IMPORTANT AUSTRALIAN FINE ART + INTERNATIONAL ART by Deutscher and Hackett

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important australian + international fine art Lots 1 – 118

IMPORTANT FINE ART AUCTION • MELBOURNE • 27 NOVEMBER 2019

MELBOURNE • AUCTION + VIEWING 105 commercial road, south yarra, victoria, 3141 telephone: 03 9865 6333 • facsimile: 03 9865 6344 info@deutscherandhackett.com

SYDNEY • VIEWING 16 goodhope street, paddington, new south wales, 2021 telephone: 02 9287 0600 • facsimile: 02 9287 0611 info@deutscherandhackett.com

melbourne auction

sydney viewing melbourne viewing

absentee/telephone bids live online bidding

LOTS 1 – 118 WEDNESDAY 27 NOVEMBER 2019 7:00pm 105 commercial road south yarra, vic telephone: 03 9865 6333 THURSDAY 14 – SUNDAY 17 NOVEMBER 16 goodhope street paddington, NSW telephone: 02 9287 0600 11:00am – 6:00pm THURSDAY 21 – WEDNESDAY 27 NOVEMBER 105 commercial road south yarra, vic telephone: 03 9865 6333 11:00am – 6:00pm email bids to: info@deutscherandhackett.com telephone: 03 9865 6333 fax: 03 9865 6344 telephone bid form – p. 185 absentee bid form – p. 186 www.deutscherandhackett.com/watch-live-auction

www.deutscherandhackett.com • info@deutscherandhackett.com

specialists

CHRIS DEUTSCHER executive director — melbourne Chris is a graduate of Melbourne University and has over 40 years art dealing, auction and valuation experience as Director of Deutscher Fine Art and subsequently 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.

LUCIE REEVES-SMITH contemporary art specialist and 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.

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.

specialists

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.

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.

MELISSA HELLARD head of online sales 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 Head of Marketing and Client Services for Deutscher and Hackett.

CLAIRE KURZMANN gallery manager - melbourne Claire has a Bachelor of Fine Arts (Visual Art) from the University of Melbourne. She gained several years’ experience working as Gallery Assistant at Metro Gallery, Melbourne, assisting with exhibitions, events and marketing. She has acted as Artist Liaison for the Arts Centre Melbourne, coordinating aspects of artist care and has gained experience as a Studio Assistant for a number of emerging Australian artists.

VERONICA ANGELATOS senior researcher & writer Veronica has a Master of Arts (Art Curatorship and Museum Management), together with a Bachelor of Arts/Law (Honours) and Diploma of Modern Languages from the University of Melbourne. She has strong curatorial and research expertise, having worked at various art museums including the Peggy Guggenheim Collection, Venice and National Gallery of Victoria, and more recently, in the commercial sphere as Senior Art Specialist at Deutscher~Menzies. She is also the author of numerous articles and publications on Australian and International Art.

specialists for this auction

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. 186) or telephone bid form (p. 185) SHIPPING Mara Sison 03 9865 6333 CATALOGUE SUBSCRIPTIONS Claire Kurzmann 03 9865 633

contents lots 1 â&#x20AC;&#x201D; 118

page 12

prospective buyers and sellers guide

page 178

conditions of auction and sale

page 180

catalogue subscription form

page 183

attendee pre-registration form

page 184

telephone bid form

page 185

absentee bid form

page 186

index

page 199

CULTURAL HERITAGE PERMITS 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

Important Australian and International Fine Art

Lots 1 – 118 Featuring Contemporary Asia Pacific Works from The Mainland Collection Lots 24 – 34 A Private Collection Of Works By Kathleen O’connor Lots 35 - 41

DORRIT BLACK 1 (1891 – 1951) STILL LIFE (DAHLIAS), c.1929 – 30 oil on wood panel 39.0 x 33.0 cm signed lower left: Dorrit Black estimate :

$25,000 – 35,000

PROVENANCE Private collection Christie’s, Melbourne, 11 July 1977, lot 54A Mrs Louis M. Robson, Adelaide Important Women Artists Gallery, Melbourne Private collection, Melbourne, acquired from the above in 1978 EXHIBITED Dorrit Black, Macquarie Galleries, Sydney, 10 – 20 September 1930, cat. 18 (label attached verso) Dorrit Black, Royal South Australian Society of Arts Gallery, Adelaide, 7 – 23 July 1938, cat. 15(b) LITERATURE North, I., The Art of Dorrit Black, Macmillan and the Art Gallery of South Australia, Adelaide, 1979, O.34, p. 122

In late 1929, after two years of study and travel in England and Europe, Dorrit Black returned to Adelaide armed with firsthand knowledge and experience of international developments in modern art. Through the subsequent exhibition of her paintings and prints, her teaching, and energetic proselytising, Black joined the ranks of a small group of female artists, including Grace Crowley, Anne Dangar, and earlier, Margaret Preston, among others, who contributed to the introduction and spread of progressive artistic approaches in Australia. Following studies at the South Australian School of Art in Adelaide and later with Julian Ashton in Sydney, Black sailed for England in 1927, attending classes with Claude Flight at the Grosvenor School of Modern Art. Flight revolutionised printmaking in the 1920s and 30s through his passionate advocacy of the colour linocut – regarding it as the modern medium for the modern age – and Black (followed by other Australians, Ethel Spowers and Eveline Syme), absorbed his example of the use of bold colour, the reduction of subject matter to simplified shapes, and patterns based on a dynamic system of opposing rhythmic lines and forms. Moving to Paris in December, Black studied with André Lhote, one of the early exponents of Cubism, whose teaching was, in her words, ‘from the standpoint of design, which is the basis of all modern work … He judges the work from standards of rhythm, balance, proportion and line, and applies these standards to its three properties – form, tone and colour’.1 The final element of Black’s education came from Albert Gleizes, whose example incorporated rhythmic movement into radically stylised compositions, offering ‘a bridge from cubism to pure abstraction: from the static to the dynamic’. 2

Still Life (Dahlias), c.1929 – 30 features a familiar table-top arrangement of elements – books, a tablecloth (itself bearing a strikingly modern geometric design), and a vase of flowers – and the lower half of a framed picture is visible hanging on the wall behind. But while the subject is traditional, its treatment is far from it, as Black compresses pictorial space and merges some forms with others (the uppermost book and wall for example), introducing multiple fragmented viewpoints into the image. Visible brushstrokes lend the work a painterly energy and the bold colours of Black’s palette – from the royal blue of the draped cloth to the burgundy and yellow of the dahlias – draw the eye around the picture, highlighting the geometry that underpins its composition. This work was exhibited in 1930 alongside one of Black’s best known paintings, The Bridge, 1930 (Art Gallery of South Australia, Adelaide), in her first solo presentation at Macquarie Galleries, Sydney. Confounding one critic with its display of ‘ultra-modern methods’, 3 the exhibition bewildered another with its interpretation of subject matter ‘in geometrical terms’ and radical ‘adventures in forms’.4 A label on the back of the small wood panel suggests that Still Life (Dahlias) was included in one of the New English Art Club’s annual exhibitions, however her diary, which records extended travels in Europe, the United Kingdom, the United States and Canada in 1934 – 35, notes on 6 November 1934 that, ‘Today I have been to the New English Art Club, which repeatedly does not include either of my pictures’.5 It was at this time that Black did however receive significant recognition for her work when the Victoria and Albert Museum purchased an impression of the linocut, The Pot Plant, 1933, for its permanent collection.6 1. Dorrit Black quoted in Lock-Weir, T., Dorrit Black: Unseen Forces, exhibition catalogue, Art Gallery of South Australia, Adelaide, 2014, p. 36 2. ibid., p. 56. See Harding, L., ‘L’Esprit Nouveau 1913-1929’ in Harding, L. and Cramer, S., Cubism and Australian Art, exhibition catalogue, The Miegunyah Press & Heide Museum of Modern Art, Carlton, 2009, pp. 36 – 47 3. Simpson, C., ‘Geometry and Queer Colour’, Daily Guardian, 14 September 1930 quoted in North, I., The Art of Dorrit Black, Macmillan, Melbourne, 1979, p. 53 4. ‘Art Exhibition – Miss Dorrit Black’s Pictures’, Sydney Morning Herald, 11 September 1930 quoted in ibid. 5. Black, D., Travel Diaries, 1934-35, ‘England, Scotland, North America 6 October 1934 – 4 October 1935’, p. 25, Art Gallery of South Australia Research Library, Dorrit Black papers. It is possible that the label was issued by the New English Art Club to identify works submitted for consideration. I am grateful to Tracey Lock-Weir, Curator of Australian Art, Art Gallery of South Australia, for her assistance confirming this point. 6. Lock-Weir, op. cit., pp. 78 – 79

KIRSTY GRANT

DORRIT BLACK 2 (1891 – 1951) THE QUARTETTE, c.1935 colour linocut 15.0 x 24.0 cm edition: 4/50 signed, numbered, and inscribed with title below image estimate :

$25,000 – 35,000

PROVENANCE Estate of Edith Lawrence, London Thence by descent Private collection, United Kingdom Tennants Auctioneers, United Kingdom Private collection, Sydney EXHIBITED Lino-Cuts 1936 (Seventh Exhibition of British Lino-Cuts), Ward Gallery, London, 10 June – 8 July 1936, cat. 19 (another example) Dorrit Black, Royal South Australian Society of Arts, Adelaide, 7 – 23 July 1938, cat. 40 (another example) Contemporary Art Society, 1952, cat. 23 Dorrit Black: Unseen Forces, Art Gallery of South Australia, Adelaide, 13 June – 7 September 2014 (another example, as ‘The String Quartette’) LITERATURE North, I., The Art of Dorrit Black, Art Gallery of South Australia, Adelaide, 1979, cat. L30, pl. 19, pp. 73 (illus., another example, as ‘The String Quartette, 1936’), 132 Coppel, S., Linocuts of the Machine Age: Claude Flight and the Grosvenor School, Scolar Press, Aldershot, England, in association with the National Gallery of Australia, Canberra, 1995, cat. DB30, p. 160 (illus., another example, dated as 1936) Lock-Weir, T., Dorrit Black: Unseen Forces, Art Gallery of South Australia, Adelaide, 2014, pp. 102 (illus.) 204 (illus., another example)

ETHEL SPOWERS 3 (1890 – 1947) THE BAMBOO BLIND, 1926 colour linocut 15.5 x 15.0 cm edition of 50 signed with monogram in image upper right: ELS signed, dated, numbered and inscribed with title below image PROVENANCE Private collection, Sydney Deutscher and Hackett, Melbourne, 30 April 2014, lot 68 Private collection, Sydney estimate :

$8,000 – 12,000

EXHIBITED Exhibition of Watercolours and Woodcuts by Ethel Spowers, Grosvenor Gallery, Sydney, 1 June 1926 (another example) Exhibition of Wood-Cuts and Water-Colours by Ethel Spowers, New Gallery, Melbourne, 2 – 13 August 1927, cat. 35 (another example) LITERATURE ‘Miss Spowers’s Pictures’, Sydney Morning Herald, Sydney, 1 June 1926, p. 10 Coppel, S., Linocuts of the Machine Age: Claude Flight and the Grosvenor School, Scolar Press, Aldershot, in assoc. National Gallery of Australia, Canberra, 1995, cat. ES4, pp. 168 – 169 (illus., another example) RELATED WORK Another example of this print is held in the collection of the National Gallery of Australia, Canberra (edition: 4/50)

PROVENANCE Estate of Edith Lawrence, London Thence by descent Private collection, United Kingdom Tennants Auctioneers, United Kingdom, 17 March 2018, lot 562 Private collection, Sydney

EDITH LAWRENCE 4 (1890 – 1973, British) CRICKET, c.1930 colour linocut 23.0 x 33.5 cm edition: 10/25 signed and numbered in image lower left: Edith Lawrence / 10/25 estimate :

$12,000 – 18,000

EXHIBITED Claude Flight and His Followers: The Linocut Movement between the Wars, Australian National Gallery, Canberra, 18 April – 12 July 1992, and touring, cat. 52 (another example) RELATED WORK Another example of this print in held in the Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand (edition: 14/25)

HANS HEYSEN 5 (1877 – 1968) THE MIDDAY REST, 1909 watercolour on paper 33.0 x 48.0 cm signed and dated lower left: HANS HEYSEN / 1909 estimate :

$25,000 – 35,000

PROVENANCE Private collection, Melbourne Thence by descent Private collection, Melbourne, acquired from the above in 1995

Hans Heysen enjoyed many triumphs in his lifetime, possibly none more than those of the years 1908 to 1912 when his art, especially his watercolours, achieved enthusiastic recognition. His first solo exhibition in Melbourne was opened by the Prime Minister, Alfred Deakin in 1908. Sales were spectacular, including the purchase of the oil painting, A Lord of the Bush, 1908, and the watercolour, Midsummer Morning, 1908, by the Felton Bequest for the National Gallery of Victoria. The following year Heysen was awarded the Wynne Prize for another watercolour, Summer, 1909, acquired by the Art Gallery of New South Wales (then The National Art Gallery of New South Wales). Our watercolour, The Midday Rest, 1909, is from the same time. Two years later he won the Wynne Prize again with the oil painting Hauling Timber, 1911, likewise purchased by the Art Gallery of New South Wales. Lionel Lindsay praised Heysen’s watercolours as ‘Hymns to the Sun’ as his popularity continued to soar.1The Argus proclaimed Heysen’s 1912 exhibition at Athenaeum Hall to be: ‘undoubtedly the finest and most fascinating exhibition of watercolours ever seen in Melbourne’. Sales exceeded £1,500. 2 Blamire Young, Lawrence Abrahams, John Connell and Dr Samuel Ewing were among the prominent buyers. Several purchased by the latter are now in the Ewing Collection of The University of Melbourne. In 1914, Connell gave the National Gallery of Victoria Silver and Grey, 1910, The Pomp of Parting Day, 1912 and A Summer’s Day, 1912. The critical praise for A Summer’s Day: ‘its vibration of the heat and light from midday sun beneath a brilliant and luminous cloud flecked sky’, might as easily have been applied to The Midday Rest.3 The financial rewards from these exhibitions and prizes enabled Heysen to make an important change in his life – to move to Hahndorf in the Adelaide Hills in 1908. A few years later he purchased ‘The Cedars’, the family home for the remainder of his long, creative life. The move was of particular importance to his art, enabling him to enrich it through a closer relationship with the landscape, and to know and be known by those who peopled it.

These characters – noble gums and local folk – appear and reappear in his art. The figure leaning against the gum in The Midday Rest is probably Alfred Collins, the easy-going old man and one of Heysen’s favourite models. 4 This closer association did not go unnoticed. In Adelaide, The Advertiser observed that Heysen’s three watercolours in the Society of Arts annual exhibition of 1910, were readily identified with Mount Barker and Hahndorf. The Hay Waggon (sic), related to our watercolour in subject, was described as ‘probably secured while harvest operations were going on at the same “sleepy hollow”’. 5 Enveloped in stillness, the narrative of The Midday Rest is the well-earned noonday break under the shade of majestic gums; the subject is the wonder of light. Heysen’s biographer, Colin Thiele observed: ‘Out of thousands of hours of intense observation that Hans had devoted to the gum, came pictures that lived and breathed its spirit’.6 1. Lindsay, L., ‘Hans Heysen: A Great Watercolour Painter’, The Bulletin, Sydney, 28 September 1911, The Red Page 2 ‘Mr Heysen’s Pictures’, The Argus, Melbourne, 9 July 1912, p. 9 3. ‘Exhibition of Pictures’, The Leader, Melbourne, 13 July 1912, p. 47 4. See Old Man Collins, 1912, charcoal drawing illustrated in Colin Thiele, Heysen of Hahndorf, David Heysen Productions, Adelaide, 2001, opposite p. 144 5. ‘Society of Arts’, The Advertiser, Adelaide, 14 April 1910, p. 10 6. Thiele, op. cit., p. 109

DAVID THOMAS

ARTHUR BOYD 6 (1920 – 1999) WIMMERA LANDSCAPE, 1950 oil and tempera on composition board 59.0 x 76.0 cm signed lower right: Arthur Boyd bears inscription verso: THE MACQUARIE / GALLERIES / 19 BLIGH STREET / SYDNEY estimate :

$100,000 – 150,000

PROVENANCE Macquarie Galleries, Sydney Terry Clune Galleries, Sydney David Hales, Sydney Sotheby’s, Melbourne Savill Galleries, Sydney, 1987 (label attached verso) Private collection, Sydney Savill Galleries, Sydney, 2006 Private collection, Sydney EXHIBITED Australian Art and Photography, Art Association Galleries, Newport, Rhode Island, USA, September 1962, cat. 19 Savill Galleries, Sydney, 1987 Australian Paintings. Traditional, Modern and Contemporary, Savill Galleries, Sydney, 16 August – 23 September 2006, cat. 13 (as ‘White Cockatoos, Wimmera, c.1950’, illus. in exhibition catalogue) Arthur Boyd: An Active Witness, Bundanon Trust touring exhibition, 23 May 2013 – 3 Jan 2016 (label attached verso) LITERATURE Stanhope, Z., Arthur Boyd: An Active Witness, exhibition catalogue, Bundanon Trust, New South Wales, 2013, pp. 53 (illus.), 89 (illus.)

Wimmera Landscape, 1950, belongs to the revelatory extended sequence of paintings by Arthur Boyd inspired by a month’s residency in Victoria’s Wimmera region in the autumn of 1950. Stilled and haunting, set beneath a vast and glaring sky, these images stand in stark contrast to the red-hot paintings of Australia’s interior created earlier by Russell Drysdale, and Boyd’s future brother-in-law, Sidney Nolan. Rather, the Wimmera was close enough to Melbourne, Sydney and Canberra for its particular sense of country to be part of the lived sensibility of these otherwise metropolitan populations; and through them, Boyd ‘was showing Australians where they lived, mapping it, writing it home with his brush’.1 Born into a family of artists, Arthur Boyd became a master in a variety of media, including painting, drawing, printmaking, ceramics and ceramic sculpture. Although his imagery was populated by all forms of humanity and beasts – often imagined – Boyd’s great and enduring fascination was with landscape, dating from his earliest years painting in Rosebud

alongside his artist grandfather. Widely read and deeply thoughtful, Boyd was a seemingly quiet man who nonetheless displayed a steely resolve when it came to his art. For the 1950 Wimmera expedition, the artist’s family stayed for some weeks in Horsham with Betty Bennett and her husband, the schoolteacher and poet, Jack Stevenson. Yvonne Boyd and the children went first, whilst Arthur followed ‘separately and quietly, a day or so later in the increasingly decrepit Dodge, its doors now tied up with wool-baling twine’. 2 Boyd had already started experimenting with the centuries-old technique of tempera, a mixture of egg yolk, oil, water and pigment, which results in a matt, smooth surface. Extremely quick-drying, ‘the egg tempera … gave a new translucency to (Boyd’s) paintings of the late 1940s’, 3 and by the time of the Wimmera trip, he was well versed in its use, and was able to harness the medium’s unique qualities for the resultant paintings, capturing in particular the baleful white light of the sky, the spiked thistles, stunted trees and scattered bird life. In Wimmera Landscape, for example, the crow-hunter’s cart and patient horse stand next to a disused ramp running out of a pile of mine tailings, both of which are slowly eroding back into the landscape. The imagery suggests a cycle of bust and renewal that the environmentalist Boyd would no doubt have been happy to convey. Following his return, Boyd exhibited the Wimmera paintings singly and in groups in Sydney, Melbourne and Adelaide where, as one critic wrote, ‘the artist’s parched landscapes echo the spirit of the countryside’.4 Wimmera Landscape subsequently went to Newport, Rhode Island, where it formed part of an exhibition mounted as an adjunct to that year’s America’s Cup in which Australia participated for the first time with the Frank Packerbacked Gretel. In a stunning upset, Gretel won the second heat and almost claimed the fourth, causing the churlish New York Yacht Club to quickly change the rules for future races. It is tempting to wonder if the stillness of paintings like Boyd’s paintings lulled the Americans into a false sense of security, but nonetheless, images such as Wimmera Landscape would have been a revelation to local audiences, their first painterly encounter with these ‘more intimate aspects of the Australian landscape’. 5 1. Bungey, D, Arthur Boyd: a life, Allen and Unwin, Sydney, 2007, p. 248 2. ibid., p. 243 3. Pearce, B., Arthur Boyd: retrospective, Beagle Press, Sydney, 1993, p. 19 4. “The Age” Art Critic, ‘New Approach by Arthur Boyd’, The Age, Melbourne, 18 September 1951, p. 2 5. Campbell, R., ‘Arthur Boyd (1920 - )’, Australia: Paintings by Arthur Streeton and Arthur Boyd, XXIX Biennale, Venice, 1958, unpaginated

ANDREW GAYNOR

ARTHUR BOYD 7

(1920 – 1999) SHOALHAVEN LANDSCAPE II, c.1972 oil on canvas 101.0 x 101.0 cm signed lower right: Arthur Boyd bears inscription on Holdsworth Galleries label attached verso: Arthur Boyd / Shoalhaven Landscape II estimate :

$70,000 – 90,000

PROVENANCE Holdsworth Galleries, Sydney (label attached verso) Private collection, Melbourne, acquired from the above in 1972 Thence by descent Private collection, Melbourne

Arthur Boyd returned to Australia in 1971, eager to rediscover his antipodean roots having spent over a decade in the lush English countryside. A short time after his homecoming, art dealer Frank McDonald invited Arthur and his wife Yvonne to visit his property by the banks of the Shoalhaven River, on the south coast of New South Wales. On this sweltering hot day Boyd commenced a sketch of the Shoalhaven, thus beginning a love affair with the region and its many moods. Boyd and his wife proceeded to purchase two properties adjacent to the river, ‘Riversdale’ and later ‘Bundanon’, the wild landscape becoming one of Boyd’s most enduring subjects, painted well into his final years.

‘While Boyd in general chooses to portray the Shoalhaven landscape more identified with Von Guerard and Buvelot, at other times he cannot resist the temptation to paint the landscape in the manner of the early Box Hill painters ... Despite their reliance on a realistic approach to the subject, the Boyd Shoalhaven landscapes are more varied in technique and style than one might suppose. With his prodigious ability the artist is able to take the nature of the subject and render it in a manner which captures the essence of its particular properties at that time, or imbue it with a sense of character and meaning which is the result of his own immediate emotional or psychological response.’ 3 Having always delighted in his painting trips along the river, Boyd believed his magical Bundanon property should belong to the Australian people. In 1993 it was gifted to the Australian Government, to be preserved forever, in the hope that future generations may also be inspired by the beauty and brilliance of the Shoalhaven River. 1. McKenzie, J., Arthur Boyd at Bundanon, Academy Press, London, 1994, p. 42 2. McGrath, S., The Artist and the River: Arthur Boyd and the Shoalhaven, Bay Books, Sydney, 1982, p. 62 3. ibid., p. 63

The majesty of the soaring cliffs which border the Shoalhaven remained a perennial image of the series, with the sunbathed Nowra sandstone standing timelessly above the tranquil river. As Janet McKenzie has observed; ‘The natural beauty of the Shoalhaven area caused Boyd to marvel constantly. His paintings are a celebration of the grandeur and wonder of Nature. It is to Boyd’s credit that a single landscape can inspire such diversity of work. He gives us the impression that in life there are infinite possibilities, as long as we train ourselves to see’.1 Devoid of the boats, figures and swans often featured in the series, Shoalhaven Landscape II, c.1972 is a pure landscape, celebrating the unspoiled bush, completely removed from urban life. The piercing blue of the sky above the still waters of the river, creates a scene bristling with ‘air so clear and hot that light carved out the shapes of rocks like a burning scalpel’. 2 Shoalhaven Landscape II, c.1972 recalls earlier paintings such as Tom Roberts’ In a corner on the Macintyre, 1895 (National Gallery of Australia, Canberra) – both works local of scene, yet national in imagery, are unquestionably Australian in colour, light and atmosphere. Sandra McGrath describes the breadth of Boyd’s influences and responses to the landscape:

MELISSA HELLARD

WILLIAM ROBINSON 8 born 1936 TOWARDS THE SEA, FROM SPRINGBROOK, 1995 oil on linen 137.5 x 183.0 cm signed and dated lower left: William Robinson 95 inscribed with title verso: TOWARDS THE SEA FROM SPRINGBROOK estimate :

$200,000 – 300,000

PROVENANCE Ray Hughes Gallery, Sydney Private collection, Melbourne, acquired from the above in 1996 EXHIBITED William Robinson, Ray Hughes Gallery, Sydney, 28 June – 24 July 1996, cat. 2 (illus. in exhibition catalogue, p. 2) William Robinson – A Retrospective, Queensland Art Gallery, Brisbane, 31 August – 11 November 2001; National Gallery of Australia, Canberra, 14 December 2001 – 10 March 2002 (label attached verso) LITERATURE Seear, L. (ed.), Darkness and Light, The Art of William Robinson, Queensland Art Gallery, Brisbane, 2001, pl. 69, p. 126 (illus.) Hart, D. (et. al), William Robinson. The Transfigured Landscape, Queensland University of Technology and Piper Press, Brisbane, 2011, p. 98 (illus.)

‘... To see one of Robinson’s landscapes is to be in it as well, to walk, and maybe to forage, with the painter through gumthicketed gullies where any difference between the sky and its reflection is hard to tell – and probably unnecessary to know. The viewer is required to take a leap of faith, and execute something akin to a cartwheel, before penetrating Robinson’s dizzy realms. The resulting experience is partly aesthetic, partly athletic ...’1 With its multiple viewpoints and sweeping panorama of earth, sea and sky, of darkness and light, Towards the Sea, from Springbrook, 1995 encapsulates brilliantly the highly original landscapes for which William Robinson has become so widely acclaimed and admired. Robinson is unique in his devotion to an environment hitherto neglected by most artists – the ancient, labyrinthine rainforests of his immediate surroundings in the coastal hinterland of Southern Queensland and Northern New South Wales. Similarly, where the Australian landscape tradition has been characterised by a strong horizontality, Robinson here deliberately eschews established figure-ground relationships and conventional one-point perspective to transform landscape into a multidimensional experience – allowing every fold and fissure to be explored, yet still preserving a sense of panoramic continuity.

Immortalising those elements of nature which seem eternal – endless forest teeming with life; infinite untraversed oceans; majestic rifts of sky – Towards the Sea, from Springbrook is a powerful manifestation of the artist’s enduring interest in the relationship between man and the cosmos. By contrast however, to his earlier farmyard scenes and bucolic landscapes which feature the genial folk figures of Bill and his wife, Shirley, now the viewer is confronted with vast primordial wilderness which, upon first glance, may well be construed metaphorically as a sign of mankind’s loneliness or spiritual abandonment. Yet, as author Hannah Fink vehemently asserts, in fact the contrary holds true – the artist here reveals himself through his pictorial absence, and God is closest to his subject in desolation. Thus for Robinson, ‘finding himself’ as a painter, appreciating the landscape and becoming closer to God are all inextricably linked. 2 Indeed, describing the experience of walking through the forest of 2000 year-old beech trees near his property at Springbrook, the artist poignantly recalls his visit to one of the world’s greatest pilgrimage destinations: ‘I want to show the presence of God somehow, not only through the mystery of walking through Chartres Cathedral and walking through this forest, but also something about the nature of providence’. 3 Abandoning narrative for more universal and metaphysical concerns, thus in Towards the Sea, From Springbrook Robinson celebrates the sheer genius of creation itself – capturing the power of this silent, eternal landscape by conveying not simply that which he observes but importantly, that which he perceives within himself in his quest for meaning and a spiritual connectedness with the land. Like Wordsworth’s ‘emotion recollected in tranquility’, for Robinson the process of painting is about ‘contemplating things felt or remembered’. As Hannah Fink illuminates, ‘… wholeness resides in the experience of the landscape itself – as such, his paintings may be considered both compelling approximations of, and poetic tributes to, that sacred moment in which the physical and spiritual become synonymous’.4 1. James, B., ‘A Landscape We Thought We Knew’, Sydney Morning Herald, Sydney, 29 January 2003, p. 15 2. Fink, H, ‘Light Years: William Robinson and the Creation Story’, in Seear, L., (ed.) Darkness and Light: The Art of William Robinson, exhibition catalogue, Queensland Art Gallery, Brisbane, 2001, p. 27 3. Robinson quoted ibid. 4. Fink, op. cit.

VERONICA ANGELATOS

JUSTIN O’BRIEN 9 (1917 – 1996) STILL LIFE ON A TERRACE, 1990 – 93 oil on paper on board 48.0 x 33.0 cm signed upper right: O’BRIEN bears inscription on backing verso: 17 estimate :

$25,000 – 35,000

PROVENANCE Australian Galleries, Sydney (labels attached verso) Private collection, Sydney, acquired from the above in 1993 EXHIBITED Paintings by Justin O’Brien, Australian Galleries, Sydney, 26 – 31 July 1993, cat. 17

Still Life on a Terrace, 1993 is a superb example of Justin O’Brien’s late series of ‘window paintings’. By 1993, O’Brien was residing permanently in the Papal city, undertaking daily trips to the Vatican and visiting the Vatican Museums, in which one of his paintings now hangs. The epitome of O’Brien’s naturalism, this still life is an exercise in mimesis and challenges the very purpose of pictorial representation. Remaining steadfast to his resolve to paint physical, terrestrial beauty, O’Brien worked tirelessly into his eighth decade, through the last years of his life in Italy. Still Life on a Terrace is a carefully considered study, delicately detailed and vibrantly coloured. The vision is of the window of his apartment close to Via Alberico II, within the old city center of the Italian capital, a stone’s throw from the roman Castel Sant’Angelo on the banks of the river Tiber.1 Whilst it is similar in composition to other ‘window paintings’ by the artist – in particular The Window No. 2, 1978, formerly of the David Clark AO Collection – the world beyond the window frame is undeniably Roman, the internal courtyard filled with creeping ivy and flowering fruit trees. The rich terracotta and cream colouring of the facades of the neighbouring buildings also point to its carefully recorded geographical setting. In his last interview with Christine France, published in the revised edition of her monograph, O’Brien expressed his enjoyment of the ‘much better view … which has beautiful trees in the courtyard and from the back I look onto the Nigerian Embassy’. 2 The arrangement of an offering of fruit on the windowsill, the still life subject of this painting, is simple and evocative, bringing to mind the work of the French Post-Impressionist Cézanne. The waxy surfaces of the fruits are immediately apparent against the coarse texture of the window frame and wooden table. Presenting a convincing facsimile of a physical window frame, O’Brien’s Still Life on a Terrace seems to radiate the warmth and fragrance of an Italian summer. In this calm abundance, O’Brien has captured the serenity of a spiritual life and invites its quiet contemplation. O’Brien was an artist always in close stylistic discussion with the great artists of Western art history. The strong emphasis on tight linear composition, a smooth and flat finish and vibrant pure colours are all aspects that he gleaned, not from his antipodean peers but from key figures of the Italian Renaissance. The polished restraint that pervades his pictures can be likened to the passionless exactitude of these Italian masters, in particular Piero della Francesca, who used colour and light to translate divine providence in his compositions. 1. Grishin, S., ‘An Australian Painter in Rome: Justin O’Brien’, Art and Australia, Sam Ure Smith at the Fine Arts Press, Sydney, vol. 21, no. 4, Winter 1984, p. 493 2. France, C., Justin O’Brien: Image and Icon, Craftsman House, Sydney, revised edition, 1997, p. 36

LUCIE REEVES-SMITH

JAMES GLEESON 10 (1915 – 2008) SALVAGE FROM RANDOM’S EFFIGY, 1939 – 41 oil on canvas on board 45.5 x 35.0 cm signed lower left: J Gleeson. signed and inscribed with title verso: “Salvage from random’s / effigy” / James Gleeson / Lamington Hall / 48 Margaret St / Sydney bears inscription verso: To Hazel and Col / 1944 estimate :

$20,000 – 30,000

PROVENANCE Macquarie Galleries, Sydney (labels attached verso) Private collection, Queensland, acquired from the above 1983 The Estate of the above, Queensland EXHIBITED Contemporary Art Society 1942 Exhibition, Athenaeum Gallery, Melbourne, 4 – 15 August 1942, cat. 29 Contemporary Art Society: Fourth annual exhibition, David Jones Art Gallery, Sydney, open 8 September 1942, cat. 40

When James Gleeson first exhibited Salvage from Random’s Effigy, 1939 – 41 the Second World War had been raging for almost three years, eventually reaching Australian shores with the terrifying bombing of Darwin and the submarine attack on Sydney Harbour in February, then May of 1942. Gleeson and a number of his artist-associates had been concerned by the insidious rise of Fascism for many years, and utilised their individualistic styles in an attempt to illustrate or articulate the horror that they felt. Gleeson, a deeply read man who also wrote poetry, found a suitable strategy in Surrealism which, through its probing and analysis of the subconscious, explored ‘the realms of imagination and politics’.1 Nearly eighty years after their creation, his paintings remain some of the most enigmatic and haunting images to have been produced in Australia during this traumatic period. Gleeson was always the first to point out that he was a child of war, having been born within the shadow of the conflict of 1914 – 18. By the time he started his studies at the East Sydney Technical College, he had already absorbed many of surrealism’s ideas, and ‘trained himself in the habit of recording each dream, each nightmare too, that surfaced intelligibly from his subconscious’. 2 Moving on to the Sydney Teachers’ College in 1937, Gleeson’s new lecturer May Marsden proved to be a supportive mentor who encouraged him ‘to pursue his interest in Surrealism as a painter rather than a poet. He found that with May Marsden, ’I was taught to free up my work and open up to my imagination’. 3 His early paintings were so self-composed and accomplished in their vision that Marsden purchased City on a Tongue, 1938, for the College’s own collection.4

The genesis for many of his subsequent paintings, including Salvage From Random’s Effigy, can already be intuited from this work. Gleeson closely studied the humanity of classical figures and myth as painted by artists including El Greco, Poussin and Blake, but his new visions proudly bore the additional inspiration of contemporaries such as Freud, Dali, de Chirico and Masson. In Salvage from Random’s Effigy, the central female figure unfurls into the landscape as her red shroud, a visual metaphor for one’s unraveling consciousness, flows around her. Intriguingly, the strange biomorphic figure seen through one of her apertures – one eye closed as it struggles up some stairs – bears an uncanny resemblance to a similar ‘creature’ seen amidst a half-built structure in Filigree, 1939 (Deutscher and Hackett, 18 April 2018, lot 13). The waterfall is also a repeating motif, as Gleeson admitted to being fascinated by zones where water and land meet, which, for him, represented a ‘liminal’ border between the rational and the irrational. 5 Salvage from Random’s Effigy was part of the Contemporary Art Society’s two annual exhibitions in 1942, both of which included a wide range of artists’ responses to the war. Gleeson’s other entries in these shows included: Coagulations on the Maintenance of Identity, subsequently reproduced in colour on the cover of Angry Penguins, no.4, 1942; Perseus (National Gallery of Australia, Canberra); and The Betrothal of Two Classical Edifices (Deutscher and Hackett, 26 November 2008, lot 1), all of which are enveloped in their own unsettling mystery. 1. Beilharz, P., Imagining the Antipodes: culture, theory and the visual in the work of Bernard Smith, Cambridge University Press, England, 1997, p. 5 2. James, B., Australian Surrealism: the Agapitos/Wilson Collection, The Beagle Press, Sydney, 2003, p. 65 3. James Gleeson, 1998, quoted in Chanin, E. and Miller, S., Degenerates and Perverts: the 1939 Herald exhibition of French and British contemporary art, The Miegunyah Press, Melbourne, 2005, p. 103 4. The Collection of the Sydney Teachers’ College now forms part of the University of Sydney Art Collection. 5. See Chapman, C., ‘Surrealism in Australia’, in Gott, T. and others, Surrealism by Night, National Gallery of Australia, Canberra, 1993, p. 305

ANDREW GAYNOR

JOY HESTER 11 (1920 – 1960) DOLL IN GREEN DRESS, c.1947 – 48 brush and ink, and watercolour on paper 29.5 x 24.5 cm signed with estate stamp lower right: Joy Hester estimate :

$30,000 – 40,000

PROVENANCE Tolarno Galleries, Melbourne (label attached verso) Private collection Niagara Galleries, Melbourne Private collection, Sydney EXHIBITED Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 30 (as ‘Doll in Green Dress (Sydney Period)’) Blue Chip III, Niagara Galleries, Melbourne, 27 February – 31 March 2001, cat. 3 (illus. in exhibition catalogue, p. 5 and back cover)

Joy Hester was a central figure among the group of artists who gathered around John and Sunday Reed, the enlightened patrons whose home, ‘Heide’, in the rural outer-Melbourne suburb of Heidelberg, offered ‘a vibrant intellectual environment and … haven of shared ideas’.1 A friend and respected peer of artists including Sidney Nolan and Albert Tucker (whom she married in 1941), Hester was a painter and poet whose work was often deeply personal, reflecting aspects of her own life and experience, as well as describing broader human psychology and universally-felt emotions. Hester’s art is distinguished from that of her male counterparts in that she worked almost exclusively on paper, using brush and ink, watercolour and gouache. While her constant financial difficulty surely influenced this, Hester had a particular facility with these media. Responding to their immediacy, she produced images which appear both spontaneous and intuitive, with a fluidity and lightness of touch that is difficult to achieve in oil paint. Barrett Reid recalled, ‘Joy drew the way other people speak; it was as natural and as simple as that … She worked wherever she happened to be and she happened to be largely amongst people. I can see her now, in this room (the library at Heide) … She’d squat down there, probably smoking cigarettes ten to the dozen, and yapping away like mad. And in front of her would be a whole pile of paper which she’d be drawing on and taking part in the conversation laughing, interrupting, listening intently to what everyone was saying and drawing at the same time’. 2

Doll in Green Dress, c.1947 – 48 is an unusual subject within Hester’s oeuvre, and with its sparkling eyes and realistically drawn face, notably different from the expressive and exaggerated features of most of her figures. While the doll’s yellow bonnet has been likened to the stark abstract form of Sidney Nolan’s famous Boy and the Moon, c.1939 – 40 (National Gallery of Australia, Canberra), 3 this image is most likely connected to the series of images of Gesthsemane – a doll that belonged to Sunday Reed – which Hester painted between 1946 – 47. Following their first meeting at the Herald exhibition of French and British Art in Melbourne in 1939, Hester and Sunday established a lifelong friendship which was as complex as it was steadfast, including an intimate romantic liaison and the Reeds’ adoption of Hester’s son Sweeney in 1949. 4 Handmade from linen and filled with lavender from the Heide garden, the faceless Gethsemane represented the children that Sunday was unable to bear and assumed a strong and symbolic presence in her life, familiar to visitors to Heide and featuring in her correspondence with Hester as if she was a real child. While some of Hester’s depictions of ‘Gethie’ (in the collections of the National Gallery of Australia and Heide Museum of Modern Art, Victoria for example), are full of the tragedy of Sunday’s childlessness, others are more optimistic, the prominent eyes a symbol, instead, of the delight and wonder of childhood. It is this sense which Doll in Green Dress reflects, indicative perhaps of the relative stability and happiness of Hester’s life from 1947, when she began a relationship with Gray Smith, with whom she would later have two of her own children. 1. Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2001, p. 12 2. Reid, B. quoted in Gellatly, K., ibid., p. 14 3. Blue Chip III, exhibition catalogue, Niagara Galleries, Melbourne, 2001, cat. 3 4. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015

KIRSTY GRANT

JOY HESTER 12 (1920 – 1960) LOVERS WITH ROSE, c.1947 watercolour, pastel, brush and Chinese ink on paper on card 54.0 x 36.5 cm signed with estate stamp lower left estimate :

$35,000 – 45,000

PROVENANCE Tolarno Galleries, Melbourne (label attached verso) Private collection, Melbourne, acquired from the above in 1976

the rose also featured in the decorative wallpaper Sunday chose for the master bedroom and in Nolan’s painting¸ Rosa Mutabilis, 1945 (Heide Museum of Modern Art) – a memento of her love affair with the young artist – which she displayed there,1 as well as various living specimens that grew in the garden.

EXHIBITED Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 91 (as ‘Lovers, c.1950’)

Unlike her male peers, who produced their major works in oil paint, Hester worked predominantly in ink and watercolour, and the lower status of these media in the fine art hierarchy is one of the reasons why her work was so little known and appreciated during her lifetime. Although Hester’s work was unrepresented in any public collection at the time of her premature death in 1960, it is now widely collected, with major holdings in the National Gallery of Australia and Heide Museum of Modern Art. Hester’s distinctive way of depicting the human figure, combined with the immediacy of her chosen medium, results in a remarkable sense of intimacy that seems to transcend the inevitable distance between the artist, their artwork and the viewer. For Hester, art was a means of self-expression and communication – ‘[she] drew the way other people speak: it was as natural and as simple as that’. 2

Although Joy Hester’s art was neither strictly diaristic or autobiographical, the story of her life is so complex and familiar that connections are inevitably made between what we know (or imagine we know) of her experiences and feelings, and the images she created. This is especially so of images which focus, in Hester’s characteristically direct and psychologically charged style, on the depiction of human relationships and the expression of emotion. The theme of love is persistent in much of her work, but especially from 1947, a year which marked the beginning of a particularly turbulent period in Hester’s life. Diagnosed with Hodgkin’s Disease, her marriage to Albert Tucker ended and two years later her son, Sweeney, was formally adopted by John and Sunday Reed. It was a new relationship with the poet/painter, Gray Smith, also begun in 1947, which would sustain her emotionally and artistically until the end of her life, that provided the backdrop to the well-known images of lovers produced during the late 1940s and mid-1950s. The head and torso of a naked male figure fills the sheet in Lovers with Rose, c.1947, his striking blue eyes staring directly out at the viewer. Slightly askew, they are the only facial feature depicted, compelling and with an intensity that recalls the piercing eyes in contemporary paintings by Sidney Nolan – Hester’s friend and one of the avant-garde artists who gathered around John and Sunday Reed at Heide. His lover is out of view, but her long hair trails over his left shoulder, and opposite, her arm hangs languidly across his chest, delicate fingers seemingly pointing to the pale pink rose. Itself a symbol of love, the rose in this work is said to relate to a floral motif that Hester later designed for Sunday Reed, which was etched into the glass panels either side of the front door at Heide. In the renovation of the Reed’s farmhouse undertaken in the early 1950s,

1. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015, pp. 241 – 242 2. Barrett Reid quoted in Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Victoria, 2001, p. 14

KIRSTY GRANT

JOHN BRACK 13 (1920 â&#x20AC;&#x201C; 1999) YELLOW LEGS, 1969

JOHN BRACK 13 (1920 – 1999) YELLOW LEGS, 1969 oil on canvas 73.5 x 99.0 cm signed and dated lower centre: John Brack 69 estimate :

PROVENANCE Joseph Brown Gallery, Melbourne State Bank of Victoria, Melbourne Commonwealth Bank of Australia, Sydney EXHIBITED John Brack, Rudy Komon, Sydney, 8 – 25 April 1970, cat. 11 John Brack, Georges Gallery, Melbourne, 5 – 17 October 1970, cat. 11 Spring Exhibition, 1980, Joseph Brown Gallery, Melbourne, 1 – 10 September 1980, cat. 195 (illus. in exhibition catalogue, pl. 195) LITERATURE Millar, R., John Brack, Lansdowne Press, Melbourne, 1971, p. 109 Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p. 124 Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. I, p. 226; vol. II, cat. o170, pp. 24, 136 (illus.)

$600,000 – 800,000

The late 1960s witnessed a major change in John Brack’s career. He had been head of the Melbourne National Gallery School since 1962, overseeing its transformation into a serious training ground for professional artists, but at the end of 1968 he resigned, and for the first time in his life was able to paint full-time. The impetus behind this move was a deal struck with Rudy Komon, the gregarious bon vivant of Sydney art dealers – renowned as much for his appreciation of fine wine and food, as for fine art – in which Brack received a monthly stipend that was offset against annual sales. Entering into this arrangement, Brack followed in the footsteps of Leonard French, who had joined Komon’s stable in 1960, and his good friend, Fred Williams, whose alliance with Komon from 1963 and monthly retainer of £80 – equivalent to the wage he was then earning in a framing shop 1 – similarly enabled him to devote all of his time to art. The shift in Brack’s artistic production was dramatic. While he had maintained a studio behind his office at the National Gallery School, and undertook a handful of commissions during these years, the responsibilities of his role prevented Brack from producing any major new series. Most years, the number of paintings he made could be counted on one or two hands. Similarly, while he was represented in various group exhibitions, including Australian Painting at London’s Tate Gallery (1963) and Australian Painters 1964 – 66: The Harold Mertz Collection at the Corcoran Gallery of Art, Washington DC (1967), and won the inaugural Gallaher Portrait Prize in 1965, he held only one solo commercial exhibition of new work between 1962 – 68. After his resignation from the Gallery School, Brack constructed a purposebuilt studio at home and, in addition to completing two commissions – including the now iconic Barry Humphries in the Character of Mrs Everage, 1969 (Art Gallery of New South Wales, Sydney) – embarked on his most ambitious series to date, twelve oil paintings, three smaller oil sketches, and a group of related watercolours and drawings on the theme of ballroom dancing. The idea for the series had been in Brack’s mind for some time. He was fascinated by the dancers, who, in his eyes, were just like the jockeys he had depicted in the Racecourse series of watercolours more than a decade earlier, ‘[turning] what should be a pastime into serious professional work’. 2 For at least two years, he had been collecting visual reference material and subscribing to The Australian Dancing Times, and he planned to attend the 1967 World Ballroom Dancing

JOHN BRACK 13 (1920 – 1999) YELLOW LEGS, 1969

Championships at Melbourne’s Festival Hall. 3 Paintings including The Old Time, 1969 (Private collection, Melbourne),4 follow closely photographs of championship dancers, replicating poses, costumes, hairstyles and even the competitors’ identifying numbers. It is the striking colour palette – brilliant pinks, reds and ‘Tungsten yellow’ – however, which propels these paintings beyond the documentary and into the realm of fantasy, where gloss and artifice, and the notion of performance, prevail. The largest painting in the series, Latin American Grand Final, 1969 (National Gallery of Australia, Canberra), captures the energy and movement of its subject, the angular arms and legs, richly decorated dresses and converging floorboards, all coming together in an ambitious and dynamic composition. As was sometimes his habit, Brack included himself in this picture, a silhouetted but clearly recognisable figure whose partner is out of sight beyond the left-hand edge of the frame. While the palette of Yellow Legs, 1969 relates to British Modern, 1969 (Art Gallery of Western Australia, Perth), its subject is very close to Legs on a Red Floor, 1969, (Private collection, Melbourne). The focus is on the poised legs of a single dancing couple – especially the shapely yellow female legs referred to in the title – and the voluminous layers of the crinoline skirt. The painting has a photographic feel, both in terms of its depiction of a detail that has been cropped from a larger scene – and study of the series reveals that this composition is in fact a detail borrowed from The Old Time – as well as the emphasis on rendering light and its various visual effects. Conjuring up the theatricality of a spot-lit dancefloor, Brack describes the shining satin trim of the black tuxedo trousers with care, contrasting it against the dark shadow cast by the skirt and the crisp reflection of the yellow shoes in the mirror-like floorboards. While the colour and movement of competitive ballroom dancing offered rich visual inspiration for Brack’s picture-making, as an artist who was primarily motivated by a desire to understand and illuminate the human condition, it was the way in which it reflected aspects of human behaviour and interactions that he found especially compelling. Acknowledging his interest ‘in the man-woman relationship of the dancers’, the everstraightforward Brack noted that ‘almost all professional dancing teams are married so it is not so much romantic love as a 50-50 business

contract’. 5 With this in mind, the images assume a different meaning: collaboration between each dancing couple transforms into competition, and the exaggerated, fixed smiles become masks that only thinly disguise the physical effort behind their elegance and grace. Similarly, the polished floorboards which provide the backdrop to every painting in the series, often flowing vertiginously downwards, seem to emphasise the precariousness of the performance in which we all participate in this dance called life. The ballroom dancing paintings were first exhibited at Rudy Komon Gallery, Sydney, in April 1970 and later that year, at Georges Gallery in Melbourne. Writing in the catalogue of the Melbourne showing, Brack’s friend (and author of the monograph published in 1971), the artist Ronald Millar, wrote perceptively about the series, identifying his core motivations and the thematic continuation that it represented within his oeuvre: Brack’s lissom ballroom dancers … re-state in more indirect terms than before all his longstanding preoccupations. Obsessions about states of uneasy poise and about vulnerability … about physical and psychological make-believe, and about realities behind facades. About people being alternately attracted and repelled, together intimately but separated in motive and intention. About the rituals of art and life … his definitive Dance of Life comes in a long line from Goya, Munch, Seurat, Degas and the Flemish Primitives … an amalgam of emotion and discipline’.6 1. Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery & Oxford University Press, Canberra, 1989, p. 84 2. John Brack quoted in Dunstan, K., ‘A Place in the Sun: Reporting a comeback, cha-cha-cha’, Sun, 9 October 1970, p. 9 3. Helen Brack recalls that he changed his mind at the last minute and didn’t attend the championships. See Grant, K., John Brack, exhibition catalogue, National Gallery of Victoria, Melbourne, 2009, p. 120 4. Sold in 2007 for $3.36 million, The Old Time, 1969, realised the highest price ever paid at auction for a painting by John Brack. 5. John Brack quoted in Dunstan, K., op.cit., p. 9 6. Millar, R., Foreword, John Brack, Georges Gallery, Melbourne, 1970

KIRSTY GRANT

BALLROOM DANCERS The Australasian Dancing Times, October 1967, p. 19 photograph by Maurice Strowbridge

JOHN BRACK The Old Time, 1969, oil on canvas, 162.5 x 129.5 cm Private collection

ANTONY GORMLEY 14 born 1950, British SMALL YIELD, 2015 cast iron 72.5 x 37.0 x 32.5 cm edition: unique signed with initials, dated and inscribed on base: AMDG 2719 / 2015 estimate :

$350,000 – 450,000

PROVENANCE Sean Kelly, New York Private collection, Melbourne, acquired from the above in May 2016 RELATED WORK Big Yield, 2015, mild steel bar, 219.0 x 111.0 x 99.0 cm, in the collection of the Art Gallery of Western Australia, Perth, illus. in Antony Gormley Online Catalogue Raisonné: [http://www.antonygormley.com/sculpture/ item-view/id/310#p6] (accessed 10/10/19)

With his original training as an anthropologist, revered English sculptor Antony Gormley creates figurative forms that synthetise mind and matter, an affective association that is subjective to each viewer. His is an art of big statements, condensed into solitary figures set against landscapes or confined within manmade spaces. As his current major retrospective at London’s Royal Academy of Arts demonstrates, Gormley’s practice has steadily evolved over forty-five years, moving from the iron body casts that won him the Turner Prize for contemporary art in 1994, to increasingly abstract figurative sculptures and installations reliant on audience participation. Since the early 2000s, Gormley’s artistic process has involved sophisticated 3D mapping technology, translating human forms into complex constructions of small geometric prisms. Small Yield, 2015, is no exception, belonging to a recent series of sculptures collectively named “Big Beamers”, using closed steel beams to create volumes that could be described as human architecture. The Art Gallery of Western Australia holds examples of this series in their permanent collection, Big Yield, 2015 (the larger-than-life version of Small Yield) and Big Pluck 2, 2016, which stand as sentinels at the entrance of the gallery. While Gormley is loosely associated with the rag-tag group artists of New British Sculpture, he stood alone with his unequivocally figurative subject matter, using his own body as the archetypal form symbolic of the everyman. Almost always built from direct plaster moulds of real bodies, then cast in iron and lead, Gormley’s sculptures reflect negative space enclosed within, and, by extension, the space in which the works are then displayed – the gallery itself becoming a larger enclosure of the form. Until recently the contours of Gormley’s body forms have been smooth and recognisable, often emphasising the vertical and horizontal axes that defined the body enclosed within. This is the case with Bridge, 1985, which was exhibited alongside the Big Beamers at Sean Kelly Gallery in 2016. These main axes are integral to digital scanning and three-dimensional modelling technology which have revolutionised the artist’s methods of creation since the early 2000s, transforming the mechanical measuring of Vitruvian proportions into a sophisticated mapped matrix (still based on the artist’s own body).

ANTONY GORMLEY 14 born 1950, British SMALL YIELD, 2015

Small Yield repeats the trace of the artist’s body, of his existence in space and time ad infinitum. As a three-dimensional form of x, y and z co-ordinates, the sculpture traces not only the external edges of the artist’s body but its internal volume, replacing the positive space that had formerly been occupied by Gormley’s earthly, physical body. Small Yield is a net, with lacunae between the vertical and horizontal beams, interstices which let in light, air and shadow. By using geometric prisms (cubes, blocks and beams) to construct an anthropomorphic form, Gormley adapts his volumetric lexicon to fit within the orthogonal matrix of the urban grid and of virtual space – the defining space of our era. Gormley’s volumetric permutations of the body take analytical cubist figuration further than Picasso and Braque’s wildest dreams, deep into a reductive process of abstraction. The digital changes to Gormley’s artistic process also created change in the emotive resonance of his sculptures. Small Yield, like the other Big Beamer works, is far from expressionless. While remaining anonymous, they convey powerful emotions. Like thespians, their posture suggests a magnitude, crippling woes or jubilant ecstasy. Gormley spoke of this seismic transformation in his practice in 2014: ‘… when making plaster moulds, I was very concerned to avoid interpretable gesture, but with the advent of fast turnaround digital registration, I am now able to interpret the affordances of an emergent built structure […] and respond by attempting to speak that language in my body posture. This is a case of feedback that is only possible with the very latest evolution of our ability to dip in and out of the digital and respond to the built models in the moment of scanning. There is therefore an acceleration in the development of posture and the works themselves are links in a developmental loop.’ 1 Reading this sculpture through the lens of our digital age, it is difficult not to describe the aggregation of steel blocks in terms of pixelation. In recent years, Gormley’s process of body mapping has reached its apex, moving through reductive ’slab works’ to spindly webs and matrices of soldered wires. These works are intended to be visually unstable. To eyes accustomed to screens and digitally constructed images, the miraculous apparition of a human form amongst the blocks seems it could just as quickly crumble and disintegrate. Gormley has fixed the physical body in a solid and static form, a moment of taut and delicate

balance, poised as if to move again. Neither solid, nor load-bearing, these sculptures are irregular lattices without a central armature – built instead of building blocks, symbolic of a cosmological constant. True to his roots in New Sculpture, Gormley’s work is surprisingly tethered to the earth and the elements, acknowledging the touchstone of primordial creation. His sculptures are cast in molten iron, the very element at the core of our world – that which ’defines the density of our planet, gives us our magnetic field and keeps us on our orbit through space’. 2 Small Yield was further immersed in a tank of tannic acid, which allowed the bright orange rust to turn charcoal black, endowing the surface with a tactile velvety texture so inviting to the touch. Digital scans of a human body have no dominant perspective, different to the conventional frontal representations that have appeared in artworks since time immemorial. These scanned, printed and cast sculptures are true sculptures in the round, intended to be circumnavigated, removed from plinths and placed directly within a shared space with the viewer. Using the construction principles of architecture, Gormley considers the body in space and as space. Gormley’s art is deeply humanist, with a reverence for science and all creeds of spirituality. With calm attentiveness to the inner world and human connection cultivated through decades of practice of Buddhist meditation, Gormley has spent his whole career creating shells and volumes that speak to the space within, both physical and psychospiritual. Against other works from the Big Beamer series exhibited at Sean Kelly gallery, Small Yield is not heroic. Its curled-over form conveys an inner struggle, huddled and self-protective. Similar to Giacometti’s striding figures, Gormley’s works exhibit a sense of physical solitude and vulnerability. Small Yield is an image of a body tending to itself, its own condition, a reflective moment of introspection. It is this empathetic moment that Gormley seeks, evoking rather than expressing, its anonymity inviting the viewer to project, empathise, imagine and relate. 1. The artist, 2014, cited in Jaukkuri, M., ‘Being, Looking, Meeting with Others’, in Antony Gormley MEET, Galleri Andersson Sandstrom, Stockholm, 2014, p. 90 2. Holborn, M. (ed.), Antony Gormley on Sculpture, Thames and Hudson, London, 2015, p. 48

LUCIE REEVES-SMITH

ANTONY GORMLEY AT HIS STUDIO IN KINGâ&#x20AC;&#x2122;S CROSS, LONDON photograph by Robert Wilson

TAKANORI OGUISS 15 (1901 – 1986, Japanese) MARCHAND DE COULEURS (HARDWARE MERCHANT), c.1931 – 32 oil on canvas 60.0 x 72.0 cm signed lower right: Oguiss signed and inscribed with title verso: Marchand / de Couleur / Oguiss / 103 rue de Vaugirard / Paris estimate :

PROVENANCE Private collection Leonard Joel, Melbourne, 3 November 1976, lot 208 (as ‘The Shop’) Private collection, Melbourne The present owners of the painting met with the artist in Paris, 18 June 1977. He dated the work to c.1931 – 32.

TAKANORI OGUISS, PARIS photograph Shotaro Akiyami

$150,000 – 200,000

TAKANORI OGUISS 15 (1901 – 1986) MARCHAND DE COULEURS (HARDWARE MERCHANT), c.1931

In 1927, the young Japanese painter Takanori Oguisu sailed to Paris aboard the brand-new ocean liner SS Athos II, shepherded by his compatriot Saeki Yuzo (who had already made a name for himself in Paris) along with a couple of fellow graduates from the Tokyo School of Fine Arts. He soon settled in a studio in Montparnasse, on Rue Vaugirard, living there from 1927 to 1933, before moving to Montmartreaux-Artistes, settling on Rue Ordener at the foot of the Butte Montmartre. In very little time he grew accustomed to life as an artist in Paris: presenting annual exhibitions of his paintings in commercial galleries around town and including works in the well-respected Salons d’Automne and des Indépendants, although under a Gallicised moniker – ‘Oguiss’, which he painted in careful cursive in the corners of each picture. Oguiss depicted cityscapes with an unwavering attention to the hidden corners, modest abodes and shopfronts of the ordinary Parisian. He delighted in the imperfections in the surfaces of their architecture, details which bore traces of the lives of many generations – blackened stonework, repainted signs, peeling posters and passing seasons. Nostalgic and romantic, this shopfront view of a Montparnasse hardware and paint store, the Marchand de Couleurs (Hardware Merchant), c.1931 – 32 distils the affective and aesthetic ties which kept the painter’s attention on the City of Light for over sixty years. While devoid of human presence, the shop is nonetheless bristling with the accumulated traces of human intervention – from the crowded piles of wares stuffed into wooden vitrines and hanging in bunches from the awning, to the encroaching advertisements, hand painted onto wooden panels, fabric banners and enamel signs. Dating this painting to the early 1930s, the angular script of logos for Cybo wax polish and Sunlight soap are clearly legible. With a tightly cropped composition focussed on the cluttered shop’s façade, the Marchand de Couleurs (Hardware Merchant) is reminiscent of another early painting of Paris by Oguiss, La Boutique, 1930 (Private collection). In each painting, the shopfronts are sketched en plein air, with the artist working quickly at an easel on the street, building up the details with nervous and thick painterly daubs and streaks. Marchand de Couleurs (Hardware Merchant), while determinedly focussed on one deserted shop, has a slightly skewed perspective that hints at the winding alleyways of Paris’ arrondissements that dominate Oguiss’ later works.

Seeking an authentic and unpretentious visual experience of Paris intra muros, Oguiss followed in the footsteps of the artists of the École de Paris, in particular Maurice de Vlaminck and Maurice Utrillo, settling predictably in the old artist’s quartiers of Montmartre and Montparnasse. This Marchand de Couleurs, one of many hardware stores in these suburbs, certainly supported the local artists, supplying materials to contemporaneous artists such as Chaim Soutine, Chagall, Modigliani and Giacometti. With remarkable foresight, Oguiss devoted his life’s work to a city in flux, committing to memory the scenes of old Paris, of Montparnasse in the twilight years of its artistic heyday. Nowadays almost all of these crumbling and cluttered edifices have disappeared or been carefully dismantled to make way for wide boulevards, shopping centres and apartment complexes. Oguiss has combined the acceptance of impermanence inherent in the Japanese aesthetic of wabi-sabi, with a post-impressionist oil painting technique directly inherited from the émigré artists of the first generation École de Paris. Precious documents of a city now changed, Oguiss’ paintings also bear witness to an era of cultural exchange and the artistic community whose efforts crowned Paris as the epicentre of Modern Art. LUCIE REEVES-SMITH

TAKANORI OGUISS photograph by Osamu Kumasegawa

DALE FRANK 16 born 1959 A ONE POINT TWO FIVE LITRE BOTTLE IS TOO TALL TO FINISH OFF IN A SEDAN, YOU NEED A FOUR WHEEL DRIVE WITH THAT EXTRA ROOF HEIGHT TO LIFT THE BOTTLE, 2009 varnish and synthetic polymer paint on canvas 200.0 x 260.0 cm signed and dated verso: Dale Frank 2009 estimate :

$35,000 – 45,000

PROVENANCE Roslyn Oxley9 Gallery, Sydney (labels attached verso) Private collection, Sydney, acquired from the above in 2010 EXHIBITED Dale Frank: Ice Age, Roslyn Oxley9 Gallery, Sydney, 11 February – 6 March 2010, cat. 8

Featuring glistening marbled flows and ponderous slides of emerald, tangerine and violet poured across the canvas in layers of varying viscosity and translucency, A One Point Five Litre Bottle…, 2009 offers a particularly stunning example of the sumptuous, glossy abstractions for which Dale Frank has become so widely acclaimed. Brilliantly evocative in their epic scale, intense colouration and mesmerising, plasma-like reflections, such works typically engage with paradigms of science, poetics, spatialisation and time to offer a continually evolving dialogue upon the individual’s relationship to the immersive universe. Thus possessing the remarkable ability to completely absorb the viewer’s consciousness, his ‘performances’ not only complicate the customary roles of artist as creator and audience as passive observer, but highlight the psychological dimension inherent in perception itself. Indeed, despite their inordinately specific, often witty titles and the swirling tides of sensuous tinted varnish which seem to convey the forces of nature in a manner reminiscent of Romantic painting, Frank is emphatic in his eschewal of any reference to the literal – his works do not depict images that are real or imagined. Rather, each performance ‘creates itself’, evolving over time through the movement and chemical reactions between layers of strident, pulsating varnish in its molten liquid form (‘a living entity’). As Frank elucidates, the blank white canvas is never a pristine ground that must be filled, but rather ‘a black space’ where the final outcome is ‘forced upon the Painting by the vagaries of its own Nature and makeup: its environment and “material” personality determine its image, its future, its relations within the world’.1

If Frank’s technique appears ostensibly random or unpredictable however, such spontaneity belies a painstaking process of ‘endurance and isolation’. As the luminous pools of pigmented varnish are poured onto the horizontal canvas and immediately begin to resist and coalesce, the artist must remain continuously attentive to the passing of time, the variations of climate, and the actions required by him at every stage – adding more varnish or changing the angle of support as necessary. As Frank reveals, ‘It is a totally hands on and cerebral way of painting ... The process can take up to twenty-four hours where I have to be permanently standing over the painting, constantly considering every minute aspect’. 2 With his visionary eloquence and technical ingenuity, Frank occupies an esteemed position at the forefront of Australian contemporary art practice. Awarded the prestigious Red Cross Art Award by John Olsen at the tender age of 16, his was a precocious talent and within only five years, he had achieved international recognition with solo exhibitions across Australia, Europe and America. Significantly, in 1983, his work was selected for display alongside Thomas Lawson and Anselm Kiefer at the Museo Palazzo Lanfranchi in Pisa, Italy, and in 1984, he was included in the Aperto section of the Venice Biennale. In 2000, the Museum of Contemporary Art, Sydney mounted the touring survey exhibition of his work Ecstasy: 20 years of painting; in 2005, Frank won the Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria and in 2007, his achievements were documented in the magnificent monograph So Far: the Art of Dale Frank 2005–1980. Today, his paintings are held in every major public collection across Australia, as well as numerous private and corporate collections around the world. 1. Frank, D., cited in Chapman, C., ‘Dale Frank: Performance into Painting’, in Frank, D., So Far: the Art of Dale Frank 2005–1980, Schwartz City Publishing, Melbourne, 2008, p. 134 2. Frank, D., cited in Crawford, A., ‘Dale Frank’, Art & Australia, Art & Australia Pty Ltd, Sydney, vol. 42, no. 2, 2004, p. 214

VERONICA ANGELATOS

STEPHEN BUSH 17 born 1958 LURE OF PARIS #29, 2011 oil on linen 183.0 x 183.0 cm signed, dated, and inscribed with title on stretcher bar verso: Stephen Bush The Lure of Paris #29 2011 estimate :

$35,000 – 45,000

PROVENANCE Sutton Gallery, Melbourne Private collection, Adelaide LITERATURE Stephen Bush Online Catalogue Raisonné: [https://www.stephenjbush. com/portfolio-items/the-lure-of-paris-29/] (accessed 21/10/19)

With his exuberant eclecticism and wit, Stephen Bush is internationally renowned as the author of sublime, cryptic works that seek to confound and provoke through their incongruous juxtaposition of elements and tantalisingly playful repetition of motifs. Transforming the very act of painting into performative representations, thus his art typically contemplates the material and conceptual parameters of his metier; creativity and the role of the artist; and traditional conventions of originality and replication, with all their associated assumptions about high and low culture, authenticity and value. As Kelly Gellatly elucidates, ‘At the heart of Stephen Bush’s art is the constant, almost nagging question of what it means to be an artist and particularly, what it means to work in the most anachronistic of mediums – paint’.1 A recurring motif in Bush’s oeuvre, the elephant as a subject first appeared in the artist’s acclaimed ‘Lure of Paris’ series (1992 – 94) featured here, with numerous monochromatic depictions of Jean de Brunoff’s portly Babar the Elephant traversing a rugged, Turneresque landscape. According to the original French children’s story, Babar travels from Africa to an unnamed city where he is ‘civilised’ by Western society – adopting Western cultural dress, customs, and behaviours – before then returning to the jungle to rule over his fellow elephants. With his natty three-piece suit and penchant for red wine and sculpture, Babar brought an unmistakably French form of civilisation to his herd – hence Bush’s title, which suggests Babar is beholden to Paris, the locus of French culture and its lure of style, order and bourgeois living. By displacing his protagonist not only from Africa and his ‘pre-civilised’ nature, but from the simple line drawings of children’s book illustration to a sublime, nineteenth-century Romantic landscape, Bush seeks to critique both colonialism and more specifically, the power of art and particular styles to create and perpetuate colonialist myths.

Exploring the language and ideologies of nineteenth-century academic painting, thus Bush’s serial treatment of the same composition in his ‘Lure of Paris’ paintings such as the present, may be understood as questioning the presumed equivalence of creativity and originality. Vowing to produce a version of the work once a year, from memory, indefinitely – and remarkably he is still going twenty-seven years later –Bush proposes, rather, a particular, circular concept of originality which, in separating creativity and originality, suggests a more complex understanding of the term that has been lost in modernist and postmodernist polemic. 2 As Chris McAuliffe explains in his introduction the catalogue accompanying the inaugural exhibition of the series at Robert Lindsay Gallery, Melbourne in July 1994, ‘his paintings are doubly derivative: they emulate the conventions of the nineteenth-century landscape, and they repeat the artist’s own oeuvre’. 3 Each painting is seemingly a replica of the last, yet they are all in fact individual, original pieces, handmade or ‘created’ by the artist himself without mechanical intervention or the aide of digital photography. Accordingly, as McAuliffe highlights, ‘The copy and the original here meet in paradoxical union. There is no perfect copy, it must have some originality; there is no perfect original, it must be derivative of the history of painting’.4 Indeed, with such playful theatricality, Bush’s compositions – inevitably similar but always slightly different – encourage the viewer in a postmodern world deluged with simulated images ‘to push the meaning, to force a response’. As New York based art critic, Jonathan Goodman, suggests, Bush ‘… is deeply serious about the role of art as witness, which is why he keeps returning time and again to his elephant painting, to ensure ‘I don’t forget where that passion, all those years ago, began’.5 1. Gellatly, K., ‘Stephen Bush: Steenhuffel’ in Stephen Bush: Steenhuffel, exhibition catalogue, Ian Potter Museum of Art, 2014, p. 20 2. McAuliffe, C., ‘Stephen Bush: Serial Originality’, in Stephen Bush: The Lure of Paris, Robert Lindsay Gallery, Melbourne, 1994 3. ibid. 4. ibid. 5. Goodman quoted in Bellamy, L., ‘The long call of a little elephant’, The Age, Melbourne, 31 July 2004

VERONICA ANGELATOS

BEN QUILTY 18 born 1973 SKULL RORSCHACH, 2007 oil on linen 140.0 x 190.0 cm estimate :

$45,000 – 65,000

PROVENANCE GrantPirrie Gallery, Sydney Private collection, Sydney, acquired from the above in 2007 LITERATURE Slade, L. (ed.), Ben Quilty, University of Queensland Art Museum, Brisbane, 2009, p. 125 (illus.)

Over several decades Ben Quilty has created an impressive body of work, each painting and sculpture grappling with the emblems of Australian mateship, the toxic inheritance of colonial inequality and the pervasive lack of empathy in contemporary society. Amongst these, Skull Rorschach, 2007, is a potent reminder of the fleeting nature of human life. The ancient motif of a human skull has been often appropriated in contemporary art, becoming an emblem for an uncertain and reckless society. Painted on a single, pristine canvas, the mottled form of Skull Rorschach proudly displays its mode of production. The symmetrical composition centered around a vertical axis has been borrowed from the iconic inkblots of Swiss psychologist Herman Rorschach’s pseudoscientific test of mental /visual association. In rich, trowelled swathes Quilty painted a skull, whose negative impression was then transferred to the left side of the canvas while the paint was still wet (the canvas presumably being subsequently stretched over the frame). While Quilty’s first experiments with Rorschach methods were limited to symmetrically opposing images over two canvases of the same size, Skull Rorschach is more sophisticated, with the central motif isolated within a tight and dynamic composition. By incorporating an almost Dada automatic adulteration of his painted surface into the finished artwork, Ben Quilty creates a strong association between his method of painting and the reckless abandon with which he and his mates lived their early 20s in the suburban outskirts of Sydney. Beyond its marbled surface, marshalled into focus by attentive viewers, two skulls surge forward – their streaked surfaces giving the disorienting impression of great velocity – tempus fugit!

Delighting in the happy accidents of the painted (and printed) surface, Quilty is attentive to a range of new aesthetic possibilities. A cautionary reminder for Quilty and his washed-up mates, the series of disembodied skulls directly followed his 2007 series of grimacing faces and massive, fallen heads. A human skull, often adorned with fangs or pistols and surrounded by intertwined snakes, became a clear and powerful visual motif for Quilty to use as a basis for painterly experimentation. It led to a large series of painted works between 2005 and 2010, most featuring the artist’s signature chromatic palette of lilac, pink, grey and khaki. While some works of this series were given leading titles that encouraged a socio-historical reading, such as Bedford Downs Rorschach and It was Dark When, this stark Skull Rorschach makes no allusion to anything beyond a simple memento mori. With the base of each skull butted against the other, they face outward, Janus-faced, contemplating simultaneously the past and the future. Janus, the two-faced Roman deity, presided over the beginning and ends of conflict, time and in particular moments of transition – a fitting symbol for Quilty’s art of this period, the high- energy cultural milieu of mateship, bravado and perpetual flirting with self-destruction. With a visceral appreciation of the unctuousness of paint, teetering here on the verge of abstraction, Quilty activates our senses, engaging the viewer to relate two messages – a) that we are currently alive, and b) it won’t last. LUCIE REEVES-SMITH

MICHAEL JOHNSON 19 born 1938 TERRA ROSSA, 1999 oil on linen 183.0 x 365.0 cm signed and dated verso: Michael Johnson 1999 inscribed with title on stretcher bar verso: “TERRA ROSSA” for Lucio x Sally estimate :

$40,000 – 60,000

PROVENANCE Private collection, Sydney, acquired directly from the artist

The remarkable paintings of Michael Johnson have dominated Australian abstract art for over thirty years, each exhibition representing a tour de force in paint. The riotous beauty and sheer physicality of his painting, which simply pronounced ‘beat me if you can’, threw down the gauntlet to fellow abstract artists. Throughout the 1970s, Michael Johnson worked with acrylic paints popularised by a generation of American colour field painters. His paintings from this period were disciplined arrangements of shaped canvases which relied heavily on complimentary colour juxtapositions. In 1981 the artist sheepishly began using oil paint. Sheepishly because oil paint is encumbered by centuries of tradition and the notion that ‘new work’ requires new materials is a guiding edict for artists who test the parameters of convention. Johnson explained his initial reluctance to Barry Pearce: ‘I fear oil, even though it is the most natural thing to paint with and I love it. But I fear its trickery. You can get too clever with it ... suddenly I could use opaque over-painting as a transparency, and I could veil my paintings and push things back and forwards’.1

His exhibitions from the mid-1980s and ‘90s at Macquarie Galleries, and then Sherman Galleries in Sydney, were greeted with great enthusiasm, as each new exhibition trumped the previous for bravado, beauty and power. Few artists have enjoyed the broad critical acclaim that these exhibitions received, and this fuelled Johnson’s already strident presence on the Australian art scene. Terra Rossa, 1999 which until recently graced the walls of Lucio’s restaurant – a celebrated artists’ meeting place in Paddington – was created during this time, one of the artist’s most inspired and productive periods. The bold scale and colour harmonies of the painting summarise his achievements to date and deliver a work that is by any measure a spectacular example. Johnson’s contradictory and opposing colour arrangements spilled from the gallery walls and into the critical zeitgeist of the time. His contemporaries such as the dreamy Wedderburn painters John Peart and Roy Jackson could only look on and gasp at the yards of precious oil paint Johnson caked onto his canvases. John Peart once remarked to me that ‘many artists paint for you, but Michael Johnson paints at you’. Peart’s observation has stayed with me and when standing in the presence of a painting such as Terra Rossa, it is easy to grasp exactly what he meant. 1. Transcript of taped interview with the artist by Barry Pearce, 13 June 1997, Australian artists archive, Art Gallery of New South Wales Library, Sydney

HENRY MULHOLLAND

As if compensating for years of working with inert acrylic surfaces, a dense textured quality created entirely from layer upon layer of pure oil paint became the central feature of Johnson’s painting. His forensic understanding of colour, honed over many years, now fitted his fresh appreciation for the physicality of oil paint, as the density of the medium was matched by that of the colour pigments.

ROBERT KLIPPEL 20 (1920 – 2001) THE SENTINEL (No.718b), 1988 bronze 196.0 cm height edition: 5/6 stamped at base: R K 718 88 5/6 estimate :

$80,000 – 120,000

PROVENANCE Watters Gallery, Sydney Private collection, Sydney LITERATURE Edwards, D., Robert Klippel: Catalogue Raisonné of Sculpture, (CD-ROM), Deborah Edwards and the Trustees of the Art Gallery of New South Wales, Sydney, 2002 (illus. CD-ROM Artworks no. 718b) RELATED WORK No. 718, 1988, (a) wood assemblage, Andrew Klippel Collection in Edwards, D., Robert Klippel: Catalogue Raisonné of Sculpture, (CD-ROM), Deborah Edwards and the Trustees of the Art Gallery of New South Wales, Sydney, 2002 (illus.) The Sentinel, 1988, bronze, edition 1/6, formerly in the Orica Collection, Melbourne

With his singular vision, extraordinary inventiveness of form and unwavering dedication to his private quest for a spiritually relevant aesthetic, Robert Klippel stands alone in the annals of twentieth-century art as one of Australia’s most intuitive and original sculptors. From the exquisite surrealist works of the 1940s to the energised junk sculptures of the 1960s, the delicate miniatures and lyrical works on paper to the monumental assemblages, his vast and extremely diverse oeuvre has consistently been inspired by the intricacies of both natural and built environments. Thus juxtaposing organic and mechanical, chance and intent, internal and external, science and religion, his art embodies not so much reconciliation or balance, but rather, as Deborah Edwards observes, ‘...the more subtle desire to forge a new, sometimes irrational, precarious, unforeseen and ultimately delicate equilibrium between his sense of a permanent order and the flux of the modern condition’.1 Elegant in its lucidity of conception and execution, The Sentinel (No.718b), 1988 offers a spectacular example from the last great series of Klippel’s career which, spanning roughly eight years from the mid eighties to early nineties, is distinguished by a monumentality previously unknown in his art. Although not the gargantuan structures characterising much contemporary art, such assemblages are significantly among some of his most substantial and solid in their weightier enclosed rhythms, sonorous reverberations of energy, and human scale which references not only the sculpture’s outer dimensions but also, the clusters, reliefs and recesses of smaller parts held within and upon its surfaces – the ‘tender intimacies’ of Klippel’s work. 2 An uncompromising declaration of the rigorously non-representational at a time when naturalism, realism and narrative had assumed dominance within contemporary art practice, indeed The Sentinel (No.718b) – as its title suggests – poignantly encapsulates the unique and enduring appeal of Klippel’s ever-independent, somewhat solitary creative spirit. As one critic observes, ‘...if his sculpture carries any sort of lesson it is both that important works of art will surely rise out of the present stream, and equally, that one doesn’t necessarily have to be in it or with it in order to produce great works of art’. 3 1. Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, p. 17 2. Ibid., p. 189 3. Thomas, L., ‘Cogs and slats in a timeless Klippel - possibly only today’, Australian, 8 February 1969

VERONICA ANGELATOS

GWYN HANSSEN PIGOTT 21 (1935 – 2013) PURPLE CLUSTER WITH GREY BOTTLE, 2009 translucent porcelain seven pieces (3 bottles, 3 beakers, 1 bowl) 27.0 x 30.0 cm overall each stamped at base with artist’s roundel estimate :

$8,000 – 12,000 (7)

PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above EXHIBITED Gwyn Hanssen Pigott: Parades, trails, echoes & bowls, Rex Irwin Art Dealer, Sydney, 24 November – 18 December 2009, cat. 17 (illus. on exhibition invitation)

PROVENANCE Estate of the Artist Thence by descent Andrew Klippel Collection, Sydney Private collection, Sydney

ROBERT KLIPPEL 22 (1920 – 2001) FIVE SCULPTURES, 1995 polychromed metal and wire constructions (FROM LEFT TO RIGHT) No. 033: 16.0 cm height No. 064: 15.0 cm height No. 083A: 14.5 cm height No. 1125: 21.5 cm height No. 1127: 14.5 cm height estimate :

$20,000 – 30,000 (5)

EXHIBITED Klippel: Opus 2008, National Gallery of Victoria, Melbourne, 7 August – 2 November 2008, No. 033, No. 083A, No 1125 and No. 1127 LITERATURE Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 230 – 231 (illus. in studio) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 1125 (illus.), No. 1127 (illus.) Lindsay, F., Klippel: Opus 2008, National Gallery of Victoria, Melbourne, 2008, p. 111 (illus., unpaginated)

LEWIS MORLEY 23 (1925 – 2013) CHRISTINE KEELER, AT MORLEY’S LONDON STUDIO, 1963 printed 2009 silver gelatin photograph 33.0 x 25.5 cm image 35.5 x 27.5 cm sheet signed below image lower right blindstamp below image lower right inscribed verso: KEELER ’63 PHOTO LEWIS MORLEY. PRINTED BY LEWIS MORLEY / FOR JUDY – IN APPRECIATION – FONDEST REGARDS LEWIS – 2009 estimate :

$8,000 – 12,000

PROVENANCE Private collection, Sydney, a gift from the artist in 2009 EXHIBITED Lewis Morley: 50 Years of Photography, Art Gallery New South Wales, Sydney, 5 July – 10 September 2006 (another example) LITERATURE Lewis Morley: 50 Years of Photography, Art Gallery New South Wales, Sydney, 2006, pp. 10 (illus., another example), 113 RELATED WORK Other examples of this photograph are held in the collections of the Art Gallery of New South Wales, Sydney, the National Gallery of Australia, Canberra, and the National Portrait Gallery, London

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

CONTEMPORARY ASIA PACIFIC WORKS FROM THE MAINLAND COLLECTION LOTS 24 – 34

Featuring some of the finest works by forty-eight contemporary artists, all of them with a deep connection to the Asia Pacific region, the Mainland Art Collection was assembled under the thematic banner – The art of humanity: a cultural march through complex landscapes. Accordingly, the collectors have acquired works which register the dynamism of the Asia Pacific region - its pervasive sense of flux but also, the irreducible complexity of the contemporary here. As the guiding phrase suggests, the Collection is informed by a deep empathy and strong sense of curiosity – a wish to know and understand (and necessary acceptance of unknowing, and not understanding). Several themes moreover run through the Collection, uniting and illuminating the individual works, while at the same time linking to broader concerns in contemporary art – both in the Asia Pacific, and beyond. Although none of the collected artworks should be reduced to any single idea or concern, five recurrent motifs may be perceived and will be discussed with particular focus upon the eleven works on offer. With its vastness and internal heterogeneity, the Asia Pacific region – itself a conglomeration of regions – resists clear categorisation. Taking the multiple, layered entanglement within and beyond this region as their point of departure, several works thus contemplate the multi-faceted exchange and flow of ideas, images, information and peoples which give this region and these artists their dynamism. The importance of such peripatetic practices and diasporic identities are highlighted for example by Reko Rennie, who explores the appearance of graffiti and street art styles in locations far from their imagined origins in New York city – in Vietnam and in Indigenous Australia, respectively. Similarly, the works of Alex Seton and Shane Cotton reflect a desire to selectively adapt, reinterpret and appropriate aesthetic approaches from a range of different locations and cultures. However, it is not only links between places, ideas and people that are many-directional and complex, nor is it only the borders (real or imagined) being crossed that are multiple and mysterious. Emphasising the way in which arts discourse itself has tended to reduce such complexity in an attempt to understand it, other artists in the Collection explore precisely this complexity, without seeking to simplify or make sense of it. In Mark Whalen’s Gathering, 2011 which appropriates stylistic approaches from street art, Japanese geisha and globalised Los Angeles popular culture, there are also traces of an imaginary geography that both overlaps and transcends the place where he lives and works. Likewise, in State of Being (Guitar), 2011 by Chiharu Shiota the complexity of the contradiction is fundamental - the sculpture bearing a solidity and mass which is entirely belied by the lightness and delicacy of the threads that traverse the six surfaces of the object.

Another key concern for several of the artists in the Collection is engaging with histories. Whether social or political, ancient or modern, histories are notoriously contested in the Asia Pacific region as witnessed here by Christian Thompson, who interrogates the narratives and legacies of colonialism; Tiffany Chung, who grapples with the wars and violent conflicts that have marked her place of birth (Vietnam); and Yang Yongliang, whose digital images appropriate and reinterpret Chinese ink and compositional tropes to examine rapidly transforming urban environments. Importantly, in their engagements with the past all these artists move beyond the concept of ‘tradition’ which has long defined discourses of modern and contemporary art in the Asia Pacific, to consider ways in which histories are told (or not told). Contemplating the said and unsaid is similarly a theme pervading the art of Pinaree Sanpitak and Li Hongbo who are centrally concerned with the human body, as well as the texture and form of their materials. Highlighting the materiality of the paint she uses, indeed Sanpitak offers tantalising traces of presence with her poetic, semi-abstract forms recalling human and other organic shapes, suggestive of the body’s multiple relationships to its environments. Also drawn to the affective capacities of material, Li Hongbo here employs paper in a technique commonly used for a type of children’s toy to create an elongated figure whose legs appear too long to support its body - yet because the paper is seamless, it is also oddly graceful. Finally, the most prominent of the thought-motifs linking the works in the Collection is arguably that of criticality and of addressing the numerous conflicts that often define both the contemporary moment, and AsiaPacific region. Although almost all the works here contain traces of these themes, artists such as Eko Nugroho stand out in particular for the ways in which their articulations of protest are infused with a profound curiosity and creative playfulness. Deutscher and Hackett is delighted to have the opportunity to offer here a selection of eleven works from the Mainland Art Collection. The artists represented are among the most significant and respected in the Asia-Pacific; many are also prominent outside the region, with their practices recognised by numerous institutions, exhibitions and publications worldwide. We are grateful to Roger Nelson for allowing us to reproduce at length from his essay, ‘Five Threads (Among Many Others) in the Mainland Collection’ in the catalogue accompanying the collection, Mainland Art Fund. The Art of Humanity: A Cultural March Through Complex Landscapes, Mainland Art Fund, Melbourne, 2018.

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

REKO RENNIE 24 born 1974 ROYAL FLAG II, 2017 24 carat gold-plated aluminium 99.0 x 139.0 x 4.0 cm estimate :

$20,000 – 25,000

PROVENANCE Blackartprojects, Melbourne The Mainland Collection, Melbourne, acquired from the above in 2017

2012 2011 2010

RELATED WORK Royal Flag, 2013, 24 carat gold-plated aluminium, 110.0 x 147.0 x 4.0 cm, in the collection of the National Gallery of Australia, Canberra Reko Rennie lives and works in Melbourne SELECTED EXHIBITIONS 2018 ALWAYS, Kronenberg Mais Wright, Sydney Contemporary 2018, Carriageworks, Sydney 2017 Personal Structures, 57th Venice Biennale, Venice, Italy 2016 XIII Bienale de Cuenca, Cuenca, Ecuador 2016 Sovereignty, Australian Centre for Contemporary Art, Melbourne 2016 Jogja Calling, 4A Centre for Contemporary Asian Art, Sydney 2015 Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia, Adelaide 2015 Murruwaygu, Art Gallery of New South Wales, Sydney 2015 Monster Pop!, Museum and Art Gallery of the Northern Territory, Darwin 2014 Warriors Come Out To Play, Cemeti Art House, Yogyakarta, Indonesia 2014 No Sleep Til Dreamtime, Art Gallery of New South Wales, Sydney 2013 Melbourne Now, National Gallery of Victoria, Melbourne 2013 Vivid Memories – An Aboriginal Art History, Musée d’Acquitaine, Bordeaux, France 2012 Archibald Prize Finalist, Art Gallery of New South Wales, Sydney 2012 OA NDN, Museum of Contemporary Native Arts collaboration with Frank Buffalo Hyde, Santa Fe, USA

2010

Reko Rennie, Scope Art Fair, diane tanzer gallery + projects, New York, USA Patternation, curated by Stephen Gilchrist (NGV), Kluge-Ruhe Institute, Virginia, USA Bingo Night in the Promised Land, New Image Gallery, Los Angeles, USA Bora, LeMUR Association, Paris, France

SELECTED LITERATURE Caisley, O., ‘Armed with history’, The Australian, 15 September 2018 Cuthbertson, D., & McManus, J., ‘A gold Rolls-Royce, the outback and a childhood stolen’, The Sydney Morning Herald, Sydney, 2017 Colour Theory: Reko Rennie, season 1, episode 5, SBS Alessi, V., ‘Wearing his Crown: The Work of Reko Rennie’, Art and Australia, Art & Australia Pty Ltd, Sydney, vol. 52, no.1 ,2014 ‘Reko Rennie’, Artist Profile, Artlink Online, March 2014 Harvey, J.L., ‘Rekospective’, Artlink, Indigenous Issue, vol. 33, no. 2, 2013 Cooke, D., ‘Reko Rennie: Aboriginal artist spreads his wings’, The Age, Melbourne, 15 November 2013 SELECTED COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide Art Gallery of Western Australia, Perth Kluge-Ruhe Institute, University of Virginia, USA Koorie Heritage Trust Lyon Housemuseum, Melbourne National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne New Contemporary Art Museum, Nanjing, Jiangsu, China RMIT University, Melbourne Wesfarmers Collection of Australian Art, Perth REPRESENTED BY STATION Gallery, Melbourne and Sydney Kronenberg Mais Wright, Sydney

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

ALEX SETON 25 born 1977 LIFE VEST (EMERGENCY), 2014 bronze 51.0 x 34.0 x 40.0 cm edition: 1/3 signed, dated and numbered at base: Alexander Seton Ed 1/3 2014 estimate :

$25,000 – 35,000

PROVENANCE Sullivan + Strumpf, Sydney The Mainland Collection, Melbourne, acquired from the above in 2015 EXHIBITED Sullivan + Strumpf, Sydney at Art Basel, Hong Kong, 13 – 17 March 2015 Young & Free: An Australian Discourse, Bega Valley Regional Gallery, New South Wales, 10 February – 18 March 2017 Alex Seton lives and works in Sydney SELECTED EXHIBITIONS 2018 Cargo, Sullivan + Strumpf, Sydney 2017 The Island, Newcastle Art Gallery, Newcastle 2017 Countercurrents, Samstag Museum, Adelaide 2016 Forming in the Pupil of an Eye: Kochi-Muziris Biennale 2016, Kochi, India 2016 Wynne Prize Finalist, Art Gallery of New South Wales, Sydney 2015 The Journey, Galerie Paris – Beijing, Paris 2014–15 Refoulement, McClelland Gallery, Langwarrin and touring to Linden Centre for Contemporary Art, Melbourne; and Rockhampton Art Gallery, Queensland 2014–15 As of Today, Australian War Memorial, Canberra 2014–15 Sealed Section, Artbank, Sydney 2014 Replicator, Tweed Regional Gallery, New South Wales 2014 What Marcel Duchamp Taught Me, The Fine Art Society, London, UK 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide 2013 Roughing Out, Hazelhurst Regional Gallery and Arts Centre, Sydney 2012 Six More, Australian War Memorial, Canberra 2011 Double Vision, McClelland Gallery and Sculpture Park, Victoria

SELECTED LITERATURE Mendelssohn, J., ‘Honouring the dead – Alex Seton’s stark, moving protest sculptures carved from marble’, The Conversation, 12 December 2018 Mitsuji, T., ‘Alex Seton explores our cultural baggage in Cargo’, Art Guide Australia, Melbourne, 26 September 2018 Fortescue, E., ‘Sculptor Alex Seton’s monumental view of history’, The Daily Telegraph, Sydney, 11 May 2017 Grishin, S., ‘Art Review – Alex Seton at the Australian War Memorial’, The Canberra Times, Canberra, 27 February 2015 Frost, A., ‘This is what it looks like’, Art Collector, Sydney, issue 70, October – December 2014, p. 146 – 153 Capon, E. & Fairly, G., Alex Seton: Roughing Out, exhibition catalogue, Hazelhurst Regional Gallery and Arts Centre, Sydney, 2013 Frost, A., ‘Memorial to the Forgotten’ in Alexander Seton: Elegy on Resistance, exhibition catalogue, Sullivan + Strumpf, Sydney and ArtHK12, Hong Kong, 2012 SELECTED COLLECTIONS Albury Regional Gallery, Albury Artbank, Sydney Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide Australian War Memorial, Canberra Bendigo Art Gallery, Bendigo Danish Royal Art Collection, Copenhagen, Denmark Fidelity Worldwide Investment, Hong Kong and Sydney Gold Coast City Gallery, Gold Coast HBO Collection, New York, USA National Gallery of Australia, Canberra Newcastle Art Gallery, Newcastle Queensland University of Technology, Brisbane University of Queensland Art Museum, Brisbane REPRESENTED BY Sullivan + Strumpf, Sydney and Singapore

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

CHRISTIAN THOMPSON 26 born 1978 UNTITLED #7, 2010 (FROM ‘KING BILLY’ SERIES) type C photograph 98.0 x 98.0 cm edition: 2/10 estimate :

$5,000 – 7,000

PROVENANCE Galerie Gabrielle Pizzi, Melbourne The Mainland Collection, Melbourne, acquired from the above in 2013

2010

EXHIBITED Hijacked III: Contemporary Photography from Australia & the UK, Perth Institute of Contemporary Art, Perth, 18 February – 8 April 2012 Queen’s Land: Blak Portraiture – Late 19th Century to the Present, Cairns Regional Art Gallery, Cairns, 17 May – 11 August 2019 (another example)

SELECTED LITERATURE 2018 McLean, I., Equinox, exhibition catalogue, Michael Reid Gallery, Berlin 2012 Lane, C., & Cubillo, F.(eds.), UnDisclosed, exhibition catalogue, Second National Indigenous Art Triennial, National Gallery of Australia, Canberra 2010 Bright, S., AUTO FOCUS, The Self Portrait in Contemporary Photography, Thames & Hudson, London 2007 Hart, D., Andy and Oz: Parallel Visions, exhibition catalogue, The Andy Warhol Museum, Pittsburgh, USA

LITERATURE ‘Hijacked III: Contemporary Photography from Australia and the UK’, Art Almanac, Sydney, 28 February 2012 [https://www.art-almanac.com.au/hijacked-iii-contemporaryphotography-from-australia-and-the-uk/] (accessed 17/10/19) Christian Thompson lives and works between Melbourne and London SELECTED EXHIBITIONS 2018 Earth/Sky, National Gallery of Australia, Canberra 2018 New Histories, Bendigo Art Gallery, Victoria 2018 Colony: Frontier Wars, National Gallery of Victoria, Melbourne 2018 Divided World, 2018 Adelaide Biennial of Australian Art, Adelaide 2017–19 Christian Thompson: Ritual Intimacy, Monash University of Art, Melbourne; UNSW Galleries, Sydney; and Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide 2016 Christian Thompson, Bega Valley Regional Gallery, Bega, New South Wales 2015 Christian Thompson REMIX: a decade of photography, Orange Regional Gallery, Orange, New South Wales 2015 The 8th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery / Gallery of Modern Art, Brisbane 2014 PULSE: Reflections on the Body, Canberra Museum and Art Gallery, Canberra 2012 UnDisclosed, 2nd National Indigenous Art Triennial, National Gallery of Australia, Canberra 2011 Tell Me, Tell Me, Museum of Contemporary Art, Sydney 2010 Christian Thompson Survey Show, Gallery Gabrielle Pizzi, Melbourne

2009

The Beauty of Distance: Songs of Survival in a Precarious Age, 17th Biennale of Sydney, Sydney Half-Light: Portraits from Black Australia, Art Gallery of New South Wales, Sydney

SELECTED COLLECTIONS Aboriginal Art Museum, Utrecht, The Netherlands Artbank, Sydney Art Gallery of New South Wales, Sydney Art Gallery of Western Australia, Perth Cate Blanchett and Andrew Upton Collection, Sydney City of Melbourne Collection, Melbourne Christchurch Grammar School, Perth Deloitte Collection, Sydney Horsham Regional Art Gallery, Victoria Latrobe Regional Gallery, Victoria Monash Gallery of Art, Melbourne Museum of Contemporary Art, Sydney National Gallery of Victoria, Melbourne Pat Corrigan Collection, Sydney Peter Klein Collection, Eberdingen, Germany Pitt Rivers Museum, Oxford, United Kingdom Queensland Art Gallery / Gallery of Modern Art, Brisbane Shepparton Art Museum, Victoria Trinity College, Oxford, United Kingdom University of Queensland Art Museum, Brisbane Wagner-Owen Collection, North Carolina, USA REPRESENTED BY Sarah Scout Presents, Melbourne Michael Reid Gallery, Sydney and Berlin

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

CHIHARU SHIOTA 27 born 1972, Japanese STATE OF BEING (GUITAR), 2011 guitar, metal, black thread 150.0 x 80.0 x 70.0 cm signed with initials on metal frame: Ch S estimate :

$30,000 – 40,000

PROVENANCE ARNDT Australia, Melbourne The Mainland Collection, Melbourne, acquired from the above in 2012

2008

EXHIBITED Migration, ARNDT Australia, Sydney, 27 March – 10 July 2012; Melbourne, 31 October – 15 December 2012

SELECTED LITERATURE Shiota Chiharu: The Soul Trembles, exhibition catalogue, Bijutsu Shuppan-Sha Co., Ltd, Japan, 2019 Firmenich, Dr. A., Chiharu Shiota Gedankenlinien/Line of Thought, exhibition catalogue, Stiftung Nantesbuch GmbH, Germany, 2019 Robb, L., and Kelty, R., Chiharu Shiota, exhibition catalogue, Art Gallery of South Australia, Adelaide, 2018 Chiharu Shiota: Beyond Time, exhibition catalogue, Yorkshire Sculpture Park, Yorkshire, UK, 2018 Stiftung, G., and St. Matthäus, S., (eds), Dekalog. Lost Words. Chiharu Shiota, exhibition catalogue, Kerber Verlang, Bielefeld, Berlin, Germany, 2017 Chiharu Shiota: Direction, exhibition catalogue, KODE-Art Museum of Bergen, Norwegian, 2017 November, H., (ed), Chiharu Shiota: Between the Lines, exhibition catalogue, Wbooks, Het Noordbrabants Museum, Netherlands, 2017 Jahn, A., (ed), An Interview with Chiharu Shiota by Andrea Jahn, Stadtgalerie Saarbrücken, KERBER, Germany, 2016 Chiharu Shiota: Letters of Thanks, exhibition catalogue, Museum of Art, Kochi, Japan, 2013 Chiharu Shiota: Breath of the Spirit, exhibition catalogue, National Museum of Art, Osaka, Japan, 2008

LITERATURE Kiely, A., ‘Precious Cargo’, Vogue Living, Conde Nast Publications, Sydney, April 2013, p. 90 (illus.) Chiharu Shiota lives and works in Berlin, Germany SELECTED EXHIBITIONS 2019 The Soul Trembles, Mori Art Museum, Tokyo, Japan 2018 Beyond Time, Yorkshire Sculpture Park, Wakefield, UK 2018 The Butterfly Dream, Kyoto Art for Tomorrow 2018, The Museum of Kyoto, Japan 2018 Embodied, Art Gallery of South Australia, Adelaide, Australia 2017 Direction, KODE-Art Museum of Bergen, Bergen, Norway 2017 Suzu 2017 Oku-Noto Trienniale, Suzu, Ishikawa, Japan 2017 Body Media II, Power Station of Art, Shanghai, China 2016 Piranesi | Shiota: Prisons of the Imagination, Tel Aviv Museum of Art, Tel Aviv, Israel 2016 The future is already here – it’s just not evenly distributed, 20th Biennale of Sydney, Sydney 2016 Travelers: Stepping into the Unknown, The National Museum of Art, Osaka, Tokyo 2015 The Key in the Hand, Japan Pavilion, 56th Venice Biennale, Venice, Italy 2014 Over the Continents, Arthur M. Sackler Gallery, Smithsonian Institution, Washington DC, USA 2013 Letters of Thanks, Museum of Art, Kochi, Japan 2013 Collection+: Chiharu Shiota, Sherman Contemporary Art Foundation, Sydney 2012 Where Are We Going?, Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, Japan 2011 Lost in Lace, Birmingham Museum and Art Gallery. Birmingham, UK 2011 Experimenta Utopia, Museum of Old and New Art, Tasmania, Australia 2010 Arts and Cities, Aichi Triennale 2010, Nagoya, Japan

2008

Breath of the Spirit, The National Museum of Art, Osaka, Japan On Bathing, The National Museum of Modern Art, Tokyo. Japan

SELECTED COLLECTIONS Art Gallery of South Australia, Adelaide Centre PasquArt, Biel-Bienne, Switzerland Detached, Hobart Fukuoka Asian Art Museum, Fukuoka, Japan Musée National de l’Histoire de l’Immigration, Paris, France Museum für Neue Kunst Freiburg, Freiburg, Germany National Museum of Art, Osaka, Japan National Museum of Modern Art, Tokyo, Japan Shiseido Art House, Kakegawa, Japan Takamatsu City Museum of Art, Takamatsu, Japan Vangi Sculpture Garden Museum, Shizuoka, Japan 21st Century Museum of Contemporary Art, Kanazawa, Japan REPRESENTED BY Anna Schwartz Gallery, Melbourne Blain|Southern, London, Berlin, New York Galerie Templon, Paris

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

EKO NUGROHO 28 born 1977, Indonesian TIGA KEPALA SATU MASALAH (THREE HEADS AND ONE PROBLEM), 2010 machine embroidered rayon thread on fabric backing 218.0 x 137.0 cm overall each panel embroidered with name and date verso: EKO NUGROHO 2010 estimate :

$20,000 – 30,000 (6)

PROVENANCE Ark Galerie, Yogyakarta, Indonesia The Mainland Collection, Melbourne, acquired from the above in 2010 Eko Nugroho lives and works in Yogyakarta, Indonesia SELECTED EXHIBITIONS 2019–20 Ábadakone/Continuous Fire/Feu Continuel, National Gallery of Canada, Ontario, Canada (upcoming) 2019 Contemporary Worlds: Indonesia, National Gallery of Australia, Canberra 2018 My Monster: The Animal-Human Hybrid, RMIT Gallery, Melbourne 2017 Middle of Now|Here, Honolulu Biennale, Honolulu, Hawaii 2017 IMAGINARIUM: To the End of the Earth, Singapore Art Museum, Singapore 2016 Lot Lost, Art Gallery of New South Wales, Sydney 2015 Root: Indonesian Contemporary Art Frankfurter Kuntstverein, Kunst Museum, Frankfurt, Germany 2014 Burning Down The House, 10th Gwangju Biennale, Gwangju, South Korea 2013 The Encyclopaedic Palace, 55th International Art Exhibition of the Venice Biennale, Venice, Italy 2013 We Are What We Mask, Singapore Tyler Print Institute, Singapore 2012 RALLY: Contemporary Indonesian Art, Jompet Kuswidananto & Eko Nugroho, National Gallery of Victoria, Melbourne 2011 The Eko Chamber: Recent Works by Eko Nugroho, Art Gallery of South Australia, Adelaide 2011–13 Beyond the Self: Contemporary Portraiture from Asia, National Portrait Gallery, Canberra and touring to McClelland Gallery & Sculpture Park, Victoria; Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide; Museum & Art Gallery of the Northern Territory, Darwin 2010 Contemporaneity, Museum of Contemporary Art, Shanghai, China 2009 Lyon Biennale X: The Spectacle of The Every Day, Lyon, France 2008 Expenditure, Busan Biennale 2008, Busan, South Korea 2008 Kiasma Museum of Contemporary Art, Helsinki, Finland

SELECTED LITERATURE Tang, C., ‘Eko Nugroho: Plastic Democracy’, ArtAsiaPacific, Hong Kong, no.110, Sept/Oct 2018, p. 146 Effendy, R., ‘Reality in the world of Eko Nugroho. (The Work of One of Indonesia’s Most Successful Artists.), Art and Australia, Art & Australia Pty Ltd, Sydney, vol. 51, no. 1, 2013, p.129 – 133 Bentley, S., ‘Come Together: the art of Jompet Kuswidananto and Eko Nugroho’, Art and Australia, Art & Australia Pty Ltd, Sydney, v. 50, no. 3, Autumn 2013, p.392 – 395 The Encyclopaedic Palace, exhibition catalogue, 55th International Art Exhibition, La Biennale di Venezia, Venice, Italy, 2013 Gokalp, S., ‘Art is Melting/L’Art Mixe’ (essay) in Eko Nugroho: Threat as a Flavour, exhibition catalogue, Arndt Gallery, Berlin, 2012 Supriyanto, E., and Ooi, A. (eds.), Eko (space) Nugroho, Daging Tumbuh Studio, Yogyakarta, Indonesia, 2011 SELECTED COLLECTIONS Arario Collection, Cheonan, Korea Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide Artnow, International A3 Collection, San Francisco, USA Asia Society Museum, New York, USA Contemporary Arts Center, New Orleans, USA Deutsche Bank, Frankfurt, Germany Queensland Art Gallery & Gallery of Modern Art, Brisbane Guy & Myriam Ullens Foundation, Beijing, China Haus Der Kulturen Der Welt, Berlin, Germany M+ Museum, Hong Kong Musée d’Art Moderne de Paris, Paris, France Musée des Beaux Arts de Lyon, Lyon, France Museum and Art Gallery of the Northern Territory, Darwin National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Singapore Art Museum, Singapore Tropenmuseum, Amsterdam, Netherlands REPRESENTED BY Arario Gallery, Korea

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

YANG YONGLIANG 29 born 1980, Chinese VIRIDESCENCE – STOCK WORLD, 2009 inkjet print on fine art paper 60.0 x 180.0 cm edition: 4/7 signed, dated, numbered and inscribed with title in Chinese script below image stamped with artist’s seal in image lower left estimate :

$18,000 – 24,000

PROVENANCE MiFA, Melbourne The Mainland Collection, Melbourne, acquired from the above in 2010 EXHIBITED City of Phantom Visions – Yang Yongliang Photography Exhibition, OFOTO Gallery, Shanghai, 5 September – 31 October 2009 (another example) Views from China: Yang Yongliang and the Modern Metropolis, Nevada Museum of Art, Nevada, 2 April – 12 September 2010 (another example) Yang Yongliang, MiFA, Melbourne, 10 June – 23 July 2010 (illus. in exhibition catalogue, p. 45) Yang Yongliang works and lives between New York, USA and Shanghai, China SELECTED EXHIBITIONS 2019 Artificial Wonderland, Dunedin Public Art Gallery, Dunedin, New Zealand 2018 Salt 14: Yang Yongliang, Utah Museum of Fine Arts, Salt Lake City, USA 2018 Streams and Mountains without End: Landscape Traditions of Art, The Metropolitan Museum of Art, New York, USA 2015–17 Ink Remix: Contemporary art from China, Taiwan and Hong Kong, Canberra Museum and Gallery, Canberra; and touring to Bendigo Art Gallery, Victoria; UNSW Galleries, Sydney; and the Museum of Brisbane, Brisbane 2015–16 2050: A Brief History of the Future, The Royal Museums of Fine Arts of Belgium, Brussels, Belgium and The Louvre, Paris, France 2015 Shanghai Ever, Museum of Contemporary Art, Shanghai, China 2014 Panorama of the Next World, 5th Fukuoka Asian Art Triennale, Fukuoka Asian Art Museum, Fukuoka, Japan 2014 Aura of Poetry, Museum of Contemporary Art, Shanghai 2013 Ink Art: Past as Present in Contemporary China, Metropolitan Museum of Art, New York, USA 2012 The Printed Image in China: from the 8th to the 21st Centuries, Museum of Modern Art, New York, USA 2012 Time Catcher, National Gallery of Victoria, Melbourne 2011 One Hundred Flowers, Art Gallery of New South Wales, Sydney

2010

Views from China: Yang Yongliang and The Modern Metropolis, Nevada Museum of Art, Reno, USA

SELECTED LITERATURE Fortescue, E., ‘Ancient Landscape paintings inspire new language for Chinese video and VR artist Yang Yongliang’, The Daily Telegraph, Sydney, 10 May 2018 Young, M., ‘OUT OF THE PAST: Profile of Yang Yongliang’, ArtAsiaPacific, Hong Kong, 30 May 2018 Mickle, A., ‘Yang Yongliang’s commentary on humans and nature in ‘Power and Beauty’ is devastating – and hopeful’, Minneapolis Institute of Art, Minnesota, USA, 19 April 2018 Stooke, A., ‘Mist in Virtual Mountains’, Art Collector, Sydney, 1 April 2018 Rosenberg, D., Yang Yongliang: New Landscapes, Thircuir Limited, Hong Kong, 2012 Heavenly City, exhibition catalogue, Galerie Paris-Beijing, Paris, France, 2010 Tai, M., Yang Yongliang = Yang Yongliang, exhibition catalogue, Melbourne International Fine Art Gallery (MiFA), Melbourne, 2010 SELECTED COLLECTIONS Allen Memorial Art Museum, Oberlin College, Ohio, USA Arendt Art Collection, Arendt & Medernach, Luxembourg Art Gallery of New South Wales, Sydney British Museum, London, UK Brooklyn Museum, New York, USA Centre for Chinese Contemporary Art, University of Salford, Manchester, UK DSL Collection, Paris, France Jordan Schnitzer Museum of Art, University of Oregon, Oregon, USA M+ Sigg Collection, Hong Kong Metropolitan Museum of Art, New York, USA Museum of Fine Arts, Boston, USA National Gallery of Victoria, Melbourne Nevada Art Museum, Nevada, USA Saatchi Gallery, London, UK San Francisco Asian Art Museum, San Francisco, USA Ulrich Museum of Art, Wichita State University, Kansas, USA White Rabbit Collection, Sydney REPRESENTED BY Galerie Paris-Beijing, Paris Sullivan+Strumpf, Sydney and Singapore Whitestone, Hong Kong, Taipei, Tokyo

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

TIFFANY CHUNG 30 born 1969, Vietnamese NAGASAKI, 2010 embroidery, beads, metal grommets and buttons on canvas 111.0 x 84.0 cm estimate :

$20,000 – 30,000

PROVENANCE Tyler Rollins Fine Art, New York The Mainland Collection, Melbourne, acquired from the above in 2012 EXHIBITED Tiffany Chung: Scratching the walls of memory, Tyler Rollins Fine Art, New York, 4 November 2010 – 8 January 2011 (illus. in exhibition catalogue) 2013 California-Pacific Triennial, Orange County Museum of Art, California, 30 June – 17 November 2013 (illus. in exhibition catalogue, p. 200) Tiffany Chung lives and works between Houston, USA and Ho Chi Minh City, Vietnam SELECTED EXHIBITIONS 2019 Tiffany Chung: Vietnam, Past Is Prologue, Smithsonian American Art Museum, Washington, D.C., USA 2018 Tiffany Chung - Thu Thiem: An Archaeological Project for Future Remembrance, Johann Jacobs Museum, Zurich, Switzerland 2018 Imagined Borders, 12th Gwangju Biennale, Asia Culture Center, Gwangju, South Korea 2018 Superposition: Equilibrium and Engagement, 21st Biennale of Sydney, Sydney 2018 Nothing Stable Under Heaven, San Francisco Museum of Modern Art, San Francisco, California, USA 2017 SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, Mori Art Museum, Tokyo, Japan 2016 Insecurities: Tracing Displacement and Shelter, Museum of Modern Art, New York, USA 2016 Migration Politics: Three CAMP exhibitions at the SMK, Statens Museum for Kunst/National Gallery of Denmark. Copenhagen, Denmark 2015 From The Mountains To The Valleys, From The Deserts To The Seas: Journeys of Historical Uncertainty, Center for Art on Migration Politics, Copenhagen, Denmark 2015 All the World’s Futures, 56th International Art Exhibition of the Venice Biennale, Venice, Italy 2014 My Voice Would Reach You, Museum of Fine Arts, Houston, Texas, USA 2012 Six Lines of Flight, San Francisco Museum of Art, San Francisco, California, USA 2012 The 7th Asia Pacific Triennial of Contemporary Art (APT7), Queensland Art Gallery & Gallery of Modern Art, Brisbane

2012

Panorama: Recent Art from Contemporary Asia, Singapore Art Museum, Singapore

SELECTED LITERATURE Tiffany Chung: Vietnam, Past is Prologue, exhibition catalogue, Smithsonian American Art Museum, Washington, DC, 2019 Tsai, S., ‘Five Plus One section – Tiffany Chung’, Almanac Edition, ArtAsiaPacific, Hong Kong, Vol XII, January 2017 Sano, M., ‘TIFFANY CHUNG: Excavating and Remapping Erased Histories: An Artistic Practice on Protesting Against Historical Amnesia’, Asia Center Japan Foundation online, February 16 2017 ‘Tiffany Chung on Brilliant Ideas’, documentary series, Bloomberg Television, November 2016 Maniglier, A., ‘Tiffany Chung | Mapping Crisis Through Memory’, HAPPENING, 28 October 2016 Gardner, C., ‘Probeheads of Resistance and The Heterotopic Mirror: Tiffany Chung and Dinh Q. Les Stratigraphic Cartographies’ in Hickey-Moody, A., and Page, T., (eds), Arts, Pedagogy and Cultural Resistance New Materialism, London: Rowman & Littlefield International, UK, 2016 Tiffany Chung, Tyler Rollins Fine Art, New York, 2015 SELECTED COLLECTIONS AK Wien Kultur, Vienna, Austria Albright-Knox Art Gallery, Buffalo, New York, USA Faurschou Foundation, Copenhagen, Denmark Ford Foundation, New York, USA Fukuoka Asian Art Museum, Fukuoka, Japan Herbert F. Johnson Art Museum, Cornell University, Ithaca, New York, USA Orange County Museum of Art, Newport Beach, California, USA Louisiana Museum of Modern Art, Humlebæk, Denmark M+ Museum, Hong Kong Minneapolis Institute of Art, Minneapolis, USA Queensland Art Gallery, Brisbane, Australia Royal Melbourne Institute of Technology, Ho Chi Minh City, Vietnam San Francisco Museum of Modern Art, San Francisco, California, USA Sharjah Art Foundation, Sharjah, United Arab Emirates Singapore Art Museum, Singapore Smith College Museum of Art, Northampton, Massachusetts, USA REPRESENTED BY Galerie Quynh, Ho Chi Minh City, Vietnam Tyler Rollins Fine Art, New York

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

LI HONGBO 31 born 1974, Chinese SMART LITTLE MAN, 2012 paper, glue 125.0 x 60.0 cm mount signed in Chinese script and dated on mount lower right: 李洪波 / 2012.3.15 estimate :

$10,000 – 15,000

PROVENANCE Eli Klein Fine Art, New York The Mainland Collection, Melbourne, acquired from the above in 2012 EXHIBITED Material Object, Eli Klein Fine Art, New York, 29 May – 19 July 2012 (illus. in exhibition catalogue) LITERATURE ‘MATERIAL OBJECT (group)’, Artlinkart, Shanghai, 2012, [http://www.artlinkart.com/en/exhibition/ overview/948cyCor] (accessed 16/10/2019) ‘flexible honeycomb paper sculptures by li hongbo’, designboom, Milan, New York, Beijing, 29 May 2012, [https://www.designboom.com/art/flexible-honeycombpaper-sculptures-by-li-hongbo/] (accessed 16/10/2019) Li Hongbo lives and works in Beijing, China SELECTED EXHIBITIONS 2019 From Chinoiserie to Contemporary Art, Havana Biennial, Havana, Cuba 2018 Made in China – Li Hongbo Solo Project, MOCA Yinchuan, Ningxia, China 2017 Quand La Sculpture Devient Créature, Musée du Papier, Angoulême, France 2017 On Paper. Supreme, Shanghai Han Tianheng Art Museum, Shanghai, China 2017 Reciprocal Enlightenment, CAFA Art Musseum, Beijing, China 2016 TAKE ME OUT, Chi K11 Art Museum, Shanghai, China 2015 Irons for Ages, Flowers for Days, SCAD Museum of Art, Georgia, USA 2015 CODA Paper Art, CODA Museum, Apeldoorn, The Netherlands 2014 Li Hongbo: Tools of Study, Klein Sun Gallery, New York, USA 2014 Shadow of Ages, Flowers for Days, SCAD Museum of Art, Georgia, USA 2013 Li Hongbo – Out of Paper, Kunstverein Ludwigsburg, Ludwigsburg, Germany

2013 2013 2012 2012 2011 2010 2007

PaperWorks: The Art and Science of an Extraordinary Material, Berkshire Museum, Pittsfield, Massachusetts, USA Transformation – A Perspective of Contemporary Art, 53 Art Museum, Guangzhou, China All our relations, 18th Biennale of Sydney, Sydney Ctrl+N: Non-Linear Practice, Gwangju Museum of Art, Gwangju, South Korea The World – Li Hongbo New Works Exhibition, Found Museum, Beijing, China The Big Bang, White Rabbit Gallery, Sydney The Desire for Material Welfare & No Wants, Jin Du Art Center, Beijing, China

SELECTED LITERATURE Hongbo, L., A Piece of Paper: Li Hongbo, exhibition catalogue, Cathay Bookshop Publishing House, Beijing, 2013 SELECTED COLLECTIONS 21c Museum Hotel, Louisville, USA 53 Art Museum, Guangzhou, China Asian Civilizations Museum, Singapore Central Academy of Fine Arts Museum, Beijing, China Found Museum, Beijing, China Hubei Art Museum, Wuhan, China Maitland Regional Art Gallery, New South Wales Musée du Papier, Angoulême, France National Art Museum of China, Beijing, China Shandong Art Museum, Jinan, China White Rabbit Collection, Sydney Wuhan Art Museum, Wuhan, China REPRESENTED BY Eli Klein Fine Art, New York

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

PINAREE SANPITAK 32 born 1961, Thai CLOUD SPROUT, 2008 synthetic polymer paint on linen 198.0 x 198.0 cm estimate :

$25,000 –35,000

PROVENANCE Tyler Rollins Fine Art, New York The Mainland Collection, Melbourne, acquired from the above in 2013 EXHIBITED Quietly Floating: Pinaree Sanpitak, Tyler Rollins Fine Art, New York, 4 March – 17 April 2010 (illus. in exhibition catalogue) Pinaree Sanpitak lives and works in Bangkok, Thailand SELECTED EXHIBITIONS 2019 Fragmented Bodies: The Personal and The Public, STPI Creative Workshop & Gallery, Singapore 2017 Converging Voices: Gender and Identity, Hofstra University Museum, Hempstead, New York, USA 2017 Problem-Wisdom: Thai Art in the 1990s, Queensland Art Gallery & Gallery of Modern Art, Brisbane 2017 Sugar Spin: You, Me, Art and Everything, Queensland Art Gallery and Museum of Modern Art, Brisbane 2017 Mats and Pillows and Vessels, Tyler Rollins Fine Art, New York, USA 2017 The House is Crumbling, National Gallery of Singapore, Singapore 2016 SEA+ Triennale 2016, National Gallery of Indonesia, Jakarta, Indonesia 2015 Anything Can Break, Toledo Museum of Art, Toledo, Ohio, USA 2014 Collection+: Pinaree Sanpitak, Sherman Contemporary Art Foundation, Sydney 2013 Hanging by a Thread, Los Angeles County Museum of Art, Los Angeles, USA 2013 Female Power, Museum voor Moderne Kunst Arnhem, The Netherlands 2012 Women In-Between: Asian Women Artists 1984-2012, Touring Exhibition 2012 – 2013, Fukuoka, Japan 2012 All our relations, 18th Biennale of Sydney, Sydney 2012-13 Temporary Insanity, The Chrysler Museum, Norfolk, Virginia, USA; The Contemporary Austin, Texas, USA; and Goyang Aram Nuri Arts Center, Korea 2011 2011 Here / Not Here: Buddha Presence in Eight Recent Works, Asian Art Museum of San Francisco, San Francisco, CA, USA

2010

THAI-YO, Bangkok Art and Culture Center, Bangkok, Thailand 2010 roundabout, City Gallery Wellington, Wellington, New Zealand 2008-09 Emotional Drawings, SOMA Museum of Art, Seoul, Korea; Museum of Modern Art, Tokyo, Japan; and Museum of Modern Art, Kyoto, Japan SELECTED LITERATURE Milford-Lutzker, M., Temporary Insanity: Pinaree Sanpitak, James H.W. Thompson Foundation, Bangkok, 2004 Bertrand, V., Pinaree Sanpitak, plasticine, 2002, Oeil, Montreuil, 2002 Ooi, A., Glimpses Into Thai Contemporary, exhibition catalogue, Valentine Willie Fine Art, Kuala Lumpur, 2001 SELECTED COLLECTIONS Asian Art Museum, San Francisco, USA Bangkok University, Bangkok, Thailand Bill & Melinda Gates Foundation, Seattle, USA Chulalongkorn University, Bangkok, Thailand Earl Lu Gallery, La Salle-SIA College of the Arts, Singapore Fukuoka Asian Art Museum, Fukuoka, Japan ILHAM Gallery, Kuala Lumpur, Malaysia Jim Thompson Farm, Nakorn Ratchasima, Thailand Los Angeles County Museum of Art, Los Angeles, CA, USA M+ Museum, Hong Kong MAIIAM Contemporary Art Museum, Chiang Mai, Thailand Nasher Museum of Art at Duke University, Durham, North Carolina, USA Queen Sirikit Centre for Breast Cancer, Bangkok, Thailand Queensland Art Gallery & Gallery of Modern Art, Brisbane Museum of Contemporary Art Tokyo, Tokyo, Japan Seinan Gakuin University, Fukuoka, Japan Sherman Contemporary Art Foundation, Sydney Singapore Art Museum, Singapore Toledo Museum of Art, Ohio, USA Vehbi Koc Foundation, Istanbul, Turkey REPRESENTED BY Tyler Rollins Fine Art, New York Yavuz Gallery, Singapore, Sydney

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

SHANE COTTON 33 born 1964, New Zealand SMASHED MYTH STUDY, 2010 synthetic polymer paint on paper 77.0 x 56.5 cm signed, dated and inscribed with title lower right: ‘SMASHED MYTH STUDY’ Shane Cotton 2010 estimate :

$5,000 – 8,000

PROVENANCE Anna Schwartz Gallery, Melbourne The Mainland Collection, Melbourne, acquired from the above in September 2010 EXHIBITED Smashed myth, Anna Schwartz Gallery, Sydney, 21 August – 25 September 2010

SELECTED LITERATURE Shane Cotton: The Hanging Sky, exhibition catalogue, Christchurch Art Gallery, Christchurch, New Zealand, 2013 French, B., Shane Cotton: The Extended Art of Looking, Gow Langsford Gallery and Creative New Zealand Publishing, 2008. Strongman, L. (ed.), Shane Cotton, City Gallery, Wellington, New Zealand and Victoria University Press, 2004 Tyler, L., Shane Cotton, University of Otago, Dunedin, New Zealand, 1998

Shane Cotton lives and works in Palmerston North, New Zealand SELECTED EXHIBITIONS 2017–18 Black Hole, Kronenberg Wright, Sydney, and Gertrude Contemporary, Melbourne 2016 Exploded Worlds, Dunedin Public Art Gallery, Dunedin, New Zealand 2016 Dirt Cache, Michael Lett, Auckland, New Zealand 2014 Baseland, Christchurch Art Gallery, Christchurch, New Zealand 2012–13 The Hanging Sky, Institute of Modern Art, Brisbane; Campelltown Arts Centre, New South Wales; and City Gallery, Wellington, New Zealand 2012 WHAKAWHITI ARIA: TRANSMISSION, Te Manawa Museum of Art, Science and History, Palmerston North, New Zealand 2010 17th Biennale of Sydney: The Beauty of Distance, Museum of Contemporary Art, Sydney 2009 Art in the Contemporary Pacific,Kaohsiung Museum of Fine Arts, Taiwan 2007 Turbulence: the 3rd Auckland Triennial, Auckland Art Gallery Toi o Tamāki, Auckland, New Zealand 2005 Expanded, The Prague Biennale 2, Karlin Hall, Prague, Czech Republic 2004 Paradise Now? Contemporary Art from the Pacific, Asia Society Museum, New York, USA 2004 Shane Cotton Survey 1993-2003, Auckland Art Gallery Toi o Tamāki, Auckland, New Zealand, and City Gallery, Wellington, New Zealand

SELECTED COLLECTIONS Art Gallery of New South Wales, Sydney Auckland Art Gallery Toi o Tamāki, Auckland, New Zealand Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand Dunedin Public Art Gallery, Dunedin, New Zealand Govett-Brewster Art Gallery, New Plymouth, New Zealand Manawatu Art Gallery, Palmerston North, New Zealand Museum of Contemporary Art, Sydney Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Queensland Art Gallery / Gallery of Modern Art, Brisbane Victoria University of Wellington, Wellington, New Zealand Wellington City Council, Wellington, New Zealand REPRESENTED BY Hamish McKay, Wellington Michael Lett Gallery, Auckland ROSSIROSSI, London and Hong Kong

WORKS FROM THE MAINLAND COLLECTION • LOTS 24 – 34

MARK WHALEN 34 born 1982 GATHERING, 2011 synthetic polymer paint, ink, gouache and resin 44.5 x 59.5 cm each 134.0 x 120.0 cm overall signed with initials, dated and inscribed with title on upper left panel verso: ‘GATHERING’ 2011 / MDW - KP estimate :

$8,000 – 12,000 (6)

PROVENANCE Blackartprojects, Melbourne The Mainland Collection, Melbourne, acquired from the above in 2011

2010 2009 2009

EXHIBITION Mark Whalen: White Out, Blackartprojects, Melbourne, 1 – 17 April 2011 LITERATURE Whalen, M., Mark Whalen: Human Development, Zero+ Publishing, California, 2011, pp. 112 – 3 (illus.) Mark Whalen lives and works in Los Angeles SELECTED EXHIBITIONS 2019 Ramble Ramble, Over the Influence, Los Angeles, USA 2019 Like Minded, Sophie Gannon Gallery, Melbourne 2018 The Rigg Prize, National Gallery of Victoria, Melbourne; Sophie Gannon Gallery, Melbourne and Flack Studio, Melbourne 2018 Grab Bag, Arsham Fieg Gallery, New York, USA 2018 Squeeze, Edwina Corlette Gallery, Brisbane 2017 MCA Art Bar, curated by Reko Rennie, Museum of Contemporary Art, Sydney 2017 Bindings, Pop 68/Ruttowski 68, Cologne, Germany 2016 Around the Bend, Chalk Horse Gallery, Sydney 2016 Collisions, Sanderson Contemporary, Auckland, New Zealand 2015 Trapezoid, Merry Karnowsky Gallery, Los Angeles, USA 2015 Occupied, Emma Bett Gallery, Hobart, Tasmania 2015 Between the Cracks, Edwina Corlette Gallery, Brisbane 2014 Peculiarities, Blackartprojects, Melbourne Art Fair, Melbourne 2013 Glitterers Anonymous, RMIT School of Art Gallery, Melbourne 2013 I’ll Meet You in the Middle, Blackartprojects, Future Perfect, Singapore 2010–11 Space Invaders, National Gallery of Australia, Canberra, and touring to University of Queensland Art Museum, Brisbane; RMIT Gallery, Melbourne and Western Plains Cultural Centre, Dubbo, New South Wales

2008

Disorder, Disorder, Penrith Regional Gallery, Penrith, New South Wales Apocalypse Wow, Museum of Contemporary Art Macro, Rome, Italy Supreme Beings, Merry Karnowsky Gallery, Los Angeles, USA Mark Whalen and Ryan Shaffer, Park Life Gallery, San Francisco, USA

SELECTED LITERATURE Whalen, M., ‘Mark Whalen’, The-Art-Form, Issue 03, London, 2019, pp. 70 – 73 (illus. and cover) Whalen, M., and Dambrot, S. N., Mark Whalen: Human Development, first edition, Zero+Publishing, California, 2011 SELECTED COLLECTIONS Artbank, Sydney National Gallery of Australia, Canberra REPRESENTED BY Sophie Gannon Gallery, Melbourne Over the Influence, Los Angeles

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATHLEEN O’CONNOR PAINTING PLATES AND FABRICS AT DAVID JONES, SYDNEY, 1927

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR LOTS 35 – 41

Kathleen (Kate) O’Connor was one of that significant generation of Australian women artists who were drawn to study at international art centres in the early decades of the twentieth century. Whilst most would return after a few years, O’Connor made France and England her home for almost fifty years before disillusion and bouts of ill health forced her unwilling return to these shores at the age of seventy-nine. Even so, her remaining thirteen years were filled with continuous activity, including exhibitions, awards and her second official Retrospective in 1967, the year prior to her death. Born in New Zealand in 1876, O’Connor’s family relocated to Western Australia when she was fifteen, following her father, the engineer C.Y. O’Connor, who was hired to supervise the building of the Fremantle Harbour and, later, the Coolgardie-Perth water pipeline. Already artistically inclined, Kate struggled to find adequate tuition until 1896, when the newly established Perth Art School began classes in drawing and painting. O’Connor started to think of a life beyond Perth, an ambition soon reinforced by family tragedy. Her father had first been lauded for his work on the Harbour, but was then increasingly vilified by a strident local press as he persevered with the pipeline project, attacks which eventually influenced the harried engineer’s decision to take his own life in 1902. Ten months later, the taps were turned on and his pipeline was proven to be perfectly constructed, whereupon the sanctimonious media ‘transformed’ him into a late, lamented genius. O’Connor left Perth in 1906, studying briefly in London before taking a room on the Left Bank in Paris. The French capital proved to be as inspiring as she had hoped. Artists and teachers were in abundance; perhaps more importantly, they were visible in their abundance and O’Connor enthusiastically joined their number. Rupert Bunny, another expatriate, had opened a teaching atelier in late 1905, and following a brief period of tuition there in 1909, O’Connor was soon accompanying him, and fellow students Emanuel Phillips and Ethel Carrick Fox, on sketching expeditions to the nearby Luxembourg Gardens, the largest

area of open space on the Left Bank. The Gardens are a magnet for apartment-dwelling Parisians, tourists and artists, and here, O’Connor found a perfect outdoor studio, full of life and incident. Her low-key, harmonious paint sketches capture many aspects of the Gardens’ occupants, and on close examination, bursts of colour often appear within the beige and caramel tones, for example, in the hat feathers of In the Luxembourg Gardens, c.1913 (lot 38). O’Connor is variously described as being influenced by the Impressionists but this is not strictly true. She preferred to acknowledge the inspiration of artists such as the Dutch painter Isaac Israels and the French Nabis artist Edouard Vuillard, who later became a friendly supporter of her work. Although the outbreak of war caused her to return to London, she was back in Paris by 1916 and undertook a second series of Gardens paintings over the next four years. Apart from her individualistic technique, what also makes this extended series so distinctive is that O’Connor never directly engages with her subjects. Instead, people are viewed from behind or the side, all otherwise absorbed in their own lives, which reinforces the suspicion that O’Connor perennially felt herself to be an outsider, only ever observing or looking in. In the 1920s, O’Connor began to focus less on outdoor subjects and more on still life arrangements in her Montparnasse studio apartment. As the years progressed, a parade of familiar objects, vases and bottles appeared, some as symbolic statements on her current circumstances; in others, as simple expressions of aesthetic pleasure. Since 1911, O’Connor had been a regular exhibiter at the Salon d’Automne and the Salon des Independents, and held a solo exhibition in 1937 at Galerie J. Allard which attracted favourable critical interest. Back in Australia, however, her work continued to be misunderstood or dismissed outright. She would return sporadically, including a year in Sydney in 1927 undertaking design work for companies such as Grace Bros. and David Jones, and used these visits as opportunities to mount local exhibitions in an attempt to keep her art in the public eye. A major setback occurred

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATHLEEN O’CONNOR ON HER RETURN TO PERTH, 1948

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

in 1948. On arrival in Perth, Customs officials demanded twenty per cent duty on all her paintings as ‘foreign products imported for sale’. Unable to pay, O’Connor ‘went through the packages and culled about 150 paintings, throwing the minor and earlier works away. She was angry that Australia had not welcomed her more generously’.1 Despite this inauspicious beginning, she took a studio in Fremantle and soon painted two significant works, Australian Riches (Art Gallery of Western Australia, Perth [AGWA]), and its near-twin, The Algerian Hat (lot 35), magnificent renditions of local flowers blazing with colour, dominated by the circular stripes of a woven fibre hat. Fortuitously, Robert Campbell – another student of Rupert Bunny – was then the Director of AGWA and mounted O’Connor’s first major Retrospective. 2 But, again, Paris called and she returned in a last-ditch attempt to redefine her place in a city now utterly transformed by the war.

The seven works offered here represent the largest single collection of paintings by Kate O’Connor to appear at auction, and were gathered over a thirty-year period by a close relative. There are examples from numerous points of her career, which highlight the stylistic changes in her technique and subject matter over a five-decade span. Paintings by the artist are held by all major national and state institutions, and a number of posthumous exhibitions have continued to promote positive re-evaluation of her work, as has the recent biography, Kathleen O’Connor of Paris by Amanda Curtin.4 The author thanks Patrick Hutchings for his valuable insights into these paintings. 1. Gooding, J., Chasing Shadows: the art of Kathleen O’Connor, Craftsman House, Sydney, 1996, p. 61 2. This was also the first retrospective of a woman artist to be held at the gallery.

In spite of holding one more solo exhibition in France, she no longer felt at home and, dispirited, returned to her estranged family’s embrace, though still determined to do it on her own terms. She lived and painted in a shambolic flat in West Perth, where visitors would encounter ‘paintings of all sizes … stacked around the walls, sometimes two and three deep’. 3 Having spent her life establishing a reputation in Paris, she resented the sense that she had to do it all again for the sake of local audiences. She became a vociferous critic and refused to suffer fools, especially those she believed held sway over local cultural practice. Luckily, she found some champions, notably the gallerist Claude Hotchin, journalist Tom Hungerford, and the Oxford-trained academic, Patrick Hutchings, who would later co-write the first properly researched account of her career. In spite of her advanced age, O’Connor’s paintings from the final years continued to challenge as she developed new ways to dissolve the fine line between subject and ground.

3. Hungerford, T., Red Rover All Over: an autobiographical collection 1952-1986, Fremantle Arts Centre Press, Fremantle, 1986, p. 161 4. Curtin, A., Kathleen O’Connor of Paris, Fremantle Press, Western Australia, 2018

ANDREW GAYNOR

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 35 (1876 – 1968, New Zealand/Australian) THE ALGERIAN HAT, c.1949 – 51 oil on board 99.0 x 72.5 cm signed lower left: KL O’CONNOR estimate :

$60,000 – 80,000

PROVENANCE Osborne Art Gallery, Adelaide Private collection Sotheby’s, Perth, 17 September 1990, lot 60 (as ’Algernon’s Hat’) Private collection, Melbourne EXHIBITED Exhibition of Paintings by Kathleen O’Connor, Osborne Art Gallery, Adelaide, 28 April – 11 May 1965, cat. 20 Kate O’Connor, South Yarra Gallery, Melbourne, November 1966, cat. 22 Kathleen O’Connor retrospective: Chasing Shadows, Art Gallery of Western Australia, Perth, 4 July – 29 September 1996 (label attached verso) LITERATURE Harris, M., ‘Kate O’Connor’, Art and Australia, Ure Smith, Sydney, vol. 3, no. 4, March 1966, p. 268 (illus.) Gooding, J., Chasing Shadows: The Art of Kathleen O’Connor, Craftsman House, Sydney, 1996, p. 65 Curtin, A., Kathleen O’Connor of Paris, Fremantle Press, Perth, 2018, pp. 210 – 11 RELATED WORK Australian Riches, c.1950, oil and charcoal on canvas, 87.7 x 69.2 cm, in the collection of the Art Gallery of Western Australia, Perth

In the 1920s, a number of Australian artists, including Roy de Maistre, Adrian Feint and Margaret Preston, applied their talents to domestic design in the fields of textiles, ceramics and interiors. Kathleen O’Connor did likewise when she lived in Sydney in 1927, working for the Grace Bros. and David Jones department stores. She had commenced these activities in the early 1920s and following some years painting velvets for leading fashion houses, her ‘next activity was painting Algerian hats of native fibre, bent into every shape, and worn by the smart set at Deauville, Biarritz and even Paris’.1 It is one of these exaggeratedly tall hats which lies on its side forming the arresting backdrop in The Algerian Hat, c.1949 – 51. Its strong bands of colour suggest that this may be one of the examples hand-painted by O’Connor.

The traditional patterns of northern African textiles had featured earlier in the artist’s oeuvre in striking works such as Flowers and Oriental Carpet (Algeria), c.1928 – 29 and Colour Rhythm, c.1928 (both Art Gallery of Western Australia, Perth [AGWA]). This interest had its roots in the 1925 Internationale des Arts Décoratifs Exhibition in Paris, after which ‘designers adapted the traditional geometric patterns and bold colours of North African rugs into original designs that harmonised with the clean lines of the new furniture and interior designs trends’. 2 Although painted in Australia some twenty years later, The Algerian Hat indicates the strong attraction that these crafted objects retained for O’Connor as she arranged her intricate still lifes. In December 1949, she took a studio in Fremantle and two significant paintings soon followed, The Algerian Hat, and its near-twin companion Australian Riches, c.1949 – 51 (AGWA). As O’Connor’s biographer Patrick Hutchings observed, in contrast to the softer European light of her French still lifes, these new works presented ‘a new palette and a new manner for the clear, unfiltered, often hard light of Western Australia’. 3 Within a cluttered arrangement of objects – apples, cups, flowers, a cowrie shell, jug and woven hat – O’Connor explores the possibilities of modernism, particularly as presented by Paul Cezanne. There are small shifts in tone and technique between Australian Riches and The Algerian Hat, and both works radiate with optimism and vitality. They are also painted with consummate skill and attention, evidence of an artist at her peak, having already exhibited successfully in London and France for the greater part of four decades. 1. ‘Miss O’Connor Interviewed in Sydney’, Daily News, Perth, 11 May 1927, p. 9 2. Gooding, J., Chasing Shadows: the art of Kathleen O’Connor, Craftsman House, Sydney, 1996, pp. 46 – 47 3. Hutchings, P. A. E., and Lewis, J., Kathleen O’Connor: artist in exile, Fremantle Arts Centre Press, Western Australia, 1987, p. 234

ANDREW GAYNOR

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 36 (1876 – 1968, New Zealand/Australian) A DREAM OF PERSIA, c.1948 oil on wood panel 71.5 x 56.0 cm signed with initials lower right: KL O’C signed verso: O’Connor bears inscription verso: 1613 / 16-6-65 / 5 bears inscription on old label verso: Perth Society of Artists / Kathleen L O’Connor / Perth / 37A Mount St W … / A Dream of Persia / … signed and inscribed on old label verso: Kathleen L O’Connor / ‘a Persian inspired / … Society of / Artists estimate :

PROVENANCE Osborne Art Gallery, Adelaide Private collection Deutscher Fine Art, Melbourne Private collection, Melbourne, acquired from the above in April 1986 EXHIBITED Exhibition of Paintings by Kathleen O’Connor, Osborne Art Gallery, Adelaide, 28 April – 11 May 1965, cat. 5 possibly: Perth Society of Artists, Skinner Galleries, Perth, June 1965 Australian Art: Colonial to Modern, Deutscher Fine Art, Melbourne, 9 – 25 April 1986, cat. 99 (illus. in exhibition catalogue)

$25,000 – 35,000

‘Flowers are not just flowers but exist in a vibrating decorative ambiency (sic). This is the essence of the true impressionist outlook’.1 The rich red background of A Dream of Persia recalls the powerful tempera paintings O’Connor executed in the late 1920s, as does the sharp delineation of the individual objects. There are also echoes of the treatment the artist utilised in The Algerian Hat (lot 35), through the fracturing of the background plane and the potential dissolving of the flowers’ petals. These aspects, combined with the radiant light and the bold, palette knife application of the paint, point to this being executed shorty after her return to Australia in 1948, possibly to make up for the forced destruction of 150 paintings courtesy of the Fremantle Customs officials. The use of the word ‘dream’ in the title also hints at it being a form of memento mori, created in an attempt to capture the memory of happier days in Paris. When commenting on an earlier still life, In My studio, Paris, c.1935 – 39 (National Gallery of Australia, Canberra), the critic Robert Hughes observed: ‘When you look at it you see the delectable froth of light breaking up the forms and leaving them still somewhat legible … but what really counts is the exuberant action of the line weaving and flickering through paint strokes of very high-key colour and then anchored by the fat, prosperous curve of the beautifully painted jug. She had a gift for organising image as surface, a fine voyeur-like sort of knitting that few local painters of the time could even approach’. 2 1. Elizabeth Young quoted in Harris, M., ‘Kate O’Connor’, Art and Australia, Ure Smith, Sydney, vol. 3, no. 4, March 1966, p. 272 2. Hughes, R., quoted in ‘The Australian National Gallery Building: the collection’, Art and Australia, The Fine Arts Press, Sydney, vol. 14, nos. 3 & 4, Summer – Autumn, January and April 1977, p. 263

ANDREW GAYNOR

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 37 (1876 – 1968, New Zealand/Australian) AN IMPRESSION OF A TABLE IN MY HOME IN NICE, 1947 oil on board 61.5 x 50.0 cm signed lower right: KL O’Connor signed, dated and inscribed verso: O’Connor / O’Connor / Nice / 1947 signed and inscribed with title on old label attached verso: Impression / of a table in my home / in Nice - / KL O’Connor estimate :

$25,000 – 35,000

PROVENANCE Sir Arthur and Lady Rymill, Adelaide (label attached verso) Deutscher Fine Art, Melbourne (label attached verso) Private collection, Melbourne

For much of the 1930s, Kathleen O’Connor travelled extensively through France as the paid companion to the wealthy widow, Harriet Stewart Dawson, whom she had first met on board ship when returning to Australia in 1926.1 Dawson often stayed at her villa in Monaco which gave O’Connor the opportunity to explore much of the nearby coastline, including the resort town of Nice, travelling in, she claimed, her employers’ luxurious Rolls Royce. 2 The light in this stretch of the Riviera is renowned and had already been a direct stimulus to the work of artists such as Matisse. For O’Connor, it was no different, forming a possible link in her memory to the equally strong sun of Western Australia. On her return to Paris following the Second World War, O’Connor had four works selected for inclusion in the exhibition Artistes Britanniques sur la Côte d’Azur to be held at the Musée Masséna in Nice in late 1947. When revisiting the city, she decided to stay and began ‘a sojourn of almost a year at the Hotel St Louis’. 3 Her biographer Amanda Curtin has observed, ‘there is no evidence of Kate securing studio space in Nice but she did manage to paint. Works from this period include Pink glass – Nice (last identified in family holdings), Ensemble, Nice (private collection) and two portraits’.4 Patrick Hutchings identifies the pink bottle in An Impression of a Table in my Home in Nice, 1947 as forming part of the collection of objects inherited by the artist’s niece Muriel Dawkins. 5 Given O’Connor’s propensity for re-exhibiting old works with new titles in subsequent exhibitions, it is plausible that this painting could be one of the two still lifes identified by Curtin. The inclusion of the exotic location within the revised title may well have been one of her strategies to attract a buyer on her return to Australia. An Impression of a Table in my Studio, Nice bears stylistic similarities to Verging on the Abstract, c.1938 (National Gallery of Victoria, Melbourne) but presents a richer palette of colours, no doubt reflective of the Riviera’s light. 1. Dawson’s husband was David Stewart Dawson, who founded a successful chain of stores. Following his death in 1932, his widow married a Prince from the Polish royal family in 1938 and sold her villa in Monaco. 2. Patrick Hutchings believes this is an example of O’Connor ‘gilding the lily’ in regard to her biographical details. Having seen photographs of this vehicle, he identifies it instead as a 1930 Vauxhall Grosvenor limousine, a luxurious machine but hardly a Rolls Royce as O’Connor claimed. Conversation with Patrick Hutchings, 20 October 19 3. Curtin, A., Kathleen O’Connor of Paris, Fremantle Press, Western Australia, 2018, p. 194 4. ibid. 5. Conversation with Patrick Hutchings, op. cit.

ANDREW GAYNOR

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 38

(1876 – 1968, New Zealand/Australian) IN THE LUXEMBOURG GARDENS, c.1913 oil on card 38.0 x 46.0 cm signed with initials lower right: K L O’C inscribed verso: O’Connor / O’Connor / 1953 / …24… / Mrs J Lorking (?) / Lis…. bears inscription on old label verso: / Mrs Oliver Williams / 11 Mosman Terrace / Mosman Park / 35625 bears inscription on old label verso: … / Mentone estimate :

$15,000 – 20,000

PROVENANCE Private collection, Perth Deutscher Fine Art, Melbourne Private collection, Melbourne, acquired from the above in December 1988 EXHIBITED Australian Art: 1790s – 1970s, Deutscher Fine Art, Melbourne, 24 November – 9 December 1988, cat. 27 (illus. in exhibition catalogue) RELATED WORK Ladies, Luxembourg Gardens, Paris, oil on board, 48.3 x 63.5 cm, Janet Holmes à Court Collection, Perth, illus. in Harris, M., ‘Kate O’Connor’, Art and Australia, Ure Smith, Sydney, vol. 3, no. 4, March 1966, p. 268 In the Luxembourg Gardens, oil on board, 68.7 x 81.0 cm, Royal Perth Hospital Art Collection, Perth

‘They took two straw-bottomed chairs and sat near the octagonal water which completes with its fountain of Cupids the enchanting artificiality of the Luxembourg. The sun shone more kindly now, and the trees which framed the scene were golden and lovely. A balustrade of stone gracefully enclosed the space, and the flowers, freshly bedded, were very gay … The place was grey and solid. Nurses, some in the white caps of their native province, others with satin streamers of the nounou [nannies], marched sedately two by two, wheeling perambulators and talking’.1

an acute loneliness. Indeed, her choice of muted colours has been interpreted as a reflection of her own sense of being an outsider, one whose lack of an immediate circle of family and friends left her with little choice but to roam Paris in search of subjects she could anonymously paint. Fortuitously, she found in the Luxembourg Gardens ‘quiet avenues and densely shaded areas … a perfect working environment for artists seeking to make quick sketches of the passing nursemaids, students and elegant promenaders’. 5 In the Luxembourg Gardens, c.1913, captures five of the Gardens’ elegantly hatted visitors, each seated on the distinctive slatted, folding chairs provided gratis. Amidst the Whistlerian browns and greys, deft flashes of pink and blue animate the feathers in the ladies’ hats, and through these flourishes, link this work to companion paintings such as The Pink Nurse, c.1910 (National Gallery of Australia, Canberra), and (Seated figure in purple/blue gown and hat), c.1910 – 14 (private collection, Perth),6 both of which feature similar contrasts of unexpected colour. Paintings from these years are amongst the most sought-after of Kathleen O’Connor’s oeuvre with significant examples residing in the collections of Wesfarmers, Janet Holmes à Court, and the State galleries of New South Wales, South Australia and Tasmania. 1. W. Somerset Maugham, The Magician, Heinemann, London, first published 1908, quoted from 1974 edition, p. 2, cited in Gooding, J., Chasing Shadows: the art of Kathleen O’Connor, Craftsman House, Sydney, 1996, p. 23 2. Kathleen O’Connor, interview with Hazel de Berg, 28 May 1965, cited in Taylor, E., Australian Impressionists in France, exhibition catalogue, National Gallery of Victoria, Melbourne, 2013, p. 113 3. Kathleen O’Connor, quoted in ‘A Painter of the Modern School’, MiLady (magazine), Perth, January 1949, p. 67 4. Gooding, J., op. cit., p. 21 5. ibid. 6. The reverse of (Seated figure in purple gown and hat) also features a view of houses in Bruge.

‘(My paintings) were just impressions of people I saw sitting about in the Gardens … sketches of people, nursemaids and babies and all those sorts … I just did them at one sitting’. 2 In a 1947 interview with Kathleen O’Connor, the artist reflected that in her early Luxembourg Gardens paintings, she had ‘been more concerned with expression of character and pattern rather than exact representation of human form’. 3 She proudly claimed that ‘Paris was my always my objective’,4 but once there, it was inevitable that she felt

ANDREW GAYNOR

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 39 (1876 – 1968, New Zealand/Australian) ARTIST AND EASEL, LUXEMBOURG GARDENS c.1910 – 14 oil on board 44.5 x 54.5 cm signed with initials lower right: KL O’C signed verso: KL O’Connor signed on partial label verso: … O’Connor estimate :

$20,000 – 30,000

PROVENANCE Osborne Art Gallery, Adelaide Private collection Christie’s, Melbourne (as ‘Portrait of the artist at her easel’) Private collection, Melbourne, acquired from the above in November 1995 EXHIBITED 51e Salon de l’Union des Femmes Peintres et Sculpteurs, Paris, February 1935 (label attached verso) Exhibition of Paintings by Kathleen O’Connor, Osborne Art Gallery, Adelaide, 28 April – 11 May 1965, cat. 18 (as ‘Artist Sketching, Luxemburg [sic.] Gardens’)

‘Kathleen O’Connor fixes the present almost at the moment of it becoming the past: movement is arrested, as if, by this trick, time might be stopped … The Luxembourg paintings … have a haunting, Proustian quality. They are ‘remembrances of things past’. Even as they were being painted in their own distant world, these paintings were essentially ‘recollections’; emotion caught in instants of tranquility and of insight’.1 Within the extended series of images that Kate O’Connor painted in the Luxembourg Gardens are occasional ‘snapshots’ of fellow artists engaged in similar endeavours, such as Two figures, Luxembourg Gardens, c.1910 – 14 (University of Western Australia, Perth). There is no implied commentary in these works; rather, they represent a simple record of focused observation, indicating that to her at least, artists formed part of the necessary and everyday fabric of life, a view in direct opposition to her former experience within the stifling etiquette of Perth society. Given that it is painted on board, Artist and Easel, Luxembourg Gardens, would likely have been part of O’Connor’s second sequence of Gardens paintings created immediately after World War One and, through the inclusion of the subject’s own attempts at the easel, provides a distinctive contrast with many of its painterly companions. For the greater part, O’Connor utilised muted tones of beige, caramel and stone, with only occasional, though relatively subdued, flashes of colour. In Artist and easel, Luxembourg Gardens, however, the depicted artist has looked out – not inwards like O’Connor – and the burst of blue sky and verdant greens punctuate the picture plane. It also highlights that O’Connor’s choice of otherwise muted tones was a deliberate tactic, and through this, an inevitable sense of melancholy and wistfulness permeates these views. 1. Hutchings, P. A. E., and Lewis, J., Kathleen O’Connor: artist in exile, Fremantle Arts Centre Press, Western Australia, 1987, pp. 207, 211

ANDREW GAYNOR

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 40 (1876 – 1968, New Zealand/Australian) ROSES OF THE RIVIERA oil on cardboard 58.5 x 43.5 cm signed with initials lower left: KL O’C signed verso: O’Connor bears inscription verso: no 33 / Roses of the Riviera bears inscription on frame verso: Kate O’Connor / “Roses of the Riviera” estimate :

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$15,000 – 20,000

PROVENANCE Deutscher Fine Art, Melbourne Private collection, Melbourne, acquired from the above in July 1989

A PRIVATE COLLECTION OF WORKS BY KATHLEEN O’CONNOR • LOTS 35 – 41

KATE O’CONNOR 41 (1876 – 1968, New Zealand/Australian) THE CHOIR oil on wood panel 56.0 x 40.5 cm signed with initials lower right: KL O’C signed and inscribed on old label verso: Kathleen O’Connor / The Croquis Class / … bears inscription on frame verso: B FINEMORE / LES CROQUIS COLLECTION BRIAN FINEMORE / 16 estimate :

$20,000 – 30,000

PROVENANCE Osborne Art Gallery, Adelaide Private collection Brian Finemore, Melbourne Deutscher Fine Art, Melbourne Private collection, Melbourne EXHIBITED Exhibition of Paintings by Kathleen O’Connor, Osborne Art Gallery, Adelaide, 28 April – 11 May 1965, cat. 13 (as ‘The Croquis Class’)

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PROPERTY OF VARIOUS VENDORS

IAN FAIRWEATHER 42 (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 :

$150,000 – 200,000

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:

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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 paintladen 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

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GODFREY MILLER 43 (1893 – 1964) TREES, c.1950 oil and pencil on canvas 90.0 x 80.0 cm bears inscription on frame verso: Blue Unity series c.1950 estimate :

$30,000 – 40,000

PROVENANCE Estate of the artist, Sydney Estate of John Henshaw, Sydney (ref. JH 296) Charles Nodrum Gallery, Melbourne Private collection, New South Wales Thence by descent Private collection, New South Wales EXHIBITED Godfrey Miller Memorial Exhibition, Darlinghurst Galleries, Sydney, 16 February – 27 March 1965, cat. 28 Godfrey Miller, Charles Nodrum Gallery, Melbourne, 10 June – 3 July 2010, cat. 1 (illus. on exhibition catalogue front cover)

While Godfrey Miller held his place amongst modernist painters of his time, an aversion to exhibiting or releasing his works from the studio stunted the arc of his career during his lifetime. Most of Miller’s major works are held in institutions as he was reluctant to sell to private collectors, except on rare occasions for important individuals whom he felt worthy of owning his works. Miller’s paintings represent the true spirit of an artist whose sole focus in life was the pursuit of truth and beauty through his work. His mature paintings are characterised by his use of fine, ruled lines, which segment the surface into small geometric fields poised to receive pockets of colour oil wash. The artist’s working methods were such that it may have felt impossible for Miller to actually finish a painting. His forensic attention to detail meant that each additional application of colour, no matter how minor, would send a kaleidoscopic ripple across the work, which the artist would intuitively be required to follow with further counter strokes, resulting in a perpetual game of aesthetic adjustment. From early in his career, Miller was known to take up to fifteen years to complete a work. The subject of trees was an enduring one for Miller. The parallels between forests of trees and architecture, essentially in scale and structure, suited his requirements. In his unending quest for unity between subject, ground and medium, he developed a method of weaving and layering his subjects with the surrounding space. Through merging natural and manmade forms, he succeeded in creating works of enormous technical complexity. In the present work the artist depicts a forest of trees, which he transforms to represent a gothic cathedral with its lurching arabesques and receding perspective. Miller’s delicate angular divisions take on the appearance of stained glass, adding to the similarity. His limited palette of phthalo blue and viridian green across a range of tones creates cool passages which work to project the areas painted in warm vermillion red forward. His choice of complimentary colour opposites conspires to create pictorial space with both volume and depth. The cathedral opens in the lower area of the picture where a series of diagonal shafts of light beam into the foreground, creating a nave-like focal point for the work which provides a reprieve from the dense canopy which dominates the painting. In his adopted home town of Sydney, Miller’s work grew apart from the lyrical abstraction which prevailed through the teaching at East Sydney Technical College. While the influential John Passmore and his students danced to the tune of Cézanne, Godfrey Miller stayed true to his intuition: his rigid analytical propositions representing not only a milestone of Australian painting, but a profoundly personal vision. HENRY MULHOLLAND

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TONY TUCKSON 44 (1921 – 1973) UNTITLED (RED, BLACK AND WHITE), c.1962 – 65 synthetic polymer paint on composition board 120.0 x 90.0 cm bears inscription verso: T. TUCKSON / CAT.10. WATTERS ‘75 estimate :

$40,000 – 60,000

PROVENANCE Watters Gallery, Sydney John Lane, Sydney, acquired from the above in 1975 Private collection, Sydney, acquired from the above in 1980 EXHIBITED Tuckson ’62 – ’65, Watters Gallery, Sydney, 27 August – 13 September 1975, cat. 10 Genesis of a Collection. Art from the Harding Family Collection, University of the Sunshine Coast, Queensland, 2 May – 6 June 2002 (label attached verso)

Widely regarded as one of the finest abstract artists of his generation, Tony Tuckson held only two solo exhibitions during his lifetime. Following the second at Watters Gallery, Sydney – and his premature death – in 1973, Sandra McGrath wrote in Art and Australia that ‘[he] was recognised almost overnight for what he was – the best Action Painter in Australia and one of the country’s most important artists’.1 Born to British parents, Tuckson had studied art in England from 1937 – 40 and after the Second World War, at the East Sydney Technical College, including what he described as his most influential lessons with pioneering abstract artists Grace Crowley and Ralph Balson. By the time of the 1973 exhibition he had been painting for more than thirty years, but few apart from a handful of intimates had ever seen his work. 2 The reason for this was the conflict he rightly perceived between his art practice and his professional role at the Art Gallery of New South Wales, where he worked from 1950 until 1973, as assistant director and then deputy to Hal Missingham. Although he worked in isolation, Tuckson was deeply immersed in the world of art and his role at the Gallery exposed him to a wide range of creative influences. Links with contemporary abstraction, and especially the work of American abstract expressionists, are clear. Tuckson established the Gallery’s Aboriginal and Melanesian art collections and his deep knowledge of Indigenous Australian art was another influence which, according to his wife Margaret, ‘first interested him for its casual way of filling an area, the lack of worry about shapes spilling over outlines’. 3

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Untitled (Red, Black and White), c.1962 – 65, is part of Tuckson’s second series of abstracts, a group of paintings made during the first half of the 1960s, which are distinguished by a bold palette restricted to the three colours of its title.4 Applied with a broad brush, blocks of colour reverberate against one another, as loose linear forms and dots of paint punctuate the open fields of colour. In this and related works, including Large shapes, red black, c.1961 (National Gallery of Australia, Canberra), the gestural freedom of Tuckson’s intuitive style and his belief that ‘when you start worrying about the position of a mark, you cease to paint’,4 are on clear display. Something of Tuckson’s process is also visible in this work, the dribbles of red and black paint (especially in the bottom half of the panel) which point to the immediacy of his approach, and the layers that reveal the ‘incessant activity of concealment, correction and accumulation’ of his painting, creating both visual and physical texture.5 Reviewing Tuckson’s 1973 exhibition, James Gleeson wrote, ‘What he is on about is the act of painting. His pictures are about what it feels like to paint a picture’. 6 This interpretation, and its emphasis on the significance for Tuckson of the physical act of painting itself, is echoed by the eloquent words of another abstract artist, Aida Tomescu who has recently written, ‘Tuckson’s paintings transcend being pinned down to one meaning, one subject. What is being expressed here is painting itself; its capacity to be about everything at once, its subjects and meanings always multiple’.7 1. McGrath, S., ‘Tony Tuckson’, Art and Australia, Sydney, vol. 12, no.2, 1974, p. 156 2. Tuckson occasionally submitted works to group exhibitions during the 1950s, but had stopped exhibiting by the 1960s by which time his responsibilities and public profile at the AGNSW had increased. The decision to exhibit publicly in 1970 and 1973 coincided with a scaling back of curatorial responsibilities, apart from his work with the Aboriginal and Melanesian art collections. See Mimmocchi, D., ‘Tony Tuckson: The Art of Transformation’ in Mimmocchi, D., (ed.). Tony Tuckson, exhibition catalogue, Art Gallery of New South Wales, Sydney, 2018, p. 20 3. Margaret Tuckson quoted in Thomas, D., Free, R., Legge, G., Tony Tuckson, Craftsman House, Sydney, 1989, p. 39 4. McGrath, op. cit., p. 156 5. See Mimmocchi, op. cit., pp. 42 – 45 6. Gleeson, J., ‘The travail of painting’, Sun-Herald, Sydney, 22 April 1973 7. Tomescu, A., ‘Fluid Construction’ in Mimmocchi, op. cit., p. 77

KIRSTY GRANT

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ROGER KEMP 45 (1908 – 1987) THE SYMBOL, c.1960 – 62 enamel on hardboard 105.0 x 122.0 cm signed lower left: Roger Kemp estimate :

$20,000 – 30,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist c.1975 EXHIBITED Roger Kemp, Farmer’s Blaxland Gallery, Sydney, 22 August – 1 September 1962, cat. 32 Roger Kemp, Holdsworth Galleries, Sydney, 24 September – 14 October 1972, cat. 12 Roger Kemp, Mornington Peninsula Arts Centre, Victoria, 8 June – 1 July 1973, cat. 16

The Symbol, c.1960 – 62 comes to us from a watershed moment in modern Australian painting. Brimming with optimism, it directly speaks of that period when (supported by booms in industry, agriculture and mining) the nation was surging ahead industrially, scientifically, socially, and culturally. Indeed, The Symbol very much conveys the mood of the confident and progressive 1960s. Artistically, Roger Kemp was a man of that moment. Following years of relentless studio toil, and placing work in every group exhibition that came his way, he had assumed the position of Melbourne’s pre-eminent abstract painter by the late 1950s. Besides mounting a successful solo show there at Gallery A in 1959, Kemp was a finalist in the byinvitation Helena Rubinstein Art Scholarship in mid-1960, then sparked controversy by winning the National Gallery of Victoria’s McCaughey Prize later the same year. Then came his chance to break into Sydney. Stan de Teliga, director of the Farmer’s Blaxland Gallery there, made an offer. He wanted to fill his hall-like exhibition space with Kemp’s transcendentally-inclined abstractions. So, the artist spent nearly a year working up a massive show of fifty-two fresh compositions.

What impressed artists and curators was how this painter offered an alternative to the expressive abstractions of the prevailing OlsenPassmore milieu. Where those artists favoured scratchy lines, roughened surfaces and earthen hues, Kemp suspended his forms in a firm scaffold of black strokes, enlivening each composition with a rich palette inclined to cool ultramarine-purple-crimson, sometimes adding discs of warm orange or solar yellow. And where the paintings of the Olsen-Passmore group were based in momentary expressionist release, Kemp carefully composed with symbols to suggest how modern man was scientifically, intellectually and spiritually evolving into a higher entity. Many detected strong similarities with the leading European abstractionist Alfred Manessier, and felt Kemp’s work to be boldly international in its character and ambition. The Symbol was a key piece in that sumptuous exhibition, as indicated by its title. Technically, the painting typifies how Kemp worked in enamel on a firm panel. There were ready affinities to gothic decorative arts in this choice of media, and many viewers saw the prismatic effect of his abstractions as echoing mediaeval stained-glass windows. This conviction was behind the NGV later having three closely related pieces translated into majestic tapestries to be installed in its gothic-like Great Hall. 2 In stylistic terms, we make out in The Symbol a dense crowd of figures standing behind a seeming pattern of interlocking circles, bars and arcs. These surface shapes are intended to refer to those hidden geometric and mathematical systems that govern our seemingly random universe, with colour used to indicate humanity’s progression from the darkness of brute ignorance (shadowy blue) across to knowledge and enlightenment (bright yellow). So much was encapsulated in a single work – here it is in visual terms, the explanation to Kemp’s transcendental symbolism. 1. Bulletin, 8 September 1962

When it opened in early August 1962, Kemp’s art hit the Sydney contemporary scene for six. The critics were uniformly positive – a rarity for an interstate painter first showing in that city – applauding the hang as a commanding statement. ’His themes are big,’ wrote The Bulletin’s John Henshaw, ’and he is perfectly willing to delve until the right combination of symbols is forthcoming’.1

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2. Heathcote, C., A Quest for Enlightenment: The Art of Roger Kemp, Macmillan, Melbourne, 2007, p. 165

DR CHRISTOPHER HEATHCOTE

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FRED WILLIAMS 46 (1927 – 1982) ACACIAS IN THE YOU YANGS II, 1978 oil on canvas 71.0 x 96.5 cm bears inscription verso: FRED WILLIAMS / LW 692 / ACACIAS IN THE YOU YANGS II / 1978 / Lyn Williams 1999 estimate :

$120,000 – 160,000

PROVENANCE Estate of the artist, Melbourne (stamped and label attached verso) Philip Bacon Galleries, Brisbane (label attached verso) Private collection, Hobart, acquired from the above in April 2000 EXHIBITED Fred Williams, Philip Bacon Galleries, Brisbane, 4 April – 6 May 2000, cat. 35 (illus. in exhibition catalogue)

In Fred Williams’ Acacias in the You Yangs II, 1978, golden wattle lights the forest darkness, luminous of palette and texturally rich. Its radiance draws the eye, expectant with the mystery of germination and the promise of spring. Once again Williams displays his wonders of invention in response to the creative powers of nature, singular, visually and intellectually seductive. As master of his art, illusion of depth is balanced by emphasis on the picture plane, leading to an absorbing dialogue between realism and abstraction. Scumbled and calligraphic daubs of paint contrast with painterly luxuriance in the marriage of contraries. Close-up in view, the ascending background and absence of horizon increase the intimacy of the pictured moment. The subtle beauty of the floating forms tells of the felicitous influences of Chinese art, much enjoyed during Williams’ visit to China in 1976. Williams’ interest in painting wattle goes back to the winter of 1969 when he visited Clifton Pugh at ‘Dunmoochin’ in Cottlesbridge, northeast of Melbourne. Writing in his diary for 24 July, he said he found it ‘fascinating painting the wattles’. The following day he added: ‘I would really like to work from them as they mature’.1

The distinctive granite ranges of the You Yangs near Geelong and their flat volcanic plains inspired many of Williams’ finest earlier works, especially those from his more minimalist period. Key paintings, You Yangs II (National Gallery of Australia, Canberra) and You Yangs Pond (Art Gallery of South Australia, Adelaide), both of 1963, typify the aerial view and scrubby landscape. In 2017, the significance of the You Yangs in his oeuvre was acknowledged by the Geelong Gallery when it gave their major exhibition the title – ‘Fred Williams in the You Yangs: a turning point for Australian art’. When Williams returned to the You Yangs in 1978, the year of our painting, his art had become richer through the introduction of a broader range of colours, more expressive in style and less abstract. In some, Hillside Landscape with Green Tractor, You Yangs, 1978, (Deutscher and Hackett, 20 April 2011, lot 21) for example, he adopted a more traditional view. Wattle, however, still had Williams in its thrall to the extent that he painted a series of four works titled ‘Acacias in the You Yangs’ this same year. Touching on the sequential and tending towards realism, each presents that unique vision of our landscape for which Williams is so admired. They were exhibited together in a mini-survey in Brisbane in 2000. In each, the landscape is viewed closer, more intimately, mastery of handling giving them the immediacy of having been painted en plein air. 2 Moreover, the sense of location has deepened – in presence, mood and motif. Lyn Williams, in the introduction to the exhibition’s catalogue, wrote that these works from the 1970s were usually ‘painted directly outdoors on painting trips, although some are painted from memory in the studio’. 3 She continued: ‘They are more evocative of the mood of the day – summer, winter, evening or morning light and very painterly in feeling’. 1. Quoted in Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 174 2. Fred Williams – Paintings, 1959–1978, Philip Bacon Galleries, Brisbane, 4 April – 6 May 2000, cats. 34 – 37 3. Williams, L., catalogue introduction, ibid.

DAVID THOMAS

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JOHN OLSEN 47 born 1928 RABBIT WARREN – RYDAL, 1997 oil on canvas 107.0 x 121.0 cm signed lower right: John Olsen estimate :

$80,000 – 100,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist in 1998 LITERATURE Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 190 (illus.)

‘I am in the landscape, and the landscape is in me, that’s the experience that drives the line. Once I get a central rhythm going, it propels itself. I feel a rapport and one thing suggests another, asks a question, sees a connection just like a poetical form. It’s telling me, push me this way, more colour here … it’s all about filling space, and leaving space, the yin and yang, to make it work’.1 With a vast and varied oeuvre spanning more than seven decades, John Olsen has quite deservedly been hailed Australia’s greatest living artist. From the pulsating, larrikin energy of his You Beaut Country series, to the quieter, more metaphysical paintings inspired by his expeditions to Lake Eyre, or the exquisitely lyrical works immortalising his halcyon days in Clarendon, Olsen’s unique interpretations of the natural environment in its manifold moods have become indelibly etched on the national psyche, revolutionising the way in which we now perceive the Australian landscape. Indeed, where artistic predecessors such as Russell Drysdale and Sidney Nolan had presented visions of a parched, inhospitable land, where figures stand as sentinels in the wilderness, Olsen instead highlights the abundant activity and incident within this sprawling terrain, inviting the viewer to experience his sheer wonderment at the redemptive, life-affirming properties of mother nature: ‘The urge for life is a staggering thing and we just ought to take notice … There is such fecundity in this universe’. 2 In March of 1990, John Olsen and his wife Katherine moved to Chapel House at Rydal, near Bathurst in the Central Tablelands of New South Wales where, beyond the quaint town with its population of only eighty people, the artist discovered a surfeit of native flora and fauna in a resplendent setting of rolling hills, sweeping valleys and teeming waterways. Often painting en plein air during this period, Olsen not surprisingly gleaned enormous inspiration and comfort in such habitat,

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as lyrically expressed in both his paintings and written recollections of the region in all its moods. ‘… March 20, Mists foretelling Autumn are curling down from Mount Lambie, a touch of gold is in the willows. Ash trees are bright red. No significant rain since late October, the grass is cackling straw’. 3 And elsewhere, ‘… The landscape rolls with rounded hills – the trees entwine and chatter with each other, pausing only to take note of a large galah’.4 With its raw beauty, distinctive playful brushstrokes and earthy palette of terracotta and ochre hues, Rabbit Warren, Rydal, 1997 offers a particularly eloquent example of Olsen’s work from this inspired period of contented rural dwelling – a chapter which also featured the magnificent Summer at Rydal, 1997 (a finalist in the Art Gallery of New South Wales’ prestigious Wynne Prize) and the diptych Spring at Rydal, 1992. Attesting to the artist’s remarkable ability to capture the spirit of the Australian landscape – to express ‘a certain mystical throbbing throughout nature’ – the painting resonates with a vitalistic energy, betraying a sense of not only keen observation, but of joyful celebration derived from a lifetime dedicated to physical and spiritual immersion in the landscape. For ultimately, whether amidst the undulating foothills of the Blue Mountains (as witnessed here) or the drought-ravaged plains of the Kimberley Desert, the Australian landscape afforded Olsen far more than mere topographical phenomena to be accurately recorded. More fundamentally, the experience was the catalyst for a myriad of ideas and metaphorical connections that reaffirmed his spirituality and enduring belief in the total interconnectedness of all living forms; as art historian Deborah Hart elucidates, ‘… his sense of place has always been about a geography of mind, experience and poetic imagination – continually transforming and enlivening the ways in which we conceive of the connections between the world around and within ourselves’. 5 1. Hawley, J., ‘The Masterly Mr Squiggle’, Good Weekend, Sydney Morning Herald, Sydney, 2 September 2006 2. Olsen quoted in Hart, D., John Olsen, Craftsman House, Sydney, 1991, p. 123 3. Olsen, J., Drawn from Life, Duffy and Snellgrove, Sydney, 1997, p. 282 4. Olsen quoted in Hart, op. cit., p. 238 5. Hart, D., Australian Painters of the Twentieth Century, The Beagle Press, Sydney, 2000

VERONICA ANGELATOS

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CHARLES BLACKMAN 48 (1928 – 2018) THE BARRACKER, 1965 oil on canvas 137.5 x 91.5 cm signed and dated upper right: CHARLES BLACKMAN / 1965 inscribed with title and date verso; indistinct: The Barracker 8 2 65 bears label with date and title verso: THE BARRACKER / 1965 / Charles Blackman estimate :

$60,000 – 80,000

PROVENANCE Zwemmer Gallery, London Private collection Christie’s, Sydney, 5 October 1971, lot 277 Private collection, Sydney EXHIBITED Charles Blackman, Zwemmer Gallery, London, 14 September – 9 October 1965, cat. 11

In 1960s’ Australia, Australian Rules football was viewed by the rest of the country as being some strange tribal phenomenon largely confined to Victoria, snootily dismissed as being ‘aerial ping-pong’. How times have changed, but until the 1990s, AFL’s parochialism was its strength. Even overseas, expatriate tribalism existed as evidenced by The Barracker, 1965, a marvellous study of a disconsolate Collingwood supporter painted by Charles Blackman in London, and exhibited there before that year’s Preliminary Final. The city at that time was the home to numerous Australian artists, performers and writers, and the Blackmans’ apartment in Regent’s Park became a central hub for many of them where, no doubt, the fortunes of their chosen teams were passionately discussed. The creation of The Barracker proved to be sadly prescient for back in Melbourne, on the other side of the world, the Magpies lost that match against their arch-foes, Essendon’s Bombers. England is home to the ‘gentleman’s’ game of Rugby Union and locals must have been puzzled by any attempt to describe the Australian game. That said, given their own levels of sports fanaticism, the emotions signalled by The Barracker would have been immediately recognisable. Blackman had arrived in London with his family in early January 1961, experiencing rapid popularity through his inclusion in the significant exhibition Recent Australian Painting held at the prestigious Whitechapel Gallery in June of that year. This was followed by the outstanding commercial success of his solo show at the Mathieson Gallery in November. Like Australian audiences, the British were drawn to the implicit poetry of Blackman’s paintings, the shaded, averted eyes, imploring hands and tactile surfaces. His were figures, often monumental, whose inner lives could only be guessed at, and which

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struck a deep note of recognition within viewers. Like The Barracker, they were also exquisitely painted in a combination of direct naïf style allied with a mature, instinctive handling of paint, all underscored by Blackman’s significant drawing skills. Given the stature of sport in Australia, it is remarkable how few have attempted to depict it. In an incisive essay, the noted academic (and football tragic) Dr Chris McAuliffe identifies only isolated works by artists including Arthur Streeton, Margaret Preston, John Brack and Ian Abdullah, as well as a small group of portrait studies by Fred Williams of Collingwood players dating from 1947.1 Perhaps the strongest companion to The Barracker is Sidney Nolan’s Full back, St Kilda, c.1946 (National Gallery of Victoria, Melbourne), an equally large and boldly painted vision of an AFL team member. Blackman, however, has turned his gaze from the field to focus instead on the endurance of a committed punter. In 1965, Collingwood was already amidst an extended period of premiership loss. Having last been triumphant in 1958 against Melbourne, it would be another thirty-two years before they won again (against Essendon!) in 1990. These days, of course, the jersey would be St. Kilda’s, a team whose sole Grand Final victory was way back in 1966. Its wearer, most likely, would be their most prominent supporter, Ian ‘Molly’ Meldrum, but no matter the personality, in those repeated moments of defeat, triumph, despair and private reflection, Charles Blackman’s The Barracker captures the personalised experience of any devoted football fan. 1. See McAuliffe, C., ‘Eyes on the ball: images of Australian Rules football, 1995’ [https://chrismcauliffe.com.au/eyes-on-the-ball-images-of-australian-rules-football-1995/] (accessed 14/10/19). In 2004, the noted collector Basil Sellers instigated a high-profile prize for artists depicting sports, which ran biennially for ten years.

ANDREW GAYNOR

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EUGENE VON GUÉRARD 49 (1811 –1901) MOUNT KENT, ON THE WONNANGATTA, GIPPS LAND, 1873 oil on academy board 31.0 x 47.0 cm signed and dated lower right: E. v. Guerard / 1873 bears inscription verso: Mrs D.A. Paterson / 114 Riversdale Rd / Glenferrie estimate :

$240,000 – 280,000

PROVENANCE Private collection Arthur Tuckett & Son, Melbourne, 8 May 1914, lot 98 (as ‘Mount Kent’) Arthur Tuckett & Son, Melbourne, 3 December 1914, lot 61 (as ‘Mount Kent, Gippsland’) Mrs D. A. Paterson, Melbourne, by 1932 Private collection, New Zealand Private collection, acquired in 1978 Christie’s, Sydney, 17 August 1999, lot 72 (as ‘View of Mount Kent, Gippsland’) Private collection, New South Wales Private collection, Sydney, acquired from the above EXHIBITED The Fourth Exhibition of the Victorian Academy of Arts, Melbourne, July 1874, cat. 74 (as ‘Mount Kurt [sic], on the Wannangatta [sic], Gipps Land’), £20.0.0. Loan Exhibition of Antiques in aid of The Free Kindergarten Union of Victoria, Rocke’s Building, Melbourne, 19 May – 4 June 1932, cat. 1401 (as ‘View of Mt. Kent, Gippsland’) (lent by Mrs D.A. Patterson) LITERATURE ‘Victorian Academy of Art. Fourth Exhibition’, The Argus, Melbourne, 30 July 1874, p. 6 Bruce, C., Comstock, E., & McDonald, F., Eugene von Guérard: A German Romantic in the Antipodes, Alistair Taylor, Maryborough, New Zealand, 1982, cat. 106 and cat. 151, pp. 240, 264 Pullin, R., The Artist as Traveller: The Sketchbooks of Eugene von Guerard, Art Gallery of Ballarat, Victoria, 2018, pp. 218, 220 – 221 RELATED WORK Snowy Bluff 19 Dec 1860 and Mount Kent and Part of the Snowy Bluff, Sketchbook XXXII, 1860, folios 31 and 32, Dixson Galleries, State Library of New South Wales, Sydney, DGB16, vol. 11

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EUGENE VON GUÉRARD 49 (1811 –1901) MOUNT KENT, ON THE WONNANGATTA, GIPPS LAND, 1873

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EUGENE VON GUÉRARD 49 (1811 –1901) MOUNT KENT, ON THE WONNANGATTA, GIPPS LAND, 1873

In July 1874, Eugene von Guérard presented his oil painting Mount Kent, on the Wonnangatta, Gipps Land, 1873 to the people of Melbourne through the fourth exhibition of the Victorian Academy of Arts. It hung proudly with three more of his paintings in the Academy’s newly opened building on Eastern Hill. The extensive catalogue of 277 works listed their titles as ‘Pulpit Rock, Cape Schank’; ‘Mount Kurt, on the Wannangatta [sic], Gipps Land’ (our painting); ‘St. Agnes Head, north end of Phillip Island’; and ‘Gobett’s [sic] Leap and the Grose Valley, Blue Mountains, N. S.W.’. The leading colonial artists of the day were well represented – Louis Buvelot, H.J. Johnstone, Isaac Whitehead, J.H. Carse from Sydney, and John Gully from New Zealand. And landscapes predominated, The Argus review noting: ‘… a man comes to look upon the mountain and woodland scenery of Victoria with a more appreciative regard, after having been accustomed to see the most poetical aspects of both reflected from the canvas of a Guerard and a Buvelot’.1 The taste of the time was mirrored on the catalogue cover’s well-known quotation from Shakespeare: ‘Whose end, both at the first and now, was and is, to hold, as ‘twere, the mirror up to nature’. 2 Led to Australia in 1852 by the lure of Ballarat gold, the Victorian wilderness soon captured von Guérard’s eye and pencil. Settling in Melbourne two years later, he travelled afield to South Australia, New South Wales and Tasmania in search of the sublime and other subjects suitable. His standing as an artist rose rapidly. By 1870 he had been appointed the first Master of the School of Painting and Curator of the National Gallery of Victoria, the Gallery already having acquired two of his major paintings. Working in the German Romantic tradition, von Guérard awed his admiring audiences with his own awe of nature. Scientific exactness and truth to nature distinguished canvas after magnificent canvas. The same was reflected in their detailed titles. While the might and majesty of nature runs throughout von Guérard’s art, his Australian works show a fascination renewed by the wonders of the antipodes. Its exotic scenery and animals were still curiosities in the eyes of the European settler and visitor alike. Freshness of vision is readily apparent in Mount Kent, on the Wonnangatta, Gipps Land, 1873. The emu peoples the land, while birds of prey startle white cockatoos in the sky. The untamed grandeur

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of the scene is given a dramatic touch by profiling the mountain peaks against the sky. Yet, all is enveloped in a civilising calm of enchanting beauty, so admired by his contemporaries: ‘… M. von Guerard, excels in his delineation of mountain scenery, and sunset effects or ranges clothed with primeval forests’. 3 Mount Kent, on the Wonnangatta, Gipps Land had its genesis in late 1860 in drawings made during the time von Guérard was with Alfred Howitt’s government survey expedition into the mountains of Gippsland. Howitt, referring to von Guérard as ‘the celebrated Australian painter’, observed that the artist ‘is delighted with the mountain scenery – he had no idea that Australia had such country’.4 Von Guérard made two drawings related to our painting. The first, a panorama covering both pages of his sketchbook, is inscribed ‘Snowy Bluff 19 Dec 1860’. The other, ‘Mount Kent and Part of the Snowy Bluff’, is the drawing on which our painting was composed. 5 The two von Guérard paintings which evoked special praise when shown in the 1874 Victorian Academy of Arts exhibition were Govett’s Leap and Grose River Valley Blue Mountains, New South Wales, 1873 (now in the collection of the National Gallery of Australia, Canberra) and Mount Kent, on the Wonnangatta, Gipps Land, 1873. In an enthusiastic review, The Argus reported: ‘The scene [of the former] is of impressive magnitude and grandeur, and brings out the artist’s strength, which lies in the effective representation of mountain masses …’ 6 Our painting shows that for von Guérard grandeur also can be encompassed in works much smaller in scale. Describing the painting as ‘a charming little landscape on the Wannangatta [sic], Gipps Land’, the reviewer delighted in: An undulating and grassy foreground, lightly timbered and embossed with massive boulders, in [sic] enlivened by a “trotting brook,” which comes sparkling down from the magnificent mountain ranges on the background. These culminate in a majestic eminence, known as Mount Kurt [sic], the peaks of which are flushed with the glow of sunset. The canvas is small, but there is a great deal compressed within its narrow limits’.7

Giving valuable insight into how von Guérard’s contemporaries thought and felt about his art, there is a perceptive suggestion that this painted image encompasses sound, especially delight in the bubbling waters. 1. ‘Victorian Academy of Arts. Fourth Exhibition’, The Argus, 30 July 1874, p. 6 2.

Catalogue cover of The Fourth Exhibition of the Victorian Academy of Arts, Melbourne, 1874

EUGENE VON GUÉRARD Snowy Bluff 19 Dec. 1860, 1860 (From Volume 11: Sketchbook XXXII, No. 13 – 14 Australian, 1860 – 1861) courtesy of Dixon Galleries, State Library of New South Wales, Sydney, cat. DGB16, v. 11, f. 31

3. ‘The Fine Arts in Victoria’, Australasian Sketcher, Melbourne, 5 September 1874, p. 91 4. Folios 31 and 32, Sketchbook XXXII, 1860, Dixson Galleries, State Library of New South Wales, Sydney, DGB16, vol. 11. I am grateful to Ruth Pullin for identifying these drawings. 5. Alfred Howitt, letter to his mother, Howitt papers, 1045/3a, no. 10, quoted in Pullin, op. cit., p. 214 6. ‘Victorian Academy of Arts. Fourth Exhibition’, The Argus, op. cit., 30 July 1874, p. 6 7. ibid.

DAVID THOMAS

EUGENE VON GUÉRARD Govett’s Leap and Grose River Valley, Blue Mountains, New South Wales, 1873 oil on canvas 68.5 x 106.4 cm collection of National Gallery of Australia, Canberra

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WILLIAM CHARLES PIGUENIT 50 (1836 – 1914) AN AUTUMN SUNSET, LANE COVE RIVER, N.S. WALES, c.1910 oil on canvas 46.0 x 76.5 cm signed lower left: W. C. PIGUENIT inscribed on gallery label on frame verso: An Autumn Sunset / Lane Cove River, NSW / W C Piguenit bears inscription on label on stretcher verso: An Autumn Sunset / Lane Cove River / NS Wales estimate :

$30,000 – 40,000

PROVENANCE Private collection Masterpiece Fine Art Gallery, Hobart McRae Collection, Hobart Christie’s, Hobart, 26 August 1996, lot 35 (as ‘An Autumn Sunset Lane Cove, New South Wales’) Private collection, Sydney EXHIBITED 26th Annual Exhibition, Art Society of Tasmania, Hobart, 1910 (label attached verso) LITERATURE Johannes, C.E., and Brown, A.V., W.C. Piguenit 1836 – 1914: Retrospective, Tasmanian Museum and Art Gallery, Hobart, 1992, p. 68

William Charles Piguenit’s landscapes celebrate the sublime in nature, its wonder and grandeur, which so fascinated Eugene von Guérard and his contemporaries. Born in Hobart, he drew early inspiration from the atmospheric waters and mountains of Tasmania. Later, moving to Sydney, his earliest known painting of Lane Cove was shown in the 1883 exhibition of the Art Society of New South Wales. By 1886 he was living at Hunters Hill, overlooking the Lane Cove River, the subject of many future paintings. His interest in the panoramic river landscape, especially the effects of light on water, spread further. Within New South Wales he was drawn to the Parramatta, Nepean and Snowy rivers, to the Derwent and Lake Pedder in Tasmania, and abroad to the Conway River and Mount Snowdon in North Wales. The romantic in approach, curiosity led to awe, Mount Olympus, Lake St Clair, Tasmania, The Source of the Derwent, 1875, and The Flood in the Darling 1890, 1895, both in the collection of the Art Gallery of New South Wales, are classics of their kind. This grand Tasmanian work was the first oil painting acquired by the Art Gallery, its popularity reflected in it being the gift of fifty subscribers in 1875.1 In 1901 Piguenit was awarded the Wynne Prize for A Thunderstorm on the Darling. By now, he was held in such high regard that in 1902 the Gallery’s Trustees commissioned him to paint Mt Kosciusko, 1903 to commemorate the Australian Federation.

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When An Autumn Sunset, Lane Cove River, N.S. Wales, c.1910 was exhibited in the 26th annual exhibition of the Art Society of Tasmania, Hobart, in May 1910, Piguenit was proudly acknowledged as ‘an artist of whom Tasmania is especially proud’. 2 And our painting is described as ‘a remarkable one … in respect to reflections of light from behind a clump of trees and on the river’. 3 The same painting was noted interstate, The Leader, Melbourne reporting that: ‘The gem of the half dozen is, I think, An Autumn Sunset. The golden glow seems to radiate real sunlight’.4 Remote in locale and overpowering in stature, his eminent panoramas were sometimes touched by a romantic melancholia. Even some closer to civilization seemed a little distant. Figures, boats, fishermen and warm sunlight were added as humanising touches. This is particularly so for Lane Cove subjects. People, though diminutive in size, walk along the riverbank in Lane Cove River from Cliffs Near Bridge, New South Wales, c.1890 – 1901. 5 And the undated On Lane Cove River gives centre attention to the fishermen hauling the net into their boat.6 In An Autumn Sunset, Lane Cove River, N.S. Wales, two boats filled with young people relax and enjoy themselves on calm waters. Even birds join in. Autumn and sunset are in tantalizing harmony as ‘Seasons of mists and mellow fruitfulness’ abide in the dusk of departing day. Solitude has been dispelled à contre-jour, companionship and golden light.7 1. See Pearce, B., Australian Art in the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 2000, p. 35 2. The Mercury, op. cit., 3 May 1910, p. 7 3. ibid. 4. Helena, op. cit., p. 54 5. Leonard Joel, Fine Art Auction, Melbourne, 24 March 2015, lot 52 6. Ken & Rona Eastaugh Collection, Sotheby’s, Melbourne, 4 May 2009, lot 49 7. John Keats, ‘To Autumn’, published in 1820

DAVID THOMAS

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PENLEIGH BOYD 51 (1890 – 1923) WATTLE GATHERERS, 1918 oil on canvas 76.5 x 91.5 cm signed and dated lower right: Penleigh Boyd / 18. estimate :

$25,000 – 35,000

PROVENANCE Fine Art Society, Melbourne William Bertrand Carr, Melbourne, acquired from the above in 1918 Thence by descent W.H. Carr, Melbourne, by 1965 Thence by descent Private collection, Queensland EXHIBITED Exhibition of Paintings by Penleigh Boyd, Fine Art Society’s Galleries, Melbourne, 27 November – 11 December 1918, cat. 7 LITERATURE ‘Exhibition of Pictures’, The Age, Melbourne, 27 November 1918, p. 8 ‘Mr. Boyd’s Exhibition’, The Argus, Melbourne, 27 November 1918, p. 7 Colquhoun, A., ‘Australian Landscapes’, The Herald, Melbourne, 26 November 1918, p. 11 RELATED WORK Wattle on the Yarra, c.1920, oil on canvas, 65.0 x 90.5 cm, exhibited in The Australian Landscape 1802 – 1975: a cultural exchange exhibition with China, Cultural Palace of the Nationalities, Peking, 2 – 17 September 1975; the Kiang Su Art Gallery, Nanking, 23 September – 7 October 1975; and the Art Gallery of New South Wales, Sydney, 14 – 30 November 1975

Penleigh Boyd’s exuberant paintings of wattle are among the highlights of early twentieth-century Australian art. Much admired for his lyrical views of Portsea on the Mornington Peninsula, Sydney Harbour and the Hawkesbury, Boyd’s most individual contributions are of golden wattles, especially those along the banks of the Yarra River at Warrandyte. An early example, Bridge and Wattle at Warrandyte, 1914, in the collection of the National Gallery of Australia, Canberra, presents wattle as part of the overall scene. By 1918 their cascades of gold become the subject itself, as seen in his exhibition at the Fine Art Society’s rooms in Melbourne. Enthusiastically received by the critics, his choice and skilled handling of wattle was commented on with some surprise. The Age noted: ‘… he tackles also with apparent ease that most incongenial [sic] of subjects to the majority of landscape painters, golden wattle in full bloom’.1 Alexander Colquhoun, art critic for The Herald, likewise acknowledged Boyd’s achievement:

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Pictures of wattle in bloom are a feature of the exhibition, and in handling this elusive and delicate subject Mr Boyd has shown much skill and judgement, avoiding the sulphury suggestion so often given in such studies, and never losing sight of the individual characteristics of the tree. 2 Our painting, Wattle Gatherers, 1918, was the highlight of the exhibition, singled out for comment by the three leading dailies. ‘There is much charm in the decorative “Wattle Gatherers,” with its wealth of massed blossom, and a river-refelected [sic] pendent plume’, reported The Argus. 3 The Age was equally enthusiastic: ‘The canvas Wattle Gatherers depicts a shady bend of the river, with a shower of the blooms dipping its golden masses into the cool, clear stream’.4 With the discernment of an artist’s eye, Colquhoun observed: ‘Among the most attractive of these is Wattle Gatherers, one of the few canvases into which figures have been introduced, and one which is remarkable for the full and luminous treatment of the drooping masses of yellow blossom’.5 Paintings of wattle continued to feature in Boyd’s exhibitions and found ready admirers. In 1919 the National Gallery of Victoria acquired The Breath of Spring, 1919 through the Felton Bequest. In 1921 Boyd gave Spring Fantasy, 1919 to the Castlemaine Art Museum. Wattle, the harbinger of spring, is a metaphor for the new in Boyd’s art. The inventive handling of form and mastery of colour introduced in Wattle Gatherers, heralded great promise. A second version, Wattle on the Yarra, c.1920, shows Boyd was well pleased with it. 6 Unlike his conservative Australian contemporaries, Boyd was not ignorant of what was happening in Europe. Having studied in Paris in 1912, he was familiar with the French modernists. In 1922, he was in England selecting European contemporary art for the government-sponsored exhibition seen in Sydney and Melbourne in July-August of 1923.Wattle Gatherers, 1918 provides an exciting glimpse of what might have been achieved if his life had not been so tragically cut short in November of 1923. 1. ‘Exhibition of Pictures’, The Age, Melbourne, 27 November 1918, p. 8 2. Colquhoun, A., ‘Australian Landscapes’, The Herald, Melbourne, 26 November 1918, p. 11 3. ‘Mr. Boyd’s Exhibition’, The Argus, Melbourne, 27 November 1918, p. 7 4. The Age, op. cit. 5. Colquhoun, op. cit. 6. Wattle on the Yarra, c.1920 was given international prominence when shown in China in 1975 as part of the exhibition The Australian Landscape 1802 – 1975.

DAVID THOMAS

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ROBERT DICKERSON 52 (1924 – 2015) PHILLIP STREET, 1996 synthetic polymer paint on canvas 148.0 x 118.0 cm signed lower right: DICKERSON estimate :

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$25,000 – 35,000

PROVENANCE Rex Irwin Art Dealer, Sydney Art Galleries Schubert, Queensland (label attached verso) Private collection, Sydney, acquired from the above c.2000 EXHIBITED Robert Dickerson Recent Paintings, Rex Irwin Art Dealer, Sydney, 4 – 27 March 1997

CHARLES BLACKMAN 53 (1928 – 2018) ….THY LIPS TO KISS, 1991 oil on canvas 110.0 x 90.0 cm signed lower left: BLACKMAN estimate :

$30,000 – 40,000

PROVENANCE Philip Bacon Galleries, Brisbane Private collection, Queensland Estate of the above, Queensland EXHIBITED Charles Blackman Exhibition, Philip Bacon Galleries, Brisbane, 6 September – 1 October 1991, cat. 14

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JOHN COBURN 54 (1925 – 2006) DESERT COUNTRY, 1990 oil on canvas 106.5 x 122.0 cm signed and dated lower right: Coburn 90 signed, dated and inscribed with title verso: JOHN COBURN / “DESERT COUNTRY” … 1990 estimate :

$20,000 – 30,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist in March 1998 EXHIBITED John Coburn, Greenhill Galleries, Perth, 27 August – 18 September 1991, cat. 5 LITERATURE Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 152 (illus.)

Highly evocative, John Coburn’s vision was forever reaching beyond the purely aesthetic. Bearing strong affinities with the work of Matisse, Rothko and Mirò, Coburn was inspired by the natural and spiritual worlds. His symbolic use of shape and colour was a language through which he explored the ancient, powerful features and tremendous spaces of Australia. Constantly sustained by this motivation across many decades of painting, a powerful wholeness in the oeuvre of Coburn emerged. Nadine Amadio describes Coburn’s progression as that of a pilgrim; ‘a man who has been prepared to make a journey and return with the gifts of his insight’.1 Coburn’s recognition of the deep beauty of nature was ignited during his youth in the luminous and fertile hinterlands of Ingham, Queensland. And, in July of 1987, Coburn embarked on a journey from the top of Northern Territory down to Alice Springs. He was enthralled by the Central Australian desert, marvelling at the ancient rock formations and dramatic beauty of the vast wilderness. The expedition was a defining moment for the artist helping him to spiritually reconnect with the land he had formerly admired, his revived deep appreciation for the splendour and mystery of the desert becoming a prevailing subject in subsequent years. Painted with a varied surface texture and tonal intensity, Desert Country, 1990 has a clear organic quality. Having now reached the peak of his success, Coburn was now to producing works with immense fluidity and creative freedom. As noted by Lou Klepac, Coburn during this period ‘had now reached a stage in his development as a painter where all influences and experiences merged, enabling him to establish a new and more private rapport with his paintings. He had mastered the complexities of the creative process and was no longer dependent on the demands of a particular style’. 2 The rock shapes that adorn Desert Country, 1990, painted in dusky greys and earth reds, form a composition which is designed, yet seems graceful and effortless. Radiating passion and energy, Coburn’s symbols speaking eloquently of the land, much like the indigenous artists he had admired throughout his career. Best known for his 1970 commission to design the Sydney Opera House tapestry curtains, Coburn’s personal language has endured. Through his many solo exhibitions, important commissions and prestigious awards, his commitment to his allegorical and sensory visions never wavered. ‘Appearances are distracting. What you feel about a thing is important, not what it looks like. I don’t want to teach people to see. I want to get them to feel’. 3 1.

Amadio, N., John Coburn: The Paintings, Craftsman House, Sydney, 1988, p. 10

2. Klepac, L., John Coburn: The Spirit of Colour, The Beagle Press, Sydney, 2003, p. 92 3. The artist quoted in Klepac, L., John Coburn: The Spirit of Colour, The Beagle Press, Sydney, 2003, p. 33

MELISSA HELLARD

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MARGARET OLLEY 55 (1923 – 2011) RED ROOM AND VISITOR, 2001 oil on board 76.0 x 76.0 cm signed lower right: Olley bears inscription verso: 11. estimate :

$45,000 – 65,000

PROVENANCE Philip Bacon Galleries, Brisbane (label attached verso) Private collection, Hobart EXHIBITED Margaret Olley, Philip Bacon Galleries, Brisbane, 27 November – 22 December 2001, cat. 11 LITERATURE The Olley Project [https://ehive.com/ collections/5439/objects/466388/red-roomand-visitor-i] (accessed 16/10/2019)

Unswayed by the tide of late Modernism, Margaret Olley was forever steadfastly devoted to humble still-life and interior scenes. As observed by Olley’s dear friend Edmund Capon, ‘Still-lifes and interiors are her métier, and Margaret Olley is a part of that tradition, from Vermeer in the seventeenth century to Morandi in the twentieth century – two of her most admired artists – which finds inspiration, beauty and a rich spirit of humanity in the most familiar of subject matter’.1 Painted at her famed Paddington home, Red Room and Visitor, 2001 is a wonderful example of Olley’s masterful manipulation of light and space. Olley’s world is replete with time-worn furnishings, seasonal blooms, and a boundless assortment of objets d’art collected over many decades of wide travels and abundant friendships. In Red Room and Visitor, we are invited into the visual feast that is her private domain. The visitor sits quietly amid the jumble of mismatching chairs, perhaps awaiting a cup of tea and a friendly conversation. The light filters through the window, casting shadows across the furniture and contributing to an effortlessly harmonious composition. However, this ambience conceals a carefully considered orchestration of space. Arranged and rearranged like props in a theatre set, the objects in Olley’s paintings are meticulously placed in a delicately constructed mise en scène. As Olley’s good friend, Barry Humphries, describes, ’the house is her studio, and its contents are her subject. Her method – seemingly vagrant – is in reality a sophisticated artistic assembly line from which emerge her vibrant tableaux of inanimate things’. 2 Red Room and Visitor has a similar sensibility to the domestic interior paintings by Edouard Vuillard and Pierre Bonnard. Utilising the intimiste style pioneered by these French artists, Olley examines the hidden riches of her private world. ‘An interior will result in a portrait of the person who lives there, but it is also to do with approaching the room as if it was a person whose portrait you’re painting’. 3 The viewer is invited to explore the kilim rugs underfoot, chinoiserie chests, Spanish jugs and wooden furniture, imbuing equal significance to everyday treasures as the people that sporadically visited such paintings. The artist endlessly found magic in the unremarkable, revelling in the beauty of her Paddington terrace home. The warmth and congeniality found in Red Room and Visitor reflects the very essence of the artist’s own domestic existence. 1. Capon, E., quoted in Pearce, B., Margaret Olley, The Art Gallery of New South Wales, Sydney, 1996, p. 7 2. Humphries, B., ‘A Note of Exclamation,’ in Pearce, B., Margaret Olley, Art Gallery of New South Wales, Sydney, 1996, p. 8 3. Olley, M., quoted in Stewart, M., Margaret Olley: Far from a Still Life, Random House Australia, Melbourne, 2005, p. 427

MELISSA HELLARD

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RICK AMOR 56 born 1948 STUDY FOR A PORTRAIT, 2004 oil on canvas 81.0 x 100.0 cm signed and dated lower left: RICK AMOR ‘04 dated and inscribed with title verso: July ‘04 / Study for a / Portrait / … estimate :

$30,000 – 40,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist in 2004 LITERATURE Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 52 (illus.)

‘I’ve always thought that what we see is not necessarily what’s there. There’s extra things we don’t see, there’s layers of reality... The twentieth century seems to be a struggle to relate perception to reality…’1 A consummate painter, sculptor and printmaker with a highly successful career spanning four decades, Rick Amor is the master of transforming the ordinary into the extraordinary. Although drawing inspiration from the seemingly mundane, everyday sites of suburbia and the drab underside of the city, his paintings are typically full of drama, deep melancholy and foreboding – resonating with a disquieting sense of both beauty and menace that alludes to the ambiguities inherent in life and humanity’s complex existence. Far from being literal translations, Amor’s urban landscapes have evolved, rather, over a number of years, and consequently reveal several layers of memory, knowledge and perception – together with the influence of literature concerning cities from T.S. Eliot’s poetic verse to the classic dystopian texts of George Orwell and Franz Kafka. As Paul McGillick observes of Amor’s work, ‘…this is a phenomenological process by which the world as we think we see it is actually a construction based only partly on our understanding of it… there is a disconcerting quality to his pictures, as though they were not so much snapshots of reality as frozen frames from the moving pictures of our dreams’. 2 As exemplified superbly by Study for a Portrait, 2004, a motif frequently punctuating Amor’s urban landscapes is that of the solitary individual, alone and dissociated in his environment. Dwarfed by the grandiose carved stone foundations of the building to the left and modern monolithic structure to the right, here a hooded protagonist stares out resolutely from the murky, shadowed alley – the scene imbued with characteristic stillness and suspense. Heightening his isolation is the inclusion of another lone figure (reminiscent of Amor’s celebrated Waiter with his crisp white shirt) who toils away behind the glass window, seemingly oblivious to the presence of either the artist or his anonymous laneway character. Although a fabricated world in the same manner as the meticulously arranged, haunted piazzas and streetscapes of Italian Surrealist painter, Giorgio de Chirico, one cannot help but feel an uncanny sense of familiarity, of something already experienced, or deja vu. Indeed, such is the evocative power and enduring appeal of Amor’s vision which, despite being the outward expression of his own inner life, nevertheless engages the collective unconscious of universal experiences, thoughts and feelings to poignantly reflect upon the complexities of the human condition more broadly. As the artist himself muses, ‘…the pictures are real to me and I would love to find these places and walk into them. I hope that my world is sometimes as convincing to the viewer as it is to me’. 3 1. Amor, R., in Catalano, G., Building a Picture: Interviews with Australian Artists, McGraw Hill, Melbourne, 1997, p. 141 2. McGillick, P., ‘The City as Dream - The New York Paintings of Rick Amor’, Monument, no. 22, 1998, pp. 84 – 88 3. Amor, R., On Brack, Bren and Picasso, exhibition catalogue, TarraWarra Museum of Art, Victoria, 2006, n.p.

VERONICA ANGELATOS

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GARRY SHEAD 57 born 1942 TWO FIGURES WITH KANGAROO, 1995 oil on composition board 35.0 x 39.5 cm signed lower right: Garry Shead dated and inscribed verso: 9-4-95 / For Tom / with love / Garry / & Judit estimate :

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$25,000 â&#x20AC;&#x201C; 35,000

PROVENANCE Private collection, Melbourne, a gift from the artist in April 1995

GARRY SHEAD 58 born 1942 THE MEASURING ARTIST, 2003 – 04 oil on composition board 38.0 x 45.5 cm signed lower right: Garry Shead dated and inscribed with title verso: The measuring artist 2003-04 estimate :

$25,000 – 35,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist in December 2004 LITERATURE Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 57 (illus.)

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LEONARD FRENCH 59 (1928 – 2017) QUARTET (CREATION OF THE SEASONS) enamel on canvas on plywood 90.0 x 90.0 cm signed and inscribed with title on artist’s label attached verso: “Quartet” (Creation of The Seasons) / … / Leonard French / … estimate :

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$10,000 – 15,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist in 1986

CLIFFORD LAST 60 (1918 – 1991, British/Australian) THE LOVERS (WALL RELIEF), 1961 carved limed pine 104.0 x 32.0 x 5.0 cm signed with initial and dated verso: L 61 accompanied by three related study drawings 36.0 x 22.5 cm (1) 30.0 x 18.0 cm (2) three signed; two dated PROVENANCE Frigite Australia, Melbourne Private collection, Melbourne, acquired from the above c.1970s EXHIBITED Clifford Last, South Yarra Gallery, Melbourne, 1961 Centre Five, Heide Park and Art Gallery, Melbourne, 27 October – 9 December 1984 Clifford Last Sculpture: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 23 November 1989 – 29 January 1990, cat. 23 LITERTURE Edwards, G., Clifford Last Sculpture: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1989, cat. 23, p. 68 estimate :

$8,000 – 12,000 (4)

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JOHN KELLY 61 born 1965 PAPIER MÂCHÉ COW, 1995 – 96 patinated bronze 14.5 x 11.0 x 32.5 cm signed and dated on base: Klly 95/96 estimate :

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$12,000 – 16,000

PROVENANCE Niagara Galleries, Melbourne Private collection, Sydney, acquired from the above in 1996 EXHIBITED John Kelly Sculptures, Niagara Galleries, Melbourne, 27 February – 23 March 1996, cat. 24

ARTHUR BOYD 62 (1920 – 1999) SCHOOLBOY RIDING A GOAT, c.1954 – 1996 bronze 76.0 x 39.0 x 30.0 cm edition: 9/9 signed and numbered verso: Arthur / Boyd / 9/9 / E/E stamped verso with Meridian foundry mark estimate :

$20,000 – 25,000

PROVENANCE Australian Galleries, Melbourne Private collection, Melbourne RELATED WORK Schoolboy Riding a Goat, c.1952 –54, glazed and coloured terracotta, 78.0 cm height, private collection Schoolboy riding a goat, c.1950 – 75, bronze, 94.0 x 33.0 x 28.0 cm, in the collection of the National Gallery of Australia, Canberra

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JEFFREY SMART 63 (1921 – 2013) VIEW OF LONDON, c.1948 – 49 oil on canvas on board 46.0 x 35.0 cm signed lower right: JEFF SMART estimate :

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$18,000 – 25,000

PROVENANCE Private collection probably: Leonard Joel, Melbourne, 31 March 1982, lot 1120 (as ‘View of London’) Private collection Australian Art Auctions, Sydney, 14 March 1983, lot 73 (as ‘Rooftops’) Private collection, Queensland Estate of the above, Queensland We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his assistance with this catalogue entry.

LLOYD REES 64 (1895 – 1988) SYDNEY HARBOUR, 1977 watercolour, pencil and pastel on paper 55.0 x 73.5 cm signed and dated lower left: L REES / 77 estimate :

$12,000 – 18,000

PROVENANCE Bonython Art Gallery, Sydney Private collection, Sydney, acquired from the above in the early 1980s Thence by descent Private collection, Sydney

141

HANS HEYSEN 65 (1877 – 1968) THE SOUTH COAST, VICTOR HARBOUR, 1926 watercolour on paper 32.5 x 39.5 cm signed and dated lower left: HANS HEYSEN 1926 inscribed with title verso: The South Coast / Victor Harbour / Sth Aust estimate :

142

$18,000 – 24,000

PROVENANCE Private collection, Melbourne Thence by descent Private collection, Melbourne, acquired from the above in 1995 RELATED WORK The South Coast, 1926, oil on canvas, 71.1 x 91.4 cm, formerly in The Foster’s Collection of Australian Art, illus. in North, I., Heysen, Macmillan, Sydney in conjunction with the Art Gallery of South Australia, Adelaide, 1979, cat. 48, p. 57

ALBERT NAMATJIRA 66 (1902 – 1959) MT. GILLEN, ALICE SPRINGS, N.T., c.1956 watercolour on paper 21.5 x 41.5 cm signed lower right: ALBERT NAMATJIRA inscribed verso: Albert Namatjira [ind.] / Mt Gillen estimate :

$20,000 – 30,000

PROVENANCE Artarmon Galleries (Artlovers), Sydney (as ‘Mount Gillen, Macdonnell Ranges’) Private collection, Sydney, acquired from the above in 1956 Estate of the above, Sydney

143

ADELAIDE PERRY 67 (1891 – 1973) ACROSS THE LANE COVE RIVER, WOOLWICH, 1948 oil on composition board 55.0 x 77.0 cm signed and dated lower right: A. E. Perry 1948 PROVENANCE Artarmon Galleries (Artlovers), Sydney (label attached verso) Private collection, Queensland, acquired from the above in 1981 The Estate of the above, Queensland estimate :

$4,000 – 6,000

JACQUELINE HICK 68 (1919 – 2004) BALCONY STILL LIFE oil on composition board 47.0 x 54.5 cm signed lower right: HICK PROVENANCE Private collection, Queensland The Estate of the above, Queensland estimate :

144

$5,000 – 7,000

HERBERT BADHAM 69 (1899 – 1961) ANDANTE, 1953 oil on canvas 42.5 x 54.0 cm signed and dated lower right: H BADHAM ’53 estimate :

$8,000 – 12,000

PROVENANCE Private collection, Queensland Estate of the above, Queensland EXHIBITED probably: Society of Artists, Department of Education, Sydney, 28 August – 14 September 1953, cat. 144 (as ‘Andante Melancholico’)

145

EDWIN TANNER 70 (1920 – 1980) MARS MINES, 1961 synthetic polymer paint on composition board 91.5 x 122.0 cm signed and dated lower left: EDWIN TANNER 1961. signed and inscribed with title verso: “MARS MINES” / EDWIN TANNER / … estimate :

146

$15,000 – 20,000

PROVENANCE Private collection, Tasmania Charles Nodrum Gallery, Melbourne (labels attached verso) Private collection, Melbourne, acquired from the above in 2002

MICHAEL SHANNON 71 (1927 – 1993) THE MARSHALLING YARDS, 1957 oil on canvas 61.0 x 81.5 cm signed and dated lower left: Shannon 57 signed, dated and inscribed on frame verso: RAILWAY YARDS 1957 / MICHAEL SHANNON estimate :

$10,000 – 15,000

PROVENANCE probably: Leonard Joel, Melbourne, 16 April 1994, lot 125A (as ‘The Railway Yards’) Private collection, Queensland The Estate of the above, Queensland EXHIBITED probably: Michael Shannon, Macquarie Galleries, Sydney, 12 – 22 March 1958, cat. 7

147

ARTHUR BOYD 72 (1920 – 1999) SHOALHAVEN RIVER WITH COCKATOOS AND PELICAN oil on composition board 20.5 x 15.0 cm signed lower right: Arthur Boyd estimate :

148

$12,000 – 16,000

PROVENANCE Private collection, Queensland Estate of the above, Queensland

ARTHUR BOYD 73 (1920 – 1999) ROSEBUD, 1940 oil on canvas on plywood 58.5 x 69.0 cm signed and dated lower left: AM Boyd 40 estimate :

$15,000 – 20,000

PROVENANCE Private collection, Melbourne Thence by descent Private collection, Melbourne

149

CRISS CANNING 74 born 1947 STILL LIFE WITH NATIVE FLOWERS AND PEARS, 1985 oil on canvas 74.5 x 85.0 cm signed lower left: Criss Canning estimate :

150

$18,000 â&#x20AC;&#x201C; 24,000

PROVENANCE Melbourne Fine Art Gallery, Melbourne Private collection, Sydney, acquired from the above c.1995 Deutscher and Hackett, Melbourne, 20 April 2011, lot 115 Private collection, Sydney

NORA HEYSEN 75 (1911 – 2003) MUSHROOMS, 1928 oil on canvas 51.0 x 62.0 cm signed and dated lower left: Nora Heysen / 1928 inscribed on partial label attached to frame verso: No.3 estimate :

$8,000 – 12,000

PROVENANCE Private collection, New South Wales Private collection, Sydney

151

IMANTS TILLERS 76 born 1950 BETWEEN ECHO AND HOPE, 2002 (FROM ‘OUTBACK’ SERIES) synthetic polymer paint and gouache on 24 canvas boards 151.0 x 142.0 cm (overall) each panel numbered sequentially with stencil verso: 71662 – 71685 estimate :

152

$12,000 – 18,000 (24)

PROVENANCE Greenaway Gallery, Adelaide Private collection, Adelaide EXHIBITED Imants Tillers, Greenaway Gallery, Adelaide, 19 June – 14 July 2002

PETER BOOTH 77 born 1940 PAINTING (CHAIR AND LADDER), 1995 oil on canvas 36.0 x 41.0 cm signed, dated and inscribed with title verso: BOOTH 1995 / CHAIR & LADDER estimate :

$15,000 – 20,000

PROVENANCE Deutscher Fine Art, Melbourne Private collection, Melbourne, acquired from the above in 1995 EXHIBITED Peter Booth: Small Paintings 1992 – 1995, Deutscher Fine Art, Melbourne, 15 June – 8 July 1995, cat. 52 (illus. in exhibition catalogue, p. 58)

153

JOHN PASSMORE 78 (1904 – 1984) FIGURES IN LANDSCAPE, c.1958 – 59 oil on cardboard 34.0 x 27.0 cm signed with initials lower right: JP. PROVENANCE Private collection, Sydney, acquired from the artist in 1959 (label attached verso) Raffan Kelaher and Thomas, Sydney, 31 March 2015, lot 349 Private collection, Melbourne estimate :

$4,000 – 6,000

JOHN PASSMORE 79 (1904 – 1984) WATERFRONT SERIES, FIGURES IN QUAY LANDSCAPE, c.1958 – 59 oil on cardboard 42.0 x 20.0 cm signed with initials lower right: JP. PROVENANCE Private collection, Sydney, acquired from the artist in 1959 (label attached verso) Raffan Kelaher and Thomas, Sydney, 31 March 2015, lot 212 Private collection, Melbourne estimate :

154

$4,000 – 6,000

YVONNE AUDETTE 80 born 1930 FLOODED LAND, 1990 oil on plywood 114.0 x 153.0 cm signed with initials and dated lower right: YA 1990 signed, dated and inscribed with title verso: Audette / The Flooded Land A156 / 1990 estimate :

$15,000 â&#x20AC;&#x201C; 20,000

PROVENANCE Private collection, Melbourne, acquired directly from the artist in March 2010

155

JOHN OLSEN 81 born 1928 SONG OF THE EARTH, 1960 watercolour and pastel on paper 47.0 x 62.5 cm signed lower right: John Olsen ‘60 bears inscription verso: 9 Song of the Earth… PROVENANCE Clune Galleries, Sydney (label attached verso) Private collection, Melbourne, acquired in June 1991 estimate :

$8,000 – 12,000

GODFREY MILLER 82 (1893 – 1964) TREES, c.1940 – 50 oil and pencil on canvas 58.0 x 42.0 cm bears inscription verso: JH 257 PROVENANCE Estate of the artist, Sydney Charles Nodrum Gallery, Melbourne (label attached verso) Private collection, New South Wales Thence by descent Private collection, New South Wales EXHIBITED Godfrey Miller, Charles Nodrum Gallery, Melbourne, 4 – 27 July 2013, cat. 13 estimate :

156

$6,000 – 8,000

RALPH BALSON 83 (1890 – 1964) MATTER PAINTING, c.1961 enamel on composition board 63.5 x 79.5 cm estimate :

$10,000 – 15,000

PROVENANCE Estate of the artist, New South Wales Thence by descent Private collection, New South Wales EXHIBITED Blue Chip XXI: The Collector’s Exhibition, Niagara Galleries, Melbourne, 5 March – 6 April 2019, cat. 54 (as ‘Matter painting (poured), c.1961’) (label attached verso)

157

CHARLES BLACKMAN 84 (1928 – 2018) TRADITION OF THE FAN, 1981 pastel and charcoal on paper 106.0 x 80.0 cm signed lower left: BLACKMAN bears inscription with title on frame verso: No. 20 “TRADITION OF THE FAN” bears inscription verso: 20 / 16 PROVENANCE Rudy Komon Gallery, Sydney Private collection, Sydney EXHIBITED Charles Blackman: Japanese Drawings, Rudy Komon Gallery, Sydney, 9 January – 3 February 1983, cat. 16 estimate :

$8,000 – 12,000

CRESSIDA CAMPBELL 85 born 1960 VEGETABLE GARDEN, 1988 screenprint in 36 colours 76.0 x 57.5 cm edition: 27/99 signed, dated, numbered and inscribed with title below image PROVENANCE John Williams, Sydney Private collection, New South Wales LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2008, cat. S8802, p. 355 estimate :

158

$6,000 – 9,000

SIDNEY NOLAN 86 (1917 – 1992) ELEPHANTS AND GAZELLES, 1963 oil on paper 63.0 x 51.5 cm signed lower right: Nolan signed and dated verso: Nolan / 63 bears inscription with title verso: 22 / 23 Elephants + Gazelles PROVENANCE Australian Galleries, Melbourne (label attached verso) Private collection Bridget McDonnell Gallery, Melbourne (label attached verso) Private collection, Sydney EXHIBITED African Paintings by Sidney Nolan, Bonython Art Gallery, Adelaide, 8 March 1964, cats. 22 and 23 Sidney Nolan, An exhibition of paintings at the home of Dr and Mrs Keith Anderson, in conjunction with Australian Galleries, Melbourne, 3 October 1965, cat. 44 (as ‘African Series, Elephant and Gazelles’) estimate :

$8,000 – 12,000

JEFFREY SMART 87 (1921 – 2013) THE DOME, 1978 – 79 colour aquatint 43.5 x 43.0 cm edition: 39/100 signed, numbered and inscribed with title below image PROVENANCE Private collection, Queensland The Estate of the above, Queensland LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. 728, p. 116 estimate :

$6,000 – 8,000

159

RAY CROOKE 88 (1922 – 2015) HOTEL BEDROOM oil on canvas on board 45.5 x 35.5 cm signed lower left: R Crooke bears inscription verso: HOTEL BEDROOM PROVENANCE Private collection, Queensland Estate of the above, Queensland estimate :

$5,000 – 7,000

LAWRENCE DAWS 89 born 1927 INDUSTRIAL LANDSCAPE, c.1954 – 55 oil on composition board 60.0 x 76.0 cm signed lower right: LAWRENCE M. DAWS PROVENANCE Blue Boy Gallery, Melbourne Private collection GFL Fine Art, Perth, 26 May 2015, lot 18 Private collection, Melbourne estimate :

160

$4,000 – 6,000

SALI HERMAN 90 (1898 – 1993) WANGI SCENE, 1948 oil on canvas 54.0 x 73.5 cm signed and dated lower right: S. Herman. 48 PROVENANCE Private collection, Melbourne, a gift from the artist to his sister c.1952 Thence by descent Private collection, Melbourne estimate :

$8,000 – 12,000

LLOYD REES 91 (1895 – 1988) LIGHT ON THE DERWENT RIVER, 1973 oil on composition board 27.5 x 32.0 cm signed with initials and dated lower right: LR 73 PROVENANCE Private collection, Sydney estimate :

$6,000 – 8,000

161

CLIFTON PUGH 92 (1924 – 1990) WETLANDS WITH BLUE BIRD, 1965 oil on board 68.0 x 90.0 cm signed and dated lower left: Clifton / 65 PROVENANCE Private collection McKenzies Auctioneers, Perth, 25 March 2014, lot 41 Private collection, Perth estimate :

$8,000 – 12,000

ALBERT TUCKER 93 (1914 – 1999) IBIS, 1963 synthetic polymer paint on composition board 60.0 x 80.0 cm signed and dated lower left: Tucker 63 PROVENANCE Roy and Nancy Melick, Sydney Estate of Nancy Melick OAM, Sydney Deutscher and Hackett, Sydney, 2 December 2015, lot 28 Private collection, Melbourne estimate :

162

$15,000 – 20,000

ROBERT JUNIPER 94 (1929 – 2012) CENTRAL DESERT LANDSCAPE, 2004 oil on Belgian linen 106.5 x 152.5 cm signed and dated lower right: Juniper / 04 artist’s label attached verso estimate :

$12,000 – 18,000

163

SIDNEY NOLAN 95 (1917 – 1992) FIGURE, 1972 wax crayon and fabric dye on paper on composition board 52.5 x 77.0 cm signed lower right: Nolan estimate :

164

$8,000 – 12,000

PROVENANCE Marlborough Gallery, London Private collection, Sydney, acquired from the above in 1974 (as ‘Aboriginal in a Landscape’) EXHIBITED Sidney Nolan, Fuji Television Gallery, Tokyo, 10 – 28 April 1973, cat. 11 (illus. in exhibition catalogue) Sidney Nolan, Marlborough Gallery, Zurich, Switzerland, October – November 1973, cat. 16

JOHN OLSEN 96 born 1928 ABORIGINALS IN CAVE PAINTINGS, ARNHEM LAND, 1971 gouache and ink on paper 69.0 x 50.0 cm signed and dated lower right (ind.): John / Olsen 71 signed, dated and inscribed with title on label attached verso: Aboriginals in Cave Paintings / John Olsen 71 / Arnhem Land estimate :

$10,000 â&#x20AC;&#x201C; 15,000

PROVENANCE Thelma Clune, Sydney Private collection, Sydney, acquired from the above c.1973

165

DANILA VASSILIEFF 97 (1897 – 1958) THE FAMILY, c.1957 watercolour on paper 43.0 x 37.0 cm signed upper right: Vassilieff

LITERATURE Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 37 (illus.)

PROVENANCE Leonard Joel, Melbourne Private collection, Melbourne, acquired from the above c.1985 estimate :

$3,000 – 5,000

DANILA VASSILIEFF 98 (1897 – 1958) TWO CHILDREN, c.1957 watercolour on paper 42.0 x 37.0 cm signed lower right: Vassilieff

LITERATURE Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 37 (illus.)

PROVENANCE Leonard Joel, Melbourne Private collection, Melbourne, acquired from the above c.1985 estimate :

$3,000 – 5,000

DANILA VASSILIEFF 99 (1897 – 1958) SUNDAY AND SWEENEY REED watercolour and gouache on paper 37.0 x 43.0 cm PROVENANCE Reed Family Collection, Victoria Lawson~Menzies, Sydney, 16 December 2009, lot 178 Private collection, Melbourne estimate :

166

$3,000 – 5,000

EXHIBITED Danila Vassilieff: Works from the Reed Family Collection, Gould Galleries, Sydney, 4 – 29 May 2005; Melbourne, 8 June – 3 July 2005, cat. 11 (illus. in exhibition catalogue)

SIDNEY NOLAN 100 (1917 – 1992) CRETE, 1956 oil on paper 25.0 x 30.5 cm signed lower right: Nolan signed with initial, dated and inscribed verso: 12A / Cretan Sketch / 30-1-56 / - N inscribed and dated on backing board verso: CRETAN SKETCH / 30.1.56 estimate :

$5,000 – 8,000

PROVENANCE possibly: Cynthia Nolan, United Kingdom Philip Bacon Galleries, Brisbane Private collection, Queensland, acquired from the above in 1984 (as ‘Souvenir of Crete’) The Estate of the above, Queensland EXHIBITED possibly: Sidney Nolan, Whitechapel Art Gallery, London, 12 June – 31 July 1957, cat. 132

167

ELISABETH CUMMINGS 101 born 1934 DOG IN THE STUDIO, 1997 oil on board 58.0 x 58.0 cm signed lower right: Cummings signed, dated, and inscribed with title verso: Elisabeth Cummings / ‘Dog in the Studio’ ’97 / 2 PROVENANCE King Street Gallery on Burton, Sydney Private collection, Sydney EXHIBITED Elisabeth Cummings: Recent Work, King Street Gallery on Burton, Sydney, 22 September – 17 October 1998, cat. 2 estimate :

$5,000 – 7,000

ELISABETH CUMMINGS 102 born 1934 BREAKFAST AT CURRUMBIN, 1995 oil on canvas 48.0 x 53.0 cm signed lower right: Cummings signed verso: Elisabeth Cummings PROVENANCE King Street Gallery on Burton, Sydney (label attached verso) Private collection, Sydney EXHIBITED probably: Elisabeth Cummings: Recent Paintings, King Street Gallery on Burton, Sydney, 3 – 28 September 1996 estimate :

168

$5,000 – 7,000

EUAN MACLEOD 103 born 1956 GEOFF – HYDE PARK, 1989 oil on canvas 138.0 x 183.0 cm signed, dated and inscribed with title verso: EUAN MACLEOD / ‘GEOFF – HYDE PARK’ / 8-10-89 / … / 8-10-89 PROVENANCE Niagara Galleries, Melbourne Private collection, Melbourne EXHIBITED Euan Macleod, Niagara Galleries, Melbourne, 14 February – 3 March 1990, cat. 7 (as ‘Geoff & Hyde Park’) estimate :

$8,000 – 12,000

PETER BOOTH 104 born 1940 DRAWING (GREEK RUINS II), 1999 pastel and watercolour on paper 62.0 x 101.0 cm signed verso: BOOTH PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Sydney, acquired from the above in May 2000 EXHIBITED Peter Booth Drawings, Rex Irwin Art Dealer, Sydney, 18 April – 13 May 2000, cat. 2 Rex Irwin Art Dealer at Melbourne Art Fair 2008, Melbourne, 30 July – 3 August 2008 estimate :

$8,000 – 12,000

169

FIONA HALL 105 born 1953 BLACKBOY VASE, 1997 engraved glass 28.5 cm height edition: unique signed and dated in rim of base: Fiona Hall 8.11.97 PROVENANCE Private collection, Mexico, a gift from the artist RELATED WORK Fronding Vase, 1997, engraved glass, 27.5 x 17.0 cm, edition: 10/10, in the collection of the National Gallery of Victoria, Melbourne estimate :

$1,500 – 2,500

JANET LAURENCE 106 born 1949 GLASSHOUSE SERIES, 2004 Duraclear and aluminium 18.5 x 29.0 cm signed, dated and inscribed with title verso: J Laurence / 2004 / Glasshouse / series / from Glasshouse / Berlin PROVENANCE ARC ONE Gallery, Melbourne (label attached verso) Private collection, Melbourne, acquired in June 2005 estimate :

170

$1,500 – 2,000

SAM LEACH 107 born 1973 NEGENTROPHY, 2009 oil and resin on wood 25.5 x 36.0 cm signed verso: Sam Leach PROVENANCE Sullivan + Strumpf, Sydney Private collection, Sydney EXHIBITED Royal Bank of Scotland Emerging Artist Award, Sydney, 21 September – 2 October 2009 estimate :

$7,000 – 9,000

MARIA KUCZYNSKA 108 born 1948, Polish TORSO black fired ceramic 51.0 cm height PROVENANCE Private collection, Melbourne, acquired directly from the artist in 2012 estimate :

$1,500 – 2,000

171

ROBERT JACKS 109 (1943 – 2015) SUITE ESPANOLA, 1992 oil and enamel on wood 80.0 x 30.0 x 32.0 cm PROVENANCE Private collection, Melbourne, acquired directly from the artist in 2005 LITERATURE Harding, L. & Cramer, S., Cubism & Australian Art, Heide Museum of Modern Art and The Meigunyah Press, Melbourne, 2009, p. 186 (illus., dated as 1996) Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 146 (illus.) estimate :

$2,500 – 3,500

DALE HICKEY 110 born 1937 BENDIGO LANDSCAPE, 1976 oil on canvas on plywood 24.5 x 32.0 cm signed and dated lower right: Dale Hickey 76 signed, dated and inscribed with title verso: DALE HICKEY 1976 / BENDIGO LANDSCAPE PROVENANCE Private collection, Queensland The Estate of the above, Queensland estimate :

172

$1,500 – 2,500

ROBERT ROONEY 111 (1937 – 2017) SCHOOL ARTS STORMS: BIG RED TREE, 2002 synthetic polymer paint on canvas 118.5 x 178.5 cm signed, dated and inscribed with title verso: ROBERT ROONEY / SCHOOL ARTS STORMS: BIG RED TREE / SEPTEMBER 2002 / … estimate :

$8,000 – 12,000

PROVENANCE Tolarno Galleries, Melbourne Private collection, Melbourne, acquired from the above in December 2003 EXHIBITED Robert Rooney: The Modern Child Paintings and Prints, Tolarno Galleries, Melbourne, 22 November – 21 December 2003

173

WILLIAM WYATT 112 (1838 – 1872) NATIVES ENCAMPED, 1862 ink and wash on paper 8.5 x 18.0 cm signed with initials and dated lower right: WW.62 inscribed with title lower centre: Natives Encamped PROVENANCE Private collection, Melbourne estimate :

$3,000 – 5,000

J.W. CURTIS 113 (1839 – 1901) POTATO FARM, BURKE ROAD, 1888 oil on canvas 30.5 x 46.0 cm signed and dated lower left: J W. CURTIS / 88 signed and dated lower right: J W CURTIS / 88 bears inscription on stretcher bar verso: Farm, Bourke [sic] Road / The Potato Harvest PROVENANCE Leonard Joel, Melbourne (as ’The Potato Harvest, Farm Bourke [sic] Road’) Private collection, Melbourne, Melbourne, acquired from the above in 1976 estimate :

174

$5,000 – 7,000

EXHIBITED Gallery Selection 2016, Day Fine Art, Sydney, 7 – 11 September 2016 RELATED WORK Group of four Aboriginal Australians sitting around a fire outside a shelter, South Australia, 1857, pencil and ink, 19.0 x 24.5 cm, in the collection of the National Library of Australia, Canberra

IDA RENTOUL OUTHWAITE 114 (1888 – 1960) THE POOL, 1916 watercolour and pen and ink on paper 42.0 x 26.0 cm signed lower right: Ida Rentoul / Outhwaite PROVENANCE Fine Art Room, Melbourne Dame Nellie Melba GBE, acquired from the above in September 1916 Sotheby’s Australia, Melbourne, 31 March 2015, lot 46 Private collection, Sydney EXHIBITED Ida Rentoul Outhwaite: An exhibition of Original Black and White Watercolour Drawings, Fine Art Room, Melbourne, 14 – 23 September 1916, cat. 10 LITERATURE ‘Fairyland’, The Argus, Melbourne, 14 September 1916, p. 4 Outhwaite, I.R. and Rentoul, A.R., Elves & Fairies, Lothian, Melbourne, 1916, revised edition, 1992, p. 29 (illus.) Muir, M. and Holden, R., The Fairy World of Ida Rentoul Outhwaite, Craftsman House, Sydney, 1985, p. 113 estimate :

$6,000 – 9,000

SYDNEY LONG 115 (1871 – 1955) PARRAMATTA RIVER, DRUMMOYNE oil on canvas 61.0 x 92.0 cm signed lower right: SYDNEY LONG PROVENANCE Sir Samuel and Lady McCaughey, New South Wales Christie’s, Melbourne, 27 April 1999, lot 31 Private collection, Melbourne Company collection, Melbourne estimate :

$8,000 – 12,000

175

IAN FAIRWEATHER 116 (1891 – 1974) NEAR KVAM, NORWAY, c.1925 watercolour on paper 21.0 x 29.5 cm PROVENANCE Geoff Brown, Brisbane Philip Bacon Galleries, Brisbane (label attached verso) Private collection, Queensland, acquired from the above in 1984 Estate of the above, Queensland EXHIBITED Ian Fairweather (1891 – 1974) Tenth Anniversary Exhibition, Philip Bacon Galleries, Brisbane, 19 May – 14 June 1984, cat. 25 (as ‘Near Kvan, Norway?[sic.]’) LITERATURE Daws, L. and Bail, M., Ian Fairweather, exhibition catalogue, Philip Bacon Galleries, Brisbane, 1984, cat. 25, pp. 20 (illus.), 31 (as ‘Near Kvan, Norway?[sic.]’) estimate :

$5,000 – 7,000

DORRIT BLACK 117 (1891 – 1951) VIEW OF A BAY, SYDNEY HARBOUR, c.1921 – 22 oil on canvas on board 22.0 x 30.0 cm signed lower left: Dorrit Black PROVENANCE Private collection, Adelaide Elder Fine Art, Adelaide, 24 May 2015, lot 28 (as ‘Middle Harbour, Sydney, c.1920’) Private collection, Melbourne LITERATURE North, I., The Art of Dorrit Black, Art Gallery of South Australia and Macmillan, Adelaide, 1979, cat O.18, p. 121 estimate :

176

$4,000 – 6,000

WILLIAM DARGIE 118 (1912 – 2003) BATTLE OF THE HINGE, KOREA, 7TH OCTOBER 1951 oil on canvas 76.0 x 152.0 cm signed lower left: Dargie estimate :

$10,000 – 15,000

PROVENANCE Naval & Military Club Collection, Melbourne Deutscher and Hackett, Melbourne, 21 July 2009, lot 30 Private collection, Melbourne

end of sale 177

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 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 1.65% (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 198. 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.

180

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 198 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.

181

COOL CLIMATE ART IN A BOTTLE. With its dramatic, cool climate, the breathtaking Tasmanian landscape is an artist’s dream and a sparkling winemaker’s paradise. This is Méthode Tasmanoise.

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SALE CODE: BALLROOM SALE NO.: 059 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART MELBOURNE AUCTION 27 NOVEMBER, 7:00 PM LOTS 1 — 118 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

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183

ATTENDEE PRE-REGISTRATION FORM SALE CODE: BALLROOM SALE NO.: 059 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART

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

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Address

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MELBOURNE AUCTION 27 NOVEMBER, 7:00 PM LOTS 1 â&#x20AC;&#x201D; 118 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344 info@deutscherandhackett.com

184

TELEPHONE BID FORM SALE CODE: BALLROOM SALE NO.: 059 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART MELBOURNE AUCTION 27 NOVEMBER, 7:00 PM LOTS 1 — 118 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

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

Billing address (PO Box insufficient)

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

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Signature (required)

please email, post or fax this completed form to:

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Date

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COVER BID*

DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344

info@deutscherandhackett.com

6. 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.

185

ABSENTEE BID FORM SALE CODE: BALLROOM SALE NO.: 059 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE 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

MELBOURNE AUCTION 27 NOVEMBER, 7:00 PM LOTS 1 — 118 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

Date

ARTIST/TITLE

MAXIMUM BID*

1. 2. 3.

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 105 COMMERCIAL ROAD SOUTH YARRA VIC 3141

tel: 03 9865 6333 fax: 03 9865 6344

info@deutscherandhackett.com

6. 7. 8. 9. 10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars

INTERNAL USE ONLY

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.

RECEIVED BY

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.

DATE

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.

186

TIME

CONSIGNING NOW IMPORTANT INDIGENOUS ART MELBOURNE • MARch 2020 melbourne • 03 9865 6333 sydney • 02 9287 0600 info@deutscherandhackett.com www.deutscherandhackett.com

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18 October 2019 – 27 January 2020

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THIS EXHIBITION HAS BEEN CO-PRODUCED BY THE FOUNDATION FOR THE EXHIBITION OF PHOTOGRAPHY, MINNEAPOLIS/NEW YORK/PARIS/LAUSANNE AND THE NATIONAL MUSEUM OF MODERN AND CONTEMPORARY ART OF KOREA, SEOUL, IN COLLABORATION WITH THE NATIONAL GALLERY OF VICTORIA, MELBOURNE

Olaf Otto Becker, Point 660, 2, 08/2008 67°09’04’’N, 50°01’58’’W, Altitude 360M, from the series Above Zero, 2008 (detail) © Olaf Otto Becker

24 November 2019 â&#x20AC;&#x201C; 15 March 2020 McClelland Sculpture Park+Gallery

Louise Weaver, Taking a Chance on Love 2003 (detail), The University of Melbourne Art Collection, Michael Buxton Collection, Donated through the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program by Michael and Janet Buxton 2018

15.11.19 - 9.2.20

BETWEEN APPEARANCES THE ART OF LOUISE WEAVER Curated by Melissa Keys

BUXTON CONTEMPORARY Cnr Southbank Boulevard and Dodds Street Southbank VIC 3006 Australia buxtoncontemporary.com

Wednesday Thursday Friday Saturday Sunday

11am - 5pm 11am - 5pm 11am - 5pm 11am - 5pm 11am - 5pm

2019 Annual Appeal Help conserve the oldest dress in the Museum’s collection Your donation to the 2019 Annual Appeal will help us to conserve one of the textile treasures of the National Museum of Australia’s collection — a magnificent silk brocade gown from the 1700s. Part of the Springfield–Faithfull Family collection, the dress holds stories of London’s weaving and textile industry, colonial migration, pastoralism at Springfield sheep station near Goulburn and Sydney’s social life. All donations will assist us to research its history, to conserve it and to place it on display.

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Perth Brutal: Dreaming in Concrete

Celebrating the anniversary of AGWAâ&#x20AC;&#x2122;s 1979 Brutalist building.

AGWA40

21 SEP 2019 â&#x20AC;&#x201C; 17 FEB 2020 | FREE Partner

Annual Sponsors Principal Partner, 303 MullenLowe, Singapore Airlines, Alex Hotel, Juniper Estate, Otherside Brewing Co. Digital manipulation of work detail from: New Art Gallery of Western Australia, Structural Engineering Brochure, 1979. Public Works Department of WA.

Lot 22

Lot 24 Lot 25 Lot 26 Lot 27 Lot 28 Lot 29 Lot 30 Lot 31

© Hans Heysen/Copyright Agency, 2019 © Arthur Boyd/Copyright Agency, 2019 © Arthur Boyd/Copyright Agency, 2019 © Gleeson/O’Keefe Foundation © Joy Hester/Copyright Agency, 2019 © Joy Hester/Copyright Agency, 2019 © courtesy of Helen Brack © Antony Gormley © Dale Frank © Stephen Bush/Copyright Agency, 2019 © Ben Quilty © Michael Johnson/Copyright Agency, 2019 © Andrew Klippel. Courtesy of The Robert Klippel Estate, represented by Galerie Gmurzynska, Zurich/Licensed by Copyright Agency, 2019 © Andrew Klippel. Courtesy of The Robert Klippel Estate, represented by Galerie Gmurzynska, Zurich/Licensed by Copyright Agency, 2019 © courtesy the artist and STATION, Melbourne, Sydney © courtesy the artist and Sullivan+Strumpf, Sydney, Singapore © courtesy of the artist and Michael Reid Sydney + Berlin © Chiharu Shiota/Copyright Agency, 2019 © Eko Nugroho © Yang Yongliang © Tiffany Chung © Li Hongbo

LOTS CONSIGNED BY GST REGISTERED ENTITIES Lot 13 Lot 49 Lot 50 Lot 115

John Brack Eugene Von Guérard William Charles Piguenit 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.

198

Lot 32 Lot 33 Lot 34 Lot 42 Lot 44 Lot 45 Lot 46 Lot 47 Lot 48 Lot 52 Lot 53 Lot 54 Lot 55 Lot 56 Lot 57 Lot 58 Lot 59 Lot 61 Lot 62 Lot 63 Lot 64 Lot 65 Lot 66 Lot 70 Lot 71 Lot 72 Lot 73 Lot 74

© Pinaree Sanpitak © Shane Cotton © Mark Whalen © Ian Fairweather/Copyright Agency, 2019 © Tony Tuckson/Copyright Agency, 2019 © Estate of Roger Kemp © Estate of Fred Williams/Copyright Agency, 2019 © John Olsen/Copyright Agency, 2019. © Charles Blackman/Copyright Agency, 2019 © Jennifer Dickerson/Licensed Copyright Agency, 2019 © Charles Blackman/Copyright Agency, 2019 © John Coburn/Copyright Agency, 2019 © Margaret Olley Trust and The Olley Project © Rick Amor/Copyright Agency, 2019 © Garry Shead/Copyright Agency, 2019 © Garry Shead/Copyright Agency, 2019 © Leonard French/Copyright Agency, 2019 © John David Kelly/Copyright Agency, 2019 © Arthur Boyd/Copyright Agency, 2019 © courtesy of The Estate of Jeffrey Smart © Alan and Jancis Rees/Copyright Agency, 2019 © Hans Heysen/Copyright Agency, 2019 © Namatjira Legacy Trust/Copyright Agency, 2019 © Estate of Edwin Tanner © The Estate of Michael Shannon © Arthur Boyd/Copyright Agency, 2019 © Arthur Boyd/Copyright Agency, 2019 © Criss Canning/Copyright Agency, 2019

Lot 76 Lot 77 Lot 80 Lot 81 Lot 84 Lot 85 Lot 86 Lot 87 Lot 88 Lot 90 Lot 91 Lot 93 Lot 94 Lot 95 Lot 96 Lot 100 Lot 101 Lot 102 Lot 104 Lot 105 Lot 106 Lot 107 Lot 109 Lot 110 Lot 116

© Imants Tillers/Copyright Agency, 2019 © Peter Booth/Copyright Agency, 2019 © Vivienne Yvonne Audette/Copyright Agency, 2019 © John Olsen/Copyright Agency, 2019 © Charles Blackman/Copyright Agency, 2019 © Cressida Campbell/Copyright Agency, 2019 © The Trustees of the Sidney Nolan Trust/Bridgeman Images © courtesy of The Estate of Jeffrey Smart © Ray Crooke/Copyright Agency, 2019 © Sali Herman/Copyright Agency, 2019 © Alan and Jancis Rees/Copyright Agency, 2019 © The Albert & Barbara Tucker Foundation. Courtesy of Sotheby’s Australia. © Juniper Family/Copyright Agency, 2019 © The Trustees of the Sidney Nolan Trust/Bridgeman Images © John Olsen/Copyright Agency, 2019 © The Trustees of the Sidney Nolan Trust/Bridgeman Images © Elisabeth Cummings/Copyright Agency, 2019 © Elisabeth Cummings/Copyright Agency, 2019 © Peter Booth/Copyright Agency, 2019 © Fiona Hall © Janet Laurence © Sam Leach © Robert Jacks/Copyright Agency, 2019 © Dale Hickey/Copyright Agency, 2019 © Ian Fairweather/Copyright Agency, 2019

index A

AMOR, R.

HALL, F.

AUDETTE, Y.

HERMAN, S.

BALSON, R. BLACK, D. BLACKMAN, C. BOOTH, P.

HESTER, J.

11, 12

HEYSEN, H.

5, 65

HEYSEN, N.

HICK, J.

B BADHAM, H.

P 105

1, 2, 117 48, 53, 84

HICKEY, D. HONGBO, L.

PASSMORE, J. PERRY, A.

PIGUENIT, W.C.

PUGH, C.

68 110 31

Q QUILTY, B.

6, 7, 62, 72, 73 51

JACKS, R.

BRACK, J.

JOHNSON, M.

RENNIE, R.

BUSH, S.

JUNIPER, R.

ROBINSON, W.

109

REES, L.

ROONEY, R. C

KELLY, J.

CANNING, C.

KEMP, R.

CHUNG, T.

KLIPPEL, R.

COBURN, J.

KUCZYNSKA, M.

COTTON, S.

CURTIS, J. W.

88 101, 102 113

D DARGIE, W.

118

DAWS, L.

DICKERSON, R.

24 8 111

42, 116

FRANK, D.

FRENCH, L.

LAST, C.

GORMLEY, A.

SANPITAK, P.

SETON, A.

20, 22 108

SHANNON, M. SHIOTA, C.

LAURENCE, J.

106

LAWRENCE, E.

SMART, J. SPOWERS, E.

71 57, 58 27 63, 87 3

LEACH, S.

107

LONG, S.

115

TANNER, E.

THOMPSON, C.

TILLERS, I.

M 103

MILLER, G.

43, 82

MORLEY, L.

TUCKER, A.

TUCKSON, T.

V N NOLAN, S.

GLEESON, J.

NAMATJIRA, ALBERT G

SHEAD, G.

MACLEOD, E. F FAIRWEATHER, I.

64, 91

K 85

CUMMINGS, E.

77, 104

BOYD, P.

CROOKE, R.

PIGOTT, G. H.

BOYD, A.

CAMPBELL, C.

78, 79

NUGROHO, E.

VASSILIEFF, D. 66

VON GUÉRARD, E.

W WHALEN, M.

O’CONNOR, K.

WILLIAMS, F. 9 35, 36, 37, 28, 39, 40, 41

OGUISS, T.

OLLEY, M.

OLSEN, J.

47, 81, 96

OUTHWAITE, I. R.

86, 95, 100

O O’BRIEN, J.

97, 98, 99

WYATT, W.

34 46 112

Y YONGLIANG, Y.

114

199

200