The Laverty Collection - Part III by Deutscher and Hackett

THE LAVERTY COLLECTION Part III

CONTEMPORARY AUSTRALIAN ART AUCTION • SYDNEY • 5 APRIL 2017

THE LAVERTY COLLECTION Part III CONTEMPORARY AUSTRALIAN ART

Auction Wednesday 5 April 2017 Cell Block Theatre National Art School, Forbes Street, Darlinghurst Sydney, Australia MELBOURNE EXHIBITION: Thursday 23 – Sunday 26 March SYDNEY EXHIBITION: Thursday 30 March – Tuesday 4 April

Aboriginal and Torres Strait Islander people and communities are respectfully advised that some people who have died are mentioned in this book, or their photographs or images of their work are reproduced and that this may cause distress.

Sydney 55 Oxford Street Surry Hills NSW 2010 T 02 9287 0600 F 02 9287 0611 info@deutscherandhackett.com www.deutscherandhackett.com

melbourne 105 Commercial Road South Yarra VIC 3141 T 03 9865 6333 F 03 9865 6344 info@deutscherandhackett.com www.deutscherandhackett.com

CELL BLOCK THEATRE SYDNEY â&#x20AC;¢ AUCTION Cell Block Theatre, National Art School Forbes Street, Darlinghurst, NSW, 2010 Telephone: 02 9287 0600

Sydney Auction Wednesday 5 April 2017, 7.00pm Cell Block Theatre, National Art School, Sydney

Melbourne EXHIBITION Thursday 23 – Sunday 26 March 2017 11am – 6pm 105 Commercial Road South Yarra VIC 3141 03 9865 6333

Sydney EXHIBITION Thursday 30 March – Tuesday 4 April 2017 11am – 6pm 55 Oxford Street (cnr Pelican Street) Surry Hills NSW 2010 02 9287 0600

Absentee/ telephone bids Fax bids to 02 9287 0611 Email info@deutscherandhackett.com Telephone 02 9287 0600 Telephone bid form – p. 207 Absentee bid form – p. 208

Live online bidding www.deutscherandhackett.com/bidlive

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 more recently, as co-founder and Executive Director of Deutscher~Menzies. He has extensively advised private, corporate and museum art collections and been responsible for numerous Australian art publications and landmark exhibitions. He is also an approved valuer under the Cultural Gifts Program.

Damian Hackett

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

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 20 years experience in the Australian fine art auction market.

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 and 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. In 2014 Henry was appointed as an ambassador for the Sydney Swans Football Club.

Mara Sison Registrar

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

Roger McIlroy Head Auctioneer

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

Scott Livesey Auctioneer

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

Alex Creswick Head of Finance

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

Lucie Reeves-Smith

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

Melissa Hellard

Client Services Manager Melissa has a Bachelor of Communication (Media) from RMIT University, and has recently completed her Master of Art Curatorship at The University of Melbourne. Melissa gained experience in the corporate sector as an Account Executive for Elite Sports Properties. She assisted companies such as NAB, AFL and Fiat Chrysler Group in a variety of fields including marketing, events and sponsorship. With an enduring passion for the visual arts, Melissa was more recently the Finance and Administration Assistant for the Deutscher and Hackett Finance department..

Kimberley hills photographer: Toby Burrows

specialists for this auction Art Specialists Crispin Gutteridge 0411 883 052

Administration and Accounts Alex Creswick – Melbourne 03 9865 6333

Henry Mulholland 0424 487 738

Lucie Reeves-Smith – Sydney 02 9287 0600

Damian Hackett 0422 811 034

Absentee and Telephone bids Lucie Reeves-Smith – Sydney 02 9287 0600 Please complete the Absentee bid form on p. 208 or the Telephone bid form on p. 207

Chris Deutscher 0411 350 150 Auctioneers Roger McIlroy Scott Livesey

Shipping Mara Sison 03 9865 6333 Catalogue subscriptions Melissa Hellard 03 9865 6333 Catalogue $40.00 at the gallery $45.00 by mail $55.00 international (including GST and postage)

contents Lots 1 â&#x20AC;&#x201C; 152

Prospective buyers and sellers guide

200

Conditions of auction and sale

202

Catalogue subscription form

205

Buyer pre-registration form

205

Electronic funds transfer / Direct deposit form

206

Telephone bid form

207

Absentee bid form

208

Index

222

Acknowledgements Deutscher and Hackett would like to thank the following for their assistance with this catalogue: Wally Caruana, John McDonald, Georges Petitjean, Emily Rohr and Apolline Kohen.

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

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 Under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), permits are required for the movement of wildlife, wildlife specimens and products made or derived from wildlife. This includes species on the endangered species list. Buyers may be required to obtain an export permit for certain categories of items offered at auction. Permits must be obtained from: Wildlife Trade Regulation Section Environment Australia GPO Box 787 Canberra ACT 2601 Email: wildlifetrade@environment.gov.au Phone: (02) 6274 1900 Under the provisions of the Wildlife and Protection (Regulation of Exports and Imports) Act, 1982, buyers may be required to obtain an export permit for certain categories of items offered at auction (including plant or animal products derived from an Australian native species such as: ivory, tortoise shell, feathers, etc). Permits must be obtained from the Wildlife Protection Section, Environment Australia-Biodiversity Group at the address above, prior to items being export from Australia. 10

FOREWORD

John McDonald There is a mystique about the big-time art collector. It’s similar to being a successful punter or a wizard on the stock market. The collector is seen as someone who can pick a winner, perhaps by taking risks that others would never consider. There will be works bought for a small sum that are now worth a fortune, pieces acquired from unknown artists who go on to be superstars. This is the rather glamorous image that many have entertained of Liz and Colin Laverty. The truth is more mundane, and much better. Over the years I’ve been in the habit of referring to the Lavertys when anyone asked me questions about ‘investing in art’, if only to show that art cannot be treated in same business-like manner as stocks or real estate. The Lavertys may have put together a valuable collection but they never thought of it as an ‘investment’ or allowed their taste to be influenced by financial considerations other than simple affordability. When the urge was strong there would be ways to overcome that obstacle, such as payment by instalments. The Lavertys only ever bought a work of art if they truly loved it, although there were various degrees of attraction. Some pieces represent grand passions, others mild flirtations. A secondary consideration was to help out an artist or group of artists, either through direct payment or by bringing their work to wider attention. The Lavertys were always among the first to take an interest in new developments and emerging areas. With more than one region they were pioneers. Col’s first interest was in colonial art, chiefly paintings of racehorses and livestock. He accumulated an important collection of these works, researched the topic and published two books. When he became interested in contemporary art he took up the subject with the same passion. When I met the Lavertys in the mid-1980s their house was packed with paintings by artists such as Peter Booth, Ildiko Kovacs, Richard Larter, Allan Mitelman, William Robinson, Aida Tomescu, Tony Tuckson, and Ken Whisson. When Col and Liz committed to an artist they would follow them from show to show, buying multiple works. Their tastes were slightly different, so every purchase involved discussion and debate. While their acquisitions may have seemed compulsive, they were never arbitrary or ill-considered.

There were many collectors with greater resources than the Lavertys but with none of their hunger for discovery. From the moment Liz and Col became aware of indigenous art at the Brisbane Expo of 1988, they pursued it with extraordinary energy and initiative. In typical fashion Col researched the subject exhaustively and sought to build an understanding of contemporary Aboriginal art and life. He came to the conclusion that indigenous art should not be treated as a separate category within Australian art, but as a natural part of the contemporary scene. This was necessary to break down barriers of prejudice, and to ensure that the artists got a fair deal for their work. He also devoted much thought to the perennial problems of an industry riven by competition, cronyism and forms of petty profiteering. Col brought the same attitude to bear in his collecting as in his activities as a doctor and scientist. He wanted to find out how things worked, and how to make them work better. He built up an impressive database, and laid plans for donating artworks to public institutions. This auction is a way for Liz to scale down a collection that has grown to mammoth proportions, and to put money into family matters. The lesson of the Laverty collection is that the secret of successful investing in art is to invest in one’s own taste, and to love what you’re doing. No great collection has ever been acquired by means of a strategy. The planning comes along when a critical mass has been reached and it’s time to think of the future. When collecting has been such a pleasure, letting go is hard. The consoling thought is that all collectors are only custodians who take temporary charge of a cultural heritage that belongs to the artists and the world.

The Laverty Collection exhibition, Museum of Contemporary Art Australia (MCA), Sydney 1998

REFLECTION 2017

Laverty residence photographer: Kath Chambers

Liz Laverty Even before Colin and I met in 1981, art permeated both of our lives. I had grown up in a home that housed traditional paintings and my love of Melbourne artists, particularly of the 1940s and 50s, stemmed from weekends visiting local galleries and Museums. Colin’s love of early sporting painters had culminated in the publishing of two books including Australian Colonial sporting painters: Frederick Woodhouse and sons, in the year before we met. His passion for Australian abstraction had seen him acquiring works by Tony Tuckson, Michael Taylor and Peter Booth from his time as a University student onwards. Following our marriage in 1982, our weekends were filled with the regular and exciting trek through Sydney Galleries, haunting Watters, Coventry and Yuill / Crowley galleries amongst others, while Saturday lunches at the Ray Hughes Gallery became a regular occurrence from the late 1980s. On our frequent Melbourne visits, we were to be found at Niagara, Christine Abrahams, Pinacotheca and Charles Nodrum Galleries. By the late 1980s we were fortunate to have become good friends of many artists and patrons of Ildiko Kovacs, Richard Larter, Allen Mitelman, William Robinson, Aida Tomescu, and Ken Whisson.

Helen ran a business flying collectors, academics and anyone with an interest in Aboriginal art to isolated and far flung communities where they could visit the art centres and meet with artists. We joined many of these trips and whilst flying between communities in small planes we were able to look down at the extraordinary geological formations and see the ever changing colours of the land that is so important to the woks of local indigenous artists. These trips were wonderful, sometimes we spent several nights in one community. Balgo was of particular interest and on many occasions we stayed for days at a time. This allowed us to establish friendships with many of the senior artists in Balgo, with a particular affinity with Eubena Nampitjin and Tjumpo Tjapanangka. The people at Balgo were so generous and although we didn’t understand their language, we were able to communicate and learn about the culture by listening to the artists singing their stories and describing their paintings. We were very fortunate to have had the same wonderful experiences at Maningrida with John Mawurndjul, at Kununurra with Paddy Bedford and with Daniel Walbidi and Alma Webou at Bidyadanga.

It was the World Expo in Brisbane in 1988 that turned our collecting on its head. It was there that we were immediately captivated by a group of large Papunya Tula paintings on display. Upon returning to Sydney, Colin set about gaining knowledge on this exciting new discovery by extensively researching catalogues and books on Aboriginal art.

More recently, our explorations in non-indigenous art have seen us develop long-lasting relationships with contemporary galleries – in particular the Darren Knight and the artists he represents. As regular visitors to Darren’s gallery over many years we have been fortunate to nurture strong friendships with artists such as Noel McKenna, James Morrison, Ricky Swallow and Louise Weaver.

Soon after, we met Christopher Hodges and Helen Eager of Utopia Art Sydney. Visiting them most weekends, our knowledge began to grow. We made our first trip to Alice Springs in autumn 1991 where Christopher and Helen introduced us to the Araluen Centre, Papunya Tula artists, Gallery Gondwana. It was also on this trip that we and we first met Rodney Gooch at the CAAMA shop, Chris and Helen also arranged for us to visit rock art and other sites rarely seen by most visitors. Around this time we also met Gabrielle Pizzi in Melbourne for the first time and we became frequent visitors to her gallery over the following decade. Whilst holidaying in Broome in 1995, we met Helen Read, a remote area nurse and pilot. We accompanied Helen on a flight to Fitzroy Crossing where we cruised on the Fitzroy River with Aboriginal guides, followed by a visit to Mangkaja Arts. It was here that we met Butcher Cherel for the first time. Later, in Broome, we viewed Helen’s small but beautiful collection of paintings by Aboriginal artists and I remember being particularly entranced by a Eubena Nampitjin painting.

When we started collecting art over thirty years ago, little did we realise what a profound effect it was to have on our lives. The adventures we shared, the places we visited, the insights we were granted into indigenous culture together with the generosity and friendship of the people we met has been breathtaking. The enduring legacy of our collecting has been the friendships we forged with artists, curators and gallerists. These friendships, some lasting over three decades, have made the entire experience one of great enjoyment and enlightenment.

Liz and Colin at home

Bidyadanga

Percival Lakes area, Great Sandy Desert, Western Australia Photographer: Michael Hutchinson

Emily Rohr The small coastal Aboriginal community of Bidyadanga, 180 kilometres south of Broome surfaced as a hive of artistic innovation and production in the early years of the new millennium. It is home to the Karrajarri, the traditional owners of this saltwater country and Yulparija people, who arrived in decade between 1964 and 1974, exiled from their traditional country in The Great Sandy Desert, hundreds of kilometers to the south east. The inhabitants of this country, the Yulparija and the Martu were forced from their desert homelands, where they had lived essentially as their ancestors had done for the past 20,000 years, by a persistent drought that began in the early 1960s and changed the landscape of their country. The Percival Lakes began to dry up and the water system that fed the jila (springs), rock pools and soaks disappeared. The land had been robbed of its natural resources and most importantly water, caused not only by genuine drought, but also as a result of colonial activities such as mining explorations and the expansion of grazing enterprises that had spread across Western Australia. The children of the newly arrived Yulparija would be raised according to saltwater life, fishing and hunting turtle and dugong. Furthermore, they would attend schools established by the Catholic mission and would learn the ways of the white man. Daniel Walbidi was one such child. Well educated, he realised as he progressed through school that his interest in art was very strong. Painting became a way for him to return to his desert heritage and learn the stories of his people. With a great respect for his culture, he saw that song, dance and painting were the means by which he would be able to keep the culture of his people alive. In 1999, Walbidi, then a young man, entered the Short Street Gallery in Broome and shyly declared that he would like to become an artist. He then placed four small paintings on the desk, works that showed extraordinary potential. With the encouragement of Sister Pat Sealey, a Josephite nun at Bidyadanga, Short Street Gallery in Broome presented a generation of elders with an opportunity to work with modern art materials for the first time. Using acrylics on paper and canvas, the Yulparija produced work of an extraordinary style, thus beginning the Bidyadanga art movement.

Their work combines their desert heritage with their saltwater experience: desert iconography is portrayed in the rich blues, greens and reds of the coastal landscape. However, their work is not restricted to landscape. They have also painted stories of their first encounters with ‘whitefellas’ and of the helicopters that they saw fly overhead during their years in the desert. The work of the Yulparija people is truly contemporary art but based on the people’s experience of traditional existence as native Australians. Critical to their work are their memories of journeys taken throughout their country, travelling on foot from jila to jila; their story is one of survival in a harsh desert landscape. It is a story of unity and the importance of working together for the collective good of the community. Additionally, it is a story of time and of creation as the artists focus on sites specific to significant mythological stories. Through their work, they are able to transgress the boundaries of the ‘real’ and take their work to a philosophical and a metaphysical level. Like Weaver Jack and Jan Billycan, fellow Bidyadanga artist Alma Webou (1928 – 2009) was forced to migrate to the coastal town of Bidyadanga. However, despite their similar lifetime experiences and circumstances, her densely dotted work is the antithesis of Jan Billycan’s gestural strokes. Webou’s subject matter was always Pinkalakara, the place where she was born and where she spent her early life. Located close to Joanna Spring near the Canning Stock Route, Alma refused to reveal much about this place and consequently her work, usually an aerial perspective of her country, has been viewed very much in a contemporary framework of her mark making and explorations in colour and density. It is impossible to know any of the Bidyadanga artists and not be moved. With extraordinary simplicity, they challenge our perception of how the desert landscape looks. The land has an importance to them that has no white equivalent. Additionally, the work brings to light complex issues relating to the impact of white settlement on the lives of Indigenous Australians. Like a handful of artists before them, the Bidyadanga painters contribute to discourse on the metaphysical nature of existence.

Lot 1 Daniel Walbidi born 1983 Kirriwirri, 2007 synthetic polymer paint on linen 146.5 x 100.0 cm bears inscription verso: artist’s name, date, size, medium and Short Street Gallery cat. 23609 ESTIMATE: $18,000 – 25,000 PROVENANCE Short Street Gallery, Broome The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2007 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008 (illus. front cover and p. 178) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd., Melbourne, 2011, p.189 (illus.) This work is accompanied by a certificate of authenticity from Short Street Gallery, Broome

Lot 2 Kalaju Alma Webou (c.1928 – 2009) Pinkalakara, 2004 synthetic polymer paint on canvas 122.0 x 122.0 cm bears inscription verso: artist’s name, date, bears inscription verso: artist’s name, date and location ESTIMATE: $5,000 – 7,000

PROVENANCE Short Street Gallery, Broome (cat 2763) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 2004 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 172 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 180 (illus.)

Lot 3 Kalaju Alma Webou (c.1928 – 2009) Pinkalakara, 2005 synthetic polymer paint on canvas 167.0 x 111.0 cm bears inscription verso: artist’s name, medium, size and Short Street Gallery cat. 10240 ESTIMATE: $8,000 – 12,000

LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 171 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 177 (illus.) This work is accompanied by a certificate of authenticity from Short Street Gallery, Broome

PROVENANCE Short Street Gallery, Broome The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2005

JOHN MAWURNDJUL from maningrida (walungurru)

John Mawurndjul photographer: Stephen Oxenbury

Apolline Kohen John Mawurndjul’s artistic career spans more than thirty years of intense and prolific work. He is one of the most innovative indigenous Australian artists. Born in 1952 at Mumeka in western Arnhem Land, Mawurndjul spent his youth living a traditional life with his extended family. He learnt to paint the same way that many Kuninjku learn: by participating in painting the bodies of initiates and dancers in ceremonies. He started to paint for the art market in the late 1970s under the guidance of his elder brother, Jimmy Njiminjuma (1947 – 2004), and his uncle, Peter Marralwanga (1917 – 1987), from whom he learned to use rarrk, the cross-hatching infill, in new and innovative ways. This coincided with the establishment of the Maningrida Arts & Culture arts centre which promotes and markets the works of artists from the Maningrida region. In the early days of his career, Mawurndjul focused on subjects that are well known to all Kuninjku and often painted by other artists. These included paintings of animals and mythological beings such as Ngalyod, the Rainbow Serpent. During the late 1980s his work took a new direction and he started to produce large and more elaborate paintings with complex arrangements of figures. He began to get recognition for his work through successful group exhibitions and in 1989 his work was included in the landmark exhibition Les magiciens de la terre at the Centre Georges Pompidou in Paris, France. Gallery Gabrielle Pizzi held his first solo show in 1991, and the same year Mawurndjul was awarded a professional development grant from the Australia Council for the Arts.

In 2000, his work was featured in the 12th Biennale of Sydney with a painting dealing with the Mardayin theme and in 1999 and 2002 he won the bark painting prize in the Telstra National Aboriginal & Torres Strait Islander Art Award. Mawurndjul’s works produced in the 2000s are almost exclusively dealing with abstract representations of important places located in his clan estate. In 2003, he was the first Indigenous artist to win the prestigious Clemenger Contemporary Art Award at the National Gallery of Victoria, Melbourne. In 2004, his work was included in the exhibition Crossing Country: The alchemy of western Arnhem Land held at the Art Gallery of New South Wales, Sydney, which demonstrated his position as the leader of the Kuninjku contemporary art movement. It showed how he is today influencing other Kuninku artists to paint in his style. In September 2005, Mawurndjul opened the first retrospective of his work at the Musée Jean Tinguely in Basel, Switzerland, which then travelled to the Sprengel Museum in Hanover, Germany. In 2005 and 2006, he also worked on a major commission for the new Musée du quai Branly, Paris, France. He painted a massive column and designed the ceiling for the museum bookshop. His work was included in October 2007 in the first Triennial of Indigenous Art to be held at the National Gallery of Australia, Canberra. In 2009 he was awarded the Melbourne Art Foundation Artist Award. This was another acknowledgement of Mawurndjul’s exceptional contribution to Australian Indigenous art.

Further into the 1990s, Mawurndjul started to focus on painting abstract representation of landscape and works associated with the Mardayin ceremony, a now rarely performed ceremony with clan identity and mortuary themes. It was at this time that fine rarrk started to dominate the entire surface of his paintings. Mawurndjul is an innovator in both the treatment of rarrk and in the iconic representation of Mardayin’s themes.

Lot 4 John Mawurndjul born 1952 Mardayin Design, 2004 natural earth pigments on eucalyptus bark 174.0 x 58.0 cm bears inscription on label verso: artist’s name, title, language group, size, medium and Maningrida Arts and Culture cat. 537-04 ESTIMATE: $25,000 – 35,000 PROVENANCE Painted at Milmilngkan, Northern Territory Maningrida Arts and Culture, Maningrida, Northern Territory in April 2004 The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 EXHIBITED The Plot Thickens: Narratives in Australian Art, Heide Museum of Modern Art Travelling Exhibition, Victoria, 17 July – 26 September 2004; Ballarat Fine Art Gallery, Victoria, 4 March – 25 April 2005 This painting is accompanied by a certificate of authenticity from Maningrida Arts and Culture that states: ‘This work by the artist concerns a major patrimoiety ceremony of a secret and sacred nature called ‘Mardayin’. Much of the meaning of the iconography in the painting is not in the domain of public knowledge and so it cannot be explained in detail here. The painting refers to a site, Kakodebuldi, which is an outstation in Dangkorlo clan estate in the Mann River region. Kakodebuldi is a Mardayin ceremony performance site and is located on a large billabong covered in waterlilies. This place is about 50km south of Maningrida in Central North Arnhem Land.’

Lot 5 John Mawurndjul born 1952 Buluwana, 2001 natural earth pigments on eucalyptus bark 200.0 x 59.0 cm bears inscription on label verso: artist’s name, title, language group and Maningrida Arts and Culture cat. 15962001BP ESTIMATE: $20,000 – 30,000 PROVENANCE Painted at Milmilngkan, Northern Territory Maningrida Arts and Culture, Maningrida, Northern Territory (label attached verso) Gallery Gabrielle Pizzi, Melbourne (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 2002 EXHIBITED Kabarlekidyo to Milmilngkan – John Mawurndjul’s Country, Gallery Gabrielle Pizzi, Melbourne, 29 October – 23 November 2002, cat. 5 (illus. in exhibition catalogue and front cover [detail]) Crossing Country: the alchemy of western Arnhem Land art, Art Gallery of New South Wales, Sydney, 25 September – 12 December 2004 rarrk – John Mawurndul : Journey Through Time in Northern Australia, Museum Tinguely, Basel, Switzerland, 21 September 2005 – 29 January 2006; Sprengel Museum, Hannover, Germany, 19 February – 5 June 2006 John Mawurndjul Survey 1979 – 2009, Drill Hall Gallery, Australian National University, Canberra, 16 April – 24 May 2009 Stone Country – Saltwater, Newcastle Region Art Gallery, New South Wales, 1 August – 27 September 2009

LITERATURE Perkins, H., et al., Crossing Country: the alchemy of western Arnhem Land art, exhibition catalogue, Art Gallery of New South Wales, Sydney, 2004, pp. 90 (illus.), 226 Kaufmann, C., et al., rarrk – John Mawurndul: Journey Through Time in Northern Australia, Crawford House Publishing Australia, Belair, South Australia, 2005, pp. 141 (illus.), 228 Kohen, A., John Mawurndjul Survey 1979 – 2009, exhibition catalogue, Drill Hall Gallery, Australian National University, Canberra, 2009, pl. 4, cat. 17, p. 8 (illus.) Altman, J., ‘John Mawurndjul: Art and Impact’, Art Monthly Australia, Canberra, December 2009 – February 2010, p. 24 (illus.)

PADDY BEDFORD

Paddy Bedford, photographer: Peter Eve

Georges Petitjean Paddy Bedford (c.1922-2007), also known by his Gija name Nyunkuny or perhaps even more by his Gija nickname Goowoomji, is considered to be one of the greatest indigenous Australian artists. His art transcends local and cultural constraints in a convincing and exciting way and appeals to international audiences and contemporary art collectors alike. In his oeuvre his knowledge as a respected lawman and his experiences travelling country as a stockman all merge in powerful iconic images. Bedford’s work has been shown in a number of national and overseas exhibitions. He was one of eight artists chosen to present a commissioned work to the Musée du quai Branly in Paris (2006). In 2006-2007 Bedford was honoured with a major retrospective of his work at the Museum of Contemporary Art in Sydney. On an international level a large individual exhibition of his work took place at AAMU – Museum of contemporary Aboriginal art in Utrecht (the Netherlands) in 2009-2010. Other European art galleries to incorporate his work in exhibitions included the Ludwig Museum in Cologne and the Musée d’Acquitaine in Bordeaux. National and international collections, including the Metropolitan Museum of Art in New York hold work by Bedford. Paddy Bedford started painting with modern materials in 1998, the year that Rover Thomas passed away. Although Bedford was four years senior to Thomas, he spearheaded a second wave of East Kimberley painters that found culmination in the Jirrawun Aboriginal Art Corporation of which he was one of the founding members. Colin and Elizabeth Laverty, through a long-time friendship with Tony Oliver, Jirrawun’s artistic director and former gallery owner, were able to follow developments at Jirrawun from the very beginning. They were the first collectors to acquire Bedford’s work and remained true supporters of Bedford and the arts cooperative. The untitled work on plywood (Lot 6) dating from 1998 belongs to the earliest works that Bedford ever produced. It bears the Jirrawun catalogue number PB1998.03 and is one of the first four paintings by this artist that were acquired by the Laverty’s during their visit in 1998 to the Jirrawun Arts shed in Rugun (Crocodile Hole). Tony Oliver had found these masterpieces on the floor in a dark room in 28

the house of Chocolate Thomas in Warmun (Turkey Creek) while the artist was standing outside. Not long after, Bedford would move to Kununurra to paint new work on composition board and canvas. The irregular shapes of these early panels are characteristic of the found materials from the local tip Bedford initially used as supports. In this painting the artist is clearly experimenting with form, line and composition. While the imagery is still evocative of the characteristic East Kimberley paintings, Bedford’s unfailing sense for strong composition and bold imagery starts to emerge in the use of powerful lines and oval shapes. There is an immediate freshness in this picture that reflects a sincere joyfulness in working with the new medium and an inspired urge to paint. This panel announces the larger-scale paintings on canvas as well as the Jirrawun suite of works on paper now in the Yirribana Collection at the Art Gallery of New South Wales. The brash playfulness of the composition in this panel is also manifest in both gouaches presented in this auction. In the first untitled gouache dating from 2003 (Lot 7), Bedford’s natural predilection for an outspoken formal language becomes apparent. Forms and lines open and close the picture as a form of écriture automatique (automatic writing). Although the black in the picture belongs to the Crescent board support, it is fully integrated in the image. The balanced composition is the result of an instinctive search for harmony. In later gouaches, like in the untitled work dating from 2004 (Lot 8), colour gradually assumes a greater role. Colour – which in conventional East Kimberley palette is limited to ochre tones ranging from red to yellow, and black and white – assumes an equal part in the composition. The colours in this particular work bring to mind Mondrian and the Dutch De Stijl movement. In this striking picture, exposing Bedford’s genius in composition, the primary colours red, yellow and blue contrast sharply with the more ‘earthly’ black and grey colour plane. It is tempting to observe the fortuitous meeting of two art worlds, one Indigenous Australian and one European. Although the gouache and pencil works on paper are fully fledged, mature works on their own, they can at least in part be read as studies for the larger paintings on panel or canvas.

Colin, Paddy and Liz

PADDY BEDFORD

Mad Gap, 2005, (Lot 9) despite its size, is a relatively sober picture yet Bedford paints in surprising vivid brushstrokes. In these the roughness of the former stockman can be recognised. Pigments on the canvas emanate a shimmering quality which is accentuated by the brushstrokes. This luminosity or transparency in his application, which seem to develop in later years, is a direct result of his use of the wet-on-wet technique, which requires a fast way of working. While this technique has been popular with many European artists throughout history, it was never widely spread amongst indigenous Australian artists. Paddy Bedford not only experimented with this method, which was probably informed by the practice of painting with gouaches, but also put it to use as a manner to add depth of meaning and dynamism to his painted narratives.

The compelling imagery of Mad Gap reconnects with the initial interest the Lavertys had in bold gestural abstraction. However, the powerful brushstrokes in this picture invoke a deep sense of country rather than painterly abstraction. Mad Gap opens and reopens the picture, constantly redefining borders and delimitations of the composition. Although using a seemingly abstract language, the shapes bear resemblance with the natural features of the East Kimberley landscape. While the two black conic motifs are reminiscent of the alternating hilly and flat country, lines suggest a planar view of roads, thus implying the dual, simultaneous perspective so typical for East Kimberley painting. Fine fragile lines contrast surprisingly well with the white expanse and the conic shapes.

Mad Gap is the name that the Europeans gave to Gooweriny, meaning ‘place of the cypress pine’. This area, which is also known as Jarlaloon, is in the southern part of Bedford’s mother country. Large hills near the river are prominent features in this region. In a large cave in the side of one of those hills people used to shelter in precolonial times. It is said that a joowarri (a kind of spirit being) haunts this area. The joowarri comes out at night to take away something that was caught by someone and left in a tree. The ngarranggarni story associated with this place relates to a goanna that was swallowed by a crocodile.

Mad Gap, is a wonderful example of organic geometry. It is as simple and evident in its balanced composition as it is complex in the stories it tells. This duality is also reflected in the equality of importance between shapes and lines in the picture’s composition. While physical forms prevail in the painting, a great poetic sensitivity resonates throughout the picture. Behind the composition’s subtle harmony lurks a learned and intrinsic knowledge of the land and its creation stories. This congruity of powerful physicality and great sensitivity, which in the Western world often connote respectively the masculine and the feminine, is perhaps the essence of Bedford’s imagery.

As in other paintings, different narratives converge in this picture. Ngarranggarni – the Gija word for the Dreaming – stories intersect with recent colonial history. Considering that in Aboriginal cosmology there is a profound, intrinsic relationship between human and country, these pictures are highly autobiographical of the artist. As Tony Oliver, art director of Jirrawun, writes in the preface to the catalogue of Paddy Bedford’s major retrospective exhibition at the Museum of Contemporary Art, Sydney in 2006, ‘These rocks and waterholes – these symbols weighted or weightless in space – appear in dialogue with each other and as in life are in constant dialogue with the artist.’ 31

Lot 6 Paddy Nyunkuny Bedford (c.1922 – 2007) Untitled, 1998 ochres on plywood 71.0 x 91.0 cm ESTIMATE: $20,000 – 30,000 PROVENANCE Jirrawun Arts, Kununurra (cat. PB1998.03) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1998 EXHIBITED Mapping Our Countries, Djamu Gallery, Australian Museum at Customs House, Sydney, 9 October 1999 – 27 February 2000 True Stories: Art of the East Kimberley, Art Gallery of New South Wales, Sydney, 10 January – 27 April 2003 Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 63 (illus.), 143 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 229 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 241 (illus.) McDonald, E. (ed.), Volume One: MCA Collection, Museum of Contemporary Art, Sydney, 2012, p. 187 (illus.)

Lot 7 Paddy Nyunkuny Bedford (c.1922 – 2007) Untitled, 2003 gouache on Crescent board 51.0 x 76.0 cm bears inscription verso: artist’s initials and Jirrawun Arts cat. PB WB 2003-107 ESTIMATE: $5,000 – 7,000 PROVENANCE Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 172 (illus.) 34

Lot 8 Paddy Nyunkuny Bedford (c.1922 – 2007) Untitled, 2004 gouache on Crescent board 51.0 x 76.0 cm bears inscription verso: artist’s initials, and Jirrawun Arts cat. PB WB 2004-155 ESTIMATE: $5,000 – 7,000 PROVENANCE Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 175 (illus.) 35

Lot 9 Paddy Nyunkuny Bedford (c.1922 – 2007) Mad Gap, 2005 ochres and pigments with synthetic binder on linen 150.0 x 180.0 cm bears inscription verso: artist’s initials, date and Jirrawun Arts cat. PB 7-2005-228 ESTIMATE: $110,000 – 150,000 PROVENANCE Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2005 EXHIBITED Paddy Bedford, Museum of Contemporary Art, Sydney, 6 December 2006 – 15 April 2007, then touring to: Art Gallery of Western Australia, Perth, 12 May – 22 July 2007; Bendigo Art Gallery, Victoria, 11 August – 16 September 2007; University Art Museum, University of Queensland, Brisbane, 16 November 2007 – 1 March 2008 Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, pp. 104 (illus.), 157 (illus.) Hutchings, P., ‘Of spirit and myth’, The Age, Melbourne, 16 December 2006, p. 18 (illus.) ‘Form and Content,’ The Weekend Australian, 23 – 24 December 2006 (illus.) ‘Authority leaps final boundary’, The Australian, 20 July 2007 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 232 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 246 (illus.)

ROVER THOMAS Lot 10 Rover Thomas (Joolama) (c.1926 – 1998) Djugamerri and Bolgumerri, 1991 Djugamerri and Bolgumerri, 1991, is one of Rover Thomas’s landmark paintings that traverses the span of human history, from a Kimberley Aboriginal perspective, incorporating ancestral events with elements from modern times. Rover’s identity as an Aboriginal male was multivalent but not unusual for the places and times in which he lived. Born of a Wangkajunga father and a Kukatja mother at Kunawarriji (Well 33) on the Canning Stock Route in the Great Sandy Desert, in his adult life, Rover Thomas traversed much of the eastern Kimberley, the Northern Territory and even into Queensland, as a stockman and fencer, eventually settling in the east Kimberley where he was inculcated into local Gija society. Rover was part of the diaspora of peoples into the Kimberley from the deserts to the south and southeast. Along with the people went a series of religious practices with their origins in the desert that infiltrated the Kimberley in modified forms. The narrative behind this painting, as explained by Rover Thomas to Mary Macha in 1991, concerns the spirits of these two ancestors existing within two hills between Wyndham and Kununurra in the eastern Kimberley, close by Carlton Hill Station. The spirit of Bolgumerri (Bulkumerri or Pukulmirri, also known as House Roof Hill)1 appears as the black form at the top left of the painting, and Djugamerri (Djukamerri or Jukulmirri, False House Roof Hill) at the top right. The yellow vertical line separating these hills represents the road to Carlton Station that runs towards the Ord River (the black horizontal), while the smaller washed ovoid represents the location of a lockup, the ‘jail house…Police kept prisoners there’ of the sort that were established when the Kimberley was being settled by Europeans. 38

In this painting Rover Thomas draws an analogy between the two male ancestors and the two apical ancestors of the peoples of the western deserts, the Wati Kutjarra, who in various guises, travelled the land and laid down the laws of society and ritual, who gave order to the world.2 There are several Two Man narratives that criss-cross the Kimberley, including one that runs from west to east, that are modelled on the Wati Kutjarra. According to Rover, Bolgumerri and Djugamerri have been travelling through country belonging to the Bardi, Karajarri and Martu peoples where, respectively, the townships of Broome, La Grange and Jigalong now lie. This is country where the desert meets the sea in the far west of the Kimberley and beyond, south into the Great and Little Sandy Deserts. The site depicted in the painting was visited by the spirit of Rover’s classificatory mother who died during Cyclone Tracy at the end of 1974. This is the spirit that revealed to Rover the public Kurirr Kurirr (Gurirr Gurirr, Krill Krill) ritual for which he was renowned. The woman had been fatally injured in a car crash on a flooded road near Turkey Creek and was being flown to hospital in Perth but died when the aeroplane was off the coast of Derby. From there, her spirit, accompanied by guiding spirits, travelled across the Kimberley from west to east, visiting places of significance; sacred and ceremonial places, massacre sites and burial grounds. The site appears in the songs of the Kurirr Kurirr cycle as recorded by Dr Will Christensen in 1983 and reproduced in Thomas, R., Roads Cross: The paintings of Rover Thomas, 1994:

Jukulmirri ngalirr kumpani Pukulmirri

(They [the woman and her guiding spirit] pass near Pukulmirri and Jukulmirri, large Dreaming hills on Carlton and Ivanhoe Stations. They continue to make songs as they go.)3

Pukulmirri and Kululmirri, Dreaming Hills, 1983, by Paddy Jaminji (1912 – 1996), in the Kurirr Kurirr series by Jaminji and Rover Thomas, in the collection of the National Gallery of Australia, depicts a similar compositional structure to Rover’s Djugamerri and Bolgumerri. In this painting, two arched forms seen in profile view, as opposed to the plan view in Rover’s painting, are separated by a series of verticals, one of which extends to surround one of the hills.4 Djugamerri and Bolgumerri was painted in Mary Macha’s studio in Subiaco, Perth. It is one of the few works Rover Thomas painted on Belgian linen. The work exudes a lush painterly quality and a richness of coloured pigment that characterise Rover Thomas’s most accomplished paintings. 1. House Roof Hill was the setting for the Faraway Downs homestead in the film Australia, directed by Baz Luhrmann 2. Wally Caruana in conversation with Rover Thomas, National Gallery of Australia, Canberra, 1994 3. Thomas, R., et al., Roads Cross: The paintings of Rover Thomas, National Gallery of Australia, Canberra, 1994, song 28, p. 27 4. ibid, p. 35

WALLY CARUANA with thanks to Kim Akerman for his assistance in preparing this entry

Liz and Rover Thomas Venice Biennale, 1990

Lot 10 Rover Thomas (Joolama) (c.1926 – 1998) Djugamerri and Bolgumerri, 1991 natural earth pigments and gum on linen 89.5 x 110.0 cm bears inscription verso: artist’s name, title and date ESTIMATE: $220,000 – 300,000 PROVENANCE Commissioned by Mary Macha, Perth (inscribed verso) Private collection, Western Australia Mary Macha, Perth The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2003 EXHIBITED Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, pp. 3 (illus.), 202 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 214 (illus.) RELATED WORK Dumorunji, 1986, earth pigments and natural binders on plywood, 60.7 x 90.8 cm, Holmes à Court Collection, Perth, reproduced in. Carrigan, B., (ed.), Rover Thomas: I want to paint, Heytesbury Pty Ltd, Perth, 2003, pl. 2, p. 66 (illus.) This painting is accompanied by notes and an annotated diagram from Mary Macha, Perth.

EMILY KAME KNGWARREYE

Central Desert landscape photographer: Sandy Nicholson

Wally Caruana Colin and Liz Laverty’s keen eye for a great painting and their passion for Aboriginal art encouraged them to acquire key works from early in an artist’s career. Untitled (Dried Flowers and Fruits), 1990, marks a transition in the early phase of Emily Kame Kngwarreye’s painting career in the public domain. In this work, the artist achieves an intensity of atmospheric effect through layers of dotting that was to characterise her paintings over the following two years. Painted a year after she created her first works in acrylic on canvas, the linear compositional devices and the restrained markmaking found in earlier works such as Untitled (Alalgura/Alhalkerre), 1989 (formerly in the Laverty Collection),1 and Awelye, 1989-90 (in the Janet Holmes à Court Collection),2 dissolve into in fields of dots applied with an exuberance and immediacy as seen in this and related paintings such as Seeds of Abundance (in the National Gallery of Australia collection) and State of my country (in the Holt Collection),3 both painted in the following month. Kngwarreye was highly responsive to the landscape and its changing moods and seasons. The eminent art historian Patrick McCaughey rates Kngwarreye as one of the great Australian painters of the land.4 Untitled (Dried Flowers and Fruits) was made during a period of rare winter rains in Alhalker (Alalgura), Kngwarreye’s customary lands on Utopia Station. Janet Holt describes the transformation of the landscape in her notes accompanying the work: ‘the movement of colour from the dry earth tones to lush green growth is slow’ and the mood of the country is ‘apprehensive’ in the hope that ‘an early glimpse of warmth will… produce a desert in full carpeted bloom’. This sense of ‘apprehension’, of expectation and hope is masterfully captured in the painting; areas of sienna and rose madder marks emerge through the layers of muted ochre tones under an array of cream-white dots to suggest to the eye a myriad of colours. 42

This visual sensation relates to the concept of Awelye, the Anmatyerr and Alyawarr term for women’s ceremonies and the associated designs painted onto the ground, on ritual objects and onto participant’s bodies. Awelye was a recurring source of inspiration for the canvas paintings of Emily Kame Kngwarreye. Awelye makes things ‘flash’: a plain oval-shaped piece of wood becomes a ritual dancing board with the application of ochres; a woman painted up for ceremony is imbued with ancestral energy. Untitled, 1992, is a vigorous variation on the theme. Here the artist has created an eyedazzling composition in a range of red, yellow and orange tones that make the intangible visible, suggesting the presence of the ancestors’ spiritual powers within the painting itself. Emily made a series of works employing this distinctive, brushy application of paint that includes the golden brown Untitled, 1993, and even a painted car door in the collection of the Riddock Art Gallery, Mount Gambier. 1. Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 88 (illus.) 2. Neale, M (ed.), Emily Kame Kngwarreye. Paintings from Utopia, Queensland Art Gallery and Macmillan, Brisbane, 1998, pl. 47, cat. 22, p.79 (illus.) 3. Isaacs, J., T. Smith, J. Ryan, et al., Emily Kngwarreye Paintings, Craftsman House, Sydney, 1998, pl. 12, p. 57 and pl. 13, pp. 58 – 9 respectively (illus.) 4. McCaughey, P., Strange Country: Why Australian painting matters, The Miegunyah Press, Melbourne, 2014, pp. 24 – 8

Lot 11 Emily Kame Kngwarreye (c.1910 – 1996) Untitled (Dried Flowers and Fruits), 1990 synthetic polymer paint on linen 151.5 x 122.0 cm bears inscription verso: artist’s name and Delmore Gallery cat. 0N27 ESTIMATE: $60,000 – 80,000 PROVENANCE Commissioned by Delmore Gallery, Alice Springs Gallery Gabrielle Pizzi, Melbourne (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1990 EXHIBITED Southern Reflections – Ten Contemporary Australian Artists, Art Gallery of New South Wales, Sydney, 1998; Kulturhuset (Cultural Centre) Stockholm, Sweden, 1998; Stenersen Museum, Oslo, Norway, 1999; Goteborgs Konsthall, Gothenberg, Sweden, 1999, cat. 8 (label attached verso) Ngurra Kutu: Going home, Art Gallery of New South Wales, Sydney, 8 September 2001 – 23 June 2002 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 92 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 99 (illus.) This work is accompanied by a certificate of authenticity from Delmore Gallery, Alice Springs

Lot 12 Emily Kame Kngwarreye (c.1910 – 1996) Untitled, 1992 synthetic polymer paint on canvas 166.0 x 68.5 cm bears inscription verso: artist’s name, date, Rodney Gooch and cat. EK 4 ESTIMATE: $12,000 – 18,000 PROVENANCE Commissioned by Rodney Gooch (Mulga Bore Artists, Alice Springs) in 1992 Utopia Art, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1992 EXHIBITED Emily Kngwarreye, Utopia Art, Sydney, 27 June – 18 July 1992 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 100 (illus.)

Lot 13 Kutuwulumi Purawarrumpatu (Kitty Kantilla) (c.1928 – 2003) Untitled, 1997 natural earth pigments and synthetic binder on canvas 79.0 x 96.5 cm bears inscription verso: artist’s name, skin group: Fire / dance: Rain and Jilamara Arts and Crafts cat.1799 ESTIMATE: $20,000 – 30,000 PROVENANCE Jilamara Arts and Crafts, Melville Island (stamped verso) Framed Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2005 EXHIBITED A Century of Collecting 1901 – 2001, Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney, 29 March – 28 April 2001 Dreaming Their Way: Australian Aboriginal Women Painters, National Museum of Women in the Arts, Washington DC, USA, 30 June – 24 September 2006; Hood Museum of Art, Dartmouth College, Hanover, USA, 7 October – 10 December 2006, cat. 63 LITERATURE Konav, B., Boles, M.S., and Kennedy, B., Dreaming Their Way: Australian Aboriginal Women Painters, National Museum of Women in the Arts, Washington and Scala Publishers, London, 2006, pp. 8 (illus.), 113 Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 259 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 289 (illus.)

A magical and delicate ‘white painting’ or ‘pumpuni jilamara’ (meaning ‘good design’), a phrase commonly used by the Queen of Jilamara, Kitty Kantilla, to describe her work, this painting was made in the same year the artist unveiled a series of white-ground paintings on paper and canvas in her third solo exhibition at the Aboriginal and Pacific Art Gallery in Sydney. These paintings have been described by Judith Ryan as ‘studies in radiance.’1 Three of the paintings are illustrated in the catalogue to the artist’s posthumous retrospective exhibition in 2007 at the National Gallery of Victoria.2 In contrast to the busy compositions on black grounds of many of her previous paintings, and on her earlier painted figure sculptures, these works display a solidity of form and simple assuredness of composition mainly struck along horizontal and vertical lines. The same applies to Untitled, 1997, where blocks of dotting made without the use of the pwoja or wooden comb traditionally used by Tiwi artists to make lines of dots, jostle comfortably with accents of ochre and passages of hatched lines that are rarely seen in Kantilla’s work. The only faintly figurative elements in the painting are four arched forms in the top left that are suggestive of the feathered armbands worn by participants in Tiwi ceremonies.

Typical of Kantilla’s paintings, Untitled harks back to what has been termed ‘old style’ Tiwi painting such as that found on early Pukumani burial poles and tutini bark baskets collected on the National Geographic Expedition to the Tiwi Islands lead by the anthropologist Charles Mountford in 1954. Kitty Kantilla lead a traditional life, and although she had a brief experience at the Catholic Mission on Bathurst Island, she moved to the community at Paru on Melville Island in the 1970s, along with a group of elder women, to put some distance between themselves and European influences. At Paru, Kantilla began to make figurative sculptures in ironwood, decorated in body painting designs. As she abandoned sculpture, these designs were the source of inspiration for the paintings of the last seven years of her life. 1. Ryan, J., Kitty Kantilla, National Gallery of Victoria, Melbourne, 2007, p. 80 2. ibid., pl. 31, p.30, pl. 58, p. 51, and pl. 59, p. 52 (illus.)

WALLY CARUANA

WIrrimanu (balgo)

Balgo spinifex photographer: Peter Eve

Colin Laverty (written 2008) The present day Wirrimanu Aboriginal Community at Balgo had its origin as a mission established in 1937 on ‘Rockhole Station’, near Halls Creek in the Kimberley region of Western Australia. For various reasons and ultimately because of problems with sustainable adequate water supply, the settlement was later, and more than once, moved further south. In 1965, it finally reached its lasting location at Balgo, on the edge of the Tanami and Great Sandy deserts. The great geographical isolation of Balgo is reflected in its being 850 kilometres north-west of Alice Springs and 270 kilometres south of Halls Creek. Most artists associated with Balgo live and work in the main Balgo settlement but some live at two other smaller outlying settlements – at Billiluna and Mulan. The community was begun by German missionaries of the Catholic Pallottine Order, who provided succour and a degree of cultural understanding for a heterogeneous group of Aboriginal people displaced from various quite distant traditional Western Desert lands by expanding grazing and mining activity, by drought in the desert and gradually, over 30 years, by desire to join other family members at Balgo. The people spoke different languages but nevertheless shared social and cultural heritage and ceremonial values common to many desert groups. Body painting, sand drawing and ground painting were a vital part of their cultural activity. The relatively recent development of art for the market at the Balgo community is representative of what has happened in quite a number of remote Indigenous communities. Non-traditional or ‘new, different’ art and craft activities began gradually and only later was a community art centre started. The art centre is owned and governed by the Aboriginal people and supported by advisors. Its aim has always been to provide social, cultural and economic benefit to the artists, their families and the community. Initially the enterprise received financial support from the government but at Balgo this was later withdrawn when the centre became commercially self-sufficient. In 1971 the Australian Government had set up Aboriginal Arts and Crafts Pty Ltd as an agency to support and encourage the Aboriginal art market by facilitating painting and by purchasing and distributing works from remote communities. Mary Macha, a field officer employed by Aboriginal Arts and Crafts, visited Balgo to purchase works. As in many communities, ochres were used at first but these were soon replaced by acrylics, just as boards were replaced by canvases in ensuing years.

Sporadic ‘new’ painting on any available small wooden sheets or ‘boards’ occurred at Balgo in the mid to late 1970s, a few years after the beginning of the art movement at Papunya. The elders at Balgo had heard about the painting happening at Papunya but were concerned about the commercialisation of stories dealing with sacred-secret matters. In 1980 Warwick Nieass, a European artist then living at Balgo, facilitated sandstone carving, but this activity was short-lived. The sisters of St John of God began adult education and art classes in 1981 and an ‘Art Centre’ funded by the Australia Council and overseen by Nieass operated for some months. The success of this program, and the enthusiasm with which local people participated, led the missionaries to request that the men paint large banners for the Jubilee celebrations of a local priest. These large banners were the first publicly exhibited paintings from Balgo. In 1986/7 the first significant exhibition of Balgo art was organised by anthropologist Ronald Berndt and curator John Stanton in liaison with the Adult Education staff at Balgo. It was held at the Art Gallery of Western Australia where Michael O’Ferrall was curator of Aboriginal Art. Titled ‘Art from the Great Sandy Desert’, it had 105 individual acrylic works by 34 different artists, as well as two collaborative church banners. About equal numbers were on board or canvas, but by then there were no longer any ochre works, and acrylic painting on canvas had become the norm. Women, as well as men, were active as artists even at this early time for Balgo painting and of the 34 artists represented in the first show 12 were women. The anthropologists Ronald and Catherine Berndt, who had been visiting Balgo since the 1950s, wrote a very forward-looking and predictive introduction to the first exhibition catalogue. They recognised and stressed both the ethnographic importance and the secular contemporary attraction of the paintings, as well as the then largely unappreciated significance and interest of the work for all Australians. ‘Exhibited here,’ they wrote, ‘is a selection of paintings and drawings of great aesthetic significance. All of this work is contemporary. It is also uniquely Aboriginal, distinct in the Balgo style.’

WIRRIMANU (BALGO) COLIN LAVERTY

The artists in this first exhibition included Mick Gill Tjakamarra, John Mosquito Tjapangarti, Eubena Nampitjin, Nancy Naninurra Napanangka, Wimmitji Tjapangarti, Sunfly Tjampitjin, Patrick Olodoodi Tjungurrayi and Tjumpo Tjapanangka, who all became very well known and respected artists. Eubena Nampitjin is still contributing significantly at Balgo as a senior artist and community leader and Patrick Olodoodi Tjungurrayi paints successfully at Kiwirrkura for Papunya Tula Artists. Soon after this first exhibition, a community arts organisation was set up at Balgo in 1987. Named Warlayirti Artists Aboriginal Corporation, it had Andrew Hughes as its co-ordinator/arts advisor. Michael Rae followed in 1988/9, then came Robin Beesey and in the mid-1990s James and Wendy Cowan. John Oster and Julie Fielke were next, followed by Erica Izett and Tim Acker, then Samantha Togni and Stephen Williamson. Currently Sally Clifford and Annette Cock direct and manage the Art Centre. Andrew Hughes, the first co-ordinator, later became art advisor at Maningrida on the coast in the tropical north, where there is plentiful water, fish, and fruit and vegetables. He retains great admiration for the Balgo desert people whose lives were so different and by comparison ‘so tough’. Initially, like paintings from many other Central and Western Desert communities, the paintings from Balgo resembled Papunya paintings, but a recognisably ‘Balgo’ style continued to develop. Sometimes the painting of the iconic imagery and particularly the dotting appears ‘rough’ to non-Indigenous people. As a generalisation, dotting initially tended to be finer and more discrete than it is now, and it has evolved over time so that more recently the ‘smudged’ line of continuous dots and fields of merged dotting are more common. Singing, touching and social interaction were important components of the art making and understanding process. Balgo paintings as a group have a multitude of meanings and significances because they have come from artists with very diverse backgrounds. For all, though, Tjukurrpa or ‘Dreaming’ has been the basis of the storytelling in art. These traditional narratives relate to far-distant homelands; to conceptual landscape mapping; to ancestral or Tingari itineraries; to the creation of landscape, lightning, rain, watercourses and waterholes; to the Rainbow Serpent and other sacred snakes; to animals and birds including dingos, the sacred dog Kinyu and the kingfisher Luurnpa; to various food gathering activities; to the sky and stars at night; to initiation rites and to Wati Kutjara (the travels in the Dreaming of twin brothers who were maparrn men or sorcerers, capable of magic). The subject matter is difficult for non-Indigenous people to appreciate, because the artists have continued to innovate with their abstracted iconography while evoking or reflecting on stories of the Dreaming and of their often far-distant ancestral and family homelands. For the artists the cultural and storytelling aspects have been more important than the secular, aesthetic, abstract or artistic, though certainly there is now real understanding

of market forces and what sells well to people used to looking at western art, especially abstraction. The evolving painting technique is complex and expressive and since the time of Michael Rae in the late 1980s the colours have been bright, vibrant and non-traditional, with painterly use of a wide range of colours, including reds, yellows, blues and greens. Although there is debate about which aspects are most important, Balgo art has had appeal for anthropologists, art museum curators and contemporary art collectors. Balgo art is vibrant and strong contemporary art arising out of an art tradition spanning millennia. While recognisably from Balgo, very many artists such as Eubena Nampitjin, Boxer Milner Tjampitjin, Tjumpo Tjapanangka, Lucy Yukenbarri Napanangka and Elizabeth Nyumi Nungurrayi nevertheless made and continue to make, individually, very distinctive work. Balgo artists were not represented in the very important overseas exhibition Dreamings: The Art of Aboriginal Australia at the Asia Society Galleries in New York in 1988, as Balgo painting was only just starting to be known at that time, but then neither were Rover Thomas of the Warmun community or Emily Kngwarreye of Utopia (these two being now probably the best known of all Australian Aboriginal artists). This just underscores how very recent the development of the contemporary Aboriginal painting movement is in Australia. Paintings by Elizabeth Nyumi Nungurrayi were selected for the 2004 Biennale of Sydney and shown at the Museum of Contemporary Art as part of a large contemporary exhibition of work by artists from many countries. Indigenous artists from several remote communities and urban Aboriginal artists had been represented in previous Biennales, but this was a first for Balgo. It is also surprising that, although Balgo artists have been represented regularly in the very important annual Aboriginal and Torres Strait Islander Art Awards in Darwin, only Eubena Nampitjin has so far won an award – she won the open painting award in 1998. Eight Balgo artists were represented in Mythscapes: Aboriginal Art of the Desert at the National Gallery of Victoria in Melbourne in 1989; five in the Aboriginal Art and Spirituality exhibition at the High Court of Australia in 1991; four in Contemporary Aboriginal Art from the Robert Holmes à Court collection which toured in the USA in 1999; four in the important Aratjara: Art of the First Australians exhibition which toured Europe in 1993 – 94; nine in Images of Power: Aboriginal Art of the Kimberley at the National Gallery of Victoria (also in 1993); two in Dreamings of the Desert: Aboriginal Dot Paintings of the Western Desert at the Art Gallery of South Australia in 1996; twenty-five in Paysages Rêves: Artistes Aborigènes contemporains de Balgo Hills (Australie Occidentale) at Centre de la Vieille Charité, Marseilles, in 2004; and recently two in Dreaming Their Way: Australian Aboriginal Women Painters at the National Museum of Women in the Arts in Washington DC in 2006.

Liz and Colin, Balgo sunset Liz on the Balgo airstrip Balgo Arts centre

Lot 14 Wimmitji Tjapangarti (1924 – 2000) Wartunuma, 1990 synthetic polymer paint on canvas 119.0 x 85.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 85/90 ESTIMATE: $15,000 – 25,000 PROVENANCE Warlayirti Artists, Balgo Hills Gallery Gabrielle Pizzi, Melbourne Sotheby’s Australia, Melbourne, 29 June 1998, lot 209 The Collection of Colin and Elizabeth Laverty, Sydney This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

Wimmitji Tjapangarti’s artistic output in the public domain focussed on his ancestrally bestowed country around Wantjanmurra east of the Canning Stock Route. One of the first Balgo artists to paint consistently for the public domain, Wimmitji modelled his paintings on designs found in ceremonial ground mosaics, body paintings and the decoration of ritual objects. He also preferred to restrict his palette to the traditional colours of red and yellow pigments, black and white, despite the fact that a broad range of colours was made available to the artists in 1988. Nonetheless, on occasion Wimmitji experimented with colour, as in this painting that features dabs of green at the centre of roundels representing claypans. In ancestral times, an Old Tingari Man traversed this land searching of water and food by digging holes that transformed into the claypans that cover the country today. The painting also depicts objects associated with the ancestor; boomerangs rendered in red beneath a layer of black dotting, and a carrying dish as a red arc with yellow dots in the lower register of the painting. The ancestor eventually came to rest at Wartunuma rockhole that appears as a red arc with yellow dots around a green circle in the centre of the upper register.

Wimmitji was a deeply traditional man who avoided long-term contact with the original Catholic Pallottine mission that was established in Balgo Hills in 1942 until he was in his mid-thirties, despite the fact the mission lay close to his traditional lands. He eventually joined his relatives at Balgo in 1959 and went on to become one of the most influential Kukatja elders and artists of his generation. At Balgo, he assisted in the compilation of the KukatjaEnglish dictionary and was a main source of information for the anthropologists Ronald and Catherine Berndt. His work featured in the first major exhibition of Balgo art, Aboriginal Art from the Great Sandy Desert, at the Art Gallery of Western Australia in 1986. Wimmitji married Eubena Nampitjin in the 1970s and theirs was to become one of the great artistic partnerships in the history of twentieth century Aboriginal art. Although undocumented, the areas of regular dotted parallel forms in the top right of the painting seem to be by a hand other than Wimmitji’s, most probably that of Eubena. WALLY CARUANA

Lot 15 Eubena Nampitjin (1920 – 2013) Canning Stock Route, 1998 synthetic polymer paint on linen 180.5 x 120.0 cm bears inscription verso: size and Warlayirti Artists cat. 487/98 ESTIMATE: $15,000 – 25,000 PROVENANCE Warlayirti Artists, Balgo Hills The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 1998 This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

The Canning Stock Route runs for almost 2,000 kilometres from Halls Creek in the Kimberley to Wiluna in the middle of Western Australia. It is a place where indigenous and non-indigenous histories meet. The track, first surveyed in 1906, was used as a stock route by East Kimberley cattlemen between 1931 and 1959 to move their beef closer to markets in Perth, but long before then, the waterholes, soaks and springs linked as traditional paths for local family groups. Eubena’s birth country is Kunawarritji, close to Well 33 on the middle stretches of the Canning Stock Route. As a young woman she travelled the length of the route, working cattle with her first husband Gimme and their daughters, before moving to Balgo Mission. This area always carried a profound significance in Eubena’s work, and she continued to depict it throughout her whole life, the only subject she referred to in English as opposed to Kukatja.1 1998 was a pivotal year in Eubena’s artistic career. She had her first solo show at a commercial gallery and was the recipient of the Telstra National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory (she participated from 1997 to 2003, and again in 2005).

For Eubena, it took years of working in the acrylic medium for her vision to find its fullest expression in a body of work that consistently reveals the spirit essence of country.2 She reached artistic maturity in the middle of the 1990s, when she adopted the brush as painting tool, mixing colours as they were applied, with an increasingly gestural style. It is at this point that the dots joined into lines creating the characteristic petal-like shapes recurring in her works, and her palette developed from muted colours to the vibrant yellows, reds, oranges and pinks that we associate with her most characteristic work. 1. Carty, J.,’Eubena Nampitjin from Wirrimanu (Balgo)’, in Beyond Sacred: Aboriginal Art: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 134 2. Ryan, J., ‘Art’, in Williamson, S. and Togni, S. (ed.), Eubena Nampitjin: art and life, Warlayirti Artists Aboriginal Corporation, Balgo Hills, 2005, p. 19

ELENA SCOTT

Lot 16 Elizabeth Nyumi Nungurrayi born 1947 Parwalla, 2001 synthetic polymer paint on linen 180.0 x 120.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 727/01 ESTIMATE: $10,000 – 15,000 PROVENANCE Warlayirti Artists, Balgo Hills Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2001 EXHIBITED The Collection of Colin and Liz Laverty of Sydney, The Australian Club, Melbourne, 30 June – 16 September 2011 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 117 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 129 (illus.) RELATED WORK Parwalla, 2001, synthetic polymer paint on linen, 180.0 x 120.0 cm, private collection, Sydney reproduced in Perkins, H., ‘Elizabeth Nyumi Nungurrayi’, in Carlos, I., On Reason and Emotion, exhibition catalogue, Biennale of Sydney, Sydney, 2004, p. 165

A closely associated painting to Parwalla, 2001, by the same title, painted in the same year, was selected for the 2004 Biennale of Sydney. Together with two other works by Nyumi, it was shown at the Museum of Contemporary Art as part of a large international group exhibition. In the accompanying catalogue essay, Hetti Perkins defines this as ‘the most resolved series of paintings in her ongoing preoccupation with the country of her childhood’.1 Indeed, this work exemplifies the physical and spiritual connection of the artist to her country, in a symbiotic relationship that informs the entirety of Nyumi’s artistic output. Parwalla is the country where Nyumi lived as a child with her mother, before losing her in a tragic accident. After this, Nyumi led a nomadic existence with her father and family group, ultimately settling in the Wirrimanu community at Balgo, where she commenced painting in 1987 for the Warlayirti Artists cooperative.

The symbols depicted in Nyumi’s works are inherently feminine. She represents campsites, bush tucker, native flora and fauna and women’s food-gathering implements. These themes are rendered in a delicate, jewel-like style and soft palette of pastel yellows, oranges, pinks and creams, removed from the vigorous, painterly style and bright colours idiosyncratic to Balgo. Perkins highlights the influence of Nyumi’s matrilineal Pintupi heritage, and associates her with that extraordinary generation of desert women artists, beginning in the 1980s with Emily Kame Kngwarreye, followed by Pintupi artists at Kintore and Kiwirrkurra and spectacularly reinvented by the women artists at Warlayirti.2 Indigenous artists from several remote communities and urban Aboriginal artists had been represented in previous Biennales, but this was the first time for an artist from Balgo. 1. Perkins, H., ‘Elizabeth Nyumi Nungurrayi’, in Carlos, I., on reason and emotion, exhibition catalogue, Biennale of Sydney, Sydney, 2004, p. 162 2. ibid.

ELENA SCOTT

Lot 17 Eubena Nampitjin (1920 – 2013) Walamalu Taltu, 2000 synthetic polymer paint on canvas 150.0 x 75.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 810/00 ESTIMATE: $7,000 – 9,000 PROVENANCE Warlayirti Artists, Balgo Hills The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2001 EXHIBITED Telstra presents The 18th National Aboriginal & Torres Strait Islander Art Award 2001, Museum and Art Gallery of the Northern Territory, Darwin, 15 September 2001 – 6 January 2002, cat. 24 (illus. in exhibition catalogue) Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Plymouth, New Zealand, 15 December 2007 – 24 February 2008; then touring to: Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 126 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 138 (illus.) This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

Lot 18 Elizabeth Nyumi Nungurrayi born 1947 Parwalla, 2001 synthetic polymer paint on linen 150.0 x 75.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 331/01 ESTIMATE: $5,000 – 7,000 PROVENANCE Warlayirti Artists, Balgo Hills Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2001 EXHIBITED Parwalla – Solo Exhibition by Elizabeth Nyumi, Raft Artspace, Darwin, September 2001, cat. 3 This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

Lot 19 Rosalie Gascoigne (1917 – 1999) Rose Pink, 1992 linoleum, retro-reflective sign on plywood 83.0 x 81.5 cm signed, dated and inscribed with title verso: ROSE PINK / Rosalie Gascoigne / 1992 ESTIMATE: $45,000 – 65,000 PROVENANCE Roslyn Oxley9 Gallery, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 1998 EXHIBITED Rosalie Gascoigne, Pinacotheca Gallery, Melbourne, 5 – 22 May 1993 Rosalie Gascoigne, Roslyn Oxley9 Gallery, Sydney, 16 – 30 April 1994 Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 LITERATURE MacDonald, V., Rosalie Gascoigne, Regaro, Sydney, 1998, p. 106

‘Gascoigne’s use of modernist strategies, her simple but complex means of construction – those of fragmentation, re-assemblage, repetition, tessellation and compression – effect an ordering and accentuation which is also poetic in its workings… She experiences, selects and creates, using a relatively narrow range of materials in order to present the work to us resonating with a virtually endless allusive power. Her results are spectacular, exquisite distillations and extractions, grounded in her personalised experience of the land.’1 With her training in the formal discipline of Ikebana complementing her intuitive understanding of the nature of materials, her deep attachment to her environment and later interest in modern art, Rosalie Gascoigne remains one of Australia’s most revered assemblage artists. Bespeaking a staunchness and scrupulous eye, her works are artful and refined, yet always maintain a close proximity to the outside world, powerfully evoking remembered feelings or memories in relationship to the landscape; they are ‘instances of emotion recollected in tranquility’ to quote a phrase of Wordsworth’s which was so dear to her. Although inextricably linked in their inspiration and materials to her physical surroundings on the outskirts of Canberra, Gascoigne’s achievements nevertheless encapsulate a larger, more intangible sense of place that is, paradoxically, ‘both nowhere and everywhere at once.’2 Having eschewed the use of iconography, she favors rather allusion and suggestion to capture the timeless ‘spirit’ of the landscape so that her art ‘may speak for itself’, awakening ‘…associations that lie buried beneath the surface of consciousness; inviting a higher degree of sensitivity and attentiveness to the world around us.’3 Occupying that space between ‘the world and the world of art’4, Rose Pink, 1992 is an impressive example of the artist’s assemblages constructed from discarded, sun-baked sheets of linoleum: ‘…terrible stuff really… you don’t see it much, it’s difficult to get. But people used to line their kitchens with it…’5 Despite the material’s obvious domestic connotations however, such works are unequivocally of the ‘outdoors’ – for example, the very

closely related Midsummer, 1992 (Private collection) with its pulsating red palette embodying the searing heat of summer; First Fruits, 1991 (Metropolitan Museum of Art, New York) featuring green linoleum reminiscent of ‘green leaves and apricots in various stages of ripening…that was straight out of Nature. Leafage…’6; Cow Pasture, 1992 (National Gallery of Australia, Canberra) where the floral-patterned medium juxtaposes corrugated iron, characterising the combination of flowers, parsley and manure of cow paddocks; or her monumental Lambing, 1991 with its torn pieces of white weathered lino (‘sheep shapes’) haphazardly arranged to depict the chaos of that season. Like the best of her achievements, Rose Pink is similarly ‘allusive’ (inspired no doubt by the eponymous floral blooms) yet equally, functions ‘illusively’ as a purely abstract form of art – transcending both the material of its construction and the landscape with its emphatic frontality, use of the grid, and formal interest in qualities of colour, texture and repetition. For indeed, as Gascoigne herself reiterates, ultimately such works are about ‘the pleasures of the eye’, with her formal manipulations of natural and semiindustrial debris to be appreciated simply as objects of aesthetic delight. Like the materials themselves, beauty is a quality that is easily and thoughtlessly discarded; as John McDonald muses, ‘When we value things for their perceived usefulness, we overlook a more fundamental necessity. Life is impoverished by the inability to recognise beauty in even the most humble guise.’7 1. Edwards, D., Rosalie Gascoigne: Material as Landscape, Trustees of the Art Gallery of New South Wales, Sydney, 1998, p. 11 2. Cameron, D., What is Contemporary Art?, exhibition catalogue, Rooseum, Malmo, Sweden, c.1989, p. 18 3. McDonald, J., ‘Introduction’, MacDonald, V., Rosalie Gascoigne, Regaro, Sydney, 1998, p. 7 4. Edwards, D., op. cit., p. 15 5. Gascoigne, R., cited in MacDonald, V., op. cit., p. 56 6. Gascoigne, R., ibid., p. 58 7. McDonald, J., ibid., p. 7

VERONICA ANGELATOS

previous pages Laverty 2 exhibition Newcastle Region Art Gallery

Lot 20 Aida Tomescu born 1955 Circumflegrea II, 2007 oil on wood panel 122.0 x 83.5 cm signed, dated and inscribed with title verso: Aida Tomescu / Circumflegrea II / 2007 ESTIMATE: $10,000 – 15,000 PROVENANCE Liverpool Street Gallery, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2007 EXHIBITED Aida Tomescu – Campi Flegrei, Liverpool Street Gallery, Sydney, 18 August – 13 September 2007, cat. 20 (illus. in exhibition catalogue and front cover) Paintings from the Laverty Collection, Union Club, Sydney, 26 November 2008 – 11 June 2009

Lot 21 Aida Tomescu born 1955 Alba 3, 2002 oil on canvas 137.0 x 83.5 cm signed, dated and inscribed with title verso: Aida Tomescu / “Alba 3” / 2002 ESTIMATE: $10,000 – 15,000 PROVENANCE Martin Browne Fine Art, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 2002 EXHIBITED Aida Tomescu: New Paintings, Martin Browne Fine Art, Sydney, 1 – 26 May 2002

WILLIAM ROBINSON

Twins! Bill Robinson and Colin Laverty.

Henry Mulholland

William Robinson’s farmyard paintings are central to his development as an artist. Not simply because they form a fascinating series in themselves, but because these paintings are fundamental to Robinson’s reconfiguring of the Australian landscape. Birkdale Farm Construction with Willy Wagtail, 1983 – 1984, is one of the major examples which form the core of this important series. Robinson’s ‘farmyards’ can be seen as microcosms of his world at the time they were created. At times they mischievously reflected the machinations of the Brisbane art scene where the artist lived and worked or the internal politicking of the art school staff room where he worked as a teacher. However, in Birkdale Farm Construction with Willy Wagtail, the overarching theme of the painting is much closer to home. The scene is one of upheaval and possibly reflects what occurs when a family decides to move house, which the Robinsons were in the process of doing around this time. The strewn corrugated iron suggests constant re-arrangement, they may also be seen as stacked boxes, furniture or other belongings haphazardly arranged awaiting the move. The nervous disposition of the cows in particular is central to the mood of the work. Two appear to be hiding and each stare directly back at the artist/farmer as they appear to fret about the impending move. The regular menagerie of characters is present in the work. The cows, goats, ducks and chooks that combine to make up the composition were probably closer to family pets than anything else and Robinson imbues each with personality. In his own words and with an Orwellian overtone, Robinson’s depictions give ‘… some feeling of the relationship of man to domestic animals and also the relationship that exists within the world of these animals’.1 The Willy Wagtail referred to in the title makes a cameo appearance in the top left. Importantly, the inclusion of this flighty little bird offers us an insight into the artist’s way of seeing the landscape. A bird’s eye view is essentially what we are looking at and the manner in which Robinson draws the viewer’s eye in, around and through the composition parallels to the way the Willy Wagtail might flit around the same scene, resting momentarily at various points as one’s eye does when viewing the painting. 70

Of course the whimsical nature of Robinson’s farmyards, along with his mischievous innuendo belie the seriousness of these works, for these farmyard paintings are also dissertations on the values of western painting. The primary influence of modern masters such as Cézanne, Braque, Bonnard and Morandi are present and each informs the structure of Robinson farmyard compositions in their own playful way. We can also assume the influence of the Australian artist Ken Whisson, with whom Robinson shared the walls of the Ray Hughes Gallery many times during the 1970s and 80s. Whisson’s robust distortion of pictorial space during the 1970s culminated in freehand, unconventional arrangements which arguably pointed the way for Robinson to lay the groundwork for the farmyard paintings and subsequently the soaring, majestic landscapes for which the artist became well known. This is perhaps one reason that Robinson’s work has hung so comfortably alongside those of Ken Whisson within the Laverty collection over many years. 1. Robinson, W., in conversation with the Gold Coast City Art Gallery, 1998, quoted in Walsh, J., ‘Goats, Cows and Chooks: The Painters Farmyard’, in Seear, L. (ed.), Darkness and Light: The Art of William Robinson, Queensland Art Gallery, Brisbane, 2001, p. 72

Lot 22 William Robinson born 1936 Birkdale Farm Construction with Willy Wagtail, 1983 – 1984 oil on canvas 121.5 x 182.0 cm signed lower right: William Robinson ESTIMATE: $250,000 – 350,000 PROVENANCE Ray Hughes Gallery, Brisbane (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1987 EXHIBITED William Robinson – A Retrospective, Queensland Art Gallery, Brisbane, 31 August – 11 November 2001; then touring to: National Gallery of Australia, Canberra, 14 December 2001 – 10 March 2002 (label attached verso) William Robinson: The Transfigured Landscape, QUT Art Museum and William Robinson Gallery, Brisbane, 16 April – 14 August 2011 LITERATURE Fern, L., William Robinson, Craftsman House, Sydney, 1995, pl. 27, pp. 116 – 117 (illus.) Sears, L., Darkness and Light, The Art of William Robinson, Queensland Art Gallery, Brisbane, 2001, pl. 20, p. 79 (illus.) Van Ooyen, V. (et al), William Robinson: The Transfigured Landscape, Queensland University of Technology, Brisbane and Piper Press, Sydney, 2011, p. 110 (illus.)

Lot 23 William Robinson born 1936 Springbrook and Numinbah to Mt Warning, 1996 oil on linen 92.0 x 121.5 cm signed and dated lower right: William Robinson 96 inscribed with title verso: SPRINGBROOK AND NUMBINBAH [sic] TO MT WARNING ESTIMATE: $80,000 – 120,000 PROVENANCE Ray Hughes Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in 1996 EXHIBITED William Robinson, Ray Hughes Gallery, Sydney, 28 June – 24 July 1996, cat. 20 (illus. in exhibition catalogue) William Robinson: The Revelation of Landscape, National Trust S.H Ervin Gallery, Sydney, 11 January – 2 March 2003; Mornington Peninsula Regional Gallery, Victoria, 28 March – 18 May 2003 William Robinson: The Revelation of Landscape, University of South Australia Art Museum, Adelaide, 27 February – 3 April 2004 LITERATURE Klepac, L., William Robinson – Paintings 1987 – 2000, The Beagle Press, Sydney, 2001, pp. 118 – 119 (illus.)

The view that Robinson depicts in Springbrook and Numinbah to Mt Warning, 1996, is a panoramic vision which spans millennia. The title of the picture directs the viewer from Springbrook in the north of the Gold Coast hinterland directly south over Numinbah to the distant remnants of the Tweed Volcano. This extinct volcano is a recurring theme in Robinson’s work from this time – it self-destructed 36 million years ago and is known today as Mount Warning. The presence of this ancient form far off in the distance brings perspective to the work and evokes the sense of timelessness which is a feature of Robinson’s work of this period – time and space are the overarching themes of the painting. Deborah Hart contributed to the third major monograph on the artist and in the passage below reflects on the breadth of the artist’s work. ‘In relation to a sense of place, Robinson has made a unique contribution to the Australian landscape tradition, moving beyond conventional notions of ‘landscape’ to encompass a fluctuating environment; of rainforest and ocean, ground and sky, day and night, elemental forces of wind, lighting, rain and fire. His multidimensional grasp of time and space also suggests metaphors for states of mind and being, life and death, continuity and transcendence..... The profound spiritual resonances in Robinson’s art remind us of the need to preserve an ancient natural world in the present; “to keep the faith”, as Simon Schama wrote in Landscape and Memory “with a future on this tough, lovely old planet”’.1 Springbrook and Numinbah to Mt Warning, 1996, is a classic example of Robinson’s landscape painting. He flaunts his skills as a colourist and again uses his device of multiple view points within the one picture plain. He also uses vastly different

techniques when applying the paint in the major passages of the painting. The mediative application of the deep greens and granite greys in the right side of the composition are used by the artist specifically to depict the ancient features of the landscape and evoke his timeless quality. In the left passage of the painting, Robinson deploys upbeat staccato brushwork, which brings a present day contemporary feel to the picture. The forest of Antarctic Beech trees depicted, within the time frame and context of the painting, amount to new growth and the passing clouds bring an ephemeral element to the work, which further presses the notion of time passing. 1. Hart, D., ‘William Robinson’s artistic development: An intimate and expansive journey’, in Hart, D., William Robinson, A Transfigured Landscape, Queensland University of Technology and Piper Press, Brisbane, 2011, p. 38

HENRY MULHOLLAND

Lot 24 Carl Plate (1909 – 1977) Graph Segments No.1, 1961 oil and collage on composition board 122.0 x 365.0 cm (overall) signed and dated upper left: Carl Plate ‘61 bears inscription verso: CARL PLATE 700 GNS / Hungry Horse Art Gallery / “GRAPH SEGMENTS” / No 1 /31. / A7644 ESTIMATE: $20,000 – 30,000 76

PROVENANCE The Hungry Horse Gallery, Sydney Boynthon Gallery, Adelaide Mr David Wynn, Adelaide David Bremer collection, Melbourne Leonard Joel, Melbourne, 2 November 1988, lot 1396 Private collection, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1988

EXHIBITED Carl Plate, Some Paintings for New York, Terry Clune Galleries, Sydney, 25 October – November 1961, cat. 1 Carl Plate, Knapik Gallery, New York, 24 April – 12 May 1962, cat. 1 Survey 3, Farmers Blaxland Gallery, Sydney, June 1963 Australian Painting Today: For Exhibition in Australia and Europe 1963 – 1965, Queensland Art Gallery, Brisbane, 19 September – 20 October 1963, cat. 60 (label attached verso); then touring to Art Gallery of New South Wales, Sydney, 7 November – 8 December 1963;

Tasmanian Museum and Art Gallery, Hobart, 9 January – 9 February 1964; National Gallery of Victoria, Melbourne, 27 February – 29 March 1964; National Gallery of South Australia, Adelaide, 16 April – 17 May 1964; Western Australian Art Gallery, Perth, 4 June – 5July 1964; then toured France, Belgium, Holland, Germany, Italy, cat no. 58 New Directions 1952 – 1962, Lewers Bequest and Penrith Regional Art Gallery, New South Wales, 16 August – 29 September 1991, cat. 82 (illus. in exhibition catalogue)

LITERATURE Gleeson. J., ‘Painting in Australia since 1945’, Art and Australia, Sydney, vol. 1, no. 1, May 1963, p. 16 (illus.) Lynn, E., ‘Carl Plate’, Art and Australia, Sydney, vol. 7, no. 2, September 1969, p. 146 (illus. dated as ‘1960’) 77

Lot 24 Carl Plate (1909 – 1977) Graph Segments No.1, 1961 The last time that I spoke to Col Laverty was at the Melbourne Art Fair in 2012. We talked one on one for about an hour. As was often the case, the conversation quickly turned to abstract art as he told me a story about a Michael Taylor painting he had recently purchased. The purchase had coincided with an unexpected improvement in Col’s health and he enthusiastically credited this to the ‘restorative power of abstract art’. Col had a manner of talking about painting that was distinctive; maintaining direct eye contact and always softly spoken, he would gently nod his head at you as he spoke. This had a twofold effect for it reinforced the fact that he was telling you something you needed to know, and it also conveyed the feeling that he expected a response. Words were chosen carefully or nothing was said at all. Col’s remarks on this occasion have stayed with me as a reminder of how rare a collector like Col Laverty is. His deeply felt belief in the importance of abstract art was second only to that of the artists who dedicated their lives to creating it. Michael Taylor, Tony Tuckson, Dick Watkins, Peter Upward, Richard Larter and Carl Plate were amongst his favourites. A special place was held for artists who had been ground breakers, those who had laid the ground work for others to follow. Colin Laverty himself was a ground breaker in his professional life – the results of his work in pathology research continue to have an enormous impact around the world. Carl Plate falls into this category; he was the Pied Piper of the Sydney school of abstract painting, which is characterised by artists whose abstract works are deeply seeded in nature. Twenty years older than Olsen

and Upward, the well-travelled student of International Modernism, Plate would have been a senior figure to a gaggle of younger abstract painters. Plate’s art book shop and gallery Notanda in Sydney, was central to the growth of the contemporary art movement in Sydney. It provided a venue for artists to exhibit and a place where the free exchange of ideas was encouraged. In an interview with Laurie Thomas in 1968, Plate remarked ‘…One is aware of a dimension which is non-visual, but you can’t be too explicit about it – to make something visually which doesn’t relate specifically to anything visual but which exists in a timeless area. A thing which has been created as something to look at must somehow incorporate within itself all the concentrated experience which may or may not create a reaction in the person who looks at it. I would like to think that somewhere, somehow, in my pictures is something that people can respond to; but I’m humble enough to wonder whether they can’.1 The major examples of Plate’s Graph Segments series are amongst his most important works. The Art Gallery of New South Wales holds Graph Segments, 1961; this work is closely related to the present work in every way. The gallery notes are as follows... Graph Segments, 1961, belongs to a group of paintings produced in the early 1960s notable for their large scale and dynamic application of mellow earth colours, and re-affirm his belief in the employment of randomness and chance in art as practiced by Surrealist artists Paul Klee and André Breton... The work of Carl Plate occupies a central, almost classical position between the liners and

tonalists. Tone is the architectonic base of his work. Line is reduced largely to crisp edges which articulate a shallow space and maintain the surface tension across the pictorial structure. Colour is muted to greys, pale blues and olive greens, with an occasional warm accent. By this means Plate seeks to figure forth in plastic form his imitations of the non-visible. And in his work, as in that of Rose [William], the French heritage is notably present; behind him there stand such artists as Braque, the later Matisse, Hans Arp even, in his feeling for weight and placement, in the delicate confrontation and articulation of the elements of the compositions.2 Sydney’s enduring tradition of lyrical abstract painting owes an enormous debt to the efforts of Carl Plate. The late William Rose, Peter Upward and Stan Rapotec are just a few past masters of the genre. Artists such as Michael Johnson, John Olsen and the younger Ildiko Kovacs continue to carry the flame through the generations. These artists and many more working today can trace their lineage back to the ground breaking exhibitions at Sydney’s Hungry Horse Gallery and Gallery A. At both these historic venues Carl Plate presented his exhibitions to a wide eyed younger audience hungry for painterly innovation. 1. ‘Carl Plate: works from the collection’, Art Gallery of New South Wales, accessed online 21 February 2017, <https://www.artgallery.nsw.gov.au/exhibitions/ carl-plate/> 2. Smith, B., Australian Painting 1788 – 1970, Oxford University Press, Melbourne, 1962, p. 363

HENRY MULHOLLAND

Lot 25 Ken Whisson born 1927 Return Again the Brittle Winter, 1971 oil on composition board 61.0 x 82.0 cm inscribed verso: RETURN AGAIN THE BRITTLE WINTER / WHEN A CHILD MADE WISE BY THE SEA / LEARNED FROM ITS SEASONAL CYCLES / THE TRUTH OF TIDES / FLACH BACK AGAIN / THE BRITTLE WINTER / TO RAY HUGHES / 11 ENOGGERA TCE, / RED HILL, BRISBANE ESTIMATE: $20,000 – 30,000 PROVENANCE Ray Hughes Gallery, Brisbane (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1991 EXHIBITED Ken Whisson Paintings 1957 – 1985, Broken Hill City Art Gallery, New South Wales, 1985; then touring to: Heide Park and Art Gallery, Melbourne; Art Gallery of South Australia, Adelaide; Power Gallery of Contemporary Art, Sydney; Wollongong City Art Gallery, New South Wales, cat. 15 (illus. in exhibition catalogue) Ken Whisson: As If, Heide Museum of Modern Art, Melbourne, 17 March – 15 July 2012; then touring to: Museum of Contemporary Art, Sydney, 28 September – 25 November 2012, cat. 56 LITERATURE McDonald, J., Ken Whisson Paintings 1947 – 1999, with writings and talks by the artist, Niagara Publishing, Melbourne, 2001, p. 36 (illus.) Barkley G., and Harding, L., Ken Whisson: As If, Heide Museum of Modern Art, Melbourne and Museum of Contemporary Art, Sydney, 2012, p. 151 (illus.)

By the early 1970s Ken Whisson had abandoned any obligation to painterly traditions; his paintings from this period, the oils on board in particular, exhibit a direct uncompromising approach which is purely and utterly intuitive. These works are defined by an absence of conventional technique something that Whisson strived to achieve. Arguably his unorthodox approach is as equally difficult to master as the dry academic techniques so widely recognised as ‘good painting’. Return Again the Brittle Winter, 1971, is a beautifully evocative title for a painting which centres on the poem, A Boy’s Past (c1963) by Keith Vincent Smith (b.1939). Both the painting and the poem aim to unravel images drawn from the boy’s memories of a seaside childhood. The poet was a regular visitor to Whisson’s Carlton studio during the late 1960s and early 1970s, where he would sit and watch the artist paint. His poem, ‘A Boys Past’, was first published in The Bulletin in 1964, and begins... ‘Flash back the brittle winters, when a boy made wise by the sea, learned its tides and seasons’. As each following stanza conveys the boy’s reflections on his boyhood past, Whisson’s brooding forms and shadows convey the dramatic undertow of the poem; ‘the crash of breakers threatening doom, the round dark track of thunder’. Whisson’s work is so deeply rooted in memory, he has said that his paintings reveal memories that he himself cannot remember; ‘certainly my paintings have a much better memory than I do for the things I’ve seen’.1 By painting the picture through the memories of the poet, Whisson distances himself further from his subject enabling him to abstract the painting more freely, as he draws on the poem. In a pictorial twist Whisson places the boy at the lower front edge of the picture looking inward and upward as though watching a movie of his past.

There is a profound clarity or purity about Whisson’s paintings. Apart from several early works where the influence of Danila Vassilieff and Sidney Nolan is evident, the majority are totally original paintings. They are direct and uncompromised pictures in every way. To own a Whisson is to belong to a club, it demonstrates a collector’s shared commitment to an art that is not simply fashionable, but deeply seeded in ideas and painterly possibilities. 1. The artist cited in Ken Whisson Paintings 1957-1985, Broken Hill City Art Gallery, New South Wales, 1985, p. 19

HENRY MULHOLLAND A BOY’S PAST (c1963): Flash back the brittle winters when a boy made wise by the sea learned its tides and seasons. Echo in his earshell by submarine tone the crash of breakers threatening doom, the round dark track of thunder. Show faded childhood stark: the filtered shadow framed in the eye, image on image. Pierce the extinct galaxy, extract, dissect, replace, each isolated memory. Strip away the tense skin: reveal the crouching demon caged in the quivering stone. By KEITH VINCENT SMITH

previous pages KenWhisson: As If exhibition at the Museum of Contemporary Art, Sydney. Ken Whisson, left Glenn Barkley, co-curator right

Lot 26 Ken Whisson born 1927 Landscape Marks No. 10, 1992 oil on canvas 99.5 x 120.0 cm signed, dated and inscribed with title verso: Ken Whisson / “Landscape Marks No. 10” / 26/ 6 / 92 & 11/9/92 ESTIMATE: $30,000 – 40,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1999 EXHIBITED Paintings from the Laverty Collection, Union Club, Sydney, 28 October 2003 – 20 September 2004 Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011

The aesthetic of Ken Whisson is marked by a profound enigmatic quality. Under the guidance of Danila Vassilieff, the artist’s approach to painting grew to be centred on the ability to open oneself to impulsivity and the flow of ideas. Whisson took a particular aversion to conventional technique, preferring to let intuition come freely. ‘I have a distinct impression when working that the painting takes place at the point where the brush touches the canvas, and I believe that art is a result of a direct line of communication between the act of creation and a level of our being which is neither the conscious nor the famous subconscious, but which could be called the intuitive faculty, and which has to function without interference from the conscious thinking process. Our rational and conscious mind looks on and even criticises what is happening, but in the moment of creation, at its fullest realisation, one’s own eyes and mind, one’s own self looking on is caught totally by surprise’.1 Following his move to Perugia, Italy in 1977, Whisson’s work underwent pivotal stylistic changes. The artist’s brushstrokes increasingly wavered between figuration and abstraction. Departing from the blocks of colour common in his earlier works, the artist translated urban and rural landscapes into a series of geometric forms which jostle for prominence; a complex visual language drawn from instinct and memory. The artist’s move to Italy has been described as a self-imposed exile from the Australian art world, yet his work continued to convey memories of his homeland balanced with recollections of his adopted home in Perugia.

Describing no specific place or object, Landscape Marks no. 10, 1992 imperceptibly swings between ambiguity and familiarity, somewhat akin to déjà vu. One senses that they are acquainted with the setting, yet unable to isolate its exact locality. Concepts of foreground and background coalesce – a compelling trait of the artist’s mature works – as though the viewer is ‘studying a diagram of the thinking mind’.2 Whisson’s world is deconstructed and abstracted, trusting himself and the viewer to access and celebrate the processes of imagination. One only needs ‘an openness to experience, a willingness to go beyond appearances’.3 Whisson is represented in numerous major public collections, most comprehensively the National Gallery of Australia which owns over 70 of the artist’s paintings and drawings. As the subject of a major retrospective at Sydney’s Museum of Contemporary Art and the Heide Museum of Modern Art in Melbourne in 2012, Whisson has positioned himself as one of Australia’s great contemporary painters. He has forged an unconventional and highly individualistic path. 1. Whisson, K., ‘Talk 1994’ reproduced in Ken Whisson: Paintings 1947-1999 with Writings and Talks by the Artist, Niagara Publishing, Melbourne, 2001, p. 143 2. McDonald, J., ‘Introduction’, cited ibid., p. 9 3. ibid

MELISSA HELLARD

Lot 27 Dick Watkins born 1937 Harlem Airshaft, 1978 synthetic polymer paint on composition board 122.5 x 183.5 cm signed and dated verso: R. Watkins / 1978 inscribed with title verso: “HARLEM AIRSHAFT” ESTIMATE: $10,000 – 15,000

PROVENANCE Yuill/Crowley, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 1985 EXHIBITED Paintings from the Laverty Collection, Union Club, Sydney, 20 September 2004 – 15 July 2005 LITERATURE ‘Exhibition Commentary’, Art and Australia, Sydney, vol. 17, no. 1, September 1979, p. 43 (illus.)

Lot 28 Dick Watkins born 1937 Summer Daze, 1982 synthetic polymer paint on canvas 172.5 x 249.0 cm signed, dated and inscribed with title verso: ‘SUMMER DAZE’ / 5/7/82 / R Watkins

PROVENANCE Yuill/Crowley, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1991 EXHIBITED Yuill/Crowley, Sydney, 1982 On the Beach, Macquarie Galleries, Sydney, April – May 1985

ESTIMATE: $15,000 – 20,000

Heralded by René Block in 1990 as one of only two contemporary inheritors of the legacy of French revolutionary artist Marcel Duchamp, Robert MacPherson was a surprising addition to Australia’s cultural landscape.1 MacPherson, an autodidact from the tropical hinterland of Nambour in Queensland arriving late into the art world in the 1970s, is now considered one of the finest conceptual painters to come from Australia, producing works that combine the rigid teachings of Greenbergian formalism with philosophy and satire.

Lot 29 Robert MacPherson born 1937 Mayfair: Red Fiji, Four Signs For K.L., 1993 synthetic polymer paint on composition board, four panels 92.0 x 61.0cm each, 92.0 x 244.0 cm overall panel 1 signed with initials and inscribed verso: 1 4/93 / RM panel 2 inscribed verso: 11 panel 3 inscribed verso: 111 panel 4 signed with initials, dated and inscribed verso: 4’93 IV / 4 PANELS / RM

EXHIBITED Robert MacPherson, Mayfair, Yuill/Crowley Gallery, Sydney, 9 October – 10 November 1993

ESTIMATE: $25,000 – 35,000 (4) PROVENANCE Yuill/Crowley, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above 88

LITERATURE Thomas, D., ‘Everybody Sing. The Art of Robert MacPherson’, Art and Australia, Sydney, vol. 33, no. 4, 1996, pp. 494 (illus.), 495

Mayfair: Red Fiji, Four Signs for K.L., 1993, brightly exhibits MacPherson’s appreciation for the quirks of language, carefully selected to resonate with Australian audiences. This multi-panelled painting was featured within the artist’s solo exhibition Mayfair at Yuill Crowley in 1993, a show prosaically named after the Art Deco sandwich bar in suburban Brisbane where the artist used to eat lunch. In 2015, the Queensland Gallery of Modern Art (QAGoMA) staged a

significant retrospective of this artist’s work, featuring sister works from this series. Known collectively as road sign paintings, these artworks by MacPherson all feature text appropriated from vernacular and utilitarian advertisements lining the arterial highways of inland Australia. Painted on standard issue Masonite, Mayfair: Red Fiji displays the names of popular types of bananas grown in Queensland and Australia: Cavendish and Ladyfingers, scrawled in disjointed bright yellow letters on a black background. MacPherson’s choice of colour is not insignificant – it provides another avenue for the artist to interrogate the relationship between the signifier and the signified, the name and the object, the colour being representative of the object simply by association. Furthermore, black-andyellow reflective signage is particularly evocative of our local milieu, favoured for its ability to attract attention and remain visible within our sun-scorched landscape.

Other notable Australian artists have also been quick to use this visual device for their own practice, the most famous perhaps being Rosalie Gascoigne. MacPherson’s work records how language and image shape human interaction with the physical landscape. An art that reveres text as much as image, MacPherson’s work uses letters that form a string of incidental text, the sense of which is not immediately visible to a cursory glance. There is instead an aesthetic rhythm in his succession of letters. Mayfair: Red Fiji reads LADY - / ‘S FIN / GER / CAVE/ NDIS/ H. / RED / FIGIA/ N / -S / 1 KM, containing seemingly plausible spelling errors and a frieze of Warholian bananas drawn above each name signifying the visual appearance of the product. The series ends abruptly with a vertically oriented panel, jarring the readers’ consciousness into recognising the produce will be available at a location one kilometre away, much in the same

way as a sequence of road signs gradually displays decreasing indications of distance before a landmark. Showing the artist’s love of sequence and of the arbitrary nature of taxonomy, Mayfair: Red Fiji is a humourous aside, elevating the experience of the humble Australian. The dedication embedded in the title of this work adds a human touch to MacPherson’s dry conceptualism, K.L. being the initials of a former colleague, plucked from the artist’s blue-collar past and anonymously inserted into the whitewashed contemporary gallery. While initially presenting itself as obscure, MacPherson’s work contains layers of cultural references, visual puns, linguistic double-entendres, creating a playfulness that rewards those who look beyond the surface of conceptual art. 1. René Block, French curator of the Sydney Biennale in 1990, Ready-made Boomerang, famously categorised MacPherson as a second-generation Duchampian Marxist artist.

Lucie Reeves – Smith 89

Lot 30 Richard Larter (1929 – 2014) Untitled, 1971 enamel on composition board 122.5 x 183.5 cm signed and dated lower right: R. / LARTER. / 1971. ESTIMATE: $18,000 – 24,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 1991

The following excerpt is quoted from Tunnicliffe, W., ‘The Easel Did Not Go Pop: It Went Bang!’, Pop To Popism, Art Gallery of New South Wales, Sydney, 2014, p. 140 From the mid 1950s Larter was drawn to contemporary urban life in the streets, cafes, pubs and strip clubs of London. He cites Kitchen Sink School artist John Bratby as an influence, and particularly his technique of painting multiple viewpoints in one painting.1 Larter saw the seminal This is tomorrow exhibition at Whitechapel Art Gallery in 1956, and admired the work of David Hockney and RB Kitaj in particular at the Young contemporaries exhibitions in London. The collage aesthetic on display in This is tomorrow and in the accompanying catalogue, and Eduardo Paolozzi’s earlier collages made from glossy American magazines, which began to be displayed from the mid 1950s, were a precedent for Larter’s own extensively practiced collaging.2 Larter’s liberated attitude towards sexual expression had full reign from the early 60s, and freed from the formal limitations of his idiosyncratic application of paint through syringes when they became hard to get after 1965, Larter developed a more overtly pop, flat, frontal style in which clamorous multiple painted images are connected through areas of abstract patterning. 1. Hart, D., Richard Larter, National Gallery of Australia, Canberra, 2008, p. 37 2. Larter may have attended Eduardo Paolizzi’s lecture at the Institute of Contemporary Arts in 1954, in which he projected through an epidiascope collages made from cut-outs of American mass-market magazines (see Hart, D.,2008, p. 25), but is more likely to have seen Paolizzi’s collages when exhibited in 1954.

Lot 31 Richard Larter (1929 – 2014) Dithyrambic Painting, 1965 enamel on composition board 121.0 x 182.0 cm signed with initials and dated lower right: RL 65 ESTIMATE: $15,000 – 20,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1984 EXHIBITED The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June – 23 August 1998 An Exhibition At Two Venues – An Exhibition to Celebrate Richard Larter’s Seventieth Birthday, Watters Gallery, Sydney and Legge Gallery, Sydney, 4 – 22 May 1999, cat. 15 (as ‘Dithyrambic painting No. 2’) Stripperama – Richard Larter, Heide Museum of Modern Art, Melbourne, 18 May – 28 July 2002 (label attached verso); then touring to: New England Regional Art Museum, New South Wales, 16 August – 6 October 2002 cat. 12 The difference between you and me, The Ian Potter Museum of Art, University of Melbourne, Melbourne, 6 August – 16 October 2005, cat. 5 (illus. in exhibition catalogue) Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 LITERATURE Loxley, A., ‘The Laverty Collection’, Art and Australia, Sydney, 1996, vol. 34, no. 1, p. 72 Gellatly, K., Stripperama – Richard Larter, Heide Museum of Modern Art, Melbourne, 2002, pp. 10 (illus.), 42

‘In Larter’s world, sex, desire, pleasure and the related aspects of voyeurism and performance are not only natural, but to be celebrated’.1 The idiosyncratic techniques employed by Richard Larter enabled highly original paintings of remarkable colour, innovation and on many occasions, provocative and challenging subjects. The artists’ notorious use of the hypodermic syringe to ‘draw’ with paint is one example of the inventiveness that pervades Larter’s art. While awaiting a bus, Larter noticed in the window of a medical supplies store a display of hypodermic syringes, immediately recognising the potential of the syringes to control and manipulate paint on board. This particular, self-taught technique flourishes in many of the artist’s works of the 1950s and 1960s, with the Dithyrambic paintings of 1965 highlighting the ability of this method to intensify the sensory experience of an artwork. Painted in the year of his first exhibition at the progressive Watters Gallery in Sydney, Dithyrambic Painting, 1965 was included in a major exhibition of Larter’s figurative work, ‘Stripperama’, held at the Heide Museum of Modern Art in 2002. Featuring his most adored model, his wife Patricia, Dithyrambic Painting is an excellent example of the uninhibited sensuality prominent in Larter’s works. Both Richard and Pat Larter (an artist in her own right) believed in the positive expression of female sexuality. Pat’s modelling, and consequently, the artists’ depictions of the female form are not intended to be idealised. Rather, they propose to illustrate the natural movement and sexual liberation of the model – a calculated slight against the conservative government attitudes of the time. Modesty set aside, the model appears preoccupied, concerned with neither her audience nor her disarmingly brazen nudity.

The richly decorative patterned background of Dithyrambic Painting is balanced equally with the figurative aspects of the painting, emphasising the artist’s propensity to stray from the techniques commonly taught in traditional art education. ‘After all, if Picasso (old enough to be my grandfather then) could paint both abstract and figurative why should not I? He empowered me – he was saying “please yourself sunshine”’.2 1. Gellatly, K., Stripperama: Richard Larter, Heide Museum of Modern Art, Melbourne, 2002, p. 24 2. Larter, R., Incondite incantations: for Pat, self-published, Sydney, 2001, p. 102

Melissa Hellard

following pages Laverty 2 Exhibition Newcastle Region Gallery

Lot 32 Peter Booth born 1940 Painting, c.1975 oil on linen 91.0 x 61.0 cm signed verso: Peter Booth ESTIMATE: $10,000 – 15,000 PROVENANCE Pinacotheca Gallery, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in 1985

EXHIBITED Pinacotheca Gallery, Melbourne, 27 March – 15 April 1985 Peter Booth: Human / Nature, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 29 November 2003 – 29 February 2004, cat. 13 (label attached verso) The Colin and Elizabeth Laverty Collection – a selection of Indigenous and non-Indigenous art exhibition, Geelong Gallery, Victoria, 18 February – 15 April 2012 LITERATURE Smith, J., Peter Booth: Human Nature, National Gallery of Victoria, Melbourne, 2004, pp. 40 (illus.), 146

Lot 33 Peter Booth born 1940 Painting (Figure in Burning Landscape), 1984 oil on canvas 25.0 x 50.5 cm signed and dated verso: BOOTH 1984 ESTIMATE: $10,000 â&#x20AC;&#x201C; 15,000 PROVENANCE Pinacotheca Gallery, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in June 1984

Top Lot 34 Peter Booth born 1940

Below Lot 36 Peter Booth born 1940

Drawing (Two Trees and Lake), 1992 – 93 pastel on paper 45.0 x 70.0 cm

Drawing (Factories), 1975 charcoal on paper 37.5 x 51.0 cm signed lower right: Peter Booth dated verso: .../ 1975

ESTIMATE: $4,000 – 6,000 PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1993

ESTIMATE: $3,000 – 4,000

EXHIBITED Peter Booth – Recent Paintings, Rex Irwin Art Dealer, Sydney, 26 October – 20 November 1993

EXHIBITED Peter Booth: works on paper 1963 – 1985, University Gallery, University of Melbourne, Melbourne, 13 November – 13 December 1985, cat. 12 (illus.)

Centre Lot 35 Peter Booth born 1940 Drawing (Apocalyptic Landscape), 1980 gouache and ink on paper 83.5 x 100.0 cm ESTIMATE: $5,000 – 7,000 PROVENANCE Private collection, Melbourne 312 Lennox Street Gallery, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1987 EXHIBITED Eureka! – Artists from Australia, Serpentine Gallery, London, 24 March – 25 April 1982, cat. 6, as ‘Man Flying over Nail’ (label attached verso)

PROVENANCE Pinacotheca Gallery, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in February 1986

Lot 37 Philip Wolfhagen born 1963 Delirium Stage VII, 1990 oil on canvas 126.0 x 105.0 cm signed, dated and inscribed with title verso: “Delirium” Stage VII / Philip Wolfhagen 1990 ESTIMATE: $14,000 – 18,000 PROVENANCE Syme Dodson Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1990 EXHIBITED The Stages of a Delirium, Syme Dodson Gallery, Sydney, 9 October – 3 November 1990, cat. 8 Seven 7, Ivan Dougherty Gallery, Sydney, 5 – 26 September 1992, cat. 38 Illumination: The Art of Philip Wolfhagen, Newcastle Region Art Gallery, New South Wales, 22 June – 11 August 2013; then touring to: Tasmanian Museum and Art Gallery, Hobart, 13 September – 1December 2013; The Australian National University Drill Hall Gallery, Canberra, 20 February – 6 April 2014; Cairns Regional Gallery, Cairns, 9 May – 6 July 2014; Tweed River Art Gallery, New South Wales, 8 August – 12 October 2014; Hamilton Art Gallery, Victoria, 15 November 2014 – 1 February 2015 LITERATURE Illumination: The art of Philip Wolfhagen, Newcastle Region Art Gallery, New South Wales, 2013, pp. 31 (illus.), 106

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Lot 38 Djirrirra Wunungmurra born 1969

Lot 39 Boliny Wanambi (1957 – 2011)

Yukuwa, 2011 natural earth pigments on eucalyptus bark 56.5 x 39.0 cm bears inscription verso: Buku-Larrngay Arts cat. 4078M

Gudultja, Bamurrunu, Wawurritjpal, 2007 natural earth pigments on eucalyptus bark 103.0 x 66.0 cm bears inscription verso: artist’s name, BukuLarrngay Mulka Arts cat. 3207K and cat. 0907YIRR

ESTIMATE: $2,000 – 3,000

ESTIMATE: $3,000 – 4,000

PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2011

PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2007

This work is accompanied by a certificate of authenticity from Buku-Larrngay Mulka Arts, Yirrkala

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This work is accompanied by a certificate of authenticity from Buku-Larrngay Mulka Arts, Yirrkala

Lot 40 Gawirrin Gumana born 1935 Dhalwanu, c.2001 natural earth pigments on eucalyptus bark 157.0 x 102.0 cm signed verso: Gawirriny / Gangan bears inscription verso: artist’s name, BukuLarrngay Arts cat. 2039X (sic) and cat. 060/GAN ESTIMATE: $4,000 – 6,000 PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in February 2002

EXHIBITED Telstra presents The 18th National Aboriginal and Torres Strait Islander Art Award 2001, Museum and Art Gallery of the Northern Territory, Darwin, 15 September 2001 – 6 January 2002, cat. 5 (illus. in exhibition catalogue)

previous pages Paperbark forest Northern Territory Photographer: Toby Burrows

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Left Lot 41 Naminapu Maymuru-White born 1952

Right Lot 43 Wuyal Wirrpanda born c.1955

Milngiyawuy (Milky Way) – Larrakitj, 2007 earth pigments on hollow log 300.0 cm height

Dhudi-Djapu (Larrakitj), 2002 natural earth pigments on hollow log 301.0 cm height

ESTIMATE: $4,000 – 6,000

ESTIMATE: $7,000 – 9,000

PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala (cat. 3055T) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2007

PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2002

This work is accompanied by a certificate of authenticity from Buku-Larrngay Mulka Centre, Yirrkala Centre Lot 42 Samson Bonson born 1968 Untitled (Lorrkon), 2007 earth pigments on hollow log 193.0 cm height ESTIMATE: $1,500 – 2,500 PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory (cat. 3293-07) Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2007 This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida, Northern Territory

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EXHIBITED Telstra presents The 18th National Aboriginal & Torres Strait Islander Art Award 2001, Museum and Art Gallery of the Northern Territory, Darwin, 15 September 2001 – 6 January 2002, cat. 24 (illus. in exhibition catalogue) LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 307 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 342 (illus.)

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Lot 44 Makinti Napanangka (c.1930 – 2011) Kungka Kutjarra (Two Women), 2000 synthetic polymer paint on linen 122.0 x 122.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. MN0009077 ESTIMATE: $15,000 – 20,000 PROVENANCE Papunya Tula Artists, Alice Springs Utopia Art, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 2001 EXHIBITED Makinti Napanangka: New Paintings, Utopia Art, Sydney, 10 November – 5 December 2001 (label attached verso) Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Plymouth, New Zealand, 15 December 2007 – 24 February 2008; then touring to: Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008 Breaking with tradition: Cobra and Aboriginal art, AAMU – Museum of Contemporary Aboriginal Art, Utrecht, The Netherlands, 12 November 2010 – 8 May 2011 (illus. in exhibition catalogue) LITERATURE Laverty. C., ‘Diversity and Strength: Contemporary Australian Aboriginal Art – A Private collection’, Arts of Asia, Hong Kong, November – December 2013, cat. 9, p. 86 Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 77 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 66 (illus.) This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs 108

‘Light flooded.’ This is how Vivien Johnson described Makinti Napanangka’s first paintings after she had cataracts removed from her eyes in 1999.1 Makinti had initially commenced painting in 1994 at Haasts Bluff and she was among the small group of female artists who participated in the Minyma Tjukurrpa, Kintore/ Haasts Bluff canvas project in 1995, an exhibition that heralded the beginnings of the women’s painting movement through Papunya Tula Artists cooperative.2 But she came into her own in 2000 with her first solo exhibition at Utopia Art Sydney, aptly entitled New Vision, an allusion to her restored eyesight, but also perhaps to the freshness of a body of paintings radiant with golden light. The Sydney Olympic year also saw her inclusion in the benchmark exhibition Papunya Tula: Genesis and Genius at the Art Gallery of New South Wales with a painting of the same subject from the same year. In Kungka Kutjarra (Two Women), 2000, Makinti Napanangka combines graphic motifs that dominated her earlier paintings–series of outlined circular forms, here denoting rockholes – with the bands of parallel arcs that became the hallmark of her later work. The rockholes were formed by Kungka Kutjarra, two ancestral women, at a site south of Lake MacDonald while digging for Kuningka, the Western Quoll. The bands represent the strands of spun hair string that make up the nyimparra or skirts worn by women in ceremony. The tactility of the paint in this picture suggests the practice of drawing in the sand to a narrative accompaniment, and the rhythms of the bands of arcs echo the sway of the skirts as women dance. 1. Johnson, V., Lives of the Papunya Tula Artists, IAD Press, Alice Springs, 2008, p. 316 2. Exhibited at Tandanya National Aboriginal Cultural Institute, Adelaide

WALLY CARUANA

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Lot 45 Walangkura Napanangka (c.1946 – 2014) Yunalla Rockhole, 1997 synthetic polymer paint on linen 122.0 x 122.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. WN970234 and Alcaston Gallery cat. AK4157 ESTIMATE: $6,000 – 8,000

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PROVENANCE Papunya Tula Artists, Alice Springs Alcaston Gallery, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1999 EXHIBITED Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Plymouth, New Zealand, 15 December 2007 – 24 February 2008; then touring to: Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008

LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 74 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 56 (illus.) This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs

Lot 46 Naata Nungurrayi born 1932 Marrapinti, 2002 synthetic polymer paint on linen 122.5 x 91.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. NN020223

PROVENANCE Papunya Tula Artists, Alice Springs The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 2002 EXHIBITED Heart and Soul: The Laverty Collection, Sydney, Aboriginal Art Museum Utrecht, The Netherlands, 20 January – 10 June 2012 (illus. in exhibition catalogue, p. 1)

ESTIMATE: $6,000 – 8,000

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Lot 47 Janangoo Butcher Cherel (c.1920 – 2009)

Lot 48 Janangoo Butcher Cherel (c.1920 – 2009)

Girndi, 2007 synthetic polymer paint on Velin Arches paper 57.0 x 76.0 cm bears inscription verso: artist’s name, size and Mangkaja Arts cat. WP 537/07

Wawarri, 1999 synthetic polymer paint on Velin Arches paper 65.0 x 50.0 cm bears inscription verso: artist’s name and Mangkaja Arts cat. WP 053/99

ESTIMATE: $2,800 – 3,500

ESTIMATE: $3,000 – 4,000

PROVENANCE Mangkaja Arts, Fitzroy Crossing Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2007

PROVENANCE Mangkaja Arts, Fitzroy Crossing Aboriginal and Pacific Art Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1999

EXHIBITED Groundwork – Janangoo Butcher Cherel, Mick Jawalji, Rammey Ramsey, The Ian Potter Museum of Art, University of Melbourne, Melbourne, 30 July – 23 October 2011 (illus. in exhibition catalogue)

EXHIBITED Janangoo Butcher Cherel, Aboriginal and Pacific Art Gallery, Sydney, 26 August – 23 September 1999, cat. 10

This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing

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LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 186 (illus.)

Lot 49 Margaret Baragurra born c.1935

Lot 50 Donald Moko born c.1928

Lajarri (Winbar), 2004 synthetic polymer paint on canvas 140.0 x 100.0 cm signed verso: MARGARET bears inscription verso: artist’s name, size and Short Street Gallery cat. 2099

Untitled, 2004 synthetic polymer paint on canvas 168.0 x 106.0 cm bears inscription verso: artist’s name, date, medium, size and Short Street Gallery cat. 2652 ESTIMATE: $3,000 – 4,000

ESTIMATE: $3,000 – 4,000 PROVENANCE Short Street Gallery, Broome (stamped verso) William Mora Galleries, Melbourne (stamped verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2005

PROVENANCE Short Street Gallery, Broome Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in June 2004

EXHIBITED New Paintings from Bidyadanga, William Mora Galleries, Melbourne, 31 March – 24 April 2004, cat. 21 This work is accompanied by a certificate of authenticity from Short Street Gallery, Broome

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Lot 51 Lorna Fencer Napurrurla (c.1925 – 2006) Warna (Snake), 1997 synthetic polymer paint on linen 182.0 x 183.0 cm bears inscription verso: artist’s name, title, date and Warnayaka Arts Centre cat. A/403 ESTIMATE: $4,000 – 6,000 PROVENANCE Warnayaka Arts Centre, Lajamanu Karen Brown Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1997 EXHIBITED Yulyulyu Lorna Fencer Napurrurla, Artback NT, Chan Contemporary Art Space, Darwin, 3 August – 28 August 2011; then touring to: Drill Hall Gallery, Australian National University, Canberra, 10 November – 18 December 2011; Benalla Art Gallery, Victoria, 11 February – 1 April 2012; Flinders University City Art Gallery, Adelaide, 13 April – 27 May 2012; RMIT Gallery, Melbourne, 29 June – 25 August 2012; Bathurst Art Gallery, Bathurst, 28 September – 18 November 2012; Noosa Regional Gallery, Queensland, 29 November 2012 – 20 January 2013; Artspace, Queensland, 1 February – 17 March 2013; Godinymayin Rovers Arts and Culture Centre, Northern Territory, 5 April – 19 May 2013 (illus. in exhibition catalogue, p. 111) LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 156 (illus.)

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Lot 52 Eubena Nampitjin (1920 – 2013) Kunkunba, 1996 synthetic polymer paint on linen 120.0 x 80.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 210/96 ESTIMATE: $6,000 – 8,000 PROVENANCE Warlayirti Artists, Balgo Hills The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 1996 EXHIBITED Paintings from the Laverty Collection, Union Club, Sydney, 28 October 2003 – 20 September 2004 This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills that states: ‘Eubena is one of the true desert people as she was born in the desert and wandered with her family as they lived the hunter gatherer lifestyle. She was told many stories and myths from the “Tjukurrpa” (Dreamtime) and in this painting she has shown her country with its hills and creeks. Bush tucker is also depicted. We see a number of women hitting their heads in memory of a recently deceased friend. This is a ceremonial painting.’

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Lot 53 Keith Stevens born c.1940 Piltati, 2014 synthetic polymer paint on linen 199.0 x 119.5 cm bears inscription verso: artist’s name, date and Tjungu Palya cat. 14-061 ESTIMATE: $3,000 – 4,000 PROVENANCE Tjungu Palya, Nyapari Outstation Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2014 EXHIBITED Salon Des Refuses, Outstation Gallery and Paul Johnstone Gallery, Darwin, 9 – 24 August 2014

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Lot 54 Lucy Ken born 1937 Ngayuku Ngura, 2008 synthetic polymer paint on linen 102.0 x 102.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 196-08 ESTIMATE: $3,000 – 5,000 PROVENANCE Tjala Arts, Amata, South Australia Randell Lane Fine Art, Perth The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2008 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata

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Lot 55 William Robinson born 1936 Clearing Storm to Fingal, 1996 oil on canvas 76.5 x 102.0 cm signed and dated lower right: William Robinson 96 ESTIMATE: $60,000 – 80,000 PROVENANCE Ray Hughes Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1996 EXHIBITED William Robinson, Ray Hughes Gallery, Sydney, 28 June – 24 July 1996, cat. 11 (illus. in exhibition catalogue) Spirit and Place – Art in Australia 1861 – 1996, Museum of Contemporary Art, Sydney, 22 November 1996 – 31 March 1997 On Display, National Gallery of Australia, Canberra, 10 February – 30 August 1998 William Robinson – A Retrospective, Queensland Art Gallery, Brisbane, 31 August – 11 November 2001; then touring to: National Gallery of Australia, Canberra, 14 December 2001 – 10 March 2002 (label attached verso) William Robinson: The Transfigured Landscape, QUT Art Museum and William Robinson Gallery, Brisbane, 16 April – 14 August 2011 LITERATURE Sears, L., Darkness and Light, The Art of William Robinson, Queensland Art Gallery, Brisbane, 2001, pl. 80, p. 143 (illus.) Klepac, L., William Robinson – Paintings 1987 – 2000, The Beagle Press, Sydney, 2001, pp. 114 – 115 (illus.) Van Ooyen, V. (et al), William Robinson: The Transfigured Landscape, Queensland University of Technology, Brisbane and Piper Press, Sydney, 2011, p. 80 (illus.)

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Between 1994 and 1999 Bill and Shirley Robinson lived at Kingscliff on the northern New South Wales coast. Naturally, with his commanding view of the ocean this move heralded a major shift in Robinson’s subject. His familiar depictions of forests gave way to images of the sea, which came as an intriguing development for visitors to Robinson’s exhibitions at the Ray Hughes Gallery in Sydney. If there is a Yin and Yang to Robinson’s oeuvre, surely it is his paintings of the ocean alongside those of the Queensland landscape. While Robinson’s epic landscapes depict the ancient forests and capture the permanent, timeless nature of the ancient trees, his paintings of the coast line and oceans show the constant state of change and the ephemeral nature of the oceans moods. As Robinson explains, ‘… Living at the sea for a good part of my time gives me a chance to see the changing moods of the sea and sky. These are almost the only two elements and they interact with reflective light and powerful movement clothed in great beauty. There is a constant movement of light and form. It is a transparent painting. From a purely physical viewpoint it is not possible for this painting to exist. If it is viewed only from a logical analysis it is not possible to see it. The work must be felt as much as possible as pure sensation, as though the viewer is in the air of the work. Because of the picture plane and the dimensions and enclosure of the illusion, the composition must still exist, but somehow appear to be incidental the feeling of being one with nature’.1

The rise and fall of the tides subtly geared by the pull of the moon are the constant in nature. The relentless power of the ocean’s action humbles all before it, and none more so than an artist who attempts to capture it. Robinson is a deeply spiritual man, so it’s no surprise that his works acknowledge a greater power. The Clearing Storm depicted reminds us that a greater force is not necessarily a benevolent one, as the painting is poised between light and dark. Key to Clearing Storm to Fingal, 1996, is the series of sandcastles which are being reclaimed by the sea. These evoke a melancholy mood and a reminder that we are each at the mercy of forces beyond our control and perhaps understanding. Prehistoric in form, these children’s remnants of a day’s play now past, are a powerful inclusion within the composition. For they remind us of the transience of life and that no matter how great mans achievements may be, when faced with the power of nature they are no more that a fickle dalliance. 1. Robinson, W., in Klepac, L., William Robinson: Paintings 1987 – 2000, The Beagle Press, Sydney, 2001, p. 114

HENRY MULHOLLAND

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Lot 56 William Robinson born 1936 Grandpop and Children’s Pot, 1997 painted and glazed ceramic 19.0 x 68.0 x 47.5 cm signed and dated on side: William Robinson 97 ESTIMATE: $15,000 – 25,000 PROVENANCE Ray Hughes Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 1997 EXHIBITED Ceramics, Ray Hughes Gallery, Sydney, 7 March – 9 April 1997, cat. 64

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Lot 57 William Robinson born 1936 Errol Barnes, potter born 1941 Board Riders and Sunbathers on the Beach, 1995 painted and glazed ceramic vase 43.0 cm height signed and dated at base: William Robinson / 95 inscribed on base: BR 115 / ERROL BARNES ESTIMATE: $20,000 â&#x20AC;&#x201C; 30,000 PROVENANCE Ray Hughes Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1995

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above Lot 58 Noel McKenna born 1956

below Lot 59 Noel McKenna born 1956

Man in Landscape, 1990 oil and enamel on plywood 35.0 x 40.5 cm signed lower left: McKENNA 90 signed and dated verso: McKenna 1990

Flying Owl, 1996 oil and enamel on board 41.5 x 83.5 cm signed and dated lower left: N. MCKENNA 96 ESTIMATE: $3,000 – 4,000

ESTIMATE: $3,000 – 4,000 PROVENANCE Garry Anderson Gallery, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in June 1991 EXHIBITED Noel McKenna, Garry Anderson Gallery, Sydney, 30 April – 25 May 1991, cat. 38

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PROVENANCE Niagara Galleries, Melbourne (stamped verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1997 EXHIBITED Noel McKenna, Niagara Galleries, Melbourne, 2 – 27 September 1997, cat. 8 (illus. in exhibition catalogue)

Lot 60 Louise Weaver born 1966 Ermine (Speed Racer), 2002 hand-crocheted lambswool, satin and cotton thread over high density foam, synthetic fibre 24.0 x 43.0 x 12.0 cm

EXHIBITED Darren Knight Gallery at ARCO 2002, Madrid, Spain, 14 – 19 February 2002 Bittersweet, Art Gallery of New South Wales, Sydney, 20 April – 10 June 2002, p. 20 (illus.) Louise Weaver: Taking a Chance on Love – Selected Works 1990 – 2006, McClelland Gallery and Sculpture Park, Victoria, 9 July – 27 August 2006, cat. 45 (illus. in exhibition catalogue)

ESTIMATE: $8,000 – 12,000 PROVENANCE Darren Knight Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in March 2002

LITERATURE ‘Art that Bites – Young Australian Artists look at themselves looking at life’, Look Magazine, Art Gallery of New South Wales, Sydney, April 2002, p. 9 (illus.) 123

Lot 61 Jon Campbell born 1961 It’s a World Full of Lying Bastards, 2011 synthetic polymer paint and enamel paint on board 60.0 x 40.0 cm signed, dated and inscribed with title verso: Jon Campbell 2011 / ‘Its [sic] a world full of / lying bastards’ / acrylic & enamel paint /… ESTIMATE: $2,000 – 4,000 PROVENANCE Darren Knight Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2011 EXHIBITED Jon Campbell – Pure Bewdy, Darren Knight Gallery, Sydney, 27 August – 24 September 2011 124

Lot 62 James Morrison born 1959 Barkley Tablelands - Gosse Creek, 2004 oil on canvas 41.0 x 51.0 cm signed, dated and inscribed with title verso: James Morrison ⁄ September 2004. ⁄ “Barkley Tableland ⁄ Gosse Creek” ESTIMATE: $6,000 – 9,000 PROVENANCE Darren Knight Gallery, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2004 EXHIBITED Birds: Flight paths in Australian Art, Mornington Peninsula Regional Gallery, Victoria, 2 December 2016 - 12 February 2017

following pages Laverty residence, Photographer: Kath Chambers

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Lot 63 Robert Klippel (1920 – 2001)

The following excerpt is quoted from Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 187 – 188

No. 664, 1987 wood assemblage 248.0 cm height signed with initials, dated and numbered on side: RK. 664. 87.

‘Klippel’s beginning was his end. His large series of wooden pattern-part sculptures reiterates processes and principles that were in place in 1948. The last 15 years of his life saw a return to wood – a material he had not used since the 1940s – in yet another extraordinary outpouring of activity which resulted in a series of over 150 assemblages. The dramatic change was clearly that Klippel created these assemblages at a ‘monumental’ size previously unseen in his work. The decision to enlarge his works seems to have come from a desire to produce monumental sculpture before he felt unable to do so.

ESTIMATE: $15,000 – 20,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1990 EXHIBITED Robert Klippel Sculptures, Christine Abrahams Gallery, Melbourne, 11 July – 28 July 1988 Robert Klippel Painted Wood Sculptures at Three Locations, Roslyn Oxley9 Gallery, Sydney, 6 November – late December 1990; Legge Gallery, Sydney, 13 November – 1 December 1990; Watters Gallery, Sydney, 14 November – 1 December 1990, cat. 46 (illus. in exhibition catalogue) Robert Klippel Project Exhibition, Art Gallery of New South Wales, Sydney, 22 June – 13 August 1995 The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June – 23 August 1998 Robert Klippel, Art Gallery of New South Wales, Sydney, 9 August – 13 October 2002 LITERATURE Loxley, A., ‘The Laverty Collection’, Art and Australia, Sydney, vol. 34, no. 1, 1996, p. 72 (illus.) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, p. 203 (illus.) RELATED WORK A bronze version of this work is included in a group of Robert Klippel sculptures on display, Brisbane Law Courts.

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Working with his extensive formal language and a huge range of parts, Klippel retained in these large sculptures the same mastery and inventiveness which he had brought to his junk and bronze sculptures, and the same will to articulate significant form through the dynamic relationships of mass, weight, volume and space. In a group as non-predictive as all of Klippel’s works, the artist returned to investigations of volume and mass, and created new manifestations of these consistent preoccupations.

For 40 years, Klippel had dually wrestled with and relinquished the problem ‘of how to put the mass back into this inner structure.’1 In these monumental assemblages, Klippel massed and ‘resurfaced’ his art, whilst he retained its transparent structure. If his 1960s junk assemblages find form for ceaseless energy, his monumental works – substantial, expansive, solid – hold weightier enclosed rhythms and sonorous reverberations of energy and matter in ways that imply a Platonic testament to permanent form within the larger flux.2 One could also argue that with them Klippel finally resolved his persistent preoccupation with sculpture and landscape through the most imaginative of means – by collapsing these categories into one form. 1. Molloy, M., Salvat, K. Robert Klippel, Keisal Films for Australia Council, Melbourne, 1975 2. Forms made more permanent by the casting of many of these works into bronze, through the Meridian Foundry in Melbourne

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Lot 64 Robert Klippel (1920 – 2001) No. 662, 1987 wood assemblage 239.0 cm height signed with initials, dated and numbered on side: RK. 662. 87. ESTIMATE: $15,000 – 20,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1990 EXHIBITED Robert Klippel Sculptures, Christine Abrahams Gallery, Melbourne, 11 July – 28 July 1988 (illus. on exhibition invitation) Robert Klippel Painted Wood Sculptures at Three Locations, Roslyn Oxley9 Gallery, Sydney, 6 November – late December 1990; Legge Gallery, Sydney, 13 November – 1 December 1990; Watters Gallery, Sydney, 14 November – 1 December 1990, cat. 45 (illus. in exhibition catalogue) Robert Klippel: Large Wood Sculptures and Collages, Art Gallery of New South Wales, Sydney, 22 June 1995 – 13 August 1995 The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June – 23 August 1998 LITERATURE Edwards, D., Robert Klippel: Large Wood Sculptures and Collages, Art Gallery of New South Wales, Sydney, 1995, p. 8 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures (CD-ROM), Art Gallery of New South Wales, Sydney, 2002, No. 662 (illus.)

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Lot 65 Robert Klippel (1920 – 2001) No. 696, 1987 wood assemblage 155.0 cm height signed with initials, dated and numbered on side: RK. 696. 87. ESTIMATE: $15,000 – 20,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 1990 EXHIBITED Robert Klippel Sculptures, Christine Abrahams Gallery, Melbourne, 11 July – 28 July 1988 Robert Klippel Painted Wood Sculptures at Three Locations, Roslyn Oxley9 Gallery, Sydney, 6 November – late December 1990; Legge Gallery, Sydney, 13 November – 1 December 1990; Watters Gallery, Sydney, 14 November – 1 December 1990, cat. 52 (illus. in exhibition catalogue) The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June – 23 August 1998

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Lot 66 Ken Whisson born 1927 Untitled (Carlton Cafe Kitchen), 1969 oil on composition board 86.0 x 61.0 cm ESTIMATE: $20,000 – 30,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1987 EXHIBITED The Colin and Elizabeth Laverty collection – a selection of Indigenous and non-Indigenous art exhibition, Geelong Gallery, Victoria, 18 February – 15 April 2012

Colin and Elizabeth Laverty were great supporters of Ken Whisson and were arguably the most active collectors of his work to date. Committed to building a collection of contemporary abstract art, Whisson proved to be a noticeable favourite for the Lavertys. Untitled (Carlton Cafe Kitchen), 1969 was the first of Whisson’s paintings to be acquired by the couple, thus beginning a long held adoration for the highly gestural form of abstraction adopted by this enigmatic painter. The figure central to Untitled (Carlton Cafe Kitchen) is consistent with the fluid and ambiguous approach to the human form developed early in the artist’s career. ‘Limbs may sprout directly below the base of neckless heads, or be severed altogether in favour of vegetal, trunk-like torsos, reminiscent of Primitive sculpture (a formlanguage which arises in a pre-industrial society, a world not yet alienated from nature)’.1 From the ongoing flux between abstract shape and figuration emerges a cafe scene which makes more sense collectively than any part might individually. The fragmented figure, bereft of decipherable facial features is a subject which found many nuances throughout the artist’s career. Yet a common thread across the work of Whisson is the ability to create a subjective reaction in the viewer, enabled primarily by the sheer absence of immediately recognisable features or points of reference. Untitled (Carlton Cafe Kitchen) was the catalyst for the creation of an exceptional group of Whisson paintings within the Laverty Collection, facilitating a lifelong love affair with an art that is layered with meaning and honesty. 1. Murphy, B., Ken Whisson Paintings 1957-1985, The Broken Hill City Art Gallery, Broken Hill, 1985, p. 13

MELISSA HELLARD

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Lot 67 Richard Larter (1929 – 2014) Steatopygia Be Blowed Mr Bazin, 1965 enamel on composition board 121.0 x 87.5 cm signed and dated with initials lower right: RL 65 inscribed verso: To / Mr. Watters / of Watters Gallery / Richard Larter / Lot 2 Bringelly Road / Luddenham / NSW / Title: “Frig You Mouldy / Daddy” / or / “BEHOLDAD / A SALLOW NUDE” / “STEATOPYGIA / BE BLOWED / MR. BAZIN” ESTIMATE: $6,000 – 9,000

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PROVENANCE Private collection, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 1991 EXHIBITED Paintings and Sculpture, Watters Gallery, Sydney, 13 – 30 October 1965, cat. 6 An Exhibition At Two Venues – An Exhibition to Celebrate Richard Larter’s Seventieth Birthday, Watters Gallery, Sydney and Legge Gallery, Sydney, 4 – 22 May 1999, cat. 18

Lot 68 Richard Larter (1929 – 2014) Kingkaid Vision, 1978 synthetic polymer paint on canvas 183.5 x 142.0 cm signed and dated lower left: R. LARTER 1978. / R. inscribed with title verso: KINGKAID / VISION ESTIMATE: $15,000 – 20,000 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1987

EXHIBITED Richard Larter, Watters Gallery, Sydney, 21 March – 7 April 1979, cat. 15 An Exhibition At Two Venues to Celebrate Richard Larter’s Seventieth Birthday, Watters Gallery, Sydney and Legge Gallery, Sydney, 4 – 22 May 1999, cat. 32 Richard Larter: a retrospective, National Gallery of Australia, Canberra, 20 June – 14 September 2008 LITERATURE Hart, D. And Mendelssohn, J., Richard Larter, National Gallery of Australia, Canberra, 2008, pp. 67 (illus.), 170

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Lot 69 Ildiko Kovacs born 1962 Roadworks #13, 2005 oil on card on plywood 76.0 x 102.0 cm signed, dated and inscribed with title verso: ILDIKO KOVACS / “ROADWORKS #13” / 2005 ESTIMATE: $7,000 – 10,000 PROVENANCE Martin Browne Fine Art, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 2005 EXHIBITED Roadworks, Martin Browne Fine Art at the Yellow House, Sydney, 30 November – 18 December 2005, cat. 8 (illus. in exhibition catalogue) Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 © courtesy of Ildiko Kovacs. Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide

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Lot 70 Ildiko Kovacs born 1962 Roadworks, 2005 oil on card on plywood 76.5 x 99.5 cm signed, dated and inscribed with title verso: ILDIKO KOVACS / ROADWORKS / …/ 2005 ESTIMATE: $7,000 – 10,000 PROVENANCE The Collection of Colin and Elizabeth Laverty, Sydney, acquired directly from the artist in May 2005 EXHIBITED Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 © courtesy of Ildiko Kovacs. Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide

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Lot 71 Ildiko Kovacs born 1962 Round About, 2001 oil on plywood 186.5 x 162.0 cm signed, dated and inscribed with title verso: ILDIKO KOVACS / “ROUND ABOUT” / 2001 ESTIMATE: $16,000 – 20,000

PROVENANCE Martin Browne Fine Art, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2001 EXHIBITED Ildiko Kovacs – New Works, Martin Browne Fine Art, Sydney, 11 September – 8 October 2001, cat. 5 (illus. in exhibition catalogue) Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 © courtesy of Ildiko Kovacs. Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide

opposite and following pages Laverty 2 Exhibition Newcastle Region Art Gallery

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Lot 72 Dick Watkins born 1937 Untitled (Black And White), 1990 synthetic polymer paint on Velin Arches paper 56.0 x 75.5 cm signed with initials and dated lower centre: RW 90 ESTIMATE: $1,000 – 1,500 PROVENANCE Yuill/Crowley, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in January 1992 EXHIBITED Paintings from the Laverty Collection, Union Club, Sydney, 20 September 2004 – 15 July 2005 Lot 73 Robert Klippel (1920 – 2001) Untitled, 1950 ink on paper 33.0 x 25.0 cm signed and dated lower right: Robert Klippel. 5/50. ESTIMATE: $1,200 – 1,800 PROVENANCE Sotheby’s, Melbourne, 26 April 1992, lot 474O The Collection of Colin and Elizabeth Laverty, Sydney

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Lot 74 Peter Upward (1932 – 1983) Untitled, c.1971 synthetic polymer paint and polyvinyl acetate on canvas 83.0 cm diameter signed and dated verso: Peter Upward / 1971 / No. 21 ESTIMATE: $4,000 – 6,000 PROVENANCE Charles Nodrum Gallery, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 1988 EXHIBITED Peter Upward – Paintings 1970 – 1973, Charles Nodrum Gallery, Melbourne, 9 – 27 September 1986, cat. 10 The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June – 23 August 1998 Frozen Gestures: The Art of Peter Upward, Penrith Regional Gallery and The Lewers Bequest, New South Wales, 20 October – 2 December 2007, cat. 45 (illus. in exhibition catalogue) LITERATURE Loxley, A., ‘The Laverty Collection’, Art and Australia, Sydney, 1996, vol. 34, no. 1, p. 72 Lot 75 John Vickery (1906 – 1983) Ghost Tree, c.1950 oil on linen 106.5 x 71.0 cm ESTIMATE: $2,000 – 3,000 PROVENANCE Charles Nodrum Gallery, Melbourne (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in June 1992

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Lot 76 Dick Watkins born 1937 Untitled, 1972 synthetic polymer paint on canvas 142.5 x 165.0 cm signed, dated and inscribed with title on stretcher verso: UNTITLED / 1972 / WATKINS ESTIMATE: $15,000 – 20,000 PROVENANCE Yuill/Crowley, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1985 EXHIBITED Australia – Dick Watkins, XVII Bienal de São Paulo, Brazil, 4 October – 15 December 1985, cat. 2 (illus. in exhibition catalogue) (label attached verso) Dick Watkins: A Retrospective, Manly Art Gallery and Museum, Sydney, then touring to Broken Hill City Art Gallery, 13 March 1986 Paintings from the Laverty Collection, Union Club, Sydney, 26 November 2008 – 11 June 2009

‘The way I start a picture is purely intuitive. Each time I have a certain optimism that this will be the ideal painting, the masterpiece, and that is what I believe painting should try to do. It should be an attempt to make something beautiful and powerful at the same time. I think that what Pollock did is ideal. That’s how an Abstract picture should be painted.’1 The artist’s own words in a meaningful interview with Grazia Gunn in 19832 describe perfectly the complex dialogue between Watkins and the master of North American Abstract Expressionism, Jackson Pollock which is clearly exemplified in Untitled, 1972. This powerful abstract painting in landscape format, featuring gestural darts, arcs, drips and splatters in navy and royal blue, raspberry red and black applied directly on canvas without priming, was executed in the same manner used by Pollock, defined as ‘drip painting’ or ‘action painting’. Watkins would have worked on the unstretched canvas placed on the floor, using very fluid synthetic polymer paint and letting the colour drip from the brush in mid-air, even at times pouring the paint directly from the can and using his hands to spread it (a mark of the artist’s hand is clearly visible on the top centre section of the painting). Self-taught, Watkins travelled to Europe, London and New York between 1959 and 1961, thus gaining first hand access to ground-breaking, seminal masterpieces of modernism and abstraction which played a key role in shaping his practice. Watkins himself has described his oeuvre as a product of Pablo Picasso and Jackson Pollock.3 Often described as a ‘chameleon’ or ‘bricoleur’, his experimental style is a tribute to constant inquisition into other artists, styles and philosophies. Indeed, many of Watkins’ paintings suggest aspects of other artists’ work, but are ultimately entirely his own. As Imants Tillers points out in the essay accompanying the São Paulo Biennial catalogue, it is not a conscious attempt to emulate other artists’ work, it happens automatically. This kind of exact spontaneous correspondence is more like a synchronicity or coincidence of images with the original, and in many ways is a far more remarkable achievement than the original.4 Representing Australia in the São Paulo Biennial was validation of Watkins’ status as a prominent international artist.

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Established in 1951, São Paulo is the second longest running biennale in the world after Venice (established in 1895). The 1985 retrospective exhibition was curated by Noela Yuill, who had a long professional association with Watkins, and witnessed the arrival and spread of ‘the new abstraction’ in Australia through her involvement with the Contemporary Art Society and the Central Street Gallery. Another highlight in Watkins’ career, spanning over five decades, was his inclusion in the ground-breaking 1968 exhibition The Field at the newly opened National Gallery of Victoria. There he was singled out by the influential American critic, Clement Greenberg, as Australia’s finest painter.5 In 1993, the artist was honoured with an exhibition at the National Gallery of Australia, where his work was hung alongside those of the European and American Masters who shaped his passion and oeuvre, among them Robert Rauschenberg and Ellsworth Kelly, as well as Matisse, Picasso and Pollock. As curator Barbara Dowse remarked, ‘What emerged from that juxtaposition, is that irrespective of the sources implicated in his paintings, Watkins continues to pit himself against these mentors and rivals to wrest a mature style which is distinctively and recognisably his own.’6 1. Watkins, D., quoted in Gunn, G., ‘Dick Watkins’, Art and Australia, Sydney, vol. 21, no. 2, Summer 1983, p. 210 2. Gunn, G., op. cit., pp. 210 – 216 3. Ibid., p. 216 4. Tillers, I., ‘The Paradox of Dick Watkins’, in Dick Watkins, XVIII Bienal de São Paulo, Brazil, 4 October– 15 December 1985, The Broken Hill City Art Gallery, New South Wales, cat. 2, p. 21 (illus.) 5. Lumby, C., ‘Dick Watkins, An Artist’s Artist’, Australian Art Collector, Sydney, issue 31, January – March 2005, p. 137 6. Dowse, B., Dick Watkins, Liverpool Street Gallery, accessed online 18 February 2017 www.liverpoolstgallery.com.au

Elena Scott

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Lot 77 Aida Tomescu born 1955 Urbs II, 2005 synthetic polymer paint, pastel, gouache and collage on paper 120.0 x 90.0 cm ESTIMATE: $8,000 – 12,000

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PROVENANCE Niagara Galleries, Melbourne (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2006 EXHIBITED Aida Tomescu, Niagara Galleries, Melbourne, 4 – 29 April 2006, cat. 10

Lot 78 Aida Tomescu born 1955 Basm Unu, 1993 oil on canvas 183.0 x 152.0 cm signed, dated and inscribed with title verso: Aida Tomescu / “BASM” – 1993 / Unu ESTIMATE: $10,000 – 15,000

PROVENANCE Coventry Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1993 EXHIBITED Aida Tomescu, Coventry Gallery, Sydney, 10 – 28 August 1993, cat. 8 (illus. front cover) LITERATURE Lynn, E., ‘Aida Tomescu/Coventry Gallery’, The Weekend Australian (Review), Sydney, 21 – 22 August 1993

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Lot 79 Timothy Cook born 1958 Pumpuni Jilamara, 2002 natural earth pigments and synthetic binder on linen 100.0 x 50.0 cm bears inscription verso: artist’s name and Jilamara Arts and Crafts cat. 94-02 ESTIMATE: $2,000 – 3,000 PROVENANCE Jilamara Arts and Crafts, Melville Island (stamped verso) Aboriginal and Pacific Art Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 2002 EXHIBITED Timothy Cook, Aboriginal and Pacific Art Gallery, Sydney, 12 September – 12 October 2002, cat. 5 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 262 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 292 (illus.) This work is accompanied by a certificate of authenticity from Jilamara Arts and Crafts, Melville Island Lot 80 Timothy Cook born 1958 Untitled, 1997 natural earth pigments and synthetic binder on paper 38.0 x 56.5 cm bears inscription verso: artist’s name and Jilamara Arts and Crafts cat. 4/97 ESTIMATE: $800 – 1,200 PROVENANCE Jilamara Arts and Crafts, Melville Island The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1997

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Lot 81 Kutuwulumi Purawarrumpatu (Kitty Kantilla) (c.1928 – 2003) Pumpuni Jilamara, 2003 natural earth pigments and synthetic binder on paper 57.5 x 76.5 cm bears inscription verso: artist’s name, Skin: FIRE, Dance: RAIN and Jilamara Arts and Crafts cat. 538-03 ESTIMATE: $5,000 – 7,000 PROVENANCE Jilamara Arts and Crafts, Melville Island (stamped verso) Aboriginal and Pacific Art Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 2003 EXHIBITED Kitty Kantilla – Kutuwalumi Purawarrumpatu, Aboriginal and Pacific Art Gallery, Sydney, 17 July – 8 August 2003 This work is accompanied by a certificate of authenticity from Jilamara Arts and Crafts, Melville Island Lot 82 Taracarijimo Freda Warlapinni (1928 – 2003) Untitled, 1996 natural earth pigments and synthetic binder on paper 38.0 x 56.0 cm bears inscription verso: artist’s name, title, date and Jilmara Arts and Crafts cat. SP96002 ESTIMATE: $800 – 1,200 PROVENANCE Jilmara Arts and Crafts, Melville Island Gallery Gondwana, Alice Springs (cat. LPFW1800) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in January 1997 This work is accompanied by a certificate of authenticity from Gallery Gondwana, Alice Springs

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Lot 83 Billy Thomas Joongoorra (c.1920 – 2012)

Lot 84 Rusty Peters born 1935

Untitled, 1996 ochres and synthetic binder on linen 80.0 x 60.5 cm signed verso: BILLTOM bears inscription verso: artist’s name and Waringarri Aboriginal Arts cat. AP0953

Garndiwarl Country, 2003 ochres and pigment with acrylic binder on linen 122.0 x 135.0 cm bears inscription verso: artist’s name, title and Jirrawun Arts cat. RP 8 2003-91 ESTIMATE: $2,500 – 3,500

ESTIMATE: $2,000 – 4,000 PROVENANCE Waringarri Aboriginal Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1996

PROVENANCE Jirrawun Arts, Kununurra Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2003 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 240 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 267 (illus.)

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Lot 85 Freddie Timms born c.1946 Crocodile Hole (Rugoon), 1998 ochres and pigment with acrylic binder on linen 100.5 x 120.5 cm bears inscription verso: artist’s name, title, date and Jirrawun Arts cat. FT 41 ESTIMATE: $4,000 – 6,000 PROVENANCE Jirrawun Arts, Kununurra Watters Gallery, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 1998 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 270 (illus.)

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Lot 86 Phyllis Thomas born c.1935

Lot 87 Phyllis Thomas born c. 1935

Garnkeny – Moon Dreaming at Mindi-Mindin on the Ord River, 1999 earth pigments and synthetic binder on linen 120.0 x 120.0 cm signed verso with artist’s initials and bears inscription: Jirrawun Arts cat. PT 999.34

Gemerre, 2005 natural earth pigments and synthetic binder on canvas 200.0 x 200.0 cm (overall) each bears inscription verso: artist’s name, title and Jirrawun Arts cat. PT 7-2005-77A, PT7-200577B, PT 7-2005-77C and PT 7-2005-77D

ESTIMATE: $3,000 – 4,000 ESTIMATE: $6,000 – 8,000 (4) PROVENANCE Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1999 This work is accompanied by Jirrawun Arts documentation.

PROVENANCE Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2005 EXHIBITED William Mora Galleries, at the Melbourne Art Fair, Melbourne, 2 – 6 August 2006 (illus. in exhibition catalogue, p. 30) This work is accompanied by Jirrawun Arts Documentation

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Lot 88 Rammey Ramsey born c.1935 Warlawoon Country, 2007 ochres and pigments with synthetic binder on linen 150.0 x 180.0 cm bears inscription verso: artist initials and Jirrawun Arts cat. RR 11 2007 146 ESTIMATE: $10,000 – 15,000 PROVENANCE Jirrawun Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 2012 EXHIBITED Heart and Soul: The Laverty Collection, Sydney, Aboriginal Art Museum Utrecht, The Netherlands, 20 January – 20 June 2012

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Lot 89 Mirdidingkingathi Juwarnda Sally Gabori (c.1924 – 2015)

Lot 90 Sandy Brumby born c.1935

Hunting Ground at Dibirdibi, 2005 synthetic polymer paint on canvas 137.0 x 91.0 cm bears inscription verso: artist’s name, title, medium and Mornington Island Arts and Crafts cat. 486/C/SG/0905

Kulitja, 2012 synthetic polymer paint on linen 152.5 x 168.0 cm bears inscription verso: artist’s name, size and Ninuku Arts cat. NKSB12230 ESTIMATE: $2,500 – 3,500

ESTIMATE: $2,000 – 3,000 PROVENANCE Mornington Island Arts and Crafts, Queensland (stamped verso) GRANTPIRRIE, Sydney (stamped verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 2005 EXHIBITED Gununa, GRANTPIRRIE in association with Mornington Island Arts and Crafts Centre, Sydney, 29 November – 17 December 2005, cat. 9

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PROVENANCE Ninuku Arts, Kalka Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 2012 This work is accompanied by a certificate of authenticity from Ninuku Arts, Kalka

Lot 91 Fred Tjakamarra (c.1925 – 2006) Sam Tjampitjin (c.1930 – 2003) Tjumpo Tjapanangka (c.1929 – 2007) Nunjun, 1996 synthetic polymer paint on linen 119.5 x 180.0 cm bears inscription verso: artist’s names, Warlayirti Artists cat. 754/96, P/5, P/4, P/8

PROVENANCE Warlayirti Artists, Balgo Hills The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in January 1997 LITERATURE Cowan, J., Balgo, New Directions, Craftsman House, Sydney, 1999, p. 135 (illus.) This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

ESTIMATE: $6,000 – 8,000

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Lot 92 Tjumpo Tjapanangka (c.1930 – 2007) Marruwa, 2006 synthetic polymer paint on linen 150.0 x 180.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 869/06 ESTIMATE: $15,000 – 20,000 PROVENANCE Warlayirti Artists, Balgo Hills (cat. 869/06) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2006 This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills that states: ‘Tjumpo has painted some of his country, which is far to the south of Balgo, close to Wilkinkarra, or Lake Mackay. Marruwa is the general name for this country and is a major Tingarri, or men’s law place. The white shapes represent many lakes found in this country while the red lines depict tali or sandhills.’

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Tjumpo was a senior law man and a Maparn (healer), with a very charismatic personality. An indefatigable traveller and a true desert man, Tjumpo spent his childhood hunting in the Gibson Desert and Great Sandy Desert before moving to the Balgo Mission, where he began painting for Warlayirti Artists in 1986. His work was included in the seminal exhibition Art from the Great Sandy Desert at the Art Gallery of Western Australia. While his painting style is true to the Wirrimanu aesthetic, his work also signals the influence of the art movement at Papunya Tula. Marruwa is an exceptional example of Tjumpo’s latest style, painted only one year before his death. The vibrant, bright yellow field with a reticulation of red lines depict a traditional map of the artist’s country, whilst the use of only four primary colours with a black and a white band on either side conveys an effect of striking modernity. A smaller closely related painting from the same year housed in the National Gallery of Victoria collection presents an equivalent yellow and red field as found in the current work. Tjumpo has exhibited widely in Australia and overseas, and his work is held in all major Australian institutions, as well as in many significant foreign institutions.

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Lot 93 Nancy Naninurra Napanangka (1934 – 2010) Tangka, 2003 synthetic polymer paint on canvas 99.0 x 50.0 cm bears inscription verso: artist’s name, size and Warlayirti Arts cat. 1095/03 ESTIMATE: $3,000 – 5,000 PROVENANCE Warlayirti Artists, Balgo Hills Alcaston Gallery, Melbourne (cat. AK10124) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in December 2003 EXHIBITED Christmas Gift Exhibition, Alcaston Gallery, Melbourne, 8 December 2003 – 24 January 2004 Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Zealand, 15 December 2007 – 24 February 2008; then touring to Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 120 (illus.) This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

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Lot 94 Muntja Nungurrayi born 1931 Munga Munga, 1995 synthetic polymer paint on canvas 74.5 x 50.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 457/95 ESTIMATE: $2,000 – 3,000 PROVENANCE Warlayirti Artists, Balgo Hills Gallery Gondwana, Alice Springs (stamped verso, cat. 1751) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 1996 EXHIBITED Paintings from the Laverty Collection, Union Club, Sydney, 28 October 2003 – 20 September 2004 This work is accompanied by a certificate of authenticity from Gallery Gondwana, Alice Springs

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Lot 95 Lucy Yukenbarri Napanangka (1934 – 2003) Puturr, 1991 synthetic polymer paint on canvas 100.0 x 75.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 562/91 ESTIMATE: $6,000 – 8,000 PROVENANCE Warlayirti Artists, Balgo Hills Sotheby’s, Melbourne, 25 July 2005, lot 97 The Collection of Colin and Elizabeth Laverty, Sydney LITERATURE Watson. C., Piercing the Ground, Fremantle Arts Centre Press, Fremantle, 2003, pl. 10, p. 139 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 139 (illus.) This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills that states: ‘Artist’s Country. The two main waterholes in this area are shown and the artist would camp near these with her family when she was younger. There are some caves in a rocky outcrop nearby and these have a special significance for the artist and her family. The women go out to collect food from the surrounding bush each day. The area is dominated by rows of sandhills.’

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Lot 96 Nyunjarn Charlie Nunjun (c.1920 – 2009) Lirriwarti, 2002 synthetic polymer paint on canvas 179.0 x 120.0 cm ESTIMATE: $3,500 – 4,500 PROVENANCE Mangkaja Arts, Fitzroy Crossing (cat. PC2 52/02) Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in January 2003 EXHIBITED Murrkunkura Ngarrankarnijanka Ngurrara, Raft Artspace, Darwin, 7 – 29 March 2003 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 193 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 205 (illus.) This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing that states: ‘This place is called Lirriwarti. Wilupilya came to this place from Pajpara. He started fighting with another man, a Jangala. They speared themselves and they became lame. They were fighting over a woman, a Nuparula. She was promised to Wilupilya but he found that she had already had two children to this other man. He got wild and threw the children onto the ground. The children died and his wife stayed there. Wilupilya came back to the jila (permanent waterhole) here at Lirriwarti. This was his ngurra, his camp. He walked out from here.’

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top Lot 97 Paji Honeychild Yankarr (1914 – 2004) Jupurr Jila, 1997 synthetic polymer paint on paper 75.5 x 106.0 cm signed verso: Honey Child bears inscription verso: artist’s name, date and Mangkaja Arts cat. WP 145/97 ESTIMATE: $1,500 – 2,000 PROVENANCE Mangkaja Arts, Fitzroy Crossing The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2003 This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing that states: ‘This is my mother and my father’s country called Jupurr. There is a cave here with the jila (living water) inside. There is good yellow ochre here. We used to camp here in the hot weather time. There is always water here in this place’ below Lot 98 Paji Honeychild Yankarr (1914 – 2004) Yarrnyirli, 1994 synthetic polymer paint on paper 75.0 x 105.0 cm bears inscription verso: artist’s name and Mangkaja Arts cat. WP 128/94 ESTIMATE: $1,800 – 2,500 PROVENANCE Mangkaja Arts, Fitzroy Crossing Durack Gallery, Broome The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1998 This work is accompanied by notes from Mangkaja Arts, Fitzroy Crossing that states: ‘This is my country in the Great Sandy Desert. This place is called yarrnyili. There is living water here. The jila (permanent waterhole) is surrounded by high jilji (sandhills).’

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Lot 99 Jukuna Mona Chuguna born c.1933

Lot 100 Wakartu Cory Surprise (c.1929 – 2011)

Jumunwarnti and Pirnti, 2003 synthetic polymer paint on canvas 70.0 x 45.0 cm signed verso: mona chuguna bears inscription verso: artist’s name and Mangkaja Arts cat. PC179/03

Wayampajarti, 2007 synthetic polymer paint on canvas 120.0 x 90.0 cm bears inscription verso: artist’s name, size and Mangkaja Arts cat. 301/07 ESTIMATE: $4,000 – 6,000

ESTIMATE: $1,000 – 2,000 PROVENANCE Mangkaja Arts, Fitzroy Crossing Artplace, Perth The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2003 EXHIBITED Jilji & Partiri (Sandhill & Flower), Artplace, Perth, 4– 28 September 2003, cat. 9 This work is accompanied by a certificate of authenticity from Artplace, Perth that states: ‘These are waterholes that we drink from in the desert. Jumu (soak waterholes), pirnti (claypan that holds clear water after rain) and warla. Warla gets salty, we can’t drink this water.’

PROVENANCE Mangkaja Arts, Fitzroy Crossing Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2007 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, pp. 3 (illus.), 191 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 203 (illus.) This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing.

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Lot 101 Ivy Janyka Nixon born c. 1935 Untitled, 2003 synthetic polymer paint on paper 75.0 x 105.5 cm bears inscription verso: artist’s name, Mangkaja Arts cat. WP 082/03 ESTIMATE: $800 – 1,200 PROVENANCE Mangkaja Arts, Fitzroy Crossing Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2003 Lot 102 Walka Molly Rogers (c.1930 – 2006) Japirnka, 2002 synthetic polymer paint on canvas 45.5 x 60.5 cm bears inscription verso: artist’s name and Mangkaja Arts cat. PC 002/02-2 ESTIMATE: $1,000 – 2,000 PROVENANCE Mangkaja Arts, Fitzroy Crossing Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2003 This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing

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Lot 103 Janangoo Butcher Cherel (c.1920 – 2009) Girndi, 2002 synthetic polymer paint on canvas 40.5 x 50.5 cm signed verso: BUTCHER bears inscription verso: artist’s name and Mangkaja Arts cat. PC118/02 ESTIMATE: $2,500 – 3,500 PROVENANCE Mangkaja Arts, Fitzroy Crossing Artplace, Perth The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2002 EXHIBITED Artplace, Perth, at the Melbourne Art Fair, Melbourne, 2 – 6 October 2002 This work is accompanied by a certificate of authenticity from Artplace, Perth Lot 104 Janangoo Butcher Cherel (c.1920 – 2009) Imanara Country, 2006 synthetic polymer paint on Velin Arches paper 52.0 x 75.0 cm ESTIMATE: $3,000 – 4,000 PROVENANCE Mangkaja Arts, Fitzroy Crossing (cat. 224/06) Raft Artspace, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2006 This work is accompanied by a certificate of authenticity from Mangkaja Arts, Fitzroy Crossing

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Lot 105 Leah King-Smith born c.1957 Untitled #10, 1991 (from ‘The Patterns Of Connections’ Series) type C photograph 100.5 x 100.5 cm edition: 10/15 ESTIMATE: $3,500 – 4,500

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PROVENANCE Gallery Gabrielle Pizzi, Melbourne (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2003 EXHIBITED Voices of the Earth, Gallery Gabrielle Pizzi, Melbourne, 1996, cat. 9 (illus. in exhibition catalogue)

Lot 106 Tracey Moffatt born 1960 Invocations #8, 2000 photo silkscreen 146.0 x 122.0 cm edition: 51/60 ESTIMATE: $5,000 – 7,000

PROVENANCE Roslyn Oxley9 Gallery, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 2000 EXHIBITED The difference between you and me, The Ian Potter Museum of Art, University of Melbourne, Melbourne, 6 August – 16 October 2005, cat. 30 (illus.)

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Lot 107 Ildiko Kovacs born 1962

PROVENANCE Hugo Michell Gallery, Adelaide The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in June 2009

Slipped Through, 2009 oil on plywood 150.0 x 123.0 cm signed, dated and inscribed with title verso: ILDIKO KOVACS / “SLIPPED THROUGH” / 2009

EXHIBITED Ildiko Kovacs – Solo Show, Hugo Michell Gallery, Adelaide, 27 May – 27 July 2009, cat. 3 Ildiko Kovacs: Down the Line 1980 – 2010, Hazelhurst Regional Gallery, New South Wales, 14 May – 3 July 2011

ESTIMATE: $12,000 – 18,000 168

Lot 108 Ildiko Kovacs born 1962

PROVENANCE Martin Browne Fine Art, Sydney (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2006

Ghost, 2006 oil on plywood 210.0 x 210.0 cm signed, dated and inscribed with title verso: ILDIKO KOVACS / … / ST PETERS / TITLE: “GHOST” / SULMAN PRIZE / 2006

EXHIBITED Sulman Prize, Art Gallery of New South Wales, Sydney, 25 March – 28 May 2006, cat. 308 Martin Browne Fine Art, at the Melbourne Art Fair, Melbourne, 2 – 6 August 2006

ESTIMATE: $20,000 – 30,000

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Lot 109 Robert Klippel (1920 – 2001) Untitled, 1972 gouache and collage on paper 23.5 x 25.0 cm dated lower left: 2/72 ESTIMATE: $1,200 – 1,800 PROVENANCE Academy Arts Pty Ltd, Sydney (label attached verso, cat. 14239) Private collection, Sydney Sotheby’s, Melbourne, 26 April 1992, lot 474G The Collection of Colin and Elizabeth Laverty, Sydney 170

Lot 110 Robert Klippel (1920 – 2001) Untitled, 1991 synthetic polymer paint and collage on paper 23.5 x 27.0 cm signed with initials and dated lower right: RK. 91. ESTIMATE: $1,200 – 1,800 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1992 EXHIBITED Robert Klippel Collages, Watters Gallery, Sydney, 10 November – 28 November 1992, cat. 63

Lot 111 Robert Klippel (1920 – 2001) Untitled, 1986 reflective paper, enamels and collage on paper 15.0 x 24.0 cm signed with initials and dated lower right: RK.86. ESTIMATE: $800 – 1,200 PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 1987 EXHIBITED Robert Klippel – Unique Cast Bronze Sculptures – Works on Paper, Watters Gallery, Sydney, 8 April – 4 May 1987, cat. 72 171

Lot 112 Michael Taylor born 1933 Monaro Night, 1986 oil on canvas 123.5 x 105.5 cm signed and dated lower left: Taylor 86 inscribed with title verso: MONARO NIGHT ESTIMATE: $2,500 – 4,500 172

PROVENANCE Rex Irwin Art Dealer, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 1988 EXHIBITED Michael Taylor Paintings – Nocturnes, Rex Irwin Gallery, Sydney, 2 – 20 August 1988, cat. 9 LITERATURE Lynn, E., ‘Bourgeois necks quite safe’, The Weekend Australian Magazine, 20 – 21 August 1988

Lot 113 Michael Taylor born 1933 Beach Painting, 1966 oil and enamel on canvas 134.0 x 182.0 cm signed and dated lower left: Taylor / 66 ESTIMATE: $4,000 – 6,000

PROVENANCE Watters Gallery, Sydney Geoffrey Legge, Sydney Yuill/Crowley, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1991 EXHIBITED Michael Taylor, Watters Gallery, Sydney, 5 – 22 April 1967, cat. 5 Paintings from the Laverty Collection, Union Club, Sydney, 20 September 2004 – 15 July 2005 Michael Taylor: A Survey 1963 – 2016, Canberra Museum and Gallery, Canberra, 9 July – 2 October 2016 (illus. in exhibition catalogue, p. 16) 173

Lot 115 Young-Ha Park born 1954, Korean Lot 114 Young-Ha Park born 1954, Korean Thou To Be Seen Tomorrow, 1995 mixed media on canvas 160.0 x 92.5 cm

Thou To Be Seen Tomorrow, 2002 mixed media on canvas 100.0 x 150.0 cm signed on top edge: Y. H. PARK signed, dated and inscribed with title verso: YOUNG-HA, PARK / THOU TO BE SEEN TOMORROW / 2002 ESTIMATE: $2,000 – 3,000

ESTIMATE: $2,000 – 3,000 PROVENANCE Annandale Galleries, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 1995

PROVENANCE Annandale Galleries, Sydney (label attached verso, cat. YHP229) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2002

LITERATURE Loxley, A., ‘The Laverty Collection’, Art and Australia, Sydney, 1996, vol. 34, no. 1, p. 65

EXHIBITED Young-Ha Park: Paintings, Annandale Galleries, Sydney, 7 August – 14 September 2002

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Lot 116 Aki Kuroda born 1944, Japanese

Lot 117 Jake Berthot (1939 – 2014), American

Untitled, c.1993 synthetic polymer paint on linen 73.0 x 60.0 cm signed verso: Aki Kuroda

Untitled, 1990 enamel on paper 76.0 x 56.0 cm signed with initials lower left: JB dated lower right: 90

ESTIMATE: $1,500 – 2,500

ESTIMATE: $3,000 – 4,000

PROVENANCE Galerie Adrien Maeght, Paris (stamped verso, cat. BAC 6423) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1993

PROVENANCE Nielsen Gallery, Boston, USA The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1997 175

Lot 118 Robert Hirschmann born 1968 Echo, 2011 oil and pigment on board on linen 122.0 x 122.0 cm signed with initials, dated and inscribed verso: R.H. / ‘Echo’ 2011 ESTIMATE: $2,000 – 3,000 PROVENANCE King Street Gallery on William, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in March 2011 EXHIBITED Robert Hirschmann, King Street Gallery on William, Sydney, 8 March – 2 April 2011, cat. 11 176

Lot 119 John Firth-Smith born 1943 Untitled, 1963 synthetic polymer paint on paper 29.5 x 28.0 cm signed and dated lower right: Firth-Smith 63 ESTIMATE: $800 – 1,200 PROVENANCE The Collection of Colin and Elizabeth Laverty, Sydney, acquired directly from the artist

Lot 120 Pham Luc born 1943, Vietnamese Landscape 1, 2007 oil on canvas 83.5 x 108.0 cm signed and dated lower left: P. Luc 2.7 dated verso: 2007 ESTIMATE: $6,000 – 9,000 PROVENANCE William Mora Galleries, Melbourne The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 2009 EXHIBITED Pham Luc Paintings 1966 – 2008, William Mora Galleries, Melbourne, 29 April – 22 May 2009, cat. 35 177

below Lot 122 Robert Klippel (1920 – 2001)

above Lot 121 Robert Klippel (1920 – 2001)

Untitled, 1986 collage on painted paper 12.0 x 21.0 cm signed with initials and dated lower centre: RK.86.

Lot 123 Robert Klippel (1920 – 2001)

ESTIMATE: $600 – 800 Untitled, 1984 collage on paper 6.0 x 6.5 cm image 10.0 x 9.5 cm sheet signed with initials and dated lower right below image: RK. 1984

PROVENANCE Watters Gallery, Sydney The Collection of Colin and Elizabeth Laverty, acquired from the above in May 1987

Untitled, 1977 pencil on paper 26.0 x 23.5 cm signed with initials and dated lower right: RK.1977. ESTIMATE: $600 – 800

ESTIMATE: $400 – 600 PROVENANCE The Collection of Colin and Elizabeth Laverty, Sydney 178

EXHIBITED Robert Klippel – Unique Cast Bronze Sculptures – Works on Paper, Watters Gallery, Sydney, 8 April – 4 May 1987, cat. 233 (label attached verso)

PROVENANCE The Collection of Colin and Elizabeth Laverty, Sydney, acquired directly from the artist

Lot 124 Michael Taylor born 1933

Lot 125 Michael Taylor born 1933

Highway 31, 1968 synthetic polymer paint on linen 122.0 x 107.0 cm signed and titled verso: Taylor HIGHWAY 31

Winter Landscape, 1983 oil on linen 83.5 x 107.0 cm signed and dated lower left: Taylor 83 ESTIMATE: $2,000 – 4,000

ESTIMATE: $2,000 – 4,000 PROVENANCE The Collection of Colin and Elizabeth Laverty, Sydney, acquired directly from the artist in August 1993

PROVENANCE Solander Gallery, Canberra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 1985

EXHIBITED Michael Taylor, Watters Gallery, Sydney, 3 April 1968, cat. 11

EXHIBITED Christmas Exhibition, Solander Gallery, Canberra, December 1983 179

Lot 126 Ralwurrandji Wanambi born 1959

Lot 127 Mawalan 2 Marika born 1957

Bamurrunu, 2001 natural earth pigments on eucalyptus bark 159.0 x 69.0 cm bears inscription verso: artist’s name, and BukuLarrngay Mulka Arts cat. 2027G and cat. 0601YIRR

Djilpin, 2002 natural earth pigments on eucalyptus bark 177.0 x 52.0 cm bears inscription verso: artist’s name and BukuLarrngay Arts cat. 2178A and 0402YIRR

ESTIMATE: $2,500 – 3,500

ESTIMATE: $1,500 – 2,500

PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 2001

PROVENANCE Buku-Larrngay Mulka Arts, Yirrkala The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in June 2002

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Lot 128 Mathulu Munyarryun born 1930 Wangurri at Dhalingbuy, 2001 natural earth pigments on eucalyptus bark 164.0 x 101.0 cm bears inscription verso: artist’s name, Buku-Larrngay Mulka Arts cat. 2050E and cat. 0701DHA ESTIMATE: $4,000 – 6,000 PROVENANCE Buku-Larrngay Arts, Yirrkala The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 2001 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 304 (illus.)

This work is accompanied by a certificate of authenticity from Buku-Larrngay Mulka Arts that states: ‘Following on a reconciliation between the Djapu and Wangurri clans in June 1999, which coincided with the return of Wonggu’s message sticks by the Governor General, Sir William Deane, there was a great flowering of Wangurri art. This was a relaxation by the elders Mathulu and Bawurr of their normal jealous protection of their miny’tji or clan designs. This bark painted by Mathulu was produced at Dhalinbuy and brought to Buku-Larrngay Mulka Centre on 26.7.01 which coincided with the visit of Colin and Liz Laverty (long term supporters and collectors of NE Arnhem Land art) who bought the painting in the artist’s presence and with his consent. Mathulu invited the Laverty’s to hear the story of the painting at his homeland of Dhalinbuy as he didn’t wish to reveal it in Yirrkala. They accepted his invitation for a later date.

Mathulu did indicate that the image is one from the freshwater of Dhalinbuy. This allows us to see parallel with images whose icons represent the most sacred of Wangurri ancestral ‘creators’. Logs washed in the freshwaters of Dhalinbuy having travelled from Manggalili sea country. They contained Milka or mangrove worms which died once washed into the fresh water. This pattern was etched in the log and is here repeated as the Wangurri sacred clan design which appears throughout. The songs of the Wangurri invest this log with sacred power allowing it to make paths that other beings and landscape features could follow. The Wangurri can show the head of the log in its feminine shape with the tail of ancestral kingfish Ngoykal, as the Wet Season cumulonimbus on the horizon over Djarrakpi that connects the two clans in a relationship of the others mothers [sic] mother (pregnant with life-giving rain). Stone axe heads are depicted as the central icons.’

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above Lot 129 Mawalan Marika (c.1908 – 1967) Artist Unknown (North east Arnhem Land) Artist Unknown (North east Arnhem Land) Untitled, c.1960 natural earth pigments on eucalyptus bark 26.0 x 16.0 cm; 29.5 x 16.0 cm; 26.0 x 15.5 cm ESTIMATE: $2,000 – 3,000 (3) PROVENANCE Collected at Yirrkala, c.1960 Private collection, Western Australia Sotheby’s, Sydney, 28 – 29 July 2003, lot 330 The Collection of Colin and Elizabeth Laverty, Sydney LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 11 (illus.) 182

below Lot 130 Samuel Namunjdja born 1965 Barramundi (Birimu or Namarnkorl), 2001 natural earth pigments on eucalyptus bark 44.5 x 108.0 cm bears inscription on label verso: artist’s name, title, language group, location and Maningrida Arts and Culture cat 10382001BP ESTIMATE: $1,000 – 2,000 PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2001 This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Maningrida, Northern Territory

following pages Storm over Maningrida Photographer: Peter Eve

Lot 131 Ivan Namirrkki born 1959 Kurrukkurr, 2002 natural earth pigments on eucalyptus bark 158.0 x 49.5 cm bears inscription on label verso: artist’s name, size, medium, language group and Maningrida Arts and Culture cat.5952-02 ESTIMATE: $2,500 – 3,500 PROVENANCE Maningrida Arts and Culture, Maningrida, Northern Territory Aboriginal and Pacific Art Gallery, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 2002 EXHIBITED Ivan Namirrki – Kardbam Nanurungi – rarrk designs from the Kardbam clan, Aboriginal and Pacific Art Gallery, Sydney, 7 – 30 November 2002 Crossing Country: the alchemy of western Arnhem Land art, Art Gallery of New South Wales, Sydney, 25 September – 12 December 2004 Stone Country – Saltwater, Newcastle Region Art Gallery, New South Wales, 1 August – 27 September 2009 LITERATURE Perkins, H., et. al., Crossing Country: the alchemy of western Arnhem Land art, Art Gallery of New South Wales, Sydney, 2004, cat. 202, pp. 86 (illus.), 228 Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 290 (illus.) This work is accompanied by a certificate of authenticity from Maningrida Arts and Culture, Northern Territory 183

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Lot 132 Walangkura Jackson Napanangka (c.1938 – 2014)

Lot 133 Walangkura Napanangka (c.1946 – 2014)

Untitled, 2005 synthetic polymer paint on linen 107.0 x 91.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. WN0508177

Travels of Katungka Napanangka, 2001 synthetic polymer paint on linen 122.0 x 91.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. WN0110228

ESTIMATE: $2,000 – 4,000

ESTIMATE: $4,000 – 6,000

PROVENANCE Papunya Tula Artists, Alice Springs The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 2005

PROVENANCE Papunya Tula Artists, Alice Springs The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 2002

This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs

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Lot 134 Nyilyari Tjapangarti born 1949 Tingari Men’s Travels Around Wilkinkarra, 2008 synthetic polymer paint on linen 91.0 x 90.5 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. NT0810305 ESTIMATE: $3,000 – 4,000 PROVENANCE Papunya Tula Artists, Alice Springs Gabrielle Pizzi Gallery, Melbourne (label attached verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2009

Lot 135 Ray Ken born c.1940 Ngayuku Ngura – My Country, 2008 synthetic polymer paint on linen 122.0 x 122.0 cm bears inscription verso: artist’s name and Tjala Arts cat. 319-08 ESTIMATE: $3,000 – 5,000

LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 81 (illus.) This work is accompanied by a certificate of authenticity from Papunya Tula Artists, Alice Springs

PROVENANCE Tjala Arts, Amata Randell Lane Fine Art, Perth The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2008 This work is accompanied by a certificate of authenticity from Tjala Arts, Amata 187

Lot 137 Eubena Nampitjin (1920 – 2013)

Lot 136 Tjumpo Tjapanangka (c.1929 – 2007)

Tjukukalyu, 2003 and Walmarlajarbu, 2004 synthetic polymer paint on canvas synthetic polymer paint on linen 41.0 x 31.0 cm each bears inscription verso: artist’s name, size and Warlayirti Artists cat. 1151/03 bears inscription verso: artist’s name, size and Warlayirti Artists cat. 247/04 ESTIMATE : $2,000 – 4,000 (2)

Wilkinkarra, 2003 glassware 34.5 cm diameter bears inscription verso: artist’s name and Warlayirti Artists cat. 668/03

PROVENANCE Warlayirti Artists, Balgo Hills The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004

ESTIMATE: $1,000 – 1,500

EXHIBITED Balgo 4-04 New paintings from the Kutjungka Region, Warlayirti Artists, Balgo Hills, April 2004, cat. 127 and cat. 130

PROVENANCE Warlayirti Artists, Balgo Hills Framed Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2003 188

These works are accompanied by certificates of authenticity from Warlayirti Artists, Balgo Hills

Lot 138 Fred Tjakamarra (c.1926 – 2006) Yuntu, 1996 synthetic polymer paint on linen 119.0 x 80.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 65/96 ESTIMATE: $3,000 – 5,000 PROVENANCE Warlayirti Artists, Balgo Hills Aboriginal Economic Development Corporation (Artist in Residence Gallery), Perth Private collection, Perth Sotheby’s, Melbourne, 24 July 2007, lot 58 The Collection of Colin and Elizabeth Laverty, Sydney EXHIBITED The Collection Of Colin And Liz Laverty Of Sydney, The Australian Club, Melbourne, 30 June – 16 September 2011 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 137 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 140 (illus.)

Lot 139 John Mosquito Tjapangati (1922 – 2004) Nalyanaabar, 1996 synthetic polymer paint on linen 75.5 x 50.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 391/96 ESTIMATE: $2,000 – 3,000 PROVENANCE Warlayirti Artists, Balgo Hills Gallery Gondwana, Alice Springs (stamped verso, cat. 2009) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 1996

EXHIBITED Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Zealand, 15 December 2007 – 24 February 2008; then touring to: Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008 LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 131 (illus.) Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, p. 141 (illus.) This work is accompanied by a certificate of authenticity from Gallery Gondwana, Alice Springs 189

Lot 140 Barney Ellaga born c.1939 Alawa Country, 1995 synthetic polymer paint on canvas 67.0 x 70.0 cm bears inscription verso: artist’s name, Ngukarr Arts Centre cat. 2-12 and Alcaston Gallery cat. AK3010

Lot 141 Angelina George (1937 – 2014)

ESTIMATE: $1,000 – 1,500 PROVENANCE Ngukarr Arts Centre, Ngukarr Alcaston Gallery, Melbourne (stamped verso) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1999

Black Rock, 1998 synthetic polymer paint on linen 74.5 x 127.5 cm bears inscription verso: artist’s name, size and Karen Brown Gallery cat. AG 27.10.98 ESTIMATE: $3,000 – 5,000

EXHIBITED Barney Ellaga – Alawa Country, Alcaston Gallery, Melbourne, 10 June – 2 July 1999 This work is accompanied by a certificate of authenticity from Alcaston Gallery, Melbourne 190

PROVENANCE Karen Brown Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 1999

Lot 142 Gertie Huddleston (1935 – 1996) Dusk at Ngukurr, 1997 synthetic polymer paint on canvas 98.0 x 155.5 cm bears inscription verso: artist’s name and Shades of Ochre Gallery details ESTIMATE: $3,000 – 5,000 PROVENANCE Karen Brown Gallery, Darwin (Shades of Ochre cat. 94) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in March 1999 This work is accompanied by a certificate of authenticity from Karen Brown Gallery, Darwin that states: ‘The sun is disappearing and the animals are getting ready for the night. The flowers are so beautiful at this time of the day. Lizards, beetles, butterflies and goanna sit by the river. I can see a large white bird – it is looking for something to eat. This is during the big wet – Monsoon Time.’

Lot 143 Willie Gudabi (1916 – 1996) Untitled, c.1996 synthetic polymer paint on canvas 133.5 x 108.0 cm bears inscription verso: cat. 4718 BAB ESTIMATE: $3,000 – 5,000 PROVENANCE Framed Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in January 1997 191

Lot 145 Lorna Fencer Napurrurla (c.1925 – 2006) Lot 144 Lorna Fencer Napurrurla (c.1925 – 2006) Bush Potato, 1997 synthetic polymer paint on canvas 120.0 x 88.5 cm bears inscription verso: artist’s name, title, date and Warnayaka Arts Centre cat. A/402 ESTIMATE: $2,000 – 3,000 PROVENANCE Warnayaka Arts Centre, Lajamanu Karen Brown Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in July 1997 192

Untitled, 1997 synthetic polymer paint on canvas 125.0 x 62.0 cm bears inscription verso: artist’s name, date, size and Karen Brown Gallery cat. KB0245 and Warnayaka Arts Centre cat. LF 008 ESTIMATE: $2,000 – 3,000 PROVENANCE Warnayaka Arts Centre, Lajamanu Karen Brown Gallery, Darwin The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2001 This work is accompanied by a certificate of authenticity from Karen Brown Gallery, Darwin

Lot 146 John Lee Tjakamarra born 1949 Bullun Bullun, 2002 synthetic polymer paint on linen 150.0 x 75.0 cm bears inscription verso: artist’s name, size and Warlayirti Artists cat. 1317/02

Lot 147 Brian Mudgedell Tjakamarra born 1971 Tjintjinjin, 2009 synthetic polymer paint on linen 180.0 x 120.0 cm bears inscription verso: size and Warlayirti Artists cat. 334/09 ESTIMATE: $2,000 – 3,000

ESTIMATE: $2,000 – 3,000 PROVENANCE Warlayirti Artists, Balgo Hills The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in February 2003

PROVENANCE Warlayirti Artists, Balgo Hills Outstation Gallery, Parap The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2009

This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills

This work is accompanied by a certificate of authenticity from Warlayirti Artists, Balgo Hills 193

Lot 148 Billy Thomas Joongoorra (c.1920 – 2012)

Lot 149 Billy Thomas Joongoorra (c.1920 – 2012)

Untitled, 1996 ochres and synthetic binder on canvas 45.5 x 60.5 cm bears inscription verso: artist’s name and Waringarri Aboriginal Arts cat. S761 and AP0931

Untitled, 1996 ochres and synthetic binder on canvas 40.5 x 51.0 cm signed verso: BILLTOM bears inscription verso: Waringarri Aboriginal Arts cat. S760 and AP0969

ESTIMATE: $1,500 – 2,500

ESTIMATE: $800 – 1,200

PROVENANCE Waringarri Aboriginal Arts, Kununurra The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in November 1996

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Lot 150 Willy Billabong (1930 – 2005) Soak, 2003 synthetic polymer paint on canvas 88.0 x 88.0 cm bears inscription verso: artist’s name and Yarliyil Arts cat. 2003/192 ESTIMATE: $800 – 1,200 PROVENANCE Yarliyil Arts, Halls Creek Artplace, Perth The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004 EXHIBITED This is country, Artplace, Perth, 7 April – 2 May 2004, cat. 11 (label attached verso) Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Zealand, 15 December 2007 – 24 February 2008; then touring to: Newcastle Region Art Gallery, New South Wales, 5 July – 31 August 2008

Lot 151 Willy Billabong (1930 – 2005) Untitled (Artist’s Country), 2004 synthetic polymer paint on canvas 89.5 x 90.0 cm ESTIMATE: $800 – 1,200

LITERATURE Beyond Sacred: Recent Painting from Australia’s Remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty, Hardie Grant Books, Melbourne, 2008, p. 196 (illus.)

PROVENANCE Yarliyil Art Centre, Halls Creek (cat. 2004/099) The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in April 2004

This work is accompanied by a certificate of authenticity from Artplace, Perth

This work is accompanied by a certificate of authenticity from Yarliyil Arts Centre, Halls Creek 195

Lot 152 Ida Penangke Enalanga born 1949 Esther Ngale Kennedy born 1948 Carol Panangka Rontji (1968 – 2009) Three Hermannsburg Pots, 1995 – 1998 hand coiled, terracotta, underglazes and glaze 18.5 cm; 15.0 cm; 16.5 cm height bear inscriptions at base: Hermannsburg Potters cats. IEN797, EK770 and CR224 ESTIMATE: $1,000 – 1,500 (3) PROVENANCE National Aboriginal Cultural Centre, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in October 1998 EXHIBITED The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June – 23 August 1998 Hermannsburg Potters, National Aboriginal Cultural Centre, Sydney, – 31 October 1998, cat. 4 (CR224 only) 196

Liz and Colin at home following pages Carboyd Ranges, East Kimberley Photographer: Toby Burrows

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Payments Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 3.10% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

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”.

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 buyer’s premiums and any additional fees charged by Deutscher and Hackett. 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 as stated. 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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conditions of auction and sale

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.

All parties are strongly urged to read the conditions of auction and sale included in this catalogue

Definitions 1.

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 (including 2% as 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. 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.

202

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: Auctions are conducted on a GST inclusive basis (where GST applies). 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 202 of the catalogue); and b. included in buyer’s premiums and 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 services rendered by Deutscher and Hackett, 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.

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.

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.

203

notes

204

CATALOGUE SUBSCRIPTION FORM Fine Art (Single issue) $45* Aboriginal Art (Single issue) $45* Annual Fine Art Auctions (3 issues – May, November, April) $120* Annual Fine Art & Aboriginal Art Auctions (4 issues – May, November, March, April) $160* Tax invoice required

Sale code Laverty III Sale number 048 The Laverty Collection Part III Contemporary Australian Art Sydney Auction Wednesday 5 April 2017, 7.00pm Lots 1 – 152 Cell Block Theatre, National Art School, Sydney Darlinghurst, New South Wales

* Price includes GST, postage and handling. Additional $10 per catalogue for international orders

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BUYER PRE-REGISTRATION FORM Please fax, email or post this completed form to: Fax: 02 9287 0611 info@deutscherandhackett.com Deutscher and Hackett 55 Oxford Street Surry Hills NSW 2010 Tel: 02 9287 0600 We must receive buyer pre-registration forms at least 24 hours prior to the auction

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Sale code Laverty III Sale number 048 The Laverty Collection Part III Contemporary Australian Art Sydney Auction Wednesday 5 April 2017, 7.00pm Lots 1 â&#x20AC;&#x201C; 152 Cell Block Theatre, National Art School, Sydney Darlinghurst, New South Wales

Please fax deposit details to: F 02 9287 0611

206

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Cover Bid*

1. 2.

Please fax, email or post this completed form to:

F 02 9287 0611 info@deutscherandhackett.com Deutscher and Hackett 55 Oxford Street Surry Hills NSW 2010 T 02 9287 0600

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

5. 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

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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.

207

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Sale code Laverty III Sale number 048 The Laverty Collection Part III Contemporary Australian Art

Signature (required)

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MAXIMUM Bid*

1. 2. 3.

Sydney Auction Wednesday 5 April 2017, 7.00pm Lots 1 – 152 Cell Block Theatre, National Art School, Sydney Darlinghurst, New South Wales

4. 5. 6. 7. 8. 9. 10.

Please fax, email or post this completed form to: F 02 9287 0611 info@deutscherandhackett.com Deutscher and Hackett 55 Oxford Street Surry Hills NSW 2010 T 02 9287 0600 We must receive buyer pre-registration forms at least 24 hours prior to the auction

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

208

Internal use only Received by

Date

Time

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.

209 kwp!JAN10153

This major exhibition surveys contemporary art by Aboriginal and Torres Strait Islander artists from across the country. 2017 marks the 50th anniversary of the referendum granting Indigenous peoples the right to be counted as Australian.

26 May â&#x20AC;&#x201C; 10 September nga.gov.au | FREE

Archie Moore Aboriginal anarchy 2012 (detail), layered synthetic polymer paint, National Gallery of Australia, purchased 2013.ÂŠ Archie Moore

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Matthew Bird DORMITORIUM 5 March â&#x20AC;&#x201C; 9 July 2017

Sarcophagus 2016. Installation realised by architect Matthew Bird (Studiobird) with integrated film produced in Blairgowrie with Lillian Steiner (performance artist), James Wright (cinematographer) and JD Franzke (composer). Photography by Peter Bennetts. First exhibited in the Venice Architecture Biennale, 2016.

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everyone hasahistory partoneplainspeak artgallerywa 25februaryâ&#x20AC;&#x201C; 13august2017 partofpiaf Presented as part of the Perth International Arts Festival

Principal Partner

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ATSIC Digitisation Partner

Not As The Songs of Other Lands

19th Century Australian and American Landscape Painting

14 March to 11 June 2017

Symposium 6–8 April

Image: Fitz Henry Lane, Gloucester Harbor (detail) 1856 oil on canvas Courtesy of the Terra Foundation for American Art, Daniel J Terra Collection

The Ian Potter Museum of Art, the University of Melbourne Swanston Street, Parkville VIC 3010 Tues–Fri 10am–5pm, Sat & Sun 12–5pm www.art-museum.unimelb.edu.au Not As The Songs of Other Lands is presented in partnership with the Terra Foundation for American Art and the Russell and Mab Grimwade Miegunyah Fund

213

214

Immerse yourself in songlines â&#x20AC;&#x201D; the Indigenous way of holding culture and telling stories written in the land. This Indigenous-led exhibition tracks the epic Seven Sisters Tjukurrpa (Dreaming) across the Western and Central deserts, and features a state-of-the-art 6-metre dome where you can experience the virtual reality of songlines. Supported by

ON SHOW IN SEPTEMBER Photos: Sarah Kenderdine, Peter Morse and Paul Bourke and Seven Sisters rock art permission of Cave Hill Traditional Owners

215

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Joan Ross, Colonial Grab (still) (detail), 2014, Animator: Josh Raymond, single channel digital video animation, colour, sound, 7:32 min, Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2015, image courtesy the artist and Michael Reid Gallery © the artist

MCA COLLECTION: TODAY TOMORROW YESTERDAY

Lose yourself in the Museum of Contemporary Art Australia’s new exhibition, Today Tomorrow Yesterday, which is drawn entirely from the MCA’s Collection. Including work by more than forty Australian artists from the 1960s to the present, recent acquisitions and a number of new commissions, Today Tomorrow Yesterday tells the story of the ever-evolving nature of contemporary art.

–Now showing

Collection partner

mca.com.au

10am–5pm Daily, 10am–9pm Wednesday

FREE ENTRY

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PAPUNYA TULA ARTISTS EXHIBITIONS – 2017 Utopia Art Sydney 6 May - 27 May, 2017 72 Henderson Road Alexandria, NSW, 2015 +61 2 699 2900 www.utopiaartsydney.com.au Paul Johnstone Gallery, Darwin 11 August – 22 September, 2017 2/2 Harriet Place Darwin NT 0801 +61 8 8941 2220 www.pauljohnstonegallery.com.au Papunya Tula Artists, Alice Springs 8 September - 22 September, 2017 63 Todd Mall, Alice Springs +61 8 8952 4731 www.papunyatula.com.au ReDot Fine Art Gallery 8 November - 2 December, 2017 Singapore +65 6222 1039 www.redotgallery.com

Willy Tjungurrayi Tingari Men at Walukirritji, 2016 acrylic on Belgian linen 153.0 x 122.0 cm

G A L L E RY

BROOK ANDREW: THE RIGHT TO OFFEND IS SACRED 3 MARCH – 4 JUNE 2017 THE IAN POTTER CENTRE: NGV AUSTRALIA FEDERATION SQUARE Brook Andrew The right to offend is sacred 2009 from the Danger of Authority series 2009; Collection of the artist; © Brook Andrew, courtesy of the artist; Tolarno Galleries, Melbourne; Galerie Nathalie Obadia, Paris and Brussels; and Roslyn Oxley9 Gallery, Sydney

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

NGV.MELBOURNE

219

220

consigning now

WILLIAM ROBINSON Morning Tallanbanna, 1998 oil on linen 137.0 x 183.0 cm EST: $180,000 – 240,000 SOLD $402,600 (inc. BP) Sydney, September 2016

important australian + international fine art AUCTION

•

10 MAY 2017

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

221

index BARAGURRA, MARGARET

MACPHERSON, ROBERT

ROGERS, WALKA MOLLY

102

BEDFORD, PADDY NYUNKUNY 6, 7, 8, 9

MARIKA, MAWALAN

129

STEVENS, KEITH

BERTHOT, JAKE

117

MARIKA, MAWALAN 2

127

SURPRISE, WAKARTU CORY

150, 151

MAWURNDJUL, JOHN

4, 5

TAYLOR, MICHAEL

12, 113, 124, 125

THOMAS, PHYLLIS

86, 87

BILLABONG, WILLY BONSON, SAMSON

BOOTH, PETER

32, 33, 34, 35, 36

MAYMURU-WHITE, NAMINAPU MCKENNA, NOEL

BRUMBY, SANDY

MOFFATT, TRACEY

CAMPBELL, JON

MOKO, DONALD

58, 59

MORRISON, JAMES

CHEREL, JANANGGOO BUTCHER

47, 48, 103, 104

CHUGUNA, JUKUNA MONA

COOK, TIMOTHY

79, 80

MUNYARRYUN, MATHULU

THOMAS JOONGOORRA, BILLY

TIMMS, FREDDIE

128

NAMIRRKKI, IVAN

131

NAMPITJIN, EUBENA

15, 17, 52, 137

ELLAGA, BARNEY

140

NAMUNJDJA, SAMUEL

FIRTH-SMITH, JOHN

119

NAPANANGKA, LUCY YUKENBARRI 95

GABORI, MIRDIDINGKINGATHI JUWARNDA SALLY

GASCOIGNE, ROSALIE

130

NAPANANGKA, MAKINTI

100

THOMAS (JOOLAMA), ROVER

106

83, 148, 149 85

TJAKAMARRA, BRIAN MUDGEDELL 147 TJAKAMARRA, FRED

91, 138

TJAKAMARRA, JOHN LEE

146

TJAMPITJIN, SAM

TJAPANANGKA, TJUMPO

91, 92, 136

TJAPANGARTI, NYILYARI

134

TJAPANGARTI, WIMMITJI

GEORGE, ANGELINA

141

NAPANANGKA, NANCY NANINURRA 93

GUDABI, WILLIE

143

NAPANANGKA, WALANGKURA 45, 133

TOMESCU, AIDA

20, 21, 77, 78

NAPANANGKA, WALANGKURA JACKSON 132

UPWARD, PETER

VICKERY, JOHN

NAPURRURLA, LORNA FENCER

WALBIDI, DANIEL

GUMANA, GAWIRRIN HERMANNSBURG POTTERS HIRSCHMANN, ROBERT

152 118

HUDDLESTON, GERTIE

142

KANTILLA, KITTY

13, 81

KEN, LUCY

KEN, RAY

135

KING-SMITH, LEAH

105

KLIPPEL, ROBERT 63, 64, 65, 73, 109, 110, 111, 121, 122, 123 KNGWARREYE, EMILY KAME KOVACS, ILDIKO KURODA, AKI LARTER, RICHARD LUC, PHAM

222

11, 12

69, 70, 71, 107, 108 116 30, 31, 67, 68 120

51, 144, 145

NIXON, IVY JANYKA

101

NUNGURRAYI, ELIZABETH NYUMI

16, 18

NUNGURRAYI, MUNTJA

NUNJUN, NYANJARN CHARLIE

NUNGURRAYI, NAATA

PARK, YOUNG-HA

114, 115

PETERS, RUSTY

PLATE, CARL

RAMSEY, RAMMEY ROBINSON, WILLIAM

88 22, 23, 55, 56, 57

TJAPANGATI, JOHN MOSQUITO

139

WANAMBI, BOLINY

WANAMBI, RALWURRANDJI

126

WARLAPINNI, TARACARIJIMO FREDA 82 WATKINS, DICK

27, 28, 72, 76

WEAVER, LOUISE WEBOU, KALAJU ALMA WHISSON, KEN

60 2, 3 25, 26, 66

WIRRPANDA, WUYAL

WOLFHAGEN, PHILIP

WUNUNGMURRA, DJIRRIRRA

YANKARR, PAJI HONEYCHILD

97, 98

Lot 52

Lot 2

Lot 53

Lot 3

Lot 54

Lot 4

Lot 58

Lot 5

Lot 59

Lot 107 © courtesy of Ildiko Kovacs, Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide

Lot 6

Lot 7

Lot 60

Lot 8

Lot 9

Lot 61

Lot 10

Lot 63

Lot 11

Lot 64

Lot 12

Lot 65

Lot 13

Lot 67

Lot 14

Lot 68

Lot 15

Lot 17

Lot 16

Lot 69

Lot 18

Lot 20

Lot 19

Lot 70

Lot 21

Lot 27

Lot 71

Lot 28

Lot 72

Lot 30

Lot 73

Lot 31

Lot 74

Lot 32

Lot 75

Lot 33

Lot 76

Lot 34

Lot 77

Lot 35

Lot 78

Lot 36

Lot 79

Lot 37

Lot 80

Lot 38

Lot 81

Lot 82

Lot 39

Lot 83

Lot 40

Lot 84

Lot 85

Lot 41

Lot 88

Lot 89

Lot 42

Lot 90

Lot 43

Lot 92

RESALE ROYALTY

Lot 93

Lot 44

Lot 94

Lot 45

Lot 95

Lot 46

Lot 97

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

Lot 47

Lot 98

Lot 48

Lot 99

Lot 49

Lot 50

Lot 51

Lot 100 © reproduced with the permission of VISCOPY Ltd Lot 101 © reproduced with the permission of VISCOPY Ltd Lot 103 © reproduced with the permission of VISCOPY Ltd Lot 104 © reproduced with the permission of VISCOPY Ltd

Lot 108 © courtesy of Ildiko Kovacs, Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide Lot 109 © reproduced with the permission of VISCOPY Ltd Lot 110 © reproduced with the permission of VISCOPY Ltd Lot 111 © reproduced with the permission of VISCOPY Ltd Lot 117 © Estate of Jake Berthot Lot 121 © reproduced with the permission of VISCOPY Ltd

Lot 130 © reproduced with the permission of VISCOPY Ltd Lot 132 © reproduced with the permission of VISCOPY Ltd Lot 133 © reproduced with the permission of VISCOPY Ltd Lot 135 © reproduced with the permission of VISCOPY Ltd Lot 136 © reproduced with the permission of VISCOPY Ltd Lot 137 © reproduced with the permission of VISCOPY Ltd Lot 138 © reproduced with the permission of VISCOPY Ltd Lot 139 © reproduced with the permission of VISCOPY Ltd Lot 140 © reproduced with the permission of VISCOPY Ltd Lot 144 © reproduced with the permission of VISCOPY Ltd Lot 145 © reproduced with the permission of VISCOPY Ltd Lot 146 © reproduced with the permission of VISCOPY Ltd Lot 147 © reproduced with the permission of VISCOPY Ltd Lot 148 © courtesy of The Estate of Billy Thomas Lot 149 © courtesy of The Estate of Billy Thomas Lot 150 © reproduced with the permission of VISCOPY Ltd Lot 151 © reproduced with the permission of VISCOPY Ltd Lot 152 © reproduced with the permission of VISCOPY Ltd

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