his artist-contemporaries including Julian Ashton, who introduced her to Lindsay, Sydney Long, Dattilo Rubo and Harold Cazneaux. Dry of wit and vivacious of temperament and appearance, who could resist her? Here crowned with a wig of blonde hair, in The Lute Player her presence is commanding, sovereign of visual beauty, celebrated and admired. As the musician casts aside his lute to bend his knee in honour of beauty, all are engaged in a conversation of gestures of indulgent invitation in a triumph of visual seduction. In 2015 The Lute Player was the centre of attention at the Norman Lindsay Gallery and Museum, at Faulconbridge in the Blue Mountains, when Andrew Byrne, one of Australia’s leading exponents of the lute gave an evening recital in its presence. It shares its magnificence with another brilliant oil, Court to Peacocks, c.1924, painted to hang in Lindsay’s living room. Douglas Stewart once wrote excitedly of Lindsay: ‘He paints women as if they were goddesses’. 5 With most of Lindsay’s major oils now in public galleries and museums, The Lute Player offers a rare opportunity for the discerning to enrich their collection. 1. Another version is in the Fitzwilliam Museum, Cambridge, UK 2. Shakespeare, W., Richard III, Act 1, Scene 1 3. Bloomfield, op. cit., p. 54 4. Carden-Coyne, A., ‘Lindsay, Rose’, Australian Dictionary of Biography, Supplementary Volume, Melbourne University Press, 2005 5. Stewart, D., The Flesh and the Spirit: an outlook on literature, Angus and Robertson, Sydney, 1948, p. 277

DAVID THOMAS

NORMAN LINDSAY 29 (1879 – 1969) THE CURTAIN, 1921 watercolour on paper 65.5 x 51.5 cm signed lower left: Norman Lindsay estimate :

$40,000 – 60,000

PROVENANCE Estate of the artist, Faulconbridge, New South Wales Rose Lindsay, New South Wales Thence by descent Private collection, Sydney EXHIBITED On long term loan to the Norman Lindsay Gallery – Springwood, Faulconbridge, New South Wales LITERATURE Bloomfield, L., Norman Lindsay: Watercolours 1897 – 1969, Odana Editions, Bungendore, New South Wales, 2003, pp. 62 – 63 (illus.) RELATED WORK The Curtain, 1921, pencil on paper, 53.0 x 48.0 cm, illus. in Bloomfield, L., Norman Lindsay: Impulse to Draw, Bay Books, Sydney, 1984, p. 188 (illus.)

Curtains are suggestive. They hide what is behind them. When drawn, curiosity and expectation are replaced by the excitement of the presentation. In this sparkling watercolour The Curtain, 1921, by Norman Lindsay, a feast of visual beauty is revealed as dwarfs pull aside the heavy drapes. The sense of theatre is palpable as the ladies present themselves on their very private stage. With the performance about to begin, the audience, alias the viewer is invited to join in. Narrative in Lindsay’s art unfolds through the eyes and gestures of his players, highlighted by theatrical effects and presentations. Fascinating of eyes, these ladies look outside the picture to fix on members of the audience. Only the dark lady of the far right engages the viewer directly with coquettish look and invitation. This she confirms by her fan and its own flirtatious language. The fan held open in the left hand was an invitation to engagement. As so often in Lindsay’s art, the composition centers on the statuesque nakedness of the single female figure. For The Curtain, the model was Lindsay’s wife Rose, his favourite. In recollection, Lindsay wrote of Rose: ‘Finally, as the feminine image was the central motif of my work, she dramatized it for me in the flesh under terms which involved me in all its emotional complexities, lyrical and demonical’.1 Rose liked the watercolour so much that she would not let it go. It hung for many years in their home at Springwood. 2 In the preliminary compositional drawing, the pencil studies detail Rose’s figure, while the others surround her in an embracing curve. This is taken up in the watercolour where curve echoes curve, dominant and in detail. The grouping of the figures, for example, is answered in the semi-circle of the foreground, and replied again in the garments and floral decoration of the curtain behind. As a backdrop, the curtain also provides cleverly contrasting textures to highlight the smoothness of the generous flesh. Norman’s Lindsay’s explorations of the femme fatale, the lyrical and the demonical which no mere male can resist, enjoyed numerous manifestations in a varying mix of enticement and the slightly confrontational. The naked centerpiece might be the beautiful Venus, goddess of love, or if of Junoesque proportion, Juno herself, mighty queen and well suited to the all-powerful Zeus. Throughout Lindsay’s oils and watercolours, leering buccaneers and bacchanals abound, peopled with buxom beauties and naked ladies plumed with fantastic headdresses. Spring’s Innocence, 1937, in the collection of the National Gallery of Victoria, Melbourne, is heavy with erotic fruitfulness. Another major oil, Incantation, 1940, (Deutscher and Hackett, Sydney, 1 September 2010, lot 32) seems to have had its genesis in The Curtain. As in the watercolour La Premiere Danseuse, 1930 (private collection, New South Wales), many of Lindsay’s finest early watercolours were inspired by the theatre, especially the ballet and its language of captivating movement. Among these, The Curtain, with its nubile ladies, is one of the best. 1. Lindsay, N., My Mask: For what little I know of the man behind it, an autobiography, Angus and Robertson, Sydney, 1970, p. 176 2. Bloomfield, L., My Mask: For what little I know of the man behind it, an autobiography, Angus and Robertson, Sydney, 1970, p. 62. An etching, The Curtain, 1919, in the collection of the Art Gallery of New South Wales is not related to this watercolour of the same name.

DAVID THOMAS

NORMAN LINDSAY 30 (1879 – 1969) SET OF THREE OIL PAINTINGS, c.1920s left: oil on canvas on board 29.5 x 21.5 cm (oval) centre: oil on wood panel 43.5 x 34.5 cm (oval) right: oil on canvas on board 29.0 x 22.0 cm (oval) estimate :

$30,000 – 50,000 (3)

PROVENANCE Estate of the artist, Faulconbridge, New South Wales Thence by descent Private collection, Sydney LITERATURE Bloomfield, L., Norman Lindsay: Oil Paintings 1889 – 1969, Odana Editions, Bungendore, New South Wales, 2006, p. 271 (illus.) RELATED WORK The Yellow Lady, 1920, etching and engraving, 13.0 x 12.5 cm, illus. in Bloomfield, L., Norman Lindsay: Oil Paintings 1889 – 1969, Odana Editions, Bungendore, New South Wales, 2006, p. 271 “This set of three oval paintings was originally intended as a furniture decoration but as the three hung so well together, the outer pair splendidly complementing the central piece, Norman decided to keep them as a separate statement. The centrepiece bears some resemblance to the etching, The Yellow Lady.”

In addition to his prodigious output of oil and watercolour paintings, etchings, pen and pencil drawings, lithographs, woodblocks, ship models, cement sculpture and novels, Norman made furniture. He often built secret compartments into his cabinets in order to hide private letters and drawings from Rose – a futile exercise as she always knew where they were. In 1957 Lindsay wrote to his sister Mary: ‘Since being here on my own I’ve done a lot of work, made a handsome cabinet – decorated with carved reliefs and painted panels…’ The cabinet referred to is on display at the Norman Lindsay Gallery and Museum. It is based on the cassone, or Italian wedding chest (which originated in the Renaissance) and which traditionally often combined painting, carving and modelling. To this cabinet Norman added a small oval painting in an elaborate gilded frame to each of the doors…1 1. Bloomfield, L., Norman Lindsay Oil Paintings 1889–1969, Odana Editions, New South Wales, 2006, p. 268

RAYNER HOFF 31 (1894 – 1937) FAUN AND NYMPH, 1924 bronze 26.5 x 29.0 x 13.0 cm signed and dated on base: 1924 G. RAYNER HOFF. PROVENANCE Estate of Norman Lindsay, Faulconbridge, New South Wales Thence by descent Private collection, Sydney estimate :

$15,000 – 20,000

EXHIBITED Australian Academy of Art 1938, Vickery’s Galleries, Sydney, 08 April – 29 April 1938 (another example) Sculpture of Rayner Hoff: Memorial Exhibition, David Jones’ Art Gallery, Sydney, 19 May – 04 June 1938 (another example) Australian Academy of Art and the Contemporary Art Society (1986), S.H. Ervin Gallery, Sydney, 15 May – 16 July 1986 (another example) Stampede of the Lower Gods: Classical Mythology in Australian Art 1890’s–1930’s, Art Gallery of New South Wales, Sydney, 19 October – 26 November 1989 (another example) ‘This vital flesh’: the sculpture of Rayner Hoff and his school, Art Gallery of New South Wales, Sydney, 26 November 1999 – 16 January 2000 (another example) RELATED WORK Another original cast of this work is in the collection of the Art Gallery of New South Wales, Sydney. In 1997 – 98, the Art Gallery of New South Wales produced an edition of 100 reproductions of the original 1924 work, in bonded bronze powder and resin.

RAYNER HOFF 32 (1894 – 1937) SALOMÉ, 1938 plaster 36.5 cm height PROVENANCE Estate of Norman Lindsay, Faulconbridge, New South Wales Thence by descent Private collection, Sydney estimate :

$10,000 – 15,000

LITERATURE Beck, D., Rayner Hoff: The Life of a Sculptor, NewSouth publishing, Sydney, 2017, p. 201 RELATED WORK Salomé, 1938, bronze on marble base, 36.5 cm (height inc. base), in the Howard Hinton Collection, New England Regional Art Museum, Armidale, New South Wales

SIR ALFRED GILBERT 33 (1854 – 1934, British) PERSEUS ARMING, 1882 bronze 37.0 cm height (excluding base) signed on base: A. Gilbert. PROVENANCE Richard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney estimate :

$15,000 – 20,000

BERTRAM MACKENNAL 34 (1863 – 1931) VESTA, c.1900 bronze 25.5 cm height signed at base: MACKENNAL PROVENANCE The Viscount Norwich and Lady Diana Cooper, United Kingdom Dreweatts and Bloomsbury, Newbury, United Kingdom, 16 November 2016, lot 127 Private collection, Sydney EXHIBITED Bertram Mackennal: The Fifth Balnaves Sculpture Project, Art Gallery of New South Wales, Sydney, 17 August – 4 November 2007 (another example) LITERATURE Edwards, D., Bertram Mackennal: The Fifth Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney, 2007, (illus., another example), and catalogue raisonné in accompanying CD-ROM RELATED WORK Centrepiece for dining table ‘Vesta’, late 1980s – early 1900s, gilt bronze and alabaster, 65.0 cm height, private collection, in Edwards, D., Bertram Mackennal: The Fifth Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney, 2007, pp. 34 – 35 estimate :

$12,000 – 18,000

BERTRAM MACKENNAL 35 (1863 – 1931) DIANA WOUNDED, 1905 bronze 37.0 cm height signed and dated at base: 1905 / B. Mackennal estimate :

$25,000 – 35,000

PROVENANCE The Viscount Norwich and Lady Diana Cooper, United Kingdom Dreweatts and Bloomsbury, Newbury, United Kingdom, 16 November 2016, lot 116 Private collection, Sydney EXHIBITED Royal Academy, London, 1906, cat. 1648 (another example) Bertram Mackennal: The Fifth Balnaves Sculpture Project, Art Gallery of New South Wales, Sydney, 17 August – 4 November 2007 (another example) LITERATURE Edwards, D., Bertram Mackennal: The Fifth Balnaves Sculpture Project, Art Gallery of New South Wales, Sydney, 2007, pp. 66 – 68, 116 – 118, p. 66 (illus., another example) RELATED WORK Diana Wounded, 1907 – 08, life-size marble version, Tate Gallery, London, acquired by the Chantrey Bequest, 1908

The mythological tales of Diana, virgin huntress, inspired many artists over the centuries, Titian’s painting Diana and Actaeon in London’s National Gallery being one of the Renaissance master’s greatest works. Bertram Mackennal’s bronze Diana Wounded 1905 is a far cry from Actaeon being torn to pieces by his own hounds. Moreover, she is stripped of her godly attributes – her bow and hounds – and presented as a blithe nude in her virgin splendour. Her contemporary appearance, as a nubile Edwardian beauty, has been commented on by several writers.1 Like his fellow Symbolists of the 1890s Mackennal portrayed the femme fatales of his time – Sarah Bernhardt – and the past – Circe 1893 (bronze, National Gallery of Victoria, Felton Bequest 1910), and Salome c1895 (bronze, Art Gallery of New South Wales). Things changed in the first decade of the new century. His women became outwardly more genteel, though refinement did not reduce their considerable appeal. Diana, in Roman mythology, was the moon goddess of the hunt and birthing, equated with the Greek Artemis, daughter of Zeus and brother of the sun god Apollo. Jupiter gave Diana permission ‘to live in perpetually celibacy’ and, as ‘the patroness of chastity’, ‘to shun the society of men’. 2 Mythological references are avoided in Mackennal’s bronze. ‘Diana Wounded is even more tongue-in-cheek. The vicious Roman moon goddess in Ovid’s Metamorphoses is inverted. It is she, not the quarry Damasichthon, son of Amphion and Niobe, who is injured in the leg.’ 3 Taking into account the association of ‘Diana’ with ‘heavenly’ and ‘divine’, Mackennal carried this further. Divine in looks rather than status, she is a sight perilously tantalising to the mortal male. The action of bandaging her thigh, inspired by the more explicit sight of ‘a model doing up her stocking’, effectively enabled the artist to show off her bodily attributes without loss of modesty.4 This teasing play between the appealing and the unobtainable epitomised that beguiling blend of poise and pleasure so typical of la belle époque and its English Edwardian counterpart. Although calling freely upon ancient Greek and Roman sculptures of the goddess of love, Aphrodite and Venus, she is a thoroughly modern Edwardian maiden. Effectively using the contrappostal pose, Mackennal created an ideal image endowed with grace, but sensuous of modelling. When Mackennal made a marble life-sized version in 1907–08, he crowned Diana with her crescent moon. It was smartly acquired by the Chantrey Bequest and given to London’s Tate Gallery in 1908.The Times called it ‘one of the most beautiful nudes that any sculptor of the British school has produced.’ 5 The artist thought it one of his best works too. 1. Edwards, D., Bertram Mackennal: The Fifth Balnaves Sculpture Project, Art Gallery of New South Wales, Sydney, 2007, pp. 67–68 2. Lemprière, J., Lemprière’s Classical Dictionary of Proper Names mentioned in Ancient Authors, Routledge and Kegan Paul Ltd, London, revised edition, London, 1972, p. 204 3. Hutchison, N., ‘Here I am!’; sexual imagery and its role in the sculpture of Bertram Mackennal’, in Edwards, op. cit., p. 116 4. ibid. 5. ‘The Royal Academy: second notice’, Times, London, 8 May 1908, p. 6, quoted in Edwards, op. cit., p. 67

DAVID THOMAS

JUSTIN O’BRIEN 36 (1917 – 1996) THREE JUGGLERS, 1955 oil on canvas 56.0 x 69.5 cm signed upper right: O’BRIEN inscribed verso: JUSTIN O’BRIEN / ‘THE JUGGLERS’ / … estimate :

$100,000 – 140,000

PROVENANCE Society of Artists, Sydney ICI Collection of Australian Art, Melbourne, acquired from the above in August 1958 Orica Collection, Melbourne, acquired from the above in 1998 Kerry Stokes Collection, Perth, acquired from the above in 2002 Art from the Kerry Stokes Collection, Sotheby’s, Sydney, 26 August 2002, lot 504 Gould Galleries, Melbourne Private collection, London EXHIBITED Society of Artists Spring Exhibition, Sydney, August 1958 LITERATURE Eagle, M., and Jones, J., A Story of Australian Painting, Macmillan Australia, Sydney, 1994, pl. 104, p. 247 (illus.)

Three Jugglers, 1955, was painted in Sydney at a time when Justin O’Brien and his peers were reaping the artistic rewards of greater accessibility to art historical knowledge. A product of the international outlook of Australian Modernism in the mid 20th century, Three Jugglers, as Mary Eagle and John Jones note in their seminal publication, A Story of Australian Painting, bears strong stylistic references to 15th century paintings of the Northern Italian Renaissance.1 Affordable international travel during the 20th century had ramifications for the Australian art world that should not to be underestimated. Young Australian artists working in a modern style could enjoy unfettered access to original masterpieces, integrating classical subject matter and techniques into their works. Within the Australian artistic community, Justin O’Brien’s euro-centrism was quite unique and was noticeable from the earliest of his works. With a rich colour palette, sharp geometric composition, and dramatic chiaroscuro, Three Jugglers provided O’Brien with the means to explore the stylistic possibilities of Renaissance techniques for himself. Standing statically in the foreground of the painting are three young men, their serious countenances incongruous within the circus setting. Seeming to have almost no interaction between themselves, these young boys are fixed in elegant poses with solemn and emotionally distant expressions. The young man in profile on the right hand side of the painting holds a pose that is common in devotional portraits of the Renaissance (often depicted on the exterior panels of a religious narrative painting) holding his hands in a position of prayer. His costume and appearance is similar to that of della Francesca’s portrait of the Duke of Urbino in Florence’s Uffizi museum. Within his hands is held a ball, while the other is passed between his two companions. These juggling balls create a tangible link between these three sitters, and a visual cue drawing the eye toward the modern circus scene in the background. Compositionally, the insertion of a window through which the viewer can glimpse the big-top, is a device often employed during the Renaissance, the painting-within-a-painting creating an extension of the natural world to heighten the realism of the scene in the foreground. In the early 1950s, O’Brien also drew inspiration from French modernist artists, Paul Cézanne, André Derain, and Pablo Picasso. His series of portraits of young men, many of whom were his students at Sydney’s Cranbrook School, have a particular affinity with Picasso’s paintings of harlequins and circus performers of his famous Rose Period (1901 – 1905). This subject material would provide O’Brien, as it had done for Picasso, with a pretext to explore colour, form and the psychological possibilities of portraiture. More poignant than the decorative theme would suggest, Three Jugglers is a sumptuous exploration into portraiture, capturing the sitters in their youthful navigation of self-expression. 1. Eagle, M., and Jones, J., The Story of Australian Painting, Pan MacMillan, Sydney, 1994, p. 244

LUCIE REEVES-SMITH

ARTHUR BOYD 37 (1920 – 1999) BURNT STUBBLE WIMMERA, c.1975 oil on board 91.0 x 120.0 cm signed lower right: Arthur Boyd bears inscription verso: BURNT STUBBLE – WIMMERA estimate :

PROVENANCE Private collection, Perth Lister Gallery, Perth Private collection, Perth, acquired from the above c.1995 Private collection, Brisbane

$80,000 – 120,000

From his earliest impressionist views of the Mornington Peninsula outside Melbourne to the masterly depictions of his beloved Shoalhaven River, Arthur Boyd demonstrated a continuing fascination with the Australian landscape. His eye was drawn to the nuances and ever-changing vagaries of nature, from the primordial tangle of the Australian bush to the various ways humanity had intervened with farming and mining. This preoccupation continued overseas at his English and Italian residences and where ‘(i)n a snow-bound studio he … envisioned the desert: in a garden of ash and maple trees, he … painted gum and wattle’.1 Burnt Stubble, Wimmera, c.1975 is an evocative example of this aspect of Boyd’s expatriate’s vision, for ‘the Australian landscape, strongly held in memory, was as accessible to him in his Suffolk Studio as anywhere else’. 2 Boyd first visited the Wimmera in Victoria’s heat-shimmered north-west in the summer of 1948–49, painting at the border of the Wimmera River. Many of the landscapes from this period are recognised masterworks by the artist and he continued to paint variations at different times in his life. These were not copies of or even homages to the earlier works; rather, each was a return by the artist to a treasured memory seeking to re-depict it in a manner more closely aligned to his current psychological state of mind, creating a painterly oasis for calm reflection. During the 1970s, Boyd exhibited extensively in London and Australia, and following a visit to one such show at Fischer Fine Art, his younger colleague Brett Whiteley wrote to Boyd that ‘it really is remarkable and masterly of you to be able to hold that dry white heat of the bush in your head from 12,000 miles … So really congratulations on the feeling of pale intense beauty you have pulled out of the Australian bush, its such a great subject’. 3 In Burnt Stubble, Wimmera it would seem that recent rains have added a soft flush of green to the cleared fields of wheat and it is this particular colouring that evokes the mood of the Suffolk fields. Beyond the spiky thistles of the foreground, Boyd has characteristically included the low rise of the Grampians in the distance, crows to the left and a darting raptor to the right. Also in the distance is a solitary blue homestead, the probable home for the young child who looks out quietly from the burnt ground, observing, even wary, whilst all about is a ‘deafening’ silence, broken only by the rusty squeal caused by the idiosyncratic windmill. In spite of this subdued tenor, Burnt Stubble, Wimmera remains an inviting and nostalgic elegy to a beloved land by a treasured Australian artist many thousands of miles from his home. 1. McGrath, S., ‘Boyd still the master’, The Australian, Sydney, 12 March 1980 2. Niall, B., The Boyds, Melbourne University Press, Victoria, 2007 (2002), p. 342 3. Whiteley, B., 1977, quoted in Bungey, D, Arthur Boyd: a life, Allen and Unwin, Sydney, 2007, p. 497

ANDREW GAYNOR

ARTHUR BOYD 38 (1920 – 1999) THE STRUGGLE, 1956 oil on canvas 67.0 x 94.5 cm signed lower centre: Arthur Boyd estimate :

$80,000 – $120,000

PROVENANCE Mr H.D. Reed, Tasmania Private collection, Sydney Company collection, Sydney Company collection, Melbourne Lawson-Menzies, Sydney, 26 March 2006, lot 77 Jools collection, Sydney EXHIBITED Australian Art: Colonial to Modern, Deutscher Fine Art, Perth and Sydney, August – September 1986, cat. 72 (illus. exhibition catalogue) Arthur Boyd, Savill Galleries, Melbourne, June 2004, cat.9 (illus. exhibition catalogue) LITERATURE Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, cat.9-34, p. 260 Fry, G., The Nic Jools Collection, Beagle Press, Sydney and Knox Grammar School, Sydney, 2011, pp. 58, 59 (illus. as ‘The Stockman’)

In a tangled corner of the Australian bush, a stockman struggles to capture a black bull whilst his horse calmly eats grass to one side. These are the bare descriptive details for The Struggle, 1956 ones which mask the painting’s likely inspirational impetus for Arthur Boyd, this country’s master of symbolic and psychologically-charged artworks. It is a restless vision, charged not only by the physical activity it depicts, but also by the agitated marks of the brushwork, the contrasting flashes of colour and the claw-like menace of the skeletal trees; and behind its somewhat simplistic incident lies a far more complex story. By 1956, when The Struggle was painted, Arthur Boyd had become one of Australia’s most recognisable artists, mostly on the strength of his Wimmera paintings which would, in turn, lead to his invitation to represent Australia in the 1958 Venice Biennale. Unbeknownst to the organisers, Boyd had already started working on his famed series known as ‘the Brides’. At the core of this epic cycle are the themes of lust, loss, guilt and longing, and in many ways, these were also undercurrents in the artist’s own life for Boyd and his wife had only recently concluded a partner-swapping affair with their friends Tim and Betty Burstall. Boyd was renowned for appearing calm and reasonable on the surface but he acknowledged that it was within his art that he could purge himself of guilt and conflicted emotion. To assist him in this, he developed a menagerie of half-men, half-beasts who came to symbolise facets of his character. A key one was the ‘ramox’, a primordial coupling of ox and ram, with curling black horns, bristling with libido and aggressive lust. In The Struggle, the proto-type for the ramox is present, a mighty mallee bull, black and heavy with pendulous testes. Against him is the figure of the hapless stockman, whose stylised profile could be drawn directly from ‘the Brides’ or, indeed, from many of the ceramic works the artist was also creating. All around them are the remnants of Gondwana-land scrub, which Boyd came to consider as being almost pure, an antipodean Garden of Eden, one which he also depicted in contemporaneous paintings such as Mount Terrible (near Gaffney’s Creek), 1956 (exhibited in Venice, former collection Alan Boxer) and Bride Running Away, 1957 (private collection). This biblical allusion is calculated, for Boyd painted many works with a religious theme and there is a direct echo here of the story of Jacob wrestling with an angel, in particular the famed rendition by Paul Gauguin Vision after the sermon 1888. Indeed, Boyd’s first biographer Franz Philipp once wrote to Boyd that ‘I have always felt that the Old Testament stories attracted you as being “closer to myth” and having a wider range of human experiences including the erotic’.1 This was a prescient comment and one that can easily be applied to the psychological currents churning within this aptly titled painting. 1. Phillip, F., correspondence with Arthur Boyd, 1968, cited in: Anderson, J, Art history’s history in Melbourne: Franz Philipp in correspondence with Arthur Boyd, The Franz Phillip Memorial Lecture, University of Melbourne, Victoria, 1998, viewed 31 March 2017 <https://arthistoriography.files.wordpress.com/2011/05/anderson-on-philipp.pdf>

ANDREW GAYNOR

FRED WILLIAMS 39 (1927 – 1982) ACACIA LANDSCAPE WITH CLOUDS, 1980 oil on canvas 101.5 x 101.5 cm signed lower left: Fred Williams estimate :

PROVENANCE Rudy Komon Gallery, Sydney (label attached verso) Private collection Christie’s, Melbourne, 24 November, 1993, lot 181 Private collection, Hong Kong

$260,000 – 320,000

Fred Williams’ Acacia Landscape with Clouds, 1980 captures all the bounteous richness of spring with painterly abundance and luxuriance. The vitality of the tangled undergrowth reaching up through the black-trunked trees to the sky, expresses the primal urge of this season of regeneration in all its wonderment. Even the heavens join in. Here, a multitude of puffy white clouds fill the previous cool and empty skies of other paintings. Their patchwork of blues and whites maintain that characteristic emphasis on the picture plane within the overall interplay with illusions of depth. Typically, the painting is square, providing a compositional fence with which to surround and define the piece of landscape chosen. Invention and the very real sense of presence in this and other paintings came from Williams’ constant dialogue with the landscape. The earlier more minimal and refined had long given way to a delight in encompassing ‘an explicit feeling for a particular place or motif’.1 Golden wattle, as the harbinger of spring, caught Williams’ eye early, especially the way in which its brilliant yellows pierced the dark of winter. His first painting encounter with winter-flowering wattles was in July of 1969, when he visited Clifton Pugh’s property at Dunmoochin, north-east of Melbourne. In his diary for 24 July 1969, Williams wrote of his fascination with painting wattles, and a little later: ‘I would really like to work from them as they mature’. 2 A widening of his palette, with its new rainbow expanse, allowed for the easier inclusion of yellow, now a feature of a number of paintings in which acacias were presented. Fine examples from the 1974 series include Acacia Saplings (Deutscher and Hackett, 13 September 2016, lot 16), and Acacias I and II (private collection), and from the numerous 1975 wattle paintings, as seen in the very colourful Botanist’s Garden of 1975 (private collection). There were other gems, such as Wattles at Dunmoonchin, 1977, of floating forms and luminous atmosphere. Acacia Landscape with Clouds was painted in 1980, a triumphal one for Williams. Awarded a doctorate of law by Monash University, he held solo exhibitions in Paris at the Australian Embassy, at Fischer Fine Art, London, and the National Gallery of Victoria, Melbourne. A prestigious volume of his art, written by Patrick McCaughey, was published by Bay Books, Sydney. Writing in The Bulletin some years before, the artist-art critic, Nancy Borlase said of Williams paintings: ‘His swirls of crusty paint, his subtly veiled space illusions, his puffs and spills of pigment that so lightly glide down the canvas are, like the late Monet’s, as much abstract as representational – this is the stuff and substance of his art’. 3 1. McCaughey, P, ‘Fred Williams 1969–79’, exhibition catalogue, Fischer Fine Art, London, 1980 2. Williams, f., quoted in Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 174 3. Borlase, N., ‘A painter at his peak pushes further on’, The Bulletin, 26 April 1975, p. 51

DAVID THOMAS

TIM STORRIER 40 born 1949 SADDLE, 1982 mixed media and watercolour on board 84.0 x 84.0 cm signed and dated lower right: Storrier 82 estimate :

PROVENANCE Private collection, Queensland, acquired directly from the artist c.1982

$25,000 – 35,000

Addressing Storrier’s series of Saddle constructions and paintings, Catharine Lumby wrote in 2000: ‘The artist uses mixed- media constructions to illustrate the rudimentary tools dangling from a surveyor’s saddle. The compositions are laid out over faint numbered and gridded squares which might equally be the ground for an artistic sketch or map. From a distance, it is often unclear which elements of the work are pieces of collage and which are sketched or painted directly on to the canvas. At the heart of these works is a tension between illusionism and expression – between painted object and painting, between artefact and artwork. This friction between the empirical and the romantic eye, made explicit in these works, is one that, more subtly, structures the composition of Storrier’s entire oeuvre. On one level, all Storrier’s paintings are tightly structured, highly designed compositions. On another, however, they are always aspiring to capture more elusive, emotive and even spiritual, aspects of the artist’s relationship to his subject.’1 1. Lumby, C., Tim Storrier. The Art of the Outsider, Craftsman House, Sydney, 2000, pp. 38 – 39

COLIN McCAHON 41 (1919 – 1987, New Zealand) PAINTING, 1956 oil on cardboard 76.0 x 55.0 cm signed and dated upper right: McCahon. / June ’56. inscribed verso in pencil: 58 Shelly Beach Rd inscribed verso in brushpoint: Colin McCahon / Art Gallery / Auckland / Painting June ‘ 56 / oil / N.F.S. / Insurance 20 gns estimate :

PROVENANCE Harrods, London, abandoned storage auction Private collection, Queensland, acquired from the above c.1980 EXHIBITED Possibly: The Group Show, 1956, The Art Gallery Durham Street, Christchurch, New Zealand, 3 November – 18 November 1956, cat. 98 (nfs) or 102 (nfs)

$60,000 – 80,000 The recent discovery and identification of this painting adds another unique and challenging ‘abstract’ work from 1956 to Colin McCahon’s incredible achievement. Generally regarded as a ‘blank’ year in the artist’s career where drawing dominated, and a year given little attention from curators and writers, perhaps 1956 represented a critical point of change and cross-roads for the artist. Later recalling his art from 1956 and 1957 McCahon said ‘I see I was right now in thinking the previous year [1956] as one of little painting and lots of drawing. I came to grips with the kauri and turned him in all his splendour into a symbol.’1 By early 1954, McCahon, then living in Auckland, had become a permanent member of the staff at the Auckland City Art Gallery, involved in curating exhibitions, writing catalogues and teaching. In September 1954 he was involved in curating Object and Image, an exhibition of nonrepresentational painting which included his abstracted Kauri paintings. In 1954 McCahon produced his first ‘word’ paintings which were to culminate in the Elias series of 1959. In another direction, he was sourcing the reduced shapes for his Gate series to follow in the early 1960s, the First Bellini Madonna painting and references to Mondrian. Yet the consistent and more even backdrop at this time comprised the semi-abstracted, faceted ‘cubist’ landscapes of Titirangi and French Bay and the Kauri subjects. Assured and powerful in their own right these led towards minimal abstraction. Painting, 1956 belongs to a small group of abstract compositions painted that year. Related works, Composition from April 1956, Moss from May 1956, [Abstract] from August – September 1956, and other French Bay and Kauri subjects from this year, were all painted on the same sized cardboard supports. The deciphering of Painting, 1956 with its floating shapes, strong linear divisions and flash of red is not straight forward. The artist is pushing firmly in a new direction. ‘When Colin abstracts, he leaves a sense of the things he has decided to disregard. They make their absence felt. He is not interested in doing things with shapes, colours and textures simply for their own sakes’. 2

COLIN McCAHON, 1961, SURROUNDED BY WORKS INCLUDING PAINTING, 1956, ON THE FLOOR LOWER RIGHT The New Zealand Woman’s Weekly, 27 March 1961 image credit: Bernie Hill

1. McCahon quoted in Colin McCahon / a survey exhibition, Auckland City Art Gallery, Auckland, 1972, exhibition catalogue, p. 24 2. Introduction by R. N. O’Reilly in Colin McCahon / a survey exhibition, Auckland City Art Gallery, Auckland, 1972, exhibition catalogue, pp. 13 – 14

CHRIS DEUTSCHER

ROSALIE GASCOIGNE 42 (1917 – 1999) PAVEMENT II, 1997 sawn wood on plywood 66.0 x 50.5 cm signed, dated and inscribed verso: Rosalie Gascoigne / 1997 / PAVEMENT II estimate :

$55,000 – 75,000

PROVENANCE Greenaway Art Gallery, Adelaide Private collection, Sydney Gould Galleries, Melbourne Private collection, Adelaide EXHIBITED Rosalie Gascoigne, Greenaway Art Gallery, Adelaide, 19 August – 13 September 1998, cat. 13, (illus. in exhibition catalogue) Gouldmodern, Gould Galleries, Melbourne, 8 February – 10 March 2002, Gould Galleries, Sydney, 16 March – 14 April 2002, cat. 30, (illus. in exhibition catalogue) RELATED WORK Pavement, 1998, sawn wood on plywood, 69.0 × 52.0 cm, exhibited Rosalie Gascoigne, 1998, Roslyn Oxley9 Gallery, Sydney, 1 April - 2 May 1998

‘Gascoigne’s use of modernist strategies, her simple but complex means of construction – those of fragmentation, re-assemblage, repetition, tessellation and compression – effect an ordering and accentuation which is also poetic in its workings. In all this, Gascoigne’s processes of handcrafting are foregrounded, and communicated through an exceptional economy of means. She experiences, selects and creates, using a relatively narrow range of materials in order to present the work to us resonating with a virtually endless allusive power. Her results are spectacular, exquisite distillations and extractions, grounded in her personalised experience of the land.’1 With her training in the formal discipline of Ikebana complementing her intuitive understanding of the nature of materials, her deep attachment to her environment and later interest in modern art, Rosalie Gascoigne is regarded as one of Australia’s most revered assemblage artists.

between ‘the world, and the world of art’ 2, these compositions are artful and refined, yet always bear strong affinities with her immediate surroundings, powerfully evoking remembered feelings or memories in relationship to the landscape; ‘...they are instances of emotion recollected in tranquility’ to quote a phrase of Wordsworth’s which was so dear to her. In the same vein as the Romantic poets which she so admired, Gascoigne thus aspires to an art that is both ‘illusive and allusive’. Here the geometric arrangement with its emphatic frontality, repetition and interest in the formal qualities of colour, texture and movement is unmistakably aligned with high Modernist practice; simultaneously however, the abstraction eloquently echoes tessellated floors familiar to us all (and perhaps originally inspired by the artist’s own experience of the celebrated marble pavements of Piazza San Marco, Venice which she had no doubt visited while representing Australia at the Venice Biennale in 1982). With their rhythmic pattern composed of letters, such compositions have not surprisingly been described as ‘concrete stammering poems’ 3 – a perceptive analogy, especially given the artist’s predilection for poetry from Shakespeare to Plath. Notwithstanding, Gascoigne stresses that the flickering word fragments, though carefully arranged, are not intended to be read literally: ‘Placement of letters is important, but it’s not a matter of reading the text – it’s a matter of getting a visually pleasing result.’4 Similarly, her titles are not literal but rather, ‘leave room for the viewer’, imbued with multiple levels of meaning to be deciphered. Indeed, as Gascoigne reiterates, ultimately her work is about ‘the pleasures of the eye’, with her formal manipulations of natural and semi-industrial debris to be appreciated simply as objects of aesthetic delight. Like the materials themselves, beauty is a quality that is easily and thoughtlessly discarded; as John McDonald muses, ‘When we value things for their perceived usefulness, we overlook a more fundamental necessity. Life is impoverished by the inability to recognise beauty in even the most humble guise.’ 5 1. Edwards, D., Rosalie Gascoigne: Materials as Landscape, Trustees of the Art Gallery of New South Wales, Sydney, 1998, p. 11  2. ibid., p. 15 3. MacDonald, V., Rosalie Gascoigne, Regaro, Sydney, 1998, p. 34

Juxtaposing triangles sawn from wooden industrial cable spools, Pavement II, 1997 is an impressive example of the artist’s signature black-on-gold assemblages which first brought Gascoigne widespread acclaim almost a decade earlier with works such as the monumental Monaro, 1989 (Art Gallery of Western Australia). Occupying that space

4. ibid., p. 35  5. McDonald, J., ‘Introduction’, MacDonald, V., ibid., p. 7

VERONICA ANGELATOS

JOHNNY WARANGKULA TJUPURRULA 43 (c.1932 – 2001) WOMEN CAMPED AT KAMPURRULA, 1973 synthetic polymer paint on board 58.0 x 43.0 cm bears inscription verso: JW 730807 estimate :

PROVENANCE Papunya Tula Artists, Northern Territory Arunta Gallery, Northern Territory Private collection, Netherlands Private collection, London EXHIBITED The Collectors’ Exhibition, Lauraine Diggins Fine Art, Melbourne, 6 August – 29 October 2016 (label attached verso)

$35,000 – 55,000

Women’s Dreamings are relatively rare in the corpus of paintings by Johnny Warangkula Tjupurrula. This particularly fine example, painted towards the end of the first, golden era of the Papunya acrylic painting movement in August 1973, features two women’s camps in luxuriant fields of bush tucker nourished by the rains created by the ancestor beings. The artist is renowned for his early paintings of Rain and Water Dreamings set in his traditional lands around the sites of Kalipinypa, Tjikari and Ilpilli. These paintings shimmer with patchworks of overlapping dots and stippling to suggest the ancestral forces that created the landscape and the richness of edible resources that abound across the country. Kampurarrpa (Kampurrula) is a site close to Ilpilli in the Ehrenberg Ranges where Warangkula established a camp in the early days of the outstation movement following the enactment of the Northern Territory Land Rights legislation in 1976. The painting shows two camps; the women, symbolised by the double-U forms either side of a set of concentric circles, are identified by their equipment–digging sticks and oval carrying dishes. Their footprints, leaving and returning to the camps suggest a series of foraging and collecting expeditions; they also mark the choreography of ceremony. The set of roundels that run vertically through the composition are likely to represent waterholes, and the continuous lines that weave around these relate to one of the graphic symbols for rain that permeate Warangkula’s paintings: see for example, Water and bush tucker Dreaming, 1972, and Water and bush tucker story, 1972.1 The red lines that meander laterally and diagonally across the picture plane may suggest a form of vine (ngalyipi) woven by ancestral women into ceremonial paraphernalia. Women Camped at Kampurrula relates to one of the first monumental canvases to be painted at Papunya, a year later in 1974– Warangkula’s Kampurarrpa in the collection of the National Gallery of Victoria2 which also features two women’s camps. 1. see Ryan, J. and P. Batty, Tjukurrtjanu: Origins of Western Desert art, National Gallery of Victoria, Melbourne, 2011, pp. 270 and 271 respectively (illus.) 2. ibid, pp. 278 – 279

WALLY CARUANA

ROVER THOMAS (JOOLAMA) 44 (1926 – 1998) GUWALIWALI COUNTRY, 1989 natural earth pigments and synthetic binder on canvas 70.0 x 110.5 cm bears inscription verso: artist’s name, size and Waringarri Arts catalogue nos. S-1989 and AP 1972 estimate :

PROVENANCE Waringarri Arts, Kununurra Deutscher Gertrude Street, Melbourne Private collection, Melbourne EXHIBITED Turkey Creek: Recent Work, Deutscher Gertrude Street, Melbourne, 25 October – 17 November 1989, cat. 5 LITERATURE Smoker, J., et al., Turkey Creek, Recent Work, exhibition catalogue, Deutscher Gertrude Street, Melbourne, 1989, p. 5 (illus.)

$50,000 – 70,000

Painted in the year before Rover Thomas, along with Trevor Nickolls, became the first Aboriginal artists to represent Australia at the Venice Biennale, Guwaliwali, 1989 presents a plan view of the east Kimberley landscape where lines indicate paths travelled, tracks and roads, or delineate geographic features and circumscribe discreet areas of country. Characteristic of the Rover’s paintings, the conjunction of dotted lines simultaneously suggest a profile view, as though one were standing on the red-ochred earth looking at a distant hilly range. The asymmetrical geometry of the composition is characteristic of Rover Thomas’s paintings although the angularity of the lines in this work is somewhat unusual. A similar orthogonal angularity appears in two large canvases that were painted in the same year and that were also shown in the Deutscher Gertrude Street exhibition of recent work from Turkey Creek in 1989: Dreamtime story of the willy willy, 1989, and Yari country, 1989, which is composed of a series of rectangles, were acquired from that exhibition by the National Gallery of Victoria.1 The exhibition featuring Guwaliwali was mounted by Waringarri Aboriginal Arts that had been established in 1986 in Kununurra to represent the Aboriginal artists of the region. In the exhibition catalogue, Joel Smoker, the art co-ordinator at Waringarri, records Rovers’ enthusiasm to paint. He describes Rover Thomas as being ‘very prolific’, having requested boards and eventually stretched canvases on which to paint, and that he could ‘never supply [Rover] as fast as he would like’. 1. see Ryan, J. and K. Akerman (eds.), Images of Power: Aboriginal art of the Kimberley, National Gallery of Victoria, Melbourne, 1993, pp. 60 and 61 respectively

WALLY CARUANA

PADDY NYUNKUNY BEDFORD 45 (c.1922 – 2007) LIGHTNING CREEK – BUSH TURKEY, 2003 ochres and pigment with acrylic binder on linen 150.0 x 180.0 cm signed with initials verso: PB bears inscription verso: title and Jirrawun Arts cat. PB 7-2003-158 estimate :

PROVENANCE Jirrawun Arts, Kununurra Private collection, Melbourne, acquired from the above in 2004 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 153 (illus.)

$90,000 – 120,000

Lerndijwaneman or Lightning Creek is the site where Birnkirrbal, the ancestral Bush Turkey made camp after she had left the Emu at Garnanganyjel (Mount King). It lies at the northern end of Paddy Bedford’s country, along the Wilson River in the shadow of the Durack Range. The Turkey had travelled a long distance and stopped at Lerndijwaneman to rest and eat a little fruit called gawoorroony. As Paddy Bedford narrates the story, here she ‘… went to sleep on the red ground … Because the Turkey did that, we all sleep at night.’ Lerndijwaneman is also the place where another ancestor, Nightjar, in the form of a man flaked stone to make spearheads.1 The painting was made during a particularly productive time for the artist. In 2000, along with his brother-in-law Timmy Timms, Bedford revealed a public song cycle or joonba performance about the massacres of Gija people on Bedford Downs station in the early twentieth century. It was adapted by the Neminuwarlin Performance Group as Fire, fire burning bright who perfomed the joonba at the Perth International Arts Festival and in Melbourne in 2002. The Emu Dreaming site at Garnanganyjel (Mount King) is the place a group of Gija were poisoned with strychnine. Bedford’s work featured in two major exhibitions that recounted those violent times in the eastern Kimberley when cattle stations were established and ancient hunting grounds were depleted: Blood on the Spinifex opened at the Ian Potter Museum of Art at the University of Melbourne, in late 2002, and in the following year the Art Gallery of New South Wales mounted True Stories: Art of the East Kimberley. Paddy Bedford was also among a group of eight Indigenous artists to be commissioned by the Musée du quai Branly in Paris to produce designs for the new building which opened in 2006. His design was transformed into ceramic-fired glass. Later that year the Museum of Contemporary Art, Sydney, mounted a retrospective exhibition of his work that toured to the AAMU Museum of Contemporary Aboriginal Art, Utrecht, the Netherlands. 1. Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 80

WALLY CARUANA

EMILY KAME KNGWARREYE 46 (c.1910 – 1996) THE FIRST FLOWERS OF SUMMER, 1990 synthetic polymer paint on canvas 210.0 x 122.0 cm bears inscription verso: Artist’s name and Delmore gallery cat. 0Q64 estimate :

PROVENANCE Commissioned by Delmore Gallery, via Alice Springs Holt collection, Delmore Station via Alice Springs Private collection, Melbourne LITERATURE Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt, J., Emily Kame Kngwarreye Paintings, Craftsman House, Sydney, 1998, pl. 14, p. 60 (illus.)

$80,000 – 120,000

The genius of Emily Kame Kngwarreye is evident in the way she created highly evocative paintings of great visual complexity out of deceptively simple marks with the brush. The First Flowers of Summer, 1990 is painted with an intense chromatic palette in closely matched, high key tones where the overlapping brush marks create an optical density that, apart from a few areas in the background where the colour is muted by white or black, does not allow the eye to rest or pause but to continually swirl across the canvas. It is as if the canvas is not allowed to breath. The effect is to evoke the dizzying, suffocating summer heat of December in the desert. Yellow and brown ochre dots float in and out over a field of red, green and blue. Each feathered brush mark suggests the myriad of plants that bloom at this time of year. As the seasons turn, the land is again a teeming resource of foods, medicines, of raw materials from which weapons and tools will be fashioned and ceremonial decorations made. Emily Kame Kngwarreye painted a number of canvases in this style, including Drying wildflowers in summertime of 1991 in the collection of the Art Gallery of Western Australia.1 In 1993 she reprised the style in a series of panel paintings, including one in the collection of the Newcastle Regional Art Gallery. 2 These paintings glow with a sense of exuberant celebration of the ancestral forces that permeate the earth. 1. see Carrigan, B. (ed.), Utopia: Ancient Cultures, New Forms, Heytesbury and Art Gallery of Western Australia, Perth, 1998, p. 45 (illus.) 2. see Neale, M. et al., Emily Kame Kngwarreye. Utopia: The genius of Emily Kame Kngwarreye, The National Museum of Art, Osaka, 2008, pl. D-29 to D-33 (illus.)

WALLY CARUANA

WILLIAM ROBINSON 47 born 1936 SEASCAPE WITH SURFBOARD, 1996 oil on canvas 76.5 x 102.0 cm signed and dated lower right: William Robinson 96 inscribed with title verso: SEASCAPE WITH SURFBOARD … estimate :

$55,000 – 75,000

PROVENANCE Ray Hughes Gallery, Sydney Verity Lambert, London, acquired from the above in 1996 Sotheby’s, Melbourne, 24 November 2008, cat. 31 Private collection, Queensland EXHIBITED William Robinson, Ray Hughes Gallery, Sydney, 28 June – 24 July 1996, cat. 16 (illus. in exhibition catalogue)

Painted in 1996, Seascape with Surfboard belongs to a group of paintings that stand alone amongst Robinson’s oeuvre. Gone are the epic landscapes depicting the ancient rainforests of northern New South Wales for which the artist is best known and instead we have images of heaving seas against delicate sands. For Robinson, the years leading up to this time were hugely successful. Regular exhibitions, critical acclaim, the demands of collectors and galleries along with white hot attention of the public eye, following two Archibald prize wins, would have entitled Robinson to a period of introspection. And so in 1994, with a move to Kingscliff on the coast near Fingal Bay, the immersive bush landscape was replaced by the view out to sea. Instead of Robinson’s forensic observations of the forested landscapes he now found the sea, sky and seashore to be an abiding subject. With a nod to impressionism, the artist describes the sea change... ‘…Living at the sea for a good part of my time gives me a chance to see the changing moods of the sea and sky. These are almost the only two elements and they interact with reflective light constantly. In the sea paintings I am always trying to give a feeling of relentless and powerful movement clothed in great beauty... The fleeting sensation of luminous sea, wet sand and darkening dry sand with the last of disappearing people produced real paintings possible for me... The seascape has a passing ephemeral quality... When walking at the seashore I observe the movement to darkness. For a short moment before this, a violet of most ravishing beauty appeared at the line between dry and wet sane caused by a retreating wave. This vision will always remain with me’.1 Key to Seascape with Surfboard, 1996, is the series of sandcastles in the centre of the composition which are being reclaimed by the sea whipped up by a strong westerly. Prehistoric in form, these remnants of a day’s play now past, are powerful inclusions within the composition, evoking a melancholy mood and a reminder that we are each at the mercy of forces beyond our control, and perhaps understanding. The surfboard being tossed high from the waves is perhaps a moment of mirth or on the other hand a further symbol of the power of nature over man. William Robinson’s seascape painting exhibit an introspective quality, unlike his interior landscapes, these works look inwards towards a spiritual place and are carried by an emotional weight that heaves as heavily as the sea they depict. Perhaps the great German romantic, Casper David Friedrich, understood it best when he said, ‘…close your bodily eye so that you may see your picture first with the spiritual eye. Then bring to the light of day that which you have seen in the darkness so that it may react upon others from the outside inwards’. 2 1. Robinson, W., in Klepac, L., William Robinson: Paintings 1987 – 2000, The Beagle Press, Sydney, 2001, p. 114 2. Freidrich, C., quoted in Vaughan, W., German Romantic Painting, Yale, New Haven, 1980, p. 68

HENRY MULHOLLAND

TIM STORRIER 48 born 1949 THE WAVE AND GARLAND, 1999 synthetic polymer paint on linen 91.5 x 152.5 cm signed lower right: Storrier inscribed with title verso: ‘THE WAVE & GARLAND’ estimate :

$45,000 – 65,000

PROVENANCE Sherman Galleries, Sydney Private collection, Sydney, acquired from the above in 1999 Deutscher and Hackett, Melbourne, 20 April 2011, lot 31 Private collection, Sydney EXHIBITED The Rose Crossing: Contemporary Art in Australia, Sherman Galleries, Sydney and touring to Brisbane City Gallery, Brisbane; Hong Kong Arts Centre, Hong Kong; Singapore Art Museum, Singapore; Holmes à Court Gallery, Perth; S.H. Ervin Gallery, Sydney and Campbelltown City Bicentennial Art Gallery, Sydney, 1999 – 2000

Paradoxically one of the country’s most popular yet simultaneously elusive artists, Tim Storrier first captured the imagination of the art world with his signature images of burning ropes and logs set against expansive parched desert plains and vast skies powerfully evoking the unyielding essence of the Australian landscape. Drawing inspiration from the great Romantic painters of the nineteenth century such as JMW Turner and Casper David Friedrich, his blazing landscapes not only contemplated the insignificance of humankind when compared with the awesome magnitude of the natural world, but inevitably encouraged darker, more pessimistic readings with his abandoned campsites and smouldering embers suggesting themes of displacement, isolation and decay. Continuing this interest in the four elements and the power of life which they embody, towards the end of the millennium Storrier sought a new direction for his art, substituting the motif of fire with water – and specifically, the ocean with its uncharted depths and relentless untamed power. As biographer Catharine Lumby elucidates,

‘…it is arguably only in his mature, mid-career works that Storrier’s command of his expressive impulses has begun to approach his precocious command of line, texture and composition. It is an evolution best evidenced in a suite of late 1990s images that find the artist, uncharacteristically at sea – exploring deep water in both literal and symbolic terms. In a series of brooding seascapes, Storrier trained his gaze away from his traditional subject matter to the sea and to an entirely different kind of wild vastness – to bodies of water uncrewed and unmarked by anyone who traversed their boundaries, save for the odd scattering of flowers left drifting on the waves...’1 A stunning example from this important period, Wave and Garland, 1999 betrays strong affinities with other major works from Storrier’s oeuvre including The Cruel Sea, 1996 (a familiar outback landscape interrupted by the ‘surreal’ inclusion of television set featuring a rolling sea on its screen); The Rose Crossing, 1999 with its allusions to Nicholas Jose’s epic tale of journeying (crossing) between Europe and Asia; and of course, the artist’s monumental flower paintings exemplified in this auction by Evening (Flowers for Nancy), 1993 (lot 16). In her monograph on the artist, Lumby notes that water is ‘one of nature’s powerful emblems – an icon of resistance to the civilising forces of culture and of attempts to impose order on the world’ 2 and certainly, Storrier seems to here embrace such symbolism, as the swell of the sea threatens to overwhelm the exquisitely beautiful garland of floral blooms floating incongruously upon the treacherous waves. A memento mori reminiscent of wreaths cast adrift to remember those lost at sea, thus the flowers poignantly allude to both the fragility of life and our own mortality, imbuing the work with a poetic, abject melancholy that is Storrier at his best. As Lumby asserts, such seascapes marked ‘a new point of departure for the artist – but equally announced the beginning of a journey back to the emotional and symbolic roots that have always fuelled his oeuvre.’ 3 1. Lumby, C., The Art of the Outsider, Craftsman House, Sydney, 2000, p. 144 2. ibid. 3. ibid.

VERONICA ANGELATOS

GARRY SHEAD 49 born 1942 THE PRESENTATION, 1995 oil on canvas 106.5 x 91.5 cm signed and dated lower right: Garry Shead / 95 estimate :

$55,000 – 75,000

PROVENANCE Private collection, Sydney Deutscher~Menzies, Sydney, 16 June 2004, lot 68 Private collection, London LITERATURE Grishin, S., Garry Shead: Encounters with Royalty, Craftsman House, Sydney, 1998, pl. 48, p. 49 (illus.) Grishin, S., Garry Shead and the Erotic Muse, Craftsman House, Sydney, 2001, pp. 124, 143

On 5 February 1954, when Garry Shead was just twelve years old, his school travelled to the Sydney showground to welcome Queen Elizabeth II, the first reigning monarch to visit Australia. A symbolic watershed in the country’s nationhood, the royal visit to Sydney was the largest public event in that city’s history since the opening of the Harbour Bridge almost two decades earlier and for a whole generation, the occasion became part of the collective conscious memory. As Shead vividly recounts more than forty years later, ‘I remember seeing her and feeling the eye contact as she passed. I also remember dreaming about her (sometimes sexual dreams) – there was possibly nothing sexy about her, she was like a Walt Disney Cinderella, but I encountered her at the dawning of my own pubescence. There was something unearthly and untouchable in her beauty, a sort of ‘Noli Me Tangere’ so that even a prime minister could not touch her elbow. She passed like an incarnate spirit...’1 Unlike his acclaimed D.H. Lawrence series which was loosely based upon the novel of the same title, the ‘Royal Suite’ paintings exemplified by The Presentation, 1995 do not engage a pre-existing narrative, nor do they document specific events or episodes from the royal visit. Rather, each image – dramatic and unexpected – presents a palimpsest through which

one may perceive echoes of the royal progress, the republican debate, personal sexual fantasies and yearnings, as well as other biographies and autobiographies. Imbued with feelings of tenderness, melancholy and even alienation, the paintings invariably feature Bob Menzies’ revered ‘white goddess’ 2 and her royal consort moving incongruously among their subjects – Blinky Bill koalas, kangaroos, cockatoos, emus and occasionally, the ‘token’ Aborigine in full corroboree attire. Yet if the backdrop here is unmistakably Australian with the iconic Sydney Harbour Bridge looming large, the identity of the two chief protagonists remains deliberately ambiguous – Prince Phillip’s facial features are strikingly reminiscent of the artist, while Queen Elizabeth II bears more than a passing resemblance to a youthful image of Shead’s own mother. With a myriad of visual clues richly interwoven in his iconography, the interpretation of paintings such as the present is thus ultimately left to the viewer, as Sasha Grishin observes, ‘…Garry Shead’s ‘Royal Suite’ series invites readings on different levels. The series can be interpreted as a historical recreation of a specific royal tour in 1954 as seen through the distorting mirrors of memory and the eyes of a young boy. It is about a young and sexually desirable monarch who floats in the air or walks on red carpet. Crowns hover over her head and her subjects, accompanied by local fauna and flora, assemble to worship her. The series can also be interpreted as an allegory, an expression of naive belief in a white goddess. One who was seen as supernatural, who could not be touched or experienced, but could only be worshipped. She came from a remote place and appeared to her subjects in the form of a celestial apparition. Simultaneously subverting this interpretation was a growing awareness of the sordid reality that surrounded her; a faithless consort and the growing impotence of imperial power. Perhaps on the simplest level, the series is about the quest for a new Holy Grail. It is a tale about the gradual process of disillusionment where realisations of reality gradually dissolve the illusions of the absurd.’ 3 1. Grishin, S., Garry Shead: Encounters with Royalty, Craftsman House, Sydney, 1998, pp. 11–12 2. Keneally, T., Our Republic, William Heinemann Australia, Melbourne, p. 35 3. op.cit., p. 27

VERONICA ANGELATOS

GARRY SHEAD 50 born 1942 THE KISS, 2001 (FROM ARTIST AND THE MUSE SERIES) oil on canvas 122.0 x 91.5 cm signed and dated lower right: Garry Shead 01 inscribed with title verso on stretcher bar: THE KISS estimate :

$40,000 – 60,000

PROVENANCE Australian Galleries, Sydney (label attached verso) Kenthurst Galleries, Sydney Private collection, Sydney, acquired from the above in 2002 EXHIBITED Garry Shead: Recent Paintings, Australian Galleries, Melbourne, 16 August – 8 September 2001, cat. 6 (illus. in exhibition catalogue)

The Kiss, 2001 is an important work in a long line of spiritually charged paintings which examine and conceptualise the sixth Muse, Erato. The Nine Muses in Greek mythology are figures drawn from the belief that one could not create anything without the inspiration and guidance of one of the nine daughters of Zeus and Mnemosyne. Erato, the muse of lyric poetry, is said to have inspired as much with her flesh as her intellect,1 and is an enduring source of inspiration throughout the artist’s oeuvre. ’Shead felt himself to be one of the few who consciously sought out Erato…he felt that he both saw her and heard her and that he was, in a sense, a willing medium through which her inspiration could act.’ 2 A seamless progression from The Dance series, The Artist and Muse paintings demonstrate the many years that Shead spent studying the European Masters including Rembrandt, Vermeer, Dali and Velazquez. Throughout the series, Shead somewhat analytically explores the role of Erato and her interaction with the artist. The series is an embodiment of Shead’s sense that he is married to his art, and consequently his Muse, with the rest of his life taking a back seat. ‘For Shead, the notion that art is a religion and a total commitment, is an absolute given’. 3 Having reached the creative peak of his career in his late fifties, Shead undertook the Artist and Muse series as an undeviating exploration of this prevailing theme of his career. Stimulated by the words of D.H Lawrence, Shead would illuminate the living spirit of a painting by placing himself, the artist, and Erato, the Muse, into its composition, personally participating in the mysticism and passion of the moment. The muse in The Kiss is iridescent, elevating her presence to a greater spiritual dimension. The encounter is magical and emotionally charged, unattached to neither reality nor any known place. The pair seemingly float in a Chagall-like daydream, with the sensuous charm and beauty of the muse intensified by her alluring dress and luminous skin. The couple are engaged in a trance, spellbound by their private moment and blissfully unaware of their audience. The viewer becomes voyeur, embarking on a clandestine journey into the seductive interior spaces imagined by Shead. The intimate interiors of The Artist and Muse series feature background staircases bathed in warm light, and windows filled with panoramic blue landscapes, alluding to idle paths of escape. The Kiss is an unabashedly pure exploration of the sensuality of Erato, and a testament to the unwavering union between Shead and his angel-winged Muse. 1. Grishin, S., Garry Shead and the Erotic Muse, Craftsman House, Sydney, 2001, p. 162 2. ibid., p. 164 3. ibid., p. 166

MELISSA HELLARD

ARTHUR BOYD 51 (1920 – 1999) THE EXPULSION, c.1986 oil on canvas 108.5 x 114.0 cm signed lower right: Arthur Boyd estimate :

$40,000 – 60,000

PROVENANCE Collection of Dr Tom and Ann Rosenthal, United Kingdom, acquired directly from the artist, c.1986 Christie’s, London, 8 December 2016, lot 41 Private collection, Sydney RELATED WORK The Expulsion, 1947 – 48, oil on board, 101.6 x 122.0 cm, in the collection of the Art Gallery of New South Wales, Sydney, acquired in 1986

The original owner of The Expulsion, c.1986 was one of Arthur Boyd’s oldest friends in Britain, the renowned critic Tom Rosenthal, whose portrait Boyd painted in 1964. Rosenthal would have no doubt recognised it as a powerful re-working of an earlier painting by Boyd with the same title which the artist painted in 1947–48. Based on the Old Testament story of Adam and Eve, Boyd’s Garden is Antipodean, based firmly within the tangled scrub of a primeval Australian landscape and is equally tangled within the personal experience of the artist himself. The earlier version was a visual howl of protest caused by John Perceval’s affair with Betty Burstall. Perceval was one of Boyd’s closest friends and become his brother-in-law when he married the young Mary Boyd in 1944. The two colleagues subsequently started a pottery business and employed a range of friends and associates to help them in the decoration of their wares. Two of these were the young couple Tim and Betty Burstall, idealistic embracers of ‘free love’, and before long the affair between Perceval and Betty began. In spite of his outward appearance as a mild and gentle-mannered person, the interior Boyd seethed with anger and a sense of betrayal, magnified by the fact that Mary was pregnant with the couple’s second child. Rather than confront directly, Boyd was compelled ‘to paint it out of my system. To expunge my own guilt by painting it and in a way face up to it. I mean guilt in a general sense, because although I do the painting, everyone else who then looks at it is in the same position as myself. I hopefully have helped them to face their guilt also.’1 However, this saga became more convoluted some years later as the Burstalls and the Boyds themselves swapped partners over an extended period in the mid-1950s. As a result, The Expulsion may be interpreted on multiple levels. In the original version, the figure of Eve had Betty Burstall’s distinctive curly hair and her face was turned away from the pursuing angel with one arm extended to deflect its wrath. Adam was anonymous with his remorseful face buried in his hands and the whole scene was painted in naturalistic style reflective of Boyd’s fascination with Rembrandt and Breughel. In this newer rendition, the approach is more expressionist delivered in turbulent impasto paint with a marked agitation and sense of disorder. The figures of Adam and Eve are now ghostly wraiths, anonymous cyphers for the moral of the story. Boyd was never one to avoid the erotic or the sexual and it is telling that one tiny detail provides much of the focus for this painting – the very tip of Adam’s penis is bright red, sexually charged with the true cause of the original sin, not woman per se but rather humanity’s inability to resist desire. As ever, Boyd is reflecting on his own sense of guilt whilst utilising the language of Biblical grand narrative to make a larger statement. 1. Gunn, G., Arthur Boyd: seven persistent images, Australian National Gallery, Canberra, 1985, p. 35

ANDREW GAYNOR

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SIDNEY NOLAN 52 (1917 – 1992) CENTRAL AUSTRALIA, 1982 synthetic polymer paint on composition board 91.5 x 122.0 cm signed lower right: Nolan signed, dated and inscribed with title verso: Nolan / 82 / Central / Australia estimate :

102

$15,000 – 20,000

PROVENANCE Holdsworth Galleries, Sydney (label attached verso) Private collection, New South Wales Sotheby’s, Melbourne, 19 June 2013, lot 146 Private collection, New South Wales EXHIBITED Sidney Nolan, Holdsworth Galleries, Sydney, 8 October – 2 November 1983, cat. 64 LITERATURE Art and Australia, Sydney, vol. 21, no. 4, Winter 1994, p. 449 (illus.)

ALBERT TUCKER 53 (1914 – 1999) BIRDS IN FLIGHT, 1974 oil on composition board 59.5 x 75.0 cm signed and dated lower right: Tucker / ‘74 estimate :

$25,000 – 35,000

PROVENANCE Art Galleries Schubert, Queensland (label attached verso) Private collection, Queensland

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YVONNE AUDETTE 54 born 1930 DEEP WATERS, 1976 – 1979 oil on board 86.0 x 101.5 cm signed with initials and dated lower right: YA 79 inscribed verso: 1976/79 / Audette / Deep Waters / Audette / 1976/79 / … estimate :

104

$15,000 – 25,000

PROVENANCE Bonhams & Goodman, Sydney, 25 July 2006, lot 1556 Private collection, Sydney

JOHN COBURN 55 (1925 – 2006) SONG OF INDIA, 1974 synthetic polymer paint on canvas 120.0 x 91.0 cm signed lower right: Coburn inscribed verso: “SONG OF INDIA” / JOHN COBURN / SYDNEY 1974 estimate :

$20,000 – 30,000

PROVENANCE Kandiah Kamalesvaran AM (Kamahl), Sydney, acquired directly from the artist Private collection, New South Wales LITERATURE Rozen, A., The Art of John Coburn, Ure Smith, Sydney, 1979, pl. 51, p. 85 (illus., dated as 1975)

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JOHN COBURN 56 (1925 – 2006) UNTITLED, 1958 oil on board 40.0 x 76.0 cm signed and dated lower right: Coburn ‘58 estimate :

106

$12,000 – 16,000

PROVENANCE Barry Stern Gallery, Sydney Private collection, Sydney Menzies, Melbourne, 24 July 2014, lot 2 Private collection, Melbourne

JUSTIN O’BRIEN 57 (1917 – 1996) BATHERS, 1946 oil on canvas on board 104.0 x 40.5 cm signed lower right: O’Brien inscribed verso: RRNZ / COL PROVENANCE Mrs Margaret Carnegie, Melbourne Christie’s, Melbourne, 14 March 1974, lot 262 (as ‘The Swimmers’) Private collection, Melbourne Sotheby’s, Melbourne, 26 April 1999, lot 77 (as ‘Boys in Landscape’) Private collection, Melbourne Deutscher~Menzies, Melbourne, 29 November 2000, lot 71 (as ‘Boys in Landscape’) Private collection, Sydney Lawson~Menzies, Sydney, 20 July 2002, lot 59 (as ‘Boys in Landscape’) Private collection, Sydney Leonard Joel, Melbourne Private collection, Melbourne EXHIBITED Sydney Group: Oils and Watercolours, David Jones Art Gallery, Sydney, 6 – 27 August 1946, cat. 24 estimate :

$20,000 – 30,000

107

CLEMENT MEADMORE 58 (1929 – 2005) WARM VALLEY, 1994 bronze 23.0 x 45.5 x 19.0 cm edition: AP aside from an edition of 8 signed, dated and numbered at base: Meadmore 1994 API dated, numbered, inscribed with title and monogram on base: ‘Warm Valley’ / 1994 API estimate :

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$20,000 – 30,000

PROVENANCE Robin Gibson Gallery, Sydney Private collection, Sydney

CLEMENT MEADMORE 59 (1929 – 2005) ROUND MIDNIGHT, 1996 bronze 22.0 x 32.0 x 17.0 cm edition: AP aside from an edition of 8 signed, dated and numbered at base: Meadmore 1996 API dated, numbered, inscribed with title and monogram on base: ‘Round Midnight’ 1996 API estimate :

$18,000 – 25,000

PROVENANCE Private collection, Sydney

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CLEMENT MEADMORE 60 (1929 – 2005) WALLFLOWER, 1987 bronze 57.0 x 97.0 x 46.0 cm edition: 1/6 signed, dated and numbered at base: Meadmore 1987 1/6 stamped with Tallix foundry mark at base estimate :

$40,000 – 60,000

PROVENANCE Judith Meadmore, the artist’s wife, United States of America Doyle, New York, 1 November 2016, lot 177 Private collection, Sydney

There’s always a hidden power in Clement Meadmore’s sculptures. An explanation is in order: if one drops a length of rope on the ground it always looks elegant – it’s in its nature that its curves are smooth and its lines supple. It is only when the human hand intervenes with knots, ties and stretching that internal complexity and underlying tension become involved – this the core of its power. A rope becomes more interesting when its nature is inverted – its natural pliancy is turned into a type of resistance. The converse applies with steel when its inherent rigidity is made to bend. Clement Meadmore always knew this. He utilized the pointed significance of this odd analogy. In other words, in Meadmore’s sculptures the natural rigidity of steel is overturned to add internal complexity and underlying tension to an otherwise inert material – this is the core of its hidden power. Steel becomes more interesting when its nature is inverted – in Meadmore’s hands steel’s natural rigidity is turned into a type of pliancy. The present work, Meadmore’s Wallflower bronze of 1987 is a fine example of these highly individualistic hallmark attributes. The sculpture is the first of an edition of six and was originally in the collection of his former wife Judith Meadmore. The sculpture seems ‘sliced’ to mid-point as though the steel might be cheese – its elongated squared-off sections bend like fingers and the whole sculptural mass is counterpointed by a right-angled section that adds a ‘jaunty’ accent to the overall carefully balanced form of the entire work. Meadmore’s Wallflower also has that typical sense of arrested ‘movement’ that may be discerned in all of the artist’s best works. They always carry visual hints of animation as though steel – that most inert of materials – is somehow made to seem to curl, wiggle, flow and knot like wood shavings fallen from an imagined hand plane. Of course, the present work is not steel but its bronze forms have a direct link to the monumental weathered Corten steel sculptures that made Meadmore internationally famous. It was a fame that was set on its path by the flowing elegance of his Awakening, 1968 in Melbourne’s Collins Street for the Australian Mutual Provident Society and is typified by his large majestically sited Virginia, 1970 (dedicated to the Australian artist Virginia Cuppaidge) in the Sculpture Garden of the National Gallery of Australia in Canberra and his Curl, 1968 at Columbia University in New York. These large sculptures all sit happily in their spaces with a type of arms-folded insistence – not only that, they also seem to ‘make’ the space, like a good brooch ‘makes’ an outfit. Meadmore’s Wallflower possesses the same type of spatial poise. Meadmore once said a beautiful thing: ‘A building is part of the environment, but a sculpture is a presence inhabiting the environment’. KEN WACH

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ROBERT KLIPPEL 61

(1920 – 2001) OPUS 664 (B), 1987 246.0 cm bronze edition of 5/6 signed with initials, dated, numbered and inscribed at base: RK 664 ’87 5/6 stamped at base with Meridian Melbourne Foundry mark estimate :

$40,000 – 60,000

PROVENANCE Private collection, Melbourne LITERATURE Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 664 (illus.) RELATED WORK Opus 664 (a), wood assemblage, formerly in the Laverty collection, Sydney Another example of this work is included in a group of Robert Klippel sculptures on display, Brisbane Law Courts

An exact example of Klippel’s Opus 664 (b), 1987 stands in the Tank Street frontage of the Commonwealth Law Courts in Brisbane. Another example was selected for exhibition by the famous Galerie Gmurzynska in a garden setting at the Baur au Lac in Zürich in 2013 – the first showing of Klippel’s work in Europe for sixty-three years. His first solo exhibition was held in Paris in 1950 and organised by André Breton, the celebrated leader of the Surrealist movement. Klippel’s Opus 664 was cast in bronze in an edition of six (with two artist’s proofs) by Peter Morley at his Meridian Foundry in Melbourne’s Richmond – the present work bears the foundry mark and is signed, dated and numbered as the fifth in the edition. The sculpture was created in 1987 – a notable period in Klippel’s eventful artistic life. He moved into a new studio in Sydney, held two major successful exhibitions and his work was purchased by The University of Melbourne. He was also the subject of a large retrospective exhibition at the Heide Museum of Modern Art. The following year he was awarded an Order of Australia (AO), the nation’s highest recognition of outstanding achievement. Klippel’s Opus 664 is closely related in its compositional elements to two contemporaneous works in two significant private collections – that of Dr Joseph Brown, the prominent art dealer (No. 661 now in the collection of LaTrobe University) and Dr Colin Laverty (No. 664, wood version, recently sold by Deutscher and Hackett, 5 April 2017, lot 63), the pathologist whose research into the papilloma virus led to a vaccine for cervical cancer. The sculpture is also conceptually related to his well-known Beacon (Opus 706) of 1988 situated in the garden at Sydney’s Circular Quay. Sometime in early 1987, Klippel embarked upon a series of works based upon the formal attributes of marine buoys and beacons. He became fascinated by the verticality of their structures and their formal and spatial transitions from thick massed bases to slender elegant apexes. For Klippel, they seemed like marine totems; ones that waved warnings, ones that demarked zones and others that pointed out directions. For a sculptor whose early days were spent on active Wartime duty in the Royal Australian Navy, their sculptural potential must have seemed almost irresistible, even after a period of forty-two years. Perhaps it was natural that Klippel’s attention should turn that way. After all, his first major bronze sculpture of 1982, the Group of Eight commission for the National Gallery of Australia, stressed the totem-like sentinel qualities of columnar structures. These seemed to guard a place on land – bouys and beacons, on the other hand, guard a place on water. Klippel’s vertical bronze sculpture Opus 664 shows a finely articulated progression of non-mechanical forms. Like many in this series the upright sculpture seems to point (it is topped by a lantern-like diamond shape) and its massed base almost insists on its volumetric place. The sculpture has an empathic presence and seems to define and, more importantly, confirm the space around it. KEN WACH

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STEPHEN BUSH 62 born 1958 LADY CAMPBELL WEED DUKE OF NORMANDY, 2010 oil on canvas 76.0 x 76.0 cm signed, dated and inscribed verso: Stephen Bush 2010 Lady Campbell Weed Duke of Normandy PROVENANCE Sutton Gallery, Melbourne Private collection, Melbourne EXHIBITED Sutton Gallery, Melbourne at Auckland Art Fair, Auckland, 2010 estimate :

$8,000 – 12,000

PHILIP WOLFHAGEN 63 born 1963 UNTITLED LANDSCAPE STUDY NO. 12, 1994 oil and beeswax on linen 36.0 x 46.0 cm signed with initial and dated lower right: W. 94. artist’s stamp verso signed, dated and inscribed with title verso: PHILIP WOLFHAGEN / Untitled Landscape Study No. 12 / – 1994 – PROVENANCE Private collection, Sydney Private collection, Adelaide estimate :

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$8,000 – 12,000

RICK AMOR 64 born 1948 BOY ON THE BEACH, 1999 oil on canvas 65.5 x 80.0 cm signed and dated lower right: RICK AMOR ‘99 inscribed with title and dated verso: BOY ON THE / BEACH MAR 99 estimate :

$20,000 – 30,000

PROVENANCE Tony Palmer Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1999 EXHIBITED Rick Amor Paintings, Tony Palmer Art Dealer, Sydney, 1999, cat. 12 (illus. in exhibition catalogue, p. 20)

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NOEL McKENNA 65 born 1956 (I) UNTITLED, 2001 glazed ceramic tile 20.0 x 20.0 cm signed and dated upper right: N. McKENNA 01 (II) UNTITLED, 2001 glazed ceramic tile 20.0 x 20.0 cm signed and dated lower left: N. McKENNA 01 PROVENANCE Darren Knight Gallery, Sydney Private collection, New South Wales estimate :

$1,000 – $1,500 (2)

BEN QUILTY 66 born 1973 SKULL FOR CULLEN, 2009 oil on canvas 60.5 x 50.5 cm signed, dated and inscribed verso: Ben Quilty/ Skull for Cullen/ 2009 PROVENANCE Estate of Adam Cullen, Sydney Company collection, Sydney estimate :

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$14,000 – 18,000

NOEL McKENNA 67 born 1956 UNTITLED, 2002 glazed ceramic tile 20.0 x 20.0 cm signed and dated lower right: N. McKENNA 02 PROVENANCE Darren Knight Gallery, Sydney Private collection, New South Wales estimate :

$600 – $800

CRESSIDA CAMPBELL 68 born 1960 GLEBE, 1985 hand-painted woodblock print 62.0 x 40.0 cm edition: 3/7 signed, dated, numbered and inscribed with title below image PROVENANCE Private collection, Western Australia, acquired directly from the artist RELATED WORK Another example from the edition is in the collection of the Art Gallery of New South Wales, Sydney estimate :

$8,000 – 12,000

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AUGUSTUS EARLE 69 (1793 – 1838) PORTRAIT OF ELIZABETH ANN WILSON POTTER, MRS FRANCIS BARNES, HOBART, 1825 pastel on paper 76.0 x 57.0 cm signed lower left: A. Earle. old label attached verso, inscribed: Mrs Row / Government Store / Hobart ‘V.D.L.’ estimate :

PROVENANCE Private collection, Tasmania Private collection, Melbourne, acquired from the above c.1980 Private collection, Adelaide

$120,000 – 180,000

Son of the American artist James Earl (and nephew of the better-known Ralph), Royal Academy-trained and Royal Navy-connected, traveller in the Mediterranean, the United States, South America and India and perhaps most famous as the first topographical artist and draughtsman on Charles Darwin’s Beagle voyage, Augustus Earle is also one of the clearest and most sophisticated witnesses of British-Australian landscape and society in the early decades of the 19th century; he has been justly described as ‘by far the most interesting artist working in New South Wales in the 1820s.’1 The story of his arrival in the Australian colonies is well-known. When the sloop Duke of Gloucester, the vessel that was taking him to Calcutta, stopped at the south Atlantic island of Tristan d’Acunha to take on a cargo of potatoes, Earle went ashore with his dog Jemmy to explore. Before he could rejoin the ship, however, a gale blew up, Captain Ammon raised the anchor and the Duke of Gloucester disappeared. The famously gregarious and adventurous Earle was stranded for eight months on one of the remotest places on earth, a rocky island just 11 kilometres long with a total population of six adults, until he was rescued by a passing vessel, the Admiral Cockburn, bound for Hobart Town. During the four years that followed, between 1825 and 1828, Earle made hundreds of sketches, finished drawings, and watercolours, oil paintings, lithographs and transparencies, both in Van Diemen’s Land and New South Wales (with a six-month sidetrip to New Zealand). His works combine obvious facility and accuracy with a more subtle dimension of sympathy and charm, and with occasional flashes of the wit he displays so clearly in his journals and correspondence. Throughout his sojourn, as a necessary corollary to and sustainer of his peripatetic lifestyle, Earle produced dozens of portraits, from quick watercolour ‘fizzogs’ to formal full-length portraits in oil. While occasionally a little stiff and anatomically questionable, 2 Earle’s best portraits evince clear empathetic understanding. As one of his earliest scholars, Eve Buscombe, has observed: ‘the eye-play of all the frontal portraits reveals the ease with which he moved in the society in which he found himself.’ 3 Indeed, Earle’s sitters form a most interesting crosssection of the colonial population, from the Governor of New South Wales Sir Thomas Brisbane to Aboriginal adventurer, diplomat and elder Bungaree, from Port Jackson’s customs grandee Captain John Piper to the bogus clergyman (and genuine educator) Laurence Hynes Halloran.4

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AUGUSTUS EARLE 69 (1793 – 1838) PORTRAIT OF ELIZABETH ANN WILSON POTTER, MRS FRANCIS BARNES, HOBART, 1825

This last was an emancipist, a freed convict, and it is clear (from the works of contemporary colonial painters such as C.H.T. Costantini and W.B. Gould) that this substantial and buoyant Piper, 1826, Mitchell Library, State Library of New South Wales; Laurence Hynes Halloran, c.1825–27, Mitchell Library, State Library of New South Wales sector of the colony’s society and economy shared the officials’ and developers’ taste for images of themselves. The sitter in the present portrait is another of this class, a Hampshire woman born Elizabeth Ann Wilson Potter (or Portler), who was convicted of larceny in 1813 and transported for seven years to New South Wales. Transferred to Hobart Town the following year, she married one Philip Macklin, and although records of Mr Macklin’s death have not been traced, Elizabeth married again ten years later, this time to Francis Barnes. Barnes, a former soldier and printer, had also been transported (for the theft of bank notes), and as a convict was one of those foundation settlers who came to Hobart Town with Lt-Gov. David Collins on the Calcutta in 1804. Francis appears to have prospered in the new colony; convict musters show that by 1819 he was farming 50 acres of land, and had four assigned servants. He was also an entrepreneur and businessman, proprietor of the Hope Tavern in Macquarie Street (formerly the ‘Whale Fishery’ and later the ‘Hope and Anchor’), Tasmania’s first licensed premises. Being situated close to the Sullivan’s Cove waterfront and opposite the Government Commissariat office, the Hope was a convenient place to do business, especially the kind of business associated with arrivals and departures. 5 It is perhaps not surprising that the newly-disembarked Earle should have found there possibly his very first client in the colonies.6

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The portrait is remarkable not only for its early date and its clear autograph signature,7 but also for its being in pastel, a medium not previously recorded in Earle’s oeuvre. Like watercolour, pastel is seen (and was recognised by 18th century theorists) as occupying a space and a dignity somewhere between painting and drawing – Joseph Vivien was admitted to the French Académie in 1701 as a ‘peintre en pastel.’ The medium attained high status in the 18th century through a thensupposed superior durability to oil, and through the virtuoso drawings of Rosalba Carriera in Italy, Maurice Quentin de la Tour in France, John Russell in England and Jean-Etienne Liotard almost everywhere; it was quickly and widely adopted by portraitists across Europe. Given the uniqueness of the present work, it is instructive to compare Earle’s deployment of the medium with his watercolour technique. The watercolours follow the common late Georgian fashion, with landscape forms described through broad, floating planes of tone, (somewhat in the manner of Thomas Girtin, or rather Francis Towne), 8 and faces by the kind of stipple-hatching of the miniaturist on ivory.9 Here, however, Earle works in the opposite manner to that of a watercolourist, by accumulation rather than separation of pigment, by smooth tonal gradation rather than touches of colour. Furthermore, rather than leaving the support blank (or using a water-resistant ‘stopping out’ varnish, or ‘scratching out’ with a nib or knife) and having the white of the paper flash edges and reflections, linen and water, the artist here adds his highest tone at the end of the process, giving to Mrs Barnes’ aureole of white lace and ribbon the space and form of clouds. Augustus Earle was clearly as comfortable with coloured chalks as with watercolour or oil paint; Mrs Barnes’ pink face is delicately, flatteringly modelled (she was 41 at

the time the portrait was taken), and the shimmer and translucency of the white collar and cap which frame her visage are particularly deftly executed, in broad, confident strokes, subtly layered and delicately stippled.10 The work is in very fine condition, in its original frame and glass. 1. Ron Radford and Jane Hylton, Australian colonial art 1800–1900, Adelaide: Art Gallery of South Australia, 1995, p. 38 2. As with the work of another well-known early colonial portraitist, Robert Dowling, his heads can be a little too large and/or his hands a little too small. 3. Buscombe, E., ‘A discussion about Augustus Earle and some of his portraits’, Art Bulletin, National Gallery of Victoria, Melbourne, no. 19, 1978, p. 57 4. Sir Thomas Brisbane, Mitchell Library, State Library of New South Wales; Captain John Piper, 1826, Mitchell Library, State Library of New South Wales; Laurence Hynes Halloran, c.1825–27, Mitchell Library, State Library of New South Wales 5. Notices in the Hobart Town Gazette about a lost horse and the settlement of debts prior to departing the colony give the pub and its landlord as contacts (1 April 1825, 6 May 1825, 27 May 1825). Barnes’ advertisement describing newspapers, books and journals available in the parlour – ‘Lloyd’s List, London New Price Current, London Mercantile Price Current, London Shipping & Commercial List, the Customs, Imports and Exports of London, The Times, The Courier, The Sun, The Morning Chronicle, St James’s Chronicle &c. &c’ also suggests his clientele had interests other than drinking. (Colonial Times and Tasmanian Advertiser, 17 February 1827, p. 1) 6. Mrs Barnes died in 1827, and Earle did not return to Hobart Town until October 1828, so this portrait must date from his first visit to Van Diemen’s Land, ie between January and May 1825. Known Tasmanian subjects by the artist are rare. There are three landscapes: Hobart Town from the Domain (attrib., 1820s, Mitchell Library, State Library of New South Wales); Panorama of Hobart, 1828 Mitchell Library, State Library of New South Wales); Cluny Park, Van Dieman’s [sic] Land, the general appearance of the country in its natural state, perfect park scenery (1825, National Library of Australia); and a lost view of New Town mentioned in a review of Earle’s Sydney exhibition in 1829 (A.B. (Rev. John McGarvie), ‘On the state of the fine arts in New South Wales’, Sydney Gazette and New South Wales Advertiser, 30 July 1829, p. 3). There are also two or three other portraits – Lt-Col. Charles Cameron (1825, National Library of Australia); Lucy Parris, Mrs G.W. Evans (1825, Queen Victoria Museum and Art Gallery, Launceston); and Four children of Joseph Tice Gellibrand (attrib., c.1827–8, Tasmanian Museum and Art Gallery) 7. A corresponding upper case ‘E’ is found in the inscription of the recently-discovered Sketch of Mr Prout at Sydney, New South Wales, private collection, sold Deutscher and Hackett, Melbourne, 4 May 2016, lot 24, for $176,900 (inc. buyer’s premium) 8. See, for example, his folio Views in New South Wales, c.1825 – 28, Mitchell Library, State Library of New South Wales, PXD 265 9. See the Prout portrait, ibid. 10. The confident, translucent sweeps and highlights of ribbon in this drawing anticipate the deft touch of another Vandiemonian, Henry Mundy, who worked in the colony a decade later.

DAVID HANSEN

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OSWALD BRIERLY 70 (1817 – 1894) THE WANDERER, ROYAL YACHT SQUADRON, 1840 watercolour and gouache on paper 46.5 x 72.0 cm signed and dated lower left: O W Brierly 1840 estimate :

$20,000 – 30,000

PROVENANCE Private collection, United Kingdom Christie’s South Kensington, London, 7 July 2016, cat. 222 Private collection, Melbourne RELATED WORK Wanderer. Benjamin Boyd Esq and Brig Yacht Wanderer. Benjamin Boyd Esq, a pair of lithographs, hand coloured, 32.0 x 47.0 cm and 32.0 x 45.0 cm, drawn and lithographed by Oswald Brierly, Day & Haghe, lithographers to the Queen, published by Edmund Fry, London, and Edmund Fry Jnr., Plymouth

The British mastery of watercolour is seen at its best in Oswald Brierly’s The Wanderer, Royal Yacht Squadron, 1840. Wind and white waves echo in the billowing sails as RYS Wanderer rides the waters in majesty. Few can rival the genius of Brierly’s marine subjects, as seen again to brilliant effect in Whalers off Twofold Bay, New South Wales, 1867, in the collection of the Art Gallery of New South Wales. Brierly, Benjamin Boyd and the Wanderer share absorbing histories. Brierly studied art in London and naval architecture at Plymouth, meeting Boyd of the Royal Yacht Squadron. Wanderer was part of the Squadron. In about 1840, Edmund Fry & Son, of London and Plymouth, published a pair of lithographs showing the yacht in full sail, from port and starboard sides.1 The similarity between the lithograph of the portside and our watercolour suggests that it was a study or closely related earlier work for the print. The brown ink drawing, The Wanderer, provides another, being a view of the stern and different tack. 2 In our watercolour, the Wanderer flies the White Ensign of the Royal Navy, permitted only to members of the Royal Yacht Squadron, its pennant burgee at masthead. 3 In 1841, Brierly joined Boyd aboard the Wanderer, voyaging to Australia. As she sailed up Port Jackson in July of 1842, crowds gathered on the heights in greeting and the schooner Velocity fired a salute. Brierly spent some years at Twofold Bay, near Eden, managing Boyd’s pastoral and whaling businesses. He also completed further studies of the Wanderer at Sydney in 1846, a wood engraved image after Brierly appearing in the Illustrated London News of 10 April 1852.4

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Boyd became one of the largest landholders in the colony before his spectacular entrepreneurial enterprises bought him undone. Sailing off into history and mystery, he left Sydney on the Wanderer in October 1849, seeking a new fortune on the Californian goldfields. Unsuccessful, he disappeared on the island of Guadalcanal in October 1851. His body was never found, leading to rumours that he was still alive. The Wanderer continued to Australia, wrecked off Port Macquarie shortly after. Brierly’s separate adventures were just beginning. In 1848, he joined Captain Owen Stanley on HMS Rattlesnake on a survey of the Great Barrier Reef, Louisiade Archipelago and part of coastal New Guinea. At the invitation of commander (later admiral) Henry Keppel, Brierly joined HMS Meander, returning to England round the Horn in 1851. During the Crimean War Brierly rejoined Keppel in the Baltic fleet, making sketches of naval activities for the Illustrated London News. Royal patronage followed when commanded by Queen Victoria to sketch the great 1855 naval review at Spithead. Later appointed official marine painter to the Queen and the Royal Yacht Squadron, he received a knighthood in 1885. Agreeable of personality and companionship, Briely’s second visit to Australia was as guest of the Queen’s son, the Duke of Edinburgh on HMS Galatea during its 1866 voyage around the world. It was one of several voyages undertaken with the Duke. Brierly was greatly admired for the accuracy of his delineation and elegant degree of finish enveloped in an atmosphere of salty sea air, as seen so superbly in The Wanderer, Royal Yacht Squadron. 1. Examples of are in the Nan Kivell Collection of the National Library of Australia, Canberra, and the Mitchell Library, State Library of New South Wales 2. The Wanderer, c.1842, brown ink on paper, 12.3 x 19.4 cm, signed with initials and inscribed beneath the image, ‘The Wanderer’ 3. In the previously mentioned lithographs the Wanderer variously carries the White and Red Ensigns of merchant and other registered British vessels. The variations result from them being hand painted. 4. Nan Kivell Collection, National Library of Australia, Canberra, NK6873 and NK4182/19

DAVID THOMAS

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SAMUEL HOWITT 71 (1765 – 1822, British) A RARE GROUP OF FOUR EARLY WATERCOLOURS OF AUSTRALIAN BIRDS, c.1812 (I) RED-TAILED BLACK COCKATOO, CALYPTORHYNCHUS MAGNIFICUS watercolour on paper 17.0 x 11.0 cm signed lower right: Howitt (II) YELLOW-TAILED BLACK COCKATOO, CALYPTORHYNCHUS FUNEREUS watercolour on paper 17.0 x 11.0 cm signed centre right: Howitt (III) PALM COCKATOO, PROBOSCIGER ATERRIMUS watercolour on paper 17.5 x 11.0 cm (IV) REGENT HONEYEATER, XANTHOMYZA PHRYGIA watercolour on paper 14.0 cm x 11.5 cm signed lower left: Howitt PROVENANCE Family of the artist, United Kingdom Thence by descent Private collection, United Kingdom Private collection, United Kingdom, acquired from the above mid-1990s Private collection, Adelaide Deutscher and Hackett, Sydney, 2 May 2012, lot 52 Private collection, Melbourne estimate :

Exhibiting in London from the 1780s, Samuel Howitt was an artist and illustrator who specialised in natural history and sporting subjects. His art was closely associated with Thomas Rowlandson, the pre-eminent English caricaturist and artist of the period, whose sister he married. He sketched at the Royal Menagerie in the Tower of London as well as for some of the great private zoos and natural history collections assembled at the time. Two of Howitt’s most important turn-of-the-century patrons were William Bullock and Walter Fawkes. William Bullock (c1773 – 1849) was a major collector and dealer in natural history items from around the world. From his Museum of Natural Curiosities established in Sheffield in the late 1790s he progressed to a major new London private natural history museum open to the public in 1812, The Egyptian Hall, Piccadilly. His collection displayed a wide range of artefacts and specimens and included items sourced from James Cook’s voyages. The publication A Companion to Bullock ’s Museum 1799 includes ‘two beautiful unknown parrots from Botany Bay’ and ‘The Laraquet (sic) of Botany Bay…one of the finest birds of the kind in the world’ along with other Australian related items.1 Samuel Howitt was to find in this collection an amazing array of animals to draw and Bullock employed him to make sketches for many years. In Bullock’s 1808 Companion the last page displays an advertisement for a natural history book that Howitt would be illustrating. Howitt’s 1814 Royal Academy exhibition entry gives the artist’s residence as Bullock’s Museum, Piccadilly. Walter Fawkes (1769 – 1825), of Farnley Hall near Leeds, Yorkshire was another major collector of natural history and birds in particular. He is renowned in ornithological circles for the five volume album Ornithological Collection which was illustrated by several artists including his close friend J.M.W. Turner and Howitt. This collection was broken up in later years and it is assumed that the collection of 71 Howitt watercolours now held in the Rothschild’s Library at the British Natural History Museum, Tring, Hertfordshire were part of Fawkes’ collection. Samuel Howitt illustrated or contributed illustrations to many books such as Miscellaneous Etchings of Animals (1803), Oriental Field Sports (1807), and Ormes’ Foreign Field Sports (1813) that also contained a supplement on the Field Sports of Australia depicting Australian Aborigines.

$20,000 – 30,000 (4) Howitt was recognised for his lively and accurate depictions of natural history specimens and this is well demonstrated in the four works presented here. The four birds Howitt has illustrated, the Red-Tailed Black Cockatoo, Yellow-Tailed Black Cockatoo, Palm Cockatoo and Regent Honeyeater are now all considered to be endangered species. 1. Bullock,W., A Companion to Bullock ’s Museum, London, 1799

124

125

ALBERT NAMATJIRA 72 (1902 – 1959) WATERHOLE AND GHOST GUM watercolour on paper 26.0 x 38.0 cm signed lower right: ALBERT NAMATJIRA estimate :

126

$20,000 – 30,000

PROVENANCE Collection of Dr Eugene and Mrs Vilhelmina Gedgaudas, North Oaks, Minnesota, USA Leslie Hindman Auctioneers, Chicago, 14 December 2016, lot 220 (as ‘Landscape Scene’) Private collection, Sydney

ALBERT NAMATJIRA 73 (1902 – 1959) NEAR CORROBOREE ROCK, EASTERN MACDONNELLS watercolour on paper 25.0 x 35.0 cm signed lower right: ALBERT NAMATJIRA estimate :

$20,000 – 30,000

PROVENANCE The Terrace Gallery, Sydney Private collection, Queensland, acquired from the above in 1988

127

RONNIE TJAMPITJINPA 74 born 1943 UNTITLED (TINGARI STORY), 1988 synthetic polymer paint on linen 152.5 x 120.0 cm bears inscription verso: artist’s initials and Papunya Tula Artists cat. RT8805118 estimate :

128

$12,000 – 18,000

PROVENANCE Papunya Tula Artists, Alice Springs Private collection, Sydney

BILL WHISKEY TJAPALTJARRI 75 (c.1920 – 2008) ROCKHOLES AND COUNTRY NEAR THE OLGAS, 2008 synthetic polymer paint on linen 154.0 x 153.0 cm bears inscription verso: artist’s name, title, size and Watiyawanu Artists of Amunturrungu cat. 10-08462 estimate :

$15,000 – 20,000

PROVENANCE Watiyawanu Artists of Amunturrungu, Mount Liebig Private collection, Melbourne This work is accompanied by a certificate of authenticity from Watiyawanu Artists of Amunturrungu.

129

TJUNGKARA KEN 76 born 1969 SEVEN SISTERS, 2011 synthetic polymer paint on canvas 197.0 x 122.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 414-11 estimate :

130

$10,000 – 15,000

PROVENANCE Tjala Arts, Amata, South Australia Private collection, New South Wales This work is accompanied by a certificate of authenticity from Tjala Arts, Amata with a description of the story depicted.

GERTIE HUDDLESTON 77 (c.1933 – 2013) FRESH WATER SPRINGS, 2000 synthetic polymer paint on canvas 160.0 x 137.0 cm bears inscription verso: artist’s name, date and Karen Brown Gallery cat. KB0272 estimate :

$5,000 – 7,000

PROVENANCE Karen Brown Gallery, Darwin Private collection, New South Wales, acquired from the above in August 2009 This work is accompanied by a certificate of authenticity from Karen Brown Gallery, Darwin that states in part: ‘Fresh Water Springs in my country portrays the lush and rich country of the Roper River... Gertie includes the wide variety of grasses, the rocky outcrops, the pockets of birdlife circling around the waterholes... and demonstrates the intimate relationship between Gertie and her country.’

131

MAGGIE NAPANGARDI WATSON 78 (1921 – 2004) DIGGING STICKS, 1990 synthetic polymer paint on canvas 76.0 x 91.5 cm bears inscription verso: artist’s name and Warlukurlangu Artists cat. 61/90 PROVENANCE Warlukurlangu Artists, Yuendumu Friends of the Earth Manyuku Gallery, Melbourne Private collection, Melbourne, acquired from the above in 1990 EXHIBITED Yuendumu, Ramingining, Bathurst Island – acrylic paintings from Warlukurlangu artists of Yuendumu, bark paintings from Bulabula Arts of Ramingining and screen-printed fabrics from Tiwi Designs of Bathurst Island, Manyuku Gallery, Melbourne, 9 – 21 October 1990 estimate :

$10,000 – 15,000

EMILY KAME KNGWARREYE 79 (c.1910 – 1996) UNTITLED, 1992 synthetic polymer paint on canvas 75.0 x 55.0 cm bears inscription verso: artist’s name and Delmore gallery cat. 92C163 PROVENANCE Commissioned by Delmore Gallery, Alice Springs Corbally Stourton Contemporary Art, London The Dr Joseph Brown Collection, Melbourne Christie’s, Melbourne, 17 May 2005, lot 119 Private collection, Melbourne estimate :

132

$8,000 – 12,000

YIRAWALA 80 (c.1903 – 1976) UNTITLED (KANGAROOS), 1967 natural earth pigments on eucalyptus bark 60.0 x 39.5 cm bears inscription verso: artist’s name and date PROVENANCE Created in the Oenpelli region of Western Arnhem Land in 1967 Jim Davidson, Melbourne Private collection, Melbourne, acquired from the above c.1989 estimate :

$14,000 – 18,000

WANDJUK MARIKA 81 (1927 – 1987) DJANGKAWU CREATION STORY, 1964 natural earth pigments on eucalyptus bark 91.0 x 42.0 cm bears inscription verso: cat. P23 and cat. N9 bears inscription on label verso: artist’s name, title, date and a description of the story depicted

PROVENANCE Painted in the Yirrkala region of North East Arnhem Land Yirrkala Aboriginal Arts, Yirrkala (label attached verso) Private collection Sotheby’s, 30 July 1990, Melbourne, cat. 7 Private collection, Melbourne estimate :

$6,000 – 8,000

133

ISO RAE 82 (1860 – 1940) PORTRAIT OF A YOUNG GIRL watercolour on paper 7.5 cm diameter signed lower right: ISO RAE bears inscription verso: From Alison / 28th Sept. 1941 Rae / Miniature painted by Iso Rae in our dear / “Home” Rue des Violiers / Etaples, Pas – de – Calais / France. PROVENANCE Private collection, United Kingdom Private collection, Melbourne estimate :

$3,500 – 4,500

SYDNEY LONG 83 (1871– 1955) THE SPIRIT OF THE AIR, c.1900 watercolour on paper 28.0 x 55.0 cm signed lower right: Sydney Long estimate :

134

$9,000 – 12,000

PROVENANCE Private collection, Adelaide Scheding Berry Fine Art, Sydney Private collection, Sydney RELATED WORK The Spirit of the Bushfire, 1900, watercolour, 30.5 x 46.5 cm, in the collection of the Art Gallery of Ballarat, Victoria, exhibited in Sydney Long, The Spirit of the Land, National Gallery of Australia, Canberra, 17 August – 11 November 2012

TOM ROBERTS 84 (1856 – 1931) LONDON STREET SCENE, c.1884 gouache on paper 22.5 x 13.0 cm signed lower left: Tom Roberts estimate :

$10,000 – 15,000

PROVENANCE Norman Schureck, Sydney The Norman Schureck Collection of Valuable Pictures, James R. Lawson Pty Ltd, Sydney, 27 March 1962, lot 205 Private collection, Victoria LITERATURE Topliss, H., Tom Roberts 1856–1931: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol. 1, cat. 36, p. 87; vol. 2, pl. 8 (illus., as ‘Untitled: London Street Scene’)

135

WILLIAM ROBERT COLTON

(1867 – 1921, British) ANGAS MEMORIAL BRONZE RELIEFS, c.1915 six bronze reliefs various sizes, 63.0 cm max. height estimate :

$25,000 – 35,000 (6)

PROVENANCE The Angas family, England Thence by descent Private collection, England Deutscher and Hackett, Melbourne, 25 November 2009, lot 29 Private collection, Melbourne LITERATURE Extensive literature on the Angas Memorial can be found in the Adelaide Advertiser, Chronicle, Observer, Register and News. See also Adelaide Advertiser, 30 January 1914, p. 11 Cameron, S., Silent Witness: Adelaide’s Statues and Monuments, Adelaide, 1997, pp. 59–61

The six bronze reliefs by William Colton were cast in an edition of two, one being set in the Angas Memorial, Adelaide, and the other retained by the family in England. A gift of the family, the Memorial honoured George Fife Angas (1789–1879) and his son John Howard Angas (1823–1904), founders of the dynasty in South Australia. George Fife was regarded by many as the father of South Australia, being the financial brains behind the establishment of the new colony. A Baptist, merchant banker, he was chairman of the South Australian Company in London and later a member of South Australia’s first Legislative Council. His son John Howard Angas guided the family’s pastoral interests and, like his father, achieved a widely respected political and philanthropic profile. The realisation of the Memorial, nowadays sited in the Angas Gardens on the north side of the River Torrens near King William Road, was supported by John Howard Angas’ daughter Lilian, by then living in England, and her brother Charles. It was completed in 1915. The temple-like Memorial consists of a marble canopy supported by four ionic columns over a pedestal, topped by a sailing ship. A life-sized winged angel stands on the steps. The six bronze reliefs on each side show portraits of George Fife and John Howard Angas, and illustrate events associated with the Angas family and settlement of South Australia. The bust of George Fife is titled ‘Patriot – Politician – Philanthropist’ and that of John Howard as ‘Pioneer – Pastoralist – Philanthropist’. (Another son, George French Angas was a noted colonial artist well known for his volume South Australia Illustrated of colour lithographs of the Colony’s early years.) The first relief to catch the eye celebrates the raising of the flag at the Old Gum Tree, Glenelg, on Proclamation Day 28 December 1836, when Governor John Hindmarsh inaugurated South Australia, reading the Foundation Act issued by King William IV. Another relief shows Silesian Lutherans boarding ship. They were the largest group of devout families encouraged by George Fife, a keen promoter of civil and religious liberty, to emigrate to South Australia. Today their descendants provide the engaging German traditions present in the Barossa Valley and Adelaide Hills. Another panel is devoted to the sturdy pioneers, loaded wagons hauled by horses and bullocks across the diagonals of the composition pictorialising their uphill challenges. Finally, the map of New Zealand, lettered underneath ‘Saved For Great Britain 1846’, refers to the annexation of New Zealand and the part played by George Fife in saving New Zealand from French interests. Colton, who designed the monument and its bronzes, was born in Paris in 1867, coming to England three years later. Noted for his portraits busts, allegorical subjects and public monuments, he is well remembered for his South African Royal Artillery Memorial (1899– 1902) in London’s The Mall. Other important outdoor sculptures include the statue in the grounds of the Worcester Cathedral, UK, commemorating the Worcestershire men who died in the Boer War, and in Australia the bronze of Matthew Flinders, unveiled in 1925 opposite the front of the Mitchell Library, Sydney. His celebration of the sensuous beauty of the female nude, the bronze sculpture The Girdle 1898 in the Tate Gallery, was once regarded as his most famous work. Colton exhibited in the Royal Academy and in Paris in the Salon of Société des Artistes Français. Professor of Sculpture at the Royal Academy Schools from 1907 to 1910 and again in 1911–1912, he was elected an R.A. in 1991 and President of the Royal Society of British Sculptors in 1921. DAVID THOMAS

136

HAUGHTON FORREST 86 (1826 – 1925) EUROPEAN WARSHIPS OFF THE COAST oil on canvas 51.5 x 80.0 cm signed lower left: Forrest estimate :

138

$15,000 – 20,000

PROVENANCE Private collection, Melbourne

S.T. GILL 87 (1818 – 1880) OFF TO THE DIGGINGS watercolour on paper 21.5 x 30.0 cm signed with initials lower left: S.T.G PROVENANCE Private collection, United Kingdom Private collection, Melbourne estimate :

$8,000 – 12,000

AMERICAN SCHOOL 88 mid 19th Century WHALING, c.1850 oil on canvas 53.0 x 74.0 cm PROVENANCE Private collection, New Zealand Private collection, Melbourne RELATED WORK The Whale Fishery: Attacking a Sperm Whale and Cutting in, c.1850, hand-coloured lithograph, published by Currier and Ives, New York estimate :

$4,000 – 6,000

139

GRACE COSSINGTON SMITH 89 (1892 – 1984) TURRAMURRA LANDSCAPE, c.1926 oil on wood panel 33.5 x 35.5 cm estimate :

140

$20,000 – 30,000

PROVENANCE Estate of the late Miriam Freeman Morrice, New South Wales Sotheby’s, Melbourne, 26 November 1990, lot 186 Sotheby’s, Melbourne, 22 April 1996, lot 102 Private collection, Victoria Deutscher and Hackett, Melbourne, 29 August 2007, lot 80 Private collection, Melbourne EXHIBITED Possibly Grace Cossington Smith, Grosvenor Galleries, Sydney, 23 July – 4 August 1928, cat. 26, (as ‘Red Cottage, Turramurra’)

ROY DE MAISTRE 90 (1894 – 1968) INTERIOR STILL LIFE oil on board 93.0 x 60.0 cm signed lower right: R. de Maistre estimate :

$30,000 – 40,000

PROVENANCE Private collection Christie’s, Sydney, 3 October 1973, lot 515 Private collection, New South Wales Bonhams and Goodman, Sydney, 8 November 2004 (as ‘Flowers on a Table’) Private collection, Melbourne

141

HORACE TRENERRY 91 (1889 – 1958) MORNING LIGHT, 1928 oil on canvas 38.5 x 28.0 cm signed and dated lower left: Horace Trenerry / Australia /. 28. inscribed on backing paper upper left verso: Morning Light / H. Trenerry inscribed upper right verso: T... Gallery PROVENANCE John Martin Gallery, Adelaide, A.J. Hamilton, Bendigo, acquired from the above c.1935 Thence by descent Private collection, Melbourne RELATED WORK Morning Mists, 1945 – 47, oil on canvas on cardboard, 65.8 x 60.0 cm, collection of the Art Gallery of New South Wales, Sydney estimate :

$12,000 – 16,000

ROY DE MAISTRE 92 (1894 – 1968) EUROPEAN CANAL AND BRIDGE oil on canvas on board 50.5 x 55.5 cm signed lower left: R de Maistre PROVENANCE Private collection Mossgreen, Melbourne, 22 November 2009, lot 21 Private collection, Melbourne estimate :

142

$8,000 – 12,000

LLOYD REES 93 (1895 – 1988) WOODFORD BAY, LANE COVE, 1941 oil on canvas on board 25.5 x 40.5 cm signed and dated lower left: 41 L REES inscribed verso: WOODFORD BAY LANE COVE estimate :

$8,000 – 12,000

PROVENANCE Private collection, Sydney, acquired directly from the artist Thence by descent Private collection Sotheby’s, Sydney, 15 August 2000, lot 73A Scott Livesey Gallery, Melbourne Company collection, Melbourne Christie’s London, 12 December 2007, lot 32 Private collection, United Kingdom Christies, London, 8 December 2016, lot 37 Private collection, Sydney

ROLAND WAKELIN 94 (1887 – 1971) THE PATHWAY, 1946 oil on board 50.0 x 61.0 cm signed and dated lower right: R Wakelin / ‘46 PROVENANCE Private collection, Sydney EXHIBITED Possibly: Roland Wakelin, Macquarie Galleries, Sydney, March 1946 estimate :

$6,000 – 8,000

143

TONY TUCKSON 95 (1921 – 1973) UNTITLED NO. 5 (BLUE), c.1960 gouache on paper 76.0 x 101.0 cm bears inscription verso: No 5 / … PROVENANCE Watters Gallery, Sydney Company collection, Melbourne estimate :

$4,000 – 6,000

TONY TUCKSON 96 (1921 – 1973) UNTITLED (TD 2433), 1956 gouache on paper 59.0 x 84.0 cm bears inscription verso: 93/08/009 PROVENANCE Estate of Tony Tuckson Watters Gallery, Sydney Private collection, Sydney, acquired from the above in 1993 EXHIBITED Tony Tuckson: Abstract Works on Newspaper 1952 – 1959, Watters Gallery, Sydney, 7 April – 1 March, 1993, cat. 9 (illus. in exhibition catalogue) estimate

144

$3,000 – 5,000

TONY TUCKSON 97 (1921 – 1973) UNTITLED (RED, BLACK AND WHITE), c.1958, VERSO: SEATED NUDE oil on cardboard 67.0 x 49.0 cm estimate :

$25,000 – 35,000

PROVENANCE Watters Gallery, Sydney Art Galleries Schubert, Queensland (label attached verso) Private collection, Queensland Deutscher and Hackett, Melbourne, 9 May 2007, lot 46 Private collection, Melbourne

145

JEFFREY SMART 98 (1921 – 2013) THE TORRENS WEIR, c.1946 – 1948 watercolour on paper 38.0 x 27.0 cm PROVENANCE Barbara Woodward, Adelaide, acquired directly from the artist Thence by descent Private collection, London Deutscher and Hackett gratefully acknowledges the assistance of Stephen Rogers, Archivist for the Estate of Jeffrey Smart, and James Raggatt FRSASA in cataloguing this work. estimate :

$6,000 – 8,000

JEFFREY SMART 99 STILL LIFE, c.1948 watercolour on paper 27.0 x 36.5 cm inscribed lower right: HAN VAN MEEGEREN / (1948) PROVENANCE Barbara Woodward, Adelaide, acquired directly from the artist Thence by descent Private collection, London Deutscher and Hackett gratefully acknowledges the assistance of Stephen Rogers, Archivist for the Estate of Jeffrey Smart, in cataloguing this work. estimate :

146

3,000 – 5,000

...this modest watercolour is amusingly inscribed lower right ‘Han Van Meegeren’ 1948’. The infamous Han van Meegeren 1889 – 1947, was a Dutch painter and portraitist. However Van Meegeren was best known as an exquisite forger whose copies of Dutch masters including Vermeer were very convincing. This light hearted Still Life by Jeffrey Smart, painted the year after Van Meegeren’s death, is remembered as a homage in jest to the great forgers achievements.

JEFFREY SMART 100 (1921 – 2013) STUDY FOR THE FIVE FACTORIES, 1987 watercolour and ink on paper 12.5 x 20.5 cm signed and dated lower left: Jeffrey Smart 89 PROVENANCE Australian Galleries, Sydney Private collection, Sydney, acquired from the above in 2001 EXHIBITED Jeffrey Smart, Drawings and Studies 1942 – 2001, Australian Galleries, Sydney, 11 September – 3 October, 2001, and Australian Galleries, Melbourne, 13 October – 4 November, 2001, cat. 161 (illus. in exhibition catalogue, as ‘Study 1987 for The Five Factories, 1988’) (label attached verso) estimate :

$8,000 – 12,000

ROBERT KLIPPEL 101 (1920 – 2001) A COLLECTION OF THREE SCULPTURES I) NO. 870, c.1990 plastic construction 17.5 cm (height) II) NO. 1294 plastic construction on a wax base 19.0 cm (height) III) NO. 873, c.1990 plastic construction 12.0 cm (height) PROVENANCE Estate of Robert Klippel, Sydney Private collection, Sydney Company collection, Sydney LITERATURE Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 870 and 873 (illus.) estimate :

$10,000 – 15,000 (3)

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BILL COLEMAN 102 (1922 – 1993) BEDROOM INTERIOR WITH NUDE oil on composition board 77.0 x 96.5 cm signed lower right: Bill Coleman PROVENANCE Private collection, Melbourne Deutscher and Hackett, Melbourne, 17 November, 2010, lot 96 Private collection, Queensland estimate :

$8,000 – 12,000

DAVID LARWILL 103 (1956 – 2011) THE PLOT, 2002 oil on linen 61.0 x 76.5 cm signed with initials and dated centre: D.L / ‘02 signed, dated and inscribed with title verso: “the plot” / David Larwill / 2002 PROVENANCE Gould Galleries, Melbourne Private collection, Melbourne, acquired from the above in 2002 estimate :

148

$6,000 – 8,000

DAVID LARWILL 104 (1956 – 2011) ATTACK OF THE EUROPEAN WASP, 1986 oil on canvas 150.0 x 200.0 cm signed and dated lower left: d / l / 86 signed, dated and inscribed with title verso: D.L. / “attack of the european / wasp” / 1986 estimate :

$20,000 – 30,000

PROVENANCE Deutsche Bank Collection, Sydney Deutscher~Menzies, Sydney, 7 December, 2005, lot 40 Private collection, Sydney Deutscher and Hackett, Melbourne, 30 November 2011, lot 40 Private collection, Melbourne

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DONALD FRIEND 105 (1915 – 1989) THE MONKEY WITH NUT, 1946 oil on board 44.0 x 34.0 cm signed and dated lower left: Donald. 46’ PROVENANCE Private collection until 1953 Thence by descent Private collection, New South Wales, acquired from the above in 2002 Private collection, New South Wales estimate :

$8,000 – 12,000

ROY DE MAISTRE 106 (1894 – 1968) THE FOURTH STATION, c.1958 oil and gold paint on card 28.0 x 21.5 cm signed lower right: R de Maistre. bears inscription verso: The IV Station bears inscription on frame verso: de Maistre PROVENANCE Mr Oswald Falk, United Kingdom, acquired directly from the artist, c.1958 Private collection, United Kingdom Thence by descent Private collection, United Kingdom estimate :

150

$8,000 – 12,000

CHARLES BLACKMAN 107 born 1928 SUITE, 1960 watercolour and charcoal on paper 70.0 x 51.0 cm signed and dated below image: BLACKMAN 1960 PROVENANCE The Johnstone Gallery, Brisbane Private collection, Sydney Deutscher and Hackett, Melbourne, 26 November 2008, lot 80 Private collection, Sydney estimate :

$10,000 – 15,000

MICHAEL KMIT 108 (1910 – 1981) THE CALLING OF CHRIST, 1952 oil on canvas 95.0 x 77.0 cm signed and dated twice lower right: KMIT / 1952 / KMIT / 52 PROVENANCE Private collection Private collection, New South Wales, acquired from the above by private treaty in 1994 estimate :

$5,000 – 7,000

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SIDNEY NOLAN 109 (1917 – 1992) LEDA AND SWAN (BLUE LANDSCAPE) wax crayon and fabric dye on paper 28.0 x 24.5 cm PROVENANCE Lady Nolan, United Kingdom Private collection, Melbourne estimate :

$4,000 – 6,000

SIDNEY NOLAN 110 (1917 – 1992) LEDA AND SWAN (GREEN LANDSCAPE) wax crayon and fabric dye on paper 28.0 x 24.5 cm PROVENANCE Lady Nolan, United Kingdom Private collection, Melbourne estimate :

152

$4,000 – 6,000

SIDNEY NOLAN 111 (1917 – 1992) KELLY, 1954 enamel and synthetic polymer paint on paper 29.5 x 24.5 cm signed lower centre: Nolan titled, dated and inscribed verso: Kelly / 1954 / N/C / No 9 / Use as cover for Kelly book. estimate :

$10,000 – 15,000

PROVENANCE Lady Nolan, United Kingdom Private collection, Melbourne

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HENRY MOORE 112 (1898 – 1986, British) HEAD (AFTER ANDREA PISANO), 1980 – 81 crayon on paper 27.0 x 23.0 cm signed and dated lower right: Moore 80 PROVENANCE Private collection, London Private collection, Adelaide RELATED WORK Head (after Andrea Pisano), 1980, charcoal, illus. in Garrould, A., Henry Moore: Volume 5: Complete Drawings 1977–81, Henry Moore Foundation in association with Lund Humphries Publishers Ltd, London, 1995 Head Study I after Andrea Pisano, 1981, soft ground etching in black, illus. in Cramer, P., Henry Moore: The Graphic Work 1980 – 1984, Patrick Cramer, Geneva, 1986 Accompanied by a letter of authentication from The Henry Moore Foundation dated 9 April 2015. estimate :

$3,000 – 5,000

WALTER SICKERT 113 (1860 – 1942, British) MORAX, c.1900 pen and ink on paper 24.0 x 19.0 cm inscribed with title upper right: Morax signed lower right: Rd. St. A.R.A. PROVENANCE Beaux Arts Gallery, London Private collection, Sydney Christie’s, Sydney, 3 October 1973, lot 470 David Jones Gallery, Sydney (label attached verso) Estate of John Greenhill, Sydney Private collection, Sydney EXHIBITED Sickert, David Jones Gallery, Sydney, 14 – 30 August 1980, cat. 34 estimate :

154

$1,500 – 2,500

PROVENANCE Private collection, Melbourne Leonard Joel, Melbourne Private collection, Melbourne, acquired from the above c.1980 Private collection, Adelaide

EDVARD MUNCH 114 (1863 – 1944, Norwegian) MODEL WARMING HER HANDS, 1896 etching and drypoint 27.5 x 14.0 cm image 29.5 x 19.5 cm plate collectors mark verso estimate :

$8,000 – 12,000

LITERATURE Woll, G., Edvard Munch: The Complete Graphic Works, Orfeus Publishing, Oslo and Philip Wilson Publishers, London, 2012, cat. 53 (illus.) Schiefler, G., Das Graphische Werk, 1906–1926, J.W. Cappelens, Oslo, 1974 (as ‘Study of a Nude’) RELATED WORK Woman with Shawl, 1895, illus. in Hoerschelmann, A. and Schroeder, K. (eds), Edvard Munch, Theme and Variation, Hatje Cantz, Germany, 2003, p. 44

155

JESSE JEWHURST HILDER 115 (1881 – 1916) ENTRY GATES WITH WOMAN AND CHILD, c.1914 watercolour on paper 26.0 x 18.0 cm signed lower right: J J Hilder PROVENANCE Private collection, Victoria estimate :

$4,000 – 6,000

JAMES JACKSON 116 (1882 – 1975) MIDDLE HARBOUR, SYDNEY, c.1933 oil on canvas 45.5 x 55.5 cm signed lower right: JAMES R. JACKSON PROVENANCE Private collection, Victoria estimate :

$4,000 – 6,000

JAMES ALFRED TURNER 117 (c.1850 – 1908) THE RIGHT DIRECTION, 1902 oil on canvas on board 20.0 x 35.5 cm signed and dated lower left: J. A. Turner 1902 PROVENANCE Private collection, Victoria estimate :

156

$5,000 – 8,000

HAROLD SEPTIMUS POWER 118 (1878 – 1951) HARD AT WORK oil on canvas on board 45.5 x 56.0 cm signed lower right: H. S. POWER bears inscription verso: Hard at work / … PROVENANCE Private collection, Victoria estimate :

$5,000 – 8,000

J.H. SCHELTEMA 119 (1861 – 1941) CATTLE BY THE RIVER oil on canvas 71.5 x 102.0 cm signed lower right: J. H. Scheltema PROVENANCE Private collection, Victoria estimate :

$6,000 – 8,000

157

PETER BOOTH 120 born 1940 DREAM 2, 1987 charcoal and pastel on paper 18.0 x 26.0 cm signed, dated and inscribed with title verso: BOOTH / 1987. / DREAM 2 estimate :

PROVENANCE CDS Gallery, New York Private collection, United Kingdom EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

$1,800 – 2,200

PETER BOOTH 121 born 1940 NIGHT LANDSCAPE 2, 1987 pastel on paper 22.0 x 33.5 cm signed, dated and inscribed with title verso: BOOTH / 1987 / Night Landscape 2. estimate :

$1,800 – 2,200

PROVENANCE CDS Gallery, New York Private collection, United Kingdom EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

PETER BOOTH 122 born 1940 FIGURE ON ROAD, 1987 pastel on paper 18.0 x 30.0 cm signed, dated and inscribed with title verso: BOOTH / 1987 / Figure on Road estimate :

$1,800 – 2,200

PROVENANCE CDS Gallery, New York Private collection, United Kingdom EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

PETER BOOTH 123 born 1940 UNTITLED, 1984 pastel on paper 18.0 x 26.0 cm signed and dated verso: BOOTH / 1984 estimate :

158

$1,800 – 2,200

PROVENANCE CDS Gallery, New York Private collection, United Kingdom EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

PETER BOOTH 124 born 1940 CENTRAL PARK, NEW YORK, 1984 ink on paper 10.5 x 14.5 cm signed with initials, dated, and inscribed with title verso: P.B. SEPT. 84. / Central Park. / New York. estimate :

EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

$1,000 – 1,200

PETER BOOTH 125 born 1940 N.Y.C., 1984 ink on paper 15.0 x 19.5 signed with initials, dated, and inscribed with title verso: P.B. 84. / N.Y.C. estimate :

PROVENANCE CDS Gallery, New York Private collection, United Kingdom

$1,200 – 1,800

PROVENANCE CDS Gallery, New York Private collection, United Kingdom EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

PETER BOOTH 126 born 1940 N.Y.C., 1984 ink on paper 19.5 x 15.0 cm signed with initials, dated, and inscribed with title verso: P.B. 84. / N.Y.C. estimate :

$1,200 – 1,800

PROVENANCE CDS Gallery, New York Private collection, United Kingdom EXHIBITED Peter Booth: The Nature of Nature, Exhibition 174, CDS Gallery, New York, 10 January – 28 February 2004

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FRED WILLIAMS 127 (1927 – 1982) KNOLL IN THE YOU YANGS, 1963 – 64 etching and drypoint 29.5 x 45.5 cm edition: 17/45 signed and numbered below image: 17-45 Fred Williams estimate :

$4,000 – 6,000

PROVENANCE Private collection, Melbourne LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, pl. 61, cat. 208, p. 126, pp. 72 – 73 (illus. another example) Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 83 (illus. another example)

PROVENANCE Private collection, Melbourne

FRED WILLIAMS 128 (1927 – 1982) LANDSCAPE WITH A STEEP ROAD, 1959 etching and drypoint 19.0 x 15.5 cm edition: 15/18 signed and numbered below image: 15-18 Fred Williams estimate :

$3,000 – 5,000

LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, pl. 50, cat. 174, p. 61 (illus. another example) Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 51 (illus. another example) RELATED WORK Landscape with a Steep Road, 1957, oil on composition board, 110.3 x 90.9 cm, collection of the National Gallery of Australia, Canberra, acquired in 1979

FRED WILLIAMS 129 (1927 – 1982) HILLSIDE NUMBER 1, 1965 – 66 etching and mezzotint 20.0 x 21.5 cm edition: 3/18 signed and numbered below image: 3-18 Fred Williams estimate :

160

$3,000 – 5,000

PROVENANCE Private collection, Melbourne LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 224, p. 129 (illus., another example)

NORMAN LINDSAY 130 (1879 – 1969) STUDY FOR AN OIL PORTRAIT, 1940 charcoal on paper 72.5 x 53.5 cm estimate :

$8,000 – 12,000

PROVENANCE The Bloomfield Galleries, Sydney (label attached verso) Lawsons, Sydney, 21 July 1992, lot 77 (as ‘Reclining Nude’) Private collection, Sydney LITERATURE Bloomfield, L., Norman Lindsay: Impulse to Draw, Bay Books, Sydney, 1984, p. 105 (illus.) RELATED WORK The oil painting of this subject, whereabouts unknown, is reproduced on the dust jacket of Lindsay, R., A Model Wife, Ure Smith, Sydney, 1967

JUSTIN O’BRIEN 131 (1917 – 1996) MADONNA AND CHILD AGAINST LANDSCAPE, 1974 sepia ink and pencil on paper 49.5 x 68.5 cm signed and dated upper right: O’Brien ’74 PROVENANCE South Yarra Gallery, Melbourne (label attached verso) Private collection, Melbourne Thence by descent Private collection, Italy estimate :

$3,000 – 5,000

EXHIBITED Possibly: Recent Works by Justin O’Brien, South Yarra Gallery, Melbourne, October – November 1974 RELATED WORK Madonna and Child against landscape, c.1974, oil on canvas, 50.0 x 68.0 cm, Private collection, Melbourne, illus. in Pearce B., and Wilson, N., Justin O’Brien: The Sacred Music of Colour, Art Gallery of New South Wales, Sydney, 2010, p. 132

DONALD FRIEND 132 (1915 – 1989) JONAH ink and wash on paper 26.5 x 36.0 cm signed and inscribed with title lower right: Jonah. / Donald Friend. estimate :

$1,000 – 1,500

PROVENANCE Australian Galleries, Melbourne (label attached verso) Private collection, Melbourne

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1. PRIOR TO AUCTION CATALOGUE SUBSCRIPTIONS Catalogues can be obtained at Deutscher and Hackett offices or by subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information). PRE-SALE ESTIMATES The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer’s premium or other charges where applicable.

prospective buyers and sellers guide ALL PARTIES ARE STRONGLY URGED TO READ THE CONDITIONS OF AUCTION AND SALE INCLUDED IN THIS CATALOGUE

RESERVES The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold. PRE-AUCTION VIEWINGS In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend. SYMBOL KEY ▲ Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part. In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price. ● Used to indicate lots for sale without a reserve. EXPLANATION OF CATALOGUING PRACTICE AND TERMS All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars. ARTIST’S NAMES All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist’s working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne. Terms used in this catalogue have the meanings ascribed to them below: a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by the artist. b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part. c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist’s period. d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist. e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist. f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist. g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist. h. “signed” / “dated” in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist. i. “bears signature” / “bears date” in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

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PROVENANCE Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality. 2. THE AUCTION Auctions are open to the public and are free to attend. Deutscher and Hackett may exclude any person at any time in its discretion. REGISTRATION Bidders must register to bid prior to the commencement of an auction. Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion. CONDUCT OF AUCTION Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve. ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids. RESERVE Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor. BIDDING INCREMENTS Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion): $500 – 1,000 by $50 $1,000 – 2,000 by $100 $2,000 – 3,000 by $200 $3,000 – 5,000 by $200 / $500 / $800 $5,000 – 10,000 by $500 $10,000 – 20,000 by $1,000 $20,000 – 30,000 by $2,000 $30,000 – 50,000 by $2,000 / $5,000 / $8,000 $50,000 – 100,000 by $5,000 $100,000 – 200,000 by $10,000 $200,000 – 300,000 by $20,000 $300,000 – 500,000 by $20,000 / $50,000 / $80,000 $500,000 – 1,000,000 by $50,000 $1,000,000+ by $100,000 SUCCESSFUL BIDS The fall of the auctioneer’s hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time. UNSOLD LOTS Where a lot is unsold, the auctioneer will announce that the lot is “bought in”, “passed”, “withdrawn” or “returned to owner”.

3. AFTER THE AUCTION PAYMENTS Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 3.10% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice. PURCHASE PRICE AND BUYER’S PREMIUM The purchase price will be the sum of the final bid price (including any GST) plus a buyer’s premium set at 22% (plus GST) of the final bid price. Buyers may be liable for other charges reasonably incurred once ownership has passed. GOODS AND SERVICES TAX Buyers are required to pay a 10% G.S.T which sum is: a. included in the final bid prices where buying from a GST registered vendor; and b. included in any additional fees charged by Deutscher and Hackett; and c. added to the buyer’s premium. Where GST applies to some lots the final bid price will be inclusive of the applicable GST. A list of those lots is set out in the catalogue on page 186. If a buyer is classified as a “non-resident” for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met. COLLECTION Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight. LOSS OR DAMAGE Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date. TRANSPORT AND SHIPPING Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties. EXPORT Prospective bidders are advised to enquire about export licences — including endangered species licences and cultural heritage permits, where relevant — prior to bidding at auction. Telephone the Cultural Property and Gifts Section, Museums Section, Ministry for the Arts, on 1800 819 461 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale. COPYRIGHT The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

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The terms and conditions of business set forth below are subject to amendment by verbal or written notice prior to and during the auction and sale. They constitute the entire contractual agreement with the buyer in respect to any lot offered at auction. By bidding at auction in any manner compliant with bidding procedures, the buyer and all bidders agree to be bound by these terms and conditions and the terms of the prospective buyers and sellers guide contained in this catalogue, as amended. To the extent that an agent acts on behalf of the buyer, liability for obligations arising from these conditions of business will pass to the buyer. Multiple buyers are jointly and severally liable for obligations arising from this agreement. DEFINITIONS 1.

conditions of auction and sale ALL PARTIES ARE STRONGLY URGED TO READ THE CONDITIONS OF AUCTION AND SALE INCLUDED IN THIS CATALOGUE

Definition of terms: a. The ‘buyer’ refers to the party with the highest accepted bid for any lot at auction and/or such party’s principal where bidding as agent. b. The ‘vendor’ refers to the party consigning property for sale and/or such party’s principal where acting as agent. c. ‘Deutscher and Hackett’ refers to Deutscher and Hackett Pty Ltd ACN 123 119 022, its subsidiaries, officers, employees and agents. d. The ‘hammer price’ refers to the final bid price (including any GST) accepted by the auctioneer, or in the case of a post-auction sale, the agreed sale price (including any GST). e. The ‘buyer’s premium’ refers to the 22% charge (plus GST) payable by the buyer calculated as a percentage of the hammer price. f. ‘GST’ refers to the goods and services tax imposed by the A New Tax System (Goods and Services) Act 1999 as amended. g. The ‘lot’ refers to the item(s) described against any lot number in the catalogue. h. The ‘reserve’ refers to the minimum price (including any GST) the consignor will accept for a lot.

PRELIMINARY CONDITIONS AND DISCLAIMER 2. Agency: Deutscher and Hackett acts as agent for the vendor and the contract of sale for the lot will be between the buyer and the vendor. 3.

Property is sold ‘as is’: To the extent permitted by law: a. no guarantees, warranties or representations are made (express or implied) by Deutscher and Hackett or the vendor in relation to the nature and condition of any lot; and b. Deutscher and Hackett disclaims liability for any misrepresentations, errors or omissions, whether verbal or in writing, in the catalogue or any supplemental material. All factual information provided by the vendor is merely passed on by Deutscher and Hackett from the vendor or other source. Deutscher and Hackett has made no attempt to verify this information. All additional statements of opinion represent the specialist opinions of Deutscher and Hackett employees and should not be relied upon as statements of fact. 4. Responsibility to inspect: Responsibility remains with the buyer to satisfy its, his or her self by inspection and evaluation prior to purchase as to the nature and condition of any property. CONDITIONS AT AUCTION 5. Registration: Bidders must register to bid and obtain a bidder’s paddle prior to the commencement of the auction. Registration requires that bidders provide proof of identity and Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion. 6. Auctioneer’s discretion: Deutscher and Hackett reserves the right to absolute discretion over the conduct of the auction including the regulation of bidding and its increments. This discretion extends to the challenge or rejection of any bid, the right to withdraw any lot and the right to determine the successful bidder or reoffer a lot in the event of a dispute. The prospective buyers and sellers guide details an indicative process for the conduct of auctions. All parties are strongly urged to read the prospective buyers and sellers guide included in this catalogue.

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7. Bidding: Deutscher and Hackett may sell each lot to the highest bidder at auction provided the reserve price has been met or where the net amount accounted to the vendor is at least equivalent to the net amount that would have been achieved for a sale at the reserve price. The fall of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the vendor and the buyer. Unless otherwise agreed in writing with Deutscher and Hackett, the individual physically present at the auction who signals the bid accepts personal liability to pay the purchase price, including the buyer’s premium and all additional fees, taxes and charges. GOODS AND SERVICES TAX 8. Amounts inclusive of GST: Unless otherwise specified, all amounts specified in this section as payable by the buyer, or otherwise used to calculate payment to Deutscher and Hackett, are inclusive of any GST component. Deutscher and Hackett will provide buyers with a tax invoice that meets the requirements of the Australian Taxation Office. 9. Application of GST to buyers: Buyers are required to pay a 10% GST which sum is: a. included in the final bid prices where buying from a GST registered vendor (a list of lots consigned by GST Registered Entities is set out on page 186 of the catalogue); and b. included in any additional fees charged by Deutscher and Hackett; and c. added to the buyer’s premium. If a buyer is classified as a “non-resident” for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met. POST-SALE CONDITONS 10. Post auction private sale: Should the lot fail to sell at auction, Deutscher and Hackett is authorised to sell the lot privately for a period of seven days in which event this agreement shall apply to the relevant buyer to the full extent of its provisions. 11. Payment: The buyer will not acquire title until payment has cleared in full. Interest at a rate of 17.5% p.a. will be charged over outstanding accounts where no extension of terms has been granted. Interest will be payable from the payment due date. With respect to each lot purchased, the buyer agrees to make the following payments within seven days from the date of sale: a. The hammer price. b. In exchange for ser vices rendered by Deutscher and Hacket t, a buyer’s premium calculated at 22% (plus GST) of the hammer price. c. Post sale packing, handling, shipping and storage where applicable. d. If payment is made via Visa, Mastercard or American Express, any merchant fees payable by Deutscher and Hackett on the transaction as indicated in the prospective buyers and sellers guide. Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer using the form and/or trust account details provided at the back of this catalogue. In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Once funds have cleared, the proceeds of the sale less the buyer’s Premium, GST and any commission or costs charged as agreed will be remitted to the vendor within thirty-five days of the date of sale provided payment has been received in full. Funds will be held in an interest bearing account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to any interest earned during this period. Application for a cultural heritage export licence or any other licence in no way affects the buyer’s obligation to make payment or collection within the periods specified in sections 10 and 13a. 12. Risk and Title: Risk in the lot, including risk of loss or damage, will pass to the buyer on the earlier of: a. the date payment is due, whether or not it has been made; and b. collection by the buyer. The buyer assumes risk for the property in all respects from this date and neither Deutscher and Hackett nor the vendor will be liable for loss or damage occurring after the payment due date. The buyer is encouraged to make arrangements to ensure comprehensive cover is maintained from this date. Title in the lot does not pass to the buyer, even if the lot is released to the buyer, until the buyer has paid all sums owing to Deutscher and Hackett. If a buyer makes a claim against Deutscher and Hackett for damage or loss after sale, the buyer’s premium and the final bid price shall be payable notwithstanding.

13. Freight: a. The buyer may only remove a lot from the Deutscher and Hackett premises once payment has been cleared in full and must be removed no later than seven days after the date of sale. Should items not be removed by this time, storage and insurance costs may be charged to the buyer. If a lot has not been collected within 30 days after the date of sale and alternative arrangements have not been with Deutscher and Hackett, the lot may be re-sold by Deutscher and Hackett without reserve at the next auction and Deutscher and Hackett may set off any amounts owed for storage and insurance costs and its standard commission before remitting the proceeds to the buyer. b. Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property. Deutscher and Hackett does not accept responsibility or liability for the acts or omissions of any third party, such as a shipping agent, whether or not such a party has been recommended or suggested by Deutscher and Hackett. 14. Limited Warranty of Authorship: If a buyer is able to establish that a lot is a forgery in accordance with these conditions for sale within five years of the date of sale, the buyer shall be entitled to rescind the sale and obtain a refund of the hammer price from the vendor. The buyer must return the lot in the state in which it was sold within fourteen days of notifying Deutscher and Hackett of the forgery allegations. For a lot to be established as a forgery, the following conditions must be satisfied: a. the buyer must supply two independent expert testimonies attesting to the forgery. Deutscher and Hackett is entitled to request further expert evidence where it deems the evidence provided to be unsatisfactory; b. there must be no conflict of opinion among accepted experts in the field; and c. the forgery must be able to be proven through means that at the time of publication of the catalogue were commonly employed and that will not damage or otherwise put the lot in jeopardy. The limited warranty and the right to rescind the sale is not assignable and the buyer must have retained title to the lot without disposing of any interest in it up until the buyer notifies Deutscher and Hackett of the forgery allegations. The buyer acknowledges that it has no rights directly against Deutscher and Hackett if a lot is established to be a forgery. 15. Termination, Breach and Legalities: a. Deutscher and Hackett breach: To the extent permitted by law, the sole and maximum remedy to a buyer for breach of warranty is a refund of original purchase price, including buyer’s premium. In such an event the sale contract shall be rescinded and all costs associated with returning the property (in the state in which it was sold) to the premises of Deutscher and Hackett are to be borne by the buyer. Deutscher and Hackett is not liable for any indirect or consequential loss or damage for any matter arising directly or indirectly as a result of the sale. b. Buyer breach: Deutscher and Hackett may, in addition to other remedies available by law, exercise one or more of the following rights or remedies for breach: i. Cancel the sale and retain any payment or property in Deutscher and Hackett custody as collateral or liquidated damages. ii. Charge the buyer interest at the rate of 2% above the rate fixed under section 2 of the Penalty Interest Rates Act 1984 (Vic). iii. Resell the property without reserve at the next auction or privately on five days notice. Any disparity between sale and resale prices, including associated costs such as, but not limited to, legal, storage and sale expenses, will be to the account of the defaulting buyer. iv. Apply any part payment received from the buyer in respect of any lots at its discretion. v. Retain any of the buyer’s property held by Deutscher and Hackett until the buyer has satisfied its obligations to Deutscher and Hackett. vi. Take any other action Deutscher and Hackett deems necessary or appropriate. vii. Refuse to permit the buyer to participate in future auctions. viii. Provide the vendor with the buyer’s details to permit the vendor to take action against the buyer to recover the money. 16. Governing 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. 17. Severability: In the event that any provisions of this agreement should be found unenforceable in a court of law, that part shall be discounted and the remaining conditions shall continue in full force and effect to the extent permitted by law.

165

CATALOGUE SUBSCRIPTION FORM ❑ ❑ ❑ ❑

Fine Art (Single issue) $45* Aboriginal Art single issue (Single issue) $45* Annual Fine Art Auctions (3 issues) $120* Annual Fine Art & Aboriginal Art Auctions (4 issues) $160*

❑ Tax invoice required

* Price includes G.S.T. postage and handling. Additional $10 per catalogue for international orders

SALE CODE: KOI SALE NO.: 049 IMPORTANT AUSTRALIAN AND INTERNATIONAL WORKS OF ART

(Mr/Mrs/Ms/Miss) Name (please print)

Business name

Address

SYDNEY AUCTION 10 MAY, 7:00 PM LOTS 1 — 132 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

City

State

Telephone/Home

Business/Mobile

Post Code

Fax

Subscription Payment by:

❑ Visa ❑ AMEX ❑ Mastercard

Name on card

Card number

Expiry date

Signature

Date

BUYER PRE-REGISTRATION FORM please email, post or fax this completed form to: DEUTSCHER AND HACKETT 55 OXFORD STREET SURRY HILLS NSW 2010

fax: 02 9287 0611 tel: 02 9287 0600 info@deutscherandhackett.com we must receive buyer pre-registration forms at least 24 hours prior to the auction

(Mr/Mrs/Ms/Miss) Name (please print)

Business name

Address

City

Telephone/Mobile

State

Post Code

Preferred method of payment: ❑ personal cheque ❑ bank cheque ❑ direct bank transfer ❑ credit card* ❑ other * Merchant fee surchage applies to credit card payments

Signature

Date

167

ELECTRONIC FUNDS TRANSFER/DIRECT DEPOSIT FORM Buyer number

Name

Balance owing for purchases $

Bank deposit details: Account name:

DEUTSCHER AND HACKETT PTY LTD VENDOR TRUST ACCOUNT

BSB number:

033-364

Account number:

515946

Bank:

WESTPAC PRIVATE BANK LEVEL 2, 360 COLLINS STREET MELBOURNE, VICTORIA 3000

Swift code:

WPACAU2S

Deposit amount $

Deposited/transferred from:

(please supply bank details)

Please fax deposit details to: 03 9865 6344

168

Date paid:

SALE CODE: KOI SALE NO.: 049 IMPORTANT AUSTRALIAN AND INTERNATIONAL WORKS OF ART SYDNEY AUCTION 10 MAY, 7:00 PM LOTS 1 â&#x20AC;&#x201D; 132 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

TELEPHONE BID FORM SALE CODE: KOI SALE NO.: 049 IMPORTANT AUSTRALIAN AND INTERNATIONAL WORKS OF ART SYDNEY AUCTION 10 MAY, 7:00 PM LOTS 1 — 132 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

(Mr/Mrs/Ms/Miss) Name (please print)

Billing address (PO Box insufficient)

Address

City

State

Post Code

1. 2. Telephone numbers for auction date in order of preference

Facsimile

Signature (required)

please email, post or fax this completed form to:

LOT NO.

Date

ARTIST/TITLE

COVER BID*

DEUTSCHER AND HACKETT 55 OXFORD STREET SURRY HILLS NSW 2010

fax: 02 9287 0611 tel: 02 9287 0600

info@deutscherandhackett.com

we must receive buyer pre-registration forms at least 24 hours prior to the auction

7. 8. 9. 10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars INTERNAL USE ONLY RECEIVED BY

DATE

TIME

Please refer to the Guidelines for Potential Purchasers and Buyer’s Conditions in this catalogue for information regarding sales. By completing this form, I authorise DEUTSCHER AND HACKETT to contact me by telephone on the contact number(s) nominated. I understand it is my responsibility to enquire whether any Sale-Room Notices relate to any lot on which I intend to bid. I also understand that should my bid(s) be successful, a buyer’s premium of 22% (plus GST), as described in the Guide to Potential Purchasers and Buyer’s Conditions printed in this catalogue, will be added to the final hammer price. I accept that DEUTSCHER AND HACKETT provides this complimentary service as a courtesy to its clients, that there are inherent risks to telephone bidding, and I will not hold DEUTSCHER AND HACKETT responsible for any error.

169

ABSENTEE BID FORM SALE CODE: KOI SALE NO.: 049 IMPORTANT AUSTRALIAN AND INTERNATIONAL WORKS OF ART

(Mr/Mrs/Ms/Miss) Name (please print)

Billing address (PO Box insufficient)

Address

City

State

Telephone

Facsimile

Business/Mobile

Signature (required)

LOT NO.

Post Code

SYDNEY AUCTION 10 MAY, 7:00 PM LOTS 1 — 132 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

Date

ARTIST/TITLE

MAXIMUM BID*

1. 2. 3.

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 55 OXFORD STREET SURRY HILLS NSW 2010

fax: 02 9287 0611 tel: 02 9287 0600

info@deutscherandhackett.com

we must receive buyer pre-registration forms at least 24 hours prior to the auction

7. 8. 9. 10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars Absentee bids must be received a minimum of twenty-four hours prior to auction. All absentee bids received will be confirmed by phone or fax. In the event that confirmation is not received, please resubmit or contact our office. Please refer to the Guidelines for Potential Purchasers and Buyer’s Conditions in this catalogue for information regarding sales. By completing this form, absentee bidders request and authorise DEUTSCHER AND HACKETT to place the following bids acting as agent on their behalf up to and including the maximum bid specified. Lots will be bought at the lowest possible bid authorised by a bidder in absentia. Should the bid be successful, the buyer will be obliged to pay the final bid price plus buyer’s premium of 22% (plus GST) of the final bid price. DEUTSCHER AND HACKETT provides this complimentary service as a courtesy to clients and does not accept liability for errors and omissions in the execution of absentee bids.

170

INTERNAL USE ONLY RECEIVED BY

DATE

TIME

consigning now important australian + international fine art AUCTION

•

AUGUST 2017

for appraisals please contact Sydney • 02 9287 0600 Melbourne • 03 9865 6333 info@deutscherandhackett.com www.deutscherandhackett.com

BRETT WHITELEY Galah, 1998 oil, collage and wire on canvas 121.0 x 121.0 cm EST: $600,000 – 800,000 SOLD: $854,000 (inc BP) Sydney, March 2017

COPYRIGHT CREDITS Lot 1 Lot 2 Lot 4 Lot 5 Lot 6 Lot 7 Lot 8 Lot 10 Lot 12 Lot 13 Lot 15 Lot 16 Lot 18 Lot 19 Lot 20 Lot 21 Lot 24 Lot 26 Lot 27 Lot 28 Lot 29 Lot 30 Lot 37 Lot 38 Lot 39 Lot 40 Lot 42 Lot 43 Lot 44 Lot 45

© courtesy of The Estate of Jeffrey Smart © courtesy of The Estate of Jeffrey Smart © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © courtesy of Wendy Whiteley © reproduced with the permission of VISCOPY Ltd © The Estate of Lin Onus. Reproduced with the permission of VISCOPY © courtesy of Wendy Whiteley © courtesy of Wendy Whiteley © reproduced with the permission of VISCOPY Ltd © courtesy of the artist © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © Shaun Gladwell. Courtesy the artist & Anna Schwartz Gallery © Lucian Freud Archive / Bridgeman Images © The Estate of Lynn Chadwick / Bridgeman Images © H.C. & A. Glad © H.C. & A. Glad © H.C. & A. Glad © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © courtesy of the artist © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © courtesy of The Estate of Paddy Bedford

LOTS CONSIGNED BY GST REGISTERED ENTITIES Lot 10 Lot 17 Lot 22 Lot 45 Lot 66 Lot 83

Lin Onus Shane Cotton Tony Oursler Paddy Bedford Ben Quilty Sydney Long

RESALE ROYALTY Some lots consigned for this sale may be subject to the Resale Royalty Right for Visual Artists Act 2009 (Cth). Any payments due under the obligations of the Act will be paid by the vendor.

ACKNOWLEDGEMENTS Photography: Graham Baring Warren Macris Design: Sevenpoint Design © Published by Deutscher and Hackett Pty Ltd 2017 978-0-9953817-3-5

186

Lot 46 Lot 48 Lot 49 Lot 50 Lot 51 Lot 52 Lot 53 Lot 54 Lot 55 Lot 56 Lot 58 Lot 59 Lot 60 Lot 61 Lot 62 Lot 63 Lot 64 Lot 65 Lot 67 Lot 68 Lot 72 Lot 73 Lot 74 Lot 75 Lot 76 Lot 78 Lot 79 Lot 80 Lot 81 Lot 93 Lot 95

© reproduced with the permission of VISCOPY Ltd © courtesy of the artist © courtesy of the artist © courtesy of the artist © reproduced with the permission of VISCOPY Ltd © The Sidney Nolan Trust / Bridgeman Images © The Estate of Barbara Tucker. Courtesy of Sotheby’s Australia © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © courtesy of the artist © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © courtesy of Legend Press © courtesy of Legend Press © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd

Lot 96 Lot 97 Lot 98 Lot 99 Lot 100 Lot 101 Lot 103 Lot 104 Lot 105 Lot 107 Lot 108 Lot 109 Lot 110 Lot 111 Lot 112 Lot 120 Lot 121 Lot 122 Lot 123 Lot 124 Lot 125 Lot 126 Lot 127 Lot 128 Lot 129 Lot 130 Lot 132

© reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © courtesy of The Estate of Jeffrey Smart © courtesy of The Estate of Jeffrey Smart © courtesy of The Estate of Jeffrey Smart © reproduced with the permission of VISCOPY Ltd © The Estate of David Larwill. Courtesy of Fiona Larwill and Sotheby’s Australia © The Estate of David Larwill. Courtesy of Fiona Larwill and Sotheby’s Australia © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © The Sidney Nolan Trust / Bridgeman Images © The Sidney Nolan Trust / Bridgeman Images © The Sidney Nolan Trust / Bridgeman Images © The Henry Moore Foundation www.henrymoore.org /DACS. Licensed by Viscopy, 2017 © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © reproduced with the permission of VISCOPY Ltd © H.C. & A. Glad © reproduced with the permission of VISCOPY Ltd

index A AMOR, R. AUDETTE, Y. ARTIST UNKNOWN B BECKETT, C. BEDFORD, PADDY NYUNKUNY BLACKMAN, C. BOOTH, P. BOYD, A. BRIERLY, O. BUSH, S. C CAMPBELL, C. CHADWICK, L. CLOSE, C. COBURN, J. COLEMAN, B. COLTON, W.R. COOK, W.D. COTTON, S. D DE MAISTRE, R. E EARLE, A. F FAIRWEATHER, I. FORREST, H. FREUD, L. FRIEND, D. G GASCOIGNE, R. GILBERT, A. GILL, S.T. GLADWELL, S.

64 54 88

H HILDER, J.J. HOFF, R. HOWITT, S. HUDDLESTON, GERTIE

3 45

J JACKSON, J.

107 120 – 126 37, 38, 51 70 62

68 27 25 55, 56 102 85 14 17

90, 92, 106

5, 6 86 26 105, 132

42 33 87 24

K KEN, TJUNGKARA KLIPPEL, R. KMIT, M. KNGWARREYE, EMILY KAME L LARWILL, D. LINDSAY, N. LONG, S. M MACKENNAL, B. MARIKA, WANDJUK McCAHON, C. McCARTHY, P. McKENNA, N. MEADMORE, C. MOORE, H. MUNCH, E. N NAMATJIRA, ALBERT NAPANGARDI WATSON, MAGGIE NOLAN, S. O O’BRIEN, J. OLIVER, B. OLSEN, J. ONUS, LIN OURSLER, T.

115 31, 32 71 77

P PARTOS, P. POWER, H.S. PRESTON, M.

18 118 4

Q QUILTY, B.

R RAE, I. REES, L. ROBERTS, T. ROBINSON, W.

82 93 84 47

116

76 61, 101 108 46, 79

103, 104 28 – 30, 130 83

34, 35 81 41 23 65, 67 58 – 60 112 114

72, 73 78 52, 109 – 111

36, 57, 131 9 15 10 22

S SCHELTEMA, J.H. SHEAD, G. SICKERT, W. SMART, J. SMITH, G.C. STORRIER, TIM T TAYLOR, H. THOMAS (JOOLAMA), ROVER TILLERS, I. TJAMPITJINPA, RONNIE TJAPALTJARRI, BILL WHISKEY TJUPURRULA, JOHNNY WARANGKULA TRENERRY, H. TUCKER, A. TUCKSON, T. TURNER, J.A. W WAKELIN, R. WHITELEY, B. WILLIAMS, F. WOLFHAGEN, P. Y YIRAWALA

119 49, 50 113 1, 2, 98 –100 89 16, 40, 48

11 44 19 74 75 43 91 53 95, 96, 97 117

94 7, 12, 13 8, 39, 127 – 129 20, 21, 63

187