Fine Art by Leonard Joel

FINE ART AUCTION TUESDAY 1 DECEMBER 2020, MELBOURNE

AUCTION CATALOGUE VOLUME 13 ISSUE 17

Cover: Lot 22 ARTHUR BOYD (1920–1999) Bundanon Garden and Yvonne 1993 oil on canvas signed lower right: arthur Boyd dated on Australian Galleries exhibition label verso Australian Galleries label verso cat. no. 11066 inscribed verso on stretcher bar: BUNDANON GARDEN 151 × 120.5cm $60,000–80,000

leonardjoel.com.au 2

Inside Cover: Lot 12 DOROTHY BRAUND (1926–2013) The Bathers 1991 watercolour and gouache on paper signed and dated lower right: BRAUND ‘91 11 × 18cm $1,600–2,600

Lot 30 HERBERT BADHAM (1899–1961) (Still Life with Butter and Apples) c.1930 (detail) oil on plywood signed upper right: HBADHAM 45 × 30.5cm $20,000–25,000

FINE ART AUCTION TUESDAY 1 DECEMBER 2020, 6PM MELBOURNE

VIEWING Friday 27 – Sunday 29 November, 10am–4pm, Monday 30 November by appointment only.

CONTACT

Olivia Fuller

Lucy Foster

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

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

leonardjoel.com.au

Lot 21 ROBERT DICKERSON (1924–2015) Punter In The Green Jacket (detail) oil on canvas signed lower right: DICKERSON 119 × 89cm $35,000–45,000

The Enduring Power of Art As I write this introduction Victorian Premier Daniel Andrews has just made the announcement that Melbourne’s lockdown is ending. This timely reprieve has brought a resounding sigh of relief across the state and beyond. The last few months have brought about a powerful wave of change for the art world with galleries, auction houses, and artist studios being thrust into the deep unknown. At the positive end, we’ve seen artist records made and then beaten again with some of the most diverse and memorable works coming to market – all in the most challenging of environments. One reassuring constant amidst the unpredictability of this period has been the enduring power of the artwork. Art continues to speak to us – to provide solace, inspiration, escapism and hope. We have all been reminded of the importance of the home, and art provides us with an unwavering sense of place. It is this sense of belonging that is so strongly felt by the artists themselves. This is particularly apparent in our cover lot by revered Australian artist Arthur Boyd. Arthur’s Bundanon Garden and Yvonne 1993 (lot 22) is a loving portrait of his wife, Yvonne, from a particularly significant year in the artist’s life. Bundanon became a place of great importance to Arthur and Yvonne – responsible for inspiring some of his most significant works and cementing the career of one of Australia’s greats. Both in Bundanon Garden and Yvonne and many other works by the artist inspired by Bundanon and its surrounds, we are invited into Arthur’s own personal realm. The work of Robert Dickerson provides us with an intriguing world in which to escape into – full of enigmatic characters and mysterious scenes. His love of art and horse racing combine in Punter in the Green Jacket (lot 21) and permit the viewer a moment to become absorbed into the racing world that Dickerson was himself so engrossed in from the late 1950s. Other highlights in our December auction include Herbert Badham’s Still Life with Butter and Apples c.1930 (lot 30), Fred Williams’ Fallen Tree 1959 (lot 31), and selected works from the Estate of Lady Nolan as well as the Rothschild Collection. We hope our December sale provides you with some inspiration, escapism, or perhaps some much needed joy! Olivia Fuller / Head of Art

1 ROBERT JOHNSON (1890–1964) A Harbour Scene 1928 oil on canvas signed and dated lower right: Robert Johnson 1928 45 × 55cm

2 VIOLET MCINNES (1892–1971) Still Life (Roses and Forget-Me-Nots) oil on canvas laid on board signed twice lower right: VIOLET M. McINNES 26.5 × 25.5cm

PROVENANCE: Anthony Hordern & Sons, Sydney (stamped verso) Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

$3,000–5,000

$1,000–1,500

3 W. D. KNOX (1880–1954) Australian Landscape oil on canvas signed lower right: W. D. KNOX. handwritten artist's label attached verso 42.5 × 63.5cm PROVENANCE: Private collection, Melbourne $5,000–7,000

4 ROBERT JOHNSON (1890–1964) Sydney Harbour oil on composition board signed lower right: Robert Johnson 36.5 × 44cm

5 § WILL ASHTON (1881–1963) European Town Fountain oil on canvas laid on board signed lower right: WILL ASHTON 24 × 34cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Christopher Day Gallery, Sydney Private collection, Sydney Davidson Auctions, Sydney, 16 August 2020, lot 183 Private collection, New South Wales

$3,000–5,000

$2,500–4,500

6 RUPERT BUNNY (1864–1947) Peasant Woman with Pink Cap c.1927 oil on canvas signed with monogram lower left: RCWB 63.5 × 53.5cm PROVENANCE: Private collection, Sydney Geoff K. Gray Pty Ltd, Sydney, 16 June 1984, lot 153 Private collection, Sydney Sotheby's, Sydney, 8 May 2012, lot 63 Private collection, Melbourne

EXHIBITIONS: Paintings by Rupert C.W. Bunny, Athenaeum Gallery, Melbourne, 11 – 21 July 1928, cat. no. 23-25 as "Peasant Woman" (40gns)

LITERATURE: Tildesley, B., Interesting Exhibition, Oil Paintings by Rupert C.W. Bunny, The Sydney Mail, Sydney, 19 September 1928, p. 13

Eight Painters, Athenaeum Gallery, Melbourne, 19–30 August 1930, cat. no. 7 or 9, as "French Peasant Woman"

Streeton, A., Mr. Rupert Bunny, Old and New Paintings, Argus, Melbourne, 4 July 1933, p.9 "No. 20, 'Peasant Woman with Pink Cap', is a sincere and fine rendering of the subject, full of splendid modelling, light and character."

Exhibition of Paintings by Rupert C.W. Bunny, Athenaeum Gallery, Melbourne, 4–15 July 1933, cat. no. 20 as "Peasant Woman with Pink Cap" (50gns) Noted Australian Artists Loan Exhibition, Myer Emporium New Art Gallery, Melbourne, 1–17 August 1945, cat. no. 5 as "French Peasant" (on loan)

$16,000–24,000

7 JAMES R. JACKSON (1882–1975) Collioure, Spanish Border 1907 oil on canvas signed and dated lower left: JAMES R JACKSON/ 07 titled on handwritten label verso 39.5 × 49.5cm PROVENANCE: Private collection, Melbourne $2,500–3,500

8 LIONEL LINDSAY (1874–1961) The Wine Boat, Venice watercolour on paper signed lower right: Lionel Lindsay titled verso 28 × 38cm

9 ERNEST BUCKMASTER (1897–1968) (A Quiet Bay) oil on canvas signed lower right: E. Buckmaster 64.5 × 85cm

PROVENANCE: Private collection, Sydney

PROVENANCE: The Collection of Moonee Valley Racing Club, Melbourne

$1,500–2,000

$3,000–5,000

10 MARGARET BENOIT (born 1941) The Poplars oil on masonite signed lower right: Benoit titled verso 40.5 × 47cm PROVENANCE: Private collection, Melbourne Thence by descent Private collection, Melbourne $4,000–5,000

11 § ANNE MARIE GRAHAM (born 1925) Basket of Daffodils 2011 oil on linen signed and dated lower right: Anne M. Graham 2011 titled on handwritten label verso 59.5 × 59.5cm

12 DOROTHY BRAUND (1926–2013) The Bathers 1991 watercolour and gouache on paper signed and dated lower right: BRAUND '91 11 × 18cm

PROVENANCE: Anne Marie Graham Studio, Melbourne (label verso) Private collection, Melbourne

$1,600–2,600

$1,500–2,500

PROVENANCE: Private collection, Melbourne

14 © Wendy Whiteley

13 MIRKA MORA (1928–2018) Three Angels Flying on a Magical Creature 1989 acrylic on paper signed and dated lower left: MiRKA 89 17 × 24.5cm PROVENANCE: Friends of the Arts, Victorian College of the Arts, Melbourne 1989 Claude Ullin, Melbourne Private collection, Melbourne $3,500–5,500

14 BRETT WHITELEY (1939–1992) Poem for a Lover 1988 screenprint, ed. 36/80 signed lower right below image: brett whiteley titled and editioned lower left below image 77.5 × 79.5cm (image) PROVENANCE: Olsen Irwin Gallery, Sydney (label verso) Private collection, Melbourne $10,000–15,000

15 ROBERT DICKERSON (1924–2015) Double Portrait charcoal on paper laid on board signed lower right: DICKERSON 74.5 × 55cm PROVENANCE: Andrew Ivanyi Gallery, South Yarra Private collection, Melbourne $6,000–8,000

16 © Ray Crooke /Copyright Agency, 2020

16 RAY CROOKE (1922–2015) Islanders Tending Plant oil on canvasboard signed lower right: R Crooke titled on Andrew Ivanyi Galleries invoice 45 × 60cm PROVENANCE: Andrew Ivanyi Galleries, Melbourne 1979 Private collection, Victoria $5,000–7,000

17 MARGARET OLLEY (1923–2011) Portrait oil on board signed lower right: Olley 24 × 19.5cm PROVENANCE: Private collection, Papua New Guinea Private collection, Melbourne $4,000–6,000

18 © Charles Blackman /Copyright Agency, 2020

18 CHARLES BLACKMAN (1928–2018) Boy on a Dolphin charcoal with ink on paper on canvas signed and titled upper right: BOY/ ON A/ DOLPHIN/ BLACKMAN 174.5 × 229cm

19 § 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 × 31.5cm

PROVENANCE: Presston Gallery, Sydney 2008 Private collection, Sydney

PROVENANCE: The Collection of Carmel and Harry Crock AO, Melbourne Leonard Joel, Melbourne, 26 November 2019, lot 114 Private collection, New South Wales

$18,000–24,000

20 DAVID BOYD (1924–2011) Beauty in the Embrace of the Golden Beast Watched by Merric’s Rooster 1989 oil on canvas signed lower left: David Boyd dated lower right titled on label verso 59.5 × 75cm PROVENANCE: The Estate of the Artist $14,000–18,000

$2,000-3,000

ROBERT DICKERSON

Robert Dickerson’s contribution to the arts extends across six decades as one of the most celebrated leading Australian painters from the 20th Century. Predominantly as a figurative painter, he saw the development of the influential artist group, The Antipodeans, in the 1950s with Arthur Boyd, Charles Blackman, John Perceval and John Brack as main exponents. Dickerson has been widely praised and iconically known for his honest portrayal of his subjects, drawing on relatable themes from everyday life. Born into economic hardship, Dickerson left school at the age of 13 to work in a local factory. As the eldest son during the Depression Era, Dickerson trained as a boxer and soon joined a travelling boxing group in search of lucrative earnings to help support his family. Before long, World War II commenced, taking Dickerson away from his homeland. While he had hopes of becoming a pilot, he instead served as a guard for three years in Indonesia. Documenting his experiences through drawing, Dickerson felt compelled to capture the suffering of the local people, particularly the innocent children he encountered on a daily basis. Using boot polish and camouflage paint he began his journey as an artist. Upon returning home to Australia, Robert Dickerson worked odd jobs whilst practising art on the side. It wasn’t until 1957 that he made his first income from art, winning 100 pounds in a fridge painting competition in the Australian Women’s Weekly. He used this prize money to place a bet on a winning horse, providing him the finances to pursue his career seriously. Painting and punting remained Dickerson’s two loves in life, each driving the other. This was recognised when he was offered the artist-in-residence position at the well-regarded Moonee Valley Racing Club for the 2001–02 season, marking the creation of Punter in the Green Jacket. The impact of this work is immediate; crisp blues reflect the clean air and early morning, while deep lush greens depict the perfectly manicured track, on which stands a cluster of figures next to a sprightful horse awaiting its next race. In the foreground, a punter in a green jacket beams at the viewer, with a weariness in his eyes, revealing a life-long commitment to the sport. Although celebrated as a figurative painter, Dickerson was also a realist. Often painting in a monochromic palette, Dickerson presented honest and raw portraits, addressing sober themes surrounding vulnerability, despair and the human condition. This work exemplifies Dickerson’s ability to react to everyday scenes, an almost metaphysical quality perhaps as a result of living at such a height of awareness. Settling at an 81 Hectare property in Nowra, New South Wales, Dickerson began training and breeding horses while continuing to paint until his death in 2015. In 2013 Dickerson was awarded an AO for his contributions and achievements to the visual arts in Australia and he was also recognised for the many charities he supported. Lucy Foster / Art Specialist

21 ROBERT DICKERSON (1924–2015) Punter In The Green Jacket oil on canvas signed lower right: DICKERSON 119 × 89cm PROVENANCE: The Collection of Moonee Valley Racing Club, Melbourne (label verso) $35,000–45,000

21 Â© Robert Dickerson /Copyright Agency, 2020

ARTHUR BOYD

Arthur Boyd first sighted his future home of Bundanon in 1971 after many years spent abroad in England. It was during a visit to the shared home of Frank MacDonald, Sandra McGrath and her husband Tony on the New South Wales South Coast that Yvonne and Arthur Boyd first formed an attachment to the area. They were meant to stay for just one weekend, but ended up staying for ten days. Both were completely entranced by the landscape at Bundanon, and Arthur was reinspired to depict the Australian landscape. When the adjoining property, Riversdale, became available in 1974 the Boyds keenly acquired it and, soon after, the very property they had first visited. Although the McGraths and MacDonald had wished to sell Bundanon to the NSW State Government as a creative retreat, the Government sadly declined, and so instead the property was then sold to the Boyds in 1979. For Arthur and Yvonne, Bundanon was a place of beauty, inspiration, and belonging. When reviewing the career of Arthur Boyd, the significance of Bundanon and the Shoalhaven area is uncontested. This new home brought about his most pivotal series and led to his legendary status in Australian Art history. What should not be overlooked, however, is the significance of Yvonne – both her own attachment to Bundanon and her profound impact on Arthur. “Bundanon is Yvonne Boyd’s legacy as much as Arthur’s” said Deborah Ely, chief executive officer of Bundanon Trust. “She shared his vision as she shared his life. She was an artist of great talent and unrealised potential”.1 Yvonne’s opinion was held in the highest regard by Arthur as the one he needed most earnestly. “Where’s she gone?” he would enquire when he needed to recall a detail. “She’s got to put me right”. Once, when he turned to her on the completion of a painting and asked: “Well, what do you think?”; and her response was a little slow in coming, he insisted:”I need your praise”. He knew she would never let him down with an easy answer.2

22 ARTHUR BOYD (1920–1999) Bundanon Garden and Yvonne 1993 oil on canvas signed lower right: arthur Boyd dated on Australian Galleries exhibition label verso Australian Galleries label verso cat. no. 11066 inscribed verso on stretcher bar: BUNDANON GARDEN 151 × 120.5cm PROVENANCE: Australian Galleries, Melbourne 1994 Private collection Presston Gallery, Sydney 2008 Private collection, Sydney EXHIBITIONS: Arthur Boyd Recent Paintings and Etchings, Australian Galleries, Sydney, 29 November 1993 – 12 February 1994, Melbourne 18 April – 14 May 1994, cat. no. 15 $60,000–80,000

Many of Arthur’s paintings of Bundanon are powerful landscapes, encompassing the harsh beauty of Australian nature. Bundanon Garden and Yvonne 1993 demonstrates a more delicate approach, reminiscent of the Heidelberg artists such as Roberts or Streeton in its sentimentality. This particular painting is Arthur’s touching tribute to Yvonne – his wife and home. Yvonne is at one with the garden, enveloped by its arching branches and floral tendrils. She sits joyfully amidst the blooming garden, their happy home framed behind her. In contrast to Arthur’s sharp depictions of the rocky Shoalhaven with deep browns and reds, Bundanon Garden and Yvonne 1993 is an intricate pattern of pinks, purples, blues and greens. One can imagine Arthur showing it to Yvonne upon completion, eager to hear her praise and acceptance of his loving portrait. After many years at Bundanon, Arthur and Yvonne resolved that Bundanon should in fact be for the people and so they decided to gift the property along with an impressive collection of artwork to the Federal Government. In 1993, the same year this painting was produced, then Prime Minister Paul Keating accepted this generous gift (in contrast to the NSW Government before him in the 1970s) and the 1000 hectares that encompassed Bundanon was established as an arts organisation and public museum. The following year a major retrospective was held of Arthur Boyd’s work at the Art Gallery of New South Wales, a pivotal 12 months in cementing his legacy. Even after the gift of Bundanon, the landscape had a profound impact on Arthur and Yvonne Boyd and influenced his paintings until his death in 1999. Olivia Fuller / Head of Art

— 1. Nicholson, A. M., Yvonne Boyd, wife of fellow artist Arthur Boyd, dies age 93, ABC, 13 November 2013 2. Bungey, D., Australia enriched by a generous life at Arthur Boyd’s side, Sydney Morning Herald, 23 January 2014

22 Â© Arthur Boyd /Copyright Agency, 2020

25 © John Perceval /Copyright Agency, 2020

23 ARTHUR MURCH (1902–1989) The Yellow Dress oil on board signed lower left: MURCH titled verso with inscription: In the possession of Will Ashton 35.5 × 45cm

25 JOHN PERCEVAL (1923–2000) Bend in the Creek 1956 oil on board signed and dated lower left: Perceval/ 56 alternate title (Cottles Bridge) and date on hand-written label attached verso 75 × 90cm

PROVENANCE: Sotheby's, Melbourne, 26 April 1999, lot 149 Amanda Addams Auctions, Melbourne, 21 September 2008, lot 221 Private collection, Sydney

PROVENANCE: Private collection, Perth, c.1977 Private collection, Melbourne

$3,000–4,000 24 HERMAN PEKEL (born 1956) Aubergine Landscape oil on canvas signed lower left: PEKEL titled on gallery label verso 90.5 × 121cm PROVENANCE: Red Hill Gallery, Brisbane (label verso) Private collection, New South Wales $4,000–6,000

EXHIBITIONS: Exhibition of Paintings by John Perceval, Australian Galleries, Melbourne, November 1956, cat. no. 18 David Jones Gallery, Sydney, May 1957 LITERATURE: Allen, T., John Perceval, Melbourne University Press, Melbourne, 1992, p.157 $30,000–40,000

Bend in the Creek 1956 brilliantly encapsulates the highly original landscapes for which Perceval has become so widely acclaimed and admired for. After a period of producing earthenware and ceramics in Murrumbeena with fellow artist and friend Arthur Boyd, Perceval returned to painting in 1956. An alternate title inscribed on the back of the work Cottles Bridge also marks the residence in which he took up at Dunmoochin, an artists community collective formed by fellow Antipodean, Clifton Pugh. While producing a series of landscape works in his local surrounds in the outer suburbs of Melbourne, Perceval executed Bend in the Creek 1956 with an effortlessness that pays tribute to his experience and technical ability. In this work, Perceval has deliberately abandoned all traditional focal points, turning the work into a somewhat multidimensional experience, leaving the viewer to explore every corner of the painting.

27 Courtesy of the Estate of Dorothy Braund

26 JOHN PERCEVAL (1923–2000) Lady in Red 1949 oil on canvas laid on board signed lower right: Perceval titled and dated on gallery label verso 48 × 36cm

27 DOROTHY BRAUND (1926–2013) The Dance 1989 watercolour and gouache on paper signed and dated lower right: BRAUND '89 37 × 49.5cm

PROVENANCE: Gould Galleries, Melbourne (label verso) Deutscher~Menzies, Melbourne, 13 September 2006, lot 241 Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

PROVENANCE: BC Fine Art Gallery, Queensland Private collection, Queensland

$4,000–5,000

$7,000–9,000

EXHIBITIONS: John Perceval: The Formative Years and the Present, Gould Galleries, Melbourne, October 1998 cat. no. 16 $3,000–4,000

29 SIDNEY NOLAN (1917–1992) Untitled (Africa Series) mixed media on paper signed lower right: nolan 50 × 61cm

28 DOROTHY BRAUND (1926–2013) Bush Camp 1959 oil on masonite signed and dated lower right: DOROTHY BRAUND '59 artist's name and title inscribed verso 52 × 72.5cm PROVENANCE: Private collection, Melbourne $3,500–5,500

HERBERT BADHAM

Apart from a brief exploration with abstraction in the 1950s, Herbert Badham remained first and foremost a realist painter. His subject was the everyday. Along with many other key artists of his generation including William Dobell, Charles Meere, and Rah Fizelle, Badham studied at the Julian Ashton Art School in Sydney. His teachers maintained a traditional perspective of art, with draughtsmanship and truth to nature of utmost importance. With influences coming from England, Badham gave great importance to form, tone, and light from an early age. Rather than following the Heidelberg School’s favouritism of pastoral landscapes, Badham and his peers instead focused on the urban landscape and interior scenes whilst remaining within the acceptable conservative space that their English counterparts proposed. The aesthetic experiments that artists of this period conducted were done with typically mundane objects – vases, food, cups, bottles and other domestic debris. No longer was still life painting tied to allegorical meaning, the modern still life was a study of everyday existence. Such an aesthetic experimentation is seen in Herbert Badham’s Still Life with Butter and Apples c.1930. Badham’s academic training is abundantly clear, with front-on perspective and a focus on form and shadowing of these carefully arranged objects. The colour palette and subjects draw parallels to Cezanne whilst the formal proportions and perspective remain academically realist. Still Life with Butter and Apples c.1930 is one of Herbert Badham’s few known still life studies although objects of the domestic interior form a key part of many of his most recognised paintings. In 1932, Herbert Badham was recognised as the runner up to William Dobell in the New South Wales Travelling Art Scholarship. Four years later, Badham completed one of his most recognised paintings, Breakfast Piece 1936, now in the collection of the Art Gallery of New South Wales. In this particular realist painting, the objects appear as props, theatrically posed in perfect design just as Badham preferred. His wife sits front and centre amongst the arrangement of objects, amidst a simplified colour palette of fresh blues, whites, and yellows. Still Life with Butter and Apples c.1930 is similarly limited in colour palette, with greys, purples and reds favoured by Badham. The knife, too, is resting near the clean cut butter waiting to be spread. These rather simple objects are given great importance within the composition, perhaps indicative of the value of such products after the war. Both paintings portray a domestic tranquility where objects typically seen as mundane create a stylised portrayal of Badham’s everyday life. Much of Herbert Badham’s career was spent teaching at East Sydney Technical college where he influenced and shaped many of Australia’s most respected artists. Badham produced two books; one, titled A Study of Australian Art, became particularly relevant in the dialogue of Australian Art, although mostly in relation to the Sydney painters. Badham was one of a number of figurative painters in Sydney between the wars whose work typified an aspect of Sydney modernism that addressed contemporary subjects through predominantly English realist traditions. Whilst art history tends to applaud those who introduced great change, Herbert Badham is a timely reminder that there is more than one way to be modern. Olivia Fuller / Head of Art

30 HERBERT BADHAM (1899–1961) (Still Life with Butter and Apples) c.1930 oil on plywood signed upper right: HBADHAM 45 × 30.5cm PROVENANCE: Private collection, Melbourne Thence by descent $20,000–25,000

FRED WILLIAMS

Fred Williams dedicated his entire practice to the outdoors and the unique nature of the Australian landscape. Born in 1927, Williams began his artistic journey studying at the Gallery Art School in Melbourne while receiving private classes at the George Bell School. After completing his studies he set sail for Europe, like so many budding artists of this period. Williams was captivated by the new ideas filling the art galleries in London and Paris. While studying at the Chelsea Art School and the Central School of Art and Crafts in London, he focused his practice on combining his formal training with new techniques he had come to witness during his travels. After early experimentations in his paintings and etchings with the figurative form, Williams returned to Melbourne in 1957 to begin his new vision of re-creating the bushland in front of him. Although the Australian landscape was a well-mastered subject, Williams yearned to depict features of the land that had been previously dismissed, or deemed void of inspiration. Fallen Tree 1959 represents a burst of inventiveness by Williams. He applies new techniques adopted from his time abroad, with influences ranging from Georges Braque to Paul Cezanne, yet with an unmistakably Australian colour palette. Thick impasto creams fill the sky with movement while flickers of burnt red and emerald green emulate the foliage and trees beneath. His overall surface and brushwork is so confidently executed, the texture almost suggests the medium of earth rather than actual paint. Subtle abstraction entwined with his refined technical ability allows him to reduce the landscape to its essential elements. The tree trunks stand uniformly in balanced arrangement and limited spatial depth. Williams emphasises the mysteriousness of the terrain by distorting tree trunks and elongating branches. The boulder-like treetops act as a barrier from the sweeping strokes of the sky further highlighting the deep depths of the untouched plant life beneath. His use of re-occurring dark outline parallels his international influences, such as Cezanne, choosing form over subject in this painting. Fred Williams’ work is authentic in the sense that he provided a refreshed vision of the Australian landscape. He focused his whole attention on the monotony of the Australian bush, as though it was an inspiring quality and not a challenge. Williams is one of only a handful of Australian painters from the mid-20th Century whose work attracted international acclaim. He is represented in public and private collections throughout Australia and overseas, including The Tate in London, The Metropolitan Museum and MOMA in New York, where he was the first Australian to hold a solo exhibition in 1977. Lucy Foster / Art Specialist

31 FRED WILLIAMS (1927–1982) Fallen Tree 1959 oil on board signed lower right: Fred Williams titled and inscribed verso with estate cat. no. RK 247 52.5 × 68.5cm PROVENANCE: Rudy Komon Gallery, Sydney 1966 Private collection, Sydney Estate of the above Private collection, Melbourne OTHER NOTES: We gratefully acknowledge the kind assistance of Lyn Williams AM in cataloguing this work $30,000–50,000

31 Â© Fred Williams /Copyright Agency, 2020

33 © Kenneth Jack /Copyright Agency, 2020

32 RAY CROOKE (1922–2015) Family by the River oil on board signed lower right: R Crooke titled on Andrew Ivanyi Galleries invoice 60 × 75cm PROVENANCE: Andrew Ivanyi Galleries, Melbourne 1979 Private collection, Victoria $5,000–7,000

33 KENNETH JACK (1924–2006) Melbourne – The City Square 1973–74 acrylic on masonite signed and dated lower left: KENNETH JACK / 1973–74 titled and dated verso 121 × 151.5cm PROVENANCE: The Estate of the Artist EXHIBITIONS: Australian Galleries, Melbourne, October 1974 Kenneth Jack View, Bundoora Homestead 2010 (travelling exhibition) Castlemaine Gallery, Castlemaine 2011 Bayside Gallery, Melbourne 2013 Gippsland Gallery, Sale 2017 $30,000–40,000

34 RICK AMOR (born 1948) Study for Avenue 2006 watercolour and gouache on paper signed and dated lower left: Rick Amor 8/5/06 titled on gallery label verso 17 × 24.5cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $3,000–4,000

35 RICK AMOR (born 1948) Study for Western Sky 2006 watercolour on paper signed and dated lower left: Rick Amor 4/6/06 titled on gallery label verso 34 × 46cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $6,000–8,000

36 GRAEME ROCHE (1944–1995) (On the Esplanade) oil on canvas signed lower right: ROCHE. 59 × 151cm PROVENANCE: Sotheby's, Sydney, 22 November 1992, lot 147 Private collection, Sydney $6,000–9,000

37 KEVIN LINCOLN (born 1941) Cup No. 2 1992 oil on canvas signed upper right: K Lincoln signed, titled and dated verso 76.5 × 75.5cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $3,500–5,500

39 Â© Robert Jacks /Copyright Agency, 2020

42 © Mclean Edwards /Copyright Agency, 2020

38 ROSALIE GASCOIGNE (1917–1999) Blue Water 1977 wood, ceramic, rubber, iron, printed tin and nails 21 × 56 × 12cm PROVENANCE: Ray Hughes Gallery, Brisbane Private collection, Brisbane Private collection, Melbourne Private collection, Melbourne EXHIBITIONS: Objects, Ray Hughes Gallery, Brisbane, March 1977 "Outstanding are the assemblages by Rosalie Gascoigne. Her imagination and sensitivity to beauty metamorphose humble, discarded things into marvellous, new creations. It has to be seen to be believed that she can create a thing of visual poetry with a weathered wooden box (she may have found it in a farm yard), containing an arrangement of Toohey’s Bitter Ale tins." (catalogue essay) LITERATURE: Visual Poetry: Creations from Collections of Refuse, Courier Mail, Brisbane, 12 March 1977 $18,000–22,000

39 ROBERT JACKS (1943–2014) Floating 2002 oil on linen signed, titled and dated verso: Floating / Jacks / 2002 152 × 122cm PROVENANCE: Private collection, Melbourne Menzies, Melbourne, 11 Dec 2014, lot 169 Private collection, Melbourne $6,000–8,000 40 JOCK CLUTTERBUCK (born 1945) Noosphere 1986 cast iron artist’s stamp verso 41.5 × 37 × 22cm PROVENANCE: Gerstman Abdullah Galleries, Melbourne 1986 Private collection, Melbourne $2,500–4,500

41 MARGARET KEANE (American, born 1927) Surprise 1976 oil on canvas signed and dated upper right: © MDH / Keane / ‘76 titled on gallery label verso 34.5 × 26.5cm PROVENANCE: Margaret Keane Gallery, San Francisco USA 1976 (accompanied by a certificate of authenticity) Private collection, Melbourne $4,000–6,000 42 MCLEAN EDWARDS (born 1972) Untitled (Self Portrait) 2008 oil on board inscribed upper right: 36. signed and inscribed verso: McLean/ Sydney 55 × 55 × 5cm PROVENANCE: Martin Browne Fine Art at the Melbourne Art Fair, Melbourne 2008 Private collection, Sydney $3,000–5,000

43 PRUDENCE FLINT (born 1962) A Fine Romance #13 2004 oil on linen titled, dated and inscribed verso: A Fine Romance / #13 / (Woman seated / at easel) / 2004 115 × 89cm

44 DALE HICKEY (born 1937) Yellow 1992 oil and enamel on canvas signed and dated lower right: Dale Hickey 92 titled on canvas edge 182 × 182cm

PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

$6,000–8,000

$18,000–24,000 45 EUAN MACLEOD (born 1956) Clouds in Room 2002 oil on canvas dated lower right: 8 02

signed, dated and titled verso: CLOUDS IN ROOM / EUAN MACLEOD / 02 84 × 120cm PROVENANCE: Estate of Anthony Palmer, Sydney Deutscher and Hackett, Melbourne, 30 April 2014, lot 115 Savill Galleries, Sydney (label verso) Private collection, Melbourne LITERATURE: O’Brien, G., Euan Macleod The Painter in the Painting, Piper Press, Sydney, 2010, p. 197, as ‘Room with Clouds’ (illus.) Art and Australia, vol. 42, no. 2, 2004, p. 248, as ‘Room with Clouds’ (illus.) $7,000–9,000

46 46 BEN QUILTY (born 1973) Smashed II (Self Portrait) 2009 oil on canvas signed, inscribed and dated verso: Self Portrait Ben Quilty '09 60 × 50cm

PROVENANCE: GRANTPIRRIE Offsite, Melbourne 2009 Private collection, Melbourne $10,000–15,000

47 PETER BOOTH (born 1940) Untitled c.1979 ink on paper inscription verso, concealed: To Rod, From Peter 1979 65 × 102.5cm

48 KEN WHISSON (born 1927) All Sorts of Sweetness 2012 wax crayons on paper artist's name, title and date on gallery label verso 50 × 70cm

PROVENANCE: Gift of the artist The Collection of Rod Beer Private collection, Melbourne (bequeathed from the above)

PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne

$3,000–4,000

EXHIBITIONS: Ken Whisson, Niagara Galleries, Melbourne, 2012, cat. no.14 $2,000–3,000

49 GRAHAM FRANSELLA (born 1950) Untitled pastel on paper unsigned 130 × 156.5cm PROVENANCE: Stuart Gerstman Galleries, Melbourne Private collection, Melbourne $6,000–8,000

50 SIDNEY NOLAN (1917–1992) Snake c.1972 ink, dye and wax crayon on card signed and titled verso: Snake/ Nolan 28.5 × 24cm PROVENANCE: Leonard Joel, Melbourne, 12 November 2007, lot 115 Private collection, Melbourne $1,800–2,800

52 § JASPER KNIGHT (born 1978) Way Out West 2013 enamel, gloss acrylic and gesso on canvas titled, signed and dated verso: JASPER/ KNIGHT/ “WAY OUT/ WEST”/ 2013 183 × 152cm PROVENANCE: Private collection, Sydney $8,000–12,000

53 TOM GERRARD (born 1977) Sunshine 1957 5pm 2020 acrylic and ink on marine ply signed and dated verso: GERRARD 2020 123 × 154cm PROVENANCE: The Artist Private collection, Melbourne EXHIBITIONS: Twin Study, Tom Gerrard, Outré Gallery, 23 January – 10 February 2020 $5,000–7,000

58 NOEL MCKENNA (born 1956) Ball Players 1990 watercolour and gouache on paper signed, titled and dated verso (concealed): Ball Players/ n. mckenna 90 17 × 25cm (sheet) PROVENANCE: Private collection, Melbourne $1,000–1,500 59 PETER BOOTH (born 1940) Untitled (Tree) charcoal on paper unsigned 29 × 22cm PROVENANCE: Gift of the artist The Collection of Rod Beer Private collection, Melbourne (bequeathed from the above) $1,500–2,000

60 CHRISTOPHER BEAUMONT (born 1961) Still Life With Cabbage 1999 oil with collage on canvas signed, titled and dated verso: C. BEAUMONT/ Still life with Cabbage/ 1999 70.5 × 65.5cm PROVENANCE: Private collection, Melbourne

54 GRAHAM FRANSELLA (born 1950) Figure 1993 bronze on timber base signed and dated on leg: Fransella '93 56cm (height, incl. base) PROVENANCE: Acquired directly from the artist Private collection, Melbourne $3,000–4,000 55 DICK WATKINS (born 1937) Three Figures 1984 oil on canvas signed, titled and dated verso: 'THREE FIGURES' / R. WATKINS / 1984 168 × 122cm PROVENANCE: 312 Lennox Street Gallery, Melbourne Private collection, Melbourne Deutscher and Hackett, Sydney, 28 April 2010, lot 110 Private collection, Melbourne $10,000–15,000

56 REG MOMBASSA (born 1951) Shrubs and Shops, Rockhampton 1998 colour pencil and charcoal on paper signed lower right: Reg M initialled lower left: C.O.D 17 × 22.5cm PROVENANCE: Watters Gallery, Sydney (label verso) Private collection, Melbourne $2,500–3,500 57 IVAN DURRANT (born 1947) Untitled (From the Jack Frost Series) oil on composition board 90.5 × 60cm PROVENANCE: Acquired directly from the artist, c.1970 Private collection, Sydney $1,800–2,800

$2,500–3,500 61 RICK AMOR (born 1948) The Cloud 2004 gouache on paper signed and dated lower left: Rick Amor 17/3/04 titled on gallery label verso 24 × 34cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $3,500–5,500

55 Â© Dick Watkins /Copyright Agency, 2020

62 GRAHAM FRANSELLA (born 1950) Figure on Orange Wall 1999 oil on canvas signed and titled verso: Figure on / Orange Wall / Fransella 152 × 121.5cm

63 SUSAN NORRIE (born 1953) Untitled (Peripherique Series) 1989 oil on canvas signed, titled and dated verso: Susan Norrie/ UNTITLED/ PERIPHERIQUE SERIES/ 1989 140 × 90cm

PROVENANCE: Private collection, Melbourne

$8,000–10,000

$7,000–9,000

64 EUAN MACLEOD (born 1956) Dave/Robin/River 1988 oil on paper laid on canvas dated lower left signed, titled and dated verso: EUAN MACLEOD / DAVE/ROBIN/RIVER / 88 61 × 90.5cm PROVENANCE: Watters Gallery, Sydney (label verso) Private collection, Sydney Bay East Auctions, Sydney, 22 November 2009, lot 119 Private collection, Queensland $1,800–2,800

65 PAUL RYAN (born 1964) The Garden With Exotics 2008 oil on canvas signed lower left: ryan dated lower right signed, titled and dated verso 102 × 101cm PROVENANCE: Trevor Victor Harvey Gallery, Sydney (label verso) Private collection, Melbourne

66 DAVID BEAUMONT (born 1960) Shale 2001 mixed media on canvas signed and dated lower left: Beaumont '01 titled and dated verso 140 × 120cm PROVENANCE: Private collection, Melbourne $3,000–4,000

67 GILLIE & MARC SCHATTNER (born 1960 & 1961) Rhinos on the Up and Up bronze ed. 2/15 signed at base: GILLIE AND MARC editioned at base 88cm (height, including base) PROVENANCE: Private collection, Sydney $5,000–6,000

$3,000–4,000

68 § HERMAN PEKEL (born 1956) Paris oil on canvas diptych signed lower right: PEKEL 152 × 182.5cm PROVENANCE: Sorrento Fine Art Gallery, Melbourne 2015 Private collection, Melbourne $6,000–9,000

69 WILLIAM BOISSEVAIN (born 1927) Landscape with Lake 1986 oil on board signed lower right: W. Boissevain '86 87 × 117cm

70 SIDNEY NOLAN (1917–1992) (Figure in Greece) c.1956 oil on paper signed centre left: nolan 24.5 × 30cm

PROVENANCE: Private collection, Perth

PROVENANCE: Private collection, Melbourne

$4,000–5,000

$4,500–6,500

73 © Robert Dickerson /Copyright Agency, 2020

71 LAWRENCE DAWS (born 1927) Clare Landscape 1988 mixed media on paper signed lower right: DAWS signed and dated on label verso 84 × 99cm PROVENANCE: BMG Fine Art (label verso) Private collection, Melbourne $4,000–6,000

72 DAVID BOYD (1924–2011) The Apple Tree 1976 oil on paper laid on board signed lower left: David Boyd dated lower right titled verso 32 × 26.5cm

73 ROBERT DICKERSON (1924–2015) Mother and Daughter pastel on paper on board signed lower right: DICKERSON titled on Andrew Ivanyi Galleries invoice 74.5 × 54.5cm

PROVENANCE: The Estate of the Artist

PROVENANCE: Andrew Ivanyi Galleries, Melbourne 1979 Private collection, Victoria

$5,000–7,000

$7,000–9,000

74 © David Boyd /Copyright Agency, 2020

74 DAVID BOYD (1924–2011) (Here Comes the Judge) 1971 oil on canvas signed and dated lower left: David Boyd 1971 49.5 × 75cm PROVENANCE: Andrew Ivanyi Gallery, South Yarra Private collection, Melbourne $14,000–18,000

75 § CLIFTON PUGH (1924–1990) Bush Bridge 1987 oil on canvas signed and dated lower right: Clifton / 3-6-87 titled verso 90 × 110.5cm

76 RAY CROOKE (1922–2015) Islander with Red Shirt 1974 oil on canvasboard signed lower left: R Crooke titled and dated verso 50 × 40cm

PROVENANCE: Leonard Joel, Melbourne, 8 May 2011, lot 290 Private collection, Melbourne

PROVENANCE: Private collection, Sydney

$5,500–7,000

$4,000–6,000

77 PRO HART (1928–2006) At the Beach oil on canvas signed lower right: PRO / HARt 70 × 90.5cm PROVENANCE: Gift of the Artist Cancer Society of New Zealand Fundraising Auction, New Zealand 1991 Private collection, Melbourne $9,000–12,000

78 D'ARCY DOYLE (1932–2001) Keeping Watch oil on board signed lower right: d'Arcy. D. Doyle titled lower left 74.5 × 59.5cm

80 YOSL BERGNER (1920–2017) Memories 2012 oil on linen initialled, titled (in Hebrew) and dated lower left: Y.B. 2012 50 × 40cm

PROVENANCE: Private collection, Melbourne

$6,000–8,000

$4,000–6,000

79 HUGH SCHULTZ (1921–2005) Wild Flowers, Broken Hill oil on composition board signed lower right: Hugh Schultz titled verso 44.5 × 60cm PROVENANCE: Private collection, Melbourne $1,600–2,600

WORKS FROM THE ESTATE OF LADY NOLAN

81 © Sidney Nolan /Copyright Agency, 2020 81 SIDNEY NOLAN (1917–1992) Man c.1955 mixed media on paper signed lower right: nolan Australian Galleries label verso cat. no. 9105 29.5 × 24.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $3,500–5,500

82 SIDNEY NOLAN (1917–1992) Drawing for Sculpture c.1955 mixed media on paper unsigned Australian Gallery Directors Council label verso 30 × 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan Works on Paper Retrospective, Art Gallery of New South Wales, Sydney, 1980-81, cat. no. 95 (touring exhibition)

LITERATURE: Buckley, J., Sidney Nolan Works on Paper Retrospective, Australian Gallery Directors Council, Canberra, 1980, cat. no. 95 $3,000–5,000 83 SIDNEY NOLAN (1917–1992) Camel Ride 1964 mixed media and collage on paper signed lower right: nolan titled and dated on hand written label verso 63 × 51.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $4,000–6,000

86 © Sidney Nolan /Copyright Agency, 2020 84 SIDNEY NOLAN (1917–1992) Tree Figure c.1965 mixed media on paper unsigned Australian Gallery Directors Council label verso 30 × 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan Works on Paper Retrospective, Art Gallery of New South Wales, Sydney, 1980–81, cat. no. 121 (touring exhibition)

LITERATURE: Buckley, J., Sidney Nolan Works on Paper Retrospective, Australian Gallery Directors Council, Canberra, 1980, cat. no. 121 $1,000–1,500 85 SIDNEY NOLAN (1917–1992) Bird and Fish, Japan 1957 mixed media on paper signed and dated upper right: Feb 5th 1957 / nolan Australian Galleries label verso cat. no. 9155 30 × 24.5cm

86 SIDNEY NOLAN (1917–1992) Noh Theatre, Japan c.1957 mixed media on paper signed lower centre: nolan Australian Galleries label verso cat. no. 9159 30 × 24.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $4,000–6,000

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $3,000–4,000

87 SIDNEY NOLAN (1917–1992) Noh Theatre, Japan 1957 oil pastel on paper initialled in centre with backwards N Australian Gallery Director's Council label verso (as Noh Figure) 30 × 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan Works on Paper Retrospective, Art Gallery of New South Wales, Sydney, 1980–81, cat. no. 107 (touring exhibition) LITERATURE: Buckley, J., Sidney Nolan Works on Paper Retrospective, Australian Gallery Directors Council, Canberra, 1980, cat. no. 107 $1,500–2,500 88 SIDNEY NOLAN (1917–1992) Moonboy 1977 crayon, pastel and dye on paper signed, titled and dated lower right: Moon boy/ 22 March 77/ nolan inscribed lower left: Brisbane Rudy Komon Gallery label verso cat. no. 4330 68 × 101cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500–2,500 89 SIDNEY NOLAN (1917–1992) Woman and Bird 1977 mixed media on paper signed, titled and dated lower right: nolan/ 22 March 77/ Woman and Bird inscribed lower left: Brisbane Rudy Komon Gallery label verso cat. no. 4326 102 × 71cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000–1,500

90 SIDNEY NOLAN (1917–1992) Roots of Heaven 1977 mixed media on paper signed, titled and dated lower right: nolan/ 22 March 77/ Roots of Heaven inscribed lower left: Brisbane Rudy Komon Gallery label verso cat. no. 4325 70.5 × 102.5cm

94 SIDNEY NOLAN (1917–1992) Marine 1977 mixed media on paper signed, titled and dated lower right: Marine/ 22 March 77/ nolan inscribed lower left: Brisbane Rudy Komon Gallery label verso cat. no. 4329 102 × 71cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

EXHIBITIONS: Sidney Nolan: Paintings, drawings and theatre design, Grosvenor Museum, Chester, 22 July– 18 September 1983, cat. no. 56

$1,500–2,500

$2,500–3,500 91 SIDNEY NOLAN (1917–1992) Picking Flowers 1977 mixed media on paper signed and dated lower right: nolan/ March 77 Rudy Komon Gallery label verso cat. no. 4359 103 × 71cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500–2,500 92 SIDNEY NOLAN (1917–1992) Head and Hand 1977 crayon on paper signed and dated lower right: nolan/ 7 Dec 77 96 × 68.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000–1,500 93 SIDNEY NOLAN (1917–1992) Classical Sculpture and Crucifixion 1978 mixed media on paper signed and dated lower right: nolan/ 30 Jan 78 Rudy Komon Gallery label verso cat. no. 4482 70 × 103.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000–1,500

95 SIDNEY NOLAN (1917–1992) Six Studies for Snake 1972 mixed media on paper (6) signed and dated verso: nolan/ 72 Rudy Komon Gallery label verso cat. no. 4289 29.5 × 24.5cm (each) PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $6,000–9,000 96 SIDNEY NOLAN (1917–1992) Six Studies for Snake 1972 mixed media on paper (6) signed and dated verso: NOLAN 1972 Rudy Komon Gallery label verso cat. no. 4289 29 × 24.5cm (each) PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $6,000–9,000 97 SIDNEY NOLAN (1917–1992) Study for Snake c.1972 mixed media on paper signed lower right: Nolan Marlborough Galleries label verso 30 × 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000–3,000

98 SIDNEY NOLAN (1917–1992) New Guinea Dance 1972 mixed media on paper signed centre right: NOLAN Marlborough Galleries label verso 50 × 73.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan, Fuji Television Gallery, Tokyo, 10–28 April 1973, cat. no.13, (illustrated) (label verso) $5,000–8,000 99 SIDNEY NOLAN (1917–1992) Landscape c.1962 mixed media on paper on board unsigned 51.5 × 63cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $3,000–5,000 100 SIDNEY NOLAN (1917–1992) Six Studies of Men c.1970 mixed media on paper (6) each signed lower right: nolan 29 × 24cm (each) PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $6,000–9,000 / End of Collection /

96 © Sidney Nolan /Copyright Agency, 2020

104

101 ATTRIBUTED TO JOHN FREDERICK HERRING Sr. (British,1795–1865) Farmyard Scene oil on panel signed lower left: J. F. Herring 19.5 × 30cm

102 ATTRIBUTED TO JOHN FREDERICK HERRING Sr. (British,1795–1865) Farmyard Scene oil on panel signed lower left: J. F. Herring 19.5 × 30cm

PROVENANCE: The Collection of Moonee Valley Racing Club, Melbourne (stamp verso)

$2,000–4,000

103 CARLO RANDANINI (Italian, 19th Century) (The Rendezvous) 1882 oil on canvas on board signed and dated lower right: Randanini 1882 68.5 × 57cm PROVENANCE: Private collection, Queensland $3,000–5,000

105

104 IN THE MANNER OF JAN VAN DER HEYDEN (Dutch, 18th Century) Riverside Scene oil on canvas titled on unknown label verso 30.5 × 37.5cm PROVENANCE: Private collection, London c. 1954 Private collection, Melbourne $2,000–3,000

105 CONRAD MARTENS (1801–1878) Tahiti 1836 watercolour on paper signed and dated lower right: C. Martens 1836 44 × 64cm PROVENANCE: Christies, Sydney, 6 June 1976, lot 288 The Collection of Mr. Kenneth. R. Stewart The Collection of Consolidated Press Holdings, Melbourne (The H. W. B. Chester Memorial Collection) The Collection of Dr. J. L. Raven Sotheby's, Fine Australian Paintings including the Dr. John L. Raven Collection, Melbourne, 17 April 1989, lot 343 Private collection, Western Australia

EXHIBITIONS: Conrad Martens Centenary Exhibition, S. H. Ervin Museum and Art Gallery, Sydney, 24 May–23 July 1978, cat. no. 10 Conrad Martens – The H. W. B. Chester Memorial Collection, Art Gallery of New South Wales, Sydney, 22 December 1979–10 February 1980, cat. no. 5 (illus.) OTHER NOTES: In 1835 Martens began sketching around the islands of Tahiti and Moorea. He was particularly inspired by the unfamiliar landscape with lush flora. It is thought that Martens paid one of the locals to ferry him between the two islands. Many of the sketches he produced on this trip progressed into later watercolours and and oil painting. RELATED WORK: Conrad Martens, View on the South Side of Moorea 1835, pencil on paper, from Sketchbook I, no. 81, The Collection of Cambridge University Library, Cambridge. $25,000–35,000

106 © Hans Heysen /Copyright Agency, 2020

106 HANS HEYSEN (1877–1968) Gums and Rocks c.1894 watercolour on paper signed lower left: H. HEYSEN. artist's name, title and date inscribed verso inscribed verso with David Heysen stamp and cat. no. W – 264 – DHH 23 × 17.5cm PROVENANCE: Private collection, Melbourne $4,000–6,000

107 ARTHUR STREETON (1867–1943) St Gratien 1918 pencil and wash on paper signed lower left: A STREETON titled and dated lower right 35 × 24cm PROVENANCE: Private collection, Melbourne Thence by descent Private collection, Melbourne LITERATURE: (Possibly) Arthur Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 705 St. Gratien $4,000–6,000

108 WALTER WITHERS (1854–1914) (Reflection) watercolour on paper signed lower left: Walter Withers 30.5 × 20.5cm PROVENANCE: Private collection, Melbourne $1,800–2,800 109 W. FOLLEN BISHOP (British, 1856–1936) Summer oil on board signed lower right: W. Follen Bishop titled on hand written label verso 51 × 34.5cm PROVENANCE: Private collection, Melbourne $2,000–4,000

111

110 EVELYN BAXTER (1926–1979) Roses with Porcelain Figure oil on canvas signed lower right: EVELYN M BAXTER 62.5 × 67.5cm PROVENANCE: The Collection of Moonee Valley Racing Club, Melbourne (stamp verso) $1,500–2,500

111 FREDERICK WOODHOUSE SENIOR (1820–1909) William Tell 1886 oil on canvas signed and dated lower right: Fred Woodhouse Sen/ 1886 inscribed on frame plaque: WILLIAM TELL/ OAKLEY [sic] PLATE 1886/ STANDISH HANDICAP 1887 45 × 60cm PROVENANCE: Private collection, Melbourne OTHER NOTES: William Tell won the Oakleigh Plate in 1886, Newmarket Handicap in 1886, and the Standish Handicap in 1887 ridden by William Olds.

In 1887 Banjo Paterson wrote one of his most affecting poems, "Only A Jockey" inspired in part by William Tell. Paterson was compelled to write the poem after reading a small news article about the death of a teenage jockey, Richard Bennison. Bennison, aged 14, was tragically killed while riding William Tell in his training. The news article confirmed that "The horse is luckily uninjured". Paterson wrote about the boy's death with pity, and a critical view of the news' perspective of the incident. "Only A Jockey" was originally published in The Bulletin in February 1887, and then published in The Man From Snowy River and Other Verses in 1895. $6,000–8,000

THE ROTHSCHILD COLLECTION

117

112 LOUIS BUVELOT (1814–1888) Swiss Scene watercolour on paper signed lower left: L. Buvelot 21.5 × 13cm PROVENANCE: The Estate of A.M.E. Bale Leonard Joel, Melbourne, 4 November 1981, lot 1217 Private collection Leonard Joel, Melbourne, 13 April 1988, lot 1109 The Rothschild Collection, Melbourne $1,200–1,600

113 ATTRIBUTED TO SIR JOHN EVERETT MILLAIS (British, 1829–1896) Portrait of a Young Girl pencil on paper monogrammed lower right 28.5 × 20cm

115 HENRY GRITTEN (c.1818–1873) Country Homestead 1856 ink and wash on paper signed and dated lower right: H. Gritten/ 1856 titled verso 16.5 × 25cm

PROVENANCE: The Collection of Sir Marcus Clarke Sotheby's, Melbourne, 24 November 1998, lot 183 The Rothschild Collection, Melbourne

PROVENANCE: Leonard Joel, Melbourne, 11 August 1992, lot 245 The Rothschild Collection, Melbourne

$3,000–5,000 114 S. T. GILL (1818–1880) Two Figures in Landscape watercolour and pencil on paper signed lower left: S.T.G. 15.5 × 26cm PROVENANCE: The Rothschild Collection, Melbourne $2,500–3,500

$1,400–1,800 116 HANS HEYSEN (1877–1968) Country Road 1920 charcoal on paper signed and dated lower left: HANS HEYSEN 1920 29 × 38.5cm PROVENANCE: The Rothschild Collection, Melbourne $3,000–4,000

119

117 WILLIAM DARGIE (1912–2003) Over The Practice Jump oil on canvas signed lower right: Dargie titled verso 50 × 75cm PROVENANCE: Leonard Joel, Melbourne, 23 May 1979, lot 981 The Rothschild Collection, Melbourne $4,000–6,000

118 RUBERY BENNETT (1893–1987) (Road, Burragorang Valley) oil on board signed lower left: RUBERY BENNETT 23.5 × 29.5cm PROVENANCE: Leonard Joel, Melbourne, 11 August 1992, lot 168 The Rothschild Collection, Melbourne $1,200–1,800

119 WILLIAM DARGIE (1912–2003) ANZAC Day Canberra, 1970 oil on board signed lower left: Dargie titled and dated on label verso 33.5 × 41.5cm PROVENANCE: The Rothschild Collection, Melbourne RELATED WORK: ANZAC Day Ceremony, Australian War Memorial, 1971, oil on canvas, 50.5 x 76cm, The Collection of the Australian War Memorial, Canberra $5,000–7,000

120

120 ARTHUR STREETON (1867–1943) Kelso Bridge pencil on paper initialled lower right: as titled verso 24 × 33cm PROVENANCE: Leonard Joel, Melbourne, 7 November 1984, lot 1211 The Rothschild Collection, Melbourne $2,000–3,000

121 LIONEL LINDSAY (1874–1961) Market Gateway, Zafra watercolour on paper signed and inscribed lower right: LIONEL LINDSAY/ ZAFRA titled lower left 29 × 20cm

122 HOWARD ASHTON (1877–1964) South Sydney Coast 1920 oil on canvas signed and dated lower right: Howard Ashton/ 1920 titled on label verso 36.5 × 47cm

PROVENANCE: Leonard Joel, Melbourne, 23 May 1979, lot 789 The Rothschild Collection, Melbourne

PROVENANCE: Christies, Melbourne, 16 September 1991, lot 158 The Rothschild Collection, Melbourne

$1,200–1,600

$1,800–2,800

123 NORA HEYSEN (1911–2003) Still Life oil on canvas laid on board signed lower right: Nora Heysen 55 × 39.5cm PROVENANCE: The Rothschild Collection, Melbourne $14,000–18,000 124 RUBERY BENNETT (1893–1987) Stanley Chasm oil on board signed lower right: RUBERY BENNETT titled verso 14.5 × 19.5cm PROVENANCE: The Rothschild Collection, Melbourne $1,000–1,500 125 ALBERT NAMATJIRA (1902–1959) Mount Sonder watercolour on woomera signed lower right: ALBERT NAMATJIRA 68cm (length) PROVENANCE: The Rothschild Collection, Melbourne $1,400–2,000 126 SIDNEY NOLAN (1917–1992) Uluru ripolin on paper laid on board signed right hand edge: Nolan 49.5 × 75.5cm PROVENANCE: Leonard Joel, Melbourne, 31 March 1982, lot 883 The Rothschild Collection, Melbourne $5,000–7,000

123

127 RUSSELL DRYSDALE (1912–1981) Study of an Indigenous Person 1937/1972 red chalk signed, dated and inscribed lower right: Russell Drysdale 1972./ Drawn at George Bell's School/ 1937. 56.5 × 39.5cm PROVENANCE: Christies, Melbourne, 1 May 2000, lot 521 The Rothschild Collection, Melbourne $2,000–3,000

128

128 ALLAN THOMAS BERNALDO (1900–1988) Indigenous Family Group watercolour on paper signed lower left: Allan. T./ Bernaldo 29.5 × 37cm

129 RUBERY BENNETT (1893–1987) (Autumn Day, Lett River) oil on canvas on board signed lower left: RUBERY BENNETT 24 × 29cm

PROVENANCE: The Rothschild Collection, Melbourne

PROVENANCE: Leonard Joel, Melbourne, 13 April 1988, lot 53 The Rothschild Collection, Melbourne

$1,800–2,500

$2,000–4,000

129A HANS HEYSEN (1877–1968) Red Gum: Summer Day 1925 watercolour on paper signed and dated lower left: HANS HEYSEN 1925 titled on Fine Art Society label verso 32 × 40cm PROVENANCE: The Rothschild Collection, Melbourne $10,000–15,000

129

130 JAMES ASHTON (1859–1935) Coastal Waters oil on canvas signed lower right: J. Ashton 75.5 × 60cm

131 LLOYD REES (1895–1998) Landscape 1966 charcoal and watercolour on paper signed and dated lower left: L. REES 66 33 × 43cm

PROVENANCE: The Rothschild Collection, Melbourne

$1,800–2,800

$3,000–4,000

132 DONALD FRIEND (1915–1989) Study for David 1946 ink on paper signed, titled and dated lower right: D. Friend. 46/ Study for "David" 35 × 25.5cm PROVENANCE: Christies, Melbourne, 23 November 1998, lot 310 The Rothschild Collection, Melbourne $2,000–3,000

137

133 LLOYD REES (1895–1998) River View 1967 watercolour and pencil on paper signed and dated lower right: L. REES 1967 19.5 × 32cm

134 RUSSELL DRYSDALE (1912–1981) Man, and Woman Resting ink on paper signed lower left: Russell Drysdale 14.5 × 24.5cm

135 ROBERT DICKERSON (1924–2015) Female Portrait pastel on paper signed lower right: DICKERSON 37.5 × 27.5cm

PROVENANCE: The Rothschild Collection, Melbourne

$1,500–2,500

$1,200–1,600

$2,800–3,800

138 © Ray Crooke /Copyright Agency, 2020

136 § HUGH SAWREY (1923–1999) The Dogger and His Missus, North Queensland oil on masonite signed lower right: SAWREY titled verso 29 × 34cm PROVENANCE: Leonard Joel, Sydney, 21 November 2010, lot 163 The Rothschild Collection, Melbourne $3,000–4,000

137 HUGH SAWREY (1923–1999) Catching The Horses, Diamantina Lakes Station, Western Queensland oil on canvas signed lower right: SAWREY artist's name and title inscribed verso 29 × 34cm

138 RAY CROOKE (1922–2015) Canecutters, Sunday, Cairns North Queensland oil on canvas signed lower right: R Crooke titled verso 49 × 59.5cm

PROVENANCE: Kew Gallery, Melbourne 1971 Private collection, Melbourne Christies, Melbourne, 10 April 2006, lot 121 Rothchild collection, Melbourne

PROVENANCE: The Rothschild Collection, Melbourne $4,500–6,500

$3,500–4,500

139 ROBERT DICKERSON (1924–2015) (Winsome Child) pastel on paper laid on board signed lower right: DICKERSON 38.5 × 29.5cm

143 ALBERT TUCKER (1914–1999) Figure in Landscape watercolour on paper signed lower right: Tucker 24.5 × 37.5cm

PROVENANCE: Christies, Melbourne, 8 May 2001, lot 233 The Rothschild Collection, Melbourne

PROVENANCE: The Rothschild Collection, Melbourne

$2,500–4,500 140 GARRY SHEAD (born 1942) Morning Tea oil on paper signed lower right: Shead 27 × 18cm PROVENANCE: Goodmans Auctioneers, Sydney, 23 October 2000, lot 26 The Rothschild Collection, Melbourne $2,000-4,000 141 CHARLES BLACKMAN (1928–2018) Woman with Eyes Closed (Mauve) 2008 acrylic and mixed media on canvas signed and dated lower right: C. BLACKMAN/ 2008 inscribed verso with Charles Blackman Foundation cat. no. CB P.19 2008 59.5 × 49.5cm PROVENANCE: The Charles Blackman Foundation The Rothschild Collection, Melbourne $5,000–7,000 142 CHARLES BLACKMAN (1928–2018) Woman (Mauve) 2008 acrylic and mixed media on canvas signed and dated upper right: CHARLES/ BLACKMAN/ 2008 inscribed verso with Charles Blackman Foundation cat. no. CB P.23 2008 59 × 44cm PROVENANCE: The Charles Blackman Foundation The Rothschild Collection, Melbourne $5,000–7,000

$2,500–3,500 144 ALBERT TUCKER (1914–1999) Figure with Camel watercolour on paper signed lower right: Tucker. 21 × 28cm PROVENANCE: The Rothschild Collection, Melbourne $2,500–3,500 145 TIM STORRIER (born 1949) Xero 1971 oil on canvas signed lower centre: Tim Storrier titled and dated on stretcher bar verso 75 × 61cm PROVENANCE: The Rothschild Collection, Melbourne $2,500–3,500 / End of Collection / 146 CALLUM MORTON (born 1965) Toys R'Us, Utrecht (From the Series Local +/or General) 2001 digital print, edition of 5 signed, titled, dated and editioned on gallery label verso 94.5 × 133.5cm (image size) PROVENANCE: Anna Schwartz Gallery, Melbourne (label verso) Private collection, Melbourne $8,000–10,000

147 CALLUM MORTON (born 1965) New Caanan, Connecticut (From the Series Local +/or General) 2003 digital print, edition of 5 signed, titled, dated and editioned on gallery label verso 94.5 × 169.5cm (image size) PROVENANCE: Anna Schwartz Gallery, Melbourne (label verso) Private collection, Melbourne $8,000–10,000 147A SHAUN GLADWELL (born 1972) Pataphysical Man 2005 video still ed. 2/7 signed, dated and editioned lower right: Shaun Gladwell 05 2/7 31 × 48cm PROVENANCE: Sherman Galleries, Sydney Private collection, Melbourne $4,000–6,000 148 PATRICIA PICCININI (born 1965) Subdivision (As The Suburbs Encroach On The Honeyeater's Habitat, This Group Is A dapting To Life On The City Fringe) 2005 digital c-type photograph, ed. 1/6 signed and dated lower right: 2005 / Patricia Piccinini editioned lower left artist's name and title on gallery label verso 80 × 160cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (label attached verso) Sotheby's, Melbourne, 24 August 2009, lot 188 (label verso) Private collection, Melbourne $8,000–10,000

146 © Courtesy of the artist and Anna Schwartz Gallery

149 § TOM ADAIR (born 1983) Pink Lambo's and Pina Colada's 2019 airbrush and neon on diband in perspex casing signed, titled and dated verso: "PINK LAMBO'S AND/ PINA COLADA'S"/ TOM ADAIR 2019 121.5 × 221.5 × 14cm PROVENANCE: Commissioned by the artist, 2019 Corporate collection, Melbourne $5,000–7,000

150 § ROBERT OWEN (born 1937) Kinetic Relief No. 11 1969 mixed media construction ed. 2/3 artist's name incised verso: Robert / OWEN titled, dated and editioned verso: Kinetic / Relief #11 / 1969 / 2/3 86 × 86cm PROVENANCE: Marlborough New London Gallery, London The Estate of Robert Heller, London Roseberys, London, 4 December 2019, lot 122 Private collection, Victoria

EXHIBITIONS: Robert Owen- Relief Constructions, Tolarno Galleries, Melbourne, 1971–72 (another edition) Four Australian Artists: Arthur Boyd, Leonard Hessing, Sidney Nolan, Robert Owen, Richard Demarco Gallery, Edinburgh, 9 July–1 August 1970. LITERATURE: Plant, M. The Eclipse of Self Robert Owen in Green and London, Between Shadow and Light 1966–1975, exhibition catalogue, Monash University Gallery, Melbourne, 1999 illus. p.16 (another edition) $3,000–5,000

151 PRINCE OF WALES (1938–2002) Body Marks 2002 synthetic polymer paint on linen inscribed verso with title, date and Karen Brown Gallery cat. no. 0887 80 × 50cm PROVENANCE: Karen Brown Gallery, Darwin The Collection of Gene and Brian Sherman, Sydney Deutscher and Hackett, Melbourne, 13 June 2018, lot 26 Private collection, Melbourne $4,500–5,500 152 LILY KELLY NAPANGARDI (born 1948) Untitled 2011 synthetic polymer paint on linen inscribed verso with artist's name and unknown cat. no. 13 Iranti Art Gallery stamp verso 83 × 82cm PROVENANCE: Iranti Art Gallery, Alice Springs (accompanied by a certificate of authenticity) Private collection, Sydney Private collection, Melbourne $1,600–2,600 153 BARBARA WEIR (born c.1945) Grass Seed Dreaming 2005 synthetic polymer paint on canvas inscribed verso with date, artist's name and Mbantua cat. no. MB25723 and 1.2.05i 150 × 269cm PROVENANCE: Mbantua Gallery, Alice Springs 2005 (accompanied by a copy of the certificate of authenticity) Corporate collection, Melbourne $10,000–15,000 154 MITJILI NAPARRULA (born c.1946) Untitled synthetic polymer paint on linen inscribed verso with artist's name and Watiyawanu Artists stamp and cat. no. 77-0008 and High on Art cat. no. HOA0310/MTIN 120 × 60cm 151

PROVENANCE: Watiyawanu Artists, Northern Territory High on Art Gallery, Melbourne Private collection, Melbourne $1,500–2,500

155 © Ronnie Tjampitjinpa /Copyright Agency, 2020

155 RONNIE TJAMPITJINPA (born c.1943) Emu Dreaming 1995 synthetic polymer paint on canvas inscribed verso with artist's name and Aboriginal Gallery of Dreamings cat. no. A.G.O.D. 4939 128.5 × 113cm

156 WALALA TJAPALTJARRI (born 1960) Tingari Cycle 1998 synthetic polymer paint on Belgian linen inscribed verso with artist's name and Gallery Gondwana cat. no. WT 3706 91.5 × 91.5cm

PROVENANCE: Aboriginal Gallery of Dreamings, Melbourne (certificate of authenticity provided including an original photograph of the artist with completed work) Private collection, Melbourne

PROVENANCE: Gallery Gondwana, Northern Territory (accompainied by a certificate of authenticity) Vivien Anderson Gallery, Melbourne 1988 Private collection, Melbourne

EXHIBITIONS: Walala Tjapaltjarri Paintings, Vivien Anderson Gallery, Melbourne, August 1998 OTHER NOTES: 1998 marked the beginning of Walala Tjapaltjarri's solo art practice with a series of solo exhibitions: VAG in Melbourne, Cooee Art, Sydney and Fireworks, Brisbane. $3,000–5,000

$9,000–12,000

160 © Dick Goobalatheldin Roughsey /Copyright Agency, 2020

157 GLORIA TAMERRE PETYARRE (born 1945) Anunangra Growth 1999 acrylic on canvas (four parts) inscribed verso with date and Dacou Gallery cat. no. 03728 / 1999 183 × 240cm PROVENANCE: Gallery Savah, Sydney 2001 Private collection, Sydney $8,500–12,000

159 JULIE DOWLING (born 1969) Molly Dowling and the Big Tree at the Front of the House 1996 oil on canvas signed, titled and dated verso: 'Molly Dowling / and / the Big Tree at the Front of the house' / by / Julie Dowling / April 30th 1996 51.5 × 36.5cm PROVENANCE: Private collection, Melbourne $2,000–3,000

160 DICK (GOOBALATHELDIN) ROUGHSEY (1924–1985) Goonana Village oil on board signed lower right: Goobalatheldin titled verso 60 × 77.5cm PROVENANCE: Private collection, England Christies, Australian Art – Online, London, 19 March 2020, lot 24 (label verso) Private collection, Melbourne $3,000–4,000

161 © Russell Drysdale/Copyright Agency, 2020

161 RUSSELL DRYSDALE (1912–1981) Stockman c.1955 ink and wash on paper signed lower left: Russell Drysdale titled on gallery label verso 22 × 21cm

162 PRO HART (1928–2006) Miner's Kids oil on canvasboard signed and titled lower right: "MINER'S KIDS" PRO/ HARt 44.5 × 59cm

PROVENANCE: Private collection, Sydney

PROVENANCE: Private collection, Melbourne

EXHIBITIONS: Agnew's Gallery at Rex Irwin Art Dealer London – Sydney, 8–19 November 2011, cat. no. 14 (illustrated in catalogue) (on loan)

$4,500–5,500

$4,000–6,000

163 DAVID BOYD (1924–2011) Apple Tree By A Stream oil on board signed lower left: David Boyd titled verso 29.5 × 37cm

164 DAVID BOYD (1924–2011) A Redtailed Black Cockatoo Admiring Europa 1995 oil on board signed lower left: David Boyd dated lower right titled verso 39 × 39.5cm PROVENANCE: The Estate of the Artist $6,000–8,000

PROVENANCE: Greythorn Galleries, Melbourne 2004 (label verso) Private collection, Melbourne $7,000–9,000 59

165 § MIRKA MORA (1928–2018) (The Angel's Embrace) 1961 mixed media on paper signed and dated lower right: Mirka / 61. 52 × 34cm PROVENANCE: Private collection, Melbourne Leonard Joel, Melbourne, 26 November 2019, lot 33 Private collection, Melbourne $3,000–5,000 166 DOROTHY BRAUND (1926–2013) Dressing Up 1979 watercolour and gouache on paper signed and dated lower left: BRAUND '79 titled verso 40.5 × 51cm PROVENANCE: Private collection, Melbourne $3,000–4,000 167 DOROTHY BRAUND (1926–2013) A Dirty Postcard (For Jan) 1989 watercolour and gouache on paper signed and dated lower centre: BRAUND 89 titled verso 18 × 43cm PROVENANCE: Private collection, Melbourne $2,000–3,000 168 § FRANCIS LYMBURNER (1916–1972) Wirth's Circus oil on canvas on board title and artist's name on Art Gallery of New South Wales label verso 60 × 75cm PROVENANCE: Private collection, Sydney Lawson~Menzies, Sydney, 15 November 2012, lot 267 Private collection, Melbourne EXHIBITIONS: Frances Jones Studio, Sydney 1962 Francis Lymburner Retrospective, Art Gallery of New South Wales, Sydney, 4 April 1992 – 31 January 1993, cat. no. 17 (illus.) (label attached verso) LITERATURE: Kolenberg, H., Pearce, B., Francis Lymburner, Art Gallery of New South Wales, Sydney, 1992, cat. no. 17, p. 47 (illus.) $2,000–4,000

169 JOHN OLSEN (born 1928) Hospital 1998 ink and pastel on paper initialled and dated lower right: JO 98 titled lower left 28 × 39cm PROVENANCE: Tim Olsen Gallery, Sydney Mossgreen Auctions, Sydney, 21 February 2006, lot 90 Private collection, Melbourne EXHIBITIONS: Figures and Landscape: Recent works on paper, Tim Olsen Gallery, Paddington, 15 December 2001–2 February 2002, cat. no. 16 $2,000–3,000 170 § DAVID BOYD (1924–2011) Dancing Judges mixed media on paper signed lower left: David Boyd 49.5 × 39cm PROVENANCE: Private collection, Melbourne $3,000–4,000 171 DAVID BOYD (1924–2011) Sunlight on the Water oil on canvas on board signed lower left: David Boyd titled on gallery label verso 19 × 37.5cm PROVENANCE: Wagner Contemporary, Sydney (label verso) Private collection, New South Wales $8,000–10,000 172 HERMAN PEKEL (born 1956) Yarra Glen 2009 oil on canvas signed lower left: PEKEL titled and dated verso 101.5 × 153cm PROVENANCE: Private collection, Melbourne $3,500–5,500 173 KENNETH JACK (1924–2006) The Kimberley, Western Australia 1967 charcoal on paper laid on board signed and dated lower right: KENNETH JACK 1967 titled verso 89.5 × 120cm

PROVENANCE: The Estate of the Artist $6,000–8,000 174 KENNETH JACK (1924–2006) La Perouse, New South Wales 1955 oil on masonite signed and dated lower right: KENNETH JACK / 1955 titled verso 75 × 105cm PROVENANCE: The Estate of the Artist $5,000–7,000 175 OTTO PAREROULTJA (1914–1973) Central Australian Landscape watercolour on paper signed lower right: Otto Pareroultja 25.5 × 36.5cm PROVENANCE: Coombe Down Galleries, Geelong (label verso) High on Art Gallery, Melbourne Private collection, Melbourne $1,200–1,800 176 ROBERT JOHNSON (1890–1964) Landscape oil on board signed lower right: Robert Johnson 29 × 36.5cm PROVENANCE: Private collection, Sydney $1,200–1,800 177 § JUSTIN O'BRIEN (1917–1996) Still Life with Fruit 1936 oil on board signed and dated upper left: Justin O'Brien / 1936 64.5 × 87cm PROVENANCE: Gift of the Artist c.1949 Private collection, Queensland Thence by descent Private collection, Queensland Menzies, Melbourne, 20 March 2014, lot 86 Private collection, Melbourne $5,000–7,000

180 © Kenneth Jack /Copyright Agency, 2020

178 DONALD FRIEND (1915–1989) Boy – Ceylon watercolour and ink on paper signed and inscribed upper left: Donald Friend / Ceylon titled on gallery label verso 50 × 34cm

179 DONALD FRIEND (1915–1989) Two Boys in Firenze 1949 ink on paper signed, dated and inscribed upper left: Donald .49 / Firenze titled on gallery label verso 30 × 44cm

180 KENNETH JACK (1924–2006) Lerderderg Country, Victoria 1947 oil on canvasboard signed and dated lower right: KENNETH JACK - SEPT / 1947 titled verso 52.5 × 80cm

PROVENANCE: BC Fine Art Gallery, Queensland (label verso) Private collection, Queensland

PROVENANCE: Christies, Melbourne, 20 April 1993, lot 51 BC Fine Art Gallery, Queensland (label verso) Private collection, Queensland

PROVENANCE: The Estate of the Artist

$3,000–4,000

$5,000–7,000

$3,000–4,000

186 CLIFTON PUGH (1924–1990) Two Gums in a Dry Water Course 1985 gouache on paper signed and dated lower right: Clifton / 9-8-85 titled lower left 54 × 73cm

each signed and dated lower right: Jasper Knight 2020 left panel titled lower centre: 'RETURN TO SENDER' right panel titled lower centre: "when the wire breaks" 101 × 66cm; 101 × 62cm

PROVENANCE: Private collection, Melbourne

$2,000–3,000

$4,000–6,000

182 IVOR HELE (1912–1993) Nude Seated charcoal on paper signed lower right: Ivor Hele 54 × 37cm

187 ROBERT JUNIPER (1929–2012) Lady In A Tree 2000 mixed media on paper signed and dated lower right: Juniper / '00 titled verso 38 × 28cm

191 § DONNA MARCUS (born 1960) Tripe 1997 aluminium assemblage 168 × 110cm (irreg.)

PROVENANCE: Private collection, Sydney

PROVENANCE: Private collection, Melbourne

$1,800–2,800

$1,200–1,800

183 IVOR HELE (1912–1993) Nude Reclining charcoal on paper signed lower left: Ivor Hele 27 × 37cm

188 TONY TUCKSON (1921–1973) Two Heads (TD 1720) 1955 gouache on paper artist's name and title on gallery label verso 40 × 50cm

PROVENANCE: Collection of the Artist Private collection, Sydney

PROVENANCE: The Collection of Margaret Tuckson Watters Gallery, Sydney 1992 (acquired from the above) Private collection, South Australia Mossgreen Auctions, Melbourne, 19 June 2013, lot 453 Private collection, Melbourne

181 IVOR HELE (1912–1993) Nude in Stockings conté on paper signed lower right: Ivor Hele 46 × 33cm PROVENANCE: Deutscher~Menzies, Sydney, 10 March 2004, lot 183 (label verso) Private collection, Sydney $1,800–2,800

$1,500–2,000 184 NORMAN LINDSAY (1879–1969) Sally pencil on paper initialled lower right: N.L titled on gallery label verso 26 × 17.5cm PROVENANCE: Copperfield Gallery, Sydney (label verso) Private collection, Sydney $2,000–3,000 185 MAX MIDDLETON (1922–2013) In Golden Water oil on canvas signed lower right: Max Middleton titled verso 75 × 60cm PROVENANCE: The Estate of the Artist $4,000–6,000

EXHIBITIONS: Blue Chip XIII, Niagara Galleries, Melbourne, 8 March – 2 April 2011, cat. no. 40 (label verso) $4,000–6,000 189 ARTHUR TED POWELL (born 1947) Tooborac Boulders 2017 acrylic on paper signed lower right: Arthur Powell 104 × 108cm PROVENANCE: The Artist Private collection, Melbourne $2,500–4,500 190 § JASPER KNIGHT (born 1978) Return to Sender/When the Wire Breaks 2020 acrylic on card diptych

PROVENANCE: Dianne Tanzer Gallery, Melbourne Private collection, Melbourne Deutscher and Hackett, Melbourne, 30 November 2011, lot 120 Private collection, Queensland EXHIBITIONS: Art/Life: Selected Works From The Shane and Sally Thompson Collection, QUT Art Museum, Brisbane 3 August – 15 September 2013 LITERATURE: Donna Marcus: 99% Pure Aluminium, Institute of Modern Art, Brisbane, 2003 (illus.) $2,500–3,500 192 ALICE NAMPITJINPA (born 1945) Untitled synthetic polymer paint on canvas inscribed verso with artist's name and Watiyawanu Artists stamp and High on Art cat. no. HOA0312 / ALIN 122 × 60cm PROVENANCE: Watiyawanu Artists of Amunturrungu, Mount Liebig High on Art, Melbourne Private collection, Melbourne $1,200–1,800 193 CLAUDIO TOZZI (Brazilian, born 1944) Papagalia 1980 oil on canvasboard signed lower right: Claudio Tozzi signed, titled and dated verso 80 × 112cm PROVENANCE: Private collection, Queensland $5,000–7,000

188 © Tony Tuckson/Copyright Agency, 2020

194 IVAN DURRANT (born 1947) Dog 1970 oil on masonite signed and dated lower right: I. DURRANT 70 titled and dated verso 72 × 90.5cm

195 § DAVID BROMLEY (born 1960) A Sunday Stroll bronze ed. 5/30 signed at base: BROMLEY editioned under base 35cm (height)

PROVENANCE: Gift of the Artist, 2001 Private collection, Melbourne

PROVENANCE: Bromley & Co. Gallery, Ballarat 2019 Private collection, Queensland

$2,000–4,000

$2,000–3,000

196 LORNA FENCER NAPARRULA (c. 1925–2006) Boomerangs synthetic polymer paint on canvas inscribed verso with artist's name, title and Aboriginal Fine Art cat. no. A6276 and High on Art cat. no. HA17 129 × 60.5cm PROVENANCE: Aboriginal Fine Arts, Darwin High on Art, Melbourne Private collection, Melbourne $3,000–5,000

198

197 ARTHUR TED POWELL (born 1947) Hong Kong acrylic on canvas signed lower right: A. Ted. Powell 101.5 × 101cm PROVENANCE: The Artist Private collection, Melbourne $3,000–5,000

198 § RICHARD DUNLOP (born 1960) Red Heat 2005 oil on linen signed and dated lower right: Dunlop – 05 titled verso 150 × 150cm PROVENANCE: Tim Olsen Gallery, Sydney (label verso) Davidson Auctions, Sydney, 22 June 2014, lot 82 Private collection, Melbourne $3,000–5,000 199 DO XUAN DOAN (Vietnamese, born 1937) Corner of Ha Noi 2009 lacquer on wood signed lower left: d x doan 122 × 159cm

PROVENANCE: Galerie Nguyen, Vietnam (accompanied by a certificate of authenticity) Private collection, Melbourne $3,500–4,500 200 FABRIANNE PETERSON NAMPITJINPA (born 1965) Wangunu: Bush Damper synthetic polymer paint on canvas inscribed verso with artist's name, title and High on Art cat. no. HA17077 89 × 69cm PROVENANCE: Watiyawanu Artists of Amunturrungu, Mt Liebig High on Art, Melbourne Private collection, Melbourne $1,000–1,500

201 NATALIA CACCHIARELLI (Argentinian, born 1972) Untitled 2002 acrylic on canvas signed and dated verso: NATALIA CACCHIARELLI / 2002 78.5 × 79cm PROVENANCE: Private collection, Melbourne $1,500–2,500 202 NATALIA CACCHIARELLI (Argentinian, born 1972) Untitled 2002 acrylic on canvas signed and dated verso: NATALIA CACCHIARELLI / 2002 80.5 × 80cm PROVENANCE: Private collection, Melbourne $1,500–2,500 203 § GREG CREEK (born 1959) Desktop Drawing XXXIV/V (Blue Targets tRtPA) 2005 mixed media on paper artist's name, title and date on gallery label verso 72 × 106cm

206 § BRUCE EARLES (born 1953) Psychedelic Sands 2020 oil on canvas signed and dated lower right: Bruce Earles, 20 titled verso 122 × 150cm

211 ROBERT JOHNSON (1890–1964) View of Hawkesbury River, New South Wales oil on board signed lower left: Robert Johnson titled verso 37 × 44.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Private collection, Sydney

$3,500–4,500

$1,600–2,600

207 SHORTY ROBERTSON JANGALA (c.1930–2014) Untitled synthetic polymer paint on canvas inscribed verso with artist's name and Warlukurlangu Artists cat. no. 512/04 and High on Art cat. no HA17096 92 × 46cm

212 CHARLES WHEELER (1881–1977) Nepean River oil on canvas signed lower left: C. Wheeler signed and titled verso 45 × 60cm

PROVENANCE: Warlukurlangu Artists, Yuendumu High on Art, Melbourne Private collection, Melbourne $1,400–2,400 208 ROY DE MAISTRE (1894–1968) Villa Arantiga ink on paper artist's name and title on gallery label verso 23 × 23cm

PROVENANCE: Sarah Scout Presents, Melbourne Sacred Heart Mission Charity Auction, Melbourne 2013 (label verso) Private collection, Melbourne

PROVENANCE: BC Fine Art Gallery, Queensland (label verso) Private collection, Queensland

$1,000–1,500

209 ROY DE MAISTRE (1894–1968) Lord Ashbourne at Compeiene 1925 ink on paper artist's name, title and date on gallery label verso 21.5 × 22.5cm

204 § KATHRYN RYAN (born 1965) Railway Pines 2016 charcoal on paper diptych signed and dated lower right: Kathryn Ryan 2016 titled on Olsen Irwin Gallery label verso 51.5 × 147cm PROVENANCE: Private collection, Melbourne $2,000–4,000 205 § LAURA MATTHEWS (born 1964) The Boatman 2011 oil on linen initialled lower left signed, titled and dated verso: Laura Matthews 2011/ "The Boatman" 148 × 188cm PROVENANCE: Private collection, Sydney

$1,800–2,800

PROVENANCE: BC Fine Art Gallery, Queensland (label verso) Private collection, Queensland $1,800–2,800 210 ELLIS ROWAN (1848–1922) Mountain Vista watercolour and gouache on paper signed lower left: Ellis Rowan 50 × 82cm PROVENANCE: Private collection, Sydney Leonard Joel, Melbourne, 16 April 2007, lot 76 Private collection, Melbourne

PROVENANCE: Private collection, Melbourne $1,200–1,800 213 HERBERT ROSE (1890–1937) European Scene oil on canvas signed lower right: HERBERT ROSE 39.5 × 50cm PROVENANCE: The Seddon Galleries, Melbourne (label verso) Private collection, Melbourne $1,500–2,500 214 PATRICIA MORAN (born 1944) English Roses oil on canvas signed lower right: P. Moran 49.5 × 60cm PROVENANCE: Private collection, Sydney $1,200–1,800 215 LEONARD LONG (1911–2013) In the Kangaroo Valley, South Coast, New South Wales 1982 oil on canvasboard signed and dated lower right: LEONARD LONG 1982 titled on gallery label verso 44.5 × 59cm PROVENANCE: Greythorn Galleries, Melbourne (label verso) Private collection, Melbourne $1,000–1,500

$2,500–3,500

$5,000–7,000 65

FINE JEWELS & TIMEPIECES MELBOURNE AUCTION Monday 30 November 2020, 6pm

Viewing in Sydney: Friday 20 – Sunday 22 November, 10am–4pm Viewing in Melbourne: Thursday 26 – Sunday 29 November, 10am–4pm

A ROLEX COSMOGRAPH DAYTONA WRISTWATCH $25,000 – $30,000

leonardjoel.com.au

ARTIST INDEX ADAIR, TOM........................................................ 149

GLADWELL, SHAUN.........................................147A

50, 70, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92,

AMOR, RICK............................................... 34, 35, 61

GRAHAM, ANNE MARIE...................................... 11

93, 94, 95, 96, 97, 98, 99, 100, 126

ASHTON, HOWARD........................................... 122

GRITTEN, HENRY................................................ 115

NORRIE, SUSAN.................................................... 63

ASHTON, JAMES................................................ 130

HART, PRO..................................................... 77, 162

O’BRIEN, JUSTIN................................................ 177

ASHTON, WILL........................................................ 5

HELE, IVOR.......................................... 181, 182, 183

OLLEY, MARGARET............................................... 17

BADHAM, HERBERT............................................. 30

HERRING Sr., ATTRIBUTED TO

OLSEN, JOHN..................................................... 169

BAXTER, EVELYN................................................. 110

JOHN FREDERICK...................................... 101, 102

OWEN, ROBERT.................................................. 150

BEAUMONT, CHRISTOPHER............................... 60

HEYSEN, HANS.................................106, 116, 129A

PAREROULTJA, OTTO........................................ 175

BEAUMONT, DAVID.............................................. 66

HEYSEN, NORA................................................... 123

PEKEL, HERMAN..................................... 24, 68, 172

BENNETT, RUBERY............................. 118, 124, 129

HICKEY, DALE........................................................ 44

PERCEVAL, JOHN........................................... 25, 26

BENOIT, MARGARET............................................ 10

JACK, KENNETH........................... 33, 173, 174, 180

PETYARRE, GLORIA TAMERRE.......................... 157

BERGNER, YOSL................................................... 80

JACKS, ROBERT.................................................... 39

PICCININI, PATRICIA........................................... 148

BERNALDO, ALLAN THOMAS.......................... 128

JACKSON, JAMES R............................................... 7

POWELL, ARTHUR TED.............................. 189, 197

BISHOP, W. FOLLEN............................................ 109

JANGALA, SHORTY ROBERTSON.................... 207

PRINCE OF WALES............................................. 151

BLACKMAN, CHARLES......................... 18, 141, 142

JOHNSON, ROBERT........................... 1, 4, 176, 211

PUGH, CLIFTON............................................ 75, 186

BOISSEVAIN, WILLIAM......................................... 69

JUNIPER, ROBERT............................................... 187

QUILTY, BEN.......................................................... 46

BOOTH, PETER............................................... 47, 59

KEANE, MARGARET............................................. 41

RANDANINI, CARLO.......................................... 103

BOYD, ARTHUR..................................................... 22

KNIGHT, JASPER........................................... 52, 190

REES, LLOYD............................................... 131, 133

BOYD, DAVID............ 20, 72, 74, 163, 164, 170, 171

KNOX, W. D............................................................. 3

ROCHE, GRAEME................................................. 36

BRAUND, DOROTHY................ 12, 27, 28, 166, 167

LINCOLN, KEVIN................................................... 37

ROSE, HERBERT.................................................. 213

BROMLEY, DAVID................................................ 195

LINDSAY, LIONEL............................................ 8, 121

ROUGHSEY, DICK (GOOBALATHELDIN).......... 160

BUCKMASTER, ERNEST......................................... 9

LINDSAY, NORMAN............................................ 184

ROWAN, ELLIS..................................................... 210

BUNNY, RUPERT...................................................... 6

LONG, LEONARD............................................... 215

RYAN, KATHRYN.................................................. 204

BUVELOT, LOUIS................................................. 112

LYMBURNER, FRANCIS....................................... 168

RYAN, PAUL............................................................ 65

CACCHIARELLI, NATALIA.......................... 201, 202

MACLEOD, EUAN........................................... 45, 64

SAWREY, HUGH........................................... 136, 137

CLUTTERBUCK, JOCK.......................................... 40

MANNER OF JAN VAN DER HEYDEN.............. 104

SCHATTNER, GILLIE & MARC.............................. 67

CREEK, GREG...................................................... 203

MARCUS, DONNA.............................................. 191

SCHULTZ, HUGH................................................... 79

CROOKE, RAY.................................... 16, 32, 76, 138

MARTENS, CONRAD.......................................... 105

SHEAD, GARRY................................................... 140

DARGIE, WILLIAM....................................... 117, 119

MATTHEWS, LAURA........................................... 205

STORRIER, TIM.................................................... 145

DAWS, LAWRENCE............................................... 71

MCINNES, VIOLET.................................................. 2

STREETON, ARTHUR.................................. 107, 120

DE MAISTRE, ROY....................................... 208, 209

MCKENNA, NOEL................................................. 58

TJAMPITJINPA, RONNIE.................................... 155

DICKERSON, ROBERT.............. 15, 21, 73, 135, 139

MIDDLETON, MAX............................................. 185

TJAPALTJARRI, WALALA.................................... 156

DOAN, DO XUAN............................................... 199

MILLAIS, ATTRIBUTED TO

TOZZI, CLAUDIO................................................. 193

DOWLING, JULIE................................................ 159

SIR JOHN EVERETT............................................ 113

TUCKER, ALBERT........................................ 143, 144

DOYLE, D’ARCY.................................................... 78

MOMBASSA, REG................................................. 56

TUCKSON, TONY................................................ 188

DRYSDALE, RUSSELL............................ 127, 34, 161

MORA, MIRKA............................................... 13, 165

WAKELIN, ROLAND.............................................. 19

DUNLOP, RICHARD............................................. 198

MORAN, PATRICIA.............................................. 214

WATKINS, DICK..................................................... 55

DURRANT, IVAN............................................ 57, 194

MORTON, CALLUM.................................... 146, 147

WEIR, BARBARA.................................................. 153

EARLES, BRUCE................................................... 206

MURCH, ARTHUR.................................................. 23

WHEELER, CHARLES.......................................... 212

EDWARDS, MCLEAN............................................ 42

NAMATJIRA, ALBERT......................................... 125

WHISSON, KEN..................................................... 48

FLINT, PRUDENCE................................................ 43

NAMPITJINPA, ALICE......................................... 192

WHITELEY, BRETT................................................. 14

FRANSELLA, GRAHAM............................. 49, 54, 62

NAMPITJINPA, FABRIANNE PETERSON.......... 200

WILLIAMS, FRED................................................... 31

FRIEND, DONALD.............................. 132, 178, 179

NAPANGARDI, LILY KELLY.................................. 152

WITHERS, WALTER.............................................. 108

GASCOIGNE, ROSALIE........................................ 38

NAPARRULA, LORNA FENCER.......................... 196

WOODHOUSE SENIOR, FREDERICK............... 111

GERRARD, TOM.................................................... 53

NAPARRULA, MITJILI.......................................... 154

GILL, S. T............................................................... 114

NOLAN, SIDNEY.................................................. 29,

— To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

CONDITIONS OF BUSINESS / SUMMARY

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.

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. 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.

For further information contact: Marie McCarthy accounts@leonardjoel.com.au

Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply.

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.

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

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. 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. 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 25% of the hammer price on each lot. This is inclusive of GST. 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.

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. 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 Storage Charges Each lot: $33 per day 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: www.environment.gov.au/heritage/movable/index 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: 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, T: 02 6274 1810 E: 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 Bespoke Moves Sasha Tiltins 0417 119 040 sasha@bespokemoves.com.au Pack & Send South Yarra 03 9521 5822 southyarra@packsend.com.au Pack & Send Kingscross 02 9331 2700 kingscross@packsend.com.au

CONTACT A LEONARD JOEL SPECIALIST

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

Leonard Joel Specialists —

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Summer Masters BDes Hons, Administrator INDIGENOUS ART Olivia Fuller BArtTh, Head of Department 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 IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney FINE JEWELS & TIMEPIECES Julie Foster F.G.A.A., Dip. Dt., Head of Department Bethany McGougan F.G.A.A., BA Hons, MSc, Senior Jewellery Specialist Maria Walker F.G.A.A., Manager Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant Alex Turnidge, Administrator MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department

LUXURY John D’Agata F.G.A.A., Head of Department PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

The Thursday Auction — Anthony Riepsamen, Manager FURNITURE Nick Bastiras, Manager David Price, Assistant Angus McGougan, Assistant JEWELLERY Maria Walker F.G.A.A., Manager ART SALON Hannah Ryan, Manager Ella Perrottet BFA, Assistant OBJECTS & COLLECTABLES Rebecca Stormont , 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, Accountan CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Madeleine Norton, Auction Administrator and Client Services Liaison, Sydney OPERATIONS & LOGISTICS Anthony Riepsamen, Manager MARKETING & COMMUNICATIONS Blanka Nemeth, Head of Department Nicole Kenning, Consultant Keryn Gilchrist, Database Administrator PHOTOGRAPHY Adam Obradovic Henry Murphy GRAPHIC DESIGN Liz Cox

LOT 52 § JASPER KNIGHT (born 1978) Way Out West 2013 (detail) enamel, gloss acrylic and gesso on canvas titled, signed and dated verso: JASPER/ KNIGHT/ “WAY OUT/ WEST”/ 2013 183 × 152cm PROVENANCE: Private collection, Sydney $8,000–12,000

MELBOURNE 72

SYDNEY

leonardjoel.com.au