Fine Art by Leonard Joel

FINE ART AUCTION TUESDAY 26 NOVEMBER 2019, MELBOURNE

AUCTION CATALOGUE VOLUME 12 ISSUE 20

Front Cover 21 ARTHUR STREETON (1867-1943) Valley of Sir Richard Arkwright 1911 (detail) oil on canvas 51 x 75cm $70,000-90,000

Inside Cover 44 JOHN BAIRD (born 1954) Invitation 2004 (detail) oil on board 91 x 160cm $3,000-5,000

leonardjoel.com.au

59 (detail) 32 Â© Charles Blackman /Copyright Agency 2019 2

FINE ART AUCTION TUESDAY 26 NOVEMBER 2019 AT 6.30PM, MELBOURNE

VIEWING Sydney Friday 8 - Sunday 10 November, 10am-4pm The Bond, 36-40 Queen Street, Woollahra NSW 2025

Melbourne Wednesday 20 November, 9am- 8pm Thursday 21 - Sunday 24 November 10am-4pm Monday by Appointment Only 333 Malvern Road, South Yarra VIC 3141

CONTACT

Olivia Fuller

Lucy Foster

Jane Messenger

Head of Art 03 8825 5624 olivia.fuller@leonardjoel.com.au

Art Specialist 03 8825 5609 lucy.foster@leonardjoel.com.au

Art Specialist 02 9362 9045 jane.messenger@leonardjoel.com.au

leonardjoel.com.au 3

23 (detail) 4

Timeless Australian Painters: an Enduring Legacy The fin-de-siècle brought about rapid expansion and with it the search for a

same family collection for 105 years, this painting once again has the opportunity

new identity for Australia. Our November Fine Art auction brings together a

to be exhibited in the public eye.

curated selection of some of Australia’s most recognised artists of this period, to highlight their search for a new artistic identity in a time of national evolution

Whilst many artists of the early 1900s turned to the landscape for inspiration,

that continued into the twentieth century.

Norman Lindsay chose to devote his art to the figural. His approach was slightly more Bohemian, concocting a fantasy world filled with erotic beauties, devils

For many, inspiration was sought elsewhere - Rupert Bunny travelled to France (lot

and demons. His sumptuous nudes, though masterpieces of sensual beauty,

4) and Frederick McCubbin to England (lot 26). Lot 22 by Tom Roberts represents

were highly controversial for the time. Lot 23 The Lute Player c.1924 portrays the

his earlier experimentations with chiaroscuro and academic rendering of three-

central nude, as modelled by Lindsay’s second wife Rose, victoriously stealing

dimensionality. By 1883, Roberts too made the venture abroad and, whilst in

the attention of the lute player in the lower right, further highlighting the contest

Spain, learnt of the principles of Impressionism and plein-air painting. Roberts

between the senses of sight (her beauty) and sound (the lute). Lindsay’s mastery

brought these new concepts back to Australia with him.

of the brush is on full show in this grand composition, as also in lot 24, The Curtain, a theatrical watercolour by the artist. Here he focuses on the art of

In Victoria, we then saw the formation of the Heidelberg Impressionist Painters, as

presentation, the female figure revealed from behind the curtain to the imagined

they are now commonly known, which included Arthur Streeton, Walter Withers,

audience’s delight. As with many of Lindsay’s works, we, the viewer, feel invited

Frederick McCubbin, and of course Tom Roberts himself. This Heidelberg

into the scene, seduced by the characters and intrigued by the scene transpiring

school, a term coined by the critic Sidney Dickinson, gave great focus to the

before us.

Australian landscape - the juxtaposition of its rich beauty and opportunity, yet harsh habitability which lasted long after the artists left residence there.

And so as we come to the end of Leonard Joel’s own centenary year, our November Fine Art auction looks to these great artists of the past one hundred

One of the most significant artist expeditions however was for Arthur Streeton,

years and beyond who have not only contributed significantly to the history of

driven by the allure of European Impressionism. By the early 1900s, Streeton had

Australian art, but also to the history of Leonard Joel and the many memorable

switched to a round brush with a looser and thicker stroke. Brush in hand, he

works of art it has presented.

ventured to the East Midlands in 1911, producing two significant depictions of Cromford – the home of Sir Richard Arkwright. The larger of the two landscapes,

We look forward once again to seeing you at our viewings and auction.

Arkwright’s Valley, Derbyshire 1911, is now part of the National Gallery of Victoria’s collection. The smaller landscape, Valley of Sir Richard Arkwright 1911,

Olivia Fuller

lot 21, graces our front cover and leads our November auction. Remaining in the

Head of Art

1 ROLAND WAKELIN (1887-1971) Seascape 1967 oil on board signed and dated lower right: R. Wakelin/ 67 24 x 31.5cm

2 ADRIAN FEINT (1894-1971) Garden Scene with Blossom Trees oil on masonite signed lower left: Adrian Feint 24 x 19cm

PROVENANCE: E. J. Ainger, Melbourne, 6 April 2014, lot 219 Private collection, Melbourne $2,800-3,800 Viewing in Sydney

PROVENANCE: Private collection, Melbourne $2,000-4,000

3 JOHN PETER RUSSELL (1858-1930) (Brighamâ&#x20AC;&#x2122;s Creek) New Zealand 1922 gouache on brown paper signed, inscribed and dated lower left: RUSSEL/ NZ 22. 25 x 32cm PROVENANCE: Joseph Brown Gallery, Melbourne c.1974 The Factor Collection, Sydney Leonard Joel, Melbourne, 29 August 2010, lot 141A Private collection, Melbourne $4,500-5,500 Viewing in Sydney

4 RUPERT BUNNY (1864-1947) Sanary Sketch I c.1925 oil on card unsigned 14.5 x 23cm

EXHIBITIONS: Macquarie Galleries, Sydney, April 1962 (label verso, signed by Mary Turner)

PROVENANCE: A. J. L. McDonnell, Sydney Mr. and Mrs. Phillip Simpson, Sydney Caroline Simpson Collection, Sydney Private collection, Melbourne

LITERATURE: Thomas, D., The Life and Art of Rupert Bunny; A Catalogue Raisonne, Thames & Hudson, Melbourne, 2017, vol. 2, p. 78 $4,000-5,000 Viewing in Sydney

Rupert Bunny Retrospective, Newcastle City Art Gallery, 31st July - 3 September 1968, cat. no. 49

5 KENNETH MACQUEEN (1897-1960) (Grazing Amongst the Gums) watercolour and gouache on paper signed lower right: KENNETH MACQUEEN 25 x 34cm

6 ยง NORMAN LINDSAY (1879-1969) Standing Nude pencil on paper initialled lower right 41 x 22cm

7 NORMAN LINDSAY (1879-1969) Seated Nude c.1925 pencil on paper initialled lower right 30.5 x 23cm

PROVENANCE: Private collection, Western Australia $2,500-4,500

PROVENANCE: Lawson~Menzies, Sydney, 23 February 2011, lot 316 Tiffany Jones Fine Art, Queensland (label verso) Private collection, Queensland $2,500-3,000

PROVENANCE: The Bloomfield Galleries (certificate of authenticity verso, signed by Lin Bloomfield) Bonhams & Goodman, Sydney, 20 September 2009, lot 32 Tiffany Jones Fine Art, Queensland (label verso) Private collection, Queensland $2,000-3,000

8 RAH FIZELLE (1891-1964) Work Boats, Dawes Point, Sydney Harbour watercolour on paper signed lower right: R. Fizelle 29 x 38.5cm

9 ROBERT TAYLOR GHEE (1869-1951) Flinders Street Station from South Wharf oil on canvas signed twice lower left: R. Taylor-Ghee 59.5 x 45cm

PROVENANCE: Shapiro Auctioneers, Sydney, 30 April 2015, lot 136 Private collection, Melbourne $1,200-1,800

PROVENANCE: Private collection, Melbourne $3,000-5,000

10 ALBERT HENRY FULLWOOD (1863-1940) The Port of Flushing 1913 oil on canvas on board initialled and dated lower right: AHF / 13 titled verso 43 x 55cm PROVENANCE: Christieâ&#x20AC;&#x2122;s, Melbourne, 28 April 1976, lot 432 Private collection, Melbourne Deutscher and Hackett, Sydney, 13 September 2016, lot 74 Private collection, Melbourne $3,500-4,500

11 ยง WILL ASHTON (1881-1963) Sydney oil on canvas signed and inscribed lower right: Will ASHTON / SYDNEY 61 x 77 cm PROVENANCE: Private collection, Sydney Thence by descent Lawson~Menzies, Sydney, 15 November 2012, lot 257 Private collection, Queensland $3,000-5,000

12 J.H. SCHELTEMA (1861-1941) Timberyard oil on canvas signed lower right: J.H. Scheltema 51 x 76cm

13 W.D. KNOX (1880-1954) Homestead at Eltham oil on canvas unsigned 51 x 61cm

PROVENANCE: Private collection, Melbourne $7,000-9,000

PROVENANCE: Deutscher Fine Art, Melbourne Private collection, Sydney Bonhams, Sydney, 6 June 2017, lot 56 Private collection, Melbourne LITERATURE: A Very Private Collection, S.H. Ervin Gallery, National Trust Centre, Sydney, 15 June - 15 July 1990, cat. no. 31 $3,000-5,000

14 ROBERT TAYLOR GHEE (1869-1951) Blossom Tree oil on board signed lower right: R. Taylor-Ghee signed upper right: R Taylor Ghee 30 x 39cm PROVENANCE: Private collection, Melbourne $1,500-2,500 15 MAX MELDRUM (1875-1955) Le Pres de Champagne c.1910 oil on canvas signed lower left: M Meldrum titled on stretcher bar verso 54 x 64cm

PROVENANCE: E.R. Trenchard, Melbourne Thence by descent to R. Trenchard, Melbourne Deutscher Fine Art, Melbourne Adam Galleries, Melbourne Noel Martin, Melbourne Private collection, Melbourne Deutscher and Hackett, Sydney, 2 December 2015, lot 116 Private collection, Melbourne EXHIBITIONS: Paintings by Max Meldrum, Athenaeum Art Gallery, Melbourne, 22 July-2 August 1913. cat. no. 82 Nineteenth and Twentieth Century Australian Paintings, Deutscher Fine Art, Melbourne, 28 September-5 November 1978, cat. no. 25 (illus.) Max Meldrum, Adam Galleries, Melbourne, 1981, cat. no. 5

LITERATURE: Kelly, M., Capital & Country: The Federation Years 1900 – 1913, National Gallery of Australia, Canberra, 2013 “By 1910, Max Meldrum had begun to explore his own theories of painting. He had embarked on a selective study of the European realist tradition, ranging from the seventeenth-century figure compositions of Diego Velázquez to the rural landscapes of mid-nineteenth century Barbizon school painter, Camille Corot. Meldrum established a practice of painting directly from life, with a rapid application of colours and restricted tonal palette. A controversial figure owing to his fiery temper and apparently radical theories, on his return to Melbourne in 1913 Meldrum presented public lectures on these ideas and later established an Australian tonalist school of painting.” $5,000-7,000

17 Â© Ray Crooke /Copyright Agency 2019

16 HAYWARD VEAL (1913-1968) Fishing Boats Dieppe oil on canvas signed lower left: Veal titled on label verso 59 x 40cm PROVENANCE: The Piccadilly Gallery, Mayfair (label verso) Lawsons, Sydney, 25 January 2013, lot 2180 Private collection, Melbourne Leonard Joel, Melbourne, 17 June 2013, lot 7 Private collection, Melbourne $1,500-2,000

17 RAY CROOKE (1922-2015) Through The Trees, Point King Sorrento c.2006 oil on board signed lower centre: R Crooke 29 x 22cm PROVENANCE: Savill Galleries, Sydney 2006 (label verso) Private collection, Melbourne $2,500-3,500

18 ROBERT JOHNSON (1890-1964) Diamond Head, Camden Haven oil on canvas signed lower right: Robert Johnson titled on stretcher bar verso 58 x 73cm

19 ALBERT NAMATJIRA (1902-1959) Gosse’s Range and Mount Sonder watercolour on paper signed lower right: ALBERT NAMATJIRA title inscribed on gallery label verso 22.5 x 34cm

PROVENANCE: Private collection, Melbourne $2,000-4,000

PROVENANCE: Mary Corkery Artists’ Agent, Brisbane 1947 (label verso) Davidson Auctions, Sydney, 27 November 2010, lot 48 Private collection, Melbourne EXHIBITIONS: Albert Namatjira: Watercolours of Central Australia, Commercial Bank Chambers, Brisbane, 4 - 8 November 1947 $7,000-9,000

20 ARTHUR STREETON (1867-1943) Landscape (Possibly From Macedon) watercolour on paper signed lower left: A. Streeton 36 x 53 cm PROVENANCE: Peter Brae Wright Gallery, Melbourne Sedon Galleries, Melbourne (label verso) Private collection, Melbourne LITERATURE: (Possibly) Arthur Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 732 From Macedon or cat. no. 733 From Macedon $10,000-15,000 Viewing in Sydney

ARTHUR STREETON 21 ARTHUR STREETON (1867-1943) Valley of Sir Richard Arkwright 1911 oil on canvas signed lower right: A. STREETON dated lower left in original John Thallon frame (label verso) 51 x 75cm PROVENANCE: Sir Arthur Streeton Victorian Artists Society Gallery, Melbourne The Collection of Dr. J H. Kelly Thence by descent EXHIBITIONS: Mr Streeton’s Pictures, Victorian Artists Society Gallery, Melbourne, June, 1914, cat. no. 10 LITERATURE: ‘Mr Arthur Streeton’s pictures’, Leader, Melbourne, 6 June 1914, p.51 A. Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, no. 456 RELATED WORKS: Arkwright’s Valley, Derbyshire 1911, oil on canvas, 90.0 x 144.6cm, The Collection of the National Gallery of Victoria, Melbourne Arkwright Valley c.1913, lithograph, 19.9 x 31.6cm, The Collection of the Art Gallery of New South Wales, Sydney $70,000-90,000 Viewing in Sydney

In 1911, when Valley of Sir Richard Arkwright was painted, Arthur Streeton was living a charmed life in England. He had comfortable lodgings at St John’s Wood, London, he was a member of various high-ranking British and Colonial art associations and was establishing himself as an artist with international reach and reputation. During these English years, Streeton was well known for travelling and painting abroad, particularly in Venice, but he also ventured to paint locations closer to home. The search for suitable subject matter took him to the English counties, where he often painted in the company of newly made friends or as a guest of wealthy art patrons. Although we do not know precisely why Streeton ventured to the East Midlands in 1911, he would have been attracted to the area’s beautiful valleys, meandering streams, broad leaf foliage and rocky outcrops and peaks. Known as the birthplace of the world’s first water-powered cotton mills, the purpose-built industrial town of Cromford was both a thriving haven for visitors and the home of the mill’s founder Sir Richard Arkwright (1755-1843) and his family. Streeton’s 1935 catalogue of oil paintings for 1911 show that he found several subjects of interest within a short distance of the village. Two hill and cloud studies are listed, as is our painting, Valley of Sir Richard Arkwright. A well-known companion picture Arkwright’s Valley was later acquired by the National Gallery of Victoria. A comparison between the two Arkwright Valley works reveal much about Streeton’s working methods and his painterly response to nature.

RELATED WORK: Arkwright’s Valley, Derbyshire (1911) in the collection of the National Gallery of Victoria

Valley of Sir Richard Arkwright is a delightfully fresh en plein air work. Still in its original Thallon frame, it has been tightly held in the same Australian family’s collection for over 105 years. The subject matter is a typically bucolic English landscape. The view possibly takes in The Black Rocks or alternatively, the natural grit or sandstone quarries that abounded in this area. Streeton conveys the feeling of English light and the dominant colours of the local landscape but he also deftly captures transitory, atmospheric effects. Dark clouds and a passing squall are sensitively rendered, contrasting with hillsides and pasture that are illuminated by the warming rays of the sun. Streeton’s style of painting had developed and matured during his time in England. Broad strokes and thick impastos of paint are applied liberally across the surface in both paintings, while the colours have changed to russet brown, creams and multiple hues of yellow and green. The primary difference is that the atmospheric effects he observed in Valley of Sir Richard Arkwright have been transformed in the studio painting into a rainbow; landmarks have become more refined in style and small details have been added.1 Both the Derbyshire paintings were brought back to Australia when Streeton returned in April 1914. Valley of Sir Richard Arkwright was exhibited at the Victorian Artists Society, Eastern Hill, two months later in June. A contemporary critic referred to the exhibition as ‘magical’ and that ‘the romantic spots of historic England are a favourite motif’.2 The Arkwright Valley paintings were highly valued by Streeton. In c.1913 he had a lithograph made of the same subject3 and exhibited it along with five other English and Venetian scenes in London. Valley of Sir Richard Arkwright was sold privately; however, Streeton kept the larger picture until 1940, when it was included in a farewell exhibition. 1. A sign of Streeton’s artistic license in Arkwright’s Valley, Derbyshire can also be gauged by letter writers who commented on how Streeton had changed the natural order of the colours of the rainbow. Argus, 22 May 1940, p.9 2. Leader, 6 June 1914, p.51 3. An edition of which is in the collection of the Art Gallery of New South Wales, Sydney.

RODNEY JAMES BA (Hons) MA

22 TOM ROBERTS (1856-1931) Still Life with Game c.1880s oil on canvas laid on panel signed lower left: TOM ROBERTS 19.5 x 38.5cm PROVENANCE: Private collection, Melbourne RELATED WORKS: Still Life with Pomegranates c.1883, oil on canvas mounted on board, 31 x 64.5cm, Private collection, Exhibited at the National Gallery of Australia, Canberra 2015-16 Still Life with Pomegranates was originally owned by Fanny Burchill (Robertsâ&#x20AC;&#x2122; sister-in-law) who stated that it was a school work he painted whilst in London. Still Life with Game displays a similar academic emphasis on chiaroscuro and rendering of threedimensionality. $10,000-20,000 Viewing in Sydney

NORMAN LINDSAY 23 NORMAN LINDSAY (1879-1969) The Lute Player c.1924 oil on canvas signed lower left: NORMAN LINDSAY 92 x 100.5cm PROVENANCE: Estate of the artist, Faulconbridge, New South Wales Thence by descent Private collection, Sydney Deutscher and Hackett, Sydney, 10 May 2017, lot 28 Private collection, Melbourne Estate of the above.

LITERATURE: Bloomfield, L., Norman Lindsay Oil Paintings 1889 - 1969, Odana Editions, New South Wales, 2006, pp.54 - 55 (illus.) RELATED WORKS: The Lute Player - Preliminary sketch for the oil painting, c.1924, pencil on paper, 18 x 21.5cm, in the collection of the National Gallery of Australia, Canberra $120,000-160,000 Viewing in Sydney

EXHIBITIONS: On long term loan to the Norman Lindsay Gallery Springwood, Faulconbridge, New South Wales

The Lute Player, c.1924 is among the finest of Norman Lindsay’s oil paintings. A masterpiece of sensual beauty, it evokes the grandeur of a Titian nude. The pose recalls in part the Venetian master’s Venus with Cupid and a Lute Player of about 1562 in the collection of the Metropolitan Museum of Art, New York.1 And other Renaissance references abound in and through the presence of the lute, that long necked and full bodied instrument so favoured for secular music in those earlier times. Even Shakespeare was given to admiration when he gave Richard III the words of capering ‘…nimbly in a lady’s chamber to the lascivious pleasing of a lute’.2 Through the gifted hands of Lindsay, boldness is transformed into elegance, as the play of light on abundant flesh captures the eye, arousing the tactile senses and delighting in the amorous curves and gentle angles of the body. Grand in composition and painterly appeal, the indolence of gesture is effectively contrasted against the glistening fabrics. Scholars debate a Neoplatonic interpretation of Titian’s several paintings of Venus accompanied by a musical instrument and its player, of the contest between the senses of sight and hearing as better suited to the appreciation of love. In his painting The Lute Player, Lindsay declares the victory of sight through the lute laid aside for the veneration of visual beauty, the player in supplicant position and admiration. Lindsay’s model is Rose, his wife and his Venus, posing for the central figure as well as the two ladies on either side. Three photographs are known of Rose posing, and the National Gallery of Australia, Canberra, has the composition drawing.3 Dark-haired Rose (1885 – 1978), was Lindsay’s second wife, a beauty of face and figure. As his most popular model, she appeared in his art for over twenty-five years. ‘Distinguished by her fine, pale skin, deep-set almond eyes, rosebud lips and luscious dark hair, Rose was an artist’s model par excellence.’ 4 Before Lindsay, she had modeled for many of his artist-contemporaries including Julian Ashton, who introduced her to Lindsay, Sydney Long, Dattilo Rubo and Harold Cazneaux. Dry of wit and vivacious of temperament and appearance, who could resist her? Here crowned with a wig of blonde hair, in The Lute Player her presence is commanding, sovereign of visual beauty, celebrated and admired. As the musician casts aside his lute to bend his knee in honour of beauty, all are engaged in a conversation of gestures of indulgent invitation in a triumph of visual seduction. In 2015 The Lute Player was the centre of attention at the Norman Lindsay Gallery and Museum, at Faulconbridge in the Blue Mountains, when Andrew Byrne, one of Australia’s leading exponents of the lute gave an evening recital in its presence. It shares its magnificence with another brilliant oil, Court to Peacocks, c.1924, painted to hang in Lindsay’s living room. Douglas Stewart once wrote excitedly of Lindsay: ‘He paints women as if they were goddesses’.5 With most of Lindsay’s major oils now in public galleries and museums, The Lute Player offers a rare opportunity for the discerning to enrich their collection. 1. Another version is in the Fitzwilliam Museum, Cambridge, UK 2. Shakespeare, W., Richard III, Act 1, Scene 1 3. Bloomfield, op. cit., p. 54 4. Carden-Coyne, A., ‘Lindsay, Rose’, Australian Dictionary of Biography, Supplementary Volume, Melbourne University Press, 2005

5. Stewart, D., The Flesh and the Spirit: an outlook on literature, Angus and Robertson, Sydney, 1948, p. 277 DAVID THOMAS

NORMAN LINDSAY 24 NORMAN LINDSAY (1879-1969) The Curtain 1921 watercolour on paper signed lower left: NORMAN LINDSAY 65.5 x 51.5cm PROVENANCE: Estate of the artist, Faulconbridge, New South Wales Rose Lindsay, New South Wales Thence by descent Private collection, Sydney Deutscher and Hackett, Sydney, 10 May 2017, lot 29 Private collection, Melbourne Estate of the above. EXHIBITIONS: On long term loan to the Norman Lindsay Gallery Springwood, Faulconbridge, New South Wales LITERATURE: Bloomfield, L., Norman Lindsay: Watercolours 1897 - 1969, Odana Editions, Bungendore, New South Wales, 2003, pp. 62 - 63 (illus.) RELATED WORKS: The Curtain, 1921, pencil on paper, 53 x 48 cm, Bloomfield, L., Norman Lindsay: Impulse to Draw, Bay Books, Sydney, 1984, p.188 (illus.) $30,000-40,000 Viewing in Sydney

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

25 GEORGE PEACOCK (1806-c.1890) Heads of Port Jackson, NSW 1852 oil on board signed lower left: G.E. Peacock signed, dated and titled verso: Heads of Port Jackson/ looking out/ G E Peacock 1852 16 x 21cm PROVENANCE: The Late Dowager Countess of Harewood (formally known as Bambi Smith) Thence by descent Private collection, Melbourne

OTHER NOTES: The Australian-born Patricia Harewood, née Tuckwell (1926-2018), was the widow of the Queen’s first cousin, George Lascelles, the Seventh Earl of Harewood (1923-2011), whom she married in 1967. Born in Melbourne, she went on to study at the Sydney Conservatorium of Music and played in the first violins of the Sydney Symphony. In the late 1940s, she married the photographer Athol Smith (1914-1990), and became a successful fashion model, starting a model college under her professional name, Bambi Smith. In the late 1950s she moved to England where she resided in Harewood House. It is at this property where the painting hung for more than half a century on the wall above her desk in the sitting room in the private apartments. $18,000-22,000 Viewing in Sydney

George Edwards Peacock, a solicitor by profession, arrived in Sydney aboard the Prince George on 8 May 1837, transported from Yorkshire for defrauding his brother. Seeking social grace through painting, he became known for his images of Sydney harbour, which he created from c.1844-1857. As seen in Heads of Port Jackson, NSW 1852 Peacock’s oils were generally small and atmospheric, renowned for their idyllic beauty. Port Jackson was a crucial entry point for marine traffic and played a key role in the history and development of Sydney. Given Peacock’s education and professional background, he was instantly assigned to work as a meteorological recorder at the South Head weather station. It was here that he took a liking to the sea’s temperaments and developing landscape surrounding the shoreline. In this painting Peacock references the harsh and rapidly changing conditions of the sea. With aggressive rocks, stormy sky and grey palette, Peacock empathises with the boatmen in their somewhat flimsy rowing boat, using nothing more than their paddles to reach land.

26 FREDERICK MCCUBBIN (1855-1917) Church, Gimingham c.1907 oil on panel signed lower right: F McCubbin 24 x 34cm

27 J.A. TURNER (1850-1908) Workmen Mustering the Sheep 1902 oil on canvas signed and dated lower left: J.A Turner/1902 41 x 61cm

28 RAY CROOKE (1922-2015) Queensland Landscape oil on canvasboard signed lower left: R. Crooke 90 x 121cm

PROVENANCE: Davidson Auctions, Sydney, 5 June 2010, lot 20 as ‘View of a Stone Church’ Private collection, Melbourne

PROVENANCE: Private collection, Melbourne $12,000-18,000

PROVENANCE: Private collection, Melbourne $6,000-8,000

EXHIBITIONS: Frederick McCubbin, Guild Hall, Melbourne, 15 May 1908 – 30 May 1908, cat. no. 52, as ‘Church, Gingingham’ [sic] $12,000-16,000 Viewing in Sydney

29 © John Perceval /Copyright Agency 2019

29 JOHN PERCEVAL (1923-2000) (The Bridge at Gardiners Creek) c.1946 oil on canvas on board 41.5 x 51.5cm PROVENANCE: Dorothy de Burgh Perceval A gift from the above to Brenda Bradley c.1962 (hand written note from Brenda affixed verso, dated 4 Dec 1987) Christie’s, Sydney, 30 November 2004, lot 78 Private collection, Melbourne $12,000-18,000 Viewing in Sydney

30 DAVID BOYD (1924-2011) Presentation of the Angel’s Wings 1973 oil on canvas signed lower left: David Boyd dated lower right 118 x 58.5cm PROVENANCE: Tiffany Jones Fine Art, Queensland 2002 Private collection, Tasmania $25,000-30,000 30 © David Boyd /Copyright Agency 2019

35 © Arthur Boyd /Copyright Agency 2019

31 ROBERT DICKERSON (1924-2015) Untitled Portrait pastel on paper signed lower right: DICKERSON 39 x 29.5cm PROVENANCE: Private collection, Melbourne $3,000-5,000 32 CHARLES BLACKMAN (1928-2018) Madonna c.1982 oil and ceramic on board signed lower right: BLACKMAN 85.5 x 69.5cm PROVENANCE: Art Galleries Schubert, Queensland Private collection, Melbourne OTHER NOTES: Charles’ second wife, Genevieve de Couvreur assisted him with the crafting of the ceramic. $15,000-20,000 26

33 MIRKA MORA (1928-2018) (The Angel’s Embrace) 1961 mixed media on paper signed and dated lower right, partially concealed: Mirka/ 61 51.5 x 34cm PROVENANCE: Private collection, Melbourne $3,000-5,000 34 JAMES GLEESON (1915-2008) Untitled oil on board signed lower right: GLEESON 15 x 12.5cm PROVENANCE: Private collection, Adelaide $2,000-3,000

35 ARTHUR BOYD (1920-1999) Nebuchadnezzar on Fire Fallen on A Field c.1966 oil on canvas signed lower right: arthur Boyd accompanied by a specially bound edition of Boyd, A., Nebuchadnezzar, text by T. S. R. Boase, edition 5/30, Thames and Hudson, London, 1972 (signed by the artist and author, photograph of the work inside, in original box) 20 x 24.5cm PROVENANCE: Private collection, Sydney Private collection, Melbourne $26,000-36,000 Viewing in Sydney

36 JOHN OLSEN (born 1928) The Grange 1969 charcoal on paper signed, titled and dated lower right: John Olsen / The Grange / 1969 80 x 60cm PROVENANCE: Gift of the artist Thence by descent Private collection, Tasmania $3,000-5,000 37 ROY DE MAISTRE (1894-1968) (Biblical Scene) c.1958 tempera and gold leaf on wood panel signed lower right: R de Maistre artist’s name inscribed on frame verso unknown gallery labels verso 27.5 x 20.5cm PROVENANCE: The Collection of Carmel and Harry Crock AO, Melbourne $9,000-12,000 Viewing in Sydney 38 JOHN COBURN (1925-2006) The Crucifixion 1959 oil on composition board signed and dated lower left: Coburn 59 titled and dated verso 213 x 122cm PROVENANCE: Gift of the artist 1962 Private collection, Sydney Sotheby’s, Melbourne, 29 October 2014, lot 150 Private collection, Melbourne EXHIBITIONS: The Blake Prize for Religious Art, Mark Foy’s Art Gallery, Sydney, February 1959, cat. no.159 (label verso)

LITERATURE: Rozen, A., The Art of John Coburn, Ure Smith, Sydney, 1979, p. 40, plate 6 Amadio, N., John Coburn: Paintings, Craftsman House, Sydney, 1988, pp. 34, 35 (illus.), 195 Klepac, L., John Coburn: The Spirit of Colour, The Beagle Press, Sydney, 2003, plate 29, pp. 49 (illus.), 213 $35,000-45,000

42 Â© Robert Jacks /Copyright Agency 2019

38A ROBERT DICKERSON (1924-2015) The Jockey and Owners pastel and charcoal on paper signed lower right: DICKERSON 36 x 52.5cm PROVENANCE: Lawsons, Sydney, 25 July 2000, lot 88 Private collection, Sydney $5,500-7,500 39 ROGER KEMP (1908-1987) Untitled oil on masonite unsigned 55 x 70cm PROVENANCE: Private collection, Canberra $4,000-6,000 40 PETER UPWARD (1932-1984) Abstract 1959 mixed media on card signed and dated lower left: Upward 59 37.5 x 55cm PROVENANCE: Private collection, Melbourne $5,000-7,000 41 HELEN MAUDSLEY (born 1927) The Imprint of What Was Once There 1996 oil on canvas laid on plywood signed lower right: H. Maudsley dated lower left titled verso 32.5 x 30cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Helen Maudsley: Paintings and Drawings 1995 -1996, Deutscher Fine Art, September, 1996, cat no. 7 $1,500-2,500 42 ROBERT JACKS (1943 - 2014) Rendering Visible 1987 oil on canvas signed and dated verso: Robert / Jacks / 1987 121 x 201cm PROVENANCE: Corporate collection, Sydney $8,000-12,000

43 PETER BOOTH (born 1940) Figures in Empty Landscape 1989 wax crayon and casein unsigned artists name and title inscribed on label verso 20 x 35cm

44 JOHN BAIRD (born 1954) Invitation 2004 oil on board titled, signed and dated verso: INVITATION / JOHN R. BAIRD / OCT 04 91 x 160cm

46 GRAHAM FRANSELLA (born 1950) Head on Red Day 2002 oil on canvas titled, dated and signed verso: Head on / Red Day / Fransella / 2002 102 x 122cm

PROVENANCE: Robert Steele Gallery, Adelaide 1989, cat. no. 8 (label verso) Leonard Joel, Melbourne, 27 November 1996, lot 312 Private collection, Melbourne $1,500-2,500

PROVENANCE: Eastgate Gallery, Melbourne Private collection, Melbourne $3,000-5,000

PROVENANCE: Private collection, Melbourne $6,000-8,000

45 JOHN KELLY (born 1965) Dobell’s Cow 1992 oil on board signed and dated lower right: Klly [sic] 92 46 x 61cm PROVENANCE: Niagara Galleries, Melbourne 1992 Christie’s, Sydney, 30 November 2004, lot 46 Private collection, Melbourne $15,000-20,000 Viewing in Sydney

47 WILLIAM DELAFIELD COOK JNR (born 1936) Formal Garden 1970 acrylic on canvas signed and dated lower right: W. Delafield Cook 70 70.5 x 91cm PROVENANCE: Acquired directly from the artist 1976 The Collection of Carmel and Harry Crock AO, Melbourne EXHIBITIONS: Gardens of Delight, Powell Street Gallery, Melbourne, 1970 $20,000-30,000

45 © John Kelly /Copyright Agency 2019

48 GRAEME DRENDEL (born 1953) The Therapists 1998 oil on linen signed and dated lower right: DRENDEL 98 artist’s name, title and date inscribed on stretcher bar verso 85 x 85cm PROVENANCE: Australian Galleries, Sydney, cat no. 26777 (label verso) Leonard Joel, Melbourne, 18 April 2010, lot 170 Private collection, Melbourne $3,500-5,500

49 RICK AMOR (born 1948) View From The Hill of Mussels 1988 oil on canvas signed lower right: RICK AMOR titled verso 43.5 x 53.5cm PROVENANCE: Niagara Galleries, Melbourne1988 (label verso) Lawson~Menzies, Sydney, 19 May 2011, lot 15 Private collection, Melbourne EXHIBITIONS: Niagara Galleries, Melbourne, 25 May - 11 June 1988 $14,000-18,000

50 § NOEL MCKENNA (born 1956) Anglican Church, Northland 2008 oil on plywood signed, titled, and dated verso: Anglican Church/ Northland/ N. McKenna 08/ Exhibited in/ Exhibition “NORTHLAND”/ Mother’s tank station Gallery/ Dublin Ireland 2008 34 x 39.5cm PROVENANCE: Mossgreen Auctions, Melbourne, 3 May 2016, lot 57 Private collection, Melbourne $3,000-4,000

51 ROSSLYND PIGGOTT (born 1958) Nature - Morte, Italy 1995 oil and gold leaf on linen titled, signed and dated verso: NATURE - MORTE, ITALY 1995 / ROSSLYND PIGGOTT 66 x 91.5cm PROVENANCE: Sutton Gallery, Melbourne 1998 Private collection, Melbourne $7,000-9,000 52 § ANWEN KEELING (born 1971) Swathe 2014 oil on linen titled, dated and signed verso: Swathe 2014 / Anwen Keeling 102 x 152cm PROVENANCE: Liverpool Street Gallery, Sydney 2014 Private collection, Melbourne

EXHIBITIONS: The Blue Room, Liverpool Street Gallery, Sydney 5 – 31 July 2014, cat. no. 1 Keeling stages her narrative by first photographing and sketching her models in a domestic setting. Each painting’s scene in The Blue Room suite unfolds in the same blue room. The photography is integral to her working process as it captures fleeting moments of light and shadow. Keeling then skillfully employs rich pigments and layers of thin glazes to create her precise paintings. The suite of paintings in The Blue Room moves away from evoking a drama reminiscent of Hitchcock and film noir, and focuses on the atmosphere that light and shadow play in transforming the pose of the female nude. $4,000-6,000 53 TIM MAGUIRE (born 1958) Untitled, 98D80 1999 oil on linen signed, titled and dated verso: Maguire ‘99 / Untitled 98D80 60 x 119.5cm PROVENANCE: Schubert Art Galleries, Queensland (label verso) Private collection, Melbourne

OTHER NOTES: “Tim Maguire’s paintings are cinematic in scale and distinctive for their rich colouration and technical skill. Giant flowers and golden fruit resonate from ambiguous backgrounds. The work is sumptuous, romantic. Maguire uses digital photographs as source material for his oil paintings. He applies colour separation techniques – not unlike those used in commercial printing – which blur the distinction between the digital and the handcrafted.” - Tolarno Galleries: Tim Maguire $14,000-20,000 54 BILL HENSON (born 1955) Untitled 2005/2006 c-type colour photograph, ed.1/5 signed, dated, and titled lower right: ‘Untitled 2006’ Bill Henson inscribed lower left: CLSH 560 ‘FB’ N7 105 x 155cm (image) PROVENANCE: Roslyn Oxley Gallery, Sydney, cat no. 41 (label verso) Graham Geddes, Melbourne Private collection, Melbourne $18,000-25,000

55 HAZEL DOONEY (born 1978) Dangerous Career Babe: The Wrestler 2009 high gloss enamel and reflective vinyl on board signed and dated lower left: DOONEY 2009 159 x 210cm

56A KIRSTY BRUCE (born 1973) Untitled acrylic and watercolour on paper and polyester unsigned 100.5 x 39cm

58 CHRISTINE JOHNSON (born 1958) Nocturne 2001 oil on board (triptych) titled and dated verso 180 x 240cm (overall)

PROVENANCE: Private collection, Melbourne $12,000-16,000

PROVENANCE: Milani Gallery, Queensland $1,500-2,500

PROVENANCE: Private collection, Melbourne

56 § DEL KATHRYN BARTON (born 1972) Bambi Love 2000 pencil, crayon, gouache and collage on paper signed and dated centre right: del. / k. / b. / 2 / 0 / 0 / 0 76.5 x 76.5cm

57 SALLY SMART (born 1960) Silhouette Puppen #3 1998 mixed media on paper inscribed verso with artist’s name, title, and date 59 x 44.5cm

PROVENANCE: Ray Hughes Gallery, Sydney Private collection, Sydney Bonhams, Sydney, 25 November 2013, lot 112 Private collection, Melbourne $4,500-5,500

PROVENANCE: Tolarno Galleries, Melbourne c.2000 Private collection, Melbourne $1,600-2,600

EXHIBITIONS: Dark Wood to White Rose, Benalla Regional Art Gallery, and Hamilton Art Gallery, Victoria, 2004 $5,000-7,000 59 CHARLES BLACKMAN (1928-2018) Barnaby Reading c.1973 charcoal and pastel on paper signed upper right: Blackman 75 x 50cm PROVENANCE: Savill Galleries, Sydney 2002 (label verso) Private collection, Melbourne OTHER NOTES: Charles had three children with Barbara Blackman - Auguste, Christabel and Barnaby. Barnaby would have been roughly 10 years old when Charles did this portrait of him reading. $2,500-3,500

55 © Hazel Dooney 33

THE ESTATE OF LADY NOLAN LOTS 60 - 76

60 Â© The Trustees of the Sidney Nolan Trust/Bridgeman Images

60 SIDNEY NOLAN (1917-1992) Swans mixed media on paper signed lower right: Nolan 51 x 62cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Rudy Komon Gallery, Sydney (label verso, no. 4294) $2,000-4,000 Viewing in Sydney 34

61 SIDNEY NOLAN (1917-1992) Okapi c.1963 mixed media on paper on board unsigned title inscribed verso 62.5 x 51cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-4,000

62 SIDNEY NOLAN (1917-1992) Hyena c.1963 mixed media on paper signed lower right: Nolan 49.5 x 62.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Rudy Komon Gallery, Sydney (label verso, no. 4292) $2,000-4,000

63 SIDNEY NOLAN (1917-1992) Rhinoceri c.1963 mixed media on paper on board signed lower right: Nolan 62.5 x 51cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Ruby Komon Gallery, Sydney (label verso, no. 4299) Stanley-Hill Galleries, Sydney (label verso) $2,000-4,000 64 SIDNEY NOLAN (1917-1992) Squirrel 1983 mixed media on paper signed and dated lower left: Nolan/ 83 56 x 37.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000 65 SIDNEY NOLAN (1917-1992) Burke and Camel c.1966 mixed media on paper signed lower right with backwards ‘N’: Nolan 51 x 62.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-4,000 Viewing in Sydney 66 SIDNEY NOLAN (1917-1992) I Too Was in Arcadia 1983 crayon on paper titled, signed and dated below image: “I too was in Arcadia” /nolan /83 56 x 37.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000

67 SIDNEY NOLAN (1917-1992) Prometheus c.1968 mixed media on paper on board signed lower right: nolan titled verso 51 x 75cm

71 SIDNEY NOLAN (1917-1992) After Bellini 1983 crayon on paper signed, titled and dated lower right: After Bellini/ nolan/ 2 oct 83 56 x 37.5cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-4,000

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000

68 SIDNEY NOLAN (1917-1992) Rimbaud + Verlaine Precious Pair of Poets 1983 crayon on paper titled, signed and dated lower right: “Rimbaud + Verlaine /precious pair of poets” /C.A./nolan /2 oct 83 56 x 37cm

72 SIDNEY NOLAN (1917-1992) After Botticelli, Dante’s “Paradiso” 1983 crayon on paper titled, signed and dated lower right: After Botticelli / Dante’s “Paradiso”/ nolan / 2 oct 83 56 x 37.5cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000 69 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet c.1963 mixed media on paper signed lower left with backwards ‘N’: Nolan 63.5 x 51cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-4,000 70 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet c.1963 mixed media on paper signed lower left with backwards ‘N’: Nolan 63.5 x 51cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000 73 SIDNEY NOLAN (1917-1992) The Display 1963 mixed media on card dated lower right: 7.12.63 signed and dated verso: nolan/ 1963 49 x 61.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Ten Years of the Australian Ballet: Costumes and Designs, National Gallery of Victoria, Melbourne, August 25 - October 8 1972 (label verso) Rudy Komon Gallery, Sydney (label verso, no 5278) (label verso) $2,000-4,000 Viewing in Sydney

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-4,000

77 Â© David Boyd /Copyright Agency 2019

74 SIDNEY NOLAN (1917-1992) The Display II 1963 mixed media on paper signed and dated lower right: nolan/ 7.11.63 signed and dated verso: nolan/ 1963 title on gallery label verso 48 x 61cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Ten Years of the Australian Ballet: Costumes and Designs, National Gallery of Victoria, Melbourne, August 25 - October 8 1972 (label verso) Australian Galleries, Melbourne (label verso) $2,000-4,000 Viewing in Sydney 75 SIDNEY NOLAN (1917-1992) Statue and Bird 1983 crayon on paper signed and dated lower right: Nolan/ oct 1983 56 x 37.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000 76 SIDNEY NOLAN (1917-1992) Man and Lizzard 1983 crayon on paper signed and dated lower right: nolan/ 2 oct 83 56 x 37.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-2,000 END OF COLLECTION 77 DAVID BOYD (1924-2011) Spain 1964 mixed media on paper laid on board signed, dated and titled lower left: David Boyd 64 Spain 74.5 x 55.5cm PROVENANCE: Private collection, Melbourne $12,000-16,000

79 © Charles Blackman /Copyright Agency 2019

78 § JAMES GLEESON (1915-2008) Man in Psychoscape oil on composition board signed lower right: Gleeson 20 x 15cm

79 CHARLES BLACKMAN (1928-2018) Portrait of a Female gouache and mixed media on paper laid on board signed upper left: BLACKMAN 62.5 x 48.5cm

PROVENANCE: Barry’s Art Gallery, Queensland Private collection, Adelaide Deutscher and Hackett, Melbourne, 4 May 2016, lot 96 Private collection, Melbourne $2,500-3,500

PROVENANCE: Private collection, Melbourne $9,000-12,000

80 ROBERT DICKERSON (1924-2015) Portrait in Blue pastel on paper signed lower right: DICKERSON 56 x 36cm

82 PRO HART (1928-2006) Waterbirds oil on board signed lower centre: PRO / HARt 44 x 44cm

84 GARRY SHEAD (born 1942) Lady in the Outback 1987 oil on board signed and dated lower right: Garry Shead 87 59 x 75cm

PROVENANCE: Tiffany Jones Fine Art, Queensland Private collection, Melbourne $4,000-6,000

PROVENANCE: Tom Silver Gallery, Melbourne, 1980 Private collection, Melbourne

PROVENANCE: Private collection, Queensland $6,000-8,000

EXHIBITIONS: Pro Hart Exhibition, Tom Silver Gallery, 28 June - 13 July,1980, cat. no. 30 (accompanied by an original exhibition catalogue signed by the artist) $3,000-5,000

85 MAX MIDDLETON (1922-2013) (Horses) oil on masonite signed lower right: Max Middleton 34 x 49cm

81 PRO HART (1928-2006) The Barbeque 1984 oil on canvas signed and dated lower right: PRO / HARt 84 titled lower left 45 x 60cm PROVENANCE: Private collection, Melbourne $5,000-7,000

83 DAVID BOYD (1924-2011) (Children by the Lake) oil on board signed lower left: David Boyd 48.5 x 44cm PROVENANCE: Tiffany Jones Fine Art, Queensland (label verso) $8,500-10,000

PROVENANCE: Private collection, Melbourne $2,500-3,500

86 ANTHONY DATTILO RUBBO (1870-1955) View Over the Landscape Towards the Coast oil on board signed lower left: Dattilo Rubbo 17 x 26cm PROVENANCE: GFL Fine Art, Perth, 22 November 2011, lot 46 Private collection, Melbourne $1,500-2,500 87 § WILL ASHTON (1881-1963) Grazing Cattle oil on canvas signed lower left: WILL ASHTON 44 x 60cm PROVENANCE: Leonard Joel, Melbourne, 24 June 2012, lot 17 Private collection, Queensland $2,000-4,000 88 ROBERT TAYLOR-GHEE (1869-1951) Victorian Bushfire oil on board signed lower right: R. E. Taylor-Ghee 46cm (tondo) PROVENANCE: Leonard Joel, Melbourne, 4 December 2011, lot 194 Private collection, Melbourne $1,500-2,000 89 MATTHEW CHARLES MEERE (1890-61) Jones Bridge Tumut River oil on canvas signed lower left: Charles Meere 50.5 x 61cm PROVENANCE: Private collection, Sydney Private collection, Perth by descent from the above $4,000-6,000 90 J.W. CURTIS (1839-1901) Crossing Place on the Upper Goulbourne oil on canvas unsigned artist’s name and title on plaque 36 x 53.5cm PROVENANCE: Bay East Auctions, Sydney, 30 May 2010, lot 265 Private collection, Melbourne $3,500-5,500

92 91 HUGH RAMSAY (1877-1906) Portrait of a Woman 1905 watercolour on paper signed and dated lower left: Hugh Ramsay / 1905 32 x 23cm PROVENANCE: Dr W.R.D. Griffiths, Victoria Sotheby’s, Melbourne, 6 April 2016, lot 179 Private collection, Melbourne $2,500-3,500 92 TUDOR ST. GEORGE TUCKER (1862-1906) Portrait of Louisa Ann Wilkinson, c.1884 oil on canvas unsigned in original John Thallon frame 29 x 22cm

PROVENANCE: Commissioned by Dr. William Cleland Wilkinson, Melbourne Thence by descent Sotheby’s, Melbourne, 28 November 2000, lot 170 (as Portrait of a Young Woman ) Private collection, Sydney Menzies, Sydney, 22 March 2012, lot 152 Private collection, Melbourne OTHER NOTES: Dr. William Cleland Wilkinson was the artist’s doctor and they even shared a residence for a time in the 1890’s. Louisa appears in other works of Tudor’s in this period. $2,500-3,500

93 CHARLES ROLANDO (1844-1893) Landscape with Figures 1887 oil on canvas initalled lower right in red inscribed verso with artist’s name and date 39 x 68cm PROVENANCE: Sotheby’s, Melbourne, 29 October 2014, lot 99 Private collection, Melbourne $4,000-6,000 94 ISAAC WHITEHEAD (1819-1881) Milford Sound 1878 oil on canvas signed and dated lower left: 1878 I. Whitehead 54 x 76cm PROVENANCE: The Artist’s Family Thence by descent Private collection, Melbourne $10,000-15,000

95 ALFRED WILLIAM STRUTT (1856-1924) Deer Pair of Works gouache on paper each signed lower right: AW Strutt 17 x 13.5cm (each) $2,000-4,000 96 LOUIS BUVELOT (1814-1888) A Picnic Near Lilydale 1876 watercolour on paper signed, titled and dated lower right: A Picnic Near Lillydale [sic]/ L. Buvelot 1876 36 x 47cm PROVENANCE: The Estate of Pro Hart, Broken Hill, New South Wales Private collection, Melbourne Artemis Auctions, Melbourne, 27 April 2009, lot 37 Private collection, Melbourne $3,500-4,500

97 ARTHUR MERRIC BOYD SENIOR (1862-1940) Moored Sailing Boats 1893 watercolour on paper signed and dated lower right: Arthur Boyd/ 1893 28 x 48cm PROVENANCE: Leonard Joel, Melbourne, 2 December 2014, lot 128 Private collection, Melbourne $1,800-2,800 98 HANS HEYSEN (1877-1968) Coastal View watercolour on paper signed lower right: HANS HEYSEN 27.5 x 38cm PROVENANCE: The Estate of James Ford Strachan IV, Victoria $5,500-7,500 99 JESSIE TRAILL (1881-1967) Landscape 1919 watercolour signed and dated lower left: JCA Traill 1919 21 x 34cm $1,500-2,500

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100 ERNEST BUCKMASTER (1897-1968) Camelias oil on canvas signed lower left: E. Buckmaster 77 x 59.5cm

102 PERCY LINDSAY (1870-1952) On the Hawkesbury River c.1920 oil on canvas laid on board signed lower left: Percy Lindsay 29.5 x 40cm

104 WILLIAM FRATER (1890-1974) Portrait of a Woman oil on canvas inscribed verso: W. FRATER 31 x 41.5cm

PROVENANCE: Private collection, Melbourne $3,000-5,000

PROVENANCE: Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne Leonard Joel, Melbourne, 15 September 2015, lot 15 Private collection, Melbourne $3,500-4,500

PROVENANCE: Private collection, Melbourne $2,000-2,500

101 RUBERY BENNETT (1893-1987) Morning Mist, Burragorang Valley oil on canvas signed lower left: RUBERY BENNETT 50 x 69.5cm OTHER NOTES: “Painted on the banks of the Wollondilly River, where we are seen boiling the billy, on one of nature’s perfect days, the air still, the mists rising in the valley, yet gradually giving way, to the warming rays of the sun, in this wonderland, one tries to capture in paint. This is my interpretation of a mood of nature, so dear to my heart” (Rubery Bennett), on this painting $6,000-8,000

103 JAMES MUIR AULD (1879-1942) Portrait of a Woman in a Dark Hat c.1908 oil on canvas signed and dated upper right: J. Muir Auld / 190_ 55 x 44cm PROVENANCE: Leonard Joel, Melbourne, 31 March 1982, lot 79 Private collection, Melbourne $1,500-2,000

105 NORMAN LINDSAY (1879-1969) Leda and the Swan ink on paper unsigned 15 x 23.5cm PROVENANCE: The Artist’s Family McKenzies Auctioneers, Perth, 13 August 2008, lot 85 Tiffany Jones Fine Art, Queensland (label verso) Private collection, Queensland $1,800-2,800

111

106 NORMAN LINDSAY (1879-1969) Peacock and Anklet c.1924 ink on paper signed lower center: NORMAN LINDSAY 13.5 x 18cm

108 NORMAN LINDSAY (1879-1969) The Fan c.1930 ink on paper unsigned 13.5 x 18.5cm

PROVENANCE: McKenzies Auctioneers, Perth, 13 August 2008, lot 65 Tiffany Jones Fine Art, Queensland (label verso) Private collection, Queensland $1,500-2,500

PROVENANCE: The Artistâ&#x20AC;&#x2122;s Family McKenzies Auctioneers, Perth, 13 August 2008, lot 84 Tiffany Jones Fine Art, Queensland (label verso) Private collection, Queensland $1,500-2,500

107 NORMAN LINDSAY (1879-1969) The Mirror c.1924 ink on paper initialled lower right 18.5 x 14cm PROVENANCE: McKenzies Auctioneers, Perth, 13 August 2008, lot 66 Tiffany Jones Fine Art, Queensland (label verso) Private collection, Queensland $1,500-2,500

109 EVELINE SYME (1888 - 1961) Reclining Nude c.1930 oil on canvas unsigned stamped on stretcher verso: E. W. Syme 44.5 x 54.5cm PROVENANCE: Private collection, Melbourne $3,000-5,000

110 EUROPEAN SCHOOL (20th Century) (Father and Son) oil on board unsigned stamped verso: d Fr. Schoenfeld & Co., Dusseldorf/ Malerfarben Mattuchfab__ stamped verso: SKLAD PAPIERU/ R. ALEKSANDROWICZ/ KRAKOW, BASZTOWA 60 x 48cm PROVENANCE: Private collection, Melbourne $1,200-1,800 111 CLIFTON PUGH (1924-1990) Irises 1956 oil on board unsigned 69.5 x 77cm PROVENANCE: The Estate of Marlene Pugh Private collection, Victoria Menzies, Melbourne, 25 June 2015, lot 190 Private collection, Melbourne $5,000-7,000

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112 PERCY WATSON (1919-1995) The Classroom oil on canvas signed lower left: Percy Watson 50 x 70cm PROVENANCE: Private collection, Melbourne $1,800-2,800 113 § SALI HERMAN (1898-1993) Still Life c.1940s oil on board signed lower left: S. Herman 39 x 44 cm PROVENANCE: Nomran Schureck Collection Leonard Joel, Melbourne, 24 March 2015, lot 87A Private collection, Melbourne $3,000-5,000

114 ROLAND WAKELIN (1887-1971) Evening Manly 1960 oil on board signed and dated lower left: R.Wakelin ‘60 artist’s name, title, and date inscribed verso 24 x 31.5cm

116 EMMANUEL MANE-KATZ (French/Ukrainian, 1894–1962) Vue de Nice from Promenade des Anglais gouache on brown paper unsigned 42 x 59cm

PROVENANCE: The Collection of Carmel and Harry Crock AO, Melbourne $2,000-3,000

PROVENANCE: Christie’s, The Dr. Anton C. R. Dreesman Collection, London, 9 April 2002, lot 78 Private collection, Melbourne $3,000-4,000

115 HAYWARD VEAL (1913-1968) Suburban Street oil on canvas unsigned inscribed verso with catalogue no. 336 39 x 56cm PROVENANCE: Estate of the Artist Private collection, Melbourne $1,500-2,500

117 MAX MIDDLETON (1922-2013) Hazel In The Shallows 1998 oil on canvas signed lower right: Max Middleton 60 x 101cm PROVENANCE: Estate of the Artist $4,000-6,000

118 LUDMILLA MEILERTS (1908-1998) Still Life 1949 oil on canvas signed and dated lower left: L Meilerts / 49 62.5 x 50cm

121 § TIM MAGUIRE (born 1958) Untitled (Tank) 1986 oil on paper signed and dated lower left: Maguire 1986 54 x 84cm

PROVENANCE: Private collection, Melbourne $3,000-5,000

PROVENANCE: Deutscher and Hackett, 30 November 2011, lot 97 (label verso) Private collection, Melbourne $1,500-3,000

119 § DOROTHY BRAUND (1926-2013) Figure Shapes 1985 watercolour and gouache on paper unsigned 36.5 x 49.5cm PROVENANCE: Eastgate and Holst Private collection, Melbourne EXHIBITIONS: Eastgate and Holst, Works from the Studio, March 22 - April 11 2014 $2,500-3,500 120 § SAM FULLBROOK (1922-2004) Poolscape with Strange Animals 1999 pastel on paper initialled lower left titled on gallery label verso 23.5 x 31cm PROVENANCE: Philip Bacon Galleries, Brisbane, (label verso) Leonard Joel, Melbourne, 28 August 2011, lot 173 Private collection, Melbourne $1,200-1,800

122 JAN SENBERGS (born 1939) City Edge I 1984 charcoal on paper signed and dated lower right: J Senbergs 84 signed and titled verso 56 x 67cm $2,000-3,000 123 LOUIS KAHAN (1905-2002) Tailor’s Dream 1990 oil on canvas laid on plywood signed lower right: Louis Kahan dated on label verso 100 x 71.5cm PROVENANCE: Acquired directly from the artist The Collection of Carmel and Harry Crock AO, Melbourne $1,500-2,500 124 RICK AMOR (born 1948) The Old Theatre, 42nd Street 1996 gouache on paper signed and dated lower right: Rick Amor 9/8/96 28 x 36cm PROVENANCE: Tony Palmer Fine Art, Sydney Private collection, Sydney Deutscher and Hackett, Sydney, 1 September 2010, lot 149 Private collection, Melbourne $3,500-5,500

125 DAVID RELLIM (born 1986) Family Dynamics 2015 oil on linen signed and titled verso: RELLIM / FAMILY DYNAMICS 75 x 195cm PROVENANCE: Private collection, Melbourne $1,200-1,800 126 ROBERT ROONEY (1937-2017) Spanish Encounter: Cubana 1995 acrylic on canvas signed, titled, and dated verso: ROBERT ROONEY / SPANISH ENCOUNTER / 2: CUBANA / 1995. 87 x 102cm PROVENANCE: Estate of the Artist $5,000-7,000 127 § CAMERON HAAS (born 1981) Untitled 7 2011 oil on linen signed and dated verso: CAMERON HAAS / JUNE, 2011 titled on gallery label verso 170.5 x 170cm PROVENANCE: Ray Hughes Gallery, Sydney, cat no. HC012 Private collection, Melbourne $3,000-5,000

127

130

128 § LAWRENCE STARKEY (born 1959) Nude on Beach oil on canvasboard signed lower left: LAWRENCE STARKEY 43 x 89cm PROVENANCE: Private collection, Queensland Lawson~Menzies, Sydney, 8 August 2013, lot 278 Private collection, Melbourne $2,000-3,000

129 JASON BENJAMIN (born 1971) Where Are We Going? 1998 oil on canvas signed, titled, and dated verso: where are we going?/ May ‘98/ Benjamin 181 x 121.5cm PROVENANCE: Olsen Carr Gallery, Sydney Mossgreen Auctions, Sydney, 21 February 2006, lot 33 Private collection, Victoria $6,000-8,000

130 LAUREN WILLIAMSON (born 1957) The Boiler Engine Room 2003 oil on canvas artist’s name and title inscribed verso 107 x 145cm PROVENANCE: William Mora Galleries, Melbourne 2003 (stamped on stretcher bar verso) Private collection, Melbourne EXHIBITIONS: Lauren Williamson - Recent Paintings, William Mora Galleries, Melbourne, 20 October - 15 November 2003, cat. no. 7 $2,000-4,000

131 © Lita Cabellut /Copyright Agency 2019

131 LITA CABELLUT (Spanish, born 1961) Marilyn 16 2013 mixed media on canvas titled, dated, and signed verso: Marilyn ‘16 2013 / L Cabellut 149 x 129cm

132 § SCOTT REDFORD (born 1962) Reinhardt Damm 2010 acrylic and nurr print on canvas 2/3 dated, editioned and signed verso: 21-7-2010 2/3 / Scott Redford 103 x 63cm

PROVENANCE: Opera Gallery, Monaco 2013 Private collection, Sydney $25,000-35,000

PROVENANCE: Heiser Gallery, Brisbane 2010 (label verso) Private collection, Melbourne $3,000-5,000

133 § JUN CHEN (Chinese/Australian, born 1960) Flowerbox 2012 oil on canvas signed and dated lower right: Jun Chen 12 100 x 106cm PROVENANCE: Ray Hughes Gallery, Sydney (label verso) EXHIBITIONS: ‘Sydney’, The Hughes Gallery, 2-16 November, 2012, cat. no. 44 $7,000-10,000

134 KANG YONGFENG (Chinese, born 1979) No. 78 2010 mixed media on canvas signed and dated verso: KANG Yongfeng 2010 150 x 130cm PROVENANCE: Opera Gallery, Monaco, 2013 Private Collection, Sydney $6,000-8,000 135 ยง JO DAVENPORT (born 1957) Ophir 2016 mixed media on rag paper titled, dated, inscribed and signed verso: Ophir/ Mapping Hill End 2016/ Jo Davenport 150 x 103cm (sheet size) PROVENANCE: Private collection, Melbourne $4,000-5,000 136 NEIL CHENERY (born 1959) Two Exits 1989 oil on canvas signed and dated lower right: CHENERY 1989 titled verso 137 x 197cm PROVENANCE: David Ellis Fine Art, Melbourne (label verso) Corporate collection, Sydney $4,000-6,000 137 GRAHAM FRANSELLA (born 1950) Untitled Abstract oil on canvas (6) 30.5 x 31cm (each) PROVENANCE: Olsen Carr Art Dealers, Sydney Private collection, Melbourne $3,000-4,000

134 (detail)

134 49

138 § BRETT MCMAHON (born 1966) Field 1999 oil on canvas signed, titled and dated verso: FIELD/ BRETT MCMAHON/ 1999 93 x 93cm PROVENANCE: Ray Hughes Gallery, Sydney, 2000 Shapiro Auctioneers, The Sally & Shane Thompson Collection of Contemporary Art, Sydney, 25 July 2017, lot 53 Private collection, Melbourne $2,000-3,000 139 ELWYN LYNN (1917-1997) In Dreams The Roads Were Smooth 1983 mixed media on canvas signed titled and dated verso: ELWYN LYNN / In dreams the roads were smooth / 27:12:83 150.5 x 150.5cm PROVENANCE: Corporate collection, Perth Goodmans Auctioneers, Sydney, 17 June 1997, lot 711 Sotheby’s, Melbourne, 29 November 2004, lot 127 Private collection, Melbourne $4,500-6,500 140 ELWYN LYNN (1917-1997) Miners’ Huts 1996 oil and mixed media on canvas signed and dated verso: Elwyn Lynn, 30 June 1996 artist’s name, title and date inscribed verso 122 x 122cm PROVENANCE: Robin Gibson Gallery, Sydney (label verso) Shapiro Auctioneers, Sydney, 19 June 2006, lot 215 Private collection, Melbourne $4,000-5,000

143 © Buku-Larrnggay Mulka

142 © Johnny Warangkula Tjupurrula /Copyright Agency 2019

141 § GEORGE TJUNGURRAYI (born c.1947) Tingari Cycle 2010 acrylic on linen inscribed verso with cat. no. APP 110 and HAIRBRUSH 5711 134.5 x 134.5cm PROVENANCE: Saltbush Gallery, Alice Springs (accompanied by a certificate of authenticity) Private collection, Queensland $3,000-5,000

142 JOHNNY WARANGKULA TJUPURRULA (c.1932-2001) Emu Dreaming 1980 acrylic and natural earth pigments on board inscribed verso with artist’s initials and Papunya Tula cat. no. 800452 [sic] 57 x 51.5cm PROVENANCE: Papunya Tula Artists, NT, cat. no. JW800432 Private collection, South Australia $2,500-4,500

143 GARAWAN WANAMBI (born 1965) Untitled natural earth pigments on bark inscribed verso with artist’s name and cat. no.’s 3174G and 0607GAN 150.5 x 41cm PROVENANCE: Framed Gallery, Darwin 2008 Private collection, Melbourne EXHIBITIONS: Yarpany – Honey, Art of the Marrakulu Clan, Framed Gallery, Darwin 2008 $2,000-2,500

145 © Ray Crooke /Copyright Agency 2019 144 § CHARLIE TJAPANGATI (born c. 1949) Untitled 1988 acrylic on linen inscribed verso with artist’s name and Papunya Tula cat. no. CT8805106 122 x 122cm

145A CLIFTON PUGH (1924-1990) Waterhole, Arnhem Land 1980 gouache on paper laid on board signed and dated lower right: Clifton / 6-6-80 titled lower left 55 x 75cm

PROVENANCE: Papunya Tula Artists, Alice Springs Mossgreen Auctions, Sydney, 19 August 2012, lot 443 Private collection, Queensland $3,000-5,000

PROVENANCE: Private collection, Melbourne $1,600-2,000

145 RAY CROOKE (1922-2015) Sheep Gate oil on board signed lower right: R Crooke titled on label verso 60 x 89cm PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, Melbourne $5,000-7,000

146 DAVID BOYD (1924-2011) Children Playing oil on canvas signed lower right: David Boyd 40 x 45cm PROVENANCE: Private collection, Melbourne $7,500-9,000

147 PRO HART (1928-2006) Rest Period oil on canvasboard signed lower right: PRO HARt titled lower left inscribed verso: STOCKYARDS (REST PERIOD) 60 x 75cm PROVENANCE: Private collection, Melbourne $6,000-8,000 148 SIDNEY NOLAN (1917-1992) Act II, Scene I 1983 oil crayon, sennelier ink on paper signed and dated lower right: nolan/ 2 July 83 56.5 x 76.5cm PROVENANCE: Rex Irwin Art Dealer, Sydney (label verso) Private collection, Sydney $2,000-3,000

149 SIDNEY NOLAN (1917-1992) Sail 1957 ripolin on paper signed verso 25 x 30cm PROVENANCE: Rex Irwin Art Dealer, Sydney 1981 Private collection, Sydney $3,500-5,500 150 ARTHUR BOYD (1920-1999) Figure Reading ink on paper signed lower right: Boyd 39 x 34cm PROVENANCE: Private collection, Melbourne $1,200-1,800 151 GUY BOYD (1923-1988) Nude bronze unsigned 31cm (height)

152 KEN KNIGHT (born 1956) Change In the Weather - Lorne oil on board signed lower left: KEN KNIGHT signed and titled verso 99.5 x 198cm PROVENANCE: Eastgate Gallery, Melbourne Private collection, Melbourne $8,000-12,000 153 BILL COLEMAN (1922-1993) Seated Woman oil on canvasboard signed lower left: Bill Coleman 60 x 45cm PROVENANCE: Bendigo Art Gallery, Victoria 1986 Private collection, Melbourne EXHIBITIONS: Bill Coleman : Retrospective Exhibition, Bendigo Art Gallery, 23 May -13 June, 1986 $3,000-5,000

PROVENANCE: Acquired directly from the artist, c. 1975 Private collection, Melbourne $2,500-4,000

154 WILLIAM DARGIE (1912-2003) Draped Mask and Still Life 1935 oil on canvasboard signed and dated lower right: Dargie/ 1935 59 x 40cm PROVENANCE: Christie’s, Joseph Brown Collection, 17 May 2005, lot 126 Leonard Joel, Melbourne, 25 March 2012, lot 169 Private collection, Melbourne LITERATURE: Thomas, D., Outlines of Australian Art: The Joseph Brown Collection, South Melbourne: Macmillan, 1974, p.208 (illus.) $1,000-2,000 155 ROLAND WAKELIN (1887-1971) The Child’s Room oil on masonite signed lower right: R. Wakelin 33.5 x 24cm PROVENANCE: Bonhams & Goodman, Sydney, 8 November 2004, lot 175 Davidson Auctions, Sydney, 6 September 2014, lot 25 (as “The Sun Room”) Private collection, Melbourne $2,500-3,500

152

156 JOHN SANTRY (1910-1990) Near Edgecliff Station oil on board signed lower right: SANTRY 58.5 x 89cm PROVENANCE: GFL Fine Art, Perth, 26 May 2015, lot 14 Private collection, Melbourne $1,500-2,500 157 HAROLD SEPTIMUS POWER (1878-1951) The Golden Girl oil on canvas laid on board signed upper left: H. S. POWER titled verso dedication verso 46 x 37cm PROVENANCE: Davidson Auctions, Sydney, 5 June 2010, lot 39 Private collection, Melbourne $1,200-1,800 158 ARTHUR FLEISCHMANN (1896-1990) Bust of a Lady 1944 bronze signed and dated verso: A. FLEISCHMANN 1944 62cm (height, including base) PROVENANCE: Mossgreen Auctions, The Ivan Holland Collection, Melbourne, 03 June 2008, lot 658 Private collection, Melbourne LITERATURE: Scarlett, K., Australian Sculptors, Thomas Nelson, 1980, Adelaide, pp.202-203 $2,000-3,000 159 GEORGE BELL (1878-1966) The Italian Gardens, Hyde Park, London oil on board signed lower left: George Bell 26 x 34cm PROVENANCE: Artarmon Galleries, Sydney (label verso) Lawsons, The Bill & Eileen Cammack Collection, Sydney, 5 July 2014, lot 275 Private collection, Melbourne $1,000-1,500 160 ALAN D. BAKER (1914-1987) Still Life in Blue Vase oil on board signed lower right: ALAN D. BAKER. 49 x 58.5cm 162

PROVENANCE: Private collection, Queensland $1,800-2,800

164

161 ROBERT TAYLOR-GHEE (1869-1951) House in the Trees oil on board signed lower right: R Taylor-Ghee 28 x 43cm PROVENANCE: Private collection, Melbourne $1,600-2,600 162 ROBERT TAYLOR GHEE 1869-1951 Camper in Forest oil on board signed lower right: R. Taylor Ghee 42 x 20cm PROVENANCE: Private collection, Melbourne $1,500-2,500 163 MAX MELDRUM (1875-1955) Mrs B. J. Ratcliff oil on canvas unsigned 59 x 49cm PROVENANCE: The Benjamin Ratcliff collection, c.1950 The Alan and Lesly Martin collection Private collection, Melbourne $1,500-2,500

164 J.H. SCHELTEMA (1861-1941) Untilted oil on canvas signed lower right: J.H Scheltema titled illegibly lower left 29 x 60 cm

167 HENRY HANKE (1901-1989) Gypsy Woman with Guitar 1938 oil on canvas signed and dated lower right: HANKE 38 50 x 75cm

PROVENANCE: Private collection, Melbourne $3,000-5,000

PROVENANCE: Leonard Joel, Melbourne, 1 December 2015, lot 142 Private collection, Melbourne $1,800-2,800

165 ยง HAROLD SEPTIMUS POWER (1878-1951) Still Life with Roses oil on canvas signed lower right: H. S. POWER 42 x 32cm

168 HENRY HANKE (1901-1989) Still Life 1931 oil on canvas signed and dated upper left: 31/ HANKE 51 x 55cm

PROVENANCE: The Estate of the late Ben Greinert, NSW Bay East Auctions, Sydney, 27 May 2012, lot no.152 Private collection, Queensland $1,000-2,000

PROVENANCE: Private collection, Melbourne $1,000-1,500

166 FREDERICK WILLIAM LEIST (1878-1945) A Cornish Milk Maid oil on canvas signed lower right: Leist 49 x 60cm PROVENANCE: Davidson Auctions, Sydney, 30 March 2014, lot 20 Private collection, Melbourne $1,200-1,800

169 WILLIAM FRATER (1890-1974) On the Murray c.1948 oil on board signed lower left: William Frater titled verso 49.5 x 59.5cm PROVENANCE: Private collection, Victoria $1,000-2,000

EXHIBITIONS: Probably in The Contemporary Art Society of Australia Sixth Annual Exhibition, Education Building, Loftus Street, Sydney, 26 June – 14 July 1944 Velasquez Gallery, Tye’s Building, 100 Bourke Street, Melbourne, 17–30 September 1944 Geelong Free Library and Museum, 77 Moorabool Street, Geelong, 12–24 October 1944 $3,500-5,500 172 ABDULRAHIM APABHAI ALMELKAR (Indian, 1920-1982) (Woman Carrying Vessels) c.1965 mixed media on masonite signed and possibly dated in Devanagari lower left 59 x 44cm PROVENANCE: The Collection of Carmel and Harry Crock AO, Melbourne $1,500-2,500 173 DUTCH SCHOOL (c.18th Century) (The Grinder) oil on canvas 66 x 56cm PROVENANCE: Dr. Erich Lubbert Thence by descent Private collection, Melbourne OTHER NOTES: This work is being sold in conjunction with Ms. von Saher, New York. $1,500-2,500

177

170 JEAN MARY BELLETTE (1908-1991) The Summons oil on board initialled lower left title on label verso 34.5 x 59cm PROVENANCE: South Yarra Gallery, Melbourne (label verso) $1,000-2,000

171 VIC O’CONNOR (1918-2010) After Market c.1944 oil on board signed lower left: V. G. O’Connor 24 x 34cm PROVENANCE: Leonard Joel, Melbourne, 3 August 1999, lot 263 (as ‘After the Market’) Private collection, Melbourne Deutscher and Hackett, Sydney, 27 August 2014, lot 84 Private collection, Melbourne

174 ALFRED MOGINIE BRYANT (British, 19th Century) Horse 1888 oil on canvas signed and dated lower right: A. M. Bryant/88 inscribed on stretcher bar verso: PECHFIELD 1888 46 x 61cm PROVENANCE: Private collection, Melbourne $2,000-3,000 175 MAX MIDDLETON (1922-2013) Scottish Landscape 1975 oil on canvas on board signed lower left: Max Middleton 44 x 73cm PROVENANCE: Estate of the artist $2,500-3,500

179

176 § SALI HERMAN (1898-1993) Coastal Landscape 1984 oil on canvas signed and dated lower right S. Herman 84 64 x 77cm PROVENANCE: Lawson~Menzies, Sydney, 23 Feburary 2011, lot 112 Private collection, Queensland $2,000-4,000 177 JAMIE BOYD (born 1948) Figure Standing By The Water 1988 oil on canvas signed lower right: Jamie Boyd 151 x 121cm PROVENANCE: Savill Galleries, Sydney (label verso) Private collection, Melbourne $4,000-6,000

178 § BOB MARCHANT (born 1938) Sitting Ducks 1989 oil on canvas signed lower right: Bob Marchant signed, titled and dated verso 121 x 198cm

180 CHERRY HOOD (born 1960) Renato 2004 watercolour on paper on canvas signed, titled and dated lower centre: CherryHood / ‘Renato’ 04. 63.5 x 62.5cm

PROVENANCE: Shapiro Auctioneers, Sydney, 21 July 2004, lot 142 Private collection, Sydney Mossgreen Auctions, Sydney, 19 August 2012, lot 509 Private collection, Queensland $4,000-6,000

PROVENANCE: Arc One Gallery, Melbourne, 2004 Private collection, Melbourne

179 RHYS LEE (born 1975) Untitled 2008 acrylic on linen signed and dated verso: Rhys Lee 2008 80 x 120cm PROVENANCE: Helen Gory Gallery, Melbourne (label verso) Corporate collection, Sydney $1,500-2,500

EXHIBITIONS: Cherry Hood, Ayesha’s Child, Arc One Gallery, 26 October - 27 November, 2004 Looking - and looked at, Charles Nodrum Gallery, 20 November - 08 December 2018 (On loan) $1,600-2,600 181 CRAIG RUDDY (born 1968) Nude 2012 mixed media on canvas signed and dated lower left: Ruddy 2012 137 x 181.5cm PROVENANCE: Private collection, Sydney $3,000-5,000

183 © Anthony Bennett /Copyright Agency 2019 182 JUSTIN FEUERRING (born 1985) Collective Consciousness 2019 enamel and carving on board signed, titled and dated verso: JUSTIN FEUERRING / JFeuerring / 2019 / collective / consciousness 120 x 121.5cm PROVENANCE: The Artist Private collection, Melbourne $6,000-8,000 183 ANTHONY BENNETT (born 1966) Self Portrait Being Punched in the Face Again 2011 mixed media on canvas titled, signed, and dated lower left: ‘self portrait being punched in the face again’ ant 2011 200.5 x 199cm PROVENANCE: Private collection, Sydney $4,000-6,000

184 ANTHONY BENNETT (born 1966) The Idea of a Michael Hutchence Haiku 2008 mixed media on canvas signed, titled, dated, and inscribed lower left: the idea of a michael hutchence haiku... wasn’t Nietzsche who first said god is dead and tom cruise is a dick ANT 2008 201.5 x 201.5cm PROVENANCE: Private collection, Sydney $4,000-6,000 184A ARTHUR TED POWELL (born 1947) As Melbourne Grows acrylic on canvas signed lower right: Arthur Powell 102 x 153cm PROVENANCE: The Artist Private collection, Melbourne $4,000-5,000

185 LORNA FENCER NAPARRULA (c.1925-2006) Bush Potatoes 1997 acrylic on canvas inscribed verso with Alcaston Gallery cat. no. AK3857 136 x 208.5cm PROVENANCE: Alcaston Gallery, Melbourne (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne $3,000-5,000 186 § WEAVER JACK (c.1928 - 2010) Lungarung 2005 acrylic on canvas inscribed verso with artist’s name, date and Bidyadanga cat. no. 3220 110 x 167cm PROVENANCE: Painted at Bidyadanga, Western Australia in 2005 Short St Gallery, Broome Sotheby’s, Melbourne, 26 June 2010, lot 72 Private collection, Melbourne $3,000-5,000

187 DEREK O’CONNOR (born 1957) Plate 2004 oil on canvas 122 x 152 cm PROVENANCE: Corporate collection, Sydney $1,000-2,000 188 § MINNIE PWERLE (1922-2006) Awelye 2005 acrylic on canvas 148 x 41cm PROVENANCE: Tanami Desert Art, Melbourne, 2011, cat no. MP05117 (copy of certificate and photos of the artist with completed work affixed verso) Private collection, Melbourne $2,000-3,000 189 GRAHAM FRANSELLA (born 1950) Cavorting Figure 2008 cast bronze on Jarrah timber base ed. 4/9 27 x 21cm (incl. base) PROVENANCE: Australian Galleries, Melbourne (label verso, cat. no. 104031) Private collection, Melbourne $1,500-2,500 190 § MARK SCHALLER (born 1962) Still Life with Apples 2003 oil on linen signed and dated lower right: Schaller ‘03 signed, dated and titled verso 183 x 137.5cm PROVENANCE: Leonard Joel, Melbourne, 26 August 2012, lot 273 Private collection, Queensland $2,500-3,500 189

191

191 MONIKA BEHRENS (born 1975) Van Diemen’s Land II 2007 oil on canvas signed, dated, and titled verso: MBehrens 07/ VAN DIEMENS LAND II 102 x 122 cm

192 BOB MARCHANT (born 1938) Shelling Yabbies oil on canvas signed upper left: Bob Marchant titled verso 76 x 101cm

193 MARK SCHALLER (born 1962) Reclining Nude with White and Orange 2000 oil on canvas signed and dated upper right: Schaller ‘00 signed, titled and dated verso 138 x 183cm

PROVENANCE: Corporate collection, Sydney $4,000-6,000

PROVENANCE: Lawson~Menzies, Sydney, 2 May 2007, lot 363 Private collection, Queensland $1,500-2,500

PROVENANCE: Leonard Joel, Melbourne, 21 August 2001, lot 109 Private collection, Melbourne $3,500-4,500

194

194 JULIAN MEAGHER (born 1978) Kiss with a Fist 2010 oil on linen (4) signed, dated and titled verso: Kiss with a fist / JMeagher â&#x20AC;&#x2DC;10 / Julian Meagher 61.5 x 61.5cm (overall) PROVENANCE: Chalk Horse Gallery, Sydney (label verso) Private collection, Sydney EXHIBITIONS: Small Heroes, Chalk Horse Gallery, Sydney, 3 September - 18 September 2010, cat. no. 2 $1,000-2,000

195 JUN CHEN (Chinese/Australian, born 1960) Nude Drawing 2009 watercolour on paper signed and dated lower right: J. Chen / 09 81 x 56.5cm

196 JAKE BERTHOT (American, 1939-2014) Untitled 1990 wax crayon and fabric dye on paper signed and dated below image: JB - 90 60 x 55cm

PROVENANCE: Ray Hughes Gallery, Sydney 2009 (label verso) Private collection, Melbourne

PROVENANCE: Nielsen Gallery, Boston, USA 1997 The Collection of Colin and Elizabeth Laverty, Sydney Deutscher and Hackett, The Laverty Collection Part III, Sydney, 5 April 2017, lot 117 Private collection, Melbourne $2,500-3,500

EXHIBITIONS: Thinking Aloud - The Big Drawing Show, Ray Hughes Gallery, Sydney, 24 April - 20 May 2009, cat. no. 5 $1,200-1,800

202

197 § JOHN FIRTH-SMITH (born 1943) Untitled 1963 acrylic on paper signed and dated lower right: Firth-Smith/ 63 28.5 x 27cm

199 § JOHN COBURN (1925-2006) I Believe in the Holy Ghost watercolour on paper signed lower right: Coburn 34 x 25.5cm

PROVENANCE: Acquired directly from the artist The Collection of Colin and Elizabeth Laverty, Sydney Deutscher and Hackett, The Laverty Collection Part III, Sydney, 5 April 2017, lot 119 Private collection, Melbourne $1,200-1,800

PROVENANCE: Estate of the Artist Leonard Joel, Melbourne, 23 September 2012, lot 98 Private collection, Queensland $1,000-1,500

198 JOHN COBURN (1925-2006) Green Velvet c.1965 gouache on paper laid on board signed lower right: Coburn 76 x 56.5cm PROVENANCE: Christie’s, Melbourne, 24 November 1999, lot 398 Private collection, Melbourne $2,500-3,500

200 DORA CHAPMAN (1911-1995) Constructive Forms acrylic and gouache on paper study verso unsigned 22 x 34cm (image) PROVENANCE: Private collection, Adelaide $1,500-2,500

201 PERCY WATSON (1919-1995) Independent Forms oil on masonite signed upper right: Percy Watson titled verso 27.5 x 32cm PROVENANCE: Private collection, Melbourne $1,200-1,800 202 ROBERT GRIEVE (1924-2006) Warrum Bungles Landscape oil on board signed upper right: RGRIEVE signed and titled verso 91 x 119cm PROVENANCE: Private collection, Melbourne $2,000-4,000

203 SETLUR GOPAL VASUDEV (Indian, born 1941) Theatre of Life 1998 oil on canvas signed and dated lower right: Vasudev 98 titled verso 90 x 151cm PROVENANCE: 1x1 Art Gallery, Dubai Private collection, Melbourne $1,500-2,500 204 ATTRIBUTED TO JOHN JOSEPH WARDELL POWER (1881-1943) The Stable c.1930 oil on canvasboard unsigned inscribed verso: J. W. Power 24 x 29cm PROVENANCE: Barkes and Barkes, London Leonard Joel, The Estate of Colin Lanceley, Sydney, 16 November 2015, lot 139 Private collection, Melbourne $3,000-5,000 205 BILL COLEMAN (1922-1993) Two (Bell) Heads gouache on paper signed lower right: Bill Coleman 40 x 29.5cm PROVENANCE: Private collection, Melbourne $1,200-1,800 206 HERMAN PEKEL (born 1956) Flinders Street Station, View from Young and Jackson oil on canvas signed lower left: PEKEL 90 x 90xm PROVENANCE: Private collection, Melbourne $3,000-5,000 207 BILL COLEMAN (1922-1993) Mother and Child oil on perspex signed lower right: Bill Coleman 24 x 19cm PROVENANCE: Private collection, Melbourne $1,000-1,500

208 § SALI HERMAN (1898-1993) The Bush Tank 1984 oil on canvas signed and dated lower right S. Herman 84 83.5 x 106.5cm PROVENANCE: Bay East Auctions, Sydney, 27 May 2012, lot 227 Private collection, Queensland $2,000-4,000 209 RAY CROOKE (1922-2015) Mary River, Kimberley c.1960 tempera on board signed lower right: R Crooke titled verso 22 x 30cm PROVENANCE: Barry Stern Galleries, Sydney 1969 Private collection, Melbourne $2,000-3,000 210 GEOFF DYER (born 1947) Lake St. Clair VI 2008 watercolour and gouache on paper signed lower right: G Dyer 55 x 74.5cm PROVENANCE: Private collection, Canberra $1,000-1,500 211 KEN JOHNSON (born 1950) Valley of Mesas 1998 acrylic on canvas signed lower right: Ken Johnson signed, titled and dated verso 89 x 166cm PROVENANCE: Philip Bacon Galleries, Brisbane (label verso) Private collection, Queensland $2,500-3,500 212 KEN KNIGHT (born 1956) The Beach - Surfer’s Paradise I oil on board signed lower left: KEN KNIGHT titled verso 24 x 18cm

213 PRO HART (1928-2006) The Rabbit 1967 oil on board signed lower right: PRO / HART dated lower left titled on label verso 72 x 83cm PROVENANCE: Despard Gallery, Hobart (label verso) Private collection, Tasmania $4,000-6,000 214 PRO HART (1928-2006) Landscape c.1977 oil on board signed lower centre: PRO / HARt title inscribed verso with cat no. 26/PH/77 44 x 59cm PROVENANCE: Private collection, Queensland $3,500-5,500 215 DARYL LINDSAY (1890-1976) Stockmen at Yards oil on board signed lower right: DARYL LINDSAY 28 x 50cm PROVENANCE: Leveson Street Gallery (label verso) Private collection, Melbourne Leonard Joel, Melbourne, 27 Febuary 2011, lot 30 Private collection, Melbourne $1,500-2,000 216 KENNETH JACK (1924-2006) Farina, South Australia 1974 watercolour on paper signed and dated lower right: KENNETH JACK / 1974 67 x 100cm PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, New Zealand $2,000-4,000

PROVENANCE: Private collection, Melbourne $1,000-1,500

CENTUM

VERNON AH KEE YVONNE AUDETTE DEL KATHRYN BARTON DANIEL BOYD

MAY 2020 —

CRESSIDA CAMPBELL

We're excited to announce Centum, a new Contemporary Art auction which will launch next May 2020.

NICHOLAS HARDING

Centum will collate and present 100 works by Australia’s leading contemporary artists in a standalone Contemporary Art auction. We are specifically seeking the works by the artists listed here. If you are thinking of selling please contact Head of Fine Art, Olivia Fuller for a complimentary market valuation. olivia.fuller@leonardjoel.com.au | 03 8825 5624 64

CRISS CANNING JON CATTAPAN ROBERT CLINCH PAUL DAVIES MARTINE EMDUR BRENT HARRIS LOUISE HEARMAN BILL HENSON SAM LEACH GUY MAESTRI ALEXANDER MCKENZIE TRACEY MOFFATT JOHN OLSEN PATRICIA PICCININI WILLIAM ROBINSON PHILLIP WOLFHAGEN MICHAEL ZAVROS

/ Auctions / Jewels at Leonard Joel Monday 25 November 2019 â&#x20AC;&#x201D; ENQUIRIES (03) 8825 5618 jewels@leonardjoel.com.au

ARTIST INDEX ALMELKAR, ABDULRAHIM APABHA AMOR, RICK ASHTON, WILL AULD, JAMES MUIR BAIRD, JOHN BAKER, ALAN D. BARTON, DEL KATHRYN

172 49, 124 11, 87 103 44 160

FLEISCHMANN, ARTHUR

158

FRANSELLA, GRAHAM

46, 137, 189

FRATER, WILLIAM

104, 169

FULLBROOK, SAM

120

FULLWOOD, ALBERT HENRY GLEESON, JAMES

10 34, 78

O’CONNOR, VIC

171

O’CONNOR, DEREK

187

OLSEN, JOHN

PEACOCK, GEORGE

PEKEL, HERMAN

206

PERCEVAL, JOHN

GRIEVE, ROBERT

202

PIGGOTT, ROSSLYND

BEHRENS, MONIKA

191

HAAS, CAMERON

127

POWELL, ARTHUR TED

BELL, GEORGE

159

HANKE, HENRY

BELLETTE, JEAN MARY

170

HART, PRO

BENJAMIN, JASON

129

HENSON, BILL

PUGH, CLIFTON

111, 145A

BENNETT, RUBERY

101

HERMAN, SALI

113, 176, 208

PWERLE, MINNE

188

183, 184

HEYSEN, HANS

HOOD, CHERRY

180

REDFORD, SCOTT

132

BENNETT, ANTHONY BERTHOT, JAKE BLACKMAN, CHARLES

196

POWER, HAROLD SEPTIMUS

157, 165

POWER 204

RAMSAY, HUGH

JACK, WEAVER

186

RELLIM, DAVID

125

BOOTH, PETER

JACK, KENNETH

216

ROBERTS, TOM

BOYD, ARTHUR

JACKS, ROBERT

ROLANDO, CHARLES

JOHNSON, ROBERT

ROONEY, ROBERT

RUBBO, ANTHONY DATTILO

BOYD, DAVID

32, 59, 79

167, 168 81, 82, 147, 213, 214

51 184A

30,77,83,146

BOYD, ARTHUR

150

JOHNSON, CHRISTINE

BOYD, GUY

151

JOHNSON, KEN

211

RUDDY, CRAIG

BOYD, JAMIE

177

KAHAN, LOUIS

123

RUSSELL, JOHN PETER

BOYD SENIOR, ARTHUR MERRIC

KEELING, ANWEN

SANTRY, JOHN

93 126 86 181 3 156

BRAUND, DOROTHY

119

KELLY, JOHN

SCHALLER, MARK

190, 193

BRUCE, KIRSTY

56A

KEMP, ROGER

SCHELTEMA, J.H.

12, 164

BRYANT, ALFRED MOGINE

174

KNIGHT, KEN

BUCKMASTER, ERNEST

100

KNOX, W.D.

BUNNY, RUPERT

BUVELOT, LOUIS

CABELLUT, LITA CHAPMAN, DORA CHEN, JUN CHENERY, NEIL

SMART, SALLY

LEIST, FREDERICK WILLIAM

166

STARKEY, LAWRENCE

131

LINDSAY, DARYL

215

STREETON, ARTHUR

200

LINDSAY, NORMAN 6, 7, 23, 24, 105, 106, 107, 108

STRUTT, ALFRED WILLIAM

LINDSAY, PERCY

SYME, EVELINE

133, 195 136

COLEMAN, BILL

153, 205, 207

CURTIS, J.W.

122

SHEAD, GARRY

179

38, 198, 199

CROOKE, RAY

SENBERGS, JAN

LEE, RHYS

COBURN, JOHN COOK JNR, WILLIAM DELAFIELD

152, 212

47 17, 28, 145, 209 90

102

LYNN, ELWYN

139, 140

MACQUEEN, KENNETH

MAGUIRE, TIM

53, 121

MANE-KATZ, EMMANUEL MARCHANT, BOB

116 178, 192

TAYLOR GHEE, ROBERT

141

TJUPURRULA, JOHNNY WARANGKULA

142

TRAILL, JESSIE

MAUDSLEY, HELEN

TUCKER, TUDOR ST. GEORGE

92 27

TURNER, J.A.

DAVENPORT, JO

135

MCKENNA, NOEL

UPWARD, PETER

DRENDEL, GRAEME

9, 14, 88, 161, 162, 144

MCCUBBIN, FREDERICK

DOONEY, HAZEL

95 109

TJUNGURRAYI, GEORGE

154

DICKERSON, ROBERT

20, 21

TJAPANGATI, CHARLIE

DARGIE, WILLIAM DE MAISTRE, ROY

57 128

MCMAHON, BRETT

138

VASUDEV, SETLUR GOPAL

31, 38A, 80

MEAGHER, JULIAN

194

VEAL, HAYWARD

MEERE, MATHEW CHARLES

MEILERTS, LUDMILLA

89 118

WANAMBI, GARAWAN

143

173

MELDRUM, MAX

DYER, GEOFF

210

MIDDLETON, MAX

EUROPEAN SCHOOL

110

MORA, MIRKA

WILLIAMSON, LAUREN

130

NAMATJIRA, ALBERT

YONGFENG, KANG

134

85, 117, 175

FEUERRING, JUSTIN

182

NAPARRULA 185

FIRTH-SMITH, JOHN

197

NOLAN, SIDNEY

FIZELLE, RAH

60, 61, 62, 63, 64, 65, 66,

67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 148, 149

WATSON, PERCY

16, 115 1, 114, 155

DUTCH SCHOOL

FEINT, ADRIAN

15, 163

WAKELIN, ROLAND

40 203

WHITEHEAD, ISAAC

112, 201 94

CONDITIONS OF BUSINESS - SUMMARY To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction. Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement. GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged. For further information contact: Marie McCarthy accountant@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/ or reserves. Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.

Title Leonard Joel guarantees good title to all lots. Warranties and Condition Reports. Condition reports will be available for any lot upon request, subject to conditions. Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale. Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer. Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. (1.65% administration fee applies for Visa and Mastercard, 3.15% for American Express and Diners is not accepted.) Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street Melbourne, VIC 3000 Australia BSB: 033-364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.

Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. Removal Charges Each lot

$55

Buyer’s Premium There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 24% of the hammer price on each lot. This is inclusive of GST.

Storage Charges Each lot

$33 per day

The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas. Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST. Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Protection of Movable Cultural Heritage Act 1986 (PMCH Act). Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: http://www.environment.gov.au/heritage/movable/index.html Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: http://www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, phone 02 6274 1810 or email movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/index. html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Recommended carrier for this auction International Art Services 03-9329 6262 Melbourne to Canberra, Sydney, Brisbane, Gold Coast, and Sunshine Coast (and stops in between). TRANSART- Specialist Art Transporters Local Melbourne Please contact Matt or Ben Foster for a competitive quote. P: 0417 103 494 E: info@transartaustralia.com W: www.transartaustralia.com Collection and Storage: All lots must be collected no later than two days after the auction by 4pm. All uncollected items will be removed to third party storage at the purchaser’s expense.

Sale Rooms MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 email: info@leonardjoel.com.au leonardjoel.com.au MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA

The Thursday Auction Anthony Riepsamen, Manager FURNITURE David Price, Assistant Jacob Clarke, Assistant Nick Bastiras, Assistant JEWELLERY Bethany McGougan F.G.A.A., BA Hons, MSc, Manager Maria Walker F.G.A.A., Specialist ART SALON Hannah Ryan, Manager Ella Perrottet BFA, Assistant OBJECTS & COLLECTABLES Nora Merralls, Manager William Broadhurst, Assistant

Leonard Joel Specialists FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Jane Messenger, Specialist, Sydney Summer Masters BDes Hons, Administrator INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Jane Messenger, Specialist, Sydney DECORATIVE ARTS Chiara Curcio BA, Head of Department Hamish Clark, Head of Sydney Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art JEWELLERY Julie Foster F.G.A.A., Dip. Dt., Head of Department John Dâ&#x20AC;&#x2122;Agata F.G.A.A., Associate Head of Department Bethany McGougan F.G.A.A., BA Hons, MSc, Manager Maria Walker F.G.A.A., Specialist Hannah Grace-McIntyre BFA, Administrator Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department COLLECTABLES Nora Merralls, Manager & Administrator Dominic Kavanagh MFA, Specialist LUXURY Bethany McGougan F.G.A.A., BA Hons, MSc, Manager PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

VALUATIONS Caroline Tickner BA Hons, F.G.A.A., Head of Department

ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant FRONT OFFICE Kim Clarke, Front of House Manager Amelia Lewis, Receptionist OPERATIONS & LOGISTICS Henry Murphy, Manager MARKETING & COMMUNICATIONS Nicole Kenning, Head of Department Kim Soep, Marketing Co-ordinator Keryn Gilchrist, Database Administrator PHOTOGRAPHY & VIDEOGRAPHY Adam Obradovic Joseph Hammond GRAPHIC DESIGN Maria Rossi e-mail all lower case firstname.surname@leonardjoel.com.au

41 HELEN MAUDSLEY (born 1927) The Imprint of What Was Once There 1996 (detail) oil on canvas laid on plywood 32.5 x 30cm $1,500-2,500